initial commit of ebook 60759HEADmain

1671 files changed, 41486 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/60759-0.txt b/60759-0.txt
new file mode 100644
index 0000000..835e33b
--- /dev/null
+++ b/60759-0.txt
@@ -0,0 +1,10125 @@
+*** START OF THE PROJECT GUTENBERG EBOOK 60759 ***
+
+                                  THE
+
+                          ENGLISHMAN’S HOUSE.
+
+               [Illustration: HOUSES MADE PICTURESQUE.]
+
+
+
+
+                                  THE
+
+                          ENGLISHMAN’S HOUSE.
+
+                  _A PRACTICAL GUIDE FOR SELECTING OR
+                          BUILDING A HOUSE._
+
+                            [Illustration]
+
+                                  BY
+
+                           C. J. RICHARDSON,
+                AUTHOR OF “OLD ENGLISH MANSIONS,” ETC.
+
+             THIRD EDITION, WITH NEARLY 600 ILLUSTRATIONS.
+
+                                London:
+                    CHATTO AND WINDUS, PICCADILLY.
+
+                                LONDON:
+          SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET,
+                            COVENT GARDEN.
+
+
+
+
+PREFACE.
+
+
+Several years ago the author of this volume published a small work on
+the Warming and Ventilation of Buildings which was very favourably
+received by the Public, but is now out of print. He afterwards wrote
+various other works illustrating the Architecture of England during the
+reigns of Queen Elizabeth and James I., with one volume on Ornamental
+Designs. These had an extensive sale, and are now, like the first small
+volume, out of print. His last publication was a small pamphlet,
+entitled, “The Smoke Nuisance and its Remedy, with remarks on Liquid
+Fuel,” the subject of which, at least so far as regards an improved
+construction for the domestic chimney flue, is continued in the present
+volume.
+
+The present volume consists of numerous plans, &c., for Cottages,
+Villas, and small and large Mansions, most of which have been carried
+into execution. They are carefully selected from a large collection of
+similar subjects, the result of many years’ professional practice, and
+it is hoped that they may be favourably received.
+
+
+
+
+CONTENTS.
+
+
+                                                                    PAGE
+
+INTRODUCTION                                                           3
+
+DESIGN NO. 1. A GARDENER’S COTTAGE                                    50
+
+     “     2. A SMALL COTTAGE OR LODGE                                56
+
+     “     3. A PICTURESQUE COTTAGE                                   62
+
+     “     4. A DOUBLE COTTAGE                                        66
+
+     “     5. A DOUBLE COTTAGE AND VILLAGE
+                SUNDAY SCHOOL                                         70
+
+     “     6. A HUNTSMAN’S LODGE OR COTTAGE                           78
+
+              CONCRETE CONSTRUCTION FOR BUILDING
+                COTTAGES                                              82
+
+     “     7. A GARDEN GATE                                           95
+
+     “     8. A PARK LODGE                                            99
+
+     “     9. A PARK LODGE                                           102
+
+     “    10. AN ENTRANCE LODGE TO A PARK                            104
+
+     “    11. AN ENTRANCE LODGE AND GATEWAY
+                TO A PARK                                            112
+
+     “    12. A STOVE FOR AN ENTRANCE HALL                           120
+
+     “    13. QUEEN’S GATE LODGE, HYDE PARK                          124
+
+              ON THE FOUNDATION AND BASEMENT
+                WALLS OF BUILDINGS, DAMP PREVENTION,
+                AND FIRE-PROOF CONSTRUCTION                          151
+
+     “    14. A SMALL COUNTRY RECTORY                                162
+
+     “    15. A SMALL COUNTRY HOUSE                                  174
+
+     “    16. A COUNTRY VILLA                                        182
+
+     “    17. A DOUBLE SUBURBAN VILLA                                192
+
+    “      18. VILLAGE SCHOOLS AND READING ROOM                      208
+
+    “      19. A ROMAN CATHOLIC CHAPEL AND
+                 SCHOOLS                                             210
+
+    “      20. A BATH HOUSE AND SUMMER ROOM                          214
+
+    “      21. A SMALL COUNTRY VILLA                                 222
+
+    “      22. A VILLA IN THE OLD ENGLISH WOODEN
+                 STYLE                                               232
+
+    “      23. A GARDEN SUMMER HOUSE                                 262
+
+    “      24. A SMALL COUNTRY RETREAT, OR
+                 FRENCH MAISONETTE                                   268
+
+    “      25. AN ELIZABETHAN VILLA                                  280
+
+    “      26. A SUMMER OR GARDEN VILLA                              302
+
+    “      27. A DECORATED WINDOW                                    336
+
+    “      28. A SCULPTOR’S VILLA                                    338
+
+    “      29. A GARDEN SEAT                                         361
+
+    “      30. A GARDEN SEAT                                         368
+
+    “      31. AN ICE HOUSE                                          370
+
+    “      32. A SUBURBAN VILLA                                      373
+
+    “      33. A SUBURBAN VILLA                                      382
+
+    “      34. RIDING-HOUSE AND STABLING                             389
+
+    “      35. A BACHELOR’S HOUSE                                    401
+
+               THE FIREPLACE                                         404
+
+    “      36. A LECTURE HALL, OR LITERARY
+                 INSTITUTION                                         456
+
+    “      37. ENCAUSTIC TILES                                       460
+
+    “      38. RESTORATION OF CASTLE GUNNARSTROP,
+                 SWEDEN                                              464
+
+    “      39. SUMMER VILLA FOR THE COUNT KINSKI
+                 AT TEPLITZ                                          470
+
+    “      40. HARRINGTON HOUSE, QUEEN’S PALACE
+                 GARDENS                                             476
+
+[Illustration]
+
+
+
+
+INTRODUCTORY CHAPTER
+
+ON THE PICTURESQUE IN RELATION TO ARCHITECTURE.
+
+[Illustration: Grecian Temple.]
+
+
+It has been said that a definition of the picturesque in respect to
+architecture, or indeed any branch of the fine arts, is scarcely
+possible. The most able writers on the subject have failed to convey an
+adequate and popular idea. In fact the term has so great and extensive
+an application as to forbid exact definition. The architect usually
+considers that if his building look well when seen by moonlight, or
+through the medium of a foggy or dull atmosphere, it is picturesque, and
+he is satisfied. Blenheim Castle and Castle Howard have always been
+pointed out as eminent examples of the picturesque in buildings. But
+this quality varies with every change of situation and circumstance
+under which it can be conceived.
+
+The entrance to the Acropolis of Athens, with its noble equestrian
+statues in the foreground, the steps between them, and the beautiful
+temples rising at different heights behind, giving a varied outline, the
+whole probably delicately coloured, must have been picturesque in the
+highest degree. The Temple of the Winds and the Monument of Lysicrates
+were equally examples of the picturesque. Yet although great efforts
+were made on the publication of Athenian Stuart’s volumes to introduce
+pure Grecian architecture here, it has obtained no hold with us. St.
+Pancras Church, and St. Stephen’s, Camden Town, are probably the last
+specimens in our metropolis. The delicate mouldings of the one are
+destroyed by the roughness of the climate, and the beautiful figures of
+the Caryatidæ in the other are covered with soot.
+
+There is no doubt that the Roman temples were as picturesque and as
+varied in outline as the Grecian buildings of which they were studies,
+but none remain
+
+[Illustration: Roman Temple in Ruins.]
+
+sufficiently perfect to illustrate them. In their original, entire
+state, with the surfaces and colour smooth and even, either in painting
+or reality, they were beautiful; in ruins, there is no denying they are
+highly picturesque. Observe the process by which time, the great author
+of such changes works, first by means of weather stains, partial
+incrustations, mosses, &c., which simultaneously take off the uniformity
+of surface and of colour, giving a degree of roughness, and variety of
+tint. Then the various accidents of weather loosen the stones
+themselves: they tumble in irregular masses upon what was perhaps smooth
+turf or pavement, or nicely trimmed walks and shrubberies, now mixed and
+overgrown with wild plants and creepers that crawl over and shoot among
+the falling ruins. Sedums, wall-flowers, and other plants that bear
+drought, find nourishment in the decayed cement from which the stones
+have been detached; birds convey their food into the chinks, and yew,
+elder, and other berried plants project from the sides; while the ivy
+mantles over other parts, and crowns the top. The even, regular lines of
+the doors and windows are broken, and through their ivy-fringed openings
+is displayed in a highly broken and picturesque manner that striking
+image described by Virgil:
+
+    “Apparet domus intus, et atria longa patescunt
+     Apparent Priami et veterum penetralia regum.”
+
+The first view given in this volume attempts to show the picturesque
+effect of the Grecian Temple in its complete state, the attendants
+having just retired from some display or ceremony; the second, the front
+of a Roman Temple in its noble remains.
+
+To the Greeks we owe all the general principles and forms of classic
+art, but they have been modified to modern ideas and tastes, and, it may
+be added, to suit also the various climates of the countries where they
+have been adopted.
+
+However much the occupations of our countrymen may partake of the
+commercial character, the mental qualities requisite to such pursuits
+have not been so displayed as to exclude a taste for art. Where, for
+example, can be found superior specimens of art-choice than exist in
+their mansions, villas, or cottage-ornées, their picture and sculpture
+galleries, or the museums and other collections of those whose business
+pursuits have been the cause of their prosperity.
+
+An essential element of success in every branch of progress is involved
+in tasteful selection. Without considering those classes who by
+successful efforts of their ancestry have been placed beyond the pale of
+want (either artificial or real), a large proportion of our population
+may be ranked as having advanced morally, socially, and commercially by
+that intuition which characterizes our national progress. It takes as
+its basis nature and nature’s products. It eliminates from these not
+only pecuniary benefits that in a commercial point of view may occur,
+but associating the useful with the beautiful (the sense of the latter
+having been gained during intervals of quiet thought as a relief from
+the incessant requirements of business engagements), a tendency to
+embody the picturesque, especially in regard to architecture, arises. We
+have no hesitation in assigning to this cause the production of some of
+the most picturesque architectural erections which grace our
+country,--that render English homes an example, and prove that, while
+the main element of our national prosperity is making money, we are not
+insensible to the beneficent influences resulting from the cultivation
+of refined taste.
+
+It would be interesting as an object of careful inquiry, if there
+existed sufficient data for the purpose, to trace each of the many steps
+that have occurred between the birth of architecture and its present
+condition. The early history of mankind had as its locality climates
+which favoured the construction and use of the _crudest_ contrivances,
+intended only to meet the few wants of shelter and occasional domestic
+privacy. The first condition of man’s existence, either in this
+primitive or modern state, is that of roving or wandering tribes.
+Instances of this are found in the early inhabitants of Asia Minor, and
+adjacent countries, and at the present day the same habit is maintained
+in Central Asia, Arabia, and many parts of America. As soon as the
+sustenance afforded for their cattle is consumed in one district a
+migration is made to another. Gradually, however, centres of trade
+sprung up where commodities could be bartered for live stock. Men thus
+became massed together in villages and towns. Quitting a semi-savage
+condition, they built permanent residences in place of the tent. At
+first these, like the log-hut of the modern Canadian, were only
+sufficient for the most common necessities of life. In course of time,
+however, the spirit of emulation, the growth of riches, and the
+germination of man’s natural taste for the beautiful, led to artificial
+wants, which were soon converted into necessities of life. This called
+out the study of art on the part of the few for the benefit of the many.
+Systems of art in all its branches gradually developed themselves. By
+the study of the beauties of nature such systems gradually progressed in
+purity of style, and produced designs that eventually were appreciated
+by the common people, in a greater or less degree, according to the
+capabilities of each individual. Architecture and the other fine arts
+thus, by slow but sure degrees, began to gain a hold on popular taste,
+and step by step they arrived at the state of perfection of which we now
+boast.
+
+It will be evident that whilst the primary objects of architecture were
+simply those of meeting the immediate necessities of life, its ultimate
+purpose was only attained when it became an art, cultivated by refined
+taste, an educated eye, and encouraged by the growth of civilization and
+commerce. It thus advanced from a state of barbarism into one in which
+it was connected with all the highest developments of the moral and
+mental qualities of mankind, but especially with the æsthetic
+aspirations of our nature.
+
+Incidentally but necessarily connected with the general progress of
+architecture is the great variety of styles that has been invented. The
+whole of these are modifications of some one or more primaries. No two
+individuals acquire the same mental impression by viewing one object;
+each of their impressions is tinted by the mental characteristics of the
+individual. It is, therefore, from this cause that so many varieties of
+style have originated from one first model. An illustration of this is
+afforded in the Gothic, which in different hands has been greatly
+divided and modified in its details. This style, which at first was of
+exclusive application only, has subsequently become most extensively in
+use for purposes that at first sight it would have been judged as quite
+unfit for.
+
+The style of architecture just referred to is remarkable for its
+picturesque character, and may fitly be adduced as an ensample of that
+quality in the absence of an exact definition of the term.
+
+An able writer criticising Gothic buildings, remarks that the outline of
+the summit presents a great variety of forms of turrets and pinnacles,
+some open, some fretted and variously enriched. But even where there is
+an exact correspondence of parts, it is often disguised by an appearance
+of splendid confusion and irregularity.
+
+In the doors and windows of Gothic Churches, the pointed arch has as
+much variety as any regular figure can well have; the eye, too, is less
+strongly conducted than by the parallel lines in the Grecian style, from
+the top of one aperture to that of another; and every person must be
+struck with the extreme richness and intricacy of some of the principal
+windows of our cathedrals and ruined abbeys. In these last is displayed
+the triumph of the picturesque, and their charms to a painter’s eye are
+often so great as to rival those which arise from the chaste ornaments
+and the noble and elegant simplicity of Grecian architecture.
+
+These remarks will explain to a certain degree the nature of the
+picturesque in regard to architecture, so far at least as the general
+principles are involved. But in the more minute points, other questions
+and relations arise, to which the attention of the reader will be fully
+drawn in the descriptive text and illustrations of this work.
+
+The comparative value of Grecian and Gothic architecture, as practically
+adopted in the erection of ornamental dwellings, is well discussed by an
+eminent architect in the following remarks, slightly modified from the
+original. He observes that the two are better distinguished by an
+attention to their general effects, than to the minute parts peculiar to
+each. It is in architecture as in painting--beauty depends on light and
+shade, and they are caused by the openings or projections in the
+surface. If these tend to produce horizontal lines, the building must be
+deemed Grecian, however whimsically the doors and windows may be
+constructed. If, on the contrary, the shadows give a preference to
+perpendicular lines, the general character of the building will be
+Gothic. This is evident from the large houses built in Queen Elizabeth’s
+reign, where Grecian columns were introduced. Yet they are always
+considered as Gothic buildings.
+
+In our modern Grecian architecture large cornices are repeated, with
+windows ranged perfectly in the same line, and these lines often more
+strongly marked by a horizontal fascia. There are few breaks of any
+great depth; and if there be a portico, the shadow made by the columns
+is very trifling compared with that broad horizontal shadow proceeding
+from the soffit (that is, the under side of the heads of apertures,
+architraves, and the corona of cornices). The only ornament its roof
+will admit, is either a flat pediment departing very little from the
+horizontal, or a dome still rising from a horizontal base.
+
+But in these remarks attention is chiefly drawn to the general
+architectural effects of style, independent of concomitant
+circumstances. Yet it is hardly necessary to do more than call on the
+experience of any man of taste to show that position, adjacent scenery,
+and other “accidental” or “incidental” matters will modify the special
+effect of any style in regard to the picturesque, and also those of a
+general character. A Gothic erection in a confined situation will lose
+most of its beauties, while one of a Grecian character may be especially
+suitable. In choosing, therefore, any design for the erection of a new
+building, or alterations in one already in existence, respect should be
+had to the natural character of the surrounding country, the aspects in
+regard to the sun and prevalent winds, the extent of the estate or
+grounds on which the building is to be erected, the views from the
+various apartments, the character of wood, plain, or other adjacent
+tree-scenery, and last, but of equal or greater importance, questions in
+reference to domestic comfort and convenience, drainage and dry soil,
+supply of water, and a variety of details, most of which will at once
+suggest themselves. In many cases the choice of site is necessarily
+fixed by previous purchase or inheritance of the land, yet in such cases
+chances are left for a judicious selection in regard to some of the
+conditions above mentioned. But when the purchase has to be effected,
+_all_ the conditions should be kept in mind, and, if possible,
+completely satisfied. Such details should form the subject of minute
+inquiry, and they are here only named for the purpose of showing how the
+choice of the best style, in regard either to general beauty or
+picturesque effect, should be decided on with mature attention to all
+the circumstances of the case.
+
+Most of the old mansions, &c., of this country and many parts of
+Continental Europe, have been erected in situations that were then
+immediately, and at little cost, available for the purpose. At one time
+the choice of such situation depended on careful attention to the
+special circumstances of those who erected the building. Thus it is
+found, generally, that the banks of the rivers, as affording ready and
+cheap means of carriage by the stream, were mostly chosen. Hence our
+abbeys, monasteries, &c., are frequently found in such localities.
+Baronial castles were usually erected on hills, the height of which
+tended to the security of the owners against sudden incursions of their
+foes. From the varied character of English topography has arisen that
+great variety of picturesque beauty that distinguishes the ruins which
+abound in almost every county throughout the length and breadth of the
+land; such ruins, architecturally considered in relation to the
+surrounding circumstances of wood, vale, hill and dale, have become
+subjects of study and suggestion to modern architects, and models,
+constantly adopted at the present time, in certain details, for
+producing new designs. In the selection of these, or of any other style,
+however, Burke has laid down, in his essay on “The Sublime and
+Beautiful,” an excellent rule: “A true artist should put a generous
+deceit on the spectators, and effect the noblest designs by easy
+methods. Designs that are vast only by their dimensions, are always the
+sign of a common and low imagination. The work of art can be great but
+as it deceives; to be otherwise is the prerogative of nature only.”
+
+It will thus be seen, that to obtain the highest effect of the
+picturesque in architecture requires an educated eye, a refined taste,
+great experience, but especially a keen perception of all the
+conditions, on the fulfilment of which the most successful result can be
+obtained. In all there is a natural love of unity and effect.
+Montesquieu, in his dissertation on _Taste_, observes: “Wherever
+symmetry is useful to the soul, and may assist her functions, it is
+agreeable to her; but wherever it is useless, it becomes distasteful,
+because it takes away variety. Therefore things that are seen in
+succession ought to have variety, for our soul has no difficulty in
+seeing them; those on the contrary, that we see at one glance, ought to
+have symmetry. Thus at one glance we see the front of a building, a
+parterre, a temple. In such things there is always a symmetry which
+pleases the soul by the facility it gives her of taking in the whole
+object at once.”
+
+The numerous dissertations, essays, &c., that have been produced on the
+subjects that have here been treated on in a discursive manner only, are
+a sufficient proof of the difficulty which exists in acquiring,
+applying, and affording an accurate and ample description of all the
+conditions necessary to picturesque architecture; they also in some
+measure explain the reason of the grotesque, and even offensive results
+that obtrude on refined taste in the productions of builders who are
+utterly deficient of artistic taste and knowledge in carrying out their
+objects. A general, and in part a historic view of architecture may
+serve to show how success has been attained in many cases, and the evils
+that should be avoided as leading to failure in effect of the general
+and special features of an erection.
+
+In the cursory view of the history of architecture already given, it has
+been shown that the earliest efforts of the art were simply directed to
+satisfy the simple wants of man, without any regard being had to taste.
+It was not until riches began to accumulate in a few hands that taste in
+architecture was developed, and by the few examples thus produced the
+taste of society at large was educed, refined, and extended.
+
+Omitting then any inquiry into the architecture of our earth’s
+aborigines, which was evidently of the rudest character, reference may
+first be made to early architectural attempts in Asia. It has been
+ingeniously observed by M. Pair, that the Chinese imitated a tent as the
+model of their system, a result that undoubtedly arose from the fact
+that the first Tartar tribes were nomadic or wandering in their nature.
+It has also been remarked that a bird’s-eye view of a Chinese city at
+once suggests the idea of a fixed camp. In southern and south-western
+Asia may be found, on the other hand, the remains of extensive
+architectural productions in caves, such as that of the Pagoda
+Elephanta, from which many have argued that subterraneous dwellings were
+amongst the earliest; but it is evident that such could only be made in
+places where stone existed in masses, as a basis of the country. In a
+plain and sandy district, and in alluvial soil generally, such could not
+possibly have been produced. There is not the least doubt that the
+conditions of climate have in all cases determined the early character
+of each national system. In both hot and cold countries caves would
+naturally have been sought as affording shelter from the two extremes
+of heat and cold. Recent geological discoveries have brought to light
+the fact that the remains of human and quadruped bones have been found
+together in such situations, the human inhabitants having most probably
+been the predecessors of the beasts of prey, as also of the fowls of the
+air. It has been suggested too that the forest tree having formerly
+served for shelter, might have suggested the floral character of
+columns, and the use of floral decoration generally at their summit.
+
+In respect to these “natural” and consequently primitive “systems” of
+architecture, Billington has made the following judicious
+remarks:--“Those people or nations who lived by the chase (and in the
+same class the Ichthyophagi, or fish-eaters, are included) could not for
+a great length of time have built themselves shelters. The long courses
+the hunters made prevented them from watching their property, which must
+have comprised [but] few articles; and they found it more convenient to
+make hollows in the rocks for their dwellings, or to profit by those
+which nature offered them in its caverns. It was the same with those who
+lived by fishing; passing a sedentary life on the sea shores, the sides
+of rivers, or the borders of the lakes, they always made themselves such
+abodes, or took advantage of those already formed by nature. The little
+industry which this mode of life required, and the natural idleness
+which followed it, was sufficient to induce them to prefer the dwellings
+presented by nature, to those of art. This fact is proved by experience
+at the present day, as these descriptions of persons continue to adopt
+the same plan of life in countries where the arts of civilization have
+not extended their beneficial influence. The pastors or shepherds, as
+they were inhabitants of plains during a great portion of the year,
+could not make use of the retreats hollowed and prepared in the
+mountains and rocks by the hand of nature; being obliged to seek change
+of pasture, and thus lead an ambulatory life, it was requisite to have
+dwellings or shelters that could be carried with them wherever they
+went, and hence originated the use of tents. But the active operations
+of agriculture requiring a definite situation, necessity suggested the
+propriety of building solid and fixed abodes. The agriculturist then,
+living on his own grounds, and in the enjoyment of his property, had to
+store his provisions; it was therefore necessary to have a habitation at
+once commodious, safe, healthful, and extensive; and the wood hut with
+its roof was soon erected.”
+
+The same author considers that there is not the least certainty of this
+primitive wooden construction, with its inclined roof, having been the
+universal model of all nations, but especially in regard to Egypt and
+China. The peculiarities of the early Chinese style of architecture have
+been already named, and with the persistent continuity in one course yet
+prevalent, that style is still preserved. But the Grecian style was
+evidently founded on the rude model, and the ingenuity of that nation
+eventually led to the transference of material from wood to stone.
+
+At the present day the Orders of Grecian architecture are fundamental to
+the principles of modern art in numerous varieties of detail; they have
+survived the prejudices, fancies, and dicta of various schools of art,
+although, as already shown, the Gothic and other systems have become
+formidable competitors, and in many cases, especially in regard to the
+picturesque, efficient, elegant, and ornamental substitutes. The taste
+for the latter characteristic has led to an increased adoption, for
+example, of the Italian style, which in many respects resembles the
+Grecian, but differs from it especially in lightness of detail, with
+greater variety. The author just quoted traces the origin of the Doric
+Order of the Greeks to a primary adaptation of the trunks of trees as
+external supports of the wooden dwelling, seeing in them the
+foreshadowing of the column designative of that order. “As trees are of
+greater circumference at their lower extremities, and diminish in
+rising, the diminution of the column was suggested by them.... These
+timbers (as supports) consisting of trunks of trees planted in the
+ground, offered not as yet the idea of bases and pedestals, as is seen
+in the Doric Order, which is without base. But in the course of time the
+inconvenience of this method was perceived, as it exposed the wood to
+rot, and to remedy this inconvenience pieces of wood were placed under
+each support to give it a better foundation, and to protect it from
+humidity. This practice may be traced in some of the ancient edifices in
+which the columns have no other base than a block of stone. But
+afterwards, the number of pieces of wood employed for the base was
+increased, in order to give greater elevation to the supports, or to
+effect better security against the effects of humidity. From this
+multiplication of blocks as footings, sprung the _torus_ and other
+mouldings of the base, an origin far more probable than that of
+ligaments of iron, as imagined by Scamozzi and others. It is also more
+conformable to the nature of capitals, in which it is known that the
+same proceeding was employed. After beginning with a simple abacus,
+several others were afterwards added, which were enlarged, as they rose,
+one above another, in such a manner that as the base was to the column a
+kind of footing on which it rested more solidly, so the capital made a
+head more capable of receiving and supporting the weight and form of the
+architrave, a large beam placed horizontally on perpendicular supports,
+and destined to receive the covering of the whole edifice.”
+
+The author goes on, in a similarly ingenious manner, to prove the
+derivation, from nature, of the Orders of Grecian architecture. He
+ascribes the form of the roof as having necessarily suggested that of
+the pediment. On this point he quotes the remark of Cicero: “It is not
+to pleasure that we are indebted for the pediment of the Capitol and
+those of our temples: necessity suggested the form for the better
+draining off the water; nevertheless, its beauty is so very great, and
+it is become so necessary for edifices, that if a Capitol were to be
+built in Olympus, where it was never known to rain, it would,
+notwithstanding, be necessary to give it a pediment.”
+
+The preceding remarks and ingenious theory amply justify the opinion
+already suggested, that nature must be the foundation of every true
+principle of art. Assuming, as we are compelled to do, that the Grecian
+style as a whole was original, the only perfect model that could have
+been selected was that afforded by natural objects, in all of which are
+found the most perfect results, derived from few means but answering an
+infinity of ends. It will be remembered that the construction of the
+Eddystone lighthouse was based in regard to durability, and resistance
+to the force of the waves, on those properties which are possessed by
+any kind of tree exposed to the full force of the tempest. “Nature
+ought to be the basis of all imitation.”
+
+Proceeding from the teachings of nature, the Greeks learned gradually to
+introduce new types, consistent in the main with the original mode, but
+of great variety in detail. By further refinement of this, but close
+adherence to the facts or the analogies of nature, the Grecian art
+became developed in the invention of other Orders, the names of which
+are sufficiently known to all interested in architecture. Limited space
+prevents our entering into a class of analyses of the characteristics of
+each. Little doubt exists of the Doric Order having been the first
+produced, and following it were the Ionic, Corinthian, Composite, and
+Tuscan, which constitute the five Orders in general of architecture.
+
+Perhaps the best epoch of ancient architecture was that during which,
+subsequent to the battle of Marathon, the Greeks commenced to rebuild
+the remains of Persian buildings, and to re-construct Athens. The ruins
+of this period yet with us, attest the advance which Grecian
+architectural art had attained. The ingenuity and refinement of Greek
+art gradually spread to Rome, the Romans adopting the Doric Order under
+the modification known as the Tuscan. The art having been introduced
+into Etruria by the Pelasgi, under the celebrated Augustus, Rome
+attained that magnificence which has ever since rendered its name
+famous as a seat of the arts. Amongst the great erections of this period
+was the Pantheon, one of the grandest efforts of genius that the world
+has yet known. Under subsequent emperors architecture also progressed,
+and the name of Trajan is identified with the erection of triumphal
+arches, &c., the ruins of which still receive the admiration of every
+qualified judge in art.
+
+The removal of the seat of Roman government to Byzantium led to the
+decadence of art at Rome, which was completed by the incursions of the
+Visigoths. Eventually the Gothic style arose, phœnix-like, from the
+ruins of Grecian and Roman art, and obtained a place that has rendered
+it ever since one of the most favourite styles of architecture.
+
+Just as under the heathens, the art had been chiefly promoted by
+erections for religious purposes, so when the Christians began to obtain
+the ascendancy, the erection of churches led to a similar result. From
+the fourth to the seventh century some magnificent buildings of this
+kind were erected. At the commencement of the eleventh century the
+church of St. Mark at Venice attested the wonderful progress which
+architecture had made, and it continued to progress during the next two
+or three centuries, being confined chiefly, however, to Italy. But the
+Gothic style, suited to a northern clime, never obtained full hold
+there; Italy cannot boast of a single pure Gothic edifice. Gradually the
+new style spread over Europe. The Cathedral at Strasbourg, the Louvre at
+Paris, suggested improvements in our own country at Windsor Castle,
+Oxford, &c., all indicated the rapid extension of the Gothic style or
+its modifications. But in numerous instances the taste that was
+exhibited showed a decadence from the simplicity and grandeur of the
+Grecian and Latin styles. In respect to the latter, indeed, the
+materials of the new erections were obtained from the ruins of the
+ancient edifices, the columns, &c. there found, being pressed into the
+service, in any manner, of the new school of architects.
+
+Towards the middle of the fifteenth century a revival in architectural
+art took place, especially under Brunelleschi. The patronage of the
+Medici added a stimulus to the progress thus initiated. Improvements
+were introduced in the erection of private residences in most parts of
+Western Europe, the art having in its best form been chiefly till then
+directed to building edifices for religious purposes alone. In the
+sixteenth century architecture in Rome attained a perfection nearly
+equal to that it had formerly enjoyed under the Cæsars, especially
+during the Augustan age. Private and public buildings were erected of
+great magnificence, yet of simplicity of form combined with grandeur.
+Under Vignola architecture attained great excellence. Michael Angelo
+was appointed architect of St. Peter’s at Rome about the middle of the
+sixteenth century, and the mention of his name alone is sufficient to
+call to mind the extent and value of his labours in the art. In the
+seventeenth century, about the year 1620, Inigo Jones was engaged in
+repairing St. Paul’s Cathedral in London, and subsequently produced
+designs for the Royal Palace at Whitehall in the reign of Charles I.
+Greenwich and Chelsea Hospitals, and other noted buildings, were
+designed about this period. In France and other continental countries
+architecture attained great perfection at this period, both in respect
+to public and private buildings. Among the most eminent architects of a
+period somewhat nearer to our own time, was Sir Christopher Wren, whose
+St. Paul’s Cathedral serves as a monument to the great genius of that
+eminent man. This era may, comparatively speaking, be considered as the
+commencement of the modern style of English church architecture,
+inasmuch as several productions of Wren are still used for the purposes
+to which they were first applied, having undergone little or no change
+since their completion.
+
+Such is a brief, and necessarily very imperfect resumé of the progress
+of architecture. The styles of Eastern Europe, ancient Mexico, and many
+others, have not been described, because unnecessary, in this
+Introduction, which has only for its object to call general attention
+to the causes which have led to the present state of the art. Like all
+others it has been the subject of alternating prosperity and adversity.
+At one time fostered by men eminent in their profession, and by those
+whose means permitted them to lavish riches on magnificent piles,
+fountains, villas, &c.; and at others, degraded by its students, and
+neglected by those who should have been its patrons.
+
+In all branches of architecture direct reference should be had to the
+objects for which the building is intended. An eminent architect,
+already quoted, has well set forth this essential point in the following
+remarks:--“The art of characterizing, that is to say, of rendering
+evident by material forms the intellectual qualities and moral ideas
+required to express in edifices, or to make known by the harmony and
+suitableness of all the constituent parts that enter into their
+composition the use for which they are intended, is perhaps of all the
+secrets of architecture the most difficult to develope or to attain.
+This happy talent of conceiving and of communicating the conception in
+the physiognomy suitable to each edifice; this sure and delicate
+discernment, which exhibits the distinguishing parts of such edifices,
+that at first appear susceptible of no characteristic distinctions; this
+judicious employment of the different styles which are as the tones of
+architecture; this skilful application of the signs which the art
+employs to affect the sight and understanding; this exquisite feeling,
+which errs neither in the just disposition of the masses and employment
+of the details, nor in the just dispensation of richness and simplicity,
+and which is able to combine true expression of character with the
+harmonious accord of all the qualities susceptible of being represented
+by architecture--all this requisite talent, which study perfects, but
+does not produce, is a gift possessed by few. This suitable expression
+presents itself under two relations, the one appertaining to
+architecture in general, and the other to edifices in particular. The
+first consists in the expression of the qualities or intellectual ideas
+which are the results of the art metaphysically considered; the second,
+in the true indication of the uses for which edifices are designed, that
+is, in considering architecture as a certain mode of expressing or
+painting. This expression, according to the nature of the buildings and
+edifices, may be produced by the gradation of richness and greatness
+proportionate to the nature and the object for which they are erected;
+by the indication of the moral qualities attached to each edifice, the
+manner of expressing which is beyond the reach of rules; by the general
+and particular form of architecture; by the species of the construction
+and the quality of the materials that may be employed in the execution;
+and lastly, by the resources of decoration.” In these remarks will be
+found a highly valuable _précis_ of the excellence to which the art of
+the architect should be directed, and the means that must be adopted to
+obtain pleasing and successful results.
+
+The erection of country mansions, villas, and other residences, has of
+late years been greatly stimulated in our country. The enormous annually
+accumulated savings of the commercial portion of the community have
+induced a large amount of capital to be invested in such objects. In
+regard to questions of taste and decoration, it should be borne in mind
+that but very little extra cost is incurred in building a residence in a
+pleasing and picturesque style than in one having not the least
+pretension to architectural beauty. In our earlier remarks on the nature
+of the picturesque the _general principles_ of obtaining that effect
+have been pointed out. In the following pages the special details are
+amply descanted on, and illustrated by designs, drawings, &c. It is the
+object of every department of constructive skill at the present day, to
+endeavour to obtain the best possible result by the least possible
+expenditure of material, and thus taste actually causes economy rather
+than increased expense. Tons of heavy and unsightly materials are now
+replaced by hundredweights of decorative, and yet substantial, masonry
+and iron work. A number of modern elegant erections, affording
+accommodation equal in extent, but vastly superior in quality, are now
+made at an expenditure of stone or brick less by one-third in quantity
+than was employed in many old houses; those in High Street, Edinburgh,
+by way of example. The result has been arrived at by the joint aid of
+science and art, the former giving data as to the strength of the
+material, and the latter directing its disposal. The peculiar character
+of English scenery is exactly adapted for giving a picturesque character
+to villa residences, provided the latter are designed and erected in
+accordance with the principles of sound taste. Surely he who would spend
+money in building a house, in which all or most of the remainder of his
+days are to be spent, will not grudge making that dwelling the subject
+of decoration or ornamental art, by which its aspect shall at all times
+be suggestive of pleasure rather than of aversion or disgust. It has
+been said that most individuals, by long association together, acquire a
+mutuality of tastes and even physical resemblance. It cannot be denied
+that even inanimate objects, such as our dwellings, furniture,
+landscapes, gardens, and other such surroundings, have a parallel effect
+on us. Hence the wisdom of using all the means which architectural art
+places at our disposal. Errors in this respect often proceed from
+thoughtlessness, if not from want of refined taste. An instance may
+suffice to show how much such matters should be attended to in the
+choice of a site and other conditions. A retired manufacturer erected a
+mansion at a cost exceeding fifty thousand pounds, and had never paid
+any heed to the fact that the most prominent object seen from his
+dining-room window was the cemetery of the adjacent town! Soon this
+became unbearable, and the house has been comparatively deserted by the
+family, caused by an oversight that the least consideration would have
+remedied.
+
+The designs given in the following pages have for their object to
+suggest the most approved, tasteful, and effective plans for the
+mansion, the villa, or cottage, and great care has been devoted to their
+production. Whilst a residence must necessarily be kept within a cost
+suitable to the means of the proprietor, by judicious care of the
+professional man, possessed of a competent knowledge, a little money may
+go a long way in the decorative art. Many of the drawings are devoted to
+the minor but not less effective portions of the house. Congruity in
+detail inside the dwelling is equally required with symmetry, beauty, or
+picturesque character of the exterior. Want of judgment in this point
+may speedily convert the most elegant building into little better than a
+repository for gewgaws selected without taste and arranged without
+skill. It is impossible for _every_ man to become his own architect; but
+it is possible, in most cases, for all who have the means, to select
+such a design as shall best comport with their taste, leaving the
+working out of details to the architect. But a remote possibility exists
+of an unprofessional being able even to state what he requires, and
+should he ask an architect for a design or plan, it is more than likely
+that the latter would fail to please. When, however, a variety of
+designs is placed before the eye of any intelligent person the act of
+selection becomes easy. Although no single plan may succeed, a
+combination may suggest itself, and the architect can then readily work
+on something like a sound foundation, and with the hope of success. This
+work is intended to supply such requirements.
+
+Again, in building a house, or in effecting alterations in an old one,
+points apparently of minor, but really of great importance, require
+attention. A badly constructed chimney will make the whole house
+miserable, independent of the injury done to furniture, decorations,
+&c., and the destruction of paint and paperhangings. A defective
+drainage may render that which was intended to be an abode of peace,
+plenty, and happiness, a living charnel-house, or the door to the grave!
+A question of vital importance is that of ventilation. These apparently
+minor questions can therefore scarcely be exaggerated in their value,
+for neglect of them will render nugatory the best external efforts of
+the architect. Hence they have hereafter full attention, in their
+practical details, directed to them.
+
+On the general principles of ventilation the following remarks may be of
+value to all who propose to erect new dwellings, or alter those already
+inhabited. In all houses, and in fact every building divided into
+stories, a ready means of ventilation may be insured, or rather always
+exists. This is presented in the opening formed by the staircase. Into
+this general opening communications can be made into, and from, each
+apartment by apertures placed in some convenient position in each room.
+The grand law on which ventilation depends is, that hot air, being
+lighter than cool air, has a universal tendency to rise, whilst cold air
+takes the lowest part of a house or apartment. It hence follows, that if
+a supply of cold air be admitted by an opening at the lower part of a
+house, and it becomes heated within the house, it will have a tendency
+to rise to the roof; and if a sufficient opening be there provided, it
+will escape into the open air. Consequently a constant current may thus
+be obtained in any dwelling, sufficient to give a supply of pure air and
+to remove that which has been vitiated by breathing, the combustion of
+fires, and other causes. The heavy atmosphere of this country requires
+assistance to make this grand law operative; to cause the air of a room
+to move as readily as it is required, forced ventilation becomes
+necessary. The English fireplace provides this; and to that it owes,
+with us, its extreme popularity. A constant current of air from the room
+is heated and passed up the chimney flue, and this draws in a
+corresponding supply of cold air, and proper and convenient apertures
+should be left to permit this to enter. The fireplace forces attention
+to the necessity; if sufficient fresh air be not provided for it the
+smoke enters the room and drives the occupants out. Notwithstanding the
+attention that has been paid to the stove and its flue, we are still
+sadly behindhand in a proper construction of them. The flues could be so
+arranged that a building might be enabled, using a figurative
+expression, to breathe, whenever its principal flue, that of the kitchen
+fireplace, was in action; a construction to effect this will be
+illustrated in the text. In conclusion on this point, it may be added
+that nothing is more essential to the health and comfort of a house than
+that it should be thoroughly and constantly ventilated, and if any
+portion is to be particularized, it should be the sleeping apartments.
+
+Another question which, to a certain extent, should influence the
+arrangement of a house of any pretensions in respect to size, is that of
+the method of warming it. The preference, or rather prejudice, in favour
+of fireplaces is so great, that a revolution of the nation in political
+matters could be more easily brought about than the abolition of the
+fire-grate; but it is well known that at least three-fourths of the coal
+consumed is wasted in the attempt to heat the room to an equable and
+pleasant temperature. But by such means the result cannot be arrived at.
+In front of, and close to the fire, the temperature is excessive, while
+the backs of the sitters facing in are suffering from cold. An equalized
+temperature in rooms is obtained abroad. In Russia, a plan is adopted of
+heating the rooms by means of the walls, the latter being double, and so
+arranged that they act as flues to a furnace situated at the lower part
+of the building. By this method every part of the room acquires,
+simultaneously, an equable temperature. There need be no draught, simply
+because the air is not drawn in one direction more than in another. From
+every side a gentle current of warm air arises. This method cannot be
+adopted here; it would not suit for English houses where coal is used as
+fuel: the interstices of the double wall would soon be filled with soot.
+The same effect is produced in a far more elegant way, by means of
+warm-water pipes passed round the room; by this simple process the
+staircase and passages and the sides of a room distant from the
+fireplace are made of equal temperature--one, or at most two furnaces,
+burning coke and making no smoke, if placed in a cellar outside an
+extensive building, can render the whole interior, from attic to
+ground-floor of equal temperature, and not prevent the action of the
+fireplace, or its agreeable presence in our homes. In the British
+Museum, where warming apparatus is used, the temperature of the whole is
+kept uniformly the same, that is, 65° Fah., even throughout the most
+severe weather, independent of the common fireplace. No greater change
+is required in any part of our buildings than in the latter; not that it
+requires to be removed, but a change to prevent its waste of heat and
+its contaminating the outside air with the soot and blacks from its coal
+fuel; the lower fireplaces in a building should warm or air the upper
+rooms, and no soot or blacks should be allowed to leave the flues. A
+construction for this purpose will be shown in the ensuing pages, as
+well as one for warming an entire building and a conservatory.
+
+An opposite effect to that of warming is frequently desirable in our
+houses; and to ensure this the position of the site of the house must be
+considered. It is evident that a room having a south-western aspect must
+of all others be the warmest, whether in winter or summer, simply
+because that aspect is most exposed to the influence of the sun’s rays.
+On the other hand, rooms having a north-easterly aspect must necessarily
+be the coolest, because, except during the earliest part of midsummer
+mornings, say from 2 to 4 A.M., the sun’s rays cannot reach them. It
+is, therefore, in the power of those who have the requisite resources,
+to construct a house in such a manner that warm rooms can be provided
+for winter use, and cool for alleviating the heat of summer. It is by no
+means an uncommon occurrence to find a large dinner-party assembled in
+the heat of summer in a room that has been exposed to the sun’s rays
+during the afternoon. Frequently in such cases, owing to the number of
+persons present, the heat of the viands, lights, &c., the temperature
+rises above 80°, a circumstance prejudicial to health, enjoyment, and
+the vivacity of social intercourse, that might have been entirely
+avoided had the dining-room been placed in a northern aspect. These are
+points well worthy of attention in constructing a newly-designed
+dwelling. It unfortunately happens, in many cases, that the supposed
+exigencies of architectural arrangement must have priority of all other
+considerations. Yet the architect who wilfully opposes such
+modifications of his plan for the purpose of conducing to general
+comfort is shortsighted. His object ought to be to build a house _to be
+lived in_, and not _to be looked at_ alone.
+
+A few remarks on some of the general principles that should lead to a
+choice of site, situation, and other matters, may not be without
+advantage. Whatever inducement a plot of ground for building purposes
+may possess, the great question which has first to be solved is that of
+_health_. A clayey soil, bog, marsh, or stagnant water; a low level; an
+undrained or badly drained surface; a moist atmosphere, or exposure to
+the chill north and east winds, are all objections that a question of
+price should never be pitted against. Popular knowledge on sanitary
+subjects is now so extensively diffused that healthy localities are
+always of ready sale, while those of an opposite character are
+frequently unsold in the market, and consequently may be had at a low
+price, but are really never cheap. Nothing can counterbalance the value
+of a healthy locality, for in the end one of an opposite character
+becomes far more costly. The timbers of the building fall rapidly into
+decay, and require renewal; the decorative portion, internally and
+externally, becomes faded; doors and windows cease to fit and work
+accurately; the iron work becomes rusted and requires frequent renewal
+of paint or other protecting coat; and the same may be remarked in
+regard to the fences of the estate.
+
+The position of the residence in regard to the sun at different periods
+of the year is also an important matter. If it stands with each front
+north and south, the north front will have comparatively little sun,
+except during summer time; and if the position be north-east and
+south-west respectively, the cold bitter winds of winter will be
+severely felt, whilst from the fact that the greater portion of the year
+the rainy quarter of the wind is south-west, that front or back of the
+house will be continually exposed to its influence. Consequently,
+frontages to the south-east and north-west are to be preferred in all
+cases, when possible, as such position ensures to both sides the
+greatest average of sun, heat, and light, and protection from the
+north-east wind of winter or the south-west of the rainy season.
+Comparatively little attention has been paid to the influence of light
+on health and its effects on the mind, in the construction of modern
+dwelling-houses. An excess is easily avoided by blinds and other
+contrivances; but if the architectural features of the building be such
+as to exclude the light, an opposite remedy is impossible. Abundant
+access of light tends to set off all the internal decorations of the
+house, and spreads a cheerfulness of appearance that is always highly
+prized. It gives brilliancy of outline and detail to coloured
+decorations, and, to use a common phrase, is the best possible “set-off”
+that the architect or decorator can desire. As already pointed out, the
+effect of light and shade, in regard to architecture, is a condition of
+success in respect to the picturesque.
+
+It is always desirable that a house should be placed on an eminence; it
+becomes thus a prominent object, and its qualities are the more readily
+perceived. A gradual ascent to the house by the walks or drive adds
+much to the general effect. The walks are thus constantly drained, and
+preserve longer a neat appearance, a matter which is of much importance
+in setting off the advantages of situation, site, &c. In respect to
+questions of health also, this is of great advantage, as the waste
+matter of the household more readily falls away by its own gravity, and
+is thus quickly removed; which if left stagnant would be productive of
+harm to the inmates.
+
+Abundant access of fresh air is of great importance to health in a
+residence; unnecessary exposure to wind being at the same time to be
+avoided. Hence to place a residence in the centre of a close array of
+trees is not desirable; not only is the access of air, light, and heat
+prevented, but there is always a tendency induced to dampness in the
+house. In an open, airy, and well drained situation, the effects of even
+long-continued wet are soon dispelled, but when all sides of a house are
+surrounded closely by trees, an opposite result is induced, and, in
+comparatively dry situations, many evils of a damp one ultimately ensue.
+
+One of our earliest English writers on building, Thomas Fuller (1633),
+speaking of the choice of situation for a new structure, says: “_Chiefly
+choose a wholesome air_, for air is a dish one feeds on every minute,
+and therefore it need be good. Wherefore, great men (who may build
+where they please, as poor men where they can) if herein they prefer
+their profit above their health, I refer them to their physicians to
+make them pay for it accordingly.” And as to light, he continues:
+“_Light (God’s eldest daughter!) is a principal beauty in a building_,
+yet it shines not alike from all parts of heaven. An east window
+welcomes the infant beams of the sun before they are of strength to do
+any harm, and is offensive to none but a sluggard. A south window, in
+summer, is a chimney with a fire in it, and needs the screen of a
+curtain. In a west window, in summer time, towards night, the sun grows
+low and ever familiar, with more light than delight. A north window is
+best for butteries and cellars, where the beer will not be sour for the
+sun’s smiling on it. Thorough lights are best for rooms of
+entertainment, and windows on one side for dormitories.” And he tells
+us, “_a pleasant prospect is to be respected_. A medley view, such as of
+water and land at Greenwich, best entertains the eyes, refreshing the
+wearied beholder with exchange of objects. Yet,” he adds, “I know a more
+profitable prospect--where the owner can only see his own land round
+about.”
+
+Having thus disposed of some of the most important points that should be
+kept in mind when choosing the site of a house, and of such other
+conditions as affect its picturesque and sanitary character, a small
+space may be devoted to the consideration of its internal decorations.
+
+On this point there is no disputing about tastes, but to this may be
+added that the absence of taste is by no means uncommon. Having fixed on
+the style of house, the next question for decision, in respect to its
+general effect, should be that of its internal decoration. Congruity of
+design should exist between the two, for if an opposite course be
+adopted, a vulgarity will be introduced that will be highly displeasing
+to good taste. On the other hand, a slavish adherence to uniformity of
+internal with external character might produce so severe an adherence to
+system as to exclude the benefits that arise from judiciously chosen
+contrast. What has before been remarked in regard to the exterior,
+applies equally to the interior of a house--each should have in its
+general effect an agreement in appearance to its objects. In an antique
+apartment the light character of modern furniture would be evidently out
+of place, and _vice versâ_.
+
+It is evidently impossible to direct attention to more than a few
+elements of success that may be arrived at in internal decoration.
+Independently of this, each person has his own views on the matter, that
+would be sure in the end to overrule any exact principles, or at least
+greatly modify them. The following observations however, are offered
+suggestively.
+
+The facility with which the most beautiful designs in painting, &c., are
+transferred to paper for paper hangings, has brought these into very
+extensive use for decorative purposes. Formerly the best patterns were
+produced in France alone, but of late years the British manufactures
+have rivalled the Continental. The pattern in respect to size, colour,
+design, &c., should be so chosen as to be in accordance with the amount
+of light, the size, and other conditions of the room. A large pattern in
+a small room is equally out of place with the reverse condition. A light
+pattern again in a dark room, although advantageous in alleviating
+sombreness, is also incongruous. The general effect of a room on a
+spectator is thus largely influenced by these points, and consequently
+they should be carefully attended to. Frequently paint is preferred for
+covering walls of apartments, and where many pictures are introduced
+this may be advantageously employed, because the paintings alleviate the
+monotonous effect that would otherwise ensue. Painted walls are liable
+to injury by peeling off in places, especially where likely to meet with
+blows from furniture, &c. In damp weather, from the absorption of heat
+they generally become not only wet, but frequently stream with water. If
+the apartment is “smoky,” lines of sooty hue soon follow, and the room
+acquires a dirty appearance. This is avoided by the use of paper, which
+prevents the abstraction of heat and the consequent deposition of water;
+Beautiful effects may be produced by graining and other devices which
+are too well known to require enumeration. When flock paper on walls
+becomes dirty and requires renewing, if painted it looks extremely well,
+a diaper ornamental surface being produced by such means.
+
+The mantel-piece of a room adds to or detracts from its general effect.
+In a well lighted apartment, with light furniture, white marble is
+decidedly preferable. Whereas serpentine, black, or coloured marbles,
+grey and even red granite, may all agree in rooms but moderately
+lighted.
+
+The cornice and ceiling decorations equally require adaptation to the
+character of the apartment. For these purposes beautiful designs have
+been suggested and employed. The material of which they are usually made
+is so plastic as to be capable of receiving and retaining the most
+intricate forms conducive to elegance and beauty. In some rooms such add
+greatly to the general effect, while in others, especially with painted
+walls, plain mouldings seem most appropriate.
+
+A profusion of gold or gilding displays want of taste. A glaring example
+of this might be pointed out--a white marble mantel-piece supported by
+gilt angels five feet high which “graces” the drawing-room of a mansion
+in one part of this country. The outer room is a gorgeous display of
+gold, silver, and vulgarity. It serves, however, index-like, to point
+out at once the riches and “taste” of the owner. On the other hand,
+paintings and engravings in gilt frames have an excellent effect in
+setting off a room, provided that their size is in accordance with that
+of the apartment.
+
+Stained deals, varnished, afford a good material for panelling, and for
+covering the walls of rooms. We have in our eye a dining-room thus
+fitted which has an effect approaching to some of the oaken fittings of
+olden times. The material is cheap and durable, whilst the surface can
+always be renewed in its freshness by a new coat of varnish. It has been
+largely adopted in churches for pews and other fittings, with the best
+possible results.
+
+The minor objects of decoration, such as handles, finger-plates,
+bell-pulls, &c. &c., can only be here named. In many instances designs
+are given in the following pages, suggesting the most suitable either
+for indoor or outdoor use, according to the character of the room or
+entrance for which they are intended.
+
+So much for the picturesque exterior and tasteful interior of a house; a
+few words however may be said in respect to its immediate surroundings,
+such as the lawns, gardens, pleasure grounds, &c.
+
+The most picturesque villa would be a nonentity in a wrong situation.
+It would be opposed to what is usually called the “fitness of things;” a
+phrase that expresses much meaning without an exact definition. Hence
+“landscape gardening” has become an almost necessary adjunct to the art
+of architecture. An unframed picture has possibly every merit that the
+painter’s art can bestow on it, yet it lacks that finish which the
+exterior confers on it. So the well laid-out garden, the vista at its
+extremity, the carefully arranged parterre, the judicious management of
+floral culture, especially with regard to colour; neatly arranged walks,
+and many other exterior matters of detail, add to, enhance, and
+occasionally become indispensable adjuncts to the picturesque.
+
+We give two examples of picturesque accessories to garden architecture;
+the first rather belongs to the secluded wood, to some sequestered spot
+of sylvan shade, whence rises a spring which tradition may designate as
+that of some beautiful nymph; where the limpid crystal flows in gentle,
+yet ceaseless streams, conveying “health to the sick and solace to the
+swain.” The last, a vignette at the end of this chapter, is the
+representation of a ruined fountain, designed in 1820 by one of the best
+teachers of drawing England ever possessed, the late C. J. M. Whichelo.
+The architect may suggest the addition of a garden, but it is no part of
+his business to supply the details; these rather belong to the
+horticulturist. Yet these should not be forgotten; a complete whole is
+always made up of minute parts, and by these littles an entirety of
+effect is produced, just as their individual importance is not lost
+sight of.
+
+[Illustration: The Nymph’s Fountain.]
+
+In conclusion, it has been attempted in this introductory essay to
+enable the unprofessional reader to become acquainted with the general
+principles, and some practical details that should guide him in the
+selection of a site, and the erection of an elegant, convenient, and
+pleasant house, both externally and internally. So far as architecture
+and decorative art can aid such objects, the special details involved
+have to be perused in the text of this work. Fundamental ideas of such
+subjects have alone been here treated. A hope may be expressed that any
+suggestion or advice hitherto offered may not, in all cases, be without
+value. It is not given to all men to know all things. By the experience
+of others we gain fresh views of old ideas, invest them with new
+clothing, and in fact make out of that which is past, the material for
+something new. We rest on the apparently obsolete for suggestive ideas
+of improvement. Although the fashion of this world passeth away, yet as
+a dissolving view it reproduces itself in other forms, which, by the
+contrast of apparent novelty, and real or supposed merits, gain, either
+temporarily or permanently, the applause of mankind.
+
+[Illustration: Old English Garden Plots.]
+
+[Illustration: Garden Fountain in Ruins.]
+
+
+
+
+_DESIGN No. 1._
+
+A GARDENER’S COTTAGE.
+
+[Illustration: Front elevation.]
+
+[Illustration: Back elevation.]
+
+
+Some examples of designs for small cottages will be first given in this
+volume. There are few domestic
+
+[Illustration: Ground-floor plan.]
+
+[Illustration: Plan of upper floor.]
+
+[Illustration]
+
+structures that have received within the last fifty years a greater
+share of attention than the English Cottage, especially that designed
+for the occupation of the labourer. Each detail has received much care;
+thus, whether its walls should be solid or formed in two thicknesses, as
+most conducive to warmth and comfort; whether they should be of thin
+brick or of solid thick concrete; the best kind of roof covering, and
+indeed all such questions, have been fully discussed.
+
+[Illustration: Section through length of building.]
+
+Besides this, the calculation of cost has been of importance; they are
+required to return a rent that will pay 5 per cent. on the outlay, and
+to gain their picturesque appearance has generally been sacrificed.
+
+The cottage examples in this volume have been erected on estates where
+the only aim was to render them substantial and lasting structures,
+expense being a matter of minor importance. Their picturesque appearance
+being in every case insisted on.
+
+Before entering into any description of the designs, it must be pointed
+out that the plans, with the exception only of a few at the end of the
+volume, are all drawn to the same scale, that of 20 feet to the inch,
+and that the elevations and sections are to a scale of 15 feet to the
+inch.
+
+[Illustration: Cross section.]
+
+The details and the vignettes, one of which is mostly given between each
+example, are of various scales suited to each separate subject.
+
+[Illustration: Plan of wood casement.]
+
+[Illustration: Section.]
+
+The cottage design shown in the plate, and which forms the first example
+in this series, was erected on a nobleman’s estate in the country, for
+the use of a favourite gardener, a married man without children, and the
+accommodation afforded was all that he required. It consisted of a lower
+room fifteen feet by twelve, fitted with a small cottage oven; a
+scullery ten feet by ten feet, and a larder; the upper floor contained
+one room of the same size as the lower, and one fourteen feet by ten
+feet. The building was constructed in a very superior way. It was
+erected in red brick with compo dressings round the door and windows.
+The illustrations represent the front and back elevations; and sections
+through the length and breadth of the cottage, with details of the wood
+casements, and a plan and section of the cottage oven.
+
+[Illustration: Cottage oven.]
+
+A view of a cottage slightly different in design but having rooms of the
+same size with similar accommodation, is given. This was intended for
+the same estate.
+
+       *       *       *       *       *
+
+The vignette is an elevation of two lead pipes designed for an
+Elizabethan building in the country.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 2._
+
+A SMALL COTTAGE OR LODGE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground-floor plan.]
+
+[Illustration: Upper plan.]
+
+
+This small building forms the outer lodge to a country park. It is
+finished in all its parts so as
+
+[Illustration: Elevation of front.]
+
+to correspond in style and details with the old family mansion, and
+being a prominent object, standing in a cheerful position, each side was
+made pleasing. It is
+
+[Illustration: Side elevation.]
+
+so placed that the sun during its daily course shines on all the
+exterior walls. Cottages should have no
+
+[Illustration: Section through length.]
+
+dark corners, the sun should find entrance at all the windows whenever
+it is bright; the interior is then warm and cheerful. If the plan of a
+building is either
+
+[Illustration: Cross section.]
+
+a square or a parallelogram, and it is placed on the ground so that one
+of its diagonal lines runs due north and south, the advantage of
+sunlight at all the openings is obtained, and this has been pointed out
+by several writers on the subject. The ground plan shows the general
+arrangement of the interior. The parlour and kitchen are both of the
+same size (14 feet by 11 feet); it has a small scullery, an open outside
+porch, and a place for coals; the larder with its window
+
+[Illustration: Section through front and back porches.]
+
+[Illustration: Dry vault.]
+
+is under the staircase. The latter is a cottage staircase, occupying
+only half the usual space. The plan of the upper floor shows two rooms
+of the same size as those on the lower floor, with the compact reduced
+form of the staircase. The plate gives the front and side elevations of
+the building; sections through its length and breadth, and through the
+two porches back and front, and the dry vault of closet, are given.
+
+The water from the scullery sink is discharged into the dry vault. The
+staircase, of which a section is given, occupies exactly half the space
+of a staircase on the ordinary plan. The width is three feet, each step
+rising in two heights of 6 inches. It is necessary that such a
+contrivance should have plenty of light. These staircases were first
+used in France. Loudon, in his “Encyclopædia of Cottage, Farm, and Villa
+Architecture,” gives a representation of one, and remarks that the
+celebrated American, Jefferson, when
+
+[Illustration: Section of staircase.]
+
+[Illustration: A staircase.]
+
+making a tour in that country, was so struck with the contrivance, that
+he noted it in his journal, which was published with his
+correspondence. A perspective view of one of these staircases is
+annexed.
+
+A staircase of this description, if made four feet in width, might take
+up only one-third the usual space: it would be very applicable to
+offices and warehouses where room cannot be spared, and where staircases
+little better than ladders are used, but in such cases a baluster and
+hand-rail should be placed between each second step, to prevent persons
+falling.
+
+The “Builder” of November, 1843, gave two views of an ingenious double
+spiral staircase then exhibiting at a manufactory in Berners Street,
+Commercial Road. It was described as extremely simple, the object being
+to provide for ascent and descent without chance of meeting or
+collision. It consisted of a deal or other board of suitable thickness 6
+feet long and 12 inches wide, forming a double _tread_, and the _riser_
+crossed, as it were from corner to corner, except as arranged to form a
+_newel_ in the centre, of about five inches in diameter. The staircase
+had twenty-two risers, and took one complete turn round.
+
+[Illustration: Plaster ornament for a ceiling.]
+
+
+
+
+_DESIGN No. 3._
+
+A PICTURESQUE COTTAGE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground-floor plan.]
+
+[Illustration: Upper floor.]
+
+
+This design for a peasant’s cottage possesses no architectural feature
+beyond what could be given
+
+[Illustration: Elevation of front.]
+
+to it by any common country village carpenter. It was made from the
+recollection of one at Blaise Hamlet,
+
+[Illustration: Side front.]
+
+near Blaise Castle, in Gloucestershire, the seat of John I. Harford,
+Esq., to whom the hamlet belonged. This was celebrated for having about
+a dozen of these small picturesque structures, apparently put up by the
+owner of the estate. Nearly the whole of them were provided with rustic
+seats under a projecting roof, as well as with a pigeon-house at the
+gable. This was called Vine Cottage; there were besides Sweet Briar
+Cottage, Rose Cottage, Diamond Cottage, Dial Cottage, Jessamine Cottage,
+Circular Cottage, and Oak Cottage. Views of all of them were first
+published at Bristol by Mr. Western.
+
+[Illustration: Section.]
+
+There are numerous similar hamlets and villages in England, some having
+the cottages, schoolhouses, literary meeting room, and even the village
+pump, all in picturesque form, and generally architectural in character.
+The plan given here is probably not like that of the cottage at the
+hamlet. It illustrates one room, size 13 ft. by 12 ft., a scullery 12
+ft. by 9 ft., and larder under the stairs. The latter are shown with
+the double-rise step. The upper plan shows one room of the same size as
+that below, and a closet. The scullery on the ground floor is large
+enough to form a sleeping room for boys, or to make a small living room.
+The height of the lower room is 9 feet 6 inches. The section shows the
+general form and fittings of the rooms. The plate below the plans gives
+an elevation of the front, showing the rustic seat and the side of the
+entrance porch, the gable of the cottage formed into a pigeon-house,
+together with the side front of the cottage and its entrance porch. The
+small window at the side is intended to light the first steps of the
+stairs; a small shed for wood or coals is placed at the back. Such a
+cottage could be built and finished complete at a cost of about one
+hundred and ten pounds.
+
+[Illustration: Plaster frieze for drawing-room.]
+
+
+
+
+_DESIGN No. 4._
+
+A DOUBLE COTTAGE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground plan.]
+
+[Illustration: Upper plan.]
+
+
+These cottages were intended to be attached to some ornamental grounds
+which were very carefully attended to; and as the building formed a
+
+[Illustration: Elevation of front.]
+
+prominent object, it was rendered architectural and pleasing in
+character. In plan the cottages are large
+
+[Illustration: Section.]
+
+and roomy, and they are of the cheapest kind. If constructed in plain
+brickwork, without the ornamental gable on the porch, the pair could not
+have cost more than 250_l._, and at that sum they have been estimated
+for by a London builder. Each cottage has one living-room on the ground
+floor, _f f_, of the size of 14 feet by 10 feet, with a scullery, _g g_,
+attached, size 10 feet by 6 feet 6 inches, and a small larder and
+staircase.
+
+[Illustration]
+
+The latter, with ten risers, leads to the upper floor, in which are one
+large and one small room. The plate gives the ground plan, and the plan
+of the upper floor. The closets are in the yard attached to the
+cottages, but not shown in the plan.
+
+The plate gives an elevation of one of the fronts, and a section, taken
+through the living-room and scullery: a portion of the ornamental gable
+is illustrated in the previous page.
+
+       *       *       *       *       *
+
+The vignette represents an ornamental escutcheon and handle, in brass,
+for an inner entrance-hall door. The drawing is one-third of the full
+size.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 5._
+
+A DOUBLE COTTAGE AND VILLAGE SUNDAY SCHOOL.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground-floor plan.]
+
+
+This building was intended to be placed in a village of one of the
+midland counties, nearly all the buildings in the village being of
+picturesque character. It was the property of a gentleman who was
+erecting a large Elizabethan mansion in the neighbourhood; the design is
+for a double cottage and Sunday school; the latter being under the
+direction of the clergyman of the parish.
+
+[Illustration: One-pair plan.]
+
+The porch was decorated to give it importance, and form a shelter for
+the clergyman in passing from one school to the other. One part was
+intended for boys and the other for girls. The chimneys of the building
+were grouped together in the centre so as to form a prominent object;
+they were copied from a very fine ancient example, then existing at a
+farm-house near Ashford, in Kent.
+
+The illustration gives a view of the front, and the plans. Each of the
+two principal rooms was 16 feet 6 inches by 13 feet 6 inches, with a
+scullery on the side 10 feet square, and having a good oven; the larder
+was under the stairs. The rooms above were
+
+[Illustration: Section through length of building.]
+
+of the same size as those below. One of the cottages had the centre room
+below as well as that above arranged so that one had four rooms and the
+other two; but this could be changed at any time, to provide each
+cottage with three living rooms each. A section through the length of
+the building and the chimney stack is given in the previous page, and an
+elevation of the front is given above.
+
+[Illustration: Elevation of entrance front.]
+
+The building was to be constructed with sound stock bricks, and red
+brick rusticated facing round the upper windows; the finishing of the
+gables with their small pediments was of cut red bricks. Small compo
+finials crowned the whole.
+
+[Illustration: Finial.]
+
+[Illustration: Finial.]
+
+[Illustration: Elevation of chimney stack.]
+
+The porch had trunks of trees for columns, the entablature and pediment
+were formed of cut bricks and compo facing; the pilasters on each side
+of the lower windows were of cut squared flint, peculiar to the county,
+the whole resting on a plinth of rough country stone. A wooden
+balustrade of simple pattern surmounted the porch, extending on each
+side of the columns. These latter resting on a stone slab. The chimney
+stack is shown, and its plan, on the previous page.
+
+[Illustration: Plan.]
+
+[Illustration: Elevation of a chimney stack at a farm-house, Ashford,
+Kent.]
+
+The old stack from Ashford, with the plan at its base, and capping, is
+also illustrated.
+
+These representations of the two chimney stacks, ancient and modern, are
+drawn to the same scale, so that the difference between the present and
+old mode of treatment may be seen. The large flues of the old example
+permitted the then mode of sweeping, by discharging a culverin up the
+flue. The occupants of the dwelling could not then have cared much for
+return smoke in their rooms; which in these large flues, with coal as
+fuel, must have been considerable, and could only be obviated or
+prevented by the numerous cold draughts of air permitted to pass through
+the interior of the building.
+
+[Illustration: Plan of capping.]
+
+[Illustration: Plan of base.]
+
+The plan of this building was adapted from a very favourite one of the
+late Sir John Soane. He erected it at Wimpole, in Cambridgeshire, for
+the Earl of Hardwicke, in 1794. It had a very plain exterior, and the
+roof was covered with thatch, a very common mode with architects at that
+time, but now objected to from the serious evil of its harbouring
+numerous insects--indeed at times they render the building almost
+untenantable. The walls of the cottages at Wimpole were built in Pisé,
+or with clay and fine gravel, properly prepared and beaten down in a
+mould. Each wall was three feet in thickness, the fireplaces and
+chimneys were of brick. Every opening was covered with strong wood
+lintels, the whole width of the walls, and two feet longer than their
+respective openings.
+
+The walls stood on brick foundations two feet above the ground. The cost
+of the construction was about 450_l._ Design No. 5 could not now be
+constructed for less than 630_l._
+
+It may be here remarked that nothing certain can be advanced about the
+cost of a building until the situation and local circumstances are fully
+known and considered. In the absence of these no estimates can be given
+with that accuracy which every gentleman wishes for, and ought to be
+possessed of, before he begins building.
+
+
+
+
+_DESIGN No. 6._
+
+A HUNTSMAN’S LODGE OR COTTAGE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground plan.]
+
+[Illustration: Upper plan.]
+
+
+This edifice was erected in the neighbourhood of some thick plantations
+in a sporting district. It was constructed of brick, with a wooden
+porch; the facing bricks of the walls being of a light-yellow colour,
+with red bricks round the windows; and the whole of the cornices and the
+four chimneys were of cut red brick. The building seen from among the
+trees looks
+
+[Illustration: Front elevation. Section.]
+
+very pleasing. The ground plan shows a front room 13 feet square, with a
+small scullery behind; the larder is under the stairs, which have the
+double riser, and a window is placed both at the bottom as well as at
+the upper part of the staircase, to give plenty of light. The upper plan
+shows three bed-rooms, each about 10 feet by 6, and a small bed closet
+for children, the closet having a ventilator in the chimney at the
+angle. These chimneys, instead of being grouped together in the centre
+of the structure, occupy the four corners--an expensive form of
+erection, but one that gives more room in the interior. The elevation of
+the front is given in the plate, and the section by its side; the small
+figure below shows the different courses of cut bricks forming the
+pediment and cornice.
+
+[Illustration]
+
+These were carefully executed, and had a good effect. The first figure
+likewise illustrates the oak finial on the top of the roof. A
+chimney-piece in one of the upper rooms had a quaint carving in the
+centre of a fox’s head, a subject appropriate to the pursuits of the
+occupant of the cottage.
+
+[Illustration]
+
+The chimney-piece, and the fox’s head on a larger scale, are here
+represented. The gateway seen at the side of the building in the view
+was formed by the workmen out of various old fragments; it leads to a
+yard in which are various sheds and out-buildings.
+
+[Illustration]
+
+       *       *       *       *       *
+
+This vignette affords a specimen of ornamental iron railing intended for
+exterior work, and suitable for any situation in which such may be
+required, in consequence of the neatness of its pattern.
+
+[Illustration]
+
+
+
+
+[Illustration: Rose Hill Villa.]
+
+
+
+THE CONCRETE CONSTRUCTION FOR BUILDING COTTAGES.
+
+
+Considerable pains have been taken for the last fifty years to discover
+the best and cheapest method of building cottages; bricks, stones, wood,
+mud, plaster, and lately straw and bitumen, have all been selected.
+Sound bricks and good building stones, well incorporated with mortar of
+a good and binding quality, will last for centuries; while those of mud,
+clay, plaster or concrete are continually becoming out of repair, and
+therefore ought never to be introduced where sound construction is
+desired, and better materials can be procured. In our moist climate,
+unless great pains are taken in compounding such materials as clay or
+concrete, in constructing walls, and in protecting these against the
+effects of the weather, they will soon decay. Mud walls, however, made
+perfectly in the common manner, of clay well tempered and mixed with
+sharp sand, will last very many years.
+
+The preceding view represents Rose Hill Villa, near Stockbridge,
+Hampshire. It is probably the largest and most important specimen of
+such a construction in England, and comprises dining and drawing-rooms,
+each 20 feet by 18 feet, morning-room, housekeeper’s-room, kitchen, back
+kitchen, pantry, excellent cellars and all requisite offices; five very
+superior bedrooms, two dressing rooms, a water-closet on the landing and
+ground floor, and five servants’ bedrooms. It has a double coach-house,
+harness-room, and stabling for four or six horses, and in the outhouses
+a four-roomed cottage for the coachman.
+
+This villa was formerly in the occupation of Fothergill Cooke, Esq.,[A]
+the inventor of the Electric Telegraph, and is now the residence of Sir
+Augustus Webster, Bart.
+
+The building is constructed of chalk concrete, and has stood the test of
+forty years’ exposure without any signs of decay. Mr. James Flitcroft
+sent in 1843 a view of the villa to the “Builder,” and thus described
+the construction of such houses in the locality:--The walls are carried
+above the ground two and sometimes three feet to prevent the damp from
+rising to the mud, which if wetted would scale off by the action of
+frost. The kind of earth used is fine chalk, dug from the surface; if
+timely notice of any building will permit, it is best dug in winter,
+that the frost may act upon it. Buildings formed of this material can be
+erected only in dry warm weather. The workmen in preparing this chalk
+for use put about a cartload of it together, throw water over it, and
+tread it with their feet, turn it over, again tread and turn it, until
+it begins to bind something like loamy clay; then let it soak a little
+while, when it is ready for use. The waller is able to put on a layer of
+about fifteen inches; he begins at one corner and goes round the
+building, putting one layer on another, taking care that the lower one
+is sufficiently dry to bear the upper. In buildings of two stories high,
+the walls are generally eighteen inches thick. When the walls are got up
+five or six feet, and pretty dry, the quoins are plumbed, and the walls
+dressed down a little, in order that the waller may see what he is
+about. A small short spade is the best tool for this purpose, with short
+handle and rather bent. The work is then proceeded with as before, until
+it is raised up to the square of the building, when the
+
+[Illustration: Elevation and section of a wall (see p. 86).]
+
+walls get their general dressing, ready to receive their coating.
+
+Mr. Flitcroft describes Rose Hill Villa as coated with stone,
+lime-coloured and drawn. The columns of the villa are of brick. He
+states that there are several other buildings of this kind at
+Stockbridge, Winchester, and other places in the neighbourhood. He
+describes a better method of constructing such walls by the use of a
+moveable trough or box about 12 feet in length by 18 inches in depth.
+This trough rests on bearers put across the wall, with a mortice at each
+end wide enough apart to receive the sides, and the thickness of the
+wall; in these are inserted uprights to prevent the sides giving way,
+with others to go across the top. This mode of construction is however
+very ancient, and when done on a large scale the primitive method is
+still pursued.
+
+This method is shown in the preceding engraving, which gives an
+elevation and section of a wall in process of construction, with the
+posts, _b b_, the moveable planking, _c c_, and cross pieces, _d_. It
+will be seen that three courses of bricks are put about every five feet
+in height. The figures here given are copied from a very old French work
+on Architecture and Building; they also show the manner in which roof
+construction was attempted with slabs of the same material, as shown in
+figs. 1 and 2: the building is supposed to be square, as shown by the
+dotted lines _a_, _b_, _c_, _d_.
+
+[Illustration: Fig. 1.]
+
+[Illustration: Fig. 2.]
+
+[Illustration: Elevation.]
+
+[Illustration: Section.]
+
+The plan, elevation, and section given below represent a small tomb
+wholly formed of concrete slabs, the door alone being excepted. This
+little building forms really a solid concrete monolithic edifice.
+
+[Illustration: The entrance door.]
+
+[Illustration: Plan.]
+
+A very common method of forming partitions, and even roofs in some of
+the agricultural districts in Hampshire, is first to put them up with
+strong wattle hurdles. They are double the size of the common hurdle,
+and made of a thicker material. When in their place, they are plastered
+over with concrete, and made about four inches in thickness; they very
+often require repair. It is said that concrete walls are subject to
+contraction and expansion, and speedily show vertical cracks at
+intervals, which in our damp climate would soon permit the wet to enter.
+There can be no question as to its strength as a building material, as
+some experiments conducted by the Institute of British Architects gave
+the following results--viz., “Concrete composed of two parts of lime,
+thirty-six parts of sand, and five parts of cement, can resist a
+crushing weight of four tons to the square inch, being twice the
+strength of Portland stone, eight times the strength of Bath stone, and
+sixteen times the strength of brickwork.”
+
+In constructing cottages with concrete everything depends upon the
+goodness of the cement and the care with which it is used. The occupiers
+of these cottages are frequently their own operators; the work is
+generally too speedily performed, and the consequence is that the fruits
+of their labour are in most instances of but short duration.
+
+For obvious reasons it is necessary that the greatest economy should be
+observed in the construction of peasants’ cottages, and for these
+reasons the apartments should always be on the ground floor, which will
+render it unnecessary to build them more than eight or nine feet high.
+Where mud walls are introduced, the lower they are made the better, in
+which case they should be made to batir on the outside so as to resist
+the pressure of the roof, the covering of which should project as much
+as possible, to throw off the wet and protect the walls. The chimney
+flues in these clay and concrete walls are formed of drain-pipes, which
+answer admirably. These humble dwellings should be paved with
+brick-on-edge paving laid on sand, which is much warmer, and more
+conducive to health than any sort of rough flagging, plaster, mud, or
+concrete floor. The latter, although much cheaper, can never be made to
+look clean. Foundations of clay or concrete walls should be of brick a
+few courses above the surface, and the walls when dry should be covered
+with a thick coat of plaster consisting of lime and sand, or what is
+still better, a coating of good Portland cement. This ought constantly
+to be kept perfect, as everything depends upon the goodness of the work.
+Concrete improperly mixed is not so strong as brickwork, but is mere
+rubbish; but when perfectly done it hardens with age, becoming like
+stone, impervious both to wet and frost.
+
+Materials can be found in every locality. One of the principal
+constructors using such, Mr. Tall, who works with an excellently
+contrived apparatus, thus describes them:--“Clay, which may be burnt
+into ballast easily and cheaply, and is a most superior material for
+concrete; gravel, stone, crushed slag from furnaces, smith’s clinkers,
+oyster-shells, broken glass, crockery, or any hard and durable
+substance. Where sandstone or any flat stone is to be found, walls can
+be built even cheaper than of gravel concrete, as a labourer can break
+the stone.” He gives the proportions of materials used in houses then
+being constructed at Gravesend, as follows:
+
+                                                 £ _s._ _d._
+7 yards of burrs from brickfield, at 5s.         1  15  0
+7 yards of gravel stone, at 3s.                  1   1  0
+1 yard of Portland cement, 16 bushels to the
+  cubic yard, at 2s.                             1  12  0
+Labour, at 2s. per cube yard                     1  10  0
+                                                ---------
+Total                                           £5  18  0
+                                                ---------
+
+Three cubic yards of concrete will build 60 yards of 9-inch work, at a
+fraction under 1_s._ 11_d._ per yard.
+
+Concrete cottages have been built at Setting, in Kent, under Mr. Adkins,
+architect, that cost only 105_l._ per pair; the ground floor contained
+two rooms; with the usual larder and closets, and the upper floor three
+rooms and a cupboard; these cottages had gabled fronts and were
+picturesque in character. It would be an extra expense over the common
+method to construct floors and roofing of concrete; the advantage to be
+gained would be their fire-proof character.
+
+In superior buildings the high tenacious power of good cement is
+repeatedly, it may be said commonly taken advantage of in the
+construction of roofs. These are formed by cementing plain tiles, and
+they have considerable strength. Roofs of 12 feet span, constructed in
+segmental form, rising three feet, and only of three plain tiles in
+thickness, successfully resist great pressure, and are durable in a very
+superior degree; but they require to be well tied in, and formed
+between iron girders connected together with iron tie rods, otherwise
+they sink and force out the walls. Roofs of cemented tiles have been
+constructed from 30 to 40 feet span, and have been found to answer well;
+hoop-iron bond, laid at intervals between the tiles, is a great
+advantage. The tenacious power of good cement was proved in a very high
+degree a few years ago by Mr. Brunel, in the construction of two
+semi-arches built of brick, springing from a pier or abutment 14 feet in
+height. One extended 50 feet in length, the other 38; the rise of the
+arches was 10 feet, the width only 4 feet 6 inches; a weight of about 40
+tons was suspended to the extremity of the shorter arch without breaking
+it.
+
+The result of this test proved that arches of 200 feet or 300 feet span,
+and probably more, might be constructed in the same manner at very
+moderate expense, without centering. Iron-hoop bond is said to nearly
+double the strength or holding power of the cement. Flat experimental
+beams have been constructed of brick and cement, with hoop-iron bond
+laid horizontally between the joints or courses of the brickwork, which
+have given equally extraordinary results.
+
+Concrete for walling was extensively used in England at the beginning of
+the present century; it got into bad repute through failure of a river
+wall at Woolwich, where it was either badly done, some mistake was made,
+or it was unsuited to the position. The wall was constructed of blocks
+of concrete cast in moulds, and submitted to pressure while setting; a
+coating of fine stuff being applied for the sake of appearance, ample
+time having been allowed for the blocks to set and harden before use.
+The blocks were 1 foot 6 inches high, the binders and stretchers in the
+course being each 2 feet 6 inches long, the bed of the former being 2
+feet, and of the latter 1 foot; the wall was built upon piles, its
+height above the piles being 24 feet; the thickness at bottom was 9
+feet, at top 5 feet with a batir in front of 3 feet in 22.
+
+The face of the wall was composed of blocks, as described, and rough
+concrete thrown in to complete its thickness, and that of the
+counterforts. After a frost it was found that this wall was seriously
+damaged, hardly a single block having escaped, and in many cases their
+whole face had peeled off to the depth of half an inch. The discharge of
+a drain from a height of 6 or 8 feet had worn away the lower courses to
+the depth of some inches. On a like wall at Chatham, similar but much
+more severe effects were produced.
+
+The failure of this wall costing about 80,000_l._, was a serious matter,
+and for several years after architects looked upon concrete as being so
+much uneatable hasty pudding, considering that it was only beneficial
+when confined in a trench for foundations. Sir Robert Smirke used it in
+the foundations of the Penitentiary, Millbank, and Sir John Soane in
+1830 used it in the foundations of the New State Paper Office (now
+pulled down) in St. James’s Park. Here the ground had to be excavated to
+a depth of 22 feet before arriving at a gravelly stratum; at each high
+tide the Thames filled the trenches with water, which remained in
+considerable quantity; as this was pumped out, the adjoining party walls
+of the buildings in Duke-street cracked so completely that they had to
+be taken down. The trenches were first filled to the height of two feet
+with broken stones and bricks from the old buildings, and then dry lime
+and clean river sand, with a large quantity of small broken granite
+stones, were thrown in from the height above. A body of concrete 8 feet
+in width by a thickness of 3 feet was thus formed; the water ceased to
+enter the trenches and the building was commenced.
+
+Mr. G. Godwin, the editor of the “Builder,” in an essay on concrete
+which gained the first prize given by the Royal Institution of British
+Architects, appears to have been the first to suggest its use in walls
+above ground; and for these Portland cement concrete, when properly
+prepared, is without question an admirable material.
+
+
+
+
+_DESIGN No. 7._
+
+[Illustration: A garden gate--plan and elevation.]
+
+
+In France it is used to a very great extent, in numerous bridges, and
+several miles of large sewers. A church (that at Vésinet, near Paris, of
+mediæval architecture), constructed entirely with iron and this
+concrete, is completely fireproof. In England a considerable length of
+sewer has been constructed of concrete at Sidmouth, under the direction
+of Mr. Phillips; and near London, between the Kensington and Gloucester
+Road stations of the Metropolitan Railway, a very large handsome bridge,
+rusticated, and in design similar to, and in every respect in appearance
+a stone bridge. From some alteration required in the railway, it has
+been removed.
+
+This mode of construction is now being practically tested in the north
+of England, at Church Bank, Alnmouth, in its complete form, in a cottage
+built entirely of concrete, having three rooms, scullery, and other
+conveniences. The material used in the building, as we are told by the
+“Builder,” is Portland cement and gravel from the sea-shore. The
+foundation is in sand 6 inches thick and 18 inches wide; in this there
+is a base course, and above, the walls are 9 inches in thickness. Part
+of the erection is two stories in height. The roofs are all flat, and
+are constructed entirely of concrete and old wire rope. The ceilings are
+divided into panels by ribs at right angles, and require no plastering.
+A wall on the upper floor is supported by a concrete beam with a
+13-feet span; and a large cistern is formed under the roof of the pantry
+for rain water. The sides of the cistern forming the walls of the
+bedroom will test severely the impermeability of the material. No wood
+is used except for doors, and no iron except five shillings’ worth of
+old wire rope. This is said to be an experiment made by the Duke of
+Northumberland.
+
+Another experimental cottage has been constructed under Mr. Edwin
+Chadwick’s superintendence at East Sheen near Mortlake. In this the
+walls are formed of light iron framework filled with compressed straw,
+bitumen, and concrete. The thickness of each wall complete is only about
+three and a half inches. The floors are of bitumen and concrete, covered
+with ordinary deal boards; the roof has the same construction as the
+walls. These, inside, may be either left rough or finely smoothed,
+without additional cost. In the former case it is said they resemble the
+ordinary “dashes” of stuccoed cottages; in the latter they appear as if
+coated with Roman cement, after the fashion of villas and town houses.
+
+If a construction of this kind can be made durable it possesses superior
+advantages to every other. In England both stone and brick are great
+absorbents of moisture, causing the occupants of the houses to be
+afflicted by rheumatism and other undesirable ailments. Any building
+material that is non-absorbent of moisture is a great desideratum yet
+unsatisfied.
+
+An elevation of a design for a garden gate and balustrade to be formed
+of concrete blocks is given in Design No. 7. It was originally intended
+for the entrance to an old house in Berkshire.
+
+       *       *       *       *       *
+
+The vignette beneath is a Swiss pattern of open woodwork used by the
+author as balustrading. The construction is too simple to require
+explanation.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 8._
+
+A PARK LODGE.
+
+[Illustration: Front elevation.]
+
+
+The entrance lodge to a country park may be considered as a superior
+kind of cottage; it is
+
+[Illustration: Ground plan.]
+
+often occupied by some favourite domestic or other attaché of the
+family. It is usually placed in a prominent position, dressed with
+surrounding trees, and with the accompanying gates, posts, and rails.
+Considerable attention is always paid to the lodge.
+
+[Illustration: Back front.]
+
+An ugly one is an exception, and is very seldom seen. In most cases the
+lodge is similar in character to the mansion to which it permits
+approach: a Gothic house, hence has a Gothic lodge, and an Elizabethan
+
+[Illustration: Section.]
+
+house a lodge of the same character; frequently it is in the Rustic
+style that would suit either. Of this the present design and the
+following are examples.
+
+This design was made for one story only, and it is placed so as to
+command, or have a view of two roads by which it can be approached; the
+plan shows a living room, 13 ft. by 13 ft., a scullery, _g_, 12 ft. by 9
+ft, a larder, _h_, and two sleeping rooms. It has a porch, formed with
+trunks of trees, enclosing a seat or bench. The back front is made of a
+pleasing character, having a covered way to the closet and coal cellar,
+_l_.
+
+The section shows the height of the rooms, 11 × 6 from floor to collar
+beam. The construction was to have been in the common fashion in brick,
+with red brick facing, and compo dressings round the windows and top of
+chimney stack, the latter in cut red brick. An erection of this kind
+could not be completed under a cost of about 370_l._
+
+[Illustration: Plaster cornice for a drawing-room.]
+
+
+
+
+_DESIGN No. 9._
+
+A PARK LODGE.
+
+[Illustration: Front elevation.]
+
+[Illustration: Ground plan.]
+
+
+This design was a second study for the same small building illustrated
+in the previous design. It was intended for a different site, and so
+placed as to command only one road of approach. It could have been seen
+for nearly two miles previous to reaching it, and was placed about
+twenty feet behind the entrance gates; the front had a rustic porch
+intended to contain rustic seats. The plan shows a living room 18 feet
+by 14, a small scullery, _g_, larder, _h_, and two sleeping rooms each
+13 feet by 10 feet. The section is taken through the centre of the
+building, showing the front and back porch. It could be constructed for
+about 375_l._
+
+[Illustration: Section.]
+
+Either of these lodges could be constructed in concrete, the walls twice
+the thickness, the chimney stock in brick and cement, and their cost
+would be reduced.
+
+
+
+
+_DESIGN No. 10._
+
+AN ENTRANCE LODGE TO A PARK
+
+
+This lodge stands within an ancient park in Kent. It occupies a
+triangular piece of ground and commands three roads of approach. The
+building is
+
+[Illustration: Perspective view.]
+
+strictly in accordance with the style of the old family mansion within
+the park itself, which is a celebrated structure of the times of
+Elizabeth and James I. The
+
+[Illustration: Ground plan.]
+
+perspective view represents the lodge as seen from the avenue of trees
+within the park, the road coming
+
+[Illustration: The front elevation.]
+
+between. In the ground plan, p. 105, _a_ is the porch, _b_ the living
+room, _c_ the scullery, and _d_ the larder; _g_ are the steps leading to
+a vault under the stairs, used for coals, and _f_ is the stone cover
+over the dry well. Considerable care and attention were
+
+[Illustration: Perspective view of back and side fronts, from a
+photograph.]
+
+bestowed in working out the details of this building, which was wholly
+erected by the workmen of the estate, with bricks and stone also from
+the estate. The lower part or plinth of the structure is of ashlar
+ragstone in random courses, the top course header faced, the joints
+worked fair, and a sunk splay in the top tooled fair, the course rising
+nine inches on the
+
+[Illustration: Plan of upper floor.]
+
+face, with an average depth in the bed of eleven inches. The string over
+the lower windows is in moulded brick,
+
+[Illustration: Plan of roof timbers.]
+
+faced with compo,--the gables and the chimneys are constructed and
+finished with cut red bricks. The
+
+[Illustration: Side elevation.]
+
+[Illustration: Details of entrance porch.]
+
+finials, of which there are three, are copied from those of the old
+mansion, and cost each 3_l._ The front and side elevations are here
+given, together with the details of the entrance porch. The columns were
+formed of trunks of trees, with an entablature and pediment of brick
+tiles and compo, with iron ties securing the whole.
+
+[Illustration: Finial.]
+
+[Illustration: Finial.]
+
+The brick walls were splashed externally in four colours, black, white,
+red, and yellow, which gave a very pleasing tone of colour to the whole.
+The plan
+
+[Illustration: Section.]
+
+of the upper floor shows the rooms like the lower, each of the average
+length of 21 and a width of 10 feet. The staircase leads conveniently to
+the two upper rooms; _a_ is a trap-door to permit furniture and large
+baggage to be lifted up from below. The sections show the construction
+of the roof, the timbers of which were firmly secured by iron straps, _b
+b_. The chimney forms a prominent feature in the centre of the building,
+the construction of which is shown in the annexed cut; _c_ are corbel
+bricks, _b_ the iron strap.
+
+[Illustration: Section.]
+
+The last two illustrations are sections through the coal-cellar and the
+dry well. The photographic view shows the small circular gable over the
+staircase. There are only six of these gables, as a seventh could not be
+obtained, or it might have been called the “house with the seven
+gables.” The structure cost 526_l._, the cottage design No. 2, on the
+same estate, 311_l._, both in full.
+
+[Illustration: Plan and section of chimney stack.]
+
+
+
+
+_DESIGN No. 11._
+
+AN ENTRANCE LODGE AND GATEWAY TO A PARK.
+
+[Illustration: Perspective view.]
+
+
+The first erection of an entrance lodge and gateway to a country park,
+is often considered of sufficient importance to meet with very full and
+careful
+
+[Illustration: Ground plan.]
+
+consideration. If the park is an ancient one, the old castellated style
+for the entrance lodge will mark its character, and it is generally
+chosen, although the
+
+[Illustration: Plan of upper floor.]
+
+building or mansion within the park itself may be of more recent style.
+The family architect, in such cases, will have to make various sketches
+before one is selected that gives general satisfaction. The castellated
+Tudor design shown in the perspective view, was the first one made under
+such circumstances, and several designs were submitted before it was put
+aside, and one selected similar in style and character to the mansion
+within the park, and which was soon carried out.
+
+[Illustration: Front elevation of lodge.]
+
+The ground plan, p. 113, shows the lodge to have very little
+accommodation, one small room 15 feet by 11 feet, with a scullery
+attached; indeed, one of the principal reasons for giving up the design
+was that the steep character of the ground did not admit a larger
+erection. The staircase of the lodge led to one upper room over the
+gateway; this was 13 feet by 13 feet. The elevation of the lodge is
+shown at p. 114.
+
+[Illustration: Elevation of half gate.]
+
+[Illustration: A]
+
+[Illustration: B]
+
+[Illustration: C]
+
+[Illustration: D]
+
+The details are plain and bold; a shield of arms with quatrefoils is
+placed over the side entrance; these and the ornaments on the bay-window
+are the chief enrichments.
+
+The lodge was to have been erected with ragstone ashlar for the quoins
+and red-brick facing for walls,--the bay-window and all the strings and
+battlements were to be in Caen stone. The iron gates were to be of
+wrought iron in the olden style. An elevation of one of the gates is
+given, showing a thin ornamental pattern within a strong iron frame.
+
+[Illustration: Elevation of second design.]
+
+The parts, ¼ full size, are shown; _a_ is the top rail, _b_ the circular
+bar, _c_ a section and elevation of the hanging rail, and _d_ the
+meeting bar.
+
+The accommodation required by the gate-keeper who was to occupy the
+lodge was greater than could be well provided on the site the building
+was to stand on. What he did ask for was given in a second
+
+[Illustration: Ground plan.]
+
+design, which, as it shows a different treatment of the elevation, is
+here illustrated. In this the rooms are
+
+[Illustration: Plan of upper floor.]
+
+larger, as may be seen by the ground plan; _c_, the back room, is
+intended to be used as a boy’s sleeping room; _h_ is the larder under
+the stairs, and _l_ is a place for coals. The upper plan shows the room
+over the gateway; a second room was to be added by taking up the walls
+of the lodge.
+
+[Illustration: Details of bay-window, second design.]
+
+The elevation of this design was considered more quaint and
+characteristic of the olden style than the first; its window is copied
+from one at the old gatehouse to the abbey at Montacute in
+Somersetshire, both as to dimensions and detail. It is rather late in
+style, and not a very good example, but it is here given with a few
+sections and details to a larger scale.
+
+       *       *       *       *       *
+
+The vignette affords a plan of an old English garden with its labyrinth,
+fountains, fishponds, and flower beds.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 12._
+
+A STOVE FOR AN ENTRANCE HALL
+
+[Illustration: Elevation of stove.]
+
+
+This stove is intended to fill a recess in the hall of a Baronial
+Mansion, placed on a marble pavement with groups of ancient armour,
+pikes and
+
+[Illustration: Plan of stove.]
+
+helmets, and the other like warlike implements of ancient times,
+surrounding it. The plan shows its interior to be filled with fire-clay.
+It is only a
+
+[Illustration: The front of stove, the shield or door open.]
+
+[Illustration: Side of stove.]
+
+[Illustration: Section of stove.]
+
+common iron stove, but with a more artistic outline or figure than is
+generally seen; the section shows the construction. A moveable box is
+placed within the pedestal to receive the ashes; the smoke flue leaves
+at the back; the helmet opens to receive a cup of water; the section
+shows the construction. When the shield is open the fire is seen; this
+could be made partly open, so as to allow the fire to be wholly closed
+in.
+
+       *       *       *       *       *
+
+The vignette is a portion of a French design for an iron balconet. In
+France these balconets are regarded as necessary protections at the
+window openings. In England they are used chiefly for holding flowers.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 13._
+
+QUEEN’S GATE LODGE, HYDE PARK.
+
+
+The formation of that new and important suburb of London, known as
+Queen’s Gate, South Kensington, resulted, as is well known, from the
+exertions of His Royal Highness the Prince Consort. It
+
+[Illustration: First design, Gate Entrance to Hyde Park.]
+
+promises soon to become the most fashionable and attractive portion of
+the Metropolis, as the land is engaged for the purpose of applying it to
+national objects connected with the Arts and Sciences, by the
+
+[Illustration: Perspective view of Lodge, Queen’s Gate.]
+
+[Illustration: Ground plan.]
+
+[Illustration: Basement plan.]
+
+Government. Consequently, with the beauty of the situation, this has led
+to the erection of a large number of first-class mansions of the value
+of from 20,000_l._ each to 3000_l._ (leaseholds.) The author of this
+work, at the time of the purchase by the Government, was surveyor to the
+principal estate in that locality--that of the late Charles, Earl of
+Harrington;
+
+[Illustration: Perspective view of Lodge opposite the Exhibition Road,
+Hyde Park.]
+
+and an opening to Hyde Park, for the chief new road, being granted by
+Government, he had to submit designs for the new entrance lodge and
+gates to the Commissioner of Public Works. The first design he had made
+had previously been submitted to the Prince. It was on a large scale, an
+archway being placed in the centre, with gates and lodges on each side.
+But as the new entrance had to be made at the expense of the builders of
+the Harrington Estate, designs of a more modest character were chosen.
+
+[Illustration]
+
+Lord Llanover, then Sir Benjamin Hall, was the Chief Commissioner of
+Public Works, and took great interest in the designs, repeatedly
+visiting the spot, and having various studies made; indeed the works
+were carried out under his supervision and direction.
+
+The opening into Hyde Park was 140 feet in length; this was filled up by
+the gates and railings, a lodge being placed within the park.
+
+[Illustration: Front elevation.]
+
+[Illustration: Side elevation.]
+
+The view shows the lodge as it was erected by Mr. Aldin, one of the
+building lessees of the Harrington estate; it cost him about 800_l._ The
+iron gates and railing were put up by Mr. W. Jackson, the chief building
+lessee on the same estate, at a cost which amounted to upwards of
+2000_l._
+
+[Illustration: Section through length of building.]
+
+The lodge contains two rooms on the ground floor the front room being 17
+feet by 12 feet, the back room 13 feet by 11 feet. The basement has two
+rooms of the same size; with a small yard, a place for coals, and a dry
+area surrounding the whole. The plans are shown under the perspective
+view; the front and side elevations on page 128; the small portico has
+the centre columns without rusticated blocks, so that no square edges
+or projecting parts obstruct the entrance of persons into the lodge.
+
+[Illustration: Cross section.]
+
+The section through the length of the building shows the two upper and
+the two lower rooms, with the sunk yard; it does not show clearly the
+section of the ground outside the building; the level of this is 18
+inches below the floor of the upper rooms. The basement is completely
+buried, but as the small structure stood upon a mound and was protected
+by a dry area, this was of little consequence. The cross section next
+given shows the level of the outside ground correctly, with the two dry
+areas. Over this cross section are given two small details of the
+construction of the roof.
+
+The building was of stone and brick, the ashlar front of the walls Bath
+stone, and the cornice of Portland--this was made so as to form the
+gutter.
+
+The lodge has lately been taken down, and reconstructed on the opposite
+side of the entrance gate. So completely was this done that only one
+small block of stone was required to complete it, and this was only a
+replacement of one broken. The structure itself has been reproduced by
+the Government as a lodge opposite to the Exhibition Road. In the cut at
+page 127, is given a section through the portico and a section through
+the end wall.
+
+The first design, made by the author, was intended to embody the views
+of His Royal Highness Prince Albert, in regard to the arrangement of the
+buildings for the purpose of Science and Art then proposed to be erected
+on the newly purchased estate. They comprised one for the collection of
+Pictures, at that time occupying only half the building at Trafalgar
+Square; this, the New National Gallery, was to be surrounded with other
+structures, affording ample accommodation for the chief learned and
+Artistic Societies of London. A large central Hall of Arts and Sciences
+was to be placed in their midst; the whole to form a metropolitan
+institution for the promotion of scientific and artistic knowledge as
+connected with industrial pursuits. It is well known that the surplus
+funds of the Exhibition of 1851, amounting to the sum of 150,000_l._,
+were offered by the Royal Exhibition Commissioners at the instance of
+the Prince, for the purpose of carrying out this grand conception. The
+report of the House of Commons’ Committee on the National Gallery
+strongly recommended the offer to be accepted, and Parliament at first
+assenting, voted another sum of like amount for carrying out the entire
+project. The sum of 300,000_l._ was found, however, insufficient for
+purchasing the whole of the ground required, and a further grant of from
+25,000_l._ to 27,000_l._ was voted by Parliament, and a sum of
+15,000_l._ was given by the Royal Commissioners. Mr. Cubitt was engaged
+to obtain the ground, and the roads through the Harrington estate were
+planned by him in conjunction with the author, who aided him to the
+utmost of his power in obtaining the land requisite to complete the site
+required for the various buildings proposed to occupy it. The site was
+2100 feet in length, by an average breadth of 1200 feet, and consisted
+of about 56 acres; the level of the ground on the north of Kensington
+being about 36 feet higher than the portion at Brompton. Another block
+of land, upon which the Department of Science and Art is at present
+placed, made a space with an average width of 700 feet--in the whole 86
+acres.
+
+In sketching the design for the general building, of which a bird’s-eye
+view is here given, the author only took the 56 acres--the view shows
+only that portion of the building facing the Prince Albert’s Road, now
+called Queen’s Gate. It is placed in the centre of the land, so as to
+have large open grounds surrounding it. These at any time could have
+been covered up for the purpose of national exhibitions similar to those
+of 1851 and 1862. By putting the level of the ground floor of the new
+building about ten feet above that of the Kensington Road, a
+sub-basement would have been obtained, over 30 feet in height, affording
+ample space for arranging and storing works of art, as well as for
+receiving articles to be exhibited, or a great portion of them, from the
+upper parts of the building should the latter be wanted for any special
+purpose, and affording room likewise for all minor business departments.
+The Hall of Arts and Sciences was to be placed in the centre of the mass
+of building: a portion of the dome is seen in the view at the upper
+left-hand corner. This room was to be made 300 feet in length, by 180 in
+width. Two galleries for paintings, each 1000 feet in length and 80 feet
+in breadth, were to be placed on each side of the Central Hall. The
+sculptures from the British Museum were to be deposited in the central
+smaller halls of approach. The various Societies were to occupy the
+side-wings,
+
+[Illustration: View of Queen’s Gate, Hyde Park, with the National
+Gallery and other buildings, as suggested by His Royal Highness the late
+Prince Consort.]
+
+each having its meeting and lecture room, and all necessary offices and
+apartments. The public were to enter at the porticoes seen in the view,
+and the carriages of the professors at the gateways in front. Two roads
+were proposed traversing the ground from north to south, and giving easy
+access for vehicles to every part of the building.
+
+In the small block plan attached to the view, placed on the upper
+right-hand corner, _b_ is the Prince Albert’s Road, _a_ the Exhibition
+Road, and _c_ and _d_ the roads north and south.
+
+The design was placed before the Prince at one of the Architects’
+meetings at the Earl de Grey’s, and it was exhibited at the Royal
+Academy in the same year. The House of Commons, however, after granting
+such a large sum of money for the purchase of the land, expressed its
+disapproval of removing the National Gallery from the present position,
+said to be the finest site in Europe, and the Fellows of the Royal
+Academy were informed that the portion of the building they then
+occupied would be added to that of the gallery. A view of the gates and
+lodge as at present executed is here given.
+
+[Illustration]
+
+It cannot be supposed that a sum of 340,000_l._ would have been expended
+by the nation for the purpose of giving the Horticultural Society a
+perpetual lease of the best portion of the estate purchased. It is
+already evident that the gardens are not well situated there. The smoke
+of the district will not permit the growth of delicate plants, and their
+exhibitions are supplied from the gardens at Chiswick. In much less than
+fifty years their grounds will probably be the centre of London, and
+consequently the noble conception of His Royal Highness has still a good
+chance of being carried into effect. The Society will be smoked out when
+the city bounds are extended. The present National Gallery building will
+be wanted either for a Bank of England or a Royal Exchange, and my Lord
+Mayor may follow the example of the India Directors, and leave the
+Mansion House, to move to Whitehall. A tunnel under the Exhibition Road
+takes visitors into the grounds direct from the railway, that now makes
+them as easy of access from the heart of the City as Charing Cross
+itself.
+
+A few remarks may be made here on the great rise which takes place in
+the value of land in any fashionable neighbourhood of London required
+for the erection of buildings.
+
+The Harrington estate at Kensington Gore, containing in the whole 93a.
+3r. 27p., was the joint property of the Earl of Harrington and of the
+Baron de Villars, through the right of his wife, the Baroness de
+Graffenried Villars. Previous to 1848 it had been some time in Chancery.
+In that year Mr. John Gaunt Lye was appointed auditor and agent to the
+fifth Earl of Harrington for the whole of the property. The rental of
+the Kensington Gore estate amounted at this time to 2779_l._ 9_s._ per
+annum. Through Mr. Lye’s exertions, he having received a power of
+attorney for the purpose, the estate was taken out of Chancery, and a
+division took place on the 7th May, 1850, at Mr. Lye’s office in
+Lancaster Place. For the purpose of division, one portion--that charged
+with maintaining the Cromwell Almshouses--was valued at 41,996_l._, and
+the other at 40,552_l._ Cards representing each portion were placed in a
+hat, and the one representing the 41,996_l._, was taken out by the
+Baron.
+
+In 1851 the Earl’s portion was let to Mr. W. Jackson on a building
+agreement for 99 years, at 100_l._ per acre, or 4600_l._ per annum. In
+1852 the Baron de Villars sold his moiety to the Royal Commissioners for
+the Exhibition of 1851 for the sum of 153,793_l._ The Commissioners only
+wanted a small portion of the Earl’s property. The first offer made by
+Mr. Cubitt to the surveyor of the estate was 40,800_l._ for 17 acres,
+or at the rate of 2400_l._ per acre. This was declined, and after a
+little negotiation the sum of 54,716_l._ was obtained. The matter was
+settled on the 7th of March, 1853; Mr. Jackson the builder received
+7964_l._ as compensation for the loss of so much of his building land.
+
+More land was purchased by the Royal Commissioners to make up the site
+they required; in the very middle of the latter was a field which had
+only been used as a place for beating carpets. It belonged to the Smith
+Charity estate, and fetched a rent of about 40_l._ per annum; this field
+was obtained by giving in exchange an outlaying one on the Villars
+estate, the building value of which was estimated at 800_l._ per annum.
+
+The Royal Commissioners, after squaring the site they required, and
+putting aside the portion now occupied by the Department of Science and
+Art, parcelled out the remaining outlying portion into three blocks, and
+let them on building leases. The first and most important of these was
+secured by the author for an employer, at a rental of 1500_l._ per
+annum, on condition that the fee of each house plot could be purchased
+within 6 years after the lease was granted; it contained about 2 acres.
+And these are now the only freeholds that can be obtained. This plot is
+now covered with buildings of the selling value, as leaseholds, of
+250,000_l._, and it produces an improved ground rental. For the purchase
+of the whole fee, the sum to be paid was 46,500_l._, so that for a
+portion of this land which the author of this work, as surveyor of the
+property, sold in 1852 for little more than 3200_l._ per acre, the value
+had risen, in 1860, to no less than 23,250_l._ per acre.
+
+It is only since Hyde Park has become almost the centre of the
+metropolis, instead of being in one of its rural districts, that
+attention has been paid to supply it with ornamental lodges and gates.
+The country was so long occupied with the importance of the war with
+France, which terminated so gloriously to the honour of our country,
+that the Royal Parks were left in a very neglected state; and the gates
+and lodges, particularly the entrance into London by Knightsbridge, were
+mean in character, and totally unworthy of the purpose.
+
+Londoners of the present day have no notion of the wretched state of
+Hyde Park as it existed fifty years ago. The side next Park Lane, now a
+beautiful walk, adorned by the gardener’s utmost skill with several
+varieties of flowers and shrubs, was then a narrow sunken road, which
+for the most part continued, by the side of the boundary wall, all the
+way from Oxford Street to Piccadilly. This, when improvement commenced,
+was filled up, and laid down in grass; and a wide Mall, with two
+foot-paths, was formed on the higher ground, and enclosed by handsome
+iron posts and rails. Some extensive gravel pits existed in the middle
+of the park; these were filled up, one only being permitted to remain.
+The surface of the park was generally levelled and manured, by which the
+herbage has been greatly improved. Numerous seats were placed about the
+park, for the convenience of the public; clumps and avenues of trees
+were planted. The Serpentine was cleansed for the first time; it is just
+now recleansed. A new drive, nearly a mile in extent was made through
+the most distant and beautiful part of the park, to lead to Kensington
+Gardens; and generally, all the roads were macadamized, and enclosed
+with posts and rails. To connect the roads north and south of the
+Serpentine, a handsome bridge was erected, from the designs and under
+the superintendence of Messrs. Rennie. This has much conduced to the
+accommodation of pedestrians and horsemen.
+
+About twenty years after these great improvements were effected, Queen
+Anne’s garden, at the extreme termination of Kensington Gardens, was
+thrown open to the public; the kitchen garden belonging to Kensington
+Palace was let out on building leases, and a road formed through it
+connecting the town of Kensington with Bayswater. This road, called the
+Queen’s Palace Gardens Road, is now covered from end to end with
+first-class mansions. The improvements continued, and are being still
+carried on.
+
+The lodges and gates, at the chief entrances into the park, were put up
+at the expense of the nation. When any building operator required an
+entrance into the park, for some new outlying district, he bore the
+expense of the construction, working under the direction of Her
+Majesty’s Chief Commissioner of Works. The Government lodges at
+Cumberland Place cost 2151_l._ One of these has been lately removed to
+widen Park Lane.
+
+The two first lodges, with gates opposite Stanhope Street, cost 5062_l._
+The single lodge at the end of Grosvenor Street, with the iron gates,
+cost 2929_l._, and the fountain 340_l._
+
+The grandest of all these erections, that at Hyde Park corner, adjoining
+the Duke of Wellington’s mansion, cost 17,069_l._
+
+The first lodge and entrance gates put up by a private building
+contractor was the Albert Gate, erected by the late Thomas Cubitt; the
+lodge is sunk, its flat roof being on a level only eight feet above the
+ground, and containing two small rooms, with a little yard and scullery.
+The iron railing forming the carriage gates and entrances to the
+foot-paths is of the same height as the lodge, and extends about 60
+feet; the stone piers have on them the old stags which formerly
+decorated the stone piers at the entrance of the Ranger’s Lodge in
+Piccadilly. This gate gave an entrance by Hyde Park to Belgravia, and
+very much raised the value of that district.
+
+The next lodge and gate were put up by Mr. Kelk, opposite the fine
+mansions at Prince’s Gate. This is known as the Prince of Wales’s Gate.
+
+There are two lodges in size and plan exactly similar to the lodge at
+the Queen’s Gate. The gates and railings are very plain; they are 12
+feet in height, and extend to a length of 77 feet.
+
+The Queen’s Gate lodge and gates are certainly the chief of all the
+erections put up by building contractors; their cost was 2800_l._, as
+previously mentioned. Both in ornamentation and character they vie with
+the best erections put up by the Government. The length of the iron-work
+between the stone pedestals is 140 feet; the height of the common rails,
+11 feet above ground; the height of the standard and lamp, 18 feet;
+there are two carriage gates, each of 15 feet opening, and two entrances
+for foot-passengers, each of 10 feet opening. The stone pedestals at
+each end are 6 feet in width by 15 feet in height. The iron-work is
+designed to represent a group of spears; the author wished to surmount
+the pedestals with groups of military arms similar to those of the
+trophies of
+
+[Illustration: Design No. 13. Elevation of centre of iron-work, Queen’s
+Gate.]
+
+Marius on the balustrading in front of the Senatorial Palace, Rome.
+These could have been constructed in
+
+[Illustration: Elevation of one of the Iron Standards.]
+
+stone, at little expense. Sir Benjamin Hall wished for marble statues,
+and on Prince Albert’s suggestion models were made of two reclining
+figures, by Mr.
+
+[Illustration: Section showing construction of Standard.]
+
+Theed, representing “Morning” and “Evening.” These would have caused
+great additional expense to the builders, who wished, as the entrance
+was a great improvement in the value of the Earl of Harrington’s
+property at Kensington, to place, on the piers, two
+
+[Illustration: Plans of Standard at various heights, showing
+construction.]
+
+fine antique statues of Hercules then on the gates at Elvaston in
+Derbyshire, a country seat of the Earl’s. But as the statues belonged to
+the estate, and were entailed property, they could not be removed, and
+the Earl objected to their being taken down for the purpose of casting.
+The effect of the whole is much injured by the pedestals remaining
+unoccupied. The plate on page 143 represents the centre of the ironwork,
+surmounted by the Royal Arms.
+
+[Illustration: Iron block and ball latch.]
+
+The gates and railing are of very superior construction; they are the
+work of Mr. Turner, of Hinde Street, Manchester Square. They have been
+pronounced by the Government officials as requiring little attention,
+and that the gates open and shut better than any other gates in the
+park. Page 144 gives an elevation of one of the iron standards. Each is
+two feet in width; there are ten of them; four, those belonging to the
+carriage entrances, being surmounted by lamps. The small size of this
+volume will not allow a full illustration of the ornamentation to be
+given, but it admits that important part, the construction, to be
+clearly shown. Page 145 gives a section of one of the standards, _d_ is
+a layer of concrete, 1 foot 6 inches in height and four feet in width,
+which goes all through; _a_ is the York landing, 6 inches thick and 5
+feet square; _b_ is the brickwork, this goes all through; _c c_
+represent the blocks of Portland stone; and _e_ is the granite curb 8
+inches by 10 inches in section, within the entrances.
+
+[Illustration: Wheel block.]
+
+Page 146 gives the plans of the standards at different heights, showing
+the several plates given in the section; and on page 149 is a section of
+the wrought-iron coupling-bar with its brass bush.
+
+The gates move on a hardened steel socket of circular form, working
+within a steel box, as shown in the section.
+
+[Illustration: Fall-down latch.]
+
+[Illustration: Coupling-bar.]
+
+Iron block and ball latches are provided for each of the gates. On pages
+148 and 149 are cuts of the wheel block, with the plan, elevation, and
+section of the stopping-piece or fall-down latch. The stopping-piece is
+keyed into the granite curb in the centre of each gateway; _a a_ is the
+lower rail of gates, and by its side is a small portion of the ornament
+between the rails. That the effect of the whole structure was, very
+much injured by the unfinished state of the pedestals was the opinion of
+Lord Llanover, who sent the following letter to the architect,
+expressing his dissatisfaction:
+
+                                            Great Stanhope Street,
+                                                _July 11, 1859_.
+
+     SIR,
+
+     The works at the Queen’s Gate, Hyde, Park, are very well executed,
+     and the entrance, as completed, produces a good effect; but that
+     effect would be materially improved if the gates and the railings,
+     and the ornamental works were relieved by colour, and some of the
+     parts gilt as I intended they should be. The two pedestals are also
+     without the groups which were to form the superstructure of the
+     square blocks. The work so far as it is executed is very well
+     executed, and I am quite satisfied with it so far; but I shall not
+     consider it completed until the groups are placed on the pedestals,
+     and the best effect will not be produced so long as the iron-work
+     remains wholly black.
+
+                                                      I am, Sir,
+
+                                                     Yours faithfully,
+
+                                                       LLANOVER.
+
+C. J. Richardson, Esq.
+
+
+
+
+ON THE FOUNDATION AND BASEMENT WALLS OF BUILDINGS, DAMP PREVENTION, AND
+FIRE PROOF CONSTRUCTION.
+
+
+The foundations of buildings require careful consideration. When a house
+approaches completion and shows cracks in the upper walls, they arise
+either from insufficient attention having been given to the solid
+character of the earth forming the site, or from bad construction at the
+basement. The building in fact settles down unequally. As a settlement
+of every building is certain to take place upon its completion, the
+greatest precaution should be taken to make it as equable as possible.
+No portion should settle deeper than another, and this can only be
+secured by care at the foundations.
+
+It often happens that portions of a selected site are of unequal
+quality. In such cases it is necessary to excavate the worst portions
+deeper to reach a good stratum, and to take the brickwork lower, no
+filling up beyond the usual thickness of concrete being allowed.
+
+There is another very serious evil, in building, to be guarded against.
+Owing to the moisture of the earth rising through the foundations and
+saturating the walls above, the health of the occupants of such houses
+may be seriously affected by its presence in the walls. About twenty
+years ago it was the universal practice in good buildings to place wide
+stone landings--three times the thickness of the wall above--under the
+foundations, for the purpose of preventing the damp from rising as well
+as to spread the width of the wall.
+
+[Illustration: Section of a proper foundation for a wall.]
+
+A bed of concrete is now used as a substitute for this plan; the
+engraving below shows the best method of constructing foundation walls.
+A trench, three times the width of the wall is dug, at least 2 feet 6
+inches in depth. Into this is thrown a quantity of concrete, which soon
+dries and becomes solid. In the superior class of buildings a layer of
+concrete, six inches in thickness, is placed entirely over the ground,
+inside the foundation. Upon this concrete the walls are built, the
+lowest footing being twice the width of the wall above. On a few courses
+above the top footing a course called a “damp course” is put; this is
+shown at _a_, page 152.
+
+Two courses of slate are laid in cement; but other materials are often
+used, as a thin sheet of lead, for the whole width of the wall. Zinc
+might answer, but it has not yet been tried. A thin coat of asphalte, or
+asphalted cloth, tar, pitch, or a plain coat of cement are also often
+employed, but the two courses of slate in cement are considered
+sufficient. The first course of bricks above the ground is often formed
+entirely of air bricks, originated by Mr. Aldin, the builder, of
+Kensington. Each brick has eight or ten perforations, ½ inch in
+diameter, through its whole length; a small piece of perforated zinc is
+placed upright between the bricks to prevent insects from entering. This
+is shown at _b_. The timbers and stone flooring of the basement do not
+enter the walls, but rest upon dwarf walls, the joists having oak
+sleepers to rest on. The brick fenders of the foundations are entirely
+filled with dry rubbish or ironfounder’s ashes, and the stone hearths
+bedded solid either in mortar or concrete. This is the construction
+shown in all the designs of this volume. To illustrate still further the
+attention given in constructing foundations, the engraving below is
+given, showing a section of a foundation executed several years ago at
+Westminster, where the ground was uncertain. Its scale is only half that
+of the previous figure, the upper wall being 3 feet in thickness
+
+[Illustration: Section of foundation to a wall.]
+
+instead of 1 foot 6 inches. Above the bed of concrete, which is 9 feet
+in breadth, by 3 feet in thickness, are York landings, _a_, 4 inches
+thick and exceeding 6 feet in width. Upon these are laid two lines of
+wood sleepers, _b_, bedded in brick and cement, the size of each sleeper
+being 12 by 6 inches, and in long lengths. Above this is a course of
+planking, _c_, placed diagonally across the wall; each plank being 12
+inches by 6 inches, and about 9 feet in length. Above this are the
+footings, each two courses in height: in the return walls the landings,
+sleepers, and planking are placed a course higher, so that they might be
+tied together. The brickwork goes down twelve feet, and invert arches
+are turned at every opening.
+
+[Illustration]
+
+In order to keep the walls as solid as possible in the lower part of a
+building, the ground floor joisting should rest on projecting corbel
+bricks as here shown,--the joists going between the cross walls rest
+upon projecting bricks, the upper one being of peculiar strength; tall
+piles are put between each joist against the wall, for the skirting in
+cement to be formed upon it. Air bricks in open iron-work, two to each
+front, are placed so as to admit air within the joisting.
+
+This mode of construction is carried throughout the ground floor.
+
+The stone landing of the passage by the side of the servants’ stairs, is
+supported on the part next the wall by corbel bricks, and on the other
+side by an iron bar let into the wall at each end; as shown above. In
+the upper floor, the joisting should be reversed and go front to back,
+notched on wall plates let into the wall, thus tying both walls
+together.
+
+[Illustration: Section of stone landing of passage.]
+
+[Illustration: Section of kitchen roofing.]
+
+The introduction of rolled iron girders into buildings renders fireproof
+construction very easy. They are made of all sizes, and can be placed
+over any opening, so as to carry the weight above them. Kitchens in many
+London houses are constructed in the back yards, with an area between
+them and the house. This confines all the smell of the cooking to the
+precincts of the kitchen. As it is very important that no roofing should
+interrupt the light from the back ground-windows of the house, the roof
+of the kitchen is so constructed that the yard is only moved upwards; it
+belongs to the ground floor and not to the basement. For this purpose,
+cast iron girders, standing on brick piers, bear up rolled iron six-inch
+girders, between which half-brick arches are turned. Above all these is
+concrete, cement, or asphalte. The courses of tiles and cement are laid
+at such a slope as will be sufficient to take the water off quickly. It
+is easy to put skylights, or any kind of opening, in this construction,
+and to make the whole water-tight.
+
+This figure shows a way of supporting walls over openings, instead of
+the old method of arching in brick; the iron girders or plates have
+often no timber between them; they rest upon iron shoes or stone slabs,
+their depth being proportioned to the opening and the weight above.
+Strong large hollow bricks or tiles are placed over them, and above all
+is the brickwork.
+
+[Illustration: Support over opening.]
+
+The upper floors of buildings are made fire-proof in a similar manner,
+and for this purpose there are several excellent patented methods. The
+iron girders are closed up by brick arches, or filled between with
+concrete. The only objection to this mode of construction for upper
+floors is the great weight, and the walls require to be made of extra
+strength. Several years ago a hollow brick was used to form such arches
+and roofing, _e.g._, the dome of the Rotunda, at the Bank of England, is
+formed with them. The brick is somewhat similar to a flowerpot, but flat
+and closed at each end. There were several varieties of these cone
+bricks, as they were called; a few are preserved in the Soane Museum.
+One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8
+by 2 inches at the bottom. They were curved inwards with a small
+opening, 1 by 2/8 inch in the centre. The edges of the brick were
+slightly splayed, and the sides scored; these were as strong as the
+common bricks, and very much lighter. When the East India House was
+pulled down a large quantity of these bricks was obtained; they were
+brought to Kensington, and the builders did not know what they were
+intended for; their purpose being pointed out, they were used up in the
+construction of fire-proof flooring.
+
+_Fire-proofing._--A method of rendering buildings nearly fire-proof was
+introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted
+in placing thin metal plates between the flooring boards and the joists,
+so as to prevent any upward currents of air. For domestic buildings the
+system was one of great value. After several successful trials it
+obtained considerable notoriety, and being thought capable of an
+impossibility, that of rendering a Theatre fireproof, it was applied to
+the Pantheon Theatre in Oxford Street. On that structure being burnt to
+the ground the plates lost their character, and went out of use. It was
+clearly a mistake to apply them to such a building. Thin iron plates
+hung at a short distance below the ceiling were successfully adopted by
+Mr. Walter Crum, to prevent the spread of fire from one room to another
+in his calico printing works, near Glasgow.
+
+_Damp._--The damp rising from foundations is more easily guarded against
+than damp coming against a building laterally. Houses in exposed
+situations and subject to driving winds, are often very wet inside the
+walls, the rain being driven through them. Sometimes the best
+construction will not keep out wet. As a rule, a well-built wall wherein
+proper material has been used, should not be damp.
+
+A rectory, not far from Salisbury, where the author was engaged a few
+years ago, was in such an exposed situation that on three of its sides
+no tree or any other object in a direct line could be seen for three
+miles. Clothes, if placed against the external wall of the
+dressing-room, were often quite wet. The Rector had tried several
+preventives himself; one was a mixture, used to water-proof cloth--a
+wash of soap and alum.
+
+The ingredients were mixed in the following proportions: ¾ lb. of
+mottled soap to 1 gallon of water. This mixture, when in a boiling
+state, was laid over the surface of the brickwork steadily and carefully
+with a large flat brush, so as not to form a froth or lather on the
+surface, and was permitted to remain twenty-four hours to become dry and
+hard. Another mixture was then made in these proportions: ½ lb. of alum
+to 4 gallons of water, which, after standing twelve hours, in order that
+the alum should be completely dissolved, was applied in like manner with
+a flat brush over the coating of soap. The coating had to be very often
+renewed. The wall most exposed was made free from wet by being covered
+with a coating of cement.
+
+Walls exposed to damp should be coated with a thin layer of Portland
+cement, mixed with a little plaster of Paris, and after this is
+thoroughly dry, it may be hardened and rendered impervious to water by
+painting it with boiled linseed oil and red lead, mixed together.
+
+In very exposed situations all external walls should be battened, lath
+and plastered within, or built with a hollow cavity in the middle, with
+proper bond and a proportionate increase of thickness,--the hollow
+could be filled with concrete, or the back of the bricks covered with
+pitch. There are several other methods for keeping walls free from damp.
+One is to saturate the walls with some kind of mastic, or a wash
+composed of two or three parts of resin and one part of drying oil, to
+the extent of as many washes as the wall will absorb. This must be quite
+dry at the time, or be dried by means of a small portable furnace. The
+plan is effectual, but it is a difficult operation to perform. A cement
+composed of lime, boiled linseed oil, white lead, and sand, has been
+recommended.
+
+Besides these various compositions, there are several excellent
+well-known paint and metallic cements, which have stood very severe
+tests, and are largely made use of; but walls properly constructed
+should not require their application.
+
+[Illustration: Plaster ornament for a ceiling.]
+
+
+
+
+_DESIGN No. 14._
+
+A SMALL COUNTRY RECTORY.
+
+[Illustration: Perspective view.]
+
+
+This design was made for a country clergyman residing near Montacute, in
+Somersetshire. It was arranged according to his express directions in
+every particular, both as to style, and in regard to the number and size
+of the rooms on each floor. Living in the immediate neighbourhood of
+some of the finest
+
+[Illustration: Ground plan.]
+
+old English mansions, he was anxious to have a residence in the old
+decorated style of wooden architecture, certainly the most picturesque
+of all the styles our forefathers have left us. The timber dwelling is
+found in almost every county throughout England, with their projecting
+windows and highly ornamented bargeboards; several large houses in
+Cheshire and Shropshire remain to satisfy us that such construction,
+when properly carried out, is very lasting. The timber used requires to
+be felled at the right time, and to be properly seasoned before being
+placed up; which must be done on a brick or stone foundation. Dwellings
+constructed in this way were anciently
+
+[Illustration: Plan of upper floor.]
+
+called post-and-pan houses. They have been known to rock and bend before
+severe storms, and to stand intact while adjoining buildings have been
+blown down. Large palaces were formerly constructed in England of wood;
+the chimney flues and fireplaces alone being of brick. The sketch-book
+of John Thorpe, an Elizabethan architect, a copy of which is in the
+fine library of the Art Museum of South Kensington, illustrates several
+of these dwellings.
+
+With the present design it was the intention of the rector to carry out
+the work himself, the necessary drawings being provided him. The
+building is small and compact. When much adornment is intended, it is
+necessary to confine the expense within
+
+[Illustration: Ornament in ceiling of study.]
+
+bounds; if a cheap large house with plenty of accommodation be required,
+then four walls and an overhanging roof alone need be given. The view
+shows the principal front of the building; on page 163 is the ground
+plan; _a_ is a small hall having a window looking into the conservatory
+on the right; the door leading to the servants’ department is on the
+left; _c_ is a small study, 16 ft. by 14 ft., with a decorated ceiling,
+containing the shield of arms of the owner. The drawing-room, _d_, size
+28 ft. by 15 ft, has the
+
+[Illustration: The ceiling of drawing-room.]
+
+ornamental ceiling of bold Elizabethan character; this covers the whole
+ceiling, and the effect of such ornamentation
+
+[Illustration: Cornice of drawing-room.]
+
+is very good. Often, in the olden times, a portion of the rib moulding
+was gilt, the ground of the ceiling being of a light blue; ceilings of
+this kind exist which represent foliage and flowers, giving the effect
+of a garden bower. The preceding illustration shows the present ceiling.
+The simple rib moulding is in plaster, with small flowers and pendants.
+The section of the rib moulding to a large scale is shown in the cut;
+which also gives the cornice and frieze of the room; _e_, in the ground
+plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace
+paved with
+
+[Illustration: Plan of attic. Basement plan.]
+
+marble in black and white squares--the present ornamental tiles were not
+in common use at the time the design was made; _f_ is the kitchen, _g_
+the scullery, and _h_ the larder. A small enclosed servants’ yard, with
+place for coals, wood, and other conveniences, is in front of the
+kitchen. The yard has a separate entrance from the front. This is the
+whole of the accommodation given on the ground floor. The one-pair plan
+shows the five bedrooms. These are without dressing-rooms, there being
+no space for them. A small turret staircase leads to the attic floor.
+This gives two large bedrooms and a small one for the
+
+[Illustration: Section through building.]
+
+servants. The large bow-windowed room might serve as a nursery. The
+tower was carried up and contained a bell. The basement plan contains a
+large and small wine cellar, and one also for beer; there are four
+cellars, besides an inner cellar under the stairs.
+
+[Illustration: Front elevation.]
+
+The principal staircase is very light and cheerful, having on one side
+three large windows, with a ledge or stand for flowers. It was proposed
+to panel it entirely with oak, and have an ornamental ceiling similar to
+that in the drawing-room, with a pendant in the centre. The section is
+taken through the drawing-room, staircase, and kitchen, and shows the
+form and height of the rooms above; also the stone stairs to the
+cellars.
+
+[Illustration: Details of gable ornaments.]
+
+It will be seen that the walls rest upon a concrete foundation; the
+scale is too small to show the damp course or the ventilating bricks, as
+previously described (see page 159). The chimneys are shown carried up
+nine inches square, excepting the kitchen chimney, that being 14 inches
+by 9. The staircase was to have a plain Elizabethan iron railing, and
+the whole of the wood-work to be coloured and grained oak; the roof was
+to be covered with slate, these requiring a less solid base; ornamental
+ironwork crowned the summit of the principal roof over the staircase. An
+illustration of the front of the building is given on page 169.
+
+[Illustration: Section and elevation of chimney.]
+
+The figures on page 170 illustrate various kinds of treatment for the
+carving of the finials and pendants, and the ornaments of the small
+gables; it being usual in these structures not to have any two parts of
+ornamental detail exactly alike. It has all to be carved by hand, and
+requires only slight extra trouble on the part of the architect to make
+separate patterns for the workmen. A section and elevation of one of the
+chimneys are shown also; they are fitted with the small cap introduced
+and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and
+Pimlico; this will
+
+[Illustration: Knocker. Key escutcheons.]
+
+[Illustration: Oak corbel.]
+
+be found fully illustrated in the chapter on chimney and flue
+construction. At the time this design was made, this plan was not
+known. The chimney is shown with an iron funnel 2 feet in height, a
+chimney-pot, in fact, let into the stone work at top, having no
+projection within for soot to lodge. Two of the stone balustrades are
+illustrated. Every separate balustrade in such buildings should be of a
+different pattern.
+
+[Illustration: Stone balustrades.]
+
+The knocker on the entrance door, the key, escutcheons for the doors,
+and a corbel in oak from the entrance front, are illustrated on page
+172.
+
+[Illustration: An external frieze.]
+
+
+
+
+_DESIGN No. 15._
+
+A SMALL COUNTRY HOUSE.
+
+[Illustration: The front elevation.]
+
+
+This building was intended to be only a comfortable country house for
+the residence of an eminent provincial solicitor. It was directed to be
+made of superior character, as the owner, being a person well known in
+the county, considered that the
+
+[Illustration: The ground plan.]
+
+eyes of the whole neighbourhood would be upon it. The situation was on
+one of the roads leading out of Maidstone, and as the land in which it
+was to stand was taken on lease for 99 years, nothing beyond a superior
+gentlemanly character could be given to it, as it is only in freehold
+houses that any superior or expensive architectural adornment should be
+indulged in. The Roman or Italian style, as being the most appropriate
+and the one best understood by builders, was adopted.
+
+[Illustration: The plan of the upper floor.]
+
+The front of the house had no prospect, the side of the road opposite to
+it showing only a high bank with boulders of ragstone, peculiar to the
+county of Kent; and for this reason none of the principal windows looked
+towards it. The back-front and side, however, turned towards the hills
+between Maidstone and Rochester. Very precise directions were given as
+to the arrangement, size, height, and number of the rooms. The study,
+_c_, was to be on the left of the entrance-hall, and its size 16 feet
+by 12 feet. It was made 16 feet square. The drawing-room, _d_, having
+the chief prospect, was to be the principal room. This was made 20 feet
+by 17 feet. The dining-room, _e_, was 20 feet by 16 feet; both rooms
+looked into conservatories, _i_ _i_. The back front faced the north--a
+very favourite aspect for the principal rooms with many of the noblemen
+and gentlemen of Kent; the reason being that the flowers in the gardens
+under the windows, turning towards the sun, present a cheerful and
+agreeable appearance to the occupants of the rooms.
+
+[Illustration: Plan of second floor.]
+
+[Illustration: Plan of basement floor.]
+
+The dining-room had steps leading down to the garden; the kitchen _b_,
+scullery _g_, and small larder _h_, were on the right of the entrance,
+the kitchen and the study having small windows by the side of the
+entrance, so that all visitors coming to the house might be seen. The
+servants’ door was in the small yard by the side of kitchen, with a
+place for coals; _o_ is a small chaise-house, and _p_ a stable for a
+pony; _l_ is the dust-hole.
+
+[Illustration: Frieze of drawing-room.]
+
+[Illustration: Frieze of dining-room.]
+
+[Illustration: Section of cement skirtings.]
+
+The upper floor had to contain five best bedrooms; these can be seen in
+the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet.
+There were three dressing-rooms, the largest 12 feet by 10, the two
+smaller each 12 feet 6 inches by 6 feet. The second floor contained two
+rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10
+feet. The basement had a footman’s pantry, 12 feet by 9 feet 6 inches,
+and a dairy of the same size. This had steps down to it in the area.
+There was a wet larder with a window, a wine cellar, and a beer cellar.
+
+[Illustration: Section through entrance-hall and dining-room.]
+
+The interior was plainly finished, with nothing beyond the best modern
+enrichments. The whole of the interior had Keen’s cement skirtings. The
+staircase had a skirting flush with the wall, so as not to take away
+space from the stairs; this is shown at page 178. There were ornamental
+roses in the centre of the ceilings of the principal rooms. The section
+of the interior is made through the principal entrance, across the
+staircase and dining-room; and in the upper floor, through two of the
+dressing-rooms.
+
+[Illustration: Elevation of portico.]
+
+The only architectural feature in the front of any importance was the
+portico (see page 180). A bold and prominent effect was given to it. The
+estimated expense of the building was 2151_l._, full price put down as
+2250_l._
+
+       *       *       *       *       *
+
+The vignette is an elevation of an Elizabethan balustrade, in stone,
+intended to crown a cornice, and to be placed in an elevated position
+against the sky line.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 16._
+
+A COUNTRY VILLA.
+
+[Illustration]
+
+
+This villa, which has just been erected in Berkshire, in the
+neighbourhood of Windsor, is intended as the country residence for a
+lady of rank. The living rooms are large and noble, and the
+accommodation
+
+[Illustration: Plan of ground floor.]
+
+for a small establishment ample. The plate (page 182) shows the garden
+front, and above is the ground plan. The two principal rooms, the
+drawing and dining-rooms, are respectively 25 feet by 18 feet and 21
+feet by 18 feet. They are to the left of the hall; this, of moderate
+size, leads to the principal staircase, which is of very easy ascent,
+each step rising less than
+
+[Illustration: Plan of upper story.]
+
+6 inches. The second landing opens to the servants’ staircase; _b_ (see
+page 183) is the kitchen, size 15 feet
+
+[Illustration: Plan of wine cellar.]
+
+by 14 feet, with the larder _h_, leading directly out of it,--_g_ is the
+scullery, with an oven, and a shoot into the dustpit _m_, _n_ is the
+housekeeper’s room, and _j_ the butler’s pantry; _c_ is the lady’s room
+or study. This was enlarged, by taking down the partition, marked on
+the plan by the dotted lines, to allow of a splendid oak cabinet being
+placed there. A door in the room opens direct into that of the
+housekeeper; _k_ is the dairy,
+
+[Illustration: Section through drawing-room, staircase, and kitchen.]
+
+and _l_ a place for coals. The wine cellar was at first intended to be
+placed under the principal flight of stairs, descending a few steps; but
+a large one, _b_ (see page 184), was afterwards made.
+
+[Illustration: French cut pine woodwork, from the exterior.]
+
+The plan of the upper story shows it containing two large principal
+bedchambers--each with a dressing-room, and a large room with two
+fireplaces serving as a nursery, but which could at any time be made
+into two rooms by putting up partitions.
+
+The servants’ sleeping apartments, the housemaid’s closet, and the
+servants’ staircase, occupy the remaining portion of the plan.
+
+The cost of erecting the carcase of the building, including the wine
+cellar, was 1108_l._ The cost of finishing, putting up the principal
+staircase in Portland
+
+[Illustration: Plan and elevation of iron glazed casement to
+entrance-door.]
+
+stone, and leaving all work required to be painted with two coats, but
+exclusive of papering, stoves, ironwork, marble mantelpieces,
+conservatory, verandah and exterior decorations to roof, was 1550_l._
+Mr. Hockley, of Kensington, was the builder. When the mansion was
+finished so far, all ornamentations, &c., formed an agreeable occupation
+for the lady to complete from favourite examples seen by her on the
+Continent. The extra parquet flooring in the dining and drawing-rooms is
+from Switzerland. This cost 148_l._ All the stone flooring of the hall,
+staircase, passages, and conservatory, is covered with tiles from Italy;
+these are about 8 inches square, but not so well made as the English
+kind, although more artistic. Each has a small figure put in by hand,
+which is different on every tile. The tiles are faced with a white
+china ground and look extremely well. The common tiles cost 16_s._ per
+100. The grotesque figured tiles,
+
+[Illustration: Plan and view of remains of old house.]
+
+of which the illustration on page 189 shows four, cost 2_l._ per 100.
+They were supplied by M. Giustiniani, of Naples. The marble
+chimney-pieces were to be supplied from Italy. The ironwork of the
+staircases, and the panel to fill up the opening in staircase, shown
+dotted in the upper plan, were supplied from Paris. It is different from
+any ironwork that can be procured here, of elegant design, and covered
+apparently with a thin coat of zinc. This gives it a silvery metallic
+appearance, and it does not require
+
+[Illustration: Four of the Italian figured tiles.]
+
+painting; it is really a coating of glass, and is termed the _lavenant_
+process. It it said to be a great preservative of the iron, and can be
+put on in different colours. Each of the windows of the principal rooms,
+and the hall, is fitted within with Price’s steel revolving shutters.
+These cost 75_l._ The upper windows on the outside have iron balconets,
+likewise from France, and the roof, surrounding the principal parts, is
+finished with the French cut pine patterns. They were supplied by M.
+Jules Millet, of 12, Boulevard du Temple. The entrance door has the two
+upper panels
+
+[Illustration: French iron staircase railing.]
+
+filled with French castings, executed in a fashion different from the
+English mode; but one quite worthy to be followed. The iron panel is
+placed on the outside, with a light iron glazed casement fitted behind
+it. This in warm weather can be opened, so as to admit fresh air into
+the hall. The plan and elevation of the casement shown from the inside,
+on page 187; by the side of it is one quarter of the external iron
+casting.
+
+It may be remarked that these French patterns, both in iron and wood,
+are not finished off as clean as they would be in England. The castings
+appear just as they came out of the sand, and the wood pattern exactly
+as the machines or saw left them; but they are extremely elegant, and
+the metallic appearance of the ironwork is very pleasing.
+
+The former house is pulled down, except a portion, permitted to remain,
+which is formed into a decorative building for the garden; the plan
+(page 188) shows _a_ the old kitchen, _b_ the wine cellar made into an
+ice-house, _d_ a lock-up closet, _f_ a prospect tower, _c_ a closet in a
+small enclosed garden, and _e_, a garden seat.
+
+On page 190 is a pattern sent from Paris for the staircase railing.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 17._
+
+A DOUBLE SUBURBAN VILLA.
+
+[Illustration: Perspective view.]
+
+
+This building was intended for erection on a leasehold estate at a
+little distance out of London. It would have been of rather plainer
+character, but the view (page 192) shows the design first made. The
+frontage, or width of ground for each house, was
+
+[Illustration: Ground-floor plan.]
+
+60 feet, the depth 150 feet. The character of the building was of the
+domestic style of the reign of Henry VII., and the accommodation it
+afforded is given in the several plans. The ground plan shows two large
+rooms _D_ and _E_, the drawing and dining rooms, which can easily be
+opened into each other by sliding back the inner doors into the
+partition; _C_ is the library, with a book-room leading out of it. _B_
+is the staircase, of a size rather larger than that generally allowed in
+London houses. Very often, sufficient attention is not paid to this
+highly important part of our dwellings by builders, nor full space
+allowed for it. A
+
+[Illustration: One-pair plan.]
+
+good staircase should have, at every six or seven steps, a landing of at
+least 2 feet 6 inches in depth. Where winding stairs are used they
+should have a good sweep; the tread, in the centre, should be 1 foot in
+width, the riser never more than 6 inches in height--less even would be
+better. It is also of considerable importance in a staircase that the
+height of the steps in the various flights should be the same. Some of
+the most costly and important of the builders’ houses in London, erected
+on highly rented land, have the staircases so confined that these, an
+architect’s well-known rules, are wholly put aside. Staircases with
+risers of 6 inches in height from the ground to the one-pair floor,
+increased to near 7 inches to the two-pair, the latter flight containing
+probably 30 steps in a straight line without a landing, render a house
+almost uninhabitable.
+
+[Illustration: Attic plan.]
+
+A servants’ staircase is a most desirable addition to a large house.
+The present building was not considered of sufficient importance to have
+one. It was proposed to be placed between the tower and the dining-room,
+but it was rightly considered that the two staircases should be put
+together so that the
+
+[Illustration: Basement plan.]
+
+landings of each, on every half space, should be on the same level,
+separated only by a door, and giving the servant immediate access to
+every floor of the house. A position between the library and staircase
+would have been most proper, but there was not sufficient width; it
+would have interfered with the kitchen, and would have made too
+intricate a plan, which, for houses to be erected on leasehold land, is
+objected to by builders unless directed by the party purchasing.
+
+[Illustration: Section of roof to larder.]
+
+[Illustration: Section of steps to garden.]
+
+With a servants’ staircase follow a large housemaid’s closet, sink, &c.,
+which must always be provided where possible. The plan of the one-pair
+shows three large bedrooms and one dressing-room, with the tower room,
+which was intended either for a morning room, a
+
+[Illustration: The side elevation.]
+
+school room, or a boudoir. There is a large conservatory on the
+principal landing of staircase, and a closet leading out of it. A
+good-sized aquarium with a regular supply of water could be easily
+arranged in the centre of the conservatory. The attic plan contains
+three large rooms for servants, and the tower room was to be used as a
+smoking room, or as a play room for the children.
+
+[Illustration]
+
+The basement contains a private breakfast or dining room, _T_, with a
+large store closet, having an opening one foot in height filled with
+perforated zinc opposite
+
+[Illustration: Half elevation of small library.]
+
+the window of the passage; _N_ is the housekeeper’s or servants’ hall;
+_B_ the kitchen 23 feet by 18 feet, with _G_ the scullery behind, _H_,
+_H_, the larders, _S_ position for a lift, and _L_ a place for coals.
+The basement stairs should have been on the side adjoining kitchen.
+
+[Illustration]
+
+It is a difficult thing in this class of house to confine the smell of
+the cooking to the kitchen. An endeavour was made here to effect it. The
+kitchen had no direct entrance to the body of the house, the servants
+going through the passage, by the side of the area, from which it was
+well ventilated, to get to the common staircase. This had a window at
+the top, not shown in the plan. The small section on page 197 shows
+
+[Illustration: Elevation of hall screen.]
+
+the mode of ventilating the larder; _a_ is a slab of slate let into the
+wall, _b_ a pane of perforated zinc, _c_ iron bars glazed with thick
+glass, so that whatever the weather, there would be full ventilation,
+the fresh air always entering and the confined air leaving the room.
+This is the usual mode, in large houses, of covering the external
+passage leading from the kitchen to the house.
+
+[Illustration: Details of hall screen. (See page 206.)]
+
+The general view shows the front and side of the two houses. The
+elevation of the side front is given on page 198.
+
+[Illustration: Plan and elevation of entrance garden-gate.]
+
+The three small illustrations on page 199 are various details of the
+exterior. One is a part section of the roof of turret, showing the
+timbers and the vane at top, an elevation of one half the upper gable
+window, and half of one of the small front windows; these portions of
+the exterior, together with the arcade at the entrance and balustrade
+over it, were to be executed in stone.
+
+The Gothic window by the side of the arcade is an example from Berstead
+Church, in Kent. The gentleman for whom the design was made caught a
+sight of it in the “Architect Sketch Book,” and required it might be
+introduced as a small window in his library. An elevation of one half of
+it is given on page 200.
+
+The general section (page 201) is of one of the houses taken through the
+drawing room, the staircase, and the library. The staircase is well
+lighted, having a conservatory and closet on the first half-space
+landing. The ceiling of the staircase is finished with groining and
+pendant flowers; the stairs have a plain Gothic iron-railing, painted
+and lightly gilt; the section shows the party-wall between the two
+houses.
+
+[Illustration: Balustrading on garden wall.]
+
+The entrance is divided into an inner and outer hall, divided by a
+Gothic screen in carved oak, the various openings of which, together
+with the upper panels of the folding doors, are filled with embossed
+glass. This keeps the house warm, and prevents cold draughts from
+entering; a second glazed screen separates the inner hall from the
+staircase; the effect of the screens when there is plenty of light
+behind is extremely pleasing. It was for such a screen that the
+door-handle illustrated at an earlier page, as a vignette, was made.
+
+[Illustration: Balustrading in front of house.]
+
+Of the first of these screens, that in the hall, only the larger lower
+and upper panels were to have white embossed glass; the smaller openings
+were to be filled with richly coloured embossed glass; a small elevation
+of the hall screen, and portions of its details to a larger scale, are
+given on pp. 202, 203.
+
+The chimney pieces were proposed to be of cast iron, and to be painted
+and slightly gilt.
+
+The expense of construction of the pair of villas would be nearly about
+7800_l._
+
+[Illustration: Front.]
+
+Cut-wood canopy to a door at West Brompton, a short distance beyond the
+Metropolitan District Railway. It has been constructed about twenty
+years, and stands well.
+
+[Illustration: One of the side trusses or corbels.]
+
+
+
+
+_DESIGN No. 18._
+
+DESIGN FOR VILLAGE SCHOOLS, AND READING ROOM.
+
+[Illustration: Front elevation.]
+
+[Illustration: Plan.]
+
+
+This building is about to be erected in the county of Norfolk. It will
+contain a boys’ and girls’ school, with two rooms each, forming a
+parlour and bedroom, for the master and mistress; _a_ is the entrance
+porch, _d_ and _d_ are the two school rooms, and _e_ and _e_ the living
+rooms. The centre of the building forms the reading, lecture, and
+meeting-room for the village. The small room _c_, leading out of it, is
+a book room for the secretary or attendant; _b_, _b_, are open yards;
+each master and mistress have private entrances, and yards to
+themselves. The construction is of the cheapest kind; on a brick
+foundation, quarter framing is placed, filled in with brick, and
+plastered inside and out. The columns in the centre are trunks of trees,
+standing on stone slabs, and each has a flat stone capping. This
+building complete should not cost more than 850_l._ It is much to be
+desired that every village should have a room set apart, distinct from
+any public-house or tavern, where newspapers and books can be provided,
+lectures given, and various entertainments supplied the villagers.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 19._
+
+A ROMAN CATHOLIC CHAPEL AND SCHOOLS.
+
+[Illustration: Elevation of front.]
+
+
+This design was made for a building intended to occupy a site leading
+from the High street in a
+
+[Illustration: Plan of chapel and schools.]
+
+very fashionable district, immediately out of London. The ground was
+rather confined in area, and from its position, being behind the houses
+in the street, it could only be approached by a narrow avenue between
+two of the houses.
+
+[Illustration: Transverse section of chapel.]
+
+The plan was an endeavour to make the most of the space afforded; the
+entrance to the church, a small tower with an open decorated spire, was
+placed at the end of the avenue of approach; _a_ _a_, are the schools,
+which have immediate access to the space before the altar; _b_ _b_, the
+rooms for the teachers or priests, had staircases on each side leading
+to rooms above. These buildings were kept low, so that as much light as
+possible should enter from the window above the altar. An elevation of
+the front of the chapel is given in our first illustration. The section
+looks towards the chancel, showing the chancel arch and pulpit in front,
+the altar, and the decorated window over it; the latter contains a large
+cross formed of white embossed glass, on a richly coloured glass ground.
+Above is the elevation of the porch, proposed to have been placed at the
+entrance of the avenue of approach.
+
+[Illustration: Porch in the High street.]
+
+[Illustration]
+
+
+
+
+_DESIGN No. 20._
+
+DESIGN FOR A BATH HOUSE, AND SUMMER ROOM.
+
+[Illustration: Perspective view.]
+
+
+This design was made for a building intended to occupy a prominent
+position in a park in Kent; it would have commanded an extensive view
+over the Weald and surrounding country. The lower ragstone foundation
+already existed, being portions of an ancient building which had
+formerly stood there, and this held a fine spring of pure cold water,
+which runs down into a lake at a lower level in the park. Occupying a
+position in which it could be well seen, it was desirable that the
+building should form a picturesque object, and to effect this the Old
+English style of wooden architecture was chosen.
+
+[Illustration: One-pair plan. Ground-floor plan.]
+
+The view shows the back and side of the building, with the entrances,
+these being here less exposed to the weather than if they had been in
+front facing the open country. The ground-floor plan shows the cold bath
+with a small dressing-room; the bath was octangular in form, and
+fifteen feet in diameter. A small iron circular staircase led to the
+upper room; this was eighteen feet in diameter, with a domed ceiling,
+the sides of the room having iron
+
+[Illustration: Side elevation.]
+
+casemented windows, and over them a bold ornamented plaster frieze; the
+fire-place was adorned with oak carving. The fine prospect from the
+windows of the Weald, and the lake and park scenery in front, would
+have made this an extremely pleasant room.
+
+[Illustration: Section.]
+
+The lower story of the building above the ancient ragstone foundation
+was of brick, nine inches in thickness, with quarters on the outside,
+brick-nogged; carved oak inch plank was then to be screwed to this
+quartering, and the inner spaces filled with cement; this it was
+proposed to dust with small bits of coloured
+
+[Illustration: Entrance.]
+
+glass. The building was intended to be strongly constructed, as it was
+to stand on an elevated site in the most exposed situation in the park.
+The entrance, of which an elevation is given above, had two carved oak
+columns, having iron rings fixed to them. A small shield of arms was
+above the entrance; the whole of the oak was to be stained and
+varnished. A portion of the exterior is given on a larger scale. The
+upper story was in quartering, brick-nogged, faced externally with
+carved oak planks and plaster, and plastered inside as below. The small
+plan, _a_, in the illustration, shows this; _b_ is an elevation of one
+of the carved oak trusses, and these were carried right round the
+structure.
+
+[Illustration: Portion of exterior.]
+
+An elevation of one of the small gables is shown in the next cut with
+its richly carved barge-board, and turned pendants and finials.
+
+The plan of the iron casements is given, p. 220; _a_ is the frame fixed
+to the wood quartering, _b_ the loose frame fixed to receive the loose
+frame, _c d_ is the glass, and _e_ the hinge and staple; a
+representation of the small turn-buckle is shown, and lastly the plan
+of the flooring over the bath; the joists, each 9 inches by 4 inches,
+and 9 inches by 2½ inches, were strapped down
+
+[Illustration: Elevation of one of the small gables.]
+
+[Illustration: Plan of iron casement.]
+
+eight or nine inches into the wall, where necessary.
+
+[Illustration: Turn-buckle.]
+
+[Illustration]
+
+
+
+
+_DESIGN No. 21._
+
+DESIGN FOR A SMALL COUNTRY VILLA.
+
+[Illustration: Perspective view.]
+
+
+This mansion was erected in Devonshire, for a gentleman having a
+numerous family. It consisted of three floors:--a basement story, ground
+
+[Illustration: Ground plan.]
+
+floor, first floor, and attic. The picturesque style of the time of
+Henry VII. was adopted, and the construction
+
+[Illustration: Plan of first floor.]
+
+was of brick with stone ashlar facings for the walls. The decorated
+portions were of stone; but red
+
+[Illustration: The attic floor.]
+
+brick and stone, or red brick alone, would have been equally
+appropriate. The red brick with compo-dressing
+
+[Illustration: Basement plan.]
+
+and enrichments would have been the cheapest. Considerable attention was
+given to obtain a picturesque character for the building, and the
+chimneys were so placed as to obtain one. The height to the top of gable
+was 38 feet 6 inches. The ground floor, given on page 223, contained two
+rooms, _A_ and _B_, each 28 feet by 16 feet, without the bay. The porch
+was enclosed from the hall.
+
+[Illustration: View of entrance porch.]
+
+The upper floor had five rooms, intended merely as sleeping apartments.
+All had fireplaces except the centre front one, and that is shown
+supplied with a flue pedestal, a contrivance by which an upper room
+
+[Illustration: The front elevation.]
+
+can be warmed by one of the fireplaces in a lower room, which prevents
+waste of heat. The attic floor had two good-sized rooms without
+fireplaces, for the servants.
+
+[Illustration: The side elevation.]
+
+The basement floor had good accommodation. One large room, that marked
+_n_, was for the housekeeper, with space for a bed. It could be used as
+a private breakfast or dining-room; _b_ is the kitchen, 20 feet by 15
+feet 6 inches, with a large space in the bay. The scullery _g_ adjoined
+the kitchen; _h_ is the larder, _q_ the wine cellar, _i_ the beer, and
+_l_ the coal cellars.
+
+[Illustration: Transverse section.]
+
+Another design for the porch is given on page 225; this is of a more
+decorative character than that seen in the view. It had on it the shield
+of arms of the proprietor. It was to be constructed entirely of stone,
+the portion above the archway being richly carved. The front and side
+elevations of the exterior of the building, of which representations are
+given, show the extreme simplicity of the design.
+
+The transverse section (page 228) shows the interior; this is taken
+through the kitchen and scullery in the basement, looking towards the
+fireplace and through the living rooms and attic above.
+
+[Illustration: Plan of additional offices.]
+
+This design has, with various alterations, been adopted in several
+places for different parties, stripped entirely of its ornamental
+character, and merely having four walls and an overhanging roof, in
+plain cottage style. It forms the cheapest model that can be given for a
+villa. One was erected a few years back that cost considerably less than
+eight hundred pounds. It had the basement floor but no attic, the upper
+rooms being heightened by having an open collar-beam roof. One addition
+made to it when it had no basement was in extensive external offices, as
+
+[Illustration: Elevation and section of external balustrade and angle
+buttress.]
+
+seen in plan on page 229: _f_, the kitchen, is 18 feet square, with its
+scullery _g_, 18 feet by 10 feet; _h_ is the larder, 9 feet 9 inches
+square, and _k_ the dairy, of the same size, with a northern aspect. The
+two small rooms by the side, one marked _n_, were intended for a study
+or school-room, and a footman’s or butler’s pantry, with a separate
+entrance and an outlet from the house into the garden; the servants’
+closet, and boot and knife cleaning place, were at a little distance
+away, together with the place for coals and wood. Some details of the
+exterior on a larger scale are given above.
+
+       *       *       *       *       *
+
+The vignette shows the best proportion that can be given to stairs
+intended for a public building; the rise of each step being 6 inches,
+the tread 13 inches. In private dwellings the tread is made smaller by
+half an inch. When the rise can be made 5¾ inches only, much greater
+ease can be obtained in the ascent.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 22._
+
+A VILLA IN THE OLD ENGLISH WOODEN STYLE.
+
+[Illustration: Perspective view, garden side.]
+
+
+This structure was intended to bear the resemblance, as near as
+possible, of a first-class old English half-timbered house, the
+post-and-pan dwelling of our forefathers, which seems to have been an
+especial favourite throughout the country. It was easily constructed at
+a time when timber, chiefly chestnut, was far more plentiful than at the
+present day. Such were the most picturesque of all our domestic
+buildings; the timber cottage, with its projecting windows, and highly
+ornamented barge-boards, is found in every village. The large houses in
+Cheshire and Shropshire, which still remain, prove that such
+constructions are as lasting as brick and stone, provided the timber is
+felled at the proper time, and thoroughly seasoned before it is made use
+of. Houses of this kind have been seen to rock and bend in severe
+storms, while adjoining buildings, comparatively strong erections, have
+been blown down, this was known to have been the case with Park Hall,
+near Oswestry in Shropshire. Such buildings were called by different
+names, as will be shortly described in detail, according to the
+materials of which they were composed.
+
+The design afforded on page 234 was taken from an elevation given in
+“John Thorpe’s Sketch Book,” one of the richest illustrations of wooden
+architecture. It was to have been erected in a Kentish village, with
+
+[Illustration: Front elevation.]
+
+its front towards the road, on high ground, the road looking down to a
+wide extent of open country. The garden side of the house commanded a
+fine prospect. Advantage was taken of the steep descent of the ground to
+build the kitchen and scullery, with a day room for the children, apart
+from the main building.
+
+The plan of the basement is given on p. 236; _a_ is the kitchen, 18 feet
+square, the scullery _b_, was at the side, and the larder, _c_, at its
+side; _d_ is the place for coals, a passage _e_, leads to the day room,
+_f_, for the children; _g_ is either the cook’s room, or a sleeping room
+for a man servant; _h_ is the passage up to the house, _i_ is the dry
+larder, _j_ is the butler’s pantry, with a strong room for holding
+plate; this was intended to be a sleeping room. _k_ is the wine cellar,
+_l_ the back staircase which went from the lower floor to the attic, _m_
+is the principal staircase, and _n_ a place for stores. The roof of this
+lower building was to be formed with flat-girders, and brick and tile in
+cement, making a terrace-walk above; the chimneys were taken up from the
+lower building to the higher one, as shown in the side elevation by the
+dotted lines. The kitchen, and the whole of the basement, was to be
+paved with the best Seyssel asphalte. It is laid on a solid foundation,
+on a thickness of ground lime. The objection to the black and British
+asphalte for the interior of rooms, is that a fine dust rises from it,
+which in sweeping, affects the eyes of the occupants of the apartments.
+
+[Illustration: Basement plan.]
+
+The plan of the building was not intended to be in the old style, but to
+be arranged, as far as possible, according to modern notions, without
+any great hall, or stone screen within it. A noble stone porch was
+
+[Illustration: The ground plan.]
+
+placed in front, resembling slightly an ancient archway. The hall is 20
+feet in length by 12 feet in breadth. The breakfast and eating rooms,
+_b_ and _c_, 20 feet square, are on each side; both have bay
+
+[Illustration: The first floor.]
+
+windows, with an exterior colonnade and terrace. The drawing-room, _d_,
+and the library _e_, are each 18 feet square; both have bay windows, and
+the angular window peculiar to the Elizabethan architecture. These
+windows open on to the terrace. _f_ is the
+
+[Illustration: The attic floor.]
+
+gentleman’s dressing-room, _g_ is the principal staircase containing the
+servants’ staircase, _h_, within it; _o_ is the lift. At the back of the
+building is a colonnade commanding a view of the country, and beneath
+is the terrace, with its balustrading and steps to the garden.
+
+The one pair floor contains only four large bed-rooms _a_, _a_, and two
+dressing-rooms _b_, _b_. One dressing-room, that in front, could have
+been converted into a pleasant morning room; each of the two principal
+bedrooms in the front could easily have been formed into two; a small
+dressing-room taken out of each. Terraces were in front of these two
+rooms, the small circular bow-window opening on to them; the principal
+staircase only led to this floor. The servants’ staircase led to the
+attics.
+
+This floor contained three large servants’ rooms, with two small octagon
+rooms. It was proposed to form the front rooms into one, with a circular
+roof, covered with scroll work and flowers, in the form of a
+garden-bower, similar to the gallery ceiling at Burton Agnes in
+Yorkshire. In this ceiling there are about a dozen varieties of flowers
+and bunches of leaves, which were placed in a scroll-stem in various
+positions so as to vary the pattern. The flowers and leaves could have
+been painted in their natural colours. These rooms, however, could not
+be spared, so it was proposed to turn the two octagon rooms into what
+may be termed garden-bower rooms, and to attempt growing dwarf
+fruit-trees in them, as practised in Germany. The roofs of these rooms
+were to be constructed in iron and glass, and covered internally with
+wire trellis-work, the warming to be effected with flue pedestals, two
+in each room, one taking the kitchen flue and the other house flues, the
+corresponding pedestal in the other room to have the remaining flues in
+that side of the building. The illustration on page 242 shows a plan and
+section of one of these rooms.
+
+The tower in the centre of the back front contained a cistern for the
+supply of the house; the closets beneath could have Moule’s earth system
+applied to them, the earth to be brought up by the lift _o_, dried in
+the bower rooms, and deposited in an enclosure in the tower room from
+which it could descend to the closets.
+
+It may be here remarked that the closets throughout the whole of these
+designs are in such a position that the dry-earth system could be easily
+applied to each. In cottages that have the flues in an external wall,
+and where this system is introduced, the earth deposit should be placed
+against the flue, and the closet adjoining.
+
+The lift _o_, shown in the plans, connects every floor with the
+basement; it permits coals and other heavy articles to be lifted up,
+receives the speaking tubes leading to the basement and children’s
+day-room, and any bell wires that may be required.
+
+[Illustration: Plan and section of garden bower-rooms.]
+
+[Illustration: Side front.]
+
+[Illustration: Section through lower part of building.]
+
+The first elevation given shows the front of the building, having a
+length of 87 feet. Although the structure was to be an imitation wooden
+house, the timber was merely intended to be an appendage to the
+brickwork. The exterior walls were to have been two bricks and a half
+thick on the ground-floor, two bricks above. The wooden posts and pans
+were let into the external half brick, and well built in, the ornamental
+woodwork in inch oak screwed to the wood-quartering, the space between
+them filled with plaster, with an ornamental pattern-stamp on it, and
+the columns and entablature were of oak.
+
+The next elevation given is that of the side front, with its gable, in
+the centre of which is a small circular window, opening on to a terrace
+over the colonnade; the scroll at the side is a construction to permit
+the flues from the lower portion of the basement to ascend the tower
+walls; flue sweeping doors could be placed there. A section of the lower
+part of the building is given, taken through the centre of the house,
+showing the principal staircase and the external steps to garden. The
+perspective view shows the garden front.
+
+Wooden houses were once the chief kind of construction in England. The
+great fire of London would not have been so serious in its results if
+such constructions had not been almost universal.
+
+In many parts of England these houses have other designations. There is
+a mode of building peculiar to each, and adapted to the kind of material
+that the districts offer. In Cambridgeshire, for instance, many of the
+houses are formed entirely of “Clunch,” a kind of indurated chalk marl,
+of which there are extensive quarries at Roach, near Burwell. Others are
+of gault, a local term for the blue clay which lies below the gravel of
+Cambridgeshire, and forms the immediate substratum in the low ground
+about it. This is beaten up with chopped straw, then formed into blocks
+of large size, and dried by the sun. A writer in the “Cambridge
+Portfolio,” in his remarks on what he terms the inferior style of
+domestic architecture, says: “Many of these houses have the lower floor
+formed of stone or clunch, in which a framework of wood is raised,
+consisting of studs and wall-plates with strong posts at intervals and
+some cross pieces as a tie. The joists of the upper floor are laid in
+the wall-plates, and project about a foot or eighteen inches beyond the
+wall beneath. The smaller timbers have tenons which are fitted into
+mortices in the larger, and secured by wooden pins. The interstices are
+filled either with durable boarding, double lath and plaster, clunch or
+bricks, laid level or obliquely. The better houses of this description
+have gables, with ornamented barge-boards with hip-kobs and corbels or
+brackets, more or less carved, under the ends of the principal timbers
+of the upper floors.”
+
+The barge-board is sometimes called berge-board, verge-board,
+parge-board. It was a board fixed to the ends of the gables of timber
+houses, to hide those of the projecting timbers of the roof, and throw
+off the wet. They were generally richly carved and very ornamental.
+Occasionally some of these of the date of the 14th century are met with;
+those of the 15th and 16th, many of the Elizabethan character, are very
+common. We have few of the better class of these half-timbered houses,
+in which the decorative labour of our ancestors was most conspicuous,
+remaining in our towns and cities; but in Edinburgh, York, Chester, and
+Newcastle there are still a sufficient number of specimens to prove the
+truth of these remarks. In the towns of Normandy and the Netherlands
+numerous buildings, and indeed whole streets, may be seen which still
+exhibit the perfect counterpart of our old Cheapside, as it appeared
+before the great fire. Troyes, the capital of Champagne, still retains
+its ancient buildings, and the chestnut-timber houses of Caen, which
+were raised, or restored, during the period in the 15th century when it
+was in the hands of the English, show us what our cities once were, and,
+of course, the extent of our improvements. London formerly possessed the
+richest examples. At the corner of Chancery Lane, in Fleet Street,
+there once stood a five-storied house in timber, each story projecting;
+the whole of the timber and the gables being richly carved. In this
+house once lived the celebrated Isaac Walton.
+
+The other most common application of this kind of house is
+“half-timbered.” In some counties the woodwork is not in patterns. It
+appears that when a greater degree of elegance was required the uprights
+and beams were carved, or the houses were pargetted, that is, coated
+thickly with plaster, in which embossed or indented ornaments were used.
+This kind is very common in nearly all the English counties. The origin
+of the word _parget_ appears to be doubtful. We find _parget_,
+substantive, and _pargetting_, _pergetting_, and _pergining_, verb, in
+old writings, of various kinds of plaster work, used inside and outside
+of houses, particularly about the time of Elizabeth; the word _parget_
+was used as far back as 1450.
+
+The half-timbered houses generally had the woodwork (studs and posts)
+painted black or tarred, with the intermediate spaces of brickwork
+whitewashed. Many of these houses have been plastered over in modern
+days. In London several of them have been refronted, and we lose sight
+of the woodwork, and imagine we see fresh-built houses.
+
+In some parts of the country we see numbers of cottages built of mud
+mixed with chopped “haum.” This is commonly barley stubble. The word
+appears of foreign derivation; in High and Low German, Dutch, Danish,
+Swedish, halm; Ang.-Sax., healm; Icelandic, halmr, stubble.
+
+The haum is used to give the mud strength. These houses, previously
+described in connexion with concrete erections, were built about a yard
+in height at a time; each part was allowed to dry before further
+addition was made. The openings for windows and doors were cut when the
+wall became firmer; the walls were then smoothed off a little, and
+whitewashed. These houses are said to be very strong, and to last for
+many years. In the Midland Counties they seldom exceed one story in
+height, but in Devon, Somersetshire, and Hampshire, this composition is
+a common material for gentlemen’s houses two and three stories in
+height. It is there called _cob_, the derivation of which word remains
+in obscurity, unless it is a short term for _cobble_, or a coarse clumsy
+performance. A cob-wall was one composed of straw and clay beaten up
+together.
+
+In Kent, the half-timbered houses are called wood-noggin houses, because
+the pieces of timber were called wood-nogs. Nog is properly a wooden
+brick, which is inserted into walls to hold the joiners’ work; nogging
+is the term for the brick-filling partitions between the quartering.
+
+Sometimes, but very rarely, there is no projection of the upper story
+over the lower one. These openings in the windows are common, and all
+have richly carved barge-boards.
+
+In some of the Kentish villages there are several noggin houses
+plastered over, with a ground in which flowers and patterns are worked
+in another colour. Some have a red ground and white flowers, others a
+black ground and white flowers. The wooden frame is always built on a
+substructure of brick or stone, called the “under-pinning.” Numbers of
+the houses in Kent are covered at the sides with weather tiles; here the
+brickwork is carried up to the first floor, in which the wooden
+framework is placed, and laths nailed across, in which the tiles are
+hung; the shape of the tile varies. Some are diamond-shape, and others
+finish with circular ends.
+
+In Warwickshire, Oxfordshire, and Gloucestershire, we meet with
+half-timbered houses, which are there called brick pane houses, but very
+few of them are worked in patterns.
+
+In Northamptonshire the half-timbered houses are commonly called studded
+or framed houses, because the framework is put up before the spaces are
+filled up. The studs are upright between the posts, which are larger
+than the studs. There are also “wattle,” and “dab-houses,” and sheds,
+which are constructed of studs, sills, and wall-plates. Between or into
+the studs are laid, horizontally, plaited or wattled strong hazel twigs,
+or other underwood, and on both of these a thick coat of plaster or mud
+is laid or dabbed. A wattle is a hurdle made of four or five upright
+stakes, and hazel branches woven closely and horizontally into the
+stakes--Anglo-Saxon, _watel_, a hurdle or covering of twigs; in some
+counties they are called “flakes,” merely from their being thin and
+flat. In Sussex and Devonshire, and in the South of England, wattled
+hurdles are called “Raddles.” In a little Dictionary for children of the
+date of 1608, we find “a hartheled wall or ratheled with hasile rods or
+wands.” The word _hartheled_ is the same as hardilled, and the
+Dictionary spells hurdill _hardill_, Ang.-Sax., _hyrdel_, Low Germ.,
+_hoidt_, Dutch, _horde_. Germ., _hurde_. _Ratheled_ is from the same
+derivation as _raddled_. What in one county is “wattle and dab,” is in
+another “raddle and dab.” _Dab_ is here used as a substantive, but it is
+properly a verb--to dab on, to sprinkle, or bespatter. In French,
+_dawber_, or _dober_, to smear, hence “to daub.” These mud cottages are
+very common even in the richest counties of England. In South
+Northamptonshire are red sandstone houses frequently possessing stone
+mullions in the windows, and dripstones.
+
+Further northwards, as in Shropshire, Cheshire, and Lancashire, we find
+a better description of the half-timbered houses in many of the manor
+houses built there. Lord Liverpool’s seat at Pitchford, near Shrewsbury,
+illustrated by Habershon, is a fine and a very large example, although
+the pattern is not so elegant as many of them. Joseph Nash and other
+artists have made the best of these familiar to us by their
+publications. Cheshire is the county most abounding in them. In the
+southern part of the county of Lancashire they are called “post-and-pan
+houses.” Post is an upright piece of timber, used in various ways, such
+as gate-post, door-post, a jamb-lining. The word “post” is found in many
+languages, commonly meaning an upright. In Ang.-Sax., _post_, a post,
+Frisic, _post_, a beam, German, _pfost_, French, _poste_, Latin,
+_postis_, a post.
+
+“Pan,” in Lancashire, certainly means a beam, and is the common name for
+it (beam not being used), although we do not find the word _pan_, a
+beam, noticed in most of the glossaries as it deserves. In the Craven
+Glossary, “_post_ and _pan_” a building of wood and plaster alternately.
+_Pan_, totally to fit: “Weal and woman cannot pan, but woe and woman
+can,” is the complete old English proverb, in which the word pan is
+used. In the glossary of Tim Bobbin, “Pan” means to join or agree. In
+Hunter’s Hallamshire Glossary “pan,” properly in building, is the
+wall-plate--the piece of timber that lies on the tops of the posts, and
+on which the balks rest, and the sparfoot also. _To pan_, to apply to
+closely. In Brockett’s North Country work, _pan_ means to match, agree.
+The idea of a pan for a beam would seem to be a shortened word for span,
+but it comes, it is said, from the old word _pan_, denoting to close or
+join together, to match, fit, apply, agree. From this, or the origin of
+which, came pane, or panel of wood, or wainscot, pane of glass.
+Ang.-Sax., _pan_, a piece, hem, plait; pan hose, patched hose, because
+pieces are fitted into them.
+
+In Warwickshire and Oxfordshire they call a post-and-pan house a
+brick-_pane_ house, because the wood-work divides the building into
+rectangular spaces, filled with _panes_ of brickwork.
+
+In Forby’s Suffolk Vocabulary _pane_ is a division of work in husbandry,
+also strips of cloth. The slits in Elizabethan dresses are called
+_panes_. Du Cange, in his _Glossarium Mediæ et Infimæ Latinitatis_, has
+_panna_, a carpenter’s word, signifying a square piece of wood of 6 or 7
+fingers on a side, which being placed on the rafters of the roof, and
+retained by wooden supports, carries the asseres. The “Glossary of
+Architecture” construes a pan as a lathe; but of this there seems some
+doubt.
+
+There is a remarkable example of the word _Panna_ in the Close Rolls of
+the 9th of Henry 3rd, membrane 5, page 65, though the word in the
+printed copy is erroneously spelt _pauna_.
+
+[Sidenote: De postibus et pannis datis.]
+
+Mandatum est Hugoni de Neville quod habere faciat Baldivinium de Veer
+duos postes et duos _pannas_ in bosco nostro in Deresle, de dono nostro
+ad se habergandum apud Thrapston. Teste rege apud Westmonasterium XV die
+Octobris, anno nono.--That is: The King orders Hugh de Neville to give
+Baldwin de Veer two _posts_ and two _pans_ out of the Royal forest of
+Deresley to build a house at Thrapstone.--“Habergandum” is from
+_habergo_, to build a house, which seems to be derived from the old
+German _habe_, goods and possessions, and _bergen_; in Ang.-Sax.,
+_boergan_, to defend, keep, and protect. _Habe_, goods, is from the
+German _haben_, Ang.-Sax., _habban_, to have and possess. In Du Cange we
+find “Habergagium vel habergamentum, domicilium domus,” that is, a place
+to keep goods in. This account is given us by the writer in the
+“Cambridge Portfolio,” who adds, “That it is probable the house alluded
+to in Thrapstone was merely a shed.” He gives a great many derivations
+from the word _pan_ in French. He says that _pan_ or _post_ is a _post_
+and _pan_ wall, perhaps with boarding in the panes instead of brick or
+stone. A post-and-pan house therefore signifies one formed of uprights
+and cross-pieces, and this appears to be the most rational name for
+them. The patterns of the woodwork are sometimes extremely elegant; at
+Park Hall in Shropshire, one represents balustrading intermingled with
+quatre-foiling, while the plaster ceilings inside the building are of
+excessively rich character. In many of the old post-and-pan houses, the
+windows are between every post, running the whole length of the house in
+each story, rendering a remark of Lord Bacon’s true, that in such houses
+you did not know where to become to get out of the sun or the cold. They
+are now sometimes called “bird-cage houses,” from the effect at a
+distance. Some of these old mansions had the hall extending to the roof,
+and this was carried down to a very late period. At Kirby in
+Northamptonshire, a seat of the Lord Chancellor Hatton, built by the
+architect, John Thorpe, Inigo Jones altered the timbers of the hall roof
+and gave them an Italianized character. He was, previous to his visit to
+Italy, one of the chief and most celebrated masters of the then
+fashionable Elizabethan style, which was carried down to a later period
+than is generally supposed.
+
+The superior class of wooden houses were for the gentry, the wattle and
+dab houses for the hind. This cottage, then, must have been little
+better than a miserable shed. Cottages still exist in the north of
+England, amid the northern counties, that are bad at the very best. The
+tenants have to bring everything with them, partitions, window-frames,
+fixtures of all kinds, grates, and a substitute for a ceiling. Certainly
+the improved concrete cottage, if it could be erected at a small
+expense, would be a great advantage to them. Its partitions, and even
+its roof, the latter covered with slate, might be securely formed of
+strong hurdles, and a cistern for water easily placed just below it. The
+walls, if covered with a good Portland cement face, will last for many
+years, and, if the roof be so formed as to protect them, for warmth,
+comfort, and cleanliness such cottages are unsurpassed.
+
+It is to be regretted that the combination of workmen forming the
+various Trades’ Unions, has so raised the price of labour that it has
+reacted against themselves, and the workmen’s houses, roomy, and formed
+of sound, lasting materials can no longer be constructed at a cost that
+would allow a fair percentage on outlay.
+
+Lord Bacon paid particular attention to building, and he had several
+fine mansions. He received his Sovereign at one, _Gorhambury_, who on
+her remarking its great size, said, “It was not that the house was too
+big, but that her Grace had made him too big to inhabit it.” His essay
+on building gives such a complete picture of what the nobleman’s house
+was in those days, that it is here quoted.
+
+“First, therefore, I say you cannot have a perfect palace, except you
+have two several sides: a side for the banquet, as is spoken of in the
+book of Esther, and a side for the household; the one for feasts and
+triumphs, and the other for dwelling.
+
+“I understand both these sides to be not only returns, but parts of the
+front; and to be uniform without, though severally partitioned within;
+and to be on both sides of a great and stately tower in the midst of the
+front, that, as it were, joineth them together on either hand. I would
+have, on the side of the banquet in front, one only goodly room, above
+stairs, of some forty feet high: and under it a room for a dressing or
+preparing place, at times of triumphs. On the other side, which is the
+household side, I wish it divided, at the first, into a hall and chapel
+(with a partition between), both of good state and bigness; and those
+not to go all the length, but to have at the farther end a winter and
+summer parlour, both fair; and under these rooms a fair and large cellar
+sunk under ground, and likewise some privy kitchens, with butteries and
+pantries, and the like. As for the tower I would have it two stories, of
+eighteen foot high apiece above the two wings; and goodly leads upon the
+top, railed with statues interposed; and the same tower to be divided
+into rooms, as shall be thought fit. The stairs likewise to the upper
+rooms, let them be upon a fair open newel, and finely railed in with
+images of wood cast into a brass colour; and a very fair landing-place
+at the top. But this to be, if you do not point any of the lower rooms
+for a dining-place of servants; for otherwise, you shall have the
+servants’ dinner after your own; for the steam of it will come up as in
+a tunnel; and so much for the front; only I understand the height of the
+first stairs to be sixteen foot, which is the height of the lower room.
+
+“Beyond the front is there to be a fair court, but three sides of it of
+a far lower building than the front; and in all the four corners of that
+court fair staircases, cast into turrets on the outside, and not within
+the row of buildings themselves; but those towers are not to be of the
+height of the front, but rather proportionable to the lower buildings.
+Let the court not be paved, for that striketh up a great heat in summer
+and much cold in winter; but only some side alleys with a cross, and the
+quarters to graze, being kept shorn, but not too near shorn. The row of
+return on the banquet side, let it be all stately galleries: in which
+galleries let there be three or five fine cupolas in the length of it,
+placed at equal distance; and fine coloured windows of several works: on
+the household side, chambers of presence and ordinary entertainments,
+with some bedchambers; and let all three sides be a double house,
+without thorough lights in the sides, that you may have rooms from the
+sun both for forenoon and afternoon:--cast it also that you may have
+rooms both for summer and winter; shade for summer, and warm for winter.
+You shall have sometimes fair houses so full of glass that one cannot
+tell where to become to be out of the sun or cold. For embowed windows,
+I hold them of good use (in cities indeed, upright do better, in respect
+of the uniformity towards the street); for they be pretty retiring
+places for conference, and besides they keep both the wind and sun off;
+for that which would strike almost through the room doth scarce pass the
+window; but let them be but few, four in the court, on the sides only.
+
+“Beyond this court, let there be an inward court of the same square and
+height, which is to be environed with the garden on all sides; and in
+the inside, cloistered on all sides upon decent and beautiful arches as
+high as the first story; on the under story, towards the garden, let it
+be turned to a grotto, or place of shade, or estivation; and only have
+opening and windows toward the garden, and be level upon the floor, no
+whit sunk under ground, to avoid all dampishness: let there be a
+fountain or some fair work of statues in the midst of this court, and to
+be paved as the other court was. These buildings to be for privy
+lodgings on both sides, and the end for privy galleries; whereof you
+must foresee that one of them be for an infirmary, if the prince or any
+special person should be sick, with chambers, bedchamber, ante-camera,
+and recamera, joining to it; this upon the second story.
+
+“Upon the ground story, a fair gallery, open, upon pillars, and upon the
+third story likewise, an open gallery upon pillars, to take the prospect
+and freshness of the garden.
+
+“At both corners of the farther side, by way of return, let there be two
+delicate or rich cabinets, daintily paved, richly hanged, glazed with
+crystalline glass, and a rich cupola in the midst; and all other
+elegancy that may be thought upon. In the upper gallery too, I wish that
+there may be, if the place will yield it, some fountains running in
+divers places from the wall, with some fine avoidances. And thus much
+for the model of the palace; save that you must have, before you come to
+the front, three courts, a green court plain, with a wall about it; a
+second court of the same, but more garnished with little turrets, or
+rather embellishments upon the wall; and a third court, to make a square
+with the front, but not to be built nor yet enclosed with a naked wall,
+but enclosed with terraces leaded aloft, and fairly garnished on the
+three sides; and cloistered on the inside with pillars, and not with
+arches below. As for offices, let them stand at distance, with some low
+galleries to pass from them to the palace itself.”
+
+       *       *       *       *       *
+
+The vignette is an elevation, with enlarged details, of a design for a
+weathercock or wind vane. In buildings where there are many on the roof,
+they are sometimes seen pointing different ways, and it is of importance
+they should be properly constructed. The construction necessary to
+prevent these differences is shown in the two sections on each side the
+elevation; _a_ is a gun-metal rod, in which is fixed the small steel rod
+_b_; this moves in a piece of agate fixed in a small block of copper
+_c_; the agate is marked black in the left-hand section.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 23._
+
+A GARDEN SUMMER-HOUSE.
+
+[Illustration: Perspective view and plan.]
+
+
+This small circular erection was designed from the express directions,
+as to style, size, form, and plan, of the gentleman for whom it was
+made, and who had it constructed. It was of wood, standing on a brick
+foundation, with a quaint room in the centre, completely lined with
+match-boarding, stained oak and varnished, the ceiling having hanging
+pendants. The lead lights of the sashes were glazed with various
+specimens of old coloured glass.
+
+[Illustration: Elevation.]
+
+The view and plan are illustrated at page 262; the plan shows the
+general arrangements; the porch had seats on each side, and the back
+portion of the
+
+[Illustration: Section.]
+
+[Illustration: Detail showing construction.]
+
+summer-house was enclosed for a single seat. The elevation given on page
+263 shows, as well as the view, flower-pots on supports in the roof.
+These were
+
+[Illustration: Gate to a flower-garden.]
+
+omitted in execution. The section shows the building as constructed; it
+is taken through the porch. The interior room and the enclosed seat
+behind the illustration gives the detail of a portion of the
+construction.
+
+[Illustration: Elevation.]
+
+[Illustration: Section.]
+
+[Illustration: Plan.]
+
+The building had no fireplace, being merely intended for summer use; it
+was placed on an elevated site, and commanded a fine view.
+
+No small structure can be made too expensive in construction if it is to
+be placed in a beautiful flower-garden. However pretty its ornaments may
+be, they are sure to pale by the side of the natural objects surrounding
+it. The small gateway shown in view on page 265 was constructed entirely
+in oak with a slab-slated roof. It stood at some distance from the
+dwelling, to which it formed a conspicuous object, and it was the
+entrance to an enclosed flower-garden. An elevation, section, and plan
+of it are given on page 266.
+
+       *       *       *       *       *
+
+The vignette represents an open ironwork console or holder for a
+meat-jack for the kitchen fireplace: it is of French design.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 24._
+
+A SMALL COUNTRY RETREAT, OR FRENCH MAISONETTE.
+
+[Illustration: The front elevation.]
+
+
+This is a study for a small villa in the modern French style, one which
+has lately been introduced into several buildings of domestic character
+in England, the woodwork being sent from France. The
+
+[Illustration: Ground plan.]
+
+chief feature of the style is the machine-cut ornamental wood; it is of
+common deal, about an inch or a little more in thickness. When placed
+up, and coloured a light fawn colour or plain yellow, it is extremely
+pleasing, and has the merit of being very cheap.
+
+The design has an ornamental iron verandah completely round two sides
+of the building, with small upright standards taken through its roof,
+which are
+
+[Illustration: Section through length of building.]
+
+connected together with zinc wire-work; the intention being to permit
+flowering plants to grow over it, so that the front should be crowned
+with flowers. The villa is only intended for summer use, being confined
+in its accommodation. The ground plan, given on page 269, shows _d_ and
+_e_, the drawing and dining
+
+[Illustration: Transverse section.]
+
+rooms, divided one from the other by curtains hanging on a glazed
+screen; the length of the two rooms is 42 feet, their breadth 15 feet.
+They are decorated gaily in French style; the room _c_ can be used as a
+study, but it is intended for a sleeping room; the kitchen _f_ has a
+large larder _h_, but it would be desirable if the kitchen was formed a
+short distance away from the building, and connected with it by a
+passage; the rooms _f_ and _g_ could then be made into a bed and
+dressing-room. The wine cellar is at g, and a conservatory _i_, is
+placed at the end of the building.
+
+[Illustration: Plan of one-pair.]
+
+The elevation of the front of the building and the two sections show the
+general construction of the upper part of the house. This was in timber,
+the flues alone being of brick.
+
+The plan of the upper floor shows four rooms; each of the flues is
+supplied with its pedestal, so that should the house be occupied in
+winter, these upper apartments could be kept well aired by the fires in
+the lower apartments, without any attention from the servants. The
+framing of the upper portion is correctly shown in the section copied
+from the working drawing.
+
+[Illustration: Portion of verandah.]
+
+All elevation of a small portion of the verandah, showing its iron work,
+is given; and an illustration to a large scale shows its ornamental zinc
+guttering, and the carved wood French ornament, a section showing how
+they are fastened on; and the zinc gutter placed in front is likewise
+given.
+
+[Illustration: Elevation of zinc gutter, and cut woodwork.]
+
+[Illustration: Section of the same.]
+
+The following is a design in purely French taste for the circular top
+over the entrance porch on the upper floor.
+
+[Illustration: Cut woodwork.]
+
+The roofs of buildings in this style should be covered with zinc. The
+French are as much before us in their use of this metal as they are
+with their cut woodwork.
+
+Roofs covered with zinc could be made flatter, and have a covering or
+floor of boards, each board ½ an inch apart. An illustration is given of
+such a construction; it has a light iron railing with a scroll
+
+[Illustration: Design for roofing.]
+
+against the brick parapet; and supports a stand for flowers. With the
+absence of offensive smoke, and with the use of the flue pedestal to
+supply warmth, the upper parts of our houses could easily be formed into
+conservatories.
+
+The interior of the building was intended to be as profusely decorated
+with the cut woodwork as the exterior. The staircase balusters were of a
+rich pattern, the whole being stained after some ornamental wood, and
+varnished.
+
+[Illustration: Staircase balusters.]
+
+The expense of constructing such a building would be 2450_l._
+
+In this style cut-wood decoration the French certainly excel us. Some
+English examples, very common in our railway stations, are shown below.
+The most ornamental is a pattern used by the author some few years ago;
+a rose is introduced to cover the fastening of the cut pattern to the
+fascia behind.
+
+[Illustration]
+
+We have in England a carving-machine, known as Irving’s patent, that was
+a few years since much worked at a manufactory in Pimlico by Mr. Pratt
+of Bond Street. At one time it bid fair to exert a most important
+influence upon the production of this kind of cut-wood decoration. It
+could make such carvings with the greatest ease and rapidity, whether in
+stone or wood. The machine was a simple drill in a moveable arm, worked
+either by steam or a hand-wheel, on a moveable table; the combined
+motion rendered it capable of carving any form, however intricate, from
+the largest Gothic window-head, to the smallest screen. At Pimlico it
+was under the architectural superintendence of R. W. Billings. It is
+still used, together with Jordan’s patent for carving, at Lambeth.
+
+       *       *       *       *       *
+
+The vignette gives a pattern for cut-wood balustrading.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 25._
+
+AN ELIZABETHAN VILLA.
+
+[Illustration: Perspective view.]
+
+
+This design was made a few years ago for a gentleman who was a great
+admirer of our old English architecture, and who desired to have a
+
+[Illustration: Ground-floor plan.]
+
+dwelling with its chief characteristics, both internally as well as
+externally, but with all modern arrangements. He intended to purchase a
+piece of land in the neighbourhood of London for the purpose of
+erecting the structure upon it. Producing the design was a labour of
+love to us both, and many a pleasant evening we
+
+[Illustration: Balustrading of staircase.]
+
+spent together in studying the details as to what we should like to have
+in each room, without troubling ourselves about what the expense would
+be; unhappily he did not live to carry out his intention, and the
+drawings were laid aside.
+
+[Illustration: Section of hall.]
+
+The exterior is a study from the celebrated building, Rushton Hall in
+Northamptonshire, erected in the
+
+[Illustration]
+
+reign of Elizabeth, by Sir Thomas Tresham. On the estate in the forest,
+about a mile from the house, is that curious and unique building, the
+Triangular Lodge,[B] which served as a secret place of meeting for the
+conspirators of the Gunpowder Plot.
+
+The ground plan shows only a small and single staircase _b_;
+considerable discussion took place upon this; the great staircase was
+first planned in the hall _a_, but a billiard-table was imperative, and
+the hall alone
+
+[Illustration: Elevation of hall fireplace.]
+
+could receive it. The smaller staircase was made ornamental, with carved
+oak balustrades having a
+
+[Illustration: Details of hall fireplace.]
+
+small brass ornament between, for the children to lay hold of in getting
+upstairs.
+
+The hall was to be wainscoted all round; the illustration on page 283
+shows one side, with the entrance into the dining-room; a section of the
+moulding of the panels is given on page 283 of full size. A gilt
+decoration was to have been put in each panel, as shown. An ornamental
+plaster frieze, containing shields of arms
+
+[Illustration: Hall stove.]
+
+which were to be emblazoned, came over the panelling. An elevation of
+the fireplace, to have been made in Caen stone, with its details on a
+large scale, is given in cuts on pp. 284, 285.
+
+[Illustration: Portion of hall ceiling.]
+
+The fireplace is shown with fire-dogs to burn wood, with its iron
+fire-back; but this was objected to, and
+
+[Illustration: Section.]
+
+the stove was selected; my friend having great interest in coal,
+preferred it to wood.
+
+[Illustration: Dining-room ceiling.]
+
+The illustration on page 286 is a portion of the hall ceiling, copied
+from a celebrated example of the time of Henry VIII. To illustrate every
+room or give only one-third of the drawings made for this design would
+far exceed the limits the present volume allows. Each of the three rooms
+on the ground floor had
+
+[Illustration: Pendant.]
+
+decorated chimney-pieces, and carved architraves and panels to the
+doors. The section shows the height of the rooms. The dining-room _e_
+(see ground-plan) was
+
+[Illustration: Pendant and centre ornaments.]
+
+22 ft. by 20 ft.; the library _c_, 17 ft. by 15 ft., and the
+drawing-room _d_, 24 ft. by 17 ft., with a large bay window opening on
+to a terrace--their height 12 ft. 9 in.; _f_ is the lift and _g_ the
+closet. Each of these rooms was to have ornamental flat plaster ceilings
+with
+
+[Illustration: Drawing-room ceiling.]
+
+pendant ornaments. These are shown in illustrations on page 289.
+
+The staircase led to a gallery in the middle of the building on the
+first floor, dimly lighted at each end by the staircase and passage
+windows. The first floor (page 292) contained a morning room, _a_, in
+the centre, 15 ft. by 12 ft., with a bow window; and three bedrooms _b_,
+_b_, _b_, with two dressing-rooms _c_, _c_, one with a bath and a
+closet.
+
+[Illustration: Library ceiling.]
+
+The attic plan (page 292) contained three large rooms for the servants,
+_b_, _b_, _b_; a housemaid’s closet _e_, and in the recessed space by
+the side a large slate cistern for water. The basement (page 293)
+contained considerable accommodation: _d_ was intended for a private
+room for the family, _a_ the kitchen, _c_ larder, _b_ the scullery, _i_
+beer-cellar, _g_ butler’s sleeping-room, _e_ butler’s pantry, _h_
+wine-cellar, _l_ place for cleaning
+
+[Illustration: Plan (page 291).]
+
+[Illustration: Attic plan (see page 291).]
+
+knives. The housekeeper’s room _f_, and servants’ hall are in the front,
+and _j_ is the lift for dishes to ground floor, _k_ the coal-cellar. An
+open area was made on two sides of the building.
+
+[Illustration: Basement plan (see page 291).]
+
+It was intended to construct the basement fireproof, and to have the
+flooring chiefly of asphalte, laid on brick and concrete, solid with the
+earth; having a width of stone at the fireplaces. Small openings into
+the areas were to be made for water to run off, so that the floors could
+be at any time flooded from a
+
+[Illustration: Front elevation.]
+
+[Illustration: Back elevation.]
+
+[Illustration: Elevation of side.]
+
+hose. The skirtings for eighteen inches above the floor were to be in
+asphalte, so that no beetles or other vermin should find their way in.
+It was a
+
+[Illustration: Ironwork on terrace.]
+
+subject of discussion whether all the other floors and skirting should
+not be of a similar description. The three elevations of the building
+are given: they were
+
+[Illustration: Ironwork on bay-window.]
+
+to have been in red brick with compo dressings, and the balustrades in
+artificial stone. One peculiar portion of the exterior decoration was
+the ironwork in lieu of stone balustrading. The bay window and the
+terrace were surmounted with this ironwork; that on the terrace was to
+be formed so as to sustain heavy
+
+[Illustration: Small finial.]
+
+[Illustration: Portion of front.]
+
+earthenware pots of flowering shrubs:--an elevation of the two examples
+is given on page 297.
+
+The mouldings on the exterior of the building were small and simple;
+this is shown in illustrations on page 298. Various designs were made
+for the
+
+[Illustration: Balustrades for first floor.]
+
+balustrading; three of these, with the ornament containing a shield of
+arms in the centre of the side gables, are likewise given.
+
+The expense of constructing this design with all the ornamentation
+shown, would have been great. A
+
+[Illustration: Lower balustrade.]
+
+considerable portion of it, when it came to be estimated and the
+specification and working drawings were made
+
+[Illustration: Ornament in side gable.]
+
+for the builder, would have been left out, and the whole made more
+simple. The design would not have materially suffered for such
+deductions; all the general forms or the simple outline of the exterior
+would have been preserved. The chief deduction would have been made in
+the ornaments of the interior, or these might have been only partly
+done. Such a design, with a moderate amount of decoration only, would
+cost about 4700_l._
+
+       *       *       *       *       *
+
+The vignette shows French and English cut-wood patterns for blind
+ornaments.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 26._
+
+A SUMMER OR GARDEN VILLA.
+
+[Illustration: Perspective view.]
+
+
+One of our most eminent writers on gardens, Repton, remarked that
+“gardening and architecture, like all the fine arts, have much in
+common; and the department of architecture which belongs more
+exclusively to gardens has especially a great affinity to gardening in
+its broadest principles.” In fact, there is much more relation between
+the two than is usually admitted--a matter already alluded to in the
+Introductory Essay. Architectural forms and decorations, temples and
+rustic bowers, seats, &c., are not, as many have observed, unfit for our
+climate. In western counties they certainly can be indulged in to a
+large extent; and the fine evergreens and the beautiful grass of this
+country will, in association with ornamental terraces and sculpture,
+impart sufficient warmth of tone to render them agreeable. The garden of
+_Mon-plaisir_ at Elvaston, in Derbyshire, and the Alhambra Gardens
+there; those at Castle Coombe, Trentham, Alton Towers, and Bowood,
+sufficiently prove how attractive gardens can be architecturally made.
+In former years gardens were almost universal through every part of
+England, as is proved by the bird’s-eye view, engraved by Kipp, from
+drawings by Knyff in the book, “Britannia Illustrata,” and those of the
+gardens given in Loggan’s “Oxonia Restituta,” and the similar work on
+Cambridge. But gardens, like all other mundane matters, have their
+periods of change or retrogression; the natural style having almost
+obliterated the architectural garden of William and Mary. This might
+have been too precise, as
+
+[Illustration: Ground plan of villa.]
+
+copied from the Dutch model: they were satirized by Pope, thus--
+
+    “Grove nods at grove, each alley has a brother,
+     And half the platform just reflects the other.”
+
+They were called King William’s style of fortifications, surrounded
+with yew hedges, cut in variety of forms; those which have been suffered
+to outlive their original shape are really beautiful. Queen Anne’s
+Garden, now part of Kensington Gardens, is an example. But these gardens
+were very inferior to those of Italy and France, or even those in
+England of the Elizabethan age. It is to Italy, the garden of Europe,
+that we must look for the finest specimens of garden architecture. The
+Villa Pamphilia or de Belrespiro, situated half a mile out of Rome
+beyond the Gate of San Pancrazio, is celebrated for its gardens; from
+them could be observed the whole city of Rome, and surrounding suburbs.
+The gardens are nearly five miles in circumference, and occupy the site
+of those of the Emperor Galba. Their arrangement is varied and
+agreeable; being picturesque without disorder, symmetrical without
+monotony; and we here observe the art with which the arrangement of a
+regular garden is made to agree with the rural nature of which it forms
+a part, and the noble structure it surrounds. It is doubtless the work
+of the architect of the villa L’Algardi, about the year 1646. They have
+been ascribed to the French artist, Le Notre, but there is very little
+of the French style about them; they are wholly Italian, following the
+lines of the villa, and in the same style or spirit. These are, or were
+admirable; while the fountains,
+
+[Illustration: Ground plan of garden and villa.]
+
+the cascades, grottos, basins, statues, and the antique fragments which
+adorn them are arranged with the
+
+[Illustration: Small group in centre of side left-hand basin.]
+
+skill and intelligence of genius. Illustrations are preserved to us only
+in a fine Italian work, by Jacobi de Rubeis, published at Rome, about
+the middle of
+
+[Illustration: Small group in centre of right-hand basin.]
+
+the seventeenth century. The villa was destroyed by the French when they
+crushed the liberty of the Roman people at their onslaught on Rome
+against Garibaldi.
+
+In designs of this description the house and garden should unite, and be
+lost in each other. Those parts of the garden most contiguous to the
+house should follow its outline, its walks and terraces, and be so
+
+[Illustration: Fountain ornaments.]
+
+placed that the windows and doors of the mansion could command a perfect
+view of them. The province of garden architecture is, primarily, to
+supply fitting appendages and accompaniments to the house, so that the
+latter may not appear alone and unsupported. If judiciously adopted it
+will be effective in helping to produce a good outline, carry down the
+lines of the
+
+[Illustration: Elevation of front.]
+
+[Illustration: Section through centre of building.]
+
+house, and connect it with other buildings, which may be conservatories,
+ferneries, aquaria, rustic seats, temples, and arbours; and it will
+provide a
+
+[Illustration: Portion of saloon.]
+
+proper basement to the house. Such arrangements afford shelter or
+privacy to a flower garden, extend the façade or frontage of the house,
+shut out back yards, stabling or offices, enrich, vary, and enliven the
+garden, supply conveniences, receptacles for birds, plants, sculpture,
+or works of art, specimens of natural history, and support for climbing
+plants. These points indicate refinement, wealth, and love of art, and
+otherwise blend the various constituents of a garden with the house, and
+harmonize the two by communicating an artistic tone to the garden. So
+says Repton, and most of the principal writers on gardening.
+
+[Illustration: Cap in saloon.]
+
+Some of the ancient gardens of Asia and Italy were considered among the
+wonders of the world. They were termed paradises, and were filled with
+such plants, both beautiful and useful, that the soil could produce;
+they were enriched with many kinds of works of art, banqueting-houses,
+aviaries, wells, and streams of running water, indispensable in those
+warm climates.
+
+[Illustration: Section of part of saloon ceiling.]
+
+An architectural garden, as illustrated in the design at page 302,
+should have a picturesque outline, a
+
+[Illustration: Plan of the same.]
+
+marked boldness and prominence of parts, rather than a mere ornamental
+detail; a picturesque effect by changes of level in the ground, by
+diversity of height
+
+[Illustration: Portion of centre panel.]
+
+of the different terraces, and by an arrangement in plan that would
+produce depth of shade. Every object admitted should fit into its proper
+place. This
+
+[Illustration: Panel of ceiling.]
+
+villa was designed to cover a fine spring of cold water, and thus insure
+a deep cold plunging bath. It was to be merely a place for temporary
+occupation and retirement, to renovate the health of the owner. The
+gardens and fountains externally were only ornamental accessories; the
+plan at page 306 illustrates these. The villa was approached by two
+roads _d_ _d_; there was a circle of open lawn between the house and the
+terraced gardens in front. The latter were approached
+
+[Illustration: Section and plan of one of centre pendants.]
+
+by descending flights of steps. A basin of water and a large fountain,
+rising from a group of sculpture in the centre, are there shown. By the
+side are two smaller basins with smaller groups of sculpture,
+representing sea-horses, cupids, and dolphins. This terrace is paved
+with ornamental encaustic tiles. At the head of the two side gardens
+_b_ _b_, are grottos _g_ _g_, with seats on a raised terrace on each
+side of their entrances. The steps descend to a lower level, and have
+sea-horses and cupids on their pedestals, with five falls of water from
+griffins’ heads, filling a basin below. A
+
+[Illustration: Bedroom ceiling.]
+
+wide walk, and a running stream by its side, were thus gained.
+
+The author at the time he made the design was effecting some additions
+to a country house, which admitted such a garden to be formed in front
+of it: he published his design for it at the time (1850) in the
+_Builder_.
+
+[Illustration: Drawing-room ceiling.]
+
+This villa may be considered a casine, or a retired dwelling on a rather
+larger scale, similar to the picturesque house at Wothorp, in
+Northamptonshire, which was erected by one of the Earls of Burleigh, as
+a place to retire to, while his “great house at Burghley was sweeping.”
+Wothorp was a large building: it was fully illustrated in one of the
+
+[Illustration: Sections of moulding of ceiling.]
+
+author’s works, from original drawings lent him by the late Marquis of
+Exeter. The casine, only one size larger than a cottage, was the fashion
+of the preceding age. Whenever the proprietor of an estate wished to
+turn hermit, he retired to the casine, a small temple erected in a
+portion of his grounds, where the finest views could be obtained, and
+the most perfect repose secured. In earlier times such buildings
+
+[Illustration: Drawing-room chimney-piece.]
+
+afforded secret meeting-places wherein to hatch political plots; such a
+one was the triangular lodge in a secluded part of the wood at Rushton
+in Northamptonshire,
+
+[Illustration]
+
+the seat of Sir Thomas Tresham, where the gunpowder conspirators
+assembled. The casine of more modern times was not so small, but it
+contained all the requirements of good living. One example, is the
+casine of Marino, near Dublin, built by Sir William Chambers for the
+Earl of Charlemont.
+
+[Illustration]
+
+It was square in plan, surrounded by twelve columns, two projecting flat
+porticoes in front and back, and pedimented porticoes at the sides. The
+entrance was approached by a noble flight of steps, the pedestals of
+which were decorated with carvings, and supported crouching lions.
+Statues and vases adorned the roof. A print of it, from a drawing of
+Wheatly, was published in 1783. The building contained a small hall or
+vestibule, a saloon or living-room, 20 feet in length by 15 feet in
+width. Leading out of this were
+
+[Illustration: Plan of mezzanine floor.]
+
+two small rooms; one a study, the other a bedroom and closet. The
+basement contained a large and well-fitted kitchen, a scullery and
+larder, a butler’s pantry, and servants’ hall, and cellars for ale and
+wine. Retired buildings of this kind, of larger character and of more
+importance, were often erected in private grounds of noblemen and
+gentry. One, very similar to the present design, was constructed by the
+late Robert Adam, for a salt-water bath, at Mistley, the seat of the
+Right Hon. Richard Rigby. Mr. Adam and Sir William Chambers erected a
+large number of such ornamental structures. One of the most elegant
+
+[Illustration: Plan of upper story.]
+
+examples, by Mr. Robert Adam, was the rout-house or pavilion erected for
+a _fête champêtre_ in the gardens of the Earl of Derby, at the Oaks, in
+Surrey, in 1774. The building was internally of the most ornamental
+character; there was an octangular vestibule, a hall 30 feet in
+diameter; this opened into a grand ball-room, 72 feet by 35 feet within
+the columns, and 86 feet by 56 feet within the walls. The supper-room,
+surrounding the ball-room, measured 200 feet from one end to the other,
+and 20 feet in width. It was exposed in its full splendour on the
+curtains being drawn; and at the end of the ball-room there were
+
+[Illustration: Basement plan.]
+
+two tea-rooms, each 20 feet square, on each side of the entrance saloon.
+The author gives these details in order that he may not be considered
+too venturesome in submitting to public notice, in these economical
+times, such an ornamental design as the
+
+[Illustration: Elevation of back front.]
+
+present. Similar structures of a more expensive character were once very
+common; but the small
+
+[Illustration: Elevation of top of pedestal.]
+
+[Illustration: Plan.]
+
+retired casine has now gone out of fashion. The ladies consider such
+secluded buildings as only fit for laundries, and not preferring
+themselves lives of perfect retirement and quiet, have brought in the
+small
+
+[Illustration: Ornament terminating pedestal on attic.]
+
+villa where a whole family can dwell, and no selfish thoughts or gloomy
+contemplations find place.
+
+In referring to the plan of the villa at page 304, of which the plate
+page 302 shows the elevation, _e_ is the
+
+[Illustration: Section.]
+
+[Illustration: Plan.]
+
+small hall 8 feet square, _g_ the gun room or waiting room is on the
+right, the serving room with a lift from the basement on the left. The
+saloon is a highly decorated apartment, 20 feet in diameter. This is
+seen in the section through the centre of the building given at page
+310; _h_ is the sleeping room, 13 feet square, with an ornamental
+ceiling. The saloon serves as a dining-room and place for meals. The
+drawing-room, _d_, or music room, 22 feet by 14 feet, is on
+
+[Illustration: Termination of attic pedestal.]
+
+the left, _b_ is the principal staircase leading to the upper rooms;
+this serves also for servants. The small iron staircase _j_, is for
+passage to the cold bath below, _i_ is a room for a warm bath. The cold
+bath, as shown in the section, is ventilated through a domed ceiling,
+but the scale is too small to show this perfectly.
+
+A portion of the saloon is shown at page 311, with a few of its details
+in the six cuts following it.
+
+[Illustration: Chimney-pot elevation and section.]
+
+The bedroom ceiling (page 316) supposes the covering of a tent, upheld
+by spears and ropes. The colour of the drapery is of a light fawn, the
+ground a deep ultramarine blue. In the centre of the ceiling is a small
+Cupid on a red or gilt ground, a light blue circle surrounding it. The
+spears, roses, ropes, and tassels are gilt and coloured.
+
+[Illustration: Iron balconet to window.]
+
+The drawing-room ceiling is decorated plaster work in white and gold.
+Its plan is shown at page 317, and three of its details on page 318.
+Among other decorations of these rooms may be considered the
+chimney-pieces. The cuts (page 319) give an elevation of the
+drawing-room chimney-piece, the plan of its shelf above, and a portion
+of its details to a larger scale beneath. This chimney-piece in the
+finest statuary marble would cost 80_l._ to execute. Several have been
+done for the author at that price. They look very well in execution. Two
+fire-places of less pretensions are shown in the illustrations at pp.
+320 and 321; the first was in rouge royal, costing 25_l._; the last are
+of marble with slate panels covered with imitation of Brocatelli
+marbles, these costing 19_l._ 10_s._ each. The illustration of the whole
+of the details of internal decoration of such a structure would fill a
+much larger volume than the present; but it is the sole object of the
+author to give such illustrations of the several designs, that a portion
+of each part of the building only shall be shown; _k_, in the ground
+plan (page 304), is an open portico with steps to the garden or park in
+front of it.
+
+The next plan (page 322) is that of the mezzanine. This shows two of the
+female servants’ sleeping rooms, _a_, _a_, with a closet; the decorated
+ceilings of the saloon, drawing-room, and bed-room, are also shown; the
+bath-room should have some slight decoration, but this has been omitted.
+The female servants’ sleeping rooms are each 17 feet in length by 8 in
+width.
+
+The plan of the upper story (page 323) gives a smoking room _a_, with an
+open terrace _c c_, front and back, a closet _d_, and a cistern room
+_b_.
+
+[Illustration: Section of window sill and iron balconet.]
+
+The basement plan (page 324) shows the cold bath in the centre, with its
+staircase; the kitchen _b_, the scullery _g_, _h_ _h_ the larders, _c_
+is the lift, and _d_ _d_ are men’s sleeping rooms; the servants’ hall
+_t_, and housekeeper’s room _j_, are on the left, _q_ is the wine
+cellar, and _s_ the beer cellar.
+
+The elevation of the back front is at page 325; it has a circular
+portico and steps down to the garden. An attempt has been made to
+introduce an original termination for the pedestals on the attics,
+instead of using the almost universal Soanic bulbous ornament so
+repeatedly seen in nearly every public building in
+
+[Illustration]
+
+London and the country, and of which the author’s late master, Sir John
+Soane, was so fond. These attempts are given in the figures pp. 326-328;
+and an attempt is made to give an ornamental chimney-pot on page 330.
+It will be seen in the figure that the ornamental cement pot or vase
+contains an iron, or it might be a zinc, lining; this would be kept
+warm, and a security for the smoke passing out.
+
+The exterior of the building is ornamented with statues and vases, and
+the windows have iron balconets.
+
+The last remaining illustration to be given is the arcade on each side
+of the villa, dividing the front and back gardens. The chief portion of
+this in stone, with statues between the columns and vases over them; at
+the back of the columns is another front of ornamental trellis work in
+wood, with scroll stands for flowers--this is supported or upheld by the
+stone screen; an elevation of each, with a section, is given at page
+334.
+
+       *       *       *       *       *
+
+The vignette gives French and English patterns for cover to external
+sunblinds.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 27._
+
+A DECORATED WINDOW.
+
+[Illustration]
+
+
+This design was sketched with the intention of making Italian forms
+rival the tracery of the Decorated Gothic window, and to obtain a rich
+and variegated mass of painted and coloured glass, without any stiff
+mannerism or formality. The window was 11 ft. in height with a width of
+7 ft.; it served as a screen in one of the principal staircases in a
+house at Queen’s Gate, Kensington; immediately behind it is the
+servants’ staircase, having a large window and skylight. The lower
+portion of this window is divided into three lights by two pilasters
+acting as mullions. The circle above the transome is filled with a
+richly painted subject, representing a basket of flowers and scrollwork
+on a ruby ground. The basket is formed of emerald glass, the ground of
+the surrounding portions is richly embossed glass, the chief portions
+white, the small portions ruby, yellow and blue, the latter with white
+ornaments upon it. The three lights between the pilasters are filled
+with embossed glass, and the whole is surrounded by borders of
+scrollwork richly embossed, stained and painted; the ruby ground is
+shown in the drawing by vertical lines, the yellow by oblique lines, and
+the blue by horizontal lines. The expense, including the zinc-work for
+fixing the glass to the upper portion or fan-light, was 22_l._ 6_s._;
+the lower portion cost 8_l._ 10_s._ It was the work of Messrs. Baillie
+and Co. of Wardour Street.
+
+
+
+
+_DESIGN No. 28._
+
+A SCULPTOR’S VILLA.
+
+[Illustration]
+
+
+During the year 1850 the author, in conjunction with the late Mr. John
+Britton, F.S.A., was engaged in making some topographical sketches in
+one of the western counties of England. He became for a short time the
+guest of one of its principal residents--a gentleman who had succeeded
+to the possession of more than a million of money, the result of a
+relative’s gains as a merchant in the City. He had filled the small
+house he was then inhabiting with a very fine collection of antique
+bronzes: also with ancient and modern statuary. The house was occupied
+in every corner with these valuable and beautiful works of art. He was
+then having another house of larger dimensions erected to receive them.
+Considerable discussion took place at his table between himself and his
+visitors, among whom were two or three distinguished men of taste, as to
+the best method of introducing sculpture into a dwelling of moderate
+capacity. It was the general opinion that to properly exhibit classic
+sculpture, a villa the size of those of the ancients, such as are
+described by Pliny in the account of his villas at Laurentinum and
+Tusculum, would be required, and that no other would suffice. On his
+return home, the author, as a matter of amusement, without any thought
+that his ideas would ever be carried out, made the present design; it
+was a subject that pleased him, as he had only a few years previously
+
+[Illustration: Plan of ground floor.]
+
+superintended the construction of a small sculpture gallery for the late
+Sir Francis Chantrey at Pimlico.
+
+The ground plan of this design shows a gallery of sculpture in the
+centre of the building, a small
+
+[Illustration: Section of staircase.]
+
+“Museo Chiaramonti.” The principal group at the end, representing the
+capture of the Queen of the Amazons, is so placed that the staircase
+winding round it forms its base; the group can be seen from the
+staircase, and from the galleries at the side, in every point of view.
+This being a large building, the scale upon which the plans, elevation,
+and sections are drawn is smaller than the scale previously used in this
+volume. The gallery, including that portion which forms the ante-room to
+the conservatory, is 80 ft. in length by 20 ft. in width, which is a
+poor
+
+[Illustration: Plan of principal staircase.]
+
+imitation of the gallery at the Vatican--the Museo Chiaramonti. This is
+280 ft. in length, with a breadth of 20 ft.
+
+But the possession of only a million of money gives a moderate income
+compared with that of the sovereign popes at the time the Vatican was
+erected. The
+
+[Illustration: Section through gallery and conservatory.]
+
+sculpture is arranged on each side of the gallery, the bas-reliefs
+inserted in the walls, the bronzes on small pedestals, a reclining group
+is placed in a niche in front of the staircase. A marble group is placed
+in the fountain in the ante-room to the conservatory, and another in the
+conservatory itself. A gallery of this description permits the admission
+of a large quantity of sculpture, allowing it to be seen with advantage.
+The entrance of the building, partly taken from the front of one of the
+Italian palaces,[C] permits a large quantity of sculpture to be placed
+in advantageous positions. The plan, page 340, shows an entrance loggia
+_a_, the hall _b_, 17 ft. by 16 ft., with the waiting-room _c_, to the
+right, the breakfast parlour _d_, and the butler’s pantry _g_, to the
+left; _f_ is the library, 28 ft. by 16 ft., entered either from the
+gallery or the waiting-room. It has a large window looking into the
+ante-room to the conservatory, and permits a good view of the group of
+sculpture and the fountain in the centre; _e_ is the gallery, with the
+principal staircase, _i_ is the dining-room opening into the picture
+gallery and drawing-room _h_, _k_.
+
+The section, page 343, shows the general arrangement, and an idea can be
+formed of its grand scenic effect in summer, when the doors were
+opened. The walk round the conservatory and through the whole of the
+gallery would have a length of 170 ft., and round the galleries 150 ft.
+more, giving ample space to place a very large collection of sculpture.
+Underneath the gallery were supposed to be large cellars for wine. These
+had a private entrance through the pedestal of the Amazonian group, as
+shown in the plan and section to a larger scale at page 342; the
+collection below was supposed to be as valuable as the one above, and
+calculated to yield as much enjoyment, and one certainly that would be
+more highly appreciated by a greater number of persons. The villa,
+however, is on a small scale compared with some of the noble residences
+in the county, and the accommodation throughout very scanty. The
+servants’ offices are shown annexed to the plan; _l_ is the kitchen, 24
+ft. by 22 ft., _m_ the scullery, _n_ the housekeeper’s room, _o_ a small
+servants’ hall, _p_ is a serving room, and _q_ the external entrance to
+the cellarage.
+
+By the side of the principal staircase is a descent into the cellars and
+basement, for the servants, _b_, plan page 342. The conservatory has a
+diameter of 40 ft. and a height of 44 ft.; it is of light construction,
+in decorated ironwork.
+
+The one-pair plan shows the sleeping department, the principal
+bed-rooms, _b_ _b_, each with a dressing-room,
+
+[Illustration: Plan of one-pair.]
+
+_d_ _d_. These are entered direct from the gallery; in the front of the
+building are five smaller sleeping
+
+[Illustration: Cross section.]
+
+rooms. At the conservatory end the gallery opens on to the roof of the
+ante-room beneath, and from this there is an entrance to a circular
+gallery inside the conservatory. On the servants’ side are seen two
+large sleeping rooms, and a housemaid’s closet; as this portion of the
+building is kept lower than the other, it could have two or three rooms
+constructed over the kitchen, or it could be carried up another story.
+The plan of the principal bedchambers is taken up another floor; the
+small staircase for this purpose is seen at the end of the gallery.
+
+The cross section (page 347) shows the height of the building, and its
+general construction. The whole of the principal living rooms in the
+three floors are of the same height, 16 ft. 6 in. each; 37 steps were
+required in the principal staircase to ascend to the first floor on one
+side, and 31 on the other; the roof of the saloon was to be constructed
+similar to the roof of the Riding-house shown in plate, page 389. Large
+roofs can be constructed on this principle at a very cheap rate, and it
+is a very strong and efficient one; the roof of the Pantheon in
+Oxford-street, constructed by Mr. Sydney Smirke, is of a similar kind;
+the roofs of the annexes to the Exhibition building of 1862 by Captain
+Fowkes were on the same principle, but as these were only intended to
+stand for a year, were very slight. The cross section shows the
+ventilating flue, proposed and illustrated in a following chapter; the
+small stack in the low building shows the incline necessary to meet the
+back eddy of wind from the high building. It would have been better,
+could it have been effected, to have placed the stack in a position
+parallel to the high building, and not at right angles to it. The stack
+on the latter shows two ventilating flues, each with an upward shaft;
+the whole of the smoke from the fireplaces would be delivered from these
+two shafts.
+
+It only remains to illustrate the system of warming proposed to have
+been introduced. This was by a combination of two entirely different
+systems of warm water circulation through iron pipes.
+
+The various apparatus of warming buildings by the circulation of hot
+water, may be roughly stated to be of two kinds, each acting on the
+opposite principle to the other. The first, or more modern one, is the
+_closed system_. This has always been preferred by the author, it being
+more conveniently introduced into a building, less expensive, and giving
+less trouble than any other, and more certain in its action. In it the
+water circulates with great rapidity, completely under pressure, the
+pipes being closed, and the whole of the air expelled from them. The
+older system is that in which the tubes are not closed, but are
+connected with a cistern, into which the water is allowed to flow and
+re-flow; the two may very properly be called the high and low
+temperature systems, and by these terms they are here designated. With
+the first, the tubes can be made to reach a higher degree of heat if
+necessary, by placing a larger proportion of them than is usual in the
+furnace; but with the second, a temperature of 180 degrees can alone be
+reached. With the latter, its greater or less efficiency depends upon
+the position of its open cistern, which regulates the amount of pressure
+in the tubes, according as its situation is high or low. It was
+introduced into this country about 1818; the open cistern was placed in
+the upper part of the house, the boiler being below in the kitchen, thus
+allowing a considerable pressure in the tubes, and securing a quick
+circulation of the water. The high temperature system was introduced by
+A. M. Perkins, Esq., about the year 1832; in its simplest form it
+consisted of a continuous or endless tube of wrought iron of one inch
+external diameter, filled with water, and closed in all parts; a portion
+of the tubing was formed into a coil and placed in a furnace of wrought
+iron, the fire being enclosed in fire-brick. When it was first
+introduced a larger amount of tubing was placed in the furnace than is
+now usually done; with the proper amount, one-tenth or one-eleventh only
+of the full quantity is necessary, and then it must be obvious that no
+overheating of the tubes can take place. In practice it is more usual to
+find objections made to the apparatus not giving sufficient heat, than
+to its giving too much. The quantity of feet in pipes necessary to raise
+rooms of a certain size to a given temperature, must be proportioned to
+their cubical contents, and this depends equally on the situation and
+aspect of the building, the number of doors, and windows or skylights;
+no rule can consequently be given which would be applicable to all
+places with any degree of certainty.
+
+The pipes being only five-eighths of an inch internal diameter, a very
+small quantity of water is required to fill the apparatus. A tube called
+the expansion tube is placed above the highest level of the circulating
+pipes, and is generally of larger diameter. The object of this tube is
+to allow for the expansion of the water as it becomes heated; a tube is
+also placed at the highest level, in order to fill the apparatus, so as
+to leave the expansion tube empty.
+
+The tubes are provided with screw plugs, so as to be conveniently opened
+when it is required to fill the pipes with water, and closed again after
+being filled. This can be done with facility by a servant. The
+circulation of the water is produced by the application of heat to the
+coil in the furnace; and as the small size of the pipes admits of
+presenting the largest possible amount of surface to the action of the
+fire, it is clear that a greater economy of fuel is effected by it than
+by the ordinary system of boilers. As the water becomes heated it rises
+immediately to the highest level of the circulating pipes, and thus
+forms a column of heated water, specifically lighter than the colder
+water, which descends to the lower part of the coil. Thus a circulation
+is effected throughout the whole course of the pipes,[D] which
+eventually become heated, and the whole may be regulated exactly to that
+degree of temperature which is most conducive to a beneficial effect.
+
+To regulate the degree of heat to be given to the tubes, without
+requiring the necessity of an attendant, advantage has been taken of the
+expansive property of the iron pipe when heated. There are three
+multiplying levers fixed in a box, and so placed that the short arm of
+one of the levers rests upon a regulating screw attached to the flow
+pipe. On the other end of the series of levers a rod so rests that upon
+the slightest movement of the levers, the damper in the flue, which is
+attached to the rod, is opened or closed, as the case may be. The box of
+levers is suspended from the hot pipe, so as to leave about two feet in
+length between the point of suspension and the point of contact with the
+short arm of the lever.
+
+The operation of this arrangement is obvious, for the instant the pipe
+becomes heated, it expands and presses the short arm of the lever; and
+as the fulcrum within the box cannot move, by reason of the rod which
+suspends it being cold, it follows that the lever must be depressed, by
+which action a sufficient motion is given to the damper, to close it at
+any given temperature at which it may be originally fixed.
+
+The great advantage in the use of this apparatus is the saving of time
+in obtaining the requisite degree of heat. It often happens that the
+time occupied in heating the water of an ordinary hot-water apparatus
+completely defeats the object of getting warmth in any reasonable time,
+particularly in greenhouses, where it is frequently desirable to get up
+the heat quickly, to prevent the effect of frost. It has been said that
+this property of generating the heat rapidly has the disadvantage of not
+being able to retain it: this, however, is not the case, for, on the
+contrary, an equal temperature may be maintained for any length of time
+that may be desired. It is only necessary to make the fireplace
+sufficiently large to contain fuel enough to last the time the heat is
+required to be continued, and the damper will regulate the combustion of
+the fuel and the heat of the pipes, so that there will be no variation
+for twelve hours together.
+
+There being no boiler to the apparatus, it is free from the ordinary
+danger of explosion; if a pipe by possibility should burst, no harm
+ensues, for the water escapes from so small an aperture that it becomes
+absolutely cool by its expansion and mixture with atmospheric air.
+
+So little fear of fire exists with the apparatus, that the directors of
+the principal fire offices readily accept, at the lowest rate of
+premium, all proposals for the insurance of buildings in which the
+system is adopted, not requiring even the customary inspection.
+
+The author made drawings of one of these apparatus put up in an
+ornamental greenhouse in Kew Gardens in 1844; and fourteen years after,
+the director of the garden, Sir W. J. Hooker, publicly allowed it to be
+stated in print that no hot-water apparatus in any of their houses had
+given so much satisfaction; that the heat was given out after lighting
+the fires more rapidly than in any other of their houses, and steadily
+maintained at any degree of temperature required. The two systems of the
+high and low temperature can readily be combined, and the temperature of
+both large and small tubes nearly equalized. This may be done by using
+one furnace. A diagram given by Dr. Arnott in a lecture delivered by him
+at the Royal Institution in March, 1836, with his explanation, will show
+the principle upon which the combination is effected. Suppose A, fig.
+1, is a cistern full of cold water, and B a cistern full of hot water:
+if the two cocks _c_ _c_ are unturned, it is a fact that the water at
+_d_ will be one degree of warmth only above the water at
+
+[Illustration: Fig. 1.]
+
+A, and the water at e will be of one degree less temperature than the
+water in B. If, therefore, on this principle, some of the pipes of the
+high-temperature system are passed through the large tubing of the low
+temperature one, the desired effect is obtained: the large pipes or
+tablets of one apparatus remain at their full heat, while an additional
+quantity of inch pipe of sufficiently warm temperature is obtained, that
+can be carried into rooms and placed in situations into which the
+warming surfaces of the low-temperature system could not be made to
+approach.
+
+As regards the low temperature apparatus, if the large pipes belonging
+to it are laid in sufficient quantity, they doubtless have the effect of
+producing a moderate degree of heat.
+
+The best way of introducing them into a dwelling-house is to sink them
+in channels in the floor, with perforated ironwork over them: they are
+more usually introduced into hothouses, factories, and workshops, where
+their appearance is not objectionable. A feeling exists in favour of
+their use in conservatories; in order to show how they can be retained
+for that purpose, the combined systems are introduced in the plan of the
+villa here described.
+
+The ground plan shows the entrance hall, the gallery or sculpture saloon
+in the centre, the principal staircase, the picture room and the
+servants’ staircase, all warmed by the inch pipes; the larger pipes are
+introduced into the conservatory. In the picture room--that between the
+drawing-room and the dining-room--and in the hall, the pipes are sunk in
+trenches in the floor. They are close to the walls, and lined with brick
+with an inside covering of zinc. These trenches have over them
+perforated ornamental ironwork; _a´_ _a´_ are pedestals containing coils
+of pipe; _b´_ _b´_ are pipes behind the skirting, likewise perforated.
+Where these pipes pass the doorways they are sunk in the floor. In the
+conservatory _d´_ _d´_ are the large pipes; _f_ is an open cistern,
+through which the circulation of water in the pipes flows; at _g_ are
+placed the expansion and filling tubes.
+
+Fig. 2 is an isometrical view of the pipes, furnace, and cisterns
+complete to a small scale; _e_ is the furnace placed in the basement;
+_f_ is a cistern of cold water through which the flow and return pipes
+from the furnace pass: the water becoming heated in the cistern flows
+out, and returns in the direction shown by the arrows. The flow pipe,
+leaving this cistern, passes up to the expansion tube _g_, whence the
+tubes run through the building in the manner shown, returning to the
+furnace. The pipes _d_, are two other flow and return pipes, furnished
+with a stop-cock, by means of which the circulation can be confined
+either to the house or to the conservatory. The furnace
+
+[Illustration: Fig. 2.]
+
+should in reality contain two coils of pipe, having two flows and two
+returns, the whole of which should go through the cistern _f_, but the
+small scale of the plate allows one circulation only to be shown.
+
+Dr. Arnott’s principle of nearly equalizing temperatures was applied by
+him for room ventilation. Its mode of application is explained in the
+following extract from his report on “Warming and Ventilating
+Infirmaries, Workhouses, Factories, and Domestic Apartments,” given in
+the appendix to the Second Annual Report of the Poor Law
+Commissioners:--“In rooms where the mechanical mode of ventilation
+already described (by means of fanners) and now common in factories, has
+been adopted, an addition might be made to the apparatus for extracting
+the impure air, which would drive fresh air in, and which, by causing
+the two currents to pass each other in contact for a certain distance in
+very thin metallic tubes, would cause the fresh air entering to absorb
+nearly the whole heat from the impure air going out, and would thus
+render it at once both pure and warm, and would consequently save, after
+the room was once warmed, any further expense of fuel for the day, and
+would avoid, how rapid soever the ventilation, all the danger from
+draught and unequal heating.”
+
+The above idea is extremely ingenious, but as to its practical
+efficiency, some doubt might be expressed. The temperature of a warm
+room, even if it was 65°, would be much too low to produce the action
+described.
+
+A very ingenious application of the small-tube system of warming has
+been introduced into his dwelling by Mr. Babbage. He placed the furnace
+in the basement, and divided the whole length of piping by means of a
+multiple cock into four circulations, any one of which he could turn off
+or on at pleasure; one circulation warmed the bath, which, when the
+cistern that supplied it was once up to 160 degrees (and this it took an
+hour to obtain), remained sufficiently warm for a bath during 24 hours.
+The whole quantity of pipe in the building was 891 feet, and the
+quantity in the furnace 135. The thermometer in the smoke-flue was
+seldom higher than 212 degrees, when that in the flow-pipe was 240
+degrees. Any two or three, or all four of the circulations could be
+worked together, by simply turning an index provided for the purpose.
+
+The tool-room was always kept at a temperature of from 50° to 54°. In
+winter the hat-room received a portion of piping, so that coats and
+gloves, even in the dampest weather, were always kept dry. One
+circulation was sent through the dining-room a short time before it was
+used; it was after a certain time turned off and sent through the
+bedrooms and dressing-rooms. The various rooms in the winter were kept
+at different temperatures, the dressing-rooms were a few degrees warmer
+than were the bed-rooms: an inducement for early rising. The linen was
+aired, and warm water provided in the dressing-rooms and for the use of
+the servants. The apparatus saved labour in cleaning and lighting of
+fires, and it was economical, the consumption of fuel during the six
+winter months being about a bushel of coke in 24 hours. The supply of
+air, and the consequent combustion and quantity of fuel, was regulated
+by the fire itself. This was never suffered to go out after it had been
+once lighted, except when necessary to remove the clinkers, and this
+occurred about once a fortnight. In the morning, about seven o’clock,
+the fire was well shaken by means of a lever attached to the bars of the
+grate. Coal or coke was supplied, and the air valve opened. The
+stop-cock was then turned on to supply the coils for the library and
+stairs. At about eight o’clock in the evening the stop-cock was turned
+to heat the coil of the bath, and at eleven o’clock, fuel having been
+supplied, the air valve was completely closed, and the damper also if
+necessary. By these means the fire burned very slowly during the whole
+of the night, and the bath cistern received the warmth thus generated.
+
+These conveniences and luxuries might be more generally applied than
+they are at present in the dwellings of this country.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 29._
+
+GARDEN SEAT.
+
+
+This small ornamental structure was designed for a garden in Wiltshire,
+on an estate near Chippenham. The garden, which is very extensive,
+rises
+
+[Illustration: Perspective view.]
+
+[Illustration: Plan.]
+
+in steep terraces up the combe or hill by the side of the mansion, which
+lies down in the valley. The structure was to be on the highest part of
+the garden,
+
+[Illustration: Elevation of front.]
+
+commanding an extensive view of the valley, the village, and adjacent
+country. As the house is in the neighbourhood of several fine old
+Elizabethan mansions, the design partook of that character. The view
+represents
+
+[Illustration: Section.]
+
+[Illustration: Side elevation.]
+
+[Illustration: Balustrade.]
+
+the structure in its complete state, with the terrace overlooking the
+valley. The turret on the tower of the village church is seen in the
+distance. The latter
+
+[Illustration: Portion of exterior front.]
+
+[Illustration: Portion of the entrance front.]
+
+[Illustration: Balustrade (2nd example).]
+
+is an agreeable object in the view, being an extremely fine specimen of
+Decorated English Gothic, and in good preservation.
+
+The plan is beneath the view, and the elevation of the building is
+likewise given. The whole of it was to have been constructed in stone;
+the vases were intended to receive flower-pots, so that a constant
+change of flowers could be placed in them by the pots being changed as
+often as was desired. A section through the centre and a side elevation
+are given; the balustrade is from an ancient example, it is five inches
+in thickness. The mouldings of the exterior are of plain Roman
+character, without any admixture of Gothic forms. The best examples of
+our Elizabethan architecture are pure Italian, but possessing a bolder
+and more picturesque outline, suited to our northern climate, than that
+shown by the elegant Italian model.
+
+The second balustrade, p. 365, was an after-suggestion, it being
+considered more appropriate to the design than the first one. Another
+elevation was made for the same structure; this is shown as Design No.
+30; it was to occupy the same site, and to have been constructed wholly
+in stone.
+
+       *       *       *       *       *
+
+Opposite is a drawing of an ancient chimney-piece at Enfield, bearing
+the inscription--
+
+    Sola salus servire Deo,
+    Sunt cætera fravdes.
+
+[Illustration: Ancient chimney-piece in the Palace School, Enfield.
+
+(Formerly in the occupation of Queen Elizabeth.)]
+
+
+
+
+_DESIGN No. 30._
+
+A GARDEN SEAT.
+
+[Illustration]
+
+
+The turret of the village church is seen through the centre opening;
+this was proposed to be filled with plain and coloured glass; the detail
+of the ornament above the cornice is copied from that on
+
+[Illustration: Plan (2nd design).]
+
+the gables of Charlton House, Wiltshire, from which the author had just
+returned, having visited it for the purpose of making drawings and fully
+illustrating it in one of his publications.
+
+
+
+
+_DESIGN No. 31._
+
+AN ICE-HOUSE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Section.]
+
+
+This design represents an old-fashioned ice-house, such as were
+constructed in the country several years ago, and still are so, where
+large quantities of ice are required to be stored. This small structure,
+embosomed amidst trees, impervious to the sun, was formed with the stone
+of the district, and arched and domed over with bricks. The well _a_,
+sunk in the earth, is 10 feet in diameter, _b_ is a cesspool to receive
+the water that drops from the ice, and _c_ is the drain
+
+[Illustration: Plan.]
+
+to convey it to the well _d_; the ice is thrown in from the top, the
+earth _e_, and the two stone slabs and the straw between them, being
+removed.
+
+As an additional precaution against warmth, the structure was buried in
+a mound of earth. This, as it quite destroyed any picturesque effect it
+would otherwise have had amidst the trees, is not shown in the view.
+
+These ice-wells have not often so long a passage of approach; one only
+from 6 to 10 feet in length is sufficient, but double doors and a free
+current of air across the entrance passage are desirable. It has not
+often a domed roof to cover that of the well, a common wooden roof
+covered with thatch placed a few feet above the roof of the well being
+sufficient; neither is it often considered necessary to have a well to
+receive the water dropping from the ice. The ice-well walls may be
+splayed down to the ground, with proper footings, and an uncovered piece
+of ground left at the bottom. Over this is placed an open wood frame,
+which supports the ice, and permits all water to drain off. When the
+walls are splayed down in this form, buttresses must be added to support
+them, and the weight of the ice. Every country house in America is
+provided with an excellent ice-house of the simplest and most practical
+kind. It consists of a deep excavation in the earth, roofed over with a
+pointed thatch. These ice-houses are always well filled in the winter,
+and rarely if ever quite emptied during the summer. An accurate section
+of such an ice-well, with full directions for its construction, has been
+lately published.[E]
+
+
+
+
+_DESIGN No. 32._
+
+A SUBURBAN VILLA.
+
+
+One of the chief peculiarities in small suburban villas that have been
+erected near London within the last thirty years, is that of making the
+
+[Illustration: Elevation of principal front.]
+
+chief room on the basement the ordinary apartment for the family. The
+confined areas formerly adopted in front and back of the building are
+omitted, and the earth is sloped up in form of a bank, being adorned
+with flowers and shrubs so as to look pleasing from within the
+apartments. There is usually a side room in the basement, with
+descending steps to the entrance, which serves as an office to the
+occupier of the house. If his business be chiefly in the locality,
+
+[Illustration: Ground plan.]
+
+this is very convenient; the chief room in the basement is used as a
+dining and supper room, and indeed for all common purposes by the
+family. It renders it unnecessary to have more than one, or at most, two
+servants’ rooms. The drawing-room, the library, and the superior
+dining-room are on the floor above.
+
+This suburban dwelling very much resembles the same class of structure
+in America, where economy of space is carried out more completely than
+with us, and the residents are less dependent on servants. In the
+American house, the pantry is nearly always placed between the kitchen
+and the dining-room, and its chief approach is from the latter, even
+when the dining-room is on the ground floor. The American
+
+[Illustration: One-pair plan.]
+
+house has the office, or place of business of the occupier, on the lower
+floor, with its separate entrance. The Americans exhibit a compactness
+of arrangement and an attention to detail that prove they are in no way
+behind us in a knowledge of what is requisite for household comfort. One
+peculiarity in the American building is the verandah, which is
+considered to be indispensable. It is large and roomy, and often placed
+on three sides of the building; the climate, warmer and drier than our
+own, renders such an addition a
+
+[Illustration: Section through front and back.]
+
+great luxury. Our atmosphere in the winter months has often been
+pronounced of leaden gravity, and it does not permit of any erection
+that stops the circulation of the air, which would render it stagnant.
+Another peculiarity in the houses of our American cousins, is that they
+are often cased in wood. If the house be only two or three storeys in
+height, an 8-in. brick wall is considered sufficient: this is “furred
+off outside, and covered with clap boards,” in the ordinary
+
+[Illustration: Basement plan.]
+
+way followed in a wooden building. Its advantage is, that it is sure to
+secure a perfectly dry wall. This mode of construction in England would
+necessitate the painting of the whole of the exterior once at least in
+every three or four years. One more suitable with us for a wall in a
+damp situation would be the plan the author pursued in the house on
+Salisbury Plain, putting quartering against the wall, and covering it
+with diamond slating. The surface could be varied with coloured
+encaustic tiles so as to present a pleasant
+
+[Illustration: Front windows.]
+
+appearance, proper ventilation being given behind the slating.
+
+The small suburban villa represented in the plate is supposed to stand
+on a plot of ground with a frontage of 50 ft.; the construction is in
+brick and stucco, the small columns of the portico are of Bath stone.
+The plan shows a small hall _a_, the library _c_, 15 ft. by 14 ft., and
+on the right with a strong closet. The dining-room _e_, is 18 ft. by 15
+ft., and on the left; the drawing-room _d_, is 23 ft. by 18 ft. There is
+a large commodious staircase _b_, and leading from it a small
+dressing-room _i_, and closet. This dressing-room might easily be made
+to contain a bath; the water for the bath in any one of the floors
+should always be heated by means of a close boiler attached to an
+ordinary kitchen-range. It is the most simple, economical, and efficient
+arrangement for that purpose, as no more fire than that used for cooking
+is required. The cold water is supplied from a cistern at the top of the
+house, and a continual circulation of the water between that and the
+boiler goes on, the hot water ascending, the cold descending. Pipes may
+be branched off from the ascending pipe, which leaves the top of the
+boiler, and taken to any part of the house, ensuring a supply of hot
+water to dressing-rooms, nurseries, &c. Instead of a boiler, a coil of
+iron or copper pipe is often used, rendering the circulation quicker and
+more effective. The one-pair plan of the suburban villa contains three
+large bedrooms, two dressing-rooms, and one invalid’s room entered from
+the staircase; to this room the closet could be attached. The staircase
+leads up to two large attics for the servants.
+
+The section, p. 376, shows a portion of the front and back of the
+building, with the construction of the roof, the back wall not being
+carried so high as the front. This is done to give the building an
+imposing appearance from the road, a mode of construction very often
+carried out in suburban houses. The basement plan affords good
+accommodation; _f_ is the kitchen, 18 ft. by 15 ft., _g_ the scullery,
+_h_ the larder, _k_ the living room, _l_ the business office, with its
+separate entrance. The closet for the servants is external; the
+footman’s pantry and the wine cellar lead out of the staircase _b_; the
+coal cellar is under the portico. The house thus contains seventeen
+rooms; the cost of its erection would be 3260_l._ completely finished. A
+detail of the windows is given on a large scale at page 378.
+
+The following is an elevation of the vane, the constructive detail of
+which is given in a former vignette. The character is Elizabethan, and
+designed from an example at Oxnead Hall, Norfolk.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 33._
+
+A SUBURBAN VILLA.
+
+[Illustration: Elevation of principal front.]
+
+
+This design is also one for a suburban villa, or a small country house,
+on a rather larger scale than the preceding. This villa, dressed with a
+plain Italian elevation, and of smaller dimensions as to plan, has been
+erected on several sites near London. The front of the present design
+was partly taken from a plate in “Nash’s Mansions,” at the request of a
+
+[Illustration: Ground plan.]
+
+gentleman who very much admired it, and who was anxious to have a
+semi-detached villa of the same character. The villa was therefore
+designed so that another could be placed by the side of it. The two
+gables form the centre, the chimney stack is between them on the roof;
+the front was to have a sunk area, topped by a Gothic balustrade, and
+as there were no principal rooms on the basement floor in the front of
+the house, this was easily given; the rooms at the back looked into the
+garden, and these had the ground in front of them sloped up.
+
+The ground plan shows an entrance hall _a_, 14 ft. by 10 ft., with a
+commodious staircase _b_, 18 ft. by 12 ft., to the left. There was a
+closet to the right;
+
+[Illustration: The one-pair plan.]
+
+a lift from the basement could easily be obtained here. The study _c_,
+was about 16 ft. square, and was entered from the hall; the dining-room
+_e_, had a bay window, and was in the centre of the building; it
+measured 20 ft. square. The drawing-room _d_, was very large, being 31
+ft. in length by 16 ft. in breadth, with a large window at each end;
+this was often considered objectionable, as the occupants of the room
+can always be seen from the opposite houses, but as this was intended
+for a semi-detached villa, windows could not be obtained at the side.
+
+The one-pair plan contains one large and three small bedrooms, with a
+closet. Over the porch was placed a conservatory, and by its side the
+tower staircase led up to the attic. This contained four good-sized
+
+[Illustration: Attic plan.]
+
+bedrooms, each with a fireplace; there was a housemaid’s closet, and a
+place for the slate cistern to supply the lower part of the house with
+water; a small cistern on a higher level was placed on the roof of the
+tower. Another room could easily have been obtained on this floor, by
+continuing the passage at the housemaid’s closet through the centre
+room, and this was proposed, but it was objected to, as it could not be
+rendered light and airy. A second staircase,
+
+[Illustration: Section through portion of building.]
+
+from the attic to the basement, could have been formed in the tower, the
+two closets being placed in a similar position to the one on the first
+floor. The staircase in the tower led on to the roof. The section shows
+the height of the various rooms, there being no variation throughout the
+floors. It was intended to carry out
+
+[Illustration: The basement plan.]
+
+the style of the exterior in the interior--a medley between the Gothic
+and Elizabethan; the proprietor having a very large collection of
+old-fashioned carvings of various styles and dates, picked up at sales,
+or purchased in Wardour Street (at that time more celebrated for such
+antiquities than at present). The walls were to be covered with gilt
+leather and rich tapestries, and with this the architect did not intend
+to meddle, leaving it all to the taste and skill of the owner, although
+he has finished several interiors with such materials.
+
+The basement plan shows the kitchen _f_, the scullery _g_, and larder
+_h_; _q_ is the wine cellar, and _j_ the butler’s pantry. Then there
+were two large rooms looking towards the garden, and these were
+unappropriated. The butler’s small pantry had a window looking into the
+side area; the servants’ door was on the staircase; the coal cellar was
+placed under the steps leading to the porch.
+
+The building was to be constructed in brick and cement, with the porch
+and external balustrade in stone. The expense would have amounted to
+4600_l._, or the double villa to 9000_l._
+
+
+
+
+_DESIGN No. 34._
+
+RIDING-HOUSE AND STABLING.
+
+
+This collection of designs could hardly be complete without a group of
+stable buildings. To make such a group picturesque is extremely
+difficult,
+
+[Illustration: Perspective view of riding-house.]
+
+and it is very seldom attempted. Such buildings mostly form a portion of
+the offices which are placed out of view, concealed by plantations or
+shrubbery, and generally at some distance from the mansion to which
+they appertain.
+
+The present design, carried out in 1846 and 1848, was for some
+additional stabling to a baronial park, and it formed a conspicuous
+object. It stands on the
+
+[Illustration: Plan of riding-house and stabling.]
+
+eastern side of a quadrangle, the larger stabling being on the west, the
+offices of the mansion on the north (see above), and on the south there
+was a terrace-walk overlooking the park. The block of buildings as
+represented in the plan, comprised a riding-house _a_, 62 ft. in length
+by 32 ft. in width, a four-stall stable _e_, 30 ft. in length, a loose
+box _b_, 13 ft. square, and the boiler room _d_. The dung pit _g_, into
+which the liquid manure from the stable was sent, was on a very low
+level, and had a cart road at its side. The coach-house between the
+riding-house and stable was 40 ft. in length by 20 ft. in breadth; it
+had a covered area in front 44 ft. in length, with a width of 13 ft.,
+and a well and pump. The prospect tower _h_, as well as the tower _i_,
+had iron staircases, which led to the stud-groom’s sleeping room, two
+harness rooms, and the gallery of the riding-house.
+
+The latter was erected first. It is in brick, with a circular-ribbed
+wooden roof, on the plan introduced by Phil. de l’Orme, whose well-known
+book was published in Paris in 1567. He introduced a construction for
+roofing that is both cheap and efficient, and one that while plenty of
+light and ventilation can be obtained, gives the largest space in the
+interior of the room.
+
+The walls of the riding-house were two bricks thick, laid English bond.
+As the foundation rested on the stone no concrete was used, but the
+rock, which was on a steep incline, was levelled in step-like fashion,
+to receive the walls. Buttresses were placed where the circular ribs of
+the roof were situate; two lines of iron-hoop bond, 1 in. by 1/16 in.,
+tarred and sanded were laid in all the walls, piers, and buttresses;
+there were 13 courses 2 lines in side walls, 16 courses 2 lines in gable
+walls, and 7 courses 2 lines in buttresses. The walls were covered with
+brick copings formed of two courses of moulded bricks cut to lengths and
+mitred, and set and jointed in cement to gable ends: the flaunches of
+the angle buttress were formed with stocks, the upper courses set and
+pointed in cement, and the angles of parapets cut and mitred to the
+same.
+
+Ragstone moulded corbels were placed over the piers inside the building,
+from these the circular ribs sprung and into which they were stubbed.
+The roof was thus described in the specification:--The roof will be
+formed of circular ribs placed two and two, each 7½ inches apart,
+screwed and bolted together, each single rib to be in three thicknesses,
+the inner one of oak and to consist of twenty-six pieces of 1¼ inch deal
+and ten of 1¼ oak, each separate piece 1 foot in width, and to be as
+long as the scantling of the timber will allow, the ribs to be wrought
+and glued together, and at each joint to have two hard nails or ¾ inch
+screws having a good thread; the top and bottom edges of rib cut fair
+for linings, the side finished for paint. Cross pieces, 7½ by 2½ inches,
+twelve to each pair of ribs, the whole to be bolted together. To prevent
+the ribs from being at an unequal distance, the two outer ribs to be
+sunk half-an-inch at the places where the purlins notch in them.
+
+The purlins, eight in number, to run the whole length of roof, notching
+in the rib arches. The purlins to be placed in pairs and to have small
+cross struts either notched into them or securely nailed to prevent them
+from buckling or twisting.
+
+All the horizontal timbers of roof, such as the purlins, poll plate,
+sill, and heads of skylight, to run 9 inches in end walls, and to be
+cogged on template. Each purlin, if not in one piece, to be properly
+scarfed. An oak wall-plate, 9 in. by 6 in., was laid the whole length
+and width of the building, running 6 in. in the wall at angles, where it
+was pinned and lapped. The plate in the arch over the entrance formed
+the upper part of the railing in the gallery.
+
+This plate served as the abutment for twenty-four oak braces or struts,
+each 7 in. by 4 in., placed in the lower portions of the roof on each
+side, each strut to be sub-tenoned either into purlin or cross piece
+between rib, and the whole to be securely fixed.
+
+The framing to support curb or sill of skylights to be in one piece, to
+run over the wood arches, and to be securely fixed to purlin.
+
+Each pair of circular ribs moneyed out 22_l._ 4_s._ 6_d._ The more
+modern French style of forming this kind of roof would have been by bent
+ribs composed of three ten-inch planks, 12 inches by 3, cut true at the
+saw-mill, jointed with glue, planed all round, chamfered to edges, with
+20 half-inch bolts. These would have cost only 13_l._ 16_s._ 8_d._ each,
+but they would have caused considerable lateral pressure against the
+side walls.
+
+The roof of the riding-house is correctly shown in the small view, p.
+389, which serves also to show the section. Fig. 1 of the accompanying
+cut shows one
+
+[Illustration: _Fig 1._]
+
+[Illustration: _Fig. 2._]
+
+[Illustration: _Fig. 3._]
+
+of the circular ribs, fig. 2 the section of the pair joined together,
+and fig. 3 the section of the more modern French method of bent ribs. A
+roof in this latter construction was put up by Mr. Charles Fowler,
+architect, at the sale-room, St. Paul’s Churchyard. The circular ribs of
+the roof were formed in three thicknesses of 1¼ deal, footed into iron
+sockets or corbels let into stone templates. As a precaution until the
+perfect set and settlement of the work, three of the roof-frames had
+iron tie-rods, which were removed when all fear of lateral thrust was
+over. A print of the room was given in the _Builder_.
+
+The first construction described could be much improved, strengthened,
+and lightened by introducing an iron bar in lieu of the oak rib; and
+this has been done in several instances, resulting in the roofs standing
+well.
+
+The chief portion of the bricks used in the construction of the
+riding-house were provided from the estate, and were carted on the
+ground for the use of the builder. His account came to 920_l._
+
+The elevation of the stable shows the entrance to the coachhouse in the
+centre, between coupled columns. These were in iron, of slightly
+Elizabethan character as to style. Two gabled windows are on each side,
+one forming the entrance to the riding-house, the whole flanked by two
+towers; that on the left contained the staircase leading to the gallery
+of the riding-house seen in the view, the other is the prospect tower,
+overlooking the park. These buildings were commenced and finished in
+1848. The builder had to take down the old coachhouse and stabling which
+stood upon the site, and was permitted to use the old materials as far
+as they would go; one roof was re-used. The cost of the new building was
+1107_l._ The whole length was 95 ft. One of its principal features was
+the prospect tower, a view of which and
+
+[Illustration: Elevation of stable.]
+
+a representation of the back front is on p. 398; this was 60 ft. in
+height above the foundations.
+
+An iron staircase led up to the small tower, which had a staircase
+leading to the roof or lead flat, upon which was a seat and flagstaff.
+The battlements of
+
+[Illustration: Cap of iron column.]
+
+this small tower and its doorway were constructed of ragstone. This
+turret was corbelled out from the building as seen in the view; its plan
+and that of the corbelling is given on p. 399. The corbels were two
+bricks in height, each course; the arch is covered with
+
+[Illustration: Perspective view of prospect tower.]
+
+a stone landing upon which the small turret stands. It has a lightning
+conductor. This, the three iron staircases, and the columns, cost
+200_l._, which, however,
+
+[Illustration]
+
+was included in the previously stated amount of 1107_l._
+
+It was proposed to give the terrace-walk an ornamental stone. The
+balustrading and one of the bays of this balustrading are illustrated
+below.
+
+[Illustration: Elevation of the balustrade.]
+
+
+
+
+_DESIGN No. 35._
+
+A BACHELOR’S HOUSE.
+
+
+This building was intended to have been erected on an estate in the
+neighbourhood of London, for the solicitor acting for the lessee, a
+builder who was erecting numerous first-class houses upon the property,
+and who required his solicitor to be often with him. The gentleman was a
+bachelor, and this was, for a time, to have been his private town
+dwelling. It was only to consist of a basement and ground floor, but the
+walls were to be made sufficiently thick to enable the structure to be
+carried upwards when the estate was fully covered, and the house would
+be required for a family.
+
+The plan was arranged after the legal gentleman’s own directions: _a_ is
+the small entrance hall, leading to the inner hall, from which the
+living room _b_, and the picture gallery _f_, are gained; the gallery
+contained a choice collection of cabinet pictures, hunting subjects by a
+celebrated painter; _c_ is a small bedroom, which could be enclosed or
+shut off from the living room by a lifting-screen, worked somewhat
+similar to a lifting shutter. The screen was to be covered on the side
+next the living room with paintings; _d_ is the bath
+
+[Illustration: Plan.]
+
+room, _e_ the closet, _h_ is the dining-room with its lift, _i_, from
+the pantry in the basement; _j_ was a small iron staircase leading down
+to the stable, where some valuable hunters were to be kept. Under the
+dining-room was the coachhouse; no rooms were over the stabling. The
+servants’ entrance was in the area. The exterior of the building had a
+plain Gothic Tudor front.
+
+       *       *       *       *       *
+
+The vignette shows a corbel in the French cut-wood style.
+
+[Illustration]
+
+
+
+
+THE FIREPLACE.
+
+FLUE CONSTRUCTION AND SMOKE PREVENTION.
+
+
+An especial love for home comfort has always been an English
+characteristic. It has formed a species of national taste and pride even
+among our working classes. The constant changes of our climate are
+injurious to every class; the chief point of attraction in the English
+dwellings, during winter’s wet, cold, and fog, is centred in the
+fireplace. This has long been deemed the favoured spot where
+
+                      “Social mirth
+    Exults and glows before the blazing hearth.”
+
+The fireplace suits our climate; it is cheerful and attractive, but it
+gives its heat only by radiation. We are warmed on one side and chilled
+on the other, but neither the warmth nor the chill is too great to bear,
+and the occupant of the room can move into any temperature that suits
+him. In more northern climates the use of the fireplace would not be
+tolerated; there the cold is so excessive that an equal warmth must be
+diffused throughout the apartments, and flues in hollow walls, and
+closed stoves either in iron or brick are in the ascendant, as already
+mentioned in an earlier part of this work. But such means, by which the
+air is heated, and not merely warmed--and there is a great difference
+between warmed air and heated--would not be tolerated here. A puff of
+air from a closed stove caused by a back draught is not pleasant, and is
+very different from the honest puff of smoke from an English fireplace,
+that gives as a natural product of combustion, carbonic acid gas. But
+not one of these stoves, nor those that are called “smoke-consuming
+stoves,” make a good companionable fire--and this is not liked.
+
+The common open fireplace has held its own, and will continue to hold
+its own, against the best-contrived stove that can be introduced in lieu
+of it. But it still remains to find such a construction as will remedy
+its serious defects. These are chiefly such as pertain to the flue; it
+is not to the stove that these belong, for that, thanks to our excellent
+makers, is quite perfect.
+
+In our sluggish winter atmosphere the smoke leaves the open flue with
+tolerable certainty unless the flue is foul with soot; but when high
+winds prevail and the atmosphere is anything but sluggish, it teaches us
+the faults of the open flue, and volumes of smoke descend into our
+apartments. There are few occurrences in domestic life more vexatious
+and annoying than this; the numerous unsightly appendages in the form
+of cowls, turncaps, and windguards which appear alike on our houses,
+churches, and palaces, whilst they exhibit the ingenuity of our builders
+and workmen in remedying the trouble of smoky chimneys, demonstrate also
+the frequency of the misfortune.
+
+When flues are carefully constructed, with the best modern improvements,
+and a due supply of air is admitted into the stove, a smoky chimney is
+an exception; still the flue forms only a simple open funnel for the
+passage of the smoke, and failures will inevitably often happen. A
+construction on a good principle should render these defects as trifling
+as possible. In our best houses--those constructed within the last
+twenty or thirty years--two kinds of the common brick flue are mostly in
+use. One is of the old-fashioned kind, having a section of 14 by 9 in.,
+which was made originally of that size for the accommodation of the poor
+sweeping-boys. This is now retained only for the kitchen fire, which
+makes a large quantity of smoke, and for the rest of the fireplaces the
+flue known as “Cubitt’s” flue is employed, which has a diameter each way
+of 9 in. The author prefers the small flue, and always uses it in the
+buildings he has constructed. There are many persons who still maintain
+that the old-fashioned flue is the correct one, and it is still very
+generally used. There is an old saying about the proof of the pudding.
+In Belgrave Square, all the houses first designed and erected have the
+old-fashioned flue, and there are scarcely a dozen of the old
+chimney-pots left; all have been changed for tall-boys and other similar
+contrivances; one house has about 24 in one stack. No. 49, built by
+Cubitt about 35 years ago, and having the descending or sweeping flue,
+has the stacks exactly as at first constructed, with the exception only
+of a little doctoring to the kitchen flue. In the house opposite, No.
+48, one of the first, the external stack alone, next the street, has no
+less than 17 tall-boys, two of which appear to be broken off. On the
+opposite side of the Square, in Chesham Place, is No. 38, built by
+Cubitt about 30 years; it has all the original stacks untouched.
+
+The Cubitt flue can be recognised by the small peculiar cap on the
+chimney-pot, and several of these stacks remain in their original state.
+In Eaton Place and Eccleston Square, where this flue is used, the roofs
+tell the same story. In the first buildings erected by the author he
+used the large flue, and he now finds several specimens of
+chimney-doctoring on the roofs. In some large houses he lately erected
+at Queen’s Gate, in which the sweeping flue is used, there are several
+houses together without any disfigurement at all on the roof. He
+considers that the appearance of a tall-boy on one of them would be
+rather a proof that there was something wrong about the servants’
+management of the fires, than an error in the construction of his flues.
+
+A representation of this flue, and the manner of introducing it into a
+building, is here given. Fig. 1
+
+[Illustration: Flue construction.]
+
+represents a portion of the chimney-flue construction of a first-rate
+house; the lower chimney opening is in the basement, and above it are
+two others, one on the ground floor, and one on the first floor. It will
+be seen that there are three flues descending or taken down to the
+basement. The third flue belongs to the room on the second floor. The
+wall is two bricks thick, the flue 9 in. in diameter, and contained
+within the wall with no chimney-breast projecting. Fig. 2 is a plan of
+the flues on the ground floor, and fig. 3 of those on the first floor.
+Fig. 4 is a section of the fireplace opening; this is 3 ft. in height
+from the floor-line, the brickwork at top is splayed, and supported by
+an iron bar; these openings are always filled up with 4½ straight joint
+work, to be taken out when the mantelpiece is fixed. Fig. 5 is the
+chimney-pot and its cap, the latter opening at top 7 in. by 9 in. only;
+fig. 6 shows one of the sweeping doors, in which there are two to each
+descending flue. The latter three figures are twice the scale of the
+former. A plan and section of the chimney complete, with its marble
+mantel and stove, is given in figs. 7 and 8. The flue passes completely
+down at the back of the stove, the front is closed by an iron plate to a
+height of 2 ft. On this is fixed the moveable door or register, shut
+fully or partly over the flue when the stove is in use, and closed over
+the stove when the flue has to be swept. The arrows show the mode of
+admission of air to the front of the fire; it is brought through the
+
+[Illustration: Fig. 7.--Plan of stove.]
+
+floor and two openings in the back hearth from the outside of the house.
+This is generally kept concealed,
+
+[Illustration: Fig. 8.--Section.]
+
+and in order to ensure a supply of air to the stove the room should be
+kept completely closed.
+
+To cause as full and perfect a combustion of the fuel as possible, a
+draught or current of the external air should be always admitted to the
+stove, and it could easily be placed under open management, so as to
+admit either a large or small supply of air, as required. Numerous
+patent processes to effect this are in use, but the most effective way
+of doing it is that shown in figs. 7 and 8: it is too simple for a
+patent.
+
+[Illustration: Fig. 9.]
+
+Fig. 9 shows a method of admitting air above the architrave of the
+entrance door of the room. The opening is made about 2 ft. in length;
+this, after a little time, becomes marked by the blacklets coming in
+from the passage. The sweeping flue when the fire is lighted becomes
+very hot; the smoke ascends speedily and soon leaves it. The flue
+requires the stove to be formed expressly for it. Mr. Cubitt made the
+stoves only for his own houses, and the author had some difficulty at
+Queen’s Gate, in procuring stoves of the right pattern, for
+manufacturers prefer their own shop patterns, and some of these would
+have covered up half the descending flue. Those he used were supplied by
+Messrs. Feetham of Clifford Street, who are well acquainted with the use
+of the flue and stove. The flue is considered an excellent one; it is a
+builder’s flue, constructed solely of brick, and is certainly the best
+of the brick flues. The same attention was paid to it as was given to
+every part of Mr. Cubitt’s buildings. It may be asked, “Are there no
+other kinds of flues constructed of superior materials?” Yes, certainly
+there are; particular attention has often been paid to the flue. There
+is Hiort’s circular flue, formed in each course of four wedge-formed
+bricks. Mr. Hiort held a very important position; he was Treasurer of
+the office of Works at Whitehall, and his flue was extensively used in
+some of the Government buildings and the houses in Carlton Gardens. It
+did not bond well with the brickwork, so we have Mr. Moon’s improvement
+upon it. This was considered not sufficient, and another patent was
+taken out in 1844 by Messrs. Clark and Reed for its further improvement.
+The flue was an excellent one, but on Mr. Hiort’s retirement from the
+Government Board, it went out of use.
+
+There is Seth Smith’s metallic chimney lining, which makes an excellent
+flue; the lining is a pipe of from 5 to 10 in. in diameter, built in the
+brickwork. About 150 of these flues are at the Pantechnicon. Mr. Smith
+announced his determination of never building any house above the value
+of 30_l._ per annum, without using them. They could be introduced, to
+form perfect linings to chimneys in buildings already erected, and allow
+the stack to be reduced in height, without having the unsightly
+appearance of contractions made above them. The drawback to the use of
+these tubes by builders was the price. Without any royalty, the 9 in.
+tube cost 3_s._ 4_d._ per ft. run, the curved tubes 4_s._ 3_d._, the
+starting tube 3_s._ 8_d._ The tubes were of the exact form of drain
+pipes, and they were cheaper, and as effectual.
+
+If Mr. Smith’s metal tubes had been introduced into a large brick flue,
+they would have rendered the latter an efficient shaft for ventilating
+every room in its upward course, openings being made for the purpose at
+the upper part of the rooms. This mode of ventilation was applied to
+hospitals on a large scale by the late Mr. Jacob Perkins several years
+ago, with perfect success.
+
+Denley’s flue, introduced in 1843, is believed to have been the
+precursor of that used by the late Mr. Thos. Cubitt at Belgravia and
+Pimlico, and there is a great resemblance between the two; but Mr.
+Denley’s flue has nothing like the simplicity nor ease of construction
+of Mr. Cubitt’s. The downward flues were merged into one at the
+basement, and all the soot and cinders were collected or thrown down
+into a fire-proof box, which must have stood out in the lower rooms,
+from which they had to be removed. The flues were swept from the roof,
+the register doors of the stoves being closed, and there was no
+provision for sweeping the flues between the basement and the stoves.
+Joined to his system for sweeping, was one of air flues which brought a
+current of air direct from the exterior of the house to each fireplace.
+
+We have several flue systems which have ventilating flues in connexion
+with them. Boyd’s flue forms the wythes, or half-brick spaces between
+the flues, of iron plates, and the open spaces thus gained make
+ventilating passages. Mr. Doulton’s combined smoke and air flues are
+manufactured in terra-cotta, in three sizes; the air flues follow the
+line of the smoke flue, the passages being quite distinct, as in Mr.
+Boyd’s. The heat from the smoke flue causes a current in the air-flue
+which carries off the vitiated air admitted by openings near the
+ceiling. The common drain pipes and the glazed fire-clay pipes make good
+flues; the use of these pipe-flues has greatly increased during the last
+few years; they improve the draught, and clean easily. Flues for
+ventilation from rooms should, like Arnott’s ventilator, enter into the
+smoke or a hot ventilating flue. Arnott’s ventilator requires careful
+adjustment, to be balanced in such a way that it should stand closed on
+a calm day.
+
+The superior patented flues, as they are of considerable cost, and take
+extra time in construction, are only used in the better class of
+buildings, or in those erected under the express direction of the
+owner. In speculative buildings they are never used. The time required
+for their construction beyond that of the common brick flue, being
+regarded by the builder as so much money lost.
+
+The great desideratum in a flue is to make it pass off its smoke
+quickly, and this the small size flue effects more certainly than the
+larger one, as it warms sooner and keeps its heat longer.
+
+An enthusiastic admirer of the descending or sweeping flue once told the
+author that with a good fire in the grate, if a kettle of water could be
+placed on the top of the chimney-cap the water would soon boil, even if
+the flue were fifty feet high. The flues constructed of metallic or
+earthenware casings retain also the heat longer, and keep hotter. It may
+be imagined that with these flues, and the large quantity of gas lamps
+in the streets, why the temperature of London should be always some
+degrees higher than that of the country. In winter snow may be seen in
+the suburban fields, but none is found in town.
+
+Architects have often been blamed for not inventing a good system of
+flue-construction, not only for the prevention of smoke in our
+dwellings, but for the hindrance of its presence in the atmosphere.
+Several, and most excellent attempts, have been made for the former, but
+very few for the latter, which is one of far greater difficulty. Yet
+this is one that admits of a cure, great as the evil is. The chimney
+flue might be so improved as to effect a more certain and larger
+ventilation of our houses, without any addition of ventilation flues.
+The introduction of the French Mansard roof with us, one from a country
+where coal fires are not in use, renders it almost imperative for the
+chimneys belonging to such buildings to have a different construction,
+for chimneys when placed against a building or roof that overtops them,
+are sure, as they are at present made, to become smoky: the wind
+returning owing to the high construction, and descending in the flues.
+The following few designs are offered to cure these various evils.
+
+Accepting as a fact that tall-boys, and the other iron and zinc
+constructions, are useful appendages, there can be no reason why they
+should be so used as to disfigure our buildings. Some of the finest
+specimens of architecture in the Metropolis serve only as pedestals to
+an ugly collection of cowls.
+
+The author proposes to form the upper part of the flues in a building,
+for a length of about 15 to 20 feet, entirely of iron or other tubing,
+in square, round, or oblong sections, of a less diameter than the brick
+flues to which they are attached. This tubing is gathered up in groups,
+and carried out at an angle of 45° towards a centre stack: the tubes in
+direct contact with each other, having no brick wyths, except one or
+two to strengthen the stack.
+
+It is obvious that if only one of the flues be in use, it would
+moderately warm those next to it; and if the whole of the flues of a
+building were constructed on this plan, and two or three were in use,
+such a power would be obtained as would effectually ventilate every
+room; the action would be continuous and imperceptible, and a fire could
+be lighted in any one without the risk of return smoke from a cold or
+damp flue.
+
+Thus the heat now wasted in the atmosphere by the action of the common
+flue, would be partly retained and turned to use, and the draught of the
+flue very much improved.
+
+This tubing could be readily introduced into either old or new
+buildings, as the introduction does not involve taking down more than
+twelve feet of the brickwork, measuring from the top of the coping. The
+tubes could never become sufficiently heated to be dangerous, and less
+brickwork would be required.
+
+They might be made either of zinc or earthenware; cast-iron would be
+objectionable on account of its weight. It will be seen that they admit
+a better mode of sweeping than that now practised, and they could easily
+have some kind of capping to prevent down-draughts.
+
+These “stack flues” should commence from the attic or upper storey of a
+building, at about six feet from the floor; sweeping doors should be
+placed beneath them, so as to give the sweep command of the flue beneath
+as well as above.
+
+Each flue should be composed of three separate forms of tubing, by which
+the various directions and turns necessary for the construction might be
+obtained.
+
+Fig. 10 gives the representation of the three forms; 1, is the first;
+this is placed directly over the brick
+
+[Illustration: Fig. 10.]
+
+flue, and gathers it up to a size having an internal dimension of 6 +
+4½. It is 21 inches in height. 2, the second piece, is on a curve; the
+top and bottom lines, if carried on, would form an angle of 45°; it is
+about 18 inches in height, and internal size 6 + 4½. The third, 3, is a
+straight piece, internal size 6 + 4½, the lengths various. Fig. 11
+gives a plan of four flues and an elevation of the commencement of two.
+The sweeping doors are shown below. The flue without a door is the
+ventilating flue for the basement. The ease with which this tubing can
+be grouped is shown in fig. 12. The stack consists of five flues; the
+tube, 2, connects them together below, and
+
+[Illustration: Fig. 11.]
+
+separates them above. The stack above the roof is 4 feet 9 inches in
+length.
+
+Fig. 13 shows, in the upper plan, how the flue wall could be reduced in
+thickness, made a brick and a half only, with a two-brick block at each
+end; it contains coupled and tripled sets of tubes.
+
+The middle plan shows nine flues grouped together, the centre being that
+belonging to the kitchen. The last plan shows a group of six in a
+two-and-a-half-brick wall; by the side of this are two flues of the
+common construction, 14 inches by 9, made of this
+
+[Illustration: Fig. 12.]
+
+size to enable a boy to get up to the top and place his head out of the
+chimney-pot.
+
+The tube 1, fig. 12, can have its position reversed, as shown in fig.
+14; six flues can thus be grouped together, as shown in the third plan,
+fig. 13. The elevation of this stack is given in fig. 15.
+
+[Illustration: Fig. 13.]
+
+For a covering to these tubes figs. 16 to 20 show ornamental pots and
+their sections. The only merit
+
+[Illustration: Fig. 14.]
+
+in these may be that they are of a more ornamental character than any
+that have ever been introduced; they are formed of zinc, supported by a
+stout dwarf iron railing. The intention is to permit the smoke to escape
+in any direction, either upwards, sideways, or downwards, sheltering it
+as far as possible from any action of the wind, and rendering of little
+consequence whether the stack is high, low, unsheltered or
+
+[Illustration: Fig. 15.]
+
+otherwise. If any sudden gust of wind take place and the smoke be driven
+back, the capping provides larger outlets for its escape than the small
+aperture of the flue itself; in other words, it is easier for the smoke
+to pass in any direction rather than return down the flue.
+
+The stack flues are only, in fact, tall-boys boxed up and not put out in
+the cold, and it is presumed they would be sufficiently powerful, from
+their warmth, to ensure a good passing off of the smoke, and secure
+ventilation to the building.
+
+[Illustration: Fig. 16.]
+
+[Illustration: Fig. 17.]
+
+A forced ventilation to our dwellings, in ever so slight a degree, is a
+matter of importance. By the proper construction of these proposed stack
+flues it is presumed that any amount of ventilating power, self-acting
+and continuous, could be obtained. Their introduction alone would be
+beneficial; combined with the flue pedestal, to be described, the tubes
+could be led into one general upward shaft; by either plan we should
+have some command over the smoke, while the roofs of our buildings might
+be made ornamental and picturesque. It would be a treatment of
+bituminous coal alike artistic and novel, surprising to foreigners and
+creditable to ourselves.
+
+[Illustration: Fig. 18.]
+
+It remains to show how the open character of the flue could be taken
+away (this forms its chief evil), and how a chimney-stack may be formed
+without chimney-pots. The late Lord Palmerston, when Home Secretary,
+proposed the abolition of chimney-stacks, and the use of only one
+chimney-stalk for each separate dwelling. In 1856, a commission was
+appointed to inquire into the best modes of warming and ventilating the
+apartments of dwelling-houses and barracks. Their report, given to the
+General Board of Health, was published in 1857, and it afforded a
+section illustrating “the principle on which it was proposed to
+construct dwelling-houses.” There was only to be
+
+[Illustration: Fig. 19.]
+
+one flue, and this of metal 10 inches in diameter, enclosed in a large
+brick flue, which was to serve for ventilation. In the metal flue were
+to be inserted the flues of the several fireplaces; these were placed
+back to back, and if the register doors of the stoves were open, a
+person in one room might both see and converse with another in the
+next; the music of a pianoforte in one room could be heard in them all;
+this construction was taken up through four storeys, there being eight
+fireplaces. For one fireplace alone it would have been perfect, but the
+smoke from the two kitchen fires would have been sufficient to have
+choked
+
+[Illustration: Fig. 20.]
+
+the flue and caused the smoke to enter into the whole of the eight
+rooms.
+
+The chimney-stack might possibly be lowered, and it certainly could be
+constructed without chimney-pots, but each separate flue must have its
+own outlet. A design for this, one that should take away the open
+character of the flue, and fit the stack, possibly for the Mansard roof,
+is here given.
+
+In fig. 21, _a_ _a_ are the flues, delivering their smoke into a large
+ventilating flue, _b_. The warm smoke would induce a current of air to
+enter at _c_: any current will have a tendency to draw another with it,
+so that the smoke leaving the flues _c_ _c_ would be taken out at _d_ by
+the current of air at _c_.
+
+[Illustration: Fig. 21.--The ventilating flue.]
+
+This is the principle upon which all the best ventilating chimney-pots,
+tall-boys, and cowls are made, and it is a very sure one. The jet of
+steam in the funnel of the locomotive, drawing the smoke from the fire,
+and creating a draught, is adopted on the same principle.
+
+In scientific language, the established law both of pneumatics and
+hydraulics is that when two currents of fluid matter passing in the same
+direction, but in separate channels, arrive at any point of confluence,
+the stronger current draws the other along in its course, and with a
+considerable portion of its own velocity. Thus the force of the wind,
+which checks in other instances the action of a chimney-draught, is made
+to produce a stronger draught, exactly in proportion to the violence
+with which it blows.
+
+Returning to fig. 21, a current of air, instead of coming in at the
+opening _c_, might come in at _d_. It would then have a tendency to blow
+down the flues _a_ _a_: to prevent this, the opening _d_ could be
+closed, and an upright stalk placed at _e_,--this should have a downward
+shaft, a place for soot, and a sweeping door.
+
+There is still another mode of treatment; fig. 22 represents the flues
+grouped, each with a separate ventilating flue, the smoke delivered
+being at the side of each.
+
+The stack might be covered with zinc in the ornamental style with which
+that metal is now treated.
+
+It is probable that if a stack on this principle was placed parallel to
+the side of one of these Mansard roofs, it would be secure from the
+ill-effects of any wind returning against it. The author will not vouch
+for its success, but it is offered here to the attention of architects
+and builders as an experiment worthy of trial.
+
+[Illustration: Section.]
+
+[Illustration: Elevation.]
+
+[Illustration: Fig. 22.--Plan.]
+
+It has been affirmed that the smoke of towns, however disagreeable it
+may be to the inhabitants, neutralizes the poisonous effect of the gases
+caused by sewers, &c. If it was possible wholly to remove carbon
+evolved by smoke, our towns would almost be uninhabitable, and they
+represent that any scheme for getting rid of smoke must be combined with
+one for getting rid of the exhalations from sewers at the same time. If
+the two evils were brought together, they would neutralize each other,
+and both could then be got rid of at one operation. The best scheme for
+this is a matter of important consideration, but few have been proposed.
+
+It may be asked, what has a work on Picturesque Architecture to do with
+either smoke or sewer gases? The author in reply considers that
+buildings never will look picturesque while they are covered with great
+patches of soot. An eminent sculptor once affirmed that the statues of
+London were improved by their soot covering, because it made them stand
+boldly out against the sky. But those beautiful decorated smoke towers
+which stand on the roof of the Houses of Parliament, and which are as
+black as Erebus, look anything but pleasing, standing amidst the whiter
+front of the rest of the building. Besides, tall-boys are beginning to
+make their appearance on the roof under the Victoria tower, and these
+certainly form no part of the architecture, but appear monstrously ugly;
+consequently smoke and its abolition are clearly questions to be
+considered in relation to Picturesque Architecture.
+
+A plan for removing smoke from the atmosphere of towns, and at the same
+time ventilating buildings and sewers, was proposed in 1849 by Mr.
+Flockton, surveyor to the town trustees of Sheffield,[F] a town as much
+begrimed with sooty smoke, only in a smaller way, as the Metropolis.
+
+The proposal was, that under the footways along the side of every street
+and lane, flues should be constructed of sufficient capacity to carry
+off all the smoke and other atmospheric impurities, these flues all
+converging, upon a general plan, to tall shafts or chimneys at some
+distance from the town, and supplied with furnaces. These, when the
+fires were once ignited, would give a fire produced by the combustion of
+the inflammable gases accompanying the smoke, and which would burn
+spontaneously in a similar manner to the combustion of foul air from old
+shafts connected with coal mines. The combustion might be assisted by
+jets of coal gas, in a fire of coke.
+
+In very large towns it would be necessary, Mr. Flockton added, to divide
+the whole into districts, and to erect towers in the centre of each, to
+which all the flues should converge. He published a plate, showing two
+large dwelling-houses, with a street between, the common sewer in the
+middle of the carriage way, and the smoke flues on each side under the
+footpaths, also showing the connexion between the sewer and flue. The
+alteration proposed to houses already erected consisted in converting
+ascending into descending flues; turning the smoke from the chimney-top
+into the latter, and from thence into the street flue. This operation
+would have necessitated the pulling down and rebuilding of the flue
+walls. The street smoke flues, in order to carry off the smoke from a
+few thousand chimneys, would require to have been made of a size even
+larger than the sewer itself. Provision must have been made for clearing
+out the soot, for the smoke would have been cooled and the soot would
+accumulate in large quantities in them.
+
+The same scheme, with similar constructions, was proposed by a foreign
+gentleman, who took out a patent for it in 1850 (No. 13,061). His plan
+was a very grand one; he did not propose alterations in existing
+buildings, but pulled them down and gave designs for a new city.
+
+A more practical plan was proposed about 1851 by Mr. Devey, a surveyor
+of Furnival’s Inn. A model of his invention was in the Great Exhibition
+of 1851, and it is described and an engraving given of it in the
+illustrated volumes published by the Royal Exhibition Commissioners at
+the close of the Exhibition. The model is now in the Museum at South
+Kensington. Mr. Devey’s plan was to make only one descending flue to
+each building, to which the flues at the top could be either connected
+or not, at pleasure; the descending flue was carried to the sewer in the
+middle of the street, and the action of this was to be assisted by the
+heat of the kitchen fire. He says, “The smoke would be drawn down by the
+current produced by exhaustion in the sewer, the action being assisted
+by the kitchen fire.” Mr. Devey did not propose to have furnace shafts,
+but depended entirely upon the sewer acting as an exhaust.
+
+In this scheme the objections were, that one descending flue was not
+sufficient to carry off the smoke from several chimneys, and the sewer
+certainly would not act as an exhaust without its being connected with
+upright furnaces. Our sewers generally have ventilating openings which
+permit their odours to ascend into our streets. Soot would no doubt
+neutralize these odours--this, a paper in a late _Quarterly Review_
+(April, 1866) admits. First, speaking of the sewer gases, the reviewer
+says: “These offensive gases have often engendered formidable diseases,
+and have, in several instances of late, been clearly shown to have
+caused the outbreak both of typhoid fever and cholera.” Of this the
+author has had proof during the outbreak of cholera in London in 1849.
+He was superintending the construction of a mass of buildings in one of
+the worst dwelling districts in London. This builder, who had just
+finished the erection of Harrington House, a description of which is
+given in this volume, died the first night of the outbreak in the
+greatest agony; he was a strong robust man; from one to three deaths
+took place in every house in the locality; a black flag was put up in
+the streets, and the foul fiend reigned for a while supreme. A large
+mass of the worst buildings have been cleared away, and model
+lodging-houses erected, but a considerable portion of the rotten old
+structures remain, the sewers are untouched, and the visitation of the
+cholera forgotten.
+
+The _Quarterly Review_ says there is no reason why ordinary sewers
+should not be made to serve the double purpose of carrying off smoke and
+sewage at the same time, provided they were connected here and there
+with high shafts rendered powerfully expansive by furnaces; and adds,
+“sewage would be improved for agricultural purposes by admixture with
+soot, which is an excellent manure, and the noxious qualities of the
+sewer gases would be destroyed.” Whether soot would increase the value
+of sewage or decrease it, is a question for chemists to decide; a
+generally increasing opinion is, that our method of using sewage by
+liquefaction and sending it away, is a mistake, and renders it quite
+worthless, and that the system of dry earth-closets is more conformable
+to Nature’s laws.
+
+The subject was taken up in 1857 by Mr. Peter Spence, of Manchester, a
+large alum manufacturer.[G] This gentleman states that the “blacks,” the
+horror of the Londoner, are guiltless of any deleterious effect to human
+health, as carbon is one of the most anti-putrescent of bodies, and
+while floating in the atmosphere over everything, arrest and destroy
+noxious and miasmatic vapours. Perfect freedom from smoke would, if
+accomplished, only increase the evil arising from the purely gaseous
+results of combustion. He proposed a system of _atmospheric_ or _gaseous
+sewage_, and the complete removal of all their gases to a safe distance
+from our towns. He would combine this gaseous sewage in such a form with
+town drainage as would bring all the liquid sewage into contact with the
+gases from our furnaces and house fires, the liquid sewage being kept
+from all surface drainage. The same liquid and fœtid mass of sewage he
+would concentrate in an innoxious form, to be converted, in a convenient
+place, where it might with perfect safety be manufactured into manure
+more valuable than the richest guano.
+
+For effecting this all the gases from our coal combustion would have to
+be conveyed along the same tunnel with the sewage to centralizing
+conduits converging to a point, where an immense chimney, 600 ft. high,
+should be erected, to discharge these gases into the atmosphere, the
+ascensive power being obtained either from the retained heat of the
+gases, which would probably be found quite sufficient, or if not,
+artificial heat could then be applied to effect the object. The chimney
+should be of the internal diameter of 100 ft. at the top, and 140 ft.
+external diameter at the bottom. This would take the smoke from 500
+chimneys and every particle of foul emanation from the sewer, and every
+leak or opening to the upward air from these sewers would not then emit
+foul gases, but draw in fresh air with a pressure or suction of three
+and a half pounds per foot, and with a velocity of 40 feet per second.
+This gentleman says: “It is idle to talk of trapping, and thus confining
+gases evolved under ground; exit they must and will have, and when you
+imagine you have secured them in one place, you will find them pouring
+out in another.” He makes this plain by an illustration. He took an
+old-fashioned detached house; after entering into possession he found
+frequently very disagreeable smells, especially after rain, a change of
+wind, or a fall of the barometer; it may be remarked here that it was
+not necessary to take an old-fashioned house to find out this; in more
+modern built houses in London, after a fall in the barometer or rain,
+such a thing is repeatedly occurring. Mr. Spence, to cure the evil in
+his old mansion, exhausted all the remedies which the philosophy of
+London schemes acknowledges; he trapped all the exits from the sewer
+with the most approved patent girds; all slopstone pipes were cut and
+water-luted. But this was of no use, the smell came through the very
+walls and floors, and one bedroom on the first floor, which showed no
+connexion with the sewer, was quite uninhabitable. He adopted a plan
+which succeeded: a branch from the main sewer was brought right under
+the kitchen grate, from that a pipe of cast iron, four inches in
+diameter, was carried up through the brickwork, and the open top
+projected into the chimney a yard and a half behind the kitchen fire,
+above the fire. When this fire was again lighted, in a few hours the
+house was perfectly sweet, and the distant bedroom, uninhabitable
+before, has been slept in ever since. When this nuisance occurs in a
+London house the only remedy is to open the doors and windows to get rid
+of it, as we are not allowed to meddle with the sewers. Disagreeable
+effluvia in dwellings often occur, and baffle every endeavour to trace
+from where they proceed; in every case it is from choked-up drains or
+the sewer, and the decomposition of animal and vegetable matter therein
+retained.
+
+As for Mr. Spence’s scheme, its grandeur almost stops its execution. It
+is well known that in all large manufactories, and in gas works, a tall
+chimney serves to draw out the smoke from the numerous fires, and it
+forms a smoke-outlet for them all. In most of these places the fuel is
+used up so completely that it is only the gases of combustion that are
+drawn away. Mr. Spence’s scheme has been successfully tried in its
+application to private residences, and also on a large scale to the new
+Assize Courts in Manchester. It was adopted by one of the architects in
+the competitive designs for the New Law Courts in London.
+
+If these tall shafts and furnaces were applied in London, it may be
+questioned whether the smoke in cooling would not deposit the soot in
+the sewer, and this must be removed, if not run off by water. The flues
+connecting the house fires with the sewer would be partly horizontal,
+and these would certainly fill with soot, and no machines we have at
+present in use could clean out these flues from above. The operation
+must be performed from within the sewer, and then these flues being
+unsupplied with drain-eyes at their entrance to the sewer, would form so
+many open channels for the passage of the sewer gases into the houses.
+This would be the case in a very great degree where there were no fires
+in the stoves and their register doors were open. It would require an
+immense consumption of fuel in the high stalks to cause a current to
+prevent it, and the furnaces must be close together to lessen the
+cooling effects of cold currents of air from flues not in use.
+
+As to the mere ventilation of the sewer itself, it could easily be
+effected by single drain pipes 6 inches in diameter, placed at
+intervals, from the sewer to the ash-pit of any neighbouring furnace. It
+would be probably to the advantage of the furnace itself, as even the
+tall stalks must sometimes make black smoke. A legislative enactment
+should require their owners to let them perform this service. It might
+require strong furnaces and plenty of them to effect it. A suggestion
+for getting rid of that “monster nuisance, London smoke” was made known
+in the _Builder_ about 1859, by Messrs. Bruce Neil. It is thus
+described: “The plan consists in placing small tanks containing water
+over the chimney (the chimney-pots being fixed inside the tanks, and
+made of a spiral and bent form). The chill of the water gradually
+condenses the smoke, which becomes decomposed and destroyed, being
+precipitated at the bottom of the tank in the form of mineral tar. The
+water is turned on and off daily. It will be here observed that in the
+event of a fire in the chimney the flames cannot spread, as they are
+immediately quenched by the water in the tank. According to Mr. Bruce
+Neil’s calculation, the smoke of 80 tons of coal, if collected, will
+yield upwards of 28 barrels of tar, of 2½ cwt. each. He proposes that
+the Legislature, or the Society of Arts, should offer a premium to the
+person who will undertake to rid us of this monster nuisance and convert
+the smoke into tar, so as to make it applicable to commercial purposes.
+In the adoption of the above plan a slight alteration in the mode of
+ventilating our apartments is all that is required, he tells us.
+
+As to the possibility of converting smoke into tar by such means as are
+above described, some doubts might be expressed if it could really be
+done; the remedy would be worse even than the disease, every household
+using yearly 20 tons of coal would have in that time to remove 7 barrels
+or 17½ cwt. of tar from their roof. The _Builder_, in publishing this
+suggestion, did not give any diagram or sketch showing how the process
+was to be effected. Mr. Bruce Neil no doubt made one, as he speaks of
+the alteration required in the ventilation of our apartments; a drawing
+would at least have explained how the water was to collect the soot, and
+how it was to have access to the flue in case of its being on fire.
+
+The suggestion of collecting soot at the chimney-top by means of water
+was a valuable one, and there is no doubt it could be done to some
+extent, but not by encircling the pots with cold water, which would
+chill the smoke and prevent the soot from rising. A
+
+[Illustration: Fig. 23.--Water chimney-vase for collecting soot.
+
+Half elevation. Half section.]
+
+design is here given, fig. 23, to show how it could be effected.
+
+It will be seen that the chimney-pot or funnel has a zinc cover carried
+by stout ironwork surrounding it; _a_ is the water, _b_ the pipe to
+convey it away; it would be self-acting, and being washed by every
+shower would not be likely to get out of order. The rain-water must be
+looked for as to supply--to pay for high service for the roof of our
+houses to the water companies would not do.
+
+Our climate is more damp than cold, and a considerable quantity of rain
+falls on our roofs. The zinc cover is spread out, so as to retain as
+large a portion as possible of the rain-fall. In winter, when there is
+most smoke, there is most water, with little or no evaporation. A pool
+of water could be thus collected, and the smoke projected over it would
+lose some portion of its soot, which could be floated away by the pipe
+into a receptacle provided for it in the back yard. The water might be
+sent into the drain and the soot left; or it could be sent into the
+drain as well.
+
+The arrows in the diagram show the direction of the smoke, and the cover
+is so spread out and curved as to render it unlikely for any violent
+wind to flow out both water and soot into the street beneath.
+
+Certainly coal smoke is a great nuisance; it is yearly pointed out as
+such by our paper the _Times_, in one, probably two, very excellently
+written leaders. Even the youngest member of the press, the _Echo_, in
+one of the common London fogs occurring in April, 1868, thus remarks:
+“The most sad and remarkable circumstance about the fog of yesterday was
+that the newspapers and people in the streets spoke of it as a
+‘visitation,’ as a ‘gigantic pall,’ as if, indeed, the black darkness
+was something as strange and unaccountable as a fall of frogs or fishes
+from the sky. Of course it was nothing but our own familiar coal smoke
+which stopped the way of the sunlight. It is most lamentable that
+Londoners are becoming so used to this filthy nuisance that nothing more
+than a passing exclamation is uttered when it is forced down upon them
+in such volumes as to produce almost the darkness of midnight at midday.
+If ‘cleanliness is next to godliness,’ then the people of London must
+have been yesterday the most ungodly people in the world, for nothing
+would remain clean which was exposed to the fog of that morning. A
+plague of locusts would not create more terror and sense of ruin in any
+foreign capital, where every article of dress and furniture and house
+decoration, both external and internal, would have been regarded as
+spoiled by the loss of freshness. But London received its coat of dirt
+yesterday, and to-day only wonders with the remark ‘how dark it was!’
+Will nothing move us to abate the nuisance? Is there no hope but that
+distant one of the exhaustion of our coal-beds? Must we inhale
+coal-blacks, and always contemplate dirty houses and grimy furniture? Is
+it not possible by smoke sewers, or some contrivance or machinery, to
+relieve us of this plague?” It is very possible it could be done with
+the greatest ease, but at some first expense; and in some generation or
+other it will be written that it found London foul and left it sweet,
+and there will be a time when this will be appreciated; and the man who
+gives the city the pure atmosphere of a small country town will receive
+all due honour and acknowledgment, that is, when he is in his grave and
+securely buried.
+
+The public have so long been accustomed to be choked with smoke, and
+their health affected by deleterious gases, that they look upon the
+proposal of any scheme to secure pure air as the hallucinations of
+dreamy philosophers or inexperienced Utopians.
+
+None of our present flues can, in the very slightest degree, stop these
+aqueous vapours from ascending into the atmosphere, neither can they
+effect any purification of the smoke, or retain the blacks for any
+useful purpose; and it is of no use disguising the fact that any
+contrivance or appliance, to effect either of these most desirable
+objects, must consist of an additional construction to the flue, which
+will be attended with additional expense, and require extra attention.
+Therefore any such appliance, if introduced, should be effectual, and
+repay such additional cost to its owner, by a saving, or at least a more
+economical use of fuel.
+
+The appliance to the flue the author has to recommend, he considers will
+not only cause an economical use of the fuel by not permitting the
+present waste of heat, but it will purify the smoke, and retain the
+blacks for any useful object to which they can be applied.
+
+The principle of the best-constructed flue at present is to get rid of
+all vapour, smoke, and soot as soon as possible, without the slightest
+consideration for the people outside. That the smoke should not return
+to annoy the occupants within the house is the aim of the constructors,
+and to secure this, the waste of heat in the chimney, and the consequent
+waste of fuel, is considered of no importance, for is it not the hot
+smoke that carries up the soot and ventilates the apartment?
+
+This operation of the flue could be taken advantage of. In the
+construction of chimney-flues in a wall they are often turned at an
+angle to the right or left to pass an obstruction, such as a fireplace
+or timber placed within or against the wall. A flue could easily be
+taken out of the wall and returned, and if the part so taken out was
+formed in cast iron with a small cistern of water at top, it would
+become a warm-water pedestal, and could moderately warm or air an
+apartment in which it was placed; the author calls this the flue
+pedestal, and it is represented in the following cut.
+
+[Illustration: Fig. 24.--The flue pedestal.]
+
+It is about three feet six in height, not much higher than a small
+cabinet. The door could open, and a small tap supplying warm water for
+domestic use would be seen. Thus the upper rooms of a house could be
+warmed or aired by the fires below in perfect safety, and the present
+waste of heat in the flues prevented. This would be economical, as in
+most cases no fires would be necessary in the upper rooms.
+
+The flue thus brought out in iron could contain a fine spray of water,
+that would draw up the smoke, and take down its vapours and soot at the
+same time into the sewer.
+
+Fig. 25 shows a section of the flue thus brought out. The wall is two
+bricks thick, the flue _a_, is 9 inches in diameter, _d_ is the
+cast-iron flue, and another, _e_, shaped like a funnel, is placed behind
+it, to collect the soot and water, and pass it off through the pipe _h_.
+The cistern is partly within the walls and partly covering the two
+flues. It is not necessary that the water in the cistern should supply
+the spray: that might be done by a separate pipe with a tap to turn off
+and on as desirable; _b_ is the moveable pedestal covering the whole.
+
+The adaptation of this simple contrivance to any kind of domestic
+chimney-flue is not a very difficult operation. It is only necessary to
+take out the brickwork in front of a flue of a height of 4 to 5 feet,
+and then introduce the iron flue, gathering up the brickwork beneath it;
+the section, fig. 25, supposes the iron flues to be in an external wall;
+should it be required in a party wall the soot goes off at _g_ _g_, to
+be conveyed outside the building in the nearest way; doors are provided
+for the purpose of sweeping; any down
+
+[Illustration: Fig. 25.--Section of the flue pedestal.]
+
+draught of air in the chimney might expend itself in the soot flue, and
+the smoke having passed the spray could not return. The spray of water
+should be equal to the whole width of the flue, and proportioned in
+strength to the work it has to do; the smoke from a whole group of flues
+might be conducted to one powerful spray, one upper flue or chimney
+would then suffice for the roof, while the soot and flues in any number
+might be formed into one before passing to the sewer.
+
+The pipe _h_, shown in fig. 25, would not form an open communication
+with the sewer; it would be supplied with a flap-cover or drain-eye,
+like the common house drain at its extremity. This would open only when
+sufficient water and soot was behind it, and close when it was passed.
+It would not require sweeping, the water keeping it clear. It should
+have another kind of drain-eye to that at present in use, the lid, or
+flap of which is hinged from the top, the soot floating on the surface
+of the water, would require the flap to open from below. Fig. 26 shows
+the kind of drain-eye that would be required.
+
+If it was not for the difficulty of the present form of drain-eye to our
+houses, the soot flue might discharge its contents into the house drains
+at once, below the trappings; there is probably no absolute necessity at
+all for drain-eyes at the termination of house drains, their use is to
+make precaution doubly sure, to prevent the rising of the gases from the
+sewer, and to keep out the rats, to prevent them, by getting through the
+traps, from entering the house.
+
+[Illustration: Fig. 26.--Drain-eye.]
+
+Experiments were made with a shower of water in Mr. Cubitt’s descending
+flue. It will be seen by inspecting the figures 1 to 8 that these flues
+could easily be formed into one, and taken into the drain; the
+experiment did not succeed, as none will, that brings heavy smoke in
+opposition to a water-fall. The smoke must go with the current or
+water-shower, and not against it.
+
+The flue pedestal, with its water-spray, is the whole of the contrivance
+by which the author believes the smoke of the domestic hearth could be
+got rid of, or rendered inoffensive. What the action of the water would
+be on the gases that escape from the fuel he cannot say, but he presumes
+it could not be other than beneficial.
+
+He experimented on the subject a few years ago, and had a stove and flue
+erected about ten feet in height; the lower part of the stove was of
+brick, the upper part with the cistern of zinc. The coal fire was
+lighted, and as soon as black smoke appeared at the chimney-top, the
+water-valve was lifted and about 16 fine jets of water were sprayed
+against a piece of loose perforated zinc, suspended in the flue; this
+zinc is shown in fig. 25; in the second flue _e_ (it should have been
+marked _f_, but by a mistake in the cutting it is made _d_), the smoke
+had to pass through under this perforated zinc to get to the chimney
+above. On the instant the water was applied, the smoke appeared at the
+chimney-top of a light colour, and it came out of the soot receptacle,
+placed a little height above the ground, nearly as much as it did at
+top, and of a similar light vapourish character,[H] a sure sign that it
+was drawn down by the current of water. Soot in large quantities was
+soon seen in the receptacle; the author has not ascertained the quantity
+of soot which would be obtained by this process from a ton of coals, but
+he believes it would be very considerable, possibly two sacks or more.
+As clean unmixed soot is worth in London 2_s._ 6_d._ per sack, if this
+soot were retained it would pay for the extra expense of the water, and
+the retaining of it, and to carry off the water would be an easy
+operation.
+
+The “blacks” are good things at present in their wrong place; they could
+in the way proposed be very easily got rid of, and if it were possible
+to cut into all the chimneys of London and apply the remedy, the whole
+of the soot, which at present escapes into the atmosphere, might be
+caught and passed into the drains; it would there probably fully
+deodorize them. It is certainly not possible, from the herculean nature
+of the task, to disturb the whole of the chimneys of London, but the
+worst only might be operated upon, such as the chief kitchen flues of
+the great establishments, which are continually sending out black smoke.
+
+Among the chief offenders are our bakers, nearly twenty of them being
+fined weekly for this by the magistrates, and for fires occurring in
+their chimneys. It appears that the Smoke Nuisance Act bears hardly upon
+them; the smoke-consuming apparatus forced upon them by the Act has
+utterly failed in its purpose, and it is impossible for them to comply
+with the requirements of the Act, and carry on their business in a
+satisfactory manner either to themselves or the public. They have
+applied to the Home Secretary for relief, and a bill to repeal so much
+of the Act 16 and 17 Vict. that relates to bakehouses has been in
+contemplation.
+
+There would be no difficulty in placing a flue pedestal in their flues
+at any height above their oven fires; it would not only relieve their
+neighbours from the annoyance of black smoke from their chimneys, but it
+would secure the chimneys themselves from taking fire. The water need
+only be turned on when required, when black smoke was being made, and if
+they chose to collect the soot the expense of the operation would be
+trifling, if anything, beyond the first expense of the flue pedestal, in
+the end.
+
+In large country houses the flue pedestal would warm the upper rooms or
+passages, and cause a more equal temperature in the building; this,
+together with the practicability of collecting the soot for agricultural
+purposes, might be an inducement to its introduction. Water could be
+lifted to the roof of a country mansion by that ingenious contrivance
+the hydraulic ram, and passed off to its original source when done with,
+the soot being left behind.
+
+The beautiful self-acting machine, known as Gwynne and Co.’s improved
+hydraulic ram, is peculiarly adapted for raising or lifting water to any
+required elevation. It is necessary to have a fall of water to work it,
+and the greater the height of the fall, the more effective will be the
+machine. In favourable cases it will raise water thirty times higher
+than the fall working it. The greater the height of the lift, of course
+the less will be the quantity raised in a given time. This machine can
+be made to deliver comparatively large quantities of water, either in
+tanks on the roofs of houses, or in farmyards for filling ponds. It will
+work day and night without any attendance or expense after it is once
+fixed. Two or more rams may be used to force through the same pipe, or
+rising main. Where a continuous stream of water to work the machine
+cannot be obtained, a spring, or even rainfall, or drainage may be
+stored up in a reservoir or dam, and made to work the ram.
+
+The expense of these machines is not excessive, as the following table
+will show:--
+
++-----------+-----------+-----------------------+-------------------------+
+|Diameter of|Diameter of| Approximate Number of |Price of Ram, complete,  |
+|Feed Pipe. | Delivery  |Gallons of Water raised|with all the accessories,|
+|           |   Pipe.   | in a day of 24 hours. | but exclusive of Pipes. |
++-----------+-----------+-----------------------+-------------------------+
+|Inches.    |Inches.    |                       |            £            |
+|  2        |  1        |    800 to 1150        |           12            |
+|  3        |  2        |   3000 to 4000        |           24            |
+|  4        |  2        |   4000 to 5000        |           34            |
++-----------+-----------+-----------------------+-------------------------+
+
+A small room or enclosure must be erected to contain the machine.
+
+The question of how far the removal of smoke from the atmosphere would
+affect the various gases of combustion floating therein is a question
+for the chemist. The plan that has been here proposed is founded on the
+supposition that Nature’s law, relative to the diffusion of gases,
+permits only carbonic acid gas, the chief product of combustion, to
+remain in the proportion of 1 in 2000. The introduction of so much water
+in the sewer, where its presence already is considered an injury to the
+sewage, is an objection, but the present system of drainage requires a
+plentiful supply of water, to prevent stoppages or choking. Should the
+dry earth system ever be generally introduced, the present sewers would
+serve to remove liquid sewage and all products of combustion. The
+operation of the sewer in any way in receiving this smoke and soot,
+would permit the full and cheering light of the sun to shine alike in
+country and town.
+
+
+
+
+_DESIGN No. 36._
+
+A LECTURE HALL, OR LITERARY INSTITUTION.
+
+[Illustration: Elevation.]
+
+
+This design was made to refront an old chapel in the country which had
+been purchased for the purpose of forming a Literary Institute. The
+interior
+
+[Illustration: Tablet in front.]
+
+was one large room, the lecturer’s table at the back, a recess and
+fireplace behind, a large gallery in front, under which were formed two
+small rooms, with a
+
+[Illustration: Elevation of entrance-door.]
+
+passage from the grand entrance between. The entrance-door with a bust
+of Socrates over it, under the arch, was made large, to give an
+important character to the front. A section of the niche over the
+doorway is given, some details of the angle rustication, together with
+an elevation of the entrance-door.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 37._
+
+ENCAUSTIC TILES.
+
+
+A slight digression from the subject-matter of the preceding pages may
+serve to break monotony, and introduce to the notice of the reader an
+ornamental object--the encaustic tile. They are
+
+[Illustration: Design for a floor encaustic tile.]
+
+now of universal use, both for floor and wall decoration, and have
+become general favourites for such purposes. A few suggestions,
+therefore, for the purpose of making them more artistic and pleasing
+will not be out of place.
+
+The present patterns are almost entirely of a conventional kind, or
+according to strict geometric forms. The same pattern is repeated all
+over the surface, without variation, and however excellent the pattern
+may be, it is designed on the same principle as that of a printed wall
+paper.
+
+The design just given puts all geometric forms aside, and introduces a
+free-hand treatment, allowing the pattern to be varied on every surface
+laid down.
+
+[Illustration: Design for wall encaustic tile.]
+
+The first tile shows eight points in which the stem of the pattern
+(suppose that of a flower design) meets in them all. The second tile
+shows the stem; the third and fourth the flower pattern varied. One tile
+might have more flowers than leaves, another all leaves or buds, and as
+all the tiles would fall in their right places, they depend only on the
+care of the workmen who place them; the pattern might be varied
+according to the number of tiles of different pattern.
+
+For wall linings a trellis work might be shown on the tile, having a
+blue ground; some tiles might be without either leaves, stems, or
+flowers, and the design would show a flowered trellis against the sky.
+The figure given on page 461 shows this.
+
+These tiles are beginning to be used on columns. Some good examples are
+to be seen in the South Kensington Museum Galleries. In columns with
+trellis work a white marble ground with leaves and roses twined round it
+naturally, would look a great deal better than formal lines of stiff
+ornaments.
+
+Some of our latest Gothic architects who were at the same time artists,
+did not trouble themselves to draw out according to rule the geometric
+lines for the foliation of their Gothic windows. They knew the
+principles thoroughly, but merely made the vertical lines correct, and
+then sketched in the foliation with a free hand. This gave an outline
+greatly superior to the usual stiff conventional forms. Some examples of
+this may be seen in one of the author’s books, now in the Fine Art
+Library of the South Kensington Museum, in which the free-hand designs
+(rubbings) are placed by the side of the same patterns drawn out
+geometrically.
+
+The vignette shows foreign cut-wood patterns for roof ornament; the
+section the method of forming the zinc gutter.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 38._--RESTORATION OF CASTLE GUNNARSTROP, SWEDEN.
+
+[Illustration]
+
+
+It has been remarked in the Introduction, that the localities in which a
+residence can be placed greatly affect their picturesque appearance. The
+north and west Highlands of Scotland, in our own country, and a similar
+class of scenery in Sweden and Norway, greatly aid by their natural
+beauties the best effects of the architect, and generally in northern
+Europe, including Denmark with the above-named countries, those
+accessories can be largely taken advantage of. An instance of this can
+be found in the design now under consideration. In this castle the
+gables are carried up to a greater height, and made more ornamental and
+of greater importance than with us. In the year 1852 the author was
+making a design for a villa for the Count de Bark, a Swedish nobleman.
+It was to be erected on the heights bordering the Sound near Copenhagen,
+and was seen from the sea in passing, peering above the trees. The upper
+part of the villa was made as picturesque as possible, with a tower,
+battlements, and turrets. The lower part of the building was very plain,
+and the plan merely contained a few living rooms and servants’
+apartments; it was much unlike our style, and is therefore not given
+here: only the view from the vignette is afforded in this description.
+The Count’s uncle occupied the old castle, the Vrams Gunnarstrop in
+Sweden, then very much out of repair and unfitted for the requirements
+of modern domestic life.
+
+It was planned originally on a grand scale; the fronts had high
+triangular gables in steps, and decorated with cut granite ornaments,
+but the whole was
+
+[Illustration: The one-pair plan.]
+
+very plain. The north front was in two floors, and the angle towers of
+the building had only two floors. The portions between one storey--that
+of the ground floor--thus had to be raised. The ground floor was given
+to the servants, and the southern portion of the building was to remain
+for a time in its then existing state. The plan shows _a_, the grand
+staircase, adorned with columns supporting the upper landing. It was 27
+ft. in length by 26 ft. in width, and led up to an ante-room _b_, in the
+centre of the building, 26 ft. in length by 12 ft. in breadth. It opened
+into the first and second drawing-rooms, _c_ and _d_: one 30 ft. in
+length, the other 40 ft., and both of a width of 26 ft.
+
+[Illustration: Perspective view of the Count de Bark’s villa.]
+
+The dining-room _e_, entered from the chief drawing-room, was 40 ft. in
+length, with a width of 22 ft.; _f_ shows the gallery or library filled
+with book-cases, and leading to the day-room _h_; the chief bedroom is
+shown at _i_ adjoining, _k_ is the lady’s dressing-room, _l_ the
+gentleman’s dressing-room and bath; _m_ is the nursery, with a
+servants’ staircase and closet adjoining; _g_ is the servants’
+serving-place at the entrance of dining-room. The light portions of the
+plan show the additions made; the black, the old portions of the castle.
+The two towers contained staircases to the attics which were formed in
+the high roofs.
+
+The principal elevation faced the west. The perspective view of this
+front is given. Its length is 130 ft., and the height of the principal
+entrance from the ground to the top of the gable is 60 ft.
+
+The south and west sides were of an equally picturesque character, but
+neither had any central gable. The south had triple dormer windows
+joined in the centre with one dormer window at each side. The two towers
+were seen rising above the roof, and a wide terrace with open stone
+Elizabethan balustrading extending the entire front, with steps down to
+the garden in the centre below. The terrace was 130 ft. in length. The
+west side had the two gables, one at each end, with three tall dormer
+windows in the roof; these were connected by wood balustrading, and a
+window with three lights was placed below each. The granite-stone
+ornaments in the old fronts were replaced in the new fronts.
+
+The vignette gives a view of a small garden fountain, designed from one
+in the old garden at Blickling in Norfolk. The plinth is hexangular in
+plan, with the scrolls projecting on the three sides. To the top of the
+jet its height is about 9 feet.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 39._
+
+SUMMER VILLA FOR THE COUNT KINSKI, AT TEPLITZ.
+
+[Illustration: Perspective view of Count Kinski’s summer villa.]
+
+
+This villa was designed about the year 1852, for an Austrian nobleman,
+who wished to have a villa in the English Elizabethan character. The
+plan was arranged after his own figured sketches, and it is given here
+as showing the requirements considered desirable for such a building in
+a summer place of
+
+[Illustration: Ground plan.]
+
+retirement, or palace for a foreign nobleman’s occupation. The porch was
+approached on four sides by flights of steps 12 ft. 6 in. in diameter;
+it opened into a hall _b_, 20 ft. in length by 14 ft. in width. The
+drawing-room _c_, of noble size, with two bay windows, was 36 ft. in
+length by 22 in width. The dining-room _d_, in the opposite side of the
+hall, was 28 ft. in length by 18 ft. in width. The butler’s pantry _k_,
+and the servants’ offices and kitchen _g_, with a large store-closet
+_h_, and scullery _i_, adjoined. A bread-room is shown at _j_, _l_ is
+the servants’ hall, _m_ a china-closet, _n_ a store-room, and _o_ the
+servants’ staircase, _q q_ are the servants’ entrances, and _r r_ the
+closets.
+
+[Illustration: One-pair plan.]
+
+Returning to the principal portion of the building, the chief staircase,
+_v_, opens from the entrance hall, _e e e_ are nurseries, and _f_ is the
+library. On the first floor, _a_ is the balcony over the porch; this was
+to be used for smoking, &c., _b_ is the best bed-chamber, and _c_ the
+boudoir to the same, _d_ is the second best bedchamber, and _e_ its
+boudoir, _f_ is the third best bedchamber, and _g_ its boudoir, _h_ is a
+bedroom without any boudoir, _i_ is the housekeeper’s bedroom, _k k k_
+the men’s sleeping room, _i_ housemaid’s closet, _j j_ closets, _l l_
+linen-closets, _m_ a closet or bath-room, _n_ the principal staircase,
+and _o_ the servants’ staircase.
+
+The attic plan was devoted to the sleeping rooms, _b b b_, of the female
+servants. Here plans are made
+
+[Illustration: Attic plan.]
+
+(the building being so large) on a smaller scale than the other plans in
+this volume.
+
+The perspective view merely exhibits the common forms of Elizabethan
+character. The tower which formed the entrance was 70 ft. in height from
+the foundation to the top of its roof, the height of the ground-floor
+rooms was 14 ft. 3 in. They had rich plaster friezes, and the staircase
+had carved oak Elizabethan balustrading. The second-floor rooms were 12
+ft. 3 in. in height, and were very plain in character. The upper floor
+of the tower was open, but could be closed by sashes; this was intended
+for a smoking retreat. A small detail of one of the gabled windows in
+front is given below. Altogether, the design had a most picturesque
+effect, and its style met with approval. It combined utility with
+elegance,
+
+[Illustration: Gable window.]
+
+and completely answered the objects for which it was constructed.
+
+Another villa was designed for an Austrian nobleman, the Prince Clary: a
+view of it is given in the first illustration of this volume, through
+the window of the architect’s study. It was intended as a summer retreat
+for the Prince and his friends when engaged in a fishing-excursion on
+the noble river the Elbe, on the banks of which it was placed. It
+contained a large centre dining-room, 48 ft. by 22, with a saloon or
+drawing-room, 40 ft. by 20 ft., and extensive accommodation for the
+kitchen and servants’ departments. The upper storey contained 14 best
+bedrooms, each with an ante or dressing-room, besides bath-room and the
+sleeping apartments for the domestics.
+
+
+
+
+_DESIGN No. 40._
+
+HARRINGTON HOUSE, QUEEN’S PALACE GARDENS.
+
+[Illustration: Perspective view of exterior.]
+
+
+This building, with which the present collection of designs closes, is
+probably the most unpicturesque example in the volume. Its exterior has
+been frequently criticised; whatever its merits or demerits may be, it
+certainly is wholly unlike, while at the same time it is not inferior,
+to the strange style at present so popular with the younger branch of
+architectural professors, which appears to be a
+
+[Illustration: Elevation of principal staircase.]
+
+mixture of the Byzantine and Romanesque styles, joined with the Roman
+Gothic. Some call it the Missal style, others the Northern Italian. The
+sole recommendation of it is that it comes more expensive to carry out
+than any other. This house has at least the reputation of being a very
+comfortable one, and as more than usually adapted to receive large
+assemblies and fashionable parties. Indeed the noble Earl who erected
+it was so pleased with it, that on entering, on its completion, he
+addressed the following note to the author:--
+
+                                 H. H., Kensington Palace Gardens,
+                                       _31 May, 1854_.
+
+     My dear Sir,--
+
+     I take this opportunity of expressing to you my thanks for having
+     constructed a house, in my humble judgment, _without a fault_.
+
+                     Believe me most sincerely yours,
+
+                                     (Signed)      HARRINGTON.
+
+To C. J. Richardson, Esq.
+
+
+
+And after having resided in it nine months, he again
+wrote as follows:--
+
+                                    H. H., Palace Gardens, Kensington,
+                                           _2nd February, 1855_.
+
+     My dear Sir,--
+
+     I pray you to accept my cordial thanks for your most able
+     architectural skill in the construction of my house. I have lived
+     in it one season, and have not discovered in it a single fault.
+
+                      Believe me most truly yours,
+
+                                          (Signed)      HARRINGTON.
+
+To C. J. Richardson, Esq.
+
+
+
+The site upon which the house stands was taken by the Earl from the
+Commissioners of Her Majesty’s
+
+[Illustration: Ground plan.]
+
+Woods and Forests, and it certainly is, or was, one of the best sites
+for building in the metropolis. It adjoins Kensington Gardens, looking
+on the old winter garden of Queen Anne. Agreeable and admirable a
+
+[Illustration: One-pair plan of staircase.]
+
+site for building as this was, in 1853, it remained for some time
+utterly neglected. The first speculator had been ruined, and only one or
+two of his houses (one erected by Mr. Owen Jones, the architect) were
+
+[Illustration: Ground-floor plan.]
+
+standing in the road. Soon after the Earl of Harrington acquired the
+land, and erected this building, the whole of the road, on each side,
+was covered with first-class mansions.
+
+The terms of the agreement were, that the Earl should take plot No. 9
+and the northern portion of plot No. 10, having a frontage of 196 ft. to
+the Queen’s Road, and a depth of about 260 ft., for a period of 91¼
+years, from the 5th July, 1851, at a peppercorn rent for the first year,
+of 73_l._ 10_s._ for the second year, and of 147_l._ a year for the
+remainder of the term, also a rent of 5_s._ a year in lieu of land-tax
+for every year except the first.
+
+The Earl was to expend a sum of not less than 6000_l._ in erecting upon
+the ground a dwelling-house of the first-class style of building. The
+house was to be insured in the sum of 6000_l._, and the Earl was to pay
+jointly, with the adjacent occupiers, the expense of lighting and
+keeping up the road, which was a private one, and to pay the gatekeepers
+at the lodge. The rest of the covenants of the agreement were such as
+are usually found in such documents.
+
+The house was, until the present year, the only Gothic one in the
+district, the Earl insisting upon having this, his favourite style,
+admitted. It stands in the centre of the road at the highest level, and
+is well up out of the ground. The principal floor is 7 ft. above the
+outside road of approach, and 14 ft. above the level of the public road.
+The whole of the walls stand on a basement of concrete, and the lower
+flooring is 5 ft. above the level of the foundations. The basement
+story is 14 ft. in height, and of entirely fireproof construction. The
+best rooms on the ground-floor are 17 ft. 6 in. in height, the secondary
+rooms are 15 ft. high. All the principal staircases are of stone; the
+ground plan on page 479 shows the
+
+[Illustration: Section of principal staircase.]
+
+entrance hall, _a_, approached by 12 steps; it is 30 ft. in length, by
+21 ft. in width; _b_ is the principal staircase, situated on one side of
+the saloon in the centre of the building; the latter is 41 ft. long by
+21 ft. wide. The dining-room _e_, and the library _c_, on each side of
+the hall, are respectively 30 ft. by 22 ft. The great room, with the bay
+window, entered from the saloon, is the picture gallery _f_. This room
+is 41 ft. long by 30 ft. wide, without the bay. The drawing-rooms _d_,
+_d_, on each side, are each 25 ft. by 20 ft.; _g_, the conservatory,
+measures 40 ft. by 21 ft.; this, with the two drawing-rooms and the
+picture gallery, can in less than half an hour be thrown into one by the
+removal of the large folding-doors in the picture
+
+[Illustration: Ornament for stairs.]
+
+gallery, which can be taken away, frames complete, by simply removing a
+few screws. A length of drawing-room is then gained of 125 ft.
+
+The principal staircase is shown in elevation on page 477; the plans are
+here given to a larger scale.
+
+The lower plan shows a portion of the first flight and the servants’
+passage, _a_, under the first landing; _b_ is their staircase down to
+the basement, this should have been shown on the left-hand side. It is
+the footman’s staircase, adapted for him to ascend and
+
+[Illustration: Iron railing on staircase.]
+
+descend readily from or to the basement, and the passage _a_ permits
+him to enter either side of the house without being seen. The upper plan
+shows the two flights, right and left, rising from the principal
+landing. Each of these has 22 steps. Three more in the centre lead up to
+the gallery round the saloon; the section of the staircase, given on p.
+482, clearly shows this arrangement. The staircase front is in Bath
+stone. The only ornaments are the decorated corbels supporting the small
+angular projections or buttresses necessary to receive the iron
+standards of the railing above. One of the corbels and a panel of the
+iron railing is given. This is carried up the stairs on both sides and
+round the gallery, and is richly coloured and gilt. The only remaining
+portions of the ground plan to be described are the secondary rooms. A
+side entrance is at _j_, and the waiting room, _i_, is also at the side;
+_h_ is the servants’ staircase, going from the basement to the attic. On
+the other side of the building _o_ is the Earl’s dressing-room, with a
+study or writing room by its side. This has a lift, _n_, from the
+kitchen, enabling it to be used as a serving room. The picture gallery
+has a flight of steps descending to a large ornamented garden at the
+back of the house, _n n_ is the stable yard, and _k k k_ rooms over the
+stable.
+
+The section through the complete building, given on page 486, shows the
+general character of the interior. The rooms are wholly without
+ornament; all have plain cornices formed of running Gothic mouldings.
+The
+
+[Illustration]
+
+only decorated portion is the saloon (_inf._), the coved ceiling of
+which has the shields of painted and gilt coats of arms of family
+connexions, together with
+
+[Illustration]
+
+mottoes and monograms. The skylight is filled with richly coloured
+embossed glass, every pane having a shield of arms, its ceiling being
+panelled with painted enrichments on a blue ground. A view of the saloon
+is given on p. 487; it contains in the centre a statue
+
+[Illustration: Half-section of roof of conservatory.]
+
+by Theed, of Lady Chandos Pole, the eldest daughter of the Earl. The
+statues are shown in the plan by the letters _m m_. The ground floor is
+supplied with warm-water pipes; these are shown by the dotted lines.
+They are sunk in the brickwork forming the substructure of the
+flooring, and covered with open ornamental ironwork. The hall has two
+warm-water pedestals. The whole of the rooms and conservatory are so
+warmed.
+
+The latter part of the interior resembles in some respects a small
+chapel. A half-section of a portion
+
+[Illustration: Plan of one-pair.]
+
+of its roof is given on p. 488; it measures 22 ft. from the floor to the
+collar-beam. The corbels, from which the roof springs, are decorated
+with shields of arms, surrounded by a garland of strawberry leaves.
+
+In the plan of the one-pair floor _a_ is the boudoir or morning room;
+_b b b_ are bedrooms; _c c c_ dressing-rooms, and _d_ is the bath-room.
+The gallery is shown as completely going round the saloon; its ceiling
+is of ground glass arranged in panels, each of which is
+
+[Illustration]
+
+moveable, with a skylight over the whole. There is plenty of light
+therefore afforded for the paintings with which the walls are covered.
+
+The small attic plan shows these skylights on three sides only,
+likewise the sleeping-rooms _b b_, and the housemaid’s closet _c_. Under
+this plan is that of the upper room in the tower with its two slate
+cisterns, each capable of containing 800 gallons of water. They are
+supported by strong trussed girders fixed in the walls. This upper room
+is approached by a
+
+[Illustration: Staircase to lower rooms.]
+
+cottage staircase, the plan of which, with its 22 risers, is shown in
+cut on p. 490. It enables the room to be approached without any
+structural appearance being seen from without. A half elevation of the
+exterior, and another of its section is given above. It is well supplied
+with light.
+
+[Illustration: Basement plan.]
+
+[Illustration: Elevation of bay window.]
+
+[Illustration: Section.]
+
+[Illustration: Plan.]
+
+The building contains upwards of forty rooms; the basement is very
+large, and contains considerable accommodation. The mere enumeration of
+these would require every letter in the alphabet to point them out in an
+engraving, but as it is desirable to show how closely a large
+establishment of servants can be packed together, the basement plan is
+given. _a_ is the kitchen, _b_ the scullery, and _c_ the larder. The
+kitchen is provided with a lift _f_, and a small service window; _d_ is
+the pastry-room, and _e_ the still-room, with the lift; _g_ is the
+dairy, _h_ the washhouse, _i_ the laundry, _j_ the butler’s pantry, _k_
+the steward’s room with its strong closet; _l_ is the housekeeper’s,
+with the cook’s room between it and the still-room, _m_ is the servants’
+hall, _n_ the men’s sleeping room; _o o_ are wine-cellars, _p_ the
+butler’s wine-cellar, _q_ the footman’s stairs under the principal
+staircase, _r_ the warm-water furnace, by the steward’s room, placed at
+the back of his strong closet; _s_ is the stable, containing eight
+stalls, one loose box, and a harness-room; _t t t_ are cart-sheds, _u_
+is the cowhouse, _v_ the dung-pit, _w_ the coach-house, _x x_ two of the
+three coal-cellars, _y_ the dust-pit, and _z z z_ are the closets. The
+carriage-road to the side entrance is formed over the cart-sheds and
+coal-cellars. These are arched over in brick and covered with a thick
+layer of Brown’s metallic lava, and are provided with proper drainage.
+The boot-cleaning place and that for lamps are between the coach-house
+and the cart-sheds.
+
+The exterior of the building has been censured on account of the Gothic
+outline being too flat, the roofs too low, and all the windows having
+common sash
+
+[Illustration]
+
+frames. With regard to the latter, it may be considered very probable
+that if the Gothic race of architects had continued with us to the
+present day, they would have adopted plate glass for their windows, and
+put aside their lead-lights and small panes of common glass. One of the
+greatest improvements that could be made in our cathedrals, not
+excepting even St. Paul’s, would be the reglazing the windows in the
+modern style.
+
+[Illustration: Half-elevation and section of bell-turret.]
+
+As a specimen of the architectural style of the building, the centre
+bay-window of the principal front is given, with its section and plan.
+It is 9 ft. 6 in. across, and 21 ft. 4 in. high, and stands directly
+over the chief entrance. The construction of a projecting bay-window
+coming over an archway requires a short description.
+
+The three diagrams on page 495 show the manner in which such windows are
+corbelled out. The upper
+
+[Illustration: Plan of turret.]
+
+one is a plan of the bottom stone course, immediately over the key-stone
+of the arch; it shows also the centre stone of the second course upon
+it. The middle diagram shows the two courses from the back. It will be
+seen that the middle stone of the first course does not bear upon the
+arch, but is supported by the two end stones let into the wall. The last
+diagram is a plan of the upper course at top. Slate dowels were used,
+and an iron bar, shown in plan under elevation _a_, 3 in. by ¾ in., was
+placed across the course tailing into the walls on each side; and two
+bars _p p_, each 2½ by ¾ in. and 12 ft. in length, tied it to the
+flooring of the room. This is shown likewise in the plan, the dotted
+lines dividing the length of flooring; _d_ is the upper course of
+stones, and _c_ one of the principal beams of the floor.
+
+[Illustration: Balustrading on top of building.]
+
+The bell-turret stands 20 ft. above the roof. This is carved in oak; an
+elevation, section, and plan is given. Only those parts of the building
+are intended to be here illustrated which have some peculiarity of
+design or construction.
+
+A building of this size would require about 150 working drawings to be
+made for it, and a considerable number to be given to show its
+construction.
+
+It was completed in about two years, at an expense of 14,814_l._; but
+this did not include the price of the warming apparatus, nor that of the
+lightning conductor fixed to the bell-turret.
+
+[Illustration: Front. Side.
+
+Pedestal to steps.]
+
+Whatever opinions may be expressed in regard to the architectural
+details of this erection, the author at least can plead, as its owner
+stated in the letters, copies of which have been given, that the
+essentials of a house, convenience, comfort, and complete suitability
+for all domestic purposes, were accomplished. These objects being
+attained, any real or imaginary faults perceived by professional critics
+may be palliated if not forgotten.
+
+
+
+
+INDEX.
+
+
+                 PAGE
+
+Introduction, 3-48
+
+
+“Albert Hall of Arts”, 131
+
+Architectural history, 16
+
+Architectural orders, 20 _et seq._
+
+Architecture and gardening, 46, 312
+
+Architecture, English, 25
+
+Architecture, Grecian, &c., 11
+
+Architecture, Mexican, &c., 26
+
+Architecture, origin of, 8
+
+Architecture, principles of, 27
+
+Architecture, Roman, 23
+
+Architecture, Suburban, 29
+
+Architectural symmetry, &c., 31
+
+Arnott’s, Dr., system of warming, 357
+
+Arnott’s ventilator, 414
+
+Aspect of a house, 36
+
+Asphalte as a paving, 235
+
+Atmosphere, the, and smoke, 431
+
+
+Bacon, Lord, on house construction, 256
+
+Balconet, an iron, 331
+
+Balconet, design for a, 123
+
+Balusters for a staircase, 277
+
+Balustrade, a garden, 363 _et seq._
+
+Balustrade, Elizabethan, 181
+
+Balustrade for a staircase, 282
+
+Balustrades, stone, 247
+
+Balustrading, cut wood, 279
+
+Balustrading, designs for iron, &c., 299
+
+Balustrading, house and garden, 204 _et seq._
+
+Barge-board, 247
+
+Bath-house, design for a, 214
+
+Bower, garden, rooms, 242
+
+Boyd’s flue, 414
+
+Bricks, ventilating, 157, 170
+
+Buildings, foundation of, 151
+
+
+Carving by machinery, 278
+
+Casements, iron, 220
+
+Castle, Gunnarstrop, Sweden, 464
+
+Ceiling, a dining-room, 288
+
+Ceiling and cornices, 44
+
+Ceiling, drawing-room and library, 290, 291
+
+Ceiling for a drawing-room, 166
+
+Ceiling for a hall, 286
+
+Ceiling, ornament for a, 61
+
+Ceilings, ornamental, various, 313 _et seq._
+
+Ceilings, plaster ornament for, 161
+
+Chalk concrete, 83
+
+Chapel, design for a Roman Catholic, 210
+
+Cheshire wooden houses, 233
+
+Chimney-piece, ancient, at Enfield, 228
+
+Chimney-pieces, designs for, 80, 81, 319
+
+Chimney-pot, ornamented, 329, 330, 423
+
+Chimney stack, ancient, 74
+
+Churches, concrete, 96
+
+Clunch, 246
+
+Concrete as a foundation, 152
+
+Concrete, chalk, 83
+
+Concrete churches, 96
+
+Concrete construction, 82
+
+Concrete cottages, 83
+
+Concrete, nature, cost, &c., of, 91
+
+Concrete, remarks on, 93
+
+Concrete sewers, 96
+
+Concrete walls, 92
+
+Construction, fire-proof, 156
+
+Construction, concrete, 82
+
+Corbels, 172
+
+Corbel, French cut-wood, 403
+
+Corbels, ragstone, 392
+
+Cornice and ceiling, 44
+
+Cornice, design for a plaster drawing-room, 101
+
+Cornice for a drawing-room, 166
+
+Cottage, design for a picturesque, 62
+
+Cottage, double, design for a, 66, 72
+
+Cottage, gardener’s, 50
+
+Cottages, Hampshire, Kentish, &c., 88 _et seq._
+
+Cottage or lodge, design for a small, 58
+
+Cottage or lodge, design for a huntsman’s, 78
+
+Country house, design for a small, 174
+
+Country villa, design for a, 182
+
+Cubitt’s flues, 407
+
+
+Dab houses, 251
+
+Damp walls, 152
+
+Damp, wash to prevent, in walls, 159
+
+Deals, stained, 45
+
+Decoration external and internal, 42
+
+Denley’s flue, 413
+
+Door, entrance for a hall, 458
+
+Door ornaments, 69
+
+Doric order, 20
+
+Drain-eye, 450
+
+
+Egyptian architecture, 19
+
+Elizabethan balustrades, 181
+
+Elizabethan villa, 280
+
+Encaustic tiles, 460
+
+English architecture, 25
+
+Escutcheon, design of an, 69
+
+Escutcheon, key, 172
+
+
+Finials, 109
+
+Finials, roof, 80
+
+Fireplace for a hall, 284
+
+Fireplace, the, 404
+
+Fire-proof construction, 156
+
+Fire-proofing, 158
+
+Flue construction, 405 _et seq._
+
+Flue pedestal, the, 446
+
+Flues, Cubitt’s, 407
+
+Flues, various, 405 _et seq._
+
+Fogs, London, and smoke, 443
+
+Foundations, concrete, 152
+
+Foundations of buildings, 151
+
+Fountain, an ancient nymph’s, 47
+
+Fountain, garden, 49
+
+Fountain, garden, design for a, 469
+
+Fountains, various designs for, 307
+
+French villas, roofs, zinc work, &c., 273
+
+Frieze, external, 173
+
+Frieze for dining and drawing-room, 178
+
+Frieze, plaster, for a drawing-room, 65
+
+
+Gable, ornamental, 170, 220, 300
+
+Gardens, ancient, 312
+
+Gardens and architecture, 45
+
+Garden, architectural, 313
+
+Garden bower rooms, 242
+
+Gardener’s cottage, 50
+
+Garden fountain, 49
+
+Garden gate, a, 204
+
+Garden gate, design for a, 95
+
+Garden, gate to a flower, 265
+
+Garden or summer villa, 302
+
+Garden summer house, 262
+
+Garden steps, 197
+
+Garden seat, design for a, 361
+
+Garden, vignette plan of an Old English, 119
+
+Gate, a garden, 265
+
+Gates, iron, in Hyde Park, 128
+
+Gate lodge, Hyde Park, 125
+
+Gates, Park, 149
+
+Gates of London Parks, 139
+
+Gothic, modern, 24
+
+Gothic screen, 205
+
+Gothic style, 10
+
+Gothic window, 204
+
+Grecian architecture, 11
+
+Gunnarstrop castle, Sweden, 464
+
+
+Half-Timbered houses, 248
+
+Hall ceiling, 286
+
+Hall fireplace, 284
+
+Hall, lecture, design for a, 456
+
+“Hall of Arts and Sciences,” Kensington, 133
+
+Hall stove, 285
+
+Hall, stove for entrance of a, 120
+
+Hampshire cottages, 88
+
+Handle, design for a door, 69
+
+Harrington estate, the, 136
+
+Harrington House, Queen’s Palace Gardens, 476
+
+Houses, foundations of, 151
+
+Haum as a building material, 249
+
+Hiort’s flue, 412
+
+Hot-water apparatus, 349
+
+House, a bachelor’s, 401
+
+House, a garden summer, 262
+
+Houses, aspect of, 36
+
+Houses, dab and wattle, 251
+
+House construction, Lord Bacon on, 256
+
+House, design for a small country, 174
+
+Houses, heating of, 34
+
+Houses in Kent, 249
+
+Houses, noggin, &c., 249
+
+Houses, post-and-pan, 252
+
+Houses, site, &c. of, 351
+
+Houses, warming of, 351
+
+Hyde Park, Queen’s Gate, entrance to, 139
+
+Hyde Park Corner Gate, 140
+
+
+Ice-house, design for a, 370
+
+
+Kensington Gardens, 140
+
+Kent ragstone, 176
+
+Kentish cottages, 91
+
+Kentish village houses, 249
+
+Key escutcheons, 172
+
+Knocker, 172
+
+
+Library, elevation of a small, 200
+
+Literary Institution, design for a, 456
+
+Lodge, a park, 102
+
+Lodge and gateway, design for, 112
+
+Lodges of London Parks, 142
+
+Lodge or cottage, a huntsman’s, 78
+
+Lodge or cottage, design for a small, 56
+
+Lodge, park entrance, 104
+
+Lodge, Queen’s Gate, Hyde Park, 125
+
+
+Machine-carving, 278
+
+Mantel-pieces, 44
+
+Maisonette, a French, 268
+
+Meat-jack, design for a, 267
+
+Moule’s earth system, 241
+
+Moon’s flue, 412
+
+Mud walls, 90
+
+
+Noggin houses, 249
+
+
+Orders of architecture, 20 _et seq._
+
+Origin of architecture, 8
+
+
+Paper hangings, 42
+
+Parge-boards, 247
+
+Pargetting, &c., 248
+
+Park, entrance lodge and gateway, 112
+
+Park lodge, design for a, 99
+
+Park lodge entrance, 104
+
+Parks, history of the London, 139
+
+Parks, the Royal, 139
+
+Pedestals, ornamental, 326
+
+Pedestal, the flue, 446
+
+Pendants, &c., 289
+
+Perkins’ hot-water apparatus, 350
+
+Picturesque cottage, design for a, 62
+
+Picturesque defined, 5
+
+Pipes, elevation of Elizabethan lead-water, 55
+
+Plaster frieze for a drawing-room, 65
+
+Plaster ornament for a ceiling, 161
+
+Porch, design for an entrance, 225
+
+Portico, elevation of, 180
+
+Post-and-pan houses, 252
+
+Pots, ornamental chimney, 423
+
+Prevention of damp, 151
+
+
+Queen Anne’s garden, 140
+
+Queen’s Gate, iron-work of, 143
+
+Queen’s Gate Lodge, 125, 142
+
+
+Ragstone, Kentish, 176
+
+Railing, French, in iron, 190
+
+Railing, park, 147
+
+Railing, ornamental, 81
+
+Riding-house and stabling, 389
+
+Reading-room, design for a, 208
+
+Rectory, design for a small country, 162
+
+Retreat, a small country, 268
+
+Roman Architecture, 23
+
+Roman Temple, 5
+
+Roof, French style of, 275
+
+Roofs, iron, 348
+
+Roof ornaments, design for wood, 463
+
+Rose Hill Villa, 82
+
+Rotunda at Bank of England, 158
+
+Rushton Hall, 283
+
+
+Schools, design for, 208
+
+School, design for a village Sunday, 70
+
+School, village, 208
+
+Screen, Gothic, 205
+
+Screen, hall, 206
+
+Sculptor’s villa, 338
+
+Serpentine, the, 140
+
+Sewers, a receptacle for soot, 438
+
+Sewer gases in houses, 436
+
+Sewers, concrete, 96
+
+Situation of a house, 38
+
+Smith’s, Seth, flue, 412
+
+Smoke Nuisance Act, 452
+
+Smoke Prevention, 405
+
+Smoke purified, by a spray of water, from soot, 441
+
+Smoky chimneys, 427
+
+Soot and the sewers, 436
+
+Soot, prevention of, 428
+
+Soot, removal of, from smoke, 433
+
+Soot, value of, 451
+
+Spiral staircase, 61
+
+Stabling and riding-houses, 389
+
+Stack flues, 417
+
+Stair, best proportions of a, 231
+
+Staircase balustrade, 277, 282
+
+Staircases, construction of, 194
+
+Staircase railing, French, in iron, 190
+
+Staircase, spiral, 61
+
+Steps, garden, 197
+
+Stone balustrades, 173
+
+Stove, design for an entrance hall, 120
+
+Stove for a hall, 285
+
+Styles of architecture, 10
+
+Style, Gothic, 10
+
+Summer house, or garden, 262
+
+Summer or garden villa, 302
+
+Summer room, design for a, 214
+
+Sunday school, village, design for a, 70
+
+
+Tall-boys, 416
+
+Taste in architecture, 15
+
+Terrace, ironwork, 297
+
+Tiles, design for ornamental, 189
+
+Tiles, encaustic, 460
+
+Tiles, ornamental, 187
+
+Turn-buckle, 221
+
+
+Ventilation, general principles of, 32
+
+Ventilation, 411
+
+Verandahs, 375
+
+Verge-board, 247
+
+Villa, a sculptor’s, 338
+
+Villa, design for a country, 182
+
+Villa, design for a small country, 222
+
+Villa, double suburban, 192
+
+Villa, Elizabethan, 280
+
+Villa, French, 268
+
+Villa, old English wooden, 232
+
+Villa, suburban, design for a, 382
+
+Villa, suburban, design for a, 373
+
+Villa, summer or garden, 302
+
+Villa, summer, for Count Kinski, 470
+
+Village schools, 208
+
+
+Wainscoting, 285
+
+Walls, concrete, 92
+
+Walls, damp, 152
+
+Walls, how to cure damp, 160
+
+Warming houses, 34, 351
+
+Water, for removing soot from smoke, 440
+
+Wattle houses, 251
+
+Weathercock, design for a, 261, 381
+
+Window, design for a decorated, 336
+
+Window, Gothic, 204
+
+Window, ironwork for, 297
+
+Wooden villa, old English, 232
+
+Wood-noggin houses, 249
+
+Woodwork, French, pine, 186
+
+Woodwork, French, 275
+
+
+Zinc, French ornamental work in, 274
+
+
+THE END.
+
+       *       *       *       *       *
+
+[_Post-Office Orders payable
+at Piccadilly Circus._]        [NOVEMBER, 1874.
+
+[Illustration]
+
+A List of Books
+
+PUBLISHED BY
+
+CHATTO & WINDUS,
+
+_74 & 75, PICCADILLY, LONDON, W._
+
+[Illustration]
+
+SUMPTUOUS GIFT-BOOK.
+
+THE TURNER GALLERY:
+
+A Series of Sixty Engravings,
+
+From the Principal Works of JOSEPH MALLORD WILLIAM TURNER.
+
+_With a Memoir and Illustrative Text_
+
+By RALPH NICHOLSON WORNUM,
+
+KEEPER AND SECRETARY, NATIONAL GALLERY.
+
+Handsomely half-bound, India Proofs, Royal folio, £10; LARGE PAPER
+copies, Artists’ India Proofs, Elephant folio, £20.
+
+_A Descriptive Pamphlet will be sent upon application._
+
+
+_74 & 75, PICCADILLY, LONDON, W._
+
+
+THE NATIONAL GALLERY:
+
+A Selection from its Pictures,
+
+By CLAUDE, REMBRANDT, CUYP, Sir DAVID WILKIE, CORREGGIO, GAINSBOROUGH,
+CANALETTI, VANDYCK, PAUL VERONESE, CARACCI, RUBENS, N. and G. POUSSIN,
+and other great Masters.
+
+Engraved by GEORGE DOO, JOHN BURNET, WILLIAM FINDEN, JOHN and HENRY LE
+KEUX, JOHN PYE, WALTER BROMLEY, and others. With descriptive Text. A NEW
+EDITION, from the Original Plates, in columbier 4to, cloth extra, full
+gilt and gilt edges, 42_s._
+
+
+THE FAMOUS FRASER PORTRAITS.
+
+MACLISE’S GALLERY OF
+
+ILLUSTRIOUS LITERARY CHARACTERS.
+
+With Notes by the late WILLIAM MAGINN, LL.D.
+
+     Edited, with copious Notes, by WILLIAM BATES, B.A. The volume
+     contains 83 SPLENDID AND MOST CHARACTERISTIC PORTRAITS, now first
+     issued in a complete form. In demy 4to, over 400 pages, cloth gilt
+     and gilt edges, 31_s._ 6_d._
+
+     “Most interesting.”--_Saturday Review._
+
+     “Not possible to imagine a more elegant addition to a drawing-room
+     table.”--_Fun._
+
+     “One of the most interesting volumes of this year’s
+     literature.”--_Times._
+
+     “Deserves a place on every drawing-room table, and may not unfitly
+     be removed from the drawing-room to the library.”--_Spectator._
+
+
+THE
+
+WORKS OF JAMES GILLRAY, THE CARICATURIST.
+
+_With the Story of his Life and Times, and full and Anecdotal
+Descriptions of his Engravings._
+
+Edited by THOMAS WRIGHT, Esq., M.A., F.S.A.
+
+Illustrated with 83 full-page Plates, and very numerous Wood Engravings.
+Demy 4to, 600 pages, cloth extra, 31_s._ 6_d._
+
+     “High as the expectations excited by this description [in the
+     Introduction] may be, they will not be disappointed. With rare
+     exception, no source of information has been neglected by the
+     editor, and the most inquisitive or exacting reader will find ready
+     gathered to his hand, without the trouble of reference, almost
+     every scrap of narrative, anecdote, gossip, scandal, or epigram, in
+     poetry or prose, that he can possibly require for the elucidation
+     of the caricatures.”--_Quarterly Review._
+
+     “The publishers have done good service in bringing so much that is
+     full of humour and of historical interest within the reach of a
+     large class.”--_Saturday Review._
+
+     “One of the most amusing and valuable illustrations of the social
+     and polished life of that generation which it is possible to
+     conceive.”--_Spectator._
+
+
+NEW SERIES OF
+
+BEAUTIFUL PICTURES.
+
+     Including Examples by ARMYTAGE, FAED, GOODALL, HEMSLEY, HORSLEY,
+     MARKS, NICHOLLS, Sir NOEL PATON, PICKERSGILL, G. SMITH, MARCUS
+     STONE, SOLOMON, STRAIGHT, E. M. WARD, WARREN; all engraved in the
+     highest style of Art, with Notices of the Artists and of their
+     Pictures by SYDNEY ARMYTAGE, M.A. Imp. 4to, cloth extra, gilt, and
+     gilt edges, 21_s._
+
+
+BEAUTIFUL PICTURES BY BRITISH ARTISTS:
+
+_A Gathering of Favourites from our Picture Galleries, 1800-1870._
+
+     Including examples by WILKIE, CONSTABLE, TURNER, MULREADY,
+     LANDSEER, MACLISE, E. M. WARD, FRITH, Sir JOHN GILBERT, LESLIE,
+     ANSDELL, MARCUS STONE, SIR NOEL PATON, FAED, EYRE CROWE, GAVIN,
+     O’NEIL, and MADOX BROWN. Engraved on Steel in the highest style of
+     Art. Edited, with Notices of the Artists, by SYDNEY ARMYTAGE, M.A.
+     Imperial 4to, cloth extra, gilt and gilt edges, 21_s._
+
+
+TOM HOOD’S NEW STORY FOR CHILDREN.
+
+From Nowhere to the North Pole;
+
+A Noah’s Arkæological Narrative. By TOM HOOD.
+
+     With 25 Illustrations by W. BRUNTON and E. C. BARNES. Sq. crown
+     8vo, in a handsome and specially-designed binding, gilt edges,
+     6_s._
+
+
+NEW BOOK BY MR. WALTER THORNBURY.
+
+     =On the Slopes of Parnassus.= Illustrated by J. E. MILLAIS, JOHN
+     TENNIEL, F. SANDYS, FRED. WALKER, G. J. PINWELL, J. D. HOUGHTON, E.
+     J. POYNTER, H. S. MARKS, J. WHISTLER, and others. Handsomely
+     printed, crown 4to, cloth extra, gilt and gilt edges, 21_s._
+
+[_In preparation._
+
+
+
+
+NEW GROTESQUE GIFT-BOOK.
+
+A RARE AND CHOICE COLLECTION OF
+
+     =Queens and Kings, and other Things=: The Pictures, Poetry, and
+     strange but veritable Histories designed and written by the
+     PRINCESS HESSE-SCHWARZBOURG. The whole imprinted in gold and many
+     colours by the Brothers DALZIEL, at the Camden Press. Imp. 4to,
+     cloth gilt and gilt edges, price One Guinea.
+
+
+     =Æsop’s Fables=, translated into Human Nature by C. H. BENNETT.
+     Descriptive Text. Entirely New Edit. Cr. 4to, 24 Plates,
+     beautifully printed in colours, cloth extra, gilt, 6_s._
+
+
+COMPANION TO THE “HISTORY OF SIGNBOARDS.”
+
+     =Advertising, A History of=, from the Earliest Times. Illustrated by
+     Anecdotes, Curious Specimens, Biographical Notes, and Examples of
+     Successful Advertisers. By HENRY SAMPSON. Crown 8vo, with Coloured
+     Frontispiece and numerous Illustrations, cloth extra, gilt, 7_s._
+     6_d._
+
+
+     =Amusing Poetry.= A Selection of Humorous Verse from all the Best
+     Writers. Edited, with a Preface, by _Shirley Brooks_. A New
+     Edition, in fcap. 8vo, cloth extra, gilt, and gilt edges, 3_s._
+     6_d._
+
+
+     =Anacreon.= Translated by THOMAS MOORE, and Illustrated by the
+     Exquisite Designs of GIRODET. Bound in Etruscan gold and blue,
+     12_s._ 6_d._
+
+
+     =Army Lists of the Roundheads and Cavaliers in the Civil War, 1642.=
+     SECOND EDITION, Corrected and considerably Enlarged. Edited, with
+     Notes and full Index, by EDWARD PEACOCK, F.S.A. 4to, hf.-Roxburghe,
+     7_s._ 6_d._
+
+
+UNIFORM WITH MR. RUSKIN’S EDITION OF “GRIMM.”
+
+     =Bechstein’s As Pretty as Seven=, and other Popular German Stories.
+     Collected by LUDWIG BECHSTEIN. With Additional Tales by the
+     Brothers GRIMM. 100 Illusts. by RICHTER. Small 4to, green and gold,
+     6_s._ 6_d._; gilt edges, 7_s._ 6_d._
+
+[Illustration]
+
+
+     =Artemus Ward, Complete.= The Works of CHARLES FARRER BROWNE, better
+     known as ARTEMUS WARD, now first collected. Crown 8vo, with fine
+     Portrait, facsimile of handwriting, &c., 540 pages, cloth extra,
+     7_s._ 6_d._
+
+
+     =Artemus Ward’s Lecture at the Egyptian Hall=, with the Panorama.
+     Edited by T. W. ROBERTSON and E. P. HINGSTON. 4to, green and gold,
+     TINTED ILLUST., 6_s._
+
+
+     =Boccaccio’s Decameron=; or, Ten Days’ Entertainment. Now fully
+     translated into English, with Introduction by THOMAS WRIGHT, Esq.,
+     M.A., F.S.A. With Portrait after RAPHAEL, and STOTHARD’S Ten
+     Copper-plates. Crown 8vo, cloth, extra gilt, 7_s._ 6_d._
+
+
+     =Booksellers, A History of.= Full Accounts of the Great Publishing
+     Houses and their Founders, both in London and the Provinces, the
+     History of their Rise and Progress, and of their greatest Works. By
+     HARRY CURWEN. Crown 8vo, over 500 pages, with frontispiece and
+     numerous Portraits and Illustrations, cloth extra, 7_s._ 6_d._
+
+[Illustration: HEADPIECE USED BY WILLIAM CAXTON.]
+
+     “_In these days, ten ordinary Histories of Kings and Courtiers were
+     well exchanged against the tenth part of one good History of
+     Booksellers._”--THOMAS CARLYLE.
+
+     “This stout little book is unquestionably amusing. Ill-starred,
+     indeed, must be the reader who, opening it anywhere, lights upon
+     six consecutive pages within the entire compass of which some good
+     anecdote or smart repartee is not to be found.”--_Saturday Review._
+
+     “Mr. Curwen has produced an interesting work.”--_Daily News._
+
+     “The ‘History of Booksellers’ will not merely repay perusal, but
+     ought to have a permanent place on library shelves.”--_Court
+     Circular._
+
+
+     =Book of Hall-Marks=; or, Manual of Reference for the Goldsmith and
+     Silversmith. By ALFRED LUTSCHAUNIG, Manager of the Liverpool Assay
+     Office. Crown 8vo, with 46 Plates of the Hall-Marks of the
+     different Assay Towns of the United Kingdom, as now stamped on
+     Plate and Jewellery, 7_s._ 6_d._
+
+     ⁂ _This work gives practical methods for testing the quality of
+     gold and silver. It was compiled by the author for his own use, and
+     as a Supplement to “Chaffers.”_
+
+
+     =Boudoir Ballads=: Vers de Société. By J. ASHBY STERRY. Crown 8vo,
+     cloth extra, gilt, and gilt edges, 6_s._
+
+[_In preparation._
+
+
+     =Bret Harte’s Complete Works=, in Prose and Poetry. Now First
+     Collected. With Introductory Essay by J. M. BELLEW, Portrait of the
+     Author, and 50 Illustrations. Crown 8vo, 650 pages, cloth extra,
+     7_s._ 6_d._
+
+
+     =Brewster’s (Sir David) More Worlds than One, the Creed of the
+     Philosopher and the Hope of the Christian.= A NEW EDITION, in small
+     crown 8vo, cloth, extra gilt, with full-page Astronomical Plates,
+     uniform with Faraday’s “Chemical History of a Candle.” 4_s._ 6_d._
+
+
+     =Brewster’s (Sir D.) Martyrs of Science.= NEW EDITION, small cr. 8vo,
+     cloth, extra gilt, with full-page Portraits, uniform with Faraday’s
+     “Various Forces of Nature.” 4_s._ 6_d._
+
+
+     =Bright’s (Rt. Hon. J., M.P.) Speeches= on Public Affairs of the last
+     Twenty Years. Collated with the best Public Reports. Royal 16mo,
+     370 pages, cloth extra, 1_s._
+
+
+COLMAN’S HUMOROUS WORKS.
+
+     =Broad Grins.= My Nightgown and Slippers, and other Humorous Works,
+     Prose and Poetical, of GEORGE COLMAN the Younger. Now first
+     collected, with Life and Anecdotes of the Author, by GEORGE B.
+     BUCKSTONE. With Frontispiece by HOGARTH. Crown 8vo, 500 pp., 7_s._
+     6_d._
+
+     =Broadstone Hall=, and other Poems. By W. E. WINDUS. With 40
+     Illustrations by ALFRED CONCANEN. Crown 8vo, cloth extra, gilt,
+     5_s._
+
+
+NEW BOOK FOR BOYS.
+
+     =Conquest of the Sea=: A History of Divers and Diving, from the
+     Earliest Times to the Present Day. By HENRY SIEBE. Profusely
+     Illustrated with fine Wood Engravings. Small crown 8vo, cloth
+     extra, 4_s._ 6_d._
+
+     “We have perused this volume, full of quaint information, with
+     delight. Mr. Siebe has bestowed much pains on his work; he writes
+     with enthusiasm and fulness of knowledge.”--_Echo._
+
+     “Really interesting alike to youths and to grown-up
+     people.”--_Scotsman._
+
+     “Equally interesting to the general and to the scientific
+     reader.”--_Morning Advertiser._
+
+
+MISS BRADDON’S NEW NOVEL.
+
+     =Lost for Love=: A Novel. By M. E. BRADDON, Author of “Lady Audley’s
+     Secret,” &c. Now ready, in 3 vols., crown 8vo, at all Libraries,
+     and at the Booksellers.
+
+     “One of the best novels lately produced. In several important
+     respects, it appears to us, Miss Braddon’s recent works deserve the
+     highest commendation.”--_Illustrated London News._
+
+     “We may confidently predict for it a warm welcome from Miss
+     Braddon’s numerous admirers.”--_Graphic._
+
+     “‘Lost for Love’ must be placed high among Miss Braddon’s novels.
+     It has a quiet power, which makes it attractive in a high
+     degree.”--_Scotsman._
+
+     “Unaffected, simple, and easily written, it will disappoint Miss
+     Braddon’s early admirers, and please that which we hope is a wider
+     public.”--_Athenæum._
+
+
+     =Byron’s (Lord) Letters and Journals=, with Notices of his Life. By
+     THOMAS MOORE. A Reprint of the Original Edition, newly revised,
+     complete in a thick volume of 1060 pp., with Twelve full-page
+     Plates. Crown 8vo, cloth extra, gilt, 7_s._ 6_d._
+
+     “We have read this book with the greatest pleasure. Considered
+     merely as a composition, it deserves to be classed among the best
+     specimens of English prose which our age has produced. It contains,
+     indeed, no single passage equal to two or three which we could
+     select from the Life of Sheridan; but, as a whole, it is
+     immeasurably superior to that work. The style is agreeable, clear,
+     and manly, and, when it rises into eloquence, rises without effort
+     or ostentation. Nor is the matter inferior to the manner. It would
+     be difficult to name a book which exhibits more kindness, fairness,
+     and modesty. It has evidently been written, not for the purpose of
+     showing--what, however, it often shows--how well its author can
+     write, but for the purpose of vindicating, as far as truth will
+     permit, the memory of a celebrated man who can no longer vindicate
+     himself. Mr. Moore never thrusts himself between Lord Byron and the
+     public. With the strongest temptations to egotism, he has said no
+     more about himself than the subject absolutely required. A great
+     part, indeed the greater part, of these volumes consists of
+     extracts from the Letters and Journals of Lord Byron; and it is
+     difficult to speak too highly of the skill which has been shown in
+     the selection and arrangement.... It is impossible, on a general
+     survey, to deny that the task has been executed with great judgment
+     and great humanity. When we consider the life which Lord Byron had
+     led, his petulance, his irritability, and his communicativeness, we
+     cannot but admire the dexterity with which Mr. Moore has contrived
+     to exhibit so much of the character and opinions of his friend,
+     with so little pain to the feelings of the living.”--LORD MACAULAY,
+     in the _Edinburgh Review_.
+
+
+     =Carols of Cockayne=: Vers de Société descriptive of London Life. By
+     HENRY S. LEIGH. Third Edition. With numerous Illustrations by
+     ALFRED CONCANEN. Crown 8vo, cloth extra, gilt, 5_s._
+
+
+     =Carlyle (T.) on the Choice of Books.= With New Life and Anecdotes.
+     Brown cloth, UNIFORM WITH THE 2_s._ EDITION OF HIS WORKS, 1_s._
+     6_d._
+
+
+     =Celebrated Claimants=, Ancient and Modern. Being the Histories of
+     all the most celebrated Pretenders and Claimants from PERKIN
+     WARBECK to ARTHUR ORTON. Fcap. 8vo, 350 pages, illustrated boards,
+     price 2_s._
+
+
+MR. WILKIE COLLINS’S NEW NOVEL.
+
+     =The Law and the Lady=: A Novel. By WILKIE COLLINS, Author of “The
+     Woman in White.” 3 vols., crown 8vo, 31_s._ 6_d._
+
+[_Shortly._
+
+
+     =Christmas Carols and Ballads.= Selected and Edited by JOSHUA
+     SYLVESTER. A New Edition, beautifully printed and bound in cloth,
+     extra gilt, gilt edges, 3_s._ 6_d._
+
+
+     =Cruikshank’s Comic Almanack.= Complete in TWO SERIES: the FIRST from
+     1835 to 1843; the SECOND from 1844 to 1853. A Gathering of the BEST
+     HUMOUR of THACKERAY, HOOD, MAYHEW, ALBERT SMITH, A’BECKETT, ROBERT
+     BROUGH, &c. With 2,000 Woodcuts and Steel Engravings by CRUIKSHANK,
+     HINE, LANDELLS, &c. Crown 8vo, cloth gilt, two very thick volumes,
+     15_s._; or, separately, 7_s._ 6_d._ per volume.
+
+     ⁂ _The “Comic Almanacks” of George Cruikshank have long been
+     regarded by admirers of this inimitable artist as among his finest,
+     most characteristic productions. Extending over a period of
+     nineteen years, from 1835 to 1853, inclusive, they embrace the best
+     period of his artistic career, and show the varied excellences of
+     his marvellous power. The late Mr. Tilt, of Fleet Street, first
+     conceived the idea of the “Comic Almanack” and at various times
+     there were engaged upon it such writers as_ THACKERAY, ALBERT
+     SMITH, _the Brothers_ MAYHEW, _the late_ ROBERT BROUGH, GILBERT
+     A’BECKETT, _and, it has been asserted_, TOM HOOD _the elder_.
+     THACKERAY’S _stories of “Stubbs’ Calendar; or, The Fatal Boots”
+     which subsequently appeared as “Stubbs’ Diary;” and “Barber Cox;
+     or, The Cutting of his Comb,” formed the leading attractions in the
+     numbers for 1839 and 1846_.
+
+
+THE BEST GUIDE TO HERALDRY.
+
+[Illustration]
+
+=Cussans’ Handbook of Heraldry=; with Instructions for Tracing Pedigrees
+and Deciphering Ancient MSS.; also, Rules for the Appointment of
+Liveries, &c., &c. By JOHN E. CUSSANS. Illustrated with 360 Plates and
+Woodcuts. Crown 8vo, cloth extra, gilt and emblazoned, 7_s._ 6_d._
+
+     ⁂ _This volume, beautifully printed on toned paper, contains not
+     only the ordinary matter to be found in the best books on the
+     science of Armory, but several other subjects hitherto unnoticed.
+     Amongst these may be mentioned_:--1. DIRECTIONS FOR TRACING
+     PEDIGREES. 2. DECIPHERING ANCIENT MSS., ILLUSTRATED BY ALPHABETS
+     AND FACSIMILES. 3. THE APPOINTMENT OF LIVERIES. 4. CONTINENTAL AND
+     AMERICAN HERALDRY, &C.
+
+
+NEW AND IMPORTANT WORK.
+
+     =Cyclopædia of Costume=; or, A Dictionary of Dress, Regal,
+     Ecclesiastical, Civil, and Military, from the Earliest Period in
+     England to the reign of George the Third. Including Notices of
+     Contemporaneous Fashions on the Continent, and preceded by a
+     General History of the Costume of the Principal Countries of
+     Europe. By J. R. PLANCHÉ, F.S.A., Somerset Herald.
+
+[Illustration]
+
+     _This work will be published in Twenty-four Monthly Parts, quarto,
+     at Five Shillings, profusely illustrated by Plates and Wood
+     Engravings; with each Part will also be issued a splendid Coloured
+     Plate, from an original Painting or Illumination, of Royal and
+     Noble Personages, and National Costume, both foreign and domestic.
+     The First Part is just ready._
+
+     In collecting materials for a History of Costume of more importance
+     than the little handbook which has met with so much favour as an
+     elementary work, I was not only made aware of my own deficiencies,
+     but surprised to find how much more vague are the explanations, and
+     contradictory the statements, of our best authorities, than they
+     appeared to me, when, in the plenitude of my ignorance, I rushed
+     upon almost untrodden ground, and felt bewildered by the mass of
+     unsifted evidence and unhesitating assertion which met my eyes at
+     every turn.
+
+     During the forty years which have elapsed since the publication of
+     the first edition of my “History of British Costume” in the
+     “Library of Entertaining Knowledge,” archæological investigation
+     has received such an impetus by the establishment of metropolitan
+     and provincial peripatetic antiquarian societies, that a flood of
+     light has been poured upon us, by which we are enabled to
+     re-examine our opinions and discover reasons to doubt, if we cannot
+     find facts to authenticate.
+
+     That the former greatly preponderate is a grievous acknowledgment
+     to make after assiduously devoting the leisure of half my life to
+     the pursuit of information on this, to me, most fascinating
+     subject. It is some consolation, however, to feel that where I
+     cannot instruct, I shall certainly not mislead, and that the reader
+     will find, under each head, all that is known to, or suggested by,
+     the most competent writers I am acquainted with, either here or on
+     the Continent.
+
+     That this work appears in a glossarial form arises from the desire
+     of many artists, who have expressed to me the difficulty they
+     constantly meet with in their endeavours to ascertain the complete
+     form of a garment, or the exact mode of fastening a piece of
+     armour, or buckling of a belt, from their study of a sepulchral
+     effigy or a figure in an illumination; the attitude of the
+     personages represented, or the disposition of other portions of
+     their attire, effectually preventing the requisite examination.
+
+     The books supplying any such information are very few, and the best
+     confined to armour or ecclesiastical costume. The only English
+     publication of the kind required, that I am aware of, is the late
+     Mr. Fairholt’s “Costume in England” (8vo, London, 1846), the last
+     two hundred pages of which contain a glossary, the most valuable
+     portion whereof are the quotations from old plays, mediæval
+     romances, and satirical ballads, containing allusions to various
+     articles of attire in fashion at the time of their composition.
+     Twenty-eight years have expired since that book appeared, and it
+     has been thought that a more comprehensive work on the subject than
+     has yet issued from the English press, combining the pith of the
+     information of many costly foreign publications, and, in its
+     illustrations, keeping in view the special requirement of the
+     artist, to which I have alluded, would be, in these days of
+     educational progress and critical inquiry, a welcome addition to
+     the library of an English gentleman
+
+                                                     J. R. PLANCHÉ.
+
+
+
+
+     =Cussans’ History of Hertfordshire.= A County History, got up in a
+     very superior manner, and ranging with the finest works of its
+     class. By JOHN E. CUSSANS. Illustrated with full-page Plates on
+     Copper and Stone, and a profusion of small Woodcuts. Parts I. to
+     VIII. are now ready, price 21_s._ each.
+
+     ⁂ _An entirely new History of this important County, great
+     attention being given to all matters pertaining to Family History._
+
+
+     =Dickens’ Life and Speeches.= By THEODORE TAYLOR. In One Volume,
+     16mo, cloth extra, 2_s._ 6_d._
+
+
+“DON QUIXOTE” IN THE ORIGINAL SPANISH.
+
+     =El Ingenioso Hidalgo Don Quijote de la Mancha.= Nueva Edicion,
+     corregida y revisada. Por MIGUEL DE CERVANTES SAAVEDRA. Complete in
+     one volume, post 8vo, nearly 700 pages, cloth extra, price 4_s._
+     6_d._
+
+
+GIL BLAS IN SPANISH.
+
+     =Historia de Gil Blas de Santillana.= Por LE SAGE. Traducida al
+     Castellano por el PADRE ISLA. Nueva Edicion, corregida y revisada.
+     Complete in One Volume. Post 8vo, cloth extra, nearly 600 pages,
+     price 4_s._ 6_d._
+
+
+     =Earthward Pilgrimage=, from the Next World to that which now is. By
+     MONCURE D. CONWAY. Crown 8vo, beautifully printed and bound, 7_s._
+     6_d._
+
+
+     =Ellis’s (Mrs.) Mothers of Great Men.= A New Edition, with
+     Illustrations by VALENTINE W. BROMLEY. Crown 8vo, cloth gilt, over
+     500 pages, 6_s._
+
+     “Mrs. Ellis believes, as most of us do, that the character of the
+     mother goes a long way; and, in illustration of this doctrine, she
+     has given us several lives written in her charming, yet earnest,
+     style. We especially commend the life of Byron’s and Napoleon’s
+     mothers.... The volume has some solid merits.”--_Echo._
+
+     “This is a book which ought to be in the libraries of all who
+     interest themselves in the education of women.”--_Victoria
+     Magazine._
+
+     “An extremely agreeable and readable book, ... and its value is not
+     a little enhanced by Mr. Bromley’s illustrations.”--_Illustrated
+     Dramatic News._
+
+
+     =Emanuel on Diamonds and Precious Stones=; Their History, Value, and
+     Properties; with Simple Tests for ascertaining their Reality. By
+     HARRY EMANUEL, F.R.G.S. With numerous Illustrations, Tinted and
+     Plain. A New Edition, Crown 8vo, cloth extra, gilt, 6_s._
+
+
+     =Edgar Allan Poe’s Prose and Poetical Works=; including Additional
+     Tales and his fine Critical Essays. With a Translation of CHARLES
+     BAUDELAIRE’S “Essay.” 750 pages, crown 8vo, fine Portrait and
+     Illustrations, cloth extra, 7_s._ 6_d._
+
+[Illustration: POE’S COTTAGE AT FORDHAM.]
+
+
+     =English Surnames=: Their Sources and Significations. By CHARLES
+     WAREING BARDSLEY, M.A. SECOND EDITION, revised throughout,
+     considerably enlarged, and partially re-written. Crown 8vo, cloth
+     extra, 9_s._
+
+     “Mr. Bardsley has faithfully consulted the original mediæval
+     documents and works from which the origin and development of
+     surnames can alone be satisfactorily traced. He has furnished a
+     valuable contribution to the literature of surnames, and we hope to
+     hear more of him in this field.”--_Times._
+
+     “Mr. Bardsley’s volume is a very good specimen of the work which
+     the nineteenth century can turn out. He has evidently bestowed a
+     great deal of attention, not only upon surnames, but upon philology
+     in general. The book is a mine of information.”--_Westminster
+     Review._
+
+     “We welcome this book as an important addition to our knowledge of
+     an important and interesting subject.”--_Athenæum._
+
+
+     =Englishman’s House= (The): A Practical Guide to all interested in
+     Selecting or Building a House. By C. J. RICHARDSON, Architect,
+     Author of “Old English Mansions,” &c. Third Edition. With nearly
+     600 Illustrations. Crown 8vo, cloth extra, 7_s._ 6_d._
+
+[Illustration]
+
+     ⁂ _This Work might not inappropriately termed “A Book of Houses.”
+     It gives every variety of house, from a workman’s cottage to a
+     nobleman’s palace. The book is intended to supply a want long felt,
+     viz., a plain, non-technical account of every style of house, with
+     the cost and manner of building._
+
+
+     =Faraday’s Chemical History of a Candle.= Lectures delivered to a
+     Juvenile Audience. A New Edition, edited by W. CROOKES, Esq.,
+     F.C.S., &c. Crown 8vo, cloth extra, with all the Original
+     Illustrations, 4_s._ 6_d._
+
+
+     =Faraday’s Various Forces of Nature.= A New Edition, edited by W.
+     CROOKES, Esq., F.C.S., &c. Crown 8vo, cloth extra, with all the
+     Original Illustrations, 4_s._ 6_d._
+
+
+FATHER PROUT’S REMAINS.
+
+     =Final Reliques of Father Prout.= Collected and Edited, from MSS.
+     supplied by the Family of the Rev. FRANCIS MAHONEY, by BLANCHARD
+     JERROLD.
+
+[_In preparation._
+
+
+     =Finish to Life in and out of London=; or, The Final Adventures of
+     Tom, Jerry, and Logic. By PIERCE EGAN. Royal 8vo, cloth extra, with
+     Spirited Coloured Illustrations by CRUIKSHANK, 21_s._
+
+
+     =Flagellation and the Flagellants.=--A History of the Rod in all
+     Countries, from the Earliest Period to the Present Time. By the
+     Rev. W. COOPER, B.A. Third Edition, revised and corrected, with
+     numerous Illustrations. Thick crown 8vo, cloth extra, gilt, 12_s._
+     6_d._
+
+
+     =Fools’ Paradise=; with the Many Wonderful Adventures there, as seen
+     in the strange, surprising Peep-Show of Professor Wolley Cobble.
+     Crown 4to, with nearly 350 very funny Coloured Pictures, cloth
+     extra, gilt, 7_s._ 6_d._
+
+[Illustration: THE PROFESSOR’S LEETLE MUSIC LESSON.]
+
+
+RUSKIN AND CRUIKSHANK.
+
+     =German Popular Stories.= Collected by the Brothers GRIMM, and
+     Translated by EDGAR TAYLOR. Edited, with an Introduction, by JOHN
+     RUSKIN. With 22 Illustrations after the inimitable designs of
+     GEORGE CRUIKSHANK. Both Series complete. Square crown 8vo, 6_s._
+     6_d._; gilt leaves, 7_s._ 6_d._
+
+     “The illustrations of this volume ... are of quite sterling and
+     admirable art, in a class precisely parallel in elevation to the
+     character of the tales which they illustrate; and the original
+     etchings, as I have before said in the Appendix to my ‘Elements of
+     Drawing,’ were unrivalled in masterfulness of touch since Rembrandt
+     (in some qualities of delineation, unrivalled even by him).... To
+     make somewhat enlarged copies of them, looking at them through a
+     magnifying glass, and never putting two lines where Cruikshank has
+     put only one, would be an exercise in decision and severe drawing
+     which would leave afterwards little to be learnt in
+     schools.”--_Extract from Introduction by_ JOHN RUSKIN.
+
+
+     =Golden Treasury of Thought.= The Best Encyclopædia of Quotations and
+     Elegant Extracts, from Writers of all Times and all Countries, ever
+     formed. Selected and Edited by THEODORE TAYLOR. Crown 8vo, very
+     handsomely bound, cloth gilt, and gilt edges, 7_s._ 6_d._
+
+
+     =Genial Showman=; or, Show Life in the New World. Adventures with
+     Artemus Ward, and the Story of his Life. By E. P. HINGSTON. Third
+     Edition. Crown 8vo, Illustrated by BRUNTON, cloth extra, 7_s._
+     6_d._
+
+
+THE GOLDEN LIBRARY.
+
+Square 16mo (Tauchnitz size), cloth, extra gilt, price 2_s._ per vol.
+
+     =Clerical Anecdotes=: The Humours and Eccentricities of “the Cloth.”
+
+     =Holmes’s Autocrat of the Breakfast Table.= With an Introduction by
+     GEORGE AUGUSTUS SALA.
+
+     =Holmes’s Professor at the Breakfast Table.= With the STORY OF IRIS.
+
+     =Hood’s Whims and Oddities.= Both Series complete in One Volume, with
+     all the original Illustrations.
+
+     =Lamb’s Essays of Elia.= Both Series complete in One Volume.
+
+     =Leigh Hunt’s Essays=: A Tale for a Chimney Corner, and other Pieces.
+     With Portrait, and Introduction by EDMUND OLLIER.
+
+     =Shelley’s Early Poems=: Queen Mab, &c. Reprinted from the Author’s
+     Original Editions. With Essay by LEIGH HUNT. (First Series of his
+     Works.)
+
+     =Shelley’s Later Poems=: Laon and Cythna, the Cenci, and other
+     Pieces. Reprinted from the Author’s Original Editions. With an
+     Introductory Essay. (Second Series of his Works.)
+
+     =Shelley’s Miscellaneous Poems and Prose Works.= The Third and Fourth
+     Series. These Two Volumes will include the Posthumous Poems,
+     published by Mrs. SHELLEY in 1824; the Shelley Papers, published in
+     1833; the Six Weeks’ Tour (1816); the Notes to “Queen Mab,” &c.;
+     the Marlow and Dublin Pamphlets; “The Wandering Jew,” a Poem; and
+     the two Novels, “Zastrozzi” and “St. Irvyne.” The three last now
+     first included in any edition of Shelley.
+
+
+     =Great Condé (The), and the Period of the Fronde=: An Historical
+     Sketch. By WALTER FITZPATRICK. Second Edition, in 2 vols. 8vo,
+     cloth extra, 15_s._
+
+
+     =Greenwood’s (James) Wilds of London=: Being Descriptive Sketches,
+     from the Personal Observations and Experiences of the Writer, of
+     Remarkable Scenes, People, and Places in London. By JAMES
+     GREENWOOD, the “Lambeth Casual.” With Twelve full-page
+     Illustrations by ALFRED CONCANEN. Crown 8vo, cloth extra, gilt,
+     7_s._ 6_d._
+
+
+     =Hall’s (Mrs. S. C.) Sketches of Irish Character.= “WOOING AND
+     WEDDING,” “JACK THE SHRIMP,” “PETER THE PROPHET,” “GOOD AND BAD
+     SPIRITS,” “MABEL O’NEIL’S CURSE,” &c., &c. With numerous
+     Illustrations on Steel and Wood, by DANIEL MACLISE, R.A., Sir JOHN
+     GILBERT, W. HARVEY, and G. CRUIKSHANK. 8vo, pp. 450, cloth extra,
+     7_s._ 6_d._
+
+[Illustration]
+
+     “The Irish sketches of this lady resemble Miss Mitford’s beautiful
+     English Sketches in ‘Our Village,’ but they are far more vigorous
+     and picturesque and bright.”--_Blackwood’s Magazine._]
+
+
+THE MOST COMPLETE HOGARTH EVER PUBLISHED.
+
+     =Hogarth’s Works=: with Life and Anecdotal Descriptions of the
+     Pictures, by JOHN IRELAND and JOHN NICHOLS. The Work includes 160
+     Engravings, reduced in exact facsimile of the Original Plates,
+     specimens of which have now become very scarce. The whole in Three
+     Series, 8vo, cloth, gilt, 22_s._ 6_d._; or, separately, 7_s._ 6_d._
+     per volume. Each Series is Complete in itself.
+
+[Illustration: THE TALKING HAND.]
+
+     “Will be a great boon to authors and artists as well as
+     amateurs.... Very cheap and very complete.”--_Standard._
+
+     “For all practical purposes the three handsome volumes comprising
+     this edition are equal to a collection of Hogarthian prints. We are
+     quite sure that any one who adds this work to his library will be
+     amply repaid by the inexhaustible charms of its facsimile
+     prints.”--_Birmingham Daily Mail._
+
+     “The plates are reduced in size, but yet truthfully reproduced. The
+     best and cheapest edition of Hogarth’s complete works yet brought
+     forward.”--_Building News._
+
+     “Three very interesting volumes, important and valuable additions
+     to the library. The edition is thoroughly well brought out, and
+     carefully printed on fine paper.”--_Art Journal._
+
+
+     =Hogarth’s Five Days’ Frolic=; or, Peregrinations by Land and Water.
+     Illustrated with Tinted Drawings, made by HOGARTH and SCOTT during
+     the Journey. 4to, beautifully printed, cloth, extra gilt, 10_s._
+     6_d._
+
+     ⁂ _A graphic and most extraordinary picture of the hearty English
+     times in which these merry artists lived._
+
+
+     =Hogg’s Jacobite Relics of Scotland=: Being the Songs, Airs, and
+     Legends of the Adherents to the House of Stuart. Collected and
+     Illustrated by JAMES HOGG. In 2 vols. Vol. I., a Facsimile of the
+     original Edition; Vol. II., the _original_ Edition. 8vo, cloth,
+     28_s._
+
+
+     =Haunted=; or, Tales of the Weird and Wonderful. A new and entirely
+     original series of GHOST STORIES, by FRANCIS E. STAINFORTH. Post
+     8vo, illust. bds., 2_s._
+
+[_Nearly ready._
+
+
+     =Hawthorne’s English and American Note Books.= Edited, with an
+     Introduction, by MONCURE D. CONWAY. Royal 16mo, paper cover, 1_s._;
+     in cloth, 1_s._ 6_d._
+
+
+     =Hone’s Scrap-Books=: The Miscellaneous Writings of WILLIAM HONE,
+     Author of “The Table-Book,” “Every-Day Book,” and the “Year Book:”
+     being a Supplementary Volume to those works. Now first collected.
+     With Notes, Portraits, and numerous Illustrations of curious and
+     eccentric objects. Crown 8vo, cloth extra.
+
+[_Preparing._
+
+
+
+
+MR. HORNE’S EPIC.
+
+     =Orion=: An Epic Poem, in Three Books. By RICHARD HENGIST HORNE. With
+     Photographic Portrait-Frontispiece. TENTH EDITION. Crown 8vo, cloth
+     extra, 7_s._
+
+     “Orion will be admitted, by every man of genius, to be one of the
+     noblest, if not the very noblest poetical work of the age. Its
+     defects are trivial and conventional, its beauties intrinsic and
+     supreme.--EDGAR ALLAN POE.
+
+
+     =Hunt’s (Robert) Drolls of Old Cornwall=; or, POPULAR ROMANCES OF THE
+     WEST OF ENGLAND. With Illustrations by GEORGE CRUIKSHANK. Crown
+     8vo, cloth extra, gilt, 7_s._ 6_d._
+
+[Illustration]
+
+     ⁂ “Mr. Hunt’s charming book of the Drolls and Stories of the West
+     of England.”--_Saturday Review._
+
+
+     =Irish Guide.--How to Spend a Month in Ireland.= Being a complete
+     Guide to the Country, with an Appendix containing information as to
+     the Fares between the Principal Towns in England and Ireland, and
+     as to Tourist Arrangements for the Season. With a Map and 80
+     Illustrations. By Sir CUSACK P. RONEY. A New Edition, Edited by
+     Mrs. J. H. RIDDELL. Crown 8vo, cloth extra, price 1_s._ 6_d._
+
+
+     =Jennings’ (Hargrave) One of the Thirty.= With curious Illustrations.
+     Crown 8vo, cloth extra, 10_s._ 6_d._
+
+[Illustration]
+
+
+     =Jennings’ (Hargrave) The Rosicrucians: Their Rites and Mysteries.=
+     With Chapters on the Ancient Fire and Serpent Worshippers and
+     Explanations of Mystic Symbols in Monuments and Talismans of
+     Primeval Philosophers. Crown 8vo, 300 Illustrations, 10_s._ 6_d._
+
+
+     =Jerrold’s (Blanchard) Cent. per Cent.= A Story Written on a Bill
+     Stamp. A New Edition. Fcap. 8vo, illustrated boards, 2_s._
+
+
+NEW WORK BY DOUGLAS JERROLD.
+
+     =Jerrold’s (Douglas) The Barber’s Chair=, and =The Hedgehog Letters=.
+     Now first collected. Edited, with an Introduction, by his Son,
+     BLANCHARD JERROLD. Crown 8vo, with Steel Plate Portrait from his
+     Bust, engraved by W. H. MOTE, cloth extra, 7_s._ 6_d._
+
+     “No library is complete without Douglas Jerrold’s Works; _ergo_, no
+     library is complete without the Barber’s Chair.’ A delightful
+     volume; the papers are most amusing; they abound with sly touches
+     of sarcasm; they are full of playful wit and fancy.”--_Pictorial
+     World._
+
+     “An amusing volume, full of Douglas Jerrold’s well-known sharpness
+     and repartee.”--_Daily News._
+
+     “Better fitted than any other of his productions to give an idea of
+     Douglas Jerrold’s amazing wit; the ‘Barber’s Chair’ may be presumed
+     to give as near an approach as is possible in print to the wit of
+     Jerrold’s conversation.”--_Examiner._
+
+
+     =Jerrold’s (Douglas) Brownrigg Papers=: The Actress at the Duke’s;
+     Baron von Boots; Christopher Snubb; The Tutor Fiend and his Three
+     Pupils; Papers of a Gentleman at Arms, &c. By DOUGLAS JERROLD.
+     Edited by his Son, BLANCHARD JERROLD. Post 8vo, illustrated boards,
+     2_s._
+
+
+     =Kalendars of Gwynedd.= Compiled by EDWARD BREESE, F.S.A. With Notes
+     by WILLIAM WATKIN EDWARD WYNNE, Esq., F.S.A. Demy 4to, cloth extra,
+     28_s._
+
+
+     =Lamb’s (Charles) Complete Works=, in Prose and Verse, including the
+     two Series of Elia, with the cancelled passages restored, as first
+     printed in the “London Magazine,” together with “Satan in Search of
+     a Wife,” and other Poems and Humorous Pieces, now first collected.
+     Illustrated with Two Portraits. Crown 8vo, cloth extra, price 7_s._
+     6_d._
+
+
+     =Lamb (Mary & Charles)=: Their Poems, Letters, and Remains. Now first
+     collected, with Reminiscences and Notes, by W. CAREW HAZLITT. With
+     HANCOCK’S Portrait of the Essayist, Facsimiles of the Title-pages
+     of the rare First Editions of Lamb’s and Coleridge’s Works,
+     Facsimile of a Page of the Original MS. of the “Essay on Roast
+     Pig,” and numerous Illustrations of Lamb’s Favourite Haunts. Crown
+     8vo, cloth extra, 10_s._ 6_d._; LARGE-PAPER COPIES 21_s._
+
+[Illustration: ROSAMUND GRAY’S COTTAGE.]
+
+     “Mr. W. C. Hazlitt has published a very pretty and interesting
+     little volume. It has many pictorial illustrations, which were
+     supplied by Mr. Camden Hotten; and, above all, it contains a
+     facsimile of the first page of Elia on ‘Roast Pig.’ It is well got
+     up, and has a good portrait of Elia. There are also some letters
+     and poems of Mary Lamb which are not easily accessible
+     elsewhere.”--_Westminster Review._
+
+     “Must be consulted by all future biographers of the Lambs.”--_Daily
+     News._
+
+     “Tells us a good deal that is interesting and something that is
+     fairly new.”--_Graphic._
+
+     “Very many passages will delight those fond of literary trifles;
+     hardly any portion will fail to have its interest for lovers of
+     Charles Lamb and his sister.”--_Standard._
+
+     “Mr. Hazlitt’s work is very important and valuable, and all lovers
+     of Elia will thank him for what he has done.”--_Sunday Times._
+
+     “Will be joyfully received by all Lambites.”--_Globe._
+
+
+     =Lee (General Edward)=: His Life and Campaigns. By his Nephew, EDWARD
+     LEE CHILDE. With Portrait and Plans. 1 vol. Crown 8vo.
+
+[_In preparation._
+
+
+
+
+     =Life in London=; or, The Day and Night Scenes of Jerry Hawthorn and
+     Corinthian Tom. WITH THE WHOLE OF CRUIKSHANK’S VERY DROLL
+     ILLUSTRATIONS, in Colours, after the Originals. Crown 8vo, cloth
+     extra, 7_s._ 6_d._
+
+
+     =Literary Scraps.= A Folio Scrap-Book of 340 columns, with guards,
+     for the reception of Cuttings from Newspapers, Extracts,
+     Miscellanea, &c. In folio, half-roan, 7_s._ 6_d._
+
+
+     =Little London Directory of 1677.= The Oldest Printed List of the
+     Merchants and Bankers of London. Reprinted from the Rare Original,
+     with an Introduction by JOHN CAMDEN HOTTEN. 16mo, binding after the
+     original, 6_s._ 6_d._
+
+
+     =Longfellow’s Prose Works=, complete, including “Outre-Mer,”
+     “Hyperion,” “Kavanagh,” “Drift-wood,” “On the Poets and Poetry of
+     Europe.” With Portrait and Illustrations by BROMLEY. 800 pages,
+     crown 8vo, cloth gilt, 7_s._ 6_d._
+
+[Illustration]
+
+     ⁂ _The reader will find the present edition of Longfellow’s Prose
+     Writings by far the most complete ever issued in this country.
+     “Outre-Mer” contains two additional chapters, restored front the
+     first edition; while “The Poets and Poetry of Europe” and the
+     little collection of Sketches entitled “Driftwood” are now first
+     introduced to the English public._
+
+
+     =Linton’s (Mrs. E. Lynn) True History of Joshua Davidson, Christian
+     and Communist.= SIXTH EDITION, with a New Preface. Small crown 8vo,
+     cloth extra, 4_s._ 6_d._
+
+     “In a short and vigorous preface, Mrs. Linton defends, in certain
+     points, her notion of the logical outcome of Christianity as
+     embodied in this attempt to conceive how Christ would have acted,
+     with whom He would have fraternised, and who would have declined to
+     receive Him, had He appeared in the present
+     generation.”--_Examiner._
+
+
+MRS. LYNN LINTON’S NEW NOVEL.
+
+     =Patricia Kemball=: A Novel. By E. LYNN LINTON, Author of “Lizzie
+     Lorton of Greyrigg,” &c. In Three Vols., crown 8vo, price 31_s._
+     6_d._
+
+[_On Nov. 15._
+
+
+
+
+     =Lost Beauties of the English Language.= An Appeal to Authors, Poets,
+     Clergymen, and Public Speakers. By CHARLES MACKAY, LL.D. Crown 8vo,
+     cloth extra, 6_s._ 6_d._
+
+
+     =Madre Natura _versus_ The Moloch of Fashion.= A Social Essay. By
+     LUKE LIMNER. With 32 Illustrations by the Author. FOURTH EDITION,
+     revised, corrected, and enlarged. Crown 8vo, cloth extra gilt, red
+     edges, price 2_s._ 6_d._
+
+[Illustration]
+
+     “Bravo, Luke Limner! In this treatise, aptly and ably illustrated,
+     the well-known artist scathingly exposes the evils of the present
+     fashions--more especially of tight-lacing. Girls should be made to
+     learn it by heart, and act on its precepts.”--_Fun._
+
+     “Agreeably written and amusingly illustrated. Common sense and
+     erudition are brought to bear on the subjects discussed in
+     it.”--_Lancet._
+
+     “A fanciful little volume. A thing to read, and in parts very
+     amusing.”--_Judy._
+
+     “Luke Limner’s amusing and instructive book is calculated to do not
+     a little good.”--_Echo._
+
+
+     =Magna Charta.= An exact Facsimile of the Original Document,
+     preserved in the British Museum, very carefully drawn, and printed
+     on fine plate paper, nearly 3 feet long by 2 feet wide, with the
+     Arms and Seals of the Barons elaborately emblazoned in Gold and
+     Colours. A.D. 1215. Price 5_s._; or, handsomely framed and glazed,
+     in carved oak, of an antique pattern, 22_s._ 6_d._
+
+     A full Translation, with Notes, printed on a large sheet, price
+     6_d._
+
+
+AUTHOR’S CORRECTED EDITION.
+
+     =Mark Twain’s Choice Works.= Revised and Corrected throughout by the
+     Author. With Life, Portrait, and numerous Illustrations. 700 pages,
+     cloth extra gilt, 7_s._ 6_d._
+
+     =Mark Twain’s Pleasure Trip on the Continent of Europe=, With
+     Frontispiece. 500 pages, illustrated boards, 2_s._; or cloth extra,
+     2_s._ 6_d._
+
+     =Marston’s (Dr. Westland) Poetical and Dramatic Works.= A New and
+     Collected Edition is now in preparation.
+
+
+MR. PHILIP MARSTON’S POEMS.
+
+     =Song Tide=, and other Poems. By PHILIP BOURKE MARSTON. SECOND
+     EDITION. Crown 8vo, cloth extra, 8_s._
+
+     “This is a first work of extraordinary performance and of still
+     more extraordinary promise. The youngest school of English poetry
+     has received an important accession to its ranks in Philip Bourke
+     Marston.”--_Examiner._
+
+     “Mr. Marston has fairly established his claim to be heard as a
+     poet.... His present volume is well worthy of careful perusal, as
+     the utterance of a poetic, cultivated mind.”--_Standard._
+
+     “We have spoken plainly of some defects in the poetry before us,
+     but we have read much of it with interest, and even
+     admiration.”--_Pall Mall Gazette._
+
+     =All in All=: Poems and Sonnets. By PHILIP BOURKE MARSTON. Crown 8vo,
+     cloth extra, 8_s._
+
+
+     =Mayhew’s London Characters=: Illustrations of the Humour, Pathos,
+     and Peculiarities of London Life. By HENRY MAYHEW, Author of
+     “London Labour and the London Poor,” and other Writers. With nearly
+     100 graphic Illustrations by W. S. GILBERT, and others. Crown 8vo,
+     cloth extra, 6_s._
+
+     “Well fulfils the promise of its title.... The book is an eminently
+     interesting one, and will probably attract many readers.”--_Court
+     Circular._
+
+
+     =Memorials of Manchester Streets.= By RICHARD WRIGHT PROCTER. With an
+     Appendix, containing “The Chetham Library,” by JAMES CROSSLEY,
+     F.S.A.; and “Old Manchester and its Worthies,” by JAMES CROSTON,
+     F.S.A. Demy 8vo, cloth extra, with Photographic Frontispiece and
+     numerous Illustrations, 15_s._
+
+
+     =Monumental Inscriptions of the West Indies=, from the Earliest Date,
+     with Genealogical and Historical Annotations, &c., from Original,
+     Local, and other Sources. Illustrative of the Histories and
+     Genealogies of the Seventeenth Century, the Calendars of State
+     Papers, Peerages, and Baronetages. With Engravings of the Arms of
+     the principal Families. Chiefly collected on the spot by the
+     Author, Capt. J. H. LAWRENCE-ARCHER. Demy 4to, cloth extra, 42_s._
+
+[_Nearly ready._
+
+
+     =Muses of Mayfair=: Vers de Société of the Nineteenth Century. The
+     best Society Verses of the most important Writers of the last 80
+     years, including TENNYSON, BROWNING, SWINBURNE, ROSSETTI, JEAN
+     INGELOW, LOCKER, INGOLDSBY, HOOD, LYTTON, C. S. C., LANDOR, HENRY
+     S. LEIGH, and very many others. Edited by H. CHOLMONDELEY-PENNELL,
+     Author of “Puck on Pegasus.” Beautifully printed, cloth extra gilt,
+     gilt edges, uniform with “The Golden Treasury of Thought,” 7_s._
+     6_d._
+
+
+MR. O’SHAUGHNESSY’S POEMS.
+
+     =Music and Moonlight=: Poems and Songs. By ARTHUR O’SHAUGHNESSY,
+     Author of “An Epic of Women.” Fcap. 8vo, cloth extra, 7_s._ 6_d._
+
+     “It is difficult to say which is more exquisite, the technical
+     perfection of structure and melody, or the delicate pathos of
+     thought. Mr. O’Shaughnessy will enrich our literature with some of
+     the very best songs written in our generation.”--_Academy._
+
+     =An Epic of Women=, and other Poems. SECOND EDITION. Fcap. 8vo, cloth
+     extra, 6_s._
+
+     “Of the formal art of poetry he is in many senses quite a master;
+     his metres are not only good,--they are his own, and often of an
+     invention most felicitous as well as careful.”--_Academy._
+
+     =Lays of France.= (Founded on the “Lays of Marie.”) SECOND EDITION.
+     Crown 8vo, cloth extra, 10_s._ 6_d._
+
+     “As we have before remarked in noticing an earlier volume of his,
+     this modern votary of Marie has, in imaginative power, keen
+     intuition, and ear, a genuine claim to be writing poetry, as things
+     go now.... And Mr. O’S. is also an accomplished master in those
+     peculiar turns of rhythm which are designed to reproduce the manner
+     of the mediæval originals.”--_Saturday Review._
+
+     =Mystery of the Good Old Cause=: Sarcastic Notices of those Members
+     of the Long Parliament that held Places, both Civil and Military,
+     contrary to the Self-denying Ordinance of April 3, 1645; with the
+     Sums of Money and Lands they divided among themselves. Small 4to,
+     half-morocco, 7_s._ 6_d._
+
+     =Napoleon III., the Man of His Time=; from Caricatures. PART I. THE
+     STORY OF THE LIFE OF NAPOLEON III., as told by J. M. HASWELL. PART
+     II. THE SAME STORY, as told by the POPULAR CARICATURES of the past
+     Thirty-five Years. Crown 8vo, with Coloured Frontispiece and over
+     100 Caricatures, 7_s._ 6_d._
+
+     =Original Lists of Persons of Quality=; Emigrants; Religious Exiles;
+     Political Rebels; Serving Men Sold for a Term of Years;
+     Apprentices; Children Stolen; Maidens Pressed; and others who went
+     from Great Britain to the American Plantations, 1600-1700. With
+     their Ages, the Localities where they formerly Lived in the Mother
+     Country, Names of the Ships in which they embarked, and other
+     interesting particulars. From MSS. preserved in the State Paper
+     Department of Her Majesty’s Public Record Office, England. Edited
+     by JOHN CAMDEN HOTTEN. A very handsome volume, crown 4to, cloth
+     gilt, 700 pages, 38_s._ A few Large Paper copies have been printed,
+     price 60_s._
+
+
+THE OLD DRAMATISTS.
+
+     =Ben Jonson’s Works.= With Notes, Critical and Explanatory, and a
+     Biographical Memoir by WILLIAM GIFFORD. Edited by Lieut.-Col.
+     FRANCIS CUNNINGHAM. Complete in 3 vols., crown 8vo, cloth extra
+     gilt, with Portrait, price 6_s._ each.
+
+     =George Chapman’s Plays=, Complete, from the Original Quartos,
+     including those Plays in which he was only partly concerned. Edited
+     by RICHARD HERNE SHEPHERD. Crown 8vo, cloth extra gilt, with
+     Portrait Frontispiece, price 6_s._
+
+     =George Chapman’s Poems and Minor Translations.= Complete, including
+     some Pieces now first printed. With an Essay on the Dramatic and
+     Poetical Works of GEORGE CHAPMAN, by ALGERNON CHARLES SWINBURNE.
+     Crown 8vo, with Frontispiece, cloth extra, 6_s._
+
+     =George Chapman’s Translations of Homer’s Iliad and Odyssey.= Edited
+     by RICHARD HERNE SHEPHERD. In one volume, crown 8vo, cloth extra,
+     6_s._
+
+     =Christopher Marlowe’s Works=; Including his Translations. Edited,
+     with Notes and Introduction, by Lieut.-Col. F. CUNNINGHAM. Crown
+     8vo, cloth extra gilt, with Portrait, price 6_s._
+
+     =Philip Massinger’s Plays.= From the Text of WM. GIFFORD. With the
+     addition of the Tragedy of “Believe as You List.” Edited by
+     Lieut.-Col. FRANCIS CUNNINGHAM. Crown 8vo, cloth extra gilt, with
+     Portrait, price 6_s._
+
+
+OLD BOOKS--FACSIMILE REPRINTS.
+
+     =Rump (The)=; or, An Exact Collection of the choicest POEMS AND SONGS
+     relating to the late Times, and continued by the most eminent Wits;
+     from Anno 1639 to 1661. A Facsimile Reprint of the rare Original
+     Edition (London, 1662), with Frontispiece and Engraved Title-page.
+     In 2 vols., large fcap. 8vo, printed on antique laid paper, and
+     bound in antique boards, 17_s._ 6_d._
+
+     =D’Urfey’s (“Tom”) Wit and Mirth=; or, PILLS TO PURGE MELANCHOLY:
+     Being a Collection of the best Merry Ballads and Songs, Old and
+     New. Fitted to all Humours, having each their proper Tune for
+     either Voice or Instrument: most of the Songs being new set.
+     London: Printed by W. Pearson, for J. Tonson, at Shakespeare’s
+     Head, over-against Catherine Street in the Strand, 1719. An exact
+     reprint. In 6 vols., large fcap. 8vo, antique boards, edges uncut,
+     beautifully printed on laid paper, made expressly for the work, £3
+     3_s._
+
+     =Musarum Deliciæ=; or, The Muses’ Recreation, 1656; Wit Restor’d,
+     1658; and Wit’s Recreations, 1640. The whole compared with the
+     originals; with all the Wood Engravings, Plates, Memoirs, and
+     Notes. A New Edition, in 2 vols., post 8vo, beautifully printed on
+     antique laid paper, and bound in antique boards, 21_s._
+
+     =English Rogue (The)=, described in the Life of MERITON LATROON, and
+     other Extravagants, comprehending the most Eminent Cheats of both
+     Sexes. By RICHARD HEAD and FRANCIS KIRKMAN. A Facsimile Reprint of
+     the rare Original Edition (1665-1672), with Frontispiece,
+     Facsimiles of the 12 copper plates, and Portraits of the Authors.
+     In 4 volumes, large foolscap 8vo, beautifully printed on antique
+     laid paper, made expressly, and bound in antique boards, 36_s._
+
+     =Ireland Forgeries.--Confessions of= WILLIAM-HENRY IRELAND.
+     Containing the Particulars of his Fabrication of the Shakspeare
+     Manuscripts; together with Anecdotes and Opinions (hitherto
+     unpublished) of many Distinguished Persons in the Literary,
+     Political, and Theatrical World. A Facsimile Reprint from the
+     Original Edition, with several additional Facsimiles. Fcap. 8vo,
+     printed on antique laid paper, and bound in antique boards, 10_s._
+     6_d._; a few Large Paper copies, at 21_s._
+
+     =Grose’s Dictionary of the Vulgar Tongue.= 1785. An unmutilated
+     Reprint of the First Edition. Quarto, bound in half-Roxburghe, gilt
+     top, price 8_s._
+
+     =Joe Miller’s Jests=; the politest Repartees, most elegant Bon-Mots,
+     and most pleasing short Stories in the English Language. London:
+     printed by T. Read, 1739. A Facsimile of the Original Edition. 8vo,
+     half-morocco, 9_s._ 6_d._
+
+     =Old Prose Stories= whence TENNYSON’S “Idylls of the King” were
+     taken. By B. M. RANKING. Royal 16mo, paper cover, 1_s._; cloth
+     extra, 1_s._ 6_d._
+
+
+OLD SHEKARRY’S WORKS.
+
+=Forest and Field=: Life and Adventure in Wild Africa. By the OLD
+SHEKARRY. With Eight Illustrations, Crown 8vo, cloth extra, gilt, 6_s._
+
+=Wrinkles=; or, Hints to Sportsmen and Travellers upon Dress, Equipment,
+Armament, and Camp Life. By the OLD SHEKARRY. A New Edition, with
+Illustrations. Small crown 8vo, cloth extra, gilt, 6_s._
+
+
+OUIDA’S NOVELS.
+
+Uniform Edition, each Complete in One Volume, crown 8vo, red cloth
+extra, price 5_s._ each.
+
+=Folle Farine.=
+=Idalia=: A Romance.
+=Chandos=: A Novel.
+=Under Two Flags.=
+=Cecil Castlemaine’s Gage.=
+=Tricotrin=: The Story of a Waif and Stray.
+=Pascarèl=: Only a Story.
+=Held In Bondage=; or, Granville de Vigne.
+=Puck=: His Vicissitudes, Adventures, &c.
+=A Dog of Flanders=, and other Stories.
+=Strathmore=; or, Wrought by his Own Hand.
+=Two Little Wooden Shoes.=
+
+
+     =Parochial History of the County of Cornwall.= Compiled from the best
+     Authorities, and corrected and improved from actual Survey. 4 vols.
+     4to, cloth extra, £3 3_s._ the set; or, separately, the first three
+     volumes, 16_s._ each; the fourth volume, 18_s._
+
+     =Plain English.= By JOHN HOLLINGSHEAD, of the Gaiety Theatre. Crown
+     8vo, illust. cover, 1_s._
+
+[_Preparing._
+
+
+     =Private Book of Useful Alloys and Memoranda for Goldsmiths and
+     Jewellers.= By JAMES E. COLLINS, C.E. Royal 16mo, 3_s._ 6_d._
+
+
+SEVENTH EDITION OF
+
+     =Puck on Pegasus.= By H. CHOLMONDELEY-PENNELL. Profusely illustrated
+     by the late JOHN LEECH, H. K. BROWNE, Sir NOEL PATON, JOHN MILLAIS,
+     JOHN TENNIEL, RICHARD DOYLE, Miss ELLEN EDWARDS, and other artists.
+     A New Edition (the SEVENTH), crown 8vo, cloth extra, gilt, price
+     5_s._; or gilt edges, 6_s._
+
+     “The book is clever and amusing”, vigorous and healthy.”--_Saturday
+     Review._
+
+     “The epigrammatic drollery of Mr. Cholmondeley-Pennell’s ‘Puck on
+     Pegasus’ is well known to many of our readers.... The present (_the
+     sixth_) is a superb and handsomely printed and illustrated edition
+     of the book.”--_Times._
+
+     “Specially fit for reading in the family circle.”--_Observer._
+
+
+“AN AWFULLY JOLLY BOOK FOR PARTIES.”
+
+     =Puniana=: Thoughts Wise and Otherwise. By the Hon. HUGH ROWLEY. Best
+     Book of Riddles and Puns ever formed. With nearly 100 exquisitely
+     Fanciful Drawings. Contains nearly 3000 of the best Riddles, and
+     10,000 most outrageous Puns, and is one of the most Popular Books
+     ever issued. New Edition, small quarto, green and gold, gilt edges,
+     price 6_s._
+
+[Illustration]
+
+     “Enormous burlesque--unapproachable and pre-eminent. We think this
+     very queer volume will be a favourite. We should suggest that, to a
+     dull person desirous to get credit with the young holiday people,
+     it would be good policy to invest in the book, and dole it out by
+     instalments.”--_Saturday Review._
+
+Also,
+
+     =More Puniana.= By the Hon. HUGH ROWLEY. Containing nearly 100
+     beautifully executed Drawings, and a splendid Collection of Riddles
+     and Puns, rivalling those in the First Volume. Small 4to, green and
+     gold, gilt edges, uniform with the First Series, price 6_s._
+
+
+COMPANION TO “CUSSANS’ HERALDRY.”
+
+     =Pursuivant of Arms (The)=; or, Heraldry founded upon Facts. A
+     Popular Guide to the Science of Heraldry. By J. R. PLANCHÉ, Esq.,
+     F.S.A., Somerset Herald. To which are added, Essays on the BADGES
+     OF THE HOUSES OF LANCASTER AND YORK. A New Edition, enlarged and
+     revised by the Author, illustrated with Coloured Frontispiece, five
+     full-page Plates, and about 200 Illustrations. Crown 8vo,
+     beautifully bound in cloth, with Emblematic Design, extra gilt,
+     7_s._ 6_d._
+
+[Illustration]
+
+
+IMPORTANT TO ALL INTERESTED IN MINES.
+
+     =Practical Assayer=: A Guide to Miners and Explorers. By OLIVER
+     NORTH. With Tables and Illustrative Woodcuts. Crown 8vo, 7_s._
+     6_d._
+
+     ⁂ _This book gives directions, in the simplest form, for assaying
+     bullion and the baser metals by the cheapest, quickest, and best
+     methods. Those interested in mining property will be enabled, by
+     following its instructions, to form a tolerably correct idea of the
+     value of ores, without previous knowledge of assaying; while to the
+     young man seeking his fortune in mining countries it is
+     indispensable._
+
+     “Likely to prove extremely useful. The instructions are clear and
+     precise.”--_Chemist and Druggist._
+
+     “We cordially recommend this compact little volume to all engaged
+     in mining enterprize, and especially to explorers.”--_Monetary and
+     Mining Review._
+
+     “An admirable little volume.”--_Mining Journal._
+
+
+GUSTAVE DORÉ’S DESIGNS.
+
+     =Rabelais’ Works.= Faithfully translated from the French, with
+     variorum Notes, and numerous characteristic Illustrations by
+     GUSTAVE DORÉ. Crown 8vo, cloth extra, 700 pages. Price 7_s._ 6_d._
+
+
+UNIFORM WITH “WONDERFUL CHARACTERS.”
+
+     =Remarkable Trials and Notorious Characters.= From “Half-Hanged
+     Smith,” 1700, to Oxford, who shot at the Queen, 1840. By Captain L.
+     BENSON. With spirited full-page Engravings by PHIZ. 8vo, 550 pages,
+     7_s._ 6_d._
+
+
+     =Rochefoucauld’s Reflections and Moral Maxims.= With Introductory
+     Essay by SAINTE-BEUVE, and Explanatory Notes. Cloth extra, 1_s._
+     6_d._
+
+
+     =Reminiscences of the late Thomas Assheton Smith, Esq.=; or, The
+     Pursuits of an English Country Gentleman. By Sir J. E. EARDLEY
+     WILMOT, Bart. A New and Revised Edition, with Steel-plate Portrait,
+     and plain and coloured Illustrations. Crown 8vo, cloth extra, 7_s._
+     6_d._
+
+
+     =Roll of Battle Abbey=; or, A List of the Principal Warriors who came
+     over from Normandy with William the Conqueror, and Settled in this
+     Country, A.D. 1066-7. Carefully drawn, and printed on fine plate
+     paper, nearly three feet by two feet, with the Arms of the
+     principal Barons elaborately emblazoned in Gold and Colours. Price
+     5_s._; or, handsomely framed in carved oak of an antique pattern,
+     22_s._ 6_d._
+
+
+     =Roll of Caerlaverock=, the Oldest Heraldic Roll; including the
+     Original Anglo-Norman Poem, and an English Translation of the MS.
+     in the British Museum. By THOMAS WRIGHT, M.A. The Arms emblazoned
+     in Gold and Colours. In 4to, very handsomely printed, extra gold
+     cloth, 12_s._
+
+
+     =Roman Catholics in the County of York in 1604.= Transcribed from the
+     Original MS. in the Bodleian Library, and Edited, with Genealogical
+     Notes, by EDWARD PEACOCK, F.S.A., Editor of “Army Lists of the
+     Roundheads and Cavaliers, 1642.” Small 4to, handsomely printed and
+     bound, 15_s._
+
+     ⁂ _Genealogists and Antiquaries will find much new and curious
+     matter in this work. An elaborate Index refers to every name in the
+     volume, among which will be found many of the highest local
+     interest._
+
+
+     =Ross’s (Chas. H.) Story of a Honeymoon.= A New Edition of this
+     charmingly humorous book, with numerous Illustrations by the
+     Author. Fcap. 8vo, illustrated boards, 2_s._
+
+
+     =School Life at Winchester College=; or, The Reminiscences of a
+     Winchester Junior. By the Author of “The Log of the Water Lily;”
+     and “The Water Lily on the Danube.” Second Edition, Revised,
+     COLOURED PLATES, 7_s._ 6_d._
+
+
+     =Schopenhauer’s The World Considered as Will and Imagination.=
+     Translated by Dr. FRANZ HÜFFER, Author of “Richard Wagner and the
+     Music of the Future.”
+
+[_In preparation._
+
+
+THE “SECRET OUT” SERIES.
+
+Crown 8vo, cloth extra, profusely Illustrated, price 4_s._ 6_d._ per
+Vol.
+
+     =Art of Amusing.= A Collection of Graceful Arts, Games, Tricks,
+     Puzzles, and Charades, intended to Amuse Everybody. By FRANK
+     BELLEW. With nearly 300 Illustrations.
+
+     =Hanky-Panky.= A Wonderful Book of Very Easy Tricks, Very Difficult
+     Tricks, White Magic, Sleight of Hand; in fact, all those startling
+     Deceptions which the Great Wizards call “Hanky-Panky.” Edited by W.
+     H. CREMER. With nearly 200 Illustrations.
+
+     =Magician’s Own Book.= Ample Instruction for Performances with Cups
+     and Balls, Eggs, Hats, Handkerchiefs, &c. All from Actual
+     Experience. Edited by W. H. CREMER. With 200 Illustrations.
+
+     =Magic No Mystery.= A Splendid Collection of Tricks with Cards, Dice,
+     Balls, &c., with fully descriptive working Directions. With very
+     numerous Illustrations.
+
+[_Nearly ready._
+
+     =Merry Circle (The)=, and How the Visitors were entertained during
+     Twelve Pleasant Evenings. A Book of New Intellectual Games and
+     Amusements. Edited by Mrs. CLARA BELLEW. With numerous
+     Illustrations.
+
+     =Secret Out=; or, One Thousand Tricks with Cards, and other
+     Recreations; with Entertaining Experiments in Drawing Room or
+     “White Magic.” Edited by W. H. CREMER. With 300 Engravings.
+
+
+     =Shelley’s Early Life.= From Original Sources. With Curious
+     Incidents, Letters, and Writings, now First Published or Collected.
+     By DENIS FLORENCE MAC-CARTHY. Crown 8vo, with Illustrations, 440
+     pages, 7_s._ 6_d._
+
+
+     =Sheridan’s Complete Works=, with Life and Anecdotes. Including his
+     Dramatic Writings, printed from the Original Editions, his Works in
+     Prose and Poetry, Translations, Speeches, Jokes, Puns, &c.; with a
+     Collection of Sheridaniana. Crown 8vo, cloth gilt, with 10
+     beautifully executed Portraits and Scenes from his Plays, 7_s._
+     6_d._
+
+
+     =Signboards=: Their History. With Anecdotes of Famous Taverns and
+     Remarkable Characters. By JACOB LARWOOD and JOHN CAMDEN HOTTEN.
+     SEVENTH EDITION. Crown 8vo, cloth extra, 7_s._ 6_d._
+
+[Illustration: HELP ME THROUGH THIS WORLD!]
+
+     “It is not fair on the part of a reviewer to pick out the plums of
+     an author’s book, thus filching away his cream, and leaving little
+     but skim-milk remaining; but, even if we were ever so maliciously
+     inclined, we could not in the present instance pick out all Messrs.
+     Larwood and Hotten’s plums, because the good things are so numerous
+     as to defy the most wholesale depredation,”--_The Times._
+
+     ⁂ _Nearly 100 most curious illustrations on ‘wood are given,
+     showing the signs which were formerly hung from taverns, &c._
+
+
+HANDBOOK OF COLLOQUIALISMS.
+
+     =The Slang Dictionary=: Etymological, Historical, and Anecdotal. An
+     ENTIRELY NEW EDITION, revised throughout, and considerably
+     Enlarged, containing upwards of a thousand more words than the last
+     edition. Crown 8vo, with Curious Illustrations, cloth extra, 6_s._
+     6_d._
+
+[Illustration: THE WEDGE AND THE WOODEN SPOON.]
+
+     “Peculiarly a book which ‘no gentleman’s library should be
+     without,’ while to costermongers and thieves it is absolutely
+     indispensable.”--_Dispatch._
+
+     “Interesting and curious. Contains as many as it was possible to
+     collect of all the words and phrases of modern slang in use at the
+     present time.”--_Public Opinion._
+
+     “In every way a great improvement on the edition of 1864. Its uses
+     as a dictionary of the very vulgar tongue do not require to be
+     explained.”--_Notes and Queries._
+
+     “Compiled with most exacting care, and based on the best
+     authorities.”--_Standard._
+
+     “In ‘The Slang Dictionary’ we have not only a book that reflects
+     credit upon the philologist; it is also a volume that will repay,
+     at any time, a dip into its humorous pages.”--_Figaro._
+
+
+WEST-END LIFE AND DOINGS.
+
+     =Story of the London Parks.= By JACOB LARWOOD. With numerous
+     Illustrations, Coloured and Plain. In One thick Volume, crown 8vo,
+     cloth extra, gilt, 7_s._ 6_d._
+
+     ⁂ _A most interesting work, giving a complete History of these
+     favourite out-of-door resorts, from the earliest period to the
+     present time._
+
+
+A KEEPSAKE FOR SMOKERS.
+
+     =Smoker’s Text-Book.= By J. HAMER, F.R.S.L. Exquisitely printed from
+     “silver-faced” type, cloth, very neat, gilt edges, 2_s._ 6_d._,
+     post free.
+
+
+CHARMING NEW TRAVEL-BOOK.
+
+[Illustration: “It may be we shall touch the happy isles.”]
+
+     =Summer Cruising in the South Seas,= By CHARLES WARREN STODDARD. With
+     Twenty-five Engravings on Wood, drawn by WALLIS MACKAY. Crown 8vo,
+     cloth, extra gilt, 7_s._ 6_d._
+
+     “This is a very amusing book, and full of that quiet humour for
+     which the Americans are so famous. We have not space to enumerate
+     all the picturesque descriptions, the poetical thoughts, which have
+     so charmed us in this volume; but we recommend our readers to go to
+     the South Seas with Mr. Stoddard in his prettily illustrated and
+     amusingly written little book.”--_Vanity Fair._
+
+     “Mr. Stoddard’s book is delightful reading, and in Mr. Wallis
+     Mackay he has found a most congenial and poetical
+     illustrator.”--_Bookseller._
+
+     “A remarkable book, which has a certain wild
+     picturesqueness.”--_Standard._
+
+     “The author’s experiences are very amusingly related, and, in
+     parts, with much freshness and originality.”--_Judy._
+
+     “Mr. Stoddard is a humourist; ‘Summer Cruising’ has a good deal of
+     undeniable amusement.”--_Nation._
+
+
+     =Syntax’s (Dr.) Three Tours.= With the whole of ROWLANDSON’S very
+     droll full-page Illustrations, in Colours, after the Original
+     Drawings. Comprising the well-known TOURS--1. IN SEARCH OF THE
+     PICTURESQUE. 2. IN SEARCH OF CONSOLATION. 3. IN SEARCH OF A WIFE.
+     The Three Series Complete, with a Life of the Author by JOHN CAMDEN
+     HOTTEN. Medium 8vo, cloth extra, gilt, price 7_s._ 6_d._
+
+
+     =Theseus: A Greek Fairy Legend.= Illustrated, in a series of Designs
+     in Gold and Sepia, by JOHN MOYR SMITH. With descriptive text.
+     Oblong folio, price 7_S._ 6_d._
+
+
+     =Theodore Hook’s Choice Humorous Works=, with his Ludicrous
+     Adventures, Bons-mots, Puns, and Hoaxes. With a new Life of the
+     Author, PORTRAITS, FACSIMILES, and ILLUSTRATIONS. Crown 8vo, 600
+     pages, cloth extra, 7_s._ 6_d._
+
+[Illustration: THEODORE HOOK’S HOUSE, NEAR PUTNEY]
+
+     ⁂ “As a wit and humourist of the highest order his name will be
+     preserved. His political songs and _jeux d’esprit_, when the hour
+     comes for collecting them, _will form a volume of sterling and
+     lasting attraction_!”--J. G. LOCKHART.
+
+
+MR. SWINBURNE’S WORKS.
+
+SECOND EDITION NOW READY OF
+
+     =Bothwell=: A Tragedy. By ALGERNON CHARLES SWINBURNE. Crown 8vo,
+     cloth extra, pp. 540, 12_s._ 6_d._
+
+     “Mr. Swinburne’s most prejudiced critic cannot, we think, deny that
+     ‘Bothwell’ is a poem of a very high character. Every line bears
+     traces of power, individuality, and vivid imagination. The
+     versification, while characteristically supple and melodious, also
+     attains, in spite of some affectations, to a sustained strength and
+     dignity of a remarkable kind. Mr. Swinburne is not only a master of
+     the music of language, but he has that indescribable touch which
+     discloses the true poet--the touch that lifts from off the
+     ground.”--_Saturday Review._
+
+     “It is not too much to say that, should he never write anything
+     more, the poet has by this work firmly established his position,
+     and given us a poem upon which his fame may safely rest. He no
+     longer indulges in that frequent alliteration, or that oppressive
+     wealth of imagery and colour, which gave rhythm and splendour to
+     some of his works, but would have been out of place in a grand
+     historical poem; we have now a fair opportunity of judging what the
+     poet can do when deprived of such adventitious aid,--and the
+     verdict is, that he must henceforth rank amongst the first of
+     British authors.”--_Graphic._
+
+     “The whole drama flames and rings with high passions and great
+     deeds. The imagination is splendid; the style large and imperial;
+     the insight into character keen; the blank verse varied, sensitive,
+     flexible, alive. Mr. Swinburne has once more proved his right to
+     occupy a seat among the lofty singers of our land.”--_Daily News._
+
+     “A really grand, statuesque dramatic work.... The reader will here
+     find Mr. Swinburne at his very best, if manliness, dignity, and
+     fulness of style are superior to mere pleasant singing and
+     alliterative lyrics.”--_Standard._
+
+     “Splendid pictures, subtle analyses of passion, and wonderful
+     studies of character will repay him who attains the end.... In this
+     huge volume are many fine and some unsurpassable things. Subtlest
+     traits of character abound, and descriptive passages of singular
+     delicacy.”--_Athenæum._
+
+     “There can be no doubt of the dramatic force of the poem. It is
+     severely simple in its diction, and never dull; there are
+     innumerable fine touches on almost every page.”--_Scotsman._
+
+     “‘Bothwell’ shows us Mr. Swinburne at a point immeasurably superior
+     to any that he has yet achieved. It will confirm and increase the
+     reputation which his daring genius has already won. He has handled
+     a difficult subject with a mastery of art which is a true
+     intellectual triumph.”--_Hour._
+
+     =Chastelard=: A Tragedy. Foolscap 8vo, 7_s._
+
+     =Poems and Ballads.= Foolscap 8vo, 9_s._
+
+     =Notes on “Poems and Ballads,”= and on the Reviews of them. Demy 8vo,
+     1_s._
+
+     =Songs before Sunrise.= Post 8vo, 10_s._ 6_d._
+
+     =Atalanta in Calydon.= Fcap. 8vo, 6_s._
+
+     =The Queen Mother and Rosamond.= Foolscap 8vo, 5_s._
+
+     =A Song of Italy.= Foolscap 8vo, 3_s._ 6_d._
+
+     =Ode on the Proclamation of the French Republic.= Demy 8vo, 1_s._
+
+     =Under the Microscope.= Post 8vo, 2_s._ 6_d._
+
+     =William Blake=: A Critical Essay. With facsimile Paintings, Coloured
+     by Hand, after the Drawings by Blake and his Wife. Demy 8vo, 16_s._
+
+
+THE THACKERAY SKETCH-BOOK.
+
+THACKERAYANA.
+
+_Notes and Anecdotes_,
+
+Illustrated by about Six Hundred Sketches by WILLIAM MAKEPEACE
+THACKERAY, depicting Humorous Incidents in his School-life, and
+Favourite Scenes and Characters in the books of his every-day reading,
+NOW FOR THE FIRST TIME PUBLISHED, from the Original Drawings made on the
+margins of his books, &c. Large post 8vo, cloth extra gilt, gilt top,
+price 12_s._ 6_d._
+
+[Illustration]
+
+     “It is Thackeray’s aim to represent life as it is actually and
+     historically--men and women as they are, in those situations in
+     which they are usually placed, with that mixture of good and evil,
+     of strength and foible, which is to be found in their characters,
+     and liable only to those incidents which are of ordinary
+     occurrence. He will have no faultless characters, no
+     demi-gods,--nothing but men and brethren.”--DAVID MASSON.
+
+
+     =Timbs’ Clubs and Club Life in London.= With ANECDOTES of its FAMOUS
+     COFFEE HOUSES, HOSTELRIES, and TAVERNS. By JOHN TIMBS, F.S.A. New
+     Edition, with NUMEROUS ILLUSTRATIONS, drawn expressly. Crown 8vo,
+     cloth extra, 600 pages, 7_s._ 6_d._
+
+[Illustration: THE SUBSCRIPTION ROOM AT BROOKES’S.]
+
+     ⁂ _A Companion to “The History of Sign-Boards.”_ _It abounds in
+     quaint stories of the_ Blue Stocking, Kit-Kat, Beef Steak, Robin
+     Hood, Mohocks, Scriblerus, One o’Clock, the Civil, _and hundreds of
+     other Clubs; together with_ Tom’s, Dick’s, Button’s, Ned’s, Will’s,
+     _and the famous Coffee Houses of the last century_.
+
+     “The book supplies a much-felt want. The club is the avenue to
+     general society at the present day, and Mr. Timbs gives the
+     _entrée_ to the club. The scholar and antiquary will also find the
+     work a repertory of information on many disputed points of literary
+     interest, and especially respecting various well-known anecdotes,
+     the value of which only increases with the lapse of
+     time.”--_Morning Post._
+
+
+     =Timbs’ English Eccentrics and Eccentricities.= Stories of Wealth and
+     Fashion, Delusions, Impostures and Fanatic Missions, Strange Sights
+     and Sporting Scenes, Eccentric Artists, Theatrical Folks, Men of
+     Letters, &c. By JOHN TIMBS, F.S.A. An entirely New Edition, with
+     about 50 Illustrations. Crown 8vo, cloth extra, 600 pages, 7_s._
+     6_d._
+
+
+     =Taylor’s History of Playing Cards.= With Sixty curious
+     Illustrations. 550 pp., crown 8vo, cloth, extra gilt, price 7_s._
+     6_d._
+
+[Illustration]
+
+     ⁂ _Ancient and Modern Games, Conjuring, Fortune-Telling, and Card
+     Sharping, Gambling and Calculation, Cartomancy, Old Gaming-Houses,
+     Card Revels and Blind Hookey, Picquet and Vingt-et-un, Whist and
+     Cribbage, Tricks, &c._
+
+
+=Vagabondiana=; or, Anecdotes of Mendicant Wanderers through the Streets
+of London; with Portraits of the most remarkable, drawn from the Life by
+JOHN THOMAS SMITH, late Keeper of the Prints in the British Museum. With
+Introduction by FRANCIS DOUCE, and descriptive text. Reprinted from the
+original, with the Woodcuts, and the 32 Plates, from the original
+Coppers, in crown 4to, half Roxburghe, price 12_s._ 6_d._
+
+
+“LES MISÉRABLES.” Complete in Three Parts.
+
+     =Victor Hugo’s Fantine.= Now first published in an English
+     Translation, complete and unabridged, with the exception of a few
+     advisable omissions. Post 8vo, illustrated boards, 2_s._
+
+     “This work has something more than the beauties of an exquisite
+     style or the word-compelling power of a literary Zeus to recommend
+     it to the tender care of a distant posterity: in dealing with all
+     the emotions, passions, doubts, fears, which go to make up our
+     common humanity, M. Victor Hugo has stamped upon every page the
+     Hall-mark of genius and the loving patience and conscientious
+     labour of a true artist. But the merits of ‘Les Misérables’ do not
+     merely consist in the conception of it as a whole; it abounds, page
+     after page, with details of unequalled beauty.”--_Quarterly
+     Review._
+
+     =Victor Hugo’s Cosette and Marius.= Translated into English,
+     complete, uniform with “Fantine.” Post 8vo, illustrated boards,
+     2_s._
+
+     =Victor Hugo’s Saint Denis and Jean Valjean.= Translated into
+     English, complete, uniform with the above. Post 8vo, illustrated
+     boards, 2_s._ 6_d._
+
+
+     =Vyner’s Notitia Venatica=: A Treatise on Fox-Hunting, the General
+     Management of Hounds, and the Diseases of Dogs; Distemper and
+     Rabies; Kennel Lameness, &c. Sixth Edition, Enlarged. By ROBERT C.
+     VYNER. WITH SPIRITED ILLUSTRATIONS IN COLOURS, BY ALKEN, OF
+     MEMORABLE FOX-HUNTING SCENES. Royal 8vo, cloth extra, 21_s._
+
+⁂ _An entirely new edition of the best work on Fox-Hunting._
+
+
+     =Walt Whitman’s Leaves of Grass.= The Complete Work, precisely as
+     issued by the Author in Washington. A thick volume, 8vo, green
+     cloth, price 9_s._
+
+     “Whitman is a poet who bears and needs to be read as a whole, and
+     then the volume and torrent of his power carry the disfigurements
+     along with it and away. He is really a fine fellow.”--_Chambers’s
+     Journal._
+
+
+     =Walton and Cotton, Illustrated.--The Complete Angler=; or, the
+     Contemplative Man’s Recreation; being a Discourse of Rivers,
+     Fish-ponds, Fish and Fishing, written by IZAAK WALTON; and
+     Instructions how to Angle for a Trout or Grayling in a clear
+     Stream, by CHARLES COTTON. With Original Memoirs and Notes by Sir
+     HARRIS NICOLAS, K.C.M.G. With the whole 61 Illustrations, precisely
+     as in the royal 8vo two-volume Edition issued by Pickering. A New
+     Edition, complete in One Volume, large crown 8vo, with the
+     Illustrations from the original plates, printed on full pages,
+     separately from the text, price 7_s._ 6_d._
+
+
+     =Warrant to Execute Charles I.= An exact Facsimile of this important
+     Document, with the Fifty-nine Signatures of the Regicides, and
+     corresponding Seals, admirably executed on paper made to imitate
+     the original document, 22 in. by 14 in. Price 2_s._; or, handsomely
+     framed and glazed in carved oak of antique pattern, 14_s._ 6_d._
+
+
+     =Warrant to Execute Mary Queen of Scots.= The Exact Facsimile of this
+     important Document, including the Signature of Queen Elizabeth and
+     Facsimile of the Great Seal, on tinted paper, made to imitate the
+     Original MS. Price 2_s._; or, handsomely framed and glazed in
+     carved oak of antique pattern, 14_s._ 6_d._
+
+
+     =Waterford Roll (The).--Illuminated Charter-Roll of Waterford=, Temp.
+     Richard II.
+
+     ⁂ _Amongst the Corporation Muniments of the City of Waterford is
+     preserved an ancient Illuminated Roll, of great interest and
+     beauty, comprising all the early Charters and Grants to the City of
+     Waterford, from the time of Henry II. to Richard II. A full-length
+     Portrait of each King, ‘whose Charter is given--including Edward
+     III., when young, and again at an advanced age--adorns the margin.
+     These Portraits, with the exception of four which are smaller, and
+     on one sheet of vellum, vary from eight to nine inches in
+     length--some in armour; and some in robes of state. In addition to
+     these are Portraits of an Archbishop in full canonicals, of a
+     Chancellor, and of many of the chief Burgesses of the City of
+     Waterford, as well as singularly curious Portraits of the Mayors of
+     Dublin, Waterford, Limerick, and Cork, figured for the most part in
+     the quaint bipartite costume of the Second Richard’s reign, though
+     partaking of many of the peculiarities of that of Edward III.
+     Altogether this ancient work of art is unique of its kind in
+     Ireland, and deserves to be rescued from oblivion, by the
+     publication of the unedited Charters, and of fac-similes of all the
+     Illuminations. The production of such a work would throw much light
+     on the question of the art and social habits of the Anglo-Norman
+     settlers in Ireland at the close of the fourteenth century. The
+     Charters are, many of them, highly important from an historic point
+     of view._
+
+     _The Illuminations have been accurately traced and coloured for the
+     work from a copy carefully made, by permission of the Mayor and
+     Corporation of Waterford, by the late George V. Du Noyer, Esq.,
+     M.R.I.A.; and those Charters which have not already appeared in
+     print will be edited by the Rev. James Graves, A.B., M.R.I.A., Hon.
+     Secretary Kilkenny and South-East of Ireland Archæological
+     Society._
+
+     _The Work will be brought out in the best manner, with embossed
+     cover and characteristic title-page; and it will be put to press as
+     soon as 250 subscribers are obtained. The price, in imperial 4to,
+     is 20s. to subscribers, or 30s. to non-subscribers._
+
+
+     =Wonderful Characters=: Memoirs and Anecdotes of Remarkable and
+     Eccentric Persons of Every Age and Nation. From the text of HENRY
+     WILSON and JAMES CAULFIELD. Crown 8vo, cloth extra, with Sixty-one
+     full-page Engravings of Extraordinary Persons, 7_s._ 6_d._
+
+     ⁂ _There are so many curious matters discussed in this volume, that
+     any person who takes it up will not readily lay it down until he
+     has read it through. The Introduction is almost entirely devoted to
+     a consideration of Pig-Faced Ladies, and the various stories
+     concerning them._
+
+
+     =Wright’s (Andrew) Court-Hand Restored=; or, Student’s Assistant in
+     Reading Old Deeds, Charters, Records, &c. Half Morocco, a New
+     Edition, 10_s._ 6_d._
+
+⁂ _The best guide to the reading of old Records, &c._
+
+
+     =Wright’s Caricature History of the Georges= (House of Hanover). With
+     400 Pictures, Caricatures, Squibs, Broadsides, Window Pictures, &c.
+     By THOMAS WRIGHT, Esq., M.A., F.S.A. Crown 8vo, cloth extra, 7_s._
+     6_d._
+
+[Illustration]
+
+     “A set of caricatures such as we have in Mr. Wright’s volume brings
+     the surface of the age before us with a vividness that no prose
+     writer, even of the highest power, could emulate. Macaulay’s most
+     brilliant sentence is weak by the side of the little woodcut from
+     Gillray, which gives us Burke and Fox.”--_Saturday Review._
+
+     “A more amusing work of its kind was never issued.”--_Art Journal._
+
+     “It is emphatically one of the liveliest of books, as also one of
+     the most interesting. It has the twofold merit of being at once
+     amusing and edifying.”--_Morning Post._
+
+
+     =Yankee Drolleries.= Edited by G. A. SALA. Containing ARTEMUS WARD’S
+     BOOK; BIGLOW PAPERS; ORPHEUS C. KERR; JACK DOWNING; and NASBY
+     PAPERS. 700 pp., 3_s._ 6_d._
+
+     =More Yankee Drolleries.= Containing ARTEMUS WARD’S TRAVELS; HANS
+     BREITMANN; PROFESSOR AT BREAKFAST TABLE; BIGLOW PAPERS, Part II.;
+     and JOSH BILLINGS; with Introduction by G. A. SALA. 700 pp., cloth,
+     3_s._ 6_d._
+
+     =A Third Supply of Yankee Drolleries.= Containing ARTEMUS WARD’S
+     FENIANS; AUTOCRAT OF BREAKFAST TABLE; BRET HARTE’S STORIES;
+     INNOCENTS ABROAD; and NEW PILGRIM’S PROGRESS; with an Introduction
+     by G. A. SALA. 700 pp., cloth, 3_s._ 6_d._
+
+
+                   _74 & 75, PICCADILLY, LONDON, W._
+
+
+FOOTNOTES:
+
+[A] Now Sir William Fothergill Cooke--October, 1869.
+
+[B] First illustrated by the author in his work, “Architectural Remains
+of the Reigns of Elizabeth and James I.”
+
+[C] The garden entrance to the ancient palace of the Grand Duke of
+Tuscany, alla Trinita de’ Monti. The architecture of Annibale Lippi.
+
+[D] This subject is fully treated and illustrated with plates in the
+Author’s treatise on “The Warming and Ventilation Buildings,” published
+in 1837 and 1856.
+
+[E] “Cheap Ice Well.” (Atchley & Co.)
+
+[F] “Plan for Purifying the Atmosphere of Towns.” (Hamilton, Adams, &
+Co.)
+
+[G] “Coke, Smoke, and Sewage.” (Cave and Sever, Manchester.)
+
+[H] A print of the stove is given in the author’s pamphlet entitled
+“The Smoke Nuisance, and its Remedy; with Remarks on Liquid Fuel.”
+Price 1_s._ (Atchley & Co.)
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Englishman's House, by 
+C.J. (Charles James) Richardson
+
+*** END OF THE PROJECT GUTENBERG EBOOK 60759 ***
diff --git a/60759-h/60759-h.htm b/60759-h/60759-h.htm
new file mode 100644
index 0000000..6b184e2
--- /dev/null
+++ b/60759-h/60759-h.htm
@@ -0,0 +1,10204 @@
+<!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" lang="en" xml:lang="en">
+  <head>  <link rel="coverpage" href="images/cover.jpg" />
+<meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
+<title>
+  The Project Gutenberg eBook of The Englishmans House, by C. J. Richardson.
+</title>
+<style type="text/css">
+ p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;}
+
+.btbrt {text-align:right;
+border-top:2px black solid;border-bottom:2px black solid;}
+
+.c {text-align:center;text-indent:0%;}
+
+.cb {text-align:center;text-indent:0%;font-weight:bold;}
+
+.spc1 {margin-top:1em;}
+
+.spc2 {margin-top:.5em;}
+
+.spc4 {margin-left:7%;margin-right:7%;}
+
+.eng  {font-family: "Old English Text MT",fantasy,sans-serif;}
+
+.sans {font-family:sans-serif;font-size:80%;font-weight:bold;}
+
+.fint {text-align:center;text-indent:0%;
+margin-top:2em;}
+
+.letra {font-size:250%;float:left;margin-top:-1%;}
+ @media print, handheld
+ { .letra
+ {font-size:250%;padding:0%;}
+ }
+
+.nind {text-indent:0%;}
+
+.nonvis {display:inline;}
+ @media print, handheld
+ {.nonvis
+ {display: none;}
+ }
+
+.r {text-align:right;margin-right: 5%;}
+
+.rt {text-align:right;}
+
+small {font-size: 70%;}
+
+big {font-size: 130%;}
+
+ h1 {margin-top:5%;text-align:center;clear:both;
+font-weight:normal;}
+
+ h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both;
+ font-size:100%;font-weight:normal;}
+
+ hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;}
+
+ hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black;
+padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;}
+
+ table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;}
+
+ body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;}
+
+a:link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+  link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+a:visited {background-color:#ffffff;color:purple;text-decoration:none;}
+
+a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;}
+
+.smcap  {font-variant:small-caps;font-size:100%;}
+
+ img {border:none;}
+
+.blockquot {margin-top:2%;margin-bottom:2%;}
+
+.caption  {font-weight:normal;}
+.caption p{font-size:75%;text-align:center;text-indent:0%;}
+
+.figcenter   {margin-top:3%;margin-bottom:3%;clear:both;
+margin-left:auto;margin-right:auto;text-align:center;text-indent:0%;}
+ @media handheld, print
+ {.figcenter
+ {page-break-before: avoid;}
+ }
+
+.figleft     {float:left;clear:left;margin-left:0;margin-bottom:1em;margin-top:1em;margin-right:1em;padding:0;text-align:center;}
+
+.figright    {float:right;clear:right;margin-left:1em;margin-bottom:1em;margin-top:1em;margin-right:0;padding:0;text-align:center;}
+
+.footnotes  {border:dotted 3px gray;margin-top:5%;clear:both;}
+
+.footnote   {width:95%;margin:auto 3% 1% auto;font-size:0.9em;position:relative;}
+
+.label  {position:relative;left:-.5em;top:0;text-align:left;font-size:.8em;}
+
+.fnanchor   {vertical-align:30%;font-size:.8em;}
+
+div.poetry {text-align:center;}
+div.poem {font-size:90%;margin:auto auto;text-indent:0%;
+display: inline-block; text-align: left;}
+.poem .stanza     {margin-top: 1em;margin-bottom:1em;}
+.poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+.poem span.i1     {display: block; margin-left: .45em; padding-left: 3em; text-indent: -3em;}
+.poem span.i8     {display: block; margin-left: 7em; padding-left: 3em; text-indent: -3em;}
+
+.pagenum  {font-style:normal;position:absolute;
+left:95%;font-size:55%;text-align:right;color:gray;
+background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;}
+@media print, handheld
+{.pagenum
+ {display: none;}
+ }
+
+.sidenote {width:5em;padding-bottom:.5em;
+padding-top:.5em;padding-left:.5em;
+padding-right:.5em;margin-left:auto;float:left;
+margin-top:1em;font-size:70%;
+color:black;background:#eeeeee;border:dashed 1px;}
+</style>
+  </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 60759 ***</div>
+
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/cover_lg.jpg">
+<img src="images/cover.jpg" alt="[Image of
+the book's cover unavailable.]" /></a>
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+<p class="c"><a href="#CONTENTS">Contents.</a><br />
+<a href="#INDEX">Index.</a><br />
+<span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+
+<p class="c">THE<br /><br />
+ENGLISHMAN’S HOUSE.</p>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a>&nbsp; </span>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
+
+<div class="figcenter">
+<a href="images/frontispiece_lg.jpg">
+<img src="images/frontispiece_sml.jpg" width="353" height="538" alt="[Image unavailable.]"/></a>
+<br />
+<span class="caption">HOUSES MADE PICTURESQUE.</span>
+</div>
+
+<h1>
+THE<br />
+<br />
+ENGLISHMAN’S HOUSE.</h1>
+
+<p class="c"><i>A PRACTICAL GUIDE FOR SELECTING OR<br />
+BUILDING A HOUSE.</i><br />
+<br /><a href="images/colophon_lg.jpg">
+<img src="images/colophon.jpg" width="250" alt="" /></a>
+<br />
+<br />
+BY<br />
+<br />
+C. J. RICHARDSON,<br /><small>
+AUTHOR OF “OLD ENGLISH MANSIONS,” ETC.</small><br />
+<br /><span class="sans">
+THIRD EDITION, WITH NEARLY 600 ILLUSTRATIONS.</span><br />
+<br />
+<span class="eng">London</span>:<br />
+CHATTO AND WINDUS, PICCADILLY.<br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span><br /><small><br /><br />
+LONDON:<br />
+SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET,<br />
+COVENT GARDEN.<br /></small>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span>&nbsp; </p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+<p class="nind"><span class="letra">S</span>EVERAL years ago the author of this volume published a small work on
+the Warming and Ventilation of Buildings which was very favourably
+received by the Public, but is now out of print. He afterwards wrote
+various other works illustrating the Architecture of England during the
+reigns of Queen Elizabeth and James I., with one volume on Ornamental
+Designs. These had an extensive sale, and are now, like the first small
+volume, out of print. His last publication was a small pamphlet,
+entitled, “The Smoke Nuisance and its Remedy, with remarks on Liquid
+Fuel,” the subject of which, at least so far as regards an improved
+construction for the domestic chimney flue, is continued in the present
+volume.</p>
+
+<p>The present volume consists of numerous plans, &amp;c., for Cottages,
+Villas, and small and large Mansions, most of which have been carried
+into execution. They are carefully selected from a large collection of
+similar subjects, the result of many years’ professional practice, and
+it is hoped that they may be favourably received.<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+
+<tr><td colspan="3">&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
+
+<tr><td valign="top" colspan="3">Introduction</td><td class="rt" valign="bottom"><a href="#page_3">3</a></td></tr>
+
+<tr><td valign="top">Design</td><td align="right" valign="top"><a href="#DESIGN_No_1">No.&nbsp;1</a>.</td><td valign="top"> A Gardener’s Cottage</td><td class="rt" valign="bottom"><a href="#page_50">50</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_2">2</a>.</td><td valign="top"> A Small Cottage or Lodge</td><td class="rt" valign="bottom"><a href="#page_56">56</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_3">3</a>.</td><td valign="top"> A Picturesque Cottage</td><td class="rt" valign="bottom"><a href="#page_62">62</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_4">4</a>.</td><td valign="top"> A Double Cottage</td><td class="rt" valign="bottom"><a href="#page_66">66</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_5">5</a>.</td><td valign="top"> A Double Cottage and Village Sunday School</td><td class="rt" valign="bottom"><a href="#page_70">70</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_6">6</a>.</td><td valign="top"> A Huntsman’s Lodge or Cottage</td><td class="rt" valign="bottom"><a href="#page_78">78</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td><td valign="top"> Concrete Construction for Building Cottages</td><td class="rt" valign="bottom"><a href="#page_82">82</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_7">7</a>.</td><td valign="top"> A Garden Gate</td><td class="rt" valign="bottom"><a href="#page_95">95</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_8">8</a>.</td><td valign="top"> A Park Lodge</td><td class="rt" valign="bottom"><a href="#page_99">99</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_9">9</a>.</td><td valign="top"> A Park Lodge</td><td class="rt" valign="bottom"><a href="#page_102">102</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_10">10</a>.</td><td valign="top"> An Entrance Lodge to a Park</td><td class="rt" valign="bottom"><a href="#page_104">104</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_11">11</a>.</td><td valign="top"> An Entrance Lodge and Gateway to a Park</td><td class="rt" valign="bottom"><a href="#page_112">112</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_12">12</a>.</td><td valign="top"> A Stove for an Entrance Hall</td><td class="rt" valign="bottom"><a href="#page_120">120</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_13">13</a>.</td><td valign="top"> Queen’s Gate Lodge, Hyde Park</td><td class="rt" valign="bottom"><a href="#page_124">124</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td><td valign="top">On the Foundation and Basement Walls of Buildings, Damp Prevention, And Fire-proof Construction</td><td class="rt" valign="bottom"><a href="#page_151">151</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_14">14</a>.</td><td valign="top"> A Small Country Rectory</td><td class="rt" valign="bottom"><a href="#page_162">162</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_15">15</a>.</td><td valign="top"> A Small Country House</td><td class="rt" valign="bottom"><a href="#page_174">174</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_16">16</a>.</td><td valign="top"> A Country Villa</td><td class="rt" valign="bottom"><a href="#page_182">182</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_17">17</a>.</td><td valign="top"> A Double Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_192">192</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_18">18</a>.</td><td valign="top"> Village Schools and Reading Room</td><td class="rt" valign="bottom"><a href="#page_208">208</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_19">19</a>.</td><td valign="top"> A Roman Catholic Chapel and Schools</td><td class="rt" valign="bottom"><a href="#page_210">210</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_20">20</a>.</td><td valign="top"> A Bath House and Summer Room</td><td class="rt" valign="bottom"><a href="#page_214">214</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_21">21</a>.</td><td valign="top"> A Small Country Villa</td><td class="rt" valign="bottom"><a href="#page_222">222</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_22">22</a>.</td><td valign="top"> A Villa in the Old English Wooden Style</td><td class="rt" valign="bottom"><a href="#page_232">232</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_23">23</a>.</td><td valign="top"> A Garden Summer House</td><td class="rt" valign="bottom"><a href="#page_262">262</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_24">24</a>.</td><td valign="top"> A Small Country Retreat, or French Maisonette</td><td class="rt" valign="bottom"><a href="#page_268">268</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_25">25</a>.</td><td valign="top"> An Elizabethan Villa</td><td class="rt" valign="bottom"><a href="#page_280">280</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_26">26</a>.</td><td valign="top"> A Summer or Garden Villa</td><td class="rt" valign="bottom"><a href="#page_302">302</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_27">27</a>.</td><td valign="top"> A Decorated Window</td><td class="rt" valign="bottom"><a href="#page_336">336</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_28">28</a>.</td><td valign="top"> A Sculptor’s Villa</td><td class="rt" valign="bottom"><a href="#page_338">338</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_29">29</a>.</td><td valign="top"> A Garden Seat</td><td class="rt" valign="bottom"><a href="#page_361">361</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_30">30</a>.</td><td valign="top"> A Garden Seat</td><td class="rt" valign="bottom"><a href="#page_368">368</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_31">31</a>.</td><td valign="top"> An Ice House</td><td class="rt" valign="bottom"><a href="#page_370">370</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_32">32</a>.</td><td valign="top"> A Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_373">373</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_33">33</a>.</td><td valign="top"> A Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_382">382</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_34">34</a>.</td><td valign="top"> Riding-house and Stabling</td><td class="rt" valign="bottom"><a href="#page_389">389</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_35">35</a>.</td><td valign="top"> A Bachelor’s House</td><td class="rt" valign="bottom"><a href="#page_401">401</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td><td valign="top">The Fireplace</td><td class="rt" valign="bottom"><a href="#page_404">404</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_36">36</a>.</td><td valign="top"> A Lecture Hall, or Literary Institution</td><td class="rt" valign="bottom"><a href="#page_456">456</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_37">37</a>.</td><td valign="top"> Encaustic Tiles</td><td class="rt" valign="bottom"><a href="#page_460">460</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_38">38</a>.</td><td valign="top"> Restoration of Castle Gunnarstrop, Sweden</td><td class="rt" valign="bottom"><a href="#page_464">464</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_39">39</a>.</td><td valign="top"> Summer Villa for the Count Kinski at Teplitz</td><td class="rt" valign="bottom"><a href="#page_470">470</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_40">40</a>.</td><td valign="top"> Harrington House, Queen’s Palace Gardens</td><td class="rt" valign="bottom"><a href="#page_476">476</a></td></tr>
+
+</table>
+
+<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_002_lg.jpg">
+<img src="images/ill_pg_002_sml.jpg" width="400" height="545" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p>
+
+<h2><a name="INTRODUCTORY_CHAPTER" id="INTRODUCTORY_CHAPTER"></a>INTRODUCTORY CHAPTER<br /><br />
+ON THE PICTURESQUE IN RELATION TO ARCHITECTURE.</h2>
+
+<div class="figcenter" style="width: 360px;">
+<a href="images/ill_pg_003_lg.jpg">
+<img src="images/ill_pg_003_sml.jpg" width="360" height="261" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Grecian Temple.</p></div>
+</div>
+
+<p class="nind"><span class="letra">I</span>T has been said that a definition of the picturesque in respect to
+architecture, or indeed any branch of the fine arts, is scarcely
+possible. The most able writers on the subject have failed to convey an
+adequate and popular idea. In fact the term has so great and extensive
+an application as to forbid exact defi<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>nition. The architect usually
+considers that if his building look well when seen by moonlight, or
+through the medium of a foggy or dull atmosphere, it is picturesque, and
+he is satisfied. Blenheim Castle and Castle Howard have always been
+pointed out as eminent examples of the picturesque in buildings. But
+this quality varies with every change of situation and circumstance
+under which it can be conceived.</p>
+
+<p>The entrance to the Acropolis of Athens, with its noble equestrian
+statues in the foreground, the steps between them, and the beautiful
+temples rising at different heights behind, giving a varied outline, the
+whole probably delicately coloured, must have been picturesque in the
+highest degree. The Temple of the Winds and the Monument of Lysicrates
+were equally examples of the picturesque. Yet although great efforts
+were made on the publication of Athenian Stuart’s volumes to introduce
+pure Grecian architecture here, it has obtained no hold with us. St.
+Pancras Church, and St. Stephen’s, Camden Town, are probably the last
+specimens in our metropolis. The delicate mouldings of the one are
+destroyed by the roughness of the climate, and the beautiful figures of
+the Caryatidæ in the other are covered with soot.</p>
+
+<p>There is no doubt that the Roman temples were as picturesque and as
+varied in outline as the Grecian buildings of which they were studies,
+but none remain<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p>
+
+<div class="figcenter" style="width: 269px;">
+<a href="images/ill_pg_005_lg.jpg">
+<img src="images/ill_pg_005_sml.jpg" width="269" height="436" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Roman Temple in Ruins.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p>
+
+<p class="nind">sufficiently perfect to illustrate them. In their original, entire
+state, with the surfaces and colour smooth and even, either in painting
+or reality, they were beautiful; in ruins, there is no denying they are
+highly picturesque. Observe the process by which time, the great author
+of such changes works, first by means of weather stains, partial
+incrustations, mosses, &amp;c., which simultaneously take off the uniformity
+of surface and of colour, giving a degree of roughness, and variety of
+tint. Then the various accidents of weather loosen the stones
+themselves: they tumble in irregular masses upon what was perhaps smooth
+turf or pavement, or nicely trimmed walks and shrubberies, now mixed and
+overgrown with wild plants and creepers that crawl over and shoot among
+the falling ruins. Sedums, wall-flowers, and other plants that bear
+drought, find nourishment in the decayed cement from which the stones
+have been detached; birds convey their food into the chinks, and yew,
+elder, and other berried plants project from the sides; while the ivy
+mantles over other parts, and crowns the top. The even, regular lines of
+the doors and windows are broken, and through their ivy-fringed openings
+is displayed in a highly broken and picturesque manner that striking
+image described by Virgil:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Apparet domus intus, et atria longa patescunt<br /></span>
+<span class="i1">Apparent Priami et veterum penetralia regum.”<br /></span>
+<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></div></div>
+</div>
+
+<p>The first view given in this volume attempts to show the picturesque
+effect of the Grecian Temple in its complete state, the attendants
+having just retired from some display or ceremony; the second, the front
+of a Roman Temple in its noble remains.</p>
+
+<p>To the Greeks we owe all the general principles and forms of classic
+art, but they have been modified to modern ideas and tastes, and, it may
+be added, to suit also the various climates of the countries where they
+have been adopted.</p>
+
+<p>However much the occupations of our countrymen may partake of the
+commercial character, the mental qualities requisite to such pursuits
+have not been so displayed as to exclude a taste for art. Where, for
+example, can be found superior specimens of art-choice than exist in
+their mansions, villas, or cottage-ornées, their picture and sculpture
+galleries, or the museums and other collections of those whose business
+pursuits have been the cause of their prosperity.</p>
+
+<p>An essential element of success in every branch of progress is involved
+in tasteful selection. Without considering those classes who by
+successful efforts of their ancestry have been placed beyond the pale of
+want (either artificial or real), a large proportion of our population
+may be ranked as having advanced morally, socially, and commercially by
+that intuition<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> which characterizes our national progress. It takes as
+its basis nature and nature’s products. It eliminates from these not
+only pecuniary benefits that in a commercial point of view may occur,
+but associating the useful with the beautiful (the sense of the latter
+having been gained during intervals of quiet thought as a relief from
+the incessant requirements of business engagements), a tendency to
+embody the picturesque, especially in regard to architecture, arises. We
+have no hesitation in assigning to this cause the production of some of
+the most picturesque architectural erections which grace our
+country,&mdash;that render English homes an example, and prove that, while
+the main element of our national prosperity is making money, we are not
+insensible to the beneficent influences resulting from the cultivation
+of refined taste.</p>
+
+<p>It would be interesting as an object of careful inquiry, if there
+existed sufficient data for the purpose, to trace each of the many steps
+that have occurred between the birth of architecture and its present
+condition. The early history of mankind had as its locality climates
+which favoured the construction and use of the <i>crudest</i> contrivances,
+intended only to meet the few wants of shelter and occasional domestic
+privacy. The first condition of man’s existence, either in this
+primitive or modern state, is that of roving or wandering tribes.
+Instances of this are found in the early inhabi<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>tants of Asia Minor, and
+adjacent countries, and at the present day the same habit is maintained
+in Central Asia, Arabia, and many parts of America. As soon as the
+sustenance afforded for their cattle is consumed in one district a
+migration is made to another. Gradually, however, centres of trade
+sprung up where commodities could be bartered for live stock. Men thus
+became massed together in villages and towns. Quitting a semi-savage
+condition, they built permanent residences in place of the tent. At
+first these, like the log-hut of the modern Canadian, were only
+sufficient for the most common necessities of life. In course of time,
+however, the spirit of emulation, the growth of riches, and the
+germination of man’s natural taste for the beautiful, led to artificial
+wants, which were soon converted into necessities of life. This called
+out the study of art on the part of the few for the benefit of the many.
+Systems of art in all its branches gradually developed themselves. By
+the study of the beauties of nature such systems gradually progressed in
+purity of style, and produced designs that eventually were appreciated
+by the common people, in a greater or less degree, according to the
+capabilities of each individual. Architecture and the other fine arts
+thus, by slow but sure degrees, began to gain a hold on popular taste,
+and step by step they arrived at the state of perfection of which we now
+boast.<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span></p>
+
+<p>It will be evident that whilst the primary objects of architecture were
+simply those of meeting the immediate necessities of life, its ultimate
+purpose was only attained when it became an art, cultivated by refined
+taste, an educated eye, and encouraged by the growth of civilization and
+commerce. It thus advanced from a state of barbarism into one in which
+it was connected with all the highest developments of the moral and
+mental qualities of mankind, but especially with the æsthetic
+aspirations of our nature.</p>
+
+<p>Incidentally but necessarily connected with the general progress of
+architecture is the great variety of styles that has been invented. The
+whole of these are modifications of some one or more primaries. No two
+individuals acquire the same mental impression by viewing one object;
+each of their impressions is tinted by the mental characteristics of the
+individual. It is, therefore, from this cause that so many varieties of
+style have originated from one first model. An illustration of this is
+afforded in the Gothic, which in different hands has been greatly
+divided and modified in its details. This style, which at first was of
+exclusive application only, has subsequently become most extensively in
+use for purposes that at first sight it would have been judged as quite
+unfit for.</p>
+
+<p>The style of architecture just referred to is remarkable for its
+picturesque character, and may fitly be<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> adduced as an ensample of that
+quality in the absence of an exact definition of the term.</p>
+
+<p>An able writer criticising Gothic buildings, remarks that the outline of
+the summit presents a great variety of forms of turrets and pinnacles,
+some open, some fretted and variously enriched. But even where there is
+an exact correspondence of parts, it is often disguised by an appearance
+of splendid confusion and irregularity.</p>
+
+<p>In the doors and windows of Gothic Churches, the pointed arch has as
+much variety as any regular figure can well have; the eye, too, is less
+strongly conducted than by the parallel lines in the Grecian style, from
+the top of one aperture to that of another; and every person must be
+struck with the extreme richness and intricacy of some of the principal
+windows of our cathedrals and ruined abbeys. In these last is displayed
+the triumph of the picturesque, and their charms to a painter’s eye are
+often so great as to rival those which arise from the chaste ornaments
+and the noble and elegant simplicity of Grecian architecture.</p>
+
+<p>These remarks will explain to a certain degree the nature of the
+picturesque in regard to architecture, so far at least as the general
+principles are involved. But in the more minute points, other questions
+and relations arise, to which the attention of the reader<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> will be fully
+drawn in the descriptive text and illustrations of this work.</p>
+
+<p>The comparative value of Grecian and Gothic architecture, as practically
+adopted in the erection of ornamental dwellings, is well discussed by an
+eminent architect in the following remarks, slightly modified from the
+original. He observes that the two are better distinguished by an
+attention to their general effects, than to the minute parts peculiar to
+each. It is in architecture as in painting&mdash;beauty depends on light and
+shade, and they are caused by the openings or projections in the
+surface. If these tend to produce horizontal lines, the building must be
+deemed Grecian, however whimsically the doors and windows may be
+constructed. If, on the contrary, the shadows give a preference to
+perpendicular lines, the general character of the building will be
+Gothic. This is evident from the large houses built in Queen Elizabeth’s
+reign, where Grecian columns were introduced. Yet they are always
+considered as Gothic buildings.</p>
+
+<p>In our modern Grecian architecture large cornices are repeated, with
+windows ranged perfectly in the same line, and these lines often more
+strongly marked by a horizontal fascia. There are few breaks of any
+great depth; and if there be a portico, the shadow made by the columns
+is very trifling compared with that broad horizontal shadow proceeding
+from the<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> soffit (that is, the under side of the heads of apertures,
+architraves, and the corona of cornices). The only ornament its roof
+will admit, is either a flat pediment departing very little from the
+horizontal, or a dome still rising from a horizontal base.</p>
+
+<p>But in these remarks attention is chiefly drawn to the general
+architectural effects of style, independent of concomitant
+circumstances. Yet it is hardly necessary to do more than call on the
+experience of any man of taste to show that position, adjacent scenery,
+and other “accidental” or “incidental” matters will modify the special
+effect of any style in regard to the picturesque, and also those of a
+general character. A Gothic erection in a confined situation will lose
+most of its beauties, while one of a Grecian character may be especially
+suitable. In choosing, therefore, any design for the erection of a new
+building, or alterations in one already in existence, respect should be
+had to the natural character of the surrounding country, the aspects in
+regard to the sun and prevalent winds, the extent of the estate or
+grounds on which the building is to be erected, the views from the
+various apartments, the character of wood, plain, or other adjacent
+tree-scenery, and last, but of equal or greater importance, questions in
+reference to domestic comfort and convenience, drainage and dry soil,
+supply of water, and a variety of details, most of which will at<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> once
+suggest themselves. In many cases the choice of site is necessarily
+fixed by previous purchase or inheritance of the land, yet in such cases
+chances are left for a judicious selection in regard to some of the
+conditions above mentioned. But when the purchase has to be effected,
+<i>all</i> the conditions should be kept in mind, and, if possible,
+completely satisfied. Such details should form the subject of minute
+inquiry, and they are here only named for the purpose of showing how the
+choice of the best style, in regard either to general beauty or
+picturesque effect, should be decided on with mature attention to all
+the circumstances of the case.</p>
+
+<p>Most of the old mansions, &amp;c., of this country and many parts of
+Continental Europe, have been erected in situations that were then
+immediately, and at little cost, available for the purpose. At one time
+the choice of such situation depended on careful attention to the
+special circumstances of those who erected the building. Thus it is
+found, generally, that the banks of the rivers, as affording ready and
+cheap means of carriage by the stream, were mostly chosen. Hence our
+abbeys, monasteries, &amp;c., are frequently found in such localities.
+Baronial castles were usually erected on hills, the height of which
+tended to the security of the owners against sudden incursions of their
+foes. From the varied character of English topography has<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> arisen that
+great variety of picturesque beauty that distinguishes the ruins which
+abound in almost every county throughout the length and breadth of the
+land; such ruins, architecturally considered in relation to the
+surrounding circumstances of wood, vale, hill and dale, have become
+subjects of study and suggestion to modern architects, and models,
+constantly adopted at the present time, in certain details, for
+producing new designs. In the selection of these, or of any other style,
+however, Burke has laid down, in his essay on “The Sublime and
+Beautiful,” an excellent rule: “A true artist should put a generous
+deceit on the spectators, and effect the noblest designs by easy
+methods. Designs that are vast only by their dimensions, are always the
+sign of a common and low imagination. The work of art can be great but
+as it deceives; to be otherwise is the prerogative of nature only.”</p>
+
+<p>It will thus be seen, that to obtain the highest effect of the
+picturesque in architecture requires an educated eye, a refined taste,
+great experience, but especially a keen perception of all the
+conditions, on the fulfilment of which the most successful result can be
+obtained. In all there is a natural love of unity and effect.
+Montesquieu, in his dissertation on <i>Taste</i>, observes: “Wherever
+symmetry is useful to the soul, and may assist her functions, it is
+agreeable to her; but wherever it is useless, it becomes distasteful,
+because it<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> takes away variety. Therefore things that are seen in
+succession ought to have variety, for our soul has no difficulty in
+seeing them; those on the contrary, that we see at one glance, ought to
+have symmetry. Thus at one glance we see the front of a building, a
+parterre, a temple. In such things there is always a symmetry which
+pleases the soul by the facility it gives her of taking in the whole
+object at once.”</p>
+
+<p>The numerous dissertations, essays, &amp;c., that have been produced on the
+subjects that have here been treated on in a discursive manner only, are
+a sufficient proof of the difficulty which exists in acquiring,
+applying, and affording an accurate and ample description of all the
+conditions necessary to picturesque architecture; they also in some
+measure explain the reason of the grotesque, and even offensive results
+that obtrude on refined taste in the productions of builders who are
+utterly deficient of artistic taste and knowledge in carrying out their
+objects. A general, and in part a historic view of architecture may
+serve to show how success has been attained in many cases, and the evils
+that should be avoided as leading to failure in effect of the general
+and special features of an erection.</p>
+
+<p>In the cursory view of the history of architecture already given, it has
+been shown that the earliest efforts of the art were simply directed to
+satisfy the simple wants of man, without any regard being had<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> to taste.
+It was not until riches began to accumulate in a few hands that taste in
+architecture was developed, and by the few examples thus produced the
+taste of society at large was educed, refined, and extended.</p>
+
+<p>Omitting then any inquiry into the architecture of our earth’s
+aborigines, which was evidently of the rudest character, reference may
+first be made to early architectural attempts in Asia. It has been
+ingeniously observed by M. Pair, that the Chinese imitated a tent as the
+model of their system, a result that undoubtedly arose from the fact
+that the first Tartar tribes were nomadic or wandering in their nature.
+It has also been remarked that a bird’s-eye view of a Chinese city at
+once suggests the idea of a fixed camp. In southern and south-western
+Asia may be found, on the other hand, the remains of extensive
+architectural productions in caves, such as that of the Pagoda
+Elephanta, from which many have argued that subterraneous dwellings were
+amongst the earliest; but it is evident that such could only be made in
+places where stone existed in masses, as a basis of the country. In a
+plain and sandy district, and in alluvial soil generally, such could not
+possibly have been produced. There is not the least doubt that the
+conditions of climate have in all cases determined the early character
+of each national system. In both hot and cold countries caves would
+naturally have been sought as affording shelter from<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> the two extremes
+of heat and cold. Recent geological discoveries have brought to light
+the fact that the remains of human and quadruped bones have been found
+together in such situations, the human inhabitants having most probably
+been the predecessors of the beasts of prey, as also of the fowls of the
+air. It has been suggested too that the forest tree having formerly
+served for shelter, might have suggested the floral character of
+columns, and the use of floral decoration generally at their summit.</p>
+
+<p>In respect to these “natural” and consequently primitive “systems” of
+architecture, Billington has made the following judicious
+remarks:&mdash;“Those people or nations who lived by the chase (and in the
+same class the Ichthyophagi, or fish-eaters, are included) could not for
+a great length of time have built themselves shelters. The long courses
+the hunters made prevented them from watching their property, which must
+have comprised [but] few articles; and they found it more convenient to
+make hollows in the rocks for their dwellings, or to profit by those
+which nature offered them in its caverns. It was the same with those who
+lived by fishing; passing a sedentary life on the sea shores, the sides
+of rivers, or the borders of the lakes, they always made themselves such
+abodes, or took advantage of those already formed by nature. The little
+industry which this<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> mode of life required, and the natural idleness
+which followed it, was sufficient to induce them to prefer the dwellings
+presented by nature, to those of art. This fact is proved by experience
+at the present day, as these descriptions of persons continue to adopt
+the same plan of life in countries where the arts of civilization have
+not extended their beneficial influence. The pastors or shepherds, as
+they were inhabitants of plains during a great portion of the year,
+could not make use of the retreats hollowed and prepared in the
+mountains and rocks by the hand of nature; being obliged to seek change
+of pasture, and thus lead an ambulatory life, it was requisite to have
+dwellings or shelters that could be carried with them wherever they
+went, and hence originated the use of tents. But the active operations
+of agriculture requiring a definite situation, necessity suggested the
+propriety of building solid and fixed abodes. The agriculturist then,
+living on his own grounds, and in the enjoyment of his property, had to
+store his provisions; it was therefore necessary to have a habitation at
+once commodious, safe, healthful, and extensive; and the wood hut with
+its roof was soon erected.”</p>
+
+<p>The same author considers that there is not the least certainty of this
+primitive wooden construction, with its inclined roof, having been the
+universal model of all nations, but especially in regard to Egypt and<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span>
+China. The peculiarities of the early Chinese style of architecture have
+been already named, and with the persistent continuity in one course yet
+prevalent, that style is still preserved. But the Grecian style was
+evidently founded on the rude model, and the ingenuity of that nation
+eventually led to the transference of material from wood to stone.</p>
+
+<p>At the present day the Orders of Grecian architecture are fundamental to
+the principles of modern art in numerous varieties of detail; they have
+survived the prejudices, fancies, and dicta of various schools of art,
+although, as already shown, the Gothic and other systems have become
+formidable competitors, and in many cases, especially in regard to the
+picturesque, efficient, elegant, and ornamental substitutes. The taste
+for the latter characteristic has led to an increased adoption, for
+example, of the Italian style, which in many respects resembles the
+Grecian, but differs from it especially in lightness of detail, with
+greater variety. The author just quoted traces the origin of the Doric
+Order of the Greeks to a primary adaptation of the trunks of trees as
+external supports of the wooden dwelling, seeing in them the
+foreshadowing of the column designative of that order. “As trees are of
+greater circumference at their lower extremities, and diminish in
+rising, the diminution of the column was suggested by them.... These
+timbers<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> (as supports) consisting of trunks of trees planted in the
+ground, offered not as yet the idea of bases and pedestals, as is seen
+in the Doric Order, which is without base. But in the course of time the
+inconvenience of this method was perceived, as it exposed the wood to
+rot, and to remedy this inconvenience pieces of wood were placed under
+each support to give it a better foundation, and to protect it from
+humidity. This practice may be traced in some of the ancient edifices in
+which the columns have no other base than a block of stone. But
+afterwards, the number of pieces of wood employed for the base was
+increased, in order to give greater elevation to the supports, or to
+effect better security against the effects of humidity. From this
+multiplication of blocks as footings, sprung the <i>torus</i> and other
+mouldings of the base, an origin far more probable than that of
+ligaments of iron, as imagined by Scamozzi and others. It is also more
+conformable to the nature of capitals, in which it is known that the
+same proceeding was employed. After beginning with a simple abacus,
+several others were afterwards added, which were enlarged, as they rose,
+one above another, in such a manner that as the base was to the column a
+kind of footing on which it rested more solidly, so the capital made a
+head more capable of receiving and supporting the weight and form of the
+architrave, a large beam placed horizon<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>tally on perpendicular supports,
+and destined to receive the covering of the whole edifice.”</p>
+
+<p>The author goes on, in a similarly ingenious manner, to prove the
+derivation, from nature, of the Orders of Grecian architecture. He
+ascribes the form of the roof as having necessarily suggested that of
+the pediment. On this point he quotes the remark of Cicero: “It is not
+to pleasure that we are indebted for the pediment of the Capitol and
+those of our temples: necessity suggested the form for the better
+draining off the water; nevertheless, its beauty is so very great, and
+it is become so necessary for edifices, that if a Capitol were to be
+built in Olympus, where it was never known to rain, it would,
+notwithstanding, be necessary to give it a pediment.”</p>
+
+<p>The preceding remarks and ingenious theory amply justify the opinion
+already suggested, that nature must be the foundation of every true
+principle of art. Assuming, as we are compelled to do, that the Grecian
+style as a whole was original, the only perfect model that could have
+been selected was that afforded by natural objects, in all of which are
+found the most perfect results, derived from few means but answering an
+infinity of ends. It will be remembered that the construction of the
+Eddystone lighthouse was based in regard to durability, and resistance
+to the force of the waves, on those properties which are possessed by
+any<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> kind of tree exposed to the full force of the tempest. “Nature
+ought to be the basis of all imitation.”</p>
+
+<p>Proceeding from the teachings of nature, the Greeks learned gradually to
+introduce new types, consistent in the main with the original mode, but
+of great variety in detail. By further refinement of this, but close
+adherence to the facts or the analogies of nature, the Grecian art
+became developed in the invention of other Orders, the names of which
+are sufficiently known to all interested in architecture. Limited space
+prevents our entering into a class of analyses of the characteristics of
+each. Little doubt exists of the Doric Order having been the first
+produced, and following it were the Ionic, Corinthian, Composite, and
+Tuscan, which constitute the five Orders in general of architecture.</p>
+
+<p>Perhaps the best epoch of ancient architecture was that during which,
+subsequent to the battle of Marathon, the Greeks commenced to rebuild
+the remains of Persian buildings, and to re-construct Athens. The ruins
+of this period yet with us, attest the advance which Grecian
+architectural art had attained. The ingenuity and refinement of Greek
+art gradually spread to Rome, the Romans adopting the Doric Order under
+the modification known as the Tuscan. The art having been introduced
+into Etruria by the Pelasgi, under the celebrated Augustus, Rome
+attained that magni<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>ficence which has ever since rendered its name
+famous as a seat of the arts. Amongst the great erections of this period
+was the Pantheon, one of the grandest efforts of genius that the world
+has yet known. Under subsequent emperors architecture also progressed,
+and the name of Trajan is identified with the erection of triumphal
+arches, &amp;c., the ruins of which still receive the admiration of every
+qualified judge in art.</p>
+
+<p>The removal of the seat of Roman government to Byzantium led to the
+decadence of art at Rome, which was completed by the incursions of the
+Visigoths. Eventually the Gothic style arose, phœnix-like, from the
+ruins of Grecian and Roman art, and obtained a place that has rendered
+it ever since one of the most favourite styles of architecture.</p>
+
+<p>Just as under the heathens, the art had been chiefly promoted by
+erections for religious purposes, so when the Christians began to obtain
+the ascendancy, the erection of churches led to a similar result. From
+the fourth to the seventh century some magnificent buildings of this
+kind were erected. At the commencement of the eleventh century the
+church of St. Mark at Venice attested the wonderful progress which
+architecture had made, and it continued to progress during the next two
+or three centuries, being confined chiefly, however, to Italy. But the
+Gothic style, suited to a northern clime, never obtained full hold<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span>
+there; Italy cannot boast of a single pure Gothic edifice. Gradually the
+new style spread over Europe. The Cathedral at Strasbourg, the Louvre at
+Paris, suggested improvements in our own country at Windsor Castle,
+Oxford, &amp;c., all indicated the rapid extension of the Gothic style or
+its modifications. But in numerous instances the taste that was
+exhibited showed a decadence from the simplicity and grandeur of the
+Grecian and Latin styles. In respect to the latter, indeed, the
+materials of the new erections were obtained from the ruins of the
+ancient edifices, the columns, &amp;c. there found, being pressed into the
+service, in any manner, of the new school of architects.</p>
+
+<p>Towards the middle of the fifteenth century a revival in architectural
+art took place, especially under Brunelleschi. The patronage of the
+Medici added a stimulus to the progress thus initiated. Improvements
+were introduced in the erection of private residences in most parts of
+Western Europe, the art having in its best form been chiefly till then
+directed to building edifices for religious purposes alone. In the
+sixteenth century architecture in Rome attained a perfection nearly
+equal to that it had formerly enjoyed under the Cæsars, especially
+during the Augustan age. Private and public buildings were erected of
+great magnificence, yet of simplicity of form combined with grandeur.
+Under Vignola architecture attained great excellence.<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> Michael Angelo
+was appointed architect of St. Peter’s at Rome about the middle of the
+sixteenth century, and the mention of his name alone is sufficient to
+call to mind the extent and value of his labours in the art. In the
+seventeenth century, about the year 1620, Inigo Jones was engaged in
+repairing St. Paul’s Cathedral in London, and subsequently produced
+designs for the Royal Palace at Whitehall in the reign of Charles I.
+Greenwich and Chelsea Hospitals, and other noted buildings, were
+designed about this period. In France and other continental countries
+architecture attained great perfection at this period, both in respect
+to public and private buildings. Among the most eminent architects of a
+period somewhat nearer to our own time, was Sir Christopher Wren, whose
+St. Paul’s Cathedral serves as a monument to the great genius of that
+eminent man. This era may, comparatively speaking, be considered as the
+commencement of the modern style of English church architecture,
+inasmuch as several productions of Wren are still used for the purposes
+to which they were first applied, having undergone little or no change
+since their completion.</p>
+
+<p>Such is a brief, and necessarily very imperfect resumé of the progress
+of architecture. The styles of Eastern Europe, ancient Mexico, and many
+others, have not been described, because unnecessary, in this
+Introduction, which has only for its object to call<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> general attention
+to the causes which have led to the present state of the art. Like all
+others it has been the subject of alternating prosperity and adversity.
+At one time fostered by men eminent in their profession, and by those
+whose means permitted them to lavish riches on magnificent piles,
+fountains, villas, &amp;c.; and at others, degraded by its students, and
+neglected by those who should have been its patrons.</p>
+
+<p>In all branches of architecture direct reference should be had to the
+objects for which the building is intended. An eminent architect,
+already quoted, has well set forth this essential point in the following
+remarks:&mdash;“The art of characterizing, that is to say, of rendering
+evident by material forms the intellectual qualities and moral ideas
+required to express in edifices, or to make known by the harmony and
+suitableness of all the constituent parts that enter into their
+composition the use for which they are intended, is perhaps of all the
+secrets of architecture the most difficult to develope or to attain.
+This happy talent of conceiving and of communicating the conception in
+the physiognomy suitable to each edifice; this sure and delicate
+discernment, which exhibits the distinguishing parts of such edifices,
+that at first appear susceptible of no characteristic distinctions; this
+judicious employment of the different styles which are as the tones of
+architecture; this skilful application of the signs which the<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> art
+employs to affect the sight and understanding; this exquisite feeling,
+which errs neither in the just disposition of the masses and employment
+of the details, nor in the just dispensation of richness and simplicity,
+and which is able to combine true expression of character with the
+harmonious accord of all the qualities susceptible of being represented
+by architecture&mdash;all this requisite talent, which study perfects, but
+does not produce, is a gift possessed by few. This suitable expression
+presents itself under two relations, the one appertaining to
+architecture in general, and the other to edifices in particular. The
+first consists in the expression of the qualities or intellectual ideas
+which are the results of the art metaphysically considered; the second,
+in the true indication of the uses for which edifices are designed, that
+is, in considering architecture as a certain mode of expressing or
+painting. This expression, according to the nature of the buildings and
+edifices, may be produced by the gradation of richness and greatness
+proportionate to the nature and the object for which they are erected;
+by the indication of the moral qualities attached to each edifice, the
+manner of expressing which is beyond the reach of rules; by the general
+and particular form of architecture; by the species of the construction
+and the quality of the materials that may be employed in the execution;
+and lastly, by the resources of decoration.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span>” In these remarks will be
+found a highly valuable <i>précis</i> of the excellence to which the art of
+the architect should be directed, and the means that must be adopted to
+obtain pleasing and successful results.</p>
+
+<p>The erection of country mansions, villas, and other residences, has of
+late years been greatly stimulated in our country. The enormous annually
+accumulated savings of the commercial portion of the community have
+induced a large amount of capital to be invested in such objects. In
+regard to questions of taste and decoration, it should be borne in mind
+that but very little extra cost is incurred in building a residence in a
+pleasing and picturesque style than in one having not the least
+pretension to architectural beauty. In our earlier remarks on the nature
+of the picturesque the <i>general principles</i> of obtaining that effect
+have been pointed out. In the following pages the special details are
+amply descanted on, and illustrated by designs, drawings, &amp;c. It is the
+object of every department of constructive skill at the present day, to
+endeavour to obtain the best possible result by the least possible
+expenditure of material, and thus taste actually causes economy rather
+than increased expense. Tons of heavy and unsightly materials are now
+replaced by hundredweights of decorative, and yet substantial, masonry
+and iron work. A number of modern elegant erections, affording
+accommodation equal in extent,<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> but vastly superior in quality, are now
+made at an expenditure of stone or brick less by one-third in quantity
+than was employed in many old houses; those in High Street, Edinburgh,
+by way of example. The result has been arrived at by the joint aid of
+science and art, the former giving data as to the strength of the
+material, and the latter directing its disposal. The peculiar character
+of English scenery is exactly adapted for giving a picturesque character
+to villa residences, provided the latter are designed and erected in
+accordance with the principles of sound taste. Surely he who would spend
+money in building a house, in which all or most of the remainder of his
+days are to be spent, will not grudge making that dwelling the subject
+of decoration or ornamental art, by which its aspect shall at all times
+be suggestive of pleasure rather than of aversion or disgust. It has
+been said that most individuals, by long association together, acquire a
+mutuality of tastes and even physical resemblance. It cannot be denied
+that even inanimate objects, such as our dwellings, furniture,
+landscapes, gardens, and other such surroundings, have a parallel effect
+on us. Hence the wisdom of using all the means which architectural art
+places at our disposal. Errors in this respect often proceed from
+thoughtlessness, if not from want of refined taste. An instance may
+suffice to show how much<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> such matters should be attended to in the
+choice of a site and other conditions. A retired manufacturer erected a
+mansion at a cost exceeding fifty thousand pounds, and had never paid
+any heed to the fact that the most prominent object seen from his
+dining-room window was the cemetery of the adjacent town! Soon this
+became unbearable, and the house has been comparatively deserted by the
+family, caused by an oversight that the least consideration would have
+remedied.</p>
+
+<p>The designs given in the following pages have for their object to
+suggest the most approved, tasteful, and effective plans for the
+mansion, the villa, or cottage, and great care has been devoted to their
+production. Whilst a residence must necessarily be kept within a cost
+suitable to the means of the proprietor, by judicious care of the
+professional man, possessed of a competent knowledge, a little money may
+go a long way in the decorative art. Many of the drawings are devoted to
+the minor but not less effective portions of the house. Congruity in
+detail inside the dwelling is equally required with symmetry, beauty, or
+picturesque character of the exterior. Want of judgment in this point
+may speedily convert the most elegant building into little better than a
+repository for gewgaws selected without taste and arranged without
+skill. It is impossible for <i>every</i> man to become his own architect; but
+it is possible, in most cases, for all who have<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> the means, to select
+such a design as shall best comport with their taste, leaving the
+working out of details to the architect. But a remote possibility exists
+of an unprofessional being able even to state what he requires, and
+should he ask an architect for a design or plan, it is more than likely
+that the latter would fail to please. When, however, a variety of
+designs is placed before the eye of any intelligent person the act of
+selection becomes easy. Although no single plan may succeed, a
+combination may suggest itself, and the architect can then readily work
+on something like a sound foundation, and with the hope of success. This
+work is intended to supply such requirements.</p>
+
+<p>Again, in building a house, or in effecting alterations in an old one,
+points apparently of minor, but really of great importance, require
+attention. A badly constructed chimney will make the whole house
+miserable, independent of the injury done to furniture, decorations,
+&amp;c., and the destruction of paint and paperhangings. A defective
+drainage may render that which was intended to be an abode of peace,
+plenty, and happiness, a living charnel-house, or the door to the grave!
+A question of vital importance is that of ventilation. These apparently
+minor questions can therefore scarcely be exaggerated in their value,
+for neglect of them will render nugatory the best external efforts of
+the architect. Hence they have hereafter<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> full attention, in their
+practical details, directed to them.</p>
+
+<p>On the general principles of ventilation the following remarks may be of
+value to all who propose to erect new dwellings, or alter those already
+inhabited. In all houses, and in fact every building divided into
+stories, a ready means of ventilation may be insured, or rather always
+exists. This is presented in the opening formed by the staircase. Into
+this general opening communications can be made into, and from, each
+apartment by apertures placed in some convenient position in each room.
+The grand law on which ventilation depends is, that hot air, being
+lighter than cool air, has a universal tendency to rise, whilst cold air
+takes the lowest part of a house or apartment. It hence follows, that if
+a supply of cold air be admitted by an opening at the lower part of a
+house, and it becomes heated within the house, it will have a tendency
+to rise to the roof; and if a sufficient opening be there provided, it
+will escape into the open air. Consequently a constant current may thus
+be obtained in any dwelling, sufficient to give a supply of pure air and
+to remove that which has been vitiated by breathing, the combustion of
+fires, and other causes. The heavy atmosphere of this country requires
+assistance to make this grand law operative; to cause the air of a room
+to move as readily as it is required, forced<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> ventilation becomes
+necessary. The English fireplace provides this; and to that it owes,
+with us, its extreme popularity. A constant current of air from the room
+is heated and passed up the chimney flue, and this draws in a
+corresponding supply of cold air, and proper and convenient apertures
+should be left to permit this to enter. The fireplace forces attention
+to the necessity; if sufficient fresh air be not provided for it the
+smoke enters the room and drives the occupants out. Notwithstanding the
+attention that has been paid to the stove and its flue, we are still
+sadly behindhand in a proper construction of them. The flues could be so
+arranged that a building might be enabled, using a figurative
+expression, to breathe, whenever its principal flue, that of the kitchen
+fireplace, was in action; a construction to effect this will be
+illustrated in the text. In conclusion on this point, it may be added
+that nothing is more essential to the health and comfort of a house than
+that it should be thoroughly and constantly ventilated, and if any
+portion is to be particularized, it should be the sleeping apartments.</p>
+
+<p>Another question which, to a certain extent, should influence the
+arrangement of a house of any pretensions in respect to size, is that of
+the method of warming it. The preference, or rather prejudice, in favour
+of fireplaces is so great, that a revolution of the nation in political
+matters could be more easily brought about<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> than the abolition of the
+fire-grate; but it is well known that at least three-fourths of the coal
+consumed is wasted in the attempt to heat the room to an equable and
+pleasant temperature. But by such means the result cannot be arrived at.
+In front of, and close to the fire, the temperature is excessive, while
+the backs of the sitters facing in are suffering from cold. An equalized
+temperature in rooms is obtained abroad. In Russia, a plan is adopted of
+heating the rooms by means of the walls, the latter being double, and so
+arranged that they act as flues to a furnace situated at the lower part
+of the building. By this method every part of the room acquires,
+simultaneously, an equable temperature. There need be no draught, simply
+because the air is not drawn in one direction more than in another. From
+every side a gentle current of warm air arises. This method cannot be
+adopted here; it would not suit for English houses where coal is used as
+fuel: the interstices of the double wall would soon be filled with soot.
+The same effect is produced in a far more elegant way, by means of
+warm-water pipes passed round the room; by this simple process the
+staircase and passages and the sides of a room distant from the
+fireplace are made of equal temperature&mdash;one, or at most two furnaces,
+burning coke and making no smoke, if placed in a cellar outside an
+extensive building, can render the whole in<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span>terior, from attic to
+ground-floor of equal temperature, and not prevent the action of the
+fireplace, or its agreeable presence in our homes. In the British
+Museum, where warming apparatus is used, the temperature of the whole is
+kept uniformly the same, that is, 65° Fah., even throughout the most
+severe weather, independent of the common fireplace. No greater change
+is required in any part of our buildings than in the latter; not that it
+requires to be removed, but a change to prevent its waste of heat and
+its contaminating the outside air with the soot and blacks from its coal
+fuel; the lower fireplaces in a building should warm or air the upper
+rooms, and no soot or blacks should be allowed to leave the flues. A
+construction for this purpose will be shown in the ensuing pages, as
+well as one for warming an entire building and a conservatory.</p>
+
+<p>An opposite effect to that of warming is frequently desirable in our
+houses; and to ensure this the position of the site of the house must be
+considered. It is evident that a room having a south-western aspect must
+of all others be the warmest, whether in winter or summer, simply
+because that aspect is most exposed to the influence of the sun’s rays.
+On the other hand, rooms having a north-easterly aspect must necessarily
+be the coolest, because, except during the earliest part of midsummer
+mornings, say from 2 to<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> 4 <small>A.M.</small>, the sun’s rays cannot reach them. It
+is, therefore, in the power of those who have the requisite resources,
+to construct a house in such a manner that warm rooms can be provided
+for winter use, and cool for alleviating the heat of summer. It is by no
+means an uncommon occurrence to find a large dinner-party assembled in
+the heat of summer in a room that has been exposed to the sun’s rays
+during the afternoon. Frequently in such cases, owing to the number of
+persons present, the heat of the viands, lights, &amp;c., the temperature
+rises above 80°, a circumstance prejudicial to health, enjoyment, and
+the vivacity of social intercourse, that might have been entirely
+avoided had the dining-room been placed in a northern aspect. These are
+points well worthy of attention in constructing a newly-designed
+dwelling. It unfortunately happens, in many cases, that the supposed
+exigencies of architectural arrangement must have priority of all other
+considerations. Yet the architect who wilfully opposes such
+modifications of his plan for the purpose of conducing to general
+comfort is shortsighted. His object ought to be to build a house <i>to be
+lived in</i>, and not <i>to be looked at</i> alone.</p>
+
+<p>A few remarks on some of the general principles that should lead to a
+choice of site, situation, and other matters, may not be without
+advantage. Whatever inducement a plot of ground for building purposes<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span>
+may possess, the great question which has first to be solved is that of
+<i>health</i>. A clayey soil, bog, marsh, or stagnant water; a low level; an
+undrained or badly drained surface; a moist atmosphere, or exposure to
+the chill north and east winds, are all objections that a question of
+price should never be pitted against. Popular knowledge on sanitary
+subjects is now so extensively diffused that healthy localities are
+always of ready sale, while those of an opposite character are
+frequently unsold in the market, and consequently may be had at a low
+price, but are really never cheap. Nothing can counterbalance the value
+of a healthy locality, for in the end one of an opposite character
+becomes far more costly. The timbers of the building fall rapidly into
+decay, and require renewal; the decorative portion, internally and
+externally, becomes faded; doors and windows cease to fit and work
+accurately; the iron work becomes rusted and requires frequent renewal
+of paint or other protecting coat; and the same may be remarked in
+regard to the fences of the estate.</p>
+
+<p>The position of the residence in regard to the sun at different periods
+of the year is also an important matter. If it stands with each front
+north and south, the north front will have comparatively little sun,
+except during summer time; and if the position be north-east and
+south-west respectively, the cold bitter<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> winds of winter will be
+severely felt, whilst from the fact that the greater portion of the year
+the rainy quarter of the wind is south-west, that front or back of the
+house will be continually exposed to its influence. Consequently,
+frontages to the south-east and north-west are to be preferred in all
+cases, when possible, as such position ensures to both sides the
+greatest average of sun, heat, and light, and protection from the
+north-east wind of winter or the south-west of the rainy season.
+Comparatively little attention has been paid to the influence of light
+on health and its effects on the mind, in the construction of modern
+dwelling-houses. An excess is easily avoided by blinds and other
+contrivances; but if the architectural features of the building be such
+as to exclude the light, an opposite remedy is impossible. Abundant
+access of light tends to set off all the internal decorations of the
+house, and spreads a cheerfulness of appearance that is always highly
+prized. It gives brilliancy of outline and detail to coloured
+decorations, and, to use a common phrase, is the best possible “set-off”
+that the architect or decorator can desire. As already pointed out, the
+effect of light and shade, in regard to architecture, is a condition of
+success in respect to the picturesque.</p>
+
+<p>It is always desirable that a house should be placed on an eminence; it
+becomes thus a prominent object, and its qualities are the more readily
+perceived. A<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> gradual ascent to the house by the walks or drive adds
+much to the general effect. The walks are thus constantly drained, and
+preserve longer a neat appearance, a matter which is of much importance
+in setting off the advantages of situation, site, &amp;c. In respect to
+questions of health also, this is of great advantage, as the waste
+matter of the household more readily falls away by its own gravity, and
+is thus quickly removed; which if left stagnant would be productive of
+harm to the inmates.</p>
+
+<p>Abundant access of fresh air is of great importance to health in a
+residence; unnecessary exposure to wind being at the same time to be
+avoided. Hence to place a residence in the centre of a close array of
+trees is not desirable; not only is the access of air, light, and heat
+prevented, but there is always a tendency induced to dampness in the
+house. In an open, airy, and well drained situation, the effects of even
+long-continued wet are soon dispelled, but when all sides of a house are
+surrounded closely by trees, an opposite result is induced, and, in
+comparatively dry situations, many evils of a damp one ultimately ensue.</p>
+
+<p>One of our earliest English writers on building, Thomas Fuller (1633),
+speaking of the choice of situation for a new structure, says: “<i>Chiefly
+choose a wholesome air</i>, for air is a dish one feeds on every minute,
+and therefore it need be good. Wherefore,<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> great men (who may build
+where they please, as poor men where they can) if herein they prefer
+their profit above their health, I refer them to their physicians to
+make them pay for it accordingly.” And as to light, he continues:
+“<i>Light (God’s eldest daughter!) is a principal beauty in a building</i>,
+yet it shines not alike from all parts of heaven. An east window
+welcomes the infant beams of the sun before they are of strength to do
+any harm, and is offensive to none but a sluggard. A south window, in
+summer, is a chimney with a fire in it, and needs the screen of a
+curtain. In a west window, in summer time, towards night, the sun grows
+low and ever familiar, with more light than delight. A north window is
+best for butteries and cellars, where the beer will not be sour for the
+sun’s smiling on it. Thorough lights are best for rooms of
+entertainment, and windows on one side for dormitories.” And he tells
+us, “<i>a pleasant prospect is to be respected</i>. A medley view, such as of
+water and land at Greenwich, best entertains the eyes, refreshing the
+wearied beholder with exchange of objects. Yet,” he adds, “I know a more
+profitable prospect&mdash;where the owner can only see his own land round
+about.”</p>
+
+<p>Having thus disposed of some of the most important points that should be
+kept in mind when choosing the site of a house, and of such other
+conditions as affect its picturesque and sanitary character, a small
+space may<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> be devoted to the consideration of its internal decorations.</p>
+
+<p>On this point there is no disputing about tastes, but to this may be
+added that the absence of taste is by no means uncommon. Having fixed on
+the style of house, the next question for decision, in respect to its
+general effect, should be that of its internal decoration. Congruity of
+design should exist between the two, for if an opposite course be
+adopted, a vulgarity will be introduced that will be highly displeasing
+to good taste. On the other hand, a slavish adherence to uniformity of
+internal with external character might produce so severe an adherence to
+system as to exclude the benefits that arise from judiciously chosen
+contrast. What has before been remarked in regard to the exterior,
+applies equally to the interior of a house&mdash;each should have in its
+general effect an agreement in appearance to its objects. In an antique
+apartment the light character of modern furniture would be evidently out
+of place, and <i>vice versâ</i>.</p>
+
+<p>It is evidently impossible to direct attention to more than a few
+elements of success that may be arrived at in internal decoration.
+Independently of this, each person has his own views on the matter, that
+would be sure in the end to overrule any exact principles, or at least
+greatly modify them. The following observations however, are offered
+suggestively.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p>
+
+<p>The facility with which the most beautiful designs in painting, &amp;c., are
+transferred to paper for paper hangings, has brought these into very
+extensive use for decorative purposes. Formerly the best patterns were
+produced in France alone, but of late years the British manufactures
+have rivalled the Continental. The pattern in respect to size, colour,
+design, &amp;c., should be so chosen as to be in accordance with the amount
+of light, the size, and other conditions of the room. A large pattern in
+a small room is equally out of place with the reverse condition. A light
+pattern again in a dark room, although advantageous in alleviating
+sombreness, is also incongruous. The general effect of a room on a
+spectator is thus largely influenced by these points, and consequently
+they should be carefully attended to. Frequently paint is preferred for
+covering walls of apartments, and where many pictures are introduced
+this may be advantageously employed, because the paintings alleviate the
+monotonous effect that would otherwise ensue. Painted walls are liable
+to injury by peeling off in places, especially where likely to meet with
+blows from furniture, &amp;c. In damp weather, from the absorption of heat
+they generally become not only wet, but frequently stream with water. If
+the apartment is “smoky,” lines of sooty hue soon follow, and the room
+acquires a dirty appearance. This is avoided<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> by the use of paper, which
+prevents the abstraction of heat and the consequent deposition of water;
+Beautiful effects may be produced by graining and other devices which
+are too well known to require enumeration. When flock paper on walls
+becomes dirty and requires renewing, if painted it looks extremely well,
+a diaper ornamental surface being produced by such means.</p>
+
+<p>The mantel-piece of a room adds to or detracts from its general effect.
+In a well lighted apartment, with light furniture, white marble is
+decidedly preferable. Whereas serpentine, black, or coloured marbles,
+grey and even red granite, may all agree in rooms but moderately
+lighted.</p>
+
+<p>The cornice and ceiling decorations equally require adaptation to the
+character of the apartment. For these purposes beautiful designs have
+been suggested and employed. The material of which they are usually made
+is so plastic as to be capable of receiving and retaining the most
+intricate forms conducive to elegance and beauty. In some rooms such add
+greatly to the general effect, while in others, especially with painted
+walls, plain mouldings seem most appropriate.</p>
+
+<p>A profusion of gold or gilding displays want of taste. A glaring example
+of this might be pointed out&mdash;a white marble mantel-piece supported by
+gilt angels five feet high which “graces” the <span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>drawing-room of a mansion
+in one part of this country. The outer room is a gorgeous display of
+gold, silver, and vulgarity. It serves, however, index-like, to point
+out at once the riches and “taste” of the owner. On the other hand,
+paintings and engravings in gilt frames have an excellent effect in
+setting off a room, provided that their size is in accordance with that
+of the apartment.</p>
+
+<p>Stained deals, varnished, afford a good material for panelling, and for
+covering the walls of rooms. We have in our eye a dining-room thus
+fitted which has an effect approaching to some of the oaken fittings of
+olden times. The material is cheap and durable, whilst the surface can
+always be renewed in its freshness by a new coat of varnish. It has been
+largely adopted in churches for pews and other fittings, with the best
+possible results.</p>
+
+<p>The minor objects of decoration, such as handles, finger-plates,
+bell-pulls, &amp;c. &amp;c., can only be here named. In many instances designs
+are given in the following pages, suggesting the most suitable either
+for indoor or outdoor use, according to the character of the room or
+entrance for which they are intended.</p>
+
+<p>So much for the picturesque exterior and tasteful interior of a house; a
+few words however may be said in respect to its immediate surroundings,
+such as the lawns, gardens, pleasure grounds, &amp;c.</p>
+
+<p>The most picturesque villa would be a nonentity in<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> a wrong situation.
+It would be opposed to what is usually called the “fitness of things;” a
+phrase that expresses much meaning without an exact definition. Hence
+“landscape gardening” has become an almost necessary adjunct to the art
+of architecture. An unframed picture has possibly every merit that the
+painter’s art can bestow on it, yet it lacks that finish which the
+exterior confers on it. So the well laid-out garden, the vista at its
+extremity, the carefully arranged parterre, the judicious management of
+floral culture, especially with regard to colour; neatly arranged walks,
+and many other exterior matters of detail, add to, enhance, and
+occasionally become indispensable adjuncts to the picturesque.</p>
+
+<p>We give two examples of picturesque accessories to garden architecture;
+the first rather belongs to the secluded wood, to some sequestered spot
+of sylvan shade, whence rises a spring which tradition may designate as
+that of some beautiful nymph; where the limpid crystal flows in gentle,
+yet ceaseless streams, conveying “health to the sick and solace to the
+swain.” The last, a vignette at the end of this chapter, is the
+representation of a ruined fountain, designed in 1820 by one of the best
+teachers of drawing England ever possessed, the late C. J. M. Whichelo.
+The architect may suggest the addition of a garden, but it is no part of
+his business to<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> supply the details; these rather belong to the
+horticulturist. Yet these should not be forgotten; a complete whole is
+always made up of minute parts, and by these littles an entirety of
+effect is produced, just as their individual importance is not lost
+sight of.</p>
+
+<div class="figcenter" style="width: 292px;">
+<a href="images/ill_pg_047_lg.jpg">
+<img src="images/ill_pg_047_sml.jpg" width="292" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The Nymph’s Fountain.</p></div>
+</div>
+
+<p>In conclusion, it has been attempted in this introductory essay to
+enable the unprofessional reader to become acquainted with the general
+principles, and some practical details that should guide him in the
+selection of a site, and the erection of an elegant, con<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>venient, and
+pleasant house, both externally and internally. So far as architecture
+and decorative art can aid such objects, the special details involved
+have to be perused in the text of this work. Fundamental ideas of such
+subjects have alone been here treated. A hope may be expressed that any
+suggestion or advice hitherto offered may not, in all cases, be without
+value. It is not given to all men to know all things. By the experience
+of others we gain fresh views of old ideas, invest them with new
+clothing, and in fact make out of that which is past, the material for
+something new. We rest on the apparently obsolete for suggestive ideas
+of improvement. Although the fashion of this world passeth away, yet as
+a dissolving view it reproduces itself in other forms, which, by the
+contrast of apparent novelty, and real or supposed merits, gain, either
+temporarily or permanently, the applause of mankind.</p>
+
+<div class="figcenter" style="width: 209px;">
+<a href="images/ill_pg_048_lg.jpg">
+<img src="images/ill_pg_048_sml.jpg" width="209" height="80" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Old English Garden Plots.</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p>
+
+<div class="figcenter" style="width: 352px;">
+<a href="images/ill_pg_049_lg.jpg">
+<img src="images/ill_pg_049_sml.jpg" width="352" height="239" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Garden Fountain in Ruins.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p>
+
+<h2><a name="DESIGN_No_1" id="DESIGN_No_1"></a><i>DESIGN No. 1.</i><br /><br />
+A GARDENER’S COTTAGE.</h2>
+
+<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_050-a_lg.jpg">
+<img src="images/ill_pg_050-a_sml.jpg" width="275" height="201" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<div class="figcenter" style="width: 222px;">
+<a href="images/ill_pg_050-b_lg.jpg">
+<img src="images/ill_pg_050-b_sml.jpg" width="222" height="203" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Back elevation.</p></div>
+</div>
+
+<p class="nind"><span class="letra">S</span>OME examples of designs for small cottages will be first given in this
+volume. There are few domestic<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p>
+
+<div class="figcenter" style="width: 197px;">
+<a href="images/ill_pg_051-a_lg.jpg">
+<img src="images/ill_pg_051-a_sml.jpg" width="197" height="98" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<div class="figcenter" style="width: 142px;">
+<a href="images/ill_pg_051-b_lg.jpg">
+<img src="images/ill_pg_051-b_sml.jpg" width="142" height="84" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<div class="figcenter" style="width: 292px;">
+<a href="images/ill_pg_051-c_lg.jpg">
+<img src="images/ill_pg_051-c_sml.jpg" width="292" height="209" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">structures that have received within the last fifty years a greater
+share of attention than the English Cottage, especially that designed
+for the occupation of the labourer. Each detail has received much care;
+thus, whether its walls should be solid or formed in two thicknesses, as
+most conducive to warmth and comfort; whether they should be of thin
+brick or of solid thick concrete; the best kind of roof covering, and
+indeed all such questions, have been fully discussed.</p>
+
+<div class="figcenter" style="width: 218px;">
+<a href="images/ill_pg_052_lg.jpg">
+<img src="images/ill_pg_052_sml.jpg" width="218" height="205" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length of building.</p></div>
+</div>
+
+<p>Besides this, the calculation of cost has been of importance; they are
+required to return a rent that will pay 5 per cent. on the outlay, and
+to gain their picturesque appearance has generally been sacrificed.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
+
+<p>The cottage examples in this volume have been erected on estates where
+the only aim was to render them substantial and lasting structures,
+expense being a matter of minor importance. Their picturesque appearance
+being in every case insisted on.</p>
+
+<p>Before entering into any description of the designs, it must be pointed
+out that the plans, with the exception only of a few at the end of the
+volume, are all drawn to the same scale, that of 20 feet to the inch,
+and that the elevations and sections are to a scale of 15 feet to the
+inch.</p>
+
+<div class="figcenter" style="width: 157px;">
+<a href="images/ill_pg_053_lg.jpg">
+<img src="images/ill_pg_053_sml.jpg" width="157" height="212" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cross section.</p></div>
+</div>
+
+<p>The details and the vignettes, one of which is mostly given between each
+example, are of various scales suited to each separate subject.<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p>
+
+<div class="figcenter" style="width: 185px;">
+<a href="images/ill_pg_054-a_lg.jpg">
+<img src="images/ill_pg_054-a_sml.jpg" width="185" height="113" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of wood casement.</p></div>
+</div>
+
+<div class="figcenter" style="width: 103px;">
+<a href="images/ill_pg_054-b_lg.jpg">
+<img src="images/ill_pg_054-b_sml.jpg" width="103" height="89" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>The cottage design shown in the plate, and which forms the first example
+in this series, was erected on a nobleman’s estate in the country, for
+the use of a favourite gardener, a married man without children, and the
+accommodation afforded was all that he required. It consisted of a lower
+room fifteen feet by twelve, fitted with a small cottage oven; a
+scullery ten feet by ten feet, and a larder; the upper floor contained
+one room of the same size as the lower, and one fourteen feet by ten
+feet. The building was constructed in a very superior way. It was
+erected in red brick with compo dressings round the door and windows.
+The illustrations represent the front and<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> back elevations; and sections
+through the length and breadth of the cottage, with details of the wood
+casements, and a plan and section of the cottage oven.</p>
+
+<div class="figright" style="width: 58px;">
+<a href="images/ill_pg_055-a_lg.jpg">
+<img src="images/ill_pg_055-a_sml.jpg" width="58" height="94" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cottage oven.</p></div>
+</div>
+
+<p>A view of a cottage slightly different in design but having rooms of the
+same size with similar accommodation, is given. This was intended for
+the same estate.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette is an elevation of two lead pipes designed for an
+Elizabethan building in the country.</p>
+
+<div class="figright" style="width: 293px;">
+<a href="images/ill_pg_055-b_lg.jpg">
+<img src="images/ill_pg_055-b_sml.jpg" width="293" height="226" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p>
+
+<h2><a name="DESIGN_No_2" id="DESIGN_No_2"></a><i>DESIGN No. 2.</i><br /><br />
+A SMALL COTTAGE OR LODGE.</h2>
+
+<div class="figcenter" style="width: 286px;">
+<a href="images/ill_pg_056-a_lg.jpg">
+<img src="images/ill_pg_056-a_sml.jpg" width="286" height="221" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 306px;">
+<a href="images/ill_pg_056-b_lg.jpg">
+<img src="images/ill_pg_056-b_sml.jpg" width="306" height="122" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.
+
+<span class="spc4">&nbsp;</span>
+
+.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS small building forms the outer lodge to a country park. It is
+finished in all its parts so as</p>
+
+<div class="figcenter" style="width: 214px;">
+<a href="images/ill_pg_057-a_lg.jpg">
+<img src="images/ill_pg_057-a_sml.jpg" width="214" height="174" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p class="nind">to correspond in style and details with the old family mansion, and
+being a prominent object, standing in a cheerful position, each side was
+made pleasing. It is<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p>
+
+<div class="figcenter" style="width: 164px;">
+<a href="images/ill_pg_057-b_lg.jpg">
+<img src="images/ill_pg_057-b_sml.jpg" width="164" height="169" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side elevation.</p></div>
+</div>
+
+<p class="nind">so placed that the sun during its daily course shines on all the
+exterior walls. Cottages should have no</p>
+
+<div class="figcenter" style="width: 212px;">
+<a href="images/ill_pg_058-a_lg.jpg">
+<img src="images/ill_pg_058-a_sml.jpg" width="212" height="172" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length.</p></div>
+</div>
+
+<p class="nind">dark corners, the sun should find entrance at all the windows whenever
+it is bright; the interior is then warm and cheerful. If the plan of a
+building is either</p>
+
+<div class="figcenter" style="width: 164px;">
+<a href="images/ill_pg_058-b_lg.jpg">
+<img src="images/ill_pg_058-b_sml.jpg" width="164" height="156" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cross section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
+
+<p class="nind">a square or a parallelogram, and it is placed on the ground so that one
+of its diagonal lines runs due north and south, the advantage of
+sunlight at all the openings is obtained, and this has been pointed out
+by several writers on the subject. The ground plan shows the general
+arrangement of the interior. The parlour and kitchen are both of the
+same size (14 feet by 11 feet); it has a small scullery, an open outside
+porch, and a place for coals; the larder with its window</p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_059_lg.jpg">
+<img src="images/ill_pg_059_sml.jpg" width="193" height="165" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td align="left"><p>Section through front and back porches.</p></td>
+ <td align="left"><p>Dry vault.</p></td></tr>
+</table>
+
+</div>
+</div>
+
+<p class="nind">is under the staircase. The latter is a cottage staircase, occupying
+only half the usual space. The plan of the upper floor shows two rooms
+of the same size as those on the lower floor, with the compact reduced
+form of the staircase. The plate gives the front and side elevations of
+the building; sections through its length and breadth, and through the
+two<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> porches back and front, and the dry vault of closet, are given.</p>
+
+<p>The water from the scullery sink is discharged into the dry vault. The
+staircase, of which a section is given, occupies exactly half the space
+of a staircase on the ordinary plan. The width is three feet, each step
+rising in two heights of 6 inches. It is necessary that such a
+contrivance should have plenty of light. These staircases were first
+used in France. Loudon, in his “Encyclopædia of Cottage, Farm, and Villa
+Architecture,” gives a representation of one, and remarks that the
+celebrated American, Jefferson, when</p>
+
+<div class="figcenter" style="width: 317px;">
+<a href="images/ill_pg_060_lg.jpg">
+<img src="images/ill_pg_060_sml.jpg" width="317" height="276" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Section of staircase.
+</p></td><td> &nbsp;  </td>
+<td>
+<p>A staircase.
+</p></td></tr>
+</table>
+</div></div>
+
+<p class="nind">making a tour in that country, was so struck with the contrivance, that
+he noted it in his journal, which was<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> published with his
+correspondence. A perspective view of one of these staircases is
+annexed.</p>
+
+<p>A staircase of this description, if made four feet in width, might take
+up only one-third the usual space: it would be very applicable to
+offices and warehouses where room cannot be spared, and where staircases
+little better than ladders are used, but in such cases a baluster and
+hand-rail should be placed between each second step, to prevent persons
+falling.</p>
+
+<p>The “Builder” of November, 1843, gave two views of an ingenious double
+spiral staircase then exhibiting at a manufactory in Berners Street,
+Commercial Road. It was described as extremely simple, the object being
+to provide for ascent and descent without chance of meeting or
+collision. It consisted of a deal or other board of suitable thickness 6
+feet long and 12 inches wide, forming a double <i>tread</i>, and the <i>riser</i>
+crossed, as it were from corner to corner, except as arranged to form a
+<i>newel</i> in the centre, of about five inches in diameter. The staircase
+had twenty-two risers, and took one complete turn round.</p>
+
+<div class="figcenter" style="width: 183px;">
+<a href="images/ill_pg_061_lg.jpg">
+<img src="images/ill_pg_061_sml.jpg" width="183" height="66" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plaster ornament for a ceiling.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p>
+
+<h2><a name="DESIGN_No_3" id="DESIGN_No_3"></a><i>DESIGN No. 3.</i><br /><br />
+A PICTURESQUE COTTAGE.</h2>
+
+<div class="figcenter" style="width: 247px;">
+<a href="images/ill_pg_062-a_lg.jpg">
+<img src="images/ill_pg_062-a_sml.jpg" width="247" height="238" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/ill_pg_062-b_lg.jpg">
+<img src="images/ill_pg_062-b_sml.jpg" width="311" height="111" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Ground-floor plan.
+</p></td>
+<td>
+<p>
+Upper floor.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design for a peasant’s cottage possesses no architectural feature
+beyond what could be given</p>
+
+<div class="figcenter" style="width: 199px;">
+<a href="images/ill_pg_063-a_lg.jpg">
+<img src="images/ill_pg_063-a_sml.jpg" width="199" height="164" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p class="nind">to it by any common country village carpenter. It was made from the
+recollection of one at Blaise Hamlet,</p>
+
+<div class="figcenter" style="width: 184px;">
+<a href="images/ill_pg_063-b_lg.jpg">
+<img src="images/ill_pg_063-b_sml.jpg" width="184" height="158" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side front.</p></div>
+</div>
+
+<p class="nind">near Blaise Castle, in Gloucestershire, the seat of John I. Harford,
+Esq., to whom the hamlet belonged. This<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> was celebrated for having about
+a dozen of these small picturesque structures, apparently put up by the
+owner of the estate. Nearly the whole of them were provided with rustic
+seats under a projecting roof, as well as with a pigeon-house at the
+gable. This was called Vine Cottage; there were besides Sweet Briar
+Cottage, Rose Cottage, Diamond Cottage, Dial Cottage, Jessamine Cottage,
+Circular Cottage, and Oak Cottage. Views of all of them were first
+published at Bristol by Mr. Western.</p>
+
+<div class="figcenter" style="width: 166px;">
+<a href="images/ill_pg_064_lg.jpg">
+<img src="images/ill_pg_064_sml.jpg" width="166" height="167" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>There are numerous similar hamlets and villages in England, some having
+the cottages, schoolhouses, literary meeting room, and even the village
+pump, all in picturesque form, and generally architectural in character.
+The plan given here is probably not like that of the cottage at the
+hamlet. It illustrates one room, size 13 ft. by 12 ft., a scullery 12
+ft. by 9 ft.,<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> and larder under the stairs. The latter are shown with
+the double-rise step. The upper plan shows one room of the same size as
+that below, and a closet. The scullery on the ground floor is large
+enough to form a sleeping room for boys, or to make a small living room.
+The height of the lower room is 9 feet 6 inches. The section shows the
+general form and fittings of the rooms. The plate below the plans gives
+an elevation of the front, showing the rustic seat and the side of the
+entrance porch, the gable of the cottage formed into a pigeon-house,
+together with the side front of the cottage and its entrance porch. The
+small window at the side is intended to light the first steps of the
+stairs; a small shed for wood or coals is placed at the back. Such a
+cottage could be built and finished complete at a cost of about one
+hundred and ten pounds.</p>
+
+<div class="figcenter" style="width: 236px;">
+<a href="images/ill_pg_065_lg.jpg">
+<img src="images/ill_pg_065_sml.jpg" width="236" height="139" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plaster frieze for drawing-room.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p>
+
+<h2><a name="DESIGN_No_4" id="DESIGN_No_4"></a><i>DESIGN No. 4.</i><br /><br />
+A DOUBLE COTTAGE.</h2>
+
+<div class="figcenter" style="width: 217px;">
+<a href="images/ill_pg_066-a_lg.jpg">
+<img src="images/ill_pg_066-a_sml.jpg" width="217" height="180" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 308px;">
+<a href="images/ill_pg_066-b_lg.jpg">
+<img src="images/ill_pg_066-b_sml.jpg" width="308" height="137" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Ground plan.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_67" id="page_67">{67}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HESE cottages were intended to be attached to some ornamental grounds
+which were very carefully attended to; and as the building formed a</p>
+
+<div class="figcenter" style="width: 175px;">
+<a href="images/ill_pg_067-a_lg.jpg">
+<img src="images/ill_pg_067-a_sml.jpg" width="175" height="177" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p class="nind">prominent object, it was rendered architectural and pleasing in
+character. In plan the cottages are large<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_067-b_lg.jpg">
+<img src="images/ill_pg_067-b_sml.jpg" width="193" height="180" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p class="nind">and roomy, and they are of the cheapest kind. If constructed in plain
+brickwork, without the ornamental gable on the porch, the pair could not
+have cost more than 250<i>l.</i>, and at that sum they have been estimated
+for by a London builder. Each cottage has one living-room on the ground
+floor, <i>f f</i>, of the size of 14 feet by 10 feet, with a scullery, <i>g g</i>,
+attached, size 10 feet by 6 feet 6 inches, and a small larder and
+staircase.</p>
+
+<div class="figcenter" style="width: 248px;">
+<a href="images/ill_pg_068_lg.jpg">
+<img src="images/ill_pg_068_sml.jpg" width="248" height="272" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>The latter, with ten risers, leads to the upper floor, in which are one
+large and one small room. The plate gives the ground plan, and the plan
+of the<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> upper floor. The closets are in the yard attached to the
+cottages, but not shown in the plan.</p>
+
+<p>The plate gives an elevation of one of the fronts, and a section, taken
+through the living-room and scullery: a portion of the ornamental gable
+is illustrated in the previous page.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette represents an ornamental escutcheon and handle, in brass,
+for an inner entrance-hall door. The drawing is one-third of the full
+size.</p>
+
+<div class="figcenter" style="width: 180px;">
+<a href="images/ill_pg_069_lg.jpg">
+<img src="images/ill_pg_069_sml.jpg" width="180" height="308" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span></p>
+
+<h2><a name="DESIGN_No_5" id="DESIGN_No_5"></a><i>DESIGN No. 5.</i><br /><br />
+A DOUBLE COTTAGE AND VILLAGE SUNDAY SCHOOL.</h2>
+
+<div class="figcenter" style="width: 357px;">
+<a href="images/ill_pg_070-a_lg.jpg">
+<img src="images/ill_pg_070-a_sml.jpg" width="357" height="303" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 342px;">
+<a href="images/ill_pg_070-b_lg.jpg">
+<img src="images/ill_pg_070-b_sml.jpg" width="342" height="129" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building was intended to be placed in a village of one of the
+midland counties, nearly all the buildings in the village being of
+picturesque character. It was the property of a gentleman who was
+erecting a large Elizabethan mansion in the neighbourhood; the design is
+for a double cottage and Sunday school; the latter being under the
+direction of the clergyman of the parish.</p>
+
+<div class="figcenter" style="width: 304px;">
+<a href="images/ill_pg_071_lg.jpg">
+<img src="images/ill_pg_071_sml.jpg" width="304" height="123" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan.</p></div>
+</div>
+
+<p>The porch was decorated to give it importance, and form a shelter for
+the clergyman in passing from one school to the other. One part was
+intended for boys and the other for girls. The chimneys of the building
+were grouped together in the centre so as to form a prominent object;
+they were copied from a very fine ancient example, then existing at a
+farm-house near Ashford, in Kent.</p>
+
+<p>The illustration gives a view of the front, and the plans. Each of the
+two principal rooms was 16 feet 6 inches by 13 feet 6 inches, with a
+scullery on the<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> side 10 feet square, and having a good oven; the larder
+was under the stairs. The rooms above were</p>
+
+<div class="figcenter" style="width: 395px;">
+<a href="images/ill_pg_072_lg.jpg">
+<img src="images/ill_pg_072_sml.jpg" width="395" height="191" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length of building.</p></div>
+</div>
+
+<p class="nind">of the same size as those below. One of the cottages had the centre room
+below as well as that above arranged so that one had four rooms and the
+other<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> two; but this could be changed at any time, to provide each
+cottage with three living rooms each. A section through the length of
+the building and the chimney stack is given in the previous page, and an
+elevation of the front is given above.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_073_lg.jpg">
+<img src="images/ill_pg_073_sml.jpg" width="400" height="194" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of entrance front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p>
+
+<p>The building was to be constructed with sound stock bricks, and red
+brick rusticated facing round the upper windows; the finishing of the
+gables with their small pediments was of cut red bricks. Small compo
+finials crowned the whole.</p>
+
+<div class="figcenter" style="width: 309px;">
+<a href="images/ill_pg_074-a_lg.jpg">
+<img src="images/ill_pg_074-a_sml.jpg" width="309" height="109" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Finial.</p></div>
+</div>
+
+<div class="figleft" style="width: 194px;">
+<a href="images/ill_pg_074-b_lg.jpg">
+<img src="images/ill_pg_074-b_sml.jpg" width="194" height="335" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of chimney stack.</p></div>
+</div>
+
+<p>The porch had trunks of trees for columns, the entablature and pediment
+were formed of cut bricks and compo facing; the pilasters on each side
+of the lower windows were of cut squared flint, peculiar to the county,
+the whole resting on a plinth of rough country stone. A wooden
+balustrade of simple pattern surmounted the porch, extend<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span>ing on each
+side of the columns. These latter resting on a stone slab. The chimney
+stack is shown, and its plan, on the previous page.</p>
+
+<div class="figright" style="width: 189px;">
+<a href="images/ill_pg_075-a_lg.jpg">
+<img src="images/ill_pg_075-a_sml.jpg" width="189" height="75" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<div class="figcenter" style="width: 226px;">
+<a href="images/ill_pg_075-b_lg.jpg">
+<img src="images/ill_pg_075-b_sml.jpg" width="226" height="265" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of a chimney stack at a farm-house, Ashford,
+Kent.</p></div>
+</div>
+
+<p>The old stack from Ashford, with the plan at its base, and capping, is
+also illustrated.</p>
+
+<p>These representations of the two chimney stacks, ancient and modern, are
+drawn to the same scale, so that the difference between the present and
+old mode<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> of treatment may be seen. The large flues of the old example
+permitted the then mode of sweeping, by discharging a culverin up the
+flue. The occupants of the dwelling could not then have cared much for
+return smoke in their rooms; which in these large flues, with coal as
+fuel, must have been considerable, and could only be obviated or
+prevented by the numerous cold draughts of air permitted to pass through
+the interior of the building.</p>
+
+<div class="figcenter" style="width: 216px;">
+<a href="images/ill_pg_076-a_lg.jpg">
+<img src="images/ill_pg_076-a_sml.jpg" width="216" height="131" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of capping.</p></div>
+</div>
+
+<div class="figcenter" style="width: 203px;">
+<a href="images/ill_pg_076-b_lg.jpg">
+<img src="images/ill_pg_076-b_sml.jpg" width="203" height="112" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of base.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p>
+
+<p>The plan of this building was adapted from a very favourite one of the
+late Sir John Soane. He erected it at Wimpole, in Cambridgeshire, for
+the Earl of Hardwicke, in 1794. It had a very plain exterior, and the
+roof was covered with thatch, a very common mode with architects at that
+time, but now objected to from the serious evil of its harbouring
+numerous insects&mdash;indeed at times they render the building almost
+untenantable. The walls of the cottages at Wimpole were built in Pisé,
+or with clay and fine gravel, properly prepared and beaten down in a
+mould. Each wall was three feet in thickness, the fireplaces and
+chimneys were of brick. Every opening was covered with strong wood
+lintels, the whole width of the walls, and two feet longer than their
+respective openings.</p>
+
+<p>The walls stood on brick foundations two feet above the ground. The cost
+of the construction was about 450<i>l.</i> Design No. 5 could not now be
+constructed for less than 630<i>l.</i></p>
+
+<p>It may be here remarked that nothing certain can be advanced about the
+cost of a building until the situation and local circumstances are fully
+known and considered. In the absence of these no estimates can be given
+with that accuracy which every gentleman wishes for, and ought to be
+possessed of, before he begins building.<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p>
+
+<h2><a name="DESIGN_No_6" id="DESIGN_No_6"></a><i>DESIGN No. 6.</i><br /><br />
+A HUNTSMAN’S LODGE OR COTTAGE.</h2>
+
+<div class="figcenter" style="width: 238px;">
+<a href="images/ill_pg_078-a_lg.jpg">
+<img src="images/ill_pg_078-a_sml.jpg" width="238" height="276" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 288px;">
+<a href="images/ill_pg_078-b_lg.jpg">
+<img src="images/ill_pg_078-b_sml.jpg" width="288" height="90" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Ground plan.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS edifice was erected in the neighbourhood of some thick plantations
+in a sporting district. It was constructed of brick, with a wooden
+porch; the facing bricks of the walls being of a light-yellow colour,
+with red bricks round the windows; and the whole of the cornices and the
+four chimneys were of cut red brick. The building seen from among the
+trees looks</p>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/ill_pg_079_lg.jpg">
+<img src="images/ill_pg_079_sml.jpg" width="311" height="205" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Front elevation.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Section.
+</p></td></tr>
+</table>
+</div></div>
+
+<p class="nind">very pleasing. The ground plan shows a front room 13 feet square, with a
+small scullery behind; the larder is under the stairs, which have the
+double riser, and a window is placed both at the bottom as well as at
+the upper part of the staircase, to give plenty of light. The upper plan
+shows three bed-rooms, each about 10 feet by 6, and a small bed<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> closet
+for children, the closet having a ventilator in the chimney at the
+angle. These chimneys, instead of being grouped together in the centre
+of the structure, occupy the four corners&mdash;an expensive form of
+erection, but one that gives more room in the interior. The elevation of
+the front is given in the plate, and the section by its side; the small
+figure below shows the different courses of cut bricks forming the
+pediment and cornice.</p>
+
+<div class="figleft" style="width: 110px;">
+<a href="images/ill_pg_080-a_lg.jpg">
+<img src="images/ill_pg_080-a_sml.jpg" width="110" height="80" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>These were carefully executed, and had a good effect. The first figure
+likewise illustrates the oak finial on the top of the roof. A
+chimney-piece in one of the upper rooms had a quaint carving in the
+centre of a fox’s head, a subject appropriate to the pursuits of the
+occupant of the cottage.</p>
+
+<div class="figcenter" style="width: 206px;">
+<a href="images/ill_pg_080-b_lg.jpg">
+<img src="images/ill_pg_080-b_sml.jpg" width="206" height="158" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>The chimney-piece, and the fox’s head on a larger<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> scale, are here
+represented. The gateway seen at the side of the building in the view
+was formed by the workmen out of various old fragments; it leads to a
+yard in which are various sheds and out-buildings.</p>
+
+<div class="figcenter" style="width: 230px;">
+<a href="images/ill_pg_081-a_lg.jpg">
+<img src="images/ill_pg_081-a_sml.jpg" width="230" height="87" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="spc1">&nbsp; </p>
+
+<p>This vignette affords a specimen of ornamental iron railing intended for
+exterior work, and suitable for any situation in which such may be
+required, in consequence of the neatness of its pattern.</p>
+
+<div class="figcenter" style="width: 322px;">
+<a href="images/ill_pg_081-b_lg.jpg">
+<img src="images/ill_pg_081-b_sml.jpg" width="322" height="138" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_82" id="page_82">{82}</a></span></p>
+
+<div class="figcenter">
+<a href="images/ill_pg_082_lg.jpg">
+<img src="images/ill_pg_082_sml.jpg" width="305" height="181" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Rose Hill Villa.</p></div>
+</div>
+
+<h2>THE CONCRETE CONSTRUCTION FOR BUILDING COTTAGES.</h2>
+
+<p class="nind"><span class="letra">C</span>ONSIDERABLE pains have been taken for the last fifty years to discover
+the best and cheapest method of building cottages; bricks, stones, wood,
+mud, plaster, and lately straw and bitumen, have all been selected.
+Sound bricks and good building stones, well incorporated with mortar of
+a good and binding quality, will last for centuries; while those of mud,
+clay, plaster or concrete are continually becoming out of repair, and
+therefore ought never to be introduced where sound construction is
+desired, and better materials can be procured. In our moist climate,
+unless great pains are taken in compounding such materials as clay or
+concrete, in constructing walls, and in pro<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>tecting these against the
+effects of the weather, they will soon decay. Mud walls, however, made
+perfectly in the common manner, of clay well tempered and mixed with
+sharp sand, will last very many years.</p>
+
+<p>The preceding view represents Rose Hill Villa, near Stockbridge,
+Hampshire. It is probably the largest and most important specimen of
+such a construction in England, and comprises dining and drawing-rooms,
+each 20 feet by 18 feet, morning-room, housekeeper’s-room, kitchen, back
+kitchen, pantry, excellent cellars and all requisite offices; five very
+superior bedrooms, two dressing rooms, a water-closet on the landing and
+ground floor, and five servants’ bedrooms. It has a double coach-house,
+harness-room, and stabling for four or six horses, and in the outhouses
+a four-roomed cottage for the coachman.</p>
+
+<p>This villa was formerly in the occupation of Fothergill Cooke, Esq.,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a>
+the inventor of the Electric Telegraph, and is now the residence of Sir
+Augustus Webster, Bart.</p>
+
+<p>The building is constructed of chalk concrete, and has stood the test of
+forty years’ exposure without any signs of decay. Mr. James Flitcroft
+sent in 1843 a view of the villa to the “Builder,” and thus<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> described
+the construction of such houses in the locality:&mdash;The walls are carried
+above the ground two and sometimes three feet to prevent the damp from
+rising to the mud, which if wetted would scale off by the action of
+frost. The kind of earth used is fine chalk, dug from the surface; if
+timely notice of any building will permit, it is best dug in winter,
+that the frost may act upon it. Buildings formed of this material can be
+erected only in dry warm weather. The workmen in preparing this chalk
+for use put about a cartload of it together, throw water over it, and
+tread it with their feet, turn it over, again tread and turn it, until
+it begins to bind something like loamy clay; then let it soak a little
+while, when it is ready for use. The waller is able to put on a layer of
+about fifteen inches; he begins at one corner and goes round the
+building, putting one layer on another, taking care that the lower one
+is sufficiently dry to bear the upper. In buildings of two stories high,
+the walls are generally eighteen inches thick. When the walls are got up
+five or six feet, and pretty dry, the quoins are plumbed, and the walls
+dressed down a little, in order that the waller may see what he is
+about. A small short spade is the best tool for this purpose, with short
+handle and rather bent. The work is then proceeded with as before, until
+it is raised up to the square of the building, when the<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p>
+
+<div class="figcenter" style="width: 521px;">
+<a href="images/ill_pg_085_lg.jpg">
+<img src="images/ill_pg_085_sml.jpg" width="521" height="274" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation and section of a wall (see p. 86).</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p>
+
+<p class="nind">walls get their general dressing, ready to receive their coating.</p>
+
+<p>Mr. Flitcroft describes Rose Hill Villa as coated with stone,
+lime-coloured and drawn. The columns of the villa are of brick. He
+states that there are several other buildings of this kind at
+Stockbridge, Winchester, and other places in the neighbourhood. He
+describes a better method of constructing such walls by the use of a
+moveable trough or box about 12 feet in length by 18 inches in depth.
+This trough rests on bearers put across the wall, with a mortice at each
+end wide enough apart to receive the sides, and the thickness of the
+wall; in these are inserted uprights to prevent the sides giving way,
+with others to go across the top. This mode of construction is however
+very ancient, and when done on a large scale the primitive method is
+still pursued.</p>
+
+<p>This method is shown in the preceding engraving, which gives an
+elevation and section of a wall in process of construction, with the
+posts, <i>b b</i>, the moveable planking, <i>c c</i>, and cross pieces, <i>d</i>. It
+will be seen that three courses of bricks are put about every five feet
+in height. The figures here given are copied from a very old French work
+on Architecture and Building; they also show the manner in which roof
+construction was attempted with slabs of the same material, as shown in
+figs. 1 and 2: the building is<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> supposed to be square, as shown by the
+dotted lines <i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>.</p>
+
+<div class="figcenter" style="width: 314px;">
+<a href="images/ill_pg_087-a_lg.jpg">
+<img src="images/ill_pg_087-a_sml.jpg" width="314" height="179" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Fig. 1.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Fig. 2.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 321px;">
+<a href="images/ill_pg_087-b_lg.jpg">
+<img src="images/ill_pg_087-b_sml.jpg" width="321" height="207" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Elevation
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Section.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>The plan, elevation, and section given below represent a small tomb
+wholly formed of concrete slabs, the door alone being excepted. This
+little<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> building forms really a solid concrete monolithic edifice.</p>
+
+<div class="figcenter" style="width: 281px;">
+<a href="images/ill_pg_088_lg.jpg">
+<img src="images/ill_pg_088_sml.jpg" width="281" height="150" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+The entrance door
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Plan.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>A very common method of forming partitions, and even roofs in some of
+the agricultural districts in Hampshire, is first to put them up with
+strong wattle hurdles. They are double the size of the common hurdle,
+and made of a thicker material. When in their place, they are plastered
+over with concrete, and made about four inches in thickness; they very
+often require repair. It is said that concrete walls are subject to
+contraction and expansion, and speedily show vertical cracks at
+intervals, which in our damp climate would soon permit the wet to enter.
+There can be no question as to its strength as a building material, as
+some experiments conducted by the Institute of British Architects gave
+the following results&mdash;viz., “Concrete composed of two parts of<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> lime,
+thirty-six parts of sand, and five parts of cement, can resist a
+crushing weight of four tons to the square inch, being twice the
+strength of Portland stone, eight times the strength of Bath stone, and
+sixteen times the strength of brickwork.”</p>
+
+<p>In constructing cottages with concrete everything depends upon the
+goodness of the cement and the care with which it is used. The occupiers
+of these cottages are frequently their own operators; the work is
+generally too speedily performed, and the consequence is that the fruits
+of their labour are in most instances of but short duration.</p>
+
+<p>For obvious reasons it is necessary that the greatest economy should be
+observed in the construction of peasants’ cottages, and for these
+reasons the apartments should always be on the ground floor, which will
+render it unnecessary to build them more than eight or nine feet high.
+Where mud walls are introduced, the lower they are made the better, in
+which case they should be made to batir on the outside so as to resist
+the pressure of the roof, the covering of which should project as much
+as possible, to throw off the wet and protect the walls. The chimney
+flues in these clay and concrete walls are formed of drain-pipes, which
+answer admirably. These humble dwellings should be paved with
+brick-on-edge paving laid on sand, which is much warmer, and more
+conducive<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> to health than any sort of rough flagging, plaster, mud, or
+concrete floor. The latter, although much cheaper, can never be made to
+look clean. Foundations of clay or concrete walls should be of brick a
+few courses above the surface, and the walls when dry should be covered
+with a thick coat of plaster consisting of lime and sand, or what is
+still better, a coating of good Portland cement. This ought constantly
+to be kept perfect, as everything depends upon the goodness of the work.
+Concrete improperly mixed is not so strong as brickwork, but is mere
+rubbish; but when perfectly done it hardens with age, becoming like
+stone, impervious both to wet and frost.</p>
+
+<p>Materials can be found in every locality. One of the principal
+constructors using such, Mr. Tall, who works with an excellently
+contrived apparatus, thus describes them:&mdash;“Clay, which may be burnt
+into ballast easily and cheaply, and is a most superior material for
+concrete; gravel, stone, crushed slag from furnaces, smith’s clinkers,
+oyster-shells, broken glass, crockery, or any hard and durable
+substance. Where sandstone or any flat stone is to be found, walls can
+be built even cheaper than of gravel concrete, as a labourer can break
+the stone.” He gives the proportions of materials used in houses then
+being constructed at Gravesend, as follows:<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td>&nbsp;</td><td class="rt">£ </td>
+<td class="rt"><i>s.</i></td>
+<td class="rt"><i>d.</i></td></tr>
+<tr><td>7 yards of burrs from brickfield, at 5s.</td><td class="rt">1</td><td class="rt">15</td><td class="rt">0</td></tr>
+<tr><td>7 yards of gravel stone, at 3s.</td><td class="rt">1</td><td class="rt">1</td><td class="rt">0</td></tr>
+<tr><td>1 yard of Portland cement, 16 bushels to the cubic yard, at 2s.</td><td class="rt">1</td><td class="rt">12</td><td class="rt">0</td></tr>
+<tr><td>Labour, at 2s. per cube yard</td><td class="rt">1</td><td class="rt">10</td><td class="rt">0</td></tr>
+<tr><td class="c">Total</td><td class="btbrt">£5</td>
+<td class="btbrt">&nbsp; &nbsp; &nbsp;18 </td>
+<td class="btbrt">&nbsp; &nbsp; &nbsp;0</td></tr>
+</table>
+
+<p>Three cubic yards of concrete will build 60 yards of 9-inch work, at a
+fraction under 1<i>s.</i> 11<i>d.</i> per yard.</p>
+
+<p>Concrete cottages have been built at Setting, in Kent, under Mr. Adkins,
+architect, that cost only 105<i>l.</i> per pair; the ground floor contained
+two rooms; with the usual larder and closets, and the upper floor three
+rooms and a cupboard; these cottages had gabled fronts and were
+picturesque in character. It would be an extra expense over the common
+method to construct floors and roofing of concrete; the advantage to be
+gained would be their fire-proof character.</p>
+
+<p>In superior buildings the high tenacious power of good cement is
+repeatedly, it may be said commonly taken advantage of in the
+construction of roofs. These are formed by cementing plain tiles, and
+they have considerable strength. Roofs of 12 feet span, constructed in
+segmental form, rising three feet, and only of three plain tiles in
+thickness, successfully resist great pressure, and are durable in a very
+superior<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> degree; but they require to be well tied in, and formed
+between iron girders connected together with iron tie rods, otherwise
+they sink and force out the walls. Roofs of cemented tiles have been
+constructed from 30 to 40 feet span, and have been found to answer well;
+hoop-iron bond, laid at intervals between the tiles, is a great
+advantage. The tenacious power of good cement was proved in a very high
+degree a few years ago by Mr. Brunel, in the construction of two
+semi-arches built of brick, springing from a pier or abutment 14 feet in
+height. One extended 50 feet in length, the other 38; the rise of the
+arches was 10 feet, the width only 4 feet 6 inches; a weight of about 40
+tons was suspended to the extremity of the shorter arch without breaking
+it.</p>
+
+<p>The result of this test proved that arches of 200 feet or 300 feet span,
+and probably more, might be constructed in the same manner at very
+moderate expense, without centering. Iron-hoop bond is said to nearly
+double the strength or holding power of the cement. Flat experimental
+beams have been constructed of brick and cement, with hoop-iron bond
+laid horizontally between the joints or courses of the brickwork, which
+have given equally extraordinary results.</p>
+
+<p>Concrete for walling was extensively used in England at the beginning of
+the present century; it<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> got into bad repute through failure of a river
+wall at Woolwich, where it was either badly done, some mistake was made,
+or it was unsuited to the position. The wall was constructed of blocks
+of concrete cast in moulds, and submitted to pressure while setting; a
+coating of fine stuff being applied for the sake of appearance, ample
+time having been allowed for the blocks to set and harden before use.
+The blocks were 1 foot 6 inches high, the binders and stretchers in the
+course being each 2 feet 6 inches long, the bed of the former being 2
+feet, and of the latter 1 foot; the wall was built upon piles, its
+height above the piles being 24 feet; the thickness at bottom was 9
+feet, at top 5 feet with a batir in front of 3 feet in 22.</p>
+
+<p>The face of the wall was composed of blocks, as described, and rough
+concrete thrown in to complete its thickness, and that of the
+counterforts. After a frost it was found that this wall was seriously
+damaged, hardly a single block having escaped, and in many cases their
+whole face had peeled off to the depth of half an inch. The discharge of
+a drain from a height of 6 or 8 feet had worn away the lower courses to
+the depth of some inches. On a like wall at Chatham, similar but much
+more severe effects were produced.</p>
+
+<p>The failure of this wall costing about 80,000<i>l.</i>, was a serious matter,
+and for several years after architects looked upon concrete as being so
+much uneatable<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> hasty pudding, considering that it was only beneficial
+when confined in a trench for foundations. Sir Robert Smirke used it in
+the foundations of the Penitentiary, Millbank, and Sir John Soane in
+1830 used it in the foundations of the New State Paper Office (now
+pulled down) in St. James’s Park. Here the ground had to be excavated to
+a depth of 22 feet before arriving at a gravelly stratum; at each high
+tide the Thames filled the trenches with water, which remained in
+considerable quantity; as this was pumped out, the adjoining party walls
+of the buildings in Duke-street cracked so completely that they had to
+be taken down. The trenches were first filled to the height of two feet
+with broken stones and bricks from the old buildings, and then dry lime
+and clean river sand, with a large quantity of small broken granite
+stones, were thrown in from the height above. A body of concrete 8 feet
+in width by a thickness of 3 feet was thus formed; the water ceased to
+enter the trenches and the building was commenced.</p>
+
+<p>Mr. G. Godwin, the editor of the “Builder,” in an essay on concrete
+which gained the first prize given by the Royal Institution of British
+Architects, appears to have been the first to suggest its use in walls
+above ground; and for these Portland cement concrete, when properly
+prepared, is without question an admirable material.<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p>
+
+<h2><a name="DESIGN_No_7" id="DESIGN_No_7"></a><i>DESIGN No. 7.</i></h2>
+
+<div class="figcenter" style="width: 357px;">
+<a href="images/ill_pg_095_lg.jpg">
+<img src="images/ill_pg_095_sml.jpg" width="357" height="511" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>A garden gate&mdash;plan and elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p>
+
+<p>In France it is used to a very great extent, in numerous bridges, and
+several miles of large sewers. A church (that at Vésinet, near Paris, of
+mediæval architecture), constructed entirely with iron and this
+concrete, is completely fireproof. In England a considerable length of
+sewer has been constructed of concrete at Sidmouth, under the direction
+of Mr. Phillips; and near London, between the Kensington and Gloucester
+Road stations of the Metropolitan Railway, a very large handsome bridge,
+rusticated, and in design similar to, and in every respect in appearance
+a stone bridge. From some alteration required in the railway, it has
+been removed.</p>
+
+<p>This mode of construction is now being practically tested in the north
+of England, at Church Bank, Alnmouth, in its complete form, in a cottage
+built entirely of concrete, having three rooms, scullery, and other
+conveniences. The material used in the building, as we are told by the
+“Builder,” is Portland cement and gravel from the sea-shore. The
+foundation is in sand 6 inches thick and 18 inches wide; in this there
+is a base course, and above, the walls are 9 inches in thickness. Part
+of the erection is two stories in height. The roofs are all flat, and
+are constructed entirely of concrete and old wire rope. The ceilings are
+divided into panels by ribs at right angles, and require no plastering.
+A wall on the upper floor is<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> supported by a concrete beam with a
+13-feet span; and a large cistern is formed under the roof of the pantry
+for rain water. The sides of the cistern forming the walls of the
+bedroom will test severely the impermeability of the material. No wood
+is used except for doors, and no iron except five shillings’ worth of
+old wire rope. This is said to be an experiment made by the Duke of
+Northumberland.</p>
+
+<p>Another experimental cottage has been constructed under Mr. Edwin
+Chadwick’s superintendence at East Sheen near Mortlake. In this the
+walls are formed of light iron framework filled with compressed straw,
+bitumen, and concrete. The thickness of each wall complete is only about
+three and a half inches. The floors are of bitumen and concrete, covered
+with ordinary deal boards; the roof has the same construction as the
+walls. These, inside, may be either left rough or finely smoothed,
+without additional cost. In the former case it is said they resemble the
+ordinary “dashes” of stuccoed cottages; in the latter they appear as if
+coated with Roman cement, after the fashion of villas and town houses.</p>
+
+<p>If a construction of this kind can be made durable it possesses superior
+advantages to every other. In England both stone and brick are great
+absorbents of moisture, causing the occupants of the houses to be
+afflicted by rheumatism and other undesirable ail<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>ments. Any building
+material that is non-absorbent of moisture is a great desideratum yet
+unsatisfied.</p>
+
+<p>An elevation of a design for a garden gate and balustrade to be formed
+of concrete blocks is given in Design No. 7. It was originally intended
+for the entrance to an old house in Berkshire.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette beneath is a Swiss pattern of open woodwork used by the
+author as balustrading. The construction is too simple to require
+explanation.</p>
+
+<div class="figcenter" style="width: 249px;">
+<a href="images/ill_pg_098_lg.jpg">
+<img src="images/ill_pg_098_sml.jpg" width="249" height="238" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p>
+
+<h2><a name="DESIGN_No_8" id="DESIGN_No_8"></a><i>DESIGN No. 8.</i><br /><br />
+A PARK LODGE.</h2>
+
+<div class="figcenter" style="width: 195px;">
+<a href="images/ill_pg_099-a_lg.jpg">
+<img src="images/ill_pg_099-a_sml.jpg" width="195" height="161" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p class="nind"><span class="letra">T</span>HE entrance lodge to a country park may be considered as a superior
+kind of cottage; it is</p>
+
+<div class="figcenter" style="width: 144px;">
+<a href="images/ill_pg_099-b_lg.jpg">
+<img src="images/ill_pg_099-b_sml.jpg" width="144" height="156" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">often occupied by some favourite domestic or other attaché of the
+family. It is usually placed in a<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> prominent position, dressed with
+surrounding trees, and with the accompanying gates, posts, and rails.
+Considerable attention is always paid to the lodge.</p>
+
+<div class="figcenter" style="width: 198px;">
+<a href="images/ill_pg_100-a_lg.jpg">
+<img src="images/ill_pg_100-a_sml.jpg" width="198" height="164" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Back front.</p></div>
+</div>
+
+<p>An ugly one is an exception, and is very seldom seen. In most cases the
+lodge is similar in character to the mansion to which it permits
+approach: a Gothic house, hence has a Gothic lodge, and an Elizabethan</p>
+
+<div class="figcenter" style="width: 220px;">
+<a href="images/ill_pg_100-b_lg.jpg">
+<img src="images/ill_pg_100-b_sml.jpg" width="220" height="154" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
+
+<p class="nind">house a lodge of the same character; frequently it is in the Rustic
+style that would suit either. Of this the present design and the
+following are examples.</p>
+
+<p>This design was made for one story only, and it is placed so as to
+command, or have a view of two roads by which it can be approached; the
+plan shows a living room, 13 ft. by 13 ft., a scullery, <i>g</i>, 12 ft. by 9
+ft, a larder, <i>h</i>, and two sleeping rooms. It has a porch, formed with
+trunks of trees, enclosing a seat or bench. The back front is made of a
+pleasing character, having a covered way to the closet and coal cellar,
+<i>l</i>.</p>
+
+<p>The section shows the height of the rooms, 11 × 6 from floor to collar
+beam. The construction was to have been in the common fashion in brick,
+with red brick facing, and compo dressings round the windows and top of
+chimney stack, the latter in cut red brick. An erection of this kind
+could not be completed under a cost of about 370<i>l.</i></p>
+
+<div class="figcenter" style="width: 204px;">
+<a href="images/ill_pg_101_lg.jpg">
+<img src="images/ill_pg_101_sml.jpg" width="204" height="115" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plaster cornice for a drawing-room.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p>
+
+<h2><a name="DESIGN_No_9" id="DESIGN_No_9"></a><i>DESIGN No. 9.</i><br /><br />
+A PARK LODGE.</h2>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/ill_pg_102-a_lg.jpg">
+<img src="images/ill_pg_102-a_sml.jpg" width="255" height="156" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<div class="figcenter" style="width: 174px;">
+<a href="images/ill_pg_102-b_lg.jpg">
+<img src="images/ill_pg_102-b_sml.jpg" width="174" height="151" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was a second study for the same small building illustrated
+in the previous design. It was intended for a different site, and so
+placed as to command only one road of approach. It could have been seen
+for nearly two miles previous to reaching it, and was placed about
+twenty feet behind the entrance gates; the front had a rustic porch
+intended to contain rustic seats. The plan shows a living room 18 feet
+by 14, a small scullery, <i>g</i>, larder, <i>h</i>, and two sleeping rooms each
+13 feet by 10 feet. The section is taken through the centre of the
+building, showing the front and back porch. It could be constructed for
+about 375<i>l.</i></p>
+
+<div class="figcenter" style="width: 204px;">
+<a href="images/ill_pg_103_lg.jpg">
+<img src="images/ill_pg_103_sml.jpg" width="204" height="150" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>Either of these lodges could be constructed in concrete, the walls twice
+the thickness, the chimney stock in brick and cement, and their cost
+would be reduced.<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p>
+
+<h2><a name="DESIGN_No_10" id="DESIGN_No_10"></a><i>DESIGN No. 10.</i><br /><br />
+AN ENTRANCE LODGE TO A PARK</h2>
+
+<p>This lodge stands within an ancient park in Kent. It occupies a
+triangular piece of ground and commands three roads of approach. The
+building is</p>
+
+<div class="figcenter" style="width: 220px;">
+<a href="images/ill_pg_104_lg.jpg">
+<img src="images/ill_pg_104_sml.jpg" width="220" height="298" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p class="nind">strictly in accordance with the style of the old family mansion within
+the park itself, which is a celebrated structure of the times of
+Elizabeth and James I. The<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p>
+
+<div class="figcenter" style="width: 179px;">
+<a href="images/ill_pg_105-a_lg.jpg">
+<img src="images/ill_pg_105-a_sml.jpg" width="179" height="193" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">perspective view represents the lodge as seen from the avenue of trees
+within the park, the road coming</p>
+
+<div class="figcenter" style="width: 207px;">
+<a href="images/ill_pg_105-b_lg.jpg">
+<img src="images/ill_pg_105-b_sml.jpg" width="207" height="226" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span></p>
+
+<p class="nind">between. In the ground plan, p. 105, <i>a</i> is the porch, <i>b</i> the living
+room, <i>c</i> the scullery, and <i>d</i> the larder; <i>g</i> are the steps leading to
+a vault under the stairs, used for coals, and <i>f</i> is the stone cover
+over the dry well. Considerable care and attention were</p>
+
+<div class="figcenter" style="width: 280px;">
+<a href="images/ill_pg_106_lg.jpg">
+<img src="images/ill_pg_106_sml.jpg" width="280" height="283" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of back and side fronts, from a
+photograph.</p></div>
+</div>
+
+<p class="nind">bestowed in working out the details of this building, which was wholly
+erected by the workmen of the estate, with bricks and stone also from
+the estate. The lower part or plinth of the structure is of ashlar
+ragstone in random courses, the top course header<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> faced, the joints
+worked fair, and a sunk splay in the top tooled fair, the course rising
+nine inches on the</p>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_107-a_lg.jpg">
+<img src="images/ill_pg_107-a_sml.jpg" width="168" height="163" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<p class="nind">face, with an average depth in the bed of eleven inches. The string over
+the lower windows is in moulded brick,</p>
+
+<div class="figcenter" style="width: 180px;">
+<a href="images/ill_pg_107-b_lg.jpg">
+<img src="images/ill_pg_107-b_sml.jpg" width="180" height="176" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of roof timbers.</p></div>
+</div>
+
+<p class="nind">faced with compo,&mdash;the gables and the chimneys are constructed and
+finished with cut red bricks. The<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span></p>
+
+<div class="figcenter" style="width: 220px;">
+<a href="images/ill_pg_108-a_lg.jpg">
+<img src="images/ill_pg_108-a_sml.jpg" width="220" height="222" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side elevation.</p></div>
+</div>
+
+<div class="figcenter" style="width: 344px;">
+<a href="images/ill_pg_108-b_lg.jpg">
+<img src="images/ill_pg_108-b_sml.jpg" width="344" height="235" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of entrance porch.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p>
+
+<p class="nind">finials, of which there are three, are copied from those of the old
+mansion, and cost each 3<i>l.</i> The front and side elevations are here
+given, together with the details of the entrance porch. The columns were
+formed of trunks of trees, with an entablature and pediment of brick
+tiles and compo, with iron ties securing the whole.</p>
+
+<div class="figcenter" style="width: 309px;">
+<a href="images/ill_pg_109-a_lg.jpg">
+<img src="images/ill_pg_109-a_sml.jpg" width="309" height="156" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Finial.</p></div>
+</div>
+
+<p>The brick walls were splashed externally in four colours, black, white,
+red, and yellow, which gave a very pleasing tone of colour to the whole.
+The plan</p>
+
+<div class="figcenter" style="width: 215px;">
+<a href="images/ill_pg_109-b_lg.jpg">
+<img src="images/ill_pg_109-b_sml.jpg" width="215" height="234" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
+
+<p class="nind">of the upper floor shows the rooms like the lower, each of the average
+length of 21 and a width of 10 feet. The staircase leads conveniently to
+the two upper rooms; <i>a</i> is a trap-door to permit furniture and large
+baggage to be lifted up from below. The sections show the construction
+of the roof, the timbers of which were firmly secured by iron straps, <i>b
+b</i>. The chimney forms a prominent feature in the centre of the building,
+the construction of which is shown in the annexed cut; <i>c</i> are corbel
+bricks, <i>b</i> the iron strap.</p>
+
+<div class="figcenter" style="width: 179px;">
+<a href="images/ill_pg_110_lg.jpg">
+<img src="images/ill_pg_110_sml.jpg" width="179" height="248" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>The last two illustrations are sections through the<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> coal-cellar and the
+dry well. The photographic view shows the small circular gable over the
+staircase. There are only six of these gables, as a seventh could not be
+obtained, or it might have been called the “house with the seven
+gables.” The structure cost 526<i>l.</i>, the cottage design No. 2, on the
+same estate, 311<i>l.</i>, both in full.</p>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/ill_pg_111_lg.jpg">
+<img src="images/ill_pg_111_sml.jpg" width="311" height="291" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and section of chimney stack.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p>
+
+<h2><a name="DESIGN_No_11" id="DESIGN_No_11"></a><i>DESIGN No. 11.</i><br /><br />
+AN ENTRANCE LODGE AND GATEWAY TO A PARK.</h2>
+
+<div class="figcenter" style="width: 330px;">
+<a href="images/ill_pg_112_lg.jpg">
+<img src="images/ill_pg_112_sml.jpg" width="330" height="337" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HE first erection of an entrance lodge and gateway to a country park,
+is often considered of sufficient importance to meet with very full and
+careful</p>
+
+<div class="figcenter" style="width: 188px;">
+<a href="images/ill_pg_113-a_lg.jpg">
+<img src="images/ill_pg_113-a_sml.jpg" width="188" height="130" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">consideration. If the park is an ancient one, the old castellated style
+for the entrance lodge will mark its character, and it is generally
+chosen, although the</p>
+
+<div class="figcenter" style="width: 159px;">
+<a href="images/ill_pg_113-b_lg.jpg">
+<img src="images/ill_pg_113-b_sml.jpg" width="159" height="133" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<p class="nind">building or mansion within the park itself may be of more recent style.
+The family architect, in such cases, will have to make various sketches
+before one is<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> selected that gives general satisfaction. The castellated
+Tudor design shown in the perspective view, was the first one made under
+such circumstances, and several designs were submitted before it was put
+aside, and one selected similar in style and character to the mansion
+within the park, and which was soon carried out.</p>
+
+<div class="figcenter" style="width: 281px;">
+<a href="images/ill_pg_114_lg.jpg">
+<img src="images/ill_pg_114_sml.jpg" width="281" height="242" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation of lodge.</p></div>
+</div>
+
+<p>The ground plan, p. 113, shows the lodge to have very little
+accommodation, one small room 15 feet by 11 feet, with a scullery
+attached; indeed, one of the principal reasons for giving up the design
+was that the steep character of the ground did not admit a larger
+erection. The staircase of the lodge<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> led to one upper room over the
+gateway; this was 13 feet by 13 feet. The elevation of the lodge is
+shown at p. 114.</p>
+
+<div class="figcenter" style="width: 295px;">
+<a href="images/ill_pg_115_lg.jpg">
+<img src="images/ill_pg_115_sml.jpg" width="295" height="469" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of half gate.</p></div>
+</div>
+
+<p>The details are plain and bold; a shield of arms with quatrefoils is
+placed over the side entrance; these and the ornaments on the bay-window
+are the chief enrichments.<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p>
+
+<p>The lodge was to have been erected with ragstone ashlar for the quoins
+and red-brick facing for walls,&mdash;the bay-window and all the strings and
+battlements were to be in Caen stone. The iron gates were to be of
+wrought iron in the olden style. An elevation of one of the gates is
+given, showing a thin ornamental pattern within a strong iron frame.</p>
+
+<div class="figcenter" style="width: 231px;">
+<a href="images/ill_pg_116_lg.jpg">
+<img src="images/ill_pg_116_sml.jpg" width="231" height="223" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>A</p><p>Elevation of second design.</p></div>
+</div>
+
+<p>The parts, ¼ full size, are shown; <i>a</i> is the top rail, <i>b</i> the circular
+bar, <i>c</i> a section and elevation of the hanging rail, and <i>d</i> the
+meeting bar.</p>
+
+<p>The accommodation required by the gate-keeper who was to occupy the
+lodge was greater than could<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> be well provided on the site the building
+was to stand on. What he did ask for was given in a second</p>
+
+<div class="figcenter" style="width: 188px;">
+<a href="images/ill_pg_117-a_lg.jpg">
+<img src="images/ill_pg_117-a_sml.jpg" width="188" height="206" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">design, which, as it shows a different treatment of the elevation, is
+here illustrated. In this the rooms are</p>
+
+<div class="figcenter" style="width: 170px;">
+<a href="images/ill_pg_117-b_lg.jpg">
+<img src="images/ill_pg_117-b_sml.jpg" width="170" height="186" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p>
+
+<p class="nind">larger, as may be seen by the ground plan; <i>c</i>, the back room, is
+intended to be used as a boy’s sleeping room; <i>h</i> is the larder under
+the stairs, and <i>l</i> is a place for coals. The upper plan shows the room
+over the gateway; a second room was to be added by taking up the walls
+of the lodge.</p>
+
+<div class="figcenter" style="width: 283px;">
+<a href="images/ill_pg_118_lg.jpg">
+<img src="images/ill_pg_118_sml.jpg" width="283" height="367" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of bay-window, second design.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<p>The elevation of this design was considered more quaint and
+characteristic of the olden style than the first; its window is copied
+from one at the old gatehouse to the abbey at Montacute in
+Somersetshire, both as to dimensions and detail. It is rather late in
+style, and not a very good example, but it is here given with a few
+sections and details to a larger scale.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette affords a plan of an old English garden with its labyrinth,
+fountains, fishponds, and flower beds.</p>
+
+<div class="figcenter" style="width: 201px;">
+<a href="images/ill_pg_119_lg.jpg">
+<img src="images/ill_pg_119_sml.jpg" width="201" height="139" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
+
+<h2><a name="DESIGN_No_12" id="DESIGN_No_12"></a><i>DESIGN No. 12.</i><br /><br />
+A STOVE FOR AN ENTRANCE HALL</h2>
+
+<div class="figcenter" style="width: 222px;">
+<a href="images/ill_pg_120_lg.jpg">
+<img src="images/ill_pg_120_sml.jpg" width="222" height="508" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of stove.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS stove is intended to fill a recess in the hall of a Baronial
+Mansion, placed on a marble pavement with groups of ancient armour,
+pikes and</p>
+
+<div class="figcenter" style="width: 213px;">
+<a href="images/ill_pg_121-a_lg.jpg">
+<img src="images/ill_pg_121-a_sml.jpg" width="213" height="134" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of stove.</p></div>
+</div>
+
+<p class="nind">helmets, and the other like warlike implements of ancient times,
+surrounding it. The plan shows its interior to be filled with fire-clay.
+It is only a<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
+
+<div class="figcenter" style="width: 127px;">
+<a href="images/ill_pg_121-b_lg.jpg">
+<img src="images/ill_pg_121-b_sml.jpg" width="127" height="197" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front of stove, the shield or door open.</p></div>
+</div>
+
+<div class="figcenter" style="width: 338px;">
+<a href="images/ill_pg_122_lg.jpg">
+<img src="images/ill_pg_122_sml.jpg" width="338" height="517" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Side of stove
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Section of stove.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p>
+
+<p class="nind">common iron stove, but with a more artistic outline or figure than is
+generally seen; the section shows the construction. A moveable box is
+placed within the pedestal to receive the ashes; the smoke flue leaves
+at the back; the helmet opens to receive a cup of water; the section
+shows the construction. When the shield is open the fire is seen; this
+could be made partly open, so as to allow the fire to be wholly closed
+in.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette is a portion of a French design for an iron balconet. In
+France these balconets are regarded as necessary protections at the
+window openings. In England they are used chiefly for holding flowers.</p>
+
+<div class="figcenter" style="width: 314px;">
+<a href="images/ill_pg_123_lg.jpg">
+<img src="images/ill_pg_123_sml.jpg" width="314" height="109" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p>
+
+<h2><a name="DESIGN_No_13" id="DESIGN_No_13"></a><i>DESIGN No. 13.</i><br /><br />
+QUEEN’S GATE LODGE, HYDE PARK.</h2>
+
+<p>The formation of that new and important suburb of London, known as
+Queen’s Gate, South Kensington, resulted, as is well known, from the
+exertions of His Royal Highness the Prince Consort. It</p>
+
+<div class="figcenter" style="width: 221px;">
+<a href="images/ill_pg_124_lg.jpg">
+<img src="images/ill_pg_124_sml.jpg" width="221" height="247" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>First design, Gate Entrance to Hyde Park.</p></div>
+</div>
+
+<p class="nind">promises soon to become the most fashionable and attractive portion of
+the Metropolis, as the land is engaged for the purpose of applying it to
+national objects connected with the Arts and Sciences, by the<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
+
+<div class="figcenter" style="width: 303px;">
+<a href="images/ill_pg_125-a_lg.jpg">
+<img src="images/ill_pg_125-a_sml.jpg" width="303" height="211" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of Lodge, Queen’s Gate.</p></div>
+</div>
+
+<div class="figcenter" style="width: 312px;">
+<a href="images/ill_pg_125-b_lg.jpg">
+<img src="images/ill_pg_125-b_sml.jpg" width="312" height="250" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Ground plan.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Basement plan.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p>
+
+<p class="nind">Government. Consequently, with the beauty of the situation, this has led
+to the erection of a large number of first-class mansions of the value
+of from 20,000<i>l.</i> each to 3000<i>l.</i> (leaseholds.) The author of this
+work, at the time of the purchase by the Government, was surveyor to the
+principal estate in that locality&mdash;that of the late Charles, Earl of
+Harrington;</p>
+
+<div class="figcenter" style="width: 327px;">
+<a href="images/ill_pg_126_lg.jpg">
+<img src="images/ill_pg_126_sml.jpg" width="327" height="225" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of Lodge opposite the Exhibition Road,
+Hyde Park.</p></div>
+</div>
+
+<p class="nind">and an opening to Hyde Park, for the chief new road, being granted by
+Government, he had to submit designs for the new entrance lodge and
+gates to the Commissioner of Public Works. The first design he had made
+had previously been submitted to the Prince. It was on a large scale, an
+archway being<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> placed in the centre, with gates and lodges on each side.
+But as the new entrance had to be made at the expense of the builders of
+the Harrington Estate, designs of a more modest character were chosen.</p>
+
+<div class="figcenter" style="width: 171px;">
+<a href="images/ill_pg_127_lg.jpg">
+<img src="images/ill_pg_127_sml.jpg" width="171" height="335" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>Lord Llanover, then Sir Benjamin Hall, was the Chief Commissioner of
+Public Works, and took great interest in the designs, repeatedly
+visiting the spot, and having various studies made; indeed the works
+were carried out under his supervision and direction.<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p>
+
+<p>The opening into Hyde Park was 140 feet in length; this was filled up by
+the gates and railings, a lodge being placed within the park.</p>
+
+<div class="figcenter" style="width: 156px;">
+<a href="images/ill_pg_128-a_lg.jpg">
+<img src="images/ill_pg_128-a_sml.jpg" width="156" height="135" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p>The view shows the lodge as it was erected by Mr. Aldin, one of the
+building lessees of the Harrington estate; it cost him about 800<i>l.</i> The
+iron gates and</p>
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/ill_pg_128-b_lg.jpg">
+<img src="images/ill_pg_128-b_sml.jpg" width="240" height="134" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side elevation.</p></div>
+</div>
+
+<p class="nind">railing were put up by Mr. W. Jackson, the chief building
+lessee on the same estate, at a cost which amounted to upwards of
+2000<i>l.</i><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<div class="figcenter" style="width: 340px;">
+<a href="images/ill_pg_129_lg.jpg">
+<img src="images/ill_pg_129_sml.jpg" width="340" height="198" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length of building.</p></div>
+</div>
+
+<p>The lodge contains two rooms on the ground floor the front room being 17
+feet by 12 feet, the back room 13 feet by 11 feet. The basement has two
+rooms of the same size; with a small yard, a place for coals, and a dry
+area surrounding the whole. The plans are shown under the perspective
+view; the front and side elevations on page 128; the small portico has
+the centre columns without rusticated blocks, so that no<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> square edges
+or projecting parts obstruct the entrance of persons into the lodge.</p>
+
+<div class="figcenter" style="width: 231px;">
+<a href="images/ill_pg_130_lg.jpg">
+<img src="images/ill_pg_130_sml.jpg" width="231" height="211" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cross section.</p></div>
+</div>
+
+<p>The section through the length of the building shows the two upper and
+the two lower rooms, with the sunk yard; it does not show clearly the
+section of the ground outside the building; the level of this is 18
+inches below the floor of the upper rooms. The basement is completely
+buried, but as the small structure stood upon a mound and was protected
+by a dry area, this was of little consequence. The cross section next
+given shows the level of the outside ground correctly, with the two dry
+areas. Over this cross section are given two small details of the
+construction of the roof.<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p>
+
+<p>The building was of stone and brick, the ashlar front of the walls Bath
+stone, and the cornice of Portland&mdash;this was made so as to form the
+gutter.</p>
+
+<p>The lodge has lately been taken down, and reconstructed on the opposite
+side of the entrance gate. So completely was this done that only one
+small block of stone was required to complete it, and this was only a
+replacement of one broken. The structure itself has been reproduced by
+the Government as a lodge opposite to the Exhibition Road. In the cut at
+page 127, is given a section through the portico and a section through
+the end wall.</p>
+
+<p>The first design, made by the author, was intended to embody the views
+of His Royal Highness Prince Albert, in regard to the arrangement of the
+buildings for the purpose of Science and Art then proposed to be erected
+on the newly purchased estate. They comprised one for the collection of
+Pictures, at that time occupying only half the building at Trafalgar
+Square; this, the New National Gallery, was to be surrounded with other
+structures, affording ample accommodation for the chief learned and
+Artistic Societies of London. A large central Hall of Arts and Sciences
+was to be placed in their midst; the whole to form a metropolitan
+institution for the promotion of scientific and artistic knowledge as
+connected with industrial pursuits. It is well known that the surplus
+funds of<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> the Exhibition of 1851, amounting to the sum of 150,000<i>l.</i>,
+were offered by the Royal Exhibition Commissioners at the instance of
+the Prince, for the purpose of carrying out this grand conception. The
+report of the House of Commons’ Committee on the National Gallery
+strongly recommended the offer to be accepted, and Parliament at first
+assenting, voted another sum of like amount for carrying out the entire
+project. The sum of 300,000<i>l.</i> was found, however, insufficient for
+purchasing the whole of the ground required, and a further grant of from
+25,000<i>l.</i> to 27,000<i>l.</i> was voted by Parliament, and a sum of
+15,000<i>l.</i> was given by the Royal Commissioners. Mr. Cubitt was engaged
+to obtain the ground, and the roads through the Harrington estate were
+planned by him in conjunction with the author, who aided him to the
+utmost of his power in obtaining the land requisite to complete the site
+required for the various buildings proposed to occupy it. The site was
+2100 feet in length, by an average breadth of 1200 feet, and consisted
+of about 56 acres; the level of the ground on the north of Kensington
+being about 36 feet higher than the portion at Brompton. Another block
+of land, upon which the Department of Science and Art is at present
+placed, made a space with an average width of 700 feet&mdash;in the whole 86
+acres.<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
+
+<p>In sketching the design for the general building, of which a bird’s-eye
+view is here given, the author only took the 56 acres&mdash;the view shows
+only that portion of the building facing the Prince Albert’s Road, now
+called Queen’s Gate. It is placed in the centre of the land, so as to
+have large open grounds surrounding it. These at any time could have
+been covered up for the purpose of national exhibitions similar to those
+of 1851 and 1862. By putting the level of the ground floor of the new
+building about ten feet above that of the Kensington Road, a
+sub-basement would have been obtained, over 30 feet in height, affording
+ample space for arranging and storing works of art, as well as for
+receiving articles to be exhibited, or a great portion of them, from the
+upper parts of the building should the latter be wanted for any special
+purpose, and affording room likewise for all minor business departments.
+The Hall of Arts and Sciences was to be placed in the centre of the mass
+of building: a portion of the dome is seen in the view at the upper
+left-hand corner. This room was to be made 300 feet in length, by 180 in
+width. Two galleries for paintings, each 1000 feet in length and 80 feet
+in breadth, were to be placed on each side of the Central Hall. The
+sculptures from the British Museum were to be deposited in the central
+smaller halls of approach. The various Societies were to occupy the
+side-wings,<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p>
+
+<div class="figcenter" style="width: 536px;">
+<a href="images/ill_pg_134_lg.jpg">
+<img src="images/ill_pg_134_sml.jpg" width="536" height="316" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>View of Queen’s Gate, Hyde Park, with the National
+Gallery and other buildings, as suggested by His Royal Highness the late
+Prince Consort.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<p class="nind">each having its meeting and lecture room, and all necessary offices and
+apartments. The public were to enter at the porticoes seen in the view,
+and the carriages of the professors at the gateways in front. Two roads
+were proposed traversing the ground from north to south, and giving easy
+access for vehicles to every part of the building.</p>
+
+<p>In the small block plan attached to the view, placed on the upper
+right-hand corner, <i>b</i> is the Prince Albert’s Road, <i>a</i> the Exhibition
+Road, and <i>c</i> and <i>d</i> the roads north and south.</p>
+
+<p>The design was placed before the Prince at one of the Architects’
+meetings at the Earl de Grey’s, and it was exhibited at the Royal
+Academy in the same year. The House of Commons, however, after granting
+such a large sum of money for the purchase of the land, expressed its
+disapproval of removing the National Gallery from the present position,
+said to be the finest site in Europe, and the Fellows of the Royal
+Academy were informed that the portion of the building they then
+occupied would be added to that of the gallery. A view of the gates and
+lodge as at present executed is here given.</p>
+
+<div class="figcenter" style="width: 351px;">
+<a href="images/ill_pg_135_lg.jpg">
+<img src="images/ill_pg_135_sml.jpg" width="351" height="57" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p>
+
+<p>It cannot be supposed that a sum of 340,000<i>l.</i> would have been expended
+by the nation for the purpose of giving the Horticultural Society a
+perpetual lease of the best portion of the estate purchased. It is
+already evident that the gardens are not well situated there. The smoke
+of the district will not permit the growth of delicate plants, and their
+exhibitions are supplied from the gardens at Chiswick. In much less than
+fifty years their grounds will probably be the centre of London, and
+consequently the noble conception of His Royal Highness has still a good
+chance of being carried into effect. The Society will be smoked out when
+the city bounds are extended. The present National Gallery building will
+be wanted either for a Bank of England or a Royal Exchange, and my Lord
+Mayor may follow the example of the India Directors, and leave the
+Mansion House, to move to Whitehall. A tunnel under the Exhibition Road
+takes visitors into the grounds direct from the railway, that now makes
+them as easy of access from the heart of the City as Charing Cross
+itself.</p>
+
+<p>A few remarks may be made here on the great rise which takes place in
+the value of land in any fashionable neighbourhood of London required
+for the erection of buildings.</p>
+
+<p>The Harrington estate at Kensington Gore, con<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span>taining in the whole 93a.
+3r. 27p., was the joint property of the Earl of Harrington and of the
+Baron de Villars, through the right of his wife, the Baroness de
+Graffenried Villars. Previous to 1848 it had been some time in Chancery.
+In that year Mr. John Gaunt Lye was appointed auditor and agent to the
+fifth Earl of Harrington for the whole of the property. The rental of
+the Kensington Gore estate amounted at this time to 2779<i>l.</i> 9<i>s.</i> per
+annum. Through Mr. Lye’s exertions, he having received a power of
+attorney for the purpose, the estate was taken out of Chancery, and a
+division took place on the 7th May, 1850, at Mr. Lye’s office in
+Lancaster Place. For the purpose of division, one portion&mdash;that charged
+with maintaining the Cromwell Almshouses&mdash;was valued at 41,996<i>l.</i>, and
+the other at 40,552<i>l.</i> Cards representing each portion were placed in a
+hat, and the one representing the 41,996<i>l.</i>, was taken out by the
+Baron.</p>
+
+<p>In 1851 the Earl’s portion was let to Mr. W. Jackson on a building
+agreement for 99 years, at 100<i>l.</i> per acre, or 4600<i>l.</i> per annum. In
+1852 the Baron de Villars sold his moiety to the Royal Commissioners for
+the Exhibition of 1851 for the sum of 153,793<i>l.</i> The Commissioners only
+wanted a small portion of the Earl’s property. The first offer made by
+Mr. Cubitt to the surveyor of the estate was 40,800<i>l.</i> for 17 acres,<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span>
+or at the rate of 2400<i>l.</i> per acre. This was declined, and after a
+little negotiation the sum of 54,716<i>l.</i> was obtained. The matter was
+settled on the 7th of March, 1853; Mr. Jackson the builder received
+7964<i>l.</i> as compensation for the loss of so much of his building land.</p>
+
+<p>More land was purchased by the Royal Commissioners to make up the site
+they required; in the very middle of the latter was a field which had
+only been used as a place for beating carpets. It belonged to the Smith
+Charity estate, and fetched a rent of about 40<i>l.</i> per annum; this field
+was obtained by giving in exchange an outlaying one on the Villars
+estate, the building value of which was estimated at 800<i>l.</i> per annum.</p>
+
+<p>The Royal Commissioners, after squaring the site they required, and
+putting aside the portion now occupied by the Department of Science and
+Art, parcelled out the remaining outlying portion into three blocks, and
+let them on building leases. The first and most important of these was
+secured by the author for an employer, at a rental of 1500<i>l.</i> per
+annum, on condition that the fee of each house plot could be purchased
+within 6 years after the lease was granted; it contained about 2 acres.
+And these are now the only freeholds that can be obtained. This plot is
+now covered with buildings of the selling<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> value, as leaseholds, of
+250,000<i>l.</i>, and it produces an improved ground rental. For the purchase
+of the whole fee, the sum to be paid was 46,500<i>l.</i>, so that for a
+portion of this land which the author of this work, as surveyor of the
+property, sold in 1852 for little more than 3200<i>l.</i> per acre, the value
+had risen, in 1860, to no less than 23,250<i>l.</i> per acre.</p>
+
+<p>It is only since Hyde Park has become almost the centre of the
+metropolis, instead of being in one of its rural districts, that
+attention has been paid to supply it with ornamental lodges and gates.
+The country was so long occupied with the importance of the war with
+France, which terminated so gloriously to the honour of our country,
+that the Royal Parks were left in a very neglected state; and the gates
+and lodges, particularly the entrance into London by Knightsbridge, were
+mean in character, and totally unworthy of the purpose.</p>
+
+<p>Londoners of the present day have no notion of the wretched state of
+Hyde Park as it existed fifty years ago. The side next Park Lane, now a
+beautiful walk, adorned by the gardener’s utmost skill with several
+varieties of flowers and shrubs, was then a narrow sunken road, which
+for the most part continued, by the side of the boundary wall, all the
+way from Oxford Street to Piccadilly. This, when improvement commenced,
+was filled up, and laid down in grass; and a<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> wide Mall, with two
+foot-paths, was formed on the higher ground, and enclosed by handsome
+iron posts and rails. Some extensive gravel pits existed in the middle
+of the park; these were filled up, one only being permitted to remain.
+The surface of the park was generally levelled and manured, by which the
+herbage has been greatly improved. Numerous seats were placed about the
+park, for the convenience of the public; clumps and avenues of trees
+were planted. The Serpentine was cleansed for the first time; it is just
+now recleansed. A new drive, nearly a mile in extent was made through
+the most distant and beautiful part of the park, to lead to Kensington
+Gardens; and generally, all the roads were macadamized, and enclosed
+with posts and rails. To connect the roads north and south of the
+Serpentine, a handsome bridge was erected, from the designs and under
+the superintendence of Messrs. Rennie. This has much conduced to the
+accommodation of pedestrians and horsemen.</p>
+
+<p>About twenty years after these great improvements were effected, Queen
+Anne’s garden, at the extreme termination of Kensington Gardens, was
+thrown open to the public; the kitchen garden belonging to Kensington
+Palace was let out on building leases, and a road formed through it
+connecting the town of Kensington with Bayswater. This road, called the
+Quee<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>n’s Palace Gardens Road, is now covered from end to end with
+first-class mansions. The improvements continued, and are being still
+carried on.</p>
+
+<p>The lodges and gates, at the chief entrances into the park, were put up
+at the expense of the nation. When any building operator required an
+entrance into the park, for some new outlying district, he bore the
+expense of the construction, working under the direction of Her
+Majesty’s Chief Commissioner of Works. The Government lodges at
+Cumberland Place cost 2151<i>l.</i> One of these has been lately removed to
+widen Park Lane.</p>
+
+<p>The two first lodges, with gates opposite Stanhope Street, cost 5062<i>l.</i>
+The single lodge at the end of Grosvenor Street, with the iron gates,
+cost 2929<i>l.</i>, and the fountain 340<i>l.</i></p>
+
+<p>The grandest of all these erections, that at Hyde Park corner, adjoining
+the Duke of Wellington’s mansion, cost 17,069<i>l.</i></p>
+
+<p>The first lodge and entrance gates put up by a private building
+contractor was the Albert Gate, erected by the late Thomas Cubitt; the
+lodge is sunk, its flat roof being on a level only eight feet above the
+ground, and containing two small rooms, with a little yard and scullery.
+The iron railing forming the carriage gates and entrances to the
+foot-paths is of the same height as the lodge, and extends about 60
+feet;<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> the stone piers have on them the old stags which formerly
+decorated the stone piers at the entrance of the Ranger’s Lodge in
+Piccadilly. This gate gave an entrance by Hyde Park to Belgravia, and
+very much raised the value of that district.</p>
+
+<p>The next lodge and gate were put up by Mr. Kelk, opposite the fine
+mansions at Prince’s Gate. This is known as the Prince of Wales’s Gate.</p>
+
+<p>There are two lodges in size and plan exactly similar to the lodge at
+the Queen’s Gate. The gates and railings are very plain; they are 12
+feet in height, and extend to a length of 77 feet.</p>
+
+<p>The Queen’s Gate lodge and gates are certainly the chief of all the
+erections put up by building contractors; their cost was 2800<i>l.</i>, as
+previously mentioned. Both in ornamentation and character they vie with
+the best erections put up by the Government. The length of the iron-work
+between the stone pedestals is 140 feet; the height of the common rails,
+11 feet above ground; the height of the standard and lamp, 18 feet;
+there are two carriage gates, each of 15 feet opening, and two entrances
+for foot-passengers, each of 10 feet opening. The stone pedestals at
+each end are 6 feet in width by 15 feet in height. The iron-work is
+designed to represent a group of spears; the author wished to surmount
+the pedestals with groups of military arms similar to those of the
+trophies of<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<div class="figcenter" style="width: 530px;">
+<a href="images/ill_pg_143_lg.jpg">
+<img src="images/ill_pg_143_sml.jpg" width="530" height="374" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Design No. 13. Elevation of centre of iron-work, Queen’s
+Gate.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p>
+
+<p>Marius on the balustrading in front of the Senatorial Palace, Rome.
+These could have been constructed in</p>
+
+<div class="figcenter" style="width: 345px;">
+<a href="images/ill_pg_144_lg.jpg">
+<img src="images/ill_pg_144_sml.jpg" width="345" height="423" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of one of the Iron Standards.</p></div>
+</div>
+
+<p class="nind">stone, at little expense. Sir Benjamin Hall wished for<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> marble statues,
+and on Prince Albert’s suggestion models were made of two reclining
+figures, by Mr.</p>
+
+<div class="figcenter" style="width: 433px;">
+<a href="images/ill_pg_145_lg.jpg">
+<img src="images/ill_pg_145_sml.jpg" width="433" height="307" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section showing construction of Standard.</p></div>
+</div>
+
+<p>Theed, representing “Morning” and “Evening.” These would have caused
+great additional expense to the<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> builders, who wished, as the entrance
+was a great improvement in the value of the Earl of Harrington’s
+property at Kensington, to place, on the piers, two</p>
+
+<div class="figcenter" style="width: 189px;">
+<a href="images/ill_pg_146_lg.jpg">
+<img src="images/ill_pg_146_sml.jpg" width="189" height="435" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plans of Standard at various heights, showing
+construction.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<p class="nind">fine antique statues of Hercules then on the gates at Elvaston in
+Derbyshire, a country seat of the Earl’s. But as the statues belonged to
+the estate, and were entailed property, they could not be removed, and
+the Earl objected to their being taken down for the purpose of casting.
+The effect of the whole is much injured by the pedestals remaining
+unoccupied. The plate on page 143 represents the centre of the ironwork,
+surmounted by the Royal Arms.</p>
+
+<div class="figcenter" style="width: 126px;">
+<a href="images/ill_pg_147_lg.jpg">
+<img src="images/ill_pg_147_sml.jpg" width="126" height="205" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Iron block and ball latch.</p></div>
+</div>
+
+<p>The gates and railing are of very superior construction; they are the
+work of Mr. Turner, of Hinde Street, Manchester Square. They have been
+pronounced by the Government officials as requiring little attention,
+and that the gates open and shut better than any other gates in the
+park. Page 144 gives an<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> elevation of one of the iron standards. Each is
+two feet in width; there are ten of them; four, those belonging to the
+carriage entrances, being surmounted by lamps. The small size of this
+volume will not allow a full illustration of the ornamentation to be
+given, but it admits that important part, the construction, to be
+clearly shown. Page 145 gives a section of one of the standards, <i>d</i> is
+a layer of concrete, 1 foot 6 inches in height and four feet in width,
+which goes all through; <i>a</i> is the York landing, 6 inches thick and 5
+feet square; <i>b</i> is the brickwork, this goes all through; <i>c c</i>
+represent the blocks of Portland stone; and <i>e</i> is the granite curb 8
+inches by 10 inches in section, within the entrances.</p>
+
+<div class="figcenter" style="width: 107px;">
+<a href="images/ill_pg_148_lg.jpg">
+<img src="images/ill_pg_148_sml.jpg" width="107" height="149" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Wheel block.</p></div>
+</div>
+
+<p>Page 146 gives the plans of the standards at different heights, showing
+the several plates given in the section; and on page 149 is a section of
+the wrought-iron coupling-bar with its brass bush.<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<p>The gates move on a hardened steel socket of circular form, working
+within a steel box, as shown in the section.</p>
+
+<div class="figcenter" style="width: 250px;">
+<a href="images/ill_pg_149-a_lg.jpg">
+<img src="images/ill_pg_149-a_sml.jpg" width="250" height="230" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fall-down latch.</p></div>
+</div>
+
+<div class="figcenter" style="width: 140px;">
+<a href="images/ill_pg_149-b_lg.jpg">
+<img src="images/ill_pg_149-b_sml.jpg" width="140" height="43" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Coupling-bar.</p></div>
+</div>
+
+<p>Iron block and ball latches are provided for each of the gates. On pages
+148 and 149 are cuts of the wheel block, with the plan, elevation, and
+section of the stopping-piece or fall-down latch. The stopping-piece is
+keyed into the granite curb in the centre of each gateway; <i>a a</i> is the
+lower rail of gates, and by its side is a small portion of the ornament
+between<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> the rails. That the effect of the whole structure was, very
+much injured by the unfinished state of the pedestals was the opinion of
+Lord Llanover, who sent the following letter to the architect,
+expressing his dissatisfaction:</p>
+
+<div class="blockquot"><p class="r">
+Great Stanhope Street,<br />
+<i>July 11, 1859</i>.&nbsp; &nbsp; <br />
+</p>
+
+<p class="nind">
+<span class="smcap">Sir</span>,<br />
+</p>
+
+<p>The works at the Queen’s Gate, Hyde, Park, are very well executed,
+and the entrance, as completed, produces a good effect; but that
+effect would be materially improved if the gates and the railings,
+and the ornamental works were relieved by colour, and some of the
+parts gilt as I intended they should be. The two pedestals are also
+without the groups which were to form the superstructure of the
+square blocks. The work so far as it is executed is very well
+executed, and I am quite satisfied with it so far; but I shall not
+consider it completed until the groups are placed on the pedestals,
+and the best effect will not be produced so long as the iron-work
+remains wholly black.</p>
+
+<p class="r">
+<span style="margin-right: 8em;">I am, Sir,</span><br />
+
+<span style="margin-right: 3em;">Yours faithfully,</span><br />
+
+<span class="smcap">Llanover</span>.<br />
+</p>
+
+<p class="nind">
+C. J. Richardson, Esq.<br />
+</p></div><p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span>
+
+<h2><a name="ON_THE_FOUNDATION_AND_BASEMENT_WALLS_OF_BUILDINGS_DAMP_PREVENTION_AND" id="ON_THE_FOUNDATION_AND_BASEMENT_WALLS_OF_BUILDINGS_DAMP_PREVENTION_AND"></a>ON THE FOUNDATION AND BASEMENT<br />
+WALLS OF BUILDINGS,<br />
+ DAMP PREVENTION, AND<br />
+FIRE PROOF CONSTRUCTION.</h2>
+
+<p class="nind"><span class="letra">T</span>HE foundations of buildings require careful consideration. When a house
+approaches completion and shows cracks in the upper walls, they arise
+either from insufficient attention having been given to the solid
+character of the earth forming the site, or from bad construction at the
+basement. The building in fact settles down unequally. As a settlement
+of every building is certain to take place upon its completion, the
+greatest precaution should be taken to make it as equable as possible.
+No portion should settle deeper than another, and this can only be
+secured by care at the foundations.</p>
+
+<p>It often happens that portions of a selected site are of unequal
+quality. In such cases it is necessary to excavate the worst portions
+deeper to reach a good stratum, and to take the brickwork lower, no
+filling up beyond the usual thickness of concrete being allowed.</p>
+
+<p>There is another very serious evil, in building, to<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> be guarded against.
+Owing to the moisture of the earth rising through the foundations and
+saturating the walls above, the health of the occupants of such houses
+may be seriously affected by its presence in the walls. About twenty
+years ago it was the universal practice in good buildings to place wide
+stone landings&mdash;three times the thickness of the wall above&mdash;under the
+foundations, for the purpose of preventing the damp from rising as well
+as to spread the width of the wall.</p>
+
+<div class="figcenter" style="width: 230px;">
+<a href="images/ill_pg_152_lg.jpg">
+<img src="images/ill_pg_152_sml.jpg" width="230" height="219" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of a proper foundation for a wall.</p></div>
+</div>
+
+<p>A bed of concrete is now used as a substitute for this plan; the
+engraving below shows the best method of constructing foundation walls.
+A trench, three times the width of the wall is dug, at least 2 feet<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> 6
+inches in depth. Into this is thrown a quantity of concrete, which soon
+dries and becomes solid. In the superior class of buildings a layer of
+concrete, six inches in thickness, is placed entirely over the ground,
+inside the foundation. Upon this concrete the walls are built, the
+lowest footing being twice the width of the wall above. On a few courses
+above the top footing a course called a “damp course” is put; this is
+shown at <i>a</i>, page 152.</p>
+
+<p>Two courses of slate are laid in cement; but other materials are often
+used, as a thin sheet of lead, for the whole width of the wall. Zinc
+might answer, but it has not yet been tried. A thin coat of asphalte, or
+asphalted cloth, tar, pitch, or a plain coat of cement are also often
+employed, but the two courses of slate in cement are considered
+sufficient. The first course of bricks above the ground is often formed
+entirely of air bricks, originated by Mr. Aldin, the builder, of
+Kensington. Each brick has eight or ten perforations, ½ inch in
+diameter, through its whole length; a small piece of perforated zinc is
+placed upright between the bricks to prevent insects from entering. This
+is shown at <i>b</i>. The timbers and stone flooring of the basement do not
+enter the walls, but rest upon dwarf walls, the joists having oak
+sleepers to rest on. The brick fenders of the foundations are entirely
+filled with dry rubbish or ironfounder’s ashes, and the stone hearths<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span>
+bedded solid either in mortar or concrete. This is the construction
+shown in all the designs of this volume. To illustrate still further the
+attention given in constructing foundations, the engraving below is
+given, showing a section of a foundation executed several years ago at
+Westminster, where the ground was uncertain. Its scale is only half that
+of the previous figure, the upper wall being 3 feet in thickness</p>
+
+<div class="figcenter" style="width: 229px;">
+<a href="images/ill_pg_154_lg.jpg">
+<img src="images/ill_pg_154_sml.jpg" width="229" height="165" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of foundation to a wall.</p></div>
+</div>
+
+<p class="nind">instead of 1 foot 6 inches. Above the bed of concrete, which is 9 feet
+in breadth, by 3 feet in thickness, are York landings, <i>a</i>, 4 inches
+thick and exceeding 6 feet in width. Upon these are laid two lines of
+wood sleepers, <i>b</i>, bedded in brick and cement, the size of each sleeper
+being 12 by 6 inches, and in long lengths. Above this is a course of
+planking, <i>c</i>, placed diagonally across the wall; each plank being 12
+inches by 6 inches, and about 9 feet in length.<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span> Above this are the
+footings, each two courses in height: in the return walls the landings,
+sleepers, and planking are placed a course higher, so that they might be
+tied together. The brickwork goes down twelve feet, and invert arches
+are turned at every opening.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a href="images/ill_pg_155_lg.jpg">
+<img src="images/ill_pg_155_sml.jpg" width="150" height="162" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>In order to keep the walls as solid as possible in the lower part of a
+building, the ground floor joisting should rest on projecting corbel
+bricks as here shown,&mdash;the joists going between the cross walls rest
+upon projecting bricks, the upper one being of peculiar strength; tall
+piles are put between each joist against the wall, for the skirting in
+cement to be formed upon it. Air bricks in open iron-work, two to each
+front, are placed so as to admit air within the joisting.</p>
+
+<p>This mode of construction is carried throughout the ground floor.<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p>
+
+<p>The stone landing of the passage by the side of the servants’ stairs, is
+supported on the part next the wall by corbel bricks, and on the other
+side by an iron bar let into the wall at each end; as shown above. In
+the upper floor, the joisting should be reversed and go front to back,
+notched on wall plates let into the wall, thus tying both walls
+together.</p>
+
+<div class="figcenter" style="width: 195px;">
+<a href="images/ill_pg_156-a_lg.jpg">
+<img src="images/ill_pg_156-a_sml.jpg" width="195" height="60" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of stone landing of passage.</p></div>
+</div>
+
+<div class="figcenter" style="width: 271px;">
+<a href="images/ill_pg_156-b_lg.jpg">
+<img src="images/ill_pg_156-b_sml.jpg" width="271" height="131" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of kitchen roofing.</p></div>
+</div>
+
+<p>The introduction of rolled iron girders into buildings renders fireproof
+construction very easy. They are made of all sizes, and can be placed
+over any opening, so as to carry the weight above them. Kitchens in many
+London houses are constructed in the back yards, with an area between
+them and the house. This confines all the smell of the cooking to<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span> the
+precincts of the kitchen. As it is very important that no roofing should
+interrupt the light from the back ground-windows of the house, the roof
+of the kitchen is so constructed that the yard is only moved upwards; it
+belongs to the ground floor and not to the basement. For this purpose,
+cast iron girders, standing on brick piers, bear up rolled iron six-inch
+girders, between which half-brick arches are turned. Above all these is
+concrete, cement, or asphalte. The courses of tiles and cement are laid
+at such a slope as will be sufficient to take the water off quickly. It
+is easy to put skylights, or any kind of opening, in this construction,
+and to make the whole water-tight.</p>
+
+<p>This figure shows a way of supporting walls over openings, instead of
+the old method of arching in brick; the iron girders or plates have
+often no timber between them; they rest upon iron shoes or stone slabs,
+their depth being proportioned to the opening and the weight above.
+Strong large hollow bricks or tiles are placed over them, and above all
+is the brickwork.</p>
+
+<div class="figright" style="width: 56px;">
+<a href="images/ill_pg_157_lg.jpg">
+<img src="images/ill_pg_157_sml.jpg" width="56" height="135" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Support over opening.</p></div>
+</div>
+
+<p>The upper floors of buildings are made fire-proof in a similar manner,
+and for this purpose there are several excellent patented methods. The
+iron girders are closed up by brick arches, or filled between with<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span>
+concrete. The only objection to this mode of construction for upper
+floors is the great weight, and the walls require to be made of extra
+strength. Several years ago a hollow brick was used to form such arches
+and roofing, <i>e.g.</i>, the dome of the Rotunda, at the Bank of England, is
+formed with them. The brick is somewhat similar to a flowerpot, but flat
+and closed at each end. There were several varieties of these cone
+bricks, as they were called; a few are preserved in the Soane Museum.
+One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8
+by 2 inches at the bottom. They were curved inwards with a small
+opening, 1 by 2/8 inch in the centre. The edges of the brick were
+slightly splayed, and the sides scored; these were as strong as the
+common bricks, and very much lighter. When the East India House was
+pulled down a large quantity of these bricks was obtained; they were
+brought to Kensington, and the builders did not know what they were
+intended for; their purpose being pointed out, they were used up in the
+construction of fire-proof flooring.</p>
+
+<p><i>Fire-proofing.</i>&mdash;A method of rendering buildings nearly fire-proof was
+introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted
+in placing thin metal plates between the flooring boards and the joists,
+so as to prevent any upward currents of air. For domestic buildings the
+system was one of<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> great value. After several successful trials it
+obtained considerable notoriety, and being thought capable of an
+impossibility, that of rendering a Theatre fireproof, it was applied to
+the Pantheon Theatre in Oxford Street. On that structure being burnt to
+the ground the plates lost their character, and went out of use. It was
+clearly a mistake to apply them to such a building. Thin iron plates
+hung at a short distance below the ceiling were successfully adopted by
+Mr. Walter Crum, to prevent the spread of fire from one room to another
+in his calico printing works, near Glasgow.</p>
+
+<p><i>Damp.</i>&mdash;The damp rising from foundations is more easily guarded against
+than damp coming against a building laterally. Houses in exposed
+situations and subject to driving winds, are often very wet inside the
+walls, the rain being driven through them. Sometimes the best
+construction will not keep out wet. As a rule, a well-built wall wherein
+proper material has been used, should not be damp.</p>
+
+<p>A rectory, not far from Salisbury, where the author was engaged a few
+years ago, was in such an exposed situation that on three of its sides
+no tree or any other object in a direct line could be seen for three
+miles. Clothes, if placed against the external wall of the
+dressing-room, were often quite wet. The Rector had tried several
+preventives himself; one<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> was a mixture, used to water-proof cloth&mdash;a
+wash of soap and alum.</p>
+
+<p>The ingredients were mixed in the following proportions: ¾ lb. of
+mottled soap to 1 gallon of water. This mixture, when in a boiling
+state, was laid over the surface of the brickwork steadily and carefully
+with a large flat brush, so as not to form a froth or lather on the
+surface, and was permitted to remain twenty-four hours to become dry and
+hard. Another mixture was then made in these proportions: ½ lb. of alum
+to 4 gallons of water, which, after standing twelve hours, in order that
+the alum should be completely dissolved, was applied in like manner with
+a flat brush over the coating of soap. The coating had to be very often
+renewed. The wall most exposed was made free from wet by being covered
+with a coating of cement.</p>
+
+<p>Walls exposed to damp should be coated with a thin layer of Portland
+cement, mixed with a little plaster of Paris, and after this is
+thoroughly dry, it may be hardened and rendered impervious to water by
+painting it with boiled linseed oil and red lead, mixed together.</p>
+
+<p>In very exposed situations all external walls should be battened, lath
+and plastered within, or built with a hollow cavity in the middle, with
+proper bond and a proportionate increase of thickness,&mdash;the hollow
+could<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span> be filled with concrete, or the back of the bricks covered with
+pitch. There are several other methods for keeping walls free from damp.
+One is to saturate the walls with some kind of mastic, or a wash
+composed of two or three parts of resin and one part of drying oil, to
+the extent of as many washes as the wall will absorb. This must be quite
+dry at the time, or be dried by means of a small portable furnace. The
+plan is effectual, but it is a difficult operation to perform. A cement
+composed of lime, boiled linseed oil, white lead, and sand, has been
+recommended.</p>
+
+<p>Besides these various compositions, there are several excellent
+well-known paint and metallic cements, which have stood very severe
+tests, and are largely made use of; but walls properly constructed
+should not require their application.</p>
+
+<div class="figcenter" style="width: 163px;">
+<a href="images/ill_pg_161_lg.jpg">
+<img src="images/ill_pg_161_sml.jpg" width="163" height="106" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plaster ornament for a ceiling.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p>
+
+<h2><a name="DESIGN_No_14" id="DESIGN_No_14"></a><i>DESIGN No. 14.</i><br /><br />
+A SMALL COUNTRY RECTORY.</h2>
+
+<div class="figcenter" style="width: 374px;">
+<a href="images/ill_pg_162_lg.jpg">
+<img src="images/ill_pg_162_sml.jpg" width="374" height="329" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made for a country clergyman residing near Montacute, in
+Somersetshire. It was arranged according to his express directions in
+every particular, both as to style, and in regard to the number and size
+of the rooms on each floor. Living in the immediate neighbourhood of
+some of the finest</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_163_lg.jpg">
+<img src="images/ill_pg_163_sml.jpg" width="275" height="224" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">old English mansions, he was anxious to have a residence in the old
+decorated style of wooden architecture, certainly the most picturesque
+of all the styles our forefathers have left us. The timber dwelling is
+found in almost every county throughout England, with their projecting
+windows and highly ornamented bargeboards; several large houses in
+Cheshire and<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> Shropshire remain to satisfy us that such construction,
+when properly carried out, is very lasting. The timber used requires to
+be felled at the right time, and to be properly seasoned before being
+placed up; which must be done on a brick or stone foundation. Dwellings
+constructed in this way were anciently</p>
+
+<div class="figcenter" style="width: 263px;">
+<a href="images/ill_pg_164_lg.jpg">
+<img src="images/ill_pg_164_sml.jpg" width="263" height="225" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<p class="nind">called post-and-pan houses. They have been known to rock and bend before
+severe storms, and to stand intact while adjoining buildings have been
+blown down. Large palaces were formerly constructed in England of wood;
+the chimney flues and fireplaces alone being of brick. The sketch-book
+of John Thorpe, an Elizabethan architect, a copy of which is<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span> in the
+fine library of the Art Museum of South Kensington, illustrates several
+of these dwellings.</p>
+
+<p>With the present design it was the intention of the rector to carry out
+the work himself, the necessary drawings being provided him. The
+building is small and compact. When much adornment is intended, it is
+necessary to confine the expense within</p>
+
+<div class="figcenter" style="width: 125px;">
+<a href="images/ill_pg_165_lg.jpg">
+<img src="images/ill_pg_165_sml.jpg" width="125" height="209" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ornament in ceiling of study.</p></div>
+</div>
+
+<p class="nind">bounds; if a cheap large house with plenty of accommodation be required,
+then four walls and an overhanging roof alone need be given. The view
+shows the principal front of the building; on page 163 is the ground
+plan; <i>a</i> is a small hall having a window looking into the conservatory
+on the right; the door leading to the servants’ department is on the
+left;<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span> <i>c</i> is a small study, 16 ft. by 14 ft., with a decorated ceiling,
+containing the shield of arms of the owner. The drawing-room, <i>d</i>, size
+28 ft. by 15 ft, has the</p>
+
+<div class="figcenter" style="width: 243px;">
+<a href="images/ill_pg_166-a_lg.jpg">
+<img src="images/ill_pg_166-a_sml.jpg" width="243" height="199" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The ceiling of drawing-room.</p></div>
+</div>
+
+<p class="nind">ornamental ceiling of bold Elizabethan character; this covers the whole
+ceiling, and the effect of such ornamentation</p>
+
+<div class="figcenter" style="width: 164px;">
+<a href="images/ill_pg_166-b_lg.jpg">
+<img src="images/ill_pg_166-b_sml.jpg" width="164" height="101" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cornice of drawing-room.</p></div>
+</div>
+
+<p class="nind">is very good. Often, in the olden times, a portion of the rib moulding
+was gilt, the ground of the ceiling being of a light blue; ceilings of
+this kind<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span> exist which represent foliage and flowers, giving the effect
+of a garden bower. The preceding illustration shows the present ceiling.
+The simple rib moulding is in plaster, with small flowers and pendants.
+The section of the rib moulding to a large scale is shown in the cut;
+which also gives the cornice and frieze of the room; <i>e</i>, in the ground
+plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace
+paved with</p>
+
+<div class="figcenter" style="width: 307px;">
+<a href="images/ill_pg_167_lg.jpg">
+<img src="images/ill_pg_167_sml.jpg" width="307" height="152" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of attic. Basement plan.</p></div>
+</div>
+
+<p class="nind">marble in black and white squares&mdash;the present ornamental tiles were not
+in common use at the time the design was made; <i>f</i> is the kitchen, <i>g</i>
+the scullery, and <i>h</i> the larder. A small enclosed servants’ yard, with
+place for coals, wood, and other conveniences, is in front of the
+kitchen. The yard has a separate entrance from the front. This is the
+whole of the accommodation given on the ground floor. The one-pair plan
+shows the five bedrooms. These are<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span> without dressing-rooms, there being
+no space for them. A small turret staircase leads to the attic floor.
+This gives two large bedrooms and a small one for the</p>
+
+<div class="figcenter" style="width: 340px;">
+<a href="images/ill_pg_168_lg.jpg">
+<img src="images/ill_pg_168_sml.jpg" width="340" height="371" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through building.</p></div>
+</div>
+
+<p class="nind">servants. The large bow-windowed room might serve as a nursery. The
+tower was carried up and contained a bell. The basement plan contains a
+large<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span> and small wine cellar, and one also for beer; there are four
+cellars, besides an inner cellar under the stairs.</p>
+
+<div class="figcenter" style="width: 355px;">
+<a href="images/ill_pg_169_lg.jpg">
+<img src="images/ill_pg_169_sml.jpg" width="355" height="328" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p>The principal staircase is very light and cheerful, having on one side
+three large windows, with a ledge or stand for flowers. It was proposed
+to panel it entirely with oak, and have an ornamental ceiling similar to
+that in the drawing-room, with a pendant<span class="pagenum"><a name="page_170" id="page_170">{170}</a></span> in the centre. The section is
+taken through the drawing-room, staircase, and kitchen, and shows the
+form and height of the rooms above; also the stone stairs to the
+cellars.</p>
+
+<div class="figcenter" style="width: 357px;">
+<a href="images/ill_pg_170_lg.jpg">
+<img src="images/ill_pg_170_sml.jpg" width="357" height="261" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of gable ornaments.</p></div>
+</div>
+
+<p>It will be seen that the walls rest upon a concrete foundation; the
+scale is too small to show the damp course or the ventilating bricks, as
+previously described (see page 159). The chimneys are shown carried up
+nine inches square, excepting the kitchen chimney, that being 14 inches
+by 9. The staircase was to have a plain Elizabethan iron railing, and
+the whole of the<span class="pagenum"><a name="page_171" id="page_171">{171}</a></span> wood-work to be coloured and grained oak; the roof was
+to be covered with slate, these requiring a less solid base; ornamental
+ironwork crowned the summit of the principal roof over the staircase. An
+illustration of the front of the building is given on page 169.</p>
+
+<div class="figcenter" style="width: 173px;">
+<a href="images/ill_pg_171_lg.jpg">
+<img src="images/ill_pg_171_sml.jpg" width="173" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section and elevation of chimney.</p></div>
+</div>
+
+<p>The figures on page 170 illustrate various kinds of treatment for the
+carving of the finials and pendants, and the ornaments of the small
+gables; it being usual in these structures not to have any two parts of
+ornamental detail exactly alike. It has all to be carved by hand, and
+requires only slight extra trouble on the part of the architect to make
+separate patterns for the workmen. A section and elevation of one of the
+chimneys<span class="pagenum"><a name="page_172" id="page_172">{172}</a></span> are shown also; they are fitted with the small cap introduced
+and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and
+Pimlico; this will</p>
+
+<div class="figcenter" style="width: 213px;">
+<a href="images/ill_pg_172-a_lg.jpg">
+<img src="images/ill_pg_172-a_sml.jpg" width="213" height="118" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Knocker.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Key escutcheons.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 153px;">
+<a href="images/ill_pg_172-b_lg.jpg">
+<img src="images/ill_pg_172-b_sml.jpg" width="153" height="230" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Oak corbel.</p></div>
+</div>
+
+<p class="nind">be found fully illustrated in the chapter on chimney and flue
+construction. At the time this design was<span class="pagenum"><a name="page_173" id="page_173">{173}</a></span> made, this plan was not
+known. The chimney is shown with an iron funnel 2 feet in height, a
+chimney-pot, in fact, let into the stone work at top, having no
+projection within for soot to lodge. Two of the stone balustrades are
+illustrated. Every separate balustrade in such buildings should be of a
+different pattern.</p>
+
+<div class="figcenter" style="width: 306px;">
+<a href="images/ill_pg_173-a_lg.jpg">
+<img src="images/ill_pg_173-a_sml.jpg" width="306" height="56" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Stone balustrades.</p></div>
+</div>
+
+<p>The knocker on the entrance door, the key, escutcheons for the doors,
+and a corbel in oak from the entrance front, are illustrated on page
+172.</p>
+
+<div class="figcenter" style="width: 218px;">
+<a href="images/ill_pg_173-b_lg.jpg">
+<img src="images/ill_pg_173-b_sml.jpg" width="218" height="113" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>An external frieze.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<h2><a name="DESIGN_No_15" id="DESIGN_No_15"></a><i>DESIGN No. 15.</i><br /><br />
+A SMALL COUNTRY HOUSE.</h2>
+
+<div class="figcenter" style="width: 332px;">
+<a href="images/ill_pg_174_lg.jpg">
+<img src="images/ill_pg_174_sml.jpg" width="332" height="241" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building was intended to be only a comfortable country house for
+the residence of an eminent provincial solicitor. It was directed to be
+made of superior character, as the owner, being a person well known in
+the county, considered that the</p>
+
+<div class="figcenter" style="width: 329px;">
+<a href="images/ill_pg_175_lg.jpg">
+<img src="images/ill_pg_175_sml.jpg" width="329" height="252" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The ground plan.</p></div>
+</div>
+
+<p class="nind">eyes of the whole neighbourhood would be upon it. The situation was on
+one of the roads leading out of Maidstone, and as the land in which it
+was to stand was taken on lease for 99 years, nothing beyond a superior
+gentlemanly character could be given to it, as it is only in freehold
+houses that any superior or ex<span class="pagenum"><a name="page_176" id="page_176">{176}</a></span>pensive architectural adornment should be
+indulged in. The Roman or Italian style, as being the most appropriate
+and the one best understood by builders, was adopted.</p>
+
+<div class="figcenter" style="width: 237px;">
+<a href="images/ill_pg_176_lg.jpg">
+<img src="images/ill_pg_176_sml.jpg" width="237" height="212" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The plan of the upper floor.</p></div>
+</div>
+
+<p>The front of the house had no prospect, the side of the road opposite to
+it showing only a high bank with boulders of ragstone, peculiar to the
+county of Kent; and for this reason none of the principal windows looked
+towards it. The back-front and side, however, turned towards the hills
+between Maidstone and Rochester. Very precise directions were given as
+to the arrangement, size, height, and number of the rooms. The study,
+<i>c</i>, was to be on the left of the entrance-hall,<span class="pagenum"><a name="page_177" id="page_177">{177}</a></span> and its size 16 feet
+by 12 feet. It was made 16 feet square. The drawing-room, <i>d</i>, having
+the chief prospect, was to be the principal room. This was made 20 feet
+by 17 feet. The dining-room, <i>e</i>, was 20 feet by 16 feet; both rooms
+looked into conservatories, <i>i</i> <i>i</i>. The back front faced the north&mdash;a
+very favourite aspect for the principal rooms with many of the noblemen
+and gentlemen of Kent; the reason being that the flowers in the gardens
+under the windows, turning towards the sun, present a cheerful and
+agreeable appearance to the occupants of the rooms.</p>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/ill_pg_177_lg.jpg">
+<img src="images/ill_pg_177_sml.jpg" width="255" height="196" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Plan of second floor.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Plan of basement floor.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>The dining-room had steps leading down to the garden; the kitchen <i>b</i>,
+scullery <i>g</i>, and small larder <i>h</i>, were on the right of the entrance,
+the kitchen and the study having small windows by the side of the
+entrance,<span class="pagenum"><a name="page_178" id="page_178">{178}</a></span> so that all visitors coming to the house might be seen. The
+servants’ door was in the small yard by the side of kitchen, with a
+place for coals; <i>o</i> is a small chaise-house, and <i>p</i> a stable for a
+pony; <i>l</i> is the dust-hole.</p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_178-a_lg.jpg">
+<img src="images/ill_pg_178-a_sml.jpg" width="193" height="90" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Frieze of drawing-room.</p></div>
+</div>
+
+<div class="figcenter" style="width: 173px;">
+<a href="images/ill_pg_178-c_lg.jpg">
+<img src="images/ill_pg_178-c_sml.jpg" width="173" height="78" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Frieze of dining-room.</p></div>
+</div>
+
+<div class="figleft">
+<a href="images/ill_pg_178-b_lg.jpg">
+<img src="images/ill_pg_178-b_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of cement skirtings.</p></div>
+</div>
+
+<p>The upper floor had to contain five best bedrooms; these can be seen in
+the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet.
+There were three dressing-rooms, the largest 12 feet by 10, the two
+smaller each 12 feet 6 inches by 6 feet. The second floor contained two
+rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10
+feet. The basement had a footman’s pantry,<span class="pagenum"><a name="page_179" id="page_179">{179}</a></span> 12 feet by 9 feet 6 inches,
+and a dairy of the same size. This had steps down to it in the area.
+There was a wet larder with a window, a wine cellar, and a beer cellar.</p>
+
+<div class="figcenter" style="width: 365px;">
+<a href="images/ill_pg_179_lg.jpg">
+<img src="images/ill_pg_179_sml.jpg" width="365" height="321" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through entrance-hall and dining-room.</p></div>
+</div>
+
+<p>The interior was plainly finished, with nothing beyond the best modern
+enrichments. The whole of the interior had Keen’s cement skirtings. The
+staircase had a skirting flush with the wall, so as not to take away
+space from the stairs; this is shown at<span class="pagenum"><a name="page_180" id="page_180">{180}</a></span> page 178. There were ornamental
+roses in the centre of the ceilings of the principal rooms. The section
+of the interior is made through the principal entrance, across the
+staircase and dining-room; and in the upper floor, through two of the
+dressing-rooms.</p>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_180_lg.jpg">
+<img src="images/ill_pg_180_sml.jpg" width="282" height="364" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of portico.</p></div>
+</div>
+
+<p>The only architectural feature in the front of any<span class="pagenum"><a name="page_181" id="page_181">{181}</a></span> importance was the
+portico (see page 180). A bold and prominent effect was given to it. The
+estimated expense of the building was 2151<i>l.</i>, full price put down as
+2250<i>l.</i></p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette is an elevation of an Elizabethan balustrade, in stone,
+intended to crown a cornice, and to be placed in an elevated position
+against the sky line.</p>
+
+<div class="figcenter" style="width: 348px;">
+<a href="images/ill_pg_181_lg.jpg">
+<img src="images/ill_pg_181_sml.jpg" width="348" height="224" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<h2><a name="DESIGN_No_16" id="DESIGN_No_16"></a><i>DESIGN No. 16.</i><br /><br />
+A COUNTRY VILLA.</h2>
+
+<div class="figcenter" style="width: 361px;">
+<a href="images/ill_pg_182_lg.jpg">
+<img src="images/ill_pg_182_sml.jpg" width="361" height="237" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS villa, which has just been erected in Berkshire, in the
+neighbourhood of Windsor, is intended as the country residence for a
+lady of rank. The living rooms are large and noble, and the
+accommodation</p>
+
+<div class="figcenter" style="width: 341px;">
+<a href="images/ill_pg_183_lg.jpg">
+<img src="images/ill_pg_183_sml.jpg" width="341" height="305" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of ground floor.</p></div>
+</div>
+
+<p class="nind">for a small establishment ample. The plate (page 182) shows the garden
+front, and above is the ground plan. The two principal rooms, the
+drawing and dining-rooms, are respectively 25 feet by 18 feet and 21
+feet by 18 feet. They are to the left of the hall;<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span> this, of moderate
+size, leads to the principal staircase, which is of very easy ascent,
+each step rising less than</p>
+
+<div class="figcenter" style="width: 260px;">
+<a href="images/ill_pg_184a_lg.jpg">
+<img src="images/ill_pg_184a_sml.jpg" width="260" height="259" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper story.</p></div>
+</div>
+
+<p>6 inches. The second landing opens to the servants’ staircase; <i>b</i> (see
+page 183) is the kitchen, size 15 feet</p>
+
+<div class="figleft" style="width: 58px;">
+<a href="images/ill_pg_184-b_lg.jpg">
+<img src="images/ill_pg_184-b_sml.jpg" width="58" height="65" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of wine cellar.</p></div>
+</div>
+
+<p class="nind">by 14 feet, with the larder <i>h</i>, leading directly out of it,&mdash;<i>g</i> is the
+scullery, with an oven, and a shoot into the dustpit <i>m</i>, <i>n</i> is the
+housekeeper’s room, and <i>j</i> the butler’s pantry; <i>c</i> is the lady’s room
+or study. This was enlarged, by taking down the partition, marked on<span class="pagenum"><a name="page_185" id="page_185">{185}</a></span>
+the plan by the dotted lines, to allow of a splendid oak cabinet being
+placed there. A door in the room opens direct into that of the
+housekeeper; <i>k</i> is the dairy,</p>
+
+<div class="figcenter" style="width: 458px;">
+<a href="images/ill_pg_185_lg.jpg">
+<img src="images/ill_pg_185_sml.jpg" width="458" height="289" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through drawing-room, staircase, and kitchen.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<p class="nind">and <i>l</i> a place for coals. The wine cellar was at first intended to be
+placed under the principal flight of stairs, descending a few steps; but
+a large one, <i>b</i> (see page 184), was afterwards made.</p>
+
+<div class="figcenter" style="width: 260px;">
+<a href="images/ill_pg_186_lg.jpg">
+<img src="images/ill_pg_186_sml.jpg" width="260" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>French cut pine woodwork, from the exterior.</p></div>
+</div>
+
+<p>The plan of the upper story shows it containing two large principal
+bedchambers&mdash;each with a dressing-room, and a large room with two
+fireplaces serving as a nursery, but which could at any time be made
+into two rooms by putting up partitions.</p>
+
+<p>The servants’ sleeping apartments, the housemaid’s closet, and the
+servants’ staircase, occupy the remaining portion of the plan.</p>
+
+<p>The cost of erecting the carcase of the building, including the wine
+cellar, was 1108<i>l.</i> The cost of finishing, putting up the principal
+staircase in Portland<span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figright" style="width: 183px;">
+<a href="images/ill_pg_187_lg.jpg">
+<img src="images/ill_pg_187_sml.jpg" width="183" height="295" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and elevation of iron glazed casement to
+entrance-door.</p></div>
+</div>
+
+<p class="nind">stone, and leaving all work required to be painted with two coats, but
+exclusive of papering, stoves, ironwork, marble mantelpieces,
+conservatory, verandah and exterior decorations to roof, was 1550<i>l.</i>
+Mr. Hockley, of Kensington, was the builder. When the mansion was
+finished so far, all ornamentations, &amp;c., formed an agreeable occupation
+for the lady to complete from favourite examples seen by her on the
+Continent. The extra parquet flooring in the dining and drawing-rooms is
+from Switzerland. This cost 148<i>l.</i> All the stone flooring of the hall,
+staircase, passages, and conservatory, is covered with tiles from Italy;
+these are about 8 inches square, but not so well made as the English
+kind, although more artistic. Each has a small figure put in by hand,
+which is different<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span> on every tile. The tiles are faced with a white
+china ground and look extremely well. The common tiles cost 16<i>s.</i> per
+100. The grotesque figured tiles,</p>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_188_lg.jpg">
+<img src="images/ill_pg_188_sml.jpg" width="239" height="364" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and view of remains of old house.</p></div>
+</div>
+
+<p class="nind">of which the illustration on page 189 shows four, cost 2<i>l.</i> per 100.
+They were supplied by M. Giustiniani, of Naples. The marble
+chimney-pieces were<span class="pagenum"><a name="page_189" id="page_189">{189}</a></span> to be supplied from Italy. The ironwork of the
+staircases, and the panel to fill up the opening in staircase, shown
+dotted in the upper plan, were supplied from Paris. It is different from
+any ironwork that can be procured here, of elegant design, and covered
+apparently with a thin coat of zinc. This gives it a silvery metallic
+appearance, and it does not require</p>
+
+<div class="figcenter" style="width: 191px;">
+<a href="images/ill_pg_189_lg.jpg">
+<img src="images/ill_pg_189_sml.jpg" width="191" height="189" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Four of the Italian figured tiles.</p></div>
+</div>
+
+<p class="nind">painting; it is really a coating of glass, and is termed the <i>lavenant</i>
+process. It it said to be a great preservative of the iron, and can be
+put on in different colours. Each of the windows of the principal rooms,
+and the hall, is fitted within with Price’s steel revolving shutters.
+These cost 75<i>l.</i> The upper windows on the outside have iron balconets,
+likewise from France, and the roof, surrounding the principal parts,<span class="pagenum"><a name="page_190" id="page_190">{190}</a></span> is
+finished with the French cut pine patterns. They were supplied by M.
+Jules Millet, of 12, Boulevard du Temple. The entrance door has the two
+upper panels</p>
+
+<div class="figcenter" style="width: 235px;">
+<a href="images/ill_pg_190_lg.jpg">
+<img src="images/ill_pg_190_sml.jpg" width="235" height="376" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>French iron staircase railing.</p></div>
+</div>
+
+<p class="nind">filled with French castings, executed in a fashion different from the
+English mode; but one quite worthy to be followed. The iron panel is
+placed on<span class="pagenum"><a name="page_191" id="page_191">{191}</a></span> the outside, with a light iron glazed casement fitted behind
+it. This in warm weather can be opened, so as to admit fresh air into
+the hall. The plan and elevation of the casement shown from the inside,
+on page 187; by the side of it is one quarter of the external iron
+casting.</p>
+
+<p>It may be remarked that these French patterns, both in iron and wood,
+are not finished off as clean as they would be in England. The castings
+appear just as they came out of the sand, and the wood pattern exactly
+as the machines or saw left them; but they are extremely elegant, and
+the metallic appearance of the ironwork is very pleasing.</p>
+
+<p>The former house is pulled down, except a portion, permitted to remain,
+which is formed into a decorative building for the garden; the plan
+(page 188) shows <i>a</i> the old kitchen, <i>b</i> the wine cellar made into an
+ice-house, <i>d</i> a lock-up closet, <i>f</i> a prospect tower, <i>c</i> a closet in a
+small enclosed garden, and <i>e</i>, a garden seat.</p>
+
+<p>On page 190 is a pattern sent from Paris for the staircase railing.</p>
+
+<div class="figcenter" style="width: 195px;">
+<a href="images/ill_pg_191_lg.jpg">
+<img src="images/ill_pg_191_sml.jpg" width="195" height="45" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<h2><a name="DESIGN_No_17" id="DESIGN_No_17"></a><i>DESIGN No. 17.</i><br /><br />
+A DOUBLE SUBURBAN VILLA.</h2>
+
+<div class="figcenter" style="width: 477px;">
+<a href="images/ill_pg_192_lg.jpg">
+<img src="images/ill_pg_192_sml.jpg" width="477" height="377" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building was intended for erection on a leasehold estate at a
+little distance out of London. It would have been of rather plainer
+character, but the view (page 192) shows the design first made. The
+frontage, or width of ground for each house, was</p>
+
+<div class="figcenter" style="width: 291px;">
+<a href="images/ill_pg_193_lg.jpg">
+<img src="images/ill_pg_193_sml.jpg" width="291" height="282" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<p>60 feet, the depth 150 feet. The character of the building was of the
+domestic style of the reign of Henry VII., and the accommodation it
+afforded is given in the several plans. The ground plan shows two large
+rooms <i>D</i> and <i>E</i>, the drawing and dining rooms, which can easily be
+opened into each other by<span class="pagenum"><a name="page_194" id="page_194">{194}</a></span> sliding back the inner doors into the
+partition; <i>C</i> is the library, with a book-room leading out of it. <i>B</i>
+is the staircase, of a size rather larger than that generally allowed in
+London houses. Very often, sufficient attention is not paid to this
+highly important part of our dwellings by builders, nor full space
+allowed for it. A</p>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_194_lg.jpg">
+<img src="images/ill_pg_194_sml.jpg" width="287" height="257" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan.</p></div>
+</div>
+
+<p class="nind">good staircase should have, at every six or seven steps, a landing of at
+least 2 feet 6 inches in depth. Where winding stairs are used they
+should have a good sweep; the tread, in the centre, should be 1 foot in
+width, the riser never more than 6 inches in height&mdash;less even would be
+better. It is also of considerable importance<span class="pagenum"><a name="page_195" id="page_195">{195}</a></span> in a staircase that the
+height of the steps in the various flights should be the same. Some of
+the most costly and important of the builders’ houses in London, erected
+on highly rented land, have the staircases so confined that these, an
+architect’s well-known rules, are wholly put aside. Staircases with
+risers of 6 inches in height from the ground to the one-pair floor,
+increased to near 7 inches to the two-pair, the latter flight containing
+probably 30 steps in a straight line without a landing, render a house
+almost uninhabitable.</p>
+
+<div class="figcenter" style="width: 273px;">
+<a href="images/ill_pg_195_lg.jpg">
+<img src="images/ill_pg_195_sml.jpg" width="273" height="264" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Attic plan.</p></div>
+</div>
+
+<p>A servants’ staircase is a most desirable addition to<span class="pagenum"><a name="page_196" id="page_196">{196}</a></span> a large house.
+The present building was not considered of sufficient importance to have
+one. It was proposed to be placed between the tower and the dining-room,
+but it was rightly considered that the two staircases should be put
+together so that the</p>
+
+<div class="figcenter" style="width: 284px;">
+<a href="images/ill_pg_196_lg.jpg">
+<img src="images/ill_pg_196_sml.jpg" width="284" height="280" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p class="nind">landings of each, on every half space, should be on the same level,
+separated only by a door, and giving the servant immediate access to
+every floor of the house. A position between the library and staircase
+would have been most proper, but there was not sufficient width; it
+would have interfered with the<span class="pagenum"><a name="page_197" id="page_197">{197}</a></span> kitchen, and would have made too
+intricate a plan, which, for houses to be erected on leasehold land, is
+objected to by builders unless directed by the party purchasing.</p>
+
+<div class="figcenter" style="width: 185px;">
+<a href="images/ill_pg_197-a_lg.jpg">
+<img src="images/ill_pg_197-a_sml.jpg" width="185" height="143" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of roof to larder.</p>
+</div>
+</div>
+
+<div class="figcenter" style="width: 190px;">
+<a href="images/ill_pg_197-b_lg.jpg">
+<img src="images/ill_pg_197-b_sml.jpg" width="190" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of steps to garden.</p></div>
+</div>
+
+<p>With a servants’ staircase follow a large housemaid’s closet, sink, &amp;c.,
+which must always be provided where<span class="pagenum"><a name="page_198" id="page_198">{198}</a></span> possible. The plan of the one-pair
+shows three large bedrooms and one dressing-room, with the tower room,
+which was intended either for a morning room, a</p>
+
+<div class="figcenter" style="width: 330px;">
+<a href="images/ill_pg_198_lg.jpg">
+<img src="images/ill_pg_198_sml.jpg" width="330" height="365" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The side elevation.</p></div>
+</div>
+
+<p class="nind">school room, or a boudoir. There is a large conservatory on the
+principal landing of staircase, and a closet leading out of it. A
+good-sized aquarium with a<span class="pagenum"><a name="page_199" id="page_199">{199}</a></span> regular supply of water could be easily
+arranged in the centre of the conservatory. The attic plan contains
+three large rooms for servants, and the tower room was to be used as a
+smoking room, or as a play room for the children.</p>
+
+<div class="figcenter" style="width: 271px;">
+<a href="images/ill_pg_199_lg.jpg">
+<img src="images/ill_pg_199_sml.jpg" width="271" height="381" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>The basement contains a private breakfast or dining<span class="pagenum"><a name="page_200" id="page_200">{200}</a></span> room, <i>T</i>, with a
+large store closet, having an opening one foot in height filled with
+perforated zinc opposite</p>
+
+<div class="figcenter" style="width: 189px;">
+<a href="images/ill_pg_200_lg.jpg">
+<img src="images/ill_pg_200_sml.jpg" width="189" height="372" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Half elevation of small library.</p></div>
+</div>
+
+<p class="nind">the window of the passage; <i>N</i> is the housekeeper’s or servants’ hall;
+<i>B</i> the kitchen 23 feet by 18 feet, with <i>G</i> the scullery behind, <i>H</i>,
+<i>H</i>, the larders, <i>S</i> position<span class="pagenum"><a name="page_201" id="page_201">{201}</a></span> for a lift, and <i>L</i> a place for coals.
+The basement stairs should have been on the side adjoining kitchen.</p>
+
+<div class="figcenter" style="width: 407px;">
+<a href="images/ill_pg_201_lg.jpg">
+<img src="images/ill_pg_201_sml.jpg" width="407" height="354" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>It is a difficult thing in this class of house to confine the smell of
+the cooking to the kitchen. An endeavour was made here to effect it. The
+kitchen<span class="pagenum"><a name="page_202" id="page_202">{202}</a></span> had no direct entrance to the body of the house, the servants
+going through the passage, by the side of the area, from which it was
+well ventilated, to get to the common staircase. This had a window at
+the top, not shown in the plan. The small section on page 197 shows</p>
+
+<div class="figcenter" style="width: 197px;">
+<a href="images/ill_pg_202_lg.jpg">
+<img src="images/ill_pg_202_sml.jpg" width="197" height="276" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of hall screen.</p></div>
+</div>
+
+<p class="nind">the mode of ventilating the larder; <i>a</i> is a slab of slate let into the
+wall, <i>b</i> a pane of perforated zinc, <i>c</i> iron bars glazed with thick
+glass, so that whatever the weather, there would be full ventilation,
+the fresh air always entering and the confined air leaving the room.
+This<span class="pagenum"><a name="page_203" id="page_203">{203}</a></span> is the usual mode, in large houses, of covering the external
+passage leading from the kitchen to the house.</p>
+
+<div class="figcenter" style="width: 318px;">
+<a href="images/ill_pg_203_lg.jpg">
+<img src="images/ill_pg_203_sml.jpg" width="318" height="452" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of hall screen. (See page 206.)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<p>The general view shows the front and side of the two houses. The
+elevation of the side front is given on page 198.</p>
+
+<div class="figcenter" style="width: 194px;">
+<a href="images/ill_pg_204_lg.jpg">
+<img src="images/ill_pg_204_sml.jpg" width="194" height="180" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and elevation of entrance garden-gate.</p></div>
+</div>
+
+<p>The three small illustrations on page 199 are various details of the
+exterior. One is a part section of the roof of turret, showing the
+timbers and the vane at top, an elevation of one half the upper gable
+window, and half of one of the small front windows; these portions of
+the exterior, together with the arcade at the entrance and balustrade
+over it, were to be executed in stone.</p>
+
+<p>The Gothic window by the side of the arcade is an example from Berstead
+Church, in Kent. The gentleman for whom the design was made caught a
+sight of it in the “Architect Sketch Book,” and required it<span class="pagenum"><a name="page_205" id="page_205">{205}</a></span> might be
+introduced as a small window in his library. An elevation of one half of
+it is given on page 200.</p>
+
+<p>The general section (page 201) is of one of the houses taken through the
+drawing room, the staircase, and the library. The staircase is well
+lighted, having a conservatory and closet on the first half-space
+landing. The ceiling of the staircase is finished with groining and
+pendant flowers; the stairs have a plain Gothic iron-railing, painted
+and lightly gilt; the section shows the party-wall between the two
+houses.</p>
+
+<div class="figcenter" style="width: 290px;">
+<a href="images/ill_pg_205_lg.jpg">
+<img src="images/ill_pg_205_sml.jpg" width="290" height="176" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrading on garden wall.</p></div>
+</div>
+
+<p>The entrance is divided into an inner and outer hall, divided by a
+Gothic screen in carved oak, the various openings of which, together
+with the upper panels of the folding doors, are filled with embossed
+glass. This keeps the house warm, and prevents cold draughts from
+entering; a second glazed screen<span class="pagenum"><a name="page_206" id="page_206">{206}</a></span> separates the inner hall from the
+staircase; the effect of the screens when there is plenty of light
+behind is extremely pleasing. It was for such a screen that the
+door-handle illustrated at an earlier page, as a vignette, was made.</p>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_206_lg.jpg">
+<img src="images/ill_pg_206_sml.jpg" width="287" height="141" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrading in front of house.</p></div>
+</div>
+
+<p>Of the first of these screens, that in the hall, only the larger lower
+and upper panels were to have white embossed glass; the smaller openings
+were to be filled with richly coloured embossed glass; a small elevation
+of the hall screen, and portions of its details to a larger scale, are
+given on pp. 202, 203.</p>
+
+<p>The chimney pieces were proposed to be of cast iron, and to be painted
+and slightly gilt.</p>
+
+<p>The expense of construction of the pair of villas would be nearly about
+7800<i>l.</i><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<div class="figcenter" style="width: 268px;">
+<a href="images/ill_pg_207-a_lg.jpg">
+<img src="images/ill_pg_207-a_sml.jpg" width="268" height="267" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front.</p></div>
+</div>
+
+<p>Cut-wood canopy to a door at West Brompton, a short distance beyond the
+Metropolitan District Railway. It has been constructed about twenty
+years, and stands well.</p>
+
+<div class="figcenter" style="width: 175px;">
+<a href="images/ill_pg_207-b_lg.jpg">
+<img src="images/ill_pg_207-b_sml.jpg" width="175" height="226" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One of the side trusses or corbels.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<h2><a name="DESIGN_No_18" id="DESIGN_No_18"></a><i>DESIGN No. 18.</i><br /><br />
+DESIGN FOR VILLAGE SCHOOLS, AND READING ROOM.</h2>
+
+<div class="figcenter" style="width: 384px;">
+<a href="images/ill_pg_208-a_lg.jpg">
+<img src="images/ill_pg_208-a_sml.jpg" width="384" height="163" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<div class="figcenter" style="width: 259px;">
+<a href="images/ill_pg_208-b_lg.jpg">
+<img src="images/ill_pg_208-b_sml.jpg" width="259" height="247" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building is about to be erected in the county of Norfolk. It will
+contain a boys’ and girls’ school, with two rooms each, forming a
+parlour and bedroom, for the master and mistress; <i>a</i> is the entrance
+porch, <i>d</i> and <i>d</i> are the two school rooms, and <i>e</i> and <i>e</i> the living
+rooms. The centre of the building forms the reading, lecture, and
+meeting-room for the village. The small room <i>c</i>, leading out of it, is
+a book room for the secretary or attendant; <i>b</i>, <i>b</i>, are open yards;
+each master and mistress have private entrances, and yards to
+themselves. The construction is of the cheapest kind; on a brick
+foundation, quarter framing is placed, filled in with brick, and
+plastered inside and out. The columns in the centre are trunks of trees,
+standing on stone slabs, and each has a flat stone capping. This
+building complete should not cost more than 850<i>l.</i> It is much to be
+desired that every village should have a room set apart, distinct from
+any public-house or tavern, where newspapers and books can be provided,
+lectures given, and various entertainments supplied the villagers.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_209_lg.jpg">
+<img src="images/ill_pg_209_sml.jpg" width="275" height="88" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<h2><a name="DESIGN_No_19" id="DESIGN_No_19"></a><i>DESIGN No. 19.</i><br /><br />
+A ROMAN CATHOLIC CHAPEL AND SCHOOLS.</h2>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_210_lg.jpg">
+<img src="images/ill_pg_210_sml.jpg" width="287" height="361" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made for a building intended to occupy a site leading
+from the High street in a<span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" style="width: 244px;">
+<a href="images/ill_pg_211_lg.jpg">
+<img src="images/ill_pg_211_sml.jpg" width="244" height="456" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of chapel and schools.</p></div>
+</div>
+
+<p class="nind">very fashionable district, immediately out of London. The ground was
+rather confined in area, and from its position, being behind the houses
+in the street, it could only be approached by a narrow avenue between
+two of the houses.</p>
+
+<div class="figcenter" style="width: 261px;">
+<a href="images/ill_pg_212_lg.jpg">
+<img src="images/ill_pg_212_sml.jpg" width="261" height="224" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Transverse section of chapel.</p></div>
+</div>
+
+<p>The plan was an endeavour to make the most of the space afforded; the
+entrance to the church, a small tower with an open decorated spire, was
+placed at the end of the avenue of approach; <i>a</i> <i>a</i>, are the schools,
+which have immediate access to the space before the altar; <i>b</i> <i>b</i>, the
+rooms for the teachers or priests, had staircases on each side leading
+to rooms above. These buildings were kept low, so that as<span class="pagenum"><a name="page_213" id="page_213">{213}</a></span> much light as
+possible should enter from the window above the altar. An elevation of
+the front of the chapel is given in our first illustration. The section
+looks towards the chancel, showing the chancel arch and pulpit in front,
+the altar, and the decorated window over it; the latter contains a large
+cross formed of white embossed glass, on a richly coloured glass ground.
+Above is the elevation of the porch, proposed to have been placed at the
+entrance of the avenue of approach.</p>
+
+<div class="figcenter" style="width: 133px;">
+<a href="images/ill_pg_213-a_lg.jpg">
+<img src="images/ill_pg_213-a_sml.jpg" width="133" height="163" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Porch in the High street.</p></div>
+</div>
+
+<div class="figcenter" style="width: 66px;">
+<a href="images/ill_pg_213-b_lg.jpg">
+<img src="images/ill_pg_213-b_sml.jpg" width="66" height="67" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<h2><a name="DESIGN_No_20" id="DESIGN_No_20"></a><i>DESIGN No. 20.</i><br /><br />
+DESIGN FOR A BATH HOUSE, AND SUMMER ROOM.</h2>
+
+<div class="figcenter" style="width: 318px;">
+<a href="images/ill_pg_214_lg.jpg">
+<img src="images/ill_pg_214_sml.jpg" width="318" height="455" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made for a building intended to occupy a prominent
+position in a park in Kent; it would have commanded an extensive view
+over the Weald and surrounding country. The lower ragstone foundation
+already existed, being portions of an ancient building which had
+formerly stood there, and this held a fine spring of pure cold water,
+which runs down into a lake at a lower level in the park. Occupying a
+position in which it could be well seen, it was desirable that the
+building should form a picturesque object, and to effect this the Old
+English style of wooden architecture was chosen.</p>
+
+<div class="figcenter" style="width: 289px;">
+<a href="images/ill_pg_215_lg.jpg">
+<img src="images/ill_pg_215_sml.jpg" width="289" height="138" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>One-pair plan.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Ground-floor plan.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>The view shows the back and side of the building, with the entrances,
+these being here less exposed to the weather than if they had been in
+front facing the open country. The ground-floor plan shows the cold bath
+with a small dressing-room; the bath<span class="pagenum"><a name="page_216" id="page_216">{216}</a></span> was octangular in form, and
+fifteen feet in diameter. A small iron circular staircase led to the
+upper room; this was eighteen feet in diameter, with a domed ceiling,
+the sides of the room having iron</p>
+
+<div class="figcenter" style="width: 201px;">
+<a href="images/ill_pg_216_lg.jpg">
+<img src="images/ill_pg_216_sml.jpg" width="201" height="324" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side elevation.</p></div>
+</div>
+
+<p class="nind">casemented windows, and over them a bold ornamented plaster frieze; the
+fire-place was adorned with oak carving. The fine prospect from the
+windows of the Weald, and the lake and park scenery<span class="pagenum"><a name="page_217" id="page_217">{217}</a></span> in front, would
+have made this an extremely pleasant room.</p>
+
+<div class="figcenter" style="width: 211px;">
+<a href="images/ill_pg_217_lg.jpg">
+<img src="images/ill_pg_217_sml.jpg" width="211" height="377" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>The lower story of the building above the ancient ragstone foundation
+was of brick, nine inches in thickness, with quarters on the outside,
+brick-nogged;<span class="pagenum"><a name="page_218" id="page_218">{218}</a></span> carved oak inch plank was then to be screwed to this
+quartering, and the inner spaces filled with cement; this it was
+proposed to dust with small bits of coloured</p>
+
+<div class="figcenter" style="width: 209px;">
+<a href="images/ill_pg_218_lg.jpg">
+<img src="images/ill_pg_218_sml.jpg" width="209" height="345" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Entrance.</p></div>
+</div>
+
+<p class="nind">glass. The building was intended to be strongly constructed, as it was
+to stand on an elevated site in the most exposed situation in the park.
+The entrance, of which an elevation is given above, had<span class="pagenum"><a name="page_219" id="page_219">{219}</a></span> two carved oak
+columns, having iron rings fixed to them. A small shield of arms was
+above the entrance; the whole of the oak was to be stained and
+varnished. A portion of the exterior is given on a larger scale. The
+upper story was in quartering, brick-nogged, faced externally with
+carved oak planks and plaster, and plastered inside as below. The small
+plan, <i>a</i>, in the illustration, shows this; <i>b</i> is an elevation of one
+of the carved oak trusses, and these were carried right round the
+structure.</p>
+
+<div class="figright" style="width: 161px;">
+<a href="images/ill_pg_219_lg.jpg">
+<img src="images/ill_pg_219_sml.jpg" width="161" height="336" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of exterior.</p></div>
+</div>
+
+<p>An elevation of one of the small gables is shown in the next cut with
+its richly carved barge-board, and turned pendants and finials.</p>
+
+<p>The plan of the iron casements is given, p. 220; <i>a</i> is the frame fixed
+to the wood quartering, <i>b</i> the loose frame fixed to receive the loose
+frame, <i>c d</i> is the glass, and <i>e</i> the hinge and staple; a
+representation of the small turn-buckle is<span class="pagenum"><a name="page_220" id="page_220">{220}</a></span> shown, and lastly the plan
+of the flooring over the bath; the joists, each 9 inches by 4 inches,
+and 9 inches by 2½ inches, were strapped down</p>
+
+<div class="figcenter" style="width: 223px;">
+<a href="images/ill_pg_220-a_lg.jpg">
+<img src="images/ill_pg_220-a_sml.jpg" width="223" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of one of the small gables.</p></div>
+</div>
+
+<div class="figcenter" style="width: 346px;">
+<a href="images/ill_pg_220-b_lg.jpg">
+<img src="images/ill_pg_220-b_sml.jpg" width="346" height="106" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of iron casement.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<p class="nind">eight or nine inches into the wall, where necessary.</p>
+
+<div class="figcenter" style="width: 276px;">
+<a href="images/ill_pg_221-a_lg.jpg">
+<img src="images/ill_pg_221-a_sml.jpg" width="276" height="87" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Turn-buckle.</p></div>
+</div>
+
+<div class="figcenter" style="width: 245px;">
+<a href="images/ill_pg_221-b_lg.jpg">
+<img src="images/ill_pg_221-b_sml.jpg" width="245" height="335" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<h2><a name="DESIGN_No_21" id="DESIGN_No_21"></a><i>DESIGN No. 21.</i><br /><br />
+DESIGN FOR A SMALL COUNTRY VILLA.</h2>
+
+<div class="figcenter" style="width: 373px;">
+<a href="images/ill_pg_222_lg.jpg">
+<img src="images/ill_pg_222_sml.jpg" width="373" height="296" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS mansion was erected in Devonshire, for a gentleman having a
+numerous family. It consisted of three floors:&mdash;a basement story, ground</p>
+
+<div class="figcenter" style="width: 224px;">
+<a href="images/ill_pg_223-a_lg.jpg">
+<img src="images/ill_pg_223-a_sml.jpg" width="224" height="192" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">floor, first floor, and attic. The picturesque style of the time of
+Henry VII. was adopted, and the construc<span class="pagenum"><a name="page_224" id="page_224">{224}</a></span>tion</p>
+
+<div class="figcenter" style="width: 225px;">
+<a href="images/ill_pg_223-b_lg.jpg">
+<img src="images/ill_pg_223-b_sml.jpg" width="225" height="177" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of first floor.</p></div>
+</div>
+
+<p class="nind">was of brick with stone ashlar facings for the walls. The decorated
+portions were of stone; but red</p>
+
+<div class="figcenter" style="width: 165px;">
+<a href="images/ill_pg_224-a_lg.jpg">
+<img src="images/ill_pg_224-a_sml.jpg" width="165" height="117" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The attic floor.</p></div>
+</div>
+
+<p class="nind">brick and stone, or red brick alone, would have been equally
+appropriate. The red brick with compo-dressing</p>
+
+<div class="figcenter" style="width: 227px;">
+<a href="images/ill_pg_224-b_lg.jpg">
+<img src="images/ill_pg_224-b_sml.jpg" width="227" height="201" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p class="nind">and enrichments would have been the cheapest. Considerable attention was
+given to obtain<span class="pagenum"><a name="page_225" id="page_225">{225}</a></span> a picturesque character for the building, and the
+chimneys were so placed as to obtain one. The height to the top of gable
+was 38 feet 6 inches. The ground floor, given on page 223, contained two
+rooms, <i>A</i> and <i>B</i>, each 28 feet by 16 feet, without the bay. The porch
+was enclosed from the hall.</p>
+
+<div class="figcenter" style="width: 220px;">
+<a href="images/ill_pg_225_lg.jpg">
+<img src="images/ill_pg_225_sml.jpg" width="220" height="285" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>View of entrance porch.</p></div>
+</div>
+
+<p>The upper floor had five rooms, intended merely as sleeping apartments.
+All had fireplaces except the centre front one, and that is shown
+supplied with a flue pedestal, a contrivance by which an upper room<span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter" style="width: 380px;">
+<a href="images/ill_pg_226_lg.jpg">
+<img src="images/ill_pg_226_sml.jpg" width="380" height="293" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<p class="nind">can be warmed by one of the fireplaces in a lower room, which prevents
+waste of heat. The attic floor had two good-sized rooms without
+fireplaces, for the servants.</p>
+
+<div class="figcenter" style="width: 306px;">
+<a href="images/ill_pg_227_lg.jpg">
+<img src="images/ill_pg_227_sml.jpg" width="306" height="296" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The side elevation.</p></div>
+</div>
+
+<p>The basement floor had good accommodation. One large room, that marked
+<i>n</i>, was for the housekeeper, with space for a bed. It could be used as
+a private breakfast or dining-room; <i>b</i> is the kitchen, 20 feet by 15
+feet 6 inches, with a large space in the bay. The<span class="pagenum"><a name="page_228" id="page_228">{228}</a></span> scullery <i>g</i> adjoined
+the kitchen; <i>h</i> is the larder, <i>q</i> the wine cellar, <i>i</i> the beer, and
+<i>l</i> the coal cellars.</p>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_228_lg.jpg">
+<img src="images/ill_pg_228_sml.jpg" width="239" height="377" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Transverse section.</p></div>
+</div>
+
+<p>Another design for the porch is given on page 225; this is of a more
+decorative character than that seen in the view. It had on it the shield
+of arms of the pro<span class="pagenum"><a name="page_229" id="page_229">{229}</a></span>prietor. It was to be constructed entirely of stone,
+the portion above the archway being richly carved. The front and side
+elevations of the exterior of the building, of which representations are
+given, show the extreme simplicity of the design.</p>
+
+<p>The transverse section (page 228) shows the interior; this is taken
+through the kitchen and scullery in the basement, looking towards the
+fireplace and through the living rooms and attic above.</p>
+
+<div class="figcenter" style="width: 225px;">
+<a href="images/ill_pg_229_lg.jpg">
+<img src="images/ill_pg_229_sml.jpg" width="225" height="171" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of additional offices.</p></div>
+</div>
+
+<p>This design has, with various alterations, been adopted in several
+places for different parties, stripped entirely of its ornamental
+character, and merely having four walls and an overhanging roof, in
+plain cottage style. It forms the cheapest model that can be given for a
+villa. One was erected a few years back that cost considerably less than
+eight hundred<span class="pagenum"><a name="page_230" id="page_230">{230}</a></span> pounds. It had the basement floor but no attic, the upper
+rooms being heightened by having an open collar-beam roof. One addition
+made to it when it had no basement was in extensive external offices, as</p>
+
+<div class="figcenter" style="width: 290px;">
+<a href="images/ill_pg_230_lg.jpg">
+<img src="images/ill_pg_230_sml.jpg" width="290" height="308" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation and section of external balustrade and angle
+buttress.</p></div>
+</div>
+
+<p class="nind">seen in plan on page 229: <i>f</i>, the kitchen, is 18 feet square, with its
+scullery <i>g</i>, 18 feet by 10 feet; <i>h</i> is the larder, 9 feet 9 inches
+square, and <i>k</i> the dairy, of the same size, with a northern aspect. The
+two small rooms by the side, one marked <i>n</i>, were intended for a<span class="pagenum"><a name="page_231" id="page_231">{231}</a></span> study
+or school-room, and a footman’s or butler’s pantry, with a separate
+entrance and an outlet from the house into the garden; the servants’
+closet, and boot and knife cleaning place, were at a little distance
+away, together with the place for coals and wood. Some details of the
+exterior on a larger scale are given above.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette shows the best proportion that can be given to stairs
+intended for a public building; the rise of each step being 6 inches,
+the tread 13 inches. In private dwellings the tread is made smaller by
+half an inch. When the rise can be made 5¾ inches only, much greater
+ease can be obtained in the ascent.</p>
+
+<div class="figcenter" style="width: 228px;">
+<a href="images/ill_pg_231_lg.jpg">
+<img src="images/ill_pg_231_sml.jpg" width="228" height="189" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<h2><a name="DESIGN_No_22" id="DESIGN_No_22"></a><i>DESIGN No. 22.</i><br /><br />
+A VILLA IN THE OLD ENGLISH WOODEN STYLE.</h2>
+
+<div class="figcenter" style="width: 388px;">
+<a href="images/ill_pg_232_lg.jpg">
+<img src="images/ill_pg_232_sml.jpg" width="388" height="397" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view, garden side.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS structure was intended to bear the resemblance, as near as
+possible, of a first-class old English half-timbered house, the
+post-and-pan dwelling of our forefathers, which seems to have been an
+especial favourite throughout the country. It was easily constructed at
+a time when timber, chiefly chestnut, was far more plentiful than at the
+present day. Such were the most picturesque of all our domestic
+buildings; the timber cottage, with its projecting windows, and highly
+ornamented barge-boards, is found in every village. The large houses in
+Cheshire and Shropshire, which still remain, prove that such
+constructions are as lasting as brick and stone, provided the timber is
+felled at the proper time, and thoroughly seasoned before it is made use
+of. Houses of this kind have been seen to rock and bend in severe
+storms, while adjoining buildings, comparatively strong erections, have
+been blown down, this was known to have been the case with Park Hall,
+near Oswestry in Shropshire. Such buildings were called by different
+names, as will be shortly described in detail, according to the
+materials of which they were composed.</p>
+
+<p>The design afforded on page 234 was taken from an elevation given in
+“John Thorpe’s Sketch Book,” one of the richest illustrations of wooden
+architecture. It was to have been erected in a Kentish village, with<span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" style="width: 549px;">
+<a href="images/ill_pg_234_lg.jpg">
+<img src="images/ill_pg_234_sml.jpg" width="549" height="347" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<p class="nind">its front towards the road, on high ground, the road looking down to a
+wide extent of open country. The garden side of the house commanded a
+fine prospect. Advantage was taken of the steep descent of the ground to
+build the kitchen and scullery, with a day room for the children, apart
+from the main building.</p>
+
+<p>The plan of the basement is given on p. 236; <i>a</i> is the kitchen, 18 feet
+square, the scullery <i>b</i>, was at the side, and the larder, <i>c</i>, at its
+side; <i>d</i> is the place for coals, a passage <i>e</i>, leads to the day room,
+<i>f</i>, for the children; <i>g</i> is either the cook’s room, or a sleeping room
+for a man servant; <i>h</i> is the passage up to the house, <i>i</i> is the dry
+larder, <i>j</i> is the butler’s pantry, with a strong room for holding
+plate; this was intended to be a sleeping room. <i>k</i> is the wine cellar,
+<i>l</i> the back staircase which went from the lower floor to the attic, <i>m</i>
+is the principal staircase, and <i>n</i> a place for stores. The roof of this
+lower building was to be formed with flat-girders, and brick and tile in
+cement, making a terrace-walk above; the chimneys were taken up from the
+lower building to the higher one, as shown in the side elevation by the
+dotted lines. The kitchen, and the whole of the basement, was to be
+paved with the best Seyssel asphalte. It is laid on a solid foundation,
+on a thickness of ground lime. The objection to the black and British
+asphalte for the interior of rooms, is that a fine dust rises from it,
+which in<span class="pagenum"><a name="page_236" id="page_236">{236}</a></span> sweeping, affects the eyes of the occupants of the apartments.</p>
+
+<div class="figcenter" style="width: 396px;">
+<a href="images/ill_pg_236_lg.jpg">
+<img src="images/ill_pg_236_sml.jpg" width="396" height="407" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p>The plan of the building was not intended to be in the old style, but to
+be arranged, as far as possible,<span class="pagenum"><a name="page_237" id="page_237">{237}</a></span> according to modern notions, without
+any great hall, or stone screen within it. A noble stone porch was</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_237_lg.jpg">
+<img src="images/ill_pg_237_sml.jpg" width="400" height="404" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The ground plan.</p></div>
+</div>
+
+<p class="nind">placed in front, resembling slightly an ancient archway. The hall is 20
+feet in length by 12 feet in<span class="pagenum"><a name="page_238" id="page_238">{238}</a></span> breadth. The breakfast and eating rooms,
+<i>b</i> and <i>c</i>, 20 feet square, are on each side; both have bay</p>
+
+<div class="figcenter" style="width: 402px;">
+<a href="images/ill_pg_238_lg.jpg">
+<img src="images/ill_pg_238_sml.jpg" width="402" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The first floor.</p></div>
+</div>
+
+<p class="nind">windows, with an exterior colonnade and terrace. The drawing-room, <i>d</i>,
+and the library <i>e</i>, are each 18 feet square; both have bay windows, and
+the angular<span class="pagenum"><a name="page_239" id="page_239">{239}</a></span> window peculiar to the Elizabethan architecture. These
+windows open on to the terrace. <i>f</i> is the</p>
+
+<div class="figcenter" style="width: 402px;">
+<a href="images/ill_pg_239_lg.jpg">
+<img src="images/ill_pg_239_sml.jpg" width="402" height="246" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The attic floor.</p></div>
+</div>
+
+<p class="nind">gentleman’s dressing-room, <i>g</i> is the principal staircase containing the
+servants’ staircase, <i>h</i>, within it; <i>o</i> is the lift. At the back of the
+building is a colonnade<span class="pagenum"><a name="page_240" id="page_240">{240}</a></span> commanding a view of the country, and beneath
+is the terrace, with its balustrading and steps to the garden.</p>
+
+<p>The one pair floor contains only four large bed-rooms <i>a</i>, <i>a</i>, and two
+dressing-rooms <i>b</i>, <i>b</i>. One dressing-room, that in front, could have
+been converted into a pleasant morning room; each of the two principal
+bedrooms in the front could easily have been formed into two; a small
+dressing-room taken out of each. Terraces were in front of these two
+rooms, the small circular bow-window opening on to them; the principal
+staircase only led to this floor. The servants’ staircase led to the
+attics.</p>
+
+<p>This floor contained three large servants’ rooms, with two small octagon
+rooms. It was proposed to form the front rooms into one, with a circular
+roof, covered with scroll work and flowers, in the form of a
+garden-bower, similar to the gallery ceiling at Burton Agnes in
+Yorkshire. In this ceiling there are about a dozen varieties of flowers
+and bunches of leaves, which were placed in a scroll-stem in various
+positions so as to vary the pattern. The flowers and leaves could have
+been painted in their natural colours. These rooms, however, could not
+be spared, so it was proposed to turn the two octagon rooms into what
+may be termed garden-bower rooms, and to attempt growing dwarf
+fruit-trees in them, as practised in Germany.<span class="pagenum"><a name="page_241" id="page_241">{241}</a></span> The roofs of these rooms
+were to be constructed in iron and glass, and covered internally with
+wire trellis-work, the warming to be effected with flue pedestals, two
+in each room, one taking the kitchen flue and the other house flues, the
+corresponding pedestal in the other room to have the remaining flues in
+that side of the building. The illustration on page 242 shows a plan and
+section of one of these rooms.</p>
+
+<p>The tower in the centre of the back front contained a cistern for the
+supply of the house; the closets beneath could have Moule’s earth system
+applied to them, the earth to be brought up by the lift <i>o</i>, dried in
+the bower rooms, and deposited in an enclosure in the tower room from
+which it could descend to the closets.</p>
+
+<p>It may be here remarked that the closets throughout the whole of these
+designs are in such a position that the dry-earth system could be easily
+applied to each. In cottages that have the flues in an external wall,
+and where this system is introduced, the earth deposit should be placed
+against the flue, and the closet adjoining.</p>
+
+<p>The lift <i>o</i>, shown in the plans, connects every floor with the
+basement; it permits coals and other heavy articles to be lifted up,
+receives the speaking tubes leading to the basement and children’s
+day-room, and any bell wires that may be required.<span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" style="width: 248px;">
+<a href="images/ill_pg_242_lg.jpg">
+<img src="images/ill_pg_242_sml.jpg" width="248" height="480" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and section of garden bower-rooms.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" style="width: 395px;">
+<a href="images/ill_pg_243_lg.jpg">
+<img src="images/ill_pg_243_sml.jpg" width="395" height="352" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" style="width: 592px;">
+<a href="images/ill_pg_244_lg.jpg">
+<img src="images/ill_pg_244_sml.jpg" width="592" height="362" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through lower part of building.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<p>The first elevation given shows the front of the building, having a
+length of 87 feet. Although the structure was to be an imitation wooden
+house, the timber was merely intended to be an appendage to the
+brickwork. The exterior walls were to have been two bricks and a half
+thick on the ground-floor, two bricks above. The wooden posts and pans
+were let into the external half brick, and well built in, the ornamental
+woodwork in inch oak screwed to the wood-quartering, the space between
+them filled with plaster, with an ornamental pattern-stamp on it, and
+the columns and entablature were of oak.</p>
+
+<p>The next elevation given is that of the side front, with its gable, in
+the centre of which is a small circular window, opening on to a terrace
+over the colonnade; the scroll at the side is a construction to permit
+the flues from the lower portion of the basement to ascend the tower
+walls; flue sweeping doors could be placed there. A section of the lower
+part of the building is given, taken through the centre of the house,
+showing the principal staircase and the external steps to garden. The
+perspective view shows the garden front.</p>
+
+<p>Wooden houses were once the chief kind of construction in England. The
+great fire of London would not have been so serious in its results if
+such constructions had not been almost universal.<span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<p>In many parts of England these houses have other designations. There is
+a mode of building peculiar to each, and adapted to the kind of material
+that the districts offer. In Cambridgeshire, for instance, many of the
+houses are formed entirely of “Clunch,” a kind of indurated chalk marl,
+of which there are extensive quarries at Roach, near Burwell. Others are
+of gault, a local term for the blue clay which lies below the gravel of
+Cambridgeshire, and forms the immediate substratum in the low ground
+about it. This is beaten up with chopped straw, then formed into blocks
+of large size, and dried by the sun. A writer in the “Cambridge
+Portfolio,” in his remarks on what he terms the inferior style of
+domestic architecture, says: “Many of these houses have the lower floor
+formed of stone or clunch, in which a framework of wood is raised,
+consisting of studs and wall-plates with strong posts at intervals and
+some cross pieces as a tie. The joists of the upper floor are laid in
+the wall-plates, and project about a foot or eighteen inches beyond the
+wall beneath. The smaller timbers have tenons which are fitted into
+mortices in the larger, and secured by wooden pins. The interstices are
+filled either with durable boarding, double lath and plaster, clunch or
+bricks, laid level or obliquely. The better houses of this description
+have gables, with ornamented barge-boards with hip-kobs and corbels or
+brackets,<span class="pagenum"><a name="page_247" id="page_247">{247}</a></span> more or less carved, under the ends of the principal timbers
+of the upper floors.”</p>
+
+<p>The barge-board is sometimes called berge-board, verge-board,
+parge-board. It was a board fixed to the ends of the gables of timber
+houses, to hide those of the projecting timbers of the roof, and throw
+off the wet. They were generally richly carved and very ornamental.
+Occasionally some of these of the date of the 14th century are met with;
+those of the 15th and 16th, many of the Elizabethan character, are very
+common. We have few of the better class of these half-timbered houses,
+in which the decorative labour of our ancestors was most conspicuous,
+remaining in our towns and cities; but in Edinburgh, York, Chester, and
+Newcastle there are still a sufficient number of specimens to prove the
+truth of these remarks. In the towns of Normandy and the Netherlands
+numerous buildings, and indeed whole streets, may be seen which still
+exhibit the perfect counterpart of our old Cheapside, as it appeared
+before the great fire. Troyes, the capital of Champagne, still retains
+its ancient buildings, and the chestnut-timber houses of Caen, which
+were raised, or restored, during the period in the 15th century when it
+was in the hands of the English, show us what our cities once were, and,
+of course, the extent of our improvements. London formerly possessed the
+richest examples. At the<span class="pagenum"><a name="page_248" id="page_248">{248}</a></span> corner of Chancery Lane, in Fleet Street,
+there once stood a five-storied house in timber, each story projecting;
+the whole of the timber and the gables being richly carved. In this
+house once lived the celebrated Isaac Walton.</p>
+
+<p>The other most common application of this kind of house is
+“half-timbered.” In some counties the woodwork is not in patterns. It
+appears that when a greater degree of elegance was required the uprights
+and beams were carved, or the houses were pargetted, that is, coated
+thickly with plaster, in which embossed or indented ornaments were used.
+This kind is very common in nearly all the English counties. The origin
+of the word <i>parget</i> appears to be doubtful. We find <i>parget</i>,
+substantive, and <i>pargetting</i>, <i>pergetting</i>, and <i>pergining</i>, verb, in
+old writings, of various kinds of plaster work, used inside and outside
+of houses, particularly about the time of Elizabeth; the word <i>parget</i>
+was used as far back as 1450.</p>
+
+<p>The half-timbered houses generally had the woodwork (studs and posts)
+painted black or tarred, with the intermediate spaces of brickwork
+whitewashed. Many of these houses have been plastered over in modern
+days. In London several of them have been refronted, and we lose sight
+of the woodwork, and imagine we see fresh-built houses.</p>
+
+<p>In some parts of the country we see numbers of<span class="pagenum"><a name="page_249" id="page_249">{249}</a></span> cottages built of mud
+mixed with chopped “haum.” This is commonly barley stubble. The word
+appears of foreign derivation; in High and Low German, Dutch, Danish,
+Swedish, halm; Ang.-Sax., healm; Icelandic, halmr, stubble.</p>
+
+<p>The haum is used to give the mud strength. These houses, previously
+described in connexion with concrete erections, were built about a yard
+in height at a time; each part was allowed to dry before further
+addition was made. The openings for windows and doors were cut when the
+wall became firmer; the walls were then smoothed off a little, and
+whitewashed. These houses are said to be very strong, and to last for
+many years. In the Midland Counties they seldom exceed one story in
+height, but in Devon, Somersetshire, and Hampshire, this composition is
+a common material for gentlemen’s houses two and three stories in
+height. It is there called <i>cob</i>, the derivation of which word remains
+in obscurity, unless it is a short term for <i>cobble</i>, or a coarse clumsy
+performance. A cob-wall was one composed of straw and clay beaten up
+together.</p>
+
+<p>In Kent, the half-timbered houses are called wood-noggin houses, because
+the pieces of timber were called wood-nogs. Nog is properly a wooden
+brick, which is inserted into walls to hold the joiners’ work;<span class="pagenum"><a name="page_250" id="page_250">{250}</a></span> nogging
+is the term for the brick-filling partitions between the quartering.</p>
+
+<p>Sometimes, but very rarely, there is no projection of the upper story
+over the lower one. These openings in the windows are common, and all
+have richly carved barge-boards.</p>
+
+<p>In some of the Kentish villages there are several noggin houses
+plastered over, with a ground in which flowers and patterns are worked
+in another colour. Some have a red ground and white flowers, others a
+black ground and white flowers. The wooden frame is always built on a
+substructure of brick or stone, called the “under-pinning.” Numbers of
+the houses in Kent are covered at the sides with weather tiles; here the
+brickwork is carried up to the first floor, in which the wooden
+framework is placed, and laths nailed across, in which the tiles are
+hung; the shape of the tile varies. Some are diamond-shape, and others
+finish with circular ends.</p>
+
+<p>In Warwickshire, Oxfordshire, and Gloucestershire, we meet with
+half-timbered houses, which are there called brick pane houses, but very
+few of them are worked in patterns.</p>
+
+<p>In Northamptonshire the half-timbered houses are commonly called studded
+or framed houses, because the framework is put up before the spaces are
+filled up. The studs are upright between the posts, which<span class="pagenum"><a name="page_251" id="page_251">{251}</a></span> are larger
+than the studs. There are also “wattle,” and “dab-houses,” and sheds,
+which are constructed of studs, sills, and wall-plates. Between or into
+the studs are laid, horizontally, plaited or wattled strong hazel twigs,
+or other underwood, and on both of these a thick coat of plaster or mud
+is laid or dabbed. A wattle is a hurdle made of four or five upright
+stakes, and hazel branches woven closely and horizontally into the
+stakes&mdash;Anglo-Saxon, <i>watel</i>, a hurdle or covering of twigs; in some
+counties they are called “flakes,” merely from their being thin and
+flat. In Sussex and Devonshire, and in the South of England, wattled
+hurdles are called “Raddles.” In a little Dictionary for children of the
+date of 1608, we find “a hartheled wall or ratheled with hasile rods or
+wands.” The word <i>hartheled</i> is the same as hardilled, and the
+Dictionary spells hurdill <i>hardill</i>, Ang.-Sax., <i>hyrdel</i>, Low Germ.,
+<i>hoidt</i>, Dutch, <i>horde</i>. Germ., <i>hurde</i>. <i>Ratheled</i> is from the same
+derivation as <i>raddled</i>. What in one county is “wattle and dab,” is in
+another “raddle and dab.” <i>Dab</i> is here used as a substantive, but it is
+properly a verb&mdash;to dab on, to sprinkle, or bespatter. In French,
+<i>dawber</i>, or <i>dober</i>, to smear, hence “to daub.” These mud cottages are
+very common even in the richest counties of England. In South
+Northamptonshire are red sandstone houses frequently possessing stone
+mullions in the windows, and dripstones.<span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<p>Further northwards, as in Shropshire, Cheshire, and Lancashire, we find
+a better description of the half-timbered houses in many of the manor
+houses built there. Lord Liverpool’s seat at Pitchford, near Shrewsbury,
+illustrated by Habershon, is a fine and a very large example, although
+the pattern is not so elegant as many of them. Joseph Nash and other
+artists have made the best of these familiar to us by their
+publications. Cheshire is the county most abounding in them. In the
+southern part of the county of Lancashire they are called “post-and-pan
+houses.” Post is an upright piece of timber, used in various ways, such
+as gate-post, door-post, a jamb-lining. The word “post” is found in many
+languages, commonly meaning an upright. In Ang.-Sax., <i>post</i>, a post,
+Frisic, <i>post</i>, a beam, German, <i>pfost</i>, French, <i>poste</i>, Latin,
+<i>postis</i>, a post.</p>
+
+<p>“Pan,” in Lancashire, certainly means a beam, and is the common name for
+it (beam not being used), although we do not find the word <i>pan</i>, a
+beam, noticed in most of the glossaries as it deserves. In the Craven
+Glossary, “<i>post</i> and <i>pan</i>” a building of wood and plaster alternately.
+<i>Pan</i>, totally to fit: “Weal and woman cannot pan, but woe and woman
+can,” is the complete old English proverb, in which the word pan is
+used. In the glossary of Tim Bobbin, “Pan” means to join or agree. In
+Hunter’s Hallamshire<span class="pagenum"><a name="page_253" id="page_253">{253}</a></span> Glossary “pan,” properly in building, is the
+wall-plate&mdash;the piece of timber that lies on the tops of the posts, and
+on which the balks rest, and the sparfoot also. <i>To pan</i>, to apply to
+closely. In Brockett’s North Country work, <i>pan</i> means to match, agree.
+The idea of a pan for a beam would seem to be a shortened word for span,
+but it comes, it is said, from the old word <i>pan</i>, denoting to close or
+join together, to match, fit, apply, agree. From this, or the origin of
+which, came pane, or panel of wood, or wainscot, pane of glass.
+Ang.-Sax., <i>pan</i>, a piece, hem, plait; pan hose, patched hose, because
+pieces are fitted into them.</p>
+
+<p>In Warwickshire and Oxfordshire they call a post-and-pan house a
+brick-<i>pane</i> house, because the wood-work divides the building into
+rectangular spaces, filled with <i>panes</i> of brickwork.</p>
+
+<p>In Forby’s Suffolk Vocabulary <i>pane</i> is a division of work in husbandry,
+also strips of cloth. The slits in Elizabethan dresses are called
+<i>panes</i>. Du Cange, in his <i>Glossarium Mediæ et Infimæ Latinitatis</i>, has
+<i>panna</i>, a carpenter’s word, signifying a square piece of wood of 6 or 7
+fingers on a side, which being placed on the rafters of the roof, and
+retained by wooden supports, carries the asseres. The “Glossary of
+Architecture” construes a pan as a lathe; but of this there seems some
+doubt.<span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<p>There is a remarkable example of the word <i>Panna</i> in the Close Rolls of
+the 9th of Henry 3rd, membrane 5, page 65, though the word in the
+printed copy is erroneously spelt <i>pauna</i>.</p>
+
+<div class="sidenote">De postibus<br /> et pannis<br /> datis.</div>
+
+<p>Mandatum est Hugoni de Neville quod habere faciat Baldivinium de Veer
+duos postes et duos <i>pannas</i> in bosco nostro in Deresle, de dono nostro
+ad se habergandum apud Thrapston. Teste rege apud Westmonasterium XV die
+Octobris, anno nono.&mdash;That is: The King orders Hugh de Neville to give
+Baldwin de Veer two <i>posts</i> and two <i>pans</i> out of the Royal forest of
+Deresley to build a house at Thrapstone.&mdash;“Habergandum” is from
+<i>habergo</i>, to build a house, which seems to be derived from the old
+German <i>habe</i>, goods and possessions, and <i>bergen</i>; in Ang.-Sax.,
+<i>boergan</i>, to defend, keep, and protect. <i>Habe</i>, goods, is from the
+German <i>haben</i>, Ang.-Sax., <i>habban</i>, to have and possess. In Du Cange we
+find “Habergagium vel habergamentum, domicilium domus,” that is, a place
+to keep goods in. This account is given us by the writer in the
+“Cambridge Portfolio,” who adds, “That it is probable the house alluded
+to in Thrapstone was merely a shed.” He gives a great many derivations
+from the word <i>pan</i> in French. He says that <i>pan</i> or <i>post</i> is a <i>post</i>
+and <i>pan</i> wall, perhaps with boarding in the panes instead of brick or
+stone. A post-and-pan house therefore signifies one formed of<span class="pagenum"><a name="page_255" id="page_255">{255}</a></span> uprights
+and cross-pieces, and this appears to be the most rational name for
+them. The patterns of the woodwork are sometimes extremely elegant; at
+Park Hall in Shropshire, one represents balustrading intermingled with
+quatre-foiling, while the plaster ceilings inside the building are of
+excessively rich character. In many of the old post-and-pan houses, the
+windows are between every post, running the whole length of the house in
+each story, rendering a remark of Lord Bacon’s true, that in such houses
+you did not know where to become to get out of the sun or the cold. They
+are now sometimes called “bird-cage houses,” from the effect at a
+distance. Some of these old mansions had the hall extending to the roof,
+and this was carried down to a very late period. At Kirby in
+Northamptonshire, a seat of the Lord Chancellor Hatton, built by the
+architect, John Thorpe, Inigo Jones altered the timbers of the hall roof
+and gave them an Italianized character. He was, previous to his visit to
+Italy, one of the chief and most celebrated masters of the then
+fashionable Elizabethan style, which was carried down to a later period
+than is generally supposed.</p>
+
+<p>The superior class of wooden houses were for the gentry, the wattle and
+dab houses for the hind. This cottage, then, must have been little
+better than a miserable shed. Cottages still exist in the north of<span class="pagenum"><a name="page_256" id="page_256">{256}</a></span>
+England, amid the northern counties, that are bad at the very best. The
+tenants have to bring everything with them, partitions, window-frames,
+fixtures of all kinds, grates, and a substitute for a ceiling. Certainly
+the improved concrete cottage, if it could be erected at a small
+expense, would be a great advantage to them. Its partitions, and even
+its roof, the latter covered with slate, might be securely formed of
+strong hurdles, and a cistern for water easily placed just below it. The
+walls, if covered with a good Portland cement face, will last for many
+years, and, if the roof be so formed as to protect them, for warmth,
+comfort, and cleanliness such cottages are unsurpassed.</p>
+
+<p>It is to be regretted that the combination of workmen forming the
+various Trades’ Unions, has so raised the price of labour that it has
+reacted against themselves, and the workmen’s houses, roomy, and formed
+of sound, lasting materials can no longer be constructed at a cost that
+would allow a fair percentage on outlay.</p>
+
+<p>Lord Bacon paid particular attention to building, and he had several
+fine mansions. He received his Sovereign at one, <i>Gorhambury</i>, who on
+her remarking its great size, said, “It was not that the house was too
+big, but that her Grace had made him too big to inhabit it.” His essay
+on building gives such a complete picture of what the nobleman’s house
+was in those days, that it is here quoted.<span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<p>“First, therefore, I say you cannot have a perfect palace, except you
+have two several sides: a side for the banquet, as is spoken of in the
+book of Esther, and a side for the household; the one for feasts and
+triumphs, and the other for dwelling.</p>
+
+<p>“I understand both these sides to be not only returns, but parts of the
+front; and to be uniform without, though severally partitioned within;
+and to be on both sides of a great and stately tower in the midst of the
+front, that, as it were, joineth them together on either hand. I would
+have, on the side of the banquet in front, one only goodly room, above
+stairs, of some forty feet high: and under it a room for a dressing or
+preparing place, at times of triumphs. On the other side, which is the
+household side, I wish it divided, at the first, into a hall and chapel
+(with a partition between), both of good state and bigness; and those
+not to go all the length, but to have at the farther end a winter and
+summer parlour, both fair; and under these rooms a fair and large cellar
+sunk under ground, and likewise some privy kitchens, with butteries and
+pantries, and the like. As for the tower I would have it two stories, of
+eighteen foot high apiece above the two wings; and goodly leads upon the
+top, railed with statues interposed; and the same tower to be divided
+into rooms, as shall be thought fit. The stairs likewise to the upper
+rooms, let them be upon<span class="pagenum"><a name="page_258" id="page_258">{258}</a></span> a fair open newel, and finely railed in with
+images of wood cast into a brass colour; and a very fair landing-place
+at the top. But this to be, if you do not point any of the lower rooms
+for a dining-place of servants; for otherwise, you shall have the
+servants’ dinner after your own; for the steam of it will come up as in
+a tunnel; and so much for the front; only I understand the height of the
+first stairs to be sixteen foot, which is the height of the lower room.</p>
+
+<p>“Beyond the front is there to be a fair court, but three sides of it of
+a far lower building than the front; and in all the four corners of that
+court fair staircases, cast into turrets on the outside, and not within
+the row of buildings themselves; but those towers are not to be of the
+height of the front, but rather proportionable to the lower buildings.
+Let the court not be paved, for that striketh up a great heat in summer
+and much cold in winter; but only some side alleys with a cross, and the
+quarters to graze, being kept shorn, but not too near shorn. The row of
+return on the banquet side, let it be all stately galleries: in which
+galleries let there be three or five fine cupolas in the length of it,
+placed at equal distance; and fine coloured windows of several works: on
+the household side, chambers of presence and ordinary entertainments,
+with some bedchambers; and let all three sides be a double house,
+without thorough lights in the<span class="pagenum"><a name="page_259" id="page_259">{259}</a></span> sides, that you may have rooms from the
+sun both for forenoon and afternoon:&mdash;cast it also that you may have
+rooms both for summer and winter; shade for summer, and warm for winter.
+You shall have sometimes fair houses so full of glass that one cannot
+tell where to become to be out of the sun or cold. For embowed windows,
+I hold them of good use (in cities indeed, upright do better, in respect
+of the uniformity towards the street); for they be pretty retiring
+places for conference, and besides they keep both the wind and sun off;
+for that which would strike almost through the room doth scarce pass the
+window; but let them be but few, four in the court, on the sides only.</p>
+
+<p>“Beyond this court, let there be an inward court of the same square and
+height, which is to be environed with the garden on all sides; and in
+the inside, cloistered on all sides upon decent and beautiful arches as
+high as the first story; on the under story, towards the garden, let it
+be turned to a grotto, or place of shade, or estivation; and only have
+opening and windows toward the garden, and be level upon the floor, no
+whit sunk under ground, to avoid all dampishness: let there be a
+fountain or some fair work of statues in the midst of this court, and to
+be paved as the other court was. These buildings to be for privy
+lodgings on both sides, and the end for privy<span class="pagenum"><a name="page_260" id="page_260">{260}</a></span> galleries; whereof you
+must foresee that one of them be for an infirmary, if the prince or any
+special person should be sick, with chambers, bedchamber, ante-camera,
+and recamera, joining to it; this upon the second story.</p>
+
+<p>“Upon the ground story, a fair gallery, open, upon pillars, and upon the
+third story likewise, an open gallery upon pillars, to take the prospect
+and freshness of the garden.</p>
+
+<p>“At both corners of the farther side, by way of return, let there be two
+delicate or rich cabinets, daintily paved, richly hanged, glazed with
+crystalline glass, and a rich cupola in the midst; and all other
+elegancy that may be thought upon. In the upper gallery too, I wish that
+there may be, if the place will yield it, some fountains running in
+divers places from the wall, with some fine avoidances. And thus much
+for the model of the palace; save that you must have, before you come to
+the front, three courts, a green court plain, with a wall about it; a
+second court of the same, but more garnished with little turrets, or
+rather embellishments upon the wall; and a third court, to make a square
+with the front, but not to be built nor yet enclosed with a naked wall,
+but enclosed with terraces leaded aloft, and fairly garnished on the
+three sides; and cloistered on the inside with pillars, and not with
+arches below. As for offices, let them<span class="pagenum"><a name="page_261" id="page_261">{261}</a></span> stand at distance, with some low
+galleries to pass from them to the palace itself.”</p>
+
+<p class="spc2">&nbsp; </p>
+
+<p>The vignette is an elevation, with enlarged details, of a design for a
+weathercock or wind vane. In buildings where there are many on the roof,
+they are sometimes seen pointing different ways, and it is of importance
+they should be properly constructed. The construction necessary to
+prevent these differences is shown in the two sections on each side the
+elevation; <i>a</i> is a gun-metal rod, in which is fixed the small steel rod
+<i>b</i>; this moves in a piece of agate fixed in a small block of copper
+<i>c</i>; the agate is marked black in the left-hand section.</p>
+
+<div class="figcenter" style="width: 148px;">
+<a href="images/ill_pg_261_lg.jpg">
+<img src="images/ill_pg_261_sml.jpg" width="148" height="267" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<h2><a name="DESIGN_No_23" id="DESIGN_No_23"></a><i>DESIGN No. 23.</i><br /><br />
+A GARDEN SUMMER-HOUSE.</h2>
+
+<div class="figcenter" style="width: 292px;">
+<a href="images/ill_pg_262_lg.jpg">
+<img src="images/ill_pg_262_sml.jpg" width="292" height="407" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view and plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS small circular erection was designed from the express directions,
+as to style, size, form, and plan, of the gentleman for whom it was
+made, and who had it constructed. It was of wood, standing on a brick
+foundation, with a quaint room in the centre, completely lined with
+match-boarding, stained oak and varnished, the ceiling having hanging
+pendants. The lead lights of the sashes were glazed with various
+specimens of old coloured glass.</p>
+
+<div class="figcenter" style="width: 273px;">
+<a href="images/ill_pg_263_lg.jpg">
+<img src="images/ill_pg_263_sml.jpg" width="273" height="248" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation.</p></div>
+</div>
+
+<p>The view and plan are illustrated at page 262; the plan shows the
+general arrangements; the porch had seats on each side, and the back
+portion of the<span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" style="width: 260px;">
+<a href="images/ill_pg_264-a_lg.jpg">
+<img src="images/ill_pg_264-a_sml.jpg" width="260" height="210" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<div class="figcenter" style="width: 136px;">
+<a href="images/ill_pg_264-b_lg.jpg">
+<img src="images/ill_pg_264-b_sml.jpg" width="136" height="280" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Detail showing construction.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<p class="nind">summer-house was enclosed for a single seat. The elevation given on page
+263 shows, as well as the view, flower-pots on supports in the roof.
+These were</p>
+
+<div class="figcenter" style="width: 225px;">
+<a href="images/ill_pg_265_lg.jpg">
+<img src="images/ill_pg_265_sml.jpg" width="225" height="359" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Gate to a flower-garden.</p></div>
+</div>
+
+<p class="nind">omitted in execution. The section shows the building as constructed; it
+is taken through the porch. The interior room and the enclosed seat
+behind the illus<span class="pagenum"><a name="page_266" id="page_266">{266}</a></span>tration gives the detail of a portion of the
+construction.</p>
+
+<div class="figcenter" style="width: 320px;">
+<a href="images/ill_pg_266-a_lg.jpg">
+<img src="images/ill_pg_266-a_sml.jpg" width="320" height="291" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Elevation.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Section.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 155px;">
+<a href="images/ill_pg_266-b_lg.jpg">
+<img src="images/ill_pg_266-b_sml.jpg" width="155" height="120" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<p>The building had no fireplace, being merely intended for summer use; it
+was placed on an elevated site, and commanded a fine view.</p>
+
+<p>No small structure can be made too expensive in construction if it is to
+be placed in a beautiful flower-garden. However pretty its ornaments may
+be, they are sure to pale by the side of the natural objects surrounding
+it. The small gateway shown in view on page 265 was constructed entirely
+in oak with a slab-slated roof. It stood at some distance from the
+dwelling, to which it formed a conspicuous object, and it was the
+entrance to an enclosed flower-garden. An elevation, section, and plan
+of it are given on page 266.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette represents an open ironwork console or holder for a
+meat-jack for the kitchen fireplace: it is of French design.</p>
+
+<div class="figcenter" style="width: 161px;">
+<a href="images/ill_pg_267_lg.jpg">
+<img src="images/ill_pg_267_sml.jpg" width="161" height="104" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<h2><a name="DESIGN_No_24" id="DESIGN_No_24"></a><i>DESIGN No. 24.</i><br /><br />
+A SMALL COUNTRY RETREAT, OR FRENCH MAISONETTE.</h2>
+
+<div class="figcenter" style="width: 354px;">
+<a href="images/ill_pg_268_lg.jpg">
+<img src="images/ill_pg_268_sml.jpg" width="354" height="210" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS is a study for a small villa in the modern French style, one which
+has lately been introduced into several buildings of domestic character
+in England, the woodwork being sent from France. The</p>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_269_lg.jpg">
+<img src="images/ill_pg_269_sml.jpg" width="239" height="282" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">chief feature of the style is the machine-cut ornamental wood; it is of
+common deal, about an inch or a little more in thickness. When placed
+up, and coloured a light fawn colour or plain yellow, it is extremely
+pleasing, and has the merit of being very cheap.</p>
+
+<p>The design has an ornamental iron verandah<span class="pagenum"><a name="page_270" id="page_270">{270}</a></span> completely round two sides
+of the building, with small upright standards taken through its roof,
+which are</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_270_lg.jpg">
+<img src="images/ill_pg_270_sml.jpg" width="400" height="168" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length of building.</p></div>
+</div>
+
+<p class="nind">connected together with zinc wire-work; the intention being to permit
+flowering plants to grow over it, so<span class="pagenum"><a name="page_271" id="page_271">{271}</a></span> that the front should be crowned
+with flowers. The villa is only intended for summer use, being confined
+in its accommodation. The ground plan, given on page 269, shows <i>d</i> and
+<i>e</i>, the drawing and dining</p>
+
+<div class="figcenter" style="width: 344px;">
+<a href="images/ill_pg_271_lg.jpg">
+<img src="images/ill_pg_271_sml.jpg" width="344" height="223" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Transverse section.</p></div>
+</div>
+
+<p class="nind">rooms, divided one from the other by curtains hanging on a glazed
+screen; the length of the two rooms is 42 feet, their breadth 15 feet.
+They are decorated gaily in French style; the room <i>c</i> can be used as a<span class="pagenum"><a name="page_272" id="page_272">{272}</a></span>
+study, but it is intended for a sleeping room; the kitchen <i>f</i> has a
+large larder <i>h</i>, but it would be desirable if the kitchen was formed a
+short distance away from the building, and connected with it by a
+passage; the rooms <i>f</i> and <i>g</i> could then be made into a bed and
+dressing-room. The wine cellar is at g, and a conservatory <i>i</i>, is
+placed at the end of the building.</p>
+
+<div class="figcenter" style="width: 147px;">
+<a href="images/ill_pg_272_lg.jpg">
+<img src="images/ill_pg_272_sml.jpg" width="147" height="186" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of one-pair.</p></div>
+</div>
+
+<p>The elevation of the front of the building and the two sections show the
+general construction of the upper part of the house. This was in timber,
+the flues alone being of brick.</p>
+
+<p>The plan of the upper floor shows four rooms; each of the flues is
+supplied with its pedestal, so that should the house be occupied in
+winter, these upper apart<span class="pagenum"><a name="page_273" id="page_273">{273}</a></span>ments could be kept well aired by the fires in
+the lower apartments, without any attention from the servants. The
+framing of the upper portion is correctly shown in the section copied
+from the working drawing.</p>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_273_lg.jpg">
+<img src="images/ill_pg_273_sml.jpg" width="168" height="294" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of verandah.</p></div>
+</div>
+
+<p>All elevation of a small portion of the verandah, showing its iron work,
+is given; and an illustration to a large scale shows its ornamental zinc
+guttering, and the carved wood French ornament, a section showing<span class="pagenum"><a name="page_274" id="page_274">{274}</a></span> how
+they are fastened on; and the zinc gutter placed in front is likewise
+given.</p>
+
+<div class="figcenter" style="width: 280px;">
+<a href="images/ill_pg_274-a_lg.jpg">
+<img src="images/ill_pg_274-a_sml.jpg" width="280" height="203" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of zinc gutter, and cut woodwork.</p></div>
+</div>
+
+<div class="figcenter" style="width: 164px;">
+<a href="images/ill_pg_274-b_lg.jpg">
+<img src="images/ill_pg_274-b_sml.jpg" width="164" height="236" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of the same.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<p>The following is a design in purely French taste for the circular top
+over the entrance porch on the upper floor.</p>
+
+<div class="figcenter" style="width: 395px;">
+<a href="images/ill_pg_275_lg.jpg">
+<img src="images/ill_pg_275_sml.jpg" width="395" height="211" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cut woodwork.</p></div>
+</div>
+
+<p>The roofs of buildings in this style should be covered with zinc. The
+French are as much before<span class="pagenum"><a name="page_276" id="page_276">{276}</a></span> us in their use of this metal as they are
+with their cut woodwork.</p>
+
+<p>Roofs covered with zinc could be made flatter, and have a covering or
+floor of boards, each board ½ an inch apart. An illustration is given of
+such a construction; it has a light iron railing with a scroll</p>
+
+<div class="figcenter" style="width: 264px;">
+<a href="images/ill_pg_276_lg.jpg">
+<img src="images/ill_pg_276_sml.jpg" width="264" height="241" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Design for roofing.</p></div>
+</div>
+
+<p class="nind">against the brick parapet; and supports a stand for flowers. With the
+absence of offensive smoke, and with the use of the flue pedestal to
+supply warmth, the upper parts of our houses could easily be formed into
+conservatories.</p>
+
+<p>The interior of the building was intended to be as<span class="pagenum"><a name="page_277" id="page_277">{277}</a></span> profusely decorated
+with the cut woodwork as the exterior. The staircase balusters were of a
+rich pattern, the whole being stained after some ornamental wood, and
+varnished.</p>
+
+<div class="figcenter" style="width: 266px;">
+<a href="images/ill_pg_277_lg.jpg">
+<img src="images/ill_pg_277_sml.jpg" width="266" height="337" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Staircase balusters.</p></div>
+</div>
+
+<p>The expense of constructing such a building would be 2450<i>l.</i></p>
+
+<p>In this style cut-wood decoration the French certainly excel us. Some
+English examples, very<span class="pagenum"><a name="page_278" id="page_278">{278}</a></span> common in our railway stations, are shown below.
+The most ornamental is a pattern used by the author some few years ago;
+a rose is introduced to cover the fastening of the cut pattern to the
+fascia behind.</p>
+
+<div class="figcenter" style="width: 296px;">
+<a href="images/ill_pg_278_lg.jpg">
+<img src="images/ill_pg_278_sml.jpg" width="296" height="248" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>We have in England a carving-machine, known as Irving’s patent, that was
+a few years since much worked at a manufactory in Pimlico by Mr. Pratt
+of Bond Street. At one time it bid fair to exert a most important
+influence upon the production of this kind of cut-wood decoration. It
+could make such carvings with the greatest ease and rapidity, whether in
+stone or wood. The machine was a simple drill in a move<span class="pagenum"><a name="page_279" id="page_279">{279}</a></span>able arm, worked
+either by steam or a hand-wheel, on a moveable table; the combined
+motion rendered it capable of carving any form, however intricate, from
+the largest Gothic window-head, to the smallest screen. At Pimlico it
+was under the architectural superintendence of R. W. Billings. It is
+still used, together with Jordan’s patent for carving, at Lambeth.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette gives a pattern for cut-wood balustrading.</p>
+
+<div class="figcenter" style="width: 161px;">
+<a href="images/ill_pg_279_lg.jpg">
+<img src="images/ill_pg_279_sml.jpg" width="161" height="237" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<h2><a name="DESIGN_No_25" id="DESIGN_No_25"></a><i>DESIGN No. 25.</i><br /><br />
+AN ELIZABETHAN VILLA.</h2>
+
+<div class="figcenter" style="width: 429px;">
+<a href="images/ill_pg_280_lg.jpg">
+<img src="images/ill_pg_280_sml.jpg" width="429" height="346" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made a few years ago for a gentleman who was a great
+admirer of our old English architecture, and who desired to have a</p>
+
+<div class="figcenter" style="width: 369px;">
+<a href="images/ill_pg_281_lg.jpg">
+<img src="images/ill_pg_281_sml.jpg" width="369" height="280" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<p class="nind">dwelling with its chief characteristics, both internally as well as
+externally, but with all modern arrangements. He intended to purchase a
+piece of land in the neigh<span class="pagenum"><a name="page_282" id="page_282">{282}</a></span>bourhood of London for the purpose of
+erecting the structure upon it. Producing the design was a labour of
+love to us both, and many a pleasant evening we</p>
+
+<div class="figcenter" style="width: 150px;">
+<a href="images/ill_pg_282_lg.jpg">
+<img src="images/ill_pg_282_sml.jpg" width="150" height="343" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrading of staircase.</p></div>
+</div>
+
+<p class="nind">spent together in studying the details as to what we should like to have
+in each room, without troubling ourselves about what the expense would
+be; unhappily<span class="pagenum"><a name="page_283" id="page_283">{283}</a></span> he did not live to carry out his intention, and the
+drawings were laid aside.</p>
+
+<div class="figcenter" style="width: 299px;">
+<a href="images/ill_pg_283-a_lg.jpg">
+<img src="images/ill_pg_283-a_sml.jpg" width="299" height="167" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of hall.</p></div>
+</div>
+
+<p>The exterior is a study from the celebrated building, Rushton Hall in
+Northamptonshire, erected in the</p>
+
+<div class="figcenter" style="width: 320px;">
+<a href="images/ill_pg_283-b_lg.jpg">
+<img src="images/ill_pg_283-b_sml.jpg" width="320" height="196" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">reign of Elizabeth, by Sir Thomas Tresham. On the <span class="pagenum"><a name="page_284" id="page_284">{284}</a></span>estate in the forest,
+about a mile from the house, is that curious and unique building, the
+Triangular Lodge,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> which served as a secret place of meeting for the
+conspirators of the Gunpowder Plot.</p>
+
+<p>The ground plan shows only a small and single staircase <i>b</i>;
+considerable discussion took place upon this; the great staircase was
+first planned in the hall <i>a</i>, but a billiard-table was imperative, and
+the hall alone</p>
+
+<div class="figcenter" style="width: 289px;">
+<a href="images/ill_pg_284_lg.jpg">
+<img src="images/ill_pg_284_sml.jpg" width="289" height="237" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of hall fireplace.</p></div>
+</div>
+
+<p class="nind">could receive it. The smaller staircase was made ornamental, with carved
+oak balustrades having a<span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figright" style="width: 113px;">
+<a href="images/ill_pg_285-a_lg.jpg">
+<img src="images/ill_pg_285-a_sml.jpg" width="113" height="239" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of hall fireplace.</p></div>
+</div>
+
+<p class="nind">small brass ornament between, for the children to lay hold of in getting
+upstairs.</p>
+
+<p>The hall was to be wainscoted all round; the illustration on page 283
+shows one side, with the entrance into the dining-room; a section of the
+moulding of the panels is given on page 283 of full size. A gilt
+decoration was to have been put in each panel, as shown. An ornamental
+plaster frieze, containing shields of arms</p>
+
+<div class="figcenter" style="width: 346px;">
+<a href="images/ill_pg_285-b_lg.jpg">
+<img src="images/ill_pg_285-b_sml.jpg" width="346" height="240" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Hall stove.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<p class="nind">which were to be emblazoned, came over the panelling. An elevation of
+the fireplace, to have been made in Caen stone, with its details on a
+large scale, is given in cuts on pp. 284, 285.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_286_lg.jpg">
+<img src="images/ill_pg_286_sml.jpg" width="275" height="368" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of hall ceiling.</p></div>
+</div>
+
+<p>The fireplace is shown with fire-dogs to burn wood, with its iron
+fire-back; but this was objected to, and<span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" style="width: 384px;">
+<a href="images/ill_pg_287_lg.jpg">
+<img src="images/ill_pg_287_sml.jpg" width="384" height="433" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<p class="nind">the stove was selected; my friend having great interest in coal,
+preferred it to wood.</p>
+
+<div class="figcenter" style="width: 359px;">
+<a href="images/ill_pg_288_lg.jpg">
+<img src="images/ill_pg_288_sml.jpg" width="359" height="322" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Dining-room ceiling.</p></div>
+</div>
+
+<p>The illustration on page 286 is a portion of the hall ceiling, copied
+from a celebrated example of the time of Henry VIII. To illustrate every
+room or give only one-third of the drawings made for this design<span class="pagenum"><a name="page_289" id="page_289">{289}</a></span> would
+far exceed the limits the present volume allows. Each of the three rooms
+on the ground floor had</p>
+
+<div class="figcenter" style="width: 235px;">
+<a href="images/ill_pg_289-a_lg.jpg">
+<img src="images/ill_pg_289-a_sml.jpg" width="235" height="145" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Pendant.</p></div>
+</div>
+
+<p class="nind">decorated chimney-pieces, and carved architraves and panels to the
+doors. The section shows the height of the rooms. The dining-room <i>e</i>
+(see ground-plan) was</p>
+
+<div class="figcenter" style="width: 304px;">
+<a href="images/ill_pg_289-b_lg.jpg">
+<img src="images/ill_pg_289-b_sml.jpg" width="304" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Pendant and centre ornaments.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<p>22 ft. by 20 ft.; the library <i>c</i>, 17 ft. by 15 ft., and the
+drawing-room <i>d</i>, 24 ft. by 17 ft., with a large bay window opening on
+to a terrace&mdash;their height 12 ft. 9 in.; <i>f</i> is the lift and <i>g</i> the
+closet. Each of these rooms was to have ornamental flat plaster ceilings
+with</p>
+
+<div class="figcenter" style="width: 316px;">
+<a href="images/ill_pg_290_lg.jpg">
+<img src="images/ill_pg_290_sml.jpg" width="316" height="276" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Drawing-room ceiling.</p></div>
+</div>
+
+<p class="nind">pendant ornaments. These are shown in illustrations on page 289.</p>
+
+<p>The staircase led to a gallery in the middle of the building on the
+first floor, dimly lighted at each end by the staircase and passage
+windows. The first floor<span class="pagenum"><a name="page_291" id="page_291">{291}</a></span> (page 292) contained a morning room, <i>a</i>, in
+the centre, 15 ft. by 12 ft., with a bow window; and three bedrooms <i>b</i>,
+<i>b</i>, <i>b</i>, with two dressing-rooms <i>c</i>, <i>c</i>, one with a bath and a
+closet.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_291_lg.jpg">
+<img src="images/ill_pg_291_sml.jpg" width="275" height="278" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Library ceiling.</p></div>
+</div>
+
+<p>The attic plan (page 292) contained three large rooms for the servants,
+<i>b</i>, <i>b</i>, <i>b</i>; a housemaid’s closet <i>e</i>, and in the recessed space by
+the side a large slate cistern for water. The basement (page 293)
+contained considerable accommodation: <i>d</i> was intended for a private
+room for the family, <i>a</i> the kitchen, <i>c</i> larder,<span class="pagenum"><a name="page_292" id="page_292">{292}</a></span> <i>b</i> the scullery, <i>i</i>
+beer-cellar, <i>g</i> butler’s sleeping-room, <i>e</i> butler’s pantry, <i>h</i>
+wine-cellar, <i>l</i> place for cleaning</p>
+
+<div class="figcenter" style="width: 315px;">
+<a href="images/ill_pg_292-a_lg.jpg">
+<img src="images/ill_pg_292-a_sml.jpg" width="315" height="222" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan (page 291).</p></div>
+</div>
+
+<div class="figcenter" style="width: 293px;">
+<a href="images/ill_pg_292-b_lg.jpg">
+<img src="images/ill_pg_292-b_sml.jpg" width="293" height="224" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Attic plan (see page 291).</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<p class="nind">knives. The housekeeper’s room <i>f</i>, and servants’ hall are in the front,
+and <i>j</i> is the lift for dishes to ground floor, <i>k</i> the coal-cellar. An
+open area was made on two sides of the building.</p>
+
+<div class="figcenter" style="width: 334px;">
+<a href="images/ill_pg_293_lg.jpg">
+<img src="images/ill_pg_293_sml.jpg" width="334" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan (see page 291).</p></div>
+</div>
+
+<p>It was intended to construct the basement fireproof, and to have the
+flooring chiefly of asphalte, laid on brick and concrete, solid with the
+earth; having a width of stone at the fireplaces. Small openings into
+the areas were to be made for water to run off, so that the floors could
+be at any time flooded from a<span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" style="width: 495px;">
+<a href="images/ill_pg_294_lg.jpg">
+<img src="images/ill_pg_294_sml.jpg" width="495" height="359" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" style="width: 533px;">
+<a href="images/ill_pg_295_lg.jpg">
+<img src="images/ill_pg_295_sml.jpg" width="533" height="342" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Back elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" style="width: 388px;">
+<a href="images/ill_pg_296_lg.jpg">
+<img src="images/ill_pg_296_sml.jpg" width="388" height="347" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of side.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<p class="nind">hose. The skirtings for eighteen inches above the floor were to be in
+asphalte, so that no beetles or other vermin should find their way in.
+It was a</p>
+
+<div class="figcenter" style="width: 218px;">
+<a href="images/ill_pg_297-a_lg.jpg">
+<img src="images/ill_pg_297-a_sml.jpg" width="218" height="126" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ironwork on terrace.</p></div>
+</div>
+
+<p class="nind">subject of discussion whether all the other floors and skirting should
+not be of a similar description. The three elevations of the building
+are given: they were</p>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_297-b_lg.jpg">
+<img src="images/ill_pg_297-b_sml.jpg" width="282" height="138" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ironwork on bay-window.</p></div>
+</div>
+
+<p class="nind">to have been in red brick with compo dressings, and the balustrades in
+artificial stone. One peculiar portion of the exterior decoration was
+the ironwork in<span class="pagenum"><a name="page_298" id="page_298">{298}</a></span> lieu of stone balustrading. The bay window and the
+terrace were surmounted with this ironwork; that on the terrace was to
+be formed so as to sustain heavy</p>
+
+<div class="figcenter" style="width: 224px;">
+<a href="images/ill_pg_298_lg.jpg">
+<img src="images/ill_pg_298_sml.jpg" width="224" height="373" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Portion of front.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Small finial.
+</p></td></tr>
+</table>
+</div></div>
+
+<p class="nind">earthenware pots of flowering shrubs:&mdash;an elevation of the two examples
+is given on page 297.<span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<p>The mouldings on the exterior of the building were small and simple;
+this is shown in illustrations on page 298. Various designs were made
+for the</p>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/ill_pg_299-a_lg.jpg">
+<img src="images/ill_pg_299-a_sml.jpg" width="255" height="139" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrades for first floor.</p></div>
+</div>
+
+<div class="figcenter" style="width: 217px;">
+<a href="images/ill_pg_299-b_lg.jpg">
+<img src="images/ill_pg_299-b_sml.jpg" width="217" height="218" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">balustrading; three of these, with the ornament containing a shield of
+arms in the centre of the side gables, are likewise given.<span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<p>The expense of constructing this design with all the ornamentation
+shown, would have been great. A</p>
+
+<div class="figcenter">
+<a href="images/ill_pg_300-a_lg.jpg">
+<img src="images/ill_pg_300-a_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Lower balustrade.</p></div>
+</div>
+
+<p class="nind">considerable portion of it, when it came to be estimated and the
+specification and working drawings were made</p>
+
+<div class="figcenter">
+<a href="images/ill_pg_300-b_lg.jpg">
+<img src="images/ill_pg_300-b_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ornament in side gable.</p></div>
+</div>
+
+<p class="nind">for the builder, would have been left out, and the whole made more
+simple. The design would not have<span class="pagenum"><a name="page_301" id="page_301">{301}</a></span> materially suffered for such
+deductions; all the general forms or the simple outline of the exterior
+would have been preserved. The chief deduction would have been made in
+the ornaments of the interior, or these might have been only partly
+done. Such a design, with a moderate amount of decoration only, would
+cost about 4700<i>l.</i></p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette shows French and English cut-wood patterns for blind
+ornaments.</p>
+
+<div class="figcenter" style="width: 157px;">
+<a href="images/ill_pg_301_lg.jpg">
+<img src="images/ill_pg_301_sml.jpg" width="157" height="153" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<h2><a name="DESIGN_No_26" id="DESIGN_No_26"></a><i>DESIGN No. 26.</i><br /><br />
+A SUMMER OR GARDEN VILLA.</h2>
+
+<div class="figcenter" style="width: 497px;">
+<a href="images/ill_pg_302_lg.jpg">
+<img src="images/ill_pg_302_sml.jpg" width="497" height="297" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<p class="nind"><span class="letra">O</span>NE of our most eminent writers on gardens, Repton, remarked that
+“gardening and architecture, like all the fine arts, have much in
+common; and the department of architecture which belongs more
+exclusively to gardens has especially a great affinity to gardening in
+its broadest principles.” In fact, there is much more relation between
+the two than is usually admitted&mdash;a matter already alluded to in the
+Introductory Essay. Architectural forms and decorations, temples and
+rustic bowers, seats, &amp;c., are not, as many have observed, unfit for our
+climate. In western counties they certainly can be indulged in to a
+large extent; and the fine evergreens and the beautiful grass of this
+country will, in association with ornamental terraces and sculpture,
+impart sufficient warmth of tone to render them agreeable. The garden of
+<i>Mon-plaisir</i> at Elvaston, in Derbyshire, and the Alhambra Gardens
+there; those at Castle Coombe, Trentham, Alton Towers, and Bowood,
+sufficiently prove how attractive gardens can be architecturally made.
+In former years gardens were almost universal through every part of
+England, as is proved by the bird’s-eye view, engraved by Kipp, from
+drawings by Knyff in the book, “Britannia Illustrata,” and those of the
+gardens given in Loggan’s “Oxonia Restituta,” and the similar work on
+Cambridge. But gardens, like all other mundane matters, have their
+periods of<span class="pagenum"><a name="page_304" id="page_304">{304}</a></span> change or retrogression; the natural style having almost
+obliterated the architectural garden of William and Mary. This might
+have been too precise, as</p>
+
+<div class="figcenter" style="width: 372px;">
+<a href="images/ill_pg_304_lg.jpg">
+<img src="images/ill_pg_304_sml.jpg" width="372" height="312" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan of villa.</p></div>
+</div>
+
+<p class="nind">copied from the Dutch model: they were satirized by Pope, thus&mdash;</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Grove nods at grove, each alley has a brother,<br /></span>
+<span class="i1">And half the platform just reflects the other.”<br /></span>
+</div></div>
+</div>
+
+<p class="nind">They were called King William’s style of fortifica<span class="pagenum"><a name="page_305" id="page_305">{305}</a></span>tions, surrounded
+with yew hedges, cut in variety of forms; those which have been suffered
+to outlive their original shape are really beautiful. Queen Anne’s
+Garden, now part of Kensington Gardens, is an example. But these gardens
+were very inferior to those of Italy and France, or even those in
+England of the Elizabethan age. It is to Italy, the garden of Europe,
+that we must look for the finest specimens of garden architecture. The
+Villa Pamphilia or de Belrespiro, situated half a mile out of Rome
+beyond the Gate of San Pancrazio, is celebrated for its gardens; from
+them could be observed the whole city of Rome, and surrounding suburbs.
+The gardens are nearly five miles in circumference, and occupy the site
+of those of the Emperor Galba. Their arrangement is varied and
+agreeable; being picturesque without disorder, symmetrical without
+monotony; and we here observe the art with which the arrangement of a
+regular garden is made to agree with the rural nature of which it forms
+a part, and the noble structure it surrounds. It is doubtless the work
+of the architect of the villa L’Algardi, about the year 1646. They have
+been ascribed to the French artist, Le Notre, but there is very little
+of the French style about them; they are wholly Italian, following the
+lines of the villa, and in the same style or spirit. These are, or were
+admirable; while the fountains,<span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" style="width: 372px;">
+<a href="images/ill_pg_306_lg.jpg">
+<img src="images/ill_pg_306_sml.jpg" width="372" height="573" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan of garden and villa.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<p class="nind">the cascades, grottos, basins, statues, and the antique fragments which
+adorn them are arranged with the</p>
+
+<div class="figcenter" style="width: 188px;">
+<a href="images/ill_pg_307-a_lg.jpg">
+<img src="images/ill_pg_307-a_sml.jpg" width="188" height="193" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Small group in centre of side left-hand basin.</p></div>
+</div>
+
+<p class="nind">skill and intelligence of genius. Illustrations are preserved to us only
+in a fine Italian work, by Jacobi de Rubeis, published at Rome, about
+the middle of</p>
+
+<div class="figcenter" style="width: 162px;">
+<a href="images/ill_pg_307-b_lg.jpg">
+<img src="images/ill_pg_307-b_sml.jpg" width="162" height="168" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Small group in centre of right-hand basin.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<p class="nind">the seventeenth century. The villa was destroyed by the French when they
+crushed the liberty of the Roman people at their onslaught on Rome
+against Garibaldi.</p>
+
+<p>In designs of this description the house and garden should unite, and be
+lost in each other. Those parts of the garden most contiguous to the
+house should follow its outline, its walks and terraces, and be so</p>
+
+<div class="figcenter" style="width: 338px;">
+<a href="images/ill_pg_308_lg.jpg">
+<img src="images/ill_pg_308_sml.jpg" width="338" height="237" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fountain ornaments.</p></div>
+</div>
+
+<p class="nind">placed that the windows and doors of the mansion could command a perfect
+view of them. The province of garden architecture is, primarily, to
+supply fitting appendages and accompaniments to the house, so that the
+latter may not appear alone and unsupported. If judiciously adopted it
+will be effective in helping to produce a good outline, carry down the
+lines of the<span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" style="width: 451px;">
+<a href="images/ill_pg_309_lg.jpg">
+<img src="images/ill_pg_309_sml.jpg" width="451" height="277" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" style="width: 446px;">
+<a href="images/ill_pg_310_lg.jpg">
+<img src="images/ill_pg_310_sml.jpg" width="446" height="361" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through centre of building.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<p class="nind">house, and connect it with other buildings, which may be conservatories,
+ferneries, aquaria, rustic seats, temples, and arbours; and it will
+provide a</p>
+
+<div class="figcenter" style="width: 383px;">
+<a href="images/ill_pg_311_lg.jpg">
+<img src="images/ill_pg_311_sml.jpg" width="383" height="286" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of saloon.</p></div>
+</div>
+
+<p class="nind">proper basement to the house. Such arrangements afford shelter or
+privacy to a flower garden, extend the façade or frontage of the house,
+shut out back<span class="pagenum"><a name="page_312" id="page_312">{312}</a></span> yards, stabling or offices, enrich, vary, and enliven the
+garden, supply conveniences, receptacles for birds, plants, sculpture,
+or works of art, specimens of natural history, and support for climbing
+plants. These points indicate refinement, wealth, and love of art, and
+otherwise blend the various constituents of a garden with the house, and
+harmonize the two by communicating an artistic tone to the garden. So
+says Repton, and most of the principal writers on gardening.</p>
+
+<div class="figcenter" style="width: 199px;">
+<a href="images/ill_pg_312_lg.jpg">
+<img src="images/ill_pg_312_sml.jpg" width="199" height="196" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cap in saloon.</p></div>
+</div>
+
+<p>Some of the ancient gardens of Asia and Italy were considered among the
+wonders of the world. They were termed paradises, and were filled with
+such plants, both beautiful and useful, that the soil could produce;
+they were enriched with many kinds of works of art, banqueting-houses,
+aviaries, wells, and<span class="pagenum"><a name="page_313" id="page_313">{313}</a></span> streams of running water, indispensable in those
+warm climates.</p>
+
+<div class="figcenter" style="width: 222px;">
+<a href="images/ill_pg_313-a_lg.jpg">
+<img src="images/ill_pg_313-a_sml.jpg" width="222" height="178" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of part of saloon ceiling.</p></div>
+</div>
+
+<p>An architectural garden, as illustrated in the design at page 302,
+should have a picturesque outline, a</p>
+
+<div class="figcenter" style="width: 219px;">
+<a href="images/ill_pg_313-b_lg.jpg">
+<img src="images/ill_pg_313-b_sml.jpg" width="219" height="217" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of the same.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<p class="nind">marked boldness and prominence of parts, rather than a mere ornamental
+detail; a picturesque effect by changes of level in the ground, by
+diversity of height</p>
+
+<div class="figcenter" style="width: 212px;">
+<a href="images/ill_pg_314-a_lg.jpg">
+<img src="images/ill_pg_314-a_sml.jpg" width="212" height="147" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of centre panel.</p></div>
+</div>
+
+<p class="nind">of the different terraces, and by an arrangement in plan that would
+produce depth of shade. Every object admitted should fit into its proper
+place. This</p>
+
+<div class="figcenter" style="width: 123px;">
+<a href="images/ill_pg_314-b_lg.jpg">
+<img src="images/ill_pg_314-b_sml.jpg" width="123" height="142" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Panel of ceiling.</p></div>
+</div>
+
+<p class="nind">villa was designed to cover a fine spring of cold water, and thus insure
+a deep cold plunging bath. It was<span class="pagenum"><a name="page_315" id="page_315">{315}</a></span> to be merely a place for temporary
+occupation and retirement, to renovate the health of the owner. The
+gardens and fountains externally were only ornamental accessories; the
+plan at page 306 illustrates these. The villa was approached by two
+roads <i>d</i> <i>d</i>; there was a circle of open lawn between the house and the
+terraced gardens in front. The latter were approached</p>
+
+<div class="figcenter" style="width: 137px;">
+<a href="images/ill_pg_315_lg.jpg">
+<img src="images/ill_pg_315_sml.jpg" width="137" height="228" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section and plan of one of centre pendants.</p></div>
+</div>
+
+<p class="nind">by descending flights of steps. A basin of water and a large fountain,
+rising from a group of sculpture in the centre, are there shown. By the
+side are two smaller basins with smaller groups of sculpture,
+representing sea-horses, cupids, and dolphins. This terrace is paved
+with ornamental encaustic tiles. At the<span class="pagenum"><a name="page_316" id="page_316">{316}</a></span> head of the two side gardens
+<i>b</i> <i>b</i>, are grottos <i>g</i> <i>g</i>, with seats on a raised terrace on each
+side of their entrances. The steps descend to a lower level, and have
+sea-horses and cupids on their pedestals, with five falls of water from
+griffins’ heads, filling a basin below. A</p>
+
+<div class="figcenter" style="width: 296px;">
+<a href="images/ill_pg_316_lg.jpg">
+<img src="images/ill_pg_316_sml.jpg" width="296" height="292" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Bedroom ceiling.</p></div>
+</div>
+
+<p class="nind">wide walk, and a running stream by its side, were thus gained.</p>
+
+<p>The author at the time he made the design was effecting some additions
+to a country house, which admitted such a garden to be formed in front
+of it:<span class="pagenum"><a name="page_317" id="page_317">{317}</a></span> he published his design for it at the time (1850) in the
+<i>Builder</i>.</p>
+
+<div class="figcenter" style="width: 253px;">
+<a href="images/ill_pg_317_lg.jpg">
+<img src="images/ill_pg_317_sml.jpg" width="253" height="401" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Drawing-room ceiling.</p></div>
+</div>
+
+<p>This villa may be considered a casine, or a retired dwelling on a rather
+larger scale, similar to the pic<span class="pagenum"><a name="page_318" id="page_318">{318}</a></span>turesque house at Wothorp, in
+Northamptonshire, which was erected by one of the Earls of Burleigh, as
+a place to retire to, while his “great house at Burghley was sweeping.”
+Wothorp was a large building: it was fully illustrated in one of the</p>
+
+<div class="figcenter" style="width: 306px;">
+<a href="images/ill_pg_318_lg.jpg">
+<img src="images/ill_pg_318_sml.jpg" width="306" height="279" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Sections of moulding of ceiling.</p></div>
+</div>
+
+<p class="nind">author’s works, from original drawings lent him by the late Marquis of
+Exeter. The casine, only one size larger than a cottage, was the fashion
+of the preceding age. Whenever the proprietor of an estate wished to
+turn hermit, he retired to the casine, a<span class="pagenum"><a name="page_319" id="page_319">{319}</a></span> small temple erected in a
+portion of his grounds, where the finest views could be obtained, and
+the most perfect repose secured. In earlier times such buildings</p>
+
+<div class="figcenter" style="width: 265px;">
+<a href="images/ill_pg_319-a_lg.jpg">
+<img src="images/ill_pg_319-a_sml.jpg" width="265" height="241" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Drawing-room chimney-piece.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<p class="nind">afforded secret meeting-places wherein to hatch political plots; such a
+one was the triangular lodge in a secluded part of the wood at Rushton
+in Northamptonshire,</p>
+
+<div class="figcenter" style="width: 256px;">
+<a href="images/ill_pg_319-b_lg.jpg">
+<img src="images/ill_pg_319-b_sml.jpg" width="256" height="174" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">the seat of Sir Thomas Tresham, where the gunpowder conspirators
+assembled. The casine of more modern times was not so small, but it
+con<span class="pagenum"><a name="page_321" id="page_321">{321}</a></span>tained</p>
+
+<div class="figcenter" style="width: 272px;">
+<a href="images/ill_pg_320_lg.jpg">
+<img src="images/ill_pg_320_sml.jpg" width="272" height="386" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">all the requirements of good living. One example, is the
+casine of Marino, near Dublin, built by Sir William Chambers for the
+Earl of Charlemont.</p>
+
+<div class="figcenter">
+<a href="images/ill_pg_321_lg.jpg">
+<img src="images/ill_pg_321_sml.jpg" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">It was square in plan, surrounded by twelve columns, two projecting flat
+porticoes in front and back, and pedimented porticoes at the sides. The
+entrance was<span class="pagenum"><a name="page_322" id="page_322">{322}</a></span> approached by a noble flight of steps, the pedestals of
+which were decorated with carvings, and supported crouching lions.
+Statues and vases adorned the roof. A print of it, from a drawing of
+Wheatly, was published in 1783. The building contained a small hall or
+vestibule, a saloon or living-room, 20 feet in length by 15 feet in
+width. Leading out of this were</p>
+
+<div class="figcenter" style="width: 319px;">
+<a href="images/ill_pg_322_lg.jpg">
+<img src="images/ill_pg_322_sml.jpg" width="319" height="225" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of mezzanine floor.</p></div>
+</div>
+
+<p class="nind">two small rooms; one a study, the other a bedroom and closet. The
+basement contained a large and well-fitted kitchen, a scullery and
+larder, a butler’s pantry, and servants’ hall, and cellars for ale and
+wine. Retired buildings of this kind, of larger character and of more
+importance, were often erected in private<span class="pagenum"><a name="page_323" id="page_323">{323}</a></span> grounds of noblemen and
+gentry. One, very similar to the present design, was constructed by the
+late Robert Adam, for a salt-water bath, at Mistley, the seat of the
+Right Hon. Richard Rigby. Mr. Adam and Sir William Chambers erected a
+large number of such ornamental structures. One of the most elegant</p>
+
+<div class="figcenter" style="width: 325px;">
+<a href="images/ill_pg_323_lg.jpg">
+<img src="images/ill_pg_323_sml.jpg" width="325" height="231" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper story.</p></div>
+</div>
+
+<p class="nind">examples, by Mr. Robert Adam, was the rout-house or pavilion erected for
+a <i>fête champêtre</i> in the gardens of the Earl of Derby, at the Oaks, in
+Surrey, in 1774. The building was internally of the most ornamental
+character; there was an octangular vestibule, a hall 30 feet in
+diameter; this opened into a grand ball<span class="pagenum"><a name="page_324" id="page_324">{324}</a></span>-room, 72 feet by 35 feet within
+the columns, and 86 feet by 56 feet within the walls. The supper-room,
+surrounding the ball-room, measured 200 feet from one end to the other,
+and 20 feet in width. It was exposed in its full splendour on the
+curtains being drawn; and at the end of the ball-room there were</p>
+
+<div class="figcenter" style="width: 327px;">
+<a href="images/ill_pg_324_lg.jpg">
+<img src="images/ill_pg_324_sml.jpg" width="327" height="266" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p class="nind">two tea-rooms, each 20 feet square, on each side of the entrance saloon.
+The author gives these details in order that he may not be considered
+too venturesome in submitting to public notice, in these economical
+times, such an ornamental design as the<span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" style="width: 468px;">
+<a href="images/ill_pg_325_lg.jpg">
+<img src="images/ill_pg_325_sml.jpg" width="468" height="271" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of back front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<p class="nind">present. Similar structures of a more expensive character were once very
+common; but the small</p>
+
+<div class="figcenter" style="width: 204px;">
+<a href="images/ill_pg_326-a_lg.jpg">
+<img src="images/ill_pg_326-a_sml.jpg" width="204" height="288" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of top of pedestal.</p></div>
+</div>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_326-b_lg.jpg">
+<img src="images/ill_pg_326-b_sml.jpg" width="239" height="109" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p class="nind">retired casine has now gone out of fashion. The ladies consider such
+secluded buildings as only fit for<span class="pagenum"><a name="page_327" id="page_327">{327}</a></span> laundries, and not preferring
+themselves lives of perfect retirement and quiet, have brought in the
+small</p>
+
+<div class="figcenter" style="width: 243px;">
+<a href="images/ill_pg_327_lg.jpg">
+<img src="images/ill_pg_327_sml.jpg" width="243" height="403" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ornament terminating pedestal on attic.</p></div>
+</div>
+
+<p class="nind">villa where a whole family can dwell, and no selfish thoughts or gloomy
+contemplations find place.<span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<p>In referring to the plan of the villa at page 304, of which the plate
+page 302 shows the elevation, <i>e</i> is the</p>
+
+<div class="figcenter" style="width: 105px;">
+<a href="images/ill_pg_328-a_lg.jpg">
+<img src="images/ill_pg_328-a_sml.jpg" width="105" height="257" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<div class="figcenter" style="width: 223px;">
+<a href="images/ill_pg_328-b_lg.jpg">
+<img src="images/ill_pg_328-b_sml.jpg" width="223" height="93" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p class="nind">small hall 8 feet square, <i>g</i> the gun room or waiting room is on the
+right, the serving room with a lift from the basement on the left. The
+saloon is a highly<span class="pagenum"><a name="page_329" id="page_329">{329}</a></span> decorated apartment, 20 feet in diameter. This is
+seen in the section through the centre of the building given at page
+310; <i>h</i> is the sleeping room, 13 feet square, with an ornamental
+ceiling. The saloon serves as a dining-room and place for meals. The
+drawing-room, <i>d</i>, or music room, 22 feet by 14 feet, is on</p>
+
+<div class="figcenter" style="width: 200px;">
+<a href="images/ill_pg_329_lg.jpg">
+<img src="images/ill_pg_329_sml.jpg" width="200" height="252" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Termination of attic pedestal.</p></div>
+</div>
+
+<p class="nind">the left, <i>b</i> is the principal staircase leading to the upper rooms;
+this serves also for servants. The small iron staircase <i>j</i>, is for
+passage to the cold bath below, <i>i</i> is a room for a warm bath. The cold
+bath, as shown in the section, is ventilated through a<span class="pagenum"><a name="page_330" id="page_330">{330}</a></span> domed ceiling,
+but the scale is too small to show this perfectly.</p>
+
+<p>A portion of the saloon is shown at page 311, with a few of its details
+in the six cuts following it.</p>
+
+<div class="figcenter" style="width: 176px;">
+<a href="images/ill_pg_330_lg.jpg">
+<img src="images/ill_pg_330_sml.jpg" width="176" height="328" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Chimney-pot elevation and section.</p></div>
+</div>
+
+<p>The bedroom ceiling (page 316) supposes the covering of a tent, upheld
+by spears and ropes. The colour of the drapery is of a light fawn, the
+ground a deep ultramarine blue. In the centre of the ceiling<span class="pagenum"><a name="page_331" id="page_331">{331}</a></span> is a small
+Cupid on a red or gilt ground, a light blue circle surrounding it. The
+spears, roses, ropes, and tassels are gilt and coloured.</p>
+
+<div class="figcenter" style="width: 454px;">
+<a href="images/ill_pg_331_lg.jpg">
+<img src="images/ill_pg_331_sml.jpg" width="454" height="214" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Iron balconet to window.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<p>The drawing-room ceiling is decorated plaster work in white and gold.
+Its plan is shown at page 317, and three of its details on page 318.
+Among other decorations of these rooms may be considered the
+chimney-pieces. The cuts (page 319) give an elevation of the
+drawing-room chimney-piece, the plan of its shelf above, and a portion
+of its details to a larger scale beneath. This chimney-piece in the
+finest statuary marble would cost 80<i>l.</i> to execute. Several have been
+done for the author at that price. They look very well in execution. Two
+fire-places of less pretensions are shown in the illustrations at pp.
+320 and 321; the first was in rouge royal, costing 25<i>l.</i>; the last are
+of marble with slate panels covered with imitation of Brocatelli
+marbles, these costing 19<i>l.</i> 10<i>s.</i> each. The illustration of the whole
+of the details of internal decoration of such a structure would fill a
+much larger volume than the present; but it is the sole object of the
+author to give such illustrations of the several designs, that a portion
+of each part of the building only shall be shown; <i>k</i>, in the ground
+plan (page 304), is an open portico with steps to the garden or park in
+front of it.</p>
+
+<p>The next plan (page 322) is that of the mezzanine. This shows two of the
+female servants’ sleeping rooms, <i>a</i>, <i>a</i>, with a closet; the decorated
+ceilings of the saloon, drawing-room, and bed-room, are also shown; the<span class="pagenum"><a name="page_333" id="page_333">{333}</a></span>
+bath-room should have some slight decoration, but this has been omitted.
+The female servants’ sleeping rooms are each 17 feet in length by 8 in
+width.</p>
+
+<p>The plan of the upper story (page 323) gives a smoking room <i>a</i>, with an
+open terrace <i>c c</i>, front and back, a closet <i>d</i>, and a cistern room
+<i>b</i>.</p>
+
+<div class="figcenter" style="width: 130px;">
+<a href="images/ill_pg_333_lg.jpg">
+<img src="images/ill_pg_333_sml.jpg" width="130" height="185" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of window sill and iron balconet.</p></div>
+</div>
+
+<p>The basement plan (page 324) shows the cold bath in the centre, with its
+staircase; the kitchen <i>b</i>, the scullery <i>g</i>, <i>h</i> <i>h</i> the larders, <i>c</i>
+is the lift, and <i>d</i> <i>d</i> are men’s sleeping rooms; the servants’ hall
+<i>t</i>, and housekeeper’s room <i>j</i>, are on the left, <i>q</i> is the wine
+cellar, and <i>s</i> the beer cellar.</p>
+
+<p>The elevation of the back front is at page 325; it has a circular
+portico and steps down to the garden. An attempt has been made to
+introduce an original<span class="pagenum"><a name="page_334" id="page_334">{334}</a></span> termination for the pedestals on the attics,
+instead of using the almost universal Soanic bulbous ornament so
+repeatedly seen in nearly every public building in</p>
+
+<div class="figcenter" style="width: 359px;">
+<a href="images/ill_pg_334_lg.jpg">
+<img src="images/ill_pg_334_sml.jpg" width="359" height="219" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>London and the country, and of which the author’s late master, Sir John
+Soane, was so fond. These attempts are given in the figures pp. 326-328;
+and an attempt is made to give an ornamental chimney<span class="pagenum"><a name="page_335" id="page_335">{335}</a></span>-pot on page 330.
+It will be seen in the figure that the ornamental cement pot or vase
+contains an iron, or it might be a zinc, lining; this would be kept
+warm, and a security for the smoke passing out.</p>
+
+<p>The exterior of the building is ornamented with statues and vases, and
+the windows have iron balconets.</p>
+
+<p>The last remaining illustration to be given is the arcade on each side
+of the villa, dividing the front and back gardens. The chief portion of
+this in stone, with statues between the columns and vases over them; at
+the back of the columns is another front of ornamental trellis work in
+wood, with scroll stands for flowers&mdash;this is supported or upheld by the
+stone screen; an elevation of each, with a section, is given at page
+334.</p>
+
+<p class="spc2">&nbsp; </p>
+
+<p>The vignette gives French and English patterns for cover to external
+sunblinds.</p>
+
+<div class="figcenter" style="width: 145px;">
+<a href="images/ill_pg_335_lg.jpg">
+<img src="images/ill_pg_335_sml.jpg" width="145" height="150" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<h2><a name="DESIGN_No_27" id="DESIGN_No_27"></a><i>DESIGN No. 27.</i><br /><br />
+A DECORATED WINDOW.</h2>
+
+<div class="figcenter" style="width: 423px;">
+<a href="images/ill_pg_336_lg.jpg">
+<img src="images/ill_pg_336_sml.jpg" width="423" height="284" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was sketched with the intention of making Italian forms
+rival the tracery of the Decorated Gothic window, and to obtain a rich
+and variegated mass of painted and coloured glass, without any stiff
+mannerism or formality. The window was 11 ft. in height with a width of
+7 ft.; it served as a screen in one of the principal staircases in a
+house at Queen’s Gate, Kensington; immediately behind it is the
+servants’ staircase, having a large window and skylight. The lower
+portion of this window is divided into three lights by two pilasters
+acting as mullions. The circle above the transome is filled with a
+richly painted subject, representing a basket of flowers and scrollwork
+on a ruby ground. The basket is formed of emerald glass, the ground of
+the surrounding portions is richly embossed glass, the chief portions
+white, the small portions ruby, yellow and blue, the latter with white
+ornaments upon it. The three lights between the pilasters are filled
+with embossed glass, and the whole is surrounded by borders of
+scrollwork richly embossed, stained and painted; the ruby ground is
+shown in the drawing by vertical lines, the yellow by oblique lines, and
+the blue by horizontal lines. The expense, including the zinc-work for
+fixing the glass to the upper portion or fan-light, was 22<i>l.</i> 6<i>s.</i>;
+the lower portion cost 8<i>l.</i> 10<i>s.</i> It was the work of Messrs. Baillie
+and Co. of Wardour Street.<span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<h2><a name="DESIGN_No_28" id="DESIGN_No_28"></a><i>DESIGN No. 28.</i><br /><br />
+A SCULPTOR’S VILLA.</h2>
+
+<div class="figcenter" style="width: 591px;">
+<a href="images/ill_pg_338_lg.jpg">
+<img src="images/ill_pg_338_sml.jpg" width="591" height="297" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<p class="nind"><span class="letra">D</span>URING the year 1850 the author, in conjunction with the late Mr. John
+Britton, F.S.A., was engaged in making some topographical sketches in
+one of the western counties of England. He became for a short time the
+guest of one of its principal residents&mdash;a gentleman who had succeeded
+to the possession of more than a million of money, the result of a
+relative’s gains as a merchant in the City. He had filled the small
+house he was then inhabiting with a very fine collection of antique
+bronzes: also with ancient and modern statuary. The house was occupied
+in every corner with these valuable and beautiful works of art. He was
+then having another house of larger dimensions erected to receive them.
+Considerable discussion took place at his table between himself and his
+visitors, among whom were two or three distinguished men of taste, as to
+the best method of introducing sculpture into a dwelling of moderate
+capacity. It was the general opinion that to properly exhibit classic
+sculpture, a villa the size of those of the ancients, such as are
+described by Pliny in the account of his villas at Laurentinum and
+Tusculum, would be required, and that no other would suffice. On his
+return home, the author, as a matter of amusement, without any thought
+that his ideas would ever be carried out, made the present design; it
+was a subject that pleased him, as he had only a few years pre<span class="pagenum"><a name="page_340" id="page_340">{340}</a></span>viously</p>
+
+<div class="figcenter" style="width: 510px;">
+<a href="images/ill_pg_340_lg.jpg">
+<img src="images/ill_pg_340_sml.jpg" width="510" height="292" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of ground floor.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<p class="nind">superintended the construction of a small sculpture gallery for the late
+Sir Francis Chantrey at Pimlico.</p>
+
+<p>The ground plan of this design shows a gallery of sculpture in the
+centre of the building, a small</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_341_lg.jpg">
+<img src="images/ill_pg_341_sml.jpg" width="275" height="307" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of staircase.</p></div>
+</div>
+
+<p>“Museo Chiaramonti.” The principal group at the end, representing the
+capture of the Queen of the Amazons, is so placed that the staircase
+winding round it forms its base; the group can be seen from<span class="pagenum"><a name="page_342" id="page_342">{342}</a></span> the
+staircase, and from the galleries at the side, in every point of view.
+This being a large building, the scale upon which the plans, elevation,
+and sections are drawn is smaller than the scale previously used in this
+volume. The gallery, including that portion which forms the ante-room to
+the conservatory, is 80 ft. in length by 20 ft. in width, which is a
+poor</p>
+
+<div class="figcenter" style="width: 200px;">
+<a href="images/ill_pg_342_lg.jpg">
+<img src="images/ill_pg_342_sml.jpg" width="200" height="235" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of principal staircase.</p></div>
+</div>
+
+<p class="nind">imitation of the gallery at the Vatican&mdash;the Museo Chiaramonti. This is
+280 ft. in length, with a breadth of 20 ft.</p>
+
+<p>But the possession of only a million of money gives a moderate income
+compared with that of the sovereign popes at the time the Vatican was
+erected. The<span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" style="width: 589px;">
+<a href="images/ill_pg_343_lg.jpg">
+<img src="images/ill_pg_343_sml.jpg" width="589" height="199" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through gallery and conservatory.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<p class="nind">sculpture is arranged on each side of the gallery, the bas-reliefs
+inserted in the walls, the bronzes on small pedestals, a reclining group
+is placed in a niche in front of the staircase. A marble group is placed
+in the fountain in the ante-room to the conservatory, and another in the
+conservatory itself. A gallery of this description permits the admission
+of a large quantity of sculpture, allowing it to be seen with advantage.
+The entrance of the building, partly taken from the front of one of the
+Italian palaces,<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> permits a large quantity of sculpture to be placed
+in advantageous positions. The plan, page 340, shows an entrance loggia
+<i>a</i>, the hall <i>b</i>, 17 ft. by 16 ft., with the waiting-room <i>c</i>, to the
+right, the breakfast parlour <i>d</i>, and the butler’s pantry <i>g</i>, to the
+left; <i>f</i> is the library, 28 ft. by 16 ft., entered either from the
+gallery or the waiting-room. It has a large window looking into the
+ante-room to the conservatory, and permits a good view of the group of
+sculpture and the fountain in the centre; <i>e</i> is the gallery, with the
+principal staircase, <i>i</i> is the dining-room opening into the picture
+gallery and drawing-room <i>h</i>, <i>k</i>.</p>
+
+<p>The section, page 343, shows the general arrangement, and an idea can be
+formed of its grand<span class="pagenum"><a name="page_345" id="page_345">{345}</a></span> scenic effect in summer, when the doors were
+opened. The walk round the conservatory and through the whole of the
+gallery would have a length of 170 ft., and round the galleries 150 ft.
+more, giving ample space to place a very large collection of sculpture.
+Underneath the gallery were supposed to be large cellars for wine. These
+had a private entrance through the pedestal of the Amazonian group, as
+shown in the plan and section to a larger scale at page 342; the
+collection below was supposed to be as valuable as the one above, and
+calculated to yield as much enjoyment, and one certainly that would be
+more highly appreciated by a greater number of persons. The villa,
+however, is on a small scale compared with some of the noble residences
+in the county, and the accommodation throughout very scanty. The
+servants’ offices are shown annexed to the plan; <i>l</i> is the kitchen, 24
+ft. by 22 ft., <i>m</i> the scullery, <i>n</i> the housekeeper’s room, <i>o</i> a small
+servants’ hall, <i>p</i> is a serving room, and <i>q</i> the external entrance to
+the cellarage.</p>
+
+<p>By the side of the principal staircase is a descent into the cellars and
+basement, for the servants, <i>b</i>, plan page 342. The conservatory has a
+diameter of 40 ft. and a height of 44 ft.; it is of light construction,
+in decorated ironwork.</p>
+
+<p>The one-pair plan shows the sleeping department, the principal
+bed-rooms, <i>b</i> <i>b</i>, each with a dressing-room,<span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" style="width: 490px;">
+<a href="images/ill_pg_346_lg.jpg">
+<img src="images/ill_pg_346_sml.jpg" width="490" height="227" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of one-pair.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<p><i>d</i> <i>d</i>. These are entered direct from the gallery; in the front of the
+building are five smaller sleeping</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_347_lg.jpg">
+<img src="images/ill_pg_347_sml.jpg" width="400" height="300" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cross section.</p></div>
+</div>
+
+<p class="nind">rooms. At the conservatory end the gallery opens on to the roof of the
+ante-room beneath, and from this<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span> there is an entrance to a circular
+gallery inside the conservatory. On the servants’ side are seen two
+large sleeping rooms, and a housemaid’s closet; as this portion of the
+building is kept lower than the other, it could have two or three rooms
+constructed over the kitchen, or it could be carried up another story.
+The plan of the principal bedchambers is taken up another floor; the
+small staircase for this purpose is seen at the end of the gallery.</p>
+
+<p>The cross section (page 347) shows the height of the building, and its
+general construction. The whole of the principal living rooms in the
+three floors are of the same height, 16 ft. 6 in. each; 37 steps were
+required in the principal staircase to ascend to the first floor on one
+side, and 31 on the other; the roof of the saloon was to be constructed
+similar to the roof of the Riding-house shown in plate, page 389. Large
+roofs can be constructed on this principle at a very cheap rate, and it
+is a very strong and efficient one; the roof of the Pantheon in
+Oxford-street, constructed by Mr. Sydney Smirke, is of a similar kind;
+the roofs of the annexes to the Exhibition building of 1862 by Captain
+Fowkes were on the same principle, but as these were only intended to
+stand for a year, were very slight. The cross section shows the
+ventilating flue, proposed and illustrated in a following chapter; the
+small stack in the low building shows the incline necessary to meet<span class="pagenum"><a name="page_349" id="page_349">{349}</a></span> the
+back eddy of wind from the high building. It would have been better,
+could it have been effected, to have placed the stack in a position
+parallel to the high building, and not at right angles to it. The stack
+on the latter shows two ventilating flues, each with an upward shaft;
+the whole of the smoke from the fireplaces would be delivered from these
+two shafts.</p>
+
+<p>It only remains to illustrate the system of warming proposed to have
+been introduced. This was by a combination of two entirely different
+systems of warm water circulation through iron pipes.</p>
+
+<p>The various apparatus of warming buildings by the circulation of hot
+water, may be roughly stated to be of two kinds, each acting on the
+opposite principle to the other. The first, or more modern one, is the
+<i>closed system</i>. This has always been preferred by the author, it being
+more conveniently introduced into a building, less expensive, and giving
+less trouble than any other, and more certain in its action. In it the
+water circulates with great rapidity, completely under pressure, the
+pipes being closed, and the whole of the air expelled from them. The
+older system is that in which the tubes are not closed, but are
+connected with a cistern, into which the water is allowed to flow and
+re-flow; the two may very properly be called the high and low
+temperature systems, and by these terms they<span class="pagenum"><a name="page_350" id="page_350">{350}</a></span> are here designated. With
+the first, the tubes can be made to reach a higher degree of heat if
+necessary, by placing a larger proportion of them than is usual in the
+furnace; but with the second, a temperature of 180 degrees can alone be
+reached. With the latter, its greater or less efficiency depends upon
+the position of its open cistern, which regulates the amount of pressure
+in the tubes, according as its situation is high or low. It was
+introduced into this country about 1818; the open cistern was placed in
+the upper part of the house, the boiler being below in the kitchen, thus
+allowing a considerable pressure in the tubes, and securing a quick
+circulation of the water. The high temperature system was introduced by
+A. M. Perkins, Esq., about the year 1832; in its simplest form it
+consisted of a continuous or endless tube of wrought iron of one inch
+external diameter, filled with water, and closed in all parts; a portion
+of the tubing was formed into a coil and placed in a furnace of wrought
+iron, the fire being enclosed in fire-brick. When it was first
+introduced a larger amount of tubing was placed in the furnace than is
+now usually done; with the proper amount, one-tenth or one-eleventh only
+of the full quantity is necessary, and then it must be obvious that no
+overheating of the tubes can take place. In practice it is more usual to
+find objections made to the apparatus not giving sufficient heat, than<span class="pagenum"><a name="page_351" id="page_351">{351}</a></span>
+to its giving too much. The quantity of feet in pipes necessary to raise
+rooms of a certain size to a given temperature, must be proportioned to
+their cubical contents, and this depends equally on the situation and
+aspect of the building, the number of doors, and windows or skylights;
+no rule can consequently be given which would be applicable to all
+places with any degree of certainty.</p>
+
+<p>The pipes being only five-eighths of an inch internal diameter, a very
+small quantity of water is required to fill the apparatus. A tube called
+the expansion tube is placed above the highest level of the circulating
+pipes, and is generally of larger diameter. The object of this tube is
+to allow for the expansion of the water as it becomes heated; a tube is
+also placed at the highest level, in order to fill the apparatus, so as
+to leave the expansion tube empty.</p>
+
+<p>The tubes are provided with screw plugs, so as to be conveniently opened
+when it is required to fill the pipes with water, and closed again after
+being filled. This can be done with facility by a servant. The
+circulation of the water is produced by the application of heat to the
+coil in the furnace; and as the small size of the pipes admits of
+presenting the largest possible amount of surface to the action of the
+fire, it is clear that a greater economy of fuel is effected by it than
+by the ordinary system of boilers. As the water<span class="pagenum"><a name="page_352" id="page_352">{352}</a></span> becomes heated it rises
+immediately to the highest level of the circulating pipes, and thus
+forms a column of heated water, specifically lighter than the colder
+water, which descends to the lower part of the coil. Thus a circulation
+is effected throughout the whole course of the pipes,<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> which
+eventually become heated, and the whole may be regulated exactly to that
+degree of temperature which is most conducive to a beneficial effect.</p>
+
+<p>To regulate the degree of heat to be given to the tubes, without
+requiring the necessity of an attendant, advantage has been taken of the
+expansive property of the iron pipe when heated. There are three
+multiplying levers fixed in a box, and so placed that the short arm of
+one of the levers rests upon a regulating screw attached to the flow
+pipe. On the other end of the series of levers a rod so rests that upon
+the slightest movement of the levers, the damper in the flue, which is
+attached to the rod, is opened or closed, as the case may be. The box of
+levers is suspended from the hot pipe, so as to leave about two feet in
+length between the point of suspension and the point of contact with the
+short arm of the lever.<span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<p>The operation of this arrangement is obvious, for the instant the pipe
+becomes heated, it expands and presses the short arm of the lever; and
+as the fulcrum within the box cannot move, by reason of the rod which
+suspends it being cold, it follows that the lever must be depressed, by
+which action a sufficient motion is given to the damper, to close it at
+any given temperature at which it may be originally fixed.</p>
+
+<p>The great advantage in the use of this apparatus is the saving of time
+in obtaining the requisite degree of heat. It often happens that the
+time occupied in heating the water of an ordinary hot-water apparatus
+completely defeats the object of getting warmth in any reasonable time,
+particularly in greenhouses, where it is frequently desirable to get up
+the heat quickly, to prevent the effect of frost. It has been said that
+this property of generating the heat rapidly has the disadvantage of not
+being able to retain it: this, however, is not the case, for, on the
+contrary, an equal temperature may be maintained for any length of time
+that may be desired. It is only necessary to make the fireplace
+sufficiently large to contain fuel enough to last the time the heat is
+required to be continued, and the damper will regulate the combustion of
+the fuel and the heat of the pipes, so that there will be no variation
+for twelve hours together.<span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<p>There being no boiler to the apparatus, it is free from the ordinary
+danger of explosion; if a pipe by possibility should burst, no harm
+ensues, for the water escapes from so small an aperture that it becomes
+absolutely cool by its expansion and mixture with atmospheric air.</p>
+
+<p>So little fear of fire exists with the apparatus, that the directors of
+the principal fire offices readily accept, at the lowest rate of
+premium, all proposals for the insurance of buildings in which the
+system is adopted, not requiring even the customary inspection.</p>
+
+<p>The author made drawings of one of these apparatus put up in an
+ornamental greenhouse in Kew Gardens in 1844; and fourteen years after,
+the director of the garden, Sir W. J. Hooker, publicly allowed it to be
+stated in print that no hot-water apparatus in any of their houses had
+given so much satisfaction; that the heat was given out after lighting
+the fires more rapidly than in any other of their houses, and steadily
+maintained at any degree of temperature required. The two systems of the
+high and low temperature can readily be combined, and the temperature of
+both large and small tubes nearly equalized. This may be done by using
+one furnace. A diagram given by Dr. Arnott in a lecture delivered by him
+at the Royal Institution in March, 1836, with his explanation, will show
+the principle upon which the combination is<span class="pagenum"><a name="page_355" id="page_355">{355}</a></span> effected. Suppose A, fig.
+1, is a cistern full of cold water, and B a cistern full of hot water:
+if the two cocks <i>c</i> <i>c</i> are unturned, it is a fact that the water at
+<i>d</i> will be one degree of warmth only above the water at</p>
+
+<div class="figcenter" style="width: 266px;">
+<a href="images/ill_pg_355_lg.jpg">
+<img src="images/ill_pg_355_sml.jpg" width="266" height="89" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 1.</p></div>
+</div>
+
+<p>A, and the water at e will be of one degree less temperature than the
+water in B. If, therefore, on this principle, some of the pipes of the
+high-temperature system are passed through the large tubing of the low
+temperature one, the desired effect is obtained: the large pipes or
+tablets of one apparatus remain at their full heat, while an additional
+quantity of inch pipe of sufficiently warm temperature is obtained, that
+can be carried into rooms and placed in situations into which the
+warming surfaces of the low-temperature system could not be made to
+approach.</p>
+
+<p>As regards the low temperature apparatus, if the large pipes belonging
+to it are laid in sufficient quantity, they doubtless have the effect of
+producing a moderate degree of heat.</p>
+
+<p>The best way of introducing them into a dwelling-house is to sink them
+in channels in the floor, with<span class="pagenum"><a name="page_356" id="page_356">{356}</a></span> perforated ironwork over them: they are
+more usually introduced into hothouses, factories, and workshops, where
+their appearance is not objectionable. A feeling exists in favour of
+their use in conservatories; in order to show how they can be retained
+for that purpose, the combined systems are introduced in the plan of the
+villa here described.</p>
+
+<p>The ground plan shows the entrance hall, the gallery or sculpture saloon
+in the centre, the principal staircase, the picture room and the
+servants’ staircase, all warmed by the inch pipes; the larger pipes are
+introduced into the conservatory. In the picture room&mdash;that between the
+drawing-room and the dining-room&mdash;and in the hall, the pipes are sunk in
+trenches in the floor. They are close to the walls, and lined with brick
+with an inside covering of zinc. These trenches have over them
+perforated ornamental ironwork; <i>a´</i> <i>a´</i> are pedestals containing coils
+of pipe; <i>b´</i> <i>b´</i> are pipes behind the skirting, likewise perforated.
+Where these pipes pass the doorways they are sunk in the floor. In the
+conservatory <i>d´</i> <i>d´</i> are the large pipes; <i>f</i> is an open cistern,
+through which the circulation of water in the pipes flows; at <i>g</i> are
+placed the expansion and filling tubes.</p>
+
+<p>Fig. 2 is an isometrical view of the pipes, furnace, and cisterns
+complete to a small scale; <i>e</i> is the furnace placed in the basement;
+<i>f</i> is a cistern of cold<span class="pagenum"><a name="page_357" id="page_357">{357}</a></span> water through which the flow and return pipes
+from the furnace pass: the water becoming heated in the cistern flows
+out, and returns in the direction shown by the arrows. The flow pipe,
+leaving this cistern, passes up to the expansion tube <i>g</i>, whence the
+tubes run through the building in the manner shown, returning to the
+furnace. The pipes <i>d</i>, are two other flow and return pipes, furnished
+with a stop-cock, by means of which the circulation can be confined
+either to the house or to the conservatory. The furnace</p>
+
+<div class="figcenter" style="width: 364px;">
+<a href="images/ill_pg_357_lg.jpg">
+<img src="images/ill_pg_357_sml.jpg" width="364" height="113" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 2.</p></div>
+</div>
+
+<p class="nind">should in reality contain two coils of pipe, having two flows and two
+returns, the whole of which should go through the cistern <i>f</i>, but the
+small scale of the plate allows one circulation only to be shown.</p>
+
+<p>Dr. Arnott’s principle of nearly equalizing temperatures was applied by
+him for room ventilation. Its mode of application is explained in the
+following extract from his report on “Warming and Ventilating
+Infirmaries, Workhouses, Factories, and Domestic Apartments,” given in
+the appendix to the Second<span class="pagenum"><a name="page_358" id="page_358">{358}</a></span> Annual Report of the Poor Law
+Commissioners:&mdash;“In rooms where the mechanical mode of ventilation
+already described (by means of fanners) and now common in factories, has
+been adopted, an addition might be made to the apparatus for extracting
+the impure air, which would drive fresh air in, and which, by causing
+the two currents to pass each other in contact for a certain distance in
+very thin metallic tubes, would cause the fresh air entering to absorb
+nearly the whole heat from the impure air going out, and would thus
+render it at once both pure and warm, and would consequently save, after
+the room was once warmed, any further expense of fuel for the day, and
+would avoid, how rapid soever the ventilation, all the danger from
+draught and unequal heating.”</p>
+
+<p>The above idea is extremely ingenious, but as to its practical
+efficiency, some doubt might be expressed. The temperature of a warm
+room, even if it was 65°, would be much too low to produce the action
+described.</p>
+
+<p>A very ingenious application of the small-tube system of warming has
+been introduced into his dwelling by Mr. Babbage. He placed the furnace
+in the basement, and divided the whole length of piping by means of a
+multiple cock into four circulations, any one of which he could turn off
+or on at pleasure; one circulation warmed the bath, which,<span class="pagenum"><a name="page_359" id="page_359">{359}</a></span> when the
+cistern that supplied it was once up to 160 degrees (and this it took an
+hour to obtain), remained sufficiently warm for a bath during 24 hours.
+The whole quantity of pipe in the building was 891 feet, and the
+quantity in the furnace 135. The thermometer in the smoke-flue was
+seldom higher than 212 degrees, when that in the flow-pipe was 240
+degrees. Any two or three, or all four of the circulations could be
+worked together, by simply turning an index provided for the purpose.</p>
+
+<p>The tool-room was always kept at a temperature of from 50° to 54°. In
+winter the hat-room received a portion of piping, so that coats and
+gloves, even in the dampest weather, were always kept dry. One
+circulation was sent through the dining-room a short time before it was
+used; it was after a certain time turned off and sent through the
+bedrooms and dressing-rooms. The various rooms in the winter were kept
+at different temperatures, the dressing-rooms were a few degrees warmer
+than were the bed-rooms: an inducement for early rising. The linen was
+aired, and warm water provided in the dressing-rooms and for the use of
+the servants. The apparatus saved labour in cleaning and lighting of
+fires, and it was economical, the consumption of fuel during the six
+winter months being about a bushel of coke in 24 hours. The supply of
+air, and the consequent<span class="pagenum"><a name="page_360" id="page_360">{360}</a></span> combustion and quantity of fuel, was regulated
+by the fire itself. This was never suffered to go out after it had been
+once lighted, except when necessary to remove the clinkers, and this
+occurred about once a fortnight. In the morning, about seven o’clock,
+the fire was well shaken by means of a lever attached to the bars of the
+grate. Coal or coke was supplied, and the air valve opened. The
+stop-cock was then turned on to supply the coils for the library and
+stairs. At about eight o’clock in the evening the stop-cock was turned
+to heat the coil of the bath, and at eleven o’clock, fuel having been
+supplied, the air valve was completely closed, and the damper also if
+necessary. By these means the fire burned very slowly during the whole
+of the night, and the bath cistern received the warmth thus generated.</p>
+
+<p>These conveniences and luxuries might be more generally applied than
+they are at present in the dwellings of this country.</p>
+
+<div class="figcenter" style="width: 313px;">
+<a href="images/ill_pg_360_lg.jpg">
+<img src="images/ill_pg_360_sml.jpg" width="313" height="72" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<h2><a name="DESIGN_No_29" id="DESIGN_No_29"></a><i>DESIGN No. 29.</i><br /><br />
+GARDEN SEAT.</h2>
+
+<p>This small ornamental structure was designed for a garden in Wiltshire,
+on an estate near Chippenham. The garden, which is very extensive,
+rises<span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_361-a_lg.jpg">
+<img src="images/ill_pg_361-a_sml.jpg" width="282" height="218" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_361-b_lg.jpg">
+<img src="images/ill_pg_361-b_sml.jpg" width="239" height="89" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p class="nind">in steep terraces up the combe or hill by the side of the mansion, which
+lies down in the valley. The structure was to be on the highest part of
+the garden,</p>
+
+<div class="figcenter" style="width: 367px;">
+<a href="images/ill_pg_362_lg.jpg">
+<img src="images/ill_pg_362_sml.jpg" width="367" height="272" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p class="nind">commanding an extensive view of the valley, the village, and adjacent
+country. As the house is in the neighbourhood of several fine old
+Elizabethan mansions, the design partook of that character. The view
+represents<span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" style="width: 319px;">
+<a href="images/ill_pg_363-a_lg.jpg">
+<img src="images/ill_pg_363-a_sml.jpg" width="319" height="268" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Section.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Side elevation.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 269px;">
+<a href="images/ill_pg_363-b_lg.jpg">
+<img src="images/ill_pg_363-b_sml.jpg" width="269" height="173" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrade.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<p class="nind">the structure in its complete state, with the terrace overlooking the
+valley. The turret on the tower of the village church is seen in the
+distance. The latter</p>
+
+<div class="figcenter" style="width: 228px;">
+<a href="images/ill_pg_364_lg.jpg">
+<img src="images/ill_pg_364_sml.jpg" width="228" height="435" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of exterior front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p>
+
+<div class="figcenter" style="width: 333px;">
+<a href="images/ill_pg_365-a_lg.jpg">
+<img src="images/ill_pg_365-a_sml.jpg" width="333" height="244" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of the entrance front.</p></div>
+</div>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_365-b_lg.jpg">
+<img src="images/ill_pg_365-b_sml.jpg" width="282" height="222" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrade (2nd example).</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p>
+
+<p class="nind">is an agreeable object in the view, being an extremely fine specimen of
+Decorated English Gothic, and in good preservation.</p>
+
+<p>The plan is beneath the view, and the elevation of the building is
+likewise given. The whole of it was to have been constructed in stone;
+the vases were intended to receive flower-pots, so that a constant
+change of flowers could be placed in them by the pots being changed as
+often as was desired. A section through the centre and a side elevation
+are given; the balustrade is from an ancient example, it is five inches
+in thickness. The mouldings of the exterior are of plain Roman
+character, without any admixture of Gothic forms. The best examples of
+our Elizabethan architecture are pure Italian, but possessing a bolder
+and more picturesque outline, suited to our northern climate, than that
+shown by the elegant Italian model.</p>
+
+<p>The second balustrade, p. 365, was an after-suggestion, it being
+considered more appropriate to the design than the first one. Another
+elevation was made for the same structure; this is shown as Design No.
+30; it was to occupy the same site, and to have been constructed wholly
+in stone.</p>
+
+<p class="spc2">&nbsp; </p>
+
+<p>Opposite is a drawing of an ancient chimney-piece at Enfield, bearing
+the inscription&mdash;</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">Sola salus servire Deo,<br /></span>
+<span class="i0">Sunt cætera fravdes.<br /></span>
+<span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></div></div>
+</div>
+
+<div class="figcenter" style="width: 351px;">
+<a href="images/ill_pg_367_lg.jpg">
+<img src="images/ill_pg_367_sml.jpg" width="351" height="511" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ancient chimney-piece in the Palace School, Enfield.</p>
+
+<p>(Formerly in the occupation of Queen Elizabeth.)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
+
+<h2><a name="DESIGN_No_30" id="DESIGN_No_30"></a><i>DESIGN No. 30.</i><br /><br />
+A GARDEN SEAT.</h2>
+
+<div class="figcenter" style="width: 397px;">
+<a href="images/ill_pg_368_lg.jpg">
+<img src="images/ill_pg_368_sml.jpg" width="397" height="336" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HE turret of the village church is seen through the centre opening;
+this was proposed to be filled with plain and coloured glass; the detail
+of the ornament above the cornice is copied from that on</p>
+
+<div class="figcenter" style="width: 359px;">
+<a href="images/ill_pg_369_lg.jpg">
+<img src="images/ill_pg_369_sml.jpg" width="359" height="159" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan (2nd design).</p></div>
+</div>
+
+<p class="nind">the gables of Charlton House, Wiltshire, from which the author had just
+returned, having visited it for the purpose of making drawings and fully
+illustrating it in one of his publications.<span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p>
+
+<h2><a name="DESIGN_No_31" id="DESIGN_No_31"></a><i>DESIGN No. 31.</i><br /><br />
+AN ICE-HOUSE.</h2>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_370-a_lg.jpg">
+<img src="images/ill_pg_370-a_sml.jpg" width="168" height="201" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 389px;">
+<a href="images/ill_pg_370-b_lg.jpg">
+<img src="images/ill_pg_370-b_sml.jpg" width="389" height="219" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design represents an old-fashioned ice-house, such as were
+constructed in the country several years ago, and still are so, where
+large quantities of ice are required to be stored. This small structure,
+embosomed amidst trees, impervious to the sun, was formed with the stone
+of the district, and arched and domed over with bricks. The well <i>a</i>,
+sunk in the earth, is 10 feet in diameter, <i>b</i> is a cesspool to receive
+the water that drops from the ice, and <i>c</i> is the drain</p>
+
+<div class="figcenter" style="width: 357px;">
+<a href="images/ill_pg_371_lg.jpg">
+<img src="images/ill_pg_371_sml.jpg" width="357" height="155" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p class="nind">to convey it to the well <i>d</i>; the ice is thrown in from the top, the
+earth <i>e</i>, and the two stone slabs and the straw between them, being
+removed.</p>
+
+<p>As an additional precaution against warmth, the structure was buried in
+a mound of earth. This, as it quite destroyed any picturesque effect it
+would otherwise have had amidst the trees, is not shown in the view.<span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p>
+
+<p>These ice-wells have not often so long a passage of approach; one only
+from 6 to 10 feet in length is sufficient, but double doors and a free
+current of air across the entrance passage are desirable. It has not
+often a domed roof to cover that of the well, a common wooden roof
+covered with thatch placed a few feet above the roof of the well being
+sufficient; neither is it often considered necessary to have a well to
+receive the water dropping from the ice. The ice-well walls may be
+splayed down to the ground, with proper footings, and an uncovered piece
+of ground left at the bottom. Over this is placed an open wood frame,
+which supports the ice, and permits all water to drain off. When the
+walls are splayed down in this form, buttresses must be added to support
+them, and the weight of the ice. Every country house in America is
+provided with an excellent ice-house of the simplest and most practical
+kind. It consists of a deep excavation in the earth, roofed over with a
+pointed thatch. These ice-houses are always well filled in the winter,
+and rarely if ever quite emptied during the summer. An accurate section
+of such an ice-well, with full directions for its construction, has been
+lately published.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a></p>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<h2><a name="DESIGN_No_32" id="DESIGN_No_32"></a><i>DESIGN No. 32.</i><br /><br />
+A SUBURBAN VILLA.</h2>
+
+<p>One of the chief peculiarities in small suburban villas that have been
+erected near London within the last thirty years, is that of making the</p>
+
+<div class="figcenter" style="width: 329px;">
+<a href="images/ill_pg_373_lg.jpg">
+<img src="images/ill_pg_373_sml.jpg" width="329" height="306" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of principal front.</p></div>
+</div>
+
+<p class="nind">chief room on the basement the ordinary apartment for the family. The
+confined areas formerly adopted in front and back of the building are
+omitted, and<span class="pagenum"><a name="page_374" id="page_374">{374}</a></span> the earth is sloped up in form of a bank, being adorned
+with flowers and shrubs so as to look pleasing from within the
+apartments. There is usually a side room in the basement, with
+descending steps to the entrance, which serves as an office to the
+occupier of the house. If his business be chiefly in the locality,</p>
+
+<div class="figcenter" style="width: 231px;">
+<a href="images/ill_pg_374_lg.jpg">
+<img src="images/ill_pg_374_sml.jpg" width="231" height="258" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">this is very convenient; the chief room in the basement is used as a
+dining and supper room, and indeed for all common purposes by the
+family. It renders it unnecessary to have more than one, or at most, two
+servants’ rooms. The drawing-room, the library, and the superior
+dining-room are on the floor above.<span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
+
+<p>This suburban dwelling very much resembles the same class of structure
+in America, where economy of space is carried out more completely than
+with us, and the residents are less dependent on servants. In the
+American house, the pantry is nearly always placed between the kitchen
+and the dining-room, and its chief approach is from the latter, even
+when the dining-room is on the ground floor. The American</p>
+
+<div class="figcenter" style="width: 191px;">
+<a href="images/ill_pg_375_lg.jpg">
+<img src="images/ill_pg_375_sml.jpg" width="191" height="197" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan.</p></div>
+</div>
+
+<p class="nind">house has the office, or place of business of the occupier, on the lower
+floor, with its separate entrance. The Americans exhibit a compactness
+of arrangement and an attention to detail that prove they are in no way
+behind us in a knowledge of what is requisite for household comfort. One
+peculiarity in the American building is the verandah, which is
+considered to be in<span class="pagenum"><a name="page_376" id="page_376">{376}</a></span>dispensable. It is large and roomy, and often placed
+on three sides of the building; the climate, warmer and drier than our
+own, renders such an addition a</p>
+
+<div class="figcenter" style="width: 321px;">
+<a href="images/ill_pg_376_lg.jpg">
+<img src="images/ill_pg_376_sml.jpg" width="321" height="374" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through front and back.</p></div>
+</div>
+
+<p class="nind">great luxury. Our atmosphere in the winter months has often been
+pronounced of leaden gravity, and it does not permit of any erection
+that stops the circula<span class="pagenum"><a name="page_377" id="page_377">{377}</a></span>tion of the air, which would render it stagnant.
+Another peculiarity in the houses of our American cousins, is that they
+are often cased in wood. If the house be only two or three storeys in
+height, an 8-in. brick wall is considered sufficient: this is “furred
+off outside, and covered with clap boards,” in the ordinary</p>
+
+<div class="figcenter" style="width: 227px;">
+<a href="images/ill_pg_377_lg.jpg">
+<img src="images/ill_pg_377_sml.jpg" width="227" height="259" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p class="nind">way followed in a wooden building. Its advantage is, that it is sure to
+secure a perfectly dry wall. This mode of construction in England would
+necessitate the painting of the whole of the exterior once at least in
+every three or four years. One more suitable with us for a wall in a
+damp situation would be the plan<span class="pagenum"><a name="page_378" id="page_378">{378}</a></span> the author pursued in the house on
+Salisbury Plain, putting quartering against the wall, and covering it
+with diamond slating. The surface could be varied with coloured
+encaustic tiles so as to present a pleasant</p>
+
+<div class="figcenter" style="width: 120px;">
+<a href="images/ill_pg_378_lg.jpg">
+<img src="images/ill_pg_378_sml.jpg" width="120" height="350" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front windows.</p></div>
+</div>
+
+<p class="nind">appearance, proper ventilation being given behind the slating.</p>
+
+<p>The small suburban villa represented in the plate<span class="pagenum"><a name="page_379" id="page_379">{379}</a></span> is supposed to stand
+on a plot of ground with a frontage of 50 ft.; the construction is in
+brick and stucco, the small columns of the portico are of Bath stone.
+The plan shows a small hall <i>a</i>, the library <i>c</i>, 15 ft. by 14 ft., and
+on the right with a strong closet. The dining-room <i>e</i>, is 18 ft. by 15
+ft., and on the left; the drawing-room <i>d</i>, is 23 ft. by 18 ft. There is
+a large commodious staircase <i>b</i>, and leading from it a small
+dressing-room <i>i</i>, and closet. This dressing-room might easily be made
+to contain a bath; the water for the bath in any one of the floors
+should always be heated by means of a close boiler attached to an
+ordinary kitchen-range. It is the most simple, economical, and efficient
+arrangement for that purpose, as no more fire than that used for cooking
+is required. The cold water is supplied from a cistern at the top of the
+house, and a continual circulation of the water between that and the
+boiler goes on, the hot water ascending, the cold descending. Pipes may
+be branched off from the ascending pipe, which leaves the top of the
+boiler, and taken to any part of the house, ensuring a supply of hot
+water to dressing-rooms, nurseries, &amp;c. Instead of a boiler, a coil of
+iron or copper pipe is often used, rendering the circulation quicker and
+more effective. The one-pair plan of the suburban villa contains three
+large bedrooms, two dressing-rooms, and one invalid’s room<span class="pagenum"><a name="page_380" id="page_380">{380}</a></span> entered from
+the staircase; to this room the closet could be attached. The staircase
+leads up to two large attics for the servants.</p>
+
+<p>The section, p. 376, shows a portion of the front and back of the
+building, with the construction of the roof, the back wall not being
+carried so high as the front. This is done to give the building an
+imposing appearance from the road, a mode of construction very often
+carried out in suburban houses. The basement plan affords good
+accommodation; <i>f</i> is the kitchen, 18 ft. by 15 ft., <i>g</i> the scullery,
+<i>h</i> the larder, <i>k</i> the living room, <i>l</i> the business office, with its
+separate entrance. The closet for the servants is external; the
+footman’s pantry and the wine cellar lead out of the staircase <i>b</i>; the
+coal cellar is under the portico. The house thus contains seventeen
+rooms; the cost of its erection would be 3260<i>l.</i> completely finished. A
+detail of the windows is given on a large scale at page 378.<span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p>
+
+<p>The following is an elevation of the vane, the constructive detail of
+which is given in a former vignette. The character is Elizabethan, and
+designed from an example at Oxnead Hall, Norfolk.</p>
+
+<div class="figcenter" style="width: 212px;">
+<a href="images/ill_pg_381_lg.jpg">
+<img src="images/ill_pg_381_sml.jpg" width="212" height="391" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<h2><a name="DESIGN_No_33" id="DESIGN_No_33"></a><i>DESIGN No. 33.</i><br /><br />
+A SUBURBAN VILLA.</h2>
+
+<div class="figcenter" style="width: 385px;">
+<a href="images/ill_pg_382_lg.jpg">
+<img src="images/ill_pg_382_sml.jpg" width="385" height="444" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of principal front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design is also one for a suburban villa, or a small country house,
+on a rather larger scale than the preceding. This villa, dressed with a
+plain Italian elevation, and of smaller dimensions as to plan, has been
+erected on several sites near London. The front of the present design
+was partly taken from a plate in “Nash’s Mansions,” at the request of a</p>
+
+<div class="figcenter" style="width: 305px;">
+<a href="images/ill_pg_383_lg.jpg">
+<img src="images/ill_pg_383_sml.jpg" width="305" height="246" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">gentleman who very much admired it, and who was anxious to have a
+semi-detached villa of the same character. The villa was therefore
+designed so that another could be placed by the side of it. The two
+gables form the centre, the chimney stack is between them on the roof;
+the front was to have a sunk area,<span class="pagenum"><a name="page_384" id="page_384">{384}</a></span> topped by a Gothic balustrade, and
+as there were no principal rooms on the basement floor in the front of
+the house, this was easily given; the rooms at the back looked into the
+garden, and these had the ground in front of them sloped up.</p>
+
+<p>The ground plan shows an entrance hall <i>a</i>, 14 ft. by 10 ft., with a
+commodious staircase <i>b</i>, 18 ft. by 12 ft., to the left. There was a
+closet to the right;</p>
+
+<div class="figcenter" style="width: 289px;">
+<a href="images/ill_pg_384_lg.jpg">
+<img src="images/ill_pg_384_sml.jpg" width="289" height="190" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The one-pair plan.</p></div>
+</div>
+
+<p class="nind">a lift from the basement could easily be obtained here. The study <i>c</i>,
+was about 16 ft. square, and was entered from the hall; the dining-room
+<i>e</i>, had a bay window, and was in the centre of the building; it
+measured 20 ft. square. The drawing-room <i>d</i>, was very large, being 31
+ft. in length by 16 ft. in breadth, with a large window at each end;
+this was often considered<span class="pagenum"><a name="page_385" id="page_385">{385}</a></span> objectionable, as the occupants of the room
+can always be seen from the opposite houses, but as this was intended
+for a semi-detached villa, windows could not be obtained at the side.</p>
+
+<p>The one-pair plan contains one large and three small bedrooms, with a
+closet. Over the porch was placed a conservatory, and by its side the
+tower staircase led up to the attic. This contained four good-sized</p>
+
+<div class="figcenter" style="width: 295px;">
+<a href="images/ill_pg_385_lg.jpg">
+<img src="images/ill_pg_385_sml.jpg" width="295" height="189" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Attic plan.</p></div>
+</div>
+
+<p class="nind">bedrooms, each with a fireplace; there was a housemaid’s closet, and a
+place for the slate cistern to supply the lower part of the house with
+water; a small cistern on a higher level was placed on the roof of the
+tower. Another room could easily have been obtained on this floor, by
+continuing the passage at the housemaid’s closet through the centre
+room, and<span class="pagenum"><a name="page_386" id="page_386">{386}</a></span> this was proposed, but it was objected to, as it could not be
+rendered light and airy. A second staircase,</p>
+
+<div class="figcenter" style="width: 207px;">
+<a href="images/ill_pg_386_lg.jpg">
+<img src="images/ill_pg_386_sml.jpg" width="207" height="458" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through portion of building.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p>
+
+<p class="nind">from the attic to the basement, could have been formed in the tower, the
+two closets being placed in a similar position to the one on the first
+floor. The staircase in the tower led on to the roof. The section shows
+the height of the various rooms, there being no variation throughout the
+floors. It was intended to carry out</p>
+
+<div class="figcenter" style="width: 292px;">
+<a href="images/ill_pg_387_lg.jpg">
+<img src="images/ill_pg_387_sml.jpg" width="292" height="251" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The basement plan.</p></div>
+</div>
+
+<p class="nind">the style of the exterior in the interior&mdash;a medley between the Gothic
+and Elizabethan; the proprietor having a very large collection of
+old-fashioned carvings of various styles and dates, picked up at sales,
+or purchased in Wardour Street (at that time more celebrated for such
+antiquities than at present). The<span class="pagenum"><a name="page_388" id="page_388">{388}</a></span> walls were to be covered with gilt
+leather and rich tapestries, and with this the architect did not intend
+to meddle, leaving it all to the taste and skill of the owner, although
+he has finished several interiors with such materials.</p>
+
+<p>The basement plan shows the kitchen <i>f</i>, the scullery <i>g</i>, and larder
+<i>h</i>; <i>q</i> is the wine cellar, and <i>j</i> the butler’s pantry. Then there
+were two large rooms looking towards the garden, and these were
+unappropriated. The butler’s small pantry had a window looking into the
+side area; the servants’ door was on the staircase; the coal cellar was
+placed under the steps leading to the porch.</p>
+
+<p>The building was to be constructed in brick and cement, with the porch
+and external balustrade in stone. The expense would have amounted to
+4600<i>l.</i>, or the double villa to 9000<i>l.</i><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<h2><a name="DESIGN_No_34" id="DESIGN_No_34"></a><i>DESIGN No. 34.</i><br /><br />
+RIDING-HOUSE AND STABLING.</h2>
+
+<p>This collection of designs could hardly be complete without a group of
+stable buildings. To make such a group picturesque is extremely
+difficult,</p>
+
+<div class="figcenter" style="width: 333px;">
+<a href="images/ill_pg_389_lg.jpg">
+<img src="images/ill_pg_389_sml.jpg" width="333" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of riding-house.</p></div>
+</div>
+
+<p class="nind">and it is very seldom attempted. Such buildings mostly form a portion of
+the offices which are placed out of view, concealed by plantations or
+shrubbery,<span class="pagenum"><a name="page_390" id="page_390">{390}</a></span> and generally at some distance from the mansion to which
+they appertain.</p>
+
+<p>The present design, carried out in 1846 and 1848, was for some
+additional stabling to a baronial park, and it formed a conspicuous
+object. It stands on the</p>
+
+<div class="figcenter" style="width: 313px;">
+<a href="images/ill_pg_390_lg.jpg">
+<img src="images/ill_pg_390_sml.jpg" width="313" height="278" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of riding-house and stabling.</p></div>
+</div>
+
+<p class="nind">eastern side of a quadrangle, the larger stabling being on the west, the
+offices of the mansion on the north (see above), and on the south there
+was a terrace-walk overlooking the park. The block of buildings as
+represented in the plan, comprised a riding-house <i>a</i>,<span class="pagenum"><a name="page_391" id="page_391">{391}</a></span> 62 ft. in length
+by 32 ft. in width, a four-stall stable <i>e</i>, 30 ft. in length, a loose
+box <i>b</i>, 13 ft. square, and the boiler room <i>d</i>. The dung pit <i>g</i>, into
+which the liquid manure from the stable was sent, was on a very low
+level, and had a cart road at its side. The coach-house between the
+riding-house and stable was 40 ft. in length by 20 ft. in breadth; it
+had a covered area in front 44 ft. in length, with a width of 13 ft.,
+and a well and pump. The prospect tower <i>h</i>, as well as the tower <i>i</i>,
+had iron staircases, which led to the stud-groom’s sleeping room, two
+harness rooms, and the gallery of the riding-house.</p>
+
+<p>The latter was erected first. It is in brick, with a circular-ribbed
+wooden roof, on the plan introduced by Phil. de l’Orme, whose well-known
+book was published in Paris in 1567. He introduced a construction for
+roofing that is both cheap and efficient, and one that while plenty of
+light and ventilation can be obtained, gives the largest space in the
+interior of the room.</p>
+
+<p>The walls of the riding-house were two bricks thick, laid English bond.
+As the foundation rested on the stone no concrete was used, but the
+rock, which was on a steep incline, was levelled in step-like fashion,
+to receive the walls. Buttresses were placed where the circular ribs of
+the roof were situate; two lines of iron-hoop bond, 1 in. by 1/16 in.,
+tarred and sanded<span class="pagenum"><a name="page_392" id="page_392">{392}</a></span> were laid in all the walls, piers, and buttresses;
+there were 13 courses 2 lines in side walls, 16 courses 2 lines in gable
+walls, and 7 courses 2 lines in buttresses. The walls were covered with
+brick copings formed of two courses of moulded bricks cut to lengths and
+mitred, and set and jointed in cement to gable ends: the flaunches of
+the angle buttress were formed with stocks, the upper courses set and
+pointed in cement, and the angles of parapets cut and mitred to the
+same.</p>
+
+<p>Ragstone moulded corbels were placed over the piers inside the building,
+from these the circular ribs sprung and into which they were stubbed.
+The roof was thus described in the specification:&mdash;The roof will be
+formed of circular ribs placed two and two, each 7½ inches apart,
+screwed and bolted together, each single rib to be in three thicknesses,
+the inner one of oak and to consist of twenty-six pieces of 1¼ inch deal
+and ten of 1¼ oak, each separate piece 1 foot in width, and to be as
+long as the scantling of the timber will allow, the ribs to be wrought
+and glued together, and at each joint to have two hard nails or ¾ inch
+screws having a good thread; the top and bottom edges of rib cut fair
+for linings, the side finished for paint. Cross pieces, 7½ by 2½ inches,
+twelve to each pair of ribs, the whole to be bolted together. To prevent
+the ribs from being at an unequal distance,<span class="pagenum"><a name="page_393" id="page_393">{393}</a></span> the two outer ribs to be
+sunk half-an-inch at the places where the purlins notch in them.</p>
+
+<p>The purlins, eight in number, to run the whole length of roof, notching
+in the rib arches. The purlins to be placed in pairs and to have small
+cross struts either notched into them or securely nailed to prevent them
+from buckling or twisting.</p>
+
+<p>All the horizontal timbers of roof, such as the purlins, poll plate,
+sill, and heads of skylight, to run 9 inches in end walls, and to be
+cogged on template. Each purlin, if not in one piece, to be properly
+scarfed. An oak wall-plate, 9 in. by 6 in., was laid the whole length
+and width of the building, running 6 in. in the wall at angles, where it
+was pinned and lapped. The plate in the arch over the entrance formed
+the upper part of the railing in the gallery.</p>
+
+<p>This plate served as the abutment for twenty-four oak braces or struts,
+each 7 in. by 4 in., placed in the lower portions of the roof on each
+side, each strut to be sub-tenoned either into purlin or cross piece
+between rib, and the whole to be securely fixed.</p>
+
+<p>The framing to support curb or sill of skylights to be in one piece, to
+run over the wood arches, and to be securely fixed to purlin.</p>
+
+<p>Each pair of circular ribs moneyed out 22<i>l.</i> 4<i>s.</i> 6<i>d.</i> The more
+modern French style of forming this kind of roof would have been by bent
+ribs composed of<span class="pagenum"><a name="page_394" id="page_394">{394}</a></span> three ten-inch planks, 12 inches by 3, cut true at the
+saw-mill, jointed with glue, planed all round, chamfered to edges, with
+20 half-inch bolts. These would have cost only 13<i>l.</i> 16<i>s.</i> 8<i>d.</i> each,
+but they would have caused considerable lateral pressure against the
+side walls.</p>
+
+<p>The roof of the riding-house is correctly shown in the small view, p.
+389, which serves also to show the section. Fig. 1 of the accompanying
+cut shows one</p>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_394_lg.jpg">
+<img src="images/ill_pg_394_sml.jpg" width="287" height="121" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">of the circular ribs, fig. 2 the section of the pair joined together,
+and fig. 3 the section of the more modern French method of bent ribs. A
+roof in this latter construction was put up by Mr. Charles Fowler,
+architect, at the sale-room, St. Paul’s Churchyard. The circular ribs of
+the roof were formed in three thicknesses of 1¼ deal, footed into iron
+sockets or corbels let into stone templates. As a precaution until the
+perfect set and settlement of the work, three of the roof-frames had
+iron tie-rods, which were re<span class="pagenum"><a name="page_395" id="page_395">{395}</a></span>moved when all fear of lateral thrust was
+over. A print of the room was given in the <i>Builder</i>.</p>
+
+<p>The first construction described could be much improved, strengthened,
+and lightened by introducing an iron bar in lieu of the oak rib; and
+this has been done in several instances, resulting in the roofs standing
+well.</p>
+
+<p>The chief portion of the bricks used in the construction of the
+riding-house were provided from the estate, and were carted on the
+ground for the use of the builder. His account came to 920<i>l.</i></p>
+
+<p>The elevation of the stable shows the entrance to the coachhouse in the
+centre, between coupled columns. These were in iron, of slightly
+Elizabethan character as to style. Two gabled windows are on each side,
+one forming the entrance to the riding-house, the whole flanked by two
+towers; that on the left contained the staircase leading to the gallery
+of the riding-house seen in the view, the other is the prospect tower,
+overlooking the park. These buildings were commenced and finished in
+1848. The builder had to take down the old coachhouse and stabling which
+stood upon the site, and was permitted to use the old materials as far
+as they would go; one roof was re-used. The cost of the new building was
+1107<i>l.</i> The whole length was 95 ft. One of its principal features was
+the prospect tower, a view of which and<span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<div class="figcenter" style="width: 496px;">
+<a href="images/ill_pg_396_lg.jpg">
+<img src="images/ill_pg_396_sml.jpg" width="496" height="259" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of stable.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<p class="nind">a representation of the back front is on p. 398; this was 60 ft. in
+height above the foundations.</p>
+
+<p>An iron staircase led up to the small tower, which had a staircase
+leading to the roof or lead flat, upon which was a seat and flagstaff.
+The battlements of</p>
+
+<div class="figcenter" style="width: 152px;">
+<a href="images/ill_pg_397_lg.jpg">
+<img src="images/ill_pg_397_sml.jpg" width="152" height="278" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cap of iron column.</p></div>
+</div>
+
+<p class="nind">this small tower and its doorway were constructed of ragstone. This
+turret was corbelled out from the building as seen in the view; its plan
+and that of the corbelling is given on p. 399. The corbels were two
+bricks in height, each course; the arch is covered with<span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/ill_pg_398_lg.jpg">
+<img src="images/ill_pg_398_sml.jpg" width="255" height="475" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of prospect tower.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<p class="nind">a stone landing upon which the small turret stands. It has a lightning
+conductor. This, the three iron staircases, and the columns, cost
+200<i>l.</i>, which, however,</p>
+
+<div class="figcenter" style="width: 228px;">
+<a href="images/ill_pg_399_lg.jpg">
+<img src="images/ill_pg_399_sml.jpg" width="228" height="409" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">was included in the previously stated amount of 1107<i>l.</i><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p>
+
+<p>It was proposed to give the terrace-walk an ornamental stone. The
+balustrading and one of the bays of this balustrading are illustrated
+below.</p>
+
+<div class="figcenter" style="width: 436px;">
+<a href="images/ill_pg_400_lg.jpg">
+<img src="images/ill_pg_400_sml.jpg" width="436" height="293" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of the balustrade.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p>
+
+<h2><a name="DESIGN_No_35" id="DESIGN_No_35"></a><i>DESIGN No. 35.</i><br /><br />
+A BACHELOR’S HOUSE.</h2>
+
+<p>This building was intended to have been erected on an estate in the
+neighbourhood of London, for the solicitor acting for the lessee, a
+builder who was erecting numerous first-class houses upon the property,
+and who required his solicitor to be often with him. The gentleman was a
+bachelor, and this was, for a time, to have been his private town
+dwelling. It was only to consist of a basement and ground floor, but the
+walls were to be made sufficiently thick to enable the structure to be
+carried upwards when the estate was fully covered, and the house would
+be required for a family.</p>
+
+<p>The plan was arranged after the legal gentleman’s own directions: <i>a</i> is
+the small entrance hall, leading to the inner hall, from which the
+living room <i>b</i>, and the picture gallery <i>f</i>, are gained; the gallery
+contained a choice collection of cabinet pictures, hunting subjects by a
+celebrated painter; <i>c</i> is a small bedroom, which could be enclosed or
+shut off from the living room by a lifting-screen, worked somewhat
+similar to a lifting shutter. The screen was to be covered on the side
+next the living room with paintings; <i>d</i> is the bath<span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
+
+<div class="figcenter" style="width: 212px;">
+<a href="images/ill_pg_402_lg.jpg">
+<img src="images/ill_pg_402_sml.jpg" width="212" height="498" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<p class="nind">room, <i>e</i> the closet, <i>h</i> is the dining-room with its lift, <i>i</i>, from
+the pantry in the basement; <i>j</i> was a small iron staircase leading down
+to the stable, where some valuable hunters were to be kept. Under the
+dining-room was the coachhouse; no rooms were over the stabling. The
+servants’ entrance was in the area. The exterior of the building had a
+plain Gothic Tudor front.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette shows a corbel in the French cut-wood style.</p>
+
+<div class="figcenter" style="width: 161px;">
+<a href="images/ill_pg_403_lg.jpg">
+<img src="images/ill_pg_403_sml.jpg" width="161" height="179" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p>
+
+<h2><a name="THE_FIREPLACE" id="THE_FIREPLACE"></a>THE FIREPLACE.<br /><br />
+FLUE CONSTRUCTION AND SMOKE PREVENTION.</h2>
+
+<p>An especial love for home comfort has always been an English
+characteristic. It has formed a species of national taste and pride even
+among our working classes. The constant changes of our climate are
+injurious to every class; the chief point of attraction in the English
+dwellings, during winter’s wet, cold, and fog, is centred in the
+fireplace. This has long been deemed the favoured spot where</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i8">“Social mirth<br /></span>
+<span class="i0">Exults and glows before the blazing hearth.”<br /></span>
+</div></div>
+</div>
+
+<p>The fireplace suits our climate; it is cheerful and attractive, but it
+gives its heat only by radiation. We are warmed on one side and chilled
+on the other, but neither the warmth nor the chill is too great to bear,
+and the occupant of the room can move into any temperature that suits
+him. In more northern climates the use of the fireplace would not be
+tolerated; there the cold is so excessive that an equal warmth must be
+diffused throughout the apartments, and flues in hollow walls, and
+closed stoves either in iron or brick are in the ascendant, as already
+mentioned in<span class="pagenum"><a name="page_405" id="page_405">{405}</a></span> an earlier part of this work. But such means, by which the
+air is heated, and not merely warmed&mdash;and there is a great difference
+between warmed air and heated&mdash;would not be tolerated here. A puff of
+air from a closed stove caused by a back draught is not pleasant, and is
+very different from the honest puff of smoke from an English fireplace,
+that gives as a natural product of combustion, carbonic acid gas. But
+not one of these stoves, nor those that are called “smoke-consuming
+stoves,” make a good companionable fire&mdash;and this is not liked.</p>
+
+<p>The common open fireplace has held its own, and will continue to hold
+its own, against the best-contrived stove that can be introduced in lieu
+of it. But it still remains to find such a construction as will remedy
+its serious defects. These are chiefly such as pertain to the flue; it
+is not to the stove that these belong, for that, thanks to our excellent
+makers, is quite perfect.</p>
+
+<p>In our sluggish winter atmosphere the smoke leaves the open flue with
+tolerable certainty unless the flue is foul with soot; but when high
+winds prevail and the atmosphere is anything but sluggish, it teaches us
+the faults of the open flue, and volumes of smoke descend into our
+apartments. There are few occurrences in domestic life more vexatious
+and annoying than this; the numerous unsightly appendages in<span class="pagenum"><a name="page_406" id="page_406">{406}</a></span> the form
+of cowls, turncaps, and windguards which appear alike on our houses,
+churches, and palaces, whilst they exhibit the ingenuity of our builders
+and workmen in remedying the trouble of smoky chimneys, demonstrate also
+the frequency of the misfortune.</p>
+
+<p>When flues are carefully constructed, with the best modern improvements,
+and a due supply of air is admitted into the stove, a smoky chimney is
+an exception; still the flue forms only a simple open funnel for the
+passage of the smoke, and failures will inevitably often happen. A
+construction on a good principle should render these defects as trifling
+as possible. In our best houses&mdash;those constructed within the last
+twenty or thirty years&mdash;two kinds of the common brick flue are mostly in
+use. One is of the old-fashioned kind, having a section of 14 by 9 in.,
+which was made originally of that size for the accommodation of the poor
+sweeping-boys. This is now retained only for the kitchen fire, which
+makes a large quantity of smoke, and for the rest of the fireplaces the
+flue known as “Cubitt’s” flue is employed, which has a diameter each way
+of 9 in. The author prefers the small flue, and always uses it in the
+buildings he has constructed. There are many persons who still maintain
+that the old-fashioned flue is the correct one, and it is still very
+generally used. There is an old saying about the proof of the pudding.
+In Belgrave<span class="pagenum"><a name="page_407" id="page_407">{407}</a></span> Square, all the houses first designed and erected have the
+old-fashioned flue, and there are scarcely a dozen of the old
+chimney-pots left; all have been changed for tall-boys and other similar
+contrivances; one house has about 24 in one stack. No. 49, built by
+Cubitt about 35 years ago, and having the descending or sweeping flue,
+has the stacks exactly as at first constructed, with the exception only
+of a little doctoring to the kitchen flue. In the house opposite, No.
+48, one of the first, the external stack alone, next the street, has no
+less than 17 tall-boys, two of which appear to be broken off. On the
+opposite side of the Square, in Chesham Place, is No. 38, built by
+Cubitt about 30 years; it has all the original stacks untouched.</p>
+
+<p>The Cubitt flue can be recognised by the small peculiar cap on the
+chimney-pot, and several of these stacks remain in their original state.
+In Eaton Place and Eccleston Square, where this flue is used, the roofs
+tell the same story. In the first buildings erected by the author he
+used the large flue, and he now finds several specimens of
+chimney-doctoring on the roofs. In some large houses he lately erected
+at Queen’s Gate, in which the sweeping flue is used, there are several
+houses together without any disfigurement at all on the roof. He
+considers that the appearance of a tall-boy on one of them would be<span class="pagenum"><a name="page_408" id="page_408">{408}</a></span>
+rather a proof that there was something wrong about the servants’
+management of the fires, than an error in the construction of his flues.</p>
+
+<p>A representation of this flue, and the manner of introducing it into a
+building, is here given. Fig. 1</p>
+
+<div class="figcenter" style="width: 244px;">
+<a href="images/ill_pg_408_lg.jpg">
+<img src="images/ill_pg_408_sml.jpg" width="244" height="405" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Flue construction.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<p class="nind">represents a portion of the chimney-flue construction of a first-rate
+house; the lower chimney opening is in the basement, and above it are
+two others, one on the ground floor, and one on the first floor. It will
+be seen that there are three flues descending or taken down to the
+basement. The third flue belongs to the room on the second floor. The
+wall is two bricks thick, the flue 9 in. in diameter, and contained
+within the wall with no chimney-breast projecting. Fig. 2 is a plan of
+the flues on the ground floor, and fig. 3 of those on the first floor.
+Fig. 4 is a section of the fireplace opening; this is 3 ft. in height
+from the floor-line, the brickwork at top is splayed, and supported by
+an iron bar; these openings are always filled up with 4½ straight joint
+work, to be taken out when the mantelpiece is fixed. Fig. 5 is the
+chimney-pot and its cap, the latter opening at top 7 in. by 9 in. only;
+fig. 6 shows one of the sweeping doors, in which there are two to each
+descending flue. The latter three figures are twice the scale of the
+former. A plan and section of the chimney complete, with its marble
+mantel and stove, is given in figs. 7 and 8. The flue passes completely
+down at the back of the stove, the front is closed by an iron plate to a
+height of 2 ft. On this is fixed the moveable door or register, shut
+fully or partly over the flue when the stove is in use, and closed over
+the stove when the flue has to be<span class="pagenum"><a name="page_410" id="page_410">{410}</a></span> swept. The arrows show the mode of
+admission of air to the front of the fire; it is brought through the</p>
+
+<div class="figcenter" style="width: 195px;">
+<a href="images/ill_pg_410-a_lg.jpg">
+<img src="images/ill_pg_410-a_sml.jpg" width="195" height="118" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 7.&mdash;Plan of stove.</p></div>
+</div>
+
+<p class="nind">floor and two openings in the back hearth from the outside of the house.
+This is generally kept concealed,</p>
+
+<div class="figcenter" style="width: 150px;">
+<a href="images/ill_pg_410-b_lg.jpg">
+<img src="images/ill_pg_410-b_sml.jpg" width="150" height="221" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 8.&mdash;Section.</p></div>
+</div>
+
+<p class="nind">and in order to ensure a supply of air to the stove the room should be
+kept completely closed.<span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p>
+
+<p>To cause as full and perfect a combustion of the fuel as possible, a
+draught or current of the external air should be always admitted to the
+stove, and it could easily be placed under open management, so as to
+admit either a large or small supply of air, as required. Numerous
+patent processes to effect this are in use, but the most effective way
+of doing it is that shown in figs. 7 and 8: it is too simple for a
+patent.</p>
+
+<div class="figright" style="width: 82px;">
+<a href="images/ill_pg_411_lg.jpg">
+<img src="images/ill_pg_411_sml.jpg" width="82" height="97" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 9.</p></div>
+</div>
+
+<p>Fig. 9 shows a method of admitting air above the architrave of the
+entrance door of the room. The opening is made about 2 ft. in length;
+this, after a little time, becomes marked by the blacklets coming in
+from the passage. The sweeping flue when the fire is lighted becomes
+very hot; the smoke ascends speedily and soon leaves it. The flue
+requires the stove to be formed expressly for it. Mr. Cubitt made the
+stoves only for his own houses, and the author had some difficulty at
+Queen’s Gate, in procuring stoves of the right pattern, for
+manufacturers prefer their own shop patterns, and some of these would
+have covered up half the descending flue. Those he used were supplied by
+Messrs. Feetham of Clifford Street, who are well acquainted with the use
+of the flue and stove. The flue is considered an excellent one; it is a
+builder’s flue, constructed solely of brick, and is<span class="pagenum"><a name="page_412" id="page_412">{412}</a></span> certainly the best
+of the brick flues. The same attention was paid to it as was given to
+every part of Mr. Cubitt’s buildings. It may be asked, “Are there no
+other kinds of flues constructed of superior materials?” Yes, certainly
+there are; particular attention has often been paid to the flue. There
+is Hiort’s circular flue, formed in each course of four wedge-formed
+bricks. Mr. Hiort held a very important position; he was Treasurer of
+the office of Works at Whitehall, and his flue was extensively used in
+some of the Government buildings and the houses in Carlton Gardens. It
+did not bond well with the brickwork, so we have Mr. Moon’s improvement
+upon it. This was considered not sufficient, and another patent was
+taken out in 1844 by Messrs. Clark and Reed for its further improvement.
+The flue was an excellent one, but on Mr. Hiort’s retirement from the
+Government Board, it went out of use.</p>
+
+<p>There is Seth Smith’s metallic chimney lining, which makes an excellent
+flue; the lining is a pipe of from 5 to 10 in. in diameter, built in the
+brickwork. About 150 of these flues are at the Pantechnicon. Mr. Smith
+announced his determination of never building any house above the value
+of 30<i>l.</i> per annum, without using them. They could be introduced, to
+form perfect linings to chimneys in buildings already erected, and allow
+the stack to be reduced in height,<span class="pagenum"><a name="page_413" id="page_413">{413}</a></span> without having the unsightly
+appearance of contractions made above them. The drawback to the use of
+these tubes by builders was the price. Without any royalty, the 9 in.
+tube cost 3<i>s.</i> 4<i>d.</i> per ft. run, the curved tubes 4<i>s.</i> 3<i>d.</i>, the
+starting tube 3<i>s.</i> 8<i>d.</i> The tubes were of the exact form of drain
+pipes, and they were cheaper, and as effectual.</p>
+
+<p>If Mr. Smith’s metal tubes had been introduced into a large brick flue,
+they would have rendered the latter an efficient shaft for ventilating
+every room in its upward course, openings being made for the purpose at
+the upper part of the rooms. This mode of ventilation was applied to
+hospitals on a large scale by the late Mr. Jacob Perkins several years
+ago, with perfect success.</p>
+
+<p>Denley’s flue, introduced in 1843, is believed to have been the
+precursor of that used by the late Mr. Thos. Cubitt at Belgravia and
+Pimlico, and there is a great resemblance between the two; but Mr.
+Denley’s flue has nothing like the simplicity nor ease of construction
+of Mr. Cubitt’s. The downward flues were merged into one at the
+basement, and all the soot and cinders were collected or thrown down
+into a fire-proof box, which must have stood out in the lower rooms,
+from which they had to be removed. The flues were swept from the roof,
+the register doors of the stoves being closed, and there was no
+provision for sweeping<span class="pagenum"><a name="page_414" id="page_414">{414}</a></span> the flues between the basement and the stoves.
+Joined to his system for sweeping, was one of air flues which brought a
+current of air direct from the exterior of the house to each fireplace.</p>
+
+<p>We have several flue systems which have ventilating flues in connexion
+with them. Boyd’s flue forms the wythes, or half-brick spaces between
+the flues, of iron plates, and the open spaces thus gained make
+ventilating passages. Mr. Doulton’s combined smoke and air flues are
+manufactured in terra-cotta, in three sizes; the air flues follow the
+line of the smoke flue, the passages being quite distinct, as in Mr.
+Boyd’s. The heat from the smoke flue causes a current in the air-flue
+which carries off the vitiated air admitted by openings near the
+ceiling. The common drain pipes and the glazed fire-clay pipes make good
+flues; the use of these pipe-flues has greatly increased during the last
+few years; they improve the draught, and clean easily. Flues for
+ventilation from rooms should, like Arnott’s ventilator, enter into the
+smoke or a hot ventilating flue. Arnott’s ventilator requires careful
+adjustment, to be balanced in such a way that it should stand closed on
+a calm day.</p>
+
+<p>The superior patented flues, as they are of considerable cost, and take
+extra time in construction, are only used in the better class of
+buildings, or in those erected under the express direction of the
+owner.<span class="pagenum"><a name="page_415" id="page_415">{415}</a></span> In speculative buildings they are never used. The time required
+for their construction beyond that of the common brick flue, being
+regarded by the builder as so much money lost.</p>
+
+<p>The great desideratum in a flue is to make it pass off its smoke
+quickly, and this the small size flue effects more certainly than the
+larger one, as it warms sooner and keeps its heat longer.</p>
+
+<p>An enthusiastic admirer of the descending or sweeping flue once told the
+author that with a good fire in the grate, if a kettle of water could be
+placed on the top of the chimney-cap the water would soon boil, even if
+the flue were fifty feet high. The flues constructed of metallic or
+earthenware casings retain also the heat longer, and keep hotter. It may
+be imagined that with these flues, and the large quantity of gas lamps
+in the streets, why the temperature of London should be always some
+degrees higher than that of the country. In winter snow may be seen in
+the suburban fields, but none is found in town.</p>
+
+<p>Architects have often been blamed for not inventing a good system of
+flue-construction, not only for the prevention of smoke in our
+dwellings, but for the hindrance of its presence in the atmosphere.
+Several, and most excellent attempts, have been made for the former, but
+very few for the latter, which is one of far greater difficulty. Yet
+this is one that admits of<span class="pagenum"><a name="page_416" id="page_416">{416}</a></span> a cure, great as the evil is. The chimney
+flue might be so improved as to effect a more certain and larger
+ventilation of our houses, without any addition of ventilation flues.
+The introduction of the French Mansard roof with us, one from a country
+where coal fires are not in use, renders it almost imperative for the
+chimneys belonging to such buildings to have a different construction,
+for chimneys when placed against a building or roof that overtops them,
+are sure, as they are at present made, to become smoky: the wind
+returning owing to the high construction, and descending in the flues.
+The following few designs are offered to cure these various evils.</p>
+
+<p>Accepting as a fact that tall-boys, and the other iron and zinc
+constructions, are useful appendages, there can be no reason why they
+should be so used as to disfigure our buildings. Some of the finest
+specimens of architecture in the Metropolis serve only as pedestals to
+an ugly collection of cowls.</p>
+
+<p>The author proposes to form the upper part of the flues in a building,
+for a length of about 15 to 20 feet, entirely of iron or other tubing,
+in square, round, or oblong sections, of a less diameter than the brick
+flues to which they are attached. This tubing is gathered up in groups,
+and carried out at an angle of 45° towards a centre stack: the tubes in
+direct contact with each other, having<span class="pagenum"><a name="page_417" id="page_417">{417}</a></span> no brick wyths, except one or
+two to strengthen the stack.</p>
+
+<p>It is obvious that if only one of the flues be in use, it would
+moderately warm those next to it; and if the whole of the flues of a
+building were constructed on this plan, and two or three were in use,
+such a power would be obtained as would effectually ventilate every
+room; the action would be continuous and imperceptible, and a fire could
+be lighted in any one without the risk of return smoke from a cold or
+damp flue.</p>
+
+<p>Thus the heat now wasted in the atmosphere by the action of the common
+flue, would be partly retained and turned to use, and the draught of the
+flue very much improved.</p>
+
+<p>This tubing could be readily introduced into either old or new
+buildings, as the introduction does not involve taking down more than
+twelve feet of the brickwork, measuring from the top of the coping. The
+tubes could never become sufficiently heated to be dangerous, and less
+brickwork would be required.</p>
+
+<p>They might be made either of zinc or earthenware; cast-iron would be
+objectionable on account of its weight. It will be seen that they admit
+a better mode of sweeping than that now practised, and they could easily
+have some kind of capping to prevent down-draughts.<span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p>
+
+<p>These “stack flues” should commence from the attic or upper storey of a
+building, at about six feet from the floor; sweeping doors should be
+placed beneath them, so as to give the sweep command of the flue beneath
+as well as above.</p>
+
+<p>Each flue should be composed of three separate forms of tubing, by which
+the various directions and turns necessary for the construction might be
+obtained.</p>
+
+<p>Fig. 10 gives the representation of the three forms; 1, is the first;
+this is placed directly over the brick</p>
+
+<div class="figcenter" style="width: 187px;">
+<a href="images/ill_pg_418_lg.jpg">
+<img src="images/ill_pg_418_sml.jpg" width="187" height="151" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 10.</p></div>
+</div>
+
+<p class="nind">flue, and gathers it up to a size having an internal dimension of 6 +
+4½. It is 21 inches in height. 2, the second piece, is on a curve; the
+top and bottom lines, if carried on, would form an angle of 45°; it is
+about 18 inches in height, and internal size 6 + 4½. The third, 3, is a
+straight piece, internal size 6 + 4½,<span class="pagenum"><a name="page_419" id="page_419">{419}</a></span> the lengths various. Fig. 11
+gives a plan of four flues and an elevation of the commencement of two.
+The sweeping doors are shown below. The flue without a door is the
+ventilating flue for the basement. The ease with which this tubing can
+be grouped is shown in fig. 12. The stack consists of five flues; the
+tube, 2, connects them together below, and</p>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_419_lg.jpg">
+<img src="images/ill_pg_419_sml.jpg" width="168" height="180" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 11.</p></div>
+</div>
+
+<p class="nind">separates them above. The stack above the roof is 4 feet 9 inches in
+length.</p>
+
+<p>Fig. 13 shows, in the upper plan, how the flue wall could be reduced in
+thickness, made a brick and a half only, with a two-brick block at each
+end; it contains coupled and tripled sets of tubes.</p>
+
+<p>The middle plan shows nine flues grouped together, the centre being that
+belonging to the kitchen. The<span class="pagenum"><a name="page_420" id="page_420">{420}</a></span> last plan shows a group of six in a
+two-and-a-half-brick wall; by the side of this are two flues of the
+common construction, 14 inches by 9, made of this</p>
+
+<div class="figcenter" style="width: 313px;">
+<a href="images/ill_pg_420_lg.jpg">
+<img src="images/ill_pg_420_sml.jpg" width="313" height="353" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 12.</p></div>
+</div>
+
+<p class="nind">size to enable a boy to get up to the top and place his head out of the
+chimney-pot.</p>
+
+<p>The tube 1, fig. 12, can have its position reversed,<span class="pagenum"><a name="page_421" id="page_421">{421}</a></span> as shown in fig.
+14; six flues can thus be grouped together, as shown in the third plan,
+fig. 13. The elevation of this stack is given in fig. 15.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a href="images/ill_pg_421-a_lg.jpg">
+<img src="images/ill_pg_421-a_sml.jpg" width="150" height="220" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 13.</p></div>
+</div>
+
+<p>For a covering to these tubes figs. 16 to 20 show ornamental pots and
+their sections. The only merit</p>
+
+<div class="figcenter" style="width: 245px;">
+<a href="images/ill_pg_421-b_lg.jpg">
+<img src="images/ill_pg_421-b_sml.jpg" width="245" height="78" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 14.</p></div>
+</div>
+
+<p class="nind">in these may be that they are of a more ornamental character than any
+that have ever been introduced;<span class="pagenum"><a name="page_422" id="page_422">{422}</a></span> they are formed of zinc, supported by a
+stout dwarf iron railing. The intention is to permit the smoke to escape
+in any direction, either upwards, sideways, or downwards, sheltering it
+as far as possible from any action of the wind, and rendering of little
+consequence whether the stack is high, low, unsheltered or</p>
+
+<div class="figcenter" style="width: 226px;">
+<a href="images/ill_pg_422_lg.jpg">
+<img src="images/ill_pg_422_sml.jpg" width="226" height="240" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 15.</p></div>
+</div>
+
+<p class="nind">otherwise. If any sudden gust of wind take place and the smoke be driven
+back, the capping provides larger outlets for its escape than the small
+aperture of the flue itself; in other words, it is easier for the smoke
+to pass in any direction rather than return down the flue.<span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<p>The stack flues are only, in fact, tall-boys boxed up and not put out in
+the cold, and it is presumed they would be sufficiently powerful, from
+their warmth, to ensure a good passing off of the smoke, and secure
+ventilation to the building.</p>
+
+<div class="figcenter" style="width: 305px;">
+<a href="images/ill_pg_423_lg.jpg">
+<img src="images/ill_pg_423_sml.jpg" width="305" height="265" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Fig. 16.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Fig. 17.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>A forced ventilation to our dwellings, in ever so slight a degree, is a
+matter of importance. By the proper construction of these proposed stack
+flues it is presumed that any amount of ventilating power, self-acting
+and continuous, could be obtained. Their introduction alone would be
+beneficial; combined with the flue pedestal, to be described, the tubes
+could be<span class="pagenum"><a name="page_424" id="page_424">{424}</a></span> led into one general upward shaft; by either plan we should
+have some command over the smoke, while the roofs of our buildings might
+be made ornamental and picturesque. It would be a treatment of
+bituminous coal alike artistic and novel, surprising to foreigners and
+creditable to ourselves.</p>
+
+<div class="figcenter" style="width: 118px;">
+<a href="images/ill_pg_424_lg.jpg">
+<img src="images/ill_pg_424_sml.jpg" width="118" height="220" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 18.</p></div>
+</div>
+
+<p>It remains to show how the open character of the flue could be taken
+away (this forms its chief evil), and how a chimney-stack may be formed
+without chimney-pots. The late Lord Palmerston, when Home Secretary,
+proposed the abolition of chimney-stacks, and the use of only one
+chimney-stalk for each separate dwelling. In 1856, a commission was
+appointed to<span class="pagenum"><a name="page_425" id="page_425">{425}</a></span> inquire into the best modes of warming and ventilating the
+apartments of dwelling-houses and barracks. Their report, given to the
+General Board of Health, was published in 1857, and it afforded a
+section illustrating “the principle on which it was proposed to
+construct dwelling-houses.” There was only to be</p>
+
+<div class="figcenter" style="width: 205px;">
+<a href="images/ill_pg_425_lg.jpg">
+<img src="images/ill_pg_425_sml.jpg" width="205" height="244" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 19.</p></div>
+</div>
+
+<p class="nind">one flue, and this of metal 10 inches in diameter, enclosed in a large
+brick flue, which was to serve for ventilation. In the metal flue were
+to be inserted the flues of the several fireplaces; these were placed
+back to back, and if the register doors of the stoves were open, a
+person in one room might both see and con<span class="pagenum"><a name="page_426" id="page_426">{426}</a></span>verse with another in the
+next; the music of a pianoforte in one room could be heard in them all;
+this construction was taken up through four storeys, there being eight
+fireplaces. For one fireplace alone it would have been perfect, but the
+smoke from the two kitchen fires would have been sufficient to have
+choked</p>
+
+<div class="figcenter" style="width: 138px;">
+<a href="images/ill_pg_426_lg.jpg">
+<img src="images/ill_pg_426_sml.jpg" width="138" height="233" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 20.</p></div>
+</div>
+
+<p class="nind">the flue and caused the smoke to enter into the whole of the eight
+rooms.</p>
+
+<p>The chimney-stack might possibly be lowered, and it certainly could be
+constructed without chimney-pots, but each separate flue must have its
+own outlet. A design for this, one that should take away the open<span class="pagenum"><a name="page_427" id="page_427">{427}</a></span>
+character of the flue, and fit the stack, possibly for the Mansard roof,
+is here given.</p>
+
+<p>In fig. 21, <i>a</i> <i>a</i> are the flues, delivering their smoke into a large
+ventilating flue, <i>b</i>. The warm smoke would induce a current of air to
+enter at <i>c</i>: any current will have a tendency to draw another with it,
+so that the smoke leaving the flues <i>c</i> <i>c</i> would be taken out at <i>d</i> by
+the current of air at <i>c</i>.</p>
+
+<div class="figcenter" style="width: 217px;">
+<a href="images/ill_pg_427_lg.jpg">
+<img src="images/ill_pg_427_sml.jpg" width="217" height="205" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 21.&mdash;The ventilating flue.</p></div>
+</div>
+
+<p>This is the principle upon which all the best ventilating chimney-pots,
+tall-boys, and cowls are made, and it is a very sure one. The jet of
+steam in the funnel of the locomotive, drawing the smoke from the fire,
+and creating a draught, is adopted on the same principle.<span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
+
+<p>In scientific language, the established law both of pneumatics and
+hydraulics is that when two currents of fluid matter passing in the same
+direction, but in separate channels, arrive at any point of confluence,
+the stronger current draws the other along in its course, and with a
+considerable portion of its own velocity. Thus the force of the wind,
+which checks in other instances the action of a chimney-draught, is made
+to produce a stronger draught, exactly in proportion to the violence
+with which it blows.</p>
+
+<p>Returning to fig. 21, a current of air, instead of coming in at the
+opening <i>c</i>, might come in at <i>d</i>. It would then have a tendency to blow
+down the flues <i>a</i> <i>a</i>: to prevent this, the opening <i>d</i> could be
+closed, and an upright stalk placed at <i>e</i>,&mdash;this should have a downward
+shaft, a place for soot, and a sweeping door.</p>
+
+<p>There is still another mode of treatment; fig. 22 represents the flues
+grouped, each with a separate ventilating flue, the smoke delivered
+being at the side of each.</p>
+
+<p>The stack might be covered with zinc in the ornamental style with which
+that metal is now treated.</p>
+
+<p>It is probable that if a stack on this principle was placed parallel to
+the side of one of these Mansard roofs, it would be secure from the
+ill-effects of any<span class="pagenum"><a name="page_429" id="page_429">{429}</a></span> wind returning against it. The author will not vouch
+for its success, but it is offered here to the attention of architects
+and builders as an experiment worthy of trial.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_429-a_lg.jpg">
+<img src="images/ill_pg_429-a_sml.jpg" width="275" height="217" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Section.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Elevation.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 104px;">
+<a href="images/ill_pg_429-b_lg.jpg">
+<img src="images/ill_pg_429-b_sml.jpg" width="104" height="55" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 22.&mdash;Plan.</p></div>
+</div>
+
+<p>It has been affirmed that the smoke of towns, however disagreeable it
+may be to the inhabitants, neutralizes the poisonous effect of the gases
+caused by sewers, &amp;c. If it was possible wholly to remove<span class="pagenum"><a name="page_430" id="page_430">{430}</a></span> carbon
+evolved by smoke, our towns would almost be uninhabitable, and they
+represent that any scheme for getting rid of smoke must be combined with
+one for getting rid of the exhalations from sewers at the same time. If
+the two evils were brought together, they would neutralize each other,
+and both could then be got rid of at one operation. The best scheme for
+this is a matter of important consideration, but few have been proposed.</p>
+
+<p>It may be asked, what has a work on Picturesque Architecture to do with
+either smoke or sewer gases? The author in reply considers that
+buildings never will look picturesque while they are covered with great
+patches of soot. An eminent sculptor once affirmed that the statues of
+London were improved by their soot covering, because it made them stand
+boldly out against the sky. But those beautiful decorated smoke towers
+which stand on the roof of the Houses of Parliament, and which are as
+black as Erebus, look anything but pleasing, standing amidst the whiter
+front of the rest of the building. Besides, tall-boys are beginning to
+make their appearance on the roof under the Victoria tower, and these
+certainly form no part of the architecture, but appear monstrously ugly;
+consequently smoke and its abolition are clearly questions to be
+considered in relation to Picturesque Architecture.<span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p>
+
+<p>A plan for removing smoke from the atmosphere of towns, and at the same
+time ventilating buildings and sewers, was proposed in 1849 by Mr.
+Flockton, surveyor to the town trustees of Sheffield,<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a> a town as much
+begrimed with sooty smoke, only in a smaller way, as the Metropolis.</p>
+
+<p>The proposal was, that under the footways along the side of every street
+and lane, flues should be constructed of sufficient capacity to carry
+off all the smoke and other atmospheric impurities, these flues all
+converging, upon a general plan, to tall shafts or chimneys at some
+distance from the town, and supplied with furnaces. These, when the
+fires were once ignited, would give a fire produced by the combustion of
+the inflammable gases accompanying the smoke, and which would burn
+spontaneously in a similar manner to the combustion of foul air from old
+shafts connected with coal mines. The combustion might be assisted by
+jets of coal gas, in a fire of coke.</p>
+
+<p>In very large towns it would be necessary, Mr. Flockton added, to divide
+the whole into districts, and to erect towers in the centre of each, to
+which all the flues should converge. He published a plate, showing<span class="pagenum"><a name="page_432" id="page_432">{432}</a></span> two
+large dwelling-houses, with a street between, the common sewer in the
+middle of the carriage way, and the smoke flues on each side under the
+footpaths, also showing the connexion between the sewer and flue. The
+alteration proposed to houses already erected consisted in converting
+ascending into descending flues; turning the smoke from the chimney-top
+into the latter, and from thence into the street flue. This operation
+would have necessitated the pulling down and rebuilding of the flue
+walls. The street smoke flues, in order to carry off the smoke from a
+few thousand chimneys, would require to have been made of a size even
+larger than the sewer itself. Provision must have been made for clearing
+out the soot, for the smoke would have been cooled and the soot would
+accumulate in large quantities in them.</p>
+
+<p>The same scheme, with similar constructions, was proposed by a foreign
+gentleman, who took out a patent for it in 1850 (No. 13,061). His plan
+was a very grand one; he did not propose alterations in existing
+buildings, but pulled them down and gave designs for a new city.</p>
+
+<p>A more practical plan was proposed about 1851 by Mr. Devey, a surveyor
+of Furnival’s Inn. A model of his invention was in the Great Exhibition
+of 1851, and it is described and an engraving given of it in the
+illustrated volumes published by the Royal Exhibi<span class="pagenum"><a name="page_433" id="page_433">{433}</a></span>tion Commissioners at
+the close of the Exhibition. The model is now in the Museum at South
+Kensington. Mr. Devey’s plan was to make only one descending flue to
+each building, to which the flues at the top could be either connected
+or not, at pleasure; the descending flue was carried to the sewer in the
+middle of the street, and the action of this was to be assisted by the
+heat of the kitchen fire. He says, “The smoke would be drawn down by the
+current produced by exhaustion in the sewer, the action being assisted
+by the kitchen fire.” Mr. Devey did not propose to have furnace shafts,
+but depended entirely upon the sewer acting as an exhaust.</p>
+
+<p>In this scheme the objections were, that one descending flue was not
+sufficient to carry off the smoke from several chimneys, and the sewer
+certainly would not act as an exhaust without its being connected with
+upright furnaces. Our sewers generally have ventilating openings which
+permit their odours to ascend into our streets. Soot would no doubt
+neutralize these odours&mdash;this, a paper in a late <i>Quarterly Review</i>
+(April, 1866) admits. First, speaking of the sewer gases, the reviewer
+says: “These offensive gases have often engendered formidable diseases,
+and have, in several instances of late, been clearly shown to have
+caused the outbreak both of typhoid fever and cholera.” Of this the
+author has had proof during the<span class="pagenum"><a name="page_434" id="page_434">{434}</a></span> outbreak of cholera in London in 1849.
+He was superintending the construction of a mass of buildings in one of
+the worst dwelling districts in London. This builder, who had just
+finished the erection of Harrington House, a description of which is
+given in this volume, died the first night of the outbreak in the
+greatest agony; he was a strong robust man; from one to three deaths
+took place in every house in the locality; a black flag was put up in
+the streets, and the foul fiend reigned for a while supreme. A large
+mass of the worst buildings have been cleared away, and model
+lodging-houses erected, but a considerable portion of the rotten old
+structures remain, the sewers are untouched, and the visitation of the
+cholera forgotten.</p>
+
+<p>The <i>Quarterly Review</i> says there is no reason why ordinary sewers
+should not be made to serve the double purpose of carrying off smoke and
+sewage at the same time, provided they were connected here and there
+with high shafts rendered powerfully expansive by furnaces; and adds,
+“sewage would be improved for agricultural purposes by admixture with
+soot, which is an excellent manure, and the noxious qualities of the
+sewer gases would be destroyed.” Whether soot would increase the value
+of sewage or decrease it, is a question for chemists to decide; a
+generally increasing opinion is, that our method of using sewage<span class="pagenum"><a name="page_435" id="page_435">{435}</a></span> by
+liquefaction and sending it away, is a mistake, and renders it quite
+worthless, and that the system of dry earth-closets is more conformable
+to Nature’s laws.</p>
+
+<p>The subject was taken up in 1857 by Mr. Peter Spence, of Manchester, a
+large alum manufacturer.<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> This gentleman states that the “blacks,” the
+horror of the Londoner, are guiltless of any deleterious effect to human
+health, as carbon is one of the most anti-putrescent of bodies, and
+while floating in the atmosphere over everything, arrest and destroy
+noxious and miasmatic vapours. Perfect freedom from smoke would, if
+accomplished, only increase the evil arising from the purely gaseous
+results of combustion. He proposed a system of <i>atmospheric</i> or <i>gaseous
+sewage</i>, and the complete removal of all their gases to a safe distance
+from our towns. He would combine this gaseous sewage in such a form with
+town drainage as would bring all the liquid sewage into contact with the
+gases from our furnaces and house fires, the liquid sewage being kept
+from all surface drainage. The same liquid and fœtid mass of sewage he
+would concentrate in an innoxious form, to be converted, in a convenient
+place, where it might with perfect safety be manufactured into manure
+more valuable than the richest guano.<span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
+
+<p>For effecting this all the gases from our coal combustion would have to
+be conveyed along the same tunnel with the sewage to centralizing
+conduits converging to a point, where an immense chimney, 600 ft. high,
+should be erected, to discharge these gases into the atmosphere, the
+ascensive power being obtained either from the retained heat of the
+gases, which would probably be found quite sufficient, or if not,
+artificial heat could then be applied to effect the object. The chimney
+should be of the internal diameter of 100 ft. at the top, and 140 ft.
+external diameter at the bottom. This would take the smoke from 500
+chimneys and every particle of foul emanation from the sewer, and every
+leak or opening to the upward air from these sewers would not then emit
+foul gases, but draw in fresh air with a pressure or suction of three
+and a half pounds per foot, and with a velocity of 40 feet per second.
+This gentleman says: “It is idle to talk of trapping, and thus confining
+gases evolved under ground; exit they must and will have, and when you
+imagine you have secured them in one place, you will find them pouring
+out in another.” He makes this plain by an illustration. He took an
+old-fashioned detached house; after entering into possession he found
+frequently very disagreeable smells, especially after rain, a change of
+wind, or a fall of the barometer; it may be remarked here that<span class="pagenum"><a name="page_437" id="page_437">{437}</a></span> it was
+not necessary to take an old-fashioned house to find out this; in more
+modern built houses in London, after a fall in the barometer or rain,
+such a thing is repeatedly occurring. Mr. Spence, to cure the evil in
+his old mansion, exhausted all the remedies which the philosophy of
+London schemes acknowledges; he trapped all the exits from the sewer
+with the most approved patent girds; all slopstone pipes were cut and
+water-luted. But this was of no use, the smell came through the very
+walls and floors, and one bedroom on the first floor, which showed no
+connexion with the sewer, was quite uninhabitable. He adopted a plan
+which succeeded: a branch from the main sewer was brought right under
+the kitchen grate, from that a pipe of cast iron, four inches in
+diameter, was carried up through the brickwork, and the open top
+projected into the chimney a yard and a half behind the kitchen fire,
+above the fire. When this fire was again lighted, in a few hours the
+house was perfectly sweet, and the distant bedroom, uninhabitable
+before, has been slept in ever since. When this nuisance occurs in a
+London house the only remedy is to open the doors and windows to get rid
+of it, as we are not allowed to meddle with the sewers. Disagreeable
+effluvia in dwellings often occur, and baffle every endeavour to trace
+from where they proceed; in every case it is from choked-up drains or
+the sewer,<span class="pagenum"><a name="page_438" id="page_438">{438}</a></span> and the decomposition of animal and vegetable matter therein
+retained.</p>
+
+<p>As for Mr. Spence’s scheme, its grandeur almost stops its execution. It
+is well known that in all large manufactories, and in gas works, a tall
+chimney serves to draw out the smoke from the numerous fires, and it
+forms a smoke-outlet for them all. In most of these places the fuel is
+used up so completely that it is only the gases of combustion that are
+drawn away. Mr. Spence’s scheme has been successfully tried in its
+application to private residences, and also on a large scale to the new
+Assize Courts in Manchester. It was adopted by one of the architects in
+the competitive designs for the New Law Courts in London.</p>
+
+<p>If these tall shafts and furnaces were applied in London, it may be
+questioned whether the smoke in cooling would not deposit the soot in
+the sewer, and this must be removed, if not run off by water. The flues
+connecting the house fires with the sewer would be partly horizontal,
+and these would certainly fill with soot, and no machines we have at
+present in use could clean out these flues from above. The operation
+must be performed from within the sewer, and then these flues being
+unsupplied with drain-eyes at their entrance to the sewer, would form so
+many open channels for the passage of the sewer gases into the houses.
+This would be the case in a very great degree<span class="pagenum"><a name="page_439" id="page_439">{439}</a></span> where there were no fires
+in the stoves and their register doors were open. It would require an
+immense consumption of fuel in the high stalks to cause a current to
+prevent it, and the furnaces must be close together to lessen the
+cooling effects of cold currents of air from flues not in use.</p>
+
+<p>As to the mere ventilation of the sewer itself, it could easily be
+effected by single drain pipes 6 inches in diameter, placed at
+intervals, from the sewer to the ash-pit of any neighbouring furnace. It
+would be probably to the advantage of the furnace itself, as even the
+tall stalks must sometimes make black smoke. A legislative enactment
+should require their owners to let them perform this service. It might
+require strong furnaces and plenty of them to effect it. A suggestion
+for getting rid of that “monster nuisance, London smoke” was made known
+in the <i>Builder</i> about 1859, by Messrs. Bruce Neil. It is thus
+described: “The plan consists in placing small tanks containing water
+over the chimney (the chimney-pots being fixed inside the tanks, and
+made of a spiral and bent form). The chill of the water gradually
+condenses the smoke, which becomes decomposed and destroyed, being
+precipitated at the bottom of the tank in the form of mineral tar. The
+water is turned on and off daily. It will be here observed that in the
+event of a fire in the chimney the flames cannot spread, as they are<span class="pagenum"><a name="page_440" id="page_440">{440}</a></span>
+immediately quenched by the water in the tank. According to Mr. Bruce
+Neil’s calculation, the smoke of 80 tons of coal, if collected, will
+yield upwards of 28 barrels of tar, of 2½ cwt. each. He proposes that
+the Legislature, or the Society of Arts, should offer a premium to the
+person who will undertake to rid us of this monster nuisance and convert
+the smoke into tar, so as to make it applicable to commercial purposes.
+In the adoption of the above plan a slight alteration in the mode of
+ventilating our apartments is all that is required, he tells us.</p>
+
+<p>As to the possibility of converting smoke into tar by such means as are
+above described, some doubts might be expressed if it could really be
+done; the remedy would be worse even than the disease, every household
+using yearly 20 tons of coal would have in that time to remove 7 barrels
+or 17½ cwt. of tar from their roof. The <i>Builder</i>, in publishing this
+suggestion, did not give any diagram or sketch showing how the process
+was to be effected. Mr. Bruce Neil no doubt made one, as he speaks of
+the alteration required in the ventilation of our apartments; a drawing
+would at least have explained how the water was to collect the soot, and
+how it was to have access to the flue in case of its being on fire.</p>
+
+<p>The suggestion of collecting soot at the chimney-top by means of water
+was a valuable one, and there<span class="pagenum"><a name="page_441" id="page_441">{441}</a></span> is no doubt it could be done to some
+extent, but not by encircling the pots with cold water, which would
+chill the smoke and prevent the soot from rising. A</p>
+
+<div class="figcenter" style="width: 367px;">
+<a href="images/ill_pg_441_lg.jpg">
+<img src="images/ill_pg_441_sml.jpg" width="367" height="369" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 23.&mdash;Water chimney-vase for collecting soot.</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Half elevation.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Half section.
+</p></td></tr>
+</table>
+</div></div>
+
+<p class="nind">design is here given, fig. 23, to show how it could be effected.<span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p>
+
+<p>It will be seen that the chimney-pot or funnel has a zinc cover carried
+by stout ironwork surrounding it; <i>a</i> is the water, <i>b</i> the pipe to
+convey it away; it would be self-acting, and being washed by every
+shower would not be likely to get out of order. The rain-water must be
+looked for as to supply&mdash;to pay for high service for the roof of our
+houses to the water companies would not do.</p>
+
+<p>Our climate is more damp than cold, and a considerable quantity of rain
+falls on our roofs. The zinc cover is spread out, so as to retain as
+large a portion as possible of the rain-fall. In winter, when there is
+most smoke, there is most water, with little or no evaporation. A pool
+of water could be thus collected, and the smoke projected over it would
+lose some portion of its soot, which could be floated away by the pipe
+into a receptacle provided for it in the back yard. The water might be
+sent into the drain and the soot left; or it could be sent into the
+drain as well.</p>
+
+<p>The arrows in the diagram show the direction of the smoke, and the cover
+is so spread out and curved as to render it unlikely for any violent
+wind to flow out both water and soot into the street beneath.</p>
+
+<p>Certainly coal smoke is a great nuisance; it is yearly pointed out as
+such by our paper the <i>Times</i>, in one, probably two, very excellently
+written leaders.<span class="pagenum"><a name="page_443" id="page_443">{443}</a></span> Even the youngest member of the press, the <i>Echo</i>, in
+one of the common London fogs occurring in April, 1868, thus remarks:
+“The most sad and remarkable circumstance about the fog of yesterday was
+that the newspapers and people in the streets spoke of it as a
+‘visitation,’ as a ‘gigantic pall,’ as if, indeed, the black darkness
+was something as strange and unaccountable as a fall of frogs or fishes
+from the sky. Of course it was nothing but our own familiar coal smoke
+which stopped the way of the sunlight. It is most lamentable that
+Londoners are becoming so used to this filthy nuisance that nothing more
+than a passing exclamation is uttered when it is forced down upon them
+in such volumes as to produce almost the darkness of midnight at midday.
+If ‘cleanliness is next to godliness,’ then the people of London must
+have been yesterday the most ungodly people in the world, for nothing
+would remain clean which was exposed to the fog of that morning. A
+plague of locusts would not create more terror and sense of ruin in any
+foreign capital, where every article of dress and furniture and house
+decoration, both external and internal, would have been regarded as
+spoiled by the loss of freshness. But London received its coat of dirt
+yesterday, and to-day only wonders with the remark ‘how dark it was!’
+Will nothing move us to abate the nuisance? Is there no hope but that
+distant one<span class="pagenum"><a name="page_444" id="page_444">{444}</a></span> of the exhaustion of our coal-beds? Must we inhale
+coal-blacks, and always contemplate dirty houses and grimy furniture? Is
+it not possible by smoke sewers, or some contrivance or machinery, to
+relieve us of this plague?” It is very possible it could be done with
+the greatest ease, but at some first expense; and in some generation or
+other it will be written that it found London foul and left it sweet,
+and there will be a time when this will be appreciated; and the man who
+gives the city the pure atmosphere of a small country town will receive
+all due honour and acknowledgment, that is, when he is in his grave and
+securely buried.</p>
+
+<p>The public have so long been accustomed to be choked with smoke, and
+their health affected by deleterious gases, that they look upon the
+proposal of any scheme to secure pure air as the hallucinations of
+dreamy philosophers or inexperienced Utopians.</p>
+
+<p>None of our present flues can, in the very slightest degree, stop these
+aqueous vapours from ascending into the atmosphere, neither can they
+effect any purification of the smoke, or retain the blacks for any
+useful purpose; and it is of no use disguising the fact that any
+contrivance or appliance, to effect either of these most desirable
+objects, must consist of an additional construction to the flue, which
+will be attended with additional expense, and require extra<span class="pagenum"><a name="page_445" id="page_445">{445}</a></span> attention.
+Therefore any such appliance, if introduced, should be effectual, and
+repay such additional cost to its owner, by a saving, or at least a more
+economical use of fuel.</p>
+
+<p>The appliance to the flue the author has to recommend, he considers will
+not only cause an economical use of the fuel by not permitting the
+present waste of heat, but it will purify the smoke, and retain the
+blacks for any useful object to which they can be applied.</p>
+
+<p>The principle of the best-constructed flue at present is to get rid of
+all vapour, smoke, and soot as soon as possible, without the slightest
+consideration for the people outside. That the smoke should not return
+to annoy the occupants within the house is the aim of the constructors,
+and to secure this, the waste of heat in the chimney, and the consequent
+waste of fuel, is considered of no importance, for is it not the hot
+smoke that carries up the soot and ventilates the apartment?</p>
+
+<p>This operation of the flue could be taken advantage of. In the
+construction of chimney-flues in a wall they are often turned at an
+angle to the right or left to pass an obstruction, such as a fireplace
+or timber placed within or against the wall. A flue could easily be
+taken out of the wall and returned, and if the part so taken out was
+formed in cast iron with a small<span class="pagenum"><a name="page_446" id="page_446">{446}</a></span> cistern of water at top, it would
+become a warm-water pedestal, and could moderately warm or air an
+apartment in which it was placed; the author calls this the flue
+pedestal, and it is represented in the following cut.</p>
+
+<div class="figcenter" style="width: 159px;">
+<a href="images/ill_pg_446_lg.jpg">
+<img src="images/ill_pg_446_sml.jpg" width="159" height="317" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 24.&mdash;The flue pedestal.</p></div>
+</div>
+
+<p>It is about three feet six in height, not much higher than a small
+cabinet. The door could open, and a small tap supplying warm water for
+domestic use would be seen. Thus the upper rooms of a house<span class="pagenum"><a name="page_447" id="page_447">{447}</a></span> could be
+warmed or aired by the fires below in perfect safety, and the present
+waste of heat in the flues prevented. This would be economical, as in
+most cases no fires would be necessary in the upper rooms.</p>
+
+<p>The flue thus brought out in iron could contain a fine spray of water,
+that would draw up the smoke, and take down its vapours and soot at the
+same time into the sewer.</p>
+
+<p>Fig. 25 shows a section of the flue thus brought out. The wall is two
+bricks thick, the flue <i>a</i>, is 9 inches in diameter, <i>d</i> is the
+cast-iron flue, and another, <i>e</i>, shaped like a funnel, is placed behind
+it, to collect the soot and water, and pass it off through the pipe <i>h</i>.
+The cistern is partly within the walls and partly covering the two
+flues. It is not necessary that the water in the cistern should supply
+the spray: that might be done by a separate pipe with a tap to turn off
+and on as desirable; <i>b</i> is the moveable pedestal covering the whole.</p>
+
+<p>The adaptation of this simple contrivance to any kind of domestic
+chimney-flue is not a very difficult operation. It is only necessary to
+take out the brickwork in front of a flue of a height of 4 to 5 feet,
+and then introduce the iron flue, gathering up the brickwork beneath it;
+the section, fig. 25, supposes the iron flues to be in an external wall;
+should it be required in a party wall the soot goes off at <i>g</i> <i>g</i>, to
+be conveyed<span class="pagenum"><a name="page_448" id="page_448">{448}</a></span> outside the building in the nearest way; doors are provided
+for the purpose of sweeping; any down</p>
+
+<div class="figcenter" style="width: 320px;">
+<a href="images/ill_pg_448_lg.jpg">
+<img src="images/ill_pg_448_sml.jpg" width="320" height="465" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 25.&mdash;Section of the flue pedestal.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<p class="nind">draught of air in the chimney might expend itself in the soot flue, and
+the smoke having passed the spray could not return. The spray of water
+should be equal to the whole width of the flue, and proportioned in
+strength to the work it has to do; the smoke from a whole group of flues
+might be conducted to one powerful spray, one upper flue or chimney
+would then suffice for the roof, while the soot and flues in any number
+might be formed into one before passing to the sewer.</p>
+
+<p>The pipe <i>h</i>, shown in fig. 25, would not form an open communication
+with the sewer; it would be supplied with a flap-cover or drain-eye,
+like the common house drain at its extremity. This would open only when
+sufficient water and soot was behind it, and close when it was passed.
+It would not require sweeping, the water keeping it clear. It should
+have another kind of drain-eye to that at present in use, the lid, or
+flap of which is hinged from the top, the soot floating on the surface
+of the water, would require the flap to open from below. Fig. 26 shows
+the kind of drain-eye that would be required.</p>
+
+<p>If it was not for the difficulty of the present form of drain-eye to our
+houses, the soot flue might discharge its contents into the house drains
+at once, below the trappings; there is probably no absolute necessity at
+all for drain-eyes at the termination of<span class="pagenum"><a name="page_450" id="page_450">{450}</a></span> house drains, their use is to
+make precaution doubly sure, to prevent the rising of the gases from the
+sewer, and to keep out the rats, to prevent them, by getting through the
+traps, from entering the house.</p>
+
+<div class="figcenter" style="width: 97px;">
+<a href="images/ill_pg_450_lg.jpg">
+<img src="images/ill_pg_450_sml.jpg" width="97" height="106" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 26.&mdash;Drain-eye.</p></div>
+</div>
+
+<p>Experiments were made with a shower of water in Mr. Cubitt’s descending
+flue. It will be seen by inspecting the figures 1 to 8 that these flues
+could easily be formed into one, and taken into the drain; the
+experiment did not succeed, as none will, that brings heavy smoke in
+opposition to a water-fall. The smoke must go with the current or
+water-shower, and not against it.</p>
+
+<p>The flue pedestal, with its water-spray, is the whole of the contrivance
+by which the author believes the smoke of the domestic hearth could be
+got rid of, or rendered inoffensive. What the action of the water would
+be on the gases that escape from the fuel he cannot say, but he presumes
+it could not be other than beneficial.<span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p>
+
+<p>He experimented on the subject a few years ago, and had a stove and flue
+erected about ten feet in height; the lower part of the stove was of
+brick, the upper part with the cistern of zinc. The coal fire was
+lighted, and as soon as black smoke appeared at the chimney-top, the
+water-valve was lifted and about 16 fine jets of water were sprayed
+against a piece of loose perforated zinc, suspended in the flue; this
+zinc is shown in fig. 25; in the second flue <i>e</i> (it should have been
+marked <i>f</i>, but by a mistake in the cutting it is made <i>d</i>), the smoke
+had to pass through under this perforated zinc to get to the chimney
+above. On the instant the water was applied, the smoke appeared at the
+chimney-top of a light colour, and it came out of the soot receptacle,
+placed a little height above the ground, nearly as much as it did at
+top, and of a similar light vapourish character,<a name="FNanchor_H_8" id="FNanchor_H_8"></a><a href="#Footnote_H_8" class="fnanchor">[H]</a> a sure sign that it
+was drawn down by the current of water. Soot in large quantities was
+soon seen in the receptacle; the author has not ascertained the quantity
+of soot which would be obtained by this process from a ton of coals, but
+he believes it would be very considerable, possibly two sacks or more.
+As clean unmixed soot is worth<span class="pagenum"><a name="page_452" id="page_452">{452}</a></span> in London 2<i>s.</i> 6<i>d.</i> per sack, if this
+soot were retained it would pay for the extra expense of the water, and
+the retaining of it, and to carry off the water would be an easy
+operation.</p>
+
+<p>The “blacks” are good things at present in their wrong place; they could
+in the way proposed be very easily got rid of, and if it were possible
+to cut into all the chimneys of London and apply the remedy, the whole
+of the soot, which at present escapes into the atmosphere, might be
+caught and passed into the drains; it would there probably fully
+deodorize them. It is certainly not possible, from the herculean nature
+of the task, to disturb the whole of the chimneys of London, but the
+worst only might be operated upon, such as the chief kitchen flues of
+the great establishments, which are continually sending out black smoke.</p>
+
+<p>Among the chief offenders are our bakers, nearly twenty of them being
+fined weekly for this by the magistrates, and for fires occurring in
+their chimneys. It appears that the Smoke Nuisance Act bears hardly upon
+them; the smoke-consuming apparatus forced upon them by the Act has
+utterly failed in its purpose, and it is impossible for them to comply
+with the requirements of the Act, and carry on their business in a
+satisfactory manner either to themselves or the public. They have
+applied to the Home Secretary<span class="pagenum"><a name="page_453" id="page_453">{453}</a></span> for relief, and a bill to repeal so much
+of the Act 16 and 17 Vict. that relates to bakehouses has been in
+contemplation.</p>
+
+<p>There would be no difficulty in placing a flue pedestal in their flues
+at any height above their oven fires; it would not only relieve their
+neighbours from the annoyance of black smoke from their chimneys, but it
+would secure the chimneys themselves from taking fire. The water need
+only be turned on when required, when black smoke was being made, and if
+they chose to collect the soot the expense of the operation would be
+trifling, if anything, beyond the first expense of the flue pedestal, in
+the end.</p>
+
+<p>In large country houses the flue pedestal would warm the upper rooms or
+passages, and cause a more equal temperature in the building; this,
+together with the practicability of collecting the soot for agricultural
+purposes, might be an inducement to its introduction. Water could be
+lifted to the roof of a country mansion by that ingenious contrivance
+the hydraulic ram, and passed off to its original source when done with,
+the soot being left behind.</p>
+
+<p>The beautiful self-acting machine, known as Gwynne and Co.’s improved
+hydraulic ram, is peculiarly adapted for raising or lifting water to any
+required elevation. It is necessary to have a fall of water to work it,
+and the greater the height of the fall, the more<span class="pagenum"><a name="page_454" id="page_454">{454}</a></span> effective will be the
+machine. In favourable cases it will raise water thirty times higher
+than the fall working it. The greater the height of the lift, of course
+the less will be the quantity raised in a given time. This machine can
+be made to deliver comparatively large quantities of water, either in
+tanks on the roofs of houses, or in farmyards for filling ponds. It will
+work day and night without any attendance or expense after it is once
+fixed. Two or more rams may be used to force through the same pipe, or
+rising main. Where a continuous stream of water to work the machine
+cannot be obtained, a spring, or even rainfall, or drainage may be
+stored up in a reservoir or dam, and made to work the ram.</p>
+
+<p>The expense of these machines is not excessive, as the following table
+will show:&mdash;</p>
+
+<table border="1" cellpadding="2" cellspacing="0" summary=""
+ style="font-size:75%;">
+
+<tr class="c"><td> Diameter of<br />
+ Feed Pipe. </td>
+
+<td>Diameter of<br />
+ Delivery<br />
+   Pipe. </td>
+
+<td>  Approximate Number of<br />
+ Gallons of Water raised<br />
+  in a day of 24 hours.</td>
+
+<td>Price of Ram, complete,<br />
+with all the accessories,<br />
+ but exclusive of Pipes.</td></tr>
+
+<tr><td class="c"> Inches.</td><td class="c"> Inches.</td><td class="c"> &nbsp;</td><td class="c"> £</td></tr>
+<tr><td class="c"> 2</td><td class="c"> 1</td><td class="c"> 800 to 1150</td><td class="c"> 12</td></tr>
+<tr><td class="c"> 3</td><td class="c"> 2</td><td class="c"> 3000 to 4000</td><td class="c"> 24</td></tr>
+<tr><td class="c"> 4</td><td class="c"> 2</td><td class="c"> 4000 to 5000</td><td class="c"> 34</td></tr>
+</table>
+
+<p>A small room or enclosure must be erected to contain the machine.</p>
+
+<p>The question of how far the removal of smoke from the atmosphere would
+affect the various gases of combustion floating therein is a question
+for the chemist.<span class="pagenum"><a name="page_455" id="page_455">{455}</a></span> The plan that has been here proposed is founded on the
+supposition that Nature’s law, relative to the diffusion of gases,
+permits only carbonic acid gas, the chief product of combustion, to
+remain in the proportion of 1 in 2000. The introduction of so much water
+in the sewer, where its presence already is considered an injury to the
+sewage, is an objection, but the present system of drainage requires a
+plentiful supply of water, to prevent stoppages or choking. Should the
+dry earth system ever be generally introduced, the present sewers would
+serve to remove liquid sewage and all products of combustion. The
+operation of the sewer in any way in receiving this smoke and soot,
+would permit the full and cheering light of the sun to shine alike in
+country and town.<span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p>
+
+<h2><a name="DESIGN_No_36" id="DESIGN_No_36"></a><i>DESIGN No. 36.</i><br /><br />
+A LECTURE HALL, OR LITERARY INSTITUTION.</h2>
+
+<div class="figcenter" style="width: 341px;">
+<a href="images/ill_pg_456_lg.jpg">
+<img src="images/ill_pg_456_sml.jpg" width="341" height="302" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made to refront an old chapel in the country which had
+been purchased for the purpose of forming a Literary Institute. The
+interior</p>
+
+<div class="figcenter" style="width: 271px;">
+<a href="images/ill_pg_457_lg.jpg">
+<img src="images/ill_pg_457_sml.jpg" width="271" height="428" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Tablet in front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p>
+
+<p class="nind">was one large room, the lecturer’s table at the back, a recess and
+fireplace behind, a large gallery in front, under which were formed two
+small rooms, with a</p>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_458_lg.jpg">
+<img src="images/ill_pg_458_sml.jpg" width="239" height="348" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of entrance-door.</p></div>
+</div>
+
+<p class="nind">passage from the grand entrance between. The entrance-door with a bust
+of Socrates over it, under the arch, was made large, to give an
+important character<span class="pagenum"><a name="page_459" id="page_459">{459}</a></span> to the front. A section of the niche over the
+doorway is given, some details of the angle rustication, together with
+an elevation of the entrance-door.</p>
+
+<div class="figcenter" style="width: 137px;">
+<a href="images/ill_pg_459_lg.jpg">
+<img src="images/ill_pg_459_sml.jpg" width="137" height="174" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<h2><a name="DESIGN_No_37" id="DESIGN_No_37"></a><i>DESIGN No. 37.</i><br /><br />
+ENCAUSTIC TILES.</h2>
+
+<p>A slight digression from the subject-matter of the preceding pages may
+serve to break monotony, and introduce to the notice of the reader an
+ornamental object&mdash;the encaustic tile. They are</p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_460_lg.jpg">
+<img src="images/ill_pg_460_sml.jpg" width="193" height="194" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Design for a floor encaustic tile.</p></div>
+</div>
+
+<p class="nind">now of universal use, both for floor and wall decoration, and have
+become general favourites for such purposes. A few suggestions,
+therefore, for the purpose of making them more artistic and pleasing
+will not be out of place.</p>
+
+<p>The present patterns are almost entirely of a con<span class="pagenum"><a name="page_461" id="page_461">{461}</a></span>ventional kind, or
+according to strict geometric forms. The same pattern is repeated all
+over the surface, without variation, and however excellent the pattern
+may be, it is designed on the same principle as that of a printed wall
+paper.</p>
+
+<p>The design just given puts all geometric forms aside, and introduces a
+free-hand treatment, allowing the pattern to be varied on every surface
+laid down.</p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_461_lg.jpg">
+<img src="images/ill_pg_461_sml.jpg" width="193" height="198" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Design for wall encaustic tile.</p></div>
+</div>
+
+<p>The first tile shows eight points in which the stem of the pattern
+(suppose that of a flower design) meets in them all. The second tile
+shows the stem; the third and fourth the flower pattern varied. One tile
+might have more flowers than leaves, another all leaves or buds, and as
+all the tiles would fall in their right places, they depend only on the
+care of<span class="pagenum"><a name="page_462" id="page_462">{462}</a></span> the workmen who place them; the pattern might be varied
+according to the number of tiles of different pattern.</p>
+
+<p>For wall linings a trellis work might be shown on the tile, having a
+blue ground; some tiles might be without either leaves, stems, or
+flowers, and the design would show a flowered trellis against the sky.
+The figure given on page 461 shows this.</p>
+
+<p>These tiles are beginning to be used on columns. Some good examples are
+to be seen in the South Kensington Museum Galleries. In columns with
+trellis work a white marble ground with leaves and roses twined round it
+naturally, would look a great deal better than formal lines of stiff
+ornaments.</p>
+
+<p>Some of our latest Gothic architects who were at the same time artists,
+did not trouble themselves to draw out according to rule the geometric
+lines for the foliation of their Gothic windows. They knew the
+principles thoroughly, but merely made the vertical lines correct, and
+then sketched in the foliation with a free hand. This gave an outline
+greatly superior to the usual stiff conventional forms. Some examples of
+this may be seen in one of the author’s books, now in the Fine Art
+Library of the South Kensington Museum, in which the free-hand designs
+(rubbings) are placed by the side of the same patterns drawn out
+geometrically.<span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<p>The vignette shows foreign cut-wood patterns for roof ornament; the
+section the method of forming the zinc gutter.</p>
+
+<div class="figcenter" style="width: 231px;">
+<a href="images/ill_pg_463_lg.jpg">
+<img src="images/ill_pg_463_sml.jpg" width="231" height="402" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<h2><a name="DESIGN_No_38" id="DESIGN_No_38"></a><i>DESIGN No. 38.</i>&mdash;RESTORATION OF CASTLE GUNNARSTROP, SWEDEN.</h2>
+
+<div class="figcenter" style="width: 621px;">
+<a href="images/ill_pg_464_lg.jpg">
+<img src="images/ill_pg_464_sml.jpg" width="621" height="349" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<p class="nind"><span class="letra">I</span>T has been remarked in the Introduction, that the localities in which a
+residence can be placed greatly affect their picturesque appearance. The
+north and west Highlands of Scotland, in our own country, and a similar
+class of scenery in Sweden and Norway, greatly aid by their natural
+beauties the best effects of the architect, and generally in northern
+Europe, including Denmark with the above-named countries, those
+accessories can be largely taken advantage of. An instance of this can
+be found in the design now under consideration. In this castle the
+gables are carried up to a greater height, and made more ornamental and
+of greater importance than with us. In the year 1852 the author was
+making a design for a villa for the Count de Bark, a Swedish nobleman.
+It was to be erected on the heights bordering the Sound near Copenhagen,
+and was seen from the sea in passing, peering above the trees. The upper
+part of the villa was made as picturesque as possible, with a tower,
+battlements, and turrets. The lower part of the building was very plain,
+and the plan merely contained a few living rooms and servants’
+apartments; it was much unlike our style, and is therefore not given
+here: only the view from the vignette is afforded in this description.
+The Count’s uncle occupied the old castle, the Vrams Gunnarstrop in
+Sweden, then very much out of repair and<span class="pagenum"><a name="page_466" id="page_466">{466}</a></span> unfitted for the requirements
+of modern domestic life.</p>
+
+<p>It was planned originally on a grand scale; the fronts had high
+triangular gables in steps, and decorated with cut granite ornaments,
+but the whole was</p>
+
+<div class="figcenter" style="width: 252px;">
+<a href="images/ill_pg_466_lg.jpg">
+<img src="images/ill_pg_466_sml.jpg" width="252" height="274" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The one-pair plan.</p></div>
+</div>
+
+<p class="nind">very plain. The north front was in two floors, and the angle towers of
+the building had only two floors. The portions between one storey&mdash;that
+of the ground floor&mdash;thus had to be raised. The ground floor was given
+to the servants, and the southern portion of the<span class="pagenum"><a name="page_467" id="page_467">{467}</a></span> building was to remain
+for a time in its then existing state. The plan shows <i>a</i>, the grand
+staircase, adorned with columns supporting the upper landing. It was 27
+ft. in length by 26 ft. in width, and led up to an ante-room <i>b</i>, in the
+centre of the building, 26 ft. in length by 12 ft. in breadth. It opened
+into the first and second drawing-rooms, <i>c</i> and <i>d</i>: one 30 ft. in
+length, the other 40 ft., and both of a width of 26 ft.</p>
+
+<div class="figcenter" style="width: 281px;">
+<a href="images/ill_pg_467_lg.jpg">
+<img src="images/ill_pg_467_sml.jpg" width="281" height="186" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of the Count de Bark’s villa.</p></div>
+</div>
+
+<p>The dining-room <i>e</i>, entered from the chief drawing-room, was 40 ft. in
+length, with a width of 22 ft.; <i>f</i> shows the gallery or library filled
+with book-cases, and leading to the day-room <i>h</i>; the chief bedroom is
+shown at <i>i</i> adjoining, <i>k</i> is the lady’s dressing-room, <i>l</i> the
+gentleman’s dressing-room and bath; <i>m</i> is the nursery,<span class="pagenum"><a name="page_468" id="page_468">{468}</a></span> with a
+servants’ staircase and closet adjoining; <i>g</i> is the servants’
+serving-place at the entrance of dining-room. The light portions of the
+plan show the additions made; the black, the old portions of the castle.
+The two towers contained staircases to the attics which were formed in
+the high roofs.</p>
+
+<p>The principal elevation faced the west. The perspective view of this
+front is given. Its length is 130 ft., and the height of the principal
+entrance from the ground to the top of the gable is 60 ft.</p>
+
+<p>The south and west sides were of an equally picturesque character, but
+neither had any central gable. The south had triple dormer windows
+joined in the centre with one dormer window at each side. The two towers
+were seen rising above the roof, and a wide terrace with open stone
+Elizabethan balustrading extending the entire front, with steps down to
+the garden in the centre below. The terrace was 130 ft. in length. The
+west side had the two gables, one at each end, with three tall dormer
+windows in the roof; these were connected by wood balustrading, and a
+window with three lights was placed below each. The granite-stone
+ornaments in the old fronts were replaced in the new fronts.<span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p>
+
+<p>The vignette gives a view of a small garden fountain, designed from one
+in the old garden at Blickling in Norfolk. The plinth is hexangular in
+plan, with the scrolls projecting on the three sides. To the top of the
+jet its height is about 9 feet.</p>
+
+<div class="figcenter" style="width: 215px;">
+<a href="images/ill_pg_469_lg.jpg">
+<img src="images/ill_pg_469_sml.jpg" width="215" height="311" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<h2><a name="DESIGN_No_39" id="DESIGN_No_39"></a><i>DESIGN No. 39.</i><br /><br />
+SUMMER VILLA FOR THE COUNT KINSKI, AT TEPLITZ.</h2>
+
+<div class="figcenter" style="width: 505px;">
+<a href="images/ill_pg_470_lg.jpg">
+<img src="images/ill_pg_470_sml.jpg" width="505" height="337" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of Count Kinski’s summer villa.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS villa was designed about the year 1852, for an Austrian nobleman,
+who wished to have a villa in the English Elizabethan character. The
+plan was arranged after his own figured sketches, and it is given here
+as showing the requirements considered desirable for such a building in
+a summer place of</p>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_471_lg.jpg">
+<img src="images/ill_pg_471_sml.jpg" width="282" height="228" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">retirement, or palace for a foreign nobleman’s occupation. The porch was
+approached on four sides by flights of steps 12 ft. 6 in. in diameter;
+it opened into a hall <i>b</i>, 20 ft. in length by 14 ft. in width. The
+drawing-room <i>c</i>, of noble size, with two bay windows, was 36 ft. in
+length by 22 in width. The dining<span class="pagenum"><a name="page_472" id="page_472">{472}</a></span>-room <i>d</i>, in the opposite side of the
+hall, was 28 ft. in length by 18 ft. in width. The butler’s pantry <i>k</i>,
+and the servants’ offices and kitchen <i>g</i>, with a large store-closet
+<i>h</i>, and scullery <i>i</i>, adjoined. A bread-room is shown at <i>j</i>, <i>l</i> is
+the servants’ hall, <i>m</i> a china-closet, <i>n</i> a store-room, and <i>o</i> the
+servants’ staircase, <i>q q</i> are the servants’ entrances, and <i>r r</i> the
+closets.</p>
+
+<div class="figcenter" style="width: 268px;">
+<a href="images/ill_pg_472_lg.jpg">
+<img src="images/ill_pg_472_sml.jpg" width="268" height="227" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan.</p></div>
+</div>
+
+<p>Returning to the principal portion of the building, the chief staircase,
+<i>v</i>, opens from the entrance hall, <i>e e e</i> are nurseries, and <i>f</i> is the
+library. On the first floor, <i>a</i> is the balcony over the porch; this was
+to be used for smoking, &amp;c., <i>b</i> is the best bed-chamber, and <i>c</i> the
+boudoir to the same, <i>d</i> is the second best bed<span class="pagenum"><a name="page_473" id="page_473">{473}</a></span>chamber, and <i>e</i> its
+boudoir, <i>f</i> is the third best bedchamber, and <i>g</i> its boudoir, <i>h</i> is a
+bedroom without any boudoir, <i>i</i> is the housekeeper’s bedroom, <i>k k k</i>
+the men’s sleeping room, <i>i</i> housemaid’s closet, <i>j j</i> closets, <i>l l</i>
+linen-closets, <i>m</i> a closet or bath-room, <i>n</i> the principal staircase,
+and <i>o</i> the servants’ staircase.</p>
+
+<p>The attic plan was devoted to the sleeping rooms, <i>b b b</i>, of the female
+servants. Here plans are made</p>
+
+<div class="figcenter" style="width: 250px;">
+<a href="images/ill_pg_473_lg.jpg">
+<img src="images/ill_pg_473_sml.jpg" width="250" height="155" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Attic plan.</p></div>
+</div>
+
+<p>(the building being so large) on a smaller scale than the other plans in
+this volume.</p>
+
+<p>The perspective view merely exhibits the common forms of Elizabethan
+character. The tower which formed the entrance was 70 ft. in height from
+the foundation to the top of its roof, the height of the ground-floor
+rooms was 14 ft. 3 in. They had rich plaster friezes, and the staircase
+had carved oak Elizabethan balustrading. The second-floor rooms<span class="pagenum"><a name="page_474" id="page_474">{474}</a></span> were 12
+ft. 3 in. in height, and were very plain in character. The upper floor
+of the tower was open, but could be closed by sashes; this was intended
+for a smoking retreat. A small detail of one of the gabled windows in
+front is given below. Altogether, the design had a most picturesque
+effect, and its style met with approval. It combined utility with
+elegance,</p>
+
+<div class="figcenter" style="width: 141px;">
+<a href="images/ill_pg_474_lg.jpg">
+<img src="images/ill_pg_474_sml.jpg" width="141" height="179" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Gable window.</p></div>
+</div>
+
+<p class="nind">and completely answered the objects for which it was constructed.</p>
+
+<p>Another villa was designed for an Austrian nobleman, the Prince Clary: a
+view of it is given in the first illustration of this volume, through
+the window of the architect’s study. It was intended as a summer retreat
+for the Prince and his friends when engaged in a fishing-excursion on
+the noble river the Elbe, on<span class="pagenum"><a name="page_475" id="page_475">{475}</a></span> the banks of which it was placed. It
+contained a large centre dining-room, 48 ft. by 22, with a saloon or
+drawing-room, 40 ft. by 20 ft., and extensive accommodation for the
+kitchen and servants’ departments. The upper storey contained 14 best
+bedrooms, each with an ante or dressing-room, besides bath-room and the
+sleeping apartments for the domestics.<span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p>
+
+<h2><a name="DESIGN_No_40" id="DESIGN_No_40"></a><i>DESIGN No. 40.</i><br /><br />
+HARRINGTON HOUSE, QUEEN’S PALACE GARDENS.</h2>
+
+<div class="figcenter" style="width: 335px;">
+<a href="images/ill_pg_476_lg.jpg">
+<img src="images/ill_pg_476_sml.jpg" width="335" height="329" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of exterior.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building, with which the present collection of designs closes, is
+probably the most unpicturesque example in the volume. Its exterior has
+been frequently criticised; whatever its merits or demerits may be, it
+certainly is wholly unlike, while at the same time it is not inferior,
+to the strange style at present so popular with the younger branch of
+architectural professors, which appears to be a</p>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/ill_pg_477_lg.jpg">
+<img src="images/ill_pg_477_sml.jpg" width="311" height="158" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of principal staircase.</p></div>
+</div>
+
+<p class="nind">mixture of the Byzantine and Romanesque styles, joined with the Roman
+Gothic. Some call it the Missal style, others the Northern Italian. The
+sole recommendation of it is that it comes more expensive to carry out
+than any other. This house has at least the reputation of being a very
+comfortable one, and as more than usually adapted to receive large
+assemblies and fashionable parties. Indeed the noble Earl who<span class="pagenum"><a name="page_478" id="page_478">{478}</a></span> erected
+it was so pleased with it, that on entering, on its completion, he
+addressed the following note to the author:&mdash;</p>
+
+<div class="blockquot"><p class="r">
+H. H., Kensington Palace Gardens,<br />
+<i>31 May, 1854</i>.&nbsp; &nbsp; <br />
+</p>
+
+<p class="nind">
+My dear Sir,&mdash;<br />
+</p>
+
+<p>I take this opportunity of expressing to you my thanks for having
+constructed a house, in my humble judgment, <i>without a fault</i>.</p>
+
+<p class="c">
+Believe me most sincerely yours,<br />
+</p>
+
+<p class="c">
+(Signed)      <span style="margin-left: 2em;"><span class="smcap">Harrington</span>.</span><br />
+</p>
+
+<p class="nind">
+To C. J. Richardson, Esq.<br />
+</p></div>
+
+<p class="nind">
+And after having resided in it nine months, he again<br />
+wrote as follows:&mdash;<br />
+</p>
+
+<div class="blockquot"><p class="r">
+H. H., Palace Gardens, Kensington,<br />
+<i>2nd February, 1855</i>.&nbsp; &nbsp; <br />
+</p>
+
+<p class="nind">
+My dear Sir,&mdash;<br />
+</p>
+
+<p>I pray you to accept my cordial thanks for your most able
+architectural skill in the construction of my house. I have lived
+in it one season, and have not discovered in it a single fault.</p>
+
+<p class="c">
+Believe me most truly yours,<br />
+</p>
+
+<p class="c">
+(Signed)      <span style="margin-left: 2em;"><span class="smcap">Harrington</span>.</span><br />
+</p>
+
+<p class="nind">
+To C. J. Richardson, Esq.<br />
+</p></div>
+
+<p>The site upon which the house stands was taken by the Earl from the
+Commissioners of Her Majest<span class="pagenum"><a name="page_479" id="page_479">{479}</a></span>y’s</p>
+
+<div class="figcenter" style="width: 545px;">
+<a href="images/ill_pg_479_lg.jpg">
+<img src="images/ill_pg_479_sml.jpg" width="545" height="358" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p>
+
+<p>Woods and Forests, and it certainly is, or was, one of the best sites
+for building in the metropolis. It adjoins Kensington Gardens, looking
+on the old winter garden of Queen Anne. Agreeable and admirable a</p>
+
+<div class="figcenter" style="width: 186px;">
+<a href="images/ill_pg_480-a_lg.jpg">
+<img src="images/ill_pg_480-a_sml.jpg" width="186" height="84" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan of staircase.</p></div>
+</div>
+
+<p class="nind">site for building as this was, in 1853, it remained for some time
+utterly neglected. The first speculator had been ruined, and only one or
+two of his houses (one erected by Mr. Owen Jones, the architect) were</p>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_480-b_lg.jpg">
+<img src="images/ill_pg_480-b_sml.jpg" width="168" height="91" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<p class="nind">standing in the road. Soon after the Earl of Harrington acquired the
+land, and erected this building, the whole of the road, on each side,
+was covered with first-class mansions.<span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<p>The terms of the agreement were, that the Earl should take plot No. 9
+and the northern portion of plot No. 10, having a frontage of 196 ft. to
+the Queen’s Road, and a depth of about 260 ft., for a period of 91¼
+years, from the 5th July, 1851, at a peppercorn rent for the first year,
+of 73<i>l.</i> 10<i>s.</i> for the second year, and of 147<i>l.</i> a year for the
+remainder of the term, also a rent of 5<i>s.</i> a year in lieu of land-tax
+for every year except the first.</p>
+
+<p>The Earl was to expend a sum of not less than 6000<i>l.</i> in erecting upon
+the ground a dwelling-house of the first-class style of building. The
+house was to be insured in the sum of 6000<i>l.</i>, and the Earl was to pay
+jointly, with the adjacent occupiers, the expense of lighting and
+keeping up the road, which was a private one, and to pay the gatekeepers
+at the lodge. The rest of the covenants of the agreement were such as
+are usually found in such documents.</p>
+
+<p>The house was, until the present year, the only Gothic one in the
+district, the Earl insisting upon having this, his favourite style,
+admitted. It stands in the centre of the road at the highest level, and
+is well up out of the ground. The principal floor is 7 ft. above the
+outside road of approach, and 14 ft. above the level of the public road.
+The whole of the walls stand on a basement of concrete, and the lower
+flooring is 5 ft. above the level of the foundations.<span class="pagenum"><a name="page_482" id="page_482">{482}</a></span> The basement
+story is 14 ft. in height, and of entirely fireproof construction. The
+best rooms on the ground-floor are 17 ft. 6 in. in height, the secondary
+rooms are 15 ft. high. All the principal staircases are of stone; the
+ground plan on page 479 shows the</p>
+
+<div class="figcenter" style="width: 152px;">
+<a href="images/ill_pg_482_lg.jpg">
+<img src="images/ill_pg_482_sml.jpg" width="152" height="291" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of principal staircase.</p></div>
+</div>
+
+<p class="nind">entrance hall, <i>a</i>, approached by 12 steps; it is 30 ft. in length, by
+21 ft. in width; <i>b</i> is the principal staircase, situated on one side of
+the saloon in the centre of the building; the latter is 41 ft. long by
+21 ft. wide. The dining-room <i>e</i>, and the library <i>c</i>, on each side of<span class="pagenum"><a name="page_483" id="page_483">{483}</a></span>
+the hall, are respectively 30 ft. by 22 ft. The great room, with the bay
+window, entered from the saloon, is the picture gallery <i>f</i>. This room
+is 41 ft. long by 30 ft. wide, without the bay. The drawing-rooms <i>d</i>,
+<i>d</i>, on each side, are each 25 ft. by 20 ft.; <i>g</i>, the conservatory,
+measures 40 ft. by 21 ft.; this, with the two drawing-rooms and the
+picture gallery, can in less than half an hour be thrown into one by the
+removal of the large folding-doors in the picture</p>
+
+<div class="figcenter" style="width: 113px;">
+<a href="images/ill_pg_483_lg.jpg">
+<img src="images/ill_pg_483_sml.jpg" width="113" height="127" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ornament for stairs.</p></div>
+</div>
+
+<p class="nind">gallery, which can be taken away, frames complete, by simply removing a
+few screws. A length of drawing-room is then gained of 125 ft.</p>
+
+<p>The principal staircase is shown in elevation on page 477; the plans are
+here given to a larger scale.</p>
+
+<p>The lower plan shows a portion of the first flight and the servants’
+passage, <i>a</i>, under the first landing; <i>b</i> is their staircase down to
+the basement, this should<span class="pagenum"><a name="page_484" id="page_484">{484}</a></span> have been shown on the left-hand side. It is
+the footman’s staircase, adapted for him to ascend and</p>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_484_lg.jpg">
+<img src="images/ill_pg_484_sml.jpg" width="287" height="399" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Iron railing on staircase.</p></div>
+</div>
+
+<p class="nind">descend readily from or to the basement, and the <span class="pagenum"><a name="page_485" id="page_485">{485}</a></span>passage <i>a</i> permits
+him to enter either side of the house without being seen. The upper plan
+shows the two flights, right and left, rising from the principal
+landing. Each of these has 22 steps. Three more in the centre lead up to
+the gallery round the saloon; the section of the staircase, given on p.
+482, clearly shows this arrangement. The staircase front is in Bath
+stone. The only ornaments are the decorated corbels supporting the small
+angular projections or buttresses necessary to receive the iron
+standards of the railing above. One of the corbels and a panel of the
+iron railing is given. This is carried up the stairs on both sides and
+round the gallery, and is richly coloured and gilt. The only remaining
+portions of the ground plan to be described are the secondary rooms. A
+side entrance is at <i>j</i>, and the waiting room, <i>i</i>, is also at the side;
+<i>h</i> is the servants’ staircase, going from the basement to the attic. On
+the other side of the building <i>o</i> is the Earl’s dressing-room, with a
+study or writing room by its side. This has a lift, <i>n</i>, from the
+kitchen, enabling it to be used as a serving room. The picture gallery
+has a flight of steps descending to a large ornamented garden at the
+back of the house, <i>n n</i> is the stable yard, and <i>k k k</i> rooms over the
+stable.</p>
+
+<p>The section through the complete building, given on page 486, shows the
+general character of the interior. The rooms are wholly without
+ornament; all have plain cornices formed of running Gothic mouldings.
+The<span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p>
+
+<div class="figcenter" style="width: 564px;">
+<a href="images/ill_pg_486_lg.jpg">
+<img src="images/ill_pg_486_sml.jpg" width="564" height="411" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p>
+
+<p class="nind">only decorated portion is the saloon (<i>inf.</i>), the coved ceiling of
+which has the shields of painted and gilt coats of arms of family
+connexions, together with</p>
+
+<div class="figcenter" style="width: 441px;">
+<a href="images/ill_pg_487_lg.jpg">
+<img src="images/ill_pg_487_sml.jpg" width="441" height="366" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p>
+
+<p class="nind">mottoes and monograms. The skylight is filled with richly coloured
+embossed glass, every pane having a shield of arms, its ceiling being
+panelled with painted enrichments on a blue ground. A view of the saloon
+is given on p. 487; it contains in the centre a statue</p>
+
+<div class="figcenter" style="width: 144px;">
+<a href="images/ill_pg_488_lg.jpg">
+<img src="images/ill_pg_488_sml.jpg" width="144" height="288" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Half-section of roof of conservatory.</p></div>
+</div>
+
+<p class="nind">by Theed, of Lady Chandos Pole, the eldest daughter of the Earl. The
+statues are shown in the plan by the letters <i>m m</i>. The ground floor is
+supplied with warm-water pipes; these are shown by the dotted lines.
+They are sunk in the brickwork forming the substructure of<span class="pagenum"><a name="page_489" id="page_489">{489}</a></span> the
+flooring, and covered with open ornamental ironwork. The hall has two
+warm-water pedestals. The whole of the rooms and conservatory are so
+warmed.</p>
+
+<p>The latter part of the interior resembles in some respects a small
+chapel. A half-section of a portion</p>
+
+<div class="figcenter" style="width: 253px;">
+<a href="images/ill_pg_489_lg.jpg">
+<img src="images/ill_pg_489_sml.jpg" width="253" height="286" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of one-pair.</p></div>
+</div>
+
+<p class="nind">of its roof is given on p. 488; it measures 22 ft. from the floor to the
+collar-beam. The corbels, from which the roof springs, are decorated
+with shields of arms, surrounded by a garland of strawberry leaves.</p>
+
+<p>In the plan of the one-pair floor <i>a</i> is the boudoir<span class="pagenum"><a name="page_490" id="page_490">{490}</a></span> or morning room;
+<i>b b b</i> are bedrooms; <i>c c c</i> dressing-rooms, and <i>d</i> is the bath-room.
+The gallery is shown as completely going round the saloon; its ceiling
+is of ground glass arranged in panels, each of which is</p>
+
+<div class="figcenter" style="width: 259px;">
+<a href="images/ill_pg_490_lg.jpg">
+<img src="images/ill_pg_490_sml.jpg" width="259" height="346" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">moveable, with a skylight over the whole. There is plenty of light
+therefore afforded for the paintings with which the walls are covered.</p>
+
+<p>The small attic plan shows these skylights on three<span class="pagenum"><a name="page_491" id="page_491">{491}</a></span> sides only,
+likewise the sleeping-rooms <i>b b</i>, and the housemaid’s closet <i>c</i>. Under
+this plan is that of the upper room in the tower with its two slate
+cisterns, each capable of containing 800 gallons of water. They are
+supported by strong trussed girders fixed in the walls. This upper room
+is approached by a</p>
+
+<div class="figcenter" style="width: 144px;">
+<a href="images/ill_pg_491_lg.jpg">
+<img src="images/ill_pg_491_sml.jpg" width="144" height="230" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Staircase to lower rooms.</p></div>
+</div>
+
+<p class="nind">cottage staircase, the plan of which, with its 22 risers, is shown in
+cut on p. 490. It enables the room to be approached without any
+structural appearance being seen from without. A half elevation of the
+exterior, and another of its section is given above. It is well supplied
+with light.<span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p>
+
+<div class="figcenter" style="width: 411px;">
+<a href="images/ill_pg_492_lg.jpg">
+<img src="images/ill_pg_492_sml.jpg" width="411" height="285" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p>
+
+<div class="figcenter" style="width: 283px;">
+<a href="images/ill_pg_493-a_lg.jpg">
+<img src="images/ill_pg_493-a_sml.jpg" width="283" height="349" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Elevation of bay window.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Section.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 224px;">
+<a href="images/ill_pg_493-b_lg.jpg">
+<img src="images/ill_pg_493-b_sml.jpg" width="224" height="100" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p>
+
+<p>The building contains upwards of forty rooms; the basement is very
+large, and contains considerable accommodation. The mere enumeration of
+these would require every letter in the alphabet to point them out in an
+engraving, but as it is desirable to show how closely a large
+establishment of servants can be packed together, the basement plan is
+given. <i>a</i> is the kitchen, <i>b</i> the scullery, and <i>c</i> the larder. The
+kitchen is provided with a lift <i>f</i>, and a small service window; <i>d</i> is
+the pastry-room, and <i>e</i> the still-room, with the lift; <i>g</i> is the
+dairy, <i>h</i> the washhouse, <i>i</i> the laundry, <i>j</i> the butler’s pantry, <i>k</i>
+the steward’s room with its strong closet; <i>l</i> is the housekeeper’s,
+with the cook’s room between it and the still-room, <i>m</i> is the servants’
+hall, <i>n</i> the men’s sleeping room; <i>o o</i> are wine-cellars, <i>p</i> the
+butler’s wine-cellar, <i>q</i> the footman’s stairs under the principal
+staircase, <i>r</i> the warm-water furnace, by the steward’s room, placed at
+the back of his strong closet; <i>s</i> is the stable, containing eight
+stalls, one loose box, and a harness-room; <i>t t t</i> are cart-sheds, <i>u</i>
+is the cowhouse, <i>v</i> the dung-pit, <i>w</i> the coach-house, <i>x x</i> two of the
+three coal-cellars, <i>y</i> the dust-pit, and <i>z z z</i> are the closets. The
+carriage-road to the side entrance is formed over the cart-sheds and
+coal-cellars. These are arched over in brick and covered with a thick
+layer of Brown’s metallic lava, and are provided with proper drainage.
+The boot-<span class="pagenum"><a name="page_495" id="page_495">{495}</a></span>cleaning place and that for lamps are between the coach-house
+and the cart-sheds.</p>
+
+<p>The exterior of the building has been censured on account of the Gothic
+outline being too flat, the roofs too low, and all the windows having
+common sash</p>
+
+<div class="figcenter" style="width: 274px;">
+<a href="images/ill_pg_495_lg.jpg">
+<img src="images/ill_pg_495_sml.jpg" width="274" height="268" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">frames. With regard to the latter, it may be considered very probable
+that if the Gothic race of architects had continued with us to the
+present day, they would have adopted plate glass for their windows, and
+put aside their lead-lights and small panes of common glass. One of the
+greatest improvements that could be made in our cathedrals, not
+excepting<span class="pagenum"><a name="page_496" id="page_496">{496}</a></span> even St. Paul’s, would be the reglazing the windows in the
+modern style.</p>
+
+<div class="figcenter" style="width: 140px;">
+<a href="images/ill_pg_496_lg.jpg">
+<img src="images/ill_pg_496_sml.jpg" width="140" height="455" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Half-elevation and section of bell-turret.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<p>As a specimen of the architectural style of the building, the centre
+bay-window of the principal front is given, with its section and plan.
+It is 9 ft. 6 in. across, and 21 ft. 4 in. high, and stands directly
+over the chief entrance. The construction of a projecting bay-window
+coming over an archway requires a short description.</p>
+
+<p>The three diagrams on page 495 show the manner in which such windows are
+corbelled out. The upper</p>
+
+<div class="figcenter" style="width: 154px;">
+<a href="images/ill_pg_497_lg.jpg">
+<img src="images/ill_pg_497_sml.jpg" width="154" height="118" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of turret.</p></div>
+</div>
+
+<p class="nind">one is a plan of the bottom stone course, immediately over the key-stone
+of the arch; it shows also the centre stone of the second course upon
+it. The middle diagram shows the two courses from the back. It will be
+seen that the middle stone of the first course does not bear upon the
+arch, but is supported by the two end stones let into the wall. The last
+diagram is a plan of the upper course at top. Slate dowels were used,
+and an iron bar, shown in plan<span class="pagenum"><a name="page_498" id="page_498">{498}</a></span> under elevation <i>a</i>, 3 in. by ¾ in., was
+placed across the course tailing into the walls on each side; and two
+bars <i>p p</i>, each 2½ by ¾ in. and 12 ft. in length, tied it to the
+flooring of the room. This is shown likewise in the plan, the dotted
+lines dividing the length of flooring; <i>d</i> is the upper course of
+stones, and <i>c</i> one of the principal beams of the floor.</p>
+
+<div class="figcenter" style="width: 315px;">
+<a href="images/ill_pg_498_lg.jpg">
+<img src="images/ill_pg_498_sml.jpg" width="315" height="213" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrading on top of building.</p></div>
+</div>
+
+<p>The bell-turret stands 20 ft. above the roof. This is carved in oak; an
+elevation, section, and plan is given. Only those parts of the building
+are intended to be here illustrated which have some peculiarity of
+design or construction.</p>
+
+<p>A building of this size would require about 150<span class="pagenum"><a name="page_499" id="page_499">{499}</a></span> working drawings to be
+made for it, and a considerable number to be given to show its
+construction.</p>
+
+<p>It was completed in about two years, at an expense of 14,814<i>l.</i>; but
+this did not include the price of the warming apparatus, nor that of the
+lightning conductor fixed to the bell-turret.</p>
+
+<div class="figcenter" style="width: 229px;">
+<a href="images/ill_pg_499_lg.jpg">
+<img src="images/ill_pg_499_sml.jpg" width="229" height="261" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Front.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Side.
+</p></td></tr>
+</table>
+
+<p>Pedestal to steps.</p>
+
+</div>
+</div>
+
+<p>Whatever opinions may be expressed in regard to the architectural
+details of this erection, the author at least can plead, as its owner
+stated in the letters, copies of which have been given, that the
+essentials<span class="pagenum"><a name="page_500" id="page_500">{500}</a></span> of a house, convenience, comfort, and complete suitability
+for all domestic purposes, were accomplished. These objects being
+attained, any real or imaginary faults perceived by professional critics
+may be palliated if not forgotten.<span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2>
+
+<p class="c"><a href="#A">A</a>,
+<a href="#B">B</a>,
+<a href="#C">C</a>,
+<a href="#D">D</a>,
+<a href="#E">E</a>,
+<a href="#F">F</a>,
+<a href="#G">G</a>,
+<a href="#H">H</a>,
+<a href="#I">I</a>,
+<a href="#K">K</a>,
+<a href="#L">L</a>,
+<a href="#M">M</a>,
+<a href="#N">N</a>,
+<a href="#O">O</a>,
+<a href="#P">P</a>,
+<a href="#Q">Q</a>,
+<a href="#R">R</a>,
+<a href="#S">S</a>,
+<a href="#T">T</a>,
+<a href="#V">V</a>,
+<a href="#W">W</a>,
+<a href="#Z">Z</a>.</p>
+
+<p class="nind">
+<br />
+Introduction, <a href="#page_3">3-48</a><br />
+
+<br />
+“<a name="A" id="A"></a><span class="smcap">Albert</span> Hall of Arts”, <a href="#page_131">131</a><br />
+
+Architectural history, <a href="#page_16">16</a><br />
+
+Architectural orders, <a href="#page_20">20</a> <i>et seq.</i><br />
+
+Architecture and gardening, <a href="#page_46">46</a>, <a href="#page_312">312</a><br />
+
+Architecture, English, <a href="#page_25">25</a><br />
+
+Architecture, Grecian, &amp;c., <a href="#page_11">11</a><br />
+
+Architecture, Mexican, &amp;c., <a href="#page_26">26</a><br />
+
+Architecture, origin of, <a href="#page_8">8</a><br />
+
+Architecture, principles of, <a href="#page_27">27</a><br />
+
+Architecture, Roman, <a href="#page_23">23</a><br />
+
+Architecture, Suburban, <a href="#page_29">29</a><br />
+
+Architectural symmetry, &amp;c., <a href="#page_31">31</a><br />
+
+Arnott’s, Dr., system of warming, <a href="#page_357">357</a><br />
+
+Arnott’s ventilator, <a href="#page_414">414</a><br />
+
+Aspect of a house, <a href="#page_36">36</a><br />
+
+Asphalte as a paving, <a href="#page_235">235</a><br />
+
+Atmosphere, the, and smoke, <a href="#page_431">431</a><br />
+
+<br />
+<a name="B" id="B"></a><span class="smcap">Bacon</span>, Lord, on house construction, <a href="#page_256">256</a><br />
+
+Balconet, an iron, <a href="#page_331">331</a><br />
+
+Balconet, design for a, <a href="#page_123">123</a><br />
+
+Balusters for a staircase, <a href="#page_277">277</a><br />
+
+Balustrade, a garden, <a href="#page_363">363</a> <i>et seq.</i><br />
+
+Balustrade, Elizabethan, <a href="#page_181">181</a><br />
+
+Balustrade for a staircase, <a href="#page_282">282</a><br />
+
+Balustrades, stone, <a href="#page_247">247</a><br />
+
+Balustrading, cut wood, <a href="#page_279">279</a><br />
+
+Balustrading, designs for iron, &amp;c., <a href="#page_299">299</a><br />
+
+Balustrading, house and garden, <a href="#page_204">204</a> <i>et seq.</i><br />
+
+Barge-board, <a href="#page_247">247</a><br />
+
+Bath-house, design for a, <a href="#page_214">214</a><br />
+
+Bower, garden, rooms, <a href="#page_242">242</a><br />
+
+Boyd’s flue, <a href="#page_414">414</a><br />
+
+Bricks, ventilating, <a href="#page_157">157</a>, <a href="#page_170">170</a><br />
+
+Buildings, foundation of, <a href="#page_151">151</a><br />
+
+<br />
+<a name="C" id="C"></a><span class="smcap">Carving</span> by machinery, <a href="#page_278">278</a><br />
+
+Casements, iron, <a href="#page_220">220</a><br />
+
+Castle, Gunnarstrop, Sweden, <a href="#page_464">464</a><br />
+
+Ceiling, a dining-room, <a href="#page_288">288</a><br />
+
+Ceiling and cornices, <a href="#page_44">44</a><br />
+
+Ceiling, drawing-room and library, <a href="#page_290">290</a>, <a href="#page_291">291</a><br />
+
+Ceiling for a drawing-room, <a href="#page_166">166</a><br />
+
+Ceiling for a hall, <a href="#page_286">286</a><br />
+
+Ceiling, ornament for a, <a href="#page_61">61</a><br />
+
+Ceilings, ornamental, various, <a href="#page_313">313</a> <i>et seq.</i><br />
+
+Ceilings, plaster ornament for, <a href="#page_161">161</a><br />
+
+Chalk concrete, <a href="#page_83">83</a><br />
+
+Chapel, design for a Roman Catholic, <a href="#page_210">210</a><br />
+
+Cheshire wooden houses, <a href="#page_233">233</a><br />
+
+Chimney-piece, ancient, at Enfield, <a href="#page_228">228</a><br />
+
+Chimney-pieces, designs for, <a href="#page_80">80</a>, <a href="#page_81">81</a>, <a href="#page_319">319</a><br />
+
+Chimney-pot, ornamented, <a href="#page_329">329</a>, <a href="#page_330">330</a>, <a href="#page_423">423</a><br />
+
+Chimney stack, ancient, <a href="#page_74">74</a><br />
+
+Churches, concrete, <a href="#page_96">96</a><br />
+
+Clunch, <a href="#page_246">246</a><br />
+
+Concrete as a foundation, <a href="#page_152">152</a><br />
+
+Concrete, chalk, <a href="#page_83">83</a><br />
+
+Concrete churches, <a href="#page_96">96</a><br />
+
+Concrete construction, <a href="#page_82">82</a><br />
+
+Concrete cottages, <a href="#page_83">83</a><br />
+
+Concrete, nature, cost, &amp;c., of, <a href="#page_91">91</a><br />
+
+Concrete, remarks on, <a href="#page_93">93</a><br />
+
+Concrete sewers, <a href="#page_96">96</a><br />
+
+Concrete walls, <a href="#page_92">92</a><br />
+
+Construction, fire-proof, <a href="#page_156">156</a><br />
+
+Construction, concrete, <a href="#page_82">82</a><br />
+
+Corbels, <a href="#page_172">172</a><br />
+
+Corbel, French cut-wood, <a href="#page_403">403</a><br />
+
+Corbels, ragstone, <a href="#page_392">392</a><br />
+
+Cornice and ceiling, <a href="#page_44">44</a><br />
+
+Cornice, design for a plaster drawing-room, <a href="#page_101">101</a><br />
+
+Cornice for a drawing-room, <a href="#page_166">166</a><br />
+
+Cottage, design for a picturesque, <a href="#page_62">62</a><br />
+
+Cottage, double, design for a, <a href="#page_66">66</a>, <a href="#page_72">72</a><br />
+
+<span class="pagenum"><a name="page_502" id="page_502">{502}</a></span>Cottage, gardener’s, <a href="#page_50">50</a><br />
+
+Cottages, Hampshire, Kentish, &amp;c., <a href="#page_88">88</a> <i>et seq.</i><br />
+
+Cottage or lodge, design for a small, <a href="#page_58">58</a><br />
+
+Cottage or lodge, design for a huntsman’s, <a href="#page_78">78</a><br />
+
+Country house, design for a small, <a href="#page_174">174</a><br />
+
+Country villa, design for a, <a href="#page_182">182</a><br />
+
+Cubitt’s flues, <a href="#page_407">407</a><br />
+
+<br />
+<a name="D" id="D"></a><span class="smcap">Dab houses</span>, <a href="#page_251">251</a><br />
+
+Damp walls, <a href="#page_152">152</a><br />
+
+Damp, wash to prevent, in walls, <a href="#page_159">159</a><br />
+
+Deals, stained, <a href="#page_45">45</a><br />
+
+Decoration external and internal, <a href="#page_42">42</a><br />
+
+Denley’s flue, <a href="#page_413">413</a><br />
+
+Door, entrance for a hall, <a href="#page_458">458</a><br />
+
+Door ornaments, <a href="#page_69">69</a><br />
+
+Doric order, <a href="#page_20">20</a><br />
+
+Drain-eye, <a href="#page_450">450</a><br />
+
+<br />
+<a name="E" id="E"></a><span class="smcap">Egyptian</span> architecture, <a href="#page_19">19</a><br />
+
+Elizabethan balustrades, <a href="#page_181">181</a><br />
+
+Elizabethan villa, <a href="#page_280">280</a><br />
+
+Encaustic tiles, <a href="#page_460">460</a><br />
+
+English architecture, <a href="#page_25">25</a><br />
+
+Escutcheon, design of an, <a href="#page_69">69</a><br />
+
+Escutcheon, key, <a href="#page_172">172</a><br />
+
+<br />
+<a name="F" id="F"></a><span class="smcap">Finials</span>, <a href="#page_109">109</a><br />
+
+Finials, roof, <a href="#page_80">80</a><br />
+
+Fireplace for a hall, <a href="#page_284">284</a><br />
+
+Fireplace, the, <a href="#page_404">404</a><br />
+
+Fire-proof construction, <a href="#page_156">156</a><br />
+
+Fire-proofing, <a href="#page_158">158</a><br />
+
+Flue construction, <a href="#page_405">405</a> <i>et seq.</i><br />
+
+Flue pedestal, the, <a href="#page_446">446</a><br />
+
+Flues, Cubitt’s, <a href="#page_407">407</a><br />
+
+Flues, various, <a href="#page_405">405</a> <i>et seq.</i><br />
+
+Fogs, London, and smoke, <a href="#page_443">443</a><br />
+
+Foundations, concrete, <a href="#page_152">152</a><br />
+
+Foundations of buildings, <a href="#page_151">151</a><br />
+
+Fountain, an ancient nymph’s, <a href="#page_47">47</a><br />
+
+Fountain, garden, <a href="#page_49">49</a><br />
+
+Fountain, garden, design for a, <a href="#page_469">469</a><br />
+
+Fountains, various designs for, <a href="#page_307">307</a><br />
+
+French villas, roofs, zinc work, &amp;c., <a href="#page_273">273</a><br />
+
+Frieze, external, <a href="#page_173">173</a><br />
+
+Frieze for dining and drawing-room, <a href="#page_178">178</a><br />
+
+Frieze, plaster, for a drawing-room, <a href="#page_65">65</a><br />
+
+<br />
+<a name="G" id="G"></a><span class="smcap">Gable</span>, ornamental, <a href="#page_170">170</a>, <a href="#page_220">220</a>, <a href="#page_300">300</a><br />
+
+Gardens, ancient, <a href="#page_312">312</a><br />
+
+Gardens and architecture, <a href="#page_45">45</a><br />
+
+Garden, architectural, <a href="#page_313">313</a><br />
+
+Garden bower rooms, <a href="#page_242">242</a><br />
+
+Gardener’s cottage, <a href="#page_50">50</a><br />
+
+Garden fountain, <a href="#page_49">49</a><br />
+
+Garden gate, a, <a href="#page_204">204</a><br />
+
+Garden gate, design for a, <a href="#page_95">95</a><br />
+
+Garden, gate to a flower, <a href="#page_265">265</a><br />
+
+Garden or summer villa, <a href="#page_302">302</a><br />
+
+Garden summer house, <a href="#page_262">262</a><br />
+
+Garden steps, <a href="#page_197">197</a><br />
+
+Garden seat, design for a, <a href="#page_361">361</a><br />
+
+Garden, vignette plan of an Old English, <a href="#page_119">119</a><br />
+
+Gate, a garden, <a href="#page_265">265</a><br />
+
+Gates, iron, in Hyde Park, <a href="#page_128">128</a><br />
+
+Gate lodge, Hyde Park, <a href="#page_125">125</a><br />
+
+Gates, Park, <a href="#page_149">149</a><br />
+
+Gates of London Parks, <a href="#page_139">139</a><br />
+
+Gothic, modern, <a href="#page_24">24</a><br />
+
+Gothic screen, <a href="#page_205">205</a><br />
+
+Gothic style, <a href="#page_10">10</a><br />
+
+Gothic window, <a href="#page_204">204</a><br />
+
+Grecian architecture, <a href="#page_11">11</a><br />
+
+Gunnarstrop castle, Sweden, <a href="#page_464">464</a><br />
+
+<br />
+<a name="H" id="H"></a><span class="smcap">Half-Timbered</span> houses, <a href="#page_248">248</a><br />
+
+Hall ceiling, <a href="#page_286">286</a><br />
+
+Hall fireplace, <a href="#page_284">284</a><br />
+
+Hall, lecture, design for a, <a href="#page_456">456</a><br />
+
+“Hall of Arts and Sciences,” Kensington, <a href="#page_133">133</a><br />
+
+Hall stove, <a href="#page_285">285</a><br />
+
+Hall, stove for entrance of a, <a href="#page_120">120</a><br />
+
+Hampshire cottages, <a href="#page_88">88</a><br />
+
+Handle, design for a door, <a href="#page_69">69</a><br />
+
+Harrington estate, the, <a href="#page_136">136</a><br />
+
+Harrington House, Queen’s Palace Gardens, <a href="#page_476">476</a><br />
+
+Houses, foundations of, <a href="#page_151">151</a><br />
+
+Haum as a building material, <a href="#page_249">249</a><br />
+
+Hiort’s flue, <a href="#page_412">412</a><br />
+
+Hot-water apparatus, <a href="#page_349">349</a><br />
+
+House, a bachelor’s, <a href="#page_401">401</a><br />
+
+House, a garden summer, <a href="#page_262">262</a><br />
+
+<span class="pagenum"><a name="page_503" id="page_503">{503}</a></span>Houses, aspect of, <a href="#page_36">36</a><br />
+
+Houses, dab and wattle, <a href="#page_251">251</a><br />
+
+House construction, Lord Bacon on, <a href="#page_256">256</a><br />
+
+House, design for a small country, <a href="#page_174">174</a><br />
+
+Houses, heating of, <a href="#page_34">34</a><br />
+
+Houses in Kent, <a href="#page_249">249</a><br />
+
+Houses, noggin, &amp;c., <a href="#page_249">249</a><br />
+
+Houses, post-and-pan, <a href="#page_252">252</a><br />
+
+Houses, site, &amp;c. of, <a href="#page_351">351</a><br />
+
+Houses, warming of, <a href="#page_351">351</a><br />
+
+Hyde Park, Queen’s Gate, entrance to, <a href="#page_139">139</a><br />
+
+Hyde Park Corner Gate, <a href="#page_140">140</a><br />
+
+<br />
+<a name="I" id="I"></a><span class="smcap">Ice</span>-house, design for a, <a href="#page_370">370</a><br />
+
+<br />
+<a name="K" id="K"></a><span class="smcap">Kensington</span> Gardens, <a href="#page_140">140</a><br />
+
+Kent ragstone, <a href="#page_176">176</a><br />
+
+Kentish cottages, <a href="#page_91">91</a><br />
+
+Kentish village houses, <a href="#page_249">249</a><br />
+
+Key escutcheons, <a href="#page_172">172</a><br />
+
+Knocker, <a href="#page_172">172</a><br />
+
+<br />
+<a name="L" id="L"></a><span class="smcap">Library</span>, elevation of a small, <a href="#page_200">200</a><br />
+
+Literary Institution, design for a, <a href="#page_456">456</a><br />
+
+Lodge, a park, <a href="#page_102">102</a><br />
+
+Lodge and gateway, design for, <a href="#page_112">112</a><br />
+
+Lodges of London Parks, <a href="#page_142">142</a><br />
+
+Lodge or cottage, a huntsman’s, <a href="#page_78">78</a><br />
+
+Lodge or cottage, design for a small, <a href="#page_56">56</a><br />
+
+Lodge, park entrance, <a href="#page_104">104</a><br />
+
+Lodge, Queen’s Gate, Hyde Park, <a href="#page_125">125</a><br />
+
+<br />
+<a name="M" id="M"></a><span class="smcap">Machine</span>-carving, <a href="#page_278">278</a><br />
+
+Mantel-pieces, <a href="#page_44">44</a><br />
+
+Maisonette, a French, <a href="#page_268">268</a><br />
+
+Meat-jack, design for a, <a href="#page_267">267</a><br />
+
+Moule’s earth system, <a href="#page_241">241</a><br />
+
+Moon’s flue, <a href="#page_412">412</a><br />
+
+Mud walls, <a href="#page_90">90</a><br />
+
+<br />
+<a name="N" id="N"></a><span class="smcap">Noggin</span> houses, <a href="#page_249">249</a><br />
+
+<br />
+<a name="O" id="O"></a><span class="smcap">Orders</span> of architecture, <a href="#page_20">20</a> <i>et seq.</i><br />
+
+Origin of architecture, <a href="#page_8">8</a><br />
+
+<br />
+<a name="P" id="P"></a><span class="smcap">Paper</span> hangings, <a href="#page_42">42</a><br />
+
+Parge-boards, <a href="#page_247">247</a><br />
+
+Pargetting, &amp;c., <a href="#page_248">248</a><br />
+
+Park, entrance lodge and gateway, <a href="#page_112">112</a><br />
+
+Park lodge, design for a, <a href="#page_99">99</a><br />
+
+Park lodge entrance, <a href="#page_104">104</a><br />
+
+Parks, history of the London, <a href="#page_139">139</a><br />
+
+Parks, the Royal, <a href="#page_139">139</a><br />
+
+Pedestals, ornamental, <a href="#page_326">326</a><br />
+
+Pedestal, the flue, <a href="#page_446">446</a><br />
+
+Pendants, &amp;c., <a href="#page_289">289</a><br />
+
+Perkins’ hot-water apparatus, <a href="#page_350">350</a><br />
+
+Picturesque cottage, design for a, <a href="#page_62">62</a><br />
+
+Picturesque defined, <a href="#page_5">5</a><br />
+
+Pipes, elevation of Elizabethan lead-water, <a href="#page_55">55</a><br />
+
+Plaster frieze for a drawing-room, <a href="#page_65">65</a><br />
+
+Plaster ornament for a ceiling, <a href="#page_161">161</a><br />
+
+Porch, design for an entrance, <a href="#page_225">225</a><br />
+
+Portico, elevation of, <a href="#page_180">180</a><br />
+
+Post-and-pan houses, <a href="#page_252">252</a><br />
+
+Pots, ornamental chimney, <a href="#page_423">423</a><br />
+
+Prevention of damp, <a href="#page_151">151</a><br />
+
+<br />
+<a name="Q" id="Q"></a><span class="smcap">Queen Anne’s</span> garden, <a href="#page_140">140</a><br />
+
+Queen’s Gate, iron-work of, <a href="#page_143">143</a><br />
+
+Queen’s Gate Lodge, <a href="#page_125">125</a>, <a href="#page_142">142</a><br />
+
+<br />
+<a name="R" id="R"></a><span class="smcap">Ragstone</span>, Kentish, <a href="#page_176">176</a><br />
+
+Railing, French, in iron, <a href="#page_190">190</a><br />
+
+Railing, park, <a href="#page_147">147</a><br />
+
+Railing, ornamental, <a href="#page_81">81</a><br />
+
+Riding-house and stabling, <a href="#page_389">389</a><br />
+
+Reading-room, design for a, <a href="#page_208">208</a><br />
+
+Rectory, design for a small country, <a href="#page_162">162</a><br />
+
+Retreat, a small country, <a href="#page_268">268</a><br />
+
+Roman Architecture, <a href="#page_23">23</a><br />
+
+Roman Temple, <a href="#page_5">5</a><br />
+
+Roof, French style of, <a href="#page_275">275</a><br />
+
+Roofs, iron, <a href="#page_348">348</a><br />
+
+Roof ornaments, design for wood, <a href="#page_463">463</a><br />
+
+Rose Hill Villa, <a href="#page_82">82</a><br />
+
+Rotunda at Bank of England, <a href="#page_158">158</a><br />
+
+Rushton Hall, <a href="#page_283">283</a><br />
+
+<br />
+<a name="S" id="S"></a><span class="smcap">Schools</span>, design for, <a href="#page_208">208</a><br />
+
+School, design for a village Sunday, <a href="#page_70">70</a><br />
+
+School, village, <a href="#page_208">208</a><br />
+
+Screen, Gothic, <a href="#page_205">205</a><br />
+
+Screen, hall, <a href="#page_206">206</a><br />
+
+<span class="pagenum"><a name="page_504" id="page_504">{504}</a></span>Sculptor’s villa, <a href="#page_338">338</a><br />
+
+Serpentine, the, <a href="#page_140">140</a><br />
+
+Sewers, a receptacle for soot, <a href="#page_438">438</a><br />
+
+Sewer gases in houses, <a href="#page_436">436</a><br />
+
+Sewers, concrete, <a href="#page_96">96</a><br />
+
+Situation of a house, <a href="#page_38">38</a><br />
+
+Smith’s, Seth, flue, <a href="#page_412">412</a><br />
+
+Smoke Nuisance Act, <a href="#page_452">452</a><br />
+
+Smoke Prevention, <a href="#page_405">405</a><br />
+
+Smoke purified, by a spray of water, from soot, <a href="#page_441">441</a><br />
+
+Smoky chimneys, <a href="#page_427">427</a><br />
+
+Soot and the sewers, <a href="#page_436">436</a><br />
+
+Soot, prevention of, <a href="#page_428">428</a><br />
+
+Soot, removal of, from smoke, <a href="#page_433">433</a><br />
+
+Soot, value of, <a href="#page_451">451</a><br />
+
+Spiral staircase, <a href="#page_61">61</a><br />
+
+Stabling and riding-houses, <a href="#page_389">389</a><br />
+
+Stack flues, <a href="#page_417">417</a><br />
+
+Stair, best proportions of a, <a href="#page_231">231</a><br />
+
+Staircase balustrade, <a href="#page_277">277</a>, <a href="#page_282">282</a><br />
+
+Staircases, construction of, <a href="#page_194">194</a><br />
+
+Staircase railing, French, in iron, <a href="#page_190">190</a><br />
+
+Staircase, spiral, <a href="#page_61">61</a><br />
+
+Steps, garden, <a href="#page_197">197</a><br />
+
+Stone balustrades, <a href="#page_173">173</a><br />
+
+Stove, design for an entrance hall, <a href="#page_120">120</a><br />
+
+Stove for a hall, <a href="#page_285">285</a><br />
+
+Styles of architecture, <a href="#page_10">10</a><br />
+
+Style, Gothic, <a href="#page_10">10</a><br />
+
+Summer house, or garden, <a href="#page_262">262</a><br />
+
+Summer or garden villa, <a href="#page_302">302</a><br />
+
+Summer room, design for a, <a href="#page_214">214</a><br />
+
+Sunday school, village, design for a, <a href="#page_70">70</a><br />
+
+<br />
+<a name="T" id="T"></a><span class="smcap">Tall-boys</span>, <a href="#page_416">416</a><br />
+
+Taste in architecture, <a href="#page_15">15</a><br />
+
+Terrace, ironwork, <a href="#page_297">297</a><br />
+
+Tiles, design for ornamental, <a href="#page_189">189</a><br />
+
+Tiles, encaustic, <a href="#page_460">460</a><br />
+
+Tiles, ornamental, <a href="#page_187">187</a><br />
+
+Turn-buckle, <a href="#page_221">221</a><br />
+
+<br />
+<a name="V" id="V"></a><span class="smcap">Ventilation</span>, general principles of, <a href="#page_32">32</a><br />
+
+Ventilation, <a href="#page_411">411</a><br />
+
+Verandahs, <a href="#page_375">375</a><br />
+
+Verge-board, <a href="#page_247">247</a><br />
+
+Villa, a sculptor’s, <a href="#page_338">338</a><br />
+
+Villa, design for a country, <a href="#page_182">182</a><br />
+
+Villa, design for a small country, <a href="#page_222">222</a><br />
+
+Villa, double suburban, <a href="#page_192">192</a><br />
+
+Villa, Elizabethan, <a href="#page_280">280</a><br />
+
+Villa, French, <a href="#page_268">268</a><br />
+
+Villa, old English wooden, <a href="#page_232">232</a><br />
+
+Villa, suburban, design for a, <a href="#page_382">382</a><br />
+
+Villa, suburban, design for a, <a href="#page_373">373</a><br />
+
+Villa, summer or garden, <a href="#page_302">302</a><br />
+
+Villa, summer, for Count Kinski, <a href="#page_470">470</a><br />
+
+Village schools, <a href="#page_208">208</a><br />
+
+<br />
+<a name="W" id="W"></a><span class="smcap">Wainscoting</span>, <a href="#page_285">285</a><br />
+
+Walls, concrete, <a href="#page_92">92</a><br />
+
+Walls, damp, <a href="#page_152">152</a><br />
+
+Walls, how to cure damp, <a href="#page_160">160</a><br />
+
+Warming houses, <a href="#page_34">34</a>, <a href="#page_351">351</a><br />
+
+Water, for removing soot from smoke, <a href="#page_440">440</a><br />
+
+Wattle houses, <a href="#page_251">251</a><br />
+
+Weathercock, design for a, <a href="#page_261">261</a>, <a href="#page_381">381</a><br />
+
+Window, design for a decorated, <a href="#page_336">336</a><br />
+
+Window, Gothic, <a href="#page_204">204</a><br />
+
+Window, ironwork for, <a href="#page_297">297</a><br />
+
+Wooden villa, old English, <a href="#page_232">232</a><br />
+
+Wood-noggin houses, <a href="#page_249">249</a><br />
+
+Woodwork, French, pine, <a href="#page_186">186</a><br />
+
+Woodwork, French, <a href="#page_275">275</a><br />
+
+<br />
+<a name="Z" id="Z"></a><span class="smcap">Zinc</span>, French ornamental work in, <a href="#page_274">274</a><br />
+</p>
+
+<p class="fint">THE END.</p>
+
+<div class="footnotes"><p class="cb">FOOTNOTES:</p>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Now Sir William Fothergill Cooke&mdash;October, 1869.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> First illustrated by the author in his work, “Architectural
+Remains of the Reigns of Elizabeth and James I.”</p></div>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> The garden entrance to the ancient palace of the Grand Duke
+of Tuscany, alla Trinita de’ Monti. The architecture of Annibale Lippi.</p></div>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> This subject is fully treated and illustrated with plates
+in the Author’s treatise on “The Warming and Ventilation Buildings,”
+published in 1837 and 1856.</p></div>
+
+<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> “Cheap Ice Well.” (Atchley &amp; Co.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> “Plan for Purifying the Atmosphere of Towns.” (Hamilton,
+Adams, &amp; Co.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> “Coke, Smoke, and Sewage.” (Cave and Sever, Manchester.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_H_8" id="Footnote_H_8"></a><a href="#FNanchor_H_8"><span class="label">[H]</span></a> A print of the stove is given in the author’s pamphlet
+entitled “The Smoke Nuisance, and its Remedy; with Remarks on Liquid
+Fuel.” Price 1<i>s.</i> (Atchley &amp; Co.)</p></div>
+
+</div>
+
+<div class="figcenter">
+<img src="images/back.jpg" width="320" height="500" alt="" title="" />
+</div>
+
+<hr class="full" />
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 60759 ***</div>
+</body>
+</html>
diff --git a/60759-h/images/back.jpg b/60759-h/images/back.jpg
new file mode 100644
index 0000000..986a3af
--- /dev/null
+++ b/60759-h/images/back.jpg
diff --git a/60759-h/images/colophon.jpg b/60759-h/images/colophon.jpg
new file mode 100644
index 0000000..58d706c
--- /dev/null
+++ b/60759-h/images/colophon.jpg
diff --git a/60759-h/images/colophon_lg.jpg b/60759-h/images/colophon_lg.jpg
new file mode 100644
index 0000000..c1e6d63
--- /dev/null
+++ b/60759-h/images/colophon_lg.jpg
diff --git a/60759-h/images/cover.jpg b/60759-h/images/cover.jpg
new file mode 100644
index 0000000..44cfb13
--- /dev/null
+++ b/60759-h/images/cover.jpg
diff --git a/60759-h/images/cover_lg.jpg b/60759-h/images/cover_lg.jpg
new file mode 100644
index 0000000..1115336
--- /dev/null
+++ b/60759-h/images/cover_lg.jpg
diff --git a/60759-h/images/frontispiece_lg.jpg b/60759-h/images/frontispiece_lg.jpg
new file mode 100644
index 0000000..76bccab
--- /dev/null
+++ b/60759-h/images/frontispiece_lg.jpg
diff --git a/60759-h/images/frontispiece_sml.jpg b/60759-h/images/frontispiece_sml.jpg
new file mode 100644
index 0000000..2cc4e00
--- /dev/null
+++ b/60759-h/images/frontispiece_sml.jpg
diff --git a/60759-h/images/ill_pg_002_lg.jpg b/60759-h/images/ill_pg_002_lg.jpg
new file mode 100644
index 0000000..ddf43bd
--- /dev/null
+++ b/60759-h/images/ill_pg_002_lg.jpg
diff --git a/60759-h/images/ill_pg_002_sml.jpg b/60759-h/images/ill_pg_002_sml.jpg
new file mode 100644
index 0000000..675f9dd
--- /dev/null
+++ b/60759-h/images/ill_pg_002_sml.jpg
diff --git a/60759-h/images/ill_pg_003_lg.jpg b/60759-h/images/ill_pg_003_lg.jpg
new file mode 100644
index 0000000..3763e1e
--- /dev/null
+++ b/60759-h/images/ill_pg_003_lg.jpg
diff --git a/60759-h/images/ill_pg_003_sml.jpg b/60759-h/images/ill_pg_003_sml.jpg
new file mode 100644
index 0000000..f49c8c5
--- /dev/null
+++ b/60759-h/images/ill_pg_003_sml.jpg
diff --git a/60759-h/images/ill_pg_005_lg.jpg b/60759-h/images/ill_pg_005_lg.jpg
new file mode 100644
index 0000000..b9cc56f
--- /dev/null
+++ b/60759-h/images/ill_pg_005_lg.jpg
diff --git a/60759-h/images/ill_pg_005_sml.jpg b/60759-h/images/ill_pg_005_sml.jpg
new file mode 100644
index 0000000..4803618
--- /dev/null
+++ b/60759-h/images/ill_pg_005_sml.jpg
diff --git a/60759-h/images/ill_pg_047_lg.jpg b/60759-h/images/ill_pg_047_lg.jpg
new file mode 100644
index 0000000..9fb8ce0
--- /dev/null
+++ b/60759-h/images/ill_pg_047_lg.jpg
diff --git a/60759-h/images/ill_pg_047_sml.jpg b/60759-h/images/ill_pg_047_sml.jpg
new file mode 100644
index 0000000..4195877
--- /dev/null
+++ b/60759-h/images/ill_pg_047_sml.jpg
diff --git a/60759-h/images/ill_pg_048_lg.jpg b/60759-h/images/ill_pg_048_lg.jpg
new file mode 100644
index 0000000..d1cfd46
--- /dev/null
+++ b/60759-h/images/ill_pg_048_lg.jpg
diff --git a/60759-h/images/ill_pg_048_sml.jpg b/60759-h/images/ill_pg_048_sml.jpg
new file mode 100644
index 0000000..5ebaf05
--- /dev/null
+++ b/60759-h/images/ill_pg_048_sml.jpg
diff --git a/60759-h/images/ill_pg_049_lg.jpg b/60759-h/images/ill_pg_049_lg.jpg
new file mode 100644
index 0000000..c0482f7
--- /dev/null
+++ b/60759-h/images/ill_pg_049_lg.jpg
diff --git a/60759-h/images/ill_pg_049_sml.jpg b/60759-h/images/ill_pg_049_sml.jpg
new file mode 100644
index 0000000..267a62d
--- /dev/null
+++ b/60759-h/images/ill_pg_049_sml.jpg
diff --git a/60759-h/images/ill_pg_050-a_lg.jpg b/60759-h/images/ill_pg_050-a_lg.jpg
new file mode 100644
index 0000000..afd8666
--- /dev/null
+++ b/60759-h/images/ill_pg_050-a_lg.jpg
diff --git a/60759-h/images/ill_pg_050-a_sml.jpg b/60759-h/images/ill_pg_050-a_sml.jpg
new file mode 100644
index 0000000..4f303a1
--- /dev/null
+++ b/60759-h/images/ill_pg_050-a_sml.jpg
diff --git a/60759-h/images/ill_pg_050-b_lg.jpg b/60759-h/images/ill_pg_050-b_lg.jpg
new file mode 100644
index 0000000..0aba912
--- /dev/null
+++ b/60759-h/images/ill_pg_050-b_lg.jpg
diff --git a/60759-h/images/ill_pg_050-b_sml.jpg b/60759-h/images/ill_pg_050-b_sml.jpg
new file mode 100644
index 0000000..3936c0f
--- /dev/null
+++ b/60759-h/images/ill_pg_050-b_sml.jpg
diff --git a/60759-h/images/ill_pg_051-a_lg.jpg b/60759-h/images/ill_pg_051-a_lg.jpg
new file mode 100644
index 0000000..3a9cc19
--- /dev/null
+++ b/60759-h/images/ill_pg_051-a_lg.jpg
diff --git a/60759-h/images/ill_pg_051-a_sml.jpg b/60759-h/images/ill_pg_051-a_sml.jpg
new file mode 100644
index 0000000..aa6843d
--- /dev/null
+++ b/60759-h/images/ill_pg_051-a_sml.jpg
diff --git a/60759-h/images/ill_pg_051-b_lg.jpg b/60759-h/images/ill_pg_051-b_lg.jpg
new file mode 100644
index 0000000..cdceb0b
--- /dev/null
+++ b/60759-h/images/ill_pg_051-b_lg.jpg
diff --git a/60759-h/images/ill_pg_051-b_sml.jpg b/60759-h/images/ill_pg_051-b_sml.jpg
new file mode 100644
index 0000000..00b9be7
--- /dev/null
+++ b/60759-h/images/ill_pg_051-b_sml.jpg
diff --git a/60759-h/images/ill_pg_051-c_lg.jpg b/60759-h/images/ill_pg_051-c_lg.jpg
new file mode 100644
index 0000000..fb7319c
--- /dev/null
+++ b/60759-h/images/ill_pg_051-c_lg.jpg
diff --git a/60759-h/images/ill_pg_051-c_sml.jpg b/60759-h/images/ill_pg_051-c_sml.jpg
new file mode 100644
index 0000000..0131069
--- /dev/null
+++ b/60759-h/images/ill_pg_051-c_sml.jpg
diff --git a/60759-h/images/ill_pg_052_lg.jpg b/60759-h/images/ill_pg_052_lg.jpg
new file mode 100644
index 0000000..32b36c7
--- /dev/null
+++ b/60759-h/images/ill_pg_052_lg.jpg
diff --git a/60759-h/images/ill_pg_052_sml.jpg b/60759-h/images/ill_pg_052_sml.jpg
new file mode 100644
index 0000000..d1ff6a3
--- /dev/null
+++ b/60759-h/images/ill_pg_052_sml.jpg
diff --git a/60759-h/images/ill_pg_053_lg.jpg b/60759-h/images/ill_pg_053_lg.jpg
new file mode 100644
index 0000000..92e8676
--- /dev/null
+++ b/60759-h/images/ill_pg_053_lg.jpg
diff --git a/60759-h/images/ill_pg_053_sml.jpg b/60759-h/images/ill_pg_053_sml.jpg
new file mode 100644
index 0000000..de0c6a0
--- /dev/null
+++ b/60759-h/images/ill_pg_053_sml.jpg
diff --git a/60759-h/images/ill_pg_054-a_lg.jpg b/60759-h/images/ill_pg_054-a_lg.jpg
new file mode 100644
index 0000000..456dedd
--- /dev/null
+++ b/60759-h/images/ill_pg_054-a_lg.jpg
diff --git a/60759-h/images/ill_pg_054-a_sml.jpg b/60759-h/images/ill_pg_054-a_sml.jpg
new file mode 100644
index 0000000..c4cf4c6
--- /dev/null
+++ b/60759-h/images/ill_pg_054-a_sml.jpg
diff --git a/60759-h/images/ill_pg_054-b_lg.jpg b/60759-h/images/ill_pg_054-b_lg.jpg
new file mode 100644
index 0000000..bbb99d6
--- /dev/null
+++ b/60759-h/images/ill_pg_054-b_lg.jpg
diff --git a/60759-h/images/ill_pg_054-b_sml.jpg b/60759-h/images/ill_pg_054-b_sml.jpg
new file mode 100644
index 0000000..0778032
--- /dev/null
+++ b/60759-h/images/ill_pg_054-b_sml.jpg
diff --git a/60759-h/images/ill_pg_055-a_lg.jpg b/60759-h/images/ill_pg_055-a_lg.jpg
new file mode 100644
index 0000000..4fb87bd
--- /dev/null
+++ b/60759-h/images/ill_pg_055-a_lg.jpg
diff --git a/60759-h/images/ill_pg_055-a_sml.jpg b/60759-h/images/ill_pg_055-a_sml.jpg
new file mode 100644
index 0000000..c7cd5f1
--- /dev/null
+++ b/60759-h/images/ill_pg_055-a_sml.jpg
diff --git a/60759-h/images/ill_pg_055-b_lg.jpg b/60759-h/images/ill_pg_055-b_lg.jpg
new file mode 100644
index 0000000..0b0fb26
--- /dev/null
+++ b/60759-h/images/ill_pg_055-b_lg.jpg
diff --git a/60759-h/images/ill_pg_055-b_sml.jpg b/60759-h/images/ill_pg_055-b_sml.jpg
new file mode 100644
index 0000000..674229d
--- /dev/null
+++ b/60759-h/images/ill_pg_055-b_sml.jpg
diff --git a/60759-h/images/ill_pg_056-a_lg.jpg b/60759-h/images/ill_pg_056-a_lg.jpg
new file mode 100644
index 0000000..8aa1b89
--- /dev/null
+++ b/60759-h/images/ill_pg_056-a_lg.jpg
diff --git a/60759-h/images/ill_pg_056-a_sml.jpg b/60759-h/images/ill_pg_056-a_sml.jpg
new file mode 100644
index 0000000..18146a4
--- /dev/null
+++ b/60759-h/images/ill_pg_056-a_sml.jpg
diff --git a/60759-h/images/ill_pg_056-b_lg.jpg b/60759-h/images/ill_pg_056-b_lg.jpg
new file mode 100644
index 0000000..6a8d896
--- /dev/null
+++ b/60759-h/images/ill_pg_056-b_lg.jpg
diff --git a/60759-h/images/ill_pg_056-b_sml.jpg b/60759-h/images/ill_pg_056-b_sml.jpg
new file mode 100644
index 0000000..92bb00e
--- /dev/null
+++ b/60759-h/images/ill_pg_056-b_sml.jpg
diff --git a/60759-h/images/ill_pg_057-a_lg.jpg b/60759-h/images/ill_pg_057-a_lg.jpg
new file mode 100644
index 0000000..2591d7d
--- /dev/null
+++ b/60759-h/images/ill_pg_057-a_lg.jpg
diff --git a/60759-h/images/ill_pg_057-a_sml.jpg b/60759-h/images/ill_pg_057-a_sml.jpg
new file mode 100644
index 0000000..41405fa
--- /dev/null
+++ b/60759-h/images/ill_pg_057-a_sml.jpg
diff --git a/60759-h/images/ill_pg_057-b_lg.jpg b/60759-h/images/ill_pg_057-b_lg.jpg
new file mode 100644
index 0000000..8e2a146
--- /dev/null
+++ b/60759-h/images/ill_pg_057-b_lg.jpg
diff --git a/60759-h/images/ill_pg_057-b_sml.jpg b/60759-h/images/ill_pg_057-b_sml.jpg
new file mode 100644
index 0000000..606ae19
--- /dev/null
+++ b/60759-h/images/ill_pg_057-b_sml.jpg
diff --git a/60759-h/images/ill_pg_058-a_lg.jpg b/60759-h/images/ill_pg_058-a_lg.jpg
new file mode 100644
index 0000000..3db1935
--- /dev/null
+++ b/60759-h/images/ill_pg_058-a_lg.jpg
diff --git a/60759-h/images/ill_pg_058-a_sml.jpg b/60759-h/images/ill_pg_058-a_sml.jpg
new file mode 100644
index 0000000..d41792e
--- /dev/null
+++ b/60759-h/images/ill_pg_058-a_sml.jpg
diff --git a/60759-h/images/ill_pg_058-b_lg.jpg b/60759-h/images/ill_pg_058-b_lg.jpg
new file mode 100644
index 0000000..67730e6
--- /dev/null
+++ b/60759-h/images/ill_pg_058-b_lg.jpg
diff --git a/60759-h/images/ill_pg_058-b_sml.jpg b/60759-h/images/ill_pg_058-b_sml.jpg
new file mode 100644
index 0000000..729738a
--- /dev/null
+++ b/60759-h/images/ill_pg_058-b_sml.jpg
diff --git a/60759-h/images/ill_pg_059_lg.jpg b/60759-h/images/ill_pg_059_lg.jpg
new file mode 100644
index 0000000..af2b2a4
--- /dev/null
+++ b/60759-h/images/ill_pg_059_lg.jpg
diff --git a/60759-h/images/ill_pg_059_sml.jpg b/60759-h/images/ill_pg_059_sml.jpg
new file mode 100644
index 0000000..465589a
--- /dev/null
+++ b/60759-h/images/ill_pg_059_sml.jpg
diff --git a/60759-h/images/ill_pg_060_lg.jpg b/60759-h/images/ill_pg_060_lg.jpg
new file mode 100644
index 0000000..a95a3e6
--- /dev/null
+++ b/60759-h/images/ill_pg_060_lg.jpg
diff --git a/60759-h/images/ill_pg_060_sml.jpg b/60759-h/images/ill_pg_060_sml.jpg
new file mode 100644
index 0000000..6e7f648
--- /dev/null
+++ b/60759-h/images/ill_pg_060_sml.jpg
diff --git a/60759-h/images/ill_pg_061_lg.jpg b/60759-h/images/ill_pg_061_lg.jpg
new file mode 100644
index 0000000..694fcc9
--- /dev/null
+++ b/60759-h/images/ill_pg_061_lg.jpg
diff --git a/60759-h/images/ill_pg_061_sml.jpg b/60759-h/images/ill_pg_061_sml.jpg
new file mode 100644
index 0000000..3176b7b
--- /dev/null
+++ b/60759-h/images/ill_pg_061_sml.jpg
diff --git a/60759-h/images/ill_pg_062-a_lg.jpg b/60759-h/images/ill_pg_062-a_lg.jpg
new file mode 100644
index 0000000..38785d6
--- /dev/null
+++ b/60759-h/images/ill_pg_062-a_lg.jpg
diff --git a/60759-h/images/ill_pg_062-a_sml.jpg b/60759-h/images/ill_pg_062-a_sml.jpg
new file mode 100644
index 0000000..45a23f2
--- /dev/null
+++ b/60759-h/images/ill_pg_062-a_sml.jpg
diff --git a/60759-h/images/ill_pg_062-b_lg.jpg b/60759-h/images/ill_pg_062-b_lg.jpg
new file mode 100644
index 0000000..2da1385
--- /dev/null
+++ b/60759-h/images/ill_pg_062-b_lg.jpg
diff --git a/60759-h/images/ill_pg_062-b_sml.jpg b/60759-h/images/ill_pg_062-b_sml.jpg
new file mode 100644
index 0000000..e5c57a1
--- /dev/null
+++ b/60759-h/images/ill_pg_062-b_sml.jpg
diff --git a/60759-h/images/ill_pg_063-a_lg.jpg b/60759-h/images/ill_pg_063-a_lg.jpg
new file mode 100644
index 0000000..8e79be2
--- /dev/null
+++ b/60759-h/images/ill_pg_063-a_lg.jpg
diff --git a/60759-h/images/ill_pg_063-a_sml.jpg b/60759-h/images/ill_pg_063-a_sml.jpg
new file mode 100644
index 0000000..4bbf9fc
--- /dev/null
+++ b/60759-h/images/ill_pg_063-a_sml.jpg
diff --git a/60759-h/images/ill_pg_063-b_lg.jpg b/60759-h/images/ill_pg_063-b_lg.jpg
new file mode 100644
index 0000000..442ed57
--- /dev/null
+++ b/60759-h/images/ill_pg_063-b_lg.jpg
diff --git a/60759-h/images/ill_pg_063-b_sml.jpg b/60759-h/images/ill_pg_063-b_sml.jpg
new file mode 100644
index 0000000..888ef2a
--- /dev/null
+++ b/60759-h/images/ill_pg_063-b_sml.jpg
diff --git a/60759-h/images/ill_pg_064_lg.jpg b/60759-h/images/ill_pg_064_lg.jpg
new file mode 100644
index 0000000..a09989f
--- /dev/null
+++ b/60759-h/images/ill_pg_064_lg.jpg
diff --git a/60759-h/images/ill_pg_064_sml.jpg b/60759-h/images/ill_pg_064_sml.jpg
new file mode 100644
index 0000000..344b39b
--- /dev/null
+++ b/60759-h/images/ill_pg_064_sml.jpg
diff --git a/60759-h/images/ill_pg_065_lg.jpg b/60759-h/images/ill_pg_065_lg.jpg
new file mode 100644
index 0000000..168feea
--- /dev/null
+++ b/60759-h/images/ill_pg_065_lg.jpg
diff --git a/60759-h/images/ill_pg_065_sml.jpg b/60759-h/images/ill_pg_065_sml.jpg
new file mode 100644
index 0000000..561fb90
--- /dev/null
+++ b/60759-h/images/ill_pg_065_sml.jpg
diff --git a/60759-h/images/ill_pg_066-a_lg.jpg b/60759-h/images/ill_pg_066-a_lg.jpg
new file mode 100644
index 0000000..a7c1810
--- /dev/null
+++ b/60759-h/images/ill_pg_066-a_lg.jpg
diff --git a/60759-h/images/ill_pg_066-a_sml.jpg b/60759-h/images/ill_pg_066-a_sml.jpg
new file mode 100644
index 0000000..7615aea
--- /dev/null
+++ b/60759-h/images/ill_pg_066-a_sml.jpg
diff --git a/60759-h/images/ill_pg_066-b_lg.jpg b/60759-h/images/ill_pg_066-b_lg.jpg
new file mode 100644
index 0000000..9683cde
--- /dev/null
+++ b/60759-h/images/ill_pg_066-b_lg.jpg
diff --git a/60759-h/images/ill_pg_066-b_sml.jpg b/60759-h/images/ill_pg_066-b_sml.jpg
new file mode 100644
index 0000000..86ae06a
--- /dev/null
+++ b/60759-h/images/ill_pg_066-b_sml.jpg
diff --git a/60759-h/images/ill_pg_067-a_lg.jpg b/60759-h/images/ill_pg_067-a_lg.jpg
new file mode 100644
index 0000000..f1d2290
--- /dev/null
+++ b/60759-h/images/ill_pg_067-a_lg.jpg
diff --git a/60759-h/images/ill_pg_067-a_sml.jpg b/60759-h/images/ill_pg_067-a_sml.jpg
new file mode 100644
index 0000000..c25eb50
--- /dev/null
+++ b/60759-h/images/ill_pg_067-a_sml.jpg
diff --git a/60759-h/images/ill_pg_067-b_lg.jpg b/60759-h/images/ill_pg_067-b_lg.jpg
new file mode 100644
index 0000000..d151dda
--- /dev/null
+++ b/60759-h/images/ill_pg_067-b_lg.jpg
diff --git a/60759-h/images/ill_pg_067-b_sml.jpg b/60759-h/images/ill_pg_067-b_sml.jpg
new file mode 100644
index 0000000..78d5dd2
--- /dev/null
+++ b/60759-h/images/ill_pg_067-b_sml.jpg
diff --git a/60759-h/images/ill_pg_068_lg.jpg b/60759-h/images/ill_pg_068_lg.jpg
new file mode 100644
index 0000000..11400c6
--- /dev/null
+++ b/60759-h/images/ill_pg_068_lg.jpg
diff --git a/60759-h/images/ill_pg_068_sml.jpg b/60759-h/images/ill_pg_068_sml.jpg
new file mode 100644
index 0000000..fb061a3
--- /dev/null
+++ b/60759-h/images/ill_pg_068_sml.jpg
diff --git a/60759-h/images/ill_pg_069_lg.jpg b/60759-h/images/ill_pg_069_lg.jpg
new file mode 100644
index 0000000..1f6934f
--- /dev/null
+++ b/60759-h/images/ill_pg_069_lg.jpg
diff --git a/60759-h/images/ill_pg_069_sml.jpg b/60759-h/images/ill_pg_069_sml.jpg
new file mode 100644
index 0000000..0d52f8f
--- /dev/null
+++ b/60759-h/images/ill_pg_069_sml.jpg
diff --git a/60759-h/images/ill_pg_070-a_lg.jpg b/60759-h/images/ill_pg_070-a_lg.jpg
new file mode 100644
index 0000000..fea502e
--- /dev/null
+++ b/60759-h/images/ill_pg_070-a_lg.jpg
diff --git a/60759-h/images/ill_pg_070-a_sml.jpg b/60759-h/images/ill_pg_070-a_sml.jpg
new file mode 100644
index 0000000..dcd0640
--- /dev/null
+++ b/60759-h/images/ill_pg_070-a_sml.jpg
diff --git a/60759-h/images/ill_pg_070-b_lg.jpg b/60759-h/images/ill_pg_070-b_lg.jpg
new file mode 100644
index 0000000..50f356d
--- /dev/null
+++ b/60759-h/images/ill_pg_070-b_lg.jpg
diff --git a/60759-h/images/ill_pg_070-b_sml.jpg b/60759-h/images/ill_pg_070-b_sml.jpg
new file mode 100644
index 0000000..f1172d9
--- /dev/null
+++ b/60759-h/images/ill_pg_070-b_sml.jpg
diff --git a/60759-h/images/ill_pg_071_lg.jpg b/60759-h/images/ill_pg_071_lg.jpg
new file mode 100644
index 0000000..4927413
--- /dev/null
+++ b/60759-h/images/ill_pg_071_lg.jpg
diff --git a/60759-h/images/ill_pg_071_sml.jpg b/60759-h/images/ill_pg_071_sml.jpg
new file mode 100644
index 0000000..4f26dbd
--- /dev/null
+++ b/60759-h/images/ill_pg_071_sml.jpg
diff --git a/60759-h/images/ill_pg_072_lg.jpg b/60759-h/images/ill_pg_072_lg.jpg
new file mode 100644
index 0000000..ba0f79a
--- /dev/null
+++ b/60759-h/images/ill_pg_072_lg.jpg
diff --git a/60759-h/images/ill_pg_072_sml.jpg b/60759-h/images/ill_pg_072_sml.jpg
new file mode 100644
index 0000000..276dd39
--- /dev/null
+++ b/60759-h/images/ill_pg_072_sml.jpg
diff --git a/60759-h/images/ill_pg_073_lg.jpg b/60759-h/images/ill_pg_073_lg.jpg
new file mode 100644
index 0000000..954454f
--- /dev/null
+++ b/60759-h/images/ill_pg_073_lg.jpg
diff --git a/60759-h/images/ill_pg_073_sml.jpg b/60759-h/images/ill_pg_073_sml.jpg
new file mode 100644
index 0000000..81f3537
--- /dev/null
+++ b/60759-h/images/ill_pg_073_sml.jpg
diff --git a/60759-h/images/ill_pg_074-a_lg.jpg b/60759-h/images/ill_pg_074-a_lg.jpg
new file mode 100644
index 0000000..b15fd20
--- /dev/null
+++ b/60759-h/images/ill_pg_074-a_lg.jpg
diff --git a/60759-h/images/ill_pg_074-a_sml.jpg b/60759-h/images/ill_pg_074-a_sml.jpg
new file mode 100644
index 0000000..e03cb6b
--- /dev/null
+++ b/60759-h/images/ill_pg_074-a_sml.jpg
diff --git a/60759-h/images/ill_pg_074-b_lg.jpg b/60759-h/images/ill_pg_074-b_lg.jpg
new file mode 100644
index 0000000..5932e62
--- /dev/null
+++ b/60759-h/images/ill_pg_074-b_lg.jpg
diff --git a/60759-h/images/ill_pg_074-b_sml.jpg b/60759-h/images/ill_pg_074-b_sml.jpg
new file mode 100644
index 0000000..d8a8b38
--- /dev/null
+++ b/60759-h/images/ill_pg_074-b_sml.jpg
diff --git a/60759-h/images/ill_pg_075-a_lg.jpg b/60759-h/images/ill_pg_075-a_lg.jpg
new file mode 100644
index 0000000..1b6fcbb
--- /dev/null
+++ b/60759-h/images/ill_pg_075-a_lg.jpg
diff --git a/60759-h/images/ill_pg_075-a_sml.jpg b/60759-h/images/ill_pg_075-a_sml.jpg
new file mode 100644
index 0000000..76d36c9
--- /dev/null
+++ b/60759-h/images/ill_pg_075-a_sml.jpg
diff --git a/60759-h/images/ill_pg_075-b_lg.jpg b/60759-h/images/ill_pg_075-b_lg.jpg
new file mode 100644
index 0000000..210364a
--- /dev/null
+++ b/60759-h/images/ill_pg_075-b_lg.jpg
diff --git a/60759-h/images/ill_pg_075-b_sml.jpg b/60759-h/images/ill_pg_075-b_sml.jpg
new file mode 100644
index 0000000..8ebd4d5
--- /dev/null
+++ b/60759-h/images/ill_pg_075-b_sml.jpg
diff --git a/60759-h/images/ill_pg_076-a_lg.jpg b/60759-h/images/ill_pg_076-a_lg.jpg
new file mode 100644
index 0000000..4565e48
--- /dev/null
+++ b/60759-h/images/ill_pg_076-a_lg.jpg
diff --git a/60759-h/images/ill_pg_076-a_sml.jpg b/60759-h/images/ill_pg_076-a_sml.jpg
new file mode 100644
index 0000000..bfabab0
--- /dev/null
+++ b/60759-h/images/ill_pg_076-a_sml.jpg
diff --git a/60759-h/images/ill_pg_076-b_lg.jpg b/60759-h/images/ill_pg_076-b_lg.jpg
new file mode 100644
index 0000000..6ab2690
--- /dev/null
+++ b/60759-h/images/ill_pg_076-b_lg.jpg
diff --git a/60759-h/images/ill_pg_076-b_sml.jpg b/60759-h/images/ill_pg_076-b_sml.jpg
new file mode 100644
index 0000000..c73ebf8
--- /dev/null
+++ b/60759-h/images/ill_pg_076-b_sml.jpg
diff --git a/60759-h/images/ill_pg_078-a_lg.jpg b/60759-h/images/ill_pg_078-a_lg.jpg
new file mode 100644
index 0000000..b5f1687
--- /dev/null
+++ b/60759-h/images/ill_pg_078-a_lg.jpg
diff --git a/60759-h/images/ill_pg_078-a_sml.jpg b/60759-h/images/ill_pg_078-a_sml.jpg
new file mode 100644
index 0000000..7143883
--- /dev/null
+++ b/60759-h/images/ill_pg_078-a_sml.jpg
diff --git a/60759-h/images/ill_pg_078-b_lg.jpg b/60759-h/images/ill_pg_078-b_lg.jpg
new file mode 100644
index 0000000..d1d384b
--- /dev/null
+++ b/60759-h/images/ill_pg_078-b_lg.jpg
diff --git a/60759-h/images/ill_pg_078-b_sml.jpg b/60759-h/images/ill_pg_078-b_sml.jpg
new file mode 100644
index 0000000..160699e
--- /dev/null
+++ b/60759-h/images/ill_pg_078-b_sml.jpg
diff --git a/60759-h/images/ill_pg_079_lg.jpg b/60759-h/images/ill_pg_079_lg.jpg
new file mode 100644
index 0000000..2e8c95b
--- /dev/null
+++ b/60759-h/images/ill_pg_079_lg.jpg
diff --git a/60759-h/images/ill_pg_079_sml.jpg b/60759-h/images/ill_pg_079_sml.jpg
new file mode 100644
index 0000000..2156c66
--- /dev/null
+++ b/60759-h/images/ill_pg_079_sml.jpg
diff --git a/60759-h/images/ill_pg_080-a_lg.jpg b/60759-h/images/ill_pg_080-a_lg.jpg
new file mode 100644
index 0000000..8545d7d
--- /dev/null
+++ b/60759-h/images/ill_pg_080-a_lg.jpg
diff --git a/60759-h/images/ill_pg_080-a_sml.jpg b/60759-h/images/ill_pg_080-a_sml.jpg
new file mode 100644
index 0000000..71693a2
--- /dev/null
+++ b/60759-h/images/ill_pg_080-a_sml.jpg
diff --git a/60759-h/images/ill_pg_080-b_lg.jpg b/60759-h/images/ill_pg_080-b_lg.jpg
new file mode 100644
index 0000000..8ed3ce2
--- /dev/null
+++ b/60759-h/images/ill_pg_080-b_lg.jpg
diff --git a/60759-h/images/ill_pg_080-b_sml.jpg b/60759-h/images/ill_pg_080-b_sml.jpg
new file mode 100644
index 0000000..264a0d4
--- /dev/null
+++ b/60759-h/images/ill_pg_080-b_sml.jpg
diff --git a/60759-h/images/ill_pg_081-a_lg.jpg b/60759-h/images/ill_pg_081-a_lg.jpg
new file mode 100644
index 0000000..9169aa8
--- /dev/null
+++ b/60759-h/images/ill_pg_081-a_lg.jpg
diff --git a/60759-h/images/ill_pg_081-a_sml.jpg b/60759-h/images/ill_pg_081-a_sml.jpg
new file mode 100644
index 0000000..e67a4d7
--- /dev/null
+++ b/60759-h/images/ill_pg_081-a_sml.jpg
diff --git a/60759-h/images/ill_pg_081-b_lg.jpg b/60759-h/images/ill_pg_081-b_lg.jpg
new file mode 100644
index 0000000..8cc981f
--- /dev/null
+++ b/60759-h/images/ill_pg_081-b_lg.jpg
diff --git a/60759-h/images/ill_pg_081-b_sml.jpg b/60759-h/images/ill_pg_081-b_sml.jpg
new file mode 100644
index 0000000..66ccfe9
--- /dev/null
+++ b/60759-h/images/ill_pg_081-b_sml.jpg
diff --git a/60759-h/images/ill_pg_082_lg.jpg b/60759-h/images/ill_pg_082_lg.jpg
new file mode 100644
index 0000000..d6ffa15
--- /dev/null
+++ b/60759-h/images/ill_pg_082_lg.jpg
diff --git a/60759-h/images/ill_pg_082_sml.jpg b/60759-h/images/ill_pg_082_sml.jpg
new file mode 100644
index 0000000..d7d7156
--- /dev/null
+++ b/60759-h/images/ill_pg_082_sml.jpg
diff --git a/60759-h/images/ill_pg_085_lg.jpg b/60759-h/images/ill_pg_085_lg.jpg
new file mode 100644
index 0000000..47653c3
--- /dev/null
+++ b/60759-h/images/ill_pg_085_lg.jpg
diff --git a/60759-h/images/ill_pg_085_sml.jpg b/60759-h/images/ill_pg_085_sml.jpg
new file mode 100644
index 0000000..231be49
--- /dev/null
+++ b/60759-h/images/ill_pg_085_sml.jpg
diff --git a/60759-h/images/ill_pg_087-a_lg.jpg b/60759-h/images/ill_pg_087-a_lg.jpg
new file mode 100644
index 0000000..dd63b4c
--- /dev/null
+++ b/60759-h/images/ill_pg_087-a_lg.jpg
diff --git a/60759-h/images/ill_pg_087-a_sml.jpg b/60759-h/images/ill_pg_087-a_sml.jpg
new file mode 100644
index 0000000..b811803
--- /dev/null
+++ b/60759-h/images/ill_pg_087-a_sml.jpg
diff --git a/60759-h/images/ill_pg_087-b_lg.jpg b/60759-h/images/ill_pg_087-b_lg.jpg
new file mode 100644
index 0000000..a991680
--- /dev/null
+++ b/60759-h/images/ill_pg_087-b_lg.jpg
diff --git a/60759-h/images/ill_pg_087-b_sml.jpg b/60759-h/images/ill_pg_087-b_sml.jpg
new file mode 100644
index 0000000..c93fad3
--- /dev/null
+++ b/60759-h/images/ill_pg_087-b_sml.jpg
diff --git a/60759-h/images/ill_pg_088_lg.jpg b/60759-h/images/ill_pg_088_lg.jpg
new file mode 100644
index 0000000..10365a8
--- /dev/null
+++ b/60759-h/images/ill_pg_088_lg.jpg
diff --git a/60759-h/images/ill_pg_088_sml.jpg b/60759-h/images/ill_pg_088_sml.jpg
new file mode 100644
index 0000000..0a533c5
--- /dev/null
+++ b/60759-h/images/ill_pg_088_sml.jpg
diff --git a/60759-h/images/ill_pg_095_lg.jpg b/60759-h/images/ill_pg_095_lg.jpg
new file mode 100644
index 0000000..f697dfc
--- /dev/null
+++ b/60759-h/images/ill_pg_095_lg.jpg
diff --git a/60759-h/images/ill_pg_095_sml.jpg b/60759-h/images/ill_pg_095_sml.jpg
new file mode 100644
index 0000000..94decca
--- /dev/null
+++ b/60759-h/images/ill_pg_095_sml.jpg
diff --git a/60759-h/images/ill_pg_098_lg.jpg b/60759-h/images/ill_pg_098_lg.jpg
new file mode 100644
index 0000000..6399a3b
--- /dev/null
+++ b/60759-h/images/ill_pg_098_lg.jpg
diff --git a/60759-h/images/ill_pg_098_sml.jpg b/60759-h/images/ill_pg_098_sml.jpg
new file mode 100644
index 0000000..e91a5c8
--- /dev/null
+++ b/60759-h/images/ill_pg_098_sml.jpg
diff --git a/60759-h/images/ill_pg_099-a_lg.jpg b/60759-h/images/ill_pg_099-a_lg.jpg
new file mode 100644
index 0000000..f051434
--- /dev/null
+++ b/60759-h/images/ill_pg_099-a_lg.jpg
diff --git a/60759-h/images/ill_pg_099-a_sml.jpg b/60759-h/images/ill_pg_099-a_sml.jpg
new file mode 100644
index 0000000..dcff6b1
--- /dev/null
+++ b/60759-h/images/ill_pg_099-a_sml.jpg
diff --git a/60759-h/images/ill_pg_099-b_lg.jpg b/60759-h/images/ill_pg_099-b_lg.jpg
new file mode 100644
index 0000000..9e1df89
--- /dev/null
+++ b/60759-h/images/ill_pg_099-b_lg.jpg
diff --git a/60759-h/images/ill_pg_099-b_sml.jpg b/60759-h/images/ill_pg_099-b_sml.jpg
new file mode 100644
index 0000000..12dc34f
--- /dev/null
+++ b/60759-h/images/ill_pg_099-b_sml.jpg
diff --git a/60759-h/images/ill_pg_100-a_lg.jpg b/60759-h/images/ill_pg_100-a_lg.jpg
new file mode 100644
index 0000000..8e37b9b
--- /dev/null
+++ b/60759-h/images/ill_pg_100-a_lg.jpg
diff --git a/60759-h/images/ill_pg_100-a_sml.jpg b/60759-h/images/ill_pg_100-a_sml.jpg
new file mode 100644
index 0000000..fddbc1a
--- /dev/null
+++ b/60759-h/images/ill_pg_100-a_sml.jpg
diff --git a/60759-h/images/ill_pg_100-b_lg.jpg b/60759-h/images/ill_pg_100-b_lg.jpg
new file mode 100644
index 0000000..8bcc965
--- /dev/null
+++ b/60759-h/images/ill_pg_100-b_lg.jpg
diff --git a/60759-h/images/ill_pg_100-b_sml.jpg b/60759-h/images/ill_pg_100-b_sml.jpg
new file mode 100644
index 0000000..2c62fa1
--- /dev/null
+++ b/60759-h/images/ill_pg_100-b_sml.jpg
diff --git a/60759-h/images/ill_pg_101_lg.jpg b/60759-h/images/ill_pg_101_lg.jpg
new file mode 100644
index 0000000..92541ae
--- /dev/null
+++ b/60759-h/images/ill_pg_101_lg.jpg
diff --git a/60759-h/images/ill_pg_101_sml.jpg b/60759-h/images/ill_pg_101_sml.jpg
new file mode 100644
index 0000000..6f7acc0
--- /dev/null
+++ b/60759-h/images/ill_pg_101_sml.jpg
diff --git a/60759-h/images/ill_pg_102-a_lg.jpg b/60759-h/images/ill_pg_102-a_lg.jpg
new file mode 100644
index 0000000..1e12a6b
--- /dev/null
+++ b/60759-h/images/ill_pg_102-a_lg.jpg
diff --git a/60759-h/images/ill_pg_102-a_sml.jpg b/60759-h/images/ill_pg_102-a_sml.jpg
new file mode 100644
index 0000000..540b8f0
--- /dev/null
+++ b/60759-h/images/ill_pg_102-a_sml.jpg
diff --git a/60759-h/images/ill_pg_102-b_lg.jpg b/60759-h/images/ill_pg_102-b_lg.jpg
new file mode 100644
index 0000000..0ee1dbd
--- /dev/null
+++ b/60759-h/images/ill_pg_102-b_lg.jpg
diff --git a/60759-h/images/ill_pg_102-b_sml.jpg b/60759-h/images/ill_pg_102-b_sml.jpg
new file mode 100644
index 0000000..1447909
--- /dev/null
+++ b/60759-h/images/ill_pg_102-b_sml.jpg
diff --git a/60759-h/images/ill_pg_103_lg.jpg b/60759-h/images/ill_pg_103_lg.jpg
new file mode 100644
index 0000000..9aef968
--- /dev/null
+++ b/60759-h/images/ill_pg_103_lg.jpg
diff --git a/60759-h/images/ill_pg_103_sml.jpg b/60759-h/images/ill_pg_103_sml.jpg
new file mode 100644
index 0000000..d038b73
--- /dev/null
+++ b/60759-h/images/ill_pg_103_sml.jpg
diff --git a/60759-h/images/ill_pg_104_lg.jpg b/60759-h/images/ill_pg_104_lg.jpg
new file mode 100644
index 0000000..181eb24
--- /dev/null
+++ b/60759-h/images/ill_pg_104_lg.jpg
diff --git a/60759-h/images/ill_pg_104_sml.jpg b/60759-h/images/ill_pg_104_sml.jpg
new file mode 100644
index 0000000..876c0a2
--- /dev/null
+++ b/60759-h/images/ill_pg_104_sml.jpg
diff --git a/60759-h/images/ill_pg_105-a_lg.jpg b/60759-h/images/ill_pg_105-a_lg.jpg
new file mode 100644
index 0000000..80f9d36
--- /dev/null
+++ b/60759-h/images/ill_pg_105-a_lg.jpg
diff --git a/60759-h/images/ill_pg_105-a_sml.jpg b/60759-h/images/ill_pg_105-a_sml.jpg
new file mode 100644
index 0000000..3416516
--- /dev/null
+++ b/60759-h/images/ill_pg_105-a_sml.jpg
diff --git a/60759-h/images/ill_pg_105-b_lg.jpg b/60759-h/images/ill_pg_105-b_lg.jpg
new file mode 100644
index 0000000..ffd0cde
--- /dev/null
+++ b/60759-h/images/ill_pg_105-b_lg.jpg
diff --git a/60759-h/images/ill_pg_105-b_sml.jpg b/60759-h/images/ill_pg_105-b_sml.jpg
new file mode 100644
index 0000000..9f4b319
--- /dev/null
+++ b/60759-h/images/ill_pg_105-b_sml.jpg
diff --git a/60759-h/images/ill_pg_106_lg.jpg b/60759-h/images/ill_pg_106_lg.jpg
new file mode 100644
index 0000000..7d27dda
--- /dev/null
+++ b/60759-h/images/ill_pg_106_lg.jpg
diff --git a/60759-h/images/ill_pg_106_sml.jpg b/60759-h/images/ill_pg_106_sml.jpg
new file mode 100644
index 0000000..bce3a75
--- /dev/null
+++ b/60759-h/images/ill_pg_106_sml.jpg
diff --git a/60759-h/images/ill_pg_107-a_lg.jpg b/60759-h/images/ill_pg_107-a_lg.jpg
new file mode 100644
index 0000000..3c5a988
--- /dev/null
+++ b/60759-h/images/ill_pg_107-a_lg.jpg
diff --git a/60759-h/images/ill_pg_107-a_sml.jpg b/60759-h/images/ill_pg_107-a_sml.jpg
new file mode 100644
index 0000000..6c188a5
--- /dev/null
+++ b/60759-h/images/ill_pg_107-a_sml.jpg
diff --git a/60759-h/images/ill_pg_107-b_lg.jpg b/60759-h/images/ill_pg_107-b_lg.jpg
new file mode 100644
index 0000000..1962362
--- /dev/null
+++ b/60759-h/images/ill_pg_107-b_lg.jpg
diff --git a/60759-h/images/ill_pg_107-b_sml.jpg b/60759-h/images/ill_pg_107-b_sml.jpg
new file mode 100644
index 0000000..ea90c43
--- /dev/null
+++ b/60759-h/images/ill_pg_107-b_sml.jpg
diff --git a/60759-h/images/ill_pg_108-a_lg.jpg b/60759-h/images/ill_pg_108-a_lg.jpg
new file mode 100644
index 0000000..590fe0b
--- /dev/null
+++ b/60759-h/images/ill_pg_108-a_lg.jpg
diff --git a/60759-h/images/ill_pg_108-a_sml.jpg b/60759-h/images/ill_pg_108-a_sml.jpg
new file mode 100644
index 0000000..971b9b5
--- /dev/null
+++ b/60759-h/images/ill_pg_108-a_sml.jpg
diff --git a/60759-h/images/ill_pg_108-b_lg.jpg b/60759-h/images/ill_pg_108-b_lg.jpg
new file mode 100644
index 0000000..003310f
--- /dev/null
+++ b/60759-h/images/ill_pg_108-b_lg.jpg
diff --git a/60759-h/images/ill_pg_108-b_sml.jpg b/60759-h/images/ill_pg_108-b_sml.jpg
new file mode 100644
index 0000000..fa5ef29
--- /dev/null
+++ b/60759-h/images/ill_pg_108-b_sml.jpg
diff --git a/60759-h/images/ill_pg_109-a_lg.jpg b/60759-h/images/ill_pg_109-a_lg.jpg
new file mode 100644
index 0000000..002a48a
--- /dev/null
+++ b/60759-h/images/ill_pg_109-a_lg.jpg
diff --git a/60759-h/images/ill_pg_109-a_sml.jpg b/60759-h/images/ill_pg_109-a_sml.jpg
new file mode 100644
index 0000000..7640968
--- /dev/null
+++ b/60759-h/images/ill_pg_109-a_sml.jpg
diff --git a/60759-h/images/ill_pg_109-b_lg.jpg b/60759-h/images/ill_pg_109-b_lg.jpg
new file mode 100644
index 0000000..97887c4
--- /dev/null
+++ b/60759-h/images/ill_pg_109-b_lg.jpg
diff --git a/60759-h/images/ill_pg_109-b_sml.jpg b/60759-h/images/ill_pg_109-b_sml.jpg
new file mode 100644
index 0000000..20f6e08
--- /dev/null
+++ b/60759-h/images/ill_pg_109-b_sml.jpg
diff --git a/60759-h/images/ill_pg_110_lg.jpg b/60759-h/images/ill_pg_110_lg.jpg
new file mode 100644
index 0000000..2cf2885
--- /dev/null
+++ b/60759-h/images/ill_pg_110_lg.jpg
diff --git a/60759-h/images/ill_pg_110_sml.jpg b/60759-h/images/ill_pg_110_sml.jpg
new file mode 100644
index 0000000..aed4db0
--- /dev/null
+++ b/60759-h/images/ill_pg_110_sml.jpg
diff --git a/60759-h/images/ill_pg_111_lg.jpg b/60759-h/images/ill_pg_111_lg.jpg
new file mode 100644
index 0000000..e865cd1
--- /dev/null
+++ b/60759-h/images/ill_pg_111_lg.jpg
diff --git a/60759-h/images/ill_pg_111_sml.jpg b/60759-h/images/ill_pg_111_sml.jpg
new file mode 100644
index 0000000..f1b7d22
--- /dev/null
+++ b/60759-h/images/ill_pg_111_sml.jpg
diff --git a/60759-h/images/ill_pg_112_lg.jpg b/60759-h/images/ill_pg_112_lg.jpg
new file mode 100644
index 0000000..e660a8e
--- /dev/null
+++ b/60759-h/images/ill_pg_112_lg.jpg
diff --git a/60759-h/images/ill_pg_112_sml.jpg b/60759-h/images/ill_pg_112_sml.jpg
new file mode 100644
index 0000000..dae3e55
--- /dev/null
+++ b/60759-h/images/ill_pg_112_sml.jpg
diff --git a/60759-h/images/ill_pg_113-a_lg.jpg b/60759-h/images/ill_pg_113-a_lg.jpg
new file mode 100644
index 0000000..85022e5
--- /dev/null
+++ b/60759-h/images/ill_pg_113-a_lg.jpg
diff --git a/60759-h/images/ill_pg_113-a_sml.jpg b/60759-h/images/ill_pg_113-a_sml.jpg
new file mode 100644
index 0000000..8f4fbf2
--- /dev/null
+++ b/60759-h/images/ill_pg_113-a_sml.jpg
diff --git a/60759-h/images/ill_pg_113-b_lg.jpg b/60759-h/images/ill_pg_113-b_lg.jpg
new file mode 100644
index 0000000..be56065
--- /dev/null
+++ b/60759-h/images/ill_pg_113-b_lg.jpg
diff --git a/60759-h/images/ill_pg_113-b_sml.jpg b/60759-h/images/ill_pg_113-b_sml.jpg
new file mode 100644
index 0000000..849f8a9
--- /dev/null
+++ b/60759-h/images/ill_pg_113-b_sml.jpg
diff --git a/60759-h/images/ill_pg_114_lg.jpg b/60759-h/images/ill_pg_114_lg.jpg
new file mode 100644
index 0000000..d792d5d
--- /dev/null
+++ b/60759-h/images/ill_pg_114_lg.jpg
diff --git a/60759-h/images/ill_pg_114_sml.jpg b/60759-h/images/ill_pg_114_sml.jpg
new file mode 100644
index 0000000..cb5c8af
--- /dev/null
+++ b/60759-h/images/ill_pg_114_sml.jpg
diff --git a/60759-h/images/ill_pg_115_lg.jpg b/60759-h/images/ill_pg_115_lg.jpg
new file mode 100644
index 0000000..0afb374
--- /dev/null
+++ b/60759-h/images/ill_pg_115_lg.jpg
diff --git a/60759-h/images/ill_pg_115_sml.jpg b/60759-h/images/ill_pg_115_sml.jpg
new file mode 100644
index 0000000..0a6fe96
--- /dev/null
+++ b/60759-h/images/ill_pg_115_sml.jpg
diff --git a/60759-h/images/ill_pg_116_lg.jpg b/60759-h/images/ill_pg_116_lg.jpg
new file mode 100644
index 0000000..9508cab
--- /dev/null
+++ b/60759-h/images/ill_pg_116_lg.jpg
diff --git a/60759-h/images/ill_pg_116_sml.jpg b/60759-h/images/ill_pg_116_sml.jpg
new file mode 100644
index 0000000..1968c20
--- /dev/null
+++ b/60759-h/images/ill_pg_116_sml.jpg
diff --git a/60759-h/images/ill_pg_117-a_lg.jpg b/60759-h/images/ill_pg_117-a_lg.jpg
new file mode 100644
index 0000000..f9adcc3
--- /dev/null
+++ b/60759-h/images/ill_pg_117-a_lg.jpg
diff --git a/60759-h/images/ill_pg_117-a_sml.jpg b/60759-h/images/ill_pg_117-a_sml.jpg
new file mode 100644
index 0000000..fbb3580
--- /dev/null
+++ b/60759-h/images/ill_pg_117-a_sml.jpg
diff --git a/60759-h/images/ill_pg_117-b_lg.jpg b/60759-h/images/ill_pg_117-b_lg.jpg
new file mode 100644
index 0000000..0cf88c6
--- /dev/null
+++ b/60759-h/images/ill_pg_117-b_lg.jpg
diff --git a/60759-h/images/ill_pg_117-b_sml.jpg b/60759-h/images/ill_pg_117-b_sml.jpg
new file mode 100644
index 0000000..e350aa6
--- /dev/null
+++ b/60759-h/images/ill_pg_117-b_sml.jpg
diff --git a/60759-h/images/ill_pg_118_lg.jpg b/60759-h/images/ill_pg_118_lg.jpg
new file mode 100644
index 0000000..168f6bd
--- /dev/null
+++ b/60759-h/images/ill_pg_118_lg.jpg
diff --git a/60759-h/images/ill_pg_118_sml.jpg b/60759-h/images/ill_pg_118_sml.jpg
new file mode 100644
index 0000000..e6586c8
--- /dev/null
+++ b/60759-h/images/ill_pg_118_sml.jpg
diff --git a/60759-h/images/ill_pg_119_lg.jpg b/60759-h/images/ill_pg_119_lg.jpg
new file mode 100644
index 0000000..5f4c7dc
--- /dev/null
+++ b/60759-h/images/ill_pg_119_lg.jpg
diff --git a/60759-h/images/ill_pg_119_sml.jpg b/60759-h/images/ill_pg_119_sml.jpg
new file mode 100644
index 0000000..607a834
--- /dev/null
+++ b/60759-h/images/ill_pg_119_sml.jpg
diff --git a/60759-h/images/ill_pg_120_lg.jpg b/60759-h/images/ill_pg_120_lg.jpg
new file mode 100644
index 0000000..2504ba4
--- /dev/null
+++ b/60759-h/images/ill_pg_120_lg.jpg
diff --git a/60759-h/images/ill_pg_120_sml.jpg b/60759-h/images/ill_pg_120_sml.jpg
new file mode 100644
index 0000000..5679d21
--- /dev/null
+++ b/60759-h/images/ill_pg_120_sml.jpg
diff --git a/60759-h/images/ill_pg_121-a_lg.jpg b/60759-h/images/ill_pg_121-a_lg.jpg
new file mode 100644
index 0000000..2e99f00
--- /dev/null
+++ b/60759-h/images/ill_pg_121-a_lg.jpg
diff --git a/60759-h/images/ill_pg_121-a_sml.jpg b/60759-h/images/ill_pg_121-a_sml.jpg
new file mode 100644
index 0000000..532bba5
--- /dev/null
+++ b/60759-h/images/ill_pg_121-a_sml.jpg
diff --git a/60759-h/images/ill_pg_121-b_lg.jpg b/60759-h/images/ill_pg_121-b_lg.jpg
new file mode 100644
index 0000000..4aaf00a
--- /dev/null
+++ b/60759-h/images/ill_pg_121-b_lg.jpg
diff --git a/60759-h/images/ill_pg_121-b_sml.jpg b/60759-h/images/ill_pg_121-b_sml.jpg
new file mode 100644
index 0000000..a5d8586
--- /dev/null
+++ b/60759-h/images/ill_pg_121-b_sml.jpg
diff --git a/60759-h/images/ill_pg_122_lg.jpg b/60759-h/images/ill_pg_122_lg.jpg
new file mode 100644
index 0000000..2018ecf
--- /dev/null
+++ b/60759-h/images/ill_pg_122_lg.jpg
diff --git a/60759-h/images/ill_pg_122_sml.jpg b/60759-h/images/ill_pg_122_sml.jpg
new file mode 100644
index 0000000..0f1d805
--- /dev/null
+++ b/60759-h/images/ill_pg_122_sml.jpg
diff --git a/60759-h/images/ill_pg_123_lg.jpg b/60759-h/images/ill_pg_123_lg.jpg
new file mode 100644
index 0000000..3b392a1
--- /dev/null
+++ b/60759-h/images/ill_pg_123_lg.jpg
diff --git a/60759-h/images/ill_pg_123_sml.jpg b/60759-h/images/ill_pg_123_sml.jpg
new file mode 100644
index 0000000..a19753a
--- /dev/null
+++ b/60759-h/images/ill_pg_123_sml.jpg
diff --git a/60759-h/images/ill_pg_124_lg.jpg b/60759-h/images/ill_pg_124_lg.jpg
new file mode 100644
index 0000000..64eb3e8
--- /dev/null
+++ b/60759-h/images/ill_pg_124_lg.jpg
diff --git a/60759-h/images/ill_pg_124_sml.jpg b/60759-h/images/ill_pg_124_sml.jpg
new file mode 100644
index 0000000..505249d
--- /dev/null
+++ b/60759-h/images/ill_pg_124_sml.jpg
diff --git a/60759-h/images/ill_pg_125-a_lg.jpg b/60759-h/images/ill_pg_125-a_lg.jpg
new file mode 100644
index 0000000..b0054bb
--- /dev/null
+++ b/60759-h/images/ill_pg_125-a_lg.jpg
diff --git a/60759-h/images/ill_pg_125-a_sml.jpg b/60759-h/images/ill_pg_125-a_sml.jpg
new file mode 100644
index 0000000..ace175a
--- /dev/null
+++ b/60759-h/images/ill_pg_125-a_sml.jpg
diff --git a/60759-h/images/ill_pg_125-b_lg.jpg b/60759-h/images/ill_pg_125-b_lg.jpg
new file mode 100644
index 0000000..d608cf9
--- /dev/null
+++ b/60759-h/images/ill_pg_125-b_lg.jpg
diff --git a/60759-h/images/ill_pg_125-b_sml.jpg b/60759-h/images/ill_pg_125-b_sml.jpg
new file mode 100644
index 0000000..3592291
--- /dev/null
+++ b/60759-h/images/ill_pg_125-b_sml.jpg
diff --git a/60759-h/images/ill_pg_126_lg.jpg b/60759-h/images/ill_pg_126_lg.jpg
new file mode 100644
index 0000000..2b0eb9b
--- /dev/null
+++ b/60759-h/images/ill_pg_126_lg.jpg
diff --git a/60759-h/images/ill_pg_126_sml.jpg b/60759-h/images/ill_pg_126_sml.jpg
new file mode 100644
index 0000000..e0e4f41
--- /dev/null
+++ b/60759-h/images/ill_pg_126_sml.jpg
diff --git a/60759-h/images/ill_pg_127_lg.jpg b/60759-h/images/ill_pg_127_lg.jpg
new file mode 100644
index 0000000..7730408
--- /dev/null
+++ b/60759-h/images/ill_pg_127_lg.jpg
diff --git a/60759-h/images/ill_pg_127_sml.jpg b/60759-h/images/ill_pg_127_sml.jpg
new file mode 100644
index 0000000..0905bef
--- /dev/null
+++ b/60759-h/images/ill_pg_127_sml.jpg
diff --git a/60759-h/images/ill_pg_128-a_lg.jpg b/60759-h/images/ill_pg_128-a_lg.jpg
new file mode 100644
index 0000000..f2c369f
--- /dev/null
+++ b/60759-h/images/ill_pg_128-a_lg.jpg
diff --git a/60759-h/images/ill_pg_128-a_sml.jpg b/60759-h/images/ill_pg_128-a_sml.jpg
new file mode 100644
index 0000000..945e6ea
--- /dev/null
+++ b/60759-h/images/ill_pg_128-a_sml.jpg
diff --git a/60759-h/images/ill_pg_128-b_lg.jpg b/60759-h/images/ill_pg_128-b_lg.jpg
new file mode 100644
index 0000000..a5eea43
--- /dev/null
+++ b/60759-h/images/ill_pg_128-b_lg.jpg
diff --git a/60759-h/images/ill_pg_128-b_sml.jpg b/60759-h/images/ill_pg_128-b_sml.jpg
new file mode 100644
index 0000000..d0ce370
--- /dev/null
+++ b/60759-h/images/ill_pg_128-b_sml.jpg
diff --git a/60759-h/images/ill_pg_129_lg.jpg b/60759-h/images/ill_pg_129_lg.jpg
new file mode 100644
index 0000000..0510888
--- /dev/null
+++ b/60759-h/images/ill_pg_129_lg.jpg
diff --git a/60759-h/images/ill_pg_129_sml.jpg b/60759-h/images/ill_pg_129_sml.jpg
new file mode 100644
index 0000000..616b0a4
--- /dev/null
+++ b/60759-h/images/ill_pg_129_sml.jpg
diff --git a/60759-h/images/ill_pg_130_lg.jpg b/60759-h/images/ill_pg_130_lg.jpg
new file mode 100644
index 0000000..607cf42
--- /dev/null
+++ b/60759-h/images/ill_pg_130_lg.jpg
diff --git a/60759-h/images/ill_pg_130_sml.jpg b/60759-h/images/ill_pg_130_sml.jpg
new file mode 100644
index 0000000..b774101
--- /dev/null
+++ b/60759-h/images/ill_pg_130_sml.jpg
diff --git a/60759-h/images/ill_pg_134_lg.jpg b/60759-h/images/ill_pg_134_lg.jpg
new file mode 100644
index 0000000..b473ca4
--- /dev/null
+++ b/60759-h/images/ill_pg_134_lg.jpg
diff --git a/60759-h/images/ill_pg_134_sml.jpg b/60759-h/images/ill_pg_134_sml.jpg
new file mode 100644
index 0000000..0741eb0
--- /dev/null
+++ b/60759-h/images/ill_pg_134_sml.jpg
diff --git a/60759-h/images/ill_pg_135_lg.jpg b/60759-h/images/ill_pg_135_lg.jpg
new file mode 100644
index 0000000..339a6fa
--- /dev/null
+++ b/60759-h/images/ill_pg_135_lg.jpg
diff --git a/60759-h/images/ill_pg_135_sml.jpg b/60759-h/images/ill_pg_135_sml.jpg
new file mode 100644
index 0000000..bfe33a3
--- /dev/null
+++ b/60759-h/images/ill_pg_135_sml.jpg
diff --git a/60759-h/images/ill_pg_143_lg.jpg b/60759-h/images/ill_pg_143_lg.jpg
new file mode 100644
index 0000000..7d413fd
--- /dev/null
+++ b/60759-h/images/ill_pg_143_lg.jpg
diff --git a/60759-h/images/ill_pg_143_sml.jpg b/60759-h/images/ill_pg_143_sml.jpg
new file mode 100644
index 0000000..c5c03de
--- /dev/null
+++ b/60759-h/images/ill_pg_143_sml.jpg
diff --git a/60759-h/images/ill_pg_144_lg.jpg b/60759-h/images/ill_pg_144_lg.jpg
new file mode 100644
index 0000000..eee82a0
--- /dev/null
+++ b/60759-h/images/ill_pg_144_lg.jpg
diff --git a/60759-h/images/ill_pg_144_sml.jpg b/60759-h/images/ill_pg_144_sml.jpg
new file mode 100644
index 0000000..60b6691
--- /dev/null
+++ b/60759-h/images/ill_pg_144_sml.jpg
diff --git a/60759-h/images/ill_pg_145_lg.jpg b/60759-h/images/ill_pg_145_lg.jpg
new file mode 100644
index 0000000..90a1071
--- /dev/null
+++ b/60759-h/images/ill_pg_145_lg.jpg
diff --git a/60759-h/images/ill_pg_145_sml.jpg b/60759-h/images/ill_pg_145_sml.jpg
new file mode 100644
index 0000000..e88e2de
--- /dev/null
+++ b/60759-h/images/ill_pg_145_sml.jpg
diff --git a/60759-h/images/ill_pg_146_lg.jpg b/60759-h/images/ill_pg_146_lg.jpg
new file mode 100644
index 0000000..b4d74af
--- /dev/null
+++ b/60759-h/images/ill_pg_146_lg.jpg
diff --git a/60759-h/images/ill_pg_146_sml.jpg b/60759-h/images/ill_pg_146_sml.jpg
new file mode 100644
index 0000000..9dd03f7
--- /dev/null
+++ b/60759-h/images/ill_pg_146_sml.jpg
diff --git a/60759-h/images/ill_pg_147_lg.jpg b/60759-h/images/ill_pg_147_lg.jpg
new file mode 100644
index 0000000..3f594f8
--- /dev/null
+++ b/60759-h/images/ill_pg_147_lg.jpg
diff --git a/60759-h/images/ill_pg_147_sml.jpg b/60759-h/images/ill_pg_147_sml.jpg
new file mode 100644
index 0000000..14ae9f3
--- /dev/null
+++ b/60759-h/images/ill_pg_147_sml.jpg
diff --git a/60759-h/images/ill_pg_148_lg.jpg b/60759-h/images/ill_pg_148_lg.jpg
new file mode 100644
index 0000000..cdeb44b
--- /dev/null
+++ b/60759-h/images/ill_pg_148_lg.jpg
diff --git a/60759-h/images/ill_pg_148_sml.jpg b/60759-h/images/ill_pg_148_sml.jpg
new file mode 100644
index 0000000..3868fb5
--- /dev/null
+++ b/60759-h/images/ill_pg_148_sml.jpg
diff --git a/60759-h/images/ill_pg_149-a_lg.jpg b/60759-h/images/ill_pg_149-a_lg.jpg
new file mode 100644
index 0000000..1b1f3f8
--- /dev/null
+++ b/60759-h/images/ill_pg_149-a_lg.jpg
diff --git a/60759-h/images/ill_pg_149-a_sml.jpg b/60759-h/images/ill_pg_149-a_sml.jpg
new file mode 100644
index 0000000..f30e2d6
--- /dev/null
+++ b/60759-h/images/ill_pg_149-a_sml.jpg
diff --git a/60759-h/images/ill_pg_149-b_lg.jpg b/60759-h/images/ill_pg_149-b_lg.jpg
new file mode 100644
index 0000000..a1623a5
--- /dev/null
+++ b/60759-h/images/ill_pg_149-b_lg.jpg
diff --git a/60759-h/images/ill_pg_149-b_sml.jpg b/60759-h/images/ill_pg_149-b_sml.jpg
new file mode 100644
index 0000000..868f704
--- /dev/null
+++ b/60759-h/images/ill_pg_149-b_sml.jpg
diff --git a/60759-h/images/ill_pg_152_lg.jpg b/60759-h/images/ill_pg_152_lg.jpg
new file mode 100644
index 0000000..77c720b
--- /dev/null
+++ b/60759-h/images/ill_pg_152_lg.jpg
diff --git a/60759-h/images/ill_pg_152_sml.jpg b/60759-h/images/ill_pg_152_sml.jpg
new file mode 100644
index 0000000..34496f3
--- /dev/null
+++ b/60759-h/images/ill_pg_152_sml.jpg
diff --git a/60759-h/images/ill_pg_154_lg.jpg b/60759-h/images/ill_pg_154_lg.jpg
new file mode 100644
index 0000000..7be2b42
--- /dev/null
+++ b/60759-h/images/ill_pg_154_lg.jpg
diff --git a/60759-h/images/ill_pg_154_sml.jpg b/60759-h/images/ill_pg_154_sml.jpg
new file mode 100644
index 0000000..0e5d910
--- /dev/null
+++ b/60759-h/images/ill_pg_154_sml.jpg
diff --git a/60759-h/images/ill_pg_155_lg.jpg b/60759-h/images/ill_pg_155_lg.jpg
new file mode 100644
index 0000000..782acc6
--- /dev/null
+++ b/60759-h/images/ill_pg_155_lg.jpg
diff --git a/60759-h/images/ill_pg_155_sml.jpg b/60759-h/images/ill_pg_155_sml.jpg
new file mode 100644
index 0000000..6eb3fdb
--- /dev/null
+++ b/60759-h/images/ill_pg_155_sml.jpg
diff --git a/60759-h/images/ill_pg_156-a_lg.jpg b/60759-h/images/ill_pg_156-a_lg.jpg
new file mode 100644
index 0000000..e5b74c4
--- /dev/null
+++ b/60759-h/images/ill_pg_156-a_lg.jpg
diff --git a/60759-h/images/ill_pg_156-a_sml.jpg b/60759-h/images/ill_pg_156-a_sml.jpg
new file mode 100644
index 0000000..545e656
--- /dev/null
+++ b/60759-h/images/ill_pg_156-a_sml.jpg
diff --git a/60759-h/images/ill_pg_156-b_lg.jpg b/60759-h/images/ill_pg_156-b_lg.jpg
new file mode 100644
index 0000000..45dc346
--- /dev/null
+++ b/60759-h/images/ill_pg_156-b_lg.jpg
diff --git a/60759-h/images/ill_pg_156-b_sml.jpg b/60759-h/images/ill_pg_156-b_sml.jpg
new file mode 100644
index 0000000..3cda847
--- /dev/null
+++ b/60759-h/images/ill_pg_156-b_sml.jpg
diff --git a/60759-h/images/ill_pg_157_lg.jpg b/60759-h/images/ill_pg_157_lg.jpg
new file mode 100644
index 0000000..0059c0f
--- /dev/null
+++ b/60759-h/images/ill_pg_157_lg.jpg
diff --git a/60759-h/images/ill_pg_157_sml.jpg b/60759-h/images/ill_pg_157_sml.jpg
new file mode 100644
index 0000000..663fdd0
--- /dev/null
+++ b/60759-h/images/ill_pg_157_sml.jpg
diff --git a/60759-h/images/ill_pg_161_lg.jpg b/60759-h/images/ill_pg_161_lg.jpg
new file mode 100644
index 0000000..689766a
--- /dev/null
+++ b/60759-h/images/ill_pg_161_lg.jpg
diff --git a/60759-h/images/ill_pg_161_sml.jpg b/60759-h/images/ill_pg_161_sml.jpg
new file mode 100644
index 0000000..d2af5da
--- /dev/null
+++ b/60759-h/images/ill_pg_161_sml.jpg
diff --git a/60759-h/images/ill_pg_162_lg.jpg b/60759-h/images/ill_pg_162_lg.jpg
new file mode 100644
index 0000000..8938d84
--- /dev/null
+++ b/60759-h/images/ill_pg_162_lg.jpg
diff --git a/60759-h/images/ill_pg_162_sml.jpg b/60759-h/images/ill_pg_162_sml.jpg
new file mode 100644
index 0000000..caebec4
--- /dev/null
+++ b/60759-h/images/ill_pg_162_sml.jpg
diff --git a/60759-h/images/ill_pg_163_lg.jpg b/60759-h/images/ill_pg_163_lg.jpg
new file mode 100644
index 0000000..68048fb
--- /dev/null
+++ b/60759-h/images/ill_pg_163_lg.jpg
diff --git a/60759-h/images/ill_pg_163_sml.jpg b/60759-h/images/ill_pg_163_sml.jpg
new file mode 100644
index 0000000..2f3abb6
--- /dev/null
+++ b/60759-h/images/ill_pg_163_sml.jpg
diff --git a/60759-h/images/ill_pg_164_lg.jpg b/60759-h/images/ill_pg_164_lg.jpg
new file mode 100644
index 0000000..5b62f1d
--- /dev/null
+++ b/60759-h/images/ill_pg_164_lg.jpg
diff --git a/60759-h/images/ill_pg_164_sml.jpg b/60759-h/images/ill_pg_164_sml.jpg
new file mode 100644
index 0000000..628e176
--- /dev/null
+++ b/60759-h/images/ill_pg_164_sml.jpg
diff --git a/60759-h/images/ill_pg_165_lg.jpg b/60759-h/images/ill_pg_165_lg.jpg
new file mode 100644
index 0000000..9f4905d
--- /dev/null
+++ b/60759-h/images/ill_pg_165_lg.jpg
diff --git a/60759-h/images/ill_pg_165_sml.jpg b/60759-h/images/ill_pg_165_sml.jpg
new file mode 100644
index 0000000..e390b5c
--- /dev/null
+++ b/60759-h/images/ill_pg_165_sml.jpg
diff --git a/60759-h/images/ill_pg_166-a_lg.jpg b/60759-h/images/ill_pg_166-a_lg.jpg
new file mode 100644
index 0000000..22560fc
--- /dev/null
+++ b/60759-h/images/ill_pg_166-a_lg.jpg
diff --git a/60759-h/images/ill_pg_166-a_sml.jpg b/60759-h/images/ill_pg_166-a_sml.jpg
new file mode 100644
index 0000000..6a489a9
--- /dev/null
+++ b/60759-h/images/ill_pg_166-a_sml.jpg
diff --git a/60759-h/images/ill_pg_166-b_lg.jpg b/60759-h/images/ill_pg_166-b_lg.jpg
new file mode 100644
index 0000000..7332ce3
--- /dev/null
+++ b/60759-h/images/ill_pg_166-b_lg.jpg
diff --git a/60759-h/images/ill_pg_166-b_sml.jpg b/60759-h/images/ill_pg_166-b_sml.jpg
new file mode 100644
index 0000000..ba418b3
--- /dev/null
+++ b/60759-h/images/ill_pg_166-b_sml.jpg
diff --git a/60759-h/images/ill_pg_167_lg.jpg b/60759-h/images/ill_pg_167_lg.jpg
new file mode 100644
index 0000000..9c92a92
--- /dev/null
+++ b/60759-h/images/ill_pg_167_lg.jpg
diff --git a/60759-h/images/ill_pg_167_sml.jpg b/60759-h/images/ill_pg_167_sml.jpg
new file mode 100644
index 0000000..206304f
--- /dev/null
+++ b/60759-h/images/ill_pg_167_sml.jpg
diff --git a/60759-h/images/ill_pg_168_lg.jpg b/60759-h/images/ill_pg_168_lg.jpg
new file mode 100644
index 0000000..c64470f
--- /dev/null
+++ b/60759-h/images/ill_pg_168_lg.jpg
diff --git a/60759-h/images/ill_pg_168_sml.jpg b/60759-h/images/ill_pg_168_sml.jpg
new file mode 100644
index 0000000..90602d2
--- /dev/null
+++ b/60759-h/images/ill_pg_168_sml.jpg
diff --git a/60759-h/images/ill_pg_169_lg.jpg b/60759-h/images/ill_pg_169_lg.jpg
new file mode 100644
index 0000000..36dcb44
--- /dev/null
+++ b/60759-h/images/ill_pg_169_lg.jpg
diff --git a/60759-h/images/ill_pg_169_sml.jpg b/60759-h/images/ill_pg_169_sml.jpg
new file mode 100644
index 0000000..6f4d591
--- /dev/null
+++ b/60759-h/images/ill_pg_169_sml.jpg
diff --git a/60759-h/images/ill_pg_170_lg.jpg b/60759-h/images/ill_pg_170_lg.jpg
new file mode 100644
index 0000000..b37a682
--- /dev/null
+++ b/60759-h/images/ill_pg_170_lg.jpg
diff --git a/60759-h/images/ill_pg_170_sml.jpg b/60759-h/images/ill_pg_170_sml.jpg
new file mode 100644
index 0000000..e4f163b
--- /dev/null
+++ b/60759-h/images/ill_pg_170_sml.jpg
diff --git a/60759-h/images/ill_pg_171_lg.jpg b/60759-h/images/ill_pg_171_lg.jpg
new file mode 100644
index 0000000..d077532
--- /dev/null
+++ b/60759-h/images/ill_pg_171_lg.jpg
diff --git a/60759-h/images/ill_pg_171_sml.jpg b/60759-h/images/ill_pg_171_sml.jpg
new file mode 100644
index 0000000..906b735
--- /dev/null
+++ b/60759-h/images/ill_pg_171_sml.jpg
diff --git a/60759-h/images/ill_pg_172-a_lg.jpg b/60759-h/images/ill_pg_172-a_lg.jpg
new file mode 100644
index 0000000..a42a581
--- /dev/null
+++ b/60759-h/images/ill_pg_172-a_lg.jpg
diff --git a/60759-h/images/ill_pg_172-a_sml.jpg b/60759-h/images/ill_pg_172-a_sml.jpg
new file mode 100644
index 0000000..195f5ac
--- /dev/null
+++ b/60759-h/images/ill_pg_172-a_sml.jpg
diff --git a/60759-h/images/ill_pg_172-b_lg.jpg b/60759-h/images/ill_pg_172-b_lg.jpg
new file mode 100644
index 0000000..27fe95a
--- /dev/null
+++ b/60759-h/images/ill_pg_172-b_lg.jpg
diff --git a/60759-h/images/ill_pg_172-b_sml.jpg b/60759-h/images/ill_pg_172-b_sml.jpg
new file mode 100644
index 0000000..3e78392
--- /dev/null
+++ b/60759-h/images/ill_pg_172-b_sml.jpg
diff --git a/60759-h/images/ill_pg_173-a_lg.jpg b/60759-h/images/ill_pg_173-a_lg.jpg
new file mode 100644
index 0000000..5f4d862
--- /dev/null
+++ b/60759-h/images/ill_pg_173-a_lg.jpg
diff --git a/60759-h/images/ill_pg_173-a_sml.jpg b/60759-h/images/ill_pg_173-a_sml.jpg
new file mode 100644
index 0000000..5f85ca0
--- /dev/null
+++ b/60759-h/images/ill_pg_173-a_sml.jpg
diff --git a/60759-h/images/ill_pg_173-b_lg.jpg b/60759-h/images/ill_pg_173-b_lg.jpg
new file mode 100644
index 0000000..82aa318
--- /dev/null
+++ b/60759-h/images/ill_pg_173-b_lg.jpg
diff --git a/60759-h/images/ill_pg_173-b_sml.jpg b/60759-h/images/ill_pg_173-b_sml.jpg
new file mode 100644
index 0000000..bf6451d
--- /dev/null
+++ b/60759-h/images/ill_pg_173-b_sml.jpg
diff --git a/60759-h/images/ill_pg_174_lg.jpg b/60759-h/images/ill_pg_174_lg.jpg
new file mode 100644
index 0000000..4242d2a
--- /dev/null
+++ b/60759-h/images/ill_pg_174_lg.jpg
diff --git a/60759-h/images/ill_pg_174_sml.jpg b/60759-h/images/ill_pg_174_sml.jpg
new file mode 100644
index 0000000..7aced59
--- /dev/null
+++ b/60759-h/images/ill_pg_174_sml.jpg
diff --git a/60759-h/images/ill_pg_175_lg.jpg b/60759-h/images/ill_pg_175_lg.jpg
new file mode 100644
index 0000000..915c093
--- /dev/null
+++ b/60759-h/images/ill_pg_175_lg.jpg
diff --git a/60759-h/images/ill_pg_175_sml.jpg b/60759-h/images/ill_pg_175_sml.jpg
new file mode 100644
index 0000000..e5311f5
--- /dev/null
+++ b/60759-h/images/ill_pg_175_sml.jpg
diff --git a/60759-h/images/ill_pg_176_lg.jpg b/60759-h/images/ill_pg_176_lg.jpg
new file mode 100644
index 0000000..0a4a038
--- /dev/null
+++ b/60759-h/images/ill_pg_176_lg.jpg
diff --git a/60759-h/images/ill_pg_176_sml.jpg b/60759-h/images/ill_pg_176_sml.jpg
new file mode 100644
index 0000000..54293e5
--- /dev/null
+++ b/60759-h/images/ill_pg_176_sml.jpg
diff --git a/60759-h/images/ill_pg_177_lg.jpg b/60759-h/images/ill_pg_177_lg.jpg
new file mode 100644
index 0000000..20b4850
--- /dev/null
+++ b/60759-h/images/ill_pg_177_lg.jpg
diff --git a/60759-h/images/ill_pg_177_sml.jpg b/60759-h/images/ill_pg_177_sml.jpg
new file mode 100644
index 0000000..ae01d1e
--- /dev/null
+++ b/60759-h/images/ill_pg_177_sml.jpg
diff --git a/60759-h/images/ill_pg_178-a_lg.jpg b/60759-h/images/ill_pg_178-a_lg.jpg
new file mode 100644
index 0000000..e18dde1
--- /dev/null
+++ b/60759-h/images/ill_pg_178-a_lg.jpg
diff --git a/60759-h/images/ill_pg_178-a_sml.jpg b/60759-h/images/ill_pg_178-a_sml.jpg
new file mode 100644
index 0000000..e9ff4a8
--- /dev/null
+++ b/60759-h/images/ill_pg_178-a_sml.jpg
diff --git a/60759-h/images/ill_pg_178-b_lg.jpg b/60759-h/images/ill_pg_178-b_lg.jpg
new file mode 100644
index 0000000..ae02ced
--- /dev/null
+++ b/60759-h/images/ill_pg_178-b_lg.jpg
diff --git a/60759-h/images/ill_pg_178-b_sml.jpg b/60759-h/images/ill_pg_178-b_sml.jpg
new file mode 100644
index 0000000..d86809f
--- /dev/null
+++ b/60759-h/images/ill_pg_178-b_sml.jpg
diff --git a/60759-h/images/ill_pg_178-c_lg.jpg b/60759-h/images/ill_pg_178-c_lg.jpg
new file mode 100644
index 0000000..2f2832a
--- /dev/null
+++ b/60759-h/images/ill_pg_178-c_lg.jpg
diff --git a/60759-h/images/ill_pg_178-c_sml.jpg b/60759-h/images/ill_pg_178-c_sml.jpg
new file mode 100644
index 0000000..f20cf45
--- /dev/null
+++ b/60759-h/images/ill_pg_178-c_sml.jpg
diff --git a/60759-h/images/ill_pg_179_lg.jpg b/60759-h/images/ill_pg_179_lg.jpg
new file mode 100644
index 0000000..ebc7e10
--- /dev/null
+++ b/60759-h/images/ill_pg_179_lg.jpg
diff --git a/60759-h/images/ill_pg_179_sml.jpg b/60759-h/images/ill_pg_179_sml.jpg
new file mode 100644
index 0000000..d01e552
--- /dev/null
+++ b/60759-h/images/ill_pg_179_sml.jpg
diff --git a/60759-h/images/ill_pg_180_lg.jpg b/60759-h/images/ill_pg_180_lg.jpg
new file mode 100644
index 0000000..32e359c
--- /dev/null
+++ b/60759-h/images/ill_pg_180_lg.jpg
diff --git a/60759-h/images/ill_pg_180_sml.jpg b/60759-h/images/ill_pg_180_sml.jpg
new file mode 100644
index 0000000..3a302e5
--- /dev/null
+++ b/60759-h/images/ill_pg_180_sml.jpg
diff --git a/60759-h/images/ill_pg_181_lg.jpg b/60759-h/images/ill_pg_181_lg.jpg
new file mode 100644
index 0000000..46c246d
--- /dev/null
+++ b/60759-h/images/ill_pg_181_lg.jpg
diff --git a/60759-h/images/ill_pg_181_sml.jpg b/60759-h/images/ill_pg_181_sml.jpg
new file mode 100644
index 0000000..b93a3f6
--- /dev/null
+++ b/60759-h/images/ill_pg_181_sml.jpg
diff --git a/60759-h/images/ill_pg_182_lg.jpg b/60759-h/images/ill_pg_182_lg.jpg
new file mode 100644
index 0000000..7520335
--- /dev/null
+++ b/60759-h/images/ill_pg_182_lg.jpg
diff --git a/60759-h/images/ill_pg_182_sml.jpg b/60759-h/images/ill_pg_182_sml.jpg
new file mode 100644
index 0000000..658e488
--- /dev/null
+++ b/60759-h/images/ill_pg_182_sml.jpg
diff --git a/60759-h/images/ill_pg_183_lg.jpg b/60759-h/images/ill_pg_183_lg.jpg
new file mode 100644
index 0000000..e62c87c
--- /dev/null
+++ b/60759-h/images/ill_pg_183_lg.jpg
diff --git a/60759-h/images/ill_pg_183_sml.jpg b/60759-h/images/ill_pg_183_sml.jpg
new file mode 100644
index 0000000..66049ca
--- /dev/null
+++ b/60759-h/images/ill_pg_183_sml.jpg
diff --git a/60759-h/images/ill_pg_184-b_lg.jpg b/60759-h/images/ill_pg_184-b_lg.jpg
new file mode 100644
index 0000000..f91a303
--- /dev/null
+++ b/60759-h/images/ill_pg_184-b_lg.jpg
diff --git a/60759-h/images/ill_pg_184-b_sml.jpg b/60759-h/images/ill_pg_184-b_sml.jpg
new file mode 100644
index 0000000..6daf9a3
--- /dev/null
+++ b/60759-h/images/ill_pg_184-b_sml.jpg
diff --git a/60759-h/images/ill_pg_184a_lg.jpg b/60759-h/images/ill_pg_184a_lg.jpg
new file mode 100644
index 0000000..fb0c470
--- /dev/null
+++ b/60759-h/images/ill_pg_184a_lg.jpg
diff --git a/60759-h/images/ill_pg_184a_sml.jpg b/60759-h/images/ill_pg_184a_sml.jpg
new file mode 100644
index 0000000..74d1c95
--- /dev/null
+++ b/60759-h/images/ill_pg_184a_sml.jpg
diff --git a/60759-h/images/ill_pg_185_lg.jpg b/60759-h/images/ill_pg_185_lg.jpg
new file mode 100644
index 0000000..64be156
--- /dev/null
+++ b/60759-h/images/ill_pg_185_lg.jpg
diff --git a/60759-h/images/ill_pg_185_sml.jpg b/60759-h/images/ill_pg_185_sml.jpg
new file mode 100644
index 0000000..ea9b55d
--- /dev/null
+++ b/60759-h/images/ill_pg_185_sml.jpg
diff --git a/60759-h/images/ill_pg_186_lg.jpg b/60759-h/images/ill_pg_186_lg.jpg
new file mode 100644
index 0000000..364c4d6
--- /dev/null
+++ b/60759-h/images/ill_pg_186_lg.jpg
diff --git a/60759-h/images/ill_pg_186_sml.jpg b/60759-h/images/ill_pg_186_sml.jpg
new file mode 100644
index 0000000..11e569c
--- /dev/null
+++ b/60759-h/images/ill_pg_186_sml.jpg
diff --git a/60759-h/images/ill_pg_187_lg.jpg b/60759-h/images/ill_pg_187_lg.jpg
new file mode 100644
index 0000000..6eeabce
--- /dev/null
+++ b/60759-h/images/ill_pg_187_lg.jpg
diff --git a/60759-h/images/ill_pg_187_sml.jpg b/60759-h/images/ill_pg_187_sml.jpg
new file mode 100644
index 0000000..d1257c2
--- /dev/null
+++ b/60759-h/images/ill_pg_187_sml.jpg
diff --git a/60759-h/images/ill_pg_188_lg.jpg b/60759-h/images/ill_pg_188_lg.jpg
new file mode 100644
index 0000000..7fd10d2
--- /dev/null
+++ b/60759-h/images/ill_pg_188_lg.jpg
diff --git a/60759-h/images/ill_pg_188_sml.jpg b/60759-h/images/ill_pg_188_sml.jpg
new file mode 100644
index 0000000..bc30413
--- /dev/null
+++ b/60759-h/images/ill_pg_188_sml.jpg
diff --git a/60759-h/images/ill_pg_189_lg.jpg b/60759-h/images/ill_pg_189_lg.jpg
new file mode 100644
index 0000000..91eb105
--- /dev/null
+++ b/60759-h/images/ill_pg_189_lg.jpg
diff --git a/60759-h/images/ill_pg_189_sml.jpg b/60759-h/images/ill_pg_189_sml.jpg
new file mode 100644
index 0000000..d42a3d5
--- /dev/null
+++ b/60759-h/images/ill_pg_189_sml.jpg
diff --git a/60759-h/images/ill_pg_190_lg.jpg b/60759-h/images/ill_pg_190_lg.jpg
new file mode 100644
index 0000000..55381e1
--- /dev/null
+++ b/60759-h/images/ill_pg_190_lg.jpg
diff --git a/60759-h/images/ill_pg_190_sml.jpg b/60759-h/images/ill_pg_190_sml.jpg
new file mode 100644
index 0000000..eff5d3c
--- /dev/null
+++ b/60759-h/images/ill_pg_190_sml.jpg
diff --git a/60759-h/images/ill_pg_191_lg.jpg b/60759-h/images/ill_pg_191_lg.jpg
new file mode 100644
index 0000000..f28ee05
--- /dev/null
+++ b/60759-h/images/ill_pg_191_lg.jpg
diff --git a/60759-h/images/ill_pg_191_sml.jpg b/60759-h/images/ill_pg_191_sml.jpg
new file mode 100644
index 0000000..7040789
--- /dev/null
+++ b/60759-h/images/ill_pg_191_sml.jpg
diff --git a/60759-h/images/ill_pg_192_lg.jpg b/60759-h/images/ill_pg_192_lg.jpg
new file mode 100644
index 0000000..d8ab545
--- /dev/null
+++ b/60759-h/images/ill_pg_192_lg.jpg
diff --git a/60759-h/images/ill_pg_192_sml.jpg b/60759-h/images/ill_pg_192_sml.jpg
new file mode 100644
index 0000000..62fc46f
--- /dev/null
+++ b/60759-h/images/ill_pg_192_sml.jpg
diff --git a/60759-h/images/ill_pg_193_lg.jpg b/60759-h/images/ill_pg_193_lg.jpg
new file mode 100644
index 0000000..eec8a76
--- /dev/null
+++ b/60759-h/images/ill_pg_193_lg.jpg
diff --git a/60759-h/images/ill_pg_193_sml.jpg b/60759-h/images/ill_pg_193_sml.jpg
new file mode 100644
index 0000000..5b5324b
--- /dev/null
+++ b/60759-h/images/ill_pg_193_sml.jpg
diff --git a/60759-h/images/ill_pg_194_lg.jpg b/60759-h/images/ill_pg_194_lg.jpg
new file mode 100644
index 0000000..3c3ac6e
--- /dev/null
+++ b/60759-h/images/ill_pg_194_lg.jpg
diff --git a/60759-h/images/ill_pg_194_sml.jpg b/60759-h/images/ill_pg_194_sml.jpg
new file mode 100644
index 0000000..3192f8f
--- /dev/null
+++ b/60759-h/images/ill_pg_194_sml.jpg
diff --git a/60759-h/images/ill_pg_195_lg.jpg b/60759-h/images/ill_pg_195_lg.jpg
new file mode 100644
index 0000000..d6f12f5
--- /dev/null
+++ b/60759-h/images/ill_pg_195_lg.jpg
diff --git a/60759-h/images/ill_pg_195_sml.jpg b/60759-h/images/ill_pg_195_sml.jpg
new file mode 100644
index 0000000..eca1ad7
--- /dev/null
+++ b/60759-h/images/ill_pg_195_sml.jpg
diff --git a/60759-h/images/ill_pg_196_lg.jpg b/60759-h/images/ill_pg_196_lg.jpg
new file mode 100644
index 0000000..b7ed715
--- /dev/null
+++ b/60759-h/images/ill_pg_196_lg.jpg
diff --git a/60759-h/images/ill_pg_196_sml.jpg b/60759-h/images/ill_pg_196_sml.jpg
new file mode 100644
index 0000000..57ef5b8
--- /dev/null
+++ b/60759-h/images/ill_pg_196_sml.jpg
diff --git a/60759-h/images/ill_pg_197-a_lg.jpg b/60759-h/images/ill_pg_197-a_lg.jpg
new file mode 100644
index 0000000..8299476
--- /dev/null
+++ b/60759-h/images/ill_pg_197-a_lg.jpg
diff --git a/60759-h/images/ill_pg_197-a_sml.jpg b/60759-h/images/ill_pg_197-a_sml.jpg
new file mode 100644
index 0000000..89d878a
--- /dev/null
+++ b/60759-h/images/ill_pg_197-a_sml.jpg
diff --git a/60759-h/images/ill_pg_197-b_lg.jpg b/60759-h/images/ill_pg_197-b_lg.jpg
new file mode 100644
index 0000000..7abfc52
--- /dev/null
+++ b/60759-h/images/ill_pg_197-b_lg.jpg
diff --git a/60759-h/images/ill_pg_197-b_sml.jpg b/60759-h/images/ill_pg_197-b_sml.jpg
new file mode 100644
index 0000000..20893a4
--- /dev/null
+++ b/60759-h/images/ill_pg_197-b_sml.jpg
diff --git a/60759-h/images/ill_pg_198_lg.jpg b/60759-h/images/ill_pg_198_lg.jpg
new file mode 100644
index 0000000..c2ee789
--- /dev/null
+++ b/60759-h/images/ill_pg_198_lg.jpg
diff --git a/60759-h/images/ill_pg_198_sml.jpg b/60759-h/images/ill_pg_198_sml.jpg
new file mode 100644
index 0000000..98db286
--- /dev/null
+++ b/60759-h/images/ill_pg_198_sml.jpg
diff --git a/60759-h/images/ill_pg_199_lg.jpg b/60759-h/images/ill_pg_199_lg.jpg
new file mode 100644
index 0000000..3b89c57
--- /dev/null
+++ b/60759-h/images/ill_pg_199_lg.jpg
diff --git a/60759-h/images/ill_pg_199_sml.jpg b/60759-h/images/ill_pg_199_sml.jpg
new file mode 100644
index 0000000..d30fcfc
--- /dev/null
+++ b/60759-h/images/ill_pg_199_sml.jpg
diff --git a/60759-h/images/ill_pg_200_lg.jpg b/60759-h/images/ill_pg_200_lg.jpg
new file mode 100644
index 0000000..a95e523
--- /dev/null
+++ b/60759-h/images/ill_pg_200_lg.jpg
diff --git a/60759-h/images/ill_pg_200_sml.jpg b/60759-h/images/ill_pg_200_sml.jpg
new file mode 100644
index 0000000..5795900
--- /dev/null
+++ b/60759-h/images/ill_pg_200_sml.jpg
diff --git a/60759-h/images/ill_pg_201_lg.jpg b/60759-h/images/ill_pg_201_lg.jpg
new file mode 100644
index 0000000..b5048df
--- /dev/null
+++ b/60759-h/images/ill_pg_201_lg.jpg
diff --git a/60759-h/images/ill_pg_201_sml.jpg b/60759-h/images/ill_pg_201_sml.jpg
new file mode 100644
index 0000000..ed7aa10
--- /dev/null
+++ b/60759-h/images/ill_pg_201_sml.jpg
diff --git a/60759-h/images/ill_pg_202_lg.jpg b/60759-h/images/ill_pg_202_lg.jpg
new file mode 100644
index 0000000..2438e53
--- /dev/null
+++ b/60759-h/images/ill_pg_202_lg.jpg
diff --git a/60759-h/images/ill_pg_202_sml.jpg b/60759-h/images/ill_pg_202_sml.jpg
new file mode 100644
index 0000000..f752cbe
--- /dev/null
+++ b/60759-h/images/ill_pg_202_sml.jpg
diff --git a/60759-h/images/ill_pg_203_lg.jpg b/60759-h/images/ill_pg_203_lg.jpg
new file mode 100644
index 0000000..8ba8c08
--- /dev/null
+++ b/60759-h/images/ill_pg_203_lg.jpg
diff --git a/60759-h/images/ill_pg_203_sml.jpg b/60759-h/images/ill_pg_203_sml.jpg
new file mode 100644
index 0000000..80589ba
--- /dev/null
+++ b/60759-h/images/ill_pg_203_sml.jpg
diff --git a/60759-h/images/ill_pg_204_lg.jpg b/60759-h/images/ill_pg_204_lg.jpg
new file mode 100644
index 0000000..eb21850
--- /dev/null
+++ b/60759-h/images/ill_pg_204_lg.jpg
diff --git a/60759-h/images/ill_pg_204_sml.jpg b/60759-h/images/ill_pg_204_sml.jpg
new file mode 100644
index 0000000..6ca456d
--- /dev/null
+++ b/60759-h/images/ill_pg_204_sml.jpg
diff --git a/60759-h/images/ill_pg_205_lg.jpg b/60759-h/images/ill_pg_205_lg.jpg
new file mode 100644
index 0000000..4ac7b41
--- /dev/null
+++ b/60759-h/images/ill_pg_205_lg.jpg
diff --git a/60759-h/images/ill_pg_205_sml.jpg b/60759-h/images/ill_pg_205_sml.jpg
new file mode 100644
index 0000000..bde3589
--- /dev/null
+++ b/60759-h/images/ill_pg_205_sml.jpg
diff --git a/60759-h/images/ill_pg_206_lg.jpg b/60759-h/images/ill_pg_206_lg.jpg
new file mode 100644
index 0000000..b518bcb
--- /dev/null
+++ b/60759-h/images/ill_pg_206_lg.jpg
diff --git a/60759-h/images/ill_pg_206_sml.jpg b/60759-h/images/ill_pg_206_sml.jpg
new file mode 100644
index 0000000..6c6f59b
--- /dev/null
+++ b/60759-h/images/ill_pg_206_sml.jpg
diff --git a/60759-h/images/ill_pg_207-a_lg.jpg b/60759-h/images/ill_pg_207-a_lg.jpg
new file mode 100644
index 0000000..97aebb9
--- /dev/null
+++ b/60759-h/images/ill_pg_207-a_lg.jpg
diff --git a/60759-h/images/ill_pg_207-a_sml.jpg b/60759-h/images/ill_pg_207-a_sml.jpg
new file mode 100644
index 0000000..4d63e6a
--- /dev/null
+++ b/60759-h/images/ill_pg_207-a_sml.jpg
diff --git a/60759-h/images/ill_pg_207-b_lg.jpg b/60759-h/images/ill_pg_207-b_lg.jpg
new file mode 100644
index 0000000..f81a832
--- /dev/null
+++ b/60759-h/images/ill_pg_207-b_lg.jpg
diff --git a/60759-h/images/ill_pg_207-b_sml.jpg b/60759-h/images/ill_pg_207-b_sml.jpg
new file mode 100644
index 0000000..4bd48b7
--- /dev/null
+++ b/60759-h/images/ill_pg_207-b_sml.jpg
diff --git a/60759-h/images/ill_pg_208-a_lg.jpg b/60759-h/images/ill_pg_208-a_lg.jpg
new file mode 100644
index 0000000..f160f10
--- /dev/null
+++ b/60759-h/images/ill_pg_208-a_lg.jpg
diff --git a/60759-h/images/ill_pg_208-a_sml.jpg b/60759-h/images/ill_pg_208-a_sml.jpg
new file mode 100644
index 0000000..7005aaa
--- /dev/null
+++ b/60759-h/images/ill_pg_208-a_sml.jpg
diff --git a/60759-h/images/ill_pg_208-b_lg.jpg b/60759-h/images/ill_pg_208-b_lg.jpg
new file mode 100644
index 0000000..2d949c4
--- /dev/null
+++ b/60759-h/images/ill_pg_208-b_lg.jpg
diff --git a/60759-h/images/ill_pg_208-b_sml.jpg b/60759-h/images/ill_pg_208-b_sml.jpg
new file mode 100644
index 0000000..09064a6
--- /dev/null
+++ b/60759-h/images/ill_pg_208-b_sml.jpg
diff --git a/60759-h/images/ill_pg_209_lg.jpg b/60759-h/images/ill_pg_209_lg.jpg
new file mode 100644
index 0000000..d520ed5
--- /dev/null
+++ b/60759-h/images/ill_pg_209_lg.jpg
diff --git a/60759-h/images/ill_pg_209_sml.jpg b/60759-h/images/ill_pg_209_sml.jpg
new file mode 100644
index 0000000..b78e236
--- /dev/null
+++ b/60759-h/images/ill_pg_209_sml.jpg
diff --git a/60759-h/images/ill_pg_210_lg.jpg b/60759-h/images/ill_pg_210_lg.jpg
new file mode 100644
index 0000000..8b40476
--- /dev/null
+++ b/60759-h/images/ill_pg_210_lg.jpg
diff --git a/60759-h/images/ill_pg_210_sml.jpg b/60759-h/images/ill_pg_210_sml.jpg
new file mode 100644
index 0000000..da569b0
--- /dev/null
+++ b/60759-h/images/ill_pg_210_sml.jpg
diff --git a/60759-h/images/ill_pg_211_lg.jpg b/60759-h/images/ill_pg_211_lg.jpg
new file mode 100644
index 0000000..e45c6ad
--- /dev/null
+++ b/60759-h/images/ill_pg_211_lg.jpg
diff --git a/60759-h/images/ill_pg_211_sml.jpg b/60759-h/images/ill_pg_211_sml.jpg
new file mode 100644
index 0000000..9998c47
--- /dev/null
+++ b/60759-h/images/ill_pg_211_sml.jpg
diff --git a/60759-h/images/ill_pg_212_lg.jpg b/60759-h/images/ill_pg_212_lg.jpg
new file mode 100644
index 0000000..01d14ce
--- /dev/null
+++ b/60759-h/images/ill_pg_212_lg.jpg
diff --git a/60759-h/images/ill_pg_212_sml.jpg b/60759-h/images/ill_pg_212_sml.jpg
new file mode 100644
index 0000000..6b48b2e
--- /dev/null
+++ b/60759-h/images/ill_pg_212_sml.jpg
diff --git a/60759-h/images/ill_pg_213-a_lg.jpg b/60759-h/images/ill_pg_213-a_lg.jpg
new file mode 100644
index 0000000..ed31993
--- /dev/null
+++ b/60759-h/images/ill_pg_213-a_lg.jpg
diff --git a/60759-h/images/ill_pg_213-a_sml.jpg b/60759-h/images/ill_pg_213-a_sml.jpg
new file mode 100644
index 0000000..8486a6b
--- /dev/null
+++ b/60759-h/images/ill_pg_213-a_sml.jpg
diff --git a/60759-h/images/ill_pg_213-b_lg.jpg b/60759-h/images/ill_pg_213-b_lg.jpg
new file mode 100644
index 0000000..f5bf659
--- /dev/null
+++ b/60759-h/images/ill_pg_213-b_lg.jpg
diff --git a/60759-h/images/ill_pg_213-b_sml.jpg b/60759-h/images/ill_pg_213-b_sml.jpg
new file mode 100644
index 0000000..40f7711
--- /dev/null
+++ b/60759-h/images/ill_pg_213-b_sml.jpg
diff --git a/60759-h/images/ill_pg_214_lg.jpg b/60759-h/images/ill_pg_214_lg.jpg
new file mode 100644
index 0000000..7540123
--- /dev/null
+++ b/60759-h/images/ill_pg_214_lg.jpg
diff --git a/60759-h/images/ill_pg_214_sml.jpg b/60759-h/images/ill_pg_214_sml.jpg
new file mode 100644
index 0000000..8787683
--- /dev/null
+++ b/60759-h/images/ill_pg_214_sml.jpg
diff --git a/60759-h/images/ill_pg_215_lg.jpg b/60759-h/images/ill_pg_215_lg.jpg
new file mode 100644
index 0000000..e825564
--- /dev/null
+++ b/60759-h/images/ill_pg_215_lg.jpg
diff --git a/60759-h/images/ill_pg_215_sml.jpg b/60759-h/images/ill_pg_215_sml.jpg
new file mode 100644
index 0000000..ccdc7e7
--- /dev/null
+++ b/60759-h/images/ill_pg_215_sml.jpg
diff --git a/60759-h/images/ill_pg_216_lg.jpg b/60759-h/images/ill_pg_216_lg.jpg
new file mode 100644
index 0000000..0be8c3b
--- /dev/null
+++ b/60759-h/images/ill_pg_216_lg.jpg
diff --git a/60759-h/images/ill_pg_216_sml.jpg b/60759-h/images/ill_pg_216_sml.jpg
new file mode 100644
index 0000000..07ce5ba
--- /dev/null
+++ b/60759-h/images/ill_pg_216_sml.jpg
diff --git a/60759-h/images/ill_pg_217_lg.jpg b/60759-h/images/ill_pg_217_lg.jpg
new file mode 100644
index 0000000..49988fd
--- /dev/null
+++ b/60759-h/images/ill_pg_217_lg.jpg
diff --git a/60759-h/images/ill_pg_217_sml.jpg b/60759-h/images/ill_pg_217_sml.jpg
new file mode 100644
index 0000000..b5c758b
--- /dev/null
+++ b/60759-h/images/ill_pg_217_sml.jpg
diff --git a/60759-h/images/ill_pg_218_lg.jpg b/60759-h/images/ill_pg_218_lg.jpg
new file mode 100644
index 0000000..2d76c7f
--- /dev/null
+++ b/60759-h/images/ill_pg_218_lg.jpg
diff --git a/60759-h/images/ill_pg_218_sml.jpg b/60759-h/images/ill_pg_218_sml.jpg
new file mode 100644
index 0000000..76be8f0
--- /dev/null
+++ b/60759-h/images/ill_pg_218_sml.jpg
diff --git a/60759-h/images/ill_pg_219_lg.jpg b/60759-h/images/ill_pg_219_lg.jpg
new file mode 100644
index 0000000..30ff161
--- /dev/null
+++ b/60759-h/images/ill_pg_219_lg.jpg
diff --git a/60759-h/images/ill_pg_219_sml.jpg b/60759-h/images/ill_pg_219_sml.jpg
new file mode 100644
index 0000000..03e14d5
--- /dev/null
+++ b/60759-h/images/ill_pg_219_sml.jpg
diff --git a/60759-h/images/ill_pg_220-a_lg.jpg b/60759-h/images/ill_pg_220-a_lg.jpg
new file mode 100644
index 0000000..dba2086
--- /dev/null
+++ b/60759-h/images/ill_pg_220-a_lg.jpg
diff --git a/60759-h/images/ill_pg_220-a_sml.jpg b/60759-h/images/ill_pg_220-a_sml.jpg
new file mode 100644
index 0000000..9a0b7b9
--- /dev/null
+++ b/60759-h/images/ill_pg_220-a_sml.jpg
diff --git a/60759-h/images/ill_pg_220-b_lg.jpg b/60759-h/images/ill_pg_220-b_lg.jpg
new file mode 100644
index 0000000..3c8f903
--- /dev/null
+++ b/60759-h/images/ill_pg_220-b_lg.jpg
diff --git a/60759-h/images/ill_pg_220-b_sml.jpg b/60759-h/images/ill_pg_220-b_sml.jpg
new file mode 100644
index 0000000..ec3a793
--- /dev/null
+++ b/60759-h/images/ill_pg_220-b_sml.jpg
diff --git a/60759-h/images/ill_pg_221-a_lg.jpg b/60759-h/images/ill_pg_221-a_lg.jpg
new file mode 100644
index 0000000..fa55b24
--- /dev/null
+++ b/60759-h/images/ill_pg_221-a_lg.jpg
diff --git a/60759-h/images/ill_pg_221-a_sml.jpg b/60759-h/images/ill_pg_221-a_sml.jpg
new file mode 100644
index 0000000..defe5e0
--- /dev/null
+++ b/60759-h/images/ill_pg_221-a_sml.jpg
diff --git a/60759-h/images/ill_pg_221-b_lg.jpg b/60759-h/images/ill_pg_221-b_lg.jpg
new file mode 100644
index 0000000..db66933
--- /dev/null
+++ b/60759-h/images/ill_pg_221-b_lg.jpg
diff --git a/60759-h/images/ill_pg_221-b_sml.jpg b/60759-h/images/ill_pg_221-b_sml.jpg
new file mode 100644
index 0000000..4b6fdef
--- /dev/null
+++ b/60759-h/images/ill_pg_221-b_sml.jpg
diff --git a/60759-h/images/ill_pg_222_lg.jpg b/60759-h/images/ill_pg_222_lg.jpg
new file mode 100644
index 0000000..e6a265b
--- /dev/null
+++ b/60759-h/images/ill_pg_222_lg.jpg
diff --git a/60759-h/images/ill_pg_222_sml.jpg b/60759-h/images/ill_pg_222_sml.jpg
new file mode 100644
index 0000000..4879ed6
--- /dev/null
+++ b/60759-h/images/ill_pg_222_sml.jpg
diff --git a/60759-h/images/ill_pg_223-a_lg.jpg b/60759-h/images/ill_pg_223-a_lg.jpg
new file mode 100644
index 0000000..445878d
--- /dev/null
+++ b/60759-h/images/ill_pg_223-a_lg.jpg
diff --git a/60759-h/images/ill_pg_223-a_sml.jpg b/60759-h/images/ill_pg_223-a_sml.jpg
new file mode 100644
index 0000000..19b9136
--- /dev/null
+++ b/60759-h/images/ill_pg_223-a_sml.jpg
diff --git a/60759-h/images/ill_pg_223-b_lg.jpg b/60759-h/images/ill_pg_223-b_lg.jpg
new file mode 100644
index 0000000..d5d79ed
--- /dev/null
+++ b/60759-h/images/ill_pg_223-b_lg.jpg
diff --git a/60759-h/images/ill_pg_223-b_sml.jpg b/60759-h/images/ill_pg_223-b_sml.jpg
new file mode 100644
index 0000000..454f576
--- /dev/null
+++ b/60759-h/images/ill_pg_223-b_sml.jpg
diff --git a/60759-h/images/ill_pg_224-a_lg.jpg b/60759-h/images/ill_pg_224-a_lg.jpg
new file mode 100644
index 0000000..7b4a2b6
--- /dev/null
+++ b/60759-h/images/ill_pg_224-a_lg.jpg
diff --git a/60759-h/images/ill_pg_224-a_sml.jpg b/60759-h/images/ill_pg_224-a_sml.jpg
new file mode 100644
index 0000000..ed491c0
--- /dev/null
+++ b/60759-h/images/ill_pg_224-a_sml.jpg
diff --git a/60759-h/images/ill_pg_224-b_lg.jpg b/60759-h/images/ill_pg_224-b_lg.jpg
new file mode 100644
index 0000000..21c3679
--- /dev/null
+++ b/60759-h/images/ill_pg_224-b_lg.jpg
diff --git a/60759-h/images/ill_pg_224-b_sml.jpg b/60759-h/images/ill_pg_224-b_sml.jpg
new file mode 100644
index 0000000..b3c3dd2
--- /dev/null
+++ b/60759-h/images/ill_pg_224-b_sml.jpg
diff --git a/60759-h/images/ill_pg_225_lg.jpg b/60759-h/images/ill_pg_225_lg.jpg
new file mode 100644
index 0000000..e74e36d
--- /dev/null
+++ b/60759-h/images/ill_pg_225_lg.jpg
diff --git a/60759-h/images/ill_pg_225_sml.jpg b/60759-h/images/ill_pg_225_sml.jpg
new file mode 100644
index 0000000..c4a5d5d
--- /dev/null
+++ b/60759-h/images/ill_pg_225_sml.jpg
diff --git a/60759-h/images/ill_pg_226_lg.jpg b/60759-h/images/ill_pg_226_lg.jpg
new file mode 100644
index 0000000..62495aa
--- /dev/null
+++ b/60759-h/images/ill_pg_226_lg.jpg
diff --git a/60759-h/images/ill_pg_226_sml.jpg b/60759-h/images/ill_pg_226_sml.jpg
new file mode 100644
index 0000000..7f26e61
--- /dev/null
+++ b/60759-h/images/ill_pg_226_sml.jpg
diff --git a/60759-h/images/ill_pg_227_lg.jpg b/60759-h/images/ill_pg_227_lg.jpg
new file mode 100644
index 0000000..9a57e14
--- /dev/null
+++ b/60759-h/images/ill_pg_227_lg.jpg
diff --git a/60759-h/images/ill_pg_227_sml.jpg b/60759-h/images/ill_pg_227_sml.jpg
new file mode 100644
index 0000000..50b52eb
--- /dev/null
+++ b/60759-h/images/ill_pg_227_sml.jpg
diff --git a/60759-h/images/ill_pg_228_lg.jpg b/60759-h/images/ill_pg_228_lg.jpg
new file mode 100644
index 0000000..f46fb08
--- /dev/null
+++ b/60759-h/images/ill_pg_228_lg.jpg
diff --git a/60759-h/images/ill_pg_228_sml.jpg b/60759-h/images/ill_pg_228_sml.jpg
new file mode 100644
index 0000000..51ae354
--- /dev/null
+++ b/60759-h/images/ill_pg_228_sml.jpg
diff --git a/60759-h/images/ill_pg_229_lg.jpg b/60759-h/images/ill_pg_229_lg.jpg
new file mode 100644
index 0000000..47781fe
--- /dev/null
+++ b/60759-h/images/ill_pg_229_lg.jpg
diff --git a/60759-h/images/ill_pg_229_sml.jpg b/60759-h/images/ill_pg_229_sml.jpg
new file mode 100644
index 0000000..baf4778
--- /dev/null
+++ b/60759-h/images/ill_pg_229_sml.jpg
diff --git a/60759-h/images/ill_pg_230_lg.jpg b/60759-h/images/ill_pg_230_lg.jpg
new file mode 100644
index 0000000..997d1d0
--- /dev/null
+++ b/60759-h/images/ill_pg_230_lg.jpg
diff --git a/60759-h/images/ill_pg_230_sml.jpg b/60759-h/images/ill_pg_230_sml.jpg
new file mode 100644
index 0000000..0f58c21
--- /dev/null
+++ b/60759-h/images/ill_pg_230_sml.jpg
diff --git a/60759-h/images/ill_pg_231_lg.jpg b/60759-h/images/ill_pg_231_lg.jpg
new file mode 100644
index 0000000..dccdc0f
--- /dev/null
+++ b/60759-h/images/ill_pg_231_lg.jpg
diff --git a/60759-h/images/ill_pg_231_sml.jpg b/60759-h/images/ill_pg_231_sml.jpg
new file mode 100644
index 0000000..369a22b
--- /dev/null
+++ b/60759-h/images/ill_pg_231_sml.jpg
diff --git a/60759-h/images/ill_pg_232_lg.jpg b/60759-h/images/ill_pg_232_lg.jpg
new file mode 100644
index 0000000..f97036e
--- /dev/null
+++ b/60759-h/images/ill_pg_232_lg.jpg
diff --git a/60759-h/images/ill_pg_232_sml.jpg b/60759-h/images/ill_pg_232_sml.jpg
new file mode 100644
index 0000000..031265f
--- /dev/null
+++ b/60759-h/images/ill_pg_232_sml.jpg
diff --git a/60759-h/images/ill_pg_234_lg.jpg b/60759-h/images/ill_pg_234_lg.jpg
new file mode 100644
index 0000000..4fdb9aa
--- /dev/null
+++ b/60759-h/images/ill_pg_234_lg.jpg
diff --git a/60759-h/images/ill_pg_234_sml.jpg b/60759-h/images/ill_pg_234_sml.jpg
new file mode 100644
index 0000000..490f4fc
--- /dev/null
+++ b/60759-h/images/ill_pg_234_sml.jpg
diff --git a/60759-h/images/ill_pg_236_lg.jpg b/60759-h/images/ill_pg_236_lg.jpg
new file mode 100644
index 0000000..511f287
--- /dev/null
+++ b/60759-h/images/ill_pg_236_lg.jpg
diff --git a/60759-h/images/ill_pg_236_sml.jpg b/60759-h/images/ill_pg_236_sml.jpg
new file mode 100644
index 0000000..f6657be
--- /dev/null
+++ b/60759-h/images/ill_pg_236_sml.jpg
diff --git a/60759-h/images/ill_pg_237_lg.jpg b/60759-h/images/ill_pg_237_lg.jpg
new file mode 100644
index 0000000..451dfd3
--- /dev/null
+++ b/60759-h/images/ill_pg_237_lg.jpg
diff --git a/60759-h/images/ill_pg_237_sml.jpg b/60759-h/images/ill_pg_237_sml.jpg
new file mode 100644
index 0000000..b41f00b
--- /dev/null
+++ b/60759-h/images/ill_pg_237_sml.jpg
diff --git a/60759-h/images/ill_pg_238_lg.jpg b/60759-h/images/ill_pg_238_lg.jpg
new file mode 100644
index 0000000..97ed243
--- /dev/null
+++ b/60759-h/images/ill_pg_238_lg.jpg
diff --git a/60759-h/images/ill_pg_238_sml.jpg b/60759-h/images/ill_pg_238_sml.jpg
new file mode 100644
index 0000000..9570497
--- /dev/null
+++ b/60759-h/images/ill_pg_238_sml.jpg
diff --git a/60759-h/images/ill_pg_239_lg.jpg b/60759-h/images/ill_pg_239_lg.jpg
new file mode 100644
index 0000000..a087d91
--- /dev/null
+++ b/60759-h/images/ill_pg_239_lg.jpg
diff --git a/60759-h/images/ill_pg_239_sml.jpg b/60759-h/images/ill_pg_239_sml.jpg
new file mode 100644
index 0000000..ff2c975
--- /dev/null
+++ b/60759-h/images/ill_pg_239_sml.jpg
diff --git a/60759-h/images/ill_pg_242_lg.jpg b/60759-h/images/ill_pg_242_lg.jpg
new file mode 100644
index 0000000..58cca5b
--- /dev/null
+++ b/60759-h/images/ill_pg_242_lg.jpg
diff --git a/60759-h/images/ill_pg_242_sml.jpg b/60759-h/images/ill_pg_242_sml.jpg
new file mode 100644
index 0000000..ce0ba46
--- /dev/null
+++ b/60759-h/images/ill_pg_242_sml.jpg
diff --git a/60759-h/images/ill_pg_243_lg.jpg b/60759-h/images/ill_pg_243_lg.jpg
new file mode 100644
index 0000000..3b15b72
--- /dev/null
+++ b/60759-h/images/ill_pg_243_lg.jpg
diff --git a/60759-h/images/ill_pg_243_sml.jpg b/60759-h/images/ill_pg_243_sml.jpg
new file mode 100644
index 0000000..45b6997
--- /dev/null
+++ b/60759-h/images/ill_pg_243_sml.jpg
diff --git a/60759-h/images/ill_pg_244_lg.jpg b/60759-h/images/ill_pg_244_lg.jpg
new file mode 100644
index 0000000..8e00b07
--- /dev/null
+++ b/60759-h/images/ill_pg_244_lg.jpg
diff --git a/60759-h/images/ill_pg_244_sml.jpg b/60759-h/images/ill_pg_244_sml.jpg
new file mode 100644
index 0000000..81d2e19
--- /dev/null
+++ b/60759-h/images/ill_pg_244_sml.jpg
diff --git a/60759-h/images/ill_pg_261_lg.jpg b/60759-h/images/ill_pg_261_lg.jpg
new file mode 100644
index 0000000..66d1d19
--- /dev/null
+++ b/60759-h/images/ill_pg_261_lg.jpg
diff --git a/60759-h/images/ill_pg_261_sml.jpg b/60759-h/images/ill_pg_261_sml.jpg
new file mode 100644
index 0000000..0d1969b
--- /dev/null
+++ b/60759-h/images/ill_pg_261_sml.jpg
diff --git a/60759-h/images/ill_pg_262_lg.jpg b/60759-h/images/ill_pg_262_lg.jpg
new file mode 100644
index 0000000..fd457be
--- /dev/null
+++ b/60759-h/images/ill_pg_262_lg.jpg
diff --git a/60759-h/images/ill_pg_262_sml.jpg b/60759-h/images/ill_pg_262_sml.jpg
new file mode 100644
index 0000000..72192e0
--- /dev/null
+++ b/60759-h/images/ill_pg_262_sml.jpg
diff --git a/60759-h/images/ill_pg_263_lg.jpg b/60759-h/images/ill_pg_263_lg.jpg
new file mode 100644
index 0000000..844f8ec
--- /dev/null
+++ b/60759-h/images/ill_pg_263_lg.jpg
diff --git a/60759-h/images/ill_pg_263_sml.jpg b/60759-h/images/ill_pg_263_sml.jpg
new file mode 100644
index 0000000..a827c33
--- /dev/null
+++ b/60759-h/images/ill_pg_263_sml.jpg
diff --git a/60759-h/images/ill_pg_264-a_lg.jpg b/60759-h/images/ill_pg_264-a_lg.jpg
new file mode 100644
index 0000000..5ee00fa
--- /dev/null
+++ b/60759-h/images/ill_pg_264-a_lg.jpg
diff --git a/60759-h/images/ill_pg_264-a_sml.jpg b/60759-h/images/ill_pg_264-a_sml.jpg
new file mode 100644
index 0000000..508bf9f
--- /dev/null
+++ b/60759-h/images/ill_pg_264-a_sml.jpg
diff --git a/60759-h/images/ill_pg_264-b_lg.jpg b/60759-h/images/ill_pg_264-b_lg.jpg
new file mode 100644
index 0000000..bb80621
--- /dev/null
+++ b/60759-h/images/ill_pg_264-b_lg.jpg
diff --git a/60759-h/images/ill_pg_264-b_sml.jpg b/60759-h/images/ill_pg_264-b_sml.jpg
new file mode 100644
index 0000000..64a371f
--- /dev/null
+++ b/60759-h/images/ill_pg_264-b_sml.jpg
diff --git a/60759-h/images/ill_pg_265_lg.jpg b/60759-h/images/ill_pg_265_lg.jpg
new file mode 100644
index 0000000..108887a
--- /dev/null
+++ b/60759-h/images/ill_pg_265_lg.jpg
diff --git a/60759-h/images/ill_pg_265_sml.jpg b/60759-h/images/ill_pg_265_sml.jpg
new file mode 100644
index 0000000..0b05eca
--- /dev/null
+++ b/60759-h/images/ill_pg_265_sml.jpg
diff --git a/60759-h/images/ill_pg_266-a_lg.jpg b/60759-h/images/ill_pg_266-a_lg.jpg
new file mode 100644
index 0000000..f9891e2
--- /dev/null
+++ b/60759-h/images/ill_pg_266-a_lg.jpg
diff --git a/60759-h/images/ill_pg_266-a_sml.jpg b/60759-h/images/ill_pg_266-a_sml.jpg
new file mode 100644
index 0000000..62f822c
--- /dev/null
+++ b/60759-h/images/ill_pg_266-a_sml.jpg
diff --git a/60759-h/images/ill_pg_266-b_lg.jpg b/60759-h/images/ill_pg_266-b_lg.jpg
new file mode 100644
index 0000000..dcfe8ba
--- /dev/null
+++ b/60759-h/images/ill_pg_266-b_lg.jpg
diff --git a/60759-h/images/ill_pg_266-b_sml.jpg b/60759-h/images/ill_pg_266-b_sml.jpg
new file mode 100644
index 0000000..549b688
--- /dev/null
+++ b/60759-h/images/ill_pg_266-b_sml.jpg
diff --git a/60759-h/images/ill_pg_267_lg.jpg b/60759-h/images/ill_pg_267_lg.jpg
new file mode 100644
index 0000000..d0fb1b7
--- /dev/null
+++ b/60759-h/images/ill_pg_267_lg.jpg
diff --git a/60759-h/images/ill_pg_267_sml.jpg b/60759-h/images/ill_pg_267_sml.jpg
new file mode 100644
index 0000000..9209812
--- /dev/null
+++ b/60759-h/images/ill_pg_267_sml.jpg
diff --git a/60759-h/images/ill_pg_268_lg.jpg b/60759-h/images/ill_pg_268_lg.jpg
new file mode 100644
index 0000000..dd43a1d
--- /dev/null
+++ b/60759-h/images/ill_pg_268_lg.jpg
diff --git a/60759-h/images/ill_pg_268_sml.jpg b/60759-h/images/ill_pg_268_sml.jpg
new file mode 100644
index 0000000..6846a67
--- /dev/null
+++ b/60759-h/images/ill_pg_268_sml.jpg
diff --git a/60759-h/images/ill_pg_269_lg.jpg b/60759-h/images/ill_pg_269_lg.jpg
new file mode 100644
index 0000000..de943fd
--- /dev/null
+++ b/60759-h/images/ill_pg_269_lg.jpg
diff --git a/60759-h/images/ill_pg_269_sml.jpg b/60759-h/images/ill_pg_269_sml.jpg
new file mode 100644
index 0000000..a4160c7
--- /dev/null
+++ b/60759-h/images/ill_pg_269_sml.jpg
diff --git a/60759-h/images/ill_pg_270_lg.jpg b/60759-h/images/ill_pg_270_lg.jpg
new file mode 100644
index 0000000..52d66e1
--- /dev/null
+++ b/60759-h/images/ill_pg_270_lg.jpg
diff --git a/60759-h/images/ill_pg_270_sml.jpg b/60759-h/images/ill_pg_270_sml.jpg
new file mode 100644
index 0000000..ecf2c49
--- /dev/null
+++ b/60759-h/images/ill_pg_270_sml.jpg
diff --git a/60759-h/images/ill_pg_271_lg.jpg b/60759-h/images/ill_pg_271_lg.jpg
new file mode 100644
index 0000000..c56be7f
--- /dev/null
+++ b/60759-h/images/ill_pg_271_lg.jpg
diff --git a/60759-h/images/ill_pg_271_sml.jpg b/60759-h/images/ill_pg_271_sml.jpg
new file mode 100644
index 0000000..16e130a
--- /dev/null
+++ b/60759-h/images/ill_pg_271_sml.jpg
diff --git a/60759-h/images/ill_pg_272_lg.jpg b/60759-h/images/ill_pg_272_lg.jpg
new file mode 100644
index 0000000..1bd1c03
--- /dev/null
+++ b/60759-h/images/ill_pg_272_lg.jpg
diff --git a/60759-h/images/ill_pg_272_sml.jpg b/60759-h/images/ill_pg_272_sml.jpg
new file mode 100644
index 0000000..29567bc
--- /dev/null
+++ b/60759-h/images/ill_pg_272_sml.jpg
diff --git a/60759-h/images/ill_pg_273_lg.jpg b/60759-h/images/ill_pg_273_lg.jpg
new file mode 100644
index 0000000..9fa735c
--- /dev/null
+++ b/60759-h/images/ill_pg_273_lg.jpg
diff --git a/60759-h/images/ill_pg_273_sml.jpg b/60759-h/images/ill_pg_273_sml.jpg
new file mode 100644
index 0000000..0f2d7e3
--- /dev/null
+++ b/60759-h/images/ill_pg_273_sml.jpg
diff --git a/60759-h/images/ill_pg_274-a_lg.jpg b/60759-h/images/ill_pg_274-a_lg.jpg
new file mode 100644
index 0000000..65feab3
--- /dev/null
+++ b/60759-h/images/ill_pg_274-a_lg.jpg
diff --git a/60759-h/images/ill_pg_274-a_sml.jpg b/60759-h/images/ill_pg_274-a_sml.jpg
new file mode 100644
index 0000000..1571465
--- /dev/null
+++ b/60759-h/images/ill_pg_274-a_sml.jpg
diff --git a/60759-h/images/ill_pg_274-b_lg.jpg b/60759-h/images/ill_pg_274-b_lg.jpg
new file mode 100644
index 0000000..e990077
--- /dev/null
+++ b/60759-h/images/ill_pg_274-b_lg.jpg
diff --git a/60759-h/images/ill_pg_274-b_sml.jpg b/60759-h/images/ill_pg_274-b_sml.jpg
new file mode 100644
index 0000000..154a246
--- /dev/null
+++ b/60759-h/images/ill_pg_274-b_sml.jpg
diff --git a/60759-h/images/ill_pg_275_lg.jpg b/60759-h/images/ill_pg_275_lg.jpg
new file mode 100644
index 0000000..ecd804e
--- /dev/null
+++ b/60759-h/images/ill_pg_275_lg.jpg
diff --git a/60759-h/images/ill_pg_275_sml.jpg b/60759-h/images/ill_pg_275_sml.jpg
new file mode 100644
index 0000000..d68577d
--- /dev/null
+++ b/60759-h/images/ill_pg_275_sml.jpg
diff --git a/60759-h/images/ill_pg_276_lg.jpg b/60759-h/images/ill_pg_276_lg.jpg
new file mode 100644
index 0000000..8232c5f
--- /dev/null
+++ b/60759-h/images/ill_pg_276_lg.jpg
diff --git a/60759-h/images/ill_pg_276_sml.jpg b/60759-h/images/ill_pg_276_sml.jpg
new file mode 100644
index 0000000..309b1bd
--- /dev/null
+++ b/60759-h/images/ill_pg_276_sml.jpg
diff --git a/60759-h/images/ill_pg_277_lg.jpg b/60759-h/images/ill_pg_277_lg.jpg
new file mode 100644
index 0000000..d7da180
--- /dev/null
+++ b/60759-h/images/ill_pg_277_lg.jpg
diff --git a/60759-h/images/ill_pg_277_sml.jpg b/60759-h/images/ill_pg_277_sml.jpg
new file mode 100644
index 0000000..9976436
--- /dev/null
+++ b/60759-h/images/ill_pg_277_sml.jpg
diff --git a/60759-h/images/ill_pg_278_lg.jpg b/60759-h/images/ill_pg_278_lg.jpg
new file mode 100644
index 0000000..8c2c532
--- /dev/null
+++ b/60759-h/images/ill_pg_278_lg.jpg
diff --git a/60759-h/images/ill_pg_278_sml.jpg b/60759-h/images/ill_pg_278_sml.jpg
new file mode 100644
index 0000000..320eb1f
--- /dev/null
+++ b/60759-h/images/ill_pg_278_sml.jpg
diff --git a/60759-h/images/ill_pg_279_lg.jpg b/60759-h/images/ill_pg_279_lg.jpg
new file mode 100644
index 0000000..91e1aba
--- /dev/null
+++ b/60759-h/images/ill_pg_279_lg.jpg
diff --git a/60759-h/images/ill_pg_279_sml.jpg b/60759-h/images/ill_pg_279_sml.jpg
new file mode 100644
index 0000000..16dc769
--- /dev/null
+++ b/60759-h/images/ill_pg_279_sml.jpg
diff --git a/60759-h/images/ill_pg_280_lg.jpg b/60759-h/images/ill_pg_280_lg.jpg
new file mode 100644
index 0000000..6c147f6
--- /dev/null
+++ b/60759-h/images/ill_pg_280_lg.jpg
diff --git a/60759-h/images/ill_pg_280_sml.jpg b/60759-h/images/ill_pg_280_sml.jpg
new file mode 100644
index 0000000..3ae5dff
--- /dev/null
+++ b/60759-h/images/ill_pg_280_sml.jpg
diff --git a/60759-h/images/ill_pg_281_lg.jpg b/60759-h/images/ill_pg_281_lg.jpg
new file mode 100644
index 0000000..b7b9bde
--- /dev/null
+++ b/60759-h/images/ill_pg_281_lg.jpg
diff --git a/60759-h/images/ill_pg_281_sml.jpg b/60759-h/images/ill_pg_281_sml.jpg
new file mode 100644
index 0000000..c9192da
--- /dev/null
+++ b/60759-h/images/ill_pg_281_sml.jpg
diff --git a/60759-h/images/ill_pg_282_lg.jpg b/60759-h/images/ill_pg_282_lg.jpg
new file mode 100644
index 0000000..dc99eb7
--- /dev/null
+++ b/60759-h/images/ill_pg_282_lg.jpg
diff --git a/60759-h/images/ill_pg_282_sml.jpg b/60759-h/images/ill_pg_282_sml.jpg
new file mode 100644
index 0000000..a4aa4b9
--- /dev/null
+++ b/60759-h/images/ill_pg_282_sml.jpg
diff --git a/60759-h/images/ill_pg_283-a_lg.jpg b/60759-h/images/ill_pg_283-a_lg.jpg
new file mode 100644
index 0000000..df975d5
--- /dev/null
+++ b/60759-h/images/ill_pg_283-a_lg.jpg
diff --git a/60759-h/images/ill_pg_283-a_sml.jpg b/60759-h/images/ill_pg_283-a_sml.jpg
new file mode 100644
index 0000000..0d6b670
--- /dev/null
+++ b/60759-h/images/ill_pg_283-a_sml.jpg
diff --git a/60759-h/images/ill_pg_283-b_lg.jpg b/60759-h/images/ill_pg_283-b_lg.jpg
new file mode 100644
index 0000000..1423858
--- /dev/null
+++ b/60759-h/images/ill_pg_283-b_lg.jpg
diff --git a/60759-h/images/ill_pg_283-b_sml.jpg b/60759-h/images/ill_pg_283-b_sml.jpg
new file mode 100644
index 0000000..b3153a7
--- /dev/null
+++ b/60759-h/images/ill_pg_283-b_sml.jpg
diff --git a/60759-h/images/ill_pg_284_lg.jpg b/60759-h/images/ill_pg_284_lg.jpg
new file mode 100644
index 0000000..a8b3fe8
--- /dev/null
+++ b/60759-h/images/ill_pg_284_lg.jpg
diff --git a/60759-h/images/ill_pg_284_sml.jpg b/60759-h/images/ill_pg_284_sml.jpg
new file mode 100644
index 0000000..57bee2d
--- /dev/null
+++ b/60759-h/images/ill_pg_284_sml.jpg
diff --git a/60759-h/images/ill_pg_285-a_lg.jpg b/60759-h/images/ill_pg_285-a_lg.jpg
new file mode 100644
index 0000000..11d4c0f
--- /dev/null
+++ b/60759-h/images/ill_pg_285-a_lg.jpg
diff --git a/60759-h/images/ill_pg_285-a_sml.jpg b/60759-h/images/ill_pg_285-a_sml.jpg
new file mode 100644
index 0000000..0c7cc41
--- /dev/null
+++ b/60759-h/images/ill_pg_285-a_sml.jpg
diff --git a/60759-h/images/ill_pg_285-b_lg.jpg b/60759-h/images/ill_pg_285-b_lg.jpg
new file mode 100644
index 0000000..6160a17
--- /dev/null
+++ b/60759-h/images/ill_pg_285-b_lg.jpg
diff --git a/60759-h/images/ill_pg_285-b_sml.jpg b/60759-h/images/ill_pg_285-b_sml.jpg
new file mode 100644
index 0000000..15f1c7d
--- /dev/null
+++ b/60759-h/images/ill_pg_285-b_sml.jpg
diff --git a/60759-h/images/ill_pg_286_lg.jpg b/60759-h/images/ill_pg_286_lg.jpg
new file mode 100644
index 0000000..9cba15b
--- /dev/null
+++ b/60759-h/images/ill_pg_286_lg.jpg
diff --git a/60759-h/images/ill_pg_286_sml.jpg b/60759-h/images/ill_pg_286_sml.jpg
new file mode 100644
index 0000000..d78124d
--- /dev/null
+++ b/60759-h/images/ill_pg_286_sml.jpg
diff --git a/60759-h/images/ill_pg_287_lg.jpg b/60759-h/images/ill_pg_287_lg.jpg
new file mode 100644
index 0000000..bd1b537
--- /dev/null
+++ b/60759-h/images/ill_pg_287_lg.jpg
diff --git a/60759-h/images/ill_pg_287_sml.jpg b/60759-h/images/ill_pg_287_sml.jpg
new file mode 100644
index 0000000..a5a9aa3
--- /dev/null
+++ b/60759-h/images/ill_pg_287_sml.jpg
diff --git a/60759-h/images/ill_pg_288_lg.jpg b/60759-h/images/ill_pg_288_lg.jpg
new file mode 100644
index 0000000..c3f4830
--- /dev/null
+++ b/60759-h/images/ill_pg_288_lg.jpg
diff --git a/60759-h/images/ill_pg_288_sml.jpg b/60759-h/images/ill_pg_288_sml.jpg
new file mode 100644
index 0000000..f9377d3
--- /dev/null
+++ b/60759-h/images/ill_pg_288_sml.jpg
diff --git a/60759-h/images/ill_pg_289-a_lg.jpg b/60759-h/images/ill_pg_289-a_lg.jpg
new file mode 100644
index 0000000..eb03e0f
--- /dev/null
+++ b/60759-h/images/ill_pg_289-a_lg.jpg
diff --git a/60759-h/images/ill_pg_289-a_sml.jpg b/60759-h/images/ill_pg_289-a_sml.jpg
new file mode 100644
index 0000000..56eb83f
--- /dev/null
+++ b/60759-h/images/ill_pg_289-a_sml.jpg
diff --git a/60759-h/images/ill_pg_289-b_lg.jpg b/60759-h/images/ill_pg_289-b_lg.jpg
new file mode 100644
index 0000000..7870b8f
--- /dev/null
+++ b/60759-h/images/ill_pg_289-b_lg.jpg
diff --git a/60759-h/images/ill_pg_289-b_sml.jpg b/60759-h/images/ill_pg_289-b_sml.jpg
new file mode 100644
index 0000000..1ecab5b
--- /dev/null
+++ b/60759-h/images/ill_pg_289-b_sml.jpg
diff --git a/60759-h/images/ill_pg_290_lg.jpg b/60759-h/images/ill_pg_290_lg.jpg
new file mode 100644
index 0000000..3b6a42a
--- /dev/null
+++ b/60759-h/images/ill_pg_290_lg.jpg
diff --git a/60759-h/images/ill_pg_290_sml.jpg b/60759-h/images/ill_pg_290_sml.jpg
new file mode 100644
index 0000000..fb3e5a9
--- /dev/null
+++ b/60759-h/images/ill_pg_290_sml.jpg
diff --git a/60759-h/images/ill_pg_291_lg.jpg b/60759-h/images/ill_pg_291_lg.jpg
new file mode 100644
index 0000000..1d9c39b
--- /dev/null
+++ b/60759-h/images/ill_pg_291_lg.jpg
diff --git a/60759-h/images/ill_pg_291_sml.jpg b/60759-h/images/ill_pg_291_sml.jpg
new file mode 100644
index 0000000..c575e38
--- /dev/null
+++ b/60759-h/images/ill_pg_291_sml.jpg
diff --git a/60759-h/images/ill_pg_292-a_lg.jpg b/60759-h/images/ill_pg_292-a_lg.jpg
new file mode 100644
index 0000000..5055119
--- /dev/null
+++ b/60759-h/images/ill_pg_292-a_lg.jpg
diff --git a/60759-h/images/ill_pg_292-a_sml.jpg b/60759-h/images/ill_pg_292-a_sml.jpg
new file mode 100644
index 0000000..602cc6c
--- /dev/null
+++ b/60759-h/images/ill_pg_292-a_sml.jpg
diff --git a/60759-h/images/ill_pg_292-b_lg.jpg b/60759-h/images/ill_pg_292-b_lg.jpg
new file mode 100644
index 0000000..8d40798
--- /dev/null
+++ b/60759-h/images/ill_pg_292-b_lg.jpg
diff --git a/60759-h/images/ill_pg_292-b_sml.jpg b/60759-h/images/ill_pg_292-b_sml.jpg
new file mode 100644
index 0000000..73cf0a5
--- /dev/null
+++ b/60759-h/images/ill_pg_292-b_sml.jpg
diff --git a/60759-h/images/ill_pg_293_lg.jpg b/60759-h/images/ill_pg_293_lg.jpg
new file mode 100644
index 0000000..633cad4
--- /dev/null
+++ b/60759-h/images/ill_pg_293_lg.jpg
diff --git a/60759-h/images/ill_pg_293_sml.jpg b/60759-h/images/ill_pg_293_sml.jpg
new file mode 100644
index 0000000..13b6322
--- /dev/null
+++ b/60759-h/images/ill_pg_293_sml.jpg
diff --git a/60759-h/images/ill_pg_294_lg.jpg b/60759-h/images/ill_pg_294_lg.jpg
new file mode 100644
index 0000000..47700b1
--- /dev/null
+++ b/60759-h/images/ill_pg_294_lg.jpg
diff --git a/60759-h/images/ill_pg_294_sml.jpg b/60759-h/images/ill_pg_294_sml.jpg
new file mode 100644
index 0000000..a185983
--- /dev/null
+++ b/60759-h/images/ill_pg_294_sml.jpg
diff --git a/60759-h/images/ill_pg_295_lg.jpg b/60759-h/images/ill_pg_295_lg.jpg
new file mode 100644
index 0000000..ed049b6
--- /dev/null
+++ b/60759-h/images/ill_pg_295_lg.jpg
diff --git a/60759-h/images/ill_pg_295_sml.jpg b/60759-h/images/ill_pg_295_sml.jpg
new file mode 100644
index 0000000..d1687ca
--- /dev/null
+++ b/60759-h/images/ill_pg_295_sml.jpg
diff --git a/60759-h/images/ill_pg_296_lg.jpg b/60759-h/images/ill_pg_296_lg.jpg
new file mode 100644
index 0000000..c5589e4
--- /dev/null
+++ b/60759-h/images/ill_pg_296_lg.jpg
diff --git a/60759-h/images/ill_pg_296_sml.jpg b/60759-h/images/ill_pg_296_sml.jpg
new file mode 100644
index 0000000..3c31d13
--- /dev/null
+++ b/60759-h/images/ill_pg_296_sml.jpg
diff --git a/60759-h/images/ill_pg_297-a_lg.jpg b/60759-h/images/ill_pg_297-a_lg.jpg
new file mode 100644
index 0000000..4356de4
--- /dev/null
+++ b/60759-h/images/ill_pg_297-a_lg.jpg
diff --git a/60759-h/images/ill_pg_297-a_sml.jpg b/60759-h/images/ill_pg_297-a_sml.jpg
new file mode 100644
index 0000000..a1776cf
--- /dev/null
+++ b/60759-h/images/ill_pg_297-a_sml.jpg
diff --git a/60759-h/images/ill_pg_297-b_lg.jpg b/60759-h/images/ill_pg_297-b_lg.jpg
new file mode 100644
index 0000000..5f9d44d
--- /dev/null
+++ b/60759-h/images/ill_pg_297-b_lg.jpg
diff --git a/60759-h/images/ill_pg_297-b_sml.jpg b/60759-h/images/ill_pg_297-b_sml.jpg
new file mode 100644
index 0000000..a305700
--- /dev/null
+++ b/60759-h/images/ill_pg_297-b_sml.jpg
diff --git a/60759-h/images/ill_pg_298_lg.jpg b/60759-h/images/ill_pg_298_lg.jpg
new file mode 100644
index 0000000..066c36d
--- /dev/null
+++ b/60759-h/images/ill_pg_298_lg.jpg
diff --git a/60759-h/images/ill_pg_298_sml.jpg b/60759-h/images/ill_pg_298_sml.jpg
new file mode 100644
index 0000000..03b2db7
--- /dev/null
+++ b/60759-h/images/ill_pg_298_sml.jpg
diff --git a/60759-h/images/ill_pg_299-a_lg.jpg b/60759-h/images/ill_pg_299-a_lg.jpg
new file mode 100644
index 0000000..a856fce
--- /dev/null
+++ b/60759-h/images/ill_pg_299-a_lg.jpg
diff --git a/60759-h/images/ill_pg_299-a_sml.jpg b/60759-h/images/ill_pg_299-a_sml.jpg
new file mode 100644
index 0000000..df261d0
--- /dev/null
+++ b/60759-h/images/ill_pg_299-a_sml.jpg
diff --git a/60759-h/images/ill_pg_299-b_lg.jpg b/60759-h/images/ill_pg_299-b_lg.jpg
new file mode 100644
index 0000000..cf158d5
--- /dev/null
+++ b/60759-h/images/ill_pg_299-b_lg.jpg
diff --git a/60759-h/images/ill_pg_299-b_sml.jpg b/60759-h/images/ill_pg_299-b_sml.jpg
new file mode 100644
index 0000000..7e5f84c
--- /dev/null
+++ b/60759-h/images/ill_pg_299-b_sml.jpg
diff --git a/60759-h/images/ill_pg_300-a_lg.jpg b/60759-h/images/ill_pg_300-a_lg.jpg
new file mode 100644
index 0000000..dc1102e
--- /dev/null
+++ b/60759-h/images/ill_pg_300-a_lg.jpg
diff --git a/60759-h/images/ill_pg_300-a_sml.jpg b/60759-h/images/ill_pg_300-a_sml.jpg
new file mode 100644
index 0000000..01498b8
--- /dev/null
+++ b/60759-h/images/ill_pg_300-a_sml.jpg
diff --git a/60759-h/images/ill_pg_300-b_lg.jpg b/60759-h/images/ill_pg_300-b_lg.jpg
new file mode 100644
index 0000000..363049b
--- /dev/null
+++ b/60759-h/images/ill_pg_300-b_lg.jpg
diff --git a/60759-h/images/ill_pg_300-b_sml.jpg b/60759-h/images/ill_pg_300-b_sml.jpg
new file mode 100644
index 0000000..bc58c13
--- /dev/null
+++ b/60759-h/images/ill_pg_300-b_sml.jpg
diff --git a/60759-h/images/ill_pg_301_lg.jpg b/60759-h/images/ill_pg_301_lg.jpg
new file mode 100644
index 0000000..ad88e04
--- /dev/null
+++ b/60759-h/images/ill_pg_301_lg.jpg
diff --git a/60759-h/images/ill_pg_301_sml.jpg b/60759-h/images/ill_pg_301_sml.jpg
new file mode 100644
index 0000000..d272da0
--- /dev/null
+++ b/60759-h/images/ill_pg_301_sml.jpg
diff --git a/60759-h/images/ill_pg_302_lg.jpg b/60759-h/images/ill_pg_302_lg.jpg
new file mode 100644
index 0000000..fea0970
--- /dev/null
+++ b/60759-h/images/ill_pg_302_lg.jpg
diff --git a/60759-h/images/ill_pg_302_sml.jpg b/60759-h/images/ill_pg_302_sml.jpg
new file mode 100644
index 0000000..30c0dae
--- /dev/null
+++ b/60759-h/images/ill_pg_302_sml.jpg
diff --git a/60759-h/images/ill_pg_304_lg.jpg b/60759-h/images/ill_pg_304_lg.jpg
new file mode 100644
index 0000000..bd76f84
--- /dev/null
+++ b/60759-h/images/ill_pg_304_lg.jpg
diff --git a/60759-h/images/ill_pg_304_sml.jpg b/60759-h/images/ill_pg_304_sml.jpg
new file mode 100644
index 0000000..a4d986a
--- /dev/null
+++ b/60759-h/images/ill_pg_304_sml.jpg
diff --git a/60759-h/images/ill_pg_306_lg.jpg b/60759-h/images/ill_pg_306_lg.jpg
new file mode 100644
index 0000000..a95c3c3
--- /dev/null
+++ b/60759-h/images/ill_pg_306_lg.jpg
diff --git a/60759-h/images/ill_pg_306_sml.jpg b/60759-h/images/ill_pg_306_sml.jpg
new file mode 100644
index 0000000..4b40acc
--- /dev/null
+++ b/60759-h/images/ill_pg_306_sml.jpg
diff --git a/60759-h/images/ill_pg_307-a_lg.jpg b/60759-h/images/ill_pg_307-a_lg.jpg
new file mode 100644
index 0000000..8d1225a
--- /dev/null
+++ b/60759-h/images/ill_pg_307-a_lg.jpg
diff --git a/60759-h/images/ill_pg_307-a_sml.jpg b/60759-h/images/ill_pg_307-a_sml.jpg
new file mode 100644
index 0000000..d4654c1
--- /dev/null
+++ b/60759-h/images/ill_pg_307-a_sml.jpg
diff --git a/60759-h/images/ill_pg_307-b_lg.jpg b/60759-h/images/ill_pg_307-b_lg.jpg
new file mode 100644
index 0000000..d24a020
--- /dev/null
+++ b/60759-h/images/ill_pg_307-b_lg.jpg
diff --git a/60759-h/images/ill_pg_307-b_sml.jpg b/60759-h/images/ill_pg_307-b_sml.jpg
new file mode 100644
index 0000000..e41cb2a
--- /dev/null
+++ b/60759-h/images/ill_pg_307-b_sml.jpg
diff --git a/60759-h/images/ill_pg_308_lg.jpg b/60759-h/images/ill_pg_308_lg.jpg
new file mode 100644
index 0000000..e2c4d24
--- /dev/null
+++ b/60759-h/images/ill_pg_308_lg.jpg
diff --git a/60759-h/images/ill_pg_308_sml.jpg b/60759-h/images/ill_pg_308_sml.jpg
new file mode 100644
index 0000000..e283dfc
--- /dev/null
+++ b/60759-h/images/ill_pg_308_sml.jpg
diff --git a/60759-h/images/ill_pg_309_lg.jpg b/60759-h/images/ill_pg_309_lg.jpg
new file mode 100644
index 0000000..31b9b06
--- /dev/null
+++ b/60759-h/images/ill_pg_309_lg.jpg
diff --git a/60759-h/images/ill_pg_309_sml.jpg b/60759-h/images/ill_pg_309_sml.jpg
new file mode 100644
index 0000000..c6d25b6
--- /dev/null
+++ b/60759-h/images/ill_pg_309_sml.jpg
diff --git a/60759-h/images/ill_pg_310_lg.jpg b/60759-h/images/ill_pg_310_lg.jpg
new file mode 100644
index 0000000..aa21969
--- /dev/null
+++ b/60759-h/images/ill_pg_310_lg.jpg
diff --git a/60759-h/images/ill_pg_310_sml.jpg b/60759-h/images/ill_pg_310_sml.jpg
new file mode 100644
index 0000000..d3de8cd
--- /dev/null
+++ b/60759-h/images/ill_pg_310_sml.jpg
diff --git a/60759-h/images/ill_pg_311_lg.jpg b/60759-h/images/ill_pg_311_lg.jpg
new file mode 100644
index 0000000..08bc03d
--- /dev/null
+++ b/60759-h/images/ill_pg_311_lg.jpg
diff --git a/60759-h/images/ill_pg_311_sml.jpg b/60759-h/images/ill_pg_311_sml.jpg
new file mode 100644
index 0000000..f967ff1
--- /dev/null
+++ b/60759-h/images/ill_pg_311_sml.jpg
diff --git a/60759-h/images/ill_pg_312_lg.jpg b/60759-h/images/ill_pg_312_lg.jpg
new file mode 100644
index 0000000..85a8a0e
--- /dev/null
+++ b/60759-h/images/ill_pg_312_lg.jpg
diff --git a/60759-h/images/ill_pg_312_sml.jpg b/60759-h/images/ill_pg_312_sml.jpg
new file mode 100644
index 0000000..45b2c51
--- /dev/null
+++ b/60759-h/images/ill_pg_312_sml.jpg
diff --git a/60759-h/images/ill_pg_313-a_lg.jpg b/60759-h/images/ill_pg_313-a_lg.jpg
new file mode 100644
index 0000000..bb27aab
--- /dev/null
+++ b/60759-h/images/ill_pg_313-a_lg.jpg
diff --git a/60759-h/images/ill_pg_313-a_sml.jpg b/60759-h/images/ill_pg_313-a_sml.jpg
new file mode 100644
index 0000000..0c0b90b
--- /dev/null
+++ b/60759-h/images/ill_pg_313-a_sml.jpg
diff --git a/60759-h/images/ill_pg_313-b_lg.jpg b/60759-h/images/ill_pg_313-b_lg.jpg
new file mode 100644
index 0000000..c7d3ba3
--- /dev/null
+++ b/60759-h/images/ill_pg_313-b_lg.jpg
diff --git a/60759-h/images/ill_pg_313-b_sml.jpg b/60759-h/images/ill_pg_313-b_sml.jpg
new file mode 100644
index 0000000..55f5e43
--- /dev/null
+++ b/60759-h/images/ill_pg_313-b_sml.jpg
diff --git a/60759-h/images/ill_pg_314-a_lg.jpg b/60759-h/images/ill_pg_314-a_lg.jpg
new file mode 100644
index 0000000..749bb92
--- /dev/null
+++ b/60759-h/images/ill_pg_314-a_lg.jpg
diff --git a/60759-h/images/ill_pg_314-a_sml.jpg b/60759-h/images/ill_pg_314-a_sml.jpg
new file mode 100644
index 0000000..283fb54
--- /dev/null
+++ b/60759-h/images/ill_pg_314-a_sml.jpg
diff --git a/60759-h/images/ill_pg_314-b_lg.jpg b/60759-h/images/ill_pg_314-b_lg.jpg
new file mode 100644
index 0000000..004de73
--- /dev/null
+++ b/60759-h/images/ill_pg_314-b_lg.jpg
diff --git a/60759-h/images/ill_pg_314-b_sml.jpg b/60759-h/images/ill_pg_314-b_sml.jpg
new file mode 100644
index 0000000..d9c8a1c
--- /dev/null
+++ b/60759-h/images/ill_pg_314-b_sml.jpg
diff --git a/60759-h/images/ill_pg_315_lg.jpg b/60759-h/images/ill_pg_315_lg.jpg
new file mode 100644
index 0000000..7cf8ef2
--- /dev/null
+++ b/60759-h/images/ill_pg_315_lg.jpg
diff --git a/60759-h/images/ill_pg_315_sml.jpg b/60759-h/images/ill_pg_315_sml.jpg
new file mode 100644
index 0000000..12557b9
--- /dev/null
+++ b/60759-h/images/ill_pg_315_sml.jpg
diff --git a/60759-h/images/ill_pg_316_lg.jpg b/60759-h/images/ill_pg_316_lg.jpg
new file mode 100644
index 0000000..af87716
--- /dev/null
+++ b/60759-h/images/ill_pg_316_lg.jpg
diff --git a/60759-h/images/ill_pg_316_sml.jpg b/60759-h/images/ill_pg_316_sml.jpg
new file mode 100644
index 0000000..3efd0ac
--- /dev/null
+++ b/60759-h/images/ill_pg_316_sml.jpg
diff --git a/60759-h/images/ill_pg_317_lg.jpg b/60759-h/images/ill_pg_317_lg.jpg
new file mode 100644
index 0000000..1e75e30
--- /dev/null
+++ b/60759-h/images/ill_pg_317_lg.jpg
diff --git a/60759-h/images/ill_pg_317_sml.jpg b/60759-h/images/ill_pg_317_sml.jpg
new file mode 100644
index 0000000..8983c13
--- /dev/null
+++ b/60759-h/images/ill_pg_317_sml.jpg
diff --git a/60759-h/images/ill_pg_318_lg.jpg b/60759-h/images/ill_pg_318_lg.jpg
new file mode 100644
index 0000000..1e2095b
--- /dev/null
+++ b/60759-h/images/ill_pg_318_lg.jpg
diff --git a/60759-h/images/ill_pg_318_sml.jpg b/60759-h/images/ill_pg_318_sml.jpg
new file mode 100644
index 0000000..bbc65fe
--- /dev/null
+++ b/60759-h/images/ill_pg_318_sml.jpg
diff --git a/60759-h/images/ill_pg_319-a_lg.jpg b/60759-h/images/ill_pg_319-a_lg.jpg
new file mode 100644
index 0000000..88b44bf
--- /dev/null
+++ b/60759-h/images/ill_pg_319-a_lg.jpg
diff --git a/60759-h/images/ill_pg_319-a_sml.jpg b/60759-h/images/ill_pg_319-a_sml.jpg
new file mode 100644
index 0000000..53ab9c2
--- /dev/null
+++ b/60759-h/images/ill_pg_319-a_sml.jpg
diff --git a/60759-h/images/ill_pg_319-b_lg.jpg b/60759-h/images/ill_pg_319-b_lg.jpg
new file mode 100644
index 0000000..6e7697c
--- /dev/null
+++ b/60759-h/images/ill_pg_319-b_lg.jpg
diff --git a/60759-h/images/ill_pg_319-b_sml.jpg b/60759-h/images/ill_pg_319-b_sml.jpg
new file mode 100644
index 0000000..7f26cac
--- /dev/null
+++ b/60759-h/images/ill_pg_319-b_sml.jpg
diff --git a/60759-h/images/ill_pg_320_lg.jpg b/60759-h/images/ill_pg_320_lg.jpg
new file mode 100644
index 0000000..ad2fa1a
--- /dev/null
+++ b/60759-h/images/ill_pg_320_lg.jpg
diff --git a/60759-h/images/ill_pg_320_sml.jpg b/60759-h/images/ill_pg_320_sml.jpg
new file mode 100644
index 0000000..75391b6
--- /dev/null
+++ b/60759-h/images/ill_pg_320_sml.jpg
diff --git a/60759-h/images/ill_pg_321_lg.jpg b/60759-h/images/ill_pg_321_lg.jpg
new file mode 100644
index 0000000..b59e6a7
--- /dev/null
+++ b/60759-h/images/ill_pg_321_lg.jpg
diff --git a/60759-h/images/ill_pg_321_sml.jpg b/60759-h/images/ill_pg_321_sml.jpg
new file mode 100644
index 0000000..762b91d
--- /dev/null
+++ b/60759-h/images/ill_pg_321_sml.jpg
diff --git a/60759-h/images/ill_pg_322_lg.jpg b/60759-h/images/ill_pg_322_lg.jpg
new file mode 100644
index 0000000..b812bf0
--- /dev/null
+++ b/60759-h/images/ill_pg_322_lg.jpg
diff --git a/60759-h/images/ill_pg_322_sml.jpg b/60759-h/images/ill_pg_322_sml.jpg
new file mode 100644
index 0000000..642b755
--- /dev/null
+++ b/60759-h/images/ill_pg_322_sml.jpg
diff --git a/60759-h/images/ill_pg_323_lg.jpg b/60759-h/images/ill_pg_323_lg.jpg
new file mode 100644
index 0000000..107d70a
--- /dev/null
+++ b/60759-h/images/ill_pg_323_lg.jpg
diff --git a/60759-h/images/ill_pg_323_sml.jpg b/60759-h/images/ill_pg_323_sml.jpg
new file mode 100644
index 0000000..c977c47
--- /dev/null
+++ b/60759-h/images/ill_pg_323_sml.jpg
diff --git a/60759-h/images/ill_pg_324_lg.jpg b/60759-h/images/ill_pg_324_lg.jpg
new file mode 100644
index 0000000..37e8813
--- /dev/null
+++ b/60759-h/images/ill_pg_324_lg.jpg
diff --git a/60759-h/images/ill_pg_324_sml.jpg b/60759-h/images/ill_pg_324_sml.jpg
new file mode 100644
index 0000000..3c7e2a3
--- /dev/null
+++ b/60759-h/images/ill_pg_324_sml.jpg
diff --git a/60759-h/images/ill_pg_325_lg.jpg b/60759-h/images/ill_pg_325_lg.jpg
new file mode 100644
index 0000000..035e204
--- /dev/null
+++ b/60759-h/images/ill_pg_325_lg.jpg
diff --git a/60759-h/images/ill_pg_325_sml.jpg b/60759-h/images/ill_pg_325_sml.jpg
new file mode 100644
index 0000000..a48f7f8
--- /dev/null
+++ b/60759-h/images/ill_pg_325_sml.jpg
diff --git a/60759-h/images/ill_pg_326-a_lg.jpg b/60759-h/images/ill_pg_326-a_lg.jpg
new file mode 100644
index 0000000..620483f
--- /dev/null
+++ b/60759-h/images/ill_pg_326-a_lg.jpg
diff --git a/60759-h/images/ill_pg_326-a_sml.jpg b/60759-h/images/ill_pg_326-a_sml.jpg
new file mode 100644
index 0000000..e07e196
--- /dev/null
+++ b/60759-h/images/ill_pg_326-a_sml.jpg
diff --git a/60759-h/images/ill_pg_326-b_lg.jpg b/60759-h/images/ill_pg_326-b_lg.jpg
new file mode 100644
index 0000000..72b2d3b
--- /dev/null
+++ b/60759-h/images/ill_pg_326-b_lg.jpg
diff --git a/60759-h/images/ill_pg_326-b_sml.jpg b/60759-h/images/ill_pg_326-b_sml.jpg
new file mode 100644
index 0000000..8982f54
--- /dev/null
+++ b/60759-h/images/ill_pg_326-b_sml.jpg
diff --git a/60759-h/images/ill_pg_327_lg.jpg b/60759-h/images/ill_pg_327_lg.jpg
new file mode 100644
index 0000000..a938a36
--- /dev/null
+++ b/60759-h/images/ill_pg_327_lg.jpg
diff --git a/60759-h/images/ill_pg_327_sml.jpg b/60759-h/images/ill_pg_327_sml.jpg
new file mode 100644
index 0000000..ded1f6b
--- /dev/null
+++ b/60759-h/images/ill_pg_327_sml.jpg
diff --git a/60759-h/images/ill_pg_328-a_lg.jpg b/60759-h/images/ill_pg_328-a_lg.jpg
new file mode 100644
index 0000000..1ccb3b7
--- /dev/null
+++ b/60759-h/images/ill_pg_328-a_lg.jpg
diff --git a/60759-h/images/ill_pg_328-a_sml.jpg b/60759-h/images/ill_pg_328-a_sml.jpg
new file mode 100644
index 0000000..e61cf14
--- /dev/null
+++ b/60759-h/images/ill_pg_328-a_sml.jpg
diff --git a/60759-h/images/ill_pg_328-b_lg.jpg b/60759-h/images/ill_pg_328-b_lg.jpg
new file mode 100644
index 0000000..f016ed6
--- /dev/null
+++ b/60759-h/images/ill_pg_328-b_lg.jpg
diff --git a/60759-h/images/ill_pg_328-b_sml.jpg b/60759-h/images/ill_pg_328-b_sml.jpg
new file mode 100644
index 0000000..4f3a01b
--- /dev/null
+++ b/60759-h/images/ill_pg_328-b_sml.jpg
diff --git a/60759-h/images/ill_pg_329_lg.jpg b/60759-h/images/ill_pg_329_lg.jpg
new file mode 100644
index 0000000..9ee0b26
--- /dev/null
+++ b/60759-h/images/ill_pg_329_lg.jpg
diff --git a/60759-h/images/ill_pg_329_sml.jpg b/60759-h/images/ill_pg_329_sml.jpg
new file mode 100644
index 0000000..4b53e47
--- /dev/null
+++ b/60759-h/images/ill_pg_329_sml.jpg
diff --git a/60759-h/images/ill_pg_330_lg.jpg b/60759-h/images/ill_pg_330_lg.jpg
new file mode 100644
index 0000000..c98c440
--- /dev/null
+++ b/60759-h/images/ill_pg_330_lg.jpg
diff --git a/60759-h/images/ill_pg_330_sml.jpg b/60759-h/images/ill_pg_330_sml.jpg
new file mode 100644
index 0000000..1a97adf
--- /dev/null
+++ b/60759-h/images/ill_pg_330_sml.jpg
diff --git a/60759-h/images/ill_pg_331_lg.jpg b/60759-h/images/ill_pg_331_lg.jpg
new file mode 100644
index 0000000..fd6fb65
--- /dev/null
+++ b/60759-h/images/ill_pg_331_lg.jpg
diff --git a/60759-h/images/ill_pg_331_sml.jpg b/60759-h/images/ill_pg_331_sml.jpg
new file mode 100644
index 0000000..e806a23
--- /dev/null
+++ b/60759-h/images/ill_pg_331_sml.jpg
diff --git a/60759-h/images/ill_pg_333_lg.jpg b/60759-h/images/ill_pg_333_lg.jpg
new file mode 100644
index 0000000..7559a62
--- /dev/null
+++ b/60759-h/images/ill_pg_333_lg.jpg
diff --git a/60759-h/images/ill_pg_333_sml.jpg b/60759-h/images/ill_pg_333_sml.jpg
new file mode 100644
index 0000000..35edfd2
--- /dev/null
+++ b/60759-h/images/ill_pg_333_sml.jpg
diff --git a/60759-h/images/ill_pg_334_lg.jpg b/60759-h/images/ill_pg_334_lg.jpg
new file mode 100644
index 0000000..9e05b80
--- /dev/null
+++ b/60759-h/images/ill_pg_334_lg.jpg
diff --git a/60759-h/images/ill_pg_334_sml.jpg b/60759-h/images/ill_pg_334_sml.jpg
new file mode 100644
index 0000000..64961e4
--- /dev/null
+++ b/60759-h/images/ill_pg_334_sml.jpg
diff --git a/60759-h/images/ill_pg_335_lg.jpg b/60759-h/images/ill_pg_335_lg.jpg
new file mode 100644
index 0000000..ef1ff89
--- /dev/null
+++ b/60759-h/images/ill_pg_335_lg.jpg
diff --git a/60759-h/images/ill_pg_335_sml.jpg b/60759-h/images/ill_pg_335_sml.jpg
new file mode 100644
index 0000000..5fc6c8e
--- /dev/null
+++ b/60759-h/images/ill_pg_335_sml.jpg
diff --git a/60759-h/images/ill_pg_336_lg.jpg b/60759-h/images/ill_pg_336_lg.jpg
new file mode 100644
index 0000000..4759573
--- /dev/null
+++ b/60759-h/images/ill_pg_336_lg.jpg
diff --git a/60759-h/images/ill_pg_336_sml.jpg b/60759-h/images/ill_pg_336_sml.jpg
new file mode 100644
index 0000000..4578f35
--- /dev/null
+++ b/60759-h/images/ill_pg_336_sml.jpg
diff --git a/60759-h/images/ill_pg_338_lg.jpg b/60759-h/images/ill_pg_338_lg.jpg
new file mode 100644
index 0000000..b4ef21a
--- /dev/null
+++ b/60759-h/images/ill_pg_338_lg.jpg
diff --git a/60759-h/images/ill_pg_338_sml.jpg b/60759-h/images/ill_pg_338_sml.jpg
new file mode 100644
index 0000000..8934b15
--- /dev/null
+++ b/60759-h/images/ill_pg_338_sml.jpg
diff --git a/60759-h/images/ill_pg_340_lg.jpg b/60759-h/images/ill_pg_340_lg.jpg
new file mode 100644
index 0000000..67d56dd
--- /dev/null
+++ b/60759-h/images/ill_pg_340_lg.jpg
diff --git a/60759-h/images/ill_pg_340_sml.jpg b/60759-h/images/ill_pg_340_sml.jpg
new file mode 100644
index 0000000..bfa201b
--- /dev/null
+++ b/60759-h/images/ill_pg_340_sml.jpg
diff --git a/60759-h/images/ill_pg_341_lg.jpg b/60759-h/images/ill_pg_341_lg.jpg
new file mode 100644
index 0000000..20bd309
--- /dev/null
+++ b/60759-h/images/ill_pg_341_lg.jpg
diff --git a/60759-h/images/ill_pg_341_sml.jpg b/60759-h/images/ill_pg_341_sml.jpg
new file mode 100644
index 0000000..8b0640e
--- /dev/null
+++ b/60759-h/images/ill_pg_341_sml.jpg
diff --git a/60759-h/images/ill_pg_342_lg.jpg b/60759-h/images/ill_pg_342_lg.jpg
new file mode 100644
index 0000000..a6e9e82
--- /dev/null
+++ b/60759-h/images/ill_pg_342_lg.jpg
diff --git a/60759-h/images/ill_pg_342_sml.jpg b/60759-h/images/ill_pg_342_sml.jpg
new file mode 100644
index 0000000..736f4df
--- /dev/null
+++ b/60759-h/images/ill_pg_342_sml.jpg
diff --git a/60759-h/images/ill_pg_343_lg.jpg b/60759-h/images/ill_pg_343_lg.jpg
new file mode 100644
index 0000000..468f801
--- /dev/null
+++ b/60759-h/images/ill_pg_343_lg.jpg
diff --git a/60759-h/images/ill_pg_343_sml.jpg b/60759-h/images/ill_pg_343_sml.jpg
new file mode 100644
index 0000000..a0e61b6
--- /dev/null
+++ b/60759-h/images/ill_pg_343_sml.jpg
diff --git a/60759-h/images/ill_pg_346_lg.jpg b/60759-h/images/ill_pg_346_lg.jpg
new file mode 100644
index 0000000..0c35183
--- /dev/null
+++ b/60759-h/images/ill_pg_346_lg.jpg
diff --git a/60759-h/images/ill_pg_346_sml.jpg b/60759-h/images/ill_pg_346_sml.jpg
new file mode 100644
index 0000000..5e9f11d
--- /dev/null
+++ b/60759-h/images/ill_pg_346_sml.jpg
diff --git a/60759-h/images/ill_pg_347_lg.jpg b/60759-h/images/ill_pg_347_lg.jpg
new file mode 100644
index 0000000..fa75b2b
--- /dev/null
+++ b/60759-h/images/ill_pg_347_lg.jpg
diff --git a/60759-h/images/ill_pg_347_sml.jpg b/60759-h/images/ill_pg_347_sml.jpg
new file mode 100644
index 0000000..9c5da20
--- /dev/null
+++ b/60759-h/images/ill_pg_347_sml.jpg
diff --git a/60759-h/images/ill_pg_355_lg.jpg b/60759-h/images/ill_pg_355_lg.jpg
new file mode 100644
index 0000000..3e2b12e
--- /dev/null
+++ b/60759-h/images/ill_pg_355_lg.jpg
diff --git a/60759-h/images/ill_pg_355_sml.jpg b/60759-h/images/ill_pg_355_sml.jpg
new file mode 100644
index 0000000..ae27d69
--- /dev/null
+++ b/60759-h/images/ill_pg_355_sml.jpg
diff --git a/60759-h/images/ill_pg_357_lg.jpg b/60759-h/images/ill_pg_357_lg.jpg
new file mode 100644
index 0000000..3c26f07
--- /dev/null
+++ b/60759-h/images/ill_pg_357_lg.jpg
diff --git a/60759-h/images/ill_pg_357_sml.jpg b/60759-h/images/ill_pg_357_sml.jpg
new file mode 100644
index 0000000..b9a04b5
--- /dev/null
+++ b/60759-h/images/ill_pg_357_sml.jpg
diff --git a/60759-h/images/ill_pg_360_lg.jpg b/60759-h/images/ill_pg_360_lg.jpg
new file mode 100644
index 0000000..773da35
--- /dev/null
+++ b/60759-h/images/ill_pg_360_lg.jpg
diff --git a/60759-h/images/ill_pg_360_sml.jpg b/60759-h/images/ill_pg_360_sml.jpg
new file mode 100644
index 0000000..de2ee27
--- /dev/null
+++ b/60759-h/images/ill_pg_360_sml.jpg
diff --git a/60759-h/images/ill_pg_361-a_lg.jpg b/60759-h/images/ill_pg_361-a_lg.jpg
new file mode 100644
index 0000000..4c156e3
--- /dev/null
+++ b/60759-h/images/ill_pg_361-a_lg.jpg
diff --git a/60759-h/images/ill_pg_361-a_sml.jpg b/60759-h/images/ill_pg_361-a_sml.jpg
new file mode 100644
index 0000000..757acad
--- /dev/null
+++ b/60759-h/images/ill_pg_361-a_sml.jpg
diff --git a/60759-h/images/ill_pg_361-b_lg.jpg b/60759-h/images/ill_pg_361-b_lg.jpg
new file mode 100644
index 0000000..725163d
--- /dev/null
+++ b/60759-h/images/ill_pg_361-b_lg.jpg
diff --git a/60759-h/images/ill_pg_361-b_sml.jpg b/60759-h/images/ill_pg_361-b_sml.jpg
new file mode 100644
index 0000000..ced57bb
--- /dev/null
+++ b/60759-h/images/ill_pg_361-b_sml.jpg
diff --git a/60759-h/images/ill_pg_362_lg.jpg b/60759-h/images/ill_pg_362_lg.jpg
new file mode 100644
index 0000000..362abff
--- /dev/null
+++ b/60759-h/images/ill_pg_362_lg.jpg
diff --git a/60759-h/images/ill_pg_362_sml.jpg b/60759-h/images/ill_pg_362_sml.jpg
new file mode 100644
index 0000000..e9218df
--- /dev/null
+++ b/60759-h/images/ill_pg_362_sml.jpg
diff --git a/60759-h/images/ill_pg_363-a_lg.jpg b/60759-h/images/ill_pg_363-a_lg.jpg
new file mode 100644
index 0000000..ca27df7
--- /dev/null
+++ b/60759-h/images/ill_pg_363-a_lg.jpg
diff --git a/60759-h/images/ill_pg_363-a_sml.jpg b/60759-h/images/ill_pg_363-a_sml.jpg
new file mode 100644
index 0000000..aa7f2bb
--- /dev/null
+++ b/60759-h/images/ill_pg_363-a_sml.jpg
diff --git a/60759-h/images/ill_pg_363-b_lg.jpg b/60759-h/images/ill_pg_363-b_lg.jpg
new file mode 100644
index 0000000..d61ec02
--- /dev/null
+++ b/60759-h/images/ill_pg_363-b_lg.jpg
diff --git a/60759-h/images/ill_pg_363-b_sml.jpg b/60759-h/images/ill_pg_363-b_sml.jpg
new file mode 100644
index 0000000..187fb63
--- /dev/null
+++ b/60759-h/images/ill_pg_363-b_sml.jpg
diff --git a/60759-h/images/ill_pg_364_lg.jpg b/60759-h/images/ill_pg_364_lg.jpg
new file mode 100644
index 0000000..e8c529d
--- /dev/null
+++ b/60759-h/images/ill_pg_364_lg.jpg
diff --git a/60759-h/images/ill_pg_364_sml.jpg b/60759-h/images/ill_pg_364_sml.jpg
new file mode 100644
index 0000000..bdb761c
--- /dev/null
+++ b/60759-h/images/ill_pg_364_sml.jpg
diff --git a/60759-h/images/ill_pg_365-a_lg.jpg b/60759-h/images/ill_pg_365-a_lg.jpg
new file mode 100644
index 0000000..c14275a
--- /dev/null
+++ b/60759-h/images/ill_pg_365-a_lg.jpg
diff --git a/60759-h/images/ill_pg_365-a_sml.jpg b/60759-h/images/ill_pg_365-a_sml.jpg
new file mode 100644
index 0000000..742f3ae
--- /dev/null
+++ b/60759-h/images/ill_pg_365-a_sml.jpg
diff --git a/60759-h/images/ill_pg_365-b_lg.jpg b/60759-h/images/ill_pg_365-b_lg.jpg
new file mode 100644
index 0000000..d3c5dcf
--- /dev/null
+++ b/60759-h/images/ill_pg_365-b_lg.jpg
diff --git a/60759-h/images/ill_pg_365-b_sml.jpg b/60759-h/images/ill_pg_365-b_sml.jpg
new file mode 100644
index 0000000..df1ad8b
--- /dev/null
+++ b/60759-h/images/ill_pg_365-b_sml.jpg
diff --git a/60759-h/images/ill_pg_367_lg.jpg b/60759-h/images/ill_pg_367_lg.jpg
new file mode 100644
index 0000000..05a3116
--- /dev/null
+++ b/60759-h/images/ill_pg_367_lg.jpg
diff --git a/60759-h/images/ill_pg_367_sml.jpg b/60759-h/images/ill_pg_367_sml.jpg
new file mode 100644
index 0000000..8f44356
--- /dev/null
+++ b/60759-h/images/ill_pg_367_sml.jpg
diff --git a/60759-h/images/ill_pg_368_lg.jpg b/60759-h/images/ill_pg_368_lg.jpg
new file mode 100644
index 0000000..e04ea6d
--- /dev/null
+++ b/60759-h/images/ill_pg_368_lg.jpg
diff --git a/60759-h/images/ill_pg_368_sml.jpg b/60759-h/images/ill_pg_368_sml.jpg
new file mode 100644
index 0000000..2993dd7
--- /dev/null
+++ b/60759-h/images/ill_pg_368_sml.jpg
diff --git a/60759-h/images/ill_pg_369_lg.jpg b/60759-h/images/ill_pg_369_lg.jpg
new file mode 100644
index 0000000..ac1fecc
--- /dev/null
+++ b/60759-h/images/ill_pg_369_lg.jpg
diff --git a/60759-h/images/ill_pg_369_sml.jpg b/60759-h/images/ill_pg_369_sml.jpg
new file mode 100644
index 0000000..72f1498
--- /dev/null
+++ b/60759-h/images/ill_pg_369_sml.jpg
diff --git a/60759-h/images/ill_pg_370-a_lg.jpg b/60759-h/images/ill_pg_370-a_lg.jpg
new file mode 100644
index 0000000..6f9e7f3
--- /dev/null
+++ b/60759-h/images/ill_pg_370-a_lg.jpg
diff --git a/60759-h/images/ill_pg_370-a_sml.jpg b/60759-h/images/ill_pg_370-a_sml.jpg
new file mode 100644
index 0000000..a0b2c49
--- /dev/null
+++ b/60759-h/images/ill_pg_370-a_sml.jpg
diff --git a/60759-h/images/ill_pg_370-b_lg.jpg b/60759-h/images/ill_pg_370-b_lg.jpg
new file mode 100644
index 0000000..44d1293
--- /dev/null
+++ b/60759-h/images/ill_pg_370-b_lg.jpg
diff --git a/60759-h/images/ill_pg_370-b_sml.jpg b/60759-h/images/ill_pg_370-b_sml.jpg
new file mode 100644
index 0000000..01ad5dd
--- /dev/null
+++ b/60759-h/images/ill_pg_370-b_sml.jpg
diff --git a/60759-h/images/ill_pg_371_lg.jpg b/60759-h/images/ill_pg_371_lg.jpg
new file mode 100644
index 0000000..7d05c05
--- /dev/null
+++ b/60759-h/images/ill_pg_371_lg.jpg
diff --git a/60759-h/images/ill_pg_371_sml.jpg b/60759-h/images/ill_pg_371_sml.jpg
new file mode 100644
index 0000000..ce2c679
--- /dev/null
+++ b/60759-h/images/ill_pg_371_sml.jpg
diff --git a/60759-h/images/ill_pg_373_lg.jpg b/60759-h/images/ill_pg_373_lg.jpg
new file mode 100644
index 0000000..9b9b4d5
--- /dev/null
+++ b/60759-h/images/ill_pg_373_lg.jpg
diff --git a/60759-h/images/ill_pg_373_sml.jpg b/60759-h/images/ill_pg_373_sml.jpg
new file mode 100644
index 0000000..7278b7f
--- /dev/null
+++ b/60759-h/images/ill_pg_373_sml.jpg
diff --git a/60759-h/images/ill_pg_374_lg.jpg b/60759-h/images/ill_pg_374_lg.jpg
new file mode 100644
index 0000000..c85fe08
--- /dev/null
+++ b/60759-h/images/ill_pg_374_lg.jpg
diff --git a/60759-h/images/ill_pg_374_sml.jpg b/60759-h/images/ill_pg_374_sml.jpg
new file mode 100644
index 0000000..eca33b5
--- /dev/null
+++ b/60759-h/images/ill_pg_374_sml.jpg
diff --git a/60759-h/images/ill_pg_375_lg.jpg b/60759-h/images/ill_pg_375_lg.jpg
new file mode 100644
index 0000000..7357d0e
--- /dev/null
+++ b/60759-h/images/ill_pg_375_lg.jpg
diff --git a/60759-h/images/ill_pg_375_sml.jpg b/60759-h/images/ill_pg_375_sml.jpg
new file mode 100644
index 0000000..039163d
--- /dev/null
+++ b/60759-h/images/ill_pg_375_sml.jpg
diff --git a/60759-h/images/ill_pg_376_lg.jpg b/60759-h/images/ill_pg_376_lg.jpg
new file mode 100644
index 0000000..62804e6
--- /dev/null
+++ b/60759-h/images/ill_pg_376_lg.jpg
diff --git a/60759-h/images/ill_pg_376_sml.jpg b/60759-h/images/ill_pg_376_sml.jpg
new file mode 100644
index 0000000..6901eca
--- /dev/null
+++ b/60759-h/images/ill_pg_376_sml.jpg
diff --git a/60759-h/images/ill_pg_377_lg.jpg b/60759-h/images/ill_pg_377_lg.jpg
new file mode 100644
index 0000000..28e74ca
--- /dev/null
+++ b/60759-h/images/ill_pg_377_lg.jpg
diff --git a/60759-h/images/ill_pg_377_sml.jpg b/60759-h/images/ill_pg_377_sml.jpg
new file mode 100644
index 0000000..4567de7
--- /dev/null
+++ b/60759-h/images/ill_pg_377_sml.jpg
diff --git a/60759-h/images/ill_pg_378_lg.jpg b/60759-h/images/ill_pg_378_lg.jpg
new file mode 100644
index 0000000..ffb24b7
--- /dev/null
+++ b/60759-h/images/ill_pg_378_lg.jpg
diff --git a/60759-h/images/ill_pg_378_sml.jpg b/60759-h/images/ill_pg_378_sml.jpg
new file mode 100644
index 0000000..52ab93b
--- /dev/null
+++ b/60759-h/images/ill_pg_378_sml.jpg
diff --git a/60759-h/images/ill_pg_381_lg.jpg b/60759-h/images/ill_pg_381_lg.jpg
new file mode 100644
index 0000000..20a8958
--- /dev/null
+++ b/60759-h/images/ill_pg_381_lg.jpg
diff --git a/60759-h/images/ill_pg_381_sml.jpg b/60759-h/images/ill_pg_381_sml.jpg
new file mode 100644
index 0000000..911d63b
--- /dev/null
+++ b/60759-h/images/ill_pg_381_sml.jpg
diff --git a/60759-h/images/ill_pg_382_lg.jpg b/60759-h/images/ill_pg_382_lg.jpg
new file mode 100644
index 0000000..bec37a9
--- /dev/null
+++ b/60759-h/images/ill_pg_382_lg.jpg
diff --git a/60759-h/images/ill_pg_382_sml.jpg b/60759-h/images/ill_pg_382_sml.jpg
new file mode 100644
index 0000000..8db32e7
--- /dev/null
+++ b/60759-h/images/ill_pg_382_sml.jpg
diff --git a/60759-h/images/ill_pg_383_lg.jpg b/60759-h/images/ill_pg_383_lg.jpg
new file mode 100644
index 0000000..fd4dc6e
--- /dev/null
+++ b/60759-h/images/ill_pg_383_lg.jpg
diff --git a/60759-h/images/ill_pg_383_sml.jpg b/60759-h/images/ill_pg_383_sml.jpg
new file mode 100644
index 0000000..e8ee1e1
--- /dev/null
+++ b/60759-h/images/ill_pg_383_sml.jpg
diff --git a/60759-h/images/ill_pg_384_lg.jpg b/60759-h/images/ill_pg_384_lg.jpg
new file mode 100644
index 0000000..3786402
--- /dev/null
+++ b/60759-h/images/ill_pg_384_lg.jpg
diff --git a/60759-h/images/ill_pg_384_sml.jpg b/60759-h/images/ill_pg_384_sml.jpg
new file mode 100644
index 0000000..42bbebb
--- /dev/null
+++ b/60759-h/images/ill_pg_384_sml.jpg
diff --git a/60759-h/images/ill_pg_385_lg.jpg b/60759-h/images/ill_pg_385_lg.jpg
new file mode 100644
index 0000000..09d7ae3
--- /dev/null
+++ b/60759-h/images/ill_pg_385_lg.jpg
diff --git a/60759-h/images/ill_pg_385_sml.jpg b/60759-h/images/ill_pg_385_sml.jpg
new file mode 100644
index 0000000..335b12b
--- /dev/null
+++ b/60759-h/images/ill_pg_385_sml.jpg
diff --git a/60759-h/images/ill_pg_386_lg.jpg b/60759-h/images/ill_pg_386_lg.jpg
new file mode 100644
index 0000000..468be86
--- /dev/null
+++ b/60759-h/images/ill_pg_386_lg.jpg
diff --git a/60759-h/images/ill_pg_386_sml.jpg b/60759-h/images/ill_pg_386_sml.jpg
new file mode 100644
index 0000000..1adc5cc
--- /dev/null
+++ b/60759-h/images/ill_pg_386_sml.jpg
diff --git a/60759-h/images/ill_pg_387_lg.jpg b/60759-h/images/ill_pg_387_lg.jpg
new file mode 100644
index 0000000..607d655
--- /dev/null
+++ b/60759-h/images/ill_pg_387_lg.jpg
diff --git a/60759-h/images/ill_pg_387_sml.jpg b/60759-h/images/ill_pg_387_sml.jpg
new file mode 100644
index 0000000..35374dc
--- /dev/null
+++ b/60759-h/images/ill_pg_387_sml.jpg
diff --git a/60759-h/images/ill_pg_389_lg.jpg b/60759-h/images/ill_pg_389_lg.jpg
new file mode 100644
index 0000000..1c5761a
--- /dev/null
+++ b/60759-h/images/ill_pg_389_lg.jpg
diff --git a/60759-h/images/ill_pg_389_sml.jpg b/60759-h/images/ill_pg_389_sml.jpg
new file mode 100644
index 0000000..aaec81d
--- /dev/null
+++ b/60759-h/images/ill_pg_389_sml.jpg
diff --git a/60759-h/images/ill_pg_390_lg.jpg b/60759-h/images/ill_pg_390_lg.jpg
new file mode 100644
index 0000000..cc34058
--- /dev/null
+++ b/60759-h/images/ill_pg_390_lg.jpg
diff --git a/60759-h/images/ill_pg_390_sml.jpg b/60759-h/images/ill_pg_390_sml.jpg
new file mode 100644
index 0000000..5f623ec
--- /dev/null
+++ b/60759-h/images/ill_pg_390_sml.jpg
diff --git a/60759-h/images/ill_pg_394_lg.jpg b/60759-h/images/ill_pg_394_lg.jpg
new file mode 100644
index 0000000..0b04466
--- /dev/null
+++ b/60759-h/images/ill_pg_394_lg.jpg
diff --git a/60759-h/images/ill_pg_394_sml.jpg b/60759-h/images/ill_pg_394_sml.jpg
new file mode 100644
index 0000000..cddf618
--- /dev/null
+++ b/60759-h/images/ill_pg_394_sml.jpg
diff --git a/60759-h/images/ill_pg_396_lg.jpg b/60759-h/images/ill_pg_396_lg.jpg
new file mode 100644
index 0000000..08583b3
--- /dev/null
+++ b/60759-h/images/ill_pg_396_lg.jpg
diff --git a/60759-h/images/ill_pg_396_sml.jpg b/60759-h/images/ill_pg_396_sml.jpg
new file mode 100644
index 0000000..179206c
--- /dev/null
+++ b/60759-h/images/ill_pg_396_sml.jpg
diff --git a/60759-h/images/ill_pg_397_lg.jpg b/60759-h/images/ill_pg_397_lg.jpg
new file mode 100644
index 0000000..8e482e3
--- /dev/null
+++ b/60759-h/images/ill_pg_397_lg.jpg
diff --git a/60759-h/images/ill_pg_397_sml.jpg b/60759-h/images/ill_pg_397_sml.jpg
new file mode 100644
index 0000000..5b7226b
--- /dev/null
+++ b/60759-h/images/ill_pg_397_sml.jpg
diff --git a/60759-h/images/ill_pg_398_lg.jpg b/60759-h/images/ill_pg_398_lg.jpg
new file mode 100644
index 0000000..ed69165
--- /dev/null
+++ b/60759-h/images/ill_pg_398_lg.jpg
diff --git a/60759-h/images/ill_pg_398_sml.jpg b/60759-h/images/ill_pg_398_sml.jpg
new file mode 100644
index 0000000..5c44379
--- /dev/null
+++ b/60759-h/images/ill_pg_398_sml.jpg
diff --git a/60759-h/images/ill_pg_399_lg.jpg b/60759-h/images/ill_pg_399_lg.jpg
new file mode 100644
index 0000000..4096642
--- /dev/null
+++ b/60759-h/images/ill_pg_399_lg.jpg
diff --git a/60759-h/images/ill_pg_399_sml.jpg b/60759-h/images/ill_pg_399_sml.jpg
new file mode 100644
index 0000000..801e7d9
--- /dev/null
+++ b/60759-h/images/ill_pg_399_sml.jpg
diff --git a/60759-h/images/ill_pg_400_lg.jpg b/60759-h/images/ill_pg_400_lg.jpg
new file mode 100644
index 0000000..0679f70
--- /dev/null
+++ b/60759-h/images/ill_pg_400_lg.jpg
diff --git a/60759-h/images/ill_pg_400_sml.jpg b/60759-h/images/ill_pg_400_sml.jpg
new file mode 100644
index 0000000..9c17b53
--- /dev/null
+++ b/60759-h/images/ill_pg_400_sml.jpg
diff --git a/60759-h/images/ill_pg_402_lg.jpg b/60759-h/images/ill_pg_402_lg.jpg
new file mode 100644
index 0000000..b73274b
--- /dev/null
+++ b/60759-h/images/ill_pg_402_lg.jpg
diff --git a/60759-h/images/ill_pg_402_sml.jpg b/60759-h/images/ill_pg_402_sml.jpg
new file mode 100644
index 0000000..f4911f6
--- /dev/null
+++ b/60759-h/images/ill_pg_402_sml.jpg
diff --git a/60759-h/images/ill_pg_403_lg.jpg b/60759-h/images/ill_pg_403_lg.jpg
new file mode 100644
index 0000000..0e4b355
--- /dev/null
+++ b/60759-h/images/ill_pg_403_lg.jpg
diff --git a/60759-h/images/ill_pg_403_sml.jpg b/60759-h/images/ill_pg_403_sml.jpg
new file mode 100644
index 0000000..c7ce6cd
--- /dev/null
+++ b/60759-h/images/ill_pg_403_sml.jpg
diff --git a/60759-h/images/ill_pg_408_lg.jpg b/60759-h/images/ill_pg_408_lg.jpg
new file mode 100644
index 0000000..695e8fc
--- /dev/null
+++ b/60759-h/images/ill_pg_408_lg.jpg
diff --git a/60759-h/images/ill_pg_408_sml.jpg b/60759-h/images/ill_pg_408_sml.jpg
new file mode 100644
index 0000000..71053ca
--- /dev/null
+++ b/60759-h/images/ill_pg_408_sml.jpg
diff --git a/60759-h/images/ill_pg_410-a_lg.jpg b/60759-h/images/ill_pg_410-a_lg.jpg
new file mode 100644
index 0000000..038d38f
--- /dev/null
+++ b/60759-h/images/ill_pg_410-a_lg.jpg
diff --git a/60759-h/images/ill_pg_410-a_sml.jpg b/60759-h/images/ill_pg_410-a_sml.jpg
new file mode 100644
index 0000000..65ed4c1
--- /dev/null
+++ b/60759-h/images/ill_pg_410-a_sml.jpg
diff --git a/60759-h/images/ill_pg_410-b_lg.jpg b/60759-h/images/ill_pg_410-b_lg.jpg
new file mode 100644
index 0000000..b444001
--- /dev/null
+++ b/60759-h/images/ill_pg_410-b_lg.jpg
diff --git a/60759-h/images/ill_pg_410-b_sml.jpg b/60759-h/images/ill_pg_410-b_sml.jpg
new file mode 100644
index 0000000..ddb763d
--- /dev/null
+++ b/60759-h/images/ill_pg_410-b_sml.jpg
diff --git a/60759-h/images/ill_pg_411_lg.jpg b/60759-h/images/ill_pg_411_lg.jpg
new file mode 100644
index 0000000..ed49cb4
--- /dev/null
+++ b/60759-h/images/ill_pg_411_lg.jpg
diff --git a/60759-h/images/ill_pg_411_sml.jpg b/60759-h/images/ill_pg_411_sml.jpg
new file mode 100644
index 0000000..f6ebde5
--- /dev/null
+++ b/60759-h/images/ill_pg_411_sml.jpg
diff --git a/60759-h/images/ill_pg_418_lg.jpg b/60759-h/images/ill_pg_418_lg.jpg
new file mode 100644
index 0000000..aaa59a4
--- /dev/null
+++ b/60759-h/images/ill_pg_418_lg.jpg
diff --git a/60759-h/images/ill_pg_418_sml.jpg b/60759-h/images/ill_pg_418_sml.jpg
new file mode 100644
index 0000000..c6a8b6f
--- /dev/null
+++ b/60759-h/images/ill_pg_418_sml.jpg
diff --git a/60759-h/images/ill_pg_419_lg.jpg b/60759-h/images/ill_pg_419_lg.jpg
new file mode 100644
index 0000000..a0114ad
--- /dev/null
+++ b/60759-h/images/ill_pg_419_lg.jpg
diff --git a/60759-h/images/ill_pg_419_sml.jpg b/60759-h/images/ill_pg_419_sml.jpg
new file mode 100644
index 0000000..8384f8a
--- /dev/null
+++ b/60759-h/images/ill_pg_419_sml.jpg
diff --git a/60759-h/images/ill_pg_420_lg.jpg b/60759-h/images/ill_pg_420_lg.jpg
new file mode 100644
index 0000000..4c1d492
--- /dev/null
+++ b/60759-h/images/ill_pg_420_lg.jpg
diff --git a/60759-h/images/ill_pg_420_sml.jpg b/60759-h/images/ill_pg_420_sml.jpg
new file mode 100644
index 0000000..1bae97b
--- /dev/null
+++ b/60759-h/images/ill_pg_420_sml.jpg
diff --git a/60759-h/images/ill_pg_421-a_lg.jpg b/60759-h/images/ill_pg_421-a_lg.jpg
new file mode 100644
index 0000000..84f8279
--- /dev/null
+++ b/60759-h/images/ill_pg_421-a_lg.jpg
diff --git a/60759-h/images/ill_pg_421-a_sml.jpg b/60759-h/images/ill_pg_421-a_sml.jpg
new file mode 100644
index 0000000..b75c253
--- /dev/null
+++ b/60759-h/images/ill_pg_421-a_sml.jpg
diff --git a/60759-h/images/ill_pg_421-b_lg.jpg b/60759-h/images/ill_pg_421-b_lg.jpg
new file mode 100644
index 0000000..2f0d2e8
--- /dev/null
+++ b/60759-h/images/ill_pg_421-b_lg.jpg
diff --git a/60759-h/images/ill_pg_421-b_sml.jpg b/60759-h/images/ill_pg_421-b_sml.jpg
new file mode 100644
index 0000000..3b49916
--- /dev/null
+++ b/60759-h/images/ill_pg_421-b_sml.jpg
diff --git a/60759-h/images/ill_pg_422_lg.jpg b/60759-h/images/ill_pg_422_lg.jpg
new file mode 100644
index 0000000..4a302da
--- /dev/null
+++ b/60759-h/images/ill_pg_422_lg.jpg
diff --git a/60759-h/images/ill_pg_422_sml.jpg b/60759-h/images/ill_pg_422_sml.jpg
new file mode 100644
index 0000000..4448fff
--- /dev/null
+++ b/60759-h/images/ill_pg_422_sml.jpg
diff --git a/60759-h/images/ill_pg_423_lg.jpg b/60759-h/images/ill_pg_423_lg.jpg
new file mode 100644
index 0000000..648a726
--- /dev/null
+++ b/60759-h/images/ill_pg_423_lg.jpg
diff --git a/60759-h/images/ill_pg_423_sml.jpg b/60759-h/images/ill_pg_423_sml.jpg
new file mode 100644
index 0000000..43085b4
--- /dev/null
+++ b/60759-h/images/ill_pg_423_sml.jpg
diff --git a/60759-h/images/ill_pg_424_lg.jpg b/60759-h/images/ill_pg_424_lg.jpg
new file mode 100644
index 0000000..04fd27a
--- /dev/null
+++ b/60759-h/images/ill_pg_424_lg.jpg
diff --git a/60759-h/images/ill_pg_424_sml.jpg b/60759-h/images/ill_pg_424_sml.jpg
new file mode 100644
index 0000000..11f2659
--- /dev/null
+++ b/60759-h/images/ill_pg_424_sml.jpg
diff --git a/60759-h/images/ill_pg_425_lg.jpg b/60759-h/images/ill_pg_425_lg.jpg
new file mode 100644
index 0000000..8b66f22
--- /dev/null
+++ b/60759-h/images/ill_pg_425_lg.jpg
diff --git a/60759-h/images/ill_pg_425_sml.jpg b/60759-h/images/ill_pg_425_sml.jpg
new file mode 100644
index 0000000..8c3c7a6
--- /dev/null
+++ b/60759-h/images/ill_pg_425_sml.jpg
diff --git a/60759-h/images/ill_pg_426_lg.jpg b/60759-h/images/ill_pg_426_lg.jpg
new file mode 100644
index 0000000..8da42bb
--- /dev/null
+++ b/60759-h/images/ill_pg_426_lg.jpg
diff --git a/60759-h/images/ill_pg_426_sml.jpg b/60759-h/images/ill_pg_426_sml.jpg
new file mode 100644
index 0000000..43fdd7c
--- /dev/null
+++ b/60759-h/images/ill_pg_426_sml.jpg
diff --git a/60759-h/images/ill_pg_427_lg.jpg b/60759-h/images/ill_pg_427_lg.jpg
new file mode 100644
index 0000000..ed3ffa9
--- /dev/null
+++ b/60759-h/images/ill_pg_427_lg.jpg
diff --git a/60759-h/images/ill_pg_427_sml.jpg b/60759-h/images/ill_pg_427_sml.jpg
new file mode 100644
index 0000000..6b19919
--- /dev/null
+++ b/60759-h/images/ill_pg_427_sml.jpg
diff --git a/60759-h/images/ill_pg_429-a_lg.jpg b/60759-h/images/ill_pg_429-a_lg.jpg
new file mode 100644
index 0000000..d7c0239
--- /dev/null
+++ b/60759-h/images/ill_pg_429-a_lg.jpg
diff --git a/60759-h/images/ill_pg_429-a_sml.jpg b/60759-h/images/ill_pg_429-a_sml.jpg
new file mode 100644
index 0000000..fe217d8
--- /dev/null
+++ b/60759-h/images/ill_pg_429-a_sml.jpg
diff --git a/60759-h/images/ill_pg_429-b_lg.jpg b/60759-h/images/ill_pg_429-b_lg.jpg
new file mode 100644
index 0000000..8c23c1e
--- /dev/null
+++ b/60759-h/images/ill_pg_429-b_lg.jpg
diff --git a/60759-h/images/ill_pg_429-b_sml.jpg b/60759-h/images/ill_pg_429-b_sml.jpg
new file mode 100644
index 0000000..3e61154
--- /dev/null
+++ b/60759-h/images/ill_pg_429-b_sml.jpg
diff --git a/60759-h/images/ill_pg_441_lg.jpg b/60759-h/images/ill_pg_441_lg.jpg
new file mode 100644
index 0000000..4c44be3
--- /dev/null
+++ b/60759-h/images/ill_pg_441_lg.jpg
diff --git a/60759-h/images/ill_pg_441_sml.jpg b/60759-h/images/ill_pg_441_sml.jpg
new file mode 100644
index 0000000..45d9682
--- /dev/null
+++ b/60759-h/images/ill_pg_441_sml.jpg
diff --git a/60759-h/images/ill_pg_446_lg.jpg b/60759-h/images/ill_pg_446_lg.jpg
new file mode 100644
index 0000000..b50930b
--- /dev/null
+++ b/60759-h/images/ill_pg_446_lg.jpg
diff --git a/60759-h/images/ill_pg_446_sml.jpg b/60759-h/images/ill_pg_446_sml.jpg
new file mode 100644
index 0000000..0e269ae
--- /dev/null
+++ b/60759-h/images/ill_pg_446_sml.jpg
diff --git a/60759-h/images/ill_pg_448_lg.jpg b/60759-h/images/ill_pg_448_lg.jpg
new file mode 100644
index 0000000..22ea5f1
--- /dev/null
+++ b/60759-h/images/ill_pg_448_lg.jpg
diff --git a/60759-h/images/ill_pg_448_sml.jpg b/60759-h/images/ill_pg_448_sml.jpg
new file mode 100644
index 0000000..52c1145
--- /dev/null
+++ b/60759-h/images/ill_pg_448_sml.jpg
diff --git a/60759-h/images/ill_pg_450_lg.jpg b/60759-h/images/ill_pg_450_lg.jpg
new file mode 100644
index 0000000..7afb127
--- /dev/null
+++ b/60759-h/images/ill_pg_450_lg.jpg
diff --git a/60759-h/images/ill_pg_450_sml.jpg b/60759-h/images/ill_pg_450_sml.jpg
new file mode 100644
index 0000000..fc6367d
--- /dev/null
+++ b/60759-h/images/ill_pg_450_sml.jpg
diff --git a/60759-h/images/ill_pg_456_lg.jpg b/60759-h/images/ill_pg_456_lg.jpg
new file mode 100644
index 0000000..4be5150
--- /dev/null
+++ b/60759-h/images/ill_pg_456_lg.jpg
diff --git a/60759-h/images/ill_pg_456_sml.jpg b/60759-h/images/ill_pg_456_sml.jpg
new file mode 100644
index 0000000..251109d
--- /dev/null
+++ b/60759-h/images/ill_pg_456_sml.jpg
diff --git a/60759-h/images/ill_pg_457_lg.jpg b/60759-h/images/ill_pg_457_lg.jpg
new file mode 100644
index 0000000..b5b8dfd
--- /dev/null
+++ b/60759-h/images/ill_pg_457_lg.jpg
diff --git a/60759-h/images/ill_pg_457_sml.jpg b/60759-h/images/ill_pg_457_sml.jpg
new file mode 100644
index 0000000..f2872ef
--- /dev/null
+++ b/60759-h/images/ill_pg_457_sml.jpg
diff --git a/60759-h/images/ill_pg_458_lg.jpg b/60759-h/images/ill_pg_458_lg.jpg
new file mode 100644
index 0000000..cae4958
--- /dev/null
+++ b/60759-h/images/ill_pg_458_lg.jpg
diff --git a/60759-h/images/ill_pg_458_sml.jpg b/60759-h/images/ill_pg_458_sml.jpg
new file mode 100644
index 0000000..e3456b7
--- /dev/null
+++ b/60759-h/images/ill_pg_458_sml.jpg
diff --git a/60759-h/images/ill_pg_459_lg.jpg b/60759-h/images/ill_pg_459_lg.jpg
new file mode 100644
index 0000000..cf9abd4
--- /dev/null
+++ b/60759-h/images/ill_pg_459_lg.jpg
diff --git a/60759-h/images/ill_pg_459_sml.jpg b/60759-h/images/ill_pg_459_sml.jpg
new file mode 100644
index 0000000..2f0f5ca
--- /dev/null
+++ b/60759-h/images/ill_pg_459_sml.jpg
diff --git a/60759-h/images/ill_pg_460_lg.jpg b/60759-h/images/ill_pg_460_lg.jpg
new file mode 100644
index 0000000..7fdc5bb
--- /dev/null
+++ b/60759-h/images/ill_pg_460_lg.jpg
diff --git a/60759-h/images/ill_pg_460_sml.jpg b/60759-h/images/ill_pg_460_sml.jpg
new file mode 100644
index 0000000..f12082c
--- /dev/null
+++ b/60759-h/images/ill_pg_460_sml.jpg
diff --git a/60759-h/images/ill_pg_461_lg.jpg b/60759-h/images/ill_pg_461_lg.jpg
new file mode 100644
index 0000000..f7b6628
--- /dev/null
+++ b/60759-h/images/ill_pg_461_lg.jpg
diff --git a/60759-h/images/ill_pg_461_sml.jpg b/60759-h/images/ill_pg_461_sml.jpg
new file mode 100644
index 0000000..b3f9525
--- /dev/null
+++ b/60759-h/images/ill_pg_461_sml.jpg
diff --git a/60759-h/images/ill_pg_463_lg.jpg b/60759-h/images/ill_pg_463_lg.jpg
new file mode 100644
index 0000000..c1a9cc7
--- /dev/null
+++ b/60759-h/images/ill_pg_463_lg.jpg
diff --git a/60759-h/images/ill_pg_463_sml.jpg b/60759-h/images/ill_pg_463_sml.jpg
new file mode 100644
index 0000000..e1d99de
--- /dev/null
+++ b/60759-h/images/ill_pg_463_sml.jpg
diff --git a/60759-h/images/ill_pg_464_lg.jpg b/60759-h/images/ill_pg_464_lg.jpg
new file mode 100644
index 0000000..b5a302f
--- /dev/null
+++ b/60759-h/images/ill_pg_464_lg.jpg
diff --git a/60759-h/images/ill_pg_464_sml.jpg b/60759-h/images/ill_pg_464_sml.jpg
new file mode 100644
index 0000000..ff806ca
--- /dev/null
+++ b/60759-h/images/ill_pg_464_sml.jpg
diff --git a/60759-h/images/ill_pg_466_lg.jpg b/60759-h/images/ill_pg_466_lg.jpg
new file mode 100644
index 0000000..79e002e
--- /dev/null
+++ b/60759-h/images/ill_pg_466_lg.jpg
diff --git a/60759-h/images/ill_pg_466_sml.jpg b/60759-h/images/ill_pg_466_sml.jpg
new file mode 100644
index 0000000..8d4a91d
--- /dev/null
+++ b/60759-h/images/ill_pg_466_sml.jpg
diff --git a/60759-h/images/ill_pg_467_lg.jpg b/60759-h/images/ill_pg_467_lg.jpg
new file mode 100644
index 0000000..f5110c8
--- /dev/null
+++ b/60759-h/images/ill_pg_467_lg.jpg
diff --git a/60759-h/images/ill_pg_467_sml.jpg b/60759-h/images/ill_pg_467_sml.jpg
new file mode 100644
index 0000000..28457a6
--- /dev/null
+++ b/60759-h/images/ill_pg_467_sml.jpg
diff --git a/60759-h/images/ill_pg_469_lg.jpg b/60759-h/images/ill_pg_469_lg.jpg
new file mode 100644
index 0000000..0a901fa
--- /dev/null
+++ b/60759-h/images/ill_pg_469_lg.jpg
diff --git a/60759-h/images/ill_pg_469_sml.jpg b/60759-h/images/ill_pg_469_sml.jpg
new file mode 100644
index 0000000..a837af2
--- /dev/null
+++ b/60759-h/images/ill_pg_469_sml.jpg
diff --git a/60759-h/images/ill_pg_470_lg.jpg b/60759-h/images/ill_pg_470_lg.jpg
new file mode 100644
index 0000000..fcedc27
--- /dev/null
+++ b/60759-h/images/ill_pg_470_lg.jpg
diff --git a/60759-h/images/ill_pg_470_sml.jpg b/60759-h/images/ill_pg_470_sml.jpg
new file mode 100644
index 0000000..5bb9d4d
--- /dev/null
+++ b/60759-h/images/ill_pg_470_sml.jpg
diff --git a/60759-h/images/ill_pg_471_lg.jpg b/60759-h/images/ill_pg_471_lg.jpg
new file mode 100644
index 0000000..26c9f41
--- /dev/null
+++ b/60759-h/images/ill_pg_471_lg.jpg
diff --git a/60759-h/images/ill_pg_471_sml.jpg b/60759-h/images/ill_pg_471_sml.jpg
new file mode 100644
index 0000000..04617bd
--- /dev/null
+++ b/60759-h/images/ill_pg_471_sml.jpg
diff --git a/60759-h/images/ill_pg_472_lg.jpg b/60759-h/images/ill_pg_472_lg.jpg
new file mode 100644
index 0000000..803e64e
--- /dev/null
+++ b/60759-h/images/ill_pg_472_lg.jpg
diff --git a/60759-h/images/ill_pg_472_sml.jpg b/60759-h/images/ill_pg_472_sml.jpg
new file mode 100644
index 0000000..bd37891
--- /dev/null
+++ b/60759-h/images/ill_pg_472_sml.jpg
diff --git a/60759-h/images/ill_pg_473_lg.jpg b/60759-h/images/ill_pg_473_lg.jpg
new file mode 100644
index 0000000..e493eec
--- /dev/null
+++ b/60759-h/images/ill_pg_473_lg.jpg
diff --git a/60759-h/images/ill_pg_473_sml.jpg b/60759-h/images/ill_pg_473_sml.jpg
new file mode 100644
index 0000000..f1f8ce6
--- /dev/null
+++ b/60759-h/images/ill_pg_473_sml.jpg
diff --git a/60759-h/images/ill_pg_474_lg.jpg b/60759-h/images/ill_pg_474_lg.jpg
new file mode 100644
index 0000000..eb73f5b
--- /dev/null
+++ b/60759-h/images/ill_pg_474_lg.jpg
diff --git a/60759-h/images/ill_pg_474_sml.jpg b/60759-h/images/ill_pg_474_sml.jpg
new file mode 100644
index 0000000..41be10b
--- /dev/null
+++ b/60759-h/images/ill_pg_474_sml.jpg
diff --git a/60759-h/images/ill_pg_476_lg.jpg b/60759-h/images/ill_pg_476_lg.jpg
new file mode 100644
index 0000000..c261104
--- /dev/null
+++ b/60759-h/images/ill_pg_476_lg.jpg
diff --git a/60759-h/images/ill_pg_476_sml.jpg b/60759-h/images/ill_pg_476_sml.jpg
new file mode 100644
index 0000000..de74b64
--- /dev/null
+++ b/60759-h/images/ill_pg_476_sml.jpg
diff --git a/60759-h/images/ill_pg_477_lg.jpg b/60759-h/images/ill_pg_477_lg.jpg
new file mode 100644
index 0000000..c66961f
--- /dev/null
+++ b/60759-h/images/ill_pg_477_lg.jpg
diff --git a/60759-h/images/ill_pg_477_sml.jpg b/60759-h/images/ill_pg_477_sml.jpg
new file mode 100644
index 0000000..2b83bff
--- /dev/null
+++ b/60759-h/images/ill_pg_477_sml.jpg
diff --git a/60759-h/images/ill_pg_479_lg.jpg b/60759-h/images/ill_pg_479_lg.jpg
new file mode 100644
index 0000000..8410fc3
--- /dev/null
+++ b/60759-h/images/ill_pg_479_lg.jpg
diff --git a/60759-h/images/ill_pg_479_sml.jpg b/60759-h/images/ill_pg_479_sml.jpg
new file mode 100644
index 0000000..fd337eb
--- /dev/null
+++ b/60759-h/images/ill_pg_479_sml.jpg
diff --git a/60759-h/images/ill_pg_480-a_lg.jpg b/60759-h/images/ill_pg_480-a_lg.jpg
new file mode 100644
index 0000000..4c9d00c
--- /dev/null
+++ b/60759-h/images/ill_pg_480-a_lg.jpg
diff --git a/60759-h/images/ill_pg_480-a_sml.jpg b/60759-h/images/ill_pg_480-a_sml.jpg
new file mode 100644
index 0000000..4ec04b6
--- /dev/null
+++ b/60759-h/images/ill_pg_480-a_sml.jpg
diff --git a/60759-h/images/ill_pg_480-b_lg.jpg b/60759-h/images/ill_pg_480-b_lg.jpg
new file mode 100644
index 0000000..514a038
--- /dev/null
+++ b/60759-h/images/ill_pg_480-b_lg.jpg
diff --git a/60759-h/images/ill_pg_480-b_sml.jpg b/60759-h/images/ill_pg_480-b_sml.jpg
new file mode 100644
index 0000000..73a1e0a
--- /dev/null
+++ b/60759-h/images/ill_pg_480-b_sml.jpg
diff --git a/60759-h/images/ill_pg_482_lg.jpg b/60759-h/images/ill_pg_482_lg.jpg
new file mode 100644
index 0000000..1afd5ae
--- /dev/null
+++ b/60759-h/images/ill_pg_482_lg.jpg
diff --git a/60759-h/images/ill_pg_482_sml.jpg b/60759-h/images/ill_pg_482_sml.jpg
new file mode 100644
index 0000000..99a9341
--- /dev/null
+++ b/60759-h/images/ill_pg_482_sml.jpg
diff --git a/60759-h/images/ill_pg_483_lg.jpg b/60759-h/images/ill_pg_483_lg.jpg
new file mode 100644
index 0000000..0cec165
--- /dev/null
+++ b/60759-h/images/ill_pg_483_lg.jpg
diff --git a/60759-h/images/ill_pg_483_sml.jpg b/60759-h/images/ill_pg_483_sml.jpg
new file mode 100644
index 0000000..d265833
--- /dev/null
+++ b/60759-h/images/ill_pg_483_sml.jpg
diff --git a/60759-h/images/ill_pg_484_lg.jpg b/60759-h/images/ill_pg_484_lg.jpg
new file mode 100644
index 0000000..b559f78
--- /dev/null
+++ b/60759-h/images/ill_pg_484_lg.jpg
diff --git a/60759-h/images/ill_pg_484_sml.jpg b/60759-h/images/ill_pg_484_sml.jpg
new file mode 100644
index 0000000..d6791aa
--- /dev/null
+++ b/60759-h/images/ill_pg_484_sml.jpg
diff --git a/60759-h/images/ill_pg_486_lg.jpg b/60759-h/images/ill_pg_486_lg.jpg
new file mode 100644
index 0000000..78cae4e
--- /dev/null
+++ b/60759-h/images/ill_pg_486_lg.jpg
diff --git a/60759-h/images/ill_pg_486_sml.jpg b/60759-h/images/ill_pg_486_sml.jpg
new file mode 100644
index 0000000..6e16075
--- /dev/null
+++ b/60759-h/images/ill_pg_486_sml.jpg
diff --git a/60759-h/images/ill_pg_487_lg.jpg b/60759-h/images/ill_pg_487_lg.jpg
new file mode 100644
index 0000000..bc2b3b9
--- /dev/null
+++ b/60759-h/images/ill_pg_487_lg.jpg
diff --git a/60759-h/images/ill_pg_487_sml.jpg b/60759-h/images/ill_pg_487_sml.jpg
new file mode 100644
index 0000000..820551e
--- /dev/null
+++ b/60759-h/images/ill_pg_487_sml.jpg
diff --git a/60759-h/images/ill_pg_488_lg.jpg b/60759-h/images/ill_pg_488_lg.jpg
new file mode 100644
index 0000000..ddf16fe
--- /dev/null
+++ b/60759-h/images/ill_pg_488_lg.jpg
diff --git a/60759-h/images/ill_pg_488_sml.jpg b/60759-h/images/ill_pg_488_sml.jpg
new file mode 100644
index 0000000..0b410cc
--- /dev/null
+++ b/60759-h/images/ill_pg_488_sml.jpg
diff --git a/60759-h/images/ill_pg_489_lg.jpg b/60759-h/images/ill_pg_489_lg.jpg
new file mode 100644
index 0000000..b6996a9
--- /dev/null
+++ b/60759-h/images/ill_pg_489_lg.jpg
diff --git a/60759-h/images/ill_pg_489_sml.jpg b/60759-h/images/ill_pg_489_sml.jpg
new file mode 100644
index 0000000..06155b4
--- /dev/null
+++ b/60759-h/images/ill_pg_489_sml.jpg
diff --git a/60759-h/images/ill_pg_490_lg.jpg b/60759-h/images/ill_pg_490_lg.jpg
new file mode 100644
index 0000000..32c600e
--- /dev/null
+++ b/60759-h/images/ill_pg_490_lg.jpg
diff --git a/60759-h/images/ill_pg_490_sml.jpg b/60759-h/images/ill_pg_490_sml.jpg
new file mode 100644
index 0000000..bd57f4f
--- /dev/null
+++ b/60759-h/images/ill_pg_490_sml.jpg
diff --git a/60759-h/images/ill_pg_491_lg.jpg b/60759-h/images/ill_pg_491_lg.jpg
new file mode 100644
index 0000000..4f7f188
--- /dev/null
+++ b/60759-h/images/ill_pg_491_lg.jpg
diff --git a/60759-h/images/ill_pg_491_sml.jpg b/60759-h/images/ill_pg_491_sml.jpg
new file mode 100644
index 0000000..16eaf66
--- /dev/null
+++ b/60759-h/images/ill_pg_491_sml.jpg
diff --git a/60759-h/images/ill_pg_492_lg.jpg b/60759-h/images/ill_pg_492_lg.jpg
new file mode 100644
index 0000000..bef64a2
--- /dev/null
+++ b/60759-h/images/ill_pg_492_lg.jpg
diff --git a/60759-h/images/ill_pg_492_sml.jpg b/60759-h/images/ill_pg_492_sml.jpg
new file mode 100644
index 0000000..c8fb48a
--- /dev/null
+++ b/60759-h/images/ill_pg_492_sml.jpg
diff --git a/60759-h/images/ill_pg_493-a_lg.jpg b/60759-h/images/ill_pg_493-a_lg.jpg
new file mode 100644
index 0000000..ecb0bcd
--- /dev/null
+++ b/60759-h/images/ill_pg_493-a_lg.jpg
diff --git a/60759-h/images/ill_pg_493-a_sml.jpg b/60759-h/images/ill_pg_493-a_sml.jpg
new file mode 100644
index 0000000..d64bcaf
--- /dev/null
+++ b/60759-h/images/ill_pg_493-a_sml.jpg
diff --git a/60759-h/images/ill_pg_493-b_lg.jpg b/60759-h/images/ill_pg_493-b_lg.jpg
new file mode 100644
index 0000000..b685516
--- /dev/null
+++ b/60759-h/images/ill_pg_493-b_lg.jpg
diff --git a/60759-h/images/ill_pg_493-b_sml.jpg b/60759-h/images/ill_pg_493-b_sml.jpg
new file mode 100644
index 0000000..726c897
--- /dev/null
+++ b/60759-h/images/ill_pg_493-b_sml.jpg
diff --git a/60759-h/images/ill_pg_495_lg.jpg b/60759-h/images/ill_pg_495_lg.jpg
new file mode 100644
index 0000000..4f8e959
--- /dev/null
+++ b/60759-h/images/ill_pg_495_lg.jpg
diff --git a/60759-h/images/ill_pg_495_sml.jpg b/60759-h/images/ill_pg_495_sml.jpg
new file mode 100644
index 0000000..6e227c2
--- /dev/null
+++ b/60759-h/images/ill_pg_495_sml.jpg
diff --git a/60759-h/images/ill_pg_496_lg.jpg b/60759-h/images/ill_pg_496_lg.jpg
new file mode 100644
index 0000000..664da4f
--- /dev/null
+++ b/60759-h/images/ill_pg_496_lg.jpg
diff --git a/60759-h/images/ill_pg_496_sml.jpg b/60759-h/images/ill_pg_496_sml.jpg
new file mode 100644
index 0000000..dba52bd
--- /dev/null
+++ b/60759-h/images/ill_pg_496_sml.jpg
diff --git a/60759-h/images/ill_pg_497_lg.jpg b/60759-h/images/ill_pg_497_lg.jpg
new file mode 100644
index 0000000..5720225
--- /dev/null
+++ b/60759-h/images/ill_pg_497_lg.jpg
diff --git a/60759-h/images/ill_pg_497_sml.jpg b/60759-h/images/ill_pg_497_sml.jpg
new file mode 100644
index 0000000..46c08c9
--- /dev/null
+++ b/60759-h/images/ill_pg_497_sml.jpg
diff --git a/60759-h/images/ill_pg_498_lg.jpg b/60759-h/images/ill_pg_498_lg.jpg
new file mode 100644
index 0000000..29bedda
--- /dev/null
+++ b/60759-h/images/ill_pg_498_lg.jpg
diff --git a/60759-h/images/ill_pg_498_sml.jpg b/60759-h/images/ill_pg_498_sml.jpg
new file mode 100644
index 0000000..bb40678
--- /dev/null
+++ b/60759-h/images/ill_pg_498_sml.jpg
diff --git a/60759-h/images/ill_pg_499_lg.jpg b/60759-h/images/ill_pg_499_lg.jpg
new file mode 100644
index 0000000..666024c
--- /dev/null
+++ b/60759-h/images/ill_pg_499_lg.jpg
diff --git a/60759-h/images/ill_pg_499_sml.jpg b/60759-h/images/ill_pg_499_sml.jpg
new file mode 100644
index 0000000..506c0d7
--- /dev/null
+++ b/60759-h/images/ill_pg_499_sml.jpg
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..7c4d96f
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #60759 (https://www.gutenberg.org/ebooks/60759)
diff --git a/old/60759-0.txt b/old/60759-0.txt
new file mode 100644
index 0000000..d5edade
--- /dev/null
+++ b/old/60759-0.txt
@@ -0,0 +1,10520 @@
+The Project Gutenberg EBook of The Englishman's House, by 
+C.J. (Charles James) Richardson
+
+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/license
+
+
+Title: The Englishman's House
+
+Author: C.J. (Charles James) Richardson
+
+Release Date: November 22, 2019 [EBook #60759]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ENGLISHMAN'S HOUSE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+
+
+
+                                  THE
+
+                          ENGLISHMAN’S HOUSE.
+
+               [Illustration: HOUSES MADE PICTURESQUE.]
+
+
+
+
+                                  THE
+
+                          ENGLISHMAN’S HOUSE.
+
+                  _A PRACTICAL GUIDE FOR SELECTING OR
+                          BUILDING A HOUSE._
+
+                            [Illustration]
+
+                                  BY
+
+                           C. J. RICHARDSON,
+                AUTHOR OF “OLD ENGLISH MANSIONS,” ETC.
+
+             THIRD EDITION, WITH NEARLY 600 ILLUSTRATIONS.
+
+                                London:
+                    CHATTO AND WINDUS, PICCADILLY.
+
+                                LONDON:
+          SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET,
+                            COVENT GARDEN.
+
+
+
+
+PREFACE.
+
+
+Several years ago the author of this volume published a small work on
+the Warming and Ventilation of Buildings which was very favourably
+received by the Public, but is now out of print. He afterwards wrote
+various other works illustrating the Architecture of England during the
+reigns of Queen Elizabeth and James I., with one volume on Ornamental
+Designs. These had an extensive sale, and are now, like the first small
+volume, out of print. His last publication was a small pamphlet,
+entitled, “The Smoke Nuisance and its Remedy, with remarks on Liquid
+Fuel,” the subject of which, at least so far as regards an improved
+construction for the domestic chimney flue, is continued in the present
+volume.
+
+The present volume consists of numerous plans, &c., for Cottages,
+Villas, and small and large Mansions, most of which have been carried
+into execution. They are carefully selected from a large collection of
+similar subjects, the result of many years’ professional practice, and
+it is hoped that they may be favourably received.
+
+
+
+
+CONTENTS.
+
+
+                                                                    PAGE
+
+INTRODUCTION                                                           3
+
+DESIGN NO. 1. A GARDENER’S COTTAGE                                    50
+
+     “     2. A SMALL COTTAGE OR LODGE                                56
+
+     “     3. A PICTURESQUE COTTAGE                                   62
+
+     “     4. A DOUBLE COTTAGE                                        66
+
+     “     5. A DOUBLE COTTAGE AND VILLAGE
+                SUNDAY SCHOOL                                         70
+
+     “     6. A HUNTSMAN’S LODGE OR COTTAGE                           78
+
+              CONCRETE CONSTRUCTION FOR BUILDING
+                COTTAGES                                              82
+
+     “     7. A GARDEN GATE                                           95
+
+     “     8. A PARK LODGE                                            99
+
+     “     9. A PARK LODGE                                           102
+
+     “    10. AN ENTRANCE LODGE TO A PARK                            104
+
+     “    11. AN ENTRANCE LODGE AND GATEWAY
+                TO A PARK                                            112
+
+     “    12. A STOVE FOR AN ENTRANCE HALL                           120
+
+     “    13. QUEEN’S GATE LODGE, HYDE PARK                          124
+
+              ON THE FOUNDATION AND BASEMENT
+                WALLS OF BUILDINGS, DAMP PREVENTION,
+                AND FIRE-PROOF CONSTRUCTION                          151
+
+     “    14. A SMALL COUNTRY RECTORY                                162
+
+     “    15. A SMALL COUNTRY HOUSE                                  174
+
+     “    16. A COUNTRY VILLA                                        182
+
+     “    17. A DOUBLE SUBURBAN VILLA                                192
+
+    “      18. VILLAGE SCHOOLS AND READING ROOM                      208
+
+    “      19. A ROMAN CATHOLIC CHAPEL AND
+                 SCHOOLS                                             210
+
+    “      20. A BATH HOUSE AND SUMMER ROOM                          214
+
+    “      21. A SMALL COUNTRY VILLA                                 222
+
+    “      22. A VILLA IN THE OLD ENGLISH WOODEN
+                 STYLE                                               232
+
+    “      23. A GARDEN SUMMER HOUSE                                 262
+
+    “      24. A SMALL COUNTRY RETREAT, OR
+                 FRENCH MAISONETTE                                   268
+
+    “      25. AN ELIZABETHAN VILLA                                  280
+
+    “      26. A SUMMER OR GARDEN VILLA                              302
+
+    “      27. A DECORATED WINDOW                                    336
+
+    “      28. A SCULPTOR’S VILLA                                    338
+
+    “      29. A GARDEN SEAT                                         361
+
+    “      30. A GARDEN SEAT                                         368
+
+    “      31. AN ICE HOUSE                                          370
+
+    “      32. A SUBURBAN VILLA                                      373
+
+    “      33. A SUBURBAN VILLA                                      382
+
+    “      34. RIDING-HOUSE AND STABLING                             389
+
+    “      35. A BACHELOR’S HOUSE                                    401
+
+               THE FIREPLACE                                         404
+
+    “      36. A LECTURE HALL, OR LITERARY
+                 INSTITUTION                                         456
+
+    “      37. ENCAUSTIC TILES                                       460
+
+    “      38. RESTORATION OF CASTLE GUNNARSTROP,
+                 SWEDEN                                              464
+
+    “      39. SUMMER VILLA FOR THE COUNT KINSKI
+                 AT TEPLITZ                                          470
+
+    “      40. HARRINGTON HOUSE, QUEEN’S PALACE
+                 GARDENS                                             476
+
+[Illustration]
+
+
+
+
+INTRODUCTORY CHAPTER
+
+ON THE PICTURESQUE IN RELATION TO ARCHITECTURE.
+
+[Illustration: Grecian Temple.]
+
+
+It has been said that a definition of the picturesque in respect to
+architecture, or indeed any branch of the fine arts, is scarcely
+possible. The most able writers on the subject have failed to convey an
+adequate and popular idea. In fact the term has so great and extensive
+an application as to forbid exact definition. The architect usually
+considers that if his building look well when seen by moonlight, or
+through the medium of a foggy or dull atmosphere, it is picturesque, and
+he is satisfied. Blenheim Castle and Castle Howard have always been
+pointed out as eminent examples of the picturesque in buildings. But
+this quality varies with every change of situation and circumstance
+under which it can be conceived.
+
+The entrance to the Acropolis of Athens, with its noble equestrian
+statues in the foreground, the steps between them, and the beautiful
+temples rising at different heights behind, giving a varied outline, the
+whole probably delicately coloured, must have been picturesque in the
+highest degree. The Temple of the Winds and the Monument of Lysicrates
+were equally examples of the picturesque. Yet although great efforts
+were made on the publication of Athenian Stuart’s volumes to introduce
+pure Grecian architecture here, it has obtained no hold with us. St.
+Pancras Church, and St. Stephen’s, Camden Town, are probably the last
+specimens in our metropolis. The delicate mouldings of the one are
+destroyed by the roughness of the climate, and the beautiful figures of
+the Caryatidæ in the other are covered with soot.
+
+There is no doubt that the Roman temples were as picturesque and as
+varied in outline as the Grecian buildings of which they were studies,
+but none remain
+
+[Illustration: Roman Temple in Ruins.]
+
+sufficiently perfect to illustrate them. In their original, entire
+state, with the surfaces and colour smooth and even, either in painting
+or reality, they were beautiful; in ruins, there is no denying they are
+highly picturesque. Observe the process by which time, the great author
+of such changes works, first by means of weather stains, partial
+incrustations, mosses, &c., which simultaneously take off the uniformity
+of surface and of colour, giving a degree of roughness, and variety of
+tint. Then the various accidents of weather loosen the stones
+themselves: they tumble in irregular masses upon what was perhaps smooth
+turf or pavement, or nicely trimmed walks and shrubberies, now mixed and
+overgrown with wild plants and creepers that crawl over and shoot among
+the falling ruins. Sedums, wall-flowers, and other plants that bear
+drought, find nourishment in the decayed cement from which the stones
+have been detached; birds convey their food into the chinks, and yew,
+elder, and other berried plants project from the sides; while the ivy
+mantles over other parts, and crowns the top. The even, regular lines of
+the doors and windows are broken, and through their ivy-fringed openings
+is displayed in a highly broken and picturesque manner that striking
+image described by Virgil:
+
+    “Apparet domus intus, et atria longa patescunt
+     Apparent Priami et veterum penetralia regum.”
+
+The first view given in this volume attempts to show the picturesque
+effect of the Grecian Temple in its complete state, the attendants
+having just retired from some display or ceremony; the second, the front
+of a Roman Temple in its noble remains.
+
+To the Greeks we owe all the general principles and forms of classic
+art, but they have been modified to modern ideas and tastes, and, it may
+be added, to suit also the various climates of the countries where they
+have been adopted.
+
+However much the occupations of our countrymen may partake of the
+commercial character, the mental qualities requisite to such pursuits
+have not been so displayed as to exclude a taste for art. Where, for
+example, can be found superior specimens of art-choice than exist in
+their mansions, villas, or cottage-ornées, their picture and sculpture
+galleries, or the museums and other collections of those whose business
+pursuits have been the cause of their prosperity.
+
+An essential element of success in every branch of progress is involved
+in tasteful selection. Without considering those classes who by
+successful efforts of their ancestry have been placed beyond the pale of
+want (either artificial or real), a large proportion of our population
+may be ranked as having advanced morally, socially, and commercially by
+that intuition which characterizes our national progress. It takes as
+its basis nature and nature’s products. It eliminates from these not
+only pecuniary benefits that in a commercial point of view may occur,
+but associating the useful with the beautiful (the sense of the latter
+having been gained during intervals of quiet thought as a relief from
+the incessant requirements of business engagements), a tendency to
+embody the picturesque, especially in regard to architecture, arises. We
+have no hesitation in assigning to this cause the production of some of
+the most picturesque architectural erections which grace our
+country,--that render English homes an example, and prove that, while
+the main element of our national prosperity is making money, we are not
+insensible to the beneficent influences resulting from the cultivation
+of refined taste.
+
+It would be interesting as an object of careful inquiry, if there
+existed sufficient data for the purpose, to trace each of the many steps
+that have occurred between the birth of architecture and its present
+condition. The early history of mankind had as its locality climates
+which favoured the construction and use of the _crudest_ contrivances,
+intended only to meet the few wants of shelter and occasional domestic
+privacy. The first condition of man’s existence, either in this
+primitive or modern state, is that of roving or wandering tribes.
+Instances of this are found in the early inhabitants of Asia Minor, and
+adjacent countries, and at the present day the same habit is maintained
+in Central Asia, Arabia, and many parts of America. As soon as the
+sustenance afforded for their cattle is consumed in one district a
+migration is made to another. Gradually, however, centres of trade
+sprung up where commodities could be bartered for live stock. Men thus
+became massed together in villages and towns. Quitting a semi-savage
+condition, they built permanent residences in place of the tent. At
+first these, like the log-hut of the modern Canadian, were only
+sufficient for the most common necessities of life. In course of time,
+however, the spirit of emulation, the growth of riches, and the
+germination of man’s natural taste for the beautiful, led to artificial
+wants, which were soon converted into necessities of life. This called
+out the study of art on the part of the few for the benefit of the many.
+Systems of art in all its branches gradually developed themselves. By
+the study of the beauties of nature such systems gradually progressed in
+purity of style, and produced designs that eventually were appreciated
+by the common people, in a greater or less degree, according to the
+capabilities of each individual. Architecture and the other fine arts
+thus, by slow but sure degrees, began to gain a hold on popular taste,
+and step by step they arrived at the state of perfection of which we now
+boast.
+
+It will be evident that whilst the primary objects of architecture were
+simply those of meeting the immediate necessities of life, its ultimate
+purpose was only attained when it became an art, cultivated by refined
+taste, an educated eye, and encouraged by the growth of civilization and
+commerce. It thus advanced from a state of barbarism into one in which
+it was connected with all the highest developments of the moral and
+mental qualities of mankind, but especially with the æsthetic
+aspirations of our nature.
+
+Incidentally but necessarily connected with the general progress of
+architecture is the great variety of styles that has been invented. The
+whole of these are modifications of some one or more primaries. No two
+individuals acquire the same mental impression by viewing one object;
+each of their impressions is tinted by the mental characteristics of the
+individual. It is, therefore, from this cause that so many varieties of
+style have originated from one first model. An illustration of this is
+afforded in the Gothic, which in different hands has been greatly
+divided and modified in its details. This style, which at first was of
+exclusive application only, has subsequently become most extensively in
+use for purposes that at first sight it would have been judged as quite
+unfit for.
+
+The style of architecture just referred to is remarkable for its
+picturesque character, and may fitly be adduced as an ensample of that
+quality in the absence of an exact definition of the term.
+
+An able writer criticising Gothic buildings, remarks that the outline of
+the summit presents a great variety of forms of turrets and pinnacles,
+some open, some fretted and variously enriched. But even where there is
+an exact correspondence of parts, it is often disguised by an appearance
+of splendid confusion and irregularity.
+
+In the doors and windows of Gothic Churches, the pointed arch has as
+much variety as any regular figure can well have; the eye, too, is less
+strongly conducted than by the parallel lines in the Grecian style, from
+the top of one aperture to that of another; and every person must be
+struck with the extreme richness and intricacy of some of the principal
+windows of our cathedrals and ruined abbeys. In these last is displayed
+the triumph of the picturesque, and their charms to a painter’s eye are
+often so great as to rival those which arise from the chaste ornaments
+and the noble and elegant simplicity of Grecian architecture.
+
+These remarks will explain to a certain degree the nature of the
+picturesque in regard to architecture, so far at least as the general
+principles are involved. But in the more minute points, other questions
+and relations arise, to which the attention of the reader will be fully
+drawn in the descriptive text and illustrations of this work.
+
+The comparative value of Grecian and Gothic architecture, as practically
+adopted in the erection of ornamental dwellings, is well discussed by an
+eminent architect in the following remarks, slightly modified from the
+original. He observes that the two are better distinguished by an
+attention to their general effects, than to the minute parts peculiar to
+each. It is in architecture as in painting--beauty depends on light and
+shade, and they are caused by the openings or projections in the
+surface. If these tend to produce horizontal lines, the building must be
+deemed Grecian, however whimsically the doors and windows may be
+constructed. If, on the contrary, the shadows give a preference to
+perpendicular lines, the general character of the building will be
+Gothic. This is evident from the large houses built in Queen Elizabeth’s
+reign, where Grecian columns were introduced. Yet they are always
+considered as Gothic buildings.
+
+In our modern Grecian architecture large cornices are repeated, with
+windows ranged perfectly in the same line, and these lines often more
+strongly marked by a horizontal fascia. There are few breaks of any
+great depth; and if there be a portico, the shadow made by the columns
+is very trifling compared with that broad horizontal shadow proceeding
+from the soffit (that is, the under side of the heads of apertures,
+architraves, and the corona of cornices). The only ornament its roof
+will admit, is either a flat pediment departing very little from the
+horizontal, or a dome still rising from a horizontal base.
+
+But in these remarks attention is chiefly drawn to the general
+architectural effects of style, independent of concomitant
+circumstances. Yet it is hardly necessary to do more than call on the
+experience of any man of taste to show that position, adjacent scenery,
+and other “accidental” or “incidental” matters will modify the special
+effect of any style in regard to the picturesque, and also those of a
+general character. A Gothic erection in a confined situation will lose
+most of its beauties, while one of a Grecian character may be especially
+suitable. In choosing, therefore, any design for the erection of a new
+building, or alterations in one already in existence, respect should be
+had to the natural character of the surrounding country, the aspects in
+regard to the sun and prevalent winds, the extent of the estate or
+grounds on which the building is to be erected, the views from the
+various apartments, the character of wood, plain, or other adjacent
+tree-scenery, and last, but of equal or greater importance, questions in
+reference to domestic comfort and convenience, drainage and dry soil,
+supply of water, and a variety of details, most of which will at once
+suggest themselves. In many cases the choice of site is necessarily
+fixed by previous purchase or inheritance of the land, yet in such cases
+chances are left for a judicious selection in regard to some of the
+conditions above mentioned. But when the purchase has to be effected,
+_all_ the conditions should be kept in mind, and, if possible,
+completely satisfied. Such details should form the subject of minute
+inquiry, and they are here only named for the purpose of showing how the
+choice of the best style, in regard either to general beauty or
+picturesque effect, should be decided on with mature attention to all
+the circumstances of the case.
+
+Most of the old mansions, &c., of this country and many parts of
+Continental Europe, have been erected in situations that were then
+immediately, and at little cost, available for the purpose. At one time
+the choice of such situation depended on careful attention to the
+special circumstances of those who erected the building. Thus it is
+found, generally, that the banks of the rivers, as affording ready and
+cheap means of carriage by the stream, were mostly chosen. Hence our
+abbeys, monasteries, &c., are frequently found in such localities.
+Baronial castles were usually erected on hills, the height of which
+tended to the security of the owners against sudden incursions of their
+foes. From the varied character of English topography has arisen that
+great variety of picturesque beauty that distinguishes the ruins which
+abound in almost every county throughout the length and breadth of the
+land; such ruins, architecturally considered in relation to the
+surrounding circumstances of wood, vale, hill and dale, have become
+subjects of study and suggestion to modern architects, and models,
+constantly adopted at the present time, in certain details, for
+producing new designs. In the selection of these, or of any other style,
+however, Burke has laid down, in his essay on “The Sublime and
+Beautiful,” an excellent rule: “A true artist should put a generous
+deceit on the spectators, and effect the noblest designs by easy
+methods. Designs that are vast only by their dimensions, are always the
+sign of a common and low imagination. The work of art can be great but
+as it deceives; to be otherwise is the prerogative of nature only.”
+
+It will thus be seen, that to obtain the highest effect of the
+picturesque in architecture requires an educated eye, a refined taste,
+great experience, but especially a keen perception of all the
+conditions, on the fulfilment of which the most successful result can be
+obtained. In all there is a natural love of unity and effect.
+Montesquieu, in his dissertation on _Taste_, observes: “Wherever
+symmetry is useful to the soul, and may assist her functions, it is
+agreeable to her; but wherever it is useless, it becomes distasteful,
+because it takes away variety. Therefore things that are seen in
+succession ought to have variety, for our soul has no difficulty in
+seeing them; those on the contrary, that we see at one glance, ought to
+have symmetry. Thus at one glance we see the front of a building, a
+parterre, a temple. In such things there is always a symmetry which
+pleases the soul by the facility it gives her of taking in the whole
+object at once.”
+
+The numerous dissertations, essays, &c., that have been produced on the
+subjects that have here been treated on in a discursive manner only, are
+a sufficient proof of the difficulty which exists in acquiring,
+applying, and affording an accurate and ample description of all the
+conditions necessary to picturesque architecture; they also in some
+measure explain the reason of the grotesque, and even offensive results
+that obtrude on refined taste in the productions of builders who are
+utterly deficient of artistic taste and knowledge in carrying out their
+objects. A general, and in part a historic view of architecture may
+serve to show how success has been attained in many cases, and the evils
+that should be avoided as leading to failure in effect of the general
+and special features of an erection.
+
+In the cursory view of the history of architecture already given, it has
+been shown that the earliest efforts of the art were simply directed to
+satisfy the simple wants of man, without any regard being had to taste.
+It was not until riches began to accumulate in a few hands that taste in
+architecture was developed, and by the few examples thus produced the
+taste of society at large was educed, refined, and extended.
+
+Omitting then any inquiry into the architecture of our earth’s
+aborigines, which was evidently of the rudest character, reference may
+first be made to early architectural attempts in Asia. It has been
+ingeniously observed by M. Pair, that the Chinese imitated a tent as the
+model of their system, a result that undoubtedly arose from the fact
+that the first Tartar tribes were nomadic or wandering in their nature.
+It has also been remarked that a bird’s-eye view of a Chinese city at
+once suggests the idea of a fixed camp. In southern and south-western
+Asia may be found, on the other hand, the remains of extensive
+architectural productions in caves, such as that of the Pagoda
+Elephanta, from which many have argued that subterraneous dwellings were
+amongst the earliest; but it is evident that such could only be made in
+places where stone existed in masses, as a basis of the country. In a
+plain and sandy district, and in alluvial soil generally, such could not
+possibly have been produced. There is not the least doubt that the
+conditions of climate have in all cases determined the early character
+of each national system. In both hot and cold countries caves would
+naturally have been sought as affording shelter from the two extremes
+of heat and cold. Recent geological discoveries have brought to light
+the fact that the remains of human and quadruped bones have been found
+together in such situations, the human inhabitants having most probably
+been the predecessors of the beasts of prey, as also of the fowls of the
+air. It has been suggested too that the forest tree having formerly
+served for shelter, might have suggested the floral character of
+columns, and the use of floral decoration generally at their summit.
+
+In respect to these “natural” and consequently primitive “systems” of
+architecture, Billington has made the following judicious
+remarks:--“Those people or nations who lived by the chase (and in the
+same class the Ichthyophagi, or fish-eaters, are included) could not for
+a great length of time have built themselves shelters. The long courses
+the hunters made prevented them from watching their property, which must
+have comprised [but] few articles; and they found it more convenient to
+make hollows in the rocks for their dwellings, or to profit by those
+which nature offered them in its caverns. It was the same with those who
+lived by fishing; passing a sedentary life on the sea shores, the sides
+of rivers, or the borders of the lakes, they always made themselves such
+abodes, or took advantage of those already formed by nature. The little
+industry which this mode of life required, and the natural idleness
+which followed it, was sufficient to induce them to prefer the dwellings
+presented by nature, to those of art. This fact is proved by experience
+at the present day, as these descriptions of persons continue to adopt
+the same plan of life in countries where the arts of civilization have
+not extended their beneficial influence. The pastors or shepherds, as
+they were inhabitants of plains during a great portion of the year,
+could not make use of the retreats hollowed and prepared in the
+mountains and rocks by the hand of nature; being obliged to seek change
+of pasture, and thus lead an ambulatory life, it was requisite to have
+dwellings or shelters that could be carried with them wherever they
+went, and hence originated the use of tents. But the active operations
+of agriculture requiring a definite situation, necessity suggested the
+propriety of building solid and fixed abodes. The agriculturist then,
+living on his own grounds, and in the enjoyment of his property, had to
+store his provisions; it was therefore necessary to have a habitation at
+once commodious, safe, healthful, and extensive; and the wood hut with
+its roof was soon erected.”
+
+The same author considers that there is not the least certainty of this
+primitive wooden construction, with its inclined roof, having been the
+universal model of all nations, but especially in regard to Egypt and
+China. The peculiarities of the early Chinese style of architecture have
+been already named, and with the persistent continuity in one course yet
+prevalent, that style is still preserved. But the Grecian style was
+evidently founded on the rude model, and the ingenuity of that nation
+eventually led to the transference of material from wood to stone.
+
+At the present day the Orders of Grecian architecture are fundamental to
+the principles of modern art in numerous varieties of detail; they have
+survived the prejudices, fancies, and dicta of various schools of art,
+although, as already shown, the Gothic and other systems have become
+formidable competitors, and in many cases, especially in regard to the
+picturesque, efficient, elegant, and ornamental substitutes. The taste
+for the latter characteristic has led to an increased adoption, for
+example, of the Italian style, which in many respects resembles the
+Grecian, but differs from it especially in lightness of detail, with
+greater variety. The author just quoted traces the origin of the Doric
+Order of the Greeks to a primary adaptation of the trunks of trees as
+external supports of the wooden dwelling, seeing in them the
+foreshadowing of the column designative of that order. “As trees are of
+greater circumference at their lower extremities, and diminish in
+rising, the diminution of the column was suggested by them.... These
+timbers (as supports) consisting of trunks of trees planted in the
+ground, offered not as yet the idea of bases and pedestals, as is seen
+in the Doric Order, which is without base. But in the course of time the
+inconvenience of this method was perceived, as it exposed the wood to
+rot, and to remedy this inconvenience pieces of wood were placed under
+each support to give it a better foundation, and to protect it from
+humidity. This practice may be traced in some of the ancient edifices in
+which the columns have no other base than a block of stone. But
+afterwards, the number of pieces of wood employed for the base was
+increased, in order to give greater elevation to the supports, or to
+effect better security against the effects of humidity. From this
+multiplication of blocks as footings, sprung the _torus_ and other
+mouldings of the base, an origin far more probable than that of
+ligaments of iron, as imagined by Scamozzi and others. It is also more
+conformable to the nature of capitals, in which it is known that the
+same proceeding was employed. After beginning with a simple abacus,
+several others were afterwards added, which were enlarged, as they rose,
+one above another, in such a manner that as the base was to the column a
+kind of footing on which it rested more solidly, so the capital made a
+head more capable of receiving and supporting the weight and form of the
+architrave, a large beam placed horizontally on perpendicular supports,
+and destined to receive the covering of the whole edifice.”
+
+The author goes on, in a similarly ingenious manner, to prove the
+derivation, from nature, of the Orders of Grecian architecture. He
+ascribes the form of the roof as having necessarily suggested that of
+the pediment. On this point he quotes the remark of Cicero: “It is not
+to pleasure that we are indebted for the pediment of the Capitol and
+those of our temples: necessity suggested the form for the better
+draining off the water; nevertheless, its beauty is so very great, and
+it is become so necessary for edifices, that if a Capitol were to be
+built in Olympus, where it was never known to rain, it would,
+notwithstanding, be necessary to give it a pediment.”
+
+The preceding remarks and ingenious theory amply justify the opinion
+already suggested, that nature must be the foundation of every true
+principle of art. Assuming, as we are compelled to do, that the Grecian
+style as a whole was original, the only perfect model that could have
+been selected was that afforded by natural objects, in all of which are
+found the most perfect results, derived from few means but answering an
+infinity of ends. It will be remembered that the construction of the
+Eddystone lighthouse was based in regard to durability, and resistance
+to the force of the waves, on those properties which are possessed by
+any kind of tree exposed to the full force of the tempest. “Nature
+ought to be the basis of all imitation.”
+
+Proceeding from the teachings of nature, the Greeks learned gradually to
+introduce new types, consistent in the main with the original mode, but
+of great variety in detail. By further refinement of this, but close
+adherence to the facts or the analogies of nature, the Grecian art
+became developed in the invention of other Orders, the names of which
+are sufficiently known to all interested in architecture. Limited space
+prevents our entering into a class of analyses of the characteristics of
+each. Little doubt exists of the Doric Order having been the first
+produced, and following it were the Ionic, Corinthian, Composite, and
+Tuscan, which constitute the five Orders in general of architecture.
+
+Perhaps the best epoch of ancient architecture was that during which,
+subsequent to the battle of Marathon, the Greeks commenced to rebuild
+the remains of Persian buildings, and to re-construct Athens. The ruins
+of this period yet with us, attest the advance which Grecian
+architectural art had attained. The ingenuity and refinement of Greek
+art gradually spread to Rome, the Romans adopting the Doric Order under
+the modification known as the Tuscan. The art having been introduced
+into Etruria by the Pelasgi, under the celebrated Augustus, Rome
+attained that magnificence which has ever since rendered its name
+famous as a seat of the arts. Amongst the great erections of this period
+was the Pantheon, one of the grandest efforts of genius that the world
+has yet known. Under subsequent emperors architecture also progressed,
+and the name of Trajan is identified with the erection of triumphal
+arches, &c., the ruins of which still receive the admiration of every
+qualified judge in art.
+
+The removal of the seat of Roman government to Byzantium led to the
+decadence of art at Rome, which was completed by the incursions of the
+Visigoths. Eventually the Gothic style arose, phœnix-like, from the
+ruins of Grecian and Roman art, and obtained a place that has rendered
+it ever since one of the most favourite styles of architecture.
+
+Just as under the heathens, the art had been chiefly promoted by
+erections for religious purposes, so when the Christians began to obtain
+the ascendancy, the erection of churches led to a similar result. From
+the fourth to the seventh century some magnificent buildings of this
+kind were erected. At the commencement of the eleventh century the
+church of St. Mark at Venice attested the wonderful progress which
+architecture had made, and it continued to progress during the next two
+or three centuries, being confined chiefly, however, to Italy. But the
+Gothic style, suited to a northern clime, never obtained full hold
+there; Italy cannot boast of a single pure Gothic edifice. Gradually the
+new style spread over Europe. The Cathedral at Strasbourg, the Louvre at
+Paris, suggested improvements in our own country at Windsor Castle,
+Oxford, &c., all indicated the rapid extension of the Gothic style or
+its modifications. But in numerous instances the taste that was
+exhibited showed a decadence from the simplicity and grandeur of the
+Grecian and Latin styles. In respect to the latter, indeed, the
+materials of the new erections were obtained from the ruins of the
+ancient edifices, the columns, &c. there found, being pressed into the
+service, in any manner, of the new school of architects.
+
+Towards the middle of the fifteenth century a revival in architectural
+art took place, especially under Brunelleschi. The patronage of the
+Medici added a stimulus to the progress thus initiated. Improvements
+were introduced in the erection of private residences in most parts of
+Western Europe, the art having in its best form been chiefly till then
+directed to building edifices for religious purposes alone. In the
+sixteenth century architecture in Rome attained a perfection nearly
+equal to that it had formerly enjoyed under the Cæsars, especially
+during the Augustan age. Private and public buildings were erected of
+great magnificence, yet of simplicity of form combined with grandeur.
+Under Vignola architecture attained great excellence. Michael Angelo
+was appointed architect of St. Peter’s at Rome about the middle of the
+sixteenth century, and the mention of his name alone is sufficient to
+call to mind the extent and value of his labours in the art. In the
+seventeenth century, about the year 1620, Inigo Jones was engaged in
+repairing St. Paul’s Cathedral in London, and subsequently produced
+designs for the Royal Palace at Whitehall in the reign of Charles I.
+Greenwich and Chelsea Hospitals, and other noted buildings, were
+designed about this period. In France and other continental countries
+architecture attained great perfection at this period, both in respect
+to public and private buildings. Among the most eminent architects of a
+period somewhat nearer to our own time, was Sir Christopher Wren, whose
+St. Paul’s Cathedral serves as a monument to the great genius of that
+eminent man. This era may, comparatively speaking, be considered as the
+commencement of the modern style of English church architecture,
+inasmuch as several productions of Wren are still used for the purposes
+to which they were first applied, having undergone little or no change
+since their completion.
+
+Such is a brief, and necessarily very imperfect resumé of the progress
+of architecture. The styles of Eastern Europe, ancient Mexico, and many
+others, have not been described, because unnecessary, in this
+Introduction, which has only for its object to call general attention
+to the causes which have led to the present state of the art. Like all
+others it has been the subject of alternating prosperity and adversity.
+At one time fostered by men eminent in their profession, and by those
+whose means permitted them to lavish riches on magnificent piles,
+fountains, villas, &c.; and at others, degraded by its students, and
+neglected by those who should have been its patrons.
+
+In all branches of architecture direct reference should be had to the
+objects for which the building is intended. An eminent architect,
+already quoted, has well set forth this essential point in the following
+remarks:--“The art of characterizing, that is to say, of rendering
+evident by material forms the intellectual qualities and moral ideas
+required to express in edifices, or to make known by the harmony and
+suitableness of all the constituent parts that enter into their
+composition the use for which they are intended, is perhaps of all the
+secrets of architecture the most difficult to develope or to attain.
+This happy talent of conceiving and of communicating the conception in
+the physiognomy suitable to each edifice; this sure and delicate
+discernment, which exhibits the distinguishing parts of such edifices,
+that at first appear susceptible of no characteristic distinctions; this
+judicious employment of the different styles which are as the tones of
+architecture; this skilful application of the signs which the art
+employs to affect the sight and understanding; this exquisite feeling,
+which errs neither in the just disposition of the masses and employment
+of the details, nor in the just dispensation of richness and simplicity,
+and which is able to combine true expression of character with the
+harmonious accord of all the qualities susceptible of being represented
+by architecture--all this requisite talent, which study perfects, but
+does not produce, is a gift possessed by few. This suitable expression
+presents itself under two relations, the one appertaining to
+architecture in general, and the other to edifices in particular. The
+first consists in the expression of the qualities or intellectual ideas
+which are the results of the art metaphysically considered; the second,
+in the true indication of the uses for which edifices are designed, that
+is, in considering architecture as a certain mode of expressing or
+painting. This expression, according to the nature of the buildings and
+edifices, may be produced by the gradation of richness and greatness
+proportionate to the nature and the object for which they are erected;
+by the indication of the moral qualities attached to each edifice, the
+manner of expressing which is beyond the reach of rules; by the general
+and particular form of architecture; by the species of the construction
+and the quality of the materials that may be employed in the execution;
+and lastly, by the resources of decoration.” In these remarks will be
+found a highly valuable _précis_ of the excellence to which the art of
+the architect should be directed, and the means that must be adopted to
+obtain pleasing and successful results.
+
+The erection of country mansions, villas, and other residences, has of
+late years been greatly stimulated in our country. The enormous annually
+accumulated savings of the commercial portion of the community have
+induced a large amount of capital to be invested in such objects. In
+regard to questions of taste and decoration, it should be borne in mind
+that but very little extra cost is incurred in building a residence in a
+pleasing and picturesque style than in one having not the least
+pretension to architectural beauty. In our earlier remarks on the nature
+of the picturesque the _general principles_ of obtaining that effect
+have been pointed out. In the following pages the special details are
+amply descanted on, and illustrated by designs, drawings, &c. It is the
+object of every department of constructive skill at the present day, to
+endeavour to obtain the best possible result by the least possible
+expenditure of material, and thus taste actually causes economy rather
+than increased expense. Tons of heavy and unsightly materials are now
+replaced by hundredweights of decorative, and yet substantial, masonry
+and iron work. A number of modern elegant erections, affording
+accommodation equal in extent, but vastly superior in quality, are now
+made at an expenditure of stone or brick less by one-third in quantity
+than was employed in many old houses; those in High Street, Edinburgh,
+by way of example. The result has been arrived at by the joint aid of
+science and art, the former giving data as to the strength of the
+material, and the latter directing its disposal. The peculiar character
+of English scenery is exactly adapted for giving a picturesque character
+to villa residences, provided the latter are designed and erected in
+accordance with the principles of sound taste. Surely he who would spend
+money in building a house, in which all or most of the remainder of his
+days are to be spent, will not grudge making that dwelling the subject
+of decoration or ornamental art, by which its aspect shall at all times
+be suggestive of pleasure rather than of aversion or disgust. It has
+been said that most individuals, by long association together, acquire a
+mutuality of tastes and even physical resemblance. It cannot be denied
+that even inanimate objects, such as our dwellings, furniture,
+landscapes, gardens, and other such surroundings, have a parallel effect
+on us. Hence the wisdom of using all the means which architectural art
+places at our disposal. Errors in this respect often proceed from
+thoughtlessness, if not from want of refined taste. An instance may
+suffice to show how much such matters should be attended to in the
+choice of a site and other conditions. A retired manufacturer erected a
+mansion at a cost exceeding fifty thousand pounds, and had never paid
+any heed to the fact that the most prominent object seen from his
+dining-room window was the cemetery of the adjacent town! Soon this
+became unbearable, and the house has been comparatively deserted by the
+family, caused by an oversight that the least consideration would have
+remedied.
+
+The designs given in the following pages have for their object to
+suggest the most approved, tasteful, and effective plans for the
+mansion, the villa, or cottage, and great care has been devoted to their
+production. Whilst a residence must necessarily be kept within a cost
+suitable to the means of the proprietor, by judicious care of the
+professional man, possessed of a competent knowledge, a little money may
+go a long way in the decorative art. Many of the drawings are devoted to
+the minor but not less effective portions of the house. Congruity in
+detail inside the dwelling is equally required with symmetry, beauty, or
+picturesque character of the exterior. Want of judgment in this point
+may speedily convert the most elegant building into little better than a
+repository for gewgaws selected without taste and arranged without
+skill. It is impossible for _every_ man to become his own architect; but
+it is possible, in most cases, for all who have the means, to select
+such a design as shall best comport with their taste, leaving the
+working out of details to the architect. But a remote possibility exists
+of an unprofessional being able even to state what he requires, and
+should he ask an architect for a design or plan, it is more than likely
+that the latter would fail to please. When, however, a variety of
+designs is placed before the eye of any intelligent person the act of
+selection becomes easy. Although no single plan may succeed, a
+combination may suggest itself, and the architect can then readily work
+on something like a sound foundation, and with the hope of success. This
+work is intended to supply such requirements.
+
+Again, in building a house, or in effecting alterations in an old one,
+points apparently of minor, but really of great importance, require
+attention. A badly constructed chimney will make the whole house
+miserable, independent of the injury done to furniture, decorations,
+&c., and the destruction of paint and paperhangings. A defective
+drainage may render that which was intended to be an abode of peace,
+plenty, and happiness, a living charnel-house, or the door to the grave!
+A question of vital importance is that of ventilation. These apparently
+minor questions can therefore scarcely be exaggerated in their value,
+for neglect of them will render nugatory the best external efforts of
+the architect. Hence they have hereafter full attention, in their
+practical details, directed to them.
+
+On the general principles of ventilation the following remarks may be of
+value to all who propose to erect new dwellings, or alter those already
+inhabited. In all houses, and in fact every building divided into
+stories, a ready means of ventilation may be insured, or rather always
+exists. This is presented in the opening formed by the staircase. Into
+this general opening communications can be made into, and from, each
+apartment by apertures placed in some convenient position in each room.
+The grand law on which ventilation depends is, that hot air, being
+lighter than cool air, has a universal tendency to rise, whilst cold air
+takes the lowest part of a house or apartment. It hence follows, that if
+a supply of cold air be admitted by an opening at the lower part of a
+house, and it becomes heated within the house, it will have a tendency
+to rise to the roof; and if a sufficient opening be there provided, it
+will escape into the open air. Consequently a constant current may thus
+be obtained in any dwelling, sufficient to give a supply of pure air and
+to remove that which has been vitiated by breathing, the combustion of
+fires, and other causes. The heavy atmosphere of this country requires
+assistance to make this grand law operative; to cause the air of a room
+to move as readily as it is required, forced ventilation becomes
+necessary. The English fireplace provides this; and to that it owes,
+with us, its extreme popularity. A constant current of air from the room
+is heated and passed up the chimney flue, and this draws in a
+corresponding supply of cold air, and proper and convenient apertures
+should be left to permit this to enter. The fireplace forces attention
+to the necessity; if sufficient fresh air be not provided for it the
+smoke enters the room and drives the occupants out. Notwithstanding the
+attention that has been paid to the stove and its flue, we are still
+sadly behindhand in a proper construction of them. The flues could be so
+arranged that a building might be enabled, using a figurative
+expression, to breathe, whenever its principal flue, that of the kitchen
+fireplace, was in action; a construction to effect this will be
+illustrated in the text. In conclusion on this point, it may be added
+that nothing is more essential to the health and comfort of a house than
+that it should be thoroughly and constantly ventilated, and if any
+portion is to be particularized, it should be the sleeping apartments.
+
+Another question which, to a certain extent, should influence the
+arrangement of a house of any pretensions in respect to size, is that of
+the method of warming it. The preference, or rather prejudice, in favour
+of fireplaces is so great, that a revolution of the nation in political
+matters could be more easily brought about than the abolition of the
+fire-grate; but it is well known that at least three-fourths of the coal
+consumed is wasted in the attempt to heat the room to an equable and
+pleasant temperature. But by such means the result cannot be arrived at.
+In front of, and close to the fire, the temperature is excessive, while
+the backs of the sitters facing in are suffering from cold. An equalized
+temperature in rooms is obtained abroad. In Russia, a plan is adopted of
+heating the rooms by means of the walls, the latter being double, and so
+arranged that they act as flues to a furnace situated at the lower part
+of the building. By this method every part of the room acquires,
+simultaneously, an equable temperature. There need be no draught, simply
+because the air is not drawn in one direction more than in another. From
+every side a gentle current of warm air arises. This method cannot be
+adopted here; it would not suit for English houses where coal is used as
+fuel: the interstices of the double wall would soon be filled with soot.
+The same effect is produced in a far more elegant way, by means of
+warm-water pipes passed round the room; by this simple process the
+staircase and passages and the sides of a room distant from the
+fireplace are made of equal temperature--one, or at most two furnaces,
+burning coke and making no smoke, if placed in a cellar outside an
+extensive building, can render the whole interior, from attic to
+ground-floor of equal temperature, and not prevent the action of the
+fireplace, or its agreeable presence in our homes. In the British
+Museum, where warming apparatus is used, the temperature of the whole is
+kept uniformly the same, that is, 65° Fah., even throughout the most
+severe weather, independent of the common fireplace. No greater change
+is required in any part of our buildings than in the latter; not that it
+requires to be removed, but a change to prevent its waste of heat and
+its contaminating the outside air with the soot and blacks from its coal
+fuel; the lower fireplaces in a building should warm or air the upper
+rooms, and no soot or blacks should be allowed to leave the flues. A
+construction for this purpose will be shown in the ensuing pages, as
+well as one for warming an entire building and a conservatory.
+
+An opposite effect to that of warming is frequently desirable in our
+houses; and to ensure this the position of the site of the house must be
+considered. It is evident that a room having a south-western aspect must
+of all others be the warmest, whether in winter or summer, simply
+because that aspect is most exposed to the influence of the sun’s rays.
+On the other hand, rooms having a north-easterly aspect must necessarily
+be the coolest, because, except during the earliest part of midsummer
+mornings, say from 2 to 4 A.M., the sun’s rays cannot reach them. It
+is, therefore, in the power of those who have the requisite resources,
+to construct a house in such a manner that warm rooms can be provided
+for winter use, and cool for alleviating the heat of summer. It is by no
+means an uncommon occurrence to find a large dinner-party assembled in
+the heat of summer in a room that has been exposed to the sun’s rays
+during the afternoon. Frequently in such cases, owing to the number of
+persons present, the heat of the viands, lights, &c., the temperature
+rises above 80°, a circumstance prejudicial to health, enjoyment, and
+the vivacity of social intercourse, that might have been entirely
+avoided had the dining-room been placed in a northern aspect. These are
+points well worthy of attention in constructing a newly-designed
+dwelling. It unfortunately happens, in many cases, that the supposed
+exigencies of architectural arrangement must have priority of all other
+considerations. Yet the architect who wilfully opposes such
+modifications of his plan for the purpose of conducing to general
+comfort is shortsighted. His object ought to be to build a house _to be
+lived in_, and not _to be looked at_ alone.
+
+A few remarks on some of the general principles that should lead to a
+choice of site, situation, and other matters, may not be without
+advantage. Whatever inducement a plot of ground for building purposes
+may possess, the great question which has first to be solved is that of
+_health_. A clayey soil, bog, marsh, or stagnant water; a low level; an
+undrained or badly drained surface; a moist atmosphere, or exposure to
+the chill north and east winds, are all objections that a question of
+price should never be pitted against. Popular knowledge on sanitary
+subjects is now so extensively diffused that healthy localities are
+always of ready sale, while those of an opposite character are
+frequently unsold in the market, and consequently may be had at a low
+price, but are really never cheap. Nothing can counterbalance the value
+of a healthy locality, for in the end one of an opposite character
+becomes far more costly. The timbers of the building fall rapidly into
+decay, and require renewal; the decorative portion, internally and
+externally, becomes faded; doors and windows cease to fit and work
+accurately; the iron work becomes rusted and requires frequent renewal
+of paint or other protecting coat; and the same may be remarked in
+regard to the fences of the estate.
+
+The position of the residence in regard to the sun at different periods
+of the year is also an important matter. If it stands with each front
+north and south, the north front will have comparatively little sun,
+except during summer time; and if the position be north-east and
+south-west respectively, the cold bitter winds of winter will be
+severely felt, whilst from the fact that the greater portion of the year
+the rainy quarter of the wind is south-west, that front or back of the
+house will be continually exposed to its influence. Consequently,
+frontages to the south-east and north-west are to be preferred in all
+cases, when possible, as such position ensures to both sides the
+greatest average of sun, heat, and light, and protection from the
+north-east wind of winter or the south-west of the rainy season.
+Comparatively little attention has been paid to the influence of light
+on health and its effects on the mind, in the construction of modern
+dwelling-houses. An excess is easily avoided by blinds and other
+contrivances; but if the architectural features of the building be such
+as to exclude the light, an opposite remedy is impossible. Abundant
+access of light tends to set off all the internal decorations of the
+house, and spreads a cheerfulness of appearance that is always highly
+prized. It gives brilliancy of outline and detail to coloured
+decorations, and, to use a common phrase, is the best possible “set-off”
+that the architect or decorator can desire. As already pointed out, the
+effect of light and shade, in regard to architecture, is a condition of
+success in respect to the picturesque.
+
+It is always desirable that a house should be placed on an eminence; it
+becomes thus a prominent object, and its qualities are the more readily
+perceived. A gradual ascent to the house by the walks or drive adds
+much to the general effect. The walks are thus constantly drained, and
+preserve longer a neat appearance, a matter which is of much importance
+in setting off the advantages of situation, site, &c. In respect to
+questions of health also, this is of great advantage, as the waste
+matter of the household more readily falls away by its own gravity, and
+is thus quickly removed; which if left stagnant would be productive of
+harm to the inmates.
+
+Abundant access of fresh air is of great importance to health in a
+residence; unnecessary exposure to wind being at the same time to be
+avoided. Hence to place a residence in the centre of a close array of
+trees is not desirable; not only is the access of air, light, and heat
+prevented, but there is always a tendency induced to dampness in the
+house. In an open, airy, and well drained situation, the effects of even
+long-continued wet are soon dispelled, but when all sides of a house are
+surrounded closely by trees, an opposite result is induced, and, in
+comparatively dry situations, many evils of a damp one ultimately ensue.
+
+One of our earliest English writers on building, Thomas Fuller (1633),
+speaking of the choice of situation for a new structure, says: “_Chiefly
+choose a wholesome air_, for air is a dish one feeds on every minute,
+and therefore it need be good. Wherefore, great men (who may build
+where they please, as poor men where they can) if herein they prefer
+their profit above their health, I refer them to their physicians to
+make them pay for it accordingly.” And as to light, he continues:
+“_Light (God’s eldest daughter!) is a principal beauty in a building_,
+yet it shines not alike from all parts of heaven. An east window
+welcomes the infant beams of the sun before they are of strength to do
+any harm, and is offensive to none but a sluggard. A south window, in
+summer, is a chimney with a fire in it, and needs the screen of a
+curtain. In a west window, in summer time, towards night, the sun grows
+low and ever familiar, with more light than delight. A north window is
+best for butteries and cellars, where the beer will not be sour for the
+sun’s smiling on it. Thorough lights are best for rooms of
+entertainment, and windows on one side for dormitories.” And he tells
+us, “_a pleasant prospect is to be respected_. A medley view, such as of
+water and land at Greenwich, best entertains the eyes, refreshing the
+wearied beholder with exchange of objects. Yet,” he adds, “I know a more
+profitable prospect--where the owner can only see his own land round
+about.”
+
+Having thus disposed of some of the most important points that should be
+kept in mind when choosing the site of a house, and of such other
+conditions as affect its picturesque and sanitary character, a small
+space may be devoted to the consideration of its internal decorations.
+
+On this point there is no disputing about tastes, but to this may be
+added that the absence of taste is by no means uncommon. Having fixed on
+the style of house, the next question for decision, in respect to its
+general effect, should be that of its internal decoration. Congruity of
+design should exist between the two, for if an opposite course be
+adopted, a vulgarity will be introduced that will be highly displeasing
+to good taste. On the other hand, a slavish adherence to uniformity of
+internal with external character might produce so severe an adherence to
+system as to exclude the benefits that arise from judiciously chosen
+contrast. What has before been remarked in regard to the exterior,
+applies equally to the interior of a house--each should have in its
+general effect an agreement in appearance to its objects. In an antique
+apartment the light character of modern furniture would be evidently out
+of place, and _vice versâ_.
+
+It is evidently impossible to direct attention to more than a few
+elements of success that may be arrived at in internal decoration.
+Independently of this, each person has his own views on the matter, that
+would be sure in the end to overrule any exact principles, or at least
+greatly modify them. The following observations however, are offered
+suggestively.
+
+The facility with which the most beautiful designs in painting, &c., are
+transferred to paper for paper hangings, has brought these into very
+extensive use for decorative purposes. Formerly the best patterns were
+produced in France alone, but of late years the British manufactures
+have rivalled the Continental. The pattern in respect to size, colour,
+design, &c., should be so chosen as to be in accordance with the amount
+of light, the size, and other conditions of the room. A large pattern in
+a small room is equally out of place with the reverse condition. A light
+pattern again in a dark room, although advantageous in alleviating
+sombreness, is also incongruous. The general effect of a room on a
+spectator is thus largely influenced by these points, and consequently
+they should be carefully attended to. Frequently paint is preferred for
+covering walls of apartments, and where many pictures are introduced
+this may be advantageously employed, because the paintings alleviate the
+monotonous effect that would otherwise ensue. Painted walls are liable
+to injury by peeling off in places, especially where likely to meet with
+blows from furniture, &c. In damp weather, from the absorption of heat
+they generally become not only wet, but frequently stream with water. If
+the apartment is “smoky,” lines of sooty hue soon follow, and the room
+acquires a dirty appearance. This is avoided by the use of paper, which
+prevents the abstraction of heat and the consequent deposition of water;
+Beautiful effects may be produced by graining and other devices which
+are too well known to require enumeration. When flock paper on walls
+becomes dirty and requires renewing, if painted it looks extremely well,
+a diaper ornamental surface being produced by such means.
+
+The mantel-piece of a room adds to or detracts from its general effect.
+In a well lighted apartment, with light furniture, white marble is
+decidedly preferable. Whereas serpentine, black, or coloured marbles,
+grey and even red granite, may all agree in rooms but moderately
+lighted.
+
+The cornice and ceiling decorations equally require adaptation to the
+character of the apartment. For these purposes beautiful designs have
+been suggested and employed. The material of which they are usually made
+is so plastic as to be capable of receiving and retaining the most
+intricate forms conducive to elegance and beauty. In some rooms such add
+greatly to the general effect, while in others, especially with painted
+walls, plain mouldings seem most appropriate.
+
+A profusion of gold or gilding displays want of taste. A glaring example
+of this might be pointed out--a white marble mantel-piece supported by
+gilt angels five feet high which “graces” the drawing-room of a mansion
+in one part of this country. The outer room is a gorgeous display of
+gold, silver, and vulgarity. It serves, however, index-like, to point
+out at once the riches and “taste” of the owner. On the other hand,
+paintings and engravings in gilt frames have an excellent effect in
+setting off a room, provided that their size is in accordance with that
+of the apartment.
+
+Stained deals, varnished, afford a good material for panelling, and for
+covering the walls of rooms. We have in our eye a dining-room thus
+fitted which has an effect approaching to some of the oaken fittings of
+olden times. The material is cheap and durable, whilst the surface can
+always be renewed in its freshness by a new coat of varnish. It has been
+largely adopted in churches for pews and other fittings, with the best
+possible results.
+
+The minor objects of decoration, such as handles, finger-plates,
+bell-pulls, &c. &c., can only be here named. In many instances designs
+are given in the following pages, suggesting the most suitable either
+for indoor or outdoor use, according to the character of the room or
+entrance for which they are intended.
+
+So much for the picturesque exterior and tasteful interior of a house; a
+few words however may be said in respect to its immediate surroundings,
+such as the lawns, gardens, pleasure grounds, &c.
+
+The most picturesque villa would be a nonentity in a wrong situation.
+It would be opposed to what is usually called the “fitness of things;” a
+phrase that expresses much meaning without an exact definition. Hence
+“landscape gardening” has become an almost necessary adjunct to the art
+of architecture. An unframed picture has possibly every merit that the
+painter’s art can bestow on it, yet it lacks that finish which the
+exterior confers on it. So the well laid-out garden, the vista at its
+extremity, the carefully arranged parterre, the judicious management of
+floral culture, especially with regard to colour; neatly arranged walks,
+and many other exterior matters of detail, add to, enhance, and
+occasionally become indispensable adjuncts to the picturesque.
+
+We give two examples of picturesque accessories to garden architecture;
+the first rather belongs to the secluded wood, to some sequestered spot
+of sylvan shade, whence rises a spring which tradition may designate as
+that of some beautiful nymph; where the limpid crystal flows in gentle,
+yet ceaseless streams, conveying “health to the sick and solace to the
+swain.” The last, a vignette at the end of this chapter, is the
+representation of a ruined fountain, designed in 1820 by one of the best
+teachers of drawing England ever possessed, the late C. J. M. Whichelo.
+The architect may suggest the addition of a garden, but it is no part of
+his business to supply the details; these rather belong to the
+horticulturist. Yet these should not be forgotten; a complete whole is
+always made up of minute parts, and by these littles an entirety of
+effect is produced, just as their individual importance is not lost
+sight of.
+
+[Illustration: The Nymph’s Fountain.]
+
+In conclusion, it has been attempted in this introductory essay to
+enable the unprofessional reader to become acquainted with the general
+principles, and some practical details that should guide him in the
+selection of a site, and the erection of an elegant, convenient, and
+pleasant house, both externally and internally. So far as architecture
+and decorative art can aid such objects, the special details involved
+have to be perused in the text of this work. Fundamental ideas of such
+subjects have alone been here treated. A hope may be expressed that any
+suggestion or advice hitherto offered may not, in all cases, be without
+value. It is not given to all men to know all things. By the experience
+of others we gain fresh views of old ideas, invest them with new
+clothing, and in fact make out of that which is past, the material for
+something new. We rest on the apparently obsolete for suggestive ideas
+of improvement. Although the fashion of this world passeth away, yet as
+a dissolving view it reproduces itself in other forms, which, by the
+contrast of apparent novelty, and real or supposed merits, gain, either
+temporarily or permanently, the applause of mankind.
+
+[Illustration: Old English Garden Plots.]
+
+[Illustration: Garden Fountain in Ruins.]
+
+
+
+
+_DESIGN No. 1._
+
+A GARDENER’S COTTAGE.
+
+[Illustration: Front elevation.]
+
+[Illustration: Back elevation.]
+
+
+Some examples of designs for small cottages will be first given in this
+volume. There are few domestic
+
+[Illustration: Ground-floor plan.]
+
+[Illustration: Plan of upper floor.]
+
+[Illustration]
+
+structures that have received within the last fifty years a greater
+share of attention than the English Cottage, especially that designed
+for the occupation of the labourer. Each detail has received much care;
+thus, whether its walls should be solid or formed in two thicknesses, as
+most conducive to warmth and comfort; whether they should be of thin
+brick or of solid thick concrete; the best kind of roof covering, and
+indeed all such questions, have been fully discussed.
+
+[Illustration: Section through length of building.]
+
+Besides this, the calculation of cost has been of importance; they are
+required to return a rent that will pay 5 per cent. on the outlay, and
+to gain their picturesque appearance has generally been sacrificed.
+
+The cottage examples in this volume have been erected on estates where
+the only aim was to render them substantial and lasting structures,
+expense being a matter of minor importance. Their picturesque appearance
+being in every case insisted on.
+
+Before entering into any description of the designs, it must be pointed
+out that the plans, with the exception only of a few at the end of the
+volume, are all drawn to the same scale, that of 20 feet to the inch,
+and that the elevations and sections are to a scale of 15 feet to the
+inch.
+
+[Illustration: Cross section.]
+
+The details and the vignettes, one of which is mostly given between each
+example, are of various scales suited to each separate subject.
+
+[Illustration: Plan of wood casement.]
+
+[Illustration: Section.]
+
+The cottage design shown in the plate, and which forms the first example
+in this series, was erected on a nobleman’s estate in the country, for
+the use of a favourite gardener, a married man without children, and the
+accommodation afforded was all that he required. It consisted of a lower
+room fifteen feet by twelve, fitted with a small cottage oven; a
+scullery ten feet by ten feet, and a larder; the upper floor contained
+one room of the same size as the lower, and one fourteen feet by ten
+feet. The building was constructed in a very superior way. It was
+erected in red brick with compo dressings round the door and windows.
+The illustrations represent the front and back elevations; and sections
+through the length and breadth of the cottage, with details of the wood
+casements, and a plan and section of the cottage oven.
+
+[Illustration: Cottage oven.]
+
+A view of a cottage slightly different in design but having rooms of the
+same size with similar accommodation, is given. This was intended for
+the same estate.
+
+       *       *       *       *       *
+
+The vignette is an elevation of two lead pipes designed for an
+Elizabethan building in the country.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 2._
+
+A SMALL COTTAGE OR LODGE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground-floor plan.]
+
+[Illustration: Upper plan.]
+
+
+This small building forms the outer lodge to a country park. It is
+finished in all its parts so as
+
+[Illustration: Elevation of front.]
+
+to correspond in style and details with the old family mansion, and
+being a prominent object, standing in a cheerful position, each side was
+made pleasing. It is
+
+[Illustration: Side elevation.]
+
+so placed that the sun during its daily course shines on all the
+exterior walls. Cottages should have no
+
+[Illustration: Section through length.]
+
+dark corners, the sun should find entrance at all the windows whenever
+it is bright; the interior is then warm and cheerful. If the plan of a
+building is either
+
+[Illustration: Cross section.]
+
+a square or a parallelogram, and it is placed on the ground so that one
+of its diagonal lines runs due north and south, the advantage of
+sunlight at all the openings is obtained, and this has been pointed out
+by several writers on the subject. The ground plan shows the general
+arrangement of the interior. The parlour and kitchen are both of the
+same size (14 feet by 11 feet); it has a small scullery, an open outside
+porch, and a place for coals; the larder with its window
+
+[Illustration: Section through front and back porches.]
+
+[Illustration: Dry vault.]
+
+is under the staircase. The latter is a cottage staircase, occupying
+only half the usual space. The plan of the upper floor shows two rooms
+of the same size as those on the lower floor, with the compact reduced
+form of the staircase. The plate gives the front and side elevations of
+the building; sections through its length and breadth, and through the
+two porches back and front, and the dry vault of closet, are given.
+
+The water from the scullery sink is discharged into the dry vault. The
+staircase, of which a section is given, occupies exactly half the space
+of a staircase on the ordinary plan. The width is three feet, each step
+rising in two heights of 6 inches. It is necessary that such a
+contrivance should have plenty of light. These staircases were first
+used in France. Loudon, in his “Encyclopædia of Cottage, Farm, and Villa
+Architecture,” gives a representation of one, and remarks that the
+celebrated American, Jefferson, when
+
+[Illustration: Section of staircase.]
+
+[Illustration: A staircase.]
+
+making a tour in that country, was so struck with the contrivance, that
+he noted it in his journal, which was published with his
+correspondence. A perspective view of one of these staircases is
+annexed.
+
+A staircase of this description, if made four feet in width, might take
+up only one-third the usual space: it would be very applicable to
+offices and warehouses where room cannot be spared, and where staircases
+little better than ladders are used, but in such cases a baluster and
+hand-rail should be placed between each second step, to prevent persons
+falling.
+
+The “Builder” of November, 1843, gave two views of an ingenious double
+spiral staircase then exhibiting at a manufactory in Berners Street,
+Commercial Road. It was described as extremely simple, the object being
+to provide for ascent and descent without chance of meeting or
+collision. It consisted of a deal or other board of suitable thickness 6
+feet long and 12 inches wide, forming a double _tread_, and the _riser_
+crossed, as it were from corner to corner, except as arranged to form a
+_newel_ in the centre, of about five inches in diameter. The staircase
+had twenty-two risers, and took one complete turn round.
+
+[Illustration: Plaster ornament for a ceiling.]
+
+
+
+
+_DESIGN No. 3._
+
+A PICTURESQUE COTTAGE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground-floor plan.]
+
+[Illustration: Upper floor.]
+
+
+This design for a peasant’s cottage possesses no architectural feature
+beyond what could be given
+
+[Illustration: Elevation of front.]
+
+to it by any common country village carpenter. It was made from the
+recollection of one at Blaise Hamlet,
+
+[Illustration: Side front.]
+
+near Blaise Castle, in Gloucestershire, the seat of John I. Harford,
+Esq., to whom the hamlet belonged. This was celebrated for having about
+a dozen of these small picturesque structures, apparently put up by the
+owner of the estate. Nearly the whole of them were provided with rustic
+seats under a projecting roof, as well as with a pigeon-house at the
+gable. This was called Vine Cottage; there were besides Sweet Briar
+Cottage, Rose Cottage, Diamond Cottage, Dial Cottage, Jessamine Cottage,
+Circular Cottage, and Oak Cottage. Views of all of them were first
+published at Bristol by Mr. Western.
+
+[Illustration: Section.]
+
+There are numerous similar hamlets and villages in England, some having
+the cottages, schoolhouses, literary meeting room, and even the village
+pump, all in picturesque form, and generally architectural in character.
+The plan given here is probably not like that of the cottage at the
+hamlet. It illustrates one room, size 13 ft. by 12 ft., a scullery 12
+ft. by 9 ft., and larder under the stairs. The latter are shown with
+the double-rise step. The upper plan shows one room of the same size as
+that below, and a closet. The scullery on the ground floor is large
+enough to form a sleeping room for boys, or to make a small living room.
+The height of the lower room is 9 feet 6 inches. The section shows the
+general form and fittings of the rooms. The plate below the plans gives
+an elevation of the front, showing the rustic seat and the side of the
+entrance porch, the gable of the cottage formed into a pigeon-house,
+together with the side front of the cottage and its entrance porch. The
+small window at the side is intended to light the first steps of the
+stairs; a small shed for wood or coals is placed at the back. Such a
+cottage could be built and finished complete at a cost of about one
+hundred and ten pounds.
+
+[Illustration: Plaster frieze for drawing-room.]
+
+
+
+
+_DESIGN No. 4._
+
+A DOUBLE COTTAGE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground plan.]
+
+[Illustration: Upper plan.]
+
+
+These cottages were intended to be attached to some ornamental grounds
+which were very carefully attended to; and as the building formed a
+
+[Illustration: Elevation of front.]
+
+prominent object, it was rendered architectural and pleasing in
+character. In plan the cottages are large
+
+[Illustration: Section.]
+
+and roomy, and they are of the cheapest kind. If constructed in plain
+brickwork, without the ornamental gable on the porch, the pair could not
+have cost more than 250_l._, and at that sum they have been estimated
+for by a London builder. Each cottage has one living-room on the ground
+floor, _f f_, of the size of 14 feet by 10 feet, with a scullery, _g g_,
+attached, size 10 feet by 6 feet 6 inches, and a small larder and
+staircase.
+
+[Illustration]
+
+The latter, with ten risers, leads to the upper floor, in which are one
+large and one small room. The plate gives the ground plan, and the plan
+of the upper floor. The closets are in the yard attached to the
+cottages, but not shown in the plan.
+
+The plate gives an elevation of one of the fronts, and a section, taken
+through the living-room and scullery: a portion of the ornamental gable
+is illustrated in the previous page.
+
+       *       *       *       *       *
+
+The vignette represents an ornamental escutcheon and handle, in brass,
+for an inner entrance-hall door. The drawing is one-third of the full
+size.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 5._
+
+A DOUBLE COTTAGE AND VILLAGE SUNDAY SCHOOL.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground-floor plan.]
+
+
+This building was intended to be placed in a village of one of the
+midland counties, nearly all the buildings in the village being of
+picturesque character. It was the property of a gentleman who was
+erecting a large Elizabethan mansion in the neighbourhood; the design is
+for a double cottage and Sunday school; the latter being under the
+direction of the clergyman of the parish.
+
+[Illustration: One-pair plan.]
+
+The porch was decorated to give it importance, and form a shelter for
+the clergyman in passing from one school to the other. One part was
+intended for boys and the other for girls. The chimneys of the building
+were grouped together in the centre so as to form a prominent object;
+they were copied from a very fine ancient example, then existing at a
+farm-house near Ashford, in Kent.
+
+The illustration gives a view of the front, and the plans. Each of the
+two principal rooms was 16 feet 6 inches by 13 feet 6 inches, with a
+scullery on the side 10 feet square, and having a good oven; the larder
+was under the stairs. The rooms above were
+
+[Illustration: Section through length of building.]
+
+of the same size as those below. One of the cottages had the centre room
+below as well as that above arranged so that one had four rooms and the
+other two; but this could be changed at any time, to provide each
+cottage with three living rooms each. A section through the length of
+the building and the chimney stack is given in the previous page, and an
+elevation of the front is given above.
+
+[Illustration: Elevation of entrance front.]
+
+The building was to be constructed with sound stock bricks, and red
+brick rusticated facing round the upper windows; the finishing of the
+gables with their small pediments was of cut red bricks. Small compo
+finials crowned the whole.
+
+[Illustration: Finial.]
+
+[Illustration: Finial.]
+
+[Illustration: Elevation of chimney stack.]
+
+The porch had trunks of trees for columns, the entablature and pediment
+were formed of cut bricks and compo facing; the pilasters on each side
+of the lower windows were of cut squared flint, peculiar to the county,
+the whole resting on a plinth of rough country stone. A wooden
+balustrade of simple pattern surmounted the porch, extending on each
+side of the columns. These latter resting on a stone slab. The chimney
+stack is shown, and its plan, on the previous page.
+
+[Illustration: Plan.]
+
+[Illustration: Elevation of a chimney stack at a farm-house, Ashford,
+Kent.]
+
+The old stack from Ashford, with the plan at its base, and capping, is
+also illustrated.
+
+These representations of the two chimney stacks, ancient and modern, are
+drawn to the same scale, so that the difference between the present and
+old mode of treatment may be seen. The large flues of the old example
+permitted the then mode of sweeping, by discharging a culverin up the
+flue. The occupants of the dwelling could not then have cared much for
+return smoke in their rooms; which in these large flues, with coal as
+fuel, must have been considerable, and could only be obviated or
+prevented by the numerous cold draughts of air permitted to pass through
+the interior of the building.
+
+[Illustration: Plan of capping.]
+
+[Illustration: Plan of base.]
+
+The plan of this building was adapted from a very favourite one of the
+late Sir John Soane. He erected it at Wimpole, in Cambridgeshire, for
+the Earl of Hardwicke, in 1794. It had a very plain exterior, and the
+roof was covered with thatch, a very common mode with architects at that
+time, but now objected to from the serious evil of its harbouring
+numerous insects--indeed at times they render the building almost
+untenantable. The walls of the cottages at Wimpole were built in Pisé,
+or with clay and fine gravel, properly prepared and beaten down in a
+mould. Each wall was three feet in thickness, the fireplaces and
+chimneys were of brick. Every opening was covered with strong wood
+lintels, the whole width of the walls, and two feet longer than their
+respective openings.
+
+The walls stood on brick foundations two feet above the ground. The cost
+of the construction was about 450_l._ Design No. 5 could not now be
+constructed for less than 630_l._
+
+It may be here remarked that nothing certain can be advanced about the
+cost of a building until the situation and local circumstances are fully
+known and considered. In the absence of these no estimates can be given
+with that accuracy which every gentleman wishes for, and ought to be
+possessed of, before he begins building.
+
+
+
+
+_DESIGN No. 6._
+
+A HUNTSMAN’S LODGE OR COTTAGE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Ground plan.]
+
+[Illustration: Upper plan.]
+
+
+This edifice was erected in the neighbourhood of some thick plantations
+in a sporting district. It was constructed of brick, with a wooden
+porch; the facing bricks of the walls being of a light-yellow colour,
+with red bricks round the windows; and the whole of the cornices and the
+four chimneys were of cut red brick. The building seen from among the
+trees looks
+
+[Illustration: Front elevation. Section.]
+
+very pleasing. The ground plan shows a front room 13 feet square, with a
+small scullery behind; the larder is under the stairs, which have the
+double riser, and a window is placed both at the bottom as well as at
+the upper part of the staircase, to give plenty of light. The upper plan
+shows three bed-rooms, each about 10 feet by 6, and a small bed closet
+for children, the closet having a ventilator in the chimney at the
+angle. These chimneys, instead of being grouped together in the centre
+of the structure, occupy the four corners--an expensive form of
+erection, but one that gives more room in the interior. The elevation of
+the front is given in the plate, and the section by its side; the small
+figure below shows the different courses of cut bricks forming the
+pediment and cornice.
+
+[Illustration]
+
+These were carefully executed, and had a good effect. The first figure
+likewise illustrates the oak finial on the top of the roof. A
+chimney-piece in one of the upper rooms had a quaint carving in the
+centre of a fox’s head, a subject appropriate to the pursuits of the
+occupant of the cottage.
+
+[Illustration]
+
+The chimney-piece, and the fox’s head on a larger scale, are here
+represented. The gateway seen at the side of the building in the view
+was formed by the workmen out of various old fragments; it leads to a
+yard in which are various sheds and out-buildings.
+
+[Illustration]
+
+       *       *       *       *       *
+
+This vignette affords a specimen of ornamental iron railing intended for
+exterior work, and suitable for any situation in which such may be
+required, in consequence of the neatness of its pattern.
+
+[Illustration]
+
+
+
+
+[Illustration: Rose Hill Villa.]
+
+
+
+THE CONCRETE CONSTRUCTION FOR BUILDING COTTAGES.
+
+
+Considerable pains have been taken for the last fifty years to discover
+the best and cheapest method of building cottages; bricks, stones, wood,
+mud, plaster, and lately straw and bitumen, have all been selected.
+Sound bricks and good building stones, well incorporated with mortar of
+a good and binding quality, will last for centuries; while those of mud,
+clay, plaster or concrete are continually becoming out of repair, and
+therefore ought never to be introduced where sound construction is
+desired, and better materials can be procured. In our moist climate,
+unless great pains are taken in compounding such materials as clay or
+concrete, in constructing walls, and in protecting these against the
+effects of the weather, they will soon decay. Mud walls, however, made
+perfectly in the common manner, of clay well tempered and mixed with
+sharp sand, will last very many years.
+
+The preceding view represents Rose Hill Villa, near Stockbridge,
+Hampshire. It is probably the largest and most important specimen of
+such a construction in England, and comprises dining and drawing-rooms,
+each 20 feet by 18 feet, morning-room, housekeeper’s-room, kitchen, back
+kitchen, pantry, excellent cellars and all requisite offices; five very
+superior bedrooms, two dressing rooms, a water-closet on the landing and
+ground floor, and five servants’ bedrooms. It has a double coach-house,
+harness-room, and stabling for four or six horses, and in the outhouses
+a four-roomed cottage for the coachman.
+
+This villa was formerly in the occupation of Fothergill Cooke, Esq.,[A]
+the inventor of the Electric Telegraph, and is now the residence of Sir
+Augustus Webster, Bart.
+
+The building is constructed of chalk concrete, and has stood the test of
+forty years’ exposure without any signs of decay. Mr. James Flitcroft
+sent in 1843 a view of the villa to the “Builder,” and thus described
+the construction of such houses in the locality:--The walls are carried
+above the ground two and sometimes three feet to prevent the damp from
+rising to the mud, which if wetted would scale off by the action of
+frost. The kind of earth used is fine chalk, dug from the surface; if
+timely notice of any building will permit, it is best dug in winter,
+that the frost may act upon it. Buildings formed of this material can be
+erected only in dry warm weather. The workmen in preparing this chalk
+for use put about a cartload of it together, throw water over it, and
+tread it with their feet, turn it over, again tread and turn it, until
+it begins to bind something like loamy clay; then let it soak a little
+while, when it is ready for use. The waller is able to put on a layer of
+about fifteen inches; he begins at one corner and goes round the
+building, putting one layer on another, taking care that the lower one
+is sufficiently dry to bear the upper. In buildings of two stories high,
+the walls are generally eighteen inches thick. When the walls are got up
+five or six feet, and pretty dry, the quoins are plumbed, and the walls
+dressed down a little, in order that the waller may see what he is
+about. A small short spade is the best tool for this purpose, with short
+handle and rather bent. The work is then proceeded with as before, until
+it is raised up to the square of the building, when the
+
+[Illustration: Elevation and section of a wall (see p. 86).]
+
+walls get their general dressing, ready to receive their coating.
+
+Mr. Flitcroft describes Rose Hill Villa as coated with stone,
+lime-coloured and drawn. The columns of the villa are of brick. He
+states that there are several other buildings of this kind at
+Stockbridge, Winchester, and other places in the neighbourhood. He
+describes a better method of constructing such walls by the use of a
+moveable trough or box about 12 feet in length by 18 inches in depth.
+This trough rests on bearers put across the wall, with a mortice at each
+end wide enough apart to receive the sides, and the thickness of the
+wall; in these are inserted uprights to prevent the sides giving way,
+with others to go across the top. This mode of construction is however
+very ancient, and when done on a large scale the primitive method is
+still pursued.
+
+This method is shown in the preceding engraving, which gives an
+elevation and section of a wall in process of construction, with the
+posts, _b b_, the moveable planking, _c c_, and cross pieces, _d_. It
+will be seen that three courses of bricks are put about every five feet
+in height. The figures here given are copied from a very old French work
+on Architecture and Building; they also show the manner in which roof
+construction was attempted with slabs of the same material, as shown in
+figs. 1 and 2: the building is supposed to be square, as shown by the
+dotted lines _a_, _b_, _c_, _d_.
+
+[Illustration: Fig. 1.]
+
+[Illustration: Fig. 2.]
+
+[Illustration: Elevation.]
+
+[Illustration: Section.]
+
+The plan, elevation, and section given below represent a small tomb
+wholly formed of concrete slabs, the door alone being excepted. This
+little building forms really a solid concrete monolithic edifice.
+
+[Illustration: The entrance door.]
+
+[Illustration: Plan.]
+
+A very common method of forming partitions, and even roofs in some of
+the agricultural districts in Hampshire, is first to put them up with
+strong wattle hurdles. They are double the size of the common hurdle,
+and made of a thicker material. When in their place, they are plastered
+over with concrete, and made about four inches in thickness; they very
+often require repair. It is said that concrete walls are subject to
+contraction and expansion, and speedily show vertical cracks at
+intervals, which in our damp climate would soon permit the wet to enter.
+There can be no question as to its strength as a building material, as
+some experiments conducted by the Institute of British Architects gave
+the following results--viz., “Concrete composed of two parts of lime,
+thirty-six parts of sand, and five parts of cement, can resist a
+crushing weight of four tons to the square inch, being twice the
+strength of Portland stone, eight times the strength of Bath stone, and
+sixteen times the strength of brickwork.”
+
+In constructing cottages with concrete everything depends upon the
+goodness of the cement and the care with which it is used. The occupiers
+of these cottages are frequently their own operators; the work is
+generally too speedily performed, and the consequence is that the fruits
+of their labour are in most instances of but short duration.
+
+For obvious reasons it is necessary that the greatest economy should be
+observed in the construction of peasants’ cottages, and for these
+reasons the apartments should always be on the ground floor, which will
+render it unnecessary to build them more than eight or nine feet high.
+Where mud walls are introduced, the lower they are made the better, in
+which case they should be made to batir on the outside so as to resist
+the pressure of the roof, the covering of which should project as much
+as possible, to throw off the wet and protect the walls. The chimney
+flues in these clay and concrete walls are formed of drain-pipes, which
+answer admirably. These humble dwellings should be paved with
+brick-on-edge paving laid on sand, which is much warmer, and more
+conducive to health than any sort of rough flagging, plaster, mud, or
+concrete floor. The latter, although much cheaper, can never be made to
+look clean. Foundations of clay or concrete walls should be of brick a
+few courses above the surface, and the walls when dry should be covered
+with a thick coat of plaster consisting of lime and sand, or what is
+still better, a coating of good Portland cement. This ought constantly
+to be kept perfect, as everything depends upon the goodness of the work.
+Concrete improperly mixed is not so strong as brickwork, but is mere
+rubbish; but when perfectly done it hardens with age, becoming like
+stone, impervious both to wet and frost.
+
+Materials can be found in every locality. One of the principal
+constructors using such, Mr. Tall, who works with an excellently
+contrived apparatus, thus describes them:--“Clay, which may be burnt
+into ballast easily and cheaply, and is a most superior material for
+concrete; gravel, stone, crushed slag from furnaces, smith’s clinkers,
+oyster-shells, broken glass, crockery, or any hard and durable
+substance. Where sandstone or any flat stone is to be found, walls can
+be built even cheaper than of gravel concrete, as a labourer can break
+the stone.” He gives the proportions of materials used in houses then
+being constructed at Gravesend, as follows:
+
+                                                 £ _s._ _d._
+7 yards of burrs from brickfield, at 5s.         1  15  0
+7 yards of gravel stone, at 3s.                  1   1  0
+1 yard of Portland cement, 16 bushels to the
+  cubic yard, at 2s.                             1  12  0
+Labour, at 2s. per cube yard                     1  10  0
+                                                ---------
+Total                                           £5  18  0
+                                                ---------
+
+Three cubic yards of concrete will build 60 yards of 9-inch work, at a
+fraction under 1_s._ 11_d._ per yard.
+
+Concrete cottages have been built at Setting, in Kent, under Mr. Adkins,
+architect, that cost only 105_l._ per pair; the ground floor contained
+two rooms; with the usual larder and closets, and the upper floor three
+rooms and a cupboard; these cottages had gabled fronts and were
+picturesque in character. It would be an extra expense over the common
+method to construct floors and roofing of concrete; the advantage to be
+gained would be their fire-proof character.
+
+In superior buildings the high tenacious power of good cement is
+repeatedly, it may be said commonly taken advantage of in the
+construction of roofs. These are formed by cementing plain tiles, and
+they have considerable strength. Roofs of 12 feet span, constructed in
+segmental form, rising three feet, and only of three plain tiles in
+thickness, successfully resist great pressure, and are durable in a very
+superior degree; but they require to be well tied in, and formed
+between iron girders connected together with iron tie rods, otherwise
+they sink and force out the walls. Roofs of cemented tiles have been
+constructed from 30 to 40 feet span, and have been found to answer well;
+hoop-iron bond, laid at intervals between the tiles, is a great
+advantage. The tenacious power of good cement was proved in a very high
+degree a few years ago by Mr. Brunel, in the construction of two
+semi-arches built of brick, springing from a pier or abutment 14 feet in
+height. One extended 50 feet in length, the other 38; the rise of the
+arches was 10 feet, the width only 4 feet 6 inches; a weight of about 40
+tons was suspended to the extremity of the shorter arch without breaking
+it.
+
+The result of this test proved that arches of 200 feet or 300 feet span,
+and probably more, might be constructed in the same manner at very
+moderate expense, without centering. Iron-hoop bond is said to nearly
+double the strength or holding power of the cement. Flat experimental
+beams have been constructed of brick and cement, with hoop-iron bond
+laid horizontally between the joints or courses of the brickwork, which
+have given equally extraordinary results.
+
+Concrete for walling was extensively used in England at the beginning of
+the present century; it got into bad repute through failure of a river
+wall at Woolwich, where it was either badly done, some mistake was made,
+or it was unsuited to the position. The wall was constructed of blocks
+of concrete cast in moulds, and submitted to pressure while setting; a
+coating of fine stuff being applied for the sake of appearance, ample
+time having been allowed for the blocks to set and harden before use.
+The blocks were 1 foot 6 inches high, the binders and stretchers in the
+course being each 2 feet 6 inches long, the bed of the former being 2
+feet, and of the latter 1 foot; the wall was built upon piles, its
+height above the piles being 24 feet; the thickness at bottom was 9
+feet, at top 5 feet with a batir in front of 3 feet in 22.
+
+The face of the wall was composed of blocks, as described, and rough
+concrete thrown in to complete its thickness, and that of the
+counterforts. After a frost it was found that this wall was seriously
+damaged, hardly a single block having escaped, and in many cases their
+whole face had peeled off to the depth of half an inch. The discharge of
+a drain from a height of 6 or 8 feet had worn away the lower courses to
+the depth of some inches. On a like wall at Chatham, similar but much
+more severe effects were produced.
+
+The failure of this wall costing about 80,000_l._, was a serious matter,
+and for several years after architects looked upon concrete as being so
+much uneatable hasty pudding, considering that it was only beneficial
+when confined in a trench for foundations. Sir Robert Smirke used it in
+the foundations of the Penitentiary, Millbank, and Sir John Soane in
+1830 used it in the foundations of the New State Paper Office (now
+pulled down) in St. James’s Park. Here the ground had to be excavated to
+a depth of 22 feet before arriving at a gravelly stratum; at each high
+tide the Thames filled the trenches with water, which remained in
+considerable quantity; as this was pumped out, the adjoining party walls
+of the buildings in Duke-street cracked so completely that they had to
+be taken down. The trenches were first filled to the height of two feet
+with broken stones and bricks from the old buildings, and then dry lime
+and clean river sand, with a large quantity of small broken granite
+stones, were thrown in from the height above. A body of concrete 8 feet
+in width by a thickness of 3 feet was thus formed; the water ceased to
+enter the trenches and the building was commenced.
+
+Mr. G. Godwin, the editor of the “Builder,” in an essay on concrete
+which gained the first prize given by the Royal Institution of British
+Architects, appears to have been the first to suggest its use in walls
+above ground; and for these Portland cement concrete, when properly
+prepared, is without question an admirable material.
+
+
+
+
+_DESIGN No. 7._
+
+[Illustration: A garden gate--plan and elevation.]
+
+
+In France it is used to a very great extent, in numerous bridges, and
+several miles of large sewers. A church (that at Vésinet, near Paris, of
+mediæval architecture), constructed entirely with iron and this
+concrete, is completely fireproof. In England a considerable length of
+sewer has been constructed of concrete at Sidmouth, under the direction
+of Mr. Phillips; and near London, between the Kensington and Gloucester
+Road stations of the Metropolitan Railway, a very large handsome bridge,
+rusticated, and in design similar to, and in every respect in appearance
+a stone bridge. From some alteration required in the railway, it has
+been removed.
+
+This mode of construction is now being practically tested in the north
+of England, at Church Bank, Alnmouth, in its complete form, in a cottage
+built entirely of concrete, having three rooms, scullery, and other
+conveniences. The material used in the building, as we are told by the
+“Builder,” is Portland cement and gravel from the sea-shore. The
+foundation is in sand 6 inches thick and 18 inches wide; in this there
+is a base course, and above, the walls are 9 inches in thickness. Part
+of the erection is two stories in height. The roofs are all flat, and
+are constructed entirely of concrete and old wire rope. The ceilings are
+divided into panels by ribs at right angles, and require no plastering.
+A wall on the upper floor is supported by a concrete beam with a
+13-feet span; and a large cistern is formed under the roof of the pantry
+for rain water. The sides of the cistern forming the walls of the
+bedroom will test severely the impermeability of the material. No wood
+is used except for doors, and no iron except five shillings’ worth of
+old wire rope. This is said to be an experiment made by the Duke of
+Northumberland.
+
+Another experimental cottage has been constructed under Mr. Edwin
+Chadwick’s superintendence at East Sheen near Mortlake. In this the
+walls are formed of light iron framework filled with compressed straw,
+bitumen, and concrete. The thickness of each wall complete is only about
+three and a half inches. The floors are of bitumen and concrete, covered
+with ordinary deal boards; the roof has the same construction as the
+walls. These, inside, may be either left rough or finely smoothed,
+without additional cost. In the former case it is said they resemble the
+ordinary “dashes” of stuccoed cottages; in the latter they appear as if
+coated with Roman cement, after the fashion of villas and town houses.
+
+If a construction of this kind can be made durable it possesses superior
+advantages to every other. In England both stone and brick are great
+absorbents of moisture, causing the occupants of the houses to be
+afflicted by rheumatism and other undesirable ailments. Any building
+material that is non-absorbent of moisture is a great desideratum yet
+unsatisfied.
+
+An elevation of a design for a garden gate and balustrade to be formed
+of concrete blocks is given in Design No. 7. It was originally intended
+for the entrance to an old house in Berkshire.
+
+       *       *       *       *       *
+
+The vignette beneath is a Swiss pattern of open woodwork used by the
+author as balustrading. The construction is too simple to require
+explanation.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 8._
+
+A PARK LODGE.
+
+[Illustration: Front elevation.]
+
+
+The entrance lodge to a country park may be considered as a superior
+kind of cottage; it is
+
+[Illustration: Ground plan.]
+
+often occupied by some favourite domestic or other attaché of the
+family. It is usually placed in a prominent position, dressed with
+surrounding trees, and with the accompanying gates, posts, and rails.
+Considerable attention is always paid to the lodge.
+
+[Illustration: Back front.]
+
+An ugly one is an exception, and is very seldom seen. In most cases the
+lodge is similar in character to the mansion to which it permits
+approach: a Gothic house, hence has a Gothic lodge, and an Elizabethan
+
+[Illustration: Section.]
+
+house a lodge of the same character; frequently it is in the Rustic
+style that would suit either. Of this the present design and the
+following are examples.
+
+This design was made for one story only, and it is placed so as to
+command, or have a view of two roads by which it can be approached; the
+plan shows a living room, 13 ft. by 13 ft., a scullery, _g_, 12 ft. by 9
+ft, a larder, _h_, and two sleeping rooms. It has a porch, formed with
+trunks of trees, enclosing a seat or bench. The back front is made of a
+pleasing character, having a covered way to the closet and coal cellar,
+_l_.
+
+The section shows the height of the rooms, 11 × 6 from floor to collar
+beam. The construction was to have been in the common fashion in brick,
+with red brick facing, and compo dressings round the windows and top of
+chimney stack, the latter in cut red brick. An erection of this kind
+could not be completed under a cost of about 370_l._
+
+[Illustration: Plaster cornice for a drawing-room.]
+
+
+
+
+_DESIGN No. 9._
+
+A PARK LODGE.
+
+[Illustration: Front elevation.]
+
+[Illustration: Ground plan.]
+
+
+This design was a second study for the same small building illustrated
+in the previous design. It was intended for a different site, and so
+placed as to command only one road of approach. It could have been seen
+for nearly two miles previous to reaching it, and was placed about
+twenty feet behind the entrance gates; the front had a rustic porch
+intended to contain rustic seats. The plan shows a living room 18 feet
+by 14, a small scullery, _g_, larder, _h_, and two sleeping rooms each
+13 feet by 10 feet. The section is taken through the centre of the
+building, showing the front and back porch. It could be constructed for
+about 375_l._
+
+[Illustration: Section.]
+
+Either of these lodges could be constructed in concrete, the walls twice
+the thickness, the chimney stock in brick and cement, and their cost
+would be reduced.
+
+
+
+
+_DESIGN No. 10._
+
+AN ENTRANCE LODGE TO A PARK
+
+
+This lodge stands within an ancient park in Kent. It occupies a
+triangular piece of ground and commands three roads of approach. The
+building is
+
+[Illustration: Perspective view.]
+
+strictly in accordance with the style of the old family mansion within
+the park itself, which is a celebrated structure of the times of
+Elizabeth and James I. The
+
+[Illustration: Ground plan.]
+
+perspective view represents the lodge as seen from the avenue of trees
+within the park, the road coming
+
+[Illustration: The front elevation.]
+
+between. In the ground plan, p. 105, _a_ is the porch, _b_ the living
+room, _c_ the scullery, and _d_ the larder; _g_ are the steps leading to
+a vault under the stairs, used for coals, and _f_ is the stone cover
+over the dry well. Considerable care and attention were
+
+[Illustration: Perspective view of back and side fronts, from a
+photograph.]
+
+bestowed in working out the details of this building, which was wholly
+erected by the workmen of the estate, with bricks and stone also from
+the estate. The lower part or plinth of the structure is of ashlar
+ragstone in random courses, the top course header faced, the joints
+worked fair, and a sunk splay in the top tooled fair, the course rising
+nine inches on the
+
+[Illustration: Plan of upper floor.]
+
+face, with an average depth in the bed of eleven inches. The string over
+the lower windows is in moulded brick,
+
+[Illustration: Plan of roof timbers.]
+
+faced with compo,--the gables and the chimneys are constructed and
+finished with cut red bricks. The
+
+[Illustration: Side elevation.]
+
+[Illustration: Details of entrance porch.]
+
+finials, of which there are three, are copied from those of the old
+mansion, and cost each 3_l._ The front and side elevations are here
+given, together with the details of the entrance porch. The columns were
+formed of trunks of trees, with an entablature and pediment of brick
+tiles and compo, with iron ties securing the whole.
+
+[Illustration: Finial.]
+
+[Illustration: Finial.]
+
+The brick walls were splashed externally in four colours, black, white,
+red, and yellow, which gave a very pleasing tone of colour to the whole.
+The plan
+
+[Illustration: Section.]
+
+of the upper floor shows the rooms like the lower, each of the average
+length of 21 and a width of 10 feet. The staircase leads conveniently to
+the two upper rooms; _a_ is a trap-door to permit furniture and large
+baggage to be lifted up from below. The sections show the construction
+of the roof, the timbers of which were firmly secured by iron straps, _b
+b_. The chimney forms a prominent feature in the centre of the building,
+the construction of which is shown in the annexed cut; _c_ are corbel
+bricks, _b_ the iron strap.
+
+[Illustration: Section.]
+
+The last two illustrations are sections through the coal-cellar and the
+dry well. The photographic view shows the small circular gable over the
+staircase. There are only six of these gables, as a seventh could not be
+obtained, or it might have been called the “house with the seven
+gables.” The structure cost 526_l._, the cottage design No. 2, on the
+same estate, 311_l._, both in full.
+
+[Illustration: Plan and section of chimney stack.]
+
+
+
+
+_DESIGN No. 11._
+
+AN ENTRANCE LODGE AND GATEWAY TO A PARK.
+
+[Illustration: Perspective view.]
+
+
+The first erection of an entrance lodge and gateway to a country park,
+is often considered of sufficient importance to meet with very full and
+careful
+
+[Illustration: Ground plan.]
+
+consideration. If the park is an ancient one, the old castellated style
+for the entrance lodge will mark its character, and it is generally
+chosen, although the
+
+[Illustration: Plan of upper floor.]
+
+building or mansion within the park itself may be of more recent style.
+The family architect, in such cases, will have to make various sketches
+before one is selected that gives general satisfaction. The castellated
+Tudor design shown in the perspective view, was the first one made under
+such circumstances, and several designs were submitted before it was put
+aside, and one selected similar in style and character to the mansion
+within the park, and which was soon carried out.
+
+[Illustration: Front elevation of lodge.]
+
+The ground plan, p. 113, shows the lodge to have very little
+accommodation, one small room 15 feet by 11 feet, with a scullery
+attached; indeed, one of the principal reasons for giving up the design
+was that the steep character of the ground did not admit a larger
+erection. The staircase of the lodge led to one upper room over the
+gateway; this was 13 feet by 13 feet. The elevation of the lodge is
+shown at p. 114.
+
+[Illustration: Elevation of half gate.]
+
+[Illustration: A]
+
+[Illustration: B]
+
+[Illustration: C]
+
+[Illustration: D]
+
+The details are plain and bold; a shield of arms with quatrefoils is
+placed over the side entrance; these and the ornaments on the bay-window
+are the chief enrichments.
+
+The lodge was to have been erected with ragstone ashlar for the quoins
+and red-brick facing for walls,--the bay-window and all the strings and
+battlements were to be in Caen stone. The iron gates were to be of
+wrought iron in the olden style. An elevation of one of the gates is
+given, showing a thin ornamental pattern within a strong iron frame.
+
+[Illustration: Elevation of second design.]
+
+The parts, ¼ full size, are shown; _a_ is the top rail, _b_ the circular
+bar, _c_ a section and elevation of the hanging rail, and _d_ the
+meeting bar.
+
+The accommodation required by the gate-keeper who was to occupy the
+lodge was greater than could be well provided on the site the building
+was to stand on. What he did ask for was given in a second
+
+[Illustration: Ground plan.]
+
+design, which, as it shows a different treatment of the elevation, is
+here illustrated. In this the rooms are
+
+[Illustration: Plan of upper floor.]
+
+larger, as may be seen by the ground plan; _c_, the back room, is
+intended to be used as a boy’s sleeping room; _h_ is the larder under
+the stairs, and _l_ is a place for coals. The upper plan shows the room
+over the gateway; a second room was to be added by taking up the walls
+of the lodge.
+
+[Illustration: Details of bay-window, second design.]
+
+The elevation of this design was considered more quaint and
+characteristic of the olden style than the first; its window is copied
+from one at the old gatehouse to the abbey at Montacute in
+Somersetshire, both as to dimensions and detail. It is rather late in
+style, and not a very good example, but it is here given with a few
+sections and details to a larger scale.
+
+       *       *       *       *       *
+
+The vignette affords a plan of an old English garden with its labyrinth,
+fountains, fishponds, and flower beds.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 12._
+
+A STOVE FOR AN ENTRANCE HALL
+
+[Illustration: Elevation of stove.]
+
+
+This stove is intended to fill a recess in the hall of a Baronial
+Mansion, placed on a marble pavement with groups of ancient armour,
+pikes and
+
+[Illustration: Plan of stove.]
+
+helmets, and the other like warlike implements of ancient times,
+surrounding it. The plan shows its interior to be filled with fire-clay.
+It is only a
+
+[Illustration: The front of stove, the shield or door open.]
+
+[Illustration: Side of stove.]
+
+[Illustration: Section of stove.]
+
+common iron stove, but with a more artistic outline or figure than is
+generally seen; the section shows the construction. A moveable box is
+placed within the pedestal to receive the ashes; the smoke flue leaves
+at the back; the helmet opens to receive a cup of water; the section
+shows the construction. When the shield is open the fire is seen; this
+could be made partly open, so as to allow the fire to be wholly closed
+in.
+
+       *       *       *       *       *
+
+The vignette is a portion of a French design for an iron balconet. In
+France these balconets are regarded as necessary protections at the
+window openings. In England they are used chiefly for holding flowers.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 13._
+
+QUEEN’S GATE LODGE, HYDE PARK.
+
+
+The formation of that new and important suburb of London, known as
+Queen’s Gate, South Kensington, resulted, as is well known, from the
+exertions of His Royal Highness the Prince Consort. It
+
+[Illustration: First design, Gate Entrance to Hyde Park.]
+
+promises soon to become the most fashionable and attractive portion of
+the Metropolis, as the land is engaged for the purpose of applying it to
+national objects connected with the Arts and Sciences, by the
+
+[Illustration: Perspective view of Lodge, Queen’s Gate.]
+
+[Illustration: Ground plan.]
+
+[Illustration: Basement plan.]
+
+Government. Consequently, with the beauty of the situation, this has led
+to the erection of a large number of first-class mansions of the value
+of from 20,000_l._ each to 3000_l._ (leaseholds.) The author of this
+work, at the time of the purchase by the Government, was surveyor to the
+principal estate in that locality--that of the late Charles, Earl of
+Harrington;
+
+[Illustration: Perspective view of Lodge opposite the Exhibition Road,
+Hyde Park.]
+
+and an opening to Hyde Park, for the chief new road, being granted by
+Government, he had to submit designs for the new entrance lodge and
+gates to the Commissioner of Public Works. The first design he had made
+had previously been submitted to the Prince. It was on a large scale, an
+archway being placed in the centre, with gates and lodges on each side.
+But as the new entrance had to be made at the expense of the builders of
+the Harrington Estate, designs of a more modest character were chosen.
+
+[Illustration]
+
+Lord Llanover, then Sir Benjamin Hall, was the Chief Commissioner of
+Public Works, and took great interest in the designs, repeatedly
+visiting the spot, and having various studies made; indeed the works
+were carried out under his supervision and direction.
+
+The opening into Hyde Park was 140 feet in length; this was filled up by
+the gates and railings, a lodge being placed within the park.
+
+[Illustration: Front elevation.]
+
+[Illustration: Side elevation.]
+
+The view shows the lodge as it was erected by Mr. Aldin, one of the
+building lessees of the Harrington estate; it cost him about 800_l._ The
+iron gates and railing were put up by Mr. W. Jackson, the chief building
+lessee on the same estate, at a cost which amounted to upwards of
+2000_l._
+
+[Illustration: Section through length of building.]
+
+The lodge contains two rooms on the ground floor the front room being 17
+feet by 12 feet, the back room 13 feet by 11 feet. The basement has two
+rooms of the same size; with a small yard, a place for coals, and a dry
+area surrounding the whole. The plans are shown under the perspective
+view; the front and side elevations on page 128; the small portico has
+the centre columns without rusticated blocks, so that no square edges
+or projecting parts obstruct the entrance of persons into the lodge.
+
+[Illustration: Cross section.]
+
+The section through the length of the building shows the two upper and
+the two lower rooms, with the sunk yard; it does not show clearly the
+section of the ground outside the building; the level of this is 18
+inches below the floor of the upper rooms. The basement is completely
+buried, but as the small structure stood upon a mound and was protected
+by a dry area, this was of little consequence. The cross section next
+given shows the level of the outside ground correctly, with the two dry
+areas. Over this cross section are given two small details of the
+construction of the roof.
+
+The building was of stone and brick, the ashlar front of the walls Bath
+stone, and the cornice of Portland--this was made so as to form the
+gutter.
+
+The lodge has lately been taken down, and reconstructed on the opposite
+side of the entrance gate. So completely was this done that only one
+small block of stone was required to complete it, and this was only a
+replacement of one broken. The structure itself has been reproduced by
+the Government as a lodge opposite to the Exhibition Road. In the cut at
+page 127, is given a section through the portico and a section through
+the end wall.
+
+The first design, made by the author, was intended to embody the views
+of His Royal Highness Prince Albert, in regard to the arrangement of the
+buildings for the purpose of Science and Art then proposed to be erected
+on the newly purchased estate. They comprised one for the collection of
+Pictures, at that time occupying only half the building at Trafalgar
+Square; this, the New National Gallery, was to be surrounded with other
+structures, affording ample accommodation for the chief learned and
+Artistic Societies of London. A large central Hall of Arts and Sciences
+was to be placed in their midst; the whole to form a metropolitan
+institution for the promotion of scientific and artistic knowledge as
+connected with industrial pursuits. It is well known that the surplus
+funds of the Exhibition of 1851, amounting to the sum of 150,000_l._,
+were offered by the Royal Exhibition Commissioners at the instance of
+the Prince, for the purpose of carrying out this grand conception. The
+report of the House of Commons’ Committee on the National Gallery
+strongly recommended the offer to be accepted, and Parliament at first
+assenting, voted another sum of like amount for carrying out the entire
+project. The sum of 300,000_l._ was found, however, insufficient for
+purchasing the whole of the ground required, and a further grant of from
+25,000_l._ to 27,000_l._ was voted by Parliament, and a sum of
+15,000_l._ was given by the Royal Commissioners. Mr. Cubitt was engaged
+to obtain the ground, and the roads through the Harrington estate were
+planned by him in conjunction with the author, who aided him to the
+utmost of his power in obtaining the land requisite to complete the site
+required for the various buildings proposed to occupy it. The site was
+2100 feet in length, by an average breadth of 1200 feet, and consisted
+of about 56 acres; the level of the ground on the north of Kensington
+being about 36 feet higher than the portion at Brompton. Another block
+of land, upon which the Department of Science and Art is at present
+placed, made a space with an average width of 700 feet--in the whole 86
+acres.
+
+In sketching the design for the general building, of which a bird’s-eye
+view is here given, the author only took the 56 acres--the view shows
+only that portion of the building facing the Prince Albert’s Road, now
+called Queen’s Gate. It is placed in the centre of the land, so as to
+have large open grounds surrounding it. These at any time could have
+been covered up for the purpose of national exhibitions similar to those
+of 1851 and 1862. By putting the level of the ground floor of the new
+building about ten feet above that of the Kensington Road, a
+sub-basement would have been obtained, over 30 feet in height, affording
+ample space for arranging and storing works of art, as well as for
+receiving articles to be exhibited, or a great portion of them, from the
+upper parts of the building should the latter be wanted for any special
+purpose, and affording room likewise for all minor business departments.
+The Hall of Arts and Sciences was to be placed in the centre of the mass
+of building: a portion of the dome is seen in the view at the upper
+left-hand corner. This room was to be made 300 feet in length, by 180 in
+width. Two galleries for paintings, each 1000 feet in length and 80 feet
+in breadth, were to be placed on each side of the Central Hall. The
+sculptures from the British Museum were to be deposited in the central
+smaller halls of approach. The various Societies were to occupy the
+side-wings,
+
+[Illustration: View of Queen’s Gate, Hyde Park, with the National
+Gallery and other buildings, as suggested by His Royal Highness the late
+Prince Consort.]
+
+each having its meeting and lecture room, and all necessary offices and
+apartments. The public were to enter at the porticoes seen in the view,
+and the carriages of the professors at the gateways in front. Two roads
+were proposed traversing the ground from north to south, and giving easy
+access for vehicles to every part of the building.
+
+In the small block plan attached to the view, placed on the upper
+right-hand corner, _b_ is the Prince Albert’s Road, _a_ the Exhibition
+Road, and _c_ and _d_ the roads north and south.
+
+The design was placed before the Prince at one of the Architects’
+meetings at the Earl de Grey’s, and it was exhibited at the Royal
+Academy in the same year. The House of Commons, however, after granting
+such a large sum of money for the purchase of the land, expressed its
+disapproval of removing the National Gallery from the present position,
+said to be the finest site in Europe, and the Fellows of the Royal
+Academy were informed that the portion of the building they then
+occupied would be added to that of the gallery. A view of the gates and
+lodge as at present executed is here given.
+
+[Illustration]
+
+It cannot be supposed that a sum of 340,000_l._ would have been expended
+by the nation for the purpose of giving the Horticultural Society a
+perpetual lease of the best portion of the estate purchased. It is
+already evident that the gardens are not well situated there. The smoke
+of the district will not permit the growth of delicate plants, and their
+exhibitions are supplied from the gardens at Chiswick. In much less than
+fifty years their grounds will probably be the centre of London, and
+consequently the noble conception of His Royal Highness has still a good
+chance of being carried into effect. The Society will be smoked out when
+the city bounds are extended. The present National Gallery building will
+be wanted either for a Bank of England or a Royal Exchange, and my Lord
+Mayor may follow the example of the India Directors, and leave the
+Mansion House, to move to Whitehall. A tunnel under the Exhibition Road
+takes visitors into the grounds direct from the railway, that now makes
+them as easy of access from the heart of the City as Charing Cross
+itself.
+
+A few remarks may be made here on the great rise which takes place in
+the value of land in any fashionable neighbourhood of London required
+for the erection of buildings.
+
+The Harrington estate at Kensington Gore, containing in the whole 93a.
+3r. 27p., was the joint property of the Earl of Harrington and of the
+Baron de Villars, through the right of his wife, the Baroness de
+Graffenried Villars. Previous to 1848 it had been some time in Chancery.
+In that year Mr. John Gaunt Lye was appointed auditor and agent to the
+fifth Earl of Harrington for the whole of the property. The rental of
+the Kensington Gore estate amounted at this time to 2779_l._ 9_s._ per
+annum. Through Mr. Lye’s exertions, he having received a power of
+attorney for the purpose, the estate was taken out of Chancery, and a
+division took place on the 7th May, 1850, at Mr. Lye’s office in
+Lancaster Place. For the purpose of division, one portion--that charged
+with maintaining the Cromwell Almshouses--was valued at 41,996_l._, and
+the other at 40,552_l._ Cards representing each portion were placed in a
+hat, and the one representing the 41,996_l._, was taken out by the
+Baron.
+
+In 1851 the Earl’s portion was let to Mr. W. Jackson on a building
+agreement for 99 years, at 100_l._ per acre, or 4600_l._ per annum. In
+1852 the Baron de Villars sold his moiety to the Royal Commissioners for
+the Exhibition of 1851 for the sum of 153,793_l._ The Commissioners only
+wanted a small portion of the Earl’s property. The first offer made by
+Mr. Cubitt to the surveyor of the estate was 40,800_l._ for 17 acres,
+or at the rate of 2400_l._ per acre. This was declined, and after a
+little negotiation the sum of 54,716_l._ was obtained. The matter was
+settled on the 7th of March, 1853; Mr. Jackson the builder received
+7964_l._ as compensation for the loss of so much of his building land.
+
+More land was purchased by the Royal Commissioners to make up the site
+they required; in the very middle of the latter was a field which had
+only been used as a place for beating carpets. It belonged to the Smith
+Charity estate, and fetched a rent of about 40_l._ per annum; this field
+was obtained by giving in exchange an outlaying one on the Villars
+estate, the building value of which was estimated at 800_l._ per annum.
+
+The Royal Commissioners, after squaring the site they required, and
+putting aside the portion now occupied by the Department of Science and
+Art, parcelled out the remaining outlying portion into three blocks, and
+let them on building leases. The first and most important of these was
+secured by the author for an employer, at a rental of 1500_l._ per
+annum, on condition that the fee of each house plot could be purchased
+within 6 years after the lease was granted; it contained about 2 acres.
+And these are now the only freeholds that can be obtained. This plot is
+now covered with buildings of the selling value, as leaseholds, of
+250,000_l._, and it produces an improved ground rental. For the purchase
+of the whole fee, the sum to be paid was 46,500_l._, so that for a
+portion of this land which the author of this work, as surveyor of the
+property, sold in 1852 for little more than 3200_l._ per acre, the value
+had risen, in 1860, to no less than 23,250_l._ per acre.
+
+It is only since Hyde Park has become almost the centre of the
+metropolis, instead of being in one of its rural districts, that
+attention has been paid to supply it with ornamental lodges and gates.
+The country was so long occupied with the importance of the war with
+France, which terminated so gloriously to the honour of our country,
+that the Royal Parks were left in a very neglected state; and the gates
+and lodges, particularly the entrance into London by Knightsbridge, were
+mean in character, and totally unworthy of the purpose.
+
+Londoners of the present day have no notion of the wretched state of
+Hyde Park as it existed fifty years ago. The side next Park Lane, now a
+beautiful walk, adorned by the gardener’s utmost skill with several
+varieties of flowers and shrubs, was then a narrow sunken road, which
+for the most part continued, by the side of the boundary wall, all the
+way from Oxford Street to Piccadilly. This, when improvement commenced,
+was filled up, and laid down in grass; and a wide Mall, with two
+foot-paths, was formed on the higher ground, and enclosed by handsome
+iron posts and rails. Some extensive gravel pits existed in the middle
+of the park; these were filled up, one only being permitted to remain.
+The surface of the park was generally levelled and manured, by which the
+herbage has been greatly improved. Numerous seats were placed about the
+park, for the convenience of the public; clumps and avenues of trees
+were planted. The Serpentine was cleansed for the first time; it is just
+now recleansed. A new drive, nearly a mile in extent was made through
+the most distant and beautiful part of the park, to lead to Kensington
+Gardens; and generally, all the roads were macadamized, and enclosed
+with posts and rails. To connect the roads north and south of the
+Serpentine, a handsome bridge was erected, from the designs and under
+the superintendence of Messrs. Rennie. This has much conduced to the
+accommodation of pedestrians and horsemen.
+
+About twenty years after these great improvements were effected, Queen
+Anne’s garden, at the extreme termination of Kensington Gardens, was
+thrown open to the public; the kitchen garden belonging to Kensington
+Palace was let out on building leases, and a road formed through it
+connecting the town of Kensington with Bayswater. This road, called the
+Queen’s Palace Gardens Road, is now covered from end to end with
+first-class mansions. The improvements continued, and are being still
+carried on.
+
+The lodges and gates, at the chief entrances into the park, were put up
+at the expense of the nation. When any building operator required an
+entrance into the park, for some new outlying district, he bore the
+expense of the construction, working under the direction of Her
+Majesty’s Chief Commissioner of Works. The Government lodges at
+Cumberland Place cost 2151_l._ One of these has been lately removed to
+widen Park Lane.
+
+The two first lodges, with gates opposite Stanhope Street, cost 5062_l._
+The single lodge at the end of Grosvenor Street, with the iron gates,
+cost 2929_l._, and the fountain 340_l._
+
+The grandest of all these erections, that at Hyde Park corner, adjoining
+the Duke of Wellington’s mansion, cost 17,069_l._
+
+The first lodge and entrance gates put up by a private building
+contractor was the Albert Gate, erected by the late Thomas Cubitt; the
+lodge is sunk, its flat roof being on a level only eight feet above the
+ground, and containing two small rooms, with a little yard and scullery.
+The iron railing forming the carriage gates and entrances to the
+foot-paths is of the same height as the lodge, and extends about 60
+feet; the stone piers have on them the old stags which formerly
+decorated the stone piers at the entrance of the Ranger’s Lodge in
+Piccadilly. This gate gave an entrance by Hyde Park to Belgravia, and
+very much raised the value of that district.
+
+The next lodge and gate were put up by Mr. Kelk, opposite the fine
+mansions at Prince’s Gate. This is known as the Prince of Wales’s Gate.
+
+There are two lodges in size and plan exactly similar to the lodge at
+the Queen’s Gate. The gates and railings are very plain; they are 12
+feet in height, and extend to a length of 77 feet.
+
+The Queen’s Gate lodge and gates are certainly the chief of all the
+erections put up by building contractors; their cost was 2800_l._, as
+previously mentioned. Both in ornamentation and character they vie with
+the best erections put up by the Government. The length of the iron-work
+between the stone pedestals is 140 feet; the height of the common rails,
+11 feet above ground; the height of the standard and lamp, 18 feet;
+there are two carriage gates, each of 15 feet opening, and two entrances
+for foot-passengers, each of 10 feet opening. The stone pedestals at
+each end are 6 feet in width by 15 feet in height. The iron-work is
+designed to represent a group of spears; the author wished to surmount
+the pedestals with groups of military arms similar to those of the
+trophies of
+
+[Illustration: Design No. 13. Elevation of centre of iron-work, Queen’s
+Gate.]
+
+Marius on the balustrading in front of the Senatorial Palace, Rome.
+These could have been constructed in
+
+[Illustration: Elevation of one of the Iron Standards.]
+
+stone, at little expense. Sir Benjamin Hall wished for marble statues,
+and on Prince Albert’s suggestion models were made of two reclining
+figures, by Mr.
+
+[Illustration: Section showing construction of Standard.]
+
+Theed, representing “Morning” and “Evening.” These would have caused
+great additional expense to the builders, who wished, as the entrance
+was a great improvement in the value of the Earl of Harrington’s
+property at Kensington, to place, on the piers, two
+
+[Illustration: Plans of Standard at various heights, showing
+construction.]
+
+fine antique statues of Hercules then on the gates at Elvaston in
+Derbyshire, a country seat of the Earl’s. But as the statues belonged to
+the estate, and were entailed property, they could not be removed, and
+the Earl objected to their being taken down for the purpose of casting.
+The effect of the whole is much injured by the pedestals remaining
+unoccupied. The plate on page 143 represents the centre of the ironwork,
+surmounted by the Royal Arms.
+
+[Illustration: Iron block and ball latch.]
+
+The gates and railing are of very superior construction; they are the
+work of Mr. Turner, of Hinde Street, Manchester Square. They have been
+pronounced by the Government officials as requiring little attention,
+and that the gates open and shut better than any other gates in the
+park. Page 144 gives an elevation of one of the iron standards. Each is
+two feet in width; there are ten of them; four, those belonging to the
+carriage entrances, being surmounted by lamps. The small size of this
+volume will not allow a full illustration of the ornamentation to be
+given, but it admits that important part, the construction, to be
+clearly shown. Page 145 gives a section of one of the standards, _d_ is
+a layer of concrete, 1 foot 6 inches in height and four feet in width,
+which goes all through; _a_ is the York landing, 6 inches thick and 5
+feet square; _b_ is the brickwork, this goes all through; _c c_
+represent the blocks of Portland stone; and _e_ is the granite curb 8
+inches by 10 inches in section, within the entrances.
+
+[Illustration: Wheel block.]
+
+Page 146 gives the plans of the standards at different heights, showing
+the several plates given in the section; and on page 149 is a section of
+the wrought-iron coupling-bar with its brass bush.
+
+The gates move on a hardened steel socket of circular form, working
+within a steel box, as shown in the section.
+
+[Illustration: Fall-down latch.]
+
+[Illustration: Coupling-bar.]
+
+Iron block and ball latches are provided for each of the gates. On pages
+148 and 149 are cuts of the wheel block, with the plan, elevation, and
+section of the stopping-piece or fall-down latch. The stopping-piece is
+keyed into the granite curb in the centre of each gateway; _a a_ is the
+lower rail of gates, and by its side is a small portion of the ornament
+between the rails. That the effect of the whole structure was, very
+much injured by the unfinished state of the pedestals was the opinion of
+Lord Llanover, who sent the following letter to the architect,
+expressing his dissatisfaction:
+
+                                            Great Stanhope Street,
+                                                _July 11, 1859_.
+
+     SIR,
+
+     The works at the Queen’s Gate, Hyde, Park, are very well executed,
+     and the entrance, as completed, produces a good effect; but that
+     effect would be materially improved if the gates and the railings,
+     and the ornamental works were relieved by colour, and some of the
+     parts gilt as I intended they should be. The two pedestals are also
+     without the groups which were to form the superstructure of the
+     square blocks. The work so far as it is executed is very well
+     executed, and I am quite satisfied with it so far; but I shall not
+     consider it completed until the groups are placed on the pedestals,
+     and the best effect will not be produced so long as the iron-work
+     remains wholly black.
+
+                                                      I am, Sir,
+
+                                                     Yours faithfully,
+
+                                                       LLANOVER.
+
+C. J. Richardson, Esq.
+
+
+
+
+ON THE FOUNDATION AND BASEMENT WALLS OF BUILDINGS, DAMP PREVENTION, AND
+FIRE PROOF CONSTRUCTION.
+
+
+The foundations of buildings require careful consideration. When a house
+approaches completion and shows cracks in the upper walls, they arise
+either from insufficient attention having been given to the solid
+character of the earth forming the site, or from bad construction at the
+basement. The building in fact settles down unequally. As a settlement
+of every building is certain to take place upon its completion, the
+greatest precaution should be taken to make it as equable as possible.
+No portion should settle deeper than another, and this can only be
+secured by care at the foundations.
+
+It often happens that portions of a selected site are of unequal
+quality. In such cases it is necessary to excavate the worst portions
+deeper to reach a good stratum, and to take the brickwork lower, no
+filling up beyond the usual thickness of concrete being allowed.
+
+There is another very serious evil, in building, to be guarded against.
+Owing to the moisture of the earth rising through the foundations and
+saturating the walls above, the health of the occupants of such houses
+may be seriously affected by its presence in the walls. About twenty
+years ago it was the universal practice in good buildings to place wide
+stone landings--three times the thickness of the wall above--under the
+foundations, for the purpose of preventing the damp from rising as well
+as to spread the width of the wall.
+
+[Illustration: Section of a proper foundation for a wall.]
+
+A bed of concrete is now used as a substitute for this plan; the
+engraving below shows the best method of constructing foundation walls.
+A trench, three times the width of the wall is dug, at least 2 feet 6
+inches in depth. Into this is thrown a quantity of concrete, which soon
+dries and becomes solid. In the superior class of buildings a layer of
+concrete, six inches in thickness, is placed entirely over the ground,
+inside the foundation. Upon this concrete the walls are built, the
+lowest footing being twice the width of the wall above. On a few courses
+above the top footing a course called a “damp course” is put; this is
+shown at _a_, page 152.
+
+Two courses of slate are laid in cement; but other materials are often
+used, as a thin sheet of lead, for the whole width of the wall. Zinc
+might answer, but it has not yet been tried. A thin coat of asphalte, or
+asphalted cloth, tar, pitch, or a plain coat of cement are also often
+employed, but the two courses of slate in cement are considered
+sufficient. The first course of bricks above the ground is often formed
+entirely of air bricks, originated by Mr. Aldin, the builder, of
+Kensington. Each brick has eight or ten perforations, ½ inch in
+diameter, through its whole length; a small piece of perforated zinc is
+placed upright between the bricks to prevent insects from entering. This
+is shown at _b_. The timbers and stone flooring of the basement do not
+enter the walls, but rest upon dwarf walls, the joists having oak
+sleepers to rest on. The brick fenders of the foundations are entirely
+filled with dry rubbish or ironfounder’s ashes, and the stone hearths
+bedded solid either in mortar or concrete. This is the construction
+shown in all the designs of this volume. To illustrate still further the
+attention given in constructing foundations, the engraving below is
+given, showing a section of a foundation executed several years ago at
+Westminster, where the ground was uncertain. Its scale is only half that
+of the previous figure, the upper wall being 3 feet in thickness
+
+[Illustration: Section of foundation to a wall.]
+
+instead of 1 foot 6 inches. Above the bed of concrete, which is 9 feet
+in breadth, by 3 feet in thickness, are York landings, _a_, 4 inches
+thick and exceeding 6 feet in width. Upon these are laid two lines of
+wood sleepers, _b_, bedded in brick and cement, the size of each sleeper
+being 12 by 6 inches, and in long lengths. Above this is a course of
+planking, _c_, placed diagonally across the wall; each plank being 12
+inches by 6 inches, and about 9 feet in length. Above this are the
+footings, each two courses in height: in the return walls the landings,
+sleepers, and planking are placed a course higher, so that they might be
+tied together. The brickwork goes down twelve feet, and invert arches
+are turned at every opening.
+
+[Illustration]
+
+In order to keep the walls as solid as possible in the lower part of a
+building, the ground floor joisting should rest on projecting corbel
+bricks as here shown,--the joists going between the cross walls rest
+upon projecting bricks, the upper one being of peculiar strength; tall
+piles are put between each joist against the wall, for the skirting in
+cement to be formed upon it. Air bricks in open iron-work, two to each
+front, are placed so as to admit air within the joisting.
+
+This mode of construction is carried throughout the ground floor.
+
+The stone landing of the passage by the side of the servants’ stairs, is
+supported on the part next the wall by corbel bricks, and on the other
+side by an iron bar let into the wall at each end; as shown above. In
+the upper floor, the joisting should be reversed and go front to back,
+notched on wall plates let into the wall, thus tying both walls
+together.
+
+[Illustration: Section of stone landing of passage.]
+
+[Illustration: Section of kitchen roofing.]
+
+The introduction of rolled iron girders into buildings renders fireproof
+construction very easy. They are made of all sizes, and can be placed
+over any opening, so as to carry the weight above them. Kitchens in many
+London houses are constructed in the back yards, with an area between
+them and the house. This confines all the smell of the cooking to the
+precincts of the kitchen. As it is very important that no roofing should
+interrupt the light from the back ground-windows of the house, the roof
+of the kitchen is so constructed that the yard is only moved upwards; it
+belongs to the ground floor and not to the basement. For this purpose,
+cast iron girders, standing on brick piers, bear up rolled iron six-inch
+girders, between which half-brick arches are turned. Above all these is
+concrete, cement, or asphalte. The courses of tiles and cement are laid
+at such a slope as will be sufficient to take the water off quickly. It
+is easy to put skylights, or any kind of opening, in this construction,
+and to make the whole water-tight.
+
+This figure shows a way of supporting walls over openings, instead of
+the old method of arching in brick; the iron girders or plates have
+often no timber between them; they rest upon iron shoes or stone slabs,
+their depth being proportioned to the opening and the weight above.
+Strong large hollow bricks or tiles are placed over them, and above all
+is the brickwork.
+
+[Illustration: Support over opening.]
+
+The upper floors of buildings are made fire-proof in a similar manner,
+and for this purpose there are several excellent patented methods. The
+iron girders are closed up by brick arches, or filled between with
+concrete. The only objection to this mode of construction for upper
+floors is the great weight, and the walls require to be made of extra
+strength. Several years ago a hollow brick was used to form such arches
+and roofing, _e.g._, the dome of the Rotunda, at the Bank of England, is
+formed with them. The brick is somewhat similar to a flowerpot, but flat
+and closed at each end. There were several varieties of these cone
+bricks, as they were called; a few are preserved in the Soane Museum.
+One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8
+by 2 inches at the bottom. They were curved inwards with a small
+opening, 1 by 2/8 inch in the centre. The edges of the brick were
+slightly splayed, and the sides scored; these were as strong as the
+common bricks, and very much lighter. When the East India House was
+pulled down a large quantity of these bricks was obtained; they were
+brought to Kensington, and the builders did not know what they were
+intended for; their purpose being pointed out, they were used up in the
+construction of fire-proof flooring.
+
+_Fire-proofing._--A method of rendering buildings nearly fire-proof was
+introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted
+in placing thin metal plates between the flooring boards and the joists,
+so as to prevent any upward currents of air. For domestic buildings the
+system was one of great value. After several successful trials it
+obtained considerable notoriety, and being thought capable of an
+impossibility, that of rendering a Theatre fireproof, it was applied to
+the Pantheon Theatre in Oxford Street. On that structure being burnt to
+the ground the plates lost their character, and went out of use. It was
+clearly a mistake to apply them to such a building. Thin iron plates
+hung at a short distance below the ceiling were successfully adopted by
+Mr. Walter Crum, to prevent the spread of fire from one room to another
+in his calico printing works, near Glasgow.
+
+_Damp._--The damp rising from foundations is more easily guarded against
+than damp coming against a building laterally. Houses in exposed
+situations and subject to driving winds, are often very wet inside the
+walls, the rain being driven through them. Sometimes the best
+construction will not keep out wet. As a rule, a well-built wall wherein
+proper material has been used, should not be damp.
+
+A rectory, not far from Salisbury, where the author was engaged a few
+years ago, was in such an exposed situation that on three of its sides
+no tree or any other object in a direct line could be seen for three
+miles. Clothes, if placed against the external wall of the
+dressing-room, were often quite wet. The Rector had tried several
+preventives himself; one was a mixture, used to water-proof cloth--a
+wash of soap and alum.
+
+The ingredients were mixed in the following proportions: ¾ lb. of
+mottled soap to 1 gallon of water. This mixture, when in a boiling
+state, was laid over the surface of the brickwork steadily and carefully
+with a large flat brush, so as not to form a froth or lather on the
+surface, and was permitted to remain twenty-four hours to become dry and
+hard. Another mixture was then made in these proportions: ½ lb. of alum
+to 4 gallons of water, which, after standing twelve hours, in order that
+the alum should be completely dissolved, was applied in like manner with
+a flat brush over the coating of soap. The coating had to be very often
+renewed. The wall most exposed was made free from wet by being covered
+with a coating of cement.
+
+Walls exposed to damp should be coated with a thin layer of Portland
+cement, mixed with a little plaster of Paris, and after this is
+thoroughly dry, it may be hardened and rendered impervious to water by
+painting it with boiled linseed oil and red lead, mixed together.
+
+In very exposed situations all external walls should be battened, lath
+and plastered within, or built with a hollow cavity in the middle, with
+proper bond and a proportionate increase of thickness,--the hollow
+could be filled with concrete, or the back of the bricks covered with
+pitch. There are several other methods for keeping walls free from damp.
+One is to saturate the walls with some kind of mastic, or a wash
+composed of two or three parts of resin and one part of drying oil, to
+the extent of as many washes as the wall will absorb. This must be quite
+dry at the time, or be dried by means of a small portable furnace. The
+plan is effectual, but it is a difficult operation to perform. A cement
+composed of lime, boiled linseed oil, white lead, and sand, has been
+recommended.
+
+Besides these various compositions, there are several excellent
+well-known paint and metallic cements, which have stood very severe
+tests, and are largely made use of; but walls properly constructed
+should not require their application.
+
+[Illustration: Plaster ornament for a ceiling.]
+
+
+
+
+_DESIGN No. 14._
+
+A SMALL COUNTRY RECTORY.
+
+[Illustration: Perspective view.]
+
+
+This design was made for a country clergyman residing near Montacute, in
+Somersetshire. It was arranged according to his express directions in
+every particular, both as to style, and in regard to the number and size
+of the rooms on each floor. Living in the immediate neighbourhood of
+some of the finest
+
+[Illustration: Ground plan.]
+
+old English mansions, he was anxious to have a residence in the old
+decorated style of wooden architecture, certainly the most picturesque
+of all the styles our forefathers have left us. The timber dwelling is
+found in almost every county throughout England, with their projecting
+windows and highly ornamented bargeboards; several large houses in
+Cheshire and Shropshire remain to satisfy us that such construction,
+when properly carried out, is very lasting. The timber used requires to
+be felled at the right time, and to be properly seasoned before being
+placed up; which must be done on a brick or stone foundation. Dwellings
+constructed in this way were anciently
+
+[Illustration: Plan of upper floor.]
+
+called post-and-pan houses. They have been known to rock and bend before
+severe storms, and to stand intact while adjoining buildings have been
+blown down. Large palaces were formerly constructed in England of wood;
+the chimney flues and fireplaces alone being of brick. The sketch-book
+of John Thorpe, an Elizabethan architect, a copy of which is in the
+fine library of the Art Museum of South Kensington, illustrates several
+of these dwellings.
+
+With the present design it was the intention of the rector to carry out
+the work himself, the necessary drawings being provided him. The
+building is small and compact. When much adornment is intended, it is
+necessary to confine the expense within
+
+[Illustration: Ornament in ceiling of study.]
+
+bounds; if a cheap large house with plenty of accommodation be required,
+then four walls and an overhanging roof alone need be given. The view
+shows the principal front of the building; on page 163 is the ground
+plan; _a_ is a small hall having a window looking into the conservatory
+on the right; the door leading to the servants’ department is on the
+left; _c_ is a small study, 16 ft. by 14 ft., with a decorated ceiling,
+containing the shield of arms of the owner. The drawing-room, _d_, size
+28 ft. by 15 ft, has the
+
+[Illustration: The ceiling of drawing-room.]
+
+ornamental ceiling of bold Elizabethan character; this covers the whole
+ceiling, and the effect of such ornamentation
+
+[Illustration: Cornice of drawing-room.]
+
+is very good. Often, in the olden times, a portion of the rib moulding
+was gilt, the ground of the ceiling being of a light blue; ceilings of
+this kind exist which represent foliage and flowers, giving the effect
+of a garden bower. The preceding illustration shows the present ceiling.
+The simple rib moulding is in plaster, with small flowers and pendants.
+The section of the rib moulding to a large scale is shown in the cut;
+which also gives the cornice and frieze of the room; _e_, in the ground
+plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace
+paved with
+
+[Illustration: Plan of attic. Basement plan.]
+
+marble in black and white squares--the present ornamental tiles were not
+in common use at the time the design was made; _f_ is the kitchen, _g_
+the scullery, and _h_ the larder. A small enclosed servants’ yard, with
+place for coals, wood, and other conveniences, is in front of the
+kitchen. The yard has a separate entrance from the front. This is the
+whole of the accommodation given on the ground floor. The one-pair plan
+shows the five bedrooms. These are without dressing-rooms, there being
+no space for them. A small turret staircase leads to the attic floor.
+This gives two large bedrooms and a small one for the
+
+[Illustration: Section through building.]
+
+servants. The large bow-windowed room might serve as a nursery. The
+tower was carried up and contained a bell. The basement plan contains a
+large and small wine cellar, and one also for beer; there are four
+cellars, besides an inner cellar under the stairs.
+
+[Illustration: Front elevation.]
+
+The principal staircase is very light and cheerful, having on one side
+three large windows, with a ledge or stand for flowers. It was proposed
+to panel it entirely with oak, and have an ornamental ceiling similar to
+that in the drawing-room, with a pendant in the centre. The section is
+taken through the drawing-room, staircase, and kitchen, and shows the
+form and height of the rooms above; also the stone stairs to the
+cellars.
+
+[Illustration: Details of gable ornaments.]
+
+It will be seen that the walls rest upon a concrete foundation; the
+scale is too small to show the damp course or the ventilating bricks, as
+previously described (see page 159). The chimneys are shown carried up
+nine inches square, excepting the kitchen chimney, that being 14 inches
+by 9. The staircase was to have a plain Elizabethan iron railing, and
+the whole of the wood-work to be coloured and grained oak; the roof was
+to be covered with slate, these requiring a less solid base; ornamental
+ironwork crowned the summit of the principal roof over the staircase. An
+illustration of the front of the building is given on page 169.
+
+[Illustration: Section and elevation of chimney.]
+
+The figures on page 170 illustrate various kinds of treatment for the
+carving of the finials and pendants, and the ornaments of the small
+gables; it being usual in these structures not to have any two parts of
+ornamental detail exactly alike. It has all to be carved by hand, and
+requires only slight extra trouble on the part of the architect to make
+separate patterns for the workmen. A section and elevation of one of the
+chimneys are shown also; they are fitted with the small cap introduced
+and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and
+Pimlico; this will
+
+[Illustration: Knocker. Key escutcheons.]
+
+[Illustration: Oak corbel.]
+
+be found fully illustrated in the chapter on chimney and flue
+construction. At the time this design was made, this plan was not
+known. The chimney is shown with an iron funnel 2 feet in height, a
+chimney-pot, in fact, let into the stone work at top, having no
+projection within for soot to lodge. Two of the stone balustrades are
+illustrated. Every separate balustrade in such buildings should be of a
+different pattern.
+
+[Illustration: Stone balustrades.]
+
+The knocker on the entrance door, the key, escutcheons for the doors,
+and a corbel in oak from the entrance front, are illustrated on page
+172.
+
+[Illustration: An external frieze.]
+
+
+
+
+_DESIGN No. 15._
+
+A SMALL COUNTRY HOUSE.
+
+[Illustration: The front elevation.]
+
+
+This building was intended to be only a comfortable country house for
+the residence of an eminent provincial solicitor. It was directed to be
+made of superior character, as the owner, being a person well known in
+the county, considered that the
+
+[Illustration: The ground plan.]
+
+eyes of the whole neighbourhood would be upon it. The situation was on
+one of the roads leading out of Maidstone, and as the land in which it
+was to stand was taken on lease for 99 years, nothing beyond a superior
+gentlemanly character could be given to it, as it is only in freehold
+houses that any superior or expensive architectural adornment should be
+indulged in. The Roman or Italian style, as being the most appropriate
+and the one best understood by builders, was adopted.
+
+[Illustration: The plan of the upper floor.]
+
+The front of the house had no prospect, the side of the road opposite to
+it showing only a high bank with boulders of ragstone, peculiar to the
+county of Kent; and for this reason none of the principal windows looked
+towards it. The back-front and side, however, turned towards the hills
+between Maidstone and Rochester. Very precise directions were given as
+to the arrangement, size, height, and number of the rooms. The study,
+_c_, was to be on the left of the entrance-hall, and its size 16 feet
+by 12 feet. It was made 16 feet square. The drawing-room, _d_, having
+the chief prospect, was to be the principal room. This was made 20 feet
+by 17 feet. The dining-room, _e_, was 20 feet by 16 feet; both rooms
+looked into conservatories, _i_ _i_. The back front faced the north--a
+very favourite aspect for the principal rooms with many of the noblemen
+and gentlemen of Kent; the reason being that the flowers in the gardens
+under the windows, turning towards the sun, present a cheerful and
+agreeable appearance to the occupants of the rooms.
+
+[Illustration: Plan of second floor.]
+
+[Illustration: Plan of basement floor.]
+
+The dining-room had steps leading down to the garden; the kitchen _b_,
+scullery _g_, and small larder _h_, were on the right of the entrance,
+the kitchen and the study having small windows by the side of the
+entrance, so that all visitors coming to the house might be seen. The
+servants’ door was in the small yard by the side of kitchen, with a
+place for coals; _o_ is a small chaise-house, and _p_ a stable for a
+pony; _l_ is the dust-hole.
+
+[Illustration: Frieze of drawing-room.]
+
+[Illustration: Frieze of dining-room.]
+
+[Illustration: Section of cement skirtings.]
+
+The upper floor had to contain five best bedrooms; these can be seen in
+the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet.
+There were three dressing-rooms, the largest 12 feet by 10, the two
+smaller each 12 feet 6 inches by 6 feet. The second floor contained two
+rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10
+feet. The basement had a footman’s pantry, 12 feet by 9 feet 6 inches,
+and a dairy of the same size. This had steps down to it in the area.
+There was a wet larder with a window, a wine cellar, and a beer cellar.
+
+[Illustration: Section through entrance-hall and dining-room.]
+
+The interior was plainly finished, with nothing beyond the best modern
+enrichments. The whole of the interior had Keen’s cement skirtings. The
+staircase had a skirting flush with the wall, so as not to take away
+space from the stairs; this is shown at page 178. There were ornamental
+roses in the centre of the ceilings of the principal rooms. The section
+of the interior is made through the principal entrance, across the
+staircase and dining-room; and in the upper floor, through two of the
+dressing-rooms.
+
+[Illustration: Elevation of portico.]
+
+The only architectural feature in the front of any importance was the
+portico (see page 180). A bold and prominent effect was given to it. The
+estimated expense of the building was 2151_l._, full price put down as
+2250_l._
+
+       *       *       *       *       *
+
+The vignette is an elevation of an Elizabethan balustrade, in stone,
+intended to crown a cornice, and to be placed in an elevated position
+against the sky line.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 16._
+
+A COUNTRY VILLA.
+
+[Illustration]
+
+
+This villa, which has just been erected in Berkshire, in the
+neighbourhood of Windsor, is intended as the country residence for a
+lady of rank. The living rooms are large and noble, and the
+accommodation
+
+[Illustration: Plan of ground floor.]
+
+for a small establishment ample. The plate (page 182) shows the garden
+front, and above is the ground plan. The two principal rooms, the
+drawing and dining-rooms, are respectively 25 feet by 18 feet and 21
+feet by 18 feet. They are to the left of the hall; this, of moderate
+size, leads to the principal staircase, which is of very easy ascent,
+each step rising less than
+
+[Illustration: Plan of upper story.]
+
+6 inches. The second landing opens to the servants’ staircase; _b_ (see
+page 183) is the kitchen, size 15 feet
+
+[Illustration: Plan of wine cellar.]
+
+by 14 feet, with the larder _h_, leading directly out of it,--_g_ is the
+scullery, with an oven, and a shoot into the dustpit _m_, _n_ is the
+housekeeper’s room, and _j_ the butler’s pantry; _c_ is the lady’s room
+or study. This was enlarged, by taking down the partition, marked on
+the plan by the dotted lines, to allow of a splendid oak cabinet being
+placed there. A door in the room opens direct into that of the
+housekeeper; _k_ is the dairy,
+
+[Illustration: Section through drawing-room, staircase, and kitchen.]
+
+and _l_ a place for coals. The wine cellar was at first intended to be
+placed under the principal flight of stairs, descending a few steps; but
+a large one, _b_ (see page 184), was afterwards made.
+
+[Illustration: French cut pine woodwork, from the exterior.]
+
+The plan of the upper story shows it containing two large principal
+bedchambers--each with a dressing-room, and a large room with two
+fireplaces serving as a nursery, but which could at any time be made
+into two rooms by putting up partitions.
+
+The servants’ sleeping apartments, the housemaid’s closet, and the
+servants’ staircase, occupy the remaining portion of the plan.
+
+The cost of erecting the carcase of the building, including the wine
+cellar, was 1108_l._ The cost of finishing, putting up the principal
+staircase in Portland
+
+[Illustration: Plan and elevation of iron glazed casement to
+entrance-door.]
+
+stone, and leaving all work required to be painted with two coats, but
+exclusive of papering, stoves, ironwork, marble mantelpieces,
+conservatory, verandah and exterior decorations to roof, was 1550_l._
+Mr. Hockley, of Kensington, was the builder. When the mansion was
+finished so far, all ornamentations, &c., formed an agreeable occupation
+for the lady to complete from favourite examples seen by her on the
+Continent. The extra parquet flooring in the dining and drawing-rooms is
+from Switzerland. This cost 148_l._ All the stone flooring of the hall,
+staircase, passages, and conservatory, is covered with tiles from Italy;
+these are about 8 inches square, but not so well made as the English
+kind, although more artistic. Each has a small figure put in by hand,
+which is different on every tile. The tiles are faced with a white
+china ground and look extremely well. The common tiles cost 16_s._ per
+100. The grotesque figured tiles,
+
+[Illustration: Plan and view of remains of old house.]
+
+of which the illustration on page 189 shows four, cost 2_l._ per 100.
+They were supplied by M. Giustiniani, of Naples. The marble
+chimney-pieces were to be supplied from Italy. The ironwork of the
+staircases, and the panel to fill up the opening in staircase, shown
+dotted in the upper plan, were supplied from Paris. It is different from
+any ironwork that can be procured here, of elegant design, and covered
+apparently with a thin coat of zinc. This gives it a silvery metallic
+appearance, and it does not require
+
+[Illustration: Four of the Italian figured tiles.]
+
+painting; it is really a coating of glass, and is termed the _lavenant_
+process. It it said to be a great preservative of the iron, and can be
+put on in different colours. Each of the windows of the principal rooms,
+and the hall, is fitted within with Price’s steel revolving shutters.
+These cost 75_l._ The upper windows on the outside have iron balconets,
+likewise from France, and the roof, surrounding the principal parts, is
+finished with the French cut pine patterns. They were supplied by M.
+Jules Millet, of 12, Boulevard du Temple. The entrance door has the two
+upper panels
+
+[Illustration: French iron staircase railing.]
+
+filled with French castings, executed in a fashion different from the
+English mode; but one quite worthy to be followed. The iron panel is
+placed on the outside, with a light iron glazed casement fitted behind
+it. This in warm weather can be opened, so as to admit fresh air into
+the hall. The plan and elevation of the casement shown from the inside,
+on page 187; by the side of it is one quarter of the external iron
+casting.
+
+It may be remarked that these French patterns, both in iron and wood,
+are not finished off as clean as they would be in England. The castings
+appear just as they came out of the sand, and the wood pattern exactly
+as the machines or saw left them; but they are extremely elegant, and
+the metallic appearance of the ironwork is very pleasing.
+
+The former house is pulled down, except a portion, permitted to remain,
+which is formed into a decorative building for the garden; the plan
+(page 188) shows _a_ the old kitchen, _b_ the wine cellar made into an
+ice-house, _d_ a lock-up closet, _f_ a prospect tower, _c_ a closet in a
+small enclosed garden, and _e_, a garden seat.
+
+On page 190 is a pattern sent from Paris for the staircase railing.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 17._
+
+A DOUBLE SUBURBAN VILLA.
+
+[Illustration: Perspective view.]
+
+
+This building was intended for erection on a leasehold estate at a
+little distance out of London. It would have been of rather plainer
+character, but the view (page 192) shows the design first made. The
+frontage, or width of ground for each house, was
+
+[Illustration: Ground-floor plan.]
+
+60 feet, the depth 150 feet. The character of the building was of the
+domestic style of the reign of Henry VII., and the accommodation it
+afforded is given in the several plans. The ground plan shows two large
+rooms _D_ and _E_, the drawing and dining rooms, which can easily be
+opened into each other by sliding back the inner doors into the
+partition; _C_ is the library, with a book-room leading out of it. _B_
+is the staircase, of a size rather larger than that generally allowed in
+London houses. Very often, sufficient attention is not paid to this
+highly important part of our dwellings by builders, nor full space
+allowed for it. A
+
+[Illustration: One-pair plan.]
+
+good staircase should have, at every six or seven steps, a landing of at
+least 2 feet 6 inches in depth. Where winding stairs are used they
+should have a good sweep; the tread, in the centre, should be 1 foot in
+width, the riser never more than 6 inches in height--less even would be
+better. It is also of considerable importance in a staircase that the
+height of the steps in the various flights should be the same. Some of
+the most costly and important of the builders’ houses in London, erected
+on highly rented land, have the staircases so confined that these, an
+architect’s well-known rules, are wholly put aside. Staircases with
+risers of 6 inches in height from the ground to the one-pair floor,
+increased to near 7 inches to the two-pair, the latter flight containing
+probably 30 steps in a straight line without a landing, render a house
+almost uninhabitable.
+
+[Illustration: Attic plan.]
+
+A servants’ staircase is a most desirable addition to a large house.
+The present building was not considered of sufficient importance to have
+one. It was proposed to be placed between the tower and the dining-room,
+but it was rightly considered that the two staircases should be put
+together so that the
+
+[Illustration: Basement plan.]
+
+landings of each, on every half space, should be on the same level,
+separated only by a door, and giving the servant immediate access to
+every floor of the house. A position between the library and staircase
+would have been most proper, but there was not sufficient width; it
+would have interfered with the kitchen, and would have made too
+intricate a plan, which, for houses to be erected on leasehold land, is
+objected to by builders unless directed by the party purchasing.
+
+[Illustration: Section of roof to larder.]
+
+[Illustration: Section of steps to garden.]
+
+With a servants’ staircase follow a large housemaid’s closet, sink, &c.,
+which must always be provided where possible. The plan of the one-pair
+shows three large bedrooms and one dressing-room, with the tower room,
+which was intended either for a morning room, a
+
+[Illustration: The side elevation.]
+
+school room, or a boudoir. There is a large conservatory on the
+principal landing of staircase, and a closet leading out of it. A
+good-sized aquarium with a regular supply of water could be easily
+arranged in the centre of the conservatory. The attic plan contains
+three large rooms for servants, and the tower room was to be used as a
+smoking room, or as a play room for the children.
+
+[Illustration]
+
+The basement contains a private breakfast or dining room, _T_, with a
+large store closet, having an opening one foot in height filled with
+perforated zinc opposite
+
+[Illustration: Half elevation of small library.]
+
+the window of the passage; _N_ is the housekeeper’s or servants’ hall;
+_B_ the kitchen 23 feet by 18 feet, with _G_ the scullery behind, _H_,
+_H_, the larders, _S_ position for a lift, and _L_ a place for coals.
+The basement stairs should have been on the side adjoining kitchen.
+
+[Illustration]
+
+It is a difficult thing in this class of house to confine the smell of
+the cooking to the kitchen. An endeavour was made here to effect it. The
+kitchen had no direct entrance to the body of the house, the servants
+going through the passage, by the side of the area, from which it was
+well ventilated, to get to the common staircase. This had a window at
+the top, not shown in the plan. The small section on page 197 shows
+
+[Illustration: Elevation of hall screen.]
+
+the mode of ventilating the larder; _a_ is a slab of slate let into the
+wall, _b_ a pane of perforated zinc, _c_ iron bars glazed with thick
+glass, so that whatever the weather, there would be full ventilation,
+the fresh air always entering and the confined air leaving the room.
+This is the usual mode, in large houses, of covering the external
+passage leading from the kitchen to the house.
+
+[Illustration: Details of hall screen. (See page 206.)]
+
+The general view shows the front and side of the two houses. The
+elevation of the side front is given on page 198.
+
+[Illustration: Plan and elevation of entrance garden-gate.]
+
+The three small illustrations on page 199 are various details of the
+exterior. One is a part section of the roof of turret, showing the
+timbers and the vane at top, an elevation of one half the upper gable
+window, and half of one of the small front windows; these portions of
+the exterior, together with the arcade at the entrance and balustrade
+over it, were to be executed in stone.
+
+The Gothic window by the side of the arcade is an example from Berstead
+Church, in Kent. The gentleman for whom the design was made caught a
+sight of it in the “Architect Sketch Book,” and required it might be
+introduced as a small window in his library. An elevation of one half of
+it is given on page 200.
+
+The general section (page 201) is of one of the houses taken through the
+drawing room, the staircase, and the library. The staircase is well
+lighted, having a conservatory and closet on the first half-space
+landing. The ceiling of the staircase is finished with groining and
+pendant flowers; the stairs have a plain Gothic iron-railing, painted
+and lightly gilt; the section shows the party-wall between the two
+houses.
+
+[Illustration: Balustrading on garden wall.]
+
+The entrance is divided into an inner and outer hall, divided by a
+Gothic screen in carved oak, the various openings of which, together
+with the upper panels of the folding doors, are filled with embossed
+glass. This keeps the house warm, and prevents cold draughts from
+entering; a second glazed screen separates the inner hall from the
+staircase; the effect of the screens when there is plenty of light
+behind is extremely pleasing. It was for such a screen that the
+door-handle illustrated at an earlier page, as a vignette, was made.
+
+[Illustration: Balustrading in front of house.]
+
+Of the first of these screens, that in the hall, only the larger lower
+and upper panels were to have white embossed glass; the smaller openings
+were to be filled with richly coloured embossed glass; a small elevation
+of the hall screen, and portions of its details to a larger scale, are
+given on pp. 202, 203.
+
+The chimney pieces were proposed to be of cast iron, and to be painted
+and slightly gilt.
+
+The expense of construction of the pair of villas would be nearly about
+7800_l._
+
+[Illustration: Front.]
+
+Cut-wood canopy to a door at West Brompton, a short distance beyond the
+Metropolitan District Railway. It has been constructed about twenty
+years, and stands well.
+
+[Illustration: One of the side trusses or corbels.]
+
+
+
+
+_DESIGN No. 18._
+
+DESIGN FOR VILLAGE SCHOOLS, AND READING ROOM.
+
+[Illustration: Front elevation.]
+
+[Illustration: Plan.]
+
+
+This building is about to be erected in the county of Norfolk. It will
+contain a boys’ and girls’ school, with two rooms each, forming a
+parlour and bedroom, for the master and mistress; _a_ is the entrance
+porch, _d_ and _d_ are the two school rooms, and _e_ and _e_ the living
+rooms. The centre of the building forms the reading, lecture, and
+meeting-room for the village. The small room _c_, leading out of it, is
+a book room for the secretary or attendant; _b_, _b_, are open yards;
+each master and mistress have private entrances, and yards to
+themselves. The construction is of the cheapest kind; on a brick
+foundation, quarter framing is placed, filled in with brick, and
+plastered inside and out. The columns in the centre are trunks of trees,
+standing on stone slabs, and each has a flat stone capping. This
+building complete should not cost more than 850_l._ It is much to be
+desired that every village should have a room set apart, distinct from
+any public-house or tavern, where newspapers and books can be provided,
+lectures given, and various entertainments supplied the villagers.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 19._
+
+A ROMAN CATHOLIC CHAPEL AND SCHOOLS.
+
+[Illustration: Elevation of front.]
+
+
+This design was made for a building intended to occupy a site leading
+from the High street in a
+
+[Illustration: Plan of chapel and schools.]
+
+very fashionable district, immediately out of London. The ground was
+rather confined in area, and from its position, being behind the houses
+in the street, it could only be approached by a narrow avenue between
+two of the houses.
+
+[Illustration: Transverse section of chapel.]
+
+The plan was an endeavour to make the most of the space afforded; the
+entrance to the church, a small tower with an open decorated spire, was
+placed at the end of the avenue of approach; _a_ _a_, are the schools,
+which have immediate access to the space before the altar; _b_ _b_, the
+rooms for the teachers or priests, had staircases on each side leading
+to rooms above. These buildings were kept low, so that as much light as
+possible should enter from the window above the altar. An elevation of
+the front of the chapel is given in our first illustration. The section
+looks towards the chancel, showing the chancel arch and pulpit in front,
+the altar, and the decorated window over it; the latter contains a large
+cross formed of white embossed glass, on a richly coloured glass ground.
+Above is the elevation of the porch, proposed to have been placed at the
+entrance of the avenue of approach.
+
+[Illustration: Porch in the High street.]
+
+[Illustration]
+
+
+
+
+_DESIGN No. 20._
+
+DESIGN FOR A BATH HOUSE, AND SUMMER ROOM.
+
+[Illustration: Perspective view.]
+
+
+This design was made for a building intended to occupy a prominent
+position in a park in Kent; it would have commanded an extensive view
+over the Weald and surrounding country. The lower ragstone foundation
+already existed, being portions of an ancient building which had
+formerly stood there, and this held a fine spring of pure cold water,
+which runs down into a lake at a lower level in the park. Occupying a
+position in which it could be well seen, it was desirable that the
+building should form a picturesque object, and to effect this the Old
+English style of wooden architecture was chosen.
+
+[Illustration: One-pair plan. Ground-floor plan.]
+
+The view shows the back and side of the building, with the entrances,
+these being here less exposed to the weather than if they had been in
+front facing the open country. The ground-floor plan shows the cold bath
+with a small dressing-room; the bath was octangular in form, and
+fifteen feet in diameter. A small iron circular staircase led to the
+upper room; this was eighteen feet in diameter, with a domed ceiling,
+the sides of the room having iron
+
+[Illustration: Side elevation.]
+
+casemented windows, and over them a bold ornamented plaster frieze; the
+fire-place was adorned with oak carving. The fine prospect from the
+windows of the Weald, and the lake and park scenery in front, would
+have made this an extremely pleasant room.
+
+[Illustration: Section.]
+
+The lower story of the building above the ancient ragstone foundation
+was of brick, nine inches in thickness, with quarters on the outside,
+brick-nogged; carved oak inch plank was then to be screwed to this
+quartering, and the inner spaces filled with cement; this it was
+proposed to dust with small bits of coloured
+
+[Illustration: Entrance.]
+
+glass. The building was intended to be strongly constructed, as it was
+to stand on an elevated site in the most exposed situation in the park.
+The entrance, of which an elevation is given above, had two carved oak
+columns, having iron rings fixed to them. A small shield of arms was
+above the entrance; the whole of the oak was to be stained and
+varnished. A portion of the exterior is given on a larger scale. The
+upper story was in quartering, brick-nogged, faced externally with
+carved oak planks and plaster, and plastered inside as below. The small
+plan, _a_, in the illustration, shows this; _b_ is an elevation of one
+of the carved oak trusses, and these were carried right round the
+structure.
+
+[Illustration: Portion of exterior.]
+
+An elevation of one of the small gables is shown in the next cut with
+its richly carved barge-board, and turned pendants and finials.
+
+The plan of the iron casements is given, p. 220; _a_ is the frame fixed
+to the wood quartering, _b_ the loose frame fixed to receive the loose
+frame, _c d_ is the glass, and _e_ the hinge and staple; a
+representation of the small turn-buckle is shown, and lastly the plan
+of the flooring over the bath; the joists, each 9 inches by 4 inches,
+and 9 inches by 2½ inches, were strapped down
+
+[Illustration: Elevation of one of the small gables.]
+
+[Illustration: Plan of iron casement.]
+
+eight or nine inches into the wall, where necessary.
+
+[Illustration: Turn-buckle.]
+
+[Illustration]
+
+
+
+
+_DESIGN No. 21._
+
+DESIGN FOR A SMALL COUNTRY VILLA.
+
+[Illustration: Perspective view.]
+
+
+This mansion was erected in Devonshire, for a gentleman having a
+numerous family. It consisted of three floors:--a basement story, ground
+
+[Illustration: Ground plan.]
+
+floor, first floor, and attic. The picturesque style of the time of
+Henry VII. was adopted, and the construction
+
+[Illustration: Plan of first floor.]
+
+was of brick with stone ashlar facings for the walls. The decorated
+portions were of stone; but red
+
+[Illustration: The attic floor.]
+
+brick and stone, or red brick alone, would have been equally
+appropriate. The red brick with compo-dressing
+
+[Illustration: Basement plan.]
+
+and enrichments would have been the cheapest. Considerable attention was
+given to obtain a picturesque character for the building, and the
+chimneys were so placed as to obtain one. The height to the top of gable
+was 38 feet 6 inches. The ground floor, given on page 223, contained two
+rooms, _A_ and _B_, each 28 feet by 16 feet, without the bay. The porch
+was enclosed from the hall.
+
+[Illustration: View of entrance porch.]
+
+The upper floor had five rooms, intended merely as sleeping apartments.
+All had fireplaces except the centre front one, and that is shown
+supplied with a flue pedestal, a contrivance by which an upper room
+
+[Illustration: The front elevation.]
+
+can be warmed by one of the fireplaces in a lower room, which prevents
+waste of heat. The attic floor had two good-sized rooms without
+fireplaces, for the servants.
+
+[Illustration: The side elevation.]
+
+The basement floor had good accommodation. One large room, that marked
+_n_, was for the housekeeper, with space for a bed. It could be used as
+a private breakfast or dining-room; _b_ is the kitchen, 20 feet by 15
+feet 6 inches, with a large space in the bay. The scullery _g_ adjoined
+the kitchen; _h_ is the larder, _q_ the wine cellar, _i_ the beer, and
+_l_ the coal cellars.
+
+[Illustration: Transverse section.]
+
+Another design for the porch is given on page 225; this is of a more
+decorative character than that seen in the view. It had on it the shield
+of arms of the proprietor. It was to be constructed entirely of stone,
+the portion above the archway being richly carved. The front and side
+elevations of the exterior of the building, of which representations are
+given, show the extreme simplicity of the design.
+
+The transverse section (page 228) shows the interior; this is taken
+through the kitchen and scullery in the basement, looking towards the
+fireplace and through the living rooms and attic above.
+
+[Illustration: Plan of additional offices.]
+
+This design has, with various alterations, been adopted in several
+places for different parties, stripped entirely of its ornamental
+character, and merely having four walls and an overhanging roof, in
+plain cottage style. It forms the cheapest model that can be given for a
+villa. One was erected a few years back that cost considerably less than
+eight hundred pounds. It had the basement floor but no attic, the upper
+rooms being heightened by having an open collar-beam roof. One addition
+made to it when it had no basement was in extensive external offices, as
+
+[Illustration: Elevation and section of external balustrade and angle
+buttress.]
+
+seen in plan on page 229: _f_, the kitchen, is 18 feet square, with its
+scullery _g_, 18 feet by 10 feet; _h_ is the larder, 9 feet 9 inches
+square, and _k_ the dairy, of the same size, with a northern aspect. The
+two small rooms by the side, one marked _n_, were intended for a study
+or school-room, and a footman’s or butler’s pantry, with a separate
+entrance and an outlet from the house into the garden; the servants’
+closet, and boot and knife cleaning place, were at a little distance
+away, together with the place for coals and wood. Some details of the
+exterior on a larger scale are given above.
+
+       *       *       *       *       *
+
+The vignette shows the best proportion that can be given to stairs
+intended for a public building; the rise of each step being 6 inches,
+the tread 13 inches. In private dwellings the tread is made smaller by
+half an inch. When the rise can be made 5¾ inches only, much greater
+ease can be obtained in the ascent.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 22._
+
+A VILLA IN THE OLD ENGLISH WOODEN STYLE.
+
+[Illustration: Perspective view, garden side.]
+
+
+This structure was intended to bear the resemblance, as near as
+possible, of a first-class old English half-timbered house, the
+post-and-pan dwelling of our forefathers, which seems to have been an
+especial favourite throughout the country. It was easily constructed at
+a time when timber, chiefly chestnut, was far more plentiful than at the
+present day. Such were the most picturesque of all our domestic
+buildings; the timber cottage, with its projecting windows, and highly
+ornamented barge-boards, is found in every village. The large houses in
+Cheshire and Shropshire, which still remain, prove that such
+constructions are as lasting as brick and stone, provided the timber is
+felled at the proper time, and thoroughly seasoned before it is made use
+of. Houses of this kind have been seen to rock and bend in severe
+storms, while adjoining buildings, comparatively strong erections, have
+been blown down, this was known to have been the case with Park Hall,
+near Oswestry in Shropshire. Such buildings were called by different
+names, as will be shortly described in detail, according to the
+materials of which they were composed.
+
+The design afforded on page 234 was taken from an elevation given in
+“John Thorpe’s Sketch Book,” one of the richest illustrations of wooden
+architecture. It was to have been erected in a Kentish village, with
+
+[Illustration: Front elevation.]
+
+its front towards the road, on high ground, the road looking down to a
+wide extent of open country. The garden side of the house commanded a
+fine prospect. Advantage was taken of the steep descent of the ground to
+build the kitchen and scullery, with a day room for the children, apart
+from the main building.
+
+The plan of the basement is given on p. 236; _a_ is the kitchen, 18 feet
+square, the scullery _b_, was at the side, and the larder, _c_, at its
+side; _d_ is the place for coals, a passage _e_, leads to the day room,
+_f_, for the children; _g_ is either the cook’s room, or a sleeping room
+for a man servant; _h_ is the passage up to the house, _i_ is the dry
+larder, _j_ is the butler’s pantry, with a strong room for holding
+plate; this was intended to be a sleeping room. _k_ is the wine cellar,
+_l_ the back staircase which went from the lower floor to the attic, _m_
+is the principal staircase, and _n_ a place for stores. The roof of this
+lower building was to be formed with flat-girders, and brick and tile in
+cement, making a terrace-walk above; the chimneys were taken up from the
+lower building to the higher one, as shown in the side elevation by the
+dotted lines. The kitchen, and the whole of the basement, was to be
+paved with the best Seyssel asphalte. It is laid on a solid foundation,
+on a thickness of ground lime. The objection to the black and British
+asphalte for the interior of rooms, is that a fine dust rises from it,
+which in sweeping, affects the eyes of the occupants of the apartments.
+
+[Illustration: Basement plan.]
+
+The plan of the building was not intended to be in the old style, but to
+be arranged, as far as possible, according to modern notions, without
+any great hall, or stone screen within it. A noble stone porch was
+
+[Illustration: The ground plan.]
+
+placed in front, resembling slightly an ancient archway. The hall is 20
+feet in length by 12 feet in breadth. The breakfast and eating rooms,
+_b_ and _c_, 20 feet square, are on each side; both have bay
+
+[Illustration: The first floor.]
+
+windows, with an exterior colonnade and terrace. The drawing-room, _d_,
+and the library _e_, are each 18 feet square; both have bay windows, and
+the angular window peculiar to the Elizabethan architecture. These
+windows open on to the terrace. _f_ is the
+
+[Illustration: The attic floor.]
+
+gentleman’s dressing-room, _g_ is the principal staircase containing the
+servants’ staircase, _h_, within it; _o_ is the lift. At the back of the
+building is a colonnade commanding a view of the country, and beneath
+is the terrace, with its balustrading and steps to the garden.
+
+The one pair floor contains only four large bed-rooms _a_, _a_, and two
+dressing-rooms _b_, _b_. One dressing-room, that in front, could have
+been converted into a pleasant morning room; each of the two principal
+bedrooms in the front could easily have been formed into two; a small
+dressing-room taken out of each. Terraces were in front of these two
+rooms, the small circular bow-window opening on to them; the principal
+staircase only led to this floor. The servants’ staircase led to the
+attics.
+
+This floor contained three large servants’ rooms, with two small octagon
+rooms. It was proposed to form the front rooms into one, with a circular
+roof, covered with scroll work and flowers, in the form of a
+garden-bower, similar to the gallery ceiling at Burton Agnes in
+Yorkshire. In this ceiling there are about a dozen varieties of flowers
+and bunches of leaves, which were placed in a scroll-stem in various
+positions so as to vary the pattern. The flowers and leaves could have
+been painted in their natural colours. These rooms, however, could not
+be spared, so it was proposed to turn the two octagon rooms into what
+may be termed garden-bower rooms, and to attempt growing dwarf
+fruit-trees in them, as practised in Germany. The roofs of these rooms
+were to be constructed in iron and glass, and covered internally with
+wire trellis-work, the warming to be effected with flue pedestals, two
+in each room, one taking the kitchen flue and the other house flues, the
+corresponding pedestal in the other room to have the remaining flues in
+that side of the building. The illustration on page 242 shows a plan and
+section of one of these rooms.
+
+The tower in the centre of the back front contained a cistern for the
+supply of the house; the closets beneath could have Moule’s earth system
+applied to them, the earth to be brought up by the lift _o_, dried in
+the bower rooms, and deposited in an enclosure in the tower room from
+which it could descend to the closets.
+
+It may be here remarked that the closets throughout the whole of these
+designs are in such a position that the dry-earth system could be easily
+applied to each. In cottages that have the flues in an external wall,
+and where this system is introduced, the earth deposit should be placed
+against the flue, and the closet adjoining.
+
+The lift _o_, shown in the plans, connects every floor with the
+basement; it permits coals and other heavy articles to be lifted up,
+receives the speaking tubes leading to the basement and children’s
+day-room, and any bell wires that may be required.
+
+[Illustration: Plan and section of garden bower-rooms.]
+
+[Illustration: Side front.]
+
+[Illustration: Section through lower part of building.]
+
+The first elevation given shows the front of the building, having a
+length of 87 feet. Although the structure was to be an imitation wooden
+house, the timber was merely intended to be an appendage to the
+brickwork. The exterior walls were to have been two bricks and a half
+thick on the ground-floor, two bricks above. The wooden posts and pans
+were let into the external half brick, and well built in, the ornamental
+woodwork in inch oak screwed to the wood-quartering, the space between
+them filled with plaster, with an ornamental pattern-stamp on it, and
+the columns and entablature were of oak.
+
+The next elevation given is that of the side front, with its gable, in
+the centre of which is a small circular window, opening on to a terrace
+over the colonnade; the scroll at the side is a construction to permit
+the flues from the lower portion of the basement to ascend the tower
+walls; flue sweeping doors could be placed there. A section of the lower
+part of the building is given, taken through the centre of the house,
+showing the principal staircase and the external steps to garden. The
+perspective view shows the garden front.
+
+Wooden houses were once the chief kind of construction in England. The
+great fire of London would not have been so serious in its results if
+such constructions had not been almost universal.
+
+In many parts of England these houses have other designations. There is
+a mode of building peculiar to each, and adapted to the kind of material
+that the districts offer. In Cambridgeshire, for instance, many of the
+houses are formed entirely of “Clunch,” a kind of indurated chalk marl,
+of which there are extensive quarries at Roach, near Burwell. Others are
+of gault, a local term for the blue clay which lies below the gravel of
+Cambridgeshire, and forms the immediate substratum in the low ground
+about it. This is beaten up with chopped straw, then formed into blocks
+of large size, and dried by the sun. A writer in the “Cambridge
+Portfolio,” in his remarks on what he terms the inferior style of
+domestic architecture, says: “Many of these houses have the lower floor
+formed of stone or clunch, in which a framework of wood is raised,
+consisting of studs and wall-plates with strong posts at intervals and
+some cross pieces as a tie. The joists of the upper floor are laid in
+the wall-plates, and project about a foot or eighteen inches beyond the
+wall beneath. The smaller timbers have tenons which are fitted into
+mortices in the larger, and secured by wooden pins. The interstices are
+filled either with durable boarding, double lath and plaster, clunch or
+bricks, laid level or obliquely. The better houses of this description
+have gables, with ornamented barge-boards with hip-kobs and corbels or
+brackets, more or less carved, under the ends of the principal timbers
+of the upper floors.”
+
+The barge-board is sometimes called berge-board, verge-board,
+parge-board. It was a board fixed to the ends of the gables of timber
+houses, to hide those of the projecting timbers of the roof, and throw
+off the wet. They were generally richly carved and very ornamental.
+Occasionally some of these of the date of the 14th century are met with;
+those of the 15th and 16th, many of the Elizabethan character, are very
+common. We have few of the better class of these half-timbered houses,
+in which the decorative labour of our ancestors was most conspicuous,
+remaining in our towns and cities; but in Edinburgh, York, Chester, and
+Newcastle there are still a sufficient number of specimens to prove the
+truth of these remarks. In the towns of Normandy and the Netherlands
+numerous buildings, and indeed whole streets, may be seen which still
+exhibit the perfect counterpart of our old Cheapside, as it appeared
+before the great fire. Troyes, the capital of Champagne, still retains
+its ancient buildings, and the chestnut-timber houses of Caen, which
+were raised, or restored, during the period in the 15th century when it
+was in the hands of the English, show us what our cities once were, and,
+of course, the extent of our improvements. London formerly possessed the
+richest examples. At the corner of Chancery Lane, in Fleet Street,
+there once stood a five-storied house in timber, each story projecting;
+the whole of the timber and the gables being richly carved. In this
+house once lived the celebrated Isaac Walton.
+
+The other most common application of this kind of house is
+“half-timbered.” In some counties the woodwork is not in patterns. It
+appears that when a greater degree of elegance was required the uprights
+and beams were carved, or the houses were pargetted, that is, coated
+thickly with plaster, in which embossed or indented ornaments were used.
+This kind is very common in nearly all the English counties. The origin
+of the word _parget_ appears to be doubtful. We find _parget_,
+substantive, and _pargetting_, _pergetting_, and _pergining_, verb, in
+old writings, of various kinds of plaster work, used inside and outside
+of houses, particularly about the time of Elizabeth; the word _parget_
+was used as far back as 1450.
+
+The half-timbered houses generally had the woodwork (studs and posts)
+painted black or tarred, with the intermediate spaces of brickwork
+whitewashed. Many of these houses have been plastered over in modern
+days. In London several of them have been refronted, and we lose sight
+of the woodwork, and imagine we see fresh-built houses.
+
+In some parts of the country we see numbers of cottages built of mud
+mixed with chopped “haum.” This is commonly barley stubble. The word
+appears of foreign derivation; in High and Low German, Dutch, Danish,
+Swedish, halm; Ang.-Sax., healm; Icelandic, halmr, stubble.
+
+The haum is used to give the mud strength. These houses, previously
+described in connexion with concrete erections, were built about a yard
+in height at a time; each part was allowed to dry before further
+addition was made. The openings for windows and doors were cut when the
+wall became firmer; the walls were then smoothed off a little, and
+whitewashed. These houses are said to be very strong, and to last for
+many years. In the Midland Counties they seldom exceed one story in
+height, but in Devon, Somersetshire, and Hampshire, this composition is
+a common material for gentlemen’s houses two and three stories in
+height. It is there called _cob_, the derivation of which word remains
+in obscurity, unless it is a short term for _cobble_, or a coarse clumsy
+performance. A cob-wall was one composed of straw and clay beaten up
+together.
+
+In Kent, the half-timbered houses are called wood-noggin houses, because
+the pieces of timber were called wood-nogs. Nog is properly a wooden
+brick, which is inserted into walls to hold the joiners’ work; nogging
+is the term for the brick-filling partitions between the quartering.
+
+Sometimes, but very rarely, there is no projection of the upper story
+over the lower one. These openings in the windows are common, and all
+have richly carved barge-boards.
+
+In some of the Kentish villages there are several noggin houses
+plastered over, with a ground in which flowers and patterns are worked
+in another colour. Some have a red ground and white flowers, others a
+black ground and white flowers. The wooden frame is always built on a
+substructure of brick or stone, called the “under-pinning.” Numbers of
+the houses in Kent are covered at the sides with weather tiles; here the
+brickwork is carried up to the first floor, in which the wooden
+framework is placed, and laths nailed across, in which the tiles are
+hung; the shape of the tile varies. Some are diamond-shape, and others
+finish with circular ends.
+
+In Warwickshire, Oxfordshire, and Gloucestershire, we meet with
+half-timbered houses, which are there called brick pane houses, but very
+few of them are worked in patterns.
+
+In Northamptonshire the half-timbered houses are commonly called studded
+or framed houses, because the framework is put up before the spaces are
+filled up. The studs are upright between the posts, which are larger
+than the studs. There are also “wattle,” and “dab-houses,” and sheds,
+which are constructed of studs, sills, and wall-plates. Between or into
+the studs are laid, horizontally, plaited or wattled strong hazel twigs,
+or other underwood, and on both of these a thick coat of plaster or mud
+is laid or dabbed. A wattle is a hurdle made of four or five upright
+stakes, and hazel branches woven closely and horizontally into the
+stakes--Anglo-Saxon, _watel_, a hurdle or covering of twigs; in some
+counties they are called “flakes,” merely from their being thin and
+flat. In Sussex and Devonshire, and in the South of England, wattled
+hurdles are called “Raddles.” In a little Dictionary for children of the
+date of 1608, we find “a hartheled wall or ratheled with hasile rods or
+wands.” The word _hartheled_ is the same as hardilled, and the
+Dictionary spells hurdill _hardill_, Ang.-Sax., _hyrdel_, Low Germ.,
+_hoidt_, Dutch, _horde_. Germ., _hurde_. _Ratheled_ is from the same
+derivation as _raddled_. What in one county is “wattle and dab,” is in
+another “raddle and dab.” _Dab_ is here used as a substantive, but it is
+properly a verb--to dab on, to sprinkle, or bespatter. In French,
+_dawber_, or _dober_, to smear, hence “to daub.” These mud cottages are
+very common even in the richest counties of England. In South
+Northamptonshire are red sandstone houses frequently possessing stone
+mullions in the windows, and dripstones.
+
+Further northwards, as in Shropshire, Cheshire, and Lancashire, we find
+a better description of the half-timbered houses in many of the manor
+houses built there. Lord Liverpool’s seat at Pitchford, near Shrewsbury,
+illustrated by Habershon, is a fine and a very large example, although
+the pattern is not so elegant as many of them. Joseph Nash and other
+artists have made the best of these familiar to us by their
+publications. Cheshire is the county most abounding in them. In the
+southern part of the county of Lancashire they are called “post-and-pan
+houses.” Post is an upright piece of timber, used in various ways, such
+as gate-post, door-post, a jamb-lining. The word “post” is found in many
+languages, commonly meaning an upright. In Ang.-Sax., _post_, a post,
+Frisic, _post_, a beam, German, _pfost_, French, _poste_, Latin,
+_postis_, a post.
+
+“Pan,” in Lancashire, certainly means a beam, and is the common name for
+it (beam not being used), although we do not find the word _pan_, a
+beam, noticed in most of the glossaries as it deserves. In the Craven
+Glossary, “_post_ and _pan_” a building of wood and plaster alternately.
+_Pan_, totally to fit: “Weal and woman cannot pan, but woe and woman
+can,” is the complete old English proverb, in which the word pan is
+used. In the glossary of Tim Bobbin, “Pan” means to join or agree. In
+Hunter’s Hallamshire Glossary “pan,” properly in building, is the
+wall-plate--the piece of timber that lies on the tops of the posts, and
+on which the balks rest, and the sparfoot also. _To pan_, to apply to
+closely. In Brockett’s North Country work, _pan_ means to match, agree.
+The idea of a pan for a beam would seem to be a shortened word for span,
+but it comes, it is said, from the old word _pan_, denoting to close or
+join together, to match, fit, apply, agree. From this, or the origin of
+which, came pane, or panel of wood, or wainscot, pane of glass.
+Ang.-Sax., _pan_, a piece, hem, plait; pan hose, patched hose, because
+pieces are fitted into them.
+
+In Warwickshire and Oxfordshire they call a post-and-pan house a
+brick-_pane_ house, because the wood-work divides the building into
+rectangular spaces, filled with _panes_ of brickwork.
+
+In Forby’s Suffolk Vocabulary _pane_ is a division of work in husbandry,
+also strips of cloth. The slits in Elizabethan dresses are called
+_panes_. Du Cange, in his _Glossarium Mediæ et Infimæ Latinitatis_, has
+_panna_, a carpenter’s word, signifying a square piece of wood of 6 or 7
+fingers on a side, which being placed on the rafters of the roof, and
+retained by wooden supports, carries the asseres. The “Glossary of
+Architecture” construes a pan as a lathe; but of this there seems some
+doubt.
+
+There is a remarkable example of the word _Panna_ in the Close Rolls of
+the 9th of Henry 3rd, membrane 5, page 65, though the word in the
+printed copy is erroneously spelt _pauna_.
+
+[Sidenote: De postibus et pannis datis.]
+
+Mandatum est Hugoni de Neville quod habere faciat Baldivinium de Veer
+duos postes et duos _pannas_ in bosco nostro in Deresle, de dono nostro
+ad se habergandum apud Thrapston. Teste rege apud Westmonasterium XV die
+Octobris, anno nono.--That is: The King orders Hugh de Neville to give
+Baldwin de Veer two _posts_ and two _pans_ out of the Royal forest of
+Deresley to build a house at Thrapstone.--“Habergandum” is from
+_habergo_, to build a house, which seems to be derived from the old
+German _habe_, goods and possessions, and _bergen_; in Ang.-Sax.,
+_boergan_, to defend, keep, and protect. _Habe_, goods, is from the
+German _haben_, Ang.-Sax., _habban_, to have and possess. In Du Cange we
+find “Habergagium vel habergamentum, domicilium domus,” that is, a place
+to keep goods in. This account is given us by the writer in the
+“Cambridge Portfolio,” who adds, “That it is probable the house alluded
+to in Thrapstone was merely a shed.” He gives a great many derivations
+from the word _pan_ in French. He says that _pan_ or _post_ is a _post_
+and _pan_ wall, perhaps with boarding in the panes instead of brick or
+stone. A post-and-pan house therefore signifies one formed of uprights
+and cross-pieces, and this appears to be the most rational name for
+them. The patterns of the woodwork are sometimes extremely elegant; at
+Park Hall in Shropshire, one represents balustrading intermingled with
+quatre-foiling, while the plaster ceilings inside the building are of
+excessively rich character. In many of the old post-and-pan houses, the
+windows are between every post, running the whole length of the house in
+each story, rendering a remark of Lord Bacon’s true, that in such houses
+you did not know where to become to get out of the sun or the cold. They
+are now sometimes called “bird-cage houses,” from the effect at a
+distance. Some of these old mansions had the hall extending to the roof,
+and this was carried down to a very late period. At Kirby in
+Northamptonshire, a seat of the Lord Chancellor Hatton, built by the
+architect, John Thorpe, Inigo Jones altered the timbers of the hall roof
+and gave them an Italianized character. He was, previous to his visit to
+Italy, one of the chief and most celebrated masters of the then
+fashionable Elizabethan style, which was carried down to a later period
+than is generally supposed.
+
+The superior class of wooden houses were for the gentry, the wattle and
+dab houses for the hind. This cottage, then, must have been little
+better than a miserable shed. Cottages still exist in the north of
+England, amid the northern counties, that are bad at the very best. The
+tenants have to bring everything with them, partitions, window-frames,
+fixtures of all kinds, grates, and a substitute for a ceiling. Certainly
+the improved concrete cottage, if it could be erected at a small
+expense, would be a great advantage to them. Its partitions, and even
+its roof, the latter covered with slate, might be securely formed of
+strong hurdles, and a cistern for water easily placed just below it. The
+walls, if covered with a good Portland cement face, will last for many
+years, and, if the roof be so formed as to protect them, for warmth,
+comfort, and cleanliness such cottages are unsurpassed.
+
+It is to be regretted that the combination of workmen forming the
+various Trades’ Unions, has so raised the price of labour that it has
+reacted against themselves, and the workmen’s houses, roomy, and formed
+of sound, lasting materials can no longer be constructed at a cost that
+would allow a fair percentage on outlay.
+
+Lord Bacon paid particular attention to building, and he had several
+fine mansions. He received his Sovereign at one, _Gorhambury_, who on
+her remarking its great size, said, “It was not that the house was too
+big, but that her Grace had made him too big to inhabit it.” His essay
+on building gives such a complete picture of what the nobleman’s house
+was in those days, that it is here quoted.
+
+“First, therefore, I say you cannot have a perfect palace, except you
+have two several sides: a side for the banquet, as is spoken of in the
+book of Esther, and a side for the household; the one for feasts and
+triumphs, and the other for dwelling.
+
+“I understand both these sides to be not only returns, but parts of the
+front; and to be uniform without, though severally partitioned within;
+and to be on both sides of a great and stately tower in the midst of the
+front, that, as it were, joineth them together on either hand. I would
+have, on the side of the banquet in front, one only goodly room, above
+stairs, of some forty feet high: and under it a room for a dressing or
+preparing place, at times of triumphs. On the other side, which is the
+household side, I wish it divided, at the first, into a hall and chapel
+(with a partition between), both of good state and bigness; and those
+not to go all the length, but to have at the farther end a winter and
+summer parlour, both fair; and under these rooms a fair and large cellar
+sunk under ground, and likewise some privy kitchens, with butteries and
+pantries, and the like. As for the tower I would have it two stories, of
+eighteen foot high apiece above the two wings; and goodly leads upon the
+top, railed with statues interposed; and the same tower to be divided
+into rooms, as shall be thought fit. The stairs likewise to the upper
+rooms, let them be upon a fair open newel, and finely railed in with
+images of wood cast into a brass colour; and a very fair landing-place
+at the top. But this to be, if you do not point any of the lower rooms
+for a dining-place of servants; for otherwise, you shall have the
+servants’ dinner after your own; for the steam of it will come up as in
+a tunnel; and so much for the front; only I understand the height of the
+first stairs to be sixteen foot, which is the height of the lower room.
+
+“Beyond the front is there to be a fair court, but three sides of it of
+a far lower building than the front; and in all the four corners of that
+court fair staircases, cast into turrets on the outside, and not within
+the row of buildings themselves; but those towers are not to be of the
+height of the front, but rather proportionable to the lower buildings.
+Let the court not be paved, for that striketh up a great heat in summer
+and much cold in winter; but only some side alleys with a cross, and the
+quarters to graze, being kept shorn, but not too near shorn. The row of
+return on the banquet side, let it be all stately galleries: in which
+galleries let there be three or five fine cupolas in the length of it,
+placed at equal distance; and fine coloured windows of several works: on
+the household side, chambers of presence and ordinary entertainments,
+with some bedchambers; and let all three sides be a double house,
+without thorough lights in the sides, that you may have rooms from the
+sun both for forenoon and afternoon:--cast it also that you may have
+rooms both for summer and winter; shade for summer, and warm for winter.
+You shall have sometimes fair houses so full of glass that one cannot
+tell where to become to be out of the sun or cold. For embowed windows,
+I hold them of good use (in cities indeed, upright do better, in respect
+of the uniformity towards the street); for they be pretty retiring
+places for conference, and besides they keep both the wind and sun off;
+for that which would strike almost through the room doth scarce pass the
+window; but let them be but few, four in the court, on the sides only.
+
+“Beyond this court, let there be an inward court of the same square and
+height, which is to be environed with the garden on all sides; and in
+the inside, cloistered on all sides upon decent and beautiful arches as
+high as the first story; on the under story, towards the garden, let it
+be turned to a grotto, or place of shade, or estivation; and only have
+opening and windows toward the garden, and be level upon the floor, no
+whit sunk under ground, to avoid all dampishness: let there be a
+fountain or some fair work of statues in the midst of this court, and to
+be paved as the other court was. These buildings to be for privy
+lodgings on both sides, and the end for privy galleries; whereof you
+must foresee that one of them be for an infirmary, if the prince or any
+special person should be sick, with chambers, bedchamber, ante-camera,
+and recamera, joining to it; this upon the second story.
+
+“Upon the ground story, a fair gallery, open, upon pillars, and upon the
+third story likewise, an open gallery upon pillars, to take the prospect
+and freshness of the garden.
+
+“At both corners of the farther side, by way of return, let there be two
+delicate or rich cabinets, daintily paved, richly hanged, glazed with
+crystalline glass, and a rich cupola in the midst; and all other
+elegancy that may be thought upon. In the upper gallery too, I wish that
+there may be, if the place will yield it, some fountains running in
+divers places from the wall, with some fine avoidances. And thus much
+for the model of the palace; save that you must have, before you come to
+the front, three courts, a green court plain, with a wall about it; a
+second court of the same, but more garnished with little turrets, or
+rather embellishments upon the wall; and a third court, to make a square
+with the front, but not to be built nor yet enclosed with a naked wall,
+but enclosed with terraces leaded aloft, and fairly garnished on the
+three sides; and cloistered on the inside with pillars, and not with
+arches below. As for offices, let them stand at distance, with some low
+galleries to pass from them to the palace itself.”
+
+       *       *       *       *       *
+
+The vignette is an elevation, with enlarged details, of a design for a
+weathercock or wind vane. In buildings where there are many on the roof,
+they are sometimes seen pointing different ways, and it is of importance
+they should be properly constructed. The construction necessary to
+prevent these differences is shown in the two sections on each side the
+elevation; _a_ is a gun-metal rod, in which is fixed the small steel rod
+_b_; this moves in a piece of agate fixed in a small block of copper
+_c_; the agate is marked black in the left-hand section.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 23._
+
+A GARDEN SUMMER-HOUSE.
+
+[Illustration: Perspective view and plan.]
+
+
+This small circular erection was designed from the express directions,
+as to style, size, form, and plan, of the gentleman for whom it was
+made, and who had it constructed. It was of wood, standing on a brick
+foundation, with a quaint room in the centre, completely lined with
+match-boarding, stained oak and varnished, the ceiling having hanging
+pendants. The lead lights of the sashes were glazed with various
+specimens of old coloured glass.
+
+[Illustration: Elevation.]
+
+The view and plan are illustrated at page 262; the plan shows the
+general arrangements; the porch had seats on each side, and the back
+portion of the
+
+[Illustration: Section.]
+
+[Illustration: Detail showing construction.]
+
+summer-house was enclosed for a single seat. The elevation given on page
+263 shows, as well as the view, flower-pots on supports in the roof.
+These were
+
+[Illustration: Gate to a flower-garden.]
+
+omitted in execution. The section shows the building as constructed; it
+is taken through the porch. The interior room and the enclosed seat
+behind the illustration gives the detail of a portion of the
+construction.
+
+[Illustration: Elevation.]
+
+[Illustration: Section.]
+
+[Illustration: Plan.]
+
+The building had no fireplace, being merely intended for summer use; it
+was placed on an elevated site, and commanded a fine view.
+
+No small structure can be made too expensive in construction if it is to
+be placed in a beautiful flower-garden. However pretty its ornaments may
+be, they are sure to pale by the side of the natural objects surrounding
+it. The small gateway shown in view on page 265 was constructed entirely
+in oak with a slab-slated roof. It stood at some distance from the
+dwelling, to which it formed a conspicuous object, and it was the
+entrance to an enclosed flower-garden. An elevation, section, and plan
+of it are given on page 266.
+
+       *       *       *       *       *
+
+The vignette represents an open ironwork console or holder for a
+meat-jack for the kitchen fireplace: it is of French design.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 24._
+
+A SMALL COUNTRY RETREAT, OR FRENCH MAISONETTE.
+
+[Illustration: The front elevation.]
+
+
+This is a study for a small villa in the modern French style, one which
+has lately been introduced into several buildings of domestic character
+in England, the woodwork being sent from France. The
+
+[Illustration: Ground plan.]
+
+chief feature of the style is the machine-cut ornamental wood; it is of
+common deal, about an inch or a little more in thickness. When placed
+up, and coloured a light fawn colour or plain yellow, it is extremely
+pleasing, and has the merit of being very cheap.
+
+The design has an ornamental iron verandah completely round two sides
+of the building, with small upright standards taken through its roof,
+which are
+
+[Illustration: Section through length of building.]
+
+connected together with zinc wire-work; the intention being to permit
+flowering plants to grow over it, so that the front should be crowned
+with flowers. The villa is only intended for summer use, being confined
+in its accommodation. The ground plan, given on page 269, shows _d_ and
+_e_, the drawing and dining
+
+[Illustration: Transverse section.]
+
+rooms, divided one from the other by curtains hanging on a glazed
+screen; the length of the two rooms is 42 feet, their breadth 15 feet.
+They are decorated gaily in French style; the room _c_ can be used as a
+study, but it is intended for a sleeping room; the kitchen _f_ has a
+large larder _h_, but it would be desirable if the kitchen was formed a
+short distance away from the building, and connected with it by a
+passage; the rooms _f_ and _g_ could then be made into a bed and
+dressing-room. The wine cellar is at g, and a conservatory _i_, is
+placed at the end of the building.
+
+[Illustration: Plan of one-pair.]
+
+The elevation of the front of the building and the two sections show the
+general construction of the upper part of the house. This was in timber,
+the flues alone being of brick.
+
+The plan of the upper floor shows four rooms; each of the flues is
+supplied with its pedestal, so that should the house be occupied in
+winter, these upper apartments could be kept well aired by the fires in
+the lower apartments, without any attention from the servants. The
+framing of the upper portion is correctly shown in the section copied
+from the working drawing.
+
+[Illustration: Portion of verandah.]
+
+All elevation of a small portion of the verandah, showing its iron work,
+is given; and an illustration to a large scale shows its ornamental zinc
+guttering, and the carved wood French ornament, a section showing how
+they are fastened on; and the zinc gutter placed in front is likewise
+given.
+
+[Illustration: Elevation of zinc gutter, and cut woodwork.]
+
+[Illustration: Section of the same.]
+
+The following is a design in purely French taste for the circular top
+over the entrance porch on the upper floor.
+
+[Illustration: Cut woodwork.]
+
+The roofs of buildings in this style should be covered with zinc. The
+French are as much before us in their use of this metal as they are
+with their cut woodwork.
+
+Roofs covered with zinc could be made flatter, and have a covering or
+floor of boards, each board ½ an inch apart. An illustration is given of
+such a construction; it has a light iron railing with a scroll
+
+[Illustration: Design for roofing.]
+
+against the brick parapet; and supports a stand for flowers. With the
+absence of offensive smoke, and with the use of the flue pedestal to
+supply warmth, the upper parts of our houses could easily be formed into
+conservatories.
+
+The interior of the building was intended to be as profusely decorated
+with the cut woodwork as the exterior. The staircase balusters were of a
+rich pattern, the whole being stained after some ornamental wood, and
+varnished.
+
+[Illustration: Staircase balusters.]
+
+The expense of constructing such a building would be 2450_l._
+
+In this style cut-wood decoration the French certainly excel us. Some
+English examples, very common in our railway stations, are shown below.
+The most ornamental is a pattern used by the author some few years ago;
+a rose is introduced to cover the fastening of the cut pattern to the
+fascia behind.
+
+[Illustration]
+
+We have in England a carving-machine, known as Irving’s patent, that was
+a few years since much worked at a manufactory in Pimlico by Mr. Pratt
+of Bond Street. At one time it bid fair to exert a most important
+influence upon the production of this kind of cut-wood decoration. It
+could make such carvings with the greatest ease and rapidity, whether in
+stone or wood. The machine was a simple drill in a moveable arm, worked
+either by steam or a hand-wheel, on a moveable table; the combined
+motion rendered it capable of carving any form, however intricate, from
+the largest Gothic window-head, to the smallest screen. At Pimlico it
+was under the architectural superintendence of R. W. Billings. It is
+still used, together with Jordan’s patent for carving, at Lambeth.
+
+       *       *       *       *       *
+
+The vignette gives a pattern for cut-wood balustrading.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 25._
+
+AN ELIZABETHAN VILLA.
+
+[Illustration: Perspective view.]
+
+
+This design was made a few years ago for a gentleman who was a great
+admirer of our old English architecture, and who desired to have a
+
+[Illustration: Ground-floor plan.]
+
+dwelling with its chief characteristics, both internally as well as
+externally, but with all modern arrangements. He intended to purchase a
+piece of land in the neighbourhood of London for the purpose of
+erecting the structure upon it. Producing the design was a labour of
+love to us both, and many a pleasant evening we
+
+[Illustration: Balustrading of staircase.]
+
+spent together in studying the details as to what we should like to have
+in each room, without troubling ourselves about what the expense would
+be; unhappily he did not live to carry out his intention, and the
+drawings were laid aside.
+
+[Illustration: Section of hall.]
+
+The exterior is a study from the celebrated building, Rushton Hall in
+Northamptonshire, erected in the
+
+[Illustration]
+
+reign of Elizabeth, by Sir Thomas Tresham. On the estate in the forest,
+about a mile from the house, is that curious and unique building, the
+Triangular Lodge,[B] which served as a secret place of meeting for the
+conspirators of the Gunpowder Plot.
+
+The ground plan shows only a small and single staircase _b_;
+considerable discussion took place upon this; the great staircase was
+first planned in the hall _a_, but a billiard-table was imperative, and
+the hall alone
+
+[Illustration: Elevation of hall fireplace.]
+
+could receive it. The smaller staircase was made ornamental, with carved
+oak balustrades having a
+
+[Illustration: Details of hall fireplace.]
+
+small brass ornament between, for the children to lay hold of in getting
+upstairs.
+
+The hall was to be wainscoted all round; the illustration on page 283
+shows one side, with the entrance into the dining-room; a section of the
+moulding of the panels is given on page 283 of full size. A gilt
+decoration was to have been put in each panel, as shown. An ornamental
+plaster frieze, containing shields of arms
+
+[Illustration: Hall stove.]
+
+which were to be emblazoned, came over the panelling. An elevation of
+the fireplace, to have been made in Caen stone, with its details on a
+large scale, is given in cuts on pp. 284, 285.
+
+[Illustration: Portion of hall ceiling.]
+
+The fireplace is shown with fire-dogs to burn wood, with its iron
+fire-back; but this was objected to, and
+
+[Illustration: Section.]
+
+the stove was selected; my friend having great interest in coal,
+preferred it to wood.
+
+[Illustration: Dining-room ceiling.]
+
+The illustration on page 286 is a portion of the hall ceiling, copied
+from a celebrated example of the time of Henry VIII. To illustrate every
+room or give only one-third of the drawings made for this design would
+far exceed the limits the present volume allows. Each of the three rooms
+on the ground floor had
+
+[Illustration: Pendant.]
+
+decorated chimney-pieces, and carved architraves and panels to the
+doors. The section shows the height of the rooms. The dining-room _e_
+(see ground-plan) was
+
+[Illustration: Pendant and centre ornaments.]
+
+22 ft. by 20 ft.; the library _c_, 17 ft. by 15 ft., and the
+drawing-room _d_, 24 ft. by 17 ft., with a large bay window opening on
+to a terrace--their height 12 ft. 9 in.; _f_ is the lift and _g_ the
+closet. Each of these rooms was to have ornamental flat plaster ceilings
+with
+
+[Illustration: Drawing-room ceiling.]
+
+pendant ornaments. These are shown in illustrations on page 289.
+
+The staircase led to a gallery in the middle of the building on the
+first floor, dimly lighted at each end by the staircase and passage
+windows. The first floor (page 292) contained a morning room, _a_, in
+the centre, 15 ft. by 12 ft., with a bow window; and three bedrooms _b_,
+_b_, _b_, with two dressing-rooms _c_, _c_, one with a bath and a
+closet.
+
+[Illustration: Library ceiling.]
+
+The attic plan (page 292) contained three large rooms for the servants,
+_b_, _b_, _b_; a housemaid’s closet _e_, and in the recessed space by
+the side a large slate cistern for water. The basement (page 293)
+contained considerable accommodation: _d_ was intended for a private
+room for the family, _a_ the kitchen, _c_ larder, _b_ the scullery, _i_
+beer-cellar, _g_ butler’s sleeping-room, _e_ butler’s pantry, _h_
+wine-cellar, _l_ place for cleaning
+
+[Illustration: Plan (page 291).]
+
+[Illustration: Attic plan (see page 291).]
+
+knives. The housekeeper’s room _f_, and servants’ hall are in the front,
+and _j_ is the lift for dishes to ground floor, _k_ the coal-cellar. An
+open area was made on two sides of the building.
+
+[Illustration: Basement plan (see page 291).]
+
+It was intended to construct the basement fireproof, and to have the
+flooring chiefly of asphalte, laid on brick and concrete, solid with the
+earth; having a width of stone at the fireplaces. Small openings into
+the areas were to be made for water to run off, so that the floors could
+be at any time flooded from a
+
+[Illustration: Front elevation.]
+
+[Illustration: Back elevation.]
+
+[Illustration: Elevation of side.]
+
+hose. The skirtings for eighteen inches above the floor were to be in
+asphalte, so that no beetles or other vermin should find their way in.
+It was a
+
+[Illustration: Ironwork on terrace.]
+
+subject of discussion whether all the other floors and skirting should
+not be of a similar description. The three elevations of the building
+are given: they were
+
+[Illustration: Ironwork on bay-window.]
+
+to have been in red brick with compo dressings, and the balustrades in
+artificial stone. One peculiar portion of the exterior decoration was
+the ironwork in lieu of stone balustrading. The bay window and the
+terrace were surmounted with this ironwork; that on the terrace was to
+be formed so as to sustain heavy
+
+[Illustration: Small finial.]
+
+[Illustration: Portion of front.]
+
+earthenware pots of flowering shrubs:--an elevation of the two examples
+is given on page 297.
+
+The mouldings on the exterior of the building were small and simple;
+this is shown in illustrations on page 298. Various designs were made
+for the
+
+[Illustration: Balustrades for first floor.]
+
+balustrading; three of these, with the ornament containing a shield of
+arms in the centre of the side gables, are likewise given.
+
+The expense of constructing this design with all the ornamentation
+shown, would have been great. A
+
+[Illustration: Lower balustrade.]
+
+considerable portion of it, when it came to be estimated and the
+specification and working drawings were made
+
+[Illustration: Ornament in side gable.]
+
+for the builder, would have been left out, and the whole made more
+simple. The design would not have materially suffered for such
+deductions; all the general forms or the simple outline of the exterior
+would have been preserved. The chief deduction would have been made in
+the ornaments of the interior, or these might have been only partly
+done. Such a design, with a moderate amount of decoration only, would
+cost about 4700_l._
+
+       *       *       *       *       *
+
+The vignette shows French and English cut-wood patterns for blind
+ornaments.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 26._
+
+A SUMMER OR GARDEN VILLA.
+
+[Illustration: Perspective view.]
+
+
+One of our most eminent writers on gardens, Repton, remarked that
+“gardening and architecture, like all the fine arts, have much in
+common; and the department of architecture which belongs more
+exclusively to gardens has especially a great affinity to gardening in
+its broadest principles.” In fact, there is much more relation between
+the two than is usually admitted--a matter already alluded to in the
+Introductory Essay. Architectural forms and decorations, temples and
+rustic bowers, seats, &c., are not, as many have observed, unfit for our
+climate. In western counties they certainly can be indulged in to a
+large extent; and the fine evergreens and the beautiful grass of this
+country will, in association with ornamental terraces and sculpture,
+impart sufficient warmth of tone to render them agreeable. The garden of
+_Mon-plaisir_ at Elvaston, in Derbyshire, and the Alhambra Gardens
+there; those at Castle Coombe, Trentham, Alton Towers, and Bowood,
+sufficiently prove how attractive gardens can be architecturally made.
+In former years gardens were almost universal through every part of
+England, as is proved by the bird’s-eye view, engraved by Kipp, from
+drawings by Knyff in the book, “Britannia Illustrata,” and those of the
+gardens given in Loggan’s “Oxonia Restituta,” and the similar work on
+Cambridge. But gardens, like all other mundane matters, have their
+periods of change or retrogression; the natural style having almost
+obliterated the architectural garden of William and Mary. This might
+have been too precise, as
+
+[Illustration: Ground plan of villa.]
+
+copied from the Dutch model: they were satirized by Pope, thus--
+
+    “Grove nods at grove, each alley has a brother,
+     And half the platform just reflects the other.”
+
+They were called King William’s style of fortifications, surrounded
+with yew hedges, cut in variety of forms; those which have been suffered
+to outlive their original shape are really beautiful. Queen Anne’s
+Garden, now part of Kensington Gardens, is an example. But these gardens
+were very inferior to those of Italy and France, or even those in
+England of the Elizabethan age. It is to Italy, the garden of Europe,
+that we must look for the finest specimens of garden architecture. The
+Villa Pamphilia or de Belrespiro, situated half a mile out of Rome
+beyond the Gate of San Pancrazio, is celebrated for its gardens; from
+them could be observed the whole city of Rome, and surrounding suburbs.
+The gardens are nearly five miles in circumference, and occupy the site
+of those of the Emperor Galba. Their arrangement is varied and
+agreeable; being picturesque without disorder, symmetrical without
+monotony; and we here observe the art with which the arrangement of a
+regular garden is made to agree with the rural nature of which it forms
+a part, and the noble structure it surrounds. It is doubtless the work
+of the architect of the villa L’Algardi, about the year 1646. They have
+been ascribed to the French artist, Le Notre, but there is very little
+of the French style about them; they are wholly Italian, following the
+lines of the villa, and in the same style or spirit. These are, or were
+admirable; while the fountains,
+
+[Illustration: Ground plan of garden and villa.]
+
+the cascades, grottos, basins, statues, and the antique fragments which
+adorn them are arranged with the
+
+[Illustration: Small group in centre of side left-hand basin.]
+
+skill and intelligence of genius. Illustrations are preserved to us only
+in a fine Italian work, by Jacobi de Rubeis, published at Rome, about
+the middle of
+
+[Illustration: Small group in centre of right-hand basin.]
+
+the seventeenth century. The villa was destroyed by the French when they
+crushed the liberty of the Roman people at their onslaught on Rome
+against Garibaldi.
+
+In designs of this description the house and garden should unite, and be
+lost in each other. Those parts of the garden most contiguous to the
+house should follow its outline, its walks and terraces, and be so
+
+[Illustration: Fountain ornaments.]
+
+placed that the windows and doors of the mansion could command a perfect
+view of them. The province of garden architecture is, primarily, to
+supply fitting appendages and accompaniments to the house, so that the
+latter may not appear alone and unsupported. If judiciously adopted it
+will be effective in helping to produce a good outline, carry down the
+lines of the
+
+[Illustration: Elevation of front.]
+
+[Illustration: Section through centre of building.]
+
+house, and connect it with other buildings, which may be conservatories,
+ferneries, aquaria, rustic seats, temples, and arbours; and it will
+provide a
+
+[Illustration: Portion of saloon.]
+
+proper basement to the house. Such arrangements afford shelter or
+privacy to a flower garden, extend the façade or frontage of the house,
+shut out back yards, stabling or offices, enrich, vary, and enliven the
+garden, supply conveniences, receptacles for birds, plants, sculpture,
+or works of art, specimens of natural history, and support for climbing
+plants. These points indicate refinement, wealth, and love of art, and
+otherwise blend the various constituents of a garden with the house, and
+harmonize the two by communicating an artistic tone to the garden. So
+says Repton, and most of the principal writers on gardening.
+
+[Illustration: Cap in saloon.]
+
+Some of the ancient gardens of Asia and Italy were considered among the
+wonders of the world. They were termed paradises, and were filled with
+such plants, both beautiful and useful, that the soil could produce;
+they were enriched with many kinds of works of art, banqueting-houses,
+aviaries, wells, and streams of running water, indispensable in those
+warm climates.
+
+[Illustration: Section of part of saloon ceiling.]
+
+An architectural garden, as illustrated in the design at page 302,
+should have a picturesque outline, a
+
+[Illustration: Plan of the same.]
+
+marked boldness and prominence of parts, rather than a mere ornamental
+detail; a picturesque effect by changes of level in the ground, by
+diversity of height
+
+[Illustration: Portion of centre panel.]
+
+of the different terraces, and by an arrangement in plan that would
+produce depth of shade. Every object admitted should fit into its proper
+place. This
+
+[Illustration: Panel of ceiling.]
+
+villa was designed to cover a fine spring of cold water, and thus insure
+a deep cold plunging bath. It was to be merely a place for temporary
+occupation and retirement, to renovate the health of the owner. The
+gardens and fountains externally were only ornamental accessories; the
+plan at page 306 illustrates these. The villa was approached by two
+roads _d_ _d_; there was a circle of open lawn between the house and the
+terraced gardens in front. The latter were approached
+
+[Illustration: Section and plan of one of centre pendants.]
+
+by descending flights of steps. A basin of water and a large fountain,
+rising from a group of sculpture in the centre, are there shown. By the
+side are two smaller basins with smaller groups of sculpture,
+representing sea-horses, cupids, and dolphins. This terrace is paved
+with ornamental encaustic tiles. At the head of the two side gardens
+_b_ _b_, are grottos _g_ _g_, with seats on a raised terrace on each
+side of their entrances. The steps descend to a lower level, and have
+sea-horses and cupids on their pedestals, with five falls of water from
+griffins’ heads, filling a basin below. A
+
+[Illustration: Bedroom ceiling.]
+
+wide walk, and a running stream by its side, were thus gained.
+
+The author at the time he made the design was effecting some additions
+to a country house, which admitted such a garden to be formed in front
+of it: he published his design for it at the time (1850) in the
+_Builder_.
+
+[Illustration: Drawing-room ceiling.]
+
+This villa may be considered a casine, or a retired dwelling on a rather
+larger scale, similar to the picturesque house at Wothorp, in
+Northamptonshire, which was erected by one of the Earls of Burleigh, as
+a place to retire to, while his “great house at Burghley was sweeping.”
+Wothorp was a large building: it was fully illustrated in one of the
+
+[Illustration: Sections of moulding of ceiling.]
+
+author’s works, from original drawings lent him by the late Marquis of
+Exeter. The casine, only one size larger than a cottage, was the fashion
+of the preceding age. Whenever the proprietor of an estate wished to
+turn hermit, he retired to the casine, a small temple erected in a
+portion of his grounds, where the finest views could be obtained, and
+the most perfect repose secured. In earlier times such buildings
+
+[Illustration: Drawing-room chimney-piece.]
+
+afforded secret meeting-places wherein to hatch political plots; such a
+one was the triangular lodge in a secluded part of the wood at Rushton
+in Northamptonshire,
+
+[Illustration]
+
+the seat of Sir Thomas Tresham, where the gunpowder conspirators
+assembled. The casine of more modern times was not so small, but it
+contained all the requirements of good living. One example, is the
+casine of Marino, near Dublin, built by Sir William Chambers for the
+Earl of Charlemont.
+
+[Illustration]
+
+It was square in plan, surrounded by twelve columns, two projecting flat
+porticoes in front and back, and pedimented porticoes at the sides. The
+entrance was approached by a noble flight of steps, the pedestals of
+which were decorated with carvings, and supported crouching lions.
+Statues and vases adorned the roof. A print of it, from a drawing of
+Wheatly, was published in 1783. The building contained a small hall or
+vestibule, a saloon or living-room, 20 feet in length by 15 feet in
+width. Leading out of this were
+
+[Illustration: Plan of mezzanine floor.]
+
+two small rooms; one a study, the other a bedroom and closet. The
+basement contained a large and well-fitted kitchen, a scullery and
+larder, a butler’s pantry, and servants’ hall, and cellars for ale and
+wine. Retired buildings of this kind, of larger character and of more
+importance, were often erected in private grounds of noblemen and
+gentry. One, very similar to the present design, was constructed by the
+late Robert Adam, for a salt-water bath, at Mistley, the seat of the
+Right Hon. Richard Rigby. Mr. Adam and Sir William Chambers erected a
+large number of such ornamental structures. One of the most elegant
+
+[Illustration: Plan of upper story.]
+
+examples, by Mr. Robert Adam, was the rout-house or pavilion erected for
+a _fête champêtre_ in the gardens of the Earl of Derby, at the Oaks, in
+Surrey, in 1774. The building was internally of the most ornamental
+character; there was an octangular vestibule, a hall 30 feet in
+diameter; this opened into a grand ball-room, 72 feet by 35 feet within
+the columns, and 86 feet by 56 feet within the walls. The supper-room,
+surrounding the ball-room, measured 200 feet from one end to the other,
+and 20 feet in width. It was exposed in its full splendour on the
+curtains being drawn; and at the end of the ball-room there were
+
+[Illustration: Basement plan.]
+
+two tea-rooms, each 20 feet square, on each side of the entrance saloon.
+The author gives these details in order that he may not be considered
+too venturesome in submitting to public notice, in these economical
+times, such an ornamental design as the
+
+[Illustration: Elevation of back front.]
+
+present. Similar structures of a more expensive character were once very
+common; but the small
+
+[Illustration: Elevation of top of pedestal.]
+
+[Illustration: Plan.]
+
+retired casine has now gone out of fashion. The ladies consider such
+secluded buildings as only fit for laundries, and not preferring
+themselves lives of perfect retirement and quiet, have brought in the
+small
+
+[Illustration: Ornament terminating pedestal on attic.]
+
+villa where a whole family can dwell, and no selfish thoughts or gloomy
+contemplations find place.
+
+In referring to the plan of the villa at page 304, of which the plate
+page 302 shows the elevation, _e_ is the
+
+[Illustration: Section.]
+
+[Illustration: Plan.]
+
+small hall 8 feet square, _g_ the gun room or waiting room is on the
+right, the serving room with a lift from the basement on the left. The
+saloon is a highly decorated apartment, 20 feet in diameter. This is
+seen in the section through the centre of the building given at page
+310; _h_ is the sleeping room, 13 feet square, with an ornamental
+ceiling. The saloon serves as a dining-room and place for meals. The
+drawing-room, _d_, or music room, 22 feet by 14 feet, is on
+
+[Illustration: Termination of attic pedestal.]
+
+the left, _b_ is the principal staircase leading to the upper rooms;
+this serves also for servants. The small iron staircase _j_, is for
+passage to the cold bath below, _i_ is a room for a warm bath. The cold
+bath, as shown in the section, is ventilated through a domed ceiling,
+but the scale is too small to show this perfectly.
+
+A portion of the saloon is shown at page 311, with a few of its details
+in the six cuts following it.
+
+[Illustration: Chimney-pot elevation and section.]
+
+The bedroom ceiling (page 316) supposes the covering of a tent, upheld
+by spears and ropes. The colour of the drapery is of a light fawn, the
+ground a deep ultramarine blue. In the centre of the ceiling is a small
+Cupid on a red or gilt ground, a light blue circle surrounding it. The
+spears, roses, ropes, and tassels are gilt and coloured.
+
+[Illustration: Iron balconet to window.]
+
+The drawing-room ceiling is decorated plaster work in white and gold.
+Its plan is shown at page 317, and three of its details on page 318.
+Among other decorations of these rooms may be considered the
+chimney-pieces. The cuts (page 319) give an elevation of the
+drawing-room chimney-piece, the plan of its shelf above, and a portion
+of its details to a larger scale beneath. This chimney-piece in the
+finest statuary marble would cost 80_l._ to execute. Several have been
+done for the author at that price. They look very well in execution. Two
+fire-places of less pretensions are shown in the illustrations at pp.
+320 and 321; the first was in rouge royal, costing 25_l._; the last are
+of marble with slate panels covered with imitation of Brocatelli
+marbles, these costing 19_l._ 10_s._ each. The illustration of the whole
+of the details of internal decoration of such a structure would fill a
+much larger volume than the present; but it is the sole object of the
+author to give such illustrations of the several designs, that a portion
+of each part of the building only shall be shown; _k_, in the ground
+plan (page 304), is an open portico with steps to the garden or park in
+front of it.
+
+The next plan (page 322) is that of the mezzanine. This shows two of the
+female servants’ sleeping rooms, _a_, _a_, with a closet; the decorated
+ceilings of the saloon, drawing-room, and bed-room, are also shown; the
+bath-room should have some slight decoration, but this has been omitted.
+The female servants’ sleeping rooms are each 17 feet in length by 8 in
+width.
+
+The plan of the upper story (page 323) gives a smoking room _a_, with an
+open terrace _c c_, front and back, a closet _d_, and a cistern room
+_b_.
+
+[Illustration: Section of window sill and iron balconet.]
+
+The basement plan (page 324) shows the cold bath in the centre, with its
+staircase; the kitchen _b_, the scullery _g_, _h_ _h_ the larders, _c_
+is the lift, and _d_ _d_ are men’s sleeping rooms; the servants’ hall
+_t_, and housekeeper’s room _j_, are on the left, _q_ is the wine
+cellar, and _s_ the beer cellar.
+
+The elevation of the back front is at page 325; it has a circular
+portico and steps down to the garden. An attempt has been made to
+introduce an original termination for the pedestals on the attics,
+instead of using the almost universal Soanic bulbous ornament so
+repeatedly seen in nearly every public building in
+
+[Illustration]
+
+London and the country, and of which the author’s late master, Sir John
+Soane, was so fond. These attempts are given in the figures pp. 326-328;
+and an attempt is made to give an ornamental chimney-pot on page 330.
+It will be seen in the figure that the ornamental cement pot or vase
+contains an iron, or it might be a zinc, lining; this would be kept
+warm, and a security for the smoke passing out.
+
+The exterior of the building is ornamented with statues and vases, and
+the windows have iron balconets.
+
+The last remaining illustration to be given is the arcade on each side
+of the villa, dividing the front and back gardens. The chief portion of
+this in stone, with statues between the columns and vases over them; at
+the back of the columns is another front of ornamental trellis work in
+wood, with scroll stands for flowers--this is supported or upheld by the
+stone screen; an elevation of each, with a section, is given at page
+334.
+
+       *       *       *       *       *
+
+The vignette gives French and English patterns for cover to external
+sunblinds.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 27._
+
+A DECORATED WINDOW.
+
+[Illustration]
+
+
+This design was sketched with the intention of making Italian forms
+rival the tracery of the Decorated Gothic window, and to obtain a rich
+and variegated mass of painted and coloured glass, without any stiff
+mannerism or formality. The window was 11 ft. in height with a width of
+7 ft.; it served as a screen in one of the principal staircases in a
+house at Queen’s Gate, Kensington; immediately behind it is the
+servants’ staircase, having a large window and skylight. The lower
+portion of this window is divided into three lights by two pilasters
+acting as mullions. The circle above the transome is filled with a
+richly painted subject, representing a basket of flowers and scrollwork
+on a ruby ground. The basket is formed of emerald glass, the ground of
+the surrounding portions is richly embossed glass, the chief portions
+white, the small portions ruby, yellow and blue, the latter with white
+ornaments upon it. The three lights between the pilasters are filled
+with embossed glass, and the whole is surrounded by borders of
+scrollwork richly embossed, stained and painted; the ruby ground is
+shown in the drawing by vertical lines, the yellow by oblique lines, and
+the blue by horizontal lines. The expense, including the zinc-work for
+fixing the glass to the upper portion or fan-light, was 22_l._ 6_s._;
+the lower portion cost 8_l._ 10_s._ It was the work of Messrs. Baillie
+and Co. of Wardour Street.
+
+
+
+
+_DESIGN No. 28._
+
+A SCULPTOR’S VILLA.
+
+[Illustration]
+
+
+During the year 1850 the author, in conjunction with the late Mr. John
+Britton, F.S.A., was engaged in making some topographical sketches in
+one of the western counties of England. He became for a short time the
+guest of one of its principal residents--a gentleman who had succeeded
+to the possession of more than a million of money, the result of a
+relative’s gains as a merchant in the City. He had filled the small
+house he was then inhabiting with a very fine collection of antique
+bronzes: also with ancient and modern statuary. The house was occupied
+in every corner with these valuable and beautiful works of art. He was
+then having another house of larger dimensions erected to receive them.
+Considerable discussion took place at his table between himself and his
+visitors, among whom were two or three distinguished men of taste, as to
+the best method of introducing sculpture into a dwelling of moderate
+capacity. It was the general opinion that to properly exhibit classic
+sculpture, a villa the size of those of the ancients, such as are
+described by Pliny in the account of his villas at Laurentinum and
+Tusculum, would be required, and that no other would suffice. On his
+return home, the author, as a matter of amusement, without any thought
+that his ideas would ever be carried out, made the present design; it
+was a subject that pleased him, as he had only a few years previously
+
+[Illustration: Plan of ground floor.]
+
+superintended the construction of a small sculpture gallery for the late
+Sir Francis Chantrey at Pimlico.
+
+The ground plan of this design shows a gallery of sculpture in the
+centre of the building, a small
+
+[Illustration: Section of staircase.]
+
+“Museo Chiaramonti.” The principal group at the end, representing the
+capture of the Queen of the Amazons, is so placed that the staircase
+winding round it forms its base; the group can be seen from the
+staircase, and from the galleries at the side, in every point of view.
+This being a large building, the scale upon which the plans, elevation,
+and sections are drawn is smaller than the scale previously used in this
+volume. The gallery, including that portion which forms the ante-room to
+the conservatory, is 80 ft. in length by 20 ft. in width, which is a
+poor
+
+[Illustration: Plan of principal staircase.]
+
+imitation of the gallery at the Vatican--the Museo Chiaramonti. This is
+280 ft. in length, with a breadth of 20 ft.
+
+But the possession of only a million of money gives a moderate income
+compared with that of the sovereign popes at the time the Vatican was
+erected. The
+
+[Illustration: Section through gallery and conservatory.]
+
+sculpture is arranged on each side of the gallery, the bas-reliefs
+inserted in the walls, the bronzes on small pedestals, a reclining group
+is placed in a niche in front of the staircase. A marble group is placed
+in the fountain in the ante-room to the conservatory, and another in the
+conservatory itself. A gallery of this description permits the admission
+of a large quantity of sculpture, allowing it to be seen with advantage.
+The entrance of the building, partly taken from the front of one of the
+Italian palaces,[C] permits a large quantity of sculpture to be placed
+in advantageous positions. The plan, page 340, shows an entrance loggia
+_a_, the hall _b_, 17 ft. by 16 ft., with the waiting-room _c_, to the
+right, the breakfast parlour _d_, and the butler’s pantry _g_, to the
+left; _f_ is the library, 28 ft. by 16 ft., entered either from the
+gallery or the waiting-room. It has a large window looking into the
+ante-room to the conservatory, and permits a good view of the group of
+sculpture and the fountain in the centre; _e_ is the gallery, with the
+principal staircase, _i_ is the dining-room opening into the picture
+gallery and drawing-room _h_, _k_.
+
+The section, page 343, shows the general arrangement, and an idea can be
+formed of its grand scenic effect in summer, when the doors were
+opened. The walk round the conservatory and through the whole of the
+gallery would have a length of 170 ft., and round the galleries 150 ft.
+more, giving ample space to place a very large collection of sculpture.
+Underneath the gallery were supposed to be large cellars for wine. These
+had a private entrance through the pedestal of the Amazonian group, as
+shown in the plan and section to a larger scale at page 342; the
+collection below was supposed to be as valuable as the one above, and
+calculated to yield as much enjoyment, and one certainly that would be
+more highly appreciated by a greater number of persons. The villa,
+however, is on a small scale compared with some of the noble residences
+in the county, and the accommodation throughout very scanty. The
+servants’ offices are shown annexed to the plan; _l_ is the kitchen, 24
+ft. by 22 ft., _m_ the scullery, _n_ the housekeeper’s room, _o_ a small
+servants’ hall, _p_ is a serving room, and _q_ the external entrance to
+the cellarage.
+
+By the side of the principal staircase is a descent into the cellars and
+basement, for the servants, _b_, plan page 342. The conservatory has a
+diameter of 40 ft. and a height of 44 ft.; it is of light construction,
+in decorated ironwork.
+
+The one-pair plan shows the sleeping department, the principal
+bed-rooms, _b_ _b_, each with a dressing-room,
+
+[Illustration: Plan of one-pair.]
+
+_d_ _d_. These are entered direct from the gallery; in the front of the
+building are five smaller sleeping
+
+[Illustration: Cross section.]
+
+rooms. At the conservatory end the gallery opens on to the roof of the
+ante-room beneath, and from this there is an entrance to a circular
+gallery inside the conservatory. On the servants’ side are seen two
+large sleeping rooms, and a housemaid’s closet; as this portion of the
+building is kept lower than the other, it could have two or three rooms
+constructed over the kitchen, or it could be carried up another story.
+The plan of the principal bedchambers is taken up another floor; the
+small staircase for this purpose is seen at the end of the gallery.
+
+The cross section (page 347) shows the height of the building, and its
+general construction. The whole of the principal living rooms in the
+three floors are of the same height, 16 ft. 6 in. each; 37 steps were
+required in the principal staircase to ascend to the first floor on one
+side, and 31 on the other; the roof of the saloon was to be constructed
+similar to the roof of the Riding-house shown in plate, page 389. Large
+roofs can be constructed on this principle at a very cheap rate, and it
+is a very strong and efficient one; the roof of the Pantheon in
+Oxford-street, constructed by Mr. Sydney Smirke, is of a similar kind;
+the roofs of the annexes to the Exhibition building of 1862 by Captain
+Fowkes were on the same principle, but as these were only intended to
+stand for a year, were very slight. The cross section shows the
+ventilating flue, proposed and illustrated in a following chapter; the
+small stack in the low building shows the incline necessary to meet the
+back eddy of wind from the high building. It would have been better,
+could it have been effected, to have placed the stack in a position
+parallel to the high building, and not at right angles to it. The stack
+on the latter shows two ventilating flues, each with an upward shaft;
+the whole of the smoke from the fireplaces would be delivered from these
+two shafts.
+
+It only remains to illustrate the system of warming proposed to have
+been introduced. This was by a combination of two entirely different
+systems of warm water circulation through iron pipes.
+
+The various apparatus of warming buildings by the circulation of hot
+water, may be roughly stated to be of two kinds, each acting on the
+opposite principle to the other. The first, or more modern one, is the
+_closed system_. This has always been preferred by the author, it being
+more conveniently introduced into a building, less expensive, and giving
+less trouble than any other, and more certain in its action. In it the
+water circulates with great rapidity, completely under pressure, the
+pipes being closed, and the whole of the air expelled from them. The
+older system is that in which the tubes are not closed, but are
+connected with a cistern, into which the water is allowed to flow and
+re-flow; the two may very properly be called the high and low
+temperature systems, and by these terms they are here designated. With
+the first, the tubes can be made to reach a higher degree of heat if
+necessary, by placing a larger proportion of them than is usual in the
+furnace; but with the second, a temperature of 180 degrees can alone be
+reached. With the latter, its greater or less efficiency depends upon
+the position of its open cistern, which regulates the amount of pressure
+in the tubes, according as its situation is high or low. It was
+introduced into this country about 1818; the open cistern was placed in
+the upper part of the house, the boiler being below in the kitchen, thus
+allowing a considerable pressure in the tubes, and securing a quick
+circulation of the water. The high temperature system was introduced by
+A. M. Perkins, Esq., about the year 1832; in its simplest form it
+consisted of a continuous or endless tube of wrought iron of one inch
+external diameter, filled with water, and closed in all parts; a portion
+of the tubing was formed into a coil and placed in a furnace of wrought
+iron, the fire being enclosed in fire-brick. When it was first
+introduced a larger amount of tubing was placed in the furnace than is
+now usually done; with the proper amount, one-tenth or one-eleventh only
+of the full quantity is necessary, and then it must be obvious that no
+overheating of the tubes can take place. In practice it is more usual to
+find objections made to the apparatus not giving sufficient heat, than
+to its giving too much. The quantity of feet in pipes necessary to raise
+rooms of a certain size to a given temperature, must be proportioned to
+their cubical contents, and this depends equally on the situation and
+aspect of the building, the number of doors, and windows or skylights;
+no rule can consequently be given which would be applicable to all
+places with any degree of certainty.
+
+The pipes being only five-eighths of an inch internal diameter, a very
+small quantity of water is required to fill the apparatus. A tube called
+the expansion tube is placed above the highest level of the circulating
+pipes, and is generally of larger diameter. The object of this tube is
+to allow for the expansion of the water as it becomes heated; a tube is
+also placed at the highest level, in order to fill the apparatus, so as
+to leave the expansion tube empty.
+
+The tubes are provided with screw plugs, so as to be conveniently opened
+when it is required to fill the pipes with water, and closed again after
+being filled. This can be done with facility by a servant. The
+circulation of the water is produced by the application of heat to the
+coil in the furnace; and as the small size of the pipes admits of
+presenting the largest possible amount of surface to the action of the
+fire, it is clear that a greater economy of fuel is effected by it than
+by the ordinary system of boilers. As the water becomes heated it rises
+immediately to the highest level of the circulating pipes, and thus
+forms a column of heated water, specifically lighter than the colder
+water, which descends to the lower part of the coil. Thus a circulation
+is effected throughout the whole course of the pipes,[D] which
+eventually become heated, and the whole may be regulated exactly to that
+degree of temperature which is most conducive to a beneficial effect.
+
+To regulate the degree of heat to be given to the tubes, without
+requiring the necessity of an attendant, advantage has been taken of the
+expansive property of the iron pipe when heated. There are three
+multiplying levers fixed in a box, and so placed that the short arm of
+one of the levers rests upon a regulating screw attached to the flow
+pipe. On the other end of the series of levers a rod so rests that upon
+the slightest movement of the levers, the damper in the flue, which is
+attached to the rod, is opened or closed, as the case may be. The box of
+levers is suspended from the hot pipe, so as to leave about two feet in
+length between the point of suspension and the point of contact with the
+short arm of the lever.
+
+The operation of this arrangement is obvious, for the instant the pipe
+becomes heated, it expands and presses the short arm of the lever; and
+as the fulcrum within the box cannot move, by reason of the rod which
+suspends it being cold, it follows that the lever must be depressed, by
+which action a sufficient motion is given to the damper, to close it at
+any given temperature at which it may be originally fixed.
+
+The great advantage in the use of this apparatus is the saving of time
+in obtaining the requisite degree of heat. It often happens that the
+time occupied in heating the water of an ordinary hot-water apparatus
+completely defeats the object of getting warmth in any reasonable time,
+particularly in greenhouses, where it is frequently desirable to get up
+the heat quickly, to prevent the effect of frost. It has been said that
+this property of generating the heat rapidly has the disadvantage of not
+being able to retain it: this, however, is not the case, for, on the
+contrary, an equal temperature may be maintained for any length of time
+that may be desired. It is only necessary to make the fireplace
+sufficiently large to contain fuel enough to last the time the heat is
+required to be continued, and the damper will regulate the combustion of
+the fuel and the heat of the pipes, so that there will be no variation
+for twelve hours together.
+
+There being no boiler to the apparatus, it is free from the ordinary
+danger of explosion; if a pipe by possibility should burst, no harm
+ensues, for the water escapes from so small an aperture that it becomes
+absolutely cool by its expansion and mixture with atmospheric air.
+
+So little fear of fire exists with the apparatus, that the directors of
+the principal fire offices readily accept, at the lowest rate of
+premium, all proposals for the insurance of buildings in which the
+system is adopted, not requiring even the customary inspection.
+
+The author made drawings of one of these apparatus put up in an
+ornamental greenhouse in Kew Gardens in 1844; and fourteen years after,
+the director of the garden, Sir W. J. Hooker, publicly allowed it to be
+stated in print that no hot-water apparatus in any of their houses had
+given so much satisfaction; that the heat was given out after lighting
+the fires more rapidly than in any other of their houses, and steadily
+maintained at any degree of temperature required. The two systems of the
+high and low temperature can readily be combined, and the temperature of
+both large and small tubes nearly equalized. This may be done by using
+one furnace. A diagram given by Dr. Arnott in a lecture delivered by him
+at the Royal Institution in March, 1836, with his explanation, will show
+the principle upon which the combination is effected. Suppose A, fig.
+1, is a cistern full of cold water, and B a cistern full of hot water:
+if the two cocks _c_ _c_ are unturned, it is a fact that the water at
+_d_ will be one degree of warmth only above the water at
+
+[Illustration: Fig. 1.]
+
+A, and the water at e will be of one degree less temperature than the
+water in B. If, therefore, on this principle, some of the pipes of the
+high-temperature system are passed through the large tubing of the low
+temperature one, the desired effect is obtained: the large pipes or
+tablets of one apparatus remain at their full heat, while an additional
+quantity of inch pipe of sufficiently warm temperature is obtained, that
+can be carried into rooms and placed in situations into which the
+warming surfaces of the low-temperature system could not be made to
+approach.
+
+As regards the low temperature apparatus, if the large pipes belonging
+to it are laid in sufficient quantity, they doubtless have the effect of
+producing a moderate degree of heat.
+
+The best way of introducing them into a dwelling-house is to sink them
+in channels in the floor, with perforated ironwork over them: they are
+more usually introduced into hothouses, factories, and workshops, where
+their appearance is not objectionable. A feeling exists in favour of
+their use in conservatories; in order to show how they can be retained
+for that purpose, the combined systems are introduced in the plan of the
+villa here described.
+
+The ground plan shows the entrance hall, the gallery or sculpture saloon
+in the centre, the principal staircase, the picture room and the
+servants’ staircase, all warmed by the inch pipes; the larger pipes are
+introduced into the conservatory. In the picture room--that between the
+drawing-room and the dining-room--and in the hall, the pipes are sunk in
+trenches in the floor. They are close to the walls, and lined with brick
+with an inside covering of zinc. These trenches have over them
+perforated ornamental ironwork; _a´_ _a´_ are pedestals containing coils
+of pipe; _b´_ _b´_ are pipes behind the skirting, likewise perforated.
+Where these pipes pass the doorways they are sunk in the floor. In the
+conservatory _d´_ _d´_ are the large pipes; _f_ is an open cistern,
+through which the circulation of water in the pipes flows; at _g_ are
+placed the expansion and filling tubes.
+
+Fig. 2 is an isometrical view of the pipes, furnace, and cisterns
+complete to a small scale; _e_ is the furnace placed in the basement;
+_f_ is a cistern of cold water through which the flow and return pipes
+from the furnace pass: the water becoming heated in the cistern flows
+out, and returns in the direction shown by the arrows. The flow pipe,
+leaving this cistern, passes up to the expansion tube _g_, whence the
+tubes run through the building in the manner shown, returning to the
+furnace. The pipes _d_, are two other flow and return pipes, furnished
+with a stop-cock, by means of which the circulation can be confined
+either to the house or to the conservatory. The furnace
+
+[Illustration: Fig. 2.]
+
+should in reality contain two coils of pipe, having two flows and two
+returns, the whole of which should go through the cistern _f_, but the
+small scale of the plate allows one circulation only to be shown.
+
+Dr. Arnott’s principle of nearly equalizing temperatures was applied by
+him for room ventilation. Its mode of application is explained in the
+following extract from his report on “Warming and Ventilating
+Infirmaries, Workhouses, Factories, and Domestic Apartments,” given in
+the appendix to the Second Annual Report of the Poor Law
+Commissioners:--“In rooms where the mechanical mode of ventilation
+already described (by means of fanners) and now common in factories, has
+been adopted, an addition might be made to the apparatus for extracting
+the impure air, which would drive fresh air in, and which, by causing
+the two currents to pass each other in contact for a certain distance in
+very thin metallic tubes, would cause the fresh air entering to absorb
+nearly the whole heat from the impure air going out, and would thus
+render it at once both pure and warm, and would consequently save, after
+the room was once warmed, any further expense of fuel for the day, and
+would avoid, how rapid soever the ventilation, all the danger from
+draught and unequal heating.”
+
+The above idea is extremely ingenious, but as to its practical
+efficiency, some doubt might be expressed. The temperature of a warm
+room, even if it was 65°, would be much too low to produce the action
+described.
+
+A very ingenious application of the small-tube system of warming has
+been introduced into his dwelling by Mr. Babbage. He placed the furnace
+in the basement, and divided the whole length of piping by means of a
+multiple cock into four circulations, any one of which he could turn off
+or on at pleasure; one circulation warmed the bath, which, when the
+cistern that supplied it was once up to 160 degrees (and this it took an
+hour to obtain), remained sufficiently warm for a bath during 24 hours.
+The whole quantity of pipe in the building was 891 feet, and the
+quantity in the furnace 135. The thermometer in the smoke-flue was
+seldom higher than 212 degrees, when that in the flow-pipe was 240
+degrees. Any two or three, or all four of the circulations could be
+worked together, by simply turning an index provided for the purpose.
+
+The tool-room was always kept at a temperature of from 50° to 54°. In
+winter the hat-room received a portion of piping, so that coats and
+gloves, even in the dampest weather, were always kept dry. One
+circulation was sent through the dining-room a short time before it was
+used; it was after a certain time turned off and sent through the
+bedrooms and dressing-rooms. The various rooms in the winter were kept
+at different temperatures, the dressing-rooms were a few degrees warmer
+than were the bed-rooms: an inducement for early rising. The linen was
+aired, and warm water provided in the dressing-rooms and for the use of
+the servants. The apparatus saved labour in cleaning and lighting of
+fires, and it was economical, the consumption of fuel during the six
+winter months being about a bushel of coke in 24 hours. The supply of
+air, and the consequent combustion and quantity of fuel, was regulated
+by the fire itself. This was never suffered to go out after it had been
+once lighted, except when necessary to remove the clinkers, and this
+occurred about once a fortnight. In the morning, about seven o’clock,
+the fire was well shaken by means of a lever attached to the bars of the
+grate. Coal or coke was supplied, and the air valve opened. The
+stop-cock was then turned on to supply the coils for the library and
+stairs. At about eight o’clock in the evening the stop-cock was turned
+to heat the coil of the bath, and at eleven o’clock, fuel having been
+supplied, the air valve was completely closed, and the damper also if
+necessary. By these means the fire burned very slowly during the whole
+of the night, and the bath cistern received the warmth thus generated.
+
+These conveniences and luxuries might be more generally applied than
+they are at present in the dwellings of this country.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 29._
+
+GARDEN SEAT.
+
+
+This small ornamental structure was designed for a garden in Wiltshire,
+on an estate near Chippenham. The garden, which is very extensive,
+rises
+
+[Illustration: Perspective view.]
+
+[Illustration: Plan.]
+
+in steep terraces up the combe or hill by the side of the mansion, which
+lies down in the valley. The structure was to be on the highest part of
+the garden,
+
+[Illustration: Elevation of front.]
+
+commanding an extensive view of the valley, the village, and adjacent
+country. As the house is in the neighbourhood of several fine old
+Elizabethan mansions, the design partook of that character. The view
+represents
+
+[Illustration: Section.]
+
+[Illustration: Side elevation.]
+
+[Illustration: Balustrade.]
+
+the structure in its complete state, with the terrace overlooking the
+valley. The turret on the tower of the village church is seen in the
+distance. The latter
+
+[Illustration: Portion of exterior front.]
+
+[Illustration: Portion of the entrance front.]
+
+[Illustration: Balustrade (2nd example).]
+
+is an agreeable object in the view, being an extremely fine specimen of
+Decorated English Gothic, and in good preservation.
+
+The plan is beneath the view, and the elevation of the building is
+likewise given. The whole of it was to have been constructed in stone;
+the vases were intended to receive flower-pots, so that a constant
+change of flowers could be placed in them by the pots being changed as
+often as was desired. A section through the centre and a side elevation
+are given; the balustrade is from an ancient example, it is five inches
+in thickness. The mouldings of the exterior are of plain Roman
+character, without any admixture of Gothic forms. The best examples of
+our Elizabethan architecture are pure Italian, but possessing a bolder
+and more picturesque outline, suited to our northern climate, than that
+shown by the elegant Italian model.
+
+The second balustrade, p. 365, was an after-suggestion, it being
+considered more appropriate to the design than the first one. Another
+elevation was made for the same structure; this is shown as Design No.
+30; it was to occupy the same site, and to have been constructed wholly
+in stone.
+
+       *       *       *       *       *
+
+Opposite is a drawing of an ancient chimney-piece at Enfield, bearing
+the inscription--
+
+    Sola salus servire Deo,
+    Sunt cætera fravdes.
+
+[Illustration: Ancient chimney-piece in the Palace School, Enfield.
+
+(Formerly in the occupation of Queen Elizabeth.)]
+
+
+
+
+_DESIGN No. 30._
+
+A GARDEN SEAT.
+
+[Illustration]
+
+
+The turret of the village church is seen through the centre opening;
+this was proposed to be filled with plain and coloured glass; the detail
+of the ornament above the cornice is copied from that on
+
+[Illustration: Plan (2nd design).]
+
+the gables of Charlton House, Wiltshire, from which the author had just
+returned, having visited it for the purpose of making drawings and fully
+illustrating it in one of his publications.
+
+
+
+
+_DESIGN No. 31._
+
+AN ICE-HOUSE.
+
+[Illustration: Perspective view.]
+
+[Illustration: Section.]
+
+
+This design represents an old-fashioned ice-house, such as were
+constructed in the country several years ago, and still are so, where
+large quantities of ice are required to be stored. This small structure,
+embosomed amidst trees, impervious to the sun, was formed with the stone
+of the district, and arched and domed over with bricks. The well _a_,
+sunk in the earth, is 10 feet in diameter, _b_ is a cesspool to receive
+the water that drops from the ice, and _c_ is the drain
+
+[Illustration: Plan.]
+
+to convey it to the well _d_; the ice is thrown in from the top, the
+earth _e_, and the two stone slabs and the straw between them, being
+removed.
+
+As an additional precaution against warmth, the structure was buried in
+a mound of earth. This, as it quite destroyed any picturesque effect it
+would otherwise have had amidst the trees, is not shown in the view.
+
+These ice-wells have not often so long a passage of approach; one only
+from 6 to 10 feet in length is sufficient, but double doors and a free
+current of air across the entrance passage are desirable. It has not
+often a domed roof to cover that of the well, a common wooden roof
+covered with thatch placed a few feet above the roof of the well being
+sufficient; neither is it often considered necessary to have a well to
+receive the water dropping from the ice. The ice-well walls may be
+splayed down to the ground, with proper footings, and an uncovered piece
+of ground left at the bottom. Over this is placed an open wood frame,
+which supports the ice, and permits all water to drain off. When the
+walls are splayed down in this form, buttresses must be added to support
+them, and the weight of the ice. Every country house in America is
+provided with an excellent ice-house of the simplest and most practical
+kind. It consists of a deep excavation in the earth, roofed over with a
+pointed thatch. These ice-houses are always well filled in the winter,
+and rarely if ever quite emptied during the summer. An accurate section
+of such an ice-well, with full directions for its construction, has been
+lately published.[E]
+
+
+
+
+_DESIGN No. 32._
+
+A SUBURBAN VILLA.
+
+
+One of the chief peculiarities in small suburban villas that have been
+erected near London within the last thirty years, is that of making the
+
+[Illustration: Elevation of principal front.]
+
+chief room on the basement the ordinary apartment for the family. The
+confined areas formerly adopted in front and back of the building are
+omitted, and the earth is sloped up in form of a bank, being adorned
+with flowers and shrubs so as to look pleasing from within the
+apartments. There is usually a side room in the basement, with
+descending steps to the entrance, which serves as an office to the
+occupier of the house. If his business be chiefly in the locality,
+
+[Illustration: Ground plan.]
+
+this is very convenient; the chief room in the basement is used as a
+dining and supper room, and indeed for all common purposes by the
+family. It renders it unnecessary to have more than one, or at most, two
+servants’ rooms. The drawing-room, the library, and the superior
+dining-room are on the floor above.
+
+This suburban dwelling very much resembles the same class of structure
+in America, where economy of space is carried out more completely than
+with us, and the residents are less dependent on servants. In the
+American house, the pantry is nearly always placed between the kitchen
+and the dining-room, and its chief approach is from the latter, even
+when the dining-room is on the ground floor. The American
+
+[Illustration: One-pair plan.]
+
+house has the office, or place of business of the occupier, on the lower
+floor, with its separate entrance. The Americans exhibit a compactness
+of arrangement and an attention to detail that prove they are in no way
+behind us in a knowledge of what is requisite for household comfort. One
+peculiarity in the American building is the verandah, which is
+considered to be indispensable. It is large and roomy, and often placed
+on three sides of the building; the climate, warmer and drier than our
+own, renders such an addition a
+
+[Illustration: Section through front and back.]
+
+great luxury. Our atmosphere in the winter months has often been
+pronounced of leaden gravity, and it does not permit of any erection
+that stops the circulation of the air, which would render it stagnant.
+Another peculiarity in the houses of our American cousins, is that they
+are often cased in wood. If the house be only two or three storeys in
+height, an 8-in. brick wall is considered sufficient: this is “furred
+off outside, and covered with clap boards,” in the ordinary
+
+[Illustration: Basement plan.]
+
+way followed in a wooden building. Its advantage is, that it is sure to
+secure a perfectly dry wall. This mode of construction in England would
+necessitate the painting of the whole of the exterior once at least in
+every three or four years. One more suitable with us for a wall in a
+damp situation would be the plan the author pursued in the house on
+Salisbury Plain, putting quartering against the wall, and covering it
+with diamond slating. The surface could be varied with coloured
+encaustic tiles so as to present a pleasant
+
+[Illustration: Front windows.]
+
+appearance, proper ventilation being given behind the slating.
+
+The small suburban villa represented in the plate is supposed to stand
+on a plot of ground with a frontage of 50 ft.; the construction is in
+brick and stucco, the small columns of the portico are of Bath stone.
+The plan shows a small hall _a_, the library _c_, 15 ft. by 14 ft., and
+on the right with a strong closet. The dining-room _e_, is 18 ft. by 15
+ft., and on the left; the drawing-room _d_, is 23 ft. by 18 ft. There is
+a large commodious staircase _b_, and leading from it a small
+dressing-room _i_, and closet. This dressing-room might easily be made
+to contain a bath; the water for the bath in any one of the floors
+should always be heated by means of a close boiler attached to an
+ordinary kitchen-range. It is the most simple, economical, and efficient
+arrangement for that purpose, as no more fire than that used for cooking
+is required. The cold water is supplied from a cistern at the top of the
+house, and a continual circulation of the water between that and the
+boiler goes on, the hot water ascending, the cold descending. Pipes may
+be branched off from the ascending pipe, which leaves the top of the
+boiler, and taken to any part of the house, ensuring a supply of hot
+water to dressing-rooms, nurseries, &c. Instead of a boiler, a coil of
+iron or copper pipe is often used, rendering the circulation quicker and
+more effective. The one-pair plan of the suburban villa contains three
+large bedrooms, two dressing-rooms, and one invalid’s room entered from
+the staircase; to this room the closet could be attached. The staircase
+leads up to two large attics for the servants.
+
+The section, p. 376, shows a portion of the front and back of the
+building, with the construction of the roof, the back wall not being
+carried so high as the front. This is done to give the building an
+imposing appearance from the road, a mode of construction very often
+carried out in suburban houses. The basement plan affords good
+accommodation; _f_ is the kitchen, 18 ft. by 15 ft., _g_ the scullery,
+_h_ the larder, _k_ the living room, _l_ the business office, with its
+separate entrance. The closet for the servants is external; the
+footman’s pantry and the wine cellar lead out of the staircase _b_; the
+coal cellar is under the portico. The house thus contains seventeen
+rooms; the cost of its erection would be 3260_l._ completely finished. A
+detail of the windows is given on a large scale at page 378.
+
+The following is an elevation of the vane, the constructive detail of
+which is given in a former vignette. The character is Elizabethan, and
+designed from an example at Oxnead Hall, Norfolk.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 33._
+
+A SUBURBAN VILLA.
+
+[Illustration: Elevation of principal front.]
+
+
+This design is also one for a suburban villa, or a small country house,
+on a rather larger scale than the preceding. This villa, dressed with a
+plain Italian elevation, and of smaller dimensions as to plan, has been
+erected on several sites near London. The front of the present design
+was partly taken from a plate in “Nash’s Mansions,” at the request of a
+
+[Illustration: Ground plan.]
+
+gentleman who very much admired it, and who was anxious to have a
+semi-detached villa of the same character. The villa was therefore
+designed so that another could be placed by the side of it. The two
+gables form the centre, the chimney stack is between them on the roof;
+the front was to have a sunk area, topped by a Gothic balustrade, and
+as there were no principal rooms on the basement floor in the front of
+the house, this was easily given; the rooms at the back looked into the
+garden, and these had the ground in front of them sloped up.
+
+The ground plan shows an entrance hall _a_, 14 ft. by 10 ft., with a
+commodious staircase _b_, 18 ft. by 12 ft., to the left. There was a
+closet to the right;
+
+[Illustration: The one-pair plan.]
+
+a lift from the basement could easily be obtained here. The study _c_,
+was about 16 ft. square, and was entered from the hall; the dining-room
+_e_, had a bay window, and was in the centre of the building; it
+measured 20 ft. square. The drawing-room _d_, was very large, being 31
+ft. in length by 16 ft. in breadth, with a large window at each end;
+this was often considered objectionable, as the occupants of the room
+can always be seen from the opposite houses, but as this was intended
+for a semi-detached villa, windows could not be obtained at the side.
+
+The one-pair plan contains one large and three small bedrooms, with a
+closet. Over the porch was placed a conservatory, and by its side the
+tower staircase led up to the attic. This contained four good-sized
+
+[Illustration: Attic plan.]
+
+bedrooms, each with a fireplace; there was a housemaid’s closet, and a
+place for the slate cistern to supply the lower part of the house with
+water; a small cistern on a higher level was placed on the roof of the
+tower. Another room could easily have been obtained on this floor, by
+continuing the passage at the housemaid’s closet through the centre
+room, and this was proposed, but it was objected to, as it could not be
+rendered light and airy. A second staircase,
+
+[Illustration: Section through portion of building.]
+
+from the attic to the basement, could have been formed in the tower, the
+two closets being placed in a similar position to the one on the first
+floor. The staircase in the tower led on to the roof. The section shows
+the height of the various rooms, there being no variation throughout the
+floors. It was intended to carry out
+
+[Illustration: The basement plan.]
+
+the style of the exterior in the interior--a medley between the Gothic
+and Elizabethan; the proprietor having a very large collection of
+old-fashioned carvings of various styles and dates, picked up at sales,
+or purchased in Wardour Street (at that time more celebrated for such
+antiquities than at present). The walls were to be covered with gilt
+leather and rich tapestries, and with this the architect did not intend
+to meddle, leaving it all to the taste and skill of the owner, although
+he has finished several interiors with such materials.
+
+The basement plan shows the kitchen _f_, the scullery _g_, and larder
+_h_; _q_ is the wine cellar, and _j_ the butler’s pantry. Then there
+were two large rooms looking towards the garden, and these were
+unappropriated. The butler’s small pantry had a window looking into the
+side area; the servants’ door was on the staircase; the coal cellar was
+placed under the steps leading to the porch.
+
+The building was to be constructed in brick and cement, with the porch
+and external balustrade in stone. The expense would have amounted to
+4600_l._, or the double villa to 9000_l._
+
+
+
+
+_DESIGN No. 34._
+
+RIDING-HOUSE AND STABLING.
+
+
+This collection of designs could hardly be complete without a group of
+stable buildings. To make such a group picturesque is extremely
+difficult,
+
+[Illustration: Perspective view of riding-house.]
+
+and it is very seldom attempted. Such buildings mostly form a portion of
+the offices which are placed out of view, concealed by plantations or
+shrubbery, and generally at some distance from the mansion to which
+they appertain.
+
+The present design, carried out in 1846 and 1848, was for some
+additional stabling to a baronial park, and it formed a conspicuous
+object. It stands on the
+
+[Illustration: Plan of riding-house and stabling.]
+
+eastern side of a quadrangle, the larger stabling being on the west, the
+offices of the mansion on the north (see above), and on the south there
+was a terrace-walk overlooking the park. The block of buildings as
+represented in the plan, comprised a riding-house _a_, 62 ft. in length
+by 32 ft. in width, a four-stall stable _e_, 30 ft. in length, a loose
+box _b_, 13 ft. square, and the boiler room _d_. The dung pit _g_, into
+which the liquid manure from the stable was sent, was on a very low
+level, and had a cart road at its side. The coach-house between the
+riding-house and stable was 40 ft. in length by 20 ft. in breadth; it
+had a covered area in front 44 ft. in length, with a width of 13 ft.,
+and a well and pump. The prospect tower _h_, as well as the tower _i_,
+had iron staircases, which led to the stud-groom’s sleeping room, two
+harness rooms, and the gallery of the riding-house.
+
+The latter was erected first. It is in brick, with a circular-ribbed
+wooden roof, on the plan introduced by Phil. de l’Orme, whose well-known
+book was published in Paris in 1567. He introduced a construction for
+roofing that is both cheap and efficient, and one that while plenty of
+light and ventilation can be obtained, gives the largest space in the
+interior of the room.
+
+The walls of the riding-house were two bricks thick, laid English bond.
+As the foundation rested on the stone no concrete was used, but the
+rock, which was on a steep incline, was levelled in step-like fashion,
+to receive the walls. Buttresses were placed where the circular ribs of
+the roof were situate; two lines of iron-hoop bond, 1 in. by 1/16 in.,
+tarred and sanded were laid in all the walls, piers, and buttresses;
+there were 13 courses 2 lines in side walls, 16 courses 2 lines in gable
+walls, and 7 courses 2 lines in buttresses. The walls were covered with
+brick copings formed of two courses of moulded bricks cut to lengths and
+mitred, and set and jointed in cement to gable ends: the flaunches of
+the angle buttress were formed with stocks, the upper courses set and
+pointed in cement, and the angles of parapets cut and mitred to the
+same.
+
+Ragstone moulded corbels were placed over the piers inside the building,
+from these the circular ribs sprung and into which they were stubbed.
+The roof was thus described in the specification:--The roof will be
+formed of circular ribs placed two and two, each 7½ inches apart,
+screwed and bolted together, each single rib to be in three thicknesses,
+the inner one of oak and to consist of twenty-six pieces of 1¼ inch deal
+and ten of 1¼ oak, each separate piece 1 foot in width, and to be as
+long as the scantling of the timber will allow, the ribs to be wrought
+and glued together, and at each joint to have two hard nails or ¾ inch
+screws having a good thread; the top and bottom edges of rib cut fair
+for linings, the side finished for paint. Cross pieces, 7½ by 2½ inches,
+twelve to each pair of ribs, the whole to be bolted together. To prevent
+the ribs from being at an unequal distance, the two outer ribs to be
+sunk half-an-inch at the places where the purlins notch in them.
+
+The purlins, eight in number, to run the whole length of roof, notching
+in the rib arches. The purlins to be placed in pairs and to have small
+cross struts either notched into them or securely nailed to prevent them
+from buckling or twisting.
+
+All the horizontal timbers of roof, such as the purlins, poll plate,
+sill, and heads of skylight, to run 9 inches in end walls, and to be
+cogged on template. Each purlin, if not in one piece, to be properly
+scarfed. An oak wall-plate, 9 in. by 6 in., was laid the whole length
+and width of the building, running 6 in. in the wall at angles, where it
+was pinned and lapped. The plate in the arch over the entrance formed
+the upper part of the railing in the gallery.
+
+This plate served as the abutment for twenty-four oak braces or struts,
+each 7 in. by 4 in., placed in the lower portions of the roof on each
+side, each strut to be sub-tenoned either into purlin or cross piece
+between rib, and the whole to be securely fixed.
+
+The framing to support curb or sill of skylights to be in one piece, to
+run over the wood arches, and to be securely fixed to purlin.
+
+Each pair of circular ribs moneyed out 22_l._ 4_s._ 6_d._ The more
+modern French style of forming this kind of roof would have been by bent
+ribs composed of three ten-inch planks, 12 inches by 3, cut true at the
+saw-mill, jointed with glue, planed all round, chamfered to edges, with
+20 half-inch bolts. These would have cost only 13_l._ 16_s._ 8_d._ each,
+but they would have caused considerable lateral pressure against the
+side walls.
+
+The roof of the riding-house is correctly shown in the small view, p.
+389, which serves also to show the section. Fig. 1 of the accompanying
+cut shows one
+
+[Illustration: _Fig 1._]
+
+[Illustration: _Fig. 2._]
+
+[Illustration: _Fig. 3._]
+
+of the circular ribs, fig. 2 the section of the pair joined together,
+and fig. 3 the section of the more modern French method of bent ribs. A
+roof in this latter construction was put up by Mr. Charles Fowler,
+architect, at the sale-room, St. Paul’s Churchyard. The circular ribs of
+the roof were formed in three thicknesses of 1¼ deal, footed into iron
+sockets or corbels let into stone templates. As a precaution until the
+perfect set and settlement of the work, three of the roof-frames had
+iron tie-rods, which were removed when all fear of lateral thrust was
+over. A print of the room was given in the _Builder_.
+
+The first construction described could be much improved, strengthened,
+and lightened by introducing an iron bar in lieu of the oak rib; and
+this has been done in several instances, resulting in the roofs standing
+well.
+
+The chief portion of the bricks used in the construction of the
+riding-house were provided from the estate, and were carted on the
+ground for the use of the builder. His account came to 920_l._
+
+The elevation of the stable shows the entrance to the coachhouse in the
+centre, between coupled columns. These were in iron, of slightly
+Elizabethan character as to style. Two gabled windows are on each side,
+one forming the entrance to the riding-house, the whole flanked by two
+towers; that on the left contained the staircase leading to the gallery
+of the riding-house seen in the view, the other is the prospect tower,
+overlooking the park. These buildings were commenced and finished in
+1848. The builder had to take down the old coachhouse and stabling which
+stood upon the site, and was permitted to use the old materials as far
+as they would go; one roof was re-used. The cost of the new building was
+1107_l._ The whole length was 95 ft. One of its principal features was
+the prospect tower, a view of which and
+
+[Illustration: Elevation of stable.]
+
+a representation of the back front is on p. 398; this was 60 ft. in
+height above the foundations.
+
+An iron staircase led up to the small tower, which had a staircase
+leading to the roof or lead flat, upon which was a seat and flagstaff.
+The battlements of
+
+[Illustration: Cap of iron column.]
+
+this small tower and its doorway were constructed of ragstone. This
+turret was corbelled out from the building as seen in the view; its plan
+and that of the corbelling is given on p. 399. The corbels were two
+bricks in height, each course; the arch is covered with
+
+[Illustration: Perspective view of prospect tower.]
+
+a stone landing upon which the small turret stands. It has a lightning
+conductor. This, the three iron staircases, and the columns, cost
+200_l._, which, however,
+
+[Illustration]
+
+was included in the previously stated amount of 1107_l._
+
+It was proposed to give the terrace-walk an ornamental stone. The
+balustrading and one of the bays of this balustrading are illustrated
+below.
+
+[Illustration: Elevation of the balustrade.]
+
+
+
+
+_DESIGN No. 35._
+
+A BACHELOR’S HOUSE.
+
+
+This building was intended to have been erected on an estate in the
+neighbourhood of London, for the solicitor acting for the lessee, a
+builder who was erecting numerous first-class houses upon the property,
+and who required his solicitor to be often with him. The gentleman was a
+bachelor, and this was, for a time, to have been his private town
+dwelling. It was only to consist of a basement and ground floor, but the
+walls were to be made sufficiently thick to enable the structure to be
+carried upwards when the estate was fully covered, and the house would
+be required for a family.
+
+The plan was arranged after the legal gentleman’s own directions: _a_ is
+the small entrance hall, leading to the inner hall, from which the
+living room _b_, and the picture gallery _f_, are gained; the gallery
+contained a choice collection of cabinet pictures, hunting subjects by a
+celebrated painter; _c_ is a small bedroom, which could be enclosed or
+shut off from the living room by a lifting-screen, worked somewhat
+similar to a lifting shutter. The screen was to be covered on the side
+next the living room with paintings; _d_ is the bath
+
+[Illustration: Plan.]
+
+room, _e_ the closet, _h_ is the dining-room with its lift, _i_, from
+the pantry in the basement; _j_ was a small iron staircase leading down
+to the stable, where some valuable hunters were to be kept. Under the
+dining-room was the coachhouse; no rooms were over the stabling. The
+servants’ entrance was in the area. The exterior of the building had a
+plain Gothic Tudor front.
+
+       *       *       *       *       *
+
+The vignette shows a corbel in the French cut-wood style.
+
+[Illustration]
+
+
+
+
+THE FIREPLACE.
+
+FLUE CONSTRUCTION AND SMOKE PREVENTION.
+
+
+An especial love for home comfort has always been an English
+characteristic. It has formed a species of national taste and pride even
+among our working classes. The constant changes of our climate are
+injurious to every class; the chief point of attraction in the English
+dwellings, during winter’s wet, cold, and fog, is centred in the
+fireplace. This has long been deemed the favoured spot where
+
+                      “Social mirth
+    Exults and glows before the blazing hearth.”
+
+The fireplace suits our climate; it is cheerful and attractive, but it
+gives its heat only by radiation. We are warmed on one side and chilled
+on the other, but neither the warmth nor the chill is too great to bear,
+and the occupant of the room can move into any temperature that suits
+him. In more northern climates the use of the fireplace would not be
+tolerated; there the cold is so excessive that an equal warmth must be
+diffused throughout the apartments, and flues in hollow walls, and
+closed stoves either in iron or brick are in the ascendant, as already
+mentioned in an earlier part of this work. But such means, by which the
+air is heated, and not merely warmed--and there is a great difference
+between warmed air and heated--would not be tolerated here. A puff of
+air from a closed stove caused by a back draught is not pleasant, and is
+very different from the honest puff of smoke from an English fireplace,
+that gives as a natural product of combustion, carbonic acid gas. But
+not one of these stoves, nor those that are called “smoke-consuming
+stoves,” make a good companionable fire--and this is not liked.
+
+The common open fireplace has held its own, and will continue to hold
+its own, against the best-contrived stove that can be introduced in lieu
+of it. But it still remains to find such a construction as will remedy
+its serious defects. These are chiefly such as pertain to the flue; it
+is not to the stove that these belong, for that, thanks to our excellent
+makers, is quite perfect.
+
+In our sluggish winter atmosphere the smoke leaves the open flue with
+tolerable certainty unless the flue is foul with soot; but when high
+winds prevail and the atmosphere is anything but sluggish, it teaches us
+the faults of the open flue, and volumes of smoke descend into our
+apartments. There are few occurrences in domestic life more vexatious
+and annoying than this; the numerous unsightly appendages in the form
+of cowls, turncaps, and windguards which appear alike on our houses,
+churches, and palaces, whilst they exhibit the ingenuity of our builders
+and workmen in remedying the trouble of smoky chimneys, demonstrate also
+the frequency of the misfortune.
+
+When flues are carefully constructed, with the best modern improvements,
+and a due supply of air is admitted into the stove, a smoky chimney is
+an exception; still the flue forms only a simple open funnel for the
+passage of the smoke, and failures will inevitably often happen. A
+construction on a good principle should render these defects as trifling
+as possible. In our best houses--those constructed within the last
+twenty or thirty years--two kinds of the common brick flue are mostly in
+use. One is of the old-fashioned kind, having a section of 14 by 9 in.,
+which was made originally of that size for the accommodation of the poor
+sweeping-boys. This is now retained only for the kitchen fire, which
+makes a large quantity of smoke, and for the rest of the fireplaces the
+flue known as “Cubitt’s” flue is employed, which has a diameter each way
+of 9 in. The author prefers the small flue, and always uses it in the
+buildings he has constructed. There are many persons who still maintain
+that the old-fashioned flue is the correct one, and it is still very
+generally used. There is an old saying about the proof of the pudding.
+In Belgrave Square, all the houses first designed and erected have the
+old-fashioned flue, and there are scarcely a dozen of the old
+chimney-pots left; all have been changed for tall-boys and other similar
+contrivances; one house has about 24 in one stack. No. 49, built by
+Cubitt about 35 years ago, and having the descending or sweeping flue,
+has the stacks exactly as at first constructed, with the exception only
+of a little doctoring to the kitchen flue. In the house opposite, No.
+48, one of the first, the external stack alone, next the street, has no
+less than 17 tall-boys, two of which appear to be broken off. On the
+opposite side of the Square, in Chesham Place, is No. 38, built by
+Cubitt about 30 years; it has all the original stacks untouched.
+
+The Cubitt flue can be recognised by the small peculiar cap on the
+chimney-pot, and several of these stacks remain in their original state.
+In Eaton Place and Eccleston Square, where this flue is used, the roofs
+tell the same story. In the first buildings erected by the author he
+used the large flue, and he now finds several specimens of
+chimney-doctoring on the roofs. In some large houses he lately erected
+at Queen’s Gate, in which the sweeping flue is used, there are several
+houses together without any disfigurement at all on the roof. He
+considers that the appearance of a tall-boy on one of them would be
+rather a proof that there was something wrong about the servants’
+management of the fires, than an error in the construction of his flues.
+
+A representation of this flue, and the manner of introducing it into a
+building, is here given. Fig. 1
+
+[Illustration: Flue construction.]
+
+represents a portion of the chimney-flue construction of a first-rate
+house; the lower chimney opening is in the basement, and above it are
+two others, one on the ground floor, and one on the first floor. It will
+be seen that there are three flues descending or taken down to the
+basement. The third flue belongs to the room on the second floor. The
+wall is two bricks thick, the flue 9 in. in diameter, and contained
+within the wall with no chimney-breast projecting. Fig. 2 is a plan of
+the flues on the ground floor, and fig. 3 of those on the first floor.
+Fig. 4 is a section of the fireplace opening; this is 3 ft. in height
+from the floor-line, the brickwork at top is splayed, and supported by
+an iron bar; these openings are always filled up with 4½ straight joint
+work, to be taken out when the mantelpiece is fixed. Fig. 5 is the
+chimney-pot and its cap, the latter opening at top 7 in. by 9 in. only;
+fig. 6 shows one of the sweeping doors, in which there are two to each
+descending flue. The latter three figures are twice the scale of the
+former. A plan and section of the chimney complete, with its marble
+mantel and stove, is given in figs. 7 and 8. The flue passes completely
+down at the back of the stove, the front is closed by an iron plate to a
+height of 2 ft. On this is fixed the moveable door or register, shut
+fully or partly over the flue when the stove is in use, and closed over
+the stove when the flue has to be swept. The arrows show the mode of
+admission of air to the front of the fire; it is brought through the
+
+[Illustration: Fig. 7.--Plan of stove.]
+
+floor and two openings in the back hearth from the outside of the house.
+This is generally kept concealed,
+
+[Illustration: Fig. 8.--Section.]
+
+and in order to ensure a supply of air to the stove the room should be
+kept completely closed.
+
+To cause as full and perfect a combustion of the fuel as possible, a
+draught or current of the external air should be always admitted to the
+stove, and it could easily be placed under open management, so as to
+admit either a large or small supply of air, as required. Numerous
+patent processes to effect this are in use, but the most effective way
+of doing it is that shown in figs. 7 and 8: it is too simple for a
+patent.
+
+[Illustration: Fig. 9.]
+
+Fig. 9 shows a method of admitting air above the architrave of the
+entrance door of the room. The opening is made about 2 ft. in length;
+this, after a little time, becomes marked by the blacklets coming in
+from the passage. The sweeping flue when the fire is lighted becomes
+very hot; the smoke ascends speedily and soon leaves it. The flue
+requires the stove to be formed expressly for it. Mr. Cubitt made the
+stoves only for his own houses, and the author had some difficulty at
+Queen’s Gate, in procuring stoves of the right pattern, for
+manufacturers prefer their own shop patterns, and some of these would
+have covered up half the descending flue. Those he used were supplied by
+Messrs. Feetham of Clifford Street, who are well acquainted with the use
+of the flue and stove. The flue is considered an excellent one; it is a
+builder’s flue, constructed solely of brick, and is certainly the best
+of the brick flues. The same attention was paid to it as was given to
+every part of Mr. Cubitt’s buildings. It may be asked, “Are there no
+other kinds of flues constructed of superior materials?” Yes, certainly
+there are; particular attention has often been paid to the flue. There
+is Hiort’s circular flue, formed in each course of four wedge-formed
+bricks. Mr. Hiort held a very important position; he was Treasurer of
+the office of Works at Whitehall, and his flue was extensively used in
+some of the Government buildings and the houses in Carlton Gardens. It
+did not bond well with the brickwork, so we have Mr. Moon’s improvement
+upon it. This was considered not sufficient, and another patent was
+taken out in 1844 by Messrs. Clark and Reed for its further improvement.
+The flue was an excellent one, but on Mr. Hiort’s retirement from the
+Government Board, it went out of use.
+
+There is Seth Smith’s metallic chimney lining, which makes an excellent
+flue; the lining is a pipe of from 5 to 10 in. in diameter, built in the
+brickwork. About 150 of these flues are at the Pantechnicon. Mr. Smith
+announced his determination of never building any house above the value
+of 30_l._ per annum, without using them. They could be introduced, to
+form perfect linings to chimneys in buildings already erected, and allow
+the stack to be reduced in height, without having the unsightly
+appearance of contractions made above them. The drawback to the use of
+these tubes by builders was the price. Without any royalty, the 9 in.
+tube cost 3_s._ 4_d._ per ft. run, the curved tubes 4_s._ 3_d._, the
+starting tube 3_s._ 8_d._ The tubes were of the exact form of drain
+pipes, and they were cheaper, and as effectual.
+
+If Mr. Smith’s metal tubes had been introduced into a large brick flue,
+they would have rendered the latter an efficient shaft for ventilating
+every room in its upward course, openings being made for the purpose at
+the upper part of the rooms. This mode of ventilation was applied to
+hospitals on a large scale by the late Mr. Jacob Perkins several years
+ago, with perfect success.
+
+Denley’s flue, introduced in 1843, is believed to have been the
+precursor of that used by the late Mr. Thos. Cubitt at Belgravia and
+Pimlico, and there is a great resemblance between the two; but Mr.
+Denley’s flue has nothing like the simplicity nor ease of construction
+of Mr. Cubitt’s. The downward flues were merged into one at the
+basement, and all the soot and cinders were collected or thrown down
+into a fire-proof box, which must have stood out in the lower rooms,
+from which they had to be removed. The flues were swept from the roof,
+the register doors of the stoves being closed, and there was no
+provision for sweeping the flues between the basement and the stoves.
+Joined to his system for sweeping, was one of air flues which brought a
+current of air direct from the exterior of the house to each fireplace.
+
+We have several flue systems which have ventilating flues in connexion
+with them. Boyd’s flue forms the wythes, or half-brick spaces between
+the flues, of iron plates, and the open spaces thus gained make
+ventilating passages. Mr. Doulton’s combined smoke and air flues are
+manufactured in terra-cotta, in three sizes; the air flues follow the
+line of the smoke flue, the passages being quite distinct, as in Mr.
+Boyd’s. The heat from the smoke flue causes a current in the air-flue
+which carries off the vitiated air admitted by openings near the
+ceiling. The common drain pipes and the glazed fire-clay pipes make good
+flues; the use of these pipe-flues has greatly increased during the last
+few years; they improve the draught, and clean easily. Flues for
+ventilation from rooms should, like Arnott’s ventilator, enter into the
+smoke or a hot ventilating flue. Arnott’s ventilator requires careful
+adjustment, to be balanced in such a way that it should stand closed on
+a calm day.
+
+The superior patented flues, as they are of considerable cost, and take
+extra time in construction, are only used in the better class of
+buildings, or in those erected under the express direction of the
+owner. In speculative buildings they are never used. The time required
+for their construction beyond that of the common brick flue, being
+regarded by the builder as so much money lost.
+
+The great desideratum in a flue is to make it pass off its smoke
+quickly, and this the small size flue effects more certainly than the
+larger one, as it warms sooner and keeps its heat longer.
+
+An enthusiastic admirer of the descending or sweeping flue once told the
+author that with a good fire in the grate, if a kettle of water could be
+placed on the top of the chimney-cap the water would soon boil, even if
+the flue were fifty feet high. The flues constructed of metallic or
+earthenware casings retain also the heat longer, and keep hotter. It may
+be imagined that with these flues, and the large quantity of gas lamps
+in the streets, why the temperature of London should be always some
+degrees higher than that of the country. In winter snow may be seen in
+the suburban fields, but none is found in town.
+
+Architects have often been blamed for not inventing a good system of
+flue-construction, not only for the prevention of smoke in our
+dwellings, but for the hindrance of its presence in the atmosphere.
+Several, and most excellent attempts, have been made for the former, but
+very few for the latter, which is one of far greater difficulty. Yet
+this is one that admits of a cure, great as the evil is. The chimney
+flue might be so improved as to effect a more certain and larger
+ventilation of our houses, without any addition of ventilation flues.
+The introduction of the French Mansard roof with us, one from a country
+where coal fires are not in use, renders it almost imperative for the
+chimneys belonging to such buildings to have a different construction,
+for chimneys when placed against a building or roof that overtops them,
+are sure, as they are at present made, to become smoky: the wind
+returning owing to the high construction, and descending in the flues.
+The following few designs are offered to cure these various evils.
+
+Accepting as a fact that tall-boys, and the other iron and zinc
+constructions, are useful appendages, there can be no reason why they
+should be so used as to disfigure our buildings. Some of the finest
+specimens of architecture in the Metropolis serve only as pedestals to
+an ugly collection of cowls.
+
+The author proposes to form the upper part of the flues in a building,
+for a length of about 15 to 20 feet, entirely of iron or other tubing,
+in square, round, or oblong sections, of a less diameter than the brick
+flues to which they are attached. This tubing is gathered up in groups,
+and carried out at an angle of 45° towards a centre stack: the tubes in
+direct contact with each other, having no brick wyths, except one or
+two to strengthen the stack.
+
+It is obvious that if only one of the flues be in use, it would
+moderately warm those next to it; and if the whole of the flues of a
+building were constructed on this plan, and two or three were in use,
+such a power would be obtained as would effectually ventilate every
+room; the action would be continuous and imperceptible, and a fire could
+be lighted in any one without the risk of return smoke from a cold or
+damp flue.
+
+Thus the heat now wasted in the atmosphere by the action of the common
+flue, would be partly retained and turned to use, and the draught of the
+flue very much improved.
+
+This tubing could be readily introduced into either old or new
+buildings, as the introduction does not involve taking down more than
+twelve feet of the brickwork, measuring from the top of the coping. The
+tubes could never become sufficiently heated to be dangerous, and less
+brickwork would be required.
+
+They might be made either of zinc or earthenware; cast-iron would be
+objectionable on account of its weight. It will be seen that they admit
+a better mode of sweeping than that now practised, and they could easily
+have some kind of capping to prevent down-draughts.
+
+These “stack flues” should commence from the attic or upper storey of a
+building, at about six feet from the floor; sweeping doors should be
+placed beneath them, so as to give the sweep command of the flue beneath
+as well as above.
+
+Each flue should be composed of three separate forms of tubing, by which
+the various directions and turns necessary for the construction might be
+obtained.
+
+Fig. 10 gives the representation of the three forms; 1, is the first;
+this is placed directly over the brick
+
+[Illustration: Fig. 10.]
+
+flue, and gathers it up to a size having an internal dimension of 6 +
+4½. It is 21 inches in height. 2, the second piece, is on a curve; the
+top and bottom lines, if carried on, would form an angle of 45°; it is
+about 18 inches in height, and internal size 6 + 4½. The third, 3, is a
+straight piece, internal size 6 + 4½, the lengths various. Fig. 11
+gives a plan of four flues and an elevation of the commencement of two.
+The sweeping doors are shown below. The flue without a door is the
+ventilating flue for the basement. The ease with which this tubing can
+be grouped is shown in fig. 12. The stack consists of five flues; the
+tube, 2, connects them together below, and
+
+[Illustration: Fig. 11.]
+
+separates them above. The stack above the roof is 4 feet 9 inches in
+length.
+
+Fig. 13 shows, in the upper plan, how the flue wall could be reduced in
+thickness, made a brick and a half only, with a two-brick block at each
+end; it contains coupled and tripled sets of tubes.
+
+The middle plan shows nine flues grouped together, the centre being that
+belonging to the kitchen. The last plan shows a group of six in a
+two-and-a-half-brick wall; by the side of this are two flues of the
+common construction, 14 inches by 9, made of this
+
+[Illustration: Fig. 12.]
+
+size to enable a boy to get up to the top and place his head out of the
+chimney-pot.
+
+The tube 1, fig. 12, can have its position reversed, as shown in fig.
+14; six flues can thus be grouped together, as shown in the third plan,
+fig. 13. The elevation of this stack is given in fig. 15.
+
+[Illustration: Fig. 13.]
+
+For a covering to these tubes figs. 16 to 20 show ornamental pots and
+their sections. The only merit
+
+[Illustration: Fig. 14.]
+
+in these may be that they are of a more ornamental character than any
+that have ever been introduced; they are formed of zinc, supported by a
+stout dwarf iron railing. The intention is to permit the smoke to escape
+in any direction, either upwards, sideways, or downwards, sheltering it
+as far as possible from any action of the wind, and rendering of little
+consequence whether the stack is high, low, unsheltered or
+
+[Illustration: Fig. 15.]
+
+otherwise. If any sudden gust of wind take place and the smoke be driven
+back, the capping provides larger outlets for its escape than the small
+aperture of the flue itself; in other words, it is easier for the smoke
+to pass in any direction rather than return down the flue.
+
+The stack flues are only, in fact, tall-boys boxed up and not put out in
+the cold, and it is presumed they would be sufficiently powerful, from
+their warmth, to ensure a good passing off of the smoke, and secure
+ventilation to the building.
+
+[Illustration: Fig. 16.]
+
+[Illustration: Fig. 17.]
+
+A forced ventilation to our dwellings, in ever so slight a degree, is a
+matter of importance. By the proper construction of these proposed stack
+flues it is presumed that any amount of ventilating power, self-acting
+and continuous, could be obtained. Their introduction alone would be
+beneficial; combined with the flue pedestal, to be described, the tubes
+could be led into one general upward shaft; by either plan we should
+have some command over the smoke, while the roofs of our buildings might
+be made ornamental and picturesque. It would be a treatment of
+bituminous coal alike artistic and novel, surprising to foreigners and
+creditable to ourselves.
+
+[Illustration: Fig. 18.]
+
+It remains to show how the open character of the flue could be taken
+away (this forms its chief evil), and how a chimney-stack may be formed
+without chimney-pots. The late Lord Palmerston, when Home Secretary,
+proposed the abolition of chimney-stacks, and the use of only one
+chimney-stalk for each separate dwelling. In 1856, a commission was
+appointed to inquire into the best modes of warming and ventilating the
+apartments of dwelling-houses and barracks. Their report, given to the
+General Board of Health, was published in 1857, and it afforded a
+section illustrating “the principle on which it was proposed to
+construct dwelling-houses.” There was only to be
+
+[Illustration: Fig. 19.]
+
+one flue, and this of metal 10 inches in diameter, enclosed in a large
+brick flue, which was to serve for ventilation. In the metal flue were
+to be inserted the flues of the several fireplaces; these were placed
+back to back, and if the register doors of the stoves were open, a
+person in one room might both see and converse with another in the
+next; the music of a pianoforte in one room could be heard in them all;
+this construction was taken up through four storeys, there being eight
+fireplaces. For one fireplace alone it would have been perfect, but the
+smoke from the two kitchen fires would have been sufficient to have
+choked
+
+[Illustration: Fig. 20.]
+
+the flue and caused the smoke to enter into the whole of the eight
+rooms.
+
+The chimney-stack might possibly be lowered, and it certainly could be
+constructed without chimney-pots, but each separate flue must have its
+own outlet. A design for this, one that should take away the open
+character of the flue, and fit the stack, possibly for the Mansard roof,
+is here given.
+
+In fig. 21, _a_ _a_ are the flues, delivering their smoke into a large
+ventilating flue, _b_. The warm smoke would induce a current of air to
+enter at _c_: any current will have a tendency to draw another with it,
+so that the smoke leaving the flues _c_ _c_ would be taken out at _d_ by
+the current of air at _c_.
+
+[Illustration: Fig. 21.--The ventilating flue.]
+
+This is the principle upon which all the best ventilating chimney-pots,
+tall-boys, and cowls are made, and it is a very sure one. The jet of
+steam in the funnel of the locomotive, drawing the smoke from the fire,
+and creating a draught, is adopted on the same principle.
+
+In scientific language, the established law both of pneumatics and
+hydraulics is that when two currents of fluid matter passing in the same
+direction, but in separate channels, arrive at any point of confluence,
+the stronger current draws the other along in its course, and with a
+considerable portion of its own velocity. Thus the force of the wind,
+which checks in other instances the action of a chimney-draught, is made
+to produce a stronger draught, exactly in proportion to the violence
+with which it blows.
+
+Returning to fig. 21, a current of air, instead of coming in at the
+opening _c_, might come in at _d_. It would then have a tendency to blow
+down the flues _a_ _a_: to prevent this, the opening _d_ could be
+closed, and an upright stalk placed at _e_,--this should have a downward
+shaft, a place for soot, and a sweeping door.
+
+There is still another mode of treatment; fig. 22 represents the flues
+grouped, each with a separate ventilating flue, the smoke delivered
+being at the side of each.
+
+The stack might be covered with zinc in the ornamental style with which
+that metal is now treated.
+
+It is probable that if a stack on this principle was placed parallel to
+the side of one of these Mansard roofs, it would be secure from the
+ill-effects of any wind returning against it. The author will not vouch
+for its success, but it is offered here to the attention of architects
+and builders as an experiment worthy of trial.
+
+[Illustration: Section.]
+
+[Illustration: Elevation.]
+
+[Illustration: Fig. 22.--Plan.]
+
+It has been affirmed that the smoke of towns, however disagreeable it
+may be to the inhabitants, neutralizes the poisonous effect of the gases
+caused by sewers, &c. If it was possible wholly to remove carbon
+evolved by smoke, our towns would almost be uninhabitable, and they
+represent that any scheme for getting rid of smoke must be combined with
+one for getting rid of the exhalations from sewers at the same time. If
+the two evils were brought together, they would neutralize each other,
+and both could then be got rid of at one operation. The best scheme for
+this is a matter of important consideration, but few have been proposed.
+
+It may be asked, what has a work on Picturesque Architecture to do with
+either smoke or sewer gases? The author in reply considers that
+buildings never will look picturesque while they are covered with great
+patches of soot. An eminent sculptor once affirmed that the statues of
+London were improved by their soot covering, because it made them stand
+boldly out against the sky. But those beautiful decorated smoke towers
+which stand on the roof of the Houses of Parliament, and which are as
+black as Erebus, look anything but pleasing, standing amidst the whiter
+front of the rest of the building. Besides, tall-boys are beginning to
+make their appearance on the roof under the Victoria tower, and these
+certainly form no part of the architecture, but appear monstrously ugly;
+consequently smoke and its abolition are clearly questions to be
+considered in relation to Picturesque Architecture.
+
+A plan for removing smoke from the atmosphere of towns, and at the same
+time ventilating buildings and sewers, was proposed in 1849 by Mr.
+Flockton, surveyor to the town trustees of Sheffield,[F] a town as much
+begrimed with sooty smoke, only in a smaller way, as the Metropolis.
+
+The proposal was, that under the footways along the side of every street
+and lane, flues should be constructed of sufficient capacity to carry
+off all the smoke and other atmospheric impurities, these flues all
+converging, upon a general plan, to tall shafts or chimneys at some
+distance from the town, and supplied with furnaces. These, when the
+fires were once ignited, would give a fire produced by the combustion of
+the inflammable gases accompanying the smoke, and which would burn
+spontaneously in a similar manner to the combustion of foul air from old
+shafts connected with coal mines. The combustion might be assisted by
+jets of coal gas, in a fire of coke.
+
+In very large towns it would be necessary, Mr. Flockton added, to divide
+the whole into districts, and to erect towers in the centre of each, to
+which all the flues should converge. He published a plate, showing two
+large dwelling-houses, with a street between, the common sewer in the
+middle of the carriage way, and the smoke flues on each side under the
+footpaths, also showing the connexion between the sewer and flue. The
+alteration proposed to houses already erected consisted in converting
+ascending into descending flues; turning the smoke from the chimney-top
+into the latter, and from thence into the street flue. This operation
+would have necessitated the pulling down and rebuilding of the flue
+walls. The street smoke flues, in order to carry off the smoke from a
+few thousand chimneys, would require to have been made of a size even
+larger than the sewer itself. Provision must have been made for clearing
+out the soot, for the smoke would have been cooled and the soot would
+accumulate in large quantities in them.
+
+The same scheme, with similar constructions, was proposed by a foreign
+gentleman, who took out a patent for it in 1850 (No. 13,061). His plan
+was a very grand one; he did not propose alterations in existing
+buildings, but pulled them down and gave designs for a new city.
+
+A more practical plan was proposed about 1851 by Mr. Devey, a surveyor
+of Furnival’s Inn. A model of his invention was in the Great Exhibition
+of 1851, and it is described and an engraving given of it in the
+illustrated volumes published by the Royal Exhibition Commissioners at
+the close of the Exhibition. The model is now in the Museum at South
+Kensington. Mr. Devey’s plan was to make only one descending flue to
+each building, to which the flues at the top could be either connected
+or not, at pleasure; the descending flue was carried to the sewer in the
+middle of the street, and the action of this was to be assisted by the
+heat of the kitchen fire. He says, “The smoke would be drawn down by the
+current produced by exhaustion in the sewer, the action being assisted
+by the kitchen fire.” Mr. Devey did not propose to have furnace shafts,
+but depended entirely upon the sewer acting as an exhaust.
+
+In this scheme the objections were, that one descending flue was not
+sufficient to carry off the smoke from several chimneys, and the sewer
+certainly would not act as an exhaust without its being connected with
+upright furnaces. Our sewers generally have ventilating openings which
+permit their odours to ascend into our streets. Soot would no doubt
+neutralize these odours--this, a paper in a late _Quarterly Review_
+(April, 1866) admits. First, speaking of the sewer gases, the reviewer
+says: “These offensive gases have often engendered formidable diseases,
+and have, in several instances of late, been clearly shown to have
+caused the outbreak both of typhoid fever and cholera.” Of this the
+author has had proof during the outbreak of cholera in London in 1849.
+He was superintending the construction of a mass of buildings in one of
+the worst dwelling districts in London. This builder, who had just
+finished the erection of Harrington House, a description of which is
+given in this volume, died the first night of the outbreak in the
+greatest agony; he was a strong robust man; from one to three deaths
+took place in every house in the locality; a black flag was put up in
+the streets, and the foul fiend reigned for a while supreme. A large
+mass of the worst buildings have been cleared away, and model
+lodging-houses erected, but a considerable portion of the rotten old
+structures remain, the sewers are untouched, and the visitation of the
+cholera forgotten.
+
+The _Quarterly Review_ says there is no reason why ordinary sewers
+should not be made to serve the double purpose of carrying off smoke and
+sewage at the same time, provided they were connected here and there
+with high shafts rendered powerfully expansive by furnaces; and adds,
+“sewage would be improved for agricultural purposes by admixture with
+soot, which is an excellent manure, and the noxious qualities of the
+sewer gases would be destroyed.” Whether soot would increase the value
+of sewage or decrease it, is a question for chemists to decide; a
+generally increasing opinion is, that our method of using sewage by
+liquefaction and sending it away, is a mistake, and renders it quite
+worthless, and that the system of dry earth-closets is more conformable
+to Nature’s laws.
+
+The subject was taken up in 1857 by Mr. Peter Spence, of Manchester, a
+large alum manufacturer.[G] This gentleman states that the “blacks,” the
+horror of the Londoner, are guiltless of any deleterious effect to human
+health, as carbon is one of the most anti-putrescent of bodies, and
+while floating in the atmosphere over everything, arrest and destroy
+noxious and miasmatic vapours. Perfect freedom from smoke would, if
+accomplished, only increase the evil arising from the purely gaseous
+results of combustion. He proposed a system of _atmospheric_ or _gaseous
+sewage_, and the complete removal of all their gases to a safe distance
+from our towns. He would combine this gaseous sewage in such a form with
+town drainage as would bring all the liquid sewage into contact with the
+gases from our furnaces and house fires, the liquid sewage being kept
+from all surface drainage. The same liquid and fœtid mass of sewage he
+would concentrate in an innoxious form, to be converted, in a convenient
+place, where it might with perfect safety be manufactured into manure
+more valuable than the richest guano.
+
+For effecting this all the gases from our coal combustion would have to
+be conveyed along the same tunnel with the sewage to centralizing
+conduits converging to a point, where an immense chimney, 600 ft. high,
+should be erected, to discharge these gases into the atmosphere, the
+ascensive power being obtained either from the retained heat of the
+gases, which would probably be found quite sufficient, or if not,
+artificial heat could then be applied to effect the object. The chimney
+should be of the internal diameter of 100 ft. at the top, and 140 ft.
+external diameter at the bottom. This would take the smoke from 500
+chimneys and every particle of foul emanation from the sewer, and every
+leak or opening to the upward air from these sewers would not then emit
+foul gases, but draw in fresh air with a pressure or suction of three
+and a half pounds per foot, and with a velocity of 40 feet per second.
+This gentleman says: “It is idle to talk of trapping, and thus confining
+gases evolved under ground; exit they must and will have, and when you
+imagine you have secured them in one place, you will find them pouring
+out in another.” He makes this plain by an illustration. He took an
+old-fashioned detached house; after entering into possession he found
+frequently very disagreeable smells, especially after rain, a change of
+wind, or a fall of the barometer; it may be remarked here that it was
+not necessary to take an old-fashioned house to find out this; in more
+modern built houses in London, after a fall in the barometer or rain,
+such a thing is repeatedly occurring. Mr. Spence, to cure the evil in
+his old mansion, exhausted all the remedies which the philosophy of
+London schemes acknowledges; he trapped all the exits from the sewer
+with the most approved patent girds; all slopstone pipes were cut and
+water-luted. But this was of no use, the smell came through the very
+walls and floors, and one bedroom on the first floor, which showed no
+connexion with the sewer, was quite uninhabitable. He adopted a plan
+which succeeded: a branch from the main sewer was brought right under
+the kitchen grate, from that a pipe of cast iron, four inches in
+diameter, was carried up through the brickwork, and the open top
+projected into the chimney a yard and a half behind the kitchen fire,
+above the fire. When this fire was again lighted, in a few hours the
+house was perfectly sweet, and the distant bedroom, uninhabitable
+before, has been slept in ever since. When this nuisance occurs in a
+London house the only remedy is to open the doors and windows to get rid
+of it, as we are not allowed to meddle with the sewers. Disagreeable
+effluvia in dwellings often occur, and baffle every endeavour to trace
+from where they proceed; in every case it is from choked-up drains or
+the sewer, and the decomposition of animal and vegetable matter therein
+retained.
+
+As for Mr. Spence’s scheme, its grandeur almost stops its execution. It
+is well known that in all large manufactories, and in gas works, a tall
+chimney serves to draw out the smoke from the numerous fires, and it
+forms a smoke-outlet for them all. In most of these places the fuel is
+used up so completely that it is only the gases of combustion that are
+drawn away. Mr. Spence’s scheme has been successfully tried in its
+application to private residences, and also on a large scale to the new
+Assize Courts in Manchester. It was adopted by one of the architects in
+the competitive designs for the New Law Courts in London.
+
+If these tall shafts and furnaces were applied in London, it may be
+questioned whether the smoke in cooling would not deposit the soot in
+the sewer, and this must be removed, if not run off by water. The flues
+connecting the house fires with the sewer would be partly horizontal,
+and these would certainly fill with soot, and no machines we have at
+present in use could clean out these flues from above. The operation
+must be performed from within the sewer, and then these flues being
+unsupplied with drain-eyes at their entrance to the sewer, would form so
+many open channels for the passage of the sewer gases into the houses.
+This would be the case in a very great degree where there were no fires
+in the stoves and their register doors were open. It would require an
+immense consumption of fuel in the high stalks to cause a current to
+prevent it, and the furnaces must be close together to lessen the
+cooling effects of cold currents of air from flues not in use.
+
+As to the mere ventilation of the sewer itself, it could easily be
+effected by single drain pipes 6 inches in diameter, placed at
+intervals, from the sewer to the ash-pit of any neighbouring furnace. It
+would be probably to the advantage of the furnace itself, as even the
+tall stalks must sometimes make black smoke. A legislative enactment
+should require their owners to let them perform this service. It might
+require strong furnaces and plenty of them to effect it. A suggestion
+for getting rid of that “monster nuisance, London smoke” was made known
+in the _Builder_ about 1859, by Messrs. Bruce Neil. It is thus
+described: “The plan consists in placing small tanks containing water
+over the chimney (the chimney-pots being fixed inside the tanks, and
+made of a spiral and bent form). The chill of the water gradually
+condenses the smoke, which becomes decomposed and destroyed, being
+precipitated at the bottom of the tank in the form of mineral tar. The
+water is turned on and off daily. It will be here observed that in the
+event of a fire in the chimney the flames cannot spread, as they are
+immediately quenched by the water in the tank. According to Mr. Bruce
+Neil’s calculation, the smoke of 80 tons of coal, if collected, will
+yield upwards of 28 barrels of tar, of 2½ cwt. each. He proposes that
+the Legislature, or the Society of Arts, should offer a premium to the
+person who will undertake to rid us of this monster nuisance and convert
+the smoke into tar, so as to make it applicable to commercial purposes.
+In the adoption of the above plan a slight alteration in the mode of
+ventilating our apartments is all that is required, he tells us.
+
+As to the possibility of converting smoke into tar by such means as are
+above described, some doubts might be expressed if it could really be
+done; the remedy would be worse even than the disease, every household
+using yearly 20 tons of coal would have in that time to remove 7 barrels
+or 17½ cwt. of tar from their roof. The _Builder_, in publishing this
+suggestion, did not give any diagram or sketch showing how the process
+was to be effected. Mr. Bruce Neil no doubt made one, as he speaks of
+the alteration required in the ventilation of our apartments; a drawing
+would at least have explained how the water was to collect the soot, and
+how it was to have access to the flue in case of its being on fire.
+
+The suggestion of collecting soot at the chimney-top by means of water
+was a valuable one, and there is no doubt it could be done to some
+extent, but not by encircling the pots with cold water, which would
+chill the smoke and prevent the soot from rising. A
+
+[Illustration: Fig. 23.--Water chimney-vase for collecting soot.
+
+Half elevation. Half section.]
+
+design is here given, fig. 23, to show how it could be effected.
+
+It will be seen that the chimney-pot or funnel has a zinc cover carried
+by stout ironwork surrounding it; _a_ is the water, _b_ the pipe to
+convey it away; it would be self-acting, and being washed by every
+shower would not be likely to get out of order. The rain-water must be
+looked for as to supply--to pay for high service for the roof of our
+houses to the water companies would not do.
+
+Our climate is more damp than cold, and a considerable quantity of rain
+falls on our roofs. The zinc cover is spread out, so as to retain as
+large a portion as possible of the rain-fall. In winter, when there is
+most smoke, there is most water, with little or no evaporation. A pool
+of water could be thus collected, and the smoke projected over it would
+lose some portion of its soot, which could be floated away by the pipe
+into a receptacle provided for it in the back yard. The water might be
+sent into the drain and the soot left; or it could be sent into the
+drain as well.
+
+The arrows in the diagram show the direction of the smoke, and the cover
+is so spread out and curved as to render it unlikely for any violent
+wind to flow out both water and soot into the street beneath.
+
+Certainly coal smoke is a great nuisance; it is yearly pointed out as
+such by our paper the _Times_, in one, probably two, very excellently
+written leaders. Even the youngest member of the press, the _Echo_, in
+one of the common London fogs occurring in April, 1868, thus remarks:
+“The most sad and remarkable circumstance about the fog of yesterday was
+that the newspapers and people in the streets spoke of it as a
+‘visitation,’ as a ‘gigantic pall,’ as if, indeed, the black darkness
+was something as strange and unaccountable as a fall of frogs or fishes
+from the sky. Of course it was nothing but our own familiar coal smoke
+which stopped the way of the sunlight. It is most lamentable that
+Londoners are becoming so used to this filthy nuisance that nothing more
+than a passing exclamation is uttered when it is forced down upon them
+in such volumes as to produce almost the darkness of midnight at midday.
+If ‘cleanliness is next to godliness,’ then the people of London must
+have been yesterday the most ungodly people in the world, for nothing
+would remain clean which was exposed to the fog of that morning. A
+plague of locusts would not create more terror and sense of ruin in any
+foreign capital, where every article of dress and furniture and house
+decoration, both external and internal, would have been regarded as
+spoiled by the loss of freshness. But London received its coat of dirt
+yesterday, and to-day only wonders with the remark ‘how dark it was!’
+Will nothing move us to abate the nuisance? Is there no hope but that
+distant one of the exhaustion of our coal-beds? Must we inhale
+coal-blacks, and always contemplate dirty houses and grimy furniture? Is
+it not possible by smoke sewers, or some contrivance or machinery, to
+relieve us of this plague?” It is very possible it could be done with
+the greatest ease, but at some first expense; and in some generation or
+other it will be written that it found London foul and left it sweet,
+and there will be a time when this will be appreciated; and the man who
+gives the city the pure atmosphere of a small country town will receive
+all due honour and acknowledgment, that is, when he is in his grave and
+securely buried.
+
+The public have so long been accustomed to be choked with smoke, and
+their health affected by deleterious gases, that they look upon the
+proposal of any scheme to secure pure air as the hallucinations of
+dreamy philosophers or inexperienced Utopians.
+
+None of our present flues can, in the very slightest degree, stop these
+aqueous vapours from ascending into the atmosphere, neither can they
+effect any purification of the smoke, or retain the blacks for any
+useful purpose; and it is of no use disguising the fact that any
+contrivance or appliance, to effect either of these most desirable
+objects, must consist of an additional construction to the flue, which
+will be attended with additional expense, and require extra attention.
+Therefore any such appliance, if introduced, should be effectual, and
+repay such additional cost to its owner, by a saving, or at least a more
+economical use of fuel.
+
+The appliance to the flue the author has to recommend, he considers will
+not only cause an economical use of the fuel by not permitting the
+present waste of heat, but it will purify the smoke, and retain the
+blacks for any useful object to which they can be applied.
+
+The principle of the best-constructed flue at present is to get rid of
+all vapour, smoke, and soot as soon as possible, without the slightest
+consideration for the people outside. That the smoke should not return
+to annoy the occupants within the house is the aim of the constructors,
+and to secure this, the waste of heat in the chimney, and the consequent
+waste of fuel, is considered of no importance, for is it not the hot
+smoke that carries up the soot and ventilates the apartment?
+
+This operation of the flue could be taken advantage of. In the
+construction of chimney-flues in a wall they are often turned at an
+angle to the right or left to pass an obstruction, such as a fireplace
+or timber placed within or against the wall. A flue could easily be
+taken out of the wall and returned, and if the part so taken out was
+formed in cast iron with a small cistern of water at top, it would
+become a warm-water pedestal, and could moderately warm or air an
+apartment in which it was placed; the author calls this the flue
+pedestal, and it is represented in the following cut.
+
+[Illustration: Fig. 24.--The flue pedestal.]
+
+It is about three feet six in height, not much higher than a small
+cabinet. The door could open, and a small tap supplying warm water for
+domestic use would be seen. Thus the upper rooms of a house could be
+warmed or aired by the fires below in perfect safety, and the present
+waste of heat in the flues prevented. This would be economical, as in
+most cases no fires would be necessary in the upper rooms.
+
+The flue thus brought out in iron could contain a fine spray of water,
+that would draw up the smoke, and take down its vapours and soot at the
+same time into the sewer.
+
+Fig. 25 shows a section of the flue thus brought out. The wall is two
+bricks thick, the flue _a_, is 9 inches in diameter, _d_ is the
+cast-iron flue, and another, _e_, shaped like a funnel, is placed behind
+it, to collect the soot and water, and pass it off through the pipe _h_.
+The cistern is partly within the walls and partly covering the two
+flues. It is not necessary that the water in the cistern should supply
+the spray: that might be done by a separate pipe with a tap to turn off
+and on as desirable; _b_ is the moveable pedestal covering the whole.
+
+The adaptation of this simple contrivance to any kind of domestic
+chimney-flue is not a very difficult operation. It is only necessary to
+take out the brickwork in front of a flue of a height of 4 to 5 feet,
+and then introduce the iron flue, gathering up the brickwork beneath it;
+the section, fig. 25, supposes the iron flues to be in an external wall;
+should it be required in a party wall the soot goes off at _g_ _g_, to
+be conveyed outside the building in the nearest way; doors are provided
+for the purpose of sweeping; any down
+
+[Illustration: Fig. 25.--Section of the flue pedestal.]
+
+draught of air in the chimney might expend itself in the soot flue, and
+the smoke having passed the spray could not return. The spray of water
+should be equal to the whole width of the flue, and proportioned in
+strength to the work it has to do; the smoke from a whole group of flues
+might be conducted to one powerful spray, one upper flue or chimney
+would then suffice for the roof, while the soot and flues in any number
+might be formed into one before passing to the sewer.
+
+The pipe _h_, shown in fig. 25, would not form an open communication
+with the sewer; it would be supplied with a flap-cover or drain-eye,
+like the common house drain at its extremity. This would open only when
+sufficient water and soot was behind it, and close when it was passed.
+It would not require sweeping, the water keeping it clear. It should
+have another kind of drain-eye to that at present in use, the lid, or
+flap of which is hinged from the top, the soot floating on the surface
+of the water, would require the flap to open from below. Fig. 26 shows
+the kind of drain-eye that would be required.
+
+If it was not for the difficulty of the present form of drain-eye to our
+houses, the soot flue might discharge its contents into the house drains
+at once, below the trappings; there is probably no absolute necessity at
+all for drain-eyes at the termination of house drains, their use is to
+make precaution doubly sure, to prevent the rising of the gases from the
+sewer, and to keep out the rats, to prevent them, by getting through the
+traps, from entering the house.
+
+[Illustration: Fig. 26.--Drain-eye.]
+
+Experiments were made with a shower of water in Mr. Cubitt’s descending
+flue. It will be seen by inspecting the figures 1 to 8 that these flues
+could easily be formed into one, and taken into the drain; the
+experiment did not succeed, as none will, that brings heavy smoke in
+opposition to a water-fall. The smoke must go with the current or
+water-shower, and not against it.
+
+The flue pedestal, with its water-spray, is the whole of the contrivance
+by which the author believes the smoke of the domestic hearth could be
+got rid of, or rendered inoffensive. What the action of the water would
+be on the gases that escape from the fuel he cannot say, but he presumes
+it could not be other than beneficial.
+
+He experimented on the subject a few years ago, and had a stove and flue
+erected about ten feet in height; the lower part of the stove was of
+brick, the upper part with the cistern of zinc. The coal fire was
+lighted, and as soon as black smoke appeared at the chimney-top, the
+water-valve was lifted and about 16 fine jets of water were sprayed
+against a piece of loose perforated zinc, suspended in the flue; this
+zinc is shown in fig. 25; in the second flue _e_ (it should have been
+marked _f_, but by a mistake in the cutting it is made _d_), the smoke
+had to pass through under this perforated zinc to get to the chimney
+above. On the instant the water was applied, the smoke appeared at the
+chimney-top of a light colour, and it came out of the soot receptacle,
+placed a little height above the ground, nearly as much as it did at
+top, and of a similar light vapourish character,[H] a sure sign that it
+was drawn down by the current of water. Soot in large quantities was
+soon seen in the receptacle; the author has not ascertained the quantity
+of soot which would be obtained by this process from a ton of coals, but
+he believes it would be very considerable, possibly two sacks or more.
+As clean unmixed soot is worth in London 2_s._ 6_d._ per sack, if this
+soot were retained it would pay for the extra expense of the water, and
+the retaining of it, and to carry off the water would be an easy
+operation.
+
+The “blacks” are good things at present in their wrong place; they could
+in the way proposed be very easily got rid of, and if it were possible
+to cut into all the chimneys of London and apply the remedy, the whole
+of the soot, which at present escapes into the atmosphere, might be
+caught and passed into the drains; it would there probably fully
+deodorize them. It is certainly not possible, from the herculean nature
+of the task, to disturb the whole of the chimneys of London, but the
+worst only might be operated upon, such as the chief kitchen flues of
+the great establishments, which are continually sending out black smoke.
+
+Among the chief offenders are our bakers, nearly twenty of them being
+fined weekly for this by the magistrates, and for fires occurring in
+their chimneys. It appears that the Smoke Nuisance Act bears hardly upon
+them; the smoke-consuming apparatus forced upon them by the Act has
+utterly failed in its purpose, and it is impossible for them to comply
+with the requirements of the Act, and carry on their business in a
+satisfactory manner either to themselves or the public. They have
+applied to the Home Secretary for relief, and a bill to repeal so much
+of the Act 16 and 17 Vict. that relates to bakehouses has been in
+contemplation.
+
+There would be no difficulty in placing a flue pedestal in their flues
+at any height above their oven fires; it would not only relieve their
+neighbours from the annoyance of black smoke from their chimneys, but it
+would secure the chimneys themselves from taking fire. The water need
+only be turned on when required, when black smoke was being made, and if
+they chose to collect the soot the expense of the operation would be
+trifling, if anything, beyond the first expense of the flue pedestal, in
+the end.
+
+In large country houses the flue pedestal would warm the upper rooms or
+passages, and cause a more equal temperature in the building; this,
+together with the practicability of collecting the soot for agricultural
+purposes, might be an inducement to its introduction. Water could be
+lifted to the roof of a country mansion by that ingenious contrivance
+the hydraulic ram, and passed off to its original source when done with,
+the soot being left behind.
+
+The beautiful self-acting machine, known as Gwynne and Co.’s improved
+hydraulic ram, is peculiarly adapted for raising or lifting water to any
+required elevation. It is necessary to have a fall of water to work it,
+and the greater the height of the fall, the more effective will be the
+machine. In favourable cases it will raise water thirty times higher
+than the fall working it. The greater the height of the lift, of course
+the less will be the quantity raised in a given time. This machine can
+be made to deliver comparatively large quantities of water, either in
+tanks on the roofs of houses, or in farmyards for filling ponds. It will
+work day and night without any attendance or expense after it is once
+fixed. Two or more rams may be used to force through the same pipe, or
+rising main. Where a continuous stream of water to work the machine
+cannot be obtained, a spring, or even rainfall, or drainage may be
+stored up in a reservoir or dam, and made to work the ram.
+
+The expense of these machines is not excessive, as the following table
+will show:--
+
++-----------+-----------+-----------------------+-------------------------+
+|Diameter of|Diameter of| Approximate Number of |Price of Ram, complete,  |
+|Feed Pipe. | Delivery  |Gallons of Water raised|with all the accessories,|
+|           |   Pipe.   | in a day of 24 hours. | but exclusive of Pipes. |
++-----------+-----------+-----------------------+-------------------------+
+|Inches.    |Inches.    |                       |            £            |
+|  2        |  1        |    800 to 1150        |           12            |
+|  3        |  2        |   3000 to 4000        |           24            |
+|  4        |  2        |   4000 to 5000        |           34            |
++-----------+-----------+-----------------------+-------------------------+
+
+A small room or enclosure must be erected to contain the machine.
+
+The question of how far the removal of smoke from the atmosphere would
+affect the various gases of combustion floating therein is a question
+for the chemist. The plan that has been here proposed is founded on the
+supposition that Nature’s law, relative to the diffusion of gases,
+permits only carbonic acid gas, the chief product of combustion, to
+remain in the proportion of 1 in 2000. The introduction of so much water
+in the sewer, where its presence already is considered an injury to the
+sewage, is an objection, but the present system of drainage requires a
+plentiful supply of water, to prevent stoppages or choking. Should the
+dry earth system ever be generally introduced, the present sewers would
+serve to remove liquid sewage and all products of combustion. The
+operation of the sewer in any way in receiving this smoke and soot,
+would permit the full and cheering light of the sun to shine alike in
+country and town.
+
+
+
+
+_DESIGN No. 36._
+
+A LECTURE HALL, OR LITERARY INSTITUTION.
+
+[Illustration: Elevation.]
+
+
+This design was made to refront an old chapel in the country which had
+been purchased for the purpose of forming a Literary Institute. The
+interior
+
+[Illustration: Tablet in front.]
+
+was one large room, the lecturer’s table at the back, a recess and
+fireplace behind, a large gallery in front, under which were formed two
+small rooms, with a
+
+[Illustration: Elevation of entrance-door.]
+
+passage from the grand entrance between. The entrance-door with a bust
+of Socrates over it, under the arch, was made large, to give an
+important character to the front. A section of the niche over the
+doorway is given, some details of the angle rustication, together with
+an elevation of the entrance-door.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 37._
+
+ENCAUSTIC TILES.
+
+
+A slight digression from the subject-matter of the preceding pages may
+serve to break monotony, and introduce to the notice of the reader an
+ornamental object--the encaustic tile. They are
+
+[Illustration: Design for a floor encaustic tile.]
+
+now of universal use, both for floor and wall decoration, and have
+become general favourites for such purposes. A few suggestions,
+therefore, for the purpose of making them more artistic and pleasing
+will not be out of place.
+
+The present patterns are almost entirely of a conventional kind, or
+according to strict geometric forms. The same pattern is repeated all
+over the surface, without variation, and however excellent the pattern
+may be, it is designed on the same principle as that of a printed wall
+paper.
+
+The design just given puts all geometric forms aside, and introduces a
+free-hand treatment, allowing the pattern to be varied on every surface
+laid down.
+
+[Illustration: Design for wall encaustic tile.]
+
+The first tile shows eight points in which the stem of the pattern
+(suppose that of a flower design) meets in them all. The second tile
+shows the stem; the third and fourth the flower pattern varied. One tile
+might have more flowers than leaves, another all leaves or buds, and as
+all the tiles would fall in their right places, they depend only on the
+care of the workmen who place them; the pattern might be varied
+according to the number of tiles of different pattern.
+
+For wall linings a trellis work might be shown on the tile, having a
+blue ground; some tiles might be without either leaves, stems, or
+flowers, and the design would show a flowered trellis against the sky.
+The figure given on page 461 shows this.
+
+These tiles are beginning to be used on columns. Some good examples are
+to be seen in the South Kensington Museum Galleries. In columns with
+trellis work a white marble ground with leaves and roses twined round it
+naturally, would look a great deal better than formal lines of stiff
+ornaments.
+
+Some of our latest Gothic architects who were at the same time artists,
+did not trouble themselves to draw out according to rule the geometric
+lines for the foliation of their Gothic windows. They knew the
+principles thoroughly, but merely made the vertical lines correct, and
+then sketched in the foliation with a free hand. This gave an outline
+greatly superior to the usual stiff conventional forms. Some examples of
+this may be seen in one of the author’s books, now in the Fine Art
+Library of the South Kensington Museum, in which the free-hand designs
+(rubbings) are placed by the side of the same patterns drawn out
+geometrically.
+
+The vignette shows foreign cut-wood patterns for roof ornament; the
+section the method of forming the zinc gutter.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 38._--RESTORATION OF CASTLE GUNNARSTROP, SWEDEN.
+
+[Illustration]
+
+
+It has been remarked in the Introduction, that the localities in which a
+residence can be placed greatly affect their picturesque appearance. The
+north and west Highlands of Scotland, in our own country, and a similar
+class of scenery in Sweden and Norway, greatly aid by their natural
+beauties the best effects of the architect, and generally in northern
+Europe, including Denmark with the above-named countries, those
+accessories can be largely taken advantage of. An instance of this can
+be found in the design now under consideration. In this castle the
+gables are carried up to a greater height, and made more ornamental and
+of greater importance than with us. In the year 1852 the author was
+making a design for a villa for the Count de Bark, a Swedish nobleman.
+It was to be erected on the heights bordering the Sound near Copenhagen,
+and was seen from the sea in passing, peering above the trees. The upper
+part of the villa was made as picturesque as possible, with a tower,
+battlements, and turrets. The lower part of the building was very plain,
+and the plan merely contained a few living rooms and servants’
+apartments; it was much unlike our style, and is therefore not given
+here: only the view from the vignette is afforded in this description.
+The Count’s uncle occupied the old castle, the Vrams Gunnarstrop in
+Sweden, then very much out of repair and unfitted for the requirements
+of modern domestic life.
+
+It was planned originally on a grand scale; the fronts had high
+triangular gables in steps, and decorated with cut granite ornaments,
+but the whole was
+
+[Illustration: The one-pair plan.]
+
+very plain. The north front was in two floors, and the angle towers of
+the building had only two floors. The portions between one storey--that
+of the ground floor--thus had to be raised. The ground floor was given
+to the servants, and the southern portion of the building was to remain
+for a time in its then existing state. The plan shows _a_, the grand
+staircase, adorned with columns supporting the upper landing. It was 27
+ft. in length by 26 ft. in width, and led up to an ante-room _b_, in the
+centre of the building, 26 ft. in length by 12 ft. in breadth. It opened
+into the first and second drawing-rooms, _c_ and _d_: one 30 ft. in
+length, the other 40 ft., and both of a width of 26 ft.
+
+[Illustration: Perspective view of the Count de Bark’s villa.]
+
+The dining-room _e_, entered from the chief drawing-room, was 40 ft. in
+length, with a width of 22 ft.; _f_ shows the gallery or library filled
+with book-cases, and leading to the day-room _h_; the chief bedroom is
+shown at _i_ adjoining, _k_ is the lady’s dressing-room, _l_ the
+gentleman’s dressing-room and bath; _m_ is the nursery, with a
+servants’ staircase and closet adjoining; _g_ is the servants’
+serving-place at the entrance of dining-room. The light portions of the
+plan show the additions made; the black, the old portions of the castle.
+The two towers contained staircases to the attics which were formed in
+the high roofs.
+
+The principal elevation faced the west. The perspective view of this
+front is given. Its length is 130 ft., and the height of the principal
+entrance from the ground to the top of the gable is 60 ft.
+
+The south and west sides were of an equally picturesque character, but
+neither had any central gable. The south had triple dormer windows
+joined in the centre with one dormer window at each side. The two towers
+were seen rising above the roof, and a wide terrace with open stone
+Elizabethan balustrading extending the entire front, with steps down to
+the garden in the centre below. The terrace was 130 ft. in length. The
+west side had the two gables, one at each end, with three tall dormer
+windows in the roof; these were connected by wood balustrading, and a
+window with three lights was placed below each. The granite-stone
+ornaments in the old fronts were replaced in the new fronts.
+
+The vignette gives a view of a small garden fountain, designed from one
+in the old garden at Blickling in Norfolk. The plinth is hexangular in
+plan, with the scrolls projecting on the three sides. To the top of the
+jet its height is about 9 feet.
+
+[Illustration]
+
+
+
+
+_DESIGN No. 39._
+
+SUMMER VILLA FOR THE COUNT KINSKI, AT TEPLITZ.
+
+[Illustration: Perspective view of Count Kinski’s summer villa.]
+
+
+This villa was designed about the year 1852, for an Austrian nobleman,
+who wished to have a villa in the English Elizabethan character. The
+plan was arranged after his own figured sketches, and it is given here
+as showing the requirements considered desirable for such a building in
+a summer place of
+
+[Illustration: Ground plan.]
+
+retirement, or palace for a foreign nobleman’s occupation. The porch was
+approached on four sides by flights of steps 12 ft. 6 in. in diameter;
+it opened into a hall _b_, 20 ft. in length by 14 ft. in width. The
+drawing-room _c_, of noble size, with two bay windows, was 36 ft. in
+length by 22 in width. The dining-room _d_, in the opposite side of the
+hall, was 28 ft. in length by 18 ft. in width. The butler’s pantry _k_,
+and the servants’ offices and kitchen _g_, with a large store-closet
+_h_, and scullery _i_, adjoined. A bread-room is shown at _j_, _l_ is
+the servants’ hall, _m_ a china-closet, _n_ a store-room, and _o_ the
+servants’ staircase, _q q_ are the servants’ entrances, and _r r_ the
+closets.
+
+[Illustration: One-pair plan.]
+
+Returning to the principal portion of the building, the chief staircase,
+_v_, opens from the entrance hall, _e e e_ are nurseries, and _f_ is the
+library. On the first floor, _a_ is the balcony over the porch; this was
+to be used for smoking, &c., _b_ is the best bed-chamber, and _c_ the
+boudoir to the same, _d_ is the second best bedchamber, and _e_ its
+boudoir, _f_ is the third best bedchamber, and _g_ its boudoir, _h_ is a
+bedroom without any boudoir, _i_ is the housekeeper’s bedroom, _k k k_
+the men’s sleeping room, _i_ housemaid’s closet, _j j_ closets, _l l_
+linen-closets, _m_ a closet or bath-room, _n_ the principal staircase,
+and _o_ the servants’ staircase.
+
+The attic plan was devoted to the sleeping rooms, _b b b_, of the female
+servants. Here plans are made
+
+[Illustration: Attic plan.]
+
+(the building being so large) on a smaller scale than the other plans in
+this volume.
+
+The perspective view merely exhibits the common forms of Elizabethan
+character. The tower which formed the entrance was 70 ft. in height from
+the foundation to the top of its roof, the height of the ground-floor
+rooms was 14 ft. 3 in. They had rich plaster friezes, and the staircase
+had carved oak Elizabethan balustrading. The second-floor rooms were 12
+ft. 3 in. in height, and were very plain in character. The upper floor
+of the tower was open, but could be closed by sashes; this was intended
+for a smoking retreat. A small detail of one of the gabled windows in
+front is given below. Altogether, the design had a most picturesque
+effect, and its style met with approval. It combined utility with
+elegance,
+
+[Illustration: Gable window.]
+
+and completely answered the objects for which it was constructed.
+
+Another villa was designed for an Austrian nobleman, the Prince Clary: a
+view of it is given in the first illustration of this volume, through
+the window of the architect’s study. It was intended as a summer retreat
+for the Prince and his friends when engaged in a fishing-excursion on
+the noble river the Elbe, on the banks of which it was placed. It
+contained a large centre dining-room, 48 ft. by 22, with a saloon or
+drawing-room, 40 ft. by 20 ft., and extensive accommodation for the
+kitchen and servants’ departments. The upper storey contained 14 best
+bedrooms, each with an ante or dressing-room, besides bath-room and the
+sleeping apartments for the domestics.
+
+
+
+
+_DESIGN No. 40._
+
+HARRINGTON HOUSE, QUEEN’S PALACE GARDENS.
+
+[Illustration: Perspective view of exterior.]
+
+
+This building, with which the present collection of designs closes, is
+probably the most unpicturesque example in the volume. Its exterior has
+been frequently criticised; whatever its merits or demerits may be, it
+certainly is wholly unlike, while at the same time it is not inferior,
+to the strange style at present so popular with the younger branch of
+architectural professors, which appears to be a
+
+[Illustration: Elevation of principal staircase.]
+
+mixture of the Byzantine and Romanesque styles, joined with the Roman
+Gothic. Some call it the Missal style, others the Northern Italian. The
+sole recommendation of it is that it comes more expensive to carry out
+than any other. This house has at least the reputation of being a very
+comfortable one, and as more than usually adapted to receive large
+assemblies and fashionable parties. Indeed the noble Earl who erected
+it was so pleased with it, that on entering, on its completion, he
+addressed the following note to the author:--
+
+                                 H. H., Kensington Palace Gardens,
+                                       _31 May, 1854_.
+
+     My dear Sir,--
+
+     I take this opportunity of expressing to you my thanks for having
+     constructed a house, in my humble judgment, _without a fault_.
+
+                     Believe me most sincerely yours,
+
+                                     (Signed)      HARRINGTON.
+
+To C. J. Richardson, Esq.
+
+
+
+And after having resided in it nine months, he again
+wrote as follows:--
+
+                                    H. H., Palace Gardens, Kensington,
+                                           _2nd February, 1855_.
+
+     My dear Sir,--
+
+     I pray you to accept my cordial thanks for your most able
+     architectural skill in the construction of my house. I have lived
+     in it one season, and have not discovered in it a single fault.
+
+                      Believe me most truly yours,
+
+                                          (Signed)      HARRINGTON.
+
+To C. J. Richardson, Esq.
+
+
+
+The site upon which the house stands was taken by the Earl from the
+Commissioners of Her Majesty’s
+
+[Illustration: Ground plan.]
+
+Woods and Forests, and it certainly is, or was, one of the best sites
+for building in the metropolis. It adjoins Kensington Gardens, looking
+on the old winter garden of Queen Anne. Agreeable and admirable a
+
+[Illustration: One-pair plan of staircase.]
+
+site for building as this was, in 1853, it remained for some time
+utterly neglected. The first speculator had been ruined, and only one or
+two of his houses (one erected by Mr. Owen Jones, the architect) were
+
+[Illustration: Ground-floor plan.]
+
+standing in the road. Soon after the Earl of Harrington acquired the
+land, and erected this building, the whole of the road, on each side,
+was covered with first-class mansions.
+
+The terms of the agreement were, that the Earl should take plot No. 9
+and the northern portion of plot No. 10, having a frontage of 196 ft. to
+the Queen’s Road, and a depth of about 260 ft., for a period of 91¼
+years, from the 5th July, 1851, at a peppercorn rent for the first year,
+of 73_l._ 10_s._ for the second year, and of 147_l._ a year for the
+remainder of the term, also a rent of 5_s._ a year in lieu of land-tax
+for every year except the first.
+
+The Earl was to expend a sum of not less than 6000_l._ in erecting upon
+the ground a dwelling-house of the first-class style of building. The
+house was to be insured in the sum of 6000_l._, and the Earl was to pay
+jointly, with the adjacent occupiers, the expense of lighting and
+keeping up the road, which was a private one, and to pay the gatekeepers
+at the lodge. The rest of the covenants of the agreement were such as
+are usually found in such documents.
+
+The house was, until the present year, the only Gothic one in the
+district, the Earl insisting upon having this, his favourite style,
+admitted. It stands in the centre of the road at the highest level, and
+is well up out of the ground. The principal floor is 7 ft. above the
+outside road of approach, and 14 ft. above the level of the public road.
+The whole of the walls stand on a basement of concrete, and the lower
+flooring is 5 ft. above the level of the foundations. The basement
+story is 14 ft. in height, and of entirely fireproof construction. The
+best rooms on the ground-floor are 17 ft. 6 in. in height, the secondary
+rooms are 15 ft. high. All the principal staircases are of stone; the
+ground plan on page 479 shows the
+
+[Illustration: Section of principal staircase.]
+
+entrance hall, _a_, approached by 12 steps; it is 30 ft. in length, by
+21 ft. in width; _b_ is the principal staircase, situated on one side of
+the saloon in the centre of the building; the latter is 41 ft. long by
+21 ft. wide. The dining-room _e_, and the library _c_, on each side of
+the hall, are respectively 30 ft. by 22 ft. The great room, with the bay
+window, entered from the saloon, is the picture gallery _f_. This room
+is 41 ft. long by 30 ft. wide, without the bay. The drawing-rooms _d_,
+_d_, on each side, are each 25 ft. by 20 ft.; _g_, the conservatory,
+measures 40 ft. by 21 ft.; this, with the two drawing-rooms and the
+picture gallery, can in less than half an hour be thrown into one by the
+removal of the large folding-doors in the picture
+
+[Illustration: Ornament for stairs.]
+
+gallery, which can be taken away, frames complete, by simply removing a
+few screws. A length of drawing-room is then gained of 125 ft.
+
+The principal staircase is shown in elevation on page 477; the plans are
+here given to a larger scale.
+
+The lower plan shows a portion of the first flight and the servants’
+passage, _a_, under the first landing; _b_ is their staircase down to
+the basement, this should have been shown on the left-hand side. It is
+the footman’s staircase, adapted for him to ascend and
+
+[Illustration: Iron railing on staircase.]
+
+descend readily from or to the basement, and the passage _a_ permits
+him to enter either side of the house without being seen. The upper plan
+shows the two flights, right and left, rising from the principal
+landing. Each of these has 22 steps. Three more in the centre lead up to
+the gallery round the saloon; the section of the staircase, given on p.
+482, clearly shows this arrangement. The staircase front is in Bath
+stone. The only ornaments are the decorated corbels supporting the small
+angular projections or buttresses necessary to receive the iron
+standards of the railing above. One of the corbels and a panel of the
+iron railing is given. This is carried up the stairs on both sides and
+round the gallery, and is richly coloured and gilt. The only remaining
+portions of the ground plan to be described are the secondary rooms. A
+side entrance is at _j_, and the waiting room, _i_, is also at the side;
+_h_ is the servants’ staircase, going from the basement to the attic. On
+the other side of the building _o_ is the Earl’s dressing-room, with a
+study or writing room by its side. This has a lift, _n_, from the
+kitchen, enabling it to be used as a serving room. The picture gallery
+has a flight of steps descending to a large ornamented garden at the
+back of the house, _n n_ is the stable yard, and _k k k_ rooms over the
+stable.
+
+The section through the complete building, given on page 486, shows the
+general character of the interior. The rooms are wholly without
+ornament; all have plain cornices formed of running Gothic mouldings.
+The
+
+[Illustration]
+
+only decorated portion is the saloon (_inf._), the coved ceiling of
+which has the shields of painted and gilt coats of arms of family
+connexions, together with
+
+[Illustration]
+
+mottoes and monograms. The skylight is filled with richly coloured
+embossed glass, every pane having a shield of arms, its ceiling being
+panelled with painted enrichments on a blue ground. A view of the saloon
+is given on p. 487; it contains in the centre a statue
+
+[Illustration: Half-section of roof of conservatory.]
+
+by Theed, of Lady Chandos Pole, the eldest daughter of the Earl. The
+statues are shown in the plan by the letters _m m_. The ground floor is
+supplied with warm-water pipes; these are shown by the dotted lines.
+They are sunk in the brickwork forming the substructure of the
+flooring, and covered with open ornamental ironwork. The hall has two
+warm-water pedestals. The whole of the rooms and conservatory are so
+warmed.
+
+The latter part of the interior resembles in some respects a small
+chapel. A half-section of a portion
+
+[Illustration: Plan of one-pair.]
+
+of its roof is given on p. 488; it measures 22 ft. from the floor to the
+collar-beam. The corbels, from which the roof springs, are decorated
+with shields of arms, surrounded by a garland of strawberry leaves.
+
+In the plan of the one-pair floor _a_ is the boudoir or morning room;
+_b b b_ are bedrooms; _c c c_ dressing-rooms, and _d_ is the bath-room.
+The gallery is shown as completely going round the saloon; its ceiling
+is of ground glass arranged in panels, each of which is
+
+[Illustration]
+
+moveable, with a skylight over the whole. There is plenty of light
+therefore afforded for the paintings with which the walls are covered.
+
+The small attic plan shows these skylights on three sides only,
+likewise the sleeping-rooms _b b_, and the housemaid’s closet _c_. Under
+this plan is that of the upper room in the tower with its two slate
+cisterns, each capable of containing 800 gallons of water. They are
+supported by strong trussed girders fixed in the walls. This upper room
+is approached by a
+
+[Illustration: Staircase to lower rooms.]
+
+cottage staircase, the plan of which, with its 22 risers, is shown in
+cut on p. 490. It enables the room to be approached without any
+structural appearance being seen from without. A half elevation of the
+exterior, and another of its section is given above. It is well supplied
+with light.
+
+[Illustration: Basement plan.]
+
+[Illustration: Elevation of bay window.]
+
+[Illustration: Section.]
+
+[Illustration: Plan.]
+
+The building contains upwards of forty rooms; the basement is very
+large, and contains considerable accommodation. The mere enumeration of
+these would require every letter in the alphabet to point them out in an
+engraving, but as it is desirable to show how closely a large
+establishment of servants can be packed together, the basement plan is
+given. _a_ is the kitchen, _b_ the scullery, and _c_ the larder. The
+kitchen is provided with a lift _f_, and a small service window; _d_ is
+the pastry-room, and _e_ the still-room, with the lift; _g_ is the
+dairy, _h_ the washhouse, _i_ the laundry, _j_ the butler’s pantry, _k_
+the steward’s room with its strong closet; _l_ is the housekeeper’s,
+with the cook’s room between it and the still-room, _m_ is the servants’
+hall, _n_ the men’s sleeping room; _o o_ are wine-cellars, _p_ the
+butler’s wine-cellar, _q_ the footman’s stairs under the principal
+staircase, _r_ the warm-water furnace, by the steward’s room, placed at
+the back of his strong closet; _s_ is the stable, containing eight
+stalls, one loose box, and a harness-room; _t t t_ are cart-sheds, _u_
+is the cowhouse, _v_ the dung-pit, _w_ the coach-house, _x x_ two of the
+three coal-cellars, _y_ the dust-pit, and _z z z_ are the closets. The
+carriage-road to the side entrance is formed over the cart-sheds and
+coal-cellars. These are arched over in brick and covered with a thick
+layer of Brown’s metallic lava, and are provided with proper drainage.
+The boot-cleaning place and that for lamps are between the coach-house
+and the cart-sheds.
+
+The exterior of the building has been censured on account of the Gothic
+outline being too flat, the roofs too low, and all the windows having
+common sash
+
+[Illustration]
+
+frames. With regard to the latter, it may be considered very probable
+that if the Gothic race of architects had continued with us to the
+present day, they would have adopted plate glass for their windows, and
+put aside their lead-lights and small panes of common glass. One of the
+greatest improvements that could be made in our cathedrals, not
+excepting even St. Paul’s, would be the reglazing the windows in the
+modern style.
+
+[Illustration: Half-elevation and section of bell-turret.]
+
+As a specimen of the architectural style of the building, the centre
+bay-window of the principal front is given, with its section and plan.
+It is 9 ft. 6 in. across, and 21 ft. 4 in. high, and stands directly
+over the chief entrance. The construction of a projecting bay-window
+coming over an archway requires a short description.
+
+The three diagrams on page 495 show the manner in which such windows are
+corbelled out. The upper
+
+[Illustration: Plan of turret.]
+
+one is a plan of the bottom stone course, immediately over the key-stone
+of the arch; it shows also the centre stone of the second course upon
+it. The middle diagram shows the two courses from the back. It will be
+seen that the middle stone of the first course does not bear upon the
+arch, but is supported by the two end stones let into the wall. The last
+diagram is a plan of the upper course at top. Slate dowels were used,
+and an iron bar, shown in plan under elevation _a_, 3 in. by ¾ in., was
+placed across the course tailing into the walls on each side; and two
+bars _p p_, each 2½ by ¾ in. and 12 ft. in length, tied it to the
+flooring of the room. This is shown likewise in the plan, the dotted
+lines dividing the length of flooring; _d_ is the upper course of
+stones, and _c_ one of the principal beams of the floor.
+
+[Illustration: Balustrading on top of building.]
+
+The bell-turret stands 20 ft. above the roof. This is carved in oak; an
+elevation, section, and plan is given. Only those parts of the building
+are intended to be here illustrated which have some peculiarity of
+design or construction.
+
+A building of this size would require about 150 working drawings to be
+made for it, and a considerable number to be given to show its
+construction.
+
+It was completed in about two years, at an expense of 14,814_l._; but
+this did not include the price of the warming apparatus, nor that of the
+lightning conductor fixed to the bell-turret.
+
+[Illustration: Front. Side.
+
+Pedestal to steps.]
+
+Whatever opinions may be expressed in regard to the architectural
+details of this erection, the author at least can plead, as its owner
+stated in the letters, copies of which have been given, that the
+essentials of a house, convenience, comfort, and complete suitability
+for all domestic purposes, were accomplished. These objects being
+attained, any real or imaginary faults perceived by professional critics
+may be palliated if not forgotten.
+
+
+
+
+INDEX.
+
+
+                 PAGE
+
+Introduction, 3-48
+
+
+“Albert Hall of Arts”, 131
+
+Architectural history, 16
+
+Architectural orders, 20 _et seq._
+
+Architecture and gardening, 46, 312
+
+Architecture, English, 25
+
+Architecture, Grecian, &c., 11
+
+Architecture, Mexican, &c., 26
+
+Architecture, origin of, 8
+
+Architecture, principles of, 27
+
+Architecture, Roman, 23
+
+Architecture, Suburban, 29
+
+Architectural symmetry, &c., 31
+
+Arnott’s, Dr., system of warming, 357
+
+Arnott’s ventilator, 414
+
+Aspect of a house, 36
+
+Asphalte as a paving, 235
+
+Atmosphere, the, and smoke, 431
+
+
+Bacon, Lord, on house construction, 256
+
+Balconet, an iron, 331
+
+Balconet, design for a, 123
+
+Balusters for a staircase, 277
+
+Balustrade, a garden, 363 _et seq._
+
+Balustrade, Elizabethan, 181
+
+Balustrade for a staircase, 282
+
+Balustrades, stone, 247
+
+Balustrading, cut wood, 279
+
+Balustrading, designs for iron, &c., 299
+
+Balustrading, house and garden, 204 _et seq._
+
+Barge-board, 247
+
+Bath-house, design for a, 214
+
+Bower, garden, rooms, 242
+
+Boyd’s flue, 414
+
+Bricks, ventilating, 157, 170
+
+Buildings, foundation of, 151
+
+
+Carving by machinery, 278
+
+Casements, iron, 220
+
+Castle, Gunnarstrop, Sweden, 464
+
+Ceiling, a dining-room, 288
+
+Ceiling and cornices, 44
+
+Ceiling, drawing-room and library, 290, 291
+
+Ceiling for a drawing-room, 166
+
+Ceiling for a hall, 286
+
+Ceiling, ornament for a, 61
+
+Ceilings, ornamental, various, 313 _et seq._
+
+Ceilings, plaster ornament for, 161
+
+Chalk concrete, 83
+
+Chapel, design for a Roman Catholic, 210
+
+Cheshire wooden houses, 233
+
+Chimney-piece, ancient, at Enfield, 228
+
+Chimney-pieces, designs for, 80, 81, 319
+
+Chimney-pot, ornamented, 329, 330, 423
+
+Chimney stack, ancient, 74
+
+Churches, concrete, 96
+
+Clunch, 246
+
+Concrete as a foundation, 152
+
+Concrete, chalk, 83
+
+Concrete churches, 96
+
+Concrete construction, 82
+
+Concrete cottages, 83
+
+Concrete, nature, cost, &c., of, 91
+
+Concrete, remarks on, 93
+
+Concrete sewers, 96
+
+Concrete walls, 92
+
+Construction, fire-proof, 156
+
+Construction, concrete, 82
+
+Corbels, 172
+
+Corbel, French cut-wood, 403
+
+Corbels, ragstone, 392
+
+Cornice and ceiling, 44
+
+Cornice, design for a plaster drawing-room, 101
+
+Cornice for a drawing-room, 166
+
+Cottage, design for a picturesque, 62
+
+Cottage, double, design for a, 66, 72
+
+Cottage, gardener’s, 50
+
+Cottages, Hampshire, Kentish, &c., 88 _et seq._
+
+Cottage or lodge, design for a small, 58
+
+Cottage or lodge, design for a huntsman’s, 78
+
+Country house, design for a small, 174
+
+Country villa, design for a, 182
+
+Cubitt’s flues, 407
+
+
+Dab houses, 251
+
+Damp walls, 152
+
+Damp, wash to prevent, in walls, 159
+
+Deals, stained, 45
+
+Decoration external and internal, 42
+
+Denley’s flue, 413
+
+Door, entrance for a hall, 458
+
+Door ornaments, 69
+
+Doric order, 20
+
+Drain-eye, 450
+
+
+Egyptian architecture, 19
+
+Elizabethan balustrades, 181
+
+Elizabethan villa, 280
+
+Encaustic tiles, 460
+
+English architecture, 25
+
+Escutcheon, design of an, 69
+
+Escutcheon, key, 172
+
+
+Finials, 109
+
+Finials, roof, 80
+
+Fireplace for a hall, 284
+
+Fireplace, the, 404
+
+Fire-proof construction, 156
+
+Fire-proofing, 158
+
+Flue construction, 405 _et seq._
+
+Flue pedestal, the, 446
+
+Flues, Cubitt’s, 407
+
+Flues, various, 405 _et seq._
+
+Fogs, London, and smoke, 443
+
+Foundations, concrete, 152
+
+Foundations of buildings, 151
+
+Fountain, an ancient nymph’s, 47
+
+Fountain, garden, 49
+
+Fountain, garden, design for a, 469
+
+Fountains, various designs for, 307
+
+French villas, roofs, zinc work, &c., 273
+
+Frieze, external, 173
+
+Frieze for dining and drawing-room, 178
+
+Frieze, plaster, for a drawing-room, 65
+
+
+Gable, ornamental, 170, 220, 300
+
+Gardens, ancient, 312
+
+Gardens and architecture, 45
+
+Garden, architectural, 313
+
+Garden bower rooms, 242
+
+Gardener’s cottage, 50
+
+Garden fountain, 49
+
+Garden gate, a, 204
+
+Garden gate, design for a, 95
+
+Garden, gate to a flower, 265
+
+Garden or summer villa, 302
+
+Garden summer house, 262
+
+Garden steps, 197
+
+Garden seat, design for a, 361
+
+Garden, vignette plan of an Old English, 119
+
+Gate, a garden, 265
+
+Gates, iron, in Hyde Park, 128
+
+Gate lodge, Hyde Park, 125
+
+Gates, Park, 149
+
+Gates of London Parks, 139
+
+Gothic, modern, 24
+
+Gothic screen, 205
+
+Gothic style, 10
+
+Gothic window, 204
+
+Grecian architecture, 11
+
+Gunnarstrop castle, Sweden, 464
+
+
+Half-Timbered houses, 248
+
+Hall ceiling, 286
+
+Hall fireplace, 284
+
+Hall, lecture, design for a, 456
+
+“Hall of Arts and Sciences,” Kensington, 133
+
+Hall stove, 285
+
+Hall, stove for entrance of a, 120
+
+Hampshire cottages, 88
+
+Handle, design for a door, 69
+
+Harrington estate, the, 136
+
+Harrington House, Queen’s Palace Gardens, 476
+
+Houses, foundations of, 151
+
+Haum as a building material, 249
+
+Hiort’s flue, 412
+
+Hot-water apparatus, 349
+
+House, a bachelor’s, 401
+
+House, a garden summer, 262
+
+Houses, aspect of, 36
+
+Houses, dab and wattle, 251
+
+House construction, Lord Bacon on, 256
+
+House, design for a small country, 174
+
+Houses, heating of, 34
+
+Houses in Kent, 249
+
+Houses, noggin, &c., 249
+
+Houses, post-and-pan, 252
+
+Houses, site, &c. of, 351
+
+Houses, warming of, 351
+
+Hyde Park, Queen’s Gate, entrance to, 139
+
+Hyde Park Corner Gate, 140
+
+
+Ice-house, design for a, 370
+
+
+Kensington Gardens, 140
+
+Kent ragstone, 176
+
+Kentish cottages, 91
+
+Kentish village houses, 249
+
+Key escutcheons, 172
+
+Knocker, 172
+
+
+Library, elevation of a small, 200
+
+Literary Institution, design for a, 456
+
+Lodge, a park, 102
+
+Lodge and gateway, design for, 112
+
+Lodges of London Parks, 142
+
+Lodge or cottage, a huntsman’s, 78
+
+Lodge or cottage, design for a small, 56
+
+Lodge, park entrance, 104
+
+Lodge, Queen’s Gate, Hyde Park, 125
+
+
+Machine-carving, 278
+
+Mantel-pieces, 44
+
+Maisonette, a French, 268
+
+Meat-jack, design for a, 267
+
+Moule’s earth system, 241
+
+Moon’s flue, 412
+
+Mud walls, 90
+
+
+Noggin houses, 249
+
+
+Orders of architecture, 20 _et seq._
+
+Origin of architecture, 8
+
+
+Paper hangings, 42
+
+Parge-boards, 247
+
+Pargetting, &c., 248
+
+Park, entrance lodge and gateway, 112
+
+Park lodge, design for a, 99
+
+Park lodge entrance, 104
+
+Parks, history of the London, 139
+
+Parks, the Royal, 139
+
+Pedestals, ornamental, 326
+
+Pedestal, the flue, 446
+
+Pendants, &c., 289
+
+Perkins’ hot-water apparatus, 350
+
+Picturesque cottage, design for a, 62
+
+Picturesque defined, 5
+
+Pipes, elevation of Elizabethan lead-water, 55
+
+Plaster frieze for a drawing-room, 65
+
+Plaster ornament for a ceiling, 161
+
+Porch, design for an entrance, 225
+
+Portico, elevation of, 180
+
+Post-and-pan houses, 252
+
+Pots, ornamental chimney, 423
+
+Prevention of damp, 151
+
+
+Queen Anne’s garden, 140
+
+Queen’s Gate, iron-work of, 143
+
+Queen’s Gate Lodge, 125, 142
+
+
+Ragstone, Kentish, 176
+
+Railing, French, in iron, 190
+
+Railing, park, 147
+
+Railing, ornamental, 81
+
+Riding-house and stabling, 389
+
+Reading-room, design for a, 208
+
+Rectory, design for a small country, 162
+
+Retreat, a small country, 268
+
+Roman Architecture, 23
+
+Roman Temple, 5
+
+Roof, French style of, 275
+
+Roofs, iron, 348
+
+Roof ornaments, design for wood, 463
+
+Rose Hill Villa, 82
+
+Rotunda at Bank of England, 158
+
+Rushton Hall, 283
+
+
+Schools, design for, 208
+
+School, design for a village Sunday, 70
+
+School, village, 208
+
+Screen, Gothic, 205
+
+Screen, hall, 206
+
+Sculptor’s villa, 338
+
+Serpentine, the, 140
+
+Sewers, a receptacle for soot, 438
+
+Sewer gases in houses, 436
+
+Sewers, concrete, 96
+
+Situation of a house, 38
+
+Smith’s, Seth, flue, 412
+
+Smoke Nuisance Act, 452
+
+Smoke Prevention, 405
+
+Smoke purified, by a spray of water, from soot, 441
+
+Smoky chimneys, 427
+
+Soot and the sewers, 436
+
+Soot, prevention of, 428
+
+Soot, removal of, from smoke, 433
+
+Soot, value of, 451
+
+Spiral staircase, 61
+
+Stabling and riding-houses, 389
+
+Stack flues, 417
+
+Stair, best proportions of a, 231
+
+Staircase balustrade, 277, 282
+
+Staircases, construction of, 194
+
+Staircase railing, French, in iron, 190
+
+Staircase, spiral, 61
+
+Steps, garden, 197
+
+Stone balustrades, 173
+
+Stove, design for an entrance hall, 120
+
+Stove for a hall, 285
+
+Styles of architecture, 10
+
+Style, Gothic, 10
+
+Summer house, or garden, 262
+
+Summer or garden villa, 302
+
+Summer room, design for a, 214
+
+Sunday school, village, design for a, 70
+
+
+Tall-boys, 416
+
+Taste in architecture, 15
+
+Terrace, ironwork, 297
+
+Tiles, design for ornamental, 189
+
+Tiles, encaustic, 460
+
+Tiles, ornamental, 187
+
+Turn-buckle, 221
+
+
+Ventilation, general principles of, 32
+
+Ventilation, 411
+
+Verandahs, 375
+
+Verge-board, 247
+
+Villa, a sculptor’s, 338
+
+Villa, design for a country, 182
+
+Villa, design for a small country, 222
+
+Villa, double suburban, 192
+
+Villa, Elizabethan, 280
+
+Villa, French, 268
+
+Villa, old English wooden, 232
+
+Villa, suburban, design for a, 382
+
+Villa, suburban, design for a, 373
+
+Villa, summer or garden, 302
+
+Villa, summer, for Count Kinski, 470
+
+Village schools, 208
+
+
+Wainscoting, 285
+
+Walls, concrete, 92
+
+Walls, damp, 152
+
+Walls, how to cure damp, 160
+
+Warming houses, 34, 351
+
+Water, for removing soot from smoke, 440
+
+Wattle houses, 251
+
+Weathercock, design for a, 261, 381
+
+Window, design for a decorated, 336
+
+Window, Gothic, 204
+
+Window, ironwork for, 297
+
+Wooden villa, old English, 232
+
+Wood-noggin houses, 249
+
+Woodwork, French, pine, 186
+
+Woodwork, French, 275
+
+
+Zinc, French ornamental work in, 274
+
+
+THE END.
+
+       *       *       *       *       *
+
+[_Post-Office Orders payable
+at Piccadilly Circus._]        [NOVEMBER, 1874.
+
+[Illustration]
+
+A List of Books
+
+PUBLISHED BY
+
+CHATTO & WINDUS,
+
+_74 & 75, PICCADILLY, LONDON, W._
+
+[Illustration]
+
+SUMPTUOUS GIFT-BOOK.
+
+THE TURNER GALLERY:
+
+A Series of Sixty Engravings,
+
+From the Principal Works of JOSEPH MALLORD WILLIAM TURNER.
+
+_With a Memoir and Illustrative Text_
+
+By RALPH NICHOLSON WORNUM,
+
+KEEPER AND SECRETARY, NATIONAL GALLERY.
+
+Handsomely half-bound, India Proofs, Royal folio, £10; LARGE PAPER
+copies, Artists’ India Proofs, Elephant folio, £20.
+
+_A Descriptive Pamphlet will be sent upon application._
+
+
+_74 & 75, PICCADILLY, LONDON, W._
+
+
+THE NATIONAL GALLERY:
+
+A Selection from its Pictures,
+
+By CLAUDE, REMBRANDT, CUYP, Sir DAVID WILKIE, CORREGGIO, GAINSBOROUGH,
+CANALETTI, VANDYCK, PAUL VERONESE, CARACCI, RUBENS, N. and G. POUSSIN,
+and other great Masters.
+
+Engraved by GEORGE DOO, JOHN BURNET, WILLIAM FINDEN, JOHN and HENRY LE
+KEUX, JOHN PYE, WALTER BROMLEY, and others. With descriptive Text. A NEW
+EDITION, from the Original Plates, in columbier 4to, cloth extra, full
+gilt and gilt edges, 42_s._
+
+
+THE FAMOUS FRASER PORTRAITS.
+
+MACLISE’S GALLERY OF
+
+ILLUSTRIOUS LITERARY CHARACTERS.
+
+With Notes by the late WILLIAM MAGINN, LL.D.
+
+     Edited, with copious Notes, by WILLIAM BATES, B.A. The volume
+     contains 83 SPLENDID AND MOST CHARACTERISTIC PORTRAITS, now first
+     issued in a complete form. In demy 4to, over 400 pages, cloth gilt
+     and gilt edges, 31_s._ 6_d._
+
+     “Most interesting.”--_Saturday Review._
+
+     “Not possible to imagine a more elegant addition to a drawing-room
+     table.”--_Fun._
+
+     “One of the most interesting volumes of this year’s
+     literature.”--_Times._
+
+     “Deserves a place on every drawing-room table, and may not unfitly
+     be removed from the drawing-room to the library.”--_Spectator._
+
+
+THE
+
+WORKS OF JAMES GILLRAY, THE CARICATURIST.
+
+_With the Story of his Life and Times, and full and Anecdotal
+Descriptions of his Engravings._
+
+Edited by THOMAS WRIGHT, Esq., M.A., F.S.A.
+
+Illustrated with 83 full-page Plates, and very numerous Wood Engravings.
+Demy 4to, 600 pages, cloth extra, 31_s._ 6_d._
+
+     “High as the expectations excited by this description [in the
+     Introduction] may be, they will not be disappointed. With rare
+     exception, no source of information has been neglected by the
+     editor, and the most inquisitive or exacting reader will find ready
+     gathered to his hand, without the trouble of reference, almost
+     every scrap of narrative, anecdote, gossip, scandal, or epigram, in
+     poetry or prose, that he can possibly require for the elucidation
+     of the caricatures.”--_Quarterly Review._
+
+     “The publishers have done good service in bringing so much that is
+     full of humour and of historical interest within the reach of a
+     large class.”--_Saturday Review._
+
+     “One of the most amusing and valuable illustrations of the social
+     and polished life of that generation which it is possible to
+     conceive.”--_Spectator._
+
+
+NEW SERIES OF
+
+BEAUTIFUL PICTURES.
+
+     Including Examples by ARMYTAGE, FAED, GOODALL, HEMSLEY, HORSLEY,
+     MARKS, NICHOLLS, Sir NOEL PATON, PICKERSGILL, G. SMITH, MARCUS
+     STONE, SOLOMON, STRAIGHT, E. M. WARD, WARREN; all engraved in the
+     highest style of Art, with Notices of the Artists and of their
+     Pictures by SYDNEY ARMYTAGE, M.A. Imp. 4to, cloth extra, gilt, and
+     gilt edges, 21_s._
+
+
+BEAUTIFUL PICTURES BY BRITISH ARTISTS:
+
+_A Gathering of Favourites from our Picture Galleries, 1800-1870._
+
+     Including examples by WILKIE, CONSTABLE, TURNER, MULREADY,
+     LANDSEER, MACLISE, E. M. WARD, FRITH, Sir JOHN GILBERT, LESLIE,
+     ANSDELL, MARCUS STONE, SIR NOEL PATON, FAED, EYRE CROWE, GAVIN,
+     O’NEIL, and MADOX BROWN. Engraved on Steel in the highest style of
+     Art. Edited, with Notices of the Artists, by SYDNEY ARMYTAGE, M.A.
+     Imperial 4to, cloth extra, gilt and gilt edges, 21_s._
+
+
+TOM HOOD’S NEW STORY FOR CHILDREN.
+
+From Nowhere to the North Pole;
+
+A Noah’s Arkæological Narrative. By TOM HOOD.
+
+     With 25 Illustrations by W. BRUNTON and E. C. BARNES. Sq. crown
+     8vo, in a handsome and specially-designed binding, gilt edges,
+     6_s._
+
+
+NEW BOOK BY MR. WALTER THORNBURY.
+
+     =On the Slopes of Parnassus.= Illustrated by J. E. MILLAIS, JOHN
+     TENNIEL, F. SANDYS, FRED. WALKER, G. J. PINWELL, J. D. HOUGHTON, E.
+     J. POYNTER, H. S. MARKS, J. WHISTLER, and others. Handsomely
+     printed, crown 4to, cloth extra, gilt and gilt edges, 21_s._
+
+[_In preparation._
+
+
+
+
+NEW GROTESQUE GIFT-BOOK.
+
+A RARE AND CHOICE COLLECTION OF
+
+     =Queens and Kings, and other Things=: The Pictures, Poetry, and
+     strange but veritable Histories designed and written by the
+     PRINCESS HESSE-SCHWARZBOURG. The whole imprinted in gold and many
+     colours by the Brothers DALZIEL, at the Camden Press. Imp. 4to,
+     cloth gilt and gilt edges, price One Guinea.
+
+
+     =Æsop’s Fables=, translated into Human Nature by C. H. BENNETT.
+     Descriptive Text. Entirely New Edit. Cr. 4to, 24 Plates,
+     beautifully printed in colours, cloth extra, gilt, 6_s._
+
+
+COMPANION TO THE “HISTORY OF SIGNBOARDS.”
+
+     =Advertising, A History of=, from the Earliest Times. Illustrated by
+     Anecdotes, Curious Specimens, Biographical Notes, and Examples of
+     Successful Advertisers. By HENRY SAMPSON. Crown 8vo, with Coloured
+     Frontispiece and numerous Illustrations, cloth extra, gilt, 7_s._
+     6_d._
+
+
+     =Amusing Poetry.= A Selection of Humorous Verse from all the Best
+     Writers. Edited, with a Preface, by _Shirley Brooks_. A New
+     Edition, in fcap. 8vo, cloth extra, gilt, and gilt edges, 3_s._
+     6_d._
+
+
+     =Anacreon.= Translated by THOMAS MOORE, and Illustrated by the
+     Exquisite Designs of GIRODET. Bound in Etruscan gold and blue,
+     12_s._ 6_d._
+
+
+     =Army Lists of the Roundheads and Cavaliers in the Civil War, 1642.=
+     SECOND EDITION, Corrected and considerably Enlarged. Edited, with
+     Notes and full Index, by EDWARD PEACOCK, F.S.A. 4to, hf.-Roxburghe,
+     7_s._ 6_d._
+
+
+UNIFORM WITH MR. RUSKIN’S EDITION OF “GRIMM.”
+
+     =Bechstein’s As Pretty as Seven=, and other Popular German Stories.
+     Collected by LUDWIG BECHSTEIN. With Additional Tales by the
+     Brothers GRIMM. 100 Illusts. by RICHTER. Small 4to, green and gold,
+     6_s._ 6_d._; gilt edges, 7_s._ 6_d._
+
+[Illustration]
+
+
+     =Artemus Ward, Complete.= The Works of CHARLES FARRER BROWNE, better
+     known as ARTEMUS WARD, now first collected. Crown 8vo, with fine
+     Portrait, facsimile of handwriting, &c., 540 pages, cloth extra,
+     7_s._ 6_d._
+
+
+     =Artemus Ward’s Lecture at the Egyptian Hall=, with the Panorama.
+     Edited by T. W. ROBERTSON and E. P. HINGSTON. 4to, green and gold,
+     TINTED ILLUST., 6_s._
+
+
+     =Boccaccio’s Decameron=; or, Ten Days’ Entertainment. Now fully
+     translated into English, with Introduction by THOMAS WRIGHT, Esq.,
+     M.A., F.S.A. With Portrait after RAPHAEL, and STOTHARD’S Ten
+     Copper-plates. Crown 8vo, cloth, extra gilt, 7_s._ 6_d._
+
+
+     =Booksellers, A History of.= Full Accounts of the Great Publishing
+     Houses and their Founders, both in London and the Provinces, the
+     History of their Rise and Progress, and of their greatest Works. By
+     HARRY CURWEN. Crown 8vo, over 500 pages, with frontispiece and
+     numerous Portraits and Illustrations, cloth extra, 7_s._ 6_d._
+
+[Illustration: HEADPIECE USED BY WILLIAM CAXTON.]
+
+     “_In these days, ten ordinary Histories of Kings and Courtiers were
+     well exchanged against the tenth part of one good History of
+     Booksellers._”--THOMAS CARLYLE.
+
+     “This stout little book is unquestionably amusing. Ill-starred,
+     indeed, must be the reader who, opening it anywhere, lights upon
+     six consecutive pages within the entire compass of which some good
+     anecdote or smart repartee is not to be found.”--_Saturday Review._
+
+     “Mr. Curwen has produced an interesting work.”--_Daily News._
+
+     “The ‘History of Booksellers’ will not merely repay perusal, but
+     ought to have a permanent place on library shelves.”--_Court
+     Circular._
+
+
+     =Book of Hall-Marks=; or, Manual of Reference for the Goldsmith and
+     Silversmith. By ALFRED LUTSCHAUNIG, Manager of the Liverpool Assay
+     Office. Crown 8vo, with 46 Plates of the Hall-Marks of the
+     different Assay Towns of the United Kingdom, as now stamped on
+     Plate and Jewellery, 7_s._ 6_d._
+
+     ⁂ _This work gives practical methods for testing the quality of
+     gold and silver. It was compiled by the author for his own use, and
+     as a Supplement to “Chaffers.”_
+
+
+     =Boudoir Ballads=: Vers de Société. By J. ASHBY STERRY. Crown 8vo,
+     cloth extra, gilt, and gilt edges, 6_s._
+
+[_In preparation._
+
+
+     =Bret Harte’s Complete Works=, in Prose and Poetry. Now First
+     Collected. With Introductory Essay by J. M. BELLEW, Portrait of the
+     Author, and 50 Illustrations. Crown 8vo, 650 pages, cloth extra,
+     7_s._ 6_d._
+
+
+     =Brewster’s (Sir David) More Worlds than One, the Creed of the
+     Philosopher and the Hope of the Christian.= A NEW EDITION, in small
+     crown 8vo, cloth, extra gilt, with full-page Astronomical Plates,
+     uniform with Faraday’s “Chemical History of a Candle.” 4_s._ 6_d._
+
+
+     =Brewster’s (Sir D.) Martyrs of Science.= NEW EDITION, small cr. 8vo,
+     cloth, extra gilt, with full-page Portraits, uniform with Faraday’s
+     “Various Forces of Nature.” 4_s._ 6_d._
+
+
+     =Bright’s (Rt. Hon. J., M.P.) Speeches= on Public Affairs of the last
+     Twenty Years. Collated with the best Public Reports. Royal 16mo,
+     370 pages, cloth extra, 1_s._
+
+
+COLMAN’S HUMOROUS WORKS.
+
+     =Broad Grins.= My Nightgown and Slippers, and other Humorous Works,
+     Prose and Poetical, of GEORGE COLMAN the Younger. Now first
+     collected, with Life and Anecdotes of the Author, by GEORGE B.
+     BUCKSTONE. With Frontispiece by HOGARTH. Crown 8vo, 500 pp., 7_s._
+     6_d._
+
+     =Broadstone Hall=, and other Poems. By W. E. WINDUS. With 40
+     Illustrations by ALFRED CONCANEN. Crown 8vo, cloth extra, gilt,
+     5_s._
+
+
+NEW BOOK FOR BOYS.
+
+     =Conquest of the Sea=: A History of Divers and Diving, from the
+     Earliest Times to the Present Day. By HENRY SIEBE. Profusely
+     Illustrated with fine Wood Engravings. Small crown 8vo, cloth
+     extra, 4_s._ 6_d._
+
+     “We have perused this volume, full of quaint information, with
+     delight. Mr. Siebe has bestowed much pains on his work; he writes
+     with enthusiasm and fulness of knowledge.”--_Echo._
+
+     “Really interesting alike to youths and to grown-up
+     people.”--_Scotsman._
+
+     “Equally interesting to the general and to the scientific
+     reader.”--_Morning Advertiser._
+
+
+MISS BRADDON’S NEW NOVEL.
+
+     =Lost for Love=: A Novel. By M. E. BRADDON, Author of “Lady Audley’s
+     Secret,” &c. Now ready, in 3 vols., crown 8vo, at all Libraries,
+     and at the Booksellers.
+
+     “One of the best novels lately produced. In several important
+     respects, it appears to us, Miss Braddon’s recent works deserve the
+     highest commendation.”--_Illustrated London News._
+
+     “We may confidently predict for it a warm welcome from Miss
+     Braddon’s numerous admirers.”--_Graphic._
+
+     “‘Lost for Love’ must be placed high among Miss Braddon’s novels.
+     It has a quiet power, which makes it attractive in a high
+     degree.”--_Scotsman._
+
+     “Unaffected, simple, and easily written, it will disappoint Miss
+     Braddon’s early admirers, and please that which we hope is a wider
+     public.”--_Athenæum._
+
+
+     =Byron’s (Lord) Letters and Journals=, with Notices of his Life. By
+     THOMAS MOORE. A Reprint of the Original Edition, newly revised,
+     complete in a thick volume of 1060 pp., with Twelve full-page
+     Plates. Crown 8vo, cloth extra, gilt, 7_s._ 6_d._
+
+     “We have read this book with the greatest pleasure. Considered
+     merely as a composition, it deserves to be classed among the best
+     specimens of English prose which our age has produced. It contains,
+     indeed, no single passage equal to two or three which we could
+     select from the Life of Sheridan; but, as a whole, it is
+     immeasurably superior to that work. The style is agreeable, clear,
+     and manly, and, when it rises into eloquence, rises without effort
+     or ostentation. Nor is the matter inferior to the manner. It would
+     be difficult to name a book which exhibits more kindness, fairness,
+     and modesty. It has evidently been written, not for the purpose of
+     showing--what, however, it often shows--how well its author can
+     write, but for the purpose of vindicating, as far as truth will
+     permit, the memory of a celebrated man who can no longer vindicate
+     himself. Mr. Moore never thrusts himself between Lord Byron and the
+     public. With the strongest temptations to egotism, he has said no
+     more about himself than the subject absolutely required. A great
+     part, indeed the greater part, of these volumes consists of
+     extracts from the Letters and Journals of Lord Byron; and it is
+     difficult to speak too highly of the skill which has been shown in
+     the selection and arrangement.... It is impossible, on a general
+     survey, to deny that the task has been executed with great judgment
+     and great humanity. When we consider the life which Lord Byron had
+     led, his petulance, his irritability, and his communicativeness, we
+     cannot but admire the dexterity with which Mr. Moore has contrived
+     to exhibit so much of the character and opinions of his friend,
+     with so little pain to the feelings of the living.”--LORD MACAULAY,
+     in the _Edinburgh Review_.
+
+
+     =Carols of Cockayne=: Vers de Société descriptive of London Life. By
+     HENRY S. LEIGH. Third Edition. With numerous Illustrations by
+     ALFRED CONCANEN. Crown 8vo, cloth extra, gilt, 5_s._
+
+
+     =Carlyle (T.) on the Choice of Books.= With New Life and Anecdotes.
+     Brown cloth, UNIFORM WITH THE 2_s._ EDITION OF HIS WORKS, 1_s._
+     6_d._
+
+
+     =Celebrated Claimants=, Ancient and Modern. Being the Histories of
+     all the most celebrated Pretenders and Claimants from PERKIN
+     WARBECK to ARTHUR ORTON. Fcap. 8vo, 350 pages, illustrated boards,
+     price 2_s._
+
+
+MR. WILKIE COLLINS’S NEW NOVEL.
+
+     =The Law and the Lady=: A Novel. By WILKIE COLLINS, Author of “The
+     Woman in White.” 3 vols., crown 8vo, 31_s._ 6_d._
+
+[_Shortly._
+
+
+     =Christmas Carols and Ballads.= Selected and Edited by JOSHUA
+     SYLVESTER. A New Edition, beautifully printed and bound in cloth,
+     extra gilt, gilt edges, 3_s._ 6_d._
+
+
+     =Cruikshank’s Comic Almanack.= Complete in TWO SERIES: the FIRST from
+     1835 to 1843; the SECOND from 1844 to 1853. A Gathering of the BEST
+     HUMOUR of THACKERAY, HOOD, MAYHEW, ALBERT SMITH, A’BECKETT, ROBERT
+     BROUGH, &c. With 2,000 Woodcuts and Steel Engravings by CRUIKSHANK,
+     HINE, LANDELLS, &c. Crown 8vo, cloth gilt, two very thick volumes,
+     15_s._; or, separately, 7_s._ 6_d._ per volume.
+
+     ⁂ _The “Comic Almanacks” of George Cruikshank have long been
+     regarded by admirers of this inimitable artist as among his finest,
+     most characteristic productions. Extending over a period of
+     nineteen years, from 1835 to 1853, inclusive, they embrace the best
+     period of his artistic career, and show the varied excellences of
+     his marvellous power. The late Mr. Tilt, of Fleet Street, first
+     conceived the idea of the “Comic Almanack” and at various times
+     there were engaged upon it such writers as_ THACKERAY, ALBERT
+     SMITH, _the Brothers_ MAYHEW, _the late_ ROBERT BROUGH, GILBERT
+     A’BECKETT, _and, it has been asserted_, TOM HOOD _the elder_.
+     THACKERAY’S _stories of “Stubbs’ Calendar; or, The Fatal Boots”
+     which subsequently appeared as “Stubbs’ Diary;” and “Barber Cox;
+     or, The Cutting of his Comb,” formed the leading attractions in the
+     numbers for 1839 and 1846_.
+
+
+THE BEST GUIDE TO HERALDRY.
+
+[Illustration]
+
+=Cussans’ Handbook of Heraldry=; with Instructions for Tracing Pedigrees
+and Deciphering Ancient MSS.; also, Rules for the Appointment of
+Liveries, &c., &c. By JOHN E. CUSSANS. Illustrated with 360 Plates and
+Woodcuts. Crown 8vo, cloth extra, gilt and emblazoned, 7_s._ 6_d._
+
+     ⁂ _This volume, beautifully printed on toned paper, contains not
+     only the ordinary matter to be found in the best books on the
+     science of Armory, but several other subjects hitherto unnoticed.
+     Amongst these may be mentioned_:--1. DIRECTIONS FOR TRACING
+     PEDIGREES. 2. DECIPHERING ANCIENT MSS., ILLUSTRATED BY ALPHABETS
+     AND FACSIMILES. 3. THE APPOINTMENT OF LIVERIES. 4. CONTINENTAL AND
+     AMERICAN HERALDRY, &C.
+
+
+NEW AND IMPORTANT WORK.
+
+     =Cyclopædia of Costume=; or, A Dictionary of Dress, Regal,
+     Ecclesiastical, Civil, and Military, from the Earliest Period in
+     England to the reign of George the Third. Including Notices of
+     Contemporaneous Fashions on the Continent, and preceded by a
+     General History of the Costume of the Principal Countries of
+     Europe. By J. R. PLANCHÉ, F.S.A., Somerset Herald.
+
+[Illustration]
+
+     _This work will be published in Twenty-four Monthly Parts, quarto,
+     at Five Shillings, profusely illustrated by Plates and Wood
+     Engravings; with each Part will also be issued a splendid Coloured
+     Plate, from an original Painting or Illumination, of Royal and
+     Noble Personages, and National Costume, both foreign and domestic.
+     The First Part is just ready._
+
+     In collecting materials for a History of Costume of more importance
+     than the little handbook which has met with so much favour as an
+     elementary work, I was not only made aware of my own deficiencies,
+     but surprised to find how much more vague are the explanations, and
+     contradictory the statements, of our best authorities, than they
+     appeared to me, when, in the plenitude of my ignorance, I rushed
+     upon almost untrodden ground, and felt bewildered by the mass of
+     unsifted evidence and unhesitating assertion which met my eyes at
+     every turn.
+
+     During the forty years which have elapsed since the publication of
+     the first edition of my “History of British Costume” in the
+     “Library of Entertaining Knowledge,” archæological investigation
+     has received such an impetus by the establishment of metropolitan
+     and provincial peripatetic antiquarian societies, that a flood of
+     light has been poured upon us, by which we are enabled to
+     re-examine our opinions and discover reasons to doubt, if we cannot
+     find facts to authenticate.
+
+     That the former greatly preponderate is a grievous acknowledgment
+     to make after assiduously devoting the leisure of half my life to
+     the pursuit of information on this, to me, most fascinating
+     subject. It is some consolation, however, to feel that where I
+     cannot instruct, I shall certainly not mislead, and that the reader
+     will find, under each head, all that is known to, or suggested by,
+     the most competent writers I am acquainted with, either here or on
+     the Continent.
+
+     That this work appears in a glossarial form arises from the desire
+     of many artists, who have expressed to me the difficulty they
+     constantly meet with in their endeavours to ascertain the complete
+     form of a garment, or the exact mode of fastening a piece of
+     armour, or buckling of a belt, from their study of a sepulchral
+     effigy or a figure in an illumination; the attitude of the
+     personages represented, or the disposition of other portions of
+     their attire, effectually preventing the requisite examination.
+
+     The books supplying any such information are very few, and the best
+     confined to armour or ecclesiastical costume. The only English
+     publication of the kind required, that I am aware of, is the late
+     Mr. Fairholt’s “Costume in England” (8vo, London, 1846), the last
+     two hundred pages of which contain a glossary, the most valuable
+     portion whereof are the quotations from old plays, mediæval
+     romances, and satirical ballads, containing allusions to various
+     articles of attire in fashion at the time of their composition.
+     Twenty-eight years have expired since that book appeared, and it
+     has been thought that a more comprehensive work on the subject than
+     has yet issued from the English press, combining the pith of the
+     information of many costly foreign publications, and, in its
+     illustrations, keeping in view the special requirement of the
+     artist, to which I have alluded, would be, in these days of
+     educational progress and critical inquiry, a welcome addition to
+     the library of an English gentleman
+
+                                                     J. R. PLANCHÉ.
+
+
+
+
+     =Cussans’ History of Hertfordshire.= A County History, got up in a
+     very superior manner, and ranging with the finest works of its
+     class. By JOHN E. CUSSANS. Illustrated with full-page Plates on
+     Copper and Stone, and a profusion of small Woodcuts. Parts I. to
+     VIII. are now ready, price 21_s._ each.
+
+     ⁂ _An entirely new History of this important County, great
+     attention being given to all matters pertaining to Family History._
+
+
+     =Dickens’ Life and Speeches.= By THEODORE TAYLOR. In One Volume,
+     16mo, cloth extra, 2_s._ 6_d._
+
+
+“DON QUIXOTE” IN THE ORIGINAL SPANISH.
+
+     =El Ingenioso Hidalgo Don Quijote de la Mancha.= Nueva Edicion,
+     corregida y revisada. Por MIGUEL DE CERVANTES SAAVEDRA. Complete in
+     one volume, post 8vo, nearly 700 pages, cloth extra, price 4_s._
+     6_d._
+
+
+GIL BLAS IN SPANISH.
+
+     =Historia de Gil Blas de Santillana.= Por LE SAGE. Traducida al
+     Castellano por el PADRE ISLA. Nueva Edicion, corregida y revisada.
+     Complete in One Volume. Post 8vo, cloth extra, nearly 600 pages,
+     price 4_s._ 6_d._
+
+
+     =Earthward Pilgrimage=, from the Next World to that which now is. By
+     MONCURE D. CONWAY. Crown 8vo, beautifully printed and bound, 7_s._
+     6_d._
+
+
+     =Ellis’s (Mrs.) Mothers of Great Men.= A New Edition, with
+     Illustrations by VALENTINE W. BROMLEY. Crown 8vo, cloth gilt, over
+     500 pages, 6_s._
+
+     “Mrs. Ellis believes, as most of us do, that the character of the
+     mother goes a long way; and, in illustration of this doctrine, she
+     has given us several lives written in her charming, yet earnest,
+     style. We especially commend the life of Byron’s and Napoleon’s
+     mothers.... The volume has some solid merits.”--_Echo._
+
+     “This is a book which ought to be in the libraries of all who
+     interest themselves in the education of women.”--_Victoria
+     Magazine._
+
+     “An extremely agreeable and readable book, ... and its value is not
+     a little enhanced by Mr. Bromley’s illustrations.”--_Illustrated
+     Dramatic News._
+
+
+     =Emanuel on Diamonds and Precious Stones=; Their History, Value, and
+     Properties; with Simple Tests for ascertaining their Reality. By
+     HARRY EMANUEL, F.R.G.S. With numerous Illustrations, Tinted and
+     Plain. A New Edition, Crown 8vo, cloth extra, gilt, 6_s._
+
+
+     =Edgar Allan Poe’s Prose and Poetical Works=; including Additional
+     Tales and his fine Critical Essays. With a Translation of CHARLES
+     BAUDELAIRE’S “Essay.” 750 pages, crown 8vo, fine Portrait and
+     Illustrations, cloth extra, 7_s._ 6_d._
+
+[Illustration: POE’S COTTAGE AT FORDHAM.]
+
+
+     =English Surnames=: Their Sources and Significations. By CHARLES
+     WAREING BARDSLEY, M.A. SECOND EDITION, revised throughout,
+     considerably enlarged, and partially re-written. Crown 8vo, cloth
+     extra, 9_s._
+
+     “Mr. Bardsley has faithfully consulted the original mediæval
+     documents and works from which the origin and development of
+     surnames can alone be satisfactorily traced. He has furnished a
+     valuable contribution to the literature of surnames, and we hope to
+     hear more of him in this field.”--_Times._
+
+     “Mr. Bardsley’s volume is a very good specimen of the work which
+     the nineteenth century can turn out. He has evidently bestowed a
+     great deal of attention, not only upon surnames, but upon philology
+     in general. The book is a mine of information.”--_Westminster
+     Review._
+
+     “We welcome this book as an important addition to our knowledge of
+     an important and interesting subject.”--_Athenæum._
+
+
+     =Englishman’s House= (The): A Practical Guide to all interested in
+     Selecting or Building a House. By C. J. RICHARDSON, Architect,
+     Author of “Old English Mansions,” &c. Third Edition. With nearly
+     600 Illustrations. Crown 8vo, cloth extra, 7_s._ 6_d._
+
+[Illustration]
+
+     ⁂ _This Work might not inappropriately termed “A Book of Houses.”
+     It gives every variety of house, from a workman’s cottage to a
+     nobleman’s palace. The book is intended to supply a want long felt,
+     viz., a plain, non-technical account of every style of house, with
+     the cost and manner of building._
+
+
+     =Faraday’s Chemical History of a Candle.= Lectures delivered to a
+     Juvenile Audience. A New Edition, edited by W. CROOKES, Esq.,
+     F.C.S., &c. Crown 8vo, cloth extra, with all the Original
+     Illustrations, 4_s._ 6_d._
+
+
+     =Faraday’s Various Forces of Nature.= A New Edition, edited by W.
+     CROOKES, Esq., F.C.S., &c. Crown 8vo, cloth extra, with all the
+     Original Illustrations, 4_s._ 6_d._
+
+
+FATHER PROUT’S REMAINS.
+
+     =Final Reliques of Father Prout.= Collected and Edited, from MSS.
+     supplied by the Family of the Rev. FRANCIS MAHONEY, by BLANCHARD
+     JERROLD.
+
+[_In preparation._
+
+
+     =Finish to Life in and out of London=; or, The Final Adventures of
+     Tom, Jerry, and Logic. By PIERCE EGAN. Royal 8vo, cloth extra, with
+     Spirited Coloured Illustrations by CRUIKSHANK, 21_s._
+
+
+     =Flagellation and the Flagellants.=--A History of the Rod in all
+     Countries, from the Earliest Period to the Present Time. By the
+     Rev. W. COOPER, B.A. Third Edition, revised and corrected, with
+     numerous Illustrations. Thick crown 8vo, cloth extra, gilt, 12_s._
+     6_d._
+
+
+     =Fools’ Paradise=; with the Many Wonderful Adventures there, as seen
+     in the strange, surprising Peep-Show of Professor Wolley Cobble.
+     Crown 4to, with nearly 350 very funny Coloured Pictures, cloth
+     extra, gilt, 7_s._ 6_d._
+
+[Illustration: THE PROFESSOR’S LEETLE MUSIC LESSON.]
+
+
+RUSKIN AND CRUIKSHANK.
+
+     =German Popular Stories.= Collected by the Brothers GRIMM, and
+     Translated by EDGAR TAYLOR. Edited, with an Introduction, by JOHN
+     RUSKIN. With 22 Illustrations after the inimitable designs of
+     GEORGE CRUIKSHANK. Both Series complete. Square crown 8vo, 6_s._
+     6_d._; gilt leaves, 7_s._ 6_d._
+
+     “The illustrations of this volume ... are of quite sterling and
+     admirable art, in a class precisely parallel in elevation to the
+     character of the tales which they illustrate; and the original
+     etchings, as I have before said in the Appendix to my ‘Elements of
+     Drawing,’ were unrivalled in masterfulness of touch since Rembrandt
+     (in some qualities of delineation, unrivalled even by him).... To
+     make somewhat enlarged copies of them, looking at them through a
+     magnifying glass, and never putting two lines where Cruikshank has
+     put only one, would be an exercise in decision and severe drawing
+     which would leave afterwards little to be learnt in
+     schools.”--_Extract from Introduction by_ JOHN RUSKIN.
+
+
+     =Golden Treasury of Thought.= The Best Encyclopædia of Quotations and
+     Elegant Extracts, from Writers of all Times and all Countries, ever
+     formed. Selected and Edited by THEODORE TAYLOR. Crown 8vo, very
+     handsomely bound, cloth gilt, and gilt edges, 7_s._ 6_d._
+
+
+     =Genial Showman=; or, Show Life in the New World. Adventures with
+     Artemus Ward, and the Story of his Life. By E. P. HINGSTON. Third
+     Edition. Crown 8vo, Illustrated by BRUNTON, cloth extra, 7_s._
+     6_d._
+
+
+THE GOLDEN LIBRARY.
+
+Square 16mo (Tauchnitz size), cloth, extra gilt, price 2_s._ per vol.
+
+     =Clerical Anecdotes=: The Humours and Eccentricities of “the Cloth.”
+
+     =Holmes’s Autocrat of the Breakfast Table.= With an Introduction by
+     GEORGE AUGUSTUS SALA.
+
+     =Holmes’s Professor at the Breakfast Table.= With the STORY OF IRIS.
+
+     =Hood’s Whims and Oddities.= Both Series complete in One Volume, with
+     all the original Illustrations.
+
+     =Lamb’s Essays of Elia.= Both Series complete in One Volume.
+
+     =Leigh Hunt’s Essays=: A Tale for a Chimney Corner, and other Pieces.
+     With Portrait, and Introduction by EDMUND OLLIER.
+
+     =Shelley’s Early Poems=: Queen Mab, &c. Reprinted from the Author’s
+     Original Editions. With Essay by LEIGH HUNT. (First Series of his
+     Works.)
+
+     =Shelley’s Later Poems=: Laon and Cythna, the Cenci, and other
+     Pieces. Reprinted from the Author’s Original Editions. With an
+     Introductory Essay. (Second Series of his Works.)
+
+     =Shelley’s Miscellaneous Poems and Prose Works.= The Third and Fourth
+     Series. These Two Volumes will include the Posthumous Poems,
+     published by Mrs. SHELLEY in 1824; the Shelley Papers, published in
+     1833; the Six Weeks’ Tour (1816); the Notes to “Queen Mab,” &c.;
+     the Marlow and Dublin Pamphlets; “The Wandering Jew,” a Poem; and
+     the two Novels, “Zastrozzi” and “St. Irvyne.” The three last now
+     first included in any edition of Shelley.
+
+
+     =Great Condé (The), and the Period of the Fronde=: An Historical
+     Sketch. By WALTER FITZPATRICK. Second Edition, in 2 vols. 8vo,
+     cloth extra, 15_s._
+
+
+     =Greenwood’s (James) Wilds of London=: Being Descriptive Sketches,
+     from the Personal Observations and Experiences of the Writer, of
+     Remarkable Scenes, People, and Places in London. By JAMES
+     GREENWOOD, the “Lambeth Casual.” With Twelve full-page
+     Illustrations by ALFRED CONCANEN. Crown 8vo, cloth extra, gilt,
+     7_s._ 6_d._
+
+
+     =Hall’s (Mrs. S. C.) Sketches of Irish Character.= “WOOING AND
+     WEDDING,” “JACK THE SHRIMP,” “PETER THE PROPHET,” “GOOD AND BAD
+     SPIRITS,” “MABEL O’NEIL’S CURSE,” &c., &c. With numerous
+     Illustrations on Steel and Wood, by DANIEL MACLISE, R.A., Sir JOHN
+     GILBERT, W. HARVEY, and G. CRUIKSHANK. 8vo, pp. 450, cloth extra,
+     7_s._ 6_d._
+
+[Illustration]
+
+     “The Irish sketches of this lady resemble Miss Mitford’s beautiful
+     English Sketches in ‘Our Village,’ but they are far more vigorous
+     and picturesque and bright.”--_Blackwood’s Magazine._]
+
+
+THE MOST COMPLETE HOGARTH EVER PUBLISHED.
+
+     =Hogarth’s Works=: with Life and Anecdotal Descriptions of the
+     Pictures, by JOHN IRELAND and JOHN NICHOLS. The Work includes 160
+     Engravings, reduced in exact facsimile of the Original Plates,
+     specimens of which have now become very scarce. The whole in Three
+     Series, 8vo, cloth, gilt, 22_s._ 6_d._; or, separately, 7_s._ 6_d._
+     per volume. Each Series is Complete in itself.
+
+[Illustration: THE TALKING HAND.]
+
+     “Will be a great boon to authors and artists as well as
+     amateurs.... Very cheap and very complete.”--_Standard._
+
+     “For all practical purposes the three handsome volumes comprising
+     this edition are equal to a collection of Hogarthian prints. We are
+     quite sure that any one who adds this work to his library will be
+     amply repaid by the inexhaustible charms of its facsimile
+     prints.”--_Birmingham Daily Mail._
+
+     “The plates are reduced in size, but yet truthfully reproduced. The
+     best and cheapest edition of Hogarth’s complete works yet brought
+     forward.”--_Building News._
+
+     “Three very interesting volumes, important and valuable additions
+     to the library. The edition is thoroughly well brought out, and
+     carefully printed on fine paper.”--_Art Journal._
+
+
+     =Hogarth’s Five Days’ Frolic=; or, Peregrinations by Land and Water.
+     Illustrated with Tinted Drawings, made by HOGARTH and SCOTT during
+     the Journey. 4to, beautifully printed, cloth, extra gilt, 10_s._
+     6_d._
+
+     ⁂ _A graphic and most extraordinary picture of the hearty English
+     times in which these merry artists lived._
+
+
+     =Hogg’s Jacobite Relics of Scotland=: Being the Songs, Airs, and
+     Legends of the Adherents to the House of Stuart. Collected and
+     Illustrated by JAMES HOGG. In 2 vols. Vol. I., a Facsimile of the
+     original Edition; Vol. II., the _original_ Edition. 8vo, cloth,
+     28_s._
+
+
+     =Haunted=; or, Tales of the Weird and Wonderful. A new and entirely
+     original series of GHOST STORIES, by FRANCIS E. STAINFORTH. Post
+     8vo, illust. bds., 2_s._
+
+[_Nearly ready._
+
+
+     =Hawthorne’s English and American Note Books.= Edited, with an
+     Introduction, by MONCURE D. CONWAY. Royal 16mo, paper cover, 1_s._;
+     in cloth, 1_s._ 6_d._
+
+
+     =Hone’s Scrap-Books=: The Miscellaneous Writings of WILLIAM HONE,
+     Author of “The Table-Book,” “Every-Day Book,” and the “Year Book:”
+     being a Supplementary Volume to those works. Now first collected.
+     With Notes, Portraits, and numerous Illustrations of curious and
+     eccentric objects. Crown 8vo, cloth extra.
+
+[_Preparing._
+
+
+
+
+MR. HORNE’S EPIC.
+
+     =Orion=: An Epic Poem, in Three Books. By RICHARD HENGIST HORNE. With
+     Photographic Portrait-Frontispiece. TENTH EDITION. Crown 8vo, cloth
+     extra, 7_s._
+
+     “Orion will be admitted, by every man of genius, to be one of the
+     noblest, if not the very noblest poetical work of the age. Its
+     defects are trivial and conventional, its beauties intrinsic and
+     supreme.--EDGAR ALLAN POE.
+
+
+     =Hunt’s (Robert) Drolls of Old Cornwall=; or, POPULAR ROMANCES OF THE
+     WEST OF ENGLAND. With Illustrations by GEORGE CRUIKSHANK. Crown
+     8vo, cloth extra, gilt, 7_s._ 6_d._
+
+[Illustration]
+
+     ⁂ “Mr. Hunt’s charming book of the Drolls and Stories of the West
+     of England.”--_Saturday Review._
+
+
+     =Irish Guide.--How to Spend a Month in Ireland.= Being a complete
+     Guide to the Country, with an Appendix containing information as to
+     the Fares between the Principal Towns in England and Ireland, and
+     as to Tourist Arrangements for the Season. With a Map and 80
+     Illustrations. By Sir CUSACK P. RONEY. A New Edition, Edited by
+     Mrs. J. H. RIDDELL. Crown 8vo, cloth extra, price 1_s._ 6_d._
+
+
+     =Jennings’ (Hargrave) One of the Thirty.= With curious Illustrations.
+     Crown 8vo, cloth extra, 10_s._ 6_d._
+
+[Illustration]
+
+
+     =Jennings’ (Hargrave) The Rosicrucians: Their Rites and Mysteries.=
+     With Chapters on the Ancient Fire and Serpent Worshippers and
+     Explanations of Mystic Symbols in Monuments and Talismans of
+     Primeval Philosophers. Crown 8vo, 300 Illustrations, 10_s._ 6_d._
+
+
+     =Jerrold’s (Blanchard) Cent. per Cent.= A Story Written on a Bill
+     Stamp. A New Edition. Fcap. 8vo, illustrated boards, 2_s._
+
+
+NEW WORK BY DOUGLAS JERROLD.
+
+     =Jerrold’s (Douglas) The Barber’s Chair=, and =The Hedgehog Letters=.
+     Now first collected. Edited, with an Introduction, by his Son,
+     BLANCHARD JERROLD. Crown 8vo, with Steel Plate Portrait from his
+     Bust, engraved by W. H. MOTE, cloth extra, 7_s._ 6_d._
+
+     “No library is complete without Douglas Jerrold’s Works; _ergo_, no
+     library is complete without the Barber’s Chair.’ A delightful
+     volume; the papers are most amusing; they abound with sly touches
+     of sarcasm; they are full of playful wit and fancy.”--_Pictorial
+     World._
+
+     “An amusing volume, full of Douglas Jerrold’s well-known sharpness
+     and repartee.”--_Daily News._
+
+     “Better fitted than any other of his productions to give an idea of
+     Douglas Jerrold’s amazing wit; the ‘Barber’s Chair’ may be presumed
+     to give as near an approach as is possible in print to the wit of
+     Jerrold’s conversation.”--_Examiner._
+
+
+     =Jerrold’s (Douglas) Brownrigg Papers=: The Actress at the Duke’s;
+     Baron von Boots; Christopher Snubb; The Tutor Fiend and his Three
+     Pupils; Papers of a Gentleman at Arms, &c. By DOUGLAS JERROLD.
+     Edited by his Son, BLANCHARD JERROLD. Post 8vo, illustrated boards,
+     2_s._
+
+
+     =Kalendars of Gwynedd.= Compiled by EDWARD BREESE, F.S.A. With Notes
+     by WILLIAM WATKIN EDWARD WYNNE, Esq., F.S.A. Demy 4to, cloth extra,
+     28_s._
+
+
+     =Lamb’s (Charles) Complete Works=, in Prose and Verse, including the
+     two Series of Elia, with the cancelled passages restored, as first
+     printed in the “London Magazine,” together with “Satan in Search of
+     a Wife,” and other Poems and Humorous Pieces, now first collected.
+     Illustrated with Two Portraits. Crown 8vo, cloth extra, price 7_s._
+     6_d._
+
+
+     =Lamb (Mary & Charles)=: Their Poems, Letters, and Remains. Now first
+     collected, with Reminiscences and Notes, by W. CAREW HAZLITT. With
+     HANCOCK’S Portrait of the Essayist, Facsimiles of the Title-pages
+     of the rare First Editions of Lamb’s and Coleridge’s Works,
+     Facsimile of a Page of the Original MS. of the “Essay on Roast
+     Pig,” and numerous Illustrations of Lamb’s Favourite Haunts. Crown
+     8vo, cloth extra, 10_s._ 6_d._; LARGE-PAPER COPIES 21_s._
+
+[Illustration: ROSAMUND GRAY’S COTTAGE.]
+
+     “Mr. W. C. Hazlitt has published a very pretty and interesting
+     little volume. It has many pictorial illustrations, which were
+     supplied by Mr. Camden Hotten; and, above all, it contains a
+     facsimile of the first page of Elia on ‘Roast Pig.’ It is well got
+     up, and has a good portrait of Elia. There are also some letters
+     and poems of Mary Lamb which are not easily accessible
+     elsewhere.”--_Westminster Review._
+
+     “Must be consulted by all future biographers of the Lambs.”--_Daily
+     News._
+
+     “Tells us a good deal that is interesting and something that is
+     fairly new.”--_Graphic._
+
+     “Very many passages will delight those fond of literary trifles;
+     hardly any portion will fail to have its interest for lovers of
+     Charles Lamb and his sister.”--_Standard._
+
+     “Mr. Hazlitt’s work is very important and valuable, and all lovers
+     of Elia will thank him for what he has done.”--_Sunday Times._
+
+     “Will be joyfully received by all Lambites.”--_Globe._
+
+
+     =Lee (General Edward)=: His Life and Campaigns. By his Nephew, EDWARD
+     LEE CHILDE. With Portrait and Plans. 1 vol. Crown 8vo.
+
+[_In preparation._
+
+
+
+
+     =Life in London=; or, The Day and Night Scenes of Jerry Hawthorn and
+     Corinthian Tom. WITH THE WHOLE OF CRUIKSHANK’S VERY DROLL
+     ILLUSTRATIONS, in Colours, after the Originals. Crown 8vo, cloth
+     extra, 7_s._ 6_d._
+
+
+     =Literary Scraps.= A Folio Scrap-Book of 340 columns, with guards,
+     for the reception of Cuttings from Newspapers, Extracts,
+     Miscellanea, &c. In folio, half-roan, 7_s._ 6_d._
+
+
+     =Little London Directory of 1677.= The Oldest Printed List of the
+     Merchants and Bankers of London. Reprinted from the Rare Original,
+     with an Introduction by JOHN CAMDEN HOTTEN. 16mo, binding after the
+     original, 6_s._ 6_d._
+
+
+     =Longfellow’s Prose Works=, complete, including “Outre-Mer,”
+     “Hyperion,” “Kavanagh,” “Drift-wood,” “On the Poets and Poetry of
+     Europe.” With Portrait and Illustrations by BROMLEY. 800 pages,
+     crown 8vo, cloth gilt, 7_s._ 6_d._
+
+[Illustration]
+
+     ⁂ _The reader will find the present edition of Longfellow’s Prose
+     Writings by far the most complete ever issued in this country.
+     “Outre-Mer” contains two additional chapters, restored front the
+     first edition; while “The Poets and Poetry of Europe” and the
+     little collection of Sketches entitled “Driftwood” are now first
+     introduced to the English public._
+
+
+     =Linton’s (Mrs. E. Lynn) True History of Joshua Davidson, Christian
+     and Communist.= SIXTH EDITION, with a New Preface. Small crown 8vo,
+     cloth extra, 4_s._ 6_d._
+
+     “In a short and vigorous preface, Mrs. Linton defends, in certain
+     points, her notion of the logical outcome of Christianity as
+     embodied in this attempt to conceive how Christ would have acted,
+     with whom He would have fraternised, and who would have declined to
+     receive Him, had He appeared in the present
+     generation.”--_Examiner._
+
+
+MRS. LYNN LINTON’S NEW NOVEL.
+
+     =Patricia Kemball=: A Novel. By E. LYNN LINTON, Author of “Lizzie
+     Lorton of Greyrigg,” &c. In Three Vols., crown 8vo, price 31_s._
+     6_d._
+
+[_On Nov. 15._
+
+
+
+
+     =Lost Beauties of the English Language.= An Appeal to Authors, Poets,
+     Clergymen, and Public Speakers. By CHARLES MACKAY, LL.D. Crown 8vo,
+     cloth extra, 6_s._ 6_d._
+
+
+     =Madre Natura _versus_ The Moloch of Fashion.= A Social Essay. By
+     LUKE LIMNER. With 32 Illustrations by the Author. FOURTH EDITION,
+     revised, corrected, and enlarged. Crown 8vo, cloth extra gilt, red
+     edges, price 2_s._ 6_d._
+
+[Illustration]
+
+     “Bravo, Luke Limner! In this treatise, aptly and ably illustrated,
+     the well-known artist scathingly exposes the evils of the present
+     fashions--more especially of tight-lacing. Girls should be made to
+     learn it by heart, and act on its precepts.”--_Fun._
+
+     “Agreeably written and amusingly illustrated. Common sense and
+     erudition are brought to bear on the subjects discussed in
+     it.”--_Lancet._
+
+     “A fanciful little volume. A thing to read, and in parts very
+     amusing.”--_Judy._
+
+     “Luke Limner’s amusing and instructive book is calculated to do not
+     a little good.”--_Echo._
+
+
+     =Magna Charta.= An exact Facsimile of the Original Document,
+     preserved in the British Museum, very carefully drawn, and printed
+     on fine plate paper, nearly 3 feet long by 2 feet wide, with the
+     Arms and Seals of the Barons elaborately emblazoned in Gold and
+     Colours. A.D. 1215. Price 5_s._; or, handsomely framed and glazed,
+     in carved oak, of an antique pattern, 22_s._ 6_d._
+
+     A full Translation, with Notes, printed on a large sheet, price
+     6_d._
+
+
+AUTHOR’S CORRECTED EDITION.
+
+     =Mark Twain’s Choice Works.= Revised and Corrected throughout by the
+     Author. With Life, Portrait, and numerous Illustrations. 700 pages,
+     cloth extra gilt, 7_s._ 6_d._
+
+     =Mark Twain’s Pleasure Trip on the Continent of Europe=, With
+     Frontispiece. 500 pages, illustrated boards, 2_s._; or cloth extra,
+     2_s._ 6_d._
+
+     =Marston’s (Dr. Westland) Poetical and Dramatic Works.= A New and
+     Collected Edition is now in preparation.
+
+
+MR. PHILIP MARSTON’S POEMS.
+
+     =Song Tide=, and other Poems. By PHILIP BOURKE MARSTON. SECOND
+     EDITION. Crown 8vo, cloth extra, 8_s._
+
+     “This is a first work of extraordinary performance and of still
+     more extraordinary promise. The youngest school of English poetry
+     has received an important accession to its ranks in Philip Bourke
+     Marston.”--_Examiner._
+
+     “Mr. Marston has fairly established his claim to be heard as a
+     poet.... His present volume is well worthy of careful perusal, as
+     the utterance of a poetic, cultivated mind.”--_Standard._
+
+     “We have spoken plainly of some defects in the poetry before us,
+     but we have read much of it with interest, and even
+     admiration.”--_Pall Mall Gazette._
+
+     =All in All=: Poems and Sonnets. By PHILIP BOURKE MARSTON. Crown 8vo,
+     cloth extra, 8_s._
+
+
+     =Mayhew’s London Characters=: Illustrations of the Humour, Pathos,
+     and Peculiarities of London Life. By HENRY MAYHEW, Author of
+     “London Labour and the London Poor,” and other Writers. With nearly
+     100 graphic Illustrations by W. S. GILBERT, and others. Crown 8vo,
+     cloth extra, 6_s._
+
+     “Well fulfils the promise of its title.... The book is an eminently
+     interesting one, and will probably attract many readers.”--_Court
+     Circular._
+
+
+     =Memorials of Manchester Streets.= By RICHARD WRIGHT PROCTER. With an
+     Appendix, containing “The Chetham Library,” by JAMES CROSSLEY,
+     F.S.A.; and “Old Manchester and its Worthies,” by JAMES CROSTON,
+     F.S.A. Demy 8vo, cloth extra, with Photographic Frontispiece and
+     numerous Illustrations, 15_s._
+
+
+     =Monumental Inscriptions of the West Indies=, from the Earliest Date,
+     with Genealogical and Historical Annotations, &c., from Original,
+     Local, and other Sources. Illustrative of the Histories and
+     Genealogies of the Seventeenth Century, the Calendars of State
+     Papers, Peerages, and Baronetages. With Engravings of the Arms of
+     the principal Families. Chiefly collected on the spot by the
+     Author, Capt. J. H. LAWRENCE-ARCHER. Demy 4to, cloth extra, 42_s._
+
+[_Nearly ready._
+
+
+     =Muses of Mayfair=: Vers de Société of the Nineteenth Century. The
+     best Society Verses of the most important Writers of the last 80
+     years, including TENNYSON, BROWNING, SWINBURNE, ROSSETTI, JEAN
+     INGELOW, LOCKER, INGOLDSBY, HOOD, LYTTON, C. S. C., LANDOR, HENRY
+     S. LEIGH, and very many others. Edited by H. CHOLMONDELEY-PENNELL,
+     Author of “Puck on Pegasus.” Beautifully printed, cloth extra gilt,
+     gilt edges, uniform with “The Golden Treasury of Thought,” 7_s._
+     6_d._
+
+
+MR. O’SHAUGHNESSY’S POEMS.
+
+     =Music and Moonlight=: Poems and Songs. By ARTHUR O’SHAUGHNESSY,
+     Author of “An Epic of Women.” Fcap. 8vo, cloth extra, 7_s._ 6_d._
+
+     “It is difficult to say which is more exquisite, the technical
+     perfection of structure and melody, or the delicate pathos of
+     thought. Mr. O’Shaughnessy will enrich our literature with some of
+     the very best songs written in our generation.”--_Academy._
+
+     =An Epic of Women=, and other Poems. SECOND EDITION. Fcap. 8vo, cloth
+     extra, 6_s._
+
+     “Of the formal art of poetry he is in many senses quite a master;
+     his metres are not only good,--they are his own, and often of an
+     invention most felicitous as well as careful.”--_Academy._
+
+     =Lays of France.= (Founded on the “Lays of Marie.”) SECOND EDITION.
+     Crown 8vo, cloth extra, 10_s._ 6_d._
+
+     “As we have before remarked in noticing an earlier volume of his,
+     this modern votary of Marie has, in imaginative power, keen
+     intuition, and ear, a genuine claim to be writing poetry, as things
+     go now.... And Mr. O’S. is also an accomplished master in those
+     peculiar turns of rhythm which are designed to reproduce the manner
+     of the mediæval originals.”--_Saturday Review._
+
+     =Mystery of the Good Old Cause=: Sarcastic Notices of those Members
+     of the Long Parliament that held Places, both Civil and Military,
+     contrary to the Self-denying Ordinance of April 3, 1645; with the
+     Sums of Money and Lands they divided among themselves. Small 4to,
+     half-morocco, 7_s._ 6_d._
+
+     =Napoleon III., the Man of His Time=; from Caricatures. PART I. THE
+     STORY OF THE LIFE OF NAPOLEON III., as told by J. M. HASWELL. PART
+     II. THE SAME STORY, as told by the POPULAR CARICATURES of the past
+     Thirty-five Years. Crown 8vo, with Coloured Frontispiece and over
+     100 Caricatures, 7_s._ 6_d._
+
+     =Original Lists of Persons of Quality=; Emigrants; Religious Exiles;
+     Political Rebels; Serving Men Sold for a Term of Years;
+     Apprentices; Children Stolen; Maidens Pressed; and others who went
+     from Great Britain to the American Plantations, 1600-1700. With
+     their Ages, the Localities where they formerly Lived in the Mother
+     Country, Names of the Ships in which they embarked, and other
+     interesting particulars. From MSS. preserved in the State Paper
+     Department of Her Majesty’s Public Record Office, England. Edited
+     by JOHN CAMDEN HOTTEN. A very handsome volume, crown 4to, cloth
+     gilt, 700 pages, 38_s._ A few Large Paper copies have been printed,
+     price 60_s._
+
+
+THE OLD DRAMATISTS.
+
+     =Ben Jonson’s Works.= With Notes, Critical and Explanatory, and a
+     Biographical Memoir by WILLIAM GIFFORD. Edited by Lieut.-Col.
+     FRANCIS CUNNINGHAM. Complete in 3 vols., crown 8vo, cloth extra
+     gilt, with Portrait, price 6_s._ each.
+
+     =George Chapman’s Plays=, Complete, from the Original Quartos,
+     including those Plays in which he was only partly concerned. Edited
+     by RICHARD HERNE SHEPHERD. Crown 8vo, cloth extra gilt, with
+     Portrait Frontispiece, price 6_s._
+
+     =George Chapman’s Poems and Minor Translations.= Complete, including
+     some Pieces now first printed. With an Essay on the Dramatic and
+     Poetical Works of GEORGE CHAPMAN, by ALGERNON CHARLES SWINBURNE.
+     Crown 8vo, with Frontispiece, cloth extra, 6_s._
+
+     =George Chapman’s Translations of Homer’s Iliad and Odyssey.= Edited
+     by RICHARD HERNE SHEPHERD. In one volume, crown 8vo, cloth extra,
+     6_s._
+
+     =Christopher Marlowe’s Works=; Including his Translations. Edited,
+     with Notes and Introduction, by Lieut.-Col. F. CUNNINGHAM. Crown
+     8vo, cloth extra gilt, with Portrait, price 6_s._
+
+     =Philip Massinger’s Plays.= From the Text of WM. GIFFORD. With the
+     addition of the Tragedy of “Believe as You List.” Edited by
+     Lieut.-Col. FRANCIS CUNNINGHAM. Crown 8vo, cloth extra gilt, with
+     Portrait, price 6_s._
+
+
+OLD BOOKS--FACSIMILE REPRINTS.
+
+     =Rump (The)=; or, An Exact Collection of the choicest POEMS AND SONGS
+     relating to the late Times, and continued by the most eminent Wits;
+     from Anno 1639 to 1661. A Facsimile Reprint of the rare Original
+     Edition (London, 1662), with Frontispiece and Engraved Title-page.
+     In 2 vols., large fcap. 8vo, printed on antique laid paper, and
+     bound in antique boards, 17_s._ 6_d._
+
+     =D’Urfey’s (“Tom”) Wit and Mirth=; or, PILLS TO PURGE MELANCHOLY:
+     Being a Collection of the best Merry Ballads and Songs, Old and
+     New. Fitted to all Humours, having each their proper Tune for
+     either Voice or Instrument: most of the Songs being new set.
+     London: Printed by W. Pearson, for J. Tonson, at Shakespeare’s
+     Head, over-against Catherine Street in the Strand, 1719. An exact
+     reprint. In 6 vols., large fcap. 8vo, antique boards, edges uncut,
+     beautifully printed on laid paper, made expressly for the work, £3
+     3_s._
+
+     =Musarum Deliciæ=; or, The Muses’ Recreation, 1656; Wit Restor’d,
+     1658; and Wit’s Recreations, 1640. The whole compared with the
+     originals; with all the Wood Engravings, Plates, Memoirs, and
+     Notes. A New Edition, in 2 vols., post 8vo, beautifully printed on
+     antique laid paper, and bound in antique boards, 21_s._
+
+     =English Rogue (The)=, described in the Life of MERITON LATROON, and
+     other Extravagants, comprehending the most Eminent Cheats of both
+     Sexes. By RICHARD HEAD and FRANCIS KIRKMAN. A Facsimile Reprint of
+     the rare Original Edition (1665-1672), with Frontispiece,
+     Facsimiles of the 12 copper plates, and Portraits of the Authors.
+     In 4 volumes, large foolscap 8vo, beautifully printed on antique
+     laid paper, made expressly, and bound in antique boards, 36_s._
+
+     =Ireland Forgeries.--Confessions of= WILLIAM-HENRY IRELAND.
+     Containing the Particulars of his Fabrication of the Shakspeare
+     Manuscripts; together with Anecdotes and Opinions (hitherto
+     unpublished) of many Distinguished Persons in the Literary,
+     Political, and Theatrical World. A Facsimile Reprint from the
+     Original Edition, with several additional Facsimiles. Fcap. 8vo,
+     printed on antique laid paper, and bound in antique boards, 10_s._
+     6_d._; a few Large Paper copies, at 21_s._
+
+     =Grose’s Dictionary of the Vulgar Tongue.= 1785. An unmutilated
+     Reprint of the First Edition. Quarto, bound in half-Roxburghe, gilt
+     top, price 8_s._
+
+     =Joe Miller’s Jests=; the politest Repartees, most elegant Bon-Mots,
+     and most pleasing short Stories in the English Language. London:
+     printed by T. Read, 1739. A Facsimile of the Original Edition. 8vo,
+     half-morocco, 9_s._ 6_d._
+
+     =Old Prose Stories= whence TENNYSON’S “Idylls of the King” were
+     taken. By B. M. RANKING. Royal 16mo, paper cover, 1_s._; cloth
+     extra, 1_s._ 6_d._
+
+
+OLD SHEKARRY’S WORKS.
+
+=Forest and Field=: Life and Adventure in Wild Africa. By the OLD
+SHEKARRY. With Eight Illustrations, Crown 8vo, cloth extra, gilt, 6_s._
+
+=Wrinkles=; or, Hints to Sportsmen and Travellers upon Dress, Equipment,
+Armament, and Camp Life. By the OLD SHEKARRY. A New Edition, with
+Illustrations. Small crown 8vo, cloth extra, gilt, 6_s._
+
+
+OUIDA’S NOVELS.
+
+Uniform Edition, each Complete in One Volume, crown 8vo, red cloth
+extra, price 5_s._ each.
+
+=Folle Farine.=
+=Idalia=: A Romance.
+=Chandos=: A Novel.
+=Under Two Flags.=
+=Cecil Castlemaine’s Gage.=
+=Tricotrin=: The Story of a Waif and Stray.
+=Pascarèl=: Only a Story.
+=Held In Bondage=; or, Granville de Vigne.
+=Puck=: His Vicissitudes, Adventures, &c.
+=A Dog of Flanders=, and other Stories.
+=Strathmore=; or, Wrought by his Own Hand.
+=Two Little Wooden Shoes.=
+
+
+     =Parochial History of the County of Cornwall.= Compiled from the best
+     Authorities, and corrected and improved from actual Survey. 4 vols.
+     4to, cloth extra, £3 3_s._ the set; or, separately, the first three
+     volumes, 16_s._ each; the fourth volume, 18_s._
+
+     =Plain English.= By JOHN HOLLINGSHEAD, of the Gaiety Theatre. Crown
+     8vo, illust. cover, 1_s._
+
+[_Preparing._
+
+
+     =Private Book of Useful Alloys and Memoranda for Goldsmiths and
+     Jewellers.= By JAMES E. COLLINS, C.E. Royal 16mo, 3_s._ 6_d._
+
+
+SEVENTH EDITION OF
+
+     =Puck on Pegasus.= By H. CHOLMONDELEY-PENNELL. Profusely illustrated
+     by the late JOHN LEECH, H. K. BROWNE, Sir NOEL PATON, JOHN MILLAIS,
+     JOHN TENNIEL, RICHARD DOYLE, Miss ELLEN EDWARDS, and other artists.
+     A New Edition (the SEVENTH), crown 8vo, cloth extra, gilt, price
+     5_s._; or gilt edges, 6_s._
+
+     “The book is clever and amusing”, vigorous and healthy.”--_Saturday
+     Review._
+
+     “The epigrammatic drollery of Mr. Cholmondeley-Pennell’s ‘Puck on
+     Pegasus’ is well known to many of our readers.... The present (_the
+     sixth_) is a superb and handsomely printed and illustrated edition
+     of the book.”--_Times._
+
+     “Specially fit for reading in the family circle.”--_Observer._
+
+
+“AN AWFULLY JOLLY BOOK FOR PARTIES.”
+
+     =Puniana=: Thoughts Wise and Otherwise. By the Hon. HUGH ROWLEY. Best
+     Book of Riddles and Puns ever formed. With nearly 100 exquisitely
+     Fanciful Drawings. Contains nearly 3000 of the best Riddles, and
+     10,000 most outrageous Puns, and is one of the most Popular Books
+     ever issued. New Edition, small quarto, green and gold, gilt edges,
+     price 6_s._
+
+[Illustration]
+
+     “Enormous burlesque--unapproachable and pre-eminent. We think this
+     very queer volume will be a favourite. We should suggest that, to a
+     dull person desirous to get credit with the young holiday people,
+     it would be good policy to invest in the book, and dole it out by
+     instalments.”--_Saturday Review._
+
+Also,
+
+     =More Puniana.= By the Hon. HUGH ROWLEY. Containing nearly 100
+     beautifully executed Drawings, and a splendid Collection of Riddles
+     and Puns, rivalling those in the First Volume. Small 4to, green and
+     gold, gilt edges, uniform with the First Series, price 6_s._
+
+
+COMPANION TO “CUSSANS’ HERALDRY.”
+
+     =Pursuivant of Arms (The)=; or, Heraldry founded upon Facts. A
+     Popular Guide to the Science of Heraldry. By J. R. PLANCHÉ, Esq.,
+     F.S.A., Somerset Herald. To which are added, Essays on the BADGES
+     OF THE HOUSES OF LANCASTER AND YORK. A New Edition, enlarged and
+     revised by the Author, illustrated with Coloured Frontispiece, five
+     full-page Plates, and about 200 Illustrations. Crown 8vo,
+     beautifully bound in cloth, with Emblematic Design, extra gilt,
+     7_s._ 6_d._
+
+[Illustration]
+
+
+IMPORTANT TO ALL INTERESTED IN MINES.
+
+     =Practical Assayer=: A Guide to Miners and Explorers. By OLIVER
+     NORTH. With Tables and Illustrative Woodcuts. Crown 8vo, 7_s._
+     6_d._
+
+     ⁂ _This book gives directions, in the simplest form, for assaying
+     bullion and the baser metals by the cheapest, quickest, and best
+     methods. Those interested in mining property will be enabled, by
+     following its instructions, to form a tolerably correct idea of the
+     value of ores, without previous knowledge of assaying; while to the
+     young man seeking his fortune in mining countries it is
+     indispensable._
+
+     “Likely to prove extremely useful. The instructions are clear and
+     precise.”--_Chemist and Druggist._
+
+     “We cordially recommend this compact little volume to all engaged
+     in mining enterprize, and especially to explorers.”--_Monetary and
+     Mining Review._
+
+     “An admirable little volume.”--_Mining Journal._
+
+
+GUSTAVE DORÉ’S DESIGNS.
+
+     =Rabelais’ Works.= Faithfully translated from the French, with
+     variorum Notes, and numerous characteristic Illustrations by
+     GUSTAVE DORÉ. Crown 8vo, cloth extra, 700 pages. Price 7_s._ 6_d._
+
+
+UNIFORM WITH “WONDERFUL CHARACTERS.”
+
+     =Remarkable Trials and Notorious Characters.= From “Half-Hanged
+     Smith,” 1700, to Oxford, who shot at the Queen, 1840. By Captain L.
+     BENSON. With spirited full-page Engravings by PHIZ. 8vo, 550 pages,
+     7_s._ 6_d._
+
+
+     =Rochefoucauld’s Reflections and Moral Maxims.= With Introductory
+     Essay by SAINTE-BEUVE, and Explanatory Notes. Cloth extra, 1_s._
+     6_d._
+
+
+     =Reminiscences of the late Thomas Assheton Smith, Esq.=; or, The
+     Pursuits of an English Country Gentleman. By Sir J. E. EARDLEY
+     WILMOT, Bart. A New and Revised Edition, with Steel-plate Portrait,
+     and plain and coloured Illustrations. Crown 8vo, cloth extra, 7_s._
+     6_d._
+
+
+     =Roll of Battle Abbey=; or, A List of the Principal Warriors who came
+     over from Normandy with William the Conqueror, and Settled in this
+     Country, A.D. 1066-7. Carefully drawn, and printed on fine plate
+     paper, nearly three feet by two feet, with the Arms of the
+     principal Barons elaborately emblazoned in Gold and Colours. Price
+     5_s._; or, handsomely framed in carved oak of an antique pattern,
+     22_s._ 6_d._
+
+
+     =Roll of Caerlaverock=, the Oldest Heraldic Roll; including the
+     Original Anglo-Norman Poem, and an English Translation of the MS.
+     in the British Museum. By THOMAS WRIGHT, M.A. The Arms emblazoned
+     in Gold and Colours. In 4to, very handsomely printed, extra gold
+     cloth, 12_s._
+
+
+     =Roman Catholics in the County of York in 1604.= Transcribed from the
+     Original MS. in the Bodleian Library, and Edited, with Genealogical
+     Notes, by EDWARD PEACOCK, F.S.A., Editor of “Army Lists of the
+     Roundheads and Cavaliers, 1642.” Small 4to, handsomely printed and
+     bound, 15_s._
+
+     ⁂ _Genealogists and Antiquaries will find much new and curious
+     matter in this work. An elaborate Index refers to every name in the
+     volume, among which will be found many of the highest local
+     interest._
+
+
+     =Ross’s (Chas. H.) Story of a Honeymoon.= A New Edition of this
+     charmingly humorous book, with numerous Illustrations by the
+     Author. Fcap. 8vo, illustrated boards, 2_s._
+
+
+     =School Life at Winchester College=; or, The Reminiscences of a
+     Winchester Junior. By the Author of “The Log of the Water Lily;”
+     and “The Water Lily on the Danube.” Second Edition, Revised,
+     COLOURED PLATES, 7_s._ 6_d._
+
+
+     =Schopenhauer’s The World Considered as Will and Imagination.=
+     Translated by Dr. FRANZ HÜFFER, Author of “Richard Wagner and the
+     Music of the Future.”
+
+[_In preparation._
+
+
+THE “SECRET OUT” SERIES.
+
+Crown 8vo, cloth extra, profusely Illustrated, price 4_s._ 6_d._ per
+Vol.
+
+     =Art of Amusing.= A Collection of Graceful Arts, Games, Tricks,
+     Puzzles, and Charades, intended to Amuse Everybody. By FRANK
+     BELLEW. With nearly 300 Illustrations.
+
+     =Hanky-Panky.= A Wonderful Book of Very Easy Tricks, Very Difficult
+     Tricks, White Magic, Sleight of Hand; in fact, all those startling
+     Deceptions which the Great Wizards call “Hanky-Panky.” Edited by W.
+     H. CREMER. With nearly 200 Illustrations.
+
+     =Magician’s Own Book.= Ample Instruction for Performances with Cups
+     and Balls, Eggs, Hats, Handkerchiefs, &c. All from Actual
+     Experience. Edited by W. H. CREMER. With 200 Illustrations.
+
+     =Magic No Mystery.= A Splendid Collection of Tricks with Cards, Dice,
+     Balls, &c., with fully descriptive working Directions. With very
+     numerous Illustrations.
+
+[_Nearly ready._
+
+     =Merry Circle (The)=, and How the Visitors were entertained during
+     Twelve Pleasant Evenings. A Book of New Intellectual Games and
+     Amusements. Edited by Mrs. CLARA BELLEW. With numerous
+     Illustrations.
+
+     =Secret Out=; or, One Thousand Tricks with Cards, and other
+     Recreations; with Entertaining Experiments in Drawing Room or
+     “White Magic.” Edited by W. H. CREMER. With 300 Engravings.
+
+
+     =Shelley’s Early Life.= From Original Sources. With Curious
+     Incidents, Letters, and Writings, now First Published or Collected.
+     By DENIS FLORENCE MAC-CARTHY. Crown 8vo, with Illustrations, 440
+     pages, 7_s._ 6_d._
+
+
+     =Sheridan’s Complete Works=, with Life and Anecdotes. Including his
+     Dramatic Writings, printed from the Original Editions, his Works in
+     Prose and Poetry, Translations, Speeches, Jokes, Puns, &c.; with a
+     Collection of Sheridaniana. Crown 8vo, cloth gilt, with 10
+     beautifully executed Portraits and Scenes from his Plays, 7_s._
+     6_d._
+
+
+     =Signboards=: Their History. With Anecdotes of Famous Taverns and
+     Remarkable Characters. By JACOB LARWOOD and JOHN CAMDEN HOTTEN.
+     SEVENTH EDITION. Crown 8vo, cloth extra, 7_s._ 6_d._
+
+[Illustration: HELP ME THROUGH THIS WORLD!]
+
+     “It is not fair on the part of a reviewer to pick out the plums of
+     an author’s book, thus filching away his cream, and leaving little
+     but skim-milk remaining; but, even if we were ever so maliciously
+     inclined, we could not in the present instance pick out all Messrs.
+     Larwood and Hotten’s plums, because the good things are so numerous
+     as to defy the most wholesale depredation,”--_The Times._
+
+     ⁂ _Nearly 100 most curious illustrations on ‘wood are given,
+     showing the signs which were formerly hung from taverns, &c._
+
+
+HANDBOOK OF COLLOQUIALISMS.
+
+     =The Slang Dictionary=: Etymological, Historical, and Anecdotal. An
+     ENTIRELY NEW EDITION, revised throughout, and considerably
+     Enlarged, containing upwards of a thousand more words than the last
+     edition. Crown 8vo, with Curious Illustrations, cloth extra, 6_s._
+     6_d._
+
+[Illustration: THE WEDGE AND THE WOODEN SPOON.]
+
+     “Peculiarly a book which ‘no gentleman’s library should be
+     without,’ while to costermongers and thieves it is absolutely
+     indispensable.”--_Dispatch._
+
+     “Interesting and curious. Contains as many as it was possible to
+     collect of all the words and phrases of modern slang in use at the
+     present time.”--_Public Opinion._
+
+     “In every way a great improvement on the edition of 1864. Its uses
+     as a dictionary of the very vulgar tongue do not require to be
+     explained.”--_Notes and Queries._
+
+     “Compiled with most exacting care, and based on the best
+     authorities.”--_Standard._
+
+     “In ‘The Slang Dictionary’ we have not only a book that reflects
+     credit upon the philologist; it is also a volume that will repay,
+     at any time, a dip into its humorous pages.”--_Figaro._
+
+
+WEST-END LIFE AND DOINGS.
+
+     =Story of the London Parks.= By JACOB LARWOOD. With numerous
+     Illustrations, Coloured and Plain. In One thick Volume, crown 8vo,
+     cloth extra, gilt, 7_s._ 6_d._
+
+     ⁂ _A most interesting work, giving a complete History of these
+     favourite out-of-door resorts, from the earliest period to the
+     present time._
+
+
+A KEEPSAKE FOR SMOKERS.
+
+     =Smoker’s Text-Book.= By J. HAMER, F.R.S.L. Exquisitely printed from
+     “silver-faced” type, cloth, very neat, gilt edges, 2_s._ 6_d._,
+     post free.
+
+
+CHARMING NEW TRAVEL-BOOK.
+
+[Illustration: “It may be we shall touch the happy isles.”]
+
+     =Summer Cruising in the South Seas,= By CHARLES WARREN STODDARD. With
+     Twenty-five Engravings on Wood, drawn by WALLIS MACKAY. Crown 8vo,
+     cloth, extra gilt, 7_s._ 6_d._
+
+     “This is a very amusing book, and full of that quiet humour for
+     which the Americans are so famous. We have not space to enumerate
+     all the picturesque descriptions, the poetical thoughts, which have
+     so charmed us in this volume; but we recommend our readers to go to
+     the South Seas with Mr. Stoddard in his prettily illustrated and
+     amusingly written little book.”--_Vanity Fair._
+
+     “Mr. Stoddard’s book is delightful reading, and in Mr. Wallis
+     Mackay he has found a most congenial and poetical
+     illustrator.”--_Bookseller._
+
+     “A remarkable book, which has a certain wild
+     picturesqueness.”--_Standard._
+
+     “The author’s experiences are very amusingly related, and, in
+     parts, with much freshness and originality.”--_Judy._
+
+     “Mr. Stoddard is a humourist; ‘Summer Cruising’ has a good deal of
+     undeniable amusement.”--_Nation._
+
+
+     =Syntax’s (Dr.) Three Tours.= With the whole of ROWLANDSON’S very
+     droll full-page Illustrations, in Colours, after the Original
+     Drawings. Comprising the well-known TOURS--1. IN SEARCH OF THE
+     PICTURESQUE. 2. IN SEARCH OF CONSOLATION. 3. IN SEARCH OF A WIFE.
+     The Three Series Complete, with a Life of the Author by JOHN CAMDEN
+     HOTTEN. Medium 8vo, cloth extra, gilt, price 7_s._ 6_d._
+
+
+     =Theseus: A Greek Fairy Legend.= Illustrated, in a series of Designs
+     in Gold and Sepia, by JOHN MOYR SMITH. With descriptive text.
+     Oblong folio, price 7_S._ 6_d._
+
+
+     =Theodore Hook’s Choice Humorous Works=, with his Ludicrous
+     Adventures, Bons-mots, Puns, and Hoaxes. With a new Life of the
+     Author, PORTRAITS, FACSIMILES, and ILLUSTRATIONS. Crown 8vo, 600
+     pages, cloth extra, 7_s._ 6_d._
+
+[Illustration: THEODORE HOOK’S HOUSE, NEAR PUTNEY]
+
+     ⁂ “As a wit and humourist of the highest order his name will be
+     preserved. His political songs and _jeux d’esprit_, when the hour
+     comes for collecting them, _will form a volume of sterling and
+     lasting attraction_!”--J. G. LOCKHART.
+
+
+MR. SWINBURNE’S WORKS.
+
+SECOND EDITION NOW READY OF
+
+     =Bothwell=: A Tragedy. By ALGERNON CHARLES SWINBURNE. Crown 8vo,
+     cloth extra, pp. 540, 12_s._ 6_d._
+
+     “Mr. Swinburne’s most prejudiced critic cannot, we think, deny that
+     ‘Bothwell’ is a poem of a very high character. Every line bears
+     traces of power, individuality, and vivid imagination. The
+     versification, while characteristically supple and melodious, also
+     attains, in spite of some affectations, to a sustained strength and
+     dignity of a remarkable kind. Mr. Swinburne is not only a master of
+     the music of language, but he has that indescribable touch which
+     discloses the true poet--the touch that lifts from off the
+     ground.”--_Saturday Review._
+
+     “It is not too much to say that, should he never write anything
+     more, the poet has by this work firmly established his position,
+     and given us a poem upon which his fame may safely rest. He no
+     longer indulges in that frequent alliteration, or that oppressive
+     wealth of imagery and colour, which gave rhythm and splendour to
+     some of his works, but would have been out of place in a grand
+     historical poem; we have now a fair opportunity of judging what the
+     poet can do when deprived of such adventitious aid,--and the
+     verdict is, that he must henceforth rank amongst the first of
+     British authors.”--_Graphic._
+
+     “The whole drama flames and rings with high passions and great
+     deeds. The imagination is splendid; the style large and imperial;
+     the insight into character keen; the blank verse varied, sensitive,
+     flexible, alive. Mr. Swinburne has once more proved his right to
+     occupy a seat among the lofty singers of our land.”--_Daily News._
+
+     “A really grand, statuesque dramatic work.... The reader will here
+     find Mr. Swinburne at his very best, if manliness, dignity, and
+     fulness of style are superior to mere pleasant singing and
+     alliterative lyrics.”--_Standard._
+
+     “Splendid pictures, subtle analyses of passion, and wonderful
+     studies of character will repay him who attains the end.... In this
+     huge volume are many fine and some unsurpassable things. Subtlest
+     traits of character abound, and descriptive passages of singular
+     delicacy.”--_Athenæum._
+
+     “There can be no doubt of the dramatic force of the poem. It is
+     severely simple in its diction, and never dull; there are
+     innumerable fine touches on almost every page.”--_Scotsman._
+
+     “‘Bothwell’ shows us Mr. Swinburne at a point immeasurably superior
+     to any that he has yet achieved. It will confirm and increase the
+     reputation which his daring genius has already won. He has handled
+     a difficult subject with a mastery of art which is a true
+     intellectual triumph.”--_Hour._
+
+     =Chastelard=: A Tragedy. Foolscap 8vo, 7_s._
+
+     =Poems and Ballads.= Foolscap 8vo, 9_s._
+
+     =Notes on “Poems and Ballads,”= and on the Reviews of them. Demy 8vo,
+     1_s._
+
+     =Songs before Sunrise.= Post 8vo, 10_s._ 6_d._
+
+     =Atalanta in Calydon.= Fcap. 8vo, 6_s._
+
+     =The Queen Mother and Rosamond.= Foolscap 8vo, 5_s._
+
+     =A Song of Italy.= Foolscap 8vo, 3_s._ 6_d._
+
+     =Ode on the Proclamation of the French Republic.= Demy 8vo, 1_s._
+
+     =Under the Microscope.= Post 8vo, 2_s._ 6_d._
+
+     =William Blake=: A Critical Essay. With facsimile Paintings, Coloured
+     by Hand, after the Drawings by Blake and his Wife. Demy 8vo, 16_s._
+
+
+THE THACKERAY SKETCH-BOOK.
+
+THACKERAYANA.
+
+_Notes and Anecdotes_,
+
+Illustrated by about Six Hundred Sketches by WILLIAM MAKEPEACE
+THACKERAY, depicting Humorous Incidents in his School-life, and
+Favourite Scenes and Characters in the books of his every-day reading,
+NOW FOR THE FIRST TIME PUBLISHED, from the Original Drawings made on the
+margins of his books, &c. Large post 8vo, cloth extra gilt, gilt top,
+price 12_s._ 6_d._
+
+[Illustration]
+
+     “It is Thackeray’s aim to represent life as it is actually and
+     historically--men and women as they are, in those situations in
+     which they are usually placed, with that mixture of good and evil,
+     of strength and foible, which is to be found in their characters,
+     and liable only to those incidents which are of ordinary
+     occurrence. He will have no faultless characters, no
+     demi-gods,--nothing but men and brethren.”--DAVID MASSON.
+
+
+     =Timbs’ Clubs and Club Life in London.= With ANECDOTES of its FAMOUS
+     COFFEE HOUSES, HOSTELRIES, and TAVERNS. By JOHN TIMBS, F.S.A. New
+     Edition, with NUMEROUS ILLUSTRATIONS, drawn expressly. Crown 8vo,
+     cloth extra, 600 pages, 7_s._ 6_d._
+
+[Illustration: THE SUBSCRIPTION ROOM AT BROOKES’S.]
+
+     ⁂ _A Companion to “The History of Sign-Boards.”_ _It abounds in
+     quaint stories of the_ Blue Stocking, Kit-Kat, Beef Steak, Robin
+     Hood, Mohocks, Scriblerus, One o’Clock, the Civil, _and hundreds of
+     other Clubs; together with_ Tom’s, Dick’s, Button’s, Ned’s, Will’s,
+     _and the famous Coffee Houses of the last century_.
+
+     “The book supplies a much-felt want. The club is the avenue to
+     general society at the present day, and Mr. Timbs gives the
+     _entrée_ to the club. The scholar and antiquary will also find the
+     work a repertory of information on many disputed points of literary
+     interest, and especially respecting various well-known anecdotes,
+     the value of which only increases with the lapse of
+     time.”--_Morning Post._
+
+
+     =Timbs’ English Eccentrics and Eccentricities.= Stories of Wealth and
+     Fashion, Delusions, Impostures and Fanatic Missions, Strange Sights
+     and Sporting Scenes, Eccentric Artists, Theatrical Folks, Men of
+     Letters, &c. By JOHN TIMBS, F.S.A. An entirely New Edition, with
+     about 50 Illustrations. Crown 8vo, cloth extra, 600 pages, 7_s._
+     6_d._
+
+
+     =Taylor’s History of Playing Cards.= With Sixty curious
+     Illustrations. 550 pp., crown 8vo, cloth, extra gilt, price 7_s._
+     6_d._
+
+[Illustration]
+
+     ⁂ _Ancient and Modern Games, Conjuring, Fortune-Telling, and Card
+     Sharping, Gambling and Calculation, Cartomancy, Old Gaming-Houses,
+     Card Revels and Blind Hookey, Picquet and Vingt-et-un, Whist and
+     Cribbage, Tricks, &c._
+
+
+=Vagabondiana=; or, Anecdotes of Mendicant Wanderers through the Streets
+of London; with Portraits of the most remarkable, drawn from the Life by
+JOHN THOMAS SMITH, late Keeper of the Prints in the British Museum. With
+Introduction by FRANCIS DOUCE, and descriptive text. Reprinted from the
+original, with the Woodcuts, and the 32 Plates, from the original
+Coppers, in crown 4to, half Roxburghe, price 12_s._ 6_d._
+
+
+“LES MISÉRABLES.” Complete in Three Parts.
+
+     =Victor Hugo’s Fantine.= Now first published in an English
+     Translation, complete and unabridged, with the exception of a few
+     advisable omissions. Post 8vo, illustrated boards, 2_s._
+
+     “This work has something more than the beauties of an exquisite
+     style or the word-compelling power of a literary Zeus to recommend
+     it to the tender care of a distant posterity: in dealing with all
+     the emotions, passions, doubts, fears, which go to make up our
+     common humanity, M. Victor Hugo has stamped upon every page the
+     Hall-mark of genius and the loving patience and conscientious
+     labour of a true artist. But the merits of ‘Les Misérables’ do not
+     merely consist in the conception of it as a whole; it abounds, page
+     after page, with details of unequalled beauty.”--_Quarterly
+     Review._
+
+     =Victor Hugo’s Cosette and Marius.= Translated into English,
+     complete, uniform with “Fantine.” Post 8vo, illustrated boards,
+     2_s._
+
+     =Victor Hugo’s Saint Denis and Jean Valjean.= Translated into
+     English, complete, uniform with the above. Post 8vo, illustrated
+     boards, 2_s._ 6_d._
+
+
+     =Vyner’s Notitia Venatica=: A Treatise on Fox-Hunting, the General
+     Management of Hounds, and the Diseases of Dogs; Distemper and
+     Rabies; Kennel Lameness, &c. Sixth Edition, Enlarged. By ROBERT C.
+     VYNER. WITH SPIRITED ILLUSTRATIONS IN COLOURS, BY ALKEN, OF
+     MEMORABLE FOX-HUNTING SCENES. Royal 8vo, cloth extra, 21_s._
+
+⁂ _An entirely new edition of the best work on Fox-Hunting._
+
+
+     =Walt Whitman’s Leaves of Grass.= The Complete Work, precisely as
+     issued by the Author in Washington. A thick volume, 8vo, green
+     cloth, price 9_s._
+
+     “Whitman is a poet who bears and needs to be read as a whole, and
+     then the volume and torrent of his power carry the disfigurements
+     along with it and away. He is really a fine fellow.”--_Chambers’s
+     Journal._
+
+
+     =Walton and Cotton, Illustrated.--The Complete Angler=; or, the
+     Contemplative Man’s Recreation; being a Discourse of Rivers,
+     Fish-ponds, Fish and Fishing, written by IZAAK WALTON; and
+     Instructions how to Angle for a Trout or Grayling in a clear
+     Stream, by CHARLES COTTON. With Original Memoirs and Notes by Sir
+     HARRIS NICOLAS, K.C.M.G. With the whole 61 Illustrations, precisely
+     as in the royal 8vo two-volume Edition issued by Pickering. A New
+     Edition, complete in One Volume, large crown 8vo, with the
+     Illustrations from the original plates, printed on full pages,
+     separately from the text, price 7_s._ 6_d._
+
+
+     =Warrant to Execute Charles I.= An exact Facsimile of this important
+     Document, with the Fifty-nine Signatures of the Regicides, and
+     corresponding Seals, admirably executed on paper made to imitate
+     the original document, 22 in. by 14 in. Price 2_s._; or, handsomely
+     framed and glazed in carved oak of antique pattern, 14_s._ 6_d._
+
+
+     =Warrant to Execute Mary Queen of Scots.= The Exact Facsimile of this
+     important Document, including the Signature of Queen Elizabeth and
+     Facsimile of the Great Seal, on tinted paper, made to imitate the
+     Original MS. Price 2_s._; or, handsomely framed and glazed in
+     carved oak of antique pattern, 14_s._ 6_d._
+
+
+     =Waterford Roll (The).--Illuminated Charter-Roll of Waterford=, Temp.
+     Richard II.
+
+     ⁂ _Amongst the Corporation Muniments of the City of Waterford is
+     preserved an ancient Illuminated Roll, of great interest and
+     beauty, comprising all the early Charters and Grants to the City of
+     Waterford, from the time of Henry II. to Richard II. A full-length
+     Portrait of each King, ‘whose Charter is given--including Edward
+     III., when young, and again at an advanced age--adorns the margin.
+     These Portraits, with the exception of four which are smaller, and
+     on one sheet of vellum, vary from eight to nine inches in
+     length--some in armour; and some in robes of state. In addition to
+     these are Portraits of an Archbishop in full canonicals, of a
+     Chancellor, and of many of the chief Burgesses of the City of
+     Waterford, as well as singularly curious Portraits of the Mayors of
+     Dublin, Waterford, Limerick, and Cork, figured for the most part in
+     the quaint bipartite costume of the Second Richard’s reign, though
+     partaking of many of the peculiarities of that of Edward III.
+     Altogether this ancient work of art is unique of its kind in
+     Ireland, and deserves to be rescued from oblivion, by the
+     publication of the unedited Charters, and of fac-similes of all the
+     Illuminations. The production of such a work would throw much light
+     on the question of the art and social habits of the Anglo-Norman
+     settlers in Ireland at the close of the fourteenth century. The
+     Charters are, many of them, highly important from an historic point
+     of view._
+
+     _The Illuminations have been accurately traced and coloured for the
+     work from a copy carefully made, by permission of the Mayor and
+     Corporation of Waterford, by the late George V. Du Noyer, Esq.,
+     M.R.I.A.; and those Charters which have not already appeared in
+     print will be edited by the Rev. James Graves, A.B., M.R.I.A., Hon.
+     Secretary Kilkenny and South-East of Ireland Archæological
+     Society._
+
+     _The Work will be brought out in the best manner, with embossed
+     cover and characteristic title-page; and it will be put to press as
+     soon as 250 subscribers are obtained. The price, in imperial 4to,
+     is 20s. to subscribers, or 30s. to non-subscribers._
+
+
+     =Wonderful Characters=: Memoirs and Anecdotes of Remarkable and
+     Eccentric Persons of Every Age and Nation. From the text of HENRY
+     WILSON and JAMES CAULFIELD. Crown 8vo, cloth extra, with Sixty-one
+     full-page Engravings of Extraordinary Persons, 7_s._ 6_d._
+
+     ⁂ _There are so many curious matters discussed in this volume, that
+     any person who takes it up will not readily lay it down until he
+     has read it through. The Introduction is almost entirely devoted to
+     a consideration of Pig-Faced Ladies, and the various stories
+     concerning them._
+
+
+     =Wright’s (Andrew) Court-Hand Restored=; or, Student’s Assistant in
+     Reading Old Deeds, Charters, Records, &c. Half Morocco, a New
+     Edition, 10_s._ 6_d._
+
+⁂ _The best guide to the reading of old Records, &c._
+
+
+     =Wright’s Caricature History of the Georges= (House of Hanover). With
+     400 Pictures, Caricatures, Squibs, Broadsides, Window Pictures, &c.
+     By THOMAS WRIGHT, Esq., M.A., F.S.A. Crown 8vo, cloth extra, 7_s._
+     6_d._
+
+[Illustration]
+
+     “A set of caricatures such as we have in Mr. Wright’s volume brings
+     the surface of the age before us with a vividness that no prose
+     writer, even of the highest power, could emulate. Macaulay’s most
+     brilliant sentence is weak by the side of the little woodcut from
+     Gillray, which gives us Burke and Fox.”--_Saturday Review._
+
+     “A more amusing work of its kind was never issued.”--_Art Journal._
+
+     “It is emphatically one of the liveliest of books, as also one of
+     the most interesting. It has the twofold merit of being at once
+     amusing and edifying.”--_Morning Post._
+
+
+     =Yankee Drolleries.= Edited by G. A. SALA. Containing ARTEMUS WARD’S
+     BOOK; BIGLOW PAPERS; ORPHEUS C. KERR; JACK DOWNING; and NASBY
+     PAPERS. 700 pp., 3_s._ 6_d._
+
+     =More Yankee Drolleries.= Containing ARTEMUS WARD’S TRAVELS; HANS
+     BREITMANN; PROFESSOR AT BREAKFAST TABLE; BIGLOW PAPERS, Part II.;
+     and JOSH BILLINGS; with Introduction by G. A. SALA. 700 pp., cloth,
+     3_s._ 6_d._
+
+     =A Third Supply of Yankee Drolleries.= Containing ARTEMUS WARD’S
+     FENIANS; AUTOCRAT OF BREAKFAST TABLE; BRET HARTE’S STORIES;
+     INNOCENTS ABROAD; and NEW PILGRIM’S PROGRESS; with an Introduction
+     by G. A. SALA. 700 pp., cloth, 3_s._ 6_d._
+
+
+                   _74 & 75, PICCADILLY, LONDON, W._
+
+
+FOOTNOTES:
+
+[A] Now Sir William Fothergill Cooke--October, 1869.
+
+[B] First illustrated by the author in his work, “Architectural Remains
+of the Reigns of Elizabeth and James I.”
+
+[C] The garden entrance to the ancient palace of the Grand Duke of
+Tuscany, alla Trinita de’ Monti. The architecture of Annibale Lippi.
+
+[D] This subject is fully treated and illustrated with plates in the
+Author’s treatise on “The Warming and Ventilation Buildings,” published
+in 1837 and 1856.
+
+[E] “Cheap Ice Well.” (Atchley & Co.)
+
+[F] “Plan for Purifying the Atmosphere of Towns.” (Hamilton, Adams, &
+Co.)
+
+[G] “Coke, Smoke, and Sewage.” (Cave and Sever, Manchester.)
+
+[H] A print of the stove is given in the author’s pamphlet entitled
+“The Smoke Nuisance, and its Remedy; with Remarks on Liquid Fuel.”
+Price 1_s._ (Atchley & Co.)
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Englishman's House, by 
+C.J. (Charles James) Richardson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ENGLISHMAN'S HOUSE ***
+
+***** This file should be named 60759-0.txt or 60759-0.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/6/0/7/5/60759/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/60759-0.zip b/old/60759-0.zip
new file mode 100644
index 0000000..e335ceb
--- /dev/null
+++ b/old/60759-0.zip
diff --git a/old/60759-h.zip b/old/60759-h.zip
new file mode 100644
index 0000000..aec5b35
--- /dev/null
+++ b/old/60759-h.zip
diff --git a/old/60759-h/60759-h.htm b/old/60759-h/60759-h.htm
new file mode 100644
index 0000000..621d450
--- /dev/null
+++ b/old/60759-h/60759-h.htm
@@ -0,0 +1,10621 @@
+<!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" lang="en" xml:lang="en">
+  <head>  <link rel="coverpage" href="images/cover.jpg" />
+<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
+<title>
+  The Project Gutenberg eBook of The Englishmans House, by C. J. Richardson.
+</title>
+<style type="text/css">
+ p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;}
+
+.btbrt {text-align:right;
+border-top:2px black solid;border-bottom:2px black solid;}
+
+.c {text-align:center;text-indent:0%;}
+
+.cb {text-align:center;text-indent:0%;font-weight:bold;}
+
+.spc1 {margin-top:1em;}
+
+.spc2 {margin-top:.5em;}
+
+.spc4 {margin-left:7%;margin-right:7%;}
+
+.eng  {font-family: "Old English Text MT",fantasy,sans-serif;}
+
+.sans {font-family:sans-serif;font-size:80%;font-weight:bold;}
+
+.fint {text-align:center;text-indent:0%;
+margin-top:2em;}
+
+.letra {font-size:250%;float:left;margin-top:-1%;}
+ @media print, handheld
+ { .letra
+ {font-size:250%;padding:0%;}
+ }
+
+.nind {text-indent:0%;}
+
+.nonvis {display:inline;}
+ @media print, handheld
+ {.nonvis
+ {display: none;}
+ }
+
+.r {text-align:right;margin-right: 5%;}
+
+.rt {text-align:right;}
+
+small {font-size: 70%;}
+
+big {font-size: 130%;}
+
+ h1 {margin-top:5%;text-align:center;clear:both;
+font-weight:normal;}
+
+ h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both;
+ font-size:100%;font-weight:normal;}
+
+ hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;}
+
+ hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black;
+padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;}
+
+ table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;}
+
+ body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;}
+
+a:link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+  link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+a:visited {background-color:#ffffff;color:purple;text-decoration:none;}
+
+a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;}
+
+.smcap  {font-variant:small-caps;font-size:100%;}
+
+ img {border:none;}
+
+.blockquot {margin-top:2%;margin-bottom:2%;}
+
+.caption  {font-weight:normal;}
+.caption p{font-size:75%;text-align:center;text-indent:0%;}
+
+.figcenter   {margin-top:3%;margin-bottom:3%;clear:both;
+margin-left:auto;margin-right:auto;text-align:center;text-indent:0%;}
+ @media handheld, print
+ {.figcenter
+ {page-break-before: avoid;}
+ }
+
+.figleft     {float:left;clear:left;margin-left:0;margin-bottom:1em;margin-top:1em;margin-right:1em;padding:0;text-align:center;}
+
+.figright    {float:right;clear:right;margin-left:1em;margin-bottom:1em;margin-top:1em;margin-right:0;padding:0;text-align:center;}
+
+.footnotes  {border:dotted 3px gray;margin-top:5%;clear:both;}
+
+.footnote   {width:95%;margin:auto 3% 1% auto;font-size:0.9em;position:relative;}
+
+.label  {position:relative;left:-.5em;top:0;text-align:left;font-size:.8em;}
+
+.fnanchor   {vertical-align:30%;font-size:.8em;}
+
+div.poetry {text-align:center;}
+div.poem {font-size:90%;margin:auto auto;text-indent:0%;
+display: inline-block; text-align: left;}
+.poem .stanza     {margin-top: 1em;margin-bottom:1em;}
+.poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+.poem span.i1     {display: block; margin-left: .45em; padding-left: 3em; text-indent: -3em;}
+.poem span.i8     {display: block; margin-left: 7em; padding-left: 3em; text-indent: -3em;}
+
+.pagenum  {font-style:normal;position:absolute;
+left:95%;font-size:55%;text-align:right;color:gray;
+background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;}
+@media print, handheld
+{.pagenum
+ {display: none;}
+ }
+
+.sidenote {width:5em;padding-bottom:.5em;
+padding-top:.5em;padding-left:.5em;
+padding-right:.5em;margin-left:auto;float:left;
+margin-top:1em;font-size:70%;
+color:black;background:#eeeeee;border:dashed 1px;}
+</style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Englishman's House, by 
+C.J. (Charles James) Richardson
+
+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/license
+
+
+Title: The Englishman's House
+
+Author: C.J. (Charles James) Richardson
+
+Release Date: November 22, 2019 [EBook #60759]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ENGLISHMAN'S HOUSE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/cover_lg.jpg">
+<img src="images/cover.jpg" alt="[Image of
+the book's cover unavailable.]" /></a>
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+<p class="c"><a href="#CONTENTS">Contents.</a><br />
+<a href="#INDEX">Index.</a><br />
+<span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+
+<p class="c">THE<br /><br />
+ENGLISHMAN’S HOUSE.</p>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a>&nbsp; </span>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
+
+<div class="figcenter">
+<a href="images/frontispiece_lg.jpg">
+<img src="images/frontispiece_sml.jpg" width="353" height="538" alt="[Image unavailable.]"/></a>
+<br />
+<span class="caption">HOUSES MADE PICTURESQUE.</span>
+</div>
+
+<h1>
+THE<br />
+<br />
+ENGLISHMAN’S HOUSE.</h1>
+
+<p class="c"><i>A PRACTICAL GUIDE FOR SELECTING OR<br />
+BUILDING A HOUSE.</i><br />
+<br /><a href="images/colophon_lg.jpg">
+<img src="images/colophon.jpg" width="250" alt="" /></a>
+<br />
+<br />
+BY<br />
+<br />
+C. J. RICHARDSON,<br /><small>
+AUTHOR OF “OLD ENGLISH MANSIONS,” ETC.</small><br />
+<br /><span class="sans">
+THIRD EDITION, WITH NEARLY 600 ILLUSTRATIONS.</span><br />
+<br />
+<span class="eng">London</span>:<br />
+CHATTO AND WINDUS, PICCADILLY.<br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span><br /><small><br /><br />
+LONDON:<br />
+SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET,<br />
+COVENT GARDEN.<br /></small>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span>&nbsp; </p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+<p class="nind"><span class="letra">S</span>EVERAL years ago the author of this volume published a small work on
+the Warming and Ventilation of Buildings which was very favourably
+received by the Public, but is now out of print. He afterwards wrote
+various other works illustrating the Architecture of England during the
+reigns of Queen Elizabeth and James I., with one volume on Ornamental
+Designs. These had an extensive sale, and are now, like the first small
+volume, out of print. His last publication was a small pamphlet,
+entitled, “The Smoke Nuisance and its Remedy, with remarks on Liquid
+Fuel,” the subject of which, at least so far as regards an improved
+construction for the domestic chimney flue, is continued in the present
+volume.</p>
+
+<p>The present volume consists of numerous plans, &amp;c., for Cottages,
+Villas, and small and large Mansions, most of which have been carried
+into execution. They are carefully selected from a large collection of
+similar subjects, the result of many years’ professional practice, and
+it is hoped that they may be favourably received.<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+
+<tr><td colspan="3">&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
+
+<tr><td valign="top" colspan="3">Introduction</td><td class="rt" valign="bottom"><a href="#page_3">3</a></td></tr>
+
+<tr><td valign="top">Design</td><td align="right" valign="top"><a href="#DESIGN_No_1">No.&nbsp;1</a>.</td><td valign="top"> A Gardener’s Cottage</td><td class="rt" valign="bottom"><a href="#page_50">50</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_2">2</a>.</td><td valign="top"> A Small Cottage or Lodge</td><td class="rt" valign="bottom"><a href="#page_56">56</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_3">3</a>.</td><td valign="top"> A Picturesque Cottage</td><td class="rt" valign="bottom"><a href="#page_62">62</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_4">4</a>.</td><td valign="top"> A Double Cottage</td><td class="rt" valign="bottom"><a href="#page_66">66</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_5">5</a>.</td><td valign="top"> A Double Cottage and Village Sunday School</td><td class="rt" valign="bottom"><a href="#page_70">70</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_6">6</a>.</td><td valign="top"> A Huntsman’s Lodge or Cottage</td><td class="rt" valign="bottom"><a href="#page_78">78</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td><td valign="top"> Concrete Construction for Building Cottages</td><td class="rt" valign="bottom"><a href="#page_82">82</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_7">7</a>.</td><td valign="top"> A Garden Gate</td><td class="rt" valign="bottom"><a href="#page_95">95</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_8">8</a>.</td><td valign="top"> A Park Lodge</td><td class="rt" valign="bottom"><a href="#page_99">99</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_9">9</a>.</td><td valign="top"> A Park Lodge</td><td class="rt" valign="bottom"><a href="#page_102">102</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_10">10</a>.</td><td valign="top"> An Entrance Lodge to a Park</td><td class="rt" valign="bottom"><a href="#page_104">104</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_11">11</a>.</td><td valign="top"> An Entrance Lodge and Gateway to a Park</td><td class="rt" valign="bottom"><a href="#page_112">112</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_12">12</a>.</td><td valign="top"> A Stove for an Entrance Hall</td><td class="rt" valign="bottom"><a href="#page_120">120</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_13">13</a>.</td><td valign="top"> Queen’s Gate Lodge, Hyde Park</td><td class="rt" valign="bottom"><a href="#page_124">124</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td><td valign="top">On the Foundation and Basement Walls of Buildings, Damp Prevention, And Fire-proof Construction</td><td class="rt" valign="bottom"><a href="#page_151">151</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_14">14</a>.</td><td valign="top"> A Small Country Rectory</td><td class="rt" valign="bottom"><a href="#page_162">162</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_15">15</a>.</td><td valign="top"> A Small Country House</td><td class="rt" valign="bottom"><a href="#page_174">174</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_16">16</a>.</td><td valign="top"> A Country Villa</td><td class="rt" valign="bottom"><a href="#page_182">182</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_17">17</a>.</td><td valign="top"> A Double Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_192">192</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_18">18</a>.</td><td valign="top"> Village Schools and Reading Room</td><td class="rt" valign="bottom"><a href="#page_208">208</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_19">19</a>.</td><td valign="top"> A Roman Catholic Chapel and Schools</td><td class="rt" valign="bottom"><a href="#page_210">210</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_20">20</a>.</td><td valign="top"> A Bath House and Summer Room</td><td class="rt" valign="bottom"><a href="#page_214">214</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_21">21</a>.</td><td valign="top"> A Small Country Villa</td><td class="rt" valign="bottom"><a href="#page_222">222</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_22">22</a>.</td><td valign="top"> A Villa in the Old English Wooden Style</td><td class="rt" valign="bottom"><a href="#page_232">232</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_23">23</a>.</td><td valign="top"> A Garden Summer House</td><td class="rt" valign="bottom"><a href="#page_262">262</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_24">24</a>.</td><td valign="top"> A Small Country Retreat, or French Maisonette</td><td class="rt" valign="bottom"><a href="#page_268">268</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_25">25</a>.</td><td valign="top"> An Elizabethan Villa</td><td class="rt" valign="bottom"><a href="#page_280">280</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_26">26</a>.</td><td valign="top"> A Summer or Garden Villa</td><td class="rt" valign="bottom"><a href="#page_302">302</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_27">27</a>.</td><td valign="top"> A Decorated Window</td><td class="rt" valign="bottom"><a href="#page_336">336</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_28">28</a>.</td><td valign="top"> A Sculptor’s Villa</td><td class="rt" valign="bottom"><a href="#page_338">338</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_29">29</a>.</td><td valign="top"> A Garden Seat</td><td class="rt" valign="bottom"><a href="#page_361">361</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_30">30</a>.</td><td valign="top"> A Garden Seat</td><td class="rt" valign="bottom"><a href="#page_368">368</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_31">31</a>.</td><td valign="top"> An Ice House</td><td class="rt" valign="bottom"><a href="#page_370">370</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_32">32</a>.</td><td valign="top"> A Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_373">373</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_33">33</a>.</td><td valign="top"> A Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_382">382</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_34">34</a>.</td><td valign="top"> Riding-house and Stabling</td><td class="rt" valign="bottom"><a href="#page_389">389</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_35">35</a>.</td><td valign="top"> A Bachelor’s House</td><td class="rt" valign="bottom"><a href="#page_401">401</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td><td valign="top">The Fireplace</td><td class="rt" valign="bottom"><a href="#page_404">404</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_36">36</a>.</td><td valign="top"> A Lecture Hall, or Literary Institution</td><td class="rt" valign="bottom"><a href="#page_456">456</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_37">37</a>.</td><td valign="top"> Encaustic Tiles</td><td class="rt" valign="bottom"><a href="#page_460">460</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_38">38</a>.</td><td valign="top"> Restoration of Castle Gunnarstrop, Sweden</td><td class="rt" valign="bottom"><a href="#page_464">464</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_39">39</a>.</td><td valign="top"> Summer Villa for the Count Kinski at Teplitz</td><td class="rt" valign="bottom"><a href="#page_470">470</a></td></tr>
+
+<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_40">40</a>.</td><td valign="top"> Harrington House, Queen’s Palace Gardens</td><td class="rt" valign="bottom"><a href="#page_476">476</a></td></tr>
+
+</table>
+
+<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_002_lg.jpg">
+<img src="images/ill_pg_002_sml.jpg" width="400" height="545" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p>
+
+<h2><a name="INTRODUCTORY_CHAPTER" id="INTRODUCTORY_CHAPTER"></a>INTRODUCTORY CHAPTER<br /><br />
+ON THE PICTURESQUE IN RELATION TO ARCHITECTURE.</h2>
+
+<div class="figcenter" style="width: 360px;">
+<a href="images/ill_pg_003_lg.jpg">
+<img src="images/ill_pg_003_sml.jpg" width="360" height="261" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Grecian Temple.</p></div>
+</div>
+
+<p class="nind"><span class="letra">I</span>T has been said that a definition of the picturesque in respect to
+architecture, or indeed any branch of the fine arts, is scarcely
+possible. The most able writers on the subject have failed to convey an
+adequate and popular idea. In fact the term has so great and extensive
+an application as to forbid exact defi<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>nition. The architect usually
+considers that if his building look well when seen by moonlight, or
+through the medium of a foggy or dull atmosphere, it is picturesque, and
+he is satisfied. Blenheim Castle and Castle Howard have always been
+pointed out as eminent examples of the picturesque in buildings. But
+this quality varies with every change of situation and circumstance
+under which it can be conceived.</p>
+
+<p>The entrance to the Acropolis of Athens, with its noble equestrian
+statues in the foreground, the steps between them, and the beautiful
+temples rising at different heights behind, giving a varied outline, the
+whole probably delicately coloured, must have been picturesque in the
+highest degree. The Temple of the Winds and the Monument of Lysicrates
+were equally examples of the picturesque. Yet although great efforts
+were made on the publication of Athenian Stuart’s volumes to introduce
+pure Grecian architecture here, it has obtained no hold with us. St.
+Pancras Church, and St. Stephen’s, Camden Town, are probably the last
+specimens in our metropolis. The delicate mouldings of the one are
+destroyed by the roughness of the climate, and the beautiful figures of
+the Caryatidæ in the other are covered with soot.</p>
+
+<p>There is no doubt that the Roman temples were as picturesque and as
+varied in outline as the Grecian buildings of which they were studies,
+but none remain<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p>
+
+<div class="figcenter" style="width: 269px;">
+<a href="images/ill_pg_005_lg.jpg">
+<img src="images/ill_pg_005_sml.jpg" width="269" height="436" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Roman Temple in Ruins.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p>
+
+<p class="nind">sufficiently perfect to illustrate them. In their original, entire
+state, with the surfaces and colour smooth and even, either in painting
+or reality, they were beautiful; in ruins, there is no denying they are
+highly picturesque. Observe the process by which time, the great author
+of such changes works, first by means of weather stains, partial
+incrustations, mosses, &amp;c., which simultaneously take off the uniformity
+of surface and of colour, giving a degree of roughness, and variety of
+tint. Then the various accidents of weather loosen the stones
+themselves: they tumble in irregular masses upon what was perhaps smooth
+turf or pavement, or nicely trimmed walks and shrubberies, now mixed and
+overgrown with wild plants and creepers that crawl over and shoot among
+the falling ruins. Sedums, wall-flowers, and other plants that bear
+drought, find nourishment in the decayed cement from which the stones
+have been detached; birds convey their food into the chinks, and yew,
+elder, and other berried plants project from the sides; while the ivy
+mantles over other parts, and crowns the top. The even, regular lines of
+the doors and windows are broken, and through their ivy-fringed openings
+is displayed in a highly broken and picturesque manner that striking
+image described by Virgil:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Apparet domus intus, et atria longa patescunt<br /></span>
+<span class="i1">Apparent Priami et veterum penetralia regum.”<br /></span>
+<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></div></div>
+</div>
+
+<p>The first view given in this volume attempts to show the picturesque
+effect of the Grecian Temple in its complete state, the attendants
+having just retired from some display or ceremony; the second, the front
+of a Roman Temple in its noble remains.</p>
+
+<p>To the Greeks we owe all the general principles and forms of classic
+art, but they have been modified to modern ideas and tastes, and, it may
+be added, to suit also the various climates of the countries where they
+have been adopted.</p>
+
+<p>However much the occupations of our countrymen may partake of the
+commercial character, the mental qualities requisite to such pursuits
+have not been so displayed as to exclude a taste for art. Where, for
+example, can be found superior specimens of art-choice than exist in
+their mansions, villas, or cottage-ornées, their picture and sculpture
+galleries, or the museums and other collections of those whose business
+pursuits have been the cause of their prosperity.</p>
+
+<p>An essential element of success in every branch of progress is involved
+in tasteful selection. Without considering those classes who by
+successful efforts of their ancestry have been placed beyond the pale of
+want (either artificial or real), a large proportion of our population
+may be ranked as having advanced morally, socially, and commercially by
+that intuition<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> which characterizes our national progress. It takes as
+its basis nature and nature’s products. It eliminates from these not
+only pecuniary benefits that in a commercial point of view may occur,
+but associating the useful with the beautiful (the sense of the latter
+having been gained during intervals of quiet thought as a relief from
+the incessant requirements of business engagements), a tendency to
+embody the picturesque, especially in regard to architecture, arises. We
+have no hesitation in assigning to this cause the production of some of
+the most picturesque architectural erections which grace our
+country,&mdash;that render English homes an example, and prove that, while
+the main element of our national prosperity is making money, we are not
+insensible to the beneficent influences resulting from the cultivation
+of refined taste.</p>
+
+<p>It would be interesting as an object of careful inquiry, if there
+existed sufficient data for the purpose, to trace each of the many steps
+that have occurred between the birth of architecture and its present
+condition. The early history of mankind had as its locality climates
+which favoured the construction and use of the <i>crudest</i> contrivances,
+intended only to meet the few wants of shelter and occasional domestic
+privacy. The first condition of man’s existence, either in this
+primitive or modern state, is that of roving or wandering tribes.
+Instances of this are found in the early inhabi<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>tants of Asia Minor, and
+adjacent countries, and at the present day the same habit is maintained
+in Central Asia, Arabia, and many parts of America. As soon as the
+sustenance afforded for their cattle is consumed in one district a
+migration is made to another. Gradually, however, centres of trade
+sprung up where commodities could be bartered for live stock. Men thus
+became massed together in villages and towns. Quitting a semi-savage
+condition, they built permanent residences in place of the tent. At
+first these, like the log-hut of the modern Canadian, were only
+sufficient for the most common necessities of life. In course of time,
+however, the spirit of emulation, the growth of riches, and the
+germination of man’s natural taste for the beautiful, led to artificial
+wants, which were soon converted into necessities of life. This called
+out the study of art on the part of the few for the benefit of the many.
+Systems of art in all its branches gradually developed themselves. By
+the study of the beauties of nature such systems gradually progressed in
+purity of style, and produced designs that eventually were appreciated
+by the common people, in a greater or less degree, according to the
+capabilities of each individual. Architecture and the other fine arts
+thus, by slow but sure degrees, began to gain a hold on popular taste,
+and step by step they arrived at the state of perfection of which we now
+boast.<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span></p>
+
+<p>It will be evident that whilst the primary objects of architecture were
+simply those of meeting the immediate necessities of life, its ultimate
+purpose was only attained when it became an art, cultivated by refined
+taste, an educated eye, and encouraged by the growth of civilization and
+commerce. It thus advanced from a state of barbarism into one in which
+it was connected with all the highest developments of the moral and
+mental qualities of mankind, but especially with the æsthetic
+aspirations of our nature.</p>
+
+<p>Incidentally but necessarily connected with the general progress of
+architecture is the great variety of styles that has been invented. The
+whole of these are modifications of some one or more primaries. No two
+individuals acquire the same mental impression by viewing one object;
+each of their impressions is tinted by the mental characteristics of the
+individual. It is, therefore, from this cause that so many varieties of
+style have originated from one first model. An illustration of this is
+afforded in the Gothic, which in different hands has been greatly
+divided and modified in its details. This style, which at first was of
+exclusive application only, has subsequently become most extensively in
+use for purposes that at first sight it would have been judged as quite
+unfit for.</p>
+
+<p>The style of architecture just referred to is remarkable for its
+picturesque character, and may fitly be<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> adduced as an ensample of that
+quality in the absence of an exact definition of the term.</p>
+
+<p>An able writer criticising Gothic buildings, remarks that the outline of
+the summit presents a great variety of forms of turrets and pinnacles,
+some open, some fretted and variously enriched. But even where there is
+an exact correspondence of parts, it is often disguised by an appearance
+of splendid confusion and irregularity.</p>
+
+<p>In the doors and windows of Gothic Churches, the pointed arch has as
+much variety as any regular figure can well have; the eye, too, is less
+strongly conducted than by the parallel lines in the Grecian style, from
+the top of one aperture to that of another; and every person must be
+struck with the extreme richness and intricacy of some of the principal
+windows of our cathedrals and ruined abbeys. In these last is displayed
+the triumph of the picturesque, and their charms to a painter’s eye are
+often so great as to rival those which arise from the chaste ornaments
+and the noble and elegant simplicity of Grecian architecture.</p>
+
+<p>These remarks will explain to a certain degree the nature of the
+picturesque in regard to architecture, so far at least as the general
+principles are involved. But in the more minute points, other questions
+and relations arise, to which the attention of the reader<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> will be fully
+drawn in the descriptive text and illustrations of this work.</p>
+
+<p>The comparative value of Grecian and Gothic architecture, as practically
+adopted in the erection of ornamental dwellings, is well discussed by an
+eminent architect in the following remarks, slightly modified from the
+original. He observes that the two are better distinguished by an
+attention to their general effects, than to the minute parts peculiar to
+each. It is in architecture as in painting&mdash;beauty depends on light and
+shade, and they are caused by the openings or projections in the
+surface. If these tend to produce horizontal lines, the building must be
+deemed Grecian, however whimsically the doors and windows may be
+constructed. If, on the contrary, the shadows give a preference to
+perpendicular lines, the general character of the building will be
+Gothic. This is evident from the large houses built in Queen Elizabeth’s
+reign, where Grecian columns were introduced. Yet they are always
+considered as Gothic buildings.</p>
+
+<p>In our modern Grecian architecture large cornices are repeated, with
+windows ranged perfectly in the same line, and these lines often more
+strongly marked by a horizontal fascia. There are few breaks of any
+great depth; and if there be a portico, the shadow made by the columns
+is very trifling compared with that broad horizontal shadow proceeding
+from the<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> soffit (that is, the under side of the heads of apertures,
+architraves, and the corona of cornices). The only ornament its roof
+will admit, is either a flat pediment departing very little from the
+horizontal, or a dome still rising from a horizontal base.</p>
+
+<p>But in these remarks attention is chiefly drawn to the general
+architectural effects of style, independent of concomitant
+circumstances. Yet it is hardly necessary to do more than call on the
+experience of any man of taste to show that position, adjacent scenery,
+and other “accidental” or “incidental” matters will modify the special
+effect of any style in regard to the picturesque, and also those of a
+general character. A Gothic erection in a confined situation will lose
+most of its beauties, while one of a Grecian character may be especially
+suitable. In choosing, therefore, any design for the erection of a new
+building, or alterations in one already in existence, respect should be
+had to the natural character of the surrounding country, the aspects in
+regard to the sun and prevalent winds, the extent of the estate or
+grounds on which the building is to be erected, the views from the
+various apartments, the character of wood, plain, or other adjacent
+tree-scenery, and last, but of equal or greater importance, questions in
+reference to domestic comfort and convenience, drainage and dry soil,
+supply of water, and a variety of details, most of which will at<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> once
+suggest themselves. In many cases the choice of site is necessarily
+fixed by previous purchase or inheritance of the land, yet in such cases
+chances are left for a judicious selection in regard to some of the
+conditions above mentioned. But when the purchase has to be effected,
+<i>all</i> the conditions should be kept in mind, and, if possible,
+completely satisfied. Such details should form the subject of minute
+inquiry, and they are here only named for the purpose of showing how the
+choice of the best style, in regard either to general beauty or
+picturesque effect, should be decided on with mature attention to all
+the circumstances of the case.</p>
+
+<p>Most of the old mansions, &amp;c., of this country and many parts of
+Continental Europe, have been erected in situations that were then
+immediately, and at little cost, available for the purpose. At one time
+the choice of such situation depended on careful attention to the
+special circumstances of those who erected the building. Thus it is
+found, generally, that the banks of the rivers, as affording ready and
+cheap means of carriage by the stream, were mostly chosen. Hence our
+abbeys, monasteries, &amp;c., are frequently found in such localities.
+Baronial castles were usually erected on hills, the height of which
+tended to the security of the owners against sudden incursions of their
+foes. From the varied character of English topography has<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> arisen that
+great variety of picturesque beauty that distinguishes the ruins which
+abound in almost every county throughout the length and breadth of the
+land; such ruins, architecturally considered in relation to the
+surrounding circumstances of wood, vale, hill and dale, have become
+subjects of study and suggestion to modern architects, and models,
+constantly adopted at the present time, in certain details, for
+producing new designs. In the selection of these, or of any other style,
+however, Burke has laid down, in his essay on “The Sublime and
+Beautiful,” an excellent rule: “A true artist should put a generous
+deceit on the spectators, and effect the noblest designs by easy
+methods. Designs that are vast only by their dimensions, are always the
+sign of a common and low imagination. The work of art can be great but
+as it deceives; to be otherwise is the prerogative of nature only.”</p>
+
+<p>It will thus be seen, that to obtain the highest effect of the
+picturesque in architecture requires an educated eye, a refined taste,
+great experience, but especially a keen perception of all the
+conditions, on the fulfilment of which the most successful result can be
+obtained. In all there is a natural love of unity and effect.
+Montesquieu, in his dissertation on <i>Taste</i>, observes: “Wherever
+symmetry is useful to the soul, and may assist her functions, it is
+agreeable to her; but wherever it is useless, it becomes distasteful,
+because it<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> takes away variety. Therefore things that are seen in
+succession ought to have variety, for our soul has no difficulty in
+seeing them; those on the contrary, that we see at one glance, ought to
+have symmetry. Thus at one glance we see the front of a building, a
+parterre, a temple. In such things there is always a symmetry which
+pleases the soul by the facility it gives her of taking in the whole
+object at once.”</p>
+
+<p>The numerous dissertations, essays, &amp;c., that have been produced on the
+subjects that have here been treated on in a discursive manner only, are
+a sufficient proof of the difficulty which exists in acquiring,
+applying, and affording an accurate and ample description of all the
+conditions necessary to picturesque architecture; they also in some
+measure explain the reason of the grotesque, and even offensive results
+that obtrude on refined taste in the productions of builders who are
+utterly deficient of artistic taste and knowledge in carrying out their
+objects. A general, and in part a historic view of architecture may
+serve to show how success has been attained in many cases, and the evils
+that should be avoided as leading to failure in effect of the general
+and special features of an erection.</p>
+
+<p>In the cursory view of the history of architecture already given, it has
+been shown that the earliest efforts of the art were simply directed to
+satisfy the simple wants of man, without any regard being had<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> to taste.
+It was not until riches began to accumulate in a few hands that taste in
+architecture was developed, and by the few examples thus produced the
+taste of society at large was educed, refined, and extended.</p>
+
+<p>Omitting then any inquiry into the architecture of our earth’s
+aborigines, which was evidently of the rudest character, reference may
+first be made to early architectural attempts in Asia. It has been
+ingeniously observed by M. Pair, that the Chinese imitated a tent as the
+model of their system, a result that undoubtedly arose from the fact
+that the first Tartar tribes were nomadic or wandering in their nature.
+It has also been remarked that a bird’s-eye view of a Chinese city at
+once suggests the idea of a fixed camp. In southern and south-western
+Asia may be found, on the other hand, the remains of extensive
+architectural productions in caves, such as that of the Pagoda
+Elephanta, from which many have argued that subterraneous dwellings were
+amongst the earliest; but it is evident that such could only be made in
+places where stone existed in masses, as a basis of the country. In a
+plain and sandy district, and in alluvial soil generally, such could not
+possibly have been produced. There is not the least doubt that the
+conditions of climate have in all cases determined the early character
+of each national system. In both hot and cold countries caves would
+naturally have been sought as affording shelter from<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> the two extremes
+of heat and cold. Recent geological discoveries have brought to light
+the fact that the remains of human and quadruped bones have been found
+together in such situations, the human inhabitants having most probably
+been the predecessors of the beasts of prey, as also of the fowls of the
+air. It has been suggested too that the forest tree having formerly
+served for shelter, might have suggested the floral character of
+columns, and the use of floral decoration generally at their summit.</p>
+
+<p>In respect to these “natural” and consequently primitive “systems” of
+architecture, Billington has made the following judicious
+remarks:&mdash;“Those people or nations who lived by the chase (and in the
+same class the Ichthyophagi, or fish-eaters, are included) could not for
+a great length of time have built themselves shelters. The long courses
+the hunters made prevented them from watching their property, which must
+have comprised [but] few articles; and they found it more convenient to
+make hollows in the rocks for their dwellings, or to profit by those
+which nature offered them in its caverns. It was the same with those who
+lived by fishing; passing a sedentary life on the sea shores, the sides
+of rivers, or the borders of the lakes, they always made themselves such
+abodes, or took advantage of those already formed by nature. The little
+industry which this<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> mode of life required, and the natural idleness
+which followed it, was sufficient to induce them to prefer the dwellings
+presented by nature, to those of art. This fact is proved by experience
+at the present day, as these descriptions of persons continue to adopt
+the same plan of life in countries where the arts of civilization have
+not extended their beneficial influence. The pastors or shepherds, as
+they were inhabitants of plains during a great portion of the year,
+could not make use of the retreats hollowed and prepared in the
+mountains and rocks by the hand of nature; being obliged to seek change
+of pasture, and thus lead an ambulatory life, it was requisite to have
+dwellings or shelters that could be carried with them wherever they
+went, and hence originated the use of tents. But the active operations
+of agriculture requiring a definite situation, necessity suggested the
+propriety of building solid and fixed abodes. The agriculturist then,
+living on his own grounds, and in the enjoyment of his property, had to
+store his provisions; it was therefore necessary to have a habitation at
+once commodious, safe, healthful, and extensive; and the wood hut with
+its roof was soon erected.”</p>
+
+<p>The same author considers that there is not the least certainty of this
+primitive wooden construction, with its inclined roof, having been the
+universal model of all nations, but especially in regard to Egypt and<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span>
+China. The peculiarities of the early Chinese style of architecture have
+been already named, and with the persistent continuity in one course yet
+prevalent, that style is still preserved. But the Grecian style was
+evidently founded on the rude model, and the ingenuity of that nation
+eventually led to the transference of material from wood to stone.</p>
+
+<p>At the present day the Orders of Grecian architecture are fundamental to
+the principles of modern art in numerous varieties of detail; they have
+survived the prejudices, fancies, and dicta of various schools of art,
+although, as already shown, the Gothic and other systems have become
+formidable competitors, and in many cases, especially in regard to the
+picturesque, efficient, elegant, and ornamental substitutes. The taste
+for the latter characteristic has led to an increased adoption, for
+example, of the Italian style, which in many respects resembles the
+Grecian, but differs from it especially in lightness of detail, with
+greater variety. The author just quoted traces the origin of the Doric
+Order of the Greeks to a primary adaptation of the trunks of trees as
+external supports of the wooden dwelling, seeing in them the
+foreshadowing of the column designative of that order. “As trees are of
+greater circumference at their lower extremities, and diminish in
+rising, the diminution of the column was suggested by them.... These
+timbers<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> (as supports) consisting of trunks of trees planted in the
+ground, offered not as yet the idea of bases and pedestals, as is seen
+in the Doric Order, which is without base. But in the course of time the
+inconvenience of this method was perceived, as it exposed the wood to
+rot, and to remedy this inconvenience pieces of wood were placed under
+each support to give it a better foundation, and to protect it from
+humidity. This practice may be traced in some of the ancient edifices in
+which the columns have no other base than a block of stone. But
+afterwards, the number of pieces of wood employed for the base was
+increased, in order to give greater elevation to the supports, or to
+effect better security against the effects of humidity. From this
+multiplication of blocks as footings, sprung the <i>torus</i> and other
+mouldings of the base, an origin far more probable than that of
+ligaments of iron, as imagined by Scamozzi and others. It is also more
+conformable to the nature of capitals, in which it is known that the
+same proceeding was employed. After beginning with a simple abacus,
+several others were afterwards added, which were enlarged, as they rose,
+one above another, in such a manner that as the base was to the column a
+kind of footing on which it rested more solidly, so the capital made a
+head more capable of receiving and supporting the weight and form of the
+architrave, a large beam placed horizon<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>tally on perpendicular supports,
+and destined to receive the covering of the whole edifice.”</p>
+
+<p>The author goes on, in a similarly ingenious manner, to prove the
+derivation, from nature, of the Orders of Grecian architecture. He
+ascribes the form of the roof as having necessarily suggested that of
+the pediment. On this point he quotes the remark of Cicero: “It is not
+to pleasure that we are indebted for the pediment of the Capitol and
+those of our temples: necessity suggested the form for the better
+draining off the water; nevertheless, its beauty is so very great, and
+it is become so necessary for edifices, that if a Capitol were to be
+built in Olympus, where it was never known to rain, it would,
+notwithstanding, be necessary to give it a pediment.”</p>
+
+<p>The preceding remarks and ingenious theory amply justify the opinion
+already suggested, that nature must be the foundation of every true
+principle of art. Assuming, as we are compelled to do, that the Grecian
+style as a whole was original, the only perfect model that could have
+been selected was that afforded by natural objects, in all of which are
+found the most perfect results, derived from few means but answering an
+infinity of ends. It will be remembered that the construction of the
+Eddystone lighthouse was based in regard to durability, and resistance
+to the force of the waves, on those properties which are possessed by
+any<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> kind of tree exposed to the full force of the tempest. “Nature
+ought to be the basis of all imitation.”</p>
+
+<p>Proceeding from the teachings of nature, the Greeks learned gradually to
+introduce new types, consistent in the main with the original mode, but
+of great variety in detail. By further refinement of this, but close
+adherence to the facts or the analogies of nature, the Grecian art
+became developed in the invention of other Orders, the names of which
+are sufficiently known to all interested in architecture. Limited space
+prevents our entering into a class of analyses of the characteristics of
+each. Little doubt exists of the Doric Order having been the first
+produced, and following it were the Ionic, Corinthian, Composite, and
+Tuscan, which constitute the five Orders in general of architecture.</p>
+
+<p>Perhaps the best epoch of ancient architecture was that during which,
+subsequent to the battle of Marathon, the Greeks commenced to rebuild
+the remains of Persian buildings, and to re-construct Athens. The ruins
+of this period yet with us, attest the advance which Grecian
+architectural art had attained. The ingenuity and refinement of Greek
+art gradually spread to Rome, the Romans adopting the Doric Order under
+the modification known as the Tuscan. The art having been introduced
+into Etruria by the Pelasgi, under the celebrated Augustus, Rome
+attained that magni<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>ficence which has ever since rendered its name
+famous as a seat of the arts. Amongst the great erections of this period
+was the Pantheon, one of the grandest efforts of genius that the world
+has yet known. Under subsequent emperors architecture also progressed,
+and the name of Trajan is identified with the erection of triumphal
+arches, &amp;c., the ruins of which still receive the admiration of every
+qualified judge in art.</p>
+
+<p>The removal of the seat of Roman government to Byzantium led to the
+decadence of art at Rome, which was completed by the incursions of the
+Visigoths. Eventually the Gothic style arose, phœnix-like, from the
+ruins of Grecian and Roman art, and obtained a place that has rendered
+it ever since one of the most favourite styles of architecture.</p>
+
+<p>Just as under the heathens, the art had been chiefly promoted by
+erections for religious purposes, so when the Christians began to obtain
+the ascendancy, the erection of churches led to a similar result. From
+the fourth to the seventh century some magnificent buildings of this
+kind were erected. At the commencement of the eleventh century the
+church of St. Mark at Venice attested the wonderful progress which
+architecture had made, and it continued to progress during the next two
+or three centuries, being confined chiefly, however, to Italy. But the
+Gothic style, suited to a northern clime, never obtained full hold<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span>
+there; Italy cannot boast of a single pure Gothic edifice. Gradually the
+new style spread over Europe. The Cathedral at Strasbourg, the Louvre at
+Paris, suggested improvements in our own country at Windsor Castle,
+Oxford, &amp;c., all indicated the rapid extension of the Gothic style or
+its modifications. But in numerous instances the taste that was
+exhibited showed a decadence from the simplicity and grandeur of the
+Grecian and Latin styles. In respect to the latter, indeed, the
+materials of the new erections were obtained from the ruins of the
+ancient edifices, the columns, &amp;c. there found, being pressed into the
+service, in any manner, of the new school of architects.</p>
+
+<p>Towards the middle of the fifteenth century a revival in architectural
+art took place, especially under Brunelleschi. The patronage of the
+Medici added a stimulus to the progress thus initiated. Improvements
+were introduced in the erection of private residences in most parts of
+Western Europe, the art having in its best form been chiefly till then
+directed to building edifices for religious purposes alone. In the
+sixteenth century architecture in Rome attained a perfection nearly
+equal to that it had formerly enjoyed under the Cæsars, especially
+during the Augustan age. Private and public buildings were erected of
+great magnificence, yet of simplicity of form combined with grandeur.
+Under Vignola architecture attained great excellence.<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> Michael Angelo
+was appointed architect of St. Peter’s at Rome about the middle of the
+sixteenth century, and the mention of his name alone is sufficient to
+call to mind the extent and value of his labours in the art. In the
+seventeenth century, about the year 1620, Inigo Jones was engaged in
+repairing St. Paul’s Cathedral in London, and subsequently produced
+designs for the Royal Palace at Whitehall in the reign of Charles I.
+Greenwich and Chelsea Hospitals, and other noted buildings, were
+designed about this period. In France and other continental countries
+architecture attained great perfection at this period, both in respect
+to public and private buildings. Among the most eminent architects of a
+period somewhat nearer to our own time, was Sir Christopher Wren, whose
+St. Paul’s Cathedral serves as a monument to the great genius of that
+eminent man. This era may, comparatively speaking, be considered as the
+commencement of the modern style of English church architecture,
+inasmuch as several productions of Wren are still used for the purposes
+to which they were first applied, having undergone little or no change
+since their completion.</p>
+
+<p>Such is a brief, and necessarily very imperfect resumé of the progress
+of architecture. The styles of Eastern Europe, ancient Mexico, and many
+others, have not been described, because unnecessary, in this
+Introduction, which has only for its object to call<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> general attention
+to the causes which have led to the present state of the art. Like all
+others it has been the subject of alternating prosperity and adversity.
+At one time fostered by men eminent in their profession, and by those
+whose means permitted them to lavish riches on magnificent piles,
+fountains, villas, &amp;c.; and at others, degraded by its students, and
+neglected by those who should have been its patrons.</p>
+
+<p>In all branches of architecture direct reference should be had to the
+objects for which the building is intended. An eminent architect,
+already quoted, has well set forth this essential point in the following
+remarks:&mdash;“The art of characterizing, that is to say, of rendering
+evident by material forms the intellectual qualities and moral ideas
+required to express in edifices, or to make known by the harmony and
+suitableness of all the constituent parts that enter into their
+composition the use for which they are intended, is perhaps of all the
+secrets of architecture the most difficult to develope or to attain.
+This happy talent of conceiving and of communicating the conception in
+the physiognomy suitable to each edifice; this sure and delicate
+discernment, which exhibits the distinguishing parts of such edifices,
+that at first appear susceptible of no characteristic distinctions; this
+judicious employment of the different styles which are as the tones of
+architecture; this skilful application of the signs which the<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> art
+employs to affect the sight and understanding; this exquisite feeling,
+which errs neither in the just disposition of the masses and employment
+of the details, nor in the just dispensation of richness and simplicity,
+and which is able to combine true expression of character with the
+harmonious accord of all the qualities susceptible of being represented
+by architecture&mdash;all this requisite talent, which study perfects, but
+does not produce, is a gift possessed by few. This suitable expression
+presents itself under two relations, the one appertaining to
+architecture in general, and the other to edifices in particular. The
+first consists in the expression of the qualities or intellectual ideas
+which are the results of the art metaphysically considered; the second,
+in the true indication of the uses for which edifices are designed, that
+is, in considering architecture as a certain mode of expressing or
+painting. This expression, according to the nature of the buildings and
+edifices, may be produced by the gradation of richness and greatness
+proportionate to the nature and the object for which they are erected;
+by the indication of the moral qualities attached to each edifice, the
+manner of expressing which is beyond the reach of rules; by the general
+and particular form of architecture; by the species of the construction
+and the quality of the materials that may be employed in the execution;
+and lastly, by the resources of decoration.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span>” In these remarks will be
+found a highly valuable <i>précis</i> of the excellence to which the art of
+the architect should be directed, and the means that must be adopted to
+obtain pleasing and successful results.</p>
+
+<p>The erection of country mansions, villas, and other residences, has of
+late years been greatly stimulated in our country. The enormous annually
+accumulated savings of the commercial portion of the community have
+induced a large amount of capital to be invested in such objects. In
+regard to questions of taste and decoration, it should be borne in mind
+that but very little extra cost is incurred in building a residence in a
+pleasing and picturesque style than in one having not the least
+pretension to architectural beauty. In our earlier remarks on the nature
+of the picturesque the <i>general principles</i> of obtaining that effect
+have been pointed out. In the following pages the special details are
+amply descanted on, and illustrated by designs, drawings, &amp;c. It is the
+object of every department of constructive skill at the present day, to
+endeavour to obtain the best possible result by the least possible
+expenditure of material, and thus taste actually causes economy rather
+than increased expense. Tons of heavy and unsightly materials are now
+replaced by hundredweights of decorative, and yet substantial, masonry
+and iron work. A number of modern elegant erections, affording
+accommodation equal in extent,<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> but vastly superior in quality, are now
+made at an expenditure of stone or brick less by one-third in quantity
+than was employed in many old houses; those in High Street, Edinburgh,
+by way of example. The result has been arrived at by the joint aid of
+science and art, the former giving data as to the strength of the
+material, and the latter directing its disposal. The peculiar character
+of English scenery is exactly adapted for giving a picturesque character
+to villa residences, provided the latter are designed and erected in
+accordance with the principles of sound taste. Surely he who would spend
+money in building a house, in which all or most of the remainder of his
+days are to be spent, will not grudge making that dwelling the subject
+of decoration or ornamental art, by which its aspect shall at all times
+be suggestive of pleasure rather than of aversion or disgust. It has
+been said that most individuals, by long association together, acquire a
+mutuality of tastes and even physical resemblance. It cannot be denied
+that even inanimate objects, such as our dwellings, furniture,
+landscapes, gardens, and other such surroundings, have a parallel effect
+on us. Hence the wisdom of using all the means which architectural art
+places at our disposal. Errors in this respect often proceed from
+thoughtlessness, if not from want of refined taste. An instance may
+suffice to show how much<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> such matters should be attended to in the
+choice of a site and other conditions. A retired manufacturer erected a
+mansion at a cost exceeding fifty thousand pounds, and had never paid
+any heed to the fact that the most prominent object seen from his
+dining-room window was the cemetery of the adjacent town! Soon this
+became unbearable, and the house has been comparatively deserted by the
+family, caused by an oversight that the least consideration would have
+remedied.</p>
+
+<p>The designs given in the following pages have for their object to
+suggest the most approved, tasteful, and effective plans for the
+mansion, the villa, or cottage, and great care has been devoted to their
+production. Whilst a residence must necessarily be kept within a cost
+suitable to the means of the proprietor, by judicious care of the
+professional man, possessed of a competent knowledge, a little money may
+go a long way in the decorative art. Many of the drawings are devoted to
+the minor but not less effective portions of the house. Congruity in
+detail inside the dwelling is equally required with symmetry, beauty, or
+picturesque character of the exterior. Want of judgment in this point
+may speedily convert the most elegant building into little better than a
+repository for gewgaws selected without taste and arranged without
+skill. It is impossible for <i>every</i> man to become his own architect; but
+it is possible, in most cases, for all who have<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> the means, to select
+such a design as shall best comport with their taste, leaving the
+working out of details to the architect. But a remote possibility exists
+of an unprofessional being able even to state what he requires, and
+should he ask an architect for a design or plan, it is more than likely
+that the latter would fail to please. When, however, a variety of
+designs is placed before the eye of any intelligent person the act of
+selection becomes easy. Although no single plan may succeed, a
+combination may suggest itself, and the architect can then readily work
+on something like a sound foundation, and with the hope of success. This
+work is intended to supply such requirements.</p>
+
+<p>Again, in building a house, or in effecting alterations in an old one,
+points apparently of minor, but really of great importance, require
+attention. A badly constructed chimney will make the whole house
+miserable, independent of the injury done to furniture, decorations,
+&amp;c., and the destruction of paint and paperhangings. A defective
+drainage may render that which was intended to be an abode of peace,
+plenty, and happiness, a living charnel-house, or the door to the grave!
+A question of vital importance is that of ventilation. These apparently
+minor questions can therefore scarcely be exaggerated in their value,
+for neglect of them will render nugatory the best external efforts of
+the architect. Hence they have hereafter<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> full attention, in their
+practical details, directed to them.</p>
+
+<p>On the general principles of ventilation the following remarks may be of
+value to all who propose to erect new dwellings, or alter those already
+inhabited. In all houses, and in fact every building divided into
+stories, a ready means of ventilation may be insured, or rather always
+exists. This is presented in the opening formed by the staircase. Into
+this general opening communications can be made into, and from, each
+apartment by apertures placed in some convenient position in each room.
+The grand law on which ventilation depends is, that hot air, being
+lighter than cool air, has a universal tendency to rise, whilst cold air
+takes the lowest part of a house or apartment. It hence follows, that if
+a supply of cold air be admitted by an opening at the lower part of a
+house, and it becomes heated within the house, it will have a tendency
+to rise to the roof; and if a sufficient opening be there provided, it
+will escape into the open air. Consequently a constant current may thus
+be obtained in any dwelling, sufficient to give a supply of pure air and
+to remove that which has been vitiated by breathing, the combustion of
+fires, and other causes. The heavy atmosphere of this country requires
+assistance to make this grand law operative; to cause the air of a room
+to move as readily as it is required, forced<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> ventilation becomes
+necessary. The English fireplace provides this; and to that it owes,
+with us, its extreme popularity. A constant current of air from the room
+is heated and passed up the chimney flue, and this draws in a
+corresponding supply of cold air, and proper and convenient apertures
+should be left to permit this to enter. The fireplace forces attention
+to the necessity; if sufficient fresh air be not provided for it the
+smoke enters the room and drives the occupants out. Notwithstanding the
+attention that has been paid to the stove and its flue, we are still
+sadly behindhand in a proper construction of them. The flues could be so
+arranged that a building might be enabled, using a figurative
+expression, to breathe, whenever its principal flue, that of the kitchen
+fireplace, was in action; a construction to effect this will be
+illustrated in the text. In conclusion on this point, it may be added
+that nothing is more essential to the health and comfort of a house than
+that it should be thoroughly and constantly ventilated, and if any
+portion is to be particularized, it should be the sleeping apartments.</p>
+
+<p>Another question which, to a certain extent, should influence the
+arrangement of a house of any pretensions in respect to size, is that of
+the method of warming it. The preference, or rather prejudice, in favour
+of fireplaces is so great, that a revolution of the nation in political
+matters could be more easily brought about<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> than the abolition of the
+fire-grate; but it is well known that at least three-fourths of the coal
+consumed is wasted in the attempt to heat the room to an equable and
+pleasant temperature. But by such means the result cannot be arrived at.
+In front of, and close to the fire, the temperature is excessive, while
+the backs of the sitters facing in are suffering from cold. An equalized
+temperature in rooms is obtained abroad. In Russia, a plan is adopted of
+heating the rooms by means of the walls, the latter being double, and so
+arranged that they act as flues to a furnace situated at the lower part
+of the building. By this method every part of the room acquires,
+simultaneously, an equable temperature. There need be no draught, simply
+because the air is not drawn in one direction more than in another. From
+every side a gentle current of warm air arises. This method cannot be
+adopted here; it would not suit for English houses where coal is used as
+fuel: the interstices of the double wall would soon be filled with soot.
+The same effect is produced in a far more elegant way, by means of
+warm-water pipes passed round the room; by this simple process the
+staircase and passages and the sides of a room distant from the
+fireplace are made of equal temperature&mdash;one, or at most two furnaces,
+burning coke and making no smoke, if placed in a cellar outside an
+extensive building, can render the whole in<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span>terior, from attic to
+ground-floor of equal temperature, and not prevent the action of the
+fireplace, or its agreeable presence in our homes. In the British
+Museum, where warming apparatus is used, the temperature of the whole is
+kept uniformly the same, that is, 65° Fah., even throughout the most
+severe weather, independent of the common fireplace. No greater change
+is required in any part of our buildings than in the latter; not that it
+requires to be removed, but a change to prevent its waste of heat and
+its contaminating the outside air with the soot and blacks from its coal
+fuel; the lower fireplaces in a building should warm or air the upper
+rooms, and no soot or blacks should be allowed to leave the flues. A
+construction for this purpose will be shown in the ensuing pages, as
+well as one for warming an entire building and a conservatory.</p>
+
+<p>An opposite effect to that of warming is frequently desirable in our
+houses; and to ensure this the position of the site of the house must be
+considered. It is evident that a room having a south-western aspect must
+of all others be the warmest, whether in winter or summer, simply
+because that aspect is most exposed to the influence of the sun’s rays.
+On the other hand, rooms having a north-easterly aspect must necessarily
+be the coolest, because, except during the earliest part of midsummer
+mornings, say from 2 to<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> 4 <small>A.M.</small>, the sun’s rays cannot reach them. It
+is, therefore, in the power of those who have the requisite resources,
+to construct a house in such a manner that warm rooms can be provided
+for winter use, and cool for alleviating the heat of summer. It is by no
+means an uncommon occurrence to find a large dinner-party assembled in
+the heat of summer in a room that has been exposed to the sun’s rays
+during the afternoon. Frequently in such cases, owing to the number of
+persons present, the heat of the viands, lights, &amp;c., the temperature
+rises above 80°, a circumstance prejudicial to health, enjoyment, and
+the vivacity of social intercourse, that might have been entirely
+avoided had the dining-room been placed in a northern aspect. These are
+points well worthy of attention in constructing a newly-designed
+dwelling. It unfortunately happens, in many cases, that the supposed
+exigencies of architectural arrangement must have priority of all other
+considerations. Yet the architect who wilfully opposes such
+modifications of his plan for the purpose of conducing to general
+comfort is shortsighted. His object ought to be to build a house <i>to be
+lived in</i>, and not <i>to be looked at</i> alone.</p>
+
+<p>A few remarks on some of the general principles that should lead to a
+choice of site, situation, and other matters, may not be without
+advantage. Whatever inducement a plot of ground for building purposes<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span>
+may possess, the great question which has first to be solved is that of
+<i>health</i>. A clayey soil, bog, marsh, or stagnant water; a low level; an
+undrained or badly drained surface; a moist atmosphere, or exposure to
+the chill north and east winds, are all objections that a question of
+price should never be pitted against. Popular knowledge on sanitary
+subjects is now so extensively diffused that healthy localities are
+always of ready sale, while those of an opposite character are
+frequently unsold in the market, and consequently may be had at a low
+price, but are really never cheap. Nothing can counterbalance the value
+of a healthy locality, for in the end one of an opposite character
+becomes far more costly. The timbers of the building fall rapidly into
+decay, and require renewal; the decorative portion, internally and
+externally, becomes faded; doors and windows cease to fit and work
+accurately; the iron work becomes rusted and requires frequent renewal
+of paint or other protecting coat; and the same may be remarked in
+regard to the fences of the estate.</p>
+
+<p>The position of the residence in regard to the sun at different periods
+of the year is also an important matter. If it stands with each front
+north and south, the north front will have comparatively little sun,
+except during summer time; and if the position be north-east and
+south-west respectively, the cold bitter<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> winds of winter will be
+severely felt, whilst from the fact that the greater portion of the year
+the rainy quarter of the wind is south-west, that front or back of the
+house will be continually exposed to its influence. Consequently,
+frontages to the south-east and north-west are to be preferred in all
+cases, when possible, as such position ensures to both sides the
+greatest average of sun, heat, and light, and protection from the
+north-east wind of winter or the south-west of the rainy season.
+Comparatively little attention has been paid to the influence of light
+on health and its effects on the mind, in the construction of modern
+dwelling-houses. An excess is easily avoided by blinds and other
+contrivances; but if the architectural features of the building be such
+as to exclude the light, an opposite remedy is impossible. Abundant
+access of light tends to set off all the internal decorations of the
+house, and spreads a cheerfulness of appearance that is always highly
+prized. It gives brilliancy of outline and detail to coloured
+decorations, and, to use a common phrase, is the best possible “set-off”
+that the architect or decorator can desire. As already pointed out, the
+effect of light and shade, in regard to architecture, is a condition of
+success in respect to the picturesque.</p>
+
+<p>It is always desirable that a house should be placed on an eminence; it
+becomes thus a prominent object, and its qualities are the more readily
+perceived. A<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> gradual ascent to the house by the walks or drive adds
+much to the general effect. The walks are thus constantly drained, and
+preserve longer a neat appearance, a matter which is of much importance
+in setting off the advantages of situation, site, &amp;c. In respect to
+questions of health also, this is of great advantage, as the waste
+matter of the household more readily falls away by its own gravity, and
+is thus quickly removed; which if left stagnant would be productive of
+harm to the inmates.</p>
+
+<p>Abundant access of fresh air is of great importance to health in a
+residence; unnecessary exposure to wind being at the same time to be
+avoided. Hence to place a residence in the centre of a close array of
+trees is not desirable; not only is the access of air, light, and heat
+prevented, but there is always a tendency induced to dampness in the
+house. In an open, airy, and well drained situation, the effects of even
+long-continued wet are soon dispelled, but when all sides of a house are
+surrounded closely by trees, an opposite result is induced, and, in
+comparatively dry situations, many evils of a damp one ultimately ensue.</p>
+
+<p>One of our earliest English writers on building, Thomas Fuller (1633),
+speaking of the choice of situation for a new structure, says: “<i>Chiefly
+choose a wholesome air</i>, for air is a dish one feeds on every minute,
+and therefore it need be good. Wherefore,<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> great men (who may build
+where they please, as poor men where they can) if herein they prefer
+their profit above their health, I refer them to their physicians to
+make them pay for it accordingly.” And as to light, he continues:
+“<i>Light (God’s eldest daughter!) is a principal beauty in a building</i>,
+yet it shines not alike from all parts of heaven. An east window
+welcomes the infant beams of the sun before they are of strength to do
+any harm, and is offensive to none but a sluggard. A south window, in
+summer, is a chimney with a fire in it, and needs the screen of a
+curtain. In a west window, in summer time, towards night, the sun grows
+low and ever familiar, with more light than delight. A north window is
+best for butteries and cellars, where the beer will not be sour for the
+sun’s smiling on it. Thorough lights are best for rooms of
+entertainment, and windows on one side for dormitories.” And he tells
+us, “<i>a pleasant prospect is to be respected</i>. A medley view, such as of
+water and land at Greenwich, best entertains the eyes, refreshing the
+wearied beholder with exchange of objects. Yet,” he adds, “I know a more
+profitable prospect&mdash;where the owner can only see his own land round
+about.”</p>
+
+<p>Having thus disposed of some of the most important points that should be
+kept in mind when choosing the site of a house, and of such other
+conditions as affect its picturesque and sanitary character, a small
+space may<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> be devoted to the consideration of its internal decorations.</p>
+
+<p>On this point there is no disputing about tastes, but to this may be
+added that the absence of taste is by no means uncommon. Having fixed on
+the style of house, the next question for decision, in respect to its
+general effect, should be that of its internal decoration. Congruity of
+design should exist between the two, for if an opposite course be
+adopted, a vulgarity will be introduced that will be highly displeasing
+to good taste. On the other hand, a slavish adherence to uniformity of
+internal with external character might produce so severe an adherence to
+system as to exclude the benefits that arise from judiciously chosen
+contrast. What has before been remarked in regard to the exterior,
+applies equally to the interior of a house&mdash;each should have in its
+general effect an agreement in appearance to its objects. In an antique
+apartment the light character of modern furniture would be evidently out
+of place, and <i>vice versâ</i>.</p>
+
+<p>It is evidently impossible to direct attention to more than a few
+elements of success that may be arrived at in internal decoration.
+Independently of this, each person has his own views on the matter, that
+would be sure in the end to overrule any exact principles, or at least
+greatly modify them. The following observations however, are offered
+suggestively.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p>
+
+<p>The facility with which the most beautiful designs in painting, &amp;c., are
+transferred to paper for paper hangings, has brought these into very
+extensive use for decorative purposes. Formerly the best patterns were
+produced in France alone, but of late years the British manufactures
+have rivalled the Continental. The pattern in respect to size, colour,
+design, &amp;c., should be so chosen as to be in accordance with the amount
+of light, the size, and other conditions of the room. A large pattern in
+a small room is equally out of place with the reverse condition. A light
+pattern again in a dark room, although advantageous in alleviating
+sombreness, is also incongruous. The general effect of a room on a
+spectator is thus largely influenced by these points, and consequently
+they should be carefully attended to. Frequently paint is preferred for
+covering walls of apartments, and where many pictures are introduced
+this may be advantageously employed, because the paintings alleviate the
+monotonous effect that would otherwise ensue. Painted walls are liable
+to injury by peeling off in places, especially where likely to meet with
+blows from furniture, &amp;c. In damp weather, from the absorption of heat
+they generally become not only wet, but frequently stream with water. If
+the apartment is “smoky,” lines of sooty hue soon follow, and the room
+acquires a dirty appearance. This is avoided<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> by the use of paper, which
+prevents the abstraction of heat and the consequent deposition of water;
+Beautiful effects may be produced by graining and other devices which
+are too well known to require enumeration. When flock paper on walls
+becomes dirty and requires renewing, if painted it looks extremely well,
+a diaper ornamental surface being produced by such means.</p>
+
+<p>The mantel-piece of a room adds to or detracts from its general effect.
+In a well lighted apartment, with light furniture, white marble is
+decidedly preferable. Whereas serpentine, black, or coloured marbles,
+grey and even red granite, may all agree in rooms but moderately
+lighted.</p>
+
+<p>The cornice and ceiling decorations equally require adaptation to the
+character of the apartment. For these purposes beautiful designs have
+been suggested and employed. The material of which they are usually made
+is so plastic as to be capable of receiving and retaining the most
+intricate forms conducive to elegance and beauty. In some rooms such add
+greatly to the general effect, while in others, especially with painted
+walls, plain mouldings seem most appropriate.</p>
+
+<p>A profusion of gold or gilding displays want of taste. A glaring example
+of this might be pointed out&mdash;a white marble mantel-piece supported by
+gilt angels five feet high which “graces” the <span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>drawing-room of a mansion
+in one part of this country. The outer room is a gorgeous display of
+gold, silver, and vulgarity. It serves, however, index-like, to point
+out at once the riches and “taste” of the owner. On the other hand,
+paintings and engravings in gilt frames have an excellent effect in
+setting off a room, provided that their size is in accordance with that
+of the apartment.</p>
+
+<p>Stained deals, varnished, afford a good material for panelling, and for
+covering the walls of rooms. We have in our eye a dining-room thus
+fitted which has an effect approaching to some of the oaken fittings of
+olden times. The material is cheap and durable, whilst the surface can
+always be renewed in its freshness by a new coat of varnish. It has been
+largely adopted in churches for pews and other fittings, with the best
+possible results.</p>
+
+<p>The minor objects of decoration, such as handles, finger-plates,
+bell-pulls, &amp;c. &amp;c., can only be here named. In many instances designs
+are given in the following pages, suggesting the most suitable either
+for indoor or outdoor use, according to the character of the room or
+entrance for which they are intended.</p>
+
+<p>So much for the picturesque exterior and tasteful interior of a house; a
+few words however may be said in respect to its immediate surroundings,
+such as the lawns, gardens, pleasure grounds, &amp;c.</p>
+
+<p>The most picturesque villa would be a nonentity in<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> a wrong situation.
+It would be opposed to what is usually called the “fitness of things;” a
+phrase that expresses much meaning without an exact definition. Hence
+“landscape gardening” has become an almost necessary adjunct to the art
+of architecture. An unframed picture has possibly every merit that the
+painter’s art can bestow on it, yet it lacks that finish which the
+exterior confers on it. So the well laid-out garden, the vista at its
+extremity, the carefully arranged parterre, the judicious management of
+floral culture, especially with regard to colour; neatly arranged walks,
+and many other exterior matters of detail, add to, enhance, and
+occasionally become indispensable adjuncts to the picturesque.</p>
+
+<p>We give two examples of picturesque accessories to garden architecture;
+the first rather belongs to the secluded wood, to some sequestered spot
+of sylvan shade, whence rises a spring which tradition may designate as
+that of some beautiful nymph; where the limpid crystal flows in gentle,
+yet ceaseless streams, conveying “health to the sick and solace to the
+swain.” The last, a vignette at the end of this chapter, is the
+representation of a ruined fountain, designed in 1820 by one of the best
+teachers of drawing England ever possessed, the late C. J. M. Whichelo.
+The architect may suggest the addition of a garden, but it is no part of
+his business to<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> supply the details; these rather belong to the
+horticulturist. Yet these should not be forgotten; a complete whole is
+always made up of minute parts, and by these littles an entirety of
+effect is produced, just as their individual importance is not lost
+sight of.</p>
+
+<div class="figcenter" style="width: 292px;">
+<a href="images/ill_pg_047_lg.jpg">
+<img src="images/ill_pg_047_sml.jpg" width="292" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The Nymph’s Fountain.</p></div>
+</div>
+
+<p>In conclusion, it has been attempted in this introductory essay to
+enable the unprofessional reader to become acquainted with the general
+principles, and some practical details that should guide him in the
+selection of a site, and the erection of an elegant, con<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>venient, and
+pleasant house, both externally and internally. So far as architecture
+and decorative art can aid such objects, the special details involved
+have to be perused in the text of this work. Fundamental ideas of such
+subjects have alone been here treated. A hope may be expressed that any
+suggestion or advice hitherto offered may not, in all cases, be without
+value. It is not given to all men to know all things. By the experience
+of others we gain fresh views of old ideas, invest them with new
+clothing, and in fact make out of that which is past, the material for
+something new. We rest on the apparently obsolete for suggestive ideas
+of improvement. Although the fashion of this world passeth away, yet as
+a dissolving view it reproduces itself in other forms, which, by the
+contrast of apparent novelty, and real or supposed merits, gain, either
+temporarily or permanently, the applause of mankind.</p>
+
+<div class="figcenter" style="width: 209px;">
+<a href="images/ill_pg_048_lg.jpg">
+<img src="images/ill_pg_048_sml.jpg" width="209" height="80" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Old English Garden Plots.</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p>
+
+<div class="figcenter" style="width: 352px;">
+<a href="images/ill_pg_049_lg.jpg">
+<img src="images/ill_pg_049_sml.jpg" width="352" height="239" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Garden Fountain in Ruins.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p>
+
+<h2><a name="DESIGN_No_1" id="DESIGN_No_1"></a><i>DESIGN No. 1.</i><br /><br />
+A GARDENER’S COTTAGE.</h2>
+
+<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_050-a_lg.jpg">
+<img src="images/ill_pg_050-a_sml.jpg" width="275" height="201" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<div class="figcenter" style="width: 222px;">
+<a href="images/ill_pg_050-b_lg.jpg">
+<img src="images/ill_pg_050-b_sml.jpg" width="222" height="203" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Back elevation.</p></div>
+</div>
+
+<p class="nind"><span class="letra">S</span>OME examples of designs for small cottages will be first given in this
+volume. There are few domestic<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p>
+
+<div class="figcenter" style="width: 197px;">
+<a href="images/ill_pg_051-a_lg.jpg">
+<img src="images/ill_pg_051-a_sml.jpg" width="197" height="98" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<div class="figcenter" style="width: 142px;">
+<a href="images/ill_pg_051-b_lg.jpg">
+<img src="images/ill_pg_051-b_sml.jpg" width="142" height="84" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<div class="figcenter" style="width: 292px;">
+<a href="images/ill_pg_051-c_lg.jpg">
+<img src="images/ill_pg_051-c_sml.jpg" width="292" height="209" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">structures that have received within the last fifty years a greater
+share of attention than the English Cottage, especially that designed
+for the occupation of the labourer. Each detail has received much care;
+thus, whether its walls should be solid or formed in two thicknesses, as
+most conducive to warmth and comfort; whether they should be of thin
+brick or of solid thick concrete; the best kind of roof covering, and
+indeed all such questions, have been fully discussed.</p>
+
+<div class="figcenter" style="width: 218px;">
+<a href="images/ill_pg_052_lg.jpg">
+<img src="images/ill_pg_052_sml.jpg" width="218" height="205" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length of building.</p></div>
+</div>
+
+<p>Besides this, the calculation of cost has been of importance; they are
+required to return a rent that will pay 5 per cent. on the outlay, and
+to gain their picturesque appearance has generally been sacrificed.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
+
+<p>The cottage examples in this volume have been erected on estates where
+the only aim was to render them substantial and lasting structures,
+expense being a matter of minor importance. Their picturesque appearance
+being in every case insisted on.</p>
+
+<p>Before entering into any description of the designs, it must be pointed
+out that the plans, with the exception only of a few at the end of the
+volume, are all drawn to the same scale, that of 20 feet to the inch,
+and that the elevations and sections are to a scale of 15 feet to the
+inch.</p>
+
+<div class="figcenter" style="width: 157px;">
+<a href="images/ill_pg_053_lg.jpg">
+<img src="images/ill_pg_053_sml.jpg" width="157" height="212" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cross section.</p></div>
+</div>
+
+<p>The details and the vignettes, one of which is mostly given between each
+example, are of various scales suited to each separate subject.<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p>
+
+<div class="figcenter" style="width: 185px;">
+<a href="images/ill_pg_054-a_lg.jpg">
+<img src="images/ill_pg_054-a_sml.jpg" width="185" height="113" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of wood casement.</p></div>
+</div>
+
+<div class="figcenter" style="width: 103px;">
+<a href="images/ill_pg_054-b_lg.jpg">
+<img src="images/ill_pg_054-b_sml.jpg" width="103" height="89" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>The cottage design shown in the plate, and which forms the first example
+in this series, was erected on a nobleman’s estate in the country, for
+the use of a favourite gardener, a married man without children, and the
+accommodation afforded was all that he required. It consisted of a lower
+room fifteen feet by twelve, fitted with a small cottage oven; a
+scullery ten feet by ten feet, and a larder; the upper floor contained
+one room of the same size as the lower, and one fourteen feet by ten
+feet. The building was constructed in a very superior way. It was
+erected in red brick with compo dressings round the door and windows.
+The illustrations represent the front and<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> back elevations; and sections
+through the length and breadth of the cottage, with details of the wood
+casements, and a plan and section of the cottage oven.</p>
+
+<div class="figright" style="width: 58px;">
+<a href="images/ill_pg_055-a_lg.jpg">
+<img src="images/ill_pg_055-a_sml.jpg" width="58" height="94" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cottage oven.</p></div>
+</div>
+
+<p>A view of a cottage slightly different in design but having rooms of the
+same size with similar accommodation, is given. This was intended for
+the same estate.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette is an elevation of two lead pipes designed for an
+Elizabethan building in the country.</p>
+
+<div class="figright" style="width: 293px;">
+<a href="images/ill_pg_055-b_lg.jpg">
+<img src="images/ill_pg_055-b_sml.jpg" width="293" height="226" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p>
+
+<h2><a name="DESIGN_No_2" id="DESIGN_No_2"></a><i>DESIGN No. 2.</i><br /><br />
+A SMALL COTTAGE OR LODGE.</h2>
+
+<div class="figcenter" style="width: 286px;">
+<a href="images/ill_pg_056-a_lg.jpg">
+<img src="images/ill_pg_056-a_sml.jpg" width="286" height="221" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 306px;">
+<a href="images/ill_pg_056-b_lg.jpg">
+<img src="images/ill_pg_056-b_sml.jpg" width="306" height="122" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.
+
+<span class="spc4">&nbsp;</span>
+
+.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS small building forms the outer lodge to a country park. It is
+finished in all its parts so as</p>
+
+<div class="figcenter" style="width: 214px;">
+<a href="images/ill_pg_057-a_lg.jpg">
+<img src="images/ill_pg_057-a_sml.jpg" width="214" height="174" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p class="nind">to correspond in style and details with the old family mansion, and
+being a prominent object, standing in a cheerful position, each side was
+made pleasing. It is<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p>
+
+<div class="figcenter" style="width: 164px;">
+<a href="images/ill_pg_057-b_lg.jpg">
+<img src="images/ill_pg_057-b_sml.jpg" width="164" height="169" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side elevation.</p></div>
+</div>
+
+<p class="nind">so placed that the sun during its daily course shines on all the
+exterior walls. Cottages should have no</p>
+
+<div class="figcenter" style="width: 212px;">
+<a href="images/ill_pg_058-a_lg.jpg">
+<img src="images/ill_pg_058-a_sml.jpg" width="212" height="172" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length.</p></div>
+</div>
+
+<p class="nind">dark corners, the sun should find entrance at all the windows whenever
+it is bright; the interior is then warm and cheerful. If the plan of a
+building is either</p>
+
+<div class="figcenter" style="width: 164px;">
+<a href="images/ill_pg_058-b_lg.jpg">
+<img src="images/ill_pg_058-b_sml.jpg" width="164" height="156" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cross section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
+
+<p class="nind">a square or a parallelogram, and it is placed on the ground so that one
+of its diagonal lines runs due north and south, the advantage of
+sunlight at all the openings is obtained, and this has been pointed out
+by several writers on the subject. The ground plan shows the general
+arrangement of the interior. The parlour and kitchen are both of the
+same size (14 feet by 11 feet); it has a small scullery, an open outside
+porch, and a place for coals; the larder with its window</p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_059_lg.jpg">
+<img src="images/ill_pg_059_sml.jpg" width="193" height="165" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td align="left"><p>Section through front and back porches.</p></td>
+ <td align="left"><p>Dry vault.</p></td></tr>
+</table>
+
+</div>
+</div>
+
+<p class="nind">is under the staircase. The latter is a cottage staircase, occupying
+only half the usual space. The plan of the upper floor shows two rooms
+of the same size as those on the lower floor, with the compact reduced
+form of the staircase. The plate gives the front and side elevations of
+the building; sections through its length and breadth, and through the
+two<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> porches back and front, and the dry vault of closet, are given.</p>
+
+<p>The water from the scullery sink is discharged into the dry vault. The
+staircase, of which a section is given, occupies exactly half the space
+of a staircase on the ordinary plan. The width is three feet, each step
+rising in two heights of 6 inches. It is necessary that such a
+contrivance should have plenty of light. These staircases were first
+used in France. Loudon, in his “Encyclopædia of Cottage, Farm, and Villa
+Architecture,” gives a representation of one, and remarks that the
+celebrated American, Jefferson, when</p>
+
+<div class="figcenter" style="width: 317px;">
+<a href="images/ill_pg_060_lg.jpg">
+<img src="images/ill_pg_060_sml.jpg" width="317" height="276" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Section of staircase.
+</p></td><td> &nbsp;  </td>
+<td>
+<p>A staircase.
+</p></td></tr>
+</table>
+</div></div>
+
+<p class="nind">making a tour in that country, was so struck with the contrivance, that
+he noted it in his journal, which was<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> published with his
+correspondence. A perspective view of one of these staircases is
+annexed.</p>
+
+<p>A staircase of this description, if made four feet in width, might take
+up only one-third the usual space: it would be very applicable to
+offices and warehouses where room cannot be spared, and where staircases
+little better than ladders are used, but in such cases a baluster and
+hand-rail should be placed between each second step, to prevent persons
+falling.</p>
+
+<p>The “Builder” of November, 1843, gave two views of an ingenious double
+spiral staircase then exhibiting at a manufactory in Berners Street,
+Commercial Road. It was described as extremely simple, the object being
+to provide for ascent and descent without chance of meeting or
+collision. It consisted of a deal or other board of suitable thickness 6
+feet long and 12 inches wide, forming a double <i>tread</i>, and the <i>riser</i>
+crossed, as it were from corner to corner, except as arranged to form a
+<i>newel</i> in the centre, of about five inches in diameter. The staircase
+had twenty-two risers, and took one complete turn round.</p>
+
+<div class="figcenter" style="width: 183px;">
+<a href="images/ill_pg_061_lg.jpg">
+<img src="images/ill_pg_061_sml.jpg" width="183" height="66" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plaster ornament for a ceiling.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p>
+
+<h2><a name="DESIGN_No_3" id="DESIGN_No_3"></a><i>DESIGN No. 3.</i><br /><br />
+A PICTURESQUE COTTAGE.</h2>
+
+<div class="figcenter" style="width: 247px;">
+<a href="images/ill_pg_062-a_lg.jpg">
+<img src="images/ill_pg_062-a_sml.jpg" width="247" height="238" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/ill_pg_062-b_lg.jpg">
+<img src="images/ill_pg_062-b_sml.jpg" width="311" height="111" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Ground-floor plan.
+</p></td>
+<td>
+<p>
+Upper floor.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design for a peasant’s cottage possesses no architectural feature
+beyond what could be given</p>
+
+<div class="figcenter" style="width: 199px;">
+<a href="images/ill_pg_063-a_lg.jpg">
+<img src="images/ill_pg_063-a_sml.jpg" width="199" height="164" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p class="nind">to it by any common country village carpenter. It was made from the
+recollection of one at Blaise Hamlet,</p>
+
+<div class="figcenter" style="width: 184px;">
+<a href="images/ill_pg_063-b_lg.jpg">
+<img src="images/ill_pg_063-b_sml.jpg" width="184" height="158" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side front.</p></div>
+</div>
+
+<p class="nind">near Blaise Castle, in Gloucestershire, the seat of John I. Harford,
+Esq., to whom the hamlet belonged. This<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> was celebrated for having about
+a dozen of these small picturesque structures, apparently put up by the
+owner of the estate. Nearly the whole of them were provided with rustic
+seats under a projecting roof, as well as with a pigeon-house at the
+gable. This was called Vine Cottage; there were besides Sweet Briar
+Cottage, Rose Cottage, Diamond Cottage, Dial Cottage, Jessamine Cottage,
+Circular Cottage, and Oak Cottage. Views of all of them were first
+published at Bristol by Mr. Western.</p>
+
+<div class="figcenter" style="width: 166px;">
+<a href="images/ill_pg_064_lg.jpg">
+<img src="images/ill_pg_064_sml.jpg" width="166" height="167" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>There are numerous similar hamlets and villages in England, some having
+the cottages, schoolhouses, literary meeting room, and even the village
+pump, all in picturesque form, and generally architectural in character.
+The plan given here is probably not like that of the cottage at the
+hamlet. It illustrates one room, size 13 ft. by 12 ft., a scullery 12
+ft. by 9 ft.,<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> and larder under the stairs. The latter are shown with
+the double-rise step. The upper plan shows one room of the same size as
+that below, and a closet. The scullery on the ground floor is large
+enough to form a sleeping room for boys, or to make a small living room.
+The height of the lower room is 9 feet 6 inches. The section shows the
+general form and fittings of the rooms. The plate below the plans gives
+an elevation of the front, showing the rustic seat and the side of the
+entrance porch, the gable of the cottage formed into a pigeon-house,
+together with the side front of the cottage and its entrance porch. The
+small window at the side is intended to light the first steps of the
+stairs; a small shed for wood or coals is placed at the back. Such a
+cottage could be built and finished complete at a cost of about one
+hundred and ten pounds.</p>
+
+<div class="figcenter" style="width: 236px;">
+<a href="images/ill_pg_065_lg.jpg">
+<img src="images/ill_pg_065_sml.jpg" width="236" height="139" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plaster frieze for drawing-room.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p>
+
+<h2><a name="DESIGN_No_4" id="DESIGN_No_4"></a><i>DESIGN No. 4.</i><br /><br />
+A DOUBLE COTTAGE.</h2>
+
+<div class="figcenter" style="width: 217px;">
+<a href="images/ill_pg_066-a_lg.jpg">
+<img src="images/ill_pg_066-a_sml.jpg" width="217" height="180" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 308px;">
+<a href="images/ill_pg_066-b_lg.jpg">
+<img src="images/ill_pg_066-b_sml.jpg" width="308" height="137" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Ground plan.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_67" id="page_67">{67}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HESE cottages were intended to be attached to some ornamental grounds
+which were very carefully attended to; and as the building formed a</p>
+
+<div class="figcenter" style="width: 175px;">
+<a href="images/ill_pg_067-a_lg.jpg">
+<img src="images/ill_pg_067-a_sml.jpg" width="175" height="177" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p class="nind">prominent object, it was rendered architectural and pleasing in
+character. In plan the cottages are large<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_067-b_lg.jpg">
+<img src="images/ill_pg_067-b_sml.jpg" width="193" height="180" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p class="nind">and roomy, and they are of the cheapest kind. If constructed in plain
+brickwork, without the ornamental gable on the porch, the pair could not
+have cost more than 250<i>l.</i>, and at that sum they have been estimated
+for by a London builder. Each cottage has one living-room on the ground
+floor, <i>f f</i>, of the size of 14 feet by 10 feet, with a scullery, <i>g g</i>,
+attached, size 10 feet by 6 feet 6 inches, and a small larder and
+staircase.</p>
+
+<div class="figcenter" style="width: 248px;">
+<a href="images/ill_pg_068_lg.jpg">
+<img src="images/ill_pg_068_sml.jpg" width="248" height="272" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>The latter, with ten risers, leads to the upper floor, in which are one
+large and one small room. The plate gives the ground plan, and the plan
+of the<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> upper floor. The closets are in the yard attached to the
+cottages, but not shown in the plan.</p>
+
+<p>The plate gives an elevation of one of the fronts, and a section, taken
+through the living-room and scullery: a portion of the ornamental gable
+is illustrated in the previous page.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette represents an ornamental escutcheon and handle, in brass,
+for an inner entrance-hall door. The drawing is one-third of the full
+size.</p>
+
+<div class="figcenter" style="width: 180px;">
+<a href="images/ill_pg_069_lg.jpg">
+<img src="images/ill_pg_069_sml.jpg" width="180" height="308" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span></p>
+
+<h2><a name="DESIGN_No_5" id="DESIGN_No_5"></a><i>DESIGN No. 5.</i><br /><br />
+A DOUBLE COTTAGE AND VILLAGE SUNDAY SCHOOL.</h2>
+
+<div class="figcenter" style="width: 357px;">
+<a href="images/ill_pg_070-a_lg.jpg">
+<img src="images/ill_pg_070-a_sml.jpg" width="357" height="303" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 342px;">
+<a href="images/ill_pg_070-b_lg.jpg">
+<img src="images/ill_pg_070-b_sml.jpg" width="342" height="129" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building was intended to be placed in a village of one of the
+midland counties, nearly all the buildings in the village being of
+picturesque character. It was the property of a gentleman who was
+erecting a large Elizabethan mansion in the neighbourhood; the design is
+for a double cottage and Sunday school; the latter being under the
+direction of the clergyman of the parish.</p>
+
+<div class="figcenter" style="width: 304px;">
+<a href="images/ill_pg_071_lg.jpg">
+<img src="images/ill_pg_071_sml.jpg" width="304" height="123" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan.</p></div>
+</div>
+
+<p>The porch was decorated to give it importance, and form a shelter for
+the clergyman in passing from one school to the other. One part was
+intended for boys and the other for girls. The chimneys of the building
+were grouped together in the centre so as to form a prominent object;
+they were copied from a very fine ancient example, then existing at a
+farm-house near Ashford, in Kent.</p>
+
+<p>The illustration gives a view of the front, and the plans. Each of the
+two principal rooms was 16 feet 6 inches by 13 feet 6 inches, with a
+scullery on the<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> side 10 feet square, and having a good oven; the larder
+was under the stairs. The rooms above were</p>
+
+<div class="figcenter" style="width: 395px;">
+<a href="images/ill_pg_072_lg.jpg">
+<img src="images/ill_pg_072_sml.jpg" width="395" height="191" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length of building.</p></div>
+</div>
+
+<p class="nind">of the same size as those below. One of the cottages had the centre room
+below as well as that above arranged so that one had four rooms and the
+other<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> two; but this could be changed at any time, to provide each
+cottage with three living rooms each. A section through the length of
+the building and the chimney stack is given in the previous page, and an
+elevation of the front is given above.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_073_lg.jpg">
+<img src="images/ill_pg_073_sml.jpg" width="400" height="194" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of entrance front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p>
+
+<p>The building was to be constructed with sound stock bricks, and red
+brick rusticated facing round the upper windows; the finishing of the
+gables with their small pediments was of cut red bricks. Small compo
+finials crowned the whole.</p>
+
+<div class="figcenter" style="width: 309px;">
+<a href="images/ill_pg_074-a_lg.jpg">
+<img src="images/ill_pg_074-a_sml.jpg" width="309" height="109" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Finial.</p></div>
+</div>
+
+<div class="figleft" style="width: 194px;">
+<a href="images/ill_pg_074-b_lg.jpg">
+<img src="images/ill_pg_074-b_sml.jpg" width="194" height="335" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of chimney stack.</p></div>
+</div>
+
+<p>The porch had trunks of trees for columns, the entablature and pediment
+were formed of cut bricks and compo facing; the pilasters on each side
+of the lower windows were of cut squared flint, peculiar to the county,
+the whole resting on a plinth of rough country stone. A wooden
+balustrade of simple pattern surmounted the porch, extend<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span>ing on each
+side of the columns. These latter resting on a stone slab. The chimney
+stack is shown, and its plan, on the previous page.</p>
+
+<div class="figright" style="width: 189px;">
+<a href="images/ill_pg_075-a_lg.jpg">
+<img src="images/ill_pg_075-a_sml.jpg" width="189" height="75" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<div class="figcenter" style="width: 226px;">
+<a href="images/ill_pg_075-b_lg.jpg">
+<img src="images/ill_pg_075-b_sml.jpg" width="226" height="265" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of a chimney stack at a farm-house, Ashford,
+Kent.</p></div>
+</div>
+
+<p>The old stack from Ashford, with the plan at its base, and capping, is
+also illustrated.</p>
+
+<p>These representations of the two chimney stacks, ancient and modern, are
+drawn to the same scale, so that the difference between the present and
+old mode<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> of treatment may be seen. The large flues of the old example
+permitted the then mode of sweeping, by discharging a culverin up the
+flue. The occupants of the dwelling could not then have cared much for
+return smoke in their rooms; which in these large flues, with coal as
+fuel, must have been considerable, and could only be obviated or
+prevented by the numerous cold draughts of air permitted to pass through
+the interior of the building.</p>
+
+<div class="figcenter" style="width: 216px;">
+<a href="images/ill_pg_076-a_lg.jpg">
+<img src="images/ill_pg_076-a_sml.jpg" width="216" height="131" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of capping.</p></div>
+</div>
+
+<div class="figcenter" style="width: 203px;">
+<a href="images/ill_pg_076-b_lg.jpg">
+<img src="images/ill_pg_076-b_sml.jpg" width="203" height="112" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of base.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p>
+
+<p>The plan of this building was adapted from a very favourite one of the
+late Sir John Soane. He erected it at Wimpole, in Cambridgeshire, for
+the Earl of Hardwicke, in 1794. It had a very plain exterior, and the
+roof was covered with thatch, a very common mode with architects at that
+time, but now objected to from the serious evil of its harbouring
+numerous insects&mdash;indeed at times they render the building almost
+untenantable. The walls of the cottages at Wimpole were built in Pisé,
+or with clay and fine gravel, properly prepared and beaten down in a
+mould. Each wall was three feet in thickness, the fireplaces and
+chimneys were of brick. Every opening was covered with strong wood
+lintels, the whole width of the walls, and two feet longer than their
+respective openings.</p>
+
+<p>The walls stood on brick foundations two feet above the ground. The cost
+of the construction was about 450<i>l.</i> Design No. 5 could not now be
+constructed for less than 630<i>l.</i></p>
+
+<p>It may be here remarked that nothing certain can be advanced about the
+cost of a building until the situation and local circumstances are fully
+known and considered. In the absence of these no estimates can be given
+with that accuracy which every gentleman wishes for, and ought to be
+possessed of, before he begins building.<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p>
+
+<h2><a name="DESIGN_No_6" id="DESIGN_No_6"></a><i>DESIGN No. 6.</i><br /><br />
+A HUNTSMAN’S LODGE OR COTTAGE.</h2>
+
+<div class="figcenter" style="width: 238px;">
+<a href="images/ill_pg_078-a_lg.jpg">
+<img src="images/ill_pg_078-a_sml.jpg" width="238" height="276" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 288px;">
+<a href="images/ill_pg_078-b_lg.jpg">
+<img src="images/ill_pg_078-b_sml.jpg" width="288" height="90" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Ground plan.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS edifice was erected in the neighbourhood of some thick plantations
+in a sporting district. It was constructed of brick, with a wooden
+porch; the facing bricks of the walls being of a light-yellow colour,
+with red bricks round the windows; and the whole of the cornices and the
+four chimneys were of cut red brick. The building seen from among the
+trees looks</p>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/ill_pg_079_lg.jpg">
+<img src="images/ill_pg_079_sml.jpg" width="311" height="205" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Front elevation.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Section.
+</p></td></tr>
+</table>
+</div></div>
+
+<p class="nind">very pleasing. The ground plan shows a front room 13 feet square, with a
+small scullery behind; the larder is under the stairs, which have the
+double riser, and a window is placed both at the bottom as well as at
+the upper part of the staircase, to give plenty of light. The upper plan
+shows three bed-rooms, each about 10 feet by 6, and a small bed<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> closet
+for children, the closet having a ventilator in the chimney at the
+angle. These chimneys, instead of being grouped together in the centre
+of the structure, occupy the four corners&mdash;an expensive form of
+erection, but one that gives more room in the interior. The elevation of
+the front is given in the plate, and the section by its side; the small
+figure below shows the different courses of cut bricks forming the
+pediment and cornice.</p>
+
+<div class="figleft" style="width: 110px;">
+<a href="images/ill_pg_080-a_lg.jpg">
+<img src="images/ill_pg_080-a_sml.jpg" width="110" height="80" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>These were carefully executed, and had a good effect. The first figure
+likewise illustrates the oak finial on the top of the roof. A
+chimney-piece in one of the upper rooms had a quaint carving in the
+centre of a fox’s head, a subject appropriate to the pursuits of the
+occupant of the cottage.</p>
+
+<div class="figcenter" style="width: 206px;">
+<a href="images/ill_pg_080-b_lg.jpg">
+<img src="images/ill_pg_080-b_sml.jpg" width="206" height="158" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>The chimney-piece, and the fox’s head on a larger<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> scale, are here
+represented. The gateway seen at the side of the building in the view
+was formed by the workmen out of various old fragments; it leads to a
+yard in which are various sheds and out-buildings.</p>
+
+<div class="figcenter" style="width: 230px;">
+<a href="images/ill_pg_081-a_lg.jpg">
+<img src="images/ill_pg_081-a_sml.jpg" width="230" height="87" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="spc1">&nbsp; </p>
+
+<p>This vignette affords a specimen of ornamental iron railing intended for
+exterior work, and suitable for any situation in which such may be
+required, in consequence of the neatness of its pattern.</p>
+
+<div class="figcenter" style="width: 322px;">
+<a href="images/ill_pg_081-b_lg.jpg">
+<img src="images/ill_pg_081-b_sml.jpg" width="322" height="138" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_82" id="page_82">{82}</a></span></p>
+
+<div class="figcenter">
+<a href="images/ill_pg_082_lg.jpg">
+<img src="images/ill_pg_082_sml.jpg" width="305" height="181" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Rose Hill Villa.</p></div>
+</div>
+
+<h2>THE CONCRETE CONSTRUCTION FOR BUILDING COTTAGES.</h2>
+
+<p class="nind"><span class="letra">C</span>ONSIDERABLE pains have been taken for the last fifty years to discover
+the best and cheapest method of building cottages; bricks, stones, wood,
+mud, plaster, and lately straw and bitumen, have all been selected.
+Sound bricks and good building stones, well incorporated with mortar of
+a good and binding quality, will last for centuries; while those of mud,
+clay, plaster or concrete are continually becoming out of repair, and
+therefore ought never to be introduced where sound construction is
+desired, and better materials can be procured. In our moist climate,
+unless great pains are taken in compounding such materials as clay or
+concrete, in constructing walls, and in pro<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>tecting these against the
+effects of the weather, they will soon decay. Mud walls, however, made
+perfectly in the common manner, of clay well tempered and mixed with
+sharp sand, will last very many years.</p>
+
+<p>The preceding view represents Rose Hill Villa, near Stockbridge,
+Hampshire. It is probably the largest and most important specimen of
+such a construction in England, and comprises dining and drawing-rooms,
+each 20 feet by 18 feet, morning-room, housekeeper’s-room, kitchen, back
+kitchen, pantry, excellent cellars and all requisite offices; five very
+superior bedrooms, two dressing rooms, a water-closet on the landing and
+ground floor, and five servants’ bedrooms. It has a double coach-house,
+harness-room, and stabling for four or six horses, and in the outhouses
+a four-roomed cottage for the coachman.</p>
+
+<p>This villa was formerly in the occupation of Fothergill Cooke, Esq.,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a>
+the inventor of the Electric Telegraph, and is now the residence of Sir
+Augustus Webster, Bart.</p>
+
+<p>The building is constructed of chalk concrete, and has stood the test of
+forty years’ exposure without any signs of decay. Mr. James Flitcroft
+sent in 1843 a view of the villa to the “Builder,” and thus<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> described
+the construction of such houses in the locality:&mdash;The walls are carried
+above the ground two and sometimes three feet to prevent the damp from
+rising to the mud, which if wetted would scale off by the action of
+frost. The kind of earth used is fine chalk, dug from the surface; if
+timely notice of any building will permit, it is best dug in winter,
+that the frost may act upon it. Buildings formed of this material can be
+erected only in dry warm weather. The workmen in preparing this chalk
+for use put about a cartload of it together, throw water over it, and
+tread it with their feet, turn it over, again tread and turn it, until
+it begins to bind something like loamy clay; then let it soak a little
+while, when it is ready for use. The waller is able to put on a layer of
+about fifteen inches; he begins at one corner and goes round the
+building, putting one layer on another, taking care that the lower one
+is sufficiently dry to bear the upper. In buildings of two stories high,
+the walls are generally eighteen inches thick. When the walls are got up
+five or six feet, and pretty dry, the quoins are plumbed, and the walls
+dressed down a little, in order that the waller may see what he is
+about. A small short spade is the best tool for this purpose, with short
+handle and rather bent. The work is then proceeded with as before, until
+it is raised up to the square of the building, when the<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p>
+
+<div class="figcenter" style="width: 521px;">
+<a href="images/ill_pg_085_lg.jpg">
+<img src="images/ill_pg_085_sml.jpg" width="521" height="274" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation and section of a wall (see p. 86).</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p>
+
+<p class="nind">walls get their general dressing, ready to receive their coating.</p>
+
+<p>Mr. Flitcroft describes Rose Hill Villa as coated with stone,
+lime-coloured and drawn. The columns of the villa are of brick. He
+states that there are several other buildings of this kind at
+Stockbridge, Winchester, and other places in the neighbourhood. He
+describes a better method of constructing such walls by the use of a
+moveable trough or box about 12 feet in length by 18 inches in depth.
+This trough rests on bearers put across the wall, with a mortice at each
+end wide enough apart to receive the sides, and the thickness of the
+wall; in these are inserted uprights to prevent the sides giving way,
+with others to go across the top. This mode of construction is however
+very ancient, and when done on a large scale the primitive method is
+still pursued.</p>
+
+<p>This method is shown in the preceding engraving, which gives an
+elevation and section of a wall in process of construction, with the
+posts, <i>b b</i>, the moveable planking, <i>c c</i>, and cross pieces, <i>d</i>. It
+will be seen that three courses of bricks are put about every five feet
+in height. The figures here given are copied from a very old French work
+on Architecture and Building; they also show the manner in which roof
+construction was attempted with slabs of the same material, as shown in
+figs. 1 and 2: the building is<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> supposed to be square, as shown by the
+dotted lines <i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>.</p>
+
+<div class="figcenter" style="width: 314px;">
+<a href="images/ill_pg_087-a_lg.jpg">
+<img src="images/ill_pg_087-a_sml.jpg" width="314" height="179" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Fig. 1.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Fig. 2.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 321px;">
+<a href="images/ill_pg_087-b_lg.jpg">
+<img src="images/ill_pg_087-b_sml.jpg" width="321" height="207" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Elevation
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Section.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>The plan, elevation, and section given below represent a small tomb
+wholly formed of concrete slabs, the door alone being excepted. This
+little<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> building forms really a solid concrete monolithic edifice.</p>
+
+<div class="figcenter" style="width: 281px;">
+<a href="images/ill_pg_088_lg.jpg">
+<img src="images/ill_pg_088_sml.jpg" width="281" height="150" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+The entrance door
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Plan.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>A very common method of forming partitions, and even roofs in some of
+the agricultural districts in Hampshire, is first to put them up with
+strong wattle hurdles. They are double the size of the common hurdle,
+and made of a thicker material. When in their place, they are plastered
+over with concrete, and made about four inches in thickness; they very
+often require repair. It is said that concrete walls are subject to
+contraction and expansion, and speedily show vertical cracks at
+intervals, which in our damp climate would soon permit the wet to enter.
+There can be no question as to its strength as a building material, as
+some experiments conducted by the Institute of British Architects gave
+the following results&mdash;viz., “Concrete composed of two parts of<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> lime,
+thirty-six parts of sand, and five parts of cement, can resist a
+crushing weight of four tons to the square inch, being twice the
+strength of Portland stone, eight times the strength of Bath stone, and
+sixteen times the strength of brickwork.”</p>
+
+<p>In constructing cottages with concrete everything depends upon the
+goodness of the cement and the care with which it is used. The occupiers
+of these cottages are frequently their own operators; the work is
+generally too speedily performed, and the consequence is that the fruits
+of their labour are in most instances of but short duration.</p>
+
+<p>For obvious reasons it is necessary that the greatest economy should be
+observed in the construction of peasants’ cottages, and for these
+reasons the apartments should always be on the ground floor, which will
+render it unnecessary to build them more than eight or nine feet high.
+Where mud walls are introduced, the lower they are made the better, in
+which case they should be made to batir on the outside so as to resist
+the pressure of the roof, the covering of which should project as much
+as possible, to throw off the wet and protect the walls. The chimney
+flues in these clay and concrete walls are formed of drain-pipes, which
+answer admirably. These humble dwellings should be paved with
+brick-on-edge paving laid on sand, which is much warmer, and more
+conducive<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> to health than any sort of rough flagging, plaster, mud, or
+concrete floor. The latter, although much cheaper, can never be made to
+look clean. Foundations of clay or concrete walls should be of brick a
+few courses above the surface, and the walls when dry should be covered
+with a thick coat of plaster consisting of lime and sand, or what is
+still better, a coating of good Portland cement. This ought constantly
+to be kept perfect, as everything depends upon the goodness of the work.
+Concrete improperly mixed is not so strong as brickwork, but is mere
+rubbish; but when perfectly done it hardens with age, becoming like
+stone, impervious both to wet and frost.</p>
+
+<p>Materials can be found in every locality. One of the principal
+constructors using such, Mr. Tall, who works with an excellently
+contrived apparatus, thus describes them:&mdash;“Clay, which may be burnt
+into ballast easily and cheaply, and is a most superior material for
+concrete; gravel, stone, crushed slag from furnaces, smith’s clinkers,
+oyster-shells, broken glass, crockery, or any hard and durable
+substance. Where sandstone or any flat stone is to be found, walls can
+be built even cheaper than of gravel concrete, as a labourer can break
+the stone.” He gives the proportions of materials used in houses then
+being constructed at Gravesend, as follows:<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td>&nbsp;</td><td class="rt">£ </td>
+<td class="rt"><i>s.</i></td>
+<td class="rt"><i>d.</i></td></tr>
+<tr><td>7 yards of burrs from brickfield, at 5s.</td><td class="rt">1</td><td class="rt">15</td><td class="rt">0</td></tr>
+<tr><td>7 yards of gravel stone, at 3s.</td><td class="rt">1</td><td class="rt">1</td><td class="rt">0</td></tr>
+<tr><td>1 yard of Portland cement, 16 bushels to the cubic yard, at 2s.</td><td class="rt">1</td><td class="rt">12</td><td class="rt">0</td></tr>
+<tr><td>Labour, at 2s. per cube yard</td><td class="rt">1</td><td class="rt">10</td><td class="rt">0</td></tr>
+<tr><td class="c">Total</td><td class="btbrt">£5</td>
+<td class="btbrt">&nbsp; &nbsp; &nbsp;18 </td>
+<td class="btbrt">&nbsp; &nbsp; &nbsp;0</td></tr>
+</table>
+
+<p>Three cubic yards of concrete will build 60 yards of 9-inch work, at a
+fraction under 1<i>s.</i> 11<i>d.</i> per yard.</p>
+
+<p>Concrete cottages have been built at Setting, in Kent, under Mr. Adkins,
+architect, that cost only 105<i>l.</i> per pair; the ground floor contained
+two rooms; with the usual larder and closets, and the upper floor three
+rooms and a cupboard; these cottages had gabled fronts and were
+picturesque in character. It would be an extra expense over the common
+method to construct floors and roofing of concrete; the advantage to be
+gained would be their fire-proof character.</p>
+
+<p>In superior buildings the high tenacious power of good cement is
+repeatedly, it may be said commonly taken advantage of in the
+construction of roofs. These are formed by cementing plain tiles, and
+they have considerable strength. Roofs of 12 feet span, constructed in
+segmental form, rising three feet, and only of three plain tiles in
+thickness, successfully resist great pressure, and are durable in a very
+superior<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> degree; but they require to be well tied in, and formed
+between iron girders connected together with iron tie rods, otherwise
+they sink and force out the walls. Roofs of cemented tiles have been
+constructed from 30 to 40 feet span, and have been found to answer well;
+hoop-iron bond, laid at intervals between the tiles, is a great
+advantage. The tenacious power of good cement was proved in a very high
+degree a few years ago by Mr. Brunel, in the construction of two
+semi-arches built of brick, springing from a pier or abutment 14 feet in
+height. One extended 50 feet in length, the other 38; the rise of the
+arches was 10 feet, the width only 4 feet 6 inches; a weight of about 40
+tons was suspended to the extremity of the shorter arch without breaking
+it.</p>
+
+<p>The result of this test proved that arches of 200 feet or 300 feet span,
+and probably more, might be constructed in the same manner at very
+moderate expense, without centering. Iron-hoop bond is said to nearly
+double the strength or holding power of the cement. Flat experimental
+beams have been constructed of brick and cement, with hoop-iron bond
+laid horizontally between the joints or courses of the brickwork, which
+have given equally extraordinary results.</p>
+
+<p>Concrete for walling was extensively used in England at the beginning of
+the present century; it<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> got into bad repute through failure of a river
+wall at Woolwich, where it was either badly done, some mistake was made,
+or it was unsuited to the position. The wall was constructed of blocks
+of concrete cast in moulds, and submitted to pressure while setting; a
+coating of fine stuff being applied for the sake of appearance, ample
+time having been allowed for the blocks to set and harden before use.
+The blocks were 1 foot 6 inches high, the binders and stretchers in the
+course being each 2 feet 6 inches long, the bed of the former being 2
+feet, and of the latter 1 foot; the wall was built upon piles, its
+height above the piles being 24 feet; the thickness at bottom was 9
+feet, at top 5 feet with a batir in front of 3 feet in 22.</p>
+
+<p>The face of the wall was composed of blocks, as described, and rough
+concrete thrown in to complete its thickness, and that of the
+counterforts. After a frost it was found that this wall was seriously
+damaged, hardly a single block having escaped, and in many cases their
+whole face had peeled off to the depth of half an inch. The discharge of
+a drain from a height of 6 or 8 feet had worn away the lower courses to
+the depth of some inches. On a like wall at Chatham, similar but much
+more severe effects were produced.</p>
+
+<p>The failure of this wall costing about 80,000<i>l.</i>, was a serious matter,
+and for several years after architects looked upon concrete as being so
+much uneatable<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> hasty pudding, considering that it was only beneficial
+when confined in a trench for foundations. Sir Robert Smirke used it in
+the foundations of the Penitentiary, Millbank, and Sir John Soane in
+1830 used it in the foundations of the New State Paper Office (now
+pulled down) in St. James’s Park. Here the ground had to be excavated to
+a depth of 22 feet before arriving at a gravelly stratum; at each high
+tide the Thames filled the trenches with water, which remained in
+considerable quantity; as this was pumped out, the adjoining party walls
+of the buildings in Duke-street cracked so completely that they had to
+be taken down. The trenches were first filled to the height of two feet
+with broken stones and bricks from the old buildings, and then dry lime
+and clean river sand, with a large quantity of small broken granite
+stones, were thrown in from the height above. A body of concrete 8 feet
+in width by a thickness of 3 feet was thus formed; the water ceased to
+enter the trenches and the building was commenced.</p>
+
+<p>Mr. G. Godwin, the editor of the “Builder,” in an essay on concrete
+which gained the first prize given by the Royal Institution of British
+Architects, appears to have been the first to suggest its use in walls
+above ground; and for these Portland cement concrete, when properly
+prepared, is without question an admirable material.<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p>
+
+<h2><a name="DESIGN_No_7" id="DESIGN_No_7"></a><i>DESIGN No. 7.</i></h2>
+
+<div class="figcenter" style="width: 357px;">
+<a href="images/ill_pg_095_lg.jpg">
+<img src="images/ill_pg_095_sml.jpg" width="357" height="511" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>A garden gate&mdash;plan and elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p>
+
+<p>In France it is used to a very great extent, in numerous bridges, and
+several miles of large sewers. A church (that at Vésinet, near Paris, of
+mediæval architecture), constructed entirely with iron and this
+concrete, is completely fireproof. In England a considerable length of
+sewer has been constructed of concrete at Sidmouth, under the direction
+of Mr. Phillips; and near London, between the Kensington and Gloucester
+Road stations of the Metropolitan Railway, a very large handsome bridge,
+rusticated, and in design similar to, and in every respect in appearance
+a stone bridge. From some alteration required in the railway, it has
+been removed.</p>
+
+<p>This mode of construction is now being practically tested in the north
+of England, at Church Bank, Alnmouth, in its complete form, in a cottage
+built entirely of concrete, having three rooms, scullery, and other
+conveniences. The material used in the building, as we are told by the
+“Builder,” is Portland cement and gravel from the sea-shore. The
+foundation is in sand 6 inches thick and 18 inches wide; in this there
+is a base course, and above, the walls are 9 inches in thickness. Part
+of the erection is two stories in height. The roofs are all flat, and
+are constructed entirely of concrete and old wire rope. The ceilings are
+divided into panels by ribs at right angles, and require no plastering.
+A wall on the upper floor is<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> supported by a concrete beam with a
+13-feet span; and a large cistern is formed under the roof of the pantry
+for rain water. The sides of the cistern forming the walls of the
+bedroom will test severely the impermeability of the material. No wood
+is used except for doors, and no iron except five shillings’ worth of
+old wire rope. This is said to be an experiment made by the Duke of
+Northumberland.</p>
+
+<p>Another experimental cottage has been constructed under Mr. Edwin
+Chadwick’s superintendence at East Sheen near Mortlake. In this the
+walls are formed of light iron framework filled with compressed straw,
+bitumen, and concrete. The thickness of each wall complete is only about
+three and a half inches. The floors are of bitumen and concrete, covered
+with ordinary deal boards; the roof has the same construction as the
+walls. These, inside, may be either left rough or finely smoothed,
+without additional cost. In the former case it is said they resemble the
+ordinary “dashes” of stuccoed cottages; in the latter they appear as if
+coated with Roman cement, after the fashion of villas and town houses.</p>
+
+<p>If a construction of this kind can be made durable it possesses superior
+advantages to every other. In England both stone and brick are great
+absorbents of moisture, causing the occupants of the houses to be
+afflicted by rheumatism and other undesirable ail<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>ments. Any building
+material that is non-absorbent of moisture is a great desideratum yet
+unsatisfied.</p>
+
+<p>An elevation of a design for a garden gate and balustrade to be formed
+of concrete blocks is given in Design No. 7. It was originally intended
+for the entrance to an old house in Berkshire.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette beneath is a Swiss pattern of open woodwork used by the
+author as balustrading. The construction is too simple to require
+explanation.</p>
+
+<div class="figcenter" style="width: 249px;">
+<a href="images/ill_pg_098_lg.jpg">
+<img src="images/ill_pg_098_sml.jpg" width="249" height="238" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p>
+
+<h2><a name="DESIGN_No_8" id="DESIGN_No_8"></a><i>DESIGN No. 8.</i><br /><br />
+A PARK LODGE.</h2>
+
+<div class="figcenter" style="width: 195px;">
+<a href="images/ill_pg_099-a_lg.jpg">
+<img src="images/ill_pg_099-a_sml.jpg" width="195" height="161" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p class="nind"><span class="letra">T</span>HE entrance lodge to a country park may be considered as a superior
+kind of cottage; it is</p>
+
+<div class="figcenter" style="width: 144px;">
+<a href="images/ill_pg_099-b_lg.jpg">
+<img src="images/ill_pg_099-b_sml.jpg" width="144" height="156" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">often occupied by some favourite domestic or other attaché of the
+family. It is usually placed in a<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> prominent position, dressed with
+surrounding trees, and with the accompanying gates, posts, and rails.
+Considerable attention is always paid to the lodge.</p>
+
+<div class="figcenter" style="width: 198px;">
+<a href="images/ill_pg_100-a_lg.jpg">
+<img src="images/ill_pg_100-a_sml.jpg" width="198" height="164" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Back front.</p></div>
+</div>
+
+<p>An ugly one is an exception, and is very seldom seen. In most cases the
+lodge is similar in character to the mansion to which it permits
+approach: a Gothic house, hence has a Gothic lodge, and an Elizabethan</p>
+
+<div class="figcenter" style="width: 220px;">
+<a href="images/ill_pg_100-b_lg.jpg">
+<img src="images/ill_pg_100-b_sml.jpg" width="220" height="154" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
+
+<p class="nind">house a lodge of the same character; frequently it is in the Rustic
+style that would suit either. Of this the present design and the
+following are examples.</p>
+
+<p>This design was made for one story only, and it is placed so as to
+command, or have a view of two roads by which it can be approached; the
+plan shows a living room, 13 ft. by 13 ft., a scullery, <i>g</i>, 12 ft. by 9
+ft, a larder, <i>h</i>, and two sleeping rooms. It has a porch, formed with
+trunks of trees, enclosing a seat or bench. The back front is made of a
+pleasing character, having a covered way to the closet and coal cellar,
+<i>l</i>.</p>
+
+<p>The section shows the height of the rooms, 11 × 6 from floor to collar
+beam. The construction was to have been in the common fashion in brick,
+with red brick facing, and compo dressings round the windows and top of
+chimney stack, the latter in cut red brick. An erection of this kind
+could not be completed under a cost of about 370<i>l.</i></p>
+
+<div class="figcenter" style="width: 204px;">
+<a href="images/ill_pg_101_lg.jpg">
+<img src="images/ill_pg_101_sml.jpg" width="204" height="115" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plaster cornice for a drawing-room.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p>
+
+<h2><a name="DESIGN_No_9" id="DESIGN_No_9"></a><i>DESIGN No. 9.</i><br /><br />
+A PARK LODGE.</h2>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/ill_pg_102-a_lg.jpg">
+<img src="images/ill_pg_102-a_sml.jpg" width="255" height="156" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<div class="figcenter" style="width: 174px;">
+<a href="images/ill_pg_102-b_lg.jpg">
+<img src="images/ill_pg_102-b_sml.jpg" width="174" height="151" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was a second study for the same small building illustrated
+in the previous design. It was intended for a different site, and so
+placed as to command only one road of approach. It could have been seen
+for nearly two miles previous to reaching it, and was placed about
+twenty feet behind the entrance gates; the front had a rustic porch
+intended to contain rustic seats. The plan shows a living room 18 feet
+by 14, a small scullery, <i>g</i>, larder, <i>h</i>, and two sleeping rooms each
+13 feet by 10 feet. The section is taken through the centre of the
+building, showing the front and back porch. It could be constructed for
+about 375<i>l.</i></p>
+
+<div class="figcenter" style="width: 204px;">
+<a href="images/ill_pg_103_lg.jpg">
+<img src="images/ill_pg_103_sml.jpg" width="204" height="150" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>Either of these lodges could be constructed in concrete, the walls twice
+the thickness, the chimney stock in brick and cement, and their cost
+would be reduced.<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p>
+
+<h2><a name="DESIGN_No_10" id="DESIGN_No_10"></a><i>DESIGN No. 10.</i><br /><br />
+AN ENTRANCE LODGE TO A PARK</h2>
+
+<p>This lodge stands within an ancient park in Kent. It occupies a
+triangular piece of ground and commands three roads of approach. The
+building is</p>
+
+<div class="figcenter" style="width: 220px;">
+<a href="images/ill_pg_104_lg.jpg">
+<img src="images/ill_pg_104_sml.jpg" width="220" height="298" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p class="nind">strictly in accordance with the style of the old family mansion within
+the park itself, which is a celebrated structure of the times of
+Elizabeth and James I. The<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p>
+
+<div class="figcenter" style="width: 179px;">
+<a href="images/ill_pg_105-a_lg.jpg">
+<img src="images/ill_pg_105-a_sml.jpg" width="179" height="193" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">perspective view represents the lodge as seen from the avenue of trees
+within the park, the road coming</p>
+
+<div class="figcenter" style="width: 207px;">
+<a href="images/ill_pg_105-b_lg.jpg">
+<img src="images/ill_pg_105-b_sml.jpg" width="207" height="226" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span></p>
+
+<p class="nind">between. In the ground plan, p. 105, <i>a</i> is the porch, <i>b</i> the living
+room, <i>c</i> the scullery, and <i>d</i> the larder; <i>g</i> are the steps leading to
+a vault under the stairs, used for coals, and <i>f</i> is the stone cover
+over the dry well. Considerable care and attention were</p>
+
+<div class="figcenter" style="width: 280px;">
+<a href="images/ill_pg_106_lg.jpg">
+<img src="images/ill_pg_106_sml.jpg" width="280" height="283" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of back and side fronts, from a
+photograph.</p></div>
+</div>
+
+<p class="nind">bestowed in working out the details of this building, which was wholly
+erected by the workmen of the estate, with bricks and stone also from
+the estate. The lower part or plinth of the structure is of ashlar
+ragstone in random courses, the top course header<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> faced, the joints
+worked fair, and a sunk splay in the top tooled fair, the course rising
+nine inches on the</p>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_107-a_lg.jpg">
+<img src="images/ill_pg_107-a_sml.jpg" width="168" height="163" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<p class="nind">face, with an average depth in the bed of eleven inches. The string over
+the lower windows is in moulded brick,</p>
+
+<div class="figcenter" style="width: 180px;">
+<a href="images/ill_pg_107-b_lg.jpg">
+<img src="images/ill_pg_107-b_sml.jpg" width="180" height="176" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of roof timbers.</p></div>
+</div>
+
+<p class="nind">faced with compo,&mdash;the gables and the chimneys are constructed and
+finished with cut red bricks. The<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span></p>
+
+<div class="figcenter" style="width: 220px;">
+<a href="images/ill_pg_108-a_lg.jpg">
+<img src="images/ill_pg_108-a_sml.jpg" width="220" height="222" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side elevation.</p></div>
+</div>
+
+<div class="figcenter" style="width: 344px;">
+<a href="images/ill_pg_108-b_lg.jpg">
+<img src="images/ill_pg_108-b_sml.jpg" width="344" height="235" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of entrance porch.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p>
+
+<p class="nind">finials, of which there are three, are copied from those of the old
+mansion, and cost each 3<i>l.</i> The front and side elevations are here
+given, together with the details of the entrance porch. The columns were
+formed of trunks of trees, with an entablature and pediment of brick
+tiles and compo, with iron ties securing the whole.</p>
+
+<div class="figcenter" style="width: 309px;">
+<a href="images/ill_pg_109-a_lg.jpg">
+<img src="images/ill_pg_109-a_sml.jpg" width="309" height="156" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Finial.</p></div>
+</div>
+
+<p>The brick walls were splashed externally in four colours, black, white,
+red, and yellow, which gave a very pleasing tone of colour to the whole.
+The plan</p>
+
+<div class="figcenter" style="width: 215px;">
+<a href="images/ill_pg_109-b_lg.jpg">
+<img src="images/ill_pg_109-b_sml.jpg" width="215" height="234" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
+
+<p class="nind">of the upper floor shows the rooms like the lower, each of the average
+length of 21 and a width of 10 feet. The staircase leads conveniently to
+the two upper rooms; <i>a</i> is a trap-door to permit furniture and large
+baggage to be lifted up from below. The sections show the construction
+of the roof, the timbers of which were firmly secured by iron straps, <i>b
+b</i>. The chimney forms a prominent feature in the centre of the building,
+the construction of which is shown in the annexed cut; <i>c</i> are corbel
+bricks, <i>b</i> the iron strap.</p>
+
+<div class="figcenter" style="width: 179px;">
+<a href="images/ill_pg_110_lg.jpg">
+<img src="images/ill_pg_110_sml.jpg" width="179" height="248" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>The last two illustrations are sections through the<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> coal-cellar and the
+dry well. The photographic view shows the small circular gable over the
+staircase. There are only six of these gables, as a seventh could not be
+obtained, or it might have been called the “house with the seven
+gables.” The structure cost 526<i>l.</i>, the cottage design No. 2, on the
+same estate, 311<i>l.</i>, both in full.</p>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/ill_pg_111_lg.jpg">
+<img src="images/ill_pg_111_sml.jpg" width="311" height="291" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and section of chimney stack.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p>
+
+<h2><a name="DESIGN_No_11" id="DESIGN_No_11"></a><i>DESIGN No. 11.</i><br /><br />
+AN ENTRANCE LODGE AND GATEWAY TO A PARK.</h2>
+
+<div class="figcenter" style="width: 330px;">
+<a href="images/ill_pg_112_lg.jpg">
+<img src="images/ill_pg_112_sml.jpg" width="330" height="337" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HE first erection of an entrance lodge and gateway to a country park,
+is often considered of sufficient importance to meet with very full and
+careful</p>
+
+<div class="figcenter" style="width: 188px;">
+<a href="images/ill_pg_113-a_lg.jpg">
+<img src="images/ill_pg_113-a_sml.jpg" width="188" height="130" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">consideration. If the park is an ancient one, the old castellated style
+for the entrance lodge will mark its character, and it is generally
+chosen, although the</p>
+
+<div class="figcenter" style="width: 159px;">
+<a href="images/ill_pg_113-b_lg.jpg">
+<img src="images/ill_pg_113-b_sml.jpg" width="159" height="133" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<p class="nind">building or mansion within the park itself may be of more recent style.
+The family architect, in such cases, will have to make various sketches
+before one is<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> selected that gives general satisfaction. The castellated
+Tudor design shown in the perspective view, was the first one made under
+such circumstances, and several designs were submitted before it was put
+aside, and one selected similar in style and character to the mansion
+within the park, and which was soon carried out.</p>
+
+<div class="figcenter" style="width: 281px;">
+<a href="images/ill_pg_114_lg.jpg">
+<img src="images/ill_pg_114_sml.jpg" width="281" height="242" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation of lodge.</p></div>
+</div>
+
+<p>The ground plan, p. 113, shows the lodge to have very little
+accommodation, one small room 15 feet by 11 feet, with a scullery
+attached; indeed, one of the principal reasons for giving up the design
+was that the steep character of the ground did not admit a larger
+erection. The staircase of the lodge<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> led to one upper room over the
+gateway; this was 13 feet by 13 feet. The elevation of the lodge is
+shown at p. 114.</p>
+
+<div class="figcenter" style="width: 295px;">
+<a href="images/ill_pg_115_lg.jpg">
+<img src="images/ill_pg_115_sml.jpg" width="295" height="469" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of half gate.</p></div>
+</div>
+
+<p>The details are plain and bold; a shield of arms with quatrefoils is
+placed over the side entrance; these and the ornaments on the bay-window
+are the chief enrichments.<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p>
+
+<p>The lodge was to have been erected with ragstone ashlar for the quoins
+and red-brick facing for walls,&mdash;the bay-window and all the strings and
+battlements were to be in Caen stone. The iron gates were to be of
+wrought iron in the olden style. An elevation of one of the gates is
+given, showing a thin ornamental pattern within a strong iron frame.</p>
+
+<div class="figcenter" style="width: 231px;">
+<a href="images/ill_pg_116_lg.jpg">
+<img src="images/ill_pg_116_sml.jpg" width="231" height="223" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>A</p><p>Elevation of second design.</p></div>
+</div>
+
+<p>The parts, ¼ full size, are shown; <i>a</i> is the top rail, <i>b</i> the circular
+bar, <i>c</i> a section and elevation of the hanging rail, and <i>d</i> the
+meeting bar.</p>
+
+<p>The accommodation required by the gate-keeper who was to occupy the
+lodge was greater than could<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> be well provided on the site the building
+was to stand on. What he did ask for was given in a second</p>
+
+<div class="figcenter" style="width: 188px;">
+<a href="images/ill_pg_117-a_lg.jpg">
+<img src="images/ill_pg_117-a_sml.jpg" width="188" height="206" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">design, which, as it shows a different treatment of the elevation, is
+here illustrated. In this the rooms are</p>
+
+<div class="figcenter" style="width: 170px;">
+<a href="images/ill_pg_117-b_lg.jpg">
+<img src="images/ill_pg_117-b_sml.jpg" width="170" height="186" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p>
+
+<p class="nind">larger, as may be seen by the ground plan; <i>c</i>, the back room, is
+intended to be used as a boy’s sleeping room; <i>h</i> is the larder under
+the stairs, and <i>l</i> is a place for coals. The upper plan shows the room
+over the gateway; a second room was to be added by taking up the walls
+of the lodge.</p>
+
+<div class="figcenter" style="width: 283px;">
+<a href="images/ill_pg_118_lg.jpg">
+<img src="images/ill_pg_118_sml.jpg" width="283" height="367" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of bay-window, second design.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<p>The elevation of this design was considered more quaint and
+characteristic of the olden style than the first; its window is copied
+from one at the old gatehouse to the abbey at Montacute in
+Somersetshire, both as to dimensions and detail. It is rather late in
+style, and not a very good example, but it is here given with a few
+sections and details to a larger scale.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette affords a plan of an old English garden with its labyrinth,
+fountains, fishponds, and flower beds.</p>
+
+<div class="figcenter" style="width: 201px;">
+<a href="images/ill_pg_119_lg.jpg">
+<img src="images/ill_pg_119_sml.jpg" width="201" height="139" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
+
+<h2><a name="DESIGN_No_12" id="DESIGN_No_12"></a><i>DESIGN No. 12.</i><br /><br />
+A STOVE FOR AN ENTRANCE HALL</h2>
+
+<div class="figcenter" style="width: 222px;">
+<a href="images/ill_pg_120_lg.jpg">
+<img src="images/ill_pg_120_sml.jpg" width="222" height="508" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of stove.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS stove is intended to fill a recess in the hall of a Baronial
+Mansion, placed on a marble pavement with groups of ancient armour,
+pikes and</p>
+
+<div class="figcenter" style="width: 213px;">
+<a href="images/ill_pg_121-a_lg.jpg">
+<img src="images/ill_pg_121-a_sml.jpg" width="213" height="134" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of stove.</p></div>
+</div>
+
+<p class="nind">helmets, and the other like warlike implements of ancient times,
+surrounding it. The plan shows its interior to be filled with fire-clay.
+It is only a<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
+
+<div class="figcenter" style="width: 127px;">
+<a href="images/ill_pg_121-b_lg.jpg">
+<img src="images/ill_pg_121-b_sml.jpg" width="127" height="197" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front of stove, the shield or door open.</p></div>
+</div>
+
+<div class="figcenter" style="width: 338px;">
+<a href="images/ill_pg_122_lg.jpg">
+<img src="images/ill_pg_122_sml.jpg" width="338" height="517" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Side of stove
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Section of stove.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p>
+
+<p class="nind">common iron stove, but with a more artistic outline or figure than is
+generally seen; the section shows the construction. A moveable box is
+placed within the pedestal to receive the ashes; the smoke flue leaves
+at the back; the helmet opens to receive a cup of water; the section
+shows the construction. When the shield is open the fire is seen; this
+could be made partly open, so as to allow the fire to be wholly closed
+in.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette is a portion of a French design for an iron balconet. In
+France these balconets are regarded as necessary protections at the
+window openings. In England they are used chiefly for holding flowers.</p>
+
+<div class="figcenter" style="width: 314px;">
+<a href="images/ill_pg_123_lg.jpg">
+<img src="images/ill_pg_123_sml.jpg" width="314" height="109" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p>
+
+<h2><a name="DESIGN_No_13" id="DESIGN_No_13"></a><i>DESIGN No. 13.</i><br /><br />
+QUEEN’S GATE LODGE, HYDE PARK.</h2>
+
+<p>The formation of that new and important suburb of London, known as
+Queen’s Gate, South Kensington, resulted, as is well known, from the
+exertions of His Royal Highness the Prince Consort. It</p>
+
+<div class="figcenter" style="width: 221px;">
+<a href="images/ill_pg_124_lg.jpg">
+<img src="images/ill_pg_124_sml.jpg" width="221" height="247" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>First design, Gate Entrance to Hyde Park.</p></div>
+</div>
+
+<p class="nind">promises soon to become the most fashionable and attractive portion of
+the Metropolis, as the land is engaged for the purpose of applying it to
+national objects connected with the Arts and Sciences, by the<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
+
+<div class="figcenter" style="width: 303px;">
+<a href="images/ill_pg_125-a_lg.jpg">
+<img src="images/ill_pg_125-a_sml.jpg" width="303" height="211" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of Lodge, Queen’s Gate.</p></div>
+</div>
+
+<div class="figcenter" style="width: 312px;">
+<a href="images/ill_pg_125-b_lg.jpg">
+<img src="images/ill_pg_125-b_sml.jpg" width="312" height="250" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Ground plan.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Basement plan.
+</p></td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p>
+
+<p class="nind">Government. Consequently, with the beauty of the situation, this has led
+to the erection of a large number of first-class mansions of the value
+of from 20,000<i>l.</i> each to 3000<i>l.</i> (leaseholds.) The author of this
+work, at the time of the purchase by the Government, was surveyor to the
+principal estate in that locality&mdash;that of the late Charles, Earl of
+Harrington;</p>
+
+<div class="figcenter" style="width: 327px;">
+<a href="images/ill_pg_126_lg.jpg">
+<img src="images/ill_pg_126_sml.jpg" width="327" height="225" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of Lodge opposite the Exhibition Road,
+Hyde Park.</p></div>
+</div>
+
+<p class="nind">and an opening to Hyde Park, for the chief new road, being granted by
+Government, he had to submit designs for the new entrance lodge and
+gates to the Commissioner of Public Works. The first design he had made
+had previously been submitted to the Prince. It was on a large scale, an
+archway being<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> placed in the centre, with gates and lodges on each side.
+But as the new entrance had to be made at the expense of the builders of
+the Harrington Estate, designs of a more modest character were chosen.</p>
+
+<div class="figcenter" style="width: 171px;">
+<a href="images/ill_pg_127_lg.jpg">
+<img src="images/ill_pg_127_sml.jpg" width="171" height="335" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>Lord Llanover, then Sir Benjamin Hall, was the Chief Commissioner of
+Public Works, and took great interest in the designs, repeatedly
+visiting the spot, and having various studies made; indeed the works
+were carried out under his supervision and direction.<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p>
+
+<p>The opening into Hyde Park was 140 feet in length; this was filled up by
+the gates and railings, a lodge being placed within the park.</p>
+
+<div class="figcenter" style="width: 156px;">
+<a href="images/ill_pg_128-a_lg.jpg">
+<img src="images/ill_pg_128-a_sml.jpg" width="156" height="135" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p>The view shows the lodge as it was erected by Mr. Aldin, one of the
+building lessees of the Harrington estate; it cost him about 800<i>l.</i> The
+iron gates and</p>
+
+<div class="figcenter" style="width: 240px;">
+<a href="images/ill_pg_128-b_lg.jpg">
+<img src="images/ill_pg_128-b_sml.jpg" width="240" height="134" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side elevation.</p></div>
+</div>
+
+<p class="nind">railing were put up by Mr. W. Jackson, the chief building
+lessee on the same estate, at a cost which amounted to upwards of
+2000<i>l.</i><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<div class="figcenter" style="width: 340px;">
+<a href="images/ill_pg_129_lg.jpg">
+<img src="images/ill_pg_129_sml.jpg" width="340" height="198" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length of building.</p></div>
+</div>
+
+<p>The lodge contains two rooms on the ground floor the front room being 17
+feet by 12 feet, the back room 13 feet by 11 feet. The basement has two
+rooms of the same size; with a small yard, a place for coals, and a dry
+area surrounding the whole. The plans are shown under the perspective
+view; the front and side elevations on page 128; the small portico has
+the centre columns without rusticated blocks, so that no<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> square edges
+or projecting parts obstruct the entrance of persons into the lodge.</p>
+
+<div class="figcenter" style="width: 231px;">
+<a href="images/ill_pg_130_lg.jpg">
+<img src="images/ill_pg_130_sml.jpg" width="231" height="211" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cross section.</p></div>
+</div>
+
+<p>The section through the length of the building shows the two upper and
+the two lower rooms, with the sunk yard; it does not show clearly the
+section of the ground outside the building; the level of this is 18
+inches below the floor of the upper rooms. The basement is completely
+buried, but as the small structure stood upon a mound and was protected
+by a dry area, this was of little consequence. The cross section next
+given shows the level of the outside ground correctly, with the two dry
+areas. Over this cross section are given two small details of the
+construction of the roof.<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p>
+
+<p>The building was of stone and brick, the ashlar front of the walls Bath
+stone, and the cornice of Portland&mdash;this was made so as to form the
+gutter.</p>
+
+<p>The lodge has lately been taken down, and reconstructed on the opposite
+side of the entrance gate. So completely was this done that only one
+small block of stone was required to complete it, and this was only a
+replacement of one broken. The structure itself has been reproduced by
+the Government as a lodge opposite to the Exhibition Road. In the cut at
+page 127, is given a section through the portico and a section through
+the end wall.</p>
+
+<p>The first design, made by the author, was intended to embody the views
+of His Royal Highness Prince Albert, in regard to the arrangement of the
+buildings for the purpose of Science and Art then proposed to be erected
+on the newly purchased estate. They comprised one for the collection of
+Pictures, at that time occupying only half the building at Trafalgar
+Square; this, the New National Gallery, was to be surrounded with other
+structures, affording ample accommodation for the chief learned and
+Artistic Societies of London. A large central Hall of Arts and Sciences
+was to be placed in their midst; the whole to form a metropolitan
+institution for the promotion of scientific and artistic knowledge as
+connected with industrial pursuits. It is well known that the surplus
+funds of<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> the Exhibition of 1851, amounting to the sum of 150,000<i>l.</i>,
+were offered by the Royal Exhibition Commissioners at the instance of
+the Prince, for the purpose of carrying out this grand conception. The
+report of the House of Commons’ Committee on the National Gallery
+strongly recommended the offer to be accepted, and Parliament at first
+assenting, voted another sum of like amount for carrying out the entire
+project. The sum of 300,000<i>l.</i> was found, however, insufficient for
+purchasing the whole of the ground required, and a further grant of from
+25,000<i>l.</i> to 27,000<i>l.</i> was voted by Parliament, and a sum of
+15,000<i>l.</i> was given by the Royal Commissioners. Mr. Cubitt was engaged
+to obtain the ground, and the roads through the Harrington estate were
+planned by him in conjunction with the author, who aided him to the
+utmost of his power in obtaining the land requisite to complete the site
+required for the various buildings proposed to occupy it. The site was
+2100 feet in length, by an average breadth of 1200 feet, and consisted
+of about 56 acres; the level of the ground on the north of Kensington
+being about 36 feet higher than the portion at Brompton. Another block
+of land, upon which the Department of Science and Art is at present
+placed, made a space with an average width of 700 feet&mdash;in the whole 86
+acres.<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
+
+<p>In sketching the design for the general building, of which a bird’s-eye
+view is here given, the author only took the 56 acres&mdash;the view shows
+only that portion of the building facing the Prince Albert’s Road, now
+called Queen’s Gate. It is placed in the centre of the land, so as to
+have large open grounds surrounding it. These at any time could have
+been covered up for the purpose of national exhibitions similar to those
+of 1851 and 1862. By putting the level of the ground floor of the new
+building about ten feet above that of the Kensington Road, a
+sub-basement would have been obtained, over 30 feet in height, affording
+ample space for arranging and storing works of art, as well as for
+receiving articles to be exhibited, or a great portion of them, from the
+upper parts of the building should the latter be wanted for any special
+purpose, and affording room likewise for all minor business departments.
+The Hall of Arts and Sciences was to be placed in the centre of the mass
+of building: a portion of the dome is seen in the view at the upper
+left-hand corner. This room was to be made 300 feet in length, by 180 in
+width. Two galleries for paintings, each 1000 feet in length and 80 feet
+in breadth, were to be placed on each side of the Central Hall. The
+sculptures from the British Museum were to be deposited in the central
+smaller halls of approach. The various Societies were to occupy the
+side-wings,<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p>
+
+<div class="figcenter" style="width: 536px;">
+<a href="images/ill_pg_134_lg.jpg">
+<img src="images/ill_pg_134_sml.jpg" width="536" height="316" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>View of Queen’s Gate, Hyde Park, with the National
+Gallery and other buildings, as suggested by His Royal Highness the late
+Prince Consort.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<p class="nind">each having its meeting and lecture room, and all necessary offices and
+apartments. The public were to enter at the porticoes seen in the view,
+and the carriages of the professors at the gateways in front. Two roads
+were proposed traversing the ground from north to south, and giving easy
+access for vehicles to every part of the building.</p>
+
+<p>In the small block plan attached to the view, placed on the upper
+right-hand corner, <i>b</i> is the Prince Albert’s Road, <i>a</i> the Exhibition
+Road, and <i>c</i> and <i>d</i> the roads north and south.</p>
+
+<p>The design was placed before the Prince at one of the Architects’
+meetings at the Earl de Grey’s, and it was exhibited at the Royal
+Academy in the same year. The House of Commons, however, after granting
+such a large sum of money for the purchase of the land, expressed its
+disapproval of removing the National Gallery from the present position,
+said to be the finest site in Europe, and the Fellows of the Royal
+Academy were informed that the portion of the building they then
+occupied would be added to that of the gallery. A view of the gates and
+lodge as at present executed is here given.</p>
+
+<div class="figcenter" style="width: 351px;">
+<a href="images/ill_pg_135_lg.jpg">
+<img src="images/ill_pg_135_sml.jpg" width="351" height="57" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p>
+
+<p>It cannot be supposed that a sum of 340,000<i>l.</i> would have been expended
+by the nation for the purpose of giving the Horticultural Society a
+perpetual lease of the best portion of the estate purchased. It is
+already evident that the gardens are not well situated there. The smoke
+of the district will not permit the growth of delicate plants, and their
+exhibitions are supplied from the gardens at Chiswick. In much less than
+fifty years their grounds will probably be the centre of London, and
+consequently the noble conception of His Royal Highness has still a good
+chance of being carried into effect. The Society will be smoked out when
+the city bounds are extended. The present National Gallery building will
+be wanted either for a Bank of England or a Royal Exchange, and my Lord
+Mayor may follow the example of the India Directors, and leave the
+Mansion House, to move to Whitehall. A tunnel under the Exhibition Road
+takes visitors into the grounds direct from the railway, that now makes
+them as easy of access from the heart of the City as Charing Cross
+itself.</p>
+
+<p>A few remarks may be made here on the great rise which takes place in
+the value of land in any fashionable neighbourhood of London required
+for the erection of buildings.</p>
+
+<p>The Harrington estate at Kensington Gore, con<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span>taining in the whole 93a.
+3r. 27p., was the joint property of the Earl of Harrington and of the
+Baron de Villars, through the right of his wife, the Baroness de
+Graffenried Villars. Previous to 1848 it had been some time in Chancery.
+In that year Mr. John Gaunt Lye was appointed auditor and agent to the
+fifth Earl of Harrington for the whole of the property. The rental of
+the Kensington Gore estate amounted at this time to 2779<i>l.</i> 9<i>s.</i> per
+annum. Through Mr. Lye’s exertions, he having received a power of
+attorney for the purpose, the estate was taken out of Chancery, and a
+division took place on the 7th May, 1850, at Mr. Lye’s office in
+Lancaster Place. For the purpose of division, one portion&mdash;that charged
+with maintaining the Cromwell Almshouses&mdash;was valued at 41,996<i>l.</i>, and
+the other at 40,552<i>l.</i> Cards representing each portion were placed in a
+hat, and the one representing the 41,996<i>l.</i>, was taken out by the
+Baron.</p>
+
+<p>In 1851 the Earl’s portion was let to Mr. W. Jackson on a building
+agreement for 99 years, at 100<i>l.</i> per acre, or 4600<i>l.</i> per annum. In
+1852 the Baron de Villars sold his moiety to the Royal Commissioners for
+the Exhibition of 1851 for the sum of 153,793<i>l.</i> The Commissioners only
+wanted a small portion of the Earl’s property. The first offer made by
+Mr. Cubitt to the surveyor of the estate was 40,800<i>l.</i> for 17 acres,<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span>
+or at the rate of 2400<i>l.</i> per acre. This was declined, and after a
+little negotiation the sum of 54,716<i>l.</i> was obtained. The matter was
+settled on the 7th of March, 1853; Mr. Jackson the builder received
+7964<i>l.</i> as compensation for the loss of so much of his building land.</p>
+
+<p>More land was purchased by the Royal Commissioners to make up the site
+they required; in the very middle of the latter was a field which had
+only been used as a place for beating carpets. It belonged to the Smith
+Charity estate, and fetched a rent of about 40<i>l.</i> per annum; this field
+was obtained by giving in exchange an outlaying one on the Villars
+estate, the building value of which was estimated at 800<i>l.</i> per annum.</p>
+
+<p>The Royal Commissioners, after squaring the site they required, and
+putting aside the portion now occupied by the Department of Science and
+Art, parcelled out the remaining outlying portion into three blocks, and
+let them on building leases. The first and most important of these was
+secured by the author for an employer, at a rental of 1500<i>l.</i> per
+annum, on condition that the fee of each house plot could be purchased
+within 6 years after the lease was granted; it contained about 2 acres.
+And these are now the only freeholds that can be obtained. This plot is
+now covered with buildings of the selling<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> value, as leaseholds, of
+250,000<i>l.</i>, and it produces an improved ground rental. For the purchase
+of the whole fee, the sum to be paid was 46,500<i>l.</i>, so that for a
+portion of this land which the author of this work, as surveyor of the
+property, sold in 1852 for little more than 3200<i>l.</i> per acre, the value
+had risen, in 1860, to no less than 23,250<i>l.</i> per acre.</p>
+
+<p>It is only since Hyde Park has become almost the centre of the
+metropolis, instead of being in one of its rural districts, that
+attention has been paid to supply it with ornamental lodges and gates.
+The country was so long occupied with the importance of the war with
+France, which terminated so gloriously to the honour of our country,
+that the Royal Parks were left in a very neglected state; and the gates
+and lodges, particularly the entrance into London by Knightsbridge, were
+mean in character, and totally unworthy of the purpose.</p>
+
+<p>Londoners of the present day have no notion of the wretched state of
+Hyde Park as it existed fifty years ago. The side next Park Lane, now a
+beautiful walk, adorned by the gardener’s utmost skill with several
+varieties of flowers and shrubs, was then a narrow sunken road, which
+for the most part continued, by the side of the boundary wall, all the
+way from Oxford Street to Piccadilly. This, when improvement commenced,
+was filled up, and laid down in grass; and a<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> wide Mall, with two
+foot-paths, was formed on the higher ground, and enclosed by handsome
+iron posts and rails. Some extensive gravel pits existed in the middle
+of the park; these were filled up, one only being permitted to remain.
+The surface of the park was generally levelled and manured, by which the
+herbage has been greatly improved. Numerous seats were placed about the
+park, for the convenience of the public; clumps and avenues of trees
+were planted. The Serpentine was cleansed for the first time; it is just
+now recleansed. A new drive, nearly a mile in extent was made through
+the most distant and beautiful part of the park, to lead to Kensington
+Gardens; and generally, all the roads were macadamized, and enclosed
+with posts and rails. To connect the roads north and south of the
+Serpentine, a handsome bridge was erected, from the designs and under
+the superintendence of Messrs. Rennie. This has much conduced to the
+accommodation of pedestrians and horsemen.</p>
+
+<p>About twenty years after these great improvements were effected, Queen
+Anne’s garden, at the extreme termination of Kensington Gardens, was
+thrown open to the public; the kitchen garden belonging to Kensington
+Palace was let out on building leases, and a road formed through it
+connecting the town of Kensington with Bayswater. This road, called the
+Quee<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>n’s Palace Gardens Road, is now covered from end to end with
+first-class mansions. The improvements continued, and are being still
+carried on.</p>
+
+<p>The lodges and gates, at the chief entrances into the park, were put up
+at the expense of the nation. When any building operator required an
+entrance into the park, for some new outlying district, he bore the
+expense of the construction, working under the direction of Her
+Majesty’s Chief Commissioner of Works. The Government lodges at
+Cumberland Place cost 2151<i>l.</i> One of these has been lately removed to
+widen Park Lane.</p>
+
+<p>The two first lodges, with gates opposite Stanhope Street, cost 5062<i>l.</i>
+The single lodge at the end of Grosvenor Street, with the iron gates,
+cost 2929<i>l.</i>, and the fountain 340<i>l.</i></p>
+
+<p>The grandest of all these erections, that at Hyde Park corner, adjoining
+the Duke of Wellington’s mansion, cost 17,069<i>l.</i></p>
+
+<p>The first lodge and entrance gates put up by a private building
+contractor was the Albert Gate, erected by the late Thomas Cubitt; the
+lodge is sunk, its flat roof being on a level only eight feet above the
+ground, and containing two small rooms, with a little yard and scullery.
+The iron railing forming the carriage gates and entrances to the
+foot-paths is of the same height as the lodge, and extends about 60
+feet;<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> the stone piers have on them the old stags which formerly
+decorated the stone piers at the entrance of the Ranger’s Lodge in
+Piccadilly. This gate gave an entrance by Hyde Park to Belgravia, and
+very much raised the value of that district.</p>
+
+<p>The next lodge and gate were put up by Mr. Kelk, opposite the fine
+mansions at Prince’s Gate. This is known as the Prince of Wales’s Gate.</p>
+
+<p>There are two lodges in size and plan exactly similar to the lodge at
+the Queen’s Gate. The gates and railings are very plain; they are 12
+feet in height, and extend to a length of 77 feet.</p>
+
+<p>The Queen’s Gate lodge and gates are certainly the chief of all the
+erections put up by building contractors; their cost was 2800<i>l.</i>, as
+previously mentioned. Both in ornamentation and character they vie with
+the best erections put up by the Government. The length of the iron-work
+between the stone pedestals is 140 feet; the height of the common rails,
+11 feet above ground; the height of the standard and lamp, 18 feet;
+there are two carriage gates, each of 15 feet opening, and two entrances
+for foot-passengers, each of 10 feet opening. The stone pedestals at
+each end are 6 feet in width by 15 feet in height. The iron-work is
+designed to represent a group of spears; the author wished to surmount
+the pedestals with groups of military arms similar to those of the
+trophies of<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<div class="figcenter" style="width: 530px;">
+<a href="images/ill_pg_143_lg.jpg">
+<img src="images/ill_pg_143_sml.jpg" width="530" height="374" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Design No. 13. Elevation of centre of iron-work, Queen’s
+Gate.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p>
+
+<p>Marius on the balustrading in front of the Senatorial Palace, Rome.
+These could have been constructed in</p>
+
+<div class="figcenter" style="width: 345px;">
+<a href="images/ill_pg_144_lg.jpg">
+<img src="images/ill_pg_144_sml.jpg" width="345" height="423" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of one of the Iron Standards.</p></div>
+</div>
+
+<p class="nind">stone, at little expense. Sir Benjamin Hall wished for<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> marble statues,
+and on Prince Albert’s suggestion models were made of two reclining
+figures, by Mr.</p>
+
+<div class="figcenter" style="width: 433px;">
+<a href="images/ill_pg_145_lg.jpg">
+<img src="images/ill_pg_145_sml.jpg" width="433" height="307" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section showing construction of Standard.</p></div>
+</div>
+
+<p>Theed, representing “Morning” and “Evening.” These would have caused
+great additional expense to the<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> builders, who wished, as the entrance
+was a great improvement in the value of the Earl of Harrington’s
+property at Kensington, to place, on the piers, two</p>
+
+<div class="figcenter" style="width: 189px;">
+<a href="images/ill_pg_146_lg.jpg">
+<img src="images/ill_pg_146_sml.jpg" width="189" height="435" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plans of Standard at various heights, showing
+construction.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<p class="nind">fine antique statues of Hercules then on the gates at Elvaston in
+Derbyshire, a country seat of the Earl’s. But as the statues belonged to
+the estate, and were entailed property, they could not be removed, and
+the Earl objected to their being taken down for the purpose of casting.
+The effect of the whole is much injured by the pedestals remaining
+unoccupied. The plate on page 143 represents the centre of the ironwork,
+surmounted by the Royal Arms.</p>
+
+<div class="figcenter" style="width: 126px;">
+<a href="images/ill_pg_147_lg.jpg">
+<img src="images/ill_pg_147_sml.jpg" width="126" height="205" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Iron block and ball latch.</p></div>
+</div>
+
+<p>The gates and railing are of very superior construction; they are the
+work of Mr. Turner, of Hinde Street, Manchester Square. They have been
+pronounced by the Government officials as requiring little attention,
+and that the gates open and shut better than any other gates in the
+park. Page 144 gives an<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> elevation of one of the iron standards. Each is
+two feet in width; there are ten of them; four, those belonging to the
+carriage entrances, being surmounted by lamps. The small size of this
+volume will not allow a full illustration of the ornamentation to be
+given, but it admits that important part, the construction, to be
+clearly shown. Page 145 gives a section of one of the standards, <i>d</i> is
+a layer of concrete, 1 foot 6 inches in height and four feet in width,
+which goes all through; <i>a</i> is the York landing, 6 inches thick and 5
+feet square; <i>b</i> is the brickwork, this goes all through; <i>c c</i>
+represent the blocks of Portland stone; and <i>e</i> is the granite curb 8
+inches by 10 inches in section, within the entrances.</p>
+
+<div class="figcenter" style="width: 107px;">
+<a href="images/ill_pg_148_lg.jpg">
+<img src="images/ill_pg_148_sml.jpg" width="107" height="149" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Wheel block.</p></div>
+</div>
+
+<p>Page 146 gives the plans of the standards at different heights, showing
+the several plates given in the section; and on page 149 is a section of
+the wrought-iron coupling-bar with its brass bush.<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<p>The gates move on a hardened steel socket of circular form, working
+within a steel box, as shown in the section.</p>
+
+<div class="figcenter" style="width: 250px;">
+<a href="images/ill_pg_149-a_lg.jpg">
+<img src="images/ill_pg_149-a_sml.jpg" width="250" height="230" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fall-down latch.</p></div>
+</div>
+
+<div class="figcenter" style="width: 140px;">
+<a href="images/ill_pg_149-b_lg.jpg">
+<img src="images/ill_pg_149-b_sml.jpg" width="140" height="43" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Coupling-bar.</p></div>
+</div>
+
+<p>Iron block and ball latches are provided for each of the gates. On pages
+148 and 149 are cuts of the wheel block, with the plan, elevation, and
+section of the stopping-piece or fall-down latch. The stopping-piece is
+keyed into the granite curb in the centre of each gateway; <i>a a</i> is the
+lower rail of gates, and by its side is a small portion of the ornament
+between<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> the rails. That the effect of the whole structure was, very
+much injured by the unfinished state of the pedestals was the opinion of
+Lord Llanover, who sent the following letter to the architect,
+expressing his dissatisfaction:</p>
+
+<div class="blockquot"><p class="r">
+Great Stanhope Street,<br />
+<i>July 11, 1859</i>.&nbsp; &nbsp; <br />
+</p>
+
+<p class="nind">
+<span class="smcap">Sir</span>,<br />
+</p>
+
+<p>The works at the Queen’s Gate, Hyde, Park, are very well executed,
+and the entrance, as completed, produces a good effect; but that
+effect would be materially improved if the gates and the railings,
+and the ornamental works were relieved by colour, and some of the
+parts gilt as I intended they should be. The two pedestals are also
+without the groups which were to form the superstructure of the
+square blocks. The work so far as it is executed is very well
+executed, and I am quite satisfied with it so far; but I shall not
+consider it completed until the groups are placed on the pedestals,
+and the best effect will not be produced so long as the iron-work
+remains wholly black.</p>
+
+<p class="r">
+<span style="margin-right: 8em;">I am, Sir,</span><br />
+
+<span style="margin-right: 3em;">Yours faithfully,</span><br />
+
+<span class="smcap">Llanover</span>.<br />
+</p>
+
+<p class="nind">
+C. J. Richardson, Esq.<br />
+</p></div><p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span>
+
+<h2><a name="ON_THE_FOUNDATION_AND_BASEMENT_WALLS_OF_BUILDINGS_DAMP_PREVENTION_AND" id="ON_THE_FOUNDATION_AND_BASEMENT_WALLS_OF_BUILDINGS_DAMP_PREVENTION_AND"></a>ON THE FOUNDATION AND BASEMENT<br />
+WALLS OF BUILDINGS,<br />
+ DAMP PREVENTION, AND<br />
+FIRE PROOF CONSTRUCTION.</h2>
+
+<p class="nind"><span class="letra">T</span>HE foundations of buildings require careful consideration. When a house
+approaches completion and shows cracks in the upper walls, they arise
+either from insufficient attention having been given to the solid
+character of the earth forming the site, or from bad construction at the
+basement. The building in fact settles down unequally. As a settlement
+of every building is certain to take place upon its completion, the
+greatest precaution should be taken to make it as equable as possible.
+No portion should settle deeper than another, and this can only be
+secured by care at the foundations.</p>
+
+<p>It often happens that portions of a selected site are of unequal
+quality. In such cases it is necessary to excavate the worst portions
+deeper to reach a good stratum, and to take the brickwork lower, no
+filling up beyond the usual thickness of concrete being allowed.</p>
+
+<p>There is another very serious evil, in building, to<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> be guarded against.
+Owing to the moisture of the earth rising through the foundations and
+saturating the walls above, the health of the occupants of such houses
+may be seriously affected by its presence in the walls. About twenty
+years ago it was the universal practice in good buildings to place wide
+stone landings&mdash;three times the thickness of the wall above&mdash;under the
+foundations, for the purpose of preventing the damp from rising as well
+as to spread the width of the wall.</p>
+
+<div class="figcenter" style="width: 230px;">
+<a href="images/ill_pg_152_lg.jpg">
+<img src="images/ill_pg_152_sml.jpg" width="230" height="219" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of a proper foundation for a wall.</p></div>
+</div>
+
+<p>A bed of concrete is now used as a substitute for this plan; the
+engraving below shows the best method of constructing foundation walls.
+A trench, three times the width of the wall is dug, at least 2 feet<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> 6
+inches in depth. Into this is thrown a quantity of concrete, which soon
+dries and becomes solid. In the superior class of buildings a layer of
+concrete, six inches in thickness, is placed entirely over the ground,
+inside the foundation. Upon this concrete the walls are built, the
+lowest footing being twice the width of the wall above. On a few courses
+above the top footing a course called a “damp course” is put; this is
+shown at <i>a</i>, page 152.</p>
+
+<p>Two courses of slate are laid in cement; but other materials are often
+used, as a thin sheet of lead, for the whole width of the wall. Zinc
+might answer, but it has not yet been tried. A thin coat of asphalte, or
+asphalted cloth, tar, pitch, or a plain coat of cement are also often
+employed, but the two courses of slate in cement are considered
+sufficient. The first course of bricks above the ground is often formed
+entirely of air bricks, originated by Mr. Aldin, the builder, of
+Kensington. Each brick has eight or ten perforations, ½ inch in
+diameter, through its whole length; a small piece of perforated zinc is
+placed upright between the bricks to prevent insects from entering. This
+is shown at <i>b</i>. The timbers and stone flooring of the basement do not
+enter the walls, but rest upon dwarf walls, the joists having oak
+sleepers to rest on. The brick fenders of the foundations are entirely
+filled with dry rubbish or ironfounder’s ashes, and the stone hearths<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span>
+bedded solid either in mortar or concrete. This is the construction
+shown in all the designs of this volume. To illustrate still further the
+attention given in constructing foundations, the engraving below is
+given, showing a section of a foundation executed several years ago at
+Westminster, where the ground was uncertain. Its scale is only half that
+of the previous figure, the upper wall being 3 feet in thickness</p>
+
+<div class="figcenter" style="width: 229px;">
+<a href="images/ill_pg_154_lg.jpg">
+<img src="images/ill_pg_154_sml.jpg" width="229" height="165" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of foundation to a wall.</p></div>
+</div>
+
+<p class="nind">instead of 1 foot 6 inches. Above the bed of concrete, which is 9 feet
+in breadth, by 3 feet in thickness, are York landings, <i>a</i>, 4 inches
+thick and exceeding 6 feet in width. Upon these are laid two lines of
+wood sleepers, <i>b</i>, bedded in brick and cement, the size of each sleeper
+being 12 by 6 inches, and in long lengths. Above this is a course of
+planking, <i>c</i>, placed diagonally across the wall; each plank being 12
+inches by 6 inches, and about 9 feet in length.<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span> Above this are the
+footings, each two courses in height: in the return walls the landings,
+sleepers, and planking are placed a course higher, so that they might be
+tied together. The brickwork goes down twelve feet, and invert arches
+are turned at every opening.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a href="images/ill_pg_155_lg.jpg">
+<img src="images/ill_pg_155_sml.jpg" width="150" height="162" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>In order to keep the walls as solid as possible in the lower part of a
+building, the ground floor joisting should rest on projecting corbel
+bricks as here shown,&mdash;the joists going between the cross walls rest
+upon projecting bricks, the upper one being of peculiar strength; tall
+piles are put between each joist against the wall, for the skirting in
+cement to be formed upon it. Air bricks in open iron-work, two to each
+front, are placed so as to admit air within the joisting.</p>
+
+<p>This mode of construction is carried throughout the ground floor.<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p>
+
+<p>The stone landing of the passage by the side of the servants’ stairs, is
+supported on the part next the wall by corbel bricks, and on the other
+side by an iron bar let into the wall at each end; as shown above. In
+the upper floor, the joisting should be reversed and go front to back,
+notched on wall plates let into the wall, thus tying both walls
+together.</p>
+
+<div class="figcenter" style="width: 195px;">
+<a href="images/ill_pg_156-a_lg.jpg">
+<img src="images/ill_pg_156-a_sml.jpg" width="195" height="60" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of stone landing of passage.</p></div>
+</div>
+
+<div class="figcenter" style="width: 271px;">
+<a href="images/ill_pg_156-b_lg.jpg">
+<img src="images/ill_pg_156-b_sml.jpg" width="271" height="131" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of kitchen roofing.</p></div>
+</div>
+
+<p>The introduction of rolled iron girders into buildings renders fireproof
+construction very easy. They are made of all sizes, and can be placed
+over any opening, so as to carry the weight above them. Kitchens in many
+London houses are constructed in the back yards, with an area between
+them and the house. This confines all the smell of the cooking to<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span> the
+precincts of the kitchen. As it is very important that no roofing should
+interrupt the light from the back ground-windows of the house, the roof
+of the kitchen is so constructed that the yard is only moved upwards; it
+belongs to the ground floor and not to the basement. For this purpose,
+cast iron girders, standing on brick piers, bear up rolled iron six-inch
+girders, between which half-brick arches are turned. Above all these is
+concrete, cement, or asphalte. The courses of tiles and cement are laid
+at such a slope as will be sufficient to take the water off quickly. It
+is easy to put skylights, or any kind of opening, in this construction,
+and to make the whole water-tight.</p>
+
+<p>This figure shows a way of supporting walls over openings, instead of
+the old method of arching in brick; the iron girders or plates have
+often no timber between them; they rest upon iron shoes or stone slabs,
+their depth being proportioned to the opening and the weight above.
+Strong large hollow bricks or tiles are placed over them, and above all
+is the brickwork.</p>
+
+<div class="figright" style="width: 56px;">
+<a href="images/ill_pg_157_lg.jpg">
+<img src="images/ill_pg_157_sml.jpg" width="56" height="135" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Support over opening.</p></div>
+</div>
+
+<p>The upper floors of buildings are made fire-proof in a similar manner,
+and for this purpose there are several excellent patented methods. The
+iron girders are closed up by brick arches, or filled between with<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span>
+concrete. The only objection to this mode of construction for upper
+floors is the great weight, and the walls require to be made of extra
+strength. Several years ago a hollow brick was used to form such arches
+and roofing, <i>e.g.</i>, the dome of the Rotunda, at the Bank of England, is
+formed with them. The brick is somewhat similar to a flowerpot, but flat
+and closed at each end. There were several varieties of these cone
+bricks, as they were called; a few are preserved in the Soane Museum.
+One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8
+by 2 inches at the bottom. They were curved inwards with a small
+opening, 1 by 2/8 inch in the centre. The edges of the brick were
+slightly splayed, and the sides scored; these were as strong as the
+common bricks, and very much lighter. When the East India House was
+pulled down a large quantity of these bricks was obtained; they were
+brought to Kensington, and the builders did not know what they were
+intended for; their purpose being pointed out, they were used up in the
+construction of fire-proof flooring.</p>
+
+<p><i>Fire-proofing.</i>&mdash;A method of rendering buildings nearly fire-proof was
+introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted
+in placing thin metal plates between the flooring boards and the joists,
+so as to prevent any upward currents of air. For domestic buildings the
+system was one of<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> great value. After several successful trials it
+obtained considerable notoriety, and being thought capable of an
+impossibility, that of rendering a Theatre fireproof, it was applied to
+the Pantheon Theatre in Oxford Street. On that structure being burnt to
+the ground the plates lost their character, and went out of use. It was
+clearly a mistake to apply them to such a building. Thin iron plates
+hung at a short distance below the ceiling were successfully adopted by
+Mr. Walter Crum, to prevent the spread of fire from one room to another
+in his calico printing works, near Glasgow.</p>
+
+<p><i>Damp.</i>&mdash;The damp rising from foundations is more easily guarded against
+than damp coming against a building laterally. Houses in exposed
+situations and subject to driving winds, are often very wet inside the
+walls, the rain being driven through them. Sometimes the best
+construction will not keep out wet. As a rule, a well-built wall wherein
+proper material has been used, should not be damp.</p>
+
+<p>A rectory, not far from Salisbury, where the author was engaged a few
+years ago, was in such an exposed situation that on three of its sides
+no tree or any other object in a direct line could be seen for three
+miles. Clothes, if placed against the external wall of the
+dressing-room, were often quite wet. The Rector had tried several
+preventives himself; one<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> was a mixture, used to water-proof cloth&mdash;a
+wash of soap and alum.</p>
+
+<p>The ingredients were mixed in the following proportions: ¾ lb. of
+mottled soap to 1 gallon of water. This mixture, when in a boiling
+state, was laid over the surface of the brickwork steadily and carefully
+with a large flat brush, so as not to form a froth or lather on the
+surface, and was permitted to remain twenty-four hours to become dry and
+hard. Another mixture was then made in these proportions: ½ lb. of alum
+to 4 gallons of water, which, after standing twelve hours, in order that
+the alum should be completely dissolved, was applied in like manner with
+a flat brush over the coating of soap. The coating had to be very often
+renewed. The wall most exposed was made free from wet by being covered
+with a coating of cement.</p>
+
+<p>Walls exposed to damp should be coated with a thin layer of Portland
+cement, mixed with a little plaster of Paris, and after this is
+thoroughly dry, it may be hardened and rendered impervious to water by
+painting it with boiled linseed oil and red lead, mixed together.</p>
+
+<p>In very exposed situations all external walls should be battened, lath
+and plastered within, or built with a hollow cavity in the middle, with
+proper bond and a proportionate increase of thickness,&mdash;the hollow
+could<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span> be filled with concrete, or the back of the bricks covered with
+pitch. There are several other methods for keeping walls free from damp.
+One is to saturate the walls with some kind of mastic, or a wash
+composed of two or three parts of resin and one part of drying oil, to
+the extent of as many washes as the wall will absorb. This must be quite
+dry at the time, or be dried by means of a small portable furnace. The
+plan is effectual, but it is a difficult operation to perform. A cement
+composed of lime, boiled linseed oil, white lead, and sand, has been
+recommended.</p>
+
+<p>Besides these various compositions, there are several excellent
+well-known paint and metallic cements, which have stood very severe
+tests, and are largely made use of; but walls properly constructed
+should not require their application.</p>
+
+<div class="figcenter" style="width: 163px;">
+<a href="images/ill_pg_161_lg.jpg">
+<img src="images/ill_pg_161_sml.jpg" width="163" height="106" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plaster ornament for a ceiling.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p>
+
+<h2><a name="DESIGN_No_14" id="DESIGN_No_14"></a><i>DESIGN No. 14.</i><br /><br />
+A SMALL COUNTRY RECTORY.</h2>
+
+<div class="figcenter" style="width: 374px;">
+<a href="images/ill_pg_162_lg.jpg">
+<img src="images/ill_pg_162_sml.jpg" width="374" height="329" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made for a country clergyman residing near Montacute, in
+Somersetshire. It was arranged according to his express directions in
+every particular, both as to style, and in regard to the number and size
+of the rooms on each floor. Living in the immediate neighbourhood of
+some of the finest</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_163_lg.jpg">
+<img src="images/ill_pg_163_sml.jpg" width="275" height="224" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">old English mansions, he was anxious to have a residence in the old
+decorated style of wooden architecture, certainly the most picturesque
+of all the styles our forefathers have left us. The timber dwelling is
+found in almost every county throughout England, with their projecting
+windows and highly ornamented bargeboards; several large houses in
+Cheshire and<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> Shropshire remain to satisfy us that such construction,
+when properly carried out, is very lasting. The timber used requires to
+be felled at the right time, and to be properly seasoned before being
+placed up; which must be done on a brick or stone foundation. Dwellings
+constructed in this way were anciently</p>
+
+<div class="figcenter" style="width: 263px;">
+<a href="images/ill_pg_164_lg.jpg">
+<img src="images/ill_pg_164_sml.jpg" width="263" height="225" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper floor.</p></div>
+</div>
+
+<p class="nind">called post-and-pan houses. They have been known to rock and bend before
+severe storms, and to stand intact while adjoining buildings have been
+blown down. Large palaces were formerly constructed in England of wood;
+the chimney flues and fireplaces alone being of brick. The sketch-book
+of John Thorpe, an Elizabethan architect, a copy of which is<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span> in the
+fine library of the Art Museum of South Kensington, illustrates several
+of these dwellings.</p>
+
+<p>With the present design it was the intention of the rector to carry out
+the work himself, the necessary drawings being provided him. The
+building is small and compact. When much adornment is intended, it is
+necessary to confine the expense within</p>
+
+<div class="figcenter" style="width: 125px;">
+<a href="images/ill_pg_165_lg.jpg">
+<img src="images/ill_pg_165_sml.jpg" width="125" height="209" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ornament in ceiling of study.</p></div>
+</div>
+
+<p class="nind">bounds; if a cheap large house with plenty of accommodation be required,
+then four walls and an overhanging roof alone need be given. The view
+shows the principal front of the building; on page 163 is the ground
+plan; <i>a</i> is a small hall having a window looking into the conservatory
+on the right; the door leading to the servants’ department is on the
+left;<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span> <i>c</i> is a small study, 16 ft. by 14 ft., with a decorated ceiling,
+containing the shield of arms of the owner. The drawing-room, <i>d</i>, size
+28 ft. by 15 ft, has the</p>
+
+<div class="figcenter" style="width: 243px;">
+<a href="images/ill_pg_166-a_lg.jpg">
+<img src="images/ill_pg_166-a_sml.jpg" width="243" height="199" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The ceiling of drawing-room.</p></div>
+</div>
+
+<p class="nind">ornamental ceiling of bold Elizabethan character; this covers the whole
+ceiling, and the effect of such ornamentation</p>
+
+<div class="figcenter" style="width: 164px;">
+<a href="images/ill_pg_166-b_lg.jpg">
+<img src="images/ill_pg_166-b_sml.jpg" width="164" height="101" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cornice of drawing-room.</p></div>
+</div>
+
+<p class="nind">is very good. Often, in the olden times, a portion of the rib moulding
+was gilt, the ground of the ceiling being of a light blue; ceilings of
+this kind<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span> exist which represent foliage and flowers, giving the effect
+of a garden bower. The preceding illustration shows the present ceiling.
+The simple rib moulding is in plaster, with small flowers and pendants.
+The section of the rib moulding to a large scale is shown in the cut;
+which also gives the cornice and frieze of the room; <i>e</i>, in the ground
+plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace
+paved with</p>
+
+<div class="figcenter" style="width: 307px;">
+<a href="images/ill_pg_167_lg.jpg">
+<img src="images/ill_pg_167_sml.jpg" width="307" height="152" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of attic. Basement plan.</p></div>
+</div>
+
+<p class="nind">marble in black and white squares&mdash;the present ornamental tiles were not
+in common use at the time the design was made; <i>f</i> is the kitchen, <i>g</i>
+the scullery, and <i>h</i> the larder. A small enclosed servants’ yard, with
+place for coals, wood, and other conveniences, is in front of the
+kitchen. The yard has a separate entrance from the front. This is the
+whole of the accommodation given on the ground floor. The one-pair plan
+shows the five bedrooms. These are<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span> without dressing-rooms, there being
+no space for them. A small turret staircase leads to the attic floor.
+This gives two large bedrooms and a small one for the</p>
+
+<div class="figcenter" style="width: 340px;">
+<a href="images/ill_pg_168_lg.jpg">
+<img src="images/ill_pg_168_sml.jpg" width="340" height="371" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through building.</p></div>
+</div>
+
+<p class="nind">servants. The large bow-windowed room might serve as a nursery. The
+tower was carried up and contained a bell. The basement plan contains a
+large<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span> and small wine cellar, and one also for beer; there are four
+cellars, besides an inner cellar under the stairs.</p>
+
+<div class="figcenter" style="width: 355px;">
+<a href="images/ill_pg_169_lg.jpg">
+<img src="images/ill_pg_169_sml.jpg" width="355" height="328" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p>The principal staircase is very light and cheerful, having on one side
+three large windows, with a ledge or stand for flowers. It was proposed
+to panel it entirely with oak, and have an ornamental ceiling similar to
+that in the drawing-room, with a pendant<span class="pagenum"><a name="page_170" id="page_170">{170}</a></span> in the centre. The section is
+taken through the drawing-room, staircase, and kitchen, and shows the
+form and height of the rooms above; also the stone stairs to the
+cellars.</p>
+
+<div class="figcenter" style="width: 357px;">
+<a href="images/ill_pg_170_lg.jpg">
+<img src="images/ill_pg_170_sml.jpg" width="357" height="261" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of gable ornaments.</p></div>
+</div>
+
+<p>It will be seen that the walls rest upon a concrete foundation; the
+scale is too small to show the damp course or the ventilating bricks, as
+previously described (see page 159). The chimneys are shown carried up
+nine inches square, excepting the kitchen chimney, that being 14 inches
+by 9. The staircase was to have a plain Elizabethan iron railing, and
+the whole of the<span class="pagenum"><a name="page_171" id="page_171">{171}</a></span> wood-work to be coloured and grained oak; the roof was
+to be covered with slate, these requiring a less solid base; ornamental
+ironwork crowned the summit of the principal roof over the staircase. An
+illustration of the front of the building is given on page 169.</p>
+
+<div class="figcenter" style="width: 173px;">
+<a href="images/ill_pg_171_lg.jpg">
+<img src="images/ill_pg_171_sml.jpg" width="173" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section and elevation of chimney.</p></div>
+</div>
+
+<p>The figures on page 170 illustrate various kinds of treatment for the
+carving of the finials and pendants, and the ornaments of the small
+gables; it being usual in these structures not to have any two parts of
+ornamental detail exactly alike. It has all to be carved by hand, and
+requires only slight extra trouble on the part of the architect to make
+separate patterns for the workmen. A section and elevation of one of the
+chimneys<span class="pagenum"><a name="page_172" id="page_172">{172}</a></span> are shown also; they are fitted with the small cap introduced
+and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and
+Pimlico; this will</p>
+
+<div class="figcenter" style="width: 213px;">
+<a href="images/ill_pg_172-a_lg.jpg">
+<img src="images/ill_pg_172-a_sml.jpg" width="213" height="118" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Knocker.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>
+Key escutcheons.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 153px;">
+<a href="images/ill_pg_172-b_lg.jpg">
+<img src="images/ill_pg_172-b_sml.jpg" width="153" height="230" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Oak corbel.</p></div>
+</div>
+
+<p class="nind">be found fully illustrated in the chapter on chimney and flue
+construction. At the time this design was<span class="pagenum"><a name="page_173" id="page_173">{173}</a></span> made, this plan was not
+known. The chimney is shown with an iron funnel 2 feet in height, a
+chimney-pot, in fact, let into the stone work at top, having no
+projection within for soot to lodge. Two of the stone balustrades are
+illustrated. Every separate balustrade in such buildings should be of a
+different pattern.</p>
+
+<div class="figcenter" style="width: 306px;">
+<a href="images/ill_pg_173-a_lg.jpg">
+<img src="images/ill_pg_173-a_sml.jpg" width="306" height="56" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Stone balustrades.</p></div>
+</div>
+
+<p>The knocker on the entrance door, the key, escutcheons for the doors,
+and a corbel in oak from the entrance front, are illustrated on page
+172.</p>
+
+<div class="figcenter" style="width: 218px;">
+<a href="images/ill_pg_173-b_lg.jpg">
+<img src="images/ill_pg_173-b_sml.jpg" width="218" height="113" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>An external frieze.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<h2><a name="DESIGN_No_15" id="DESIGN_No_15"></a><i>DESIGN No. 15.</i><br /><br />
+A SMALL COUNTRY HOUSE.</h2>
+
+<div class="figcenter" style="width: 332px;">
+<a href="images/ill_pg_174_lg.jpg">
+<img src="images/ill_pg_174_sml.jpg" width="332" height="241" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building was intended to be only a comfortable country house for
+the residence of an eminent provincial solicitor. It was directed to be
+made of superior character, as the owner, being a person well known in
+the county, considered that the</p>
+
+<div class="figcenter" style="width: 329px;">
+<a href="images/ill_pg_175_lg.jpg">
+<img src="images/ill_pg_175_sml.jpg" width="329" height="252" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The ground plan.</p></div>
+</div>
+
+<p class="nind">eyes of the whole neighbourhood would be upon it. The situation was on
+one of the roads leading out of Maidstone, and as the land in which it
+was to stand was taken on lease for 99 years, nothing beyond a superior
+gentlemanly character could be given to it, as it is only in freehold
+houses that any superior or ex<span class="pagenum"><a name="page_176" id="page_176">{176}</a></span>pensive architectural adornment should be
+indulged in. The Roman or Italian style, as being the most appropriate
+and the one best understood by builders, was adopted.</p>
+
+<div class="figcenter" style="width: 237px;">
+<a href="images/ill_pg_176_lg.jpg">
+<img src="images/ill_pg_176_sml.jpg" width="237" height="212" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The plan of the upper floor.</p></div>
+</div>
+
+<p>The front of the house had no prospect, the side of the road opposite to
+it showing only a high bank with boulders of ragstone, peculiar to the
+county of Kent; and for this reason none of the principal windows looked
+towards it. The back-front and side, however, turned towards the hills
+between Maidstone and Rochester. Very precise directions were given as
+to the arrangement, size, height, and number of the rooms. The study,
+<i>c</i>, was to be on the left of the entrance-hall,<span class="pagenum"><a name="page_177" id="page_177">{177}</a></span> and its size 16 feet
+by 12 feet. It was made 16 feet square. The drawing-room, <i>d</i>, having
+the chief prospect, was to be the principal room. This was made 20 feet
+by 17 feet. The dining-room, <i>e</i>, was 20 feet by 16 feet; both rooms
+looked into conservatories, <i>i</i> <i>i</i>. The back front faced the north&mdash;a
+very favourite aspect for the principal rooms with many of the noblemen
+and gentlemen of Kent; the reason being that the flowers in the gardens
+under the windows, turning towards the sun, present a cheerful and
+agreeable appearance to the occupants of the rooms.</p>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/ill_pg_177_lg.jpg">
+<img src="images/ill_pg_177_sml.jpg" width="255" height="196" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>
+Plan of second floor.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Plan of basement floor.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>The dining-room had steps leading down to the garden; the kitchen <i>b</i>,
+scullery <i>g</i>, and small larder <i>h</i>, were on the right of the entrance,
+the kitchen and the study having small windows by the side of the
+entrance,<span class="pagenum"><a name="page_178" id="page_178">{178}</a></span> so that all visitors coming to the house might be seen. The
+servants’ door was in the small yard by the side of kitchen, with a
+place for coals; <i>o</i> is a small chaise-house, and <i>p</i> a stable for a
+pony; <i>l</i> is the dust-hole.</p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_178-a_lg.jpg">
+<img src="images/ill_pg_178-a_sml.jpg" width="193" height="90" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Frieze of drawing-room.</p></div>
+</div>
+
+<div class="figcenter" style="width: 173px;">
+<a href="images/ill_pg_178-c_lg.jpg">
+<img src="images/ill_pg_178-c_sml.jpg" width="173" height="78" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Frieze of dining-room.</p></div>
+</div>
+
+<div class="figleft">
+<a href="images/ill_pg_178-b_lg.jpg">
+<img src="images/ill_pg_178-b_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of cement skirtings.</p></div>
+</div>
+
+<p>The upper floor had to contain five best bedrooms; these can be seen in
+the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet.
+There were three dressing-rooms, the largest 12 feet by 10, the two
+smaller each 12 feet 6 inches by 6 feet. The second floor contained two
+rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10
+feet. The basement had a footman’s pantry,<span class="pagenum"><a name="page_179" id="page_179">{179}</a></span> 12 feet by 9 feet 6 inches,
+and a dairy of the same size. This had steps down to it in the area.
+There was a wet larder with a window, a wine cellar, and a beer cellar.</p>
+
+<div class="figcenter" style="width: 365px;">
+<a href="images/ill_pg_179_lg.jpg">
+<img src="images/ill_pg_179_sml.jpg" width="365" height="321" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through entrance-hall and dining-room.</p></div>
+</div>
+
+<p>The interior was plainly finished, with nothing beyond the best modern
+enrichments. The whole of the interior had Keen’s cement skirtings. The
+staircase had a skirting flush with the wall, so as not to take away
+space from the stairs; this is shown at<span class="pagenum"><a name="page_180" id="page_180">{180}</a></span> page 178. There were ornamental
+roses in the centre of the ceilings of the principal rooms. The section
+of the interior is made through the principal entrance, across the
+staircase and dining-room; and in the upper floor, through two of the
+dressing-rooms.</p>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_180_lg.jpg">
+<img src="images/ill_pg_180_sml.jpg" width="282" height="364" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of portico.</p></div>
+</div>
+
+<p>The only architectural feature in the front of any<span class="pagenum"><a name="page_181" id="page_181">{181}</a></span> importance was the
+portico (see page 180). A bold and prominent effect was given to it. The
+estimated expense of the building was 2151<i>l.</i>, full price put down as
+2250<i>l.</i></p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette is an elevation of an Elizabethan balustrade, in stone,
+intended to crown a cornice, and to be placed in an elevated position
+against the sky line.</p>
+
+<div class="figcenter" style="width: 348px;">
+<a href="images/ill_pg_181_lg.jpg">
+<img src="images/ill_pg_181_sml.jpg" width="348" height="224" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<h2><a name="DESIGN_No_16" id="DESIGN_No_16"></a><i>DESIGN No. 16.</i><br /><br />
+A COUNTRY VILLA.</h2>
+
+<div class="figcenter" style="width: 361px;">
+<a href="images/ill_pg_182_lg.jpg">
+<img src="images/ill_pg_182_sml.jpg" width="361" height="237" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS villa, which has just been erected in Berkshire, in the
+neighbourhood of Windsor, is intended as the country residence for a
+lady of rank. The living rooms are large and noble, and the
+accommodation</p>
+
+<div class="figcenter" style="width: 341px;">
+<a href="images/ill_pg_183_lg.jpg">
+<img src="images/ill_pg_183_sml.jpg" width="341" height="305" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of ground floor.</p></div>
+</div>
+
+<p class="nind">for a small establishment ample. The plate (page 182) shows the garden
+front, and above is the ground plan. The two principal rooms, the
+drawing and dining-rooms, are respectively 25 feet by 18 feet and 21
+feet by 18 feet. They are to the left of the hall;<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span> this, of moderate
+size, leads to the principal staircase, which is of very easy ascent,
+each step rising less than</p>
+
+<div class="figcenter" style="width: 260px;">
+<a href="images/ill_pg_184a_lg.jpg">
+<img src="images/ill_pg_184a_sml.jpg" width="260" height="259" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper story.</p></div>
+</div>
+
+<p>6 inches. The second landing opens to the servants’ staircase; <i>b</i> (see
+page 183) is the kitchen, size 15 feet</p>
+
+<div class="figleft" style="width: 58px;">
+<a href="images/ill_pg_184-b_lg.jpg">
+<img src="images/ill_pg_184-b_sml.jpg" width="58" height="65" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of wine cellar.</p></div>
+</div>
+
+<p class="nind">by 14 feet, with the larder <i>h</i>, leading directly out of it,&mdash;<i>g</i> is the
+scullery, with an oven, and a shoot into the dustpit <i>m</i>, <i>n</i> is the
+housekeeper’s room, and <i>j</i> the butler’s pantry; <i>c</i> is the lady’s room
+or study. This was enlarged, by taking down the partition, marked on<span class="pagenum"><a name="page_185" id="page_185">{185}</a></span>
+the plan by the dotted lines, to allow of a splendid oak cabinet being
+placed there. A door in the room opens direct into that of the
+housekeeper; <i>k</i> is the dairy,</p>
+
+<div class="figcenter" style="width: 458px;">
+<a href="images/ill_pg_185_lg.jpg">
+<img src="images/ill_pg_185_sml.jpg" width="458" height="289" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through drawing-room, staircase, and kitchen.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<p class="nind">and <i>l</i> a place for coals. The wine cellar was at first intended to be
+placed under the principal flight of stairs, descending a few steps; but
+a large one, <i>b</i> (see page 184), was afterwards made.</p>
+
+<div class="figcenter" style="width: 260px;">
+<a href="images/ill_pg_186_lg.jpg">
+<img src="images/ill_pg_186_sml.jpg" width="260" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>French cut pine woodwork, from the exterior.</p></div>
+</div>
+
+<p>The plan of the upper story shows it containing two large principal
+bedchambers&mdash;each with a dressing-room, and a large room with two
+fireplaces serving as a nursery, but which could at any time be made
+into two rooms by putting up partitions.</p>
+
+<p>The servants’ sleeping apartments, the housemaid’s closet, and the
+servants’ staircase, occupy the remaining portion of the plan.</p>
+
+<p>The cost of erecting the carcase of the building, including the wine
+cellar, was 1108<i>l.</i> The cost of finishing, putting up the principal
+staircase in Portland<span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figright" style="width: 183px;">
+<a href="images/ill_pg_187_lg.jpg">
+<img src="images/ill_pg_187_sml.jpg" width="183" height="295" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and elevation of iron glazed casement to
+entrance-door.</p></div>
+</div>
+
+<p class="nind">stone, and leaving all work required to be painted with two coats, but
+exclusive of papering, stoves, ironwork, marble mantelpieces,
+conservatory, verandah and exterior decorations to roof, was 1550<i>l.</i>
+Mr. Hockley, of Kensington, was the builder. When the mansion was
+finished so far, all ornamentations, &amp;c., formed an agreeable occupation
+for the lady to complete from favourite examples seen by her on the
+Continent. The extra parquet flooring in the dining and drawing-rooms is
+from Switzerland. This cost 148<i>l.</i> All the stone flooring of the hall,
+staircase, passages, and conservatory, is covered with tiles from Italy;
+these are about 8 inches square, but not so well made as the English
+kind, although more artistic. Each has a small figure put in by hand,
+which is different<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span> on every tile. The tiles are faced with a white
+china ground and look extremely well. The common tiles cost 16<i>s.</i> per
+100. The grotesque figured tiles,</p>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_188_lg.jpg">
+<img src="images/ill_pg_188_sml.jpg" width="239" height="364" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and view of remains of old house.</p></div>
+</div>
+
+<p class="nind">of which the illustration on page 189 shows four, cost 2<i>l.</i> per 100.
+They were supplied by M. Giustiniani, of Naples. The marble
+chimney-pieces were<span class="pagenum"><a name="page_189" id="page_189">{189}</a></span> to be supplied from Italy. The ironwork of the
+staircases, and the panel to fill up the opening in staircase, shown
+dotted in the upper plan, were supplied from Paris. It is different from
+any ironwork that can be procured here, of elegant design, and covered
+apparently with a thin coat of zinc. This gives it a silvery metallic
+appearance, and it does not require</p>
+
+<div class="figcenter" style="width: 191px;">
+<a href="images/ill_pg_189_lg.jpg">
+<img src="images/ill_pg_189_sml.jpg" width="191" height="189" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Four of the Italian figured tiles.</p></div>
+</div>
+
+<p class="nind">painting; it is really a coating of glass, and is termed the <i>lavenant</i>
+process. It it said to be a great preservative of the iron, and can be
+put on in different colours. Each of the windows of the principal rooms,
+and the hall, is fitted within with Price’s steel revolving shutters.
+These cost 75<i>l.</i> The upper windows on the outside have iron balconets,
+likewise from France, and the roof, surrounding the principal parts,<span class="pagenum"><a name="page_190" id="page_190">{190}</a></span> is
+finished with the French cut pine patterns. They were supplied by M.
+Jules Millet, of 12, Boulevard du Temple. The entrance door has the two
+upper panels</p>
+
+<div class="figcenter" style="width: 235px;">
+<a href="images/ill_pg_190_lg.jpg">
+<img src="images/ill_pg_190_sml.jpg" width="235" height="376" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>French iron staircase railing.</p></div>
+</div>
+
+<p class="nind">filled with French castings, executed in a fashion different from the
+English mode; but one quite worthy to be followed. The iron panel is
+placed on<span class="pagenum"><a name="page_191" id="page_191">{191}</a></span> the outside, with a light iron glazed casement fitted behind
+it. This in warm weather can be opened, so as to admit fresh air into
+the hall. The plan and elevation of the casement shown from the inside,
+on page 187; by the side of it is one quarter of the external iron
+casting.</p>
+
+<p>It may be remarked that these French patterns, both in iron and wood,
+are not finished off as clean as they would be in England. The castings
+appear just as they came out of the sand, and the wood pattern exactly
+as the machines or saw left them; but they are extremely elegant, and
+the metallic appearance of the ironwork is very pleasing.</p>
+
+<p>The former house is pulled down, except a portion, permitted to remain,
+which is formed into a decorative building for the garden; the plan
+(page 188) shows <i>a</i> the old kitchen, <i>b</i> the wine cellar made into an
+ice-house, <i>d</i> a lock-up closet, <i>f</i> a prospect tower, <i>c</i> a closet in a
+small enclosed garden, and <i>e</i>, a garden seat.</p>
+
+<p>On page 190 is a pattern sent from Paris for the staircase railing.</p>
+
+<div class="figcenter" style="width: 195px;">
+<a href="images/ill_pg_191_lg.jpg">
+<img src="images/ill_pg_191_sml.jpg" width="195" height="45" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<h2><a name="DESIGN_No_17" id="DESIGN_No_17"></a><i>DESIGN No. 17.</i><br /><br />
+A DOUBLE SUBURBAN VILLA.</h2>
+
+<div class="figcenter" style="width: 477px;">
+<a href="images/ill_pg_192_lg.jpg">
+<img src="images/ill_pg_192_sml.jpg" width="477" height="377" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building was intended for erection on a leasehold estate at a
+little distance out of London. It would have been of rather plainer
+character, but the view (page 192) shows the design first made. The
+frontage, or width of ground for each house, was</p>
+
+<div class="figcenter" style="width: 291px;">
+<a href="images/ill_pg_193_lg.jpg">
+<img src="images/ill_pg_193_sml.jpg" width="291" height="282" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<p>60 feet, the depth 150 feet. The character of the building was of the
+domestic style of the reign of Henry VII., and the accommodation it
+afforded is given in the several plans. The ground plan shows two large
+rooms <i>D</i> and <i>E</i>, the drawing and dining rooms, which can easily be
+opened into each other by<span class="pagenum"><a name="page_194" id="page_194">{194}</a></span> sliding back the inner doors into the
+partition; <i>C</i> is the library, with a book-room leading out of it. <i>B</i>
+is the staircase, of a size rather larger than that generally allowed in
+London houses. Very often, sufficient attention is not paid to this
+highly important part of our dwellings by builders, nor full space
+allowed for it. A</p>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_194_lg.jpg">
+<img src="images/ill_pg_194_sml.jpg" width="287" height="257" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan.</p></div>
+</div>
+
+<p class="nind">good staircase should have, at every six or seven steps, a landing of at
+least 2 feet 6 inches in depth. Where winding stairs are used they
+should have a good sweep; the tread, in the centre, should be 1 foot in
+width, the riser never more than 6 inches in height&mdash;less even would be
+better. It is also of considerable importance<span class="pagenum"><a name="page_195" id="page_195">{195}</a></span> in a staircase that the
+height of the steps in the various flights should be the same. Some of
+the most costly and important of the builders’ houses in London, erected
+on highly rented land, have the staircases so confined that these, an
+architect’s well-known rules, are wholly put aside. Staircases with
+risers of 6 inches in height from the ground to the one-pair floor,
+increased to near 7 inches to the two-pair, the latter flight containing
+probably 30 steps in a straight line without a landing, render a house
+almost uninhabitable.</p>
+
+<div class="figcenter" style="width: 273px;">
+<a href="images/ill_pg_195_lg.jpg">
+<img src="images/ill_pg_195_sml.jpg" width="273" height="264" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Attic plan.</p></div>
+</div>
+
+<p>A servants’ staircase is a most desirable addition to<span class="pagenum"><a name="page_196" id="page_196">{196}</a></span> a large house.
+The present building was not considered of sufficient importance to have
+one. It was proposed to be placed between the tower and the dining-room,
+but it was rightly considered that the two staircases should be put
+together so that the</p>
+
+<div class="figcenter" style="width: 284px;">
+<a href="images/ill_pg_196_lg.jpg">
+<img src="images/ill_pg_196_sml.jpg" width="284" height="280" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p class="nind">landings of each, on every half space, should be on the same level,
+separated only by a door, and giving the servant immediate access to
+every floor of the house. A position between the library and staircase
+would have been most proper, but there was not sufficient width; it
+would have interfered with the<span class="pagenum"><a name="page_197" id="page_197">{197}</a></span> kitchen, and would have made too
+intricate a plan, which, for houses to be erected on leasehold land, is
+objected to by builders unless directed by the party purchasing.</p>
+
+<div class="figcenter" style="width: 185px;">
+<a href="images/ill_pg_197-a_lg.jpg">
+<img src="images/ill_pg_197-a_sml.jpg" width="185" height="143" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of roof to larder.</p>
+</div>
+</div>
+
+<div class="figcenter" style="width: 190px;">
+<a href="images/ill_pg_197-b_lg.jpg">
+<img src="images/ill_pg_197-b_sml.jpg" width="190" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of steps to garden.</p></div>
+</div>
+
+<p>With a servants’ staircase follow a large housemaid’s closet, sink, &amp;c.,
+which must always be provided where<span class="pagenum"><a name="page_198" id="page_198">{198}</a></span> possible. The plan of the one-pair
+shows three large bedrooms and one dressing-room, with the tower room,
+which was intended either for a morning room, a</p>
+
+<div class="figcenter" style="width: 330px;">
+<a href="images/ill_pg_198_lg.jpg">
+<img src="images/ill_pg_198_sml.jpg" width="330" height="365" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The side elevation.</p></div>
+</div>
+
+<p class="nind">school room, or a boudoir. There is a large conservatory on the
+principal landing of staircase, and a closet leading out of it. A
+good-sized aquarium with a<span class="pagenum"><a name="page_199" id="page_199">{199}</a></span> regular supply of water could be easily
+arranged in the centre of the conservatory. The attic plan contains
+three large rooms for servants, and the tower room was to be used as a
+smoking room, or as a play room for the children.</p>
+
+<div class="figcenter" style="width: 271px;">
+<a href="images/ill_pg_199_lg.jpg">
+<img src="images/ill_pg_199_sml.jpg" width="271" height="381" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>The basement contains a private breakfast or dining<span class="pagenum"><a name="page_200" id="page_200">{200}</a></span> room, <i>T</i>, with a
+large store closet, having an opening one foot in height filled with
+perforated zinc opposite</p>
+
+<div class="figcenter" style="width: 189px;">
+<a href="images/ill_pg_200_lg.jpg">
+<img src="images/ill_pg_200_sml.jpg" width="189" height="372" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Half elevation of small library.</p></div>
+</div>
+
+<p class="nind">the window of the passage; <i>N</i> is the housekeeper’s or servants’ hall;
+<i>B</i> the kitchen 23 feet by 18 feet, with <i>G</i> the scullery behind, <i>H</i>,
+<i>H</i>, the larders, <i>S</i> position<span class="pagenum"><a name="page_201" id="page_201">{201}</a></span> for a lift, and <i>L</i> a place for coals.
+The basement stairs should have been on the side adjoining kitchen.</p>
+
+<div class="figcenter" style="width: 407px;">
+<a href="images/ill_pg_201_lg.jpg">
+<img src="images/ill_pg_201_sml.jpg" width="407" height="354" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>It is a difficult thing in this class of house to confine the smell of
+the cooking to the kitchen. An endeavour was made here to effect it. The
+kitchen<span class="pagenum"><a name="page_202" id="page_202">{202}</a></span> had no direct entrance to the body of the house, the servants
+going through the passage, by the side of the area, from which it was
+well ventilated, to get to the common staircase. This had a window at
+the top, not shown in the plan. The small section on page 197 shows</p>
+
+<div class="figcenter" style="width: 197px;">
+<a href="images/ill_pg_202_lg.jpg">
+<img src="images/ill_pg_202_sml.jpg" width="197" height="276" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of hall screen.</p></div>
+</div>
+
+<p class="nind">the mode of ventilating the larder; <i>a</i> is a slab of slate let into the
+wall, <i>b</i> a pane of perforated zinc, <i>c</i> iron bars glazed with thick
+glass, so that whatever the weather, there would be full ventilation,
+the fresh air always entering and the confined air leaving the room.
+This<span class="pagenum"><a name="page_203" id="page_203">{203}</a></span> is the usual mode, in large houses, of covering the external
+passage leading from the kitchen to the house.</p>
+
+<div class="figcenter" style="width: 318px;">
+<a href="images/ill_pg_203_lg.jpg">
+<img src="images/ill_pg_203_sml.jpg" width="318" height="452" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of hall screen. (See page 206.)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<p>The general view shows the front and side of the two houses. The
+elevation of the side front is given on page 198.</p>
+
+<div class="figcenter" style="width: 194px;">
+<a href="images/ill_pg_204_lg.jpg">
+<img src="images/ill_pg_204_sml.jpg" width="194" height="180" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and elevation of entrance garden-gate.</p></div>
+</div>
+
+<p>The three small illustrations on page 199 are various details of the
+exterior. One is a part section of the roof of turret, showing the
+timbers and the vane at top, an elevation of one half the upper gable
+window, and half of one of the small front windows; these portions of
+the exterior, together with the arcade at the entrance and balustrade
+over it, were to be executed in stone.</p>
+
+<p>The Gothic window by the side of the arcade is an example from Berstead
+Church, in Kent. The gentleman for whom the design was made caught a
+sight of it in the “Architect Sketch Book,” and required it<span class="pagenum"><a name="page_205" id="page_205">{205}</a></span> might be
+introduced as a small window in his library. An elevation of one half of
+it is given on page 200.</p>
+
+<p>The general section (page 201) is of one of the houses taken through the
+drawing room, the staircase, and the library. The staircase is well
+lighted, having a conservatory and closet on the first half-space
+landing. The ceiling of the staircase is finished with groining and
+pendant flowers; the stairs have a plain Gothic iron-railing, painted
+and lightly gilt; the section shows the party-wall between the two
+houses.</p>
+
+<div class="figcenter" style="width: 290px;">
+<a href="images/ill_pg_205_lg.jpg">
+<img src="images/ill_pg_205_sml.jpg" width="290" height="176" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrading on garden wall.</p></div>
+</div>
+
+<p>The entrance is divided into an inner and outer hall, divided by a
+Gothic screen in carved oak, the various openings of which, together
+with the upper panels of the folding doors, are filled with embossed
+glass. This keeps the house warm, and prevents cold draughts from
+entering; a second glazed screen<span class="pagenum"><a name="page_206" id="page_206">{206}</a></span> separates the inner hall from the
+staircase; the effect of the screens when there is plenty of light
+behind is extremely pleasing. It was for such a screen that the
+door-handle illustrated at an earlier page, as a vignette, was made.</p>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_206_lg.jpg">
+<img src="images/ill_pg_206_sml.jpg" width="287" height="141" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrading in front of house.</p></div>
+</div>
+
+<p>Of the first of these screens, that in the hall, only the larger lower
+and upper panels were to have white embossed glass; the smaller openings
+were to be filled with richly coloured embossed glass; a small elevation
+of the hall screen, and portions of its details to a larger scale, are
+given on pp. 202, 203.</p>
+
+<p>The chimney pieces were proposed to be of cast iron, and to be painted
+and slightly gilt.</p>
+
+<p>The expense of construction of the pair of villas would be nearly about
+7800<i>l.</i><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<div class="figcenter" style="width: 268px;">
+<a href="images/ill_pg_207-a_lg.jpg">
+<img src="images/ill_pg_207-a_sml.jpg" width="268" height="267" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front.</p></div>
+</div>
+
+<p>Cut-wood canopy to a door at West Brompton, a short distance beyond the
+Metropolitan District Railway. It has been constructed about twenty
+years, and stands well.</p>
+
+<div class="figcenter" style="width: 175px;">
+<a href="images/ill_pg_207-b_lg.jpg">
+<img src="images/ill_pg_207-b_sml.jpg" width="175" height="226" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One of the side trusses or corbels.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<h2><a name="DESIGN_No_18" id="DESIGN_No_18"></a><i>DESIGN No. 18.</i><br /><br />
+DESIGN FOR VILLAGE SCHOOLS, AND READING ROOM.</h2>
+
+<div class="figcenter" style="width: 384px;">
+<a href="images/ill_pg_208-a_lg.jpg">
+<img src="images/ill_pg_208-a_sml.jpg" width="384" height="163" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<div class="figcenter" style="width: 259px;">
+<a href="images/ill_pg_208-b_lg.jpg">
+<img src="images/ill_pg_208-b_sml.jpg" width="259" height="247" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building is about to be erected in the county of Norfolk. It will
+contain a boys’ and girls’ school, with two rooms each, forming a
+parlour and bedroom, for the master and mistress; <i>a</i> is the entrance
+porch, <i>d</i> and <i>d</i> are the two school rooms, and <i>e</i> and <i>e</i> the living
+rooms. The centre of the building forms the reading, lecture, and
+meeting-room for the village. The small room <i>c</i>, leading out of it, is
+a book room for the secretary or attendant; <i>b</i>, <i>b</i>, are open yards;
+each master and mistress have private entrances, and yards to
+themselves. The construction is of the cheapest kind; on a brick
+foundation, quarter framing is placed, filled in with brick, and
+plastered inside and out. The columns in the centre are trunks of trees,
+standing on stone slabs, and each has a flat stone capping. This
+building complete should not cost more than 850<i>l.</i> It is much to be
+desired that every village should have a room set apart, distinct from
+any public-house or tavern, where newspapers and books can be provided,
+lectures given, and various entertainments supplied the villagers.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_209_lg.jpg">
+<img src="images/ill_pg_209_sml.jpg" width="275" height="88" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<h2><a name="DESIGN_No_19" id="DESIGN_No_19"></a><i>DESIGN No. 19.</i><br /><br />
+A ROMAN CATHOLIC CHAPEL AND SCHOOLS.</h2>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_210_lg.jpg">
+<img src="images/ill_pg_210_sml.jpg" width="287" height="361" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made for a building intended to occupy a site leading
+from the High street in a<span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" style="width: 244px;">
+<a href="images/ill_pg_211_lg.jpg">
+<img src="images/ill_pg_211_sml.jpg" width="244" height="456" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of chapel and schools.</p></div>
+</div>
+
+<p class="nind">very fashionable district, immediately out of London. The ground was
+rather confined in area, and from its position, being behind the houses
+in the street, it could only be approached by a narrow avenue between
+two of the houses.</p>
+
+<div class="figcenter" style="width: 261px;">
+<a href="images/ill_pg_212_lg.jpg">
+<img src="images/ill_pg_212_sml.jpg" width="261" height="224" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Transverse section of chapel.</p></div>
+</div>
+
+<p>The plan was an endeavour to make the most of the space afforded; the
+entrance to the church, a small tower with an open decorated spire, was
+placed at the end of the avenue of approach; <i>a</i> <i>a</i>, are the schools,
+which have immediate access to the space before the altar; <i>b</i> <i>b</i>, the
+rooms for the teachers or priests, had staircases on each side leading
+to rooms above. These buildings were kept low, so that as<span class="pagenum"><a name="page_213" id="page_213">{213}</a></span> much light as
+possible should enter from the window above the altar. An elevation of
+the front of the chapel is given in our first illustration. The section
+looks towards the chancel, showing the chancel arch and pulpit in front,
+the altar, and the decorated window over it; the latter contains a large
+cross formed of white embossed glass, on a richly coloured glass ground.
+Above is the elevation of the porch, proposed to have been placed at the
+entrance of the avenue of approach.</p>
+
+<div class="figcenter" style="width: 133px;">
+<a href="images/ill_pg_213-a_lg.jpg">
+<img src="images/ill_pg_213-a_sml.jpg" width="133" height="163" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Porch in the High street.</p></div>
+</div>
+
+<div class="figcenter" style="width: 66px;">
+<a href="images/ill_pg_213-b_lg.jpg">
+<img src="images/ill_pg_213-b_sml.jpg" width="66" height="67" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<h2><a name="DESIGN_No_20" id="DESIGN_No_20"></a><i>DESIGN No. 20.</i><br /><br />
+DESIGN FOR A BATH HOUSE, AND SUMMER ROOM.</h2>
+
+<div class="figcenter" style="width: 318px;">
+<a href="images/ill_pg_214_lg.jpg">
+<img src="images/ill_pg_214_sml.jpg" width="318" height="455" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made for a building intended to occupy a prominent
+position in a park in Kent; it would have commanded an extensive view
+over the Weald and surrounding country. The lower ragstone foundation
+already existed, being portions of an ancient building which had
+formerly stood there, and this held a fine spring of pure cold water,
+which runs down into a lake at a lower level in the park. Occupying a
+position in which it could be well seen, it was desirable that the
+building should form a picturesque object, and to effect this the Old
+English style of wooden architecture was chosen.</p>
+
+<div class="figcenter" style="width: 289px;">
+<a href="images/ill_pg_215_lg.jpg">
+<img src="images/ill_pg_215_sml.jpg" width="289" height="138" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>One-pair plan.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Ground-floor plan.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>The view shows the back and side of the building, with the entrances,
+these being here less exposed to the weather than if they had been in
+front facing the open country. The ground-floor plan shows the cold bath
+with a small dressing-room; the bath<span class="pagenum"><a name="page_216" id="page_216">{216}</a></span> was octangular in form, and
+fifteen feet in diameter. A small iron circular staircase led to the
+upper room; this was eighteen feet in diameter, with a domed ceiling,
+the sides of the room having iron</p>
+
+<div class="figcenter" style="width: 201px;">
+<a href="images/ill_pg_216_lg.jpg">
+<img src="images/ill_pg_216_sml.jpg" width="201" height="324" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side elevation.</p></div>
+</div>
+
+<p class="nind">casemented windows, and over them a bold ornamented plaster frieze; the
+fire-place was adorned with oak carving. The fine prospect from the
+windows of the Weald, and the lake and park scenery<span class="pagenum"><a name="page_217" id="page_217">{217}</a></span> in front, would
+have made this an extremely pleasant room.</p>
+
+<div class="figcenter" style="width: 211px;">
+<a href="images/ill_pg_217_lg.jpg">
+<img src="images/ill_pg_217_sml.jpg" width="211" height="377" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p>The lower story of the building above the ancient ragstone foundation
+was of brick, nine inches in thickness, with quarters on the outside,
+brick-nogged;<span class="pagenum"><a name="page_218" id="page_218">{218}</a></span> carved oak inch plank was then to be screwed to this
+quartering, and the inner spaces filled with cement; this it was
+proposed to dust with small bits of coloured</p>
+
+<div class="figcenter" style="width: 209px;">
+<a href="images/ill_pg_218_lg.jpg">
+<img src="images/ill_pg_218_sml.jpg" width="209" height="345" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Entrance.</p></div>
+</div>
+
+<p class="nind">glass. The building was intended to be strongly constructed, as it was
+to stand on an elevated site in the most exposed situation in the park.
+The entrance, of which an elevation is given above, had<span class="pagenum"><a name="page_219" id="page_219">{219}</a></span> two carved oak
+columns, having iron rings fixed to them. A small shield of arms was
+above the entrance; the whole of the oak was to be stained and
+varnished. A portion of the exterior is given on a larger scale. The
+upper story was in quartering, brick-nogged, faced externally with
+carved oak planks and plaster, and plastered inside as below. The small
+plan, <i>a</i>, in the illustration, shows this; <i>b</i> is an elevation of one
+of the carved oak trusses, and these were carried right round the
+structure.</p>
+
+<div class="figright" style="width: 161px;">
+<a href="images/ill_pg_219_lg.jpg">
+<img src="images/ill_pg_219_sml.jpg" width="161" height="336" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of exterior.</p></div>
+</div>
+
+<p>An elevation of one of the small gables is shown in the next cut with
+its richly carved barge-board, and turned pendants and finials.</p>
+
+<p>The plan of the iron casements is given, p. 220; <i>a</i> is the frame fixed
+to the wood quartering, <i>b</i> the loose frame fixed to receive the loose
+frame, <i>c d</i> is the glass, and <i>e</i> the hinge and staple; a
+representation of the small turn-buckle is<span class="pagenum"><a name="page_220" id="page_220">{220}</a></span> shown, and lastly the plan
+of the flooring over the bath; the joists, each 9 inches by 4 inches,
+and 9 inches by 2½ inches, were strapped down</p>
+
+<div class="figcenter" style="width: 223px;">
+<a href="images/ill_pg_220-a_lg.jpg">
+<img src="images/ill_pg_220-a_sml.jpg" width="223" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of one of the small gables.</p></div>
+</div>
+
+<div class="figcenter" style="width: 346px;">
+<a href="images/ill_pg_220-b_lg.jpg">
+<img src="images/ill_pg_220-b_sml.jpg" width="346" height="106" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of iron casement.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<p class="nind">eight or nine inches into the wall, where necessary.</p>
+
+<div class="figcenter" style="width: 276px;">
+<a href="images/ill_pg_221-a_lg.jpg">
+<img src="images/ill_pg_221-a_sml.jpg" width="276" height="87" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Turn-buckle.</p></div>
+</div>
+
+<div class="figcenter" style="width: 245px;">
+<a href="images/ill_pg_221-b_lg.jpg">
+<img src="images/ill_pg_221-b_sml.jpg" width="245" height="335" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<h2><a name="DESIGN_No_21" id="DESIGN_No_21"></a><i>DESIGN No. 21.</i><br /><br />
+DESIGN FOR A SMALL COUNTRY VILLA.</h2>
+
+<div class="figcenter" style="width: 373px;">
+<a href="images/ill_pg_222_lg.jpg">
+<img src="images/ill_pg_222_sml.jpg" width="373" height="296" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS mansion was erected in Devonshire, for a gentleman having a
+numerous family. It consisted of three floors:&mdash;a basement story, ground</p>
+
+<div class="figcenter" style="width: 224px;">
+<a href="images/ill_pg_223-a_lg.jpg">
+<img src="images/ill_pg_223-a_sml.jpg" width="224" height="192" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">floor, first floor, and attic. The picturesque style of the time of
+Henry VII. was adopted, and the construc<span class="pagenum"><a name="page_224" id="page_224">{224}</a></span>tion</p>
+
+<div class="figcenter" style="width: 225px;">
+<a href="images/ill_pg_223-b_lg.jpg">
+<img src="images/ill_pg_223-b_sml.jpg" width="225" height="177" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of first floor.</p></div>
+</div>
+
+<p class="nind">was of brick with stone ashlar facings for the walls. The decorated
+portions were of stone; but red</p>
+
+<div class="figcenter" style="width: 165px;">
+<a href="images/ill_pg_224-a_lg.jpg">
+<img src="images/ill_pg_224-a_sml.jpg" width="165" height="117" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The attic floor.</p></div>
+</div>
+
+<p class="nind">brick and stone, or red brick alone, would have been equally
+appropriate. The red brick with compo-dressing</p>
+
+<div class="figcenter" style="width: 227px;">
+<a href="images/ill_pg_224-b_lg.jpg">
+<img src="images/ill_pg_224-b_sml.jpg" width="227" height="201" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p class="nind">and enrichments would have been the cheapest. Considerable attention was
+given to obtain<span class="pagenum"><a name="page_225" id="page_225">{225}</a></span> a picturesque character for the building, and the
+chimneys were so placed as to obtain one. The height to the top of gable
+was 38 feet 6 inches. The ground floor, given on page 223, contained two
+rooms, <i>A</i> and <i>B</i>, each 28 feet by 16 feet, without the bay. The porch
+was enclosed from the hall.</p>
+
+<div class="figcenter" style="width: 220px;">
+<a href="images/ill_pg_225_lg.jpg">
+<img src="images/ill_pg_225_sml.jpg" width="220" height="285" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>View of entrance porch.</p></div>
+</div>
+
+<p>The upper floor had five rooms, intended merely as sleeping apartments.
+All had fireplaces except the centre front one, and that is shown
+supplied with a flue pedestal, a contrivance by which an upper room<span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter" style="width: 380px;">
+<a href="images/ill_pg_226_lg.jpg">
+<img src="images/ill_pg_226_sml.jpg" width="380" height="293" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<p class="nind">can be warmed by one of the fireplaces in a lower room, which prevents
+waste of heat. The attic floor had two good-sized rooms without
+fireplaces, for the servants.</p>
+
+<div class="figcenter" style="width: 306px;">
+<a href="images/ill_pg_227_lg.jpg">
+<img src="images/ill_pg_227_sml.jpg" width="306" height="296" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The side elevation.</p></div>
+</div>
+
+<p>The basement floor had good accommodation. One large room, that marked
+<i>n</i>, was for the housekeeper, with space for a bed. It could be used as
+a private breakfast or dining-room; <i>b</i> is the kitchen, 20 feet by 15
+feet 6 inches, with a large space in the bay. The<span class="pagenum"><a name="page_228" id="page_228">{228}</a></span> scullery <i>g</i> adjoined
+the kitchen; <i>h</i> is the larder, <i>q</i> the wine cellar, <i>i</i> the beer, and
+<i>l</i> the coal cellars.</p>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_228_lg.jpg">
+<img src="images/ill_pg_228_sml.jpg" width="239" height="377" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Transverse section.</p></div>
+</div>
+
+<p>Another design for the porch is given on page 225; this is of a more
+decorative character than that seen in the view. It had on it the shield
+of arms of the pro<span class="pagenum"><a name="page_229" id="page_229">{229}</a></span>prietor. It was to be constructed entirely of stone,
+the portion above the archway being richly carved. The front and side
+elevations of the exterior of the building, of which representations are
+given, show the extreme simplicity of the design.</p>
+
+<p>The transverse section (page 228) shows the interior; this is taken
+through the kitchen and scullery in the basement, looking towards the
+fireplace and through the living rooms and attic above.</p>
+
+<div class="figcenter" style="width: 225px;">
+<a href="images/ill_pg_229_lg.jpg">
+<img src="images/ill_pg_229_sml.jpg" width="225" height="171" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of additional offices.</p></div>
+</div>
+
+<p>This design has, with various alterations, been adopted in several
+places for different parties, stripped entirely of its ornamental
+character, and merely having four walls and an overhanging roof, in
+plain cottage style. It forms the cheapest model that can be given for a
+villa. One was erected a few years back that cost considerably less than
+eight hundred<span class="pagenum"><a name="page_230" id="page_230">{230}</a></span> pounds. It had the basement floor but no attic, the upper
+rooms being heightened by having an open collar-beam roof. One addition
+made to it when it had no basement was in extensive external offices, as</p>
+
+<div class="figcenter" style="width: 290px;">
+<a href="images/ill_pg_230_lg.jpg">
+<img src="images/ill_pg_230_sml.jpg" width="290" height="308" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation and section of external balustrade and angle
+buttress.</p></div>
+</div>
+
+<p class="nind">seen in plan on page 229: <i>f</i>, the kitchen, is 18 feet square, with its
+scullery <i>g</i>, 18 feet by 10 feet; <i>h</i> is the larder, 9 feet 9 inches
+square, and <i>k</i> the dairy, of the same size, with a northern aspect. The
+two small rooms by the side, one marked <i>n</i>, were intended for a<span class="pagenum"><a name="page_231" id="page_231">{231}</a></span> study
+or school-room, and a footman’s or butler’s pantry, with a separate
+entrance and an outlet from the house into the garden; the servants’
+closet, and boot and knife cleaning place, were at a little distance
+away, together with the place for coals and wood. Some details of the
+exterior on a larger scale are given above.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette shows the best proportion that can be given to stairs
+intended for a public building; the rise of each step being 6 inches,
+the tread 13 inches. In private dwellings the tread is made smaller by
+half an inch. When the rise can be made 5¾ inches only, much greater
+ease can be obtained in the ascent.</p>
+
+<div class="figcenter" style="width: 228px;">
+<a href="images/ill_pg_231_lg.jpg">
+<img src="images/ill_pg_231_sml.jpg" width="228" height="189" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<h2><a name="DESIGN_No_22" id="DESIGN_No_22"></a><i>DESIGN No. 22.</i><br /><br />
+A VILLA IN THE OLD ENGLISH WOODEN STYLE.</h2>
+
+<div class="figcenter" style="width: 388px;">
+<a href="images/ill_pg_232_lg.jpg">
+<img src="images/ill_pg_232_sml.jpg" width="388" height="397" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view, garden side.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS structure was intended to bear the resemblance, as near as
+possible, of a first-class old English half-timbered house, the
+post-and-pan dwelling of our forefathers, which seems to have been an
+especial favourite throughout the country. It was easily constructed at
+a time when timber, chiefly chestnut, was far more plentiful than at the
+present day. Such were the most picturesque of all our domestic
+buildings; the timber cottage, with its projecting windows, and highly
+ornamented barge-boards, is found in every village. The large houses in
+Cheshire and Shropshire, which still remain, prove that such
+constructions are as lasting as brick and stone, provided the timber is
+felled at the proper time, and thoroughly seasoned before it is made use
+of. Houses of this kind have been seen to rock and bend in severe
+storms, while adjoining buildings, comparatively strong erections, have
+been blown down, this was known to have been the case with Park Hall,
+near Oswestry in Shropshire. Such buildings were called by different
+names, as will be shortly described in detail, according to the
+materials of which they were composed.</p>
+
+<p>The design afforded on page 234 was taken from an elevation given in
+“John Thorpe’s Sketch Book,” one of the richest illustrations of wooden
+architecture. It was to have been erected in a Kentish village, with<span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" style="width: 549px;">
+<a href="images/ill_pg_234_lg.jpg">
+<img src="images/ill_pg_234_sml.jpg" width="549" height="347" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<p class="nind">its front towards the road, on high ground, the road looking down to a
+wide extent of open country. The garden side of the house commanded a
+fine prospect. Advantage was taken of the steep descent of the ground to
+build the kitchen and scullery, with a day room for the children, apart
+from the main building.</p>
+
+<p>The plan of the basement is given on p. 236; <i>a</i> is the kitchen, 18 feet
+square, the scullery <i>b</i>, was at the side, and the larder, <i>c</i>, at its
+side; <i>d</i> is the place for coals, a passage <i>e</i>, leads to the day room,
+<i>f</i>, for the children; <i>g</i> is either the cook’s room, or a sleeping room
+for a man servant; <i>h</i> is the passage up to the house, <i>i</i> is the dry
+larder, <i>j</i> is the butler’s pantry, with a strong room for holding
+plate; this was intended to be a sleeping room. <i>k</i> is the wine cellar,
+<i>l</i> the back staircase which went from the lower floor to the attic, <i>m</i>
+is the principal staircase, and <i>n</i> a place for stores. The roof of this
+lower building was to be formed with flat-girders, and brick and tile in
+cement, making a terrace-walk above; the chimneys were taken up from the
+lower building to the higher one, as shown in the side elevation by the
+dotted lines. The kitchen, and the whole of the basement, was to be
+paved with the best Seyssel asphalte. It is laid on a solid foundation,
+on a thickness of ground lime. The objection to the black and British
+asphalte for the interior of rooms, is that a fine dust rises from it,
+which in<span class="pagenum"><a name="page_236" id="page_236">{236}</a></span> sweeping, affects the eyes of the occupants of the apartments.</p>
+
+<div class="figcenter" style="width: 396px;">
+<a href="images/ill_pg_236_lg.jpg">
+<img src="images/ill_pg_236_sml.jpg" width="396" height="407" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p>The plan of the building was not intended to be in the old style, but to
+be arranged, as far as possible,<span class="pagenum"><a name="page_237" id="page_237">{237}</a></span> according to modern notions, without
+any great hall, or stone screen within it. A noble stone porch was</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_237_lg.jpg">
+<img src="images/ill_pg_237_sml.jpg" width="400" height="404" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The ground plan.</p></div>
+</div>
+
+<p class="nind">placed in front, resembling slightly an ancient archway. The hall is 20
+feet in length by 12 feet in<span class="pagenum"><a name="page_238" id="page_238">{238}</a></span> breadth. The breakfast and eating rooms,
+<i>b</i> and <i>c</i>, 20 feet square, are on each side; both have bay</p>
+
+<div class="figcenter" style="width: 402px;">
+<a href="images/ill_pg_238_lg.jpg">
+<img src="images/ill_pg_238_sml.jpg" width="402" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The first floor.</p></div>
+</div>
+
+<p class="nind">windows, with an exterior colonnade and terrace. The drawing-room, <i>d</i>,
+and the library <i>e</i>, are each 18 feet square; both have bay windows, and
+the angular<span class="pagenum"><a name="page_239" id="page_239">{239}</a></span> window peculiar to the Elizabethan architecture. These
+windows open on to the terrace. <i>f</i> is the</p>
+
+<div class="figcenter" style="width: 402px;">
+<a href="images/ill_pg_239_lg.jpg">
+<img src="images/ill_pg_239_sml.jpg" width="402" height="246" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The attic floor.</p></div>
+</div>
+
+<p class="nind">gentleman’s dressing-room, <i>g</i> is the principal staircase containing the
+servants’ staircase, <i>h</i>, within it; <i>o</i> is the lift. At the back of the
+building is a colonnade<span class="pagenum"><a name="page_240" id="page_240">{240}</a></span> commanding a view of the country, and beneath
+is the terrace, with its balustrading and steps to the garden.</p>
+
+<p>The one pair floor contains only four large bed-rooms <i>a</i>, <i>a</i>, and two
+dressing-rooms <i>b</i>, <i>b</i>. One dressing-room, that in front, could have
+been converted into a pleasant morning room; each of the two principal
+bedrooms in the front could easily have been formed into two; a small
+dressing-room taken out of each. Terraces were in front of these two
+rooms, the small circular bow-window opening on to them; the principal
+staircase only led to this floor. The servants’ staircase led to the
+attics.</p>
+
+<p>This floor contained three large servants’ rooms, with two small octagon
+rooms. It was proposed to form the front rooms into one, with a circular
+roof, covered with scroll work and flowers, in the form of a
+garden-bower, similar to the gallery ceiling at Burton Agnes in
+Yorkshire. In this ceiling there are about a dozen varieties of flowers
+and bunches of leaves, which were placed in a scroll-stem in various
+positions so as to vary the pattern. The flowers and leaves could have
+been painted in their natural colours. These rooms, however, could not
+be spared, so it was proposed to turn the two octagon rooms into what
+may be termed garden-bower rooms, and to attempt growing dwarf
+fruit-trees in them, as practised in Germany.<span class="pagenum"><a name="page_241" id="page_241">{241}</a></span> The roofs of these rooms
+were to be constructed in iron and glass, and covered internally with
+wire trellis-work, the warming to be effected with flue pedestals, two
+in each room, one taking the kitchen flue and the other house flues, the
+corresponding pedestal in the other room to have the remaining flues in
+that side of the building. The illustration on page 242 shows a plan and
+section of one of these rooms.</p>
+
+<p>The tower in the centre of the back front contained a cistern for the
+supply of the house; the closets beneath could have Moule’s earth system
+applied to them, the earth to be brought up by the lift <i>o</i>, dried in
+the bower rooms, and deposited in an enclosure in the tower room from
+which it could descend to the closets.</p>
+
+<p>It may be here remarked that the closets throughout the whole of these
+designs are in such a position that the dry-earth system could be easily
+applied to each. In cottages that have the flues in an external wall,
+and where this system is introduced, the earth deposit should be placed
+against the flue, and the closet adjoining.</p>
+
+<p>The lift <i>o</i>, shown in the plans, connects every floor with the
+basement; it permits coals and other heavy articles to be lifted up,
+receives the speaking tubes leading to the basement and children’s
+day-room, and any bell wires that may be required.<span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" style="width: 248px;">
+<a href="images/ill_pg_242_lg.jpg">
+<img src="images/ill_pg_242_sml.jpg" width="248" height="480" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan and section of garden bower-rooms.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" style="width: 395px;">
+<a href="images/ill_pg_243_lg.jpg">
+<img src="images/ill_pg_243_sml.jpg" width="395" height="352" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Side front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" style="width: 592px;">
+<a href="images/ill_pg_244_lg.jpg">
+<img src="images/ill_pg_244_sml.jpg" width="592" height="362" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through lower part of building.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<p>The first elevation given shows the front of the building, having a
+length of 87 feet. Although the structure was to be an imitation wooden
+house, the timber was merely intended to be an appendage to the
+brickwork. The exterior walls were to have been two bricks and a half
+thick on the ground-floor, two bricks above. The wooden posts and pans
+were let into the external half brick, and well built in, the ornamental
+woodwork in inch oak screwed to the wood-quartering, the space between
+them filled with plaster, with an ornamental pattern-stamp on it, and
+the columns and entablature were of oak.</p>
+
+<p>The next elevation given is that of the side front, with its gable, in
+the centre of which is a small circular window, opening on to a terrace
+over the colonnade; the scroll at the side is a construction to permit
+the flues from the lower portion of the basement to ascend the tower
+walls; flue sweeping doors could be placed there. A section of the lower
+part of the building is given, taken through the centre of the house,
+showing the principal staircase and the external steps to garden. The
+perspective view shows the garden front.</p>
+
+<p>Wooden houses were once the chief kind of construction in England. The
+great fire of London would not have been so serious in its results if
+such constructions had not been almost universal.<span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<p>In many parts of England these houses have other designations. There is
+a mode of building peculiar to each, and adapted to the kind of material
+that the districts offer. In Cambridgeshire, for instance, many of the
+houses are formed entirely of “Clunch,” a kind of indurated chalk marl,
+of which there are extensive quarries at Roach, near Burwell. Others are
+of gault, a local term for the blue clay which lies below the gravel of
+Cambridgeshire, and forms the immediate substratum in the low ground
+about it. This is beaten up with chopped straw, then formed into blocks
+of large size, and dried by the sun. A writer in the “Cambridge
+Portfolio,” in his remarks on what he terms the inferior style of
+domestic architecture, says: “Many of these houses have the lower floor
+formed of stone or clunch, in which a framework of wood is raised,
+consisting of studs and wall-plates with strong posts at intervals and
+some cross pieces as a tie. The joists of the upper floor are laid in
+the wall-plates, and project about a foot or eighteen inches beyond the
+wall beneath. The smaller timbers have tenons which are fitted into
+mortices in the larger, and secured by wooden pins. The interstices are
+filled either with durable boarding, double lath and plaster, clunch or
+bricks, laid level or obliquely. The better houses of this description
+have gables, with ornamented barge-boards with hip-kobs and corbels or
+brackets,<span class="pagenum"><a name="page_247" id="page_247">{247}</a></span> more or less carved, under the ends of the principal timbers
+of the upper floors.”</p>
+
+<p>The barge-board is sometimes called berge-board, verge-board,
+parge-board. It was a board fixed to the ends of the gables of timber
+houses, to hide those of the projecting timbers of the roof, and throw
+off the wet. They were generally richly carved and very ornamental.
+Occasionally some of these of the date of the 14th century are met with;
+those of the 15th and 16th, many of the Elizabethan character, are very
+common. We have few of the better class of these half-timbered houses,
+in which the decorative labour of our ancestors was most conspicuous,
+remaining in our towns and cities; but in Edinburgh, York, Chester, and
+Newcastle there are still a sufficient number of specimens to prove the
+truth of these remarks. In the towns of Normandy and the Netherlands
+numerous buildings, and indeed whole streets, may be seen which still
+exhibit the perfect counterpart of our old Cheapside, as it appeared
+before the great fire. Troyes, the capital of Champagne, still retains
+its ancient buildings, and the chestnut-timber houses of Caen, which
+were raised, or restored, during the period in the 15th century when it
+was in the hands of the English, show us what our cities once were, and,
+of course, the extent of our improvements. London formerly possessed the
+richest examples. At the<span class="pagenum"><a name="page_248" id="page_248">{248}</a></span> corner of Chancery Lane, in Fleet Street,
+there once stood a five-storied house in timber, each story projecting;
+the whole of the timber and the gables being richly carved. In this
+house once lived the celebrated Isaac Walton.</p>
+
+<p>The other most common application of this kind of house is
+“half-timbered.” In some counties the woodwork is not in patterns. It
+appears that when a greater degree of elegance was required the uprights
+and beams were carved, or the houses were pargetted, that is, coated
+thickly with plaster, in which embossed or indented ornaments were used.
+This kind is very common in nearly all the English counties. The origin
+of the word <i>parget</i> appears to be doubtful. We find <i>parget</i>,
+substantive, and <i>pargetting</i>, <i>pergetting</i>, and <i>pergining</i>, verb, in
+old writings, of various kinds of plaster work, used inside and outside
+of houses, particularly about the time of Elizabeth; the word <i>parget</i>
+was used as far back as 1450.</p>
+
+<p>The half-timbered houses generally had the woodwork (studs and posts)
+painted black or tarred, with the intermediate spaces of brickwork
+whitewashed. Many of these houses have been plastered over in modern
+days. In London several of them have been refronted, and we lose sight
+of the woodwork, and imagine we see fresh-built houses.</p>
+
+<p>In some parts of the country we see numbers of<span class="pagenum"><a name="page_249" id="page_249">{249}</a></span> cottages built of mud
+mixed with chopped “haum.” This is commonly barley stubble. The word
+appears of foreign derivation; in High and Low German, Dutch, Danish,
+Swedish, halm; Ang.-Sax., healm; Icelandic, halmr, stubble.</p>
+
+<p>The haum is used to give the mud strength. These houses, previously
+described in connexion with concrete erections, were built about a yard
+in height at a time; each part was allowed to dry before further
+addition was made. The openings for windows and doors were cut when the
+wall became firmer; the walls were then smoothed off a little, and
+whitewashed. These houses are said to be very strong, and to last for
+many years. In the Midland Counties they seldom exceed one story in
+height, but in Devon, Somersetshire, and Hampshire, this composition is
+a common material for gentlemen’s houses two and three stories in
+height. It is there called <i>cob</i>, the derivation of which word remains
+in obscurity, unless it is a short term for <i>cobble</i>, or a coarse clumsy
+performance. A cob-wall was one composed of straw and clay beaten up
+together.</p>
+
+<p>In Kent, the half-timbered houses are called wood-noggin houses, because
+the pieces of timber were called wood-nogs. Nog is properly a wooden
+brick, which is inserted into walls to hold the joiners’ work;<span class="pagenum"><a name="page_250" id="page_250">{250}</a></span> nogging
+is the term for the brick-filling partitions between the quartering.</p>
+
+<p>Sometimes, but very rarely, there is no projection of the upper story
+over the lower one. These openings in the windows are common, and all
+have richly carved barge-boards.</p>
+
+<p>In some of the Kentish villages there are several noggin houses
+plastered over, with a ground in which flowers and patterns are worked
+in another colour. Some have a red ground and white flowers, others a
+black ground and white flowers. The wooden frame is always built on a
+substructure of brick or stone, called the “under-pinning.” Numbers of
+the houses in Kent are covered at the sides with weather tiles; here the
+brickwork is carried up to the first floor, in which the wooden
+framework is placed, and laths nailed across, in which the tiles are
+hung; the shape of the tile varies. Some are diamond-shape, and others
+finish with circular ends.</p>
+
+<p>In Warwickshire, Oxfordshire, and Gloucestershire, we meet with
+half-timbered houses, which are there called brick pane houses, but very
+few of them are worked in patterns.</p>
+
+<p>In Northamptonshire the half-timbered houses are commonly called studded
+or framed houses, because the framework is put up before the spaces are
+filled up. The studs are upright between the posts, which<span class="pagenum"><a name="page_251" id="page_251">{251}</a></span> are larger
+than the studs. There are also “wattle,” and “dab-houses,” and sheds,
+which are constructed of studs, sills, and wall-plates. Between or into
+the studs are laid, horizontally, plaited or wattled strong hazel twigs,
+or other underwood, and on both of these a thick coat of plaster or mud
+is laid or dabbed. A wattle is a hurdle made of four or five upright
+stakes, and hazel branches woven closely and horizontally into the
+stakes&mdash;Anglo-Saxon, <i>watel</i>, a hurdle or covering of twigs; in some
+counties they are called “flakes,” merely from their being thin and
+flat. In Sussex and Devonshire, and in the South of England, wattled
+hurdles are called “Raddles.” In a little Dictionary for children of the
+date of 1608, we find “a hartheled wall or ratheled with hasile rods or
+wands.” The word <i>hartheled</i> is the same as hardilled, and the
+Dictionary spells hurdill <i>hardill</i>, Ang.-Sax., <i>hyrdel</i>, Low Germ.,
+<i>hoidt</i>, Dutch, <i>horde</i>. Germ., <i>hurde</i>. <i>Ratheled</i> is from the same
+derivation as <i>raddled</i>. What in one county is “wattle and dab,” is in
+another “raddle and dab.” <i>Dab</i> is here used as a substantive, but it is
+properly a verb&mdash;to dab on, to sprinkle, or bespatter. In French,
+<i>dawber</i>, or <i>dober</i>, to smear, hence “to daub.” These mud cottages are
+very common even in the richest counties of England. In South
+Northamptonshire are red sandstone houses frequently possessing stone
+mullions in the windows, and dripstones.<span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<p>Further northwards, as in Shropshire, Cheshire, and Lancashire, we find
+a better description of the half-timbered houses in many of the manor
+houses built there. Lord Liverpool’s seat at Pitchford, near Shrewsbury,
+illustrated by Habershon, is a fine and a very large example, although
+the pattern is not so elegant as many of them. Joseph Nash and other
+artists have made the best of these familiar to us by their
+publications. Cheshire is the county most abounding in them. In the
+southern part of the county of Lancashire they are called “post-and-pan
+houses.” Post is an upright piece of timber, used in various ways, such
+as gate-post, door-post, a jamb-lining. The word “post” is found in many
+languages, commonly meaning an upright. In Ang.-Sax., <i>post</i>, a post,
+Frisic, <i>post</i>, a beam, German, <i>pfost</i>, French, <i>poste</i>, Latin,
+<i>postis</i>, a post.</p>
+
+<p>“Pan,” in Lancashire, certainly means a beam, and is the common name for
+it (beam not being used), although we do not find the word <i>pan</i>, a
+beam, noticed in most of the glossaries as it deserves. In the Craven
+Glossary, “<i>post</i> and <i>pan</i>” a building of wood and plaster alternately.
+<i>Pan</i>, totally to fit: “Weal and woman cannot pan, but woe and woman
+can,” is the complete old English proverb, in which the word pan is
+used. In the glossary of Tim Bobbin, “Pan” means to join or agree. In
+Hunter’s Hallamshire<span class="pagenum"><a name="page_253" id="page_253">{253}</a></span> Glossary “pan,” properly in building, is the
+wall-plate&mdash;the piece of timber that lies on the tops of the posts, and
+on which the balks rest, and the sparfoot also. <i>To pan</i>, to apply to
+closely. In Brockett’s North Country work, <i>pan</i> means to match, agree.
+The idea of a pan for a beam would seem to be a shortened word for span,
+but it comes, it is said, from the old word <i>pan</i>, denoting to close or
+join together, to match, fit, apply, agree. From this, or the origin of
+which, came pane, or panel of wood, or wainscot, pane of glass.
+Ang.-Sax., <i>pan</i>, a piece, hem, plait; pan hose, patched hose, because
+pieces are fitted into them.</p>
+
+<p>In Warwickshire and Oxfordshire they call a post-and-pan house a
+brick-<i>pane</i> house, because the wood-work divides the building into
+rectangular spaces, filled with <i>panes</i> of brickwork.</p>
+
+<p>In Forby’s Suffolk Vocabulary <i>pane</i> is a division of work in husbandry,
+also strips of cloth. The slits in Elizabethan dresses are called
+<i>panes</i>. Du Cange, in his <i>Glossarium Mediæ et Infimæ Latinitatis</i>, has
+<i>panna</i>, a carpenter’s word, signifying a square piece of wood of 6 or 7
+fingers on a side, which being placed on the rafters of the roof, and
+retained by wooden supports, carries the asseres. The “Glossary of
+Architecture” construes a pan as a lathe; but of this there seems some
+doubt.<span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<p>There is a remarkable example of the word <i>Panna</i> in the Close Rolls of
+the 9th of Henry 3rd, membrane 5, page 65, though the word in the
+printed copy is erroneously spelt <i>pauna</i>.</p>
+
+<div class="sidenote">De postibus<br /> et pannis<br /> datis.</div>
+
+<p>Mandatum est Hugoni de Neville quod habere faciat Baldivinium de Veer
+duos postes et duos <i>pannas</i> in bosco nostro in Deresle, de dono nostro
+ad se habergandum apud Thrapston. Teste rege apud Westmonasterium XV die
+Octobris, anno nono.&mdash;That is: The King orders Hugh de Neville to give
+Baldwin de Veer two <i>posts</i> and two <i>pans</i> out of the Royal forest of
+Deresley to build a house at Thrapstone.&mdash;“Habergandum” is from
+<i>habergo</i>, to build a house, which seems to be derived from the old
+German <i>habe</i>, goods and possessions, and <i>bergen</i>; in Ang.-Sax.,
+<i>boergan</i>, to defend, keep, and protect. <i>Habe</i>, goods, is from the
+German <i>haben</i>, Ang.-Sax., <i>habban</i>, to have and possess. In Du Cange we
+find “Habergagium vel habergamentum, domicilium domus,” that is, a place
+to keep goods in. This account is given us by the writer in the
+“Cambridge Portfolio,” who adds, “That it is probable the house alluded
+to in Thrapstone was merely a shed.” He gives a great many derivations
+from the word <i>pan</i> in French. He says that <i>pan</i> or <i>post</i> is a <i>post</i>
+and <i>pan</i> wall, perhaps with boarding in the panes instead of brick or
+stone. A post-and-pan house therefore signifies one formed of<span class="pagenum"><a name="page_255" id="page_255">{255}</a></span> uprights
+and cross-pieces, and this appears to be the most rational name for
+them. The patterns of the woodwork are sometimes extremely elegant; at
+Park Hall in Shropshire, one represents balustrading intermingled with
+quatre-foiling, while the plaster ceilings inside the building are of
+excessively rich character. In many of the old post-and-pan houses, the
+windows are between every post, running the whole length of the house in
+each story, rendering a remark of Lord Bacon’s true, that in such houses
+you did not know where to become to get out of the sun or the cold. They
+are now sometimes called “bird-cage houses,” from the effect at a
+distance. Some of these old mansions had the hall extending to the roof,
+and this was carried down to a very late period. At Kirby in
+Northamptonshire, a seat of the Lord Chancellor Hatton, built by the
+architect, John Thorpe, Inigo Jones altered the timbers of the hall roof
+and gave them an Italianized character. He was, previous to his visit to
+Italy, one of the chief and most celebrated masters of the then
+fashionable Elizabethan style, which was carried down to a later period
+than is generally supposed.</p>
+
+<p>The superior class of wooden houses were for the gentry, the wattle and
+dab houses for the hind. This cottage, then, must have been little
+better than a miserable shed. Cottages still exist in the north of<span class="pagenum"><a name="page_256" id="page_256">{256}</a></span>
+England, amid the northern counties, that are bad at the very best. The
+tenants have to bring everything with them, partitions, window-frames,
+fixtures of all kinds, grates, and a substitute for a ceiling. Certainly
+the improved concrete cottage, if it could be erected at a small
+expense, would be a great advantage to them. Its partitions, and even
+its roof, the latter covered with slate, might be securely formed of
+strong hurdles, and a cistern for water easily placed just below it. The
+walls, if covered with a good Portland cement face, will last for many
+years, and, if the roof be so formed as to protect them, for warmth,
+comfort, and cleanliness such cottages are unsurpassed.</p>
+
+<p>It is to be regretted that the combination of workmen forming the
+various Trades’ Unions, has so raised the price of labour that it has
+reacted against themselves, and the workmen’s houses, roomy, and formed
+of sound, lasting materials can no longer be constructed at a cost that
+would allow a fair percentage on outlay.</p>
+
+<p>Lord Bacon paid particular attention to building, and he had several
+fine mansions. He received his Sovereign at one, <i>Gorhambury</i>, who on
+her remarking its great size, said, “It was not that the house was too
+big, but that her Grace had made him too big to inhabit it.” His essay
+on building gives such a complete picture of what the nobleman’s house
+was in those days, that it is here quoted.<span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<p>“First, therefore, I say you cannot have a perfect palace, except you
+have two several sides: a side for the banquet, as is spoken of in the
+book of Esther, and a side for the household; the one for feasts and
+triumphs, and the other for dwelling.</p>
+
+<p>“I understand both these sides to be not only returns, but parts of the
+front; and to be uniform without, though severally partitioned within;
+and to be on both sides of a great and stately tower in the midst of the
+front, that, as it were, joineth them together on either hand. I would
+have, on the side of the banquet in front, one only goodly room, above
+stairs, of some forty feet high: and under it a room for a dressing or
+preparing place, at times of triumphs. On the other side, which is the
+household side, I wish it divided, at the first, into a hall and chapel
+(with a partition between), both of good state and bigness; and those
+not to go all the length, but to have at the farther end a winter and
+summer parlour, both fair; and under these rooms a fair and large cellar
+sunk under ground, and likewise some privy kitchens, with butteries and
+pantries, and the like. As for the tower I would have it two stories, of
+eighteen foot high apiece above the two wings; and goodly leads upon the
+top, railed with statues interposed; and the same tower to be divided
+into rooms, as shall be thought fit. The stairs likewise to the upper
+rooms, let them be upon<span class="pagenum"><a name="page_258" id="page_258">{258}</a></span> a fair open newel, and finely railed in with
+images of wood cast into a brass colour; and a very fair landing-place
+at the top. But this to be, if you do not point any of the lower rooms
+for a dining-place of servants; for otherwise, you shall have the
+servants’ dinner after your own; for the steam of it will come up as in
+a tunnel; and so much for the front; only I understand the height of the
+first stairs to be sixteen foot, which is the height of the lower room.</p>
+
+<p>“Beyond the front is there to be a fair court, but three sides of it of
+a far lower building than the front; and in all the four corners of that
+court fair staircases, cast into turrets on the outside, and not within
+the row of buildings themselves; but those towers are not to be of the
+height of the front, but rather proportionable to the lower buildings.
+Let the court not be paved, for that striketh up a great heat in summer
+and much cold in winter; but only some side alleys with a cross, and the
+quarters to graze, being kept shorn, but not too near shorn. The row of
+return on the banquet side, let it be all stately galleries: in which
+galleries let there be three or five fine cupolas in the length of it,
+placed at equal distance; and fine coloured windows of several works: on
+the household side, chambers of presence and ordinary entertainments,
+with some bedchambers; and let all three sides be a double house,
+without thorough lights in the<span class="pagenum"><a name="page_259" id="page_259">{259}</a></span> sides, that you may have rooms from the
+sun both for forenoon and afternoon:&mdash;cast it also that you may have
+rooms both for summer and winter; shade for summer, and warm for winter.
+You shall have sometimes fair houses so full of glass that one cannot
+tell where to become to be out of the sun or cold. For embowed windows,
+I hold them of good use (in cities indeed, upright do better, in respect
+of the uniformity towards the street); for they be pretty retiring
+places for conference, and besides they keep both the wind and sun off;
+for that which would strike almost through the room doth scarce pass the
+window; but let them be but few, four in the court, on the sides only.</p>
+
+<p>“Beyond this court, let there be an inward court of the same square and
+height, which is to be environed with the garden on all sides; and in
+the inside, cloistered on all sides upon decent and beautiful arches as
+high as the first story; on the under story, towards the garden, let it
+be turned to a grotto, or place of shade, or estivation; and only have
+opening and windows toward the garden, and be level upon the floor, no
+whit sunk under ground, to avoid all dampishness: let there be a
+fountain or some fair work of statues in the midst of this court, and to
+be paved as the other court was. These buildings to be for privy
+lodgings on both sides, and the end for privy<span class="pagenum"><a name="page_260" id="page_260">{260}</a></span> galleries; whereof you
+must foresee that one of them be for an infirmary, if the prince or any
+special person should be sick, with chambers, bedchamber, ante-camera,
+and recamera, joining to it; this upon the second story.</p>
+
+<p>“Upon the ground story, a fair gallery, open, upon pillars, and upon the
+third story likewise, an open gallery upon pillars, to take the prospect
+and freshness of the garden.</p>
+
+<p>“At both corners of the farther side, by way of return, let there be two
+delicate or rich cabinets, daintily paved, richly hanged, glazed with
+crystalline glass, and a rich cupola in the midst; and all other
+elegancy that may be thought upon. In the upper gallery too, I wish that
+there may be, if the place will yield it, some fountains running in
+divers places from the wall, with some fine avoidances. And thus much
+for the model of the palace; save that you must have, before you come to
+the front, three courts, a green court plain, with a wall about it; a
+second court of the same, but more garnished with little turrets, or
+rather embellishments upon the wall; and a third court, to make a square
+with the front, but not to be built nor yet enclosed with a naked wall,
+but enclosed with terraces leaded aloft, and fairly garnished on the
+three sides; and cloistered on the inside with pillars, and not with
+arches below. As for offices, let them<span class="pagenum"><a name="page_261" id="page_261">{261}</a></span> stand at distance, with some low
+galleries to pass from them to the palace itself.”</p>
+
+<p class="spc2">&nbsp; </p>
+
+<p>The vignette is an elevation, with enlarged details, of a design for a
+weathercock or wind vane. In buildings where there are many on the roof,
+they are sometimes seen pointing different ways, and it is of importance
+they should be properly constructed. The construction necessary to
+prevent these differences is shown in the two sections on each side the
+elevation; <i>a</i> is a gun-metal rod, in which is fixed the small steel rod
+<i>b</i>; this moves in a piece of agate fixed in a small block of copper
+<i>c</i>; the agate is marked black in the left-hand section.</p>
+
+<div class="figcenter" style="width: 148px;">
+<a href="images/ill_pg_261_lg.jpg">
+<img src="images/ill_pg_261_sml.jpg" width="148" height="267" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<h2><a name="DESIGN_No_23" id="DESIGN_No_23"></a><i>DESIGN No. 23.</i><br /><br />
+A GARDEN SUMMER-HOUSE.</h2>
+
+<div class="figcenter" style="width: 292px;">
+<a href="images/ill_pg_262_lg.jpg">
+<img src="images/ill_pg_262_sml.jpg" width="292" height="407" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view and plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS small circular erection was designed from the express directions,
+as to style, size, form, and plan, of the gentleman for whom it was
+made, and who had it constructed. It was of wood, standing on a brick
+foundation, with a quaint room in the centre, completely lined with
+match-boarding, stained oak and varnished, the ceiling having hanging
+pendants. The lead lights of the sashes were glazed with various
+specimens of old coloured glass.</p>
+
+<div class="figcenter" style="width: 273px;">
+<a href="images/ill_pg_263_lg.jpg">
+<img src="images/ill_pg_263_sml.jpg" width="273" height="248" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation.</p></div>
+</div>
+
+<p>The view and plan are illustrated at page 262; the plan shows the
+general arrangements; the porch had seats on each side, and the back
+portion of the<span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" style="width: 260px;">
+<a href="images/ill_pg_264-a_lg.jpg">
+<img src="images/ill_pg_264-a_sml.jpg" width="260" height="210" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<div class="figcenter" style="width: 136px;">
+<a href="images/ill_pg_264-b_lg.jpg">
+<img src="images/ill_pg_264-b_sml.jpg" width="136" height="280" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Detail showing construction.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<p class="nind">summer-house was enclosed for a single seat. The elevation given on page
+263 shows, as well as the view, flower-pots on supports in the roof.
+These were</p>
+
+<div class="figcenter" style="width: 225px;">
+<a href="images/ill_pg_265_lg.jpg">
+<img src="images/ill_pg_265_sml.jpg" width="225" height="359" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Gate to a flower-garden.</p></div>
+</div>
+
+<p class="nind">omitted in execution. The section shows the building as constructed; it
+is taken through the porch. The interior room and the enclosed seat
+behind the illus<span class="pagenum"><a name="page_266" id="page_266">{266}</a></span>tration gives the detail of a portion of the
+construction.</p>
+
+<div class="figcenter" style="width: 320px;">
+<a href="images/ill_pg_266-a_lg.jpg">
+<img src="images/ill_pg_266-a_sml.jpg" width="320" height="291" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Elevation.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Section.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 155px;">
+<a href="images/ill_pg_266-b_lg.jpg">
+<img src="images/ill_pg_266-b_sml.jpg" width="155" height="120" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<p>The building had no fireplace, being merely intended for summer use; it
+was placed on an elevated site, and commanded a fine view.</p>
+
+<p>No small structure can be made too expensive in construction if it is to
+be placed in a beautiful flower-garden. However pretty its ornaments may
+be, they are sure to pale by the side of the natural objects surrounding
+it. The small gateway shown in view on page 265 was constructed entirely
+in oak with a slab-slated roof. It stood at some distance from the
+dwelling, to which it formed a conspicuous object, and it was the
+entrance to an enclosed flower-garden. An elevation, section, and plan
+of it are given on page 266.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette represents an open ironwork console or holder for a
+meat-jack for the kitchen fireplace: it is of French design.</p>
+
+<div class="figcenter" style="width: 161px;">
+<a href="images/ill_pg_267_lg.jpg">
+<img src="images/ill_pg_267_sml.jpg" width="161" height="104" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<h2><a name="DESIGN_No_24" id="DESIGN_No_24"></a><i>DESIGN No. 24.</i><br /><br />
+A SMALL COUNTRY RETREAT, OR FRENCH MAISONETTE.</h2>
+
+<div class="figcenter" style="width: 354px;">
+<a href="images/ill_pg_268_lg.jpg">
+<img src="images/ill_pg_268_sml.jpg" width="354" height="210" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS is a study for a small villa in the modern French style, one which
+has lately been introduced into several buildings of domestic character
+in England, the woodwork being sent from France. The</p>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_269_lg.jpg">
+<img src="images/ill_pg_269_sml.jpg" width="239" height="282" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">chief feature of the style is the machine-cut ornamental wood; it is of
+common deal, about an inch or a little more in thickness. When placed
+up, and coloured a light fawn colour or plain yellow, it is extremely
+pleasing, and has the merit of being very cheap.</p>
+
+<p>The design has an ornamental iron verandah<span class="pagenum"><a name="page_270" id="page_270">{270}</a></span> completely round two sides
+of the building, with small upright standards taken through its roof,
+which are</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_270_lg.jpg">
+<img src="images/ill_pg_270_sml.jpg" width="400" height="168" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through length of building.</p></div>
+</div>
+
+<p class="nind">connected together with zinc wire-work; the intention being to permit
+flowering plants to grow over it, so<span class="pagenum"><a name="page_271" id="page_271">{271}</a></span> that the front should be crowned
+with flowers. The villa is only intended for summer use, being confined
+in its accommodation. The ground plan, given on page 269, shows <i>d</i> and
+<i>e</i>, the drawing and dining</p>
+
+<div class="figcenter" style="width: 344px;">
+<a href="images/ill_pg_271_lg.jpg">
+<img src="images/ill_pg_271_sml.jpg" width="344" height="223" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Transverse section.</p></div>
+</div>
+
+<p class="nind">rooms, divided one from the other by curtains hanging on a glazed
+screen; the length of the two rooms is 42 feet, their breadth 15 feet.
+They are decorated gaily in French style; the room <i>c</i> can be used as a<span class="pagenum"><a name="page_272" id="page_272">{272}</a></span>
+study, but it is intended for a sleeping room; the kitchen <i>f</i> has a
+large larder <i>h</i>, but it would be desirable if the kitchen was formed a
+short distance away from the building, and connected with it by a
+passage; the rooms <i>f</i> and <i>g</i> could then be made into a bed and
+dressing-room. The wine cellar is at g, and a conservatory <i>i</i>, is
+placed at the end of the building.</p>
+
+<div class="figcenter" style="width: 147px;">
+<a href="images/ill_pg_272_lg.jpg">
+<img src="images/ill_pg_272_sml.jpg" width="147" height="186" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of one-pair.</p></div>
+</div>
+
+<p>The elevation of the front of the building and the two sections show the
+general construction of the upper part of the house. This was in timber,
+the flues alone being of brick.</p>
+
+<p>The plan of the upper floor shows four rooms; each of the flues is
+supplied with its pedestal, so that should the house be occupied in
+winter, these upper apart<span class="pagenum"><a name="page_273" id="page_273">{273}</a></span>ments could be kept well aired by the fires in
+the lower apartments, without any attention from the servants. The
+framing of the upper portion is correctly shown in the section copied
+from the working drawing.</p>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_273_lg.jpg">
+<img src="images/ill_pg_273_sml.jpg" width="168" height="294" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of verandah.</p></div>
+</div>
+
+<p>All elevation of a small portion of the verandah, showing its iron work,
+is given; and an illustration to a large scale shows its ornamental zinc
+guttering, and the carved wood French ornament, a section showing<span class="pagenum"><a name="page_274" id="page_274">{274}</a></span> how
+they are fastened on; and the zinc gutter placed in front is likewise
+given.</p>
+
+<div class="figcenter" style="width: 280px;">
+<a href="images/ill_pg_274-a_lg.jpg">
+<img src="images/ill_pg_274-a_sml.jpg" width="280" height="203" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of zinc gutter, and cut woodwork.</p></div>
+</div>
+
+<div class="figcenter" style="width: 164px;">
+<a href="images/ill_pg_274-b_lg.jpg">
+<img src="images/ill_pg_274-b_sml.jpg" width="164" height="236" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of the same.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<p>The following is a design in purely French taste for the circular top
+over the entrance porch on the upper floor.</p>
+
+<div class="figcenter" style="width: 395px;">
+<a href="images/ill_pg_275_lg.jpg">
+<img src="images/ill_pg_275_sml.jpg" width="395" height="211" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cut woodwork.</p></div>
+</div>
+
+<p>The roofs of buildings in this style should be covered with zinc. The
+French are as much before<span class="pagenum"><a name="page_276" id="page_276">{276}</a></span> us in their use of this metal as they are
+with their cut woodwork.</p>
+
+<p>Roofs covered with zinc could be made flatter, and have a covering or
+floor of boards, each board ½ an inch apart. An illustration is given of
+such a construction; it has a light iron railing with a scroll</p>
+
+<div class="figcenter" style="width: 264px;">
+<a href="images/ill_pg_276_lg.jpg">
+<img src="images/ill_pg_276_sml.jpg" width="264" height="241" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Design for roofing.</p></div>
+</div>
+
+<p class="nind">against the brick parapet; and supports a stand for flowers. With the
+absence of offensive smoke, and with the use of the flue pedestal to
+supply warmth, the upper parts of our houses could easily be formed into
+conservatories.</p>
+
+<p>The interior of the building was intended to be as<span class="pagenum"><a name="page_277" id="page_277">{277}</a></span> profusely decorated
+with the cut woodwork as the exterior. The staircase balusters were of a
+rich pattern, the whole being stained after some ornamental wood, and
+varnished.</p>
+
+<div class="figcenter" style="width: 266px;">
+<a href="images/ill_pg_277_lg.jpg">
+<img src="images/ill_pg_277_sml.jpg" width="266" height="337" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Staircase balusters.</p></div>
+</div>
+
+<p>The expense of constructing such a building would be 2450<i>l.</i></p>
+
+<p>In this style cut-wood decoration the French certainly excel us. Some
+English examples, very<span class="pagenum"><a name="page_278" id="page_278">{278}</a></span> common in our railway stations, are shown below.
+The most ornamental is a pattern used by the author some few years ago;
+a rose is introduced to cover the fastening of the cut pattern to the
+fascia behind.</p>
+
+<div class="figcenter" style="width: 296px;">
+<a href="images/ill_pg_278_lg.jpg">
+<img src="images/ill_pg_278_sml.jpg" width="296" height="248" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>We have in England a carving-machine, known as Irving’s patent, that was
+a few years since much worked at a manufactory in Pimlico by Mr. Pratt
+of Bond Street. At one time it bid fair to exert a most important
+influence upon the production of this kind of cut-wood decoration. It
+could make such carvings with the greatest ease and rapidity, whether in
+stone or wood. The machine was a simple drill in a move<span class="pagenum"><a name="page_279" id="page_279">{279}</a></span>able arm, worked
+either by steam or a hand-wheel, on a moveable table; the combined
+motion rendered it capable of carving any form, however intricate, from
+the largest Gothic window-head, to the smallest screen. At Pimlico it
+was under the architectural superintendence of R. W. Billings. It is
+still used, together with Jordan’s patent for carving, at Lambeth.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette gives a pattern for cut-wood balustrading.</p>
+
+<div class="figcenter" style="width: 161px;">
+<a href="images/ill_pg_279_lg.jpg">
+<img src="images/ill_pg_279_sml.jpg" width="161" height="237" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<h2><a name="DESIGN_No_25" id="DESIGN_No_25"></a><i>DESIGN No. 25.</i><br /><br />
+AN ELIZABETHAN VILLA.</h2>
+
+<div class="figcenter" style="width: 429px;">
+<a href="images/ill_pg_280_lg.jpg">
+<img src="images/ill_pg_280_sml.jpg" width="429" height="346" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made a few years ago for a gentleman who was a great
+admirer of our old English architecture, and who desired to have a</p>
+
+<div class="figcenter" style="width: 369px;">
+<a href="images/ill_pg_281_lg.jpg">
+<img src="images/ill_pg_281_sml.jpg" width="369" height="280" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<p class="nind">dwelling with its chief characteristics, both internally as well as
+externally, but with all modern arrangements. He intended to purchase a
+piece of land in the neigh<span class="pagenum"><a name="page_282" id="page_282">{282}</a></span>bourhood of London for the purpose of
+erecting the structure upon it. Producing the design was a labour of
+love to us both, and many a pleasant evening we</p>
+
+<div class="figcenter" style="width: 150px;">
+<a href="images/ill_pg_282_lg.jpg">
+<img src="images/ill_pg_282_sml.jpg" width="150" height="343" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrading of staircase.</p></div>
+</div>
+
+<p class="nind">spent together in studying the details as to what we should like to have
+in each room, without troubling ourselves about what the expense would
+be; unhappily<span class="pagenum"><a name="page_283" id="page_283">{283}</a></span> he did not live to carry out his intention, and the
+drawings were laid aside.</p>
+
+<div class="figcenter" style="width: 299px;">
+<a href="images/ill_pg_283-a_lg.jpg">
+<img src="images/ill_pg_283-a_sml.jpg" width="299" height="167" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of hall.</p></div>
+</div>
+
+<p>The exterior is a study from the celebrated building, Rushton Hall in
+Northamptonshire, erected in the</p>
+
+<div class="figcenter" style="width: 320px;">
+<a href="images/ill_pg_283-b_lg.jpg">
+<img src="images/ill_pg_283-b_sml.jpg" width="320" height="196" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">reign of Elizabeth, by Sir Thomas Tresham. On the <span class="pagenum"><a name="page_284" id="page_284">{284}</a></span>estate in the forest,
+about a mile from the house, is that curious and unique building, the
+Triangular Lodge,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> which served as a secret place of meeting for the
+conspirators of the Gunpowder Plot.</p>
+
+<p>The ground plan shows only a small and single staircase <i>b</i>;
+considerable discussion took place upon this; the great staircase was
+first planned in the hall <i>a</i>, but a billiard-table was imperative, and
+the hall alone</p>
+
+<div class="figcenter" style="width: 289px;">
+<a href="images/ill_pg_284_lg.jpg">
+<img src="images/ill_pg_284_sml.jpg" width="289" height="237" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of hall fireplace.</p></div>
+</div>
+
+<p class="nind">could receive it. The smaller staircase was made ornamental, with carved
+oak balustrades having a<span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figright" style="width: 113px;">
+<a href="images/ill_pg_285-a_lg.jpg">
+<img src="images/ill_pg_285-a_sml.jpg" width="113" height="239" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Details of hall fireplace.</p></div>
+</div>
+
+<p class="nind">small brass ornament between, for the children to lay hold of in getting
+upstairs.</p>
+
+<p>The hall was to be wainscoted all round; the illustration on page 283
+shows one side, with the entrance into the dining-room; a section of the
+moulding of the panels is given on page 283 of full size. A gilt
+decoration was to have been put in each panel, as shown. An ornamental
+plaster frieze, containing shields of arms</p>
+
+<div class="figcenter" style="width: 346px;">
+<a href="images/ill_pg_285-b_lg.jpg">
+<img src="images/ill_pg_285-b_sml.jpg" width="346" height="240" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Hall stove.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<p class="nind">which were to be emblazoned, came over the panelling. An elevation of
+the fireplace, to have been made in Caen stone, with its details on a
+large scale, is given in cuts on pp. 284, 285.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_286_lg.jpg">
+<img src="images/ill_pg_286_sml.jpg" width="275" height="368" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of hall ceiling.</p></div>
+</div>
+
+<p>The fireplace is shown with fire-dogs to burn wood, with its iron
+fire-back; but this was objected to, and<span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" style="width: 384px;">
+<a href="images/ill_pg_287_lg.jpg">
+<img src="images/ill_pg_287_sml.jpg" width="384" height="433" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<p class="nind">the stove was selected; my friend having great interest in coal,
+preferred it to wood.</p>
+
+<div class="figcenter" style="width: 359px;">
+<a href="images/ill_pg_288_lg.jpg">
+<img src="images/ill_pg_288_sml.jpg" width="359" height="322" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Dining-room ceiling.</p></div>
+</div>
+
+<p>The illustration on page 286 is a portion of the hall ceiling, copied
+from a celebrated example of the time of Henry VIII. To illustrate every
+room or give only one-third of the drawings made for this design<span class="pagenum"><a name="page_289" id="page_289">{289}</a></span> would
+far exceed the limits the present volume allows. Each of the three rooms
+on the ground floor had</p>
+
+<div class="figcenter" style="width: 235px;">
+<a href="images/ill_pg_289-a_lg.jpg">
+<img src="images/ill_pg_289-a_sml.jpg" width="235" height="145" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Pendant.</p></div>
+</div>
+
+<p class="nind">decorated chimney-pieces, and carved architraves and panels to the
+doors. The section shows the height of the rooms. The dining-room <i>e</i>
+(see ground-plan) was</p>
+
+<div class="figcenter" style="width: 304px;">
+<a href="images/ill_pg_289-b_lg.jpg">
+<img src="images/ill_pg_289-b_sml.jpg" width="304" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Pendant and centre ornaments.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<p>22 ft. by 20 ft.; the library <i>c</i>, 17 ft. by 15 ft., and the
+drawing-room <i>d</i>, 24 ft. by 17 ft., with a large bay window opening on
+to a terrace&mdash;their height 12 ft. 9 in.; <i>f</i> is the lift and <i>g</i> the
+closet. Each of these rooms was to have ornamental flat plaster ceilings
+with</p>
+
+<div class="figcenter" style="width: 316px;">
+<a href="images/ill_pg_290_lg.jpg">
+<img src="images/ill_pg_290_sml.jpg" width="316" height="276" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Drawing-room ceiling.</p></div>
+</div>
+
+<p class="nind">pendant ornaments. These are shown in illustrations on page 289.</p>
+
+<p>The staircase led to a gallery in the middle of the building on the
+first floor, dimly lighted at each end by the staircase and passage
+windows. The first floor<span class="pagenum"><a name="page_291" id="page_291">{291}</a></span> (page 292) contained a morning room, <i>a</i>, in
+the centre, 15 ft. by 12 ft., with a bow window; and three bedrooms <i>b</i>,
+<i>b</i>, <i>b</i>, with two dressing-rooms <i>c</i>, <i>c</i>, one with a bath and a
+closet.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_291_lg.jpg">
+<img src="images/ill_pg_291_sml.jpg" width="275" height="278" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Library ceiling.</p></div>
+</div>
+
+<p>The attic plan (page 292) contained three large rooms for the servants,
+<i>b</i>, <i>b</i>, <i>b</i>; a housemaid’s closet <i>e</i>, and in the recessed space by
+the side a large slate cistern for water. The basement (page 293)
+contained considerable accommodation: <i>d</i> was intended for a private
+room for the family, <i>a</i> the kitchen, <i>c</i> larder,<span class="pagenum"><a name="page_292" id="page_292">{292}</a></span> <i>b</i> the scullery, <i>i</i>
+beer-cellar, <i>g</i> butler’s sleeping-room, <i>e</i> butler’s pantry, <i>h</i>
+wine-cellar, <i>l</i> place for cleaning</p>
+
+<div class="figcenter" style="width: 315px;">
+<a href="images/ill_pg_292-a_lg.jpg">
+<img src="images/ill_pg_292-a_sml.jpg" width="315" height="222" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan (page 291).</p></div>
+</div>
+
+<div class="figcenter" style="width: 293px;">
+<a href="images/ill_pg_292-b_lg.jpg">
+<img src="images/ill_pg_292-b_sml.jpg" width="293" height="224" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Attic plan (see page 291).</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<p class="nind">knives. The housekeeper’s room <i>f</i>, and servants’ hall are in the front,
+and <i>j</i> is the lift for dishes to ground floor, <i>k</i> the coal-cellar. An
+open area was made on two sides of the building.</p>
+
+<div class="figcenter" style="width: 334px;">
+<a href="images/ill_pg_293_lg.jpg">
+<img src="images/ill_pg_293_sml.jpg" width="334" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan (see page 291).</p></div>
+</div>
+
+<p>It was intended to construct the basement fireproof, and to have the
+flooring chiefly of asphalte, laid on brick and concrete, solid with the
+earth; having a width of stone at the fireplaces. Small openings into
+the areas were to be made for water to run off, so that the floors could
+be at any time flooded from a<span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" style="width: 495px;">
+<a href="images/ill_pg_294_lg.jpg">
+<img src="images/ill_pg_294_sml.jpg" width="495" height="359" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" style="width: 533px;">
+<a href="images/ill_pg_295_lg.jpg">
+<img src="images/ill_pg_295_sml.jpg" width="533" height="342" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Back elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" style="width: 388px;">
+<a href="images/ill_pg_296_lg.jpg">
+<img src="images/ill_pg_296_sml.jpg" width="388" height="347" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of side.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<p class="nind">hose. The skirtings for eighteen inches above the floor were to be in
+asphalte, so that no beetles or other vermin should find their way in.
+It was a</p>
+
+<div class="figcenter" style="width: 218px;">
+<a href="images/ill_pg_297-a_lg.jpg">
+<img src="images/ill_pg_297-a_sml.jpg" width="218" height="126" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ironwork on terrace.</p></div>
+</div>
+
+<p class="nind">subject of discussion whether all the other floors and skirting should
+not be of a similar description. The three elevations of the building
+are given: they were</p>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_297-b_lg.jpg">
+<img src="images/ill_pg_297-b_sml.jpg" width="282" height="138" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ironwork on bay-window.</p></div>
+</div>
+
+<p class="nind">to have been in red brick with compo dressings, and the balustrades in
+artificial stone. One peculiar portion of the exterior decoration was
+the ironwork in<span class="pagenum"><a name="page_298" id="page_298">{298}</a></span> lieu of stone balustrading. The bay window and the
+terrace were surmounted with this ironwork; that on the terrace was to
+be formed so as to sustain heavy</p>
+
+<div class="figcenter" style="width: 224px;">
+<a href="images/ill_pg_298_lg.jpg">
+<img src="images/ill_pg_298_sml.jpg" width="224" height="373" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Portion of front.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Small finial.
+</p></td></tr>
+</table>
+</div></div>
+
+<p class="nind">earthenware pots of flowering shrubs:&mdash;an elevation of the two examples
+is given on page 297.<span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<p>The mouldings on the exterior of the building were small and simple;
+this is shown in illustrations on page 298. Various designs were made
+for the</p>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/ill_pg_299-a_lg.jpg">
+<img src="images/ill_pg_299-a_sml.jpg" width="255" height="139" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrades for first floor.</p></div>
+</div>
+
+<div class="figcenter" style="width: 217px;">
+<a href="images/ill_pg_299-b_lg.jpg">
+<img src="images/ill_pg_299-b_sml.jpg" width="217" height="218" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">balustrading; three of these, with the ornament containing a shield of
+arms in the centre of the side gables, are likewise given.<span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<p>The expense of constructing this design with all the ornamentation
+shown, would have been great. A</p>
+
+<div class="figcenter">
+<a href="images/ill_pg_300-a_lg.jpg">
+<img src="images/ill_pg_300-a_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Lower balustrade.</p></div>
+</div>
+
+<p class="nind">considerable portion of it, when it came to be estimated and the
+specification and working drawings were made</p>
+
+<div class="figcenter">
+<a href="images/ill_pg_300-b_lg.jpg">
+<img src="images/ill_pg_300-b_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ornament in side gable.</p></div>
+</div>
+
+<p class="nind">for the builder, would have been left out, and the whole made more
+simple. The design would not have<span class="pagenum"><a name="page_301" id="page_301">{301}</a></span> materially suffered for such
+deductions; all the general forms or the simple outline of the exterior
+would have been preserved. The chief deduction would have been made in
+the ornaments of the interior, or these might have been only partly
+done. Such a design, with a moderate amount of decoration only, would
+cost about 4700<i>l.</i></p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette shows French and English cut-wood patterns for blind
+ornaments.</p>
+
+<div class="figcenter" style="width: 157px;">
+<a href="images/ill_pg_301_lg.jpg">
+<img src="images/ill_pg_301_sml.jpg" width="157" height="153" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<h2><a name="DESIGN_No_26" id="DESIGN_No_26"></a><i>DESIGN No. 26.</i><br /><br />
+A SUMMER OR GARDEN VILLA.</h2>
+
+<div class="figcenter" style="width: 497px;">
+<a href="images/ill_pg_302_lg.jpg">
+<img src="images/ill_pg_302_sml.jpg" width="497" height="297" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<p class="nind"><span class="letra">O</span>NE of our most eminent writers on gardens, Repton, remarked that
+“gardening and architecture, like all the fine arts, have much in
+common; and the department of architecture which belongs more
+exclusively to gardens has especially a great affinity to gardening in
+its broadest principles.” In fact, there is much more relation between
+the two than is usually admitted&mdash;a matter already alluded to in the
+Introductory Essay. Architectural forms and decorations, temples and
+rustic bowers, seats, &amp;c., are not, as many have observed, unfit for our
+climate. In western counties they certainly can be indulged in to a
+large extent; and the fine evergreens and the beautiful grass of this
+country will, in association with ornamental terraces and sculpture,
+impart sufficient warmth of tone to render them agreeable. The garden of
+<i>Mon-plaisir</i> at Elvaston, in Derbyshire, and the Alhambra Gardens
+there; those at Castle Coombe, Trentham, Alton Towers, and Bowood,
+sufficiently prove how attractive gardens can be architecturally made.
+In former years gardens were almost universal through every part of
+England, as is proved by the bird’s-eye view, engraved by Kipp, from
+drawings by Knyff in the book, “Britannia Illustrata,” and those of the
+gardens given in Loggan’s “Oxonia Restituta,” and the similar work on
+Cambridge. But gardens, like all other mundane matters, have their
+periods of<span class="pagenum"><a name="page_304" id="page_304">{304}</a></span> change or retrogression; the natural style having almost
+obliterated the architectural garden of William and Mary. This might
+have been too precise, as</p>
+
+<div class="figcenter" style="width: 372px;">
+<a href="images/ill_pg_304_lg.jpg">
+<img src="images/ill_pg_304_sml.jpg" width="372" height="312" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan of villa.</p></div>
+</div>
+
+<p class="nind">copied from the Dutch model: they were satirized by Pope, thus&mdash;</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Grove nods at grove, each alley has a brother,<br /></span>
+<span class="i1">And half the platform just reflects the other.”<br /></span>
+</div></div>
+</div>
+
+<p class="nind">They were called King William’s style of fortifica<span class="pagenum"><a name="page_305" id="page_305">{305}</a></span>tions, surrounded
+with yew hedges, cut in variety of forms; those which have been suffered
+to outlive their original shape are really beautiful. Queen Anne’s
+Garden, now part of Kensington Gardens, is an example. But these gardens
+were very inferior to those of Italy and France, or even those in
+England of the Elizabethan age. It is to Italy, the garden of Europe,
+that we must look for the finest specimens of garden architecture. The
+Villa Pamphilia or de Belrespiro, situated half a mile out of Rome
+beyond the Gate of San Pancrazio, is celebrated for its gardens; from
+them could be observed the whole city of Rome, and surrounding suburbs.
+The gardens are nearly five miles in circumference, and occupy the site
+of those of the Emperor Galba. Their arrangement is varied and
+agreeable; being picturesque without disorder, symmetrical without
+monotony; and we here observe the art with which the arrangement of a
+regular garden is made to agree with the rural nature of which it forms
+a part, and the noble structure it surrounds. It is doubtless the work
+of the architect of the villa L’Algardi, about the year 1646. They have
+been ascribed to the French artist, Le Notre, but there is very little
+of the French style about them; they are wholly Italian, following the
+lines of the villa, and in the same style or spirit. These are, or were
+admirable; while the fountains,<span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" style="width: 372px;">
+<a href="images/ill_pg_306_lg.jpg">
+<img src="images/ill_pg_306_sml.jpg" width="372" height="573" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan of garden and villa.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<p class="nind">the cascades, grottos, basins, statues, and the antique fragments which
+adorn them are arranged with the</p>
+
+<div class="figcenter" style="width: 188px;">
+<a href="images/ill_pg_307-a_lg.jpg">
+<img src="images/ill_pg_307-a_sml.jpg" width="188" height="193" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Small group in centre of side left-hand basin.</p></div>
+</div>
+
+<p class="nind">skill and intelligence of genius. Illustrations are preserved to us only
+in a fine Italian work, by Jacobi de Rubeis, published at Rome, about
+the middle of</p>
+
+<div class="figcenter" style="width: 162px;">
+<a href="images/ill_pg_307-b_lg.jpg">
+<img src="images/ill_pg_307-b_sml.jpg" width="162" height="168" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Small group in centre of right-hand basin.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<p class="nind">the seventeenth century. The villa was destroyed by the French when they
+crushed the liberty of the Roman people at their onslaught on Rome
+against Garibaldi.</p>
+
+<p>In designs of this description the house and garden should unite, and be
+lost in each other. Those parts of the garden most contiguous to the
+house should follow its outline, its walks and terraces, and be so</p>
+
+<div class="figcenter" style="width: 338px;">
+<a href="images/ill_pg_308_lg.jpg">
+<img src="images/ill_pg_308_sml.jpg" width="338" height="237" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fountain ornaments.</p></div>
+</div>
+
+<p class="nind">placed that the windows and doors of the mansion could command a perfect
+view of them. The province of garden architecture is, primarily, to
+supply fitting appendages and accompaniments to the house, so that the
+latter may not appear alone and unsupported. If judiciously adopted it
+will be effective in helping to produce a good outline, carry down the
+lines of the<span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" style="width: 451px;">
+<a href="images/ill_pg_309_lg.jpg">
+<img src="images/ill_pg_309_sml.jpg" width="451" height="277" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" style="width: 446px;">
+<a href="images/ill_pg_310_lg.jpg">
+<img src="images/ill_pg_310_sml.jpg" width="446" height="361" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through centre of building.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<p class="nind">house, and connect it with other buildings, which may be conservatories,
+ferneries, aquaria, rustic seats, temples, and arbours; and it will
+provide a</p>
+
+<div class="figcenter" style="width: 383px;">
+<a href="images/ill_pg_311_lg.jpg">
+<img src="images/ill_pg_311_sml.jpg" width="383" height="286" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of saloon.</p></div>
+</div>
+
+<p class="nind">proper basement to the house. Such arrangements afford shelter or
+privacy to a flower garden, extend the façade or frontage of the house,
+shut out back<span class="pagenum"><a name="page_312" id="page_312">{312}</a></span> yards, stabling or offices, enrich, vary, and enliven the
+garden, supply conveniences, receptacles for birds, plants, sculpture,
+or works of art, specimens of natural history, and support for climbing
+plants. These points indicate refinement, wealth, and love of art, and
+otherwise blend the various constituents of a garden with the house, and
+harmonize the two by communicating an artistic tone to the garden. So
+says Repton, and most of the principal writers on gardening.</p>
+
+<div class="figcenter" style="width: 199px;">
+<a href="images/ill_pg_312_lg.jpg">
+<img src="images/ill_pg_312_sml.jpg" width="199" height="196" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cap in saloon.</p></div>
+</div>
+
+<p>Some of the ancient gardens of Asia and Italy were considered among the
+wonders of the world. They were termed paradises, and were filled with
+such plants, both beautiful and useful, that the soil could produce;
+they were enriched with many kinds of works of art, banqueting-houses,
+aviaries, wells, and<span class="pagenum"><a name="page_313" id="page_313">{313}</a></span> streams of running water, indispensable in those
+warm climates.</p>
+
+<div class="figcenter" style="width: 222px;">
+<a href="images/ill_pg_313-a_lg.jpg">
+<img src="images/ill_pg_313-a_sml.jpg" width="222" height="178" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of part of saloon ceiling.</p></div>
+</div>
+
+<p>An architectural garden, as illustrated in the design at page 302,
+should have a picturesque outline, a</p>
+
+<div class="figcenter" style="width: 219px;">
+<a href="images/ill_pg_313-b_lg.jpg">
+<img src="images/ill_pg_313-b_sml.jpg" width="219" height="217" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of the same.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<p class="nind">marked boldness and prominence of parts, rather than a mere ornamental
+detail; a picturesque effect by changes of level in the ground, by
+diversity of height</p>
+
+<div class="figcenter" style="width: 212px;">
+<a href="images/ill_pg_314-a_lg.jpg">
+<img src="images/ill_pg_314-a_sml.jpg" width="212" height="147" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of centre panel.</p></div>
+</div>
+
+<p class="nind">of the different terraces, and by an arrangement in plan that would
+produce depth of shade. Every object admitted should fit into its proper
+place. This</p>
+
+<div class="figcenter" style="width: 123px;">
+<a href="images/ill_pg_314-b_lg.jpg">
+<img src="images/ill_pg_314-b_sml.jpg" width="123" height="142" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Panel of ceiling.</p></div>
+</div>
+
+<p class="nind">villa was designed to cover a fine spring of cold water, and thus insure
+a deep cold plunging bath. It was<span class="pagenum"><a name="page_315" id="page_315">{315}</a></span> to be merely a place for temporary
+occupation and retirement, to renovate the health of the owner. The
+gardens and fountains externally were only ornamental accessories; the
+plan at page 306 illustrates these. The villa was approached by two
+roads <i>d</i> <i>d</i>; there was a circle of open lawn between the house and the
+terraced gardens in front. The latter were approached</p>
+
+<div class="figcenter" style="width: 137px;">
+<a href="images/ill_pg_315_lg.jpg">
+<img src="images/ill_pg_315_sml.jpg" width="137" height="228" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section and plan of one of centre pendants.</p></div>
+</div>
+
+<p class="nind">by descending flights of steps. A basin of water and a large fountain,
+rising from a group of sculpture in the centre, are there shown. By the
+side are two smaller basins with smaller groups of sculpture,
+representing sea-horses, cupids, and dolphins. This terrace is paved
+with ornamental encaustic tiles. At the<span class="pagenum"><a name="page_316" id="page_316">{316}</a></span> head of the two side gardens
+<i>b</i> <i>b</i>, are grottos <i>g</i> <i>g</i>, with seats on a raised terrace on each
+side of their entrances. The steps descend to a lower level, and have
+sea-horses and cupids on their pedestals, with five falls of water from
+griffins’ heads, filling a basin below. A</p>
+
+<div class="figcenter" style="width: 296px;">
+<a href="images/ill_pg_316_lg.jpg">
+<img src="images/ill_pg_316_sml.jpg" width="296" height="292" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Bedroom ceiling.</p></div>
+</div>
+
+<p class="nind">wide walk, and a running stream by its side, were thus gained.</p>
+
+<p>The author at the time he made the design was effecting some additions
+to a country house, which admitted such a garden to be formed in front
+of it:<span class="pagenum"><a name="page_317" id="page_317">{317}</a></span> he published his design for it at the time (1850) in the
+<i>Builder</i>.</p>
+
+<div class="figcenter" style="width: 253px;">
+<a href="images/ill_pg_317_lg.jpg">
+<img src="images/ill_pg_317_sml.jpg" width="253" height="401" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Drawing-room ceiling.</p></div>
+</div>
+
+<p>This villa may be considered a casine, or a retired dwelling on a rather
+larger scale, similar to the pic<span class="pagenum"><a name="page_318" id="page_318">{318}</a></span>turesque house at Wothorp, in
+Northamptonshire, which was erected by one of the Earls of Burleigh, as
+a place to retire to, while his “great house at Burghley was sweeping.”
+Wothorp was a large building: it was fully illustrated in one of the</p>
+
+<div class="figcenter" style="width: 306px;">
+<a href="images/ill_pg_318_lg.jpg">
+<img src="images/ill_pg_318_sml.jpg" width="306" height="279" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Sections of moulding of ceiling.</p></div>
+</div>
+
+<p class="nind">author’s works, from original drawings lent him by the late Marquis of
+Exeter. The casine, only one size larger than a cottage, was the fashion
+of the preceding age. Whenever the proprietor of an estate wished to
+turn hermit, he retired to the casine, a<span class="pagenum"><a name="page_319" id="page_319">{319}</a></span> small temple erected in a
+portion of his grounds, where the finest views could be obtained, and
+the most perfect repose secured. In earlier times such buildings</p>
+
+<div class="figcenter" style="width: 265px;">
+<a href="images/ill_pg_319-a_lg.jpg">
+<img src="images/ill_pg_319-a_sml.jpg" width="265" height="241" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Drawing-room chimney-piece.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<p class="nind">afforded secret meeting-places wherein to hatch political plots; such a
+one was the triangular lodge in a secluded part of the wood at Rushton
+in Northamptonshire,</p>
+
+<div class="figcenter" style="width: 256px;">
+<a href="images/ill_pg_319-b_lg.jpg">
+<img src="images/ill_pg_319-b_sml.jpg" width="256" height="174" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">the seat of Sir Thomas Tresham, where the gunpowder conspirators
+assembled. The casine of more modern times was not so small, but it
+con<span class="pagenum"><a name="page_321" id="page_321">{321}</a></span>tained</p>
+
+<div class="figcenter" style="width: 272px;">
+<a href="images/ill_pg_320_lg.jpg">
+<img src="images/ill_pg_320_sml.jpg" width="272" height="386" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">all the requirements of good living. One example, is the
+casine of Marino, near Dublin, built by Sir William Chambers for the
+Earl of Charlemont.</p>
+
+<div class="figcenter">
+<a href="images/ill_pg_321_lg.jpg">
+<img src="images/ill_pg_321_sml.jpg" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">It was square in plan, surrounded by twelve columns, two projecting flat
+porticoes in front and back, and pedimented porticoes at the sides. The
+entrance was<span class="pagenum"><a name="page_322" id="page_322">{322}</a></span> approached by a noble flight of steps, the pedestals of
+which were decorated with carvings, and supported crouching lions.
+Statues and vases adorned the roof. A print of it, from a drawing of
+Wheatly, was published in 1783. The building contained a small hall or
+vestibule, a saloon or living-room, 20 feet in length by 15 feet in
+width. Leading out of this were</p>
+
+<div class="figcenter" style="width: 319px;">
+<a href="images/ill_pg_322_lg.jpg">
+<img src="images/ill_pg_322_sml.jpg" width="319" height="225" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of mezzanine floor.</p></div>
+</div>
+
+<p class="nind">two small rooms; one a study, the other a bedroom and closet. The
+basement contained a large and well-fitted kitchen, a scullery and
+larder, a butler’s pantry, and servants’ hall, and cellars for ale and
+wine. Retired buildings of this kind, of larger character and of more
+importance, were often erected in private<span class="pagenum"><a name="page_323" id="page_323">{323}</a></span> grounds of noblemen and
+gentry. One, very similar to the present design, was constructed by the
+late Robert Adam, for a salt-water bath, at Mistley, the seat of the
+Right Hon. Richard Rigby. Mr. Adam and Sir William Chambers erected a
+large number of such ornamental structures. One of the most elegant</p>
+
+<div class="figcenter" style="width: 325px;">
+<a href="images/ill_pg_323_lg.jpg">
+<img src="images/ill_pg_323_sml.jpg" width="325" height="231" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of upper story.</p></div>
+</div>
+
+<p class="nind">examples, by Mr. Robert Adam, was the rout-house or pavilion erected for
+a <i>fête champêtre</i> in the gardens of the Earl of Derby, at the Oaks, in
+Surrey, in 1774. The building was internally of the most ornamental
+character; there was an octangular vestibule, a hall 30 feet in
+diameter; this opened into a grand ball<span class="pagenum"><a name="page_324" id="page_324">{324}</a></span>-room, 72 feet by 35 feet within
+the columns, and 86 feet by 56 feet within the walls. The supper-room,
+surrounding the ball-room, measured 200 feet from one end to the other,
+and 20 feet in width. It was exposed in its full splendour on the
+curtains being drawn; and at the end of the ball-room there were</p>
+
+<div class="figcenter" style="width: 327px;">
+<a href="images/ill_pg_324_lg.jpg">
+<img src="images/ill_pg_324_sml.jpg" width="327" height="266" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p class="nind">two tea-rooms, each 20 feet square, on each side of the entrance saloon.
+The author gives these details in order that he may not be considered
+too venturesome in submitting to public notice, in these economical
+times, such an ornamental design as the<span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" style="width: 468px;">
+<a href="images/ill_pg_325_lg.jpg">
+<img src="images/ill_pg_325_sml.jpg" width="468" height="271" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of back front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<p class="nind">present. Similar structures of a more expensive character were once very
+common; but the small</p>
+
+<div class="figcenter" style="width: 204px;">
+<a href="images/ill_pg_326-a_lg.jpg">
+<img src="images/ill_pg_326-a_sml.jpg" width="204" height="288" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of top of pedestal.</p></div>
+</div>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_326-b_lg.jpg">
+<img src="images/ill_pg_326-b_sml.jpg" width="239" height="109" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p class="nind">retired casine has now gone out of fashion. The ladies consider such
+secluded buildings as only fit for<span class="pagenum"><a name="page_327" id="page_327">{327}</a></span> laundries, and not preferring
+themselves lives of perfect retirement and quiet, have brought in the
+small</p>
+
+<div class="figcenter" style="width: 243px;">
+<a href="images/ill_pg_327_lg.jpg">
+<img src="images/ill_pg_327_sml.jpg" width="243" height="403" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ornament terminating pedestal on attic.</p></div>
+</div>
+
+<p class="nind">villa where a whole family can dwell, and no selfish thoughts or gloomy
+contemplations find place.<span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<p>In referring to the plan of the villa at page 304, of which the plate
+page 302 shows the elevation, <i>e</i> is the</p>
+
+<div class="figcenter" style="width: 105px;">
+<a href="images/ill_pg_328-a_lg.jpg">
+<img src="images/ill_pg_328-a_sml.jpg" width="105" height="257" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<div class="figcenter" style="width: 223px;">
+<a href="images/ill_pg_328-b_lg.jpg">
+<img src="images/ill_pg_328-b_sml.jpg" width="223" height="93" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p class="nind">small hall 8 feet square, <i>g</i> the gun room or waiting room is on the
+right, the serving room with a lift from the basement on the left. The
+saloon is a highly<span class="pagenum"><a name="page_329" id="page_329">{329}</a></span> decorated apartment, 20 feet in diameter. This is
+seen in the section through the centre of the building given at page
+310; <i>h</i> is the sleeping room, 13 feet square, with an ornamental
+ceiling. The saloon serves as a dining-room and place for meals. The
+drawing-room, <i>d</i>, or music room, 22 feet by 14 feet, is on</p>
+
+<div class="figcenter" style="width: 200px;">
+<a href="images/ill_pg_329_lg.jpg">
+<img src="images/ill_pg_329_sml.jpg" width="200" height="252" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Termination of attic pedestal.</p></div>
+</div>
+
+<p class="nind">the left, <i>b</i> is the principal staircase leading to the upper rooms;
+this serves also for servants. The small iron staircase <i>j</i>, is for
+passage to the cold bath below, <i>i</i> is a room for a warm bath. The cold
+bath, as shown in the section, is ventilated through a<span class="pagenum"><a name="page_330" id="page_330">{330}</a></span> domed ceiling,
+but the scale is too small to show this perfectly.</p>
+
+<p>A portion of the saloon is shown at page 311, with a few of its details
+in the six cuts following it.</p>
+
+<div class="figcenter" style="width: 176px;">
+<a href="images/ill_pg_330_lg.jpg">
+<img src="images/ill_pg_330_sml.jpg" width="176" height="328" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Chimney-pot elevation and section.</p></div>
+</div>
+
+<p>The bedroom ceiling (page 316) supposes the covering of a tent, upheld
+by spears and ropes. The colour of the drapery is of a light fawn, the
+ground a deep ultramarine blue. In the centre of the ceiling<span class="pagenum"><a name="page_331" id="page_331">{331}</a></span> is a small
+Cupid on a red or gilt ground, a light blue circle surrounding it. The
+spears, roses, ropes, and tassels are gilt and coloured.</p>
+
+<div class="figcenter" style="width: 454px;">
+<a href="images/ill_pg_331_lg.jpg">
+<img src="images/ill_pg_331_sml.jpg" width="454" height="214" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Iron balconet to window.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<p>The drawing-room ceiling is decorated plaster work in white and gold.
+Its plan is shown at page 317, and three of its details on page 318.
+Among other decorations of these rooms may be considered the
+chimney-pieces. The cuts (page 319) give an elevation of the
+drawing-room chimney-piece, the plan of its shelf above, and a portion
+of its details to a larger scale beneath. This chimney-piece in the
+finest statuary marble would cost 80<i>l.</i> to execute. Several have been
+done for the author at that price. They look very well in execution. Two
+fire-places of less pretensions are shown in the illustrations at pp.
+320 and 321; the first was in rouge royal, costing 25<i>l.</i>; the last are
+of marble with slate panels covered with imitation of Brocatelli
+marbles, these costing 19<i>l.</i> 10<i>s.</i> each. The illustration of the whole
+of the details of internal decoration of such a structure would fill a
+much larger volume than the present; but it is the sole object of the
+author to give such illustrations of the several designs, that a portion
+of each part of the building only shall be shown; <i>k</i>, in the ground
+plan (page 304), is an open portico with steps to the garden or park in
+front of it.</p>
+
+<p>The next plan (page 322) is that of the mezzanine. This shows two of the
+female servants’ sleeping rooms, <i>a</i>, <i>a</i>, with a closet; the decorated
+ceilings of the saloon, drawing-room, and bed-room, are also shown; the<span class="pagenum"><a name="page_333" id="page_333">{333}</a></span>
+bath-room should have some slight decoration, but this has been omitted.
+The female servants’ sleeping rooms are each 17 feet in length by 8 in
+width.</p>
+
+<p>The plan of the upper story (page 323) gives a smoking room <i>a</i>, with an
+open terrace <i>c c</i>, front and back, a closet <i>d</i>, and a cistern room
+<i>b</i>.</p>
+
+<div class="figcenter" style="width: 130px;">
+<a href="images/ill_pg_333_lg.jpg">
+<img src="images/ill_pg_333_sml.jpg" width="130" height="185" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of window sill and iron balconet.</p></div>
+</div>
+
+<p>The basement plan (page 324) shows the cold bath in the centre, with its
+staircase; the kitchen <i>b</i>, the scullery <i>g</i>, <i>h</i> <i>h</i> the larders, <i>c</i>
+is the lift, and <i>d</i> <i>d</i> are men’s sleeping rooms; the servants’ hall
+<i>t</i>, and housekeeper’s room <i>j</i>, are on the left, <i>q</i> is the wine
+cellar, and <i>s</i> the beer cellar.</p>
+
+<p>The elevation of the back front is at page 325; it has a circular
+portico and steps down to the garden. An attempt has been made to
+introduce an original<span class="pagenum"><a name="page_334" id="page_334">{334}</a></span> termination for the pedestals on the attics,
+instead of using the almost universal Soanic bulbous ornament so
+repeatedly seen in nearly every public building in</p>
+
+<div class="figcenter" style="width: 359px;">
+<a href="images/ill_pg_334_lg.jpg">
+<img src="images/ill_pg_334_sml.jpg" width="359" height="219" alt="[Image unavailable.]" /></a>
+</div>
+
+<p>London and the country, and of which the author’s late master, Sir John
+Soane, was so fond. These attempts are given in the figures pp. 326-328;
+and an attempt is made to give an ornamental chimney<span class="pagenum"><a name="page_335" id="page_335">{335}</a></span>-pot on page 330.
+It will be seen in the figure that the ornamental cement pot or vase
+contains an iron, or it might be a zinc, lining; this would be kept
+warm, and a security for the smoke passing out.</p>
+
+<p>The exterior of the building is ornamented with statues and vases, and
+the windows have iron balconets.</p>
+
+<p>The last remaining illustration to be given is the arcade on each side
+of the villa, dividing the front and back gardens. The chief portion of
+this in stone, with statues between the columns and vases over them; at
+the back of the columns is another front of ornamental trellis work in
+wood, with scroll stands for flowers&mdash;this is supported or upheld by the
+stone screen; an elevation of each, with a section, is given at page
+334.</p>
+
+<p class="spc2">&nbsp; </p>
+
+<p>The vignette gives French and English patterns for cover to external
+sunblinds.</p>
+
+<div class="figcenter" style="width: 145px;">
+<a href="images/ill_pg_335_lg.jpg">
+<img src="images/ill_pg_335_sml.jpg" width="145" height="150" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<h2><a name="DESIGN_No_27" id="DESIGN_No_27"></a><i>DESIGN No. 27.</i><br /><br />
+A DECORATED WINDOW.</h2>
+
+<div class="figcenter" style="width: 423px;">
+<a href="images/ill_pg_336_lg.jpg">
+<img src="images/ill_pg_336_sml.jpg" width="423" height="284" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was sketched with the intention of making Italian forms
+rival the tracery of the Decorated Gothic window, and to obtain a rich
+and variegated mass of painted and coloured glass, without any stiff
+mannerism or formality. The window was 11 ft. in height with a width of
+7 ft.; it served as a screen in one of the principal staircases in a
+house at Queen’s Gate, Kensington; immediately behind it is the
+servants’ staircase, having a large window and skylight. The lower
+portion of this window is divided into three lights by two pilasters
+acting as mullions. The circle above the transome is filled with a
+richly painted subject, representing a basket of flowers and scrollwork
+on a ruby ground. The basket is formed of emerald glass, the ground of
+the surrounding portions is richly embossed glass, the chief portions
+white, the small portions ruby, yellow and blue, the latter with white
+ornaments upon it. The three lights between the pilasters are filled
+with embossed glass, and the whole is surrounded by borders of
+scrollwork richly embossed, stained and painted; the ruby ground is
+shown in the drawing by vertical lines, the yellow by oblique lines, and
+the blue by horizontal lines. The expense, including the zinc-work for
+fixing the glass to the upper portion or fan-light, was 22<i>l.</i> 6<i>s.</i>;
+the lower portion cost 8<i>l.</i> 10<i>s.</i> It was the work of Messrs. Baillie
+and Co. of Wardour Street.<span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<h2><a name="DESIGN_No_28" id="DESIGN_No_28"></a><i>DESIGN No. 28.</i><br /><br />
+A SCULPTOR’S VILLA.</h2>
+
+<div class="figcenter" style="width: 591px;">
+<a href="images/ill_pg_338_lg.jpg">
+<img src="images/ill_pg_338_sml.jpg" width="591" height="297" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<p class="nind"><span class="letra">D</span>URING the year 1850 the author, in conjunction with the late Mr. John
+Britton, F.S.A., was engaged in making some topographical sketches in
+one of the western counties of England. He became for a short time the
+guest of one of its principal residents&mdash;a gentleman who had succeeded
+to the possession of more than a million of money, the result of a
+relative’s gains as a merchant in the City. He had filled the small
+house he was then inhabiting with a very fine collection of antique
+bronzes: also with ancient and modern statuary. The house was occupied
+in every corner with these valuable and beautiful works of art. He was
+then having another house of larger dimensions erected to receive them.
+Considerable discussion took place at his table between himself and his
+visitors, among whom were two or three distinguished men of taste, as to
+the best method of introducing sculpture into a dwelling of moderate
+capacity. It was the general opinion that to properly exhibit classic
+sculpture, a villa the size of those of the ancients, such as are
+described by Pliny in the account of his villas at Laurentinum and
+Tusculum, would be required, and that no other would suffice. On his
+return home, the author, as a matter of amusement, without any thought
+that his ideas would ever be carried out, made the present design; it
+was a subject that pleased him, as he had only a few years pre<span class="pagenum"><a name="page_340" id="page_340">{340}</a></span>viously</p>
+
+<div class="figcenter" style="width: 510px;">
+<a href="images/ill_pg_340_lg.jpg">
+<img src="images/ill_pg_340_sml.jpg" width="510" height="292" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of ground floor.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<p class="nind">superintended the construction of a small sculpture gallery for the late
+Sir Francis Chantrey at Pimlico.</p>
+
+<p>The ground plan of this design shows a gallery of sculpture in the
+centre of the building, a small</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_341_lg.jpg">
+<img src="images/ill_pg_341_sml.jpg" width="275" height="307" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of staircase.</p></div>
+</div>
+
+<p>“Museo Chiaramonti.” The principal group at the end, representing the
+capture of the Queen of the Amazons, is so placed that the staircase
+winding round it forms its base; the group can be seen from<span class="pagenum"><a name="page_342" id="page_342">{342}</a></span> the
+staircase, and from the galleries at the side, in every point of view.
+This being a large building, the scale upon which the plans, elevation,
+and sections are drawn is smaller than the scale previously used in this
+volume. The gallery, including that portion which forms the ante-room to
+the conservatory, is 80 ft. in length by 20 ft. in width, which is a
+poor</p>
+
+<div class="figcenter" style="width: 200px;">
+<a href="images/ill_pg_342_lg.jpg">
+<img src="images/ill_pg_342_sml.jpg" width="200" height="235" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of principal staircase.</p></div>
+</div>
+
+<p class="nind">imitation of the gallery at the Vatican&mdash;the Museo Chiaramonti. This is
+280 ft. in length, with a breadth of 20 ft.</p>
+
+<p>But the possession of only a million of money gives a moderate income
+compared with that of the sovereign popes at the time the Vatican was
+erected. The<span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" style="width: 589px;">
+<a href="images/ill_pg_343_lg.jpg">
+<img src="images/ill_pg_343_sml.jpg" width="589" height="199" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through gallery and conservatory.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<p class="nind">sculpture is arranged on each side of the gallery, the bas-reliefs
+inserted in the walls, the bronzes on small pedestals, a reclining group
+is placed in a niche in front of the staircase. A marble group is placed
+in the fountain in the ante-room to the conservatory, and another in the
+conservatory itself. A gallery of this description permits the admission
+of a large quantity of sculpture, allowing it to be seen with advantage.
+The entrance of the building, partly taken from the front of one of the
+Italian palaces,<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> permits a large quantity of sculpture to be placed
+in advantageous positions. The plan, page 340, shows an entrance loggia
+<i>a</i>, the hall <i>b</i>, 17 ft. by 16 ft., with the waiting-room <i>c</i>, to the
+right, the breakfast parlour <i>d</i>, and the butler’s pantry <i>g</i>, to the
+left; <i>f</i> is the library, 28 ft. by 16 ft., entered either from the
+gallery or the waiting-room. It has a large window looking into the
+ante-room to the conservatory, and permits a good view of the group of
+sculpture and the fountain in the centre; <i>e</i> is the gallery, with the
+principal staircase, <i>i</i> is the dining-room opening into the picture
+gallery and drawing-room <i>h</i>, <i>k</i>.</p>
+
+<p>The section, page 343, shows the general arrangement, and an idea can be
+formed of its grand<span class="pagenum"><a name="page_345" id="page_345">{345}</a></span> scenic effect in summer, when the doors were
+opened. The walk round the conservatory and through the whole of the
+gallery would have a length of 170 ft., and round the galleries 150 ft.
+more, giving ample space to place a very large collection of sculpture.
+Underneath the gallery were supposed to be large cellars for wine. These
+had a private entrance through the pedestal of the Amazonian group, as
+shown in the plan and section to a larger scale at page 342; the
+collection below was supposed to be as valuable as the one above, and
+calculated to yield as much enjoyment, and one certainly that would be
+more highly appreciated by a greater number of persons. The villa,
+however, is on a small scale compared with some of the noble residences
+in the county, and the accommodation throughout very scanty. The
+servants’ offices are shown annexed to the plan; <i>l</i> is the kitchen, 24
+ft. by 22 ft., <i>m</i> the scullery, <i>n</i> the housekeeper’s room, <i>o</i> a small
+servants’ hall, <i>p</i> is a serving room, and <i>q</i> the external entrance to
+the cellarage.</p>
+
+<p>By the side of the principal staircase is a descent into the cellars and
+basement, for the servants, <i>b</i>, plan page 342. The conservatory has a
+diameter of 40 ft. and a height of 44 ft.; it is of light construction,
+in decorated ironwork.</p>
+
+<p>The one-pair plan shows the sleeping department, the principal
+bed-rooms, <i>b</i> <i>b</i>, each with a dressing-room,<span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" style="width: 490px;">
+<a href="images/ill_pg_346_lg.jpg">
+<img src="images/ill_pg_346_sml.jpg" width="490" height="227" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of one-pair.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<p><i>d</i> <i>d</i>. These are entered direct from the gallery; in the front of the
+building are five smaller sleeping</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/ill_pg_347_lg.jpg">
+<img src="images/ill_pg_347_sml.jpg" width="400" height="300" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cross section.</p></div>
+</div>
+
+<p class="nind">rooms. At the conservatory end the gallery opens on to the roof of the
+ante-room beneath, and from this<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span> there is an entrance to a circular
+gallery inside the conservatory. On the servants’ side are seen two
+large sleeping rooms, and a housemaid’s closet; as this portion of the
+building is kept lower than the other, it could have two or three rooms
+constructed over the kitchen, or it could be carried up another story.
+The plan of the principal bedchambers is taken up another floor; the
+small staircase for this purpose is seen at the end of the gallery.</p>
+
+<p>The cross section (page 347) shows the height of the building, and its
+general construction. The whole of the principal living rooms in the
+three floors are of the same height, 16 ft. 6 in. each; 37 steps were
+required in the principal staircase to ascend to the first floor on one
+side, and 31 on the other; the roof of the saloon was to be constructed
+similar to the roof of the Riding-house shown in plate, page 389. Large
+roofs can be constructed on this principle at a very cheap rate, and it
+is a very strong and efficient one; the roof of the Pantheon in
+Oxford-street, constructed by Mr. Sydney Smirke, is of a similar kind;
+the roofs of the annexes to the Exhibition building of 1862 by Captain
+Fowkes were on the same principle, but as these were only intended to
+stand for a year, were very slight. The cross section shows the
+ventilating flue, proposed and illustrated in a following chapter; the
+small stack in the low building shows the incline necessary to meet<span class="pagenum"><a name="page_349" id="page_349">{349}</a></span> the
+back eddy of wind from the high building. It would have been better,
+could it have been effected, to have placed the stack in a position
+parallel to the high building, and not at right angles to it. The stack
+on the latter shows two ventilating flues, each with an upward shaft;
+the whole of the smoke from the fireplaces would be delivered from these
+two shafts.</p>
+
+<p>It only remains to illustrate the system of warming proposed to have
+been introduced. This was by a combination of two entirely different
+systems of warm water circulation through iron pipes.</p>
+
+<p>The various apparatus of warming buildings by the circulation of hot
+water, may be roughly stated to be of two kinds, each acting on the
+opposite principle to the other. The first, or more modern one, is the
+<i>closed system</i>. This has always been preferred by the author, it being
+more conveniently introduced into a building, less expensive, and giving
+less trouble than any other, and more certain in its action. In it the
+water circulates with great rapidity, completely under pressure, the
+pipes being closed, and the whole of the air expelled from them. The
+older system is that in which the tubes are not closed, but are
+connected with a cistern, into which the water is allowed to flow and
+re-flow; the two may very properly be called the high and low
+temperature systems, and by these terms they<span class="pagenum"><a name="page_350" id="page_350">{350}</a></span> are here designated. With
+the first, the tubes can be made to reach a higher degree of heat if
+necessary, by placing a larger proportion of them than is usual in the
+furnace; but with the second, a temperature of 180 degrees can alone be
+reached. With the latter, its greater or less efficiency depends upon
+the position of its open cistern, which regulates the amount of pressure
+in the tubes, according as its situation is high or low. It was
+introduced into this country about 1818; the open cistern was placed in
+the upper part of the house, the boiler being below in the kitchen, thus
+allowing a considerable pressure in the tubes, and securing a quick
+circulation of the water. The high temperature system was introduced by
+A. M. Perkins, Esq., about the year 1832; in its simplest form it
+consisted of a continuous or endless tube of wrought iron of one inch
+external diameter, filled with water, and closed in all parts; a portion
+of the tubing was formed into a coil and placed in a furnace of wrought
+iron, the fire being enclosed in fire-brick. When it was first
+introduced a larger amount of tubing was placed in the furnace than is
+now usually done; with the proper amount, one-tenth or one-eleventh only
+of the full quantity is necessary, and then it must be obvious that no
+overheating of the tubes can take place. In practice it is more usual to
+find objections made to the apparatus not giving sufficient heat, than<span class="pagenum"><a name="page_351" id="page_351">{351}</a></span>
+to its giving too much. The quantity of feet in pipes necessary to raise
+rooms of a certain size to a given temperature, must be proportioned to
+their cubical contents, and this depends equally on the situation and
+aspect of the building, the number of doors, and windows or skylights;
+no rule can consequently be given which would be applicable to all
+places with any degree of certainty.</p>
+
+<p>The pipes being only five-eighths of an inch internal diameter, a very
+small quantity of water is required to fill the apparatus. A tube called
+the expansion tube is placed above the highest level of the circulating
+pipes, and is generally of larger diameter. The object of this tube is
+to allow for the expansion of the water as it becomes heated; a tube is
+also placed at the highest level, in order to fill the apparatus, so as
+to leave the expansion tube empty.</p>
+
+<p>The tubes are provided with screw plugs, so as to be conveniently opened
+when it is required to fill the pipes with water, and closed again after
+being filled. This can be done with facility by a servant. The
+circulation of the water is produced by the application of heat to the
+coil in the furnace; and as the small size of the pipes admits of
+presenting the largest possible amount of surface to the action of the
+fire, it is clear that a greater economy of fuel is effected by it than
+by the ordinary system of boilers. As the water<span class="pagenum"><a name="page_352" id="page_352">{352}</a></span> becomes heated it rises
+immediately to the highest level of the circulating pipes, and thus
+forms a column of heated water, specifically lighter than the colder
+water, which descends to the lower part of the coil. Thus a circulation
+is effected throughout the whole course of the pipes,<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> which
+eventually become heated, and the whole may be regulated exactly to that
+degree of temperature which is most conducive to a beneficial effect.</p>
+
+<p>To regulate the degree of heat to be given to the tubes, without
+requiring the necessity of an attendant, advantage has been taken of the
+expansive property of the iron pipe when heated. There are three
+multiplying levers fixed in a box, and so placed that the short arm of
+one of the levers rests upon a regulating screw attached to the flow
+pipe. On the other end of the series of levers a rod so rests that upon
+the slightest movement of the levers, the damper in the flue, which is
+attached to the rod, is opened or closed, as the case may be. The box of
+levers is suspended from the hot pipe, so as to leave about two feet in
+length between the point of suspension and the point of contact with the
+short arm of the lever.<span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<p>The operation of this arrangement is obvious, for the instant the pipe
+becomes heated, it expands and presses the short arm of the lever; and
+as the fulcrum within the box cannot move, by reason of the rod which
+suspends it being cold, it follows that the lever must be depressed, by
+which action a sufficient motion is given to the damper, to close it at
+any given temperature at which it may be originally fixed.</p>
+
+<p>The great advantage in the use of this apparatus is the saving of time
+in obtaining the requisite degree of heat. It often happens that the
+time occupied in heating the water of an ordinary hot-water apparatus
+completely defeats the object of getting warmth in any reasonable time,
+particularly in greenhouses, where it is frequently desirable to get up
+the heat quickly, to prevent the effect of frost. It has been said that
+this property of generating the heat rapidly has the disadvantage of not
+being able to retain it: this, however, is not the case, for, on the
+contrary, an equal temperature may be maintained for any length of time
+that may be desired. It is only necessary to make the fireplace
+sufficiently large to contain fuel enough to last the time the heat is
+required to be continued, and the damper will regulate the combustion of
+the fuel and the heat of the pipes, so that there will be no variation
+for twelve hours together.<span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<p>There being no boiler to the apparatus, it is free from the ordinary
+danger of explosion; if a pipe by possibility should burst, no harm
+ensues, for the water escapes from so small an aperture that it becomes
+absolutely cool by its expansion and mixture with atmospheric air.</p>
+
+<p>So little fear of fire exists with the apparatus, that the directors of
+the principal fire offices readily accept, at the lowest rate of
+premium, all proposals for the insurance of buildings in which the
+system is adopted, not requiring even the customary inspection.</p>
+
+<p>The author made drawings of one of these apparatus put up in an
+ornamental greenhouse in Kew Gardens in 1844; and fourteen years after,
+the director of the garden, Sir W. J. Hooker, publicly allowed it to be
+stated in print that no hot-water apparatus in any of their houses had
+given so much satisfaction; that the heat was given out after lighting
+the fires more rapidly than in any other of their houses, and steadily
+maintained at any degree of temperature required. The two systems of the
+high and low temperature can readily be combined, and the temperature of
+both large and small tubes nearly equalized. This may be done by using
+one furnace. A diagram given by Dr. Arnott in a lecture delivered by him
+at the Royal Institution in March, 1836, with his explanation, will show
+the principle upon which the combination is<span class="pagenum"><a name="page_355" id="page_355">{355}</a></span> effected. Suppose A, fig.
+1, is a cistern full of cold water, and B a cistern full of hot water:
+if the two cocks <i>c</i> <i>c</i> are unturned, it is a fact that the water at
+<i>d</i> will be one degree of warmth only above the water at</p>
+
+<div class="figcenter" style="width: 266px;">
+<a href="images/ill_pg_355_lg.jpg">
+<img src="images/ill_pg_355_sml.jpg" width="266" height="89" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 1.</p></div>
+</div>
+
+<p>A, and the water at e will be of one degree less temperature than the
+water in B. If, therefore, on this principle, some of the pipes of the
+high-temperature system are passed through the large tubing of the low
+temperature one, the desired effect is obtained: the large pipes or
+tablets of one apparatus remain at their full heat, while an additional
+quantity of inch pipe of sufficiently warm temperature is obtained, that
+can be carried into rooms and placed in situations into which the
+warming surfaces of the low-temperature system could not be made to
+approach.</p>
+
+<p>As regards the low temperature apparatus, if the large pipes belonging
+to it are laid in sufficient quantity, they doubtless have the effect of
+producing a moderate degree of heat.</p>
+
+<p>The best way of introducing them into a dwelling-house is to sink them
+in channels in the floor, with<span class="pagenum"><a name="page_356" id="page_356">{356}</a></span> perforated ironwork over them: they are
+more usually introduced into hothouses, factories, and workshops, where
+their appearance is not objectionable. A feeling exists in favour of
+their use in conservatories; in order to show how they can be retained
+for that purpose, the combined systems are introduced in the plan of the
+villa here described.</p>
+
+<p>The ground plan shows the entrance hall, the gallery or sculpture saloon
+in the centre, the principal staircase, the picture room and the
+servants’ staircase, all warmed by the inch pipes; the larger pipes are
+introduced into the conservatory. In the picture room&mdash;that between the
+drawing-room and the dining-room&mdash;and in the hall, the pipes are sunk in
+trenches in the floor. They are close to the walls, and lined with brick
+with an inside covering of zinc. These trenches have over them
+perforated ornamental ironwork; <i>a´</i> <i>a´</i> are pedestals containing coils
+of pipe; <i>b´</i> <i>b´</i> are pipes behind the skirting, likewise perforated.
+Where these pipes pass the doorways they are sunk in the floor. In the
+conservatory <i>d´</i> <i>d´</i> are the large pipes; <i>f</i> is an open cistern,
+through which the circulation of water in the pipes flows; at <i>g</i> are
+placed the expansion and filling tubes.</p>
+
+<p>Fig. 2 is an isometrical view of the pipes, furnace, and cisterns
+complete to a small scale; <i>e</i> is the furnace placed in the basement;
+<i>f</i> is a cistern of cold<span class="pagenum"><a name="page_357" id="page_357">{357}</a></span> water through which the flow and return pipes
+from the furnace pass: the water becoming heated in the cistern flows
+out, and returns in the direction shown by the arrows. The flow pipe,
+leaving this cistern, passes up to the expansion tube <i>g</i>, whence the
+tubes run through the building in the manner shown, returning to the
+furnace. The pipes <i>d</i>, are two other flow and return pipes, furnished
+with a stop-cock, by means of which the circulation can be confined
+either to the house or to the conservatory. The furnace</p>
+
+<div class="figcenter" style="width: 364px;">
+<a href="images/ill_pg_357_lg.jpg">
+<img src="images/ill_pg_357_sml.jpg" width="364" height="113" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 2.</p></div>
+</div>
+
+<p class="nind">should in reality contain two coils of pipe, having two flows and two
+returns, the whole of which should go through the cistern <i>f</i>, but the
+small scale of the plate allows one circulation only to be shown.</p>
+
+<p>Dr. Arnott’s principle of nearly equalizing temperatures was applied by
+him for room ventilation. Its mode of application is explained in the
+following extract from his report on “Warming and Ventilating
+Infirmaries, Workhouses, Factories, and Domestic Apartments,” given in
+the appendix to the Second<span class="pagenum"><a name="page_358" id="page_358">{358}</a></span> Annual Report of the Poor Law
+Commissioners:&mdash;“In rooms where the mechanical mode of ventilation
+already described (by means of fanners) and now common in factories, has
+been adopted, an addition might be made to the apparatus for extracting
+the impure air, which would drive fresh air in, and which, by causing
+the two currents to pass each other in contact for a certain distance in
+very thin metallic tubes, would cause the fresh air entering to absorb
+nearly the whole heat from the impure air going out, and would thus
+render it at once both pure and warm, and would consequently save, after
+the room was once warmed, any further expense of fuel for the day, and
+would avoid, how rapid soever the ventilation, all the danger from
+draught and unequal heating.”</p>
+
+<p>The above idea is extremely ingenious, but as to its practical
+efficiency, some doubt might be expressed. The temperature of a warm
+room, even if it was 65°, would be much too low to produce the action
+described.</p>
+
+<p>A very ingenious application of the small-tube system of warming has
+been introduced into his dwelling by Mr. Babbage. He placed the furnace
+in the basement, and divided the whole length of piping by means of a
+multiple cock into four circulations, any one of which he could turn off
+or on at pleasure; one circulation warmed the bath, which,<span class="pagenum"><a name="page_359" id="page_359">{359}</a></span> when the
+cistern that supplied it was once up to 160 degrees (and this it took an
+hour to obtain), remained sufficiently warm for a bath during 24 hours.
+The whole quantity of pipe in the building was 891 feet, and the
+quantity in the furnace 135. The thermometer in the smoke-flue was
+seldom higher than 212 degrees, when that in the flow-pipe was 240
+degrees. Any two or three, or all four of the circulations could be
+worked together, by simply turning an index provided for the purpose.</p>
+
+<p>The tool-room was always kept at a temperature of from 50° to 54°. In
+winter the hat-room received a portion of piping, so that coats and
+gloves, even in the dampest weather, were always kept dry. One
+circulation was sent through the dining-room a short time before it was
+used; it was after a certain time turned off and sent through the
+bedrooms and dressing-rooms. The various rooms in the winter were kept
+at different temperatures, the dressing-rooms were a few degrees warmer
+than were the bed-rooms: an inducement for early rising. The linen was
+aired, and warm water provided in the dressing-rooms and for the use of
+the servants. The apparatus saved labour in cleaning and lighting of
+fires, and it was economical, the consumption of fuel during the six
+winter months being about a bushel of coke in 24 hours. The supply of
+air, and the consequent<span class="pagenum"><a name="page_360" id="page_360">{360}</a></span> combustion and quantity of fuel, was regulated
+by the fire itself. This was never suffered to go out after it had been
+once lighted, except when necessary to remove the clinkers, and this
+occurred about once a fortnight. In the morning, about seven o’clock,
+the fire was well shaken by means of a lever attached to the bars of the
+grate. Coal or coke was supplied, and the air valve opened. The
+stop-cock was then turned on to supply the coils for the library and
+stairs. At about eight o’clock in the evening the stop-cock was turned
+to heat the coil of the bath, and at eleven o’clock, fuel having been
+supplied, the air valve was completely closed, and the damper also if
+necessary. By these means the fire burned very slowly during the whole
+of the night, and the bath cistern received the warmth thus generated.</p>
+
+<p>These conveniences and luxuries might be more generally applied than
+they are at present in the dwellings of this country.</p>
+
+<div class="figcenter" style="width: 313px;">
+<a href="images/ill_pg_360_lg.jpg">
+<img src="images/ill_pg_360_sml.jpg" width="313" height="72" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<h2><a name="DESIGN_No_29" id="DESIGN_No_29"></a><i>DESIGN No. 29.</i><br /><br />
+GARDEN SEAT.</h2>
+
+<p>This small ornamental structure was designed for a garden in Wiltshire,
+on an estate near Chippenham. The garden, which is very extensive,
+rises<span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_361-a_lg.jpg">
+<img src="images/ill_pg_361-a_sml.jpg" width="282" height="218" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_361-b_lg.jpg">
+<img src="images/ill_pg_361-b_sml.jpg" width="239" height="89" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p class="nind">in steep terraces up the combe or hill by the side of the mansion, which
+lies down in the valley. The structure was to be on the highest part of
+the garden,</p>
+
+<div class="figcenter" style="width: 367px;">
+<a href="images/ill_pg_362_lg.jpg">
+<img src="images/ill_pg_362_sml.jpg" width="367" height="272" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of front.</p></div>
+</div>
+
+<p class="nind">commanding an extensive view of the valley, the village, and adjacent
+country. As the house is in the neighbourhood of several fine old
+Elizabethan mansions, the design partook of that character. The view
+represents<span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" style="width: 319px;">
+<a href="images/ill_pg_363-a_lg.jpg">
+<img src="images/ill_pg_363-a_sml.jpg" width="319" height="268" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Section.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Side elevation.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 269px;">
+<a href="images/ill_pg_363-b_lg.jpg">
+<img src="images/ill_pg_363-b_sml.jpg" width="269" height="173" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrade.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<p class="nind">the structure in its complete state, with the terrace overlooking the
+valley. The turret on the tower of the village church is seen in the
+distance. The latter</p>
+
+<div class="figcenter" style="width: 228px;">
+<a href="images/ill_pg_364_lg.jpg">
+<img src="images/ill_pg_364_sml.jpg" width="228" height="435" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of exterior front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p>
+
+<div class="figcenter" style="width: 333px;">
+<a href="images/ill_pg_365-a_lg.jpg">
+<img src="images/ill_pg_365-a_sml.jpg" width="333" height="244" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Portion of the entrance front.</p></div>
+</div>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_365-b_lg.jpg">
+<img src="images/ill_pg_365-b_sml.jpg" width="282" height="222" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrade (2nd example).</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p>
+
+<p class="nind">is an agreeable object in the view, being an extremely fine specimen of
+Decorated English Gothic, and in good preservation.</p>
+
+<p>The plan is beneath the view, and the elevation of the building is
+likewise given. The whole of it was to have been constructed in stone;
+the vases were intended to receive flower-pots, so that a constant
+change of flowers could be placed in them by the pots being changed as
+often as was desired. A section through the centre and a side elevation
+are given; the balustrade is from an ancient example, it is five inches
+in thickness. The mouldings of the exterior are of plain Roman
+character, without any admixture of Gothic forms. The best examples of
+our Elizabethan architecture are pure Italian, but possessing a bolder
+and more picturesque outline, suited to our northern climate, than that
+shown by the elegant Italian model.</p>
+
+<p>The second balustrade, p. 365, was an after-suggestion, it being
+considered more appropriate to the design than the first one. Another
+elevation was made for the same structure; this is shown as Design No.
+30; it was to occupy the same site, and to have been constructed wholly
+in stone.</p>
+
+<p class="spc2">&nbsp; </p>
+
+<p>Opposite is a drawing of an ancient chimney-piece at Enfield, bearing
+the inscription&mdash;</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">Sola salus servire Deo,<br /></span>
+<span class="i0">Sunt cætera fravdes.<br /></span>
+<span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></div></div>
+</div>
+
+<div class="figcenter" style="width: 351px;">
+<a href="images/ill_pg_367_lg.jpg">
+<img src="images/ill_pg_367_sml.jpg" width="351" height="511" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ancient chimney-piece in the Palace School, Enfield.</p>
+
+<p>(Formerly in the occupation of Queen Elizabeth.)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
+
+<h2><a name="DESIGN_No_30" id="DESIGN_No_30"></a><i>DESIGN No. 30.</i><br /><br />
+A GARDEN SEAT.</h2>
+
+<div class="figcenter" style="width: 397px;">
+<a href="images/ill_pg_368_lg.jpg">
+<img src="images/ill_pg_368_sml.jpg" width="397" height="336" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HE turret of the village church is seen through the centre opening;
+this was proposed to be filled with plain and coloured glass; the detail
+of the ornament above the cornice is copied from that on</p>
+
+<div class="figcenter" style="width: 359px;">
+<a href="images/ill_pg_369_lg.jpg">
+<img src="images/ill_pg_369_sml.jpg" width="359" height="159" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan (2nd design).</p></div>
+</div>
+
+<p class="nind">the gables of Charlton House, Wiltshire, from which the author had just
+returned, having visited it for the purpose of making drawings and fully
+illustrating it in one of his publications.<span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p>
+
+<h2><a name="DESIGN_No_31" id="DESIGN_No_31"></a><i>DESIGN No. 31.</i><br /><br />
+AN ICE-HOUSE.</h2>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_370-a_lg.jpg">
+<img src="images/ill_pg_370-a_sml.jpg" width="168" height="201" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view.</p></div>
+</div>
+
+<div class="figcenter" style="width: 389px;">
+<a href="images/ill_pg_370-b_lg.jpg">
+<img src="images/ill_pg_370-b_sml.jpg" width="389" height="219" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design represents an old-fashioned ice-house, such as were
+constructed in the country several years ago, and still are so, where
+large quantities of ice are required to be stored. This small structure,
+embosomed amidst trees, impervious to the sun, was formed with the stone
+of the district, and arched and domed over with bricks. The well <i>a</i>,
+sunk in the earth, is 10 feet in diameter, <i>b</i> is a cesspool to receive
+the water that drops from the ice, and <i>c</i> is the drain</p>
+
+<div class="figcenter" style="width: 357px;">
+<a href="images/ill_pg_371_lg.jpg">
+<img src="images/ill_pg_371_sml.jpg" width="357" height="155" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p class="nind">to convey it to the well <i>d</i>; the ice is thrown in from the top, the
+earth <i>e</i>, and the two stone slabs and the straw between them, being
+removed.</p>
+
+<p>As an additional precaution against warmth, the structure was buried in
+a mound of earth. This, as it quite destroyed any picturesque effect it
+would otherwise have had amidst the trees, is not shown in the view.<span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p>
+
+<p>These ice-wells have not often so long a passage of approach; one only
+from 6 to 10 feet in length is sufficient, but double doors and a free
+current of air across the entrance passage are desirable. It has not
+often a domed roof to cover that of the well, a common wooden roof
+covered with thatch placed a few feet above the roof of the well being
+sufficient; neither is it often considered necessary to have a well to
+receive the water dropping from the ice. The ice-well walls may be
+splayed down to the ground, with proper footings, and an uncovered piece
+of ground left at the bottom. Over this is placed an open wood frame,
+which supports the ice, and permits all water to drain off. When the
+walls are splayed down in this form, buttresses must be added to support
+them, and the weight of the ice. Every country house in America is
+provided with an excellent ice-house of the simplest and most practical
+kind. It consists of a deep excavation in the earth, roofed over with a
+pointed thatch. These ice-houses are always well filled in the winter,
+and rarely if ever quite emptied during the summer. An accurate section
+of such an ice-well, with full directions for its construction, has been
+lately published.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a></p>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<h2><a name="DESIGN_No_32" id="DESIGN_No_32"></a><i>DESIGN No. 32.</i><br /><br />
+A SUBURBAN VILLA.</h2>
+
+<p>One of the chief peculiarities in small suburban villas that have been
+erected near London within the last thirty years, is that of making the</p>
+
+<div class="figcenter" style="width: 329px;">
+<a href="images/ill_pg_373_lg.jpg">
+<img src="images/ill_pg_373_sml.jpg" width="329" height="306" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of principal front.</p></div>
+</div>
+
+<p class="nind">chief room on the basement the ordinary apartment for the family. The
+confined areas formerly adopted in front and back of the building are
+omitted, and<span class="pagenum"><a name="page_374" id="page_374">{374}</a></span> the earth is sloped up in form of a bank, being adorned
+with flowers and shrubs so as to look pleasing from within the
+apartments. There is usually a side room in the basement, with
+descending steps to the entrance, which serves as an office to the
+occupier of the house. If his business be chiefly in the locality,</p>
+
+<div class="figcenter" style="width: 231px;">
+<a href="images/ill_pg_374_lg.jpg">
+<img src="images/ill_pg_374_sml.jpg" width="231" height="258" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">this is very convenient; the chief room in the basement is used as a
+dining and supper room, and indeed for all common purposes by the
+family. It renders it unnecessary to have more than one, or at most, two
+servants’ rooms. The drawing-room, the library, and the superior
+dining-room are on the floor above.<span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
+
+<p>This suburban dwelling very much resembles the same class of structure
+in America, where economy of space is carried out more completely than
+with us, and the residents are less dependent on servants. In the
+American house, the pantry is nearly always placed between the kitchen
+and the dining-room, and its chief approach is from the latter, even
+when the dining-room is on the ground floor. The American</p>
+
+<div class="figcenter" style="width: 191px;">
+<a href="images/ill_pg_375_lg.jpg">
+<img src="images/ill_pg_375_sml.jpg" width="191" height="197" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan.</p></div>
+</div>
+
+<p class="nind">house has the office, or place of business of the occupier, on the lower
+floor, with its separate entrance. The Americans exhibit a compactness
+of arrangement and an attention to detail that prove they are in no way
+behind us in a knowledge of what is requisite for household comfort. One
+peculiarity in the American building is the verandah, which is
+considered to be in<span class="pagenum"><a name="page_376" id="page_376">{376}</a></span>dispensable. It is large and roomy, and often placed
+on three sides of the building; the climate, warmer and drier than our
+own, renders such an addition a</p>
+
+<div class="figcenter" style="width: 321px;">
+<a href="images/ill_pg_376_lg.jpg">
+<img src="images/ill_pg_376_sml.jpg" width="321" height="374" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through front and back.</p></div>
+</div>
+
+<p class="nind">great luxury. Our atmosphere in the winter months has often been
+pronounced of leaden gravity, and it does not permit of any erection
+that stops the circula<span class="pagenum"><a name="page_377" id="page_377">{377}</a></span>tion of the air, which would render it stagnant.
+Another peculiarity in the houses of our American cousins, is that they
+are often cased in wood. If the house be only two or three storeys in
+height, an 8-in. brick wall is considered sufficient: this is “furred
+off outside, and covered with clap boards,” in the ordinary</p>
+
+<div class="figcenter" style="width: 227px;">
+<a href="images/ill_pg_377_lg.jpg">
+<img src="images/ill_pg_377_sml.jpg" width="227" height="259" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p class="nind">way followed in a wooden building. Its advantage is, that it is sure to
+secure a perfectly dry wall. This mode of construction in England would
+necessitate the painting of the whole of the exterior once at least in
+every three or four years. One more suitable with us for a wall in a
+damp situation would be the plan<span class="pagenum"><a name="page_378" id="page_378">{378}</a></span> the author pursued in the house on
+Salisbury Plain, putting quartering against the wall, and covering it
+with diamond slating. The surface could be varied with coloured
+encaustic tiles so as to present a pleasant</p>
+
+<div class="figcenter" style="width: 120px;">
+<a href="images/ill_pg_378_lg.jpg">
+<img src="images/ill_pg_378_sml.jpg" width="120" height="350" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Front windows.</p></div>
+</div>
+
+<p class="nind">appearance, proper ventilation being given behind the slating.</p>
+
+<p>The small suburban villa represented in the plate<span class="pagenum"><a name="page_379" id="page_379">{379}</a></span> is supposed to stand
+on a plot of ground with a frontage of 50 ft.; the construction is in
+brick and stucco, the small columns of the portico are of Bath stone.
+The plan shows a small hall <i>a</i>, the library <i>c</i>, 15 ft. by 14 ft., and
+on the right with a strong closet. The dining-room <i>e</i>, is 18 ft. by 15
+ft., and on the left; the drawing-room <i>d</i>, is 23 ft. by 18 ft. There is
+a large commodious staircase <i>b</i>, and leading from it a small
+dressing-room <i>i</i>, and closet. This dressing-room might easily be made
+to contain a bath; the water for the bath in any one of the floors
+should always be heated by means of a close boiler attached to an
+ordinary kitchen-range. It is the most simple, economical, and efficient
+arrangement for that purpose, as no more fire than that used for cooking
+is required. The cold water is supplied from a cistern at the top of the
+house, and a continual circulation of the water between that and the
+boiler goes on, the hot water ascending, the cold descending. Pipes may
+be branched off from the ascending pipe, which leaves the top of the
+boiler, and taken to any part of the house, ensuring a supply of hot
+water to dressing-rooms, nurseries, &amp;c. Instead of a boiler, a coil of
+iron or copper pipe is often used, rendering the circulation quicker and
+more effective. The one-pair plan of the suburban villa contains three
+large bedrooms, two dressing-rooms, and one invalid’s room<span class="pagenum"><a name="page_380" id="page_380">{380}</a></span> entered from
+the staircase; to this room the closet could be attached. The staircase
+leads up to two large attics for the servants.</p>
+
+<p>The section, p. 376, shows a portion of the front and back of the
+building, with the construction of the roof, the back wall not being
+carried so high as the front. This is done to give the building an
+imposing appearance from the road, a mode of construction very often
+carried out in suburban houses. The basement plan affords good
+accommodation; <i>f</i> is the kitchen, 18 ft. by 15 ft., <i>g</i> the scullery,
+<i>h</i> the larder, <i>k</i> the living room, <i>l</i> the business office, with its
+separate entrance. The closet for the servants is external; the
+footman’s pantry and the wine cellar lead out of the staircase <i>b</i>; the
+coal cellar is under the portico. The house thus contains seventeen
+rooms; the cost of its erection would be 3260<i>l.</i> completely finished. A
+detail of the windows is given on a large scale at page 378.<span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p>
+
+<p>The following is an elevation of the vane, the constructive detail of
+which is given in a former vignette. The character is Elizabethan, and
+designed from an example at Oxnead Hall, Norfolk.</p>
+
+<div class="figcenter" style="width: 212px;">
+<a href="images/ill_pg_381_lg.jpg">
+<img src="images/ill_pg_381_sml.jpg" width="212" height="391" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<h2><a name="DESIGN_No_33" id="DESIGN_No_33"></a><i>DESIGN No. 33.</i><br /><br />
+A SUBURBAN VILLA.</h2>
+
+<div class="figcenter" style="width: 385px;">
+<a href="images/ill_pg_382_lg.jpg">
+<img src="images/ill_pg_382_sml.jpg" width="385" height="444" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of principal front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design is also one for a suburban villa, or a small country house,
+on a rather larger scale than the preceding. This villa, dressed with a
+plain Italian elevation, and of smaller dimensions as to plan, has been
+erected on several sites near London. The front of the present design
+was partly taken from a plate in “Nash’s Mansions,” at the request of a</p>
+
+<div class="figcenter" style="width: 305px;">
+<a href="images/ill_pg_383_lg.jpg">
+<img src="images/ill_pg_383_sml.jpg" width="305" height="246" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">gentleman who very much admired it, and who was anxious to have a
+semi-detached villa of the same character. The villa was therefore
+designed so that another could be placed by the side of it. The two
+gables form the centre, the chimney stack is between them on the roof;
+the front was to have a sunk area,<span class="pagenum"><a name="page_384" id="page_384">{384}</a></span> topped by a Gothic balustrade, and
+as there were no principal rooms on the basement floor in the front of
+the house, this was easily given; the rooms at the back looked into the
+garden, and these had the ground in front of them sloped up.</p>
+
+<p>The ground plan shows an entrance hall <i>a</i>, 14 ft. by 10 ft., with a
+commodious staircase <i>b</i>, 18 ft. by 12 ft., to the left. There was a
+closet to the right;</p>
+
+<div class="figcenter" style="width: 289px;">
+<a href="images/ill_pg_384_lg.jpg">
+<img src="images/ill_pg_384_sml.jpg" width="289" height="190" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The one-pair plan.</p></div>
+</div>
+
+<p class="nind">a lift from the basement could easily be obtained here. The study <i>c</i>,
+was about 16 ft. square, and was entered from the hall; the dining-room
+<i>e</i>, had a bay window, and was in the centre of the building; it
+measured 20 ft. square. The drawing-room <i>d</i>, was very large, being 31
+ft. in length by 16 ft. in breadth, with a large window at each end;
+this was often considered<span class="pagenum"><a name="page_385" id="page_385">{385}</a></span> objectionable, as the occupants of the room
+can always be seen from the opposite houses, but as this was intended
+for a semi-detached villa, windows could not be obtained at the side.</p>
+
+<p>The one-pair plan contains one large and three small bedrooms, with a
+closet. Over the porch was placed a conservatory, and by its side the
+tower staircase led up to the attic. This contained four good-sized</p>
+
+<div class="figcenter" style="width: 295px;">
+<a href="images/ill_pg_385_lg.jpg">
+<img src="images/ill_pg_385_sml.jpg" width="295" height="189" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Attic plan.</p></div>
+</div>
+
+<p class="nind">bedrooms, each with a fireplace; there was a housemaid’s closet, and a
+place for the slate cistern to supply the lower part of the house with
+water; a small cistern on a higher level was placed on the roof of the
+tower. Another room could easily have been obtained on this floor, by
+continuing the passage at the housemaid’s closet through the centre
+room, and<span class="pagenum"><a name="page_386" id="page_386">{386}</a></span> this was proposed, but it was objected to, as it could not be
+rendered light and airy. A second staircase,</p>
+
+<div class="figcenter" style="width: 207px;">
+<a href="images/ill_pg_386_lg.jpg">
+<img src="images/ill_pg_386_sml.jpg" width="207" height="458" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section through portion of building.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p>
+
+<p class="nind">from the attic to the basement, could have been formed in the tower, the
+two closets being placed in a similar position to the one on the first
+floor. The staircase in the tower led on to the roof. The section shows
+the height of the various rooms, there being no variation throughout the
+floors. It was intended to carry out</p>
+
+<div class="figcenter" style="width: 292px;">
+<a href="images/ill_pg_387_lg.jpg">
+<img src="images/ill_pg_387_sml.jpg" width="292" height="251" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The basement plan.</p></div>
+</div>
+
+<p class="nind">the style of the exterior in the interior&mdash;a medley between the Gothic
+and Elizabethan; the proprietor having a very large collection of
+old-fashioned carvings of various styles and dates, picked up at sales,
+or purchased in Wardour Street (at that time more celebrated for such
+antiquities than at present). The<span class="pagenum"><a name="page_388" id="page_388">{388}</a></span> walls were to be covered with gilt
+leather and rich tapestries, and with this the architect did not intend
+to meddle, leaving it all to the taste and skill of the owner, although
+he has finished several interiors with such materials.</p>
+
+<p>The basement plan shows the kitchen <i>f</i>, the scullery <i>g</i>, and larder
+<i>h</i>; <i>q</i> is the wine cellar, and <i>j</i> the butler’s pantry. Then there
+were two large rooms looking towards the garden, and these were
+unappropriated. The butler’s small pantry had a window looking into the
+side area; the servants’ door was on the staircase; the coal cellar was
+placed under the steps leading to the porch.</p>
+
+<p>The building was to be constructed in brick and cement, with the porch
+and external balustrade in stone. The expense would have amounted to
+4600<i>l.</i>, or the double villa to 9000<i>l.</i><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<h2><a name="DESIGN_No_34" id="DESIGN_No_34"></a><i>DESIGN No. 34.</i><br /><br />
+RIDING-HOUSE AND STABLING.</h2>
+
+<p>This collection of designs could hardly be complete without a group of
+stable buildings. To make such a group picturesque is extremely
+difficult,</p>
+
+<div class="figcenter" style="width: 333px;">
+<a href="images/ill_pg_389_lg.jpg">
+<img src="images/ill_pg_389_sml.jpg" width="333" height="275" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of riding-house.</p></div>
+</div>
+
+<p class="nind">and it is very seldom attempted. Such buildings mostly form a portion of
+the offices which are placed out of view, concealed by plantations or
+shrubbery,<span class="pagenum"><a name="page_390" id="page_390">{390}</a></span> and generally at some distance from the mansion to which
+they appertain.</p>
+
+<p>The present design, carried out in 1846 and 1848, was for some
+additional stabling to a baronial park, and it formed a conspicuous
+object. It stands on the</p>
+
+<div class="figcenter" style="width: 313px;">
+<a href="images/ill_pg_390_lg.jpg">
+<img src="images/ill_pg_390_sml.jpg" width="313" height="278" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of riding-house and stabling.</p></div>
+</div>
+
+<p class="nind">eastern side of a quadrangle, the larger stabling being on the west, the
+offices of the mansion on the north (see above), and on the south there
+was a terrace-walk overlooking the park. The block of buildings as
+represented in the plan, comprised a riding-house <i>a</i>,<span class="pagenum"><a name="page_391" id="page_391">{391}</a></span> 62 ft. in length
+by 32 ft. in width, a four-stall stable <i>e</i>, 30 ft. in length, a loose
+box <i>b</i>, 13 ft. square, and the boiler room <i>d</i>. The dung pit <i>g</i>, into
+which the liquid manure from the stable was sent, was on a very low
+level, and had a cart road at its side. The coach-house between the
+riding-house and stable was 40 ft. in length by 20 ft. in breadth; it
+had a covered area in front 44 ft. in length, with a width of 13 ft.,
+and a well and pump. The prospect tower <i>h</i>, as well as the tower <i>i</i>,
+had iron staircases, which led to the stud-groom’s sleeping room, two
+harness rooms, and the gallery of the riding-house.</p>
+
+<p>The latter was erected first. It is in brick, with a circular-ribbed
+wooden roof, on the plan introduced by Phil. de l’Orme, whose well-known
+book was published in Paris in 1567. He introduced a construction for
+roofing that is both cheap and efficient, and one that while plenty of
+light and ventilation can be obtained, gives the largest space in the
+interior of the room.</p>
+
+<p>The walls of the riding-house were two bricks thick, laid English bond.
+As the foundation rested on the stone no concrete was used, but the
+rock, which was on a steep incline, was levelled in step-like fashion,
+to receive the walls. Buttresses were placed where the circular ribs of
+the roof were situate; two lines of iron-hoop bond, 1 in. by 1/16 in.,
+tarred and sanded<span class="pagenum"><a name="page_392" id="page_392">{392}</a></span> were laid in all the walls, piers, and buttresses;
+there were 13 courses 2 lines in side walls, 16 courses 2 lines in gable
+walls, and 7 courses 2 lines in buttresses. The walls were covered with
+brick copings formed of two courses of moulded bricks cut to lengths and
+mitred, and set and jointed in cement to gable ends: the flaunches of
+the angle buttress were formed with stocks, the upper courses set and
+pointed in cement, and the angles of parapets cut and mitred to the
+same.</p>
+
+<p>Ragstone moulded corbels were placed over the piers inside the building,
+from these the circular ribs sprung and into which they were stubbed.
+The roof was thus described in the specification:&mdash;The roof will be
+formed of circular ribs placed two and two, each 7½ inches apart,
+screwed and bolted together, each single rib to be in three thicknesses,
+the inner one of oak and to consist of twenty-six pieces of 1¼ inch deal
+and ten of 1¼ oak, each separate piece 1 foot in width, and to be as
+long as the scantling of the timber will allow, the ribs to be wrought
+and glued together, and at each joint to have two hard nails or ¾ inch
+screws having a good thread; the top and bottom edges of rib cut fair
+for linings, the side finished for paint. Cross pieces, 7½ by 2½ inches,
+twelve to each pair of ribs, the whole to be bolted together. To prevent
+the ribs from being at an unequal distance,<span class="pagenum"><a name="page_393" id="page_393">{393}</a></span> the two outer ribs to be
+sunk half-an-inch at the places where the purlins notch in them.</p>
+
+<p>The purlins, eight in number, to run the whole length of roof, notching
+in the rib arches. The purlins to be placed in pairs and to have small
+cross struts either notched into them or securely nailed to prevent them
+from buckling or twisting.</p>
+
+<p>All the horizontal timbers of roof, such as the purlins, poll plate,
+sill, and heads of skylight, to run 9 inches in end walls, and to be
+cogged on template. Each purlin, if not in one piece, to be properly
+scarfed. An oak wall-plate, 9 in. by 6 in., was laid the whole length
+and width of the building, running 6 in. in the wall at angles, where it
+was pinned and lapped. The plate in the arch over the entrance formed
+the upper part of the railing in the gallery.</p>
+
+<p>This plate served as the abutment for twenty-four oak braces or struts,
+each 7 in. by 4 in., placed in the lower portions of the roof on each
+side, each strut to be sub-tenoned either into purlin or cross piece
+between rib, and the whole to be securely fixed.</p>
+
+<p>The framing to support curb or sill of skylights to be in one piece, to
+run over the wood arches, and to be securely fixed to purlin.</p>
+
+<p>Each pair of circular ribs moneyed out 22<i>l.</i> 4<i>s.</i> 6<i>d.</i> The more
+modern French style of forming this kind of roof would have been by bent
+ribs composed of<span class="pagenum"><a name="page_394" id="page_394">{394}</a></span> three ten-inch planks, 12 inches by 3, cut true at the
+saw-mill, jointed with glue, planed all round, chamfered to edges, with
+20 half-inch bolts. These would have cost only 13<i>l.</i> 16<i>s.</i> 8<i>d.</i> each,
+but they would have caused considerable lateral pressure against the
+side walls.</p>
+
+<p>The roof of the riding-house is correctly shown in the small view, p.
+389, which serves also to show the section. Fig. 1 of the accompanying
+cut shows one</p>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_394_lg.jpg">
+<img src="images/ill_pg_394_sml.jpg" width="287" height="121" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">of the circular ribs, fig. 2 the section of the pair joined together,
+and fig. 3 the section of the more modern French method of bent ribs. A
+roof in this latter construction was put up by Mr. Charles Fowler,
+architect, at the sale-room, St. Paul’s Churchyard. The circular ribs of
+the roof were formed in three thicknesses of 1¼ deal, footed into iron
+sockets or corbels let into stone templates. As a precaution until the
+perfect set and settlement of the work, three of the roof-frames had
+iron tie-rods, which were re<span class="pagenum"><a name="page_395" id="page_395">{395}</a></span>moved when all fear of lateral thrust was
+over. A print of the room was given in the <i>Builder</i>.</p>
+
+<p>The first construction described could be much improved, strengthened,
+and lightened by introducing an iron bar in lieu of the oak rib; and
+this has been done in several instances, resulting in the roofs standing
+well.</p>
+
+<p>The chief portion of the bricks used in the construction of the
+riding-house were provided from the estate, and were carted on the
+ground for the use of the builder. His account came to 920<i>l.</i></p>
+
+<p>The elevation of the stable shows the entrance to the coachhouse in the
+centre, between coupled columns. These were in iron, of slightly
+Elizabethan character as to style. Two gabled windows are on each side,
+one forming the entrance to the riding-house, the whole flanked by two
+towers; that on the left contained the staircase leading to the gallery
+of the riding-house seen in the view, the other is the prospect tower,
+overlooking the park. These buildings were commenced and finished in
+1848. The builder had to take down the old coachhouse and stabling which
+stood upon the site, and was permitted to use the old materials as far
+as they would go; one roof was re-used. The cost of the new building was
+1107<i>l.</i> The whole length was 95 ft. One of its principal features was
+the prospect tower, a view of which and<span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<div class="figcenter" style="width: 496px;">
+<a href="images/ill_pg_396_lg.jpg">
+<img src="images/ill_pg_396_sml.jpg" width="496" height="259" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of stable.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<p class="nind">a representation of the back front is on p. 398; this was 60 ft. in
+height above the foundations.</p>
+
+<p>An iron staircase led up to the small tower, which had a staircase
+leading to the roof or lead flat, upon which was a seat and flagstaff.
+The battlements of</p>
+
+<div class="figcenter" style="width: 152px;">
+<a href="images/ill_pg_397_lg.jpg">
+<img src="images/ill_pg_397_sml.jpg" width="152" height="278" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Cap of iron column.</p></div>
+</div>
+
+<p class="nind">this small tower and its doorway were constructed of ragstone. This
+turret was corbelled out from the building as seen in the view; its plan
+and that of the corbelling is given on p. 399. The corbels were two
+bricks in height, each course; the arch is covered with<span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/ill_pg_398_lg.jpg">
+<img src="images/ill_pg_398_sml.jpg" width="255" height="475" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of prospect tower.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<p class="nind">a stone landing upon which the small turret stands. It has a lightning
+conductor. This, the three iron staircases, and the columns, cost
+200<i>l.</i>, which, however,</p>
+
+<div class="figcenter" style="width: 228px;">
+<a href="images/ill_pg_399_lg.jpg">
+<img src="images/ill_pg_399_sml.jpg" width="228" height="409" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">was included in the previously stated amount of 1107<i>l.</i><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p>
+
+<p>It was proposed to give the terrace-walk an ornamental stone. The
+balustrading and one of the bays of this balustrading are illustrated
+below.</p>
+
+<div class="figcenter" style="width: 436px;">
+<a href="images/ill_pg_400_lg.jpg">
+<img src="images/ill_pg_400_sml.jpg" width="436" height="293" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of the balustrade.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p>
+
+<h2><a name="DESIGN_No_35" id="DESIGN_No_35"></a><i>DESIGN No. 35.</i><br /><br />
+A BACHELOR’S HOUSE.</h2>
+
+<p>This building was intended to have been erected on an estate in the
+neighbourhood of London, for the solicitor acting for the lessee, a
+builder who was erecting numerous first-class houses upon the property,
+and who required his solicitor to be often with him. The gentleman was a
+bachelor, and this was, for a time, to have been his private town
+dwelling. It was only to consist of a basement and ground floor, but the
+walls were to be made sufficiently thick to enable the structure to be
+carried upwards when the estate was fully covered, and the house would
+be required for a family.</p>
+
+<p>The plan was arranged after the legal gentleman’s own directions: <i>a</i> is
+the small entrance hall, leading to the inner hall, from which the
+living room <i>b</i>, and the picture gallery <i>f</i>, are gained; the gallery
+contained a choice collection of cabinet pictures, hunting subjects by a
+celebrated painter; <i>c</i> is a small bedroom, which could be enclosed or
+shut off from the living room by a lifting-screen, worked somewhat
+similar to a lifting shutter. The screen was to be covered on the side
+next the living room with paintings; <i>d</i> is the bath<span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
+
+<div class="figcenter" style="width: 212px;">
+<a href="images/ill_pg_402_lg.jpg">
+<img src="images/ill_pg_402_sml.jpg" width="212" height="498" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<p class="nind">room, <i>e</i> the closet, <i>h</i> is the dining-room with its lift, <i>i</i>, from
+the pantry in the basement; <i>j</i> was a small iron staircase leading down
+to the stable, where some valuable hunters were to be kept. Under the
+dining-room was the coachhouse; no rooms were over the stabling. The
+servants’ entrance was in the area. The exterior of the building had a
+plain Gothic Tudor front.</p>
+
+<p class="spc1">&nbsp; </p>
+
+<p>The vignette shows a corbel in the French cut-wood style.</p>
+
+<div class="figcenter" style="width: 161px;">
+<a href="images/ill_pg_403_lg.jpg">
+<img src="images/ill_pg_403_sml.jpg" width="161" height="179" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p>
+
+<h2><a name="THE_FIREPLACE" id="THE_FIREPLACE"></a>THE FIREPLACE.<br /><br />
+FLUE CONSTRUCTION AND SMOKE PREVENTION.</h2>
+
+<p>An especial love for home comfort has always been an English
+characteristic. It has formed a species of national taste and pride even
+among our working classes. The constant changes of our climate are
+injurious to every class; the chief point of attraction in the English
+dwellings, during winter’s wet, cold, and fog, is centred in the
+fireplace. This has long been deemed the favoured spot where</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i8">“Social mirth<br /></span>
+<span class="i0">Exults and glows before the blazing hearth.”<br /></span>
+</div></div>
+</div>
+
+<p>The fireplace suits our climate; it is cheerful and attractive, but it
+gives its heat only by radiation. We are warmed on one side and chilled
+on the other, but neither the warmth nor the chill is too great to bear,
+and the occupant of the room can move into any temperature that suits
+him. In more northern climates the use of the fireplace would not be
+tolerated; there the cold is so excessive that an equal warmth must be
+diffused throughout the apartments, and flues in hollow walls, and
+closed stoves either in iron or brick are in the ascendant, as already
+mentioned in<span class="pagenum"><a name="page_405" id="page_405">{405}</a></span> an earlier part of this work. But such means, by which the
+air is heated, and not merely warmed&mdash;and there is a great difference
+between warmed air and heated&mdash;would not be tolerated here. A puff of
+air from a closed stove caused by a back draught is not pleasant, and is
+very different from the honest puff of smoke from an English fireplace,
+that gives as a natural product of combustion, carbonic acid gas. But
+not one of these stoves, nor those that are called “smoke-consuming
+stoves,” make a good companionable fire&mdash;and this is not liked.</p>
+
+<p>The common open fireplace has held its own, and will continue to hold
+its own, against the best-contrived stove that can be introduced in lieu
+of it. But it still remains to find such a construction as will remedy
+its serious defects. These are chiefly such as pertain to the flue; it
+is not to the stove that these belong, for that, thanks to our excellent
+makers, is quite perfect.</p>
+
+<p>In our sluggish winter atmosphere the smoke leaves the open flue with
+tolerable certainty unless the flue is foul with soot; but when high
+winds prevail and the atmosphere is anything but sluggish, it teaches us
+the faults of the open flue, and volumes of smoke descend into our
+apartments. There are few occurrences in domestic life more vexatious
+and annoying than this; the numerous unsightly appendages in<span class="pagenum"><a name="page_406" id="page_406">{406}</a></span> the form
+of cowls, turncaps, and windguards which appear alike on our houses,
+churches, and palaces, whilst they exhibit the ingenuity of our builders
+and workmen in remedying the trouble of smoky chimneys, demonstrate also
+the frequency of the misfortune.</p>
+
+<p>When flues are carefully constructed, with the best modern improvements,
+and a due supply of air is admitted into the stove, a smoky chimney is
+an exception; still the flue forms only a simple open funnel for the
+passage of the smoke, and failures will inevitably often happen. A
+construction on a good principle should render these defects as trifling
+as possible. In our best houses&mdash;those constructed within the last
+twenty or thirty years&mdash;two kinds of the common brick flue are mostly in
+use. One is of the old-fashioned kind, having a section of 14 by 9 in.,
+which was made originally of that size for the accommodation of the poor
+sweeping-boys. This is now retained only for the kitchen fire, which
+makes a large quantity of smoke, and for the rest of the fireplaces the
+flue known as “Cubitt’s” flue is employed, which has a diameter each way
+of 9 in. The author prefers the small flue, and always uses it in the
+buildings he has constructed. There are many persons who still maintain
+that the old-fashioned flue is the correct one, and it is still very
+generally used. There is an old saying about the proof of the pudding.
+In Belgrave<span class="pagenum"><a name="page_407" id="page_407">{407}</a></span> Square, all the houses first designed and erected have the
+old-fashioned flue, and there are scarcely a dozen of the old
+chimney-pots left; all have been changed for tall-boys and other similar
+contrivances; one house has about 24 in one stack. No. 49, built by
+Cubitt about 35 years ago, and having the descending or sweeping flue,
+has the stacks exactly as at first constructed, with the exception only
+of a little doctoring to the kitchen flue. In the house opposite, No.
+48, one of the first, the external stack alone, next the street, has no
+less than 17 tall-boys, two of which appear to be broken off. On the
+opposite side of the Square, in Chesham Place, is No. 38, built by
+Cubitt about 30 years; it has all the original stacks untouched.</p>
+
+<p>The Cubitt flue can be recognised by the small peculiar cap on the
+chimney-pot, and several of these stacks remain in their original state.
+In Eaton Place and Eccleston Square, where this flue is used, the roofs
+tell the same story. In the first buildings erected by the author he
+used the large flue, and he now finds several specimens of
+chimney-doctoring on the roofs. In some large houses he lately erected
+at Queen’s Gate, in which the sweeping flue is used, there are several
+houses together without any disfigurement at all on the roof. He
+considers that the appearance of a tall-boy on one of them would be<span class="pagenum"><a name="page_408" id="page_408">{408}</a></span>
+rather a proof that there was something wrong about the servants’
+management of the fires, than an error in the construction of his flues.</p>
+
+<p>A representation of this flue, and the manner of introducing it into a
+building, is here given. Fig. 1</p>
+
+<div class="figcenter" style="width: 244px;">
+<a href="images/ill_pg_408_lg.jpg">
+<img src="images/ill_pg_408_sml.jpg" width="244" height="405" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Flue construction.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<p class="nind">represents a portion of the chimney-flue construction of a first-rate
+house; the lower chimney opening is in the basement, and above it are
+two others, one on the ground floor, and one on the first floor. It will
+be seen that there are three flues descending or taken down to the
+basement. The third flue belongs to the room on the second floor. The
+wall is two bricks thick, the flue 9 in. in diameter, and contained
+within the wall with no chimney-breast projecting. Fig. 2 is a plan of
+the flues on the ground floor, and fig. 3 of those on the first floor.
+Fig. 4 is a section of the fireplace opening; this is 3 ft. in height
+from the floor-line, the brickwork at top is splayed, and supported by
+an iron bar; these openings are always filled up with 4½ straight joint
+work, to be taken out when the mantelpiece is fixed. Fig. 5 is the
+chimney-pot and its cap, the latter opening at top 7 in. by 9 in. only;
+fig. 6 shows one of the sweeping doors, in which there are two to each
+descending flue. The latter three figures are twice the scale of the
+former. A plan and section of the chimney complete, with its marble
+mantel and stove, is given in figs. 7 and 8. The flue passes completely
+down at the back of the stove, the front is closed by an iron plate to a
+height of 2 ft. On this is fixed the moveable door or register, shut
+fully or partly over the flue when the stove is in use, and closed over
+the stove when the flue has to be<span class="pagenum"><a name="page_410" id="page_410">{410}</a></span> swept. The arrows show the mode of
+admission of air to the front of the fire; it is brought through the</p>
+
+<div class="figcenter" style="width: 195px;">
+<a href="images/ill_pg_410-a_lg.jpg">
+<img src="images/ill_pg_410-a_sml.jpg" width="195" height="118" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 7.&mdash;Plan of stove.</p></div>
+</div>
+
+<p class="nind">floor and two openings in the back hearth from the outside of the house.
+This is generally kept concealed,</p>
+
+<div class="figcenter" style="width: 150px;">
+<a href="images/ill_pg_410-b_lg.jpg">
+<img src="images/ill_pg_410-b_sml.jpg" width="150" height="221" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 8.&mdash;Section.</p></div>
+</div>
+
+<p class="nind">and in order to ensure a supply of air to the stove the room should be
+kept completely closed.<span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p>
+
+<p>To cause as full and perfect a combustion of the fuel as possible, a
+draught or current of the external air should be always admitted to the
+stove, and it could easily be placed under open management, so as to
+admit either a large or small supply of air, as required. Numerous
+patent processes to effect this are in use, but the most effective way
+of doing it is that shown in figs. 7 and 8: it is too simple for a
+patent.</p>
+
+<div class="figright" style="width: 82px;">
+<a href="images/ill_pg_411_lg.jpg">
+<img src="images/ill_pg_411_sml.jpg" width="82" height="97" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 9.</p></div>
+</div>
+
+<p>Fig. 9 shows a method of admitting air above the architrave of the
+entrance door of the room. The opening is made about 2 ft. in length;
+this, after a little time, becomes marked by the blacklets coming in
+from the passage. The sweeping flue when the fire is lighted becomes
+very hot; the smoke ascends speedily and soon leaves it. The flue
+requires the stove to be formed expressly for it. Mr. Cubitt made the
+stoves only for his own houses, and the author had some difficulty at
+Queen’s Gate, in procuring stoves of the right pattern, for
+manufacturers prefer their own shop patterns, and some of these would
+have covered up half the descending flue. Those he used were supplied by
+Messrs. Feetham of Clifford Street, who are well acquainted with the use
+of the flue and stove. The flue is considered an excellent one; it is a
+builder’s flue, constructed solely of brick, and is<span class="pagenum"><a name="page_412" id="page_412">{412}</a></span> certainly the best
+of the brick flues. The same attention was paid to it as was given to
+every part of Mr. Cubitt’s buildings. It may be asked, “Are there no
+other kinds of flues constructed of superior materials?” Yes, certainly
+there are; particular attention has often been paid to the flue. There
+is Hiort’s circular flue, formed in each course of four wedge-formed
+bricks. Mr. Hiort held a very important position; he was Treasurer of
+the office of Works at Whitehall, and his flue was extensively used in
+some of the Government buildings and the houses in Carlton Gardens. It
+did not bond well with the brickwork, so we have Mr. Moon’s improvement
+upon it. This was considered not sufficient, and another patent was
+taken out in 1844 by Messrs. Clark and Reed for its further improvement.
+The flue was an excellent one, but on Mr. Hiort’s retirement from the
+Government Board, it went out of use.</p>
+
+<p>There is Seth Smith’s metallic chimney lining, which makes an excellent
+flue; the lining is a pipe of from 5 to 10 in. in diameter, built in the
+brickwork. About 150 of these flues are at the Pantechnicon. Mr. Smith
+announced his determination of never building any house above the value
+of 30<i>l.</i> per annum, without using them. They could be introduced, to
+form perfect linings to chimneys in buildings already erected, and allow
+the stack to be reduced in height,<span class="pagenum"><a name="page_413" id="page_413">{413}</a></span> without having the unsightly
+appearance of contractions made above them. The drawback to the use of
+these tubes by builders was the price. Without any royalty, the 9 in.
+tube cost 3<i>s.</i> 4<i>d.</i> per ft. run, the curved tubes 4<i>s.</i> 3<i>d.</i>, the
+starting tube 3<i>s.</i> 8<i>d.</i> The tubes were of the exact form of drain
+pipes, and they were cheaper, and as effectual.</p>
+
+<p>If Mr. Smith’s metal tubes had been introduced into a large brick flue,
+they would have rendered the latter an efficient shaft for ventilating
+every room in its upward course, openings being made for the purpose at
+the upper part of the rooms. This mode of ventilation was applied to
+hospitals on a large scale by the late Mr. Jacob Perkins several years
+ago, with perfect success.</p>
+
+<p>Denley’s flue, introduced in 1843, is believed to have been the
+precursor of that used by the late Mr. Thos. Cubitt at Belgravia and
+Pimlico, and there is a great resemblance between the two; but Mr.
+Denley’s flue has nothing like the simplicity nor ease of construction
+of Mr. Cubitt’s. The downward flues were merged into one at the
+basement, and all the soot and cinders were collected or thrown down
+into a fire-proof box, which must have stood out in the lower rooms,
+from which they had to be removed. The flues were swept from the roof,
+the register doors of the stoves being closed, and there was no
+provision for sweeping<span class="pagenum"><a name="page_414" id="page_414">{414}</a></span> the flues between the basement and the stoves.
+Joined to his system for sweeping, was one of air flues which brought a
+current of air direct from the exterior of the house to each fireplace.</p>
+
+<p>We have several flue systems which have ventilating flues in connexion
+with them. Boyd’s flue forms the wythes, or half-brick spaces between
+the flues, of iron plates, and the open spaces thus gained make
+ventilating passages. Mr. Doulton’s combined smoke and air flues are
+manufactured in terra-cotta, in three sizes; the air flues follow the
+line of the smoke flue, the passages being quite distinct, as in Mr.
+Boyd’s. The heat from the smoke flue causes a current in the air-flue
+which carries off the vitiated air admitted by openings near the
+ceiling. The common drain pipes and the glazed fire-clay pipes make good
+flues; the use of these pipe-flues has greatly increased during the last
+few years; they improve the draught, and clean easily. Flues for
+ventilation from rooms should, like Arnott’s ventilator, enter into the
+smoke or a hot ventilating flue. Arnott’s ventilator requires careful
+adjustment, to be balanced in such a way that it should stand closed on
+a calm day.</p>
+
+<p>The superior patented flues, as they are of considerable cost, and take
+extra time in construction, are only used in the better class of
+buildings, or in those erected under the express direction of the
+owner.<span class="pagenum"><a name="page_415" id="page_415">{415}</a></span> In speculative buildings they are never used. The time required
+for their construction beyond that of the common brick flue, being
+regarded by the builder as so much money lost.</p>
+
+<p>The great desideratum in a flue is to make it pass off its smoke
+quickly, and this the small size flue effects more certainly than the
+larger one, as it warms sooner and keeps its heat longer.</p>
+
+<p>An enthusiastic admirer of the descending or sweeping flue once told the
+author that with a good fire in the grate, if a kettle of water could be
+placed on the top of the chimney-cap the water would soon boil, even if
+the flue were fifty feet high. The flues constructed of metallic or
+earthenware casings retain also the heat longer, and keep hotter. It may
+be imagined that with these flues, and the large quantity of gas lamps
+in the streets, why the temperature of London should be always some
+degrees higher than that of the country. In winter snow may be seen in
+the suburban fields, but none is found in town.</p>
+
+<p>Architects have often been blamed for not inventing a good system of
+flue-construction, not only for the prevention of smoke in our
+dwellings, but for the hindrance of its presence in the atmosphere.
+Several, and most excellent attempts, have been made for the former, but
+very few for the latter, which is one of far greater difficulty. Yet
+this is one that admits of<span class="pagenum"><a name="page_416" id="page_416">{416}</a></span> a cure, great as the evil is. The chimney
+flue might be so improved as to effect a more certain and larger
+ventilation of our houses, without any addition of ventilation flues.
+The introduction of the French Mansard roof with us, one from a country
+where coal fires are not in use, renders it almost imperative for the
+chimneys belonging to such buildings to have a different construction,
+for chimneys when placed against a building or roof that overtops them,
+are sure, as they are at present made, to become smoky: the wind
+returning owing to the high construction, and descending in the flues.
+The following few designs are offered to cure these various evils.</p>
+
+<p>Accepting as a fact that tall-boys, and the other iron and zinc
+constructions, are useful appendages, there can be no reason why they
+should be so used as to disfigure our buildings. Some of the finest
+specimens of architecture in the Metropolis serve only as pedestals to
+an ugly collection of cowls.</p>
+
+<p>The author proposes to form the upper part of the flues in a building,
+for a length of about 15 to 20 feet, entirely of iron or other tubing,
+in square, round, or oblong sections, of a less diameter than the brick
+flues to which they are attached. This tubing is gathered up in groups,
+and carried out at an angle of 45° towards a centre stack: the tubes in
+direct contact with each other, having<span class="pagenum"><a name="page_417" id="page_417">{417}</a></span> no brick wyths, except one or
+two to strengthen the stack.</p>
+
+<p>It is obvious that if only one of the flues be in use, it would
+moderately warm those next to it; and if the whole of the flues of a
+building were constructed on this plan, and two or three were in use,
+such a power would be obtained as would effectually ventilate every
+room; the action would be continuous and imperceptible, and a fire could
+be lighted in any one without the risk of return smoke from a cold or
+damp flue.</p>
+
+<p>Thus the heat now wasted in the atmosphere by the action of the common
+flue, would be partly retained and turned to use, and the draught of the
+flue very much improved.</p>
+
+<p>This tubing could be readily introduced into either old or new
+buildings, as the introduction does not involve taking down more than
+twelve feet of the brickwork, measuring from the top of the coping. The
+tubes could never become sufficiently heated to be dangerous, and less
+brickwork would be required.</p>
+
+<p>They might be made either of zinc or earthenware; cast-iron would be
+objectionable on account of its weight. It will be seen that they admit
+a better mode of sweeping than that now practised, and they could easily
+have some kind of capping to prevent down-draughts.<span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p>
+
+<p>These “stack flues” should commence from the attic or upper storey of a
+building, at about six feet from the floor; sweeping doors should be
+placed beneath them, so as to give the sweep command of the flue beneath
+as well as above.</p>
+
+<p>Each flue should be composed of three separate forms of tubing, by which
+the various directions and turns necessary for the construction might be
+obtained.</p>
+
+<p>Fig. 10 gives the representation of the three forms; 1, is the first;
+this is placed directly over the brick</p>
+
+<div class="figcenter" style="width: 187px;">
+<a href="images/ill_pg_418_lg.jpg">
+<img src="images/ill_pg_418_sml.jpg" width="187" height="151" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 10.</p></div>
+</div>
+
+<p class="nind">flue, and gathers it up to a size having an internal dimension of 6 +
+4½. It is 21 inches in height. 2, the second piece, is on a curve; the
+top and bottom lines, if carried on, would form an angle of 45°; it is
+about 18 inches in height, and internal size 6 + 4½. The third, 3, is a
+straight piece, internal size 6 + 4½,<span class="pagenum"><a name="page_419" id="page_419">{419}</a></span> the lengths various. Fig. 11
+gives a plan of four flues and an elevation of the commencement of two.
+The sweeping doors are shown below. The flue without a door is the
+ventilating flue for the basement. The ease with which this tubing can
+be grouped is shown in fig. 12. The stack consists of five flues; the
+tube, 2, connects them together below, and</p>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_419_lg.jpg">
+<img src="images/ill_pg_419_sml.jpg" width="168" height="180" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 11.</p></div>
+</div>
+
+<p class="nind">separates them above. The stack above the roof is 4 feet 9 inches in
+length.</p>
+
+<p>Fig. 13 shows, in the upper plan, how the flue wall could be reduced in
+thickness, made a brick and a half only, with a two-brick block at each
+end; it contains coupled and tripled sets of tubes.</p>
+
+<p>The middle plan shows nine flues grouped together, the centre being that
+belonging to the kitchen. The<span class="pagenum"><a name="page_420" id="page_420">{420}</a></span> last plan shows a group of six in a
+two-and-a-half-brick wall; by the side of this are two flues of the
+common construction, 14 inches by 9, made of this</p>
+
+<div class="figcenter" style="width: 313px;">
+<a href="images/ill_pg_420_lg.jpg">
+<img src="images/ill_pg_420_sml.jpg" width="313" height="353" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 12.</p></div>
+</div>
+
+<p class="nind">size to enable a boy to get up to the top and place his head out of the
+chimney-pot.</p>
+
+<p>The tube 1, fig. 12, can have its position reversed,<span class="pagenum"><a name="page_421" id="page_421">{421}</a></span> as shown in fig.
+14; six flues can thus be grouped together, as shown in the third plan,
+fig. 13. The elevation of this stack is given in fig. 15.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a href="images/ill_pg_421-a_lg.jpg">
+<img src="images/ill_pg_421-a_sml.jpg" width="150" height="220" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 13.</p></div>
+</div>
+
+<p>For a covering to these tubes figs. 16 to 20 show ornamental pots and
+their sections. The only merit</p>
+
+<div class="figcenter" style="width: 245px;">
+<a href="images/ill_pg_421-b_lg.jpg">
+<img src="images/ill_pg_421-b_sml.jpg" width="245" height="78" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 14.</p></div>
+</div>
+
+<p class="nind">in these may be that they are of a more ornamental character than any
+that have ever been introduced;<span class="pagenum"><a name="page_422" id="page_422">{422}</a></span> they are formed of zinc, supported by a
+stout dwarf iron railing. The intention is to permit the smoke to escape
+in any direction, either upwards, sideways, or downwards, sheltering it
+as far as possible from any action of the wind, and rendering of little
+consequence whether the stack is high, low, unsheltered or</p>
+
+<div class="figcenter" style="width: 226px;">
+<a href="images/ill_pg_422_lg.jpg">
+<img src="images/ill_pg_422_sml.jpg" width="226" height="240" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 15.</p></div>
+</div>
+
+<p class="nind">otherwise. If any sudden gust of wind take place and the smoke be driven
+back, the capping provides larger outlets for its escape than the small
+aperture of the flue itself; in other words, it is easier for the smoke
+to pass in any direction rather than return down the flue.<span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<p>The stack flues are only, in fact, tall-boys boxed up and not put out in
+the cold, and it is presumed they would be sufficiently powerful, from
+their warmth, to ensure a good passing off of the smoke, and secure
+ventilation to the building.</p>
+
+<div class="figcenter" style="width: 305px;">
+<a href="images/ill_pg_423_lg.jpg">
+<img src="images/ill_pg_423_sml.jpg" width="305" height="265" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Fig. 16.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Fig. 17.
+</p></td></tr>
+</table>
+</div></div>
+
+<p>A forced ventilation to our dwellings, in ever so slight a degree, is a
+matter of importance. By the proper construction of these proposed stack
+flues it is presumed that any amount of ventilating power, self-acting
+and continuous, could be obtained. Their introduction alone would be
+beneficial; combined with the flue pedestal, to be described, the tubes
+could be<span class="pagenum"><a name="page_424" id="page_424">{424}</a></span> led into one general upward shaft; by either plan we should
+have some command over the smoke, while the roofs of our buildings might
+be made ornamental and picturesque. It would be a treatment of
+bituminous coal alike artistic and novel, surprising to foreigners and
+creditable to ourselves.</p>
+
+<div class="figcenter" style="width: 118px;">
+<a href="images/ill_pg_424_lg.jpg">
+<img src="images/ill_pg_424_sml.jpg" width="118" height="220" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 18.</p></div>
+</div>
+
+<p>It remains to show how the open character of the flue could be taken
+away (this forms its chief evil), and how a chimney-stack may be formed
+without chimney-pots. The late Lord Palmerston, when Home Secretary,
+proposed the abolition of chimney-stacks, and the use of only one
+chimney-stalk for each separate dwelling. In 1856, a commission was
+appointed to<span class="pagenum"><a name="page_425" id="page_425">{425}</a></span> inquire into the best modes of warming and ventilating the
+apartments of dwelling-houses and barracks. Their report, given to the
+General Board of Health, was published in 1857, and it afforded a
+section illustrating “the principle on which it was proposed to
+construct dwelling-houses.” There was only to be</p>
+
+<div class="figcenter" style="width: 205px;">
+<a href="images/ill_pg_425_lg.jpg">
+<img src="images/ill_pg_425_sml.jpg" width="205" height="244" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 19.</p></div>
+</div>
+
+<p class="nind">one flue, and this of metal 10 inches in diameter, enclosed in a large
+brick flue, which was to serve for ventilation. In the metal flue were
+to be inserted the flues of the several fireplaces; these were placed
+back to back, and if the register doors of the stoves were open, a
+person in one room might both see and con<span class="pagenum"><a name="page_426" id="page_426">{426}</a></span>verse with another in the
+next; the music of a pianoforte in one room could be heard in them all;
+this construction was taken up through four storeys, there being eight
+fireplaces. For one fireplace alone it would have been perfect, but the
+smoke from the two kitchen fires would have been sufficient to have
+choked</p>
+
+<div class="figcenter" style="width: 138px;">
+<a href="images/ill_pg_426_lg.jpg">
+<img src="images/ill_pg_426_sml.jpg" width="138" height="233" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 20.</p></div>
+</div>
+
+<p class="nind">the flue and caused the smoke to enter into the whole of the eight
+rooms.</p>
+
+<p>The chimney-stack might possibly be lowered, and it certainly could be
+constructed without chimney-pots, but each separate flue must have its
+own outlet. A design for this, one that should take away the open<span class="pagenum"><a name="page_427" id="page_427">{427}</a></span>
+character of the flue, and fit the stack, possibly for the Mansard roof,
+is here given.</p>
+
+<p>In fig. 21, <i>a</i> <i>a</i> are the flues, delivering their smoke into a large
+ventilating flue, <i>b</i>. The warm smoke would induce a current of air to
+enter at <i>c</i>: any current will have a tendency to draw another with it,
+so that the smoke leaving the flues <i>c</i> <i>c</i> would be taken out at <i>d</i> by
+the current of air at <i>c</i>.</p>
+
+<div class="figcenter" style="width: 217px;">
+<a href="images/ill_pg_427_lg.jpg">
+<img src="images/ill_pg_427_sml.jpg" width="217" height="205" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 21.&mdash;The ventilating flue.</p></div>
+</div>
+
+<p>This is the principle upon which all the best ventilating chimney-pots,
+tall-boys, and cowls are made, and it is a very sure one. The jet of
+steam in the funnel of the locomotive, drawing the smoke from the fire,
+and creating a draught, is adopted on the same principle.<span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
+
+<p>In scientific language, the established law both of pneumatics and
+hydraulics is that when two currents of fluid matter passing in the same
+direction, but in separate channels, arrive at any point of confluence,
+the stronger current draws the other along in its course, and with a
+considerable portion of its own velocity. Thus the force of the wind,
+which checks in other instances the action of a chimney-draught, is made
+to produce a stronger draught, exactly in proportion to the violence
+with which it blows.</p>
+
+<p>Returning to fig. 21, a current of air, instead of coming in at the
+opening <i>c</i>, might come in at <i>d</i>. It would then have a tendency to blow
+down the flues <i>a</i> <i>a</i>: to prevent this, the opening <i>d</i> could be
+closed, and an upright stalk placed at <i>e</i>,&mdash;this should have a downward
+shaft, a place for soot, and a sweeping door.</p>
+
+<p>There is still another mode of treatment; fig. 22 represents the flues
+grouped, each with a separate ventilating flue, the smoke delivered
+being at the side of each.</p>
+
+<p>The stack might be covered with zinc in the ornamental style with which
+that metal is now treated.</p>
+
+<p>It is probable that if a stack on this principle was placed parallel to
+the side of one of these Mansard roofs, it would be secure from the
+ill-effects of any<span class="pagenum"><a name="page_429" id="page_429">{429}</a></span> wind returning against it. The author will not vouch
+for its success, but it is offered here to the attention of architects
+and builders as an experiment worthy of trial.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a href="images/ill_pg_429-a_lg.jpg">
+<img src="images/ill_pg_429-a_sml.jpg" width="275" height="217" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Section.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Elevation.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 104px;">
+<a href="images/ill_pg_429-b_lg.jpg">
+<img src="images/ill_pg_429-b_sml.jpg" width="104" height="55" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 22.&mdash;Plan.</p></div>
+</div>
+
+<p>It has been affirmed that the smoke of towns, however disagreeable it
+may be to the inhabitants, neutralizes the poisonous effect of the gases
+caused by sewers, &amp;c. If it was possible wholly to remove<span class="pagenum"><a name="page_430" id="page_430">{430}</a></span> carbon
+evolved by smoke, our towns would almost be uninhabitable, and they
+represent that any scheme for getting rid of smoke must be combined with
+one for getting rid of the exhalations from sewers at the same time. If
+the two evils were brought together, they would neutralize each other,
+and both could then be got rid of at one operation. The best scheme for
+this is a matter of important consideration, but few have been proposed.</p>
+
+<p>It may be asked, what has a work on Picturesque Architecture to do with
+either smoke or sewer gases? The author in reply considers that
+buildings never will look picturesque while they are covered with great
+patches of soot. An eminent sculptor once affirmed that the statues of
+London were improved by their soot covering, because it made them stand
+boldly out against the sky. But those beautiful decorated smoke towers
+which stand on the roof of the Houses of Parliament, and which are as
+black as Erebus, look anything but pleasing, standing amidst the whiter
+front of the rest of the building. Besides, tall-boys are beginning to
+make their appearance on the roof under the Victoria tower, and these
+certainly form no part of the architecture, but appear monstrously ugly;
+consequently smoke and its abolition are clearly questions to be
+considered in relation to Picturesque Architecture.<span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p>
+
+<p>A plan for removing smoke from the atmosphere of towns, and at the same
+time ventilating buildings and sewers, was proposed in 1849 by Mr.
+Flockton, surveyor to the town trustees of Sheffield,<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a> a town as much
+begrimed with sooty smoke, only in a smaller way, as the Metropolis.</p>
+
+<p>The proposal was, that under the footways along the side of every street
+and lane, flues should be constructed of sufficient capacity to carry
+off all the smoke and other atmospheric impurities, these flues all
+converging, upon a general plan, to tall shafts or chimneys at some
+distance from the town, and supplied with furnaces. These, when the
+fires were once ignited, would give a fire produced by the combustion of
+the inflammable gases accompanying the smoke, and which would burn
+spontaneously in a similar manner to the combustion of foul air from old
+shafts connected with coal mines. The combustion might be assisted by
+jets of coal gas, in a fire of coke.</p>
+
+<p>In very large towns it would be necessary, Mr. Flockton added, to divide
+the whole into districts, and to erect towers in the centre of each, to
+which all the flues should converge. He published a plate, showing<span class="pagenum"><a name="page_432" id="page_432">{432}</a></span> two
+large dwelling-houses, with a street between, the common sewer in the
+middle of the carriage way, and the smoke flues on each side under the
+footpaths, also showing the connexion between the sewer and flue. The
+alteration proposed to houses already erected consisted in converting
+ascending into descending flues; turning the smoke from the chimney-top
+into the latter, and from thence into the street flue. This operation
+would have necessitated the pulling down and rebuilding of the flue
+walls. The street smoke flues, in order to carry off the smoke from a
+few thousand chimneys, would require to have been made of a size even
+larger than the sewer itself. Provision must have been made for clearing
+out the soot, for the smoke would have been cooled and the soot would
+accumulate in large quantities in them.</p>
+
+<p>The same scheme, with similar constructions, was proposed by a foreign
+gentleman, who took out a patent for it in 1850 (No. 13,061). His plan
+was a very grand one; he did not propose alterations in existing
+buildings, but pulled them down and gave designs for a new city.</p>
+
+<p>A more practical plan was proposed about 1851 by Mr. Devey, a surveyor
+of Furnival’s Inn. A model of his invention was in the Great Exhibition
+of 1851, and it is described and an engraving given of it in the
+illustrated volumes published by the Royal Exhibi<span class="pagenum"><a name="page_433" id="page_433">{433}</a></span>tion Commissioners at
+the close of the Exhibition. The model is now in the Museum at South
+Kensington. Mr. Devey’s plan was to make only one descending flue to
+each building, to which the flues at the top could be either connected
+or not, at pleasure; the descending flue was carried to the sewer in the
+middle of the street, and the action of this was to be assisted by the
+heat of the kitchen fire. He says, “The smoke would be drawn down by the
+current produced by exhaustion in the sewer, the action being assisted
+by the kitchen fire.” Mr. Devey did not propose to have furnace shafts,
+but depended entirely upon the sewer acting as an exhaust.</p>
+
+<p>In this scheme the objections were, that one descending flue was not
+sufficient to carry off the smoke from several chimneys, and the sewer
+certainly would not act as an exhaust without its being connected with
+upright furnaces. Our sewers generally have ventilating openings which
+permit their odours to ascend into our streets. Soot would no doubt
+neutralize these odours&mdash;this, a paper in a late <i>Quarterly Review</i>
+(April, 1866) admits. First, speaking of the sewer gases, the reviewer
+says: “These offensive gases have often engendered formidable diseases,
+and have, in several instances of late, been clearly shown to have
+caused the outbreak both of typhoid fever and cholera.” Of this the
+author has had proof during the<span class="pagenum"><a name="page_434" id="page_434">{434}</a></span> outbreak of cholera in London in 1849.
+He was superintending the construction of a mass of buildings in one of
+the worst dwelling districts in London. This builder, who had just
+finished the erection of Harrington House, a description of which is
+given in this volume, died the first night of the outbreak in the
+greatest agony; he was a strong robust man; from one to three deaths
+took place in every house in the locality; a black flag was put up in
+the streets, and the foul fiend reigned for a while supreme. A large
+mass of the worst buildings have been cleared away, and model
+lodging-houses erected, but a considerable portion of the rotten old
+structures remain, the sewers are untouched, and the visitation of the
+cholera forgotten.</p>
+
+<p>The <i>Quarterly Review</i> says there is no reason why ordinary sewers
+should not be made to serve the double purpose of carrying off smoke and
+sewage at the same time, provided they were connected here and there
+with high shafts rendered powerfully expansive by furnaces; and adds,
+“sewage would be improved for agricultural purposes by admixture with
+soot, which is an excellent manure, and the noxious qualities of the
+sewer gases would be destroyed.” Whether soot would increase the value
+of sewage or decrease it, is a question for chemists to decide; a
+generally increasing opinion is, that our method of using sewage<span class="pagenum"><a name="page_435" id="page_435">{435}</a></span> by
+liquefaction and sending it away, is a mistake, and renders it quite
+worthless, and that the system of dry earth-closets is more conformable
+to Nature’s laws.</p>
+
+<p>The subject was taken up in 1857 by Mr. Peter Spence, of Manchester, a
+large alum manufacturer.<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> This gentleman states that the “blacks,” the
+horror of the Londoner, are guiltless of any deleterious effect to human
+health, as carbon is one of the most anti-putrescent of bodies, and
+while floating in the atmosphere over everything, arrest and destroy
+noxious and miasmatic vapours. Perfect freedom from smoke would, if
+accomplished, only increase the evil arising from the purely gaseous
+results of combustion. He proposed a system of <i>atmospheric</i> or <i>gaseous
+sewage</i>, and the complete removal of all their gases to a safe distance
+from our towns. He would combine this gaseous sewage in such a form with
+town drainage as would bring all the liquid sewage into contact with the
+gases from our furnaces and house fires, the liquid sewage being kept
+from all surface drainage. The same liquid and fœtid mass of sewage he
+would concentrate in an innoxious form, to be converted, in a convenient
+place, where it might with perfect safety be manufactured into manure
+more valuable than the richest guano.<span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
+
+<p>For effecting this all the gases from our coal combustion would have to
+be conveyed along the same tunnel with the sewage to centralizing
+conduits converging to a point, where an immense chimney, 600 ft. high,
+should be erected, to discharge these gases into the atmosphere, the
+ascensive power being obtained either from the retained heat of the
+gases, which would probably be found quite sufficient, or if not,
+artificial heat could then be applied to effect the object. The chimney
+should be of the internal diameter of 100 ft. at the top, and 140 ft.
+external diameter at the bottom. This would take the smoke from 500
+chimneys and every particle of foul emanation from the sewer, and every
+leak or opening to the upward air from these sewers would not then emit
+foul gases, but draw in fresh air with a pressure or suction of three
+and a half pounds per foot, and with a velocity of 40 feet per second.
+This gentleman says: “It is idle to talk of trapping, and thus confining
+gases evolved under ground; exit they must and will have, and when you
+imagine you have secured them in one place, you will find them pouring
+out in another.” He makes this plain by an illustration. He took an
+old-fashioned detached house; after entering into possession he found
+frequently very disagreeable smells, especially after rain, a change of
+wind, or a fall of the barometer; it may be remarked here that<span class="pagenum"><a name="page_437" id="page_437">{437}</a></span> it was
+not necessary to take an old-fashioned house to find out this; in more
+modern built houses in London, after a fall in the barometer or rain,
+such a thing is repeatedly occurring. Mr. Spence, to cure the evil in
+his old mansion, exhausted all the remedies which the philosophy of
+London schemes acknowledges; he trapped all the exits from the sewer
+with the most approved patent girds; all slopstone pipes were cut and
+water-luted. But this was of no use, the smell came through the very
+walls and floors, and one bedroom on the first floor, which showed no
+connexion with the sewer, was quite uninhabitable. He adopted a plan
+which succeeded: a branch from the main sewer was brought right under
+the kitchen grate, from that a pipe of cast iron, four inches in
+diameter, was carried up through the brickwork, and the open top
+projected into the chimney a yard and a half behind the kitchen fire,
+above the fire. When this fire was again lighted, in a few hours the
+house was perfectly sweet, and the distant bedroom, uninhabitable
+before, has been slept in ever since. When this nuisance occurs in a
+London house the only remedy is to open the doors and windows to get rid
+of it, as we are not allowed to meddle with the sewers. Disagreeable
+effluvia in dwellings often occur, and baffle every endeavour to trace
+from where they proceed; in every case it is from choked-up drains or
+the sewer,<span class="pagenum"><a name="page_438" id="page_438">{438}</a></span> and the decomposition of animal and vegetable matter therein
+retained.</p>
+
+<p>As for Mr. Spence’s scheme, its grandeur almost stops its execution. It
+is well known that in all large manufactories, and in gas works, a tall
+chimney serves to draw out the smoke from the numerous fires, and it
+forms a smoke-outlet for them all. In most of these places the fuel is
+used up so completely that it is only the gases of combustion that are
+drawn away. Mr. Spence’s scheme has been successfully tried in its
+application to private residences, and also on a large scale to the new
+Assize Courts in Manchester. It was adopted by one of the architects in
+the competitive designs for the New Law Courts in London.</p>
+
+<p>If these tall shafts and furnaces were applied in London, it may be
+questioned whether the smoke in cooling would not deposit the soot in
+the sewer, and this must be removed, if not run off by water. The flues
+connecting the house fires with the sewer would be partly horizontal,
+and these would certainly fill with soot, and no machines we have at
+present in use could clean out these flues from above. The operation
+must be performed from within the sewer, and then these flues being
+unsupplied with drain-eyes at their entrance to the sewer, would form so
+many open channels for the passage of the sewer gases into the houses.
+This would be the case in a very great degree<span class="pagenum"><a name="page_439" id="page_439">{439}</a></span> where there were no fires
+in the stoves and their register doors were open. It would require an
+immense consumption of fuel in the high stalks to cause a current to
+prevent it, and the furnaces must be close together to lessen the
+cooling effects of cold currents of air from flues not in use.</p>
+
+<p>As to the mere ventilation of the sewer itself, it could easily be
+effected by single drain pipes 6 inches in diameter, placed at
+intervals, from the sewer to the ash-pit of any neighbouring furnace. It
+would be probably to the advantage of the furnace itself, as even the
+tall stalks must sometimes make black smoke. A legislative enactment
+should require their owners to let them perform this service. It might
+require strong furnaces and plenty of them to effect it. A suggestion
+for getting rid of that “monster nuisance, London smoke” was made known
+in the <i>Builder</i> about 1859, by Messrs. Bruce Neil. It is thus
+described: “The plan consists in placing small tanks containing water
+over the chimney (the chimney-pots being fixed inside the tanks, and
+made of a spiral and bent form). The chill of the water gradually
+condenses the smoke, which becomes decomposed and destroyed, being
+precipitated at the bottom of the tank in the form of mineral tar. The
+water is turned on and off daily. It will be here observed that in the
+event of a fire in the chimney the flames cannot spread, as they are<span class="pagenum"><a name="page_440" id="page_440">{440}</a></span>
+immediately quenched by the water in the tank. According to Mr. Bruce
+Neil’s calculation, the smoke of 80 tons of coal, if collected, will
+yield upwards of 28 barrels of tar, of 2½ cwt. each. He proposes that
+the Legislature, or the Society of Arts, should offer a premium to the
+person who will undertake to rid us of this monster nuisance and convert
+the smoke into tar, so as to make it applicable to commercial purposes.
+In the adoption of the above plan a slight alteration in the mode of
+ventilating our apartments is all that is required, he tells us.</p>
+
+<p>As to the possibility of converting smoke into tar by such means as are
+above described, some doubts might be expressed if it could really be
+done; the remedy would be worse even than the disease, every household
+using yearly 20 tons of coal would have in that time to remove 7 barrels
+or 17½ cwt. of tar from their roof. The <i>Builder</i>, in publishing this
+suggestion, did not give any diagram or sketch showing how the process
+was to be effected. Mr. Bruce Neil no doubt made one, as he speaks of
+the alteration required in the ventilation of our apartments; a drawing
+would at least have explained how the water was to collect the soot, and
+how it was to have access to the flue in case of its being on fire.</p>
+
+<p>The suggestion of collecting soot at the chimney-top by means of water
+was a valuable one, and there<span class="pagenum"><a name="page_441" id="page_441">{441}</a></span> is no doubt it could be done to some
+extent, but not by encircling the pots with cold water, which would
+chill the smoke and prevent the soot from rising. A</p>
+
+<div class="figcenter" style="width: 367px;">
+<a href="images/ill_pg_441_lg.jpg">
+<img src="images/ill_pg_441_sml.jpg" width="367" height="369" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 23.&mdash;Water chimney-vase for collecting soot.</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Half elevation.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Half section.
+</p></td></tr>
+</table>
+</div></div>
+
+<p class="nind">design is here given, fig. 23, to show how it could be effected.<span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p>
+
+<p>It will be seen that the chimney-pot or funnel has a zinc cover carried
+by stout ironwork surrounding it; <i>a</i> is the water, <i>b</i> the pipe to
+convey it away; it would be self-acting, and being washed by every
+shower would not be likely to get out of order. The rain-water must be
+looked for as to supply&mdash;to pay for high service for the roof of our
+houses to the water companies would not do.</p>
+
+<p>Our climate is more damp than cold, and a considerable quantity of rain
+falls on our roofs. The zinc cover is spread out, so as to retain as
+large a portion as possible of the rain-fall. In winter, when there is
+most smoke, there is most water, with little or no evaporation. A pool
+of water could be thus collected, and the smoke projected over it would
+lose some portion of its soot, which could be floated away by the pipe
+into a receptacle provided for it in the back yard. The water might be
+sent into the drain and the soot left; or it could be sent into the
+drain as well.</p>
+
+<p>The arrows in the diagram show the direction of the smoke, and the cover
+is so spread out and curved as to render it unlikely for any violent
+wind to flow out both water and soot into the street beneath.</p>
+
+<p>Certainly coal smoke is a great nuisance; it is yearly pointed out as
+such by our paper the <i>Times</i>, in one, probably two, very excellently
+written leaders.<span class="pagenum"><a name="page_443" id="page_443">{443}</a></span> Even the youngest member of the press, the <i>Echo</i>, in
+one of the common London fogs occurring in April, 1868, thus remarks:
+“The most sad and remarkable circumstance about the fog of yesterday was
+that the newspapers and people in the streets spoke of it as a
+‘visitation,’ as a ‘gigantic pall,’ as if, indeed, the black darkness
+was something as strange and unaccountable as a fall of frogs or fishes
+from the sky. Of course it was nothing but our own familiar coal smoke
+which stopped the way of the sunlight. It is most lamentable that
+Londoners are becoming so used to this filthy nuisance that nothing more
+than a passing exclamation is uttered when it is forced down upon them
+in such volumes as to produce almost the darkness of midnight at midday.
+If ‘cleanliness is next to godliness,’ then the people of London must
+have been yesterday the most ungodly people in the world, for nothing
+would remain clean which was exposed to the fog of that morning. A
+plague of locusts would not create more terror and sense of ruin in any
+foreign capital, where every article of dress and furniture and house
+decoration, both external and internal, would have been regarded as
+spoiled by the loss of freshness. But London received its coat of dirt
+yesterday, and to-day only wonders with the remark ‘how dark it was!’
+Will nothing move us to abate the nuisance? Is there no hope but that
+distant one<span class="pagenum"><a name="page_444" id="page_444">{444}</a></span> of the exhaustion of our coal-beds? Must we inhale
+coal-blacks, and always contemplate dirty houses and grimy furniture? Is
+it not possible by smoke sewers, or some contrivance or machinery, to
+relieve us of this plague?” It is very possible it could be done with
+the greatest ease, but at some first expense; and in some generation or
+other it will be written that it found London foul and left it sweet,
+and there will be a time when this will be appreciated; and the man who
+gives the city the pure atmosphere of a small country town will receive
+all due honour and acknowledgment, that is, when he is in his grave and
+securely buried.</p>
+
+<p>The public have so long been accustomed to be choked with smoke, and
+their health affected by deleterious gases, that they look upon the
+proposal of any scheme to secure pure air as the hallucinations of
+dreamy philosophers or inexperienced Utopians.</p>
+
+<p>None of our present flues can, in the very slightest degree, stop these
+aqueous vapours from ascending into the atmosphere, neither can they
+effect any purification of the smoke, or retain the blacks for any
+useful purpose; and it is of no use disguising the fact that any
+contrivance or appliance, to effect either of these most desirable
+objects, must consist of an additional construction to the flue, which
+will be attended with additional expense, and require extra<span class="pagenum"><a name="page_445" id="page_445">{445}</a></span> attention.
+Therefore any such appliance, if introduced, should be effectual, and
+repay such additional cost to its owner, by a saving, or at least a more
+economical use of fuel.</p>
+
+<p>The appliance to the flue the author has to recommend, he considers will
+not only cause an economical use of the fuel by not permitting the
+present waste of heat, but it will purify the smoke, and retain the
+blacks for any useful object to which they can be applied.</p>
+
+<p>The principle of the best-constructed flue at present is to get rid of
+all vapour, smoke, and soot as soon as possible, without the slightest
+consideration for the people outside. That the smoke should not return
+to annoy the occupants within the house is the aim of the constructors,
+and to secure this, the waste of heat in the chimney, and the consequent
+waste of fuel, is considered of no importance, for is it not the hot
+smoke that carries up the soot and ventilates the apartment?</p>
+
+<p>This operation of the flue could be taken advantage of. In the
+construction of chimney-flues in a wall they are often turned at an
+angle to the right or left to pass an obstruction, such as a fireplace
+or timber placed within or against the wall. A flue could easily be
+taken out of the wall and returned, and if the part so taken out was
+formed in cast iron with a small<span class="pagenum"><a name="page_446" id="page_446">{446}</a></span> cistern of water at top, it would
+become a warm-water pedestal, and could moderately warm or air an
+apartment in which it was placed; the author calls this the flue
+pedestal, and it is represented in the following cut.</p>
+
+<div class="figcenter" style="width: 159px;">
+<a href="images/ill_pg_446_lg.jpg">
+<img src="images/ill_pg_446_sml.jpg" width="159" height="317" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 24.&mdash;The flue pedestal.</p></div>
+</div>
+
+<p>It is about three feet six in height, not much higher than a small
+cabinet. The door could open, and a small tap supplying warm water for
+domestic use would be seen. Thus the upper rooms of a house<span class="pagenum"><a name="page_447" id="page_447">{447}</a></span> could be
+warmed or aired by the fires below in perfect safety, and the present
+waste of heat in the flues prevented. This would be economical, as in
+most cases no fires would be necessary in the upper rooms.</p>
+
+<p>The flue thus brought out in iron could contain a fine spray of water,
+that would draw up the smoke, and take down its vapours and soot at the
+same time into the sewer.</p>
+
+<p>Fig. 25 shows a section of the flue thus brought out. The wall is two
+bricks thick, the flue <i>a</i>, is 9 inches in diameter, <i>d</i> is the
+cast-iron flue, and another, <i>e</i>, shaped like a funnel, is placed behind
+it, to collect the soot and water, and pass it off through the pipe <i>h</i>.
+The cistern is partly within the walls and partly covering the two
+flues. It is not necessary that the water in the cistern should supply
+the spray: that might be done by a separate pipe with a tap to turn off
+and on as desirable; <i>b</i> is the moveable pedestal covering the whole.</p>
+
+<p>The adaptation of this simple contrivance to any kind of domestic
+chimney-flue is not a very difficult operation. It is only necessary to
+take out the brickwork in front of a flue of a height of 4 to 5 feet,
+and then introduce the iron flue, gathering up the brickwork beneath it;
+the section, fig. 25, supposes the iron flues to be in an external wall;
+should it be required in a party wall the soot goes off at <i>g</i> <i>g</i>, to
+be conveyed<span class="pagenum"><a name="page_448" id="page_448">{448}</a></span> outside the building in the nearest way; doors are provided
+for the purpose of sweeping; any down</p>
+
+<div class="figcenter" style="width: 320px;">
+<a href="images/ill_pg_448_lg.jpg">
+<img src="images/ill_pg_448_sml.jpg" width="320" height="465" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 25.&mdash;Section of the flue pedestal.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<p class="nind">draught of air in the chimney might expend itself in the soot flue, and
+the smoke having passed the spray could not return. The spray of water
+should be equal to the whole width of the flue, and proportioned in
+strength to the work it has to do; the smoke from a whole group of flues
+might be conducted to one powerful spray, one upper flue or chimney
+would then suffice for the roof, while the soot and flues in any number
+might be formed into one before passing to the sewer.</p>
+
+<p>The pipe <i>h</i>, shown in fig. 25, would not form an open communication
+with the sewer; it would be supplied with a flap-cover or drain-eye,
+like the common house drain at its extremity. This would open only when
+sufficient water and soot was behind it, and close when it was passed.
+It would not require sweeping, the water keeping it clear. It should
+have another kind of drain-eye to that at present in use, the lid, or
+flap of which is hinged from the top, the soot floating on the surface
+of the water, would require the flap to open from below. Fig. 26 shows
+the kind of drain-eye that would be required.</p>
+
+<p>If it was not for the difficulty of the present form of drain-eye to our
+houses, the soot flue might discharge its contents into the house drains
+at once, below the trappings; there is probably no absolute necessity at
+all for drain-eyes at the termination of<span class="pagenum"><a name="page_450" id="page_450">{450}</a></span> house drains, their use is to
+make precaution doubly sure, to prevent the rising of the gases from the
+sewer, and to keep out the rats, to prevent them, by getting through the
+traps, from entering the house.</p>
+
+<div class="figcenter" style="width: 97px;">
+<a href="images/ill_pg_450_lg.jpg">
+<img src="images/ill_pg_450_sml.jpg" width="97" height="106" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Fig. 26.&mdash;Drain-eye.</p></div>
+</div>
+
+<p>Experiments were made with a shower of water in Mr. Cubitt’s descending
+flue. It will be seen by inspecting the figures 1 to 8 that these flues
+could easily be formed into one, and taken into the drain; the
+experiment did not succeed, as none will, that brings heavy smoke in
+opposition to a water-fall. The smoke must go with the current or
+water-shower, and not against it.</p>
+
+<p>The flue pedestal, with its water-spray, is the whole of the contrivance
+by which the author believes the smoke of the domestic hearth could be
+got rid of, or rendered inoffensive. What the action of the water would
+be on the gases that escape from the fuel he cannot say, but he presumes
+it could not be other than beneficial.<span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p>
+
+<p>He experimented on the subject a few years ago, and had a stove and flue
+erected about ten feet in height; the lower part of the stove was of
+brick, the upper part with the cistern of zinc. The coal fire was
+lighted, and as soon as black smoke appeared at the chimney-top, the
+water-valve was lifted and about 16 fine jets of water were sprayed
+against a piece of loose perforated zinc, suspended in the flue; this
+zinc is shown in fig. 25; in the second flue <i>e</i> (it should have been
+marked <i>f</i>, but by a mistake in the cutting it is made <i>d</i>), the smoke
+had to pass through under this perforated zinc to get to the chimney
+above. On the instant the water was applied, the smoke appeared at the
+chimney-top of a light colour, and it came out of the soot receptacle,
+placed a little height above the ground, nearly as much as it did at
+top, and of a similar light vapourish character,<a name="FNanchor_H_8" id="FNanchor_H_8"></a><a href="#Footnote_H_8" class="fnanchor">[H]</a> a sure sign that it
+was drawn down by the current of water. Soot in large quantities was
+soon seen in the receptacle; the author has not ascertained the quantity
+of soot which would be obtained by this process from a ton of coals, but
+he believes it would be very considerable, possibly two sacks or more.
+As clean unmixed soot is worth<span class="pagenum"><a name="page_452" id="page_452">{452}</a></span> in London 2<i>s.</i> 6<i>d.</i> per sack, if this
+soot were retained it would pay for the extra expense of the water, and
+the retaining of it, and to carry off the water would be an easy
+operation.</p>
+
+<p>The “blacks” are good things at present in their wrong place; they could
+in the way proposed be very easily got rid of, and if it were possible
+to cut into all the chimneys of London and apply the remedy, the whole
+of the soot, which at present escapes into the atmosphere, might be
+caught and passed into the drains; it would there probably fully
+deodorize them. It is certainly not possible, from the herculean nature
+of the task, to disturb the whole of the chimneys of London, but the
+worst only might be operated upon, such as the chief kitchen flues of
+the great establishments, which are continually sending out black smoke.</p>
+
+<p>Among the chief offenders are our bakers, nearly twenty of them being
+fined weekly for this by the magistrates, and for fires occurring in
+their chimneys. It appears that the Smoke Nuisance Act bears hardly upon
+them; the smoke-consuming apparatus forced upon them by the Act has
+utterly failed in its purpose, and it is impossible for them to comply
+with the requirements of the Act, and carry on their business in a
+satisfactory manner either to themselves or the public. They have
+applied to the Home Secretary<span class="pagenum"><a name="page_453" id="page_453">{453}</a></span> for relief, and a bill to repeal so much
+of the Act 16 and 17 Vict. that relates to bakehouses has been in
+contemplation.</p>
+
+<p>There would be no difficulty in placing a flue pedestal in their flues
+at any height above their oven fires; it would not only relieve their
+neighbours from the annoyance of black smoke from their chimneys, but it
+would secure the chimneys themselves from taking fire. The water need
+only be turned on when required, when black smoke was being made, and if
+they chose to collect the soot the expense of the operation would be
+trifling, if anything, beyond the first expense of the flue pedestal, in
+the end.</p>
+
+<p>In large country houses the flue pedestal would warm the upper rooms or
+passages, and cause a more equal temperature in the building; this,
+together with the practicability of collecting the soot for agricultural
+purposes, might be an inducement to its introduction. Water could be
+lifted to the roof of a country mansion by that ingenious contrivance
+the hydraulic ram, and passed off to its original source when done with,
+the soot being left behind.</p>
+
+<p>The beautiful self-acting machine, known as Gwynne and Co.’s improved
+hydraulic ram, is peculiarly adapted for raising or lifting water to any
+required elevation. It is necessary to have a fall of water to work it,
+and the greater the height of the fall, the more<span class="pagenum"><a name="page_454" id="page_454">{454}</a></span> effective will be the
+machine. In favourable cases it will raise water thirty times higher
+than the fall working it. The greater the height of the lift, of course
+the less will be the quantity raised in a given time. This machine can
+be made to deliver comparatively large quantities of water, either in
+tanks on the roofs of houses, or in farmyards for filling ponds. It will
+work day and night without any attendance or expense after it is once
+fixed. Two or more rams may be used to force through the same pipe, or
+rising main. Where a continuous stream of water to work the machine
+cannot be obtained, a spring, or even rainfall, or drainage may be
+stored up in a reservoir or dam, and made to work the ram.</p>
+
+<p>The expense of these machines is not excessive, as the following table
+will show:&mdash;</p>
+
+<table border="1" cellpadding="2" cellspacing="0" summary=""
+ style="font-size:75%;">
+
+<tr class="c"><td> Diameter of<br />
+ Feed Pipe. </td>
+
+<td>Diameter of<br />
+ Delivery<br />
+   Pipe. </td>
+
+<td>  Approximate Number of<br />
+ Gallons of Water raised<br />
+  in a day of 24 hours.</td>
+
+<td>Price of Ram, complete,<br />
+with all the accessories,<br />
+ but exclusive of Pipes.</td></tr>
+
+<tr><td class="c"> Inches.</td><td class="c"> Inches.</td><td class="c"> &nbsp;</td><td class="c"> £</td></tr>
+<tr><td class="c"> 2</td><td class="c"> 1</td><td class="c"> 800 to 1150</td><td class="c"> 12</td></tr>
+<tr><td class="c"> 3</td><td class="c"> 2</td><td class="c"> 3000 to 4000</td><td class="c"> 24</td></tr>
+<tr><td class="c"> 4</td><td class="c"> 2</td><td class="c"> 4000 to 5000</td><td class="c"> 34</td></tr>
+</table>
+
+<p>A small room or enclosure must be erected to contain the machine.</p>
+
+<p>The question of how far the removal of smoke from the atmosphere would
+affect the various gases of combustion floating therein is a question
+for the chemist.<span class="pagenum"><a name="page_455" id="page_455">{455}</a></span> The plan that has been here proposed is founded on the
+supposition that Nature’s law, relative to the diffusion of gases,
+permits only carbonic acid gas, the chief product of combustion, to
+remain in the proportion of 1 in 2000. The introduction of so much water
+in the sewer, where its presence already is considered an injury to the
+sewage, is an objection, but the present system of drainage requires a
+plentiful supply of water, to prevent stoppages or choking. Should the
+dry earth system ever be generally introduced, the present sewers would
+serve to remove liquid sewage and all products of combustion. The
+operation of the sewer in any way in receiving this smoke and soot,
+would permit the full and cheering light of the sun to shine alike in
+country and town.<span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p>
+
+<h2><a name="DESIGN_No_36" id="DESIGN_No_36"></a><i>DESIGN No. 36.</i><br /><br />
+A LECTURE HALL, OR LITERARY INSTITUTION.</h2>
+
+<div class="figcenter" style="width: 341px;">
+<a href="images/ill_pg_456_lg.jpg">
+<img src="images/ill_pg_456_sml.jpg" width="341" height="302" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS design was made to refront an old chapel in the country which had
+been purchased for the purpose of forming a Literary Institute. The
+interior</p>
+
+<div class="figcenter" style="width: 271px;">
+<a href="images/ill_pg_457_lg.jpg">
+<img src="images/ill_pg_457_sml.jpg" width="271" height="428" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Tablet in front.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p>
+
+<p class="nind">was one large room, the lecturer’s table at the back, a recess and
+fireplace behind, a large gallery in front, under which were formed two
+small rooms, with a</p>
+
+<div class="figcenter" style="width: 239px;">
+<a href="images/ill_pg_458_lg.jpg">
+<img src="images/ill_pg_458_sml.jpg" width="239" height="348" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of entrance-door.</p></div>
+</div>
+
+<p class="nind">passage from the grand entrance between. The entrance-door with a bust
+of Socrates over it, under the arch, was made large, to give an
+important character<span class="pagenum"><a name="page_459" id="page_459">{459}</a></span> to the front. A section of the niche over the
+doorway is given, some details of the angle rustication, together with
+an elevation of the entrance-door.</p>
+
+<div class="figcenter" style="width: 137px;">
+<a href="images/ill_pg_459_lg.jpg">
+<img src="images/ill_pg_459_sml.jpg" width="137" height="174" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<h2><a name="DESIGN_No_37" id="DESIGN_No_37"></a><i>DESIGN No. 37.</i><br /><br />
+ENCAUSTIC TILES.</h2>
+
+<p>A slight digression from the subject-matter of the preceding pages may
+serve to break monotony, and introduce to the notice of the reader an
+ornamental object&mdash;the encaustic tile. They are</p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_460_lg.jpg">
+<img src="images/ill_pg_460_sml.jpg" width="193" height="194" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Design for a floor encaustic tile.</p></div>
+</div>
+
+<p class="nind">now of universal use, both for floor and wall decoration, and have
+become general favourites for such purposes. A few suggestions,
+therefore, for the purpose of making them more artistic and pleasing
+will not be out of place.</p>
+
+<p>The present patterns are almost entirely of a con<span class="pagenum"><a name="page_461" id="page_461">{461}</a></span>ventional kind, or
+according to strict geometric forms. The same pattern is repeated all
+over the surface, without variation, and however excellent the pattern
+may be, it is designed on the same principle as that of a printed wall
+paper.</p>
+
+<p>The design just given puts all geometric forms aside, and introduces a
+free-hand treatment, allowing the pattern to be varied on every surface
+laid down.</p>
+
+<div class="figcenter" style="width: 193px;">
+<a href="images/ill_pg_461_lg.jpg">
+<img src="images/ill_pg_461_sml.jpg" width="193" height="198" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Design for wall encaustic tile.</p></div>
+</div>
+
+<p>The first tile shows eight points in which the stem of the pattern
+(suppose that of a flower design) meets in them all. The second tile
+shows the stem; the third and fourth the flower pattern varied. One tile
+might have more flowers than leaves, another all leaves or buds, and as
+all the tiles would fall in their right places, they depend only on the
+care of<span class="pagenum"><a name="page_462" id="page_462">{462}</a></span> the workmen who place them; the pattern might be varied
+according to the number of tiles of different pattern.</p>
+
+<p>For wall linings a trellis work might be shown on the tile, having a
+blue ground; some tiles might be without either leaves, stems, or
+flowers, and the design would show a flowered trellis against the sky.
+The figure given on page 461 shows this.</p>
+
+<p>These tiles are beginning to be used on columns. Some good examples are
+to be seen in the South Kensington Museum Galleries. In columns with
+trellis work a white marble ground with leaves and roses twined round it
+naturally, would look a great deal better than formal lines of stiff
+ornaments.</p>
+
+<p>Some of our latest Gothic architects who were at the same time artists,
+did not trouble themselves to draw out according to rule the geometric
+lines for the foliation of their Gothic windows. They knew the
+principles thoroughly, but merely made the vertical lines correct, and
+then sketched in the foliation with a free hand. This gave an outline
+greatly superior to the usual stiff conventional forms. Some examples of
+this may be seen in one of the author’s books, now in the Fine Art
+Library of the South Kensington Museum, in which the free-hand designs
+(rubbings) are placed by the side of the same patterns drawn out
+geometrically.<span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<p>The vignette shows foreign cut-wood patterns for roof ornament; the
+section the method of forming the zinc gutter.</p>
+
+<div class="figcenter" style="width: 231px;">
+<a href="images/ill_pg_463_lg.jpg">
+<img src="images/ill_pg_463_sml.jpg" width="231" height="402" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<h2><a name="DESIGN_No_38" id="DESIGN_No_38"></a><i>DESIGN No. 38.</i>&mdash;RESTORATION OF CASTLE GUNNARSTROP, SWEDEN.</h2>
+
+<div class="figcenter" style="width: 621px;">
+<a href="images/ill_pg_464_lg.jpg">
+<img src="images/ill_pg_464_sml.jpg" width="621" height="349" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<p class="nind"><span class="letra">I</span>T has been remarked in the Introduction, that the localities in which a
+residence can be placed greatly affect their picturesque appearance. The
+north and west Highlands of Scotland, in our own country, and a similar
+class of scenery in Sweden and Norway, greatly aid by their natural
+beauties the best effects of the architect, and generally in northern
+Europe, including Denmark with the above-named countries, those
+accessories can be largely taken advantage of. An instance of this can
+be found in the design now under consideration. In this castle the
+gables are carried up to a greater height, and made more ornamental and
+of greater importance than with us. In the year 1852 the author was
+making a design for a villa for the Count de Bark, a Swedish nobleman.
+It was to be erected on the heights bordering the Sound near Copenhagen,
+and was seen from the sea in passing, peering above the trees. The upper
+part of the villa was made as picturesque as possible, with a tower,
+battlements, and turrets. The lower part of the building was very plain,
+and the plan merely contained a few living rooms and servants’
+apartments; it was much unlike our style, and is therefore not given
+here: only the view from the vignette is afforded in this description.
+The Count’s uncle occupied the old castle, the Vrams Gunnarstrop in
+Sweden, then very much out of repair and<span class="pagenum"><a name="page_466" id="page_466">{466}</a></span> unfitted for the requirements
+of modern domestic life.</p>
+
+<p>It was planned originally on a grand scale; the fronts had high
+triangular gables in steps, and decorated with cut granite ornaments,
+but the whole was</p>
+
+<div class="figcenter" style="width: 252px;">
+<a href="images/ill_pg_466_lg.jpg">
+<img src="images/ill_pg_466_sml.jpg" width="252" height="274" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>The one-pair plan.</p></div>
+</div>
+
+<p class="nind">very plain. The north front was in two floors, and the angle towers of
+the building had only two floors. The portions between one storey&mdash;that
+of the ground floor&mdash;thus had to be raised. The ground floor was given
+to the servants, and the southern portion of the<span class="pagenum"><a name="page_467" id="page_467">{467}</a></span> building was to remain
+for a time in its then existing state. The plan shows <i>a</i>, the grand
+staircase, adorned with columns supporting the upper landing. It was 27
+ft. in length by 26 ft. in width, and led up to an ante-room <i>b</i>, in the
+centre of the building, 26 ft. in length by 12 ft. in breadth. It opened
+into the first and second drawing-rooms, <i>c</i> and <i>d</i>: one 30 ft. in
+length, the other 40 ft., and both of a width of 26 ft.</p>
+
+<div class="figcenter" style="width: 281px;">
+<a href="images/ill_pg_467_lg.jpg">
+<img src="images/ill_pg_467_sml.jpg" width="281" height="186" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of the Count de Bark’s villa.</p></div>
+</div>
+
+<p>The dining-room <i>e</i>, entered from the chief drawing-room, was 40 ft. in
+length, with a width of 22 ft.; <i>f</i> shows the gallery or library filled
+with book-cases, and leading to the day-room <i>h</i>; the chief bedroom is
+shown at <i>i</i> adjoining, <i>k</i> is the lady’s dressing-room, <i>l</i> the
+gentleman’s dressing-room and bath; <i>m</i> is the nursery,<span class="pagenum"><a name="page_468" id="page_468">{468}</a></span> with a
+servants’ staircase and closet adjoining; <i>g</i> is the servants’
+serving-place at the entrance of dining-room. The light portions of the
+plan show the additions made; the black, the old portions of the castle.
+The two towers contained staircases to the attics which were formed in
+the high roofs.</p>
+
+<p>The principal elevation faced the west. The perspective view of this
+front is given. Its length is 130 ft., and the height of the principal
+entrance from the ground to the top of the gable is 60 ft.</p>
+
+<p>The south and west sides were of an equally picturesque character, but
+neither had any central gable. The south had triple dormer windows
+joined in the centre with one dormer window at each side. The two towers
+were seen rising above the roof, and a wide terrace with open stone
+Elizabethan balustrading extending the entire front, with steps down to
+the garden in the centre below. The terrace was 130 ft. in length. The
+west side had the two gables, one at each end, with three tall dormer
+windows in the roof; these were connected by wood balustrading, and a
+window with three lights was placed below each. The granite-stone
+ornaments in the old fronts were replaced in the new fronts.<span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p>
+
+<p>The vignette gives a view of a small garden fountain, designed from one
+in the old garden at Blickling in Norfolk. The plinth is hexangular in
+plan, with the scrolls projecting on the three sides. To the top of the
+jet its height is about 9 feet.</p>
+
+<div class="figcenter" style="width: 215px;">
+<a href="images/ill_pg_469_lg.jpg">
+<img src="images/ill_pg_469_sml.jpg" width="215" height="311" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<h2><a name="DESIGN_No_39" id="DESIGN_No_39"></a><i>DESIGN No. 39.</i><br /><br />
+SUMMER VILLA FOR THE COUNT KINSKI, AT TEPLITZ.</h2>
+
+<div class="figcenter" style="width: 505px;">
+<a href="images/ill_pg_470_lg.jpg">
+<img src="images/ill_pg_470_sml.jpg" width="505" height="337" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of Count Kinski’s summer villa.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS villa was designed about the year 1852, for an Austrian nobleman,
+who wished to have a villa in the English Elizabethan character. The
+plan was arranged after his own figured sketches, and it is given here
+as showing the requirements considered desirable for such a building in
+a summer place of</p>
+
+<div class="figcenter" style="width: 282px;">
+<a href="images/ill_pg_471_lg.jpg">
+<img src="images/ill_pg_471_sml.jpg" width="282" height="228" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p class="nind">retirement, or palace for a foreign nobleman’s occupation. The porch was
+approached on four sides by flights of steps 12 ft. 6 in. in diameter;
+it opened into a hall <i>b</i>, 20 ft. in length by 14 ft. in width. The
+drawing-room <i>c</i>, of noble size, with two bay windows, was 36 ft. in
+length by 22 in width. The dining<span class="pagenum"><a name="page_472" id="page_472">{472}</a></span>-room <i>d</i>, in the opposite side of the
+hall, was 28 ft. in length by 18 ft. in width. The butler’s pantry <i>k</i>,
+and the servants’ offices and kitchen <i>g</i>, with a large store-closet
+<i>h</i>, and scullery <i>i</i>, adjoined. A bread-room is shown at <i>j</i>, <i>l</i> is
+the servants’ hall, <i>m</i> a china-closet, <i>n</i> a store-room, and <i>o</i> the
+servants’ staircase, <i>q q</i> are the servants’ entrances, and <i>r r</i> the
+closets.</p>
+
+<div class="figcenter" style="width: 268px;">
+<a href="images/ill_pg_472_lg.jpg">
+<img src="images/ill_pg_472_sml.jpg" width="268" height="227" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan.</p></div>
+</div>
+
+<p>Returning to the principal portion of the building, the chief staircase,
+<i>v</i>, opens from the entrance hall, <i>e e e</i> are nurseries, and <i>f</i> is the
+library. On the first floor, <i>a</i> is the balcony over the porch; this was
+to be used for smoking, &amp;c., <i>b</i> is the best bed-chamber, and <i>c</i> the
+boudoir to the same, <i>d</i> is the second best bed<span class="pagenum"><a name="page_473" id="page_473">{473}</a></span>chamber, and <i>e</i> its
+boudoir, <i>f</i> is the third best bedchamber, and <i>g</i> its boudoir, <i>h</i> is a
+bedroom without any boudoir, <i>i</i> is the housekeeper’s bedroom, <i>k k k</i>
+the men’s sleeping room, <i>i</i> housemaid’s closet, <i>j j</i> closets, <i>l l</i>
+linen-closets, <i>m</i> a closet or bath-room, <i>n</i> the principal staircase,
+and <i>o</i> the servants’ staircase.</p>
+
+<p>The attic plan was devoted to the sleeping rooms, <i>b b b</i>, of the female
+servants. Here plans are made</p>
+
+<div class="figcenter" style="width: 250px;">
+<a href="images/ill_pg_473_lg.jpg">
+<img src="images/ill_pg_473_sml.jpg" width="250" height="155" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Attic plan.</p></div>
+</div>
+
+<p>(the building being so large) on a smaller scale than the other plans in
+this volume.</p>
+
+<p>The perspective view merely exhibits the common forms of Elizabethan
+character. The tower which formed the entrance was 70 ft. in height from
+the foundation to the top of its roof, the height of the ground-floor
+rooms was 14 ft. 3 in. They had rich plaster friezes, and the staircase
+had carved oak Elizabethan balustrading. The second-floor rooms<span class="pagenum"><a name="page_474" id="page_474">{474}</a></span> were 12
+ft. 3 in. in height, and were very plain in character. The upper floor
+of the tower was open, but could be closed by sashes; this was intended
+for a smoking retreat. A small detail of one of the gabled windows in
+front is given below. Altogether, the design had a most picturesque
+effect, and its style met with approval. It combined utility with
+elegance,</p>
+
+<div class="figcenter" style="width: 141px;">
+<a href="images/ill_pg_474_lg.jpg">
+<img src="images/ill_pg_474_sml.jpg" width="141" height="179" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Gable window.</p></div>
+</div>
+
+<p class="nind">and completely answered the objects for which it was constructed.</p>
+
+<p>Another villa was designed for an Austrian nobleman, the Prince Clary: a
+view of it is given in the first illustration of this volume, through
+the window of the architect’s study. It was intended as a summer retreat
+for the Prince and his friends when engaged in a fishing-excursion on
+the noble river the Elbe, on<span class="pagenum"><a name="page_475" id="page_475">{475}</a></span> the banks of which it was placed. It
+contained a large centre dining-room, 48 ft. by 22, with a saloon or
+drawing-room, 40 ft. by 20 ft., and extensive accommodation for the
+kitchen and servants’ departments. The upper storey contained 14 best
+bedrooms, each with an ante or dressing-room, besides bath-room and the
+sleeping apartments for the domestics.<span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p>
+
+<h2><a name="DESIGN_No_40" id="DESIGN_No_40"></a><i>DESIGN No. 40.</i><br /><br />
+HARRINGTON HOUSE, QUEEN’S PALACE GARDENS.</h2>
+
+<div class="figcenter" style="width: 335px;">
+<a href="images/ill_pg_476_lg.jpg">
+<img src="images/ill_pg_476_sml.jpg" width="335" height="329" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Perspective view of exterior.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p>
+
+<p class="nind"><span class="letra">T</span>HIS building, with which the present collection of designs closes, is
+probably the most unpicturesque example in the volume. Its exterior has
+been frequently criticised; whatever its merits or demerits may be, it
+certainly is wholly unlike, while at the same time it is not inferior,
+to the strange style at present so popular with the younger branch of
+architectural professors, which appears to be a</p>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/ill_pg_477_lg.jpg">
+<img src="images/ill_pg_477_sml.jpg" width="311" height="158" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Elevation of principal staircase.</p></div>
+</div>
+
+<p class="nind">mixture of the Byzantine and Romanesque styles, joined with the Roman
+Gothic. Some call it the Missal style, others the Northern Italian. The
+sole recommendation of it is that it comes more expensive to carry out
+than any other. This house has at least the reputation of being a very
+comfortable one, and as more than usually adapted to receive large
+assemblies and fashionable parties. Indeed the noble Earl who<span class="pagenum"><a name="page_478" id="page_478">{478}</a></span> erected
+it was so pleased with it, that on entering, on its completion, he
+addressed the following note to the author:&mdash;</p>
+
+<div class="blockquot"><p class="r">
+H. H., Kensington Palace Gardens,<br />
+<i>31 May, 1854</i>.&nbsp; &nbsp; <br />
+</p>
+
+<p class="nind">
+My dear Sir,&mdash;<br />
+</p>
+
+<p>I take this opportunity of expressing to you my thanks for having
+constructed a house, in my humble judgment, <i>without a fault</i>.</p>
+
+<p class="c">
+Believe me most sincerely yours,<br />
+</p>
+
+<p class="c">
+(Signed)      <span style="margin-left: 2em;"><span class="smcap">Harrington</span>.</span><br />
+</p>
+
+<p class="nind">
+To C. J. Richardson, Esq.<br />
+</p></div>
+
+<p class="nind">
+And after having resided in it nine months, he again<br />
+wrote as follows:&mdash;<br />
+</p>
+
+<div class="blockquot"><p class="r">
+H. H., Palace Gardens, Kensington,<br />
+<i>2nd February, 1855</i>.&nbsp; &nbsp; <br />
+</p>
+
+<p class="nind">
+My dear Sir,&mdash;<br />
+</p>
+
+<p>I pray you to accept my cordial thanks for your most able
+architectural skill in the construction of my house. I have lived
+in it one season, and have not discovered in it a single fault.</p>
+
+<p class="c">
+Believe me most truly yours,<br />
+</p>
+
+<p class="c">
+(Signed)      <span style="margin-left: 2em;"><span class="smcap">Harrington</span>.</span><br />
+</p>
+
+<p class="nind">
+To C. J. Richardson, Esq.<br />
+</p></div>
+
+<p>The site upon which the house stands was taken by the Earl from the
+Commissioners of Her Majest<span class="pagenum"><a name="page_479" id="page_479">{479}</a></span>y’s</p>
+
+<div class="figcenter" style="width: 545px;">
+<a href="images/ill_pg_479_lg.jpg">
+<img src="images/ill_pg_479_sml.jpg" width="545" height="358" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p>
+
+<p>Woods and Forests, and it certainly is, or was, one of the best sites
+for building in the metropolis. It adjoins Kensington Gardens, looking
+on the old winter garden of Queen Anne. Agreeable and admirable a</p>
+
+<div class="figcenter" style="width: 186px;">
+<a href="images/ill_pg_480-a_lg.jpg">
+<img src="images/ill_pg_480-a_sml.jpg" width="186" height="84" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>One-pair plan of staircase.</p></div>
+</div>
+
+<p class="nind">site for building as this was, in 1853, it remained for some time
+utterly neglected. The first speculator had been ruined, and only one or
+two of his houses (one erected by Mr. Owen Jones, the architect) were</p>
+
+<div class="figcenter" style="width: 168px;">
+<a href="images/ill_pg_480-b_lg.jpg">
+<img src="images/ill_pg_480-b_sml.jpg" width="168" height="91" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ground-floor plan.</p></div>
+</div>
+
+<p class="nind">standing in the road. Soon after the Earl of Harrington acquired the
+land, and erected this building, the whole of the road, on each side,
+was covered with first-class mansions.<span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<p>The terms of the agreement were, that the Earl should take plot No. 9
+and the northern portion of plot No. 10, having a frontage of 196 ft. to
+the Queen’s Road, and a depth of about 260 ft., for a period of 91¼
+years, from the 5th July, 1851, at a peppercorn rent for the first year,
+of 73<i>l.</i> 10<i>s.</i> for the second year, and of 147<i>l.</i> a year for the
+remainder of the term, also a rent of 5<i>s.</i> a year in lieu of land-tax
+for every year except the first.</p>
+
+<p>The Earl was to expend a sum of not less than 6000<i>l.</i> in erecting upon
+the ground a dwelling-house of the first-class style of building. The
+house was to be insured in the sum of 6000<i>l.</i>, and the Earl was to pay
+jointly, with the adjacent occupiers, the expense of lighting and
+keeping up the road, which was a private one, and to pay the gatekeepers
+at the lodge. The rest of the covenants of the agreement were such as
+are usually found in such documents.</p>
+
+<p>The house was, until the present year, the only Gothic one in the
+district, the Earl insisting upon having this, his favourite style,
+admitted. It stands in the centre of the road at the highest level, and
+is well up out of the ground. The principal floor is 7 ft. above the
+outside road of approach, and 14 ft. above the level of the public road.
+The whole of the walls stand on a basement of concrete, and the lower
+flooring is 5 ft. above the level of the foundations.<span class="pagenum"><a name="page_482" id="page_482">{482}</a></span> The basement
+story is 14 ft. in height, and of entirely fireproof construction. The
+best rooms on the ground-floor are 17 ft. 6 in. in height, the secondary
+rooms are 15 ft. high. All the principal staircases are of stone; the
+ground plan on page 479 shows the</p>
+
+<div class="figcenter" style="width: 152px;">
+<a href="images/ill_pg_482_lg.jpg">
+<img src="images/ill_pg_482_sml.jpg" width="152" height="291" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Section of principal staircase.</p></div>
+</div>
+
+<p class="nind">entrance hall, <i>a</i>, approached by 12 steps; it is 30 ft. in length, by
+21 ft. in width; <i>b</i> is the principal staircase, situated on one side of
+the saloon in the centre of the building; the latter is 41 ft. long by
+21 ft. wide. The dining-room <i>e</i>, and the library <i>c</i>, on each side of<span class="pagenum"><a name="page_483" id="page_483">{483}</a></span>
+the hall, are respectively 30 ft. by 22 ft. The great room, with the bay
+window, entered from the saloon, is the picture gallery <i>f</i>. This room
+is 41 ft. long by 30 ft. wide, without the bay. The drawing-rooms <i>d</i>,
+<i>d</i>, on each side, are each 25 ft. by 20 ft.; <i>g</i>, the conservatory,
+measures 40 ft. by 21 ft.; this, with the two drawing-rooms and the
+picture gallery, can in less than half an hour be thrown into one by the
+removal of the large folding-doors in the picture</p>
+
+<div class="figcenter" style="width: 113px;">
+<a href="images/ill_pg_483_lg.jpg">
+<img src="images/ill_pg_483_sml.jpg" width="113" height="127" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Ornament for stairs.</p></div>
+</div>
+
+<p class="nind">gallery, which can be taken away, frames complete, by simply removing a
+few screws. A length of drawing-room is then gained of 125 ft.</p>
+
+<p>The principal staircase is shown in elevation on page 477; the plans are
+here given to a larger scale.</p>
+
+<p>The lower plan shows a portion of the first flight and the servants’
+passage, <i>a</i>, under the first landing; <i>b</i> is their staircase down to
+the basement, this should<span class="pagenum"><a name="page_484" id="page_484">{484}</a></span> have been shown on the left-hand side. It is
+the footman’s staircase, adapted for him to ascend and</p>
+
+<div class="figcenter" style="width: 287px;">
+<a href="images/ill_pg_484_lg.jpg">
+<img src="images/ill_pg_484_sml.jpg" width="287" height="399" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Iron railing on staircase.</p></div>
+</div>
+
+<p class="nind">descend readily from or to the basement, and the <span class="pagenum"><a name="page_485" id="page_485">{485}</a></span>passage <i>a</i> permits
+him to enter either side of the house without being seen. The upper plan
+shows the two flights, right and left, rising from the principal
+landing. Each of these has 22 steps. Three more in the centre lead up to
+the gallery round the saloon; the section of the staircase, given on p.
+482, clearly shows this arrangement. The staircase front is in Bath
+stone. The only ornaments are the decorated corbels supporting the small
+angular projections or buttresses necessary to receive the iron
+standards of the railing above. One of the corbels and a panel of the
+iron railing is given. This is carried up the stairs on both sides and
+round the gallery, and is richly coloured and gilt. The only remaining
+portions of the ground plan to be described are the secondary rooms. A
+side entrance is at <i>j</i>, and the waiting room, <i>i</i>, is also at the side;
+<i>h</i> is the servants’ staircase, going from the basement to the attic. On
+the other side of the building <i>o</i> is the Earl’s dressing-room, with a
+study or writing room by its side. This has a lift, <i>n</i>, from the
+kitchen, enabling it to be used as a serving room. The picture gallery
+has a flight of steps descending to a large ornamented garden at the
+back of the house, <i>n n</i> is the stable yard, and <i>k k k</i> rooms over the
+stable.</p>
+
+<p>The section through the complete building, given on page 486, shows the
+general character of the interior. The rooms are wholly without
+ornament; all have plain cornices formed of running Gothic mouldings.
+The<span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p>
+
+<div class="figcenter" style="width: 564px;">
+<a href="images/ill_pg_486_lg.jpg">
+<img src="images/ill_pg_486_sml.jpg" width="564" height="411" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p>
+
+<p class="nind">only decorated portion is the saloon (<i>inf.</i>), the coved ceiling of
+which has the shields of painted and gilt coats of arms of family
+connexions, together with</p>
+
+<div class="figcenter" style="width: 441px;">
+<a href="images/ill_pg_487_lg.jpg">
+<img src="images/ill_pg_487_sml.jpg" width="441" height="366" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p>
+
+<p class="nind">mottoes and monograms. The skylight is filled with richly coloured
+embossed glass, every pane having a shield of arms, its ceiling being
+panelled with painted enrichments on a blue ground. A view of the saloon
+is given on p. 487; it contains in the centre a statue</p>
+
+<div class="figcenter" style="width: 144px;">
+<a href="images/ill_pg_488_lg.jpg">
+<img src="images/ill_pg_488_sml.jpg" width="144" height="288" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Half-section of roof of conservatory.</p></div>
+</div>
+
+<p class="nind">by Theed, of Lady Chandos Pole, the eldest daughter of the Earl. The
+statues are shown in the plan by the letters <i>m m</i>. The ground floor is
+supplied with warm-water pipes; these are shown by the dotted lines.
+They are sunk in the brickwork forming the substructure of<span class="pagenum"><a name="page_489" id="page_489">{489}</a></span> the
+flooring, and covered with open ornamental ironwork. The hall has two
+warm-water pedestals. The whole of the rooms and conservatory are so
+warmed.</p>
+
+<p>The latter part of the interior resembles in some respects a small
+chapel. A half-section of a portion</p>
+
+<div class="figcenter" style="width: 253px;">
+<a href="images/ill_pg_489_lg.jpg">
+<img src="images/ill_pg_489_sml.jpg" width="253" height="286" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of one-pair.</p></div>
+</div>
+
+<p class="nind">of its roof is given on p. 488; it measures 22 ft. from the floor to the
+collar-beam. The corbels, from which the roof springs, are decorated
+with shields of arms, surrounded by a garland of strawberry leaves.</p>
+
+<p>In the plan of the one-pair floor <i>a</i> is the boudoir<span class="pagenum"><a name="page_490" id="page_490">{490}</a></span> or morning room;
+<i>b b b</i> are bedrooms; <i>c c c</i> dressing-rooms, and <i>d</i> is the bath-room.
+The gallery is shown as completely going round the saloon; its ceiling
+is of ground glass arranged in panels, each of which is</p>
+
+<div class="figcenter" style="width: 259px;">
+<a href="images/ill_pg_490_lg.jpg">
+<img src="images/ill_pg_490_sml.jpg" width="259" height="346" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">moveable, with a skylight over the whole. There is plenty of light
+therefore afforded for the paintings with which the walls are covered.</p>
+
+<p>The small attic plan shows these skylights on three<span class="pagenum"><a name="page_491" id="page_491">{491}</a></span> sides only,
+likewise the sleeping-rooms <i>b b</i>, and the housemaid’s closet <i>c</i>. Under
+this plan is that of the upper room in the tower with its two slate
+cisterns, each capable of containing 800 gallons of water. They are
+supported by strong trussed girders fixed in the walls. This upper room
+is approached by a</p>
+
+<div class="figcenter" style="width: 144px;">
+<a href="images/ill_pg_491_lg.jpg">
+<img src="images/ill_pg_491_sml.jpg" width="144" height="230" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Staircase to lower rooms.</p></div>
+</div>
+
+<p class="nind">cottage staircase, the plan of which, with its 22 risers, is shown in
+cut on p. 490. It enables the room to be approached without any
+structural appearance being seen from without. A half elevation of the
+exterior, and another of its section is given above. It is well supplied
+with light.<span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p>
+
+<div class="figcenter" style="width: 411px;">
+<a href="images/ill_pg_492_lg.jpg">
+<img src="images/ill_pg_492_sml.jpg" width="411" height="285" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Basement plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p>
+
+<div class="figcenter" style="width: 283px;">
+<a href="images/ill_pg_493-a_lg.jpg">
+<img src="images/ill_pg_493-a_sml.jpg" width="283" height="349" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Elevation of bay window.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Section.
+</p></td></tr>
+</table>
+</div></div>
+
+<div class="figcenter" style="width: 224px;">
+<a href="images/ill_pg_493-b_lg.jpg">
+<img src="images/ill_pg_493-b_sml.jpg" width="224" height="100" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p>
+
+<p>The building contains upwards of forty rooms; the basement is very
+large, and contains considerable accommodation. The mere enumeration of
+these would require every letter in the alphabet to point them out in an
+engraving, but as it is desirable to show how closely a large
+establishment of servants can be packed together, the basement plan is
+given. <i>a</i> is the kitchen, <i>b</i> the scullery, and <i>c</i> the larder. The
+kitchen is provided with a lift <i>f</i>, and a small service window; <i>d</i> is
+the pastry-room, and <i>e</i> the still-room, with the lift; <i>g</i> is the
+dairy, <i>h</i> the washhouse, <i>i</i> the laundry, <i>j</i> the butler’s pantry, <i>k</i>
+the steward’s room with its strong closet; <i>l</i> is the housekeeper’s,
+with the cook’s room between it and the still-room, <i>m</i> is the servants’
+hall, <i>n</i> the men’s sleeping room; <i>o o</i> are wine-cellars, <i>p</i> the
+butler’s wine-cellar, <i>q</i> the footman’s stairs under the principal
+staircase, <i>r</i> the warm-water furnace, by the steward’s room, placed at
+the back of his strong closet; <i>s</i> is the stable, containing eight
+stalls, one loose box, and a harness-room; <i>t t t</i> are cart-sheds, <i>u</i>
+is the cowhouse, <i>v</i> the dung-pit, <i>w</i> the coach-house, <i>x x</i> two of the
+three coal-cellars, <i>y</i> the dust-pit, and <i>z z z</i> are the closets. The
+carriage-road to the side entrance is formed over the cart-sheds and
+coal-cellars. These are arched over in brick and covered with a thick
+layer of Brown’s metallic lava, and are provided with proper drainage.
+The boot-<span class="pagenum"><a name="page_495" id="page_495">{495}</a></span>cleaning place and that for lamps are between the coach-house
+and the cart-sheds.</p>
+
+<p>The exterior of the building has been censured on account of the Gothic
+outline being too flat, the roofs too low, and all the windows having
+common sash</p>
+
+<div class="figcenter" style="width: 274px;">
+<a href="images/ill_pg_495_lg.jpg">
+<img src="images/ill_pg_495_sml.jpg" width="274" height="268" alt="[Image unavailable.]" /></a>
+</div>
+
+<p class="nind">frames. With regard to the latter, it may be considered very probable
+that if the Gothic race of architects had continued with us to the
+present day, they would have adopted plate glass for their windows, and
+put aside their lead-lights and small panes of common glass. One of the
+greatest improvements that could be made in our cathedrals, not
+excepting<span class="pagenum"><a name="page_496" id="page_496">{496}</a></span> even St. Paul’s, would be the reglazing the windows in the
+modern style.</p>
+
+<div class="figcenter" style="width: 140px;">
+<a href="images/ill_pg_496_lg.jpg">
+<img src="images/ill_pg_496_sml.jpg" width="140" height="455" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Half-elevation and section of bell-turret.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<p>As a specimen of the architectural style of the building, the centre
+bay-window of the principal front is given, with its section and plan.
+It is 9 ft. 6 in. across, and 21 ft. 4 in. high, and stands directly
+over the chief entrance. The construction of a projecting bay-window
+coming over an archway requires a short description.</p>
+
+<p>The three diagrams on page 495 show the manner in which such windows are
+corbelled out. The upper</p>
+
+<div class="figcenter" style="width: 154px;">
+<a href="images/ill_pg_497_lg.jpg">
+<img src="images/ill_pg_497_sml.jpg" width="154" height="118" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Plan of turret.</p></div>
+</div>
+
+<p class="nind">one is a plan of the bottom stone course, immediately over the key-stone
+of the arch; it shows also the centre stone of the second course upon
+it. The middle diagram shows the two courses from the back. It will be
+seen that the middle stone of the first course does not bear upon the
+arch, but is supported by the two end stones let into the wall. The last
+diagram is a plan of the upper course at top. Slate dowels were used,
+and an iron bar, shown in plan<span class="pagenum"><a name="page_498" id="page_498">{498}</a></span> under elevation <i>a</i>, 3 in. by ¾ in., was
+placed across the course tailing into the walls on each side; and two
+bars <i>p p</i>, each 2½ by ¾ in. and 12 ft. in length, tied it to the
+flooring of the room. This is shown likewise in the plan, the dotted
+lines dividing the length of flooring; <i>d</i> is the upper course of
+stones, and <i>c</i> one of the principal beams of the floor.</p>
+
+<div class="figcenter" style="width: 315px;">
+<a href="images/ill_pg_498_lg.jpg">
+<img src="images/ill_pg_498_sml.jpg" width="315" height="213" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>Balustrading on top of building.</p></div>
+</div>
+
+<p>The bell-turret stands 20 ft. above the roof. This is carved in oak; an
+elevation, section, and plan is given. Only those parts of the building
+are intended to be here illustrated which have some peculiarity of
+design or construction.</p>
+
+<p>A building of this size would require about 150<span class="pagenum"><a name="page_499" id="page_499">{499}</a></span> working drawings to be
+made for it, and a considerable number to be given to show its
+construction.</p>
+
+<p>It was completed in about two years, at an expense of 14,814<i>l.</i>; but
+this did not include the price of the warming apparatus, nor that of the
+lightning conductor fixed to the bell-turret.</p>
+
+<div class="figcenter" style="width: 229px;">
+<a href="images/ill_pg_499_lg.jpg">
+<img src="images/ill_pg_499_sml.jpg" width="229" height="261" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr valign="top"><td>
+<p>Front.
+</p></td><td>&nbsp;&nbsp;</td>
+<td>
+<p>Side.
+</p></td></tr>
+</table>
+
+<p>Pedestal to steps.</p>
+
+</div>
+</div>
+
+<p>Whatever opinions may be expressed in regard to the architectural
+details of this erection, the author at least can plead, as its owner
+stated in the letters, copies of which have been given, that the
+essentials<span class="pagenum"><a name="page_500" id="page_500">{500}</a></span> of a house, convenience, comfort, and complete suitability
+for all domestic purposes, were accomplished. These objects being
+attained, any real or imaginary faults perceived by professional critics
+may be palliated if not forgotten.<span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2>
+
+<p class="c"><a href="#A">A</a>,
+<a href="#B">B</a>,
+<a href="#C">C</a>,
+<a href="#D">D</a>,
+<a href="#E">E</a>,
+<a href="#F">F</a>,
+<a href="#G">G</a>,
+<a href="#H">H</a>,
+<a href="#I">I</a>,
+<a href="#K">K</a>,
+<a href="#L">L</a>,
+<a href="#M">M</a>,
+<a href="#N">N</a>,
+<a href="#O">O</a>,
+<a href="#P">P</a>,
+<a href="#Q">Q</a>,
+<a href="#R">R</a>,
+<a href="#S">S</a>,
+<a href="#T">T</a>,
+<a href="#V">V</a>,
+<a href="#W">W</a>,
+<a href="#Z">Z</a>.</p>
+
+<p class="nind">
+<br />
+Introduction, <a href="#page_3">3-48</a><br />
+
+<br />
+“<a name="A" id="A"></a><span class="smcap">Albert</span> Hall of Arts”, <a href="#page_131">131</a><br />
+
+Architectural history, <a href="#page_16">16</a><br />
+
+Architectural orders, <a href="#page_20">20</a> <i>et seq.</i><br />
+
+Architecture and gardening, <a href="#page_46">46</a>, <a href="#page_312">312</a><br />
+
+Architecture, English, <a href="#page_25">25</a><br />
+
+Architecture, Grecian, &amp;c., <a href="#page_11">11</a><br />
+
+Architecture, Mexican, &amp;c., <a href="#page_26">26</a><br />
+
+Architecture, origin of, <a href="#page_8">8</a><br />
+
+Architecture, principles of, <a href="#page_27">27</a><br />
+
+Architecture, Roman, <a href="#page_23">23</a><br />
+
+Architecture, Suburban, <a href="#page_29">29</a><br />
+
+Architectural symmetry, &amp;c., <a href="#page_31">31</a><br />
+
+Arnott’s, Dr., system of warming, <a href="#page_357">357</a><br />
+
+Arnott’s ventilator, <a href="#page_414">414</a><br />
+
+Aspect of a house, <a href="#page_36">36</a><br />
+
+Asphalte as a paving, <a href="#page_235">235</a><br />
+
+Atmosphere, the, and smoke, <a href="#page_431">431</a><br />
+
+<br />
+<a name="B" id="B"></a><span class="smcap">Bacon</span>, Lord, on house construction, <a href="#page_256">256</a><br />
+
+Balconet, an iron, <a href="#page_331">331</a><br />
+
+Balconet, design for a, <a href="#page_123">123</a><br />
+
+Balusters for a staircase, <a href="#page_277">277</a><br />
+
+Balustrade, a garden, <a href="#page_363">363</a> <i>et seq.</i><br />
+
+Balustrade, Elizabethan, <a href="#page_181">181</a><br />
+
+Balustrade for a staircase, <a href="#page_282">282</a><br />
+
+Balustrades, stone, <a href="#page_247">247</a><br />
+
+Balustrading, cut wood, <a href="#page_279">279</a><br />
+
+Balustrading, designs for iron, &amp;c., <a href="#page_299">299</a><br />
+
+Balustrading, house and garden, <a href="#page_204">204</a> <i>et seq.</i><br />
+
+Barge-board, <a href="#page_247">247</a><br />
+
+Bath-house, design for a, <a href="#page_214">214</a><br />
+
+Bower, garden, rooms, <a href="#page_242">242</a><br />
+
+Boyd’s flue, <a href="#page_414">414</a><br />
+
+Bricks, ventilating, <a href="#page_157">157</a>, <a href="#page_170">170</a><br />
+
+Buildings, foundation of, <a href="#page_151">151</a><br />
+
+<br />
+<a name="C" id="C"></a><span class="smcap">Carving</span> by machinery, <a href="#page_278">278</a><br />
+
+Casements, iron, <a href="#page_220">220</a><br />
+
+Castle, Gunnarstrop, Sweden, <a href="#page_464">464</a><br />
+
+Ceiling, a dining-room, <a href="#page_288">288</a><br />
+
+Ceiling and cornices, <a href="#page_44">44</a><br />
+
+Ceiling, drawing-room and library, <a href="#page_290">290</a>, <a href="#page_291">291</a><br />
+
+Ceiling for a drawing-room, <a href="#page_166">166</a><br />
+
+Ceiling for a hall, <a href="#page_286">286</a><br />
+
+Ceiling, ornament for a, <a href="#page_61">61</a><br />
+
+Ceilings, ornamental, various, <a href="#page_313">313</a> <i>et seq.</i><br />
+
+Ceilings, plaster ornament for, <a href="#page_161">161</a><br />
+
+Chalk concrete, <a href="#page_83">83</a><br />
+
+Chapel, design for a Roman Catholic, <a href="#page_210">210</a><br />
+
+Cheshire wooden houses, <a href="#page_233">233</a><br />
+
+Chimney-piece, ancient, at Enfield, <a href="#page_228">228</a><br />
+
+Chimney-pieces, designs for, <a href="#page_80">80</a>, <a href="#page_81">81</a>, <a href="#page_319">319</a><br />
+
+Chimney-pot, ornamented, <a href="#page_329">329</a>, <a href="#page_330">330</a>, <a href="#page_423">423</a><br />
+
+Chimney stack, ancient, <a href="#page_74">74</a><br />
+
+Churches, concrete, <a href="#page_96">96</a><br />
+
+Clunch, <a href="#page_246">246</a><br />
+
+Concrete as a foundation, <a href="#page_152">152</a><br />
+
+Concrete, chalk, <a href="#page_83">83</a><br />
+
+Concrete churches, <a href="#page_96">96</a><br />
+
+Concrete construction, <a href="#page_82">82</a><br />
+
+Concrete cottages, <a href="#page_83">83</a><br />
+
+Concrete, nature, cost, &amp;c., of, <a href="#page_91">91</a><br />
+
+Concrete, remarks on, <a href="#page_93">93</a><br />
+
+Concrete sewers, <a href="#page_96">96</a><br />
+
+Concrete walls, <a href="#page_92">92</a><br />
+
+Construction, fire-proof, <a href="#page_156">156</a><br />
+
+Construction, concrete, <a href="#page_82">82</a><br />
+
+Corbels, <a href="#page_172">172</a><br />
+
+Corbel, French cut-wood, <a href="#page_403">403</a><br />
+
+Corbels, ragstone, <a href="#page_392">392</a><br />
+
+Cornice and ceiling, <a href="#page_44">44</a><br />
+
+Cornice, design for a plaster drawing-room, <a href="#page_101">101</a><br />
+
+Cornice for a drawing-room, <a href="#page_166">166</a><br />
+
+Cottage, design for a picturesque, <a href="#page_62">62</a><br />
+
+Cottage, double, design for a, <a href="#page_66">66</a>, <a href="#page_72">72</a><br />
+
+<span class="pagenum"><a name="page_502" id="page_502">{502}</a></span>Cottage, gardener’s, <a href="#page_50">50</a><br />
+
+Cottages, Hampshire, Kentish, &amp;c., <a href="#page_88">88</a> <i>et seq.</i><br />
+
+Cottage or lodge, design for a small, <a href="#page_58">58</a><br />
+
+Cottage or lodge, design for a huntsman’s, <a href="#page_78">78</a><br />
+
+Country house, design for a small, <a href="#page_174">174</a><br />
+
+Country villa, design for a, <a href="#page_182">182</a><br />
+
+Cubitt’s flues, <a href="#page_407">407</a><br />
+
+<br />
+<a name="D" id="D"></a><span class="smcap">Dab houses</span>, <a href="#page_251">251</a><br />
+
+Damp walls, <a href="#page_152">152</a><br />
+
+Damp, wash to prevent, in walls, <a href="#page_159">159</a><br />
+
+Deals, stained, <a href="#page_45">45</a><br />
+
+Decoration external and internal, <a href="#page_42">42</a><br />
+
+Denley’s flue, <a href="#page_413">413</a><br />
+
+Door, entrance for a hall, <a href="#page_458">458</a><br />
+
+Door ornaments, <a href="#page_69">69</a><br />
+
+Doric order, <a href="#page_20">20</a><br />
+
+Drain-eye, <a href="#page_450">450</a><br />
+
+<br />
+<a name="E" id="E"></a><span class="smcap">Egyptian</span> architecture, <a href="#page_19">19</a><br />
+
+Elizabethan balustrades, <a href="#page_181">181</a><br />
+
+Elizabethan villa, <a href="#page_280">280</a><br />
+
+Encaustic tiles, <a href="#page_460">460</a><br />
+
+English architecture, <a href="#page_25">25</a><br />
+
+Escutcheon, design of an, <a href="#page_69">69</a><br />
+
+Escutcheon, key, <a href="#page_172">172</a><br />
+
+<br />
+<a name="F" id="F"></a><span class="smcap">Finials</span>, <a href="#page_109">109</a><br />
+
+Finials, roof, <a href="#page_80">80</a><br />
+
+Fireplace for a hall, <a href="#page_284">284</a><br />
+
+Fireplace, the, <a href="#page_404">404</a><br />
+
+Fire-proof construction, <a href="#page_156">156</a><br />
+
+Fire-proofing, <a href="#page_158">158</a><br />
+
+Flue construction, <a href="#page_405">405</a> <i>et seq.</i><br />
+
+Flue pedestal, the, <a href="#page_446">446</a><br />
+
+Flues, Cubitt’s, <a href="#page_407">407</a><br />
+
+Flues, various, <a href="#page_405">405</a> <i>et seq.</i><br />
+
+Fogs, London, and smoke, <a href="#page_443">443</a><br />
+
+Foundations, concrete, <a href="#page_152">152</a><br />
+
+Foundations of buildings, <a href="#page_151">151</a><br />
+
+Fountain, an ancient nymph’s, <a href="#page_47">47</a><br />
+
+Fountain, garden, <a href="#page_49">49</a><br />
+
+Fountain, garden, design for a, <a href="#page_469">469</a><br />
+
+Fountains, various designs for, <a href="#page_307">307</a><br />
+
+French villas, roofs, zinc work, &amp;c., <a href="#page_273">273</a><br />
+
+Frieze, external, <a href="#page_173">173</a><br />
+
+Frieze for dining and drawing-room, <a href="#page_178">178</a><br />
+
+Frieze, plaster, for a drawing-room, <a href="#page_65">65</a><br />
+
+<br />
+<a name="G" id="G"></a><span class="smcap">Gable</span>, ornamental, <a href="#page_170">170</a>, <a href="#page_220">220</a>, <a href="#page_300">300</a><br />
+
+Gardens, ancient, <a href="#page_312">312</a><br />
+
+Gardens and architecture, <a href="#page_45">45</a><br />
+
+Garden, architectural, <a href="#page_313">313</a><br />
+
+Garden bower rooms, <a href="#page_242">242</a><br />
+
+Gardener’s cottage, <a href="#page_50">50</a><br />
+
+Garden fountain, <a href="#page_49">49</a><br />
+
+Garden gate, a, <a href="#page_204">204</a><br />
+
+Garden gate, design for a, <a href="#page_95">95</a><br />
+
+Garden, gate to a flower, <a href="#page_265">265</a><br />
+
+Garden or summer villa, <a href="#page_302">302</a><br />
+
+Garden summer house, <a href="#page_262">262</a><br />
+
+Garden steps, <a href="#page_197">197</a><br />
+
+Garden seat, design for a, <a href="#page_361">361</a><br />
+
+Garden, vignette plan of an Old English, <a href="#page_119">119</a><br />
+
+Gate, a garden, <a href="#page_265">265</a><br />
+
+Gates, iron, in Hyde Park, <a href="#page_128">128</a><br />
+
+Gate lodge, Hyde Park, <a href="#page_125">125</a><br />
+
+Gates, Park, <a href="#page_149">149</a><br />
+
+Gates of London Parks, <a href="#page_139">139</a><br />
+
+Gothic, modern, <a href="#page_24">24</a><br />
+
+Gothic screen, <a href="#page_205">205</a><br />
+
+Gothic style, <a href="#page_10">10</a><br />
+
+Gothic window, <a href="#page_204">204</a><br />
+
+Grecian architecture, <a href="#page_11">11</a><br />
+
+Gunnarstrop castle, Sweden, <a href="#page_464">464</a><br />
+
+<br />
+<a name="H" id="H"></a><span class="smcap">Half-Timbered</span> houses, <a href="#page_248">248</a><br />
+
+Hall ceiling, <a href="#page_286">286</a><br />
+
+Hall fireplace, <a href="#page_284">284</a><br />
+
+Hall, lecture, design for a, <a href="#page_456">456</a><br />
+
+“Hall of Arts and Sciences,” Kensington, <a href="#page_133">133</a><br />
+
+Hall stove, <a href="#page_285">285</a><br />
+
+Hall, stove for entrance of a, <a href="#page_120">120</a><br />
+
+Hampshire cottages, <a href="#page_88">88</a><br />
+
+Handle, design for a door, <a href="#page_69">69</a><br />
+
+Harrington estate, the, <a href="#page_136">136</a><br />
+
+Harrington House, Queen’s Palace Gardens, <a href="#page_476">476</a><br />
+
+Houses, foundations of, <a href="#page_151">151</a><br />
+
+Haum as a building material, <a href="#page_249">249</a><br />
+
+Hiort’s flue, <a href="#page_412">412</a><br />
+
+Hot-water apparatus, <a href="#page_349">349</a><br />
+
+House, a bachelor’s, <a href="#page_401">401</a><br />
+
+House, a garden summer, <a href="#page_262">262</a><br />
+
+<span class="pagenum"><a name="page_503" id="page_503">{503}</a></span>Houses, aspect of, <a href="#page_36">36</a><br />
+
+Houses, dab and wattle, <a href="#page_251">251</a><br />
+
+House construction, Lord Bacon on, <a href="#page_256">256</a><br />
+
+House, design for a small country, <a href="#page_174">174</a><br />
+
+Houses, heating of, <a href="#page_34">34</a><br />
+
+Houses in Kent, <a href="#page_249">249</a><br />
+
+Houses, noggin, &amp;c., <a href="#page_249">249</a><br />
+
+Houses, post-and-pan, <a href="#page_252">252</a><br />
+
+Houses, site, &amp;c. of, <a href="#page_351">351</a><br />
+
+Houses, warming of, <a href="#page_351">351</a><br />
+
+Hyde Park, Queen’s Gate, entrance to, <a href="#page_139">139</a><br />
+
+Hyde Park Corner Gate, <a href="#page_140">140</a><br />
+
+<br />
+<a name="I" id="I"></a><span class="smcap">Ice</span>-house, design for a, <a href="#page_370">370</a><br />
+
+<br />
+<a name="K" id="K"></a><span class="smcap">Kensington</span> Gardens, <a href="#page_140">140</a><br />
+
+Kent ragstone, <a href="#page_176">176</a><br />
+
+Kentish cottages, <a href="#page_91">91</a><br />
+
+Kentish village houses, <a href="#page_249">249</a><br />
+
+Key escutcheons, <a href="#page_172">172</a><br />
+
+Knocker, <a href="#page_172">172</a><br />
+
+<br />
+<a name="L" id="L"></a><span class="smcap">Library</span>, elevation of a small, <a href="#page_200">200</a><br />
+
+Literary Institution, design for a, <a href="#page_456">456</a><br />
+
+Lodge, a park, <a href="#page_102">102</a><br />
+
+Lodge and gateway, design for, <a href="#page_112">112</a><br />
+
+Lodges of London Parks, <a href="#page_142">142</a><br />
+
+Lodge or cottage, a huntsman’s, <a href="#page_78">78</a><br />
+
+Lodge or cottage, design for a small, <a href="#page_56">56</a><br />
+
+Lodge, park entrance, <a href="#page_104">104</a><br />
+
+Lodge, Queen’s Gate, Hyde Park, <a href="#page_125">125</a><br />
+
+<br />
+<a name="M" id="M"></a><span class="smcap">Machine</span>-carving, <a href="#page_278">278</a><br />
+
+Mantel-pieces, <a href="#page_44">44</a><br />
+
+Maisonette, a French, <a href="#page_268">268</a><br />
+
+Meat-jack, design for a, <a href="#page_267">267</a><br />
+
+Moule’s earth system, <a href="#page_241">241</a><br />
+
+Moon’s flue, <a href="#page_412">412</a><br />
+
+Mud walls, <a href="#page_90">90</a><br />
+
+<br />
+<a name="N" id="N"></a><span class="smcap">Noggin</span> houses, <a href="#page_249">249</a><br />
+
+<br />
+<a name="O" id="O"></a><span class="smcap">Orders</span> of architecture, <a href="#page_20">20</a> <i>et seq.</i><br />
+
+Origin of architecture, <a href="#page_8">8</a><br />
+
+<br />
+<a name="P" id="P"></a><span class="smcap">Paper</span> hangings, <a href="#page_42">42</a><br />
+
+Parge-boards, <a href="#page_247">247</a><br />
+
+Pargetting, &amp;c., <a href="#page_248">248</a><br />
+
+Park, entrance lodge and gateway, <a href="#page_112">112</a><br />
+
+Park lodge, design for a, <a href="#page_99">99</a><br />
+
+Park lodge entrance, <a href="#page_104">104</a><br />
+
+Parks, history of the London, <a href="#page_139">139</a><br />
+
+Parks, the Royal, <a href="#page_139">139</a><br />
+
+Pedestals, ornamental, <a href="#page_326">326</a><br />
+
+Pedestal, the flue, <a href="#page_446">446</a><br />
+
+Pendants, &amp;c., <a href="#page_289">289</a><br />
+
+Perkins’ hot-water apparatus, <a href="#page_350">350</a><br />
+
+Picturesque cottage, design for a, <a href="#page_62">62</a><br />
+
+Picturesque defined, <a href="#page_5">5</a><br />
+
+Pipes, elevation of Elizabethan lead-water, <a href="#page_55">55</a><br />
+
+Plaster frieze for a drawing-room, <a href="#page_65">65</a><br />
+
+Plaster ornament for a ceiling, <a href="#page_161">161</a><br />
+
+Porch, design for an entrance, <a href="#page_225">225</a><br />
+
+Portico, elevation of, <a href="#page_180">180</a><br />
+
+Post-and-pan houses, <a href="#page_252">252</a><br />
+
+Pots, ornamental chimney, <a href="#page_423">423</a><br />
+
+Prevention of damp, <a href="#page_151">151</a><br />
+
+<br />
+<a name="Q" id="Q"></a><span class="smcap">Queen Anne’s</span> garden, <a href="#page_140">140</a><br />
+
+Queen’s Gate, iron-work of, <a href="#page_143">143</a><br />
+
+Queen’s Gate Lodge, <a href="#page_125">125</a>, <a href="#page_142">142</a><br />
+
+<br />
+<a name="R" id="R"></a><span class="smcap">Ragstone</span>, Kentish, <a href="#page_176">176</a><br />
+
+Railing, French, in iron, <a href="#page_190">190</a><br />
+
+Railing, park, <a href="#page_147">147</a><br />
+
+Railing, ornamental, <a href="#page_81">81</a><br />
+
+Riding-house and stabling, <a href="#page_389">389</a><br />
+
+Reading-room, design for a, <a href="#page_208">208</a><br />
+
+Rectory, design for a small country, <a href="#page_162">162</a><br />
+
+Retreat, a small country, <a href="#page_268">268</a><br />
+
+Roman Architecture, <a href="#page_23">23</a><br />
+
+Roman Temple, <a href="#page_5">5</a><br />
+
+Roof, French style of, <a href="#page_275">275</a><br />
+
+Roofs, iron, <a href="#page_348">348</a><br />
+
+Roof ornaments, design for wood, <a href="#page_463">463</a><br />
+
+Rose Hill Villa, <a href="#page_82">82</a><br />
+
+Rotunda at Bank of England, <a href="#page_158">158</a><br />
+
+Rushton Hall, <a href="#page_283">283</a><br />
+
+<br />
+<a name="S" id="S"></a><span class="smcap">Schools</span>, design for, <a href="#page_208">208</a><br />
+
+School, design for a village Sunday, <a href="#page_70">70</a><br />
+
+School, village, <a href="#page_208">208</a><br />
+
+Screen, Gothic, <a href="#page_205">205</a><br />
+
+Screen, hall, <a href="#page_206">206</a><br />
+
+<span class="pagenum"><a name="page_504" id="page_504">{504}</a></span>Sculptor’s villa, <a href="#page_338">338</a><br />
+
+Serpentine, the, <a href="#page_140">140</a><br />
+
+Sewers, a receptacle for soot, <a href="#page_438">438</a><br />
+
+Sewer gases in houses, <a href="#page_436">436</a><br />
+
+Sewers, concrete, <a href="#page_96">96</a><br />
+
+Situation of a house, <a href="#page_38">38</a><br />
+
+Smith’s, Seth, flue, <a href="#page_412">412</a><br />
+
+Smoke Nuisance Act, <a href="#page_452">452</a><br />
+
+Smoke Prevention, <a href="#page_405">405</a><br />
+
+Smoke purified, by a spray of water, from soot, <a href="#page_441">441</a><br />
+
+Smoky chimneys, <a href="#page_427">427</a><br />
+
+Soot and the sewers, <a href="#page_436">436</a><br />
+
+Soot, prevention of, <a href="#page_428">428</a><br />
+
+Soot, removal of, from smoke, <a href="#page_433">433</a><br />
+
+Soot, value of, <a href="#page_451">451</a><br />
+
+Spiral staircase, <a href="#page_61">61</a><br />
+
+Stabling and riding-houses, <a href="#page_389">389</a><br />
+
+Stack flues, <a href="#page_417">417</a><br />
+
+Stair, best proportions of a, <a href="#page_231">231</a><br />
+
+Staircase balustrade, <a href="#page_277">277</a>, <a href="#page_282">282</a><br />
+
+Staircases, construction of, <a href="#page_194">194</a><br />
+
+Staircase railing, French, in iron, <a href="#page_190">190</a><br />
+
+Staircase, spiral, <a href="#page_61">61</a><br />
+
+Steps, garden, <a href="#page_197">197</a><br />
+
+Stone balustrades, <a href="#page_173">173</a><br />
+
+Stove, design for an entrance hall, <a href="#page_120">120</a><br />
+
+Stove for a hall, <a href="#page_285">285</a><br />
+
+Styles of architecture, <a href="#page_10">10</a><br />
+
+Style, Gothic, <a href="#page_10">10</a><br />
+
+Summer house, or garden, <a href="#page_262">262</a><br />
+
+Summer or garden villa, <a href="#page_302">302</a><br />
+
+Summer room, design for a, <a href="#page_214">214</a><br />
+
+Sunday school, village, design for a, <a href="#page_70">70</a><br />
+
+<br />
+<a name="T" id="T"></a><span class="smcap">Tall-boys</span>, <a href="#page_416">416</a><br />
+
+Taste in architecture, <a href="#page_15">15</a><br />
+
+Terrace, ironwork, <a href="#page_297">297</a><br />
+
+Tiles, design for ornamental, <a href="#page_189">189</a><br />
+
+Tiles, encaustic, <a href="#page_460">460</a><br />
+
+Tiles, ornamental, <a href="#page_187">187</a><br />
+
+Turn-buckle, <a href="#page_221">221</a><br />
+
+<br />
+<a name="V" id="V"></a><span class="smcap">Ventilation</span>, general principles of, <a href="#page_32">32</a><br />
+
+Ventilation, <a href="#page_411">411</a><br />
+
+Verandahs, <a href="#page_375">375</a><br />
+
+Verge-board, <a href="#page_247">247</a><br />
+
+Villa, a sculptor’s, <a href="#page_338">338</a><br />
+
+Villa, design for a country, <a href="#page_182">182</a><br />
+
+Villa, design for a small country, <a href="#page_222">222</a><br />
+
+Villa, double suburban, <a href="#page_192">192</a><br />
+
+Villa, Elizabethan, <a href="#page_280">280</a><br />
+
+Villa, French, <a href="#page_268">268</a><br />
+
+Villa, old English wooden, <a href="#page_232">232</a><br />
+
+Villa, suburban, design for a, <a href="#page_382">382</a><br />
+
+Villa, suburban, design for a, <a href="#page_373">373</a><br />
+
+Villa, summer or garden, <a href="#page_302">302</a><br />
+
+Villa, summer, for Count Kinski, <a href="#page_470">470</a><br />
+
+Village schools, <a href="#page_208">208</a><br />
+
+<br />
+<a name="W" id="W"></a><span class="smcap">Wainscoting</span>, <a href="#page_285">285</a><br />
+
+Walls, concrete, <a href="#page_92">92</a><br />
+
+Walls, damp, <a href="#page_152">152</a><br />
+
+Walls, how to cure damp, <a href="#page_160">160</a><br />
+
+Warming houses, <a href="#page_34">34</a>, <a href="#page_351">351</a><br />
+
+Water, for removing soot from smoke, <a href="#page_440">440</a><br />
+
+Wattle houses, <a href="#page_251">251</a><br />
+
+Weathercock, design for a, <a href="#page_261">261</a>, <a href="#page_381">381</a><br />
+
+Window, design for a decorated, <a href="#page_336">336</a><br />
+
+Window, Gothic, <a href="#page_204">204</a><br />
+
+Window, ironwork for, <a href="#page_297">297</a><br />
+
+Wooden villa, old English, <a href="#page_232">232</a><br />
+
+Wood-noggin houses, <a href="#page_249">249</a><br />
+
+Woodwork, French, pine, <a href="#page_186">186</a><br />
+
+Woodwork, French, <a href="#page_275">275</a><br />
+
+<br />
+<a name="Z" id="Z"></a><span class="smcap">Zinc</span>, French ornamental work in, <a href="#page_274">274</a><br />
+</p>
+
+<p class="fint">THE END.</p>
+
+<div class="footnotes"><p class="cb">FOOTNOTES:</p>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Now Sir William Fothergill Cooke&mdash;October, 1869.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> First illustrated by the author in his work, “Architectural
+Remains of the Reigns of Elizabeth and James I.”</p></div>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> The garden entrance to the ancient palace of the Grand Duke
+of Tuscany, alla Trinita de’ Monti. The architecture of Annibale Lippi.</p></div>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> This subject is fully treated and illustrated with plates
+in the Author’s treatise on “The Warming and Ventilation Buildings,”
+published in 1837 and 1856.</p></div>
+
+<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> “Cheap Ice Well.” (Atchley &amp; Co.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> “Plan for Purifying the Atmosphere of Towns.” (Hamilton,
+Adams, &amp; Co.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> “Coke, Smoke, and Sewage.” (Cave and Sever, Manchester.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_H_8" id="Footnote_H_8"></a><a href="#FNanchor_H_8"><span class="label">[H]</span></a> A print of the stove is given in the author’s pamphlet
+entitled “The Smoke Nuisance, and its Remedy; with Remarks on Liquid
+Fuel.” Price 1<i>s.</i> (Atchley &amp; Co.)</p></div>
+
+</div>
+
+<div class="figcenter">
+<img src="images/back.jpg" width="320" height="500" alt="" title="" />
+</div>
+
+<hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Englishman's House, by 
+C.J. (Charles James) Richardson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ENGLISHMAN'S HOUSE ***
+
+***** This file should be named 60759-h.htm or 60759-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/6/0/7/5/60759/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/old/60759-h/images/back.jpg b/old/60759-h/images/back.jpg
new file mode 100644
index 0000000..986a3af
--- /dev/null
+++ b/old/60759-h/images/back.jpg
diff --git a/old/60759-h/images/colophon.jpg b/old/60759-h/images/colophon.jpg
new file mode 100644
index 0000000..58d706c
--- /dev/null
+++ b/old/60759-h/images/colophon.jpg
diff --git a/old/60759-h/images/colophon_lg.jpg b/old/60759-h/images/colophon_lg.jpg
new file mode 100644
index 0000000..c1e6d63
--- /dev/null
+++ b/old/60759-h/images/colophon_lg.jpg
diff --git a/old/60759-h/images/cover.jpg b/old/60759-h/images/cover.jpg
new file mode 100644
index 0000000..44cfb13
--- /dev/null
+++ b/old/60759-h/images/cover.jpg
diff --git a/old/60759-h/images/cover_lg.jpg b/old/60759-h/images/cover_lg.jpg
new file mode 100644
index 0000000..1115336
--- /dev/null
+++ b/old/60759-h/images/cover_lg.jpg
diff --git a/old/60759-h/images/frontispiece_lg.jpg b/old/60759-h/images/frontispiece_lg.jpg
new file mode 100644
index 0000000..76bccab
--- /dev/null
+++ b/old/60759-h/images/frontispiece_lg.jpg
diff --git a/old/60759-h/images/frontispiece_sml.jpg b/old/60759-h/images/frontispiece_sml.jpg
new file mode 100644
index 0000000..2cc4e00
--- /dev/null
+++ b/old/60759-h/images/frontispiece_sml.jpg
diff --git a/old/60759-h/images/ill_pg_002_lg.jpg b/old/60759-h/images/ill_pg_002_lg.jpg
new file mode 100644
index 0000000..ddf43bd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_002_lg.jpg
diff --git a/old/60759-h/images/ill_pg_002_sml.jpg b/old/60759-h/images/ill_pg_002_sml.jpg
new file mode 100644
index 0000000..675f9dd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_002_sml.jpg
diff --git a/old/60759-h/images/ill_pg_003_lg.jpg b/old/60759-h/images/ill_pg_003_lg.jpg
new file mode 100644
index 0000000..3763e1e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_003_lg.jpg
diff --git a/old/60759-h/images/ill_pg_003_sml.jpg b/old/60759-h/images/ill_pg_003_sml.jpg
new file mode 100644
index 0000000..f49c8c5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_003_sml.jpg
diff --git a/old/60759-h/images/ill_pg_005_lg.jpg b/old/60759-h/images/ill_pg_005_lg.jpg
new file mode 100644
index 0000000..b9cc56f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_005_lg.jpg
diff --git a/old/60759-h/images/ill_pg_005_sml.jpg b/old/60759-h/images/ill_pg_005_sml.jpg
new file mode 100644
index 0000000..4803618
--- /dev/null
+++ b/old/60759-h/images/ill_pg_005_sml.jpg
diff --git a/old/60759-h/images/ill_pg_047_lg.jpg b/old/60759-h/images/ill_pg_047_lg.jpg
new file mode 100644
index 0000000..9fb8ce0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_047_lg.jpg
diff --git a/old/60759-h/images/ill_pg_047_sml.jpg b/old/60759-h/images/ill_pg_047_sml.jpg
new file mode 100644
index 0000000..4195877
--- /dev/null
+++ b/old/60759-h/images/ill_pg_047_sml.jpg
diff --git a/old/60759-h/images/ill_pg_048_lg.jpg b/old/60759-h/images/ill_pg_048_lg.jpg
new file mode 100644
index 0000000..d1cfd46
--- /dev/null
+++ b/old/60759-h/images/ill_pg_048_lg.jpg
diff --git a/old/60759-h/images/ill_pg_048_sml.jpg b/old/60759-h/images/ill_pg_048_sml.jpg
new file mode 100644
index 0000000..5ebaf05
--- /dev/null
+++ b/old/60759-h/images/ill_pg_048_sml.jpg
diff --git a/old/60759-h/images/ill_pg_049_lg.jpg b/old/60759-h/images/ill_pg_049_lg.jpg
new file mode 100644
index 0000000..c0482f7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_049_lg.jpg
diff --git a/old/60759-h/images/ill_pg_049_sml.jpg b/old/60759-h/images/ill_pg_049_sml.jpg
new file mode 100644
index 0000000..267a62d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_049_sml.jpg
diff --git a/old/60759-h/images/ill_pg_050-a_lg.jpg b/old/60759-h/images/ill_pg_050-a_lg.jpg
new file mode 100644
index 0000000..afd8666
--- /dev/null
+++ b/old/60759-h/images/ill_pg_050-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_050-a_sml.jpg b/old/60759-h/images/ill_pg_050-a_sml.jpg
new file mode 100644
index 0000000..4f303a1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_050-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_050-b_lg.jpg b/old/60759-h/images/ill_pg_050-b_lg.jpg
new file mode 100644
index 0000000..0aba912
--- /dev/null
+++ b/old/60759-h/images/ill_pg_050-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_050-b_sml.jpg b/old/60759-h/images/ill_pg_050-b_sml.jpg
new file mode 100644
index 0000000..3936c0f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_050-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_051-a_lg.jpg b/old/60759-h/images/ill_pg_051-a_lg.jpg
new file mode 100644
index 0000000..3a9cc19
--- /dev/null
+++ b/old/60759-h/images/ill_pg_051-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_051-a_sml.jpg b/old/60759-h/images/ill_pg_051-a_sml.jpg
new file mode 100644
index 0000000..aa6843d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_051-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_051-b_lg.jpg b/old/60759-h/images/ill_pg_051-b_lg.jpg
new file mode 100644
index 0000000..cdceb0b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_051-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_051-b_sml.jpg b/old/60759-h/images/ill_pg_051-b_sml.jpg
new file mode 100644
index 0000000..00b9be7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_051-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_051-c_lg.jpg b/old/60759-h/images/ill_pg_051-c_lg.jpg
new file mode 100644
index 0000000..fb7319c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_051-c_lg.jpg
diff --git a/old/60759-h/images/ill_pg_051-c_sml.jpg b/old/60759-h/images/ill_pg_051-c_sml.jpg
new file mode 100644
index 0000000..0131069
--- /dev/null
+++ b/old/60759-h/images/ill_pg_051-c_sml.jpg
diff --git a/old/60759-h/images/ill_pg_052_lg.jpg b/old/60759-h/images/ill_pg_052_lg.jpg
new file mode 100644
index 0000000..32b36c7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_052_lg.jpg
diff --git a/old/60759-h/images/ill_pg_052_sml.jpg b/old/60759-h/images/ill_pg_052_sml.jpg
new file mode 100644
index 0000000..d1ff6a3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_052_sml.jpg
diff --git a/old/60759-h/images/ill_pg_053_lg.jpg b/old/60759-h/images/ill_pg_053_lg.jpg
new file mode 100644
index 0000000..92e8676
--- /dev/null
+++ b/old/60759-h/images/ill_pg_053_lg.jpg
diff --git a/old/60759-h/images/ill_pg_053_sml.jpg b/old/60759-h/images/ill_pg_053_sml.jpg
new file mode 100644
index 0000000..de0c6a0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_053_sml.jpg
diff --git a/old/60759-h/images/ill_pg_054-a_lg.jpg b/old/60759-h/images/ill_pg_054-a_lg.jpg
new file mode 100644
index 0000000..456dedd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_054-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_054-a_sml.jpg b/old/60759-h/images/ill_pg_054-a_sml.jpg
new file mode 100644
index 0000000..c4cf4c6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_054-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_054-b_lg.jpg b/old/60759-h/images/ill_pg_054-b_lg.jpg
new file mode 100644
index 0000000..bbb99d6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_054-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_054-b_sml.jpg b/old/60759-h/images/ill_pg_054-b_sml.jpg
new file mode 100644
index 0000000..0778032
--- /dev/null
+++ b/old/60759-h/images/ill_pg_054-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_055-a_lg.jpg b/old/60759-h/images/ill_pg_055-a_lg.jpg
new file mode 100644
index 0000000..4fb87bd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_055-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_055-a_sml.jpg b/old/60759-h/images/ill_pg_055-a_sml.jpg
new file mode 100644
index 0000000..c7cd5f1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_055-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_055-b_lg.jpg b/old/60759-h/images/ill_pg_055-b_lg.jpg
new file mode 100644
index 0000000..0b0fb26
--- /dev/null
+++ b/old/60759-h/images/ill_pg_055-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_055-b_sml.jpg b/old/60759-h/images/ill_pg_055-b_sml.jpg
new file mode 100644
index 0000000..674229d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_055-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_056-a_lg.jpg b/old/60759-h/images/ill_pg_056-a_lg.jpg
new file mode 100644
index 0000000..8aa1b89
--- /dev/null
+++ b/old/60759-h/images/ill_pg_056-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_056-a_sml.jpg b/old/60759-h/images/ill_pg_056-a_sml.jpg
new file mode 100644
index 0000000..18146a4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_056-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_056-b_lg.jpg b/old/60759-h/images/ill_pg_056-b_lg.jpg
new file mode 100644
index 0000000..6a8d896
--- /dev/null
+++ b/old/60759-h/images/ill_pg_056-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_056-b_sml.jpg b/old/60759-h/images/ill_pg_056-b_sml.jpg
new file mode 100644
index 0000000..92bb00e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_056-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_057-a_lg.jpg b/old/60759-h/images/ill_pg_057-a_lg.jpg
new file mode 100644
index 0000000..2591d7d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_057-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_057-a_sml.jpg b/old/60759-h/images/ill_pg_057-a_sml.jpg
new file mode 100644
index 0000000..41405fa
--- /dev/null
+++ b/old/60759-h/images/ill_pg_057-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_057-b_lg.jpg b/old/60759-h/images/ill_pg_057-b_lg.jpg
new file mode 100644
index 0000000..8e2a146
--- /dev/null
+++ b/old/60759-h/images/ill_pg_057-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_057-b_sml.jpg b/old/60759-h/images/ill_pg_057-b_sml.jpg
new file mode 100644
index 0000000..606ae19
--- /dev/null
+++ b/old/60759-h/images/ill_pg_057-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_058-a_lg.jpg b/old/60759-h/images/ill_pg_058-a_lg.jpg
new file mode 100644
index 0000000..3db1935
--- /dev/null
+++ b/old/60759-h/images/ill_pg_058-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_058-a_sml.jpg b/old/60759-h/images/ill_pg_058-a_sml.jpg
new file mode 100644
index 0000000..d41792e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_058-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_058-b_lg.jpg b/old/60759-h/images/ill_pg_058-b_lg.jpg
new file mode 100644
index 0000000..67730e6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_058-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_058-b_sml.jpg b/old/60759-h/images/ill_pg_058-b_sml.jpg
new file mode 100644
index 0000000..729738a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_058-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_059_lg.jpg b/old/60759-h/images/ill_pg_059_lg.jpg
new file mode 100644
index 0000000..af2b2a4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_059_lg.jpg
diff --git a/old/60759-h/images/ill_pg_059_sml.jpg b/old/60759-h/images/ill_pg_059_sml.jpg
new file mode 100644
index 0000000..465589a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_059_sml.jpg
diff --git a/old/60759-h/images/ill_pg_060_lg.jpg b/old/60759-h/images/ill_pg_060_lg.jpg
new file mode 100644
index 0000000..a95a3e6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_060_lg.jpg
diff --git a/old/60759-h/images/ill_pg_060_sml.jpg b/old/60759-h/images/ill_pg_060_sml.jpg
new file mode 100644
index 0000000..6e7f648
--- /dev/null
+++ b/old/60759-h/images/ill_pg_060_sml.jpg
diff --git a/old/60759-h/images/ill_pg_061_lg.jpg b/old/60759-h/images/ill_pg_061_lg.jpg
new file mode 100644
index 0000000..694fcc9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_061_lg.jpg
diff --git a/old/60759-h/images/ill_pg_061_sml.jpg b/old/60759-h/images/ill_pg_061_sml.jpg
new file mode 100644
index 0000000..3176b7b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_061_sml.jpg
diff --git a/old/60759-h/images/ill_pg_062-a_lg.jpg b/old/60759-h/images/ill_pg_062-a_lg.jpg
new file mode 100644
index 0000000..38785d6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_062-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_062-a_sml.jpg b/old/60759-h/images/ill_pg_062-a_sml.jpg
new file mode 100644
index 0000000..45a23f2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_062-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_062-b_lg.jpg b/old/60759-h/images/ill_pg_062-b_lg.jpg
new file mode 100644
index 0000000..2da1385
--- /dev/null
+++ b/old/60759-h/images/ill_pg_062-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_062-b_sml.jpg b/old/60759-h/images/ill_pg_062-b_sml.jpg
new file mode 100644
index 0000000..e5c57a1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_062-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_063-a_lg.jpg b/old/60759-h/images/ill_pg_063-a_lg.jpg
new file mode 100644
index 0000000..8e79be2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_063-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_063-a_sml.jpg b/old/60759-h/images/ill_pg_063-a_sml.jpg
new file mode 100644
index 0000000..4bbf9fc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_063-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_063-b_lg.jpg b/old/60759-h/images/ill_pg_063-b_lg.jpg
new file mode 100644
index 0000000..442ed57
--- /dev/null
+++ b/old/60759-h/images/ill_pg_063-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_063-b_sml.jpg b/old/60759-h/images/ill_pg_063-b_sml.jpg
new file mode 100644
index 0000000..888ef2a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_063-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_064_lg.jpg b/old/60759-h/images/ill_pg_064_lg.jpg
new file mode 100644
index 0000000..a09989f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_064_lg.jpg
diff --git a/old/60759-h/images/ill_pg_064_sml.jpg b/old/60759-h/images/ill_pg_064_sml.jpg
new file mode 100644
index 0000000..344b39b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_064_sml.jpg
diff --git a/old/60759-h/images/ill_pg_065_lg.jpg b/old/60759-h/images/ill_pg_065_lg.jpg
new file mode 100644
index 0000000..168feea
--- /dev/null
+++ b/old/60759-h/images/ill_pg_065_lg.jpg
diff --git a/old/60759-h/images/ill_pg_065_sml.jpg b/old/60759-h/images/ill_pg_065_sml.jpg
new file mode 100644
index 0000000..561fb90
--- /dev/null
+++ b/old/60759-h/images/ill_pg_065_sml.jpg
diff --git a/old/60759-h/images/ill_pg_066-a_lg.jpg b/old/60759-h/images/ill_pg_066-a_lg.jpg
new file mode 100644
index 0000000..a7c1810
--- /dev/null
+++ b/old/60759-h/images/ill_pg_066-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_066-a_sml.jpg b/old/60759-h/images/ill_pg_066-a_sml.jpg
new file mode 100644
index 0000000..7615aea
--- /dev/null
+++ b/old/60759-h/images/ill_pg_066-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_066-b_lg.jpg b/old/60759-h/images/ill_pg_066-b_lg.jpg
new file mode 100644
index 0000000..9683cde
--- /dev/null
+++ b/old/60759-h/images/ill_pg_066-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_066-b_sml.jpg b/old/60759-h/images/ill_pg_066-b_sml.jpg
new file mode 100644
index 0000000..86ae06a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_066-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_067-a_lg.jpg b/old/60759-h/images/ill_pg_067-a_lg.jpg
new file mode 100644
index 0000000..f1d2290
--- /dev/null
+++ b/old/60759-h/images/ill_pg_067-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_067-a_sml.jpg b/old/60759-h/images/ill_pg_067-a_sml.jpg
new file mode 100644
index 0000000..c25eb50
--- /dev/null
+++ b/old/60759-h/images/ill_pg_067-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_067-b_lg.jpg b/old/60759-h/images/ill_pg_067-b_lg.jpg
new file mode 100644
index 0000000..d151dda
--- /dev/null
+++ b/old/60759-h/images/ill_pg_067-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_067-b_sml.jpg b/old/60759-h/images/ill_pg_067-b_sml.jpg
new file mode 100644
index 0000000..78d5dd2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_067-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_068_lg.jpg b/old/60759-h/images/ill_pg_068_lg.jpg
new file mode 100644
index 0000000..11400c6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_068_lg.jpg
diff --git a/old/60759-h/images/ill_pg_068_sml.jpg b/old/60759-h/images/ill_pg_068_sml.jpg
new file mode 100644
index 0000000..fb061a3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_068_sml.jpg
diff --git a/old/60759-h/images/ill_pg_069_lg.jpg b/old/60759-h/images/ill_pg_069_lg.jpg
new file mode 100644
index 0000000..1f6934f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_069_lg.jpg
diff --git a/old/60759-h/images/ill_pg_069_sml.jpg b/old/60759-h/images/ill_pg_069_sml.jpg
new file mode 100644
index 0000000..0d52f8f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_069_sml.jpg
diff --git a/old/60759-h/images/ill_pg_070-a_lg.jpg b/old/60759-h/images/ill_pg_070-a_lg.jpg
new file mode 100644
index 0000000..fea502e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_070-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_070-a_sml.jpg b/old/60759-h/images/ill_pg_070-a_sml.jpg
new file mode 100644
index 0000000..dcd0640
--- /dev/null
+++ b/old/60759-h/images/ill_pg_070-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_070-b_lg.jpg b/old/60759-h/images/ill_pg_070-b_lg.jpg
new file mode 100644
index 0000000..50f356d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_070-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_070-b_sml.jpg b/old/60759-h/images/ill_pg_070-b_sml.jpg
new file mode 100644
index 0000000..f1172d9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_070-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_071_lg.jpg b/old/60759-h/images/ill_pg_071_lg.jpg
new file mode 100644
index 0000000..4927413
--- /dev/null
+++ b/old/60759-h/images/ill_pg_071_lg.jpg
diff --git a/old/60759-h/images/ill_pg_071_sml.jpg b/old/60759-h/images/ill_pg_071_sml.jpg
new file mode 100644
index 0000000..4f26dbd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_071_sml.jpg
diff --git a/old/60759-h/images/ill_pg_072_lg.jpg b/old/60759-h/images/ill_pg_072_lg.jpg
new file mode 100644
index 0000000..ba0f79a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_072_lg.jpg
diff --git a/old/60759-h/images/ill_pg_072_sml.jpg b/old/60759-h/images/ill_pg_072_sml.jpg
new file mode 100644
index 0000000..276dd39
--- /dev/null
+++ b/old/60759-h/images/ill_pg_072_sml.jpg
diff --git a/old/60759-h/images/ill_pg_073_lg.jpg b/old/60759-h/images/ill_pg_073_lg.jpg
new file mode 100644
index 0000000..954454f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_073_lg.jpg
diff --git a/old/60759-h/images/ill_pg_073_sml.jpg b/old/60759-h/images/ill_pg_073_sml.jpg
new file mode 100644
index 0000000..81f3537
--- /dev/null
+++ b/old/60759-h/images/ill_pg_073_sml.jpg
diff --git a/old/60759-h/images/ill_pg_074-a_lg.jpg b/old/60759-h/images/ill_pg_074-a_lg.jpg
new file mode 100644
index 0000000..b15fd20
--- /dev/null
+++ b/old/60759-h/images/ill_pg_074-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_074-a_sml.jpg b/old/60759-h/images/ill_pg_074-a_sml.jpg
new file mode 100644
index 0000000..e03cb6b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_074-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_074-b_lg.jpg b/old/60759-h/images/ill_pg_074-b_lg.jpg
new file mode 100644
index 0000000..5932e62
--- /dev/null
+++ b/old/60759-h/images/ill_pg_074-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_074-b_sml.jpg b/old/60759-h/images/ill_pg_074-b_sml.jpg
new file mode 100644
index 0000000..d8a8b38
--- /dev/null
+++ b/old/60759-h/images/ill_pg_074-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_075-a_lg.jpg b/old/60759-h/images/ill_pg_075-a_lg.jpg
new file mode 100644
index 0000000..1b6fcbb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_075-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_075-a_sml.jpg b/old/60759-h/images/ill_pg_075-a_sml.jpg
new file mode 100644
index 0000000..76d36c9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_075-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_075-b_lg.jpg b/old/60759-h/images/ill_pg_075-b_lg.jpg
new file mode 100644
index 0000000..210364a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_075-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_075-b_sml.jpg b/old/60759-h/images/ill_pg_075-b_sml.jpg
new file mode 100644
index 0000000..8ebd4d5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_075-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_076-a_lg.jpg b/old/60759-h/images/ill_pg_076-a_lg.jpg
new file mode 100644
index 0000000..4565e48
--- /dev/null
+++ b/old/60759-h/images/ill_pg_076-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_076-a_sml.jpg b/old/60759-h/images/ill_pg_076-a_sml.jpg
new file mode 100644
index 0000000..bfabab0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_076-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_076-b_lg.jpg b/old/60759-h/images/ill_pg_076-b_lg.jpg
new file mode 100644
index 0000000..6ab2690
--- /dev/null
+++ b/old/60759-h/images/ill_pg_076-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_076-b_sml.jpg b/old/60759-h/images/ill_pg_076-b_sml.jpg
new file mode 100644
index 0000000..c73ebf8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_076-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_078-a_lg.jpg b/old/60759-h/images/ill_pg_078-a_lg.jpg
new file mode 100644
index 0000000..b5f1687
--- /dev/null
+++ b/old/60759-h/images/ill_pg_078-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_078-a_sml.jpg b/old/60759-h/images/ill_pg_078-a_sml.jpg
new file mode 100644
index 0000000..7143883
--- /dev/null
+++ b/old/60759-h/images/ill_pg_078-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_078-b_lg.jpg b/old/60759-h/images/ill_pg_078-b_lg.jpg
new file mode 100644
index 0000000..d1d384b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_078-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_078-b_sml.jpg b/old/60759-h/images/ill_pg_078-b_sml.jpg
new file mode 100644
index 0000000..160699e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_078-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_079_lg.jpg b/old/60759-h/images/ill_pg_079_lg.jpg
new file mode 100644
index 0000000..2e8c95b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_079_lg.jpg
diff --git a/old/60759-h/images/ill_pg_079_sml.jpg b/old/60759-h/images/ill_pg_079_sml.jpg
new file mode 100644
index 0000000..2156c66
--- /dev/null
+++ b/old/60759-h/images/ill_pg_079_sml.jpg
diff --git a/old/60759-h/images/ill_pg_080-a_lg.jpg b/old/60759-h/images/ill_pg_080-a_lg.jpg
new file mode 100644
index 0000000..8545d7d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_080-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_080-a_sml.jpg b/old/60759-h/images/ill_pg_080-a_sml.jpg
new file mode 100644
index 0000000..71693a2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_080-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_080-b_lg.jpg b/old/60759-h/images/ill_pg_080-b_lg.jpg
new file mode 100644
index 0000000..8ed3ce2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_080-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_080-b_sml.jpg b/old/60759-h/images/ill_pg_080-b_sml.jpg
new file mode 100644
index 0000000..264a0d4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_080-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_081-a_lg.jpg b/old/60759-h/images/ill_pg_081-a_lg.jpg
new file mode 100644
index 0000000..9169aa8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_081-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_081-a_sml.jpg b/old/60759-h/images/ill_pg_081-a_sml.jpg
new file mode 100644
index 0000000..e67a4d7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_081-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_081-b_lg.jpg b/old/60759-h/images/ill_pg_081-b_lg.jpg
new file mode 100644
index 0000000..8cc981f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_081-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_081-b_sml.jpg b/old/60759-h/images/ill_pg_081-b_sml.jpg
new file mode 100644
index 0000000..66ccfe9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_081-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_082_lg.jpg b/old/60759-h/images/ill_pg_082_lg.jpg
new file mode 100644
index 0000000..d6ffa15
--- /dev/null
+++ b/old/60759-h/images/ill_pg_082_lg.jpg
diff --git a/old/60759-h/images/ill_pg_082_sml.jpg b/old/60759-h/images/ill_pg_082_sml.jpg
new file mode 100644
index 0000000..d7d7156
--- /dev/null
+++ b/old/60759-h/images/ill_pg_082_sml.jpg
diff --git a/old/60759-h/images/ill_pg_085_lg.jpg b/old/60759-h/images/ill_pg_085_lg.jpg
new file mode 100644
index 0000000..47653c3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_085_lg.jpg
diff --git a/old/60759-h/images/ill_pg_085_sml.jpg b/old/60759-h/images/ill_pg_085_sml.jpg
new file mode 100644
index 0000000..231be49
--- /dev/null
+++ b/old/60759-h/images/ill_pg_085_sml.jpg
diff --git a/old/60759-h/images/ill_pg_087-a_lg.jpg b/old/60759-h/images/ill_pg_087-a_lg.jpg
new file mode 100644
index 0000000..dd63b4c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_087-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_087-a_sml.jpg b/old/60759-h/images/ill_pg_087-a_sml.jpg
new file mode 100644
index 0000000..b811803
--- /dev/null
+++ b/old/60759-h/images/ill_pg_087-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_087-b_lg.jpg b/old/60759-h/images/ill_pg_087-b_lg.jpg
new file mode 100644
index 0000000..a991680
--- /dev/null
+++ b/old/60759-h/images/ill_pg_087-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_087-b_sml.jpg b/old/60759-h/images/ill_pg_087-b_sml.jpg
new file mode 100644
index 0000000..c93fad3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_087-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_088_lg.jpg b/old/60759-h/images/ill_pg_088_lg.jpg
new file mode 100644
index 0000000..10365a8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_088_lg.jpg
diff --git a/old/60759-h/images/ill_pg_088_sml.jpg b/old/60759-h/images/ill_pg_088_sml.jpg
new file mode 100644
index 0000000..0a533c5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_088_sml.jpg
diff --git a/old/60759-h/images/ill_pg_095_lg.jpg b/old/60759-h/images/ill_pg_095_lg.jpg
new file mode 100644
index 0000000..f697dfc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_095_lg.jpg
diff --git a/old/60759-h/images/ill_pg_095_sml.jpg b/old/60759-h/images/ill_pg_095_sml.jpg
new file mode 100644
index 0000000..94decca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_095_sml.jpg
diff --git a/old/60759-h/images/ill_pg_098_lg.jpg b/old/60759-h/images/ill_pg_098_lg.jpg
new file mode 100644
index 0000000..6399a3b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_098_lg.jpg
diff --git a/old/60759-h/images/ill_pg_098_sml.jpg b/old/60759-h/images/ill_pg_098_sml.jpg
new file mode 100644
index 0000000..e91a5c8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_098_sml.jpg
diff --git a/old/60759-h/images/ill_pg_099-a_lg.jpg b/old/60759-h/images/ill_pg_099-a_lg.jpg
new file mode 100644
index 0000000..f051434
--- /dev/null
+++ b/old/60759-h/images/ill_pg_099-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_099-a_sml.jpg b/old/60759-h/images/ill_pg_099-a_sml.jpg
new file mode 100644
index 0000000..dcff6b1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_099-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_099-b_lg.jpg b/old/60759-h/images/ill_pg_099-b_lg.jpg
new file mode 100644
index 0000000..9e1df89
--- /dev/null
+++ b/old/60759-h/images/ill_pg_099-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_099-b_sml.jpg b/old/60759-h/images/ill_pg_099-b_sml.jpg
new file mode 100644
index 0000000..12dc34f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_099-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_100-a_lg.jpg b/old/60759-h/images/ill_pg_100-a_lg.jpg
new file mode 100644
index 0000000..8e37b9b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_100-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_100-a_sml.jpg b/old/60759-h/images/ill_pg_100-a_sml.jpg
new file mode 100644
index 0000000..fddbc1a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_100-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_100-b_lg.jpg b/old/60759-h/images/ill_pg_100-b_lg.jpg
new file mode 100644
index 0000000..8bcc965
--- /dev/null
+++ b/old/60759-h/images/ill_pg_100-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_100-b_sml.jpg b/old/60759-h/images/ill_pg_100-b_sml.jpg
new file mode 100644
index 0000000..2c62fa1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_100-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_101_lg.jpg b/old/60759-h/images/ill_pg_101_lg.jpg
new file mode 100644
index 0000000..92541ae
--- /dev/null
+++ b/old/60759-h/images/ill_pg_101_lg.jpg
diff --git a/old/60759-h/images/ill_pg_101_sml.jpg b/old/60759-h/images/ill_pg_101_sml.jpg
new file mode 100644
index 0000000..6f7acc0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_101_sml.jpg
diff --git a/old/60759-h/images/ill_pg_102-a_lg.jpg b/old/60759-h/images/ill_pg_102-a_lg.jpg
new file mode 100644
index 0000000..1e12a6b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_102-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_102-a_sml.jpg b/old/60759-h/images/ill_pg_102-a_sml.jpg
new file mode 100644
index 0000000..540b8f0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_102-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_102-b_lg.jpg b/old/60759-h/images/ill_pg_102-b_lg.jpg
new file mode 100644
index 0000000..0ee1dbd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_102-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_102-b_sml.jpg b/old/60759-h/images/ill_pg_102-b_sml.jpg
new file mode 100644
index 0000000..1447909
--- /dev/null
+++ b/old/60759-h/images/ill_pg_102-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_103_lg.jpg b/old/60759-h/images/ill_pg_103_lg.jpg
new file mode 100644
index 0000000..9aef968
--- /dev/null
+++ b/old/60759-h/images/ill_pg_103_lg.jpg
diff --git a/old/60759-h/images/ill_pg_103_sml.jpg b/old/60759-h/images/ill_pg_103_sml.jpg
new file mode 100644
index 0000000..d038b73
--- /dev/null
+++ b/old/60759-h/images/ill_pg_103_sml.jpg
diff --git a/old/60759-h/images/ill_pg_104_lg.jpg b/old/60759-h/images/ill_pg_104_lg.jpg
new file mode 100644
index 0000000..181eb24
--- /dev/null
+++ b/old/60759-h/images/ill_pg_104_lg.jpg
diff --git a/old/60759-h/images/ill_pg_104_sml.jpg b/old/60759-h/images/ill_pg_104_sml.jpg
new file mode 100644
index 0000000..876c0a2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_104_sml.jpg
diff --git a/old/60759-h/images/ill_pg_105-a_lg.jpg b/old/60759-h/images/ill_pg_105-a_lg.jpg
new file mode 100644
index 0000000..80f9d36
--- /dev/null
+++ b/old/60759-h/images/ill_pg_105-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_105-a_sml.jpg b/old/60759-h/images/ill_pg_105-a_sml.jpg
new file mode 100644
index 0000000..3416516
--- /dev/null
+++ b/old/60759-h/images/ill_pg_105-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_105-b_lg.jpg b/old/60759-h/images/ill_pg_105-b_lg.jpg
new file mode 100644
index 0000000..ffd0cde
--- /dev/null
+++ b/old/60759-h/images/ill_pg_105-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_105-b_sml.jpg b/old/60759-h/images/ill_pg_105-b_sml.jpg
new file mode 100644
index 0000000..9f4b319
--- /dev/null
+++ b/old/60759-h/images/ill_pg_105-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_106_lg.jpg b/old/60759-h/images/ill_pg_106_lg.jpg
new file mode 100644
index 0000000..7d27dda
--- /dev/null
+++ b/old/60759-h/images/ill_pg_106_lg.jpg
diff --git a/old/60759-h/images/ill_pg_106_sml.jpg b/old/60759-h/images/ill_pg_106_sml.jpg
new file mode 100644
index 0000000..bce3a75
--- /dev/null
+++ b/old/60759-h/images/ill_pg_106_sml.jpg
diff --git a/old/60759-h/images/ill_pg_107-a_lg.jpg b/old/60759-h/images/ill_pg_107-a_lg.jpg
new file mode 100644
index 0000000..3c5a988
--- /dev/null
+++ b/old/60759-h/images/ill_pg_107-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_107-a_sml.jpg b/old/60759-h/images/ill_pg_107-a_sml.jpg
new file mode 100644
index 0000000..6c188a5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_107-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_107-b_lg.jpg b/old/60759-h/images/ill_pg_107-b_lg.jpg
new file mode 100644
index 0000000..1962362
--- /dev/null
+++ b/old/60759-h/images/ill_pg_107-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_107-b_sml.jpg b/old/60759-h/images/ill_pg_107-b_sml.jpg
new file mode 100644
index 0000000..ea90c43
--- /dev/null
+++ b/old/60759-h/images/ill_pg_107-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_108-a_lg.jpg b/old/60759-h/images/ill_pg_108-a_lg.jpg
new file mode 100644
index 0000000..590fe0b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_108-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_108-a_sml.jpg b/old/60759-h/images/ill_pg_108-a_sml.jpg
new file mode 100644
index 0000000..971b9b5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_108-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_108-b_lg.jpg b/old/60759-h/images/ill_pg_108-b_lg.jpg
new file mode 100644
index 0000000..003310f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_108-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_108-b_sml.jpg b/old/60759-h/images/ill_pg_108-b_sml.jpg
new file mode 100644
index 0000000..fa5ef29
--- /dev/null
+++ b/old/60759-h/images/ill_pg_108-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_109-a_lg.jpg b/old/60759-h/images/ill_pg_109-a_lg.jpg
new file mode 100644
index 0000000..002a48a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_109-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_109-a_sml.jpg b/old/60759-h/images/ill_pg_109-a_sml.jpg
new file mode 100644
index 0000000..7640968
--- /dev/null
+++ b/old/60759-h/images/ill_pg_109-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_109-b_lg.jpg b/old/60759-h/images/ill_pg_109-b_lg.jpg
new file mode 100644
index 0000000..97887c4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_109-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_109-b_sml.jpg b/old/60759-h/images/ill_pg_109-b_sml.jpg
new file mode 100644
index 0000000..20f6e08
--- /dev/null
+++ b/old/60759-h/images/ill_pg_109-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_110_lg.jpg b/old/60759-h/images/ill_pg_110_lg.jpg
new file mode 100644
index 0000000..2cf2885
--- /dev/null
+++ b/old/60759-h/images/ill_pg_110_lg.jpg
diff --git a/old/60759-h/images/ill_pg_110_sml.jpg b/old/60759-h/images/ill_pg_110_sml.jpg
new file mode 100644
index 0000000..aed4db0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_110_sml.jpg
diff --git a/old/60759-h/images/ill_pg_111_lg.jpg b/old/60759-h/images/ill_pg_111_lg.jpg
new file mode 100644
index 0000000..e865cd1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_111_lg.jpg
diff --git a/old/60759-h/images/ill_pg_111_sml.jpg b/old/60759-h/images/ill_pg_111_sml.jpg
new file mode 100644
index 0000000..f1b7d22
--- /dev/null
+++ b/old/60759-h/images/ill_pg_111_sml.jpg
diff --git a/old/60759-h/images/ill_pg_112_lg.jpg b/old/60759-h/images/ill_pg_112_lg.jpg
new file mode 100644
index 0000000..e660a8e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_112_lg.jpg
diff --git a/old/60759-h/images/ill_pg_112_sml.jpg b/old/60759-h/images/ill_pg_112_sml.jpg
new file mode 100644
index 0000000..dae3e55
--- /dev/null
+++ b/old/60759-h/images/ill_pg_112_sml.jpg
diff --git a/old/60759-h/images/ill_pg_113-a_lg.jpg b/old/60759-h/images/ill_pg_113-a_lg.jpg
new file mode 100644
index 0000000..85022e5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_113-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_113-a_sml.jpg b/old/60759-h/images/ill_pg_113-a_sml.jpg
new file mode 100644
index 0000000..8f4fbf2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_113-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_113-b_lg.jpg b/old/60759-h/images/ill_pg_113-b_lg.jpg
new file mode 100644
index 0000000..be56065
--- /dev/null
+++ b/old/60759-h/images/ill_pg_113-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_113-b_sml.jpg b/old/60759-h/images/ill_pg_113-b_sml.jpg
new file mode 100644
index 0000000..849f8a9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_113-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_114_lg.jpg b/old/60759-h/images/ill_pg_114_lg.jpg
new file mode 100644
index 0000000..d792d5d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_114_lg.jpg
diff --git a/old/60759-h/images/ill_pg_114_sml.jpg b/old/60759-h/images/ill_pg_114_sml.jpg
new file mode 100644
index 0000000..cb5c8af
--- /dev/null
+++ b/old/60759-h/images/ill_pg_114_sml.jpg
diff --git a/old/60759-h/images/ill_pg_115_lg.jpg b/old/60759-h/images/ill_pg_115_lg.jpg
new file mode 100644
index 0000000..0afb374
--- /dev/null
+++ b/old/60759-h/images/ill_pg_115_lg.jpg
diff --git a/old/60759-h/images/ill_pg_115_sml.jpg b/old/60759-h/images/ill_pg_115_sml.jpg
new file mode 100644
index 0000000..0a6fe96
--- /dev/null
+++ b/old/60759-h/images/ill_pg_115_sml.jpg
diff --git a/old/60759-h/images/ill_pg_116_lg.jpg b/old/60759-h/images/ill_pg_116_lg.jpg
new file mode 100644
index 0000000..9508cab
--- /dev/null
+++ b/old/60759-h/images/ill_pg_116_lg.jpg
diff --git a/old/60759-h/images/ill_pg_116_sml.jpg b/old/60759-h/images/ill_pg_116_sml.jpg
new file mode 100644
index 0000000..1968c20
--- /dev/null
+++ b/old/60759-h/images/ill_pg_116_sml.jpg
diff --git a/old/60759-h/images/ill_pg_117-a_lg.jpg b/old/60759-h/images/ill_pg_117-a_lg.jpg
new file mode 100644
index 0000000..f9adcc3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_117-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_117-a_sml.jpg b/old/60759-h/images/ill_pg_117-a_sml.jpg
new file mode 100644
index 0000000..fbb3580
--- /dev/null
+++ b/old/60759-h/images/ill_pg_117-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_117-b_lg.jpg b/old/60759-h/images/ill_pg_117-b_lg.jpg
new file mode 100644
index 0000000..0cf88c6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_117-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_117-b_sml.jpg b/old/60759-h/images/ill_pg_117-b_sml.jpg
new file mode 100644
index 0000000..e350aa6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_117-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_118_lg.jpg b/old/60759-h/images/ill_pg_118_lg.jpg
new file mode 100644
index 0000000..168f6bd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_118_lg.jpg
diff --git a/old/60759-h/images/ill_pg_118_sml.jpg b/old/60759-h/images/ill_pg_118_sml.jpg
new file mode 100644
index 0000000..e6586c8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_118_sml.jpg
diff --git a/old/60759-h/images/ill_pg_119_lg.jpg b/old/60759-h/images/ill_pg_119_lg.jpg
new file mode 100644
index 0000000..5f4c7dc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_119_lg.jpg
diff --git a/old/60759-h/images/ill_pg_119_sml.jpg b/old/60759-h/images/ill_pg_119_sml.jpg
new file mode 100644
index 0000000..607a834
--- /dev/null
+++ b/old/60759-h/images/ill_pg_119_sml.jpg
diff --git a/old/60759-h/images/ill_pg_120_lg.jpg b/old/60759-h/images/ill_pg_120_lg.jpg
new file mode 100644
index 0000000..2504ba4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_120_lg.jpg
diff --git a/old/60759-h/images/ill_pg_120_sml.jpg b/old/60759-h/images/ill_pg_120_sml.jpg
new file mode 100644
index 0000000..5679d21
--- /dev/null
+++ b/old/60759-h/images/ill_pg_120_sml.jpg
diff --git a/old/60759-h/images/ill_pg_121-a_lg.jpg b/old/60759-h/images/ill_pg_121-a_lg.jpg
new file mode 100644
index 0000000..2e99f00
--- /dev/null
+++ b/old/60759-h/images/ill_pg_121-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_121-a_sml.jpg b/old/60759-h/images/ill_pg_121-a_sml.jpg
new file mode 100644
index 0000000..532bba5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_121-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_121-b_lg.jpg b/old/60759-h/images/ill_pg_121-b_lg.jpg
new file mode 100644
index 0000000..4aaf00a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_121-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_121-b_sml.jpg b/old/60759-h/images/ill_pg_121-b_sml.jpg
new file mode 100644
index 0000000..a5d8586
--- /dev/null
+++ b/old/60759-h/images/ill_pg_121-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_122_lg.jpg b/old/60759-h/images/ill_pg_122_lg.jpg
new file mode 100644
index 0000000..2018ecf
--- /dev/null
+++ b/old/60759-h/images/ill_pg_122_lg.jpg
diff --git a/old/60759-h/images/ill_pg_122_sml.jpg b/old/60759-h/images/ill_pg_122_sml.jpg
new file mode 100644
index 0000000..0f1d805
--- /dev/null
+++ b/old/60759-h/images/ill_pg_122_sml.jpg
diff --git a/old/60759-h/images/ill_pg_123_lg.jpg b/old/60759-h/images/ill_pg_123_lg.jpg
new file mode 100644
index 0000000..3b392a1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_123_lg.jpg
diff --git a/old/60759-h/images/ill_pg_123_sml.jpg b/old/60759-h/images/ill_pg_123_sml.jpg
new file mode 100644
index 0000000..a19753a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_123_sml.jpg
diff --git a/old/60759-h/images/ill_pg_124_lg.jpg b/old/60759-h/images/ill_pg_124_lg.jpg
new file mode 100644
index 0000000..64eb3e8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_124_lg.jpg
diff --git a/old/60759-h/images/ill_pg_124_sml.jpg b/old/60759-h/images/ill_pg_124_sml.jpg
new file mode 100644
index 0000000..505249d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_124_sml.jpg
diff --git a/old/60759-h/images/ill_pg_125-a_lg.jpg b/old/60759-h/images/ill_pg_125-a_lg.jpg
new file mode 100644
index 0000000..b0054bb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_125-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_125-a_sml.jpg b/old/60759-h/images/ill_pg_125-a_sml.jpg
new file mode 100644
index 0000000..ace175a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_125-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_125-b_lg.jpg b/old/60759-h/images/ill_pg_125-b_lg.jpg
new file mode 100644
index 0000000..d608cf9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_125-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_125-b_sml.jpg b/old/60759-h/images/ill_pg_125-b_sml.jpg
new file mode 100644
index 0000000..3592291
--- /dev/null
+++ b/old/60759-h/images/ill_pg_125-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_126_lg.jpg b/old/60759-h/images/ill_pg_126_lg.jpg
new file mode 100644
index 0000000..2b0eb9b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_126_lg.jpg
diff --git a/old/60759-h/images/ill_pg_126_sml.jpg b/old/60759-h/images/ill_pg_126_sml.jpg
new file mode 100644
index 0000000..e0e4f41
--- /dev/null
+++ b/old/60759-h/images/ill_pg_126_sml.jpg
diff --git a/old/60759-h/images/ill_pg_127_lg.jpg b/old/60759-h/images/ill_pg_127_lg.jpg
new file mode 100644
index 0000000..7730408
--- /dev/null
+++ b/old/60759-h/images/ill_pg_127_lg.jpg
diff --git a/old/60759-h/images/ill_pg_127_sml.jpg b/old/60759-h/images/ill_pg_127_sml.jpg
new file mode 100644
index 0000000..0905bef
--- /dev/null
+++ b/old/60759-h/images/ill_pg_127_sml.jpg
diff --git a/old/60759-h/images/ill_pg_128-a_lg.jpg b/old/60759-h/images/ill_pg_128-a_lg.jpg
new file mode 100644
index 0000000..f2c369f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_128-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_128-a_sml.jpg b/old/60759-h/images/ill_pg_128-a_sml.jpg
new file mode 100644
index 0000000..945e6ea
--- /dev/null
+++ b/old/60759-h/images/ill_pg_128-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_128-b_lg.jpg b/old/60759-h/images/ill_pg_128-b_lg.jpg
new file mode 100644
index 0000000..a5eea43
--- /dev/null
+++ b/old/60759-h/images/ill_pg_128-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_128-b_sml.jpg b/old/60759-h/images/ill_pg_128-b_sml.jpg
new file mode 100644
index 0000000..d0ce370
--- /dev/null
+++ b/old/60759-h/images/ill_pg_128-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_129_lg.jpg b/old/60759-h/images/ill_pg_129_lg.jpg
new file mode 100644
index 0000000..0510888
--- /dev/null
+++ b/old/60759-h/images/ill_pg_129_lg.jpg
diff --git a/old/60759-h/images/ill_pg_129_sml.jpg b/old/60759-h/images/ill_pg_129_sml.jpg
new file mode 100644
index 0000000..616b0a4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_129_sml.jpg
diff --git a/old/60759-h/images/ill_pg_130_lg.jpg b/old/60759-h/images/ill_pg_130_lg.jpg
new file mode 100644
index 0000000..607cf42
--- /dev/null
+++ b/old/60759-h/images/ill_pg_130_lg.jpg
diff --git a/old/60759-h/images/ill_pg_130_sml.jpg b/old/60759-h/images/ill_pg_130_sml.jpg
new file mode 100644
index 0000000..b774101
--- /dev/null
+++ b/old/60759-h/images/ill_pg_130_sml.jpg
diff --git a/old/60759-h/images/ill_pg_134_lg.jpg b/old/60759-h/images/ill_pg_134_lg.jpg
new file mode 100644
index 0000000..b473ca4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_134_lg.jpg
diff --git a/old/60759-h/images/ill_pg_134_sml.jpg b/old/60759-h/images/ill_pg_134_sml.jpg
new file mode 100644
index 0000000..0741eb0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_134_sml.jpg
diff --git a/old/60759-h/images/ill_pg_135_lg.jpg b/old/60759-h/images/ill_pg_135_lg.jpg
new file mode 100644
index 0000000..339a6fa
--- /dev/null
+++ b/old/60759-h/images/ill_pg_135_lg.jpg
diff --git a/old/60759-h/images/ill_pg_135_sml.jpg b/old/60759-h/images/ill_pg_135_sml.jpg
new file mode 100644
index 0000000..bfe33a3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_135_sml.jpg
diff --git a/old/60759-h/images/ill_pg_143_lg.jpg b/old/60759-h/images/ill_pg_143_lg.jpg
new file mode 100644
index 0000000..7d413fd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_143_lg.jpg
diff --git a/old/60759-h/images/ill_pg_143_sml.jpg b/old/60759-h/images/ill_pg_143_sml.jpg
new file mode 100644
index 0000000..c5c03de
--- /dev/null
+++ b/old/60759-h/images/ill_pg_143_sml.jpg
diff --git a/old/60759-h/images/ill_pg_144_lg.jpg b/old/60759-h/images/ill_pg_144_lg.jpg
new file mode 100644
index 0000000..eee82a0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_144_lg.jpg
diff --git a/old/60759-h/images/ill_pg_144_sml.jpg b/old/60759-h/images/ill_pg_144_sml.jpg
new file mode 100644
index 0000000..60b6691
--- /dev/null
+++ b/old/60759-h/images/ill_pg_144_sml.jpg
diff --git a/old/60759-h/images/ill_pg_145_lg.jpg b/old/60759-h/images/ill_pg_145_lg.jpg
new file mode 100644
index 0000000..90a1071
--- /dev/null
+++ b/old/60759-h/images/ill_pg_145_lg.jpg
diff --git a/old/60759-h/images/ill_pg_145_sml.jpg b/old/60759-h/images/ill_pg_145_sml.jpg
new file mode 100644
index 0000000..e88e2de
--- /dev/null
+++ b/old/60759-h/images/ill_pg_145_sml.jpg
diff --git a/old/60759-h/images/ill_pg_146_lg.jpg b/old/60759-h/images/ill_pg_146_lg.jpg
new file mode 100644
index 0000000..b4d74af
--- /dev/null
+++ b/old/60759-h/images/ill_pg_146_lg.jpg
diff --git a/old/60759-h/images/ill_pg_146_sml.jpg b/old/60759-h/images/ill_pg_146_sml.jpg
new file mode 100644
index 0000000..9dd03f7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_146_sml.jpg
diff --git a/old/60759-h/images/ill_pg_147_lg.jpg b/old/60759-h/images/ill_pg_147_lg.jpg
new file mode 100644
index 0000000..3f594f8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_147_lg.jpg
diff --git a/old/60759-h/images/ill_pg_147_sml.jpg b/old/60759-h/images/ill_pg_147_sml.jpg
new file mode 100644
index 0000000..14ae9f3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_147_sml.jpg
diff --git a/old/60759-h/images/ill_pg_148_lg.jpg b/old/60759-h/images/ill_pg_148_lg.jpg
new file mode 100644
index 0000000..cdeb44b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_148_lg.jpg
diff --git a/old/60759-h/images/ill_pg_148_sml.jpg b/old/60759-h/images/ill_pg_148_sml.jpg
new file mode 100644
index 0000000..3868fb5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_148_sml.jpg
diff --git a/old/60759-h/images/ill_pg_149-a_lg.jpg b/old/60759-h/images/ill_pg_149-a_lg.jpg
new file mode 100644
index 0000000..1b1f3f8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_149-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_149-a_sml.jpg b/old/60759-h/images/ill_pg_149-a_sml.jpg
new file mode 100644
index 0000000..f30e2d6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_149-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_149-b_lg.jpg b/old/60759-h/images/ill_pg_149-b_lg.jpg
new file mode 100644
index 0000000..a1623a5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_149-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_149-b_sml.jpg b/old/60759-h/images/ill_pg_149-b_sml.jpg
new file mode 100644
index 0000000..868f704
--- /dev/null
+++ b/old/60759-h/images/ill_pg_149-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_152_lg.jpg b/old/60759-h/images/ill_pg_152_lg.jpg
new file mode 100644
index 0000000..77c720b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_152_lg.jpg
diff --git a/old/60759-h/images/ill_pg_152_sml.jpg b/old/60759-h/images/ill_pg_152_sml.jpg
new file mode 100644
index 0000000..34496f3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_152_sml.jpg
diff --git a/old/60759-h/images/ill_pg_154_lg.jpg b/old/60759-h/images/ill_pg_154_lg.jpg
new file mode 100644
index 0000000..7be2b42
--- /dev/null
+++ b/old/60759-h/images/ill_pg_154_lg.jpg
diff --git a/old/60759-h/images/ill_pg_154_sml.jpg b/old/60759-h/images/ill_pg_154_sml.jpg
new file mode 100644
index 0000000..0e5d910
--- /dev/null
+++ b/old/60759-h/images/ill_pg_154_sml.jpg
diff --git a/old/60759-h/images/ill_pg_155_lg.jpg b/old/60759-h/images/ill_pg_155_lg.jpg
new file mode 100644
index 0000000..782acc6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_155_lg.jpg
diff --git a/old/60759-h/images/ill_pg_155_sml.jpg b/old/60759-h/images/ill_pg_155_sml.jpg
new file mode 100644
index 0000000..6eb3fdb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_155_sml.jpg
diff --git a/old/60759-h/images/ill_pg_156-a_lg.jpg b/old/60759-h/images/ill_pg_156-a_lg.jpg
new file mode 100644
index 0000000..e5b74c4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_156-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_156-a_sml.jpg b/old/60759-h/images/ill_pg_156-a_sml.jpg
new file mode 100644
index 0000000..545e656
--- /dev/null
+++ b/old/60759-h/images/ill_pg_156-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_156-b_lg.jpg b/old/60759-h/images/ill_pg_156-b_lg.jpg
new file mode 100644
index 0000000..45dc346
--- /dev/null
+++ b/old/60759-h/images/ill_pg_156-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_156-b_sml.jpg b/old/60759-h/images/ill_pg_156-b_sml.jpg
new file mode 100644
index 0000000..3cda847
--- /dev/null
+++ b/old/60759-h/images/ill_pg_156-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_157_lg.jpg b/old/60759-h/images/ill_pg_157_lg.jpg
new file mode 100644
index 0000000..0059c0f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_157_lg.jpg
diff --git a/old/60759-h/images/ill_pg_157_sml.jpg b/old/60759-h/images/ill_pg_157_sml.jpg
new file mode 100644
index 0000000..663fdd0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_157_sml.jpg
diff --git a/old/60759-h/images/ill_pg_161_lg.jpg b/old/60759-h/images/ill_pg_161_lg.jpg
new file mode 100644
index 0000000..689766a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_161_lg.jpg
diff --git a/old/60759-h/images/ill_pg_161_sml.jpg b/old/60759-h/images/ill_pg_161_sml.jpg
new file mode 100644
index 0000000..d2af5da
--- /dev/null
+++ b/old/60759-h/images/ill_pg_161_sml.jpg
diff --git a/old/60759-h/images/ill_pg_162_lg.jpg b/old/60759-h/images/ill_pg_162_lg.jpg
new file mode 100644
index 0000000..8938d84
--- /dev/null
+++ b/old/60759-h/images/ill_pg_162_lg.jpg
diff --git a/old/60759-h/images/ill_pg_162_sml.jpg b/old/60759-h/images/ill_pg_162_sml.jpg
new file mode 100644
index 0000000..caebec4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_162_sml.jpg
diff --git a/old/60759-h/images/ill_pg_163_lg.jpg b/old/60759-h/images/ill_pg_163_lg.jpg
new file mode 100644
index 0000000..68048fb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_163_lg.jpg
diff --git a/old/60759-h/images/ill_pg_163_sml.jpg b/old/60759-h/images/ill_pg_163_sml.jpg
new file mode 100644
index 0000000..2f3abb6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_163_sml.jpg
diff --git a/old/60759-h/images/ill_pg_164_lg.jpg b/old/60759-h/images/ill_pg_164_lg.jpg
new file mode 100644
index 0000000..5b62f1d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_164_lg.jpg
diff --git a/old/60759-h/images/ill_pg_164_sml.jpg b/old/60759-h/images/ill_pg_164_sml.jpg
new file mode 100644
index 0000000..628e176
--- /dev/null
+++ b/old/60759-h/images/ill_pg_164_sml.jpg
diff --git a/old/60759-h/images/ill_pg_165_lg.jpg b/old/60759-h/images/ill_pg_165_lg.jpg
new file mode 100644
index 0000000..9f4905d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_165_lg.jpg
diff --git a/old/60759-h/images/ill_pg_165_sml.jpg b/old/60759-h/images/ill_pg_165_sml.jpg
new file mode 100644
index 0000000..e390b5c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_165_sml.jpg
diff --git a/old/60759-h/images/ill_pg_166-a_lg.jpg b/old/60759-h/images/ill_pg_166-a_lg.jpg
new file mode 100644
index 0000000..22560fc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_166-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_166-a_sml.jpg b/old/60759-h/images/ill_pg_166-a_sml.jpg
new file mode 100644
index 0000000..6a489a9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_166-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_166-b_lg.jpg b/old/60759-h/images/ill_pg_166-b_lg.jpg
new file mode 100644
index 0000000..7332ce3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_166-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_166-b_sml.jpg b/old/60759-h/images/ill_pg_166-b_sml.jpg
new file mode 100644
index 0000000..ba418b3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_166-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_167_lg.jpg b/old/60759-h/images/ill_pg_167_lg.jpg
new file mode 100644
index 0000000..9c92a92
--- /dev/null
+++ b/old/60759-h/images/ill_pg_167_lg.jpg
diff --git a/old/60759-h/images/ill_pg_167_sml.jpg b/old/60759-h/images/ill_pg_167_sml.jpg
new file mode 100644
index 0000000..206304f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_167_sml.jpg
diff --git a/old/60759-h/images/ill_pg_168_lg.jpg b/old/60759-h/images/ill_pg_168_lg.jpg
new file mode 100644
index 0000000..c64470f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_168_lg.jpg
diff --git a/old/60759-h/images/ill_pg_168_sml.jpg b/old/60759-h/images/ill_pg_168_sml.jpg
new file mode 100644
index 0000000..90602d2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_168_sml.jpg
diff --git a/old/60759-h/images/ill_pg_169_lg.jpg b/old/60759-h/images/ill_pg_169_lg.jpg
new file mode 100644
index 0000000..36dcb44
--- /dev/null
+++ b/old/60759-h/images/ill_pg_169_lg.jpg
diff --git a/old/60759-h/images/ill_pg_169_sml.jpg b/old/60759-h/images/ill_pg_169_sml.jpg
new file mode 100644
index 0000000..6f4d591
--- /dev/null
+++ b/old/60759-h/images/ill_pg_169_sml.jpg
diff --git a/old/60759-h/images/ill_pg_170_lg.jpg b/old/60759-h/images/ill_pg_170_lg.jpg
new file mode 100644
index 0000000..b37a682
--- /dev/null
+++ b/old/60759-h/images/ill_pg_170_lg.jpg
diff --git a/old/60759-h/images/ill_pg_170_sml.jpg b/old/60759-h/images/ill_pg_170_sml.jpg
new file mode 100644
index 0000000..e4f163b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_170_sml.jpg
diff --git a/old/60759-h/images/ill_pg_171_lg.jpg b/old/60759-h/images/ill_pg_171_lg.jpg
new file mode 100644
index 0000000..d077532
--- /dev/null
+++ b/old/60759-h/images/ill_pg_171_lg.jpg
diff --git a/old/60759-h/images/ill_pg_171_sml.jpg b/old/60759-h/images/ill_pg_171_sml.jpg
new file mode 100644
index 0000000..906b735
--- /dev/null
+++ b/old/60759-h/images/ill_pg_171_sml.jpg
diff --git a/old/60759-h/images/ill_pg_172-a_lg.jpg b/old/60759-h/images/ill_pg_172-a_lg.jpg
new file mode 100644
index 0000000..a42a581
--- /dev/null
+++ b/old/60759-h/images/ill_pg_172-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_172-a_sml.jpg b/old/60759-h/images/ill_pg_172-a_sml.jpg
new file mode 100644
index 0000000..195f5ac
--- /dev/null
+++ b/old/60759-h/images/ill_pg_172-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_172-b_lg.jpg b/old/60759-h/images/ill_pg_172-b_lg.jpg
new file mode 100644
index 0000000..27fe95a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_172-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_172-b_sml.jpg b/old/60759-h/images/ill_pg_172-b_sml.jpg
new file mode 100644
index 0000000..3e78392
--- /dev/null
+++ b/old/60759-h/images/ill_pg_172-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_173-a_lg.jpg b/old/60759-h/images/ill_pg_173-a_lg.jpg
new file mode 100644
index 0000000..5f4d862
--- /dev/null
+++ b/old/60759-h/images/ill_pg_173-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_173-a_sml.jpg b/old/60759-h/images/ill_pg_173-a_sml.jpg
new file mode 100644
index 0000000..5f85ca0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_173-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_173-b_lg.jpg b/old/60759-h/images/ill_pg_173-b_lg.jpg
new file mode 100644
index 0000000..82aa318
--- /dev/null
+++ b/old/60759-h/images/ill_pg_173-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_173-b_sml.jpg b/old/60759-h/images/ill_pg_173-b_sml.jpg
new file mode 100644
index 0000000..bf6451d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_173-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_174_lg.jpg b/old/60759-h/images/ill_pg_174_lg.jpg
new file mode 100644
index 0000000..4242d2a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_174_lg.jpg
diff --git a/old/60759-h/images/ill_pg_174_sml.jpg b/old/60759-h/images/ill_pg_174_sml.jpg
new file mode 100644
index 0000000..7aced59
--- /dev/null
+++ b/old/60759-h/images/ill_pg_174_sml.jpg
diff --git a/old/60759-h/images/ill_pg_175_lg.jpg b/old/60759-h/images/ill_pg_175_lg.jpg
new file mode 100644
index 0000000..915c093
--- /dev/null
+++ b/old/60759-h/images/ill_pg_175_lg.jpg
diff --git a/old/60759-h/images/ill_pg_175_sml.jpg b/old/60759-h/images/ill_pg_175_sml.jpg
new file mode 100644
index 0000000..e5311f5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_175_sml.jpg
diff --git a/old/60759-h/images/ill_pg_176_lg.jpg b/old/60759-h/images/ill_pg_176_lg.jpg
new file mode 100644
index 0000000..0a4a038
--- /dev/null
+++ b/old/60759-h/images/ill_pg_176_lg.jpg
diff --git a/old/60759-h/images/ill_pg_176_sml.jpg b/old/60759-h/images/ill_pg_176_sml.jpg
new file mode 100644
index 0000000..54293e5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_176_sml.jpg
diff --git a/old/60759-h/images/ill_pg_177_lg.jpg b/old/60759-h/images/ill_pg_177_lg.jpg
new file mode 100644
index 0000000..20b4850
--- /dev/null
+++ b/old/60759-h/images/ill_pg_177_lg.jpg
diff --git a/old/60759-h/images/ill_pg_177_sml.jpg b/old/60759-h/images/ill_pg_177_sml.jpg
new file mode 100644
index 0000000..ae01d1e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_177_sml.jpg
diff --git a/old/60759-h/images/ill_pg_178-a_lg.jpg b/old/60759-h/images/ill_pg_178-a_lg.jpg
new file mode 100644
index 0000000..e18dde1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_178-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_178-a_sml.jpg b/old/60759-h/images/ill_pg_178-a_sml.jpg
new file mode 100644
index 0000000..e9ff4a8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_178-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_178-b_lg.jpg b/old/60759-h/images/ill_pg_178-b_lg.jpg
new file mode 100644
index 0000000..ae02ced
--- /dev/null
+++ b/old/60759-h/images/ill_pg_178-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_178-b_sml.jpg b/old/60759-h/images/ill_pg_178-b_sml.jpg
new file mode 100644
index 0000000..d86809f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_178-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_178-c_lg.jpg b/old/60759-h/images/ill_pg_178-c_lg.jpg
new file mode 100644
index 0000000..2f2832a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_178-c_lg.jpg
diff --git a/old/60759-h/images/ill_pg_178-c_sml.jpg b/old/60759-h/images/ill_pg_178-c_sml.jpg
new file mode 100644
index 0000000..f20cf45
--- /dev/null
+++ b/old/60759-h/images/ill_pg_178-c_sml.jpg
diff --git a/old/60759-h/images/ill_pg_179_lg.jpg b/old/60759-h/images/ill_pg_179_lg.jpg
new file mode 100644
index 0000000..ebc7e10
--- /dev/null
+++ b/old/60759-h/images/ill_pg_179_lg.jpg
diff --git a/old/60759-h/images/ill_pg_179_sml.jpg b/old/60759-h/images/ill_pg_179_sml.jpg
new file mode 100644
index 0000000..d01e552
--- /dev/null
+++ b/old/60759-h/images/ill_pg_179_sml.jpg
diff --git a/old/60759-h/images/ill_pg_180_lg.jpg b/old/60759-h/images/ill_pg_180_lg.jpg
new file mode 100644
index 0000000..32e359c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_180_lg.jpg
diff --git a/old/60759-h/images/ill_pg_180_sml.jpg b/old/60759-h/images/ill_pg_180_sml.jpg
new file mode 100644
index 0000000..3a302e5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_180_sml.jpg
diff --git a/old/60759-h/images/ill_pg_181_lg.jpg b/old/60759-h/images/ill_pg_181_lg.jpg
new file mode 100644
index 0000000..46c246d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_181_lg.jpg
diff --git a/old/60759-h/images/ill_pg_181_sml.jpg b/old/60759-h/images/ill_pg_181_sml.jpg
new file mode 100644
index 0000000..b93a3f6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_181_sml.jpg
diff --git a/old/60759-h/images/ill_pg_182_lg.jpg b/old/60759-h/images/ill_pg_182_lg.jpg
new file mode 100644
index 0000000..7520335
--- /dev/null
+++ b/old/60759-h/images/ill_pg_182_lg.jpg
diff --git a/old/60759-h/images/ill_pg_182_sml.jpg b/old/60759-h/images/ill_pg_182_sml.jpg
new file mode 100644
index 0000000..658e488
--- /dev/null
+++ b/old/60759-h/images/ill_pg_182_sml.jpg
diff --git a/old/60759-h/images/ill_pg_183_lg.jpg b/old/60759-h/images/ill_pg_183_lg.jpg
new file mode 100644
index 0000000..e62c87c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_183_lg.jpg
diff --git a/old/60759-h/images/ill_pg_183_sml.jpg b/old/60759-h/images/ill_pg_183_sml.jpg
new file mode 100644
index 0000000..66049ca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_183_sml.jpg
diff --git a/old/60759-h/images/ill_pg_184-b_lg.jpg b/old/60759-h/images/ill_pg_184-b_lg.jpg
new file mode 100644
index 0000000..f91a303
--- /dev/null
+++ b/old/60759-h/images/ill_pg_184-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_184-b_sml.jpg b/old/60759-h/images/ill_pg_184-b_sml.jpg
new file mode 100644
index 0000000..6daf9a3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_184-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_184a_lg.jpg b/old/60759-h/images/ill_pg_184a_lg.jpg
new file mode 100644
index 0000000..fb0c470
--- /dev/null
+++ b/old/60759-h/images/ill_pg_184a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_184a_sml.jpg b/old/60759-h/images/ill_pg_184a_sml.jpg
new file mode 100644
index 0000000..74d1c95
--- /dev/null
+++ b/old/60759-h/images/ill_pg_184a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_185_lg.jpg b/old/60759-h/images/ill_pg_185_lg.jpg
new file mode 100644
index 0000000..64be156
--- /dev/null
+++ b/old/60759-h/images/ill_pg_185_lg.jpg
diff --git a/old/60759-h/images/ill_pg_185_sml.jpg b/old/60759-h/images/ill_pg_185_sml.jpg
new file mode 100644
index 0000000..ea9b55d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_185_sml.jpg
diff --git a/old/60759-h/images/ill_pg_186_lg.jpg b/old/60759-h/images/ill_pg_186_lg.jpg
new file mode 100644
index 0000000..364c4d6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_186_lg.jpg
diff --git a/old/60759-h/images/ill_pg_186_sml.jpg b/old/60759-h/images/ill_pg_186_sml.jpg
new file mode 100644
index 0000000..11e569c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_186_sml.jpg
diff --git a/old/60759-h/images/ill_pg_187_lg.jpg b/old/60759-h/images/ill_pg_187_lg.jpg
new file mode 100644
index 0000000..6eeabce
--- /dev/null
+++ b/old/60759-h/images/ill_pg_187_lg.jpg
diff --git a/old/60759-h/images/ill_pg_187_sml.jpg b/old/60759-h/images/ill_pg_187_sml.jpg
new file mode 100644
index 0000000..d1257c2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_187_sml.jpg
diff --git a/old/60759-h/images/ill_pg_188_lg.jpg b/old/60759-h/images/ill_pg_188_lg.jpg
new file mode 100644
index 0000000..7fd10d2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_188_lg.jpg
diff --git a/old/60759-h/images/ill_pg_188_sml.jpg b/old/60759-h/images/ill_pg_188_sml.jpg
new file mode 100644
index 0000000..bc30413
--- /dev/null
+++ b/old/60759-h/images/ill_pg_188_sml.jpg
diff --git a/old/60759-h/images/ill_pg_189_lg.jpg b/old/60759-h/images/ill_pg_189_lg.jpg
new file mode 100644
index 0000000..91eb105
--- /dev/null
+++ b/old/60759-h/images/ill_pg_189_lg.jpg
diff --git a/old/60759-h/images/ill_pg_189_sml.jpg b/old/60759-h/images/ill_pg_189_sml.jpg
new file mode 100644
index 0000000..d42a3d5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_189_sml.jpg
diff --git a/old/60759-h/images/ill_pg_190_lg.jpg b/old/60759-h/images/ill_pg_190_lg.jpg
new file mode 100644
index 0000000..55381e1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_190_lg.jpg
diff --git a/old/60759-h/images/ill_pg_190_sml.jpg b/old/60759-h/images/ill_pg_190_sml.jpg
new file mode 100644
index 0000000..eff5d3c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_190_sml.jpg
diff --git a/old/60759-h/images/ill_pg_191_lg.jpg b/old/60759-h/images/ill_pg_191_lg.jpg
new file mode 100644
index 0000000..f28ee05
--- /dev/null
+++ b/old/60759-h/images/ill_pg_191_lg.jpg
diff --git a/old/60759-h/images/ill_pg_191_sml.jpg b/old/60759-h/images/ill_pg_191_sml.jpg
new file mode 100644
index 0000000..7040789
--- /dev/null
+++ b/old/60759-h/images/ill_pg_191_sml.jpg
diff --git a/old/60759-h/images/ill_pg_192_lg.jpg b/old/60759-h/images/ill_pg_192_lg.jpg
new file mode 100644
index 0000000..d8ab545
--- /dev/null
+++ b/old/60759-h/images/ill_pg_192_lg.jpg
diff --git a/old/60759-h/images/ill_pg_192_sml.jpg b/old/60759-h/images/ill_pg_192_sml.jpg
new file mode 100644
index 0000000..62fc46f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_192_sml.jpg
diff --git a/old/60759-h/images/ill_pg_193_lg.jpg b/old/60759-h/images/ill_pg_193_lg.jpg
new file mode 100644
index 0000000..eec8a76
--- /dev/null
+++ b/old/60759-h/images/ill_pg_193_lg.jpg
diff --git a/old/60759-h/images/ill_pg_193_sml.jpg b/old/60759-h/images/ill_pg_193_sml.jpg
new file mode 100644
index 0000000..5b5324b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_193_sml.jpg
diff --git a/old/60759-h/images/ill_pg_194_lg.jpg b/old/60759-h/images/ill_pg_194_lg.jpg
new file mode 100644
index 0000000..3c3ac6e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_194_lg.jpg
diff --git a/old/60759-h/images/ill_pg_194_sml.jpg b/old/60759-h/images/ill_pg_194_sml.jpg
new file mode 100644
index 0000000..3192f8f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_194_sml.jpg
diff --git a/old/60759-h/images/ill_pg_195_lg.jpg b/old/60759-h/images/ill_pg_195_lg.jpg
new file mode 100644
index 0000000..d6f12f5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_195_lg.jpg
diff --git a/old/60759-h/images/ill_pg_195_sml.jpg b/old/60759-h/images/ill_pg_195_sml.jpg
new file mode 100644
index 0000000..eca1ad7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_195_sml.jpg
diff --git a/old/60759-h/images/ill_pg_196_lg.jpg b/old/60759-h/images/ill_pg_196_lg.jpg
new file mode 100644
index 0000000..b7ed715
--- /dev/null
+++ b/old/60759-h/images/ill_pg_196_lg.jpg
diff --git a/old/60759-h/images/ill_pg_196_sml.jpg b/old/60759-h/images/ill_pg_196_sml.jpg
new file mode 100644
index 0000000..57ef5b8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_196_sml.jpg
diff --git a/old/60759-h/images/ill_pg_197-a_lg.jpg b/old/60759-h/images/ill_pg_197-a_lg.jpg
new file mode 100644
index 0000000..8299476
--- /dev/null
+++ b/old/60759-h/images/ill_pg_197-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_197-a_sml.jpg b/old/60759-h/images/ill_pg_197-a_sml.jpg
new file mode 100644
index 0000000..89d878a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_197-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_197-b_lg.jpg b/old/60759-h/images/ill_pg_197-b_lg.jpg
new file mode 100644
index 0000000..7abfc52
--- /dev/null
+++ b/old/60759-h/images/ill_pg_197-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_197-b_sml.jpg b/old/60759-h/images/ill_pg_197-b_sml.jpg
new file mode 100644
index 0000000..20893a4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_197-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_198_lg.jpg b/old/60759-h/images/ill_pg_198_lg.jpg
new file mode 100644
index 0000000..c2ee789
--- /dev/null
+++ b/old/60759-h/images/ill_pg_198_lg.jpg
diff --git a/old/60759-h/images/ill_pg_198_sml.jpg b/old/60759-h/images/ill_pg_198_sml.jpg
new file mode 100644
index 0000000..98db286
--- /dev/null
+++ b/old/60759-h/images/ill_pg_198_sml.jpg
diff --git a/old/60759-h/images/ill_pg_199_lg.jpg b/old/60759-h/images/ill_pg_199_lg.jpg
new file mode 100644
index 0000000..3b89c57
--- /dev/null
+++ b/old/60759-h/images/ill_pg_199_lg.jpg
diff --git a/old/60759-h/images/ill_pg_199_sml.jpg b/old/60759-h/images/ill_pg_199_sml.jpg
new file mode 100644
index 0000000..d30fcfc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_199_sml.jpg
diff --git a/old/60759-h/images/ill_pg_200_lg.jpg b/old/60759-h/images/ill_pg_200_lg.jpg
new file mode 100644
index 0000000..a95e523
--- /dev/null
+++ b/old/60759-h/images/ill_pg_200_lg.jpg
diff --git a/old/60759-h/images/ill_pg_200_sml.jpg b/old/60759-h/images/ill_pg_200_sml.jpg
new file mode 100644
index 0000000..5795900
--- /dev/null
+++ b/old/60759-h/images/ill_pg_200_sml.jpg
diff --git a/old/60759-h/images/ill_pg_201_lg.jpg b/old/60759-h/images/ill_pg_201_lg.jpg
new file mode 100644
index 0000000..b5048df
--- /dev/null
+++ b/old/60759-h/images/ill_pg_201_lg.jpg
diff --git a/old/60759-h/images/ill_pg_201_sml.jpg b/old/60759-h/images/ill_pg_201_sml.jpg
new file mode 100644
index 0000000..ed7aa10
--- /dev/null
+++ b/old/60759-h/images/ill_pg_201_sml.jpg
diff --git a/old/60759-h/images/ill_pg_202_lg.jpg b/old/60759-h/images/ill_pg_202_lg.jpg
new file mode 100644
index 0000000..2438e53
--- /dev/null
+++ b/old/60759-h/images/ill_pg_202_lg.jpg
diff --git a/old/60759-h/images/ill_pg_202_sml.jpg b/old/60759-h/images/ill_pg_202_sml.jpg
new file mode 100644
index 0000000..f752cbe
--- /dev/null
+++ b/old/60759-h/images/ill_pg_202_sml.jpg
diff --git a/old/60759-h/images/ill_pg_203_lg.jpg b/old/60759-h/images/ill_pg_203_lg.jpg
new file mode 100644
index 0000000..8ba8c08
--- /dev/null
+++ b/old/60759-h/images/ill_pg_203_lg.jpg
diff --git a/old/60759-h/images/ill_pg_203_sml.jpg b/old/60759-h/images/ill_pg_203_sml.jpg
new file mode 100644
index 0000000..80589ba
--- /dev/null
+++ b/old/60759-h/images/ill_pg_203_sml.jpg
diff --git a/old/60759-h/images/ill_pg_204_lg.jpg b/old/60759-h/images/ill_pg_204_lg.jpg
new file mode 100644
index 0000000..eb21850
--- /dev/null
+++ b/old/60759-h/images/ill_pg_204_lg.jpg
diff --git a/old/60759-h/images/ill_pg_204_sml.jpg b/old/60759-h/images/ill_pg_204_sml.jpg
new file mode 100644
index 0000000..6ca456d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_204_sml.jpg
diff --git a/old/60759-h/images/ill_pg_205_lg.jpg b/old/60759-h/images/ill_pg_205_lg.jpg
new file mode 100644
index 0000000..4ac7b41
--- /dev/null
+++ b/old/60759-h/images/ill_pg_205_lg.jpg
diff --git a/old/60759-h/images/ill_pg_205_sml.jpg b/old/60759-h/images/ill_pg_205_sml.jpg
new file mode 100644
index 0000000..bde3589
--- /dev/null
+++ b/old/60759-h/images/ill_pg_205_sml.jpg
diff --git a/old/60759-h/images/ill_pg_206_lg.jpg b/old/60759-h/images/ill_pg_206_lg.jpg
new file mode 100644
index 0000000..b518bcb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_206_lg.jpg
diff --git a/old/60759-h/images/ill_pg_206_sml.jpg b/old/60759-h/images/ill_pg_206_sml.jpg
new file mode 100644
index 0000000..6c6f59b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_206_sml.jpg
diff --git a/old/60759-h/images/ill_pg_207-a_lg.jpg b/old/60759-h/images/ill_pg_207-a_lg.jpg
new file mode 100644
index 0000000..97aebb9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_207-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_207-a_sml.jpg b/old/60759-h/images/ill_pg_207-a_sml.jpg
new file mode 100644
index 0000000..4d63e6a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_207-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_207-b_lg.jpg b/old/60759-h/images/ill_pg_207-b_lg.jpg
new file mode 100644
index 0000000..f81a832
--- /dev/null
+++ b/old/60759-h/images/ill_pg_207-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_207-b_sml.jpg b/old/60759-h/images/ill_pg_207-b_sml.jpg
new file mode 100644
index 0000000..4bd48b7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_207-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_208-a_lg.jpg b/old/60759-h/images/ill_pg_208-a_lg.jpg
new file mode 100644
index 0000000..f160f10
--- /dev/null
+++ b/old/60759-h/images/ill_pg_208-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_208-a_sml.jpg b/old/60759-h/images/ill_pg_208-a_sml.jpg
new file mode 100644
index 0000000..7005aaa
--- /dev/null
+++ b/old/60759-h/images/ill_pg_208-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_208-b_lg.jpg b/old/60759-h/images/ill_pg_208-b_lg.jpg
new file mode 100644
index 0000000..2d949c4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_208-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_208-b_sml.jpg b/old/60759-h/images/ill_pg_208-b_sml.jpg
new file mode 100644
index 0000000..09064a6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_208-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_209_lg.jpg b/old/60759-h/images/ill_pg_209_lg.jpg
new file mode 100644
index 0000000..d520ed5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_209_lg.jpg
diff --git a/old/60759-h/images/ill_pg_209_sml.jpg b/old/60759-h/images/ill_pg_209_sml.jpg
new file mode 100644
index 0000000..b78e236
--- /dev/null
+++ b/old/60759-h/images/ill_pg_209_sml.jpg
diff --git a/old/60759-h/images/ill_pg_210_lg.jpg b/old/60759-h/images/ill_pg_210_lg.jpg
new file mode 100644
index 0000000..8b40476
--- /dev/null
+++ b/old/60759-h/images/ill_pg_210_lg.jpg
diff --git a/old/60759-h/images/ill_pg_210_sml.jpg b/old/60759-h/images/ill_pg_210_sml.jpg
new file mode 100644
index 0000000..da569b0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_210_sml.jpg
diff --git a/old/60759-h/images/ill_pg_211_lg.jpg b/old/60759-h/images/ill_pg_211_lg.jpg
new file mode 100644
index 0000000..e45c6ad
--- /dev/null
+++ b/old/60759-h/images/ill_pg_211_lg.jpg
diff --git a/old/60759-h/images/ill_pg_211_sml.jpg b/old/60759-h/images/ill_pg_211_sml.jpg
new file mode 100644
index 0000000..9998c47
--- /dev/null
+++ b/old/60759-h/images/ill_pg_211_sml.jpg
diff --git a/old/60759-h/images/ill_pg_212_lg.jpg b/old/60759-h/images/ill_pg_212_lg.jpg
new file mode 100644
index 0000000..01d14ce
--- /dev/null
+++ b/old/60759-h/images/ill_pg_212_lg.jpg
diff --git a/old/60759-h/images/ill_pg_212_sml.jpg b/old/60759-h/images/ill_pg_212_sml.jpg
new file mode 100644
index 0000000..6b48b2e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_212_sml.jpg
diff --git a/old/60759-h/images/ill_pg_213-a_lg.jpg b/old/60759-h/images/ill_pg_213-a_lg.jpg
new file mode 100644
index 0000000..ed31993
--- /dev/null
+++ b/old/60759-h/images/ill_pg_213-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_213-a_sml.jpg b/old/60759-h/images/ill_pg_213-a_sml.jpg
new file mode 100644
index 0000000..8486a6b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_213-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_213-b_lg.jpg b/old/60759-h/images/ill_pg_213-b_lg.jpg
new file mode 100644
index 0000000..f5bf659
--- /dev/null
+++ b/old/60759-h/images/ill_pg_213-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_213-b_sml.jpg b/old/60759-h/images/ill_pg_213-b_sml.jpg
new file mode 100644
index 0000000..40f7711
--- /dev/null
+++ b/old/60759-h/images/ill_pg_213-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_214_lg.jpg b/old/60759-h/images/ill_pg_214_lg.jpg
new file mode 100644
index 0000000..7540123
--- /dev/null
+++ b/old/60759-h/images/ill_pg_214_lg.jpg
diff --git a/old/60759-h/images/ill_pg_214_sml.jpg b/old/60759-h/images/ill_pg_214_sml.jpg
new file mode 100644
index 0000000..8787683
--- /dev/null
+++ b/old/60759-h/images/ill_pg_214_sml.jpg
diff --git a/old/60759-h/images/ill_pg_215_lg.jpg b/old/60759-h/images/ill_pg_215_lg.jpg
new file mode 100644
index 0000000..e825564
--- /dev/null
+++ b/old/60759-h/images/ill_pg_215_lg.jpg
diff --git a/old/60759-h/images/ill_pg_215_sml.jpg b/old/60759-h/images/ill_pg_215_sml.jpg
new file mode 100644
index 0000000..ccdc7e7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_215_sml.jpg
diff --git a/old/60759-h/images/ill_pg_216_lg.jpg b/old/60759-h/images/ill_pg_216_lg.jpg
new file mode 100644
index 0000000..0be8c3b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_216_lg.jpg
diff --git a/old/60759-h/images/ill_pg_216_sml.jpg b/old/60759-h/images/ill_pg_216_sml.jpg
new file mode 100644
index 0000000..07ce5ba
--- /dev/null
+++ b/old/60759-h/images/ill_pg_216_sml.jpg
diff --git a/old/60759-h/images/ill_pg_217_lg.jpg b/old/60759-h/images/ill_pg_217_lg.jpg
new file mode 100644
index 0000000..49988fd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_217_lg.jpg
diff --git a/old/60759-h/images/ill_pg_217_sml.jpg b/old/60759-h/images/ill_pg_217_sml.jpg
new file mode 100644
index 0000000..b5c758b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_217_sml.jpg
diff --git a/old/60759-h/images/ill_pg_218_lg.jpg b/old/60759-h/images/ill_pg_218_lg.jpg
new file mode 100644
index 0000000..2d76c7f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_218_lg.jpg
diff --git a/old/60759-h/images/ill_pg_218_sml.jpg b/old/60759-h/images/ill_pg_218_sml.jpg
new file mode 100644
index 0000000..76be8f0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_218_sml.jpg
diff --git a/old/60759-h/images/ill_pg_219_lg.jpg b/old/60759-h/images/ill_pg_219_lg.jpg
new file mode 100644
index 0000000..30ff161
--- /dev/null
+++ b/old/60759-h/images/ill_pg_219_lg.jpg
diff --git a/old/60759-h/images/ill_pg_219_sml.jpg b/old/60759-h/images/ill_pg_219_sml.jpg
new file mode 100644
index 0000000..03e14d5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_219_sml.jpg
diff --git a/old/60759-h/images/ill_pg_220-a_lg.jpg b/old/60759-h/images/ill_pg_220-a_lg.jpg
new file mode 100644
index 0000000..dba2086
--- /dev/null
+++ b/old/60759-h/images/ill_pg_220-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_220-a_sml.jpg b/old/60759-h/images/ill_pg_220-a_sml.jpg
new file mode 100644
index 0000000..9a0b7b9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_220-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_220-b_lg.jpg b/old/60759-h/images/ill_pg_220-b_lg.jpg
new file mode 100644
index 0000000..3c8f903
--- /dev/null
+++ b/old/60759-h/images/ill_pg_220-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_220-b_sml.jpg b/old/60759-h/images/ill_pg_220-b_sml.jpg
new file mode 100644
index 0000000..ec3a793
--- /dev/null
+++ b/old/60759-h/images/ill_pg_220-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_221-a_lg.jpg b/old/60759-h/images/ill_pg_221-a_lg.jpg
new file mode 100644
index 0000000..fa55b24
--- /dev/null
+++ b/old/60759-h/images/ill_pg_221-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_221-a_sml.jpg b/old/60759-h/images/ill_pg_221-a_sml.jpg
new file mode 100644
index 0000000..defe5e0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_221-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_221-b_lg.jpg b/old/60759-h/images/ill_pg_221-b_lg.jpg
new file mode 100644
index 0000000..db66933
--- /dev/null
+++ b/old/60759-h/images/ill_pg_221-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_221-b_sml.jpg b/old/60759-h/images/ill_pg_221-b_sml.jpg
new file mode 100644
index 0000000..4b6fdef
--- /dev/null
+++ b/old/60759-h/images/ill_pg_221-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_222_lg.jpg b/old/60759-h/images/ill_pg_222_lg.jpg
new file mode 100644
index 0000000..e6a265b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_222_lg.jpg
diff --git a/old/60759-h/images/ill_pg_222_sml.jpg b/old/60759-h/images/ill_pg_222_sml.jpg
new file mode 100644
index 0000000..4879ed6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_222_sml.jpg
diff --git a/old/60759-h/images/ill_pg_223-a_lg.jpg b/old/60759-h/images/ill_pg_223-a_lg.jpg
new file mode 100644
index 0000000..445878d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_223-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_223-a_sml.jpg b/old/60759-h/images/ill_pg_223-a_sml.jpg
new file mode 100644
index 0000000..19b9136
--- /dev/null
+++ b/old/60759-h/images/ill_pg_223-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_223-b_lg.jpg b/old/60759-h/images/ill_pg_223-b_lg.jpg
new file mode 100644
index 0000000..d5d79ed
--- /dev/null
+++ b/old/60759-h/images/ill_pg_223-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_223-b_sml.jpg b/old/60759-h/images/ill_pg_223-b_sml.jpg
new file mode 100644
index 0000000..454f576
--- /dev/null
+++ b/old/60759-h/images/ill_pg_223-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_224-a_lg.jpg b/old/60759-h/images/ill_pg_224-a_lg.jpg
new file mode 100644
index 0000000..7b4a2b6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_224-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_224-a_sml.jpg b/old/60759-h/images/ill_pg_224-a_sml.jpg
new file mode 100644
index 0000000..ed491c0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_224-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_224-b_lg.jpg b/old/60759-h/images/ill_pg_224-b_lg.jpg
new file mode 100644
index 0000000..21c3679
--- /dev/null
+++ b/old/60759-h/images/ill_pg_224-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_224-b_sml.jpg b/old/60759-h/images/ill_pg_224-b_sml.jpg
new file mode 100644
index 0000000..b3c3dd2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_224-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_225_lg.jpg b/old/60759-h/images/ill_pg_225_lg.jpg
new file mode 100644
index 0000000..e74e36d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_225_lg.jpg
diff --git a/old/60759-h/images/ill_pg_225_sml.jpg b/old/60759-h/images/ill_pg_225_sml.jpg
new file mode 100644
index 0000000..c4a5d5d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_225_sml.jpg
diff --git a/old/60759-h/images/ill_pg_226_lg.jpg b/old/60759-h/images/ill_pg_226_lg.jpg
new file mode 100644
index 0000000..62495aa
--- /dev/null
+++ b/old/60759-h/images/ill_pg_226_lg.jpg
diff --git a/old/60759-h/images/ill_pg_226_sml.jpg b/old/60759-h/images/ill_pg_226_sml.jpg
new file mode 100644
index 0000000..7f26e61
--- /dev/null
+++ b/old/60759-h/images/ill_pg_226_sml.jpg
diff --git a/old/60759-h/images/ill_pg_227_lg.jpg b/old/60759-h/images/ill_pg_227_lg.jpg
new file mode 100644
index 0000000..9a57e14
--- /dev/null
+++ b/old/60759-h/images/ill_pg_227_lg.jpg
diff --git a/old/60759-h/images/ill_pg_227_sml.jpg b/old/60759-h/images/ill_pg_227_sml.jpg
new file mode 100644
index 0000000..50b52eb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_227_sml.jpg
diff --git a/old/60759-h/images/ill_pg_228_lg.jpg b/old/60759-h/images/ill_pg_228_lg.jpg
new file mode 100644
index 0000000..f46fb08
--- /dev/null
+++ b/old/60759-h/images/ill_pg_228_lg.jpg
diff --git a/old/60759-h/images/ill_pg_228_sml.jpg b/old/60759-h/images/ill_pg_228_sml.jpg
new file mode 100644
index 0000000..51ae354
--- /dev/null
+++ b/old/60759-h/images/ill_pg_228_sml.jpg
diff --git a/old/60759-h/images/ill_pg_229_lg.jpg b/old/60759-h/images/ill_pg_229_lg.jpg
new file mode 100644
index 0000000..47781fe
--- /dev/null
+++ b/old/60759-h/images/ill_pg_229_lg.jpg
diff --git a/old/60759-h/images/ill_pg_229_sml.jpg b/old/60759-h/images/ill_pg_229_sml.jpg
new file mode 100644
index 0000000..baf4778
--- /dev/null
+++ b/old/60759-h/images/ill_pg_229_sml.jpg
diff --git a/old/60759-h/images/ill_pg_230_lg.jpg b/old/60759-h/images/ill_pg_230_lg.jpg
new file mode 100644
index 0000000..997d1d0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_230_lg.jpg
diff --git a/old/60759-h/images/ill_pg_230_sml.jpg b/old/60759-h/images/ill_pg_230_sml.jpg
new file mode 100644
index 0000000..0f58c21
--- /dev/null
+++ b/old/60759-h/images/ill_pg_230_sml.jpg
diff --git a/old/60759-h/images/ill_pg_231_lg.jpg b/old/60759-h/images/ill_pg_231_lg.jpg
new file mode 100644
index 0000000..dccdc0f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_231_lg.jpg
diff --git a/old/60759-h/images/ill_pg_231_sml.jpg b/old/60759-h/images/ill_pg_231_sml.jpg
new file mode 100644
index 0000000..369a22b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_231_sml.jpg
diff --git a/old/60759-h/images/ill_pg_232_lg.jpg b/old/60759-h/images/ill_pg_232_lg.jpg
new file mode 100644
index 0000000..f97036e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_232_lg.jpg
diff --git a/old/60759-h/images/ill_pg_232_sml.jpg b/old/60759-h/images/ill_pg_232_sml.jpg
new file mode 100644
index 0000000..031265f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_232_sml.jpg
diff --git a/old/60759-h/images/ill_pg_234_lg.jpg b/old/60759-h/images/ill_pg_234_lg.jpg
new file mode 100644
index 0000000..4fdb9aa
--- /dev/null
+++ b/old/60759-h/images/ill_pg_234_lg.jpg
diff --git a/old/60759-h/images/ill_pg_234_sml.jpg b/old/60759-h/images/ill_pg_234_sml.jpg
new file mode 100644
index 0000000..490f4fc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_234_sml.jpg
diff --git a/old/60759-h/images/ill_pg_236_lg.jpg b/old/60759-h/images/ill_pg_236_lg.jpg
new file mode 100644
index 0000000..511f287
--- /dev/null
+++ b/old/60759-h/images/ill_pg_236_lg.jpg
diff --git a/old/60759-h/images/ill_pg_236_sml.jpg b/old/60759-h/images/ill_pg_236_sml.jpg
new file mode 100644
index 0000000..f6657be
--- /dev/null
+++ b/old/60759-h/images/ill_pg_236_sml.jpg
diff --git a/old/60759-h/images/ill_pg_237_lg.jpg b/old/60759-h/images/ill_pg_237_lg.jpg
new file mode 100644
index 0000000..451dfd3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_237_lg.jpg
diff --git a/old/60759-h/images/ill_pg_237_sml.jpg b/old/60759-h/images/ill_pg_237_sml.jpg
new file mode 100644
index 0000000..b41f00b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_237_sml.jpg
diff --git a/old/60759-h/images/ill_pg_238_lg.jpg b/old/60759-h/images/ill_pg_238_lg.jpg
new file mode 100644
index 0000000..97ed243
--- /dev/null
+++ b/old/60759-h/images/ill_pg_238_lg.jpg
diff --git a/old/60759-h/images/ill_pg_238_sml.jpg b/old/60759-h/images/ill_pg_238_sml.jpg
new file mode 100644
index 0000000..9570497
--- /dev/null
+++ b/old/60759-h/images/ill_pg_238_sml.jpg
diff --git a/old/60759-h/images/ill_pg_239_lg.jpg b/old/60759-h/images/ill_pg_239_lg.jpg
new file mode 100644
index 0000000..a087d91
--- /dev/null
+++ b/old/60759-h/images/ill_pg_239_lg.jpg
diff --git a/old/60759-h/images/ill_pg_239_sml.jpg b/old/60759-h/images/ill_pg_239_sml.jpg
new file mode 100644
index 0000000..ff2c975
--- /dev/null
+++ b/old/60759-h/images/ill_pg_239_sml.jpg
diff --git a/old/60759-h/images/ill_pg_242_lg.jpg b/old/60759-h/images/ill_pg_242_lg.jpg
new file mode 100644
index 0000000..58cca5b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_242_lg.jpg
diff --git a/old/60759-h/images/ill_pg_242_sml.jpg b/old/60759-h/images/ill_pg_242_sml.jpg
new file mode 100644
index 0000000..ce0ba46
--- /dev/null
+++ b/old/60759-h/images/ill_pg_242_sml.jpg
diff --git a/old/60759-h/images/ill_pg_243_lg.jpg b/old/60759-h/images/ill_pg_243_lg.jpg
new file mode 100644
index 0000000..3b15b72
--- /dev/null
+++ b/old/60759-h/images/ill_pg_243_lg.jpg
diff --git a/old/60759-h/images/ill_pg_243_sml.jpg b/old/60759-h/images/ill_pg_243_sml.jpg
new file mode 100644
index 0000000..45b6997
--- /dev/null
+++ b/old/60759-h/images/ill_pg_243_sml.jpg
diff --git a/old/60759-h/images/ill_pg_244_lg.jpg b/old/60759-h/images/ill_pg_244_lg.jpg
new file mode 100644
index 0000000..8e00b07
--- /dev/null
+++ b/old/60759-h/images/ill_pg_244_lg.jpg
diff --git a/old/60759-h/images/ill_pg_244_sml.jpg b/old/60759-h/images/ill_pg_244_sml.jpg
new file mode 100644
index 0000000..81d2e19
--- /dev/null
+++ b/old/60759-h/images/ill_pg_244_sml.jpg
diff --git a/old/60759-h/images/ill_pg_261_lg.jpg b/old/60759-h/images/ill_pg_261_lg.jpg
new file mode 100644
index 0000000..66d1d19
--- /dev/null
+++ b/old/60759-h/images/ill_pg_261_lg.jpg
diff --git a/old/60759-h/images/ill_pg_261_sml.jpg b/old/60759-h/images/ill_pg_261_sml.jpg
new file mode 100644
index 0000000..0d1969b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_261_sml.jpg
diff --git a/old/60759-h/images/ill_pg_262_lg.jpg b/old/60759-h/images/ill_pg_262_lg.jpg
new file mode 100644
index 0000000..fd457be
--- /dev/null
+++ b/old/60759-h/images/ill_pg_262_lg.jpg
diff --git a/old/60759-h/images/ill_pg_262_sml.jpg b/old/60759-h/images/ill_pg_262_sml.jpg
new file mode 100644
index 0000000..72192e0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_262_sml.jpg
diff --git a/old/60759-h/images/ill_pg_263_lg.jpg b/old/60759-h/images/ill_pg_263_lg.jpg
new file mode 100644
index 0000000..844f8ec
--- /dev/null
+++ b/old/60759-h/images/ill_pg_263_lg.jpg
diff --git a/old/60759-h/images/ill_pg_263_sml.jpg b/old/60759-h/images/ill_pg_263_sml.jpg
new file mode 100644
index 0000000..a827c33
--- /dev/null
+++ b/old/60759-h/images/ill_pg_263_sml.jpg
diff --git a/old/60759-h/images/ill_pg_264-a_lg.jpg b/old/60759-h/images/ill_pg_264-a_lg.jpg
new file mode 100644
index 0000000..5ee00fa
--- /dev/null
+++ b/old/60759-h/images/ill_pg_264-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_264-a_sml.jpg b/old/60759-h/images/ill_pg_264-a_sml.jpg
new file mode 100644
index 0000000..508bf9f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_264-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_264-b_lg.jpg b/old/60759-h/images/ill_pg_264-b_lg.jpg
new file mode 100644
index 0000000..bb80621
--- /dev/null
+++ b/old/60759-h/images/ill_pg_264-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_264-b_sml.jpg b/old/60759-h/images/ill_pg_264-b_sml.jpg
new file mode 100644
index 0000000..64a371f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_264-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_265_lg.jpg b/old/60759-h/images/ill_pg_265_lg.jpg
new file mode 100644
index 0000000..108887a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_265_lg.jpg
diff --git a/old/60759-h/images/ill_pg_265_sml.jpg b/old/60759-h/images/ill_pg_265_sml.jpg
new file mode 100644
index 0000000..0b05eca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_265_sml.jpg
diff --git a/old/60759-h/images/ill_pg_266-a_lg.jpg b/old/60759-h/images/ill_pg_266-a_lg.jpg
new file mode 100644
index 0000000..f9891e2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_266-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_266-a_sml.jpg b/old/60759-h/images/ill_pg_266-a_sml.jpg
new file mode 100644
index 0000000..62f822c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_266-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_266-b_lg.jpg b/old/60759-h/images/ill_pg_266-b_lg.jpg
new file mode 100644
index 0000000..dcfe8ba
--- /dev/null
+++ b/old/60759-h/images/ill_pg_266-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_266-b_sml.jpg b/old/60759-h/images/ill_pg_266-b_sml.jpg
new file mode 100644
index 0000000..549b688
--- /dev/null
+++ b/old/60759-h/images/ill_pg_266-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_267_lg.jpg b/old/60759-h/images/ill_pg_267_lg.jpg
new file mode 100644
index 0000000..d0fb1b7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_267_lg.jpg
diff --git a/old/60759-h/images/ill_pg_267_sml.jpg b/old/60759-h/images/ill_pg_267_sml.jpg
new file mode 100644
index 0000000..9209812
--- /dev/null
+++ b/old/60759-h/images/ill_pg_267_sml.jpg
diff --git a/old/60759-h/images/ill_pg_268_lg.jpg b/old/60759-h/images/ill_pg_268_lg.jpg
new file mode 100644
index 0000000..dd43a1d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_268_lg.jpg
diff --git a/old/60759-h/images/ill_pg_268_sml.jpg b/old/60759-h/images/ill_pg_268_sml.jpg
new file mode 100644
index 0000000..6846a67
--- /dev/null
+++ b/old/60759-h/images/ill_pg_268_sml.jpg
diff --git a/old/60759-h/images/ill_pg_269_lg.jpg b/old/60759-h/images/ill_pg_269_lg.jpg
new file mode 100644
index 0000000..de943fd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_269_lg.jpg
diff --git a/old/60759-h/images/ill_pg_269_sml.jpg b/old/60759-h/images/ill_pg_269_sml.jpg
new file mode 100644
index 0000000..a4160c7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_269_sml.jpg
diff --git a/old/60759-h/images/ill_pg_270_lg.jpg b/old/60759-h/images/ill_pg_270_lg.jpg
new file mode 100644
index 0000000..52d66e1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_270_lg.jpg
diff --git a/old/60759-h/images/ill_pg_270_sml.jpg b/old/60759-h/images/ill_pg_270_sml.jpg
new file mode 100644
index 0000000..ecf2c49
--- /dev/null
+++ b/old/60759-h/images/ill_pg_270_sml.jpg
diff --git a/old/60759-h/images/ill_pg_271_lg.jpg b/old/60759-h/images/ill_pg_271_lg.jpg
new file mode 100644
index 0000000..c56be7f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_271_lg.jpg
diff --git a/old/60759-h/images/ill_pg_271_sml.jpg b/old/60759-h/images/ill_pg_271_sml.jpg
new file mode 100644
index 0000000..16e130a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_271_sml.jpg
diff --git a/old/60759-h/images/ill_pg_272_lg.jpg b/old/60759-h/images/ill_pg_272_lg.jpg
new file mode 100644
index 0000000..1bd1c03
--- /dev/null
+++ b/old/60759-h/images/ill_pg_272_lg.jpg
diff --git a/old/60759-h/images/ill_pg_272_sml.jpg b/old/60759-h/images/ill_pg_272_sml.jpg
new file mode 100644
index 0000000..29567bc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_272_sml.jpg
diff --git a/old/60759-h/images/ill_pg_273_lg.jpg b/old/60759-h/images/ill_pg_273_lg.jpg
new file mode 100644
index 0000000..9fa735c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_273_lg.jpg
diff --git a/old/60759-h/images/ill_pg_273_sml.jpg b/old/60759-h/images/ill_pg_273_sml.jpg
new file mode 100644
index 0000000..0f2d7e3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_273_sml.jpg
diff --git a/old/60759-h/images/ill_pg_274-a_lg.jpg b/old/60759-h/images/ill_pg_274-a_lg.jpg
new file mode 100644
index 0000000..65feab3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_274-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_274-a_sml.jpg b/old/60759-h/images/ill_pg_274-a_sml.jpg
new file mode 100644
index 0000000..1571465
--- /dev/null
+++ b/old/60759-h/images/ill_pg_274-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_274-b_lg.jpg b/old/60759-h/images/ill_pg_274-b_lg.jpg
new file mode 100644
index 0000000..e990077
--- /dev/null
+++ b/old/60759-h/images/ill_pg_274-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_274-b_sml.jpg b/old/60759-h/images/ill_pg_274-b_sml.jpg
new file mode 100644
index 0000000..154a246
--- /dev/null
+++ b/old/60759-h/images/ill_pg_274-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_275_lg.jpg b/old/60759-h/images/ill_pg_275_lg.jpg
new file mode 100644
index 0000000..ecd804e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_275_lg.jpg
diff --git a/old/60759-h/images/ill_pg_275_sml.jpg b/old/60759-h/images/ill_pg_275_sml.jpg
new file mode 100644
index 0000000..d68577d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_275_sml.jpg
diff --git a/old/60759-h/images/ill_pg_276_lg.jpg b/old/60759-h/images/ill_pg_276_lg.jpg
new file mode 100644
index 0000000..8232c5f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_276_lg.jpg
diff --git a/old/60759-h/images/ill_pg_276_sml.jpg b/old/60759-h/images/ill_pg_276_sml.jpg
new file mode 100644
index 0000000..309b1bd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_276_sml.jpg
diff --git a/old/60759-h/images/ill_pg_277_lg.jpg b/old/60759-h/images/ill_pg_277_lg.jpg
new file mode 100644
index 0000000..d7da180
--- /dev/null
+++ b/old/60759-h/images/ill_pg_277_lg.jpg
diff --git a/old/60759-h/images/ill_pg_277_sml.jpg b/old/60759-h/images/ill_pg_277_sml.jpg
new file mode 100644
index 0000000..9976436
--- /dev/null
+++ b/old/60759-h/images/ill_pg_277_sml.jpg
diff --git a/old/60759-h/images/ill_pg_278_lg.jpg b/old/60759-h/images/ill_pg_278_lg.jpg
new file mode 100644
index 0000000..8c2c532
--- /dev/null
+++ b/old/60759-h/images/ill_pg_278_lg.jpg
diff --git a/old/60759-h/images/ill_pg_278_sml.jpg b/old/60759-h/images/ill_pg_278_sml.jpg
new file mode 100644
index 0000000..320eb1f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_278_sml.jpg
diff --git a/old/60759-h/images/ill_pg_279_lg.jpg b/old/60759-h/images/ill_pg_279_lg.jpg
new file mode 100644
index 0000000..91e1aba
--- /dev/null
+++ b/old/60759-h/images/ill_pg_279_lg.jpg
diff --git a/old/60759-h/images/ill_pg_279_sml.jpg b/old/60759-h/images/ill_pg_279_sml.jpg
new file mode 100644
index 0000000..16dc769
--- /dev/null
+++ b/old/60759-h/images/ill_pg_279_sml.jpg
diff --git a/old/60759-h/images/ill_pg_280_lg.jpg b/old/60759-h/images/ill_pg_280_lg.jpg
new file mode 100644
index 0000000..6c147f6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_280_lg.jpg
diff --git a/old/60759-h/images/ill_pg_280_sml.jpg b/old/60759-h/images/ill_pg_280_sml.jpg
new file mode 100644
index 0000000..3ae5dff
--- /dev/null
+++ b/old/60759-h/images/ill_pg_280_sml.jpg
diff --git a/old/60759-h/images/ill_pg_281_lg.jpg b/old/60759-h/images/ill_pg_281_lg.jpg
new file mode 100644
index 0000000..b7b9bde
--- /dev/null
+++ b/old/60759-h/images/ill_pg_281_lg.jpg
diff --git a/old/60759-h/images/ill_pg_281_sml.jpg b/old/60759-h/images/ill_pg_281_sml.jpg
new file mode 100644
index 0000000..c9192da
--- /dev/null
+++ b/old/60759-h/images/ill_pg_281_sml.jpg
diff --git a/old/60759-h/images/ill_pg_282_lg.jpg b/old/60759-h/images/ill_pg_282_lg.jpg
new file mode 100644
index 0000000..dc99eb7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_282_lg.jpg
diff --git a/old/60759-h/images/ill_pg_282_sml.jpg b/old/60759-h/images/ill_pg_282_sml.jpg
new file mode 100644
index 0000000..a4aa4b9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_282_sml.jpg
diff --git a/old/60759-h/images/ill_pg_283-a_lg.jpg b/old/60759-h/images/ill_pg_283-a_lg.jpg
new file mode 100644
index 0000000..df975d5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_283-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_283-a_sml.jpg b/old/60759-h/images/ill_pg_283-a_sml.jpg
new file mode 100644
index 0000000..0d6b670
--- /dev/null
+++ b/old/60759-h/images/ill_pg_283-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_283-b_lg.jpg b/old/60759-h/images/ill_pg_283-b_lg.jpg
new file mode 100644
index 0000000..1423858
--- /dev/null
+++ b/old/60759-h/images/ill_pg_283-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_283-b_sml.jpg b/old/60759-h/images/ill_pg_283-b_sml.jpg
new file mode 100644
index 0000000..b3153a7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_283-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_284_lg.jpg b/old/60759-h/images/ill_pg_284_lg.jpg
new file mode 100644
index 0000000..a8b3fe8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_284_lg.jpg
diff --git a/old/60759-h/images/ill_pg_284_sml.jpg b/old/60759-h/images/ill_pg_284_sml.jpg
new file mode 100644
index 0000000..57bee2d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_284_sml.jpg
diff --git a/old/60759-h/images/ill_pg_285-a_lg.jpg b/old/60759-h/images/ill_pg_285-a_lg.jpg
new file mode 100644
index 0000000..11d4c0f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_285-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_285-a_sml.jpg b/old/60759-h/images/ill_pg_285-a_sml.jpg
new file mode 100644
index 0000000..0c7cc41
--- /dev/null
+++ b/old/60759-h/images/ill_pg_285-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_285-b_lg.jpg b/old/60759-h/images/ill_pg_285-b_lg.jpg
new file mode 100644
index 0000000..6160a17
--- /dev/null
+++ b/old/60759-h/images/ill_pg_285-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_285-b_sml.jpg b/old/60759-h/images/ill_pg_285-b_sml.jpg
new file mode 100644
index 0000000..15f1c7d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_285-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_286_lg.jpg b/old/60759-h/images/ill_pg_286_lg.jpg
new file mode 100644
index 0000000..9cba15b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_286_lg.jpg
diff --git a/old/60759-h/images/ill_pg_286_sml.jpg b/old/60759-h/images/ill_pg_286_sml.jpg
new file mode 100644
index 0000000..d78124d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_286_sml.jpg
diff --git a/old/60759-h/images/ill_pg_287_lg.jpg b/old/60759-h/images/ill_pg_287_lg.jpg
new file mode 100644
index 0000000..bd1b537
--- /dev/null
+++ b/old/60759-h/images/ill_pg_287_lg.jpg
diff --git a/old/60759-h/images/ill_pg_287_sml.jpg b/old/60759-h/images/ill_pg_287_sml.jpg
new file mode 100644
index 0000000..a5a9aa3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_287_sml.jpg
diff --git a/old/60759-h/images/ill_pg_288_lg.jpg b/old/60759-h/images/ill_pg_288_lg.jpg
new file mode 100644
index 0000000..c3f4830
--- /dev/null
+++ b/old/60759-h/images/ill_pg_288_lg.jpg
diff --git a/old/60759-h/images/ill_pg_288_sml.jpg b/old/60759-h/images/ill_pg_288_sml.jpg
new file mode 100644
index 0000000..f9377d3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_288_sml.jpg
diff --git a/old/60759-h/images/ill_pg_289-a_lg.jpg b/old/60759-h/images/ill_pg_289-a_lg.jpg
new file mode 100644
index 0000000..eb03e0f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_289-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_289-a_sml.jpg b/old/60759-h/images/ill_pg_289-a_sml.jpg
new file mode 100644
index 0000000..56eb83f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_289-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_289-b_lg.jpg b/old/60759-h/images/ill_pg_289-b_lg.jpg
new file mode 100644
index 0000000..7870b8f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_289-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_289-b_sml.jpg b/old/60759-h/images/ill_pg_289-b_sml.jpg
new file mode 100644
index 0000000..1ecab5b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_289-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_290_lg.jpg b/old/60759-h/images/ill_pg_290_lg.jpg
new file mode 100644
index 0000000..3b6a42a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_290_lg.jpg
diff --git a/old/60759-h/images/ill_pg_290_sml.jpg b/old/60759-h/images/ill_pg_290_sml.jpg
new file mode 100644
index 0000000..fb3e5a9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_290_sml.jpg
diff --git a/old/60759-h/images/ill_pg_291_lg.jpg b/old/60759-h/images/ill_pg_291_lg.jpg
new file mode 100644
index 0000000..1d9c39b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_291_lg.jpg
diff --git a/old/60759-h/images/ill_pg_291_sml.jpg b/old/60759-h/images/ill_pg_291_sml.jpg
new file mode 100644
index 0000000..c575e38
--- /dev/null
+++ b/old/60759-h/images/ill_pg_291_sml.jpg
diff --git a/old/60759-h/images/ill_pg_292-a_lg.jpg b/old/60759-h/images/ill_pg_292-a_lg.jpg
new file mode 100644
index 0000000..5055119
--- /dev/null
+++ b/old/60759-h/images/ill_pg_292-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_292-a_sml.jpg b/old/60759-h/images/ill_pg_292-a_sml.jpg
new file mode 100644
index 0000000..602cc6c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_292-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_292-b_lg.jpg b/old/60759-h/images/ill_pg_292-b_lg.jpg
new file mode 100644
index 0000000..8d40798
--- /dev/null
+++ b/old/60759-h/images/ill_pg_292-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_292-b_sml.jpg b/old/60759-h/images/ill_pg_292-b_sml.jpg
new file mode 100644
index 0000000..73cf0a5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_292-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_293_lg.jpg b/old/60759-h/images/ill_pg_293_lg.jpg
new file mode 100644
index 0000000..633cad4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_293_lg.jpg
diff --git a/old/60759-h/images/ill_pg_293_sml.jpg b/old/60759-h/images/ill_pg_293_sml.jpg
new file mode 100644
index 0000000..13b6322
--- /dev/null
+++ b/old/60759-h/images/ill_pg_293_sml.jpg
diff --git a/old/60759-h/images/ill_pg_294_lg.jpg b/old/60759-h/images/ill_pg_294_lg.jpg
new file mode 100644
index 0000000..47700b1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_294_lg.jpg
diff --git a/old/60759-h/images/ill_pg_294_sml.jpg b/old/60759-h/images/ill_pg_294_sml.jpg
new file mode 100644
index 0000000..a185983
--- /dev/null
+++ b/old/60759-h/images/ill_pg_294_sml.jpg
diff --git a/old/60759-h/images/ill_pg_295_lg.jpg b/old/60759-h/images/ill_pg_295_lg.jpg
new file mode 100644
index 0000000..ed049b6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_295_lg.jpg
diff --git a/old/60759-h/images/ill_pg_295_sml.jpg b/old/60759-h/images/ill_pg_295_sml.jpg
new file mode 100644
index 0000000..d1687ca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_295_sml.jpg
diff --git a/old/60759-h/images/ill_pg_296_lg.jpg b/old/60759-h/images/ill_pg_296_lg.jpg
new file mode 100644
index 0000000..c5589e4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_296_lg.jpg
diff --git a/old/60759-h/images/ill_pg_296_sml.jpg b/old/60759-h/images/ill_pg_296_sml.jpg
new file mode 100644
index 0000000..3c31d13
--- /dev/null
+++ b/old/60759-h/images/ill_pg_296_sml.jpg
diff --git a/old/60759-h/images/ill_pg_297-a_lg.jpg b/old/60759-h/images/ill_pg_297-a_lg.jpg
new file mode 100644
index 0000000..4356de4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_297-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_297-a_sml.jpg b/old/60759-h/images/ill_pg_297-a_sml.jpg
new file mode 100644
index 0000000..a1776cf
--- /dev/null
+++ b/old/60759-h/images/ill_pg_297-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_297-b_lg.jpg b/old/60759-h/images/ill_pg_297-b_lg.jpg
new file mode 100644
index 0000000..5f9d44d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_297-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_297-b_sml.jpg b/old/60759-h/images/ill_pg_297-b_sml.jpg
new file mode 100644
index 0000000..a305700
--- /dev/null
+++ b/old/60759-h/images/ill_pg_297-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_298_lg.jpg b/old/60759-h/images/ill_pg_298_lg.jpg
new file mode 100644
index 0000000..066c36d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_298_lg.jpg
diff --git a/old/60759-h/images/ill_pg_298_sml.jpg b/old/60759-h/images/ill_pg_298_sml.jpg
new file mode 100644
index 0000000..03b2db7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_298_sml.jpg
diff --git a/old/60759-h/images/ill_pg_299-a_lg.jpg b/old/60759-h/images/ill_pg_299-a_lg.jpg
new file mode 100644
index 0000000..a856fce
--- /dev/null
+++ b/old/60759-h/images/ill_pg_299-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_299-a_sml.jpg b/old/60759-h/images/ill_pg_299-a_sml.jpg
new file mode 100644
index 0000000..df261d0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_299-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_299-b_lg.jpg b/old/60759-h/images/ill_pg_299-b_lg.jpg
new file mode 100644
index 0000000..cf158d5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_299-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_299-b_sml.jpg b/old/60759-h/images/ill_pg_299-b_sml.jpg
new file mode 100644
index 0000000..7e5f84c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_299-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_300-a_lg.jpg b/old/60759-h/images/ill_pg_300-a_lg.jpg
new file mode 100644
index 0000000..dc1102e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_300-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_300-a_sml.jpg b/old/60759-h/images/ill_pg_300-a_sml.jpg
new file mode 100644
index 0000000..01498b8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_300-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_300-b_lg.jpg b/old/60759-h/images/ill_pg_300-b_lg.jpg
new file mode 100644
index 0000000..363049b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_300-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_300-b_sml.jpg b/old/60759-h/images/ill_pg_300-b_sml.jpg
new file mode 100644
index 0000000..bc58c13
--- /dev/null
+++ b/old/60759-h/images/ill_pg_300-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_301_lg.jpg b/old/60759-h/images/ill_pg_301_lg.jpg
new file mode 100644
index 0000000..ad88e04
--- /dev/null
+++ b/old/60759-h/images/ill_pg_301_lg.jpg
diff --git a/old/60759-h/images/ill_pg_301_sml.jpg b/old/60759-h/images/ill_pg_301_sml.jpg
new file mode 100644
index 0000000..d272da0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_301_sml.jpg
diff --git a/old/60759-h/images/ill_pg_302_lg.jpg b/old/60759-h/images/ill_pg_302_lg.jpg
new file mode 100644
index 0000000..fea0970
--- /dev/null
+++ b/old/60759-h/images/ill_pg_302_lg.jpg
diff --git a/old/60759-h/images/ill_pg_302_sml.jpg b/old/60759-h/images/ill_pg_302_sml.jpg
new file mode 100644
index 0000000..30c0dae
--- /dev/null
+++ b/old/60759-h/images/ill_pg_302_sml.jpg
diff --git a/old/60759-h/images/ill_pg_304_lg.jpg b/old/60759-h/images/ill_pg_304_lg.jpg
new file mode 100644
index 0000000..bd76f84
--- /dev/null
+++ b/old/60759-h/images/ill_pg_304_lg.jpg
diff --git a/old/60759-h/images/ill_pg_304_sml.jpg b/old/60759-h/images/ill_pg_304_sml.jpg
new file mode 100644
index 0000000..a4d986a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_304_sml.jpg
diff --git a/old/60759-h/images/ill_pg_306_lg.jpg b/old/60759-h/images/ill_pg_306_lg.jpg
new file mode 100644
index 0000000..a95c3c3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_306_lg.jpg
diff --git a/old/60759-h/images/ill_pg_306_sml.jpg b/old/60759-h/images/ill_pg_306_sml.jpg
new file mode 100644
index 0000000..4b40acc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_306_sml.jpg
diff --git a/old/60759-h/images/ill_pg_307-a_lg.jpg b/old/60759-h/images/ill_pg_307-a_lg.jpg
new file mode 100644
index 0000000..8d1225a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_307-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_307-a_sml.jpg b/old/60759-h/images/ill_pg_307-a_sml.jpg
new file mode 100644
index 0000000..d4654c1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_307-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_307-b_lg.jpg b/old/60759-h/images/ill_pg_307-b_lg.jpg
new file mode 100644
index 0000000..d24a020
--- /dev/null
+++ b/old/60759-h/images/ill_pg_307-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_307-b_sml.jpg b/old/60759-h/images/ill_pg_307-b_sml.jpg
new file mode 100644
index 0000000..e41cb2a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_307-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_308_lg.jpg b/old/60759-h/images/ill_pg_308_lg.jpg
new file mode 100644
index 0000000..e2c4d24
--- /dev/null
+++ b/old/60759-h/images/ill_pg_308_lg.jpg
diff --git a/old/60759-h/images/ill_pg_308_sml.jpg b/old/60759-h/images/ill_pg_308_sml.jpg
new file mode 100644
index 0000000..e283dfc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_308_sml.jpg
diff --git a/old/60759-h/images/ill_pg_309_lg.jpg b/old/60759-h/images/ill_pg_309_lg.jpg
new file mode 100644
index 0000000..31b9b06
--- /dev/null
+++ b/old/60759-h/images/ill_pg_309_lg.jpg
diff --git a/old/60759-h/images/ill_pg_309_sml.jpg b/old/60759-h/images/ill_pg_309_sml.jpg
new file mode 100644
index 0000000..c6d25b6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_309_sml.jpg
diff --git a/old/60759-h/images/ill_pg_310_lg.jpg b/old/60759-h/images/ill_pg_310_lg.jpg
new file mode 100644
index 0000000..aa21969
--- /dev/null
+++ b/old/60759-h/images/ill_pg_310_lg.jpg
diff --git a/old/60759-h/images/ill_pg_310_sml.jpg b/old/60759-h/images/ill_pg_310_sml.jpg
new file mode 100644
index 0000000..d3de8cd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_310_sml.jpg
diff --git a/old/60759-h/images/ill_pg_311_lg.jpg b/old/60759-h/images/ill_pg_311_lg.jpg
new file mode 100644
index 0000000..08bc03d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_311_lg.jpg
diff --git a/old/60759-h/images/ill_pg_311_sml.jpg b/old/60759-h/images/ill_pg_311_sml.jpg
new file mode 100644
index 0000000..f967ff1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_311_sml.jpg
diff --git a/old/60759-h/images/ill_pg_312_lg.jpg b/old/60759-h/images/ill_pg_312_lg.jpg
new file mode 100644
index 0000000..85a8a0e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_312_lg.jpg
diff --git a/old/60759-h/images/ill_pg_312_sml.jpg b/old/60759-h/images/ill_pg_312_sml.jpg
new file mode 100644
index 0000000..45b2c51
--- /dev/null
+++ b/old/60759-h/images/ill_pg_312_sml.jpg
diff --git a/old/60759-h/images/ill_pg_313-a_lg.jpg b/old/60759-h/images/ill_pg_313-a_lg.jpg
new file mode 100644
index 0000000..bb27aab
--- /dev/null
+++ b/old/60759-h/images/ill_pg_313-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_313-a_sml.jpg b/old/60759-h/images/ill_pg_313-a_sml.jpg
new file mode 100644
index 0000000..0c0b90b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_313-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_313-b_lg.jpg b/old/60759-h/images/ill_pg_313-b_lg.jpg
new file mode 100644
index 0000000..c7d3ba3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_313-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_313-b_sml.jpg b/old/60759-h/images/ill_pg_313-b_sml.jpg
new file mode 100644
index 0000000..55f5e43
--- /dev/null
+++ b/old/60759-h/images/ill_pg_313-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_314-a_lg.jpg b/old/60759-h/images/ill_pg_314-a_lg.jpg
new file mode 100644
index 0000000..749bb92
--- /dev/null
+++ b/old/60759-h/images/ill_pg_314-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_314-a_sml.jpg b/old/60759-h/images/ill_pg_314-a_sml.jpg
new file mode 100644
index 0000000..283fb54
--- /dev/null
+++ b/old/60759-h/images/ill_pg_314-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_314-b_lg.jpg b/old/60759-h/images/ill_pg_314-b_lg.jpg
new file mode 100644
index 0000000..004de73
--- /dev/null
+++ b/old/60759-h/images/ill_pg_314-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_314-b_sml.jpg b/old/60759-h/images/ill_pg_314-b_sml.jpg
new file mode 100644
index 0000000..d9c8a1c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_314-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_315_lg.jpg b/old/60759-h/images/ill_pg_315_lg.jpg
new file mode 100644
index 0000000..7cf8ef2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_315_lg.jpg
diff --git a/old/60759-h/images/ill_pg_315_sml.jpg b/old/60759-h/images/ill_pg_315_sml.jpg
new file mode 100644
index 0000000..12557b9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_315_sml.jpg
diff --git a/old/60759-h/images/ill_pg_316_lg.jpg b/old/60759-h/images/ill_pg_316_lg.jpg
new file mode 100644
index 0000000..af87716
--- /dev/null
+++ b/old/60759-h/images/ill_pg_316_lg.jpg
diff --git a/old/60759-h/images/ill_pg_316_sml.jpg b/old/60759-h/images/ill_pg_316_sml.jpg
new file mode 100644
index 0000000..3efd0ac
--- /dev/null
+++ b/old/60759-h/images/ill_pg_316_sml.jpg
diff --git a/old/60759-h/images/ill_pg_317_lg.jpg b/old/60759-h/images/ill_pg_317_lg.jpg
new file mode 100644
index 0000000..1e75e30
--- /dev/null
+++ b/old/60759-h/images/ill_pg_317_lg.jpg
diff --git a/old/60759-h/images/ill_pg_317_sml.jpg b/old/60759-h/images/ill_pg_317_sml.jpg
new file mode 100644
index 0000000..8983c13
--- /dev/null
+++ b/old/60759-h/images/ill_pg_317_sml.jpg
diff --git a/old/60759-h/images/ill_pg_318_lg.jpg b/old/60759-h/images/ill_pg_318_lg.jpg
new file mode 100644
index 0000000..1e2095b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_318_lg.jpg
diff --git a/old/60759-h/images/ill_pg_318_sml.jpg b/old/60759-h/images/ill_pg_318_sml.jpg
new file mode 100644
index 0000000..bbc65fe
--- /dev/null
+++ b/old/60759-h/images/ill_pg_318_sml.jpg
diff --git a/old/60759-h/images/ill_pg_319-a_lg.jpg b/old/60759-h/images/ill_pg_319-a_lg.jpg
new file mode 100644
index 0000000..88b44bf
--- /dev/null
+++ b/old/60759-h/images/ill_pg_319-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_319-a_sml.jpg b/old/60759-h/images/ill_pg_319-a_sml.jpg
new file mode 100644
index 0000000..53ab9c2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_319-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_319-b_lg.jpg b/old/60759-h/images/ill_pg_319-b_lg.jpg
new file mode 100644
index 0000000..6e7697c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_319-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_319-b_sml.jpg b/old/60759-h/images/ill_pg_319-b_sml.jpg
new file mode 100644
index 0000000..7f26cac
--- /dev/null
+++ b/old/60759-h/images/ill_pg_319-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_320_lg.jpg b/old/60759-h/images/ill_pg_320_lg.jpg
new file mode 100644
index 0000000..ad2fa1a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_320_lg.jpg
diff --git a/old/60759-h/images/ill_pg_320_sml.jpg b/old/60759-h/images/ill_pg_320_sml.jpg
new file mode 100644
index 0000000..75391b6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_320_sml.jpg
diff --git a/old/60759-h/images/ill_pg_321_lg.jpg b/old/60759-h/images/ill_pg_321_lg.jpg
new file mode 100644
index 0000000..b59e6a7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_321_lg.jpg
diff --git a/old/60759-h/images/ill_pg_321_sml.jpg b/old/60759-h/images/ill_pg_321_sml.jpg
new file mode 100644
index 0000000..762b91d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_321_sml.jpg
diff --git a/old/60759-h/images/ill_pg_322_lg.jpg b/old/60759-h/images/ill_pg_322_lg.jpg
new file mode 100644
index 0000000..b812bf0
--- /dev/null
+++ b/old/60759-h/images/ill_pg_322_lg.jpg
diff --git a/old/60759-h/images/ill_pg_322_sml.jpg b/old/60759-h/images/ill_pg_322_sml.jpg
new file mode 100644
index 0000000..642b755
--- /dev/null
+++ b/old/60759-h/images/ill_pg_322_sml.jpg
diff --git a/old/60759-h/images/ill_pg_323_lg.jpg b/old/60759-h/images/ill_pg_323_lg.jpg
new file mode 100644
index 0000000..107d70a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_323_lg.jpg
diff --git a/old/60759-h/images/ill_pg_323_sml.jpg b/old/60759-h/images/ill_pg_323_sml.jpg
new file mode 100644
index 0000000..c977c47
--- /dev/null
+++ b/old/60759-h/images/ill_pg_323_sml.jpg
diff --git a/old/60759-h/images/ill_pg_324_lg.jpg b/old/60759-h/images/ill_pg_324_lg.jpg
new file mode 100644
index 0000000..37e8813
--- /dev/null
+++ b/old/60759-h/images/ill_pg_324_lg.jpg
diff --git a/old/60759-h/images/ill_pg_324_sml.jpg b/old/60759-h/images/ill_pg_324_sml.jpg
new file mode 100644
index 0000000..3c7e2a3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_324_sml.jpg
diff --git a/old/60759-h/images/ill_pg_325_lg.jpg b/old/60759-h/images/ill_pg_325_lg.jpg
new file mode 100644
index 0000000..035e204
--- /dev/null
+++ b/old/60759-h/images/ill_pg_325_lg.jpg
diff --git a/old/60759-h/images/ill_pg_325_sml.jpg b/old/60759-h/images/ill_pg_325_sml.jpg
new file mode 100644
index 0000000..a48f7f8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_325_sml.jpg
diff --git a/old/60759-h/images/ill_pg_326-a_lg.jpg b/old/60759-h/images/ill_pg_326-a_lg.jpg
new file mode 100644
index 0000000..620483f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_326-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_326-a_sml.jpg b/old/60759-h/images/ill_pg_326-a_sml.jpg
new file mode 100644
index 0000000..e07e196
--- /dev/null
+++ b/old/60759-h/images/ill_pg_326-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_326-b_lg.jpg b/old/60759-h/images/ill_pg_326-b_lg.jpg
new file mode 100644
index 0000000..72b2d3b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_326-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_326-b_sml.jpg b/old/60759-h/images/ill_pg_326-b_sml.jpg
new file mode 100644
index 0000000..8982f54
--- /dev/null
+++ b/old/60759-h/images/ill_pg_326-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_327_lg.jpg b/old/60759-h/images/ill_pg_327_lg.jpg
new file mode 100644
index 0000000..a938a36
--- /dev/null
+++ b/old/60759-h/images/ill_pg_327_lg.jpg
diff --git a/old/60759-h/images/ill_pg_327_sml.jpg b/old/60759-h/images/ill_pg_327_sml.jpg
new file mode 100644
index 0000000..ded1f6b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_327_sml.jpg
diff --git a/old/60759-h/images/ill_pg_328-a_lg.jpg b/old/60759-h/images/ill_pg_328-a_lg.jpg
new file mode 100644
index 0000000..1ccb3b7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_328-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_328-a_sml.jpg b/old/60759-h/images/ill_pg_328-a_sml.jpg
new file mode 100644
index 0000000..e61cf14
--- /dev/null
+++ b/old/60759-h/images/ill_pg_328-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_328-b_lg.jpg b/old/60759-h/images/ill_pg_328-b_lg.jpg
new file mode 100644
index 0000000..f016ed6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_328-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_328-b_sml.jpg b/old/60759-h/images/ill_pg_328-b_sml.jpg
new file mode 100644
index 0000000..4f3a01b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_328-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_329_lg.jpg b/old/60759-h/images/ill_pg_329_lg.jpg
new file mode 100644
index 0000000..9ee0b26
--- /dev/null
+++ b/old/60759-h/images/ill_pg_329_lg.jpg
diff --git a/old/60759-h/images/ill_pg_329_sml.jpg b/old/60759-h/images/ill_pg_329_sml.jpg
new file mode 100644
index 0000000..4b53e47
--- /dev/null
+++ b/old/60759-h/images/ill_pg_329_sml.jpg
diff --git a/old/60759-h/images/ill_pg_330_lg.jpg b/old/60759-h/images/ill_pg_330_lg.jpg
new file mode 100644
index 0000000..c98c440
--- /dev/null
+++ b/old/60759-h/images/ill_pg_330_lg.jpg
diff --git a/old/60759-h/images/ill_pg_330_sml.jpg b/old/60759-h/images/ill_pg_330_sml.jpg
new file mode 100644
index 0000000..1a97adf
--- /dev/null
+++ b/old/60759-h/images/ill_pg_330_sml.jpg
diff --git a/old/60759-h/images/ill_pg_331_lg.jpg b/old/60759-h/images/ill_pg_331_lg.jpg
new file mode 100644
index 0000000..fd6fb65
--- /dev/null
+++ b/old/60759-h/images/ill_pg_331_lg.jpg
diff --git a/old/60759-h/images/ill_pg_331_sml.jpg b/old/60759-h/images/ill_pg_331_sml.jpg
new file mode 100644
index 0000000..e806a23
--- /dev/null
+++ b/old/60759-h/images/ill_pg_331_sml.jpg
diff --git a/old/60759-h/images/ill_pg_333_lg.jpg b/old/60759-h/images/ill_pg_333_lg.jpg
new file mode 100644
index 0000000..7559a62
--- /dev/null
+++ b/old/60759-h/images/ill_pg_333_lg.jpg
diff --git a/old/60759-h/images/ill_pg_333_sml.jpg b/old/60759-h/images/ill_pg_333_sml.jpg
new file mode 100644
index 0000000..35edfd2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_333_sml.jpg
diff --git a/old/60759-h/images/ill_pg_334_lg.jpg b/old/60759-h/images/ill_pg_334_lg.jpg
new file mode 100644
index 0000000..9e05b80
--- /dev/null
+++ b/old/60759-h/images/ill_pg_334_lg.jpg
diff --git a/old/60759-h/images/ill_pg_334_sml.jpg b/old/60759-h/images/ill_pg_334_sml.jpg
new file mode 100644
index 0000000..64961e4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_334_sml.jpg
diff --git a/old/60759-h/images/ill_pg_335_lg.jpg b/old/60759-h/images/ill_pg_335_lg.jpg
new file mode 100644
index 0000000..ef1ff89
--- /dev/null
+++ b/old/60759-h/images/ill_pg_335_lg.jpg
diff --git a/old/60759-h/images/ill_pg_335_sml.jpg b/old/60759-h/images/ill_pg_335_sml.jpg
new file mode 100644
index 0000000..5fc6c8e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_335_sml.jpg
diff --git a/old/60759-h/images/ill_pg_336_lg.jpg b/old/60759-h/images/ill_pg_336_lg.jpg
new file mode 100644
index 0000000..4759573
--- /dev/null
+++ b/old/60759-h/images/ill_pg_336_lg.jpg
diff --git a/old/60759-h/images/ill_pg_336_sml.jpg b/old/60759-h/images/ill_pg_336_sml.jpg
new file mode 100644
index 0000000..4578f35
--- /dev/null
+++ b/old/60759-h/images/ill_pg_336_sml.jpg
diff --git a/old/60759-h/images/ill_pg_338_lg.jpg b/old/60759-h/images/ill_pg_338_lg.jpg
new file mode 100644
index 0000000..b4ef21a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_338_lg.jpg
diff --git a/old/60759-h/images/ill_pg_338_sml.jpg b/old/60759-h/images/ill_pg_338_sml.jpg
new file mode 100644
index 0000000..8934b15
--- /dev/null
+++ b/old/60759-h/images/ill_pg_338_sml.jpg
diff --git a/old/60759-h/images/ill_pg_340_lg.jpg b/old/60759-h/images/ill_pg_340_lg.jpg
new file mode 100644
index 0000000..67d56dd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_340_lg.jpg
diff --git a/old/60759-h/images/ill_pg_340_sml.jpg b/old/60759-h/images/ill_pg_340_sml.jpg
new file mode 100644
index 0000000..bfa201b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_340_sml.jpg
diff --git a/old/60759-h/images/ill_pg_341_lg.jpg b/old/60759-h/images/ill_pg_341_lg.jpg
new file mode 100644
index 0000000..20bd309
--- /dev/null
+++ b/old/60759-h/images/ill_pg_341_lg.jpg
diff --git a/old/60759-h/images/ill_pg_341_sml.jpg b/old/60759-h/images/ill_pg_341_sml.jpg
new file mode 100644
index 0000000..8b0640e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_341_sml.jpg
diff --git a/old/60759-h/images/ill_pg_342_lg.jpg b/old/60759-h/images/ill_pg_342_lg.jpg
new file mode 100644
index 0000000..a6e9e82
--- /dev/null
+++ b/old/60759-h/images/ill_pg_342_lg.jpg
diff --git a/old/60759-h/images/ill_pg_342_sml.jpg b/old/60759-h/images/ill_pg_342_sml.jpg
new file mode 100644
index 0000000..736f4df
--- /dev/null
+++ b/old/60759-h/images/ill_pg_342_sml.jpg
diff --git a/old/60759-h/images/ill_pg_343_lg.jpg b/old/60759-h/images/ill_pg_343_lg.jpg
new file mode 100644
index 0000000..468f801
--- /dev/null
+++ b/old/60759-h/images/ill_pg_343_lg.jpg
diff --git a/old/60759-h/images/ill_pg_343_sml.jpg b/old/60759-h/images/ill_pg_343_sml.jpg
new file mode 100644
index 0000000..a0e61b6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_343_sml.jpg
diff --git a/old/60759-h/images/ill_pg_346_lg.jpg b/old/60759-h/images/ill_pg_346_lg.jpg
new file mode 100644
index 0000000..0c35183
--- /dev/null
+++ b/old/60759-h/images/ill_pg_346_lg.jpg
diff --git a/old/60759-h/images/ill_pg_346_sml.jpg b/old/60759-h/images/ill_pg_346_sml.jpg
new file mode 100644
index 0000000..5e9f11d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_346_sml.jpg
diff --git a/old/60759-h/images/ill_pg_347_lg.jpg b/old/60759-h/images/ill_pg_347_lg.jpg
new file mode 100644
index 0000000..fa75b2b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_347_lg.jpg
diff --git a/old/60759-h/images/ill_pg_347_sml.jpg b/old/60759-h/images/ill_pg_347_sml.jpg
new file mode 100644
index 0000000..9c5da20
--- /dev/null
+++ b/old/60759-h/images/ill_pg_347_sml.jpg
diff --git a/old/60759-h/images/ill_pg_355_lg.jpg b/old/60759-h/images/ill_pg_355_lg.jpg
new file mode 100644
index 0000000..3e2b12e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_355_lg.jpg
diff --git a/old/60759-h/images/ill_pg_355_sml.jpg b/old/60759-h/images/ill_pg_355_sml.jpg
new file mode 100644
index 0000000..ae27d69
--- /dev/null
+++ b/old/60759-h/images/ill_pg_355_sml.jpg
diff --git a/old/60759-h/images/ill_pg_357_lg.jpg b/old/60759-h/images/ill_pg_357_lg.jpg
new file mode 100644
index 0000000..3c26f07
--- /dev/null
+++ b/old/60759-h/images/ill_pg_357_lg.jpg
diff --git a/old/60759-h/images/ill_pg_357_sml.jpg b/old/60759-h/images/ill_pg_357_sml.jpg
new file mode 100644
index 0000000..b9a04b5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_357_sml.jpg
diff --git a/old/60759-h/images/ill_pg_360_lg.jpg b/old/60759-h/images/ill_pg_360_lg.jpg
new file mode 100644
index 0000000..773da35
--- /dev/null
+++ b/old/60759-h/images/ill_pg_360_lg.jpg
diff --git a/old/60759-h/images/ill_pg_360_sml.jpg b/old/60759-h/images/ill_pg_360_sml.jpg
new file mode 100644
index 0000000..de2ee27
--- /dev/null
+++ b/old/60759-h/images/ill_pg_360_sml.jpg
diff --git a/old/60759-h/images/ill_pg_361-a_lg.jpg b/old/60759-h/images/ill_pg_361-a_lg.jpg
new file mode 100644
index 0000000..4c156e3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_361-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_361-a_sml.jpg b/old/60759-h/images/ill_pg_361-a_sml.jpg
new file mode 100644
index 0000000..757acad
--- /dev/null
+++ b/old/60759-h/images/ill_pg_361-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_361-b_lg.jpg b/old/60759-h/images/ill_pg_361-b_lg.jpg
new file mode 100644
index 0000000..725163d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_361-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_361-b_sml.jpg b/old/60759-h/images/ill_pg_361-b_sml.jpg
new file mode 100644
index 0000000..ced57bb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_361-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_362_lg.jpg b/old/60759-h/images/ill_pg_362_lg.jpg
new file mode 100644
index 0000000..362abff
--- /dev/null
+++ b/old/60759-h/images/ill_pg_362_lg.jpg
diff --git a/old/60759-h/images/ill_pg_362_sml.jpg b/old/60759-h/images/ill_pg_362_sml.jpg
new file mode 100644
index 0000000..e9218df
--- /dev/null
+++ b/old/60759-h/images/ill_pg_362_sml.jpg
diff --git a/old/60759-h/images/ill_pg_363-a_lg.jpg b/old/60759-h/images/ill_pg_363-a_lg.jpg
new file mode 100644
index 0000000..ca27df7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_363-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_363-a_sml.jpg b/old/60759-h/images/ill_pg_363-a_sml.jpg
new file mode 100644
index 0000000..aa7f2bb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_363-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_363-b_lg.jpg b/old/60759-h/images/ill_pg_363-b_lg.jpg
new file mode 100644
index 0000000..d61ec02
--- /dev/null
+++ b/old/60759-h/images/ill_pg_363-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_363-b_sml.jpg b/old/60759-h/images/ill_pg_363-b_sml.jpg
new file mode 100644
index 0000000..187fb63
--- /dev/null
+++ b/old/60759-h/images/ill_pg_363-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_364_lg.jpg b/old/60759-h/images/ill_pg_364_lg.jpg
new file mode 100644
index 0000000..e8c529d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_364_lg.jpg
diff --git a/old/60759-h/images/ill_pg_364_sml.jpg b/old/60759-h/images/ill_pg_364_sml.jpg
new file mode 100644
index 0000000..bdb761c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_364_sml.jpg
diff --git a/old/60759-h/images/ill_pg_365-a_lg.jpg b/old/60759-h/images/ill_pg_365-a_lg.jpg
new file mode 100644
index 0000000..c14275a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_365-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_365-a_sml.jpg b/old/60759-h/images/ill_pg_365-a_sml.jpg
new file mode 100644
index 0000000..742f3ae
--- /dev/null
+++ b/old/60759-h/images/ill_pg_365-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_365-b_lg.jpg b/old/60759-h/images/ill_pg_365-b_lg.jpg
new file mode 100644
index 0000000..d3c5dcf
--- /dev/null
+++ b/old/60759-h/images/ill_pg_365-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_365-b_sml.jpg b/old/60759-h/images/ill_pg_365-b_sml.jpg
new file mode 100644
index 0000000..df1ad8b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_365-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_367_lg.jpg b/old/60759-h/images/ill_pg_367_lg.jpg
new file mode 100644
index 0000000..05a3116
--- /dev/null
+++ b/old/60759-h/images/ill_pg_367_lg.jpg
diff --git a/old/60759-h/images/ill_pg_367_sml.jpg b/old/60759-h/images/ill_pg_367_sml.jpg
new file mode 100644
index 0000000..8f44356
--- /dev/null
+++ b/old/60759-h/images/ill_pg_367_sml.jpg
diff --git a/old/60759-h/images/ill_pg_368_lg.jpg b/old/60759-h/images/ill_pg_368_lg.jpg
new file mode 100644
index 0000000..e04ea6d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_368_lg.jpg
diff --git a/old/60759-h/images/ill_pg_368_sml.jpg b/old/60759-h/images/ill_pg_368_sml.jpg
new file mode 100644
index 0000000..2993dd7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_368_sml.jpg
diff --git a/old/60759-h/images/ill_pg_369_lg.jpg b/old/60759-h/images/ill_pg_369_lg.jpg
new file mode 100644
index 0000000..ac1fecc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_369_lg.jpg
diff --git a/old/60759-h/images/ill_pg_369_sml.jpg b/old/60759-h/images/ill_pg_369_sml.jpg
new file mode 100644
index 0000000..72f1498
--- /dev/null
+++ b/old/60759-h/images/ill_pg_369_sml.jpg
diff --git a/old/60759-h/images/ill_pg_370-a_lg.jpg b/old/60759-h/images/ill_pg_370-a_lg.jpg
new file mode 100644
index 0000000..6f9e7f3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_370-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_370-a_sml.jpg b/old/60759-h/images/ill_pg_370-a_sml.jpg
new file mode 100644
index 0000000..a0b2c49
--- /dev/null
+++ b/old/60759-h/images/ill_pg_370-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_370-b_lg.jpg b/old/60759-h/images/ill_pg_370-b_lg.jpg
new file mode 100644
index 0000000..44d1293
--- /dev/null
+++ b/old/60759-h/images/ill_pg_370-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_370-b_sml.jpg b/old/60759-h/images/ill_pg_370-b_sml.jpg
new file mode 100644
index 0000000..01ad5dd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_370-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_371_lg.jpg b/old/60759-h/images/ill_pg_371_lg.jpg
new file mode 100644
index 0000000..7d05c05
--- /dev/null
+++ b/old/60759-h/images/ill_pg_371_lg.jpg
diff --git a/old/60759-h/images/ill_pg_371_sml.jpg b/old/60759-h/images/ill_pg_371_sml.jpg
new file mode 100644
index 0000000..ce2c679
--- /dev/null
+++ b/old/60759-h/images/ill_pg_371_sml.jpg
diff --git a/old/60759-h/images/ill_pg_373_lg.jpg b/old/60759-h/images/ill_pg_373_lg.jpg
new file mode 100644
index 0000000..9b9b4d5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_373_lg.jpg
diff --git a/old/60759-h/images/ill_pg_373_sml.jpg b/old/60759-h/images/ill_pg_373_sml.jpg
new file mode 100644
index 0000000..7278b7f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_373_sml.jpg
diff --git a/old/60759-h/images/ill_pg_374_lg.jpg b/old/60759-h/images/ill_pg_374_lg.jpg
new file mode 100644
index 0000000..c85fe08
--- /dev/null
+++ b/old/60759-h/images/ill_pg_374_lg.jpg
diff --git a/old/60759-h/images/ill_pg_374_sml.jpg b/old/60759-h/images/ill_pg_374_sml.jpg
new file mode 100644
index 0000000..eca33b5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_374_sml.jpg
diff --git a/old/60759-h/images/ill_pg_375_lg.jpg b/old/60759-h/images/ill_pg_375_lg.jpg
new file mode 100644
index 0000000..7357d0e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_375_lg.jpg
diff --git a/old/60759-h/images/ill_pg_375_sml.jpg b/old/60759-h/images/ill_pg_375_sml.jpg
new file mode 100644
index 0000000..039163d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_375_sml.jpg
diff --git a/old/60759-h/images/ill_pg_376_lg.jpg b/old/60759-h/images/ill_pg_376_lg.jpg
new file mode 100644
index 0000000..62804e6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_376_lg.jpg
diff --git a/old/60759-h/images/ill_pg_376_sml.jpg b/old/60759-h/images/ill_pg_376_sml.jpg
new file mode 100644
index 0000000..6901eca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_376_sml.jpg
diff --git a/old/60759-h/images/ill_pg_377_lg.jpg b/old/60759-h/images/ill_pg_377_lg.jpg
new file mode 100644
index 0000000..28e74ca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_377_lg.jpg
diff --git a/old/60759-h/images/ill_pg_377_sml.jpg b/old/60759-h/images/ill_pg_377_sml.jpg
new file mode 100644
index 0000000..4567de7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_377_sml.jpg
diff --git a/old/60759-h/images/ill_pg_378_lg.jpg b/old/60759-h/images/ill_pg_378_lg.jpg
new file mode 100644
index 0000000..ffb24b7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_378_lg.jpg
diff --git a/old/60759-h/images/ill_pg_378_sml.jpg b/old/60759-h/images/ill_pg_378_sml.jpg
new file mode 100644
index 0000000..52ab93b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_378_sml.jpg
diff --git a/old/60759-h/images/ill_pg_381_lg.jpg b/old/60759-h/images/ill_pg_381_lg.jpg
new file mode 100644
index 0000000..20a8958
--- /dev/null
+++ b/old/60759-h/images/ill_pg_381_lg.jpg
diff --git a/old/60759-h/images/ill_pg_381_sml.jpg b/old/60759-h/images/ill_pg_381_sml.jpg
new file mode 100644
index 0000000..911d63b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_381_sml.jpg
diff --git a/old/60759-h/images/ill_pg_382_lg.jpg b/old/60759-h/images/ill_pg_382_lg.jpg
new file mode 100644
index 0000000..bec37a9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_382_lg.jpg
diff --git a/old/60759-h/images/ill_pg_382_sml.jpg b/old/60759-h/images/ill_pg_382_sml.jpg
new file mode 100644
index 0000000..8db32e7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_382_sml.jpg
diff --git a/old/60759-h/images/ill_pg_383_lg.jpg b/old/60759-h/images/ill_pg_383_lg.jpg
new file mode 100644
index 0000000..fd4dc6e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_383_lg.jpg
diff --git a/old/60759-h/images/ill_pg_383_sml.jpg b/old/60759-h/images/ill_pg_383_sml.jpg
new file mode 100644
index 0000000..e8ee1e1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_383_sml.jpg
diff --git a/old/60759-h/images/ill_pg_384_lg.jpg b/old/60759-h/images/ill_pg_384_lg.jpg
new file mode 100644
index 0000000..3786402
--- /dev/null
+++ b/old/60759-h/images/ill_pg_384_lg.jpg
diff --git a/old/60759-h/images/ill_pg_384_sml.jpg b/old/60759-h/images/ill_pg_384_sml.jpg
new file mode 100644
index 0000000..42bbebb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_384_sml.jpg
diff --git a/old/60759-h/images/ill_pg_385_lg.jpg b/old/60759-h/images/ill_pg_385_lg.jpg
new file mode 100644
index 0000000..09d7ae3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_385_lg.jpg
diff --git a/old/60759-h/images/ill_pg_385_sml.jpg b/old/60759-h/images/ill_pg_385_sml.jpg
new file mode 100644
index 0000000..335b12b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_385_sml.jpg
diff --git a/old/60759-h/images/ill_pg_386_lg.jpg b/old/60759-h/images/ill_pg_386_lg.jpg
new file mode 100644
index 0000000..468be86
--- /dev/null
+++ b/old/60759-h/images/ill_pg_386_lg.jpg
diff --git a/old/60759-h/images/ill_pg_386_sml.jpg b/old/60759-h/images/ill_pg_386_sml.jpg
new file mode 100644
index 0000000..1adc5cc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_386_sml.jpg
diff --git a/old/60759-h/images/ill_pg_387_lg.jpg b/old/60759-h/images/ill_pg_387_lg.jpg
new file mode 100644
index 0000000..607d655
--- /dev/null
+++ b/old/60759-h/images/ill_pg_387_lg.jpg
diff --git a/old/60759-h/images/ill_pg_387_sml.jpg b/old/60759-h/images/ill_pg_387_sml.jpg
new file mode 100644
index 0000000..35374dc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_387_sml.jpg
diff --git a/old/60759-h/images/ill_pg_389_lg.jpg b/old/60759-h/images/ill_pg_389_lg.jpg
new file mode 100644
index 0000000..1c5761a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_389_lg.jpg
diff --git a/old/60759-h/images/ill_pg_389_sml.jpg b/old/60759-h/images/ill_pg_389_sml.jpg
new file mode 100644
index 0000000..aaec81d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_389_sml.jpg
diff --git a/old/60759-h/images/ill_pg_390_lg.jpg b/old/60759-h/images/ill_pg_390_lg.jpg
new file mode 100644
index 0000000..cc34058
--- /dev/null
+++ b/old/60759-h/images/ill_pg_390_lg.jpg
diff --git a/old/60759-h/images/ill_pg_390_sml.jpg b/old/60759-h/images/ill_pg_390_sml.jpg
new file mode 100644
index 0000000..5f623ec
--- /dev/null
+++ b/old/60759-h/images/ill_pg_390_sml.jpg
diff --git a/old/60759-h/images/ill_pg_394_lg.jpg b/old/60759-h/images/ill_pg_394_lg.jpg
new file mode 100644
index 0000000..0b04466
--- /dev/null
+++ b/old/60759-h/images/ill_pg_394_lg.jpg
diff --git a/old/60759-h/images/ill_pg_394_sml.jpg b/old/60759-h/images/ill_pg_394_sml.jpg
new file mode 100644
index 0000000..cddf618
--- /dev/null
+++ b/old/60759-h/images/ill_pg_394_sml.jpg
diff --git a/old/60759-h/images/ill_pg_396_lg.jpg b/old/60759-h/images/ill_pg_396_lg.jpg
new file mode 100644
index 0000000..08583b3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_396_lg.jpg
diff --git a/old/60759-h/images/ill_pg_396_sml.jpg b/old/60759-h/images/ill_pg_396_sml.jpg
new file mode 100644
index 0000000..179206c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_396_sml.jpg
diff --git a/old/60759-h/images/ill_pg_397_lg.jpg b/old/60759-h/images/ill_pg_397_lg.jpg
new file mode 100644
index 0000000..8e482e3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_397_lg.jpg
diff --git a/old/60759-h/images/ill_pg_397_sml.jpg b/old/60759-h/images/ill_pg_397_sml.jpg
new file mode 100644
index 0000000..5b7226b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_397_sml.jpg
diff --git a/old/60759-h/images/ill_pg_398_lg.jpg b/old/60759-h/images/ill_pg_398_lg.jpg
new file mode 100644
index 0000000..ed69165
--- /dev/null
+++ b/old/60759-h/images/ill_pg_398_lg.jpg
diff --git a/old/60759-h/images/ill_pg_398_sml.jpg b/old/60759-h/images/ill_pg_398_sml.jpg
new file mode 100644
index 0000000..5c44379
--- /dev/null
+++ b/old/60759-h/images/ill_pg_398_sml.jpg
diff --git a/old/60759-h/images/ill_pg_399_lg.jpg b/old/60759-h/images/ill_pg_399_lg.jpg
new file mode 100644
index 0000000..4096642
--- /dev/null
+++ b/old/60759-h/images/ill_pg_399_lg.jpg
diff --git a/old/60759-h/images/ill_pg_399_sml.jpg b/old/60759-h/images/ill_pg_399_sml.jpg
new file mode 100644
index 0000000..801e7d9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_399_sml.jpg
diff --git a/old/60759-h/images/ill_pg_400_lg.jpg b/old/60759-h/images/ill_pg_400_lg.jpg
new file mode 100644
index 0000000..0679f70
--- /dev/null
+++ b/old/60759-h/images/ill_pg_400_lg.jpg
diff --git a/old/60759-h/images/ill_pg_400_sml.jpg b/old/60759-h/images/ill_pg_400_sml.jpg
new file mode 100644
index 0000000..9c17b53
--- /dev/null
+++ b/old/60759-h/images/ill_pg_400_sml.jpg
diff --git a/old/60759-h/images/ill_pg_402_lg.jpg b/old/60759-h/images/ill_pg_402_lg.jpg
new file mode 100644
index 0000000..b73274b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_402_lg.jpg
diff --git a/old/60759-h/images/ill_pg_402_sml.jpg b/old/60759-h/images/ill_pg_402_sml.jpg
new file mode 100644
index 0000000..f4911f6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_402_sml.jpg
diff --git a/old/60759-h/images/ill_pg_403_lg.jpg b/old/60759-h/images/ill_pg_403_lg.jpg
new file mode 100644
index 0000000..0e4b355
--- /dev/null
+++ b/old/60759-h/images/ill_pg_403_lg.jpg
diff --git a/old/60759-h/images/ill_pg_403_sml.jpg b/old/60759-h/images/ill_pg_403_sml.jpg
new file mode 100644
index 0000000..c7ce6cd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_403_sml.jpg
diff --git a/old/60759-h/images/ill_pg_408_lg.jpg b/old/60759-h/images/ill_pg_408_lg.jpg
new file mode 100644
index 0000000..695e8fc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_408_lg.jpg
diff --git a/old/60759-h/images/ill_pg_408_sml.jpg b/old/60759-h/images/ill_pg_408_sml.jpg
new file mode 100644
index 0000000..71053ca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_408_sml.jpg
diff --git a/old/60759-h/images/ill_pg_410-a_lg.jpg b/old/60759-h/images/ill_pg_410-a_lg.jpg
new file mode 100644
index 0000000..038d38f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_410-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_410-a_sml.jpg b/old/60759-h/images/ill_pg_410-a_sml.jpg
new file mode 100644
index 0000000..65ed4c1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_410-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_410-b_lg.jpg b/old/60759-h/images/ill_pg_410-b_lg.jpg
new file mode 100644
index 0000000..b444001
--- /dev/null
+++ b/old/60759-h/images/ill_pg_410-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_410-b_sml.jpg b/old/60759-h/images/ill_pg_410-b_sml.jpg
new file mode 100644
index 0000000..ddb763d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_410-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_411_lg.jpg b/old/60759-h/images/ill_pg_411_lg.jpg
new file mode 100644
index 0000000..ed49cb4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_411_lg.jpg
diff --git a/old/60759-h/images/ill_pg_411_sml.jpg b/old/60759-h/images/ill_pg_411_sml.jpg
new file mode 100644
index 0000000..f6ebde5
--- /dev/null
+++ b/old/60759-h/images/ill_pg_411_sml.jpg
diff --git a/old/60759-h/images/ill_pg_418_lg.jpg b/old/60759-h/images/ill_pg_418_lg.jpg
new file mode 100644
index 0000000..aaa59a4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_418_lg.jpg
diff --git a/old/60759-h/images/ill_pg_418_sml.jpg b/old/60759-h/images/ill_pg_418_sml.jpg
new file mode 100644
index 0000000..c6a8b6f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_418_sml.jpg
diff --git a/old/60759-h/images/ill_pg_419_lg.jpg b/old/60759-h/images/ill_pg_419_lg.jpg
new file mode 100644
index 0000000..a0114ad
--- /dev/null
+++ b/old/60759-h/images/ill_pg_419_lg.jpg
diff --git a/old/60759-h/images/ill_pg_419_sml.jpg b/old/60759-h/images/ill_pg_419_sml.jpg
new file mode 100644
index 0000000..8384f8a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_419_sml.jpg
diff --git a/old/60759-h/images/ill_pg_420_lg.jpg b/old/60759-h/images/ill_pg_420_lg.jpg
new file mode 100644
index 0000000..4c1d492
--- /dev/null
+++ b/old/60759-h/images/ill_pg_420_lg.jpg
diff --git a/old/60759-h/images/ill_pg_420_sml.jpg b/old/60759-h/images/ill_pg_420_sml.jpg
new file mode 100644
index 0000000..1bae97b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_420_sml.jpg
diff --git a/old/60759-h/images/ill_pg_421-a_lg.jpg b/old/60759-h/images/ill_pg_421-a_lg.jpg
new file mode 100644
index 0000000..84f8279
--- /dev/null
+++ b/old/60759-h/images/ill_pg_421-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_421-a_sml.jpg b/old/60759-h/images/ill_pg_421-a_sml.jpg
new file mode 100644
index 0000000..b75c253
--- /dev/null
+++ b/old/60759-h/images/ill_pg_421-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_421-b_lg.jpg b/old/60759-h/images/ill_pg_421-b_lg.jpg
new file mode 100644
index 0000000..2f0d2e8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_421-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_421-b_sml.jpg b/old/60759-h/images/ill_pg_421-b_sml.jpg
new file mode 100644
index 0000000..3b49916
--- /dev/null
+++ b/old/60759-h/images/ill_pg_421-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_422_lg.jpg b/old/60759-h/images/ill_pg_422_lg.jpg
new file mode 100644
index 0000000..4a302da
--- /dev/null
+++ b/old/60759-h/images/ill_pg_422_lg.jpg
diff --git a/old/60759-h/images/ill_pg_422_sml.jpg b/old/60759-h/images/ill_pg_422_sml.jpg
new file mode 100644
index 0000000..4448fff
--- /dev/null
+++ b/old/60759-h/images/ill_pg_422_sml.jpg
diff --git a/old/60759-h/images/ill_pg_423_lg.jpg b/old/60759-h/images/ill_pg_423_lg.jpg
new file mode 100644
index 0000000..648a726
--- /dev/null
+++ b/old/60759-h/images/ill_pg_423_lg.jpg
diff --git a/old/60759-h/images/ill_pg_423_sml.jpg b/old/60759-h/images/ill_pg_423_sml.jpg
new file mode 100644
index 0000000..43085b4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_423_sml.jpg
diff --git a/old/60759-h/images/ill_pg_424_lg.jpg b/old/60759-h/images/ill_pg_424_lg.jpg
new file mode 100644
index 0000000..04fd27a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_424_lg.jpg
diff --git a/old/60759-h/images/ill_pg_424_sml.jpg b/old/60759-h/images/ill_pg_424_sml.jpg
new file mode 100644
index 0000000..11f2659
--- /dev/null
+++ b/old/60759-h/images/ill_pg_424_sml.jpg
diff --git a/old/60759-h/images/ill_pg_425_lg.jpg b/old/60759-h/images/ill_pg_425_lg.jpg
new file mode 100644
index 0000000..8b66f22
--- /dev/null
+++ b/old/60759-h/images/ill_pg_425_lg.jpg
diff --git a/old/60759-h/images/ill_pg_425_sml.jpg b/old/60759-h/images/ill_pg_425_sml.jpg
new file mode 100644
index 0000000..8c3c7a6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_425_sml.jpg
diff --git a/old/60759-h/images/ill_pg_426_lg.jpg b/old/60759-h/images/ill_pg_426_lg.jpg
new file mode 100644
index 0000000..8da42bb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_426_lg.jpg
diff --git a/old/60759-h/images/ill_pg_426_sml.jpg b/old/60759-h/images/ill_pg_426_sml.jpg
new file mode 100644
index 0000000..43fdd7c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_426_sml.jpg
diff --git a/old/60759-h/images/ill_pg_427_lg.jpg b/old/60759-h/images/ill_pg_427_lg.jpg
new file mode 100644
index 0000000..ed3ffa9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_427_lg.jpg
diff --git a/old/60759-h/images/ill_pg_427_sml.jpg b/old/60759-h/images/ill_pg_427_sml.jpg
new file mode 100644
index 0000000..6b19919
--- /dev/null
+++ b/old/60759-h/images/ill_pg_427_sml.jpg
diff --git a/old/60759-h/images/ill_pg_429-a_lg.jpg b/old/60759-h/images/ill_pg_429-a_lg.jpg
new file mode 100644
index 0000000..d7c0239
--- /dev/null
+++ b/old/60759-h/images/ill_pg_429-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_429-a_sml.jpg b/old/60759-h/images/ill_pg_429-a_sml.jpg
new file mode 100644
index 0000000..fe217d8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_429-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_429-b_lg.jpg b/old/60759-h/images/ill_pg_429-b_lg.jpg
new file mode 100644
index 0000000..8c23c1e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_429-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_429-b_sml.jpg b/old/60759-h/images/ill_pg_429-b_sml.jpg
new file mode 100644
index 0000000..3e61154
--- /dev/null
+++ b/old/60759-h/images/ill_pg_429-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_441_lg.jpg b/old/60759-h/images/ill_pg_441_lg.jpg
new file mode 100644
index 0000000..4c44be3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_441_lg.jpg
diff --git a/old/60759-h/images/ill_pg_441_sml.jpg b/old/60759-h/images/ill_pg_441_sml.jpg
new file mode 100644
index 0000000..45d9682
--- /dev/null
+++ b/old/60759-h/images/ill_pg_441_sml.jpg
diff --git a/old/60759-h/images/ill_pg_446_lg.jpg b/old/60759-h/images/ill_pg_446_lg.jpg
new file mode 100644
index 0000000..b50930b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_446_lg.jpg
diff --git a/old/60759-h/images/ill_pg_446_sml.jpg b/old/60759-h/images/ill_pg_446_sml.jpg
new file mode 100644
index 0000000..0e269ae
--- /dev/null
+++ b/old/60759-h/images/ill_pg_446_sml.jpg
diff --git a/old/60759-h/images/ill_pg_448_lg.jpg b/old/60759-h/images/ill_pg_448_lg.jpg
new file mode 100644
index 0000000..22ea5f1
--- /dev/null
+++ b/old/60759-h/images/ill_pg_448_lg.jpg
diff --git a/old/60759-h/images/ill_pg_448_sml.jpg b/old/60759-h/images/ill_pg_448_sml.jpg
new file mode 100644
index 0000000..52c1145
--- /dev/null
+++ b/old/60759-h/images/ill_pg_448_sml.jpg
diff --git a/old/60759-h/images/ill_pg_450_lg.jpg b/old/60759-h/images/ill_pg_450_lg.jpg
new file mode 100644
index 0000000..7afb127
--- /dev/null
+++ b/old/60759-h/images/ill_pg_450_lg.jpg
diff --git a/old/60759-h/images/ill_pg_450_sml.jpg b/old/60759-h/images/ill_pg_450_sml.jpg
new file mode 100644
index 0000000..fc6367d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_450_sml.jpg
diff --git a/old/60759-h/images/ill_pg_456_lg.jpg b/old/60759-h/images/ill_pg_456_lg.jpg
new file mode 100644
index 0000000..4be5150
--- /dev/null
+++ b/old/60759-h/images/ill_pg_456_lg.jpg
diff --git a/old/60759-h/images/ill_pg_456_sml.jpg b/old/60759-h/images/ill_pg_456_sml.jpg
new file mode 100644
index 0000000..251109d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_456_sml.jpg
diff --git a/old/60759-h/images/ill_pg_457_lg.jpg b/old/60759-h/images/ill_pg_457_lg.jpg
new file mode 100644
index 0000000..b5b8dfd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_457_lg.jpg
diff --git a/old/60759-h/images/ill_pg_457_sml.jpg b/old/60759-h/images/ill_pg_457_sml.jpg
new file mode 100644
index 0000000..f2872ef
--- /dev/null
+++ b/old/60759-h/images/ill_pg_457_sml.jpg
diff --git a/old/60759-h/images/ill_pg_458_lg.jpg b/old/60759-h/images/ill_pg_458_lg.jpg
new file mode 100644
index 0000000..cae4958
--- /dev/null
+++ b/old/60759-h/images/ill_pg_458_lg.jpg
diff --git a/old/60759-h/images/ill_pg_458_sml.jpg b/old/60759-h/images/ill_pg_458_sml.jpg
new file mode 100644
index 0000000..e3456b7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_458_sml.jpg
diff --git a/old/60759-h/images/ill_pg_459_lg.jpg b/old/60759-h/images/ill_pg_459_lg.jpg
new file mode 100644
index 0000000..cf9abd4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_459_lg.jpg
diff --git a/old/60759-h/images/ill_pg_459_sml.jpg b/old/60759-h/images/ill_pg_459_sml.jpg
new file mode 100644
index 0000000..2f0f5ca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_459_sml.jpg
diff --git a/old/60759-h/images/ill_pg_460_lg.jpg b/old/60759-h/images/ill_pg_460_lg.jpg
new file mode 100644
index 0000000..7fdc5bb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_460_lg.jpg
diff --git a/old/60759-h/images/ill_pg_460_sml.jpg b/old/60759-h/images/ill_pg_460_sml.jpg
new file mode 100644
index 0000000..f12082c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_460_sml.jpg
diff --git a/old/60759-h/images/ill_pg_461_lg.jpg b/old/60759-h/images/ill_pg_461_lg.jpg
new file mode 100644
index 0000000..f7b6628
--- /dev/null
+++ b/old/60759-h/images/ill_pg_461_lg.jpg
diff --git a/old/60759-h/images/ill_pg_461_sml.jpg b/old/60759-h/images/ill_pg_461_sml.jpg
new file mode 100644
index 0000000..b3f9525
--- /dev/null
+++ b/old/60759-h/images/ill_pg_461_sml.jpg
diff --git a/old/60759-h/images/ill_pg_463_lg.jpg b/old/60759-h/images/ill_pg_463_lg.jpg
new file mode 100644
index 0000000..c1a9cc7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_463_lg.jpg
diff --git a/old/60759-h/images/ill_pg_463_sml.jpg b/old/60759-h/images/ill_pg_463_sml.jpg
new file mode 100644
index 0000000..e1d99de
--- /dev/null
+++ b/old/60759-h/images/ill_pg_463_sml.jpg
diff --git a/old/60759-h/images/ill_pg_464_lg.jpg b/old/60759-h/images/ill_pg_464_lg.jpg
new file mode 100644
index 0000000..b5a302f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_464_lg.jpg
diff --git a/old/60759-h/images/ill_pg_464_sml.jpg b/old/60759-h/images/ill_pg_464_sml.jpg
new file mode 100644
index 0000000..ff806ca
--- /dev/null
+++ b/old/60759-h/images/ill_pg_464_sml.jpg
diff --git a/old/60759-h/images/ill_pg_466_lg.jpg b/old/60759-h/images/ill_pg_466_lg.jpg
new file mode 100644
index 0000000..79e002e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_466_lg.jpg
diff --git a/old/60759-h/images/ill_pg_466_sml.jpg b/old/60759-h/images/ill_pg_466_sml.jpg
new file mode 100644
index 0000000..8d4a91d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_466_sml.jpg
diff --git a/old/60759-h/images/ill_pg_467_lg.jpg b/old/60759-h/images/ill_pg_467_lg.jpg
new file mode 100644
index 0000000..f5110c8
--- /dev/null
+++ b/old/60759-h/images/ill_pg_467_lg.jpg
diff --git a/old/60759-h/images/ill_pg_467_sml.jpg b/old/60759-h/images/ill_pg_467_sml.jpg
new file mode 100644
index 0000000..28457a6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_467_sml.jpg
diff --git a/old/60759-h/images/ill_pg_469_lg.jpg b/old/60759-h/images/ill_pg_469_lg.jpg
new file mode 100644
index 0000000..0a901fa
--- /dev/null
+++ b/old/60759-h/images/ill_pg_469_lg.jpg
diff --git a/old/60759-h/images/ill_pg_469_sml.jpg b/old/60759-h/images/ill_pg_469_sml.jpg
new file mode 100644
index 0000000..a837af2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_469_sml.jpg
diff --git a/old/60759-h/images/ill_pg_470_lg.jpg b/old/60759-h/images/ill_pg_470_lg.jpg
new file mode 100644
index 0000000..fcedc27
--- /dev/null
+++ b/old/60759-h/images/ill_pg_470_lg.jpg
diff --git a/old/60759-h/images/ill_pg_470_sml.jpg b/old/60759-h/images/ill_pg_470_sml.jpg
new file mode 100644
index 0000000..5bb9d4d
--- /dev/null
+++ b/old/60759-h/images/ill_pg_470_sml.jpg
diff --git a/old/60759-h/images/ill_pg_471_lg.jpg b/old/60759-h/images/ill_pg_471_lg.jpg
new file mode 100644
index 0000000..26c9f41
--- /dev/null
+++ b/old/60759-h/images/ill_pg_471_lg.jpg
diff --git a/old/60759-h/images/ill_pg_471_sml.jpg b/old/60759-h/images/ill_pg_471_sml.jpg
new file mode 100644
index 0000000..04617bd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_471_sml.jpg
diff --git a/old/60759-h/images/ill_pg_472_lg.jpg b/old/60759-h/images/ill_pg_472_lg.jpg
new file mode 100644
index 0000000..803e64e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_472_lg.jpg
diff --git a/old/60759-h/images/ill_pg_472_sml.jpg b/old/60759-h/images/ill_pg_472_sml.jpg
new file mode 100644
index 0000000..bd37891
--- /dev/null
+++ b/old/60759-h/images/ill_pg_472_sml.jpg
diff --git a/old/60759-h/images/ill_pg_473_lg.jpg b/old/60759-h/images/ill_pg_473_lg.jpg
new file mode 100644
index 0000000..e493eec
--- /dev/null
+++ b/old/60759-h/images/ill_pg_473_lg.jpg
diff --git a/old/60759-h/images/ill_pg_473_sml.jpg b/old/60759-h/images/ill_pg_473_sml.jpg
new file mode 100644
index 0000000..f1f8ce6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_473_sml.jpg
diff --git a/old/60759-h/images/ill_pg_474_lg.jpg b/old/60759-h/images/ill_pg_474_lg.jpg
new file mode 100644
index 0000000..eb73f5b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_474_lg.jpg
diff --git a/old/60759-h/images/ill_pg_474_sml.jpg b/old/60759-h/images/ill_pg_474_sml.jpg
new file mode 100644
index 0000000..41be10b
--- /dev/null
+++ b/old/60759-h/images/ill_pg_474_sml.jpg
diff --git a/old/60759-h/images/ill_pg_476_lg.jpg b/old/60759-h/images/ill_pg_476_lg.jpg
new file mode 100644
index 0000000..c261104
--- /dev/null
+++ b/old/60759-h/images/ill_pg_476_lg.jpg
diff --git a/old/60759-h/images/ill_pg_476_sml.jpg b/old/60759-h/images/ill_pg_476_sml.jpg
new file mode 100644
index 0000000..de74b64
--- /dev/null
+++ b/old/60759-h/images/ill_pg_476_sml.jpg
diff --git a/old/60759-h/images/ill_pg_477_lg.jpg b/old/60759-h/images/ill_pg_477_lg.jpg
new file mode 100644
index 0000000..c66961f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_477_lg.jpg
diff --git a/old/60759-h/images/ill_pg_477_sml.jpg b/old/60759-h/images/ill_pg_477_sml.jpg
new file mode 100644
index 0000000..2b83bff
--- /dev/null
+++ b/old/60759-h/images/ill_pg_477_sml.jpg
diff --git a/old/60759-h/images/ill_pg_479_lg.jpg b/old/60759-h/images/ill_pg_479_lg.jpg
new file mode 100644
index 0000000..8410fc3
--- /dev/null
+++ b/old/60759-h/images/ill_pg_479_lg.jpg
diff --git a/old/60759-h/images/ill_pg_479_sml.jpg b/old/60759-h/images/ill_pg_479_sml.jpg
new file mode 100644
index 0000000..fd337eb
--- /dev/null
+++ b/old/60759-h/images/ill_pg_479_sml.jpg
diff --git a/old/60759-h/images/ill_pg_480-a_lg.jpg b/old/60759-h/images/ill_pg_480-a_lg.jpg
new file mode 100644
index 0000000..4c9d00c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_480-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_480-a_sml.jpg b/old/60759-h/images/ill_pg_480-a_sml.jpg
new file mode 100644
index 0000000..4ec04b6
--- /dev/null
+++ b/old/60759-h/images/ill_pg_480-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_480-b_lg.jpg b/old/60759-h/images/ill_pg_480-b_lg.jpg
new file mode 100644
index 0000000..514a038
--- /dev/null
+++ b/old/60759-h/images/ill_pg_480-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_480-b_sml.jpg b/old/60759-h/images/ill_pg_480-b_sml.jpg
new file mode 100644
index 0000000..73a1e0a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_480-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_482_lg.jpg b/old/60759-h/images/ill_pg_482_lg.jpg
new file mode 100644
index 0000000..1afd5ae
--- /dev/null
+++ b/old/60759-h/images/ill_pg_482_lg.jpg
diff --git a/old/60759-h/images/ill_pg_482_sml.jpg b/old/60759-h/images/ill_pg_482_sml.jpg
new file mode 100644
index 0000000..99a9341
--- /dev/null
+++ b/old/60759-h/images/ill_pg_482_sml.jpg
diff --git a/old/60759-h/images/ill_pg_483_lg.jpg b/old/60759-h/images/ill_pg_483_lg.jpg
new file mode 100644
index 0000000..0cec165
--- /dev/null
+++ b/old/60759-h/images/ill_pg_483_lg.jpg
diff --git a/old/60759-h/images/ill_pg_483_sml.jpg b/old/60759-h/images/ill_pg_483_sml.jpg
new file mode 100644
index 0000000..d265833
--- /dev/null
+++ b/old/60759-h/images/ill_pg_483_sml.jpg
diff --git a/old/60759-h/images/ill_pg_484_lg.jpg b/old/60759-h/images/ill_pg_484_lg.jpg
new file mode 100644
index 0000000..b559f78
--- /dev/null
+++ b/old/60759-h/images/ill_pg_484_lg.jpg
diff --git a/old/60759-h/images/ill_pg_484_sml.jpg b/old/60759-h/images/ill_pg_484_sml.jpg
new file mode 100644
index 0000000..d6791aa
--- /dev/null
+++ b/old/60759-h/images/ill_pg_484_sml.jpg
diff --git a/old/60759-h/images/ill_pg_486_lg.jpg b/old/60759-h/images/ill_pg_486_lg.jpg
new file mode 100644
index 0000000..78cae4e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_486_lg.jpg
diff --git a/old/60759-h/images/ill_pg_486_sml.jpg b/old/60759-h/images/ill_pg_486_sml.jpg
new file mode 100644
index 0000000..6e16075
--- /dev/null
+++ b/old/60759-h/images/ill_pg_486_sml.jpg
diff --git a/old/60759-h/images/ill_pg_487_lg.jpg b/old/60759-h/images/ill_pg_487_lg.jpg
new file mode 100644
index 0000000..bc2b3b9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_487_lg.jpg
diff --git a/old/60759-h/images/ill_pg_487_sml.jpg b/old/60759-h/images/ill_pg_487_sml.jpg
new file mode 100644
index 0000000..820551e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_487_sml.jpg
diff --git a/old/60759-h/images/ill_pg_488_lg.jpg b/old/60759-h/images/ill_pg_488_lg.jpg
new file mode 100644
index 0000000..ddf16fe
--- /dev/null
+++ b/old/60759-h/images/ill_pg_488_lg.jpg
diff --git a/old/60759-h/images/ill_pg_488_sml.jpg b/old/60759-h/images/ill_pg_488_sml.jpg
new file mode 100644
index 0000000..0b410cc
--- /dev/null
+++ b/old/60759-h/images/ill_pg_488_sml.jpg
diff --git a/old/60759-h/images/ill_pg_489_lg.jpg b/old/60759-h/images/ill_pg_489_lg.jpg
new file mode 100644
index 0000000..b6996a9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_489_lg.jpg
diff --git a/old/60759-h/images/ill_pg_489_sml.jpg b/old/60759-h/images/ill_pg_489_sml.jpg
new file mode 100644
index 0000000..06155b4
--- /dev/null
+++ b/old/60759-h/images/ill_pg_489_sml.jpg
diff --git a/old/60759-h/images/ill_pg_490_lg.jpg b/old/60759-h/images/ill_pg_490_lg.jpg
new file mode 100644
index 0000000..32c600e
--- /dev/null
+++ b/old/60759-h/images/ill_pg_490_lg.jpg
diff --git a/old/60759-h/images/ill_pg_490_sml.jpg b/old/60759-h/images/ill_pg_490_sml.jpg
new file mode 100644
index 0000000..bd57f4f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_490_sml.jpg
diff --git a/old/60759-h/images/ill_pg_491_lg.jpg b/old/60759-h/images/ill_pg_491_lg.jpg
new file mode 100644
index 0000000..4f7f188
--- /dev/null
+++ b/old/60759-h/images/ill_pg_491_lg.jpg
diff --git a/old/60759-h/images/ill_pg_491_sml.jpg b/old/60759-h/images/ill_pg_491_sml.jpg
new file mode 100644
index 0000000..16eaf66
--- /dev/null
+++ b/old/60759-h/images/ill_pg_491_sml.jpg
diff --git a/old/60759-h/images/ill_pg_492_lg.jpg b/old/60759-h/images/ill_pg_492_lg.jpg
new file mode 100644
index 0000000..bef64a2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_492_lg.jpg
diff --git a/old/60759-h/images/ill_pg_492_sml.jpg b/old/60759-h/images/ill_pg_492_sml.jpg
new file mode 100644
index 0000000..c8fb48a
--- /dev/null
+++ b/old/60759-h/images/ill_pg_492_sml.jpg
diff --git a/old/60759-h/images/ill_pg_493-a_lg.jpg b/old/60759-h/images/ill_pg_493-a_lg.jpg
new file mode 100644
index 0000000..ecb0bcd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_493-a_lg.jpg
diff --git a/old/60759-h/images/ill_pg_493-a_sml.jpg b/old/60759-h/images/ill_pg_493-a_sml.jpg
new file mode 100644
index 0000000..d64bcaf
--- /dev/null
+++ b/old/60759-h/images/ill_pg_493-a_sml.jpg
diff --git a/old/60759-h/images/ill_pg_493-b_lg.jpg b/old/60759-h/images/ill_pg_493-b_lg.jpg
new file mode 100644
index 0000000..b685516
--- /dev/null
+++ b/old/60759-h/images/ill_pg_493-b_lg.jpg
diff --git a/old/60759-h/images/ill_pg_493-b_sml.jpg b/old/60759-h/images/ill_pg_493-b_sml.jpg
new file mode 100644
index 0000000..726c897
--- /dev/null
+++ b/old/60759-h/images/ill_pg_493-b_sml.jpg
diff --git a/old/60759-h/images/ill_pg_495_lg.jpg b/old/60759-h/images/ill_pg_495_lg.jpg
new file mode 100644
index 0000000..4f8e959
--- /dev/null
+++ b/old/60759-h/images/ill_pg_495_lg.jpg
diff --git a/old/60759-h/images/ill_pg_495_sml.jpg b/old/60759-h/images/ill_pg_495_sml.jpg
new file mode 100644
index 0000000..6e227c2
--- /dev/null
+++ b/old/60759-h/images/ill_pg_495_sml.jpg
diff --git a/old/60759-h/images/ill_pg_496_lg.jpg b/old/60759-h/images/ill_pg_496_lg.jpg
new file mode 100644
index 0000000..664da4f
--- /dev/null
+++ b/old/60759-h/images/ill_pg_496_lg.jpg
diff --git a/old/60759-h/images/ill_pg_496_sml.jpg b/old/60759-h/images/ill_pg_496_sml.jpg
new file mode 100644
index 0000000..dba52bd
--- /dev/null
+++ b/old/60759-h/images/ill_pg_496_sml.jpg
diff --git a/old/60759-h/images/ill_pg_497_lg.jpg b/old/60759-h/images/ill_pg_497_lg.jpg
new file mode 100644
index 0000000..5720225
--- /dev/null
+++ b/old/60759-h/images/ill_pg_497_lg.jpg
diff --git a/old/60759-h/images/ill_pg_497_sml.jpg b/old/60759-h/images/ill_pg_497_sml.jpg
new file mode 100644
index 0000000..46c08c9
--- /dev/null
+++ b/old/60759-h/images/ill_pg_497_sml.jpg
diff --git a/old/60759-h/images/ill_pg_498_lg.jpg b/old/60759-h/images/ill_pg_498_lg.jpg
new file mode 100644
index 0000000..29bedda
--- /dev/null
+++ b/old/60759-h/images/ill_pg_498_lg.jpg
diff --git a/old/60759-h/images/ill_pg_498_sml.jpg b/old/60759-h/images/ill_pg_498_sml.jpg
new file mode 100644
index 0000000..bb40678
--- /dev/null
+++ b/old/60759-h/images/ill_pg_498_sml.jpg
diff --git a/old/60759-h/images/ill_pg_499_lg.jpg b/old/60759-h/images/ill_pg_499_lg.jpg
new file mode 100644
index 0000000..666024c
--- /dev/null
+++ b/old/60759-h/images/ill_pg_499_lg.jpg
diff --git a/old/60759-h/images/ill_pg_499_sml.jpg b/old/60759-h/images/ill_pg_499_sml.jpg
new file mode 100644
index 0000000..506c0d7
--- /dev/null
+++ b/old/60759-h/images/ill_pg_499_sml.jpg