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+The Project Gutenberg EBook of The Brochure Series Of Architectural
+Illustration, Vol 1, No. 2. February 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, No. 2. February 1895.
+       Byzantine-Romanesque Doorways in Southern Italy
+
+Author: Various
+
+Release Date: February 17, 2005 [EBook #15091]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+
+
+
+Produced by Juliet Sutherland, Thomas Cormode and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+[Illustration: IX. The Principal Doorway to the Cathedral at Trani, Italy.]
+
+
+
+
+THE BROCHURE SERIES
+
+OF ARCHITECTURAL ILLUSTRATION.
+
+VOL. I. FEBRUARY, 1895. No. 2.
+
+       *       *       *       *       *
+
+BYZANTINE-ROMANESQUE DOORWAYS IN SOUTHERN ITALY.
+
+
+The illustrations chosen for this issue are all from the Byzantine
+Romanesque work in the province of Apulia, that portion of Southern
+Italy familiar in school-boy memory as the heel of the boot. Writers
+upon architecture have found it difficult to strictly classify the
+buildings of this neighborhood, as in fact is the case with most of the
+medieval architecture of Italy, although the influences which have
+brought about the conditions here seen are in the main plainly evident.
+The traditions and surroundings, of Roman origin, were modified by trade
+and association with the Levant through the commerce of Venice and Pisa,
+resulting in a style embodying many of the characteristics of both the
+Romans and the builders of Byzantium. Oftentimes these characteristics
+are so blended and modified by one another as to be entirely
+indistinguishable, while at other times features unquestionably
+belonging to the Romanesque or the Byzantine will be found side by side.
+An illustration of the latter condition may be seen in the two views of
+the doorway to the cathedral of Trani. (Plates IX. and X.) On account of
+the intimate relations maintained during the Middle Ages between this
+province and Magna Grecia, and it may be partly on account of the
+comparative remoteness from the principal cities of the north, the
+Byzantine influence is here more strongly marked than in the cities of
+Central and Northern Italy.
+
+According to the classification adopted by Fergusson, the church of San
+Miniato at Florence is one of the oldest examples and a good type of
+this rather mixed style. It was built about the year 1013. It is
+rectangular in plan, nearly three times as long as wide, with a
+semicircular apse. Internally it is divided longitudinally into aisles,
+and transversely into three nearly square compartments by clustered
+piers, supporting two great arches which run up to the roof. The whole
+of the inner compartment is occupied by a crypt or under church open to
+the nave, above which is the choir and altar niche, approached by
+flights of steps in the aisles. This general arrangement is followed
+more or less closely in the churches at Bittonto, Bari, Altamura, Ruvo,
+Galatina, Brindisi, and Barletta. The scale of the southern churches is,
+however, much smaller than those of the north, the width of the nave of
+the cathedral at Trani being only 50 feet, and the length 167 feet,
+while the corresponding dimensions of the cathedral at Pisa, which is
+referred to by Fergusson as the most notable example of this style in
+the north, are 106 x 310 feet.
+
+In these smaller churches, as far as external treatment is concerned,
+the main attention is devoted to the principal façade, and here most of
+the ornament is usually covered with a rich hood supported by pillars
+resting on monsters, following the custom prevalent throughout Italy
+during this period. Above this is either a gallery or one or two
+windows, and the whole generally terminates in a circular rose window
+filled with tracery.
+
+[Illustration: X. The Principal Doorway to the Catherdral at Trani, Italy.]
+
+Fergusson's final summing up of the architecture of this neighborhood
+can scarcely be considered too enthusiastic in the light of the eight
+illustrations here given. He says: "No one who takes the pains to
+familiarize himself with the architecture of these Southern Italian
+churches can well fail to be impressed with their beauty. That beauty
+will be found, however, to arise not so much from the dimensions or
+arrangement of their plans, or the form of their outline, as from the
+grace and elegance of their details. Every feature displays the feeling
+of an elegant and refined people, who demanded decoration as a
+necessity, though they were incapable of rising to any great
+architectural conception. They excelled as ornamentists, though at best
+only indifferent architects."
+
+The examples of doorways chosen for illustrating this number
+unquestionably show the work of men who labored for the enjoyment and
+satisfaction to be got from their work. This is sufficiently evident in
+the results before us. Its logical and constructive bearing can of
+course be called in question, as in fact is the case with all but the
+merest fraction of the architectural efforts of the world. As decoration
+we can but admire the masterly way in which the ornament is distributed,
+the refined sense of scale and proportion, and the skilful and subtle
+treatment of light and shade, even if the detail of the ornament itself
+is crude and archaic.
+
+In making the choice of these subjects this point was kept in mind, and
+they are not offered as material which can be cut out in portions of the
+size and shape desired and transferred bodily by the designer to
+embellish a modern masterpiece, in the manner in which the Gothic
+architects of Venice used their patterns of window tracery. These plates
+show certain qualities in decorative design in their fullest and best
+development, and are on this account invaluable as suggestions to
+designers of the present day. For "cribbing material" they do not stand
+for much; but this should not be counted as against their usefulness,
+for the draughtsman who has not advanced beyond the "cribbing" stage has
+much still to learn before he can do the best and most satisfactory
+work.
+
+
+IX. and X.
+
+PRINCIPAL DOORWAY TO THE CATHEDRAL AT TRANI, ITALY.
+
+The cathedral at Trani dates from about the middle of the twelfth
+century. Its main features have been indicated above in describing the
+general characteristics of the class of churches to which it belongs.
+The bronze doors shown in the illustration were made in 1160, and are
+exceptionally fine examples of the work of this period.
+
+
+XI.
+
+PRINCIPAL DOORWAY TO THE CATHEDRAL AT CONVERSANO, ITALY.
+
+Doorways of this general design are so familiar in the so-called
+Romanesque architecture of our American cities that it seems almost like
+an old friend; but we regret to say that most of our American designs
+would hardly show to advantage if compared side by side with this.
+
+
+XII.
+
+PORTION OF THE FACADE OF THE BASILICA AT ALTAMURA, ITALY.
+
+The remarkable sense of spotting and distribution of ornament shown in
+the designing of this facade can hardly be too much commended. The
+strong light and long slanting shadows of the photograph are well
+calculated to emphasize this quality in the design, and we can readily
+find justification here for the estimate of Fergusson quoted above.
+
+
+XIII. and XIV.
+
+PRINCIPAL DOORWAY TO THE BASILICA AT ALTAMURA, ITALY, AND DETAIL OF THE
+SAME.
+
+
+XV.
+
+DOOR OF MADONNA DI LORETO, TRANI, ITALY.
+
+
+XVI.
+
+ENTRANCE TO THE CHURCH OF THE ROSARY, TERLIZZI, ITALY.
+
+
+[Illustration: XI. The Principal Doorway to the Cathedral at Conversano,
+Italy.]
+
+
+
+
+#Advice to Young Architects.#
+
+
+Prof. Aitchison's Royal Academy Lectures upon Architecture should be
+read by all students who can obtain access to them, and this is not
+really very difficult to accomplish, as they are always reported at
+length in the English architectural periodicals, and then usually
+reprinted without credit by one or more of the American papers. The
+latest one, reported in the _Builder_ of Feb. 16, is that delivered on
+Feb. 4, under the general title "The Advancement of Architecture." It
+deals in a common-sense fashion with the aesthetics of architecture, and
+contains many valuable suggestions upon the study and practice of
+architecture as an art. The three following quotations are well worth
+attentive reading:--
+
+"Swift, in his 'Letters to a Young Clergyman,' says: 'I cannot forbear
+warning you in the most earnest manner against endeavoring at wit in
+your sermons, because, by the strictest computation, it is very near a
+million to one that you have none.' Perhaps that would be good advice to
+all who consciously seek for what is called originality, which is mostly
+attained by exaggeration, disproportion, and oddness of arrangement;
+real originality only comes from original minds, and will in that case
+show itself properly and naturally, just as wit shows itself
+spontaneously in the witty; for surely those original architects, who
+have only been able to raise in us emotions of contempt or disgust,
+would have been judicious had they abstained from the attempt. I think
+that most architectural students, if they will only study the best
+buildings, will make their plans to accurately answer the purposes
+wanted, including the efficient lighting of the rooms, will study the
+Vitruvian symmetry until their eye revolts from disproportion, will try
+and make their profiles tell the story they want told, and will try and
+bring such parts that, from the exigencies of the case, obtrude
+themselves in odd places into harmony with the whole, that they will
+produce an effect which will raise their buildings to the dignity of
+humanity, and out of the range of the dog-kennel and rabbit-hutch type,
+and will not exhibit ugliness, disproportion, or vulgarity. We see
+plenty of examples where the designs have sunk much below this level; no
+building of dead walls, with holes in it for doors and windows, could
+cause us such disgust. Let me here say, by way of a parenthesis, that
+if you candidly consider that your design is more offensive than a dead
+wall, do not waste money and materials in making the wall more
+repulsive, but let it alone."
+
+"Any one can be original if he be only impudent enough; any one can be
+graceful if he is servile enough to copy: but to be both original and
+graceful requires deep study, much striving, and natural talent."
+
+"I have also to remind you that architecture cannot be brought into
+vigorous life again, so long as architects insist on using old forms for
+beauty that are inseparable from a construction that has been abandoned;
+so long as this practice persists, so long will architecture be a kind
+of potted art; to be vigorous it must learn how to take the materials,
+and construction that would be ordinarily used in buildings for purely
+practical purposes, and give to these materials and this construction
+forms that will excite the proper emotions. You must not suppose that I
+mean that if you have a vast hall, or what not, that because you can put
+an iron trussed roof over it from wall to wall, that this will make it
+into a hall that will raise emotions. You will only get a rail-way
+platform or a coal shed. You have got to set your wits to work to see
+how it can be properly brought within the pale of aesthetics, and not
+only as to the shapes and proportions of the parts, but the dividing of
+the whole by supports. It is probable that if you were obliged to vault
+a cathedral in stone, with no more money than was necessary, and to have
+a clearstory to it, that you could not do it cheaper, and perhaps not
+better, than the Gothic architects did it; but to vault such a building
+in stone when you could do it much cheaper and better with iron ribs and
+concrete is, in my opinion, _dilettante_ art. Groins are not beautiful
+things, but, on the contrary, are ugly, and we should wish to obviate
+their ugliness if we could; but when they were merely unavoidable
+methods of cheap construction, we admire them for the invention and
+skill of their architects, and we have to some extent got to love even
+their ugliness from old association; though perhaps the ribs at
+Westminster Abbey, as seen from the west end, are not offensive."
+
+[Illustration: XII. A Portion of the Façade of the Basilica at Altamura,
+Italy.]
+
+
+
+
+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.
+
+       *       *       *       *       *
+
+All who wish for a complete file of THE BROCHURE SERIES should send in
+their subscriptions at once, as owing to the necessity of limiting the
+edition of the first numbers and the impossibity of reprinting when this
+edition is exhausted, subscriptions will have to date from the current
+number at the time the order is received. Until the present stock gives
+out, all subscriptions will be dated from the January number, but no
+copies will be reserved for this purpose after April 1.
+
+       *       *       *       *       *
+
+Response to the call for subscriptions to THE BROCHURE SERIES has been
+gratifyingly prompt and generous. The first subscriber was Mr. George B.
+Howe, 13 Walnut Street, Boston, the architect of the New Hampshire State
+Building at the World's Fair. The first club came from the office of
+Longfellow, Alden & Harlow, and was made up as follows: F.B. Wheaton,
+R.T. Walker, H.W. Gardner, H.M. Seaver, and J.H. Buttimer. This was
+closely followed by a club of eight from the office of Shepley, Rutan &
+Coolidge, and another of five from the office of Edwin J. Lewis. The
+first response from out of town was a club of five from the office of
+Martin & Hall of Providence, R.I. Others "too numerous to mention" came
+along in quick succession, and the new magazine may now be considered
+well launched on its trial trip.
+
+       *       *       *       *       *
+
+As the plan of THE BROCHURE SERIES is unique in architectural
+journalism, much of the work to be done during its first year will
+necessarily be, to a certain extent, experimental. Although the
+publishers have for a number of years tried to keep as closely as
+possible in touch with the profession throughout the country, the
+diversity of tastes to which the new magazine is intended to appeal, and
+the practical requirements which it is intended to meet, make even the
+simple matter of selecting proper material for publication a difficult
+task. Consequently suggestions or criticisms which may lead to its
+improvement in any particular will be welcome.
+
+       *       *       *       *       *
+
+The design used for the cover of THE BROCHURE SERIES is the result of a
+competition in which twenty-three drawings were submitted, and is the
+work of Charles Edward Hooper of 250 West 14th Street, New York. The
+other competitors, whose designs were all of a high order of excellence,
+were: J. Mills Platt, Charles S. King, Francis S. Swales, Edwin S.
+Gordon, Fred A. Miller, J.F. Strobel, Jr., George E. Roberts, of
+Rochester, N.Y.; G.H. Ingraham, E.P. Dana, F.H. Hutchins, C.E. Patch, of
+Boston; J.W. Cinder, W.B. Papin, H.G. Helmerichs, of St. Louis; Louis E.
+La Baume, H.H. Braun, of New York City; and Stephen W. Dodge, of
+Brooklyn.
+
+       *       *       *       *       *
+
+Following out the general plan adopted in the first two issues, which,
+contrary to the expectation of the publishers, has proved even so soon
+an important feature of the magazine, the illustrations in the next two
+numbers will be made up of related subjects. The March number will have
+a collection of capitals (Byzantine and Romanesque) from Ravenna and
+Palermo, and the April number eight windows from Apulia, of the same
+general character as the doorways in the present number.
+
+
+
+
+#Hints to Draughtsmen.#
+
+
+Architectural students and draughtsmen will find the series of papers
+begun in the Feb. 16 number of the _American Architect_, entitled "Hints
+to Art Students on Travelling Abroad," filled with valuable suggestions.
+The writer of these papers is Mr. J.W. Case, the latest of the Rotch
+scholars returned. In the first paper Mr. Case points out the
+desirability of preparatory training in academic design, drawing,
+modelling, etc., and a knowledge of architectural history and of the
+French language in order that the student may make the best use of the
+opportunities open to him. He continues with a number of useful hints
+upon the best methods to pursue in gaining this preparatory training.
+
+[Illustration: XIII. The Principal Doorway to the Basilica at Altamura,
+Italy.]
+
+The second paper is devoted to practical suggestions of such immediate
+value that it is worth while to quote a portion of them in full:--
+
+"To get the most good out of a trip, one should be prepared to work in
+all sorts of ways,--to make measured drawings, sketches, color notes,
+squeezes, rubbings, sections with the lead; to study from plates and
+make T-square sketches, scratch-book notes, photographic notes, and
+memory sketches.
+
+"Travelling students are apt to place too much value on perspective
+sketches. Good ones make a nice showing on returning home, but they are
+of little value to any one but the maker. It is usually possible to find
+photographs of the things over which one spends so many hours making
+pretty sketches. But sketches do have a certain value in teaching
+rendering, and encourage the habit of observing closely the effect of
+light and shade.
+
+"Beautiful pencil sketches may be made on English metallic paper by
+simply drawing the shadows on carving in full sunshine: colored papers
+are very useful to gain quick effects with the use of Chinese white. A
+pad of Whatman water-color paper, imperial size, is much better to work
+on than a small cramped little book; and it may be used as a
+drawing-board, thus diminishing the number of articles to carry. The
+T-square will run along the edge of the block well enough for sketches,
+but it is better to carry a straight-edge to clamp on the edge of the
+block with thumb-screws for the square to work on. Have a canvas bag
+made with a flap in which to carry the block. It will keep out the dirt
+and dust of travel and be of great service.
+
+"Sometimes valuable color notes are to be had in crowded buildings where
+it is not convenient to sit down and make a large study. For such cases
+a small pocket water-color block will be very useful. There is a small
+vest-pocket water-color box carrying six colors, which may be set over
+the thumb, a water-bottle attached, and with it one can stand unobserved
+in a corner and get color notes which otherwise must be passed by. In
+studying fresco painting, tempera is very useful. It is mixed up with
+water and applied to paper, but may be worked over in the manner of
+oils,--a great advantage in making studies.
+
+"The _chambre éclaire_ is invaluable as an aid to drawing, in blocking
+out water-colors. It will enable one to make a drawing in an hour which
+otherwise would require all day. It is an instrument little known
+outside of Paris, but is much in use there among architects. It consists
+of a prism mounted on a telescoping leg which may be fastened to the
+drawing-board. The eye looks through the prism and sees the building
+reflected on the paper; all that remains to do is to trace this outline.
+It does not teach one to draw, but it does save time, and produces
+better drawings than can be made without it. The best place to buy them
+is of Cevalier, on the Seine, near the Pont Netif, Paris. Only those
+with the best prisms are of any use: such a one, with two adjustments
+only, can be had for sixty-five francs. The table which is necessary for
+its use costs fifteen francs additional; that is, a total cost of
+sixteen dollars. In buying a table, be sure and get one with sliding
+legs which can be taken off the head and packed flat.
+
+"One of the very best ways to study, and one which has very direct
+tangible results, is by the aid of printed plates. Take such a book as
+Letarouilly's _Edifices de Rome Moderne_. Go to the buildings themselves
+and compare the drawing with the building; see what drawings on paper
+really mean when executed; mark up the plate; note the proportion of
+masses, the size of ornament, the relative proportion of openings, and
+wall spaces, the effect of color and texture, and the use of material.
+Make suggestions for better ornament, proportion, etc., and then go home
+and make a new design with all the improvements you have noted.
+
+"The reverse of this method is, to sit down in front of the building
+with T-square and triangle and translate the perspective building back
+on to paper in elevation.
+
+[Illustration: XIV. Detail of the Principal Doorway to the Basilica at
+Altamura, Italy.]
+
+"These two methods will aid one to tell from a drawing how the building
+will actually look when executed. It will give an idea of the scale of
+ornament, if a cornice looks just the right size on a certain building,
+the plate will tell you just how high that is. The T-square sketch is
+very valuable in cultivating the sense of proportion. Draw to scale such
+parts of the sketch as can be easily measured, and put in the remainder
+in proportion, and make these sketches at the scale at which you are
+used to working in the office. They will be of immense advantage in
+giving you a sense of absolute scale.
+
+"There is such a thing as 'absolute scale,' and scale is not simply
+proportion. A drawing might be made in good proportion, and the building
+look well if executed a thousand feet long, and yet lose all its
+effectiveness if executed but one hundred feet in length, the relative
+proportions of the parts remaining the same. It is a fact that certain
+designs, which look well on paper, will not look well in execution,
+except at a large scale. Therefore it is valuable in making a sketch to
+put on it some of the measurements; and freehand sketches with
+measurements marked on them have a value in giving absolute scale.
+
+"The back of a photograph is a very convenient place on which to make
+notes of the building itself, in regard to color, material, suggested
+changes, etc., and will be very useful in recalling the building to
+memory.
+
+"Measuring buildings and drawing them out to scale is solid
+architectural work, and nothing else can take its place. It gives a
+realization of the actual size and appearance of things, and brings to
+notice the stone-jointing, sections of mouldings, vaulting, roofing, and
+construction in general. Measured work must be done very accurately, or
+else the results have no more value than approximate measures on
+sketches.
+
+"The drawing should be made exactly as the building exists, without any
+change or improvement, or else the drawing will lose a great deal of its
+value as a basis for study. Many of Letarouilly's are nearly valueless
+as data for study because he has improved on the original, and thus his
+drawing does not represent the building as it actually exists.
+
+"A good method of measuring buildings is to measure first the general
+dimensions and block out the building on paper at a small scale, then
+measure up windows, columns, etc., and set off full-size sections of all
+the mouldings with a strip of thin lead, such as may be had at any
+whole-sale lead store: only the thinnest sheet-lead will work, as the
+thicker leads are too stiff to bend. The large final drawings can then
+be made away from the building. It is important to draw out the building
+completely at a small scale, however, as it is very annoying when making
+the final drawing far away from the building to find that some important
+dimension has been forgotten.
+
+"The ordinary tape stretches so much in long dimensions that it is
+inaccurate. It is best to get a tape with a metallic strip in it, and it
+should be at least fifty feet long in order to take dimensions over all,
+which is much more accurate than measuring with a short tape from point
+to point.
+
+"The metric system is very convenient, but it is better for American
+students to use the English measure that they will have to use in
+practice, and take the tape over with them, for it is difficult to find
+them on the Continent. A sliding measuring-rod is nearly indispensable,
+and it will be most convenient to carry if it folds up to the length of
+the imperial drawing pad. Two large triangles are very useful in getting
+the projection of mouldings, as they can be held together to form a
+right angle."
+
+[Illustration: XV. Door of the Madonna di Loreto, Triani, Italy.]
+
+
+
+
+#Books.#
+
+
+_Verona and Other Lectures_. By John Ruskin, D.C.L., LL.D. New York:
+Macmillan & Co., 1894. 8vo, pp. 204, plates xii. $2.50.
+
+
+The art of Northern Italy has furnished the text for a very considerable
+part of the writings of Mr. Ruskin, and there is no one writer among
+those who have ventured to investigate and write upon this extremely
+engrossing subject whose work has so great an interest for the
+architect, or in fact is of so much value to him. It is not necessary
+to agree with all of Mr. Ruskin's elaborate theories or to unqualifiedly
+admire his drawings in order to find much of real value in his books. No
+student of architecture can afford _not_ to read "The Stones of Venice,"
+and there are few books which should take precedence over it in the
+formation of an architect's library.
+
+Apropos of the illustrations in the last number of THE BROCHURE SERIES,
+in the descriptive notices of which we had occasion to refer to Mr.
+Ruskin, his latest published work will be found interesting. The title,
+"_Verona and other Lectures_," does not convey a very complete idea of
+the contents of the book. None of the five lectures included is strictly
+architectural in subject matter, and but one, the first, "Verona and its
+Rivers," has any direct bearing upon architecture, and this only from
+the historical side. The illustrations, with a single exception from
+drawings by the author, although lacking in most of the qualities of
+good draughtsmanship, are well worth examination and study. Plates II.
+and V., "A Fountain at Verona," and "The Castelbarco Tomb, Sta.
+Anastasia, Verona," the first made in 1841 and the second in 1835, are
+from the point of view of the architect the most interesting. They are
+both pencil sketches, the first accented with a few touches of wash in
+the shadows and darker portions of the drawing. Plate IX. represents the
+angle of the Ducal Palace, Venice, the same given as the frontispiece in
+the last issue of THE BROCHURE SERIES. It would hardly be possible to
+come nearer the same point of view if the coincidence were intentional.
+In the comparison which this forces upon Mr. Ruskin very naturally
+suffers, as might be expected, from the fact that his training in
+drawing was not the most thorough. His proportions are somewhat faulty
+and the detail is only vaguely suggested, in fact this is more or less
+true of all his drawings. Nevertheless the book will be welcome to many
+architects for the valuable suggestions it contains both in text and
+illustrations; and the author's wonderful and fascinating literary style
+is here as unmistakably in evidence as in any of his older works. This
+alone is sufficient inducement to tempt the reader to take it up.
+
+
+
+
+#Club Notes.#
+
+
+At the suggestion of several subscribers, the addresses are given below
+of the secretaries of the principal architectural clubs as far as they
+are known to us, but there are several omissions and possibly some
+mistakes. In order that these associations may be of as great mutual
+assistance to each other as possible, through correspondence, the
+exchange of notices of competitions, etc., it is requested that any not
+included in the following list will communicate the desired information
+to the editor of THE BROCHURE SERIES. Corrections or additions will be
+made in later issues, and the various secretaries will confer a favor by
+keeping the editor informed of any changes of address or organization.
+
+
+LIST OF CLUBS.
+
+Sketch Club of New York, club rooms 1473 Broadway; recording secretary,
+Alfred F. Evans; corresponding secretary, Hobart A. Walker.
+
+Boston Architectural Club, rooms 5 Tremont Place; secretary, F. Manton
+Wakefield.
+
+The T-Square Club, Philadelphia, rooms Broad and Pine Streets;
+secretary, A.C. Munoz, 212 South Third Street.
+
+Chicago Architectural Club, rooms 274 Michigan Avenue; secretary, John
+Robert Dillon.
+
+St. Louis Sketch Club; secretary, E.G. Garden, Telephone Building.
+
+Art League, Milwaukee, Wis.; secretary, Elmer Grey, 904 Winchester
+Street.
+
+St. Paul Architectural Sketch Club, rooms 239-241 Endicott Building;
+secretary, John Rachac, Jr.
+
+Cleveland Architectural Club, rooms 1002 Garfield Building; secretary,
+Herbert B. Briggs.
+
+Denver Architectural Sketch Club; president, William Cowe, 706 Cooper
+Building.
+
+Rochester Sketch Club, secretary, G.F. Crump, Wilder Building.
+
+The Architectural League of New York, American Fine Arts Society
+Building; secretary, Charles I. Berg, 10 West 23d Street.
+
+The Society of Beaux Arts Architects. New York City.
+
+[Illustration: XVI. Entrance to the Church of the Rosary, Terlizzi,
+Italy.]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series Of Architectural
+Illustration, Vol 1, No. 2. February 1895., by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
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+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1">
+    <title>The Project Gutenberg eBook of The Brochure Series of Architectural
+     Illustration, Feb. 1895.</title>
+</head>
+
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Brochure Series Of Architectural
+Illustration, Vol 1, No. 2. February 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, No. 2. February 1895.
+       Byzantine-Romanesque Doorways in Southern Italy
+
+Author: Various
+
+Release Date: February 17, 2005 [EBook #15091]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+
+
+
+Produced by Juliet Sutherland, Thomas Cormode and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+    <a name="IX"></a>
+
+    <p align='center'><a href="images/IX_FL.jpg"><img src=
+    'images/IX_TH.jpg'
+         width='300'
+         height='444'
+         alt=
+         'IX. The Principal Doorway to the Cathedral at Trani, Italy.'
+         title=
+         'IX. The Principal Doorway to the Cathedral at Trani, Italy.'>
+         </a></p>
+
+    <p align='center'>IX. The Principal Doorway to the Cathedral at
+    Trani, Italy.</p><br>
+
+
+    <h1 align="center">THE BROCHURE SERIES</h1>
+
+    <h3 align="center">OF ARCHITECTURAL ILLUSTRATION.</h3>
+
+    <h5 align="center">VOL. I. FEBRUARY, 1895. No. 2.</h5>
+    <hr width="50%">
+    <br>
+
+
+    <h3 align="center">BYZANTINE-ROMANESQUE DOORWAYS IN SOUTHERN
+    ITALY.</h3>
+
+    <p>The illustrations chosen for this issue are all from the
+    Byzantine Romanesque work in the province of Apulia, that
+    portion of Southern Italy familiar in school-boy memory as the
+    heel of the boot. Writers upon architecture have found it
+    difficult to strictly classify the buildings of this
+    neighborhood, as in fact is the case with most of the medieval
+    architecture of Italy, although the influences which have
+    brought about the conditions here seen are in the main plainly
+    evident. The traditions and surroundings, of Roman origin, were
+    modified by trade and association with the Levant through the
+    commerce of Venice and Pisa, resulting in a style embodying
+    many of the characteristics of both the Romans and the builders
+    of Byzantium. Oftentimes these characteristics are so blended
+    and modified by one another as to be entirely
+    indistinguishable, while at other times features unquestionably
+    belonging to the Romanesque or the Byzantine will be found side
+    by side. An illustration of the latter condition may be seen in
+    the two views of the doorway to the cathedral of Trani. (Plates
+    IX. and X.) On account of the intimate relations maintained
+    during the Middle Ages between this province and Magna Grecia,
+    and it may be partly on account of the comparative remoteness
+    from the principal cities of the north, the Byzantine influence
+    is here more strongly marked than in the cities of Central and
+    Northern Italy.</p>
+
+    <p>According to the classification adopted by Fergusson, the
+    church of San Miniato at Florence is one of the oldest examples
+    and a good type of this rather mixed style. It was built about
+    the year 1013. It is rectangular in plan, nearly three times as
+    long as wide, with a semicircular apse. Internally it is
+    divided longitudinally into aisles, and transversely into three
+    nearly square compartments by clustered piers, supporting two
+    great arches which run up to the roof. The whole of the inner
+    compartment is occupied by a crypt or under church open to the
+    nave, above which is the choir and altar niche, approached by
+    flights of steps in the aisles. This general arrangement is
+    followed more or less closely in the churches at Bittonto,
+    Bari, Altamura, Ruvo, Galatina, Brindisi, and Barletta. The
+    scale of the southern churches is, however, much smaller than
+    those of the north, the width of the nave of the cathedral at
+    Trani being only 50 feet, and the length 167 feet, while the
+    corresponding dimensions of the cathedral at Pisa, which is
+    referred to by Fergusson as the most notable example of this
+    style in the north, are 106 x 310 feet.</p>
+
+    <p>In these smaller churches, as far as external treatment is
+    concerned, the main attention is devoted to the principal
+    fa&ccedil;ade, and here most of the ornament is usually covered
+    with a rich hood supported by pillars resting on monsters,
+    following the custom prevalent throughout Italy during this
+    period. Above this is either a gallery or one or two windows,
+    and the whole generally terminates in a circular rose window
+    filled with tracery.</p><a name="X"></a>
+
+    <p align='center'><a href="images/X_FL.jpg"><img src=
+    'images/X_TH.jpg'
+         width='300'
+         height='411'
+         alt=
+         'X. The Principal Doorway to the Catherdral at Trani, Italy.'
+         title=
+         'X. The Principal Doorway to the Catherdral at Trani, Italy.'>
+         </a></p>
+
+    <p align='center'>X. The Principal Doorway to the Catherdral at
+    Trani, Italy.</p>
+
+    <p>Fergusson's final summing up of the architecture of this
+    neighborhood can scarcely be considered too enthusiastic in the
+    light of the eight illustrations here given. He says: "No one
+    who takes the pains to familiarize himself with the
+    architecture of these Southern Italian churches can well fail
+    to be impressed with their beauty. That beauty will be found,
+    however, to arise not so much from the dimensions or
+    arrangement of their plans, or the form of their outline, as
+    from the grace and elegance of their details. Every feature
+    displays the feeling of an elegant and refined people, who
+    demanded decoration as a necessity, though they were incapable
+    of rising to any great architectural conception. They excelled
+    as ornamentists, though at best only indifferent
+    architects."</p>
+
+    <p>The examples of doorways chosen for illustrating this number
+    unquestionably show the work of men who labored for the
+    enjoyment and satisfaction to be got from their work. This is
+    sufficiently evident in the results before us. Its logical and
+    constructive bearing can of course be called in question, as in
+    fact is the case with all but the merest fraction of the
+    architectural efforts of the world. As decoration we can but
+    admire the masterly way in which the ornament is distributed,
+    the refined sense of scale and proportion, and the skilful and
+    subtle treatment of light and shade, even if the detail of the
+    ornament itself is crude and archaic.</p>
+
+    <p>In making the choice of these subjects this point was kept
+    in mind, and they are not offered as material which can be cut
+    out in portions of the size and shape desired and transferred
+    bodily by the designer to embellish a modern masterpiece, in
+    the manner in which the Gothic architects of Venice used their
+    patterns of window tracery. These plates show certain qualities
+    in decorative design in their fullest and best development, and
+    are on this account invaluable as suggestions to designers of
+    the present day. For "cribbing material" they do not stand for
+    much; but this should not be counted as against their
+    usefulness, for the draughtsman who has not advanced beyond the
+    "cribbing" stage has much still to learn before he can do the
+    best and most satisfactory work.</p><br>
+
+
+    <p align="center"><a href="#IX">IX.</a> and <a href=
+    "#X">X.</a><br>
+    PRINCIPAL DOORWAY TO THE CATHEDRAL AT TRANI, ITALY.</p>
+
+    <p>The cathedral at Trani dates from about the middle of the
+    twelfth century. Its main features have been indicated above in
+    describing the general characteristics of the class of churches
+    to which it belongs. The bronze doors shown in the illustration
+    were made in 1160, and are exceptionally fine examples of the
+    work of this period.</p>
+
+    <p align="center"><a href="#XI">XI.</a><br>
+    PRINCIPAL DOORWAY TO THE CATHEDRAL AT CONVERSANO, ITALY.</p>
+
+    <p>Doorways of this general design are so familiar in the
+    so-called Romanesque architecture of our American cities that
+    it seems almost like an old friend; but we regret to say that
+    most of our American designs would hardly show to advantage if
+    compared side by side with this.</p>
+
+    <p align="center"><a href="#XII">XII.</a><br>
+    PORTION OF THE FACADE OF THE BASILICA AT ALTAMURA, ITALY.</p>
+
+    <p>The remarkable sense of spotting and distribution of
+    ornament shown in the designing of this facade can hardly be
+    too much commended. The strong light and long slanting shadows
+    of the photograph are well calculated to emphasize this quality
+    in the design, and we can readily find justification here for
+    the estimate of Fergusson quoted above.</p>
+
+    <p align="center"><a href="#XIII">XIII.</a> and <a href=
+    "#XIV">XIV.</a> PRINCIPAL DOORWAY TO THE BASILICA AT ALTAMURA,
+    ITALY, AND DETAIL OF THE SAME.</p>
+
+    <p align="center"><a href="#XV">XV.</a><br>
+    DOOR OF MADONNA DI LORETO, TRANI, ITALY.</p>
+
+    <p align="center"><a href="#XVI">XVI.</a><br>
+    ENTRANCE TO THE CHURCH OF THE ROSARY, TERLIZZI,
+    ITALY.</p><a name="XI"></a>
+
+    <p align='center'><a href="images/XI_FL.jpg"><img src=
+    'images/XI_TH.jpg'
+         width='300'
+         height='458'
+         alt=
+         'XI. The Principal Doorway to the Cathedral at Conversano, Italy.'
+         title=
+         'XI. The Principal Doorway to the Cathedral at Conversano, Italy.'>
+    </a></p>
+
+    <p align='center'>XI. The Principal Doorway to the Cathedral at
+    Conversano, Italy.</p>
+
+    <h3><b>Advice to Young Architects.</b></h3>
+    <hr width="25%">
+
+    <p>Prof. Aitchison's Royal Academy Lectures upon Architecture
+    should be read by all students who can obtain access to them,
+    and this is not really very difficult to accomplish, as they
+    are always reported at length in the English architectural
+    periodicals, and then usually reprinted without credit by one
+    or more of the American papers. The latest one, reported in the
+    <i>Builder</i> of Feb. 16, is that delivered on Feb. 4, under
+    the general title "The Advancement of Architecture." It deals
+    in a common-sense fashion with the aesthetics of architecture,
+    and contains many valuable suggestions upon the study and
+    practice of architecture as an art. The three following
+    quotations are well worth attentive reading:--</p>
+
+    <p>"Swift, in his 'Letters to a Young Clergyman,' says: 'I
+    cannot forbear warning you in the most earnest manner against
+    endeavoring at wit in your sermons, because, by the strictest
+    computation, it is very near a million to one that you have
+    none.' Perhaps that would be good advice to all who consciously
+    seek for what is called originality, which is mostly attained
+    by exaggeration, disproportion, and oddness of arrangement;
+    real originality only comes from original minds, and will in
+    that case show itself properly and naturally, just as wit shows
+    itself spontaneously in the witty; for surely those original
+    architects, who have only been able to raise in us emotions of
+    contempt or disgust, would have been judicious had they
+    abstained from the attempt. I think that most architectural
+    students, if they will only study the best buildings, will make
+    their plans to accurately answer the purposes wanted, including
+    the efficient lighting of the rooms, will study the Vitruvian
+    symmetry until their eye revolts from disproportion, will try
+    and make their profiles tell the story they want told, and will
+    try and bring such parts that, from the exigencies of the case,
+    obtrude themselves in odd places into harmony with the whole,
+    that they will produce an effect which will raise their
+    buildings to the dignity of humanity, and out of the range of
+    the dog-kennel and rabbit-hutch type, and will not exhibit
+    ugliness, disproportion, or vulgarity. We see plenty of
+    examples where the designs have sunk much below this level; no
+    building of dead walls, with holes in it for doors and windows,
+    could cause us such disgust. Let me here say, by way of a
+    parenthesis, that if you candidly consider that your design is
+    more offensive than a dead wall, do not waste money and
+    materials in making the wall more repulsive, but let it
+    alone."</p>
+
+    <p>"Any one can be original if he be only impudent enough; any
+    one can be graceful if he is servile enough to copy: but to be
+    both original and graceful requires deep study, much striving,
+    and natural talent."</p>
+
+    <p>"I have also to remind you that architecture cannot be
+    brought into vigorous life again, so long as architects insist
+    on using old forms for beauty that are inseparable from a
+    construction that has been abandoned; so long as this practice
+    persists, so long will architecture be a kind of potted art; to
+    be vigorous it must learn how to take the materials, and
+    construction that would be ordinarily used in buildings for
+    purely practical purposes, and give to these materials and this
+    construction forms that will excite the proper emotions. You
+    must not suppose that I mean that if you have a vast hall, or
+    what not, that because you can put an iron trussed roof over it
+    from wall to wall, that this will make it into a hall that will
+    raise emotions. You will only get a rail-way platform or a coal
+    shed. You have got to set your wits to work to see how it can
+    be properly brought within the pale of aesthetics, and not only
+    as to the shapes and proportions of the parts, but the dividing
+    of the whole by supports. It is probable that if you were
+    obliged to vault a cathedral in stone, with no more money than
+    was necessary, and to have a clearstory to it, that you could
+    not do it cheaper, and perhaps not better, than the Gothic
+    architects did it; but to vault such a building in stone when
+    you could do it much cheaper and better with iron ribs and
+    concrete is, in my opinion, <i>dilettante</i> art. Groins are
+    not beautiful things, but, on the contrary, are ugly, and we
+    should wish to obviate their ugliness if we could; but when
+    they were merely unavoidable methods of cheap construction, we
+    admire them for the invention and skill of their architects,
+    and we have to some extent got to love even their ugliness from
+    old association; though perhaps the ribs at Westminster Abbey,
+    as seen from the west end, are not
+          offensive."</p><a name="XII"></a>
+
+    <p align='center'><a href="images/XII_FL.jpg"><img src=
+    'images/XII_TH.jpg'
+         width='300'
+         height='456'
+         alt=
+         'XII. A Portion of the Fa&ccedil;ade of the Basilica at Altamura, Italy.'
+         title=
+         'XII. A Portion of the Fa&ccedil;ade of the Basilica at Altamura, Italy.'>
+    </a></p>
+
+    <p align='center'>XII. A Portion of the Fa&ccedil;ade of the
+    Basilica at Altamura, Italy.</p><br>
+
+
+    <h1 align="center">The Brochure Series</h1>
+
+    <h3 align="center">of Architectural Illustration.</h3>
+
+    <h5 align="center">PUBLISHED MONTHLY BY</h5>
+
+    <h3 align="center">BATES &amp; GUILD,<br>
+     6 BEACON STREET, BOSTON, MASS.</h3>
+    <hr width="25%">
+
+    <h5 align="center">Subscription Rates per year 50 cents, . in advance<br>
+    Special Club Rate for five subscriptions . . $2.00.</h5>
+    <hr width="25%">
+
+    <p>All who wish for a complete file of THE BROCHURE SERIES
+    should send in their subscriptions at once, as owing to the
+    necessity of limiting the edition of the first numbers and the
+    impossibity of reprinting when this edition is exhausted,
+    subscriptions will have to date from the current number at the
+    time the order is received. Until the present stock gives out,
+    all subscriptions will be dated from the January number, but no
+    copies will be reserved for this purpose after April 1.</p>
+    <hr width="25%">
+
+    <p>Response to the call for subscriptions to THE BROCHURE
+    SERIES has been gratifyingly prompt and generous. The first
+    subscriber was Mr. George B. Howe, 13 Walnut Street, Boston,
+    the architect of the New Hampshire State Building at the
+    World's Fair. The first club came from the office of
+    Longfellow, Alden &amp; Harlow, and was made up as follows:
+    F.B. Wheaton, R.T. Walker, H.W. Gardner, H.M. Seaver, and J.H.
+    Buttimer. This was closely followed by a club of eight from the
+    office of Shepley, Rutan &amp; Coolidge, and another of five
+    from the office of Edwin J. Lewis. The first response from out
+    of town was a club of five from the office of Martin &amp; Hall
+    of Providence, R.I. Others "too numerous to mention" came along
+    in quick succession, and the new magazine may now be considered
+    well launched on its trial trip.</p>
+    <hr width="25%">
+
+    <p>As the plan of THE BROCHURE SERIES is unique in
+    architectural journalism, much of the work to be done during
+    its first year will necessarily be, to a certain extent,
+    experimental. Although the publishers have for a number of
+    years tried to keep as closely as possible in touch with the
+    profession throughout the country, the diversity of tastes to
+    which the new magazine is intended to appeal, and the practical
+    requirements which it is intended to meet, make even the simple
+    matter of selecting proper material for publication a difficult
+    task. Consequently suggestions or criticisms which may lead to
+    its improvement in any particular will be welcome.</p>
+    <hr width="25%">
+
+    <p>The design used for the cover of THE BROCHURE SERIES is the
+    result of a competition in which twenty-three drawings were
+    submitted, and is the work of Charles Edward Hooper of 250 West
+    14th Street, New York. The other competitors, whose designs
+    were all of a high order of excellence, were: J. Mills Platt,
+    Charles S. King, Francis S. Swales, Edwin S. Gordon, Fred A.
+    Miller, J.F. Strobel, Jr., George E. Roberts, of Rochester,
+    N.Y.; G.H. Ingraham, E.P. Dana, F.H. Hutchins, C.E. Patch, of
+    Boston; J.W. Cinder, W.B. Papin, H.G. Helmerichs, of St. Louis;
+    Louis E. La Baume, H.H. Braun, of New York City; and Stephen W.
+    Dodge, of Brooklyn.</p>
+    <hr width="25%">
+
+    <p>Following out the general plan adopted in the first two
+    issues, which, contrary to the expectation of the publishers,
+    has proved even so soon an important feature of the magazine,
+    the illustrations in the next two numbers will be made up of
+    related subjects. The March number will have a collection of
+    capitals (Byzantine and Romanesque) from Ravenna and Palermo,
+    and the April number eight windows from Apulia, of the same
+    general character as the doorways in the present number.</p>
+
+    <h3 align="center"><b>Hints to Draughtsmen.</b></h3>
+    <hr width="25%">
+
+    <p>Architectural students and draughtsmen will find the series
+    of papers begun in the Feb. 16 number of the <i>American
+    Architect</i>, entitled "Hints to Art Students on Travelling
+    Abroad," filled with valuable suggestions. The writer of these
+    papers is Mr. J.W. Case, the latest of the Rotch scholars
+    returned. In the first paper Mr. Case points out the
+    desirability of preparatory training in academic design,
+    drawing, modelling, etc., and a knowledge of architectural
+    history and of the French language in order that the student
+    may make the best use of the opportunities open to him. He
+    continues with a number of useful hints upon the best methods
+    to pursue in gaining this preparatory
+          training.</p><a name="XIII"></a>
+
+    <p align='center'><a href="images/XIII_FL.jpg"><img src=
+    'images/XIII_TH.jpg'
+         width='300'
+         height='412'
+         alt=
+         'XIII. The Principal Doorway to the Basilica at Altamura, Italy.'
+         title=
+         'XIII. The Principal Doorway to the Basilica at Altamura, Italy.'>
+    </a></p>
+
+    <p align='center'>XIII. The Principal Doorway to the Basilica
+    at Altamura, Italy.</p>
+
+    <p>The second paper is devoted to practical suggestions of such
+    immediate value that it is worth while to quote a portion of
+    them in full:--</p>
+
+    <p>"To get the most good out of a trip, one should be prepared
+    to work in all sorts of ways,--to make measured drawings,
+    sketches, color notes, squeezes, rubbings, sections with the
+    lead; to study from plates and make T-square sketches,
+    scratch-book notes, photographic notes, and memory
+    sketches.</p>
+
+    <p>"Travelling students are apt to place too much value on
+    perspective sketches. Good ones make a nice showing on
+    returning home, but they are of little value to any one but the
+    maker. It is usually possible to find photographs of the things
+    over which one spends so many hours making pretty sketches. But
+    sketches do have a certain value in teaching rendering, and
+    encourage the habit of observing closely the effect of light
+    and shade.</p>
+
+    <p>"Beautiful pencil sketches may be made on English metallic
+    paper by simply drawing the shadows on carving in full
+    sunshine: colored papers are very useful to gain quick effects
+    with the use of Chinese white. A pad of Whatman water-color
+    paper, imperial size, is much better to work on than a small
+    cramped little book; and it may be used as a drawing-board,
+    thus diminishing the number of articles to carry. The T-square
+    will run along the edge of the block well enough for sketches,
+    but it is better to carry a straight-edge to clamp on the edge
+    of the block with thumb-screws for the square to work on. Have
+    a canvas bag made with a flap in which to carry the block. It
+    will keep out the dirt and dust of travel and be of great
+    service.</p>
+
+    <p>"Sometimes valuable color notes are to be had in crowded
+    buildings where it is not convenient to sit down and make a
+    large study. For such cases a small pocket water-color block
+    will be very useful. There is a small vest-pocket water-color
+    box carrying six colors, which may be set over the thumb, a
+    water-bottle attached, and with it one can stand unobserved in
+    a corner and get color notes which otherwise must be passed by.
+    In studying fresco painting, tempera is very useful. It is
+    mixed up with water and applied to paper, but may be worked
+    over in the manner of oils,--a great advantage in making
+    studies.</p>
+
+    <p>"The <i>chambre &eacute;claire</i> is invaluable as an aid
+    to drawing, in blocking out water-colors. It will enable one to
+    make a drawing in an hour which otherwise would require all
+    day. It is an instrument little known outside of Paris, but is
+    much in use there among architects. It consists of a prism
+    mounted on a telescoping leg which may be fastened to the
+    drawing-board. The eye looks through the prism and sees the
+    building reflected on the paper; all that remains to do is to
+    trace this outline. It does not teach one to draw, but it does
+    save time, and produces better drawings than can be made
+    without it. The best place to buy them is of Cevalier, on the
+    Seine, near the Pont Netif, Paris. Only those with the best
+    prisms are of any use: such a one, with two adjustments only,
+    can be had for sixty-five francs. The table which is necessary
+    for its use costs fifteen francs additional; that is, a total
+    cost of sixteen dollars. In buying a table, be sure and get one
+    with sliding legs which can be taken off the head and packed
+    flat.</p>
+
+    <p>"One of the very best ways to study, and one which has very
+    direct tangible results, is by the aid of printed plates. Take
+    such a book as Letarouilly's <i>Edifices de Rome Moderne</i>.
+    Go to the buildings themselves and compare the drawing with the
+    building; see what drawings on paper really mean when executed;
+    mark up the plate; note the proportion of masses, the size of
+    ornament, the relative proportion of openings, and wall spaces,
+    the effect of color and texture, and the use of material. Make
+    suggestions for better ornament, proportion, etc., and then go
+    home and make a new design with all the improvements you have
+    noted.</p>
+
+    <p>"The reverse of this method is, to sit down in front of the
+    building with T-square and triangle and translate the
+    perspective building back on to paper in
+          elevation.</p><a name="XIV"></a>
+
+    <p align='center'><a href="images/XIV_FL.jpg"><img src=
+    'images/XIV_TH.jpg'
+         width='300'
+         height='467'
+         alt=
+         'XIV. Detail of the Principal Doorway to the Basilica at Altamura, Italy.'
+         title=
+         'XIV. Detail of the Principal Doorway to the Basilica at Altamura, Italy.'>
+    </a></p>
+
+    <p align='center'>XIV. Detail of the Principal Doorway to the
+    Basilica at Altamura, Italy.</p>
+
+    <p>"These two methods will aid one to tell from a drawing how
+    the building will actually look when executed. It will give an
+    idea of the scale of ornament, if a cornice looks just the
+    right size on a certain building, the plate will tell you just
+    how high that is. The T-square sketch is very valuable in
+    cultivating the sense of proportion. Draw to scale such parts
+    of the sketch as can be easily measured, and put in the
+    remainder in proportion, and make these sketches at the scale
+    at which you are used to working in the office. They will be of
+    immense advantage in giving you a sense of absolute scale.</p>
+
+    <p>"There is such a thing as 'absolute scale,' and scale is not
+    simply proportion. A drawing might be made in good proportion,
+    and the building look well if executed a thousand feet long,
+    and yet lose all its effectiveness if executed but one hundred
+    feet in length, the relative proportions of the parts remaining
+    the same. It is a fact that certain designs, which look well on
+    paper, will not look well in execution, except at a large
+    scale. Therefore it is valuable in making a sketch to put on it
+    some of the measurements; and freehand sketches with
+    measurements marked on them have a value in giving absolute
+    scale.</p>
+
+    <p>"The back of a photograph is a very convenient place on
+    which to make notes of the building itself, in regard to color,
+    material, suggested changes, etc., and will be very useful in
+    recalling the building to memory.</p>
+
+    <p>"Measuring buildings and drawing them out to scale is solid
+    architectural work, and nothing else can take its place. It
+    gives a realization of the actual size and appearance of
+    things, and brings to notice the stone-jointing, sections of
+    mouldings, vaulting, roofing, and construction in general.
+    Measured work must be done very accurately, or else the results
+    have no more value than approximate measures on sketches.</p>
+
+    <p>"The drawing should be made exactly as the building exists,
+    without any change or improvement, or else the drawing will
+    lose a great deal of its value as a basis for study. Many of
+    Letarouilly's are nearly valueless as data for study because he
+    has improved on the original, and thus his drawing does not
+    represent the building as it actually exists.</p>
+
+    <p>"A good method of measuring buildings is to measure first
+    the general dimensions and block out the building on paper at a
+    small scale, then measure up windows, columns, etc., and set
+    off full-size sections of all the mouldings with a strip of
+    thin lead, such as may be had at any whole-sale lead store:
+    only the thinnest sheet-lead will work, as the thicker leads
+    are too stiff to bend. The large final drawings can then be
+    made away from the building. It is important to draw out the
+    building completely at a small scale, however, as it is very
+    annoying when making the final drawing far away from the
+    building to find that some important dimension has been
+    forgotten.</p>
+
+    <p>"The ordinary tape stretches so much in long dimensions that
+    it is inaccurate. It is best to get a tape with a metallic
+    strip in it, and it should be at least fifty feet long in order
+    to take dimensions over all, which is much more accurate than
+    measuring with a short tape from point to point.</p>
+
+    <p>"The metric system is very convenient, but it is better for
+    American students to use the English measure that they will
+    have to use in practice, and take the tape over with them, for
+    it is difficult to find them on the Continent. A sliding
+    measuring-rod is nearly indispensable, and it will be most
+    convenient to carry if it folds up to the length of the
+    imperial drawing pad. Two large triangles are very useful in
+    getting the projection of mouldings, as they can be held
+    together to form a right angle."</p><a name="XV"></a>
+
+    <p align='center'><a href="images/XV_FL.jpg"><img src=
+    'images/XV_TH.jpg'
+         width='300'
+         height='488'
+         alt='XV. Door of the Madonna di Loreto, Triani, Italy.'
+         title='XV. Door of the Madonna di Loreto, Triani, Italy.'>
+         </a></p>
+
+    <p align='center'>XV. Door of the Madonna di Loreto, Triani,
+    Italy.</p>
+
+    <h3 align="center"><b>Books.</b></h3>
+    <hr width="25%">
+
+    <p><i>Verona and Other Lectures</i>. By John Ruskin, D.C.L.,
+    LL.D. New York: Macmillan &amp; Co., 1894. 8vo, pp. 204, plates
+    xii. $2.50.</p>
+
+    <p>The art of Northern Italy has furnished the text for a very
+    considerable part of the writings of Mr. Ruskin, and there is
+    no one writer among those who have ventured to investigate and
+    write upon this extremely engrossing subject whose work has so
+    great an interest for the architect, or in fact is of so much
+    value to him. It is not necessary to agree with all of Mr.
+    Ruskin's elaborate theories or to unqualifiedly admire his
+    drawings in order to find much of real value in his books. No
+    student of architecture can afford <i>not</i> to read "The
+    Stones of Venice," and there are few books which should take
+    precedence over it in the formation of an architect's
+    library.</p>
+
+    <p>Apropos of the illustrations in the last number of THE
+    BROCHURE SERIES, in the descriptive notices of which we had
+    occasion to refer to Mr. Ruskin, his latest published work will
+    be found interesting. The title, "<i>Verona and other
+    Lectures</i>," does not convey a very complete idea of the
+    contents of the book. None of the five lectures included is
+    strictly architectural in subject matter, and but one, the
+    first, "Verona and its Rivers," has any direct bearing upon
+    architecture, and this only from the historical side. The
+    illustrations, with a single exception from drawings by the
+    author, although lacking in most of the qualities of good
+    draughtsmanship, are well worth examination and study. Plates
+    II. and V., "A Fountain at Verona," and "The Castelbarco Tomb,
+    Sta. Anastasia, Verona," the first made in 1841 and the second
+    in 1835, are from the point of view of the architect the most
+    interesting. They are both pencil sketches, the first accented
+    with a few touches of wash in the shadows and darker portions
+    of the drawing. Plate IX. represents the angle of the Ducal
+    Palace, Venice, the same given as the frontispiece in the last
+    issue of THE BROCHURE SERIES. It would hardly be possible to
+    come nearer the same point of view if the coincidence were
+    intentional. In the comparison which this forces upon Mr.
+    Ruskin very naturally suffers, as might be expected, from the
+    fact that his training in drawing was not the most thorough.
+    His proportions are somewhat faulty and the detail is only
+    vaguely suggested, in fact this is more or less true of all his
+    drawings. Nevertheless the book will be welcome to many
+    architects for the valuable suggestions it contains both in
+    text and illustrations; and the author's wonderful and
+    fascinating literary style is here as unmistakably in evidence
+    as in any of his older works. This alone is sufficient
+    inducement to tempt the reader to take it up.</p>
+
+    <h3 align="center"><b>Club Notes.</b></h3>
+    <hr width="25%">
+
+    <p>At the suggestion of several subscribers, the addresses are
+    given below of the secretaries of the principal architectural
+    clubs as far as they are known to us, but there are several
+    omissions and possibly some mistakes. In order that these
+    associations may be of as great mutual assistance to each other
+    as possible, through correspondence, the exchange of notices of
+    competitions, etc., it is requested that any not included in
+    the following list will communicate the desired information to
+    the editor of THE BROCHURE SERIES. Corrections or additions
+    will be made in later issues, and the various secretaries will
+    confer a favor by keeping the editor informed of any changes of
+    address or organization.</p><br>
+
+     <h5 align="center">LIST OF CLUBS.</h5>
+
+
+    <p>Sketch Club of New York, club rooms 1473 Broadway; recording
+    secretary, Alfred F. Evans; corresponding secretary, Hobart A.
+    Walker.<br>
+    <br>
+     Boston Architectural Club, rooms 5 Tremont Place; secretary,
+    F. Manton Wakefield.<br>
+    <br>
+     The T-Square Club, Philadelphia, rooms Broad and Pine Streets;
+    secretary, A.C. Munoz, 212 South Third Street.<br>
+    <br>
+     Chicago Architectural Club, rooms 274 Michigan Avenue;
+    secretary, John Robert Dillon.<br>
+    <br>
+     St. Louis Sketch Club; secretary, E.G. Garden, Telephone
+    Building.<br>
+    <br>
+     Art League, Milwaukee, Wis.; secretary, Elmer Grey, 904
+    Winchester Street.<br>
+    <br>
+     St. Paul Architectural Sketch Club, rooms 239-241 Endicott
+    Building; secretary, John Rachac, Jr.<br>
+    <br>
+     Cleveland Architectural Club, rooms 1002 Garfield Building;
+    secretary, Herbert B. Briggs.<br>
+    <br>
+     Denver Architectural Sketch Club; president, William Cowe, 706
+    Cooper Building.<br>
+    <br>
+     Rochester Sketch Club, secretary, G.F. Crump, Wilder
+    Building.<br>
+    <br>
+     The Architectural League of New York, American Fine Arts
+    Society Building; secretary, Charles I. Berg, 10 West 23d
+    Street.<br>
+    <br>
+     The Society of Beaux Arts Architects. New York City.<br>
+    <br>
+     <a name="XVI"></a></p>
+
+    <p align='center'><a href="images/XVI_FL.jpg"><img src=
+    'images/XVI_TH.jpg'
+         width='300'
+         height='449'
+         alt=
+         'XVI. Entrance to the Church of the Rosary, Terlizzi, Italy.'
+         title=
+         'XVI. Entrance to the Church of the Rosary, Terlizzi, Italy.'>
+         </a></p>
+
+    <p align='center'>XVI. Entrance to the Church of the Rosary,
+    Terlizzi, Italy.</p>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series Of Architectural
+Illustration, Vol 1, No. 2. February 1895., by Various
+
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+</pre>
+
+</body>
+</html>
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@@ -0,0 +1,977 @@
+The Project Gutenberg EBook of The Brochure Series Of Architectural
+Illustration, Vol 1, No. 2. February 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, No. 2. February 1895.
+       Byzantine-Romanesque Doorways in Southern Italy
+
+Author: Various
+
+Release Date: February 17, 2005 [EBook #15091]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+
+
+
+Produced by Juliet Sutherland, Thomas Cormode and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+[Illustration: IX. The Principal Doorway to the Cathedral at Trani, Italy.]
+
+
+
+
+THE BROCHURE SERIES
+
+OF ARCHITECTURAL ILLUSTRATION.
+
+VOL. I. FEBRUARY, 1895. No. 2.
+
+       *       *       *       *       *
+
+BYZANTINE-ROMANESQUE DOORWAYS IN SOUTHERN ITALY.
+
+
+The illustrations chosen for this issue are all from the Byzantine
+Romanesque work in the province of Apulia, that portion of Southern
+Italy familiar in school-boy memory as the heel of the boot. Writers
+upon architecture have found it difficult to strictly classify the
+buildings of this neighborhood, as in fact is the case with most of the
+medieval architecture of Italy, although the influences which have
+brought about the conditions here seen are in the main plainly evident.
+The traditions and surroundings, of Roman origin, were modified by trade
+and association with the Levant through the commerce of Venice and Pisa,
+resulting in a style embodying many of the characteristics of both the
+Romans and the builders of Byzantium. Oftentimes these characteristics
+are so blended and modified by one another as to be entirely
+indistinguishable, while at other times features unquestionably
+belonging to the Romanesque or the Byzantine will be found side by side.
+An illustration of the latter condition may be seen in the two views of
+the doorway to the cathedral of Trani. (Plates IX. and X.) On account of
+the intimate relations maintained during the Middle Ages between this
+province and Magna Grecia, and it may be partly on account of the
+comparative remoteness from the principal cities of the north, the
+Byzantine influence is here more strongly marked than in the cities of
+Central and Northern Italy.
+
+According to the classification adopted by Fergusson, the church of San
+Miniato at Florence is one of the oldest examples and a good type of
+this rather mixed style. It was built about the year 1013. It is
+rectangular in plan, nearly three times as long as wide, with a
+semicircular apse. Internally it is divided longitudinally into aisles,
+and transversely into three nearly square compartments by clustered
+piers, supporting two great arches which run up to the roof. The whole
+of the inner compartment is occupied by a crypt or under church open to
+the nave, above which is the choir and altar niche, approached by
+flights of steps in the aisles. This general arrangement is followed
+more or less closely in the churches at Bittonto, Bari, Altamura, Ruvo,
+Galatina, Brindisi, and Barletta. The scale of the southern churches is,
+however, much smaller than those of the north, the width of the nave of
+the cathedral at Trani being only 50 feet, and the length 167 feet,
+while the corresponding dimensions of the cathedral at Pisa, which is
+referred to by Fergusson as the most notable example of this style in
+the north, are 106 x 310 feet.
+
+In these smaller churches, as far as external treatment is concerned,
+the main attention is devoted to the principal facade, and here most of
+the ornament is usually covered with a rich hood supported by pillars
+resting on monsters, following the custom prevalent throughout Italy
+during this period. Above this is either a gallery or one or two
+windows, and the whole generally terminates in a circular rose window
+filled with tracery.
+
+[Illustration: X. The Principal Doorway to the Catherdral at Trani, Italy.]
+
+Fergusson's final summing up of the architecture of this neighborhood
+can scarcely be considered too enthusiastic in the light of the eight
+illustrations here given. He says: "No one who takes the pains to
+familiarize himself with the architecture of these Southern Italian
+churches can well fail to be impressed with their beauty. That beauty
+will be found, however, to arise not so much from the dimensions or
+arrangement of their plans, or the form of their outline, as from the
+grace and elegance of their details. Every feature displays the feeling
+of an elegant and refined people, who demanded decoration as a
+necessity, though they were incapable of rising to any great
+architectural conception. They excelled as ornamentists, though at best
+only indifferent architects."
+
+The examples of doorways chosen for illustrating this number
+unquestionably show the work of men who labored for the enjoyment and
+satisfaction to be got from their work. This is sufficiently evident in
+the results before us. Its logical and constructive bearing can of
+course be called in question, as in fact is the case with all but the
+merest fraction of the architectural efforts of the world. As decoration
+we can but admire the masterly way in which the ornament is distributed,
+the refined sense of scale and proportion, and the skilful and subtle
+treatment of light and shade, even if the detail of the ornament itself
+is crude and archaic.
+
+In making the choice of these subjects this point was kept in mind, and
+they are not offered as material which can be cut out in portions of the
+size and shape desired and transferred bodily by the designer to
+embellish a modern masterpiece, in the manner in which the Gothic
+architects of Venice used their patterns of window tracery. These plates
+show certain qualities in decorative design in their fullest and best
+development, and are on this account invaluable as suggestions to
+designers of the present day. For "cribbing material" they do not stand
+for much; but this should not be counted as against their usefulness,
+for the draughtsman who has not advanced beyond the "cribbing" stage has
+much still to learn before he can do the best and most satisfactory
+work.
+
+
+IX. and X.
+
+PRINCIPAL DOORWAY TO THE CATHEDRAL AT TRANI, ITALY.
+
+The cathedral at Trani dates from about the middle of the twelfth
+century. Its main features have been indicated above in describing the
+general characteristics of the class of churches to which it belongs.
+The bronze doors shown in the illustration were made in 1160, and are
+exceptionally fine examples of the work of this period.
+
+
+XI.
+
+PRINCIPAL DOORWAY TO THE CATHEDRAL AT CONVERSANO, ITALY.
+
+Doorways of this general design are so familiar in the so-called
+Romanesque architecture of our American cities that it seems almost like
+an old friend; but we regret to say that most of our American designs
+would hardly show to advantage if compared side by side with this.
+
+
+XII.
+
+PORTION OF THE FACADE OF THE BASILICA AT ALTAMURA, ITALY.
+
+The remarkable sense of spotting and distribution of ornament shown in
+the designing of this facade can hardly be too much commended. The
+strong light and long slanting shadows of the photograph are well
+calculated to emphasize this quality in the design, and we can readily
+find justification here for the estimate of Fergusson quoted above.
+
+
+XIII. and XIV.
+
+PRINCIPAL DOORWAY TO THE BASILICA AT ALTAMURA, ITALY, AND DETAIL OF THE
+SAME.
+
+
+XV.
+
+DOOR OF MADONNA DI LORETO, TRANI, ITALY.
+
+
+XVI.
+
+ENTRANCE TO THE CHURCH OF THE ROSARY, TERLIZZI, ITALY.
+
+
+[Illustration: XI. The Principal Doorway to the Cathedral at Conversano,
+Italy.]
+
+
+
+
+#Advice to Young Architects.#
+
+
+Prof. Aitchison's Royal Academy Lectures upon Architecture should be
+read by all students who can obtain access to them, and this is not
+really very difficult to accomplish, as they are always reported at
+length in the English architectural periodicals, and then usually
+reprinted without credit by one or more of the American papers. The
+latest one, reported in the _Builder_ of Feb. 16, is that delivered on
+Feb. 4, under the general title "The Advancement of Architecture." It
+deals in a common-sense fashion with the aesthetics of architecture, and
+contains many valuable suggestions upon the study and practice of
+architecture as an art. The three following quotations are well worth
+attentive reading:--
+
+"Swift, in his 'Letters to a Young Clergyman,' says: 'I cannot forbear
+warning you in the most earnest manner against endeavoring at wit in
+your sermons, because, by the strictest computation, it is very near a
+million to one that you have none.' Perhaps that would be good advice to
+all who consciously seek for what is called originality, which is mostly
+attained by exaggeration, disproportion, and oddness of arrangement;
+real originality only comes from original minds, and will in that case
+show itself properly and naturally, just as wit shows itself
+spontaneously in the witty; for surely those original architects, who
+have only been able to raise in us emotions of contempt or disgust,
+would have been judicious had they abstained from the attempt. I think
+that most architectural students, if they will only study the best
+buildings, will make their plans to accurately answer the purposes
+wanted, including the efficient lighting of the rooms, will study the
+Vitruvian symmetry until their eye revolts from disproportion, will try
+and make their profiles tell the story they want told, and will try and
+bring such parts that, from the exigencies of the case, obtrude
+themselves in odd places into harmony with the whole, that they will
+produce an effect which will raise their buildings to the dignity of
+humanity, and out of the range of the dog-kennel and rabbit-hutch type,
+and will not exhibit ugliness, disproportion, or vulgarity. We see
+plenty of examples where the designs have sunk much below this level; no
+building of dead walls, with holes in it for doors and windows, could
+cause us such disgust. Let me here say, by way of a parenthesis, that
+if you candidly consider that your design is more offensive than a dead
+wall, do not waste money and materials in making the wall more
+repulsive, but let it alone."
+
+"Any one can be original if he be only impudent enough; any one can be
+graceful if he is servile enough to copy: but to be both original and
+graceful requires deep study, much striving, and natural talent."
+
+"I have also to remind you that architecture cannot be brought into
+vigorous life again, so long as architects insist on using old forms for
+beauty that are inseparable from a construction that has been abandoned;
+so long as this practice persists, so long will architecture be a kind
+of potted art; to be vigorous it must learn how to take the materials,
+and construction that would be ordinarily used in buildings for purely
+practical purposes, and give to these materials and this construction
+forms that will excite the proper emotions. You must not suppose that I
+mean that if you have a vast hall, or what not, that because you can put
+an iron trussed roof over it from wall to wall, that this will make it
+into a hall that will raise emotions. You will only get a rail-way
+platform or a coal shed. You have got to set your wits to work to see
+how it can be properly brought within the pale of aesthetics, and not
+only as to the shapes and proportions of the parts, but the dividing of
+the whole by supports. It is probable that if you were obliged to vault
+a cathedral in stone, with no more money than was necessary, and to have
+a clearstory to it, that you could not do it cheaper, and perhaps not
+better, than the Gothic architects did it; but to vault such a building
+in stone when you could do it much cheaper and better with iron ribs and
+concrete is, in my opinion, _dilettante_ art. Groins are not beautiful
+things, but, on the contrary, are ugly, and we should wish to obviate
+their ugliness if we could; but when they were merely unavoidable
+methods of cheap construction, we admire them for the invention and
+skill of their architects, and we have to some extent got to love even
+their ugliness from old association; though perhaps the ribs at
+Westminster Abbey, as seen from the west end, are not offensive."
+
+[Illustration: XII. A Portion of the Facade of the Basilica at Altamura,
+Italy.]
+
+
+
+
+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.
+
+       *       *       *       *       *
+
+All who wish for a complete file of THE BROCHURE SERIES should send in
+their subscriptions at once, as owing to the necessity of limiting the
+edition of the first numbers and the impossibity of reprinting when this
+edition is exhausted, subscriptions will have to date from the current
+number at the time the order is received. Until the present stock gives
+out, all subscriptions will be dated from the January number, but no
+copies will be reserved for this purpose after April 1.
+
+       *       *       *       *       *
+
+Response to the call for subscriptions to THE BROCHURE SERIES has been
+gratifyingly prompt and generous. The first subscriber was Mr. George B.
+Howe, 13 Walnut Street, Boston, the architect of the New Hampshire State
+Building at the World's Fair. The first club came from the office of
+Longfellow, Alden & Harlow, and was made up as follows: F.B. Wheaton,
+R.T. Walker, H.W. Gardner, H.M. Seaver, and J.H. Buttimer. This was
+closely followed by a club of eight from the office of Shepley, Rutan &
+Coolidge, and another of five from the office of Edwin J. Lewis. The
+first response from out of town was a club of five from the office of
+Martin & Hall of Providence, R.I. Others "too numerous to mention" came
+along in quick succession, and the new magazine may now be considered
+well launched on its trial trip.
+
+       *       *       *       *       *
+
+As the plan of THE BROCHURE SERIES is unique in architectural
+journalism, much of the work to be done during its first year will
+necessarily be, to a certain extent, experimental. Although the
+publishers have for a number of years tried to keep as closely as
+possible in touch with the profession throughout the country, the
+diversity of tastes to which the new magazine is intended to appeal, and
+the practical requirements which it is intended to meet, make even the
+simple matter of selecting proper material for publication a difficult
+task. Consequently suggestions or criticisms which may lead to its
+improvement in any particular will be welcome.
+
+       *       *       *       *       *
+
+The design used for the cover of THE BROCHURE SERIES is the result of a
+competition in which twenty-three drawings were submitted, and is the
+work of Charles Edward Hooper of 250 West 14th Street, New York. The
+other competitors, whose designs were all of a high order of excellence,
+were: J. Mills Platt, Charles S. King, Francis S. Swales, Edwin S.
+Gordon, Fred A. Miller, J.F. Strobel, Jr., George E. Roberts, of
+Rochester, N.Y.; G.H. Ingraham, E.P. Dana, F.H. Hutchins, C.E. Patch, of
+Boston; J.W. Cinder, W.B. Papin, H.G. Helmerichs, of St. Louis; Louis E.
+La Baume, H.H. Braun, of New York City; and Stephen W. Dodge, of
+Brooklyn.
+
+       *       *       *       *       *
+
+Following out the general plan adopted in the first two issues, which,
+contrary to the expectation of the publishers, has proved even so soon
+an important feature of the magazine, the illustrations in the next two
+numbers will be made up of related subjects. The March number will have
+a collection of capitals (Byzantine and Romanesque) from Ravenna and
+Palermo, and the April number eight windows from Apulia, of the same
+general character as the doorways in the present number.
+
+
+
+
+#Hints to Draughtsmen.#
+
+
+Architectural students and draughtsmen will find the series of papers
+begun in the Feb. 16 number of the _American Architect_, entitled "Hints
+to Art Students on Travelling Abroad," filled with valuable suggestions.
+The writer of these papers is Mr. J.W. Case, the latest of the Rotch
+scholars returned. In the first paper Mr. Case points out the
+desirability of preparatory training in academic design, drawing,
+modelling, etc., and a knowledge of architectural history and of the
+French language in order that the student may make the best use of the
+opportunities open to him. He continues with a number of useful hints
+upon the best methods to pursue in gaining this preparatory training.
+
+[Illustration: XIII. The Principal Doorway to the Basilica at Altamura,
+Italy.]
+
+The second paper is devoted to practical suggestions of such immediate
+value that it is worth while to quote a portion of them in full:--
+
+"To get the most good out of a trip, one should be prepared to work in
+all sorts of ways,--to make measured drawings, sketches, color notes,
+squeezes, rubbings, sections with the lead; to study from plates and
+make T-square sketches, scratch-book notes, photographic notes, and
+memory sketches.
+
+"Travelling students are apt to place too much value on perspective
+sketches. Good ones make a nice showing on returning home, but they are
+of little value to any one but the maker. It is usually possible to find
+photographs of the things over which one spends so many hours making
+pretty sketches. But sketches do have a certain value in teaching
+rendering, and encourage the habit of observing closely the effect of
+light and shade.
+
+"Beautiful pencil sketches may be made on English metallic paper by
+simply drawing the shadows on carving in full sunshine: colored papers
+are very useful to gain quick effects with the use of Chinese white. A
+pad of Whatman water-color paper, imperial size, is much better to work
+on than a small cramped little book; and it may be used as a
+drawing-board, thus diminishing the number of articles to carry. The
+T-square will run along the edge of the block well enough for sketches,
+but it is better to carry a straight-edge to clamp on the edge of the
+block with thumb-screws for the square to work on. Have a canvas bag
+made with a flap in which to carry the block. It will keep out the dirt
+and dust of travel and be of great service.
+
+"Sometimes valuable color notes are to be had in crowded buildings where
+it is not convenient to sit down and make a large study. For such cases
+a small pocket water-color block will be very useful. There is a small
+vest-pocket water-color box carrying six colors, which may be set over
+the thumb, a water-bottle attached, and with it one can stand unobserved
+in a corner and get color notes which otherwise must be passed by. In
+studying fresco painting, tempera is very useful. It is mixed up with
+water and applied to paper, but may be worked over in the manner of
+oils,--a great advantage in making studies.
+
+"The _chambre eclaire_ is invaluable as an aid to drawing, in blocking
+out water-colors. It will enable one to make a drawing in an hour which
+otherwise would require all day. It is an instrument little known
+outside of Paris, but is much in use there among architects. It consists
+of a prism mounted on a telescoping leg which may be fastened to the
+drawing-board. The eye looks through the prism and sees the building
+reflected on the paper; all that remains to do is to trace this outline.
+It does not teach one to draw, but it does save time, and produces
+better drawings than can be made without it. The best place to buy them
+is of Cevalier, on the Seine, near the Pont Netif, Paris. Only those
+with the best prisms are of any use: such a one, with two adjustments
+only, can be had for sixty-five francs. The table which is necessary for
+its use costs fifteen francs additional; that is, a total cost of
+sixteen dollars. In buying a table, be sure and get one with sliding
+legs which can be taken off the head and packed flat.
+
+"One of the very best ways to study, and one which has very direct
+tangible results, is by the aid of printed plates. Take such a book as
+Letarouilly's _Edifices de Rome Moderne_. Go to the buildings themselves
+and compare the drawing with the building; see what drawings on paper
+really mean when executed; mark up the plate; note the proportion of
+masses, the size of ornament, the relative proportion of openings, and
+wall spaces, the effect of color and texture, and the use of material.
+Make suggestions for better ornament, proportion, etc., and then go home
+and make a new design with all the improvements you have noted.
+
+"The reverse of this method is, to sit down in front of the building
+with T-square and triangle and translate the perspective building back
+on to paper in elevation.
+
+[Illustration: XIV. Detail of the Principal Doorway to the Basilica at
+Altamura, Italy.]
+
+"These two methods will aid one to tell from a drawing how the building
+will actually look when executed. It will give an idea of the scale of
+ornament, if a cornice looks just the right size on a certain building,
+the plate will tell you just how high that is. The T-square sketch is
+very valuable in cultivating the sense of proportion. Draw to scale such
+parts of the sketch as can be easily measured, and put in the remainder
+in proportion, and make these sketches at the scale at which you are
+used to working in the office. They will be of immense advantage in
+giving you a sense of absolute scale.
+
+"There is such a thing as 'absolute scale,' and scale is not simply
+proportion. A drawing might be made in good proportion, and the building
+look well if executed a thousand feet long, and yet lose all its
+effectiveness if executed but one hundred feet in length, the relative
+proportions of the parts remaining the same. It is a fact that certain
+designs, which look well on paper, will not look well in execution,
+except at a large scale. Therefore it is valuable in making a sketch to
+put on it some of the measurements; and freehand sketches with
+measurements marked on them have a value in giving absolute scale.
+
+"The back of a photograph is a very convenient place on which to make
+notes of the building itself, in regard to color, material, suggested
+changes, etc., and will be very useful in recalling the building to
+memory.
+
+"Measuring buildings and drawing them out to scale is solid
+architectural work, and nothing else can take its place. It gives a
+realization of the actual size and appearance of things, and brings to
+notice the stone-jointing, sections of mouldings, vaulting, roofing, and
+construction in general. Measured work must be done very accurately, or
+else the results have no more value than approximate measures on
+sketches.
+
+"The drawing should be made exactly as the building exists, without any
+change or improvement, or else the drawing will lose a great deal of its
+value as a basis for study. Many of Letarouilly's are nearly valueless
+as data for study because he has improved on the original, and thus his
+drawing does not represent the building as it actually exists.
+
+"A good method of measuring buildings is to measure first the general
+dimensions and block out the building on paper at a small scale, then
+measure up windows, columns, etc., and set off full-size sections of all
+the mouldings with a strip of thin lead, such as may be had at any
+whole-sale lead store: only the thinnest sheet-lead will work, as the
+thicker leads are too stiff to bend. The large final drawings can then
+be made away from the building. It is important to draw out the building
+completely at a small scale, however, as it is very annoying when making
+the final drawing far away from the building to find that some important
+dimension has been forgotten.
+
+"The ordinary tape stretches so much in long dimensions that it is
+inaccurate. It is best to get a tape with a metallic strip in it, and it
+should be at least fifty feet long in order to take dimensions over all,
+which is much more accurate than measuring with a short tape from point
+to point.
+
+"The metric system is very convenient, but it is better for American
+students to use the English measure that they will have to use in
+practice, and take the tape over with them, for it is difficult to find
+them on the Continent. A sliding measuring-rod is nearly indispensable,
+and it will be most convenient to carry if it folds up to the length of
+the imperial drawing pad. Two large triangles are very useful in getting
+the projection of mouldings, as they can be held together to form a
+right angle."
+
+[Illustration: XV. Door of the Madonna di Loreto, Triani, Italy.]
+
+
+
+
+#Books.#
+
+
+_Verona and Other Lectures_. By John Ruskin, D.C.L., LL.D. New York:
+Macmillan & Co., 1894. 8vo, pp. 204, plates xii. $2.50.
+
+
+The art of Northern Italy has furnished the text for a very considerable
+part of the writings of Mr. Ruskin, and there is no one writer among
+those who have ventured to investigate and write upon this extremely
+engrossing subject whose work has so great an interest for the
+architect, or in fact is of so much value to him. It is not necessary
+to agree with all of Mr. Ruskin's elaborate theories or to unqualifiedly
+admire his drawings in order to find much of real value in his books. No
+student of architecture can afford _not_ to read "The Stones of Venice,"
+and there are few books which should take precedence over it in the
+formation of an architect's library.
+
+Apropos of the illustrations in the last number of THE BROCHURE SERIES,
+in the descriptive notices of which we had occasion to refer to Mr.
+Ruskin, his latest published work will be found interesting. The title,
+"_Verona and other Lectures_," does not convey a very complete idea of
+the contents of the book. None of the five lectures included is strictly
+architectural in subject matter, and but one, the first, "Verona and its
+Rivers," has any direct bearing upon architecture, and this only from
+the historical side. The illustrations, with a single exception from
+drawings by the author, although lacking in most of the qualities of
+good draughtsmanship, are well worth examination and study. Plates II.
+and V., "A Fountain at Verona," and "The Castelbarco Tomb, Sta.
+Anastasia, Verona," the first made in 1841 and the second in 1835, are
+from the point of view of the architect the most interesting. They are
+both pencil sketches, the first accented with a few touches of wash in
+the shadows and darker portions of the drawing. Plate IX. represents the
+angle of the Ducal Palace, Venice, the same given as the frontispiece in
+the last issue of THE BROCHURE SERIES. It would hardly be possible to
+come nearer the same point of view if the coincidence were intentional.
+In the comparison which this forces upon Mr. Ruskin very naturally
+suffers, as might be expected, from the fact that his training in
+drawing was not the most thorough. His proportions are somewhat faulty
+and the detail is only vaguely suggested, in fact this is more or less
+true of all his drawings. Nevertheless the book will be welcome to many
+architects for the valuable suggestions it contains both in text and
+illustrations; and the author's wonderful and fascinating literary style
+is here as unmistakably in evidence as in any of his older works. This
+alone is sufficient inducement to tempt the reader to take it up.
+
+
+
+
+#Club Notes.#
+
+
+At the suggestion of several subscribers, the addresses are given below
+of the secretaries of the principal architectural clubs as far as they
+are known to us, but there are several omissions and possibly some
+mistakes. In order that these associations may be of as great mutual
+assistance to each other as possible, through correspondence, the
+exchange of notices of competitions, etc., it is requested that any not
+included in the following list will communicate the desired information
+to the editor of THE BROCHURE SERIES. Corrections or additions will be
+made in later issues, and the various secretaries will confer a favor by
+keeping the editor informed of any changes of address or organization.
+
+
+LIST OF CLUBS.
+
+Sketch Club of New York, club rooms 1473 Broadway; recording secretary,
+Alfred F. Evans; corresponding secretary, Hobart A. Walker.
+
+Boston Architectural Club, rooms 5 Tremont Place; secretary, F. Manton
+Wakefield.
+
+The T-Square Club, Philadelphia, rooms Broad and Pine Streets;
+secretary, A.C. Munoz, 212 South Third Street.
+
+Chicago Architectural Club, rooms 274 Michigan Avenue; secretary, John
+Robert Dillon.
+
+St. Louis Sketch Club; secretary, E.G. Garden, Telephone Building.
+
+Art League, Milwaukee, Wis.; secretary, Elmer Grey, 904 Winchester
+Street.
+
+St. Paul Architectural Sketch Club, rooms 239-241 Endicott Building;
+secretary, John Rachac, Jr.
+
+Cleveland Architectural Club, rooms 1002 Garfield Building; secretary,
+Herbert B. Briggs.
+
+Denver Architectural Sketch Club; president, William Cowe, 706 Cooper
+Building.
+
+Rochester Sketch Club, secretary, G.F. Crump, Wilder Building.
+
+The Architectural League of New York, American Fine Arts Society
+Building; secretary, Charles I. Berg, 10 West 23d Street.
+
+The Society of Beaux Arts Architects. New York City.
+
+[Illustration: XVI. Entrance to the Church of the Rosary, Terlizzi,
+Italy.]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series Of Architectural
+Illustration, Vol 1, No. 2. February 1895., by Various
+
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