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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 Propylæa +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—Ictinus and Calicrates +as architects of the Parthenon, +Mnesicles of the Propylæa, 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."</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—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 Propylæa, Athens." title="LXII. Capital from the Propylæa, Athens." /> +<span class="caption">LXII. Capital from the Propylæa, Athens.</span> +</a> +</div> + + +<h4>LXII.</h4> + +<h4>CAPITAL FROM THE PROPYLÆA, ATHENS.</h4> + +<p>The Propylæa, 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—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. 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.</p> + +<p>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.</p> + +<p>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.</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 & 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. 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.</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. 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. D.'s."</h2> + + +<p>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 Gêne, 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:—</p> + +<p>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.</p> + +<p>Poor in this case has no reference to +the quality of the draughtsmen's work, for, +as our song truly says,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The P. D. is a man<br /></span> +<span class="i0"> Who does the best he can,<br /></span> +<span class="i0"> No matter what the problem it may be.<br /></span> +<span class="i0"> He can draw a quarter scale,<br /></span> +<span class="i0"> He can draw a full detail,<br /></span> +<span class="i0"> 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. 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. D.'S." title="SEAL OF THE P. D.'S." /> +<span class="caption">SEAL OF THE P. D.'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 Frères (N.B.—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 "P. D.'S."" title="A GALA NIGHT IN THE ROOMS OF THE "P. D.'S."" /> +<span class="caption">A GALA NIGHT IN THE ROOMS OF THE "P. D.'S."</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. 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,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Care to our coffin adds a nail, no doubt,<br /></span> +<span class="i0"> 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. D. poet expresses it, a place where,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Freed from the fret of routine's slavish toil,<br /></span> +<span class="i2"> They meet once more in freedom's jollity.<br /></span> +<span class="i0"> No thought of care comes to them now to spoil<br /></span> +<span class="i2"> 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. 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. 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. 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