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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/19444-8.txt b/19444-8.txt new file mode 100644 index 0000000..029ff15 --- /dev/null +++ b/19444-8.txt @@ -0,0 +1,1026 @@ +The Project Gutenberg EBook of The Brochure Series of Architectural +Illustration, Volume 01, No. 06, June 1895, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Brochure Series of Architectural Illustration, Volume 01, No. 06, June 1895 + Renaissance Panels from Perugia + +Author: Various + +Release Date: October 2, 2006 [EBook #19444] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF *** + + + + +Produced by Juliet Sutherland, Sigal Alon and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + +THE BROCHURE SERIES + +OF ARCHITECTURAL ILLUSTRATION. + + +VOL. I. JUNE, 1895. No. 6. + +RENAISSANCE PANELS FROM PERUGIA. + + +The carved walnut panels from the choir stalls of the Church of San +Pietro de' Casinense in Perugia, designed by Stefano da Bergamo in 1535, +which are given as illustrations in this number, are excellent examples +of the ornament of the later period of the Italian Renaissance. This +form of ornament was first used in flat painted panels upon pilasters, +such as the well-known work of Raphael in the Loggia of the Vatican, +suggested by the Roman work discovered in his time upon the Palatine. It +was afterwards applied to all sorts of objects where rectangular spaces +were to be decorated. Its characteristics can hardly be better described +than in the following extract from Mr. C. Howard Walker's articles upon +the Study of Decoration in _The Technology Architectural Review_:-- + +"The motives on the pilasters were of two kinds: the continuous scroll, +starting from a strong base leaf and rising in equal volutes, with +alternating direction to right and to left, and filling the panel. This +motive needed always to be balanced by its opposite, and was +consequently seldom used. It had its prototype in the magnificent scroll +from the Forum of Trajan. The other motive was that usually used, and +capable of infinite variety, that of a central axis, the ornament +diverging from it symmetrically on either side. This motive was borrowed +from colored decorations on the Roman walls. It is a most difficult +class of ornament to handle, as so much depends upon relative +distribution, proportion, and relief of modeling. The motive usually +starts at the bottom and grows continuously to the top, with the base, +whether a mass of leafage, a vase, or other unit of ornament, well +defined and the crowning unit strong and rich. The central axis can be +actual or merely evidenced by the symmetry of the sides, preferably +actual. To prevent an effect of absolute perpendicular division or of +stringiness, this axis, between its base and crown, is divided either by +knots of ornament, concentrated masses, or horizontal motives. In making +these divisions the rules of cadence need to be carefully observed; the +divisions should be made equal in length, or alternate, or in sequence, +and the same method should be observed in the units of ornament marking +the divisions. In most cases there is more ground than ornament, which +always demands that the lines of the ornament should be most carefully +studied, and that the units used as terminals for these lines should be +exactly disposed, in relation to the axis, to each other, and to the +border of the panel. When one considers the number of factors which can +enter into the composition of one of these panels, it can be readily +conceived that their variety is wellnigh infinite; absolute symmetry on +either side of a central axis on which are threaded units of ornament, +and which starts from a mass of detail and terminates in a mass of +detail; systems of radial lines diverging from the central axis and +terminating in centres of ornaments of greater or less size, arranged in +all sorts of groupings; garlands, pendants, and ribbons, vases, +trophies, shields, birds, beasts, and nondescript combinations, foliage, +conventional and natural, forms, human and superhuman, all in varying +scales, all in surfaces undulating, now rising into sharp relief with +clear-cut edges, now sinking and melting into the background; and the +whole so carefully balanced, so exactly distributed, that no portion +should be too strong for another, no detail but should be equally +refined. It is not an easy matter to succeed in a design of such +requirements." + +"It is well into the latter part of the fifteenth century before this +pilaster treatment is prevalent. The Quattrocento work contains much +less of it than the Cinquecento. The garlands and trophies, lions' and +bulls' heads, dolphins and griffins, tridents and shells and rosettes, +and numberless familiar forms appear in a new guise; the new forms +being, for the most part, heraldic motives or town arms, such as the +fleur-de-lis of Florence, the Biscione or viper of Milan, and lions +which are rampant, a condition unknown to their classic prototypes. +Shields, though used before, have a new form, and ribbons are developed +into all sorts of knots and waving ends, the loops having the same +cadences in relative size as other decorative compound motives." + + + + +[Illustration: XLI. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLII. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLIII. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLIV. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLV. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLVI. Panels from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLVII. Panels from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + + +XLI to XLVII. + +PANELS FROM THE CHOIR STALLS, CHURCH OF S. PIETRO, PERUGIA, ITALY. + +The principles governing the design of these panels so well explained in +the foregoing quotation can all be seen exemplified in the plates. They +are all built upon a central axis, and the proportion and distribution +of the various motives most carefully studied and beautifully carried +out. Although all are shorter than the usual pilaster, the design is +exactly similar to that usually employed for this purpose. Even the +horizontal panels in plates XLVI and XLVII follow precisely the same +rules of design. + + + + +[Illustration: XLVIII. Panel from the Chamber of Commerce, Perugia, +Italy.] + + +XLVIII. + +PANEL FROM THE CHAMBER OF COMMERCE, PERUGIA, ITALY. + +This panel, although from a different building, is so similar in +treatment to the ones in the Church of S. Pietro that it can be classed +with them, and all that has been said of them applies as well to this. + + + + +Architectural Schools. + + +It is not many years since there was but one school in America to which +a young man could go with the expectation of getting instruction in +architecture, or at least where a special course of training was laid +out for this purpose. At present there are six well-equipped +architectural schools connected with as many colleges, each with its own +corps of instructors and each presenting special advantages to students. +In addition to these principal institutions there are a number of others +in which instruction in architecture is given, either independently or +in connection with other courses. To a young man intending to take up +the study of architecture this array of opportunities may not appear in +exactly the light of an embarrassment of riches, but it furnishes a wide +field from which to choose, and it may not be an easy matter to +determine which under the special circumstances connected with each case +presents the greatest advantages. For this reason a general statement of +the main features and practical equipment of the principal schools may +be of service in enabling intending students to choose intelligently +among them. + + +MASS. INSTITUTE OF TECHNOLOGY. + +The oldest, the most thoroughly appointed, and largest architectural +school in the country is the Department of Architecture at the +Massachusetts Institute of Technology in Boston. It is in charge of +Professor Francis W. Chandler, with a corps of ten professors, +assistants, and special lecturers. The regular course consists of four +years' study. Special students are admitted after satisfying the faculty +by examination or otherwise that they are proficient in the preparatory +studies required and are qualified to pursue to advantage the special +work chosen. + +The instruction in this department comprises the study of construction +and materials, the study of building processes, and of professional +practice, as well as that of composition and design, and of the history +of architecture. It is arranged to meet the wants both of those who +commence their professional studies at the beginning, and to some extent +of experienced draughtsmen who desire to make up deficiencies in their +training, or to qualify themselves for undertaking the responsibilities +of practice. + +The more strictly professional work begins with the study of the five +orders and their applications, and of architectural history. During each +year there is regular instruction in freehand drawing, the last year +being from life. There is also a special class in pen-and-ink drawing +under Mr. D. A. Gregg. Instruction is given in watercolor drawing by Mr. +Ross Turner. The students are familiarized with the material elements of +their future work by a course in practical construction, illustrated by +lectures, problems, and by visits to buildings. The subject of +specifications and contracts is discussed. Problems in construction of +all kinds are given, to fix in the memory the principles already +learned. + +For two and one-half years the students are continually engaged upon +architectural design under the charge of Professor Despradelle and Mr. +S. W. Mead. Each student's work is examined and criticized before the +classes by a jury from the Boston Society of Architects. + +The Boston Society of Architects has established two prizes of the value +of fifty dollars each in books for students who at the end of the year +exhibit the best work. + +Several thousand photographs, prints, drawings, and casts were +originally collected for the Department by means of a special fund +raised for the purpose. To these collections large additions have been +made, at first mostly by gifts, but later by regular appropriations. +Models and illustrations of architectural detail and materials are +arranged in the rooms of the department. The chief part of the +collection of casts of architectural sculpture and detail belonging to +the department has been deposited in the Museum of Fine Arts, together +with the architectural collection belonging to the museum. The students +of the Department have free access to the museum at all times; as the +building is close at hand no inconvenience results from the change, and +some of the advanced exercises in drawing are held there. The museum of +sanitary and building appliances contains models of plumbing apparatus, +specimens of metal work, tile work, glass work, and wood work, partly +purchased, but mostly deposited with the Department by the +manufacturers. The architectural library contains a large and carefully +selected collection of technical works and the leading periodicals, both +American and foreign. The resources of the Department have been much +enlarged by the erection of a special building devoted entirely to its +uses. + +In 1894 a summer school of architecture was held in Salem and Portsmouth +for the study of colonial work. The courtesy of owners of houses built +at this epoch allowed the students to measure and sketch the best work +of this interesting locality, and in the future it is proposed to make +an exhaustive study of colonial architecture. + +Both men and women are admitted to all departments of the Institute. +Candidates for admission must be at least seventeen years of age, and +must pass satisfactory examinations in algebra, plane geometry, either +French or German, English, history, and either advanced algebra or solid +geometry. A detailed account of these requirements and the general +conditions of the entrance examinations, which are held the last of June +and middle of September, can be found in the catalogue of the Institute, +which will be sent upon application by the secretary. The tuition fee is +$200.00 a year divided into two payments, $125.00 due in October and +$75.00 due in January. + +During a number of years a special course of two years was maintained in +the school, which attracted many students who did not find it possible +to spend the time required for the full course of four years. This +arrangement has now been discontinued and no special provision is at +present made for other than regular students. + +The Institute has from the beginning modeled its instruction very +largely upon that of the Ecole des Beaux-Arts, and has ranked until the +last few years as the only American school in which a thorough academic +training in architectural design was attempted. Its professors of design +Professor E. Letang, who died in 1892, and Professor D. Despradelle, +both Frenchmen, have devoted their whole time to this branch of +instruction, and have maintained a standard which until recently other +schools have not approached. + +Although the graduates from the full four years' course are +comparatively few, no other school can count so many of its former +students in prominent positions in the profession, and the Institute is +deservedly proud of its record in this direction. + + + + +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. + + * * * * * + +Until the present year no American student of architecture has ever been +honored with the diploma of the Paris Ecole des Beaux-Arts, but on June +14 the degree of the school was conferred on three Americans--Messrs. J. +Van Pelt, J. H. Friedlander, and D. Hale. The first diplomas were +awarded in 1869, before that date there being no official recognition of +the completion of any required course in the school, except the awards +in the various _concours_, all leading up to the Grand Prize of Rome. + +There are a number of Americans now in Paris who intend to present +theses for the diploma, and doubtless other awards will follow those +already made. Any present or former student of the school who has +reached the required standard in his work is allowed to submit a thesis +in competition for the diploma. + +At the entrance examination of the Ecole this year sixteen American +students of architecture were received. Last year there were but eight, +which up to that time was the largest number recorded. + + * * * * * + +The Chicago Architectural Club has given evidence this year of very +great activity, and its work has been directed in many channels and with +good effect. Its lectures, classes, competitions, smokers, Bohemian +nights, receptions, ladies' nights, expeditions to places of interest, +and finally its exhibition of last month have all been excellently +chosen to instruct, interest, and amuse its members, and incidentally +promote the general cause of architectural education. The long list of +attractions has held the interest of its members without flagging. In +the classwork it has had the services and advice of the best and most +competent men connected with the profession; and in all directions it is +to be congratulated upon the good work done. + + + + +Books. + + +_Æsthetic Principles_: By Henry Rutgers Marshall, M. A. Macmillan & Co. +1895. 201 pages. $1.25. + +Probably many readers of THE BROCHURE SERIES have struggled as has the +writer (and possibly some are still in an unsettled state of mind in +consequence) over the abstruseness of the current works upon the +philosophy of art, trying to find some obscure foundation on which to +build for themselves a theory of æsthetics. To such, and to all others +who have any wish to reason connectedly on art matters, Mr. Marshall's +little book will be interesting and instructive reading. It is +remarkably clear and understandable even to a reader with no special +training in metaphysical reasoning, and in point of literary style and +carefully considered use of language it is a genuine treat. Its object +is to explain, in as direct and simple language as possible, the nature +and origin of our ideas of the beautiful, and the logical deduction to +be made from the premises, which will guide us in the practice of the +fine arts, or the production of beauty of some special type. + +As Mr. Marshall is an architect, many of his illustrative examples are +drawn from architecture, and the book on this account is especially +interesting to architects. + + * * * * * + +_Rational Building_: Being a translation of the article "Construction" +in the _Dictionnaire Raisonnè de l'Architecture Française_ of M. +Eugène-Emmanuel Viollet-le-Duc. By George Martin Huss, Architect. New +York: Macmillan & Co. 1895. 367 pages. Illustrated. $3.00. + +This book, although confined entirely to the consideration of the French +Gothic, will be found of great value to students. Many of our readers +are of course familiar with it in its original form, while others may +have followed the translation as it has appeared from time to time in +the pages of the _American Architect_. + +It will be mainly useful from its historical and theoretical bearing, as +all that is here included which is of practical value for application +to modern uses can be found elsewhere in more available shape. The +illustrations form a most important feature in the usefulness of the +book. The remarkable diagrammatic drawings of Viollet-le-Duc are famous +for their clearness and the amount of information which they convey. + +The table of contents includes the following headings: Discussion of +General Conditions and Principles; Roman and Romanesque Vaults; Origin +of the Pointed Arch; Development of Principles; Vaults; Materials; +Thirteenth Century Developments; Civil and Military Construction. + + * * * * * + +_Catalogue of the Premiated Drawings of the Department of Architecture, +Massachusetts Institute of Technology, 1895._ Published by the +Architectural Society. Forty-four illustrations. + +The work of the Department of Architecture at the Massachusetts +Institute of Technology is without doubt the most fully developed +students' work in architecture now done in this country, and the +drawings shown in this catalogue, giving a selection of the best designs +from the year's work just finished, do credit alike to the system +followed at the school, the fidelity of the instructors, and the +earnestness and talent of the students. The premiated designs in the +competitions of the Society of Beaux-Arts Architects made in the course +of regular school work are reproduced in this catalogue, and also the +first-mentioned designs in the regular monthly problems forming the +drill in design of the school. The program for the latter is given in +each case. These problems make up a graded series of considerable +interest, and are worth careful study and comparison. + + + + +Building Exhibit. + + +The many recent developments in the building arts have rendered it +practically impossible for those not directly connected with them to +keep informed of the latest and most improved methods of construction, +or, in fact, to easily obtain information when desired. To architects, +whose business it is to be familiar with the best and most economical +method of solving any building problem, it is often difficult to find +the information desired, as the field is so wide and the inventions and +improvements multiply so rapidly. To meet the requirements of intending +builders, as well as architects, permanent exhibits of building +materials have been established in several of the principal cities of +the United States, where it is possible to see specimens of the actual +materials, appliances, and latest inventions used in modern +construction. There are such exhibits in Chicago, Philadelphia, New +York, and Brooklyn; and all are proving indispensable in their special +fields. + +The Chicago exhibit, known as the Institute of Building Arts, located at +from 63 to 69 Washington Street, is owned and managed directly by the +Illinois Chapter of the American Institute of Architects, and has been +controlled in this way for the past five years. + +It was established for the purpose of centralizing information relating +to buildings, and collecting in a permanent exhibition all materials, +appliances, or inventions of a practical or ornamental character. Its +advantages are: First, educational, by placing before the interested +public an aggregation of building intelligence in the form of exhibits +of the actual materials, appliances, and inventions employed in modern +construction. Second, that in the fact of such centralization of +materials, a vast amount of time is saved to the public concerned in +building interests. For those who desire to build, information is not +only gained regarding a large variety of improvements, but obtained in a +minimum quantity of time. + +The Institute of Building Arts is free to the visiting public, who are +welcome to all its advantages of information and to the inspection of +the numerous exhibits it contains. It furnishes gratuitously, to any one +who may inquire, information relating to building improvements. It +maintains a series of tests of materials, the results of which may be +obtained by anyone asking for them. Courses of lectures given by skilful +specialists instructive in the many sciences and arts of Architecture +are given under its auspices. + +The management of the Institute is strictly impartial as to the merits +of the exhibits, having no financial interest in any sale. The purchaser +has perfect liberty to examine the exhibits and negotiate with any +exhibitor. It is the duty of the management to protect each and every +display from any impositions or trespasses on their several rights, and +to explain to any inquirer the qualities and merits of the material or +invention, as claimed by the exhibitor, but to give no individual +expression of views for or against any exhibit. The examiners are to be +left perfectly free to judge and accept from their own standpoint. + +The important work of the Institution has made of it a central point of +great interest to all connected with or interested in architecture and +its kindred arts, and those who are identified with the work will not +fail to be amply repaid for their interest or their labor in its +upbuilding. + +It became necessary a year ago to increase the floor space, and nearly +one half as much more space was secured and the rooms are crowded with +beautiful and instructive exhibits. The Illinois Chapter, A. I. A., has +fitted up a fine library and meeting-room in the Institute, which it +throws open to the interested public, who find the many pictures and +books therein a great enjoyment and benefit. + +The other exhibits above referred to are strictly commercial in +character, and conducted in the interests of the exhibitors, and +consequently may not command the prestige possessed by the Chicago +Institute. Nevertheless they are important educational factors in their +special localities and are a great convenience to all connected with the +building trades. Every large commercial centre should be thus supplied. +The success of those already established will doubtless lead to the +early establishment of others. Architects and manufacturers both need +only to observe the workings of any of the exhibits which we have +mentioned to be convinced of their great practical value, and each +individual will be enhancing his own interest while contributing to the +success of all the others concerned by lending whatever assistance he +can to this most praiseworthy enterprise. + + + + +Notes. + + +An architect cannot work to the best advantage without the best and most +convenient appliances. It is true that sometimes the cleverest and most +skilful draughtsmen appear least concerned about their instruments and +materials, and often produce work showing wonderful dexterity and +mastery of technique with the most imperfect working materials. But this +is exceptional. After years of study and practice one may be able to +produce with the sharpened end of a match, or with a toothpick, drawings +which it would tax the skill of an ordinary draughtsman to approach with +the best brushes and colors, but it is easy to see that this is no +argument why the latest and most improved methods should not be +employed. + +[Illustration] + +Most architects still hold to the old-fashioned drawing boards supported +upon trestles, and mostly from the simple inertia of custom. The +improved Morse Universal Drawing Table, which is made in all sizes, with +a single or double support, is conceded to be more convenient and +ship-shape in all respects than the ordinary drawing board, and is only +slightly more expensive in its first cost. The size which is shown in +the accompanying illustration which has a board 30x36 inches, costs only +$15 and is by far the cheapest and best device of its kind that we have +seen. All of these tables are made to fold so as to occupy as little +space as possible when not in use; will revolve or incline at any angle, +and independently of the attachments below. They are built of the best +materials (iron, brass, and wood) and are finely finished. The board can +be made of either polished chestnut or unfinished pine if desired, and +various additional attachments can be had for further convenience. + +Architects and draughtsmen will be surprised to find what a saving can +be made in time and trouble by the use of this most essential article of +furniture, as well as the remarkably low price at which it can be +bought. + +Many other articles of furniture which are necessary for the proper +equipment of an architect's office are also manufactured by the Morse +Machine Company of Rochester, such as cabinets of various descriptions, +desks, special drawing boards with a steel edge (a _sine qua non_ for +the production of fine, accurate drawings), and special furniture of all +descriptions. Architects will find it greatly to their profit, both in +money and saving of trouble, to take advantage of the experience and +facilities for manufacturing the best goods furnished by this company. + +There are very few manufacturers of sanitary goods that keep up with the +Dalton-Ingersoll Company in genuine improvements and novelties. Scarcely +a month passes without something in the way of improvement emanating +from this house; and the remarkable thing is the care and attention +bestowed upon the minutest details, nothing about a sanitary fixture +being considered too insignificant to command their best inventive +genius. Their monthly announcement preceding our frontispiece is worth +watching. + +The palatial Jefferson Hotel at Richmond, Va., of which Carrère & +Hastings are the architects, is built of a very fine _white clay_ brick +manufactured by the Powhatan Clay Manufacturing Company of Richmond. The +strong point of this particular brick is that it is made of a natural +white clay, and is not subject to the discoloration of some bricks made +by artificially whitening the clay. + +The great success of the "Giant" Metal Sash Chain made by the Smith & +Egge Manufacturing Company, has of course led to imitation and +infringement of their patented methods of manufacture. Nothing is saved +by specifying "cheaper" goods, for there really are no cheaper goods +than the best; and when heavy sashes are to be hung "Giant" metal chain +is the proper specification. + +The expense of getting up a working model, bronze finish sash lock +mounted on a base, for a paper weight, and sending this free to any +architect who desires one would deter most manufacturers from taking +this method of advertising. But the Ives Lock is such "a good thing" +that it well repays "pushing." The model works so perfectly and is so +simple and durable in construction that its introduction to architects +throughout the country, occupying a prominent place on their desks, is +securing the almost universal specification of the lock. Architects who +haven't one of these paper weights will be well repaid for asking Hobart +B. Ives & Co. of New Haven, Conn., to send them one. In this connection +let us add that this lock secured the medal and highest award at the +Columbian Exposition. + + + + +Personal. + + +Among the Americans who will return from abroad this summer are: Mr. +Walter H. Kilham, the holder of the Rotch Scholarship, who has now been +abroad two years; Mr. F. E. Perkins, who has been abroad three years; +and Mr. W. Atherton,--all of Boston. Messrs. D. Hale, W. W. Knowles, +G. O. Totten, Laflin, and Ramond, of New York, and Mr. A. D. Koch, of +Milwaukee, also return this summer. + +Mr. J. Greenleaf Thorp announces his removal to the Constable Building, +111 Fifth Avenue, New York. + +In bringing the affairs of the Architect Department of the city of +Boston to a final settlement pending its abolishment on July 1, Mr. Edw. +H. Hoyt has been acting as City Architect Wheelwright's assistant, in +place of Mr. Matthew Sullivan, now abroad, who has most acceptably +filled that position during the whole of Mr. Wheelwright's term of +office. In future the work of the city will be distributed among private +architects. + +Mr. Frank E. Wallis has gone into partnership with Frank E. Freeman, and +opened an office on West Twentieth Street, New York City. + +Mr. Harold Magonigle, the Rotch scholar who has now been abroad a year, +has during the last few months been doing important work in the way of +measuring and drawing Roman and Renaissance monuments in and near Rome. +Some of his later drawings will presently be published in _The +Architectural Review_. + + + + +NOTICE TO ADVERTISERS + + + The letter below was written + after a three months' + trial advertisement + + Rochester, N. Y., July 27, 1895. + + BATES & GUILD, + 6 Beacon Street, Boston, Mass. + + _Dear Sirs_: Yours of the 26th received. In reply will say that we + desire our advertisement to continue in the Brochure Series, and + will state that this advertisement has given us better returns than + any other we are carrying. We think that a magazine similar to + yours is very much better than a trade journal, because the + Brochure Series will be preserved, and will therefore be permanent. + + We were tempted recently to put an advertisement in the + Architectural Review on account of the good results received from + the Brochure Series. Please send us the bill for our account for + the first quarter, so that we can have it audited and send you a + check. + + Very truly yours, + + Dic. W. F. M. MORSE MACHINE CO. + + The advertisement which + brought these results + _is on page XV_ + + It costs $72.00 a year + + + + + + +End of the Project Gutenberg EBook of The Brochure Series of Architectural +Illustration, Volume 01, No. 06, June 1895, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF *** + +***** This file should be named 19444-8.txt or 19444-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/9/4/4/19444/ + +Produced by Juliet Sutherland, Sigal Alon and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Brochure Series of Architectural Illustration, Volume 01, No. 06, June 1895 + Renaissance Panels from Perugia + +Author: Various + +Release Date: October 2, 2006 [EBook #19444] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF *** + + + + +Produced by Juliet Sutherland, Sigal Alon and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + + + +<h1><span class="smcap">The Brochure Series</span></h1> + +<h2>OF ARCHITECTURAL ILLUSTRATION.</h2> + +<table border="0" cellpadding="4" cellspacing="0" width="65%" summary="format header"> +<tr> +<td class="left"><b><span class="smcap">Vol.</span> I.</b></td> +<td class="center"><b>JUNE, 1895.</b></td> +<td class="right"><b>No. 6.</b></td> +</tr> +</table> + +<hr style="width: 25%;" /> + + +<h4>RENAISSANCE PANELS FROM PERUGIA.</h4> + +<p>The carved walnut panels from the +choir stalls of the Church of San +Pietro de' Casinense in Perugia, +designed by Stefano da Bergamo +in 1535, which are given as illustrations +in this number, are excellent examples of +the ornament of the later period of the +Italian Renaissance. This form of ornament +was first used in flat painted panels +upon pilasters, such as the well-known work +of Raphael in the Loggia of the Vatican, +suggested by the Roman work discovered +in his time upon the Palatine. It was afterwards +applied to all sorts of objects where +rectangular spaces were to be decorated. +Its characteristics can hardly be better described +than in the following extract from +Mr. C. Howard Walker's articles upon the +Study of Decoration in <i>The Technology +Architectural Review</i>:—</p> + +<p>"The motives on the pilasters were of +two kinds: the continuous scroll, starting +from a strong base leaf and rising in equal +volutes, with alternating direction to right +and to left, and filling the panel. This +motive needed always to be balanced by +its opposite, and was consequently seldom +used. It had its prototype in the magnificent +scroll from the Forum of Trajan. +The other motive was that usually used, +and capable of infinite variety, that of a +central axis, the ornament diverging from +it symmetrically on either side. This +motive was borrowed from colored decorations +on the Roman walls. It is a most +difficult class of ornament to handle, as +so much depends upon relative distribution, +proportion, and relief of modeling. +The motive usually starts at the bottom +and grows continuously to the top, with +the base, whether a mass of leafage, a +vase, or other unit of ornament, well defined +and the crowning unit strong and +rich. The central axis can be actual or +merely evidenced by the symmetry of the +sides, preferably actual. To prevent an +effect of absolute perpendicular division +or of stringiness, this axis, between its +base and crown, is divided either by knots +of ornament, concentrated masses, or horizontal +motives. In making these divisions +the rules of cadence need to be +carefully observed; the divisions should +be made equal in length, or alternate, or +in sequence, and the same method should +be observed in the units of ornament +marking the divisions. In most cases +there is more ground than ornament, +which always demands that the lines of +the ornament should be most carefully +studied, and that the units used as terminals +for these lines should be exactly +disposed, in relation to the axis, to each +other, and to the border of the panel. +When one considers the number of factors +which can enter into the composition of +one of these panels, it can be readily conceived +that their variety is wellnigh infinite; +absolute symmetry on either side of +a central axis on which are threaded units +of ornament, and which starts from a mass +of detail and terminates in a mass of +detail; systems of radial lines diverging +from the central axis and terminating in +centres of ornaments of greater or less +size, arranged in all sorts of groupings; +<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span> +garlands, pendants, and ribbons, vases, +trophies, shields, birds, beasts, and nondescript +combinations, foliage, conventional +and natural, forms, human and superhuman, +all in varying scales, all in surfaces +undulating, now rising into sharp relief +with clear-cut edges, now sinking and +melting into the background; and the +whole so carefully balanced, so exactly +distributed, that no portion should be too +strong for another, no detail but should be +equally refined. It is not an easy matter +to succeed in a design of such requirements."</p> + +<p>"It is well into the latter part of the +fifteenth century before this pilaster treatment +is prevalent. The Quattrocento +work contains much less of it than the +Cinquecento. The garlands and trophies, +lions' and bulls' heads, dolphins and griffins, +tridents and shells and rosettes, and +numberless familiar forms appear in a +new guise; the new forms being, for the +most part, heraldic motives or town arms, +such as the fleur-de-lis of Florence, the +Biscione or viper of Milan, and lions +which are rampant, a condition unknown +to their classic prototypes. Shields, +though used before, have a new form, and +ribbons are developed into all sorts of +knots and waving ends, the loops having +the same cadences in relative size as other +decorative compound motives."</p> + + + +<div class="figcenter" style="width: 172px;"> +<a href="images/plate41.jpg"> +<img src="images/plate41tn.jpg" width="172" height="248" alt="XLI. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." title="XLI. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." /> +<span class="caption">XLI. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.</span> +</a> +</div> + +<div class="figcenter" style="width: 174px;"> +<a href="images/plate42.jpg"> +<img src="images/plate42tn.jpg" width="174" height="257" alt="XLII. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." title="XLII. Panel from the Choir Stalls, Church of S. Pietro, Perugi" /> +<span class="caption">XLII. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.</span> +</a> +</div> + +<div class="figcenter" style="width: 177px;"> +<a href="images/plate43.jpg"> +<img src="images/plate43tn.jpg" width="177" height="241" alt="XLIII. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." title="XLIII. Panel from the Choir Stalls, Church of S. Pietro, PerugiXLIII. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." /> +<span class="caption">XLIII. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.</span> +</a> +</div> + +<div class="figcenter" style="width: 176px;"> +<a href="images/plate44.jpg"> +<img src="images/plate44tn.jpg" width="176" height="235" alt="XLIV. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." title="XLIV. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." /> +<span class="caption">XLIV. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.</span> +</a> +</div> + +<div class="figcenter" style="width: 173px;"> +<a href="images/plate45.jpg"> +<img src="images/plate45tn.jpg" width="173" height="238" alt="XLV. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." title="XLV. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy." /> +<span class="caption">XLV. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.</span> +</a> +</div> + +<div class="figcenter" style="width: 236px;"> +<a href="images/plate46.jpg"> +<img src="images/plate46tn.jpg" width="236" height="176" alt="XLVI. Panels from the Choir Stalls, Church of S. Pietro, Perugia, Italy." title="XLVI. Panels from the Choir Stalls, Church of S. Pietro, Perugia, Italy." /> +<span class="caption">XLVI. Panels from the Choir Stalls, Church of S. Pietro, Perugia, Italy.</span> +</a> +</div> + +<div class="figcenter" style="width: 253px;"> +<a href="images/plate47.jpg"> +<img src="images/plate47tn.jpg" width="253" height="175" alt="XLVII. Panels from the Choir Stalls, Church of S. Pietro, Perugia, Italy." title="XLVII. Panels from the Choir Stalls, Church of S. Pietro, Perugia, Italy." /> +<span class="caption">XLVII. Panels from the Choir Stalls, Church of S. Pietro, Perugia, Italy.</span> +</a> +</div> + + +<h4>XLI to XLVII.</h4> + +<h4>PANELS FROM THE CHOIR STALLS, CHURCH OF +S. PIETRO, PERUGIA, ITALY.</h4> + +<p>The principles governing the design of +these panels so well explained in the foregoing +quotation can all be seen exemplified +in the plates. They are all built upon a +central axis, and the proportion and distribution +of the various motives most carefully +studied and beautifully carried out. Although +all are shorter than the usual pilaster, +the design is exactly similar to that +usually employed for this purpose. Even +the horizontal panels in plates XLVI and +XLVII follow precisely the same rules of design.</p> + + + +<div class="figcenter" style="width: 260px;"> +<a href="images/plate48.jpg"> +<img src="images/plate48tn.jpg" width="260" height="150" alt="XLVIII. Panel from the Chamber of Commerce, Perugia, Italy." title="XLVIII. Panel from the Chamber of Commerce, Perugia, Italy." /> +<span class="caption">XLVIII. Panel from the Chamber of Commerce, Perugia, Italy.</span> +</a> +</div> + +<h4>XLVIII.</h4> + +<h4>PANEL FROM THE CHAMBER OF COMMERCE, PERUGIA, ITALY.</h4> + +<p>This panel, although from a different +building, is so similar in treatment to the +ones in the Church of S. Pietro that it +can be classed with them, and all that has +been said of them applies as well to this.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="Architectural_Schools" id="Architectural_Schools"></a>Architectural Schools.</h2> + + +<p>It is not many years since there was but +one school in America to which a young +man could go with the expectation of +getting instruction in architecture, or at +least where a special course of training +was laid out for this purpose. At present +there are six well-equipped architectural +schools connected with as many colleges, +each with its own corps of instructors and +each presenting special advantages to +students. In addition to these principal +institutions there are a number of others +in which instruction in architecture is +given, either independently or in connection +with other courses. To a young man +intending to take up the study of architecture +this array of opportunities may +not appear in exactly the light of an +embarrassment of riches, but it furnishes a +wide field from which to choose, and it +may not be an easy matter to determine +which under the special circumstances +connected with each case presents the +greatest advantages. For this reason a +general statement of the main features +and practical equipment of the principal +schools may be of service in enabling intending +students to choose intelligently +among them.</p> + + +<h4>MASS. INSTITUTE OF TECHNOLOGY.</h4> + +<p>The oldest, the most thoroughly appointed, +and largest architectural school in +the country is the Department of Architecture +at the Massachusetts Institute of +Technology in Boston. It is in charge +of Professor Francis W. Chandler, with a +corps of ten professors, assistants, and +special lecturers. The regular course consists +of four years' study. Special students +are admitted after satisfying the faculty +by examination or otherwise that they are +proficient in the preparatory studies required +and are qualified to pursue to +advantage the special work chosen.</p> + +<p>The instruction in this department comprises +the study of construction and +materials, the study of building processes, +and of professional practice, as well as +that of composition and design, and of the +history of architecture. It is arranged to +meet the wants both of those who +commence their professional studies at the +beginning, and to some extent of experienced +draughtsmen who desire to make<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span> +up deficiencies in their training, or to +qualify themselves for undertaking the +responsibilities of practice.</p> + +<p>The more strictly professional work +begins with the study of the five orders +and their applications, and of architectural +history. During each year there is +regular instruction in freehand drawing, +the last year being from life. There is +also a special class in pen-and-ink drawing +under Mr. D. A. Gregg. Instruction +is given in watercolor drawing by Mr. Ross +Turner. The students are familiarized +with the material elements of their future +work by a course in practical construction, +illustrated by lectures, problems, and by +visits to buildings. The subject of specifications +and contracts is discussed. Problems +in construction of all kinds are +given, to fix in the memory the principles +already learned.</p> + +<p>For two and one-half years the students +are continually engaged upon architectural +design under the charge of Professor Despradelle +and Mr. S. W. Mead. Each student's +work is examined and criticized +before the classes by a jury from the +Boston Society of Architects.</p> + +<p>The Boston Society of Architects has +established two prizes of the value of fifty +dollars each in books for students who at +the end of the year exhibit the best work.</p> + +<p>Several thousand photographs, prints, +drawings, and casts were originally collected +for the Department by means of +a special fund raised for the purpose. +To these collections large additions have +been made, at first mostly by gifts, but +later by regular appropriations. Models +and illustrations of architectural detail +and materials are arranged in the rooms of +the department. The chief part of the +collection of casts of architectural sculpture +and detail belonging to the department +has been deposited in the Museum +of Fine Arts, together with the architectural +collection belonging to the museum. +The students of the Department have free +access to the museum at all times; as the +building is close at hand no inconvenience +results from the change, and some of the +advanced exercises in drawing are held +there. The museum of sanitary and +building appliances contains models of +plumbing apparatus, specimens of metal +work, tile work, glass work, and wood work, +partly purchased, but mostly deposited +with the Department by the manufacturers. +The architectural library contains +a large and carefully selected collection of +technical works and the leading periodicals, +both American and foreign. The +resources of the Department have been +much enlarged by the erection of a special +building devoted entirely to its uses.</p> + +<p>In 1894 a summer school of architecture +was held in Salem and Portsmouth for +the study of colonial work. The courtesy +of owners of houses built at this epoch +allowed the students to measure and +sketch the best work of this interesting +locality, and in the future it is proposed +to make an exhaustive study of colonial +architecture.</p> + +<p>Both men and women are admitted to +all departments of the Institute. Candidates +for admission must be at least seventeen +years of age, and must pass satisfactory +examinations in algebra, plane +geometry, either French or German, English, +history, and either advanced algebra +or solid geometry. A detailed account of +these requirements and the general conditions +of the entrance examinations, which +are held the last of June and middle of +September, can be found in the catalogue +of the Institute, which will be sent upon +application by the secretary. The tuition +fee is $200.00 a year divided into two payments, +$125.00 due in October and $75.00 +due in January.</p> + +<p>During a number of years a special course +of two years was maintained in the school, +which attracted many students who did +not find it possible to spend the time +required for the full course of four years. +This arrangement has now been discontinued +and no special provision is at present +made for other than regular students.</p> + +<p>The Institute has from the beginning +modeled its instruction very largely upon +that of the Ecole des Beaux-Arts, and has +ranked until the last few years as the only +American school in which a thorough +academic training in architectural design +was attempted. Its professors of design +Professor E. Letang, who died in 1892, +and Professor D. Despradelle, both +Frenchmen, have devoted their whole +time to this branch of instruction, and have +maintained a standard which until recently +other schools have not approached.</p> + +<p>Although the graduates from the full four +years' course are comparatively few, no +other school can count so many of its former +students in prominent positions in the +profession, and the Institute is deservedly +proud of its record in this direction.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span></p> + +<h2>The Brochure Series</h2> + +<h3>of Architectural Illustration.</h3> + +<h5>PUBLISHED MONTHLY BY</h5> + +<h3>BATES & GUILD,</h3> + +<h4>6 BEACON STREET, BOSTON, MASS.</h4> + + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary="subscription rate"> +<tr> + <td class='left'>Subscription Rates per year</td> + <td class='right'>50 cents, in advance.</td> +</tr> +<tr> + <td class='left'>Special Club Rate for five subscriptions</td> + <td class='right'>$2.00.</td> +</tr> +<tr> + <td colspan="2" class='left'>Entered at the Boston Post Office as Second-class Matter.</td> +</tr> +</table></div> + +<hr style='width: 45%;' /> + +<p>Until the present year no American student +of architecture has ever been honored +with the diploma of the Paris Ecole des +Beaux-Arts, but on June 14 the degree of +the school was conferred on three Americans—Messrs. +J. Van Pelt, J. H. Friedlander, +and D. Hale. The first diplomas +were awarded in 1869, before that date +there being no official recognition of the +completion of any required course in the +school, except the awards in the various +<i>concours</i>, all leading up to the Grand Prize +of Rome.</p> + +<p>There are a number of Americans now +in Paris who intend to present theses for +the diploma, and doubtless other awards +will follow those already made. Any present +or former student of the school who +has reached the required standard in his +work is allowed to submit a thesis in competition +for the diploma.</p> + +<p>At the entrance examination of the +Ecole this year sixteen American students +of architecture were received. Last year +there were but eight, which up to that +time was the largest number recorded.</p> + +<hr style='width: 45%;' /> + +<p>The Chicago Architectural Club has +given evidence this year of very great activity, +and its work has been directed in many +channels and with good effect. Its lectures, +classes, competitions, smokers, +Bohemian nights, receptions, ladies' nights, +expeditions to places of interest, and +finally its exhibition of last month have all +been excellently chosen to instruct, interest, +and amuse its members, and incidentally +promote the general cause of architectural +education. The long list of +attractions has held the interest of its +members without flagging. In the classwork +it has had the services and advice of +the best and most competent men connected +with the profession; and in all +directions it is to be congratulated upon +the good work done.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="Books" id="Books"></a>Books.</h2> + + +<p class="indented"><i>Æsthetic Principles</i>: By Henry Rutgers +Marshall, M. A. Macmillan & Co. +1895. 201 pages. $1.25.</p> + +<p>Probably many readers of <span class="smcap">The Brochure +Series</span> have struggled as has the +writer (and possibly some are still in an +unsettled state of mind in consequence) +over the abstruseness of the current +works upon the philosophy of art, trying +to find some obscure foundation on +which to build for themselves a theory of +æsthetics. To such, and to all others who +have any wish to reason connectedly on +art matters, Mr. Marshall's little book will +be interesting and instructive reading. It +is remarkably clear and understandable +even to a reader with no special training +in metaphysical reasoning, and in point of +literary style and carefully considered use +of language it is a genuine treat. Its +object is to explain, in as direct and +simple language as possible, the nature +and origin of our ideas of the beautiful, +and the logical deduction to be made from +the premises, which will guide us in the +practice of the fine arts, or the production +of beauty of some special type.</p> + +<p>As Mr. Marshall is an architect, many +of his illustrative examples are drawn +from architecture, and the book on this +account is especially interesting to architects.</p> + +<hr style='width: 45%;' /> + +<p class="indented"><i>Rational Building</i>: Being a translation +of the article "Construction" in the +<i>Dictionnaire Raisonnè de l'Architecture +Française</i> of M. Eugène-Emmanuel +Viollet-le-Duc. By George Martin +Huss, Architect. New York: Macmillan +& Co. 1895. 367 pages. Illustrated. +$3.00.</p> + +<p>This book, although confined entirely +to the consideration of the French Gothic, +will be found of great value to students. +Many of our readers are of course familiar +with it in its original form, while others +may have followed the translation as it +has appeared from time to time in the +pages of the <i>American Architect</i>.</p> + +<p>It will be mainly useful from its historical +and theoretical bearing, as all that is<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span> +here included which is of practical value +for application to modern uses can be +found elsewhere in more available shape. +The illustrations form a most important +feature in the usefulness of the book. +The remarkable diagrammatic drawings of +Viollet-le-Duc are famous for their clearness +and the amount of information +which they convey.</p> + +<p>The table of contents includes the following +headings: Discussion of General +Conditions and Principles; Roman and +Romanesque Vaults; Origin of the +Pointed Arch; Development of Principles; +Vaults; Materials; Thirteenth Century +Developments; Civil and Military +Construction.</p> + +<hr style='width: 45%;' /> + +<p class="indented"><i>Catalogue of the Premiated Drawings of +the Department of Architecture, Massachusetts +Institute of Technology, 1895.</i> +Published by the Architectural Society. +Forty-four illustrations.</p> + +<p>The work of the Department of Architecture +at the Massachusetts Institute of +Technology is without doubt the most +fully developed students' work in architecture +now done in this country, and the +drawings shown in this catalogue, giving a +selection of the best designs from the +year's work just finished, do credit alike +to the system followed at the school, the +fidelity of the instructors, and the earnestness +and talent of the students. The +premiated designs in the competitions of +the Society of Beaux-Arts Architects made +in the course of regular school work are +reproduced in this catalogue, and also +the first-mentioned designs in the regular +monthly problems forming the drill in +design of the school. The program for +the latter is given in each case. These +problems make up a graded series of considerable +interest, and are worth careful +study and comparison.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="Building_Exhibit" id="Building_Exhibit"></a>Building Exhibit.</h2> + + +<p>The many recent developments in the +building arts have rendered it practically +impossible for those not directly connected +with them to keep informed of the latest +and most improved methods of construction, +or, in fact, to easily obtain information +when desired. To architects, whose +business it is to be familiar with the best +and most economical method of solving +any building problem, it is often difficult +to find the information desired, as the field +is so wide and the inventions and improvements +multiply so rapidly. To meet the +requirements of intending builders, as +well as architects, permanent exhibits of +building materials have been established +in several of the principal cities of the +United States, where it is possible to see +specimens of the actual materials, appliances, +and latest inventions used in modern +construction. There are such exhibits +in Chicago, Philadelphia, New York, and +Brooklyn; and all are proving indispensable +in their special fields.</p> + +<p>The Chicago exhibit, known as the +Institute of Building Arts, located at from +63 to 69 Washington Street, is owned +and managed directly by the Illinois +Chapter of the American Institute of +Architects, and has been controlled in +this way for the past five years.</p> + +<p>It was established for the purpose of +centralizing information relating to buildings, +and collecting in a permanent +exhibition all materials, appliances, or +inventions of a practical or ornamental +character. Its advantages are: First, +educational, by placing before the interested +public an aggregation of building +intelligence in the form of exhibits of the +actual materials, appliances, and inventions +employed in modern construction. +Second, that in the fact of such centralization +of materials, a vast amount of time is +saved to the public concerned in building +interests. For those who desire to build, +information is not only gained regarding +a large variety of improvements, but +obtained in a minimum quantity of time.</p> + +<p>The Institute of Building Arts is free to +the visiting public, who are welcome to all +its advantages of information and to the +inspection of the numerous exhibits it +contains. It furnishes gratuitously, to any +one who may inquire, information relating +to building improvements. It maintains a +series of tests of materials, the results of +which may be obtained by anyone asking +for them. Courses of lectures given by +skilful specialists instructive in the many +sciences and arts of Architecture are +given under its auspices.</p> + +<p>The management of the Institute is +strictly impartial as to the merits of the +exhibits, having no financial interest in any +sale. The purchaser has perfect liberty +to examine the exhibits and negotiate with<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span> +any exhibitor. It is the duty of the management +to protect each and every display +from any impositions or trespasses on +their several rights, and to explain to any +inquirer the qualities and merits of the +material or invention, as claimed by the +exhibitor, but to give no individual expression +of views for or against any exhibit. +The examiners are to be left perfectly +free to judge and accept from their own +standpoint.</p> + +<p>The important work of the Institution +has made of it a central point of great +interest to all connected with or interested +in architecture and its kindred arts, and +those who are identified with the work +will not fail to be amply repaid for their +interest or their labor in its upbuilding.</p> + +<p>It became necessary a year ago to increase +the floor space, and nearly one half +as much more space was secured and the +rooms are crowded with beautiful and instructive +exhibits. The Illinois Chapter, +A. I. A., has fitted up a fine library and +meeting-room in the Institute, which it +throws open to the interested public, who +find the many pictures and books therein +a great enjoyment and benefit.</p> + +<p>The other exhibits above referred to +are strictly commercial in character, and +conducted in the interests of the exhibitors, +and consequently may not command the +prestige possessed by the Chicago Institute. +Nevertheless they are important +educational factors in their special localities +and are a great convenience to all connected +with the building trades. Every +large commercial centre should be thus +supplied. The success of those already +established will doubtless lead to the early +establishment of others. Architects and +manufacturers both need only to observe +the workings of any of the exhibits which +we have mentioned to be convinced of +their great practical value, and each individual +will be enhancing his own interest +while contributing to the success of all +the others concerned by lending whatever +assistance he can to this most praiseworthy +enterprise.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="Notes" id="Notes"></a>Notes.</h2> + + +<p>An architect cannot work to the best +advantage without the best and most convenient +appliances. It is true that sometimes +the cleverest and most skilful +draughtsmen appear least concerned about +their instruments and materials, and often +produce work showing wonderful dexterity +and mastery of technique with the +most imperfect working materials. But +this is exceptional. After years of study +and practice one may be able to produce +with the sharpened end of a match, or +with a toothpick, drawings which it would +tax the skill of an ordinary draughtsman +to approach with the best brushes and +colors, but it is easy to see that this is no +argument why the latest and most improved +methods should not be employed.</p> + +<div class="figcenter" style="width: 355px;"> +<img src="images/image1.jpg" width="355" height="370" alt="illustration" title="illustration" /> +</div> + +<p>Most architects still hold to the old-fashioned +drawing boards supported upon +trestles, and mostly from the simple inertia +of custom. The improved Morse Universal +Drawing Table, which is made in all +sizes, with a single or double support, isconceded to be more convenient and ship-shape +in all respects than the ordinary +drawing board, and is only slightly more +expensive in its first cost. The size which +is shown in the accompanying illustration +which has a board 30x36 inches, costs +only $15 and is by far the cheapest and +best device of its kind that we have seen. +All of these tables are made to fold so as +to occupy as little space as possible when +not in use; will revolve or incline at any +angle, and independently of the attachments +below. They are built of the best +materials (iron, brass, and wood) and are +finely finished. The board can be made +of either polished chestnut or unfinished +pine if desired, and various additional +attachments can be had for further convenience.</p> + +<p><span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span> +Architects and draughtsmen will be +surprised to find what a saving can be +made in time and trouble by the use of +this most essential article of furniture, as +well as the remarkably low price at which +it can be bought.</p> + +<p>Many other articles of furniture which +are necessary for the proper equipment of +an architect's office are also manufactured +by the Morse Machine Company of Rochester, +such as cabinets of various descriptions, +desks, special drawing boards with a +steel edge (a <i>sine qua non</i> for the production +of fine, accurate drawings), and +special furniture of all descriptions. Architects +will find it greatly to their profit, +both in money and saving of trouble, to +take advantage of the experience and +facilities for manufacturing the best goods +furnished by this company.</p> + +<p>There are very few manufacturers of +sanitary goods that keep up with the +Dalton-Ingersoll Company in genuine improvements +and novelties. Scarcely a +month passes without something in the +way of improvement emanating from this +house; and the remarkable thing is the +care and attention bestowed upon the +minutest details, nothing about a sanitary +fixture being considered too insignificant +to command their best inventive genius. +Their monthly announcement preceding +our frontispiece is worth watching.</p> + +<p>The palatial Jefferson Hotel at Richmond, +Va., of which Carrère & Hastings +are the architects, is built of a very fine +<i>white clay</i> brick manufactured by the +Powhatan Clay Manufacturing Company +of Richmond. The strong point of this +particular brick is that it is made of a +natural white clay, and is not subject to +the discoloration of some bricks made by +artificially whitening the clay.</p> + +<p>The great success of the "Giant" +Metal Sash Chain made by the Smith +& Egge Manufacturing Company, has of +course led to imitation and infringement +of their patented methods of manufacture. +Nothing is saved by specifying "cheaper" +goods, for there really are no cheaper +goods than the best; and when heavy +sashes are to be hung "Giant" metal +chain is the proper specification.</p> + +<p>The expense of getting up a working +model, bronze finish sash lock mounted +on a base, for a paper weight, and sending +this free to any architect who desires +one would deter most manufacturers from +taking this method of advertising. But the +Ives Lock is such "a good thing" that it +well repays "pushing." The model works +so perfectly and is so simple and durable +in construction that its introduction to +architects throughout the country, occupying +a prominent place on their desks, is +securing the almost universal specification +of the lock. Architects who haven't one +of these paper weights will be well repaid +for asking Hobart B. Ives & Co. of New +Haven, Conn., to send them one. In this +connection let us add that this lock secured +the medal and highest award at the +Columbian Exposition.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="Personal" id="Personal"></a>Personal.</h2> + + +<p>Among the Americans who will return +from abroad this summer are: Mr. Walter +H. Kilham, the holder of the Rotch +Scholarship, who has now been abroad +two years; Mr. F. E. Perkins, who has +been abroad three years; and Mr. W. Atherton,—all +of Boston. Messrs. D. Hale, +W. W. Knowles, G. O. Totten, Laflin, and +Ramond, of New York, and Mr. A. D. +Koch, of Milwaukee, also return this +summer.</p> + +<p>Mr. J. Greenleaf Thorp announces his +removal to the Constable Building, 111 +Fifth Avenue, New York.</p> + +<p>In bringing the affairs of the Architect +Department of the city of Boston to a final +settlement pending its abolishment on +July 1, Mr. Edw. H. Hoyt has been acting +as City Architect Wheelwright's assistant, +in place of Mr. Matthew Sullivan, now +abroad, who has most acceptably filled +that position during the whole of Mr. +Wheelwright's term of office. In future +the work of the city will be distributed +among private architects.</p> + +<p>Mr. Frank E. Wallis has gone into partnership +with Frank E. Freeman, and +opened an office on West Twentieth +Street, New York City.</p> + +<p>Mr. Harold Magonigle, the Rotch +scholar who has now been abroad a year, +has during the last few months been +doing important work in the way of measuring +and drawing Roman and Renaissance +monuments in and near Rome. +Some of his later drawings will presently +be published in <i>The Architectural Review</i>.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="Notice_to_Advertisers" id="Notice_to_Advertisers"></a><span class="smcap">Notice to Advertisers</span></h2> + +<p class="center"> +The letter below was written<br /> +after a three months'<br /> +trial advertisement<br /> +</p> + +<div class="bbox"> +<p class="right">Rochester, N. Y., July 27, 1895.</p> + +<p>BATES & GUILD,</p> + +<p style="margin-left: 3em;">6 Beacon Street, Boston, Mass.</p> + +<p><i>Dear Sirs</i>: Yours of the 26th received. In reply +will say that we desire our advertisement to continue +in the Brochure Series, and will state that this advertisement +has given us better returns than any other +we are carrying. We think that a magazine similar +to yours is very much better than a trade journal, +because the Brochure Series will be preserved, and +will therefore be permanent.</p> + +<p>We were tempted recently to put an advertisement +in the Architectural Review on account of the good +results received from the Brochure Series. Please +send us the bill for our account for the first quarter, +so that we can have it audited and send you a check.</p> + +<p style="margin-left: 6em;">Very truly yours,</p> + +<p>Dic. W. F. M. <span style="margin-left: 9em;">MORSE MACHINE CO.</span></p> +</div> + +<p class="center"> +The advertisement which<br /> +brought these results<br /> +<span style="margin-left: 6em;"><i>is on page XV</i></span> +</p> + +<p class="center" style="margin-left: -17em;"><b>It costs $72.00 a year</b></p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Brochure Series of Architectural +Illustration, Volume 01, No. 06, June 1895, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF *** + +***** This file should be named 19444-h.htm or 19444-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/9/4/4/19444/ + +Produced by Juliet Sutherland, Sigal Alon and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Brochure Series of Architectural Illustration, Volume 01, No. 06, June 1895 + Renaissance Panels from Perugia + +Author: Various + +Release Date: October 2, 2006 [EBook #19444] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF *** + + + + +Produced by Juliet Sutherland, Sigal Alon and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + +THE BROCHURE SERIES + +OF ARCHITECTURAL ILLUSTRATION. + + +VOL. I. JUNE, 1895. No. 6. + +RENAISSANCE PANELS FROM PERUGIA. + + +The carved walnut panels from the choir stalls of the Church of San +Pietro de' Casinense in Perugia, designed by Stefano da Bergamo in 1535, +which are given as illustrations in this number, are excellent examples +of the ornament of the later period of the Italian Renaissance. This +form of ornament was first used in flat painted panels upon pilasters, +such as the well-known work of Raphael in the Loggia of the Vatican, +suggested by the Roman work discovered in his time upon the Palatine. It +was afterwards applied to all sorts of objects where rectangular spaces +were to be decorated. Its characteristics can hardly be better described +than in the following extract from Mr. C. Howard Walker's articles upon +the Study of Decoration in _The Technology Architectural Review_:-- + +"The motives on the pilasters were of two kinds: the continuous scroll, +starting from a strong base leaf and rising in equal volutes, with +alternating direction to right and to left, and filling the panel. This +motive needed always to be balanced by its opposite, and was +consequently seldom used. It had its prototype in the magnificent scroll +from the Forum of Trajan. The other motive was that usually used, and +capable of infinite variety, that of a central axis, the ornament +diverging from it symmetrically on either side. This motive was borrowed +from colored decorations on the Roman walls. It is a most difficult +class of ornament to handle, as so much depends upon relative +distribution, proportion, and relief of modeling. The motive usually +starts at the bottom and grows continuously to the top, with the base, +whether a mass of leafage, a vase, or other unit of ornament, well +defined and the crowning unit strong and rich. The central axis can be +actual or merely evidenced by the symmetry of the sides, preferably +actual. To prevent an effect of absolute perpendicular division or of +stringiness, this axis, between its base and crown, is divided either by +knots of ornament, concentrated masses, or horizontal motives. In making +these divisions the rules of cadence need to be carefully observed; the +divisions should be made equal in length, or alternate, or in sequence, +and the same method should be observed in the units of ornament marking +the divisions. In most cases there is more ground than ornament, which +always demands that the lines of the ornament should be most carefully +studied, and that the units used as terminals for these lines should be +exactly disposed, in relation to the axis, to each other, and to the +border of the panel. When one considers the number of factors which can +enter into the composition of one of these panels, it can be readily +conceived that their variety is wellnigh infinite; absolute symmetry on +either side of a central axis on which are threaded units of ornament, +and which starts from a mass of detail and terminates in a mass of +detail; systems of radial lines diverging from the central axis and +terminating in centres of ornaments of greater or less size, arranged in +all sorts of groupings; garlands, pendants, and ribbons, vases, +trophies, shields, birds, beasts, and nondescript combinations, foliage, +conventional and natural, forms, human and superhuman, all in varying +scales, all in surfaces undulating, now rising into sharp relief with +clear-cut edges, now sinking and melting into the background; and the +whole so carefully balanced, so exactly distributed, that no portion +should be too strong for another, no detail but should be equally +refined. It is not an easy matter to succeed in a design of such +requirements." + +"It is well into the latter part of the fifteenth century before this +pilaster treatment is prevalent. The Quattrocento work contains much +less of it than the Cinquecento. The garlands and trophies, lions' and +bulls' heads, dolphins and griffins, tridents and shells and rosettes, +and numberless familiar forms appear in a new guise; the new forms +being, for the most part, heraldic motives or town arms, such as the +fleur-de-lis of Florence, the Biscione or viper of Milan, and lions +which are rampant, a condition unknown to their classic prototypes. +Shields, though used before, have a new form, and ribbons are developed +into all sorts of knots and waving ends, the loops having the same +cadences in relative size as other decorative compound motives." + + + + +[Illustration: XLI. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLII. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLIII. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLIV. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLV. Panel from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLVI. Panels from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + +[Illustration: XLVII. Panels from the Choir Stalls, Church of S. Pietro, +Perugia, Italy.] + + +XLI to XLVII. + +PANELS FROM THE CHOIR STALLS, CHURCH OF S. PIETRO, PERUGIA, ITALY. + +The principles governing the design of these panels so well explained in +the foregoing quotation can all be seen exemplified in the plates. They +are all built upon a central axis, and the proportion and distribution +of the various motives most carefully studied and beautifully carried +out. Although all are shorter than the usual pilaster, the design is +exactly similar to that usually employed for this purpose. Even the +horizontal panels in plates XLVI and XLVII follow precisely the same +rules of design. + + + + +[Illustration: XLVIII. Panel from the Chamber of Commerce, Perugia, +Italy.] + + +XLVIII. + +PANEL FROM THE CHAMBER OF COMMERCE, PERUGIA, ITALY. + +This panel, although from a different building, is so similar in +treatment to the ones in the Church of S. Pietro that it can be classed +with them, and all that has been said of them applies as well to this. + + + + +Architectural Schools. + + +It is not many years since there was but one school in America to which +a young man could go with the expectation of getting instruction in +architecture, or at least where a special course of training was laid +out for this purpose. At present there are six well-equipped +architectural schools connected with as many colleges, each with its own +corps of instructors and each presenting special advantages to students. +In addition to these principal institutions there are a number of others +in which instruction in architecture is given, either independently or +in connection with other courses. To a young man intending to take up +the study of architecture this array of opportunities may not appear in +exactly the light of an embarrassment of riches, but it furnishes a wide +field from which to choose, and it may not be an easy matter to +determine which under the special circumstances connected with each case +presents the greatest advantages. For this reason a general statement of +the main features and practical equipment of the principal schools may +be of service in enabling intending students to choose intelligently +among them. + + +MASS. INSTITUTE OF TECHNOLOGY. + +The oldest, the most thoroughly appointed, and largest architectural +school in the country is the Department of Architecture at the +Massachusetts Institute of Technology in Boston. It is in charge of +Professor Francis W. Chandler, with a corps of ten professors, +assistants, and special lecturers. The regular course consists of four +years' study. Special students are admitted after satisfying the faculty +by examination or otherwise that they are proficient in the preparatory +studies required and are qualified to pursue to advantage the special +work chosen. + +The instruction in this department comprises the study of construction +and materials, the study of building processes, and of professional +practice, as well as that of composition and design, and of the history +of architecture. It is arranged to meet the wants both of those who +commence their professional studies at the beginning, and to some extent +of experienced draughtsmen who desire to make up deficiencies in their +training, or to qualify themselves for undertaking the responsibilities +of practice. + +The more strictly professional work begins with the study of the five +orders and their applications, and of architectural history. During each +year there is regular instruction in freehand drawing, the last year +being from life. There is also a special class in pen-and-ink drawing +under Mr. D. A. Gregg. Instruction is given in watercolor drawing by Mr. +Ross Turner. The students are familiarized with the material elements of +their future work by a course in practical construction, illustrated by +lectures, problems, and by visits to buildings. The subject of +specifications and contracts is discussed. Problems in construction of +all kinds are given, to fix in the memory the principles already +learned. + +For two and one-half years the students are continually engaged upon +architectural design under the charge of Professor Despradelle and Mr. +S. W. Mead. Each student's work is examined and criticized before the +classes by a jury from the Boston Society of Architects. + +The Boston Society of Architects has established two prizes of the value +of fifty dollars each in books for students who at the end of the year +exhibit the best work. + +Several thousand photographs, prints, drawings, and casts were +originally collected for the Department by means of a special fund +raised for the purpose. To these collections large additions have been +made, at first mostly by gifts, but later by regular appropriations. +Models and illustrations of architectural detail and materials are +arranged in the rooms of the department. The chief part of the +collection of casts of architectural sculpture and detail belonging to +the department has been deposited in the Museum of Fine Arts, together +with the architectural collection belonging to the museum. The students +of the Department have free access to the museum at all times; as the +building is close at hand no inconvenience results from the change, and +some of the advanced exercises in drawing are held there. The museum of +sanitary and building appliances contains models of plumbing apparatus, +specimens of metal work, tile work, glass work, and wood work, partly +purchased, but mostly deposited with the Department by the +manufacturers. The architectural library contains a large and carefully +selected collection of technical works and the leading periodicals, both +American and foreign. The resources of the Department have been much +enlarged by the erection of a special building devoted entirely to its +uses. + +In 1894 a summer school of architecture was held in Salem and Portsmouth +for the study of colonial work. The courtesy of owners of houses built +at this epoch allowed the students to measure and sketch the best work +of this interesting locality, and in the future it is proposed to make +an exhaustive study of colonial architecture. + +Both men and women are admitted to all departments of the Institute. +Candidates for admission must be at least seventeen years of age, and +must pass satisfactory examinations in algebra, plane geometry, either +French or German, English, history, and either advanced algebra or solid +geometry. A detailed account of these requirements and the general +conditions of the entrance examinations, which are held the last of June +and middle of September, can be found in the catalogue of the Institute, +which will be sent upon application by the secretary. The tuition fee is +$200.00 a year divided into two payments, $125.00 due in October and +$75.00 due in January. + +During a number of years a special course of two years was maintained in +the school, which attracted many students who did not find it possible +to spend the time required for the full course of four years. This +arrangement has now been discontinued and no special provision is at +present made for other than regular students. + +The Institute has from the beginning modeled its instruction very +largely upon that of the Ecole des Beaux-Arts, and has ranked until the +last few years as the only American school in which a thorough academic +training in architectural design was attempted. Its professors of design +Professor E. Letang, who died in 1892, and Professor D. Despradelle, +both Frenchmen, have devoted their whole time to this branch of +instruction, and have maintained a standard which until recently other +schools have not approached. + +Although the graduates from the full four years' course are +comparatively few, no other school can count so many of its former +students in prominent positions in the profession, and the Institute is +deservedly proud of its record in this direction. + + + + +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. + + * * * * * + +Until the present year no American student of architecture has ever been +honored with the diploma of the Paris Ecole des Beaux-Arts, but on June +14 the degree of the school was conferred on three Americans--Messrs. J. +Van Pelt, J. H. Friedlander, and D. Hale. The first diplomas were +awarded in 1869, before that date there being no official recognition of +the completion of any required course in the school, except the awards +in the various _concours_, all leading up to the Grand Prize of Rome. + +There are a number of Americans now in Paris who intend to present +theses for the diploma, and doubtless other awards will follow those +already made. Any present or former student of the school who has +reached the required standard in his work is allowed to submit a thesis +in competition for the diploma. + +At the entrance examination of the Ecole this year sixteen American +students of architecture were received. Last year there were but eight, +which up to that time was the largest number recorded. + + * * * * * + +The Chicago Architectural Club has given evidence this year of very +great activity, and its work has been directed in many channels and with +good effect. Its lectures, classes, competitions, smokers, Bohemian +nights, receptions, ladies' nights, expeditions to places of interest, +and finally its exhibition of last month have all been excellently +chosen to instruct, interest, and amuse its members, and incidentally +promote the general cause of architectural education. The long list of +attractions has held the interest of its members without flagging. In +the classwork it has had the services and advice of the best and most +competent men connected with the profession; and in all directions it is +to be congratulated upon the good work done. + + + + +Books. + + +_AEsthetic Principles_: By Henry Rutgers Marshall, M. A. Macmillan & Co. +1895. 201 pages. $1.25. + +Probably many readers of THE BROCHURE SERIES have struggled as has the +writer (and possibly some are still in an unsettled state of mind in +consequence) over the abstruseness of the current works upon the +philosophy of art, trying to find some obscure foundation on which to +build for themselves a theory of aesthetics. To such, and to all others +who have any wish to reason connectedly on art matters, Mr. Marshall's +little book will be interesting and instructive reading. It is +remarkably clear and understandable even to a reader with no special +training in metaphysical reasoning, and in point of literary style and +carefully considered use of language it is a genuine treat. Its object +is to explain, in as direct and simple language as possible, the nature +and origin of our ideas of the beautiful, and the logical deduction to +be made from the premises, which will guide us in the practice of the +fine arts, or the production of beauty of some special type. + +As Mr. Marshall is an architect, many of his illustrative examples are +drawn from architecture, and the book on this account is especially +interesting to architects. + + * * * * * + +_Rational Building_: Being a translation of the article "Construction" +in the _Dictionnaire Raisonne de l'Architecture Francaise_ of M. +Eugene-Emmanuel Viollet-le-Duc. By George Martin Huss, Architect. New +York: Macmillan & Co. 1895. 367 pages. Illustrated. $3.00. + +This book, although confined entirely to the consideration of the French +Gothic, will be found of great value to students. Many of our readers +are of course familiar with it in its original form, while others may +have followed the translation as it has appeared from time to time in +the pages of the _American Architect_. + +It will be mainly useful from its historical and theoretical bearing, as +all that is here included which is of practical value for application +to modern uses can be found elsewhere in more available shape. The +illustrations form a most important feature in the usefulness of the +book. The remarkable diagrammatic drawings of Viollet-le-Duc are famous +for their clearness and the amount of information which they convey. + +The table of contents includes the following headings: Discussion of +General Conditions and Principles; Roman and Romanesque Vaults; Origin +of the Pointed Arch; Development of Principles; Vaults; Materials; +Thirteenth Century Developments; Civil and Military Construction. + + * * * * * + +_Catalogue of the Premiated Drawings of the Department of Architecture, +Massachusetts Institute of Technology, 1895._ Published by the +Architectural Society. Forty-four illustrations. + +The work of the Department of Architecture at the Massachusetts +Institute of Technology is without doubt the most fully developed +students' work in architecture now done in this country, and the +drawings shown in this catalogue, giving a selection of the best designs +from the year's work just finished, do credit alike to the system +followed at the school, the fidelity of the instructors, and the +earnestness and talent of the students. The premiated designs in the +competitions of the Society of Beaux-Arts Architects made in the course +of regular school work are reproduced in this catalogue, and also the +first-mentioned designs in the regular monthly problems forming the +drill in design of the school. The program for the latter is given in +each case. These problems make up a graded series of considerable +interest, and are worth careful study and comparison. + + + + +Building Exhibit. + + +The many recent developments in the building arts have rendered it +practically impossible for those not directly connected with them to +keep informed of the latest and most improved methods of construction, +or, in fact, to easily obtain information when desired. To architects, +whose business it is to be familiar with the best and most economical +method of solving any building problem, it is often difficult to find +the information desired, as the field is so wide and the inventions and +improvements multiply so rapidly. To meet the requirements of intending +builders, as well as architects, permanent exhibits of building +materials have been established in several of the principal cities of +the United States, where it is possible to see specimens of the actual +materials, appliances, and latest inventions used in modern +construction. There are such exhibits in Chicago, Philadelphia, New +York, and Brooklyn; and all are proving indispensable in their special +fields. + +The Chicago exhibit, known as the Institute of Building Arts, located at +from 63 to 69 Washington Street, is owned and managed directly by the +Illinois Chapter of the American Institute of Architects, and has been +controlled in this way for the past five years. + +It was established for the purpose of centralizing information relating +to buildings, and collecting in a permanent exhibition all materials, +appliances, or inventions of a practical or ornamental character. Its +advantages are: First, educational, by placing before the interested +public an aggregation of building intelligence in the form of exhibits +of the actual materials, appliances, and inventions employed in modern +construction. Second, that in the fact of such centralization of +materials, a vast amount of time is saved to the public concerned in +building interests. For those who desire to build, information is not +only gained regarding a large variety of improvements, but obtained in a +minimum quantity of time. + +The Institute of Building Arts is free to the visiting public, who are +welcome to all its advantages of information and to the inspection of +the numerous exhibits it contains. It furnishes gratuitously, to any one +who may inquire, information relating to building improvements. It +maintains a series of tests of materials, the results of which may be +obtained by anyone asking for them. Courses of lectures given by skilful +specialists instructive in the many sciences and arts of Architecture +are given under its auspices. + +The management of the Institute is strictly impartial as to the merits +of the exhibits, having no financial interest in any sale. The purchaser +has perfect liberty to examine the exhibits and negotiate with any +exhibitor. It is the duty of the management to protect each and every +display from any impositions or trespasses on their several rights, and +to explain to any inquirer the qualities and merits of the material or +invention, as claimed by the exhibitor, but to give no individual +expression of views for or against any exhibit. The examiners are to be +left perfectly free to judge and accept from their own standpoint. + +The important work of the Institution has made of it a central point of +great interest to all connected with or interested in architecture and +its kindred arts, and those who are identified with the work will not +fail to be amply repaid for their interest or their labor in its +upbuilding. + +It became necessary a year ago to increase the floor space, and nearly +one half as much more space was secured and the rooms are crowded with +beautiful and instructive exhibits. The Illinois Chapter, A. I. A., has +fitted up a fine library and meeting-room in the Institute, which it +throws open to the interested public, who find the many pictures and +books therein a great enjoyment and benefit. + +The other exhibits above referred to are strictly commercial in +character, and conducted in the interests of the exhibitors, and +consequently may not command the prestige possessed by the Chicago +Institute. Nevertheless they are important educational factors in their +special localities and are a great convenience to all connected with the +building trades. Every large commercial centre should be thus supplied. +The success of those already established will doubtless lead to the +early establishment of others. Architects and manufacturers both need +only to observe the workings of any of the exhibits which we have +mentioned to be convinced of their great practical value, and each +individual will be enhancing his own interest while contributing to the +success of all the others concerned by lending whatever assistance he +can to this most praiseworthy enterprise. + + + + +Notes. + + +An architect cannot work to the best advantage without the best and most +convenient appliances. It is true that sometimes the cleverest and most +skilful draughtsmen appear least concerned about their instruments and +materials, and often produce work showing wonderful dexterity and +mastery of technique with the most imperfect working materials. But this +is exceptional. After years of study and practice one may be able to +produce with the sharpened end of a match, or with a toothpick, drawings +which it would tax the skill of an ordinary draughtsman to approach with +the best brushes and colors, but it is easy to see that this is no +argument why the latest and most improved methods should not be +employed. + +[Illustration] + +Most architects still hold to the old-fashioned drawing boards supported +upon trestles, and mostly from the simple inertia of custom. The +improved Morse Universal Drawing Table, which is made in all sizes, with +a single or double support, is conceded to be more convenient and +ship-shape in all respects than the ordinary drawing board, and is only +slightly more expensive in its first cost. The size which is shown in +the accompanying illustration which has a board 30x36 inches, costs only +$15 and is by far the cheapest and best device of its kind that we have +seen. All of these tables are made to fold so as to occupy as little +space as possible when not in use; will revolve or incline at any angle, +and independently of the attachments below. They are built of the best +materials (iron, brass, and wood) and are finely finished. The board can +be made of either polished chestnut or unfinished pine if desired, and +various additional attachments can be had for further convenience. + +Architects and draughtsmen will be surprised to find what a saving can +be made in time and trouble by the use of this most essential article of +furniture, as well as the remarkably low price at which it can be +bought. + +Many other articles of furniture which are necessary for the proper +equipment of an architect's office are also manufactured by the Morse +Machine Company of Rochester, such as cabinets of various descriptions, +desks, special drawing boards with a steel edge (a _sine qua non_ for +the production of fine, accurate drawings), and special furniture of all +descriptions. Architects will find it greatly to their profit, both in +money and saving of trouble, to take advantage of the experience and +facilities for manufacturing the best goods furnished by this company. + +There are very few manufacturers of sanitary goods that keep up with the +Dalton-Ingersoll Company in genuine improvements and novelties. Scarcely +a month passes without something in the way of improvement emanating +from this house; and the remarkable thing is the care and attention +bestowed upon the minutest details, nothing about a sanitary fixture +being considered too insignificant to command their best inventive +genius. Their monthly announcement preceding our frontispiece is worth +watching. + +The palatial Jefferson Hotel at Richmond, Va., of which Carrere & +Hastings are the architects, is built of a very fine _white clay_ brick +manufactured by the Powhatan Clay Manufacturing Company of Richmond. The +strong point of this particular brick is that it is made of a natural +white clay, and is not subject to the discoloration of some bricks made +by artificially whitening the clay. + +The great success of the "Giant" Metal Sash Chain made by the Smith & +Egge Manufacturing Company, has of course led to imitation and +infringement of their patented methods of manufacture. Nothing is saved +by specifying "cheaper" goods, for there really are no cheaper goods +than the best; and when heavy sashes are to be hung "Giant" metal chain +is the proper specification. + +The expense of getting up a working model, bronze finish sash lock +mounted on a base, for a paper weight, and sending this free to any +architect who desires one would deter most manufacturers from taking +this method of advertising. But the Ives Lock is such "a good thing" +that it well repays "pushing." The model works so perfectly and is so +simple and durable in construction that its introduction to architects +throughout the country, occupying a prominent place on their desks, is +securing the almost universal specification of the lock. Architects who +haven't one of these paper weights will be well repaid for asking Hobart +B. Ives & Co. of New Haven, Conn., to send them one. In this connection +let us add that this lock secured the medal and highest award at the +Columbian Exposition. + + + + +Personal. + + +Among the Americans who will return from abroad this summer are: Mr. +Walter H. Kilham, the holder of the Rotch Scholarship, who has now been +abroad two years; Mr. F. E. Perkins, who has been abroad three years; +and Mr. W. Atherton,--all of Boston. Messrs. D. Hale, W. W. Knowles, +G. O. Totten, Laflin, and Ramond, of New York, and Mr. A. D. Koch, of +Milwaukee, also return this summer. + +Mr. J. Greenleaf Thorp announces his removal to the Constable Building, +111 Fifth Avenue, New York. + +In bringing the affairs of the Architect Department of the city of +Boston to a final settlement pending its abolishment on July 1, Mr. Edw. +H. Hoyt has been acting as City Architect Wheelwright's assistant, in +place of Mr. Matthew Sullivan, now abroad, who has most acceptably +filled that position during the whole of Mr. Wheelwright's term of +office. In future the work of the city will be distributed among private +architects. + +Mr. Frank E. Wallis has gone into partnership with Frank E. Freeman, and +opened an office on West Twentieth Street, New York City. + +Mr. Harold Magonigle, the Rotch scholar who has now been abroad a year, +has during the last few months been doing important work in the way of +measuring and drawing Roman and Renaissance monuments in and near Rome. +Some of his later drawings will presently be published in _The +Architectural Review_. + + + + +NOTICE TO ADVERTISERS + + + The letter below was written + after a three months' + trial advertisement + + Rochester, N. Y., July 27, 1895. + + BATES & GUILD, + 6 Beacon Street, Boston, Mass. + + _Dear Sirs_: Yours of the 26th received. In reply will say that we + desire our advertisement to continue in the Brochure Series, and + will state that this advertisement has given us better returns than + any other we are carrying. We think that a magazine similar to + yours is very much better than a trade journal, because the + Brochure Series will be preserved, and will therefore be permanent. + + We were tempted recently to put an advertisement in the + Architectural Review on account of the good results received from + the Brochure Series. Please send us the bill for our account for + the first quarter, so that we can have it audited and send you a + check. + + Very truly yours, + + Dic. W. F. M. MORSE MACHINE CO. + + The advertisement which + brought these results + _is on page XV_ + + It costs $72.00 a year + + + + + + +End of the Project Gutenberg EBook of The Brochure Series of Architectural +Illustration, Volume 01, No. 06, June 1895, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK THE BROCHURE SERIES OF *** + +***** This file should be named 19444.txt or 19444.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/9/4/4/19444/ + +Produced by Juliet Sutherland, Sigal Alon and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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