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AN
ILLUSTRATED
OF
TERMINOLOGY ARCHITECTURE
NOTE
egardless
of
the
extent
to
which
any
special
must nature,
subject
always
an
be
treated
terms
for of
a
general
more or
reading, less
there
in
technical
even
on
standin underof
of
which
is
essential
the
part
th
al
is
to
therefore,
of
of
most
the
following
common
seven
illustrate
It
the that,
architectural
compass,
terms.
obvious
to
in
limited
special the
be
nor
impossible
would do
so.
"
illustrate
necessary
all
architectural
purpose
it
be
for
of
thi
to
his
brief
Illustrated reader
Terminology," with
the
names
then,
of
is
designed
acquaint
seen
the
certain
commonly
architectural
features,
a
familiarity
everyone's
with
which
be
some
regarded
cases
as
part
of
will
education.
to
the
name
reader
for
an
be
enabled
learn
"
th
tectural for
a
often-noticed wall-space
other
cases
feature
two
wil
example,
"
that
the
between
the
arches
lled
spandril.''
In
some
reader
the
will
name
ed
not
to
identify
nature
architectural
which
feature
"
the
of
is
known
will
learn
for
exam
by
is
a
consulting
the
''Illustrated
Terminology,"
"pediment."
The
Cokinthiam
Obdek-
(Modern
\ersion.:
spsplpl
Key
or
eek
Fret
Motif.
iT
"
Greek
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or
Fret
Mo
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Greek
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Egg
Moulding Bead
and
Da
Moulding.
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Leaf
and
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Moulding.
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called
and
eaf
Tongue.)
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Wave
Moti
eek
Wave
Motif
Interlaced
Guillocme.
s^. .%"v%
Guilloche.
%:*^\"^
wisted
Louis
XVI
Guilloche.
COMMON
ARCHITECTURAL
MOTIFS
OF
CLASSIC
ORIGIN.
(With
Carlouche.)
SrAMMIL
DlCOMTIOM Fiau*i",
With
Or
MutQOZ
And
CAtToucui
Pau^diah
Ehtkanci.
othque
Cot
Fanlioht
Ova
Door.
Greek
Fret.) hive
capiuls. the
{With
dcvelapfd thoujh
a
Eg
(Succinive
trtat
ire
ages of
on
virkty based
atl
ociginal
Claiiic
SEP
20
1928
FOREWORD
book
to
HIS
has
two
distinctly
the
various
practical
principal
objects.
styles
Ability
distingaish and
to
architecture, be
a
know
something
of
these
styles, of
every
uld
part
man
of
the
education
woman.
and
culture
l-informed
The
as
and
I, A
aim
part
of of of
Part
a
Practical education,
and the
use
Guide
a
to
Styles,
is to
e,
liberal
thorough
working styles,
so
wledge
as
architecture
architectural of the
general
a
is
necessary
for
so
reader, that it
to
give
it in
succinct
and
practical
way
be
A
assimilated. Practical
Guide
to
Building,
a
adds practical
to
the
ve
knowledge
those who
are
information
about
to
of
have in
the
or
more
kind houses
at
erected city
who
or
for
the
them
other
buildings, large
way
or
either
country,
her
any
small
expense,
may
be
connected erection of
with
Advisory
public
on
Boards
character.
for
the
ldings The
of
more
chapter
treats
arrangements
with
never
architect
and
tractors
of in
a
subject
manner,
presented
glance
at
the
lay
reader
direct
show
the
le
the In
of
work
Contents
will
will
prove.
a
how
this
portion
presenting
practical devolves
can
book
upon
on
architecture
the author only
to to
"
tinct
responsibility
which
ponsibility
to
be be
discharged
possible always
the
ent
which illusions
it
may
dispel
to
certain
the
ular
to
which
separate to
have
clung into
subject,
divide
phases,
and and
architecture set
its several
per
forth
salient
and
essential
oints
in
manner
at
once
clear,
accurate
luminating.
In
great
this
as
task
the
author
feels
that and
the
in
opportunity
the to
the
responsibility, be
that
following
ges
it
may
possible
as
permanently
a
remove
ubject
of
architecture
as a
a
whole
from
its
place
intimate
presen
lassification
position
subject
technical
of
and and of
us.
it
in
ue
as
subject
general
of
all
with
the
every-day is
a
life
Architecture fairly be
comprehensive
a
subject,
one.
shou it
considered
to
complex in
few
ften
appeared
is
be
the
involved
fact
complexity
n t
due
to
that into
critics its
or
expositors
parts
ve
divided
the
subject
involves
logical
parate
consideration. history,
design,
suggest
construction
nd
main
divisions
volume
nor
logical
to any
one
present
is
a
not
designed
on
istory
main
architecture,
aspects
a
is it
treatise
he
of
careful
the
subject
effort
to
in
general. the
that
a
It
repr sent
rather,
a
co-relate
essential
the
part
clear
and
concise
may
manner,
in
as
order should,
to
subj
of
architecture
education,
become,
it
iberal
and
may
cease
be
regarded
^technicaP'
In the
subject.
preparation
to
of
to each with
this
work
the
author
of
has
give
consideration
regard
a
the
subj
ts
proper
emphasis
order
to
to
each
other and
of
ation, consider
in
develop whole.
ipterest
complete
serviceable
xposition
of
the
The
to
subject
everyone.
architecture To
those
eneral
is
of
broad
building,
to
ontemplate
upon
and
who
will
consequently
in the
alled
exercise design,
their
the
judgment
questio
architectural
subject
is
of
direct
interes
FOREWORD
he
logical
begin of with
study
some
of
architecture,
for
with
either the
class,
acquaintance of
ment developthen
architecture,
historic in Here
types
and
are
forms,
architectural
these
as a
design,
types.
which
will
forms
cease
reate
the
of will
types'
ecture been
historic
a
development, familiarity
and
acquired
styles, these
this
practical the
uilding,
and
styles.
architectural
forms
characteristic
of
With
practical
then
familiarity
may
as
ent,
benefit
the
study
be
had
from
due
"
of
practical of local of
side
of
the
subject
natures
the
ite,
conditions,
the forms architect. the
of dual
materials
presentation
the
of
functions
the
This author's
subject
plan
for
the
The
acknowledge
the following
with
gratitude and
in
kind
who
co-operation have
of generously
:
architects
courtesy
extended
the
of the of
illustrations architectural
To
profession by the
is
due
the
present
merit the
attained American
more
of forced
this
y,
for with
have
architect difficult
architects
to
conditions confronted
complex lands
and
the
other
times. would
be
It
difficult ideals
to
overstate
the
further which
impetus would
architectural by
a more
and
be and
general, of
appreciation effort
to
standing
understanding public effort
the
so
subject,
that
call
develop
it
for
will
the
the
benefit
most
architecture
serious
alike of
to
must
any
an
and
re
writer
in
field of
of
architecture. to
In
addition
expression
indebtedness
al
FOREWORD
hose
architects
whose
works
have
contributed wishes
permission
to
to
lustration
with
of
this
book,
the
author
or
edge acknowl-
gratitude
assistance
connected
th
certain Messrs.
H.
illustrations.
H.
D.
These
acknowledgments T. R.
clude
Eberlein,
Braun
W.
"
the
Price,
Juli
and
ckly,
W.
Frohne, Record.
Company,
matter
chitectural
thanks
In due
quote
of
text,
thor's
are
to
The
the
Churchman
for portion
ous court
permission
**
to
major
of
to
thor's
Symbolism
for
in
courteous
Architecture,"
and
to
Decoration
permission
paraphrase
rtain
portions
to
*'
of
the
author's
contributions of
*'
theret in
lative
**The
English
in Brick,"
Point
and
View
The
ture," Architec-
Building
Inherent
tie Qua
of
Building
Materials."
C.
Matiagk
Pbiob
CONTENTS
PARTI
A
PRACTICAL
GUIDE
TG
STYLES
PAGB
ABCHZTBCItrBB
The
Nature
and
its Place of
as
Part
of
Liberal
Appreciation.
Education.
Benefit
Architectural
Technical
Subject.
Some of
Fundamentals
Architecture. Dependent
upon
Understanding
Acquaintance
Modem
Past
with
Styles.
of
Architecture
The
Growth
of
of Egypt,
the
Great
of
Assyna,
Architectural
Styles. of Rome.
The
tecture ArchiBysan-
of
Greece,
tine The
and
Romanesque
of
Architecture.
Architecture
Eyolution
(Continued)
Renaissance of those Architecture. Two and A Styles
Gothic Study
in The
A
and
Expressions Belgium,
Great
Italy,
Spain,
England
Germany.
Classic
Study
Immortal in of
Qualities
Several
of
Classic
Its
Manifestations Place
''Classic"
Architecture of
the
Important
Public and Btiantine, The
Classic
School
in Beavx-ArU,
the
Design
its
Buildings.
its
The
ings Teach-
Wide
Influence.
and
Romanesque ''Romanesque
Gothic
in
Dbriyationb
America.
10
Revival"
The of To-day.
Place
of
Romanesque Derivations,
in
Styles
in
the
Architecture
Gothic and
Ecclesiastical,
Collegiate,
Military
lar Secu-
English The
on
Modern
13
Importance,
Causes Architecture.
and
Meaning
of
English
Influences
American
The
The of
Anglo-American
Countryture. Architec-
House.
Adaptability
English
Collegiate
Latin
Dbrivationb
in
American
Architecture
15 France
Architectural
Types
Adapted
Villa in
America.
from
Italy, The
French
and Place
in
Spain. of Italian
The
Italian
Important Influences
Renaissance
Modem
Architecture.
CSiAteaux,
City
Houses
and from
Hotels.
Little
Appreciated
Architectural
Legacy
Spain*
5
CONTENTS
I.
Native
American
American Types
Abchxtbctubb
Characteristic
States,
of
The
New
The and
in
Atlajitic
and
Architecture.
the
"Craftsman
ments Com-
Bungalow.
IX.
Architectural New
Addenda
Styles
to
Applied
New
to
Uses,
Notweau,"
Old
Styles
Applied
and
Used.
ists" "Secession-
"Modernists."
The
City Modem
The the
Office
ment Apart-
Building,
House
Loft and
Building, the
Great
Railroad
Terminal.
PART
A
n
TO
PRACTICAL
GUIDE
BUILDINa
TER
I.
The
Selection
of
Location,
Sttle,
Material
and
tect Archi-
Style
from
Viewpoints
etc.
of
Relation
Local
to
Site, and
Material,
Local
an
eral GenLabour
Appropriateness,
Materials
Conditions.
II.
Architect
and
Foresight
and
Advice.
Choosing
Architect.
Client
is
a
Building
Architect.
Architect
Business Nature
How
to
Consult
the
The
Architect's
Rightly
Services.
Expect "Extras,"
and
Basis
Client
of
Drawings
each
Other. Architectural
Materials
Charges,
and
Supervision, Specifications.
III.
and
Construction of Physical
Natures,
Consideration Materials.
etc.,
and
Properties
.Esthetic Suitability,
Comparative
of
Building
Materials.
The Materials
Importance
Associated Plans
Suitability
Details
of
and
Styles.
rV.
and
Different
of
on
Kinds
in
of Plans.
Developing Doors,
Tiim
Importance
of Plans
Definite
Details.
etc.
Method
Notes
Procedure
Both Chimneys,
and
Windows, Interior
Stairways, Hardware,
Best
work, Wood-
and
etc.
Finish, The
Lighting
in
and
to
Plumbing
Fixtures, the
Fulfilment
Manner
.
which
Insure
of
Requirements.
ILLUSTRATIONS
Tangiey
From Brewster.
PAGE
an
Manor,
Original
Surrey,
FronHspieoe
Water-oolour
Rionards
ARCHITECTURAL
Egyptian
TERMINOLOGY,
Bell Capital Ionic Order
of
a
ILLUSTRATED
....
Column,
Order
Egyptian
Stalk
Column,
Doric Order
Order
(Modem),
Tuscan
(Modem),
Composite
Corinthian
Order Rusticated
(Modem),
Principal
(Modem),
(Modem).
Masonry,
Parts
Classic
Masonry, Moms
Entablature,
of
Oassic
Origin
(Greek
Wave
Key.
FreL
Anthemion,
Egg-and-Dart,
L^-and-Durt,
Italian), Spandrils,
Balusters.
and
Guilloche).
Marquise,
Cartouches
Angular,
Entrance,
(Curved,
Palladian Dormer linenfold
Pediments
Window, Roof,
Acanthus,
Corbels,
Fanlight.
Console,
Finial,
Window
Panel^
in
Greek and
Spiral
Vohite,
Pilaster Keystone,
Capitals, Renaissance
Attributes,
Dentils, Lunette.
Lant^,
Uses
of Terminal
Console
and
Roman
Arch
GBiyatid
Terminal
Caryatid,
and Figure,
Columns,
Spindles.
PART
L
PAGE
Towers
ical
of American
the
ChAteau
Dwelling
of
Langeais
of
the
Style
Erroneously
Called
"Queen
eDo,"
The
Virginia Building,
Home
seen
of
Thomas
J^erson
Arcade of
Woolworth
throuf^
Post
the
the
New
York
Municipal
Building
Details
Doric
of
Cleveland
at
Office
and
Federal
Building
ek
Segesta,
Greek
Jupiter
Sicil;^
Caryatid
of
the
(lomc),
Stator,
Erechtheum, Athens
Athens
Connthian
Temple
Arch
of Cathedral
Constantine,
of
of Rome
Mark,
St.
of
Venice
Cloister
Byzantine of (3othic
of
St.
Pam-beyond-the-walls,
Rome and
Columns,
N6tre Dame,
Capitals
Paris
Carving
Cathedral
ocal
Detail the
Window
Doorway
Cathedral
the
interior;
of Cathedral
of Cathedral
N6tre
Dame.
N6tre
Paris
Dame,
of
N6tre
of Dame,
Paris
Paris. Dame.
pt,
interior; Chimeras
of
Cathedral the
the
of Cathedral
N6tre of
Paris
Dame,
" Paris
N6tre
Gaigoyles Cathedral
of
Cathedral
the
River,
from
of Durham,
N6tre
Dame,
Paris,
FVance
"
England
tmmster St.
Abbey, John
s
London, College.
teway,
eway,
Trinity
of "La
College,
Cambrid^,
Tours, Toura, Prance
England
France
rway of
"La
Ptolette/'
of Maison
er
Ptolette,"
rway
of
Town
Ch"teau
the
Langeius,
urtyflurd
of Hall,
at
de
Tristan
Bruges,
Bel^um
Belgium Spain
Church Cathedrahof
Puerta
Malines,
Toledo,
del Sol, the
Toledo.
CaD'Qro,
Spain
Vemce,
Venice.
Famese,
Palace PaLwTO
of della of of
the the
Doses,
Italy
Italy
urtyard
Palasso Vatican.
Rome,
Italy
lonnade Church
of
Entrance
Rome.
della of the
Italy
rway
Salute,
Cathedral
Venice,
of
Paul's
of Cathedral,
London, England
England
London, in
ssic
Deriyations
Modem
American
Bank
Buildings
(Two
Examples)
New^York New
aty
Harvard
Law
Post
Office School,
Cambridge,
Mass
Water
Tea-House
Temple of Arch,
Museum
at
SunoL
California Design,
on
Claasic
Long
Island
(N.
Y.)
Country
Estate
Marble
Fogg
Hyde
of
Art,
Park,
London,
England
Mass France
Cour
de
of
Marbre,
the
Palace
lonnade
Central
Petit
Louvre,
Pediment
Trianon,
of
Bois
the
Louvre,
Paris,
France
Versailles,
France
"Orangerie," ChAteau
French
du
Boulogne, Bois
Paris, Boulogne,
France Paris,
France
de Classic
Bagatelle,
du
Shoft
New
York Building,
City
New
New
French
Classic
Row Porch Revival"
from
Publishing
City City
lonnade
Georgian "Classic
(La
Grange
Teirace),
Detail
(Modem),
Baltimore,
New Md
Conn
Pordi,
Grand
ails
the
Palais
des
Champs
Elys^,
Paris,
FVanoe
(Two
Fifth New Style
views)
Avenue York
Shop
Front,
House
in
the
in
Modem the
French
(Beaux-Arts)
flench
Style
City
F^nt
Main
Modem
(Beaux-Arts)
Public Library
^iged
Modem
Columns Church
of
the
Facade
Presbyterian
of Church.
York
Madison
Square
City
nity
Boston,
Massachusetts.' of New
the
awing
Thomas'
Porch
Cathedral
City
of
Baltimore,
Md
Church,
Entrance
York
to
thic
Arched
University
in
Quadrangle,
Graduate
School,
Princeton
otesques
the
Gothic
in
Manner the
b-vaulted University
Vestibule,
Gothic
Style,
Graduate
School,
Princeton
ILLUSTRATIONS
Philadelphia
124
125 126
vost's
Tower,
Militarv
Univereity Aoademy
New
of
at
of the lworth
of
Builcfing,
Woolworth
York
the
Building,
House of
an
City
(Four
Views).
127
.
132
can Garden
Terrace
Country
Front
English of English-derived
an
Derivation
American
Countiy
American
House
133
and in
Sun-Dial,
English-derived
House
Country
134
135
se
Derivation
an
American
Houses, Building,
Countiy
Holbom, Princeton,
136
f-Timber
Qty
Dormitcffy
London N. J
136
er
137 140
House,
Salisbury,
Country
England House,
Walton
on
Thames
House
ish
141
141
Derivation
in
an
American
Country
Origin
Country
House
odem
English
Derivations
Comixxsite of in Derivations
in
American
Country
Houses
142 14b
146
nglish
Pennsylvania Development
House Houses York
cad cal
English
"Neidibourhood"
Suburban
146
odem Library
EnSish "n|dish
147
Suburban
New
in
Brick
158
159
Building,
Library
Citv
New City York Avenue Fifth
Shop
Front,
Private
Building,
in
a
New
Renaissance
Deirivation
Boston,
160
orkatjr
Library Renaissance
160
Massachusetts
in
ublic
of Derivation
tiie
Loggia
of
Modem
American
160
ouse
Derivation Shop
in
New
York
City
Shop
Front
161
Ftent,
Arched
Shop
Loggia
Front
(Italian (Italian
161
in
New
York
16
CSty
to
Decoration Shop
Front
Renaissance
Derivation)
Country Country
House, House,
a
in
New
Yoric
16
aty
General
Terrace
View
16
. .
alian
Derivation Derivation
in
an
an
American
American
yard Court-
alian
in
16
House, House,
talian
in in in
an
an
American
American
from Wall
Loggia
16
Fountain
talian
talian
an
American
an
House,
Court
Pool
and
Italian PaviUon
in
American
House,
talian
at
ViUa
Derivation, Union
Front
View Washington,
D.
Building, Garden
I^nt
American
France
a
sh-Italian Spanish al
of Buildings,
Modem
Residenoe
in
Calif
Calif
omia.
Spain
in
in
an
sh
Derivation Details
Window Office
of
Treatment
in
Building, Roof
Chicago,
Type,
omia. Illinois.
sh Early
Dwelling
Gambrel
Hadlyme,
ypical
Connecticut Dutch
Colonial
Pediment in
Dwellins,
Porch,
at
New Window
American
eorgian
Colonial
Derivation
with of
a
eorgian
the
Porch
an
Early Derivation
Colonial
of the
Reddenoe
Early
near
Philadelphia
Type
Pennsylyania
of
nial Colo-
Pleasant
iveden,"
House
Dependencies,"
Philadelphia
ntry
Valley
Forge,
Pa.,
Derived
from
Early
Local
types Proto-
untJ^
State
Modem
of
House
of
Local
''Ledge
Stone."
Hall,^' House
at
Germantown,
Pa
House,
American
"Independence
Philadelphia from
the
Country
Dwelling
I)erived
Southern
Type
Plantation
Anne
itehall," White
Arundel
County,
D.
Maryland C
Villa,
New
House,"
Washington,
Creole California
Plantation
Orleans,
Louisiana
ntry
of
Recent
of Spanish Modem
Derivation, Residence of
Sierra Spanish
Madre,
California
Typical
of
Dmivation,
California
Typical American
"Seaside Suburban
Villa"
of
no
StvUstic of
the
Derivation
Typical
Recent
American
Dwelling
"Picturesque"
Type
Modem
Style
American
Country
House
Developments
seen
m a
of
the
"American
Secessionist"
City
Residence
in
Grand
Example
Rapids,
of
Michigan
the
"Craftsman"
in
Type
^nese
Typical
Influence "Bungcdow"
i^acteristic
"Art
D^gn
Nouveau,"
the
Calif
Dwelling
Viennese
"
Secession
' *
mish
Renaissance
City
Houses
on
the
Rue
Flamande,
Bmges,
Belgium Renaissance
mish
Derivation
in
Modem
New
York
City
Residence
Modem American
City
Residences,
TVpical
New
of
the
Newer
opments Devel-
Metropolitan Equitable
Hotel
Life
Life
Insurance
Building,
Building, New
York City
City
Insurance
New
York
VanderbUt,
York Station,
Qty
New
Pennsylvania
Railroad
Raikoad
York
City
Grand
Central
Station, PART
New II
York
aty
ccessful
Design
Design
for
for
a
a
Level Hillside
Site
Site
American
ccessful
Modem
Country Cottage
and of
House
Essentially
Derivation
a
Small
Native in
mplicity Typical
Architect's
Charm
Modem
Small
En^^h
for
a
Cottage
Houses"
(2 views)
House
English
"Deteched
Drawing
Preliminary
House
as
Country
Country
Preliminary
Actually for
a a
Executed Small
Villaffe
Drawing
Library
production
Elevation
(Reduced) (Reduced)
of
K-Inch ^-Inch
\'S^rking
Working
Drawing
of
House
production
Floor-Plan
of
Drawing
of
House
ILLUSTRATIONS
ction
of
a
(Actual
House
Siie)
Eleyation
of
of
Portion
of
K-li^oh ^-Inch
IJ^Inch
Full-sise
Working
ing Draw-
26
a
ction
of
a
(Actual
House
Siie)
Floor-Plan
Portion
of
Working
Drawing
2G
of
a
ction
Eaves
(Actual (Actual
Top
Siie)
Portion
of
Scale
Detail
of
ile
26
ction
Sise) of
a
Portion
of
Working
ing Draw-
of the diitect's
of
Wainscot
a
26
Pfijet
of
for
National Materials
Memorial
seen
27
Possibilities
near
Building
Country
House
Qiicago
of the Materials
27
Instances
Decorative
in
Two
Importance
of
27 Dwellings
Local
Typical
Modem and Materials
Modem
f Moderate erican
Cost
Expression
in
27 of Stone and
in
the
F^npliah
Half-timber in
a
Country Constmction
LainB^
House
27
Same
House
Local
27
House
Relation
of
Design
Country
ear
Philadelphia
of
29 Texture
as an
Expression
of
Buildings
Finish
of
Materials
29
Use
Stucco American
Exterior
29
Country
House
Actual
Half-Timber
tion Constmc-
298
Details
laical
of Door Example
and
Treatments
31
American Houses
of the Real-Estate
the
English
of
Country
House
31
324
oi pplication
in
''Model
to
Villm"
Letchworth,
England.
. .
324
of Architecture
Utifitarian
Bufldings
in
C3alifomia
Power-house
(two
views)
826
PART
PRACTICAL
GUIDE
TO
STYLES
E OF
PRACTICAL ARCHITECTURE
CHAPTER
AECHITECTURE
BOOK
NATURE
A
OF
AND
ITS
VALUE
PLACE
AND
AS
PART
UBERAL
BENEFIT
ARCHITECTURAL
A
ARCHITECTURE
SOME
TECHNICAL
SUBJECT.
UNDERSTANDING
FUNDAMENTALS
OF
ARCHITECTURE.
DEPENDENT
HISTORIC
MODERN
CHITECTURE
PAST
UPON
ACQUAINTANCE
TH
STYLES
attempt
to
define of and
architecture,
or
art,
is
to
fal
Few
into
the
are
danger safe,
dealing
the
in
catch-phrases.
them
are
more
' '
itions
accurate.
best has
of
clever the
art
Architecture
' '
been
called
ing
beautifully epigrammatic
from
which, definitions.
perhaps,
The
is
as
valuable
has
as
attempt
an
been
the
time
of
Vitruvius,
that
and
early
English
r,
classic
authority,
states
that
l-building
three
' '
conditions: it would
so
Commodity,
be
ess
any
Delight.
Perhaps
hard
characterisation
"
accurately should
applicable be
appropriate
ll
architecture
to
that
its
use,
strongly
pleasing
to
look
This
interesting
a
statement,
however,
could
although the aim
not
alled,
exactly,
us
a
definition
of
architecture, idea
of
ives
reasonably
clear
and
se
of
architecture.
any
one
Taking
of
of
these
the
three world
essentials would
have
alone
as
aim
architecture,
been,
15
and
nld
be
of
of the
to-day,
architecture
heavy if had
* '
loser.
Commodity
always
elevators
to
use,
Conceive
' '
first
the
pect
or
intended governing
building
factor.
been
Grain
sole
chitectural primarily
factories
also
ilt
with
**
view
include
cond
essential third,
of
however,
Firmness,"
but
ignore
which
has
the
thir
been
The
the that
building
autifully
a
designed
one
it
it
were
is
*'
Delight,"
would built,
short-lived
one
if
not
firmly
and
eless
if it served
no
purpose.
We
must
think
into
as
a
of
architecture,
monumental
then,
or
regardless
s divisions
domestic,
ecclesiastical
ildings,
perfect strength
co-relation
of
the
three certain
two, may
essentials
types
may
suitability,
one
and
beauty.
In
or
ilding
of
these
considerations, each of
the
somewha
overbalance"
importance.
must
three
not
ual
Generally
take cognisance
constantly of
any
a
' '
speaking,
however,
tect arch
of
in
all, mind
and in
we
by
our
keeping
ree
essentials
individual
nsideration
the
outset
given
building,
of
will
establis
om
certain
'
'
basis
or
universal
application,
gardless
of *'What
purpose?
style
any
other
a
detail.
We
thist
will
rselves:
its
t
kind
Does
or
of
its
building
is
express
Wha
this
design its
in
Is
it well-built,
Is
it
is
construction
its
cheap
shonest?
are
pleasing
form
and
detail?
ese
basic of
considerations whether
or
of designed
significance, in
;
entire
dependent
it be
the
style
we
of
alian
Renaissance
at
a
Modern
a
French
whether
oking
It
church
or
theatre. circumstance
to
is
an
an
interesting
opportunity
that adaptations
the
this
"
country
fords
study
"
in
man
ses
excellent
adaptations
of
architectural Architecturally,
sty
all
countries
and
all
periods.
THE
TOWERS
OF
THE
CHiTEAU
OF
LANGB;
TYPICAL ERRONEOUSLY
AMERICAN
DWELLING. CALLED
OF
THE
ANNE"
STYLE
"QUEEN
w
AboTs
ud
behiod
our
moil
JntimsM
"rchiteclure.
make
wdt
our
more
im
should vti'tiDr^'ll^'uiiiiterHt'wblcb
itwlMtlt
^t^vory
intclli
"
i-a
as
racially,
America
no
one
has
been
in
the
this
melting-pot.
country
we no
has
not
one
been
style,
because
"
people,
but
many
there
has
been
^and
as
we
al
American
architecture,
out,
noted
no no
* '
architect
recent
pointed
no
because
have
or
typical
typical
' '
climate
merica,
This,
further
typical
is
landscape
a
tion. civilisato
pursue
however,
at
question
of
style,
this
point
would
be
to
depart
from
d At
generalities.
the
outset
it
seems
part of
some
of
this
work of
to
point
forcibly
the
importance
and appreciation
degree
the
general
rstanding
of
us
or
broad
come
principles in
arts.
architecture.
Many
or
of
seldom other
or
we
contact
paintings,
obliged
we
sculpture,
to
fine
follow
cannot
We
are
to
listen
music
to
the fail
drama.
to
see
go
out-doors,
everywhere
"
however,
dings
^buildings
good,
all
are
bad
and
indif-
nt.
Some
particular.
are
important,
interesting thing is
never
in
so
The
only
unfortunate
that trained
people
to
see see
buildings,
and
The
have aspect
selves
apart
architecture.
any
of of of
to
buildings,
the
our
from
individual
inseparably
interests
a
prospective
builder, that
a
is
so
part
daily
it would
seem
highly
on
desirable the
"
develop of
at
high-school Architecture
course
appreciation special'*
us
tecture archi"
subject
turn.
^it
niversal There
was
subject
a
at
every
time
^ *
knowledge
' '
of
an
architecture,
part
ther
with education
the
formed The
fine
the
of of
many
gentleman.
stately
manor
classical
dignity South
was
owners
of
more
the
to
old
of
due
than
the
taste
architectural
of
the
education
their
to
the
master-builders.
mas
2
Jefferson
made
the
actual
drawings
for
18
' '
THE
PRACTICAL
' '
BOOK
OF
ARCHITECTURE
Monticello,
versity well as for the buildings of the Uninot an architect, but archiof Virginia. He was tecture had been part of his education. To-day there
as
men
who, between business and social activities, would have time to draw the plans for their houses, if they had the ability. The architect is better even equipped for this work ; but an architectural education,
are
few
intelligent and effecslight,would assure tive To most of the architect's work. understanding the architect's work is far more people mysterious and than that of the lawyer or the doctor, incomprehensible while it should by all rights be readily and intelligently
no
matter
how
understood. It is assumed that anyone about to build becomes, of a perforce, interested in architecture, but by reason late interest, and no personal basis of architectural conviction, he is obliged either to make a hasty and halfor considered survey of the subject, to accept the varied and usually conflicting architectural advices of his in this better equipped no are friends, many of whom direction than he. His very ignorance makes him suspicious design for him a building that the architect may he will not like, whereas, had he any appreciation which or understanding of architecture, he would be under no
.
apprehensions. In addition to the prospective builder, there is the larger class comprised of those who probably much to build for themselves, or be called upon never will
in so direct a manner. exercise any architectural knowledge To these, however, no less than to the prospective Their builder, architecture should be an open book. would become of abundant walks abroad and varied
interest, and every building would hold before been able to read. they had never
a
story
which
BATTLE
OF
THE
STVI.F.S''
out
toner
ot
(rchilcftuR. Building,
the ia
U'oolworth
"ea a
BuildioE,
earried
Id
Ure
niudi^rnuivd
ul
rend
Ihruuih elimpK
while
uJd
rnliinnntlr EiRhiri^Dih
Sr thr Cenlury
AncloJ^nnic
New
York
Cixy
Hsll
i
s
i^
Pi
illii
trr
si
lg
I I
Nor
should
upon,
allasioii
as
be
omitted of
a
to
the
to
citizen
pass
who
alled
on
member of
a
an
board,
ment judg-
the
design if of
a
important
house
or a
public be
building.
"
unfortunate
private library
by
civic
money
bungled hall.
In
tous calamithis of
in
the
we
case
are
city
connecti
impressed
as
a
the
importance
as
a
tectura archito
education Public
the
obligation,
is the being erection
duty
the
nity.
spent
yearly
hout
country yet
for
of
the
important public
has
recommended,
buildings,
seen
architecturally, It is by
no means
the however,
buildings.
to
on
be
that
public
opinions
architecture
on
*
et
up
to
overthrow
professional
in
the
case
opinions
an
tecture archi'
excepting
of
the
incompetent
architect.
of
It
is
rather
contention result in
ciation
results is the
to
save
architecture
an
will
securing
ter bet-
through
understanding The of
an
of
may
what
the
upon
tect
trying
appearance
a
to
do.
board
important
or
insist
ng
building
may
in down
few
thousand
for
dollars,
a
vote
architect's
If
the
project
members
splendid
monumental
ch.
of
the
board,
educated,
and
the
the
people
necessary
elves,
were
architecturally
be appreciate forthcoming
the
funds
would To
through
public
ription.
possibilities
its
of
noble
the
an
ectural
part
idea
of
to
is
to
desire
there
execution. be
attempted unknown
In
this that
book
will
duction
the
interesting,
but
vidual indi-
Architect.
understand **gift,"
This,
an
architecture implication
may
has of
some
been
peculiar
be
supposed talent
an
erroneous an
to
or
however,
for
or
readily
proved
is
no
idea, painting
although music,
architecture it is different
less
art
in
certain
salient
rticnlars.
result of
masterpiece
"
of
a
painting
or
of
mnsic
inspiration of
masterpiece
of
the
result
evolution. their
To
understand underlying
need
hut
sic
is
to
understand
architecture architectural Nor
understand
of example.
one
understand
produced be
tages
evolution should
which
ven
understanding
natures
confused
th
enjoyment.
in
art,
Most
music, them;
receptive
find
nature,
men enj
in
a
no
in
in
architecture,
in
hat the
surrounds
senses,
but
their
enjoyment
plays
to
is
thi
in raises
which their
understanding understanding
pa
nowledge
the
level
ntelligent
appreciation.
in
at
To
see
all
once
architecture the
at
product
study.
necessity
of
evolution,
possess
key
more
to
its
a
Obviously
than very
race,
an
rt
of
building,
the
first of
as
from
dawn
civilisation
of the
close
inked
with in
In
a
the
measure,
development
as,
influenced
people
who
create
t.
this evolution
connection
there
between
is
more
human
and
mere
than
of
oincidence.
kinds and
civilisation, social
characterised
by
developments
roduced
new,
architectural
evolved from days by
as
a
some tim
often
pr pe
of
kingdoms,
are as
their
degeneracy,
th
ownfall
mirrored vividly
contemporary
architectural of
contemporary
numents
in
the
words
Being
always should
work
of
the
the
hand
of of
man
man,
tec arc
"
reflected
lie much of
as
our
mind interest.
perhaps,
^and
his
of
its
architecture
the
own
past,
has of
been
ttle
expressive
future
ages
architecture
to-da
less
are
to
read
in
it the
commentary
ibis
time
' '
artistic
the study
ideas
and
and
ideals
were
in
earlier
transitional
styles
stage,
adaptation
North of employing
no
of
ther
lands
in the
characterised security
we
American
ture, architec-
and
recognised
to
and
rious
types,
had
desire
experiment,
or
olve
originalia.
many
good the
architectural
because
has
critics
American
have
bitterly
since
ed
times
the
no
nation,
arlier
style.
days,
created
are,
characteristic
two
tural architec-
There
however,
sides
to
this
tion.
ooking
back
be
over
the
evolution
new
of
arose
,
ones
it will
were
or
found
out-worn,
that
styles
when
new
conditions social
or
them
change
te,
when
some
new
religious
lly
was
dictated
architectural
reason,
forms.
and
No
new
founded
for
to
without
In
solely
any
because
come
desire effort
The
^an
novelty.
be **Art
to
no
case
has
for
the
an
good
sake
original
Nouveau'* evolve
new
solely
was
of
inalit orig-
illustration
the
effort what
forms
for
spirits ideas.
sole
purpose to
'^
eaking
certain existing
is
restless
believed
And
as
be
Art
monotony
of
movement
artistic
now
the
an
u^'
of
remembered leaving
it had
demi epitrace
ever
ephemeral It
madness, died
because and
after
no
it
reason
no
nfluence. been
or
ve
created,
because,
in
itself,
it
was
not
legitimate. the
last
century,
That the
almost,
no
in
^^
this
country
has
of
striking
should
arts, to not
national"
be it
very
tecture archi-
and
distressing.
the
sure
rchitecture,
to
aU
other
is
part
proceed
slowly,
and
be
or
of
styles
each
are
Sincere
adaptations
of
old
ancient
ch
to
be
preferred
only
as
if the
a
alternative
de
is
"
meaningless
attempt
yle
evolved
an
tour
force
not
an
ove
originality
to
which
produce
prevent
does
'*
exist.
'*
If
this
cou try
is
destined
nothing
style,
recognisable legacies
as
ch,
could
other
it
would
"
our
of
yles
from It
can
as
lands
be
straws
in
rrent.
has
our a
been
present
so
always.
Nor
adaptations
to
of
idea
many
styles
nstrued
contradiction is
a
the
of
architectural
that
olution.
prevail
It
far
more
natural
condition
that
one
man
yles
in
in
equal this
age
favour,
country
than
at
style
time.
shou
paramount
the
present
The
present
is of
one
of
travel
and And
of
education
photography accountable
and
for the
illustration.
human Every
natur
one
selective
some
proclivity.
personal
instinctively
cherishes for
manor,
ideal
Italian
untry-house, English
not
*'
example,
or a
be
it
an
vi
French
for the
chateau. sake
That conformity
id
uld
be
sacrificed
style
out
of
national"
of
the
architecture.
We
of
all
wou
ill
take
pages
of
picture-book
chitecture. Italian
villas
are
not,
necessarily,
the
men
consistent
were
in
th
chitectural
style
because
The
Italians
who
turally architec
and
consistent.
built
no
them, type.
om
they
not
were
built, by ideas,
a
of
other other,
Th
distracted
pleasing,
of
and by
perhaps
ually
consequently,
following
prevalent
As
style,
there effect
may
evolved
the
distinctive
ty
proof
of
the
which
upon
selective architectural In
proclivity
the
individual
the there
as
have
desig
the
or
nsider style
architecture
was
of
so
England. conservatism
matte
not
much
tency consi
has
been
supposed.
Once
the
landed
gentr
to
travel,
was
on
new
architectural admired,
English and
estates.
ideas
many
came
in.
The
garden
Italian
gardens
laid
out
The
so
Englishman
red
his
own
kind
Many
of
honse, Italian
he
did
not
adapt
villa.
painters,
over
decorators
to
**
were
brought
to
a
a
create
ors
of
as
art
gratify of
the
arisen
result mania
travel.
Far
mostly
created
for
**the
evidenced
potently
in
in
a
Chippendale's
favour
as
nevertheless
"
in alien
came
many
other
re di
and
could
certainly
be
style
to
English
the
traditi
as
conceived. the
Later
Brothers
imprinting
architecture
and
was
furniture
not to
wear
time
the
with
late
classicism
which
of
Georgian intercourse
with
period.
of varied of And the
The
more
ideas,
styles,
the
more
travel,
the
the
familiarity
be
the
certainly of
less
one
likelihood
new
development because
the
any
ially
style.
intelligent
this
country
and
cal
must
study be be
of
the
a
architecture
of
to da
essential
largely
to
study
of
adaptations,
with
any
it is
accuracy
to
able
trace
derivations
to
and
It would
or
be
impossible
of
a
acquire
understanding
appreciation
without
the
architecture
of
this
country
practical
of
Europe.
familiarity
with
the
great
ectural
styles
ith
this
to
in
view,
the
concisely
following
the
two
chapters
of
the
are
ned
outline with
evolution
to
historic
tecture,
of
special discussed
of
reference
characteristics
the
a
styles,
consecutively,
as
and
with
great
degree
brevity
is
consistent
with
te
presentation.
however,
to
Before
traverse
the
ages
rom
the
time
day,
of
a
the few
Egyptian
absolute
temple-builders fundamentals
the the reader architects
up
to
resent
of in
of
desi
hould be
be
seen
comprehended
to
by
extent
order the
that
what
histor
yles
in
be
an
realising
easy
their
matter,
It
unge real
reader of be
into four
to
maze
of
technicalities, of
all
whereas
great
essentials
architectural
points.
sign
said
lesser
ese
four
essentials
rationally
that
realised
the
given worthy
The
building,
of
it is
name a uses,
assume
buildin
the of
or
architecture.'* regardless
design function
and the
building,
should should
his
of
its
and
'^
styl
its
be
expressive
have
appro priat
designer
demonstrated the
is
finished of
grasp
of
architectural of
sential
the
pictorial
essential
lig
d'Shade.
Briefly its
considering
own
these
four
while
essentials
seemingly
"
buildin
^a a
feats
if,
tall
right
building,
lines.
effect
result
is is of
not
a
destroyed distressing
by
stron
rizontal
optical
"
ntal
confusion doubt
as
the
part
or
the the
beholder
architect
as
an
tab ine
to
whether in
his The
had he
be
rfectly
to
certain
express.
own
mind upright
to
what
ying
tall,
an
building of
as
shou
press
its
so
height,
with
to
introduction
the vertical
long,
horizontal
serve
mbers
break
no
subsidiary
monotony.
to
the
low in
In
shoul
ntain
conspicuous
elements
whic
ll
detract
from
its
horizontality. and
short,
buil ing
should of
immediately
its designer,
unequivocally be
tall
a
tention
should graceful,
building upright,
massive
or
dignified,
light
and
and
spreading,
doubt
or
we
or
of
any
other in
so
type.
If
we
are
an
assailed
aspect
ny
conjecture
may
important
to
building, of
the
to
say
well
expect
find
further
serious
nces
inept of
design. appropriateness,
would not
On
score
there obvious.
should The
is,
perhaps, design
which
be
lding,
irrespective
or
of
nature
its of
style,
the
be
expressive
and
not
the
purpose
building,
shop should
hence
priate.
a
little
millinery Appropriateness
look
bank
style,
building.
because of
inevitably
are
vo in suited
certain certain
styles
peculiarly
he
expression modem
ideas.
styles
"
Classic
are
styles
are
fied,
are
festive,
so on
Italian
refined architecture.
can
and
through
the
of
who
able
for
architect
the
is the
of
a
tect archi-
unerringly
style
select which
will
design
clearly
given
ing
the
express
most
and
tively effec-
the
intent
word
of
that
building.
met
or
''Scale"
is
seldom
room,
with outside
outside
the
conversation
the
tectural of
term
draughting
designers,
is* not
common
' '
and technical
errors
this
' '
is
one,
unfortunate, and
other
errors
because in
"
scale
more
than
one
of
any
kind
be
the
ion
involved
the
of
architecture,
a
furniture
design,
ven
selection
diction,
well
exactly
' '
of
scale
or
picture
' '
frame.
the
In
plain
whether
involves related.
relationship
a
ill
the
If
window,
for
a
for wall-
e,
is of
which
right the
proportions
it
occupies,
architect
is
too
says
it
is
or
''in
." he
If,
however,
this
"out
window of in
scale."
every
too
says
it is
A
way
may
be
ably exception
may
designed, of be
"out
one
and
fatal
with
for
defect:
"
the be
cornice,
st in
scale"
^may
avy,
or
or
may
' *
be
' '
and
rest
inadequate
the
' '
in A
scale,
ti re
in
scale
a
the
of
design.
out
sing
' '
ulding, the
or
single
may
be
of
a
mar ri
whole
too
design. small
or
a
member
the
may
so
of
building
of of
is
rge
to
necessity be
'
''scale.
"
entire
wing
tower
out
scale,
as
or
ngle
feature
over
a
(apparently)
window.
as on
unimportant
the
that
s k
It
is
apparent,
then,
chitect's
very
success
measured his
eye
by for
eye
his
works
"
mus
pend
largely
''scale"
whic
ght
be
called,
perhaps,
his
for
relative
It
will
must
be
conceded
play
an
at
once
that
part
effects in the
of
light
ade
design
and
cognate
the
handling in
or
of
a
voi
the
openings,
"voids"
loggias
desig
windows
door
the
arcades
"solids," balance
building
and will
which
solid is
is
an
not
"void."
ilful
void
as
essential
chitectural of
any
design, building,
also
occur
"
be
apparent
in
in
one
's
obse vati
studied
be
with
this
mind.
and study lines,
Lig
shade
most
'
must
skilfully through
manipulated,
too
t m
often
'
much
of
ilding
on
paper,
as
composition
effect
withou
fficient
visualisation
of from
the
of
the
a
executed
wor
casts
ery
projection
shadow,
a
the the
whole
face
of of
building
shadows
the
finite
and
of the the
effect
these
as
a
is
ch
part
or
design of
detail
order.
ulding From
interpretation
classic
on
the
foregoing
scale that the
observations
and
able
to
expression, it
much
propriateness,
apparent
mu
menta
uipment
in
addition
with
his
knowledge
historic
styl
his
familiarity
structural
problems.
It
ARCHITECTURE
noticed,
moreover,
that
these
the
more
masterfully
of
an
tect
handles
he
essentials
design
the
for
scale,
les
ciation
that
so
receives
in
eye
from
such to
the
lay
critic,
as
no
the
perfection
rests the The
matters attract
fo
nce,
no
as
attention
and
trained
to
architectural
him
observer,
his conscious
r,
much
delight
in
ciation proceed
of
these
niceties.
in design
present
a
a
To
further
of
inconsistent
matter
the
ciple prin-
architectural
of
the
be
with
purposes
how
esting internow
in
itself,
through
and
necessarily
brief
of those
study
great
we
will
irected
whose every
the
evolution
historic around
present-day hand.
manifestations
see
THE
GROWTH
THE
EVOLUTION
OF
THE GREAT OF
OF
ARCHITECTUBE
ARCHITECTURAL
OF ASSYRIA, OF
STYLES.
GREECE,
ARCHITECTURE
ROME.
BYZANTINE
EGYPT, AND
OF
ROMANESQUE
ARCHITECTURE
IN
order
to
acquire
which with
practical
familiarity
us
with and
to
tlie
be
architecture
surrounds
its forms,
to-day,
actically
to
familiar
some
it is obviously
of and in
the
necessary
acquire
general
knowledge the
ages
evolution several
architecture of
through
the
ountries
It
Europe.
and, of Egypt, indeed, history quite
proper,
is customary
a
to
commence
study in
no
the
of
architecture
with
evolution
its
eginnings
left
although of actual
architectural
vestige
Egyptian
detail
in
modem
uildings.
The
recognisable
themselves character
characteristics
in
three
of
architecture directions:
anifest
principal
the
or
in
he
structural arch
mass,
of
building
(column
;
construc
construction
form
otherwise)
or
in
its
general
or
(tall and
in
or
vertical, detail
low-spreading kind
to
nd
horizontal)
mouldings
and
its
(in
the
of
each
tectural architype
ornaments
peculiar
nationality).
There
are,
again,
of private
three
broad
divisions
in secular
which public
to
to
onsider
secular
types
buildings:
religious,
It class
nd
buildings.
in
is
a
essential
consider
instinctively, because
much
which of
given
building exists
vague
elongs,
the
confusion arises
which
from
in
he
cqnsideration
or none
of
architecture
at
lassification,
28
all.
And
classification
should
5/
s
royal
be
the
basis
to
of
comparison,
and
practical
comparison
comprehension. which
road
intelligent
of
and
these
The
come
importance
to
broad
felt
as
divisions,
instinctively,
progresses.
make
themselves apparent
will
increasingly with
study
Commencing
the
architecture
what
a
of
Egypt,
it will
ealised
was
subsequently
gradually
complex
an
architectural
built
up
upon
essentially
^
^
simple
ation. the
purpose
For
of evolution
this
book
be
the^
following
in of
history
the
most
rchitectural form
will
with
presented
se
possible,
phases
the
intention
enlarging
certain
of
it in
subsequent
chapters.
The
type
AECHrrECTXJBB
Egyptian
or
Egypt
The
of
building
evolution
or
which
was
played
not
its
part
later
architectural either
"
the
secular
ing,
public
case,
private,
temple.
was,
but
the
religious
ing
the
The
dwelling
and Not
very
for perishable,
the
most
part,
modest
affair,
both
no
actually
stylistically.
in
the
only
are
there
examples of
preserv
condition
of the
the
Roman
villas residence
upon
Pompeii
appears
Herculaneum,
Egyptian
ave of
had
the
influence
the
later
evolu*
private
house.
Some
idea
of
its
form
has
preserved
and
in
elaborate but
not
contemporary
ings wall-painton
bas-reliefs,
did it is
more
since
its
influence
the
tural architecof
design
extend
beyond
to
days
the
the
ohs,
profitable
of
consider
Egypt.
religious,
emple,
architecture Egyptian
ancient
Essentially, and
the
architecture
was
an
stone
tecture,
on
structurally
it
lintel
was
architecture being
any
column
(a
lintel
rizontal
Although
member the
appear
resting
arch
to
was
upon
two
vertical
to
members).
Egyptians,
a mean
known
the
eir
builders
have
regarded
it
stones
as
noble
to most
substitute
span part,
for
the
enormous
which
th
ed
the
distances
seem
between that by
their the
the
columns.
Egyptians
gauged
the
many
merit
they
greater
of
buildings
size
they
of
stone
ich
Although such
as
built in
the
eir
those
great
Karnak,
of
cylindrical
columns,
an
drums, hewn
from
they
one
thought piece
ghly
monolithic
was
one.
of
sublime
proportions,
forms
were
simple
heavier
the
lines.
than
Their
those
the
la
veloped
heads
as
by
of
the the
Greeks,
columns, and
forms
of by
capital
inspired
flowers.
such
lo
ora
palm-leaves
lotus is and
Egyptian influences
architectural
country,
architecture which
social
powerfully
natural
illustrative
conditions essentially
a
exe
on
character.
Being
iou rel
actually
was
ruled
the
the
by
temple,
the
the
principal
rm
of
building
country,
essentially
treeless The
principal
of
of
material understood
one.
Egyptians,
and
use
course,
nufacture for
bricks, eternity,
but
with their
their
bas
ssion
building
to
enormous
for
be
crude
bric
not
ubtless
as
seemed
perishable,
stone
and
certainly
so as
ble
such
their
part
members,
brick
playe
in
Egyptian
of the
architecture
Assyrians. Egyptian
the rock-cut
the
it later
playe
the
buildings of
'*
Indicative
the
are
architectural
ideal
hewn which,
eternity,
mountain
there
temples, tomb,
fr
one
sides, the
and
usual
whe
buried
beneath
artificial
mountain
of
pyramid,
THE
ARCHITECTtJRE
the
cut
to
into
be
solid
rock
the
of
the
Theban
Hills. preferred
of
a
Thns
inferred
even
that
Egyptians
permanen
to
were
the
impressive
content
to
majesty
rest
fine
They far in
the
in
hidden
rather
heart
of
the
living
rock,
in
ornate
mausoleum. Egyptian
testify
to
All
architectural this
and
"
monumental
the
remai
predeliction
the
Sphinx,
the
hewn great
the
solid temple
statues
rock,
monolithic
obelisks,
at
"
cut
of and
a
Rameses massive
II
pylons
Abu-Simbel,
all these
are
the
sal
by
the
strength
and the
over
immobility
waves
which destructive
centuries
have
swept
and
of
which
for
Egypt.
Yet,
all
was
its
qualities
not
of
massive
and
form,
Egyptian
architects from
lotus,
tecture
artists
and
sombre,
many
Egyptian forms
evolved
papyrus
decorative
were
which
was
essentially
of
graceful
Egypt bas-relief
and
ate.
Nor devoid
the
colour.
architecture
The
by
any
carvings,
of
pictorial
the
inscriptions
tombs
were
and
decorative
even
details
of
the
ples tem-
and
garishly, of
sand
painted
and
i
time
and
dimmed
bright
these
colours.
erosion
have
where
tombs be
been
exposed,
sanctuaries and the vivid
but
he
shelter
of
are
many to
and
as
rock-hewn
intense
colours they
found
recently
as
had
but
come
from
brush
from
Egyptian
as
to
Greek
rock-cut
itecture
at
given
often
existing the
*
in
*
le
called of the
Proto-Doric bears
the
le,"
form the
columns
column,
king
the
similarity Greek
Greek
Doric
firs
**
Of
the
THE
PRACTICAL
BOOK to Greece,
more
OP
ARCHITECTURE
egacy
of Egypt with
may
be
onnection
tha
consideration
The
Abchitectube
of
of
Assybia.
The
of
ancient Egypt,
Assyria
and
differed
quite
ike
of
Egyptian and
utcome
of social
natural
was
Secular
the
architecture
magnificent
ace
notably being
conspicuous.
devoid, timber,
a
for
eveloped
as stone well part, of building in clay, Assyria but naturally abounding instead hfick architecture tecture. archiof a stone
the
most
Structurally,
unit, the
great
is
as
oth
used other
use
and
here
the
on
of wood, question
this
theories
maintaining
that
Of
only
the
walls
great
on
and
rooms
floors
emain,
but been
was
the
area
ave
here
could
covering
of
hatch Most
and
buildings are of the form of Assyrian versions that the it is known with certainty conjectural, though sively impreswere of vast size, and were and temples palaces
terraces, a series on approached of great elevated And broad flights of steps. whatever particulars Assyrian are architecture conjectural, it is certain
by
of
the
Assyrians of
were
the both of
first
to
realise
and
and
develop
decora-
possibilities Such
brick,
structurally
y.
portions
their
important
were
buildings
with
or
as
conspicuously of
gorgeous
exposed
and elaborate
faced
colours,
glazed
beautiful
and deities,
with
tiles
forming of
highly
monsters
representatio
legendary
architecture
heroes.
from
Subsequent
"
borrowed
the
ians
that
of
Greece
nothing
but
with Egypt,
two
Assyrians
of racially
materials
the
borrowed
little
reason
differing
and socially, available.
the
characteristics
as
he
countries, of building
well
as
nature
Architecturally, dispute, of
ever
however, pioneers
as
a
Assyrians
were,
out with-
the
in building been
a
demonstrating material
distinct
"
the
a
possibilitie
brick
since,
material
has
factor of
other
in
races
tectura archi-
evolution
and
expression
lands.
The
Abohitectube histories
of
Greece
Most
architectural of archsBological
many
are
enlivened
on
by
the
tes
authorities of outline of
such these
questions
are
of
great
Although
the
present
not
disputes sketch
of
of
st,
architectural
The
ion
will
allow
digressions.
usually regarding
study
reek
great
architecture, conflicting
however,
begins
the
with
the
liieories
is
origin
of
its
One
column first
is
contention
and
lintel
that
the
Greeks
as
borrowed
as
construction,
from
well
the
form
other
heir
Doric
that
column, the
Egypt.
The
tion
Greeks,
advancing
into stone
in
the
skill
and
on,
own
simply
translated wooden
forms
of
earlier
buildings.
There
is much
to
pport
both between
but
in the
theories.
early
Undoubtedly
there
is
forms
is
a
la si
Greek
no
architectural doubt
to
yptian,
with
less
temple
there what
we
distin
alogy
a
Greek
and
may
imagine wood.
similar
the
primitive
it of
Greek
more
building
to
of
For
present
is
important
in
the
crystallise
clear
impression
what,
to
constituted origin.
is
the
eek
An
than
of
step
inquire
Greek
acquiring
architecture
a
ally
in
practical
day,
stand under
as
the
architecture
of
the
present
earlier
periods.
understand
of the
To
the
*'
understand real
Gree
of
chitecture
is
to
meaning
Revival,'*
to
veral
Classic
allusion
the
*'
Class
eal.*'
The
importance
cannot
of be
the
Greek
architecture
in
subsequent
olution
over-stated.
Greek
all
modem of
the
architecture
ndamentally,
from later,
basis
the
of
architecture,
Rome,
at
it sprang
the
architecture of
the
and
fr
at
Renaissance,
idea.
whic
rmanently
Gothic
furthermore,
In
the
Greek
first
it
of
are
is
a
possible multitude
time,
to
perceive
the which
origin
we
architectural
forms
"
with
daily
motifs
s r
to-day immortal
come
* '
^mouldings,
' '
ornamented themselves
day,
not
"
Greek
to
orders
the
orms ^f
whic
those
ve
down
Egypt
present
cient
and their
Assyria
or
did
after
beyond
of
nfines
of
lands,
the
th
pires.
The
an
Greeks
ideal
of
evolved
such
the
'*
Classic and
Ideal** and
in
ture, architec
purity the
nobility
perfection the
at
it has
constituted
standard
through
age
AN
EARLV
EXAMPLE
OF
THE
GREEK
DORIC
TEMPLE
(UNFINISHED)
'
well
mouldi
""
"
"
""
-"
{Tba
CiTyatid
Porch
of
the
Encblhnim.
Alfa"n
CORINTHIAN
ORDER
ARCHITECTIRK
is
to-day
the
fundamental
of
architectural is
as
a
design. colunm-and-
Greek
architecture, highly
architecture,
the
severest
time
most
went
ornate
on
Doric
the
thian
three
The
Ionic
to
and
Corinthian,
are
ly
recognisable
and
Terminology,
easily
be
distinguished
(se
hitectural
Illustrated'*).
assumed by it is
Regardless
elements
of
the
forms
later
Greek
important
architectura
in
times,
forms
ber of
their
the
origin.
Renaissance,
in
Greek
and the
reappeared
in the
in
period
the
again
Classic forms
Revival
constitute
Eighteenth
the
most
Century,
important
a
and
the
part
to-day details.
ur
architectural
forms
pave
To the
a
possess
clear
vision
reek
to
is
the
to way
simplify
for
study
of
architecture
subsequent
recognition ideals
which
came
forms
and
other later
architectural periods
type
being
most
during
and
in
other
lands.
was
The
notable
of
Greek
building
of
the
e,
although
the
far
than
private
more
dwellings
of
the
case
wealthy
of
individua
claimed
sculptors
attention
arcliitects
was
the
was
in
Egypt.
an
Greek
architecture
and its
essentially
subsequently
architecture
to
tone,
was
character,
the of
Doric
marked
and
by
the
refined of
application
graceful
ng
co-relation
the eternal
monumental
of
statuary.
Much in
the
of
excellence
of
Greek
architecture
as
perfection
of
upon.
its
proportions, which,
to
well
have
as
refinement improved
its
detail,
date,
not
It is important
the
to
remember
and
that
Greek direct
architecture
source
inspiration
of te^^
the
of
the
sign
of
virtually
style has
all
the
large
buildings
suited
-day.
No
been
found
for
pression
form.
of The
dignity,
debt
can
stability of
never
permanent to
beaut
architecture be
the
genius and
cient
Greece
increasingly
temple
discharged,
as
comes
apparent
study
Greek
plans
of
were
of
several
fferentiation
more
these
comes
into than
the
detailed
Nor be
can
consideration this
to
it
intended
of
upon
esent.
kind have
a
of
knowledge
Gree
chitecture
said
direct
is
more
bearing
important,
the
' *
superficial
survey,
aspects.
It
neral
to
recognise
great
thoroughly
importance
of of
the
and the
of
immortal
Classic
of
IdeaP
form
and
perfection
proportion
ich
the
essentials
Greek
their
architecture.
highest
An
ese
basic Greek
most
was
an
essentials
temple.
found
expression
the The
important
its
"
feature
of
an
the
open
Greek
central
privat
sidence
planning
a
about
of plan
cour
to
lled
atrium
type
still
later
adhered
countries,
and notably
encountered
the
in
but
slightl
riant
forms,
Spknish
patio.
The
The
Aechitectubb
Rome took
in
arch.
of
Bomb
architects
it,
of
Greek
addition,
architecture and
elaborated the
old Greek
introducing
of
the
highl
veloping,
The
use
Doric
to
order
did
it
not
appeal
to
appeared
phisticated
severe was
'
Romans,
whom
doubtless
and
the
too
primitive.
Doric column,
Their
also
corresponding
rm
Roman
called
' '
Tuscan
'
ee
Architectural
Terminology,
Illustrated
The
.
made highly
bat
little
use
embellished
but
appropriated
and
characteristic
was
Roman
use
development
of column
of arch, Italian
favourite
the
and
architects
of the
and similar
ornamentation
work
of
was
rarely
so was
refined
pure
as
the
Greeks,
were
but
lovers
to
decorative.
The
Romans
of
pay
architecture,
began
buildings, been
and well
as
both
public
them.
private,
works,
had
as
previously aqueducts
as
such
accorded bridges,
theatres,
became baths,
or
tectural archi-
monuments,
and
villas,
were
triumphal
became
arches, luxurious
while
the
private
to
residences,
a
and
elaborate
degree,
and
other
filled with
of
art,
and
works
Architecture
fast
coming
to
into occupy
with of There
were
the
people,
ceasing
exclusive
were
even
consecration
Roman
to
the
to
gods. be
sure,
temples,
but
there
an
greater
played
of architecture
however,
the
earlier
of
It must of of
that
the forms from
the
ture architec-
Greece
so or
and
inspired
architecture
were,
Rome,
greater
to forms.
Greek
that
It will be important
later, the
the
inspiration
came
Italian
Renaissance
Grecian,
temple
remains, architecture
and of
that
the
Romans
Greece.
Byzantine
and
Romanesque
Abchitectube
Before
the Roman with
grew
the
final
downfall
in
the
year
and
455
dismemberment
Christian of the it had developed,
architecture sustained in their and, until
of
Era,
there
elaborate
types
civilisation
of church Ages,
two
struggled
warmth
through
religious
the
Dark
by
which the
way,
of
enthusiasm,
keeping
more
the
lamp
propitious
burning development.
times
These
Romanesque
development of which,
two
"
by into
known Byzantine are as styles and first high the a of which, reaching in itself, led to nothing the second else, and reason grew merits, of its vital structural the
great
directly
Gothic
style,
stage
which
until the
was
to
completely
fill the
the Renaissance
architectural
coming
of be
in
Italy
in
in
the
year
1400.
At
this
point
to
architectural
a
history
dates
it may
illuminating
following
the the
tabulate
few
course
of architectural
to the
for
fall of Rome
end
of the
Renaissance
Cheonology
End
Early of
the
Roman
Empire,
Period, from
455
a.d.
Christian
Emperor
Constantine
300-604
a.d.
of Byzantium In the
the
name
to Gregory
I, Bishop
Empire
of Rome,
eastern
Byzantine
(the
division
changed
of
Roman
of
Empire),
Byzantium
Emperor
to
Constantine
the
Constantinople
(**City of
in 338
a.d.
Constanti
In
a
527
Justinian the
Eastern
began
and Empire
twenty-year
which
and
a.d.
finally
drove
the
Goths
Huns
from
Italy, In
751
strengthened
of Rome.
Rome
became At
independent, this
time the
in the
form
of the
first Papal
States.
Italian
(The
Cathedral
of St.
Mtrl
rds
conquered
the
greater
part
of
the
Byzantine
e. Byzantine II, in
1453,
The
Empire
and half
finally
fell
at
the
the
hands Moslem of
med
Constantinople
a
al
century
beginning
the
of
the
900
Renaissance
to
in
was
Italy.
to
some
From of
1200
Italy
European
extent
the
field battlemany
ambitious
and 1200
constant to
nations,
suffering
ions
unrest.
From
and
1400
such
grew
commerce.
Italian
steadily
cities
in
as
Venice,
and
Florence
prosperity
mostly
was
through
no
There
the
national
Italian
power parts
:
government
at
this
balance by
five
of united
being the
Duchy
diplomatically of Milan,
sted
nominal
the
''republics'^
at
of
the
Venice,
the
Papal
Naples.
States
tred
Rome)
of the
as
and
great
Kingdom periods
:
of
of the
The
are
dates
given
Italian
sance Renais-
follows
Early
Renaissance,
Florentine
1400-1600
1400-1600 1490-1600
Milanese
Venetian Roman
High
Late
Renaissance
Renaissance
The
years
and
the
saw
periods
of Rome
covered
to
the
of
foregoing
the
from
fall
the
Italian
ssance,
any
greater
developments
in Great
here
as
architecture
were
subsequent however,
span
of
time.
opments,
in
the
it is necessary
to
deal
out
briefest
as
possible will
later
manner,
pointing
an
points
prove
aid
in
distinguishing
the
architectural
derivations
of
to-day.
Byzantine
about
as
and
the
**
Romanesque
architecture
were
flourishe
by
in
same
time,
and
preceded
architecture
what
own
the
were
Early
Christian*'
at
Rome
Christians, neither
were,
the
nor
beginning powerful,
of
the
Christian
a,
rich
their
architectural
forts
It
was
of
at
necessity, time
gave
restricted.
the
to
this
that
place
idea
the
**
of
idea The
as
a a
temple,''
**
ode
place
of
deity, of
worship
of
church,"
for
the
devout.
more
temple,
a
whi
shrine,
people
had
came
been
to
regarded offer
the
divine god
to
abod in
prayer
to
their
mple.
In
the
an
church,
devout
came
assembled
to them.
mak
ayer,
and
Invisible
the
God
Gradually
architectural
to
assume
efforts
of definite
the
ear
hristians
Romanesque of
began
"
certain
proper,
**
forms
*'
in
Italy
or
the
Western
pire
Rome,"
and the
**
Byzantine" Empire
at
in
Byzantium Rome."
Constantinople),
Byzantine
Eastern
was
of
architecture Constantine,
when
its
height
under
the
peror
Rome the
he and
removed
capit
om
to
Constantinople,
actually
time, but
the in
term
covers
ly
buildings
at
erected
several
the
Byzantine
pire
this
important
porary contem-
buildings
Most notable
in
of
Italy.
all
Byzantine
architectural
in Venice. additions
1100-1350.
monument
is
the
Church
from
of
St.
Mark,
a.d.,
It
rgely
built
and
1061-1071
with
lunms
marble
great
mosaics,
monument of
between
of
The
is
second the
now
Byzantine in
ture architec
Church
a
Ste.
Sophia,
Mosque.
long
earlier
date
having in
by
zantine
Emperor
Justinian
532-537
Both
buUdingSy
of
however,
Byzantine structural
illustrate architecture.
the
most
salient
cteristics principal
Bomanesque
The
difference
is that
between
the
tine Byzanfirst
and
the
architecture while
oped devel-
dome,
the
second
at
developed
the
the
"
vault.
tine
architecture
architecture
of
grew
stopped
dome
esque ^Romanvaulting
into
style.
the
elaborate
ms
the
Gothic
The
to
**
architectural
different
forms
orders''
in
of works
were
the
of
Romans the
gave
Byzantine of
large
ers.
Byzantine
with
;
buildings
mosaic,
mostly for
brick,
lished dome
and
depending
on
effect
were
the
for
detailed springing
effect
colour.
a
or
Arches
structurally,
than those
from Greeks
short,
different
Romans.
sort
of
was
the
tine
column
usually
were
and
often
airs,
and
the
capitals the
arch
basket-shaped,
to
ansition
column.
from
the
were
cylindrical intricately
These
decorative heads
the
capitals
manner,
carved,
richly
or
with
conventional
forms.
tion folia-
grotesque
and
animal and
In
place
of
the
mouldings
of
carvings
of
the
Classic
were
tects,
exteriors
Byzantine
churches vari-coloured
by
sified
well
as
by by
horizontal
the
bands
of
brick, successive
interest
afforded
sed
arches. formed
early
pagan
no
Statuary
the
feature allowed
and
pagan
of
this
architecture,
so
or
Christians
religions
nothing
cent reminis-
of
a
deities,
'idols''
part art
of of
their mosaic
The
in
coloured
in
marbles
Byzantine
mosaic
glass,
height
tecture.
plans
were
Church
usually
in
the
form
of
Greek
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
osSy
with
the
dome
covering
and,
the
central
later,
were
part.
omparison
those
with
of
Romanesque
Gothic
square
churc
ans,
the
Byzantine
churches
mpact.
The
dome,
essentially
come
an
Eastern,
as
or
for
naturally
or
to
be
regarded
.Asiatic characteristic
which,
aracenic
Moorish
much
architecture,
in
common.
with
indeed
zantine Romanesque
has
architecture in
as a
was
practised spread
through
not
only
urches
erected
Italy,
In
but
France
Germany
to
well.
certain
extent
details
by
Byzantine
it
was
considerable it the
was
feelin
ile
structurally
essentially
different.
of
Instead
of the
dome
construction church
the
Byzantine addressed
vault in
chitects,
Romanesque
to
"
builders
of
the
their
efforts
of
the
development efforts
as
thod
roofing of
the
their
culminating
thic
The
style
Thirteenth
church
Century.
plan
Romanesque
assumed cathedral
much
plans,
of
aracter of
of
a
the long
later
church
nave,
and
c s
central
flanked
in
the
by
narrower
de-aisles,
"
the
apse
nave
terminating
sanctuary
tar
^the
of
the
later tile
to
cathedral roof of
plan.
the
masonry
*
In
ord
support
the
it
was
heavy
necessary
Romanesque
urch,
a
develop
vaulting
degree
never
before
attempted,
was
and
rib-vaulting,
basis
of
way
Gothic
of
architecture,
a a
evolved.
**
By
definition,
more
plain
vault,
or
barrel*
a
ult,
in
own
is the
nothing
form
than inverted
as
continuous
arch
"
ing roo
of
as
an
half-cylinder,
any
supporting
weight,
principle
well
superincumbent
weight
the
of
the
arch
vaults
(Fig.
1).
When
two
plain
intersect
(Fig.
2),
the
TEE
EVOLUTION
OP
ARCHITECTUKE
13
or
supporting by
power the
Is
not
impaired,
intersection
as
("AB,"
the
"groin"
2).
is of
known
vault,
intersecting
vaults
was
practised The
step
the
Romans. builders,
however, the went
a
discovered
of the
that
only
atmetvaults
ur^ly
were
members
or
intersecting the
stones
forming stand
alone,
intersection. independently
These,
they
found,
would
hkXUl
of the
rest
VAULT
of
QROIN
vault, fill in.
see
VAULT
so
VINGU
TLIB stones
VAULTS
or
the to
to
that
lighter
bri(^
might
be is
used
easy
It
how vaulting"
this
discovery
led
to
the
development bones
of
of
"rib-
the
the
construction,
vaults
"
^o
the
sp^eak)
were
the
groins
of intersecting
of secondary
a
vaults and
themselves
b^cpming chiefly,
to
significance
oftimporfanoe
interior.
effect
aymmetriclt-afe^
this
finished"
Romanesque sufficiency
On
discovery
rests
evolution of the
of
architecture,
structural
principle
of
vaulting
the
whole of
(5f
Gothic
architecture, in height
vaults
varying
naturally arch.
about
these
the
discovery
two
of
the
pointed
structural
facts
the
genius
of
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
thic
architecture
wove
an
intricate from
fantasy in
of
form
details, and of
one
another
the
sam
ilding,
interpretation
in
the
severa
untries
where
Gothic
architecture
ot
SUMMARY
EOTPTIAN
AbCHITBCTUBB
es
cut
of
Building: temples.
Temples,
Private
Pyramid dwellings
of
t"xnbs, perishable
rock-cut and of
tombs impermanent
one
and
etruction:
or
Column
and
or
lintel, blocks.
columns
either
colossal
st
built
of
Stone;
drums
brick
"
eriaU:
was
known,
but relief,
was
little
used.
highly
used,
as
aU:
Carved,
^In
low
incised
"
usually
often
coloured.
it
Burfaoe
decoration.
Stu"*co
formed
s f
ground
for
painting.
Motifs.
royal
"
Conventionalised
renderings
hieroglyphic lotus and
the
of
Deities,
and
scenes
and
based
private chiefly
life,
on
inscriptions papyrus.
decorativ
forms
the
ASSTBIAIT
Abohitbctube
pes
of
Buildfiij^;
Temples Brick-built
and walls,
palaces.
occasional Methods
of
use
struction:
of
the
arch,
thou
seldom
as
structural
aid.
roofing
buildings
larg
conjectural.
Brick Carved
erials:
and
detail.
scarce,
tile.
"
ail:
Stone
^Use
used
"
of
carved
bas
relief
in
isolated
instances
was
and
sparingly.
Assyrians
of renderings
were
Surface
the great
decoration,
^The
the
first and
to
demonstrate
decorative
"
possibilities
glazed
of
tiles
glazed
scenes
brick.
Motifs,
decorative
Conventionalised forms,
Deities,
Obeek
Abchitectube
of
Building:
Temples,
open-air
theatres,
mausoleums
and
priva
residences.
truction: Column
Column
and
lintel.
Roofs
carried
usually
to
of
slabs
of
of
st
and
lintel
construction
th^
point
perfection
CHAPTER
THE
in
OF
EVOLUTION
AECHITECTUEE
(Continued)
ARCHITECTURE
STUDY
OF STYLES
THE
C
A
AND
DIFFERING IN
RENAISSANCE
EXPRESSIONS FRANCE,
ARCHITECTURE.
OF
THESE
TWO
GREAT
ITALY,
SPAIN,
BELGIUM,
ENGLAND,
AND
GERMANY
dismiss
SO
in
few
paragraphs
so
subject
and
so
so
extensive,
diversified,
at
once a
elaborate
rich
interest, said,
is
task
many
and
of
necessity.
It
is
or
be
however, qualities
over
that
the
*4iterary," which
olic,
of
Gothic chapter
architecture will
must
passed
in
in
this
find
opportunity
for
ion
the
fifth
chapter.
Gothic
architecture architecture
of
these
is remarkable
in that
it is dually
ructural
and
decorative
architecture,
both
essential
most
aspects
existent single
in thing
equal
to
rtions.
The
in
important Gothic
to
an
mber
be
considering likened
as
architecture organic
as
is that
growth.
as
it
Its the
closely
was
lopment
of these,
a
natural
and
up,
consistent forth
tree,
rising
putting
branches,
in turn,
forth
let
us
In
few
paragraphs, of
to
summarise from
the
evolution
the
the
Gothic
vaulting
church
cathedral,
of
beginning
in
achievements
late
esque
builders.
typical short
plan
arms
The
took
the
one arm,
form
long and
arm.
of
great
cross,
three
at
and
long
The
entrance
the
end
of
the
nave,
gave
directly
into The
great
central the
cross
flanked
the
by
side-aisles. and
a
of
formed
transept,
great
48
THE
PRAC3TICAL its
BOOK
OF
ARCHITECTURE
tower
were
rose
at
with
the
the
entrance
apse,
nave,
or
ther
twin
towers
arm
front.
or
Th
remaining There
the
most
were
of
other
the
the
sanctuary.
cross
types
of
plan,
but
the
was
usual.
the
plan
was
carried Gothic
fhp
Tisivfi^
out
with
of
The
which
only
of
on
architecture
pKnva
wallfl
carried
also
side-aisles, the
columns
and
poin
were
arches;
supported,
thrust.
tresses
side-aisles, outside, by
on
arched
and
to
vaulted, the
buttresses
the
take
rose
latera
Above
to
these, the
was
exterior,
nave
flying and
bi
take
thrust
of
the
arches,
everywhere
there
grotesques,
opportunity
for
with
pinnacles,
images
turrets,
gargoyles, the
was
niches of
and
saints
and
all
profusion
Gothic
detail.
richly
building lighted
glass
"
lofty tall,
a
mysterious, windows
rose
dimly
by
pointed magnificent
stained the
^perhaps
the
nave.
near
end
holy
of
too,
niches
in
an
images,
or
dull
colour
chro poly
textiles.
Gothic
architecture
'
is
^
'*
often
is
nicknamed
reasonably
perpendicular
architecture,
which
descriptive,
with
as
the/lorizontal
forms
mount
no
entablature,
its
friez
part
of
the
Gothic
climbing
of
idea,
one
wherein
upon
all members
ever
other
in
one
magnificent
vaults,
altitude.
um Co
arches,
towers
"
buttresses, of
tracery
all
point
for
sense
upward images
of
even
and
the
niches
point
upward. reaching
made
It is this
upward which
motion,
has
often
the
height
of
the
sublime, the
archi
tecture
essentially
architecture
of
ren-
"f
NAlte
Dime.
Paris
TYPICAL
GOTHIC
DETAIL
The flvme-li
The
"upward
Tnotion"of
the
composition
iflchnTacleri^tic.
I
Vi
M
"!
M
if
g,
as
it does^
remarkable
terms.
expression This
in
aspect
of
spiritual
ity
in
architectural will
be
of
of
Gothic
tecture
dealt
with
another
were
chapter.
Some
details of
its
Gothic
structural
architecture
the
others
natural
were
owth outgrowth
on
development,
fantasy
of
the of
new a
sheer
of
and
sculptural
imagination
part
many
the
builders.
Structurally,
one
the
support
"
ging
from columns
point and
of
oped
often
capitals
the
^th
group
clustered
columns,
to
capital
ned arches
for
each
were
varying
to
condition, spring
from
accommodate
which
were
it.
Tall,
pointed
ws
the
obvious
complement
of
tall,
pointed
s. arch
thrust'*
Any
**
construction
of
the
must
physically takes
composed thrust
provide
the
of
for
arch,
which force,
and
form
the
of
an
rd
and in Arches
downward
the
forces arch
weight
materials in
sequence
so
from
neutralise
the
f.
naturally
their
ctive
to
a
thrusts,
that
there
but
is only the
a
superincumbent
arch
be
wall
reckoned
necessarily
with,
which
abuts against To
st
wall
exerts
pressure
which
force,
would
the
tend
to
force
it
outward.
the
this
Gothic
built in
builders
stone,
devised
and
ess,
the
heavily ground,
reason
of
slanting
manner
a
d
same
exactly
one
the
same
for
that
a
would which
brace
heavy
of
against
bam
stood
in
danger
of
psing.
wall
arches buttresses took the central
care
The
of
the
lateral
thrusts higher
he
vaulting
the
side
nave,
on
aisles, called
but for
the
s,
vaulting
additional and
esses.
them
These,
resting
the
lower
were
buttresses
in
turn
additional
stability,
weighted
50
THE
PRACTICAL
BOOK
OP
ARCHITECTURE To
flying
down
with in
pinnacles
of
stone.
**
save
unnecessary
weight
simply
exactly thrusts
themselves, braces
by
these of
buttresses'*
artfully
and
nave
wer
skeleton
counteract,
masonry,
devised
their arches
weight
of
the
direction,
of
the
lateral
the
within.
tracery,
Gothic elaborate
and,
most
fantasy
evolved
of
stone,
intricate
canopies
seemingly
and
most
light
as
texti
of
fantastic
Gothic
architecture
is not
to
The
or
g t
be
tak
as
synonymous
with
grotesques
gargoyles
all
g t
but
speaking,
some
Strict
the
gargoyle
distance
to
was
p j
beyond
the
run
the
in
the
wall
such sides
of
a
the
manner
edifi
and
the
designed
water
drain
not
roofs
t
masonry
would
the
down
of
the
and
into
joints.
in
taken
Grotesques
are
Gothic
as
architecture
one
are
legion,
and
generally charms.
of
quaint
unexpec
Human
as
forms
as
faces,
animals,
bir
and dragons
reptiles, and
well
purely last
imaginary
demons,
^'
griffons handled
countless in
(these
in
ways.
three
called
and the
a
m c
'^
were
grotesque
technique in of
in
Entangled
carvings
sto
traceries,
strange
or
the
intricate
forth,
capital
faces
leered
sometimes
sinister,
in
sometime
jovial.
seemingly
Contorted
from
animals
the
writhed
carved
stone,
escaped
over
details, the
peered
the
parapets,
far cathedral.
as
above
mediaeval
lay of
below
most
the
Some
and
the
notable,
well
as
the
most
"
weir
bizarre,
as
grotesques
of
Gothic and
architecture chimeras
ga
goyleSy
well
as
animals
in
stone
Hf
I,
ili
Hi
lis
0
^"'"5
THE
EVOLUTION
OP
ARCHITECTURE
51
ort
themselves
Dame
on
the
"
parapets
of far
the
Cathedral
from
were
of
any
de
Paris
creatures
removed
eivable
religious
concept,
unless
they
the
devised
in
depict
evil
below,
spirits,
exorcised
to
by
priests
the in
in
ch
and
high
condemned
up
on
remain
transfixed
of
the
a
forever, and
the
parapets
creatures
winds
weathers.
Ik
Indeed
of
of the
of
Dame
tmare,
the
chimeras
Notre
that
important unknowable,
realm
phase
Gothic
antastic, in
the
apparently
of
from
theology.
of
and
quotation
' *
*s
'*
History
might
be
regarded
an
interesting
thirteenth,
masons
**In the
as
the
fourteenth
centuries
Gothic
a
carried
material,
to
the
of
stone
rose
building
open
heaping the
in towers roofs in of
that the
on
archways
transepts,
through
naves
and
and in all
in
tapered
the work fret-
shell-like
spires
tracery.
embroidered They
to
seem
hung the
it aloft
gossamer
ous ponderweb of
pendants
by
art
e,
of of
bearing
the
the
stalactite
century
in
which
fifteenth pushing
cut
or
found
to
expression,
eventually
their the
practice
stone
furthest
thinnest
boundaries, of fibrous
they
wood
granular
the
iron,
and
revelled
' '
ricks
of construction before
and
marvels
of workmanship.
It
remains,
considering and
more more
the
architecture
Europe, types
of
to
Renaissance,
in Italy
Northern
ion
paragraphically architecture
France,
the which
important
of of
ic
became
characteristic
and,
Germany,
Belgium,
Holland,
Italy
Spain.
52
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
In England
was
of Gothic
tecture archi-
Norman
or
Gothic.
brought
an
Norman
architecture,
conquerers,
was
by
the
man Nor-
Romanesque,
not
especially Gothic a as
Byzantine
by
some were
churches
stability
as
and
strength,
much tower,
round,
places
was
of worship.
The
square
spire,
characteristic,
was
pointed,
and
and
there
many
carving of later familiar is Norman of England cathedrals There rising majesticallyup above the river. buildings in England, earlier Norman many
monasteries, as of Durham
castles
and
Cathedral
The
the
diflSculty in attempting a brief survey is met of Gothic churches cathedrals and with in the fact that few, by reason of many changes and involved
greatest
over additions intention or of the Gothic architecture
and
periods
original
of years, builders,
reveal
or
the
phase
one
plan of time.
any any
Generalities,
survey.
in the
present
Following
the
the
style
known
pointed became
arch
a
and
came churches of England *' Early English in which the as fully developed Gothic rib-vaulting
**
Norman
permanent
part
(Thirteenth
"Decorated the
system
Gothic*'
Century). (Fourteenth
of The
the
Century) in
elaborate
a
which and
in which
greater
part
THE
EVOLUTION
OF
ARCHITECTURE
63
the
**
decorated'' regarded
and
as
style,
a
Westminster
example,
Abbey,
in
don, Lonits
is
good
disregarding Fifteenth
in
style.
er
later
of the the
portions.
The
Centnry
England is
opment
Gothic
architecture
ally
called
"Perpendicular'* developments
a
Among
vaulting
of
notable number from
groups
a
this
one
phase
was
of the
sh
Gothic
vaulting"
upward
of
a
architecture,
in
which
and
met
great
of
vault-ribs, like
ging ribs
outward
similar forming
each
of
column,.
fan,
diverging
of
also
ribs
other
columns, diversity.
masses
vault
remarkable
ess
and
The of
stone
builders could
carefully
the
may
discovered
from
to
pendent
be
hung
the
stay
es
of
these
vaults,
and,
jointed
of delicate
lace,
could
be
carved
perhaps,
in
form
drop-
ents.
This,
most
be
reckoned
of
the
high-
and
world
brilliant
ever
stonemasonry^
has
seen.
only
in
sh
buildings,
of vaults
while
appears
from
the
es
Gothic
tures.
distinctly
English
of
Gothic secular
was
form,
and
and
conspicuous
architecture
cteristic
Tudor
the
domestic
the
period,
**
the
flat-pointed and
by
arch,
usually
the
the
Tudor arch."
Arch,"
draughtsmen,
ve-centred
Certain
are
other
mediaeval
English
architectural
of later
opments develstudy
of importance
country to
in anticipation
English
houses the
most
and
modem period
in
the
derivations. important
nature
Previously
were,
Tudor
part,
dwell-j
of
castles,
of the
for
the
with
thought conditions
country
of of
siege
and
defense
in
view
tled English
government
and
began
society.
to
assume
While
its
house
first
54
THE
PRACTICAL
BOOK
OP
ARCHITECTUBE
peculiarly
dawn in of
oharming
the English
form
in
Elizabethan it had
times, its
in
Renaissance,
inception
Tudor
times.
great ate
common
"""^he
retainers
hall,
was
where
the
lord
and
and
the
most
important castles
gave
featur
of
the
earlier
English
and
way
moated
to
a
manor-houses, for of
part
as
gradually
The
**
"desire
greater
privacy.
system,
country
room
great
hall,'*
su v
the the
feudal
English
remained
house,
even room
for
some
ti
"a
of
the
after of
assembly
and
eating
These
the
famil
and usually
oak
retainers
had by often
trophies with
ceased.
means
large forms
were
armour
rooms
were
roofed
trusses,
of
various
of hung
; the
sturd
carved;
of
rushes,
the
walls and
wi
tapestries,
were
floo
strewn
the
one
head end,
below. the
of
the
house
at
meals
of
on
raised
estate
dais
who
overlooking
those
humbler
the
sat
When
wars
increasing
the
power
of
king
made
famil
among
barons
gun-powder
of
less
frequent
made
the
occurrence,
a and
the
invention
of of
the
a
of
most
moat
oth
defenses methods
plan,
fortified and
manors
practically
useles
planning
construction
or
changed.
house
was
Sixteenth
square
Century,
often The
Tudor form
to
bu
about
court,
in
the
of
several
court
det sem
buildings.
through
usually
a
entrance
the
massive,
a
tunnel-like
tower
or
arched
house.
drive-way, The
manor
under
low
gate
Compton
form of
Wynyates
English
is
country
typical
of
this
pre-EIizabethan
house.
style
'*
The
applied Henry
architectural
to
called
the
Tudor of It of
was
'^
is
to
buildings Edward
in
reigns
Mary.
Henry
a
VI
VIH, period,
tiona trans
Gothic
habits
design
wer
THE
EVOLUTION
OF
ARCHITECTURE
55
being
gradually
supep^ed
and under
'*
by
innovations
the
of style
to
*'
Italian
came
Renaissance
the
origin/^ollowing
Jacobean
Tudor
both
Elizabethan considered
styles,
be
prop|
the
erly
theii;
designation
of
English
which
or
Later
eventually Renaissance
developed
of the
into Eighteenth
production leaded
windows
of
glass
to
in take
marketable
the
place
quantities of ^^half
unglazed, -timber''
fortress-like
construction
**
loopholes, became
'*
and
popular.
brick
and
Half -timber
construction actual
to
or
of
nothing
of
more
the
frame-work
the spaces
view,
tween be-
the
timbers
filled,
was
**nogged,''
with
brick-work.
over
The
stucco,
the
brick-work
and
sometimes
covered
with
case
sometimes
were
bricks
the
often of
the
left
which
suggested
were
by
shapes
spaces
filled. natural
possessed
The
timbers
heavy
and
broad,
comer
and
their
structural
a
tion, disposideal
the
with
decorative
braces,
great
of
first and
interest, buildings,
unconsciously and
examples.
created
in
half
-timber developed
were
consciously
Nearly
examples
in
later
type,
a
houses
of
this
the
remaining
to-day
in
Chester,
few
as
some
in
the
of
and
House
in
certain
at
isolated
buildings Avon.
such
Stratford-onwere
Often
carved,
the
as
exposed
timbers
orately elabeaves.
as
well
the
verge-boards important
has
of the English
as
conspicuously
and
one
Gothic
inspiration
or
which
work,
served
was
the
modem
the
Collegiate
Tudor character
Scholastic
This
was
Gothic distinctly
architecture different
of in
the its
period. from
56
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
Gothic
detail in
architecture,
common.
in
spite
of
many
of
more
salient
are or
features
of
the
English
Collegiate
in
style
the
octagonal
tower
(usually
the
pairs
Tudor''
nichfifl
flat-pointed
and
arch,
pjnnacles,
The
ments battl
tracery
parapets.
octagonal
towers
were a
usually
turret.
terminated
with
battlements
most
with
fine
lead scale,
The
applied
sense
detail,
with for
for
the
part,
wa
in
a
and
restraint
and
**
remarkable
effect.
really
Th
Collegiate
as
Gothic''
a
of style,
England
regarded of It
Early
Tudor
by
reason
elements
in other college,
Renaissance
be
design
as a
which excelled
appeared
by
or no
a
is to
regarded
style
the
architectural While
the
expression ecclesiastical,
of
school
domestic had
each
and
much
collegiat
in
types
of
in
English
many
as
Gothic
matters
architecture
of
mon com-
detail,
type
is
distinc
in
itself,
well
as
distinctly
English.
In adhered French
France to
were
the
the
Gothic
expression
in
of of the
the
architecture
style,
most
main
the
characteristics of
many
and
builders and
splendid
Gothic
Rheims, Paris
"
churches
cathedrals
Dame
in existence. and
Chartres,
Amiens, ^these
are
Notre
names
Sainte
with
Even
Chapelle
the
more
synonymous
fine
achievements
than
of in
to
Gothic
examples
architecture. of
pinnacles
q f
English
and
Gothic,
tracery,
a
the
French in
Gothic
treatment
ran
spires,
and
of
**
Gothic
detail from
distinctive
**
sty
called
of
the
flamboyant,"
flame-like foliation.
motion" Another
ever-mounting
crockets
to
feature cathedrals,
peculiar
as
the
as
French
Belgian,
Gothic
is the
churches
a
a
well
the
fieche,
fine
13
a n
I.
Si
J
5
||
SI
S'sl
i{3
ed
spire lead
constructed
of
timber
with
was
intricately
placed
orate
the
covering.
of
close
The
nave
fleche
and of the
usually
intersection from
a
transept, entrance
was
visible
view in
Gothic kinds,
architecture
roughly Fourteenth
France
has
been
into
respectively
the
eenth,
Fifteenth
Centuries,
and
nated wheel-spoke
Gothique,
('* radiating,'^
ribs
from
disposition
and
many
in
the
great
windows)
are
(flame-like).
fine
**
There
Gothic of
in
secular Jacques
Rouen.
ings
in
in
France,
House
**
Bourges,
and
the
Palais
de
were
Justice,
also
a
s of
as
of
half
-timber
period,
as
construction in
de
characteristic chateaux,
the
the times.
England, Blois
and
and
few
Chateaux
Langeais,
date
from
When
the
Renaissance
there
first
a were
began
to
affect
French
tecture,
resulted
mingling
not
so
of
forms
which
be
confusing
many
if
it
obvious.
in
The
sance Renaisso
retained
buildings transitional
will
Gothic
than
any
forms
other
as
their nation,
longer
that
buildings,
found
to
such
**La
Psalette''
be
frankly
other
mingle
Renaissance
Classic
pilasters,
details
an
balustrades,
flamboyant
and
with
esses, window In
grotesques,
gargoyles, essentially
mouldings,
many
other French
say
forms
c.
of
"transitional"
whether
the
ings
it would
or
be
difficult
spirit
Gothic
Renaissance
at
architecture and
in the
cases
predominates.
of
many
were
ermore,
other great
'Blois,
chateaux,
subsequent
additions period,
throughout
the have
Renaissance
and
some
been
of
such
impor-
58
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
tance
that
as
the
buildings
have
rather
been
than
architecturally ''Gothic''
classed
''Renaissance"
Belgium
' '
and lying
many
Holland,
France
collectively and
traits
the
"Netherlands,
between
Germany,
from both,
naturally
absorbed
architectural
that
was
beside
developing
The
closely
much
characteristically
of
;
Flemish.
was more
Gothic
akin
to
architecture
that
Belgium
of
France
Holland
Gothic
to
th
of
Germany.
Before the
1914,
devastating Louvain,
Ypres,
were
invasion
Malines, in
of
Belgium
and
many
in
War
towns
of
oth
and
cities,
rich
interest.
Gothic
buildings
exceptional
Belgian most
part,
was
masses
charm
and
Gothic
along
a
architecture lines of
was
developed,
finesse
for
delicate also,
toward
and
detai
^There
tendency,
and
distinctly
as
ur pi in
unusual
compositions,
of
Bruges.
clock
tower
of study
the
Town
Hall
As
in
and
perpendicular
mounting
was a
"motion''
in
tower
Gothi
of
architecture,
church
at
buttresses,
beautiful
type
the
Malines
the
example. that
Th
a
church
at
followed
intersection
French of
nave
in
it had
fle
the
Both
and
transept.
Belgium
architecture
^^
and
to
a
Holland
high
developed
degree city
secula
town
Gothic
trade
were
in
hal
halls,
guild
halls by
and
private
houses.
Thes
characterised
"
qualities interesting
incomparably in
of
mass
ur pi
quaint intricate
and
in
and
carving.
mar
velously
the
details
their
In
style,
Germany,
but
was
Gothic
developed in
such
architecture
to
a
was
borrowed
perfection Batisbon,
high
as
degree
of
and
nobility
cathedrals
Cologne,
GOTHIC
A beLlry
ARCHITECTURE
typical of the
mctureiquc
IN
GOTHIC
"
ARCHITECTCRE
piecv ol
IN
BELGIUM lor
yat
""pnHive
Galhic
deHsn"iemsrkable
(TtM
Churrh
"(
MaOioeB"
denroyed
ia
the
Wir
at
191'
11
.11
S is
""in
THE
EVOLUTION
OF
ARCHITECTURE
69
kfurt,
Strassburg,
style the
was
Freiburg,
not
Ulm
and
in
Regensburg. Germany,
but styles
Gothic
of often
indigenous
spite
fact
that
borrowed
architectural
the
not
develop
many
much
individuality, architectural
German
in
way
ders
attained
style.
masterpieces
in the
French
Their
contribution
was
of
the
rture
from
style
precedent in
the
development and
of
ic
bricky
in
secular
As
in
Belgium
was
Holland,
ic
architecture
Germany buildings
distinguished
brick,
stone,
by
half-
picturesque
in
and
all
these
materials
combined.
In
Spain,
as
might
was
be
quite
supposed, different
Two
the
expression
its
of
Gothic
style
parts
from
reasons
expression
this ference dif-
other
of be
the
Europe.
for
might of
cited,
out
of
many.
Spanish
of
builders,
reason
comparative
Pyrennees, the
great
isolation
Spain
behind
to
barrier
or
of
observe
the
had
little
opportunity
Gothic
edifices Gothic
of
France,
so
dominantly
the the
influenced
developments
There Moors,
to
England,
too,
Netherlands
and
Germany.
of
fancy the
ever-present
influence
the
may
be
ascribed
Spanish
for
surface
ration,
intricate reference
to
ornamentation,
and
or
ornamentation
out
construction
was
constructive
in the Toledo, and,
lines.
entire
even
Moorish
influence
portion
of
most
pronounced in
hern
Spain,
notably
was
Christian
workmen by
greatest
reason
supremacy
were
established,
in
the
many
ish
employed
their
great
building
ability. is
generally
of
ches,
of
skill
and
The
Gothic
to of
monument
of
Spain
Burgos,
conceded
part
be
Spain,
the
Cathedral
though
the
of
in of
the
hern
Cathedral in
Toledo
but dis-
ot
only
remarkably
fine
example
itself,
60
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
tinctly
characteristic Gothic
most
of
the
more
peculiar
of
Spanish
The
from
traits.
difference perpendicular
lies
in
Spanish Gothic of
Gothi
the
oth
European
of
in by
the
frequent
introduction
horizontal
formed
shadows,
bold
or
projections,
traceried of
castin
marked
or
horizontal
courses.
by
gallerie
the
ornamental
is apparent As
This
the tower
introduction
of the Toledo
zon hor
in
the
cathedral.
architecture
in
France,
period
from
in
Spanish
representing
forms
the
transition
many
Gothic
of
Benc^ssance
produced
buildings
"
peculiar
architectural
interest
^the
two
styles
rendered
tio add
picturesque
by
that
the
was
subtle
purely
infusion
of
Moorish
feeling
and
much
Spanish.
In checked
which
Italy
by
so
full
development
of mould
of
the
Gothic
and of
of
style
those
the
influences
course
conditions architecture.
Technically, and
mastering
ability
was
and
more
ingenuity
than equal
Italian
to
tect arch
task
the
intricacies Italian
soil
of
Gothic
was
construction
design,
but
on
there
always
the
great
ever-dominant
later to
Classic
blossom
so
influence
luxuriantly
architecture,
works
of
the
Renaissance.
were were
Romanesque
to
Byzantine
In
influences
these
was a
also
be
reckoned
from the
wit
Europe,
styles native
and
the
transplanted
:
Ital
reverse
and
Gothic
growth
in
were
Italy
condition
only
existed,
a
Italians
surrounded Romanesque
by
profusion design,
of
edifices by the
of
Byzantine
ancient Many Rome
but
immortal
remains
itself.
features,
then,
entirely
strange
to
the
Gothi
witb
muy
poioU
wbicb (The
lonEut PbUiu)
ibe dells
liter
srchiMitun
ol
th"
lU
Cs
'd 'Oro.
Venice) IN ITALY
SECULAR
GOTHIC
ARCHITECTL'RE
TYPICAL
FHi: K^'MAN
ARCH-AMVCOLIJIX
ITALIAN ISE OF RENAIJitfAXCE.
'f rHt;
aBCH
AND
ON
THE
EVOLUTION
OP
ARCHITECTURE
61
tecture
of
Northern
Europe
are
characteristic
profusion
the
of of
Gothic
architecture
made
it
of
Italy.
to
The
rich
es
natural
perpetuate
Byzantine
of
ative
element,
in
mosaics
the
parts
and
contrastin
as a
marbles, material
the
while
in many
prevalence of Italy
ing
erpetuate
Romanesque
IrinfJa
characteristic
nf hrir"lr
were
bands
nf ji^fir^^nf
capitals
Rouud
as
yzaiitine
as
and
ornaments
plentiful traceries.
as
a
taly
Gothic
and from
windows
were
pointed
small
arches
and
were
Gothic
necessary
walls
ction
the
sun
of
and
Italy,
so
that
the
rate
of
a
English
Gothic
hes
not
part
Italian
he
style, of
and
this
further
encouraged
ment
wall-spaces.
The
absence
roofs tile
of of
snow
made
unnecessary
so
sharply
ed
Northern of
was
Europe, Romanesque
slightly
remained
ed
roof There of
the
a
buildings of colour
avour.
good
and
deal
less
in the of
Gothic
as
tecture
Italy,
elaboration
stone
ilding
all
material.
Of
Italian style,
Gothic
none
buildings
is
so
in
the
or
perpendicular
so
ointed
impressive
important spires
perhaps,
the
Cathedral
detail.
essentially
of
Milan,
No
with
its building
countless
lace-like is
and
so
other
in
in
manner
Italy,
Gothic,
the
true
of
its
rendering.
secular
In
architecture
Venice designed in
a
the
a
master-builders
great
many
of
rich
nce
and
decorative of
and
facades
distinctly
Italian
interpretation
Gothic
as
Torms,
the
notably of
(in the
the
latter and
city)
the
buildings
Palazzo
Palace
Doges
della
Ca'd'Oro.
Despite
monuments
many
beautiful
Italy,
or
and does
not
interesting
associate
The
the
Gothic'
style
in
country
one
with
and and
the
with
artistic peculiarly
expression
most
Italian
the
is the
period
style
the
which,
was
throughout
and
here
there, and
of in inconspicuous
Gothic
details,
gradually
taking
form
Renaissance Based
of
the
most
on
Classic
remarkable
forms,
by
world's
the
genius
history.
epoch
Renaissance
and
architecture
a
followed
precedent
Gothic
which
architecture
left
of The
wealth
of
succeeding
centurie
adaptation
real
have
not
exhausted. architecture
spirit
in
a
of
Renaissance
paragraphs,
was
is not
much
easy
to
define
few
growth
because
of
up
its
with
^*
inception
that
and
inseparably which
bound
as
movement
is known the in
the
Revival
Historically
period
of
1400,
the
at
Renaissance
the
began
in
Italy
was
about
the
dawn
of the from
Fifteenth
the
Century,
Ages
to
period
of
Age,
transition
Dark
the
Modem
1400
and
1643,
in
the
span
of
the
Renaissance
many
from
momentous
the
world
witnessed
about discoveries
to
and
inventions.
The
Dark
narrow
Ages,
and
or
the
Mediaeval
theology, and confined
a
had
been
one
of
bigoted
masses,
ignorance
degree churchmen. virtually
prevalent
among
the
of
rather
crude
the
or were
scholarship
of feudalism,
the
were
It
was
age
when
all
men
slaves
chattels in
that
awe
of
of
a
their
the
lords,
power
and
of
the
lords
themselves It
the
Church.
is
remarkable
period
of
such
constraint
and
pre-
THE
ARCHITECTl'RE APPLIED
TO
OF
THE
ITALIAN
OF AN
RENAISSANCE IMPORTANT
Venire)
MAGNIFICENTLY
CHIRCH
(St.
dilla
Salulc.
vailing
ignorance
so
could
complex
have
or so
remarkable,
the
so as
fabric
In
a
of
Gothic
way,
even
architecture. however,
more
diflFerent
was
the
architecture
of the
expressive.
Renaissance Gothic
period of one humanism of sombre,
brilliant,
expressed
and the
more
architecture
"
ecclesiasticism
^Renaissance
another from
architecture
expressed
the
was
aloof
to
the
Church.
Renaissance
to
closely
human
allied interests.
human
life,
thing
Renaissance
architecture the
was
part arts
of
of
the
intense
and
interest
Rome,
an
in
Greece
literature, of
phy, philosothe
wonderful
pagan
and
all the
past
civilijjation
swept
enthusiasm
aside
all things
of the the
impetus
the
of
warning!^
Long
Church,
Greece by
the
or
dictum
that
were
pertaining
unholy.
ancient
Rome
pagan
and
enthralled
the
absolutism
arts
of and
the
Church,
liberated
which
minds
were
actually
pagan
welcomed unholy. In
abandoned
a
philosophies
and
Gothic
forms,
forms
were
immediately these
forms
as
Roman
and
the
a
with
basis
inspiration, developed
architectural
genius
of vital
the
Renaissance
style
of
new
and
expression.
Such
leschi,
architects Palladio^.
as
Alberti,
Brunel-
Peruzzi the
one
immortalised
architecture. especially Rome in
their
names
by
was
The
such
period
of prosperity
as
important
centres
Florence,
and in the
Venice.
Great
patrons
of
art
came
light
heads
Italian
of the
nobles
powerful
such
many
families
as
of merchant-princes Medici,
The
a
and
the
the
Strozzi,
also,
too
as
a
the
Davanzati, that
to
and
others.
was
Church,
ing realis-
the
took
Renaissance
its plaoe in
movement
powerful
patron
resist,
the
front
rank
of
art,
architecture
and
and
the
revival
were
of
literature.
in
a
Church,
to
one
state another
people
closer
ship relationin
the
than Men
at
any
previous origin
or
period became
:
world
as
^8
history.
of
humble
great
painters,
one
sculptors,
writers creative
the
period
was
of
this
intense
may
and
To
be
richness
architecture:
displayed
of of
proportion
in
its
the
ment refineresult
balance
were
Classic
The
inspiration. of
the
wealth
powerful
in
families
the
prompted
and
have
the
erection villas in
of
the
stately
country"
palaces
cities
which
luxurious
been
the
buildings
of
and
study
succeeding
generations
of
brief
of the of
with
help in
its
slight
suggesti
in the
Italy.
Renaissance of Northern of
the
countries
the
were
which
gradually
received
movement,
the
forms
developments handled
composites
of
Italian other
by
other
In
arch
and the
blended
Renaissance built
with
national
used such
traits.
column
as
architects domes,
and
Ste.
great
splendid and
those
showed
use
of
Salute
surface
St.
Peter's,
and the
a
decorations played
by
such
and
of
diverse
part
as
materials. design,
as
Construction
is evidenced
subsidiary
expedients
to
frank
the
introduction
of
light
iron
tie-rods
between
the
ts
not
of
arches
met
and in
the
vaults,
design. methods
to
take
the
thrust
which
be
Two
than
characteristic
of
were
surface
decoration
carving
of
or
mosaic
highly
^methods
developed
which
to-day
in
period virtually
the
Renaissance
arts
:
"
lost
Fresco
and
Sgraffito.
called
who
were
The
utmost
Frescoes skill
of
the
the
Italian
Renaissance
for
of
painter-draughtsmen
mixed
was
executed
them.
Specially
the plaster
pigments
still
wet,
a
rapidly that,
upon
ed
while
so
hardening,
the
decoration
Frescoes
were
became
often
part
of in
the
exterior
material.
decoration, entire
applied of
arches,
in
lunettes,
spandrils
were
panels
on
fagades,
and
used
interiors
's
and
of
one.
ceilings.
the
of
Michael
ceiling
Sistine
Chapel
conspicuous
well-known
art
The
in
of
SgraflSto
also being
demanded
carried
was
the
out
utmost the
terit dexstucco
its
while
process
a
laster
wall
in of
the
of
hardenin
Briefly, darkened
or
it
consisted
to
a
laying
by
of
ground-coat mixture
laster,
paper,
gray-black the
mixture
a
the
brown of
this
by
Sienna.
of
stucco
Upon
hardening
coat,
or
er
w^s
applied,
and
on
this
cutting
quickly
it
er^d
the
to
his
dark
ornament,
scraping
"
out
was
hat
under-coat
this
are
showed
the
and hardened.
it
ary
do
before
Both
processes
extremely
their
decorative,
and for
a
but
require
tional
skill
climate
when
in
execution,
uniformly
preservation
rate
like
to
that
of
Italy
their
applied
Italian
Typical
are
Renaissance
tions composiand
arch,
those
of
column
and
pilaster
oman
entablature,
elaborate detail.
of
pediment
The
and
genera
^'
rofusion
of
ornamental
so-called
pilaster
a b
decoration
the
most
the
Renaissance
single of
upper
is
characteristic design
with
of
the
sty
other
statuary
a
Renaissance niche,
recurrence
he
the
in
the
fo
shell.
No
type
of
architecture
as
compares
so
with
that
of
talian
and from
Renaissance
remarkably and
combining
restraint.
ne ri
profusion
the
with
dignity
Single
of this
multitudinous
its seemingly the
two
characteristics infinite
most
com pl
style,
with
perhaps
variety
of
fest mani
salient
features application
urety
of
proportion
and
intelligent
nament.
By
far
the
greater
number
been
of models
buildings
of
of
virtually
the
Itali
naissance
have and
long
perfec
oportions
perfect
an
scale"
and
which in
every
Renaissance
is still the
oma-
nt
constitutes inspiration
the world.
encyclopasdia
gui
of
designers
civilised
country
So
powerful
itself
a
is the re-birth in
the
import
of
of Classic
the
Renaissance ideals,
a
at,
-discovery
Eighteenth
"
Century
caused
secon
Classic
Revival"
movement
which,
called
a
redundancy
twithstanding, tribute
is,
might basically,
be
to
re-Renaissance.
the
be Rome,
laid
before which
Classi
chitecture
of of
Greece the
and
furnished
spiration
It
was
Renaissance
that Italy
itself.
became architects what the point
natural
for
of
g p
all
to
eager
painters,
and
.
and
scholars,
they
flocked
the
learn
assimilate
masters.
cou
so
om
works
of
the
Italian
was
And
to
ssage
of
the
Renaissance
carried
France,
Netherlands,
to
Germany,
to
Spain,
and
lastly
and.
In
France,
architecturally,
the
**
style
of
Francis
and
I,*
most
"
^'Frangois
Premier/'
manifestation
of
native
is of
the
the
picuous
Renaissance native
ending
mediaeval
forms. this
the
forms
pretat inter-
of
were
Italian
at
Many their
magnificent
most
teau chaand
on
built
time,
sharp, in
striking
roof
feature
tower.
unnecessary,
being
Such and of
pointed
more
the
Italy,
roofs,
the
temperate
Italian
roof
was
nearly
fla
eaves.
constructed
architecture
tile,
with
France,
wide,
overhanging it
The
of in
the
although of the
underwent
was
changes
period by
Benaissance,
forms
definitely Century
the
stamped
Classic
in
the
teenth Eigh-
Classic
In
Netherlands, in
a
architecture
was no
oped
in
the
richly
evidenced period
than
furniture
Italian
the
great
in and
the
ings.
popular
forms
favour,
that
the
Flemish
development pilaster,
was
of
the
half
and
half-decorative
terminated
or
an
tapering
toward
human
a
base,
male
and
by
usually
Flemish-Classic
treated
as
female,
elaborate
caryatid,
rting
entablature. architecture
less understood
In
Germany,
Italian
Benaissance
forms
found
or
less
r,
seemed
Latin
extent
less
me
was
than
to
a
in
the
countries,
and
to that
the
in
ment developHolland
great
similar
Belgium. Spain
the
In
architecture
richly
some
of
the with
Italian
traces
Benaissance, of forms,
complex
gely
and and of
a
blended
echo
Moorish
ence,
of
the
Gothic and
formed
type.
basis
peculiarly
interesting
In
England
in
**
the
the
Renaissance of
'
found Elizabeth,
to
a
its
highest
so
reign
^
Queen
applied
term
**
that
erm
Elizabethan,
with
when
country
hous
synonymous
more were
the
English of this
Renaissance/' period
with in
he
important distinctly
buildings
formal diversity
En la
and
of
the
dignified,
Italian
the
little
he
spontaneous
Renaissance. basis of
talian
forms,
however,
constituted
all subsequent
desig
nd
deeply
The
interest
influenced
English to-day,
of
English
development
ture. architec
of
Renaissance by
reason
est grea
of
its
importance
was
in
the
volution
the
modem The
country-house,
country
Eliz beth
manor.
free
from
internal
the
wars
he
government
powerful
and
protective,
less
more
elemen
defence
became became in
more
increasingly
in
evidenc^.
for design
were came
ouses modem''
livable,
comfortable
facilities about the
character.
of
Increased
anufacture leaded
woodwork,
brought
The
autiful
interiors
rich
into
rved
floor English
later, the
coverings
he
Elizabethan,
as
Renaissance
was
an
country-
use,
will
be
shown
of
some
important
the There
country-house danger
country
of confusing
houses,
to-day.
of
Tudor for
izabethan
Jacobean
development
and
son
the
through
so
these
thr
riods In
continuous
consistent.
with style the
the
Tudor
period,
beginning the
less
reign
nry
were,
VII
(1485-1509),
domesticated,
Gothic
became,
The
the
ecclesiastical.
In
many
inted
arch
was
the
characteristic.
while
reign
nry
VIII
to
(1509-1547),
English
Tudor furniture,
trai
hered
architecture
and
some
vance
influences
of
Renaissance
(Elizabethan)
form
RENAISSANCE
st
IN the
eDlnncc
ENGLAND
of
monumf
Royal
EDiliih
Ho["-OuBrdg, RinuwiDoc
Whitehall,
ntal srrhi
eionnion
of
THE
Hi. of
OREATEST
MONUMENT
in
OF
ENGLISH by l^ir
RENAIHSANCE
ARCHITECTLRE
(ypilie'8 the cnlirc luly. lowec (Tlie rhinctfi
porliop
Paul'iCathednl.
Enclbh by
London,
deufned
Chriilopher
at
Wren,
th" Udden
RcDunanre
ii
The
reign
of
Elizabeth,
from
saw
1559
to
1603
(when
of
way
Jacobean
in
period
began)
and
the
the
height the
the
ssance
England,
in period,
prepared
for
development
succeeding
period.
years
The
Jacobean
saw a
covering
the
from of
1603 Italian
688,
more
thorough
assimilation
the
and
ideas,
together
with
beginnings
of
French
ence.
stage
was
The
then
occupied
from William
reigns
1688
to
1702
by
Dutch-English
Anne,
were
sovereigns, during
strong.
and
Mary
and from
whose
influences
nd
The
most
notable
England
under is the
monument
of
Renaissance in
I
tecture archiLondon,
in
St.
nced
the
great
reign of St.
(1603-1625),
period,
may
architect
Sir
topher
as
Wren.
typical
be
ded
of
as
the
English
well
as
of
sance Renais-
architecture, work
contemporary
was
of
much
contempo
of
lesser
architect
magnitude. of
equal
a
influence
great
on
his
Inigo
city
Jones,
churches
of
who
designed
which
many
small
for the
the
tion inspirachurches.
designers
our
Early
not
St.
Paul's
Cathedral period,
its in
was
until
Anne
after
Jacobean and
the final
the
reign
Queen
until
(1702dying
),
architect.
of
Wren,
first in took
1723,
reign
the
The
of
development
partly during
the itself
belated
the
from
Renaissance,
Oeorgian
in
what
d,
1714 Eighteenth
to
1830,
manifesting
d be
the
Century
in
Classic
Revival,
which
dealt
with
the
chapter
following.
The
the
Renaissance
in
Italy
was
too
brilliant
intellectually,
two
centuries.
two
a
always
the
be
remembered
that
those
world
of art
and
architecture
of genius.
of Baroque
Renaissance
development
art
is to of
the
be
seen
in
last
three
was
quarters
the
an
"
Seventeenth
extravagant
Century.
Ornament
developed
degree perverted
vagaries. in
architectural
a
thousand
tionate disproportastelessly and forms distorted were and fantastic impossible and
were
decoration
of Baroque It has
Structural
ignored,
and
not
the
embelUshment
critics but to sweepingly condemn architecture, all Baroque is neither intelligent nor such condemnation merited. be proved fundamentally Granted that the style may illogical
on
architectural
many
scores,
it evolved
many
forms
manent of per-
if nothing was, else, an value, and and decorative more style, later developed essentially along French lines in some phases of the style of rational dismissal, XV. Despite Louis the usual then, of the
beauty
Baroque
or
Rococo
mere
even
to
it
as
of
and of the
undeniably
in the
architectural
together
in
a
with
the
been
designed,
necessarily
preceding brief
chapter,
manner,
to
and
define
forms
the
ancient
in
its the
CHAPTER
THE
OF
THE
IV
IDEAL
QUALITIES
IN
CBASSIC
UDY
IMMORTAL MANIFESTATIONS
IMPORTANT
OF SEVERAL
CLASSIC
"
TECTURE. ARCHICLASSIC
ARCHItecture the and
ITS REVIVALS.
in THE
OF
CLASSIC buildings.
the the
design beaux
school
wide
op influence
teachings
its
lassic
Derivations
and
the
'Beaux-
Arts
School
N
The
tracing
the
course
of
the
Classic
in
the to
Ideal,
most
and
recognising
its
recurrence one
important
:
modem is
answer
buildings,
the
is
impelled
inquire
What,
ly,
Classic
is
a
Ideal?
simple
one,
yet
fraught
with Ideal
great is
ificance
of
on
in
The
Classic
th
was
Order.
the
Classic
it
was
idea its
of
order
and
by
ty,
have
to
and
order
being
ties, qualito
caused
Classic
as
architecture
the
only of
the
live
stand design
to-day of
rational
basis
tectur archi-
all
time.
was
Gothic beautiful
architecture experiment.
"
ingenious Classic
were
"
magnificent
was
as
architecture
as
not
rimental day,
their
sound that
Euclid
none
of
soundness
centuries
In
the
which
architecture
even
have
passed.
of
the
Renaissance
much
there
were
paradoxes,
amount
shams,
earnestness,
but of
of There
the
experimental
was,
quality
Gothic Classic
degree
73
itecture.
in
however,
to
enough
of
some
Renaissance
architecture
give
it
the
qualities
in
**
of
the
Classic
of
and
make
tent
the
architecture
or
to-day. of
The
Orders/'
in
types
Greek Orders,'*
of
a
colunms,
mprised
of
the
Roman
*'Five details
are
were
mbols
Classic
these
architecture,
'*
much
large
ole.
And
because
Orders"
**
architecturally
or
Vignola,
are
or
precedent" they of of is
purity
were
the
school
they
and The
fine,
but in
because
terms
conceived
form.
gic
executed
of
to
Greek
relationship
it
column
entablature because
"
andard
because
are
logical
and
mbers
relatively
is
*
complementary
not
because
arrangement
Greek.
rests
' '
The
the
merit
fact
of that
the
the
Classi
lumn
and
entablature
in
column
ft
(both
the
structurally
and
which
apparently)
rests
adequate
it, and the the
to
su po
entablature
adequate
perfect
upon
entab latur of
is of
A
weight
balance further, of
to
explain
girth
lumn.
exists.
it
seems
Before
a
proceeding
brief outline
advisable
growth
esent
the
logical
of
assic The
colunm.
first
the
Greek
order,
placedx
more
the
Doric,
was
massive
a
seeming
avy,
columns
as
closely
together, than
and
necessary
(as
well
the
being)
massive
The
pport
entablature.
of.
to
refinement
of
base
a
been of
thought
Logical
design,
however,
meaning
was
re ti
form
structure,
apparent
was
Doric
the
capital. beam
to
a
The
resting
a
shaft
upon
of
it
was
the
columi;i
cyli dric
rectilinear. It
was
It
necessary
wa
essary
effect
transition.
also
effect the
transition
from
the
the the
vertical
line
or
of
the
column
horizontal
upon
line it.
member Hence
of
architrave,
**
beam,
whic
sted
abacus," the
the
shaft.
circular
wl-shaped
surmounting
'"CLASSIC
BANK
DERIVATIONS"
BUILDINGS. BA8ED
FOR
ON
MODERN
THE DORIC
lONir
ORDERS
OF
ANCIENT
GREECE
aeutsl"
I.
an
b"l
randgred
ii
Vark
Cny
Poit-offiH)
vmrd
Lbw
School,
Cambridn-,
Mma.)
The
beauty-loving
Greeks,
often
however, clumsy
were
not
long of
nt
with order.
in
*
the
heavy, Their
proportions
toward
the
first
effort fluting
lightening
shaft.
red
*
the
' '
vertical they
of
a
the
To
* *
add
annulets,
ttle
' '
detail
designed
the
was
few
rings,
or
immediately
next
below
abacus.
the
The
evolution
derived
from
Ionic
capital, and
abacus.
its
spiral
in
con-
lutes**
Asia
Minor
used
jun
with
an
concealed order,
column
was
With that
the
opment girth
of
of the
the
it
was
was
found
necessary,
the
Doric
not
and
quently
shaft
lightened
and
its
verticality
sised final
the
by
delicate
fluting.
came
The
development
in capital
the
Corinthian
effected from
to
square.
a
order,
which
design shaft
of
to
the
perfect vertical
It how
ition
from
entablature,
the
the
horizontal,
upon
was
and
of
from
round Corinthian
First,
the
will
een
study
the
capital
necking actually
this
ition height
achieved.
the
clear
indicated
ing terminatupward outward
of
shaft, lines of
without the
shaft
it abruptly.
the
The
continue
gh
volutes
foliation,
which
support
gradually
the
concave
abacus,
form
of
square
with
sides,
of the
rests
performs
function with
of
fitting the
the
shape
capital
on
rming
architrave
which
it.
of
the
Corinthian the
additional
capital
immediately
of
any
below
the
the
gives
impression
weight
sense
the
great
superimposed
weight the
never
entablature,
is
while
by the
o
and
counteracted
of
lightness
of
can
detail
leaves.
that the
It
be of
gainsaid design,
in
Corinthian
expressive
capital
of
masterpiece
being its
form.
both
it
ion
beautiful
With
took
the
evolution
a
of
the
Greek
column,
evolution
of
there
ral nat
place
corresponding proportions
the
latur entab
in
its Doric
and
its
decoration. exemplified
a
entablature
of
a
(as
plain
in
rthenon)
into split The
of
to
consisted triglyphs
run
architrave, and
great
a
frie
vided
and
metopes
cornice,
whic
upward
of
into the
the
pediment.
closely
proportions
the
Greek
the
Ionic
was
followed
continuous
ose
Doric, of
heavy
a
but
frieze
nd,
allowing
continuous
appearance
decoration of
the
of
bas-relief
gures.
The
architrave of the
a
markably
lightened
three
by
the
expedient
splitting
upper
into
horizontal
the the
also,
divisions, lower,
and from
ightly
overlapping
marking
fine
decorated
ulding
division
was
the
frieze.
elaborated
the
rnice
member,
extent,
decoratively
introducing
(in later
Corinthian is
aptly
examples)
cornice.
a
denti
modillions The
of
the
Corinthian
proportions and
cornice,
was
entablature and
model
applied
as
of
skilful decoration.
equate
architrave
frieze
the
remained
last,
or
in
the
Ion
rm, the
but
the
''finishing''
to
member
crown,
building,
elaborated
the
**
form
a
It
gically
terminate
to
entire in
made
composition.
quired
effect
course
interest'*
was
diversified
a
shadows,
of
the
were
the
''dentil*'
cornice,
part
thian Corin
and
the
various
was
mouldings required, of
rat dec
Greater
a
projection
shadow
that
a
in building, of
order
but
st
strong
at
the
top
the
evident
the to
plain
the
no
"overhang"
stone,
as
yond
face
of down,
frieze,
matter
would
how
masonry
seem
though
kely
topple
securely
it migh the
tually
be
anchored
correct
into this
the
of
ture. entabla
To
illusion,
the
"modillions'*
wer
STBUCTLRE
DKRIVATION
eaiden ol
a
IN
large
GARDEN
rounlrj'
TEA-HOISK
place
id ud
Amerii-an
].i"i( .-hi.tof
lal.
let
"
pR"B"iiniDWrei"lmK"IutryiD"lual
derivaiion.
It
La
sirellrnily
WORK
OF
PURE
CLASSIC
COMBINING ROMAN
Hyde
ELEMENTS
BOTH
(The
"Marble
Arcb"
entnncA
Park,
LondoD.
EDglmd)
CLASSIC
ARE MUSEUMS,
MuKum
APPARENT
LIBRARIES of Ail,
IN
VIHTUALLY
AND
ALL
MODERN
ART
GALLERIES
Cmmbridfe.
MuesrhuHtls)
duced
and
"
flight,
graceful
to
brackets,
care
spaced
the
at
vals, interof
seeming
take
the
of
overhang additional
underside modillions,
the
most
portion
was
of
the
spaces
**
cornice.
An of
the
the
ous ingeniof
expedient
in
treatment
the
ang,
the
or
between coffers,*'
the
to
with
n the
panels,
intention be
and
seem
being
lighter. famous
projecting
were
slabs
both
These
the
''Three
Vignola
Orders." added
and
be
seen
The
Orders''
Tuscan,
Ionic.
"
of
or
two
developments,
Boman
Neither
Doric,
will variations. popular
the
to
or
iples
they
are
The
Doric
(later
with Doric, The
exceedingly
the
in
was a
the
Benaissance, of
her
Corinthian)
slighter
was,
refinement
the
a
the
of
with
girth
and effect,
addition
Composite
Ionic
volute
in
a
combination Doric
that the
o abacus, volutes
Greek
and Ionic
ring
from
out
Greek
a
mainly
or
in
comerwise,
with
not
use
direction, the
st in
of
lying
parallel
the
of
architrave.
The
Bomans
exactly changes
as
did
the
original
Greek
many column
they
found
but
made both
than
in
proportions,
with
far
more
and
treated
entablature
ornateness
characterised
Greek
architecture.
later
The
most
characteristic
development,
Benaissance
columns,
great
enthusiastically
was
adopted
placed between
treatment
by
builders,
in
a manner
the
arch
illustrated and
seen
by
most
the
he
Colosseum,
arches.
in
of
the
Boman with
phal
of
the
were
Pilasters
corresponding and
all
al
Greek
developed
Orders in
five with
of
the
the
Boman
columns,
s,
were
conformity
as
greatly
favoured
purely
decorative
features
the
Benaissance
PRACTICAL
BOOK
OF
ARCHITECTURE
These
are
the
barest
elements
-we
a
rders/'
in
and
the
uried
*'
Classic
them
to
seen
attempt
erpetuate
them,
while
Byzantine
departing
from
them
in
he
Romanesque
and
o the
development
for
"
of the
Gothic
hen,
three
came
e-bom
in
a
the
but forgotten, were centuries, for to light three again glorious Then, Renaissance. period of the
for
early
century,
Classic
forms
were
ot
entirely Rococo
forgotten,
styles.
latter
part
in the
vagaries
misused, of the
even
if
Baroque
nd
In
the
of
the
Eighteenth
of
Century,
was
eaction
from
And
the
the
extravagance
Baroque
table. ineviClassic
of
as
reaction
and in
took
the
form
evival
in
France
England,
in
of Some
country
the
feeling
even
his
revival
as
manifested
itself
this
ate
the
first two
there
so
decades
of the
present general
Nineteenth
Century.
no
nd
while
is
at
the
or
period
as
feeling
design
sweeping
' '
to
are
be
called
Classic
Revival,
and
as are
Classic
derivations in
everywhere
pparent,
uildings
invariably
to express
as
such
nd
permanency,
seums,
banks,
The Observation
with
a
Classic
of
the
Revival
in
Fbancb is
the the
Classic
Revival
of
best
begun of
n France
momentary
survey
progress
immediately
preceding
period
of
of Louis
XIV
the
came
to
as,
close
as
in 1714
that
and
the
he
architecture
period,
of
was
period,
pompous,
well
of
receding
elaborate,
grandiose.
ings order
of
the
time
show and
was
conflict
between
extravagance,
Benaisand
in
out
design in
what
'Baroque
called
carried Grand
(most
appropriately)
XV,
the
Manner.'' period,
period, its
height
synonymous
curves
The
succeeding
the style work
**Eococo''
that
of
Louis
is
often
because
at
*'rock-and"Louis
"
reached
is practically
this
time. with
ze
Rococo,
fungous
art
the
ful
rock-and-shell
invaded
recklessness all
that,
like
some
h,
branches
and
of
decorative
'
with
'
ng of the
rapidity.
in
their
The
tics characteristhough
period
and
were
distinct in form. in
a
nature,
rate
various appeared
Curved
designs,
lines and
lack
and
of
foliation
was
all
considered
many
desirable
of
art
achievement.
from
tation Imporat
of
works
China
already
this
time
Oriental
fantasies
style,
to
the
grew
fantastic
which
the
increasingly
extra
reign
is
of by
Louis
no means
XV.
Much without
ative
but
of style
the
was
period
too
the
frivolous expression.
in
the
so
to
effect
any
nently
great
architectural
interest
Despite
the
intense
Rococo wearisome
style,
it
extravagance
finally
the
became of XVI
the
and
acting
the
that
reaction
Classic
,
Revival and
set
ith
reign
of
Louis
(1774-1793)
popular
Classic
close
became
**
increasingly
'*
until
the
of
Empire
period,
the
uncertain
in
1814.
**
Despite
reigns
*'
character Louis
of XIV,
at
style
through
of
Louis
as were
XIII,
and
Louis
and
XV,
buildings
in Classic
Paris
the
palace
Versailles, and of
the
being of
many
planned
portions the
commenced,
dignity
to
Versailles
attributed
J.
H.
Mansart,
master-architect
Louis
of
XIV,
Mansart which In
the
we
who
vastly
enlarged
to-day this
country,
the in
the
palace. French
*'
me
is preserved call, of in
ty
roof
the
as
mansard'*
his the
oof.
works
Mansart,
such
additions
Versailles
was
and
much
the
of
Second
the
Church
of
ere
Classicism
the
which
of Louis
tional
architecture
of
period
had
aft
Louis
of
XV
life.
as
Rococo
Mansart
fallacy
's
lived of
its
butterfl
an
conception
Classic
and
forms
well
those
of
his
with
contemporaries
a
edecessors,
dealt XVI
"
heavier
and
Classicism dignified
and
Louis
an
imposing
of
mirable
playing
qualities
an
proportion
part
alignment
later
rts
important
architecture.
in
the
ment develop-
of
The
French
Classic
however,
sources,
of
the
architecture
not
of
riod,
inspiration
architecture
directly
the
assic
of
sance. RenaisXIV
The
constitute
periods
a
of
XIII
and
Louis
period
of the
of
Classic
of
Revival,
the
but
Renaissance"
forms
rathe
continuation
a
impulses in which
most
re-Renaissance,
to
Classic
of
were
ruggling
shake
off
the
vagaries
the
Baroque
yle.
The
real XVI,
were
French
Classic
in this
by
Revival
the
took architects
place
unde
uis
and
period
a
and
impelled of
the
the
dual
Classic
inspiration
Classicism
influence
at
Renaissance,
great
strengthened
archaeological
by discoveries
rect
of
time ruins
by
de the
that
in
of
(Jreece
Pompeii
and
Rome,
and
especially
buried
caused
and
Herculaneum.
can
imulus the
these
discoveries
be
likened
the
on
boundless Italian
enthusiasm Renaissance
evoked
from
pioneers first
the
in
1400,
when
they
I,
Phu^l):n|"htr OF
XAMPLE
THE
DELICATE
EICJHTKENTH
LOIIS XVI
(:^:^"Tl"RY
PURE
DERIVATION
OF
THE
FRENCH
CLASSIC
ARCHITECTURE
OF
LOLIS
knd
"pplicBlion
of
d"tul
cbBncurutic
ofl^e
beat
French
Clnuie
"rFhilecun
I
CLASSIC FRENCH (LOUIS XVI) DERIVATION BUStNEtiS BUiLDINO
IN
THE
CROWNING
THE
aware
CLASSIC
IDEAL
81
in the so of the possibilities lying dormant ng neglected treasure-house of antiquity. The Classic Revival as reflected in the architecture a d other arts of the period of Louis XVI showed from Baroque Rococo forms, mplete reversion and in what developed, is known the ** Formal as d ase ' * of Louis XVI, a style of the utmost refinement kept flat,mouldings Wall surf aces were d urbanity. finely d cornices had slight projections and were Ornamental was treated in flat sculpture delled.
lief, and usually confined to a panel or medallion. liptical window hanging openings, with garlands wn on each side, as well as ellipticalmedallions, were y popular, architectural characterand another istic the frequent introduction of ** attributes ' * was These * * attributes ' * consisted decorative purposes. designed groupings, in low relief, of obadmirably jects associated with the building such as symbolieaily
"
lyres and other ique tragic and some comic masques, ical instruments for the fagade of a theatre or concert hall (as at Amiens), palettes, paint-brushes and for an art gallery. paraphernalia er Earlier French
characteristics of architectural composition, this period, ** academic, ' ' still at called, the Classic Revival architects of the period
even
XVI, was and the great change chiefly in ters of detail. forms Classic, derived were While many purely there were forms, ectly from ancient sources, many origin. o, of Italian Renaissance
Later
erned Louis
formulated architecture, as and Nationale des Beaux Arts, ght by the great !l^ole nded these two kinds of detail, developed a certain feeling as well, and adhered strictly ^'modern"
6
French
the
French
**
academic**
plans.
emphasis
as
on
sy m
axial
Architecture has
had
a
taught
at
on
cole
Beaux of
Arts
many
wide
influence France,
rchitecture
the
countries
outside
other
becaus
fact
of
that
years
students
from
there,
countries
the
spe
eriods
the
in
study
assimilating
thought which
nd
habits
called
of
**
architectural
Arts
produce This
at
is
design
Beaux
Architecture."
such great
and
detail
more
is
of
importance
directly
t will
be
discussed
thoroughly
following
he
history
of
the
Eighteenth
of
no
Century
Classic
to
Revival
that
The
architecture
period
developed
subsequent
along
he
ancient
Greeks
as
has
that
lines of
Louis
of
tudied
of
the
XVI
he
produced Chateau de
other
* *
Trianon
in the
ersailles,
Bagatelle
Bois
and
* *
so
many
buildings
describable
exquisite.
of
period
**
Louis
of
XVI
was
followed,
the
after by
to
o-year
Reign Period,
was
Terror'* covered
even
of
revolution,
years
rectoire
which
carried
the
the
further
1795 under
18
assicism
It
than
's
Lou with
I.
invaded
a
realm
of
women
dress,
Tunique
and
la
Grecque,"
as
and
that
with
Mme.
such
Classic
in
well,
**
coifiFures
of
which
Recamier shows,
as
mous
portrait Classic
portrait
by
David,
of greatly
rely
furniture
was
the in
period.
favour,
as
The
Al go
in
the
were
rei
Louis
in
XVI
when
the
ladies
**
of
the
Court
or
p t
Classic
of
draperies,
as
Diana"
This
was
''Hebe,"
the
reek
nymphs
mythology.
or
period
stes
called decade
*'Neo-Grec"
of
the the
**Neo-Classic."
The
Empire
saw,
(1804-1814),
at
following
dawn
Directoire,
the
THE
CLASSIC
a
IDEAL
83
eteenth
Century,
taste
for
Classic
Not
and
archaBO-
ical forms
piration
hitects
a mania. content with amounting from Greece the remains and Rome, of forms Egyptian designers and revived
"
to
inxes and terminal figures, heads and other details. Classicism of the Empire outdid, in profusion of forms, the Classicism anthe very haeological of its inspiration. Many uity which formed details of
architecture survived, preceding schools of French * * * ' a decorative as ably the use of attributes motif. Emperor er such a warlike these attrias Napoleon, butes
were
often military, bristling with spears, introducing not only Boman helmets and armour, trappings of design current at the time. So complete was the leaning toward archaeological ms that much the Empire architecture of period is
most
extravagant to possess
are
Empire
designs
though
nearly
great
The
two
s
no
Percier and Fontaine, who of the period were less noted for their furniture designs than for
These
as
emost exponents style. of the Empire Despite its bombastic and grandiose qualities, its aviness and its frequent lack of refinement, the pire style seldom failed to achieve dignity, and many
of the period are of a high order of architectural Italian precedents were cellence. virtually ignored forgotten in the enthusiasm over antique forms. Among the most interesting of all relics of the period France the apartments are for Napoleon remodelled
Fontainebleau,
ks
Compiegne Malmaison,
ntry-house,
and done
Trianon,
for
the
sephine.
Extreme
as
was
its nature,
many
archi-
ectural
details
of of
the
Empire
period When
any
as
have
survived
he
architecture followed
to
to-day.
pronounced
st
with the
or
such
extravagance
the
Empire
sty
owever,
exclusion
of
so
all
other
thought,
as
it usuall
to
egenerates, by
a
becomes
style.
wearisome
the
great
be
s p
new
Even
saw
architecture
in
style the
was was
Italian of
Benaissance
its
The
decadence Empire of
opme deve
the
and
'Baroque.
ception,
after
France,
the
presence
Napoleon
nger
felt
in
out,
Neo-
or
Ultra-Classicism
of
that
gra ual
died
enthusiasm
create
failing, which
in
had
the
absence its
first
gl
aided
initial
expression,
works
of
sufficient
stylistic
spontaneity
ssess
lasting
impetus of
the
characteristics.
The
of
the
Classic
of begun
Bevival
the
*'
had
swept
awa
ch
official
which to the
influence
had period
* *
Academic
exert
SchooP'
architecture prior
to
national
and
of
Louis
XVI,
' *
with
the
cline
of
the
Empire
Beaux
up
archaeological
Arts prestige
school,
to
Ecol
tionale
to
des build
to
began and
take
definite
form
the
the
stylistic architecture,
formulae
ich
this the
day
characterise
of
the
French
ch
of
architecture
world.
Classic
Bevival period influences
EEvrvrAL in
tn
England commenced
England
wi
Georgian
the
(1714-1820),
of
inmoiediately
reign of in of
ing follow
Dutch
the
somewhat
Queen
its the
Anne,
lasted,
the
though
waning
until
the
Classicism Victorian
ward in
The
end,
beginning
1837.
Eighteenth
Century
during of
the
Classic
the
Bevival
of
in
the
England Georges,
ached
its in
the
height works
reigns Adam
tably
Brothers
(1760-1820),
THE
C5LASSIC
IDEAL
86
however, were the reign of George III. The Adams, ' ' Classic Taste. the first architects to design in the
' '
Following Sir Christopher Wren and Inigo Jones, bean great English Benaissance architects of the JacoWilliam Kent, who died in 1748, produced period, ** Classic in the nature were more which ks of a * Kent *s vival* than of the style of the Benaissance.
of inspiration, moreover, in Italy, and both Kent
were
rces
directly
re-
ived and a contemporary, the designs closely resembling bbs, produced many in France. later Empire period k of the No English architects, however, popularised Classic
to
so
rms
great
an
extent
as
the Adams,
or
so
skilfully
antique creation of modem motifs ployed The Classic Taste became the ildings and furniture. ght of fashion, and, guided by the Classic ideal of
a
in the
English placed upon in city buildings, is its hitecture which, especially aracteristic to-day. Classic ideas found extensive fashionable acceptance in the architectural and decorative expressed ' ' ntings of Angelica Kauffinann, and in the allegoriParks and gardens * English portraits of the day. formed with the Classic trend of the period, with
permanent
gnity,
stamp
was
frequent
introduction
*'
ssic
statuary.
were
of Sculptured
hes
characteristic architectural features, and important buildings, whether tually all the more lesiastical or secular, public or domestic, were of '* and portico** type, with Classic columns. pediment was a period of the Classic Bevival in England
iod of very earnest architectural effort, resulting much work destined to exert a strong influence upon architecture on both sides of the Atlantic sequent
Geoboian With
such
Colonial
in
America
for
not
ocean
widespread in
have
enthusiasm it
the is
Classic
all the
idea
architecture
England,
crossed
at
surprising
American
at
this
should
to
lonies,
creating
be
and called
moulding
**
the
style
which
should
curately
Georgian
was
Colonial/*
a
American
Classic
coming,
a
RevivaP'
as
distinctly from
the
different
velopment,
at
it
later
did,
largely
than
France,
considerably
date
Georgian
assic
The
influences.
Georgian
study
Colonial in
in itself,
the
architecture will
come
of
under It
America,
more
tensive
detailed important
nsideration
to
eighth
chapter.
is
re
establish Revival
from
the
its
in
connection and
with
to
the
Georgian
its
assic
England, American
recognise
t d
later
Classic
of
North
Revival.
The
Georgian
took
in
Colonial
forms
types
American and
In
the
tect arch
different
the
in of
the
South
pecially
treatment
a
the
Nort
ere
is noticeable
than
great
Georgian
form.
of
detai
ther
of
general
New
doorways, Classic
ndows
and
interior
woodwork windows
m f
rendering
an
Palladian
carpenter's
Greek
order
th
honest
technique.
types
To
differentiate in such
the
New
; the
of
Georgian
towns
as
Colonial
chitecture
England varieties
; those
Salem
wport
and
Boston
found still
in further
New
York
south
iladelphia
cannot That
and
be the
Baltimore in
of
is
attempted inspiration
came
cursory
maimer.
the
Colonial
from
and
Earl
erican
the
note
builders
following
on
directly
by
England
Glenn
Brown,
is cle
paragraphs
Mr.
fro
the
doorways
work
of in Salem
Salem,
covers
Massachusetts.
three
**The
best
periods,
fro
THE
CLASSIC
IDEAL
87
the influence of the publishowing cation in 1740, a work (in England) of Batty Langley The title of the work tensively used in this country. * Country the character plains of its information:
45 to 1785
dearly
lders^
t
'
of
and Drawing
Workmen's
Treasury
of Design,
or
the
and
Working
the Ornamental
Parts
of
hitecture.'
*In the period from 1785 to 1810 the character of the Adam, and Bobert k reflects the influence of James books on interior decoration in were published se After 1800 we the eflFect of Revett 3 and 1786. see
issued in 1788 were publications, which in this period Greek influence is 1794^1816, as free our early builders made arly reflected. While not simply of these good publications, they were
Stuart's
They their individuality in design showed yists. ' ' their good taste in adaptation. in addition to the works There were, by mentioned Brown, many others of like character and varying Among rees of architectural merit. the best known these
American Builders'
Colonial Assistant,"
was
^^The
ntry
carpenters'
frames, cornices doorways, ails of Georgian window interior woodwork. It is due to these books that
and
Early
developed architecture sistently and with a high general level of merit, over there were arge area no tural architecand in a day when in this country, in no teachers as great schools and
no
onial
American
nce,
ready
means
' '
of European
"
apprentice. iring architectural by far the greater t number of early American done the work ldings were of carpenters, and were by details carefully m mere sketches, supplemented
fiuscribedfrpm
these precious
English
books.
Tbe
88
THE
PRACTICAL
a
BOOK
OP
ARCHITECTURE
result
is
lasting
tribute
must
their work
which
master-builders The
of Georgian Classio
Colonial
ik
times
in America.
Revival
Amebica
as
The Georgian
through
American Classic
the
distinct from
about
came
largel
wit of friendly relations France during t and the distaste for things English So closely allied, indeed, is this American War of 1812. to the contemporary Classic Revival style of France,
development
Th Empire. * * that it has often been called ' * American esti left a number of inte of the Ultra-Classic popularity in this country, monuments of which, perhaps is to be found in the remaining the purest example po ti of **La Grange Astor directly below
Terrace,
*'
on
Stree
City,
in
New
* *
opposite
now
La
an Terrace,
called
Colonnade
was
built in 1836,
comprised eight palatial city residences. Classic is this relic of the '* Revival," and typical of the style as it found expression essentially in this country, Despite study.
So
an tho oug
form,
time
and
that the stately old facade repays clo its origina the demolition of one-half indignities it has suffered since t the many
it was York the centre of New fashionabl when is its inher life, it retains a quality of dignity which itself, from Greece the immortal tance from ture archite
the world to-day. which, in ruins, dominates fence, with Gree At the street-line was a cast-iron The shallow porch was imposingly flanke anthemions. by twin pedestals, on which stood cast-iron candelabra
of pure
Pompeian
past
form.
tense
These
because
approaches
a
of
in the
city
spoke h regulation
are
ed
them itself,
**
as
sidewalk still
remains the
encroachments.''
nearly
The
intact,
de
which
is
able and
proportions entablature.
in
The
relation
of
the
*'
base,
manner
nade colon-
base,
after
porary
French
the is flanked by
five
the wreaths
buildings,
strongly
is
of
rusticated'' and
courses,
joints
by
an
emphiasised, Doric
columns, entablature
French the
"
the set-in
ce
pure
Greek
surmounted
abbreviated
of
pure
rated deco-
with
Empire
street
style. is
Like
French
nature
on
city
house,
a
level stately
rega
in
rooms
the
are
of the of
basement
the
or on
ing draw-
premier
great
Stage,
rooms
first the
flight.
lofty
are
ceilings expressed
the
these
externally
premier
the
by
appear,
the
height
of
the
dows, win-
at
heads
of
which
again,
French
wreaths.
the
This
premier The walls
narrow
embellishment,
etage
furthermore,
nguishes above
to
in the
importance
from
the
it. of
of
are
sufficiently
placement
allow
gallery
on
the
he
tall
colunms
it
cast-iron
rail
ng
across
The
columns,
each
of
five
drums
of
of
solid
the
stone,
superb
a
in
proportion,
the
detail
capitals
monument
direct Lysicrates
replica in
of
the
Greek
The
originally
Corinthian
cornice
of
Athens. and
was
is
of
pure
ic
composition,
cresting this facade illustrates Revival, but also
crowned The
here
by
acter char-
nuous of
of has
so
Greek
been
anthemions. considered
the
in
detail,
se
it
admirably
only
as
very
spirit
Classic
not
expressed
work
by of
American
the
ers,
typical
of
much
French
e.
the
Following
Classic
taste
Revival in
in
America,
taste
into
the
analities
which
and
stupidities it
was
of
to
the
mid-
Victorian
until
the
perio
rom
not
emerge
ea
nineties.'*
The
Decline
to
op
the
Classic
the
to
a
Ideal
in
England
Returning is found,
revival,
England,
1815,
Classic
competing
Ideal with
in
a
ture architec
about and
be
pseudo
othic
with resulted
spirit
in
an
of
restlessness
clecticism
which
the
architectural had of
chao
ortunately
imprint
through most
of
Classicism
the
been
rong,
continuing
that
were
reign
George
1820),
the
important
implanted. Classic,
or
fundamentals
of
tect arch
securely
The
of
the
Greek
was
Revival
in
la En
before
its
decline,
signalised
veral
architectural
popular In 1762
*'
publications
as
whic
as
ofoundly thought.
and
moved
taste
well
tural architec
Antiquities
;
of
Athens/*
Adam
uart
Revett
in had
appeared
1831,
in
1764,
Robert
Spalato'';
which
Inwood's effect of
forms,
''Erechtheion''"
creating
an
rks
the
pure
intens
miration
or
for
Greek
independently
ench With
study
Italian
the
interpretations. of
the
decline English
Classic
Revival excepting
a
in
in
too
England,
the
of the
architecture, house,
pro inc
of
any
country
becomes
or
matter
involved
but and
no
the
architect
the
critic,
and such
the
confli
styles
tendencies significant
throughout
resulted
in
diversified
from
fort
that Isles
influences
the
to
emanated
era.
itish
It
Victorian
to
is
was
only
important
allude
the of
Gothic
Ruskin
earlier
Revival in
ich well
inspired
as
by
the
writings of
many
185
by
the
writings
and
co t
held
similw
Lacking
interest
great
real
motive
power,
the
rather
to
tual ineffecproduce
in works
Gothic
architecture
failed
an
(since
it
was
not
expression in
the
of England
the
s),
yet
occupied
to
architectural and
almost
thought
stop
ciently
retard
further
opment
of
attempted
Classic
Gothic
to
architecture.
Revival
the
The
of
Ruskin
**
in
England
is
interesting
country
*
architectural
observer**
the
his
chiefly
'
because
*s
* *
it
was
impulse left
**
for
many
fantastic
carpenter
Gothic
the
which
so
rn,
hybrid
country
traces
in
form
type these
of
is
Gothicand
can'*
have
houses. perhaps,
"
The
how
familiar,
architectural which
wondered,
**
sities better
they
happened** than
^wooden
houses
were
ng
parodies
to
'*
of
the
**
Gothic
Style**
windows
aspired
pointed
express**
in
which
pointed
hung
sharply
**
roofs,
and
from
jig-sawed
'*
n
too
tracery**
drop-ornaments.
to
Gothic*'
to
ls,
*'fine**
were
(supposedly)
done
be
entrusted executed
'*
the
nter,
in
the
very
crudely sculpture, is
an
iron sanded**
one
**
ngs,
often,
like
wooden style
epresent
reasons,
stone.
The
interesting
it is
for
al
although,
architecturally,
It
sible** impos-
and examples
indefensible.
remain
towns
is
interesting
the
more
because
ous prosperas
so
in of the
and
about
cities
and
United it
so
States,
forcefully of revival
far
West
Michigan, futility of
and
an
because
artificial
illustrates
an
rendering
nor
vival,**
and
neither
the
nature
or
rendering
and
half
of
expressiveness
style
ial
wilfully
who
blindly
out
ignored.
buildings
were
Carpenters
in this
not
and
may
actors
carried but
style
been
**
ingenious,
certainly
intelligent.
with
an
This
Gothic'*
ex-
emely
poor
and
ill-considered ''eighties,'*
'*an
bourgeois
made American of
French
chitecture
of of
that
the
tect arch
period
genuine, that
we
imitation
be
the
something,
ich,
even
if
would
owe
undesirable/' sorrowfully
house,
It
this
period
familiar
the
brownstone
front'' which
was
type
an
of
city
and
country
mansion"
enormous
box
steep
in
shape,
wi
ungraceful
whole
rendering
of
a
the
Mansard
ro
crowned
with
entirely
strange
protuberance
purpose
like itself,
nning-tower,
to
without
in
a
more
lation
the
building.
turn
Builders of
mind
victims
examples
of
sprightly
their
enterprising
or
erected,
"
for
strange
wealthy
ients,
(in
this
case)
many
-a
version
Swiss
Chalet,
retired
of trees
no
which of
still
exi
destly The
behind
the
was
tall
their
other
grounds. style
Classic
or
Ideal
forgotten, and
must,
any
derstood,
appreciated, consciousness
one
possessing
this
time,
chitectural of
at
ha
spaired
the
future
of
American
architecture.
Classic
Nineteenth
a
Revival
in
Germany
Berlin
Century
and
Munich but
centres
powerful
of
more
Classic
forms
Revival,
showed
more
rman
rendering
Classic
vig
an
finesse,
Many and and
Berlin
on
and
archasological buildings
exactitude of
considerable in
th
eling.
important
entirely such
gnitude
Classic
as
character,
both
ma Ge
Austria,
and
the
Parliament
to
Buildings influence
Vienna,
testify
the
on
erted
Teutonic
architecture
that these,
by
Classicism.
other
to
on
It
range,
however,
and fail
buildings
any
th
prior
absolute
and
subsequent
date,
express
architectural
conviction
Ideal
was
the
part
of
th
signers.
The
Classic
"study,"
not
ration in
so
"
^there
Revival
more
was
not
the
was
spontaneity
so
or
asm enthusiFrance,
the
much
which evident
been
the
marked
in
even
in
less-demonstrative
the
nd.
of
It
had
same
with Gothic
and
German
"
renderi
Renaissance
were
and
^th
ns
students architectural
effort.
was so
always, styles
really
ify
outside
of
past
their
national
creative style
No
characteristic
style, shows
to
of
the
country
the
essentially
modern
forms, and
'*
which, likeness
remotely
to
no
based works
certain
other
Classic
land, kind
rather
o
part,
seems
express,
for is the
the
most
rtain
of
bigness*' nobility. in
a
which
This
comment
attribute
has ^^Kultur
o
been
ance
than
thought
on
ably
expressed
tecture^'
.
.
by
.
Mr.
Guy
are,
Study, it is
and
to the
men
in
true,
^*The
two
**
There
the
of
art
ermany,
which
academic
the
modem.
academi
still
clings
precious
who
heritage
their
of
the
is from
school
the speak
formed sixteenth
the
same
of
draw
tion inspiraand
the
and
eighteenth
language but
centuries
of
still
beautiful
art
Nuremberg is
and
Rottenburg,
whose
influence
tunately
negligible
the
**It
modem
school
that
expresses
the
culture that
power,
Germany.
moved
men
Animated
by in
her
the
restless
se
Germany
as
ambition and
for Kauf-
Bruno working
Schmidtz
with in
have
even
succeeded,
audacious of
as
by
astonishing
the
to
originality, which
giving
seems
nation
been
wave
style
architecture
the
have
great
ted
national
has
expression.
swept
a
over
The
unrest
which
Germany
upheaval
has
so
fed
the
nation
that
complete
in
art
has
ken
place
the
we
very
foundations
a
of
new
the
past
have
touches
be
ased,
and
find
strange
art,
with
mysticism
of
the
East
and
possessing
a
much
darin
everness,
imagination,
is
and
strong
artistic
of
quaUty
it there
a
unquestionably vital
force
the
;
evidence
indeed, people
power
great
restless
arrogant,
it is
whose
the
expres sion
of
an
conceited
the Latin
or
ideals
race.
reign
to
either
that
Anglo-Saxon
that
we
it art
with
eternal the
that
pastf
quality Do
of
has
marked
eat
epochs architecture
of
of
find
in
modem quiet,
m G
spirit
truth,
that
natura
pression
an
enduring
power
which
?
is These
upon
the
unconsciou
of
the
true
greatness
attributes
the before
the
columns
of
but
as
Karnak^
what
olis, Acrop
in
the
Forum;
is
felt
or
gantic
monstrosities
whose sole
.
the claim
Bismarck
upon
us
Leipzi
nument,
is
their
over pow
bulk?
.
/'
The
Beaux France
at
Abts
a
School
when
that
Returning and
was
to
time
architecture
in
**
gland
America, in
a
and
more
(for
**
matter)
than to
France
self,
state
be
chaotic^' be
tiona trans
there
could
growing
up
gantic
influence.
scores
This
many
condemned destined
"
veral
tremendous
no
by
to
a
pl
dual
intelligent
part
modern
can
architecture ignore
or
pa
ich
was
observer
to
belitt
destined,
first, tradition,
raise
the and
scattered
Renaissance, into
which
remains
chitectural
of
the
Classic
of
fr
they
decadence
rayed,
Classic powerfully
and
Renaissance
rationally
into
finite
composite,
and
the
moul
architectural
thought
of
civilised
world.
This
Beaux
great
influeniCG
and the
was
the
French
Ecole
architecture
on
Nationale
can
Arts,
style
of
its based
be
neither
Classic
nor
(though
Renaissance
many
Classic
amentals)
(though
"
characterised
many
Benaissance
architectural
the
forms)
design of
of the
^but
distinct
Beaux
**
Beaux
Arts/'
of
characteristics.
Arts
have
stamp,
Because
all
teachings
placed
it
modern
to
architecture
possess
a
permanent
grasp
tant
distinct
exposition
of
a
the
Beaux
idea.
The
following
enable
and
study
observer
of
the
trations
will wherein
architectural
play
an an
to
part, part,
ive
wherein will
Classic
important
Benaissance
be
play
important
only also
able,
of
as
well,
two
to
discern
elements,
not
the
Beaux
blending
these
but
the
additional
to
traits,
itself.
Arts
devices
and
inventions
peculiar
the
Beaux of
architecture
is
also
the
result
not
only
of
of
thought,
but
this is
of
certain
at the
kind
study. The
conception
are
of
essential
develop
outset.
*'
nts
required
imaginary in all
a
to
their
pro
jets''
plan,
or
ngs
plan
for
must,
buildings,
cases
from
the
and
be
is
symmetrical
centre-line
and
of
may any
are
laid
any
out
axes.
Axis
masses
in
plan of
the
the
of
the
tant
axes"
building. importance
There
and
axes
be
several
rtwo
axes.
of
main
The of
number
those
o
running
idiary
the
two
principal and
length With
the
as
building
a
the point,
depth
perfect
of
the
symmetry
ing.
must
these
starting
result. of
any
Observation Public
on
large will
building, the
the
such entire
theory
as
the
New
Library, axis,
disclose
theory will of
show
reason
ing such
and
grasp
of
axial
planning
possesses
the
merit
logic, only of
and the
as
guarantees
well-studied itself
,
relationship
but
parts
of
as
the
building
of
all
proaches,
well
adjacent
for
to
buildings.
of
on
The
central
axis,
be
that
example,
centre
the
front
of
ilding,
will
it,
so
the
bear dictate
avenue
a
leadin
ward
to
will
studied
the layout
ti re
its
site.
also
immediate
rows a
approaches
trees
group
or
terraces,
the A
disposition
of
avenues
of
statuary.
fountain
large
this
on
of
axis
statuary,
or
would
be
exterior of
the
be
placed
for
direct
central
would
duplicated
features facade,
symmetry.
ment plac
each
on
side. the
minor be said
large
one
Minor
axes
would the
lanced
and
resu
uld
It
naturally
may
of
absolute
be
that
symmetry
is virtually architecturally
an
essen tial
of
all
buildings,
termed modem
monumentar^
owes
buildings,
much
to
and
the
for
this
reason,
chitecture axial
plans.
Beaux
Arts
It
must
was
not
be
supposed
in
that
the
p c
in
Beaux
was
planning
Arts. based
Baths
on
originated and
even
Greek, ideas
of
a
Egyptian, and
a
ture architec
the
'^
of
symmetry,
was
plan
Roman
' '
Caracalla
typical
system
Beaux
ts
plan,
with
perfectly
articulated
of
ax
subsidiary
The
great
axes.
French having
the
school, made
however,
an
deserves
absolute of
a
stinction
law
the
of
symmetry
tect arch
and
stages
essential its
has
requirement
buildin
first
Beaux the
of
development.
its
The
of
Arts
critics
to
and
opponents,
principal teachings is
that
faults
which insistence
they
on
point
in
aux
Arts contentidn
or
is
this
symmetry.
an
this
insistence
that,
breeds
for
'^ar fici
''paper'*
architecture,
the
sake
try
rather
of the
than
for
a an
expression
of
the
ments requiremust
building,
example, ^^East
Beaux
entire
to
architect
or
add,
for
devise
necessary
an
essary
Court"
the
in point,
opponents
a
plan.
This
an
criticism
is
fact
valid
that
up
but
it is of
interesting
Arts
any
the
Beaux
architecture better
or more
have
suggestion
large
for
cal logi-
manner
of
planning
may
buildings.
in
an
It
is true
that
planning development
an
result
of
a
unnecessary
and
equally
ficia artitrue
building,
of
but
it is
Arts
able
a
graduate symmetrical
one.
the
plan
Beaux
is
also
capable
a
cing
which
is
logical have
economical committed
fact
must
Whatever Beaux
that
offences
may
by
remain
the
Arts
architectural
in
formulae,
general
architecture
the
great chaos
i
cases.
culably
time
gainer
in
majority
reigned, itself the
of the
Law,
when
architectural
in
great
le
stepped
a
and
of
constituted rules
in design main
and
ever
lished
code
which
elements
have,
of
beneficially
design. architecture,
guided
the
tectura archi-
No
no
art,
no
philosophy
to
or
religion
and
is
bigoted, is
a
and
which
one.
aspires
domination
of
utism be
on
desirable
A of
school
architecture
a
fountain-head
inspiration,
court
may,
matters
of
merit the
form of its
and
procedure, widely
and
by
of
the
teachings,
and
permane
mould
the
cannot
thought
to
of
many
countries,
have
come
whither
to
students
practise said
that
who the
learn. Beaus;
rather,
It
fairly
to
be
of
the
has
sought and
an
dominate. and
to
Its
been, minds
nspire
direct,
implant
importance
of
it
nts
impression
of
the
of
synunetry.
Beaux
may
Arts
often
detail, be
to
of
which
we
or
shall
replaced
but
speak by
pre ent
forgotten,
form
appropriate
Arts of planning
other
countries, and
the
theory the
aux
is basic,
It of
underlies
a
whol
ructure
architecture.
is
later
expression
Classic
Having
Greek developed
in
ideal
a
order.
plan, it
the the
symmetrical
from
studen
rceives, of
designing building,
and
that that all each
elevation
cade
his
this,
of
necessity,
masses a manner
is
are
mmetrical,
as
the
important
in
lated
to
balance
other
at
on
reeable the
are
and
Beaux
to
logical.
Arts
type
Excellent
American
examples
of
New
f agade
York
for in
monumental buildings
the
ings buil
as
be
seen
in
the
such Museum,
blic
Library,
the
new
Metropolitan Office
last
Customs
use,
Post
and
the
Pennsylvania bearing
ro Ra
station
in
(the
style with
the
to
named,
however,
lation
Beaux fundamental
'Beaux
Arts
architecture).
ideas
of
Combined
symmetry,
a
Classic
developed,
ord
Arts
school
ll,
certain
even
distinct
frivolity.
French
The
quality
style,
for for
of
gaiety
reason,
and,
mes,
this
ways
seemed
casinos,
admirably
music-halls, fault of
suitable
theatres
Beaux
ings buil
and Arts
ings buil
peculiar
been
equently
that and
of
counteracting by
that
dignity introduction
courthouses
neral
conception
frivolous buildings
have
composition detail,
so
the
distinctly
other
banks,
in
which
the
expression
as
an
of
dignit
essential,
avoided
This
the
style,
of of critics
unsafe
at Arts
once
tect arch
medium. and
has
one
frivolity
feature
detail,
Beaux another
tractive
detractive
given
the
tect arch
weapon,
hostile
of
which
they
have
amply
availed
themselves.
In
detail
an
there
will
be
found,
on
in
the
Beaux
to
Arts
l,
insistence
columns
adherence
Classic
rtions
as
and devices
entablatures,
as
and
the
courses,
such
**
accentuating
building
by
the
rusticating^^
central
part
the
of
to
tuating of
building
by
ng
extravagant
detail
a
architectural
rules
as
resf great
Beyond license
few detail
such
has
strict
these,
er,
in
characterised
to
nearly
Beaux
of
Arts their
architects, Together
were
often
the
many
serious
ment detri-
works.
extravagant
many
however,
there
also
forms
ermanent
architectural
Beaux Arts
In
style,
sources,
detail
Renaissance of designers and all
other
are
drew
its
forms,
inspiration
and
from
ic
from
from
certain
forms
characteristic
and
exuberance of
the
Classic
earlier
Revival
reigns.
are
* *
XVI,
gay
in
cursive
A
rent. appa-
in
freedom
are means
Mouldings
curves
on
and
profiles
very
full.
and
low
relief
there
by
no
frequent,
of cartouches,
every
f agade
is
profusion
key-blocks, Mixed
les, often, be
garlands, naturalistic
forms
elaborate
ornament.
lions'
heads,
these
with
such
as
the
the
chaste
Greek
fret
ornament,
ornament
tical of
windows
Louis feature
on
refined
**guilloche''
Classic
"
pediments.
This
however dormer
the
pediment,
usually
especially
takes
are
a
a
as
yed
and
windows,
or
sinuous favourite
balustrades sculptured
roof
often
lines with
ion
for
urns,
conventional
. iron conspicuous in
the work,
Ornamental
is
in
the
the
Beaux
form
Arts
of
grilles fagade,
and
ngs,
in
most
and
is designed
cursive
and
flowing
charac-
possible.
on
Another
French
characteristic designers
fertile
or
metal of this
ment embellishschool
which
a
ha
vished
wealth
of
ingenuity
gracefu
tail
a
is the
marquise,
as a
iron-and-glass
on
.and hood
entering.
Beaux
projectin
doorway
rain-shelter
of
Architectural from
sculpture earlier
the
Arts
scho
parted
became in
conceptions
to
a
of
conventionality,
The nude
as
naturalistic pediment
more
degree.
gaine
well
vour
and
spandril
treatments,
placements
detached
flanking
from the
the
actual
desig
of
fountain
York of
figures
central
portico modern
are,
Public
Library
illustrate
sculpture, with the
this
and
French for
**
ncept
architectural in
of the keeping
son,
' '
perfectly
distinctly
Beaux
ts
character Although
the
building.
School
its
has
taught
the
importance
many
scale"
among
fundamental
to
precepts,
Beaux
ts
students
scale
seem
have
has
disregarded
marred
have
many
it,
and
exa ger
in
detail
might
buildings
is
style
which
otherwise
possessed
distin
rit.
We
find then,
on
summarising, the
plan symmetrical
out
that
Beaux plan,
Ar
chitecture
axes,
begins carries
with
laid
this
to
in
the
elevation,
ile
adhering
great
sources
logical
in
proportions This
of detail, Louis
or
mass,
allow
freedom
detail.
Italian Italian
while
derive
om
Classic,
chastity,
yet
possesses
and
romance
XVI,
Louis
usuall
cks
Classic
XV
finement,
certain
positive
for
architectural
types
alities
eminently
appropriate
certain
ildings.
The
type,
for
example,
a
is
not
so
well
as
to
row
fagade Renaissance.
of
city
residence
a
the
of
alian
On
large
f agade,
exagger-
peculiarities
and
are
of
Beaux in
Arts
the
detail
are
not
so
api)arlarger
overlooked
a
magnitude
of Nearly rendering of
a some
the
ts
of facades,
Arts
monumental
however,
building. in
a
all of
city
thorough portions
into
one
the
style, off
scale,
larger lot.
ing,
fault
to
sliced in
be
crowded
perhaps, the style.
city of
the
This
greatest
found
Many great
leading Ecole
architects
des them
Beaux the
cases,
have
studied
in
Nationale back
with In
Arts
most
Paris,
and
parts
brought teachings.
use
important
have
its
most
they
made and of
far
of
than
the
larger of
the
a
precepts
detail. distinct In
of
planning
work
composit
the
certain
and
individuals has
works.
process
of
close
dure
been
apparent
upon
in
their
Directly
commencement
their
of
return
the
l,
and
their
practice,
French
sig deand
buildings
* *
which
Arts
or
* '
were
entirely detail.
ely
was
Beaux
in
every
Gradually
in
some
the
cases
modified
outward leaving
**
abandoned,
of
Beaux great the
and Arts
entire
aspect
architecture
peared,
of to
only
the
deeply-instilled
*'
iples
order,*'
or
while
style"
changed
ely
Italian
Georgian
who
English
have
character.
That
American
architects of
the
real
studied they
in
Paris
benefits by
which
their
Arts
derived
School,
is Society
to
evidenced
of
renew
foundation
o
who
Beaux
Architects, the
periodically side of
in
reminiscence
^
ture picin
their
award
younger
^atelier''
days
the
Quarter,
and
scholarships
and
ambitious of
the
prizes
for
nt
'*projets''
draughtsmen
submitted from
many
by
parts
tural architeccountry.
Many
the
features frame-work
of
the
of
Beaux
our
Arts
college
as
idea
courses
of
teaching in
rm
arch
cture,
and
of of the
in
such
instances and
Arts
the
Massachusetts French
stitute
Technology
Beaux
Harvard,
the
uat gra
moulded
M.
of
entire
system
so
thought
great
and
leading
years;
instruction.
Despradelle,
has
lo
spirit
M.
Duquesne
Technology, of
been
de
veral
Harvard
directs
aching
in
Cambridge
of
Beaux
to-day.
Arts
Evidences
teaching
many
are
widely
which,
distributed, might be
be
and
thought
buildings Classic
as
rst
of
directly
to
found
and
inseparably pervasive
combine,
er-recurrent
influence
too,
of
the
Beaux
ts,
which
more
is
conspicuous,
in
of
South
Buenos
America,
Aires
important City.
illustrations by
reason
buildings
xico The
show
of their
examples direct
which
expression
have
be
osen
of
Beaux
ts
The
traits.
two
details Paris,
of
the
Grand admirably
Palais
des
Champstraits
ysees,
in
depict
the with,
certain and
as
a
**
tail,
so
illustrating
often
met
fantasy
as
disproportionate typical
ale
well
tion introducfrom
of
naturalistic
shows,
than
sculpture.
The this
motif
for
as
in
fagade
again,
fondness
as
naturalistic, the
The
rather
Classic
sculpture,
of
well
profuse
ngling
of
divers with
more
details
divers
is
origins.
reminiscent
masque
tic ell
medallion, though
garlands,
of
Loui
T,
florid,
the
the yet
"
the
grotesque
recal ing,
if
anything,
Italian
Italian
the whole
Renaissance.
Further
from background,
Beaux Arts
Renaissance is
is
a
apparent
typically
product
the
Modern
School
French
Archi
"og3
HI
PARIS
IN IN
NEW THE
YORK" DESIGN
bulb
DIRECT FOB
A
FRENCH
FIFTH AVENUE
BEAIX-ARTS
SHOP
TION INSPIRA-
FRONT emllliaUy
The
ODtire
Icealmeiit,
in
geoenl
dcEigD
and
ia
every
detail.iB
re.
are
The
building
"
from
which
Palais
these
interesting Champs-Elysees
tai de-
taken built
at
the
Grand
of of
three
des
the work
time
the
Exposition
collaborating
Universelle,
architects.
examples
and
this
are
is the
country
several
In
thoroughly first,
the
of Beaux
illustrative
New
shown.
The by
a
York
Public
ry,
both
designed
members
firm
American
Arts
architects students,
fagade from
an
were
is
of
an
lent
example
type
of of
the
symmetrical developed
of is this
the
ental
building,
feeling
axial
plan,
The
entire
building,
of
an
in
Beaux
sition and,
and
detail,
perhaps,
distinctly
be called French
a
Arts
ter,
might
the
example
better
a
influence
of
*s
modem
School.
on
as a
The
d,
jeweller
New
epitome
as
shop
(now
is
parfumerie)
French
Fifth
**
e,
York of
it does,
City,
Modern in
unequalled
condense
architecture,
so
ising
Beaux
such
small
compass,
many
nt
Arts
entrance
features.
flares
a
Over
the
metal the
and
contours
glass
marquise,
'^
reedom
almost
suggesting
of with brackets
an
Art
au''
iron
*
creation. rail,
'Beaux
**
The
supported and
balcony
on
above,
console
centre
its
uous sin-
is
oughly thorby
Arts,*'
cartouche.*'
the
is
marked
the
table
The
two
characteristic
elongated consoles,
so
curved
ent
the
springs
and
window
medallion
in
as
favoured vein.
the
Louis
treatment
on
XVI,
the
modem
as
behind
shows
well
finial
pedestals,
rendering
of entire
forms
of
Louis and
origin,
**
but
the
horoughly
French'*
it
n,
and
''Beaux
in of
As
catio indi-
the
frequent
Greek
forms
in
this
school
design,
note
with made
forms of
of
* *
the
utmost
the
egg-and-dart
orna men
in
The
pediment
example
moulding.
comprises
in New
a
in
York fair of
many
the
a
design profusion of
of
road
city
Arts
house
fagade
and
eaux
details,
features
affords
idea
the
the
more
ndesirable that
canons
and despite
qualities
its
style.
It
rue
this of
fagade,
offences
a
agains
Classic
of
architecture,
**
gives
'
certain
super ficia
impression florid is
supports
smartness
and
urbanity.
over
beneath
of the
to
the
the
of
doo
ere
evidence
occasional
Louis above
Modem
rench
architecture
rail
* '
Rococo,
makes
while
use
lcony
immediately
^ '
of
fined
to
motif
traces
of
XVI.
and
French
Elsewhere
of
Italian
of
sance Renaisthe
the into
the
device
breaking
is
the
thir
ory
entablature
illustrative
of
at
license
which
works
destroys
merit
Arts
many
herwise
excellent
It has
of
observed
in
Beaux
origin
**
spiration.
will
be
that
the
the'
French
ner*'
been
followed of
the
almost
rooms
exterior
the
expression
the
importance
rusticated,
on
^'premier of
the
etage/
the
severe
base
building,
above
ich
blossoms
level
the
story.
into
exuberant
festivity
reet
From of
foregoing
Arts
observations architecture,
in this
on
the
from
merits
a
fects
the
Beaux
and
stud
illustrations
to part
presented
connection,
it wi
possible
discern which
in the
many
American school
more
buildings
has played
portant side of
great
is
the
Atlantic, opposition
and
to
understandingly been
offered
preciate
the
which
has
AN
EXAMPLE
OF
INSPIRATION OF
null, York
""
IN BEAUX-ARTS
ktc
MONUMENTAL DESIGN
bEiT, Public
CBllcd
"eDcia"d
column*"
(Tb"
New
Library)
French
styles.
was
architeetnre
by
the
exponents
of
pure
an
It
said
works
* *
in
previous the
paragraph
that,
**
excepting
American
Arts
the
of
Classic
Revival unmixed
or
e,
Classic
are
derivations
rarely
met
with
Beaux
ences,
with
in
true,
American
though
met
museums,
ture. architecdesigns
with
This,
Classic
in
measure, are
is
inspiration libraries
as
usually
in
bank
ings,
certain
and
Tomb is
in
the true,
art
and York
nearly whether
mausoleums
Grant's
it
in
New
City.
Classic
monumental
underlies
country,
al
this
the
rendering
character
of
the
Modern
School,
Classic endured
the
the
in
Renaissance
Italian
and
The
Ideal
many
architecture,
architectural through
French
to
possess
or
developments,
the 'Beaux
but Revival
gh through
Renaissance,
Classic
Arts
greater
the
Modem
School,
and have
always potent
to
proved
than the
or
qualities
movements
stylistic
which
adopt safe
re-mould
them.
And
it is cycles
to
predict
that
Classic
forms,
will
of
architectural
when
evolution, other
retain forms
rtal
qualities
architectural
forgotten,
in
"
and
the the
that
**
Classic of ancient
Derivations**
successive
will
apparent for
architecture
genius
of in
age
future
has
ries
the the of
Greeks
which
lost
of
its since
significance
the
centuries
Hellenism. chapter
have
golden
of
part
The
design
what
the
following
in
is
to
aid
been
rning
by
American and
architecture
Romanesque the
has
styles,
the
Byzantine
and called
that
remarkable
fabric
of
Middle
Ages,
Gothic
style.
CHAPTER
BYZANTINE,
V
AND
ROMANESQUE
DERIVATIONS
GOTHIC
"
ROMANESQUE
REVIVAL
"
IN
AMERICA.
THE OF
PLACE
ROMANESQUE
GOTHIC MILITARY
STYLES DERIVATIONS,
AND
IN
THE
ARCHITECTURE
T0-6AY
ECCLESIASTICAL,
COLLEGIATE,
SECULAR,
IN
AMERICA
TO
group
American
Romanesque
derivations
Gothic styles,
to
Byzantine,
a
is
tablish
triology
these
which
be
said
have of
be
logica
ly
in
that
role
historic stylistic
played
but
rtial
in
the
expression
architecture
America. A brief
styles
consideration
will recall
a
of
the
past
Byzantine
phase
a
and
of
esque Roman-
architectural
spiration
many
a
in
this
country,
but
phase
which
to
left
eat
important time
to
come
monuments,
"
destined both
endure
long
secular.
^buildings
ecclesiastical
And and
in
ecclesiastical styles
as
an are
architecture,
zantine
Romanesque to-day
our
distinctly
factor
to
ckoned
with
of
important
in
spiration
A
church
architects.
brief
consideration in American
part
of
the
Gothic
derivations
will
great
aptations
outline
ry
important
in
mediaeval
as
yle
ecclesiastical played
in
well
the
less
rt
it has
The
some
secular with of by
this
types
of
building.
acquaintance the
a
formed
chapter
Byzantine
book early
ture architecrecall
in
was
second
will
th
style after
developed
the
the
Christians,
the
co si
fall
of
Rome
(with
temporary
ROMANESQUE
A
DERIVATION
in New
OF
THE of the
ROMAN
tile,
TYPE
brick
churcb
ol
York *nd
Citv,
the
Ibe
dome of
tbe
fifures
lerTSMWtU,
dufta
RomaD
pedimenl CarinthiBn
ion
the
of
Classic
architecture)
of
Byzantine
and
style.
considerably
It
was
development that
the
Gothic
architecture
will characterised
be
bered
by
the
round
that
arch
the the of
a
sprin^ng
arches,
as
from
short,
as
clustered basket-
well
were
the
of
was
treated
but
was
ng
primitive, decoration
ative and
character. the
dome,
not
the
as
vault,
was
the
covering
tant
and
structures,
such
*s
Ste.
Sophia
in
nople, Constanti-
St.
be
Mark
in
Venice.
further, the vault that
system
It
will
remembered, developing
to at
Romanesque of roofing,
tecture,
directly
the
great
Gothic
was
style.
way
Romanesque
tecture,
a
its
best, style,
by
a
of
never
being
transitional
It
same
was
and
uneven
style merit,
fully different
style
of
the
building
often barren
seeming
architecturally
and others, colourful
,
same
ill-studied, time,
and
stupid, rich,
he
architecturally
intricate,
and
interesting.
considering which
one
In
the
has
in
the
**
American
Romanesque
as
* *
tecture archi-
been
accept
Reviv
must
designation
and
the
embracing
"
tine
derivations
say,
well, have
Revival,
it i
to
might
the
well
permanently of
**
and
pervasi
moulded
country,
character
not
a
architectural
design
this
had
as
Renaissance
Revival*'
anted
us
it,
will the
be
seen
later.
**
Let
consider
status
of
* *
style**
* *
in
American
be
tecture
about
be loth,
1870.
If
style
to
it
could
it
**
called,
should influence
century
in
the
any
**
event,
call
of
Classic
out
Revival**
even
of
dawn
when
had
died
before
Colonnade
Row**
came,
was
built
the
type most
in
New
part,
York
from
City,
the
spiration
and
for
mo
based
bourgeois
or
of
contemporary
French
chitecture,
from
The
misguided,
first
ers follow
of
RusMn.
of ''brownstone familiar
to
inspiration
su
numents
architectural
fronf
anyone
stupidity
type
vulgarity
the
of
has
or
city
residence,
the
m d
who
traversed
other
great to
^
reets
of
cities.
New
It houses
York,
created,
Brooklyn,
also,
similar
country
^
Eas
those
burban
square
usually
with
tower
* *
alluded
a
or
as
mansions
eat
boxes,
* *
hideously
* *
mishandled
* *
mansar
roof
and
cupola,
which,
as an
with index
ole
horrible and
ensemble,
social
status.
was
regarded
alth
The
Gothic
produced
even more
effort,
as
we
have
seen
in
no
the
less
thi
apter,
architectural architecturally
The
country
aberrations
illogical
was
and
and dire
great
struc
rally
dishonest.
great
in
"
need
revelation
**
some
arch tect
Seven
to
Lamps
even a
of
ture Architecglimmer
' '
conspicuously light
clear in
or
shed
faint
the
Cimmerian
intelligent
darkness architectural
in
which vision
every
ho
seemed
plunged.
The
person
light
which
one
appeared
of
the
greatest
at
this
juncture
came
of
American
his
architects
H.
Richardson, clear
great
because his
architectural
visi
and and
intelligent,
architectural
intention
finite
sincere,
his
architectural
reasoning
soun
enlightened.
The
great
Romanesque
Revival
the
which of of
he
led
became
rst
conspicuous
with
the
publication
tower
his
perspective
awing
of
splendid
Trinity
Church
which
appeared
' *
in
1874.
* *
The
New
York
may
Sketch
be
Book
chitecture
first stands
in
The
church
the
considered
Revival,
the it
monument
of
as
an
Romanesque of
to-day
expression highest
1890
American
It the is
true
tectural
the
ability
from
of
the
to
order.
decade
many
1880
witnessed
erection
great
important
not to
say
no
buildings
architectural
of
sistency,
structures
insanity,
or no
he
of
other
country
other place
ugh
the light.
Romanesque
idea
held
its
ng
One
architect, mould
the
no
matter
how
great,
of
could
so
not
great
architectural
the
really
thought
remarkable
ry,
and
thing it
soon
came
is
that
to
hardsonian exerted
Romanesque"
(as
be
ed)
such
influence.
might of
son Richard-
demonstrated
as a
that
successfully churches,
be
ed
medium
design
railroad
stations, private
business
houses in
buildings,
city and
a
educational
country.
buildings
He had number
the great
many
tors and
and
copiers,
but followers,
as
far
who
greater
re
admiring
Revival
era.
welcomed
of
a
esque
the
dawn
new
and
hopeful
tectural
late
even
The
Montgomery in
as
Schuyler,
saw an
'*
architectural
**
critic,
ng
1891,
and
revised**
of
to
esque which,
the
future
it
Style** fair
tecture archi-
indeed,
contentions, well
become.
the
Schuyler's admirably
Romanesque
was never or
his for
the
analysis
he
reason
of
style,
founded,
for
saw
possibilities
that
Revival
**
esque Romanthat
finished**
styles
style,
were
in
the
sense
Classic
Gothic supplanted
finished.
Gothic
tecture
Romanesque
architecture
fore
the
latter
so
had
that
no
reached
**
its
complete
stylist
exist
velopment,
perfect
examples'*
as
present
Romanesque
architecture,
or
the
Parthenon
cathedrals
we
presents
Classic, Gothic.
It
the
great
French
as
present
seemed,
then,
at
migh
ke
Romanesque
architecture and,
the
it
a
terrupted,
revitalising
American
it, develop
style.
tee Nin
Century
:
Mr.
Schuyler
wrot
in 1891)
^^It
will
in of
be the
seen
"
"
that
"
Romanesque
tect arch
Norman,
the
an
German
architectural
and
the
Provengal
ases
it, constitutes
to
language
applicable
from
we
all the
our
needs,
for
there
to
is
no
mode
ilding,
ecclesiastical already
not
the
domestic,
to
ich
in
have
we
not
may
successful
hope has for
not
examples
sho
which
still been
more
signal
s c
in
the
future.
so as
no
It
conventionalised
formalised free
a
longer and
to
be
expressive,
ample
but
ill
and
flexible,
to
it affords his
opportunity
and
designer
if
he
manifest
any.
scholarship
his
be
vi in
have that
So
come
much
so
near
cannot
to
said
previous
It
to
style
has
establishing may
self.
is
to
be
hoped
its
resources
that
our
designers
not
ntent
develop
as
so
and
be
tempted
have
andon
it,
many
promising
history
or
beginnings
be
andoned
an
in unlucky
*s
the
of
modem
*
architecture,
*
rough
disastrous
caprice.
The
critic
estimate
America
the
of
the
destiny
of
the
esque Roman-
in of
is peculiarly futility
not
more
interesting,
ars
of
architectural
on
cies. propheof
Schuyler
evidently
did
reckon
powerful,
the
impact
her,
architectural within
so
made piece
their
effect
"
apparent
ars
this
of
writing
the
great
Renaissance
al,
great
championed
by
McKim,
influence
Mead
and
White,
from
and
French-Classic
Beaux
emanating
the
des
Arts
greatest
was
in
Perhaps architecture
the
can Amerithat
a
his
demonstration this
country
of lies
the
only
fact
in
a
sanity
in
cere sin-
and be that
scholarly
style
of
adherence
what
to
worthy
ric
it may.
as
Richardson
as
architects public,
his
time,
well
the
crim dis-
that
architectural of desirable
precedent
results,
i than
and
more
productive experiment.
tectural in of
he
And
doing
this,
he
left
behind
him
splendid buildings
these
are
architectural
achievement
in
among
the
designed. Church
in
Conspicuous
Boston, the
ty in
Sever
Hall Court
and
a
and
House,
Austin
Cambridge,
Pittsburgh
the
many
nnati
Chamber
pleasing
through the of
of
Conmierce
and
great
nently
residences
New
many
railroad States.
stations,
ially
England
of
were
While
the
works
Richardson's perfectly
followers
legitimate
the
an
admirably of of
those
a
sincere dominant
who
were
and
ssions
architectural him
merely
not
idea,
as
works
opportune
ost
imitated ill-studied,
expedient
and
only the
themselves,
aims
of
but
the
tended
Romanesque
to
discredit
Revival. will in recognise
The
of
architectural this
observer
period the
the
ings build-
interesting of
stamp.
American
architecture
se
buildings
Richardsonian Usually
of
stone,
Revival
their
cavernous
bear
proportions
an
takable
are are
massive spanned
is
and
by
often
great
heavy.
The
entran
semi-circular by
a
arches,
and
tower
composition
usually
dominated
sturdy
th
pointed
with of
the
out.
roof. which
acanthus
The
the
carved
detail
or
may
vary
in
rit
Byzantine leaf,
or
Romanesque
ing render
may
grotesque
heads,
were
rried
the
In
masonry,
the
treatment
' *
stones
each
hew
th
rough,
* *
chipped
rock-faced.
which
classifies
su
sonry
as
In
the
Richardson
find
* *
Romanesque
of moulded
bri
often
that
the
* *
bricks
stone,
esemble
rock-faced University,
and,
an
in
Sever
of
Hall
arvard
there
is
speciall
muUions
ulded
other
brick
for
cornices,
with
nd
details,
foliated
in
unglazed
rra-cotta.
The
decline
of
Byzantine
of of
and
Romanesque
thought
ideas
in
dominating
and
the
trend
rise
architectural
the
ountry,
Latin
derivations,
Itali
nd
French,
remains
to
is only
reckon
the
to
subject
out
for
what
another extent
chapter
we
to
ha
till
Romanesque
on
derivations
merica,
before
derivations
the
to
passing
to
the
study
of
our
modem
othic
in
this
Although
Romanesque
of
1871-1891
ot
destined American
mould
architecture,
the
subsequent
style
possesses
character
dmirable
qualities
that
for it has
expression
been the
in
inspiration buUdings,
ecclesiastical
of
a
rchitecture
gre
any
distinctly
doubt, in of To
the
successful
church
always
to
and
a
ithout
continue
capacity,
style.
occupy
prominent
equal
lace,
this
of
importance
nearly
hat
Gothic
a
cite
for
few
examples
yet
which
are
conspicuous
rendering but
nly
their
scholarly
imaginative
style
he
Byzantine
and
Romanesque
for
th
rchitectural
merit
regardless
of
this
consideration.
observer
may
profitably
its
the the
study
several
churches
York
and toward
under
vicinity. Madison
of of
Particular
ted
Square
the great
hy
shadow
chapel
and
to
the
Columbia is
seen
University.
in and Pacific in
Los the
er
admirable
Joseph
at
derivation
Babylon, in of
a
Church
again,
t.
Long
moment
Island,
to
ort
ourselves
the
Coast,
Angeles,
he
First
Church
Christ
Scientist,
ornia.
that the 'Byzantine
Li
and Bome
of
Bomanesque represented
churches
the
early
Christians
simple Byzantine
as
an
in kind
ideals
tions adaptamay
come
stinctly
religious
thought,
styles
of
and
Bomanesque
regarded
for
architectural edifices
the ranging
'
peculiarly
ble
the
sects,
church
radical
an
stant
while
Gothic
effects
tectura archidegrees
expression
*
through
to
was
piscopal
high
church*
the
itself,
peculiarly ings, build-
Bomanesque adaptable
architecture
once
considered
modern
office
for development
the
design
of
of
but has
the
grown
this
essentially
away
American
further
and
further
treatment.
from When
any
esque
of stone,
of
floors
not
walls
of
more
steel
than
beams, eight
and
or
the
of
the
the
building
was
ten
es,
style
the
adaptable.
structure
It of
the
became
impossible,
was
er,
when
building
entirely
teel,
and
the
proportion
of
voids
(window
openings)
alanced,
in
relation,
was
the
of
solids
a
(wall
heavy
spaces).
to
esque
and, with
architecture
from
massive,
not
or
acter, charconform
its
nature,
could frame,
be
to
made
soar
this
skeleton
steel
upward
or more.
wenty,
twenty-fiver,
thirty,
forty
stories
for
the
private
newer
house adaptations
the
style
were
became in
vogue,
'^
shioned/'
their
a
the
spite
marked
architectural
country
interest,
houses
newer
Romanesque
^'
seemed
rk|
and
Italian
heavy" villas
styles.
however,
beside
and
creations
or
apted
French
chateaux,
riations
The
it
English
style,
Gothic
created
survived
**
the
distast Revival
ich
in
the the
a
so-called Romanesque
Gothic
mediately
preceding itself
for
as
Revival, and
tablished
derivation
we
permanent
inspiration of
American
of
source
various the
current
types
buildings.
this
for
us
find
in
architecture
may
country
thic
**
derivations
Ecclesiastical,*'
' '
"
which
**
be
called,
**
ence, conveni-
Collegiate,''
Military," in and
part in
Commercial
several the
types
^the
designations renderings
of
referring
the style, these
varying of
pa
building
in
which
renderings
pear.
It
is
natural and
is to be
by
far
the
greatest
part
of
Gothi
spiration
derivation
in
in
American
tect arch
church
and of
the
cathedral
these
buildings lack
the
while
the the
proportion style,
irit
of
a
Gothic
meritorious for
minority
fers
peculiarly
interesting
field
observation
udy.
The
explanation of
our
of
the
failure
lies
to
of
the
the
greater
Gothic
churches
have
in
circumstance
the
to
at
their of
architects
failed
consider
organi
ture
Gothic
to
architecture,
a
have
A
tree
comes
failed grows
out
recognise of
a
similarity forth
put
tree.
as
se
tting
branches
it
into
its
growth, of
ese
forth
Ways
leaves.
of
Different
varieties
way
tre
different
growing,
each
characteristic
^
II
STRONG
o( the
MODERN
niaaaive (St.
VERSION irKEulirils-
OF
THE
GOTHIC
a i-er
Thomas'
whirta Cburch.
charBrti-riBoi
New
York
Cily)
specieSy
may
and
some,
like
on
wind-bent which
of
cedars
seem
by
the
open
ore,
take
forms residt of
curious
and
sque,
so
although
a
the
special
conditions.
or
And
Gothic
grew,
church
the
Thirteenth gaining in
various
Fourteenth
Century
out
organically,
or
size
and
tions direc-
hing
as
in
chapels
cloisters
each
the
growth
and idea. rising
progressed,
addition
the main
springing
stem
ally
spontaneously
from
church
the
Gothic
The
to
Gothic
take
itself,
its
massive
esses
thrust springing
of
the
side-aisle
s,
to
an
and
take
flying the
buttresses thrust
of the
upward
nave
above
was
great
organic
growth,
its
exactly
many
as a
members
by
tural
next
branch
greatest
at
take
the
greater
strain
this
. is
It
doubtful
to
if anyone
an
but
actual
Japanese
copy
artist
a
would
"
pt
an
construct
of
tree
^but
were
interesting
no one
hypothetical
undertaking
it
t
any
tried,
engaged
in
features upon,
would of
the
a
dream
**
that
tural
or
organic improved
from
design'*
bough Regardless
of
the
could well
be
or
that
pine
would
growing
tree. at
o
that
appearance,
the of
the
designer pine
least
feel
the
oduction
would^
to
a
destroy
tree.
the
ical is in
a
resemblance curious
to
of
fact, the
his
work
maple
very
It
however,
great
that
few have in
have
tects, archiessayed
such
relation adaptations,
numbers
their
who
ic
indulge
The result hence
thoughts
that
table
simile. illogical
is
they
produce
(and
adorned
wings
unconvincing)
with related buttresses
to
any
"
Gothic
which
natural
fic edi
"
^buildings
with the
abut
expres-
arches,
not
of
growth
of
the
building
fine
hybrid
ructure.
They
or
have
copied
Gothic Gothic
forms
feeling.
without
derstanding And
here
experiencing
to
a
it is important is
point
out
the
reason
wh style
othic
architecture to-day,
as
peculiarly
exacting
or
apt
compared The
very
with
life
Classic of
Renaissance
rchitecture.
upon
Gothic
real
and
architecture
pendent
the
has
degree
entered
of
into
understanding
eeling
which
its
contrivance,
sp ir
of
the
the
comparatively
media
superficial
forms
In
other
whic
material
of
its
expression.
on
Classi
Renaissance
architecture,
of certain
necessary
the
hand,
mportance
material
to
outweighs manipulate
to
egree
of
render
feeling
these style
nd
forms.
In different The
remarkable
:
design
he
Gothic
mth
is
very
from of
ing design
the
a
Gothic
number
style. of
first
kind
design
roduced of far
latter-day
second
has
expressions
Gothic
architecture
number
the
produced of
greater
of
misexpressions
Gothi
rchitecture.
Certain
values
carefully of
the
considered Gothic
appeared
style
thoughts
on
the
sy bo
in
a
the
paper
expressive
contributed
desig
church writer
1914,
edifices
to
in
he
**The
* *
Churchman'* Symbolism
:
magazine
of
March
1,
entitled
' '
in
Modern
Church
tect Arch
here
quoted if
that
**It of
most
reason
is
doubtful
the
sufficient
emphasis
of
has all
ever
be
arts,
ade
fact
architecture,
the
he
expressive for
of
for
symbolism.
of the
Possibly
he
this
recognition
in the
symbolic
very
alues
architecture have
fact
that
rchitects
of
appreciated
average
it.
When of
the
training is taken
ractice
the
architect
so
to-day
to
onsideration,
this
is not
greatly
be
wondered
in
in
the
first
instance forms,
he
has
become
the
versed,
by
necessity,
material
ontset
and
in
one
second
the
finds world
*s
he
of
his
practice,
of
or
age
of
which
literal
the
sesthetic
spiritual
at
above when
materialism
stop
their
they
lowest
short
of
absolute
heir
level.
**
Broadly
its
defining
in
symbolism,
current
before
architectural
are
proceeding
ments, achieve-
expression be said by
it may is
that
there
to
two
kinds. literal
"
First
impelled,
are
instinct,
think
of
symbols,
to
of
comparatively
little
with
importance
axe,
adorn Paul
rine
a
of sword
St.
"
Matthias
^to
carve
the
a
or
of
the
St.
about
the
doorway
ox
winged
of
the
winged
lion,
winged
and
the
eagle
the
evangelists. This,
to
* '
be
sure,
is
only
art
one
sort
of
to not
symbolism,
master, at
but and
into
the
which
requires of which
erudition
enters
edge of
our
all.
show
Perhaps enough
ecclesiastical of
that
edifices
do
not
his
sort
symbolism,
their
but
it
is
not
upon
or
such
for
consider
significance
to-day
posterit
will
**The
to
be
and
ed
in
a
church
basic spiritual
ves the
gone
difference
Many
a
twe be-
material.
architects
about in
their
work only
in
a
designing
collection done
room
church
of
to
by
bling
material
and
that
this
they
has
generally
such
the
an
there
of
been
spiritual.
left
no
for
consider
things
no
Obviously
for
other expression
type
of of
building
the spiritual
calls
as
into
play
necessity
opposed
the
material
as
in
church
that the
means
architectural
edifice,
so
design
to
so
great
gree be
the
and
it is therefore
the
more
deplored
to
grasp
few of
latter-day
seeking
architects
such
ha
iled
futility of form
architectural
pression
'^A
by
without
of stained
or
feeling.
meaningless Gothic
are
assemblage
tracery
pointed
glass will
not
arches
ockets,
and forms,
edifice
a
windows,
ich
architectural church
more
tools,
produce
well-designed
any
with
true
architectural
assemblage
will
aning
than
also
meaningless
or
rds,
which of
are
forms,
true
tools,
produce In
none
ece
literature
can
with
literary
value.
of
arts
expression tools of
signify
that
art
anything have
element,
consequence
less
the
been
to
directed
the
ought,
which
is
the
spiritual
express
end
finished
great
fabric
will
thought.
no
No
painting
by
of
technique
the
alone,
literary
masterpiece
any
virtue
words
solely
contained by
its
reason
in
it ; of
or
tural architec
monument
the
accuracy
material
form
of
which
several believes
in
parts.
accuracy
There
to
reful
even
stupidity
accepting
be
architecture
that
its
real
meaning
to
art,
believes
will
careful
adherence expression
material
an
rms
bring
may
the
required
of
an
id
architect
conscientiously
some
develop
of
a
tural architec
project
to
from
work
the
past,
even
and
entirel
il
produce governed
a
in
execution
design
same
creditable.
other,
by
exactly
the
more
inspiration,
oduce
into
masterpiece.
The
deeply
as
a
the fine
he
studen
art,
es
the
study he is
of likely played
architecture
to
baffled
parts
become,
the
until
realise
the
actually
by
become
material
apparent
and
certain
it sp
Gradually
there
truths, and
lar
chitectural
suddenly
it
xr
very
clear
architectural
others
are
achievements trivial
to
are
great Forms
and
lasting
cannot
and
prodace
transient.
alone architectural
be
assembled
unless
the
highest
to
ssion
that As
a
there
known
to
art
is
as
brought
art.
such
an
assemblage
quality
corollary
the is
last,
it
must
an
be
brought
out
emphasis
nature
that
above and
all
not
abstract
at
entity,
entirely what
of
spiritual
all
*'But
form?
of
a
What
work
part,
if any,
he
production
of but
art! not
Certainly
before
of
taken
into
consideration,
important
broad
spiritual
proceed
understanding and
to
a
opposed
of
the
must
the logical
to
material.
And
accepted symbolism
this
ssion
and
conclus
before
it
for
is
the
to
possible
reason
discuss the
a
tecture,
that
expression
of
art. to
o It
lism
is
only
be
in
found
orderly
that
in
work succession,
fore
necessary,
take
zance
of the
the
as
the
fact
architecture
as
an
is
an
art,
ciate
meaning
of
art
abstract only
entity,
such
and
reach
obvious
is conceived
conclusion
in
that
tecture archi-
the
a
highest
vehicle
tenets
of
true
is
capable
of
becoming
of the
for material
the
symbolism.
'form'
most
**The
of
to
question
a
place in
of which
brief made
discussion, is its
relative
salient
son compari-
be
importance In
speaking toward be
in
with
other
considerations.
specifically establishing
in
architecture,
truth
added
''form''
only
testimony is
to
about
not
had
stating
that
speaks
of
;
architecture,
for
but creation
the
of
of
art
a
in
it
al
manifestations
the
painter
in
the
masterpiece,
has
his
technique,
writer
his
words, things
the
common,
architect
in
his the
architectural intent
of
forms. their
use,
These
to
all
the
arts,
we are
should
nothing by
or
never
lose
sight
of
the
basic
not
truth
ese
but
of
tools.
One
a
does
tool
become
over
rpenter
virtue
a
slinging
by
bag
oulder,
great
writer
virtue
of
mastering
ctionary. ''Great
acquired
the
architects
a
have
been of
were
only
those
men
ve
knowledge that
material but
tools,
f orms, and
remembering
while
the
use
these
who
ha
garded
the end
or
manipulation but
of
only
means
these
as a
forms
part
of
their
endeavour
other
part
of
ns.
And end
have is is
''It
or
the
attainment
of
the
necessary
of
to
architectural essentially
essentially
th
ll
realised called
called
be
or
that
qualit
ich
art,
that
qualit
ich
spiritualism.
only
is, then, be
an
in
as a
such
work
an
example
of
that
we
architecture
may
may
regarded
expression
of
art
expec
find
the
of
symbolism, idea
and
in
consideration
tremendous
out
spiritual
which it
is
it is
required
altogether in
most
ing
in
church such
architecture,
is
not
rprising modern
* '
that
symbolism
edifices
lacking
country.
church
of
this
There of
is
required
magnitude
symbolic
that
of
short
fabr
of
ideas
such
ghest
degree it,
or
of the There
architectural highest
are
can
ev
nceive
achieve deep
mystery,
a
degree
to
as
architectural
ab it
as
it.
be
ideas
itself,
some
broa
and
far-reaching
some
ide
intent
awe
to to
by
those
architectural
thoughts
ns
sense
of
and
are
stimulate
the
most
human
mind
"
which
noble
and
the
mos
perhuman
ideals
at
once
exalting
and
first
humbling.
is
is
the
symbolism
which of
a
is
the
architectural
sential
in
the
design
church,
obviously
of
er
importance ecclesiastical
than
snch
symbolism
the theology.
as
might
of
d the
*
heraldry,
of
attributes
saints
insignia
because
material
master
a
And
the
of
the
great
pean Euroof
achieved of which
time,
expression
an
the
church has
many
expression
but
been
impaired,
rather
have
to
tened,
so
by
limited
by of
architects
as
in
vision
the
master
ine imagin
that
copying
these
they
saw
the
church-builders
they
must
ve
the
desired
result. of
set
'*An
appreciation thus
such
architectural here
truths
go
as
been
far
not
forth
will in
far
toward
standing of
only
the
failure design,
archited^ral
but
the
reason seem
ficance
much
of of
our
church
the
lasting
values from
such
an
examples
as
would
' '
resulted these
such
appreciation.
From
thoughts
it will
be
apparent
that
tectura archiare
sincerity in
style,
to
and
architectural
any
understanding adaptation
of
tial
designing
and
from
worthy
the
this
any
view-point
to
it
will
the
not
cult
in
effort only
determine
merits
church in
not
its
degree
the
real
of
success
re
rendering,
but
architectural
underlying
either.
affords
a
American
of
architecture
smaller
scholastic
number
or
les
Gothic
than
derivations
in
a
in
giate colle-
buildings occasion
the
or use
a
ecclesiastical
comments
buildings,
in
yet
for of
college,
the
few
this
connection. of
In
Gothic
the
to
style
in
success
the
buildings attending
extent
greatest
come
the which
will
be
found
from
the
to
finished
design
is
unecclesiastical,
yet
expressive
Gothic
of
Mediaevalism.
design
every
a
Nor
more
is the
easy
performance it
of
at
whit
than
sounds.
t V
Gothic with
church
form
is
characteristic,
through
an
sociation,
skilful
in
edifices, contrivance
a
and
only of
a
ally exceptionforms
architectural
anything neither
a
these
sult
but
compromise" church
building.
building
nor
whic
ggests
well-designed
an
sively expres
designed Success in
educational
the
undertaking,
effort
however,
and
amply
repays
architectural ability
conspicuous
involved,
the
proclaims
one
chitectural
such
of
designer,
as
if
the
were
to
ly
instances
impressive
of
the
grou
buildings
scholarly
for
the
College
of
of
the
City
for
New
York,
^e
group
buildings The
Graduate adaptable
for
geof
most
Princeton expressive
University. Gothic
most
derivation
will be
collegiate
style
architecture
found Gothic
"
in
transi tiona
which
combines
Renaissance
Tudor
a of
rly
English
forms
^the
style
llegiate
American
out
architecture
of
Oxford
of
success
and
style
at
Cambridge.
have
adaptations with
conspicuous
this
been
c r
Princeton
Bryn
sity, UniverMawr
as
the and
University St.
for Louis
private
Few
of
Pennsylvania,
as
l C
University,
and
well schools
in
many
ildings
country.
public
European
derivations
by American
style
such
as
be
felicitously
employed
English
th
to
is
/'transitionaP* buildings,
properly
applied
ca ed
and be
although
derivations
with
a
migh
considered
to
in
connection
there
chitectural element
speaking
debt to of
England, of this
is
sufficien
thic In
allow
*'
brief
reminder.
one
Military
of the
Gothic,*'
style
speaks,
pe ha
of
versife
exemplified
in
but
FROM
THE
GRADUATE
thr
SCHOOL
OF
PRINCETON
Frenrh.
fl"in""
iloDC
arcb
are
""fl"iiiboy"nl"
MODERN
DERIVATION
OF
THE
GOTHIC
GROTESQUE
GOTHIC Gothic
RIB-VAl'LTING derivaiioD
(The
IN hsudled in
A
"
MODERN
moDner
AMERICAN
U
onw
BUILDING and tm
BcboUrly Vrnvenity)
GmduBtr
School
of
PrinceloD
of
such
American
a
buildings and
"
^yet
this
group
sents repre-
splendid that
its
remarkable
architectural
not
any
vement
significance
could
or
'^
be
overlooked
in this
be
the
works
of
sense, as
any
period
the
term
to
nationality.
In
specific
Military
Gothic"
of
on
regarded
applying Academy
a
more
the
at
buildings
Point,
the
States Biver
as
Military
"
West
sense
the
^in
general
the
it
is
to
be
ded
type
applying
to
massive,
called buildings
rugged,
Norman
at
like fortress-
of
Gothic
study
architecture
of the
**
Gothic.
West
Point
to
aragraphic
serve
the
to
make by
the
clear
term
architectural
qualities
so
be
stood
specific
Military
may
Gothic,"
be.
that
any
considerations
regarded
as
essary.
It
is
apparent
conveys
that
the
some
idea
of
military
of
From
a
architecture
fortress
or
iately
thought
e,
of
man
place
to
be
defended. himself by of
time
's
has kind
of
crag
nature
as
aid
a
any
selecting
some
as
site
essible
must
as
Tintagel,
an
natural
great
a
eminence
offer
enemy
difficulty of
a
ach
possible.
a
One
or
does
a
not
conceive And
so,
tres for-
built
on
plain,
in
or
valley.
regardless of
ny
actual
our
necessity,
even
contingency
military
se,
thoughts
natural
of
military
as
edifice
the
picture for
firs such
nsiderable
height
location
ilding.
this
In
particular
at
of
Point
mental
is
at
association,
once
the
site
appropriate,
group
West
logical
and
steep
the
massive
buildings with
an
crowning
the bulk
bank
sturdy
he
Hudson
River Whereas
impressive Gothic of
of
ry.
architecture lightness
its
best
in
delicate
attenuation,
the
Military of In Point of
as
Gothic tremendous
is obviously weight
quality
at
its
be
achievement
and
sation condenthe
of
at
form.
this
are
architectural
manifestly
ings build
West
successful. interest
to
They
, a
furthermore,
group-study
significant
well
was
as won
the
student
an
individual
competition
to
a
building
udy,
for it
the
was
work
so
in
even
largel
cause
apparent,
committee
a
of
chitectutal
judges,
architectural
that
here
was
a
tremendous
architectural In
a
pressive
idea, of the
dominant
rpose
in
the
vision
the
designers. between
this,
de in
lies
a
difference
"
mere
building
purpose,
work
of
architecture
the
first
lacking
; the
consequently result
failing
a
in
expression
second
bein
of
definite
and
intelligent
architectural
tention.
These
observations
may
on
Gothic
concluded and
derivations
by
on
a
in
few
can Ameri-
architecture
**
be
comments
Commercial
or
Gothic,'*
re-creating
term
* '
the
* *
difficult Domestic
creating,
* '
in Commercial
this
country
a
' '
othic.
The
Gothic
idea
one
is, from
the
most
ery
natures
a
of
the
commercial
term,
yet
and
Gothi
dea,
paradoxical
to
which
apt
pplies
certain indeed,
of
our
architectural
in
essays.
Muc
not
rchitecture, this
country
is paradoxical
in certain
to
theory, in makes
on
but
fact
historic
some
periods
extent,
Europe,
nd
it is
as
this
'*
which,
such
erm
Commercial while
on
Gothic'*
it
may
an
apt
and
as
accurate
a
e,
in
fact,
one
well
be
criticised
par dox
paper.
It
is
to
be
submitted,
suggested
*'
however, by is
**
that
the
"
variance and
etween
ideas
ide
uggested
of
by
thought
Gothic"
than
rather
in
ealm
between
architectural
"MILITARY
GOTHIC"
ITht
ChBpel
of
the
West
Point
Militai
rements
to
of
our
modem
Gothic
office
style
' *
buildings
may
and applied
is
the
the
which Gothic
be
the
*'
be
t most
A
may
derivation, for
the with
reason
however,
that
a
claimed,
dispenses
steel
building
turally
the
Gothic
essentials
ing,
pointed steel
arches
and
buttresses.
no
Structurally
point
dern
any
building building.
becomes steel
possesses
in
common
Gothic
affinity modem
Superficially,
apparent at
once.
however,
ing
The
;
building
a
is smaller
to
''
perpendicular" ground
greater
area
i
than The
it springs
church,
* '
from
and
movement
far
towers
' '
Gothic
heights.
of
offers
its lines
a
is essential,
external
the the
and
Gothic
style
direct
of and
a
expression.
Furthermore, of
the
by
steel
reason
comparative desirability
proportion
emess
skeleton, offices,
devising
of
welMighted
to
predominant in the
design.
void
the
solid
is
called
offers
for
an
Here, solution,
Gothic
style
architectural
its
tall,
slender,
spaces.
or
vertical
The
members,
and
style
its
absence
solid
the
wall
external,
Gothic
is
of
adaptable
the
superficial, exactly
the
expression
same
reasons
modem
building
for
style,
that
not
th
to
esque
considered
earlier,
proved
able.
despite and
and
ideas ideas the
Thus,
absolute
a
of
the
ses
of
of
modern
building
and
and despite
the
ses
Gothic
the
them,
us
structural
differences
an
between for
is, nevertheless, in
not the
adequate
sanction buildings
that
Gothic
ations is
the
modem to
tall
of
the
to-day.
It
intended
only
to
imply of the
Gothic and It is
style
others
solution in the
problem,
alluded
ninth
chapter.
intended
B(X)K
OP
ARCHITECTURE
ather
to
bring
out
the
or
thought unpermissible in
that
there
is the form.
nothing
tylistically of
The
illogical
in
of
ment employ-
Gothic difference
derivations
in
purpose
matters
and
idea derivation
existing is,
**
between after
he
prototype
a
and
its
modem
hiefly
**
difference
which
might
the
be
mind
called
is
literary,"
mental."
Instinctively
disturbed
rushing
houghts
of
bank
up
of
swift the
elevators,
towers
bu
tock-brokers
or an
down
mass
on
of
Notre in the in
Dame
athedral, of
of
being
chanted
Broadway
dor corr
office
lower
Ne
ork. is
Dismissing
possible It
as a
these
to
purely
some
associative
thoughts,
architectural
form
impartial associative
onclusion. reckoned
^yet,
is true
that
thoughts architectural
Middle Ages
shoul
powerful
factor of
in
desig
if
the
Gothic with
builders
the
en
confronted
buildings,
**
the
necessity they
not
of
erecting made
we
towering
the
fice
would
have Since
we
mos
their
perpendicular" architectural
those
T
style? styles,
may
admittedly
rrow
not, to
with
given
propriety,
kinds
rrow
most
adaptable
ildings
Modern
commercial
architectural buildings in
a
adaptations have
of been
of
the
Q^thic
by
such
as
sty
attended
con sp
success
number
inity Times
New
'Building,
Building,
the
United
numerous
States
tall
Building,
houses
York in
"
City, size
great
and,
towering
the
success
all
its
of
these
th
actual
the
and
in
of
Gothic
vat der
Woolworth be
or
Building.
that
a
It
may
truthfully
the
ways.
said
lay
pause of
to
study
th
ll
repay
student
observer
architecture
a
several
There in this
is apparent, building.
first,
The
great
tectu archi
intention
magnitude
an
h}
H.
TeUa
INA A
WHICH
GOTHIC
WITH A
STYLE TRANSLATION'
HAM
BEEN OF
ADAPTKD
MATERIAL
FOH
AND
.MODERN VASTLY
liowe THE
and
gargoyle
"t
twenty-
WOOLWOKTH
BUILDING,
CITY
ty,
above
even
the the
' '
nobility,
of
plane
this
intention
has
raised
by
usually
an
a
attained which
the
mercial^ the
created
of
edifice visiting
In this
entirely
"
characterisation
of
Englishman
respect,
as an
Cathedral
Woolworth
Commerce/'
is
of of its the
to
then,
Building
be
regarded
order.
a
tectura archi-
achievement
the
matter
higher
In
execution,
clear from
a
idea
of
it
tectural of
significance
elements in
will
come
tion consideraof
mass,
certain
shade,
these
mass
its design"
scale,
in
elements
and
material,
elements
and
stylistic
derivation.
be
Taking
succession,
it may
"
said
the
is successfully
in
a
handled
of
such
matter
of
size.
to
vital
The
tance bears
structure
colossal relationship
from
at
at
seemly
and
logical viewed in
girth
the
of
rear,
the and
building,
whether
the
right
front
or
it diminishes The
abutting
the
height of roof
appear to
the
roof.
an
gables
the
base
the
they in
the
effect
agreeable
"
transition
small
are
from
as
sub-structure
to city
elation
the
shop shade,
equal
size
the
house-front. the
by
In
the
manipulation
rare
ight
and
designer
displayed
the
**
tectura archimotif by
ingenuity levels
they
any
utilising
structure,
canopy''
hree
of
cast,
the
to
and
three
these
serve,
the
effect
horizontal
perpendicular
divisions
**
ut
conflict
the
with design.
the
movement"
of
whole
not
any
Anything
resembling in
a
ce
could under
way,
possibly
pretext,
monotony
be
yet
introduced it
was
even
Gothic
n,
necessary
to
break,
me
the have
and
from
ocular
sheer
displeasure
would
resulted
perpendiculars
uch
tremendous
height. of
material,
a
In
the
matter
skilful
architectural
translation
an
' '
was
necessary.
Gothic
of
stone,
architecture
in
the
matter
sentially
architecture
the
teriors,
story,
whereas
Woolworth
terra-cotta.
Building, Forms,
above then,
ird
is of
glazed
a
whic
created
were
from
solid
here That of
material
from
so
by
plastic
a
hammer material
difference be
so
isel,
contrived
modelling.
ns
of
essential
could
a
terial
and
method
production
is
honestly
point
successfully
overcome
* *
significant
'
ly
in
architectural
* *
derivation,
but
in
architectural
translation.
Perhaps
study
an no
architectural Woolworth of
consideration Building
as
involved brings
out
so
of
the
element
design
could
the
a more
of
ale
of
of
its
the
detail.
importance
Nor
illustr tion
of
scale
of
the
Woolworth different
elevated
range,
Building
stations several
"
are
to
en
widely
are
reet,
they
at
hundred
several
story.
^from feet
air,
as
close
from
the
gallerie
It
ch
gallery
at to
the
forty-second
forms possible
forms
cessary,
then,
as
contrive
as
which
with
should
historic
be
relation
and
they
pre
ent,
to
these
with
from
not
own
such
the
subtlet
street,
at
would
at
telling
time at
as
low,
and
monstrous
appear
crud
when
level. in
to
To
design is
not
^'in
merely
scale,''
to
understood
merely
a
this
co n
magnify,
increase
ameters
and
the it
to
thicknesses. of
that the
Such
process
would of
was a
resu
ly
in
creation
say
architecture
process
nightmare.
one
"Gice
the
here
of
co s
subtlety,
practised
under
peculiarly
exacting
tions.
is
no
The
a
scale
of
the
cornice
no
of
five-story
or
ing
matter
meriting in
the
less
success
attention, of
the
means
less
tectura archi-
design,
problem
is
by
no
so
cult.
the
matter
In
of
stylistic
derivation
successful.
have
the
Woolworth
Essentially
ing
is
conspicuously
Gothic declares
forms they
' '
been
been
used,
and
in
have
frankly
used
pictorial structural is
at
rather
than of
a
structural
need by
steel
(unless
yet
-bracing)
served
flying
story
their
graceful
uction
the
once
and
was
effective. given
interest
of
of
the
Gothic
the
up
use
gargoyles
grotesque
animal the
great
among
traceried
the street
ts
of
below,
from
but
irresistibly
or
chance
ses
windows
of
galleries.
grotesque
tectura archi-
pleasantry
the
has
also,
stone
he
detailing
under the
of
the
ceiling
lobby, beams
where
sculptured
preserve
ls
will
for
owner,
posterit
admirable
the with
caricature
of others
the
the
tect,
master-builder the
erection
prominently building.
ified
remarkable
Detailed
to
consideration the
been Building
indulged
for the
in
with
ence
Woolworth
one
reason
besides buildings,
being
its
of
the
most
noteworthy intention of
of and peculiar
American
design architectural
(in both
form)
value
trates
many
points
he
lay
student.
now
It
remains
to
comment
briefly in of
a
on
the
difficulty
xpressing
modem
domesticity
aspect
the
Gothic
style,
ially
in
the
exterior
dwelling.
Several
tangible,
yet
one,
potent,
factors
a
militate
against
recollection
its of
perhaps,
smal
and
stupid Revival,''
monstrosities another, of
the
inept
Ruskinian associative
Gothic
constant
ntal
connection
Gothic
with
ecclesiastical
ildings. Some
residential
interiors
interesiting
of
and
Gothic
design
a
ha
en
conspicuously
successful, in
the
ubs
^but
have
these
been
are
agreeably exceptions.
rendered
Lack
Gothic
st
of
familiar thought. in
*
precedent The
a
as
had
its
effect
on
associative
ediaeval
the
Gothic
castle.
residence
(excepting
no
few
citi
There
of
was
well-to-do
or
middle
was
class,
a
the
dwelling by
no
the
serf
peasant
a
ru
ffair,
means were
attractive
too
customs
so
as
basis dissimilar
modes
for
derivation.
from
ocial
to-day less
conditions
:
widely and
from
tho
manners,
of
living
bo
variance,
numerous
that,
vast
the
*
architectural
*
poi
view,
''
and
costly
Mediaeval
tions Deriva
in
' '
the
way
of
Twentieth
in
Century
expression,
American
even
or
castles
have
been
lacking
a
whe
hey
have
possessed
interest.
Europe
certain
quasi-roslantic
between day in the America
ev
icturesque
in
to
The
the
an
chasm
Middl
is
ges
and with
of the the The
present
ide
The
bridge
architectural
church
has
a
derivation. remained
idea
as
sufBciently
in
^ ^
imilar,
also
' '
idea
fact
no
of that
fortress
implied
ta Mi
Gothic.
conmiercial
with
our
architecture
the past,
mpersonal,
no
analogy
laiming the
contact
with
individual
in
li
present,
Gothic
derivations
fo
cceptable. The
dwelling,
has
however, itself,
has and
undergone
too
man
hanges,
moulded
been
moulded,
GOTHIC
DERIVATIONS
131
ly
to
to
our
personal
desires,
to
preferences,
primitive
needs
and
form.
upon
revert
in
will and
type become
its
Mediaeval
apparent
truth
increasingly the
Italian
deration,
houses
in
subsequent
villas,
a
more
study
of
from
English their
and
nature,
which, direct
developed derivative
offer
opportunity
architectural
expression.
The
following
of
to
designed
house,
to
outline
its
the
ion
the
from
earlier
the
modem
with
correlated
American
ations.
CHAPTER
DERIVATIONS,
CAUSES
ON
VI
EARLY
AND
NGLISH
IMPORTANCE, INFLUENCES
AMERICAN
AND
OF
MODERN
ENGLISH
THE
HE
MEANING
AMERICAN
ARCHITECTURE.
ANGLOOF
COUNTRY
HOUSE. ARCHITECTURE
THE
ADAPTABILITY
ENGLISH
COLLEGIATE
NO
person
in
the
least
familiar
with
country
the
can
ment developfail
of
to
our
ccord
to
in the
trend
rchitectural English
our
thought. derivations
country
are,
perhaps,
most
domestic
in
some
architecture,
and
egree
other
types
f n
Renaissance
architecture,
England
under
the
Georges,
as
**
to this
country
and Georgian
which
transplanted
Colonial'*
on
^ ^
is
more
ully
dealt
with
' '
in
subsequent
chapter
American
rchitecture.
Our
present
observations
country
on our
are
directed
and
more
closely
and
to
o the
English
house,
own
early
modern,
ts
influence
country
house
on
architecture.
the
he
preceding
of
chapter
erivation and
that
**
laid
English blended
'*
style
**
of
othic
Renaissance
English American
called
Collegiate
have
rchitecture.
buildings
but little, largely of
nfluenced
of
architects
cause be-
the
stronger
counter-influence
the
Beaux
rts
school It is by
in
no
France.
means
unnatural for
that in
at
we
have designing
two
turned
the
oward
England house,
inspiration
there
are
ountry
and
reasons
least
strong
narchitectural
132
for
this.
r
"
I'D
sll
in
m
m
f^
1 a
ENGLISH
[ul .nd
DERIVATION
.ccurslo
IN
AN
AMERICAN
of .ho
COUNTRY donionk
architeclu"
HOUSE
of Ihe
EthIUIi
romark.blv
rendering
It
must
not
be
forgotten
are
that
very
our
family
"
ties
are
with
English
people
race,
^we
of
the
-Saxon
strains
and
not
even
admixture
the
has
materially
our
modified
forefathers.
to
us,
nor
dominant Things
cteristics
could
to
of
never
English
**
sh
be English
alien'' people.
to
can
we
ever
alien'* is
the
It
equally
may
important said
to to
remember
the the
that
very
the
sh
be life,"
any
have have
invented
country
and
enriched nation.
life,
it is
idea
own are
unlike
in
other
European
connection English
amount
with
precedent
country
good
and
conceive Anglicise
ny
of
evolution conception.
which
could
this
The
then,
as we
having
understand
originated
it
the
idea
naturally the
of
ntry
to-day, dwelling,
oped
of
suitable
kind
of
to
country the
proper proper
tory his-
which
is
essential and
understanding
appreciation
English
its
characteristics
charm.
the
of
idea life
peculiar life
the
And
idea
on
since
which
our
the
own
of
ry
is the
country
development in
the in
of
domestic
country
architecture
house.
is best
wed
EJnglish
Italy
and the idea.
country
The always
idea differed
of
life
in
France
has idea,
derably the
from
American
English German
houses,
were
and
country
and
the
German
were
after
largely
Mediaeval
after
es
antiquated,
if
as
one
patterned such of
French,
were
to
cite
only
conspicuous
les
name
the
castle
and
gardens
'^Sans
by
Souci" Frederick
von
itself
or
being
vast
French)
estate
devised of Prince
Great, in
the
Piickler
u,
Silesia.
The
English and
present,
country
hoase,
however,
from
has
been
ontinuous
the
logical
and
many
growth, of its
its
earliest features
tim
salient
country
ha
een
incorporated
in
the
American
gone
house. through
nglish
Keep,
present
'^
evolution
the
* *
has
' '
successively
'
Hall
and
the
'
Manor, house,
' '
untU
' '
it
its
reache
form,
been
the
the
country
and
changes
ave
all
in
direction
of
greater
attaining
attraction.
greater
co fo
greater
privacy
was were
and
a
The
**Keep"
Its walls
fortress-like
affair
of
feud
imes.
thick
was
and
had
by
few
no
smal
glazed
windows.
It
surrounded
gracious
ardens,
but
visit
a or
deep
attack.
moat
and
Here, the
drawbridge
motives
isolat of
t from
from
protec tion
rather
him
rooms
than
in
sociability, dungeon-like
the
lord's
retainers
There
were
dwe
th
this for
abode.
and
lord
his
lady,
but
these
Life
wer
parsely
and centred
uncomfortably
furnished.
**
in
Keep''
our
in
**
the
great
halP' and
the
(the
great to
prototype
common
modem and
living-room
'')
gave
this
name
sembly
eating-room
the
ty
"
English
dwelling
immediately
succeeding
it
Hall.'' The
**Hall,''
Hall,
a
* '
name
preserved
Hall,
in
Moreton than
such
Hall the
places
and
rdwick
was
Haddon
seemly
ke,
Keep,
more
dwelling
the
type
forbidding
house
and preceding
became
of
country
imme diat
Elizabethan
more
development.
apparent
were
for Com
and
elegance
considerations
made
country at
an
defense,
attempts In
arch tec
later
Jacobean
sea
all English
architects
turned
their
was
ward
Renaissance
Italy,
and
when
England
the
fi
type
th
Italian
designers
and
workmen,
formal
AMERICAN-
COVMTEY
HOUSE
GI"D
Cove.
Irimi
laluul)
AN
ADAPTATION
OF
THE
ENGLISH
'TCDOR"
HOVSE
STYLE
IN
AN
AMERICAN
COUNTRY
Thf
Hyle
which
Diicked
the
traniilianiil
h"ii(c.
id
Eneland.
fmni
Gmhic-
to
RcnliHucc
archit"-
Italian
garden,
and
with
terraces,
grottos,
fountains,
stamp
uary staton
^Hemples,''
placed
its
permanent
English
"By much quite ''great walls
garden
the
design.
of the
end
Sixteenth
austerity
only
was
Century
of
the
the
gloom
and had
the
**Keep''
surviving
feature
was
but
this, too,
with
rapidly
treated
was
barrenness
of the
as
chase
trophies
family
well
rich
ever
and
decorative
portraits. comfort
an
Furniture,
too,
developing
variety,
creating
and
ance, appearconstantly
environment
period
''Manor" Tudor
the
of
*'HalP'
was
ually gradand
into
Elizabethan
places such Hall
Jacobean Sutton
Longleat English of with
front
times. Place,
Great
Moreton
were
country
as
Old
Hall,
a
Hengrave
new
and
House domestic
time, such
stamping
architecture.
as
Many
were
this
Longleat,
subsequent of Great
The
continued Elizabethan
later,
garden
conceals,
(Frontispiece)
early
behind built
its pleasant
with
Norman
the
Keep,
quite
about by spanned
changes,
garden
charming
water,"
and bridges,
aquatic became
than
at
as
"ornamental Under
Elizabeth,
internally the Tudor and,
with England
plants.
more
prosperous
and
so
on
more
peaceful evolution
any
that
imchecked,
by
prominent
earlier house
time,
went
made
adventure,
became
houses
modern
Some
great
of
Elizabeth's
Hardwick
all,
Holdenby, and
Bramhall,
Knole,
Montacute
as
House instance
ollaton
Westwood. Manor,
to
many
And,
in
the
reat
Tangley
up
earlier
dwellings
renovations
we
rought
date
with
extensive
ditions.
Even
at
this
time
house
there
became
apparent
one
of
glish
as
country
a no
characteristics and
which
peculiar
remains
-day
use
less and
conspicuous
charm
of
great
local
houses
varied
were
building
local
stone,
materials. with
heavy
Mo
the
of
sl
ofs,
lead windows.
sometimes
flashings
and
rain-leaders
stone
was
and
scarce,
leaded brick
and
cas me
Where
with
stone.
ed,
the
comers some
and
counties,
window notably
do
enings and
of
In
Ken
was
urrey
Sussex, Elizabethan
half-timbered
type.
construction
many
cases
same
vourite
In used
this
stone,
br
half
at
-timber different
as
were
all
in
the
house, of colour
p h
times,
as
and
diversity
natures
xture,
well developed
the
an
varied
essentially
of
successive
type
ditions,
picturesque the
mestic of is
which period
of the
even
formal
supplant,
class
ifices
Georgian
keynote
did
not
ich
domestic
architecture
gland
Early
to-day.
Jacobean
forms,
with
manors
continued
of
along
beth Eliz
the
note
the
Italian
Renaissance
coming design.
increasingly
The
conspicuous, Civil
especially its
in gloom
not
g d
War,
with
brief
but
omwellian
consecutive
Puritanism,
interrupted, of
the
the
did
che
development
the
English of
such
country
use,
and historic
period
saw
erection House,
famous
mansions
as
Hatfield and
Audley Park.
En
orpe
Hall,
the
Coombe
Abbey
Raynham
period
of
Inigo
Jones
and
Sir
Christopher
A-J
ARCHITECTURAL
TYPE
LATTER-DAY
WHICH
HAS
FURNISHED
MUCH
INSPIRATION in Bolborn,
London)
(Old
houKi
A
The
MODERN
dccontive
ADAPTATION
value ol
OF
ENGLISH work
HALF-TIMBE! ia
uk
bsK-timber
oI
iU
mem
uDf
(Dormllory
buildinc
at
Prinreton.
N.
J.)
il
2 fr
b1
both
and
was
eager
exponents
of
for English
a
the
the
Italian marked
Benaischange house.
both
coming entering
*
responsible
over
the
country
Before
which
country
into
discussion
Taste** wrought well
are
of
the
chilling
the
'the house,
Classic
it
in
note
lish Engreview
would
be
which
to
in
characteristic
dwellings in
details
to
be
associated
and
Gothic,
times. and Tudor
Tudor,
Elizabethan
ean
late
the
(Stuart)
Gothic
barn-like
of
In
houses,
type to
doors
heavily
developed framed
to
battened
times
*
those the
* *
Tudor
arched
usually
*
pointed in
conform
were
Tudor
stone
woven
openings
were
which
they
Bare
coarse-
walls
**
hung
which, between
with
tapestries,
was
or
no
arras,'*
however,
rooms.
used
in
were
place
of
doors
Panelled
tracery,
* *
cots
frequent,
carved
decorative
with
*
Gothic
^
with
the
familiar
and
rooms
linenf
old
open
motif.
ceilings
trusses
of
which
large
showed
the
the roof,
heavy and
these
timber
trusses
often
elaborately
The
Elizabethan
Benaissance, in
some
really
was
as
to much
be
a
regarded
transitional It
has
to
as
lish
as
d,
respects,
as
the
same
Tudor.
been
cterised
bearing
Benaissance bears
the
relation
the
fully
oped
English
as
French
style
ois
Premier
to
fully
developed
French
ssance.
many
Thus
Elizabethan
features
many
as
are
found
battlements,
to
retain
Gothic and
tres but-
Gothic
mouldings,
while
introducing
re-headed gable
windows
ends, oriel
instead
windows
of and of
pointed
large
Gothic
bay
dows win-
windows,
in
leaded
glass,
with
sash
the
casement
type.
4ineiif in
* *
old
panel
of
Gothic
and
Tudor
tracery
tim
ntinued
popularity,
from
though
Gothic
motif
sappeared Half-timbered in
domestic work
architecture.
a
reached houses,
high
in
stage country
**row*'
of
ment develop-
Elizabethan
shows
both
and
in
ci
illustration in London.
characteristic
be remembered,
lborn,
It work
of
must
however,
at
half-timber few in
examples
originated
such
early
in date
Gothic
remain
time
ough
to-day
pecially The
England.
of
interior
many
the
Elizabethan
of
hall,
the
'
house house
'
began
ume
characteristics
was
of
in
such
modern
mes.
as
There Haddon
the and
great
and,
the
examples
Hardwick,
a
*4ong
gallery.*
staircase
feature,
was
made
highly
decorative
tural architec
with
the
elaborately
usually
carved
carved
as
a
hand-rails
in the
a of
wel-posts,
latter The
form
had
raldic
animal.
staircase,
until
feature,
be
rgely
the
Sixteenth
onward
never
Century,
again
om
period
insignificance.
sa
to
architectural The
great,
cavernous
fire-places,
gave
with
to
overhanging
od,
of
Gothic
type,
place
smaller
fire-place
th
elaborately
of
the
carved,
and
a
often
polychrome
coat
trea ment
arms
blazoned In
gave
of
us a
forming
the
motif.
subsequent
place
over-mantel
painting,
carving with
of carving
to
ove man
surrounding
and
framing
as
in
the
works
Grinling
were
Gibbons.
of figured
out
Elizabethan
geometrical
ceilings
plaster,
in int lac
patterns,
carried
with
until
able considerthe
freedom,
and
this
type
held
in
favour
the
Seventeenth
and
Century.
these in
Panelled
turn
gave
ceilings place
to
were
troduced,
the
139
cally
painted
character
and
the
which
low-relief
came
plaster the
ceilings Eighteenth
Classic
with
ry
Classic
the
revival. Elizabethan
became
During
period,
floor
coverings elements
and
ture
upholstery
important
o
and
more
ior
comfort,
became
and,
through
the
more
period
and
to-day.
d,
increasingly
similar
decorative
interiors and
to
more
embellishments
were
Panelled
Elizabethan
carried
at
their
times,
in and
*'
the
the
houses
Jacobean
luxurious
interior
latter
and
modern*' of
vel de-
the
domestic
improvements
the
r The
period.
exteriors by of elaborate
of
country
as
houses
well
as
were
ened
by
of
a
large
mullioned
the
windows member
(the
dividing
**mullion**
one
window
from
from
being
:
opening
er
the in
a
dividing
sash,
one
a
pane
of glass
fanciful and
er,
is
**muntin**).
ends,
roof often
Dormer
with
gable
ur,
diversified
later
wall,
Jacobean
in
than
lines,
differed
a
dormers
rather
that
a
they part
were
were
essentially
part
he
of
the
main
roof.
The
nces
of
Jacobean
houses
architecturally
or
elaborated
with
Italianesque of
in
columns often
pilasters
and
ends,
sion
carving,
brick
heraldic, assumed
shape
while
gable
ially
buildings,
much
the
of
of
the
sity
and
Dutch
Italian
picturesque
of
*
gables
the
nd
Renaissance
detail
was
type.
An
notably the
characteristic
of
Jacobean figure,
tecture
semi-grotesque
and
ently
used in
however, the
as
pilaster,
of
forms
often
red
form
as
finials.
typical
it
was
Jacobean alien
l,
characteristic
to
ny
other which
terrace
details
was
of
the
style,
was
the
on
small,
stunte
posts
on
elisk,
commonly
on
placed
gate
the
and
rden
balustrades,
posts
bles. Intricate
of Italian
carving, the
period,
in
stone
and
wood,
was
was
act cha
this
detail
carried
with
ter
patterns
designs,
earlier forms of
though
English
were
irit
of
Elizabethan
execution.
the result,
ny
interesting
to
ntributing
the
achievement
the
that
peculiar
pict
sque
richness
at
of
close
Jacobean
the
style.
'But
the
of
Jacobean
for
period,
began
comparatively
to
artificial
apparent
fashion in
the
formality
of
the
mak
self
dwellings
Anne,
reign
of
William
Mary
and of the
Queen
Georgian
however,
forecasting Houses
a soon
the of
Classi the
vival
tch
reigns,
certain
to
element
melike
atmosphere
vanish
in
rks The
of
the
Georgian
manor
Classicists.
was
Jacobean
but
the
still
house
more
picturesque
more
th
rmal,
was
formal
the
th
cturesque. I,
in
1723,
during the
Kent,
reigns
reign
the
orge
and
the
of
of
the
cceeding
Georges
Gibbs,
and
Adam
for
things Classic
Italian, Eevival,
then and
for
whatever
rks
Georgian
in
the
new
mode detail
of
was
scholarly
more
and
than
academic
lost
ceties
design
and picturesque
in
ssing
the and
informality
houses.
**
of
Many
the
Tudor
izabethan
were
Jacobean
titled
men gentle
architectural
the
amateurs*'
and
layouts
had
of
much their
with
design
a
and and
garden
an
ow
aces.
Such
scholar
amateur
was
the
Earl
I
s
j I
5i
M^
AN
AMKRICAN
COUNTRY
HOUSE ADAPTED
OF AND
COMPOSITE
BLENDED fnlugod fnlugod
ORIGINS
BKILFILLT
The
genermi
etlert
o[
Ihii
Kduh
u"
Ihit
ul if
EnslisI Enslisb
cottige.
while
the
tie
ngton^
who called
published the
**
portfolio
of of
drawings
by
dioy
with
Antiquities
contemporary
Eome/*
This
other
publications,
enthusiasm
the
over
was
but
fuel
art
for
and
one
of
general
and
ic
architecture,
of
Earl
poone lam-
with
who
those him
gentle
but
terrific
satires vein
:
addressed
in
his
characteristic
"
show
U8
Rome
was
glorious,
onoe were
not
profuse,
things
noble fools;
of
use.
pompous
shall, half random my
the
your
with
just,
imitating
your
rules
Who
And
from
your blunders
sheets
shall
take,
of
some arcs
one
Load Turn
"
with
a
old
triumph
garden
"""""""
Shall
call to
the catch
winds
cold
through
at
a
long
arcades
to
roar.
Proud
Venetian
door."
The
country
house
to
showed
earlier
and and
radical
English
es
compared
were
ings.
plans
formal
symmetrical,
symmetrical
coes portiin
oped
correspondingly
formal
and
to
tions.
gave
an
Classic
air
them of
of
pediments
dignity their
the
eprived
earlier
atmosphere
roof-lines
Interesting
and straight the
and sky-line
irregular
d,
became
and Classic
hard
and finial
formal,
urns.
chimneys
and
a
In
Jacobean
were
Elizabethan
of the wall the
houses, of
eaves
dormer
house,
the
dows win-
portion
up
the
resquel picturoof,
carried
through
dormer
of
became
but
Anglo-Classic
of the
window
and
entirely
roof.
are a
Systematic
part
spacings
are
indows
of
formal
not
ctive
of
informally
artistic
the
Classic
chool
of
design,
*^
picturesque
accidents'*
mpossible. Within,
most
houses
of
the
period conveyed
imposing,
patterns
did
not by
belie their
mpression Booms in
or
of
frigid
were
stateliness
high
plaster and
ex ri
with
chas
Brothers
eilings
low
relief
fresco
were
by
Italian
the
the
dam,
formal
paintings
for
by
decorators.
he
settings of
admirable
delicate
Hepplewhite,
as
a
Class
urniture
not
so
**
the
Adams,
that
Sheraton
fashion
quaint
and
t is
remarkable
much
embraced fantasies
and
rel
rom
dignity
Taste" mellow,
the
of
dale's Chippen-
Chinese
the
in
furniture
decoration.
one
were
home-like
as
oak-rooms
as
of
more
beth Eliz
and
Stuart
times,
well
the
the
of
formal
human,
interiors
Anne.
of
period
William
ry
Queen
Anglo-Classic rendered
and
as
a
style domestic
of
the
Georgian
by
the
Period American
tter
style
many
lonists,
while
its
it offers
admirable
seems
tural architec
features,
ultra-formality
for
any
uses
in
the
need
dical
modification desired
and
in
a
other
to
than
expression
dwelling
formal
designed
receptions
be
the
setting
rge
elaborate
and
impersonal
has
to
tertainment.
Georgian
of
style
contact
Classic with
the
our
architecture
ough
a
points
popular
life
of
to-day
except
nearer
mak
for
country
house,
it
to
orgian
the
Classic
works
and
brought
of
Colonial
that
or
It
is
or
to
be
the
said,
the
re de
fashionable
exclusive in
the
ma
nd
great
architectural
inspiration
possesses exactly
gian Geor
style,
which
that
most
degree
gnity,
impersonality
and
urbanity
desired
ildings
of
this
sort.
II. T.
Llnd"l"rK,
ArctaiUd
(Albrn
LlDdiberg)
IX AMERICAN COUNTRY
HOI'tiEi)
TWO
MODERN
ENGLISH
DERIVATIONS
Uctun.
wbile
itroke
the ot
"II"elJT*
introductioD iodividuaLity
Ibe of Id deajgn
[ocnml
lUlinn
Pillnduin
eptrsDct
["
"
dirint
but
rii
reflection
can
of but this
an
artificial
taste
in if
its
own
time,
the
be
doubly
country
artificial
to-day. remained
inappropriately
yed
in
Strong
end
of
Classic
the
influences
in and
force
until
even
Eighteenth of
the
Century, Nineteenth
chaos mistakes
architectural
appeared when of
he
beginning
of
Century,
began,
as
out
the
which
such
Revival of
Buskinian
as
fantasies
the
ts
Charles
has
Eastlake. been
made
to
Mention
elsewhere illumine
of
Mr.
Buskin's
gloom
cessful
attempt
architectural
the
''Seven of
to
Lamps
the
of
Architecture/'
exist,
to
on
The
both sides
inept of of
nts
period
testimony to
still
the
any
tic,
bear
the
an
unwisdom
rary
attempt
popularise and
Buskin,
was
architectural the
style.
was,
Eastlake
more
less
is
known,
of
two
had
a
he
more
perhaps,
sincere
than
's
and
the
lively
a
n.
Eastlake and
vision
creation
was
no
of
style nothing
of
tecture
furniture
and based
which
on
to
be,
if
picturesque,
's
stylistic
the other
precedent. that
happens. becomes
ake
mistake
in
lay
in
ignoring
or
fact
art,
the
resque,
the
or even
architecture
of
any
s not
result
deliberate
unpleasant effort
intention, in
which
direct has
and
re
actually
proportion
gone
he
amount
of
conscious
into
it
ivance.
published
a
Eastlake
*'
book
in in
1870,
and
for
of of
time
style" in have
found
England
expression and
mute
hundreds Many to
were an
small
we
America.
testimonials
* *
these
with
for
the
us,
*
ng
were
artistic.
There
**
queer
windows in kind
of
and
bull's-eye** scattered
deliberatel
differing
size,
and
ere
in
the
walls of
; there
were
of
turned and
sp riots
es,
explosions
sunflowers dripping
ig-saw
the
eaves.
Decen
rpenter
scalloped,
in
a
perforated
and
of
scro
wed,
the
interiors, curiosities
few
survivals
restlessly
to-da
indeed,
decorated
and
^ '
th
obviously with
apparent
were
European-Oriental fans,
or
motifs,
* *
embel
shed
peacock
feathers
reason,
and
vases.
out With of
glazed houses,
tiles
lours
built
and
of
gable
en
mosaics
broken
gla
ells
pebbles
best and
the
imbedded
Eastlake
to
in
stucco.
was,
At
style
undeniably,
the later
style.
one on
helped
make
possible
ance accept
of
At
more
legitimately
picturesque
style
was
its
worst
the
Eastlake
of
the
mo
ntastic
and
nonsensical
effort
parodies
the
structural
ever
seen.
chitectural
that
world
has
With
1858,
the
a on
rise
new
of
era
William
dawned
crafts.
craftsman,
Morris
in
and
in
his
the
schoo
out
England
real
thought
an
arts
and
a
While
and
Morris
essayed
himsel
no
artist
works lies
and
in the
c s
his
taught and
tremendous
people
to
cance signi
to
in
about
thi
nestly in
things effort.
of
the
artistic,
appreciate
as
artistic
absurdities
the
hybri
nifestations
and
the
new
school
honest
became
able, intole
creed
construction,
ornament
pressive things.
F.
construction, Morris,
and
Bossetti,
appropriate Bume
a new
Jones, others,
set
Walter
ane,
Madox
Brown,
and
and
few
abo
king
honest itself
designs,
the
spirit
architecture.
immediately
de
felt
in
contemporary
were
Webb
and
Shaw
the
forerunners
of
such
gre
English E.
architects Norman
are
as
Voysey,
Dawber
Lutyens, and of
in
a
ie-Scotty
And
country
s.
these
architects attempted
type,
the
its
sh
house,
rary
revival
and
most
of
historic
picturesque in the
rather
of of
mal
was
essentially
charming and
to
al
earlier
Tudor, and
bethan
Jacobean
modem
times,
blended, and
owes
adapted
requirements.
nised modem
charm is
express
tastes
The
English
to
country
house
its
teristic charac-
several
in that of
facts
in
has
its
composition. chimneys,
and Houses of the the of
present
It
historic,
it
casements,
bits
half
-timber
like
the
time-hallowed built by
Keeps
and
it
land,
the
forefathers
ers.
is
It
indigenous,
belong
to
because
its
materials modern
as
well
as
it
the
land.
returned of local
The
to
English
tects archipractice
have
advisedly
the
the
most
the
admirable and
texture
making
materials, of
have and
also
colour
sed
endless materials,
many
possibilities and
the
ifferent
picturesque in
possibilities the
same
ingling is
different
materials
house.
It
picturesque in
terms
because
of
it expresses
and
inherited
materials,
element
forms
local
varied
this design. whole of
ccessfully
nervously
picturesque
because
striven
for
in
the
It
is
on
expressive,
a
its
conception the
natural
of
informality
domesticity
should
of
country
life.
It
be
its
apparent
own
that
any
so
fabric
entirely which
so
an
plainly
an
owth
soil, and
and
expression
it
he
national
must
traits
a
tastes to
called
into
be
difficult
one
successfully
transplant
to
adapt
tastes
in and
another
land
and
to
express
and
me
ther It
requirements.
is
fact,
of
the
however,
English such
that
type
successful
of
are
country
at
merous.
And
achieve
some
expressions
their
whe
hey
measure
of architects
the
American
and
owners,
equirements
of
their
blende
copy
as
a
ith
their
to
English
inspiration. merit
Nor for
all
No
literal
can
aid
possess
architectural
and
accuracy.
other
can
than
a
stu
copy
possess
ny
significance
must,
the
be
reason
that
"
arch tect
above nothing
else, lack
is for
express
but
house
of
to
The
English
country
as
orld-wide
the
inspiration
country
terms
more
chiefly house
the
of
that
presses
essential
potently
domesticity
any
chitectural nationality
the
than
other
ty
of
dwelling,
type.
with
the
possible
chateau
exception
Early
American
for
; the
a
The
French artificial
seems
setting of
more
comparatively villa
it
and
formal
romantic
nd
life
Italian
is, perhaps,
more
genuine,
; the
but
is
no
less
a
formal
and
cer mon
Spanish
an
hacienda
is
dwelling, which
but,
we
unles
eatly
modified,
alien
abode
with
have
cial
affinity. essential
bond
ancestors,
our or
This
quality
most
of of
us
domesticity,
feel
our
this
the people,
unconscious
which
the
with
own
homes
homes
of from
shoul
of
our
onerate
any
charge To
forbid
mania Anglo-
of adapt
plagiarism.
type
as
tect arch
to
English
of
country
house
would
nearly to
as use
unreasonable
green
a new
to
forbid
or
landscape
to
inters
we
in
painting
trees,
suggest
at
devise
speech.
The
English
style
is
TYPICAL
MODBRN
ENOLISB
SUBURBAN
HOUSE
^11
p
I'
iil
medium,
whether
for
to
the
large
so
or
the
some
small
country
house,
and
is
likely
remain
for
time
The
art
of
architectural
and
adaptation
more
is
becoming
better
Styles
understood
are
practised.
being of
assimilated -understood
worthily ignorantly
ssed
instead
half
Certain
and
to
have
attracted
to
which produced
they
adaptation
has
questionable is doubtful
of
It
could derivation
illustrate
in
an
more
splendid
country
nt
American
at
dwelling
than
and
the
great
stone
house Other
Glen
Cove,
rowbridge
who
American
success
tects archiin
have
are
attained
Wilson
English
ations
and and,
country
Grosvenor
Russell Lindeberg.
Pope,
Atterbury,
Mellor Mr.
are
nson
Wheeler,
notably,
John
H. of
and Linde-
T. which
they
houses,
in ^English
that
several
show such
illustrated,
strong
remarkable
"
dual
typify
ssion
and
American.
and
are
They
cut,
straightforward
intelligent expressive
adaptation
of rather sound than
ts
best.
Such
derivations
well-advised critics
conviction,
some
believe)
hesitating
tectura archi-
imitation. is true
that
very
It
few
American
house attain
work
adaptations
such free
of
the
English the
country
as
rendering
of the
picturesque
the
of
British
in
architects,
reason
is to
than in
be
found
rather
ences
architectural
differences.
we
heard
it
deplored
that
lack,
in
America,
the
icturesque
the
local
of
the
materials
modem
an
whicli English
answer
contribute
country
so
largel
charm
so
house. for
are,
ttempt
superficial
however,
to
point.
account
ifference,
a
the
There
merica,
wealth
of
interesting
if
buildin
one
aterials,
both
only
near
natural
manufactured,
wer
cite
the
ever-interesting
so
Chestnut
effectively
Hill
used
ledg
tone,
Philadelphia,
of
that
by
rchitects
It is
vicinity.
the
true
that
'British
tiles
our
architect
stones
may
employ
we
ariety
even
of
slates
and
and
which
lack of
ut
architects
themselves of
(speaking
these
verage)
would
avail be
a
materials,
here
conspicuous
difference
in
inished
For
house.
this,
as
the
client
is
to
accountable.
The
average
erican,
compared about
the
of
Englishman,
is strangely
personal
elf-conscious He
that will
amaze
things
intimate
oflSce
;
ti re
rear
''skyscraper'^
the
buildings
launch
tels
whole
world
he
will
tect arch
and
engineering
projects
through
of
colossal
tude, magnisuccess.
and
when
carry
them
matter
with house
brilliant
comes
the
of
becomes has
his
own
under and
a
nsideration,
he
He
timid
about
of his
hous
ich
will
be
different
perhaps,
the
neighbours.
his
wife, admired
travelled
house.
in
Eng lan
It
their
or
ideal
"
^but
they
who
that
the
iends,
laugh
even
passersby
the
**
strangers,
ll
at
odd
windows
that
and which
chimneys,
to
will
call
queer''
intended
cturesque.
Real appreciation of the picturesque,
on
its
ow
s^
is, after
coupled is
all, with
a
an
cultivated
appreciation,
timidity
the
and
this
inborn
lies
at
where
of
on
concerned,
bottom
country
between
the
modern
English
American
Before
statement
of
of
to
this
the
chgrf
average
^architectural
client,
a
the
part
an
would he
Point and
like
paraphrase
a
arge
few
comments
made of
in
magazine
called
**The
View
in
tecture Archiorder
''(written
the
the matter
for
^^Arts
more
Decoration'
and
point this
')y in
a
ake
specific
architecture
moral.
and
In
practice
of
fearless view
has
didly
the
self-assured
English
of
present
a
point
type
of
made
ble
of
evolution
if
our
of
country
house and
the
which,
personal
never
timidity
self-
iousness
endure,
will
become
prevalent
ca.
must
as
It
always
a
be
are
remembered
not average
that
American
class,
entirely
country at
responsible
house,
every
the
hed
aspect
are
of
very
the
often
they
coerced
and
"
turn
by
the
rements,
them
restrictions by
their clients
*'
interdictions
worst of
imposed
all,
by
the
^and, and
ectly
'
delivered
officious
us
advice"
opinions
of
their
ts
friends.
a
a
Let
take and
modem
country
house
of
which
ypical,
house
couple
prospective
builders
have
is,
'
beyond
has
a
peradventure,
quaint,
with
* *
ideal
well
out,
of
their
dreams.
for
at
'
It
rambling
a
adapted
future
a
enlargement,
angle
wing
perhaps,
is
slanting
from
the
house.
roof
line
varied the
and
diverse,
"
the high,
interior
planning
of
house
^here
with
infinity
of
every
varied visual
pitch slant
are
and
of
the
unexpected the
same occur
angle, The
ing diff
with
and
are
observer.
unexpected
d w
chimneys
picturesque
of
so
nd
they
only
where
eds
of
house
the
rooms
dictate
from
their the
placement.
is
designed
inside,
which
its
are
exterio
turally
to
unexpected externally,
features
for
the
sible impos
superficial windows
panes
"
effect.
are
a
nother
detail,
with
of
type
sement
small
the
average
leaded
ndow
admired
as
by
as are
American
home
builde
in
lmost
much
house
it
is
shunned. and
the
Everywhere
charming
a
nglish
quaint
surprises
low,
rtical
on
sundial
a
let
flagged
into
wall;
a
hooded lead
a
do
iving
terrace,
hand-wrought
pipe,
or
pper
leader-head windows
these
for
in
a
the
rain
riot
of
ittle
All
cluster. contribute
to
a
things is
a more
the
general
house, tastes
impression
and
must
an
at
the
house
than
mere
home
of
for
person
of
individual
and
appre ciati
the
the
picturesque.
Inside,
are
house
is
pervaded
window-seats
by
the and
same
feelin
ere
inglenooks,
at
run some across
quaint
a
way sta
and
may
unexpected
a
place,
or
great
oak
am
room,
overhead
charm"
in
passage.
a
he
house
is
thing the
of
continual
beneath
stay
a
of
never
char
diverse
that his
nook for the
dweller
may
corner.
its week
'
roof without
grow
red,
and
every
guest
ing discover
and
Now
average
American
he
client,
who
selected
goes
architect misgiving
apparent
(whom
and finality,
has
probably showing,
w
an
ch
trepidation),
a
with
which,
picture
of
this
house,
few
very
inconsequential
changes,
embodies
eve
of
himself
and
and
his this
as
wife. client
The
as
a
architect
man as
is
after
delig
welcomes
his
fancy.
With the
first
as
much
dispatch drawings,
patterned
possible delineate
the
he
res
as
set
of
which
after
nearly
possible
client's
ideal.
sketches them presented, greatly
the
The
the
may upon
prospective
even
builder
early
may
and
(at this
the
success
stage)
which house. friends,
*atulate
with
country
has takes
rendered
idea show
to
of his
the
drawings
wife
to
and
unknowingly
bidding
the his that
house
farewell
his
chances have
tastes.
of
ately
attaining
reflected
which and
would
honest
tectura archi-
actual ubiquitous
His
friends
nearly he
things
"
and
elects
to
own
omniscient
pass
on
jury
matters
every
in
might which
roof
better
feel
queer''
be
he
"
his
law
to too
"
tell
him
ought
^'^far the
be
warned
st.
The architect
'
'
eccentric," is
*'
must
be
these
crazy,"
plan
tical. imprac-
A
the
few
of
sapient roof,
to
advices and
the
effectively builder
a
pose dis-
of
to
interesting
his of
a
makes
exactly
direct roof
substitute
house.
roof it goes
the
So chinmeys.
with
with wife
quaint
always
windows
picturesque
His
had but
to
one
associations friends
casement
ws,
of
of
her the
(whose
tells
knowledge
her
ior
that hard
architect)
and ordinary
that
draughty,
to
clean
the
easily
type
"
forced
of
by
Consequently window
no
American
no
ble-hung"
is
installed
to
window
more
less
hty,
open
less
than
difficult
any
clean
and
easily
other
type.
Another
not
friend
is
nced
that
the
chinmeys
will
draw.
This
he
putes
to
the
fact
that
they
"
are
designed,
builder ordinary which
house
externally,
ong
picturesque
the the architect remaining
lines
and
the
to
makes chimneys.
first
are
no
have All
stimulated eliminated,
are
admiration
by
one,
for
original
by
he
his
shall he
not
assiduous
not
friends,
disappointed convinced
who
dete mine
that
be
become
in
that
his
house
the
interior,
will
across
has
varying the
oor-levels
be
practical,
and
a
that
gre
beam
welcome,
the
hall,
with
quaint
carved
mott
"look
queer,''
and
might
better
be
ncealed
With
he
few
changes,
to
which architect
seem
to
him
is
qu
left
ivial,
returns
the
with
what
the
original
many
scheme,
country
notes.
and houses,
explains. he
If
architect
ilt
remains
patiently
sile
takes The
work
proceeds by
the
(if the
his house
as
client
has
not
been
eff tua
discouraged
friends
from
the
The
whole
building),
little
time,
and
is erected.
client
from
will be
fe
disappointed but
trusts
he
visits
the
building
house
ti
to
that it will,
of
the
he
finished
reassures
*'
king;
doubtless
the volume
himself, practical"
remembering
excellent
advice
had
It
from
his
friends.
is finished,
He is of
not
even
and
he
is
to
aware
wave
of
the asking
ment. disappointdrawing
likely
the
was
face
the
architect,
out
may
as
the
the
origina
ea
carried
architect
agreed
point
out,
first
mild
co f
The
every
in
wa
at
salient changed
"
feature in
the
in
the
to
original something
The and
two
drawings
safe,
are owner
dered
finals,
co s
and
after
commonplace.
seldom of
od
friends
this
interview,
the
lives
in
it
unhappily
he
may
ever
afterward, telling
his enough
on
deriving friends
to
satisfaction
idiot
from unfortunate
what
employ
upid
an
he
was
architect.
more an
His
than equal
friends,
half
the
other for
hand, the
in
unhappy
who
actually find
owner
responsible
of
degree of it
"
gratification
how
consoling it
might
to
with
thoughts
much
worse
been
bungled
* '
if
moral
had
^which
that
been
is
we
left
plain
"
entirely
^io easily
the
tect.
in
the
The
mula for-
statement
if
consistently
adhered rather
forward
ur
honest
personal
our
desires,
we
consulted
look
comparable
coerced
attainment
and
architects,
of
a
the
country
i
of
etic
picturesque
'
values
the
works
the
sh
some
a
architects.
respects
In
the
American
dwelling,
house
architect
especially usually
lighted,
type.
has in
the
oped develplan.
more
more
practical
country
American
rooms,
contains
than
an
and
house
as
these of
better
English in
ry
corresponding
And American
English
the
to waste
such house
country
rs
heating and
and
more
plumbing
efficient.
to
the Many
re
livable
houses,
charming
look
undue
upon
from
outside,
space
in
their
plans
an
tendency
unnecessary
corridors
to
a
and
number
passages,
and small
number
have
to
fice sacri-
large
rooms
great
of
a
rooms.
English
plans, points,
at
however,
offer
two
of
very
lent
least
of
which
by
been
used
tects. archi-
success
and
are as
credit the
American
front" finding garden
two
points
latter,
estate.
''garden be
seen,
"
and
use
the
will idea
the
may
large be
or
The
of
front,
house
er,
developed
even
attractively the
cottage.
in
the
ate
size,
For
some
the
to
devoted
his
either
st
of
his
dwelling
as
uld
create
viewed
or
front,
ove
up
to
it,
passed
now
' '
along
road.
* ^
The
fron
en,
to
be
distinguished imposing
hidden
at
the
entrance
' '
front,
made
wing
and the
the the
architectural,
rear,
with usually
that
the quite
s v
and from
part,
the
aspect
of
house
most
direction.
long
The
of
English,
living curious of is in
for
have
were
be
nd
in
their
gaze
gardens,
of the
which
by the is
sheltered
laid
the
om
the
rear
public
of
tea
being
of
out
the
the
house.
Much
where
life
often
English
ace
garden,
gathers,
an
or
served,
on
ere
the
or
family
after
dinner,
walk.
of
the
garde
'*
rrace,
enjoys
'*
after-breakfast the
aspect
The
from
owner
g d
front,
assumes
then,
to
the
house
and
r,
the
to
English
that of
architect
the
' *
portance
even
equal
a
entrance
front, service
was
*
"
rhaps
greater the
importance.
kitchen
to front
The
win
en,
one
containing
side
trees,
and
some
laundry,
extent,
extended
the
and
so
concealed,
that
"
by
of
the
plan ing
of
both
might
and
be
rear
house
th,
some
in
fact,
cases,
fronts both
the
architecturally
treated
American
houses
has
been
presents
and
aptations,
garden
entrance
so
sacrificed
a
front, while
that the
latter
must,
beautiful
mmetry,
former
of
necessity,
oken
by
the
service
wing.
Several
examples
appear
ong
the It
an
illustrations.
would
obviously
*'
be garden
to
absurd
front'*
to
design
if
there
hous
th
attractive from
a
were
rden
which
view American
it,
but
when
the
owes
pla
ticipate
the
garden,
the
architect
muc
British
architect
in
the
matter
of
beautifying
rear
elevation.
front
'^
And
leads
so
if
a
the
desire
to
to
develop
also,
the
den
to
desire
the
honse
develop, for
y
of
livable
the
' *
garden,
much
better in
evola-
American
'
country
general.
the plans
a
The
office
larger
which
is
included
in houses
of
on
most
he
English
country
is
of
room
the
with
floor
provided chauffeurs,
estate.
for
the
purpose
dealing
employees
men,
large
and
other
paid,
accounts
kept,
place
aints
heard,
apart
all
the
the
rest
own
business of the
of
house,
the for
acted
from
the
5ce*'
so
is provided
that
master's
with
is private
no
its
need library
outer
door employees
and
vestibule,
there
for
or
the
ing invad-
the
study.
The
living English
as more
room,
of
course,
is
and
developed
was
from in
the
the
country
house,
a mere
welcomed
for of
*'
this
ry
than
formal
rlours'*
of
the
more
American
hall" taken
tecture. historic in
this
The
importance
country
great
was
English
chapter,
up
er
and
of
' '
its
too
direct much
here.
ndant, of
our
the
American
lives the
comments
* *
living
room,
is
rt
daily closing
to
require
of
our
any
discussion
Before
a
tale
architectural
be made
debt
upon
nd,
few
should
by
or
the
successes
attained
the
modem
English
tects archi-
in
**
community"
''neighbourhood"
American efforts
planning,
compared
with
most
in
that
''neighbourhood"
American
' '
groups
of
houses,
gous
two to
real
estate
developments,
we
highly
emulate:
desirable
unity and
traits
which
would
do
diversity,
skilfully
character
combined
The
architectural
of
the
156
THE
' *
PBAC?riCAL
^ '
BOOK
OP
ARCHITECTURE
English
gronp
of cottages
cottage thus
is consistent shows
and
while
each
f rpm
individual
picturesque
the
its neighbours,
' '
defeating
usually
monotony
of
jif^'
rows
of
identical
put
(and
up
individually
speculative
at^ominable)
dwellings
by
the
/
/
It will
be
shown merit
in the
second
part
of this
asset
asset
so
book
to
th
architectural
built
that
**
is
most
significant
"
house
by
real-estate
not
operator
^an
tangibl
cause
it should
need
to
be
better
pointed American
urged it may
in be
the
practically
but
as
architecture in no types
house
owes
tect arch
a
of and
building
the
such
degre
in the
country
school
college
assume
buil ing.
Of
greater
these,
part
the
the
country
house
because
must
of
debt,
to
us
"
it has than
an
been
mode
and
an
inspiration
^more
architectural
by
peculiarly English
of country
certain
has long is
a
concep tion
shared
instinctively, of
racial
with
the
even
Englishman.
It
rather
questio
a
identity,
It
than
mere
and
obvious dictated
we
th
certain
superficial
and
*'many
traits
home
should those of
at
in
houses
patterned
after
ancestors.
CHAPTER
LATIN
DEEIVATIONS
Vn
IN
AMERICAN
ABCHITECTUEE
TYPES
THE PLACE ITALIAN OF INFLUENCES
AND
CTURAL
ADAPTED
FROM IN
ITALY,
FRANCE
THE
AND
SPAIN.
VILLA
AMERICA.
TANT IMPOR-
ITALIAN IN
A
RENAISSANCE
CHATEAUX, LITTLE
ARCHITECTURE.
MODERN
FRENCH
HOUSES
APPRECIATED
SPAINl
ATIN J
ing
derivations
all
in
have
are an
American
come
architecture,
to
us
mean-
that
from
Italy
and
and
cultivation
Spain, of
forms
of
peculiar
importance familiarity
appreciative
types. most
with
tectural
and
caUs
And
if
to
the mind
thought
an
derivations adaptation
that
vividly viUa, is
of
the
be
American
remembered
of this than
the
Italian
it should
comparatively
in
derivation Italian
less
types
tance
influences
other
ing.
so
That
and
on
little
has be
come
to
us
from
as
a
Spain
lack
as an
is
remarkable,
should
the
or
taken
rather
of
appreciation
part
of
the
architect
material
than
in shown
evidence
of
unavailable
Spain. how
on
In
an
earlier of
the
chapter Italian
it
was
the
a
tecture archirevival
Renaissance, from
the
based
lassic
forms,
emerged
architecture,
involved analysis
maze
of
eval
of
Gothic
and
some
of and
the
Renaissance
architecture,
was
in
Italy
European
countries,
style
also
the
presented.
The
architectural
"
of
Renaissance
is
fluent
fiex
style
a,
style
which in by
many
lends types
itself
of
to
tectura archiIt is
expression
building.
characterised
nicety
of
proportion
in
its
larger
167
mbers,
and
by
nicety
of
scale
in
its
detail.
are
sance Renais
refined
column
mouldings, Severe
pilaster
especially
compositions
may
the
Italian,
of arch
licate. and
and
ch
be
or
relieved by
and
humanised
in the fresco
nventional The
masters
ornament,
decorations by
as
raffito.
architecture
evolved
Renaissance
alian is
is
in
so
well
studied,
adaptations,
museums,
architecture,
ranging
suitable
many
through
and
urches,
theatres, city
libraries, besides
for
the country
clubs
an
bmldings,
offering
villas villa
inexhaustible
for
ne
of
inspiration Of American
and
garden
chitecture.
as
Italian
and thereof,
its
more
garden,
wiU
ll
the
adaptation
id
No
later.
study
of
the
influence
of
the
could
architecture
be
of
complete
alian
Renaissance
without
in
America familiarity
firm
of
intelligent
great
with McKim,
Italian
works
architectural
architects
as
"
White
hese
believed H.
in
architecture
ncerely
H.
Richardson
architecture.
believed The
of work
in
Byzantine
of
Romanesque
McEom,
ad
" who
White,
were
indeed,
trained
stamp
and
the
many
younger
room,
tect arch
in
on
that
draughting
place
ineradicable
onward,
style
American
as
architecture,
well,
the
a
fr
of
many
94
and
revival of
alian
which
most
design
country's
notable
of
a
buildings.
firm,
One
member of
the
Stanford
of the
White, finest
was
ster
detail,
connoisseur and
points
The
chitectural library of
a
ornament
sma
rble
in
New
York, J.
P.
private
unanimously
not
the
place
late
among
is
ten^
corded American
the
best
if
the
ve,
achievements
in
architecture.
DETAIL
GDlrsilH
OF
This
Pnllldiiia
adsplabilily
To
say
this is
a
building,
masterpiece of
by style,
or
the
of
a
great
ry
in is,
are
American
little
matter
misleading.
architects,
as
Italian,
rendered
works have firm of
American
Mead in "
most
of
the
McKim, approached
White.
Few the
real
attainment
in
interpreting
the spirit
of
was
even
to-day, of
the
Italian
with
se
sance Renais-
architecture.
Ecole
if any,
Arts
influence
apparent
of
in
the
h of
the
McKim,
Mead
"
White,
was,
in
rather,
the
to
early
carry
days
on
the
firm.
from
Their
the other
mission
hands old
torch
of
Bramante,
masters.
a a
Peruzzi,
Brunel-
i,
and
the
Italian affords
The
of
Morgan
an
library
historic by
an
unique
example
for The
style
open
in
pure
adaptation.
nce,
loggia,
of
' '
is characteristically
arch and tall
an.
composition
* *
central
side-
s,
Palladian
composition
is
(whether
proportioned.
the
great
of
w,
name
or
opening)
from who
on
faultlessly
is
derived architect
Italian
ssance
The
no
this
his
favourite the
the
motif.
niches,
both
the
and style,
Few
within and
loggia,
less
a
characteristic
Italian
such
balusters
of
perfect
form.
in
this
ry
combine
harfiionious detail in
ornament
proportions
such
study
exquisite
the
mouldings.
and
to
come
Morgan
library
thoroughly, its
intelligently is to
at
infinite of
it is
architectural Italian
ies,
real
essence
tecture archito
its
directly The
two
as
possible
do
ut
visiting
elevation
repay
Italy. of
a
illustrations,
and and
a
serve
showing of
street.
the
building study,
detail
to
the
a,
will
careful
impress
on
anyone
more
vital
of
the
and
Italian
lasting
comprehension than
the
architecture of
Renaissance
antity
words.
member
Another
"
of
FoUen
the McKim
firm
"
of
^was as
McKim,
as
Mead
a
ite
Charles
great
master
large
a
architectural
master
conceptions
Stanford
the
Whit
of
detail.
To
his
ability
country
es
the
noble
conception
of City of
way,
"
the
one
Pennsylvania
of
the
or
Railroad
most
erminal
in
New
York
splendid the
chitectural in
monuments
a
America,
of
worl
tterned,
general
after vein
of
the the
Roman
Italian
Baths
aracalla,
vastly
great
designed magnified
in
the
sance, Renais
and
wonderfully
must
engineered, for of
all
is
railroad of
any
stand
power
time
illustration
express
architecture and
human
of
magnitude
as an
dignity
stylistically,
style
or
it must Italian
a
stand
illustration
not
of
the
Renaissance
so
does minute
Library.
apply
necessarily
so
enforce
rendering
technique
of
and
exquisit So
the
Morgan
may
flexib
style
that
master
a
it with
success
jewel
casket
or
railroad
terminal.
of
the
To
firm of
catalogue
architectural
"
attainments would
special
so
McKim,
ad
White
much
necessitate
study
"
much it to
so or
space
volve has
suffice
or
say
that
no
an
rm
exerted
on
profound
sweeping held
so
American
taste.
architecture,
New
works,
high
is
at
mp
of by
good
their
York and
City,
the
especially,
country
cher
actual and of
the
lar
their
The
to
sincere
style
influence. Renaissance
reason
is of
the
peculiarly of
"
ited
city
architecture and A
serene
nicety
oportions
that
mentioned
may
before
exibility.
be
expressed
in
su
HcKIni, A
"-md
Whilf.
NEW
VORK
CITY
ITALIAN Ooihim
RENAISSANCE
Compinyl
DERIVATION
(Pnnii"
OF
ITALIAN
RENAISSANCE PCBLIC
BUILDING slyLc
ARCHITECTURl
"ckcrouad
ia
id
"
which
Bdmod.
mUht
be
emll"l
"Flor
(The
Public
Librmry,
MiuBrhuHtti}
AN
ITALIAN
DERIVATION
IN
"
ITALIAN
Ths
DERIVATION
laggis
IN
the
NEW
YORK
CITY
SHOP
FRONT feature
arculed
sbove eseeDtislly
itreet
of the
level Iinlisn
is bd tircliit"cturml ReDsiHBDTe
DETAIL
OF
S(
FKONTS
by the
OF
ITALIAN
iDggi*,
DERIVATION Eighlecnl
Thencoa
trinie-arched
"uribule"pBDel"st
ihowi "h"fi(ttagtory.
York
or
buildings the
shops
may
as
the
Tiffany
or
the
Century
A
as more
of
Gorham.
a
dignity
appear
building
the
building,
on
originally Fifth
Avenue,
for
or
the
a
Knickerbocker
degree
appear
Trust
ny
of
humanism
in
such
approaching
frivolity
as
may
ful
facade
the
sgrafflto
Another
a
shop
shop,
front
shown
Italian
in
one
he in
illustrations. design,
rears
of of
tion derivamarble,
loggia, for
delicate
by
an
facade
open,
a
white
tively similar
lightened
treatments
form
the
w-lot
must
a
problem
of
city
house from
It
be
study
apparent,
not
foregoing
remarks, illustrated
from
only
of
the
buildings
with
chapter,
that
but
the
of
the style
buildings of
to
which
we
are
al
iar,
the the
Italian
successful
"
Renaissance
solution
not
i
of
peculiarly
of
or
adaptable architectural
ty
problems
but
problems
only
ite
type
of
building,
problems
involving
the
expression
of
such
unarchitectural
It would be
qualities
to
as
ty
and arcade
the
distinction.
of
greater
diflScult
contrive
rt
combined
street
dignity of
the
and
richness
shop,
triple
arched
front
one
the
Gorham
ew style of
York
of
City,
the
shown
in
of
illustrations.
the media for
a
In
Italian
are
Renaissance,
this
expression
and would
study
of
an
range
and
infinite
form
stive
the
architectural consideration
the
an
itself.
derivations
In
in
by
the
of of
country
villa,
confronted
in
of
somewhat
architectural
even
paradox,
a
that
country
we
have
house
ed,
and
to
type
ded the
form
for of
American
the
country
life of
original,
villa
Italian
noble
the
naissance, of
country
formed life.
alone,
the
It has
setting
been
a
for
case
very
diflfere
nd
in
which
this,
tect arch
form, added
has of
been
been
romance
borrowed,
and
rtain
elements
(more
with American
the
literary really
th
rchitectural)
success,
has
developed,
a
extr ordi
into adaptation
its
tastes
or a
modem of
was
dwelling
villa
e
not
American because
Italian
satisfi
prototype
or
in
any
way
expressive life,
American
a
American
of
eith
it
reflection thing
purity
criterion,
because
with
far Venus
the
woman
more
autiful
to
as
look
at
"
^beautiful
though The
the
sam
assic
the
life
not
Parthenon,
of
link
th
the
human
to
us
to-day. it
woman
of
Mi
peals
because
it deifies
typifies
of idea
-day,
woman,
but
because the
all
typif ing
a
goddess,
appeal
as
an
rather
p s
The Elizabeth
as
is literary,
to
us
romantic
as
an
aestheti
woman,
ueen
appeals
country
actual
to
ust
the
house
appeals
is
more
us
actual
house.
Italian
has
real
villa
the
in
of the
the
rea
the
ideal
to
"
been
task
modem
he
chitect
with
it
and
habitable,
which
ne
Let
conspicuous look
success.
us
back
at
some
of and
the
at
great
and
famous life
we
llas
of
Renaissance formed
to
see
the
country
ich
they
come
setting, wherein
for
in the
this Italian of
way
st
villa
p t
in
our
American
adaptation,
qualities
propriate
and
respect
alien.
In
a
one
the
real
Italian
expression houses by
city
villa
of
the
a
Renaissance
logical modem
and
country
of
in
purpose
whic
st
a
hold
the
common
with
it
"
retreat.
Wearied strain
of
endless
intrigues
great
nervous
life
in
the
palazzi
LATIN
DERIVATIONS
163
ence
and
or
Borne,
servants,
the
nobles,
with
their
families
to
and repair
nds
found
the quiet
to
it most
enjoyable
and read wearied
must
the
cool of
terraces,
ens
villas, of
and
rest
no
and
less
poetry.
ican
to-day, business
by
al
activities and
the
same
cares,
find
pleasure
country
retreat
in
an
environment
the
created nobles.
between characterised
the
of
in
old
Italian
anachronism
exists
the
and the
indolent Renaissance
idea
of
country
Italian
noble,
and
life
some wholeshould
and
vigorous
the
idea
modern
of
country
which
cterise
American
with
to
country formal
gentleman.
ceremony,
Italian
was
entertained
almost
equal
his He
that
or
of
feudal
lord. outdoor
ed
too
in often
no
active brought
sports
energetic
the
life,
with
whom
him
spies
and have
poisoners
left
parasitic
friends
city.
we
he in
very
should
behind
was
in
by
a
the
Villa
life
Eenaissance wholesome,
on
Italy
or
all
have
sort
heard, of
thing
in
any
our
desirable
life
which
to
pattern
country
of
to-day. modifying
new
Our
them
architects
to
some
took
the
settings,
and,
and
enact
extent,
devise
dramas
the
most
in clear
place
of
the
old.
This,
perhaps, of
stage at
brings
the
understanding
Italian which
we
he
"
propriety
American and of
villa
one
of
derivar
have
^it is
to
setting,
because
in
feel and
home
its
inherent
beauty
a
and and
in
spite
of
its
associations
our
of
own.
life
entirely
different by
**
from
time,
Renaissance cloaked
by the
vity,
mantle
mellowed of
is
so
further
that where
we
romance,'*
find
much
historic
association
of
real
charm,
old,
the
forgotten
mantle
histories
could
tell
(if
we
lifted
of
romance)
kind
ns
of
of life
muoh entirely
or
sordid
intrigae,
either
we
blighted
from
hope what
to
different
from what
mo
suppose,
conceive
be
odem
American
ideal.
architects
the
master
rare rare
Of
all
American
adapted,
who
have is Charles of
of
essayed
A.
talian
has
villa,
Pia
ho
combined
surety
an
with
equally
degree
architectural
kill
and
degree
The work. the
imagination,
of
has
ympathy
and
has
real
artistic
apparent
feeling. in
his
result
the
bilities the
been
He peculiar
charm,
the
romance,
and
arch tect
chastity
given
at
once
of
the
Benaissance
at
Italian
time,
villa, in
a
a
as
his
rendering, and
the
same
and
of
note
ner man-
subtle
expression
forceful,
modem
igour
of
and
of
appropriat
Other
success
American
in the
have
attained
onspicuous
Italian
master, of
vi
rivations, works
but will
Mr.
Piatt
always
is the
as
accredited
monuments
rank
able remark-
architectural
It
sincerity
in
intelligent
the Italian
adaptation. villa,
from
should
be
obvious
that
in
a
ture,
is inappropriate
the
greater
cold
northern
climate,
ough
part
of
year,
the
a
United
country type
States
of
most
as
is, during
veral
months the
of
the of
ant unpleasa
climate,
the
warm
villa
Italian
and
as
is built
it
comes
retrea
months,
such,
well
withi and
pale
of
suitability.
are
Southern be
the regarded Italian
California
as
uthern
states
to
the
more
obvious
as
bitat
the
of
houses
of
type.
villa
type,
well
Spanish
The
superficial
characteristics
and
of
the
Italian familiar
:
vi
readily
roof
recognisable, of
reasonably
lo
tched
corrugated
arcaded
tile,
loggias,
stucco
walls,
occasional
on
balconies,
garden
terraces,
ft
Si
II
6
-"
patio,
house. Italian of
a
which
is
the
salient
f eature,
also,
of
the
sh
The
garden distinctly in
plan
is
inseparable
from
nature,
the
house,
being
to
architectural
and of
in
is closely
The
cannot
it both
general
character.
resque
possibilities
or
the
Italian and
garden
those
verstated
of
unduly
admired,
have of
our a
of
the
great
the
Renaissance
greater part
seen
formed,
and
will in
always
the
inspiration
garden
sion impreswhere
n.
the
We
garden
have
art
what
Italy
deep
and
upon
were
manner,
lasting England,
of
made schemes
and
beautiful in
the
laid
out
oughly thor-
frankly Georgian
Italian houses.
about
bean Jaco-
country
The
as
Italian
'
type
of
garden,
though
possesses
it
so
is
what
'formal
picturesque
garden,"
that
many
ment ele-
of
the
its The
is
its
least
was
icuous in
the
characteristic.
disposition
statuary,
skill
of
terraces,
fountains,
as
s,
garden
and the
pavilions, of all
well
as
nimitable
artistry
In
design
these
garden
lishments.
that
type
many
as
people their
have
decided
upon
villa
are
building by
of
inspiration
the
se
completely
Italian
plan*
and
which
garden
to
must
owes
part
the
The
Italian significance
permanent it
came
as
value
an
eal
the
that
gent intelliattempt
solution
of
the
problem
which
nature.
exists
The
in
any
lend
Italian planting
groves,
garden
ing bindits
e it
subtly
devised
or
surrounding
race ter-
walks
and
detached
and
pavilions
ing bind-
it
to
the
villa.
entirely
architectural
ARCHITECTURE
erely
spreads
to
some
the
architectnre
sharp
of
the
line A
house of
or
utward
the
iuevitably of
natural
an
demarcation
here
planting
nature
begins.
and
garden
natural
entire
nformal
up
leads
to
planting
sharp
contours
irectly
equally
line
of
demarcation
he
architecture
of
to
more
the
Returning Italian
be than
sance Renais
derivations,
that European
in
architecture,
more
ust
remembered
any
these
important
art
other
excepting
from
alway
he
Classic
the
bases
of
architectural
of
the
design, Renaissance
gave to
which
ndeed,
architecture The
itself
architecture
holly
derived.
Greeks
of
the
ternal
fundamentals
and
orders,
the
mouldings, which
Romans,
ntablatures
the
general
proportions
wer
ubsequently
and
further embellished
once more
developed
by
the
own
the
umanised be
revived language
a
by
in
our
Renaissance
age
to
as an
Italians
tural architecexpression
peculiarly of drawn
country
adapted
the
best
wide
range
architectural
certain life'*
owner,
as
problems.
comparisons between
by
We
have
*'
pirit
of Italian
conceived
and the the
the
sance RenaisAmerican
villa
To
modem
ntleman.
understand chateau,
artificial
status
of
apted
French
similar
comparisons
cessary.
French
was
a
country
very
life,
formal
notably
in
the
Eighteenth
tu Ce
affair,
and
to country.
consisting, life
Hunting
indeed,
being
was
ban
social
entertainments
merely
ansplanted
a
from than
city
a
more
ceremony
sport.
It
is
significant
that
to
fa
this
not
connection,
even a
to
remind
the
convey
French
word
in with
their
a
ea,
and
borrowed,
definite
artic
AN
ITALIAN
VILLA
DERIVATION
IN
AN
AMERICAN
COUNTRY
BOUSE
fill
I
ISf
HI
2 8"=^
It
-i II
sport
more
/^
conscientiously outdoor-loving
endeavouring English
neighbours
to
emulate
across
channel. and
Antoinette of French
'*
Versailles
the
**
several
are
charming
play-houses*'
illustrative
Marie
admirably
life. buildings Marie
and and of To the of her
of
the
country
gardens
and
Trianon,
the
e-believe
the
at
farm
Little
coterie
red
charming
of
friends
attired Here
lay
being
milkmaids
' '
appropriate
the keynote
costumes
and
naive
satins.
of
that
charming
expressed
artificiality houses
is architecturally French
in
the
country
he
nobility.
the
Some
of
smaller
to
a
chateaux
the American
should
architect
country
as
oflFer
who
consider
suggestion in
chateau
i and
ed
designing
style
semi-formal
be
house,
may
regarded
house
at
reasonably
a
priate
place
as
for
magnificent where
in
such
fashionable
Newport,
are
and
the
formal
avowed
tainments
is and
to
order,
tion
recall
the
the grand
splendour,
manner
lavishness,
the
court
the
y, XVI.
of
of
The
case
is
due the
again
case
of
theatrical
for the kind
American
scenery,
contrive
with
consideration
owners.
of
life
to
be
ed
of
by
the
A
type
large
may
country
chateau
be
or
an
architectural
ssion
"
absolutely
according
set
appropriate
absolutely kind
of life
inappropri
entirely
to
the the
'*
it
country
*'
ded
place
to
off.
'''Biltmore,*'
in
North
Carolina,
Brown,
and
at
or
house examples
as
of
J.
Nicholas of
Newport, of
excellent
American for
adaptations their
the
French
man-
au
commendable
architectural
as
for
their by
suitability
their
owners.
to
the
kind
'*
of
country
fe^'
enjoyed
to have
Other
American
of
social
prominence
done
ha
ected
country
houses'*
the
in
at
ner
of
"
Louis
recalling
Newport
'*
Trianons for
sa Ve
such
well-known
houses,
example,
**the A
Marble
Palace style
once
and
very
**Roseclifif/'
popular of but
now
French
by
ns
in
favor,
was
the
to
style
Francis
This, round
"
First,
tra si
from original
Oothic
chateau
Renaissance. with
in
fact,
style, like
towers,
a
capped
conical
roofs,
almost
yet
steeples undeniably of
expression
style
bly undenia-
picturesque,
an
equally
architectural
or
medium
life.
of
stes
American
As
the
influence
and
was
the
turn
Renaissance
supplanted
style
by
supplanted
the
more
Oothic,
French
in
Classi
chateau though
no
became less
increasingly
artificial.
a
'
Chateau
impressive
ture architec
air
has
certain
* *
dignity,
smartness
certain
*
bility
and
of and
which
merits.
to
has
The
a
its
appropriate
however,
plications
never
its
own
style,
be
expected
become
part
of
American
chitecture.
Of
French
was
influences
said in
the
in
fourth
city
and
public
buildings
ch
chapter,
the
end
of
French
the
design
from revival
of from Beaux
a
time
XIV
rough
classic
of
Louis
Arts
XVI,
teachings.
of
esent
manifestations will
It
be
with
apparent
study
that
that
portion city
part
text,
its
a
French
tect arch
plays
of
many
conspicuous
of of
our
agreeable
in
sign
buildings. through
the
AH
Beaux
French
yles
from
that
Louis
Art
"nd
"ucccHfu]
"
introduclion
m
HD
of
Americui
Ibe
Spaniili
moDumeatAl Waahinctnn,
paiio,
or
""
[DUDtun.
buiLdini D.
(The
Pun-Americsn
fnioD.
C.)
53,2
m.
Si 2
if"
Ell
Hi
it
i s
i1
I ?| I"'
SMfa
Omr.
Arrhllct
BalMcr
THE
"AMERICAN
EMPIRE"
STYLE, REVIVAL
PURE IN
EXAMPLE AMERICA
of LyncnUa
OP
THE
CREEK
CLASSIC
Tb"
Iu"a
ft
folumu
pun
an
nplicu
fiom
the
monument
in wremtlu
Atbena. in
tbs
rntrkOM
introud
dueinf
Gr"k
flundclBbr*
tod
Doric
with New
French
Empire
(be
IricK.
iron
York
City,
built
in
1836)
16
French
of
seen
style,
many
have of
the
been
largest
chapter,
extensively
American
utilised
hotels,
the
will
in
the
ninth
and
the
for
fronts.
style
many
has suitable
furnished city
of
the houses
more
inspiration and
extreme
shop
type to
The
frivolity
is
the
of
French
tecture
excellently
suited where
the
design
to to
res
and
restaurants,
it is desired and
for
too out
gay
offer
effect
ive
to
the
patrons,
iant
background
from
gatherings. hotel
chapter.
inevitable
much
frivolous ninth
to
tecture The
be
pointed
in
the
of
American
architecture in
the Arts
are
the
tecture archidevoted
France
is
des
stated
Beaux
comments
paragraphs
the
Ecole
foregoing
in
the
fourth
to
ter, chap-
and the
designed of
country
point
necessarily
as
artificial
to
position
French
house.
tecture
was
related
the
American
that
the of
It
remarked
architecture
of
derivations.
no
ca It
has is
availed
true
Uttle
that
Renaissance
as
Spain
yet
master-architects
race,
Italy,
the by
genius
legacy
he
its
art
strangely
many
enriched
architectural further
of
Moors,
of
evolved
adaptation
forms
in
well
and
development
this
ry.
Spanish
architecture
possesses
certain
distinctive
plan,
or
res,
in
both
or
plan
and building,
detail. the
In
patio,
whether
open
esidence
public
a
inner the
yard, of
is
wrought
marked
iron
characteristic. work
for
In
detail
balconies,
There
and
low-
es
is equally tile
characteristic.
as
ed
roof,
found
in
Italy,
the
same
preva-
nce
of
stncco
wall
terraces.
snf
aces,
but
no
such
frequent
loggias
Most
and
Spanish
colonies,
houses,
as
well
as or
those
in
the
anish
whether
in
manner
town
country,
wer
ilt
somewhat
no man
after
the
of
private
or
fortresses, felt
secure
though
community
trusted in
which
his he
fellow,
dwelt. with
but by
The
few iron
outer
wal
heavy
small, door
and
high
was
forbidding, and
a
ese
protected
reet
massive,
locks
iron-studded
"
wi
ge
bolts
but
and
actual
ponderous
siege.
barrier
gentler
an t
Whatever
mestic inner
architecture
court,
existed
was
was
lavished
gay
the
pat
which
often
with
flowers,
oled
by
the of the
fountain
patio
master
in
the
the
centre.
Into
of
gallerie
the
ound
opened usually
chambers occupying
hous
ose
the
first
fl
ove
the
ground, the
while
the
servants
dwelt of
the
below
d
the
performed
court
domestic
duties
household
itself.
Many
Spanish and
far
patios quaintly
greater
are
beautiful
with
flowers and
a
untains,
by
devised
number
cattle,
arcades
sort
the
door
barnyard,
secure
and
poultry
over
wer
pt
main
door
the
was
nigh
must
suppose
Spain,
evolved,
time
a
when
country
aracteristic
ieves
and
with
brigands.
plainly
The
apparent
tradition need,
houses
of
the
protected
seen
tio,
is
to
be the
in
rlier
haciendas
and and
or
ranch
of
Southwest
the
event
ited
States
by
Indians
of
South brigands,
taken plan
America.
In
tack
outbuildings
and
great
ily rea
be
burned,
the
live-stock
inner
court
sustained, for
ereas
made
it
Illiy
|lf|lV
riri-2
BS-g-z
rf?S
HI
^3= I
'I
LATIN
DERIVATIONS
Bl.KN'DING
ITALIAN
MOTIFS.
SPANISH
AND
CoIoutihI
temnjottK
dEtHJla
of
Cbiraga
afficf
buildinc.
dencDed
id
riel
tected four
householder forbidding
in
walls
outlying
districts,
a
to
offer
to
and
stout
door
the
der.
however,
property,
To-day, of
when
the
no
need
exists
an
for
such
protecti
patio
offers especially is
being
architectural in
the
tunity
of
peculiar
charm,
private
recognised
ence. with
as
This
greater
opportunity
zest
many
yearly
by in
the
architects
of and
our
Pacific
In
warm
well
as
the
South
the
East.
ry
dwelling of far
the
situated Southern
the
patio
in
Pacific
may
prevailing
coast,
or
tes
the
a
states spot
he
South,
beauty
well
be
made
in
cast
ing
and
of
real
significance
the the
daily
of
the
occupantia.
The
shadows
the
by
most
surroun
walls
will
render restricted
a
patio
area
cool
at
hours possible
the
day,
and
its of
will
make
of
and
contrivance
as
very
intimate
many
kind
gardening,
ing interest-
ell
types
the
selection
of and
attractive
of public
informal
buildings
semi-outdoor
the
patio
furniture.
usually
In
of
to
takes
the
courtyard,
in
inner patio,
the
plan
rooms.
of
the
ing, build-
afford
lighting
The
are
tectura archioften
a
possibilities
sight which
of
of
purely
however, function
in
its
utilitarian by
reason
as
light-
is unfortunate
of
may
the
numerous
ctive The
courtyard
patio of the
treatments Boston
which
Public
be is
effected.
really
Library
an
an
a
courtyard,
pool
or
flanked
the
centre
by of
cloister-like
a
loggias,
plot. is
one
and
truly
in
grass
ish,
patio
of
the
conspicuously
Pan-American
and
appropriate in
an
features
the
'Building
devised
Washington,
space,
C.
Here
tropical
the
open
rich
verdure,
flanked
by
open
stairways
and
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
lconieSy
centre
and
of
a
with
great
Aztec
fountain
appear
playing
strange
tiled
of
floor,
wherein
teresting The
figures
patio,
ancient
American strangely
however,
has
and
American courtyard
have been
architecture,
has fared
more
Italian
little
to
better, Italy
for
although architectural
es
turned
to
spiration
than
Spain.
as
Spanish
architecture,
adaptable
and
to
well
as
that with
popularity
of
Italy,
culiarly
stucco,
hollow
of
with
the of
the
terials
the
spread
Latin
derivations
widened.
The
a
Italian
place
villa
in
our
or
the
Spanish
casa
can
never
cupy
architectural
English of for
country
entirel
mparable
a race, we
with
are
the not
because,
Latin
these
extraction,
types,
as
Anglo-
xon.
Our
chateau,
esteem
for
ench
will
be
upon
based
very
largely
aesthetic
upon
ary lit
association
and
be
superficial
attraction
they
will foreign
esteemed
elements
a
and
into
our our
accepted
life
"
because
^not
th
ing
because
e,
ancestrally,
part
of
life.
CHAPTER
NATIVE
TYPES
VIII
AECHITECTUEE
OF AND
ARCHITECTURE. WEST, THE
AMERICAN
CHARACTERISTIC
STATES,
NEW
ENGLAND,
THE CREOLE
MIDDLE
ATLANTIC
SPANISH
"
SOUTH.
AND
COLONIAL
IN
IST "SECESSION"
WORK SOME
MIDDLE
THE BUNGALOW
CRAFTSMAN
IDEA
ND
COMMENTS
ON
THE
SPITE
and there
the
continned
and
pronouncement
who
no
of
writers
the
critics
architects
bewail
truly
fact
is
**
no
national
the
style/'
''American
exist
country. not
one
tecture,
fact
types
remains
peculiar
as
that
to
there this by
but
types,
several
And
considered
their
to
''
divided should
what
a
call
habitat/'
architects
at
afford
nspiration is important
our
throughout
to correct
* '
country.
It
the
' '
outset
loose
and early
some
misleading
buildings
term
a
Colonial,
more
and
to
divide
with
can
little
accurately,
chronological
to
a
distinction.
extent
This
division of
locality,
may
ade
great
irrespective of
native South,
and
nsideration
of
the
types
American East
tecture archi-
characteristic
then is
a
of
North,
and
West
be
common
better
understood.
matter
It
to
hear
any
American
ing, builddesignated
of
date
' '
prior
to
the
Civil
as
War,
as
lonial, if
which
people
were
would
to
be
absurd
the
it is
rate, inaccueven
give
question
's
thought. evolution
The
of
native
primitive
American
beginnings,
is
a
architecture,
through
its
necessarily
it
highly
manifestations,
a
consecutive
opportunity
and
to
would study
peculiarly
interesting
history
of
the
American
people
173
"
stndy
so
so
detailed broad be
points.
could and
properly
as
be
the
more
included
present
in
view
extensive
out only
boo
erein
may
pointed
the
salient
portant The
broad
**
distinction
between
* *
Colonial
ture'' Architec-
and
Georgian"
that
(or
the
**
Georgian
essentially
Colonial")
native
is
chitecture
is
first while
is
the
cessarily
primitive,
and,
and
second
essentially
ported
by
reason
of far
greater
more
national sophisticated
pro per
development,
aborate.
Early the
"
Colonial
various
architecture
home-country
reflected
influences Welsh,
in
very
accu rat
of
the
English,
"
Dutch,
erected
Swedish, buildings
French,
parts
rman
who thirteen
different
of
iginal
colonies,
while
effecting
Georgian
a
Colonia
certain
as
chitecture
at
tended
least
toward detail,
of
the
f u
in
and
toward
effecting, distinctive
we
eat
modifications
modes
previously
tect arch
of
the
of
varied
The
architecture
Post-Colonial
distinct
survey
and styles,
Classic
be
seen
Eevival by
a
is
brief
from
ll
of
and
Georgian
lonial
The
architecture.
clearest this
chapter
and
of
most
useful
manner
in
seem
which
to
udy
architecture
would divisions
We prevalent
in
study
by
general and
locality, geographical.
types
the
being
to
chitectural
have
consider
the
en,
the
architectural
in
New
Earl
Georgian
settlements
Colonial
of
in
periods
York
England,
New
and
adjacent
Delaware
portions
New
Jersey,
portion
Pennsylvania,
and the
uthwest
of
New
Jersey,
and
in
Southern
ates.
NATIVE
AMERICAN
ARCHITECTURE
175
The
of the of
the
on
French
early
the
and Spanish
Spanish
Creoles
in
are
missionaries
and
separate
as
Pacific
the
Coast
"
these
of
the
eties
from
are
architecture
teen thir-
colonies be
taken
they
interesting
course.
in themselves,
and
up
in due
In
New
England demolition
'^
the which
rigorous
goes
as
well
the
as
yearly
progress,
in
wake homes
have
left but
and New
was
a
few
of the
reason
the
earliest
to
colonists, the
for
this
we
are
likely
as
picture
type
England evolved
wealth
of
type
of
Colonial
the
which
in Georgian
examples
may
nial Colobe
times,
and
of
which
to-day. England
of is
houses
were
The
strange
contemporary
houses
in
true,
by
local
necessities
One
most
conspicuous The
comer
characteristics
posts
was
dy
construction.
often
of
square,
the
frame
twelve
and
fourteen
inches
tenons
heavily dowels,
many
or
ed,
and
pegs.
very
held It
with
and
en
discovered
houses
were
that
of of
a
early
New
England
construction,
actually
ish
half
-timber
concealed
behind
ly
es
of
stone
clapboards. and
mortar
"
The
heavy
sometimes
brick,
the laths
interior
and
surfaces plaster,
finished the
with
rough,
-made
exterior
sheathed
clapboards. An interesting
the overhang
feature of
the
of
direct
English
as
tradition
well
as are
U-"
second
story,
the
to
casement
windows
New
which
een
examples.
England
houses
176
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
with
gambrel
of New
roofs
nearly
all
belong
to
the
earli
period As
England
grew
Colonial
more
architectijre. the
the of the
country
prosperous,
developed
route
correspondingly.
between
the
an
ships New
number
plied World,
perilous brought
Old
with
them
ever-increasing
more
of skilled
artisans,
trained
in the the
cated sophist
forms
which
characterised
architecture
Georgian
The
England.
New in England their houses exterior
more were
still
save
severe
a
the
Puritanical
which
aspect,
more
for
became
and
elaborate. door,
a
Class
J
columns
or or
pilasters
flanked
the
supporting
curved
entablature.
deUcately
there
or was
moulded
fan-light, exterior
with
treatment
wooden
was
leaded
complete
often division
sheathing
white-painted
the whole shingle the plain whole
most
and
clapboards, four-square
roof.
common
shutters house
were
painted
with
a
gree
roofed
other
lo
pitched
course,
There
types,
being
the
more
the
barn-roofed
simplicity
typ
with
the
gable-end
exterior. houses
and
utmost
marking
The
were
pretentious often
of the
larg
New
England
**
and
with
t i
in
woo
the
ous prosper-
merchant
prince
from
those
of
humble
neighbours. An interesting
house is
the
"
peculiarity
and
interior
of disparity
would
the
New
England
between
appear,
exterio
from
kind
the
most
humble
ma
and
intricate
carved
work wood
and
panelling.
NATIVE
AMERICAN
ARCHITECTURE
177
The
house
writer
is familiar,
in detail,
portion
New
with
of
the
old
son Robin-
Bhode
houses
an
Island,
in that
of
not pass
rooms,
well
as
early
England
presents
nity.
utmost
Robinson and
house
were
exterior
simplicity,
the
its interior
explorer
beauties
would
lly
famous,
architectural of the
without
suspicion
beautiful
panelled
ed
ed
pilasters, balusters
famous
Dutch-tiled
within. Even is simple
fire-places the
entrance
verge
and
twistof this
'
rty
to the
of actual
New
England with
the
will of
all be
found of
to
have
been
which
centre
gned
idea
to
conservation
heat, in
the
ed
chimneys
be
on
placed
an
always
the
case
house,
instead
in
of the
outer
wall
as
was
usually
in houses
same
middle
of hall
and
southern
This
necessity
entrance met
conservation
of
spacious seldom
of
the
Southern England.
"
ure
upper
with
of
in
New
were
Stairs
often
to
portions
the
house
most two
steep,
er-like
the
in between The
more
walls,
especially
with
many
larger
house,
places, in
conspicuous
architectural and
the
rts
development
of
the
hall
hall
rway.
When
it is
of of
a
itecture
that might
the
early
American
in
itself
be
made
subject
that
and be
interesting
left
book,
much
unsaid,
to
and
a
ent
most
chapter salient
give
picture
Late
Georgian
early
in New
:
England Samuel
saw
two
us
Americfin Charles
architects
Mclntyre,
; the
Salem,
12
and
Bulfinch,
of
Boston
former
178
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
noted
for
his
influence
on
his
achievements
residential in the
architecture,
design
of
publ
really
master-carpenter
and
builde
endowed
contemporary
with
exceptional
taste
and
Georgian
his
time
appreciation in infused
a
strong
no
of the
Adam
Brothers.
In
his
work
comprising, mantelpieces
the
urns,
doorways
are
to
be
se
the
of
more
sunbursts little a
and
all, wi
little
more
their architecture
the
* *
Adam
of
prototypes.
weight It is the
than New
Samuel
most
Mclntyre people,
minds Colonial
of
' '
was
which their
constitutes,
part
England.
lay mostly
original Hill in
Bulfinch
of which
the
chuse Massa
in
State
is perhaps
a
Capitol,
the
on
historic
'Beacon
to Bo
most
famous. and
Bulfinch
governed by
designed sound
vein
essentially
Classic,
a d
ideal
architects
making
Classic A
structure
is
white-painted
gleams
so
wooden
so
church,
whose
quaint
seaport
steep
among
many
grey-roofed
streets
towns
again,
derivation,
based,
in
naive
often
primitive
man
on
the
works
towers
of
Sir of
of
a
Christopher
these New
Wren England
steeple,
in
England.
churches,
of
the
the
addition character
shingled
are
of
the
the
al
of
the
beautiful
Hall,*'
entrance
tower
of
old
House,
towers
rose
**
Independence
over
in
Philadelphia.
of
the
the
front
church,
until
ding
was
in
series
of
this
**
diminishing
sometimes
'*
boxes
the
le
reached, designed
springing
from
the
early
ately
lantern.
New
Many
were
of
churches
the tower
of
England Trinity
to
beautifully
ned,
of
Church,
be
one
in
of
Newport,
the
Island,
being
conceded
finest
les.
All
the
early date
of
American
than clumsy
* *
churches those
strange
of
this
type
were
earlier
and called
'
incongruous by
ents
carpentry,
Mr.
*
Cram,
acid
cleverness,
front porticos
Grasco-Baptist.
...
It
cannot
be
ken:
columns
of
four-foot
inch
cal Classistock,
made
together the
of
seven-eighths
and
pine
echoing slab
the
nailed
to
painted
kick
green
white,
the blinds bit
of
once, a
like
um
incautious
of
heel;
to
sides,
round-
ed
with windows,
clapboards, and
at
a
little
brick in
the
ney chimhappier
sticking stood
up
the
stem, cote
where
the
little
that
housed
Sanctus
*' these
* *
Disregarding
blundering
' '
examples
of
misunder
and
Classicism, England
most
church
builders
do
in
small
to
remember
ric
that
New
villages appropriate
along
would and
the
well
their
should
proper
house that
"
r
so
be
designed built
more
lines
of
which
sincerely
perhaps,
more
by
their
forefathers detail
the
^better
trained
ned,
refined lines
to
by
tect,
refined
delicate,
tapering
oden Early
Few
tower,
yet
in
the
essential
element
of
style,
American small
a
Church.'^
parishes
church
can
aflFord
not
a
good
one,
Gothic
the
church
if
Gothic
would is
more
be
to
good services
congregation
do
well pathetic
hold
or
in
the
fiel
thing
repellent,
speaking
to
bo
a
manly
and
church
architecturally, which
than vainglorious
behold
and
sma
untry
is
pretentious
am
in
its
architectural
expression humble
place
yet
more
"
Shaving worship
departed
of
not
a
rogantly
and
from
the
of
more
ncere
devout
obviously sophisticated
withi
inking is
distance
aping.
churc
pretense,
stupidly
is,
a
in
such
futile
attempted
glorification
whatever
purse-proud
parish,
glorification
A New
to
Deity.
manner
**
England
be
**
architectural
as
an
which
*'
me
regarded
actual
name
style
is
o-called
Harvard'*
type,
the
derived old
from
arliest
buildings
erected
for
the
University
mbridge,
These
accent
Massachusetts.
buildings
given
were
of
brick,
door
very
handled, trim
nd
by In
of
white
and
hite
cornice.
were,
general
course,
character,
old
Harvard
uildings
English,
It
with
from
certain
**
est int
Colonial
that
the
to
inflections.
the
is
of
Harvard'*
rchitecture
modem
use
times of
for ( Sta
White bricks of
first)
relieve
In
the
occasional
urnt
monotony
of the
large ends in
of when erected,
uniform
xpanses
wall.
must
bricks,
to
of
the
be
exposed in various
At
the
fires
nd
discolored
up
shades
the
blue,
the
gr
nd
to
black.
time
were
uildings
too
Harvard
a
University
to
br
material
allow
of
discarding
tho
burnt
with
ends,
so
these
were
built
The
into
was,
the
walls
naturally,
the
other
one,
bricks. is
to
effect
interesting
present
and
be
of
regarded harmoniously
detail
as
the
origin colored
he
excellent
variety
s,
to
be
brick
threw
considered
became
out
in
more
greater
in
Part
11.
very
When
plentiful,
burnt bricks,
or
bricklayers
using wall long and
them
dly
all
the
only
the
construction the in
level the
of
of the
drains,
ground.
of A ideal
foundations
period aim
was
th
low fol
which
wall of
bricklayer's
uniform
"
* '
up
absolutely
* *
jointing,
'
devoid
*
suggestion
was
of
left
color the
or
interest of of
our
'
or
texture.
It
for
much
architects
the
charm
came
own
time
ver old
that Harvard
of
the
brickwork
* *
buildings
by
to
as
a
from
the
of
sity
This
as
the
new
recurrence
interest
a
in
color
rick,
to
realisation
and and
of
the
possibilities
orming
soon
in
brickwork, sought,
bricks
with
burnt
became
as
highly
inferior.
specified,
instead
rejected
**
The
Harvard" in
style for
has clubs, in
of
been
schools,
very
successfully
and
oped
other
designs
of
city-houses
the
types
building
was one
which dignity,
desired simplicity
tectura archi-
expression
and
est. studied
of
"
Having
this
necessarily
"
brief Colonial
what
review and
of Georgian
the
tecture
New
England
if
or
ial
^let
to
us
discover,
architect
possible, home
may
be
it
the
the
builder
of
to-day.
this
New
England
of
architecture
of
an
Colonial
times
affords
of
lth
suggestion
and buildings
admirable of to-day.
basis
No
design
New
England
type
82
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
rchitecture
a
could
be
more
style
for
any
building is
one
or
or
more
the
alien South.
localities settled oldest in most n this country, townships there and exist to-day homes large number of historic old wooden and Let days. builder, the prospective of earlier hurches bear the committee this in mind, herefore, as well as
of
who
New
England
ember
an
is vested
with
the
on
voting
of choosing
new
church
In
comparison
traditions
with and
Europe
we
are
poor
in architectural
Let
in social
and
local
even
traditions. build
up
s,
therefore,
we
guard
If
we
jealously, and
live in
a
those
hich
have.
quaint,
old New
England
houses
elms
our
ownship,
among
where
the
unpretentious
white-painted wayside
means
leam
trunks
oppose
of old by
let
us
every
shade in
and
power
he
of
any
architectural
even
our
style
alien
to
the
to
are
ocality.
extent
need
not
follow ideals in
local
precedent
house
we
he
foregoing
may
the
uilding.
We
true houses
modernise
and
and
uilding
older
can
to
type
pleasantly
erect
with
he
of the
neighbourhood.
porches
skilful
tect archi"
introduce
every
sleeping
and
verandas
yet remain
not
nd
interior
convenience,
appily
the
a
pale
of
consistency.
Do
ask
tile
The
im
stucco
house
with
Spanish
mission
oof
peaceful
would
little hamlet be
one
in the
Berkshires.
taste
as
ffence
against
good
well
as
gainst
architectural
New
propriety.
type
The
England
of
house,
either
Early
or
eorgian
Colonial,
holds into
a
ample
possibility seemly,
of architectural comfort-
development
charming,
NATIVE
AMEBICAN
ARCHITECTURE
183
homelike
and
home
entirely
desirable of to-day.
of
apparent
house
for
the
England
of
builder
southernmost
South
the
the
New
England
parts
s,
Connecticut,
York
of early
there
are
in
traces
certain
ew
State,
and
New
Jersey,
house
"
of
another
as
American
^the
type
known
tch
Colonial/'
Thaaa
t}]^
fmn
on
furm
if}
hmiRAftj
whi^h
hold
mnoh
nf
are
intftrftfli-
the
architect
on
of
to-day,
Island
to
be
Long
on
Staten
of Hudson,
(old
Dutch from
aaten'')j
York
most
northward
Valley.
City,
up
the
Mohawk
The
familiar
of
the
house
superficial is
the
characteristics roof-line
the
"
the
Dutch
sweep,
Colonial differing
roofs of
low^^
of ten\ In
ful
entirely
early
steep,
gambrel
Dutch
New roof
houses.
* '
Colonial
and
to
gambrel
the
eaves,
shoulder
is downward
* *
* '
is
near
ridge-pole, shoulder
England ridge-pole, and pitch, The the
longer
sweep
from of
the
the
while
the
nearer
shoulder
the
eaves
a
gambrel which
lower
is usually
makes slope,
nearly the from
than
upper
slope
to
slight
a
shoulder
eaves,
vertical.
house made
to
was
Colonial
in the size,
modest
ir,
and
accommodate wings.
placed the all
space
ing
addition Colonial
floor
of house
successive
plan
typical
rooms
Dutch ground
for
the roof
and
As
utilised
the
type
the
low
were
storage.
developed,
the
houses and
built
with
half-story
under
roof,
means
ted
small
ventilated
at
were a
(most
the
inadequately)
of
with the
full
a
by
windows
it
the
level built
floor.
few
story,
es,
is
true,
as
second
building,
gh
type
type
connotes
low
set
184
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
close
to
the the
ground
low,
and
graceful
rendered
contour
essentially
of
res pic
by diversity
The
of building natural
to
materials
used
building
look
across
Holland,
was
material be would
difficult by
shown
Dutch,
if
brick,
to
but
in this
although
country
brick
most
obtain,
manufacture
was
the
work
colonies. in which
over
the
governments
of
early
out
American
as
bric
bricks
Holland
no
are
pointed by
the
was
having
be
brought
from
first Dutch
actually
settler
Some
often made
of
as
on
this
brick,
but
doubt,
far
the
imported,
ballast,
this
by
greater
quantity
side because
of
the
Atlantic,
and
is
were
taken used
Holland
brick
Holland
dimensions
its manufacture.
Failing made and
to
use
obtain
of
brick,
local
up
the
Dutch
either
Colonial
carefully
builde
stone,
square
or
laid
in rubble
houses
masonry.
were
Dutch
Colonial
comparatively
built
have
entirely
wood, the
though
years.
few
of these
survived
The lies
in
interesting
the fact
peculiarity that
The
of these walls
were
houses
however,
all four
gable
may
be
different
of
stone,
construction.
as
ends
was
usuall
well
a
as
the
front,
stucco.
stone
which
The
most
oft
treated
wood, in the house
the
or
with
walls
coat
of
rear
might might be
be
of house.
brick,
In
and
wood the
us
same
studying
to
Dutch whether
Colonia
or
it is often
difficult
determine
an
front
eaves,
porch,
formed
addition
by
additional
to
projection
the
the
or
is
an
of
coincident
are
house
its
with
and
porches
with
equal by
frequency.
out wit Th
porch, New
however, England
so
NATIVE
AMERICAN
ARCHITECTURE
185
h,
and feature.
forms
the
origin
of
this
essentially
ican Amer-
We
have
no
European
prototype
as our
for
the
porch,
even
the
Italian
loggia,
extends
and
journey
we
of architectural
rvation
southward
more
will
perceive
those
early of the
ican
porches
nearly
than
resembling
even
ent
American is
dwelling
the
the
Dutch
two
type.
ntion
directed
especially villas of
the
to
ans
Creole
minor
plantation
illustrated.
Dutch
old Two
New
teresting in-
details
Colonial
Dutch
house,
widely
saw-cut to
employed
wooden
to-day,
shutters.
are
the Dutch
door
and
The through
open
door
centre
is familiar
so
all
"
cut
horizontally
may
its
to
that
and
the
upper
half
the
be
thrown
admit
to
light
while
of
lower
remains
closed
or
prevent
ess
straying
poultry,
The
the
egress
of
would-be
apertures
ying
children. in the
have forms been
solid
shutters,
crescent
with
moons
as
an
ces,
very
to-day
many
a
attractive the
modem America
with of
a
As
architecture
along
of
Colonial
lines,
work
became Georgian
Classic
the
agency
through
the
such
men
as
tyre designs,
through
many
of
few
good
and
books door-
charming
grace
mantelpieces
previously
rather
began
farm with used,
to
the
primitive
were
ren"
house.
an
Classic
forms,
however, and
interesting the
most
so
freedom
part
as
individuality
rather
for models, of
suggestions architect of
study.
than
may
ing
much
that
the
to-day As
interest,
from the free
we
well
worth
his
might
expected
hands
use
Holland,
in
of find
and
furniture,
interiors,
unlike
the
evalent
chaste
white
of
of and
New
England,
green.
carried
out
rious
In
shades considering
blue
the
olive
adaptability
uses,
of
the
Dutch striking
the
nia Col
style
be
for
present-day
certain
to
fac
ould
apparent. very
Designed
fulfil
primitive
eds
of
Dutch
unpretentious
settlers,
mostly
farmers,
Colonial
to
house desired" of
copied would,
even
as
it
stands fail
to
woul
ave
to
much
the
be
indeed,
the
come
requirements
moderate
cottage
to-day.
In
point
of
even
style,
however,
acceptance
the
Dutch
in
Colonial
its
native
hous
ould
is
find
at
wider
localit
the
an
present
accorded inexpensive
a
it, especially
cottage
for
or
sma
comparatively
It
possesses
suburban
me.
local
historic
asset,
appropriateness
ich,
in
itself,
is
an
invaluable
expressive
and
its
resq pict
lines,
that
may
a
peculiarly of
of
size
or
domesticity,
of
ample
ch
house
diminutive
with of
proportions
be
In
designed
no
due
regard
for
stylist
opriety.
flight
the
architectural
misconception,
type
wever,
as
could
a
Dutch
a
Colonial and
of
house
ed
model
for
stately
pretentious
have
mansion.
Several
success
American in the
in with
and
among
architects
uous conspic-
rendering
style
as
of the
medium-
zed
dwellings
making,
of
much
Dutch
grace
as
Colonial
possible, found
far
use,
su
difications
additions
these
seen
as
have been
the
to
been
the
necessary.
Chief
windows
to
has
addition Dutch
of
me do
(never
give
cases
in
height
original
the
far
rooms.
use)
many
light
the
and
profile
to
upstairs
of
these
dormer
on
windows, the
pecially
if designed
the
effect Dutch of
head-room
contour
second
oor,
destroys
yet
a
proper
of and
the
gambrel
even
of,
general
effect
simplicity,
su
details
Dutch
as
quaint
Dutch
may
/
hardware,
Dutch
source
door
shutters
proclaim
the
Immediately
where
territory
style
near
Manhattan
its
Colonial
there
left
influence
type
"
merican
architecture, necessarily
complex
is found by
reason
another of
the
ype
varied
nalities
and
represented
southern
came
by New
the
early
to
colonists.
To and
rn
Jersey, Welsh,
Pennsylvania
Delaware
Swedes
in
mans. Ger-
The
first
numbers
were
in fl
but
in
certain
there
ely
distinct
in
observance
their
of
language,
social
To-day
Athyn,
religious
names
as
customs
home
countries. and
Bryn
'Bryn
Cynwyd
of Welsh
ak
the
now
original
a
colonists. but
originally
Teuton
as
Ger-
n,
part
of
Philadelphia, bespeaks
the such
an
erman
and
* *
settlement,
early
nist, coloGloria
the
Swedes Swedes
of
have
*
left
monuments
or
Old
'
Church,
and
many
plainly the
parts
Scandinavian
of
points
its
design, in
imprint of
native
arts
Swedish
names
Philadelphia
and
vicinity.
is
not
It
strange left
equally
to
that
these
varied
architectural
nationalities
legacies,
have
each
varied
some
observed,
country.
extent,
the
traditions
home
The
study
of
these
national
traits,
er,
sometimes would of
proportion
can
clearly
involve
to
defined,
a
sometimes study
blended
nately unfortu-
modified,
out
detailed
present
the to
review.
out
The
writer
hope
only mark
point
**
certain
salient
type*'
cteristics
as
which it may
the
Pennsylvania
welling
for
be
regarded
to-day
as
an
tion inspira-
Staunch
so
and
that
skUfnl
even
stone
Imilding
houses
the
was
Welsh
adition,
the
earliest for
not
so
are
found
of
nstitute
early
admirable
times, the
at
as
models
was
workmen
as
to-day
brick
local
plentiful
it
became
as
ter,
while
ledge
stone,
especially
near
such
ill
quarried
itself
Qiestnut the
most
Hill,
Philadelphia,
permanent
p s
available
building
teriaL
An early
seen
Pennsylvania
"
house
of
the
Welsh
the
type
be
in
Wynnestay/'
which
forms
subject
are
of
the
as
illustrations.
a
Salient
sturdiness
echoed of to-day.
and
characteristics of
aspect,
an
cited
general
honest works
ki
of
simplicity
admirably
architects of
in
many
iladelphia
worthy
The
stone-masonry
as
special and
study,
the
as
such
details
over
the the
so
oden
be There
shutters
quaint
hoods
door
st
remembered
was a
characteristia
local resemblance
certain
traceable
lower which
of
earlier
farm Delaware in
houses
"
of
^a
Pennsylvania,
Ne
to
rsey
and
even
resemblana^e
is
ted
the
homes
of
colonists
varying
tionalities.
While with
natural
the
exterior
walls
of
many
of
these
were
houses left
tted
white-painted
stone,
*'
window
were
frames,
roughly
some
stuccoed,
architects,
in
ner
called
roughcast**
by
English
itewashed.
very
This
successfully
interestingly employed
in
type
primitive by their of
place
device of
en
several
esent-day
local
of and and
the
architects
historic took
admirable
the
modem
nderings
vicinity.
of
alth
sophistication
the
in
comparative
colony,
verty
Quaker
lost
simplicity of
were
Penn's charm.
pompous
chitecture
much
its
original
On
hones
ugh-stone
houses
grafted
Georgian
THE A
PROTOTYPE
dwelUnc
near
Colanikl
PennsylvmuB
built
("WyDDHtsy,"
FhilsdFli"hi";
Chajlia
BarluD
Keen.
ArcliJtHt
THE A
DERIVATION
id
Diodtni
FiniuylTaiiU
dwcllini,
niintiuiiiDc
it* dsam
tbe
"Urlinc
qualitlH
ot iu
prototype
id
Dppendenaei.
Philadclpliia
THE
PRE-REVOLUTIONARY
"MANSION"
OF
PENNSYLVANIA
Tbadnlliof
olRevalutioDiry
diyBin
Amerio
any
rurDislieB
type
pncedcol
far
"
type
of
hi
unlike
Europcso
NATIVE
AMERICAN
TYPE
TYPICAL
OF thnw
._..
THE
BEUT
GEORGIAN ceiitlBniBn
wu
..^...
ARCHITECTURE reRwiuiblc
...
IN
(or
...,
AMERICA
b
b
PhilulFLphiB
.c
thi"
nmuksbly
^__
beat
G'Hir^uk
-"^^
Ball."
Pbilulelphik)
ays
and
Classic
upon
details
modest
thrust
themselves,
often
dvisedly, period,
stately
most
as
farm
saw
dwellings.
erection
The of
many
ian
and the
of
course,
the
mansions charming
of
high
architectural legacy of
merit,
architectural
sylvani Pennit,
the
local
architects
type,
have
interpreted in
several
Early
Colonial
shown
of
the
trations. environs
upon
The
of
good
Philadelphia
taste
are
to
be
congratulated
the
of
the
native
group
of
architects in
who
consistently
local
precedent
This
the
n
has
of
suburban
not
country
homes. continuity
procedure
a
only
the
of has
made
worthy
appropriate effect
of
dwelling,
but
for
so
an
able
of
in
architectural
most
consistency
tre dis
absent
the the
parts
of of
America.
drive
gh
beautiful
observer
a
suburbs
with the for
The
Philadelphia
that here
will
ss
thought the
has
evidenced
respect
continuity it is
of plain, they
architectura
have
development.
modernised, The
have needs
houses,
which,
and
indeed,
it is proper of modem
a
should
country
requirements expression
been
given
in
delightful
local
tectural
dialect. should
type
"
Mention
be
a
made
here
of
the
Anglo-Pennwhich
works
younger
anian
notably
picturesque
in the
architecture
always
expressed
Eyre,
interesting
the work him. of
In
Wilson
and have
in
been
much inspired
of
tects find
who forms
by
this
style
distinctly
English,
local idioms
honestly
rendered
sometimes
materials blended
is
and with
in the
of
expression,
type.
Native is
Colonial doubtless
That
to
the
due
the
minant
Anglo-Saxon
strain
which
is
still
strong
nnsylvania.
Fnrther sonth,
the
type
in
Maryland, The
in
Virginia
most
and
in
rolinas,
of
changes.
mansion,
than
popular is and
a
mental
cture
the
the
type
Southern
rather
however,
pictur
later
the
earlier
less-known
antation
The
dwelling.
first
were
colonists,
though
mostly
people
by
both
quality,*^
tremendously
and original of far the
from materials
manor,
handicapped
were
*
lack
cilities.
so
on
Labour
that
the
painfully
* *
rce,
the site
or
*big
house
whic
of
ood
splendid
establishment
lat
rs,
scarce
no
was
often
magnificent. the
first
Building
colonists had
little
a
ston
in
the
South,
Their
and
lit
brick.
to
dwellings,
and which
was
then,
made
at
te pr
magnificence,
of
attained,
a
best, of
certai
ement built
Later,
dignity
them.
as
reflection
the
peopl
more
plied
or
the
ocean
and
found for
more so
*
more
illed
to
labourers, the
new
th
the
country,
owners
it became
to
erect
no
althy their
were
plantation
estate.
tin bef
Brick
stately
or
became
mansions
* *
plentiful, the
^ '
th
ere
built
of
type
of
seat
hall,'' 'Whiteof
in in
Maryland, Virginia.
Westover,
IJie
rds
An
' '
appreciation in
a
and
understanding
the
of
vogue
a
The
of
Classi England,
so
ste"
architecture,
part
Georgian
of
came
chaste
of
the of
education the
ancient
gentleman,
th
dignity the
stately
Greek
*'
temple
'^
liv of
ain
in
colonnaded
This
porticos
strain
later
on
**
uthern
to
an
mansions.
extreme
'^
Classic
the
was
often
as
ca
ed
during
as
Revival''
Delaware
ch
examples
Andalusia"
the
hi
m
its
III Us
ect
peristylar
Greek
and
Doric continued
surroimding
for
some
welling after
house)
the
Revolutionary
*s
evidenced
home,
by
Jefferson and
for
design
for
his of
"Monti-
,*^
the
buildings
the
University
nia.
comparing with
that
In
the
of
that
later
other it
was
Colonial
parts
architecture
the
country,
of
the
of
it must
the
most
emembered
the
architecture,
culture,
for
means,
of
people
of and and
considerable
classical the
not
master
ment, refine-
leisure
education.
Slaves
in feudal
a
plantations, magnificence,
like
a
dwelt
a
sort
unlike English
lord, The
prosperous
squire.
difference
were
in
the
fact
that
slaves
the
planter's
instead of
broad by
of and
acres
made
ctive life
one
by
of
tenants.
The
the
planter
and
ease
his of
a
was
naturally
of
considerable
not
dignity,
of such
that
it of
is
surprising
to
find
de
life
in
of
his
dwelling.
The in
study
the
Colonial
however,
any
and
like of
Post-Colonial
the
ture architecstudy
may
South,
of
detailed
of
the
tecture
portion
the
America, of
an
readily
interestingly
form
subject
than
extensive
book
tself.
can
We
do
to
little
more
place
it,
here,
in
it
ion
other
point
as
a
early
out
architectural
the
expressions
ca, in
all
and its
means
use
role
for
which
the
it may
properly
model Southern
period,
architect
manor as
of
to-day. of
the
plantation
as
the
ian
of
may
Colonial its
be later
well
certain
the
cations modifi-
development
as
a
under suitable
Classic for
viv Re-
regarded
of
any
model
the
ry
residence
American
gentleman
to-day.
rough
historic plantation
association,
manor
however,
only
an
we
think
of with
uthern
in
connection
estate,
where
imposing of
person
a
gateway,
te
the the
other
owner
evidences
a
grand of
proclaim
ominence.
American
architects
country
manors
"
of
to-day
after
have
the
designed style
of
many
mirable
houses
to
the
gre
uthern
jenumerate
them,
should
indeed,
be
woul
cupy
an
several
pages.
The
style
remembered for
excellently
mansion
appropriate which is to
native
grace
an
expression
extensive
a
ately
country
tate.
In
its
essentials,
but its
use
it by
states
is
the
Qeor^an,
great
purel
glish
style,
land-owning
upon
lonists
of
our
Southern of
has
placed
it
eradicable
In New
stamp
American
nationalism.
there known
as
Orleans,
architecture
Louisiana,
as
exists
type
lonial
the
little French
it is interesting
planters. of
name
architecture
correction might
of
of
a
the
Creole
popular be
misconception
the
te
Creole*'
to
here
in
place. from
The
the
belonged
early
rst
those
and
families
came
descended
to
French
ttlers,
as
later
include
**
Spanish implied
lie fam
well.
social
The
designation and
apply
ghest
distinction,
to
was
(contrary
those
rrent
supposition)
were
only admixture
familie
ich
entirely
without
of
coloured
ock.
These of in
Creole
fine
exile
families
family,
under
some
were,
in
them
most
cases,
French
ople
of
titled
Huguenots,
ving
assumed
many
a
names.
Others
plantation
at
wer
litical
exiles, behind
and
quaint verdure in
rare
old
vil head
reened
semi-tropical
treasures
the
you,
concealed
French
furniture^
AN The
OF
Dt of
THE
PRE-RE
VOLUTION
ARY
ROITHERN in tbe
MANOR-HOUSE
wu
AmericsD
Colonial
South
aloDRClaoii;
G"r(isD
("Whitehall."
Anne
County.
Maiyland)
AN
AMERICAN
EXAMPLE
OF
THE
"CLASSIC
MANSION"
OF
GEORGIAN
TWO
EXAMPLES
UF
THE
CREdNE KNOWN
ARCHITECTIRE A.\(KRICAN
in thr f"I Sulllh
OF
LOUISIANA-
TVPE rombinpd
to
iBflucnres
both
Fn-nrh
and
Spaainh
d*"lop
"
IJl
ware
their
and
silver,
taken
overseas
by New
the
fugitives
retreats
in
the
strange
As
in
the
English
the slaves,
a
colonies
plantations and
as
of
''The
Carolinas/*
by
negro
(mostly
New
cotton)
was,
Orleans inhabitants
from
became
earliest
days, in
busy
port,
its
rous
trade.
The in
Creole
much
plantation
the
same manner
villa,
as
as
it
the
was
called,
was
plantation
as a
villas in
he
West
Indies.
The
actual
was
house,
dwelt
story
by
master
and
to
his
family, malarial
raised
ground, ground-level
avoid
floor
at
night,
contained
of
kitchens
servants,
the
active
also,
quarters
the
dwelt
in
cabins
aspect
plantation
hands.
The
picturesque
old and
French
Colonial
treatment
lay
largely
in
Stage
their
porch
low
or
lines
in
the
he
premier
posts
gallery,
with
its
of in
to
a
slender
and
houses
entirely
simple show
railings.
Some influence
Built
and
these the
meet
old
ence pres-
Orleans
of
an
Spanish
patio.
Spanish
of
the
now
and
requirements this
once
people
life
our
vanished,
quaint
most
architecture
of city
most
ern
some
(and
picturesque)
flashes has
of
may
stil
for
interesting of
to-day,
inspiration regarded
than
many
a
the
tect
as
who
hitherto rather
it, perhaps,
document dormant
an
historical
curiosity
American
architecture
containing
bilities.
In
studying
in
our
native
the
American of
we
types
of
architecture,
ially of
light
modern
not
adaptations
of
at
a
the
very
colonists, Spanish
must
forget
were
that,
braving
date
of
missionaries
the
to
gers dan-
the
Far
West
to
carry
Christianity
the
ndians
of
the
Pacific
had
as
the
and
French taught
great
ere
Marquette, the
own
Mississippi
Fra
The
with
many
s m
his
left for
behind
us
them
a
great
buildings
now
whi
ssess
to-day the
strong
significance,
of
the
bei
ppreciated
by
architects
the
most
Pacific
part,
Coast.
needs
Mission
architecture, modification
for
for
c s
use
to-day, who
because
tho
arly
monks
and
missionaries for
their
reared
and
the
res pic
buildings sadly
all with
so a
churches
monasteries
re
handicapped
the
in
to
facilities.
by their
new
t V
work
had little
be
ands,
but it
assistance
their
There sincerity interest
c v
that
was
necessarily
of the
is, ho ev
per
distinct
dissociated
element
architectural romantic
uite
from
the early
naturally
were
ssociated
with
missions.
cloisters
There and,
ful beaut
general,
proportions,
charming of
in
rked
appropriateness
in
construction,
these
buildings.
and
a
ome
in
natural
their
li
one.
local
worked.
clay,
was
material
was
eady
hand nearly
easily
Wood
crude
were
a
li
ed,
and
with and
quaintly
roofs
carpentry.
all
surfaces
tile the
plain,
in
of
the
corrugate
familiar
Spain.
missions
our
It
is
are
little
not
remarkable
more
hat
early
as
Spanish
one
widel
and
roclaimed
types
of
most
picturesque
abl ava
of
American
yet
architecture.
Spanishto
can, Ameri
that
perhaps,
as
essentially
ity loc
inspiration
for Southwest.
architects
of
our
enti
acific
Coast
and
Pacific
Coast
have
availed
type
to
themselves
some
his
peculiarly
interesting
local
exten
EARLY Outer
wall or Sin
ARCHITECTUKE
Lot Adk^Ivs.
ON
CaUfortua
AMERICAN
(ITKO).
^
S
The
i
Tha
modim
Calilor
NATIVE
AMERICAN
ARCHITECTURE
195
ing
with Spain
it many
elements
more
directly
also
derived
and
type
from
Italy,
and
strong
have
developed influence of
exposed
stinctive
in
which in
apparent,
especially
the work
ork.
residential Diego
other
to
Much
interesting architecture of
the country,
added Coast,
from
to
the
Seattle,
of
and
the
danger
is the American
to
be of
feared,
a
parts
danger
lack
architectural
unity.
In militating of
architecture,
ce
is
constantly
against
styles.
are
consistency,
ially
not
in
mean
the
matter
local
for
Consistency
endless
every
monotony, to
we
there
and
esting
theme
variations
to
be
played
have
upon
archi-
ral
which
fallen Pacific
show
heir.
Most
public
buildings
of
the
the like,
Coast,
few
as
well
traits
other
banks,
theatres, conspicuously
and
local in
ring of
from
similar
"
the
United
and
States
^local
seem
mostly
interesting
promising,
tic domes-
architecture.
Before
taking
up
three
of
distinctly
American the
modem
and
tinctly disthis
non-stylistic should
up
types
architecture,
story
briefly
to
bring
bridging
of
American
the
present
tecture of
date,
the
time
between and
our
clean-cut
native
colonial
types,
period
of
varied
the
derivations.
Following
early
Colonial
the
period,
early
as
came
the
the
the
Postnewly-
ial,
running
through
part far
was
of
as
lished Classic
nation, Revival,
and
of
was
extending
which
more
time in
of
said national
at
chapter. aroused
us over
This the
in
1812,
when
war
with
foreign
**
England
that
time,
to
turn
for
inspiration
toward
"
e.
Hence
the
American
Empire'*
style
^ultra-
in
architecture
details
on
and
every
furniture, hand.
as a
Qreek
temples
was
worthy
taste,
in
such
Terrace
years
design
result
as
of
ported old
to
Classic
* *
monuments
' '
Colonnade
was
w,
La
Grange in
the
in
New
York,
soo
st
sight
of
chaos
**
whic
llowed.
Victorianism, debased
Gothic,*
stlakian
French
tect arch
pseudo-Swiss
of
chalets architectural
**
themselves In
us
mad
nightmare
insanity. finally
savage
18
Philadelphia
Centennial
speaking, the
some
revealed of
of
chitecturally
from
most
nations,''
this
time
on
glimmerings
make
architec tural
conscience
**
began
Anne" type,
a
to
themselves
felt.
based
a
on
-called
Queen
style,
on
actually
was
ench
chateau
creating and
upon
if
type
anything,
of house Let
us
sincere be
too
effo
ward
which
not
should heap
bo
easing
muc
rision
towers,
its queer of
no
windows picturesque
than
generally
expression
lues.
The himself,
of
of
realise
that
that
*'
time,
the
less
Eas
ke
picturesque
and
is
thing
a
design
that
it
happens,"
be
' '
if the
resu
calculated The
as
intention,
it cannot
*
truly
picturesque. however,
effects
the
of
the
Queen
Anne
's
style, mad
ll
effects
of and be
Eastlake
rosettes,
even
of
into
su f
spindles and
are as
lasted in
such
90s,
to
felt Mead
of
piec
design
other
McKim,
"
same
White period.
Newport
Casino
nd
buildings
was
the
leaven clarified
working, architectural
vision By the
H.
H.
of
Richardson
his
or
ad
the
time
is
own
splendid
of
opening
Romanesque of the
Byzantine
Revival.
World's
Fair
"J
"
AMERICAN
TYPK
Fniin "nMur*!
no
developed
purely
a
hiBtorle
style.
growth"
AN
AMERICAN
TYPE
DEVELOPED
AM
AN
EXPRESSION
OF
THK
""PICTLRESQLE"
liu
unonhodoi
u^?l
E'"i'i^p^"D''ifrrhile"-tunil in'c"iris."Tl"'reB^1.'xainctin"e8"p
DeciKa
to
m"t
modern
AmericaD in Ihe
and
dnaga
in
IdckI
malcristg,
bme
rcaiilted
nBtiunal HOUSE
typn
MODEHN
AMERICAN'
COUNTRY
DEVELOPMENTS
NATIVE
AMERICAN
ARCHITECTURE
was
197
cago
to
in
see
1893
the
the
dy as.
ready
new
for
change,
accept
architectural
the
There
sprang
a was
in of
Chicago Classic
as
marvellous
yet
a
hite
City/'
which
thing
beauty,
of
sicism
recognised
bearing
message
White,
and
of the became
World's
the
Fair,
leaders and
notably
of
McKim,
architectural
present
era
ught
the
of
that
the
of
pages
an
From
the
pages
open
must
glance
through
there
was
ertain
amount
hitects ection
who of importing
for
freedom
appeared, American,
styles in toto, and architectural buildings this reason, many iarly pecul-
and
evidently
expressive
of
kind
of
appears
typical
or
American thereabout,
^ '
sea-side
as
age,''
in 1896
even
also
pleasingly)
it.
conglomerate
architectural in with
try
below
Certain
as,
expression work,
were
(usually counterfeit) of
brazenly
most
thrown
sort,
ieldstone tUe
chimney
nish
in
roof
"
of the Spanish
informal
and
in tile only,
of this
and
anything
work
period,
counterpart
of recklessness element of the architects, attained values kind of spontaneity finds which pleasing better studied in many country side and sea-
houses
of
to-day.
Newport,
in
Rhode
Island,
is
ch
in
houses
of
this
kind,
above
as
also
Bar
Harbor
many
in other
Maine,
the
north
summer
shore,'*
Boston,
and
ion fas
localities.
**
The
deliberately to-day
not
to
"
picturesque'*
^perhaps
house succumbed We
or
is
seldom
to
tempted
it
has
itics'
always
merited
European
ridicule.
styles,
types
"
adhere modem
ve
rictly
adapted of early
and
to
opme deve in
American
excepting
the
thr
rections,
these
three
no
only
in
field
to
**
of
domestic
chitecture.
we
Owning find
allegiance architecture,
precedent Craftsman" is
very
yle,
Secessionist
and
the
at
*'
chitecture,
a
bungalow,"
which
bungalow
Middle
The
West,
designating,
developed
pecifically,
strange, well be
Chicago
has
veral
interesting
regarded called
in
' '
types
architecture of
a
whic
of
ght
as
the
**
works
group
me
should
be
the
American
'^
Mr.
Cram,
an
addresb
them
one
on
in
:
American
chitecture,
**The
paragraphs Secessionist
"
as
might
even
call
ost-Impressionist, be
Cubist, and
his in
some
is
the
latest
most
element
introduced, Unlike
he work
"
ways
he
is the
est int
confreres
himself
heart
may
seems
we
in
Germany,
little
except
Spain
in
candinavia,
shows
or ^f
mino
omestic
at
are
conservative
he
rac
hatever
individuals
His his
to
be
to
"
^but
here
is
stimulating.
habitat governing
be
Chicago
a
and
strongly
the
Pacif
oast,
conviction
forms of
developed
Some
nmity
archaeological
houses
any
are
kind.
he
little
of
the
Middle
clever;
West
some
striking,
of the work
qui
ovel,
and
Pacific
no
inordinately
he
Coast,
less.
particularly Personally,
around I
do
not
Pasadena, believe
xquisite,
it
AN NoUblyin
EXPRESSIOK
the Middle
OF
WcitC,
THE
EUROPEAN
havo
"SECESSION"
mnny
IN
AMERICA BDeDdeaT
there
sppeHred
hauneg
which
cipren
ORIENTAL
INSPIRATION THE
IN
'BINGALOW COAST
ARCHITECTURE
OF
PACIFIC
FORMALITY
AND
INFORMALITY ARCHITECTLRE
IN
CALIFORNIAN
tyfHcal
Pacific redwODc)
Coast trunka.
''BuuhlIdv"
The
ia
aevo
tbroudb
ii
ao
cntTum
peri
latunJ
liungaloK
itself
coDitrueied
iuide
uid
ble and
wholly
to
sever
one's
self
from
the would
past,
it
expression
and hand,
it certainly
the
astute
be
sirable unde-
On
of
our
the best
other
archaeology
modem
and
two
work,
leads
whether
nowhere. much of
Classic Out
value
or
c,
is
stupefying of
of
the
may
play
these
tendencies
An
will
convey
an
idea
of
the
ter charac"
of
of
the
American
exponent
Secessionists
of
use
designed Lloyd
many
more
the
greatest
the
style,
whose
work
has of
on
profoundly Middle
in fl
architects
comments
as
the
the
West. intent
survey
Some
aim
and
he
Secessionist '*Art
well
movement
as
paragraphic
are
the
reserved
of
this
for
duction book.
*'
in
the
concluding
chapter
portion
he
In
Craftsman''
expression
' *
architecture of
a
' '
we
find direct
very
direct
simple
simple
The
**
very
and
Craftsman
"
idea,
^the
were
indeed,
the
might
be
The
creed"
one
creed
its
of
simple
traced,
is
which,
to
origin
"
lead
tly
back which
William
all
Morris
adherence
or
^a
style, forms
or
point
decries
to
which
Its
recall
arts
of
foreign
lands
other
ages.
exponents
ain
that
whatever in freedom
may
be
lost
in
historic
association precedent,
is gained in
actual
from of of
constraining
a
* *
establishment
the
contact
with
nature
' '
f.
It
is
architecture
the
simple
life.
Nor
need
it
be
supposed
a
that
austere
"Craftsman"
and
tecture archiThe
is necessarily
is
thing
ascetic.
all
framed
to
include, other
necessarily,
furniture,
as
draperies
and
fitments
of
the
home,
well
he
both
inside
Subdued
of of the
colours perfect
of and
nature
are
specified simplicity,
as
mo
xpressive
and
ement
primitive, desirable.
in
plain
textile
"
textures,
considered
flat
s f
stencil
or
decorations, dull
and
'
often
"
symbolic,
values
aten
copper
dull Most
browns,
eens,
tans,
'*
greys
commendable
honesty
expression
l,
the
Craftsman and
a
'
includes
of of the
c s
frank,
unashamed
direct
c s
"
tenet
inherited
Morris.
*'
from
earli
usade
of
part
William
of
the
Craftsman*'
to
idea Morris
"
coincident
movement,
with
is
similarly
*'
related
scheme design.
the
Mission
of
architecture,
The
' *
concerned
mostl
' '
th
can
interior
be
Mission
Style,
from
so
far
called
"
such,
two
simple
straight-line
chairs,
architect that the
designed
by
cific
Coast
In all
art
small
Califomian
advocated
our
' '
paris
urch.
of
Mission
to
idea
'
tio rej
aim
related
the aim
historic
'periods,
its
entical latter
with
of
**
Craftsman
a
*'
idea,
whi
exerted,
over
exerts,
widespread
of
the
fashioning
other
textile
ramics,
jewelry
things
than
architecture
furniture.
Its
definite
has
yet
place
to
in
won
the by
mosaic
the
are
* '
of
American
' '
tect arch
style,
be
Craftsman
to
is
current
style.
We wide
able
perceive
that
been
so
accorded far
as
and
intelligent
up
*
appreciation,
the
' '
it
sincerely it is
amount
lives
not
to
*
creed but
upo
ich
it is
to
founded,
a
only
safe
right
cord In
some
it
proper
of
as
a
serious
seen
appreciation.
discussing danger
the
bungalow discussing
in America,
the
of
thing
which
does
ally
exist,
excepting
is
and
in
the
since
rare
instances. dwelling
type
to
The
of
real
only
**bnngalow''
Indian,
one-story
th
-East
we
this
is
peculiar
a,
will,
perhaps,
do
well by
forget
the in
absent
name,
larity look
any
in
at
type
suggested
the
identity
as a
the
American form of
bungalow
distinct
quite
type,
other
The
dwelling, bungalow,
and in
often
itself. in
many
are
American
of
type
other
words,
varieties
unlike
the
cottage,
virtually
we
al
which
which lightly
take
the
Webster
or
defines
it:
or
built,
a
usually
story,
accurate
ched
tiled,
house
of
"
single
ly
surrounded
enough
as
by
far
as
veranda" The
definition
of
stucco,
it goes.
of
or even
bungalow
and
to-day
of
be
of
fieldstone,
hollow
tile
al
construction,
of
brick,
and
its
roof
may
of
Spanish
one
tile is
or
of by
shingles.
a
If
invited
at the
friend
one
to
visit
little,
he
may
him if
any,
see,
in
hi
seaside, of
to
a
has
of
what
house"
manner
dwelling
substantial giving
to
a
two-story
cottage.
low-sweeping will
cause
roof,
low
appearance
t
as are
on
ttage,
the
owner
describe
*'
his bungalows"
full
villa
ngalow." and
floor,
two
or a
Nearly
half in
all height
American
"
ory
that
means
is,
of
story
the
and
more
provision
small is usually
by
sleeping
a
dormer
under
windows,
the
rooms
roof.
veranda
prominent
feature
a
of
this
after
type
dwelling,
and
since
it
or
is
a
not
bungalow
the
-Indian
"
fashion,
type,
cottage
seem
' '
of
that
a
the
new
ek-end
were
it would
* *
needed.
and
may
Bungalow,
as
however,
is
likely
e,
do
well
as
anything,
of
despite
its
the
bility^
and
usually
the
inaccuracy,
application,
ARCHITECTURE
The
and
bungalow
low-cost
have
is
distinctly
on
popular the
a
type
of
era mod
dwelling
Pacific
Coast,
wher
rchitects livable
of
developed
and
it into
it is essayed
nearly
every
thoroughly
to-day,
part
charming with
nd
affair,
success,
varying
grees
in is
than
of
a
the
country.
The
bungalow
extensively
appreciated, it is
in
popular
wa
re
understood,
take
it
a
and
if
architects
more
nd
prospective
and
builders
it
will into
a
little
ou se
develop
role
a
miniature
fills
and
all-year-round
use
(a
it very
frequently
to-day),
there
American
to
nor
ma
evolved
of
highly
desirable bearing
no
essentially
whatever
pe
dwelling, affair
other
similarity
its
name
opical
any
from
which
has
any
come,
architectural
point,
having
type
in
other
a
country.
At
this
an
presented
to
in
necessarily
bri
rm,
analytical which
to
a
guide
possess
those
architectural
form,
styl
types
definite classification,
and
it is
no
which
less
ma
subjected
to
definite little
tant impor-
direct
of
our
critical
which
attention
toward
**
certai
ases
subject
' '
might
be
called
tural Architec-
Addenda. In
point of
style,
comment
will
be
made
upon
th
range
movement
called
**L'Art
**
Nouveau/^
and
upo
Secessionist
and will
(now
Germany.
Modernist*')
movement
stria It
prove
as
well, have
to
come
direct from
vatio obser
toward
which
plication
of
certain
"
architectural modern
the
styles
to
ne
chitectural
types
the
house
and the
sho
ont,
the
tall
oflSce
building,
hotel and
new
building,
va
dem
American inventions
art
' '
terminal.
many
to
fulfil
has
unexpected
duties
up to
of
Architecture
splendidly
lived
stiny.
CHAPTER
STYLES
APPLIED
IX
FAMILIAR
"
APPLIED
TO NEW AND
TO
USES, NOUVEAU,"
THE
AND
OLD
THE
"
STYLES
USES. "MODERNISTS."
THE
L'ART
SECESSIONISTS"
THE
CITY
THE
HOUSE,
MODERN
OFFICE
BUILDING,
THE
LOFT
BUILDING, AND
THE
HOTEL,
APARTMENT
HOUSE
GREAT
RAILROAD
TERMINAL
O
of
study
of
stylistic
complete
expressions
without design which It
some
in
architecture
wonld
certain
be
acquaintance
schools
of
exist
the
outside
of
the
the
historic
periods.
is
purpose
*'new''
this
er, certain
therefore,
new
to
discuss
of
certain old
applications
the history
styles
added
to
of
architectural
development
odem
times. of
the
One
first
secessions
1896 ^L^Art
from in
the
historic form
' '
precedent
of
a
appeared
was
about
'
movement
new
known
as
as
Nouveau.
art,
inating,
design seemed of
its
name
would
indicate,
France,
at
in
general
to
into
entirely
convulsions
the
likely
or
transform
design in
previous
and
Classic
L'Art
an
academic
Nouveau,
architecture
ture.
furthermore,
dominance of
assumed, feeling
and in
the
rarily, of
as
absolute
jewellry,
well
as
ceramics,
bookbinding
arts. not
other
s,
in
the
graphic
could
The
of
style, its
however,
novelty,
last
beyond
the
first
because
sought
to
it
was
illogical
and
to
accommodate
ally basic-
unsound. decoration, In
art,
two
It
mould
accommodating
form
instead
respects,
as
of
decoration
naturalistic
orm.
it
was
highly
of
employing
motifs
plant
forms,
and
render203
these
a
in
naturalistic
flowing
manner.
^'L'Art
Nouveau'
style
of
and
sinuous
* *
lines, forced,
often
' ^
graceful
too
frequently it
was
bizarre
also
and
and
although
that
turalistic,
forms is true
works
nouveau''
highly
were
artificial, forced
school
to
in
tural It
employed
that
no
illogical had
use
previous
way
design
creations there free
p d
in
any
similar
even
of
art
enthusiasts,
an
migh
traced
accidental
similarity
or
in The
its
most
*
some
Gothi
nderings
in
of
France
leaves
and
fruit. found
style
reached
ight
ready
' '
outsid
the
ceptance
in
and in
too
Belgium,
^^
being
too
French
for
ma Ge
emotional"
solely
for
the
English.
It
pied,
America,
by
reason
of
its of
novelty,
thout its
As
any
understanding
creators.
whatever
the
intention
French
a
style,
as
a
'*L'Art
sort
Nouveau^'
comes
to
us as
to-da
a
metimes
of
joke,
and
nearly
always
perhaps,
g m
and
ephemeral
fantasy.
with
This, all
is
together
fair,
had If it
had
because,
some
its
^'L^Art
uveau^^
occasional done
flashes
more,
tion. inspira
nothing
form,
it of
the
preciation
of of
graceful
and
inexhaustible
from Parisian
ssibilities One
"
deriving
the
decorative
shows
motifs
a
pla
rms.
of
style,
illustrations
sh
ont
^the
perhaps,
a
exemplified
or
a
at
its
or
best,
a
all
buildings,
may
hat
shop,
candy
shop,
sma
eatre,
permissably
cannot
indulge
a
in
architectural
or
a
ol fr
One
imagine
*^art
nouveau^'
courthouse lines,
post-office
can
signed
along of and
and
but
one
ily rea
think
instances
pleasing.
a
in
which To-day,
the
style
might
it is
to
ceptable
however, style,
tents
purposes
**dead"
the
excepting
in
which
it
left
on
previously
Classic
arch
AN
ARCHITECTURAL OF GERMAN
CONCEPTION THE
VIENNESE
SECESSIONISTS
MODERNISTS eumple
ii liken [rom
"
dnwia(
by
re
of
the
Beaux
Arts"
over
For
the of
it
'*new
was
from
art"
the
brief
intense
enthusiasm
that in
a
French
tects much
received
of
give
the their
many
a a
idea
rendering
detail,
tic naturalisas
a
vein
ornamental architectural
as
well
their
ncy
to
forms
certain
sity
and
early
as
often
1870
certain
few
frivolity.
restless Austrian
As
designers and
ture architec-
experimenting dangerously
however,
in
like
strange
furniture
of the
'^art
that
nouveau/'
take
a
ally,
form,
their the
efforts
^90
's
began
the
**
to
nite defi-
and
an
in
late
Viennese
"
became
of
as
actual
' *
school
school
of
design
the
the
* *
Modernist
name
of
to-day.
The
their
would the
new
imply,
rebelled
of
against
regarded
and
as
slavish
means
copying
archaeological
Their
as
a
sought
of
to
expression.
some
art,
s,
might
be
considered
extent
creed,
declaration. it
was
a
While
and
creed kind
and
based
of
very
on
simplicity,
very to
it
unlike
was
strange
simplicity, difficult
any
that
with
William
other
Morris,
art
compare
movement
were
of
as
other
^^
land
or
period.
as
secessionists
to
nearly
original''
suggest
it
ble
be,
and
elements
their
of
works things
but
remotely
in
elusive
Japanese
is
a
and different
first,
as
wa"s a
tian. Egypkind
decoration whole,
Secessionist
*^art
nouveau'' as
architecture
very
architecture;
an
in
to
the
is
regarded
accessory
design
in
the
second,
as
the
whole
design
to
may
regarded
te
illogically)
as
subordinate
work for with emphatic
its
seem,
decoration. it is
is,
al
much
ty,
distinctly
sparingly
used
fact
that
its
value
when
it is made
incident
than
an
end
in
itself.
Secessionist
plain wall
chitecture
an
characterised
of
hy
broad,
and
or
s f
mouldings
architectural
of
all
Classic
storic
a
either
decorative,
close
association
of
furniture,
of efforts
the
fabrics
modem
largely
and
oth
cessories.
The
consistency
Austrian
German
that
one
secessionist designer
is
only
due house,
to
ct
creates
not
the
but
rniture
well,
and
its
entire
as
scheme
of
interior of
the
decoration,
gardens
perhaps,
the
layout
su r
it. Such
designer
the
procedure
is
highly
desirable,
and
*'
assuming
versatile
to
is sufficiently
capable
^the typical
carr
entire could in
the
scheme
"
Secessionist'*
any
or
vil
way.
deed,
As
any
hardly
case
be
of
any
achieved
**
in
other
extreme*' acceptance
radical
to
a
as
sty
style
of
which
that
of
one
the
amounts
cree
is
essential
acceptance
or
believes style
seems
sincerely merely
to
in
it
suc
any
because
*Hhe and
latest
it
is
fad,''
doubly
because deplorable,
it
be
thing,
in
that
style
individual
th
debased.
The
Secessionist
modern
movement
of
Austria
profoundly
decoration
many
fluenced
architecture,
interior producing
at
rniture
design
not
in
Germany,
works
gnificance
entirely the
the
measurable
the
present
tim
In
France,
Secessionist
movement
found
architects
same
pression
in
''Modernist** is
apparent
school here
the
same
of the
corators.
of
There
ance avoid
Classic broad,
or
historic
plain
forms, wall
effort and
toward
fecting
surfaces
strikingly in
original'*
have
forms.
The
strange
French
exotic
Modernists,
flavour
to
tio add
given
the
much
of
the
rk
by
introductipn
of
certain
Oriental
devices
ially
as
derived
costumes,
from
Persian turban
Many
ernist"
Oriental
bear
me
of
bottles
this
and
Persian
denc evi-
interesting be supposed,
influence.
As
a
might
small
America
of the
saw
counterpart
scale,
however),
many
Secession,
and of
ying
have
to
to-day ^'Modernist"
not,
as
reflected
movement,
scintillations
also
on
the
small
scale.
yet,
an
American
though
we
tecture archigood
reckon
with,
bit
emisf
great
interior American
decoration
The
Secessionist
of
i noted
extensively
Lloyd
Wright,
part
Chicago, preceding
contemporary
whose
he
latter
influenced
of
many
the
chapter,
architects
of this school
of
the
West.
The
has
exact
place
to
of
tectura archi-
design
both
the
yet
be
determined,
must
and
its
real
present
and of in both
ultimate,
depend
client.
entirely
sincerity
is much
architect
of the
and
American and
There
the
best
ist Secessionwhile
strange
architecture
which
examples
to
is pleasing show
much
refreshing,
tudied ^'forced"
which
reason
is
for
too
possess
way
or
valid of being
a
existence.
from forms, should
venture
which precedent,
for
to
is by
departure
of
academi
the
guidance
No
copy
historic
the
attempt
master
designer.
no mere
amateur
it, and
another
ever
of
work
or
which
personal
has
ted
from
can
or
's
sincere
a
conviction recognisable
uity
possess
degree
permanency.
us
now
Let
turn
to
certain
wherein of design
current
in
as
America media
old
for
determine,
if
08
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
his
has
been
done,
and
with
what
degree
of
stylisti
ropriety. We
have,
in
the
larger
American problems,
a
cities, of
certai
which
on
ighly be
specialised
germane
architectural here
to
present
ay
few
remarks
odern
**
city
honse,
the
tall
office loft
building
(once
the the
calle
he
skyscraper''),
hotel,
the
apartment
building,
gigantic
odern
the
house,
and
great
em mod-
railroad
The
variety
not
terminal. city
to
metropolitan of
house,
the
at
the
outset,
many
presents
problems
architect,
of
which hedged
strictly
the
architectural.
natural
He
of
''
is
bout
with
limitations
the
and
wit
he
multitudinous
''restrictions
of
of
city
codes is
The
''architecture*' when
the
the
the
exterior, street
indeed,
is
i f
design of
of
An
to
of
the
facade
may
finished,
nd
the
in
interiors
any
rooms
within
styles
be
carried by
ut
range
"period"
dictated indeed,
or
im
of
the
client. here
rooms
interior
decorator, the
may
called certain
Of the
in
work
with
architect,
to
execut
independently.
working
the
relationship responsibility
the
of
architect
in
and
tor, decora-
and
will
The larger
clients'
said of
in
this
of
connection,
be
second
part
this
book.
in
most
trend
architectural
development
to
cities
would
and
seem
dictate
certain
than
styles
others.
appropriate
are
in
better
taste
ere
strong
recomimendations, the
a
for
a
example,
ward
designing
vein,
facade modified
or
in
modified
French,
manner
Italian
or
naissance
Modem
in the
rect
Louis
XVI
type,
style,
called
stone
use
th
arvard"
of
brick,
with
white
trim
has
a
and
casional
ironwork.
the Holland
Surprisingly
Dutch
type,
little
beeu
de
of
of
which
remark-
l*tture
".
in
Now
mivE
ii
ii
"
Si
III
able
a
rendering
New
is York
seen
in
one
of
the
illustrations, have
which
ng
City
residence. half
Fire-laws
ded
so
the much
picturesque
charm
to
and
to
old
that
Flemish,
a
French
German could of
streets.
It
is
half -timber
use
*'efFecf
be
obtained
materials,
by
(or
misuse)
be
At
in
a
fire-proof
would
palpably
one
artificial,
time city
and
houses
manner,
consequently were
undesirable.
designed
arly
Romanesque
contemporaneously
in called of
the
strange and
in
attempts
more
hic,''
successful
adaptations
Gothic-Eenaissance
First.
transitional
will
not
now
style
the
of
is
We
speak
of
entirely
s
in
*'brownstone
rows
front/'
the
mercifully
of
even
disappearing
"
under
copy
hands
could
wreckers
^it
a
was
an
ly
base
(if it
be
called
poor
's,
copy)
taste
a
entirely
existed of its in
debased
France
on
kind in the
of
bourgeois
*80
early
and
repetition
like,
either
to-day,
as
side
or
of
even
the
Atlantic,
the
is
nately its
impossible actual
house
in
future. the
In
planning,
complete
city
is
complex for
part the
tural architecof
problem
ingenuity
be allow, and
calling
on
ability
Booms
site
quarters
the
as
architect.
provided
with
adequately
the
restricted
servants*
a
light
and
ventilation,
kitchen devised,
as
skilfully
and
a
incorporated, number
of
elevators,
such
service
entranc
convenient
ations chutes
self -operated
dumb-waiters,
and heating
ry
and,
of
course,
the
plumbing
s.
ith
all
these
details,
only
upon
in
to
part
suggested
as
here,
some
architect
is
now
called
effect,
well,
THE
PRACrriCAL
BOOK
OF
ARCHITECTURE
**
' '
nse
of
a
spaciousness twenty-five
house
"
^perhaps lot.
The
in
city
hous
ccupying in
city
foot
greatest
evolu tion
planning
' '
took
stoop entrance
place
' '
with
the
the
narrow
ment abolish
of
the
The
high
entrance
and
plan,
ithin.
basement
house
to
on
with
the
fro
all
of
the
or
near
the
building
line,
the
nature
enabled
he
architect
or
design sometimes
something
of
occupying
too,
an
in
almost the
of
oyer
lobby,
nature,
monumental
mposing Some
in
and
whole
width
economy
of
ot.
architects,
other
parts
by
house,
ingenious
have of
pace
of
the
or
designed
gre
wo-story
living-rooms and
as
salons,
lot
considerable
ength,
wide
"
as
the
(exclusive
desirable
confines
of
in
the
party
all
thickness)
cramped
device
'
most
the
necessari
'
and
shut-in"
of
the
usual
welling.
Much
yet in
remains
in
the with
evolution
the
of
the
city
house
especially
connection
architectural
low-extensions.
tion reclama-
of
back-yards,
roofs,
and
too,
Ther
re
unrealised
or
possibilities,
garden
in
the
introductions
at
patios
small
court-yards,
either "solarium**
retreat
recent
even
the
groun
or
level,
or
sunk
has
in
the
an
roof. attractive
house
to
The
parlor
added
a
the
dinin but
room
of
many
city
of
mor
still
remains
to
be
done
create,
architec turally
conditions, dwellings.
here,
not
more
livable
attractive
One
an
of than
the
a
city
mansion,
whi of
is
rather the
problem,
for
up.
but of
average
and of
our
even
small
city
house, made
the
these
most
residential
of
streets
designing
met,
The been
problem variously
From
tall
with of
office
buildin
has
and
often
conspicuous
there
success.
the
point
of
view
design,
ifew
a
red
or
a
seemly disguise,
and for of
or
well-considered
a
architectural
the
g,
steel
or
frame, window
whole
presenti
to
maximum
of
voids,
wall
openings,
um
solids
manner
surfaces.
which
the
Hie
skilful
was
in
forms
the
great
Woolworth of
a
ing
treated in
can more
subject
chapter.
carefully
no
led
discussion precedent
of
the
fifth
Obviously
the treatment
ric
be
vast
followed
than
the
in
of
lding
size
greatest
European
as
draL
than
Historic
models,
styles
so
have
we
beeii
have
the
used
motifs
that
Metropolitan
in
New
York
City,
campanile, arcade
so
done
in
the
guise
of
an
an
Renaissance
see
a
enormously
or a one
magnified, Colonnade
an
Italian
Classic
can
ing
building
the
tall
that
scarce
discern
order
most
of
columns.
In
tall
office
buildings,
to
architectural
the first
two
effort
stories
three
in
is usually
level, the
confined and
to
few
or
above
stories
mass
street
crown
the
upper
building. by which
countless
The
intervening
of
perforated design, If
evenly
as
windows, expedient
detail,
*
is
usually
of
is
an
both
or
logical
and
were
ble.
architectural
over
interest,'*
such
a
the
vast
bulk
of
colossal in
and
ng
the the
Equitable
effect The
would
Building,
optically
* *
New
mentally
'
City,
distressing.
the
eye many
building
seem
restless
e
level,
would
fail important
to
itself
of
naturally
at
and
values
dignity,
and
of
ing of
the
almost larger
approaching
sublimity
(apparent
would
in
lost.
conmiercial
many
buildings),
liberties
must
be
is natural styles
that
to
be
taken urbanely
with
ic
fit
them
agreeably
and
to
the
building
igh
average
of
and
merit
has
been
which for
through
ngenuity
shown
type
adaptability
architect
ave
in of
the
their
designs
essentially
can Ameri
building.
lay
to
Even it
observer
design
to
should
a
not
fail for
to
appreciate
hat
means
cornice,
example,
olonnade in
only
in
the
on
scale
be The
seen
elevated
can
forty
contrive It
at
may
a
or
tories
air.
paper
architect in his
etail
and
head.
look
great
ifferent
and
in if
its execution
we
and
consider the
placement
the
ele tio
stop
nature
to
exacting
we
and
must
come
rea
remendous
of
problem,
ealise
thajk
ul
an
architect
of
a
deserves tall
more
credit
for the
for
successful
uccei^sf
design of
a
building
country
than house.
design
beautiful
could
great not
The
country to
ouse,
perhaps,
be
more
agreeable
on,
while bulk,
the could
office
have
building,
if
a
only and
at
by
reason
its
easily
been is
not,
vast
even
grievous its
best,
rchitectural
affliction, appealing
modern
as
and
the
umanly
Another
some
country
house. architectural
American
a
problem,
than the
respects
problem
in
more
exacting
ffice
building,
exists
the
^^oft
building."
entirely stories
some
Here
structure
intended perhaps
on
for
purposes
utilitarian
in height,
city
building
to
or
twenty
house
some
each
floor
manufacturing Two
dustry
have
commercial
against merit
economy
organisation.
the attainment in in
an
militated
of loft
egree
of
architectural
and often
to
the
building
"
eedy
erection
expenditure edifice
unworthy
^yet
means
chitect
has
or
produced dismissed
as
by
of loft good
no
spicable,
of
the
be
the
atte tion
architectural
a
observer.
beauty,
The
buildin
be
thing
but
desig
pl
'is
lisij
'
sill
y3
'
"I ij
2*
id fumiAbed
id
the
the
inevitable
a
limitations of
the
presented, banality.
is
one
may
keep
i the
on
being office
thing
absolute loft
Unlike of
many
building,
and
may
building
only
eet,
be
lighted light
from
a
front
and
rear,
possible
purpose.
"
addition^ Consequently,
is attempted front
to
from
any
shaft
designed
**
to
architectural
design
can
acter charapparent
which
in
the
or
be
in
the
elevation,
the
street
facade. its
Usually
story
entrance
building
and the
to
crowning
architecturally
treated,
given
over
intervening
window
height
two
stories
space.
entirely
necessary
adjacent
building
towering
buildings
perforce
far
of
must
comparable
rear
exist, blank
and
the
great
side
fourwalls
above it.
the
rows
of
three-
buildings for
years,
below adorned
names
Ordinarily
only
these large
blank
painted
with
signs
aiming
and in
businesses
many
of
notable
the
tenants
of
several
though
instances
strangely
the
tect
made devising
two
this
vast
upon
wall
surface
esting
use a
by
of
it titanic
designs
bricks. In
occupy
formed
a
the
different-coloured
of in
equal the height
few
loft
building
may
both
to
adjoining,
these and visitor
to
but gigantic
interval
patterns
previous loom
their
as
an
ion,
brick
up
esting
commendable
to
a
No
large
city,
to
especially
or
New
could
be
impressed
their
or
by towering
the
hotel
may
though
ures
through
familiarity
metropolitan
great
feigned
ference,
passes
impress under
the their
individual
or
daily in
shadows,
eats
ently
their
gilded
dining-rooms. hotel,
Th^
modem
organism
American
as
besides
being
marvellou
hotel,
presents
several
unusually
nteresting
and
an
angles
out.
for
amateur
architectural
study,
nside
As
organism,
one
indeed
vast
a a
microcosm,
we
see
under
roof
combination
all
of
to
devic
uman,
mechanical and
comfort
must the great
and
to
aesthetic, the
guest.
planned
ef
leasure
Since
with the
we
the
presen
onsideration of
dismiss
American
at
deal
entirely
architectural
must
pect
metropolitan other
hotel,
interesting
many
features. from
absolut
anality
architectural erection
' '
wakening in
country,
and the
of
after
of
ldorf
New
York taking
styles
prevalent
a
hotel
styl
llowed
the
suit,
composite XIV,
adaptation
French
Louis
Louis
more
XV
enormous
uis
XVI.
than
the
Structures
greatest
were
reared
palaces
magnificent
lk
French made
or
chateaux,
tel
a
interiors
and
of
sumptuous
superlative
mirrors The
and
degree
by
the
use
ornamental
ma bl
gilt.
of
adaptation hotel
has
many,
this
'
'
'
magnificent
but
not
style
for
rge
been
on
severely
the
intelligently
it is
vulgar
cr ci
by
ground be
a
that
tentatious.
large
"
It
city
should
is
to
remembered, with
impress
a
however,
hotel
building
definite
if
tio int
it is
intended travelling
attract,
and,
possible
atter
the
French
public.
It
cannot
be
and
denied
speaks
gal
architecture
attracts
iversal
language
richness
to
a
all
certain
beholders,
kind of
even same
symbolising
social if
o l
and
distinction. be it is
has
splendid
repose.
self-assurance,
it may
lack
And
managers
for
these
were
reasons
Hotel
that
quick of
the
to
appreciate theatrical
ct
architecture
is
one
most
arts
"
that
even
certain
impression
unconsciously, the
any
may
be by
a
more
readily
number
ed,
though through
through
lobbies,
greater
of
architectural
other
means.
guise
of
the
ng
Thus,
the
are
the
vistas
the
gilded
the
dining-rooms,
hotel
manager
rrors
scenery,
a
in
modem
the
but make
theatrical
by
the
to
his
success,
people
eating,
gorgeous
promenading
environment
ancing
in
intentionally
actors.
the
unconscious
eat
in
one
richly
may
care
decorated
not
at
some
' '
Louis
all
XIV
the
dining-room,
style
gh
for small
in
itself,
receive
the
name
unconsciously
manner.
reflex
by
sensation whatever
grand he
Call
average
the
feeling
is
will,
"
the
^he
person
flattered
of
by
great
past,
environment royal
cannot
escape
treads
in
the
footsteps
personages
a
and
courtiers
of
the
distinct
impression
of
elation
or
ication.
or
these
reasons,
which these
are
psychological
styles
rather
architectural,
to
* '
French
were
make
hotel
up
an
elaborate
' '
composite
are
might
as
an
lled
architecture,
to
be
ent
sure,
choice is
for
their
purpose.
Hotel is
be
great
architecture,
when
superficial,
its
yet
must
a
this
natural
it i and
ered
to
that
attract
a
appeal
please
high
instantaneous, variety of
and
not very
people,
ing
degree
of
architectural
mination.
evidence
management
urther
of
the
desire
to
seen
please
on
the
part
hotel
is
in
as
to
be
in
the
diversity of
tyles
often
as
found
the
the
interior
'*
decoration
rooms
hotel, constantly
well
in
to
special** the
which
ofiFered
meet
continuous
public
THE
OF
ARCHITECTURE
emand
for
**
novelty."
* *
One
Antoinette Louis XV
or
will
'
find
'
Louis
a
ning-room, resplendent
*'
Marie in
tea-room,
r b
rococo,
and
an
**
remberg
rathskeller,
diversity Room"
**
grill-room
downstairs.
the
reater
Egyptian
may
or
be
**
offered
Pompeian
must
in
form
"
of
yet
Room"
arge
of
inconsistency"
that
fall devised
is
flat
to
when
emembered
as a
these musical
these
things
program
are
entertain,
to
ust
varied
often
devised
have
ent
in.
Very with
taken
rooms
been
carri
the
highest
separately interesting
of
what
to
architectural
they the
are
ingenuity,
worth, observer,
nd,
ffer
much
lay
if
ll
A
look
great
about
many
him
between
vast
the
not other
a
dinner
only
courses.
hotels,
in
New
were
York,
Philadelphia,
Chicago
styles,
and
cities,
new
designe
inly field
in
of
French hotel
close
until
element
entere
e'
design.
And,
to
instance
forcibly
er-present
between
came
architecture in ideal
new
man
thought,
as
a
'*
reactio
gainst
the
prevalence
was
hotel
a
of
There
"
substituted
of
ho
rchitecture
an
ideal refined
' '
restraint,
correctness
pression
' *
of
that
Englis
ll
smartness.
Architecturally,
the
prodigies
great
hotels design.
the
of
the
French
hotels
as
achieved
of
Such
aza,
in
New
York, reared
and
vastly
Bellevue-Stratford,
chateau Again,
were
as
iladelphia, above
oflBice
all
ro
gh
surrounding
in
ll
structure,
historic
The
as
used
as
moti
ther
than
models.
architect have
endeavoured
been approached
proach
his
problem
it would
the
Eighteenth
to
Century
design
a
French
architect,
structure.
had
he
required
the
similar
For
architectural
a
expression remarkable
of
choice
restraint
in style
hotel
wAs
n,
however,
of
and
the
success
firm
of in
Warren
their
and
Wetmore
achieved Previously
illiant
erection
adaptation. Bitz-Carlton
of
the
hotels
and
new
ew
York been
City
difficult
(the
for
first
us
of
to
the
type),
of
conceive English
an
the
style
Eighteenth
Adam applied
the
Century
to part
"
the
ers
Adams and
as
enormous
were
hotel designers
edifice. of
ture furnidistiur
for
of
the
most
chaste
authors
interiors of large
they
were
not
d
was
projects.
in
A
It
desired,
Adam
however, interiors.
had
that
the
newest
hotels,
Adam
out
revival
the
of
ture furnivogue,
and it
was
decorations surmised
become hotel
fashionable
interiors
The
in
the
Adam
be
classic
popular.
of
type
conflict style
without,
twe be-
the of
Adam
hotel
within,
could
diversified thought
be
so
an
seeming
architectural of
more
bility impossistyle
was
adaptation
of
the
Adam
vast
exterior
buildings four
in
their could
rtions
conceived. this
is
all
the
brothers
together
That
remarkable
tour
de
great
force
Hotel
was
ved York
evidenced
in
the
City,
style.
brilliant exterior,
example in brick
of
of
tectura archigrey,
The
Adam details,
ed
with
cream-coloured
to
terra-"U)tta
is
an
able few of
introduction
the
many
the
quiet
interiors themselves
that
within in
a
"
who
stop
daily
to
enjoy
reflect
this
New
York
hotel
it is
remark-
le
architectural of
an
achievement^
studied
the rendering
as
an
adaptation
an
historic
type
style
of
for
of
essential
modern
have
building.
in
other of
lar
tels
been
designed
architecture,
free while
ia It
the
many
visit
modern
various
other
American
versions
and various
have
oth
yles
In
periods
types
landf.
architects
or
of
with
building
such and
drawn
verse
inspiration
the that
spontaneity
a
freedom
to
in
modern
these
' *
hotel,
remarkable
to
it is
great
are
mistake
of
a
p s
edifices
a
nature
superficial material
A
afford
volume
of
peculiarly
ing interest
for
distinctly
is the
to
and
apartment
distinctly
house
"
American and
here
ty
building said
exist
architectural
to
by
been
ns
fully
realised
date.
have it
som
mirably
far the inside
designed
greater
apartment
is
true,
number
out.
suffer has
from been
commercialism,
an
th
and still
There
to
unfortunate
great
ndency,
prevalent, and
concentrate
effort
deal
expenditure
entrance
architectural
in
effecting
posing
and
out
an an
a
impressive
air
hallway, opulence
of
a
th
atures
carried
with give
of
and
the
ev
gnificence
which
itself.
This
false
to
impression
create
more
actu
ilding first
effort
fine
than
impression
a
sight
is
and
obviously
an
nothing for
lure
tenants
excuse
high
are
rental
en
the
actual
and
much
poorly
apartments
meanly
anned
built.
house and
uffered
from
that
even
this
the
palpable
average
de(;eit
it is rath
urprising
not
prospective quality
or
tenan
ll
look
more
rooms
closely he
at
the
of
the
floors
he
suite
of
is
to
rent,
at
the
carpentry
he
woodwork
display in its
and
disregard
as
immaterial
the
pretenti
of
the
many
marble,
plate-glass
and
gilded
erwork
downstairs architectural
has
are
hall. drawbacks,
however,
Despite
apartment
years.
house There
improved better
plans,
considerably
more
practical details
even
niences
and
far
better
design
in
the
such
as
-pieces, of
wainscotings
moderate
rental.
and
like,
in
the
ent
Real
architectural of
the
many
ability
apartment
are
is
apparent
in
of
the
design
me as
great
houses
rental,
as
in
which promising
co-operatively
was
by
by
the
s.
' '
the
lex
apartment,
sense
spaciousness
a
effected
by
living
devising
room,
each
apartment
large
rooms
tory
like instead
studio.
of
The
other
the
apartment,
on one
being
on
inconveniently
two
ged
floor,
are
disposed
so
floors,
with
te
connecting fact,
a
stairway,
that
each
duplex
unit
miniature of
the
house
apartment
in
itself. house
well
no
The
study
problem
form
more
and
it
different
solutions
might
but
the
great
the
can
subject
be
done
might
stive than
consideration,
to
a
suggest
benefits of
which
from and
to
greater
prevalence both
co-operative and
to
building,
remind
the
landlords
speculative
apartment
ers
that
alluring
constantly
front of
well
of
a
door
less
the
is
becoming
entrance
significance.
a
ome
is very
quality
than
tenants
if it is
the
true
indication
the
architectural
more new
entire
a
building,
investment.
young
renew
but
is nothing
attract
lure,
"
it is
poor
ay
especially
cause
the
to
and
erienced,
but
it will
not
them
their
ases
if the
actaal
rooms
in
meanly
which bnilt.
they
live
are
incon veni
planned In
and
an
building
must
apartment
a
house,
which
cheap
managers
from
ture,
be
a
profitable economy.
plan
ll
be
found
poor
reali
please
at
their
building, they
any
go
above
to
must
blic,
and
In
architects
building
of
designed
merit
recognised
to
hi
ility.
type
of
rent,
tect arch
appeal
and
architectural of
great
more
should
be
the
pra tic
* '
considerations
development"
Of
tate
subsequent
apter. Among
architectural
the
one,
types
which
terminal
are
essentially
a
dem,
great
railroad
has
is
to
peculiarly
teresting
and have
been
problem
which study.
can Ameri-
architects
It is doubtful
the
devoted
considerable building
if any architectural
similar
in
of
any
country
ssesses
significance
the
terminal
the
Pennsylvania
colonnade, the
Railroad
vast
in
New
York
achieve
which
City.
a
ately
interiors,
conception
quaKty
nobility
greatest
in
architectural
ranks
wi
masterpieces
here fills colossal
a
of dual
European
architecture. in
that
a
chitecture
out
function,
building
id
in
such
proportions
passenger
ngestion
is
every
impossible,
traveller
while with
the
its
a
splendid
sense
magnitude
the which
character
*
presses
the
of
to
prestige
grand
of
railroad of and
he
trusting long
himself.
building
the
this
departure
of earlier
dingy A
oppressive
of
tra
ed*^
building
is
more
the
a
character
e
a
Pennsylvania symbol,
as
terminal
perhaps
as
than
a
building in
"
much
of
Egypt.
monument,
spect,
the
Pyramids
The
New
York
City
terminal
of
the
Grand
Central
CLASSIC
ROMAN
An
DERIVATION
ciHptional PuDcuiylVHrdi ciample
IN
MODERN
an
TERMINAL
of
"nhitwiural
Terminul
ITh"
lUilroul
FRENCH
BEAL'X-ARTS
INFLUENCE
[N
MODERN
AMERICAN
RAILROAD
Thialaful*
the
modem
of opposed
Ibe
to
ol
(The
Grud
Centnl
Ruilnwl
TenmniU
Stftlion,
N"w
York
Cily)
oad
is
of
interesting
the modern of of
Beanx
not
from
imity
other of
viewpoints
"
^as
an
architecture
with
complex
problems fagade
engineering. this
great
"
The
station
a
proclaims
at
once
tjcoile des
yet
Arts
symmetrical embellished
of
composition^
with such detail
ic
is
Classic,
French.
and
entirely
Characteristic
the
modem
architectare
shown
over
is
marked
the greatly broken of
disregard out-of
for
-scale
careful
proportions,
figures
in
allegoric
the the
central
pediment. whole in
"
This
^an
would
comparison,
destroy
dignity
being and
the
excellent
afforded
the
study
Grand
"
Central
^Beaux
Pennsylvania Classic
are
termina
Arts
versus
restraint.
are
symmetrical
the
manners same
fagades,
purpose,
both
yet
buildings
sig de-
for
their
respective
of
architectura
make
them
buildings
widely
gent
character.
most
The
interesting
complexity
aspect
of
of
the
Grand
Central
nal
is the
fact
that
its
by
planning, the
necessitated
he
it is
as
entered
as
tracks
of
two
very
railroads,
are,
well
by
the
Interborough different
Subway.
track-levels, and architects
at
consequently,
several
their
As
that
where
several
a
concourses,
waiting-rooms
the
ticket
es.
practical
consideration
provided
clearly the
readable
traveller
legends
might by
the
be
need
lettered
every
direction,
while
er
confusion
possible, which
a
is of
ramps
saved
introduction,
of stairways.
runway,
or
ever wher-
instead
gently
On
is
a can
long,
move
sloping
more
platform,
on
crowd and
far
quickly
to
run
than for
ramps
a
way, down
the
it
a
is
possible, It
also, probable
many
train
or
ramp.
is in
that
will
place
of
stairways
of
the
public
build-
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
gs
of
the
future
structures
"
^in
as
buildings
these
two
of
which
great
even
markable
are
railroad
but in
an
forerunners.
*
We
live devices
the
age
of
*many
appear
inventions
yearly which
one
were
**
"
^new
str tur
and
systems
and
make
p s
erection
of
buildings
no
the
past.
Obviously
these has
but
an
miUar
with
who
technical
innovations,
with
the
server
become
with
some
acquainted
elemental
to
architectural
yles,
together
cannot
principles
him add in
the
sign,
but
find
much
interest yearly
chitectural
achievements in
which
credit
profession
America.
PART
PRACTICAL GUIDE
II
TO
BUILDING
CHAPTER
SELECTION
EIAL
FROM VIEWPOINTS
APPROPRIATENESS, LOCAL
I
STYLE, MATE-
OF
AND
LOCATION, ARCHITECT
OF RELATION
ETC.
TO
LOCAL
SITE,
ENERAL
ND
COLOUR CHOOSING
AN
CONDITIONS.
ARCHITECT
FORESIGHT
DVICE.
connectioii
any
with
building,
is
more,
perhaps,
than
other
oonnection,
trite saying:
there
*'A
deep
little
significance
knowledge
he
familiarly
i
the
cannot
ngerous
ideas
thing/'
of
as
To
most
*
be
accurate,
indeed, builders
If
ill
ed be
prospective
' *
regarded
knowledge. be saved
enough
"
they rather
knew, that
without
much
they
any
ointment
they
or
might
know
to
set to
it is
to
either
build
the
ect,
themselves
above
work.
**A
architect knowledge**
they
ly
engage
do
the
little
because
which
it is usually
ignorance
in
disguise, and
professional
will
not
be
helped.
in the
Complete aid of
the
frankly
calls
is the
aim
and in
a
intention building
may
of
the
following
in
chapters
respects
oint
out,
project,
be
what
to
dual
in
discretion
what
respects
employed
opinion
matters
professional
be
ed.
are
Certain
matters
things
of
are
fact.
usually
lay
Even
to
in
be
the
first
the
ect's than
group,
opinion
an
is
regarded while
argument
better
the
second
uniformed absolute
opinion, of
in
the
futility
should
be
nt.
15
225
The
points
taken in the
np
in
the
chapters
arranged
in
sequence
a
hy
the
step
nso
ocedure
with
boilding
a
hoose,
will
alt
in
practical
to
manner.
practising of
is
tec arc
is
distressed
to
or
find
about
so
that
to
mnch
the
so-calle
advice"
persons
build he
toward
arbitrary,
to
err neo
misleading,
that
is
obliged
devot
nsiderable and
e"Fort
establishing
and
a
time ground
disillusioning
common sense
ient
of
ear
vision.
on
Of
this,
the
more
will of
be
said
in
and
subsequent client.
not
servations The
the
usual
relation
architect
operation
building
certain site by
very
does
things
architect decided.
important
en
of
the
the
house,
ownership
for of in house,
instance,
a
ften
pre-determined
The architect
piece
and.
best
might
well
be
for
called
the
to
sugges
architectural
he
of
location
consulted style usually
on
but
or on
requently
is not
this
question,
uestion
what
are
is
to
be
followed
in
the
desig
hese
things
the
starting
poi
for
hough
to
in be
many
cases
it would
advised
to
well the
a
lient
professionally
opinion
as
a
start.
house worth
rchitect's
what
site
kind
might
of
woul
best and
suited might
to
given
be
well of
he in
result
in
better
solution
ways
the
problem.
Varying and
sites here,
call
at
a
for
different
outset,
of
in
locating
ouse,
the
is
case
which
a t
resembling
to
fixed
rule
might
easily
be
angerous
follow.
greatest the
It
is of
the
to
importance
of
to
give
and
as
careful
to
points
to
the
compass
prevailing
in
ocal
winds,
and
the
consider
these
factors
If
esign
remote
of
house
from
from
its
inception.
the
site
one,
far
''improvements,"
the
question
ighting,
least
style/'
water-supply
and before
"
sewiige
disposal is detailed
the lay
should
considered Although
conspicuous less
many
there
''
thou^pht
observer
style
is
to
most
of
exacting
the
architect's
performances,
architect
's
relatively
than
to
an
from
more
the
point
he
ew
of
the
technical
problems
ed
solve.
architect
the
has
been
selected
location
at
this
of the
stage,
house,
and
visited
as
site,
and
has
the been
as
possible,
of
determined,
to
it is
taken,
an or,
well
for
ber of
a
good and
photographs
important
be
in
the
large
survey may
house,
drawn.
accurate
topographi
way
made
the
parts
and different
of
In
or
this
slopes
the
ect
govern
study
certain
grades
design
which
his
use
for
the
house.
survey
he
as
ideal
data
procedure
is to
the
topographical
of
an
for clay
to
the model
out
construction
of
accurately
tioned possible
to
the
site.
and in
On
this
model
lay
driveways
house
approaches,
and in
study is of
block
in
to
the
the
itself, it is to
miniature,
The
a
it
relation
place
occupy.
of
rchitectural
value
a more
project
to
by
means
of
client
model
To
the
st
architect
and
alike. definite
a
the
first
ven
comprehensive and
to
and is given
the
vision
of
problem,
the
second
presentation
he
architect's
to
conception
vivid from and
any
of
relationship
than
of
site
more
understandable number
he
possibly
is
well
the
not
a
obtain
to
of
the
drawings.
mention
here
a
that
topographical
or
of
is
site,
part
being
of
civil
engineer's
's
surveyor's
the
architect
the
work,
and
or a means
is
paid
separately,
surveyor. most
either
It
through
architect,
as
direct
he
is
at
to
be
regarded
for
ng
directly
the
required
result
"
the
estab-
shment
the
of
the
exact
relation
of
house
to
site,
terraces,
as
disposition
etc.
of
drives,
approaches,
o b
The
the
of under
the
model
his
is usually
and
undertaken
a
direction,
separate
arge
rightly
be
amount
expected of
without
for special
great
it,
since
it
considerable
be
apparent
work.
It
should
emphasis
on
location,
of
placement,
Many
of
the
house
its houses
site
tremely
an
important.
appearance
ha
ven
of
fact
that
unpleasing
sol
cause
of relation
the
to
they
been
poorly
place
th
the
many
natural
of
their
and
sites. of
other
hand,
houses have
cost
li
chitectural because,
pretension
on
seemed
it
peculiarly will be
seen
agre
le
observation,
ery
advantage and
has
been
taken
of
elevation,
grades
proaches
background.
as
Architecturally,
well
as
naturally, is in
prospective
the
the
most
ing plea
building with do
well
building
site,
which
the to
most
gracefu
rmony
and
builder
his
ten
wisely
banish had,
from
mind execution
som
reconceived idea
house The
style,
he
may
have
an
if the
is
would
and
question
any
result
site.
of formal
in
unharmonious
relationship
site
type
is often
of
involved
in
calling
is
the
questio
a
building
site
of
a
for
le
ite,
the
or
rugged
picturesque
must
say
hill-side
type
best
suited
building.
of
Sty
hen
is
said,
To
always that
no
be
matter
personal
redilection. in rustic
formal
is
to
house
laced
surroundings hunting-lodges
in
ignore
ult
ormal
French
and
chateaux
ften
discovered
densely
wooded
AN
AMERICAN
COUNTRY
HOUSE
ESSENTIALLY
PICTURESQUE
lishiDg
Ihe
precedenl
\
rn.
SMA[.[.
ranw
OF
NATIVK
DERIVATION
Tl["m
of
(Brm-houws
Duiiaec
wus
lo
b.
LuUi
au,
it
is
true,
is
usually
blended
with
its
means
land wood-
surroundings, gardening.
like
the
Italian
seem
villa,
that the
by
o from
It
of
would
house,
point
of
view
style,
is best
or one
considered
setting
to
in for live
the
light
architectural
are
background it. in
or
the
people
entertain
to the
occupy
If
a
intends
and
and
in
country
formal
rather be
elaborate regarded
(whether
,
not
this
is
to
as
rable)
not
one's
certainly
the
most
the
picturesque setting.
and
informal If,
on
house
the other
be
effective
country
idea kind,
a
of
most
life
is
of
the
simple
English
and
ected
and
can,
formal
chateau
would
prove
success
ble
disappointment,
depend, rather,
architectural architectural
omfortable
so
informality
for
every
in
terms
of
the
And
of
prospective
tastes to
builder,
the
a
vidua indi-
ultra-simple
type the
*'next-
ure"
there his
is
suitable
through
of medium
ing dwell-
which
reflect
tastes
o
rule
ppropriate
the
a
architectural
essential
matter
setting.
No
is
too
fixed
i and
le" much
of
flexible It which is
of
the
a
case.
possible
however,
to
submit
either
generalities
cases
might
orne
in
mind,
has
in
those
where for
for
a
the
prospectiv
builder
it
no
predilection desirable
specific him
to
style,
here
might
be
highly
change
mind.
may possesses
One
contemplate
a
building
in
certain
**
locality
marked
New
character*'"
example,
small
Here,
street,*'
a
as
drives
may
down
the houses
old
be
seen
certain
They
are
simple,
wooden
houses,
usually
PRACTICAL
BOOK
ARCHITECTURE
apboards,
with
green
blinds,
of house
and
can
the
intrusion be
distinctly
as
alien
well
as
type
only
an
regarded
locally,
in
the
abstract)
and
as
offence
taste.
a
agains
chitectural
against
in
stucco
as
worse
good
such walls
an
si Co
in
erection with
locality, and
a
Spanish
mission
roof,
may
brig
d-tiled
pas
and
seem,
outrageous
such
architectural
aux
it is
no
in
*s
any
way
man
ich
have the
accosted
the would
writer have
eye.
It the
is
to
at
newcomers
earned miles
their
of
they
the
natives moved
for
into
around,
new
actually
and
priate inappro-
premises. The
isolated
house
may
be
an
designed
instance
of than
to
conform
there
stylistic
whim, of
taste
but
some
'*
in
where architectural
djacent
houses
degree rather
of
c f
''bad by
''individuality''
building this
choice
pressed keeping.
out
the
In in
intrusion
an
which
point of
is
earlier with
chapter the
ought
American
No
connection
style
village
style is
so
church.
mean
or
local
so
devoid
not
of
possibilities
a
at
architectural satisfactory
theme.
ingenuity
may
develop that
style
th ou
rendering
in
which
is
in
As
in
the
case
of
well-designed
reason
house
its
appearing
in
tal
disadvantage
natural
by site,
many
of
failure
relation
well-designed
create
are seen
houses
a
(we
of
signed
in
themselves)
when they
only
in
sensation locality
acu
spleasure do
not
in
whic
ey
belong.
Having
often
observed,
be governed
then,
that
architectural
site that
st
by
ould
by
we now
natural find
and
styles
lo
chitectural
prototypes,
shoul
be
influenced
by
the
nature
of
local
building
als.
an
obvious
are more
are
generality suitable in
it
to
is
a
safe given
to
say
that
no
als
locality
than
which
we
found
soon
that
that
locality,
and
a
in
this
connect
will
find
this
has
distinct
bearing
conomy.
will
be
found
that
local
building
styles,
to
a
have degree,
and
nced
local
architectural and
each
the
so
we
conspicuously,
interlinked
to
resent
find
the
both
with intrusion
some
other,
of the
dual which
ce
from in
a
alien
locality. natural
way,
sually,
are a
perfectly
to
local
they
materials
adapted in
the
local
styles,
because
have
development
those
of
types
those
styles.
cific Spewith
a
types
building, periods
materials,
associated demand be
more
specific in in
and
countries,
as
renderi
certain
a
will
fully
cuss disare
following
to
chapter.
locality
the
If
in
such
materials
proposed
will
ly the
alien
the
which
it is builder
to
building,
his will
ideas
prove
prospective
do
at
well
some
ecast
and
more
endeavour
arrive
which
New
suitable.
the most
are
In
England, is
for
part,
grey,
grey,
weathered the
low
a a a
tone
"
abundant. entire
on
Skies landscape
a
often
earth
tones.
ey
the
is
New
harmony
of
der,
then,
grey
up
England
the
''
coast,
house
ed
brick,
or
starting
a
from
ground
like
house,
conflag
white
as
stucco
Mission"
a
spot
he
landscape
on
a
glaring
lawn.
as
newspaper
carelessly
cases,
green
Such
outrageous,
extreme
and
less
conspicuously
should that
even
convince
a
intelligent
and
thoughtful
builder
deep-
oted
predilection
best of
be
a
for
some
even
unsuitable with
will be
type
of
buildin
regret,
discarded,
building
temporary
vour
which
to
appropriate,
and the
taste.
may
or
ssess,
in
addition of
this
its choice
architectural
la i
merits
logical point,
and
decent
Up
to
no
the
prospective
He
he
ha
ught
professional
his
vaguely real
advice.
estate,
or
wise othe
in
acquired
either
or
has
nd,
definitely,
ideas
its
of and
placement
some
of
as
his
well,
house
site,
ideas,'
materials
may
even
regarding
he will
on
architectural build.
paper
as
yle
the
he
of have
his
which
Wit
wife,
outlined
som
plans,*'
embodying
arrangement
wishes
his
new
and
intentions
to
of
was
abode.
a
wit
once
who
obviously
*
*
consummate who
master
own
said
for
same
a
that
The
' '
man
is his
y l
fool
the
Disregarding
true
exceptional
stances,
if
The
' *
one man
substitute who is
other
profession, architect
has
a
that
a
'
'
fool
for
client.
to
or
Before
giving the
consideration
is
usually,
the
is
different best,
to
way
which
architect
sought
he few
prospective of
the
more
builder,
serious
to
it
might
be
why
well
point
both
reasons
it is
und sir
and
unwise
without
this
attempt competent
any
consequential
ing bui
project
for the
advic
asons
will
become
chapters
is
and
The
subsequent
prospective
throughout
builder by
a
hand capp
general by
ignorance
problems be in
on
of
detai
nd
will
not that
be
daily
confronted If
spent
which
he
ad
reckoned.
he
has
his
more
time
valuable,
own
ind
far
his
time
than
have
been
called if
upon
economy
to
spend
had
on
his his
ssion, his
for
own a
and,
been
i had
architect, client.'^
he
would
indeed
fool
Lacking and
specific grades
fixtures
at the
mercy
knowledge
of
of
different plumbing
he
makes,
ties qualifixtures,
lumber, hardware,
of
brick,
ing
and
will
find will
himself be
ly
the
contractor,
who
hi
advisor.
Furthermore,
to
his
will
as
friends,
upon
as
soon
a
as
they
of
or
learn
he
build,
and
heap
him
mass
gratuitous
recommendations
ice,*' will
to
most
of
to
their be
warnings he
be
found
conflicting,
or
will the
have
no
authoritatively
he will
no
reconcile
appraise
various
been
told.
great
or
With
drawings,
the
'
difficulty
builder
will
comes
ntered
quantities when
contractor
to
procure
in
order
the
materials, unfortunate
to
or
and
these
have
have
no
been
knowledge
procured
or
the
will
the
experience
their
guide
upon
in
matter
of the
passing
upon
quality, with
have
quality and
of
binding
Nor,
he
any any
nite defi
means
enforcing
which
the
use
of
certain
specific in
the
the
materials
es
he
wishes
used
Throughout be
the asked
will all.
progress
of by be the
constan
questions
contractor, to
answer come
and
most
hese
he
if at
he
naturally
unable he
gently, intellito
On
the
whole,
will
realise,
whose
is
through,
that
not
**
the
architect
(with
is
offices
than
a
he
man
had
who
been
makes
familiar)
blue-prints.''
however,
something
Before
employing which
an
architect, the
there
are
prospective
builder
operly
look
into.
some
We
degree style of
will
of
assnine
that the
he
has
dete mine
of it
with
the the have
on
certainty,
location
wishes
nse,
general
in
which
it is the
to
he
bni
materials
which
also,
be
constructed. he
to
ll
determined,
the
or
amount
expects
end
project^
to
and
he
is of
ready
rooms.
consider Here
because
he
tual well
plan,
not
arrangement attempt to
be
him
and
too
specific,
many
chitect
will
not
later
show
space
economies but in
vings, and
only
in
Few
convenience,
planners,
d l
cents.
amateur
for
cellar
instance,
to
member
that be
to
plumbing
as
fixtures,
as
from in
pipe.
garret
ould
kept
save
nearly
possible
vertical
Nor
or
unnecessary
of of
ateur
rooms
planner and
warm.
heating, difficult
experience
avoi ing
be
of
or
expensive in
keep
Owing
floors
to arrange
visualis ing
several
of
house several
once,
the plans
amateur
fi
difficult
the
floor
consistently
are a
common
economically.
Impossible
plans of
"
stairways
the
architect
ature
of
amateur
lays and
so
come
out
we
udied
disposition
floor
over
the
first
floor
paper,
plots
cond
it,
on
tracing
that
lines
umbing
bearing
partitions
practically
into
vertic
from
ignment,
to
stairways
reach
oor
Therefore,
out,
general
idea
to
of
the
plan
that
no
may
etched
clever will
but it
seems
it is well
to
matte
be,
it
as
vastly
improved after
be
made
practical
it
a
ideal
chitect
has
studied
little.
Before
might
consulting
well
the
the
a
prospective little
ilder
equip
mati info
regarding
local
the
locality
LOCATION,
STYLE
AND
MATERLU.
235
he
is
who
to
build, has
unless
he
expects
a
to
engage
an
tect
already
erected
number
of
houses
that
^
locality.
'
By
local
' *
conditions and
must greater
are
understood
for from
to
such obtaining
a
matters
materials.
local If
labour labour
site,
are
local
be
cost
facilities brought is
distance,
to
an
ted
be
anticipated
than
carpenters
local
stone-masons,
bricklayers,
to
plasterers
competent
any
perform
will this
the
work.
few
iries
in
neighbourhood builder
cost
or
readily
acquaint item
in
prospective The
nearness
with the
important
will
of
hi
ject.
the
of
house
also
be
governed
remoteness
lumber-yards,
mills and
a
yards, brick-
sash-and-blind
mills,
planing
road rail
siding
Many
as
or
depot. the
people of
mistake
of
and
regarding
as
a
these
are
ts
importance,
result
led,
and
they
one
(unfortunately)
their
a
icious
find clipped
house,
popular
to
in
magazine
ects
and
house
said shown
cost
$12,000,
the magazine
cost
$18,000.
been
in
have
of
buil
generally and
may
favouring
but
conditions
this
very
availability
factor captivating
ur
cost
material,
not
important in the
have beneath
been the
mentioned
nd
printed if
picture.
been warnings
always
Little,
anything, advice,
written and
generously
*'
concerning
reconmien-
ons
before, various
a
sources.
These
advices"
which might and than efforts,
ed
fair
building
to
project
happy
smilingly and
forward
annoyed
completion,
more
ered
express,
the
many
architect of his
nullifying
best
and
tting
at
naught
many
of
his
most
valuable
most
recommen"
tions. of
a
Unprofessional
warning windows
upon
"
advice
one
often
not
takes
to
rm
will
be they
advised leak,
man
insta will
sement
because
that does designed
so
and who
it
und
investigation
the
has
issu
is has it
pronunciamento
had is with
people
a
because,
casement
unfortunately,
poorly all
window. and
equipment
building
have had
materials
unfortunate
fferent of
to
experiences and
greater
poor
or
unskilled the
workmanship, blame,
with all
have vehemence
h t
misplace
an
intelligence. in
use
Virtually
are
materials
to
and
device
ed
building
and
susceptible under
to
appear
perfectly
tory satisfac
application be
made
competent
direction,
or
all
may
or
defective
A
can
undesirable
properly
misuse
may
misconstruction. give
years
:
of
paint,
xed,
of
the
splendid
can
service of
under
ha
imatic
by
in
a
conditions
stupid
or
same
paint,
may
mixed
flake
to
incompetent
painter, is
ack
six
months.
The should
example
intended
to
sh
little
real
value
be
related
attached
to
sional unprofesNo
opinions
infallible, architect
or
a
in
matters
building.
apparent
ma
but
is
it should
a
more on
be
reasonably
t than
competent
authority qualities
nker
doctor
or
the
wearing
for
of
ather-paint
the
formula
concrete. to
Occasion
further unprofessional
It
will
on
arise the
in
the
following of
com me
fallacy
paying
attention
advice.
by
all all
means,
is
well,
for
the
prospective
such
as
builde choice
consider
the of the
preliminaries,
house
the
te, the
the
style
and
the rather
general
disposition
to
floor the
plans,
with
his
after
wife,
the
than
bring
to
consultation
architect
has
begun
LOCATION,
STYLE
AND
The
two
who
are
to
live its
in
the
house
shonid
a
be
erfect
is
agreement
upon
essentials the
before
In
third
called
of which
in
to
discuss
details. and
expensive that
building,
to
result
is permanent, be
apparent to
as
alter,
sense
ould
economy
certainly
are
all
common
as
served
all
by
features
much of might
at
a
foresight'
house have the
a
possible
prove
Virtually
'*
the
which
ortunate
after
it is built
thought
been
nated question
by
little
which the
beginning. door
can
of
on
side
plans
"
to
an
hinge
instance
etermined the
coming
house
mind
over
in plans
mistress
of
the
proposed and
very
room
carefully,
to
room,
imagined
the
herself various
answering
going doors.
also,
the
course
maid the
the
and and
assured
herself
communication
herself
rooms
efficient
and
convenient.
the in
She
of
imagined the
guest
^^
studied
and,
relation
"
bath-room,
its first of house and
some
short,
stone
inspected
laid.
the
for be-
foundation
plans
was
Such
is
practical,
different and
efficient from
and
highly
ence insist-
able,
on
is
entirely
biased
idea.
or
arbitrary
resent
or
ill-advised
No
tect archi-
will
ignore of
intelligent his
plans
"
reasonable
should
cism
and that
discussion
he
it
upon to
be
reme
is, primarily,
upon
any
bent
a
pleasing
suit his
his
t,
rather
insists
interests
than
upon
"
devising
point,
house
himself. client's
it is usually client
in
satisfied
almost then, of
and
is
an
architect's
best
tisement,
and
his
only with
advertisement.
some
Mentally
idea
be
of
the
unimp
weight
to
some
accredited
of the
ner man-
fessional in which
with
idea
consult
with
his
architect,
th
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
ospective
upon
is
ready
usually
to
select
his with
architect profound
est
he
embarks
norance
In
general,
the
a
architect
man
like
or
is
professional
dash
man
ke
his
deeply
lawyer,
with
of
for
the
art
rown
is
both
there
the
exist
pro pec
builder
and entirely
the
su
range
and
unfounded Few
about
realise and
of
a
the
tect arch
that
profession.
a
profession,
as
with
a as
code
the the
of
ethics
standard
law
or
ocedure
definite
nature
profession
cin med
Of
the
more are
of
be said
architectural the
following
an
profession, chapter.
architect, the best.
wever, There
most
will
many way
in of
ways
selecting
prove
natural
will
may
usually
ospective architect
builder
and An
with
be work
personally
"
wi
his
the
here
woul
obvious.
a
architect whom of
contact
may
be
built
the the
recommended
If
no
friend
for point
he
has
house.
prospective
current
su
rsonal
exists, closely
builde
ll
do
well
to
follow with
periodicals
of and
has
ich
deal he
will
specially
see
the
popular of
many
side
types,
building
he
re
many
houses that
an
right
house
in
inferring
attracts
architect
or
who
designed
resembles
which he
good of
a
him,
which be
a
closely
he
house
has
in
mind, for of
will
choice
wise lie
choice
in
the in
for
other
basis
may
observation
number
to
houses The
in
the
locality who
prove
which built
proposed
number
build.
of
these
architect will he
usually
has
a
eater
safe
pedient
because
all
is well
is thoroughly and
to
amiliar
local contractor
building and
rained
local
work
Berry
PurkiraiHl
Il";m""nil AND
r"i"in.
Arrbiin-U
DIMPI.ICITV Modcn.
Knilish
CHARM
COMBINED shuuld
IN Ipsch idFiit
t
i
domcHtir
m
"nd
Juon,
nrrhiicriuiP
u
wi-11
in
vurh
rhaniiini
""
ft
II
2-!
with with
the
him, his
and
to
perform and
work
strictly
in
ance accord-
specifications
directions.
a
prospective
procedure, he
builder
may
is
do
believer
to
in
extremely
ous
house
well
carefully
is
inspect
built
may
by
carry
the
architect caution
he further
considering
by the
engag
and
interviewing
architect's
evious in
client, the
any
and
same
by
way
investigating he would
ing
investigate
the
ing
of
business
be
man.
Mention
might of Architects,
for
made
a
here
of
the
American
which
tute founded
of
national
the
purpose
of
the
practice
architecture
^d
the
enforcing
strict
observance
certain
professional
ethics.
larger
has
ers
members
in
all
of
are
cities
only
States,
admitted
and
when
t
must
of
eligible
all by choice that
the the
ability
integrity. and
or
ve
down
regulations
Institute,
an
the
**
Canon
their
of
Ethics'*
forfeit
architect, builder
the
membership.
theref
ore,
the
of
a
Institute
it
outset,
ent
prospective
regarding
has,
at
the
ertain
he
may
an
guarantee
questions and
may
about
he
have
been
most
has,
any
well,
organisation which
may
seem
to
appeal
dure
unprofessional
or
ical.
must
or
It
not
be
supposed,
who
however,
are
that not
there
are
no
reliable
architects for
members
great
every
of
the
can
Institute,
"
they
exist
in
in
numbers
respect
where
Institute most
architects
comparable
members
cases
of
long
standing. practise
In
where
architects
their
one
profess
in firm
partnership, is
a
^ '
it will
' '
be
found
that
member the
super-
he
practical
man,
attending
to
sion
*
'
and designer, of
specifications,
'
while with
keen
the of
the
other
member
instincts.
man
artistic
firm
an
three
architects,
or a man
third
is
often
found
ability.
take
as
executive,
marked
alone,
business
however,
as
Many
architects
practising
all
three of
and
phases
which
of
the
their
client
profession, is
well
oth
pects
not
even
aware.
Of
more
ried
interesting
functions,
chapter.
however, All
said
in
the
following
working
have
architects
or
of
lar
actice,
necessary
whether
to
in
partnership
employ
alone, able
"
in
their
highly
the
ists specia
in
different specification
branches
writers
of and
work
superin tendent
structural
experts
addition
upon
to
staff devolves
"
of
draughtsmen,
a
directed weight of
by
whom detail
great
bility responsi
and Having
the
emerged and
now
mists
an
of
misgiving
certainty,
finally
architect,
the
is in
paper,
a
pro pe
builder
see
becomes
'^client,**
put
and
on
his
visionary
abode
his and
eyes
definitely
la
arise of
before
masonry
in
all
its
solidity The
venture
and
nence perma-
carpentry.
is fina
with
unched,
and
the
following
which
chapter
will been
the
deal
siness
relationship
engagement,
has
created
proper
by
chitect's
and exist
upon
on
with
both
ances observ
which
Before
should
entering
feels
sides. topic,
would selection dwellings"
this
important
chapter
upon
however,
writer
that
some
the
present
be
without
advice
the
of
chitect
for
building
as
projects
civic
Here
other
than schools,
such and
result
projects
churches. from
a
hospitals
an
ubs
of
architec
or
ll
the
decision
committee
in
competition*
word
about
competitions.
architectural
secure
competition,
a
conducted,
conclusively, unintelligently is
the
most
for
as
an
given
as
building
possible
and
:
ign
nearly
ted
architectural conceivable.
Institute
competition
stupid
procedure
American deal
he
of
the
to
Architects
has of
devoted
eat
of in and
study
an
to
subject
standardise
and
of
itions,
effort
mmittees
results
municipalities,
the
to
secure
le
in this
erection in
'*
important
of
a
buildings.
'
results
of
study,
the
form
'
set
of
rules
ing
competitions
was
to
be
observed form, of
D.
by
and the
Institute
is readily
rs,
printed writing
in
to
brochure
the
nable
of
by
Secretary
American
tute
Architects,
all the
Washington,
C.
of
most
Nearly
are
important
of
public
buildings
and have
this
cases
the
result
more
competitions, firms
to
a
in
ber
of
the
prominent
according
been of
invited
ments require-
ubmit drawn
drawings,
up
program
by
committee.
An for
invited his
work,
competitor whether
ually
nominally
remunerated
successful.
the
museum
In
important
or
civic
city
building,
the do
then,
such
as
ry,
hall, will
municipal
well
to
committee
harge
of
the
project
Architects. of
avail
by
of
carefully Institute
the
studied
procedure
outlined
the
of
matter
In
making
placing
"
awards,' the
power
many
mistakes
award
been
of
as
one
made
a
by
of
in ought
the
lay
jury
as
proceeding
is.
on
which There
the
absurd
competent
prove
it actually architect
should
be
jury
some
of
award,
it will
to
absolutely
essential
for
to
informed
members
explain
the
drawings
the
lay
efore
be
any
intelligent
conclusion
as
to
respective
me
reached.
This
is
true,
also,
of
the with
formation
clubs
of
committees
nd
juries
may
in
connection of
and
churches.
who
may
are
oard
consist with
travelled
there
several
citizens
entire
one
nfamiliar
has
"
architecture,
and
there
and be
an seen
be
many
ho
extensively
should always
bui ing
^but
architect,
p e
no
called professional
such
an
from
some
distant
in
city.
With
the
interest would
the
project,
invaluable,
servic and
architect
prove
ommittee
be
assured
the
of
competent
and of the
fee
diced unprej
and
worth
amount
to
be
a
voted
him.
If
the
scale
"
of
building
warrant
project
the
"
^a
small
churc
or
example
did
of the
not
an
weighty
and
expe sive
procedure
of
was
architectural
in do whose
to
competition,
embers
committee
hands study
as as
the
many
taki unde
placed,
would
well
the
leading
as
architectural
as
periodicals
on
they might, of
btain,
in
well
books
to
architecture, American
and
ill
doubt,
as
a
write
the
Institute
tect Arch
perfectly
of
unprejudiced
architects
whose
out
^
authority, works
would
for
p t
to
carry
*
the
project
*
in certain and
hand.
types
who
are
'
specialists
school
in
ildings
and
^notably
hotels-, for
will
buildings,
to
carry
hospitals,
anks
be
found
to
possess out
certain the
that
type
recommenda
selection
have
them
years
of
ing bui
in
which taught
they
specialised,
many
in
their
ence exper
has
valuable
real-estate
of
details.
operators
Only
realise
in
recent
have
com
the
importance in
the'
securing
of
competent
*
tec arc
'
services
planning
groups
of
rea
LOCATION,
STYLE
AND
MATERIAL
243
houses.
a
Careful
in
architectural
the
as
supervision
aspect
an some
will
a
consistency development,
general well
as
of
given
estate
to
attractivecharacmore
the
individual architects
and
houses. landscape
In
notable
have
been
nces in
architects
the
so
to
work
together living
tracts
toward
environment, which
of already
to
attractive
are are
several
should development
be
al
planning
of
the
estate.
building
The
large
real
significant
operators
fact
now
is
that
the
intelligent
real-estate
that
increased
initial
expense
involved
is
not
are
in
money
competent
service
that
but
there
than
created
'higher
values
planning,*'
' '
would
"
exist.
ighbourhood
villages
garden
some
and
del
have,
for in
time,
common
achievements
England
the
tinen Con-
unlimited
**
possibilities
to
*'
this
practical
are
cation
dawn
architecture'*
realisation
to
building"
country.
but
their
in
this
Reverting
for
up
again himself
a
the
individual
the
who
is
about
dwelling,
following
this
chapter
will
the
relationship and
the the
(now
client*)
out
he
work.
CHAPTER
ARCHITECT
IS
A
n
AND
CLIENT
HOW
THE ARCHITECT'S
ILDING
ARCHITECT.
BUSINESS
THE
TRANSACTION.
TO
CONSULT
NATURE
OF
AND
WHAT
RIGHTLY EXPECT
ARCHITECT FROM
"EXTRAS,"
CLIENT
BASIS
ARCHITECTURAL
SHOULD
OF
EA
THE
OTHER.
CHARGES,
SUPERVISION,
AND
ETC.
DRAW INGS
SPECIFICATIONS
SHORTLY
the
means
before
the
close
was
of
the
preceding
through done has
^ '
chapte
prospective
of for
status
builder
an
followed
o v
selecting
architect, consultation,
having
he
whic
nd
called
the
the
of
initial
*
graduated and
rom
'
prospective
builder,
becom
client.
Perhaps
to
no
one
thing throughout
is
more
important
for
lient
remember
f"ct
upon
the
building
an
of
his
hou he
han
the
that,
a
after
engaging relationship,
is kept,
a
architect,
ntered
business
and
the
even
that
the
for
mor
this
relationship of
better
a
arties.
building
expenditure
much
house,
too much
small
on
hous the
on
alls
the
too
of skilled
as a
money
and
professional
**
work
ther
be
^ '
regarded
It
is not
mere
transaction
to
between that in
riends.
intended
should other for will has and
intimate
a
"
by
be
cold ^the
all
this
or
imply
eit
rchitect
or
suspicious
th
ealings
with
better
friends
and
of
they if
all
roughout,
as
better they
ne
it should, If
the
be
friends
to
war aft
architect
family those
been
asked
he
dinner,
in
a
the
client's
to
friends,
personal
is
bett
to
sition
add make
touches
use
244
which
it
true
expression
of
the
owner's
THE
ARCHITECT'S
PRELIMINARY
SKETCH
ARCHITECT
AND
CLIENT
245
ividuality.
and
It business
should
be
remembered,
with ^the
the
however, architect
that
ial
relations
separate
"
should
would
kept
strictly have it
so, a
architect
to
manner,
himself
her
and
far
prefers
receive
instructions than
over
writing,
in
businesslike
no
the
ner-table,
where houses,
record is
true,
exists
of been
what
has
been and
d.
Some
it in
a
have
happily
and
cessfully
way,
built
with
delightfully if
any
"
hap-hazard
in fo
little
of
the
businesslike this
has of
ments
entering of
a
the
^but
been
tastes
ause
natural
on
congeniality architect
way
a
confidence
than
the
part
of in
both
any
and
or
client,
recom-
her
because
method
to
it is
safe
dable
Betuming
of
the
procedure
average
case, success
in
general.
it might
and
well
be
reit
that whole
much
of
the
smoothness
upon
building
project
before his
will
depend
the
client,
ly
realising,
or
first
to enter
visit
the
a
to
the
architect's he relation.
that
ice,
his that
a
first
he
proposal
to
architect business
has
ected,
It
is
is about
and
men,
strange
inexplicable punctilious
circumstance
to
a
so
business
day and
degree
in
their
business
dealings,
and
own
in
the
enforcement
are
of
tem
routine
in
an
in their
their dealings
offices,
flagrantly
usinesslike To
engage
with
to
the
architect.
and house,
he
architect
especially
draw for
a
plans
small
give
lled
to
supervision,
do him
a
personal
favour,
the
for
whole
which
should of give
be
bly
gratefullhroughout
In
progress
the
lding. lucid of
this
connection, than
figures, words.
perhaps, The
demonstration
percentage
is
say
charges
will
be
dealt
with
receiving
presently" his
to
suffice
ten
per
that
the
on
architect
a
is
cent,
mission
house
estimated
cost
$10,000.00
more
the
does overhead
often
ten not
per
he
receives
cent,
seven
basis
must
'*
per
his
fee,
th
however,
net, expense
but
allow
certain
proportion
a
(his
office he has
rent,
etc.) and
at
certa
ount
for
the
expense
been
to
produce It
will to
rawings
from the
once
(draughtsmen's
this
total that
amount
salaries,
is fortunate
etc.).
if he
is
en
he
able
and
who
cl
alf
of
his
even
conmiission,
to many must
a
it
mu
become
a
apparent,
man,
client
is
mself,
cost
business
how architect
houses, build
averaging
if
he
$10,000.00
even
a
this income.
ke
fair become
It should
much
equally architect
's
apparent
to
the
client
abo
of
the
to
time
he
should
reasonably
house.
expected
who
"
devote building
to
a
one
$10,000.00
and
very
ient
is
a
small
inexpensive
unfortunately
use
even
''bungalow unreasonable.
is his
first
client'' In
is,
all
ually
the
most
probability
of
to any
ilding
venture
sum
expenditure
he
c s
of
money,
and
conceives
of
is
bound himself
receive somewhat
pictures
ney's
worth. light
He
a
of industry,"
from light
the
of
of
''captain
and his of
to
a
rge
labourers
too,
living
in the
expenditure
patron
himself, giving
some
of
t^,
the grateful
commission architect.
known,
to
build
In work
his
of
$80
nture
libre,
the himself
truth
the
architect the
quite
of
nsiders
cost,
fortunate
produce the
or
drawings
and he
one
may
have
not two
accepted refuse
it,
commission
he
busy
cause
keep
could
or
because
had
through
of
his
draughtsmen client
ll
period.
his
The
small-house
with
go
enlarged
id
importance
the
more
would
do
well
to
(unwittingly)
architect
make
it
practice
to
not cost
to
undertake
less
any
work
for
He
use
no
estimated
doubt,
* '
than lesson
$50,000.
in
the
acquire
* '
his
first
por im-
of
are
scale.
many
here
architects, and
whose
however,
who is of
specialise sufficient
all-house
to
work,
practice
be
profitable.
then, enters
upon
he
due
client,
his
that
first
he
consultation
is embarking
of
the
fact with of
business
that
so
and
has,
due necessity,
proportion
recognition
other
fact
architect
a
work
and,
time
the
fair
and
to
just
the
new
(not
all
be
devoted
project.
highly
consultation
as
it
and it is
as
is
advisable
for
outline
dient
be
explicit
as
complete
in
without
with
to
a
his
proposed for
amount
house him
to
money
possible,
technical
statement
dge,
be.
he
Beginning
he
of
do
plans
or
is
prepared
the
spend,
whatever
the
will
or
well
he
to may
show
architect evolved,
or
es
have
from the
whatever
may
raphs
as
clippings
magazines
kind
he house he
have
ed
these
at
suggesting documents
start,
a
of
desires.
the fair
architect of
the
will
nature
be
enabled
the
idea
of
much
the
ect proj-
pon
which in
the
he
is being
engaged,
preparation
meet
and
time preliminary
will
aved
architect's
do
not
of
the
to to
one
es
which connection,
never no
with
client's
wishes.
his
however, ask
matter
an
it is well
architect
remember
copy may
that
should
exactly,
another
how
closely of standing
grounds,
as
a
wish
him
ollow
it.
No
architect
on
would
consent any
uch would
procedure, regard
ethical
a
and
distinct is
tect archi-
such
request
reflection
his
ability.
The
writer
familiar
with
case
in
by
to
which
the
such
request
was
made,
and
fl
efused
architect.
who
The
client,
nothing
the
daunted
he
nt
the
contractor
had
built
plans,
house
wishe
opied,
and, in
the
using
the
original
in
blue-print
fo
till
contractor's
possession,
grave
an
had
upon
an
inferi
the
to
common
uplicate
erected
"
reflection
outrageous
to every
integrity
and
affront
tenet
rchitectural
profession
and
of
ecency. In
the give the
first
consultation
with
confidence,
the
architect
the
cl
hould
his
fullest
withholding in
the
as a
nothin
to
hich
architect
should
know with
order work.
procee
ntelligently
here
a
and should
efficiently be regarded in
The
proc dure
in
client
no
wise
is the client
or
differen
rom
consultation
with
which
acquainting
lawyer
awyer
the
preparing
circumstances
his
the
out
which
If the
equire
in
brief. architect's
the
entertains his he
further, later the
ny
doubt
regarding
for carrying
ability
qua fic
work
in
hand,
any
shou
atisfy
these
doubts
before
and
with client
sure
proceeding friction
any
ertain
complications
will
mistrust
arise
on
'*
if
part
roject
is commenced
If him
the
make
he
client.
let
is
naturally his
architect
canny"
v i
of
upon
first,
rath
han
heap
recriminations which,
^*
him
may
later be
or
for
only
lack
to
armony,
after
all,
lient's
difficult"
to
personality,
an
oversight
be reasonably
eglecting
to
select
architect
who
please
him. remember,
is paying
a
client
should
that he and
more
throughout
the
standard
cours
work,
fixed
and
or
certain
fixed
standard
than
the
professional architect
that
servic
often
the
receiving
contract,
is the
called
more
up
to
perform)
and
wise
ARCHITECT
AND
CLIENT
249
avails
himself for
of
these
services,
The
the
better
and folly
value
eceiving
apparent
his
money.
cases
futility
should
in
client,
those biassed
to
set
(unfortunately
by
some
frequent)
ill-advised
above
the
outside imaginings
n,
attempts
his
fantastic
architect's
clients
absolute
professional patients,
no
knowledge. both
dealing
men
yers' Law-
and
no
doctors'
more
or
with
than
who
are
less
professional
architect,
as
seem
to
show
better
that these to
judgment
they
and
sought
proceed
though
they informed
them
realised
on
had
out
better
to
special perform
subjects
certain
than
professional
advise
and them.
services
In telling consultation, unless
for
the
architect it is well
all for
that
the
is
client
possible
to
in
the
remember
otherwise
all
are
instructed,
items
as
the
will
that
so
as
such
to
doors,
' '
windows,
which
on
forth
are
be
* *
stock, ready-made
by
obtainable
to
the
This
ies,
also,
brick
and
to
are
materials of standard
in
general.
cost,
All
ock"
building
only
materials
large
or
ating fluctu-
with
and
nation-wide
costs.
fluctuations
raw
material
has
the
client
in
mind
certain of unusual
special
type,
s,
casement
windows
or
high-grade
special acquaint
hardware
lighting
or
fixtures,
high-priced
the
face-brick
with has
floor
things
tile,
at to
ld
architect
these
th
t,
before
and
the
contractor
been
The
asked
bid
on
plans
more
specifications.
will itemise
specifications
such
name,
(o
later)
all actual
special
in
material order
equipment,
any
preferably
by
on
substitution
will
the the
contractor's
part.
The
client
find
that
architect
has
full
col
ction
'
'
'
of
catalogaes, bricks, of
and
tiles
any
often
musenm'
of and
can
samples
various
samples wish
and
the
like,
readil the
tain
building
From
product
these
which
actual
cli
to
examine.
materials,
will
be his
possible
'
for
*
the
client
' *
to
ascertain
and
much
exactl
required
will
will
cost,
la
stress
In
be
the
what
matter the
definitely
wishes,
determining
the
come
in
has
advance
actly
writer from
Considered preparation
e
a
advantage
standard
would
the
printed
a
blank,
proposed
consisting
house,
every
of
series
estions
regarding
and
beginning detail
the
wi
foundations Many
to
answer,
comprising
of these in
of
client
finishe
uipment. unable
questions
each
or case
woul
but
the
architect
cou his
commend
certain had
proved
products desirable,
and
or
equipment
which of
economy
in
could
point
other
means
consideration,
illustrate
his
poi
of
samples
catalogue
ideas
on
illustrations.
the
part
Su
initial
agreement
of
the
of
both
woul
eatly the
facilitate
first
writing
would
of
save
accurate
many
specifications inconvenient
Through much that
draft,
and
sometimes
familiarity
expensive
changes
appearance
later.
with
his
the
of
is
often
is
built
into
house,
the
client
disappointed
of
dissatisfied have
the the
with
avoided Much
certain
all
which
been
migh
been
if
had
can
acquired
start.
detail, client
be
architect, of
if the
in
proper
unt
confidence.
to
at
Reverting
the
the
very
importance
beginning, with by
the
of
acquainting
**
'
hitect,
all
special* it should
tra-expensive in
desired
client,
or
ne
least
less
list
* '
of
extras
which
client's has
often intention.
run
the
cost
one
of
honse
beyond
the
No
detail
ce,
perhaps,
caused
more
unfortunate
than
friction
mattoj:
en
architect
which is
and
the
more
client
to
this
s,"
be
deplored
in
that
no
derstanding
often
a
should client
that rain
he
be
necessary.
Quite
remembers,
had intended,
after for
the
house
completed,
copper
example,
gutters
instead
architect
this
note,
of
to
painted
make mentions four
tin. the
change,
He
ly
telephones
architect,
copper
the
making gutters,
the the
as
the times
fact
costing
tin gutters
appear
about allowed
as
as
the
painted
for
*'
in
the
fications,
will
answers
naturally
an
extra.'' to
client
copper
that
then
he
is
aware
of
this,
but the
order
whole
gutters,
promptly
forgets with
other
on
sation
until
he
is confronted
and
the usually several
considerable
items, house
scene,
charge
or
for
this
after There
similar the
whole
changed
estimate
ensues
prepared.
grievous
may
grievous
because
often the
totally
unnecessary.
The
the ground
extra
(and
in
for
does)
maintain
cost,
on
that
the
go
that
had
always copper
intended
gutters
the
start
to
have,
for The
le, that
of this
painted
rather
or
no
tin.
expensive
he
neglected
to
mention
rence
the
were
as
architect,
drawn
was
either
up,
before
after
the
fications
although,
man
carries before,
weight
he
that charge
to
may
with be
mentioned
other he relation will
ess
in
every
than
with
the
tect.
Quite
ill-grace, had
^they
often
accept
the
with
ding he
"
grumbling
heard will this build
was
a
the
effect
always
say
with
cost
a
tects archicertain
they
to
of
moneyy
you
* *
find
extras
it costs
' '
half
put
again
on.
as
muc
cause No
of
of
any
they
or
architect
experience
of
standing,
it shou and
remembered, from
will
the
his
own
accord,
make
any
withou
thorisation
client, for
change
eve wha
in
the
specifications
one
the
house.
The of
writer
miliar
by
with
a
excellent York
firm
method of
procedure
to
New and
that
architects
eliminate
to
ll confusion
recrimination
any
in
regard whatsoever
extra
ey
any
insisted
extra
instructions material
or or
ing invol
not
labour,
equipment in the
sti lat
in ordered
no
the
specifications by
the
extras
shown
drawings
made
mu
client
in
writing,
and
it cl
at
such
would
such
be
performed,
instructions.
purchased In this
stalled
without
was
written
wa
gument
forestalled
is
to
and
friction
not
avoided, only
that
to to
so
procedure
but
to
men
be
It
recommended
tec arc
clients. give
while
is
curious instructions
thing
man
siness
casual
their
or
tec arc
either
going
an
through
unfortunate
such
the
building
ov
telephone,
carry
and
out
thing
that
man
chitects
instructions
without
dream
itten
up
a
order.
written
man
who
would
eight
not
of wheat
ing follo
order
message
for
to
carloads it
of
of
to
telephone
increase
twelve,
rangely
to
enough,
make
quite
some
capable
expensive
any
telephoning
or
chitect
on
change
tion substitu
his
house
the has
to
without
order.
following
written
c f
of Allusion
and
as
been
made and
to
the
estimate, important
^o
catio speci
drawings,
these
points,
ll
architect's
now come
supervision
and
dealings
with
ntractor,
under
methods
consideration. of
estimating, and
There
are
several
the
only of
cost
one
which
is to
estimate
be
regarded presented
as
an
mation approxithe
is
the
with
if
who type
a
prelimi
sketches.
Even
this, by
an
however,
based has of
on
initial
data,
and
given in will
cost
architect
the
had
house
derable
experience
building
come
consideration, of the
actual
often
of the
within completed.
hundred
rs
house,
The
preliminary
as
estimate,
"
however,
should spoken
not
ded
final
^'^
local
conditions" influence
most
of
in
the
one
er
or
preceding the
the
may
it reliable
other.
most
as
a
as
final his
estimate,
on
of
local
ctor,
who
figures
of
definite
ficati speciThere
and be due
as no
working
the and
architect.
any
deflection
'^extras"
this, be
increase
to
duly
expected paragraphs.
and
ted it
discussed supposed
a
preceding
the
Let
be
of
the
that
preliminary
complete
drawings,
outline of
sting
and sides
to
perspective
* ^
sketch,
* *
four the
elevations house,
or
direct
agreed the
views
upon
the
of
have
been with'
will have
and views.
ed
conform
entirely
drawings
client's
preliminary
to
been been
taken,
perhaps
the
building
site, of
the
and
will
have family
discussed
such
such
members
as
client's in in
to
and
friends
he
has
called
aid
his
judgment.
drawings,
To it
expensive desirable
he
are
can
changes for
the
the
to
later
client
make
of at
every
change
stage.
and These
stion
possibly
this
are
ngs
usually
in
"
and for
to
be
regarded
entative
sketches
these,
the
discussion.
are
When
**
preliminaries'' architect
the
finally proceed
and
pronoun
''final," specifications
the
and
is ready
to
with
working
drawings,
th
ient
'^
is asked Standard
(if he
Form
*
has of
not
been
asked
earlier)
Between is seldom
to
to
Agreement
Owne
d
a
Architect."
This builder
document, until
dear
which
prosi"ectiye contains
which
a
it is
exposition
presented of
to
him
gn,
very
the
variou
rvices
the
architect
is required in full,
as
an
perform,
part
therefore
chapter.
CoNDinoirB
printed
here
important
is
or
AflwmfiWT
Betwebn
OwifES
ahd
Abcuitblt
1.
The of the
Archiieci*9
Servioet.
"
^The
the
profesriona
of
yicea
necessary
conferences,
working
the
drawings,
specifications,
of of forms
and
ail
dravdngs;
issuance
drafting
of
the and
contracts; accounts,
of
certificates
payment; business
^The of fee
of
of
eral
2.
administration
The for
Architect**
of
Fee.
the
"
the
work.
to
payable
above
the is upon
Owner
the the
hitect
the defined
performance
as
the
rate,
percentag
cost
einbefore in
the
basic
computed have
out
of
respect
to
of any
which modifications
such
services
been of
performed, these
subj
ever,
growing
Conditions
eement.
3.
ReimhuraementM,
of
"
^The
and
Owner
living
of
is
to
reimburse by him
ts
transportation
in
the
incurred
duties
le
travelling
costs
discharge
of
connected
of
services
heating,
ventilating,
engineers.
4.
Ewira
8ervioe9 the
extra
amd
SpecM
makes and
(7aMt.
a
"
^If
definite
for
ita
sch
been
approved, involves
Owner services
decision expense
pro
or
cution,
to
changes
or
in
the
drawings, by
the
not
specifications
of
labor of
or
or
other
documents;
if
or
be
or
let if
cost
and
material
are
plus
rendered
percentage
for
to
the if
Architect the
or a
work
or
conte plate
but
Architect
contractor,
is
put
or
labor
expe
delays
caused
of
Owner shall
by for
the
such
delinquency
extra
he
be
equitably
paid
ser
basic is
let
rate
as
hereinbefore
one
defined
is
to the
be
used
when
al
under
contract.
Should
Owner
determine
^Copyright,
1916,
by
the
American
Institute
of
Architects.
certain
portions
of
the
work of in
executed expense
under and
such
separate
contracts,
Architect's increased,
shall be four
to
burden
the rate
service,
connection
responsibility
portions
rate.
of
th
per
have then
cent
greater
basic
work
Should
th under work.
determine contracts,
event,
executed
the
shall shall,
on
apply
without the
cost
to
entire
however,
increase,
apply
racts
for
any fees
portions
to
work
Owner
of
reimburses
not
ngineer's by
the
the
the
Architect,
and
to
articles
si de
Architect work
or
but
any the
or
purchased part
amount
under
of
direction.
or
hould
the for
it of
be
suspended accepting
by
Owner
the
is
vary
omission
to
any
contract
by
modification
in
of
with rendered
or
any the
on
work
terms
account
covered of this
rchitect
for
be
paid of
accordance service
ment Agreeit
the
of
proportion
such
his
of
up
ime
abandonment,
shall be
made
or
suspension
from
other
acceptance.
fee
on
deduction liquidated
the
sums
Architect's
acooimt
damages,
withheld
from
payments
ors.
Paymentg,
"
Payments
in
to
the
Architect order:
of
on
his
fee
are
due of
ork
progresses
studies,
the
following
upon
entire
completion
fee;
th
ary
twenty
per
cent
the
upon
completion
of
ecifications
per
time cent
to to
and
general
of proportion
working
the entire
to
drawings fee,
the the
(exclusive
remainder
of
on
details),
being
additional
time the in Architect,
due
amount
service
fee,
rendered.
all
is
are
other
than time
those
to
his
as
and
work charges
bursem reim-
of
costs
are
costs
fall
due
from
time
are
his
done
incurred.
a
Until
estimated of the
"
contracts
cost fee.
sed
upon
are
on
reasonable account
of
and
payments
entire ^The
6.
The
Oumer's
to
DeoUions.
sketches, documents
is
Owner
shall
give
thorough proposals,
consid
all
specifications,
him shall
not
contra
and
other
by
inform
to
the
Architect the
Architect
and,
ever whenof of
prompt
in
nor
action
such
to
necessary,
hi
reasonable
delay
the
or
work
th
prevent
season.
giving
drawings
instructions
ors
in Survey,
a
due
7.
Boringe,
and
Teeta.
accurate
"
^The survey
Owner
of
shall
the
furnish
the
site,
tect Archi-
with
complete
and
and of
building
giving
rades
lines
streets,
pavements,
boundaries,
as
and
adjoining
and
contours
properties; of
rights,
site,
restrictions,
easements,
th
and Owner
or
full is
information
to
to
sewer,
water,
gas, and
and
electrical
The
pay
when
for
borings
or
tests
pits
for
chemical,
al,
other
tests
required.
8.
SupervUUm
against
of
the
Work.
and
"
^The
Architect in the of
will
endearor
of
to
Owner
he
deficiencies
work
contractors
does
of
not
an
the
is be
to
performance
be
their
from
contracts.
ervision
distinguished
by the
the
continuou
sonal
superintendence
obtained
employment
of
the-works.
When Owner
authorized
and
by
Architect
to the
the
Owner,
shall be
derk-of-the-works
engaged
paid by the
acceptable
Architect
upon
ary
satisfactory
of
Owner
monthly
"
and
by
the
Owner,
ation
the
Architect's Eaiimates.
or
certificates.
9.
When
requested
estimates
to
on
do
bo"
the
cost
te Ar
will
procure
endeavor with material,
preliminary
to
the the
of
as
k may
and
keep
the
actual of the
cost
of
work
consistent
the
purpose
but
no
building made
can
and before
be
with the
pr
kmanship
of than 10. work
and
working
an
estimate
drawings
and
specifications
regarded
er
approximation.
Definition
"
of
in
the
Coet
2
of
the
Work,"
are sums
"
words
to
the
cos
as
used total
Article of the
hereof
be
interprete execution
meaning
work,
the
the
not
contract
for
the
or
including
and
certain
Engineer's
rare cases,
fees,
e.
the
when
or
sa
clerk-of-theworks,
is
g.^
furnished
are
by
the
Owner
of
its
market is
to
cost
re-used,
be
interpreted
the
new
of
all
materials
have fully
contractor's
and
been
if
at
labor
to
complete
been
work, and
would been
all
had
current
or
had
paid
market
when
the
work
ered,
11.
plus
profits
Documenta. the
expenses. Drawings of
or
Ouynerehip
of
of
are
and Architect
specifications
whether
as
service
are
property
executed
"
the
the
which 12.
they
Stiooeeeora
made
and
be
not.
Aaeignment.
The
Owner
and
the
Architect,
ds
himself, other
his
to
successors,
executors,
administrators,
and
successors,
assigns
party
this assigns
agreement,
and
such other
to
the
executor
inistrators,
of
and
this
of
party
in
respect
of
all
enants
The
Architect
have
the any
right
architect
to
or
join
with
him
in
the whom In
of in
the
this
architects
with
good death
of
or
faith
or
into
general
one or
partnership
more
disability if upon
or
of
a
partners,
rights
ies
the
Architect,
or
firm, firm
shall
as
devolve
may
be
as
remainin by
tner
partners
he, they and
so
him
m,
and Architect,
it
be
recognized covered
"successor"
on
until
service
agreement
performed.
limitation
The
as
Owner
to
shall
vocation
have of
the those
same
rights,
to
but
in
hi
no
the
admitted
partnership
sed.
as
xcept
or
above,
his
neither interest
the
Owner
this
nor
the
shall
written
assign,
transfer
the other.
in
agreement
consent
of
3.
Arbitration. submitted
"
^AIl be
to
questions
at to
in
the
dispite choice
laws
under
of the
Agreement party.
in
arbitration
conform and
wherever
The
procedure
is
to be
shall
the
of
which decision
th
erected,
may may named arbitrators,
be chosen
permitted
to
by
it
bitrators
be
filed
in upon
court
one
carry
into
he
parties
one
agree in
arbitrator; each
otherwise and
a
there third
shall
chosen
ee,
writing
or
by
if they
party
to
se
two
fail
select of
within
Association demanding his
te
he
shall
to
by
of
an
the the
presiding
work.
officer Should
the
the
location
to
name
the
ten
on
to
an
fail
arbitrator
within Should
ten
days
other
ight
arbitration
shall
lapse.
the
the days,
party
such
arbitrator
appoint supply in
ew
within
such
said
shall
to
Should
any
party
or
the
the
information
writing,
arbitrators
empowered
both
parties
parte.
there
be
one
arbitrator
two
his
be
decision
binding legal and
shall
such
be
binding;
decisior.
arbitrators
if shall
three, be
ecision
of
any
shall
n
own
precedent
compensation, the
The shall
to
any
right
unless
of
action.
The
shall
otherwise
of
the
provided
arbitration
must
on
by
and
assess
costs
and
charges
parties.
writing, proceedings Owner
covenants
award
not
or
of
be
the open
arbitrators
to
be
account
in
writing
of
the
and,
form
objection
the
he
and
the
agree
to
the
full
performance
contained WHEREOF
and
herein.
they
first
above
WITNESS
the
have
written.
hereunto
set
their
hands
and
day
year
Certain
which
percentages
have
been
should
in
standardised
accept,
as
mini-
the
are
architect
and
these,
cases,
not to
included
the
the
estimate,
cost
which
materials
tood
and
represent
total to
in
a
labour, given
equipment with
required
erect
building
ll
specifications
and
drawings
pre-
red
for
that
or
building.
No
travelling
are
expenses
for
chitect
his
superintendent
as no
included well
to
in
consume
the
p c
commission^
proportion
is
at
these
might
whatever
due
profit
as
the
architect
giving
his
time
well,
in
accordance
with
ntract.
The
minimum of
percentage
to
required
be
by
the
American
stitute for
Architects
charged
work is
by
6
Institute
per
cent., any
member
general
residential
city
country,
wh
ctories,
loft-buildings, in
cent,
buildings
are
of
usually
type,
terations,
10
per
city
or
undertaken
work.
of
the
estimated
cost
of
the
a
Advice
regarding definite
is
terms,
is
little
difficult
vary.
ve
in
circumstances
building
whom
being
by had
reliable
previous
than
contractor,
th
the
less the
architect supervision
architect
too
many
satisfactory in
a
alings, which
to
necessary
does
not
feel details
it
to
be
a
entire
fe
entrust
delicate is
to
contractor
th
whose
work
types
on
he of
unfamiliar.
require
Also,
simp
standard'' supervision
building
the
can
comparatively
architect,
ttle
part
*'go
of
the
becaus
ere
is
little
which
wrong,''
and
well
travelling
prove
penses
(if
any)
addition
to
the
to the
work,
total
might
cost.
necessary
There
are
buildings,
almost
"
however,
which
call
on
for
the
minute
part
reful
and
constant
as
supervision
the
architect
especially
are
work
progresses out.
finished
the the
portions
being
well be
carried
For asking
rk
architect minimum
expect to
or a
may
justified
and
is the
in
mor
an
commission,
pay
client
shou
ightly
it.
He
requiring
than
more
something
the
ttle
better,
great
deal
to
pay
better,
a
ordinary,
nd
should
be
prepared
little
for
it,
ARCHITECT
AND
CLIENT
259
would
one. or an
in
A
man
any
transaction
who has
an
other
than law
an
tural architecmatter
on
or
important
will
important
high
so
operation, and
that he
seek
lawyer
of
standing
high will
reputation, be
upon
and
to
pay
will
se,
in fee.
doing,
he
asked
This
into
should
reckon
with the
average
beforehand,
and
fully
advisement for
himself.
client whether
a
It
is very
difficult
intelligently
to
be
or
able
riot
to
mine,
and
fairly,
progress The
the
tect
is giving
work
in
sufficient
amount
ersonal
supervision.
architect,
often
his
openly
ed
of
of
neglect,
is
in
reality
for
an
saving
travelling
client
expense,
e if he
unnecessary is in
all other
it
amount
charge
respects
architect
that
of
integrity
the best
reliability, of
the
is
safe
to
assume
he work
is
of it
supervision
the
will
that
requi
After
all, reputation
should is at
be
stake,
remembered
not
the
tect's
house,
only
in
the
design
he
for
which
part
he
is of
directly the
work,
to
responsible,
for
reason,
but he
the
contractor's
which
ectly
the
a
responsible. architect
monument
It
not
stands
therefore,
a
will
wittingly will of
the
allow
upon
contractor
rect
reflect
his
sional profes-
ability,
client's
may
apprehension
well
ding
insufficient
reflection. entering of
to
supervision
be
allayed
this
Before
into drawings
exactly
more
or
less
detailed it
conside
the
and
what
specifications, relation
the
may
ell
ascertain
contractor
to
the
bears
whole
to
building
the
transaction,
and
what
tion rela-
he
client.
the
to
In
usual
procedure,
architect
invites
or
on
two,
three
on
more
contractors
tender bids
to
estimates,
bids,
sed
building,
these
be
based
absolutely
iform
data
given
to
each
bidder duplicate
of
in
the
form
of
cat dup
specifications
may
are
and
nothing of the
blue-prints.
contractors
"
ient
know
contractors
these
usual
in
or
hey
good
local is
to
reputation
cinity
in
the
which
be
erected,
om
architect
previous
satisfactory
been
in
received, the
presence
sealed, of in it is be
they
the
ormally
the
case
opened,
of
cli
important of
money
public
are
buildings,
which obvious
la
penditures
greatest
no
involved,
impartiality
formality
be all of
house
aware
and
of
observed,
'
hat
bidder
before
any
of
his
have
competitors
m e
the
sealed
to
bids be be
been
in the
handed
bids
he
degree
formality
may
observed left
to
fo
rivate
well
the
discretion
chitect
and
client.
Several
wise,
bids,
will who
accept
then,
are
placed
estimate
before
the
client, by
the in
a
recommended
position
to
rchitect,
is
far of
better
the
judge
of
ility
the
and
client.
to
integrity By the
no
competing
contractors
t feel
means
should bid,
for
the
reasons
client
accept
lowest
which
shou
obvious. If
one
bid
several
It
may
man,
is
lower
than
are
all
others, detrimental
it is
safe
to
sume
which
that he
dder.
is
an
inexperienced
*Mow'*
costs,
on
practical lack
to
has
figured
everything
an a
hrough
of
familiarity
with
or cases,
undu
sire bid
secure
the
in by
work.
an
Or,
unscrupulous
securing
in
some
is
put
contractor
so
unduly
profit
desirous
through
or
of
the
the
work,
is
figuri
of
fraudulent
employment
substitution of cheap
i r
materials,
the
labour,
And,
is dear
in
at
any any
building,
price.
cheap The
and
poor
workmanship
client,
pays
therefore,
little
the
or no
should
attention
be
to
surprised
the
or
if the
low
very
bids,
weighs
merits
of
the
the
medium
contractor,
bid.
is
cautious
the
figuring
to
on
architect's
only
a
specifications the
most
the
letter,
on
ying
skilled
a
labour,
very
will
fairly afford
to
once,
high, it, he
perhaps
may
high
to
bid,
and
can
even
do low
well
accept
it in
the
medium
and
In
bid.
years
He of
is
building,
perhaps
but
will
any
find
case,
satisfaction
again,
one
in
uilt
house. best
it
the
may
architect
point to
client's
advisor.
in preference
He
bid
and
mend
from
to
all the
others,
contractor
because
who
turn
over
he
past
dealings
submitt
it
is
thoroughly
and
honestly
will
ctly
satisfactory
and
carefully
. relationship
a
The
between
one,
owner
and concluded
when
contractor
business
as
and
is
(excepting
both
parties
payments
the
'*
work
progresses)
Form
"
signed
Standard
of
a
Agreement
twe Be-
Owner
like
Contractor"
Standard Institute
form
carefully
agreement,
prepare
Owner-Architect
of
the
American
Architects.
a
Under
*
*
no
on
stances,
however,
give
should
instructions
or
client
to
go
out
the
and
of
direct foremen
the
contractor,
his
superintendents.
which architect,
not
At
he
most,
mention
to
certain
take
up
things
the
wishes
even
the
contrac
with
though
this
and
is much
client
sees
better
any
done.
which
If
the
work
he
or
considers
sees
not
dance
with
the
specifications,
anything
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
ich
he
notes
wishes
on
altered
it, and take
or
done
these
up
differently,
with
over
let
ke
the
the
architect
structions
to
the
contractor,
the
given
architect's
are
ad,
and
on
without his
The
architect's
flection
ability
contractor
and
grievous himself
to
ncerned. his
no
far
rath
ceive
instructions else,
direct
from
architect,
to
om
one
because
it is the Only in
whom
directly
one
responsible. in which
for him the
to
most
serious his
on
cas
d
it
client
is very
work
of
knowledge,
all
or
on
well of the
order
until
stopped
can
rt
building
the
architect
appear
ene.
this
procedure
is the
only
work,
oificious and
fer int
hampering the
the
greatl
in
noying
affronting lacks
the
architect,
because knowledge
respect,
or
mo
ses
client
professional
whi
ould
command intelligent
always
a
contractor's
woul
nsure
interference
however,
the
work. who be
Ther
ill
be,
the how
who
botanist should
veteran
ell
veteran
bricklayer
doctor
layed,
carpenter
he
successful
a
will
ow
plank
should
be
ripped. realised
as
these
they
(possibly)
appear
to
we
eaning
individuals
as
that they
confine
skil
orkmen
ridiculous
perhaps,
were
imagine
their in.
they
appea to
se,
they
as
would,
they
advices
ubjects
more
or
versed
workmanship
Regarding
material
is
to
ondemned,
is
and
the with
removed
as
replaced, forth
written with
rchitect
is
in
reement
contractor,
and
the
g e
provisions
the
a
specifications,
most
which,
awings,
of
a
constitute
the agreement.
important architect
to
and
will be
bindin glad
rt
Any opportunity
fford
client
the
read
carefully
som
us
set
of
specifications,
details
contractor
to
in
which
he
may
perceive and
of
at
minute
of
workmanship,
is
materials Every
**
ent
the
bound.
in
a
part
the
is
specified
be
a
done preceding
to
thoroughly
states
manlike workthat
manner/'
is
architect.
and
clause
or
al
nship
subject
The nails the floors
no
approval
condemnation
even
the
specifications
shall
"
may
state
cross-
many
be
driven
in written
the
ng
carefully
leaving
loophole
on
whatever
the
part
for of
nconscientious
or
execution
workmen.
cases
contract
his
In
to
many
there
are
sub-contracts,
the architect. A
which
' '
it
general
have
let
directly
on
by
the
ctor''
bidding
in
average
dwelling,
work and
"
es
his
estimate
the plastering
entire
y,
carpentry,
painting,
contracts
g,
plumbing
let
and
by
electric
the
wiring
ly
separately being of of
architect,
on
his
b-contractor
sets
case
determined
estimates and
If
a
pecial
the
duplicate
the general
the
specifications
contract.
general in
ctor
is
letting
sub-contracts,
that
the
al
power
specifications
to
reason
stipulates
any
or
the
so
architect
has
reject
to
all
bids
received,
should
ave
believe
that
any
of
the
the
sub-contractors
undesirable.
the
general
Occasionally
contractor,
architect
direct
dispenses
all
and work
sub-lets
to
contract
from of paint,
of the
the
excavation
this
the is not
last
usual.
finished The it
a
though
procedure is
general
to
to
contractor
saved,
to
but
is
vio ob-
necessary
the
the
architect work
a
appoint
closer
superintenden
and
give
case
much
attention contractor
would
be
the
if
reliable
general
responsible
A client
up
for
the
work
to
of
all
the
sub-contractors.
contracts
who
undertakes trouble
sublet
himself class
himsel
storing
untold
fact,
lawyer,
for
same
and
the
his
man
' *
arc
cty
and
his
It has
manner
is, in
own
in
the
*
*
with
for
of
a
wh
ing
has
fool
client.
contractor,
a
been
shown,
the
in
speaking
acts
the
as
at
specification
one
detailed
c t
It
is, in
fact,
of
the
most
important
and
ments instr
in
the
whole
transaction,
written,
will
if the
skilfully building
mprehensively
insure the
use
in
exact
owner
conformity
with
plans
and
intentions
both The
and
architect.
commence
specifications
stating architect the
with which
the progress
certain
genera
ovisions,
the
authority
will
be of
exercised
the
throughout
the The
wor
stipulating
quality body
of
of
the
workmanship
document
of
which will
required.
to
be
divide
into
cording
the
in
several
divisions
with
the
work,
masonry,
dealing
work,
not
detail
excavation,
and
so
c p
plastering,
what
painting shall
forth,
but
ing specify in
only It
materials
to
be
used, and
making with
a
a
wh
ner.
is well
names
specify and
materials numbers,
equipment
assurance
actual
sure
trade by
ubly
requiring the
conformity
' '
sample
furnished
be
by
specified and should
architect.
by
name,
Thus, all
certain
bri
ould
and
such
umbing
lighting
fixtures, by
there
steam catalogue is
rdware
way
be be
or
specified
seen
is
it will
mistake
regard makes
or
that
virtually
bili poss
of
fraudulent the
substitution. recommendation
or
With
to
architect's of material of
rtain
qualities be
made
equipment,
rrection
should
of
here
serious is
misconceptio
the
architect's
function
which
sometimes
ntered.
There either
from
openly
are
or
people
who
suppose
that
an
tect,
surreptitiously,
receives
commissi
manufacturers
use
for
or
the
recommendation
Nothing
subsequent could be
on
of
materials
or
equipment.
a
more
more
a
erroneous,
unfounded
The
ction
high-standing
tect archi-
is
only
are
professional
impartial,
His
of
an
recommendations
entirely
character,
entirely in
ssional
work
on
his
only
remuneration by
his the
percentage
the
being
the
represented estimated
cost
commissi
of
entire of
a
building. building
to
The
vary
drawings
required
and but
in
the
erection
in
of
number
complexity
according
th6
the
building,
of
:
will
consist,
in
general,
for
buildings, The
The
a.
1.
preliminary
drawings. drawings.
2.
working The
The
i/4-inch
scale
plans
and
elevations.
scale
6.
c.
%-inch
full-size
(or
li/^-inch)
details.
The
details. mention
was
Of
the
preliminaries, The
or
made will
consist
earlier be
in
chapter.
perspective pen-and-ink,
be it said,
a
drawing
pencil,
a
colour
and
trifle
will
'*
of
ure pictof
(sometimes,
house.
idealised")
may
the
part
ed
The
blocked
preliminary in
in
plans
be
his
drawing, of
the
miniature of will
the
rooms.
merely
In
to
give
some
idea
arrangement
preliminary and
save
drawings
the
include
re-studying
subsequent lavish
an
i/4-inch
of
scale
elevations, much
changing English
careful
which
of architects effort
the
''working interesting
artistic charming of
upon
their
preliminaries,
of
as
colour-sketches
several
differe
as
aspects
the
proposed
house^
well
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
ny
of
the
rooms.
Exigencies
of
practice
in
this
country
however,
such
average
with
of
American
rare
impatience,
"
ke
preliminaries
^indee
see
client would
preliminary be
would
seeking
expect
to
use
completed,
the
another
were
architec
fore
The
the
English
of
the
drawings
finished
first
working
drawings
so
to
be
considered
14-inch
scale laid
foot
drawings,
out
called
in
because
the
th
accurately
one
with
actual
i/4 inch
building.
of
drawing
ualling
in
as
the
Each
quarter
ch
is
regarded
so
being
exact
composed
twelve be
minute
shown
inches,'^
that
proportions
scale
as
may
ese
drawin/ars.
plans,
The
cellar
the
or
i/4-inch
to
drawings
well and
as
one
include
or
from through
"
attic,
more
ctions elevations,
building,
as
all
four each
architect
of
aspects
*'
viewed
"
from
the
as
of
ur
sides.
do
These
not
as
elevations,
plain,
depict it
must
the
house
it for
will
the
are
actuall
pear,
but
be
working
laid
out
builder
ofs,
many
particularly,
clients
may to
in
elevations,
"
diflSc
comprehend
that
^but
here,
if he
is a able
ss,
he
be
assured
the
architect
is
sualise
The
the working
finished
plans,
building.
perhaps, walls,
for
are
more
able, understanddoors
and
as
show
well and
as
all
the
partitions,
and location
d w
outlets
lighting
fixtures, and
tchen
bath-room
equipment,
to
all
are
other
essen tial
In
addition
a
the
fact
that
these
one
accurately
awn
at
are
scale minutely
of
l^
inch
equalling
to
are
foot,
any
all
the
ans
''figured"
materials
avoid
danger by
ror.
Different
''indicated*'
notes
ent diff
kinds
etc.,
of
shading,
may appear
and
many
as
regarding supplementing
mat ria
well,
pecifications.
REDUCED
Mr
REPRODUCTION,
e
OF
AN
ACTUAL
"l-INCH
WORKING
DRAWING"
RbukiI
to
jiaeb
scale
REDUCED
REPRODUCTION
OF
AN
ACTUAL
'l-INCH
SCALE
WORKING
PORTION
OF
AN
ACTUAL
'"J-INCH
SCALE
WORKING
DRAWING"
PORTION AfUr
"quAUiD|
OF
upprovil
one
AN
ACTUAL of
foot the
-i-INCH
pnliminaiy^
WORKING
the
nlj
plant
acluaJ
jn
Ibe
propoeed
ARCHITECT
AND
CLIENT
267
These
on
working
semi-transparent
drawings
linen
are
usually tracing
will
done
cloth, sustain
in
black
both
many
cau be-
the
durability
of
this and
substance
and
of
a
changes,
because
its
transparency
clear
blue-print.
much
the the
Obviously,
time
these
inal origmust
drawings,
for
representing safety
contractor,
and office,
study,
in
while
the
the
and copies.
the
so
possibly
al
building
copies
department
are
require
exactly
These
a
printed
negative
in
is
same
way
photographic
lines
paper
printed, while
* *
that ground
the
in
thd tones
tracing
blue
"
white,
the
he
and
or
produces damage
the
blue-print. befall
a
whatever
mischance
**on
may
set
lue-prints cloth be
the
are
job,'*
original
in the
ink
drawings
racing
to
safely
filed
any
architect's
office, of
reprinted
may
in
number
of
sets
prints blue-
which
the
be
required.
From
worked there
show
out
are
and
determined developed
times equalling the
he
i/4-inch
scale
the
ch
(at three
%-inch
size
one
the
1/4-inch
su(di
drawings,
as
with
details
the
like.
mantel-pieces,
scale in
stairways,
ling panel-
and
at
These scale,
details
are
sometimes
equals
any
one
larger
which
1^^
to
these
progress,
as
inches show
if
it is
necessary
carving
woodwork.
and during
With
its details
respect
an
drawings, the be
vague
the
architect required. in
even
such
full-size in
this
may
is
tha
act,
practice
pride all in the
architect
of make
his
finished
of
hi
are
full-size
of
sary
the
execution
the
according
to
hi
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
tentions.
These
at actual
drawings size,
a
show and
are
mouldings,
often
the most
profile
carving
esti inte
drawings,
come
from
an
draughtsman's
's
point
They
are
of
vie
ich heavy
from brown
architect
office.
drawn
sent
paper,
and
though
occasionally prefers
the
to
the
job,'*
the
careful
architect
so
have
aughtsman
in his
tracings,
that
originals
ma
main
Obviously depend
drawings
are
merit
largely
of
building,
on
in number
point
of
of
deta
ll
the the
full-si
tail
prepared
as
by
as
architect,
can
since
at
the
awings
nearly
he
own
arrive
actuall
ecuting
the will
work
with
be
his
hands.
that
It
readily
such
a
appreciated
as
a
the library of
the
full-size
or
for
building
an
public
amount
a on
st
pitol
of
must
entail
architect has
even
never
enormous
work lay
rt
the
"
labour
^a
which
to
upon
observer
when
turally
paused
reflect
some
upon,
gazed,
or
intelligently, interior.
great
elaborate
gade
imposing in brief,
Such,
is
the of
or
architect's
interest,
procedure, admiration,
oft
ewed
with
fluctuations
bewi derm
misgiving
plain
uncomprehension
by
ient.
Some
architects,
perhaps, drawings
are
trained
a
years
*read''
architectural
clients
who
impatient
th
entirely
see
fail
to
carefully
remember, are
esigned
lines
they that
before
lines and
them. which
days
years
however,
these
esult
of
and
many
hours
many
painstaking
tudy
re-study
backed does
not
by
of the
is
experience, by
which
hat
their
doctor
at
a
outline
steps
as
arrived be
diagnosis.
This
professional
wor
thoroughly
understood
and
appreciated
only
fellow-professional.
OF
AN architect
ACTUAL
to
"FULL-SIZE
DETAIL"
DRAWING
for
customary
prepare
either
full-sise
exterior
detail
or
drawings
all
work
of
special
character,
interior
Nor
do
the and
drawings
study
show,
to
gone
or
the
lay
into
into
inspection,
the
thought
easy,
which
have
devising
comfortable
to
staircase,
of
an
adding
or
teen eighworking
inches
extra
the
width
upstairs
things
hall
are
guest-room.
These
worked
other
out
the
draughting and
unappreciated
plan
more more
table,
these
and
many
things,
to
because convenient,
abode.
they
only
go
make
whole
a
the
whole
finished
agreeable
Some
at
unfortunate
once, some or
ure, featenlarged
insistence
however,
is
it may
upon
usually have
a
noticed resulted
and
albeit
client
from
he
room-arrangement the
architect
disposition
pled in
the
stairway
which
had
vain
hange.
foregoing paragraphs architect"
paragons
to
The
may
assume,
seem
to
have
fact,
ignored
that
incompetent
are
in
al
tects
of
wisdom by
*'
and
a
ability, and
It
vers uniunap-
abused
idiot
saying,
and
maltreated
a
stupid
ative
designated
however,
as are
client.'^
there
are
should
go
ut
that
are
incompetent doctors
tects,
just
They
there
to
incompetent
and accredited such
and
rs.
properly
be
avoided,
or
seldom
come
recommended,
The
a
by
previous
work.
as
selection
upon
of
the for
should
certainly of
the
be
reflection
as
judgment
commiserating
client,
"
at
least
occasion misrepresent
to say,
him
not
the
sions It is
they
should
any rate,
or
rare
be
discredited.
who
safe
at
that
the
client
than
can
more
about is
an
architecture
so so one
building
that
his
no
tect in
individual
he
find
to
a as
discussion
the
present
necessarily
"
confined
the
^he
a
would of
make,
indeed,
interesting word
character
for
work
fiction.
a
might
be
interposed
here
about
breach
of
houghtlessly)
opinion
the No
hands
by
of of
a
client
of
in
asking
or
another
an
architec
set
plans,
of
unfinished
hous
his
of
to
any
acting
architect.
architect
professional
standing,
ethics,
any
more
or
with
ightest
regard
professional
opinion,
without
would
than
drea
would
expressing
or a
ctor
lawyer,
cognisance
and is
consent
acting
professional.
Ethics
a
This American
amount
a
point
covered of
in
non
of
of
the
Institute of
Architects.
Unless
certain
the
diplomacy professional
and
tact
ercised
by
client,
little
clash
and
ise
between
architect
cause.
and
interior
decorator,
tirely
The
without
architect is
a
recognises
the
fact
distinct
that
landscape
chitect
specialist
working
a
with
status,
like
ructural
engineer,
with
architects
nature.
in The
profes sional
channels
decorator,
an
of
non-conflicting the
architect
in ri
however, especially
out
naturally decorator
regards
interloper,
to carry
if the
is
commissioned
important
the
interiors
It
to
calling
natural
for
that
or el
panelling
and
feel
like.
is only be
as
chitect
anyone
should
on
himself
of
good in
a
an
authority
the
treatment
interiors
is willing
house
whic for
and is
has
designed
to
himself.
select
He
enough tapestries
corator
furniture,
but
fabrics, his
at
corative and
that
accessories,
disappointment
all
mercenary,
oft
ute
genuine,
all
and
most
not
when
nds
the
important
had hands
for
and
interesting
ri in
(for
taken
The
which
out
he
architectural of
idea
of
his
his
contract.
only
procedure relation
client
who
is desirous and
decorator
harmonious
to
between
at
architect
very start
a
tell
are
the
to
architect
the
out
that
certai
ms
be
carried
by
certain
decorator.
no
time
He
the
or
expense
in
studies
resent
may
or
drawings implied
real the
or
rooms.
may
secretly
the
superiorit
of
decorator will
not
(which
feel
as
be about
imaginary)
but
he it
were
badly
to
intrusion advanced be
remembered,
ough of
suddenly
on
him
at
an
his
work
that
the
It
should
too,
many
as
have
attained
conspicu
reputations furniture,
interior antiques,
decorators,
designing
proving themselves
al
selecting
of
and
and
connoisseurs
tapestries,
the
like,
all
for
client
's
With
chapter,
due
of
the it might
the
points
presented between be
asserted
relationship
the
tect
and if of
to
his
a
client,
safely
may
that
over
reader,
shoals
prospective indecision
a
builder,
and
course
on
be
piloted and
may
misgiving, between
undue
be
ed
steer
nice
ignorance undue
on
is
architect's
work
the
one
hand,
and
and
suspici
of hand. remains
his
ardiitect's
ability
motives
the
It
only
to
mention
architects
the outset,
few with
the
on
points
of
procedure
he
relationship
of
at
large
building
under
Here,
and
relationship
a
or
begins,
basis.
eds client
terminates
a
strictly business
business
is
powerful
a
man, a
is represented
or a
corporation, committee.
to step
municipality,
railroad the
ing build-
Here,
if
client
anything,
architect
is
put
it
outdo of
the
his
in
procedure. of
the the
work,
to
from
the last
competit
program
payment
selected
tect
goes
forward
with
the form
the of
wheels
utmost
formality.
lity,
indeed,
often
in
endless
of
meetings
progress,
and and
ences,
the
clogs
the
architect
'*
impatiently
awaiting
the
word
rk.
The
for formality, The
issuance
instance,
of
invitations
a
to
bid
on
Sta
pitol,
is
the work
serious
matter, of
a
attended bid
no
eat
and
acceptance
less in
architect's
to
is
lar^e
and of
complex
the
size
to
and
complexity
the
building
been
The
* '
selected
design.
' '
preliminaries,
are
in
the
the
case
of
the
large
com pe
usually
called
days where
^'projeV^
ateliers
drawings,
the
Ecole
mory
of
Arts
student in
These
in
the
of
aux
Paris,
each
elaborate
are
problem
often
projet.
competition
and
drawings
unb lie
elaborate
to
enormously
expensive
for
chitect
actual
produce.
Usually
in
most
he
cases
is
remunerated he expends
cost,
more
though
than
c s
he
receives, however,
if unsuccessful.
and
makes
an
He
aying
for
big
stakes,
eff
oportionally. As
stated in of weighty
an
earlier
chapter,
the
subject
of
oper
conduct
given
large
and
of
and
important
competitions
consideration
en
detailed
by conclusions
by
erican duly
Institute
set
Architects,
a
and
document
their
forth
in
special
issued
dy. His
projet
staff
of
accepted,
good
the
architect
to
must
carry
a
maintain the
rge
draughtsmen
He
must
out competent
endles
awings
required.
have
supe inte
and
other small
assistants
country
in
house,
the
work.
As
in
the
to
work
proceeds
or
rough
the
l^-inch
sections, reached.
scale
until
drawings,
the
stage
%-
1^^-in
tails
and is
of
full-size
det
awing Here, do
however,
not
the
to
full-size
workmen
details
''on
of
the
'
all
carve but
rk
go
* *
the
job,*'
who
'
professional
architectural
modeller,
prepares
ented and
by and
no
mouldings
these
the
and size
all
other after
detail
change
of and
like
full
models,
go to
final
stone-
val
architect, founders,
may
occur
wood-carvers,
metal mistakes of
together
with
execution.
on as
a
the
drawings, Owing
hat
in
importance
the
work
involved
such
large
building, workers,
men
various
sub-contractors,
marble
workers
own
and
to take
bronze-casters, minute
so
send
reliable of
the
measurements
building, of
it
progresses, to to
that they
they
are
may
be
positive
the
the
sions
which
them, and
working
are
several
executed the
parts
sted
and
stone
which yards
being
from
i ing build-
rent itself.
mills
miles
And
it of
is
to
the
to
see
painstaking
with what wood,
acy
draughtsmen
ct
of
marble, from
materials,
' *
different
fit together
on
job,
'
'
each
in its designed
.
too,
Here,
in
the
be
carrying remembered
**
out
of that
plans the
for
great
it
must
a
architect
an
i
mous enor-
free-lance
is
designer,^*
netting
expense
He
under
and
in
getting
drawings
adequate steward
an
supervision,
of
he
is,
in
he
sense,
considerable
accountant
to
ditures, bills,
and
he
may
must
expert
handle
his
and
render
his
client
at
any
ate
businesslike
be
financial
statements
required.
which,
that there
are a
Notwithstanding would
say
many
architects capitol
or
they far
could less
build personal
state
library
than
with
they
harassment
and
ance
would
experience
in
building
an
CHAPTER
MATERIALS
OF
in
CONSTRUCTION
AND
AND
PHYSICAL
SIDERATION
i"STH"TIC
PROPERTIES SUITABILITY,
MATERIALS.
BUILDING
MATERIALS.
NATURES,
ETC., TEXTURE. STYLES
P C
COSTS,
IMPORTANCE MATERIALS OF
AND
OF
BUILDING ASSOCIATED
SUITABILITY
COMMON
'
observation
there the is
has
quite
acquainted
a
ns
with
fact
that
variety is
of naturally in
a
buildin
terials,
to
but
compare
prospective them
one
builder
with another he
ss
knowing
have
mer.
All
building
materials,
and
he knows
as
knows,
physical,
architectural of
any
one
aesthetic there
well.
properties,
are
in
the
choice
involved
rtain The
economic
question
considerations
of
choice,
actually
results
happily,
is
not
untram-
led,
but
is
in
fact
limited.
from
The
not
greates
nfusion,
perhaps, and
ideas
ultimate
clear
sualised,
satisfaction
certain each by
the
in the
attainment with
of
choice the
shoul
reasonably
saw
of
if
its
prospective
properties,
mystery
ilder
material, veil
exact
shrouded
complexity,
familiarity. It
is the
purpose
of
premises,
this
chapter,
then,
to
establis
rtain
specific
tjrpes
and
to
tabulate
in
a
maimer
materials
with
of
once
construction
involved)
and clear.
whi
all
be The
at
definite
following
materials,
involving with
in
a
differing
necessarily
methods
construction,
yet
will
with
a
be degree
dealt
of
br
ner,
lucidity
which
his
may
aid in
ospective
builder
in
defining
ideas
nnection.
MATERIALS
AND
CONSTRUCTION
275
Table
1.
The The
frame frame
frame
2.
3.
The
The
The
wire-lath.
4.
hollow
(stucco-covered).
5.
brick
stone
6.
The
(rough-dressed
-timber
stone).
7.
The
actual
half
house.
In end
discussing
of
these
to
several
show in
types
of
house,
form
it may
the
may
more
aid
clearness
aspects
tabulated
any
tant
under
which
material
well
onsidered.
are,
we
There
in
the will
first
place,
certain
restrictions
e,
which
tabulate.
Table
triction
of
inherent
due to
cost.
restriction
to
locality:
material
locally
unobtainable,
and
xpensive
transport. due
to
le
restriction, of
unsuitability
of
given
material
for
th
expression
style
desired.
The
several tabulated
considerations
are
under
which
and
building
closely
:
als
interdependent
in te
will
be
seen
in
the
following
table
Tabue
P~P"rt'eB
_x.
of
"""*"
"
r"'
6.
Character
Durability
Adaptability
Texture
rillT^
both physical and
(^
f
c.
perties
a-
Bsthetic
'{b.
Colour
\
or
-
*"
etic
architectural
X
"
prop"
f^",""
*
^*
o.
Local
^
suitability
_^, erties
of
materials
.""l^^"'*^
^
Expressiveness
Inherent
o.
cost
nomic
propertie. '^ *^
of
mate-
)
/
*"
0.
Local
?*"'f'*"'" !^
availability
or
^,
A
e.
Workability,
structural
cos
Upkeep
BOOK
ARCHITECTURE
If
the
properties
to
listed
any
above
be
applied
it
carefull
is safe
thoughtfully
that
all
building
project,
governing
essential have
come
conditions
under study will the
choice
terial
will
to
due
of
consideration.
materials
as
Wi
clear
basis
view
keeping
the above discussion of
the
ssible,
detailed
The
in
tables
in
be
used
as
the
following
with
paragraphs.
types
construction,
A,
associated
to
cover
material, virtually
to stone
sted
Table
will
be
found
omitting carved
or
or
pical
country
residences,
for
much
reference
dressed
a
ing bui
which in
call
wor
ther
the
entire trim.
highly
in B
never
fabric,
Such
expensive
**
in
brick is and
house
wi
stone
houses, work,
averages.*'
it
obvious,
cannot
fall
of
of Table
are
safe
terms
of
will
illustrate equally
the
fact
that,
any
one
since
terials
that
available
are
in
not
plac
for
since
all
materials
of the
suitable
style,
a
chitectural of for
well
expression
every
certai
ount
selection
us
in
matter
is
automatically
p f
by
natural
the
elimination.
factor.
Initial
cost,
ght
After
prove
defining it will
each
properties
apply
listed
table,
ble
C,
to
be
of
possible
the
types
this
ually, individ
of
building
and
enumerated construction
ble
A,
considering
material
ally
inseparable.
Physical
Pbopebties in
of
Materials
By
building
material,
"
it
^to
a
is
intended
denote
to
general
as
properties
direct
given
or
atte tion
questions heavy,
whether
or
not
mate rial
is,
a
appears, purpose;
massive, whether
ponderous
clumsy
given
it
is,
or
appears,
lig
CHARMING
STUDY
IN
THE
EXPRESSIVE MATERIALS
POSSIBILITIES
OF
BUILDING
It ii tnwresliDi
to
obKrve
the
decorative
quaiiiy
of the
brick
irork,
regulUug
from
the
lua
h
his
"a"|
sll
oil
si:
MATERIALS
AND
CONSTRUCrTION
277
ure,
unstable.
taste
Decision architectural
require
to
a or
here
is
matter
of
tectura archi-
and should
judgment.
no
Durability
definition,
with
but
reference
is
an
tant
question It upkeep, is
bear
in
mind
closely
as
tion. of
consideration maintenance,
is
a
associated
economic
cognate
with
question.
an
AdaptdbUity
and
property
closely
with
cter,
is
intended
to
direct
a
thought
material
it
toward
for should of
the
use
ion
of given
the
suitability In
a
of
this
^ven
design.
that
connection
is
same
be
bered
the
skilful
architect
the
capable
renderi
same
set
of
plans,
house,
the
in
fact,
ntirely two
different
houses
materials.
built from
One the
the
same same
of
illustrations
set
other
of in
plans,
one
ough-dressed
over
ledge-stone,
stone.
rough-cast, be
or
tucco,
This
house
could
rendere
with
equal
charm
and but if
propriety
not
as
in
brick
in
-timber
construction,
agreeably
with
frame
ruction,
of
especially Materials
most
covered
clapboards.
and
ties
Both
Phtsioal
as
jSsthetio
as
One
of
the
important,
of
any
well
is
or
the
its
least
ciated,
is
a or
properties
property
material
texture,
both
regarded
years ago
physical,
as
a
inherent, in design
of
and
etic,
to
many
were
be
factor textures
and
Not
the
building but
were
ials
not
only
unappreciated,
dly
and
unnecessarily
of
disguised architecture,
of
or
simulated.
the
good,
At est, hon-
rk
period
American
texture
interesting of paint.
stone,
common
brick
was
disguised
*'
beneath sanded**
marble
at
Wood
plaster
and
was
were
cast-iron painted
' *
were
esemble
to
' *
resemble
to
and
woods
grained
counterfeit
woods.
The
importance further
of
apparent
texture
as
in this
building chapter
is
materials proceeds.
come Colour
texture,
may
in and
building
keen
materials
taste
of
importance
equ
and
judgment
may
in
this
of
a
tio dir
attain
results
which
a
make,
sm In
inexpensive of
colour,
house,
an
true
**
work
paints''
of
a
a
art.
tter
architect
as
an
picture
ilding
materials
"
just
artist of
as
picture ability
itself,
gments
nsider
a
architect
as
well
house
eate
of
true
harmony,
oe
Abchitectural
Pbopbbties
as a
op
Materials
is
jSthetic
Stylistic
suitability,
consideration,
very
largel
lf-explanatory.
in
Success
a
has
seldom
style
been
a
building
house
of
given
in
styles
materia
are
characteristic
associated
houses
are
of
that
style.
Certain
materials.
d n
with
of
certain
stucco
Spanish with
houses
slate, styles
or
alian
and
tile,
French
incidental
of
tails
of
type
wrought
are
iron
of
cut
so
work:
stone
rmal
cut
and
many
uses
of there
In
br
stone
"
and
through
found
certain
associated
discussion
of
of the
given
material.
types
bsequent
in
detailed Table
may
of
the
building kinds
sted
A,
lists
properly
will be
be
of
use
which
built
in
the
materials
ructural
Local
methods
there
as
enumerated.
suitability,
always
emphasised
a
elsewhere governing
up
in
ok,
should
will
be
to
strong
factor
choic
be
found
be
as
inseparably colour.
to
bound
Local preferred
on a
with
oth
nsiderations,
speaking,
alien.
are
such
materials,
to
gener ally
always
be
those
whic
red
brick
house
grey
New and
England
acoast
is
unpleasantly
conspicuous,
noticeably
AS
AMERICAN
EXPRESSION
OF
THE
MODERN
ENGLISH
COUNTRY
HOUSE
THE
SAME
HOUSE
CARRIED
CO
fl
HFldom
In
Ihal IhiB
biiilriinii
d"i|intc1 both
lu
lulhvr.
".Hfe.htiwrvi'i.
lyp""
ol
of
key'*
with
its
neighbouring
houses
and
with
the
In
there
are
involved
and
all
tions, considera-
and
suggest
architectural,
the
it is
of
intended
proper
by
to to
importance
or
giving
ht
all
the
properties
or
of
any
ial
choice
which
for
might
any
it building.
suitable
unsuitable
Expressiveness
as
aesthetic
as
a
property
is
closely
with
adaptabUr might
physical
property"
second first.
exist
without
Economic
the
full
existence
of
the
Pbopebties
of
Matebials
the
Under
this
head material
we
find
may
that
inherent
factor for
cost
of
building
or
be
the
dictating
costs
it
rejection.
amount of
Common
money
brick,
per
example, in
any
in
in
thousand in
a
locality
cost
"
some
localities
at
once
than
others,
house then,
may
but
of
this
per
and
may
involve
greater
expenditure
than
is
possible.
Local
Brick,
will
be
out
o
with
question.
cost
combine
ent
to
prohibit available
cost
of
given
a
material. material,
If
the
not
easily
given
in be
locality,
another
inherent
which
locality
the
be
within
the
cost
limit,
ready
might
local
beyond
cost
On
hand,
use a case,
availability in spite
a
might
of
possible
cost
"
of for
material
example,
on
it
ent
^in
where
a
material
added from
ess
inherent
cost
would
take
considerable
(due
to
local
scarcity)
in
transportation
nt
point.
or
Workability
architect.
than
str%ictural
cost
is
best is
one
known
by
Here
material,
the
cost
question
the
expense
of
labour
though
in
labour
cost
of
erecting
and
an
actual
in" the
honse,
far
wi
wn
frame
cost
**nogged
or
exceeds
of
lumber
brick
merely
terials.
In upkeep,
as a
cost
consideration, low
is maintenance desired, by for
reason
are
involved
and
estions
If house
of
low
permanence,
impercost
ty.
maintenance
the
initial
of
is naturally
the
greater,
the
inherent
st
of
materials
cost
making
low
maintenance,
to
a of
walls
or
involved
of
labour
incident
to stone,
the
use
su
terials.
house
must
To
be
be
of
impervious brick
''
the tile
or
sla
he
fittings
at the
(called
flashings")
roofs, be
as
the all
at
chimneys
nd
junction
the the
of
must
well
as
gutters,
rai of
ipes
and
like,
of
lead be frames
(or
least metal
co p
and
set
windows
should metal
leaded
case men
in Here
leaded
would
imbedded
no
in
sonry.
be
structure
exposed centuries,
houses the
same so
pa
which
severe
could
weather
possibly
deteriorate
in
eve
conditions.
of
years
bu
ny
hundreds
gutters,
ago
fla ing
rain-pipes, Into
even
and
casement
windows is initial
a
re
buil'
them.
Such
construction
from
naturally
cost
xpensive, item
subtracting
the
over
early
years,
of
maintenance
at
saved
must
long
our
perio minds
and
best,
we
reconcile
house
he
inevitable
average
fact
that,
in
the
contemplated
even
he
prospective
by
the
builder,
millionaire,
and
in will
the
be
hous
ontemplated and
or
som
aterials
finishes
constant
which
occasional
eplacement
protection.
At
this
to
point
we
may
apply
Table
the
to
Table
types
A, of
wi
view
comparing
in
detail
like
c s
MATERIALS
AND
CONSTRUCTION
281
tanding
of
the
has
properties
been acquired
of
(in
general
terms)
C.
this
A,
which
study
able
In
close
discussion
as
of
the
in under
types
involved
in
studied
cost
subdivided
Table
C,
the
item
properties
of
ative
(appearing
is best
economic from
here
as
of materials)
and
segregated be
at
so
a
broad
separate
will
therefore
given
Its
cost
consideration
is
one a
the
beginning
is
logical, in Table
in
of
the
first The
questions figures
as
an
involved
given
an
the
ng
of
can
house.
only
in
D,
r,
be
regarded
out
approximation, practical
In the basis this
of
been
worked
for
purposes
by
of
experienced
ctor,
comparison.
taken
as
table,
it
of
cost
of
$10,000
is
are
no
is
compariso
and
it
hypothetically of
more
assumed
the it
ials
listed
can
equal
availability.
an
us,
be
than be
assumption,
one
the
wing
figures conditions, in
the
would
not
affected,
in
the
way
another,
ocal
also
only
matter
of
material
of
these
a
matter
of
labour. is with
levelling
in
eous
however,
necessary
comparis
simply labour by
the
the
inhertlt
in that
the
cost
type
material
involved
use
ruction
called
for
of
materiid.
Table
Cost
D
of
Per
Type
of
Constraetion
Outer WaU
Total
Cent. Ineieaae
me,
ahingle-covered
clapboard-covered
stucco tile
on
....
$945
985 wire-lath... 1,171 1,626 2,217
2,991
$10,000
10,040
me,
.004
10,226
me,
.0226 10,681
low
and
stucco
.0681 11,272
ck
(ordinary) (rough-dresaed)
half-timber
.1272
12,046
12,546
ne
.2046' 3,491
ual
In
assuming the
outer
the
wall
$10,000
is the
unit
only
above,
part
the
the
"
assmnption
house
^that
we
s that
of
whid
changed
in
seven
the
seven
types
tabulated
all
the
nsidering
floors,
houses
in
which
interior lighting
that
outer
wor
fireplaces,
etc.,
plumbing
are
fixtures,
same, so
hardware,
the
first column
the
the
most
the wall
figur
show
the
cost
of
the
on
his
method
costs.
offers
It
costs
definite
seen
comparison
a
ilding
that
are
will
of
a
be
at
glance,
in
ble,
the
very
shingle
same,
house
and
that which
clapboard
is
use
great
nearly
the the
and
house
there
advance
in
frame
is
covered
th
wire-lath
appears
and with
to
we
stucco.
marked
house,
advance,
the
ev ho
next
the
hollow-tile
until
the
pes
continue house
advance,
in
the
actual
ha
mber
find
that
$10,000
equipment,
reason
hous
entical
in
its
in
interior
cost to
construction
creased
$12,546,
represented
a
are
by
the
of
walls.
that
terial It
must
and
labour
not
by be
be
outer
for
moment to
supposed
as
gures
in
this
Any
table
regarded
on
of
genera
plication.
be readily
stone
reason
definite
merely
as
figures
a
building guide,
example, might
costs
mu
ways
taken
general
fact,
for
anyone
ll
appreciate
house, of
the
for
that
cost
ugh
in
certain
localities, of
although
by
ready
that
availability
material),
the
other
than
ick
house
in
locality,
the work
relation
actly
in
mason
table. in
In
words,
in
a
ney
laying
from
up
brick
a
locali
ere
must
more
be
than
transported taken
great
distance, of
ght
by
the
cost
ansportation.
Ordinary
every
building locality,
lumber and
is
equally
available in
arly
the
labour
involved
MATERIALS is standardised^
frame than be house
the
may
AND
CONSTRUCTION
that the
as
so
figures
dealing
exact
with
be
taken
of
wider
cation appli-
others.
It will however,
well
for
the
prospective will
occur
builder in the
the
to cost
remember,
that
to
increases
the
of
the
character will
than
of
outer
for and
example,
usually
the
contain
house,
way.
ior
detail
frame
every
be
proposition
of
in
cost
Having
of by
disposed
a
the the
consideration
may
now
in
the best
tion
material,
the
to
discussion
ed
noting
properties
which
these
seven
appear types
as
applied
each
of
ing.
frame
as
The
well
house, certain
in
general,
has
much
to
commend
these mitigate
disadvantages. though
much
may
Chief be done
among
he
fire
hazard,
use
to
by
the
of
fire-resisting
impregnate
paints
wood,
and making
chemical it almost
rations
which
ombustible.
small
The
house, and
partly
character
of
wood the
adapts
it
because
and
small
house
tentious of
point
simple,
house.
because
it expresses
this
ty
the of
small
In
durability,
wood excepting
need
not
be
regarded
distinctly
or
perishable
clay
in
comparison
Even
are
with
in
burnt
climate
building
New
materials.
the
ous
of
England
the heat
are
there
wooden
storms
which
three
have
withstood
and It
and still
the
in
centuries,
which
excellently
to
ceable in
condition.
detail such
as
more
is
not
possible,
each of
here,
the
cus dis
the
properties
pine,
of redwood,
used
building
and
white
cypress
the work.
woods
is detailed
generally
data
for the
exposed
is
with
which
architect
more
nversant,
or
with
which
the
prospective
or
builder of
most
miliarise library.
himself Of
is
by
reading
perhaps
study
the
books
comprehensive
' '
fr
these,
' '
and
Gibson.*
Wood
concise
American
Forest
Trees,
by
Henry
is
by
all
means
an
adaptable the
structural
may
building and be
mate rial
being
parts
suited of
a
for
both
orna men
building.
or
It in
of with
readily
carved
in
mouldings
nor
turned
working
columns, such
parts
balusters
an
indles,
is
as
the
expensive
stone.
use
eration,
compared
the
working
may
of be
made
Of
the
texture
of
on
woods,
little of
the
of
terior
of
work, paint.
amount to
account
necessary
at
Semi-transparent
of
the
more
all
certain
wood-texture informal
the
addition
bungalows
of
building,
timber-work
The
su
and
cottages,
may
exposed
so
half
-timber
true
house
be the
upon
treated. of
the
an
same
of
colour.
to
While
reckoned
colour in
exterior
of
a
woo
much
colour
the
be
is
design
foreign
house
is
either
the
that
of of of
some
substance, in
result
of
action
colour
weather,
excepting
of
*'
the
natural
''
California
house
may
so
redwood.
Thus
colour
of
wooden
be
painted,
white,
and
wi
een
because
may
it
be
has
been
grey
ingled
silver length
because
time
to
it
has
be
posed Many
certain
of
may
the
by
weather.
attractive
effects
which
not
be
add
obtained
to
the
shingle-stains,
colour,
only
preserve
the A
the
shingle shingle
shingles
some
teresting wall,
but
In
*
but
also
it.
roo
should
each
never
be
be
stained
separately
after
id,
should of
dipped wood
in
the
sta
point
by
stylistic
"Hardwood
suitability,
Record"
construction
Chicago,
1913.
Published
the
Magazine,
be
found and
appropriate
especially
for
houses
ial
Georgian
farm
Colonial
houses,
manors
styles. too,
as
Dutch
Colonial
large
well
as
many
the
Southern
were
and wood.
so
the
Creole
plantation
villas, of
as
built
of
The
architectural that
as
the
bungalow for
is
its
uncertain
wood
other
appropriate
construction
many
ials.
frame
mesh
The
house,
nailed
with
to
or
stucco the
applied
may
over
wire-lath
be
metal
frame),
The stable Many
designed
lines is
on
Spanish
an
Italian. of
more
construction,
forms,
yet
imitation
the
score
is permiss
of
houses
a
economy.
attractive this
method
tage cot-
and
small
have
utilised of
ruction,
be
because
harmonious
design is
is
colours
not to
mixed
and
in
the
stucco,
if the
there to
for
rge
pretentious
little
be
against
it. of and
a
The
chief
house
caution which be
be
to
observed be treated
the
in
the
ing
lath
frame
stucco
is
with
is to
exercised
to
in
architect's application
contractor's stucco
supervision,
prevent
the
of
the
he
until
settled
after
the
framework If
the
house
settled
has
ughly
even
into
place.
frame
or
little wire
(which
lath
all
house
to
frames
do),
also
it i
us
that
the
fastened cracking
it would
the
settie
arp
with
of
it, inevitably
stucco.
comparatively
coat
The in
question
too
many
of
local
other
suitability
parts
has this
been book
to
enlarged
require
of
er
mention
here.
It
of
is
tabulated
in materials
made.
the
list
because
tial
considerations when
* *
building
is being
ts
importance
property
choice
The the
' '
of
of
expressiveness
"
is closely
as
cognate
a
property
house
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
terial
will
always
typify
homes
simplicity of
the
of
the
kind
whic
aracterised
always intent For
the
first
American
to
colonists
express
be
of
the
fitting
cottage
material and
the
informality
of
to
of
ngalow.
a
the
**
economical"
the
a
properties
woo
building
cost
material,
reader
not
is referred
only
Table
^its low
inherent
being
cost,
result of
low
prove
of
cost
comparatively
but will
may
labour
a
in
working
cost
any
cal
availability
while
mere
pertinent in
a
facto
lumber
cost
be
obtained
from
the
nearly
locality
to
he
of
may
hauling
lumber-yard
cost
solated
In
the
site
influence
or
total
surprisingly.
upkeep,
the
more
maintenance factor
consideration, tending
toward Wood
an
the
es,
perhaps,
greatest permanent
hoice
of
be
materials.
painting
is not
mus
lways
protected,
frame
an
and
house,
inexpensive
on
tem.
The
has
coated
over
with
the
stucco
wi
th,
advantage
the
clapboard
no
covered
ouse,
in
that
that
many
side-walls old
require
farmhouses
painting.
have
gone
It
rue
historic
ears
without increasing
moss,
being
touched
greyness,
by
paint
brush,
even
and by
th
arly
embellished
to
lichen
nd
has be
to
but
added
to
their
the
years
picturesque
and
charm
possible
invite
the
the
of
a
elements
your
house
were
honest
remote,
an
appearance
or
old
location
every
either disclosed
along
roadside
here
turn
ancient
farmhouse.
smartly
kept
suburb,
property
however,
owners
it is to
would
be
feared
he
adjacent
formally
so
prosaically
**
fail
' *
ppreciate
this
natural
protest
process
at
of allowance
**
antiquing,
of
any
ould
the
an
ing dwel
and
''shabby"
' '
in
such
improved
With
house
fourth
on
the
list
D,
type
there of
is to
be
considered and
one
construction,
to
which
iar
versatility
the
rendering
historic
essentially unit of is
modem
architectural
in
a
The
construction
usually eight and
a
hollow-tile and
in
stucco
is the
which in
inches, corrugated
ten
manner
s,
thickness,
receive
house,
directly
and It
on
coating
of
the
outside
plaster
not
he
the
application found
of
the
finished
he
is usually
the
best,
however,
of
a
inside
surface with
a
surface heavy
hollow of
til
give
this
coating
plaster
' *
* *
minou bitu-
water-proofing,
or
the
*
'
inside
applied
^ '
ooden
case,
metal
lath
on
furring. inch in
the
Furring,
or
designates
to
two-by-four
the
lumber
to
lighter
a
fastened for
the lath,
tile
to
wall
order inside
afford
plaster
on
ing nail-
and
place
or
out
of
danger
of
cracking
disintegrating
account
of
inevitable
through
capillary the
pores
attraction
of
water
from
outside
of
the
tile.
The
superficial
never
physical
apparent,
character since
durability,
of
but
hollow
the
tile
is
urse,
it is
base
for
of
stucco.
For hollow
a
including
excellent
its
nor
proof fire-
property, any
types
means
tile
is
an
choice,
material
which
is
non-adaptable
of of
building.
Types
and
building
which
may
well
for smallest
hotel.
be
the
considered
use
as
al and
agreeable
stucco country
range
opportunities
from
or
of
hollow
the
bungalow Renderings
largest
seashore
o Italian
Spanish
type,
are
mission
obviously
type,
a
and
of
the
use
Spanish
for
this
or
logical
"
construction,
"
and
that
modem
adjunct
building
the
private
use
garage
is
cularly
fitting
for
the
of
hollow
tile
Reference
stucco,
to
Table
more
will
show
us
that
stucco
hollow
on
while
expensive
cost than
than
th, In
is
far
lower
in
the
brick.
there
considering
house
brick
house, Brick
is
considered burn,
the
the
permanent/*
will
not of
cra
decay, unit of
and
by
reason
of affords
the
a
small
size
brick
design,
it
remarkable
medium
as
chitectural
is
a
expression.
thing
Brick-building
few
*
it is
is
a
se
-day
of the period.
but
years
growth, which of
taught
and
wi
parture
from
misuse The
of
brick
characterised
1880,
Victorian
than
a
bricklayer
was
and
decade
a
thereafter, wall,
and
that
was
the
in
of itself
brick
above
all
else,
absolute
texture
iformity
brick
surface and of
suppression
of
the
the
joints
the
between
each
brick. kind,
st
sought
were
bricks
were
smooth,
pressed
mortar
or
ese
laid
which
with possessed
almost
no more
invisible
character
join
effects
a
interes
an total
piece
ignorance
of
oil-cloth. of
the
very
It
seemed
important
that
there
that
fact
well
as
was
ick
an
is
unit
of
interest and
in
itself
as
in
no
relatio
entire
of
pattern
wall,
the
consequently
there of
appre ciati
endless brick
possibilities
work.
colour,
textur
in
If
the
than
builders
merely
of
this
period,
and
had the
been
se
stupid,
to
mere
inep
of
their
one
efforts might
monotony
unimaginamonuments
veness, their
:
overlook
But
they
the
surviving
a
stupidity.
they
a
did
work.
any out,
thing
The
which
more
was conservative
se
brick
unlike
used
honest
with
regardless
brick,
painful
and
ey
embellished
imaginary in
picking
joints
or
entirely
paint.
of
more
oints,
black
white
The
ambitious
further,
and
most
of painted
us
have
seen
some
of
a
their
rpieces. sallow
or,
They
sort
their
with dark
brick red
work
mal, dis-
of
yellow,
more
joints
of
fancy,
(imaginary)
used in
in
and
still
gorgeous
green,
ird
horrible
according
colour
the
and,
this,
to
or
taste,
imaginary
joints
in
black
white.
brick
This
painting it is
and
a an
of
work
is here
enlarged of the
the
upon,
se
absolute
true ure text-
nesty
of
building practices
saw
is
further
work
apparent
encouraged.
the
which that
a
painted
it wall
was
brick
not
even
necessary
to
build
wall
then,
was
brick
"
since disguised
coat
a
the
material by paint.
or
in
entirely
a
A plas-
e
was
wall,
with
smooth with
of
stucco
often
**
painted
pattern
of
has
perfectly
even
rm
brick
of
were
joints,
kind
^^
and
**
the
writer
seen
les
this
of
brick
to
work'' resemble
in
which
the
must
icks'*
actually
veined
(one
could
swing
texture
no
ose)
go
"
marble. and
away
we
Architectural
had from better
this
insanity
follow negation the
of
an
ther fur-
the
of
of
the and
lum
tural
properties and
turning
toward
clearer
dawn
such
of
architectural
ciation
vision
came
things.
The
point
old
with
appreciation
of
the
ies
of
very
American
variety
brick
apparent
work, in
the
specifically,
the
interest
of A
and Harvard
few
some
first
brick
ings
College,
in
chusetts. Massathese
discerning
other
architects,
early
range
as
ings,
was
and
a
examples, of
as
an
that
some
considerable
of
texture,
colour
and
al
effect
well
often
recurring
PRACTICAL
BOOK
ARCHITECTURE
te
of
or
interest discoloured
days
scarce,
and
variety
in
the
appearance
of
rnt In
brick-ends
these early
mason
here
and
there.
were
the
was
when
buildings
could
erected
ick
and
the
on
the
not
afford
the
hrow
out
all
bricks
the
these
or
with
insides
burnt of with
ends, the
brick
in
ich
had kilns.
black, by
walls
been
stacks
aking
Later blue
mason
bricks
olive
use
ends
were
or
*
'
burnt
pu pl
dark
the
green
deliberately in
elected
for grade.
of
in
drains,
were
era
the
dat fou
' '
below dawn
same
They
inferior.
With
the these
the
new
of
brick-building,
were
as
owever, by
' *
naturally
burnt
at to
bricks first
work known
out
keenl
* *
ought
architects, Architects
or
and
were
Ha va
bricks.
began
patterns
at
ick
work,
to
introduce
in the
burnt
course
brick-ends
of time it
was
random
their
a
work, single
wall.
and brick
notice than
hat
might
be
more
interesting
hole
In
other
as
a
words,
the
design,
brick
as
became
it is actually
properly
a
recog nise
unit
and
in
with
unit
the out
a
in
co s
this
recognition by stand
came
''rake
a
oint.
'
'
This allowed
kind
of
each
joint, formed
brick
a
new
raking
out
li
ortar,
to
little,
in
mmediately
wall.
there This
the brick
came
was came
effect
the
of
texture
ole
before
development
xture
in brick of
to
itself.
to
wall
its be
as
be
desired,
expression.
as
it
should
was
ecause
character
an
and
It
cove redi
honest
building
endowed
and
material,
with
beautiful
qualities
of
daptable
well,
and
m p
fire-resistance
It
was a
stability.
this
natural
thing,
that the
at
point
in
of
the
the
evolution
brick-building,
became
possibilities
and
individual
rick
further
developed,
several
discerning
acturers
began all
were
to
produce
were
beautifully
achieved
the
"
coloured
in
s, and
wherein all
the
hues
tone
the
ing, burnmore
in
of
with
softer
and
sap
nious browns,
are now
colours
tans,
nature
olive dull
**
and
greens, oranges.
purples,
blues
scales'*
and
aesthetic
of
to
colour
"
scales
which
it
is
possible A
effect which
to
the
subtle because
person
pleasing
schemes.
brick affront
i
any
it is painted
;
is
grievous is
green
but
brick baked
which
green
through
very
and
gh,
because
it is
is
different
.
the
But
difference
or
is
more
than
one
of
dishonesty
material
"
honesty,
surface
deception in
as
and
real
of
to-day
textures,
or
have
themselves,
as
individual
the
texture stones. to
and
of
esting fabric,
has
"
distinctive
of
the
textures
different
Nor
the
effort
shapes,
been
too,
confined
have
**
colour
and longer
so
re
more
special
flat
been
2-4-8*'
devised,
brick,
of the
than
to
the
standard
strong
that
possible
effect of
expressions
courses.
zonta hori-
characteristic prospective
new
brick
The
builder special
are
**
must
remember, of
however, colour,
per
these
and
and
shape,
bricks,
distinctive
expensive
that the D
re
considerably
more
and for
as
than
ordinary'*
brick,
of house
so
figure
must
the
fifth
for
a
type
in
Table
to
be
low
house
designed
be
faced
with
ecial"
brick.
pursued of
the
upon
Having
to
this of
as a
point
necessarily work, it
now
curtailed remains
the
ry
evolution
brick,
brick
building Table
direct
material,
several
considerations
is
not
necessary,
listed
in
C.
to
It
perhaps,
elaborate
greatly
on
these
properties
as
applied
to to
brick:
ed
to-day,
assert
has
every
as a
opportunity
interest ingly
character
burnt-clay
the
same
product; in is
rability
inherent
and
of
always; heavy
quality, its
mass,
ancien
mes,
to-day
adaptability
of
may
excep tiona
for of
mere
effects
surface
delicate
detail, readily
decoration
equally
tained. Of
to
texture
and
colour
enough
was
said
above
to
s g
the
prospective
builder these
the
present-day
poss bili
of In
point
brick
of
in
both
particulars.
stylistic is,
of
course,
suitability
a
a
brick
has material
certai
mitations.
It hospitals,
universal
hools,
clubs
permanent
and
wide
variety
of
oth
pes
of It
large,
buildings,
armories
is
of
the
material
above
design. demand
all
urch
Romanesque
types
glish certain
or
country
house of
**
the
use
of
brick,
as
types
country.
a
early
American
house,
either
wn
Independence
a
Hall,*' of
its
in
phia, Philadelin
is
and
model wood
upon.
for
which, The
style
city
type,
building
has
never
bric
one
for
French
was
be
proved
of
chateau,
very
if
built trim,
not of
bu
tirely
dressed
stone
stone,
often and
bri
th
dressed usually
In
quoins,
copings with
villa,
the charm
bri
rtion
handled
the
was
remarkable
terest.
Italian
the
flat fact
stuc
ll-surface
prevalent, showed
the
the
naissance
pleasure
architects
ability
of fact,
ident
in
material
"
their
ildings.
their great
(McKim,
American by
in
the
Mead
White,
of several
in
Italian
ushered
reviv^
Renaissance
chitecture
designing
Italian
manner
important brick
ructures
of
building.)
Considering
the that
aspect
of is
most
local
not
suitability,
always
it
must
remembered
is
brick
of
appropriate.
especially brick
for of
true
localities
in
New
Engscarce
where used
has
else
always
been
comparatively By
reason
little
but
chimneys. clayfields,
make of
parts
of
the
nce
extensive
and
local
Pennsylvania,
Jersey brick
Maryland although,
other
the
course,
natural
habitat
are
house, in
many
there the
as
many
yards
the enough
of
country.
a
Of
expressiveness
was
of in
' '
brick
building sketch
material,
of range
said work
the
to
foregoing
suggest
the
lution
of
brick
the
great
o
use
ssion
work
which lays
of
the
open
intelligent
to the
cost
appreciation
architect. and and
and
rick
The
be
items
inherent
from
comparative
must
cost
deduced
Table
in
D,
be
recognised The
of
varying
considerably
builder
' '
different reminded,
localities.
also,
ective
cost
is
again
' '
the
er
of
special
may
face-bricks,
to
a
which
restricted
use
expenditure
material
confine
little The
the
interior item
cost
excellent
for
fireplaces. with
of
local
ability
or
is they
closely
with
near
linked
tions, considera-
it, and
it must
New
same
be
remembered
"
that
figure
ick
house differently
Trenton,
from
Jersey,
will
at
the
brick
house
Marble-
Massachusetts.
large
part
cost
of of
the
cost
of
brick is
house,
after
the
ent
the
to
figured,
lies
a
in
the
tural
up
cost,
due
that
small hollow
unit,
slowly and
calls unusual upkeep, most
(as compared
for
with labour,
til
s),
skilled
or
especially
are
where
for.
ts
of
pattern
or
jointing
called
In
the the
maintenance
consideration,
lie
of
conspicuous
and
undeniable
recommen-
tions
of of
brick
mortar
as
building
has
been
material. used
be
over
Even much
if
sand
po
xture little
(too
a
cement),
required of has
the
it
'*
would pointing"
generation
of
befor
joints
on
account
a
the
tegr disi
mortar,
and there
if
well-mixed
a
cement
rtar
been
is
constructed
wall
lendid
It
impervity
permanence.
is
a
that
the
prospective
upon
builde
examples
rect
observation
the
brick-building
degree of in
which
success
or
he
daily interest
sees
about
him,
notin the
attained
texture,
(or
pattern
either)
Let
details imagine
as aware
of
colour,
some
and
ke.
him
him,
kind
to
of
house
brick he the
"
work
whic
tracts
applied of
so
the
reasons
is
about
ild,
the
become
80
's
the
why
brick
let
wor
appears
a so
dismal
and
stupid
him
in brick
short, work,
knows
competently long
as
intelligent
he
amateur
a
cri
does it
not than
to
cultivate
an
delusion
at
he
more
about
compass
architect. and
a
It
possible
type
in
of the
limited
brick
discuss constitutes
that
illustrat
study
be
ery
work, is the
which
self,
and
writer
for
convinced
reader
to
it
would for
valuable
much
cultivate
as
himself
personal
discrimination
possible
in
tter.
The
discussion
has Table
D
"
now
reached
house of
the
*'
sixth
type
use
listed
by
to
in
^the
rough-dressed"
house
may,
or
one,
which
* *
is
understood
' *
the Fieldstone be
a
very
oft
luded
as
fieldstone.
this
to
or
indeed,
material,
up
but
must
roughly
not
uared from
locally
in
the
order fields,
effect
from
a
If
ere gat
walls,
as
stone
case
ma
quarried
from
ledge,
stone,
in
the
of
ll-known
''Chestnut
Hill"
which
has
afforded
i'i
i
"
THE
s
OF
msy
u
STICCO
be
AS ucfplably
u
AN
EXTERIOR
in
u
FINISH
"tucco
"
in
or
"h
o
KVersl IlaliBD
type
well
sucb
rendend bouKI
notably
tboa
Ihe
Bbove.
derived
frODi
EnsliHb
Philadelphia charming
use
architects building of
stone
such material.
thoroughly
colloquial
The
from much
or
old
of
more
walls it has
is
highly been
to roughly
mended,
perhaps
because
a
ed
century
a
ago,
so
that In
any
the
faces
case
weathered
to
fine
colour
of
grey.
which
is
will desirable,
naturally
because
may
split
into
comparatively
lay
thin
horizontal
mortar
it will laid
up
in
very
even,
courses,
and
in
be
with
little in
ring
the
is
joints.
the
The of
as
abomination
round
a
rough
-masonry
wall
cobble-stones,
for
usly of
calling the
wall,
for
mortar
necessity
an
the
use
stabili
and
which rough
forcing could
stone
into
never
unnatural
have
a
ing The
material ideal of
no
natural
to
or
wall,
according
*'
the
ique
stone-masonry,
mortar
is
the
dry-
wall,**
wall
which
a
whatever
would
not to
has do
been
for
used.
house for The
While
construction,
wall,
of
course,
it is
possible
posts
and
and for for
a
much
be
desired
porch dry-wall,
la
garden
high
as
walls.
usly,
mason,
calls
as
degree
for
to
of
local in
skill
on
the
part
the
well
will
the
lay
availability
flat
very
courses.
of
-stone
which
split
Any
resembling
respect.
slate
will
be
found
adaptable
The is
desideratum,
the
nearest
then,
in
the
wall
of
rough-dressed
in
appearance,
possible
approach,
he
dry-wall. interesting
for
a
The
expedient
walls of
a
of
stone
or
using house,
great
deal
the
and is
a
giving
' '
the
coat
of
whitewash
white
paint
special
of
rough-dressed
the
were
stone
work,
intended
colonial
to-day
farm-houses
very
early
in
American
this
manner.
treated
Here,
however,
involved
rather
considerations
than and
of
to
more
of
historical
or
antiqnarian
spect,
structural.
specific points
may
Further house
in be
connection brought
wi
out
he
rough-dressed
its properties properties Its
stone
as
eference
listed of
in
Table
C.
Of
the
physical
be
rough-dressed
is peculiarly
ston
ttle
need
said.
character
and need
as
naturally
full question
to
of
as
diversity
to
and
ere
be
applied
no
its
durability.
be
Adaptor stated
ility
rough
stones
stone
vary,
cannot
xed
rule
because
some
a
geologically,
more
according
proving proving
and
far
adaptable impossible
to
th
use.
hers, In
few
actually
colour,
art
nor
of
texture
rough
stone
work
has
so
competitor,
upon
for
Nature will colour will
eye,
age
neither in
select
constantly
science
proved
these the
particulars.
stones
The
thought
sk fu
stone-mason
with mind,
xture
and
which
to
in
his
creat
wall
be
permanent
delight
sat fac
the
increasingly
of is vines.
arming
with
When
stylistic
suitability definite
as a
considered,
for
there the
use
apparent
certain
stone
limitations
building
material
every
it the
has
present
proved
in
respect of early of
an
ide
terial
day
in
the
revivals
vicinity
American
rm
notably
it is
an
Philadelphia, for
the
general
any type.
admirable
cottage
or
choice house
ing render**
bungalow,
No
any
of
the
to
or
esque pictur
material
is in
better
mountain
no
suited
the
co st
of
house
obviously,
seashore
can
rroundings,
and, values
of
material
possess
ronger
local
in
suitability. of
Expressiveness
buildings
rough-dressed
stone
will
depend and
engaged
largely
upon
upon
the
physical
skill
It the
he
mason
stone,
the
to
technical the
equal of
walls.
to
by
lay
are
found
few
brick-layers
a are
undertaking,
where
to
requires
results institute
every
great
deal
and in
the
experience,
the
pursue
desired,
the
best
course
inquiries locality
a
neighbourhood.
In
stone
a
ally virtuis
mason, stone-
where
search
*'
suitable
building
disclose
found,
short
a
will
local
' *
usually
character,
but
a
nearly
man
always
kably
years
skilful of
stone
artisan, local
which
and
work'*
experienced laying
up to
gh
*'job
exists
in
the
just
which
kind
of
in
an
locality
although
up the
s native.
Obviously
will be
such found
every
artisan,
to
nicall techstone
untrained,
"
lay
best
^he is
familiar
of
to
with
the
peculiarity,
possibility
so
restriction
upon
material
he
has
long
been and
may
build folk
by
now,
into
of
the
diimneys,
neighbourhood.
contractor.
foundations He
alls
for
the
be
yed
directly
the by
Confronted, and
D,
the
cost
consideration,
both made
ent
comparative,
reference
is
again
and
the
prospective
builder
will
will
item
realise
**c,'*
or
that
governing
factor
here
obviously,
stone
be
would
local
ability.
Cost, building
its
a
be
near
prohibitive
the
i of
to
suitable
unless
or
existed
site
the
use
were
restricted,
should of all be
perhaps,
lace that
a
chimney.
stone
one, a
It
remembered,
a
rough
is,
materials,
a
naturalistic in
rough
and
to
hence
poor
for
building
use
locality
stone,
which
a
it
is
not
native.
an
of
in
such
case,
becomes
af fe
instead
structural
of honesty.
an
expression
of
rugged
sincerity
The
working-cost
of
of
rough the
stone
will
with
be
fonnd
ry
with
the of
nature
stone,
and
can
the
iidva
geousness
the
bargain
which
be
In
struek
any
with
case,
orenoentioned
of
local
stone-mason.
st
handling
being upkeep,
house
and
laying exceeds
up
rough
stone,
all
oth
ings
equal,
or
that
of
brick. is
In
maintenance,
permanent
it
and
of the
obvious
that affair
one
is
all
substantial
most stone
elling
this
for
country
time.
are
Many
ancient
"
house
of
rough-dressed
every
^a
splendid
use
ilding be
material
in
as
instance
and possible
where
its
regarded
logical
forth
on or
**
according
to
nsiderations
set
in
Table building
type
C.
materials listed in
Table and from rather
has
D
"
Our
conunentary
ached
of
are
the
last,
seventh
halfa
use
actual
timber'*
construction,
which
he
considering
respect
to
manner
building
materials
differs but
other
in
the
used,
they
a are
in
to
the
in
which with
used. discussion
to
Before
proceeding
brief
of of
tual
half which
house,
-timber is not
so
speak
use
of
half
construction,
although
to
houghtlessly for
some
called.
years,
been
apparent
tect arch
that
the add
its
purely greatly
actual
decorative
to
cost
aspe
half-timber
the
work
could
while
*'
the
appearance
small
house,
The
would
rende
of
t prohibitive.
work,
patterns*'
ha
mber
especially
as
in
houses
appreciated
of
view,
highly
the
* '
effective
effect
only
' *
from
was
the
desi
int
and
so
perfectly
out-and-out
charge
to
fake.
There
rious
as
be
no a
brought intent
to
against
practice,
so
ng
there
exists
deceive
long and
as
rk
is
obviously
decorative
makeshift,
not
OU3E houae.
OF
thi
ACTUAL
fnnie
"re
HALF-TIMBER
of (be houH
"
filled la vilb
belwee
tural
deception.
One but
would
reference
that
prefer,
to
of Table
is
course,
half
d
most
' '
will
builder
of
he
considering there
listed.
type
'
construction
work
imitation
a
of
consists
of
ing, applyboards
on
stucco
wall-surface, arranged
to
to
thin
represent
ally
and
stained braces
brown)
which
patterns
were
the
developed in
more
form
natural
work. the tion imita-
actual
half-timber
for
mere
this
reason,
palliation wherein
half
house
-timber**
*
terns
are
contrived,
than structural
for
the
imitation
pts
to
represent
members
do
exist. real
The
half-timber
beauty
for
house
is
thing
that
of
it
manner,
architectural
expresses
and
the
reasons
entirely
logical and
and
perfectly it affords
not
frank
an
its
construc
because
opportunity
for
d
in
diversity
the
an
and
in
part
interest
only
are
in used.
its
materials,
manner
which
of
these
In
earlier
this
type
this
book,
some
was
of
of
construction, chapter.
but
In
may
ardoned
house,
to
in
the
the
present
half-
wooden
members
forming
the
pea ap-
be
''pattern,'*
(as
in
of the
in
garden
ey
shown
frontispiece)
building
the
"
timbers
the
comer
exposed The
the actual
^i
studding
structural
are
and
braces.
in
spaces
en
members,
halfwork,
filled arranged
(or ''nogged*')
in interesting
with
brick
patterns,
is
as
a
either
brick,
coat
or
more
plainly
built
in,
to
be
concealed
of
stucco.
It
is obvious
that
here
exists
at
once
an
opportunity
task
"
an
opportunity
to
means
show
of
interesting rough-hewing
as
textur
the
wood-work,
by marks
in
it
as
aving
visible
diversity in the
of the
coat.
the
adze,
well
to
or
sh
dless
brick
**nogging,*'
subt
lour
The
stucco
carpentry
are
involved,
as
well
up
as
the
cost,
skilf
sonry,
the
items
materials
which
used. the best
moxmt
the
rathe
an
the
actual
of
course,
Oak,
wood
for
cost"
the
is
posts
a
aces,
and
heavy
free
in
item
are
^'inherent
required,
any
facto
reasonably
cause
and
pieces
from
of
kind. under
to
The
half-timber listed
of by in Table
house,
the
severa
a
ints
C,
be
its
found
possess
hi
gree
desirability,
the
every
chief
drawback
cost
considerations,
item
inherent,
and Half
other
of
cost.
work
possesses
by England
In
all
means,
character,
buildings
durability.
of
and of
the
Continent
stify
its
point
adaptability, in
ould
be
real
self-evident
that
skilful
can
artisanship,
perform
craftsmanship,
ingenuity.
like be
wonders
ructural Half
-timber
work,
will
any
other
rich
frank in
values
and
of
sincer
of
materials,
found
texture
colour.
The
to
as
stylistic derivations
of
half
is
c f
country
use,
the
well
as
town
of
the will
period,
either
though
latter,
or
modem
city
a
exclud
of
type
necessitate Half
-timber buildings
fire-proof work of
was
''effect"
ha
mber
work.
also
largely
us
and
the
mediaeval
France,
Germany
of
countries,
but
American
derivations
these
MATERIALS
AND
CONSTRUCTION
way
of
being cite
architectural
several of
curiosities^
examples. exclude
same
albeit
the
could
interesting
course,
Local
suitability, houses
exclude
would
the
half-
in
many
America, other
greater
but
types
or
the
of less
we
consideration
buildings
which
into
we
our
thrown
(with
melting
thought)
therefore
tectural
this
pot,
and
will
ignore
instance.
no
Certainly
could
of
type
of
construction,
or
or
no
use
of
materi
possess
greater
more
directly
obvious
ties
expressiveness.
The
first
four
items have
listed been
in
Table
**
under
earlier
"
nomic Eco-
Properties'*
or
discussed
may
^th
maintenance
consideration,
to
quickly
be
dismiss
by
reference
as
the and
ancient
sound
were
half -timber
after centuries
buildings
of
urope,
as
staunch the
ence exist-
in in
time
built. '*nogging''
Oak
does
not
centuries,
members The
the
course,
between
the
ctural
impervious for
the and
and
the
permanen
obvious
are
accompaniments
half-
house
story,
casement
windows,
roof
nd
the
it for
picturesque in
the
toto,
-line
Taking
the
half -timber
scholarly of
only
over a
an
taking
experienced,
is
a
and
the
imaginative
architect,
and
must
type
house
which
the
prospectiv
builder
in
cost,
expect
with
house
D.
inevitable
any
ease
other
throughout, enumerated
this
on
of
of
the
kinds
in
Table
In
concluding observations in
an one
chapter,
the
"
it remains
only
to
or
offer
more
ew
mingling
^a
of
upon
two
rials
been
building
question
which
there
on
extraordinary and
diversity
amateurs
of
opinion
the
of
architects
alike.
The against
most
important
general
use
admonition,
perishable
as
the
combined
in the
same
of
materials
story
house,
or
in
structure
wi
rst
of
stone,
brick
hollow
fire-proof be
tile,
and
the of
secon slate
frame
on a
construction.
A should
roof,
le,
frame
house
palpably
absurd,
stances Broadly
exist. speaking,
are on
most
combinations
of
the
impervious hollow
terials
story
permissible,
a
notably:
story
cond
base
of
brick and
or
of brick,
rough
essed
stone. must
Bough-dressed
be handled with
of
to
stone
a
us
gether,
considerable striking
well earlier
as
degre
examples
architectural
be
seen
ingenuity,
from
which
as
an
time remarked
of
time,
lamentable chapter
ilures.
of is
It
the
was
in
the
ch
charm
to
a
modem and
English
use
country
use
due
colloquial
idiomatic
of
varie
ilding
materials, charming
like
skilfully and
interesting
and
informally
effects.
blended
eate
Variety,
originality,
if
real it
leads end in
to
tect arch
disaster
without of
a
is
itself, If
a
rsued
and
seems,
a
design. its
certa
ortion
call
building
use
structural variety it is
as
nature
for
the factor
of in
certain design"
material,
becomes
logical
as
the
otherwise
tour
less worth
any
other
architectural remembered
properties that
de
force.
It
must
upon
be
the
foregoing
of
tions observacommonly
the
and
uses
certain
to
same
mployed
exterior
may
building work. be
greater
so
materials While
to many
are
intended
of
the
apply
tions considera-
applied
interior
in
every
work,
it is obvious
here
is
latitude
a
direction,
within
ouse,
that
discussion
would
involve
extensive
MATERIAI^
AND
CONSTRUCTION
303
ence
to
to
can
interior
decoration,
up
as a
furniture
separate
and study.*
the
like
rly
be
only
taken be
It
observed be
apparent
that
certain the
of
degree
exterior
o and
stency of
should
any
or
in
house
ior
building. imposing
nor
The
architecturally
not
cottage
or
* *
ntious
exterior
the
should
humble
conceal house
interiors,
its
walls
should
disproportionately
Here
as
one
elaborate
magnifice
interiors.
' *
invades
as
the
realm
of
good
in
general,
well best of
of
propriety
be
as an
articular,
would
and
not
sense.
the
prove
rules
as
lated formuounce
great
value
mmon
In
the
following
chapter
aspects
as
there
will
be
considered house
of the
al
important
be regarded
style in
of
the
proposed
which
existing
irrespectively
or
architectura
which
chosen
it is designed,
as
of
the
materials for
have of
been
that
most
appropriate
the
ring
style.
la
"""The
Practical
Book
of
Interior
issued in
Decoration"
already
preparation
and
will
be
1917.
CHAPTER
IV
PLANS
KINDS
AND
PLANS. IN
DETAILS
IMPORTANCE
DEVELOPING
DOORS,
OF BOTH
A
FFERENT
OF
PROCEDURE
DEFINITE
PLANS
METHOD
DETAILS.
OF
NOTES
ETC.
ON WOODWORK,
LIGHTING
WINDOWS, INTERIOR
AND IN
CHIMNEYS, TRIM
AND FIXTURES,
WAYS, STAIR
FINISH,
HARDWARE,
THE BEST
PLUMBING
TO
MANNER
WHICH
INSURE
THE
MENT FULFIL-
OF
REQUIREMENTS
IT
i"i the
general
purpose
of
this
to
to
offer
suggestions relating
to
prospective
builde
matters
plan
detail of
"
^suggestions
seen,
esigned
to
stimulate which
a
observation
may
houses attention
tudy
of
pages
houses of these
attract
through
be kept
he
magazine.
suggestions
And
are
it
not
should
to
ind
that
as
be
taken,
every
neces sari
recommendations,
different thought problems
to
some
because and of
the
nearly
hou
volves given
the
requirements.
in Ha points,
following be
better
ev ho
builder
will
equipped
discuss
his
architect.
in The
a
Advice
the
which of
a
dactic
specific,
especially
end.
that the
design
hous
ten
defeats read
fails to
its
own
prospective
builder
ving
somewhere recognize
not
certain
that,
point in his
is
essen tial
fact
particular
e,
it may
only
be
unessential,
**on
but
actually
men det
he
Having
to
it,
the
however,
authority,'^
the
clined
doubt
ability against
in
or
integrity
of
chitect been
who made
advises
it.
this
Considerable
book regarding last which
allusio
elsewhere
one^s
advice"
of
recalling
friends.
many
In
this in
chapter
**
iter,
304
instances
friendly,"
30
absolutely
a
ignorant
or
prejudiced
feels
advice
to
has
ed
last
building
of the
project,
it. It
impelled
one
make
this
mention
is
the
to
most
distressing
with
client
which of his
architect
contend the
in has
the
ice
profession,
formulating writer
which ideas.
nd
with does
in the
Nor
commit
the that
same
offence
prospective
fficiousness,
and
far
prefer
the
builder
to
*'
regard
think
following and
to
not
as
paragraphs
as
ings
about,'*
*'
advice. what
that
The
htless
meat
is apt
man's
forget
that
is
the
one
poison,
improve
the
and
one
very
stion
which
blight
experience
vastly
house
might
ely
To
prospective advice
builder,
is the
same
"
ut of
training^
of the
makes
all popular
his
friends
he and
and
usually
magazine
in
articles.
to
mistake doubts
is
failing
"
lay
man
al
fears
before
his
architect and
the
for
trained
a
professional
opinions
guidance
he
ying
fee.
features
Certain of the
of
plans
exist certain
of
the
are
house, style
on
while
or
enced
by
by
some
other
Proceeding
for
this
fact,
it might family
or
be needs
stated
will
that
govern
or
provisio
the
individual's
the
in
any
case,
be
it large which
small, he
regular
lar. irregu-
Certain
personally be English
desires
or
will
rovided
cost
the
times
style
that the
Italian,
$10,000
this,
ten
amount.
Beyond
however,
very
basis
of
of
the
the
plan
or
be
dictated site
it is to
by
the
historic A
a
style of
house, balanced
if
he
occupy.
house
formal,
even a
would
ill-grace carried
rocky
hill-top,
it could
practically
out,
whereas
such
site
should
PRACTICAL
BOOK
ARCHITECTURE
once
dictate
in conformity
aspect
house
of the
irregalar
irregular
and and
picturesque picturesque
lan,
with
xterior While
an
it should
is
never
present.
it
advisable it
some
to
**
develop
'*
pl
rom
exterior,
is
evident
extent,
that
govern
certain the
be
types
xterior
to
plan,
ertain
features
proper
will
to to
provided
plan
expresses
ithin.
procedure
so
develop
xterior other.
that
logically
out
^ *
he
development,
is which
*
with
perfec
alance dual
architecture,
the
and
is the
ki
designing
him
to
architect's
amateur
's
training tendency
with
be
aught
perform. the
The
or
is
sualise that
only
plan,
plan features
the
exterior,
come
esult
when
many
or
and
to
worked
ogether,
found
will
incongruous,
inconsistent,
is not
and unlike
need of
the
to
hanged.
problem
that which
ment develop
not
successive and
other.
floor-plans, in
must
logical
themselves,
but
in
relatio
th
relationship
an
of
plan
to
style
a
is
more
obvious
manor,
amateur
realises
presents
that
Southern
a
on
example,
which
portico present
symmetry.
superficially uniform
a
centra
lonnaded
must
with
two
wings
possessing,
eith
de,
within
plan
menta funda
A
hand,
the fact
rambling
expresses
English by
plan
country
use,
on
the
other
its
is
informality
full of
the
irregularity
turns,
at
that
its
unexpect
with
wings and
with
splaying
no
off
from of
mai
use
angles,
system
axial
balance
alignment. In
this
relationship,
that
some
the
degree
prospective
of consistency
builder
should
mus
member
AND
ved
"
^if he
he
:
wishes
expect,
picturesque
and
a
irregular and
a
ior^
cannot
symmetrical about
plan
if
his
dreams
quaint,
vagaries,
resembling
ing
he
a
plan,
must
full dismiss
of
unexpected
all
thought
architectural of
anything
classic
Georgian
the be the
entire actual
exterior.
proposition
Governing
should
is
to
of needs
to
the
of
secure
plan,
ever, how-
practical
the
family the
occupy
it.
And
in
order
work,
best
ts
from should,
every
or
the
at
architect's the
of
the
T
a
the
prospective
the
er
outset,
acquaint
needs.
T
detail
play-room
family
A
a
ry
"
music-room
must
or
ry?
plan,
^these if
the
requirements
house
form
abode of
the
is
to
be
an
permanent
faction.
plan
The
of
the
large
house
presents the
comparatively
expenditure
difficulties. is
Its
ample,
matter
site and
to
is
ample,
for
a
erection
the
architect due
finds provision
it
tivel rela-
simple
every
include requirement.
house
is
for
his
t's
need of the
and
small
The
the
plan
very
a
different
test
mat-
problem
resolving
itself
may
into
of
architectural
ingenuity.
The is
pleasing,
site
be
"
restricted,
the
the
expenditure
undoubtedly develop of
a
restricted convenient
architect's
task abode
and
adequate
pite
these
to
restrictions.
say
It
is
safe
that
the
usual
in
the
result
small
is
plan
lies plan,
in
lack
up
of
foresight,
of
a
ed plan
made
any
number
of
is
small
rooms.
of
small
house be
which definitely
and
intended
laid
out In
as
ent to
abode,
should
with
this
way
future
enlargement
to
commence
addition.
possible
building
operations
with
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
maller
amonnt
of
to
capital
the
than
house
wonld in with
a
cessary,
and
way.
develop
It
logic
natural the
a
will
express
ness direc
growth degree in of
no
of
the
family,
and and
will
for
ime
symbolism other
way.
meaning
which
cou
attained In
any
consideration
of kind
the
planning,
interior
due
thought
as
rooms,
hould
be
given
to
the
of
shapes
desired, of
the
affect
of
to
of
some
the
stair-hall. furniture,
or
hould
the
be
owner's
given
the
is already
after
possession
is
to
be
ouse
If
is
built. first
the is the
case,
the
and
the
govern
furniture
the
is
of
go
esign,
furniture
"
should appropriate If
character
he
interiors
an
architectural
the
ment environthe
the
case,
should of
be the
"
created.
second dictate
is
haracter
interiors
and
the
should furniture
choice in As
he
furniture the
considered
to
occupy.
relatio
a
architectural
setting
of
it is
any
pra
ical
detail,
dimensions
large
pieces
so
of
he of
wa
urniture
should
proper
may
save
be
places
given in
the
architect,
plans.
that
rovide
the
This
or a
a
bit
si fo
expensive
alteration,
point
as
distressing
word
or
ncongruity
on
later.
In
a
of either
style,
to
rchitect
a
such of
detail
possessing,
ing des
set
Chippendale insure
the
dining-room
proper
furniture,
xample,
will
architectural
and
as
settin furnishings
possible, the
he
relationship
always
between be
architecture
as
hould
visualised
in
vividly
or
he
greater
the the
variance
will
style
character,
armony
house be
possess.
It
should plans,
remembered,
in will
studying
make
dimensions
all
the
that
furniture
the
rooms
PLANS
AND
DETAILS
309
smaller^
room,
and
te
some
thought
of result. be
should
furniture
An
be
given,
placement,
in
the
possibilities
the
effects indeed,
as
which
might
**
will well
extra
apart
set
of
the
rints,
a
kept
*'
from
s,
set
of
furniture
in
each
plans,
room
the
location
sketched of should
spaces
of
principal
yellow
to
pieces
crayon.
being
of
one-quarter
are
in
an
The
scale
the
the
foot
so
(at which
that
the
plans
dimensions
A
drawn)
of
wall
ollowed, be
feet plans.
actual
known
in
advance. be
bureau,
an
for
example,
wide, With
should
some
would
these
sketched
inch
worked
wide
out,
on
notations,
fully
the of
the
rence
be
had
placement
with
architect, furniture,
who
or
may
may,
st
better
data
this
before
alterations built,
for
him,
in
find
the
it
advisable
How has
^what to
a
to
make
ew
slight
has
plans.
often
^ ^
been
place
no
and
our
the
lament
arisen stupid
fact existed them
But
is
"
no
big
was
sofa
"
tect" archithat
^
'
thought
never
tect
^and had
given
that
the
the
been
many
told abilities,
there
among
big
"
a
He
has
but
he
Beyond
question
to
of
considering
and vice
versa,
the
ionship
are,
architecture trespassing
will
furniture,
on
the
field of
of
an
rior inteentire
decoration,
form
the
subject
series.
in
itself,
issued
to
in
the
present
Reverting for
the
provision
needs,
important
in
planning it
which
to
should
made herein
individual
lies
* '
is
well
remember
an
difference the
house
between is
the
ady-made intelligently
there the writer,
house,
and
specially
designed. be the
no
In for the
ready-made
artist,
no
e,
will
studio
or
study
doctor
lawyer.
There
will
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
no
nursery,
or
play-room, his
and
no
workshop
for
who
finds
relaxation
in
craftsmanship
rpentry.
There
the
is
an
interesting
in
the
tendency
house
at
present
to
pora inco
garage
itself, and
which,
if skilfull in the of
ompassed,
is advantageous house
on
convenient
"
sma
course,
uburban
own
small The
lot
the
owner,
chauffeur.
of
fire-hazard,
the
however,
man.
shoul
thought Among
**
by
all
but
plan
are
which
rear
might
or
isted
as
following:
ntrance
children, coat-closet
downstairs
wash-room
avatory,
ample
(preferably
least
a
wi do
back-stairs
(or
of
the
at way
stair
laundry
joins
ain
stair
part
losets
(easily
"
provided of
in them,
the
brooma
above
all, It is
a
lar
ath-room
that
that
two
even
if
modern
may
possible.
house
curiou have
hing
people
occupy
any
otion
the
space
bath-room
in
the
as
well
sma
eft-over
be
second-floor
one
plan,
the
most
whereas important
as
a
hould
regarded
of
of and
eatures
ample
second and
floor, ample
planned
floor-space.
room,
ith
Despite
time-honoured
if his
looks
jokes
plans at
any
at
ever
**
the
expense
of
rchitect,
woman
it is doubtful
usually
she
omitted
closet-room
closet
' '
he
the
in
lan
before remember
cause
considers
not
feature
and
concern
"
^but
in
hould
to to
let
her
irection
as
her
overlook
things
as a
uite
important. accusation
it
Whether
of
that
not
eiterated
the
feminine
of
are
anen
losets,
is
fact to
the
closets enough
architect
to-day
actually
is
more
ikely
than
"
not
plan
which
for
mag nif
really
large
dressing-rooms,
with
the
over
small with
window.
a
*'
For
purposes
o
means
closet
window poke-hole,
is
* ^
by its
all
advance in
not
the
dark
contents
Egyptian
and make
never
ventilated.
closets
small
I
more
fonnd size
the
a
of
usual
is
provide
when
store-room.
sometimes
larger
closets
would
ly
disturb
general,
plan.
plan
In
should
access
be
from
no
studied
room
to
to
or room,
possess
circulation,
good
conveni
located
"
bath-rooms, aim
one room
narrow
dark
of
ways hall"
and
it
should of
to
make
the is
most to
vistas from
the
glimpse
or
which This, of
first
be
had
er,
from the
the
planning
hall. of of
course,
is most and
will
por im-
in careful
period
*'
the
too
floor,
lead
consideration
styles.
abruptly
mixing
ent differ-
An
a
Adam
**
reception
room,*'
Jacobean
dwell,
library'*
with roof
other
Georgian
rooms"
dining-room
as
may
all
riod
well,
beneath but
there
the is in
ample
danger
the small
of
a
ial
country
house,
of
tres dis-
effect
in
best
such when
catholicity
it is
house,
is
at
its
consistent. of increasing
An
American
'*
innovation
popularity
he
sleeping is
usually
and
upon
in
to
its
introduction
his
the
tect
exercise
keenest
uity
in
a
making harmonious
necessarily
part
wide the
or
and
unbroken
ngs
of
exterior.
sun-parlor, porch,
a
ation
is
the
**
solarium,"
more
imes
air
nothing
in
summer,
than
glassed-in made
he
but
a
is
^^
often
distinct
a
tself,
often
permanently
an
on
solarium," semi-outdoor
with
fireplace,
attractive
the
treatment
on
llage"
walls,
and
tiles
the
floor.
Two
other
plan-features,
however, dwelling
to
have
a
not
eveloped
in
the
"
American
the
course,
fraction
heir
possibilities
patio
and
the
a
terrace.
The
a
patio,
very
of
suggests
lar
large
house,
houses
court,
though have
or
many
mall
Califomian
of
can a
been entirely
thr
ides
garden
surrounding
of roof
A
visualise
small,
the for place
an
introduction
with solarium.
plan,
have
a
the
in
pati
reasonably
glass
winter
taking
makes
patio
plan
bly invaria
in
interesting
rooms
and
whic
rtually
as
all
the
as
may
lighting from
a
from the
bo
des,
well
charming patio
glimpses boasts
of
windows,
or a
pecially
if its
the
fountain
po
sides
In
floral
embellishment.
speaking
reference
of is
to
the
not
terrace
as
neglected
large is
oppor tunit
made
to
the
garden
little
eastern
but
an
rather unroofed
the
porch.
terrace
which
really
the shade
more
an
the
If
placed
be in the
on
house,
part
it will
always
during planned
tter
of
the
afternoon,
tall
au
and
French
if
it
is
djoin
the
dining-room,
stroll
windows
or a
will
invi
after-dinner after-dinner
the
plein
air,
pleasant
retrea
Porches
are
often
omitted
cause
darkens
otherwise for
of
the
adjoining
be
very
room
thin,
have view,
although
greater
or a
desirable of
a
provision
prospect
the
enjoyment
And
while
practically
or
did sple
the
garden.
the
op
sun
rrace,
even
if
be
it
need
be
occupied
and
the
on
it, may
two
or
attractively
large
enlivened
canopy
three
or
umbrella-awning chairs.
to
table
th
It
wicker
would of
painted-wood
not
be
possible
house plans
enumerate
all
atures
set
of
which
might
prov
able
are
or
attractive, infinite
are
because their
conditions
variety.
and The
ences prefer-
in
intended^
foregoing
a
raphs
rather,
to
suggest
are
few
rent appa-
more
pleasing
**
features
or
of
plans
which
not
in
ready-made*^
as
ill-designed of
these
houses, features
in
a
and
well,
that
many
may set
easily
of plans
inexpensively
they
the
are
be
in
**
incorporated
* '
formative
and
state.
In
same
on
manner,
with
the
now
same
intention, presented. it
to
notes
special
details
will
be be
Begarding
that
we
we
'
architectural
are
are
details,
in
to
we
said
be much
in
too at
general
inclined, inclined
before but
save
conserv our
bours is
houses admirable,
may
build
the
ourselves.
siste Cona
expression
from
of
littl
iduality
monotony.
degenerating
and
out
In houses
most
can
no
show
imagination,
same even
and
true
ct
specific
seems
personality. unfortunate
be
to
is the
at
It
casual
average
r-by
should house,
able, know
from
exactly
glance
how the
the
rooms
can
within
arranged.
The
modern
English if anything,
to
extremes
dwelling individuality
which
is
full
tectural
surprises"
are
and
sometimes
ularity
not
carried
desirable.
our
are
entirely
to
subject
avoid
a
in
hand,
however,
amount
the
of
prospectiv
will
certain
are
confusion of
that interior,
into
two
there and
two
kinds
these
detail
"
ior
that
both details
details
are
divided
of
kinds"
of
design,
and
ls
material. procedure
Good
in
deciding
upon
certain
details,
pictures
be
reasonably
familiar
with
them
through
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
observation,
and
is design in
to
make
and
list
for
exterior
It will
cost,
means
and
obvious
in
or,
for choice
material.
of
as
is be
timate
matters
detail
style,
governed eflSciency
by
veral
conditions, but
not
such
is
well
to
like, will
it
seek mistake
same
on
some
whic
fall
into
at
the
the
and
time,
inevitable of
the
co f
of
chimney of
design
A
hardware
may
very
save
closet
door.
simpl
stem
listing
some
the
builder which,
will
fro
remembered
rgetting
at
a
important
later
as
an
stage
* *
of
^ '
the
necessarily
figured
Let
in it be
extra.
that
the
style
and
upon,
material and
architect
are
of that
to
terior
have
finally
settled
upon
ospective
all
is
matters
relying
of
to
his
at
ordinary
out.
construction
say
properly
rried
It
is
has
safe built
that
no
prospective
ilder
(unless
to
he
make
before)
possesses
sufficien
owledge
as
intelligent
mason
are,
suggestions
in
or
such
ma te
excavation, There
like
to
work,
however,
a
framing
finishe
things
rpentry.
number
for
of
uld
take
up
with
his in
the
architect
the
discussion, and
for
"
probable and
to
inclusion
cation specif be
things
at the
architect
It
edly deci
glad
the
more
start.
an
always
membered
^s
architect
the
about
service
ient
requirements
to
and
wishes,
better
able
It
is
the
prospective
as
ilder
prepare
lists,
each in
obtain
subdivided
these the
indicated
ove,
and
that
he
embrace
to
lists
all
those
poin
on
which
opinion
expensive
wishes
and
to
come
architect's details he
may
sional profes
advice. within
Some
his
limited
expenditure
PLANS
AND
DETAILS
315
he
so
may
be
pleasantly
as
surprised
had
always
attempt
to
find
are
not
expensive
he
supposed.
to
The in
"
following
which is
every
lists
cannot
include
might
form
to
every
prospective
merely
to
builder
be
in
interested
intended
^it lists
show
the
which
might
certain
well
be
prepared,
which
are
and
offer
as
ders
until the then,
details
late,
frequently attention
the
house.
overlooked
too
in
concern
and of
or
directed
These the their
into
more
general be
to
aspects
may
curtailed fit
his
amplified
case
"
by
prospectiv
builder
essential and
particular
only details
being details
and the
their
form,
or
division
each of
ior
interior,
details
house,
and of
these
into
ls
of
design
of
The
style
its
as
general
and
the
sition
of been
the decided
plan,
stated
assumed
ave
upon
before
be
seen
preparation
a
o
of
detail
lists.
It that
will
survey
the
wing
details of
certain and
of
them
involve
one
coincident influencing
deration
other.
design
material,
ExTBBioB
Details
"
^Desion
brick,
terra-cotta,
tiles.
Exterior Plasterwork.
ornament!
k.
-yaneB
and
sun-dials.
Carving. Chimneys
Gutters
s.
and
and and
chimney rain-leaders.
awnings.
poti.
s:
casements,
s,
and
French
Screens
windows.
Walks.
etc. its hardware.
Terraces Fountains
door-hood,
door and
and and
and
courtyards.
pools.
trellises.
s.
Treillage
bay-trees.
Flower-boxes.
s.
THE
PRACTICAL
ExTEBioB
BOOK
OF
ARCHITECTURE
^Matisbial
Details
"
lded
brick, and
tiles.
Paint
or
stein
for
trim
and
ai
f-tilea
walls. Gutters,
atched
roof
face
flashings
"
and
leaders.
stone,
cial
brick. color
for
of
stucco.
Copings
tile.
^terra-cotte,
sl
ture
or
and
stein
int
ters.
trim
and
shut-
Walks,
terraces,
courtyards,
flag,
cement.
Tile,
brick,
Before
similar
and
dnal material,
list
list
of
certai
be
terior
to
it might
a
lue
amplify
above
with
few
bri
mments.
Many
slight
exteriors
may
be
in
given from
added
the
interest
commonplace.
departures
effects
detail
teresting
houses
as
have
the
use
been of between
and
other
in bricks
brick
ucco
by
for
su
tails
for
the
divisions
(mullions)
courses. or
window-sills
terra-cotta,
horizontal
oulded
also,
either
white
or
unglazed
polychrome
with
*matf
surface,
often
or
and happily
lunettes,
red,
in
colo
be
introduced especially in
in
the
panels,
stucco
frieze
pandrils
great
house
ere
to
interest
may any
be such
added,
and
the
only
cautio
concentrate
embellishment
in
certai
aces
rather
than
have
it scattered
may
confusingly
be enlivened
or
a
abou
indow-heads, of
frieze
for
instance,
by
gorgeous
ntroduction
coloured
may
eaves.
terra-cotta,
oloured
well
be
In
placed
some
up
in
the
shadow it
may
he
overhanging
or
instances,
to
ermissible
of
wall
even
commendable
placques,
or
introduce
or
cement
asts
a
ornamental of
cartouches
not
bas-reliefs
a
stucco,whether
there
is also from
certai
mount
of
brick
types
work.
are
derived appropriate
Spanish
for
Italian
su
mbellishment.
Tiles
are
of
and
may
several tiles
kinds,
decorative. of the tile
broadly
divided
the
into
tiles
tural
Despite
uses
division,
The red
kind
partake
structural
of
the
square
other.
familiar
**
is
the
the
til
carre,
led
quarry
tile,'* is
usually
from
seen
French
as sun-rooms a
re).
terraces,
This
tile
used
court-yards,
roof-gardens,
like,
as
though
other
effective
window
uses
have
or
"been
quarry-tile
walls
to
sills, the
quarry-tiles of
inlaid
uniform
stucco
break
monotony
ce.
Decorative
are
tiles,
made
of
which
great
many
an
fascinating equal
variety
ties
to-day,
uses
may
find
stucco
qually
fascinating
in is
houses. by in
Spanish its
the
sive exten-
tecture,
use
especially,
decorative
of
tiles,
one
bespeak,
ings buildof
of
old
Castile,
of
conspicuous
the
sh
influences.
Exterior
only
an
iron
to
work
houses
is
of
on a
to
be
considered
stone
or
as
appropriate
brick, wooden
stucco.
To
iron
railing
house
is
obviously
Many
effects of
iron iron charming
as
may
be
at
obtained
comparatively
the
judicious
small
work,
expense.
one
railings
and features
iron
es
form
most
ish
architecture,
to
a
well
of
Italian
architecture,
architecture
h
also
lesser
extent.
type
Brick
of
an
associated
to
which
adds
rkably Thought
into
"
design
in
this
style.
of
a
weather-vanes
suggest at
and
once
sun-dials
the English
(built
vertica
wall)
it is
by
country
and
virtue
of
**
the
introduction
of
such
inconsequential
architectural
incidents'*
at
the
English
much
of
country that
house,
quality
of
to
both
the
early
and
modem,
tains
picturesque
whic
sometimes The
seek of
(in
shutters
of
vain)
is
emulate.
design
adaptations
of
of the
special
*
importance Colonial
houses
'
dem
any
of
American
pes
dwelling.
for the
or
The
all
American for
as a
lid
shutters against
custom
their
actual
sort
protec tion
later,
of
surviv ing
the
upper
first
floor
windows had
none,
lid
shutters,
ones.
windows
were
ghter
the
Certain
cut
designs
in
the
used
shutters,
as
patterns
apertures
solid and
the
ried
according
half-moons, spades
or
to
locality hearts,
period.
trees,
the
acorns,
d m
and
clubs.
In
the
simple
house
there
of
lo
one,
of
white-painted
for
is
li
interesting
by
in the
charming
of
a
effec
ve
obtained
resource
application
revival
stops
little
old
ity ingenu-
the
of
and much
as
a
these
shutters,
th Of
their window
quaint
hinges,
latches.
to
design
is
too
there important,
is
be
said
to
"
^inde
question
whole,
may
class
as
detail."
as
Bay-windows, details,
In general,
as
however, well
the
as
properly
garded
casement
or
and
massing
French
ndows. is
grouping
on
ndows
to
be
recommended,
exterior
grounds
well
seem
of
as
more
easing
appearance,
as
interior
to
ree
windows light,
and
together, to create
same an
furthermore,
admi
e a
impression
three
of
greater
spac
room
than
the
windows
separated
ll-space.
The
many
story
of
the
casement
window and
has
has
become,
been after
one
written
magazine
articles,
a
year
familiar
to
lND ,"HED
wENnows UWKJ.i.lNG
r,i\E
chakactkr
to
THE
TWO
TYPICAL
EXAMPLES
OF
THE
MODERN
ENGI
PLANS
AND
DETAILS
319
ective
window,
builder.
whether
No
one
can or
deny
metal,
that is
by
the
far
casement
of all
wood
the
picturesque
most
of
windows. details
It
is, in
fact,
one
of
the windows, than
important
of
the
single
country
a
contributory
to
English
are
house.
more even
Casement
to
perhaps, hung
little but
clean
windows,
is
overcome
comparatively
is
kept
objection
but
a
if each
limit.
Not
within
practical
eighteen-inch
in
width point of
of
for
more
design
small
than
it is
casement
to
far
desirable
to
ass
number
units
to
fill
each
window
opening,
attempt
make
ent
use
awkwardly
large
popularity
and
of
wide.
casement yearly
The
and
windows
improvement in
that
no
has
largely
increased and
by by
the the
of
America
one
ent
hardware, metal
casements.
manufacture it to
say
of
Suffice
of
objections
should
wishes
commonly'put
forward
as
against by
casement
anyone
ws
be
to
regarded
them of
valid
a
who
install
in
house.
The
introduction
glass
French
be
sense
windows,
to
which
a
are,
fact,
doors,
and affording
French
will
a
found
of
add
noticeable
to
to
of
light
spaciousness
access
any
besides
terraces.
convenient windows
with
or
porches perfectly
'*
may
be
made
bolts,
as
a
by
from
equipment
a
"Cremorne
which
te
knob
lock
handle
(placed
in
door-knob)
and head
rods
which
into
pockets
the
sill
the The
window-opening.
porch,
of
course,
should
the
or
be
very
carefully
consider
in
too
detail,
much
and
prospective observation
doors in order
builder
upon
to
cannot
ct
study
and front
various determineof
house
of
porches what
ly
type
he
wishes.
Certain
styles
turally
dictate^
though
even
to
some
extent^
the
case,
design
there
of
rch,
a
if this
of
be
the
to
is likely
A
certain
cut
amount
detail in the
and
a
determine. is
more
Dutc
or,
horizontally
than
a
centre,
expensive decided
build
once,
solid
house
an
door,
should
to
be render in
upo
if
the is
is
of
style
it suitable
rdware
front
important and
detail
be
connection
a
wi
door, the
should
be
given
forgotten,
or
careful
whether
stud
should
quaint
or
door-light
it
wrought-iron
to
lantern,
simple
at
electr
wl
globe
accessory
guide
the
visitor
can
's
steps
night.
more
F
to
mple
details of
an
contribute
than
or
fectiveness
entrance
pair
of
formal
ba
ees,
planted
while
entrance
an
either
in
boxes
large
terra-cotta
ieres jardi
alternative,
any
especially
appropriate
of of
a
house
of
Latin
derivation,
or
is
acement
now
pair
of
in
large
glazed
Spanish
Italian
water
rs,
If
reproduced
terra-cotta.
as a
pergola than
the
extras,*'
is to
of
the
be
regarded
its
part
of
the
house
ther
garden,
detail
such
should
be
tak
with
**
architect,
items
little
make
expen sive
and
first
with
but
thought,
cluded Exterior
in
the
ornament
no
very
great
part
erican
domestic in
the
manner
architecture,
of
and
certainly
architects.
is
ed
the
English of
ornament,
case
ment Orna
course,
merely
for
the
sake
of should
er
desirable, sparingly
of decoration
A
and and
in
any
it
be
applie for
th
intelligently.
may
Ornament add
distinct
may
ke
often
or
interest
carved,
exterior.
may
beam affected
plaster
bracket by
the
be device
cident
be
English Surface
of
orna men
exterior
work.
ornament
feature
of
the
'modernist^
often
the
one
houses
their
are
of
most
the
ican Amer-
Middle
West,
Here, and
and
however,
of
attractive
ls.
motifs while
intentionally
more
torical
unprecedented,
are
conservative
a
possibilities
English
to
be
discovered
through
study
odern
very
work.
important
which
There
may
are
detail
make
or
of
mar
exterior
the
design
whole
is
the
ey,
exterior
t.
endless detail,
A
possibilities
for
picturesque material
a
rtion house
regardless
to
more
of be
sure,
the is
a
chimney,
utilitarian
re
is
nothing
why
than
smoke-stack,
treatment
reason
its
architectural
of
has
may
' *
down type
to
the
level
the
commonplace.
historic
of
any
building chimney
its be
so
characteristic made
highly
of
chimney,
The
and
*'
esting.
chimney-pots,
are,
familiar point
by of
an
in
of
al
sh
buildings,
to
from
the of
practical each
view,
ded
top
aid
the
flue
chance
narrowing
downward
aperture
and
"
the
they
of
wind
^besides
the
effect
agreeable
nation
to
otherwise
gutters
blunt and
chimney-top.
In
considering of
American
rain-leaders,
these
little
ssion
design
house
has
as
characterised
compared design especially
late Tudor
^ '
fittings
those
the
with
was
nd.
Much metal
interesting
work, from
' *
lavished lead,
on
tectural
country
in
in
the
sh
house
The
and where
were
Elizabethan
two
or
pnward. converged
leader-head,
one
more
into with
no
rain-pipe,
ornament,
often
or
very
rately One
detailed
reason,
dates
heraldic
es.
doubt,
which
in
has
our
discouraged
own
elaboration
of
leader-heads
country
uses,
or
is
the
fact
tin,
that
these
are
are
ordinarily
not
made
permanent
nc
painted
heavy
and
work
consequently of
ke
the The
lead
England.
will
prospective
builder
to
stage
find
it
well
to
devot
little
consideration
at
an
the of
question his
house
of
screens
nings
early
by
rethought
avoiding
of equipment
with
to
say
later
la
troduction
conform
rmoniously
the
that
entire
every
It
is
hardl
in
cessary
window
use
should
be
terraces
screened.
and
Walks,
court-yards
in
as
might
of
all and
be
c s
together,
both
questions
these
design
English
country entrance
mat ria
In
such
details
excels
the
country
use
a
usually
the
American
from
a
a
hous
to
en
short
may
paved be been
walk made
street
ont
door
if
charming
and
treated
as
interesting
a
tail,
it has
studied
and
part
house.
Although under
fountains
the
part
and
of
pools
may
come
more
pro erl
head
of consult
much
garden
design
the
than
under
chitect's
do
the
work,
the
prospective in advice.
builde
ll
well
to
architect
this
connection,
If
or a
he
will be
receive
part
excellent
pool of
a
untain
of be
the
design
as
of
a
patio,
part
it
should and
are
regarded
referred best
of
the
hous
sign,
definitely
the
a
to
the
Mo
chitects and
judges
for example,
of
this be
have
of
garden
tail,
if
pool,
in
chitect's
design,
it
will
to
naturally
the
closer
effective
out
relation
house
than
if
it'
*
wer
rried
In
later
by
of
another the
stucco
designer.
house,
or
'^
the
design
of
the
%liit
may
inted
clapboard
house,
treillage
and
trellises
PLANS
AND
DETAILS
323
highly
colour
significant
and attain
as a
part
to
of
bare
the
scheme,
adding
even
il,
interest
wall-surfaces, Treillage,
has
re
vines
purely
come
effective decorative
properly
growth.
regar
device, appreciated
very
country,
ntly
to
be
in
a
although
the examples,
writer
is
familiar
with
of
rable
skilfully
Many houses,
designed
too,
and
have
effectively quite
employed.
by for
cover
been
flower-boxes,
trailing
large
plants
especially
or
if
these
have
leaves
vines,
whose
wall
spaces.
Flower-boxes for
shaped
jardinieres,
a
intended
trailing in of
the
s,
formed
many
very
conspicuous
detail
houses
ns
of
the
the
^'modernist"
the
West
above
and
Pacific
Coast.
taking
up
The
paragraphs,
individually
of
Design, the the
the
al
details
listed
only to
may
as
Exterior
in
what
Details
manner
'
intended
suggest
most
prospective
builder
parts
effectively
study Rules,
sidia sub-
of
his
than
must
house
useless
always
design.
in be such
obviously,
where
be best
worse
matters,
dictated
and
by
personal
the
suitability,
and
a
cost
limitation
is
tect's archithe
service
performed
if
only
ective
builder
observe
will
these
feel
impelled
similar
intelligently details
in
pictures
to
and
in
and
he
houses
with exterior
which details
is
familiar.
there
Among
of
to
material,
will
arise
ions
of
choice
relative
roof
-tiles
structural
and
roof-slates,
tiles.
ed
brick, roof
terra-cotta
and
the be
If
le
is called
for,
several
types
"
of
or
fireproof
perhaps
tos
may
shingles be
a
should desire
investigated shingle
course,
for
roof
devised
be
in
more
an
of
thatch.
This,
of
will
found
PRACTICAL
ARCHITECTURE
xpensive
than at the
plain
start.
shingle
roof,
and
should
be
ecognized
One
of
the
most
important
selections
may
and
relative
many
decision
to
exterior
of special
are
detail
of
material
to
be
nd
**f ace-brick**
''
be
used. of prices do
in
the
The
special
per
varietie
colours
texture"
at
bricks,
various
will
as
hapes,
quoted
thousand, familiarise
house,
or
he
prospective
builder either
from
well
an
to
hi se
with
them
used
in
the
actual architect's
mparison
samples that
office.
always
ght
be
remembered of
a
architect
to
is
the
ab
virtue
lay
up
on
his
specifications,
section and
of the
mortar,
require
**on
contractor
small
by
as
wall
owner
approval,*'
to
to
ssed
himself
colour The
insure width
then,
such
s c
details
mortar
of
and
house,
and
is
natur
joints.
in strict is
wall question
be
or
entire
specifie
be
The
built
same
accordance of
a
with
this
sample.
true
on
stucco,
whether with
colour
on
llow
tile
frame
wall
one
Her
detail
may
will
be
of conform
of
texture
ich
obtained architect's
part
to
with
er's
and
to
any
requirements,
the the house
it doubt
plied
of
itself.
If
any
certainty
as
exists regards
ability
to
in
the
prospective
he
a
builder's
wishes,
effect
or
mind
the
he
ther
effect
co tr
produce
are
specific
has
nd,
exact
results
most
certainly
insured
demonstration
wall.
through
is
expedient
of In
the
a
of
small
experiment
and
^'specimen"
or
ns
section
of
house
or
of
brick,
stone
stucco,
the
question
staining
but
arises
as
only
in
are
connection
the only
wi wooden
shutters,
these
colour the
tails
the
design, attention.
their
should
receive
st
If
roof
is
not
of
slate
jf mudvl
villtxcs uid
APPLICATION
OF
ARCHITECTURE UTILITARIAN
TO CHARACTER
BllLDIKGS
OF
STRICTLY
arem
here
that
"uch
buildings
bBRUly
as
thii
n
power-houH
of
may
b"
made
ediBcee
of
dinin"
well
practieal
utility
325
there intended
grey
will
to
be
the
question shingles
to
a
of
shingle
to
stain,
silver
unless
grey,
let
the
weather
and
finally
colour
nearly
approaching
. material for
gutters,
The
flashings
at
an
and
early
rain-leaders
stage
point
for
consideration
^s
of
the
ective
builder least
study
of
detail.
also
Heavily
the least
possess
painted
durable.
more
is
the
expensive, tin
little
or
and galvanised
cost.
galvanised
at
iron
ility,
greater
Copper
likely
as
is
last
the
ideal
ial,
very
or
but long
to
without The
use
cement
sheet house,
the
house.
metal
eavy
for
these
necessary
trimmings
rare
very
in
England,
entire
an
is
exceedingly
of
in
this
ry.
"
In
Europe,
means
roofs
lead
are
often
^by
all
enduring
all
such
or
material,
uses.
though
prohibi
expensive
the
or
for is of
ordinary
a
If
house
stone
character
which
up
there
are
gable
ends,
walls
coping,
of
material
again
comes
in
of
the
al
possibilities
choice usually in
the house
cement
of
terra-cotta,
stone,
and
the
til
materials
he
dictated
by
style
and
by
used
itself. and
for of irregular
choice
Brick,
tile,
as
or
flag-stones in
the
offer
elves
materials
construction and
may
'^
alks
the the
paving
general in the
terraces
and
of
court-yards,
the house
again,
character
be
stinct
factor
will
selection,
very
and
closely
this
detail
to
ial*' of
a
be
found
related
the
ion
design.
After
tabulation
and
study and
the
to
of of
these,
and
as
many
details,
exterior
both
of
of the
material
related builder
the
prospective his
consider
himself
direct
attention
to
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
tails
of
to
more
design
the
or
and
of and follows
material
may
:
and
prepare
equipment
as
a
lated list
interior, less
as
reminder,
IiTTEBioB
Dedffn
Details
Equipmeat
rance
vestibule.
haU.
Hardware.
rance
Lighting
Plumbing
irway.
rooms."
Special
Bath-room
eplace
and for
mantel-pieoes.
furniture.
mirror
Kitchen
laundry
equipment^
vision
Heating
doors.
system.
ss
doors
of door
and
ea
throughout.
cial
windows:
leaded,
etc
elling.
ured
frieses,
plaster
ceilings
and
Intvbiob
Details
"
^ifATSBiAL
tels:
floors.
wood,
tile,
brick,
stone.
Pa'ints, For
stains,
waxes.
trim
ures
For
and
floors.
costs
of
woods.
Plaster-paints,
Wall-paper.
For
finish.
It
might
be
and
as
said
equipment
in
general,
of
the
speaking
the interior,
not
but
only
of
terials
terior
a
well,
that
prospective
builder
by
in
the
ma
quire
wealth
of
data
who
and
illustration
advertise
to
writing
numerous
ose
manufacturers
pular life.
magazines
All
sums
devoted
manufacturers of
money
home-building who
so
and
advertise
of
coun try
ha
what
ent
large
to
or
in
the
preparation
as "consumer
own
the
advertising
world
ture, liter
catalogues
and
booklets
setting
matter,
forth and
etail,
by
illustration,
descriptive
mon tes
the
all
natures matter
and
is,
merits
of
to
their
be
products. regarded
ile
such
of
course,
PLANS
AND
DETAILS
327
tising,
and
it
contains
wealth
offering,
of
as
valuable
well,
mation infordata
instruction,
for
And,
catalogues
and
booklets
arious
building builder
has
materials
at
and
service actual
to
may
the
prospectiv
his and
of
of
the
ssional
who
knowledge
will
his
tect, of
be
able details
in
advise
be
recommend
most
the
several
economi
incorporated
the
specifications
of
the
.
entrance have when
as
The
vestibule
duly the
a
and
in
entrance
hall
or
may,
perhaps,
been
studied
are
the
"
plans,
left
to
be
ed
plans
drawn
because devise
some
^it
is
spoken
be
of
intended
arrangement
chapter
**detair*
or
it may
loor of
it with
coat
tile,
closet
to
or
lavatory
in be
with
entrance
hall, been
too,
might
floored
tile, which
purpose,
recently
used
success.
considerably
for
this
with
admirable stairway
for
success
The
will the
usually
amateur
prove
to
be
the
and
most
cult diffi
problem
great
a
planner,
while
no
will for
some
probably
attend
at
his well
efforts
for
him
to
drawing
it, it is
thought
least
devoted
and
observation
the
ect.
''Special details,
and special
rooms,*'
while
not
strictly
to
be
classed
nevertheless equipment
involve in
the
special
matter
tions consideraof
hardware This
any
room
ing
fixtures,
true
mantel-pieces
of
and
rooms,
the
or
like. of
icularly
departs
''period'*
a
from
"typical**
character.
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
It
should
are
be
apparent
that
of
have
fireplaces
upon
and
the
pieces mantel-
questions should
detail
pros pect
builder itself,
fairly of of
the
ideas.
mason
Th
replace
consisting
work
ll
involve
to
considerations
kind
may
width
depth,
be
ing accord;
the
of
fuel
or
which
may
used
and
nstruction
call
for
stock
throats
h-dumps found
to
of
be
cast-iron. fully is
architect,
on
however,
informed
the
these
points.
frame for
Th
ntel-piece,
which is
to
architectural
replace,
be
dually
each
as
question
to
to
sign
and and by
as
material,
the
the
the
other
some
tent,
whole
general
design
style
influenced
of
some
egree
well
to
character
any
the
hous
of
the
room
in
which
given
mantel-piece
be
constructed.
this
"
At
point
might
come
some
consideration
or
of
acquired
placement
can
urniture
the
not
either
already and
owned,
while
to
be
fter
house be
so
is built, accurately
the
study
out
as
of
carried
scale
it
be
may
working
take
to
quarter^nch
the
blueprints,
made
up
it of
the
east
form
of
list,
various
oms
be
is of,
furnished,
being
as
each thus
as
listed
separately.
rugs
Whil
also
urniture
itemised,
any
might
hought
well
large
proper
family
portraits
may
mportant
be
are
since
the
provision drawings.
th
etter
in
working it
While
matter
to
lans
drawn,
example, will
is
such
an
easy
pla
wo
doors,
that
in
relationship proportioned
a
with
ea
ther
be
perfectly
to
spac
etween
them
in of
which the
a
hang is
large
an
painting.
he
placement
painting
afterthought,
pace
will
either
be
permanently
inharmouioue
setti
PLANS
AND
DETAILS
329
the
painting,
or
its
alteration
on
to
fit will
or
necessitate expensive
lesome
changes in
the
the
drawings
es
actual
the list
building. of suggested
the
Pursuing
next
details,
of
the
the
question
doors
engages
attention
to
the
prospective
or
er,
and
it will
be
well be
list
bed-room doors,
in
room bathknow
doors
these
which
may
will be had,
full
mirror made,
The
and
to
ready
stock
sizes door
which is saving
the
an
by
no
means
expensive.
mirror
lent
space
adjunct
of
size
a a
for
the
small
room
especially, increasing
guest-room
cheval
the
room.
glass,
besides
no
par ap-
of
And
even
should placed
on
be
ut of
mirror
a
door,
door. of
if the
glass
be
the
closet
type
Another modem
uses
mirror but by
no
door
means
is
of
familiar
use
hotels,
inappropriate
"
for door
^'mun-
in
in small
type
private
panes
dwelling
the
mirror
ed
into
This
(the
door
divisions
may
called
be
very
*^.
in
of with
mirror
cleverly
are a
connection
clear
glass Let
us
doors
which
also
ed
into where
the
a
small
panes.
suppose
diningglass, similar
are
pair
room a
of
small-paned
the
or
doors,
hall,
of
clear
ate
from
porch
and
other
give
upon to
sun-parlor.
as
There well
may
as
stil
doors,
to
closets,
Here
perhaps,
the
service instead
the
kitchen.
the
mirrors detail
of
be
used
lear
glass,
a
similar
the
small
panes
effec whole
harmonious
type
door
of door by
the
equipment
for
be
the
This be
is not
to
had
ready-made,, if not
an a
**
must
architect,
and,
thought
extra.'*
advance,
the
necessarily
throughout
or
constitute
the house,
other
variety
of
llently
built
**stoQk''
ready-made
doors
wilj
b^
und
same
"
the
merit
of
their
design
has
increasing
^'
yearly,
stock"
advance
which
marked
all
bui ing
equipment,
including
the
furniture. question of
While
come
studying under
doors,
thought
so
consideration, which
"
and
ven
regarding
nature
windows,
casement
if
any,
be
special"
or
as
windows,
panes,
or
d w
windows
panes,
or,
leaded
any
diamondwhich
haped
fact,
regular
type
of
window
parture product
from of
stock
double-hung
factory."
rooms,
window,
**sash in
any
and of
blind
the
panelling should
' '
whether in with
the
simpl
*
*
obviously
should
be be
included
up
in ri
list, the
and
taken
the
tect arch
in
plan-drawing is the
as
an
and interior
estimating detail
for
use.
While
expense
so
panelling than
involving
it is by
eater
plain
ans
expensive
many
rooms
builders
s p
especially
in
small of
The
English
in
type
figured and
use
plaster
ceiling
has
be
creasing
popularity
the
in
this
country,
or a
gether
with
figured
may
plaster
prove
frieze,
an
figure
aster
beam-treatment, detail
figured
accurately
cases
important house.
in
fective
in
certain
rooms
are
of
the
Som
cellent
plaster
ceilings
on
obtainable models,
a
sto
signs
other meet
based
architect requirements. and other
fine will
historic design
whi
the
special
ceili
special these,
With
points and
of
detail
listed
for
of make
c d
with
the
architect,
for
investigation
practicality, of interior
the
matter
the details
prospective of equipment
he
builder
may
st
In
of
hardware,
**
will
designs
find
on
remarkable
the
riety
of
really
good
stock"
market.
these
designs
catalogues
he
will
be
able
are
to
study
in
to
elaborately
architects,
samples
on
trated
he
which
supplied
to
secure
will
be
able
in
every
case
val
his
architect. is not
to
Good
good,
as
hardware
so
a
is not
hardware
it is well
^^
for
prospective
builder
as
make
liberal
lower price,
hardware
grades
priation^^ hardware
and
in
the
possible. be
dear
at
The
any
would
while
may
**high be
a
m"
**high"
light of
value
grades
an
of
hardware
rega
investment,
to
giving besides
appearance.
permane
additional
greater
same
the
house, and
giving
satisfaction
facts
chosen,
are
in
true
mar
utility
of
the
The
fixtures,
of
'
which,
oorly
may
an
otherwise
' '
ing
interior.
as
And
as
in
'*
the
of
stock
lighting
a
res,
well
of
stock"
great
ce
ten
in
meritorious
so
design
the
made
**
in special"
the
years,
or
that
consideration is
of
are
lighting
fixture
exceedingly
rarely
met
Plumbing
even
fixtures
the than
*4ower
are
made
in
several
are
medium"
to-day
twenty
years
better
the the
best
of
and
to
however,
as
best
for
grades
installation
to-day in the
not
ded
too
good
with in
house
which is
being
built variety
ample
the items
expenditure.
now
There
for
an
lent
offered
bath-room and
of
ment,
of
and
the
importance
should of laundry
in
make
any
the
it
comfort
a
conveni
detail whether
prime
tance
in
planning
and
house,
large
small. entirely
its
a
Kitchen in
on
equipment,
of
the
whether
dr
the
the
province
architect, list, be
as
should
it
place
certain
preliminary which
detail
should
will
ve
expenditure
approxi-
ately
established
for
*
in
kitchen
*
advance/
and
The
laundry
aim is
' '
of
modem
quipment
toward
comprises
as
evelopment variety
**
of
household
efficiency,
and
as
of
kitchen
electrical
cabinets" and
other
inventions,
and the for the and
usually
well
labou
ving
like, the
and
artifici
"
rying
closets
devices in
laundry
all
hich,
if
may
one
be be
not the
thorough investigated
least
compilation
duly
taken
of
det
sts,
well
but
listed.
up
Last, with
(and
is
very
ou se
architect),
too
or
the
heating
or
system,
whic
nnot
receive it makes
much destroys
thought the in
to
careful
attention, of
the
ince
comfort
whol
use.
to
Special
exposures
study, and
to
this
connection,
heating difficulties
"
should
of
any
rooms
ven
the
rooms
ich
seem
likely
or
present
bu
of
er
porches,
are
in
wings walls. if
to
where Every
two
room
or
three of this
alls
ki
ould
be
possible, the
general
with
an
ample
op
replace
heating,
taken
so
and avoid
ever
ssible
always
a
precaution cold"
room
should
which
"
be
has
as
to
greatly
many
a
distressed
guest
ny
householder
roof. be
and,
well,
his
It
should
to
remembered,
some
however,
abnormal be
that
it is always
and of
ssible
best
encounter
can
condition,
expected
which
is
builder
of
every out
specifying,
ying
It
and
be
the
will
study
and
acquaintance
tails
of
of
material design,
to
often
inseparably
in
a
involved
foregoing
wi
tails
was
suggested
para gra
relating
many
mantel-pieces,
as
and
the
same
is
tr
other
details
well.
Floors,
than
however,
of
design,
to
involve
and
consideration
it will
of
for
material
the
be
well of
prospectiv
builder the
acquire
who
on
this
will
part
his
information
to
present
architect,
and
be
in
position
Not
es
data kinds
various wood
woods.
only
as
are
of
ordinarily in
of
used
material grades,
The
each
use
kind
is marketed
varying
buildings.
ded
in
different
should
kinds
be
tect's
point,
specification
absolutely be given
definite
this
and
the
client basis,
questions
should
his
choice,
cost
and As
durability in
and
most
may
of
the of
kind
of
flooring
he
buy.
detail, misleading.
specific
It
an
an
advice should
ngerous,
well
prove
emembered, detail
however,
in
to any
that house,
floors and
economy,
are
are
exceedingly unwise
tant in
tion direc-
which
practise
if
economy
be
ary.
Woods
for
general and
in
interior the
trim like
"
"
door
a
and
window
for such
s,
base-boards study
American
form
subject
of
pine,
al
themselves.
woods
as
Distributors
cypress,
red prepared
gum,
fir
ornia
for
the
redwood,
the
etc.,
have
interesting
wherein
are
ets
prospective
builder, of finish
"
set
commonly
various
properties
the
several
woods
used
for
as
interior
well
as
their
ways
possibilities in which
the
and
may
ations,
various
to
they
of
stained
or
and
may
finished
prove
preserve
as
a
effect
for
the
suitable
base
paint
or
l. derived
and
value
Information
interest
from
to to
such the
sources
will
prove
o who
prospective
to
go
as
builder,
a
always
resort,
his if
the
architect
too
whom has
court
much of
data
led any
to
case,
mental
the
confusi
in
matter
choice.
In
pros-
ctive with
builder
the
should
more
make commonly
himself
used
one
reasonably native
from Each
iar fami
American
ods,
be
able
personal
to
distinguish
preference.
another,
ght
kind
of based
woo
individual
of
set
cost,
of
recommendations,
suitability,
and
nsiderations
and
availability,
ance appear-
all
these
shoul
or
vern
independently,
nference
architect.
to
Questions
will woods and for
goes
relating
naturally
paints,
stains,
varnishes
with several have
a
es
arise
in
"
connection
the
stud
of
for
more
interior
finish
and
here
rger
progressive
manufacturers and
mere
oped deve
prospective
further These than
builders
architects
servi
ich
the
preparation
of
printe
tter.
manufacturers
will
send
samples of
desired
a
finish and
wood
of
a
on
any
even
wood make
capable
up
receiving
ch
will
which given
samples
usi
for
eces
will
house.
actually
Each for
no,
be sample
its
used
terior
is accompanie
detailed
the
painter,
instructions
so
proper
cati appl
that
room
for It
uncertainty
possible
that
disappointment
such
a
is
of excels
left.
should
vious
determining in
value
any
wood
amount
the
general
Varying
it is
as
conditions impossible
as
finishes,
futile
to
that
random the
uld wood
oflfer
advice. aid
of
Modem
to
tast
nature
finishing
out
favour
natural
artifice
of
inging
of
the
beauties
grain
and
sometime
texture,
a
characteristic
paragraphic
of
diflferent
of
woods.
former
to
a
is
connection,
reminder
"
ign
ee
and
bad
taste
is introduced
practic
ndefensible
work
"
as
the
old look
once
popular of
of
painting
the
not
once
deception
wood-grains.
existence
* *
We
of
a
need this
far
to
find
in of
examples
'
highly painter
artistic
your
'
esteemed
graining, in
a
by
dexterous kind
of
(taught
to
excel with
as
this
few
ticul par-
knavery)
soft oak
a
could,
ful skil-
strokes,
make
pine
or
door
of
strangely walnut
"
wonderfully
of
Circassian forever.
monstrosity
success
crime
Encouraged painters
on
their
direction,
rare
the
(often
plaster
misguided
quarrying
skill)
them,
to
even
fabricated
from
the
**
marbles paint-pails.
of
od,
not
their
But
we
blame them
architects^'
that
we
time
are
ed
do
horrible
things,
and,
ppose,
encouraged
finish of
' '
them.
recent
An
interior
**
development for
use on
is
**
the
lled
plaster-paint,
plaster
intended
no
sandis
to
hed''
The
walls
exist
where
in
many
wall-paper
be
finishes
varieties, wide
of
and
in
in
harmonio
colours,
and
American
are
finding homes
acceptance
the
iors
of
the
to-day.
of
The
rooms,
prospective
builder
to
should and
decide
with
which what
his
if any,
be
papered,
paper,
and
should
similar
questions
decisions
duly
plaster-paints.
All the
the
resolved
of
at
ning begin-
will
increase
the
certainty
securing
completel
house.
The the
wishes
of
to
repeat
an
earlier briefly
statement
plan in
the
and
detail
discussed
are
erely
to
foregoing
a
paragraphs
in
any
sense
be
constituting
list
comprisin
point of
every
of
detail
house. and
which-
will
a
arise
in
the
plation
Such
dangerous.
list, It
be
both
involved
intention,
on
rather^ the
part
to
outline
plan
of builder
systematie
"
ought
of
the
to
prospective
perform and
the
syst mati
thought of defining
of
designed
valuable
his
to
his detail
as
ideas
in
such
directing
a
personal
servation
way
as
eliminate
ch
oversight
possible,
and
to
make
for
greater
fectiveness
in
preliminary
conferences
with
chitect.
Everyone
about
to
build
house
is confronted
despite
of
by
oblem
which
with
general
is
personal rules
and and
individual,
observances
nformity
or
certain application.
has the
to
com mon
The dangerous
writer
' '
always
part
considered
of
as
distinctl
* *
greater
the
definite
advice
ually
offered
articles,
for
prospective
builders,
reason
in
no
books
latitude
gazine
for
the
that
arise
lowed
every
special
conditions
which
in
the
course
as
building
value
to
project.
outline
may
a
It
should by
be
regarded
each sharpen
own
eater
method
own
which
pro pec
builder
observation,
than
to
do
his
and him
thinking, his
general to
widen
present
define
with
a
ther
si (p
applicable)
without
ounce
which
to
he
is
directed
blindl
regard
of personal
a
specific
understanding
individual
and
conditions.
intelligent it is
ought
is
worth
ton
of
arbitrary
every
rule,
and
wi
is
conviction
in
mind
his
that
prospective
builde
ould
He
approach
should
are
problem.
when
know
best
his
own
preference
and know,
he
men jud
by
his of
guidance, he
has
and learned,
should
when
ercise
what
had advice
bett
rn
toward
experienced
professional
udgment.
It has
been
the
consistent
intention
of
this
book
PLANS
AND
DETAILS
337
of
the
subject
it from
of
architecture
reahn of
mystery
respect,
one
in
practical
and
a
way
"
ove
the
seem,
technicality,
and
to
make
part
it
of
in
life
even
every every
vital A will
esting inter-
the
of
of
us.
familiarity
open
many
architecture, of interest, is
or
if
will
it be
slight,
that
as
a
and
generally
any
enrich
known
intellectual liberal
ment equip-
which
not
any
individual
contemplates advisory
connection
project,
its being
upon
look
upon
architecture
as
pen
chapters
stretching written
the
back the of
our
into
the
past,
development
dependent
an on
in
present,
and
it and
efforts
architects,
ever-increasing
the part
understanding
the
and
tion apprecia-
of
public.
.
. .
**8i
monumentum
requiris
cirtMmspice/'
INDEX
Architrave,
74-76
21,
103, 199,
74,
76
R.
90,
"Art
Nouveau,"
206
202
Brothers,
86,
87,
140,
84,
203-206,
Assyria,
architecture
of
of,
32-33
in
hotel,
of
materials, of 284
286
Atrium,
summary 36
architecture
of,
Atterbury, Attributes.
"
Grosvenor,
81,
147
of
83
of rough-dressed sings of
stone, building
296
Audley
End."
136
111
products,
163,
226,
Austin
Hall,
Availability,
161, of
local, 293
stone,
279
ce,"
bricks,
rough 322
336
of Awnings, Axis,
297
Architecture,
Colonial,
96,
97
173,
202
Cathedral
191
of,
66
B
Bagatelle,
lusU,"
Chateau
146
de,
82
ennsylvania,
189
Baillie-Scott,
69,
Bar
Queen,
140
style,
so-called,
Harbor,
199
Baroque,
70,
78-81
63 310-311
s,
76
house,
42,
30,
Bartolommeo,
the,
218-220 Bath-room,
nt
48
antine,
44;
Roman
37,
77;
French
81,
Ecole
84
Nationale
82, 94-96
62;
66
Renaissance,
use
of,
64,
of,
ct,
the, without,
227;
232-233
of, 239
proceeding
detail, influence
examples
of, 98-100
of, of,
96-98
101-107
102-106
employment
of,
233
selection
architectural 240
of,
etc.,
partnerships,
for
241 242
239-
aims facade
of,
97-111,
Grand
221
168-169
of Terminal,
Central
R.
selection
public
ings, build-
Bellevue-Stratford,
(see
272 167
de, 267
Hotel)
Bidlake,
Bids,
146
269-261,
"
specialists,"
status
of,
et
and
264
dealings
with,
"
Biltmore/'
Chateau
244
seq.,
on
Blois,
67
time
spent
rorms
work,
246-247 with^
Blue-prints,
Boston
l^gal
of
agreement
Public
160
264-267
the
ct,
landscape, definition
of,
19;
24;
270
of, 17-19;
courtyard Bramante,
16-16; ciation appre20; in,
24;
63,
cture,
''Bramhall,"
Brick, Egyptian,
erstanding
of,
44
evolution appropriate,
mass,
Assyrian,
Byzantine,
German
ressive,
of,
use
46
of,
69
ucture,
detail, 28
28;
types
Gothic,
building,
in
Romanesque,
revival,
112
839
INDEX
k,
English,
domestic 180-181,
use
"Harvard/'
burnt,
of" 289-^90
136
Centennial, Century
Character, Club,
Philadelphia,
161 materials, in 292;
106
180-181 American,
on
in
275-277
rough
254,
early
patterns
^
184,
290
in
213
brick,
296
st
blank
291-293
mils,
special,"
Charges,
Chartres,
246-246,
building
painted,
in,
288,
Cathedral
Blois,
ChAteaux,
French
de
57;
pattern
moulded,
colour, house 293
in,
Renaissance,
82
67
316-322
291,
292 cost,
Bagatelle,
166;
of,
etc,
276,
281
life,
hotel,
51
166-16
in
21
324
Chimney-pots,
Chimneys,
design
influence early Mark's,
45;
of,
321
290-292,
323
68
Chinese,
ges,
hall,
03,
169
Church,
79,
142
40;
nelleschi, Mawr
Byzantine,
College,
Charles,
198,
122 of S.
Gk)thic,
68
47;
Norman,
finch,
177-178
200-202
Malines,
Maria
galow,
della
Salute,
64
gos,
Cathedral Earl
48,
of,
of, 137
67 140-141
Trinity
(Newport), (Boston),
109;
179;
T i
Ungton,
Madiso
tress,
49,
48,
Square, 129
etc.,
113;
St.
Joseph'
flying,
30,
67,
113
antine,
summary conflict "Revival,"
Architecture,
of with
38-44
44
First,
Christ
113;
Scientist,
New
early 179-180,
Los
architecture, in Gothic
Englan
lUly,
61
type,
can Amer
106-114
"Gloria
187
of
Cincinnati
111
Chamber
Commerce,
'Oro,
Palazso
122
della,
61
City
house,
ridge,
anwe,
modem 210
tals,
Gothie,
176,
281,
49;
74;
Ionic,
76;
ian, Corinth-
origin
of,
34,
36,
76
Baths
calla,
linas,
The,
99,
96,
160
nature
in
and England,
310,
meaning
85
of,
73
ouche,
Closets,
Renaissance,
311
atid, 172
Flemish
67
Collegiate
College
of
Gothic
the
(see
Cily
of
Gothic)
New
Yo
logues,
331;
etc.,
326,
327;
333,
334 etc.,
ware, hard-
122
woods,
Colonial, 47;
56;
Georgian, 183"187
173-183;
Dut
hedral,
typical
52;
plan,
Chartres,
Durham, 56;
56;
Rheims,
Amiens,
59;
56;
NOtre
59;
"
adaptability Southern,
193-196,
of
Dutch,
180-187
190-19?;
Spanis
Dame,
Burgos,
Toledo,
69;
2857318
Row,"
88-89, 108,
Colonnade
Milan,
101;
St.
PauFs,
St.
Colosseum,
Colour,
77
Egyptian
41;
use
Mark's,
107
Tudor,
Adam, 330 142;
lings,
137;
Elizabethan,
Byzantine,
in
Italian
of, Greek, 61
31 46
138;
flgured
plaster,
Gothic,
181,
326,
in
brickwork,
290-292
INDEX
341
Dutch
Colonial, 275,
186
Cremome
Creoles,
bolts, French
319
278
architecture,
285
and 175,
Spanish,
185,
their
192-193,
of
University,
Chapel
of,
Customs
House
of
New
York,
98
, and Egyptian,
lintel,
30,
44
29
Greek,
33-35, 36,
44-45,
74-78
Davanzat^
Dawber,
The,
143
64
Roman,
37
41, 45
Byzantine,
49
Decoration,
Assyrian,
Egyptian,
44 45 46
31,
44
Gothic,
Renaissance,
64,
66,
72
Greek, Roman,
Doric,
74
Ionic,
75 75
284
Byzantine,
Romanesque,
Spanish
Gothic, Renaissance,
46 46
Corinthian,
of wood, tions, 83
Go^ic,
72
65, 66 65,
69
241-242
fne,
72
158,
205
te
Order,
Wyngates,"
77
64
Fresco,
ton
Sgraffito,
*'
72,
161
icut,
99,
178
103
Secessionist,"
Decorator,
264,
270-271
ation,
247,
259-264
248-260
Delaware,
Dentils,
l74,
Ionic,
190
tor,
76 76
importance of
be
Abbey,"
325
136
Corinthian,
Derivations,
study
ian
Order,
35;
Roman,
87;
23
28
ek,
76-77
Doric,
Classic,
70;
76-77
Ionic,
73-106 Romanesque
10(^-131
early
70,
112;
Byzantine,
Gothic,
and
nthian,
250, 275
English,
of
and
132-
comparative, 283
materials,
281-
166
inherent, brick,
building
279
293
modem Itolian,
English,
French,
157
of in
172
181
of
rouffh
167-166
166-169
169-172
of, 136
63-56
Gothic
derivation,
130-131
English
type,
of
133
De^"radelles,
102
History
146
the
English,
134-
Details,
design
exterior and
interior,
313
31
Jacobean,
139-140
141-142
architect,
Anglo-Classic,
English,
of
modem
144-156
design,
list,
316 316
summary location,
English
site,
type,
225-248
166
exterior,
material,
interior interior
Ust,
326
materials
224-303
and details,
325
oonstruction,
304-334
list,
326
interior
Directoire,
list,
the, 82
326
plans ards,
and
322,
Doges,
tsman,"
198-200
Dome,
41,
45
42
INDEX
Dutch,
hardware,
ors,
186, 320
187"
320
Evolution,
in
architecture,
20-21
Expenses,
268
architect's
260 240-262,
264
travelling,
li^ht,
mirror,
320
120 31,
36,
Expressicm, 33 Extras,
ric,
Order,
Roman,
77
Eyre,
80
263,
Wilson,
147,
180
Greek,
74,
76,
awings,
working,
preliminary, 263,
266, scale,
266,
273
Fan-light, Fee,
266, 266-260
266-260
176
264,
required,
%-inch
266
267-268
Finial
103
140 328;
267-268
266
Gothic,
138
138
plex
quesne,
apartment, 102
of
210
Flashings,
Fldche,
280,
rability,
of
frame
277
333
fluting,
83
74,
76
of
brick,
stone,
of rham,
Fontainebleau,"
322
83
Cathedral
tch,
Colonial,
of, 183-187,
62
Fountains,
286
Frame,
doors,
shutters, brick,
interiors,
hardware,
186,
186, 184
I87,~320
187, 318
covered,
282-2
281
281
on
wire
lath,
276,
186, 187
186
286-286
Francis
for
First,
city bouse
style, 208-200
Fresco,
Frieze,
city decoration,
Doric,
style house,
of, 200
65,
67
72,
142,
76;
Ionic,
316
76
stlake,
Charles,
architecture
143, of,
107
20-30
terra-cotta,
pt,
figured of,
83
44
plaster,
326,
330
summary French
in
"
modem
''FuU-size"
(see
287
Details)
of,
300,
Furniture,
consideration
Furring,
vations,
l^-inch
The,
83
zabethan,
68,
131,
136-138
Gables,
82-
half
130
timber,
208-326;
be Ja
"pire,
Period,
French,
70,
Garage,
88-00, 105-106
287,
310 23 85
American,
Garden,
Italian,
argement,
308
future,
of 327
plan,
307-
Anglo-Classic,
Anglo-IUlian,
134
153-154
rance,
detail,
blature,
etc^ Classic,
garden Dorie,
front, front
74-76;
76; 104,
Ionic,
76;
Corinthian,
76-77,
garden 200
of
Taogley
Manor
176 Building,
262-263,
American
211 266 250-261
derivation, Gothic,
60, 51,
165-160
itable
Gargoyle,
57,
72
imates,
contractors,
Woolworth,
120
Georgian, tPeriod,
270 Colonial
in
140-143, Institute
The,
America,
60 80-88,
188,
ics,
canon
professional.
of,
American
230,
-247-248,
270
of German,
88,
17^-182,
architects,
early
colonists,
187
INDEX
34
Gk)thic,
58,^50,
02-93 138
72
Hardware,
331
"
Dutch,
187,
326,
320,
330
Classic
revival, Grinling,
140
''
Hardwick
Hall,"
house,
64
134-136,
139
86,
Harvard,
ia
Dei 161
38;
Church,
187
University,
style, for city brickwork,
"
102-112
origins
of,
outline
43
analysis 71
and 62-66,
62;
of,
47H}2,
289-290 136
Hatfield
English,
71
''decorated,"
62 62
Heating,
Norman,
"Holdenby,"
Holland,
Perpendicular,"
"Collegiate"
66,
(Scholastic),
114,
66-68,
66,
66,
city
Hotel,
61,
121-122 61
208-209
the
French,
Waldorf,
Flamboyant, 67
67
theatrical
"
qualities
rooms,"
of,
216
214,
21
crockets, Belgian,
special
68,
Flemish,
68-69, 60-62 secular, with
61
,
Bebevue-Stratford,
Ritz-Carlton,
210
German,
72
217
Italian,
Vanderbilt"
61, 62
23
217
Italian,
Hudson,
183
compared Victorian
143
Classic,
90,
revival,
91 114,
91,
114,
"
Independence
Hall,"
Roman
44
use
179
of, the
"carpenters,"
Inscriptions,
122-124
37
"military,"
of,
Egyptian,
nature
114-116
in,
Institute
of
Architects,
can, Ameri241
symbolism "commercial,"
116-121
124-129 for
English
of imitation,
house,
137
minimum
charges,
form,
268
owner-architect
Champs-Elys^es,
agreement, 264-267
ci of
Palais
103
des
owner
contractor
agreement^
261 246,
Tomb,
architecture
official Instructions,
Inwood,
of,
44-
form, written,
260-261
90
summary
46
of
architecture
Ionic, Iron-work,
Order,
36,
76,
76
317
ue,
43 vaulting, Byzantine,
41;
Gothic,
French,
J
Jacobean,
Japanese Jardinieres,
66, 69,
61,
67,
Woolworth,
99,
72;
modem 129
136-141
196,
206
influence,
he,
103
325
terra-cotta,
320
321,
323
18,
191
H
170
Hall,"
134,
Jones,
138
66
Inigo,
69,
86,
136
a,
on
mber,
Kamak, Kauffmann,
30,
94
French
61
Angelica,
134 William,
86,
140
86
Elizabethan,
276, 278, 281,
197,
209,
"Keep,"
Kent, Kitchen, Knickerbocker
cost
equipment
Trust 136
298-299
134
161
,"
"Knole,"
INDEX
Masque,
Material,
81,
102
Granffe
Ch"teau
Batty,
Terraoe," of,
87
88-89,
196
restrictions
in
choice
274, 67
275
physical of, 275-278 275,
278,
geais,
ley,
properties
and
ern,
179
equipment 322, 321,
of, 325
ndry,
331-332
colour, local
279
231
ers,
hting,
fixtures, interior,
267
for
331
front
door,
320
properties
character
of,
275
in, 277
276
durability,
147
137,
44,
eberff,
H.
T.,
nfold,
29,
tel,
138
277
45
ocal
tion,
conditions," 226
208, 161,
235,
253
Mellor Metopes,
212-213
and
76
Meigs,
147
Buildings,
159,
Museum,
Tower, 321, 322
98
113,
gia,
170,
171,
211
Island, XIV,
in
183
70,
79 hotel,
214
of,
61
modem
XV,
Gothic
doors
194-195,
(see (see
228,
200,
Gothic)
230-231,
is
in
70,
79 hotel,
Doors)
272-273
321
is
modem XVI,
details, of
Mission, phase,
81;
70;
formal
outline 81,
Models,
Modemist, Modillions,
227,
style,
82,
and 96,
analysis 167-169
208
202,
Ionic,
76
in
modem
in
modem
175, the,
146
Corinthian,
Mohawk
"Montacute
"
76,
183
77
Valley,
Mouse,"
isiana,
136
191 134
vre,
79
Monticello,"
18,
^ens,
Hall,"
Public
icrates,
replica,
89
Morgan
Morris,
Library,
144, 41, 45
158
199, 45
William,
Byzantine,
200,
Mc
Samuel,
Charles
Mead 196,
292
Mosaic,
ntyre,
177,
Follen,
178,
160
185
Moulding,
Mullion,
Greek,
112, 139
im,
im,
159,
and
White,
111,
168,
Muntin,
139
N
Napoleon,
Nave,
42, 83
47 82
82
ison
Square
178,
198
280
Church,
113
Neo-CIassic, Neo-Grec,
New
ne,
ntenance,
England,
Georaian,
175-183;
86;
nat
of
of
of of
frame brick
house,
house,
286
293 house,
house, 58
types,
229-230 298 301
suitable
field-stone,
New New Newport,
231
Jersey, Orleans,
174,
185,
188
lines,
Church
83
of,
192-193 197;
Mabnaison,"
34
167-168,
Casino,
or,
Trinity
New
New
Church,
179
sard
sart,
York
(State),
Public
174
Library,
98
York Dame
telpiece,
328
100,
Notre
103
de
51;
Paris,
Cathedral
56
quise,
grotesque,
cathedral,
INDEX
34
Plans,
"
Court,"
buildings,
113
167
Romanesque,
310
(period,
164
234,
etc.
327
A.,
val, reviPiatt,
Charles,
Gothic
208,
derivations,
211-212
124-120,
Plumbing
Pools,
322
fixtures,
331
Classic,
the
three,
35;
man, Ro45,
Porch,
184,
185 311
3^37;
74,
77;
Greek,
78
122
Post
Colonial,
195
York
Postroffice Coasts
324 335
"
(New
122
City),
98
193-195,
198,
200
Princeton
University,
Graduate
School
of,
plaster-painty an, 86
63,
Projei,
Psalette,"
Beaux-Arts,
95,
272
La,
57
o,
141, Union
159
rican
330
Building,
171
ng,
Quarry
137-138
of,
tiles,
317
"linen-fold,"
origin 170,
Quoins,
169,
176
36;
Spanish,
171
of
Pan-American 172;
Building,
193
171,
Creole, of
85,
Railroad
312
.
terminals,
160,
208, 220,
Pennsylvania,
221, 220-221 220-222
the,
Grand
99,
Central,
t,
100
Ramp, "Raynham
221-222 Park,"
curved, vania,
103,
176
136
155, 156,
174, /257-258
83
187-190
Real-estate
243
houses,
242-
ages,
Renaissance,
English,
on
35,
37,
38
320 influence
5(1*
39
*
Modernists,
dates,
Florentine,
63,
159 179
of
Milanese,
Venetian,
Roman, "High,"
39
39
lphU,
s,
''La
65-66,
57;
Roman,
"Late,"
39
55,
issance,
English, outline
68-70,
analysis,
136,
137
Jacobean,
Court of
309
138,
House,
and
62-71
rgh
summary,
furniture
otti
72
and
nature, 63 62-63
nt
plan,
origin
preliminary 23^237
of,
305,
consideration, 266,
306
expression, French,
67
of,
drawing
305-313
summary Flemish,
72
kinds
67
of,
of, development
of,
to
306
summary
306
72
German,
summary
67
of,
relationship
practical
needs,
style, 307
72
pecial large,
requirements, 307
307
to
307
67
of,
72
of,
small,
summary
with
72
7S
furniture,
308^*
comparison flexibUity
Classic,
of,
157
INDEX
isflance,
208 in
for
modem
city
house,
Samples, of
of paints, 24
stucco,
324
stains^
25,
modern
hotel,
218
Scale,
00
60,
tt
(and
in
in France, England,
Stuart)
34,
/87,
35,
val,
Classic,
78
Building,
design,
128-12
212
78-84
84-85 86, in 88-00
in
tall
building
drawings, Montgomery,
in
America,
of, Germany,
working Schuyler,
00-^2
265-267
100-110
decline
in
England,
02-04
Screens, Sculpture,
322
architectural,
French, 100
Roman,
XVI,
140-141 106-114
70-82,
105
modem Secessionist,
202,
American,
108,
205-207
architect's, 112 111, Hall,
254
6i,
Cathedral
Romanesque,
111 56
Services,
Sever
ims,
de
Island,
H. House,
170,
H.,
of, 107
Sewage
158
disposal, decoration,
227
65,
hardson,
104-114,
Sgraffito,
161
72,
inson
faced
177
k-
(masonry)
78-81,
103 216
Shaw, Shingles,
Norman,
275-281,
325 315,
145
oco,
in
70,
modern
284
hotel,
stain,
an
(see
44
Rome)
architecture,
etc.,
Shutters,
38-
318
230, 236,
anesque,
Site,
227-228,
210,
253
Solarium,
of
on
311
architecture in Gothic
of,
46
Italy,
61
261-265
106-114
325,
characteristics, Richardsonian,
nature
107
100
Staircase,
details Staten church, Stevenson Stone,
Elizabethan,
of,
327
183
of
expression 113
Island, and
Wheeler,
275,
147
281,
city
house,
200
208 house,
114
rough-dressed,
country
Stonelnasonry,
of,
of 36-38 architecture 104, 160,
e,
early
204-208
Pennsylvanian,
architecture
of,
107
45
Stuart
188,
67,
(and
Revett),
44,
87,
00
176
183 80, 02
Stucco,
on
Egyptian,
hollow 287,
323
170,
275,
172
281,
tile,
176
on
modern
hotel,
323
216
of,
21-24,
320
227,
263-264
230-231,
of
en,
material, Justice, de
188
57
SuiUbility,
stylistic,
local,
278
278,
286
ughcast,"
kin,
John,
80,
OO-Ol,
00,
108,
104
106
of
of of
frame
tication,
brick,
construction, 203
stone, 301
285
S
Sun Chapelle
Church, doorways 56
of, 86,
of dial,
rough-dressed half-timber,
206
317
nte
Sun 87
parlor
(see
by
258,
250 255
Solarium)
architect,
em
(Mass.),
240-250
Supervision,
256,
245-24
ples, of
brick
and
brickwork,
324
Survey,
227,
INDEX
347
y,
96,
97
Trusses,
137
arch,
s,"
Old
(Gloria
Dei
Church),
187
Tudor,
the,
house,
53,
54,
56,
68,
137
134, 55,
13
collegiate
61
architecture,
56
oseph's
uis
University,
collegiate
derivation,
122
Maria
della
Church
Salute,
Church
of,
321 36,
ark's,
aul's
CatSiedral,
Basilica
107
Order,
77
ter's,
U
United
University States Realty
161
ophia,
Mosque
of,
107
Building,
12
aub,
of
Virginia,
191
Greats
136,
299
ies,
ogy,
102
Institute
Vanderbilt
Egyptian,
44'
(see
vaulting,
46
Hotel)
Romanesque,
41-43,
29,
30,
44
Vault,
Assyrian,
rock-cut, Proto-Doric,
35,
30
rib,
42-43
42 43 48
Beni-Hassan,
36
31
barrel, "gjroin,"
Greek,
Roman,
37,
85
228,
40
Gothic,
English
garden, s,
Gothic,
53,
52
312, 112,
322,
325
fan-vaulting,
Renaissance,
62
tta,
128,
etc.,
316
320
72
jardinieres,
275, shingle
Veranda,
127-128
292,
201 54
Woolworth
Verge-boards,
Versailles,
296
79,
167,
84,
168
90
effects 136
in,
323
Victorian
Gothic
146
Era,
pe
HalV
161
revival,
90-91,
114,
143
Assyrian,
33,
45
44
Vignola, Villa,
194,
281,
74,
Pompeian,
77
29
Byzantine,
67, 172,
Roofs,
169,
215,
323 286-288
Roman, Italian,
37
22,
hollow,
161-166,
172,
221
flooring,
317,
and 317
use
327
decorative,
^87
317
Virginia,
190
structural
"quarry,"
of,
15
191
Spanish
317
Vitruvius, Volutes,
Building,
Cathedral
59
Voysey,
spiral, 145
75
t,
47
311,
322, 82,
83
e,
W
137
The
322, 325
s,
The,
76
phs,
Building,
Church Church
(see
Hotel)
i^
(Boston),
Walks, Water
(Newport),
and Ackerman,
179
supply,
227 317
idge
147
Weather-vanes,
INDEX
ah,
early
Middle
colonists,
197,
188
Windows, dormer.
"Wollaton,''
bay,
137,
138
t,
(Chicago),
Abb^,
190 53
198-199,
207
tminster
Woods,
for
stover," Point
interior
Military
136
Academy,
Woolworth
126,
Building,
211
detailed
si an
stwood,"
te,
Stanford,
190
168,
180,
197
Working
World's
drawings
Fair of Christopher, 179
1893,
(see
196 69"
Brawingv)
itehall,"
and
151,
liam
Mary,
casement, 280, 175,
69,
140
150330
Sir
140
185,
dows,
136-137, 818-319,
Frank
Lloyd,
188
199,
207
oriel,
137
"Wynnestay,"