initial commit of ebook 14987HEADmain

23 files changed, 2828 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/14987-8.txt b/14987-8.txt
new file mode 100644
index 0000000..ad395d9
--- /dev/null
+++ b/14987-8.txt
@@ -0,0 +1,929 @@
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Vol. 1, No. 10, October 1895., by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Brochure Series of Architectural Illustration, Vol. 1, No. 10, October 1895.
+       French Farmhouses.
+
+Author: Various
+
+Release Date: February 9, 2005 [EBook #14987]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+
+
+
+Produced by Juliet Sutherland, Alison Hadwin and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+[Illustration: LXXIII. Ferme de Turpe, Normandy.]
+
+
+
+
+THE BROCHURE SERIES
+
+OF ARCHITECTURAL ILLUSTRATION.
+
+VOL. I.
+
+OCTOBER, 1895.
+
+No. 10
+
+
+
+
+FRENCH FARMHOUSES.
+
+
+As it is the purpose of THE BROCHURE SERIES to cover as wide a field
+as possible in choice of subject matter for its illustrations, and at
+the same time hold rigidly to the idea of furnishing only what will
+be useful to its subscribers, it has seemed desirable to present
+something a little nearer our everyday life than the Italian work
+which has thus far formed the greater part of the plate matter.
+
+The domestic architecture of France and England has naturally served
+as a model for a great deal of our American work, and especially is
+this noticeable during the present generation in the close relation
+between the French châteaux and the more pretentious American
+residences, as witness the recent productions of the late Mr. Hunt,
+which have just been published since his death. We are, to be
+sure, looking in all directions for suggestions, and it cannot help
+appearing wonderful to a thoughtful observer how many and varied these
+suggestions are.
+
+Our wealthy citizens are building châteaux in the style of Francis
+I or of somebody else, Venetian or Florentine palaces, Roman
+villas, Flemish guild-halls, Elizabethan half-timber houses. All,
+if tastefully and skilfully designed and placed, have their special
+points of beauty and excellence, and all may in the hands of an
+architect of ability be made to harmonize with our modern ways of
+living and the surroundings in which they must take a part.
+
+None of these models, however, are more adaptable to our ways than the
+country houses of France. This, of course, should not be understood
+as meaning that any of these buildings can be transplanted bodily to
+American soil and still be satisfactory. Architectural borrowing of
+this class is never satisfactory; but no architecture of which we have
+any knowledge is independent of precedent, and it only behooves us to
+adopt from the experience of others those features or ideas which are
+most suited to our needs. The plans and the original uses of the rooms
+of these French _manoirs_ may not prove directly adaptable to our
+ways of living, but the general massing of the design and the rambling
+arrangement of plan, as well as the picturesqueness of it all, are
+characteristics which can well be embodied in our country houses. In
+their way, no better models can be found than the two _manoirs_ from
+Normandy which we illustrate in this number. They have both suffered
+from the ravages of time and hard usage, and both are at present, and
+for a long time have been, used as farmhouses. The Manoir d'Ango is
+the finer and more important of the two, and is better preserved in
+some of its more interesting features.
+
+[Illustration: LXXIV. Ferme de Turpe, Normandy.]
+
+It is one of the main beauties of the charming village of
+Varengeville-sur-Mer, on the north coast of Normandy. It is now
+converted into a farmhouse, but in it once a celebrated privateersman
+of Dieppe received the ambassadors of the King of Portugual. There are
+still many evidences of the former dignity and grandeur in its present
+degradation.
+
+Ango was strictly a _manoir_ in the French sense, that is, a residence
+of the second class--not a château, such as Chambord or Blois.
+
+The principal part of the building consists of but one story with
+an open gallery beneath, supported by an arcade with columns bearing
+finely carved caps ornamented with female heads, angels, etc.
+
+In the interior as well as on the exterior may be seen fragments of
+sculpture which show much refinement. In one of the rooms of the tower
+a monumental mantel carved in stone bears in its centre the bust of an
+old man having in his hand a globe surmounted by a cross, the imperial
+emblem. This may be the portrait of one of the founders of the Ango
+family.
+
+
+LXXIII to LXXVI.
+
+FERME DE TURPE, NORMANDY.
+
+
+The Ferme de Turpe is situated near the town of Neuchatel-en-Bray,
+famous for its cheese. It has fewer interesting details than the
+Manoir d'Ango and is in even poorer repair, but in massing and general
+picturesque effect it offers many suggestions which can be utilized to
+advantage in our country houses.
+
+Of these four views very little need be said. The charming
+picturesqueness of the two general views is sufficient excuse
+for presenting them, but they contain much more to the student of
+architecture who cares to look for it. The two detailed views give an
+excellent idea of the simple, straightforward methods of the builders.
+
+
+LXXVII to LXXX.
+
+MANOIR D'ANGO. NORMANDY.
+
+
+This building was erected between the years 1530 and 1542. Its general
+design and especially its detail are of the François I type, and very
+beautifully executed, as will be seen from the larger scale details.
+The materials as indicated are stone and brick.
+
+In Benoist's La Normandie Illustrie a remarkably interesting circular
+brick dove-cote is shown in the courtyard of this _manoir_, but it
+does not appear in any of our views, and may have been demolished
+since M. Benoist's sketches were made in 1852. Its walls were
+decorated with colored brick, laid in bands and diaper patterns.
+
+
+
+
+Club Notes.
+
+
+The Baltimore Architectural Club commenced its active work for
+the season on the first of October. It has its rooms in the Wilson
+Building, Saratoga and Charles Streets, which are always open for the
+use of its members, and there will be regular meetings every Thursday
+evening during the winter and spring. At these meetings various
+subjects of interest will occupy the attention of the members, both of
+a practical and æsthetic character.
+
+At one meeting of each month there will be an informal talk or
+lecture on some of the mechanical, constructive or sanitary questions
+connected with architecture.
+
+On one evening there will be sketching from the cast, and on another
+an impromptu sketch projet, to be completed in an hour. In addition
+to these there will be competed for three of the larger and more
+important regular projets, such as were made last season by the Club,
+and for which two prizes are offered to those obtaining the first and
+second place in point of general merit.
+
+The present officers and Board of Control of the Baltimore
+Architectural Club are J.B. Noel Wyatt, W. Emmart, Wm. G. Nölting,
+Geo. Worthington, W.M. Ellicott, W.G. Keimig, and Charles Anderson.
+
+       *       *       *       *       *
+
+The last meeting of the T Square Club of Philadelphia, was one of
+unusual activity. The annual election of officers and the competition
+of summer sketches as called for by the Club syllabus was found to be
+too much for one evening, and consequently the judging of the sketches
+was postponed a week.
+
+The following officers were elected: President, Albert Kelsey;
+Vice-President, Edgar V. Seeler; Secretary, A.B. Lacey; Treasurer,
+David K. Boyd; Executive Committee, Walter Cope, Louis C. Hickman,
+William L. Price.
+
+The summer sketches, which were judged at one of the Club's Bohemian
+Nights, were of unusual quality and quantity. Walter Cope, who won
+first mention, had a large collection of pencil drawings representing
+the fruits of his labor in Spain.
+
+Walter Price (who won third place) and John Bissegger had one end of
+the room covered with sketches in color and line made during a recent
+trip through England, and Wilson Eyre, Jr., the winner of the second
+mention, had a variety of subjects beautifully rendered on quaint
+paper, and in his well-known and ever novel way.
+
+[Illustration: LXXV. Ferme de Turpe, Normandy.]
+
+Music and beer were plentiful, and had a cheering effect upon Titus,
+Dull, Kelsey, and Klauder, whose summer work failed to score a
+mention.
+
+The syllabus of the Club's work for the coming year has just been
+issued and contains some features of special interest. The problems in
+design are chosen with much care and the programmes are more explicit
+than is usual, and will doubtless contribute to the usefulness of the
+work to be done.
+
+The T Square Club appears to be more fortunate than some of the other
+architectural clubs in having interested and succeeded in holding the
+interest of a number of the stronger of the older men among the local
+architects. It now numbers about one hundred and twenty members,
+and its work is necessarily having considerable influence in outside
+circles.
+
+Its example is a good one to hold up before other and less influential
+clubs.
+
+       *       *       *       *       *
+
+Among the architectural clubs thus far noticed in this column no
+account has been taken of the clubs connected with the architectural
+schools. Of these there are at present several which are doing good
+and effective work, but the only one of which we have data for a
+description is that connected with Lehigh University. The school of
+architecture, as it is called, is not a school of architecture at all,
+but of engineering (which is a very different thing), but its work
+is none the less dignified or important on this account, and the
+opportunity open to the students' club is in consequence a wider and
+more serious one than usual if they choose to concern themselves with
+artistic considerations.
+
+Two years ago the first class in architecture graduated from the
+Lehigh University, and since that time the classes have continually
+increased, until now the course is a distinct one in the curriculum
+of studies of the University. The objects of the department are to
+provide a thorough training in architectural engineering, with such
+additional studies in history, design, and drawing as must necessarily
+accompany all architectural problems.
+
+The first year is of a preparatory nature in which no distinctively
+architectural subject is taken up, and in the second year the subjects
+are those closely related to civil engineering, including a very
+complete course in higher mathematics. It is in the third year that
+architectural subjects are brought in, and with studies and lectures
+on the architectural styles, smaller problems in design, sanitary
+engineering, and theory of roofs and bridges, the full course is
+opened for the fourth year, of steel construction in office buildings
+(design and computations), specifications by lectures, thorough study
+of ventilation, designs for roof trusses and girders, and hydraulics,
+finally ending with a thesis design. To supplement this prescribed
+work the students have organized the Architectural Club of the
+University. The objects of this society are to distribute blue prints
+to members from a growing collection of negatives owned by the Club;
+to collect specimens and models of building material; to aid in
+securing a students' library, and to hold monthly competitions in
+pen-and-ink rendering, besides managing any of the affairs of the
+architectural course in which the students as a body desire to act.
+It is an organization for mutual benefits and already has made itself
+felt, although only two years old.
+
+       *       *       *       *       *
+
+After a summer of more or less inactivity, during which, in June,
+its quarters were moved to 77 City Hall, where it is much more
+conveniently located, the Cleveland Architectural Club has taken
+up its work with characteristic enthusiasm, and already a vigorous
+winter's work has been planned, beginning on November 14, with the
+annual banquet at the Hollenden Hotel, followed by the yearly meeting
+for the reports of officers and the election of new officers.
+
+On the evening of January 9, 1896, the first annual exhibition of the
+Club will be inaugurated, to continue during the balance of the week.
+This will be the first distinctively architectural exhibition ever
+held in Cleveland.
+
+In the last competition, "An Entrance to Lake View Cemetery," the
+mentions were as follows: W.D. Benes, first; Chas. S. Schneider,
+second; Wilbur M. Hall, third; Geo. W. Andrews, fourth; L.R. Rice,
+fifth.
+
+The membership of the Club is rapidly increasing, a majority of the
+members of the local chapter of the A.I.A. having already become
+associate members.
+
+[Illustration: LXXVI. Ferme de Turpe, Normandy.]
+
+
+
+
+The Brochure Series
+
+of Architectural Illustration.
+
+PUBLISHED MONTHLY BY
+
+BATES & GUILD,
+
+6 BEACON STREET, BOSTON, MASS.
+
+       *       *       *       *       *
+
+Subscription Rates per year ... 50 cents, in advance Special Club
+Rates for five subscriptions ... $2.00
+
+       *       *       *       *       *
+
+Entered at the Boston Post Office as Second-class Matter.
+
+       *       *       *       *       *
+
+SPECIAL NOTICE.
+
+Back numbers of THE BROCHURE SERIES _are not_ kept in stock. All
+subscriptions will be dated from the time received and subscribers who
+wish for the current numbers must place their subscriptions at once.
+
+If not a subscriber, you are respectfully asked to carefully examine
+this number of THE BROCHURE SERIES, and consider whether it is not
+worth fifty cents a year to you. A subscription blank is enclosed.
+
+       *       *       *       *       *
+
+It has been suggested by a correspondent prominently connected with
+one of the principal architectural clubs of the country that a very
+desirable and instructive exhibition could be made up of the year's
+work of the various clubs. If collected by some concerted plan, to
+include the premiated or mentioned designs in the club competitions,
+and all sent to some one city or club, they could be exhibited and
+then passed on to the next club in the circuit.
+
+Exchange of ideas and comparison of methods among the architectural
+clubs is much to be desired and could not help resulting in
+benefit. No more direct or easier way of opening relations of mutual
+helpfulness could be found than this, and we trust that some one
+will take it upon himself to take the initiative. Our correspondent
+intimates that this might be the first step towards a national
+federation of architectural clubs. It is rather unsafe to speculate
+upon what might take place in such an event.
+
+
+
+
+Reviews.
+
+
+    _Suggestions in Brickwork_ with illustrations from the
+    Architecture of Italy, together with a Catalogue of Bricks,
+    made by the Hydraulic-Press Brick Companies, Eastern
+    Hydraulic-Press Brick Co., Philadelphia, 1895. $3.00.
+
+To the architect who desires to use iron or steel in construction and
+to figure out his own drawings for the purpose, nothing can take the
+place of the handbooks furnished by the great iron and steel companies
+to aid in this work; and the convenience of having all tables,
+formulas, etc., together with a reliable catalogue of commercial
+and practical possibilities, all in one little handbook is not to be
+over-estimated.
+
+What has in the past been done for the users of constructional iron
+and steel work has now been attempted in a very different field for
+architects who may wish to design in brick, both plain, moulded and
+ornamental. That this attempt is well considered and most thoroughly
+carried out would be perfectly certain if for no other reason than for
+the name of the compiler, Mr. Frank Miles Day, of Philadelphia. There
+have been similar attempts made in the past, but they are crude in
+comparison with the handsome volume now before us. It does not matter
+that this beautifully printed and illustrated book is a perfectly
+frank advertisement, put forward for purely business reasons. It has
+a most important bearing upon the progress and development of the best
+American architecture.
+
+The suggestions in designs are very largely taken from the buildings
+in the north of Italy, adapted, of course, to the requirements of
+modern bricks. They show at all times a most discriminating and
+delicate taste and familiarity with the best architecture.
+
+The ostensible purpose of the book is to remedy the difficulty which
+all who have attempted to use bricks in designing have experienced to
+a greater or less extent, of finding forms suitable for a given space.
+
+The book is divided into two distinct parts, the first made up of
+twenty-eight plates of designs with accompanying descriptive matter,
+for arcades, loggias, doorways, windows, moulded bands, cornices,
+brick mosaics, fireplaces, balconies, piers and columns, and gate
+posts, all carefully drawn to scale and with the numbers of patterns
+used in each case referring to the catalogue, which occupies the
+second portion of the book. In the catalogue each pattern is shown
+in isometric view, with shadows indicated where it will add to the
+cleanness of the cut, and upon the opposite page the profile of the
+brick is shown at half full size. This portion of the catalogue
+is rendered much more useful than it would otherwise be, by the
+classification which has been adopted. By this means it is easy to
+find most any shape desired.
+
+The choice of the patterns themselves deserves the highest
+commendation.
+
+[Illustration: LXXVII. Manoir d'Ango, Normandy.]
+
+[Illustration: SKETCH BY WILSON EYRE, JR. See The Architectural
+Review, Vol. IV, No. 1.]
+
+The forthcoming number of _The Architectural Review_ (Vol. IV, No. 1)
+will include several noteworthy features. The plates are of the same
+class of subjects which has given the paper its present high standing.
+The four gelatine plates are devoted to illustrating Messrs. Cram,
+Wentworth & Goodhue's design for the Public Library to be erected in
+Fall River, Mass. The two remaining line plates are devoted to the
+Bowery Bank building in New York by Messrs. McKim, Mead & White. The
+principal article in the text portion of the number is a sketch of a
+trip across England from Liverpool to London by Wilson Eyre, Jr.
+The delicate and, in the main, truthful reproductions of Mr. Eyre's
+incomparable sketches give the article a more than common interest.
+Of all American architects who have been attracted by the picturesque
+features of English and French domestic work, no one has shown a
+closer sympathy or been able in his sketches to render more of its
+charm than Mr. Eyre.
+
+[Illustration: SKETCH BY WILSON EYRE, JR. See The Architectural
+Review, Vol. IV, No. 1.]
+
+[Illustration: LXXVIII. Manoir d'Ango, Normandy.]
+
+
+
+
+The "P.D's."
+
+(_Continued from page 123_.) [Transcriber's Note: issue 8]
+
+
+And speaking of costumes reminds me of some very successful ones, and
+particularly that of a Highlander, the whole of which was made on
+the spot from the club's "props" and was complete even to a practical
+bagpipe, which was composed of three tin horns, a penny whistle, a
+piece of burlap, and a rubber tobacco pouch. Both in tone and looks it
+was an exceedingly good imitation of the genuine article.
+
+One of the things that has afforded the P.D.'s a great deal of
+amusement is a supposititious newspaper, wherein the members are
+interviewed on any and all occasions and many interesting things
+brought to light. In one of them, for instance, Ictinus confides to
+the reporter that he was born in the shadow of the Parthenon. This
+mixing up of one's peculiarities, habits, and nationality with those
+of the illustrious individual whose name he bears, is capable of being
+given many laughable twists and has been taken advantage of in many
+amusing skits.
+
+Besides the interviews there are fashion notes, society and sporting
+notes, architectural news, and receipts. Among the latter is a receipt
+for making Welsh rare-bits that should be in the possession of every
+one addicted to them.
+
+[Illustration: THE "P.D.'S" PREPARED FOR WORK.]
+
+The club has been regaled at various times with comic opera (with
+scenery painted for the occasion), readings and recitations; and at
+one of the annual dinners an illustrated history of the club and its
+members was given on an ingeniously contrived miniature stage.
+
+Every dinner, every voyage of discovery, every reception, and in short
+anything happening that would be of interest to the absent members, is
+written up by some one for their edification. The P.D.'s out-Wegg Mr.
+Wegg in the matter of dropping into poetry, and although its quality
+cannot be presumed to approach that selected by that famous individual
+for the delectation of Mr. Boffin, it being, not to mention the matter
+of theme, very often afflicted with a deplorable weakness or strength
+in its feet, yet it can be said of it, as in the case of Mercutio's
+wound, that it serves.
+
+[Illustration: CORNER IN THE "P.D.'S" ROOMS.]
+
+Most of these literary efforts eventually find a place in the
+scrapbook, and their perusal reminds us of many a joyous evening.
+
+  "We seem to see, to taste, to hear,
+  Joys that have passed; who say too fleet
+  The rush of time? Things passed are dear."
+
+This, then, is a slight account of the P.D.'s, and if their doings be
+branded as folly, it is to them at least a very innocent and delicious
+sort of folly, and just the thing to free them from the perplexing
+problems of the day and fit them to grapple with a freshened and
+renewed energy those of the morrow.
+
+
+
+
+Notes.
+
+
+The new office building of the Chicago Varnish Company, now in the
+course of erection at the corner of Dearborn Avenue and Kinzie Street,
+Chicago, from the designs of Mr. Henry Ives Cobb, covers a plat of
+ground 45 x 90 feet. It is in the style of the brick architecture of
+Holland, which has been recently adopted in several instances in New
+York and Philadelphia, notably by Mr. Frank Miles Day and Mr. R.W.
+Gibson. It is to be built of St. Louis red pressed brick with Bedford
+stone trimmings, and will be a noticeable building even in Chicago,
+where there is so much of architectural interest. The interior will
+be handsomely finished in natural woods. The company will occupy a
+considerable part of the building, but a portion of it will be rented
+for other office purposes.
+
+[Illustration: LXXIX. Manoir d'Ango, Normandy.]
+
+[Illustration: BUILDING OF CHICAGO VARNISH CO., CHICAGO.]
+
+Many a new building that is approaching its first winter will be found
+lacking if its architect forgot the specification of the Folsom Snow
+Guard. A great many buildings do not need this device, but where one
+does, it needs it badly. It is so cheap, so simple and so perfectly
+effective that it should be used where there is the least chance of
+danger or inconvenience from snow sliding off the roof.
+
+The development of the kitchen range has been along certain well
+defined lines, the ornament changed, new parts nickeled, dimensions
+varied, etc., but it has remained the same old stove. The Walker
+& Pratt Mfg. Co., of Boston, have made a move towards an entirely
+different style, in their "Culinet," which is illustrated on this
+page. It presents many good points. The cooking surface is at the
+same height as an ordinary table. The oven is about the height of
+the elbow, making it convenient of access, and greatly lessening
+the danger of burning the arms in using it. The fire, broiler door,
+clinker door, and ash-pan door are all in front. All holes are hot,
+and the oven is heated on six sides, making it not only an even baker,
+but a sure baker on the bottom. One damper does the whole regulating
+business. A guard rail to keep the clothes from contact with the
+heated surface and convenient towel driers are also provided. There is
+no nickel finish, but solid bronze instead. These are features which
+should recommend it to architects; besides which it is compact, and
+occupies little floor space, durable, and made with the same care in
+every detail that has characterized the Walker & Pratt goods for forty
+years. It is a kitchen ornament, as well as a kitchen help.
+
+[Illustration] [Transcriber's Note: Lady using "Culinet."]
+
+"The Making of a Range" is a cleverly prepared little pamphlet, fully
+illustrated, that was issued primarily for distribution from the
+Mechanics' Fair (Boston) exhibit of the Walker & Pratt Mfg. Co. It
+is well worth sending for, if one is interested in details of
+manufacture. The "Culinet" was the only stove which was awarded a Gold
+Medal at the Mechanics' Fair.
+
+[Illustration: LXXX. Manoir d'Ango, Normandy.]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Vol. 1, No. 10, October 1895., by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+***** This file should be named 14987-8.txt or 14987-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/4/9/8/14987/
+
+Produced by Juliet Sutherland, Alison Hadwin and the PG Online
+Distributed Proofreading Team.
+
+
+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
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://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
+https://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 https://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 https://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 including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was 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:
+
+     https://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/14987-8.zip b/14987-8.zip
new file mode 100644
index 0000000..3b15660
--- /dev/null
+++ b/14987-8.zip
diff --git a/14987-h.zip b/14987-h.zip
new file mode 100644
index 0000000..cd0481b
--- /dev/null
+++ b/14987-h.zip
diff --git a/14987-h/14987-h.htm b/14987-h/14987-h.htm
new file mode 100644
index 0000000..d9fea05
--- /dev/null
+++ b/14987-h/14987-h.htm
@@ -0,0 +1,954 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta name="generator"
+    content="HTML Tidy for Linux/x86 (vers 1st November 2002), see www.w3.org" />
+    <meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" />
+    <title>The Brochure Series of Architectural Illustration, Oct. 1895.</title>
+    <style type="text/css">
+    /*<![CDATA[*/
+
+  <!--
+  body                 {margin-left: 10%; margin-right: 10%;}
+  p                    {text-align: justify;}
+  blockquote           {text-align: justify;}
+  h1,h2,h3,h4,h5,h6    {text-align: center;}
+  pre                  {font-size: 0.7em;}
+  hr                   {text-align: center; width: 50%;}
+  html>body hr         {margin-right: 25%; margin-left: 25%; width: 50%;}
+  hr.full              {width: 100%;}
+  html>body hr.full    {margin-right: 0%; margin-left: 0%; width: 100%;}
+  hr.short             {text-align: center; width: 20%;}
+  html>body hr.short   {margin-right: 40%; margin-left: 40%; width: 20%;}
+  .note
+  {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+  span.pagenum
+  {position: absolute; left: 1%; right: 91%; font-size: 8pt;}
+  .poem
+  {margin-left:10%; margin-right:10%; margin-bottom: 1em; text-align: left;}
+  .poem .stanza        {margin: 1em 0em 1em 0em;}
+  .poem p              {margin: 0; padding-left: 3em; text-indent: -3em;}
+  .poem p.i2           {margin-left: 1em;}
+  .poem p.i4           {margin-left: 2em;}
+  .poem p.i6           {margin-left: 3em;}
+  .poem p.i8           {margin-left: 4em;}
+  .poem p.i10          {margin-left: 5em;}
+  .figure, .figcenter, .figright, .figleft
+  {padding: 1em; margin: 0; text-align: center; font-size: 0.8em;}
+  .figure img, .figcenter img, .figright img, .figleft img
+                       {border: none;}
+  .figure p, .figcenter p, .figright p, .figleft p
+                       {margin: 0; text-indent: 1em;}
+  .figcenter           {margin: auto;}
+  .figright            {float: right;}
+  .figleft             {float: left;}
+  .footnote            {font-size: 0.9em; margin-right: 10%; margin-left: 10%;}
+  .side { float:right;
+          font-size: 75%;
+          width: 25%;
+          padding-left:10px;
+          border-left: dashed thin;
+          margin-left: 10px;
+          text-align: left;
+          text-indent: 0;
+          font-weight: bold;
+          font-style: italic;}
+  -->
+    /*]]>*/
+        </style>
+  </head>
+  <body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Vol. 1, No. 10, October 1895., by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Brochure Series of Architectural Illustration, Vol. 1, No. 10, October 1895.
+       French Farmhouses.
+
+Author: Various
+
+Release Date: February 9, 2005 [EBook #14987]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+
+
+
+Produced by Juliet Sutherland, Alison Hadwin and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+    <span class="pagenum"><a name="page146" id="page146"></a>[pg 146]</span>
+    <div class="figcenter" style="width:100%;">
+      <a href="images/brochure1.jpg"><img width="100%" src="images/brochure1.jpg"
+      alt="" /></a>
+      <h3>LXXIII. Ferme de Turpe, Normandy.</h3>
+    </div>
+    <br />
+     <br />
+
+    <hr />
+    <span class="pagenum"><a name="page147" id="page147"></a>[pg 147]</span>
+    <h1>THE BROCHURE SERIES</h1>
+    <h2>OF ARCHITECTURAL ILLUSTRATION.</h2>
+    <h3>VOL. 1, No. 10</h3>
+    <hr class="full" />
+    <h2>OCTOBER, 1895.</h2>
+    <hr class="full" />
+    <h2>FRENCH FARMHOUSES.</h2>
+    <p>As it is the purpose of THE BROCHURE SERIES to cover as wide a field as possible
+    in choice of subject matter for its illustrations, and at the same time hold rigidly
+    to the idea of furnishing only what will be useful to its subscribers, it has seemed
+    desirable to present something a little nearer our everyday life than the Italian
+    work which has thus far formed the greater part of the plate matter.</p>
+    <p>The domestic architecture of France and England has naturally served as a model
+    for a great deal of our American work, and especially is this noticeable during the
+    present generation in the close relation between the French ch&acirc;teaux and the
+    more pretentious American residences, as witness the recent productions of the late
+    Mr. Hunt, which have just been published since his death. We are, to be sure, looking
+    in all directions for suggestions, and it cannot help appearing wonderful to a
+    thoughtful observer how many and varied these suggestions are.</p>
+    <p>Our wealthy citizens are building ch&acirc;teaux in the style of Francis I or of
+    somebody else, Venetian or Florentine palaces, Roman villas, Flemish guild-halls,
+    Elizabethan half-timber houses. All, if tastefully and skilfully designed and placed,
+    have their special points of beauty and excellence, and all may in the hands of an
+    architect of ability be made to harmonize with our modern ways of living and the
+    surroundings in which they must take a part.</p>
+    <p>None of these models, however, are more adaptable to our ways than the country
+    houses of France. This, of course, should not be understood as meaning that any of
+    these buildings can be transplanted bodily to American soil and still be
+    satisfactory. Architectural borrowing of this class is never satisfactory; but no
+    architecture of which we have any knowledge is independent of precedent, and it only
+    behooves us to adopt from the experience of others those features or ideas which are
+    most suited to our needs. The plans and the original uses of the rooms of these
+    French <i>manoirs</i> may not prove directly adaptable to our ways of living, but the
+    general massing of the design and the rambling arrangement of plan, as well as the
+    picturesqueness of it all, are characteristics which can well be embodied in our
+    country houses. In their way, no better models can be found than the two
+    <i>manoirs</i> from Normandy which we illustrate in this number. They have both
+    suffered from the ravages of time and hard usage, and both are at present, and for a
+    long time have been, used as farmhouses. The Manoir d'Ango is the finer and more
+    important of the two, and is better preserved in some of its more interesting
+    features.</p>
+    <p>It is one of the main beauties of the charming village of Varengeville-sur-Mer, on
+    the north coast of Normandy. It is now converted into a farmhouse, but in it once a
+    celebrated privateersman of Dieppe received the ambassadors of the King of Portugual.
+    There are still many evidences of the former dignity and grandeur in its present
+    degradation.</p>
+    <hr />
+    <span class="pagenum"><a name="page148" id="page148"></a>[pg 148]</span>
+    <div class="figcenter" style="width:100%;">
+      <a href="images/brochure2.jpg"><img width="100%" src="images/brochure2.jpg"
+      alt="LXXIV. Ferme de Turpe, Normandy." /></a>
+      <h3>LXXIV. Ferme de Turpe, Normandy.</h3>
+    </div>
+    <br />
+     <br />
+
+    <hr />
+    <span class="pagenum"><a name="page149" id="page149"></a>[pg 149]</span>
+    <p>Ango was strictly a <i>manoir</i> in the French sense, that is, a residence of the
+    second class&mdash;not a ch&acirc;teau, such as Chambord or Blois.</p>
+    <p>The principal part of the building consists of but one story with an open gallery
+    beneath, supported by an arcade with columns bearing finely carved caps ornamented
+    with female heads, angels, etc.</p>
+    <p>In the interior as well as on the exterior may be seen fragments of sculpture
+    which show much refinement. In one of the rooms of the tower a monumental mantel
+    carved in stone bears in its centre the bust of an old man having in his hand a globe
+    surmounted by a cross, the imperial emblem. This may be the portrait of one of the
+    founders of the Ango family.</p>
+    <h4>LXXIII to LXXVI.</h4>
+    <h4>FERME DE TURPE, NORMANDY.</h4>
+    <p>The Ferme de Turpe is situated near the town of Neuchatel-en-Bray, famous for its
+    cheese. It has fewer interesting details than the Manoir d'Ango and is in even poorer
+    repair, but in massing and general picturesque effect it offers many suggestions
+    which can be utilized to advantage in our country houses.</p>
+    <p>Of these four views very little need be said. The charming picturesqueness of the
+    two general views is sufficient excuse for presenting them, but they contain much
+    more to the student of architecture who cares to look for it. The two detailed views
+    give an excellent idea of the simple, straightforward methods of the builders.</p>
+    <h4>LXXVII to LXXX.</h4>
+    <h4>MANOIR D'ANGO. NORMANDY.</h4>
+    <p>This building was erected between the years 1530 and 1542. Its general design and
+    especially its detail are of the Fran&ccedil;ois I type, and very beautifully
+    executed, as will be seen from the larger scale details. The materials as indicated
+    are stone and brick.</p>
+    <p>In Benoist's La Normandie Illustrie a remarkably interesting circular brick
+    dove-cote is shown in the courtyard of this <i>manoir</i>, but it does not appear in
+    any of our views, and may have been demolished since M. Benoist's sketches were made
+    in 1852. Its walls were decorated with colored brick, laid in bands and diaper
+    patterns.</p>
+    <h2>Club Notes.</h2>
+    <p>The Baltimore Architectural Club commenced its active work for the season on the
+    first of October. It has its rooms in the Wilson Building, Saratoga and Charles
+    Streets, which are always open for the use of its members, and there will be regular
+    meetings every Thursday evening during the winter and spring. At these meetings
+    various subjects of interest will occupy the attention of the members, both of a
+    practical and &aelig;sthetic character.</p>
+    <p>At one meeting of each month there will be an informal talk or lecture on some of
+    the mechanical, constructive or sanitary questions connected with architecture.</p>
+    <p>On one evening there will be sketching from the cast, and on another an impromptu
+    sketch projet, to be completed in an hour. In addition to these there will be
+    competed for three of the larger and more important regular projets, such as were
+    made last season by the Club, and for which two prizes are offered to those obtaining
+    the first and second place in point of general merit.</p>
+    <p>The present officers and Board of Control of the Baltimore Architectural Club are
+    J.B. Noel Wyatt, W. Emmart, Wm.G. N&ouml;lting, Geo. Worthington, W.M. Ellicott, W.G.
+    Keimig, and Charles Anderson.</p>
+    <hr />
+    <p>The last meeting of the T Square Club of Philadelphia, was one of unusual
+    activity. The annual election of officers and the competition of summer sketches as
+    called for by the Club syllabus was found to be too much for one evening, and
+    consequently the judging of the sketches was postponed a week.</p>
+    <p>The following officers were elected: President, Albert Kelsey; Vice-President,
+    Edgar V. Seeler; Secretary, A.B. Lacey; Treasurer, David K. Boyd; Executive
+    Committee, Walter Cope, Louis C. Hickman, William L. Price.</p>
+    <p>The summer sketches, which were judged at one of the Club's Bohemian Nights, were
+    of unusual quality and quantity. Walter Cope, who won first mention, had a large
+    collection of pencil drawings representing the fruits of his labor in Spain.</p>
+    <p>Walter Price (who won third place) and John Bissegger had one end of the room
+    covered with sketches in color and line made during a recent trip through
+    England,</p>
+    <hr />
+    <span class="pagenum"><a name="page150" id="page150"></a>[pg 150]</span>
+    <div class="figcenter" style="width:100%;">
+      <a href="images/brochure3.jpg"><img width="100%" src="images/brochure3.jpg"
+      alt="LXXV. Ferme de Turpe, Normandy." /></a>
+      <h3>LXXV. Ferme de Turpe, Normandy.</h3>
+    </div>
+    <br />
+    <hr />
+    <span class="pagenum"><a name="page151" id="page151"></a>[pg 151]</span>
+    <p>and Wilson Eyre, Jr., the winner of the second mention, had a variety of subjects
+    beautifully rendered on quaint paper, and in his well-known and ever novel way.</p>
+    <p>Music and beer were plentiful, and had a cheering effect upon Titus, Dull, Kelsey,
+    and Klauder, whose summer work failed to score a mention.</p>
+    <p>The syllabus of the Club's work for the coming year has just been issued and
+    contains some features of special interest. The problems in design are chosen with
+    much care and the programmes are more explicit than is usual, and will doubtless
+    contribute to the usefulness of the work to be done.</p>
+    <p>The T Square Club appears to be more fortunate than some of the other
+    architectural clubs in having interested and succeeded in holding the interest of a
+    number of the stronger of the older men among the local architects. It now numbers
+    about one hundred and twenty members, and its work is necessarily having considerable
+    influence in outside circles.</p>
+    <p>Its example is a good one to hold up before other and less influential clubs.</p>
+    <hr />
+    <p>Among the architectural clubs thus far noticed in this column no account has been
+    taken of the clubs connected with the architectural schools. Of these there are at
+    present several which are doing good and effective work, but the only one of which we
+    have data for a description is that connected with Lehigh University. The school of
+    architecture, as it is called, is not a school of architecture at all, but of
+    engineering (which is a very different thing), but its work is none the less
+    dignified or important on this account, and the opportunity open to the students'
+    club is in consequence a wider and more serious one than usual if they choose to
+    concern themselves with artistic considerations.</p>
+    <p>Two years ago the first class in architecture graduated from the Lehigh
+    University, and since that time the classes have continually increased, until now the
+    course is a distinct one in the curriculum of studies of the University. The objects
+    of the department are to provide a thorough training in architectural engineering,
+    with such additional studies in history, design, and drawing as must necessarily
+    accompany all architectural problems.</p>
+    <p>The first year is of a preparatory nature in which no distinctively architectural
+    subject is taken up, and in the second year the subjects are those closely related to
+    civil engineering, including a very complete course in higher mathematics. It is in
+    the third year that architectural subjects are brought in, and with studies and
+    lectures on the architectural styles, smaller problems in design, sanitary
+    engineering, and theory of roofs and bridges, the full course is opened for the
+    fourth year, of steel construction in office buildings (design and computations),
+    specifications by lectures, thorough study of ventilation, designs for roof trusses
+    and girders, and hydraulics, finally ending with a thesis design. To supplement this
+    prescribed work the students have organized the Architectural Club of the University.
+    The objects of this society are to distribute blue prints to members from a growing
+    collection of negatives owned by the Club; to collect specimens and models of
+    building material; to aid in securing a students' library, and to hold monthly
+    competitions in pen-and-ink rendering, besides managing any of the affairs of the
+    architectural course in which the students as a body desire to act. It is an
+    organization for mutual benefits and already has made itself felt, although only two
+    years old.</p>
+    <hr />
+    <p>After a summer of more or less inactivity, during which, in June, its quarters
+    were moved to 77 City Hall, where it is much more conveniently located, the Cleveland
+    Architectural Club has taken up its work with characteristic enthusiasm, and already
+    a vigorous winter's work has been planned, beginning on November 14, with the annual
+    banquet at the Hollenden Hotel, followed by the yearly meeting for the reports of
+    officers and the election of new officers.</p>
+    <p>On the evening of January 9, 1896, the first annual exhibition of the Club will be
+    inaugurated, to continue during the balance of the week. This will be the first
+    distinctively architectural exhibition ever held in Cleveland.</p>
+    <p>In the last competition, "An Entrance to Lake View Cemetery," the mentions were as
+    follows: W.D. Benes, first; Chas. S. Schneider, second; Wilbur M. Hall, third; Geo.W.
+    Andrews, fourth; L.R. Rice, fifth.</p>
+    <p>The membership of the Club is rapidly increasing, a majority of the members of the
+    local chapter of the A.I.A. having already become associate members.</p>
+    <hr />
+    <span class="pagenum"><a name="page152" id="page152"></a>[pg 152]</span>
+    <div class="figcenter" style="width:100%;">
+      <a href="images/brochure4.jpg"><img width="100%" src="images/brochure4.jpg"
+      alt="LXXVI. Ferme de Turpe, Normandy." /></a>
+      <h3>LXXVI. Ferme de Turpe, Normandy.</h3>
+      <br />
+      <br />
+    </div>
+    <hr />
+    <span class="pagenum"><a name="page153" id="page153"></a>[pg 153]</span>
+    <h1>The Brochure Series</h1>
+    <h2>of Architectural Illustration.</h2>
+    <h4>PUBLISHED MONTHLY BY</h4>
+    <h2>BATES &amp; GUILD,</h2>
+    <h3>6 BEACON STREET, BOSTON, MASS.</h3>
+    <hr />
+    <p>Subscription Rates per year ... 50 cents, in advance Special Club Rates for five
+    subscriptions ... $2.00</p>
+    <hr />
+    <p>Entered at the Boston Post Office as Second-class Matter.</p>
+    <hr />
+    <h4>SPECIAL NOTICE.</h4>
+    <p>Back numbers of THE BROCHURE SERIES <i>are not</i> kept in stock. All
+    subscriptions will be dated from the time received and subscribers who wish for the
+    current numbers must place their subscriptions at once.</p>
+    <p>If not a subscriber, you are respectfully asked to carefully examine this number
+    of THE BROCHURE SERIES, and consider whether it is not worth fifty cents a year to
+    you. A subscription blank is enclosed.</p>
+    <hr />
+    <p>It has been suggested by a correspondent prominently connected with one of the
+    principal architectural clubs of the country that a very desirable and instructive
+    exhibition could be made up of the year's work of the various clubs. If collected by
+    some concerted plan, to include the premiated or mentioned designs in the club
+    competitions, and all sent to some one city or club, they could be exhibited and then
+    passed on to the next club in the circuit.</p>
+    <p>Exchange of ideas and comparison of methods among the architectural clubs is much
+    to be desired and could not help resulting in benefit. No more direct or easier way
+    of opening relations of mutual helpfulness could be found than this, and we trust
+    that some one will take it upon himself to take the initiative. Our correspondent
+    intimates that this might be the first step towards a national federation of
+    architectural clubs. It is rather unsafe to speculate upon what might take place in
+    such an event.</p>
+    <h2>Reviews.</h2>
+    <blockquote>
+      <p><i>Suggestions in Brickwork</i> with illustrations from the Architecture of
+      Italy, together with a Catalogue of Bricks, made by the Hydraulic-Press Brick
+      Companies, Eastern Hydraulic-Press Brick Co., Philadelphia, 1895. $3.00.</p>
+    </blockquote>
+    <p>To the architect who desires to use iron or steel in construction and to figure
+    out his own drawings for the purpose, nothing can take the place of the handbooks
+    furnished by the great iron and steel companies to aid in this work; and the
+    convenience of having all tables, formulas, etc., together with a reliable catalogue
+    of commercial and practical possibilities, all in one little handbook is not to be
+    over-estimated.</p>
+    <p>What has in the past been done for the users of constructional iron and steel work
+    has now been attempted in a very different field for architects who may wish to
+    design in brick, both plain, moulded and ornamental. That this attempt is well
+    considered and most thoroughly carried out would be perfectly certain if for no other
+    reason than for the name of the compiler, Mr. Frank Miles Day, of Philadelphia. There
+    have been similar attempts made in the past, but they are crude in comparison with
+    the handsome volume now before us. It does not matter that this beautifully printed
+    and illustrated book is a perfectly frank advertisement, put forward for purely
+    business reasons. It has a most important bearing upon the progress and development
+    of the best American architecture.</p>
+    <p>The suggestions in designs are very largely taken from the buildings in the north
+    of Italy, adapted, of course, to the requirements of modern bricks. They show at all
+    times a most discriminating and delicate taste and familiarity with the best
+    architecture.</p>
+    <p>The ostensible purpose of the book is to remedy the difficulty which all who have
+    attempted to use bricks in designing have experienced to a greater or less extent, of
+    finding forms suitable for a given space.</p>
+    <p>The book is divided into two distinct parts, the first made up of twenty-eight
+    plates of designs with accompanying descriptive matter, for arcades, loggias,
+    doorways, windows, moulded bands, cornices, brick mosaics, fireplaces, balconies,</p>
+    <hr />
+    <span class="pagenum"><a name="page154" id="page154"></a>[pg 154]</span>
+    <div class="figcenter" style="width:100%;">
+      <a href="images/brochure5.jpg"><img width="100%" src="images/brochure5.jpg"
+      alt="LXXVII. Manoir d'Ango, Normandy." /></a>
+      <h3>LXXVII. Manoir d'Ango, Normandy.</h3>
+      <br />
+      <br />
+    </div>
+    <hr />
+    <span class="pagenum"><a name="page155" id="page155"></a>[pg 155]</span> piers and
+    columns, and gate posts, all carefully drawn to scale and with the numbers of
+    patterns used in each case referring to the catalogue, which occupies the second
+    portion of the book. In the catalogue each pattern is shown in isometric view, with
+    shadows indicated where it will add to the cleanness of the cut, and upon the
+    opposite page the profile of the brick is shown at half full size. This portion of
+    the catalogue is rendered much more useful than it would otherwise be, by the
+    classification which has been adopted. By this means it is easy to find most any
+    shape desired.<br />
+     <br />
+
+    <p>The choice of the patterns themselves deserves the highest commendation.</p>
+    <hr />
+    <div class="figcenter" style="width:40%;">
+      <a href="images/brochure6.jpg"><img width="100%" src="images/brochure6.jpg"
+      alt="SKETCH BY WILSON EYRE, JR." /></a>
+      <h3>SKETCH BY WILSON EYRE, JR.</h3>
+      <h4>See The Architectural Review, Vol. IV, No. 1.</h4>
+      <br />
+      <br />
+    </div>
+    <hr />
+    <p>The forthcoming number of <i>The Architectural Review</i> (Vol. IV, No. 1) will
+    include several noteworthy features. The plates are of the same class of subjects
+    which has given the paper its present high standing. The four gelatine plates are
+    devoted to illustrating Messrs. Cram, Wentworth &amp; Goodhue's design for the Public
+    Library to be erected in Fall River, Mass. The two remaining line plates are devoted
+    to the Bowery Bank building in New York by Messrs. McKim, Mead &amp; White. The
+    principal article in the text portion of the number is a sketch of a trip across
+    England from Liverpool to London by Wilson Eyre, Jr. The delicate and, in the main,
+    truthful reproductions of Mr. Eyre's incomparable sketches give the article a more
+    than common interest. Of all American architects who have been attracted by the
+    picturesque features of English and French domestic work, no one has shown a closer
+    sympathy or been able in his sketches to render more of its charm than Mr. Eyre.</p>
+    <hr />
+    <div class="figcenter" style="width:40%;">
+      <a href="images/brochure7.jpg"><img width="100%" src="images/brochure7.jpg"
+      alt="SKETCH BY WILSON EYRE, JR." /></a>
+      <h3>SKETCH BY WILSON EYRE, JR.</h3>
+      <h4>See The Architectural Review, Vol. IV, No. 1.</h4>
+      <br />
+      <br />
+    </div>
+    <hr />
+    <span class="pagenum"><a name="page156" id="page156"></a>[pg 156]</span>
+    <div class="figcenter" style="width:100%;">
+      <a href="images/brochure8.jpg"><img width="100%" src="images/brochure8.jpg"
+      alt="LXXVIII. Manoir d'Ango, Normandy." /></a>
+      <h3>LXXVIII. Manoir d'Ango, Normandy.</h3>
+      <br />
+      <br />
+    </div>
+    <hr />
+    <span class="pagenum"><a name="page157" id="page157"></a>[pg 157]</span>
+    <h2>The "P.D's."</h2>
+    <p>(<i>Continued from page 123</i>.) [Transcriber's Note: issue 8]</p>
+    <p>And speaking of costumes reminds me of some very successful ones, and particularly
+    that of a Highlander, the whole of which was made on the spot from the club's "props"
+    and was complete even to a practical bagpipe, which was composed of three tin horns,
+    a penny whistle, a piece of burlap, and a rubber tobacco pouch. Both in tone and
+    looks it was an exceedingly good imitation of the genuine article.</p>
+    <p>One of the things that has afforded the P.D.'s a great deal of amusement is a
+    supposititious newspaper, wherein the members are interviewed on any and all
+    occasions and many interesting things brought to light. In one of them, for instance,
+    Ictinus confides to the reporter that he was born in the shadow of the Parthenon.
+    This mixing up of one's peculiarities, habits, and nationality with those of the
+    illustrious individual whose name he bears, is capable of being given many laughable
+    twists and has been taken advantage of in many amusing skits.</p>
+    <p>Besides the interviews there are fashion notes, society and sporting notes,
+    architectural news, and receipts. Among the latter is a receipt for making Welsh
+    rare-bits that should be in the possession of every one addicted to them.</p>
+    <hr />
+    <div class="figcenter" style="width:30%;">
+      <a href="images/brochure9.jpg"><img width="100%" src="images/brochure9.jpg"
+      alt="THE P.D.'S PREPARED FOR WORK." /></a>
+      <h3>THE "P.D.'S" PREPARED FOR WORK.</h3>
+    </div>
+    <hr />
+    <p>The club has been regaled at various times with comic opera (with scenery painted
+    for the occasion), readings and recitations; and at one of the annual dinners an
+    illustrated history of the club and its members was given on an ingeniously contrived
+    miniature stage.</p>
+    <p>Every dinner, every voyage of discovery, every reception, and in short anything
+    happening that would be of interest to the absent members, is written up by some one
+    for their edification. The P.D.'s out-Wegg Mr. Wegg in the matter of dropping into
+    poetry, and although its quality cannot be presumed to approach that selected by that
+    famous individual for the delectation of Mr. Boffin, it being, not to mention the
+    matter of theme, very often afflicted with a deplorable weakness or strength in its
+    feet, yet it can be said of it, as in the case of Mercutio's wound, that it
+    serves.</p>
+    <hr />
+    <div class="figcenter" style="width:30%;">
+      <a href="images/brochure10.jpg"><img width="100%" src="images/brochure10.jpg"
+      alt="CORNER IN THE P.D.'S ROOMS." /></a>
+      <h3>CORNER IN THE "P.D.'S" ROOMS.</h3>
+    </div>
+    <hr />
+    <p>Most of these literary efforts eventually find a place in the scrapbook, and their
+    perusal reminds us of many a joyous evening.</p>
+    <div class="poem">
+      <div class="stanza">
+        <p>"We seem to see, to taste, to hear,</p>
+        <p>Joys that have passed; who say too fleet</p>
+        <p>The rush of time? Things passed are dear."</p>
+      </div>
+    </div>
+    <p>This, then, is a slight account of the P.D.'s, and if their doings be branded as
+    folly, it is to them at least a very innocent and delicious sort of folly, and just
+    the thing to free them from the perplexing problems of the day and fit them to
+    grapple with a freshened and renewed energy those of the morrow.</p>
+    <h2>Notes.</h2>
+    <p>The new office building of the Chicago Varnish Company, now in the course of
+    erection at the corner of Dearborn Avenue and Kinzie Street, Chicago, from the
+    designs of Mr. Henry Ives Cobb, covers a plat of ground 45 x 90 feet. It is in the
+    style of the brick architecture of Holland, which has been recently adopted in
+    several instances in New York and Philadelphia, notably by Mr. Frank Miles Day and
+    Mr. R.W. Gibson. It is to be built of St. Louis red pressed brick</p>
+    <hr />
+    <span class="pagenum"><a name="page158" id="page158"></a>[pg 158]</span>
+    <div class="figcenter" style="width:100%;">
+      <a href="images/brochure11.jpg"><img width="100%" src="images/brochure11.jpg"
+      alt="LXXIX. Manoir d'Ango, Normandy." /></a>
+      <h3>LXXIX. Manoir d'Ango, Normandy.</h3>
+      <br />
+      <br />
+    </div>
+    <hr />
+    <span class="pagenum"><a name="page159" id="page159"></a>[pg 159]</span> with Bedford
+    stone trimmings, and will be a noticeable building even in Chicago, where there is so
+    much of architectural interest. The interior will be handsomely finished in natural
+    woods. The company will occupy a considerable part of the building, but a portion of
+    it will be rented for other office purposes.<br />
+     <br />
+
+    <hr />
+    <div class="figcenter" style="width:25%;">
+      <a href="images/brochure12.jpg"><img width="100%" src="images/brochure12.jpg"
+      alt="BUILDING OF CHICAGO VARNISH CO., CHICAGO." /></a>
+      <h3>BUILDING OF CHICAGO VARNISH CO., CHICAGO.</h3>
+    </div>
+    <hr />
+    <p>Many a new building that is approaching is first winter will be found lacking if
+    its architect forgot the specification of the Folsom Snow Guard. A great many
+    buildings do not need this device, but where one does, it needs it badly. It is so
+    cheap, so simple and so perfectly effective that it should be used where there is the
+    least chance of danger or inconvenience from snow sliding off the roof.</p>
+    <p>The development of the kitchen range has been along certain well defined lines,
+    the ornament changed, new parts nickeled, dimensions varied, etc., but it has
+    remained the same old stove. The Walker &amp; Pratt Mfg. Co., of Boston, have made a
+    move towards an entirely different style, in their "Culinet," which is illustrated on
+    this page. It presents many good points. The cooking surface is at the same height as
+    an ordinary table. The oven is about the height of the elbow, making it convenient of
+    access, and greatly lessening the danger of burning the arms in using it. The fire,
+    broiler door, clinker door, and ash-pan door are all in front. All holes are hot, and
+    the oven is heated on six sides, making it not only an even baker, but a sure baker
+    on the bottom. One damper does the whole regulating business. A guard rail to keep
+    the clothes from contact with the heated surface and convenient towel driers are also
+    provided. There is no nickel finish, but solid bronze instead. These are features
+    which should recommend it to architects; besides which it is compact, and occupies
+    little floor space, durable, and made with the same care in every detail that has
+    characterized the Walker &amp; Pratt goods for forty years. It is a kitchen ornament,
+    as well as a kitchen help.</p>
+    <hr />
+    <div class="figcenter" style="width:25%;">
+      <a href="images/brochure13.jpg"><img width="100%" src="images/brochure13.jpg"
+      alt="Woman using 'Culinet'" /></a><br />
+      <br />
+    </div>
+    <hr />
+    <p>"The Making of a Range" is a cleverly prepared little pamphlet, fully illustrated,
+    that was issued primarily for distribution from the Mechanics' Fair (Boston) exhibit
+    of the Walker &amp; Pratt Mfg. Co. It is well worth sending for, if one is interested
+    in details of manufacture. The "Culinet" was the only stove which was awarded a Gold
+    Medal at the Mechanics' Fair.</p>
+    <hr />
+    <span class="pagenum"><a name="page160" id="page160"></a>[pg 160]</span>
+    <div class="figcenter" style="width:100%;">
+      <a href="images/brochure14.jpg"><img width="100%" src="images/brochure14.jpg"
+      alt="LXXX. Manoir d'Ango, Normandy." /></a>
+      <h3>LXXX. Manoir d'Ango, Normandy.</h3>
+      <br />
+      <br />
+    </div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Vol. 1, No. 10, October 1895., by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+***** This file should be named 14987-h.htm or 14987-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/4/9/8/14987/
+
+Produced by Juliet Sutherland, Alison Hadwin and the PG Online
+Distributed Proofreading Team.
+
+
+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
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://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
+https://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 https://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 https://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 including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was 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:
+
+     https://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/14987-h/images/brochure1.jpg b/14987-h/images/brochure1.jpg
new file mode 100644
index 0000000..6a333c7
--- /dev/null
+++ b/14987-h/images/brochure1.jpg
diff --git a/14987-h/images/brochure10.jpg b/14987-h/images/brochure10.jpg
new file mode 100644
index 0000000..a98d38c
--- /dev/null
+++ b/14987-h/images/brochure10.jpg
diff --git a/14987-h/images/brochure11.jpg b/14987-h/images/brochure11.jpg
new file mode 100644
index 0000000..0f63143
--- /dev/null
+++ b/14987-h/images/brochure11.jpg
diff --git a/14987-h/images/brochure12.jpg b/14987-h/images/brochure12.jpg
new file mode 100644
index 0000000..f09af67
--- /dev/null
+++ b/14987-h/images/brochure12.jpg
diff --git a/14987-h/images/brochure13.jpg b/14987-h/images/brochure13.jpg
new file mode 100644
index 0000000..a926171
--- /dev/null
+++ b/14987-h/images/brochure13.jpg
diff --git a/14987-h/images/brochure14.jpg b/14987-h/images/brochure14.jpg
new file mode 100644
index 0000000..51a797c
--- /dev/null
+++ b/14987-h/images/brochure14.jpg
diff --git a/14987-h/images/brochure2.jpg b/14987-h/images/brochure2.jpg
new file mode 100644
index 0000000..4055f4b
--- /dev/null
+++ b/14987-h/images/brochure2.jpg
diff --git a/14987-h/images/brochure3.jpg b/14987-h/images/brochure3.jpg
new file mode 100644
index 0000000..3f29adc
--- /dev/null
+++ b/14987-h/images/brochure3.jpg
diff --git a/14987-h/images/brochure4.jpg b/14987-h/images/brochure4.jpg
new file mode 100644
index 0000000..ebc94ea
--- /dev/null
+++ b/14987-h/images/brochure4.jpg
diff --git a/14987-h/images/brochure5.jpg b/14987-h/images/brochure5.jpg
new file mode 100644
index 0000000..1a85eac
--- /dev/null
+++ b/14987-h/images/brochure5.jpg
diff --git a/14987-h/images/brochure6.jpg b/14987-h/images/brochure6.jpg
new file mode 100644
index 0000000..40e9cf0
--- /dev/null
+++ b/14987-h/images/brochure6.jpg
diff --git a/14987-h/images/brochure7.jpg b/14987-h/images/brochure7.jpg
new file mode 100644
index 0000000..032f70c
--- /dev/null
+++ b/14987-h/images/brochure7.jpg
diff --git a/14987-h/images/brochure8.jpg b/14987-h/images/brochure8.jpg
new file mode 100644
index 0000000..43ebbb0
--- /dev/null
+++ b/14987-h/images/brochure8.jpg
diff --git a/14987-h/images/brochure9.jpg b/14987-h/images/brochure9.jpg
new file mode 100644
index 0000000..235f758
--- /dev/null
+++ b/14987-h/images/brochure9.jpg
diff --git a/14987.txt b/14987.txt
new file mode 100644
index 0000000..fc2b9ef
--- /dev/null
+++ b/14987.txt
@@ -0,0 +1,929 @@
+The Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Vol. 1, No. 10, October 1895., by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Brochure Series of Architectural Illustration, Vol. 1, No. 10, October 1895.
+       French Farmhouses.
+
+Author: Various
+
+Release Date: February 9, 2005 [EBook #14987]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+
+
+
+Produced by Juliet Sutherland, Alison Hadwin and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+[Illustration: LXXIII. Ferme de Turpe, Normandy.]
+
+
+
+
+THE BROCHURE SERIES
+
+OF ARCHITECTURAL ILLUSTRATION.
+
+VOL. I.
+
+OCTOBER, 1895.
+
+No. 10
+
+
+
+
+FRENCH FARMHOUSES.
+
+
+As it is the purpose of THE BROCHURE SERIES to cover as wide a field
+as possible in choice of subject matter for its illustrations, and at
+the same time hold rigidly to the idea of furnishing only what will
+be useful to its subscribers, it has seemed desirable to present
+something a little nearer our everyday life than the Italian work
+which has thus far formed the greater part of the plate matter.
+
+The domestic architecture of France and England has naturally served
+as a model for a great deal of our American work, and especially is
+this noticeable during the present generation in the close relation
+between the French chateaux and the more pretentious American
+residences, as witness the recent productions of the late Mr. Hunt,
+which have just been published since his death. We are, to be
+sure, looking in all directions for suggestions, and it cannot help
+appearing wonderful to a thoughtful observer how many and varied these
+suggestions are.
+
+Our wealthy citizens are building chateaux in the style of Francis
+I or of somebody else, Venetian or Florentine palaces, Roman
+villas, Flemish guild-halls, Elizabethan half-timber houses. All,
+if tastefully and skilfully designed and placed, have their special
+points of beauty and excellence, and all may in the hands of an
+architect of ability be made to harmonize with our modern ways of
+living and the surroundings in which they must take a part.
+
+None of these models, however, are more adaptable to our ways than the
+country houses of France. This, of course, should not be understood
+as meaning that any of these buildings can be transplanted bodily to
+American soil and still be satisfactory. Architectural borrowing of
+this class is never satisfactory; but no architecture of which we have
+any knowledge is independent of precedent, and it only behooves us to
+adopt from the experience of others those features or ideas which are
+most suited to our needs. The plans and the original uses of the rooms
+of these French _manoirs_ may not prove directly adaptable to our
+ways of living, but the general massing of the design and the rambling
+arrangement of plan, as well as the picturesqueness of it all, are
+characteristics which can well be embodied in our country houses. In
+their way, no better models can be found than the two _manoirs_ from
+Normandy which we illustrate in this number. They have both suffered
+from the ravages of time and hard usage, and both are at present, and
+for a long time have been, used as farmhouses. The Manoir d'Ango is
+the finer and more important of the two, and is better preserved in
+some of its more interesting features.
+
+[Illustration: LXXIV. Ferme de Turpe, Normandy.]
+
+It is one of the main beauties of the charming village of
+Varengeville-sur-Mer, on the north coast of Normandy. It is now
+converted into a farmhouse, but in it once a celebrated privateersman
+of Dieppe received the ambassadors of the King of Portugual. There are
+still many evidences of the former dignity and grandeur in its present
+degradation.
+
+Ango was strictly a _manoir_ in the French sense, that is, a residence
+of the second class--not a chateau, such as Chambord or Blois.
+
+The principal part of the building consists of but one story with
+an open gallery beneath, supported by an arcade with columns bearing
+finely carved caps ornamented with female heads, angels, etc.
+
+In the interior as well as on the exterior may be seen fragments of
+sculpture which show much refinement. In one of the rooms of the tower
+a monumental mantel carved in stone bears in its centre the bust of an
+old man having in his hand a globe surmounted by a cross, the imperial
+emblem. This may be the portrait of one of the founders of the Ango
+family.
+
+
+LXXIII to LXXVI.
+
+FERME DE TURPE, NORMANDY.
+
+
+The Ferme de Turpe is situated near the town of Neuchatel-en-Bray,
+famous for its cheese. It has fewer interesting details than the
+Manoir d'Ango and is in even poorer repair, but in massing and general
+picturesque effect it offers many suggestions which can be utilized to
+advantage in our country houses.
+
+Of these four views very little need be said. The charming
+picturesqueness of the two general views is sufficient excuse
+for presenting them, but they contain much more to the student of
+architecture who cares to look for it. The two detailed views give an
+excellent idea of the simple, straightforward methods of the builders.
+
+
+LXXVII to LXXX.
+
+MANOIR D'ANGO. NORMANDY.
+
+
+This building was erected between the years 1530 and 1542. Its general
+design and especially its detail are of the Francois I type, and very
+beautifully executed, as will be seen from the larger scale details.
+The materials as indicated are stone and brick.
+
+In Benoist's La Normandie Illustrie a remarkably interesting circular
+brick dove-cote is shown in the courtyard of this _manoir_, but it
+does not appear in any of our views, and may have been demolished
+since M. Benoist's sketches were made in 1852. Its walls were
+decorated with colored brick, laid in bands and diaper patterns.
+
+
+
+
+Club Notes.
+
+
+The Baltimore Architectural Club commenced its active work for
+the season on the first of October. It has its rooms in the Wilson
+Building, Saratoga and Charles Streets, which are always open for the
+use of its members, and there will be regular meetings every Thursday
+evening during the winter and spring. At these meetings various
+subjects of interest will occupy the attention of the members, both of
+a practical and aesthetic character.
+
+At one meeting of each month there will be an informal talk or
+lecture on some of the mechanical, constructive or sanitary questions
+connected with architecture.
+
+On one evening there will be sketching from the cast, and on another
+an impromptu sketch projet, to be completed in an hour. In addition
+to these there will be competed for three of the larger and more
+important regular projets, such as were made last season by the Club,
+and for which two prizes are offered to those obtaining the first and
+second place in point of general merit.
+
+The present officers and Board of Control of the Baltimore
+Architectural Club are J.B. Noel Wyatt, W. Emmart, Wm. G. Noelting,
+Geo. Worthington, W.M. Ellicott, W.G. Keimig, and Charles Anderson.
+
+       *       *       *       *       *
+
+The last meeting of the T Square Club of Philadelphia, was one of
+unusual activity. The annual election of officers and the competition
+of summer sketches as called for by the Club syllabus was found to be
+too much for one evening, and consequently the judging of the sketches
+was postponed a week.
+
+The following officers were elected: President, Albert Kelsey;
+Vice-President, Edgar V. Seeler; Secretary, A.B. Lacey; Treasurer,
+David K. Boyd; Executive Committee, Walter Cope, Louis C. Hickman,
+William L. Price.
+
+The summer sketches, which were judged at one of the Club's Bohemian
+Nights, were of unusual quality and quantity. Walter Cope, who won
+first mention, had a large collection of pencil drawings representing
+the fruits of his labor in Spain.
+
+Walter Price (who won third place) and John Bissegger had one end of
+the room covered with sketches in color and line made during a recent
+trip through England, and Wilson Eyre, Jr., the winner of the second
+mention, had a variety of subjects beautifully rendered on quaint
+paper, and in his well-known and ever novel way.
+
+[Illustration: LXXV. Ferme de Turpe, Normandy.]
+
+Music and beer were plentiful, and had a cheering effect upon Titus,
+Dull, Kelsey, and Klauder, whose summer work failed to score a
+mention.
+
+The syllabus of the Club's work for the coming year has just been
+issued and contains some features of special interest. The problems in
+design are chosen with much care and the programmes are more explicit
+than is usual, and will doubtless contribute to the usefulness of the
+work to be done.
+
+The T Square Club appears to be more fortunate than some of the other
+architectural clubs in having interested and succeeded in holding the
+interest of a number of the stronger of the older men among the local
+architects. It now numbers about one hundred and twenty members,
+and its work is necessarily having considerable influence in outside
+circles.
+
+Its example is a good one to hold up before other and less influential
+clubs.
+
+       *       *       *       *       *
+
+Among the architectural clubs thus far noticed in this column no
+account has been taken of the clubs connected with the architectural
+schools. Of these there are at present several which are doing good
+and effective work, but the only one of which we have data for a
+description is that connected with Lehigh University. The school of
+architecture, as it is called, is not a school of architecture at all,
+but of engineering (which is a very different thing), but its work
+is none the less dignified or important on this account, and the
+opportunity open to the students' club is in consequence a wider and
+more serious one than usual if they choose to concern themselves with
+artistic considerations.
+
+Two years ago the first class in architecture graduated from the
+Lehigh University, and since that time the classes have continually
+increased, until now the course is a distinct one in the curriculum
+of studies of the University. The objects of the department are to
+provide a thorough training in architectural engineering, with such
+additional studies in history, design, and drawing as must necessarily
+accompany all architectural problems.
+
+The first year is of a preparatory nature in which no distinctively
+architectural subject is taken up, and in the second year the subjects
+are those closely related to civil engineering, including a very
+complete course in higher mathematics. It is in the third year that
+architectural subjects are brought in, and with studies and lectures
+on the architectural styles, smaller problems in design, sanitary
+engineering, and theory of roofs and bridges, the full course is
+opened for the fourth year, of steel construction in office buildings
+(design and computations), specifications by lectures, thorough study
+of ventilation, designs for roof trusses and girders, and hydraulics,
+finally ending with a thesis design. To supplement this prescribed
+work the students have organized the Architectural Club of the
+University. The objects of this society are to distribute blue prints
+to members from a growing collection of negatives owned by the Club;
+to collect specimens and models of building material; to aid in
+securing a students' library, and to hold monthly competitions in
+pen-and-ink rendering, besides managing any of the affairs of the
+architectural course in which the students as a body desire to act.
+It is an organization for mutual benefits and already has made itself
+felt, although only two years old.
+
+       *       *       *       *       *
+
+After a summer of more or less inactivity, during which, in June,
+its quarters were moved to 77 City Hall, where it is much more
+conveniently located, the Cleveland Architectural Club has taken
+up its work with characteristic enthusiasm, and already a vigorous
+winter's work has been planned, beginning on November 14, with the
+annual banquet at the Hollenden Hotel, followed by the yearly meeting
+for the reports of officers and the election of new officers.
+
+On the evening of January 9, 1896, the first annual exhibition of the
+Club will be inaugurated, to continue during the balance of the week.
+This will be the first distinctively architectural exhibition ever
+held in Cleveland.
+
+In the last competition, "An Entrance to Lake View Cemetery," the
+mentions were as follows: W.D. Benes, first; Chas. S. Schneider,
+second; Wilbur M. Hall, third; Geo. W. Andrews, fourth; L.R. Rice,
+fifth.
+
+The membership of the Club is rapidly increasing, a majority of the
+members of the local chapter of the A.I.A. having already become
+associate members.
+
+[Illustration: LXXVI. Ferme de Turpe, Normandy.]
+
+
+
+
+The Brochure Series
+
+of Architectural Illustration.
+
+PUBLISHED MONTHLY BY
+
+BATES & GUILD,
+
+6 BEACON STREET, BOSTON, MASS.
+
+       *       *       *       *       *
+
+Subscription Rates per year ... 50 cents, in advance Special Club
+Rates for five subscriptions ... $2.00
+
+       *       *       *       *       *
+
+Entered at the Boston Post Office as Second-class Matter.
+
+       *       *       *       *       *
+
+SPECIAL NOTICE.
+
+Back numbers of THE BROCHURE SERIES _are not_ kept in stock. All
+subscriptions will be dated from the time received and subscribers who
+wish for the current numbers must place their subscriptions at once.
+
+If not a subscriber, you are respectfully asked to carefully examine
+this number of THE BROCHURE SERIES, and consider whether it is not
+worth fifty cents a year to you. A subscription blank is enclosed.
+
+       *       *       *       *       *
+
+It has been suggested by a correspondent prominently connected with
+one of the principal architectural clubs of the country that a very
+desirable and instructive exhibition could be made up of the year's
+work of the various clubs. If collected by some concerted plan, to
+include the premiated or mentioned designs in the club competitions,
+and all sent to some one city or club, they could be exhibited and
+then passed on to the next club in the circuit.
+
+Exchange of ideas and comparison of methods among the architectural
+clubs is much to be desired and could not help resulting in
+benefit. No more direct or easier way of opening relations of mutual
+helpfulness could be found than this, and we trust that some one
+will take it upon himself to take the initiative. Our correspondent
+intimates that this might be the first step towards a national
+federation of architectural clubs. It is rather unsafe to speculate
+upon what might take place in such an event.
+
+
+
+
+Reviews.
+
+
+    _Suggestions in Brickwork_ with illustrations from the
+    Architecture of Italy, together with a Catalogue of Bricks,
+    made by the Hydraulic-Press Brick Companies, Eastern
+    Hydraulic-Press Brick Co., Philadelphia, 1895. $3.00.
+
+To the architect who desires to use iron or steel in construction and
+to figure out his own drawings for the purpose, nothing can take the
+place of the handbooks furnished by the great iron and steel companies
+to aid in this work; and the convenience of having all tables,
+formulas, etc., together with a reliable catalogue of commercial
+and practical possibilities, all in one little handbook is not to be
+over-estimated.
+
+What has in the past been done for the users of constructional iron
+and steel work has now been attempted in a very different field for
+architects who may wish to design in brick, both plain, moulded and
+ornamental. That this attempt is well considered and most thoroughly
+carried out would be perfectly certain if for no other reason than for
+the name of the compiler, Mr. Frank Miles Day, of Philadelphia. There
+have been similar attempts made in the past, but they are crude in
+comparison with the handsome volume now before us. It does not matter
+that this beautifully printed and illustrated book is a perfectly
+frank advertisement, put forward for purely business reasons. It has
+a most important bearing upon the progress and development of the best
+American architecture.
+
+The suggestions in designs are very largely taken from the buildings
+in the north of Italy, adapted, of course, to the requirements of
+modern bricks. They show at all times a most discriminating and
+delicate taste and familiarity with the best architecture.
+
+The ostensible purpose of the book is to remedy the difficulty which
+all who have attempted to use bricks in designing have experienced to
+a greater or less extent, of finding forms suitable for a given space.
+
+The book is divided into two distinct parts, the first made up of
+twenty-eight plates of designs with accompanying descriptive matter,
+for arcades, loggias, doorways, windows, moulded bands, cornices,
+brick mosaics, fireplaces, balconies, piers and columns, and gate
+posts, all carefully drawn to scale and with the numbers of patterns
+used in each case referring to the catalogue, which occupies the
+second portion of the book. In the catalogue each pattern is shown
+in isometric view, with shadows indicated where it will add to the
+cleanness of the cut, and upon the opposite page the profile of the
+brick is shown at half full size. This portion of the catalogue
+is rendered much more useful than it would otherwise be, by the
+classification which has been adopted. By this means it is easy to
+find most any shape desired.
+
+The choice of the patterns themselves deserves the highest
+commendation.
+
+[Illustration: LXXVII. Manoir d'Ango, Normandy.]
+
+[Illustration: SKETCH BY WILSON EYRE, JR. See The Architectural
+Review, Vol. IV, No. 1.]
+
+The forthcoming number of _The Architectural Review_ (Vol. IV, No. 1)
+will include several noteworthy features. The plates are of the same
+class of subjects which has given the paper its present high standing.
+The four gelatine plates are devoted to illustrating Messrs. Cram,
+Wentworth & Goodhue's design for the Public Library to be erected in
+Fall River, Mass. The two remaining line plates are devoted to the
+Bowery Bank building in New York by Messrs. McKim, Mead & White. The
+principal article in the text portion of the number is a sketch of a
+trip across England from Liverpool to London by Wilson Eyre, Jr.
+The delicate and, in the main, truthful reproductions of Mr. Eyre's
+incomparable sketches give the article a more than common interest.
+Of all American architects who have been attracted by the picturesque
+features of English and French domestic work, no one has shown a
+closer sympathy or been able in his sketches to render more of its
+charm than Mr. Eyre.
+
+[Illustration: SKETCH BY WILSON EYRE, JR. See The Architectural
+Review, Vol. IV, No. 1.]
+
+[Illustration: LXXVIII. Manoir d'Ango, Normandy.]
+
+
+
+
+The "P.D's."
+
+(_Continued from page 123_.) [Transcriber's Note: issue 8]
+
+
+And speaking of costumes reminds me of some very successful ones, and
+particularly that of a Highlander, the whole of which was made on
+the spot from the club's "props" and was complete even to a practical
+bagpipe, which was composed of three tin horns, a penny whistle, a
+piece of burlap, and a rubber tobacco pouch. Both in tone and looks it
+was an exceedingly good imitation of the genuine article.
+
+One of the things that has afforded the P.D.'s a great deal of
+amusement is a supposititious newspaper, wherein the members are
+interviewed on any and all occasions and many interesting things
+brought to light. In one of them, for instance, Ictinus confides to
+the reporter that he was born in the shadow of the Parthenon. This
+mixing up of one's peculiarities, habits, and nationality with those
+of the illustrious individual whose name he bears, is capable of being
+given many laughable twists and has been taken advantage of in many
+amusing skits.
+
+Besides the interviews there are fashion notes, society and sporting
+notes, architectural news, and receipts. Among the latter is a receipt
+for making Welsh rare-bits that should be in the possession of every
+one addicted to them.
+
+[Illustration: THE "P.D.'S" PREPARED FOR WORK.]
+
+The club has been regaled at various times with comic opera (with
+scenery painted for the occasion), readings and recitations; and at
+one of the annual dinners an illustrated history of the club and its
+members was given on an ingeniously contrived miniature stage.
+
+Every dinner, every voyage of discovery, every reception, and in short
+anything happening that would be of interest to the absent members, is
+written up by some one for their edification. The P.D.'s out-Wegg Mr.
+Wegg in the matter of dropping into poetry, and although its quality
+cannot be presumed to approach that selected by that famous individual
+for the delectation of Mr. Boffin, it being, not to mention the matter
+of theme, very often afflicted with a deplorable weakness or strength
+in its feet, yet it can be said of it, as in the case of Mercutio's
+wound, that it serves.
+
+[Illustration: CORNER IN THE "P.D.'S" ROOMS.]
+
+Most of these literary efforts eventually find a place in the
+scrapbook, and their perusal reminds us of many a joyous evening.
+
+  "We seem to see, to taste, to hear,
+  Joys that have passed; who say too fleet
+  The rush of time? Things passed are dear."
+
+This, then, is a slight account of the P.D.'s, and if their doings be
+branded as folly, it is to them at least a very innocent and delicious
+sort of folly, and just the thing to free them from the perplexing
+problems of the day and fit them to grapple with a freshened and
+renewed energy those of the morrow.
+
+
+
+
+Notes.
+
+
+The new office building of the Chicago Varnish Company, now in the
+course of erection at the corner of Dearborn Avenue and Kinzie Street,
+Chicago, from the designs of Mr. Henry Ives Cobb, covers a plat of
+ground 45 x 90 feet. It is in the style of the brick architecture of
+Holland, which has been recently adopted in several instances in New
+York and Philadelphia, notably by Mr. Frank Miles Day and Mr. R.W.
+Gibson. It is to be built of St. Louis red pressed brick with Bedford
+stone trimmings, and will be a noticeable building even in Chicago,
+where there is so much of architectural interest. The interior will
+be handsomely finished in natural woods. The company will occupy a
+considerable part of the building, but a portion of it will be rented
+for other office purposes.
+
+[Illustration: LXXIX. Manoir d'Ango, Normandy.]
+
+[Illustration: BUILDING OF CHICAGO VARNISH CO., CHICAGO.]
+
+Many a new building that is approaching its first winter will be found
+lacking if its architect forgot the specification of the Folsom Snow
+Guard. A great many buildings do not need this device, but where one
+does, it needs it badly. It is so cheap, so simple and so perfectly
+effective that it should be used where there is the least chance of
+danger or inconvenience from snow sliding off the roof.
+
+The development of the kitchen range has been along certain well
+defined lines, the ornament changed, new parts nickeled, dimensions
+varied, etc., but it has remained the same old stove. The Walker
+& Pratt Mfg. Co., of Boston, have made a move towards an entirely
+different style, in their "Culinet," which is illustrated on this
+page. It presents many good points. The cooking surface is at the
+same height as an ordinary table. The oven is about the height of
+the elbow, making it convenient of access, and greatly lessening
+the danger of burning the arms in using it. The fire, broiler door,
+clinker door, and ash-pan door are all in front. All holes are hot,
+and the oven is heated on six sides, making it not only an even baker,
+but a sure baker on the bottom. One damper does the whole regulating
+business. A guard rail to keep the clothes from contact with the
+heated surface and convenient towel driers are also provided. There is
+no nickel finish, but solid bronze instead. These are features which
+should recommend it to architects; besides which it is compact, and
+occupies little floor space, durable, and made with the same care in
+every detail that has characterized the Walker & Pratt goods for forty
+years. It is a kitchen ornament, as well as a kitchen help.
+
+[Illustration] [Transcriber's Note: Lady using "Culinet."]
+
+"The Making of a Range" is a cleverly prepared little pamphlet, fully
+illustrated, that was issued primarily for distribution from the
+Mechanics' Fair (Boston) exhibit of the Walker & Pratt Mfg. Co. It
+is well worth sending for, if one is interested in details of
+manufacture. The "Culinet" was the only stove which was awarded a Gold
+Medal at the Mechanics' Fair.
+
+[Illustration: LXXX. Manoir d'Ango, Normandy.]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Brochure Series of Architectural
+Illustration, Vol. 1, No. 10, October 1895., by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL ILLUSTRATION ***
+
+***** This file should be named 14987.txt or 14987.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/4/9/8/14987/
+
+Produced by Juliet Sutherland, Alison Hadwin and the PG Online
+Distributed Proofreading Team.
+
+
+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
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://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
+https://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 https://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 https://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 including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was 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:
+
+     https://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/14987.zip b/14987.zip
new file mode 100644
index 0000000..9669d07
--- /dev/null
+++ b/14987.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..93bce91
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #14987 (https://www.gutenberg.org/ebooks/14987)