museum's front wall consisted of a two-story curtain of glass windows with bronze mullions. Johnson identified Florence's Loggia dei Lanzi and Munich's Felderrnhalle as precedents for the "boxes with fronts" style portico. The main entrance lead directly into a two-story hall adorned with the same type of shellstone used on the exterior, teak wall coverings, and a floor of pink and gray granite. Beyond the main hall were five small galleries of equal size for the display of art. On the mezzanine level were five similar galleries, each with a balcony that overlooked the main hall. These mezzanine galleries served as library and office spaces. To take advantage of the expanse between the two-story portico and the site's eastern boundary, Johnson designed a series of broad steps and terraces extending away from the building, with an expansive sunken, grassy plaza as the centerpiece, pointing toward the city's center. The museum and grounds opened to the public on January 21, 1961, as the Amon Carter Museum of Western Art. Reaction by critics to Philip Johnson's design was generally favorable. In a March 1961 article, "Portico on a Plaza," the Architectural Forum called it "an exceedingly handsome building -- beautifully situated and beautifully illuminated." Russell Lynes, writing in the May 1961 Harper's, summed up his reaction by calling it "Mr. Johnson's jewel box." Although the museum was conceived as a small memorial institution, it almost immediately became a collecting museum, and the space afforded by the existing facility quickly became inadequate. In 1964, three years after the museum first opened, a 14,250-square-foot addition was completed on the west side of the original building to provide room for offices, a bookstore, a research library, and an art-storage vault. Joseph R. Pelich (1894–1968) of Fort Worth, an associate architect of the original building, carried out the work after Philip Johnson expressed little interest in taking on the project. The museum opened a second major addition, this one designed by Philip Johnson and his partner, John Burgee, in 1977. The 1977 addition, which left the 1961 building and 1964 addition intact, expanded the museum's area by 36,600 square feet, more than doubling its original size. The expansion, which included a three-story section, enclosed the triangular space at the far western end of the building site, thus bringing the physical plant to its westernmost limit. Johnson's 1977 addition created an administrative wing, a 105-seat auditorium, a