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diff --git a/old/13489-8.txt b/old/13489-8.txt new file mode 100644 index 0000000..5582a4c --- /dev/null +++ b/old/13489-8.txt @@ -0,0 +1,1149 @@ +The Project Gutenberg EBook of The Brochure Series of Architectural +Illustration, Vol. 1, 1895, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Brochure Series of Architectural Illustration, Vol. 1, 1895 + +Author: Various + +Release Date: September 18, 2004 [EBook #13489] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUST. *** + + + + +Produced by Juliet Sutherland, Juliet Sutherland, Daniel Watkins and +the Online Distributed Proofreading Team + + + + + + +THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION + +1895 + + +VOLUME I + + + +BOSTON +BATES & GUILD +PUBLISHERS + +Index to Volume I. + +1895. + + + +LIST OF PLATES. + +Venetian Palaces. +i. Southwest Angle of the Ducal Palace. +ii. Palazzo Contarini Fasan. +iii. Palazzo Cavalli. +iv. Window Tracery in the Palazzo Cavalli. +v. Window Tracery in the Palazzo Cicogna. +vi. Portion of the Façade of the Ca D'Oro. +vii. Portion of the Façade of the Ca D'Oro. +viii. Palazzo Pisani. + +Byzantine-Romanesque Doorways, Apulia. +ix. Principal Doorway to Cathedral, Trani. +x. Principal Doorway to Cathedral, Trani. +xi. Principal Doorway to Cathedral, Conversano. +xii. Portion of Façade, Basilica at Altamura. +xiii. Principal Doorway, Basilica at Altamura. +xiv. Detail of Doorway, Basilica at Altamura. +xv. Doorway of Madonna di Loreto, Trani. +xvi. Entrance to Church of the Rosary, Terlizzi. + +Cloister at Monreale, Sicily. +xvii. Double Capital. +xviii. Double Capital. +xix. Double Capital. +xx. One Side of Cloister. + +Byzantine Capitals from Ravenna. +xxi. Capital from the Apse of S. Vitale. +xxii. Capital from S. Vitale. +xxiii. Capital from S. Vitale. +xxiv. Capital in the Museum of the Academy. + +Byzantine-Romanesque Windows, Apulia. +xxv. Window in S. Teresia, Trani. +xxvi. Window in S. Teresia, Trani. +xxvii. Window in the Basilica, Altamura. +xxviii. Windows in S. Gregorio, Bari. +xxvix. Triforiurn Window in S. Gregorio, Ban. +xxx. Window in Apse of the Cathedral, Bari. +xxxi. Window in Bittonto. +xxxii. Window in Apse of the Cathedral, Bittonto. + +Two Florentine Pavements. +xxxiii. Portion of Pavement in the Baptistery. +xxxiv. Portion of Pavement in the Baptistery. +xxxv. Portion of Pavement in the Baptistery. +xxxvi. Portion of Pavement in the Baptistery. +xxxvii. Portion of Pavement in the Baptistery. +xxxviii. Portion of Pavement in S. Miniato al Monte. +xxxix. Portion of Pavement in S. Miniato al Monte. +xl. Portion of Pavement in S. Miniato al Monte. + +Renaissance Panels from Perugia. +xli. Panel from Choir Stalls, S. Pietro. +xlii. Panel from Choir Stalls, S. Pietro. +xliii. Panel from Choir Stalls, S. Pietro. +xliv. Panel from Choir Stalls, S. Pietro. +xlv. Panel From Choir Stalls, S. Pietro. +xlvi. Panel from Choir Stalls, S. Pietro. +xlvii. Panel from Choir Stalls, S. Pietro. +xiviii. Panel from the Chamber of Commerce. + +Italian Wrought Iron. +xlix. Lantern on Palazzo Strozzi, Florence. + +Italian Wrought Iron. +l. Lantern on Palazzo Guadagni, Florence. +li. Lantern on Palazzo Brocella, Lucca. +lii. Lantern on Palazzo Baroni nel Fillungo, Lucca. +liii. Torch-Bearer from Siena. +liv. Torch-Bearer from Siena. +liv. Torch-Bearer from Siena. +lvi. Torch-Bearer from Siena. + +Fragments of Greek Detail. +lvii. Capital from the Parthenon, Athens. +lviii. Capital from the Erechtheion, Athens. +lix. Base from the Erechtheion, Athens, +lx. Cap of Anta from the Erechtheion, Athens. +lxi. Fragment found on the Acropolis, Athens. +lxii. Capital from the Propylam, Athens. +lxiii. Cyma from the Tholos, Epidauros. +lxiv. Capital from the Tholos, Epidauros. + +Pulpits of Southern Italy. +lxv. Ambo in the Capella Palatina, Palermo. +lxvi. Ambo in the Cathedral, Salerno. +lxvii. Pulpit in the Cathedral, Salerno. +lxviii. Pulpit in the Cathedral, Ravello. +lxix. Ambo in the Cathedral, Ravello. +lxx. Pulpit in S. Giovanni, Ravello. +lxxi. Ambo in S. Lorenzo Fuori le Mura, Rome. +lxxii. Pulpit in the Cathedral, Messina. + +French Farmhouses, Normandy. +lxxiii. Ferme de Turpe. +lxxiv. Ferme de Turpe. +lxxv. Ferme de Turpe. +lxxvi. Ferme de Turpe. +lxxvii. Manoir d' Ango. +lxxviii. Manoir d' Ango. +lxxix. Manoir d' Ango. +lxxx. Manoir d' Ango. + +Country Houses of Normandy. +lxxxi. Ferme la Vallauine. +lxxxii. Manoir al Archelles. +lxxxiii. Manoir at Archelles. +lxxxiv. Porch of Church at Beuvreil. +lxxxv. Manoir de Vitanval, Ste. Andresse. +lxxxvi. Manoir d' Ango. +lxxxvii. Manoir d' Ango. +lxxxix. Manoir d' Ango. + +English Country Houses. +lxxxix. Old Houses, Hanover. +xc. Middle House, Mayfield, Sussex +xci. Old Hall, Worsley. +xcii. Speke Hall. +xciii. Speke Hall. +xciv. Smithells. +xcv. Saintesbury Hall. +xcvi. Old Manor House, Lythe Hill. +xcvii. Old Manor House, Lythe Hill. +xcviii. Old Manor House, Lythe Hill. +xcix. Old Farm House, Lythe Hill. +c. Gate House, Stokesay Castle. + + + +INDEX OF SUBJECTS. + +Advice to Young Architects +Aitchison, Prof., Advice to Young Architects +Altamura, Basilica at, +Ango, Manoir d' +Apulia, Doorways from + " Windows from +Architectural Education +Architectural Schools + Columbia College + Harvard University + Mass. Inst. of Technology +Ateliers in New York City +Athens, Erechtheion, Cap and Base from + " Parthenon, Cap from + " Propylæa " +Bari, Cathedral of, Window in + " S. Gregorio, Window in +Beaux-Arts Architects, Society of +Bittonto, Cathedral, Window in + " Window in +Boston Public Library, Decoration of +Building Exhibit +Byzantine-Romanesque Doorways +Byzantine-Romanesque Windows +Capitals, Monreale + " Ravenna +Case, John W., Hints to Draughtsmen +Catalogues of Exhibitions +Clark Medal Competition +Cleveland Architectural Club +Cloister of Monreale +Club Notes + Architectural Club of Lehigh University + Architectural Club of San Francisco + Architectural League of New York + Art League, Milwaukee + Baltimore Architectural Club + Boston Architectural Club + Buffalo Chapter A.I.A. + Chicago Architectural Club + Cincinnati Architectural Club + Cleveland Architectural Sketch Club + Denver Architectural Sketch Club + Detroit Architectural Sketch Club + "P.D.'s" + Rochester Sketch Club + Sketch Club of New York + Society of Beaux-Arts Architects + St. Louis Architectural Club + St. Paul Architectural Sketch Club + T Square Club, Philadelphia +Columbia College +Competition for Advertising Design +Competitions, Awards in +Competitions, Brochure Series + " " " No. 1, + " " " No. 2, + " " " No. 3, +Conversano, Doorway of Cathedral +Cosmaiti Work +Country Houses of Normandy +Country Houses, English +Doorways, Byzantine-Romanesque +Ecole des Beaux-Arts, diplomas +England. + Hanover, Old Houses + Lythe Hill + Mayfield, Sussex, Middle House + Saintesbury Hall + Smithells + Speke Hall + Stokesay Castle + Worsley, Old Hall +English Country Houses +Epidauros, Tholos, Cap and Fragment from +Farmhouses, French +Florence, Baptistery, Pavement from + " Palazzo Guadagni, Lantern from + " S. Miniato, Pavement from + " Strozzi Palace, Lantern from +Florentine Pavements +Gothic Palaces of Venice +Greek Detail, Fragments of +Harvard University +Hints to Draughtsmen +Italian Wrought Iron +Lanterns, Wrought Iron +Lucca, Palazzo Brocella, Lantern from + " " Baroni " " +Mass. Institute of Technology +Messina, Cathedral, Pulpit +Monreale, The Cloister of +Mosaic Floors, Modern +Mosaic Work +Normandy, Ferme de Turpe + " Ferme la Vallanine + " Manoir at Archelles + " Manoir d' Ango + " Manoir de Vitanval + " Porch of Church at Beuvreil +Pavements, Two Florentine +Palermo, Capella Palatina, Pulpit in +"P.D.'s" The +Perugia, Chamber of Commerce, Panel from + " Renaissance Panels from + " S. Pietro, Panels from +Personals +Piano Case, Competition for +Pulpits of Southern Italy +Ravello, Cathedral, Pulpit and Ambo in + " S. Giovanni, Pulpit in +Ravenna + Museum of Acad. Bel. Arti, Cap from + S. Vitale, Caps from +Ravenna Capitals +Reproduction of Architect's Drawings +Roman Scholarship +Rome, American School of Architecture at +Rome, S. Lorenzo Fuori, Ambo in +Rotch, Arthur, Bequest of +Rotch Scholars, C.H. Blackall +Rotch Travelling Scholarship +Salerno, Cathedral, Ambo and Pulpit in +Siena, Wrought Iron Torch Bearers from +Terlizzi, Entrance to Church of the Rosary +Torch Bearers, Wrought Iron +Trade Notes +Trani, Doorway of Cathedral + " " Madonna di Loreto +Turpe, Ferme de +Venetian Palaces +Venice + Ca D'oro + Ducal Palace + Palazzo Cavalli + " " Window-tracery in + Palazzo Cicogna, Window-tracery in + Palazzo Contarini Fasan + Palazzo Pisani +Windows, Byzantine-Romanesque +Wood Floors +Wrought Iron, Italian + + +[Illustration: I. The Southwest Angle of the Ducal Palace, Venice.] + + + + +THE BROCHURE SERIES + +OF ARCHITECTURAL ILLUSTRATION. + +VOL. I. +JANUARY, 1895. +No. I. + + +THE GOTHIC PALACES OF VENICE. + + +The location of Venice upon a group of islands, sufficiently removed +from the mainland to make it impossible to effectually attack it from +this side, and naturally defended on the side towards the sea by a +long chain of low islands, separated by shallow inlets and winding +channels, making it difficult to approach, has rendered the city +peculiarly free from the disturbing influences which were constantly +at work in the neighboring cities of Italy during the Middle Ages. +While her neighbors were building strong encircling walls, each +individual house a fortress in itself, Venice rested secure in her +natural defences and built her palaces open down to the water's +edge, with no attempt at fortification. Her hardy and adventurous +inhabitants rapidly extended their trade to all quarters of the world +and accumulated vast wealth, which was freely lavished on public and +private buildings. The magnificence of the former was only equalled in +the days of ancient Rome, and it is doubtful if the latter have ever +been surpassed in sumptuousness and splendor. The palaces of Venice +form an architectural group of great interest, in many respects quite +distinct from the contemporary buildings on the mainland. They were +carefully planned to satisfy the demands for comfort and convenience +as well as display. Most of them have the same arrangement of plan, +and were commonly built of two lofty and two low stories. On the +ground floor, or water level, is a hall running back from the gate to +a bit of garden at the other side of the palace, and on either side +of this hall, which was hung with the family trophies of the chase and +war, are the porter's lodge and gondoliers' rooms. On the first and +second stories are the family apartments, opening on either side from +great halls, of the same extent as that below, but with loftier roofs, +of heavy rafters gilded or painted. The fourth floor is of the same +arrangement, but has a lower roof, and was devoted to the better class +of servants. Of the two stories used by the family, the third is the +loftier and airier, and was occupied in summer; the second was +the winter apartment. On either hand the rooms open in suites. +The courtyard at the rear usually had a well in its centre with an +ornamental curb; and access to the upper floors of the house was +gained by an exterior staircase in the court, which was often +elaborately enriched with carved ornament. + +The materials used in construction are mostly red and white marbles, +used with a fine color sense, and the desire for abundance of color +was frequently further gratified by painting the exterior walls with +elaborate pictorial decorations. + +[Illustration: II. The Palazzo Contarini Fasan, Venice.] + +The earliest palaces are Byzantine, but with the growth of the Gothic +movement these were gradually superseded, although the Gothic +influence worked more slowly here than on the mainland. The richest +and most elaborate work was built at this period. Finally the +Renaissance took the place of Gothic; and the later palaces, built in +this style, show strongly the debased condition into which the art of +Venice fell in the Dark Ages. + +We have selected for the illustrations of this number of the BROCHURE +SERIES some of the most widely known examples of the fifteenth-century +Gothic palaces, built at the time when Venice was at the zenith of +prosperity as the principal commercial power of the world. + + + + +I. + +SOUTHWEST ANGLE OF THE DUCAL PALACE, VENICE. + + +Although the Ducal Palace is much larger than the other palaces of +Venice, and intended for general civic uses as well as a residence for +the Duke or Doge, it follows closely the type already described. It +has undergone so many changes since its first foundation in about the +year 800 (813 according to Ruskin), having been destroyed five times, +and as often re-erected in grander style, besides having been added to +and the dilapidated portions restored, that it is impossible to assign +a comprehensive date to cover the building of the present structure. +In fact, the earliest portion was gradually added to, carrying it +further and further around the quadrangle until it reached the point +of beginning, when this process was repeated, partially replacing +the older Byzantine work with Gothic and then with Renaissance, the +present building still having examples of all three styles. + +The portion shown in our illustration is said to have been erected +between the years 1424 and 1442, by Giovanni Buon and his sons +Pantaleone and Bartolommeo Buon the elder; although Mr. Ruskin states +that in 1423 the Grand Council sat in the Great Council Chamber for +the first time, and in that year the Gothic Ducal Palace of Venice was +completed. + +This angle, which faces the Piazetta and the Riva, is called by +Mr. Ruskin the "Fig-Tree Angle," because of the group of sculpture +representing the fall of man. The figure above the angle capital of +the upper arcade is that of Gabriel. The richly decorated capitals of +the lower arcade represent personifications of the Virtues and Vices, +the favorite subjects of decorative art, at this period, in all the +cities of Italy. The capitals of the upper arcade, no two of which are +alike, are also richly wrought with figure sculpture, the one on the +angle containing representations of the four winds. + +The arrangement of the tracery above the upper arcade is worthy of +note as the placing of the quatrefoils between the arches, which +is characteristic of earlier examples, is more reasonable, from a +constructive point of view, than the later practice of placing them +above the centres of the arches. + +The use of the rope moulding as a decorative finish for the angle of a +building is also characteristic of the palace architecture of Venice, +and may here be seen most effectively applied. + + + + +II. + +THE PALAZZO CONTARINI FASAN, VENICE. + + +This is one of the most notable examples of domestic Gothic +architecture in Venice, and dates from the fifteenth century. Ruskin +refers to it as follows: "In one respect, however, it deserves to be +regarded with attention, as showing how much beauty and dignity may +be bestowed on a very small and unimportant dwelling-house by Gothic +sculpture. Foolish criticisms upon it have appeared in English +accounts of foreign buildings, objecting to it on the ground of its +being 'ill proportioned'; the simple fact being that there was no room +in this part of the canal for a wider house, and that its builder made +its rooms as comfortable as he could, and its windows and balconies of +a convenient size for those who were to see through them and stand on +them, and left the 'proportions' outside to take care of themselves, +which, indeed, they have very sufficiently done; for though the house +thus honestly confesses its diminutiveness, it is nevertheless one of +the principal ornaments of the very noblest reach of the Grand Canal, +and would be nearly as great a loss if it were destroyed, as the +church of La Salute itself." + +This building is popularly known as "Desdemona's House." + + + + +III. + +THE PALAZZO CAVALLI, VENICE. + + +This palace, situated opposite the Academy of Arts on the Grand Canal, +also dates from the fifteenth century. Its balconies and tracery are +of the later Gothic period, showing marked tendencies towards the +Renaissance. + +It has been recently restored by its present owner, Baron Franchetti, +and is frequently spoken of as the Palazzo Franchetti. + + + + +IV. + +WINDOW TRACERY IN THE PALAZZO CAVALLI. + + +In Venetian tracery it will always be found that a certain arrangement +of quatrefoils and other figures has been planned as if it were to +extend indefinitely into miles of arcade, and out of this colossal +piece of marble lace a portion in the shape of a window is cut +mercilessly and fearlessly: what fragments and odd shapes of +interstice, remnants of this or that figure of the divided foliation, +may occur at the edge of the window, it matters not; all are cut +across and shut in by the great outer archivolt. This is of course +open to serious criticism as construction, but its beauty and +effectiveness, as used here, cannot be gainsaid. + + + + +V. + +WINDOW TRACERY IN THE PALAZZO CICOGNA, VENICE. + + +This is an example of early Gothic work in Venice and is quite unlike +later examples. Ruskin speaks of it as the only instance of good +_complicated_ tracery to be found in Venice. The fact that it is +moulded only on the face is considered evidence of its early date. + +In this view, as, in fact, in all of the examples which we have +selected, the moulding formed of alternating blocks or dentils, +projecting first on one side and then the other, which is peculiar to +Venice, can be seen. It was commonly used as a frame about a window or +group of windows, and is very effective, especially when used, as it +frequently was, relieved against a flat wall surface. + + + + +VI. and VII. + +TWO PORTIONS OF THE FACADE OF THE CA D'ORO, VENICE. + + +This, next to the Ducal Palace, is the most elaborate and it might be +said the most beautiful of the Gothic Venetian palaces. It has been +considerably changed in the various restorations to which it has been +subjected, but still has enough of its original features to remain +a wonderfully beautiful building. It is an extreme example of the +characteristic disregard of the ordinary principles of building +construction to be found throughout the work we have been considering. +Fergusson's remarks upon this failing of the Venetian architects is +pointed and well considered. He says: "Most of the faults that strike +us in the buildings of Venice arise from the defective knowledge which +they betray of constructive principles. The Venetian architects had +not been brought up in the hard school of practical experience, nor +thoroughly grounded in construction, as the northern architects were +by the necessities of the large buildings which they erected. On the +contrary, they merely adopted details because they were pretty, +and used them so as to be picturesque in domestic edifices where +convenience was everything, and construction but a secondary +consideration." + +The Cà D'oro was probably built about the middle of the fourteenth +century. + +Evidences of the use of color in this façade can be plainly seen in +the photographic views, and the contrast of the deep shadows and flat +wall surfaces is strikingly beautiful. + + + + +VIII. + +THE PALAZZO PISANI. + + +This palace is of the late Gothic period, nearly approaching the +Renaissance. It is situated on the lower reach of the Grand Canal. + +In all of the examples here selected a marked predominance of +horizontal treatment will be observed. The roofs are flat, and arcades +and balconies all help to emphasize the horizontal direction in the +design. This, it will be observed, is distinctly different from the +contemporary Gothic of the rest of Europe. + + * * * * * + +Notable examples of American buildings modelled after or in the style +of the Venetian palaces are the Chicago Athletic Club, the Montauk +Club, Brooklyn, and the new building adjoining the Hoffman House, +Madison Square, New York. + + +[Illustration: IV. Window Tracery in the Palazz, Cavalli, Venice.] + + + + +The Brochure Series + +of Architectural Illustration. + +PUBLISHED MONTHLY BY + +BATES & GUILD, + +6 BEACON STREET, BOSTON, MASS. + + +Subscription Rates per year 50 cents, in advance. Special Club Rate +for five subscriptions $2.00. + + + * * * * * + + +A well-selected collection of foreign photographs has come to be as +necessary and invariable a feature in a well-equipped architect's +office as good drawing instruments or as Vignola's treatise on the +Roman Orders. But unfortunately a really satisfactory collection of +photographs is seldom within the reach of more than a small proportion +of the architects who could use them to advantage. This is partly on +account of the expense of a good collection, as photographs can hardly +be bought for less than twenty-five cents each, and partly on account +of the difficulty of finding a desirable stock from which to make +selections on this side of the Atlantic. Nearly all of the most +valuable collections have been gathered together abroad by the owners +and are the result of gradual accumulation, probably extending over +years of travel, and representing no small investment of money. + +Such a collection, it is needless to say, is not within the grasp of +the young and struggling draughtsman, but he, of all others, would +profit most by possession and use of such a treasure if it could be +placed in his hands. It would help to form and direct his tastes, +making him familiar with the masterpieces of the past, and would +furnish a basis for comparison of the current work about him. + +Of course a draughtsman in any of the larger offices will have certain +opportunities to study and work from the collection in the office +library. This is a valuable privilege, but it is only open to a few +out of the many draughtsmen in the country, and is not to be compared +in its resulting benefits to the actual possession of even a very much +smaller collection. + + * * * * * + +It is the purpose of the BROCHURE SERIES to place in the hands +of draughtsmen a most carefully selected series of photographic +reproductions, chosen both for their educational value and their +usefulness as practical reference material for everyday work. This can +be done at one fiftieth the cost of ordinary photographs, and thus be +easily within the reach of any draughtsman. + +No attempt will be made to follow any systematic arrangement of the +subjects presented, although it will be frequently found advisable, +as in the present issue, to group a number of subjects of more or +less related character. The main result to be sought for is the +presentation of the greatest amount of the most valuable material in +the most available shape, and at the least cost. The possibility of +realizing this ambitious purpose remains to be demonstrated. It need +only be said that this initial number is put forward as an earnest of +the work to follow. + + * * * * * + +A most important feature in recent educational work as applied to +architecture is to be found in the formation of a number of classes, +or _ateliers_ as they are called, modelled in the main after those in +Paris. They are all formed with the purpose of furnishing instruction +in those elements of academic design which are unattainable in the +routine experience of office practice. The details of arrangement for +accomplishing this purpose vary somewhat in the different _ateliers_. +We believe the first to be started was the one connected with the +office of Messrs. Carrère & Hastings in New York. Here a limited +number of students, both young men and young women, are received, and +as a return for the instruction given them are expected to render such +assistance in the regular work of the draughting-room as they can. +This service is exactly similar to the "niggering," as it is called, +required by long-established custom of the younger men at the Ecole +des Beaux-Arts at Paris, which is one of the most valuable features of +the school work. In Paris by this method the younger students have an +opportunity to come in personal and intimate contact with those more +advanced, and have the benefit of working on larger and more important +work than they are capable of undertaking unaided. In the new +_atelier_ a problem in design is given to the class, thus more than +ordinarily equipped for the work before him. + + +[Illustration: +VII. Portion of the Façade of the Ca D'oro, Venice.] + + +His work while abroad was systematic, well directed, and untiring, and +no one of the succeeding scholars has labored to better advantage or +accomplished more than he, although each in turn has had the example +and experience of his predecessors as a guide and stimulus to +increased endeavor. Mr. Blackall's time was devoted largely to travel, +together with the sketching and measuring of important work. + +Since his return he has built up a successful and varied practice. + +As an active member of the Boston Society of Architects and the +first president of the Boston Architectural Club, he has done much to +advance the best interests of the profession, both within its ranks +and in its relations to the public. To nothing so much as to his +faithful labors can the success of the Architectural Club be laid. He +has made it the largest and most effective organization of its kind +in the country, and the draughtsmen of Boston have every reason to be +thankful to him for his unselfish devotion to their interests. + +He has, for several years, been the permanent chairman of the +Committee of the Boston Society of Architects, appointed to administer +the Rotch Scholarship, and through his earnest work the opportunities +open to its holders are being constantly increased. + +(_To be continued_.) + + * * * * * + + +Club Notes. + + +The youngest of the architectural societies of the country is the +Cleveland Architectural Club. It was organized in November last with a +membership of fifteen, which number has been rapidly growing and bids +fair to grow much further. In this instance, as has been the case in +all the other large cities where similar clubs have been formed, it +is the better class of draughtsmen who have felt the need of an +organization that would bring them together socially, and give an +opportunity for organized study and mutual improvement; and it is a +most encouraging symptom of the generally diseased condition of the +public mind in relation to architecture that these clubs have become +so numerous in the last few years. Aside from the direct influence +upon its own membership, the manifestation of a progressive and +aggressive spirit cannot help provoking curiosity and discussion +outside, if it accomplishes nothing further. It is somewhat surprising +that with the unusually active interest which Cleveland has always +evinced in matters relating to art, such a movement has not been +started before. We shall have occasion before long to refer more in +detail to this new and flourishing society. + + * * * * * + +The Illinois Chapter of the American Institute of Architects announces +the second annual competition for a gold medal, to be open to members +of the Chicago Architectural Club who are not practicising architects +of over two years' standing. The problem is the design for a memorial +building for the study of botany, zoology, and mineralogy, and is to +be finished on April 29. + + * * * * * + +The Chicago Architectural Club mingles work and play in a thoroughly +Bohemian fashion. A recent invitation card bid its members to attend a +"Rip-Snorter at the Club House," stating that "provisions and provisos +would be provided and Frou Frous be on tap." The exact significance +of this cabalistic description is known only to the members and their +guests. The same card announced that the new Constitution and By-Laws +would be finally voted upon at the same meeting, and further announced +the conditions of a forthcoming sketch competition. Things move +rapidly in Chicago. + + * * * * * + +The Chicago Architectural Club will hold its eighth annual exhibition +of works of architecture and the allied arts at the Art Institute +for two weeks beginning May 23. For further particulars, address John +Robert Dillon, secretary, 274 Michigan Avenue, Chicago. + + * * * * * + +The Buffalo Chapter of the A.I.A. will hold its second annual +exhibition in the Art Gallery, Library Building, in connection with +the exhibition of the Buffalo Society of Artists, from March 18 to +30. For further particulars, address J.H. Marling, 15 Morgan Building, +Buffalo. + +[Illustration: VIII. The Palazzo Pisani, Venice.] + + + + + +End of the Project Gutenberg EBook of The Brochure Series of Architectural +Illustration, Vol. 1, 1895, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUST. *** + +***** This file should be named 13489-8.txt or 13489-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/3/4/8/13489/ + +Produced by Juliet Sutherland, Juliet Sutherland, Daniel Watkins and +the Online Distributed Proofreading Team + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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