Reed College - Griffin Yearbook (Portland, OR)

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Page Sixteen developed along with the establishing of the feudal manor, the mythical significances Current before the Dark Ages were re- instated and the griH-in soon found widespread usage on es- cutcheons. It is clear, then, why the griH'in was emblazoned on the coat-of-arms of Simeon G. Reed, an Englishman, and why, with such historical significance and the attributes of an. enemy of ignorance and a guardian of the precious things of life, few symbols could have been more fitting for a college seal. . Of other features of the Arts building which are distinctive, the most noteworthy is the Chapel stair-way. It is finished in stone and brick, with heavy oak panelling, and is known as the Staircase of Emulation. The panels were made removable, to be replaced, some day, by carved tablets to distinguished Reed students, and the brick walls are ready for the insertion of bronze memorials. The place in years to come is to be a memorial stairway. The graceful architecture accomplished in the rectangular space through which the staircase winds is note- worthy. The shape of the two small groined vaults, and the peculiar luxurious spaciousness attained in the stairway, are proof of the success of the architects ceaseless planning and remodelling from famous staircase models for the new creation. Care of adaptation is shown in the great variety of doors and arches everywhere, all modelled from different sources but brought together into one harmonious whole. In the Chapel, the dark oak panelling, scarlet hangings, rough yellow stucco, and smooth cream-colored ceilings form a pleasing color scheme. An air of stateliness is added by the dome-like structure of the apse, the carved chairs and pulpit, and the open timber roof of elaborated hammer beams and king posts. The bronze lamp-pendants, of intricate rose deisgn, act as contrast to the dark beams. The open timber roof also lends an air of solid permanency to the whole. When the architect came to the planning of the dormitory, he unconsciously unbent and twith a smilel sought to make a large budding domestic. He and his associates searched the old English manor houses for the plan, the folk lore and the grotesques, and

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sources considered beforef: was completed. The coat: . Louis, Dr. T. L. Eliost'r: arms of Mr. ReedIs family. The charge finally chosen in the lat- ter part of the year 1914 includes a shield with a border of thir- teen stars, a Heur-de-lis placed at each of the upper points of the shield, a rose at the base point, and the griHCm on a conven- tional background of a Hattened rose. The thirteen stars come from the Adams crest, and the Heurs-de-lis from that of Dr. Eliot,s Alma Mater. The rose tRichmond rose, color of deep redy was added for local symbolism, representing Reed as the college of Portland, the Rose City. The griHin, which is the prevailing feature of the seal and the only one of its kind in use on an American college coat-of-arms, symbolizes something fine which every lover of Reed spirit should interpret and understand. With the head, shoulders and feet of an eagle, and the body of a lion tthe eagle and the lion being the two noblest beasts, one of the air and the other of the landy, the griffin has from time immemorial symbolized a guardian and protector of man and the beasts of the earth. In its early habitat in Asiatic Scythia, it was credited with the protection of gold and precious stones. Thus, in familiar tradition, it has gained, through centuries, the attributes of swiftness and strength in the service of protection. The griH'in was also connected in Mythology with Artemis, and with Apollo, the Sun God, whose Chariot was sup- posed to have been drawn by one. In this capacity as the servant of light, it became the enemy of ignorance. In later times the griHin,s position as guardian extended to the protection of sarcophagii, and, in many places, to its establishment as the Genie of a city. In the medieval period when the old legends died out through loss of contact with the East, the Church adopted the griHin to serve its own purpose. The new legends sometimes held it as representing the devil, eager to carry souls away to the deserts of Hell. The Bestiaries of the times give the first record of the griffin en rampant as thus falling into disrepute as an emblem. In other medieval legends, however, it represented the Savior. The griH'in in this case was symbolic of the union of the divine and human in Christ. Dante in Purgatory saw the car of the Church drawn by a griHin. Later, when heraldry was being Page Fifteen

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n, and Wi t e attributes of an cnei Premous things of life i; .g for a c0116ng seal. i 'ld'Pg Which are distinctive Stairway. It is hnishedi nelhng, and is knownmja; were made removabletols; blets t0 distinguishcdRe; y for the insertion oibronz: come is to be a memori: ture accomplished in :22: he staircase winds is net; iall groined vaults, and ti: ned in the stairway, arepri-t less planning and remodeiiri the new creation. Care? variety of doors and arch: ?erent sources but brouii llin , scarlet hangingsroii loregd ceilings form 211363513; 5 is added by the omc-x: irs and pulpit, heams and king 135 rose deisgn; ac ds an an ber roof also 1611 . d ., lannmg Oiiihii make 3135?? ' ou nit? mlei Sat? 6 theoidEsv. ates :2 d t e fotCSqUCi lore Tr local tradition for the features of a home. The purpose of the Dormitory is shown through the Choice of suggestive decorations that have a diHerent significance from those of the Arts building. The gargoyles on the Administration building have little signifi- cance, the conventional lion being used on the water spouts and small boy grotesques for the corners of the oriel. On the dormitory, however, the little boy and animal gro- tesques, some studious, happy, some snappily wide-awake, others sleepy, comprise a good part of the decorations and symbolize the use of the build- ing for recreation and sleep and preparation for work. However, conventional de- A: a signs, common to similar struc- k WWW a tures, such as the griHin, en rampant, the lion carrying the cross of light, and little meaningless grotesques in odd corners have been added. The south facade of the Sally Port holds the most interest. Sally Port, by the way, is adopted from old French medieval Gothic. In the days when every man,s home was his castle, the Sally Port was a place from which to dash forth in de- fense. It seems to have lost significance for the co-eds, however, except, perhaps, at meal-time, when they sally forth in the old familiar way. The archway, beautiful but less formal than the principal one on the Arts building, is appropriately designed. The griffin forms the basis for the architrave and the spandrels. Nox and Lux, the moon-faced individuals which form the bosses or ends for the 16153! tprojecting molding built as a dripstone around an opening in Gothic architectureh, are sly, happy, sleepy gro- tesques. Nox, to the west, represents deep sleep after a full school day. Lux, on east side, winks in jolly manner to the new mormng. Page Seventeen