ARCHITECTURAL DRAWING DRAUGHTSMEN

By
"

ANu

REGINALD^^BLOMFIELD, A.R.A.

WITH

ONE

HUNDRED

AND

THREE

ILLUSTRATIONS

CASSELL
LONDON,
NEW

'S)
YORK,

COMPANY,
TORONTO
AND

LIMITED
MELBOURNE

1912

A'A

:B5

LIBRARY

739102

I
UmVERStTY
OF

j
TOIiOHTQ

PREFACE

The is

following
intended

account

of for

architectural and is of than

matter not

drawing
its
cut

and is

draughtsmen
to

mainly

students,

object
off from

show

that of

architectural

draughtsmanship
that,
a

the

family
gone it

Art,
and

but takes and

in

the

hands

artists has of in

of

genius,
been very William

it

has

far,

higher

place
As
a

usually
fact,
not

assigned
much

by

artists
has
a

critics.

attention

been

paid
on

to

this

subject

England.
at

Burges
of paper
a

read British
was

paper

architectural
in i860 Mr.
;
an

drawing
excellent
B. Mr.

the

Royal

Institute

Architects

and Adams
R. in Phene

well-illustrated
in

given

there

by

Maurice

1885

and

book
an

on

architectural

drawing,

by

Spiers,
Mr.

himself
Adams's

mirable adpaper

draughtsman,
is of
on

appeared
account

1887.

valuable the the The last

for

its

of

EngUsh
book

architectural
for

draughtsmen
useful hints

century;
of

Mr.

Spiers's

its

very

mecanique
standpoint
I have

drawing.
from which the
to

present
extend survey

work the French known

is

written

is of

different.

endeavoured

conception
and
or

draughtsmanship draughtsmen, England,

who
were some

by

including
of whom
to
are

in

my very

Italian

little
its
as

studied
men

in

and

incidentally
almost and

widen much French The

range

by

including
such of the
as

designers
the

as

draughtsmen, draughtsmen
tendency
of and

the

Lepautre,
and
concentrate

Marot,

the

teenth seven-

eighteenth
on

centuries.
manner

students

is

to

the

favourite
the I have way
to

of
a

the fine

time,

neglect
and
to

any
the

other.

This

is not
that

become

draughtsman,
are

illustrations

brought

together

intended

correct

VI

Preface

this

tendency,
The

by

showing
basis
of

that it

there
be

is

no

royal

road

to

manship. draughtsand

must

the

study
be

of

form,

its

mastery by
sense

and

its

final

expression
I

must

fine that

drawing
my
account

inspired
in
no

personal
claims that
the

temperament.
to

should
and

add

be

exhaustive,
I

need

hardly
laid
the stress

point
on

out

to

students

though
object
at

have,
their

of

necessity,
is
not

manship, draughtsof
a

of

training

production
the

bnUiant

drawing
difficult
task

our

annual

exhibitions,
noble

but

finer

and

far

more

of

designing obHgations
British

architecture.
to

must

express
in

my the

the

Keeper
to

of

the

Prints
of

and

Drawings
Institute
Fellows
of

Museum, (Mr.
the

the

Librarian
to

the

Royal
and

of

British
All Souls'

Architects

Dircks),
Provost

the

Warden
of

CoUege,
and
to

and

Fellows the Curator

Worcester
of the

College,
Soane Museum

Oxford,

the

Trustees

and

(Mr.
the

Walter

Spiers),
in

for

their

courteous

permission

to

reproduce

drawings

their

custody.

Reginald

Blomfield.

New

Court,

Temple,

September,

1912

CONTENTS

CHAPTER

PAGE

The
1.

Nature

and

Purpose

of

Architectural

Drawing

"Medieval

Drawings
i

2.

Architectural

Draughtsmen

of

the

Sixteenth

tury Cen-

Bramante
:
"

The

San

Gallo
"

The

Du

Cerceau"

De

L'Orme

19

French 3.

Draughtsmen

of

the

Seventeenth

Century

37
.

4.

Some

Italian

Draughtsmen

of

the

Seventeenth

and

Eighteenth

Centuries,

and

Piranesi
...

55

5.

English

Architectural

Draughtsmen.

72
...

LIST

OF

ILLUSTRATIONS

PACING

PAGE

ALGARDI

Design
Daniele

for

Monument of Daniele

to

Leo

XL
.

60 edition
of 30

Barbaro,

Frontispiece

Barbaro's

"Vitruvius," Berain,

Venice,

1556.
....

Jean

Design

for for Berain

Decoration Escutcheons
......

47

Designs by
Bernini,
Lorenzo

by

Brisuile,

Engraved 48
57

Drawing

of

Fountain

(Attributed
Bibiena,
DA
.

to)
Galli A
. .

Giuseppe

Theatrical for of for

........

Scene
......

62a

Drawing Drawing Drawing

Sketch

Stage
a

Scenery
.... . . . .

63a
62b
a

Catafalque. Angles
of

the

CeiUng

(probably

by)

636
62c

Drawing
Bramante

for in

Scenery
the

63c
. . . . .

Engraving
Sheet

British
Bramante
"

Museum
.

246
From for

of Studies
De

by
at

and Primitive "... Sketch

Peruzzi.

Geymiiller's
Peter's from the Front Rome Vellum of

Projects
Book
.

St. Burges A Colin The

256
16
"

Page

Campbell,

General vius

Blenheim. Vol. I.

From

Vitru

Britannicus,"
of the Vitruvius

78
at

The

Prospect
From
"

Royal

Hospital

Greenwich Vol. I.

Britannicus,"
Venice
"

78
61

Canaletto,
ale,

or

CanThe Piazza of St.

A.
.

Mark's,
from
.

Choisy,

a,
.

Isometrical les

Drawing
Romains from
"
"

L'Art

de

Bitir

chez
12
"

Coner, CoTMAN, Daniel,

Andreas
.

Drawing Dieppe
View of the

The

Book

of

Andreas

Coner

25 886

John
William

Sell

.......

Dance's Port of from

Design
London

for
....

the

Improvement

of

87
Chaudiere's etc., de edition

De

l'Orme,

Philibert

Detail

of Roof of
"

Regnault

Nouvelles
"

Inventions,"

X.,

292
"

276
54 34

Desgodetz,
De Vries

Antoine

Plate Sheet

from of

Les

l^dificesAntiques

Rome

Details

List
DiETTERLIN,
Egger
.

of Illustrations
FACING PAGE

WENDEL

A
A

Design
German From nungen

35

Drawing. End of Fifteenth Century. HandzeichEgger's Architektonische

" "
. . . . . .

-17
.

Falda,

G.

p. Alexander DoMENICO

The Plate

Fountain

in the Livre

Piazza

Navona,
"
.

Rome

56

Francini, FONTANA,

IX.,

"

d' Architecture of the

"

.36
"

Raising the Great Obelisk Guglia." Plate 18 of

dell' Obelisco The Vaticano "Delia
"
.

Vatican

The

Delia
"
.

Trasportazione Frontispiece
.

Frontispiece of
Obelisco Vaticano Kedleston IV. of

Trasportazione
"

dell' 55

Gandon,

J. James

Section
.

From

Vitruvius

Britan80

nicus," Vol. GiBBS,

St. Martin's

in the

Fields,
"

From

Gibbs's

"

Book 79 88

of Architecture

GiRTiN,

Thomas

Notre Porte

Dame,

Paris
.

St. Denis, Paris

89
73

Jones,

Inigo

Proscenium. of for
.

Drawing
Studies A Lelio Orsi
DA

Whitehall
a

74 75
. .

Church
.

Plan for Wall Decoration

76
26b

Novellara

Design

(Attributed to)
Lepautre,

Jean

Design Designs Designs Design

Vase Vase

for Panels. for for for

a

Engraved
.....

by

Le

Blond

37

Frieze

38
Mariette 39

Arabesques. Engraved by a Chimneypiece. Engraved

by

Le

Blond

40 41

.......

41 the
"

Lepautre,

Pierre Filippo

Namur.

From

Cabinet

du

Roi

"
.

42

Liagno, Teodoro
DA
...

Pen Thomas
.

and

Wash

Drawing

of

Altar-piece
.

59
86

Malton, Marot,

St.

George's, Hanover
From
a

Square
"Cabinet
....

Daniel
.

Besan9on. Design for Design for Design

for

the

du

Roi".

43 44 45

Ceiling Ceiling
State Arch.
......

a
a

....

Coach

46
Daniel 49

Marot,

Jean

Triumphal
Marot

Figures probably by
to the
"

Lemercier's The

Entrance From

Louvre

50
"

Sorbonne.

the

Petit Marot

51

ARCHITECTURAL
DRAUGHTSMEN

DRAWING

AND

CHAPTER

THE

NATURE

AND

PURPOSE

OF

ARCHITECTURAL

DRAWING

"

MEDIEVAL

DRAWINGS

Architectural it
once

draughtsmanship
and has been

has
cut

fallen off I from

from the

the main

high
stream to

place
of the

occupied,
and
to

Art,

in
recover

the

following
some

chapters
this lost

hope,

by
and

reference
to

past,
the from do
not

of
at

territory,
and

disentangle
of view I

ideals which

to

be it

aimed should

in

such

drawing,
To

the
at

point
this

be
a

approached.
technical

arrive
on

result ing, draw-

intend

to

offer

disquisition
and

geometrical

isometrical
as

projection, perspective
are

skiography,
but rather
to

essential

all

these of

in

the

student's of and
men

training,
architectural

enlarge tracing
certain ranks
rarer

the its

scope

our

conception
in the

drawing
the work above but

by
of

development
masters
mere

past
of

by
who

reviewing
have their

great
of the

of

the

art,

risen

the

technician,
of

not

only
and

by

dexterity,
power.

by

quaUties
The
to

selection,
to

insight,
concentrate

imaginative
attention
on

tendency neglect
of be of

contemporary

work,
in the
to

the
case

the

study

of

the the

past,

is

peculiarly dangerous
of

the
tests

the

Arts,
to

because
the

standard of

appreciation,
are

to

applied
through
past
;

works

Hving
of what

artists,
has

apt

degenerate
done in of

simple
and

ignorance
of

actually
will
note

been the
so,

the their

though,
and

course,

students
cannot

work

contemporaries,

indeed

help doing

it

Architectural
here in the In this that
one

Drawing
should of I
as

and
for the

Draughtsmen
touchstone dead. the
are,

is not but

search
men

of

criticism,

achievements
brief survey

long
not

since

do many works
to
are

include
them their

work

of it

living
is not

draughtsmen,
for and work who than
current

excellent criticise

of of

because

artists it is of in

to

the

professional brethren, accurately

the and

exceedingly
with
cases

difficult
we

judge fairly and brought

and Fashion safe been in has into
some

men

whom

daily contact,

some

enjoy

more,

less, reputation
so

they

are

fairlyentitled
the

to.

much
to

to

do

with is

reputations, that
set
as

only long

standard

judge by
competent

that

by

men

who
masters test.

have of

recognised by
For

judges only
merit

past

their

art.

that, after
may find

all, is the

working
in the the

Ingenious
some

writers

transcendent in
some rare

work merit

of is

long-forgotten artist, and

the
not
case

instances
whose but

genuine, particularlyin
trace,
and But any whom the
rate

of architects the

work

is difficult to
are

only
of time

public

artists

slow and
to

to

recognise.
at

verdict in their

is seldom of ing, trainwhose open

wholly
wiU

wrong, be

students,
take the
as

period

wise has
even

their of

masters

only
to

those

artists with
an

reputation
mind,
are

stood

test

time, and
on,

regard
and

and

suspend judgment melting-pot.

a

methods

models

that

still in the It is

always
There

difficult

problem
of the

to

assess

contemporary
of
one

progress. for
a

is the

danger
and work

mistaking
scorn

fancy
which

the may

time be
may

genuine movement,
to

with three
an

tempted
recoil
on

regard
own

the

of two There deceased

or was

generations back example

at

one's of ago the

head. of

of

this

in

the
a

exhibition

the

work
case

masters

Burlington
The

House

few

years
to

in the works

of the

late Mr.
was

Frith. well

attitude but his

of art

critics of
"

of that
a

artist

known,

picture
a

Ramsgate

Sands,"

comparatively
to

early work, Hogarth

exhibited It
was

technique scarcely inferior

that

of

himself.

Purpose of Architectural Drawing

not
was

that

the

critics

were

substantially wrong,
verdict
of time is lost
one

but

that

their survey
in the
craze

incomplete.
latest for wait be

The

sight of
the

for the in
can

thing

in Art, and The

this is
ease

of

that pitfalls

lie

the

student.

and

rapiditywith
in the Arts.

which
A

ideas

interchanged is actually a danger

ago of

hundred
were

years fashions

and

earher

there

were

fashions

too,
not

but

they
year,

considerable

soHdity, changing
the
rate to

year
in
one one

by

but the

generation by
fashion
of his

generation,and
generation at
he any is
at

student

mastering
manner

mastered
dash from It

fairljto

completely. Nowadays
another,
student, and
in
never

apt

manner

arrives

anything.
for

is essential

that

the

selecting his
the

models
of

imitation, should
the

his fortify

judgment
A

by

study
of

history and
is wise in

analysisof

old work. progress

good

deal

caution

appreciating the
brilliant that

of contemporary
these in of
our

draughtsmanship.
of presentations

These

water-colours,
unwary

audacious modem

architecture

thrill the
than and Are the

exhibitions"
ago ? Or that
to
can

are

they reallybetter only their novelty

our

drawmgs
for and

fiftyyears

is it

contempt
our

accepted traditions
wash

seduce

judgment
of Girtin ? and his

line any

drawings

up

the
use

standard
his

Is there blot
as

Uving
did

draughtsman
in his One

who

pen

Piranesi

of those Hghtning transcripts improvisations, has

on

his

imagination?
to-day.
one

to

admit
other

that

there if
or one

are

no

such

draughtsmen
standard,
with
I do of if

But,

the

hand,

shifts the

pares comwas

modem

drawing
such is
a

modem

architecture

what
not

accepted
that is there

as

in

England

fifty years
In

ago,

doubt
that ings drawand

marked
and
even

improvement.
absurd,
the
our

spite

much

extravagant
are

modem

architectural

better

than

laborious

the perspectives, and the

wiry

insensitive
of
reason

line, the

absurd
of this the

conventions,
'sixties

acrid

colouring
And the

the

draughtsmen why
I venture

and

'seventies.
the

assertion

is that

fashionable

archi-

Architectural
"

Drawing
founded in

and
"

Draughtsmen
of the middle of of the
;

lecture

and

with

it the
was

draughtsmanship
on no

nineteenth
it sprang

century
out

soHd

basis

inheritance
in

of
as

nothing
a

history, and against

earUer
more

it has

ended

nothing,

except
artists

that,
have

reaction back
to

this

unprofitable emptiness,
In
recent

gone

traditions.

years French has

they

have of

attached

themselves

to particularly

the

tradition
to
some

draughtsmanship,
dominated
America. and it ; its much Fine

which

in

the and

last has

twenty
taken

years

extent

this
as

country
that

complete
no

possession of
means

tradition
of

is, it is by

the
;

complete
far from attains go whole
can

only

standard

architectural
a

manship draughtsvention con-

it is itself

only

very

dexterous the
are

which We
must

perfectionby eliminatinghalf
farther
of afield
on

blem. proto

than which

this
a

if

we

imderstand

the

gamut

notes

tural great architec-

draughtsman
That,
start

play.
a

however,
a

is

point

which

will appear

later, and
intention
a

we

must

with

clear

conception
and with of

of the

province

and

of architectural and

drawing
cannot

illustration, for the

subject is
one

large one,
view.

be the

dealt

exclusively from
architectural include and
a

point
is the of

of

ally, Generof

object
It

drawing
wide
most

representation

architecture.

will

field

draughtsmanship, drawing
of in

ranging
made such his of the for

from the

the

plainest
of

practical working
the

purpose of

actual

building, to
as

opposite pole
the world purpose

wild Car
cere

visions

architecture It

Piranesi
not

gave

d* Invenzione. the

will

include, for the

of

this

study,
of

architectural

backgrounds
the

pictures, such
and
terraces
"

as

courts

Carlo

Crivelli, or
in these

porticoes
is

of it is

Veronese.
there
to

Architecture

pictures
;

subordinate its

help

out

another of

idea

and form

though
and such

presentation
and
to

implies a
powers be of

knowledge

architectural
in this

composition,
as are

draughtsmanship
in modem

regard,

seldom in its

found

painting, the

question

here

is

main

Purpose of Architectural
issues
a

Drawing
by
other

5 tions considera;

painter'squestion,
those call the of the

to

be

determined

than would

presentation of
of
as an

architecture in

and
to

I the

only

attention

all students essential

painting

necessityfor
for decorative A

its serious

study

part of their training

painting.
at
once

difference
to

presents itself in
with which
or

architectural

drawings
This

according
intention intention which
can

the be the

intention either

they

are

made. that

may of be
on

objective
may

subjective ;
either
to

is, the

draughtsman
out

be

make hands

drawings
exactly
in
body someas

carried the

in the

building by
he may of the wish

other
to

drawn,

or,

other the
or

hand,

produce
as a

else's he

mind

impression
he may of has

building

whole
as

as

conceives
and

it,

employ
some

architectural
abstract

forms

the

symbols
of of
a

embodiments
never

idea, the
never can.

imagery
Some

world the

which

existed
so

in fact, and used them

manner,

French

draughtsmen
in the
a

in

the

seventeenth in the

century,

and,
In

far

more

notable he will

Piranesi

eighteenth.
;

first
and

case

proceed by geometrical

ings draw-

in the

second
as

third

by perspective representation,with
or

such the

accessories

skiography, figure
necessary
to
are

landscape drawing,
home his ideas.

and

Uke,
The

as

may

be

drive the the

geometrical drawings
of
a

usual

plans, sections, and

student,
There and
are

elevations

design
to
a

familiar of

to

architectural
inch
to
:

generally set only

be
two

out

scale

and

the

foot.

essential

conditions
;

of such that

drawings
be of

(i) that they perfectlyclear.

should The
care

"

perfectlyaccurate
is, of
must

(2)
course,

they should
one

first condition
the

largely exactly
if

knowledge
he
means

and if his

draughtsman
are

know and the

what
to

ings drawIt has

to

be

accurate

they

are

hang
of

together.
these

to

be

recollected
is their

that

ultimate into
a

intention

geometrical
mortar,
or

drawings
whatever

translation
it may

stone,
builder

bricks, and
who,

material

be, by

except for these

Architectural
the
was

Drawing
supplementary
in of the
as an

and

Draughtsmen
absolutely
who
at

yirawings and
ignorant
best of what the what

specification, is
and

the

designer's mind, intelligentand

his

plays
But

role
can

conscientious he is

lator. trans-

poor

man

do
an

when

brought
of
saw narrow

up

against vagaries
span

such
12

wall-platesto by
10

ordinary
I

roof
once

measuring
or

inches
that idea

inches, which
make
even

in

drawing,
if he when
must

mouldings sUghtest
in

would of the One

their

author

shudder

had

the

only possible result

cannot

of his efforts what

realised be the

practice ?
of

help wondering
of the of
numerous

thoughts they they

from the obvious
come

experienced
face
to to

builders with
to
some

old-fashioned
the

school with which

when which arise

or

face As

drawings
troubles and

have the

deal.

the

total

discrepancy setting
I need
to out

of of

plan, section,
details
on

tion, eleva-

from
so

careless that

of

construction, here, except

mind that
a

these
to

are

not

dwell

them in and

urge

architectural

students

bear is of
as

constantly culpable
that

loose, inaccurate
as a

working

drawing

mischievous
no use a

loose, inaccurate
about what
to

statement
a

fact, and

it is is

designer setting
in
to

geometrical drawing
wants to

till he how

quite
he is

sure

his do

own

mind In in

it is he
arrive
at

do, and
amount

going

it.

order

this, no

of trouble

should

be

spared
The

preliminary
condition from the have
"

sketches. that the

second follows

drawings
vicious

should

be

perfectly
in tectural archiuse

clear

"

first.

Certain
in of
use a

tendencies

drawings
of
a

appeared
the
use

recent

years, thick thick

notably

the

very
a

thick

line, and
line. in

very

line in connection line

was

with when due

much I
was

thinner
a

The the

of the

in fashion and
was

student

Academy
William

thirty years Burges,

It
at
was a

ago, fine

to

the

medieval his

procHvities of
fondness for

man, draughtsBurges
of

spoilt by
read
a

posing. drawing
advocated

in i860

that

paper

on

architectural
he

the the
use

Royal
of
"

Institute
a

British

Architects, in which

good strong

Purpose
thick
of
our

of Architectural
he

Drawing
may
cost

bold

line," as
those

put it,

"

so

that

we

get into the habit

money last
man

leaving out design

to
"
"

prettinesseswhich
advice, which
Street, who
and in it The

only
he
was was

and

spoil
in the

excellent himself.
was

the

world
the his

follow

present, suggested that

every artist and would find
on

whole
own

thing
line. occasion

rubbish,
ran

that those
was a

Feeling

high
that

days, pity pity

Burges
could that in

another build of his

retorted

Street
was

not

own

cross-hatching.
artists tradition in vain.

real
to

neither touch have method have

these
a

considerable reasonable

attempted
of

place
and

himself

with

drawing,

their

labours the

been, in consequence,
of
a

Burges deUberately copied

with the
more

medieval studies

draughtsman,
of fact and
were

result than

that

what in

should

been

little

exercises

style.
of the In have
a

The

second,
the

possibly even
has

more

injurious,use

thick
room

line and
full that of

thin

hne

originated in competitions. designers, competitors

be overlooked
at

drawings by

different would

feared

their

drawings
shouted

unless

some

strong,
seen

insistent

line

its existence

the

spectator.
the lines of

I have
2
as

lines

on

half-scale Of all

drawings measuring, by
with

scale,
such

inches

in
not

thickness.

course,

variations
and
too.

of

this,

only
but

are

the

refinements of effect goes

subtleties Nor do

architecture that
an

lost,
such
assessor a

the

breadth makes

I believe
on

method who

any his and

but

an

unfavourable and As be

impression
course,

knows the

business,
section.
must

who,
to

of the

reads

the effect The

elevation
of Hne such

by

plan
of

builder, the

methods in

drawing

simply paralysing.
be

used

geometrical drawings
sufficient features
to

should

firmly drawn,
more nor

uniform the the before

a

in thickness, tural architec-

express

neither To

less than way,

wants

intended.

put

it what
so

another he drawn

designer
he

should his

have line

thought
to

out

exactly
the
as

puts

final of

paper,

for

line

becomes have

business found
to

datum

serious

importance,

careless

architects

Architectural
cost

Drawing
damning
in their also
common

and
of

Draughtsmen
an

their
stares

when in
warn

the the

evidence
contract

ill-considered

line

them

face

drawings.
an

would
has habit The which

students far
too

against
in shadows

abuse
years every

of
;

skiography,
and that

which
the

become of

recent
over are

is,

projecting
is that like
an

violent the

part of the
have which
seen

plan. plans
shadow column

result look

drawings

illegible.I haycocks,
than in

arrangement
more

of

the

of the

column

is far

prominent
is it

the

plan
and

of the besides In and

itself.
the

Nothing

whatever

gained by this,
makes eschew in

making

plan

unreadable students
to

also

it very
all such
a

ugly.
tricks way. the the
are

geometrical drawings
devices, and
The be
content

should
a

do

plain thing
when that of
we

plain
to

situation of

is almost

reversed

come

second mind
not

function
of another

architectural
the here

drawing,
of
an

producing
idea. of

in We

impression
with
at
a

architectural literal
one

concerned

bare
a

and

statement

facts.

The

impression aimed
aims forms whole
at

is the

complex

that

is, the
of
a

draughtsman
abstract
and
as a

producing

impression
but of
to

not

only
as

certain

of

architecture,

those its
even

forms

whole,

considered
of

in relation

placing
the

on

the

ment site, its environof the

on

sky

and

landscape, and
have their the
an

intention

building.
value than of of the the that

All the data total

these

matters

important

bearing

the

design, and given by

presentation is scarcelyless working

be

essential up

drawings,
to

in

the

building
The

impression to

conveyed
had
to

another hard and and

mind.

line

in the

geometricaldrawing
even

be

precisenow clinging
on

becomes
to

sensitive, idea,
as

tentative, feeUng its way

in order and
to

the
plexity. com-

it were, Absolute

suggest

it in all its multifarious accuracy of

as a

exhaustive in
a

detail
a

is

less It

important
may
to

here

than in rules

accuracy

the

statement

whole.

be the

found,
strict

setting up
of the

perspective of
that the

building according
is

art,

result

disappointing ;

10

Architectural
his

Drawing
the ideas

and
most

Draughtsmen
remarkable

in
an

"prison"
who

series, is

instance
of architectural
to

of

artist

expressed
artist in
a

by
have form

means

forms, where
means

another

might
feebler and

attempted
the

do

so

by

of

figures,and
Hubert

tendency

appears

in of

Panini,
ruins. Before I and

Robert,

the

eighteenth century painters

proceed

to

trace

the

development
call the

of

architectural
attention
to

drawing
a

illustration, I should
house between

student's of

useful

half-way
and

the that

two

extremes

geometrical
The The in

drawings object
hnes

perspective, and
is to vanish show in
at

is isometrical and

projection.
elevation. is not of the

of this
not

in either first

one

drawing, plan
case,
so

do

that

the
some

drawing
appearance where

perspective,though
and it is this shown that with

sight

it has

it,

differentiates the

it from
set

drawings
out

plan,
as

though
the of

elevation, is
Bramante The scale

in

perspective,such

beautiful
a

drawing by
for
to

in the usual

Ufiizi

Gallery at Florence
of and above of

project

St.
set

Peter's. down
to

method

isometrical
upper and

projection is
square the
to

the

ground
one

plans
behind

the
on

bottom
a

line of the line shows

set

picture,and
out
to
an

other,

guide
best the
out

angle
of

45

degrees, or
On

whatever this
to

angle
line
set

the of the

purpose features the and

the

building.
it is the

guide
are

heights
to

which and

intended ruled

show from Greece

the In

scale

of

plan

lines

off

these and

points.
Rome

Spiers
is
a

Anderson's isometrical
an

Architecture
view
amount
use

of
the of this Art

there

masterly
shows what

of

Colosseum information process. de Batir

by Guadet,
can

which

immense

be the les

given

in

one

drawing
p.
a

by

the

of

In chez

illustration Romains the

facing
there is

12

from

Choisy's
in
an

variation
out at

the

method

described used this

above,
method

plan being freely

to

set

angle.

Choisy

illustrate

his

History of

Architecture.

Purpose of Architectural
Though
architecture
as we

Drawing
oldest of the
modem.
a

is in

one

sense

the

tectural arts, archiI

ting set;

drawing,
do
not out

know Ictinus

it, is comparatively

doubt
of

that the

when

designed
accuracy

the

Parthenon,
have been of which

most

delicate
and

must

made have

those

subtleties been

of

outline
and could

profile,the by
been the

rules

only
of

discovered

determined
never

careful
out

calculations

expert students,
or

have it

carried
to

by

rule of

of the
;

thumb

by

eye. Thermae

Nor,

again, is
set

possible
without

conceive careful it is
a

great Roman
but any such

being
have time

out

very and

plans

plans
from

necessarilyperished,
immemorial Uttle of

table regretbeen

fact

that

attention technical been.

has

paid
and

to

architects'

drawings, masterpieces they

cared bad have about

dexterity
When
;

draughtsmanship though
was once

often the for

the
one

building
would of of any the
set

up
a

nobody
many

drawings
the

but

sacrifice the and

good
of

pictures
Vitruvius

working
to

ings draw-

Baths

Caracalla.
in
a

refers

the
no

drawing
record
or

plan

elevation
even

very

cursory has

manner, us,

but unless

fragment,
marble up With in

of

plan,
which

reached

we

include Severus

plan
the the

of

Rome,

Vespasian
Urbis. of the Roman

and

afterwards

Templum

Sacrae

gradual break-up
older the
art
were

Empire

most

of the East
or

secrets

of

an

lost. it went

Architecture
East of
;

split up
we

into

and

West,
of

and the

best

of of

but

know

little

nothing
Anthemius but and The his

methods

practice
as

the

Byzantine

architects.

of Tralles actual title

is described
''

the

architect

of Santa of and

Sophia,
machines builder.

was

the firjxa^o-^ouxi/' than little

as

maker

devices, less of the

architect show

the

engineer
of of
masons

Romanesque

buildings
and could

trace

the

architect's
were,

pencil. Vigorous
were

picturesque
have been

many

them
on

they general
with ninth

yet such
of

as

built The St.

by
mere

the

instruction

superior authority.
the

diagram
made in

plan
the

inscriptions of

monastery

of

Gall,

12

Architectural
is
an

Drawing
and

and
in

Draughtsmen
to

century,

instance,*

such,
into

fact, continued
Middle
William
an

be

the

practice of building
beheve,
an no

till well for

the that

Ages.
of

There

is, I
was

evidence
or,

supposing
other

Wykeham
and

architect

indeed,
who

than the

influential finance in and

highly
of

intelligent person important

of the the

organised

conduct the

building enterprises,and
or

was,

fact, in
not

position
of
met

patron,

client,
or

as

we

call

him,

in that
we are

either

modem

architect

builder. intricacies

Here,
of

indeed,

by

difficult
out

problem.

The

Gothic and and and

vaulting,the setting
the

of

hemes, groining-ribs,
of the modem

tercerets,

like, tax

the

best

abihties
that
so no

draughtsman,

it is difficult to elevation
or

imagine

general scheme,
and the

plan, section,
as

of cathedrals
was

complete
and
on

homogeneous
works

Sahsbury
the

Lincoln of their

pared pre-

throughout
of well
are

periods

building ;
proper
rare,

yet

authentic
and exist and the

examples
as

real
as

working
elevations,

drawings,
are

with

plans
they

sections,
at

extremely
of the

if

all.

There and of

certain
are

drawings
two

cathedrals
of the been
west

of Siena front of

Cologne,
Cathedral
del

there

the

elevations
to

Orvieto,
of Siena the
not

supposed
soon

have

made he
was

by

Lorenzo

Maitano

after These

13 lo,

when

appointed
were

capo-mcestro of
carried

Duomo.

drawings, drawings,
not

which

not

out,
out to

are

really working

inasmuch

as

they
near

are

set

in make

shght perspective which, though

one

correct,
as

is
as

enough
and

doubt
are

whether

they

can

be the the

early

1310, the

one's

suspicions
and central the

heightened by
fine

precision figures in
are

of the

draughtsmanship
of the

drawings
The

of

tympanum
manner

archway.
with
the

designs

in

the for

ItaUan

of
assort

Gothic,
ill with

rectangular compartments pinnacles,gables, and

carving, which
crockets
"

floriated

of the
describes

upper

part of the
paper
I have

design.
referred
to ;

Burges
could

this in the
a

but

by

no

stretch

of

tion imagina-

it be

considered

working drawing.

VI!

rt-rSr

fr.f-

ti'Sff

FALATiK
chez ks
Romains

Isometrical Drawing.

By

A.

Choisy.

From

LArt

de

Batir

"
OQ

"

D 0
o (L)

X
d
w
"

C c o

"

CO

iS
4)

Purpose
These

of Architectural
I believe, the
nearest

Drawing
approach
; to
a

13 ing workif

drawings
to

are,

drawing
were

be

found
that

in the

Middle
that

Ages
the

but

I doubt

they

made
was

with

object, or
the

necessity for working

On
draw de the appears
not

drawings
hand,
is

felt by seriously
there
were men

Gothic

builders.
and

the very

other

that

who

could

draw,
of

well,

proved
book

by
was

the
once

famous
in Louis its the

sketch-book

Villard

Honnecourt. well-known
to to

This

possessionof FeUbien,
and
was

historiographerof
known the httle about

XIV.,

though
too

he
a

have reahse
at
a

origin,he
of its

good

judge

remarkable when Le

quaUty
Brun
was

draughtsmanship,
of the
arts
was

and

that and
to

time

dictator

in

France

J.

H.

Mansart

its

leading architect.
in

Attention
Lassus in

drawn Darcel

the

book

by
the

Quicherat
httle

1849,
by
in of

and

when

and and

reproduced
annotated

album

hthography

1858,
Gothic
a new

WiUis's

edition
as

appeared
revelation
to

1859, most
a new

of the and

revivaUsts
earth

regarded

it

the

heaven

; the

sanction,
hitherto
was,

in

fact,

the

ingenious h5^otheses
inner
art

which But and

to

they

had

evolved

from
to

their their

consciousness.
even more

its effect
histrionic be in learnt his
own

I it the

think,
was

make

unreal
the lesson he

than from

before, because
of and be another have this
as

they

mistook drew For in

studies
manner

artist, who
he and of
saw

what the
one

liked of

natural

it.

methods
age have

presentation which
mere

may in

sincere

genuine drawing

become

conventions because of
a

; tricks

that

lost their

meaning,

they
Yet

been
was

divorced
so

from that

the he

patient observation
set to

facts. vellum

Burges

deUghted
own

work

to

make
"

sketch-book
of
now

of his

in the

manner

of de leather

Honnecourt
as a

volume and

sheets, thirty-six
in he the

bound of the

in

green

pocket-book,
British

Hbrary

Royal
of

Institute

of

Architects.

This

filled with
Rose of

drawings
Sharon,

elephants, rhinoceros,
and

birds

and

beasts, the

heartsease

honeysuckle, crockets,
all drawn in that

gargoyles,scraps

of

architecture, fancy heads,

14
"

Architectural
strong
thick
an

Drawing
bold
eye
to

and
Burges
on

Draughtsmen
called the
as

good

line,"
their

as

it, one
and

cannot

with help feeling, of the forms. took the It

was a

effect

page

the

similitude veriof he

Gothic

manner,

rather

than could that and

searching
very

studies when

pity, because
It
was a

Burges

draw

well in
to most

trouble.
about
was

pity, too,

nobody,
not
even

fact, knew
a

anything
when he

Villard bom.

de

Honnecourt,
he
was an

century

That

observant

and
on

spirited
with
"

draughtsman
a men

is shown

by

his sketches, drawn and

in ink amiss

vellum
to

strong, trenchant
and

line ;

nothing

came

Villard

animals,

stags, Uons, sheep and

of

horses, ostriches, eagles,

Rheims of and

grasshoppers,flying buttresses, bays

and with of had the

Cathedral,
the
one

ings mouldof Laon sheets

details of architecture,
famous
out
cows,

drawing
Cambrai,

Tower
or

the

apse

of

two

figuresset
a

in

geometrical diagrams,
for artists Villard but he down
was

exercises
to not
an

in

design which
of
as

pecuUar

fascination

the
an

middle architect

the
we

sixteenth should
were

century.
understand

Probably
the

term,
in the

was

artist, and
fourteenth all his

the

arts

not

differentiated whatever
same

thirteenth and
two

and in

centuries.

He there
a

drew

took keen

his

fancy,
The

nearly

drawings

is the

vitaUty.
match
seen

figureswrestling suggest
any

professionalwresthng
the artist and has has in

more

vividly than
the

photograph, qualitiesof symbolical

an

because such of the

same a

and
us

reahsed
a

essential

contest,

given

summary the

statement,

wrestling matches
tense

general, of

watching
for the

for final

opening, grip.
The

strain

of

adversaries and the selection

playing
appears

quality
of
a

of line and

in the

admirable above

ing draw-

swan,

strange-looking creature
Another

it, rather

like

sloth

with

its great claws.

figure here
"

reproduced
a

(facingp. 15)
of the
utter

tells its

story with
of

pathetic intensity

brief

note

abandonment deserve

despair.
careful

These

drawings
not
as

the

study
as

of

the

architectural of what may

student,

models

for imitation, but

examples

CQ

X X X
d

t:

"
8
c! o

C
to

"

"

"

Purpose
be

of Architectural
by
very and be
an

Drawing
if these and
an means

15

done
on

in

drawing

simple

means,

are

based

personal study
It
are

observation,

inspired by
instant that could school

real

conviction.

must

not

supposed
immature time. the He

for
man,

these
not

drawings
escape those

the

work

of of

but

Villard
to

the

tradition
who who
a

his

belonged
windows

the

of and

artists
men

designed
concealed

glorious
under
a

of formal Villard

Bourges

Chartres,

rather and
a

convention de Honnehe

strong feeling and

court must

burning imagination,
much and of and drawn

have reached

observed

great deal
Une. To

before
a

could

have

this power the

seem

of flexibility apses and and

modem in
are

architectural

student may

plans

chevets, indicated
and than
seen so

rough
but

freehand,
were

loose
not

ragged,
for he
more

they
the

they
to

probably
Villard
to

intended

briefest admired. little

notes,
And
more

remind
came

of

places
them

that

had

and

if it than the the

carrying

out, it is
as

quite possible that

would have been

such

rough indications
and

these

given

to
on

builder, complete
traditional

well-founded of the
a

reliance
masons.

being placed
For be knew these these
as

knowledge
full

master
mere

between These he
was

people rough

with

knowledge
are

hint
a man

may who

enough.
what
matters

sketch

plans only
been

the artist
to

work who
set

of had down the

about, and
have in

an

studied
one

closely would plans

more

able

of

cated compliman, draughts-

correct

proportion.

To is the

architectural of

particularly,drawing symbol
of
a

expression

knowledge
one

and finds earUer

the both
men

fund

of

accumulated and

observations, and
in the power

in these of the

medieval

drawings
the
an

drawings
of

of

the

Renaissance,
parts of

same

selectingand
There had is in and

indicating the
no

essential in

architectural The

design.

labour
own

wasted mind
a

mechanical idea of

finish. what
or

draughtsman
to

his

clear
was

he

intended could in work

convey, way

ehminated the

all that its

superfluous
There

any

obscure earlier

lucidityof

expression.

is in the

of these

i6

Architectural
a

Drawing
austerity of
conditions artists

and

Draughtsmen
which will

men

certain the
more

abstract

statement

disappear

under No

complicated
there
as were

of later

architecture. the

doubt
as

other de

and

designers in
:

Middle

Ages
and than

capable

Villard

Honnecourt and
;

Eudes

de
are

Montreuil,
no more

Hugh
names,
are

Libergiers,for example,
may have
to to

others, who
but

been
us.

such So far

men

they

and

their

ings drawis
cerned, con-

unknown there
seems

as

the the the

individual veil of the

artist Middle Rheims the

be
names

no

of lifting
even

Ages.
and

We

do

not

know

the
or

of
or

sculptors of
artist of

x\uxerre, of Amiens
of

Notre

Dame,

of the

windows
"

Bourges,

or

of

the whose

jewellers, enamellers, masterpieces

afford and

illuminators
us

those
too

incomparable
rare,

artists of

glimpses, far
less

of

world
from

astonishing beauty
Had
there
men

not

astonishing
to

remoteness

ourselves.

it
can

been be
were

necessary little doubt

prepare in
a

elaborate

working
rich

drawings,
there
were

that of

period
The and

so

in art

who

capable
were

doing

it.

probable explanation
that the and tradition the of

is that

such

drawings

not

necessary, among

building that
of

undoubtedly

existed the

workmen rendered there builder

was

tradition

design preserved by drawings

of unnecessary.

clergy,
When both
were

elaborate

architectural
one manner

only
and the
owner,

building conceivable,
from the his

to

general
done the

instructions the
as mason

latter
stones

enough,

rest out

was

by

working

and

setting them
At
to

on

building

it grew.

the

end

of the

fifteenth
were men

century, when
who In
one

Gothic
set

art
a

was

ing draw-

its close, there of

a

could

up

geometrical
are a

elevation German is
a

Gothic
to

facade.
scale, and

Egger's collection

there I

few

drawings drawing
made of

(facingp. 17),which
as

reproduce, only
have

considerable who

excellence, such
had been

could
to

been

by somebody
and who

accustomed
the

geometrical
of

drawing,
This

perfectly understood
I beUeve,
a rare

setting out
of
a

tracery.

is, however,

example

working drawing

"TJJI

page

from

Burgess

Vellum

Sketch of

Boole. British

In

the

Collection

of

the

Royal

Institute

Architects

tn on

UJ

B
o

(L)

-0
c

"

Purpose of
of
or

Architectural
I know

Drawing
instances details It is
were

17
in French
set out

the]^fifteenth century.
English Gothic,
and and

of
to

no

similar that

incline
on

think

full size the

straightaway
given
famihar be

the

building.
Even
man

probable
to

that

only
to

instructions
some

were

general

directions in hke the

the

men worktury cen-

follow

example.
that
a a

fifteenth

it is not worked deal and

at
a

to

supposed
of

Sir

Reginald Bray
he
to

drawing-board,Hke
Chapel Henry
on

modem

architect, when
His share
was

had

to

with

the

VII.
the

organise
character

administer, and
his

to decide

general purpose
with
an

and

of

building.
him, would

The have he
some

workman,
no

immemorial

tradition
so

behind

in interpreting directions difficulty detail he

a

given, and perhaps

of As
In the
we

though

might modify his fancy

serious of

here would

and
not

there, and
conceive

introduce

his own,
from

possibihty of
shall
see,

deviation

well-marked
has

path.
reversed.

in

modem
of the

architecture

this

been

the

early days
an

Renaissance,
and
run,

architecture if
to
we

was so

to

great

extent

exotic, introduced
to

may

put it,
detail,

by
to

scholars.

It had

be

explained,
men,
or no

down thus in

its minutest

unlearned
which

and

ignorant
had Uttle

and

architectural

manship, draughts-

place

medieval

times, became

and

remains

an

absolute
an

necessity in

neo-classic

architecture.

It
some

might
of the of

be

interesting speculation to
of

consider
were

how
to

far
the

quaUties

medieval

architecture its

due

absence of

organised working drawings :

its

informaUty, neglect
in

its habit of metry sym-

improvisation in detail,
in

and irregularities
rehance for much
on

design.

The

impHcit

drawings

modem

would practice

certainlyaccount
Gothic. For is to

of the

mechanical
was

quaUty

of

modem
art

Gothic
say,

architecture
scheme

essentially a
conduct
were

builder's

that and and

its whole the

and

local, initiated
a

practisedon
this in the had
one

spot, not

administered
that

from the
saw

distance

immense
not

advantage,
the
abstract
"

designers worked

concrete,

in

they

i8

Architectural

Drawing
doing,
and could
test

and

Draughtsmen
alter their

what

they
the work

were

and

programme
have

as

went

along.
in the

Our

modem

Gothic

architects

been

trained,
offices

not

workshop They through

of
a

and

on

scaffolding,
means

but

in

tects' archi-

and

schools.

have

no

of

conveying
which

their

ideas

to

the

builder

but

system

of

drawing
method

came

into

existence

for

the

purpose

quite
to

different

of

design. design

It

is

no

doubt

impossible
of the

nowadays
usual

carry

out

Gothic

except

by thinking
is

means

working
in other

drawings regards,
and would the

but

cannot

help

that

here,

as

modem

Gothic

designer
to

kicking
inevitable

against
and

the

pricks,
his

be

wiser

to

mit sub-

the

design
more on

buildings

in

manner

less

dependent proportion
of careful

on

details

and

abstract

quahties
to

of

hne

and

which

it

is

possible

to

convey

the

builder

by

means

working

drawings.

20

Architectural
interest the
to

Drawing
subject
enthusiasts for them of

and
the for from

Draughtsmen
picture, for
these artists that

in of

the

actual
were

Renaissance
were

the

new

architecture
remains of

scholars

discovering
their

the

ancient

Rome,
with
were

and the

ingenuous

minds rules of
men

were

fascinated

by experiments
All these

newly

formulated in their
to

perspective.
who

painters
their
art

humanists
were

way its

"

thought problems
in

about
;

and

keenly
in
a

aUve that

many-sided

painters
times the

who that

realised the

way

has

been
are

forgotten
also

modem that

Arts, though
be alive
to

separate,

related, and
art

artist his
as a

should
own.

beauty
has

in every been

and and

in

other

arts

than

Architecture for their of view

used,
many

admirably
since cry
to

used,
those back

background
but the the

pictures by
has of Carlo

painters
it is Le
a

days
from

point

altered, and

far

columns and

and

curtains

Mignard
CriveUi.

and

Brun

the

fantastic

courts

of galleries
as

Architecture, Renaissance,
of and I

handled be
an

by

the

Itahan

painters of
well my their of the worth

the the

earlier
tion atten-

would

interestingstudy,
;

painter merely

students that

but these
to

it is outside
men,

present subject,
enthusiasm
new

note

by

and and artist

architecture, contributed
also who in
was a

the the

spreading
education and
"

ideas,
humbler The
.

special degree

to

of

striving to illustrate
in

Vitruvius

Albert!

profiles

and
in

sections the

CriveUi's

"

Annunciation of

suggest the

types given
and

early printed books

architecture, their

immaturity

over-accentuation. We left Villard de

Honnecourt

at

some

unknown

date

in

the

Middle
in
a

Ages,

an

accomphshed
and

artist in his way,

manner,
an

yet hardly, except

summary I take

rudimentary
from internal his sketch-book the Middle

architectural
to

man. draughtswandering
century.

him,
with

evidence,

have

been

about After have

France

early

in the

fourteenth the
at

him,
noted

we

draw and

Ages blank,
German

with

exceptions I
the end of

unimportant

exceptions

Draughtsmen
the fifteenth

of the
one

16th
might

Century
say with
not

21

century.

Indeed,

reasonable

that probability

architectural

draughtsmanship
yet arisen
in the had

did

exist, the

necessity for
But

it not

having

as

tecture. practice of archicome we

meanwhile of

in

Italy

there

about call

that

astonishing outburst
vaguely
and the the
"

intellectual Scholars

activity
had

which

quite

the

Renaissance." of the of

revealed the Arts

the
were

splendour
no

beauty

ancient
of the

world, and
tradition

longer

expression

centuries

moving
each
a

by imperceptible
mind
a on

degrees, but subject

of his

represented
choice, and
and

play

of
to

man's
extent

the of

became

great
mere

matter

personal
in

revelation

initiative.
were

The

indications

adequate
to

medieval in
a

architecture
manner

useless
to to

when

designers wished
workman.

build than

unknown

the
master

ordinary
that

More

that, the

designer
of the

had

manner

himself, by
ancient da tecture archiSan

unremitting study
still left in Gallo is almost the

innumerable The famous

to

fragments
album studies of of

of

Italy.

Giuliano the

entirely devoted
sixteenth

antique, and

throughout
rOrme, students,
Du

century
and

SerHo,
a

Palladio, Vignola, De
of of other the enthusiastic

Perac,
years

BuUant,
in
on

host

spent

collecting details
the

antique,

some

by genuine
each the of other's individual

research

spot,
It
was

others

by cribbing freely from

to

sketch-books. and
to

owing change

this

emancipation
and
came

of

this

radical

in the

aims

methods into

architecture It

that

architectural its very of Middle about

draughtsmanship
a essentially

existence. the
were

is, by

nature,

modem

art,

complement
undreamt that that

of methods of in the

architecture

and it

archaeology which
was

Ages,
the

for

the

revival

of the

scholarship
two

brought

and study of archaeology,

together
The

revolutionised is

architecture.
that architectural

astonishing thing
appear latter in

draughtsmanship
certain

should in the

Italy,completely equipped, within

fifteenth

limits,

part of the

century.

The

earliest

example

22

Architectural
I know in is
a

Drawing
in the

and
Ufiizi

Draughtsmen
Gallery by Brunelleschi,
pilasteris drawing
we now

that who

drawing Except
is
a

died

1446.
it

that

the

Corinthian

fifteen the
to

diameters Renaissance GiuUano

were

high,
was

perfectly competent
to
move

but
come

beginning
Gallo, Fra

fast, and
and

da

San
exact

Giocondo,
Fra Gallo

Bramante,
and

men

who

almost in

contemporaries,
the elder is of
an

Giocondo the year

Bramante In the

dying
Vatican
da San

15 15,

and

San album

after.

Library
Gallo, the
The ink
on

there

of

drawings by
of that
are

Giuliano
famous made
i

ablest

the

elder

generation
in foot

family.*
pen inches and

drawings, seventy-six sheepskin

a

number,
6 inches

in

sheets

by
the

foot

3|-

wide, evidently
of

liher aureus,
were

in which
to

only

most

highly
are

prized examples
one or

architecture
San of Gallo Roman

be

included.
most

There

two

designs by
from the
on

himself, but

of his

subjects
The that date the

are

taken the
was

ruins the

buildings in Italy.
is
as

on

cartouche

title page

1465,

but

it appears
a

book

only put together in 1490,

a

it includes for

plan
di

and

tion elevain him in

of

palace designed by
it
"

San that

Gallo

Lorenzo

Medici

1488,
the the and

and

was

not

till 1490 Gallo." Some drew

Lorenzo
are,

allowed officially
moreover,

title of

da

San

There of the the

differences
are

draughtsmanship.
San Gallo the with
never

earUer

drawings
but in

crude,
of the

figure well,
and

many the

drawings
are

profiles are
clearness
I

firm and

unfaltering, and
for

details sheet

drawn

precision,as,
Here
one

instance, the

of

capitals which
method of

reproduce.

gets, for the

which
became

first time,

I the
'

drawing
of of

architectural
of and

details the

general
;

in in

printed

books

architecture
statement

following century
of for

and

its directness this

scholarly selection
technical

essential
illus-

'\

features

is,in

some

respects, a model
"

book

See

G. Clausse, and has been

"

Giamberii
the

{Antonio) called
the elder
in

Da

San
San

Gallo Gallo

for
at

detailed

description
and

of The

this

album

of

drawings by

Florence

Vienna.

album

reproduced

facsimile

by

Otto

Hannassowitz

(Leipzig, 1900).

Sheet

of

details

of

the
da

Colosseum.

By
da

Giuliano

da Vatican

San

Gallo.

From

the

Libro

Giuliano

San

Gallo,

Library

Drawing

by

Giuliano

da

San

Gallo. Vatican

From

the

Libro

da

Giutiano

da.

San

Gallo,

Library

Draughtsmen
tration.
a

of the
with
a

16th
firm

Century
yet flexible
of that
French have

23

The
of

forms

are

given
and
was

line, with

minimum

shading
which and

without

any

trace

passion

for

elaborate of the their

finish Louis

introduced
which These
never
men

by
seems

the
to out

men draughtsappealed
facts
to

XIV.,

ItaHan

temperament.
and detail

were

after
one

and

simplest record,
or

they passed
to

on

from

covered freshly distheir search and San

invented

another,
of the what

impatient
of their
out

in

for

knowledge,

careless

almost well
no

effect

drawings,
do. In

yet they did

Gallo's

extremely
there is

they
about

set

to

drawings
no

fumbling
of their

for the

forms such

of architecture,
as

misapprehension
when San he
was

logical purpose,
does
not

are

almost what knew he

inevitable is

the GaUo

draughtsman
was a

understand architect who of in this about of Santa drawn

a

drawing.
well what

well-trained the He have is which of his da and the of

so a

very

about of the

"

namely,

accumulation appears, wandered

materials

for

the

technique
de

neo-classic.
to

respect resembling Villard

and drawn and whatever
a

Honnecourt,

took

his

fancy.
section
a

There
on

fine he

plan
has

Sophia,
mermaid the
seas.

characteristic
a

holding
On
;

ship,perhaps
other he
was

note

wanderings beyond
San Gallo had his

the

hand,
a

Giuliano

limitations of

though

conscientious
we

accurate

man draughtsarchitecture

astonishing
he
was

skill if

consider
seems,

state

of

elsewhere,
which and makes

destitute, it
architects'
ten

that

imaginative insight

some

sketches him

delightfullysuggestive
in the
care

personal.
and the

The

drawings by
the
same

Uffizi
;

Gallery, in
work has
temporary con-

outline little of

tint, show

methodical
in the
a

his his

quality possessed
Bramante and

high degree by
two most

great

by

distinguished
and his
own

tects archison

of the

next

generation, Baldassare
Gallo the the book
on

Peruzzi

Antonio
zeal for

da

San

younger.

Still, in its scholarship and

da San Gallo which marks tremendous the

knowledge,
of
a new

of Giuliano

opening

outlook

architecture, from

24

Architectural
were

Drawing
follow of the in the

and

Draughtsmen
untiring
ever

developments
into the

to

future, that
has

research

architecture element collection

past which

been

since

an

essential
The

of every of

architect's
and
now

training.
as

plans

details, generally known

in the Soane work of

"The

Sketch-book

of Andreas richer of in

Coner,"
than

Museum,
San

is another

example,
is known
on

plans
and

the

Gallo.

Nothing
only
Rome,
There

Coner,
a

the

collection him
to

is called

by

his

name

account

of

letter from
a

Bernardo appears

Rucellai, dated
in the book.

September
were

ist, 1513,

copy

of which work in

two certainly
or

artists at

this collection, and

probably

three
In Fra very

four.* Uffizi

the

Gallery there
It is well of
a

is

drawing
but

in

outline

and

tint for

by
the

Giocondo.f
fine sketch has

drawn,

chiefly remarkable
back
at

in ink nine

figureleaning

much the of

foreshortened.

Bramante that

characteristic in

drawings
and

Uffizi,
a

notably
for

perspective study

plan

elevation first

project

St. Peter's, to which

and
most

I referred

in my

chapter J
not

an

admirable very certain of

workmanhke

drawing,

which
but I and
want

only
that

shows
a

closely

the

designer's intention,
and
was

suggests
have
not

roughness
his
due

carelessness, which

noted
in the

in

others

drawings,
to

temperamental,
of

least The

degree
work,
as an

inexactness
that

thought
most

or

of

dexterity.
s

however,
architectural

shows

clearly
is the
one

Bramante'

power

draughtsman
of which
2

magnificent engraving
other copy
i

in
to

the

British
The

Museum,

only

is known

exist.

plate measures
dated. It

feet 4 inches

high by
interior upper

foot 8 inches
a

wide, and hall, with

is not
two
*

represents the
the Ashby

of

temple

or

vaulted
See the

aisles,of which
Introduction

part is shown
reproductions

broken
issued

and by

by

Dr. in

and

the

in facsimile

the

British

School di

at

Rome

1904. Civile
et

fSee by

Disegni
Giacomo

Architettura

Militate

in

the

Uffizi

Gallery, Florence,

lished pub-

Brogi (Florence, 1907).

VIII.

% Brogi, Plate

\2t

From

"

The

Book

of

Andreas

Coner."

Soane

Museum

Engraving

by

Bramante.

In

the

British

Museum

/L

*
k-nfeHft

^d

"

Sheet

of

Studies

by

Bramante

and

Peruzzi.

From

De Plate

Geymuller's
XVIII

PrimlU've

Projectsfor SL

Peters

at Rome,

Draughtsmen
ruinous.
with in head In the and of

of the
the

16th

Century
an

25 old

foreground is

kneeling figure of
on

man,
men

forepart of
the
a

horse

the

right, and beyond.

In
two

young the

the

dress

time

standing about
on

centre

of the
the

left aisle is ends the in

candelabrum
half

pedestal
with
a

on

steps, and

aisle in

octagon
In the which

apse,

great shell upside

the arch of above
a

down
a

semi-dome.

tympanum
is shown the

of the

is

circular
a

opening through

back

bust.
;

It is

strange drawing, of which

a rare

meaning
architectural Andrea

is obscure

but
a

it shows

faculty of
on

chastened of his of

design,

and

technique scarcely
not to

based

that the

master,
that

Mantegna,
artist.
call outlook I

and
do

inferior
to

to

work

incomparable
when I

desire
the this

draw of
as

invidious

comparisons
and with the years

attention
shown

difference

intellectual

imaginative
drawings
before,
also

in

engraving

compared
two

made the

by Villard
medievaUst
a

de

Honnecourt,
details

say with

hundred

noting his
in the

child-like candour, and

the
man

with

vivacity

of observation

given only to children, and

of

of the

Renaissance

plenitude

his

skill and in
a

knowledge, searching for hidden

meanings, Hving again

Giuliano Bramante and da San his

half his be

imaginary
brother,
taken
as as

world
son

of

the

past.
and tectural archiwork In

Gallo,
may

his

Antonio,
of the of

pupils
and

the

founders with

drawing,
of the de later

their
have

drawings,
an

compared
archaic
at

draughtsmen,
of in

almost St.

purity
Rome,
of
are

line.

collection

projects 1875,
the

for

Peter's

published by drawings by all

characteristic.
"

Geymiiller
men,

there

are

reproductions
of method and

these

and
own was

differences
are

Bramante's
notes

drawings passing

impatient
mind rather

masterful finished

rough
studiesand taken with

of what

in his

than
on

His

plan

of St. Peter's

is sketched

in chalk

squared
he of both has the
as

paper,
not

in the the any

freehand
to

drawing
set to out

of St. Pietro the circular Bramante's

in Montorio

trouble

perspective
powers,

stairs
a

approach

accuracy.

designer

26 and
and
more

Architectural
a

Drawing
are

and
;

Draughtsmen
but

draughtsman,

beyond

question

Peruzzi, his architects,

which sheet he of made

pupil
went

assistant, and
to

the of the

greatest of the
matter

Renaissance

the
as

root

in the and

drawings

for and

Bramante,

in that

splendid
made in

characteristic At the of

plan
are

sketches perspective

1505-6.
the

Uffizi there Massimi remarkable combined the

to

seven

drawings by Peruzzi, including

scale,
a

plan

the
a

Palace

to

finely drawn
certain exercise

sheet of of which

of the

details, and
ancient the

tive perspecin
one

showing drawing,
were an

buildings
architects in
use

which

of

Renaissance

very

fond, and

continued

down
to

the

eighteenth
same

century.
collection seated

Among
is
an

the

drawings

attributed of
a

Raphael

in the

admirable
a

drawing
on

Doric

vestibule, with
which

figure of

soldier

the artist

step in the
and Antonio freedom of

foreground,
da of San

is the pen-

probably by
younger and-ink. there motives
seem are

Peruzzi.
an

This

Gallo in

possessed
In
some

extraordinary

drawing
for of St.

de

Geymiiller's collection deHghtful

younger the Uttle

projects

Peter's

perspectivestudies
These that

architectural
and sketches
to

by
to
me

the

San
sort

Gallo. of

side notes students

exactly
out

thing

ought

aim

at

in

working
of the

their in

tions designs,trial flightsof imagination, realisa-

effect
not

perspective

of

the what

geometrical design.
he is about, he and

If

the
to

designer has
visualise of his his

clearlyin by rough
and

his mind sketches this

ought
position com-

ideas

of the often

blocking
reveal motives

building,
on

will

unexpected
of

difiiculties and,
The
are

the

other

hand,
shown

valuable in these

design.

skill and
a

trueness

of hand
to

suggestive sketches
younger

striking testimony
to

the

great ability of the

San

Gallo, and
That both
a

the

range

of his could and the

knowledge only
a

of architectural

forms. who is
was

such fine

drawings draughtsman
In there

be

made of of

by

man

master

architecture

proved
of for

by

two

examples.
Architects

library
a

the of

Royal
sketch

Institute

British

is

volume

designs

i^-':':-\-r^^^v J^J^.^Jl,

Studies

by

Antonio

da

San

Gallo.

From at Rome

de

Geymiiller's Primiti've

Pro/ecis

for St, Peters

(1875). PI. 35

I
I

4)

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o

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en

Draughtsmen
buildings by
architect
person, of

of the
Venn. and
of

16th
Chambers

Century
was
an

27
famous

Chambers Somerset
at
are

and

the

House,
the

Yenn,
a

though

uninteresting
Yet
such

arrived

dignity
and

Royal

Academician.
with

their
sketches
or

drawings
as or

ragged

ignorant compared
Their

those

of San

Gallo. the

authors,
of

whether the

Chambers
sureness

Yenn,

both, lacked

grip
work

architecture,
of the Italian.

of

line, which
is
a

the distinguishes

The there

other is
a

example

painter.
of
a

In of

de

Geymiiller's collection
of domed

reproduction
to

sheet da

drawings
I do
as

churches

buted attriis

Leonardo the

Vinci.
is

not

know
as

if the the

attribution

correct, but
ideas

drawing
to

uncertain

half-thought-out
is authentic

they attempt dispose

once

indicate, and
and for
"

if the
claims

drawing
of that which
name.

it would
to

all of the

great artist
have I
never

architectural

attainment

claims, indeed,
worth many the

been this reaUse

substantiated
because the
not

by

any

evidence

refer fail

to to

only students, but

that
the power of the

others

often
well

fact
on

drawing architecture
of

is, to

this extent,
and is

all fours be

with

power
cases

drawing

the

figure well,
and and

only

to

obtained
As

in both
a

by close
of

observation

hard-won

knowledge.
in

fine
are

example
understood

figure drawing
and handled

architecture,
master,
Scottish I

which
the

both

by
of

give

remarkable

drawing
to

in

the

collection Orsi da

the

National

Gallery, attributed

Lelio

Novellara

(1511-87).
Architectural

draughtsmanship,
mature

as

handled
as

by
was

the

men

I have for

named,

was

now

and

as

complete
"

necessary

their purpose
of the sixteenth

but

at
"

about
a

this time

at

the

beginning,that
The

is,

century

fresh

factor, of
books of

vast

possibilities, appears
first

in

the

printed and

illustrated
was

architecture. Venice

illustrated edition of Vitruvius

de

published at
with the
cum

by Johannes
M. Vitruvius Tabula
ut

Tridino, alias Tacuino,

Solifo

in

15 ii,

title of

per Jocundum

Castigatiorfactus,

et figuris

28

Architectural
legi
et

Drawing
This
seen

and
modest

Draughtsmen
expectation
illustration foundations.
are was

jam

intelUgi possit.
may the be

perfectly imof

fulfilled, as
"

from

the

(p. 83)
In

Opus

signinum,"

laying
of 1513

of

concrete

the still.

rare

little Giunta

edition

the

illustrations
was

rougher
for

The years

draughtsmanship
a

here affair. that

exhibited
It the
seems

at

first and

many

very

humble

after surprising,

Bramante's
should of I

magnificent engraving,
have the been illustrated
as

early editions
as

of Vitruvius The do

crudely
had
a

they

were.

hmitations
with it ; de but

wood-block

engraver those

good

deal

to

also
of did As
a

suspect that

enterprising houses, Johannes

of

Tridino of

Venice, Philippus di Giunta

not
care

Florence, and

Fezandat

Paris,
men.

to

pay

the

price demanded
architectural had
not

by reallycompetent
illustrations up
a were

matter

of

fact, these

extremely
whether
so

rough.
he
was

The

draughtsman

yet made
or

his

mind

dra^ving geometrical
the
two.
as

elevations

perspective,

he

combined

On

the

other

hand,

in he

the illustrating
was

life of of such

prehistoricman fancy drawings

felt much
rams,
more

described
that
on

by Vitruvius,

capable
he the The

as

p. 13 with

(editionof 151 1), and

the and ram's Ionic head orders.
to

evidently batteringdetails of In

at

his

ease

of

than

with

the

Corinthian
were

classical architecture
the
to next

still very

strange

the

illustrator.

Hypnerotomachia
the

(1499) ^^^
it

architecture
to

is

altogether
extent

inferior in the

figure,nor

did

improve

any

appreciable

generation.
The first been

genuine advance
made

in

architectural

illustration Serlio
was

seems

to

have

by
in

Serlio

in his Architettura. but the the he followed

to

not

fine Gallo which

draughtsman
in the he

any

sense,

GiuHano
at

da facts of

San with tecture. archiand

critical

spiritand
to

anxiety study
and and the much

get

the

appHed
The fine

himself

presentation
sheet what make

plan

and

section
are

of elevation
an

details student

of of

the

Colosseum

pretty
endeavour

intelligent
the

architecture

might

to

at

present

Sheet

of

Details

from

the

Colosseum.

By

Sebastiano

Serllo

(Venice,

1544)

Plate XXVII,

Regola delk Cinque Ordinu

By Giacomo

Barrozzio

da

Vignola

Draughtsmen
day, allowing for
one

of the

16th
the

Century
detail of and the

29

the

exigencies of
with the

woodcut.

Here, again, if
Villard
the
men

compares

them

architectural
the the

de

Honnecourt,
of
an

the

difference is

between

medievalist

the apse the

Renaissance
in

apparent,
second

first

just noting

idea

of

single line, the

even

measuring, conscientiouslyplotting
a

plan

of

so

huge
careful

building
studies

as

the the and

Colosseum,
detail.
set

and

supplementing
Lihro
Terzo
was

this
a

with

of

Serlio's

memorable in

achievement,

the

type

of

architectural
curious laboured

illustration is that of his had the he

Italy

for the lost

rest

of the of it in

century.
the
at

The and in this

thing

himself

touch

dull

plates
but Serlio

Extraordinario failed
at

Libra, published
French of
a

Lyons

155
book

the

Court,
broken
a

and
man.

perhaps

represented
the

desperate
of the

effort

Palladio\
of

followed and
manner

methods

Libro into

Terzo the

with

great deal
of he his had

skill

not
;

infrequent lapses
but his way details of
was,
are

banalities
and and

individual
an

clearly drawn,
the
an

lent excelof

sketchy
houses.

indicating
in

plans

elevations

his

Palladio
for the and

fact,

accomphshed
at

draughtsman.
is beautifully

His

design

completion
is

of St. Petronio
to

Bologna
of the

drawn,
in that
to most

technically superior

any

drawings
in interest ings draw-

interestingcollection, though
Peruzzi Palladio's think

it is inferior and the

the of

strange design by Baldassare

Terribilia.*
success,

diagram

In I

spite
incline
on

of
to

undoubted
that
man

ability and
at was,

pre-eminent
intent
on

he
as

was

least he
was

as

his

public as
for
to

his

art.

Good

he

"

The

drawings According
of the

the the

completion
author
was

of
the

St.

Petronio

are

now

in

the

museum

of that

church. the basis

some

of

catalogue (M. Angelo

Terribiha about
the

Gatti, Bologna, 1894),

1570.
from

collection

formed
a

by

year

It the

now

tains con-

fifty-onedesigns
The
most

and

wood

model

of the
are

church
those

dating
made

sixteenth between

century.
1522-23,
a

important
1547, de
;

of

the

designs
and
was

by
in

Peruzzi

Vignola

about

GiuUo

Romano which

C. Lombard

(1546),Ranuzzi
1556

(1547) ;

design by Dominique
and

Varignana,

actually begun
and

; Terribilia 's

designs

diagrams

designs by

Palladio

(1577-79) ;

by

Rainaldi

(1626).

30

Architectural
with rather in his

Drawing
cheap
and easy

and

Draughtsmen
stucco

content of

attainments,
instead in vain of the of

instead

masonry in his

architecture,
;

conventions will look this

of

searching
works for order

study

drawings
a

and

one

in his

anything
which delle I

like such

drawing
the

as rare

plate

Composite

reproduce

from

first edition Cardinal

as

Vignola's Regola
and

Cinque Ordini,
at

dedicated
same

to

Famese,

issued, I

beUeve,
The

about

the

date
are

Palladio's of

Architettura. the

examples
books
on

illustrated

typical
use

methods

of the

trating illusteenth sixof

architecture, in
The
two

in

Italy throughout
from the

century.
Barbaro's

illustrations

title pages

Vitruvius, pubhshed

by

Marcohni

(1556),and
of

Palladio's

Architettura, published by
show the how merit far of
on

Domenico go.

Franceschi first-rate

Venice but

(1570),
it has

they

could

It is not

work,

simplicity of statement,
a

and

its technical of
was

superiority
De
an

is evident Architecture much

comparison
the
same

with

the

illustrations
De in

I'Orme's artist somewhat

*

of

about

date.
uncertain

TOrme

of

abiUty

and

energy, On

but p.

taste, and Chaudiere's

unscrupulous poacher.
is
an

256,

verso,

in
two

edition,
at

illustration

of

frontispiecewith
Serlio's of his fourth

lofty

obelisks

the

end, lifted bodily from

edition he says of he

book of

(PlateLVIII.,
an

Venetian

1551).
measured
to
a

One

drawings
from Antonio the

Ionic has

capital,which
a

himself

antique,
da San

suspicious
elder in

resemblance the
.

drawing
De

by

Gallo view of

the the

Uffizi Anet

collection. of and

I'Orme's
so

perspective

Chapel
on

of p.

is out
verso,

drawing,
the
man

is the could

absurdly designed
do
so

house

254,

who

badly

as

this

would of the

hardly
Colosseum annexed

have
on

made
the De

the

excellent page,
a some

sectional

perspective
which
was

opposite
I'Orme up and is

drawing

probably
are

by

from down

Italian. book of

There the
same

other

examples
there

scattered much

his

sort, but

is also

that
*

originaland
Regnauld

authentic
Chaudidre.

his

diagrams

Paris, 1626,

The

Frontispiece of the

Architettura

of

Andrea

Palladio

(1570j

Draughtsmen
of bad

of the
of

16th

Century
"

31

stereotomy,

his

details
the VIII.
"

carpentry, his famous

good

and

architects," and
Arch

characteristic

drawing
he says
et

of
was

Corinthian converted
fate The De fectly per-

Triumphal
from of
a

(Bk.
to
a

245),

which

triumph
of of
at

grandissime
TOrme's

desolation in
a

desastre," the
latter

most

poor

De

schemes of

his roof

days.
shows

drawing
rOrme

part of the
his

construction is
an

(p. 292)
of
a

best, and
and
to

excellent

example

detail
p.

understood
I have interest meanwhile pure The
as

clearly represented. (See facing

De TOrme than
more on

27.)

referred of

account

of the
as

historical
but

his illustrations
France had

for
an

their

value

drawings,

produced

architectural in

draughtsman
or

and Itahans

simple, without
had
seen

parallel either
way of

England
"

in
a

Italy.

their from

own

drawing
from

architecture

method,

will be

the

illustrations of
a

Serlio and
was

Palladio, that

rather

gHded
the

over

difficulties idea of

detail, but

well
most

adapted
direct

for

showing
These and
on men

general
used
as a

building

in

the for

way.

firm, thick
the
case

line, suitable

the

wood-block,

though,

in
was

of

Serlio, they employed

of
a

perspective
their

occasion, it
were

perspective
rather

rudimentary
illustrations. di

sort, and
In

drawings
du Perac

diagrams
his

than

1575
a

Etienne book copper. this

produced

Vestigidell' Antiquita
sketches

Roma,

rare

containing some
Du
His
mente

freehand thirty-nine has

as

engraved
to
"

on

Perac'

work
was,

considerable he says in his

value archaeological

day.

object

dedication,

rappresentar fideldid with the

i residui

della Romana

grandezza," and
But neither instinct

this he he for
was nor

much

greater loyalty than

seem

Palladio. the French

Itahans and

to next

have

satisfied in

completeness,
due
to

the

advance du in

architectural

drawing

Jacques
spent

Androuet Ms
hfe

Cerceau, that
out

indefatigable draughtsman
architectural
fancies in

who and

turning
did
more

worthless than

ments fragviews value.

that of the

harm of

good,
which

and
are

also of

making

great houses

France,

inestimable

32
I

Architectural
have elsewhere
sum *

Drawing
Du conclusion of I

and

Draughtsmen
position as
to
"

described the
sense

Cerceau's
came

an

artist, and
one

shall
he

merely
Uttle

up

that that

on

the
a

hand

had

genuine
detail he
the work

architecture, and

as

designer of
that,
on

multifarious
other

was

almost he did

wholly mischievous,
in his Plus

but

the is

hand,

that

Excellents
to

Bastimens the

quite admirable
student. realise the
Du He had One

in its way, has

and

of the

highest value
with

historical

only

to

compare work
was

them done curious

Thorpe's drawings to
the in Frenchman.
a

importance

of the

by

Cerceau's

technique
a

and,

way, the he

limited.

at his command

line of British

imfalteringprecision;
Museum
On show the

splendid
could, if
there is and

series of
he

drawings
draw
of of
an

in

the

that

wished,

almost

anything.

other the

hand,

little trace

imagination reaching beyond

as

subject,
in the His

giving

hints

such alluringpossibilities, and the younger accuracy,

so

is found Gallo.

nail thumb-

sketches
are

of Peruzzi and
one

San but

drawings
one

very
are

clear

of scientific may say

they

leave

cold

they

tight,if
Du

of

drawing, unsuggestive, imrehis the versions

exact

sponsive.

Cerceau

worked

at conscientiously to

of

buildings, indifferent
of the honest in

apparently
as

anything
seems

but have the

ment state-

building

it

was.

He

to

been

intensely
in his

these

drawings
And it is
on

of the

buildings,and
former that the his

opposite

fancy designs.
rests.

enduring reputation question

sits at without his of the ing-board, drawto

The

other

half

of his
;

work

raises
man

whole who

draughtsman-designer
and
turns to

that

is, of the
after

out

design

design

regard

materials, and
was an

the

conditions

of their
men

reaUsation
at the

in fact. of the the

There

unwholesome
:

growth
par
DietterUn

of such

end

sixteenth

century
or

Du

Cerceau Wendel

excellence, followed

by

Flemings
tedious

Germans,

and

De

Vries,% with
Sons),
Vol.

their

History of
De

French

Architecture,
Simmetrica

1494-1661

(Bell "

I, pp.

147-150.

Quinque

Columnarum

Distributione, per Vindelinum

De

Dieterlin, Pictorein
of

argentinensera, 1593.

{ Vriese,

or

Vries, published his book

designs in 1563,

Draughtsmen of
ingenuity
Sambin,*
These and

the
and

16th
in
a

Century
different ambitious
much
more manner

33

deplorable taste,
better
the of the

by
vulgar.

of
men

Dijon,a
were

draughtsman,
of

but
the

and

forenmners seventeenth
are

able considerdiscuss

draughtsmen
in the
next

century whom
of the

I shall
same

chapter. They
builders of

all members

family,
profitable un-

industrious

chdteaux
the

and d'Espagne, indefatigable Du Cerceau

was a

designers in
Sambin
a

air.
a

draughtsman, approaching
construction,
for

carver,

Dietterlin
the

painter.
view of

Instead

of

architecture of

from

point
and
now

of

planning and
the
art
as

proportion and
conceivable these

scale, they treated

freak may

free material It is

every
that when down
exact

caprice
and then

of

ornament.

possible

plates

suggest ideas.

Personally,
Du Cerceau
the has

looking through
to

these

books
never

of

design, from
the

Oppenord,
the

I have

found
to

thing by
and

wanted,
there

phrase for
been
a

idea
for

one

wished
work

convey.

That the

always
of these

market
of
seems

such in
me

is shown

abimdance
turies. cen-

books

design
to to

the

seventeenth

eighteenth
in
a

Yet

it from

almost
a

impossible that,
that

design
effect,
;

thought
these
can

out

end

end,

design
can

aims

at

unity

of

gobbets only

from in

another
a

mind

be

rightlyassimilated
details
men

they

result
or

compilation of
The of the

architectural
view The of such

without is

meaning
removed under

cohesion. that

point
The

of

widely design
of data

from

architect. scale and

latter

has of his

to

conditions. specific

character
the scale

chimney-

piece, for example,

the
as room

is conditioned it stands, and that

to

by

and has

character these
as

in which of

it is not

till he steel any

point
that his

departure
can

flint and
work
to

meet,

it were,
the blem pro-

and

mind

begin
the

purpose

on

before

him.

But

draughtsman
etc., pax

of the

type of Du
Sambin,

Cerceau,
demeurant k

"

(Euvre

de

la DiversitS 1572. A

des

Termes,
of

Maistre terminal

Hugues

Dijon.
most

Lyons,

collection

designs of

figures, many

of them

of the

appaUing description.
F

34
the

Architectural
omamentalist,

Drawing
the unwary in his
own

and
who

Draughtsmen
spins
he been and his
net

is like for the

spider
;

anywhere
more

and
than

everywhere
not,
of been his well into of

moreover,

has,

often

caught
own

net,
curves

and

deceived and

by

the

faciHty foUage

pencil.

Those drawn

volutes

fancy thing
this of the

were

enough
some

in the

Hne, but
;

quite

another

translated

intractable
and and

material

and the
so

it is here, in work of many

to

disregard
these Arts. Here from viro order the Conrad that

material

handicraft,
engravers has

that been

draughtsmen

dangerous

is

plate
that

from

De

Vries

engraved
"

in nobili

1563,

and

one

book

Dietterlin
"

dedicated I

et ornatissimo

Schlosberger
the any student
one

in

1593.
know
"

only
to
"

show

these

plates

in

may

what

avoid.
is
an

Either
of

of these all that it to be and who service

plates or
is vile and serious

of Sambin's in He
as

Termes
Yet

epitome
believed
to

abominable

design.
dedicated he

Dietterlin his
work

architecture. ruder

amateurs,
workmen

"the
were

mechanics,"
out

calls

the

unfortunate he
was

to

carry Art.

his

designs, and
describes of
one

beheved of his

doing
as

to

the

Sambin
five

"Termes" and
as

composed
en

after

the

orders

the

antique,

"simple

enrichissement, bien
The and in havoc
our own

proportionne."
such
men

that

wrought
and

in

German
art

and

Flemish
known
out
ever

Elizabethan

Jacobean

is well

to

students. suchvStuff

When
as

architectural
was no

draughtsmen
reason

launched

into

this, there

why

they

should
even

stop.

Men

of the

type of De
as

Vries

and
are

Dietterlin, and
the

Du

Cerceau,

considered whom should

;

omamentahsts,
should

parasites
The aim

of of

architecture,
the and
;

students be

entirely eschew. knowledge

the ends
to

student tion observa-

first-hand of and The

acquired by study
be aimed
at

knowledge
methods

in

art

knowledge
are

of be

the

materials

through
line

which
be

those the

ends

to

realised.

draughtsman's

should

expression of

Sheet

of

Details.

By

De

Vries

(1563)

Design

by

Wendel

Dietterlin

(1593)

36

Architectural
simply
that and

Drawing
meditation
can

and

Draughtsmen
without in the the aids
out

forms
resources

by

internal

and

and his bad eye

draughtsmanship
them he their final

supply shape.
of become of At

working
bottom
;

ideas

giving

of the
to

draughtsmanship
has
not

imperfect
trained

powers
to

observation

been of form

sufficiently
and
to to

sensitive

ments refine-

subtle

relations

proportion,
The
as

faculty study
for the

which of form

is

essential
is and reahse

fine

architectural for of it the

design.
architect

constant

quite
the it

as

important
means

it
to

is

sculptor,
form,
of
to

readiest and

qualifying
to to

oneself

visualise the

render

inteUigible
have the of
reason

others,
learn

is
to

study
observe

drawing.
and

Architectural

students
and this
statements

accurately
and than

closely,
conventional
That of the

is

why
seen

trick
are

drawing
worse

merely
useless.

objects
ends
as

habit,
power the fresh for

if of habit

persisted seeing
of

in,

by they
the and

depriving actually
that

the
are,

draughtsman
because
sees

things

he
not
as

gets
so

into

regarding
for
one

objects

he

much

material
out

study
of

reaHsation,
stock
are

but
ventions. con-

merely

an

occasion

trotting
and

his

of the
men

pet

Harding's
The years

trees

Front's

buildings
of form.
to

result.
of

remedy
ago
"

is

the

searching
for

study
"

The urge

fifty
the

Burges, figure
were

example
for

used the There

strongly
student,
and

necessity
think barriers
obstacle

of

drawing

architectural should be and the

they

perfectly right.
the
at

no

unnecessary immediate and

between
can

idea
rate

and be

its

reaHsation,

one

any of

removed

by

tenacious

inteUigent

study

draughtsmanship.

Plate

IX.

Li'vre d* Architecture,

By

Alexander

Franclni

(1640)

C o

_D

n3
"
(0

3 (0

CI

(0

c
(0

a.

CHAPTER

III

FRENCH

DRAUGHTSMEN

OF

THE

SEVENTEENTH

CENTURY

Du

Cerceau
in

founded France
;
:

two

traditions

of
of

architectural
of

manship draughtsfor
one,

the the

first, that second,

of
sorts

details
more

design

every that

sort

of the had

decoration
accurate
run

and

far

valuable

of

record
riot in all

existing buildings.
of

Du

Cerceau
came

self himamiss metalfrom and

more

caprices,

and

nothing

to

his

imtiring
grotesques,
and

pencil

"

candlesticks, houses,
with

cabinets,

jewellery,
subjects

work,

arabesques,
he
"

temples,
all,
in with
were

reUgion

mythology
bad for taste.
a

dealt
successors

impartial
rather for

imdeviating
cautious,
arts

His

France
of
on

and,

time,
such La

produced
as

collections treatise

designs

special by
some

and

handicrafts,

the in

ironwork

issued

Matthurin

Jousse
to
was

of

Fleche,
processes
to

1625,
of the of

work

prepared

with

regard
Jousse by

the

actual

metal-worker.
La in both

Matthurin and
was

blacksmith
the

the

Jesuits

Fldche,
the

helped
of his

Martellange,
Of
Barbet

Jesuit
and
a

architect,
who

preparation
issued

books.* architectural

Collot,
years

collections Barbet

of

details
a

few

later, very
and in

little

is known.
to

dedicated

book

of

altars

chimney-pieces
1635.
own

RicheUeu,
are

engraved
interest from

by

Abraham

Bosse,
to

His

illustrations

of

because,
recent

according
in

his

account,
so

they
the

were

drawn

examples
Jousse
was a

Paris,

and

represent
for he
also

details

of

Matthurin of Viator's and in

remarkable in
on

man

in

his
on

way,

published
a

tion translathe five

Perspective
1642
a

1626,

treatise

carpentry,
Le Notices Secret
sur

and

treatise

on

orders,

book

stereotomy
See

entitled

d' Architecture,

dicouvrant

fidilement
pp. 52-54-

les traits

gSonUtriques."

Destailleur's

Quelqttes

Artistes

Franfais,

37

38

Architectural
architecture in

Drawing
the

and

Draughtsmen
period
in
of the

domestic
Louis
to

Uttle-studied

reign of belongs
Le

XIII.
same

Collot's

work,
Both

though
men were

different

manner,

the

period.

contemporaries
engraver

of

Muet,
water-

the

well-kuown of

architect, and
Florence.
are

of

Francini, the

and

engineer
to

Francini's in the in
no

designs
of the

of

doorways designs
the

according
of the best time work

the

five orders

taste
sense

worst

of of

Louis
a

XIII.,

and

of representative

period by

which

has

been

Uttle The

studied
one

and

stood imperfectly under-

modem

students.
is the
to

which of his
a

is
bad

reproduced (facing
lot, but
he

p.

36,
to

Plate

IX.)

least

offensive

it is

only
any

fair

Francini

mention
work for
on

that the

in

preface

disclaims

for qualification
a

his

but

amiable, if inadequate, merit

as

of

sincere

admiration
Le

architecture
the other
was

the
was

first of the
an

arts.

Pierre His with Maniere

Muet,
de

hand,

able

architect.
to

hien

Bastir

the the

first serious

attempt
I'Orme's

deal

domestic

architecture The

since
well

days

of and

De

colossal
and
to

undertaking.
students do
so

plates are
the work

drawn Le Muet

well
should

engraved,
be

in

studying

of
not

careful

in the

edition, and original

in the

in the

abominable
for

reprintthat
Jombert
of
was

Jombert
one

pubUshed
those

eighteenth century,
collected and

of

publishing pirates who

them
new

plates

all kinds
and then

and

dates, touched
them
most
as

up

usually spoilt them,

Le Plate

reissued
more

pubUcations.
at
a

Muet's

work

suffered

than the

of them of

his hands.

I. of the of

second
Le

part

in

edition and and

1647 is
the

characteristic between such

a

example
the
as

Muet's trained

method,
architect

shows the

difference

work

of the

casual

designer
engraver,
on

Francini. but very

Abraham

Bosse, the

draughtsman

and

capable drawing
many of

some quarrel-

artist, pubHshed
in of
"

his treatise
folio

the

of the

five orders of details

1664,*
the
A

finelyengraved
some

containing

plates

orders, and
edition
was

geometrical designs
in

doorways
to

which

second

issued

1688, in which

the

dedication

Colbert

is omitted.

3
(0

a
0)

c
a"

OQ

Designs

for

Arabesques.

Drawn

by

Jean

Lepautre.

Engraved

by

MarieMe

40

Architectural
Lepautre

Drawing
for the
to

and
error

Draughtsmen
by engravings
real for His

irony, and
of
an

atoned

of his ways

unimpeachable
artist

loyalty
his known for

the

throne.
sets

interest

as

begins
the

with

amazing

of

designs

decorations,
He
"

of which

earhest

example
every

is dated

1657.*
decoration

produced
interiors, grottoes,
says

design

after

design

conceivable

chimney-pieces, ceilings,alcoves, cartouches,

fountains, and
that
vases
"

mausolea,

the

series
the

seem

inexhaustible.
to

Mariette
any

Lepautre hardly began

this have of

took

trouble
on

make copper,

prehminary
as

studies, but
he His
went
;

straight

away

the

improvising
of

and
must

quahty is, I think,

worked with in

characteristic

Lepautre.
There

mind

extraordinary rapidity.
his work,
In his and
no

is little trace
whatever he of

profound study

affectation

research. archaeological
off-hand the
at

ceiUngs,for example,
of that and ribs
as

adopted

general arrangement
the
on

and
a

partments com-

customary
his

time. it with

But
a

given
richness

datum,

fancy began
to
some

to

play
the

facilitythat
Its charm and

recalls

extent

exuberant its
so

genius

of Rubens.

is its obvious and the of

a

wealth

of resource,

ease never-failing

vivacity,

certain

gallant manner,
banalities
of Du

different It

and
was

so

refreshing after
true

laboured those In

Cerceau. of the

the of

expression
XIV.
engrave the the

splendid opening
Lepautre
was

years

reign
the

Louis
to to

1668 of

employed
in the
to

by

Court year

fetes

Versailles, and

following
Soloman
In
and

engrave

audience the
"

given by
of

Louis the

XIV. Sultan.

Aga

Mustapha

Feraga,
him
in set in

ambassador
In

1670,
engraved
in

Colbert

entrusted

1654 Lepautre had

borders,
of which Merlen

already designed
there in the be
noted
are

some

of those
later

pictures,set
The
a

elaborate
was

many St.

examples

his
as

work.
on

1654

sold

by J. Van
Blond,

Rue

Jacques, Antwerp,
Lepautre
did
not

appears

title page
own

my

collection. Le

It should Pierre

that and

always
them

engrave
on

his

ings. drawand the

Mariette,
with

Langlois

engraved

occasion,

student
was

should
of

again regard
the did

suspicion Jombert's
Alexandre ThSorie
et Le

reprints of painter
and

1751.

Jean

Le

Blond
trated, illuswas an

uncle

Jean Baptiste
not

Blond,
du

architect, who
in 1709,
and

if he

write, the

Pratique

Jardinage

excellent

draughtsman.

Design

for

Chimneypiece. Engraved by

Drawn Le Blond

by

Jean

Lepautre.

3
m

-J
c

CQ

"

3
(0

a
V

-]
c
"3

CQ

"

French
with famous features

Draughtsmen
engravings made engravings which
reign
of Louis volumes.

of the
for
was

17th
Cabinet
include did

Century
du Rot* all the

41
that

part of the
series of
of the

the
to

notable
to

XIV.,

and drew

actually extend
and

twenty-three foUo
of the year de he

Lepautre
in the the years

engraved
in the in the

views
latter Cour the

grotto

at

Versailles

1672-3-6, and
of Alcestis the of
was

produced plates of
and of the
some

performance

Marbre

Malade

Imaginaire in
illustrations But
have

gardens
the
not

before

grotto, and
illuminations
the

remarkable

fireworks
at

and
in

at

Versailles. He
;

Lepautre
been here

his the

best

Cabinet

du

Rot.

may

frightened by
is timid he any and

insistent

interference
has Uttle it of

of Colbert the
must
verve

his work
and

imcertain, and
elsewhere.
of

brilliancy that
difficult for the

shows artist of
men

Indeed,

have
do

been

strong
and

individuaUty to
the and

himself the

justice in

service
of such that

Colbert
as

King, J.
H.

and

imder

ponderous

control work of

Le

Brun
for

Mansart.
him his
to

However,
into
the

the

Lepautre

did

Colbert and He of

carried

Academy
the after

Painting and
engraver up

Sculpture,
of his
to

estabUshed

reputation as
out

leading

day.
day only

continued his
death

turn

plate
His

plate almost
was

the and

in his

1682.

industry

prodigious,
and

equalled by
Destailleur
as

amazing
that

faciUty of design
he
to

draughtsmanship.
thousand Du Cerceau for Hollar

estimates
some

engraved
fourteen
made has

at

least two

plates
; and

against
addition of

thirteen
must

hundred

by

in
sort

he

have

sketches been

innumerable beaten
some

every

purpose.
over

His

record

by

alone,
and be

who
even

produced
Piranesi
in mind

2,700

engraved plates in
of him in

fifty years,
it must

falls short

quantity, though
s

borne
and

that

many

of Piranesi'

plates were

very

elaborate

very
*

much

larger.
incomplete
Vol. copy of is this in the The

There

is

an

library

of

the

Royal plates

Institute
are

of

British existence.
G

Architects.

XXIII.

missing.

original copper

still in

42

Architectural
Lepautre
issued
d vases,

Drawing
interminable Vltalienne
et

and
series
d,

Draughtsmen
of
sets

of

small

gravings, en-

alcoves

la

Romaine,
screens,

designs

for

panels, friezes,
"

mausolea, candelabra,
to

chapels,
and the
scenes

grotesques,
the
"

ceilings, cartouches,
of

from versions

morphoses Meta-

Ovid, according

accepted
and the

of classical French
were

subjects painters

as

handled the time. and the His the

by

Le

Brun

Romanised

of

Architecture, figures,and

landscapes

all handled

in turn,

again
area

and

again

for, in spite of the

dance abunrather
on

of his

work,

of his

artistic
were

thought lay mainly

;

in

small
themes

compass.

figure subjects
school of the and

variations

supplied by
but
on

Carracci

that His

is, they

were

competent,
was

conventional

unconvincing.
than
on

architecture
;

based his

Louis
of

Le

Vau
was

rather

Fran9ois Mansart
unrestrained.

and is not

detail
that

ornament

exuberant
to

and

It
too

here

his

originaUtyis
and execution

be
to

sought.
be

Lepautre
of

was

facile in
one

conception
those

capable
hold
a

striking out
the mind
as as

of

great imaginative designs which

the
to

something beyond plate by

was

reach which

of other I have

men

"

such

design

that he

Bramante

already

referred.
was

Where in his

strong, and

perhaps unsurpassed by imagination

in which
were was

anyone,

power
as,

of

presentation. His
was

essentially dramatic,
"

indeed,
in of which it in

the

age

he

lived

that

age

of

Louis

XIV.,
all

half

men's

lives

spent in ceremonial
was

and seize
on

nearly

play-acting. Lepautre
at
once

quick
"

to

features and with such

which

would

arrest

attention
he could

violent combine of

action, richness
his motives

audacity of ornament,
a

and and

freshness few
men

of have

invention
ever more

briUiancy
His
vases

draughtsmanship

as

possessed.
than heroic of the
mere

for

gardens, for example,

of of
a. vase.

are

very
as

much it were,

working drawings
embodiment in
most

They
as

are,

the

type and

all vases,

Lepautre
in

conceived

them,

magnificent
of the

ornament,

splendid
in

position, amid

environment

glorious Court

Nj

By

Pierre

Lepautre

(after 1692).

From

the

Cabinet

du

Rot

Besan9on,

By

Daniel

Marot.

From

the

Cabinet

da

Rot

44
not him. and into

Architectural
only
to

Drawing
before
a

and
to

Draughtsmen
Berain, who
with succeeded his needle soared able remark-

Du

Cerceau
was

him, but

Berain, too,
a

skilful

artist, dexterous
his

master

of Court

pageants, but
was

imagination
one

never

the

empyrean. the French who

Lepautre

indeed

of the

most

among
a

artists of the
had
no

seventeenth
reason

century.
love the

Bernini,
French,
tural architec-

fine

judge,

great
and the his

to
on

thought highly
decoration
has and been

of his lasted

work,
into

influence

French
;

eighteenth century
artists First the

indeed, it

fully appreciated by
of the curious
set

all French and that worth I do the in

except the pedants

Destailleur
a

poseurs the

Revolution information works

was

Empire.

gives

eighteenth century
130
to

complete 1827 they

worth
a case

of his

from
not

150

francs.
would

In be

sold but this the

for 30

francs.
not

know

what francs
;

they
and

now,
as

probably
that induces

less than

1,500

it is such

caution

in

accepting reputations unless

the

verified the
to

by
of

verdict

of time. is

From

historical
it

point
full

of

view,

work that had

Lepautre
art

important, because
the labours reached of its

gives

expression
of men Frenchin the work
to to

mature

which and

generations

built

up,

which
The

culminating point
that

reign
of

of Louis

XIV.
from

wide
Du
was

difference Cerceau also made

a was

separates the

Lepautre
of

that

of It

not

solelydue

the the

genius
advance

Lepautre.
French death Cerceau.
as

striking testimony
in the hundred that years of

that the du

art

had

which

separate
Androuet The

of

Jean

Lepautre

from

Jacques

Lepautre, Lepautre, days,

to to

the

Du
son

Cerceau,
of
was

were

family
his

of

artists.
in his

Pierre latter Mansart

the after

eldest his

Jean, helped employed

father

and

death
of
to

by Jules Hardouin
in

engrave
act
as

many

the

royal buildings,and extremely

the
"

private,
not

perhaps,

ghost

that

astute

and

very that
mestre

scrupulous
Mansart

architect.
the

Mariette younger

makes

remark significant

employed

Lepautre

pour

rediger et

c
a

".

DQ

'S
U

to

'33

c
(0

Q
""

DQ

U
(0

French
au

Draughtsmen of
pensies,"and
for the adds

the

17th

Century

45

net

ses

that, in fact, Lepautre made

nearly

all the and the

drawings

buildings and
It
was

gardens
nothing

at

Versailles,Marly,

royal houses.
"

not

for

that

Jules

Hardouin and

Mansart

was

surintendant Order
of

des

Bdtiments,"

King's Counsellor,
in he salaries

Chevalier
livres
a

of
annum.

the

St.

Michel, drawing
fair to add that viz.

50,000
to

per

It is for the

only

managed
of

get

special post created

and
engraver
a

Pierre

Lepautre,

that

man draughtswas,

of

royal buildings. Pierre

To
a

Lepautre
du Roi of after in

in

fact,

most

capable draughtsman.
other

the

Cabinet

he the its

contributed,

among
an

drawings,

fine of

bird's-eyeview
Namur made died been the

Invalides, and

excellent

engraving
He

capture in 1692 (facingp. 42).

Meanwhile,
to the
to

is believed

to have

1716.

another Daniel

most

able
was

draughtsman
son

had

coming
tect, archiHe

front. whose

Marot

the

of

Jean Marot,
was

work

I shall return the

later, and
school

bom

in

1650.

began
he

his

training in
a

excellent

of his

father, from
in

whom

learnt been the

precisionin
but

architectural
influence
came

design
of
to

which
was

Lepautre
irresistible,

had
and of

lacking ;
work of

the

the

latter

Daniel

Marot for the work du

resemble

so

closelythat
be difficult in The
in the work entire of the

Lepautre that, except

cases

signatures,it would
of
one

certain that he

to

tell the

from
some

the of the

other.

did

for the There and the

Cabinet
is
a

Roi

is

best

collection.

very

clear

and

precise perspective
Dole, Besan9on, and
in

InvaUdes,
are

plates of Maestricht,
of black and the

Ypr^
and
to

masterpieces
I

white

line, both

in

design
in

execution.* show how

reproduce
this

plate
of

of

Besangon
can

(facingp. 43)
become
a

attractive hands.

kind

illustration
was

really
place

competent
among

Daniel

Marot

gaining
career was

foremost

French the

draughtsmen

when
of

his

abruptly checked
of

by
cost

iniquitous Revocation
some

the her
du

Edict
sons
"

Nantes,

which

France

of

the
"

ablest
XX.,

of
Cabinet

soldiers, merchants,

Vol.

Roi,

46

Architectural
craftsmen and
most at

Drawing
of all sorts.

and
Marot,

Draughtsmen
as a

artists, and

Protestant, had
he of
rest

to

fly the country,

service
William of

took

refuge

in Holland, enemy,

where

entered

the
our

Louis'

inveterate the of Dutch

WiUiam

Orange,
of his
more

III., and

Court

spent the

hfe

in

multifarious
architecture.
were

designs
The

decorations,

gardens, and,
of his

rarely, engravings
**

great

majority
He

pubHshed
himself work the

made
to

in Holland.*

usually described
Britain." Marot other The
was

as

tect Archi-

the have

King
been

of

Great

only
one

in

England
at

said

to

designed by Among
of in the many

of

parterres
he made
at

Hampton
Holland is in

Court.
one

designs
state
an

that

in The

magnificent
of

carriage built
inimitable

Hague

1698,

point

execution

piece

of

engraving.
Marot for In made

it his business

to

as supply *'pensees,"

he called and

them,
others.

architects,
other

sculptors,jewellers, gardeners, painters,

his books
to
were

words,

pattern
the
case,
one

books,
is
no

naked

and

ashamed. un-

If, as

appears

be

there could

escaping
wish
was

these
were

parasites of
up
to

modem

architecture,
of Marot and
as

only
Such

they
the

the

standard

Lepautre.
in the in
case

liancy brilmany

of Marot's of his and Two

some

drawing that,
are

of his master, of

engravings
of his

works

of art

themselves,
almost

great beauty,

are ceilings are

finer than

anything by Lepautre.
how the nificent mag-

examples
these

here have of

illustrated. been with

to

Properly executed,
Marot deal
to set out

might

ceiling
the

and

some

colourist

genius
himself space
was

with
not

the have

figures of conveyed
open

central

panels. Tiepolo
the
sense

could the

more

admirably
these known.
"

of

and

joy
not

of bom

the

sky
Marot

but

Tiepolo (bom

in

1693)
The

probably
date made

when
were

made is
as

drawings.
The

exact

when after

they
Marot

made

not

engravings were
by

left France,
date from the

the

All

the

engravings reproduced
Marot is last heard

Wasmuth

(Berlin,1892) having
been born

Holland

period.

Daniel

of in 171 8,

in 1650.

03

u (0

(0

(0

'eo

"3
u

DQ
""

OQ

O
o

*"

48

Architectural
du Roi* On
rooms.

Drawing
a

and
the

Draughtsmen
Grand in the

Cabinet
Louvre.
to

with death

lodging
of says

below

Gallery
he

in

the

the

Israel
that

Sylvestre
he
at

1691

succeeded for all the and

his

Mariette dresses of the

gave

designs
for all the considerable
came

scenery

and

for the Court. and

Opera
Berain

Paris, and
a

plays

ceremonies

acquired

tion reputabe known

for httle
"

quips
"
"

cranks

of

design, which
very fat

to

as

Berinades
in
arm,

monkeys

swinging
in

babies, satyrs piping

out

arm

creatures

ending
and

consoles,
from

set

in

fanciful

background
and about

of

curves

volutes
other for

which

hang

flower-pots

garlands, with
the
to

parrots and
His
are

birds perched strange-looking he cated dedihave

design.
Mansaxt,

designs
not

which chimney-pieces,

attractive, but

would,
of

no

doubt,

been Berain

redeemed
was

by
his in

the best

splendid workmanship
in his of their

their

execution. and of

at

designs

for

the

surface

of walls

ceiUngs,
there in is

and
a

spite
deal

frivoHty,or
in these
one

perhaps because

it,

good
and

of charm

fantastic Du the

decorations, which
but possess
was an a

certain

remind particulars
movement

of in

Cerceau,
latter.

vivacity
extremely
in I
now

lacking
and his

Berain
are

skilful engraver, their

turn

platesof

metal-work

pieces master-

way.
to

the of

other

side

of French

architectural
It
was a

manship, draughtsthe

the aim done than that such

record of the
men

existing buildings.
we

less ambitious
work

artists
"ls

have

been in the

but discussing, sixteenth in the

by

Du

Cerceau

century, and seventeenth,

Jean Marot,
is of far

Israel

Sylvestre, and
to

the

Perelle

greater value
a

the

historical
of

student.

Israel

Sylvestre
and the

engraved

number

of

plates
and

Versailles, the
XVI I. of the

Louvre,
du

Tuileries,in Vols. XL,

views in
"

XIV.,
St. he
and

Cabinet
and
as a

Roi, and

of

Chambord,
XVII.
,

Germain,
was

Monceaux,

Fontainebleau

Vol.

and
Chauveau the Louvre

widely employed
Moine,
XVII.

draughtsman.
and

Berain,

with

Le

engraved
of the

the

ornaments

decorations 1710.

of

the

Tuileries

and

in Vol.

Cabinet

du

Roi, about

OQ
c nJ

-0
"
w

OQ

c 0 -jC
o

3
O
(fl

'53

iK^j^ii^

Triumphal

Arch.

By

Jean

Marot.

Figures

probably

by

Daniel

Marot

French
But the the his work

Draughtsmen
is less
in several of the

of the
than battle
with

17th
of

Century
in Vol. the VII.

49

accomplished

that

Perelle, who

drew of

landscape
Cabinet
the du

plates
Marot

Rot, and

divides

Jean

honour

of

being
was

first father

draughtsman topographical
of Daniel work and of
a

of France. who

Jean
to

Marot have
fused con-

the

son,

Jean,

appears

helped

in with

his

and,

according
Marot,
the the

to

DestaiUeur, has
was an

been architect is
at

him.

Jean
for

father,
of the

of least

ability. His
as

design

completion
and he

Louvre
some

good
and and which

as

Lemercier's,
the Church of

designed

considerable Paris. in the learnt work the Grand He also

houses made of

the

Feuillantines
or

in

engraved
show
a

various certain

projects sobriety
but

designs

air, all
from

and his

precision

actual his

experience

of

building ;

really valuable
known
as

is

Architecture and the

Frangaise
httle

(195 plates),
112

Marot,
of
one

folio, containing
of the

geometrical drawings
as

notable of the I

buildings
most

time,
books

known

the in

Petit

Marot,

perfect little
characteristic
show

of its kind of his his

existence.* These

give

three

examples
Marot
at

drawings.
As
an

drawings perhaps

Jean
of he

best. he
was

accurate

geometrical draughtsman
his
are

architecture

excellent,
the the

but

perspectives, though
rather unless and lifeless, he
was

perfectly well
Marot
was
a

understood
hand La
at

rules,

Jean

poor
or

figure, figures

and
are

helped by Lepautre
In the fine

Bella, his
which the I

bad,
which

if not is and

ridiculous.

plate

reproduce
and

and the

signed

**

Jean

Marot,
above

fecit," all
the main
on

figures

panel,

enrichments

entablature,
architecture
as an

were

almost

certainly drawn
father.
as a

by
Marot

Daniel drew

Marot
too

set

up

by
not

his

Jean

much

architect, and
accuracy he

enough
*

painter;
this latter

that

is, in his anxiety for

should which

In

regard
is

to

book

point

out

that

the the

quality dehcacy

of

the their

engravings

lost

in

any

enlargements,

simply

ruin

of

draughtsmanship.

50

Architectural
missed the

Drawing
essential elements

and
of

Draughtsmen
the

sometimes
wrong

design

and

gave

impression of
drawings
as

the

building.
view
of
no

Such

the

of

Chambord,
were

by beyond
no

one

of the

the

Perelle, with
of

its cavalcade I know

horsemen,

reach

Marot,

and

illustration,certainly
so

photograph, impression
of of

which

gives anything

Uke

vivid

and

correct

an

Chambord,
that

of its bizarre
over

outUne,

of that the of the in

sentiment

Francois I.
this the

still broods
set

its roofs, of woodlands

loneliness

of To

strange
Perelle,
and

jewel

in the
we

desolate
owe a new

Sologne.

moreover,

departure
the

architectural
Hne

drawing,
in the

that the

is the

perspectivewith
of

sight

high

up

picture,

great bird's-eye view

into the

houses

and

grounds stretching away

had such made
as

for miles

country.
as

Du

Cerceau

bird's-eyeviews,
Gaillon such
as as

beautifully drawn
but
or

far

as

they went,

and
a

Blois,

they
an

were

unimaginative outline drawings,

make if he could in the of
a

surveyor
as

engineer might
The in

draw

well
on

Du

Cerceau.

buildings might
or

stand

plain

or

the

moim-

tain, amid
can

rocks from there

the

middle

ploughed field, for

;

all

one

learn views

Du is

Cerceau's
that in
same

drawings

but of

on

Perelle's

bird'swhich
some

eye I of

suggestion
way Nor
was as

atmosphere
in

have the any

already drawings rigid

or

noted of

another

pre-eminent
this power In of his the he

Lepautre.
of Perelle

obtained

by

convention

draughtsmanship.
suggests the
not

plates of
time had

Maisons,
Mazarin

Liencour,
Anne of of

ideals

of

and those

Austria,
I. at

less

clearly than
the ordered Mansart

cated indiof

Frangois

Chambord,
age of

sobriety
from

design

which

separates the

Frangois
of the

the

caprice and
Israel

experiment

of the

the

amateur

early
sons,*

Renaissance.

Sylvestre and
no means was

Perelle, father

and

approached
Perelle.' Gabriel
was as a a

"

It

is

by

easy bom

to at

differentiate Vernon
a

between
in

the the

work

of the

Perelle, the

father,

early

seventeenth

century, and
his

pupil

of

certain

Daniel

Rabel,

painter ; he

helped Sylvestre with

work,

both

Lemercier's

Entrance

to

the

Louvre.

By

Jean

Marot

Z. .'

..r.i'ux

v.^H-iu

etc

lEalitr

cie

la

Sorfyjruie

dit coih:' tie la

ru

The

Sorbonne.

By

Jean

Marot.

From

the

Petit

Marot

52 and any

Architectural
similar
books. the the but
more

Drawing
comparison
of

and

Draughtsmen
with almost show the
as

Kip's engraving

plate by

Perelle

will, however,

incontestable

superiorityof
and The engravers,
arts
were

latter, not
in their in

only

in

technique
grasp the

draughtsmen
the

imaginative
France had rise in

of latter in

problem.
of the We
one

vital than

part

seventeenth had
as

century
"

they
the in

yet become
of Wren
"

England. only

yet

that

is, before

produced

architect from scenery and his

of first-rate

abiUty

Inigo Jones,

an

artist who, his

apart
for the

genius
of

for

architecture, produced

in of the

designs

masques

drawings
drawings
not

not

unworthy
to

Lepautre himself,
work of those But teenth six-

architectural

inferior methods

century

Italians himself.
man

whose His
a

he and

followed.
successor,

Inigo
Webb,
the

Jones stood
was a

by

nephew

John

capable

and
and
as

fair

draughtsman,
of
on

but

had

little of

accompUshment though
he became

distinction
he
went
more

his
an

master.

Wren

himself,
with
as an

excellent skilful
as an

performer
than

T-square and
artist, and
never

compass, showed

drew
any and

as

engineer

capacity

imaginative draughtsman.
are one or

In the

All Souls

Soane

collections

two

good
there

drawings
is

of
to

detail, probably
compare

by
work

Grinling
of

Gibbons

but

nothing

with
the work

the of

contemporary
and

Frenchmen,
Daniel Marot. and

nothing approaching
Yet there Wren
can

Jean Lepautre

himself be
as

drew doubt

much that

of his in the

inspirationfrom
second half

the

French,

httle in

of the
were

seventeenth the the

masters

century,
of the of that

quite

modem

times, the

French and

time
art

in architectural and
was

draughtsmanship
its finest

set

standard
civihsed the and such

estabUshed

tradition

in

every

country.
earlier

It

France,
the of

too, that

was

first in the those from

field, since
drawn

days

of

Renaissance,
architectural
Parallel

with details

finely
the

engraved examples
as

antique,
in

Roland

Freart's

famous

of Architecture
of the

issued

1651, or

the

admirable

measured

drawings

Edifices Antiques de Rome

J)

CQ

S
a

a,

CQ

B
o
o

"

3
(0

"

"

French
made
p.

Draughtsmen
Desgodetz, which
and that elevation
to note

of the

17th

Century
Here

53

by
is

Antoine
an

appeared
a

in 1682.

(facing
and
out

54)

plan
this the

of

capitalby Desgodetz,
architect
expense
to
was

it
to

is of
Rome

interest

young

sent

by Colbert
of the

in

1675

at

King's

make

measured
his

drawings
which
and works Rome.
to

remains

of value least

Roman
to

architecture, and
this in of

book,
first

is of

considerable
means

date, is perhaps the

the the

by

no

the

valuable

long
French

Ust

of

brilUant
at

produced

by

the may

students mention the

Academy
on

I Incidentally,
was

that and the

Desgodetz, kept
arm a

his

way
at

Rome,
for

taken sixteen
was

by
months.

Turks But and

prisoner King
Rome
at

Algiers
long.
made

of

the
to

was

Desgodetz
his

released
were

finally got
on

and the

drawings,

which

engraved, twenty-five
of

his of

return,
the

King's
Louis all the and for of

expense. XIV.
arts
were

The
a as

first

years

reign of
in

period
had the
never

activity and
been

high attainment
before artists in

such

witnessed
of been French
one

France,
the

which the

indeed

labours had the

since

end
It

fifteenth that

century
deserves

long

preparation.
study
of

is

period

careful

and

intimate

all artists. In of of the

eighteenth century
of

we

shall

find

in and

Italy a draughtsman
towards architecture
at

architecture the

transcendent who
or

genius ;
could

the

end

century
anyone

EngUshmen
in the France

draw else

better
;

than the

anywhere

the the

time

but

work

of has

great French
too to

draughtsmen
Its

of

seventeenth

century
I have

been

much

neglected.
in this

historical
;

importance
and
to

attempted
to

indicate

chapter

but
are

its value

suggestiveness
learnt

the

architectural of their
to

draughtsman
innumerable
the

only

be The

by

the among

study
students

engravings.
fashion it in

tendency
and for

fly to

latest
and their

design
be
a

drawing
their

needs
to

very urge

careful them

watching,
to turn

might
for

wise time

teachers

back

Architectural
54

Drawing
and the immediate

and

Draughtsmen
and
to

on

the

present
and

past,

extend

their
of

intellectual
these

imaginative
artists.

horizon

by might

studying
at

the

work

half-forgotten
most

This

least

check

one

of

the

crying
of

faults

in

the

practice
failure
in

of

modem

architecture

its
"

ignorance

antiquity,

its

the

wider

scholarship

of

art.

y/

lA

l"()Rri(^\K

OK

SKPTIMIVS

^lA

h RK

ROMK

I-

iVni !"::"""!(/

.v.f

^iliiJltw^
.uwnnc

.mr

laii"jU.

yi

^n-

From

Les

EdificesAntiques de Rome.

By

Antoine

Desgodetz (Paris, 1682)

lo.:*: -.
The

A^tt'fis Inctdtbat. RMrue. iioffttKmfStbrmcen:'VjmjOtnis

t i

"

"

Sii CtanPnudcga

Frontispiece of Delia

delV Trasportazione Fontana

Obelisco Vaticano,

By

Domenico

(1589).

56
means

Architectural
by
which he had

Drawing
moved
as
"

and
set

Draughtsmen
the in

and the

up

great obeHsk
the

of the of

Vatican,
Pietro. is
a

generally known
The book opens

GugHa,"

Piazza
In either the

St.

with

splendid
the

title page.
;
an on

centre
are

portraitof Fontana,
columns
on

holding

obelisk

side and with

composite
broken
arms

pedestals,supporting
the
centre

entablature cartouche

pediment,
of the the work who

in

of

which

is

the

Pope,

flanked

by

cheerful

angels, gallantly straddling

that
a we

across
us

sides of had

of the
a

pediment.
and

It is evident engraver and of

have order

before than

the

draughtsman
worked
for the

higher

those

Serlio
remarkable with

Palladio, and

this the

sion impresin

is confirmed the

by

drawings
its intricate
at

of

obelisk

process

of

being raised,
of

shoring, its
the

ropes, tana Fon-

and

its crowds
was

figuresdiligentlyworking
the first to modem feel that has

capstans.
of

perhaps
a

fascination

scaffolding

on

which

well-known the

artist

played

so

skilfully. In plate gives

a a

our

frontispieceis standing
erect

obelisk, half-way up.

Another

shows

it

in all its

glory, and
Natale in

finallyFontana
Bonifacio of

great
of

folding plate, engraved

of apotheosis of the up
a

by

Siena,
more

sort

obelisks efforts

and of of

columns Sixtus

general,and
This book

particularly
Fontana method
set

noble
new

Pope

V.

of
a

standard
summary Soane made

architectural

presentation,

far

ahead In the

of the the

though suggestive wood-cuts

collection
there
are

of Palladio.

three

volumes for of

containing
his Archi-

drawings

by
died

Giovanni
at

Battista in 1621
at

Montano the age in

tettura.

Montano book in
was

Rome

eighty-seven,
with and and
a

and

his

published
His the

after
are

his

death

1638,

later

edition
the

1684.
of

drawings
student,

free the

and

capable,

deserve
nerisms man-

attention
of

but

exaggerations

seventeenth work.

century

Italian

draughtsmanship already
method
of Fontana's with

appear The

in his
next

stage
to

was

to

abandon

the

formal

plates, and

introduce

sky

and

landscape

in combination

Font

ANA

in

piazza Cau-

navona.
Benuni.

Architcttura
Gr Kt^tUJrl
etme

del

Gio-Loremp

Fountain

in

the

Piazza

Navona.

Rome.

By

G.

B.

Falda

(b.

1648)

('"r/'. (l"/

n
.

/oj

"(' /I

/,()

/n'J'/'f/ff.
.

-l

Drawing

of

Fountain.

Attributed

to

Lorenzo of

Bernini. Scotland

In

the

Laing

Bequest,

National

Gallery

Some
architecture,
and
a

Italian
freer

Draughtsmen,
more

and

Piranesi
of the in

57
sphere atmo-

and perspective, and

suggestion
are

of

Hght

shade. di
Roma his

There in

plates
the

Giovanni

Battista is in

Falda's

Fontane

which

architecture lent. excelhe

;

correct

perspective,and
plate
very of the

figures and
in the Piazza

landscape
Navona clouds and

In

the

fountain

has in is
a

attempted,
this

not

some successfully,

cumulus
of the

but

drawing

the

skilful arrangement
in Falda
was

light

shade This

genuine
however,
and his

advance
shows

architectural
at to

draughtsmanship.
was an

plate,

his

best, for he
to
a

unequal artist,
and
to

tendency

drop

monotonous trees

technique
and skies.
was

merely arbitrary
as a

conventions
to

for of

his the

His

work,
much
bom In the

rule,
than

was

inferior that
was

that

Perelle, but
in

very
was

better in

of

his

contemporaries
at

Italy.

Falda and volume

1648,

and de

working

Rome in M.

between Rome
a

1669
folio

1691.
on

1684 J. J.
churches Pietro of

Rubeis

published designed by

Rome

Angelo, Bernini, Borromini,

Berrettini, Rainaldi, and

others,

giving plans, sections,and

The work in
was
lessly care-

elevations done second

engraved
and of To and

by

G.

F.

Venturini.

coarsely engraved.
the seventeenth had clever
not

Architecture

Italy

in

the

half

century
succeeded
men

was

becoming
Mademo,
in their
or

rather

demoralised.

Fontana

Carlo

Bernini,
exuberant

Borromini,
and

Rainaldi,
way, of
a

enough

unscrupulous

but

great architects
failure the His of the and

draughtsmen.
was

Bernini, in spite
the
most

period

of

unpopularity,
of
was

far

considerable

figure among
century.
the revolt
;

artists word

the law

two

middle France
over

quarters of the seventeenth

as

in

well

as

in

Italy,until
to

French
no

architects artist But has

the

additions
a

the

Louvre such

and

probably

ever

obtained
was

position of
the

unquestioned
a

supremacy.

Bernini

from

first

sculptor, and
restraint of it in
;
a

sculptor who, though

of he

almost did
a

by
great

instinct, rebelled
deal of

against

and way

architecture, some

first-rate

importance.

58
he
was

Architectural
never
one

Drawing
the

and

Draughtsmen
of
an

looked
of the

at

things from

standpoint
offenders

architect, and
that
not

most

conspicuous
artists who He in

among

consider in-

class
as so

of

have

regarded
way
to

architecture

only
reaUsed

much

stage
this

scenery.

felt his his

vaguely
in his
as

effects, and mind,

come

failure, both
in such

training

and

habit

of

is

apparent
The

of his for

architectural
dramatic

drawings

I have in

across.

passion
to assert

effect, always
seventeenth

latent

the

ItaHan,

began

itself in the it

century with
their
sense

ever-increasinginsistency,until
of architecture, and architecture such fine
as

finallyoverpowered
the

substituted
Art itself. da

stage effects and

There
were

presentation of
architects,
the the and

for

the

still able

Pietro

Berrettini
the Uf"zi

Cortona

(died 1669) who

of the of

produced facade
of

design in

for the

transformation the
or

Pitti Palace,
the Palazzo the

Longhena
Pesaro of
was

(died 1682)
at

architect Bartolommeo Universita It had

the

Salute

Venice,
Palazzo
on

Bianco
at

(died
But serious and

1656)
Italian

architect

the

del
wane.

Genoa. its

architecture and
are

the

lost

purpose, Borromini Bernini I do but I

am

the

slipshod
of

architectural its failure. in

on a

drawings
Borromini

of Bernini died in in

evidence elder dwell that for

an

1667,

in 1680, the
not

Rainaldi

1655, the
the value is
a a

younger of

1691.

wish

to

unduly
unless him
to

draughtsmanship, man draughtsI do

not out

convinced is difficult

man

competent
architect. himself
to

it
mean

be

fine

by

this that

architect
;

is to

devote has

turning
to

magnificent drawings
Rather,
his eye

far

from of

it, he

greater work
should and have

do.

by
to

severe

gymnastic

drawing,

he

trained
to

the

subtleties of form
ideas

and

composition,
and but failure. it is

his hand

interprethis
do
not

without

hesitation

Great

painters
their is

parade
So,
in its

their

draughtsmanship,
architects;

implicit in

work. shown

too, is it with

their

draughtsmanship
of their their of

highest form

not

merely

in the

beauty

profiles,

but

in

the

scale, proportion, and

composition

buildings.

Drawing

in

pen

and

ink, perhaps by Perino

del Vaga

(Buonaccorsi,

1500-1547*.

In the Laing Bequest, National

Galleryof Scotland

Drawing

in pen

and

ink.

Attributed

to

Perino

del Vaga.

In

the Laing Bequest, National

Gallery of Scotland

Pen

drawing of Altar-piece. By Teodoro Filippo da Liagno {L Madrid, 1556; d, 1625). In the Laing Bequest. National Gallery of Scotland

and

wash

6o
who

Architectural
earlier had and followed there

Drawing
them
was

and

Draughtsmen
had slavishly, gone far

almost in

beyond
French
a was

them,

nobody reign
the

Italy
XIV.
at

to

rival the

great

draughtsmen

of the from
or

of Louis

Indeed, in 1676
Rome,
said there

Frenchman,

writing

French

school worth

scarcely an
In the
was was

architect

painter

considering in Italy.
a

early part

of the
more

eighteenth century particularly at

in and the in

good

deal
or

of lost
a

ground
new

recovered,
struck his

Venice,
work

rather Antonio of

line

out

topographical
the theatrical
out
a

of

Canaletto
Bibiena in

and

school,
Canaletto ruins

designs
of of

the

family.

brought
in the

volume

etchings
and tectural archi-

1741,

containing

neighbourhood
was an

Venice,

imaginary compositions. draughtsman

method I of

That

Canaletto
course,

accompUshed
and his

is, of

well

known,

excellent
which etcher

drawing
from he

in line and British

wash Museum

is shown

in the

example
as an

reproduce
engraver dealt

the
was

collection, but
His

and and

less successful. crinkled

"Torre of

method

was

conventional

in largely
as

lines laid side del and

by

side for skies, he hit upon

though
a

sometimes,

in

the

Malghera,"
shade.

very

happy
little less

arrangement
here
to

hght

There and of

was,

however,
was

inspire
dull and

his

fellow-countryman,
set

there

still Urbis after from

went

in

the

hfeless

of

views

Venice,
Venturini

Venetiarum Canaletto.
the very

prospectus celeberiores, engraved

Piranesi
must
even

by

have in and his

known
more

of their formal

existence, but

first,and
of this had

engravings,
art.

he

far ahead

tame

rather his

mechanical

On

the

other

hand,

Piranesi

among of

contemporaries
men

several

exceedingly
a

capable draughtsmen
and
sureness

architecture,

who
to

possessed
that of

dom freedecessors pre-

of

line

scarcely inferior
century.
Tesi,

their

in the I
was

sixteenth

Panini, for example, to whom

and and the the died

shall bom

refer
near

later, Mauro
Modena I in

Bibiena.
in

Mauro The the

Tesi
two

1730, from

1766.
of

drawings

which

reproduce

collection

Royal

Design

for Monument

to

Leo

XI.

By

Algardi.

In the

Laing Bequest,

National

Gallery of Scotland

CO

c (0

nt

C (0

OQ

"

CO

0)

CQ

"

CQ

4-1

3-

a:

U
(i"

J3

(U-

CQ

3 O

c/5
0)

"

"

"

I
"A.-0:^

T.-.

Drawing
In

of the

Cartouche

with of the

figures Royal

(Itahan.
Institute

early
of

Seventeenth British Architects

Century).

Collection

62

Architectural
sort
;

Drawing
of the Palace that

and
of his

Draughtsmen
Apollo,
of

the

in

his

plates
more

Mars,

and

of

Perseus

but

it is

Ukely

scenes

were

suggested by drawings
for
are

Italian
of

designs than

that

they inspired Bibiena,

and
to

whose

astounding intricacy
which the Bibiena
was

touched
the

by

that I

passion give
a

great

scale from

peculiar
Museum

Italians.

fine

example

British

collection.
ideas in the but
true

developed his
skill in

theatrical

manner,

and

with and He

amazing
these
was an

; perspective

his

designs

are

much

alike,

limited

motives

appear
narrow

to have

exhausted of

his

imagination.
instincts

artist of rather his

sense

range

and

commonplace archaeology was

apart
absurd. scenery which the
was

from

of it
was

and perspective,
not

his for

simply
stage

Probably
or

intended
of

anything

else but and

those
a

fancy compositions
vogue both in
s

architecture

landscape
of

had

considerable

with

decorators and
was

in the

early part

eighteenth century,
twenty-one
with
his when

France book

Italy. Piranesi,
must

who been

Bibiena'

issued,

have

familiar

work,

and,
There

think,
is
a

good

deal

influenced
to

by it
Piranesi
must

in his in
the

early engravings.
British been
a

drawing attributed
it the
was

Museum

which,
from
one

if of

made in

by

him,
s

have
and

study

plates

Bibiena' and

foho

Bibiena's
the
to

mastery
contortions

of of

intricate the
most

perspective,
violent

skill
must

in

drawing
appealed
have

baroque,
much

have may

Piranesi
his

as

draughtsman,
as

however This

he

despised
for and the

designs
the in

architecture. of

architectural
grounds backto

scenery

stage, and

habit

painted architectural
may On the have other
must

perspectives
of his failure
can own

decoration

suggested
hand,
have

Piranesi

some

compositions.
sense

their

unreaUty,
him, and

their there

in the

of structure, that
to

repelled
quacy inadefor

be his

little doubt

their

architectural
once

stimulated how
such Giovanni

fighting instincts
to

show,

and

all,

things ought
Battista

be

done.
was

Piranesi

born

at

Venice

in

1720.

His

Drawing

of

Catafalque.
of the

By Giuseppe

Galli da

Bibiena.

In the

Collection

Royal

Institute of British Architects

Drawing

for the In

angles of
the

Ceiling,probably by Giuseppe Galli d a

of the

Bibiena. Architects

Collection

Royal

Institute of

British

Sketch

by

Giuseppe

Galli

da

Bibiena. of British

In

the

Collection

ol

the

Royal

Institute

Architects

Drawing

for

Scenery.
the

By Royal

Giuseppe
Institute

Galli of

da British

Bibiena. Architects

In

the

Collection

of

64

Architectural
suspicious
"

Drawing
a man

and

Draughtsmen
on

reckless, and

of

impulse, spurred
controversy
Vasi, his

by

morbid He

imagination, who
is said because of his
to

spent

his
to

life in murder
was

and

quarrel.
in him

have

attempted
that

master

engraving,
the
secrets

he art.*
to

believed
On

Vasi

withholding from
he

the who

other

hand,

engaged
his

himself wife. with

at literally

sight
to

the left
to

girl

afterwards

became his
to
a

He

appears

have

Rome,

perhaps
where But he
was

after said

quarrel
have

Vasi,
for
a

and short

returned time

Venice,

worked

under

Tiepolo.
not
a

Piranesi

was

draughtsman

pure

and
him

simple,and
in
to

painter. Moreover,
set off
on

archaeologyhad again, first

soon

already got
to

its net, and

he

his travels

Naples,
1740.

thence he

Paestum,

returning to

Rome

apparently

after

Here

spent the remainder

lords, but
as a

of his Uf e,

quarrellingwith
and

antiquaries and

noble

incessantly working,
and engraver,

rearing

for

himself, by his skill

*'

draughtsman
had been the

that

monument,
of his life. in 1741. of

aere

perennius,"
died in

which

admitted

ambition
were

He The
a

1778.

Piranesi's

earliest
"

plates

issued the

well-known

plate

of

the
a

Tempio
broad

Antico,"

interior

huge
inner

circular circular

building with
shrine,
Roman followed his
vast
was

flightof steps running

in

round

an

engraved

1743.

But

his arches

first serious did in

not

publicationof
till in

antiquitiesand by
the works Car
cere

triumphal
d*
to

appear
;

1748,
175
in
"

Invenzione
were

1750

and Bouchard

collected folio

up Le

date

published by
di Roma le but the

entitled

magnificenze

piu

remarcabili

miscellaneous
on

collection with

carelesslyarranged, margins, perhaps

that
in 1710,
to the

splendidly printed
finest

thick

paper,

noble

publication
The

of

architectural
*

drawings
who
was

has

ever

been

produced, f
the senior in Rome
was men

Giuseppe Vasi,
was

bom

was

only
of

ten

years
He
"

of Piranesi, and
in

in 1745

appointed
of

engraver

Court in few
a

Naples.

died which

1782.
out

t
the

copy

this

magnificent
at

work
a

my years

possession
back
set

turned
of state

of
"

Radclifie among series.

Library
many

Oxford

by
of

eminent the
rare

science of

contains,
Carcere

other

plates,

splendid

first

the

u
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Architectural
suggesting texture

Drawing
and
and reflected that of the In

and

Draughtsmen
in the

of
*'

lights,as
"

plate

of

the Nor
ceeded suc-

Fountain
his

of Trevi,"
success

Portico

of Octavia.**

was

merely technical.
an

nearly
that

all his

plates he
of

in

conveying
the

impression of
ancient

great scale, and

which and from

the

magnificenceof
last
were

buildings of
motives

Rome,

first to with him

the
an

predominant
The

of his work, the

"

became

almost

obsession.

figures of
show his
some

Monte of

Cavallo," poised
to

against
he did

the
a

setting sun,

power

imparting
an

all that age of

certain

epic quahty,
his in

feeling of
even

heroic

long
its in

past

that

haunted
For
even

imagination,
these
man

to

the

tainting
conventional

sanity.
their

engravings, severely
is

method,

the

wild
In the

lurking,barely
the view

restrained of St.

by respect
Lateran have

for

scholarship.
three and

foreground of
villainous

John

appear

ragged
here

and
are

figures that

Callot
the

might

drawn,

they

again
the

in the

foreground of
tufts

Colosseum.
crown

Elsewhere the
white ruined

wild apse

figs cover
of the

ruins, thick
of

of

weeds

Temple
the from

Isis, and
an

behind Itahan
second I

it is

great
those the the

cloud, vibrant
Uttle Romane*

with

light of
the first
"

sky.

In

beautiful Antichita

etchings
the

and

parts of
should full
to

Romanticist
"

or

perhaps

say

purely imaginative
to the his

artist

breaks and shown the

stone

loose, and
movement,

gives
and the

expression
sense

joy

in

light and
of

shade

his

of

nobiUty splendid

architecture of the
on

high against
of

sky
the

witness

the

treatment
comer,

Arch

Titus, with
the tomb with

great label
Metella,

in the the

left-hand
of the

pine by
at so,

of Cecilia the

Arch in

Trajan

the

mole Even

Ancona,
the
fire

ping strange shiphim

was

foreground.
and He

within
to to

not

satisfied.
of his

Buildings

Nature
seems

herself for
a

seemed time di
of

check

the tired

swing
of all

imagination.
in the

have

restraint, and
*

Invenzioni
by
of the the series

Capric
of views

Carceri, the
Rome and Venice

caprices
made

These

were

suggested
in the middle

by

Israel

Silvestre

17th century.

DQ

d
DQ

"
3

"o U
a;

Title-page

for

the

Capric

di

Carceri.

Drawn

by

G.

B.

Piranesi

Plate

II. in

the

Caprk

d'l Careen,

By

G.

B.

Piranesi

"Vau-iaUo
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must-'

yi

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de

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si potteuimo

a/!^

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pt-

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e

SfftiiLrvL^ cut

ie hfv
ai ait
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Jill

iltrt

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aUarruatn

Ji. maani/ic/td.

Scale,

"

Mausoleo

Antico,

"

as

Engraved by

G.

B.

Plranesi

Mausoleo

Antico,"

as

Drawn National

by

G.

B.

Piranesi Scotland

{not Canaletto).

In

the

Gallery

of

68

Architectural
the
a

Drawing
plate,but
and the
never

and

Draughtsmen
out

of suggestive them.
our

second

carried

in

any Some
as a

one

of
our

It is

characteristic
use

astonishing drawing.
blot, but
But
some

of

modem

draughtsmen imperfectly

too

often

only

cloak
are

for ideas the of of

realised.

in

Piranesi's

drawing they
each

instantaneous the
a man

transcript of
sweep of the in terms of

burning thought,
tells its

stroke work

pen

and who

brush

story

it is the

thought
a

of architecture, whose
vast

imagination
forms.

Uved

habitually in
Piranesi is
an

world whose
now

spaces

and

giant
ago

artist

reputation,long
more

estabUshed
its

and

for

time
he

overlooked,
has been

has

than

recovered

place, but
An

I think

sometimes has

admired

for the wrong

made for him

quahties.
as

enthusiastic of modem

claim classical

recently been
as

the

founder

architecture,
as a

the

inspirernot
our

only

of Robert America. Adam for

Adam,
This
a

but is

of neo-classic with the in

handled vengeance. of

by

colleagues in
is true that
even

going large
came

It

time

imder

influence his
manner,

Piranesi, and
of which

attempted
are

perspective drawings
seen

examples
to

to

be

in their
was

the

Soane

Museum,
Adam
was

which
not

entirely fail
the
man

catch
sort

the of

spirit
work. with

of He
a was

original.
a

for

this

careful

and

accomplished
not

mechanical

draughtsman,
His the

but great deal of ability,

as

in this direction. of Piranesi

a as

temperament
Pole from in the

far

removed The

from

that made

North

the

South.

plates

by
of As

certain
are

Rossini the

early

nineteenth of that brilliant of

was

century in imitation

Piranesi for
recent

merest

travesty

unequalled
as

master.

American

architecture,
the

it often

is, it is based
Arts. in the The

almost

entirelyon
direct follower and details

teaching

the Sir

iScoledes

Beaux-

only

of Piranesi
ment orna-

John Soane, who,

the Bank that
was

curiouslyheavy
the

lifeless of

of

of

England, suggests
illustrated with in

Roman

architecture
Piranesi

Piranesi

such

elaborate
at

industry.
all. His

not,
in

fact,

practical designer

imagination

revelled

gigantic agglomerationsof

classical

motives,

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Some
pilingup
but

Italian
mountainous

Draughtsmen,
buildings that
all his be
were

and

Piranesi
the

69
;
a

towered of
to
an

among

clouds
is

I doubt

if, among
that of

inventions
real
use

there buildings,

single one
combinations
is
a

would details

of

architect, and
last

his

licentious
in the

in

the

degree.
which

There shows

pen-and-ink
imcertain

drawing
of his

British Two

Museum
Doric

the

quality
a

taste.

columns,
without the columns

very
an

ill-

designed,support
which

disproportionate entablature
outside the
;

trave, archia

projects far

shaft and
a

of the

"

bad

mistake
the
on

for any

classicist to make
columns pass The

at

bottom, just above

stone

base, the
all four
as

through

huge oblong
is

carved

sides.
as

draughtsmanship
possible
is, the
to

superb,

the

design
direct
have
to

about

bad
on

it is
"

imagine.
motives that
"

Piranesi's he may

influence

design
immediate

that

provided
been and
"

for

conversion for the the bad. word of

"

into

detail It

I beUeve in that and

have

almost if I may in

entirely
be the

resulted classic

that

dull

excused

stodgy

prevailed appeared
of

in
in

England

early part
form in the

the

last century,
and
nor

quite

another

pedantic
here,

finicking designs
in his laborious
to

Percier

and

Fontaine.

It is not

and

that misguided archaeology,

or

Piranesi's

greatness is

be

found,

his In

interest the

as

an

artist.
one

of frontispiece
to

of the
a

Temples with

which the way,

he

adorned
in
a

his

answer

Mariette

(in

controversy, by
he has

which

Piranesi from

was

entirelywrong), Roy,
not
"

placed

in

cartouche
un

tion quota-

Le

pour

ne

pas f aire de
architecture
an

cet art sublime

as an

vil metier."
art

Pirainesi did under

consider

organic
its

working
and

practicalconditions,
from the the fact other that

art

which
to

derives realise

strength

interest ends
;

it has
no one

certain

well-defined
keener
sense

but,

on

hand,

ever

possessed a
poetry.
The

of the

dignity of
and

architecture him above

and other

of

its

quality
not

of in

genius,which
his assured

raised

artists, was
in
a

shown certain

only

astonishingtechnique, but

imaginative

70

Architectural
on

Drawing
"

and

Draughtsmen
as a

outlook
even

architecture

in

his

conception of it
full

great and

stupendous
poetry, that
the

art, full of
will

mystery,

of
the

profound beauty
initiated.
It
was

and
not

only

reveal but

itself to
the those

Magniflcenze Romane,
Dance
once

Carcere, that
visions of
a

inspired

the

younger that for

to

design Newgate,
a

pecuhar hell
scale

stimulated
to

merely mechanical
men

to practitioner

heights inaccessible
of when fervent

all but that such \vill

of

genius.
retains

It is his

by

his of

quality
fame,
gotten for-

imagination
men

Piranesi
as

place
are

dexterous
;

Giuseppe
be has

Galli

almost

and

his

interest the

always
that

partly psychological. He always held

To
as

was

obsessed

by

megalomania
for

the

Italians,
tecture archi-

and

by

their

instinct

dramatic
as

effect. than

Piranesi,
some

presented
stage effect, free

itself less from the far

an

building
of from in

tremendous

fetters

practicalconditions, everyday
work
out

huge,
apart
and

titanic, immeasurable,
from

remote

life.

But,

this, there
What

is
was

element
it that Those

his
him

quite personal
to the

individual. of his

drove

savage

ferocity
amid
the

conceptions ?
rocks

squalid beggars

lurking
as

ruins, those
"

that

slowly shape

themselves and

portentous
?

figures ghastly suggestions of corruption

In Piranesi in his the

decay
of there

portrait opposite
the head of
a

to

the

title page

Bouchard's is
a

folio,

has eye

and prize-fighter,

wild from

glare
the

which Yet the

suggests that
facts
are

insanity was

here

not

far the
a

surface.
and the

otherwise.

Long

after with

Grotesche

Carcere, Piranesi
and his restraint work do
not

pursued his labours impossible

seems

tenacity of
madness. brink
was

purpose

to to
answer

associate
totter
on

with the

Though

sometimes think that

of

I insanity,
a man

the

is here. very
a

Piranesi
nature.

of

and extraordinary gifts, have in

of

complex
of

He

would

assuredly

reckoned

himself
was

classicist in

able unimpeachticism. roman-

purity. Yet,
What

fact, he

steeped
of these

vmconscious of figures,

else is the

meaning

weird

his

care

CHAPTER

ENGLISH

ARCHITECTURAL

DRAUGHTSMEN

'

The

isolation

of

England
as

is it

as

apparent
in the the

in

the of

development
other branches

of

architectural
of the
arts.

drawing
As

is with

history
Continent,
When

compared
late in this
were

neo-classic
Charles II. Webb
a came

tecture archito
was

arrived the left young

country.

throne,
to

the
on

arts

disorganised.
of

Only
Wren
art

John
was

carry

the who

tradition
had
a

Inigo
to to

Jones.
his artists

brilhant

amateur,
owed

yet
deal

learn
the

and

though by

he

undoubtedly
for in With obtained meanwhile Wren. and in The the Louis the main the
a

great

collected
its of the
course

Colbert

XIV.,

English
the

architecture

followed

unaffected in France.

by

astonishing
of 1688 of
was

attainment the

arts
came

Revolution firm
a

Dutch
vernacular

influence

in, and
;

hold

English setting
of

architecture the became the in the free the

but

reaction
severest

in

against

classic

of

version of the
to

Palladianism

fashion,
of every

early part
architect
was

eighteenth

century

object
strict filtered

ambitious
manner,

produce
teaching they

buildings
of had

classical

according
With and Exact

to

the

Vitruvius,
no use

through
luxuriant

Palladio.

such the and

ideals,

for of

the

imagination Lepautre.
all that and and there and

splendid
methodical with
as

draughtsmanship
geometrical

Marot gave

and them

drawings
architectural
a

they needed, designer

arose a

the

result

that
never

the had

man draughtsin
on

such

Lepautre
of the pure

chance

England
the
one

school other

mechanical

draughtsmen
artist who

hand,
_

on

the the

topographical
and
72

gradually
the end of

merged

into

painter,

simple.

Towards

(U

c
(0
1-1

CQ

"

Proscenium.

By

Inigo Jones
of

(1634).
British

In

the

Collection

of

the

Royal

Institute

Architects

English Architectural
the

Draughtsmen
draughtsmanship
of excellence
so

73

eighteenthcentury,
and itself, of any that other

architectural
a

in

England

recovered than

reached

degree

perhaps higher
that
were even

country, but
which
started

it did from

by paths
different

curiouslyindirect, and
opposite points
The of view. of

two

and

collection is the be

drawings by Thorpe,
of

now

in

the

Soane
ings draw-

Museum,
to
are

first collection
in this work small

systematic architectural
The
men,

found
the

country.
of several

drawings
and
are

in

this collection
of is

probably
the

considerable
it

archaeologicalbut
from

artistic
of

interest.

Nor

material,
sent repreare

point

of

view

draughtsmanship,
or

whether

they

designs by
surveys
Du of

Thorpe,

whether,
on

as

maintain,
similar

they
lines

made existing buildings,

somewhat Excellent
s

to

Cerceau's

drawings
in

for

his Plus
The

Bastimens, though
has the little to

altogetherinferior
learn of the from this

technique.
we

draughtsman
pass
on

collection,* and
much
an

may best
more

to

drawings
of

Inigo Jones, probably

seventeenth

the

English draughtsman
in advance for the

century, and
any in the and

artist

of his time

than
House

perhaps
was

history of English art,

built His when the

Banqueting
manner was

designed
in
*'

Jacobean
and

still rampant

England. Jones
was

faithful

pupil

relation, John
for tecture, archi-

Webb,

says,
a

Mr.

generallylearned,
in

eminent

great geometrician, and

Van
masters

designing with
not to

his pen

(as

Sir

Anthony
great

Dyck
in

used

to

say)

be

equalled by

ever what-

his time, for

As

boldness, softness,
a

sureness,

and

sweetness

of the
an

his

touching."

matter

of

fact, the
rather

figure
bad

drawings

in

Chatsworth

sketch-book

have

some

mannerisms,
and other
;

impleasant line, cross-hatching,lumpy

which he

muscles,

faults but

probably picked drawings

of my

up

from

contemporary
in
some

Italians
*

in certain
will find the

of his
results

for

and proscenia,
of
in these

The

reader

examination Architecture

drawings

stated

in

Ch.

III. Vol.
K

I. of my

History of Renaissance

England.

74
of

Architectural
his

Drawing
shows

and
a

Draughtsmen
mastery
go been far
a

architectural
of what

projects,he
he
was

of

hand

and

knowledge praise, and

doing,
may He well

which have

to

justify Webb's
to

his

drawings

revelation

his

contemporaries in England.
and for

drew details of

with of

extraordinary
architecture,
and in
or

freedom

rapidity, whether
the
costumes

it

was

designs
all his and

and the

scenery latter

masques, is
a

nearly
sense

compositions for

there

strong

decorative Court of and

feelingfor composition. Inigo Jones

what for Berain the Court and
was

did of

for the Louis

Charles Bibiena
has
more

I.

to

do

for But
sense

that the of

XIV.,

of
a

Vienna.
finer
or

Englishman's
than I

work

distinction
either the

style

is found
an

in

that of

of his

Frenchman scenery

the

ItaUan.

give
the in

example

designs for

of masques

designed
sketched Duke

for

Queen's Masque of
ink and wash out with-

Indianos, 1634.
any
at

It is very
at

freely
In the

attempt
there

finish. is
a

of Devonshire's

collection
an

Chiswick
with
a

drawing* designed
Bibiena'

of in
s a

stage scenery
manner

showing

open

court

fountains,
hundred It is in
an

that for the

anticipates,by
Court theatre such

nearly
at
as

years,

designs
very

Vienna.
no one

admirable
at

and

remarkable
few
men

drawing,
in

France and the

the
;

time, and indeed,

a

Italy, could
in this

have

designed
and in

drawn sketch in

there

are

quaUties

design,
ahead himself

for

ceiling at
before

Wilton

by Inigo Jones,
Mansart

of

anything done
at

France

Frangois

found

Blois. architectural

Inigo Jones's
There
number
at
are

drawings

are

difficult while

problem.
are a

few of

drawings actually signed by him,

in the Duke of but of

there

drawings

Devonshire's
which
are

collection, and
have for that by
me

Worcester attributed

College, Oxford,
to

buildings
which there is
in

always
all
to

been
see,
*

Inigo Jones,

signed
doubt
article

"John
Reproduced

Webb,
with

Architect," and
other

no

these
in

drawings

of

Inigo Jones,

an

The

Portfolioin 1889.

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76
is is

Architectural

Drawing
them the

and

Draughtsmen
The

impossible to reproduce
a

properly.

drawing

No.

5 of and

beautiful
from

example,
roll No.

and
12

reproduction
idea

of the

elevation
deUcate of

Whitehall

gives some

of this very

accompHshed
the show best
are

draughtsmanship. John
his details of

Webb's

drawings,

which

ceiUngs and chimney-pieces

for Greenwich,* but

a

that
was

he

was

fairly competent
him;
and

draughtsman,
he
was

that

the

figure

beyond

though

considerable
a

architect, his

in draughtsmanship was inferiority in

but

part

of and

in imagination,and general inferiority

artistic refinement

sensibiHty, Jones.
Wren,
for the

to

that

great

and

very

distinguished artist, Inigo preferredto

time of and his Webb

who

by

discreditable

intrigue
at

was

was post of Surveyor-General,

the

ment appointmanship draughtsence, emin-

the
;

merest

amateur,

both

in

architecture he
rose

and
never

though
was a

in architecture fine

to

unequalled

he

draughtsman.
and Soane such Museum
men

careful

study

of the
me

drawings
to

in the that he The

All

Souls

collections
as

leads

think

relied

largely on
in the

Grinling Gibbons
of the

for

his

detail,

drawing
the is open
as

All Souls
at

collection the
as

design

for St. Paul's, with

pine-apple
bad in

top, dated
it is in

1666, is
The

by

Wren

himself, and

drawing
"

design.

"Warrant" shows drawn

a

design, made
considerable
a

in

1675,
in

juxta tertiam Drawing

propositionem,"
No.
12

advance

both.
a

(Vol.II.), geometrical
of Wren's

with

fine line and may

as a

wash, is
as

perfectlycompetent
standard
can

drawing,
attainments that he

and

be

taken

representing the
which I

draughtsman, beyond
The
was

find
west

no

evidence of St* In

ever

advanced.
I

fine

drawing

of the made

front

Paul's,!which
*

reproduce,
collection.
91,

probably
are

not

by Wren.^
1668. Soane Museum.

In

the

Chiswick

These

dated

1663,

1666, and
details

t See Vol. t
Vol.

I., Drawing
All

All

Souls

collection, and

in the

II., 39,

Souls
very studies

collection.

"The
pencil, are

faint, but

skilful, perspective drawings of the

interior The

of

St.

Paul's, in
these

probably

by

later hand

for

an

engraving.

with difiiculty

Plan

by

Inigo Jones.

In the

Worcester

College Collection

"

Warrant

"

Design
At All

for

St.

Paul's

Cathedral. Oxford

By

Wren.

Souls'

College,

t_iL
"19

Drawing

of

the with

West
Wren.

Elevation
At All

of

St.

Paul's

Cathedral. Oxford

Contemporary

Souls'

College,

'/"

Section

of

St.

Paul's

Cathedral.

Drawn

by

S.

Wale,
E.

and Rooker

the

decoration

by

J. Gwynn

(1755).

Engraved

by

English
spite of
the

Architectural
admiration that

Draughtsmen
I feel the

^i ing astonish-

profound
cannot

for Wren's lack

of

genius, I

help thinking
to

that in

finish

and detail His

scholarship occasionally
was

be

noted

his
as a

architectural

due

to
was

his

very

moderate
to

capacity
intellect.
and

draughtsman.
he added and
to

technique
attainments
artistic been
sense

inferior the of sweep

his line his

Had

his

of

the

trained would since

delicate
have of

Inigo Jones,
those of

achievements
architect

surely
the

greater
Rome.
not

than

any

days

Imperial
It

does

appear

that

there of

was

anyone up

in

England

in

the

seventeenth
at

century
the

capable

taking
had the

architectural

manship draughtscaught
attained
of
dency tena

point where
manner,

Jones
was

left it.

Webb,

who who

faint reflection of his

even

only Englishman
to

moderate

accomplishment, according
the result of

modern

standards
academical

criticism, and
which
was

this, and

of

growing
of the in

culminated

in the

pedantry

Burlington clique,
into

that camps.

architectural
The while
a

draughtsmanship
devoted of

England split up
to

two

architects
new

themselves

geometrical
came

drawings,
into

school

topographical draughtsmen

existence

from

which

there

ultimately emerged,
the

in

the of

latter
water-

part of the
colour The

eighteenth century,

great English school

painting.
series of

large

folio

volumes
in

of the

plates, with

brief

ductory introwith
two
tained con-

began, early letterpress,

Colin

eighteenth century,
The first

Campbell's
were

famous in

Vitruvius

Britannicus. the

volumes

published
hundred
from

1717,
"

third

in the
or

1725.
best from

They
hands,
the

two

plates,
the
of

engraved

by

and

drawn

either

buildings themselves,
and The
for

original
of

miscellaneous
is to

collections

drawings, mostly unsigned,

authentic
a

of

varying degrees
is to
use

lence, excelof

disentangle

the
as

work.

only
rest.

solution
There

the

technique

the

undoubted
Wren in of

drawings
the
All

touchstone

the

are

few

signed

drawings
on

by
a

Souls

and

Soane shown

Museum in these

collections, and

my

criticism

is based

study

the

draughtsmanship

examples.

78

Architectural
of the

Drawing
CoUn

and

Draughtsmen
made the

designs
the

architects."* of which
were was

Campbell
H.

drawings,
and the

majority

engraved by
a

Hulsbergh,

result, within
and

its limits,
for the

very of

fine work,

splendidlyprinted,
The their metrical geoway,

invaluable

student

English architecture.
are

drawings, plans, and

the

elevations and

perfect in
tone

detail drawn

with

full

knowledge,
any have

the

of the the

shading
as a

carefully regulated to
whole. the shown These and the

avoid

falsification

of been the

fa9ade

Geometrical
are

drawings

sometimes
and

made

in which

shadows

greatly exaggerated
the result in that
some

window-openings
loses

black,
faults Gandon's

with
are

the of

design
the

its breadth.
of Woolfe of

apparent

elevations

continuation, forming Vols. Britannicus, and

in
was

IV.

and

V.

(1767)
of

Vitruvius

the
too

later well

publications
trained
in make the any

the

eighteenth century.
of his time, and mistake. and and de
a are was
"

Campbell
too

classic
such pital, Hosway,

an architect,to intelligent

The

General Howard
to

Front

of

Blenheim,"

Greenwich in their

Castle

are

beautiful

drawings

not

inferior

equivalent illustrations in Blondell's Maisons

years another and he later.

Plaisance

(1737), published twenty

was

Campbell
He and had
as

as
no

perspective draughtsman
of he

quite
or

thing.
shade
was

sense

atmosphere, movement,
up

Ught

soon

as

gave of his
"

his compass

and the

T-square
precision of

lost.

The

only

merit

perspectivesis
The

their

drawing
at

of architecture.
"

Prospect

of the
an

Royal Hospital

Greenwich

is

the

best

of

them, but

it is

extremely
had of his Book

mechanical

performance. J
his

Meanwhile, James
Scot,
in
was

Gibbs, who
a

been
own

ignored by designs, which

"

brother

at

work the
us,

on

volume

appeared

1728, with
informs
others." and
"

title of A
"

of Architecture,
of several

undertaken,"
of

Gibbs and

at

the

instance
the them

persons

quahty

Gibbs
others
Vols.

made

drawings;
;

bergh, Harris, Kirkall, Hulsis httle

83. to

engraved
I. and II.

and

there
58, 68. and

choose
III.. Plate

in
2.

Title pages.

f Vol.

I.. Plates

% Vol.

o't
-*""*'J"^y"7"^^v/"

^Pi"woft/\'^ Tllaiiiiu ^e/j/jectiur

in

ChiLtrA
"^'^as^SSt

St. Martin's

the

Fields.

By

James

Gibbs.

From

Gibbs's

Book

of

Architecture

Bnglish
technique between
Campbell's, except
as

Architectural
plates of
Gibbs
was

Draughtsmen
book and those in his

79 of Colin

the that

Gibbs's
more

successful

tives, perspec-

in How

the

excellent much these in the from

straightforward view
architects
absence the of owed the
to

of their

St.

Martin's it 1/

Church.* is
I

engravers

impossible
venture to

to

say

drawings original
of the

; but

think,

family

resemblance

plates in

most
a

of the

great eighteenth century architectural

foHos, they owed

and for

good

deal.

Hulsbergh
for
as

worked

for

Campbell

Gibbs

Fourdrinierf
the
same

Castell, whose
Gibbs's
Book

Villas

of

the Ancients

appeared in
for

year volume

of

Architecture

(1728),and
the

Kent, before,

whose

of

designs by Inigo Jones appeared

from

year

and

included The

plates by Hulsbergh
of the would have
run

drawings by Flitcroft.
ran

connoisseurs
man

eighteenth century
his horses, but
to
a

their

men

much
in

as

racing

genuine interest
very

architecture
tions

must

existed
continued

make
to

these
at

costly pubUcaout throughplates of

he

possible. They
the

appear Ware

intervals various In

eighteenth century.
further

Isaac

issued

buildings, and
his

designs by Inigo Jones.

and
two

1756
later

issued

Complete Body
his
of

of Architecture,
on

years

Chambers
s

pubUshed
great foUos
and in

Treatise

Civil

Architecture. from his

James

Paine'

two

buildings erected
Works

designs appeared in 1767, of Robert

and

1778 appeared The

the last and
most

in Architecture effort Robert find

at

James
that

Adam,

important

advertisement
was a

appeared

in the

eighteenth century.
the Soane trained student Museum. will

Adam

dexterous
of of the

draughtsman,
his
work in
care

and the and

innumerable
have

examples
the merit for

His

drawings
and have and

extreme

knowledge,

their value

student

as

corrective
are

against shpshod
however,

ship. slovenly workmanare

They

not,

particularlystimulating, nor
the

they suggestive. Nothing

"

is left to

imagination

everything is

Booh

of Architecture, plate
also

i.

t Fourdrinier

engraved

the

plates of

Gibbs's

Bihliotheca

Radcliviana,

1747.

8o

Architectural
with laborious

Drawing
completeness,
for

and
and

Draughtsmen
the effect in
;

finished and
even

is the the

depressing eighteenth
engravers

paralysing. Drawings
were

engravers wash

century
were

usually
better

made

in than

line and
the

and

usually

men

draughtsmen.
Vol.

The

section

of this

Kedleston,
work value
"

from and the

Vitruvius excellent

Britannicus,
so

IV., is
but
as

tj^ical of
no

exact to

far

as

it goes,

of

very from

great
the

architectural
its value

draughtsman
is

distinct it is

designer, because disentangle the

The
same

merit
of the

technical, and

impossible to

originaldrawing.*
to

criticism

appHes
to

those

remarkable

works
were

"

able, remark"

that

is, in regard
Dawkin's
and

the

time

when and

they

undertaken

Wood

and

Palmyra
Revett's At
was a

(1755)
Athenian when

Baalhec

(1757), Adam's
Revett's

Spalatro, Stuart

Antiquities,and
the
on

of Ionia. Antiquities
artists and with
rare

time

attention
"

of Continental

scholars

concentrated

Italy

that

is,on

Rome

"

to Magna digressions

Graecia, these
go

Englishmen
farther

and

men Scotsto

had

the

courage

and

originalityto
in the For

afield,and

lay
are

the

foundation

of researches

history of
the

architecture

which

still very value the and

far from is smaU.

completion.
The

draughtsman, however,
of the Revett made made
as

their

Royal
from

Institute which and

were

British

Architects works

possesses of The named Wood

originaldrawings
Dawkin for and and

plates
were

in the

Stuart Baalhec

engraved.
an

drawings
Boura,
are

Palmyra

by

architect the

presumably
drawn

from

his
and
as

sketches

on

spot.

They

timidly
show

in line

wash,

and
were,

the but

geometrical
as

drawings
their
were

the

buildings
is

not

they

restored,

archaeologicalvalue badly
very drawn and hands

small.

Stuart's in who in

original drawings body

colour, but
the in

heavily laboured
of old

the for
*

skilful first

Rooker,

engraved
these
in Vol.

plates
drawXIII.,

the
The

volume,
will j"nd

which
folios

appeared
discussed in

1762,

absurd
II., Chap.

reader

these

at greater

length

of my

History of Renaissance

Architecture

England.

"

"

.5
c c

1
V
J
c o

-0
c
a

CQ

c o
y

CD

iiiui.n

i'if\ii

-y,e.^^^lonic

Capital. Engraved

by James
Athenian

Basire.

From

Stuart

and

Revett's

Antiquities

English Architectural
ings
Athens
now

Draughtsmen
Inwood,
who

8i visited

became in
at

quite respectable. William

some

1818, made

much The

better

drawings

of the of years

AcropoUs,
Cockerell
excellent

South

Kensington.
on

scholarly labours
in recent rather

and work away

Penrose has from

carried
been

this

tradition, and
it has

done, though
into

imfortunately drifted
the
to

architecture
of

archaeology. From
there
as

man's draughtsbe learnt

point
from of this

view,

however,

is not does
on

much

work,
rather

depending
than
treatment
so on

it those

scientific
of

accuracy and the

drawing

quaUties
are

selection
of

in suggestiveness

which
as

the

special study
is the

draughtsman,
and

in of

far ideas

his

problem
than, the

interpretation
statement

rendering

rather

mechanical

of facts.

We
that

must

now

retrace

our

steps and

pick

up

the

threads in

of

tradition
from

of

draughtsmanship which, topographical

latter part of the
seventeenth

England,
From the

dates

the
to

century.
relations of

Restoration and
were

the

Revolution
were

of

1688

the

the

French artists

EngUsh
on

Courts

and friendly,

engravingsby
in the for and

French

sale in

the

London the

print shops
fashion Marot

Strand.*

These,

no

doubt,
of the

stimulated

topographical drawings.
the

Most
the
must

drawings by Jean
houses, had
known in

Perelle,illustrating
before of
as

great French
have
were

appeared England.

in France The
worst

1688, and
it
was

been
no

that
to

there the

EngUsh
of France
art

draughtsmen
Edict

available Frenchmen their The

yet.
were

Prior
too

Revocation
in

the

of Nantes, it worth

well in

employed England.
Tour much
"

to
was

find

while

to

settle
"

EngUsh

stiU isolated.

days
not

of the

Grand

were

only just beginning,and

the
vast

Italy had
to

yet recovered
the

of

popularity it
two

was

enjoy
name

in

eighteenth
printseller :
is

have and

found sold

on

prints

of

Lepautre
at

the
in

of

an

EngUsh

"

Printed
a

by

Saml.

Sjonpson,

his house Dutch

Catheriaie

Street, Strand, where

sold

great variety of ItaUan, French, and

L

prints."

82

Architectural
The and result Dutchman.
was

Drawing
that
we

and

Draughtsmen
on

century.
German

had

to fall back

the

industrious

David

Loggan,
out

precise

and in of in

excellent

draughtsman,

who

brought
Illustrata who
was

his

Oxonia
was

Illustrata
a

1675,

followed

by Cantabrigia Burghers,
houses,
the

in
a

1688,

native work settled almanacs

Dantzig.

Michael of and years in the

did
a

good

deal who

of

illustration
at

country

Dutchman,
the

Oxford,
for many

engraved
after

headpieces of
Kip
and

Oxford
who

1676.

Knyff,
were

made and

all

the between book. in

plates
them The A

Britannia

Illustrata,
a

Dutchmen,

they

produced
taining con-

very

interesting and

successful

first volume, second in

a

eighty plates, appeared containing sixty

of is the
a

1709.*
;

volume,

more,
a

appeared
note

in

1717

and

repubhcation
that five
"

two

volumes volume in

appeared, announcing
any

there

third the

hand,
may

gentleman
their
what
seat

paying

guineas
very The

towards

graving
is
are

have half all

inserted, it
former
are

being

forward,

which

only

the

paid." Kip
the

which engravings,

nearly

bird's-eyeviews, nearly
so

considerably
and

larger
had
a

than way

Perelle's, and
of

not

good

Knyff

putting
of

their

horizontal
run

line

above

top of the
so

picture and
that the

then

forgettingto
horizon into

their
to

vanishing
the

lines out,
of
a

line

appears

be

edge

cliff

dropping abruptly
The
taste

space.
was

for

topographicaldraughtsmanship
in the into

well but
two

estabfresh the

Hshed
factors
V

in

England early
now

eighteenth century, play

"

were

to

come

the

Grand after
The

Tour the

and

romantic
*

movement,
{Historyof the
in Mr. not

that
Old

curious

hankering
"

mysterious
containing
am

Roget

Water-Colour

Society) says
copy,
an

first

volume,
I

eighty plates,appeared
indebted
to

1714."

My
work

own

however,
of

is dated
the and

1709.

greatly

Roget's
follow As
far

excellent

for he

account

earlier

men. English draughtsused

I do horizon
to

him, however,
as

when

says that

Kip
one

Knyff
the
on

three

separate forgot
in that

lines. lines

can

make

out,
of the de

they
views

used
were

above

picture,but
a

let their

vanish

out.

Many

reproduced

tiny scale

delightfulhttle guide-book, Les

DSlices

la Grande-Bretagne.

84

Architectural
a

Drawing
that
was

and
less
most

Draughtsmen
in France than it of critics,writing

taste,
was

taste

indeed

not

popular
readable Robert's
went

in the the
a

Italy and
Salon
of

England. 1767,
of and
"

Diderot,

of
at

referring to
Port de

reception picture
so

Academy

the

Rome,"

far

as

to

say

that

palace only became

and
"

interesting when

it
was
"

was

ruined.
imcon-

Of

architecture, its aims

scious.
was

possiblemerits,
all in

he

blandly
ideal
"

The the
some

"

ideal

was

all, but
the

the

to

Diderot
the of

not

ideal

of

the

art, but

sentiment
to
''

with
the
a

which

fancy

of

literaryman
Here

happened
in
un

invest
II y

subject
de

his choice.

is the
ne

passage

full

plus

poesie,
un

plus
arbre d'un

d* accidents,je

dis

pas dans
et des
un

chaumihe,

mais dans
en

dans
toute

seul

des qui a souffert

annees

saisons, que

la
un

fagade ohjet

palais.
Tant

II

faut
il est

ruiner vrai que

palais pour
de beaute but the in

faire
sans

d'interet. This is not

point

vraie

I'ideal."
the
same

John

Ruskin
hundred

writing
years

1867,

Denis
touch

Diderot,
is the

a encyclopaedist

before; but
the
was

and

the

kinship obvious, perhaps

knew weapons

only

difference when he

being
used

that the

Diderot familiar

quite
of

well the

what

he

doing
the

rhetorician
the

"

paradox,
of

the

popular
and the

appeal, the
half-truth
or

acrobatic
no

thought,

confusion

premises,

truth. facile in and clever

Robert,
and

draughtsman, quick
to

bad

at

the

figure

inaccurate of such

was perspective, as

profitby
and

the
a

ment encourageprosperous the

was

men

Diderot

and

Rousseau,
to

did of

trade

in

ruins

and

perspectives down
all this

the

days

French

Revolution, when
into space.

playing

with

ruins

and

nature

swept

Meanwhile,
lines Addison for the in

things
but the

had with

been

moving

on

more

or

less
The

parallel
age of
was

England,
was

results

quite
assurance

different. that

over;
as

comfortable
was

everything

best

it was,

giving
had

way been

to

fancy, half sincere, half

much better in the

sentimental, that

everything

very

a:
V

Z ju

"o
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.jC

^1

_b

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English Architectural
Middle scholar is found
its
own

Draughtsmen
of

85

Ages.
and in

Richard

Hurd,
in

Bishop
the

Worcester,
of

competent classicists,

critic,trained

strictest sects

the

1762 defending Gothic

of

architecture, urging that it has

of

rules that and

practice and
this

canons
was

design as
an

much

as

classic. defence
to
"

It is true of Tasso
of the

argument

only
with the

incident

in his

Spenser.
man

Writing
the in

airy indifference
Hurd
says
sort

facts This

hterary
method

of

eighteenthcentury,
poetry may
method the be of
"

Gothic

of

design
the
to

in

some

illustrated

by
But
was,

what he

is called
then

Gothic

design
hortus

in

gardening."
the method

proceeds

describe, not
of the

inclusus," which
but

in

fact, the

garden

Middle which
was was

Ages,

of

la5dng out
from

grounds
Le
was

in avenues, and

borrowed
"

by English
"

designers
sense

Notre,

surely
and

classical

in

the of

that

it

symmetrical, regular,
of Gothic
was

observant

of

unity
than

idea. efforts Hurd's

Kurd's
of

defence

not
a

more

genuine

the but

Pope

and did
a

Horace

Walpole
to

generation before,
the romantic and

influence
and the

good deal
was

consolidate

ment, move-

consequence
out

that, whereas

Itahan

French

artists
the

turned in

interminable
was

presentationsof
the the

classical

ruins,
castle

taste

England

all for

Gothic.
arches

The of

ruined
the

and

the

dismantled
were

abbey replaced busy

The

Colosseum.
remains had

Draughtsmen
Gothic

everywhere,

drawing hterary
as

the
man

of

architecture.
most

vagariesof
division
On of

the

resulted and sohd able

in

unfortunate of

views
one

to

the

meaning
was

purpose classic
men

architecture.

the

hand

there

the very

of the
as

eighteenth century,
Ware, hand, Chambers,
there
on was

still

by being practised
Paine, and

such the

Carr

of York,

the

Adams. tecture, archi-

On

other
a or

this amateur sentiment amateurs,

the the and
on

theory
not
on

of Gothic

theory based
critical

ledge historical know-

study.

The

the and

strong
have
at

current

of the

the

romantic

movement,

carried in

day,

retarded
a

development

of architecture

country by

least

hundred

86

Architectural
;

Drawing
to

and
attempt
extent
was

Draughtsmen
to
to

years
one

and

though
but

it is useless

put back
which home.
not

the

clock,

cannot

regret the
and

disastrous
art

the

cleavage
For the

between
romance

classic
was

romantic
romance

driven
it
was

not

genuine

;
as

the

expression

of
-

an

age the

of great adventure, faded

to

such

had

inspired the Elizabethans,

its

but

fancy
arts

of of

hterary sentimentalists, and

Europe
have been

only

butions contri-

the

landscape gardening and

the
^

Gothic

revival.

Architectural continued
was

draughtsmanship
to

followed

the the

fashion. demand found of

The for
more

tects archithem

publish
artists

their and

foUos, but

dwindling, employment

and in

draughtsmen

able profit-

making

picturesque views

buildings, and

romantic The
were

landscapes.*

Sandbys
at

were

typical

of

this

period.

The

two

brothers

bom
as

Nottingham.
to
was

Thomas,
the chief
a

the

elder, who
at

had

begun

his and

career

draughtsman
at

engineer
member

Fort

William,

was

present

CuUoden,
in who
a

made
was

of the

Royal Academy
architecture.
was

at

its foundation

1768,
also

and

its first
an

of professor

Paul

Sandby,
on

began
of the

as

engineer'sdraughtsman, Highlands,
which he and

employed
so

survey
a

North-West

while

employed etchings.
the

made He

series of
was an

landscape drawings
member original

published

as

also

of the

Royal Academy,

enjoyed

patronage
and
was

of

some

very

wealthy
of He

and the
was

distinguished
Great much artist
a

gentlemen,
Windsor

made Duke
to
a

deputy
of

ranger

Park in
to

at

under

the

Cumberland.
been the first

the

fashion, and
in

is said he
was

have

EngUsh
and

work

aquatint,but
The

moderate

draughtsman
the the British
most

most

inferior which 1

painter.
reproduce
"

view

of Eton him
at

College in
his

Museum

shows

best, and

interesting work
excellent account of such Thomas

See

Roget, History of the Old

the works of the

Water-Colour and Nathaniel

Society, for
Buck,

an

publications as
Heame,

Samuel elder

Malton,

Watts,

Angus,

John

Carter, and

Pugin.

(3

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0

3 cr

k.

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"

88

Architectural
lead

Drawing
drawing
middle
set

and
by

Draughtsmen
excellent views
was

the

in architectural
the
a

these

quite forgotten in
century.
William for the The I

and

latter

part of the
and

nineteenth

give

remarkable
to

print,
the

drawn younger

engraved
Dance's

by

Daniel,* 1802,

illustrate
Port

design

improvement
Sandbys
school
are

of the

of London.
as

only important
water-colour, Girtin, that

forerunners
Cotman
master

of and

the

great
to

English
Turner,
death

of and

through

Dayes,
whose

Varley,
wjis
an

incomparable
to

early
of

irreparableloss
Girtin
of and
was

EngUsh
almost
in

art.

The
to

aquatints day
of

Paris, in which death, t

in and
are

engaged drawings

up and

the wash

his

models

what

line

should

be,

their

breadth

simplicityof statement,
of

solid the

composition,
of

wonderful
That

suggestion
fine

atmosphere

and
shows

environment of

buildings.
faculty
and in

artist, J. S. Cotman,
of

something

this

the

drawing
absence

Dieppe
be

at

South

Kensington (3013.76),
heavy
the
at

its entire
water

is to

noted if Prout

in Prout's had of St.

and

tive insensi-

colours. have with

I believe it the

drawn Pierre
or

Parthenon

he

would

given
the

quality
of

Caen,

and

presented it
In the
as

atmosphere
of the last
a

Ratisbon

Wiirzburg.
tecture before, archiwater-colour
of the that
position com-

early part
a

century, and

indeed

subject played
it
was

large part
that the be

in

English

painting,and
buildings should

inevitable

intention original
lost
as

representationof

architecture
come

should
treated accuracy

sight of,
an

and of

to

be
to

merely
of

element The

without of qualities
*

regard
romantic

statement.

worst

the

movement,

its sentimentalism,
author with him

its looseScenery,
He

William elected in
an

Daniel, nephew
Associate The
in of

of Thomas the

Daniel, and

of Oriental
in

was

Royal Academy
shown

in 1807, and views

Academician Port of

1822.

died
than

1857.

draughtsmanship
the

in the

of the

London

is finer

anything
f The
Peace

Oriental

Scenery.
France to

of Amiens

(October ist, 1801) reopened

to

Englishmen.
the studio

Girtin,
from

who his

was

very

ill,went
but

Paris

in the
became

hope
worse,

of

recovery, and he died

and

made

drawings
in the

carriage;

his condition age

in his

autumn

following,at

the

of twenty-seven.

4"

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N*

^-f

The

Tower,

Laon

Cathedral.

By
of

W.

E. Nesfield. Architects

In

the

Collection

of

the

Royal

Institute

British

English Architectural
ness

Draughtsmen
firm hold
of the

89

of

thought
in
most

and

expression,took
architecture

and painters, in

appear
a

the

vague

of Turner, most

splendid, yet
of

way

retrograde, of pamters.
the

the Unfortunately,

rift had

opened
a

between

painter

and

the

draughtsman
the
as

architecture,
is

rift that

steadilywidened
to

through
up

last century, and

only
to

now

beginning
something
tired of

close
of the

again,

painters have
architecture,and

begun

reaUse have

fascination
in the

of

architects

being

isolated

Arts.

Early in
seems as

the

last centurj'
been
cut

technical in
a

architectural It

draughtsmanship
ceased
to

to

have

off who

backwater. it

be
a

regarded
system

art, and

those

practised deprived
derived
accurate

gradually
drawings

evolved of of any
a

of

conventions
such
as

which could be

their
the

value, except

from in

settingup

buildingin perspective, presumably

of

scale.
of outline has much
at
as

The

habit

drawing
to
answer

architecture, introduced
for. It has
as

by

the

elder

Pugin,

taught architectural

students and

to look

buildings not
arrangements
from that

as

masses,

compositionsof
lines ; and in the

soUds
drawn with-

voids, but

of

abstract

it has
round

their attention is the is

no

study
not

of form

which

province

of the

architect
on

less than

of the

sculptor. There

necessityto

dwell

the

aberrations 'sixties.
He

of the is
now on

architectural professional

draughtsman
and his work and of his
was a

of

the

nearly extinct,
tricks and
he
ventions con-

failure, because

it reUed
and
one

not
as

on

genuine drawing,
and
not
as

because that

conceived

problem play

mechanical

called for

thought by
some

and

the

of

imagination.
the

It has, however, of the who last made

been

overlooked
were

artists that very

for able

among

architects

century there
a

draughtsmen.
was

Gandy,
an

number

of

dravvings
Blore
were

Sir

John Soane,
Gothic

artist of

exceptional ability.
both the
a

drew

his

detail

very

well, and

Cockerells wonderful

accompUshed draughtsmen.
of

George Devey

had

knack

turning

out

picturesqueprojectsof buildings. Nesfield, though

go
he

Architectural
never

Drawing
from the

and

Draughtsmen
influence of of

wholly
became of

recovered
a

unfortunate

J.

D.

Harding,
His

consummate

draughtsman
are

architecture.
than those very thing anywas a

drawings

French

cathedrals

finer infinitely
some

cast-iron

drawings by Viollet
"

le Due,

of could

which have

Ruskin drawn he
;
as

properly described
he medievalist. house
a

as

beastly." Burges
could have and

liked, if only he
Street of and
was a

forgotten

that

rapid

skilful

draughtsman

Waterthe
one

master
;

large competition perspectives,such

the clean

I illustrate that Mr.

draughtsmanship
in

shown

in the

volume

Shaw years, this

one

published

1858,
a

and model

in

his

Academy

drawings

for many With those

rut

is still in its way

for students. with

rescue

exception
who it had have

I do done

not

deal
to

living artists, with

the that
was once

among into which

us

much
to

art

from

the of

fallen, and
in

maintain

tradition supreme. have shown

architectural

scholarship

which

England

Moreover,
what The fine

artists not material

has been has

trained especially
their
art

in architecture be found in

for

is to

in noble

buildings.
years

level

raised
made
a

all

round,

and advance

quite
in this

recent

draughtsmanship
America,
which result under

notable that the

country and
of

the

inspirationof
of

high standard
"cole des
now

drawing
The
a

is the is that

greatest tradition
architectural
what

Beaux-Arts.

draughtsmanship
it did and

stands
ago.

in But

very

different still lurks

instead of of

positionfrom
in the

thirty years
the

danger

background,
to

danger is
"

that

students,

of

learning

become of

good draughtsmen

that of

is, instead

acquiringthe
natural

power

drawing anything by study

of the Hfe
"

buildings,
on

objects, and
manner

tend At

to

concentrate

the

fashionable
manner
"

of

the

time.

present
within

it is the
hmits these

French fectly perto

excellent, accompUshed,
;

and my

narrow

adequate
show that
a

but

it

has

been
manner

object
is

in
one

essays many

the
manner

modem

French

only

among

others,

too, which,

though it

expresses

the

habit

of mind

English Architectural
of French of

Draughtsmen
to

91 ence differBefore

designers, does
temperament
succumbs should

not

necessarily respond
of the other

the

and
to

tradition
or

Anglo-Saxon.

the student

this

to

any

convention, he should
what has

study widely, he

acquaint himself
past
"

with
the

been
San

done

by great

masters

in the

Bramante,

younger and

Gallo,
own

Peruzzi, the

Marot,
of

Perelle

and

Lepautre, Piranesi,
before that
our

our

EngUsh
draw for

masters

draughtsmanship. And,
It from

all, he

should

himself.

is

mistake
world than

to

suppose
art.

architectural

drawing
drawings

is cut
are

off

the
more

of the

Even

geometrical
of the that

something
I

scientific
attention

diagrams
the fact

engineer, and blundering

the fine in executed and

have

already
The

called

to

incompetence
fine

here

nearly always
of

means

failure in
is like

work. of

drawing
that

architecture

the

drawing
case

anything else,except knowledge

art

the

knowledge specialised
of architectural

this

is the far
as

and

understanding
there and is the and
no

forms. between We We the do

must

So the
not

is concerned of
a

essential

difference
a

drawing

building

drawing
conventions and

of

figure. figures.
of

accept, nowadays,
be shown the actual and

symbols

of

object, the modelling

scheme

symmetry
So

whole, the

shaping
Merely

of the

parts.
are

it is with

architecture.
mere

mechanical tricks
want

diagrams
of line,
is the

not

enough, and
and the

virtuosityof drawing,
no use

or

of

black

white,

are

to

us.

What and

we

thing itself,in

largest
will Uve

sense

of the

phrase,

the

only draughtsmanship
loyal and
of certain

which

is that A
as

which

is sincere

in purpose,

faithful in execution.

modem
"

critic* has

somewhere

spoken

draughtsmanship
is the open

caressing.'* That drawing

:

quahty, rightly imderstood,

frankness eye and candour
to every

quaUty
mind,

of

all fine

the

of the
nuance

the and that

close observation

of the

sensitive
of

of outline of touch

modelling, the
can

assured the

freedom

hand

and

hghtness

transmit

impression imdimmed
"

by inadequate technique.

Sir

Sidney Colvin.

INDEX

Ackennann, Adam,

87 Robert,
59
66

Bouchard,
68,

64
80 10, 19, 22,

79-80,

85

Boura, Bramante,

Algardi,
Ancona,
Anthemius Antichita

24-5,
17 51, 82

42,

59,

91

Bray,
of

Sir

Reginald,
Illustrata,

Tralles,

11

Britannia

Romane

(Piranesi), 65-6 (Revett), object

80

Brogi,

24
22

Antiquities
Architectural

of Ionia

Brunelleschi,
4

drawing,
A Book

of,

Bullant,

21

Architecture,
Architecture Architecture Architecture

of (James
30-1

Gibbs),

78-9

Burges, Burghers,

William,

6-7,
82

13-4,

36, 90

(De

I'Orme),

Michael, 83

Francaise

(Marot),
and

49

Burlington,
and

of

Greece
10

Rotne

(Spiers

Byzantine

architects,

11

Anderson),
Architettura Architettura Architettura Architettura
Art

(Bibiena), (Montano),
(Palladio),

61

Cabinet

du

Roi,

41, 47,

45,

48-9,

51

56
30, 55

Callot, Cambrai,

Jacques,
Villard's

51 of

drawing
55,

Apse

of,

14

(Serlio),
chez

28

Campbell,

Cohn, Antonio,

77-9 60,

de

Bdtir

les

Romains

(Choisy),
and

10

Canaletto,

83 (Loggan),
82
4,

Athenian 80

Antiquities

(Stuart

Revett),

Cantabrigia
Carcere
d'

Illustrata

Invenxione
19

(Piranesi),

64

Carpaccio,
BaaJhec

(Wood
37

and

Dawkin),

80

Carr,

of

York, the,
79

85
42

Barbet, Berain,
"

Carracci,

Jean,

47-8
48
57-9

Castell.
CeciUa

Berinades,"
44, da 45

Metella,
27,

Tomb 79,

of,

66

Bernini,
Berrettini

Chambers, Pietro,

85
view

Cortona,

58

Chambord, Chaudidre,

Perelle's
30 Art de
22

of,

50

Besan9on,
Bianco, Bibiena, Bibiena, Bibiena,
Bihliotheca

Bartolommeo,
Ferdinando Giovanni

58,
Galli Maria
Galli

61

Choisy
61-2

Bdtir

chex

Us

Ronuiins,

to

da,
Galli

Clausse,
61

G,

da,
61-2, 79

Cockerell, Colbert, CoUot.

39

81,

89

Giuseppe
Radcliviana

da,

70

(Gibbs),

37-8
Cathedral,
Sir
12

Bird's-eye
Blore,

views,

by Perelle,

etc., 50

Cologne
Colvin,

89
of

S.,

91

Borgognone,
Borromini, Bosse,

Milan,
60

19

Complete
79

Body

of

ArchiUcture

(Isaac Ware),

57-8,

Abraham,

38

Coner,

Andreas,

sketch-book

of, 24

94
Cotman,

Index
J. S.,
88
20

Geometrical

drawings,
19

Crivelli, Caxlo, 4, 19,

Ghirlandajo,
Giamberti

Cuvilids, the, 55 Dance,

Daniel, Darcel, Dawkin,
the

{Antonio)

called

Da

San

Gallo

(G. Clausse), 22
younger, 88 70

Gibbons, Gibbs,

Grinling, 52, 76 James,

55,
3,

William,
13

78-9
88

Girtin, Thomas,
Gloucestershire

80 88 25
;

(Atkyn's),51
17

Dayes,
De De De

Gotch,
Gothic
"

75

Geymuller,
rOrme,
21

architects, 12, Tour,"

the

Architecture,

30-r Dis-

Grand

influence

of, 81-3

Quinque

Columnarum

Simmetrica

Grotesche

65, 67 (Piranesi),
isometrical
view

tributione De

(Dietterlin), 32
34
ed

Guadet,

of Colosseum,

10

Vries, 32,

Delia

magniftcenza
Romane

architettura

de

(Piranesi), 65
53

Harris

Harding, J. D., 36 (engraver),78 (Choisy),10

Water-Colour

Desgodetz, Antoine,
Destailleur,
37,
44

History of Architecture History Hollar,

of
41

the

Old

Society

Devey, George, 89
Diderot,

(Roget), 82, 86-7

32-4 Civile
et Militare

84
Wendel,

Dietterlin,

Hulsbergh, H., 78-9 Huquier,

Hurd,
i Cammini
55

Disegni di Architettura (Uffizi), 24

Diverse
Maniere

Richard,

and

Gothic

architecture,

d'

adornare

(Piranesi), 65
Drakelowe,
Du

Hypnerotomachia,
at, 87
31-3, 37,

28

Sandb)r's decorations Jacques Androuet,

21,

Cerceau,
43.

Ictinus,
Invemioni

II

50. 73

Capric
William,

di Carceri 81

66 (Piranesi),

Du

Perac,

Etienne,

31

Inwood,
Isometrical

projection,10

Edifices Antiques
Egger,
Eudes
1

de Rome,

52

Jombert, 38
Montreuil,
Libra
16

de

Jones, Inigo, 52, 61, Jousse, Matthurin,

Kent,
79 51-2, 82

72-5, 79 37

Extraordinario

(Serlio), 29

Falda,

Giovanni

Battista, 57

Flitcroft, 79 Fontana,
Fontane

Kip,
55

Domenico,
di Roma

Kirkall

(engraver),78
82

(Feilda),57

KnyflF, 51,
La

Fourdrinier Fra

(engraver), 79
22,

Giocondo,

24

Bella, 49 Londe,
55

Franceschi

Domenico,

30

La

Francini, Freart,

38
52

Langlois, 40
Laon, Lassus,
Villard's
13 40 20,

Roland,

drawing of,

14

Galli

da

Bibiena, 78
89

{see Bibiena)

Le

Blond, Brun,
Grand

Gandon,

Le Le

41 49

Gandy,

Marot,

Index
Le

95
d" la

magnificsnxe di
(Piranesi), 64
Muet,
Petit

Roma

le

piu

remareabili

(Euvre

Divtrtiti
33

dtt

Ttrmts,

rte.

Le L$

Pierre, 38
Marot 49, dScouvrant

(Sambin), Oppcnord, 55
Orvieto,

Cathedral Illustrata

of,

12

JL* Secret
rmnt

d'Archittcture,
Us traits

fidiU-

Oxonia

(Loggan).

82

gionUtriques (Jouase),
27

37 Lelio Orsi da da

Novellara, Vinci,
27
39

Paine, James. 79. 85 Palladio, 21, 29; ArchUeUura, Palmyra

Panini.
Parallel

30, 53 80

Leonardo

(Wood
60. 63

and

Dawldn),

Lepautre, Antoine, Lepautre, Jean, Liagno,

L'.berale T. da F.

39-44,
44-5,

52
91

of Architecture

(Frdart's), 52

Lepautre, Pierre,
Verona,

Penrose, 81 Perelle, the, 50-1.

81. 91

da, 59
19

Perspective drawings, 8-9

Peruzzi, Baldassare,
19,

Libergiers,Hugh,
Libro Terzo 50
82 29

i6

23. 26, 29, 91

(Serlio), 29

Philippon. Adam,
Pinturicchio,
Piranesi.
19

39

Liencour,

Loggan, David,
Lombard, C,

Francisco.

65
9-10,

Piranesi, Giovanni
43. 55. Plus

Longhena,
Lorenzo
del
12

58
Maitano, drawings of Orvieto

Battista. 3, 5, 60, 62, 71, 83, 91

Bastimens

41,

ExcellerUs 32. 73

(Da

Cercean),

by,
Mademo,

Prout, Carlo,
57 view

36. 88
influence

Pugin.
of, 45

of, 89

Maestricht,
Maisons
de

Marot's Plaisance

(Blondel),78
(Le Muet), 38
42, 50 41, 44

Quicherat,
Rainaldi, Ranuzzi,

13

Malton,
Maniire Mansart,

Thomas,
de bien

87
Bastir
29, 29 26

57-8

Fran9ois, 39,

Mansart,

Jules Hardouin,
19 30 44,

Raphael, Regola

Mantegna,
Marcolini, Mariette, Mariette, Marot, Marot,

delle

Cinque
21

Ordini

(Vignola), 30 draughtsmen
of

Renaissance,

architectural

48, 51, 69,

39,

the, Revett,
49, 52, 61, 81, 91

19, 80

Pierre, 40
45-7,

Daniel,

Ricci, 63 Robert, Romano. Hubert, GiuUo,

in

Jean,

45,

49

83-4
29

Martellange, Masque
Massimi

37

of Indianos

(Inigo Jones), by
Peruzzi

74

Romanticism Rooker

England, 82, 89
80

Palace, drawing
39 55
20

of, 26

(engraver),
68, 71

Mzizarin, Meissonier,

Rossini, Rubeis,

J. de,

57

Mignard,
Montano,

Giovanni

Battista, 56
view

St. Gall,

Monastery
at

of.

1 1

St. Peter's, Rome,

projectsfor,

10,

24-6
for, 29
draw"

Namur,

Lepautre's
School
W.

of, 45

St. Petronio, St. Pietro

in

Bologna, drawings
Bramante's

Nancy,
Nesfield,

of, 51 E., 89-90

Montorio.

ing for, 25
Sambin,

Newgate,

Dance's

design for, 70

Hugues,

33-4

96
Sandby, Paul,
San 86

Index
86-7
da, the elder, 19, 25, 30, da, the da, 19,

Sandby, Thomas,
GaJIo Antonio 59 San

Varignana, 29 Varley, 88
Vasi, candelabri,etc. (Piranesi), 65 Vasi, Giuseppe, 64
younger,
19,

Gallo, Antonio
23.

Vedute

altre

prese da i Luoghi,altre ideate Canaletto, 83

25-6, 59,
25

91
21

da Antonio
; album

San

Gallo, Giuliano
22,

of,

Venturini, 57, 60 Veronese, 4

di dell' Antiquita Vestigi
31

Santa

Sophia,11,
Norman,

23

Roma

(Du Perac),

Serlio,21 Shaw,

28 ; Libro Terzo,29 ; Archiiettura,

90

Vignola, 21
30 Villard 8 de

Regola delle Cinque Ordini,

sketch-book

Siena, Cathedral

of, 12

19 Signorelli, Skiography,abuse of, Soane, Sir John, 68 Spalatro(Adam), 80

Honnecourt,

of,

13-4, 16, 20, 25, 29 Villas of the Ancients (Castell), 79 Viollet le Due,
90

Street, 7, 90 Stuart, 80

Vitruvius, 11, 27

Israel, Sylvestre, 51 47, 48-50,

(Barbaro), 30 Vitruviiis Britannicus, 77, 80

Vitruvius

Vitruvius, M., per Jocundum Tembilia,

29

Solilo Casut

Tesi, Mauro, 60

et Tabula factus, cum figuris tigatior et intelligi jam legi possit, 27

Thorpes,the, 73 Tiepolo,46-7, 64
Treatise
on

Ware,

Isaac, 79, 85
90

Civil Architecture

(Chambers), 79

Waterhouse, Webb,
WiUiam

Tridino, 27 Turner, J. M.

W.,

87-9
Wood, Woolfe,

John, 52, 72-7 of Wykeham,

80

12

78
in Architecture

Urbis Venetiarum

60 prospectusceleberiores,

Works

of Robert

and

James

Adam,

Vaga,

Perino

del, 59

Wren, Yenn,

The, 79 Sir C, 52, 76-7,83

Valeriani, 63 Van Merlen, 40

drawings by,

27

Printed

by

Cassell.

"

Company,

Limited,

La

Belle

Sauvage, London,

".C.