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+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 04, April 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. 04, April 1895
+       Byzantine-Romanesque Windows in Southern Italy
+
+Author: Various
+
+Release Date: September 13, 2006 [EBook #19262]
+
+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
+
+
+
+
+
+
+
+
+
+THE BROCHURE SERIES
+
+OF ARCHITECTURAL ILLUSTRATION.
+
+
+VOL. I. APRIL, 1895. No. 4.
+
+
+BYZANTINE-ROMANESQUE WINDOWS IN
+SOUTHERN ITALY.
+
+
+The collection of photographs from which the plates in this and the
+February number were selected was only recently made under the direction
+of Signor Boni, an official of the Italian government, charged with the
+care and restoration of historic monuments.
+
+The province of Apulia has been so little invaded by the march of modern
+improvement, and its present inhabitants are, as a rule, so poor, that
+it is difficult to travel here except on the line of a few main
+thoroughfares, and strangers seldom visit more than one or two of the
+principal towns on the coast. Bari and Brindisi are known to tourists,
+as they are in the line of travel to and from Greece, but the inland
+towns are isolated in a barren priest-ridden country in which strangers
+are not welcome. The hardships which it is necessary to face deter all
+but the most adventurous even of the Italians, familiar with the
+language and manners of the people. Architects seldom visit this
+neighborhood, and little is known of its rich treasure of mediæval
+buildings, except through the few published works treating of it. Signor
+Boni expressed himself as surprised at the great amount of beautiful
+work scattered through this region, of which he previously had no
+knowledge. The opinion of Fergusson has already been quoted in the
+preceding article.
+
+The mixture in the work here illustrated of Byzantine and Romanesque
+elements has also been referred to in the preceding article, but the
+special characteristics of each style were not particularly pointed out.
+In the present consideration the peculiarities of detail and ornament
+are all that need be taken up, as the views given furnish no opportunity
+for the study of plan or general design. The derivation of the Byzantine
+style was indicated in the March number of THE BROCHURE SERIES in
+describing the Ravenna capitals there illustrated.
+
+Byzantine conventional ornament appears to be of two types,--the one
+usually used in mosaics, of thin scrolls, terminating in flowers or
+symbols, displayed upon a ground which is much greater in quantity than
+is the ornament; the other, usually confined to sculpture, an intricate
+interlace of ribbon lines with spaces filled with Byzantine acanthus,
+the ornament much greater in proportion than the ground, which only
+shows in small separate pieces. Apart from these are the borders,
+occasionally of overlapping leaves, often of small repeated units, such
+as Greek crosses and squares and diamonds, or else meanders or
+guilloches. The guilloche takes a new form in Byzantine design, and
+instead of being a continuous succession of small circles enclosed in an
+interlacing ribbon, it assumes the form of alternating small and large
+circles, or of small circles alternating with large squares, and often
+progressing in both directions at once, horizontally and
+perpendicularly, and thus forming an all-over pattern. The roses of
+ornament are often incorporated into this form of guilloche. Sculpture
+of the human form becomes more and more feeble and crude. The acanthus,
+however, went steadily through successive variation until it attained
+the virile form seen in the best Byzantine work. It is no longer the
+olive type of the Romans, or the heavy, stupid leaf of the earlier
+centuries of the Christian era, but has again turned towards the
+sharp-pointed, vigorous leaf of the Greeks. Its lobes are divided into
+three or five tines, each sharp at the tip; its centre lines, radiating
+from a central stem, bend like flames; its surfaces are concave, with
+deep V cutting, and it has one very marked peculiarity, that is, that as
+far as possible no tine is left displayed alone on the ground, but the
+tip of each is made to touch either the tip of a neighboring tine or the
+ribbon or moulding bounding the space in which the ornament occurs. The
+tines are of nearly equal size throughout, and the spaces of ground left
+by the ornament are also of comparatively equal size, and if possible
+symmetrically grouped. The one almost universal moulding is decorated
+with acanthus units, and the capitals have acanthus leaves around their
+bells. These caps are of two types. One, that is manifestly an
+adaptation of a classic cap, is a union of an Ionic and a Corinthian, or
+at other times of a Roman Doric and a Corinthian capital. The other is
+peculiar to Byzantine work, and is that shown in Plates XXI. to XXIV. in
+the last number. This cap, as at S. Vitale, is often supplemented by
+another plainer cap above. The lower cap has its faces decorated with
+scrolls, acanthus wreaths, etc., and usually the corners are
+strengthened with a decorative unit, leaf or other motive.
+
+The difference between the Byzantine and the Romanesque arises from the
+differences of the races and their environments. The art of seaport
+towns, when Commerce was most largely carried on by sea, much more
+nearly resembled the art of some great commercial centre on the
+seaboard than it did that of its own neighbors inland.
+
+The art of the seaboard cities in Europe was, then, for many years a
+borrowed art from the East, as their people were to great extent Eastern
+colonists. It was carried on with a full knowledge of constructive
+methods, and a facility in obtaining materials that the inland towns did
+not possess; and in consequence it is along the seaboard that is to be
+found the persistence of the Byzantine influence. On the other hand, the
+interior was peopled by descendants of Ostrogothic tribes mingling with
+numberless local peoples. Whatever they touch is necessarily crude at
+first, but constantly gaining as they gain facility in working. A
+precedent of some kind they must have, and they find it close at hand in
+the Roman basilicas. Uncertain, from the result of woful experiments, of
+arches of great span, they pack their columns close together and
+surmount them with sturdy little arches that have scarcely any thrust.
+This arcade of heavy columns carrying absurdly disproportionate arches
+is their only motive, and applied inside between aisles and nave, and
+outside in successive stories rising one above another. As the masons
+begin better to understand their art, the span of the arch increases,
+though a large arch for some time does duty merely as a discharging
+arch, and has smaller arches beneath and within it. The capitals, at
+first crude imitations of classic prototypes, soon become the field for
+the grotesque imagination of the workmen, and each differs from the
+other and is a mass of light and shade shot with all sorts of uncouth
+fancies. Wherever, for some constructive reason, a column is omitted
+against a wall, the capital becomes a corbel, carrying the arches. In
+many cases the corbels alone are used, and an arcaded corbel course
+becomes the favorite termination of a wall in the place of a classic
+entablature. Finally the arches are omitted, and the corbels alone
+support the eaves.
+
+It will be noticed that while the Byzantine decorated the interior of
+the churches, the Romanesque builder merely constructed the interior and
+wrought out the most of his design upon the facade. As a large arch was
+to him for a long time a _tour de force_, he naturally beautified the
+necessarily large entrance, and the beginning of the development of the
+beautiful Gothic portals is seen in the early Romanesque churches.
+
+The Romanesque is an architecture of inertia, with arches heavily
+weighted by great masses of wall, and with broadly contrasting masses of
+light and shade. It does not depend for its effect upon intellectual
+quality beyond a rigorous sense of simplicity, or upon refinement of
+conception or detail, but rather upon size, picturesque mass, and
+staccato light and shade. The proportion of capital to column in
+quantity of surface was very slight. The proportion of voussoirs to
+arches naturally depended upon the size of the arch,--large voussoirs to
+large arches, small voussoirs to small arches. Columns were only grouped
+around piers and on either side of openings; and lastly, the natural
+development of the column in Romanesque work was toward
+attenuation,--the later and the better the work, the more slender became
+the columns, until at last they were merged into the Gothic
+multiple-columned piers. The carving upon the arch-mouldings is, to a
+great extent, geometric, consisting of numerous facets cut in the stone,
+lozenges, etc.; the so-called dogtooth moulding is a very favorite form
+of decoration. All these carved mouldings were picked out in color,
+usually in red and green. The acanthus in the Romanesque has lost much
+of its vigor, is flat, heavy-tipped, round-edged, and scratched with
+V-cuts, and the vine is the leaf preferred by designers. Frequently
+masses of wall are cut in geometric diaper patterns, also touched with
+color. Borders are not broad; and circular forms, except in the arches,
+are seldom used. Romanesque was a barbaric art at the best, and has the
+usual virtue of the barbarian,--a directness of attack at the problem in
+hand and a simplicity in treating it which is invigorating to see.
+
+
+
+
+[Illustration: XXV. Window in the Church of S. Teresia, Trani, Italy.]
+
+[Illustration: XXVI. Window in the Church of S. Teresia, Trani, Italy.]
+
+
+XXV. and XXVI.
+
+WINDOWS IN THE CHURCH OF S. TERESIA, TRANI, ITALY.
+
+These two windows have very little to suggest Byzantine influence in
+their design. The form and detail are essentially Romanesque, although
+there is a certain crispness and piquancy of treatment in the first
+(Plate XXV.) which belongs to the Byzantine work.
+
+
+
+
+[Illustration: XXVII. Window in the Façade of the Basilica at Altamura,
+Italy.]
+
+
+XXVII.
+
+WINDOW IN THE FACADE OF THE BASILICA AT ALTAMURA, ITALY.
+
+The employment of grotesque beasts supporting the columns at each side
+of this window is a very common device in the Italian Romanesque work.
+The use of a reversed capital in place of a base for the centre column
+is also a peculiar treatment frequently found in Romanesque work.
+
+
+
+
+[Illustration: XXVIII. Windows in the Façade of S. Gregorio, Bari,
+Italy.]
+
+
+XXVIII.
+
+WINDOWS IN THE FACADE OF S. GREGORIO, BARI, ITALY.
+
+
+
+
+[Illustration: XXIX. Triforium Window in the Church of S. Gregorio,
+Bari, Italy.]
+
+
+XXIX.
+
+TRIFORIUM WINDOW IN THE CHURCH OF S. GREGORIO, BARI, ITALY.
+
+The Byzantine architects used pierced stonework with great effect both
+in exterior and interior detail. The examples here shown are rather
+crude, but effective in the relative scale of parts.
+
+
+
+
+[Illustration: XXX. Window in the Apse of the Cathedral, Bari, Italy.]
+
+
+XXX.
+
+WINDOW IN THE APSE OF THE CATHEDRAL, BARI, ITALY.
+
+The ornament about this window, especially that in the long panel below
+it and upon the cyma of the soffit above, is Byzantine in character,
+while the columns, with the exception of the capital of the one at the
+left, are much more Romanesque.
+
+
+
+
+[Illustration: XXXI. A Window in Bittonto, Italy.]
+
+
+XXXI.
+
+A WINDOW IN BITTONTO, ITALY.
+
+This is not an especially beautiful example, but is an illustration of
+the direct and vigorous treatment of the early barbarian Romanesque
+builders.
+
+
+
+
+[Illustration: XXXII. Window in the Apse of the Cathedral, Bittonto,
+Italy.]
+
+
+XXXII.
+
+WINDOW IN THE APSE OF THE CATHEDRAL, BITTONTO, ITALY.
+
+In this case the beautiful and delicate Byzantine leafage can be seen on
+the mouldings of the arch above the window. As in several of the
+preceding examples, there is a curious mixture of the two styles.
+
+
+
+
+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.
+
+Entered at the Boston Post Office as Second-class Matter.
+
+       *       *       *       *       *
+
+Several weeks ago the stock of back numbers of THE BROCHURE SERIES held
+to fill subscription orders was exhausted, and in future all
+subscriptions will have to be dated from the number current at the time
+the subscription is placed. All who wish to have the remaining numbers
+of this year should subscribe at once, as no back numbers will be kept
+in stock. The edition has been increased to 7,000 copies, and if the
+present rate of growth in the subscription department holds will shortly
+have to be doubled.
+
+       *       *       *       *       *
+
+The judges in the recent competition for the Rotch Travelling
+Scholarship, Messrs. Cass Gilbert, George B. Post, and Frank Miles Day,
+have awarded the scholarship to William S. Aldrich. Mr. Aldrich has
+taken the examinations this year for the first time, although several of
+his unsuccessful rivals for the honor have entered before in years past.
+He has been for some time in the office of Mr. C. H. Blackall, and has
+been engaged upon important work, such as the new Tremont Temple, which
+is now approaching completion.
+
+In 1884 he entered the Department of Architecture at the Massachusetts
+Institute of Technology, and completed the two years' special course in
+1887, and then went to the office of Mr. John Calvin Stevens in
+Portland, Me. He afterwards worked in the Boston office of McKim, Mead &
+White, and in the office of Peabody & Stearns, where he was engaged upon
+the drawings for the buildings at the World's Fair. As will be seen, he
+has had a varied experience and is well equipped to make the best use of
+his opportunities for the next two years.
+
+It has been the custom in recent years with the winners of the
+scholarship to delay their departure until midsummer or early fall, but
+Mr. Aldrich proposes to start in June. His plan of work has not yet been
+entirely fixed, but he will probably spend a large part of his time in
+Italy, working in conjunction with the American atelier at Rome.
+
+       *       *       *       *       *
+
+The three other scholarships in which the same problem in design was
+employed have also been awarded. For the McKim Fellowship of Columbia
+College ten designs were submitted. The award was made to Mr. John
+Russell Pope of New York, a graduate from the school in the class of
+1894. The Roman Scholarship was also awarded to Mr. Pope. In the
+competition for the latter twenty-three designs were entered, and
+besides the first award honorable mention was given to Mr. Henry E.
+Emery of Nyack, N. Y., Mr. Fellows of Chicago, and Mr. Bossange and Mr.
+Ayres of New York, graduates of Columbia College, and to Mr. Percy Ash
+of Philadelphia.
+
+In the University of Pennsylvania Scholarship in Architecture there were
+six competitors, and the award was made to Mr. Percy Ash, a graduate of
+the University. Mr. Ash has also had several years' practical experience
+in the best offices of Philadelphia, such as those of Cope & Stewardson
+and Frank Miles Day & Bro.
+
+Mr. H. L. Duhring, Jr., of the Senior class in the University, was given
+second place.
+
+       *       *       *       *       *
+
+The _American Architect_, in an interesting notice of the recent
+exhibition of the Boston Society of Architects and Boston Architectural
+Club, takes the occasion to comment unfavorably upon the disfigurement
+of the catalogue by advertisements, which it says are "most excellent
+things in their proper place, but wholly out of place in an exhibition
+catalogue." Why this is so it is hard to see, unless the _Architect_
+believes that there is not advertising enough to go round, and that it
+should all be reserved for the trade and professional papers. At all
+events this is "kicking against the pricks," for it is well known that
+the expenses of such exhibitions cannot be met without some outside
+assistance, and the most feasible plan that has been found for making
+both ends meet is to interest the dealers in materials used in the
+buildings represented in the exhibitions. As these dealers are seldom
+named on the drawings exhibited, it seems proper that some return should
+be made for their most valuable assistance, without which the exhibition
+would not be possible.
+
+The _Architect_ further says: "The position taken by the St. Louis
+Chapter A. I. A. was the proper and dignified one, and it ought to be
+followed elsewhere. The catalogue of their recent exhibition, although a
+much more costly one than either the Boston or the League catalogue,
+contains not a line of advertising matter." This is certainly an amusing
+misstatement. Instead of "not a line," this catalogue has more space
+devoted to advertising than any of the others mentioned. What it would
+have been without its sixty-four pages of advertising, yielding an
+income of at least $50 a page, we leave others to figure out. Some of
+these pages we should prefer to see treated differently, as they do
+detract from the illustrations which they face, and they are sprinkled
+full of water-closets, radiators, bath-tubs, and various other building
+appliances not especially artistic in their suggestiveness. Still there
+is considerable taste and care evinced in the arrangement of many of the
+pages, and they are well printed on good paper. Possibly this accounts
+for the failure of the _Architect_ to recognize them as advertisements.
+
+The dignified course, it seems to us, is that followed by the committee
+of the Boston exhibition. In this case a certain number of pages was
+reserved in the catalogue to be devoted to advertising, and the houses
+to be represented were given to understand that all would be treated
+alike. No cuts would be used, and the pages would all be set in type of
+uniform style, thus insuring a desirable ensemble. We think that the
+advertising when well presented adds to, rather than detracts from, the
+interest of a catalogue. Our only desire is to see it done in good
+taste. The display of plumbing apparatus and all manner of building
+appliances we do not consider in good taste in this place.
+
+The secretaries of a number of the architectural clubs have very kindly
+responded to our request for notices and reports of their meetings and
+proceedings, and we are pleased to be able to give short reports of such
+occurrences as are of general interest. There are some clubs, however,
+from whom we have not yet heard, and we would suggest that it will be a
+help to all concerned if the secretaries of all the architectural clubs
+will furnish us with short accounts of their regular meetings and of any
+other occasions of importance. We shall be pleased also to publish any
+correspondence which will in any way further the interests of these
+organizations. We shall be glad to have THE BROCHURE SERIES considered
+as the organ of communication between the various clubs, and will place
+our services at their command.
+
+
+
+
+Books.
+
+
+_Examples of Colonial Architecture in Charleston, S. C., and Savannah,
+Ga._ Compiled, photographed, and published by Edward A. Crane and E. E.
+Soderholtz, Boston Architectural Club, Boston. 50 plates, 11 x 14.
+$12.50.
+
+How much the revival of the classic influence of the early colonial and
+the immediately succeeding period is going to prevail in the
+establishment of a distinctive American style of architecture it is now
+difficult or indeed impossible to determine; but at all events the
+reaction from the Queen Anne vagaries of ten years ago to the more
+severe mass and chaste detail of the recent so-called colonial houses is
+a step in the right direction, and we have much to be thankful for in
+the improvement which this tendency has wrought in our recent domestic
+architecture. Beautiful and admirable as some of the recent examples of
+this work are, very few show the subtle appreciation of design to be
+found in many of the older buildings which until the last year or two
+have been looked upon as merely the outgrown and cast-off work of an age
+much less refined than our own.
+
+With the very general adoption of this style there has been an
+increased interest in the few remaining fine old examples which are
+scattered over the Eastern and Middle States, and the best of these are
+now familiar to architects.
+
+Few, however, know anything of the development of this style in the
+Southern States, and the work now before us will be a revelation to
+those who have not visited the neighborhood of Charleston and Savannah.
+
+A large proportion of the plates is devoted to Charleston, which owes
+its wealth and in fact the greater part of its existence to the
+prosperous planters of former days, who made the city a winter resort.
+
+The most notable house illustrated in the work is the William Bull
+Pringle house, built by Miles Brewton in 1760. It has long been famous
+as one of the finest houses in the country. Josiah Quincy, who was
+entertained by its first owner, speaks in enthusiastic terms of its
+beauty and the charm of its surroundings. Fourteen plates are devoted to
+illustrating its various features. The two-story portico with a Doric
+order below and Ionic above, relieved against the brick front laid in
+Flemish bond, the simple but well-designed iron fence, flanked on either
+side by a wall with massive brick posts covered with plaster, and all
+overgrown with a tangle of foliage, make up a fascinating picture. The
+view of the side gateway and a group of darky boys is wonderfully
+picturesque, besides being very suggestive as an architectural fragment.
+
+The detail is delicate and refined, but as a rule lacks the force and
+vitality of the Northern work of the same period. The interior detail
+shows a marked French influence, especially in the ceilings, mantels,
+and stairway. The drawing-room, of which a double plate is given, is
+probably without doubt the finest colonial room in the country, and is
+certainly a fine piece of design all through.
+
+One feature in planning which seems to be peculiar to this region, as it
+is not found in the houses at the North, is the location of the
+drawing-room, which is here on the second floor, usually extending
+entirely across the front of the house. There is seldom, however, any
+indication of this in the facade by a distinctive treatment of the
+second story. But the effect is seen in the interior by the greater
+importance naturally given to the staircase hall.
+
+The Gibbs house, built in 1752, which is shown by several plates, is
+also very attractive. The two interior doorways shown on one plate are
+among the most refined that we can remember.
+
+The entrance and staircase hall of the Gov. Bennett house will bear
+comparison with anything of its class to be found, and the plates
+showing it will be of especial value for interior work.
+
+The Bull house is of a type apparently common in the older work of this
+region. It is square and covered with a hip roof. The front is divided
+into three bays, the centre and wider one crowned with a low gable or
+pediment. The main floor is high, leaving a basement below and no
+cellar; and the front door, an illustration of which we give herewith,
+is reached by a double flight of steps protected by an iron railing.
+Many of the houses are provided with high fences and massive gateposts.
+A number of the plates give fine examples of these and several very
+interesting pieces of iron work.
+
+[Illustration: Doorway to the Bull House, Charleston.]
+
+Of the churches, St. Michael's and St. Philip's in Charleston are
+selected. The former was built in 1760, and is attributed to the English
+architect, Gibbs, who is also credited with the old Archdale house, with
+how good authority we do not know.
+
+On the whole, the choice of material is excellent. There is a large
+number of plates of detail which for architects' use are always the most
+valuable, and the work of the photographer and printer has been done
+unusually well.
+
+       *       *       *       *       *
+
+_Catalogue of the Joint Exhibition of the Boston Society of Architects
+and the Boston Architectural Club, April 15 to 21, 1895._ Boston:
+Published for the exhibition by Bates & Guild. 96 pp., 36 illustrations.
+35 cents.
+
+A continuation of the general subject of exhibition catalogues touched
+upon in our last issue as far as it relates to the catalogue of the
+Boston Architectural Exhibition. The exhibition itself is quite small
+comparatively speaking, including only three hundred and twenty-five
+numbers, but, as the illustrations in the catalogue show, is widely
+representative and of a high grade of excellence. The contributions are
+very largely confined to members of the two societies under whose
+management the exhibition is held. This tends to give a somewhat local
+character to the exhibition as a whole. Still there is a sufficient
+number of important contributions from outside to make a quite
+respectable showing.
+
+The selection of illustrations, the only ground upon which there is
+excuse for reviewing the publication, is unquestionably good. There are
+thirty-six in all, covering a wide range of subjects treated in a
+variety of ways. The reproductions are unusually good, and the book is
+neatly and well printed on good paper. The cover, designed by Mr. George
+G. Will, is especially attractive and good in design.
+
+
+
+
+Club Notes.
+
+
+Recruits in the already very considerable list of architectural clubs
+are still coming to the front. The latest to be heard from is the
+Architectural Club of San Francisco, which was organized on Feb. 26 with
+fourteen members, some of whom were members of the old Sketch Club of
+San Francisco. It is growing in membership, and gives promise of a
+bright future. Rooms have been secured in the Menisini Building, 231
+Post Street. Meetings are held on the first Monday of each month, and a
+paper is read and the designs submitted in the monthly competitions are
+criticised and the awards announced. The first club exhibition will be
+held April 26. Mr. Loring P. Rixford, Room 24, Menisini Building, 231
+Post Street, San Francisco, is secretary.
+
+
+
+
+Brochure Series Competitions.
+
+
+From time to time, as opportunity offers, competitions in design will be
+conducted by THE BROCHURE SERIES. An upright or cabinet piano case, the
+subject of the first one, badly needs the attention of good designers.
+
+The Henry F. Miller & Sons Piano Company of Boston have, for several
+years, made steady advancement in the artistic qualities of their piano
+cases. They have equipped their factory with a view to special work, and
+have unusually good facilities for getting out pianos to order, carrying
+out, architects' sketches or those of their own designers to harmonize
+with different styles of interior decoration.
+
+It is their idea to encourage the special designing of piano cases, and
+to this end they have placed with the publishers fifty dollars to be
+divided into prizes for such designs. Only sketches will be required,
+their object being not to use the designs further than to publish the
+best, but to get designers to give a little attention to this particular
+problem, and so do a little towards creating an interest in the better
+design of piano cases. Full particulars, including a structural diagram
+and a statement of the technical requirements and limitations, will be
+announced in our next issue.
+
+
+
+
+Personal.
+
+
+As usual at this season, a number of architects and draughtsmen are
+planning to go abroad; some for only a few months, and others for a
+longer time. Among these are Messrs. H. T. Pratt, Matthew Sullivan,
+C. D. Maginnis, and H. C. Dunham, of Boston, and E. K. Taylor and H. L.
+Jones of New York.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 04, April 1895, by Various
+
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of The Brochure Series of Architectural Illustration, Vol. 1, 1895, No. 4
+    </title>
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+
+<pre>
+
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 04, April 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. 04, April 1895
+       Byzantine-Romanesque Windows in Southern Italy
+
+Author: Various
+
+Release Date: September 13, 2006 [EBook #19262]
+
+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>APRIL, 1895.</b></td>
+<td class="right"><b>No. 4.</b></td>
+</tr>
+</table>
+
+<hr style="width: 25%;" />
+
+
+<h4>BYZANTINE-ROMANESQUE WINDOWS IN
+SOUTHERN ITALY.</h4>
+
+
+<p>The collection of photographs from
+which the plates in this and the
+February number were selected
+was only recently made under the
+direction of Signor Boni, an official of
+the Italian government, charged with the
+care and restoration of historic monuments.</p>
+
+<p>The province of Apulia has been so
+little invaded by the march of modern
+improvement, and its present inhabitants
+are, as a rule, so poor, that it is
+difficult to travel here except on the line
+of a few main thoroughfares, and strangers
+seldom visit more than one or two of the
+principal towns on the coast. Bari and
+Brindisi are known to tourists, as they are
+in the line of travel to and from Greece,
+but the inland towns are isolated in a
+barren priest-ridden country in which
+strangers are not welcome. The hardships
+which it is necessary to face deter
+all but the most adventurous even of the
+Italians, familiar with the language and
+manners of the people. Architects seldom
+visit this neighborhood, and little is
+known of its rich treasure of medi&aelig;val
+buildings, except through the few published
+works treating of it. Signor Boni
+expressed himself as surprised at the
+great amount of beautiful work scattered
+through this region, of which he previously
+had no knowledge. The opinion of Fergusson
+has already been quoted in the
+preceding article.</p>
+
+<p>The mixture in the work here illustrated
+of Byzantine and Romanesque elements
+has also been referred to in the
+preceding article, but the special characteristics
+of each style were not particularly
+pointed out. In the present consideration
+the peculiarities of detail and
+ornament are all that need be taken up,
+as the views given furnish no opportunity
+for the study of plan or general design.
+The derivation of the Byzantine style was
+indicated in the March number of <span class="smcap">The
+Brochure Series</span> in describing the Ravenna
+capitals there illustrated.</p>
+
+<p>Byzantine conventional ornament appears
+to be of two types,&mdash;the one usually
+used in mosaics, of thin scrolls, terminating
+in flowers or symbols, displayed upon
+a ground which is much greater in quantity
+than is the ornament; the other,
+usually confined to sculpture, an intricate
+interlace of ribbon lines with spaces
+filled with Byzantine acanthus, the ornament
+much greater in proportion than
+the ground, which only shows in small
+separate pieces. Apart from these are
+the borders, occasionally of overlapping
+leaves, often of small repeated units, such
+as Greek crosses and squares and diamonds,
+or else meanders or guilloches.
+The guilloche takes a new form in Byzantine
+design, and instead of being a
+continuous succession of small circles
+enclosed in an interlacing ribbon, it
+assumes the form of alternating small<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>
+and large circles, or of small circles alternating
+with large squares, and often progressing
+in both directions at once,
+horizontally and perpendicularly, and
+thus forming an all-over pattern. The
+roses of ornament are often incorporated
+into this form of guilloche. Sculpture of
+the human form becomes more and more
+feeble and crude. The acanthus, however,
+went steadily through successive
+variation until it attained the virile form
+seen in the best Byzantine work. It is no
+longer the olive type of the Romans, or
+the heavy, stupid leaf of the earlier centuries
+of the Christian era, but has again
+turned towards the sharp-pointed, vigorous
+leaf of the Greeks. Its lobes are divided
+into three or five tines, each sharp
+at the tip; its centre lines, radiating from
+a central stem, bend like flames; its surfaces
+are concave, with deep V cutting,
+and it has one very marked peculiarity,
+that is, that as far as possible no tine is
+left displayed alone on the ground, but
+the tip of each is made to touch either
+the tip of a neighboring tine or the ribbon
+or moulding bounding the space in
+which the ornament occurs. The tines
+are of nearly equal size throughout, and
+the spaces of ground left by the ornament
+are also of comparatively equal
+size, and if possible symmetrically
+grouped. The one almost universal
+moulding is decorated with acanthus
+units, and the capitals have acanthus
+leaves around their bells. These caps
+are of two types. One, that is manifestly
+an adaptation of a classic cap, is a
+union of an Ionic and a Corinthian, or
+at other times of a Roman Doric and a
+Corinthian capital. The other is peculiar
+to Byzantine work, and is that shown
+in Plates XXI. to XXIV. in the last number.
+This cap, as at S. Vitale, is often
+supplemented by another plainer cap
+above. The lower cap has its faces
+decorated with scrolls, acanthus wreaths,
+etc., and usually the corners are strengthened
+with a decorative unit, leaf or other
+motive.</p>
+
+<p>The difference between the Byzantine
+and the Romanesque arises from the
+differences of the races and their environments.
+The art of seaport towns, when
+Commerce was most largely carried on by
+sea, much more nearly resembled the art
+of some great commercial centre on the
+seaboard than it did that of its own neighbors
+inland.</p>
+
+<p>The art of the seaboard cities in
+Europe was, then, for many years a borrowed
+art from the East, as their people
+were to great extent Eastern colonists.
+It was carried on with a full knowledge
+of constructive methods, and a facility in
+obtaining materials that the inland towns
+did not possess; and in consequence it
+is along the seaboard that is to be found
+the persistence of the Byzantine influence.
+On the other hand, the interior
+was peopled by descendants of Ostrogothic
+tribes mingling with numberless
+local peoples. Whatever they touch is
+necessarily crude at first, but constantly
+gaining as they gain facility in working.
+A precedent of some kind they must
+have, and they find it close at hand in
+the Roman basilicas. Uncertain, from
+the result of woful experiments, of arches
+of great span, they pack their columns
+close together and surmount them with
+sturdy little arches that have scarcely any
+thrust. This arcade of heavy columns
+carrying absurdly disproportionate arches
+is their only motive, and applied inside
+between aisles and nave, and outside in
+successive stories rising one above
+another. As the masons begin better to
+understand their art, the span of the arch
+increases, though a large arch for some
+time does duty merely as a discharging
+arch, and has smaller arches beneath and
+within it. The capitals, at first crude
+imitations of classic prototypes, soon
+become the field for the grotesque imagination
+of the workmen, and each
+differs from the other and is a mass
+of light and shade shot with all sorts
+of uncouth fancies. Wherever, for
+some constructive reason, a column
+is omitted against a wall, the capital
+becomes a corbel, carrying the arches.
+In many cases the corbels alone are
+used, and an arcaded corbel course
+becomes the favorite termination of a
+wall in the place of a classic entablature.
+Finally the arches are omitted, and the
+corbels alone support the eaves.</p>
+
+<p>It will be noticed that while the Byzantine
+decorated the interior of the
+churches, the Romanesque builder
+merely constructed the interior and
+wrought out the most of his design upon
+the facade. As a large arch was to him for<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span>
+a long time a <i>tour de force</i>, he naturally
+beautified the necessarily large entrance,
+and the beginning of the development
+of the beautiful Gothic portals is seen in
+the early Romanesque churches.</p>
+
+<p>The Romanesque is an architecture of
+inertia, with arches heavily weighted by
+great masses of wall, and with broadly
+contrasting masses of light and shade.
+It does not depend for its effect upon
+intellectual quality beyond a rigorous
+sense of simplicity, or upon refinement of
+conception or detail, but rather upon
+size, picturesque mass, and staccato light
+and shade. The proportion of capital to
+column in quantity of surface was very
+slight. The proportion of voussoirs to
+arches naturally depended upon the size
+of the arch,&mdash;large voussoirs to large
+arches, small voussoirs to small arches.
+Columns were only grouped around piers
+and on either side of openings; and
+lastly, the natural development of the
+column in Romanesque work was toward
+attenuation,&mdash;the later and the better
+the work, the more slender became the
+columns, until at last they were merged
+into the Gothic multiple-columned
+piers. The carving upon the arch-mouldings
+is, to a great extent, geometric,
+consisting of numerous facets cut in
+the stone, lozenges, etc.; the so-called
+dogtooth moulding is a very favorite form
+of decoration. All these carved mouldings
+were picked out in color, usually in
+red and green. The acanthus in the
+Romanesque has lost much of its vigor,
+is flat, heavy-tipped, round-edged, and
+scratched with V-cuts, and the vine is
+the leaf preferred by designers. Frequently
+masses of wall are cut in geometric
+diaper patterns, also touched with
+color. Borders are not broad; and
+circular forms, except in the arches, are
+seldom used. Romanesque was a barbaric
+art at the best, and has the usual
+virtue of the barbarian,&mdash;a directness
+of attack at the problem in hand and a
+simplicity in treating it which is invigorating
+to see.</p>
+
+
+
+<div class="figcenter" style="width: 178px;">
+<a href="images/plate25.jpg">
+<img src="images/plate25tn.jpg" width="178" height="271" alt="XXV. Window in the Church of S. Teresia, Trani, Italy." title="XXV. Window in the Church of S. Teresia, Trani, Italy." />
+<span class="caption">XXV. Window in the Church of S. Teresia, Trani, Italy.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 162px;">
+<a href="images/plate26.jpg">
+<img src="images/plate26tn.jpg" width="162" height="259" alt="XXVI. Window in the Church of S. Teresia, Trani, Italy." title="XXVI. Window in the Church of S. Teresia, Trani, Italy." />
+<span class="caption">XXVI. Window in the Church of S. Teresia, Trani, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXV. and XXVI.</h4>
+
+<h4>WINDOWS IN THE CHURCH OF S. TERESIA,
+TRANI, ITALY.</h4>
+
+<p>These two windows have very little to
+suggest Byzantine influence in their
+design. The form and detail are essentially
+Romanesque, although there is a
+certain crispness and piquancy of treatment
+in the first (Plate XXV.) which belongs
+to the Byzantine work.</p>
+
+
+
+<div class="figcenter" style="width: 177px;">
+<a href="images/plate27.jpg">
+<img src="images/plate27tn.jpg" width="177" height="275" alt="XXVII. Window in the Fa&ccedil;ade of the Basilica at Altamura, Italy." title="XXVII. Window in the Fa&ccedil;ade of the Basilica at Altamura, Italy." />
+<span class="caption">XXVII. Window in the Fa&ccedil;ade of the Basilica at Altamura, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXVII.</h4>
+
+<h4>WINDOW IN THE FACADE OF THE BASILICA
+AT ALTAMURA, ITALY.</h4>
+
+<p>The employment of grotesque beasts
+supporting the columns at each side of
+this window is a very common device
+in the Italian Romanesque work. The
+use of a reversed capital in place of a
+base for the centre column is also a
+peculiar treatment frequently found in
+Romanesque work.</p>
+
+
+
+<div class="figcenter" style="width: 232px;">
+<a href="images/plate28.jpg">
+<img src="images/plate28tn.jpg" width="232" height="175" alt="XXVIII. Windows in the Fa&ccedil;ade of S. Gregorio, Bari, Italy." title="XXVIII. Windows in the Fa&ccedil;ade of S. Gregorio, Bari, Italy." />
+<span class="caption">XXVIII. Windows in the Fa&ccedil;ade of S. Gregorio, Bari, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXVIII.</h4>
+
+<h4>WINDOWS IN THE FACADE OF S. GREGORIO,
+BARI, ITALY.</h4>
+
+
+
+<div class="figcenter" style="width: 175px;">
+<a href="images/plate29.jpg">
+<img src="images/plate29tn.jpg" width="175" height="244" alt="XXIX. Triforium Window in the Church of S. Gregorio, Bari, Italy." title="XXIX. Triforium Window in the Church of S. Gregorio, Bari, Italy." />
+<span class="caption">XXIX. Triforium Window in the Church of S. Gregorio, Bari, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXIX.</h4>
+
+<h4>TRIFORIUM WINDOW IN THE CHURCH OF S. GREGORIO,
+BARI, ITALY.</h4>
+
+<p>The Byzantine architects used pierced
+stonework with great effect both in exterior
+and interior detail. The examples
+here shown are rather crude, but effective
+in the relative scale of parts.</p>
+
+
+
+<div class="figcenter" style="width: 180px;">
+<a href="images/plate30.jpg">
+<img src="images/plate30tn.jpg" width="180" height="277" alt="XXX. Window in the Apse of the Cathedral, Bari, Italy." title="XXX. Window in the Apse of the Cathedral, Bari, Italy." />
+<span class="caption">XXX. Window in the Apse of the Cathedral, Bari, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXX.</h4>
+
+<h4>WINDOW IN THE APSE OF THE CATHEDRAL,
+BARI, ITALY.</h4>
+
+<p>The ornament about this window,
+especially that in the long panel below it
+and upon the cyma of the soffit above, is
+Byzantine in character, while the columns,
+with the exception of the capital of the
+one at the left, are much more Romanesque.</p>
+
+
+
+<div class="figcenter" style="width: 190px;">
+<a href="images/plate31.jpg">
+<img src="images/plate31tn.jpg" width="190" height="259" alt="XXXI. A Window in Bittonto, Italy." title="XXXI. A Window in Bittonto, Italy." />
+<span class="caption">XXXI. A Window in Bittonto, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXXI.</h4>
+
+<h4>A WINDOW IN BITTONTO, ITALY.</h4>
+
+<p>This is not an especially beautiful
+example, but is an illustration of the direct
+and vigorous treatment of the early
+barbarian Romanesque builders.</p>
+
+
+
+<div class="figcenter" style="width: 157px;">
+<a href="images/plate32.jpg">
+<img src="images/plate32tn.jpg" width="157" height="256" alt="XXXII. Window in the Apse of the Cathedral, Bittonto, Italy." title="XXXII. Window in the Apse of the Cathedral, Bittonto, Italy." />
+<span class="caption">XXXII. Window in the Apse of the Cathedral, Bittonto, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXXII.</h4>
+
+<h4>WINDOW IN THE APSE OF THE CATHEDRAL,
+BITTONTO, ITALY.</h4>
+
+<p>In this case the beautiful and delicate
+Byzantine leafage can be seen on the
+mouldings of the arch above the window.
+As in several of the preceding
+examples, there is a curious mixture of
+the two styles.<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<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>Several weeks ago the stock of back
+numbers of <span class="smcap">The Brochure Series</span> held
+to fill subscription orders was exhausted,
+and in future all subscriptions will have
+to be dated from the number current at
+the time the subscription is placed. All
+who wish to have the remaining numbers
+of this year should subscribe at once, as
+no back numbers will be kept in stock.
+The edition has been increased to 7,000
+copies, and if the present rate of growth
+in the subscription department holds will
+shortly have to be doubled.</p>
+
+<hr style='width: 45%;' />
+
+<p>The judges in the recent competition
+for the Rotch Travelling Scholarship,
+Messrs. Cass Gilbert, George B. Post, and
+Frank Miles Day, have awarded the
+scholarship to William S. Aldrich. Mr.
+Aldrich has taken the examinations this
+year for the first time, although several of
+his unsuccessful rivals for the honor have
+entered before in years past. He has
+been for some time in the office of Mr.
+C.&nbsp;H. Blackall, and has been engaged
+upon important work, such as the new
+Tremont Temple, which is now approaching
+completion.</p>
+
+<p>In 1884 he entered the Department of
+Architecture at the Massachusetts Institute
+of Technology, and completed the
+two years' special course in 1887, and
+then went to the office of Mr. John Calvin
+Stevens in Portland, Me. He afterwards
+worked in the Boston office of McKim,
+Mead &amp; White, and in the office
+of Peabody &amp; Stearns, where he was engaged
+upon the drawings for the buildings
+at the World's Fair. As will be seen, he
+has had a varied experience and is well
+equipped to make the best use of his opportunities
+for the next two years.</p>
+
+<p>It has been the custom in recent years
+with the winners of the scholarship to delay
+their departure until midsummer or
+early fall, but Mr. Aldrich proposes to
+start in June. His plan of work has not
+yet been entirely fixed, but he will probably
+spend a large part of his time in
+Italy, working in conjunction with the
+American atelier at Rome.</p>
+
+<hr style='width: 45%;' />
+
+<p>The three other scholarships in which
+the same problem in design was employed
+have also been awarded. For the
+McKim Fellowship of Columbia College
+ten designs were submitted. The award
+was made to Mr. John Russell Pope of
+New York, a graduate from the school in
+the class of 1894. The Roman Scholarship
+was also awarded to Mr. Pope. In
+the competition for the latter twenty-three
+designs were entered, and besides
+the first award honorable mention was
+given to Mr. Henry E. Emery of Nyack,
+N.&nbsp;Y., Mr. Fellows of Chicago, and Mr.
+Bossange and Mr. Ayres of New York,
+graduates of Columbia College, and to
+Mr. Percy Ash of Philadelphia.</p>
+
+<p>In the University of Pennsylvania
+Scholarship in Architecture there were
+six competitors, and the award was made
+to Mr. Percy Ash, a graduate of the University.
+Mr. Ash has also had several
+years' practical experience in the best offices
+of Philadelphia, such as those of
+Cope &amp; Stewardson and Frank Miles Day
+&amp; Bro.</p>
+
+<p>Mr. H.&nbsp;L. Duhring, Jr., of the Senior
+class in the University, was given second
+place.</p>
+
+<hr style='width: 45%;' />
+
+<p>The <i>American Architect</i>, in an interesting
+notice of the recent exhibition of the
+Boston Society of Architects and Boston
+Architectural Club, takes the occasion to
+comment unfavorably upon the disfigurement
+of the catalogue by advertisements,
+which it says are "most excellent things
+in their proper place, but wholly out of
+place in an exhibition catalogue." Why
+this is so it is hard to see, unless the <i>Architect</i>
+believes that there is not advertising
+enough to go round, and that it should
+all be reserved for the trade and professional
+papers. At all events this is
+"kicking against the pricks," for it is
+well known that the expenses of such exhibitions
+cannot be met without some<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span>
+outside assistance, and the most feasible
+plan that has been found for making
+both ends meet is to interest the dealers
+in materials used in the buildings represented
+in the exhibitions. As these dealers
+are seldom named on the drawings
+exhibited, it seems proper that some return
+should be made for their most valuable
+assistance, without which the exhibition
+would not be possible.</p>
+
+<p>The <i>Architect</i> further says: "The
+position taken by the St. Louis Chapter
+A.&nbsp;I.&nbsp;A. was the proper and dignified
+one, and it ought to be followed elsewhere.
+The catalogue of their recent
+exhibition, although a much more costly
+one than either the Boston or the League
+catalogue, contains not a line of advertising
+matter." This is certainly an amusing
+misstatement. Instead of "not a
+line," this catalogue has more space devoted
+to advertising than any of the others
+mentioned. What it would have been
+without its sixty-four pages of advertising,
+yielding an income of at least $50 a
+page, we leave others to figure out.
+Some of these pages we should prefer to
+see treated differently, as they do detract
+from the illustrations which they face, and
+they are sprinkled full of water-closets,
+radiators, bath-tubs, and various other
+building appliances not especially artistic
+in their suggestiveness. Still there is
+considerable taste and care evinced in
+the arrangement of many of the pages,
+and they are well printed on good paper.
+Possibly this accounts for the failure of
+the <i>Architect</i> to recognize them as advertisements.</p>
+
+<p>The dignified course, it seems to us,
+is that followed by the committee of the
+Boston exhibition. In this case a certain
+number of pages was reserved in the
+catalogue to be devoted to advertising,
+and the houses to be represented were
+given to understand that all would be
+treated alike. No cuts would be used,
+and the pages would all be set in type of
+uniform style, thus insuring a desirable
+ensemble. We think that the advertising
+when well presented adds to, rather than
+detracts from, the interest of a catalogue.
+Our only desire is to see it done in good
+taste. The display of plumbing apparatus
+and all manner of building appliances
+we do not consider in good taste
+in this place.</p>
+
+<p>The secretaries of a number of the
+architectural clubs have very kindly responded
+to our request for notices and reports
+of their meetings and proceedings,
+and we are pleased to be able to give
+short reports of such occurrences as
+are of general interest. There are
+some clubs, however, from whom we have
+not yet heard, and we would suggest that
+it will be a help to all concerned if the
+secretaries of all the architectural clubs
+will furnish us with short accounts of their
+regular meetings and of any other occasions
+of importance. We shall be pleased
+also to publish any correspondence which
+will in any way further the interests of
+these organizations. We shall be glad to
+have <span class="smcap">The Brochure Series</span> considered as
+the organ of communication between the
+various clubs, and will place our services
+at their command.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Books" id="Books"></a>Books.</h2>
+
+
+<p class="indented"><i>Examples of Colonial Architecture in
+Charleston, S.&nbsp;C., and Savannah, Ga.</i>
+Compiled, photographed, and published
+by Edward A. Crane and E.&nbsp;E. Soderholtz,
+Boston Architectural Club, Boston.
+50 plates, 11 x 14. $12.50.</p>
+
+<p>How much the revival of the classic
+influence of the early colonial and the
+immediately succeeding period is going
+to prevail in the establishment of a distinctive
+American style of architecture it
+is now difficult or indeed impossible to
+determine; but at all events the reaction
+from the Queen Anne vagaries of ten
+years ago to the more severe mass and
+chaste detail of the recent so-called colonial
+houses is a step in the right direction,
+and we have much to be thankful
+for in the improvement which this tendency
+has wrought in our recent domestic
+architecture. Beautiful and admirable
+as some of the recent examples of this
+work are, very few show the subtle appreciation
+of design to be found in many of
+the older buildings which until the last
+year or two have been looked upon as
+merely the outgrown and cast-off work of
+an age much less refined than our own.</p>
+
+<p>With the very general adoption of this
+style there has been an increased interest<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span>
+in the few remaining fine old examples
+which are scattered over the Eastern and
+Middle States, and the best of these are
+now familiar to architects.</p>
+
+<p>Few, however, know anything of the
+development of this style in the Southern
+States, and the work now before us will
+be a revelation to those who have not
+visited the neighborhood of Charleston
+and Savannah.</p>
+
+<p>A large proportion of the plates is devoted
+to Charleston, which owes its wealth
+and in fact the greater part of its existence
+to the prosperous planters of
+former days, who made the city a winter
+resort.</p>
+
+<p>The most notable house illustrated in
+the work is the William Bull Pringle
+house, built by Miles Brewton in 1760. It
+has long been famous as one of the finest
+houses in the country. Josiah Quincy,
+who was entertained by its first owner,
+speaks in enthusiastic terms of its beauty
+and the charm of its surroundings. Fourteen
+plates are devoted to illustrating its
+various features. The two-story portico
+with a Doric order below and Ionic
+above, relieved against the brick front laid
+in Flemish bond, the simple but well-designed
+iron fence, flanked on either side
+by a wall with massive brick posts covered
+with plaster, and all overgrown with a
+tangle of foliage, make up a fascinating
+picture. The view of the side gateway
+and a group of darky boys is wonderfully
+picturesque, besides being very suggestive
+as an architectural fragment.</p>
+
+<p>The detail is delicate and refined, but
+as a rule lacks the force and vitality of
+the Northern work of the same period.
+The interior detail shows a marked
+French influence, especially in the ceilings,
+mantels, and stairway. The drawing-room,
+of which a double plate is given,
+is probably without doubt the finest colonial
+room in the country, and is certainly
+a fine piece of design all through.</p>
+
+<p>One feature in planning which seems
+to be peculiar to this region, as it is not
+found in the houses at the North, is the
+location of the drawing-room, which is
+here on the second floor, usually extending
+entirely across the front of the house.
+There is seldom, however, any indication
+of this in the facade by a distinctive
+treatment of the second story. But the
+effect is seen in the interior by the greater
+importance naturally given to the staircase
+hall.</p>
+
+<p>The Gibbs house, built in 1752, which
+is shown by several plates, is also very attractive.
+The two interior doorways
+shown on one plate are among the most
+refined that we can remember.</p>
+
+<p>The entrance and staircase hall of the
+Gov. Bennett house will bear comparison
+with anything of its class to be found, and
+the plates showing it will be of especial
+value for interior work.</p>
+
+<p>The Bull house is of a type apparently
+common in the older work of this region.
+It is square and covered with a hip roof.
+The front is divided into three bays, the
+centre and wider one crowned with a low
+gable or pediment. The main floor is
+high, leaving a basement below and no
+cellar; and the front door, an illustration
+of which we give herewith, is reached by
+a double flight of steps protected by an
+iron railing. Many of the houses are
+provided with high fences and massive
+gateposts. A number of the plates give
+fine examples of these and several very
+interesting pieces of iron work.</p>
+
+<div class="figcenter" style="width: 297px;">
+<img src="images/image1.jpg" width="297" height="375" alt="Doorway to the Bull House, Charleston." title="Doorway to the Bull House, Charleston." />
+<span class="caption">Doorway to the Bull House, Charleston.</span>
+</div>
+
+<p>Of the churches, St. Michael's and St.
+Philip's in Charleston are selected. The
+former was built in 1760, and is attributed
+to the English architect, Gibbs, who is
+also credited with the old Archdale
+house, with how good authority we do
+not know.<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span></p>
+
+<p>On the whole, the choice of material is
+excellent. There is a large number of
+plates of detail which for architects' use
+are always the most valuable, and the
+work of the photographer and printer has
+been done unusually well.</p>
+
+<hr style='width: 45%;' />
+
+<p class="indented"><i>Catalogue of the Joint Exhibition of the
+Boston Society of Architects and the
+Boston Architectural Club, April 15 to
+21, 1895.</i> Boston: Published for the
+exhibition by Bates &amp; Guild. 96 pp.,
+36 illustrations. 35 cents.</p>
+
+<p>A continuation of the general subject
+of exhibition catalogues touched upon in
+our last issue as far as it relates to the
+catalogue of the Boston Architectural Exhibition.
+The exhibition itself is quite
+small comparatively speaking, including
+only three hundred and twenty-five numbers,
+but, as the illustrations in the catalogue
+show, is widely representative and
+of a high grade of excellence. The contributions
+are very largely confined to
+members of the two societies under whose
+management the exhibition is held.
+This tends to give a somewhat local
+character to the exhibition as a whole.
+Still there is a sufficient number of important
+contributions from outside to
+make a quite respectable showing.</p>
+
+<p>The selection of illustrations, the only
+ground upon which there is excuse for
+reviewing the publication, is unquestionably
+good. There are thirty-six in all,
+covering a wide range of subjects treated
+in a variety of ways. The reproductions
+are unusually good, and the book is neatly
+and well printed on good paper. The
+cover, designed by Mr. George G. Will,
+is especially attractive and good in design.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Club_Notes" id="Club_Notes"></a>Club Notes.</h2>
+
+
+<p>Recruits in the already very considerable
+list of architectural clubs are still
+coming to the front. The latest to be
+heard from is the Architectural Club of
+San Francisco, which was organized on
+Feb. 26 with fourteen members, some of
+whom were members of the old Sketch
+Club of San Francisco. It is growing in
+membership, and gives promise of a bright
+future. Rooms have been secured in
+the Menisini Building, 231 Post Street.
+Meetings are held on the first Monday of
+each month, and a paper is read and the
+designs submitted in the monthly competitions
+are criticised and the awards
+announced. The first club exhibition will
+be held April 26. Mr. Loring P. Rixford,
+Room 24, Menisini Building, 231 Post
+Street, San Francisco, is secretary.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Brochure_Series_Competitions" id="Brochure_Series_Competitions"></a>Brochure Series Competitions.</h2>
+
+
+<p>From time to time, as opportunity
+offers, competitions in design will be
+conducted by <span class="smcap">The Brochure Series</span>. An
+upright or cabinet piano case, the subject
+of the first one, badly needs the attention
+of good designers.</p>
+
+<p>The Henry F. Miller &amp; Sons Piano
+Company of Boston have, for several
+years, made steady advancement in the
+artistic qualities of their piano cases.
+They have equipped their factory with a
+view to special work, and have unusually
+good facilities for getting out pianos to
+order, carrying out, architects' sketches or
+those of their own designers to harmonize
+with different styles of interior decoration.</p>
+
+<p>It is their idea to encourage the special
+designing of piano cases, and to this end
+they have placed with the publishers
+fifty dollars to be divided into prizes for
+such designs. Only sketches will be required,
+their object being not to use the
+designs further than to publish the best,
+but to get designers to give a little attention
+to this particular problem, and so do
+a little towards creating an interest in the
+better design of piano cases. Full particulars,
+including a structural diagram
+and a statement of the technical requirements
+and limitations, will be announced
+in our next issue.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Personal" id="Personal"></a>Personal.</h2>
+
+
+<p>As usual at this season, a number of
+architects and draughtsmen are planning
+to go abroad; some for only a few
+months, and others for a longer time.
+Among these are Messrs. H.&nbsp;T. Pratt,
+Matthew Sullivan, C.&nbsp;D. Maginnis, and
+H.&nbsp;C. Dunham, of Boston, and E.&nbsp;K. Taylor
+and H.&nbsp;L. Jones of New York.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 04, April 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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+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 04, April 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. 04, April 1895
+       Byzantine-Romanesque Windows in Southern Italy
+
+Author: Various
+
+Release Date: September 13, 2006 [EBook #19262]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** 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
+
+
+
+
+
+
+
+
+
+THE BROCHURE SERIES
+
+OF ARCHITECTURAL ILLUSTRATION.
+
+
+VOL. I. APRIL, 1895. No. 4.
+
+
+BYZANTINE-ROMANESQUE WINDOWS IN
+SOUTHERN ITALY.
+
+
+The collection of photographs from which the plates in this and the
+February number were selected was only recently made under the direction
+of Signor Boni, an official of the Italian government, charged with the
+care and restoration of historic monuments.
+
+The province of Apulia has been so little invaded by the march of modern
+improvement, and its present inhabitants are, as a rule, so poor, that
+it is difficult to travel here except on the line of a few main
+thoroughfares, and strangers seldom visit more than one or two of the
+principal towns on the coast. Bari and Brindisi are known to tourists,
+as they are in the line of travel to and from Greece, but the inland
+towns are isolated in a barren priest-ridden country in which strangers
+are not welcome. The hardships which it is necessary to face deter all
+but the most adventurous even of the Italians, familiar with the
+language and manners of the people. Architects seldom visit this
+neighborhood, and little is known of its rich treasure of mediaeval
+buildings, except through the few published works treating of it. Signor
+Boni expressed himself as surprised at the great amount of beautiful
+work scattered through this region, of which he previously had no
+knowledge. The opinion of Fergusson has already been quoted in the
+preceding article.
+
+The mixture in the work here illustrated of Byzantine and Romanesque
+elements has also been referred to in the preceding article, but the
+special characteristics of each style were not particularly pointed out.
+In the present consideration the peculiarities of detail and ornament
+are all that need be taken up, as the views given furnish no opportunity
+for the study of plan or general design. The derivation of the Byzantine
+style was indicated in the March number of THE BROCHURE SERIES in
+describing the Ravenna capitals there illustrated.
+
+Byzantine conventional ornament appears to be of two types,--the one
+usually used in mosaics, of thin scrolls, terminating in flowers or
+symbols, displayed upon a ground which is much greater in quantity than
+is the ornament; the other, usually confined to sculpture, an intricate
+interlace of ribbon lines with spaces filled with Byzantine acanthus,
+the ornament much greater in proportion than the ground, which only
+shows in small separate pieces. Apart from these are the borders,
+occasionally of overlapping leaves, often of small repeated units, such
+as Greek crosses and squares and diamonds, or else meanders or
+guilloches. The guilloche takes a new form in Byzantine design, and
+instead of being a continuous succession of small circles enclosed in an
+interlacing ribbon, it assumes the form of alternating small and large
+circles, or of small circles alternating with large squares, and often
+progressing in both directions at once, horizontally and
+perpendicularly, and thus forming an all-over pattern. The roses of
+ornament are often incorporated into this form of guilloche. Sculpture
+of the human form becomes more and more feeble and crude. The acanthus,
+however, went steadily through successive variation until it attained
+the virile form seen in the best Byzantine work. It is no longer the
+olive type of the Romans, or the heavy, stupid leaf of the earlier
+centuries of the Christian era, but has again turned towards the
+sharp-pointed, vigorous leaf of the Greeks. Its lobes are divided into
+three or five tines, each sharp at the tip; its centre lines, radiating
+from a central stem, bend like flames; its surfaces are concave, with
+deep V cutting, and it has one very marked peculiarity, that is, that as
+far as possible no tine is left displayed alone on the ground, but the
+tip of each is made to touch either the tip of a neighboring tine or the
+ribbon or moulding bounding the space in which the ornament occurs. The
+tines are of nearly equal size throughout, and the spaces of ground left
+by the ornament are also of comparatively equal size, and if possible
+symmetrically grouped. The one almost universal moulding is decorated
+with acanthus units, and the capitals have acanthus leaves around their
+bells. These caps are of two types. One, that is manifestly an
+adaptation of a classic cap, is a union of an Ionic and a Corinthian, or
+at other times of a Roman Doric and a Corinthian capital. The other is
+peculiar to Byzantine work, and is that shown in Plates XXI. to XXIV. in
+the last number. This cap, as at S. Vitale, is often supplemented by
+another plainer cap above. The lower cap has its faces decorated with
+scrolls, acanthus wreaths, etc., and usually the corners are
+strengthened with a decorative unit, leaf or other motive.
+
+The difference between the Byzantine and the Romanesque arises from the
+differences of the races and their environments. The art of seaport
+towns, when Commerce was most largely carried on by sea, much more
+nearly resembled the art of some great commercial centre on the
+seaboard than it did that of its own neighbors inland.
+
+The art of the seaboard cities in Europe was, then, for many years a
+borrowed art from the East, as their people were to great extent Eastern
+colonists. It was carried on with a full knowledge of constructive
+methods, and a facility in obtaining materials that the inland towns did
+not possess; and in consequence it is along the seaboard that is to be
+found the persistence of the Byzantine influence. On the other hand, the
+interior was peopled by descendants of Ostrogothic tribes mingling with
+numberless local peoples. Whatever they touch is necessarily crude at
+first, but constantly gaining as they gain facility in working. A
+precedent of some kind they must have, and they find it close at hand in
+the Roman basilicas. Uncertain, from the result of woful experiments, of
+arches of great span, they pack their columns close together and
+surmount them with sturdy little arches that have scarcely any thrust.
+This arcade of heavy columns carrying absurdly disproportionate arches
+is their only motive, and applied inside between aisles and nave, and
+outside in successive stories rising one above another. As the masons
+begin better to understand their art, the span of the arch increases,
+though a large arch for some time does duty merely as a discharging
+arch, and has smaller arches beneath and within it. The capitals, at
+first crude imitations of classic prototypes, soon become the field for
+the grotesque imagination of the workmen, and each differs from the
+other and is a mass of light and shade shot with all sorts of uncouth
+fancies. Wherever, for some constructive reason, a column is omitted
+against a wall, the capital becomes a corbel, carrying the arches. In
+many cases the corbels alone are used, and an arcaded corbel course
+becomes the favorite termination of a wall in the place of a classic
+entablature. Finally the arches are omitted, and the corbels alone
+support the eaves.
+
+It will be noticed that while the Byzantine decorated the interior of
+the churches, the Romanesque builder merely constructed the interior and
+wrought out the most of his design upon the facade. As a large arch was
+to him for a long time a _tour de force_, he naturally beautified the
+necessarily large entrance, and the beginning of the development of the
+beautiful Gothic portals is seen in the early Romanesque churches.
+
+The Romanesque is an architecture of inertia, with arches heavily
+weighted by great masses of wall, and with broadly contrasting masses of
+light and shade. It does not depend for its effect upon intellectual
+quality beyond a rigorous sense of simplicity, or upon refinement of
+conception or detail, but rather upon size, picturesque mass, and
+staccato light and shade. The proportion of capital to column in
+quantity of surface was very slight. The proportion of voussoirs to
+arches naturally depended upon the size of the arch,--large voussoirs to
+large arches, small voussoirs to small arches. Columns were only grouped
+around piers and on either side of openings; and lastly, the natural
+development of the column in Romanesque work was toward
+attenuation,--the later and the better the work, the more slender became
+the columns, until at last they were merged into the Gothic
+multiple-columned piers. The carving upon the arch-mouldings is, to a
+great extent, geometric, consisting of numerous facets cut in the stone,
+lozenges, etc.; the so-called dogtooth moulding is a very favorite form
+of decoration. All these carved mouldings were picked out in color,
+usually in red and green. The acanthus in the Romanesque has lost much
+of its vigor, is flat, heavy-tipped, round-edged, and scratched with
+V-cuts, and the vine is the leaf preferred by designers. Frequently
+masses of wall are cut in geometric diaper patterns, also touched with
+color. Borders are not broad; and circular forms, except in the arches,
+are seldom used. Romanesque was a barbaric art at the best, and has the
+usual virtue of the barbarian,--a directness of attack at the problem in
+hand and a simplicity in treating it which is invigorating to see.
+
+
+
+
+[Illustration: XXV. Window in the Church of S. Teresia, Trani, Italy.]
+
+[Illustration: XXVI. Window in the Church of S. Teresia, Trani, Italy.]
+
+
+XXV. and XXVI.
+
+WINDOWS IN THE CHURCH OF S. TERESIA, TRANI, ITALY.
+
+These two windows have very little to suggest Byzantine influence in
+their design. The form and detail are essentially Romanesque, although
+there is a certain crispness and piquancy of treatment in the first
+(Plate XXV.) which belongs to the Byzantine work.
+
+
+
+
+[Illustration: XXVII. Window in the Facade of the Basilica at Altamura,
+Italy.]
+
+
+XXVII.
+
+WINDOW IN THE FACADE OF THE BASILICA AT ALTAMURA, ITALY.
+
+The employment of grotesque beasts supporting the columns at each side
+of this window is a very common device in the Italian Romanesque work.
+The use of a reversed capital in place of a base for the centre column
+is also a peculiar treatment frequently found in Romanesque work.
+
+
+
+
+[Illustration: XXVIII. Windows in the Facade of S. Gregorio, Bari,
+Italy.]
+
+
+XXVIII.
+
+WINDOWS IN THE FACADE OF S. GREGORIO, BARI, ITALY.
+
+
+
+
+[Illustration: XXIX. Triforium Window in the Church of S. Gregorio,
+Bari, Italy.]
+
+
+XXIX.
+
+TRIFORIUM WINDOW IN THE CHURCH OF S. GREGORIO, BARI, ITALY.
+
+The Byzantine architects used pierced stonework with great effect both
+in exterior and interior detail. The examples here shown are rather
+crude, but effective in the relative scale of parts.
+
+
+
+
+[Illustration: XXX. Window in the Apse of the Cathedral, Bari, Italy.]
+
+
+XXX.
+
+WINDOW IN THE APSE OF THE CATHEDRAL, BARI, ITALY.
+
+The ornament about this window, especially that in the long panel below
+it and upon the cyma of the soffit above, is Byzantine in character,
+while the columns, with the exception of the capital of the one at the
+left, are much more Romanesque.
+
+
+
+
+[Illustration: XXXI. A Window in Bittonto, Italy.]
+
+
+XXXI.
+
+A WINDOW IN BITTONTO, ITALY.
+
+This is not an especially beautiful example, but is an illustration of
+the direct and vigorous treatment of the early barbarian Romanesque
+builders.
+
+
+
+
+[Illustration: XXXII. Window in the Apse of the Cathedral, Bittonto,
+Italy.]
+
+
+XXXII.
+
+WINDOW IN THE APSE OF THE CATHEDRAL, BITTONTO, ITALY.
+
+In this case the beautiful and delicate Byzantine leafage can be seen on
+the mouldings of the arch above the window. As in several of the
+preceding examples, there is a curious mixture of the two styles.
+
+
+
+
+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.
+
+Entered at the Boston Post Office as Second-class Matter.
+
+       *       *       *       *       *
+
+Several weeks ago the stock of back numbers of THE BROCHURE SERIES held
+to fill subscription orders was exhausted, and in future all
+subscriptions will have to be dated from the number current at the time
+the subscription is placed. All who wish to have the remaining numbers
+of this year should subscribe at once, as no back numbers will be kept
+in stock. The edition has been increased to 7,000 copies, and if the
+present rate of growth in the subscription department holds will shortly
+have to be doubled.
+
+       *       *       *       *       *
+
+The judges in the recent competition for the Rotch Travelling
+Scholarship, Messrs. Cass Gilbert, George B. Post, and Frank Miles Day,
+have awarded the scholarship to William S. Aldrich. Mr. Aldrich has
+taken the examinations this year for the first time, although several of
+his unsuccessful rivals for the honor have entered before in years past.
+He has been for some time in the office of Mr. C. H. Blackall, and has
+been engaged upon important work, such as the new Tremont Temple, which
+is now approaching completion.
+
+In 1884 he entered the Department of Architecture at the Massachusetts
+Institute of Technology, and completed the two years' special course in
+1887, and then went to the office of Mr. John Calvin Stevens in
+Portland, Me. He afterwards worked in the Boston office of McKim, Mead &
+White, and in the office of Peabody & Stearns, where he was engaged upon
+the drawings for the buildings at the World's Fair. As will be seen, he
+has had a varied experience and is well equipped to make the best use of
+his opportunities for the next two years.
+
+It has been the custom in recent years with the winners of the
+scholarship to delay their departure until midsummer or early fall, but
+Mr. Aldrich proposes to start in June. His plan of work has not yet been
+entirely fixed, but he will probably spend a large part of his time in
+Italy, working in conjunction with the American atelier at Rome.
+
+       *       *       *       *       *
+
+The three other scholarships in which the same problem in design was
+employed have also been awarded. For the McKim Fellowship of Columbia
+College ten designs were submitted. The award was made to Mr. John
+Russell Pope of New York, a graduate from the school in the class of
+1894. The Roman Scholarship was also awarded to Mr. Pope. In the
+competition for the latter twenty-three designs were entered, and
+besides the first award honorable mention was given to Mr. Henry E.
+Emery of Nyack, N. Y., Mr. Fellows of Chicago, and Mr. Bossange and Mr.
+Ayres of New York, graduates of Columbia College, and to Mr. Percy Ash
+of Philadelphia.
+
+In the University of Pennsylvania Scholarship in Architecture there were
+six competitors, and the award was made to Mr. Percy Ash, a graduate of
+the University. Mr. Ash has also had several years' practical experience
+in the best offices of Philadelphia, such as those of Cope & Stewardson
+and Frank Miles Day & Bro.
+
+Mr. H. L. Duhring, Jr., of the Senior class in the University, was given
+second place.
+
+       *       *       *       *       *
+
+The _American Architect_, in an interesting notice of the recent
+exhibition of the Boston Society of Architects and Boston Architectural
+Club, takes the occasion to comment unfavorably upon the disfigurement
+of the catalogue by advertisements, which it says are "most excellent
+things in their proper place, but wholly out of place in an exhibition
+catalogue." Why this is so it is hard to see, unless the _Architect_
+believes that there is not advertising enough to go round, and that it
+should all be reserved for the trade and professional papers. At all
+events this is "kicking against the pricks," for it is well known that
+the expenses of such exhibitions cannot be met without some outside
+assistance, and the most feasible plan that has been found for making
+both ends meet is to interest the dealers in materials used in the
+buildings represented in the exhibitions. As these dealers are seldom
+named on the drawings exhibited, it seems proper that some return should
+be made for their most valuable assistance, without which the exhibition
+would not be possible.
+
+The _Architect_ further says: "The position taken by the St. Louis
+Chapter A. I. A. was the proper and dignified one, and it ought to be
+followed elsewhere. The catalogue of their recent exhibition, although a
+much more costly one than either the Boston or the League catalogue,
+contains not a line of advertising matter." This is certainly an amusing
+misstatement. Instead of "not a line," this catalogue has more space
+devoted to advertising than any of the others mentioned. What it would
+have been without its sixty-four pages of advertising, yielding an
+income of at least $50 a page, we leave others to figure out. Some of
+these pages we should prefer to see treated differently, as they do
+detract from the illustrations which they face, and they are sprinkled
+full of water-closets, radiators, bath-tubs, and various other building
+appliances not especially artistic in their suggestiveness. Still there
+is considerable taste and care evinced in the arrangement of many of the
+pages, and they are well printed on good paper. Possibly this accounts
+for the failure of the _Architect_ to recognize them as advertisements.
+
+The dignified course, it seems to us, is that followed by the committee
+of the Boston exhibition. In this case a certain number of pages was
+reserved in the catalogue to be devoted to advertising, and the houses
+to be represented were given to understand that all would be treated
+alike. No cuts would be used, and the pages would all be set in type of
+uniform style, thus insuring a desirable ensemble. We think that the
+advertising when well presented adds to, rather than detracts from, the
+interest of a catalogue. Our only desire is to see it done in good
+taste. The display of plumbing apparatus and all manner of building
+appliances we do not consider in good taste in this place.
+
+The secretaries of a number of the architectural clubs have very kindly
+responded to our request for notices and reports of their meetings and
+proceedings, and we are pleased to be able to give short reports of such
+occurrences as are of general interest. There are some clubs, however,
+from whom we have not yet heard, and we would suggest that it will be a
+help to all concerned if the secretaries of all the architectural clubs
+will furnish us with short accounts of their regular meetings and of any
+other occasions of importance. We shall be pleased also to publish any
+correspondence which will in any way further the interests of these
+organizations. We shall be glad to have THE BROCHURE SERIES considered
+as the organ of communication between the various clubs, and will place
+our services at their command.
+
+
+
+
+Books.
+
+
+_Examples of Colonial Architecture in Charleston, S. C., and Savannah,
+Ga._ Compiled, photographed, and published by Edward A. Crane and E. E.
+Soderholtz, Boston Architectural Club, Boston. 50 plates, 11 x 14.
+$12.50.
+
+How much the revival of the classic influence of the early colonial and
+the immediately succeeding period is going to prevail in the
+establishment of a distinctive American style of architecture it is now
+difficult or indeed impossible to determine; but at all events the
+reaction from the Queen Anne vagaries of ten years ago to the more
+severe mass and chaste detail of the recent so-called colonial houses is
+a step in the right direction, and we have much to be thankful for in
+the improvement which this tendency has wrought in our recent domestic
+architecture. Beautiful and admirable as some of the recent examples of
+this work are, very few show the subtle appreciation of design to be
+found in many of the older buildings which until the last year or two
+have been looked upon as merely the outgrown and cast-off work of an age
+much less refined than our own.
+
+With the very general adoption of this style there has been an
+increased interest in the few remaining fine old examples which are
+scattered over the Eastern and Middle States, and the best of these are
+now familiar to architects.
+
+Few, however, know anything of the development of this style in the
+Southern States, and the work now before us will be a revelation to
+those who have not visited the neighborhood of Charleston and Savannah.
+
+A large proportion of the plates is devoted to Charleston, which owes
+its wealth and in fact the greater part of its existence to the
+prosperous planters of former days, who made the city a winter resort.
+
+The most notable house illustrated in the work is the William Bull
+Pringle house, built by Miles Brewton in 1760. It has long been famous
+as one of the finest houses in the country. Josiah Quincy, who was
+entertained by its first owner, speaks in enthusiastic terms of its
+beauty and the charm of its surroundings. Fourteen plates are devoted to
+illustrating its various features. The two-story portico with a Doric
+order below and Ionic above, relieved against the brick front laid in
+Flemish bond, the simple but well-designed iron fence, flanked on either
+side by a wall with massive brick posts covered with plaster, and all
+overgrown with a tangle of foliage, make up a fascinating picture. The
+view of the side gateway and a group of darky boys is wonderfully
+picturesque, besides being very suggestive as an architectural fragment.
+
+The detail is delicate and refined, but as a rule lacks the force and
+vitality of the Northern work of the same period. The interior detail
+shows a marked French influence, especially in the ceilings, mantels,
+and stairway. The drawing-room, of which a double plate is given, is
+probably without doubt the finest colonial room in the country, and is
+certainly a fine piece of design all through.
+
+One feature in planning which seems to be peculiar to this region, as it
+is not found in the houses at the North, is the location of the
+drawing-room, which is here on the second floor, usually extending
+entirely across the front of the house. There is seldom, however, any
+indication of this in the facade by a distinctive treatment of the
+second story. But the effect is seen in the interior by the greater
+importance naturally given to the staircase hall.
+
+The Gibbs house, built in 1752, which is shown by several plates, is
+also very attractive. The two interior doorways shown on one plate are
+among the most refined that we can remember.
+
+The entrance and staircase hall of the Gov. Bennett house will bear
+comparison with anything of its class to be found, and the plates
+showing it will be of especial value for interior work.
+
+The Bull house is of a type apparently common in the older work of this
+region. It is square and covered with a hip roof. The front is divided
+into three bays, the centre and wider one crowned with a low gable or
+pediment. The main floor is high, leaving a basement below and no
+cellar; and the front door, an illustration of which we give herewith,
+is reached by a double flight of steps protected by an iron railing.
+Many of the houses are provided with high fences and massive gateposts.
+A number of the plates give fine examples of these and several very
+interesting pieces of iron work.
+
+[Illustration: Doorway to the Bull House, Charleston.]
+
+Of the churches, St. Michael's and St. Philip's in Charleston are
+selected. The former was built in 1760, and is attributed to the English
+architect, Gibbs, who is also credited with the old Archdale house, with
+how good authority we do not know.
+
+On the whole, the choice of material is excellent. There is a large
+number of plates of detail which for architects' use are always the most
+valuable, and the work of the photographer and printer has been done
+unusually well.
+
+       *       *       *       *       *
+
+_Catalogue of the Joint Exhibition of the Boston Society of Architects
+and the Boston Architectural Club, April 15 to 21, 1895._ Boston:
+Published for the exhibition by Bates & Guild. 96 pp., 36 illustrations.
+35 cents.
+
+A continuation of the general subject of exhibition catalogues touched
+upon in our last issue as far as it relates to the catalogue of the
+Boston Architectural Exhibition. The exhibition itself is quite small
+comparatively speaking, including only three hundred and twenty-five
+numbers, but, as the illustrations in the catalogue show, is widely
+representative and of a high grade of excellence. The contributions are
+very largely confined to members of the two societies under whose
+management the exhibition is held. This tends to give a somewhat local
+character to the exhibition as a whole. Still there is a sufficient
+number of important contributions from outside to make a quite
+respectable showing.
+
+The selection of illustrations, the only ground upon which there is
+excuse for reviewing the publication, is unquestionably good. There are
+thirty-six in all, covering a wide range of subjects treated in a
+variety of ways. The reproductions are unusually good, and the book is
+neatly and well printed on good paper. The cover, designed by Mr. George
+G. Will, is especially attractive and good in design.
+
+
+
+
+Club Notes.
+
+
+Recruits in the already very considerable list of architectural clubs
+are still coming to the front. The latest to be heard from is the
+Architectural Club of San Francisco, which was organized on Feb. 26 with
+fourteen members, some of whom were members of the old Sketch Club of
+San Francisco. It is growing in membership, and gives promise of a
+bright future. Rooms have been secured in the Menisini Building, 231
+Post Street. Meetings are held on the first Monday of each month, and a
+paper is read and the designs submitted in the monthly competitions are
+criticised and the awards announced. The first club exhibition will be
+held April 26. Mr. Loring P. Rixford, Room 24, Menisini Building, 231
+Post Street, San Francisco, is secretary.
+
+
+
+
+Brochure Series Competitions.
+
+
+From time to time, as opportunity offers, competitions in design will be
+conducted by THE BROCHURE SERIES. An upright or cabinet piano case, the
+subject of the first one, badly needs the attention of good designers.
+
+The Henry F. Miller & Sons Piano Company of Boston have, for several
+years, made steady advancement in the artistic qualities of their piano
+cases. They have equipped their factory with a view to special work, and
+have unusually good facilities for getting out pianos to order, carrying
+out, architects' sketches or those of their own designers to harmonize
+with different styles of interior decoration.
+
+It is their idea to encourage the special designing of piano cases, and
+to this end they have placed with the publishers fifty dollars to be
+divided into prizes for such designs. Only sketches will be required,
+their object being not to use the designs further than to publish the
+best, but to get designers to give a little attention to this particular
+problem, and so do a little towards creating an interest in the better
+design of piano cases. Full particulars, including a structural diagram
+and a statement of the technical requirements and limitations, will be
+announced in our next issue.
+
+
+
+
+Personal.
+
+
+As usual at this season, a number of architects and draughtsmen are
+planning to go abroad; some for only a few months, and others for a
+longer time. Among these are Messrs. H. T. Pratt, Matthew Sullivan,
+C. D. Maginnis, and H. C. Dunham, of Boston, and E. K. Taylor and H. L.
+Jones of New York.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 04, April 1895, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ***
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