The McGurk Building. A sheer wall, thirty blank stories of glass and limestone, down in the pinched triangle whence New York rules a quarter of the world.
Martin was not overwhelmed by his first hint of New York; after a year in the Chicago Loop, Manhattan seemed leisurely. But when from the elevated railroad he beheld the Woolworth Tower, he was exalted. To him architecture had never existed; buildings were larger or smaller bulks containing more or less interesting objects. His most impassioned architectural comment had been, "There's a cute bungalow; be nice place to live." Now he pondered, "Like to see that tower every day—clouds and storms behind it and everything—so sort of satisfying."
He came along Cedar Street, among thunderous trucks portly with wares from all the world; came to the bronze doors of the McGurk Building and a corridor of intemperately colored terra-cotta, with murals of Andean Indians, pirates booming up the Spanish Main, guarded gold-trains, and the stout walls of Cartagena. At the Cedar Street end of the corridor, a private street, one block long, was the Bank of the Andes and Antilles (Ross McGurk chairman of the board), in whose gold-crusted sanctity red-headed Yankee exporters drew drafts on Quito, and clerks hurled breathless Spanish at bulky women. A sign indicated, at the Liberty Street end, "Passenger Offices, McGurk Line, weekly sailings for the West Indies and South America."
Born to the prairies, never far from the sight of the cornfields, Martin was conveyed to blazing lands and portentous enterprises.
One of the row of bronze-barred elevators was labeled "Express to McGurk Institute." He entered it proudly, feeling himself already a part of the godly association. They rose swiftly, and he had but sane glimpses of ground glass
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