28 files changed, 3261 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/19769-8.txt b/19769-8.txt
new file mode 100644
index 0000000..959174f
--- /dev/null
+++ b/19769-8.txt
@@ -0,0 +1,953 @@
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 08, August 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. 08, August 1895
+       Fragments of Greek Detail
+
+Author: Various
+
+Release Date: November 12, 2006 [EBook #19769]
+
+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. AUGUST, 1895 No. 8.
+
+FRAGMENTS OF GREEK DETAIL.
+
+
+The Art of Greece during the fifth century, B.C., was developed in an
+amazingly short time from a condition of almost archaic rudeness to that
+of the greatest perfection which the world has ever seen.
+
+At the close of the Persian wars the Athenians, under Pericles, began
+rebuilding their city and perfecting themselves in all the arts of
+civilization, and their progress in the next half century will always be
+a subject for wonder. It is especially wonderful that works of art of
+the character produced at this time should have been the outcome of
+political maneuvering: for if Plutarch is to be credited the scheming of
+Pericles to obtain and hold possession of the government of Athens was
+the immediate cause of the erection of these marvellous monuments. In
+order to increase his influence with the common people Pericles devoted
+the treasure which had been contributed by the other Greek cities for
+defence against the barbarians to the beautifying of Athens, and to
+furnishing them with games and amusements, and especially to the
+erection of the group of temples upon the Acropolis, in this way
+distributing patronage and keeping his people employed much as a modern
+political "boss" does the same in our day.
+
+The Parthenon, which is esteemed the grandest of all monuments of Greek
+art, embodying as it does the highest achievement in sculpture and
+architecture, was built just after the middle of the fifth century,
+although the precise date at which it was begun and finished is
+uncertain. The Erechtheion and Propylća were probably built a few years
+later, but their exact dates are also in doubt.
+
+The sculptor, Phidias, was the friend and adviser of Pericles and to him
+was given the general charge of all matters relating to art. Under him
+were grouped architects, sculptors, and artisans of all schools and
+trades--Ictinus and Calicrates as architects of the Parthenon, Mnesicles
+of the Propylća, and many others--such an assemblage as only Greece in
+her most glorious epoch could bring together. The work of this period
+shows that happy union of technical perfection and the expression of
+only the loftiest ideas, in which, as Plutarch says, the architect made
+it his ambition to "surpass the magnificence of his design with the
+elegance of its execution."
+
+The skill and delicacy as well as the subtle appreciation of refinements
+of form and finish exhibited in the treatment of details such as those
+shown in our plates are almost beyond comprehension. The workmanship is
+so perfect that it is difficult to see how it could be improved upon.
+Stuart, in his account of the Parthenon, states that he found two
+stones, one merely laid upon the other in the stylobate of this
+building, which had been ground to so fine a joint that they had
+actually united and become one. The refinements in measurements are such
+that it has been asserted that a variation of one twentieth of an inch
+from the dimensions intended is all that need be allowed--the width of
+the two ends of the building agreeing to within this amount. The entasis
+of columns and curvature of what would ordinarily be straight lines is
+familiar to all students of architecture.
+
+Photographs of Greek architecture are by no means common or easy to
+obtain, and the subjects given as illustrations of the present issue of
+THE BROCHURE SERIES are presented, not as in the preceding numbers,
+either all from a single building, or of similar features from several
+buildings, but merely as fragments of detail, representing the period of
+Greek art when architecture and sculpture had reached their highest
+development.
+
+
+
+
+[Illustration: LVII. Capital from the Parthenon, Athens.]
+
+
+LVII.
+
+CAPITAL FROM THE PARTHENON, ATHENS.
+
+The Parthenon of Pericles was built on the site of an older temple as a
+treasury, and repository of the colossal statue of Athena, made by
+Phidias from gold and ivory. The Doric order, the capital of which is
+shown in our plate, needs no description here as probably no other
+single order is so generally known. After various transformations the
+building was blown up by the Venetians in 1687 and has since remained in
+ruins.
+
+
+
+
+[Illustration: LVIII. Capital from the Erechtheion, Athens.]
+
+[Illustration: LIX. Base from the Erechtheion, Athens.]
+
+[Illustration: LX. Capital of Anta, from the Erechtheion, Athens.]
+
+
+LVIII.
+
+CAPITAL FROM THE ERECHTHEION, ATHENS.
+
+LIX.
+
+BASE FROM THE ERECHTHEION, ATHENS.
+
+LX.
+
+CAP OF ANTA FROM THE ERECHTHEION, ATHENS.
+
+The Ionic order of the Erechtheion is the one which is best known and
+has been most frequently copied and adapted in modern work. It is at the
+same time the richest and most delicately refined of the Greek Ionic
+orders, and this is equivalent to saying of all orders whatsoever. This
+order of which the cap and base are given in our plates belongs to the
+north porch. There were two other fronts to the building which was, to
+all intents and purposes, three temples united in one. The famous
+caryatid porch faces the south, looking toward the Parthenon.
+
+
+
+
+[Illustration: LXI. Fragment from South Side of the Acropolis, Athens.]
+
+
+LXI.
+
+FRAGMENT FROM SOUTH SIDE OF ACROPOLIS, ATHENS.
+
+Although this fragment was found at some distance from the Erechtheion
+it is without much doubt a portion of that building.
+
+
+
+
+[Illustration: LXII. Capital from the Propylća, Athens.]
+
+
+LXII.
+
+CAPITAL FROM THE PROPYLĆA, ATHENS.
+
+The Propylća, or gate to the Acropolis, was built at about the same time
+as the Parthenon, between the years 436 and 431 B.C. It combines the
+Doric and Ionic orders, but both are most skilfully used with equal
+grace and nobleness of proportion.
+
+
+
+
+[Illustration: LXIII. Fragment of Cyma from the Tholos, Epidauros.]
+
+
+LXIII.
+
+FRAGMENT OF CYMA FROM THE THOLOS AT EPIDAUROS.
+
+The Tholos of Polykletos at Epidauros was a circular building 107 feet
+in diameter, situated within the sacred enclosure. It had two concentric
+rows of columns, the exterior order being Doric, and the interior Ionic,
+but with Corinthian caps of the design shown in plate LXIV.
+
+
+
+
+[Illustration: LXIV. Capital from the Tholos, Epidauros.]
+
+
+LXIV.
+
+CAP FROM THE THOLOS AT EPIDAUROS.
+
+The two fragments shown are the result of recent excavations and are
+among the most beautiful examples of Greek detail extant.
+
+
+
+
+Architectural Schools.
+
+
+HARVARD UNIVERSITY.
+
+The writer of "The Point of View" in _Scribner's Magazine_ recently
+called attention to the distinction between what he calls "cultivation"
+and "civilization." As he very aptly states it, "culture according to
+the common acceptance of it, is largely the cultivation of the mind;
+civilization would seem to be the cultivation of the sympathies, the
+tastes, and the capacity for giving and receiving sound pleasures. The
+most civilized man is the man with the most catholic appreciation, the
+man who can be the most things to the most people--the man, to put it
+briefly, who knows best how to live. The man who is civilized can use
+all the culture he can get, but he can get on and still be civilized
+with a very moderate outfit of it. But the man who has culture and has
+not civilization, is very badly handicapped."
+
+Probably no walk of life offers more opportunities for the advantageous
+application of what is meant in this quotation by civilization than that
+of the architect; and probably in no other profession does the
+"civilized" man have greater advantages over his less civilized fellows.
+
+The successful architect requires a broad and catholic culture, but in
+addition must be a man of the world in the best and most comprehensive
+sense. Opportunities for social improvement will often make the
+difference between success and failure in his professional life. On this
+account too much stress can hardly be put upon the importance to a young
+man of his social environment.
+
+The life in an old university set in the midst of a community where the
+traditions of generations of cultivated families have established a
+social atmosphere, it might be said, is one of the best and most
+powerful civilizing influences. Such an opportunity as this is offered
+at Harvard, and it is this which gives to the architectural course at
+Harvard its main advantage over that of other schools in this country.
+
+The department itself is comparatively young, having only just completed
+its second year. It is under the direction of the faculty of the
+Lawrence Scientific School, one of the principal schools of the
+University.
+
+Its special corps of instructors consists of Prof. H. Langford Warren
+assisted by Messrs. George F. Newton and John W. Bemis. In addition to
+this, lectures and instruction are given by members of the Faculty of
+Arts and Sciences, which includes the faculty of the Lawrence Scientific
+School, Harvard College and the Graduate School, among whom are Prof.
+Charles Eliot Norton, Prof. White, Prof. Greenough, Prof. Moore, Prof.
+Hollis and others.
+
+Although students in this department do much of their work in rooms
+specially provided for them, in their general studies and lectures they
+are associated with the other students of the University and thus reap
+the advantages coming from such association.
+
+Throughout, it has been the purpose in this school, to treat
+architecture as a fine art and not merely as the science of
+construction, and to this end instruction in the general history of the
+Fine Arts and practice in design are made the central features about
+which the other studies are grouped.
+
+The course as laid out is intended to cover four years, and may be
+supplemented by post-graduate work; while on the other hand a large
+part of the general studies may be anticipated by students of the
+College who wish to take the professional studies after completing the
+usual course in the college proper. Especial stress is laid upon
+educating the taste and discrimination of the student, and association
+with cultivated men and familiarity with the best efforts of the past,
+are the two most important influences to this end.
+
+
+
+
+Personal.
+
+
+Mr. C. D. Maginnis, recently returned from abroad, and who has for
+several years been in the office of Mr. E. M. Wheelwright, city
+architect, has opened an office at 27 School Street, Boston. He is
+prepared to do all kinds of architectural drawing, in pen, pencil, or
+water color, and will work up competition drawings and sketches.
+
+Mr. W. H. Kilham, Mr. E. P. Dana, and several others have recently been
+added to the working force of Messrs. Winslow & Wetherell, whose office
+is now the largest in Boston.
+
+Mr. W. T. Partridge, who has for several years been with Messrs. Eames &
+Young, in St. Louis, has severed his connection with them and will
+probably return to the East.
+
+
+
+
+Club Notes.
+
+
+The summer work of the Sketch Club of New York has been laid out to
+include sketching trips in the outlying neighborhood of New York City.
+On alternate Saturdays members of the Club meet at one of the piers and
+take a small steam yacht to points along the East River and Long Island
+Sound, spending the Sunday in sketching. On the intermediate Sundays,
+rambles through West Chester occupy those who are disposed to join in
+the excursions. These trips are laid out to include the time from July
+13 to September 28.
+
+The competition of the Chicago Architectural Club upon the subject
+"Picturesque Chicago," closes September 2, and the club begins its
+regular year's work on that date with an exhibition of the sketches
+submitted in this competition together with other work of the summer.
+
+
+
+
+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.
+
+       *       *       *       *       *
+
+SPECIAL NOTICE.
+
+Back numbers of THE BROCHURE SERIES _are not_ kept in stock. All
+subscriptions will be dated from the time received and subscribers who
+wish for the current numbers must place their subscriptions at once.
+
+       *       *       *       *       *
+
+The illustration which we give on another page, of a gala night of the
+"P. D." club will appeal to the many friends of the P. D.'s who are
+distributed from end to end of the country. The descriptive article by
+one of the members which is begun in this number will also give an
+indication to those who are not already familiar with this organization,
+of its character and purpose. That a combination of serious work and
+relaxation can be reconciled without sacrificing the former, has been
+demonstrated in this case, for the P. D.'s are the mainstay of the
+Boston Architectural Club and have accomplished considerable in other
+directions, having done very notable work in several of the Beaux-Arts
+Society's competitions. Their motto and seal shown in the other
+illustration is a remarkable example of impromptu decoration.
+
+       *       *       *       *       *
+
+The August 22 issue of the _Journal of the Royal Institute of British
+Architects_ contains a description of the School of Architecture and
+Applied Arts of University College, Liverpool, and an address by Mr.
+T. G. Jackson, the well-known English architect and author, delivered at
+the inauguration of the school on May 10 last. Special provisions are
+made for courses in Architecture, Sculpture and Modelling, Decorative
+Painting, Wrought Iron Work, and Wood Carving, accompanying theoretical
+instruction with actual work in the studios and shops.
+
+Mr. Jackson's remarks are worthy careful attention and will be found as
+valuable to American students as to those to whom they were addressed.
+His opinions upon the study of architectural history are interesting in
+connection with the views of the American writers to which we referred
+last month. He says: "The reverence with which we have been taught to
+regard old work has misled us into a slavish worship of precedent, and
+an abject craving for authority by which to shape our own work. Close
+imitation of old work has been regarded as the only safe course,
+deceptive imitation of it the highest measure of success."...
+
+"Above all it should be the student's object to discover the principles
+of design by which the successive styles were governed, and in tracing
+their history he should trace the influence of circumstance and
+accident, which modify the current art of the day.... The history of
+architecture, and the development of style out of style, should never be
+taught without incessant reference to the constructional methods which
+were employed, and which played the principal part in the changes
+resulting from their employment."
+
+       *       *       *       *       *
+
+Apropos of the perennial discussion of the question of professional
+ethics which from time to time comes into prominence in the meetings of
+the American Institute of Architects the following may be of interest.
+It is appended to the card of a certain architect which is published as
+an advertisement in a local paper and reads: "Any kind of architectural
+work promptly attended to and satisfaction guaranteed."
+
+In the resolutions recently adopted by the Boston Society of Architects
+concerning professional ethics it was maintained that architects should
+not advertise. The advertisement above may savor somewhat of its
+surroundings (above it a hair renewer is advertised and below it
+penny-royal pills) and suggest too much the "shoes tapped while you
+wait" order of advertising, but we fail to see why architects should be
+restrained from advertising if there are any benefits to be derived
+from it. And for our part we think that there are few architects whose
+business or practice might not be improved by judicious advertising. It
+is easy to lay down an arbitrary dictum and say that no professional man
+shall advertise, but what argument can apply to architects in this
+respect that does not equally apply to civil engineers and to landscape
+architects? And no one objects to the advertisements of the latter. The
+publication of architects' designs in the professional journals is in
+many cases advertising, pure and simple, but is not on this account to
+be condemned. The truth of the matter is that the exact point where
+advertising begins and ends is impossible to determine. One kind of
+advertising is considered allowable and dignified, another is not. In
+consequence there is opportunity for many differences of opinion.
+
+
+
+
+The "P. D.'s."
+
+
+If Chimmie Fadden were asked to translate the letters P. D., he would
+undoubtedly answer, "What 'ell?" and it must be acknowledged that this
+answer does credit to Chames's insight; but at the same time we feel
+sure that Chames would not be offended if he were informed that his
+favorite expression is not nearly such an appropriate definition of
+P. D. as it is of the play of Madame Sans Gęne, all rumors to the
+contrary notwithstanding And if Chames could be induced to give up for
+the while his everlasting search for a bull pup, we might proceed to
+inform him to the best of our ability what it really does mean.
+
+"The Lord gives good meat but the devil sends cooks," but Chames
+apparently lending a willing ear, we take his life in our hands, and
+firstly:--
+
+And that is, that P. D. is not an abbreviation for Poor Debtors, as some
+would have it, but for Poor Draughtsmen; which is after all, perhaps, a
+distinction without a difference.
+
+Poor in this case has no reference to the quality of the draughtsmen's
+work, for, as our song truly says,--
+
+    "The P. D. is a man
+    Who does the best he can,
+    No matter what the problem it may be.
+    He can draw a quarter scale,
+    He can draw a full detail,
+    And draw his pay upon a Saturdee."
+
+The club, for such it is, was at first overburdened with the name of The
+Poor Draughtsmen's Saturday Night Club, but the member who wrote the
+specification of the club, started in by writing the name and then
+proceeded as follows: "The name of the club shall be the above (it is
+too long to write again)." The hint was taken and it has since been
+known as the P. D.'s.
+
+The club resulted from the more or less accidental coming together of
+men of congenial spirit, and the desire to cultivate each other's
+acquaintance more intimately than was possible in the larger
+Architectural Club of which they are all members, and over which are
+their club rooms.
+
+[Illustration: SEAL OF THE P. D.'S.]
+
+The work of fitting up these rooms was done by the members themselves,
+and an added interest is given them by the constantly changing
+exhibitions on their walls. The bulletin board is also a never-ending
+source of delight.
+
+The club at present consists of thirteen members, all of whom on
+entering it, as a sort of architectural baptism, receive new names, and,
+ye gods, what names!
+
+What more is to be desired when one may, when he dines or designs, touch
+elbows with such choice spirits as Ictinus, Michael Angelo, Vitruvius,
+Vignola, Piranesi, San Gallo, Bramante, Christopher Wren, Inigo Jones,
+Charles Bulfinch, Viollet le Duc, Gamier Frčres (N.B.--There is only
+one of him), and Brian Boru.
+
+[Illustration: A GALA NIGHT IN THE ROOMS OF THE "P. D.'S."]
+
+The one requirement for admission is good fellowship with the saving
+clause, that this good fellowship, like Faith, must be accompanied by
+good works.
+
+Its organization is of the simplest character, there being no
+constitution or rules of any kind, except the joke known as the
+specification be regarded as such. Much of the charm of the club is due
+to this absolute freedom from restraint.
+
+The officers are the president, treasurer, and secretary, who manage the
+affairs of the club during their term of office. Each member presides in
+turn, the term of office being one month, the succession being arranged
+by lot.
+
+A well-known writer deplores the lack of humor in the fiction of the
+day, and the tendency of those who should know better, to constantly
+preach us sermons upon our least admirable failings.
+
+Alas! it is not fiction alone that has taken to the pulpit, for
+Architecture has also its preachers, and our journals are loaded with
+their sermons, which fortunately for architecture, very few ever read.
+
+While acknowledging the fact that a little seriousness now and then may
+be relished by even a P. D., a good hearty laugh is the one thing in
+this dreary old world of ours that they most appreciate. No one realizes
+more thoroughly than they that,--
+
+    "Care to our coffin adds a nail, no doubt,
+    And every grin so jolly draws one out."
+
+The principal object of the members, then, is to amuse themselves. The
+club is not intended as a workroom, but as our P. D. poet expresses it,
+a place where,--
+
+    "Freed from the fret of routine's slavish toil,
+      They meet once more in freedom's jollity.
+    No thought of care comes to them now to spoil
+      The merry jest, the gay frivolity."
+
+Nevertheless they have found time for much serious work, but inasmuch as
+work is said to speak for itself, we will confine our attention to some
+of the things by means of which the members have passed many happy
+hours.
+
+Upon entering the club the member not only receives a new name, but his
+biography containing more or less of the truth about him is written and
+placed in the records. A song is also composed in his honor, and on
+festal occasions he is greeted with it upon his entrance.
+
+Perhaps the greatest event of the year is the annual dinner, or the
+"Centurial Dinner" as it is called, from the very general conviction
+that "Better one year with the P. D.'s than a cycle of Cathay." Every
+one is supposed to do something for this occasion, but he is given
+perfect liberty as to what he shall do, and he may answer, for instance,
+the toast of The Architecture of the Greeks with an essay on The Use and
+Abuse of the Cocktail, with the assurance that his consistency will not
+be doubted.
+
+The menu card is usually of sufficient interest to furnish amusement
+until the actual hostilities begin. Upon each guest at this dinner is
+conferred the honorary title of "Draughtsman."
+
+The installation of a new president, which occurs monthly, is also the
+occasion of much mirth, as are also the departures for or the arrivals
+from Europe of members.
+
+But no matter how closely these events follow each other, one can depend
+upon each of them being distinctly different; and after one has attended
+a score or so of them he begins to wonder when this versatility will end
+and they will begin to repeat themselves.
+
+Notwithstanding the unvaried success of these affairs, none of them have
+been attended with more than a slight expenditure of time or money.
+
+In decorating the rooms the same old articles have been made to do
+service any number of times, but always in such a manner as to obtain an
+entirely different effect.
+
+Many of the best things in this line have been done on the spur of the
+moment. The club seal, for instance, was thrown together in a few
+minutes, some one in the meantime looking up an appropriate motto, the
+occasion being an impromptu festival of Gambrinus, which occurred one
+Christmas eve.
+
+At another time a wonderful chandelier was constructed of a stretcher, a
+Chinese lantern, and twenty beer bottles, which were utilized to hold
+candles, and a placard on each told that they were manufactured by the
+P. D. Electric Co. and were each of one candle power; the whole being
+draped with some brilliantly dyed stuffs that had served as costumes at
+the Art Students' Festival.
+
+_(To be continued.)_
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 08, August 1895, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ***
+
+***** This file should be named 19769-8.txt or 19769-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/9/7/6/19769/
+
+Produced by Juliet Sutherland, Sigal Alon and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
diff --git a/19769-8.zip b/19769-8.zip
new file mode 100644
index 0000000..0170f83
--- /dev/null
+++ b/19769-8.zip
diff --git a/19769-h.zip b/19769-h.zip
new file mode 100644
index 0000000..6517893
--- /dev/null
+++ b/19769-h.zip
diff --git a/19769-h/19769-h.htm b/19769-h/19769-h.htm
new file mode 100644
index 0000000..b59e030
--- /dev/null
+++ b/19769-h/19769-h.htm
@@ -0,0 +1,1339 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+       The Project Gutenberg eBook of The Brochure Series of Architectural Illustration, Vol. 1, No. 8, August 1895
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    a {text-decoration: none;}
+
+    img {border: none;}
+
+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+                color: gray;
+                font-style: normal; font-weight: normal; font-variant: normal;
+                background-color: inherit;
+              } /* page numbers */
+
+    .center    {text-align: center;}
+    .right     {text-align: right;}
+    .left      {text-align: left;}
+    .smcap     {font-variant: small-caps;}
+    .lowercase {text-transform:lowercase;}
+
+    .caption   {font-weight: bold;}
+
+    .figcenter {margin: auto; text-align: center;}
+
+    .poem             {margin-left:10%; margin-right:10%; text-align: left;}
+    .poem br          {display: none;}
+    .poem .stanza     {margin: 1em 0em 1em 0em;}
+    .poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i2     {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;}
+    // -->
+    /* XML end  ]]>*/
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 08, August 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. 08, August 1895
+       Fragments of Greek Detail
+
+Author: Various
+
+Release Date: November 12, 2006 [EBook #19769]
+
+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>AUGUST, 1895.</b></td>
+<td class="right"><b>No. 8.</b></td>
+</tr>
+</table>
+
+<hr style="width: 25%;" />
+
+
+<h4>FRAGMENTS OF GREEK DETAIL.</h4>
+
+<p>The Art of Greece during the fifth
+century, <span class="smcap lowercase">B.C.</span>, was developed in
+an amazingly short time from a
+condition of almost archaic
+rudeness to that of the greatest perfection
+which the world has ever seen.</p>
+
+<p>At the close of the Persian wars the
+Athenians, under Pericles, began rebuilding
+their city and perfecting themselves
+in all the arts of civilization, and their
+progress in the next half century will
+always be a subject for wonder. It is
+especially wonderful that works of art of
+the character produced at this time
+should have been the outcome of political
+maneuvering: for if Plutarch is to be
+credited the scheming of Pericles to obtain
+and hold possession of the government
+of Athens was the immediate cause
+of the erection of these marvellous monuments.
+In order to increase his influence
+with the common people Pericles devoted
+the treasure which had been contributed
+by the other Greek cities for defence
+against the barbarians to the beautifying
+of Athens, and to furnishing them with
+games and amusements, and especially to
+the erection of the group of temples upon
+the Acropolis, in this way distributing patronage
+and keeping his people employed
+much as a modern political "boss" does
+the same in our day.</p>
+
+<p>The Parthenon, which is esteemed the
+grandest of all monuments of Greek art,
+embodying as it does the highest achievement
+in sculpture and architecture, was
+built just after the middle of the fifth
+century, although the precise date at
+which it was begun and finished is uncertain.
+The Erechtheion and Propyl&aelig;a
+were probably built a few years later, but
+their exact dates are also in doubt.</p>
+
+<p>The sculptor, Phidias, was the friend
+and adviser of Pericles and to him was
+given the general charge of all matters
+relating to art. Under him were grouped
+architects, sculptors, and artisans of all
+schools and trades&mdash;Ictinus and Calicrates
+as architects of the Parthenon,
+Mnesicles of the Propyl&aelig;a, and many
+others&mdash;such an assemblage as only
+Greece in her most glorious epoch could
+bring together. The work of this period
+shows that happy union of technical perfection
+and the expression of only the
+loftiest ideas, in which, as Plutarch says,
+the architect made it his ambition to
+"surpass the magnificence of his design
+with the elegance of its execution."</p>
+
+<p>The skill and delicacy as well as the
+subtle appreciation of refinements of
+form and finish exhibited in the treatment
+of details such as those shown in our
+plates are almost beyond comprehension.
+The workmanship is so perfect that it is
+difficult to see how it could be improved
+upon. Stuart, in his account of the Parthenon,
+states that he found two stones,
+one merely laid upon the other in the
+stylobate of this building, which had been
+ground to so fine a joint that they had
+actually united and become one. The
+refinements in measurements are such
+that it has been asserted that a variation<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span>
+of one twentieth of an inch from the
+dimensions intended is all that need be
+allowed&mdash;the width of the two ends of
+the building agreeing to within this amount.
+The entasis of columns and curvature of
+what would ordinarily be straight lines is
+familiar to all students of architecture.</p>
+
+<p>Photographs of Greek architecture are
+by no means common or easy to obtain,
+and the subjects given as illustrations of
+the present issue of <span class="smcap">The Brochure Series</span>
+are presented, not as in the preceding
+numbers, either all from a single building,
+or of similar features from several buildings,
+but merely as fragments of detail,
+representing the period of Greek art when
+architecture and sculpture had reached
+their highest development.</p>
+
+
+
+<div class="figcenter" style="width: 176px;">
+<a href="images/plate57.jpg">
+<img src="images/plate57tn.jpg" width="176" height="226" alt="LVII. Capital from the Parthenon, Athens." title="LVII. Capital from the Parthenon, Athens." />
+<span class="caption">LVII. Capital from the Parthenon, Athens.</span>
+</a>
+</div>
+
+
+<h4>LVII.</h4>
+
+<h4>CAPITAL FROM THE PARTHENON, ATHENS.</h4>
+
+<p>The Parthenon of Pericles was built on
+the site of an older temple as a treasury,
+and repository of the colossal statue of
+Athena, made by Phidias from gold and
+ivory. The Doric order, the capital of
+which is shown in our plate, needs no
+description here as probably no other single
+order is so generally known. After
+various transformations the building was
+blown up by the Venetians in 1687 and
+has since remained in ruins.</p>
+
+
+
+<div class="figcenter" style="width: 232px;">
+<a href="images/plate58.jpg">
+<img src="images/plate58tn.jpg" width="232" height="176" alt="LVIII. Capital from the Erechtheion, Athens." title="LVIII. Capital from the Erechtheion, Athens." />
+<span class="caption">LVIII. Capital from the Erechtheion, Athens.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 237px;">
+<a href="images/plate59.jpg">
+<img src="images/plate59tn.jpg" width="237" height="174" alt="LIX. Base from the Erechtheion, Athens." title="LIX. Base from the Erechtheion, Athens." />
+<span class="caption">LIX. Base from the Erechtheion, Athens.</span>
+</a>
+</div>
+
+<div class="figcenter" style="width: 230px;">
+<a href="images/plate60.jpg">
+<img src="images/plate60tn.jpg" width="230" height="144" alt="LX. Capital of Anta, from the Erechtheion, Athens." title="LX. Capital of Anta, from the Erechtheion, Athens." />
+<span class="caption">LX. Capital of Anta, from the Erechtheion, Athens.</span>
+</a>
+</div>
+
+
+<h4>LVIII.</h4>
+
+<h4>CAPITAL FROM THE ERECHTHEION, ATHENS.</h4>
+
+<h4>LIX.</h4>
+
+<h4>BASE FROM THE ERECHTHEION, ATHENS.</h4>
+
+<h4>LX.</h4>
+
+<h4>CAP OF ANTA FROM THE ERECHTHEION, ATHENS.</h4>
+
+<p>The Ionic order of the Erechtheion is
+the one which is best known and has been
+most frequently copied and adapted in
+modern work. It is at the same time the
+richest and most delicately refined of the
+Greek Ionic orders, and this is equivalent
+to saying of all orders whatsoever. This
+order of which the cap and base are
+given in our plates belongs to the north
+porch. There were two other fronts to
+the building which was, to all intents and
+purposes, three temples united in one.
+The famous caryatid porch faces the south,
+looking toward the Parthenon.</p>
+
+
+
+<div class="figcenter" style="width: 278px;">
+<a href="images/plate61.jpg">
+<img src="images/plate61tn.jpg" width="278" height="119" alt="LXI. Fragment from South Side of the Acropolis, Athens." title="LXI. Fragment from South Side of the Acropolis, Athens." />
+<span class="caption">LXI. Fragment from South Side of the Acropolis, Athens.</span>
+</a>
+</div>
+
+
+<h4>LXI.</h4>
+
+<h4>FRAGMENT FROM SOUTH SIDE OF ACROPOLIS,
+ATHENS.</h4>
+
+<p>Although this fragment was found at
+some distance from the Erechtheion it is
+without much doubt a portion of that
+building.</p>
+
+
+
+<div class="figcenter" style="width: 237px;">
+<a href="images/plate62.jpg">
+<img src="images/plate62tn.jpg" width="237" height="172" alt="LXII. Capital from the Propyl&aelig;a, Athens." title="LXII. Capital from the Propyl&aelig;a, Athens." />
+<span class="caption">LXII. Capital from the Propyl&aelig;a, Athens.</span>
+</a>
+</div>
+
+
+<h4>LXII.</h4>
+
+<h4>CAPITAL FROM THE PROPYL&AElig;A, ATHENS.</h4>
+
+<p>The Propyl&aelig;a, or gate to the Acropolis,
+was built at about the same time as the
+Parthenon, between the years 436 and
+431 <span class="smcap lowercase">B.C.</span> It combines the Doric and Ionic
+orders, but both are most skilfully used
+with equal grace and nobleness of proportion.</p>
+
+
+
+<div class="figcenter" style="width: 373px;">
+<a href="images/plate63.jpg">
+<img src="images/plate63tn.jpg" width="373" height="147" alt="LXIII. Fragment of Cyma from the Tholos, Epidauros." title="LXIII. Fragment of Cyma from the Tholos, Epidauros." />
+<span class="caption">LXIII. Fragment of Cyma from the Tholos, Epidauros.</span>
+</a>
+</div>
+
+
+<h4>LXIII.</h4>
+
+<h4>FRAGMENT OF CYMA FROM THE THOLOS AT
+EPIDAUROS.</h4>
+
+<p>The Tholos of Polykletos at Epidauros
+was a circular building 107 feet in diameter,
+situated within the sacred enclosure.
+It had two concentric rows of columns, the
+exterior order being Doric, and the interior
+Ionic, but with Corinthian caps of
+the design shown in plate LXIV.</p>
+
+
+
+<div class="figcenter" style="width: 234px;">
+<a href="images/plate64.jpg">
+<img src="images/plate64tn.jpg" width="234" height="215" alt="LXIV. Capital from the Tholos, Epidauros." title="LXIV. Capital from the Tholos, Epidauros." />
+<span class="caption">LXIV. Capital from the Tholos, Epidauros.</span>
+</a>
+</div>
+
+
+<h4>LXIV.</h4>
+
+<h4>CAP FROM THE THOLOS AT EPIDAUROS.</h4>
+
+<p>The two fragments shown are the result
+of recent excavations and are among the
+most beautiful examples of Greek detail
+extant.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Architectural_Schools" id="Architectural_Schools"></a>Architectural Schools.</h2>
+
+
+<h4>HARVARD UNIVERSITY.</h4>
+
+<p>The writer of "The Point of View" in
+<i>Scribner's Magazine</i> recently called
+attention to the distinction between what
+he calls "cultivation" and "civilization."
+As he very aptly states it, "culture according
+to the common acceptance of it, is
+largely the cultivation of the mind;
+civilization would seem to be the cultivation
+of the sympathies, the tastes, and the
+capacity for giving and receiving sound
+pleasures. The most civilized man is the
+man with the most catholic appreciation,
+the man who can be the most things to
+the most people&mdash;the man, to put it
+briefly, who knows best how to live. The
+man who is civilized can use all the culture
+he can get, but he can get on and still be
+civilized with a very moderate outfit of it.
+But the man who has culture and has not
+civilization, is very badly handicapped."</p>
+
+<p>Probably no walk of life offers more
+opportunities for the advantageous application
+of what is meant in this quotation
+by civilization than that of the architect;<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span>
+and probably in no other profession does
+the "civilized" man have greater advantages
+over his less civilized fellows.</p>
+
+<p>The successful architect requires a
+broad and catholic culture, but in addition
+must be a man of the world in the best
+and most comprehensive sense. Opportunities
+for social improvement will often
+make the difference between success and
+failure in his professional life. On this
+account too much stress can hardly be put
+upon the importance to a young man of
+his social environment.</p>
+
+<p>The life in an old university set in the
+midst of a community where the traditions
+of generations of cultivated families have
+established a social atmosphere, it might
+be said, is one of the best and most powerful
+civilizing influences. Such an opportunity
+as this is offered at Harvard, and
+it is this which gives to the architectural
+course at Harvard its main advantage over
+that of other schools in this country.</p>
+
+<p>The department itself is comparatively
+young, having only just completed its
+second year. It is under the direction of
+the faculty of the Lawrence Scientific
+School, one of the principal schools of the
+University.</p>
+
+<p>Its special corps of instructors consists
+of Prof. H. Langford Warren assisted by
+Messrs. George F. Newton and John W.
+Bemis. In addition to this, lectures and
+instruction are given by members of the
+Faculty of Arts and Sciences, which
+includes the faculty of the Lawrence
+Scientific School, Harvard College and the
+Graduate School, among whom are Prof.
+Charles Eliot Norton, Prof. White, Prof.
+Greenough, Prof. Moore, Prof. Hollis and
+others.</p>
+
+<p>Although students in this department do
+much of their work in rooms specially
+provided for them, in their general studies
+and lectures they are associated with the
+other students of the University and thus
+reap the advantages coming from such
+association.</p>
+
+<p>Throughout, it has been the purpose in
+this school, to treat architecture as a fine
+art and not merely as the science of construction,
+and to this end instruction in
+the general history of the Fine Arts and
+practice in design are made the central
+features about which the other studies
+are grouped.</p>
+
+<p>The course as laid out is intended to
+cover four years, and may be supplemented
+by post-graduate work; while on the other
+hand a large part of the general studies
+may be anticipated by students of the
+College who wish to take the professional
+studies after completing the usual course
+in the college proper. Especial stress is
+laid upon educating the taste and discrimination
+of the student, and association
+with cultivated men and familiarity with
+the best efforts of the past, are the two
+most important influences to this end.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Personal" id="Personal"></a>Personal.</h2>
+
+
+<p>Mr. C.&nbsp;D. Maginnis, recently returned
+from abroad, and who has for several years
+been in the office of Mr. E.&nbsp;M. Wheelwright,
+city architect, has opened an office
+at 27 School Street, Boston. He is prepared
+to do all kinds of architectural
+drawing, in pen, pencil, or water color,
+and will work up competition drawings
+and sketches.</p>
+
+<p>Mr. W.&nbsp;H. Kilham, Mr. E.&nbsp;P. Dana,
+and several others have recently been
+added to the working force of Messrs.
+Winslow &amp; Wetherell, whose office is now
+the largest in Boston.</p>
+
+<p>Mr. W.&nbsp;T. Partridge, who has for several
+years been with Messrs. Eames &amp; Young,
+in St. Louis, has severed his connection
+with them and will probably return to the
+East.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Club_Notes" id="Club_Notes"></a>Club Notes.</h2>
+
+
+<p>The summer work of the Sketch Club
+of New York has been laid out to include
+sketching trips in the outlying neighborhood
+of New York City. On alternate
+Saturdays members of the Club meet at
+one of the piers and take a small steam
+yacht to points along the East River and
+Long Island Sound, spending the Sunday
+in sketching. On the intermediate Sundays,
+rambles through West Chester occupy
+those who are disposed to join in the
+excursions. These trips are laid out to
+include the time from July 13 to September
+28.</p>
+
+<p>The competition of the Chicago Architectural
+Club upon the subject "Picturesque
+Chicago," closes September 2, and
+the club begins its regular year's work on
+that date with an exhibition of the sketches
+submitted in this competition together
+with other work of the summer.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_121" id="Page_121">[121]</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>
+  <td class='left'>Special Club Rate for five subscriptions</td>
+  <td class='right'>$2.00.</td>
+</tr>
+<tr>
+  <td colspan="2" class='left'>Entered at the Boston Post Office as Second-class Matter.</td>
+</tr>
+</table></div>
+
+<hr style='width: 45%;' />
+
+
+<h4>SPECIAL NOTICE.</h4>
+
+<p>Back numbers of <span class="smcap">The Brochure Series</span>
+<i>are not</i> kept in stock. All subscriptions
+will be dated from the time received and
+subscribers who wish for the current
+numbers must place their subscriptions
+at once.</p>
+
+<hr style='width: 45%;' />
+
+<p>The illustration which we give on
+another page, of a gala night of the
+"P.&nbsp;D." club will appeal to the many
+friends of the P.&nbsp;D.'s who are distributed
+from end to end of the country. The
+descriptive article by one of the members
+which is begun in this number will also
+give an indication to those who are not
+already familiar with this organization,
+of its character and purpose. That a
+combination of serious work and relaxation
+can be reconciled without sacrificing
+the former, has been demonstrated in
+this case, for the P.&nbsp;D.'s are the mainstay
+of the Boston Architectural Club and
+have accomplished considerable in other
+directions, having done very notable work
+in several of the Beaux-Arts Society's
+competitions. Their motto and seal
+shown in the other illustration is a remarkable
+example of impromptu decoration.</p>
+
+<hr style='width: 45%;' />
+
+<p>The August 22 issue of the <i>Journal of
+the Royal Institute of British Architects</i>
+contains a description of the School of
+Architecture and Applied Arts of University
+College, Liverpool, and an address
+by Mr. T.&nbsp;G. Jackson, the well-known
+English architect and author, delivered
+at the inauguration of the school on
+May 10 last. Special provisions are made
+for courses in Architecture, Sculpture and
+Modelling, Decorative Painting, Wrought
+Iron Work, and Wood Carving, accompanying
+theoretical instruction with actual
+work in the studios and shops.</p>
+
+<p>Mr. Jackson's remarks are worthy careful
+attention and will be found as valuable
+to American students as to those to whom
+they were addressed. His opinions upon
+the study of architectural history are
+interesting in connection with the views
+of the American writers to which we
+referred last month. He says: "The
+reverence with which we have been
+taught to regard old work has misled us
+into a slavish worship of precedent, and
+an abject craving for authority by which
+to shape our own work. Close imitation
+of old work has been regarded as the
+only safe course, deceptive imitation of
+it the highest measure of success."...</p>
+
+<p>"Above all it should be the student's
+object to discover the principles of
+design by which the successive styles
+were governed, and in tracing their
+history he should trace the influence of
+circumstance and accident, which modify
+the current art of the day.... The
+history of architecture, and the development
+of style out of style, should never
+be taught without incessant reference to
+the constructional methods which were
+employed, and which played the principal
+part in the changes resulting from their
+employment."</p>
+
+<hr style='width: 45%;' />
+
+<p>Apropos of the perennial discussion of
+the question of professional ethics which
+from time to time comes into prominence
+in the meetings of the American Institute
+of Architects the following may be of
+interest. It is appended to the card of
+a certain architect which is published as
+an advertisement in a local paper and
+reads: "Any kind of architectural work
+promptly attended to and satisfaction
+guaranteed."</p>
+
+<p>In the resolutions recently adopted by
+the Boston Society of Architects concerning
+professional ethics it was maintained
+that architects should not advertise. The
+advertisement above may savor somewhat
+of its surroundings (above it a hair
+renewer is advertised and below it penny-royal
+pills) and suggest too much the
+"shoes tapped while you wait" order of
+advertising, but we fail to see why architects
+should be restrained from advertising
+if there are any benefits to be<span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span>
+derived from it. And for our part we
+think that there are few architects whose
+business or practice might not be improved
+by judicious advertising. It is
+easy to lay down an arbitrary dictum and
+say that no professional man shall advertise,
+but what argument can apply to
+architects in this respect that does not
+equally apply to civil engineers and to
+landscape architects? And no one objects
+to the advertisements of the latter.
+The publication of architects' designs in
+the professional journals is in many cases
+advertising, pure and simple, but is not
+on this account to be condemned. The
+truth of the matter is that the exact
+point where advertising begins and ends
+is impossible to determine. One kind of
+advertising is considered allowable and
+dignified, another is not. In consequence
+there is opportunity for many differences
+of opinion.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="The_PDs" id="The_PDs"></a>The "P.&nbsp;D.'s."</h2>
+
+
+<p>If Chimmie Fadden were asked to
+translate the letters P.&nbsp;D., he would undoubtedly
+answer, "What 'ell?" and it
+must be acknowledged that this answer
+does credit to Chames's insight; but at the
+same time we feel sure that Chames would
+not be offended if he were informed that
+his favorite expression is not nearly such
+an appropriate definition of P.&nbsp;D. as it is
+of the play of Madame Sans G&ecirc;ne, all
+rumors to the contrary notwithstanding
+And if Chames could be induced to give
+up for the while his everlasting search for
+a bull pup, we might proceed to inform
+him to the best of our ability what it really
+does mean.</p>
+
+<p>"The Lord gives good meat but the
+devil sends cooks," but Chames apparently
+lending a willing ear, we take his life in
+our hands, and firstly:&mdash;</p>
+
+<p>And that is, that P.&nbsp;D. is not an abbreviation
+for Poor Debtors, as some would
+have it, but for Poor Draughtsmen; which
+is after all, perhaps, a distinction without
+a difference.</p>
+
+<p>Poor in this case has no reference to
+the quality of the draughtsmen's work, for,
+as our song truly says,&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The P.&nbsp;D. is a man<br /></span>
+<span class="i0">&nbsp;Who does the best he can,<br /></span>
+<span class="i0">&nbsp;No matter what the problem it may be.<br /></span>
+<span class="i0">&nbsp;He can draw a quarter scale,<br /></span>
+<span class="i0">&nbsp;He can draw a full detail,<br /></span>
+<span class="i0">&nbsp;And draw his pay upon a Saturdee."<br /></span>
+</div></div>
+
+<p>The club, for such it is, was at first
+overburdened with the name of The Poor
+Draughtsmen's Saturday Night Club, but
+the member who wrote the specification
+of the club, started in by writing the name
+and then proceeded as follows: "The
+name of the club shall be the above (it
+is too long to write again)." The hint was
+taken and it has since been known as the
+P.&nbsp;D.'s.</p>
+
+<p>The club resulted from the more or less
+accidental coming together of men of
+congenial spirit, and the desire to cultivate
+each other's acquaintance more intimately
+than was possible in the larger Architectural
+Club of which they are all members,
+and over which are their club rooms.</p>
+
+<div class="figcenter" style="width: 348px;">
+<img src="images/image1.jpg" width="348" height="441" alt="SEAL OF THE P.&nbsp;D.&#39;S." title="SEAL OF THE P.&nbsp;D.&#39;S." />
+<span class="caption">SEAL OF THE P.&nbsp;D.&#39;S.</span>
+</div>
+
+<p>The work of fitting up these rooms was
+done by the members themselves, and an
+added interest is given them by the constantly
+changing exhibitions on their walls.
+The bulletin board is also a never-ending
+source of delight.</p>
+
+<p>The club at present consists of thirteen
+members, all of whom on entering it, as a
+sort of architectural baptism, receive new
+names, and, ye gods, what names!</p>
+
+<p>What more is to be desired when one
+may, when he dines or designs, touch
+elbows with such choice spirits as Ictinus,
+Michael Angelo, Vitruvius, Vignola, Piranesi,
+San Gallo, Bramante, Christopher
+Wren, Inigo Jones, Charles Bulfinch,<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span>
+Viollet le Duc, Gamier Fr&egrave;res (N.B.&mdash;There
+is only one of him), and Brian Boru.</p>
+
+<div class="figcenter" style="width: 433px;">
+<a href="images/image2.jpg">
+<img src="images/image2tn.jpg" width="433" height="336" alt="A GALA NIGHT IN THE ROOMS OF THE &quot;P.&nbsp;D.&#39;S.&quot;" title="A GALA NIGHT IN THE ROOMS OF THE &quot;P.&nbsp;D.&#39;S.&quot;" />
+<span class="caption">A GALA NIGHT IN THE ROOMS OF THE &quot;P.&nbsp;D.&#39;S.&quot;</span>
+</a>
+</div>
+
+<p>The one requirement for admission is
+good fellowship with the saving clause, that
+this good fellowship, like Faith, must be
+accompanied by good works.</p>
+
+<p>Its organization is of the simplest
+character, there being no constitution or
+rules of any kind, except the joke known
+as the specification be regarded as such.
+Much of the charm of the club is due to
+this absolute freedom from restraint.</p>
+
+<p>The officers are the president, treasurer,
+and secretary, who manage the affairs of
+the club during their term of office. Each
+member presides in turn, the term of
+office being one month, the succession
+being arranged by lot.</p>
+
+<p>A well-known writer deplores the lack
+of humor in the fiction of the day, and
+the tendency of those who should know
+better, to constantly preach us sermons
+upon our least admirable failings.</p>
+
+<p>Alas! it is not fiction alone that has
+taken to the pulpit, for Architecture has
+also its preachers, and our journals are
+loaded with their sermons, which fortunately
+for architecture, very few ever
+read.</p>
+
+<p>While acknowledging the fact that a
+little seriousness now and then may be
+relished by even a P.&nbsp;D., a good hearty
+laugh is the one thing in this dreary old
+world of ours that they most appreciate.
+No one realizes more thoroughly than
+they that,&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Care to our coffin adds a nail, no doubt,<br /></span>
+<span class="i0">&nbsp;And every grin so jolly draws one out."<br /></span>
+</div></div>
+
+<p>The principal object of the members,
+then, is to amuse themselves. The club
+is not intended as a workroom, but as our
+P.&nbsp;D. poet expresses it, a place where,&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Freed from the fret of routine's slavish toil,<br /></span>
+<span class="i2">&nbsp;They meet once more in freedom's jollity.<br /></span>
+<span class="i0">&nbsp;No thought of care comes to them now to spoil<br /></span>
+<span class="i2">&nbsp;The merry jest, the gay frivolity."<br /></span>
+</div></div>
+
+<p>Nevertheless they have found time for
+much serious work, but inasmuch as work
+is said to speak for itself, we will confine
+our attention to some of the things by
+means of which the members have passed
+many happy hours.</p>
+
+<p>Upon entering the club the member
+not only receives a new name, but his
+biography containing more or less of the
+truth about him is written and placed in
+the records. A song is also composed in
+his honor, and on festal occasions he is
+greeted with it upon his entrance.</p>
+
+<p>Perhaps the greatest event of the year
+is the annual dinner, or the "Centurial
+Dinner" as it is called, from the very
+general conviction that "Better one year
+with the P.&nbsp;D.'s than a cycle of Cathay."
+Every one is supposed to do something
+for this occasion, but he is given perfect
+liberty as to what he shall do, and he may
+answer, for instance, the toast of The
+Architecture of the Greeks with an essay on
+The Use and Abuse of the Cocktail, with
+the assurance that his consistency will not
+be doubted.</p>
+
+<p>The menu card is usually of sufficient
+interest to furnish amusement until the
+actual hostilities begin. Upon each guest
+at this dinner is conferred the honorary
+title of "Draughtsman."</p>
+
+<p>The installation of a new president,
+which occurs monthly, is also the occasion
+of much mirth, as are also the departures
+for or the arrivals from Europe of members.</p>
+
+<p>But no matter how closely these events
+follow each other, one can depend upon
+each of them being distinctly different;
+and after one has attended a score or so
+of them he begins to wonder when this
+versatility will end and they will begin to
+repeat themselves.</p>
+
+<p>Notwithstanding the unvaried success
+of these affairs, none of them have been
+attended with more than a slight expenditure
+of time or money.</p>
+
+<p>In decorating the rooms the same old
+articles have been made to do service any
+number of times, but always in such a
+manner as to obtain an entirely different
+effect.</p>
+
+<p>Many of the best things in this line
+have been done on the spur of the moment.
+The club seal, for instance, was thrown
+together in a few minutes, some one in the
+meantime looking up an appropriate motto,
+the occasion being an impromptu festival
+of Gambrinus, which occurred one Christmas
+eve.</p>
+
+<p>At another time a wonderful chandelier
+was constructed of a stretcher, a Chinese
+lantern, and twenty beer bottles, which
+were utilized to hold candles, and a placard
+on each told that they were manufactured
+by the P.&nbsp;D. Electric Co. and
+were each of one candle power; the whole
+being draped with some brilliantly dyed
+stuffs that had served as costumes at the
+Art Students' Festival.</p>
+
+<p class="center"><i>(To be continued.)</i></p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 08, August 1895, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ***
+
+***** This file should be named 19769-h.htm or 19769-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/9/7/6/19769/
+
+Produced by Juliet Sutherland, Sigal Alon and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
+
+
+</pre>
+
+</body>
+</html>
+
diff --git a/19769-h/images/image1.jpg b/19769-h/images/image1.jpg
new file mode 100644
index 0000000..8513ae5
--- /dev/null
+++ b/19769-h/images/image1.jpg
diff --git a/19769-h/images/image2.jpg b/19769-h/images/image2.jpg
new file mode 100644
index 0000000..28e4a62
--- /dev/null
+++ b/19769-h/images/image2.jpg
diff --git a/19769-h/images/image2tn.jpg b/19769-h/images/image2tn.jpg
new file mode 100644
index 0000000..9963fdd
--- /dev/null
+++ b/19769-h/images/image2tn.jpg
diff --git a/19769-h/images/plate57.jpg b/19769-h/images/plate57.jpg
new file mode 100644
index 0000000..a460166
--- /dev/null
+++ b/19769-h/images/plate57.jpg
diff --git a/19769-h/images/plate57tn.jpg b/19769-h/images/plate57tn.jpg
new file mode 100644
index 0000000..dd6ea7e
--- /dev/null
+++ b/19769-h/images/plate57tn.jpg
diff --git a/19769-h/images/plate58.jpg b/19769-h/images/plate58.jpg
new file mode 100644
index 0000000..bc06cab
--- /dev/null
+++ b/19769-h/images/plate58.jpg
diff --git a/19769-h/images/plate58tn.jpg b/19769-h/images/plate58tn.jpg
new file mode 100644
index 0000000..6b98ce9
--- /dev/null
+++ b/19769-h/images/plate58tn.jpg
diff --git a/19769-h/images/plate59.jpg b/19769-h/images/plate59.jpg
new file mode 100644
index 0000000..d777d19
--- /dev/null
+++ b/19769-h/images/plate59.jpg
diff --git a/19769-h/images/plate59tn.jpg b/19769-h/images/plate59tn.jpg
new file mode 100644
index 0000000..b0f7ad0
--- /dev/null
+++ b/19769-h/images/plate59tn.jpg
diff --git a/19769-h/images/plate60.jpg b/19769-h/images/plate60.jpg
new file mode 100644
index 0000000..812d873
--- /dev/null
+++ b/19769-h/images/plate60.jpg
diff --git a/19769-h/images/plate60tn.jpg b/19769-h/images/plate60tn.jpg
new file mode 100644
index 0000000..f60cc85
--- /dev/null
+++ b/19769-h/images/plate60tn.jpg
diff --git a/19769-h/images/plate61.jpg b/19769-h/images/plate61.jpg
new file mode 100644
index 0000000..c7f4e3d
--- /dev/null
+++ b/19769-h/images/plate61.jpg
diff --git a/19769-h/images/plate61tn.jpg b/19769-h/images/plate61tn.jpg
new file mode 100644
index 0000000..2f3e8b3
--- /dev/null
+++ b/19769-h/images/plate61tn.jpg
diff --git a/19769-h/images/plate62.jpg b/19769-h/images/plate62.jpg
new file mode 100644
index 0000000..60c5c77
--- /dev/null
+++ b/19769-h/images/plate62.jpg
diff --git a/19769-h/images/plate62tn.jpg b/19769-h/images/plate62tn.jpg
new file mode 100644
index 0000000..939d637
--- /dev/null
+++ b/19769-h/images/plate62tn.jpg
diff --git a/19769-h/images/plate63.jpg b/19769-h/images/plate63.jpg
new file mode 100644
index 0000000..736dfa5
--- /dev/null
+++ b/19769-h/images/plate63.jpg
diff --git a/19769-h/images/plate63tn.jpg b/19769-h/images/plate63tn.jpg
new file mode 100644
index 0000000..6ee4014
--- /dev/null
+++ b/19769-h/images/plate63tn.jpg
diff --git a/19769-h/images/plate64.jpg b/19769-h/images/plate64.jpg
new file mode 100644
index 0000000..8480078
--- /dev/null
+++ b/19769-h/images/plate64.jpg
diff --git a/19769-h/images/plate64tn.jpg b/19769-h/images/plate64tn.jpg
new file mode 100644
index 0000000..a711556
--- /dev/null
+++ b/19769-h/images/plate64tn.jpg
diff --git a/19769.txt b/19769.txt
new file mode 100644
index 0000000..c77a04a
--- /dev/null
+++ b/19769.txt
@@ -0,0 +1,953 @@
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 08, August 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. 08, August 1895
+       Fragments of Greek Detail
+
+Author: Various
+
+Release Date: November 12, 2006 [EBook #19769]
+
+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. AUGUST, 1895 No. 8.
+
+FRAGMENTS OF GREEK DETAIL.
+
+
+The Art of Greece during the fifth century, B.C., was developed in an
+amazingly short time from a condition of almost archaic rudeness to that
+of the greatest perfection which the world has ever seen.
+
+At the close of the Persian wars the Athenians, under Pericles, began
+rebuilding their city and perfecting themselves in all the arts of
+civilization, and their progress in the next half century will always be
+a subject for wonder. It is especially wonderful that works of art of
+the character produced at this time should have been the outcome of
+political maneuvering: for if Plutarch is to be credited the scheming of
+Pericles to obtain and hold possession of the government of Athens was
+the immediate cause of the erection of these marvellous monuments. In
+order to increase his influence with the common people Pericles devoted
+the treasure which had been contributed by the other Greek cities for
+defence against the barbarians to the beautifying of Athens, and to
+furnishing them with games and amusements, and especially to the
+erection of the group of temples upon the Acropolis, in this way
+distributing patronage and keeping his people employed much as a modern
+political "boss" does the same in our day.
+
+The Parthenon, which is esteemed the grandest of all monuments of Greek
+art, embodying as it does the highest achievement in sculpture and
+architecture, was built just after the middle of the fifth century,
+although the precise date at which it was begun and finished is
+uncertain. The Erechtheion and Propylaea were probably built a few years
+later, but their exact dates are also in doubt.
+
+The sculptor, Phidias, was the friend and adviser of Pericles and to him
+was given the general charge of all matters relating to art. Under him
+were grouped architects, sculptors, and artisans of all schools and
+trades--Ictinus and Calicrates as architects of the Parthenon, Mnesicles
+of the Propylaea, and many others--such an assemblage as only Greece in
+her most glorious epoch could bring together. The work of this period
+shows that happy union of technical perfection and the expression of
+only the loftiest ideas, in which, as Plutarch says, the architect made
+it his ambition to "surpass the magnificence of his design with the
+elegance of its execution."
+
+The skill and delicacy as well as the subtle appreciation of refinements
+of form and finish exhibited in the treatment of details such as those
+shown in our plates are almost beyond comprehension. The workmanship is
+so perfect that it is difficult to see how it could be improved upon.
+Stuart, in his account of the Parthenon, states that he found two
+stones, one merely laid upon the other in the stylobate of this
+building, which had been ground to so fine a joint that they had
+actually united and become one. The refinements in measurements are such
+that it has been asserted that a variation of one twentieth of an inch
+from the dimensions intended is all that need be allowed--the width of
+the two ends of the building agreeing to within this amount. The entasis
+of columns and curvature of what would ordinarily be straight lines is
+familiar to all students of architecture.
+
+Photographs of Greek architecture are by no means common or easy to
+obtain, and the subjects given as illustrations of the present issue of
+THE BROCHURE SERIES are presented, not as in the preceding numbers,
+either all from a single building, or of similar features from several
+buildings, but merely as fragments of detail, representing the period of
+Greek art when architecture and sculpture had reached their highest
+development.
+
+
+
+
+[Illustration: LVII. Capital from the Parthenon, Athens.]
+
+
+LVII.
+
+CAPITAL FROM THE PARTHENON, ATHENS.
+
+The Parthenon of Pericles was built on the site of an older temple as a
+treasury, and repository of the colossal statue of Athena, made by
+Phidias from gold and ivory. The Doric order, the capital of which is
+shown in our plate, needs no description here as probably no other
+single order is so generally known. After various transformations the
+building was blown up by the Venetians in 1687 and has since remained in
+ruins.
+
+
+
+
+[Illustration: LVIII. Capital from the Erechtheion, Athens.]
+
+[Illustration: LIX. Base from the Erechtheion, Athens.]
+
+[Illustration: LX. Capital of Anta, from the Erechtheion, Athens.]
+
+
+LVIII.
+
+CAPITAL FROM THE ERECHTHEION, ATHENS.
+
+LIX.
+
+BASE FROM THE ERECHTHEION, ATHENS.
+
+LX.
+
+CAP OF ANTA FROM THE ERECHTHEION, ATHENS.
+
+The Ionic order of the Erechtheion is the one which is best known and
+has been most frequently copied and adapted in modern work. It is at the
+same time the richest and most delicately refined of the Greek Ionic
+orders, and this is equivalent to saying of all orders whatsoever. This
+order of which the cap and base are given in our plates belongs to the
+north porch. There were two other fronts to the building which was, to
+all intents and purposes, three temples united in one. The famous
+caryatid porch faces the south, looking toward the Parthenon.
+
+
+
+
+[Illustration: LXI. Fragment from South Side of the Acropolis, Athens.]
+
+
+LXI.
+
+FRAGMENT FROM SOUTH SIDE OF ACROPOLIS, ATHENS.
+
+Although this fragment was found at some distance from the Erechtheion
+it is without much doubt a portion of that building.
+
+
+
+
+[Illustration: LXII. Capital from the Propylaea, Athens.]
+
+
+LXII.
+
+CAPITAL FROM THE PROPYLAEA, ATHENS.
+
+The Propylaea, or gate to the Acropolis, was built at about the same time
+as the Parthenon, between the years 436 and 431 B.C. It combines the
+Doric and Ionic orders, but both are most skilfully used with equal
+grace and nobleness of proportion.
+
+
+
+
+[Illustration: LXIII. Fragment of Cyma from the Tholos, Epidauros.]
+
+
+LXIII.
+
+FRAGMENT OF CYMA FROM THE THOLOS AT EPIDAUROS.
+
+The Tholos of Polykletos at Epidauros was a circular building 107 feet
+in diameter, situated within the sacred enclosure. It had two concentric
+rows of columns, the exterior order being Doric, and the interior Ionic,
+but with Corinthian caps of the design shown in plate LXIV.
+
+
+
+
+[Illustration: LXIV. Capital from the Tholos, Epidauros.]
+
+
+LXIV.
+
+CAP FROM THE THOLOS AT EPIDAUROS.
+
+The two fragments shown are the result of recent excavations and are
+among the most beautiful examples of Greek detail extant.
+
+
+
+
+Architectural Schools.
+
+
+HARVARD UNIVERSITY.
+
+The writer of "The Point of View" in _Scribner's Magazine_ recently
+called attention to the distinction between what he calls "cultivation"
+and "civilization." As he very aptly states it, "culture according to
+the common acceptance of it, is largely the cultivation of the mind;
+civilization would seem to be the cultivation of the sympathies, the
+tastes, and the capacity for giving and receiving sound pleasures. The
+most civilized man is the man with the most catholic appreciation, the
+man who can be the most things to the most people--the man, to put it
+briefly, who knows best how to live. The man who is civilized can use
+all the culture he can get, but he can get on and still be civilized
+with a very moderate outfit of it. But the man who has culture and has
+not civilization, is very badly handicapped."
+
+Probably no walk of life offers more opportunities for the advantageous
+application of what is meant in this quotation by civilization than that
+of the architect; and probably in no other profession does the
+"civilized" man have greater advantages over his less civilized fellows.
+
+The successful architect requires a broad and catholic culture, but in
+addition must be a man of the world in the best and most comprehensive
+sense. Opportunities for social improvement will often make the
+difference between success and failure in his professional life. On this
+account too much stress can hardly be put upon the importance to a young
+man of his social environment.
+
+The life in an old university set in the midst of a community where the
+traditions of generations of cultivated families have established a
+social atmosphere, it might be said, is one of the best and most
+powerful civilizing influences. Such an opportunity as this is offered
+at Harvard, and it is this which gives to the architectural course at
+Harvard its main advantage over that of other schools in this country.
+
+The department itself is comparatively young, having only just completed
+its second year. It is under the direction of the faculty of the
+Lawrence Scientific School, one of the principal schools of the
+University.
+
+Its special corps of instructors consists of Prof. H. Langford Warren
+assisted by Messrs. George F. Newton and John W. Bemis. In addition to
+this, lectures and instruction are given by members of the Faculty of
+Arts and Sciences, which includes the faculty of the Lawrence Scientific
+School, Harvard College and the Graduate School, among whom are Prof.
+Charles Eliot Norton, Prof. White, Prof. Greenough, Prof. Moore, Prof.
+Hollis and others.
+
+Although students in this department do much of their work in rooms
+specially provided for them, in their general studies and lectures they
+are associated with the other students of the University and thus reap
+the advantages coming from such association.
+
+Throughout, it has been the purpose in this school, to treat
+architecture as a fine art and not merely as the science of
+construction, and to this end instruction in the general history of the
+Fine Arts and practice in design are made the central features about
+which the other studies are grouped.
+
+The course as laid out is intended to cover four years, and may be
+supplemented by post-graduate work; while on the other hand a large
+part of the general studies may be anticipated by students of the
+College who wish to take the professional studies after completing the
+usual course in the college proper. Especial stress is laid upon
+educating the taste and discrimination of the student, and association
+with cultivated men and familiarity with the best efforts of the past,
+are the two most important influences to this end.
+
+
+
+
+Personal.
+
+
+Mr. C. D. Maginnis, recently returned from abroad, and who has for
+several years been in the office of Mr. E. M. Wheelwright, city
+architect, has opened an office at 27 School Street, Boston. He is
+prepared to do all kinds of architectural drawing, in pen, pencil, or
+water color, and will work up competition drawings and sketches.
+
+Mr. W. H. Kilham, Mr. E. P. Dana, and several others have recently been
+added to the working force of Messrs. Winslow & Wetherell, whose office
+is now the largest in Boston.
+
+Mr. W. T. Partridge, who has for several years been with Messrs. Eames &
+Young, in St. Louis, has severed his connection with them and will
+probably return to the East.
+
+
+
+
+Club Notes.
+
+
+The summer work of the Sketch Club of New York has been laid out to
+include sketching trips in the outlying neighborhood of New York City.
+On alternate Saturdays members of the Club meet at one of the piers and
+take a small steam yacht to points along the East River and Long Island
+Sound, spending the Sunday in sketching. On the intermediate Sundays,
+rambles through West Chester occupy those who are disposed to join in
+the excursions. These trips are laid out to include the time from July
+13 to September 28.
+
+The competition of the Chicago Architectural Club upon the subject
+"Picturesque Chicago," closes September 2, and the club begins its
+regular year's work on that date with an exhibition of the sketches
+submitted in this competition together with other work of the summer.
+
+
+
+
+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.
+
+       *       *       *       *       *
+
+SPECIAL NOTICE.
+
+Back numbers of THE BROCHURE SERIES _are not_ kept in stock. All
+subscriptions will be dated from the time received and subscribers who
+wish for the current numbers must place their subscriptions at once.
+
+       *       *       *       *       *
+
+The illustration which we give on another page, of a gala night of the
+"P. D." club will appeal to the many friends of the P. D.'s who are
+distributed from end to end of the country. The descriptive article by
+one of the members which is begun in this number will also give an
+indication to those who are not already familiar with this organization,
+of its character and purpose. That a combination of serious work and
+relaxation can be reconciled without sacrificing the former, has been
+demonstrated in this case, for the P. D.'s are the mainstay of the
+Boston Architectural Club and have accomplished considerable in other
+directions, having done very notable work in several of the Beaux-Arts
+Society's competitions. Their motto and seal shown in the other
+illustration is a remarkable example of impromptu decoration.
+
+       *       *       *       *       *
+
+The August 22 issue of the _Journal of the Royal Institute of British
+Architects_ contains a description of the School of Architecture and
+Applied Arts of University College, Liverpool, and an address by Mr.
+T. G. Jackson, the well-known English architect and author, delivered at
+the inauguration of the school on May 10 last. Special provisions are
+made for courses in Architecture, Sculpture and Modelling, Decorative
+Painting, Wrought Iron Work, and Wood Carving, accompanying theoretical
+instruction with actual work in the studios and shops.
+
+Mr. Jackson's remarks are worthy careful attention and will be found as
+valuable to American students as to those to whom they were addressed.
+His opinions upon the study of architectural history are interesting in
+connection with the views of the American writers to which we referred
+last month. He says: "The reverence with which we have been taught to
+regard old work has misled us into a slavish worship of precedent, and
+an abject craving for authority by which to shape our own work. Close
+imitation of old work has been regarded as the only safe course,
+deceptive imitation of it the highest measure of success."...
+
+"Above all it should be the student's object to discover the principles
+of design by which the successive styles were governed, and in tracing
+their history he should trace the influence of circumstance and
+accident, which modify the current art of the day.... The history of
+architecture, and the development of style out of style, should never be
+taught without incessant reference to the constructional methods which
+were employed, and which played the principal part in the changes
+resulting from their employment."
+
+       *       *       *       *       *
+
+Apropos of the perennial discussion of the question of professional
+ethics which from time to time comes into prominence in the meetings of
+the American Institute of Architects the following may be of interest.
+It is appended to the card of a certain architect which is published as
+an advertisement in a local paper and reads: "Any kind of architectural
+work promptly attended to and satisfaction guaranteed."
+
+In the resolutions recently adopted by the Boston Society of Architects
+concerning professional ethics it was maintained that architects should
+not advertise. The advertisement above may savor somewhat of its
+surroundings (above it a hair renewer is advertised and below it
+penny-royal pills) and suggest too much the "shoes tapped while you
+wait" order of advertising, but we fail to see why architects should be
+restrained from advertising if there are any benefits to be derived
+from it. And for our part we think that there are few architects whose
+business or practice might not be improved by judicious advertising. It
+is easy to lay down an arbitrary dictum and say that no professional man
+shall advertise, but what argument can apply to architects in this
+respect that does not equally apply to civil engineers and to landscape
+architects? And no one objects to the advertisements of the latter. The
+publication of architects' designs in the professional journals is in
+many cases advertising, pure and simple, but is not on this account to
+be condemned. The truth of the matter is that the exact point where
+advertising begins and ends is impossible to determine. One kind of
+advertising is considered allowable and dignified, another is not. In
+consequence there is opportunity for many differences of opinion.
+
+
+
+
+The "P. D.'s."
+
+
+If Chimmie Fadden were asked to translate the letters P. D., he would
+undoubtedly answer, "What 'ell?" and it must be acknowledged that this
+answer does credit to Chames's insight; but at the same time we feel
+sure that Chames would not be offended if he were informed that his
+favorite expression is not nearly such an appropriate definition of
+P. D. as it is of the play of Madame Sans Gene, all rumors to the
+contrary notwithstanding And if Chames could be induced to give up for
+the while his everlasting search for a bull pup, we might proceed to
+inform him to the best of our ability what it really does mean.
+
+"The Lord gives good meat but the devil sends cooks," but Chames
+apparently lending a willing ear, we take his life in our hands, and
+firstly:--
+
+And that is, that P. D. is not an abbreviation for Poor Debtors, as some
+would have it, but for Poor Draughtsmen; which is after all, perhaps, a
+distinction without a difference.
+
+Poor in this case has no reference to the quality of the draughtsmen's
+work, for, as our song truly says,--
+
+    "The P. D. is a man
+    Who does the best he can,
+    No matter what the problem it may be.
+    He can draw a quarter scale,
+    He can draw a full detail,
+    And draw his pay upon a Saturdee."
+
+The club, for such it is, was at first overburdened with the name of The
+Poor Draughtsmen's Saturday Night Club, but the member who wrote the
+specification of the club, started in by writing the name and then
+proceeded as follows: "The name of the club shall be the above (it is
+too long to write again)." The hint was taken and it has since been
+known as the P. D.'s.
+
+The club resulted from the more or less accidental coming together of
+men of congenial spirit, and the desire to cultivate each other's
+acquaintance more intimately than was possible in the larger
+Architectural Club of which they are all members, and over which are
+their club rooms.
+
+[Illustration: SEAL OF THE P. D.'S.]
+
+The work of fitting up these rooms was done by the members themselves,
+and an added interest is given them by the constantly changing
+exhibitions on their walls. The bulletin board is also a never-ending
+source of delight.
+
+The club at present consists of thirteen members, all of whom on
+entering it, as a sort of architectural baptism, receive new names, and,
+ye gods, what names!
+
+What more is to be desired when one may, when he dines or designs, touch
+elbows with such choice spirits as Ictinus, Michael Angelo, Vitruvius,
+Vignola, Piranesi, San Gallo, Bramante, Christopher Wren, Inigo Jones,
+Charles Bulfinch, Viollet le Duc, Gamier Freres (N.B.--There is only
+one of him), and Brian Boru.
+
+[Illustration: A GALA NIGHT IN THE ROOMS OF THE "P. D.'S."]
+
+The one requirement for admission is good fellowship with the saving
+clause, that this good fellowship, like Faith, must be accompanied by
+good works.
+
+Its organization is of the simplest character, there being no
+constitution or rules of any kind, except the joke known as the
+specification be regarded as such. Much of the charm of the club is due
+to this absolute freedom from restraint.
+
+The officers are the president, treasurer, and secretary, who manage the
+affairs of the club during their term of office. Each member presides in
+turn, the term of office being one month, the succession being arranged
+by lot.
+
+A well-known writer deplores the lack of humor in the fiction of the
+day, and the tendency of those who should know better, to constantly
+preach us sermons upon our least admirable failings.
+
+Alas! it is not fiction alone that has taken to the pulpit, for
+Architecture has also its preachers, and our journals are loaded with
+their sermons, which fortunately for architecture, very few ever read.
+
+While acknowledging the fact that a little seriousness now and then may
+be relished by even a P. D., a good hearty laugh is the one thing in
+this dreary old world of ours that they most appreciate. No one realizes
+more thoroughly than they that,--
+
+    "Care to our coffin adds a nail, no doubt,
+    And every grin so jolly draws one out."
+
+The principal object of the members, then, is to amuse themselves. The
+club is not intended as a workroom, but as our P. D. poet expresses it,
+a place where,--
+
+    "Freed from the fret of routine's slavish toil,
+      They meet once more in freedom's jollity.
+    No thought of care comes to them now to spoil
+      The merry jest, the gay frivolity."
+
+Nevertheless they have found time for much serious work, but inasmuch as
+work is said to speak for itself, we will confine our attention to some
+of the things by means of which the members have passed many happy
+hours.
+
+Upon entering the club the member not only receives a new name, but his
+biography containing more or less of the truth about him is written and
+placed in the records. A song is also composed in his honor, and on
+festal occasions he is greeted with it upon his entrance.
+
+Perhaps the greatest event of the year is the annual dinner, or the
+"Centurial Dinner" as it is called, from the very general conviction
+that "Better one year with the P. D.'s than a cycle of Cathay." Every
+one is supposed to do something for this occasion, but he is given
+perfect liberty as to what he shall do, and he may answer, for instance,
+the toast of The Architecture of the Greeks with an essay on The Use and
+Abuse of the Cocktail, with the assurance that his consistency will not
+be doubted.
+
+The menu card is usually of sufficient interest to furnish amusement
+until the actual hostilities begin. Upon each guest at this dinner is
+conferred the honorary title of "Draughtsman."
+
+The installation of a new president, which occurs monthly, is also the
+occasion of much mirth, as are also the departures for or the arrivals
+from Europe of members.
+
+But no matter how closely these events follow each other, one can depend
+upon each of them being distinctly different; and after one has attended
+a score or so of them he begins to wonder when this versatility will end
+and they will begin to repeat themselves.
+
+Notwithstanding the unvaried success of these affairs, none of them have
+been attended with more than a slight expenditure of time or money.
+
+In decorating the rooms the same old articles have been made to do
+service any number of times, but always in such a manner as to obtain an
+entirely different effect.
+
+Many of the best things in this line have been done on the spur of the
+moment. The club seal, for instance, was thrown together in a few
+minutes, some one in the meantime looking up an appropriate motto, the
+occasion being an impromptu festival of Gambrinus, which occurred one
+Christmas eve.
+
+At another time a wonderful chandelier was constructed of a stretcher, a
+Chinese lantern, and twenty beer bottles, which were utilized to hold
+candles, and a placard on each told that they were manufactured by the
+P. D. Electric Co. and were each of one candle power; the whole being
+draped with some brilliantly dyed stuffs that had served as costumes at
+the Art Students' Festival.
+
+_(To be continued.)_
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Volume 01, No. 08, August 1895, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF ***
+
+***** This file should be named 19769.txt or 19769.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/9/7/6/19769/
+
+Produced by Juliet Sutherland, Sigal Alon and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
diff --git a/19769.zip b/19769.zip
new file mode 100644
index 0000000..18b30ff
--- /dev/null
+++ b/19769.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..1dc1a65
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #19769 (https://www.gutenberg.org/ebooks/19769)