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+    <title>
+      The Project Gutenberg eBook of The Brochure Series of Architectural Illustration, Vol. 1, 1895, No. 3
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 03, March 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, Volume 01, No. 03, March 1895
+       The Cloister at Monreale, Near Palermo, Sicily
+
+Author: Various
+
+Release Date: July 17, 2006 [EBook #18852]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ***
+
+
+
+
+Produced by Juliet Sutherland, Sigal Alon and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<h1><span class="smcap">The Brochure Series</span></h1>
+
+<h2>OF ARCHITECTURAL ILLUSTRATION.</h2>
+
+<table border="0" cellpadding="4" cellspacing="0" width="65%" summary="format header"><tr>
+<td class="left"><b><span class="smcap">Vol.</span> I.</b></td>
+<td class="center"><b>MARCH, 1895.</b></td>
+<td class="right"><b>No. 3.</b></td>
+</tr>
+</table>
+
+<hr style="width: 25%;" />
+
+
+<h4>THE CLOISTER AT MONREALE, NEAR PALERMO, SICILY.
+</h4>
+
+<p>The island of Sicily, being in form
+nearly an equilateral triangle, with
+one side facing towards Italy,
+another towards Greece, and the
+third, towards Africa, was a tempting field
+for conquest to the various nations surrounding
+it. It was successively overrun
+by the Greeks, Carthaginians, and Romans,
+and later, after the Christian era,
+again successively by the Byzantines, the
+Moors, and the Normans. Almost all of
+the architectural remains of the older
+periods belong to the time of the Greeks,
+as neither the Carthaginians nor Romans
+left much to show for their occupation
+of the island. With the exception of
+occasional ruined examples surviving
+from the time of the Dorian Greeks who
+colonized Sicily, most of the monuments
+now existing belong to the Byzantine,
+Saracenic, and Romanesque periods.
+As would be natural to expect, the latter
+influences are not clearly separable
+one from another either in time or in
+locality. They overlap in all directions;
+but in general the Byzantine, which was
+the earliest and most powerful element,
+is found more strongly marked, and more
+frequently on the east coast. It however
+forms the groundwork and is the main
+ingredient of all that follows. The Saracenic
+work, which succeeds the Byzantine
+in date, found a stronger foothold in
+the South, on the coast nearest Africa;
+and the influence of the Normans appears
+in the North.</p>
+
+<p>Every new race of masters in this frequent
+recurrence of conquest found the
+island already occupied by a very numerous
+population of extremely various
+origin. The newcomers could do no
+more than add their own forms to those
+previously in use; the consequence being
+in every case a mixed style, containing
+elements derived from every portion of
+the inhabitants.</p>
+
+<p>Palermo, being on the northern coast,
+has felt the Norman influence strongly.
+Its architecture is principally Romanesque
+in form, with a generous admixture
+of Byzantine and Saracenic motives in
+detail and decoration. Exuberance of
+detail and wealth of color are the rule.</p>
+
+<p>Under the Norman conquerors the Sicilians
+built as they were directed. Their
+arts and their civilization were superior
+to those of their masters, and the Normans
+were apparently willing to make use of
+this superiority, and merely adapted the
+forms of decoration and methods of
+construction which they found here in use
+to their own needs and purposes. The
+polychromatic decoration of the buildings
+of this neighborhood, such as the interiors
+of the Capella Palatina and the cathedral
+at Monreale, ranks among the most successful,
+if it be not the most successful,
+work of its class now in existence. It is
+thoroughly Oriental in character, although
+applied to buildings intended for Roman
+ritual. On account of the great superiority
+of the Moors in art and civilization, not<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>
+only to the Normans but to all the other
+inhabitants at the time of the Norman
+conquest, in the eleventh century, many
+of the buildings of this period show very
+little Norman influence. In fact the Oriental
+character is so extreme in some
+instances, such as the church of San Giovanni
+degli Eremiti, that there is very
+little to suggest that it was Norman and
+intended for Norman uses.</p>
+
+<p>The village of Monreale is situated on
+the steep mountain-side about five miles
+to the west of and overlooking the city
+of Palermo. The cathedral and the
+cloister-adjoining it on the south were
+both parts of a Benedictine convent,
+which is now mostly in ruins. They
+were erected by King William the Second,
+between the years 1174 and 1182, and
+richly endowed by him. The plan of the
+cathedral is that of a basilica.</p>
+
+<p>The famous cloister, with coupled
+columns and clusters of four in the corners,
+and with a charming fountain and
+a separate little square of cloisters around
+it, as it were, in one corner of the open
+space, is one of the most interesting
+relics of Palermo. In arrangement it
+follows the style universal in the countries
+bordering on the Mediterranean,
+that is, consisting of a pointed arcade
+supported by small but elegant columns
+of Corinthian design, grouped in pairs;
+while in the North, in England, France,
+and Germany, a cloister is formed of a
+series of unglazed windows.</p>
+
+<p>The columns surrounding the fountain,
+which unfortunately cannot be seen in
+the general view given in Plate XX., show
+the richest decoration. The shafts are
+either plain, rusticated, or covered with
+patterns executed in relief or mosaic.</p>
+
+<p>There appears to be some doubt as to
+the date of this work, as the columns
+have evidently been inserted since the
+arches which spring from them were
+built. The discrepancy will be seen in
+Plates XVIII., XIX., and XX. The disproportion
+of the dainty columns and
+capitals to the heavy arches which are
+entirely in keeping with the architecture
+of the rest of the cathedral, but which
+manifestly do not fit the columns, leads
+to the conclusion that the columns were
+a later addition, although probably
+inserted soon after the other work was
+completed.</p>
+
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/plate17.jpg">
+<img src="images/plate17tn.jpg" width="176" height="261" alt="XVII. Capitals from the Cloister of Monreale, Sicily." title="XVII. Capitals from the Cloister of Monreale, Sicily." />
+<span class="caption">XVII. Capitals from the Cloister of Monreale, Sicily.</span>
+</a>
+</div>
+
+
+<h4>XVII.</h4>
+
+<h4>CAPITALS FROM THE CLOISTER OF MONREALE, SICILY.</h4>
+
+<p>The hybrid character of this work will
+be perfectly evident at a glance. It
+plainly belongs to none of the styles of
+the North, but nevertheless has a distinct
+character and unmistakable charm. The
+use of mosaic originally placed in the
+channels of the shafts added greatly to
+the decorative effect and airiness of these
+columns.</p>
+
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/plate18.jpg">
+<img src="images/plate18tn.jpg" width="148" height="260" alt="XVIII. Capitals from the Cloister of Monreale, Sicily." title="XVIII. Capitals from the Cloister of Monreale, Sicily." />
+<span class="caption">XVIII. Capitals from the Cloister of Monreale, Sicily.</span>
+</a>
+</div>
+
+
+<h4>XVIII.</h4>
+
+<h4>CAPITALS FROM THE CLOISTER OF MONREALE, SICILY.</h4>
+
+<p>A common device in most of the Romanesque
+cloisters for adding interest to
+the long colonnade was the grouping of
+two columns of dissimilar design. This
+plan is followed here in treating the
+mosaic inlay vertically in one and horizontally
+in the other.</p>
+
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/plate19.jpg">
+<img src="images/plate19tn.jpg" width="177" height="235" alt="XIX. Capitals from the Cloister of Monreale, Sicily." title="XIX. Capitals from the Cloister of Monreale, Sicily." />
+<span class="caption">XIX. Capitals from the Cloister of Monreale, Sicily.</span>
+</a>
+</div>
+
+
+<h4>XIX.</h4>
+
+<h4>CAPITALS FROM THE CLOISTER OF MONREALE, SICILY.</h4>
+
+<p>The design of the capitals shown in
+this plate follows the Corinthian model
+very closely.</p>
+
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/plate20.jpg">
+<img src="images/plate20tn.jpg" width="226" height="177" alt="XX. The Cloister of Monreale, Sicily." title="XX. The Cloister of Monreale, Sicily." />
+<span class="caption">XX. The Cloister of Monreale, Sicily.</span>
+</a>
+</div>
+
+
+<h4>XX.</h4>
+
+<h4>THE CLOISTER OF MONREALE, SICILY.</h4>
+
+<p>In a later number of THE BROCHURE
+SERIES another view of this most charming
+building will be given. The portion
+surrounding the fountain, with its groups
+of four clustered columns, is, in many
+respects, the most beautiful portion of the
+structure This will be taken up later.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Ravenna_Capitals" id="Ravenna_Capitals"></a>Ravenna Capitals.</h2>
+
+
+<p>With the reign of Constantine, and
+the introduction of Christianity as the
+acknowledged religion of Rome, Byzantine
+art, as such, made its appearance.
+The culture of Rome was transferred to
+Byzantium, henceforth to be known as
+Constantinople. Governed alternately
+by Greek and by Persian, it had received
+a strong Oriental character from
+the Eastern nations, and had added to
+the Greek subtlety and delicacy of expression
+the Oriental love of detail. When
+converted by Constantine into New
+Rome, it became a perfect treasure
+house of Eastern and Grecian art. The
+Byzantine work, which spread over the
+East in the sixth, seventh, and eighth<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>
+centuries, is therefore a union of the
+refinement of the Greek, the desire for
+color and detail of the Oriental, and the
+vigor of constructional invention and
+conception of mass and grandeur of
+the Roman. A portion of it was transplanted
+to Ravenna during Justinian's
+reign, and there is a glorious afterglow in
+the Venetian splendor of the tenth and
+eleventh centuries. The three great centres
+of Byzantine art work are Constantinople,
+Ravenna, and Venice; and the
+three most noted examples, the churches
+of Sta. Sophia, S. Vitale, and St. Mark's.
+Apart from these, the cathedral at Monreale,
+and the Capella Palatina in Palermo,
+Sicily, represent a variation from the Byzantine
+type affected by Moslem design.</p>
+
+<p>From the time of Constantine to that
+of Justinian, one hundred and fifty years,
+is a period of formation. Under the
+reign of Justinian, Byzantine art reached
+its height. Prominent among its factors
+is the use of mosaic, the influence of
+which spread insidiously through its
+whole system, until in the later work the
+cornices and entablatures of classic design
+withered into long thin lines of
+moulding; projections which disturbed
+the effect of color by the shadows they
+cast were discarded; voussoirs disappeared
+under a mosaic veil; surfaces
+resolved themselves into broad expanses
+of infinitely varied tones, bounded by
+narrow but strongly contrasting bands and
+borders of marble. All ornament had
+resolved itself into surface decoration, or
+as nearly that as possible.</p>
+
+<p>In 539 Belisarius took Ravenna in the
+name of the Emperor Justinian, and to
+celebrate this event Justinian decided to
+erect a magnificent monument in the
+city. He chose to replace, by a more
+important structure, the small church
+dedicated to S. Vitale, and built by N&eacute;on
+in the reign of Theodoric.</p>
+
+<p>The wonderful basilica of Sta. Sophia
+at Constantinople was just completed, and
+the novelty of its plan and immense effect
+Produced by its dome, a method of construction
+entirely novel in Roman architecture,
+doubtless excited the admiration
+of the Emperor and led to the adoption
+of a similar plan for S. Vitale. S. Vitale
+18 by no means a copy of Sta. Sophia, but
+unquestionably was strongly influenced
+by it.</p>
+
+<p>It was founded in 540, and consecrated
+in 547. It is octagonal in plan, with an
+inner structure of eight large piers,
+arranged in a circle, connected by arches
+which support a pendentive dome. Following
+the custom then in vogue, its interior
+is incrusted throughout with elaborate
+mosaics in a wealth of color. The
+most elaborate design and richest color
+is used in the apse, which was the centre
+of display in all Byzantine churches.</p>
+
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/plate21.jpg">
+<img src="images/plate21tn.jpg" width="184" height="251" alt="XXI. Capital from the Apse of the Church of S. Vitale, Ravenna, Italy." title="XXI. Capital from the Apse of the Church of S. Vitale, Ravenna, Italy." />
+<span class="caption">XXI. Capital from the Apse of the Church of S. Vitale, Ravenna, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXI.</h4>
+
+<h4>CAPITAL FROM THE APSE OF THE CHURCH OF
+S. VITALE, RAVENNA, ITALY.</h4>
+
+<p>This is one of the most beautiful and
+most characteristic capitals of the Byzantine
+style. Its form and decoration are both
+typical of the style. The flat treatment
+of the interlace of the vine motive is very
+generally used, and can be seen in great
+variety in S. Vitale and elsewhere. The
+ornament is here enriched with gold and
+color. In the double capitals of Ravenna
+the upper member, or cushion, is usually
+ornamented with symbolic designs drawn
+from various sources, both Pagan and
+Christian.</p>
+
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/plate22.jpg">
+<img src="images/plate22tn.jpg" width="178" height="219" alt="XXII. Capital from the Church of S. Vitale, Ravenna, Italy." title="XXII. Capital from the Church of S. Vitale, Ravenna, Italy." />
+<span class="caption">XXII. Capital from the Church of S. Vitale, Ravenna, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXII.</h4>
+
+<h4>CAPITAL FROM THE CHURCH OF S. VITALE,
+RAVENNA, ITALY.</h4>
+
+<p>Here again is the rhomboidal double
+capital of a much more severe design
+than that of the preceding plate, but with
+a remarkable delicacy and refinement of
+treatment.</p>
+
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/plate23.jpg">
+<img src="images/plate23tn.jpg" width="174" height="213" alt="XXIII. Capital from the Church of S. Vitale, Ravenna, Italy." title="XXIII. Capital from the Church of S. Vitale, Ravenna, Italy." />
+<span class="caption">XXIII. Capital from the Church of S. Vitale, Ravenna, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXIII.</h4>
+
+<h4>CAPITAL FROM THE CHURCH OF S. VITALE,
+RAVENNA, ITALY.</h4>
+
+<p>This is a mean between the two extreme
+types shown in Plates XXI. and XXII.</p>
+
+<p>In all these examples the treatment of
+the angles should be noted. Strong confining
+lines, with a distinct upward tendency
+of the ornament, contrasted with
+the flat sides, contribute much to the
+good effect of these capitals as constructive
+members.</p>
+
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/plate24.jpg">
+<img src="images/plate24tn.jpg" width="176" height="193" alt="XXIV. Capital in the Museum of the Accademia di Belle Arti, Ravenna, Italy." title="XXIV. Capital in the Museum of the Accademia di Belle Arti, Ravenna, Italy." />
+<span class="caption">XXIV. Capital in the Museum of the Accademia di Belle Arti, Ravenna, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXIV.</h4>
+
+<h4>CAPITAL IN THE MUSEUM OF THE ACCADEMIA DI
+BELLE ARTI, RAVENNA, ITALY.</h4>
+
+<p>Whether this capital was originally intended
+for S. Vitale or some of the other
+churches of Ravenna we cannot state,
+but at all events it is a fitting companion
+for the others illustrated in this number.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span></p>
+<h2><a name="The_Brochure_Series" id="The_Brochure_Series"></a>The Brochure Series</h2>
+
+<h3>of Architectural Illustration.</h3>
+
+<h5>PUBLISHED MONTHLY BY</h5>
+
+<h3>BATES &amp; GUILD,</h3>
+
+<h4>6 BEACON STREET, BOSTON, MASS.</h4>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="subscription rate">
+<tr>
+  <td class='left'>Subscription Rates per year</td>
+  <td class='right'>50 cents, in advance.</td>
+</tr>
+<tr>
+  <td class='left'>Special Club Rate for five subscriptions</td>
+  <td class='right'>$2.00.</td>
+</tr>
+<tr>
+  <td colspan="2" class='left'>Entered at the Boston Post Office as Second-class Matter.</td>
+</tr>
+</table></div>
+
+<hr style="width: 45%;" />
+
+<p>An illustrated catalogue has come to
+be one of the important features of exhibitions
+of architectural drawings, and
+these catalogues are now exceedingly
+valuable records of recent progress in
+architecture. The contributions of the
+present year to this department of an
+architect's library are especially notable.
+Of the catalogues which have come to
+our notice, that of the architectural
+exhibition at the Academy of Fine Arts
+in Philadelphia is in point of illustration
+the most complete, and shows the
+most judicious selection of material. In
+this there was a marked endeavor to give
+as large a number of geometrical drawings
+as possible, and it is unquestionably
+a move in the right direction. The desire
+for the picturesque, which has been
+until recently the ruling motive with
+American architects, has had its day, and
+trained and conservative designers have
+gradually taken the place of the pyrotechnic
+draughtsman of the past. The
+change has been working gradually to be
+sure, but scale and detail drawings both
+in the exhibitions, which of necessity are
+intended to appeal to a more or less
+popular taste, and in the professional
+journals are from year to year growing
+more prominent. In their recognition
+of this tendency, the Philadelphia catalogue
+committee are to be highly commended.</p>
+
+<p>The same trend may be observed in a
+little less marked degree in the Architectural
+League catalogue. The exhibitions
+of the League have for years been
+the models by which minor exhibitions
+have been ruled, and its catalogue has
+been a guide to all others. As usual there
+is a great deal of valuable and interesting
+material presented in its illustrations.</p>
+
+<p>The Catalogue Committee of the St.
+Louis exhibition have made a departure
+from the general rule, and increased the
+size of their pages, allowing the use of
+much larger plates. In some of the
+drawings this is a distinct advantage, and
+their catalogue gains in consequence.</p>
+
+<p>The Boston Society of Architects and
+the Boston Architectural Club will hold
+a joint exhibition in April, and their
+catalogue now promises to be a very
+creditable publication.</p>
+
+<hr style='width: 45%;' />
+
+<p>In the recent draughtsmen's competitions,
+Boston has been more than ordinarily
+fortunate. The medal in both the
+competitions of the Society of Beaux-Arts
+Architects has come to Mr. F.&nbsp;M.
+Mann, of the Massachusetts Institute of
+Technology, and a number of the first and
+second mentions have also come to Boston.
+In fact, nearly if not quite all the
+designs sent from Boston have received
+some recognition at the hands of the jury.</p>
+
+<p>A complimentary dinner has been arranged
+for by the M.&nbsp;I.&nbsp;T. Architectural
+Society in honor of the winners of the last
+competition.</p>
+
+<p>The annual competition for the Architectural
+League gold medal, which was
+awarded to Mr. A.&nbsp;H. Wright, also resulted
+in adding another victory to the
+credit of Boston draughtsmen.</p>
+
+<p>Interest in these contests is not purely
+local, however, for Philadelphia, Rochester,
+and several other cities have furnished
+contributors and shared the honors. Mr.
+H.&nbsp;L. Duhring, Jr., of Philadelphia, was
+awarded the Architectural League silver
+medal.</p>
+
+<hr style='width: 45%;' />
+
+<p>Fulfilling the bequest of the late Arthur
+Rotch leaving $5,000 to the Boston
+Architectural Club, this sum has been paid
+to the treasurer of the club by the executors
+of Mr. Rotch's estate. The income
+only is to be expended in the purchase
+of books to form an architectural library.
+This is only one of many indications
+that the architectural clubs of the country
+are recognized as permanent and established
+institutions. With the spread of
+this feeling their influence will grow in
+importance, and as the working foundation
+of the profession they deserve all
+the encouragement that can be given
+them.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p>
+<h2><a name="The_Cleveland" id="The_Cleveland"></a>The Cleveland
+Architectural Club.</h2>
+
+
+<p>There are none of the now numerous
+architectural associations of the country
+which can more deservingly congratulate
+themselves upon the early success of their
+first few months of existence than the
+Cleveland Architectural Club, which was
+organized on the 22d of last November,
+and is now only four months old.</p>
+
+<p>Its original members, fifteen in number,
+met in the office of Messrs. Coburn
+&amp; Barnum, and here the meetings for
+the few succeeding weeks were also
+held.</p>
+
+<p>It soon became evident that a wide
+field of usefulness was open to the new
+organization, and a permanent location of
+its own would become necessary. Such
+a location in the heart of the city, with
+all necessary conveniences, was found in
+the Garfield Building, and the new rooms
+have been properly fitted up for the use of
+the club.</p>
+
+<p>With the purpose of making the influence
+of its work as far-reaching as possible,
+the restriction which has commonly
+been applied in other similar clubs,
+limiting the membership to architects and
+draughtsmen, or at least limiting the
+number of non professional members, has
+been entirely done away with, and any one
+who may have an interest in architecture
+or the "allied arts" is eligible for
+membership. What will be the effect of this
+arrangement it remains for the future to
+decide. In some of the older clubs it
+has been found by experience that the
+professional membership was overbalanced
+and its work impeded by a too large
+non-professional element, and the professional
+lines have been closely drawn in consequence.</p>
+
+<p>The work thus far entered upon is
+modest but of an important character,
+and if pursued with the earnest purpose
+which has marked the first few months
+will lead to a fruitful future.</p>
+
+<p>Of the monthly competitions in design
+the one for March, the subject of which
+is a scheme for the public buildings of
+Cleveland, has attracted considerable
+attention, and the public exhibition of
+the designs will doubtless lead to profitable
+discussion outside the club. A plan
+which we believe has not been adopted
+here, but which has been the means of
+awakening considerable interest in the
+study of design in the clubs of New York,
+Philadelphia, and Boston, might possibly
+be followed to advantage. In the January
+number of <span class="smcap">The Brochure Series</span> the
+competitions instituted by the Society of
+Beaux-Arts Architects were outlined. Of
+course with all the numberless calls upon
+his time, the average draughtsman does
+not have the leisure to properly study and
+render the drawings required in these
+competitions; but by the joining of forces
+four or five, or even more, men can
+easily work out such a problem, and in
+some respects the advantages to be
+gained are greater than is the case when
+an individual works alone. Several large
+tables can be provided in the club-rooms,
+and the problem worked up as a club design.
+This plan has been followed in the
+Boston Architectural Club with great
+success.</p>
+
+<p>The study of academic design is of the
+utmost importance to the young architect,
+and unfortunately the opportunities for
+such study in the usual routine of office
+practice are not very extensive. The
+working out each season of two or three
+such designs as those required by the
+Beaux-Arts Society will be of material
+benefit to the older men who are already
+familiar with the academic methods of
+design, and of much more benefit to the
+younger men whose opportunities have
+been more limited. The criticism and
+suggestion of the older men in the profession
+is easily obtained while the work
+is in progress. Nothing could be better
+calculated to foster a certain <i>esprit de
+corps</i>, which is certainly a desirable quality
+in any club.</p>
+
+<p>The personnel of the Cleveland Club
+is as follows: Benj. S. Hubbell, president;
+Harry S. Nelson, vice-president; Herbert
+B. Briggs, secretary; Perley H. Griffin,
+librarian; E.&nbsp;E. Noble, treasurer; W.&nbsp;D.
+Benes and Wilbur M. Hall, members of
+the executive board. The officers and
+Robert Allen, Frederick Baird, J.&nbsp;W.
+Russell, G.&nbsp;B. Bohm, Williard Hirsh,
+Ray Rice, Albert E. Skeel, and C.&nbsp;S.
+Schneider constitute the charter membership.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></p>
+<h2><a name="Books" id="Books"></a>Books.</h2>
+
+
+<p class="indented"><i>Church of Sancta Sophia, Constantinople</i>:
+A Study of Byzantine Building.
+By W.&nbsp;R. Lethaby and Harold Swainson.
+Macmillan &amp; Co. 1894. 307
+pages with illustrations. $6.50.</p>
+
+<p>It seems especially fitting that a notice
+of Mr. Lethaby's work on the church of
+Sta. Sophia, or as he calls it Sancta
+Sophia, should appear in the same issue
+with the beautiful Byzantine capitals from
+Ravenna, which we publish this month.
+In the description of this work from
+Ravenna, on another page, the connection
+is pointed out between Constantinople,
+the capital of the Roman Empire
+in the East, and Ravenna, then the
+Western capital.</p>
+
+<p>The work before us is an important
+and exhaustive study, both architecturally
+and historically, of this beautiful building,
+which Mr. Van Brunt has called "the
+central building of the world." Nothing
+has ever been done in enriching interiors
+which approaches in splendor the best
+work of the Byzantine builders, and Sta.
+Sophia, by general consent, is the most
+beautiful of the Byzantine churches;
+but its exterior is by no means without
+faults, and its claim for distinction would
+fall if supported only by this.</p>
+
+<p>The book takes up in order the history
+of Sta. Sophia, with citations of various
+authorities for statements concerning its
+early history; accounts of the various
+vicissitudes through which it has passed;
+its construction, lighting, details, mosaics,
+etc., all carefully and conscientiously
+described, the descriptive portion based
+on a painstaking study of the building
+itself. The illustrations which accompany
+the text are numerous and excellent;
+there is no attempt to furnish illustrations
+at large scale, which are already
+accessible in Salzenberg.</p>
+
+<p>The monumental work of Salzenberg,
+which has been the architect's reference
+book for Sta. Sophia, is referred to and
+largely quoted from.</p>
+
+<p>The two articles by Mr. Henry Van
+Brunt and Prof. A.&nbsp;D.&nbsp;F. Hamlin, published
+in <i>The Architectural Review</i>, Vol. II.,
+No. 5, and Vol. III., No. 2, will be found
+of considerable interest in connection
+with Mr. Lethaby's book.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Club_Notes" id="Club_Notes"></a>Club Notes.</h2>
+
+
+<p>When in our January issue it was announced
+that we should devote a certain
+amount of space and attention to the
+architectural clubs of the country, we had
+no idea of the extent to which these
+organizations had developed within the
+last year or two. The work of a few of
+the older clubs was familiar to us, but it
+is a surprise to find that nearly every city
+of importance in the United States has
+an active and flourishing society of
+draughtsmen and young architects. It
+may be well to suggest right here that any
+city which has not such an organization
+should look to its laurels.</p>
+
+<p>Among the newer accessions to the
+ranks is the Baltimore Architectural
+Club. It is fortunate in being able to
+start with a strong, if limited membership.
+It is holding weekly meetings,
+and has already instituted a series of
+monthly competitions in design, for which
+a small cash prize is offered.</p>
+
+<p>The list of officers is the best evidence
+of its seriousness of purpose and ability
+to accomplish an unlimited amount of
+good work.</p>
+
+<p>The officers are: president, J.&nbsp;E.
+Sperry; vice-president, J.&nbsp;B.&nbsp;N. Wyatt;
+secretary, Louis E. Simon; and E.&nbsp;F.
+Baldwin, George Worthington, J.&nbsp;W. Case,
+and W.&nbsp;G. Keimig, together with the
+officers, constitute the Board of Control.</p>
+
+<hr style='width: 45%;' />
+
+<p>The Sketch Club of New York is following
+the lead of the Chicago Architectural
+Club in delegating to one or two
+of its members the office of Entertainment
+Committee for one evening, when these
+members act as hosts and provide for the
+entertainment of the club. This plan has
+resulted in an increased attendance at the
+meetings, and is giving general satisfaction.</p>
+
+<hr style='width: 45%;' />
+
+<p>An outgrowth of the Boston Architectural
+Club which has shown a great deal
+of vitality and in many ways justified its
+claim to a separate existence is the little
+club of twelve members known as the
+"P.&nbsp;D's." Without organization and with
+only the mutual desire for a sort of Bohemian
+companionship, these congenial
+spirits have worked together and amused
+each other for the last two years.</p>
+
+<p><span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>
+They are all members of the Architectural
+Club and among its most zealous
+supporters.</p>
+
+<p>The mystic monogram of the club, the
+initials P and D contained in a circle,
+which was placed on their designs submitted
+in the two Beaux-Arts competitions,
+has probably set more than one interested
+person guessing its significance.
+Its primary meaning is said to be "Poor
+Draughtsmen."</p>
+
+<hr style='width: 45%;' />
+
+<p>Preceding the last regular meeting of
+the Philadelphia T Square Club an informal
+supper was held at "Bohemia," a
+charming rathsheller recently designed
+by Wilson Eyre, Jr., a member of the executive
+committee of the club. The president,
+Walter Cope, presided, while the
+fifty-four members present lubricated their
+supper with 158 steins of old musty ale.</p>
+
+<p>The meeting which followed was of
+unusual interest, as the double programme
+brought forth a great many designs.</p>
+
+<p>In the competition for a chapel located
+on the terrace of a wealthy gentleman's
+country house, Albert Kelsey, who submitted
+two sets of drawings, was fortunate
+enough to win both first and second
+mentions, while E.&nbsp;S. Powers was voted
+third place.</p>
+
+<p>The competition for a pedestal for a
+monument was well contested, but the
+winner of the first place failed to claim
+his design. Mr. A.&nbsp;C. Munoz, a former
+winner of the McKim Travelling Scholarship,
+won second place; and Chas. Z.
+Klauder, third.</p>
+
+<hr style='width: 45%;' />
+
+<p>To the list of Architectural Clubs contained
+in our February issue should be
+added the following:&mdash;</p>
+
+<p class="indented">Baltimore Architectural Club; secretary,
+Louis E. Simon, Builders' Exchange
+Building.</p>
+
+<p class="indented">Cincinnati Architectural Club; secretary,
+John E. Zettel, 227 Main St.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Society_of_Beaux-Arts_Architects" id="Society_of_Beaux-Arts_Architects"></a>Society of Beaux-Arts Architects.</h2>
+
+
+<p>The Committee on Education proposes
+as the subject for its third competition.</p>
+
+<p style='margin-left: 4em;'>
+A LARGE CITY CHURCH<br />
+</p>
+
+<p>for an Episcopal parish.</p>
+
+<p>The wealth of the congregation has
+been lavished upon this building to give
+it a special character of devotion and
+beauty, to which the richness of material
+and the sedate spirit of its classic architecture
+alike contribute.</p>
+
+<p>In addition to the vast body of the
+church, which is to be so arranged as
+to give an impression of amplitude and
+splendor, provision should be made for
+vestry, sacristy, and choir-room,
+conveniently situated for the service of the
+sanctuary. Two small chapels for the
+celebration of minor services will be
+situated so as to be accessible both from
+the exterior and from the interior of the
+church proper.</p>
+
+<p>The plot of ground secured for the
+building is rectangular, and measures two
+hundred feet by four hundred feet, open
+to streets on all sides.</p>
+
+<p>Sketches of plan, elevation, and section,
+at a scale of one thirty-second inch
+to the foot, will be required of all students
+wishing to compete; these sketches should
+be made on opaque drawing paper, not
+tracing paper, and forwarded not later
+than 22d April, 1895, to Mr. John E.
+Howe, 140 West 34th Street, New York City.</p>
+
+<p>For the finished drawings the plan will
+be rendered at a scale of one sixteenth
+inch to the foot, the elevation and section
+at twice that scale, and a detail at a
+quarter of the size of execution. The
+finished drawings should in every case be
+mounted on stretchers. The address to
+which they are to be forwarded will be
+announced later. All drawings must be
+sent on or before 24th June, 1895.</p>
+
+<p>
+(Signed) <span class="smcap">Ernest Flagg</span>, <i>Chairman</i>,<br />
+<span style="margin-left: 3.5em;"><span class="smcap">John M. Carrere</span>,</span><br />
+<span style="margin-left: 3.5em;"><span class="smcap">John G. Howard</span>,</span><br />
+<span style="margin-left: 3.5em;"><span class="smcap">Thomas Hastings</span>,</span><br />
+<span style="margin-left: 3.5em;"><span class="smcap">Whitney Warren</span>,</span><br />
+<span style="margin-left: 3.5em;"><span class="smcap">John E. Howe</span>, <i>Secretary, Committee on Education</i>.</span><br />
+</p>
+
+<p>This competition is open to all students
+of architecture. Conditions of judgment
+and jury to be arranged by the committee.</p>
+
+<p>1st April, 1895.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 03, March 1895, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ***
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+</pre>
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+</body>
+</html>
+
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author	Roger Frank <rfrank@pglaf.org>	2025-10-15 04:54:19 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-15 04:54:19 -0700
commit	ab40a06c62bc5543437dbab9fb92ea524bf92ca1 (patch)
tree	08a582d3ce0d897d882638f435bafefe086eb27b /18852-h