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diff --git a/15091-h/15091-h.htm b/15091-h/15091-h.htm new file mode 100644 index 0000000..6f7c772 --- /dev/null +++ b/15091-h/15091-h.htm @@ -0,0 +1,1127 @@ +<!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 + 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.</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 Façade of the Basilica at Altamura, Italy.' + title= + 'XII. A Portion of the Façade of the Basilica at Altamura, Italy.'> + </a></p> + + <p align='center'>XII. A Portion of the Façade 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 & 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 & 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.</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 éclaire</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 & 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. 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