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+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, 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
+       Vol 1, No. 9 1895
+
+Author: Various
+
+Release Date: June 9, 2008 [EBook #25735]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
+
+
+
+
+Produced by Juliet Sutherland and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+THE BROCHURE SERIES
+
+OF ARCHITECTURAL ILLUSTRATION.
+
+VOL. I.
+SEPTEMBER, 1895.
+No. 9.
+
+
+
+
+PULPITS OF SOUTHERN ITALY.
+
+
+The pulpits and ambos chosen for the illustrations in this issue of THE
+BROCHURES are mainly interesting for their wonderful mosaic decorations
+which are among the finest of their kind which have ever been executed.
+The work of the family of Cosmati, by whose name the Roman mosaic or
+inlay of this description is known, such as that in plate LXXI, is
+similar in design and method of execution to that shown in the other
+plates. There is one point, however, in which the Roman work is quite
+different. In Sicily and southern Italy the bands and borders of
+geometrical patterns are largely made up of glass or composition, while
+the Cosmati confined themselves to the use of colored marbles. In the
+south, and particularly in Sicily, gold is freely used, but this is
+lacking in the work of the Cosmati. As a result of this difference in
+material a wider range of color is possible in the southern mosaics than
+in those of Rome; and this is especially noticeable in the use of blues,
+which give much of the character to the beautiful examples shown in our
+plates, which we regret we cannot reproduce in color. The altar, pulpit,
+and bishop's throne in the churches of SS. Nerone ed Achille and S.
+Cesario in Rome may be taken as additional examples.
+
+This is a form of decoration which may be found in many of the Byzantine
+churches of the eleventh and twelfth centuries and also in the Tuscan
+churches of the same epoch, notably in the Baptistery at Pisa and in the
+church of San Miniato al Monte in Florence.
+
+The mosaic floors, dados, and solid railings of the Palermitan monuments
+all seem to belong to this class: a ground of gray or white marble slabs
+with large panels of colored marble, mosaic bands of geometrical pattern
+let into the marble, and sometimes a plain framework of one member with
+a carved row of conventional leaves. In Palermo a grayish veined Greek
+marble similar to that used in Venice and Ravenna was almost exclusively
+used as a background. It formed a most admirable setting for the inlaid
+marble mosaics which were laid in rebated panels in the marble slabs,
+making a perfectly smooth surface. In the floor mosaics green serpentine
+and red or purple porphyry are the usual colors besides the gray, while
+brighter reds, gold, blues, white, and a variety of other glasses
+(_smalti_) are employed with the serpentine and porphyry in the mosaics
+on walls, pulpits, and screens.
+
+In all of the work referred to above, the separate pieces of marble or
+glass are carefully shaped to fit the patterns they are intended to
+form, and in this respect differ from the Byzantine and other wall
+mosaics, and from the earlier Roman mosaic pavements such as those which
+are familiar in the Pompeiian buildings. In the latter the shape and
+often the size of the pieces making up the pattern were of comparatively
+little importance, and the pieces were imbedded in a matrix which filled
+up the interstices and gave a background of neutral color.
+
+The marble pavements, made up of discs, squares, and other geometrical
+forms of colored marbles surrounded by bands or borders of a smaller
+scale, were similar in design to some of the mosaics shown in our
+plates. This work is known as Opus Alexandrinum and is familiar from the
+pavements of St. Mark's and the church of Santa Maria dei Miracoli in
+Venice.
+
+
+   [Illustration: LXV. Ambo in the Capella Palatina, Palermo,
+   Sicily.]
+
+
+The Capella Palatina was built and dedicated to St. Peter by King Roger
+the Second of Sicily. It must have been begun soon after Roger's
+coronation, and was finished in the year 1143.
+
+It is of the same period as the cloister of Monreale, which was
+described and illustrated in the March number of THE BROCHURE SERIES;
+and the work here shown distinctly recalls the mosaics upon the twisted
+columns in this cloister.
+
+The interior is famous as one of the most beautiful works of color
+decoration extant. Its general tone is bluish green with mosaic walls
+and floor and a wooden ceiling decorated in tempera with cufic
+inscriptions. It is scantily lighted with small windows, giving a rather
+sombre effect. The best mosaics are in the chancel and apses.
+
+The beautiful ambo is one of its most attractive features. The famous
+candelabrum of five tiers of figures, at the projecting angle, is of
+white marble.
+
+
+    [Illustration: LXVI. Ambo in the Cathedral, Salerno, Italy.]
+
+
+    [Illustration: LXVII. Pulpit in the Cathedral, Salerno, Italy.]
+
+
+Salerno and Ravello were both included under the Norman rule of the
+kingdom of Naples and Sicily in the eleventh century, and the work here
+shown all belongs to the Norman period.
+
+The Cathedral of Salerno was founded and dedicated to St. Matthew in
+1084 by Robert Guiscard, who plundered the temples of Paestum of their
+marbles and sculptures to embellish it.
+
+The two pulpits and that in the choir in front of the archbishop's
+throne, which are said to have been executed by order of John of
+Procida, are fine examples of the rich mosaic work of the period. The
+two large pulpits are placed in the nave, before the choir, which here
+has retained its original position in front of the high altar. Stairs
+opening out of the choir, finely decorated in mosaic, lead to each
+pulpit. In front of the larger one on the right is a fine Paschal
+candelabrum, decorated in mosaic. The pulpit itself is supported on
+twelve granite columns, while the four supports of the opposite ambo are
+the very rare black porphyry called _Porfido Nero-Bianco._ The raised
+space between is paved in Opus Alexandrinum.
+
+
+    [Illustration: LXVIII. Pulpit in the Cathedral, Ravello.]
+
+
+The Cathedral at Ravello, dedicated to S. Pantaleo, was founded by
+Niccolo Rufolo, Duke of Sora and grand admiral under Count Roger of
+Sicily.
+
+The marble pulpit, or Gospel ambo, inlaid with mosaics, was built,
+according to a Latin inscription which it bears, in the year 1272, at
+the cost of Niccolo Rufolo, a descendant of the grand admiral. Another
+inscription records the fact that it was the work of Nicholas, the son
+of Bartolommeus of Foggia.
+
+
+    [Illustration: LXIX. Ambo in the Cathedral, Ravello.]
+
+
+The Epistle ambo, situated on the opposite side of the church from the
+main pulpit, is of earlier date than the latter. The mosaics represent
+on one side Jonah being swallowed by the whale, and on the other his
+being ejected. It bears the name of Costantino Rogadeo, the second
+bishop of Ravello, and probably dates from about 1130.
+
+
+    [Illustration: LXX. Pulpit in the Church of S. Giovanni,
+    Ravello.]
+
+
+The church of San Giovanni del Toro also dates from the time of King
+Roger. The story of Jonah will be seen again depicted here.
+
+
+    [Illustration: LXXI. Ambo in S. Lorenzo fuori le Mura, Rome.]
+
+
+The Basilica of S. Lorenzo fuori le Mura was originally only an oratory
+over the Catacombs of S. Cyriaca, and was said to have been founded by
+Constantine about A.D. 330. It was enlarged and partly rebuilt in the
+fifth and sixth centuries, and in 1216 was again remodeled by Honorius
+III, who built the present long nave and its portico, raised the
+chancel, and filled up with rubbish the lower church. It is thus a grand
+collection of details of various periods, but all of much interest.
+
+Its two ambos stand on each side of the raised portion of the floor
+which corresponds to the choir in the Basilica of Honorius. The Gospel
+was chanted from the one on the south side with the reading desk turned
+towards the choir; and the Epistle from the one on the north, with a
+single desk towards the high altar. Before the Gospel ambo is a fine
+mosaic candelabrum standing on a Roman cippus reversed, having an olive
+branch and birds sculptured on it.
+
+The pavement as well as the work upon these two ambos is in the style of
+the Cosmati.
+
+
+    [Illustration: LXXII. Pulpit in the Cathedral at Messina,
+    Sicily.]
+
+
+The Cathedral (S.M. Nuova) was founded by Count Roger in 1098, and was
+finished by his son Roger. The interior is 305 feet in length, and is a
+Latin cross with three aisles, separated by twenty-six columns of
+Egyptian granite said to have been taken from the temple of Neptune at
+Faro; they have gilt Corinthian capitals. The roof is of wood and is a
+restoration by King Manfred of an ancient roof burned in 1254 at the
+funeral of Conrad, son of Emperor Frederick II, the canopy over the
+corpse having been so high that the lights by which it was crowned set
+fire to the rafters. The three apses are filled with fine mosaics.
+
+The pulpit of white marble is attributed to Gogini, and the font near it
+to Gaddo Gaddi of Florence.
+
+       *       *       *       *       *
+
+
+
+
+Competition for Advertising Design.
+
+
+The publishers of THE BROCHURE SERIES will give three prizes, valued at
+$5.00 each, for the best three designs for a full-page advertisement of
+the Boynton Furnace Co. These prizes will be:--
+
+    1. A complete set of Volume I of the _Architectural Review_ (see
+    advertisement in front pages of this number for description).
+
+    2. A subscription to Volume IV of the _Architectural Review_.
+
+    3. Details of Decorative Sculpture, both Italian and French
+    Renaissance (2 books).
+
+The authors of the best designs may have their choice of any of these
+three prizes. A prize will be awarded for the best design received on or
+before November 30, 1895. A second prize for the best design received
+after November 20, and on or before December 10, 1895. A third prize for
+the best design received after November 30, and on or before December
+20, 1895.
+
+It is probable that all acceptable designs will be used, in which case
+payment will be made, the amount of which will be determined by
+correspondence with the author; and all designs not accepted will be
+returned to the authors.
+
+The advertisements of the Boynton Furnace Co. may be referred to for
+material, and the following data can be drawn upon:--
+
+    The business was established in 1849; the company was
+    incorporated in 1884. Over 100,000 heaters have been made and
+    sold. Furnaces, hot water and steam heaters, ranges, and
+    Baltimore heaters are manufactured. The Boynton goods have
+    always ranked high, the company being one of the "old stand-bys"
+    in the heating trade. Satisfactory service in carrying out
+    architects' specifications is made a feature of their business.
+
+The net size of the space allowed for advertisement is 5-1/2 inches wide
+and 8 inches high. No restriction upon the design is made, except that
+it shall not go beyond these dimensions. Drawings must be made one half
+larger than the advertisement would be. They are not to bear the
+designer's name, or any distinguishing device, but a sealed envelope
+containing his name and address is to be securely attached to the back
+of the drawing, or of each drawing should a designer submit two or more.
+They must be in black ink upon white paper, and sent postpaid to the
+Editor of THE BROCHURE SERIES, 6 Beacon Street, Boston, Mass.
+
+The designing of effective architectural advertisements presents a good
+field for draughtsmen to cultivate. In both THE BROCHURE SERIES and the
+_Architectural Review_ a considerable quantity of such work could be
+used if it were the right kind. The publishers are in hopes this
+competition will bring out designs that will serve as a guide to
+securing special work for which there is a more or less constant demand.
+If this competition proves successful in bringing out the proper kind of
+material, others will be arranged for in future, and larger prizes
+offered.
+
+       *       *       *       *       *
+
+
+
+
+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 placing in position of the great decorative wall painting of Puvis
+de Chavannes in the Boston Public Library again directs public attention
+to this remarkable building. To us this last addition to the
+architectural work (for every feature of the building, whether
+constructional, utilitarian, or purely decorative, is architectural in
+the sense of forming an essential part of an otherwise incomplete
+composition) is the one feature thus far introduced which does most to
+bind together the varying elements in the decorative scheme of the
+interior. It occupies the most important position in the building, at
+the head of the monumental staircase, and forms not only a centre of
+interest aesthetically, but serves as a connecting link between the other
+features, which have before seemed more or less unrelated. The grand
+staircase, built of Siena marble, the finest example of the intelligent
+use of colored marble in this country, has until now lacked its foil,
+which the dull blue walls now give. The added pleasure which is apparent
+in viewing the stairway emphasizes the importance of the guiding
+intelligence which has made all this possible. There is in our
+experience only one other building in the country in the interior
+treatment of which this intelligence is evident in anything like the
+same degree. The house built by Messrs. McKim, Mead, and White for Mr.
+Henry Villard is the most completely satisfying residence we have ever
+seen, and its success is due to the element of restraint shown
+throughout, and to the harmony between its parts. There are other houses
+in which may be found just as effective single features, but there is
+some discordant note which destroys the harmony. The Library is not an
+expensive building; its single features may, with the exception of the
+staircase, be equaled in beauty by many other buildings in this country,
+but no other can compare with it in the sense of complete satisfaction
+which it awakens on account of this harmony of parts.
+
+We have pointed out only the harmony in color, which of course in itself
+is of secondary importance, and if it were not accompanied by
+intelligent harmony of plan, and treatment of detail in proportion and
+scale could not make the composition a satisfactory one. The question of
+decorative color treatment comes up at this time because of the
+surprising effect which the addition of a little patch of colored wall
+makes in the whole interior. Even the uneducated, superficial observer
+is impressed with the feeling of completeness and thoughtful intention
+in everything connected with the building.
+
+       *       *       *       *       *
+
+
+
+
+Brochure Series Competition.
+
+Number One.
+
+DESIGN FOR THE CASE OF AN UPRIGHT PIANO. PRIZES OFFERED BY THE
+HENRY F. MILLER & SONS PIANO CO., BOSTON.
+
+
+The object of this competition was not to secure designs for pianos at
+the least possible cost, as is the object of many competitions in
+design, but merely to attract the attention of designers to this special
+problem, and take one more step towards a better condition of things in
+the piano business. The Henry F. Miller Co. have for several years
+followed a policy the results of which are seen in some of their later
+designs. It has been the practice to turn special cases over to
+furniture and cabinet makers, entailing an expense that has been
+practically prohibitory for all but the richest clients architects have.
+The Miller piano factory has been equipped with every facility for
+executing work from architects' special designs and within a reasonable
+cost. The prizes have been offered in the most liberal spirit, and while
+a large number of the designs submitted were unsatisfactory, they have
+been instructive and their shortcomings will be borne in mind in
+preparing the program of another competition, with larger prizes, which
+will shortly be announced in THE BROCHURE SERIES.
+
+
+    [Illustration: First Prize. A.B. Le Boutillier.]
+
+
+Seventy-five designs were submitted, several of which arrived too late
+to be entered. The drawings were very carefully examined by the officers
+of the company, assisted by Mr. C. Howard Walker, and the following
+awards were made:--
+
+
+    [Illustration: Second Prize. E.F. Maher]
+
+
+First prize, $25, A.B. Le Boutillier, Boston; second prize, $15, Edward
+F. Maher, Boston; third prize, $10, James C. Green, Brooklyn, N.Y.
+
+
+REPORT OF THE JURY.
+
+In judging the designs for piano cases, the element of economy, though
+recognized, played but a small part in the decision of the judges. The
+qualities which made the premiated designs superior to others, were
+those of refinement, beauty of line, and of general proportions.
+
+A piano case presents, necessarily, but restricted opportunity for
+design, and any attempt at great novelty is apt to be disastrous; if
+originality appears, it will be in the smaller details.
+
+
+    [Illustration: Third Prize. J.C. Green.]
+
+
+There also exists the question of style, which is determined largely by
+the character of the room in which the piano is to be placed, and yet,
+if the element of style is forced too far, it prevents the use of the
+design for any but one case.
+
+Of the premiated designs those placed first and second are in distinct
+styles, the one having almost the character of François I, the other
+being of the time of the Empire. Both, however, are simple and could be
+placed in rooms of other styles of architecture.
+
+The first prize design is especially commended for the disposition of
+its ornament, and the delicate but vigorous lines of the bracket beneath
+the keyboard, or what is technically called the "truss."
+
+The design placed second has excellent proportioning of panels and
+Empire ornament in excellent relative scale, well disposed.
+
+The design placed third is a most direct development of the
+requirements, and is a very simple, practicable design with good
+proportions and lines.
+
+The three remaining designs published were considered worthy of mention,
+each in its own way. The Gothic design could be made very rich and
+interesting with panel colored decoration. The upper portion is well
+proportioned, the lower portion somewhat too meagre. The Colonial design
+is interesting above the keyboard; the arches below the "trusses" are
+out of scale. The Baroque design would depend for its good or bad
+quality entirely upon the delicacy and skill with which the carving was
+done. Both the Gothic and Baroque designs could only be used in rooms of
+their own respective styles.
+
+
+    [Illustration: Design by E.B. Wells.]
+
+       *       *       *       *       *
+
+
+
+
+Club Notes.
+
+
+It is encouraging to note that a new accession to the already imposing
+list of architectural clubs has been made so early in the season by the
+organization of a club in Detroit.
+
+On Monday, September 16, thirty-five draughtsmen met at the Detroit
+Museum of Art and effected a temporary organization of the Detroit
+Architectural Sketch Club, Emil Lorch being elected Chairman and Alex.
+Blumberg Secretary. A committee, consisting of W.E.N. Hunter, R.
+Mildner, and G.H. Ropes, was appointed to draw up a Constitution and
+By-laws.
+
+The report of this committee was adopted at the second meeting, on
+September 25, and the following officers and directors elected:
+President, Emil Lorch; Vice-President, G.H. Ropes; Secretary, E.A.
+Schilling; Treasurer, R. Mildner; Directors, W.E.N. Hunter, F.G. Baxter,
+and Alex. Blumberg.
+
+
+    [Illustration: Design by E.R. Clark.]
+
+
+The object of the Club and its proposed methods of study are like those
+of similar organizations elsewhere.
+
+Few of the existing clubs have started under better auspices, and fewer
+still could count as many members at their inception.
+
+A number of the other clubs have begun early in the systematic work of
+the year. The Philadelphia, Baltimore, Cleveland, and Chicago clubs in
+particular are starting with unusual vigor and promise. Our next issue
+will have more detailed account of these plans for the future.
+
+
+    [Illustration: Design by A.H. Cox.]
+
+       *       *       *       *       *
+
+
+
+
+Books.
+
+
+_Architecture for General Readers_: A Short Treatise on the
+    Principles and Motives of Architectural Design. With an
+    Historical Sketch. By H. Heathcote Statham, Fellow of the
+    Institute of Architects, Editor of _The Builder_. With
+    illustrations drawn by the Author. London, New York: Charles
+    Scribner's Sons. 1895.
+
+This work is, as its title indicates, a popular handbook of the
+principles of architecture, and furnishes what has hitherto been
+practically inaccessible to general readers--a concise explanation of
+what architecture really means.
+
+The greater part of the work is devoted to the explanation of the theory
+of design and construction and the general principles in their simpler
+applications. The subject of ornament including the use of mouldings,
+sculpture, and plain surfaces, is taken up, and architectural working
+drawings are explained.
+
+The historical sketch is excellent, although in this direction there is
+not the same lack of good handbooks as in the theoretical field. The
+analysis is clear and more easily comprehended than is usual in such
+treatises.
+
+       *       *       *       *       *
+
+
+
+
+Notes.
+
+
+To an architect a convenient drawing table is one of the most important
+requirements. There are many devices made to meet this requirement, but
+none have proved more useful or given more general satisfaction than the
+"Seldis," furnished by Messrs. Frost & Adams, 37 Cornhill, Boston. The
+special advantages of this table are many, but among them is the fact
+that the draughtsman can work in a natural position, as the board can be
+adjusted, so that all parts may be easily reached. Any board can be used
+and it will not tip over, and being self-locking will remain in any
+position, and can be adjusted in height to suit the draughtsman. When
+not in use it can be folded to occupy the same length and width as an
+ordinary drawing-board. Descriptive circulars will be sent upon
+application by Messrs. Frost & Adams.
+
+
+    [Illustration: House in Brookline. Winslow & Wetherell,
+    Architects. From Dexter Bros.' "Some Houses Near Boston."]
+
+
+Messrs. Dexter Bros., of 55 Broad Street, Boston, are adopting a very
+effective method of advertising their English Shingle Stains. We have
+already referred to their collection of photographic prints published
+under the title of "Some Houses Near Boston." The illustration on this
+page is reduced from one of the plates in this collection. They have
+followed this with an even more attractive pamphlet showing
+Kennebunkport houses, on which their stains have been used, and they
+have a third collection in preparation, illustrating Bar Harbor houses.
+Either of the first two will be sent to any reader of THE BROCHURE
+SERIES upon receipt of a two-cent stamp, and due notice of the issue of
+the collection of Bar Harbor houses will be given in these columns. As
+Dexter Bros.' Stains are used by leading architects throughout the
+country they have plenty of subjects to choose from in each publication,
+thus enabling them to publish work that is architecturally interesting.
+This raises the character of their advertising above the ordinary trade
+level. Usually publications representing the buildings in which a
+certain material is used, show good, bad, and indifferent architecture,
+the good being present in small quantity. The Dexter Bros.' collections
+show intelligent discrimination, and it is this one thing that makes
+them worthy of notice.
+
+All who are in any way interested in suburban architecture will find
+these pamphlets worth sending for. They should have a wide circulation,
+for they have more than an advertising value.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
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+<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en">
+<head>
+<title>The Brochure Series, Vol. I, No. 9</title>
+<meta http-equiv = "Content-Type" content = "text/html; charset=iso-8859-1" />
+
+<style type = "text/css">
+
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+
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+margin-bottom: .5em;}
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+
+p.caption {text-align: center; font-family: sans-serif; font-size: 80%;}
+p.plate + p.caption {margin-bottom: 1.5em;}
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+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, 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
+       Vol 1, No. 9 1895
+
+Author: Various
+
+Release Date: June 9, 2008 [EBook #25735]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
+
+
+
+
+Produced by Juliet Sutherland and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<h1 class="smallcaps">The Brochure Series</h1>
+<h5 class="smallcaps">of Architectural Illustration.</h5>
+
+<table class="smallcaps" width="100%" summary="Vol I., September, 1895, No. 9">
+<tbody>
+<tr>
+    <td>Vol. I.</td>
+    <td class="center">September, 1895.</td>
+    <td class="right">No. 9.</td>
+</tr>
+</tbody>
+</table>
+
+<hr class="micro" />
+
+<h3 class="smallcaps">Pulpits of Southern Italy.</h3>
+
+<p>The pulpits and ambos chosen for the illustrations in this issue of
+<span class="smallcaps">The Brochures</span> are mainly interesting for
+their wonderful mosaic decorations
+which are among the finest of their kind which have ever been executed.
+The work of the family of Cosmati, by whose name the Roman mosaic or
+inlay of this description is known, such as that in plate LXXI, is similar
+in design and method of execution to that shown in the other
+plates. There is one point, however, in which the Roman work is quite
+different. In Sicily and southern Italy the bands and borders of
+geometrical patterns are largely made up of glass or composition, while
+the Cosmati confined themselves to the use of colored marbles. In the
+south, and particularly in Sicily, gold is freely used, but this is
+lacking in the work of the Cosmati. As a result of this difference in
+material a wider range of color is possible in the southern mosaics than
+in those of Rome; and this is especially noticeable in the use of blues,
+which give much of the character to the beautiful examples shown in our
+plates, which we regret we cannot reproduce in color. The altar, pulpit,
+and bishop's throne in the churches of SS. Nerone ed Achille and S.
+Cesario in Rome may be taken as additional examples.</p>
+
+<p>This is a form of decoration which may be found in many of the Byzantine
+churches of the eleventh and twelfth centuries and also in the Tuscan
+churches of the same epoch, notably in the Baptistery at Pisa and in the
+church of San Miniato al Monte in Florence.</p>
+
+<p>The mosaic floors, dados, and solid railings of the Palermitan monuments
+all seem to belong to this class: a ground of gray or white marble slabs
+with large panels of colored marble, mosaic bands of geometrical pattern
+let into the marble, and sometimes a plain framework of one member with
+a carved row of conventional leaves. In Palermo a grayish veined Greek
+marble similar to that used in Venice and Ravenna was almost exclusively
+used as a background. It formed a most admirable setting for the inlaid
+marble mosaics which were laid in rebated panels in the marble slabs,
+making a perfectly smooth surface. In the floor mosaics green serpentine
+and red or purple porphyry are the usual colors besides the gray, while
+brighter reds, gold, blues, white, and a variety of other glasses
+(<i>smalti</i>) are employed with the serpentine and porphyry in the mosaics
+on walls, pulpits, and screens.</p>
+
+<p>In all of the work referred to above, the separate pieces of marble or
+glass are carefully shaped to fit the patterns they are intended to
+form, and in this respect differ from the Byzantine and other wall
+mosaics, and from the earlier Roman mosaic pavements such as those which
+are familiar in the Pompeiian buildings. In the latter the shape and
+often the size of the pieces making up the pattern were of comparatively
+little importance, and the pieces were imbedded in a matrix which filled
+up the interstices and gave a background of neutral color.</p>
+
+<p>The marble pavements, made up of discs, squares, and other geometrical
+forms of colored marbles surrounded by bands or borders of a smaller
+scale, were similar in design to some of the mosaics shown in our
+plates. This work is known as Opus Alexandrinum and is familiar from the
+pavements of St. Mark's and the church of Santa Maria dei Miracoli in
+Venice.</p>
+
+
+<p class="illustration plate">
+<a href="images/plate_lxv.jpg" name="plate_LXV" id="plate_LXV">
+<img src="images/plate_lxv_small.jpg" alt=""  /></a></p>
+
+<p class="caption">
+LXV.<br />Ambo in the Capella Palatina, Palermo, Sicily</p>
+
+<p>The Capella Palatina was built and dedicated to St. Peter by King Roger
+the Second of Sicily. It must have been begun soon after Roger's
+coronation, and was finished in the year 1143.</p>
+
+<p>It is of the same period as the cloister of Monreale, which was
+described and illustrated in the March number of
+<span class="smallcaps">The Brochure Series</span>;
+and the work here shown distinctly recalls the mosaics upon the twisted
+columns in this cloister.</p>
+
+<p>The interior is famous as one of the most beautiful works of color
+decoration extant. Its general tone is bluish green with mosaic walls
+and floor and a wooden ceiling decorated in tempera with cufic
+inscriptions. It is scantily lighted with small windows, giving a rather
+sombre effect. The best mosaics are in the chancel and apses.</p>
+
+<p>The beautiful ambo is one of its most attractive features. The famous
+candelabrum of five tiers of figures, at the projecting angle, is of
+white marble.</p>
+
+
+<p class="illustration plate">
+<a href="images/plate_lxvi.jpg" name="plate_LXVI" id="plate_LXVI">
+<img src="images/plate_lxvi_small.jpg" alt=""  /></a></p>
+
+<p class="caption">
+LXVI.<br />Ambo in the Cathedral, Salerno, Italy.</p>
+
+
+<p class="illustration plate">
+<a href="images/plate_lxvii.jpg" name="plate_LXVII" id="plate_LXVII">
+<img src="images/plate_lxvii_small.jpg" alt=""  /></a></p>
+
+<p class="caption">
+LXVII.<br />Pulpit in the Cathedral, Salerno, Italy.</p>
+
+
+<p>Salerno and Ravello were both included under the Norman rule of the
+kingdom of Naples and Sicily in the eleventh century, and the work here
+shown all belongs to the Norman period.</p>
+
+<p>The Cathedral of Salerno was founded and dedicated to St. Matthew in
+1084 by Robert Guiscard, who plundered the temples of Paestum of their
+marbles and sculptures to embellish it.</p>
+
+<p>The two pulpits and that in the choir in front of the archbishop's
+throne, which are said to have been executed by order of John of
+Procida, are fine examples of the rich mosaic work of the period. The
+two large pulpits are placed in the nave, before the choir, which here
+has retained its original position in front of the high altar. Stairs
+opening out of the choir, finely decorated in mosaic, lead to each
+pulpit. In front of the larger one on the right is a fine Paschal
+candelabrum, decorated in mosaic. The pulpit itself is supported on
+twelve granite columns, while the four supports of the opposite ambo are
+the very rare black porphyry called <i>Porfido Nero-Bianco.</i> The raised
+space between is paved in Opus Alexandrinum.</p>
+
+
+<p class="illustration plate">
+<a href="images/plate_lxviii.jpg" name="plate_LXVIII" id="plate_LXVIII">
+<img src="images/plate_lxviii_small.jpg" alt=""  /></a></p>
+
+<p class="caption">
+LXVIII.<br />Pulpit in the Cathedral, Ravello.</p>
+
+
+<p>The Cathedral at Ravello, dedicated to S. Pantaleo, was founded by
+Niccolo Rufolo, Duke of Sora and grand admiral under Count Roger of
+Sicily.</p>
+
+<p>The marble pulpit, or Gospel ambo, inlaid with mosaics, was built,
+according to a Latin inscription which it bears, in the year 1272, at
+the cost of Niccolo Rufolo, a descendant of the grand admiral. Another
+inscription records the fact that it was the work of Nicholas, the son
+of Bartolommeus of Foggia.</p>
+
+
+<p class="illustration plate">
+<a href="images/plate_lxix.jpg" name="plate_LXIX" id="plate_LXIX">
+<img src="images/plate_lxix_small.jpg" alt=""  /></a></p>
+
+<p class="caption">
+LXIX.<br />Ambo in the Cathedral, Ravello.</p>
+
+
+<p>The Epistle ambo, situated on the opposite side of the church from the
+main pulpit, is of earlier date than the latter. The mosaics represent
+on one side Jonah being swallowed by the whale, and on the other his
+being ejected. It bears the name of Costantino Rogadeo, the second
+bishop of Ravello, and probably dates from about 1130.</p>
+
+<p class="illustration plate">
+<a href="images/plate_lxx.jpg" name="plate_LXX" id="plate_LXX">
+<img src="images/plate_lxx_small.jpg" alt=""  /></a></p>
+
+<p class="caption">
+LXX.<br />Pulpit in the Church of S. Giovanni, Ravello.</p>
+
+<p>The church of San Giovanni del Toro also dates from the time of King
+Roger. The story of Jonah will be seen again depicted here.</p>
+
+
+<p class="illustration plate">
+<a href="images/plate_lxxi.jpg" name="plate_LXXI" id="plate_LXXI">
+<img src="images/plate_lxxi_small.jpg" alt=""  /></a></p>
+
+<p class="caption">
+LXXI.<br />Ambo in S. Lorenzo fuori le Mura, Rome.</p>
+
+
+<p>The Basilica of S. Lorenzo fuori le Mura was originally only an oratory
+over the Catacombs of S. Cyriaca, and was said to have been founded by
+Constantine about A.D. 330. It was enlarged and partly rebuilt in the
+fifth and sixth centuries, and in 1216 was again remodeled by Honorius
+III, who built the present long nave and its portico, raised the
+chancel, and filled up with rubbish the lower church. It is thus a grand
+collection of details of various periods, but all of much interest.</p>
+
+<p>Its two ambos stand on each side of the raised portion of the floor
+which corresponds to the choir in the Basilica of Honorius. The Gospel
+was chanted from the one on the south side with the reading desk turned
+towards the choir; and the Epistle from the one on the north, with a
+single desk towards the high altar. Before the Gospel ambo is a fine
+mosaic candelabrum standing on a Roman cippus reversed, having an olive
+branch and birds sculptured on it.</p>
+
+<p>The pavement as well as the work upon these two ambos is in the style of
+the Cosmati.</p>
+
+
+<p class="illustration plate">
+<a href="images/plate_lxxii.jpg" name="plate_LXXII" id="plate_LXXII">
+<img src="images/plate_lxxii_small.jpg" alt="" /></a></p>
+
+<p class="caption">
+LXXII.<br />Pulpit in the Cathedral at Messina,  Sicily.</p>
+
+
+<p>The Cathedral (S.M. Nuova) was founded by Count Roger in 1098, and was
+finished by his son Roger. The interior is 305 feet in length, and is a
+Latin cross with three aisles, separated by twenty-six columns of
+Egyptian granite said to have been taken from the temple of Neptune at
+Faro; they have gilt Corinthian capitals. The roof is of wood and is a
+restoration by King Manfred of an ancient roof burned in 1254 at the
+funeral of Conrad, son of Emperor Frederick II, the canopy over the
+corpse having been so high that the lights by which it was crowned set
+fire to the rafters. The three apses are filled with fine mosaics.</p>
+
+<p>The pulpit of white marble is attributed to Gogini, and the font near it
+to Gaddo Gaddi of Florence.</p>
+
+<h2>Competition for Advertising Design.</h2>
+
+
+<p>The publishers of <span class="smallcaps">The Brochure Series</span>
+ will give three prizes, valued at
+$5.00 each, for the best three designs for a full-page advertisement of
+the Boynton Furnace Co. These prizes will be:&mdash;</p>
+
+<ol style="margin-left: 2em;">
+<li>A complete set of Volume I of the <i>Architectural Review</i> (see
+advertisement in front pages of this number for description).</li>
+
+<li>A subscription to Volume IV of the <i>Architectural Review</i>.</li>
+
+<li>Details of Decorative Sculpture, both Italian and French
+Renaissance (2 books).</li>
+</ol>
+
+<p>The authors of the best designs may have their choice of any of these
+three prizes. A prize will be awarded for the best design received on or
+before November 30, 1895. A second prize for the best design received
+after November 20, and on or before December 10, 1895. A third prize for
+the best design received after November 30, and on or before December
+20, 1895.</p>
+
+<p>It is probable that all acceptable designs will be used, in which case
+payment will be made, the amount of which will be determined by
+correspondence with the author; and all designs not accepted will be
+returned to the authors.</p>
+
+<p>The advertisements of the Boynton Furnace Co. may be referred to for
+material, and the following data can be drawn upon:&mdash;</p>
+
+<div class="blockquote">
+The business was established in 1849; the company was
+incorporated in 1884. Over 100,000 heaters have been made and
+sold. Furnaces, hot water and steam heaters, ranges, and
+Baltimore heaters are manufactured. The Boynton goods have
+always ranked high, the company being one of the "old stand-bys"
+in the heating trade. Satisfactory service in carrying out
+architects' specifications is made a feature of their business.
+</div>
+
+<p>The net size of the space allowed for advertisement is 5&frac12; inches wide
+and 8 inches high. No restriction upon the design is made, except that
+it shall not go beyond these dimensions. Drawings must be made one half
+larger than the advertisement would be. They are not to bear the
+designer's name, or any distinguishing device, but a sealed envelope
+containing his name and address is to be securely attached to the back
+of the drawing, or of each drawing should a designer submit two or more.
+They must be in black ink upon white paper, and sent postpaid to the
+Editor of <span class="smallcaps">The Brochure Series</span>, 6 Beacon Street,
+Boston, Mass.</p>
+
+<p>The designing of effective architectural advertisements presents a good
+field for draughtsmen to cultivate. In both <span class="smallcaps">The Brochure
+Series</span> and the
+<i>Architectural Review</i> a considerable quantity of such work could be
+used if it were the right kind. The publishers are in hopes this
+competition will bring out designs that will serve as a guide to
+securing special work for which there is a more or less constant demand.
+If this competition proves successful in bringing out the proper kind of
+material, others will be arranged for in future, and larger prizes
+offered.</p>
+
+
+<h2>The Brochure Series</h2>
+<h4>of Architectural Illustration.</h4>
+<h6 class="smallcaps">Published Monthly By</h6>
+<h4 class="smallcaps">Bates &amp; Guild,</h4>
+<h5 class="smallcaps">6 Beacon Street, Boston, Mass.</h5>
+
+<hr class="micro" />
+
+<table class="smaller" summary="Subscription Rates">
+<tbody><tr>
+<td>Subscription Rates per year</td>
+<td class="right">50 cents, in advance</td>
+</tr>
+<tr>
+<td>Special Club Rates for five subscriptions</td>
+<td class="right">$2.00</td>
+</tr>
+</tbody></table>
+
+<hr class="micro" />
+
+<p class="center smaller">
+Entered at the Boston Post Office as Second-class Matter.</p>
+
+<hr />
+
+<h6 class="smallcaps">Special Notice.</h6>
+
+<p>Back numbers of <span class="smallcaps">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 class="tiny" />
+
+<p>The placing in position of the great decorative wall painting of Puvis
+de Chavannes in the Boston Public Library again directs public attention
+to this remarkable building. To us this last addition to the
+architectural work (for every feature of the building, whether
+constructional, utilitarian, or purely decorative, is architectural in
+the sense of forming an essential part of an otherwise incomplete
+composition) is the one feature thus far introduced which does most to
+bind together the varying elements in the decorative scheme of the
+interior. It occupies the most important position in the building, at
+the head of the monumental staircase, and forms not only a centre of
+interest aesthetically, but serves as a connecting link between the other
+features, which have before seemed more or less unrelated. The grand
+staircase, built of Siena marble, the finest example of the intelligent
+use of colored marble in this country, has until now lacked its foil,
+which the dull blue walls now give. The added pleasure which is apparent
+in viewing the stairway emphasizes the importance of the guiding
+intelligence which has made all this possible. There is in our
+experience only one other building in the country in the interior
+treatment of which this intelligence is evident in anything like the
+same degree. The house built by Messrs. McKim, Mead, and White for Mr.
+Henry Villard is the most completely satisfying residence we have ever
+seen, and its success is due to the element of restraint shown
+throughout, and to the harmony between its parts. There are other houses
+in which may be found just as effective single features, but there is
+some discordant note which destroys the harmony. The Library is not an
+expensive building; its single features may, with the exception of the
+staircase, be equaled in beauty by many other buildings in this country,
+but no other can compare with it in the sense of complete satisfaction
+which it awakens on account of this harmony of parts.</p>
+
+<p>We have pointed out only the harmony in color, which of course in itself
+is of secondary importance, and if it were not accompanied by
+intelligent harmony of plan, and treatment of detail in proportion and
+scale could not make the composition a satisfactory one. The question of
+decorative color treatment comes up at this time because of the
+surprising effect which the addition of a little patch of colored wall
+makes in the whole interior. Even the uneducated, superficial observer
+is impressed with the feeling of completeness and thoughtful intention
+in everything connected with the building.</p>
+
+<h2>Brochure Series Competition.<br />
+Number One.</h2>
+
+<h3 class="smallcaps">Design for the case of an upright piano. Prizes offered by
+the
+Henry F. Miller &amp; Sons Piano Co., Boston.</h3>
+
+
+<p>The object of this competition was not to secure designs for pianos at
+the least possible cost, as is the object of many competitions in
+design, but merely to attract the attention of designers to this special
+problem, and take one more step towards a better condition of things in
+the piano business. The Henry F. Miller Co. have for several years
+followed a policy the results of which are seen in some of their later
+designs. It has been the practice to turn special cases over to
+furniture and cabinet makers, entailing an expense that has been
+practically prohibitory for all but the richest clients architects have.
+The Miller piano factory has been equipped with every facility for
+executing work from architects' special designs and within a reasonable
+cost. The prizes have been offered in the most liberal spirit, and while
+a large number of the designs submitted were unsatisfactory, they have
+been instructive and their shortcomings will be borne in mind in
+preparing the program of another competition, with larger prizes, which
+will shortly be announced in <span class="smallcaps">The Brochure
+Series</span>.</p>
+
+
+<p class="illustration plate">
+<a name="i010_1" id="i010_1">
+<img src="images/i010-1.jpg" alt="" /></a></p>
+
+<p class="caption">
+First Prize. A.B. Le Boutillier.</p>
+
+
+<p>Seventy-five designs were submitted, several of which arrived too late
+to be entered. The drawings were very carefully examined by the officers
+of the company, assisted by Mr. C. Howard Walker, and the following
+awards were made:&mdash;</p>
+
+
+<p class="illustration plate">
+<a name="i010_2" id="i010_2">
+<img src="images/i010-2.jpg" alt=""  /></a></p>
+
+<p class="caption">
+Second Prize. E.F. Maher</p>
+
+
+<p>First prize, $25, A.B. Le Boutillier, Boston; second prize, $15, Edward
+F. Maher, Boston; third prize, $10, James C. Green, Brooklyn, N.Y.</p>
+
+
+<h3 class="smallcaps">Report of the Jury.</h3>
+
+<p>In judging the designs for piano cases, the element of economy, though
+recognized, played but a small part in the decision of the judges. The
+qualities which made the premiated designs superior to others, were
+those of refinement, beauty of line, and of general proportions.</p>
+
+<p>A piano case presents, necessarily, but restricted opportunity for
+design, and any attempt at great novelty is apt to be disastrous; if
+originality appears, it will be in the smaller details.</p>
+
+
+<p class="illustration plate">
+<a name="i010_3" id="i010_3">
+<img src="images/i010-3.jpg" alt=""  /></a></p>
+
+<p class="caption">
+Third Prize. J.C. Green.</p>
+
+
+<p>There also exists the question of style, which is determined largely by
+the character of the room in which the piano is to be placed, and yet,
+if the element of style is forced too far, it prevents the use of the
+design for any but one case.</p>
+
+<p>Of the premiated designs those placed first and second are in distinct
+styles, the one having almost the character of Fran&ccedil;ois I, the other
+being of the time of the Empire. Both, however, are simple and could be
+placed in rooms of other styles of architecture.</p>
+
+<p>The first prize design is especially commended for the disposition of
+its ornament, and the delicate but vigorous lines of the bracket beneath
+the keyboard, or what is technically called the "truss."</p>
+
+<p>The design placed second has excellent proportioning of panels and
+Empire ornament in excellent relative scale, well disposed.</p>
+
+<p>The design placed third is a most direct development of the
+requirements, and is a very simple, practicable design with good
+proportions and lines.</p>
+
+<p>The three remaining designs published were considered worthy of mention,
+each in its own way. The Gothic design could be made very rich and
+interesting with panel colored decoration. The upper portion is well
+proportioned, the lower portion somewhat too meagre. The Colonial design
+is interesting above the keyboard; the arches below the "trusses" are
+out of scale. The Baroque design would depend for its good or bad
+quality entirely upon the delicacy and skill with which the carving was
+done. Both the Gothic and Baroque designs could only be used in rooms of
+their own respective styles.</p>
+
+
+<p class="illustration plate">
+<a name="i012_1" id="i012_1">
+<img src="images/i012-1.jpg" alt=""  /></a></p>
+
+<p class="caption">
+Design by E.B. Wells.</p>
+
+
+<p class="illustration plate">
+<a name="i012_2" id="i012_2">
+<img src="images/i012-2.jpg" alt=""  /></a></p>
+
+<p class="caption">
+Design by E.R. Clark.</p>
+
+
+<p class="illustration plate">
+<a name="i012_3" id="i012_3">
+<img src="images/i012-3.jpg" alt=""  /></a></p>
+
+<p class="caption">
+Design by A.H. Cox.</p>
+
+
+<h2>Club Notes.</h2>
+
+
+<p>It is encouraging to note that a new accession to the already imposing
+list of architectural clubs has been made so early in the season by the
+organization of a club in Detroit.</p>
+
+<p>On Monday, September 16, thirty-five draughtsmen met at the Detroit
+Museum of Art and effected a temporary organization of the Detroit
+Architectural Sketch Club, Emil Lorch being elected Chairman and Alex.
+Blumberg Secretary. A committee, consisting of W.E.N. Hunter, R.
+Mildner, and G.H. Ropes, was appointed to draw up a Constitution and
+By-laws.</p>
+
+<p>The report of this committee was adopted at the second meeting, on
+September 25, and the following officers and directors elected:
+President, Emil Lorch; Vice-President, G.H. Ropes; Secretary, E.A.
+Schilling; Treasurer, R. Mildner; Directors, W.E.N. Hunter, F.G. Baxter,
+and Alex. Blumberg.</p>
+
+<p>The object of the Club and its proposed methods of study are like those
+of similar organizations elsewhere.</p>
+
+<p>Few of the existing clubs have started under better auspices, and fewer
+still could count as many members at their inception.</p>
+
+<p>A number of the other clubs have begun early in the systematic work of
+the year. The Philadelphia, Baltimore, Cleveland, and Chicago clubs in
+particular are starting with unusual vigor and promise. Our next issue
+will have more detailed account of these plans for the future.</p>
+
+
+<h2>Books.</h2>
+
+
+<p class="hanging"><i>Architecture for General Readers</i>: A Short Treatise on
+the
+ Principles and Motives of Architectural Design. With an
+ Historical Sketch. By H. Heathcote Statham, Fellow of the
+ Institute of Architects, Editor of <i>The Builder</i>. With
+ Scribner's Sons. 1895.</p>
+
+<p>This work is, as its title indicates, a popular handbook of the
+principles of architecture, and furnishes what has hitherto been
+practically inaccessible to general readers&mdash;a concise explanation of
+what architecture really means.</p>
+
+<p>The greater part of the work is devoted to the explanation of the theory
+of design and construction and the general principles in their simpler
+applications. The subject of ornament including the use of mouldings,
+sculpture, and plain surfaces, is taken up, and architectural working
+drawings are explained.</p>
+
+<p>The historical sketch is excellent, although in this direction there is
+not the same lack of good handbooks as in the theoretical field. The
+analysis is clear and more easily comprehended than is usual in such
+treatises.</p>
+
+
+<h2>Notes.</h2>
+
+
+<p>To an architect a convenient drawing table is one of the most important
+requirements. There are many devices made to meet this requirement, but
+none have proved more useful or given more general satisfaction than the
+"Seldis," furnished by Messrs. Frost &amp; Adams, 37 Cornhill, Boston. The
+special advantages of this table are many, but among them is the fact
+that the draughtsman can work in a natural position, as the board can be
+adjusted, so that all parts may be easily reached. Any board can be used
+and it will not tip over, and being self-locking will remain in any
+position, and can be adjusted in height to suit the draughtsman. When
+not in use it can be folded to occupy the same length and width as an
+ordinary drawing-board. Descriptive circulars will be sent upon
+application by Messrs. Frost &amp; Adams.</p>
+
+
+<p class="illustration plate">
+<a name="i014_1" id="i014_1">
+<img src="images/i014-1.jpg" alt="" /></a></p>
+
+<p class="caption">
+House in Brookline. Winslow &amp; Wetherell,
+    Architects. From Dexter Bros.' "Some Houses Near Boston."</p>
+
+
+<p>Messrs. Dexter Bros., of 55 Broad Street, Boston, are adopting a very
+effective method of advertising their English Shingle Stains. We have
+already referred to their collection of photographic prints published
+under the title of "Some Houses Near Boston." The illustration on this
+page is reduced from one of the plates in this collection. They have
+followed this with an even more attractive pamphlet showing
+Kennebunkport houses, on which their stains have been used, and they
+have a third collection in preparation, illustrating Bar Harbor houses.
+Either of the first two will be sent to any reader of <span
+class="smallcaps">The Brochure
+Series</span> upon receipt of a two-cent stamp, and due notice of the issue of
+the collection of Bar Harbor houses will be given in these columns. As
+Dexter Bros.' Stains are used by leading architects throughout the
+country they have plenty of subjects to choose from in each publication,
+thus enabling them to publish work that is architecturally interesting.
+This raises the character of their advertising above the ordinary trade
+level. Usually publications representing the buildings in which a
+certain material is used, show good, bad, and indifferent architecture,
+the good being present in small quantity. The Dexter Bros.' collections
+show intelligent discrimination, and it is this one thing that makes
+them worthy of notice.</p>
+
+<p>All who are in any way interested in suburban architecture will find
+these pamphlets worth sending for. They should have a wide circulation,
+for they have more than an advertising value.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, by Various
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+</html>
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@@ -0,0 +1,948 @@
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, 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
+       Vol 1, No. 9 1895
+
+Author: Various
+
+Release Date: June 9, 2008 [EBook #25735]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
+
+
+
+
+Produced by Juliet Sutherland and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+THE BROCHURE SERIES
+
+OF ARCHITECTURAL ILLUSTRATION.
+
+VOL. I.
+SEPTEMBER, 1895.
+No. 9.
+
+
+
+
+PULPITS OF SOUTHERN ITALY.
+
+
+The pulpits and ambos chosen for the illustrations in this issue of THE
+BROCHURES are mainly interesting for their wonderful mosaic decorations
+which are among the finest of their kind which have ever been executed.
+The work of the family of Cosmati, by whose name the Roman mosaic or
+inlay of this description is known, such as that in plate LXXI, is
+similar in design and method of execution to that shown in the other
+plates. There is one point, however, in which the Roman work is quite
+different. In Sicily and southern Italy the bands and borders of
+geometrical patterns are largely made up of glass or composition, while
+the Cosmati confined themselves to the use of colored marbles. In the
+south, and particularly in Sicily, gold is freely used, but this is
+lacking in the work of the Cosmati. As a result of this difference in
+material a wider range of color is possible in the southern mosaics than
+in those of Rome; and this is especially noticeable in the use of blues,
+which give much of the character to the beautiful examples shown in our
+plates, which we regret we cannot reproduce in color. The altar, pulpit,
+and bishop's throne in the churches of SS. Nerone ed Achille and S.
+Cesario in Rome may be taken as additional examples.
+
+This is a form of decoration which may be found in many of the Byzantine
+churches of the eleventh and twelfth centuries and also in the Tuscan
+churches of the same epoch, notably in the Baptistery at Pisa and in the
+church of San Miniato al Monte in Florence.
+
+The mosaic floors, dados, and solid railings of the Palermitan monuments
+all seem to belong to this class: a ground of gray or white marble slabs
+with large panels of colored marble, mosaic bands of geometrical pattern
+let into the marble, and sometimes a plain framework of one member with
+a carved row of conventional leaves. In Palermo a grayish veined Greek
+marble similar to that used in Venice and Ravenna was almost exclusively
+used as a background. It formed a most admirable setting for the inlaid
+marble mosaics which were laid in rebated panels in the marble slabs,
+making a perfectly smooth surface. In the floor mosaics green serpentine
+and red or purple porphyry are the usual colors besides the gray, while
+brighter reds, gold, blues, white, and a variety of other glasses
+(_smalti_) are employed with the serpentine and porphyry in the mosaics
+on walls, pulpits, and screens.
+
+In all of the work referred to above, the separate pieces of marble or
+glass are carefully shaped to fit the patterns they are intended to
+form, and in this respect differ from the Byzantine and other wall
+mosaics, and from the earlier Roman mosaic pavements such as those which
+are familiar in the Pompeiian buildings. In the latter the shape and
+often the size of the pieces making up the pattern were of comparatively
+little importance, and the pieces were imbedded in a matrix which filled
+up the interstices and gave a background of neutral color.
+
+The marble pavements, made up of discs, squares, and other geometrical
+forms of colored marbles surrounded by bands or borders of a smaller
+scale, were similar in design to some of the mosaics shown in our
+plates. This work is known as Opus Alexandrinum and is familiar from the
+pavements of St. Mark's and the church of Santa Maria dei Miracoli in
+Venice.
+
+
+   [Illustration: LXV. Ambo in the Capella Palatina, Palermo,
+   Sicily.]
+
+
+The Capella Palatina was built and dedicated to St. Peter by King Roger
+the Second of Sicily. It must have been begun soon after Roger's
+coronation, and was finished in the year 1143.
+
+It is of the same period as the cloister of Monreale, which was
+described and illustrated in the March number of THE BROCHURE SERIES;
+and the work here shown distinctly recalls the mosaics upon the twisted
+columns in this cloister.
+
+The interior is famous as one of the most beautiful works of color
+decoration extant. Its general tone is bluish green with mosaic walls
+and floor and a wooden ceiling decorated in tempera with cufic
+inscriptions. It is scantily lighted with small windows, giving a rather
+sombre effect. The best mosaics are in the chancel and apses.
+
+The beautiful ambo is one of its most attractive features. The famous
+candelabrum of five tiers of figures, at the projecting angle, is of
+white marble.
+
+
+    [Illustration: LXVI. Ambo in the Cathedral, Salerno, Italy.]
+
+
+    [Illustration: LXVII. Pulpit in the Cathedral, Salerno, Italy.]
+
+
+Salerno and Ravello were both included under the Norman rule of the
+kingdom of Naples and Sicily in the eleventh century, and the work here
+shown all belongs to the Norman period.
+
+The Cathedral of Salerno was founded and dedicated to St. Matthew in
+1084 by Robert Guiscard, who plundered the temples of Paestum of their
+marbles and sculptures to embellish it.
+
+The two pulpits and that in the choir in front of the archbishop's
+throne, which are said to have been executed by order of John of
+Procida, are fine examples of the rich mosaic work of the period. The
+two large pulpits are placed in the nave, before the choir, which here
+has retained its original position in front of the high altar. Stairs
+opening out of the choir, finely decorated in mosaic, lead to each
+pulpit. In front of the larger one on the right is a fine Paschal
+candelabrum, decorated in mosaic. The pulpit itself is supported on
+twelve granite columns, while the four supports of the opposite ambo are
+the very rare black porphyry called _Porfido Nero-Bianco._ The raised
+space between is paved in Opus Alexandrinum.
+
+
+    [Illustration: LXVIII. Pulpit in the Cathedral, Ravello.]
+
+
+The Cathedral at Ravello, dedicated to S. Pantaleo, was founded by
+Niccolo Rufolo, Duke of Sora and grand admiral under Count Roger of
+Sicily.
+
+The marble pulpit, or Gospel ambo, inlaid with mosaics, was built,
+according to a Latin inscription which it bears, in the year 1272, at
+the cost of Niccolo Rufolo, a descendant of the grand admiral. Another
+inscription records the fact that it was the work of Nicholas, the son
+of Bartolommeus of Foggia.
+
+
+    [Illustration: LXIX. Ambo in the Cathedral, Ravello.]
+
+
+The Epistle ambo, situated on the opposite side of the church from the
+main pulpit, is of earlier date than the latter. The mosaics represent
+on one side Jonah being swallowed by the whale, and on the other his
+being ejected. It bears the name of Costantino Rogadeo, the second
+bishop of Ravello, and probably dates from about 1130.
+
+
+    [Illustration: LXX. Pulpit in the Church of S. Giovanni,
+    Ravello.]
+
+
+The church of San Giovanni del Toro also dates from the time of King
+Roger. The story of Jonah will be seen again depicted here.
+
+
+    [Illustration: LXXI. Ambo in S. Lorenzo fuori le Mura, Rome.]
+
+
+The Basilica of S. Lorenzo fuori le Mura was originally only an oratory
+over the Catacombs of S. Cyriaca, and was said to have been founded by
+Constantine about A.D. 330. It was enlarged and partly rebuilt in the
+fifth and sixth centuries, and in 1216 was again remodeled by Honorius
+III, who built the present long nave and its portico, raised the
+chancel, and filled up with rubbish the lower church. It is thus a grand
+collection of details of various periods, but all of much interest.
+
+Its two ambos stand on each side of the raised portion of the floor
+which corresponds to the choir in the Basilica of Honorius. The Gospel
+was chanted from the one on the south side with the reading desk turned
+towards the choir; and the Epistle from the one on the north, with a
+single desk towards the high altar. Before the Gospel ambo is a fine
+mosaic candelabrum standing on a Roman cippus reversed, having an olive
+branch and birds sculptured on it.
+
+The pavement as well as the work upon these two ambos is in the style of
+the Cosmati.
+
+
+    [Illustration: LXXII. Pulpit in the Cathedral at Messina,
+    Sicily.]
+
+
+The Cathedral (S.M. Nuova) was founded by Count Roger in 1098, and was
+finished by his son Roger. The interior is 305 feet in length, and is a
+Latin cross with three aisles, separated by twenty-six columns of
+Egyptian granite said to have been taken from the temple of Neptune at
+Faro; they have gilt Corinthian capitals. The roof is of wood and is a
+restoration by King Manfred of an ancient roof burned in 1254 at the
+funeral of Conrad, son of Emperor Frederick II, the canopy over the
+corpse having been so high that the lights by which it was crowned set
+fire to the rafters. The three apses are filled with fine mosaics.
+
+The pulpit of white marble is attributed to Gogini, and the font near it
+to Gaddo Gaddi of Florence.
+
+       *       *       *       *       *
+
+
+
+
+Competition for Advertising Design.
+
+
+The publishers of THE BROCHURE SERIES will give three prizes, valued at
+$5.00 each, for the best three designs for a full-page advertisement of
+the Boynton Furnace Co. These prizes will be:--
+
+    1. A complete set of Volume I of the _Architectural Review_ (see
+    advertisement in front pages of this number for description).
+
+    2. A subscription to Volume IV of the _Architectural Review_.
+
+    3. Details of Decorative Sculpture, both Italian and French
+    Renaissance (2 books).
+
+The authors of the best designs may have their choice of any of these
+three prizes. A prize will be awarded for the best design received on or
+before November 30, 1895. A second prize for the best design received
+after November 20, and on or before December 10, 1895. A third prize for
+the best design received after November 30, and on or before December
+20, 1895.
+
+It is probable that all acceptable designs will be used, in which case
+payment will be made, the amount of which will be determined by
+correspondence with the author; and all designs not accepted will be
+returned to the authors.
+
+The advertisements of the Boynton Furnace Co. may be referred to for
+material, and the following data can be drawn upon:--
+
+    The business was established in 1849; the company was
+    incorporated in 1884. Over 100,000 heaters have been made and
+    sold. Furnaces, hot water and steam heaters, ranges, and
+    Baltimore heaters are manufactured. The Boynton goods have
+    always ranked high, the company being one of the "old stand-bys"
+    in the heating trade. Satisfactory service in carrying out
+    architects' specifications is made a feature of their business.
+
+The net size of the space allowed for advertisement is 5-1/2 inches wide
+and 8 inches high. No restriction upon the design is made, except that
+it shall not go beyond these dimensions. Drawings must be made one half
+larger than the advertisement would be. They are not to bear the
+designer's name, or any distinguishing device, but a sealed envelope
+containing his name and address is to be securely attached to the back
+of the drawing, or of each drawing should a designer submit two or more.
+They must be in black ink upon white paper, and sent postpaid to the
+Editor of THE BROCHURE SERIES, 6 Beacon Street, Boston, Mass.
+
+The designing of effective architectural advertisements presents a good
+field for draughtsmen to cultivate. In both THE BROCHURE SERIES and the
+_Architectural Review_ a considerable quantity of such work could be
+used if it were the right kind. The publishers are in hopes this
+competition will bring out designs that will serve as a guide to
+securing special work for which there is a more or less constant demand.
+If this competition proves successful in bringing out the proper kind of
+material, others will be arranged for in future, and larger prizes
+offered.
+
+       *       *       *       *       *
+
+
+
+
+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 placing in position of the great decorative wall painting of Puvis
+de Chavannes in the Boston Public Library again directs public attention
+to this remarkable building. To us this last addition to the
+architectural work (for every feature of the building, whether
+constructional, utilitarian, or purely decorative, is architectural in
+the sense of forming an essential part of an otherwise incomplete
+composition) is the one feature thus far introduced which does most to
+bind together the varying elements in the decorative scheme of the
+interior. It occupies the most important position in the building, at
+the head of the monumental staircase, and forms not only a centre of
+interest aesthetically, but serves as a connecting link between the other
+features, which have before seemed more or less unrelated. The grand
+staircase, built of Siena marble, the finest example of the intelligent
+use of colored marble in this country, has until now lacked its foil,
+which the dull blue walls now give. The added pleasure which is apparent
+in viewing the stairway emphasizes the importance of the guiding
+intelligence which has made all this possible. There is in our
+experience only one other building in the country in the interior
+treatment of which this intelligence is evident in anything like the
+same degree. The house built by Messrs. McKim, Mead, and White for Mr.
+Henry Villard is the most completely satisfying residence we have ever
+seen, and its success is due to the element of restraint shown
+throughout, and to the harmony between its parts. There are other houses
+in which may be found just as effective single features, but there is
+some discordant note which destroys the harmony. The Library is not an
+expensive building; its single features may, with the exception of the
+staircase, be equaled in beauty by many other buildings in this country,
+but no other can compare with it in the sense of complete satisfaction
+which it awakens on account of this harmony of parts.
+
+We have pointed out only the harmony in color, which of course in itself
+is of secondary importance, and if it were not accompanied by
+intelligent harmony of plan, and treatment of detail in proportion and
+scale could not make the composition a satisfactory one. The question of
+decorative color treatment comes up at this time because of the
+surprising effect which the addition of a little patch of colored wall
+makes in the whole interior. Even the uneducated, superficial observer
+is impressed with the feeling of completeness and thoughtful intention
+in everything connected with the building.
+
+       *       *       *       *       *
+
+
+
+
+Brochure Series Competition.
+
+Number One.
+
+DESIGN FOR THE CASE OF AN UPRIGHT PIANO. PRIZES OFFERED BY THE
+HENRY F. MILLER & SONS PIANO CO., BOSTON.
+
+
+The object of this competition was not to secure designs for pianos at
+the least possible cost, as is the object of many competitions in
+design, but merely to attract the attention of designers to this special
+problem, and take one more step towards a better condition of things in
+the piano business. The Henry F. Miller Co. have for several years
+followed a policy the results of which are seen in some of their later
+designs. It has been the practice to turn special cases over to
+furniture and cabinet makers, entailing an expense that has been
+practically prohibitory for all but the richest clients architects have.
+The Miller piano factory has been equipped with every facility for
+executing work from architects' special designs and within a reasonable
+cost. The prizes have been offered in the most liberal spirit, and while
+a large number of the designs submitted were unsatisfactory, they have
+been instructive and their shortcomings will be borne in mind in
+preparing the program of another competition, with larger prizes, which
+will shortly be announced in THE BROCHURE SERIES.
+
+
+    [Illustration: First Prize. A.B. Le Boutillier.]
+
+
+Seventy-five designs were submitted, several of which arrived too late
+to be entered. The drawings were very carefully examined by the officers
+of the company, assisted by Mr. C. Howard Walker, and the following
+awards were made:--
+
+
+    [Illustration: Second Prize. E.F. Maher]
+
+
+First prize, $25, A.B. Le Boutillier, Boston; second prize, $15, Edward
+F. Maher, Boston; third prize, $10, James C. Green, Brooklyn, N.Y.
+
+
+REPORT OF THE JURY.
+
+In judging the designs for piano cases, the element of economy, though
+recognized, played but a small part in the decision of the judges. The
+qualities which made the premiated designs superior to others, were
+those of refinement, beauty of line, and of general proportions.
+
+A piano case presents, necessarily, but restricted opportunity for
+design, and any attempt at great novelty is apt to be disastrous; if
+originality appears, it will be in the smaller details.
+
+
+    [Illustration: Third Prize. J.C. Green.]
+
+
+There also exists the question of style, which is determined largely by
+the character of the room in which the piano is to be placed, and yet,
+if the element of style is forced too far, it prevents the use of the
+design for any but one case.
+
+Of the premiated designs those placed first and second are in distinct
+styles, the one having almost the character of Francois I, the other
+being of the time of the Empire. Both, however, are simple and could be
+placed in rooms of other styles of architecture.
+
+The first prize design is especially commended for the disposition of
+its ornament, and the delicate but vigorous lines of the bracket beneath
+the keyboard, or what is technically called the "truss."
+
+The design placed second has excellent proportioning of panels and
+Empire ornament in excellent relative scale, well disposed.
+
+The design placed third is a most direct development of the
+requirements, and is a very simple, practicable design with good
+proportions and lines.
+
+The three remaining designs published were considered worthy of mention,
+each in its own way. The Gothic design could be made very rich and
+interesting with panel colored decoration. The upper portion is well
+proportioned, the lower portion somewhat too meagre. The Colonial design
+is interesting above the keyboard; the arches below the "trusses" are
+out of scale. The Baroque design would depend for its good or bad
+quality entirely upon the delicacy and skill with which the carving was
+done. Both the Gothic and Baroque designs could only be used in rooms of
+their own respective styles.
+
+
+    [Illustration: Design by E.B. Wells.]
+
+       *       *       *       *       *
+
+
+
+
+Club Notes.
+
+
+It is encouraging to note that a new accession to the already imposing
+list of architectural clubs has been made so early in the season by the
+organization of a club in Detroit.
+
+On Monday, September 16, thirty-five draughtsmen met at the Detroit
+Museum of Art and effected a temporary organization of the Detroit
+Architectural Sketch Club, Emil Lorch being elected Chairman and Alex.
+Blumberg Secretary. A committee, consisting of W.E.N. Hunter, R.
+Mildner, and G.H. Ropes, was appointed to draw up a Constitution and
+By-laws.
+
+The report of this committee was adopted at the second meeting, on
+September 25, and the following officers and directors elected:
+President, Emil Lorch; Vice-President, G.H. Ropes; Secretary, E.A.
+Schilling; Treasurer, R. Mildner; Directors, W.E.N. Hunter, F.G. Baxter,
+and Alex. Blumberg.
+
+
+    [Illustration: Design by E.R. Clark.]
+
+
+The object of the Club and its proposed methods of study are like those
+of similar organizations elsewhere.
+
+Few of the existing clubs have started under better auspices, and fewer
+still could count as many members at their inception.
+
+A number of the other clubs have begun early in the systematic work of
+the year. The Philadelphia, Baltimore, Cleveland, and Chicago clubs in
+particular are starting with unusual vigor and promise. Our next issue
+will have more detailed account of these plans for the future.
+
+
+    [Illustration: Design by A.H. Cox.]
+
+       *       *       *       *       *
+
+
+
+
+Books.
+
+
+_Architecture for General Readers_: A Short Treatise on the
+    Principles and Motives of Architectural Design. With an
+    Historical Sketch. By H. Heathcote Statham, Fellow of the
+    Institute of Architects, Editor of _The Builder_. With
+    illustrations drawn by the Author. London, New York: Charles
+    Scribner's Sons. 1895.
+
+This work is, as its title indicates, a popular handbook of the
+principles of architecture, and furnishes what has hitherto been
+practically inaccessible to general readers--a concise explanation of
+what architecture really means.
+
+The greater part of the work is devoted to the explanation of the theory
+of design and construction and the general principles in their simpler
+applications. The subject of ornament including the use of mouldings,
+sculpture, and plain surfaces, is taken up, and architectural working
+drawings are explained.
+
+The historical sketch is excellent, although in this direction there is
+not the same lack of good handbooks as in the theoretical field. The
+analysis is clear and more easily comprehended than is usual in such
+treatises.
+
+       *       *       *       *       *
+
+
+
+
+Notes.
+
+
+To an architect a convenient drawing table is one of the most important
+requirements. There are many devices made to meet this requirement, but
+none have proved more useful or given more general satisfaction than the
+"Seldis," furnished by Messrs. Frost & Adams, 37 Cornhill, Boston. The
+special advantages of this table are many, but among them is the fact
+that the draughtsman can work in a natural position, as the board can be
+adjusted, so that all parts may be easily reached. Any board can be used
+and it will not tip over, and being self-locking will remain in any
+position, and can be adjusted in height to suit the draughtsman. When
+not in use it can be folded to occupy the same length and width as an
+ordinary drawing-board. Descriptive circulars will be sent upon
+application by Messrs. Frost & Adams.
+
+
+    [Illustration: House in Brookline. Winslow & Wetherell,
+    Architects. From Dexter Bros.' "Some Houses Near Boston."]
+
+
+Messrs. Dexter Bros., of 55 Broad Street, Boston, are adopting a very
+effective method of advertising their English Shingle Stains. We have
+already referred to their collection of photographic prints published
+under the title of "Some Houses Near Boston." The illustration on this
+page is reduced from one of the plates in this collection. They have
+followed this with an even more attractive pamphlet showing
+Kennebunkport houses, on which their stains have been used, and they
+have a third collection in preparation, illustrating Bar Harbor houses.
+Either of the first two will be sent to any reader of THE BROCHURE
+SERIES upon receipt of a two-cent stamp, and due notice of the issue of
+the collection of Bar Harbor houses will be given in these columns. As
+Dexter Bros.' Stains are used by leading architects throughout the
+country they have plenty of subjects to choose from in each publication,
+thus enabling them to publish work that is architecturally interesting.
+This raises the character of their advertising above the ordinary trade
+level. Usually publications representing the buildings in which a
+certain material is used, show good, bad, and indifferent architecture,
+the good being present in small quantity. The Dexter Bros.' collections
+show intelligent discrimination, and it is this one thing that makes
+them worthy of notice.
+
+All who are in any way interested in suburban architecture will find
+these pamphlets worth sending for. They should have a wide circulation,
+for they have more than an advertising value.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES ***
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