^{Rivalries and suspicion within the architectural profession were only part of the School Board's concerns. After selecting Benjamin Smith's plan, the Board of Commissioners had to face the all too often reality of a lack of initial funding. Consequently, the project for the new school was postponed for a year.  Much needed repairs to the Barton building were delayed as well. Work stood at a standstill on both projects. Local architects utilized the lull in events to reassert their supremacy. They insisted that the repair and remodeling of Barton Academy be done by one of their own. Ultimately the firm of Watkins and Hutchisson assumed this hallowed task. A measure of the importance of that undertaking can be gleaned from Messrs. Watkins and Hutchisson's request for not just equal, but if at all possible greater compensation than that awarded Mr. Smith. Ultimately the Hutchisson firm not only made repairs to Barton, but also added the wings which flank the main building. In the meantime, work finally proceeded on the Yerby Building. Ground was broken in 1903. The School opened its doors in September of 1905. The initial projected cost of $25,000 was increased twice, eventually reaching $40,000.}

Stylistically and compositionally, the completed Yerby building provided a design contrast to Barton. While both buildings utilize classical detail and observe proportional harmonies, Yerby eschews a central axial approach. Instead of employing a dome or entrance to anchor the design, Smith played down the center by employing two

Yerby Academy Side View

entrances. The slightly recessed entrances provide the façade with a rhythmic five part composition comparable to the expanded Barton, yet with an effect all it's own with regard to the design approach and stylistic vehicle. Yerby's ordered plan and robust elevations betray the influence of the popular Beaux Arts approach. The Beaux Arts was not a style, but a system which insisted on internal order and functional adherence - a duality perfectly suited for a school building. Axial and cross-axial halls provided access to the seven main classrooms of the first and second floors. Multiple flights of stairs lead to additional classrooms and exercise facilities located on the ground floor. Utilities were obscured on the ground and attic floor levels. To this ordered Beaux Arts plan were grafted elevations featuring a dynamic interplay of classical elements. Engaged columns, bulls-eye windows, and banded masonry are combined in such a way to engender monumentality and security.