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diff --git a/19262-h/19262-h.htm b/19262-h/19262-h.htm new file mode 100644 index 0000000..924ec3a --- /dev/null +++ b/19262-h/19262-h.htm @@ -0,0 +1,1403 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The Brochure Series of Architectural Illustration, Vol. 1, 1895, No. 4 + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .indented {text-indent: -3em; margin-left: 3em;} + + a {text-decoration: none;} + a[name] { position:absolute; } /* Fix Opera bug */ + + img {margin: auto; padding:0; display:block; border: none;} + + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + color: gray; + font-style: normal; font-weight: normal; font-variant: normal; + background-color: inherit; + } /* page numbers */ + + .center {text-align: center;} + .right {text-align: right;} + .left {text-align: left;} + .smcap {font-variant: small-caps;} + .lowercase { text-transform:lowercase; } + .u {text-decoration: underline;} + + .caption {font-weight: bold;} + + .figcenter { + clear: both; + margin: auto; + text-align: center; + } + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<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 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.</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,—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,—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.</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 Façade of the Basilica at Altamura, Italy." title="XXVII. Window in the Façade of the Basilica at Altamura, Italy." /> +<span class="caption">XXVII. Window in the Façade 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 Façade of S. Gregorio, Bari, Italy." title="XXVIII. Windows in the Façade of S. Gregorio, Bari, Italy." /> +<span class="caption">XXVIII. Windows in the Façade 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 & 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. 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 & 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.</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. 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 & Stewardson and Frank Miles Day +& Bro.</p> + +<p>Mr. H. 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. 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 <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. C., and Savannah, Ga.</i> +Compiled, photographed, and published +by Edward A. Crane and E. 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 & 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 & 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. T. Pratt, +Matthew Sullivan, C. D. Maginnis, and +H. C. Dunham, of Boston, and E. K. Taylor +and H. 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 *** + +***** This file should be named 19262-h.htm or 19262-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/9/2/6/19262/ + +Produced by Juliet Sutherland, Sigal Alon and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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