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+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 05, May 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. 05, May 1895
+       Two Florentine Pavements
+
+Author: Various
+
+Release Date: September 24, 2006 [EBook #19364]
+
+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. MAY, 1895. No. 5.
+
+TWO FLORENTINE PAVEMENTS.
+
+
+The church of San Miniato al Monte, just outside the walls southeast of
+Florence, and the Baptistery, or church of San Giovanni Battista, in
+Florence, are among the finest examples of the Tuscan Romanesque style,
+and both probably date from about the same time--the early part of the
+twelfth century--although the date of San Miniato has until recently
+been referred several centuries further back.
+
+These two churches have many points of similarity, although entirely
+different in plan. San Miniato was referred to in the article upon the
+Byzantine-Romanesque doorways of Southern Italy in our February number,
+and Fergusson's classification of Byzantine-Romanesque was, for the time
+being, adopted for lack of better authority. Later writers have,
+however, generally agreed that there is little or no Byzantine influence
+in these two churches; that the delicate and refined treatment of
+classic forms here found is not the result of Byzantine or Greek
+influence, but is due entirely to the natural refinement of the Tuscan
+race. The same characteristic was again shown later in the treatment of
+Gothic detail, and is evident in the Renaissance work of this locality.
+
+The dimensions of San Miniato were given in the February number referred
+to above. The interior of this church is generally considered one of the
+most beautiful interiors of Italy on account of its effective basilican
+plan with a crypt opening from the nave, its beautiful and rich detail,
+and its fine mosaics and decorations. The pavement is not the least of
+its attractions.
+
+The Baptistery will be remembered for its famous bronze doors, the work
+of Ghiberti, which have given occasion for so much discussion, favorable
+and unfavorable. It is octagonal in plan, and 108 feet in diameter
+externally. It was erected originally for the cathedral of the city, but
+in the eleventh and twelfth centuries was so thoroughly remodeled that
+no recognizable features of the old building remain.
+
+The pavements, in point of design, appear quite independent of the other
+ornamental work in the two buildings we are considering.
+
+The motives of ornament are those commonly found in the stuffs,
+especially silks, of Sicily and the East, and their use here could
+easily be accounted for through connection with Sicily. It is known that
+the Hotel de Tiraz at Palermo, the great royal manufactory of stuffs,
+artistic metal work, mosaics, etc., established in the sixth century,
+and which continued until the sixteenth, supplied not only much of the
+finest textile products for all of Europe in that time, but also
+furnished workmen who carried with them the designs and methods of
+Sicilian textile manufacture to other countries. Such manufactories were
+established in several Italian cities, among them Lucca.
+
+The relationship seems clear, as the forms are perfectly similar. The
+beasts and birds set in balancing pairs facing each other and repeated
+in an all-over pattern, as in a woven fabric, strongly suggest the
+Sicilian silks. Eug. Muentz in his work, "La Tapisserie," speaks of this
+evident relationship. The internal evidence of the design itself would
+be quite sufficient if we had no other means of tracing it.
+
+These two pavements are practically unique, as far as we are able to
+learn. They are marble inlay, the pattern having been cut out in a slab
+of white marble and pieces of black marble carefully fitted in to form
+the figure. This is not true mosaic, and differs essentially in design
+from the mosaic work of the same period which was derived from the Roman
+mosaics made up of small pieces of marble or other material. Most of the
+floor mosaics in Italy have suffered from wear and tear, and have in
+many cases been very poorly restored; but these two pavements appear to
+be in nearly their original condition.
+
+The design does not have the merit of belonging distinctively to the
+material in all cases, and might just as well be applied to wood
+parquetry as stone. In fact, it might be even more effective in this
+material if the colors were judiciously chosen.
+
+
+
+
+[Illustration: XXXIII. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+[Illustration: XXXIV. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+[Illustration: XXXV. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+[Illustration: XXXVI. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+[Illustration: XXXVII. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+
+XXXIII to XXXVII.
+
+PORTIONS OF THE PAVEMENT IN THE BAPTISTERY, FLORENCE, ITALY.
+
+One exception should be made to the remarks above in relation to true
+mosaic. The lower left-hand portion of plate XXXVI is without doubt made
+up of small pieces put together after the manner of the old Roman
+mosaics, and it is possible that the portion shown in the upper
+left-hand corner of the same plate is made in the same way. There are
+several parts of the floor laid in this manner, but they are distinctly
+secondary in interest to the inlaid portions.
+
+The pavement is divided irregularly by squares and rectangles, the
+portion especially rich in ornament being that between the door and the
+altar. The rectangular patterns are irregularly cut into by special
+pavements, placed before several of the monumental tombs in the walls.
+
+
+
+
+[Illustration: XXXVIII. Portion of the Pavement in the Church of San
+Miniato al Monte, Florence, Italy.]
+
+[Illustration: XXXIX. Portion of the Pavement in the Church of San
+Miniato al Monte, Florence, Italy.]
+
+[Illustration: XL. Portion of the Pavement in the Church of San Miniato
+al Monte, Florence, Italy.]
+
+
+XXXVIII to XL.
+
+PORTIONS OF THE PAVEMENT IN THE CHURCH OF SAN MINIATO AL MONTE,
+FLORENCE, ITALY.
+
+In the first of these plates there is a suggestion of the mosaic
+treatment commonly seen in the pavements of Rome, Venice, and Siena.
+The sort of guilloche of interlacing circles was very generally used.
+
+Plate XL on the other hand is as plainly reminiscent of textile designs
+as it well might be; and in plate XXXIII from the Baptistery the same
+characteristic can be seen.
+
+
+
+
+Wood Floors.
+
+
+The addition which a fine hardwood floor makes to the attractiveness of
+a room is appreciated by some architects, but good floors are not by any
+means as common as they should be. The expense of hard wood is not so
+much more than that of a cheap floor as to stand in the way of its use
+when the final result is considered.
+
+It is generally admitted that a floor entirely covered with a carpet is
+in many ways undesirable, especially from a sanitary point of view;
+while a hardwood floor, wholly or partly covered with rugs, has every
+advantage. Furthermore, the fashion, which has a great deal to do with
+what shall be used, aside from any question of intrinsic merit, has set
+strongly in this direction, and in many cases old floors are replaced
+with new ones of hard wood for the sole purpose of giving a chance for
+the use of rugs in place of carpets. This is one, even if it be a rare
+instance of the agreement of fashion and good taste. In working over an
+old floor a plain or ornamental border can usually be laid at no great
+expense by using the thin wood carpet, manufactured by all the best
+makers of parquetry, and the centre can be laid with a pattern or with
+narrow strips such as the "roll goods" which are manufactured by S. C.
+Johnson of Racine, which are made up of strips usually one and
+three-eighths inches wide and five sixteenths of an inch thick, glued to
+a backing of canvas.
+
+Patterns of all descriptions made from all the best foreign and domestic
+woods can be obtained, as the designs of the best manufacturers include
+an almost unlimited choice, and there is no end to the combinations
+which can be made from the stock patterns. As an instance of this, the
+catalogue of J. W. Boughton of Philadelphia contains a remarkably fine
+selection of borders which can be combined and adapted to almost any
+requirement, while the designs for the field or centre of the floor are
+fully as varied and usable. These designs are made in such shape that
+they can be easily adapted to any shape of room and fitted to all sorts
+of irregular niches and jogs at slight extra expense.
+
+Owing to the economy of manufacturing floors made from pieces which can
+be put together on a system of squares, hexagons, or octagons, most of
+the patterns in common use are made up of these units, or of triangles
+or rectangles combining to form these figures. Curved forms cannot be
+used to good advantage in this way as it is difficult and expensive to
+cut or join them properly. Nevertheless, all the principal manufacturers
+will execute to order any design desired.
+
+When placed in a new house floors of 7/8 inch or 1-1/4 inch are usually
+to be preferred, and are made in sections of convenient size for
+shipment at the factory, and finished after they are in place.
+
+Most of the makers nail thin parquetry work through from the surface and
+fill the nail holes with putty, although in some cases blind nailing is
+used.
+
+Western manufacturers have in the last few years been making rapid
+progress in this industry. While J. W. Boughton, who is one of the
+oldest and best known makers of ornamental flooring, is still doing a
+large and increasing business, Western houses are catering to and
+obtaining a great deal of the best trade. The Interior Hardwood Company
+of Indianapolis, under the business management of its vice-president,
+Mr. Charles Hinman Comstock, has doubled its capacity in the last year
+and shows commendable energy in pushing its business. S. C. Johnson of
+Racine, Wis., is also in the front rank in first-class trade. The
+Wood-Mosaic Company of Rochester should also be considered as one of the
+leading and reliable houses. Its collection of designs is full and
+varied and its work of the best.
+
+Architects will find the catalogues of these firms most valuable
+reference books.
+
+The finishing of a good floor requires care and attention as well as
+special knowledge. Oil, varnish, shellac, and wax are the finishes
+ordinarily used, but wax is usually the most satisfactory.
+
+The floor should be carefully and thoroughly smoothed, so that no waves
+or plane-marks will be seen, and then filled if the wood is at all
+porous or open grained. This is done with preparations manufactured by
+any of the firms mentioned above, or with fillers specially made for the
+purpose such as those sold by Harrison Brothers & Company of
+Philadelphia, or the Chicago Wood Finishing Company of Chicago. The wood
+filler made by the latter firm is especially adapted for this purpose
+and will give excellent results. The finish is then applied in one or
+more coats as required, oil and shellac finishes usually requiring more
+than one application and an intermediate rubbing down with fine
+sandpaper. Shellac and ordinary varnish are usually unsatisfactory from
+their tendency to wear unevenly. The Chicago Varnish Company of Chicago
+supplies a varnish under the name of "Supremis," which has proved by
+years of use under trying conditions, such as those of asylums,
+hospitals, and public buildings, to be of exceptional merit. It is
+elastic, tough, and gives a fine waxy surface which can be rubbed and
+will preserve its finish. It has the additional merit of being easily
+applied. It dries quickly and is remarkably durable. Wax should be
+carefully applied and then polished to the required finish with a
+weighted brush.
+
+Of wax finishes one very largely used is that made by the Butcher Polish
+Company of Boston. It has all the best qualities of other wax finishes
+and has stood the test of time and experience.
+
+There are numerous variations in the products referred to above suited
+for different purposes. The Wood-Mosaic Company makes end-wood mosaic
+7/8 inch thick made of small blocks joined by means of a lead tongue;
+wood carpet similar to that of S. C. Johnson; and thick and thin
+parquetry. S. C. Johnson also makes a flooring of 1/4 inch face glued to
+a backing of pine to make 7/8 inch, 1 inch, or 1-1/4 inch stock which is
+found to stand the changes of temperature in American houses remarkably
+well. The thicker floors of 7/8 inch and upwards are frequently made
+with tongued and grooved joints and blind nailed.
+
+These patterns when properly chosen are just as appropriate for stairs,
+walls, or even ceilings, as for floors, and are frequently used for
+these places.
+
+
+
+
+Modern Mosaic Floors.
+
+
+The use of mosaic floors, especially for corridors and entrances of
+public and business buildings and in some positions of private
+residences, is rapidly increasing, and every specimen of work gives this
+art impetus. The laying of a mosaic floor is not so simple a matter as
+it appears to many architects, and the fact that anyone cannot do it is
+proven by the bad work one constantly runs across. It is, therefore,
+advisable that work of this sort be entrusted to a concern that can be
+found after the job has been finished and paid for, and that has a
+reputation to maintain and a willingness to make good any imperfection
+that a few months' wear will bring to light. As this number of THE
+BROCHURE SERIES will often be referred to where ornamental floors are
+being designed, we take pleasure not particularly in recommending a
+house for executing such floors, but rather in calling attention to some
+of the work executed, inspection of which will be the strongest
+endorsement possible. We refer to the Murdock Parlor Grate Company of
+Boston, a house known by name at least to every architect and builder of
+New England.
+
+Organized over forty years ago, and with prospects of active existence
+for as many or more years to come, their contracts contain the element
+of responsibility that is the best guarantee an architect can have that
+his client's interests are in good hands.
+
+The mosaic and terrazzo flooring department of the Murdock Parlor Grate
+Company already has a list of over fifty public buildings in which
+important work has been done. The terrazzo floors so much admired in the
+new Public Library, covering a surface of 60,000 square feet, the mosaic
+floor of the Members' corridor in the Massachusetts State House, and
+especially the entrance to the Members' vestibule, a part of this floor,
+and the lobbies to the Bowdoin Square and Keith's Theatres, Boston, also
+mosaic, are examples easily inspected by Boston architects.
+
+Other public buildings in New England in which this company have done
+admirable mosaic work are the new McLean Asylum buildings, the Arlington
+(Mass.) Public Library, the Exchange Club, Boston, and a number of bank
+buildings.
+
+Throughout the Back Bay district there are numberless vestibule and
+hall floors in fine residences, many of which are gems in color and
+design.
+
+We have mentioned only a few examples, but almost every New England
+architect can, by writing to the Murdock Parlor Grate Company, be
+referred to examples of their work in his neighborhood, and we think he
+will find their estimates as low as it is safe to accept, and their
+responsibility is beyond all question.
+
+
+
+
+Books.
+
+
+_A Handbook of Architectural Styles_: Translated from the German of A.
+Rosengarten by W. Collett-Sandars. New edition, 639 illustrations. New
+York: C. Scribner's Sons. 1895. For sale by Bates & Guild, Boston.
+$2.50.
+
+A review of the contents of this work is scarcely necessary, as it is
+already recognized as a standard by all who are at all familiar with
+architectural literature. As compared with other books upon the history
+of architecture, the point of view from which the subject has been
+looked at furnishes the main distinction. This cannot be better stated
+than in the words of the editor of the present edition, Professor T.
+Roger Smith. He says: "It is essentially that of an academic and
+classical professor, and one brought up not only in familiarity with the
+best examples of ancient art, but with the habit of mind which recurs to
+classic and especially to Greek originals, both as a standard of taste
+and as models for treatment of modern works. This feeling, which held
+sway in England in the day of Chambers, of Soane, and of Cockerell, has
+now almost died out from our practice and our literature. The works of
+the contemporary English and French writers on architecture, which are
+now widely known and read, proceed avowedly and unmistakably on a
+different basis. Such writings as those of Street or Scott,
+Viollet-le-Duc, and Ruskin breathe a totally different inspiration;
+while even the valuable series of architectural writings which we owe to
+the pen of Mr. Fergusson are too cosmopolitan in range and too impartial
+in tone for such a peculiarity as is here traceable to be visible in
+them."
+
+The illustrations show some of the wear and tear of former editions, but
+are still of great value.
+
+
+
+
+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 Rates for
+five subscriptions $2.00
+
+Entered at the Boston Post Office as Second-class Matter.
+
+       *       *       *       *       *
+
+It has been called to our attention that some of our subscribers object
+to duplicating, or at least object to paying for duplicating plates or
+photographs which they already have in some other form. This is of
+course perfectly natural and was a point which we had fully in mind in
+formulating the plan of THE BROCHURE SERIES. And this was one of the
+main considerations which influenced us in making the subscription price
+so low. At the price of fifty cents a year, if only a dozen out of the
+hundred plates are worth buying to a subscriber his year's subscription
+is justified and is a good investment.
+
+Of necessity it will be found that we shall occasionally include
+subjects which some of our subscribers already have, but the importance
+of this duplication is liable to be exaggerated in the minds of those
+who might notice it when the number of other desirable plates is not
+kept in view. It should be remembered that the classification, which we
+are following, and the complete reference index which will be published
+at the end of each year, and the advantage of a compact and uniform
+collection which a set of the BROCHURES will give, render it much more
+usable than a collection of miscellaneous plates or photographs can
+possibly be. While it is not to be expected that we can choose subjects
+which are entirely new to all of our thousands of subscribers, it will
+be our aim to select those which will appeal to the greatest number, and
+when familiar subjects are given the best obtainable photographs will be
+used, and those which are least likely to be already found in American
+collections.
+
+It is now too late for those who have not already subscribed to obtain a
+complete set of THE BROCHURE SERIES as our supply of the first three
+numbers is exhausted, and no attempt will be made in future to carry in
+stock any back numbers. Only enough copies of each issue will be printed
+to supply immediate demands. On this account those who wish for the
+current numbers must subscribe at once in order to make sure of them.
+Less than one hundred copies of the April number are now in stock and
+these are fast disappearing. Subscriptions in future will only be taken
+to date from the next succeeding issue.
+
+We wish especially to call attention to the arrangement by which clubs
+of five subscriptions may be made up for $2, or 40 cents for each
+subscription. A very little inquiry among one's friends will bring to
+light four who are ready to combine at this price.
+
+       *       *       *       *       *
+
+The large circulation of THE BROCHURE SERIES among the younger members
+of the profession furnishes an excellent opportunity for the interchange
+of ideas with men who are all working with the same end in view--the
+advancement of the profession of architecture. There may be a wide
+difference in their aims, influenced by personal considerations, the
+various differences of training and environment; but all are looking
+forward to increased opportunities and a wider field of usefulness. The
+experience of many young men will be found of value in shaping the
+course of those who have not yet won their spurs. It is the purpose of
+THE BROCHURE SERIES to furnish information as far as possible on
+everything relating to the profession which will help to make the course
+of such men an easy one. The articles upon the sketch clubs,
+scholarships, and other educational work, have all been intended to
+serve this purpose, and the cooperation of all who are working to this
+end is earnestly solicited. Our pages will always be open for the
+discussion of subjects of vital interest to young architects, and we
+shall hope to see the opportunity largely taken advantage of.
+
+
+
+
+American School of Architecture, Rome.
+
+
+A recent circular issued by the committee of the American School of
+Architecture at Rome contains a general description of the organization
+of the school and its work. On the twelfth of last June, at a meeting
+held in New York, it was decided to found such a school, and a committee
+of control was selected including the chiefs of the schools of
+architecture at the different American colleges where such exist. We
+give below some quotations from this circular which will be found of
+interest.
+
+The school is founded for the benefit of advanced students only, and is
+designed to further the more disciplinary work of other institutions by
+opening to young men, already well trained by them in drawing and
+design, certain special lines of study, which at present can be pursued
+only under great disadvantages. Beginners, accordingly, will not be
+received. Such work is not suitable to their condition, and it would be
+a mistake to encourage them to devote their time to it. But to the
+holders of traveling scholarships, to those who have acquitted
+themselves with distinction in the competitions for these scholarships,
+and to members of the Ecole des Beaux-Arts of at least three years'
+standing, it offers opportunities for the completion of their
+professional training which students thus equipped will, it is believed,
+find of inestimable value. Other well-accredited students may be
+admitted to certain hospitalities of the school, at the discretion of
+the secretary.
+
+Hitherto the holders of traveling scholarships have followed very
+largely their own judgment as to their travel and study, and have
+produced, as required, a certain number of carefully measured drawings,
+which have borne testimony to the diligence of their authors, their
+facility with pen, pencil, and brush, and the evident seriousness of
+their intentions; but the work has necessarily shown no common purpose
+and little consistent prosecution along carefully chosen lines. This
+being their common experience, the past holders of traveling
+scholarships are general in their approval of the effort to direct
+foreign travel and study hereafter to more definite and specific
+courses.
+
+The school is one of observation and research rather than of design,
+aiming to form a correct taste and to impress upon the mind, by daily
+contact with great examples, those principles which are essential to the
+enduring quality in architecture, be the style what it may. To this end
+the founders of the school believe it to be of the utmost importance for
+an architect, before he begins his professional career, to study
+thoroughly and on the spot the monuments of ancient architecture and
+such works of the Italian Renaissance as are worthy of being considered
+their successors. The monuments best suited to this purpose are those of
+Greece and Italy, and the headquarters of the school are established at
+Rome rather than at Athens, because of the greater amount of material
+there at hand of use to the modern student not only in the art of
+architecture itself, but in that of mural painting and in the decorative
+arts, including architectural sculpture.
+
+The school was formally opened under the charge of Mr. Austin W. Lord,
+as secretary, on the first of November last, in temporary quarters in
+the upper story of the Palazzo Torlonia, on the southwest corner of the
+Via dei Condotti and the Via Bocca di Leone, between the Corso and the
+Piazza di Spagna; but a permanent home has now been secured in the
+building known as the Casino dell'Aurora, occupying a part of the
+grounds formerly belonging to the Villa Ludovisi. This building is
+situated upon an isolated plot of ground, raised fifteen or twenty feet
+above the surrounding streets, and comprising about eighty thousand
+square feet, which is the size of the enclosed space in Gramercy Park in
+the city of New York. It is on the Pincian Hill, not far from the French
+Academy in the Villa Medici. The building contains about thirty rooms;
+some of these are decorated with well-known frescoes, among which is the
+Aurora of Guercino. The grounds, which were laid out by Lenôtre, are
+well covered with trees and shrubs, and afford ample space for the
+erection of additional one story buildings, should such be required at
+any time for workrooms or studios.
+
+
+
+
+Personal.
+
+
+Mr. A. L. Nicholson, formerly with Davis & Von Storch, architects,
+Scranton, Pa., has accepted a position with De Lemos & Cordes, Fulton
+Building, Fulton and Nassau Streets, New York.
+
+Mr. Dwight H. Perkins, of the firm of Perkins & Selby, Marshall Field
+Building, Chicago, opened a new office on May 1 at 1107 Steinway Hall
+Building, Chicago.
+
+Mr. Myron H. Hunt, recently returned from an extended trip abroad, has
+gone into the office of Shepley, Rutan & Coolidge in Chicago.
+
+Mr. F. N. Reed, who has distinguished himself in the Rotch Scholarship
+competition, having been given second place each time in the last three
+years, is now with Cabot, Everett & Mead of Boston.
+
+
+
+
+Brochure Series Competition No. 1.
+
+
+[Illustration]
+
+Program: The Henry F. Miller Piano Company of Boston, with the idea of
+turning the attention of designers to the problem of artistic piano
+cases, has placed in the hands of publishers of THE BROCHURE SERIES $50,
+to be awarded for sketches of piano cases. Three prizes of $25, $15, and
+$10 will be given for the three best designs submitted, the judges to be
+the officers, of the company, assisted by an architect who shall be
+appointed by the publishers.
+
+It is not the idea of the Henry F. Miller Piano Company to secure
+designs for actual use, as their work in special case design is almost
+entirely to order, carrying out designs for architects and decorators.
+Therefore, only sketches are required which may be executed in any
+medium the designer may choose, although due regard should be paid to
+the reproductive character of the drawing. A perspective sketch, showing
+the right end and front of the case, is required to be made on paper,
+not exceeding 8x12 in. in size.
+
+The diagram above gives the necessary dimensions. In designing the end
+the only thing to be borne in mind is the construction of the case, the
+front telescoping into the back or frame, as shown by the plan of the
+end. The quarter round finish of the back is not necessary, the
+treatment of the end being optional so long as dimensions and
+construction are regarded.
+
+The arm or end of the keyboard (_c_), the foot (_a_), the "truss" (_b_),
+which supports the keyboard, are all left entirely to the designer, the
+only dimensions to be regarded being the height of keyboard from the
+floor (2 ft. 1 in.), the top of the keys (4-1/2 in. higher), and the
+space (4 ft.) occupied by the keys. The arm projects 1 ft. 1 in. beyond
+the front.
+
+Drawings must be sent carriage paid so as to reach the editor of THE
+BROCHURE SERIES on or before July 15, 1895.
+
+The prize designs will become the property of the Henry F. Miller Piano
+Company. The other designs will be returned to their authors. It is to
+be understood, however, that any or all designs may be exhibited or
+published, and that they may be retained a reasonable time after
+judgment for these purposes.
+
+The details and management of the competition are left entirely to the
+publishers of THE BROCHURE SERIES, and it is hoped that this, the first
+of a number of competitions they will endeavor to arrange, will bring
+out the work of the best designers. If there is any portion of this
+program not clearly understood, the publishers will explain more in
+detail upon request.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 05, May 1895, by Various
+
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+<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. 5
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 05, May 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. 05, May 1895
+       Two Florentine Pavements
+
+Author: Various
+
+Release Date: September 24, 2006 [EBook #19364]
+
+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>MAY, 1895.</b></td>
+<td class="right"><b>No. 5.</b></td>
+</tr>
+</table>
+
+<hr style="width: 25%;" />
+
+
+<h4>TWO FLORENTINE PAVEMENTS.</h4>
+
+
+<p>The church of San Miniato al
+Monte, just outside the walls
+southeast of Florence, and the
+Baptistery, or church of San
+Giovanni Battista, in Florence, are among
+the finest examples of the Tuscan Romanesque
+style, and both probably date from
+about the same time&mdash;the early part of
+the twelfth century&mdash;although the date
+of San Miniato has until recently been
+referred several centuries further back.</p>
+
+<p>These two churches have many points
+of similarity, although entirely different in
+plan. San Miniato was referred to in
+the article upon the Byzantine-Romanesque
+doorways of Southern Italy in our
+February number, and Fergusson's classification
+of Byzantine-Romanesque was, for
+the time being, adopted for lack of better
+authority. Later writers have, however,
+generally agreed that there is little or no
+Byzantine influence in these two churches;
+that the delicate and refined treatment of
+classic forms here found is not the result
+of Byzantine or Greek influence, but is due
+entirely to the natural refinement of the
+Tuscan race. The same characteristic
+was again shown later in the treatment of
+Gothic detail, and is evident in the
+Renaissance work of this locality.</p>
+
+<p>The dimensions of San Miniato were
+given in the February number referred to
+above. The interior of this church is
+generally considered one of the most
+beautiful interiors of Italy on account of
+its effective basilican plan with a crypt
+opening from the nave, its beautiful and
+rich detail, and its fine mosaics and decorations.
+The pavement is not the least
+of its attractions.</p>
+
+<p>The Baptistery will be remembered for
+its famous bronze doors, the work of Ghiberti,
+which have given occasion for so
+much discussion, favorable and unfavorable.
+It is octagonal in plan, and 108
+feet in diameter externally. It was erected
+originally for the cathedral of the city,
+but in the eleventh and twelfth centuries
+was so thoroughly remodeled that no
+recognizable features of the old building
+remain.</p>
+
+<p>The pavements, in point of design,
+appear quite independent of the other
+ornamental work in the two buildings we
+are considering.</p>
+
+<p>The motives of ornament are those
+commonly found in the stuffs, especially
+silks, of Sicily and the East, and their use
+here could easily be accounted for through
+connection with Sicily. It is known that
+the Hotel de Tiraz at Palermo, the great
+royal manufactory of stuffs, artistic metal
+work, mosaics, etc., established in the
+sixth century, and which continued until
+the sixteenth, supplied not only much of
+the finest textile products for all of
+Europe in that time, but also furnished
+workmen who carried with them the
+designs and methods of Sicilian textile
+manufacture to other countries. Such
+manufactories were established in several
+Italian cities, among them Lucca.</p>
+
+<p>The relationship seems clear, as the
+forms are perfectly similar. The beasts
+and birds set in balancing pairs facing
+each other and repeated in an all-over<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>
+pattern, as in a woven fabric, strongly
+suggest the Sicilian silks. Eug. Muentz
+in his work, "La Tapisserie," speaks of
+this evident relationship. The internal
+evidence of the design itself would be
+quite sufficient if we had no other means
+of tracing it.</p>
+
+<p>These two pavements are practically
+unique, as far as we are able to learn.
+They are marble inlay, the pattern having
+been cut out in a slab of white marble and
+pieces of black marble carefully fitted in
+to form the figure. This is not true
+mosaic, and differs essentially in design
+from the mosaic work of the same period
+which was derived from the Roman mosaics
+made up of small pieces of marble
+or other material. Most of the floor
+mosaics in Italy have suffered from wear
+and tear, and have in many cases been
+very poorly restored; but these two pavements
+appear to be in nearly their original
+condition.</p>
+
+<p>The design does not have the merit of
+belonging distinctively to the material in
+all cases, and might just as well be applied
+to wood parquetry as stone. In fact, it
+might be even more effective in this material
+if the colors were judiciously chosen.</p>
+
+
+
+<div class="figcenter" style="width: 186px;">
+<a href="images/plate33.jpg">
+<img src="images/plate33tn.jpg" width="186" height="243" alt="XXXIII. Portion of the Pavement in the Baptistery, Florence, Italy." title="XXXIII. Portion of the Pavement in the Baptistery, Florence, Italy." />
+<span class="caption">XXXIII. Portion of the Pavement in the Baptistery, Florence, Italy.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 186px;">
+<a href="images/plate34.jpg">
+<img src="images/plate34tn.jpg" width="186" height="242" alt="XXXIV. Portion of the Pavement in the Baptistery, Florence, Italy." title="XXXIV. Portion of the Pavement in the Baptistery, Florence, Italy." />
+<span class="caption">XXXIV. Portion of the Pavement in the Baptistery, Florence, Italy.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 185px;">
+<a href="images/plate35.jpg">
+<img src="images/plate35tn.jpg" width="185" height="243" alt="XXXV. Portion of the Pavement in the Baptistery, Florence, Italy." title="XXXV. Portion of the Pavement in the Baptistery, Florence, Italy." />
+<span class="caption">XXXV. Portion of the Pavement in the Baptistery, Florence, Italy.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 184px;">
+<a href="images/plate36.jpg">
+<img src="images/plate36tn.jpg" width="184" height="238" alt="XXXVI. Portion of the Pavement in the Baptistery, Florence, Italy." title="XXXVI. Portion of the Pavement in the Baptistery, Florence, Italy." />
+<span class="caption">XXXVI. Portion of the Pavement in the Baptistery, Florence, Italy.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 186px;">
+<a href="images/plate37.jpg">
+<img src="images/plate37tn.jpg" width="186" height="243" alt="XXXVII. Portion of the Pavement in the Baptistery, Florence, Italy." title="XXXVII. Portion of the Pavement in the Baptistery, Florence, Italy." />
+<span class="caption">XXXVII. Portion of the Pavement in the Baptistery, Florence, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXXIII to XXXVII.</h4>
+
+<h4>PORTIONS OF THE PAVEMENT IN THE BAPTISTERY,
+FLORENCE, ITALY.</h4>
+
+<p>One exception should be made to the
+remarks above in relation to true mosaic.
+The lower left-hand portion of plate
+XXXVI is without doubt made up of
+small pieces put together after the manner
+of the old Roman mosaics, and it is possible
+that the portion shown in the upper
+left-hand corner of the same plate is made
+in the same way. There are several parts
+of the floor laid in this manner, but they
+are distinctly secondary in interest to the
+inlaid portions.</p>
+
+<p>The pavement is divided irregularly by
+squares and rectangles, the portion especially
+rich in ornament being that between
+the door and the altar. The rectangular
+patterns are irregularly cut into by special
+pavements, placed before several of the
+monumental tombs in the walls.</p>
+
+
+
+<div class="figcenter" style="width: 184px;">
+<a href="images/plate38.jpg">
+<img src="images/plate38tn.jpg" width="184" height="182" alt="XXXVIII. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy." title="XXXVIII. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy." />
+<span class="caption">XXXVIII. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 186px;">
+<a href="images/plate39.jpg">
+<img src="images/plate39tn.jpg" width="186" height="248" alt="XXXIX. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy." title="XXXIX. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy." />
+<span class="caption">XXXIX. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 180px;">
+<a href="images/plate40.jpg">
+<img src="images/plate40tn.jpg" width="180" height="181" alt="XL. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy." title="XL. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy." />
+<span class="caption">XL. Portion of the Pavement in the Church of San Miniato al Monte, Florence, Italy.</span>
+</a>
+</div>
+
+
+<h4>XXXVIII to XL.</h4>
+
+<h4>PORTIONS OF THE PAVEMENT IN THE CHURCH
+OF SAN MINIATO AL MONTE, FLORENCE, ITALY.</h4>
+
+<p>In the first of these plates there is a
+suggestion of the mosaic treatment
+commonly seen in the pavements of
+Rome, Venice, and Siena. The sort of
+guilloche of interlacing circles was very
+generally used.</p>
+
+<p>Plate XL on the other hand is as plainly
+reminiscent of textile designs as it well
+might be; and in plate XXXIII from the
+Baptistery the same characteristic can be
+seen.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Wood_Floors" id="Wood_Floors"></a>Wood Floors.</h2>
+
+
+<p>The addition which a fine hardwood
+floor makes to the attractiveness of a room
+is appreciated by some architects, but
+good floors are not by any means as
+common as they should be. The expense
+of hard wood is not so much more than
+that of a cheap floor as to stand in the
+way of its use when the final result is
+considered.</p>
+
+<p>It is generally admitted that a floor
+entirely covered with a carpet is in many
+ways undesirable, especially from a sanitary
+point of view; while a hardwood
+floor, wholly or partly covered with rugs,
+has every advantage. Furthermore, the
+fashion, which has a great deal to do with
+what shall be used, aside from any question
+of intrinsic merit, has set strongly in this
+direction, and in many cases old floors are
+replaced with new ones of hard wood for
+the sole purpose of giving a chance for
+the use of rugs in place of carpets. This
+is one, even if it be a rare instance of the
+agreement of fashion and good taste. In
+working over an old floor a plain or ornamental
+border can usually be laid at no
+great expense by using the thin wood carpet,
+manufactured by all the best makers of
+parquetry, and the centre can be laid with
+a pattern or with narrow strips such as the
+"roll goods" which are manufactured by
+S.&nbsp;C. Johnson of Racine, which are made
+up of strips usually one and three-eighths
+inches wide and five sixteenths of an inch
+thick, glued to a backing of canvas.</p>
+
+<p>Patterns of all descriptions made from
+all the best foreign and domestic woods
+can be obtained, as the designs of the
+best manufacturers include an almost
+unlimited choice, and there is no end to
+the combinations which can be made
+from the stock patterns. As an instance
+of this, the catalogue of J.&nbsp;W. Boughton
+of Philadelphia contains a remarkably
+fine selection of borders which can be
+combined and adapted to almost any<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span>
+requirement, while the designs for the field
+or centre of the floor are fully as varied
+and usable. These designs are made in
+such shape that they can be easily
+adapted to any shape of room and fitted
+to all sorts of irregular niches and jogs at
+slight extra expense.</p>
+
+<p>Owing to the economy of manufacturing
+floors made from pieces which can be
+put together on a system of squares, hexagons,
+or octagons, most of the patterns
+in common use are made up of these
+units, or of triangles or rectangles combining
+to form these figures. Curved
+forms cannot be used to good advantage
+in this way as it is difficult and expensive
+to cut or join them properly. Nevertheless,
+all the principal manufacturers will
+execute to order any design desired.</p>
+
+<p>When placed in a new house floors
+of 7/8 inch or 1-1/4 inch are usually to
+be preferred, and are made in sections
+of convenient size for shipment at the
+factory, and finished after they are in
+place.</p>
+
+<p>Most of the makers nail thin parquetry
+work through from the surface and fill the
+nail holes with putty, although in some
+cases blind nailing is used.</p>
+
+<p>Western manufacturers have in the last
+few years been making rapid progress in
+this industry. While J.&nbsp;W. Boughton,
+who is one of the oldest and best known
+makers of ornamental flooring, is still
+doing a large and increasing business,
+Western houses are catering to and obtaining
+a great deal of the best trade. The
+Interior Hardwood Company of Indianapolis,
+under the business management of
+its vice-president, Mr. Charles Hinman
+Comstock, has doubled its capacity in the
+last year and shows commendable energy
+in pushing its business. S.&nbsp;C. Johnson of
+Racine, Wis., is also in the front rank
+in first-class trade. The Wood-Mosaic
+Company of Rochester should also be
+considered as one of the leading and
+reliable houses. Its collection of designs
+is full and varied and its work of
+the best.</p>
+
+<p>Architects will find the catalogues of
+these firms most valuable reference
+books.</p>
+
+<p>The finishing of a good floor requires
+care and attention as well as special
+knowledge. Oil, varnish, shellac, and wax
+are the finishes ordinarily used, but wax is
+usually the most satisfactory.</p>
+
+<p>The floor should be carefully and thoroughly
+smoothed, so that no waves or
+plane-marks will be seen, and then filled
+if the wood is at all porous or open
+grained. This is done with preparations
+manufactured by any of the firms mentioned
+above, or with fillers specially made
+for the purpose such as those sold by
+Harrison Brothers &amp; Company of Philadelphia,
+or the Chicago Wood Finishing
+Company of Chicago. The wood filler
+made by the latter firm is especially
+adapted for this purpose and will give
+excellent results. The finish is then
+applied in one or more coats as required,
+oil and shellac finishes usually requiring
+more than one application and an intermediate
+rubbing down with fine sandpaper.
+Shellac and ordinary varnish are usually
+unsatisfactory from their tendency to wear
+unevenly. The Chicago Varnish Company
+of Chicago supplies a varnish under
+the name of "Supremis," which has proved
+by years of use under trying conditions,
+such as those of asylums, hospitals, and
+public buildings, to be of exceptional
+merit. It is elastic, tough, and gives a
+fine waxy surface which can be rubbed
+and will preserve its finish. It has the
+additional merit of being easily applied.
+It dries quickly and is remarkably durable.
+Wax should be carefully applied and then
+polished to the required finish with a
+weighted brush.</p>
+
+<p>Of wax finishes one very largely used is
+that made by the Butcher Polish Company
+of Boston. It has all the best
+qualities of other wax finishes and has
+stood the test of time and experience.</p>
+
+<p>There are numerous variations in the
+products referred to above suited for
+different purposes. The Wood-Mosaic
+Company makes end-wood mosaic 7/8
+inch thick made of small blocks joined
+by means of a lead tongue; wood carpet
+similar to that of S.&nbsp;C. Johnson; and
+thick and thin parquetry. S.&nbsp;C. Johnson
+also makes a flooring of 1/4 inch face
+glued to a backing of pine to make 7/8
+inch, 1 inch, or 1-1/4 inch stock which is
+found to stand the changes of temperature
+in American houses remarkably
+well. The thicker floors of 7/8 inch
+and upwards are frequently made with
+tongued and grooved joints and blind
+nailed.</p>
+
+<p>These patterns when properly chosen are
+just as appropriate for stairs, walls, or even
+ceilings, as for floors, and are frequently
+used for these places.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p>
+<h2><a name="Modern_Mosaic_Floors" id="Modern_Mosaic_Floors"></a>Modern Mosaic Floors.</h2>
+
+
+<p>The use of mosaic floors, especially for
+corridors and entrances of public and
+business buildings and in some positions
+of private residences, is rapidly increasing,
+and every specimen of work gives
+this art impetus. The laying of a mosaic
+floor is not so simple a matter as it appears
+to many architects, and the fact that anyone
+cannot do it is proven by the bad
+work one constantly runs across. It is,
+therefore, advisable that work of this sort
+be entrusted to a concern that can be
+found after the job has been finished and
+paid for, and that has a reputation to maintain
+and a willingness to make good any
+imperfection that a few months' wear will
+bring to light. As this number of <span class="smcap">The
+Brochure Series</span> will often be referred to
+where ornamental floors are being designed,
+we take pleasure not particularly in recommending
+a house for executing such
+floors, but rather in calling attention to
+some of the work executed, inspection of
+which will be the strongest endorsement
+possible. We refer to the Murdock
+Parlor Grate Company of Boston, a house
+known by name at least to every architect
+and builder of New England.</p>
+
+<p>Organized over forty years ago, and
+with prospects of active existence for as
+many or more years to come, their contracts
+contain the element of responsibility
+that is the best guarantee an architect
+can have that his client's interests are
+in good hands.</p>
+
+<p>The mosaic and terrazzo flooring department
+of the Murdock Parlor Grate
+Company already has a list of over fifty
+public buildings in which important work
+has been done. The terrazzo floors so
+much admired in the new Public Library,
+covering a surface of 60,000 square feet,
+the mosaic floor of the Members' corridor
+in the Massachusetts State House, and
+especially the entrance to the Members'
+vestibule, a part of this floor, and the
+lobbies to the Bowdoin Square and Keith's
+Theatres, Boston, also mosaic, are examples
+easily inspected by Boston architects.</p>
+
+<p>Other public buildings in New England
+in which this company have done admirable
+mosaic work are the new McLean
+Asylum buildings, the Arlington (Mass.)
+Public Library, the Exchange Club, Boston,
+and a number of bank buildings.</p>
+
+<p>Throughout the Back Bay district there
+are numberless vestibule and hall floors in
+fine residences, many of which are gems
+in color and design.</p>
+
+<p>We have mentioned only a few examples,
+but almost every New England architect
+can, by writing to the Murdock Parlor
+Grate Company, be referred to examples
+of their work in his neighborhood, and we
+think he will find their estimates as low as
+it is safe to accept, and their responsibility
+is beyond all question.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Books" id="Books"></a>Books.</h2>
+
+
+<p class="indented"><i>A Handbook of Architectural Styles</i>:
+Translated from the German of A. Rosengarten
+by W. Collett-Sandars. New
+edition, 639 illustrations. New York:
+C. Scribner's Sons. 1895. For sale
+by Bates &amp; Guild, Boston. $2.50.</p>
+
+<p>A review of the contents of this work is
+scarcely necessary, as it is already recognized
+as a standard by all who are at all
+familiar with architectural literature. As
+compared with other books upon the history
+of architecture, the point of view
+from which the subject has been looked at
+furnishes the main distinction. This cannot
+be better stated than in the words of
+the editor of the present edition, Professor
+T. Roger Smith. He says: "It is essentially
+that of an academic and classical
+professor, and one brought up not only
+in familiarity with the best examples of
+ancient art, but with the habit of mind
+which recurs to classic and especially to
+Greek originals, both as a standard of
+taste and as models for treatment of modern
+works. This feeling, which held sway
+in England in the day of Chambers, of
+Soane, and of Cockerell, has now almost
+died out from our practice and our literature.
+The works of the contemporary
+English and French writers on architecture,
+which are now widely known and read,
+proceed avowedly and unmistakably on a
+different basis. Such writings as those of
+Street or Scott, Viollet-le-Duc, and Ruskin
+breathe a totally different inspiration;
+while even the valuable series of architectural
+writings which we owe to the pen of
+Mr. Fergusson are too cosmopolitan in
+range and too impartial in tone for such a
+peculiarity as is here traceable to be
+visible in them."</p>
+
+<p>The illustrations show some of the wear
+and tear of former editions, but are still of
+great value.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span></p>
+<h2>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>
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+  <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>It has been called to our attention that
+some of our subscribers object to duplicating,
+or at least object to paying for
+duplicating plates or photographs which
+they already have in some other form.
+This is of course perfectly natural and was
+a point which we had fully in mind in formulating
+the plan of <span class="smcap">The Brochure
+Series</span>. And this was one of the main
+considerations which influenced us in
+making the subscription price so low. At
+the price of fifty cents a year, if only a
+dozen out of the hundred plates are worth
+buying to a subscriber his year's subscription
+is justified and is a good investment.</p>
+
+<p>Of necessity it will be found that we
+shall occasionally include subjects which
+some of our subscribers already have, but
+the importance of this duplication is liable
+to be exaggerated in the minds of those
+who might notice it when the number of
+other desirable plates is not kept in view.
+It should be remembered that the classification,
+which we are following, and the
+complete reference index which will be
+published at the end of each year, and
+the advantage of a compact and uniform
+collection which a set of the BROCHURES
+will give, render it much more usable than
+a collection of miscellaneous plates or
+photographs can possibly be. While it is
+not to be expected that we can choose
+subjects which are entirely new to all of
+our thousands of subscribers, it will be
+our aim to select those which will appeal
+to the greatest number, and when familiar
+subjects are given the best obtainable
+photographs will be used, and those which
+are least likely to be already found in
+American collections.</p>
+
+<p>It is now too late for those who have
+not already subscribed to obtain a complete
+set of <span class="smcap">The Brochure Series</span> as our
+supply of the first three numbers is
+exhausted, and no attempt will be made
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+numbers. Only enough copies of each
+issue will be printed to supply immediate
+demands. On this account those who
+wish for the current numbers must subscribe
+at once in order to make sure of
+them. Less than one hundred copies of
+the April number are now in stock and
+these are fast disappearing. Subscriptions
+in future will only be taken to date from
+the next succeeding issue.</p>
+
+<p>We wish especially to call attention to
+the arrangement by which clubs of five
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+40 cents for each subscription. A very
+little inquiry among one's friends will
+bring to light four who are ready to
+combine at this price.</p>
+
+<hr style='width: 45%;' />
+
+<p>The large circulation of <span class="smcap">The Brochure
+Series</span> among the younger members of
+the profession furnishes an excellent opportunity
+for the interchange of ideas with
+men who are all working with the same
+end in view&mdash;the advancement of the
+profession of architecture. There may be
+a wide difference in their aims, influenced
+by personal considerations, the various
+differences of training and environment;
+but all are looking forward to increased opportunities
+and a wider field of usefulness.
+The experience of many young men will
+be found of value in shaping the course of
+those who have not yet won their spurs.
+It is the purpose of <span class="smcap">The Brochure
+Series</span> to furnish information as far as
+possible on everything relating to the profession
+which will help to make the course
+of such men an easy one. The articles
+upon the sketch clubs, scholarships, and
+other educational work, have all been
+intended to serve this purpose, and the cooperation
+of all who are working to this
+end is earnestly solicited. Our pages will
+always be open for the discussion of subjects
+of vital interest to young architects,
+and we shall hope to see the opportunity
+largely taken advantage of.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2>American School of
+Architecture, Rome.</h2>
+
+
+<p>A recent circular issued by the committee
+of the American School of Architecture
+at Rome contains a general description
+of the organization of the school and
+its work. On the twelfth of last June, at<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span>
+a meeting held in New York, it was
+decided to found such a school, and a
+committee of control was selected including
+the chiefs of the schools of architecture
+at the different American colleges
+where such exist. We give below some
+quotations from this circular which will be
+found of interest.</p>
+
+<p>The school is founded for the benefit of
+advanced students only, and is designed
+to further the more disciplinary work of
+other institutions by opening to young
+men, already well trained by them in
+drawing and design, certain special lines
+of study, which at present can be pursued
+only under great disadvantages. Beginners,
+accordingly, will not be received.
+Such work is not suitable to their condition,
+and it would be a mistake to encourage
+them to devote their time to it. But
+to the holders of traveling scholarships,
+to those who have acquitted themselves
+with distinction in the competitions for
+these scholarships, and to members of the
+Ecole des Beaux-Arts of at least three
+years' standing, it offers opportunities for
+the completion of their professional training
+which students thus equipped will, it
+is believed, find of inestimable value.
+Other well-accredited students may be
+admitted to certain hospitalities of the
+school, at the discretion of the secretary.</p>
+
+<p>Hitherto the holders of traveling scholarships
+have followed very largely their own
+judgment as to their travel and study, and
+have produced, as required, a certain number
+of carefully measured drawings, which
+have borne testimony to the diligence of
+their authors, their facility with pen, pencil,
+and brush, and the evident seriousness of
+their intentions; but the work has necessarily
+shown no common purpose and little
+consistent prosecution along carefully
+chosen lines. This being their common
+experience, the past holders of traveling
+scholarships are general in their approval
+of the effort to direct foreign travel and
+study hereafter to more definite and specific
+courses.</p>
+
+<p>The school is one of observation and
+research rather than of design, aiming to
+form a correct taste and to impress upon
+the mind, by daily contact with great
+examples, those principles which are essential
+to the enduring quality in architecture,
+be the style what it may. To
+this end the founders of the school believe
+it to be of the utmost importance
+for an architect, before he begins his
+professional career, to study thoroughly
+and on the spot the monuments of ancient
+architecture and such works of the Italian
+Renaissance as are worthy of being considered
+their successors. The monuments
+best suited to this purpose are those of
+Greece and Italy, and the headquarters of
+the school are established at Rome rather
+than at Athens, because of the greater
+amount of material there at hand of use
+to the modern student not only in the art
+of architecture itself, but in that of mural
+painting and in the decorative arts, including
+architectural sculpture.</p>
+
+<p>The school was formally opened under
+the charge of Mr. Austin W. Lord, as
+secretary, on the first of November last,
+in temporary quarters in the upper story
+of the Palazzo Torlonia, on the southwest
+corner of the Via dei Condotti and the
+Via Bocca di Leone, between the Corso
+and the Piazza di Spagna; but a permanent
+home has now been secured in the
+building known as the Casino dell'Aurora,
+occupying a part of the grounds formerly
+belonging to the Villa Ludovisi. This
+building is situated upon an isolated plot
+of ground, raised fifteen or twenty feet
+above the surrounding streets, and comprising
+about eighty thousand square feet,
+which is the size of the enclosed space in
+Gramercy Park in the city of New York.
+It is on the Pincian Hill, not far from the
+French Academy in the Villa Medici.
+The building contains about thirty rooms;
+some of these are decorated with well-known
+frescoes, among which is the Aurora
+of Guercino. The grounds, which
+were laid out by Len&ocirc;tre, are well covered
+with trees and shrubs, and afford
+ample space for the erection of additional
+one story buildings, should such be required
+at any time for workrooms or
+studios.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Personal" id="Personal"></a>Personal.</h2>
+
+
+<p>Mr. A.&nbsp;L. Nicholson, formerly with
+Davis &amp; Von Storch, architects, Scranton,
+Pa., has accepted a position with De
+Lemos &amp; Cordes, Fulton Building, Fulton
+and Nassau Streets, New York.</p>
+
+<p>Mr. Dwight H. Perkins, of the firm of
+Perkins &amp; Selby, Marshall Field Building,
+Chicago, opened a new office on
+May 1 at 1107 Steinway Hall Building,
+Chicago.</p>
+
+<p><span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span>Mr. Myron H. Hunt, recently returned
+from an extended trip abroad, has gone into
+the office of Shepley, Rutan &amp; Coolidge
+in Chicago.</p>
+
+<p>Mr. F.&nbsp;N. Reed, who has distinguished
+himself in the Rotch Scholarship competition,
+having been given second place each
+time in the last three years, is now with
+Cabot, Everett &amp; Mead of Boston.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Brochure_Series_Competition_No_1" id="Brochure_Series_Competition_No_1"></a>Brochure Series Competition No. 1.</h2>
+
+
+<div class="figcenter" style="width: 584px;">
+<a href="images/image1.png">
+<img src="images/image1tn.png" width="584" height="280" alt="competition schematics" title="competition schematics" />
+</a>
+</div>
+
+<p>Program: The Henry F. Miller Piano
+Company of Boston, with the idea of
+turning the attention of designers to
+the problem of artistic piano cases, has
+placed in the hands of publishers of
+<span class="smcap">The Brochure Series</span> $50, to be awarded
+for sketches of piano cases. Three prizes
+of $25, $15, and $10 will be given for the
+three best designs submitted, the judges
+to be the officers, of the company, assisted
+by an architect who shall be appointed by
+the publishers.</p>
+
+<p>It is not the idea of the Henry F. Miller
+Piano Company to secure designs for actual
+use, as their work in special case
+design is almost entirely to order, carrying
+out designs for architects and decorators.
+Therefore, only sketches are required
+which may be executed in any medium
+the designer may choose, although due
+regard should be paid to the reproductive
+character of the drawing. A perspective
+sketch, showing the right end and front of
+the case, is required to be made on paper,
+not exceeding 8x12 in. in size.</p>
+
+<p>The diagram above gives the necessary
+dimensions. In designing the end the
+only thing to be borne in mind is the construction
+of the case, the front telescoping
+into the back or frame, as shown by the
+plan of the end. The quarter round
+finish of the back is not necessary, the
+treatment of the end being optional so
+long as dimensions and construction are
+regarded.</p>
+
+<p>The arm or end of the keyboard (<i>c</i>), the
+foot (<i>a</i>), the "truss" (<i>b</i>), which supports
+the keyboard, are all left entirely to the
+designer, the only dimensions to be
+regarded being the height of keyboard
+from the floor (2 ft. 1 in.), the top of the
+keys (4-1/2 in. higher), and the space
+(4 ft.) occupied by the keys. The arm
+projects 1 ft. 1 in. beyond the front.</p>
+
+<p>Drawings must be sent carriage paid so
+as to reach the editor of <span class="smcap">The Brochure
+Series</span> on or before July 15, 1895.</p>
+
+<p>The prize designs will become the
+property of the Henry F. Miller Piano
+Company. The other designs will be
+returned to their authors. It is to be
+understood, however, that any or all
+designs may be exhibited or published,
+and that they may be retained a reasonable
+time after judgment for these purposes.</p>
+
+<p>The details and management of the competition
+are left entirely to the publishers
+of <span class="smcap">The Brochure Series</span>, and it is hoped
+that this, the first of a number of competitions
+they will endeavor to arrange, will
+bring out the work of the best designers.
+If there is any portion of this program
+not clearly understood, the publishers will
+explain more in detail upon request.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 05, May 1895, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ***
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+
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+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 05, May 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. 05, May 1895
+       Two Florentine Pavements
+
+Author: Various
+
+Release Date: September 24, 2006 [EBook #19364]
+
+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. MAY, 1895. No. 5.
+
+TWO FLORENTINE PAVEMENTS.
+
+
+The church of San Miniato al Monte, just outside the walls southeast of
+Florence, and the Baptistery, or church of San Giovanni Battista, in
+Florence, are among the finest examples of the Tuscan Romanesque style,
+and both probably date from about the same time--the early part of the
+twelfth century--although the date of San Miniato has until recently
+been referred several centuries further back.
+
+These two churches have many points of similarity, although entirely
+different in plan. San Miniato was referred to in the article upon the
+Byzantine-Romanesque doorways of Southern Italy in our February number,
+and Fergusson's classification of Byzantine-Romanesque was, for the time
+being, adopted for lack of better authority. Later writers have,
+however, generally agreed that there is little or no Byzantine influence
+in these two churches; that the delicate and refined treatment of
+classic forms here found is not the result of Byzantine or Greek
+influence, but is due entirely to the natural refinement of the Tuscan
+race. The same characteristic was again shown later in the treatment of
+Gothic detail, and is evident in the Renaissance work of this locality.
+
+The dimensions of San Miniato were given in the February number referred
+to above. The interior of this church is generally considered one of the
+most beautiful interiors of Italy on account of its effective basilican
+plan with a crypt opening from the nave, its beautiful and rich detail,
+and its fine mosaics and decorations. The pavement is not the least of
+its attractions.
+
+The Baptistery will be remembered for its famous bronze doors, the work
+of Ghiberti, which have given occasion for so much discussion, favorable
+and unfavorable. It is octagonal in plan, and 108 feet in diameter
+externally. It was erected originally for the cathedral of the city, but
+in the eleventh and twelfth centuries was so thoroughly remodeled that
+no recognizable features of the old building remain.
+
+The pavements, in point of design, appear quite independent of the other
+ornamental work in the two buildings we are considering.
+
+The motives of ornament are those commonly found in the stuffs,
+especially silks, of Sicily and the East, and their use here could
+easily be accounted for through connection with Sicily. It is known that
+the Hotel de Tiraz at Palermo, the great royal manufactory of stuffs,
+artistic metal work, mosaics, etc., established in the sixth century,
+and which continued until the sixteenth, supplied not only much of the
+finest textile products for all of Europe in that time, but also
+furnished workmen who carried with them the designs and methods of
+Sicilian textile manufacture to other countries. Such manufactories were
+established in several Italian cities, among them Lucca.
+
+The relationship seems clear, as the forms are perfectly similar. The
+beasts and birds set in balancing pairs facing each other and repeated
+in an all-over pattern, as in a woven fabric, strongly suggest the
+Sicilian silks. Eug. Muentz in his work, "La Tapisserie," speaks of this
+evident relationship. The internal evidence of the design itself would
+be quite sufficient if we had no other means of tracing it.
+
+These two pavements are practically unique, as far as we are able to
+learn. They are marble inlay, the pattern having been cut out in a slab
+of white marble and pieces of black marble carefully fitted in to form
+the figure. This is not true mosaic, and differs essentially in design
+from the mosaic work of the same period which was derived from the Roman
+mosaics made up of small pieces of marble or other material. Most of the
+floor mosaics in Italy have suffered from wear and tear, and have in
+many cases been very poorly restored; but these two pavements appear to
+be in nearly their original condition.
+
+The design does not have the merit of belonging distinctively to the
+material in all cases, and might just as well be applied to wood
+parquetry as stone. In fact, it might be even more effective in this
+material if the colors were judiciously chosen.
+
+
+
+
+[Illustration: XXXIII. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+[Illustration: XXXIV. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+[Illustration: XXXV. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+[Illustration: XXXVI. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+[Illustration: XXXVII. Portion of the Pavement in the Baptistery,
+Florence, Italy.]
+
+
+XXXIII to XXXVII.
+
+PORTIONS OF THE PAVEMENT IN THE BAPTISTERY, FLORENCE, ITALY.
+
+One exception should be made to the remarks above in relation to true
+mosaic. The lower left-hand portion of plate XXXVI is without doubt made
+up of small pieces put together after the manner of the old Roman
+mosaics, and it is possible that the portion shown in the upper
+left-hand corner of the same plate is made in the same way. There are
+several parts of the floor laid in this manner, but they are distinctly
+secondary in interest to the inlaid portions.
+
+The pavement is divided irregularly by squares and rectangles, the
+portion especially rich in ornament being that between the door and the
+altar. The rectangular patterns are irregularly cut into by special
+pavements, placed before several of the monumental tombs in the walls.
+
+
+
+
+[Illustration: XXXVIII. Portion of the Pavement in the Church of San
+Miniato al Monte, Florence, Italy.]
+
+[Illustration: XXXIX. Portion of the Pavement in the Church of San
+Miniato al Monte, Florence, Italy.]
+
+[Illustration: XL. Portion of the Pavement in the Church of San Miniato
+al Monte, Florence, Italy.]
+
+
+XXXVIII to XL.
+
+PORTIONS OF THE PAVEMENT IN THE CHURCH OF SAN MINIATO AL MONTE,
+FLORENCE, ITALY.
+
+In the first of these plates there is a suggestion of the mosaic
+treatment commonly seen in the pavements of Rome, Venice, and Siena.
+The sort of guilloche of interlacing circles was very generally used.
+
+Plate XL on the other hand is as plainly reminiscent of textile designs
+as it well might be; and in plate XXXIII from the Baptistery the same
+characteristic can be seen.
+
+
+
+
+Wood Floors.
+
+
+The addition which a fine hardwood floor makes to the attractiveness of
+a room is appreciated by some architects, but good floors are not by any
+means as common as they should be. The expense of hard wood is not so
+much more than that of a cheap floor as to stand in the way of its use
+when the final result is considered.
+
+It is generally admitted that a floor entirely covered with a carpet is
+in many ways undesirable, especially from a sanitary point of view;
+while a hardwood floor, wholly or partly covered with rugs, has every
+advantage. Furthermore, the fashion, which has a great deal to do with
+what shall be used, aside from any question of intrinsic merit, has set
+strongly in this direction, and in many cases old floors are replaced
+with new ones of hard wood for the sole purpose of giving a chance for
+the use of rugs in place of carpets. This is one, even if it be a rare
+instance of the agreement of fashion and good taste. In working over an
+old floor a plain or ornamental border can usually be laid at no great
+expense by using the thin wood carpet, manufactured by all the best
+makers of parquetry, and the centre can be laid with a pattern or with
+narrow strips such as the "roll goods" which are manufactured by S. C.
+Johnson of Racine, which are made up of strips usually one and
+three-eighths inches wide and five sixteenths of an inch thick, glued to
+a backing of canvas.
+
+Patterns of all descriptions made from all the best foreign and domestic
+woods can be obtained, as the designs of the best manufacturers include
+an almost unlimited choice, and there is no end to the combinations
+which can be made from the stock patterns. As an instance of this, the
+catalogue of J. W. Boughton of Philadelphia contains a remarkably fine
+selection of borders which can be combined and adapted to almost any
+requirement, while the designs for the field or centre of the floor are
+fully as varied and usable. These designs are made in such shape that
+they can be easily adapted to any shape of room and fitted to all sorts
+of irregular niches and jogs at slight extra expense.
+
+Owing to the economy of manufacturing floors made from pieces which can
+be put together on a system of squares, hexagons, or octagons, most of
+the patterns in common use are made up of these units, or of triangles
+or rectangles combining to form these figures. Curved forms cannot be
+used to good advantage in this way as it is difficult and expensive to
+cut or join them properly. Nevertheless, all the principal manufacturers
+will execute to order any design desired.
+
+When placed in a new house floors of 7/8 inch or 1-1/4 inch are usually
+to be preferred, and are made in sections of convenient size for
+shipment at the factory, and finished after they are in place.
+
+Most of the makers nail thin parquetry work through from the surface and
+fill the nail holes with putty, although in some cases blind nailing is
+used.
+
+Western manufacturers have in the last few years been making rapid
+progress in this industry. While J. W. Boughton, who is one of the
+oldest and best known makers of ornamental flooring, is still doing a
+large and increasing business, Western houses are catering to and
+obtaining a great deal of the best trade. The Interior Hardwood Company
+of Indianapolis, under the business management of its vice-president,
+Mr. Charles Hinman Comstock, has doubled its capacity in the last year
+and shows commendable energy in pushing its business. S. C. Johnson of
+Racine, Wis., is also in the front rank in first-class trade. The
+Wood-Mosaic Company of Rochester should also be considered as one of the
+leading and reliable houses. Its collection of designs is full and
+varied and its work of the best.
+
+Architects will find the catalogues of these firms most valuable
+reference books.
+
+The finishing of a good floor requires care and attention as well as
+special knowledge. Oil, varnish, shellac, and wax are the finishes
+ordinarily used, but wax is usually the most satisfactory.
+
+The floor should be carefully and thoroughly smoothed, so that no waves
+or plane-marks will be seen, and then filled if the wood is at all
+porous or open grained. This is done with preparations manufactured by
+any of the firms mentioned above, or with fillers specially made for the
+purpose such as those sold by Harrison Brothers & Company of
+Philadelphia, or the Chicago Wood Finishing Company of Chicago. The wood
+filler made by the latter firm is especially adapted for this purpose
+and will give excellent results. The finish is then applied in one or
+more coats as required, oil and shellac finishes usually requiring more
+than one application and an intermediate rubbing down with fine
+sandpaper. Shellac and ordinary varnish are usually unsatisfactory from
+their tendency to wear unevenly. The Chicago Varnish Company of Chicago
+supplies a varnish under the name of "Supremis," which has proved by
+years of use under trying conditions, such as those of asylums,
+hospitals, and public buildings, to be of exceptional merit. It is
+elastic, tough, and gives a fine waxy surface which can be rubbed and
+will preserve its finish. It has the additional merit of being easily
+applied. It dries quickly and is remarkably durable. Wax should be
+carefully applied and then polished to the required finish with a
+weighted brush.
+
+Of wax finishes one very largely used is that made by the Butcher Polish
+Company of Boston. It has all the best qualities of other wax finishes
+and has stood the test of time and experience.
+
+There are numerous variations in the products referred to above suited
+for different purposes. The Wood-Mosaic Company makes end-wood mosaic
+7/8 inch thick made of small blocks joined by means of a lead tongue;
+wood carpet similar to that of S. C. Johnson; and thick and thin
+parquetry. S. C. Johnson also makes a flooring of 1/4 inch face glued to
+a backing of pine to make 7/8 inch, 1 inch, or 1-1/4 inch stock which is
+found to stand the changes of temperature in American houses remarkably
+well. The thicker floors of 7/8 inch and upwards are frequently made
+with tongued and grooved joints and blind nailed.
+
+These patterns when properly chosen are just as appropriate for stairs,
+walls, or even ceilings, as for floors, and are frequently used for
+these places.
+
+
+
+
+Modern Mosaic Floors.
+
+
+The use of mosaic floors, especially for corridors and entrances of
+public and business buildings and in some positions of private
+residences, is rapidly increasing, and every specimen of work gives this
+art impetus. The laying of a mosaic floor is not so simple a matter as
+it appears to many architects, and the fact that anyone cannot do it is
+proven by the bad work one constantly runs across. It is, therefore,
+advisable that work of this sort be entrusted to a concern that can be
+found after the job has been finished and paid for, and that has a
+reputation to maintain and a willingness to make good any imperfection
+that a few months' wear will bring to light. As this number of THE
+BROCHURE SERIES will often be referred to where ornamental floors are
+being designed, we take pleasure not particularly in recommending a
+house for executing such floors, but rather in calling attention to some
+of the work executed, inspection of which will be the strongest
+endorsement possible. We refer to the Murdock Parlor Grate Company of
+Boston, a house known by name at least to every architect and builder of
+New England.
+
+Organized over forty years ago, and with prospects of active existence
+for as many or more years to come, their contracts contain the element
+of responsibility that is the best guarantee an architect can have that
+his client's interests are in good hands.
+
+The mosaic and terrazzo flooring department of the Murdock Parlor Grate
+Company already has a list of over fifty public buildings in which
+important work has been done. The terrazzo floors so much admired in the
+new Public Library, covering a surface of 60,000 square feet, the mosaic
+floor of the Members' corridor in the Massachusetts State House, and
+especially the entrance to the Members' vestibule, a part of this floor,
+and the lobbies to the Bowdoin Square and Keith's Theatres, Boston, also
+mosaic, are examples easily inspected by Boston architects.
+
+Other public buildings in New England in which this company have done
+admirable mosaic work are the new McLean Asylum buildings, the Arlington
+(Mass.) Public Library, the Exchange Club, Boston, and a number of bank
+buildings.
+
+Throughout the Back Bay district there are numberless vestibule and
+hall floors in fine residences, many of which are gems in color and
+design.
+
+We have mentioned only a few examples, but almost every New England
+architect can, by writing to the Murdock Parlor Grate Company, be
+referred to examples of their work in his neighborhood, and we think he
+will find their estimates as low as it is safe to accept, and their
+responsibility is beyond all question.
+
+
+
+
+Books.
+
+
+_A Handbook of Architectural Styles_: Translated from the German of A.
+Rosengarten by W. Collett-Sandars. New edition, 639 illustrations. New
+York: C. Scribner's Sons. 1895. For sale by Bates & Guild, Boston.
+$2.50.
+
+A review of the contents of this work is scarcely necessary, as it is
+already recognized as a standard by all who are at all familiar with
+architectural literature. As compared with other books upon the history
+of architecture, the point of view from which the subject has been
+looked at furnishes the main distinction. This cannot be better stated
+than in the words of the editor of the present edition, Professor T.
+Roger Smith. He says: "It is essentially that of an academic and
+classical professor, and one brought up not only in familiarity with the
+best examples of ancient art, but with the habit of mind which recurs to
+classic and especially to Greek originals, both as a standard of taste
+and as models for treatment of modern works. This feeling, which held
+sway in England in the day of Chambers, of Soane, and of Cockerell, has
+now almost died out from our practice and our literature. The works of
+the contemporary English and French writers on architecture, which are
+now widely known and read, proceed avowedly and unmistakably on a
+different basis. Such writings as those of Street or Scott,
+Viollet-le-Duc, and Ruskin breathe a totally different inspiration;
+while even the valuable series of architectural writings which we owe to
+the pen of Mr. Fergusson are too cosmopolitan in range and too impartial
+in tone for such a peculiarity as is here traceable to be visible in
+them."
+
+The illustrations show some of the wear and tear of former editions, but
+are still of great value.
+
+
+
+
+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 Rates for
+five subscriptions $2.00
+
+Entered at the Boston Post Office as Second-class Matter.
+
+       *       *       *       *       *
+
+It has been called to our attention that some of our subscribers object
+to duplicating, or at least object to paying for duplicating plates or
+photographs which they already have in some other form. This is of
+course perfectly natural and was a point which we had fully in mind in
+formulating the plan of THE BROCHURE SERIES. And this was one of the
+main considerations which influenced us in making the subscription price
+so low. At the price of fifty cents a year, if only a dozen out of the
+hundred plates are worth buying to a subscriber his year's subscription
+is justified and is a good investment.
+
+Of necessity it will be found that we shall occasionally include
+subjects which some of our subscribers already have, but the importance
+of this duplication is liable to be exaggerated in the minds of those
+who might notice it when the number of other desirable plates is not
+kept in view. It should be remembered that the classification, which we
+are following, and the complete reference index which will be published
+at the end of each year, and the advantage of a compact and uniform
+collection which a set of the BROCHURES will give, render it much more
+usable than a collection of miscellaneous plates or photographs can
+possibly be. While it is not to be expected that we can choose subjects
+which are entirely new to all of our thousands of subscribers, it will
+be our aim to select those which will appeal to the greatest number, and
+when familiar subjects are given the best obtainable photographs will be
+used, and those which are least likely to be already found in American
+collections.
+
+It is now too late for those who have not already subscribed to obtain a
+complete set of THE BROCHURE SERIES as our supply of the first three
+numbers is exhausted, and no attempt will be made in future to carry in
+stock any back numbers. Only enough copies of each issue will be printed
+to supply immediate demands. On this account those who wish for the
+current numbers must subscribe at once in order to make sure of them.
+Less than one hundred copies of the April number are now in stock and
+these are fast disappearing. Subscriptions in future will only be taken
+to date from the next succeeding issue.
+
+We wish especially to call attention to the arrangement by which clubs
+of five subscriptions may be made up for $2, or 40 cents for each
+subscription. A very little inquiry among one's friends will bring to
+light four who are ready to combine at this price.
+
+       *       *       *       *       *
+
+The large circulation of THE BROCHURE SERIES among the younger members
+of the profession furnishes an excellent opportunity for the interchange
+of ideas with men who are all working with the same end in view--the
+advancement of the profession of architecture. There may be a wide
+difference in their aims, influenced by personal considerations, the
+various differences of training and environment; but all are looking
+forward to increased opportunities and a wider field of usefulness. The
+experience of many young men will be found of value in shaping the
+course of those who have not yet won their spurs. It is the purpose of
+THE BROCHURE SERIES to furnish information as far as possible on
+everything relating to the profession which will help to make the course
+of such men an easy one. The articles upon the sketch clubs,
+scholarships, and other educational work, have all been intended to
+serve this purpose, and the cooperation of all who are working to this
+end is earnestly solicited. Our pages will always be open for the
+discussion of subjects of vital interest to young architects, and we
+shall hope to see the opportunity largely taken advantage of.
+
+
+
+
+American School of Architecture, Rome.
+
+
+A recent circular issued by the committee of the American School of
+Architecture at Rome contains a general description of the organization
+of the school and its work. On the twelfth of last June, at a meeting
+held in New York, it was decided to found such a school, and a committee
+of control was selected including the chiefs of the schools of
+architecture at the different American colleges where such exist. We
+give below some quotations from this circular which will be found of
+interest.
+
+The school is founded for the benefit of advanced students only, and is
+designed to further the more disciplinary work of other institutions by
+opening to young men, already well trained by them in drawing and
+design, certain special lines of study, which at present can be pursued
+only under great disadvantages. Beginners, accordingly, will not be
+received. Such work is not suitable to their condition, and it would be
+a mistake to encourage them to devote their time to it. But to the
+holders of traveling scholarships, to those who have acquitted
+themselves with distinction in the competitions for these scholarships,
+and to members of the Ecole des Beaux-Arts of at least three years'
+standing, it offers opportunities for the completion of their
+professional training which students thus equipped will, it is believed,
+find of inestimable value. Other well-accredited students may be
+admitted to certain hospitalities of the school, at the discretion of
+the secretary.
+
+Hitherto the holders of traveling scholarships have followed very
+largely their own judgment as to their travel and study, and have
+produced, as required, a certain number of carefully measured drawings,
+which have borne testimony to the diligence of their authors, their
+facility with pen, pencil, and brush, and the evident seriousness of
+their intentions; but the work has necessarily shown no common purpose
+and little consistent prosecution along carefully chosen lines. This
+being their common experience, the past holders of traveling
+scholarships are general in their approval of the effort to direct
+foreign travel and study hereafter to more definite and specific
+courses.
+
+The school is one of observation and research rather than of design,
+aiming to form a correct taste and to impress upon the mind, by daily
+contact with great examples, those principles which are essential to the
+enduring quality in architecture, be the style what it may. To this end
+the founders of the school believe it to be of the utmost importance for
+an architect, before he begins his professional career, to study
+thoroughly and on the spot the monuments of ancient architecture and
+such works of the Italian Renaissance as are worthy of being considered
+their successors. The monuments best suited to this purpose are those of
+Greece and Italy, and the headquarters of the school are established at
+Rome rather than at Athens, because of the greater amount of material
+there at hand of use to the modern student not only in the art of
+architecture itself, but in that of mural painting and in the decorative
+arts, including architectural sculpture.
+
+The school was formally opened under the charge of Mr. Austin W. Lord,
+as secretary, on the first of November last, in temporary quarters in
+the upper story of the Palazzo Torlonia, on the southwest corner of the
+Via dei Condotti and the Via Bocca di Leone, between the Corso and the
+Piazza di Spagna; but a permanent home has now been secured in the
+building known as the Casino dell'Aurora, occupying a part of the
+grounds formerly belonging to the Villa Ludovisi. This building is
+situated upon an isolated plot of ground, raised fifteen or twenty feet
+above the surrounding streets, and comprising about eighty thousand
+square feet, which is the size of the enclosed space in Gramercy Park in
+the city of New York. It is on the Pincian Hill, not far from the French
+Academy in the Villa Medici. The building contains about thirty rooms;
+some of these are decorated with well-known frescoes, among which is the
+Aurora of Guercino. The grounds, which were laid out by Lenotre, are
+well covered with trees and shrubs, and afford ample space for the
+erection of additional one story buildings, should such be required at
+any time for workrooms or studios.
+
+
+
+
+Personal.
+
+
+Mr. A. L. Nicholson, formerly with Davis & Von Storch, architects,
+Scranton, Pa., has accepted a position with De Lemos & Cordes, Fulton
+Building, Fulton and Nassau Streets, New York.
+
+Mr. Dwight H. Perkins, of the firm of Perkins & Selby, Marshall Field
+Building, Chicago, opened a new office on May 1 at 1107 Steinway Hall
+Building, Chicago.
+
+Mr. Myron H. Hunt, recently returned from an extended trip abroad, has
+gone into the office of Shepley, Rutan & Coolidge in Chicago.
+
+Mr. F. N. Reed, who has distinguished himself in the Rotch Scholarship
+competition, having been given second place each time in the last three
+years, is now with Cabot, Everett & Mead of Boston.
+
+
+
+
+Brochure Series Competition No. 1.
+
+
+[Illustration]
+
+Program: The Henry F. Miller Piano Company of Boston, with the idea of
+turning the attention of designers to the problem of artistic piano
+cases, has placed in the hands of publishers of THE BROCHURE SERIES $50,
+to be awarded for sketches of piano cases. Three prizes of $25, $15, and
+$10 will be given for the three best designs submitted, the judges to be
+the officers, of the company, assisted by an architect who shall be
+appointed by the publishers.
+
+It is not the idea of the Henry F. Miller Piano Company to secure
+designs for actual use, as their work in special case design is almost
+entirely to order, carrying out designs for architects and decorators.
+Therefore, only sketches are required which may be executed in any
+medium the designer may choose, although due regard should be paid to
+the reproductive character of the drawing. A perspective sketch, showing
+the right end and front of the case, is required to be made on paper,
+not exceeding 8x12 in. in size.
+
+The diagram above gives the necessary dimensions. In designing the end
+the only thing to be borne in mind is the construction of the case, the
+front telescoping into the back or frame, as shown by the plan of the
+end. The quarter round finish of the back is not necessary, the
+treatment of the end being optional so long as dimensions and
+construction are regarded.
+
+The arm or end of the keyboard (_c_), the foot (_a_), the "truss" (_b_),
+which supports the keyboard, are all left entirely to the designer, the
+only dimensions to be regarded being the height of keyboard from the
+floor (2 ft. 1 in.), the top of the keys (4-1/2 in. higher), and the
+space (4 ft.) occupied by the keys. The arm projects 1 ft. 1 in. beyond
+the front.
+
+Drawings must be sent carriage paid so as to reach the editor of THE
+BROCHURE SERIES on or before July 15, 1895.
+
+The prize designs will become the property of the Henry F. Miller Piano
+Company. The other designs will be returned to their authors. It is to
+be understood, however, that any or all designs may be exhibited or
+published, and that they may be retained a reasonable time after
+judgment for these purposes.
+
+The details and management of the competition are left entirely to the
+publishers of THE BROCHURE SERIES, and it is hoped that this, the first
+of a number of competitions they will endeavor to arrange, will bring
+out the work of the best designers. If there is any portion of this
+program not clearly understood, the publishers will explain more in
+detail upon request.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 05, May 1895, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ***
+
+***** This file should be named 19364.txt or 19364.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/9/3/6/19364/
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