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'A
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51
THE
PRACTICAL
OF
BOOK
ARCHITECTURE
BY
C.
MATLACK
PRICE
WITH
US
IIWBTBATIONS
PHILADELPHIA
AND
LONDON
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1016,
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AN
ILLUSTRATED
OF
TERMINOLOGY ARCHITECTURE
NOTE
Regardless
may
of
the
extent
to
which
any
special
must
subject always
an
be
treated
terms
for of
which
general
more or
reading,
less technical
there
be
certain
nature,
on
standing underof
of
is
essential
even
the
part
the
general
It is
reader. the
to
intention,
certain is
therefore,
of the
of
most
the
following
common
seven
pages
illustrate It
tural architec-
terms.
obvious
to
that,
in all
limited
compass,
it
would
be
impossible
would do
it
illustrate
special
the
architectural
of this
terms,
book This
to to
nor
be
necessary
for
purpose
so.
brief
"
Illustrated reader
Terminology,"
with the
names
then,
of
is certain with
designed
monly com-
acquaint
seen
the
architectural
features,
as a
familiarity everyone's
be
which
should
In
be
regarded
cases
part
of
will
education.
to
some
the
reader for
enabled
learn
the
will
"
architectural
name
an
often-noticed
feature between
the reader the learn
two
learn,
is
for
example,
"
that
the In
wall-space
other
cases
arches will
called
spandril.'' identify
nature
some
be
enabled but
not
to
architectural
which the is known
"
feature will
name
the
of
for
ample, ex-
by
what is
a
consulting
''Illustrated
Terminology,"
"pediment."
The
Cokinthiam
Obdek-
(Modern
\ersion.:
spsplpl
Gkeek Key
or
Fret
Motif. iT
"
Greek
Key
or
Fret
Motif.
The
Greek
Ant^emiok Motif.
vf
'f
r#Mf
Egg
Moulding Bead
and
Dart
and
Moulding.
'!:lV^i;'!ilf,,
,:,
Leaf
and
Dart
Moulding.
(Also
Leaf
called and
Tongue.)
Grkek
Wave
Motif.
Greek
Wave
Motif
^s^.
.%"v%
Interlaced
Guillocme.
%:*^\"^
Twisted
Guilloche.
Louis
XVI
Guilloche.
COMMON
ARCHITECTURAL
MOTIFS
OF
CLASSIC
ORIGIN.
(With
Carlouche.)
SrAMMIL And
DlCOMTIOM
Or
With
MutQOZ
CAtToucui
Fiau*i",
Pau^diah
Ehtkanci.
othque
Cot
Fanlioht
Ova
Door.
Greek
Fret.)
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(Succinive
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atl
ociginal
33638:^
SEP
20
1928
FOREWORD
THIS Ability
of
book
to
has
two
architecture, and
be
a
know
something
and
styles,
should
of every
and
woman.
of Part
a
I, A
Practical
Guide
a
to
Styles, is styles,
that
to
give,
far and
may
as
part of
of
liberal
education,
and the
use
thorough
working
so
knowledge
as
architecture for
so
architectural of the
is necessary
general
a
reader,
it
to
give it in
succinct
and
practical
way
easily be assimilated.
Part
II, A
who
Practical
Guide
to
Building, adds
a more
to
the
above
knowledge
are
information about
to have
of
practical kind
for them houses
at
for those
or
erected
other
buildings, either
or
in the
or
city
who
or
the
country,
either in
any
large
way
small
expense,
may
with
a more
Advisory
Boards
for
buildings of
The contractors
to the
public character.
on
chapter
treats
arrangements
of
a
with
architect
and
subject
never
before and
a
presented
at the
lay reader
of Contents
in
direct show
manner,
glance
Table
will
how
will prove.
a
presenting
practical book
devolves be be have
upon
on
a a
responsibility
which it may which
can
responsibility
extent to
only
to
the
dispel certain
to
popular
clung
into and
the
ject, sub-
to divide proper
1
separate
to
architecture
its several
phases,
and
set
forth
salient
essential
FOREWORD
points
in
manner
at
once
clear,
accurate
and
illuminating.
In
as
this
as
task the
the
author
feels
that
the
in
opportunity
the
is
great
responsibility,
be
and
that
following
the
pages
it may of
possible
as
permanently
a
to
remove
subject
architecture
as a
whole
its
present
it in its
classification
true
subject subject
technical of
place
position
with the
as
general
of all
intimate
tact con-
every-day
is
a
life
Architecture
not
comprehensive
a
subject, but
one.
fairly be appeared
is due
considered
to to
complex
in few
That and
often
be the
involved
fact
complexity
critics its
or
that
expositors
for
have
divided
the
subject
into
logical parts
separate
Architecture and
history,
divisions volume
nor
design,
suggest
construction
practice, which
The
present
is not
a
designed
on
be
history
the main
of
architecture,
aspects
a
is it
treatise in
any
of
of
the
subject
effort
to
general.
the that
a
It
sents, repre-
rather,
in of
a
careful
co-relate
essentials the
clear
and
concise
may
manner,
in order
as
subject
of
any
as a
architecture
become,
and
may
it
should,
to
part
liberal
education,
cease
be
regarded
^^technicaP' In the
subject. preparation
to
of each
this
work
the
has
deavoured en-
give
to
consideration
subject
its proper
in
emphasis
order of to
with
regard
a
to
each
ation, considerserviceable in
who
develop
whole.
complete subject
of
exposition
the
The
to
architecture To those
general
is of broad
ipterest
and their
everyone.
contemplate
called of
upon
building,
to
who
will
consequently
in
be
exercise
judgment
the
question
interest.
architectural
design, the
subject is of direct
FOREWORD
The
must
of
architecture,
either the
class,
acquaintance
of historic
ment developthen
architecture,
types
forms
cease
forms,
are
with
to
architectural
create
design, in which
types.
a
employed study
there with of will
these
as
Here
will
the
historic
a
development,
and
acquired
practical
the
familiarity
types'
teristic charac-
building,
of With
styles, and
these
architectural
forms
styles. practical
then
this
familiarity
may be
as
preliminary
considerar selection materials
equipment,
tion of and of the
benefit
had
from
due
"
practical
of local of
side
of
the
subject
natures
the of dual
site, study
the of
conditions,
architect. the
the
This author's
subject
forms
plan
present
The the kind
wishes
to
acknowledge
the
with
gratitude
and in the
co-operation
who have
of
following
extended
architects
others
matter
generously
:
courtesy
of the of
To
profession by
the
is
due
the
present
of forced this
to
degree
country,
deal than other
attained American
more
for
conditions confronted
complex
lands and
the
other
It would
to
be
difficult ideals
to
overstate
the
further which
impetus
would be and
architectural
and
practice popular
and
any
given
by
more
general,
of
appreciation
effort
to
understanding
this and
the
so
subject,
that call writer
develop
understanding public
alike of
benefit
most
must any
sincere In
effort addition
in the
field of
of
architecture. to all
to
an
expression
indebtedness
CONTENTS
PARTI
A
GBAFTBB
PRACTICAL
GUIDE
TG
STYLES
PAGB
I.
15
and
its Place
as
Part
of
Liberal
Education.
Benefit Technical
of Architectural
ciation. AppreSome of
damentals Fun-
Architecture of Architecture Historic II. Thb EyoLunoN The Growth of tine UL The and
Subject.
Architecture.
Understanding
upon
Modem Past
Dependent Styles.
of
Acquaintance
with
28
of the
Styles.
of Rome.
The
tecture Archi-
Egypt,
Assyna,
Greece,
Bysan-
Romanesque
of
Architecture.
Eyolution Gothic
Architecture and
(Continued)
Renaissance of those Architecture. Two and Great A
47
Architecture of the
Study
in IV. The A Its
Differing
Expressions Belgium,
Styles
Italy, France,
Ideal of the
Spain,
England
Germany.
73
Classic
Study
Immortal in of
Qualities
Several
of
Classic
Manifestations Place
Important
Public and V.
Classic School
in
the
Design
ings its Teach-
Buildings.
its Wide
The
Beavx-ArU,
Influence.
and
Btiantine,
The
Romanesque
Gothic in
106
''Romanesque
Revival" in the
Romanesque Derivations,
in VL English The
on
Styles
Architecture
To-day.
Ecclesiastical,
Collegiate,
Military
America.
Derivations, Importance,
American The
and
132
Meaning
The of
Architecture.
Anglo-American Collegiate
Countryture. Architec-
House.
Adaptability
English
VIL
Latin
Dbrivationb
in
American
Architecture from
Architectural
Types
Italian Renaissance Modem
Adapted
Villa
Italy,
The
Spain.
The
in America.
Important
Influences Little
of Italian
Architecture.
French
Hotels.
CSiAteaux,
City
Houses from
and
ciated Appre-
Architectural
Legacy
Spain*
5
CONTENTS
VIII.
Native
Abchxtbctubb
17B of The
New
Types
Atlajitic Colonial
Characteristic
England,
Creole Work Some
States,
and
South.
Spanish
the Middle
on
West,
the
Bungalow.
Addenda 203
to
IX.
Architectural New
Styles
to
Applied
New Used.
Uses,
and The
Old
Styles
Applied
and
Notweau," City
Modem
House, Hotel,
Terminal.
Building,
House
Building,
the Great
ment Apart-
Railroad
PART
A
CHAPTER
n
TO BUILDINa
PAGE
PRACTICAL
GUIDE
I.
The
Selection
of
Location,
Sttle,
Material
and
tect Archi225
Style
from
Viewpoints
etc.
of
Relation Local
to
Site, Material,
and Local
an
eral GenLabour
Appropriateness,
Conditions.
Materials
Foresight
Client is
a
and
Advice.
Choosing
Architect.
II.
Architect
and
244
Building
Architect. Architect Other. Architectural
How
to
Consult
the What
The and
Basis
Architect's
Services.
each
Rightly
Expect
from
the
etc.
Charges,
and
Supervision,
Specifications.
"Extras,"
Drawings
Construction of
III.
Materials
and
Consideration Materials.
Physical Natures,
Materials. of
Properties Comparative
of
of Building
Suitability,
The Materials
Costs,
Texture.
etc.,
of
Building
Importance
and
Associated
Suitability
Details Kinds in of Plans.
Styles.
304
rV.
Plans
and
Different of
on
Importance
Both Plans
of
Definite Details.
etc.
Procedure
Developing Doors,
Tiim
and
Windows,
Interior
Chimneys,
and
etc. of
Stairways, Hardware,
Manner
Finish,
The
Lighting
in
Plumbing
Insure the
Fixtures,
Fulfilment
Best
which
Requirements.
.
ILLUSTRATIONS
Great
Tangiey
From Brewster.
an
Manor, Original
Surrey,
Endand
FronHspieoe Painting by
Anna Rionards
Water-oolour
PLATE
PAGE
ARCHITECTURAL I.
TERMINOLOGY,
Bell
ILLUSTRATED
....
13
Egyptian
Order
Capital
Ionic Order of
a
Column,
Order
Egyptian (Modem),
Stalk
Column,
Order
Doric Order
(Modem),
Tuscan Parts Rock-Faced Architectural
Corinthian
(Modem),
II.
(Modem),
Composite
Principal
Classic
Entablature,
of Oassic
Rusticated
Soins,
mmon
Masonry,
Moms
Origin
FreL
Anthemion,
Cartouches
Egg-and-Dart, (French
Palladian
in
L^-and-Durt,
and
Key. and
Guilloche).
IV.
Marquise, (Curved,
Palladian Dormer
Italian), Spandrils,
Balusters.
Pediments
Angular, Entrance,
Window
(IHrma, Broken),
Mansard Greek and
V.
Corbels,
Spiral
Console, Vohite,
Finial,
Pilaster
Fanlight.
VI.
linenfold
Panel^
Modilhon
Capitals,
Renaissance VIL
Dentils,
Lunette. and Roman
Lant^,
Uses of
Console
Keystone,
and
Arabesque,
Renaissance
Attributes,
Arch
Columns,
GBiyatid
Figure,
Terminal
Caryatid,
Terminal
Figure,
Spindles.
PART
L
PAGE
Tbe
A
Towers
of
the
ChAteau
of
Langeais
of the
16
Typical
American
Style
of Thomas
Erroneously
Called
"Queen
17
"MonticeDo,"
The Woolworth
The
Home
seen
J^erson
Arcade of the New York
throuf^
Post Office
the
Municipal
Two A The The The The Details Greek Doric of
Building
the Cleveland
at
18 and Federal
Building
Athens
19 34
Temple
Porch of
Segesta,
Greek of
Sicil;^
(lomc), Stator, Erechtheum,
Athens
Caryatid
Connthian Arch of
the
34
Temple Constantine,
of St. of
Jupiter
35 35
38
Cathedral Cloister
Mark,
St.
Detail:
Pam-beyond-the-walls, Capitals
Paris and
38
Typical
The A
Byzantine
of (3othic of
Columns,
N6tre Detail the of Cathedral Cathedral the the from Cathedral the
Carving
39
48 48
Cathedral
Dame,
Tyrocal
Window
Rose Recessed
of
N6tre of
Dame. N6tre
Paris
49
Doorway
Cathedral of N6tre of
Dame,
Paris. Paris Dame,
Paris
49
Nave,
Gothic Gothic Duriuun
interior;
Chimeras
Dame,
N6tre of of Dame. N6tre N6tre
50 "0
Paris
Transept,
interior;
of
51 FVance
"
Gaigoyles
Cathedral
of
Dame, England
Paris,
51 52
River,
Durham,
ILLUSTRATIONS
London, England Cambridge, England Grateway, s College. England Trinity College, Cambrid^, Gateway, of "La Ptolette/' Tours, France Doorway "La of Tower Ptolette," Toura, Prance of Ch"teau of Langeius, France Doorway de Tristan Tours, THermite, Courtyflurd of the Maison Town The Hall, Bruges, Bel^um The Church at Malines, Belgium Cathedrahof The Toledo, Spain The Puerta del Sol, Toledo. Spain of the Doses, The Palace Vemce, Italy Venice. The della CaD'Qro, PaLwTO Italy of the Palasso Italy Rome, Courtyard Famese,
Westmmster St. John Colonnade The Church of the "tf S. of the Vatican. Maria Rome. della
Abbey,
52
53
53 56 56 57 France 57 58 58 59 59
60 60 61 61 62
of Sienna, Library of the Cathedral of Whitehall, The Entrance England London, St. Paul's England Cathedral, London,
Doorway
63 68
68
Oassic
Deriyations
in
Modem
American
Bank
Buildings
(Two
74
Examples)
The The A A
New^York
New Water Harvard
aty
at
Post
Law
Office
75 Mass 75 76
a
School, Cambridge,
California
Temple
of
SunoL
Tea-House Estate
Claasic
Design,
on
Long
Island
(N.
Y.)
Country
76 77
England Hyde Park, London, Mass The of Art, Cambridge. Fogg Museum of Versailles, France Cour de Marbre, Palace The Colonnade of the Louvre, Paris, France of the Louvre, Central Pediment The Paris, France The Petit Trianon, Versailles, France du Boulogne, Bois The Paris, France "Orangerie," du The ChAteau de Bagatelle, Bois Paris, France Boulogne, A French Classic New York City Shoft Classic A French York Publishing City Building, New Colonnade York Row New Grange City Teirace), (La Conn A Georgian Porch Detail New Haven, (Modem), Md A "Classic Revival" Pordi, Baltimore, Grand Details from the Palais des Elys^, Champs Paris,
The Marble
Arch,
77 78 78 79
79 80 80
81 81
88 89 89
FVanoe
102
(Two
A A Fifth New
views)
York
Avenue
in the in
Modem the
French Modem
flench
103
Style
104
En^iged
A Modem
Columns Church
Facade
of the
New
York
Romanesque
Derivation,
Madison
Library Square
105
Church. York New City Presbyterian Boston, Massachusetts.' Trinity Church, for the Porch of the Cathedral of Baltimore, Md I"awing New York St. Thomas' City Church, Graduate Arched Gothic Entrance to Quadrangle, School, Princeton University Manner in the Gothic Grotesques Rib-vaulted Style, Graduate Vestibule, in the Gothic School, Princeton University
106 106
114 115
122
123
123
ILLUSTRATIONS Philadelphia
124
The Ftovost's
Tower,
Militarv
Univereity
of
at
Ftoniuwlvania,
West Point
125 126
Chapel of
the
Aoademy
The Woolworth Details of the An American Detail: Garden Detail : House Tudor
York
Qty
York
Country
Front and
Terrace
City
(Four
Views).
127
.
132
Derivation
133
134 135
Derivation
in
an
American
Countiy
House
136 136 137 140 141 141
London Houses, Holbom, Old Half-Timber N. J Building, Princeton, Dormitcffy Half-timber Salisbury, England Heale House, Thames Walton on House, Country An English House
Qty
in
an
American of
Country
House
Comixxsite
Origin
Modem
English
Derivations
in American
Country
Houses
Two
A A
in Pennsylvania English Derivations Development "Neidibourhood" IVpicad English House Suburban EnSish
Typical
Modem
Two
"n|dish Suburban
Building,
New
Houses York
in Citv
Brick
147 158
Library
Private
New
a
York
City Shop
Front,
New
159
Fifth
Avenue
160 160
Yorkatjr
The Public
Boston,
Massachusetts in tiie
Italian
Renaissance
Derivation
Loggia
York
of
Modem
American
160 161 161
a
House Italian
A
Renaissance York
Derivation
in
New
City
Shop
Front
New
Sgraffito Decoration Ftent, with Shop Qty in Derivation) Renaissance Loggia (Italian
Front
New
York
161
(Italian Renaissance
in
an an
in
New
Yoric
161
Italian Italian
Derivation Derivation
American American
in
Country Country
General
a
View
. .
164
Terrace
yard Court166
166
An An An An
in in in
an an an
in
Loggia a House, from Countiy Fountain Wall House, Country American House, Court Countiy American and Pool House, Country American an
American Front View D. C
167 167
168
168
An
Italian
at
ViUa
Derivation,
Union
168
169 169
Patio
An
Pan-American Villa de
Italian ChAteau
Derivation, Langeais,
Patio of
a
France Modem
The
170 170
Buildings,
Spain
in Window Office of Treatment
in
171
Derivation
Building,
Gambrel
171
Hadlyme,
174
Colonial Pediment
Dwellins,
Porch,
Porch
at
Hackensack,
Palladian Modem
a
Jersey
Above
. .
174 175
with of
in the
American
Residenoe,
175
10
ILLUSTRATIONS
"
Wynnestay."
Local Modem
an
Early
Derivation
Colonial of the
Reddenoe
Early
188
Residence
188
Philadelphia Dependencies," Philadelphia "Cliveden," from House Early at Valley Forge, Pa., Derived Country
"Mt. Pleasant and its
188 188
Local
types Proto189
CountJ^
Pa at Germantown, ''Ledge Hall,^' The State Philadelphia "Independence House, I)erived A House from the Southern American Modem Country Type of Plantation Dwelling Arundel Anne "Whitehall," County, Maryland "The White House," D. C Washington, Two Orleans, Louisiana Villa, New Elxamples of the Creole Plantation Gabriel Mission, California San California of Spanish Derivation, Sierra Madre, Country House of a Modem of Spanish Four Views Residence Typical of Dmivation, House of Local California
A A
Stone."
189 189
196
Typical
Typical
Recent Recent
American American
"Seaside Suburban
Villa"
of
no
StvUstic of the
Derivation
196
Dwelling
"Picturesque"
196
Type
Two The Modem American "American
Country
House
Developments
seen m a
197 in
198
Style of the
Grand
Secessionist"
Rapids, Michigan
of
An
Example
the
"Craftsman" in the
Type
of
Country
198 199
Ja^nese
Influence
Calif omia
Bungalow
of Native of School in
a
Redwood,
Austrian
Califomia
or
199
"
of the
Viennese
Secession
' *
204 204
Nouveau,"
Renaissance
Parisian Houses
Shop-front
on
Flemish
City
the
Rue
Flamande,
New York
Bmges,
208
Belgium
Flemish Renaissance Derivation in
a
Modem
City
208 opments Devel209
City
Residences,
TVpical
of the
Newer
Life Insurance York Metropolitan City Building, New Life Insurance York New City Equitable Building, Hotel New York VanderbUt, Qty Railroad Station, New York Pennsylvania City Grand Central Raikoad
Station, New
PART II
York
aty
Successful Successful
Site Design for a Level Site Design for a Hillside A Modem House Country Essentially American A Small of Native Derivation Cottage in a Small Simplicity and Charm Cottage En^^h (2 views) Two Houses" Typical Modem English "Deteched An Architect's House for a Country Preliminary Drawing The House Country Actually Executed as A for a Small Villaffe Library Preliminary Drawing of \'S^rking Drawing of a K-Inch Reproduction (Reduced) Elevation
228
228 229 229 238 239 244 244 266
a
House
266
Reproduction
Floor-Plan
(Reduced)
of
^-Inch
Working
Drawing
of
House 266
ILLUSTRATIONS
11
Reproduction
of
a
(Actual
House
Siie)
Eleyation
of
Portion
of
K-li^oh
Working
ing Draw267
Reproauction
of
a
(Actual
House
Siie)
Floor-Plan
of
Portion
of
^-Inch
Working
ing Draw2G7
Reproduction
Tile Eaves
(Actual
Siie)
of
Portion
of
IJ^Inch
Scale
Detail
of 267
Reproduction
of An The Ardiitect's Possibilities House Two Use Instances of of An The Good
near near
(Actual
the
Sise)
of
a
of
Portion
of
Full-sise
Working
ing Draw268
Top
Wainscot
a
Pfijet
of
for
National Materials
Memorial
seen
Monument in
272
Building
an.Ameriean
Country
276
Qiicago
of the
Decorative
in Two
Importance
Typical
Modem
of
Texture American
277
Local Moderate
Materials Cost
Dwellings
278
Expression
in of Local
of
F^npliah
Half-timber in
a
Country
Constmction
House
279 279
House 294
Design
LainB^
Country
Philadelphia
of
The The A
Expression
Use Modem of Stucco American
Texture
as an
in Exterior
Buildings
Finish House of
Materials
295 295
Country
Actual
Half-Timber
tion Constmc298
Details
of
Door
Treatments
318
laical
American oi Houses
Example
English
Country
House
319 324
Villm"
Utifitarian
of
Letchworth, Bufldings
in
England.
. .
Application
Power-house
of
Architecture
C3alif
a
(two
views)
PART
PRACTICAL
GUIDE
TO
STYLES
THE
OF
PRACTICAL ARCHITECTURE
CHAPTER
AECHITECTURE
BOOK
THE OF OF NOT OF
NATURE A UBERAL
OF
AND
ITS VALUE
PLACE AND
AS
PART
BENEFIT
ARCHITECTURAL
A
APPRECIATION.
SUBJECT. SOME
ARCHITECTURE FUNDAMENTALS
OF UPON MODERN
TECHNICAL
ARCHITECTURE.
DEPENDENT HISTORIC
UNDERSTANDING
ARCHITECTURE
WITH PAST
ACQUAINTANCE
STYLES
TO
than
attempt
into the
are
to
define of and
architecture, dealing
the best has in of
or
art, is to
fall
Few
danger
safe,
catch-phrases.
them
are more
' '
definitions
accurate.
clever the
art
Architecture
' '
been
called is
as
of
as
building
most
beautifully
which,
perhaps,
The and
valuable has
epigrammatic
from the
time
definitions. of
attempt
an
been
made
Vitruvius,
that classic
early
English
that
writer,
**
paraphrasing
hath
authority,
states
Well-building
and
terse
three
' '
conditions: it would
Commodity,
be hard
to
Firmness find
to any
Delight.
Perhaps
so
characterisation that
"
accurately
should
applicable
be
priate approto
all
architecture
to
building built,
and
its
use,
strongly
pleasing
look
not
upon.
This
interesting
a
statement,
of clear
however, architecture,
idea of the
could
be it
definition
although
aim and
reasonably
purpose
of
architecture.
any
one
Taking
the aim of
of
these the
three world
alone
as
architecture,
been,
15
and
16
THE
PRACTICAL be
BOOK
OF
ARCHITECTURE Conceive
' '
wonld
to-day,
heavy
if had
* '
loser.
first the
the
aspect
use
of architecture the
Commodity always
elevators
to use,
or
intended
of
building
factor. with of
been
governing
are
Grain
a
**
primarily
essential
view
include
the
Firmness,"
the that if it
no
but
ignore
which
third. been
so
building
it is
were
*'
has
beautifully
but
a
Delight,"
would
be
a
short-lived
one
not
useless We
purpose.
must
of
architecture,
monumental
then, regardless
or
of
its divisions
domestic,
ecclesiastical essentials
buildings,
of
perfect co-relation
and
of the In
or
three certain
suitability, strength
one
beauty.
types
what some-
of
building
of
these
considerations,
each of the
two, may
may not
overbalance"
three
equal importance.
must
speaking,
of in
however,
take
all, and
mind in
we
by keeping
our
three
essentials of
a
' '
individual establish
any
given
building,
will
certain
' '
basis
any
application,
We thist this will ask
regardless
ourselves:
was
of
style
or
*'What
kind
Does
or
of
building design
What
pose pur-
its
t
purpose?
Is it
its
express
well-built,
Is it
cheap
and
dishonest? These
are
pleasing
detail?"
basic
considerations it be Modern
a
significance, entirely
in the
;
independent
Italian
of whether
or or
designed
French
style of the
we are
Renaissance
at
an an a
whether
looking
It affords
cases
church
theatre. circumstance
to
is
interesting opportunity
that
this
"
country
in many
study
"
adaptations
the
excellent all
adaptations
and all
of
architectural
styles
as
of
countries
periods.
Architecturally,
THE
TOWERS
OF
THE
CHiTEAU
OF
LANGB;
TYPICAL ERRONEOUSLY
AMERICAN
DWELLING.
CALLED
OF
THE
ANNE"
STYLE
"QUEEN
w
AboTs
ud
behiod
our
moil
JntimsM
"rchiteclure.
make
wdt
our
more
im
vti'tiDr^'ll^'uiiiiterHt'wblcb should
itwlMtlt
^t^vory
intclli
"
i-a
ARCHITECTURE
17
well There
are
as
racially, America
has been
no one
has
been
in
the this
melting-pot.
country
has been
we no cently re-
style, because
many
"
not
one
people, but
^and
as a
there noted
no no
* '
architecture,
out, because
we
architect
have
or
typical climate
tion. typical civilisa-
America,
no
typical landscape
is
a
This, however,
which broad At
out
question
would
of
style,
to
' '
to
pursue
further
at
this
point
be
depart
from
generalities.
the
outset
it
seems
part
of
some
of
this
work of
to
point
forcibly the
importance
and
degree
broad
come
general
understanding
of with
not
appreciation Many
of
us or
principles
in
contact
architecture.
paintings,
obliged
we
or
sculpture,
to
fine follow
cannot
arts.
We
are
to
listen
music
to
the fail
drama.
to
see
If
go
out-doors, everywhere
Some
are
"
however,
buildings
*
^buildings good,
all
are
bad
and
indifin
so
ferent.
some
important,
The
interesting thing
is that
particular. people
to
see see
unfortunate
many
have
never
trained
themselves
The
aspect
of of of
to
buildings,
the
our
quite apart
from
individual
interests
a
pective pros-
builder, is
lives least that
a
inseparably highly
on
part
daily
at
it would
desirable
develop
of
"
high-school
Architecture
course
the
"
appreciation
tecture. archi^itis
is not
special'* subject
us
universal There
was
subject confronting
a
at
every
turn.
time
^ *
when
knowledge
' '
of
an
architecture,
part
ical classof
together
of the
with
the
Classics,
a
important
education of
of
many
gentleman.
of the
to
stately and
manor
dignity
the South
was owners
fine the
houses education
due than
more
architectural
of the actual
of their Thomas
m
to
the
taste
master-builders.
Jefferson
made
the
drawings
for
BATTLE
OF
THE
earried
STVI.F.S''
out
itcKl
toner
the
ia while
U'oolworth
"ea
BuildioE,
Iha
\"
Id
Ure
niudi^rnuivd
ul thr
rend
Sr
(rchilcftuR.
Ihruuih
a
Clu-xir-UenaiMiiiiKK' al.w
visible of ilie uJd
rnliinnntlr
MuDinMl
Building,
New
elimpK
Hsll
EiRhiri^Dih
Cenlury
AncloJ^nnic
York
Cixy
i
s
i ^
Pi
illii
trr
si
lg I
19
should
upon,
allasioii
as a
be
omitted of
a
to
the
to
citizen
pass
who
member of
a an
board,
ment judg-
the
design
if of
a
important
house
or
a
public bungled
In
"
building.
tous calamithis of
nection con-
It is unfortunate in the
we case are
private library
be
city hall.
impressed
as a
by
the
importance
as
a
tectural archito
education
civic
money
obligation,
is the
duty
the
Public the
being
erection
spent
of the
yearly
country
for
important public
has
buildings,
seen
yet
architecturally,
It is
the
buildings.
that
by
no
means on
to
be
mended, recom-
however,
be
set up to
public
opinions
architecture
on
* '
overthrow in the
professional
case
opinions incompetent
tecture, archi-
excepting
architect.
of the will
an
cal" politipublic
ter betthe
upon
It is rather of architecture
an
contention result in
that
appreciation
results architect is the
save
securing
of what insist
through trying
to
understanding
The of
an
do.
board
may
ruining
order the
to
appearance
a
important
or
building
vote
in
few
thousand for
dollars,
a
may
down
architect's If the
were
project
members
splendid board,
approach. themselves,
funds
of the
people
sary neces-
architecturally
be
educated,
would To idea of
to
forthcoming
the
through
a
public
noble the
an
subscription.
architectural second
appreciate
is
to
possibilities of
its will but execution. be
desire there
In
part
this that
book
attempted
unknown
introduction the To be
a
interesting,
vidual, indi-
understand
been
supposed
talent
an an neous erro-
to
or
**gift,"
an
implication
may
peculiar
be
taste.
readily
architecture
proved
is
no
although music,
less
art
than
painting
or
it is different
in certain
salient
20
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
particnlars.
the result of
masterpiece
"
of
a
painting
or
of
mnsic
is
inspiration
of evolution.
masterpiece
To understand
of architecture
is the music
to
result is to
painting inspiration
understand
or
their
one
underlying
need hut which
"
understand of
the
a
stages given
with
evolution should
produced
be confused
example. enjoyment.
in
understanding
natures
Most in
receptive
find
art, in music,
architecture,
their
in
nature,
is
a no
that of
surrounds the
senses,
them;
in raises which their
but
enjoyment
thing
part.
of
understanding understanding
plays
to
Knowledge
the
level
intelligent appreciation.
To to
art
see
in
at
all architecture
once
product study.
of
evolution,
is
possess
the
at
key
more
to
its
a
Obviously
than
very
an
the
of
building,
the the
measure,
first of
necessity
been the human
art,
has linked
from with
a
dawn
civilisation of the
closely
race, and
development
influenced between is
more
has, in
it. In
people
human
who and
this evolution
than of
mere
sentimental
coincidence.
kinds and
by different produced
new,
religious
developments
times some-
all
different often
manifestations,
earlier of forms. The and
perity pros-
kingdoms,
are as
days
degeneracy,
their
mirrored
by
as
contemporary
words the the of hand mind of
architectural
vividly
a
in the of
contemporary
of
man,
man
"
Being always
should
work
tecture archi^and in
of
its interest.
architecture
the
own
past, perhaps,
architecture in it the
has
of
been
so
expressive
future
ages
to-day,
that
to
read
commentary
ARCHITECTURE
' ^
21
at ibis time
' '
artistic
ideas and
and
ideals
were
in
tional transi-
stage, the
of other and meritorious
to
study
adaptation
North of
no
of
earlier
styles
lands in
characterised the
American
ture, architecand
or
security
we
employing
desire
to
recognised
types,
had
experiment,
evolve A
originalia.
many
good
the
critics American
have
bitterly
since
times
the
no
nation,
days, has
There
characteristic
two
tural architecto
style.
contention.
however,
sides
this
Looking
back be
over
the that
evolution
new
of
arose
architectural
styles, it
old
ones
will
were or
found
styles
only when
made them
out-worn,
when
some new new
when
conditions social
or
religious
forms.
change
No
new
architectural
reason,
without In
solely because
any
desire effort
novelty.
be **Art
to
no
case
good
of
come
original
Nouveau'*
new
solely for
was
sake
inality. origof
^an
effort
evolve certain
forms
for
breaking
monotony
what of
movement
restless artistic
now
spirits believed
ideas. And
as
be
existing
is
the
an no
Art
Nouveau^' of
or
remembered
demic epitrace
ever
ephemeral
It
madness,
died because and
leaving
it had in
after
no
it
reason
to
created,
because,
itself, it
was
not
logical
That
seen
legitimate.
the last
century,
of
no
almost,
in
^^
this
country
the
development
is not
striking
should
national" be
surprising,
hbove aU
and
not
distressing.
part
of of
In
architecture,
to
other to
arts, it is the
be
or
wisdom
proceed
slowly, and
of
very
sure
each
are
step.
Sincere
adaptations
old
ancient
styles
22
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
much
to be
preferred only
as
if the
a
alternative de
is
"
meaningless
attempt
If this
try counas
style evolved
prove
an
tour
force
an
to
originality which
to
does
'*
not
exist.
'*
is
destined
produce
prevent
lands
style,
"
recognisable legacies
of in
such, styles
current.
nothing
from
could other
it
our
past
the
would
be
as
straws
It has
can as our a
been
so
always. adaptations
to
present
contradiction
a
of idea
many
styles be
the
of architectural that
many
It is
far
more
natural
style should
time. education
nature
one
"
paramount
The
in this
age
country
is
one
at
present
and And of
present
of
travel
of
photography
and
for
of illustration. selective
some
human
is accountable
us
the
proclivity. personal
be it
an
Every
ideal Italian That
of
a
instinctively
cherishes for
of
country-house,
an
example,
or a
villa,
ideal to
English
not
*'
manor,
chateau. sake of
would
some
be
sacrificed
conformity
We of would all
national"
pages out
style
of
architecture.
still
take
picture-book
past
not, necessarily,
the
men
consistent
were
style because
The
consistent. whom
were
them,
type.
they
not
were
built, knew by
a
of
other
They
distracted
variety
and
was
of
other, and
perhaps
equally
the
pleasing, ideas,
style, there
of the
consequently,
evolved the
a
by following
type.
prevalent
As
distinctive
proof
effect
which
upon
selective
proclivity design,
the
or
of
the
individual
the there
may
have of
so
architectural
In
consider of
architecture
was
England.
conservatism Once the
matter
style
as
not
much
tency consis-
has
been
supposed.
landed
gentry
ARCHITECTURE
to
23
began
Italian
were
travel,
new
architectural
ideas
many
came
in.
The
garden
laid
out
was on own
admired, English
kind of
and
Italian The
gardens
estates.
Englishman
did
not
preferred
the and Italian
his
honse,
Italian
so
he
adapt
villa.
Many
painters,
over
decorators
to
**
artisans, however,
and works had
East
were
brought
to
create
interiors
tastes
of
art
as a
a
gratify
of
the
which the
^'
arisen
result mania
with
Far
created in in
taste,
but
mostly
evidenced
Chippendale's
favour
as
furniture,
other
nevertheless
"
potently certainly
be
a
in alien
came
many to
and could
style
English
the
as
conceived. the
Later
Brothers of off
Adam,
their until
imprinting
time the with late
more a
architecture which
was
and
not
furniture
to
wear
classicism
Georgian
intercourse with
period.
of varied of And the
The
more
ideas, the
more
travel, the
the
any
familiarity
be the
less
one
will
likelihood
new
essentially practical
must to
ease. or
style.
of the
a
intelligent and
this
study
be
architecture
country
it is
tial essen-
day to-
largely
to
study
of
adaptations,
with
any
be
able
trace
derivations
to
accuracy
and
It would
be
impossible
of the
acquire
ing understandthis
appreciation
without
a
architecture
of
country great
to-day
practical
familiarity
with
the
styles of Europe.
in
view,
the
following
the
two
chapters
of
are
designed
outline with
concisely special
evolution
to
historic
architecture,
of
as
reference
the
the
a
styles,
degree
discussed
of
consecutively,
as
great
brevity
is
consistent
adequate
Before
presentation.
proceeding, however,
to
traverse
the
ages
ARCfflTBCTURE and
26
spreading,
any
or
of any
other in
so
type.
If
we
are
an
assailed
by
the
doubt
or we
conjecture
may
important
to
aspect
serious
of
building,
of the
say
well
expect
find
further
evidences On little to
a
inept design.
of
score
appropriateness,
not of its be obvious.
there
is, perhaps,
The be
which
would
design
of
building, irrespective
the
purpose
or
style, should
the
expressive
and
not
of
nature
of
building, shop
should
appropriate.
like
a
little
millinery
bank
building.
Appropriateness
styles
ideas.
are
inevitably peculiarly
style, because
to the
certain of certain
suited
are
expression
modem refined
Classic
are so
styles
dignified, styles
pages
are
French and
styles
"
festive, Italian
on
graceful
The
and
through
is the of and
a
the
of who
architecture.
can
able for
architect the
tect archi-
unerringly
style which
the is
a
select
will
design clearly
given
tively effec-
building
the
most
express
intent word
of
that
building.
met
or
seldom
room,
with outside
outside the
sation conver-
the
draughting designers,
is* not
common
' '
and technical
errors
this
' '
is
one,
unfortunate,
and
errors
because in
"
term
more
scale be the
than
one
of any
other
kind
question
or even
involved the
of of
architecture,
a
furniture
design,
selection
' '
picture
' '
frame. the If
In
plain diction,
whether is of well
scale
or
involves
relationship
a
of for
parts,
window,
for it
a
example,
space
exactly
it
right proportions
the architect is
too says
which
occupies,
this
is
or
scale."
If, however,
he
says
window of in scale."
every
large fagade
small,
the
it is "out and
A
way
may
admirably
designed,
of be
one
pleasing,
cornice, for
exception
may
fatal of scale"
defect:
"
the be
"out
^may
overpoweringly
26
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
heavy,
or
or
may
' *
be
' '
insignificant and
with the
rest may
inadequate design.
out
in A
tion, rela-
in
scale
of the be
' '
single
' '
moulding,
the
of
a
scale,
ring mar-
whole
too
No
escape
member the
may
so
of
building
of
is too
large
An
or
to
necessity
be
' *
''scale."
"
entire
wing
tower
out
of
scale,
as
or
single feature
over
a
(apparently)
window.
as on
unimportant apparent, by
eye
the that
stone keyan
It
is
then,
works
"
architect's
success
measured his
his
must
depend might
very
largely
for
eye
''scale" for
which
portion. pro-
be
called,
perhaps,
his
relative
It will shade
must
be
conceded
at
once
that
effects in the
of
light and
of voids
a
play
and
an
important
with
part
design
of
a
building,
and
are
cognate
it, the
the
handling
in
or
Architecturally,
and all of of
door
"voids"
design
;
openings, building
and will be
loggias
arcades "void."
the
"solids,"
balance
the void
as
which is
is not
an
Skilful
solid
essential
one
in
design,
apparent
with this
in
's observation
building, studied
also be
in mind.
Light
and takes misof
a
often
on
occur
"
study
building
sufficient
' '
paper,
as
composition
effect face of
of
lines, without
executed work.
casts
a
visualisation from
and
of
the the
the
a
Every
definite much
a
of
building
shadows the classic
on
the whole
effect
these
as
a
is of
as
of
the
design
of
detail order.
moulding
From
the
interpretation
the
foregoing
scale the
observations
and
expression,
it must mental
appropriateness,
be
light-and-shadow,
architect needs
much
apparent
that
able
equipment
or
in addition
to his
knowledge
of historic
styles
his
familiarity
with
structural
problems.
It should
ARCHITECTURE
27
be
noticed,
that
the
more
masterfully
of
an
architect
design critic,
as
the for
less
appreciation
reason
the
matters
lay
that
perfection
rests
scale,
instance,
elicit
no
so
the The
eye
as
attract
no
attention
praise.
will find of
trained
to
architectural
observer,
in his conscious
however, appreciation
To
much these
delight
him
proceed
of architectural of
further
the
design
the
the
purposes
present
a
work,
no
matter
in be directed whose
itself, through
and
necessarily
evolution manifestations of
brief those
study
great
we see
will
now
the
historic around
styles
us on
present-day
hand.
every
CHAPTER
THE
THE
THE OF
II
OF
EVOLUTION
OF THE GREAT OF
ARCHITECTUBE
ARCHITECTURAL
OF
GROWTH
STYLES.
OF
ARCHITECTURE
ROME. BYZANTINE
EGYPT,
AND
ASSYRIA,
GREECE,
ROMANESQUE
ARCHITECTURE
IN
of
order
to
acquire
which
tlie
to be
architecture
practically familiar
to
with
it is
sary neces-
acquire
of
some
general knowledge
the
ages
architecture
through
and
countries
It is customary
a
study
in
of
with
its
beginnings
has left
no
Egypt,
evolution in modem
vestige of actual
Egyptian
buildings.
The manifest the
recognisable
themselves character
of
architecture in
struction, con-
structural arch
mass,
or
construction form
in its general
(talland
vertical,or
low-spreading
of architectural each
to
and
in its detail
ornaments
type
or
nationality).
There
are,
again,
of
three
broad
in which
to
consider and
types
public
to
sider, con-
secular
private buildings.
which of the
instinctively, in
given
which from
building
exists
vague
belongs,
the
because
much of
none
in
cqnsideration
arises
classification, or
28
classification
should
5/
THE
EVOLUTION
OF
ARCHITECTURE
29
always
the
be
the road
basis
to
of
comparison,
and
comparison
sion. comprehen-
is
royal
The
intelligent and
of these
practical
broad felt
importance
to
must
come
make
themselves
become
increasingly
with
apparent
the
as
study
Commencing
be realised
was
architecture what
up
a
of
Egypt,
it will
subsequently gradually
built
complex
an
architectural
fabric
upon
essentially simple
^
^
of
this
book be
the^following
presented
intention of
history
most
evolution
will
in the
concise
upon
the
enlarging
subsequent
chapters.
AECHrrECTXJBB
or
Egypt which
The in later
type
of
Egyptian
building
evolution
or
played
not
architectural either
"
was
the the
building,
public
case,
private, temple.
was,
but
religious
building
The
very
^in this
the
Egyptian
dwelling
very
for
the
most
part,
modest
affair, and
Not
perishable,
are
both
actually
served pre-
and
stylistically.
in the
only
there Roman
no
examples
of
condition but
of the the
Pompeii
appears
and
to
Herculaneum,
have of had the
Egyptian
upon
little if any
influence Some
evolu* has
tion been
private
in
house. elaborate
idea
preserved
and
contemporary
its influence
on
bas-reliefs, but
did
more
since
design
Pharaohs,
or
not
extend
beyond
to
the
days
the
it is
profitable
consider
religious,
temple,
architecture
of ancient
Egypt.
was an a
Essentially, architecture,
based
on
Egyptian
architecture it
was
stone
and
structurally
and
architecture
the
column
lintel
(a lintel
being
any
30
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
horizontal
member the
appear
resting
arch
was
upon
two
vertical
to
members). Egyptians,
a mean
Although
their builders
known
the it
as
to have
regarded
and
ignoble
used the the which their
at to most
substitute
span
for
the
enormous
stones
which
they
For
the
distances
seem
between
that
columns.
part, it would
of their
Egyptians
size of built the
the
gauged
stones
merit
buildings
by
they
greater
employed. columns,
of
Although
such
as
they
those in
many
of hall
great
Karnak,
of
huge
cylindrical
drums,
from of
they
one
thought piece of
tions, propor-
highly
stone.
monolithic
was an
columns,
forms
were
hewn
Theirs of massive
sublime
simple
heavier the
lines.
than
Their
columns
those the
later
developed
or
by the
of
Greeks, columns,
and
forms
of
capitals
local
heads
as
the
inspired
flowers.
by
such
flora
palm-leaves
lotus is
and
Egyptian
the
upon
powerfully
natural
illustrative conditions
of
exert
influences
architectural
Being
essentially
ious relig-
country,
form
a
actually ruled
was
of
building
the
the
being
essentially
was
treeless The
country,
principal
of of for
building
material
stone.
Egyptians,
and
use
course,
manufacture
passion
doubtless noble
no
for
building
to
seemed their
be
perishable,
stone
certainly
so as
as
enormous
members,
brick
played played
such the
part
in
Egyptian
of
architecture
it later
in
buildings
of there
the
Assyrians. Egyptian
the
and
Indicative
**
the
are
architectural
ideal hewn
of
eternity,
'*
rock-cut the
usual
temples, tomb,
from when
stone
sides,
the
which,
of
a
not
artificial
mountain
pyramid,
THE
EVOLUTION
OF
ARCHITECTtJRE
the Theban Hills. Thns
31
was
cut
into be
the
solid
rock the
of
it is to
inferred
even
that the
Egyptians majesty
rest in
a
preferred
of
manency per-
to
impressive
content of the
to
fine
They
far
an
were
hidden
in
the
heart
than
in
ornate
mausoleum.
All
Egyptian testify
to
architectural this
and
"
monumental the
mains re-
predeliction
monolithic II
Sphinx,
the
hewn
from Tock-cut
the
solid
rock, the
of and
a
obelisks,
at
"
great
the acterised charhave sion inva-
temple
statues
Abu-Simbel,
all these
are
colossal
pylons
by
defied the which
strength
and
immobility
of
which
centuries have
waves
destructive
swept
Egypt. form,
Yet, for
architecture and artists
and
all its
was
qualities of massive
not
Egyptian
architects from
sombre,
many
and
Egyptian
forms
evolved
papyrus
decorative
were
lotus,
and
any
ings, carv-
palm
which
was
essentially graceful
of
delicate.
means
Nor devoid
architecture The
Egypt
by
of
pictorial bas-relief
details of the
the and
many
inscriptions
tombs
were
decorative
even
ples tem-
richly,
The
garishly,
of sand been
painted
and
in
and dimmed
bright
these
colours.
erosion have
time but
has
where tombs
be
they
and
exposed,
in the the
shelter
of many
are
sanctuaries
and the
colours
to
found
as come
vivid brush
as
though
the
they had
but
recently
of
painter.
The transitional is
step
from
as
Egyptian existing in
the
* *
to
a
Greek rock-cut
architecture
generally
given
often form Greek
temple Temple,"
at
Beni-Hassan,
because the
to
columns
striking similarity
of the
the
**
column,
the
first
great
Greek
orders.*'
architectural
THE
EVOLUTION
OF
33
that the
the
Assyrians
were
the
and and
develop
decoraas
structurally important
were
tively.
were
portions
of
their
buildings
with
or
conspicuously
of
gorgeous
exposed
and
faced
glazed
tiles,
sentations repre-
bricks often
beautiful and
colours,
with
forming
of
elaborate
highly
legendary
deities, monsters
borrowed of Greece
heroes.
from
Subsequent Assyrians
common
"
architecture that
the in
certainly
it. The
nothing
but
with
Assyrians
of the
borrowed
little
Egypt,
two
by
reason
differing characteristics
and
countries, racially
of
socially,
available.
as
well
as
in
nature
building
materials the
Architecturally, dispute,
of the
however,
in
Assyrians
were,
out with-
pioneers
as
a
demonstrating
material
"
the
a
bilities possi-
brick
building
been
a
material in
races
which,
ever
since,
has and
distinct of
factor other
tectural archiin
expression
The Most
Abohitectube histories
of
Greece enlivened
on
architectural of
are
by
the of
disputes origin.
archsBological
many
authorities these
questions
are
Although
of
disputes
of
of
great
interest, the
evolution of Greek
two
present
allow
outline of such
sketch
architectural The
will not
digressions.
study
the
architecture, however,
One contention and lintel is that
usually begins
the
with
regarding
the
origin of its
borrowed
as
form. their of
Greeks
as
column first
construction,
from
well
the
their
Doric
column,
the
Egypt.
in the
The
contention
is that
Greeks,
advancing
into stone
skill forms
ambition,
their
8
own
simply
earlier
translated wooden
buildings.
There
is much
34
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
support
both between
theories.
Undoubtedly
Greek
no
there
is forms
larity simiand
early
with Greek and
architectural doubt
to
Egyptian, analogy
was
a
but
in
less
there
we
is
may
distinct
the
temple
what
imagine
similar the
primitive
it is
more
Greek
building
to
of wood.
For
a
present
important
in
crystallise
constituted
clear
impression
of than
what,
to
the
main,
into
its
Greek An
architecture,
understanding
inquire
origin.
is the first
of
in
Greek
architecture
a
really important
of
as
step
acquiring
of the
To
practical day,
standing underas
the
architecture
present
well
of
many
earlier is to
periods.
understand real
understand
of
the the
*'
meaning
manifestations
Classic
to
Revival,'*
the
*'
frequent
architectural
allusion
Classic
importance
cannot
of be
Greek
architecture Greek
in
subsequent is,
in
architecture
fundamentally,
that that from
the
all modem of
architecture,
it sprang
architecture of the
the
Rome,
and
from
later, the
architecture
Renaissance,
idea. it is
a
which
permanently
In for of the Greek first
supplanted
Gothic
architecture, time,
to
furthermore,
the which
possible,
multitude
perceive
with
origin of
we are
architectural
forms
"
daily
motifs
rounded sur-
to-day
the have ancient confines immortal
come
* '
^mouldings,
orders
to
' '
ornamented themselves
"
and which
Greek
^f orms
down
the
present
did after
day,
not
while live
those
of the their
Egypt
of their
and
Assyria
or
beyond
of
lands,
the
downfall
empires.
The
an
Greeks ideal
evolved of such
the
'*
Classic and
Ideal**
in architecture,
purity
the
perfection
the ages,
that
it has
constituted
standard
AN
EARLV
EXAMPLE
OF
THE
GREEK
DORIC
TEMPLE
(UNFINISHED)
well
mouldi
'
""
"
"
""
-
-"
-
{Tba
CiTyatid
Porch
of
the
Encblhnim.
Alfa"n
CORINTHIAN
ORDER
ARCHITECTIRK
THE
EVOLUTION
OP
ARCHITECTURE
35
and
is
to-day
the
fundamental
of
architectural is
as a
design.
architecture,
elementally, developed
orders
to
colunm-andtime
most went ornate
on
architecture,
the
severest
highly
Doric
the
Corinthian The
orders. three
orders,
Dtiric, Ionic
and
and
Corinthian,
are
readily recognisable
'*
(see
Architectural
Terminology,
of the in forms later Greek
Regardless
elements remember their of the
by
it is
Greek
tectural archito
times,
forms
important
origin.
reappeared
in
in the of the
period
the
same
Renaissance,
in
and
again
the
period
and
Classic forms
our
Revival constitute
the
Eighteenth
the To the
most possess
Century,
to-day
details.
important
a
part
vision
of of
and
clear
Greek
to
simplify
for
a
study
of
architecture of
subsequent
recognition
which lands.
was came
other into
forms
other later
architectural
ideals
in
being
The
during
periods
type
of
and Greek
other
most
building
of
temple,
although
claimed
private
more
dwellings
the
case
wealthy
of
of
attention in
arcliitects
and
sculptors
Greek
was
the
was
Egypt.
an
essentially subsequently
architecture
to
of
stone,
was
character,
by the
the of
Doric
style,
marked and
refined of
application
graceful
carving
Much lies the been in
co-relation
eternal
monumental
of
statuary.
Greek architecture
as
of the the
excellence of its
perfection
of
upon. to its
proportions,
which,
to
well
as
in
not
refinement
detail,
date, have
improved
It is
important
remember
and
that
Greek direct
architecture
source
forms
the
inspiration
of te^^ the
of
the
36
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
design to-day.
of No
all
the
large
found
public
better
buildings
suited
for
of the
been
expression
of
permanent
to
beauty
form.
of
never
architecture be
the
genius
and
of this
Greece
discharged,
as
increasingly temple
of
apparent
were comes
study
plans
these
of
several
differentiation
far
more
into than of
a
the
detailed
Nor be
can
consideration this
to
it is intended
to
present.
architecture
more
kind have It
knowledge bearing
of
Greek its in
a
said
direct is
more
upon
superficial aspects.
survey, to
important,
the
' *
general
and
"
thoroughly
immortal
importance
IdeaP
*
meaning
Classic of
the
purity
were
perfection
Greek their
proportion
And
essentials
architecture.
basic Greek
most
was
essentials
found
highest
expression
temple. important
its
"
feature about of
of
an
the
open
private court,
to
residence called
warm an
planning
a
atrium
type
plan
still later
in
countries,
forms,
and
encountered the
slightly
variant
notably
Spknish
patio.
Bomb Greek architecture and
The
The and architects
of
elaborated the
it, introducing
use
addition,
highly
developing,
The old
of
the
arch.
order
Greek
Doric
to
did
not
appeal
to
the
sophisticated Romans,
too
severe
was
' '
whom
appeared
and the
too
primitive.
Doric
corresponding
called
' '
form
Roman
column,
Tuscan
(see
Architectural
Terminology,
Illustrated
)
.
They
THE
EVOLUTION
OP
ARCHITECTURE
37
made
bat
little use
of the
highly embellished
Most architecture later
a was
characteristic
development
and
of
of column
arch,
favourite
of the Italian
carving and
pure
as
ornamentation work
similar
decorative. lovers The Romans of usually more were inscriptions,and, in their architecture,began to pay
more
attention
to
secular
buildings,both
public and
lic Pubtectural archi-
private,than had previously been accorded them. works, such as aqueducts and bridges, became
monuments,
as
well
became
luxurious
and
elaborate
to
degree, and
and other
were
filled with of
statuary, paintings,
fast
bronzes
works
antiquities.
a
gods.
sure,
There
were an
temples,
be
but
greater number
of Roman
secular
which
quent played as important a part in the subsements development of architecture as the earlier monuhave of Greece.
ture remembered, however, that the architecof Greece preceded and inspired the architecture forms of Rome, so that virtually all Roman were, to a It must be
greater
It will be of
came
or
less
degree, derivations
to
from
Greek
forms.
important
the
that the inspiration remember, later, of the Italian Renaissance that the
architecture
from
Roman,
not
Romans
secularised
the
of Greece.
" /
(The
Cathedral
of
St.
Mtrl
THE
EVOLUTION
OF
ARCHITECTURE
39
Lombards
conquered
the
greater
part
of
the
Byzantine
Empire.
The Mohammed
Empire
finally fell
at
the the
hands Moslem
of
Constantinople
a
became
century
in
was
after
the
beginning
of the
Renaissance
to 1200
Italy.
to
some
Italy
extent
the
field battlemany
ambitious
and 1200 and
European
unrest.
nations,
suffering
constant to 1400
such
grew
commerce.
Italian
cities
in
as
Venice,
and
Genoa,
power,
Florence
steadily
prosperity
mostly
was
through
no
There
national of
Italian
power
government
at
this
time,
the
balance
being
:
diplomatically
of
adjusted
two
by five united
parts
of
the
Duchy
the of
Milan,
the
nominal
at
''republics'^
Rome)
of the
as
Venice,
Papal Naples.
Italian
States
(centred
The
are
and
the
Kingdom
dates
great
follows
periods
:
of the
sance Renais-
given
Early
Renaissance,
1400-1600
1400-1600
1490-1600
High
Late The
years from
periods
of Rome
covered
to
by
close
the of
foregoing
the Italian
dates,
fall
the
Renaissance,
than
any
greater
span
developments
of time.
it is necessary manner,
an
in architecture
as were
subsequent
Great here
developments,
them salient the in the
however,
briefest
as
to
deal
out
possible
later
pointing
aid in
points
will
prove
ing distinguish-
architectural
derivations
of
to-day.
40
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
Byzantine
at
and
same
architecture
flourished
about
as
the
**
preceded
architecture of their the
by what
in Rome.
is
known As the
were
Early
Christians,
neither
were,
the
nor
beginning powerful,
restricted. the
to
Christian
Era,
rich
architectural
efforts It abode
or a was
of this
necessity,
time that
at
idea the
of
**
temple,''
**
or
of
deity,
gave
place
for the
idea The
as
of
church,"
while abode. in
to the
devout.
more
temple,
a
regarded
to
divine
The
offer the
prayer
to
their
god
temple.
prayer,
the
an
church,
Invisible
the
devout
came
assembled
to
make
God
Gradually
Christians
**
architectural
to
assume
efforts certain
early
forms:
began
"
Romanesque
of
in
Italy
and the
** **
proper,
or
the in of
*'
Western
Empire
Rome,"
Byzantine" Empire
at he and
Byzantium
Rome." under the the
Eastern
was
architecture when
its
height
Constantine,
to
removed the in
term
capital
not
Constantinople,
actually
but
covers
only Empire
buildings
at
erected
several
the
Byzantine
porary contem-
this
time,
in of
important
buildings
Most is notable the
Italy.
all of
Byzantine
St.
architectural in Venice.
ments monu-
Church
from
Mark,
a.d.,
It
was
largely
colunms The is
so
built
and
1061-1071
with
of
marble
mosaics,
monument of Ste.
between of
second
the
now
great
Byzantine
in
Church
a
Sophia,
Constantinople,
Ste. been
long
earlier
Mosque. Mark,
Sophia
is
of
date
having
in
built
a.d.
by the
Byzantine
Emperor
Justinian
532-537
THE
EVOLUTION
OP
ARC3HITECTURE
41
Both
buUdingSy
of
however, Byzantine
structural
the
most
salient
between the
is that
while
developed
at
vault.
Byzantine
architecture
grew
stopped
into
the
dome
esque ^Roman-
architecture
the
elaborate
vaulting
systems
The
of
the
Gothic
style.
**
architectural
to
orders'' in works
of
the of
Romans the
gave
place
different
forms
Byzantine
of
builders. embellished
on
Byzantine
with
;
buildings
and
were
mostly
for
brick,
mosaic,
detailed
depending
on
large effect
Arches
were
the
dome
for
effect
colour.
a or
used
structurally,
than those
springing
of
was
from Greeks
sort
of The
column
the
Byzantine
in
a
usually
were
short, and
placed effecting
shaft of
pairs, and
transition column.
a
capitals
the
basket-shaped,
to
arch
the
were
cylindrical intricately
conventional forms.
the in
capitals
manner,
carved,
tion folia-
richly decorative
or
grotesque
heads
and
In
carvings
of the churches
Classic
were
architects,
diversified
as
Byzantine
of
by
as
bands
vari-coloured
brick,
successive
well
by
interest
afforded
by
recessed
arches. formed
no
Statuary
since the of to be The and
a
feature allowed
and pagan
of
this
architecture,
so or
early
Christians
nothing deities,
cent reminis'idols''
pagan
religions
of of their mosaic
part
art
creed.
work,
reached
both its
in
coloured in
marbles
mosaic
glass,
height
Byzantine
architecture.
Church
plans
were
usually
in
the
form
of
Greek
42
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
crosSy
with
the with of
dome
covering
the
central
part.
church
In
Romanesque Byzantine
the
square
and
dome,
essentially
come
an
Eastern,
as
or
.Asiatic form,
of
naturally
or
to
be
regarded
characteristic
Saracenic
Moorish much
architecture,
in
common. was
with
which,
indeed,
Byzantine
has
Romanesque
churches and erected
as
architecture in
practised spread
not
only
France
was
in
Italy, but
In
through
details
it
Germany
to
a
well.
certain
fluenced in-
considerable it
was
extent
by Byzantine
different.
of the
feeling,
while
structurally
of the the
essentially
construction church
Instead
dome
Byzantine
addressed vault in
as a
architects,
all their
Romanesque
to
"
builders of the
efforts
of
the
development
efforts
roofing
their
culminating
the
style of the
Romanesque
of of
a
Thirteenth church
Century. plan
and
nave,
much
of
the
sisting con-
the
later
church
plans, by
narrower
long
nave
central
side-aisles, the
altar
to
"
terminating
the later tile
to
sanctuary plan.
In
and
order
of
cathedral roof of
support
it
heavy
necessary
the
masonry
Romanesque vaulting
' ^
church,
to
a
develop
degree
basis
before
attempted,
was
and
* *
rib-vaulting,
the
of Gothic
way
architecture,
a
evolved.
By
of
definition,
more
plain
a
vault,
**
or
barrel*'
a
vault, is nothing
in
than inverted
as
continuous
arch
"
ing roof-
the
form
of
as
an
supporting weight,
its
on
own
weight, principle
two
well the
any
the
of
arch vaults
When
plain
intersect
(Fig.
2),
their
TEE
EVOLUTION
OP
ARCHITECTUKE
13
Belf-Bustaining
and
a new
or
supporting
fonued
power the is of
Is
not
impaired,
("AB,"
Una
is
by
intersection
as
Fig.
of the
2).
This
and
intersection
the
known
the
"groin"
vaults
was
vault,
building
intersecting
practised
The
extensively
later
by
the
Romans.
Romanesque
builders,
that the
however,
the
went atmetvaults
step
further.
essential the
They
members
or
discovered
of stones
only
ur^ly
were
intersecting
the
groins, found,
forming
stand
intersection.
These,
they
would
alone,
independently
hkXUl
of the rest be is
VAULT
of
QROIN
VAULT
so
VINGU
TLIB stones
VAULTS
or
the to
to
vault,
fill in.
see
that
lighter
bri(^
might
It
used
easy
how
this
discovery (Fig.
led in
to
the
development
bones of of of the
of
"rib-
vaulting"
^o
to
3),
were
which
the
the
construction,
vaults
"
sp^eak)
groins
intersecting
secondary
a
the
vaults and
themselves
b^cpming chiefly,
to
significance
oftimporfanoe
interior.
effect On
aymmetriclt-afe^
this of evolution the of
finished"
Romanesque sufficiency
architecture,
of
the
discovery
rests
structural
principle
vaulting
for
ribs,
the
the
whole
of
architecture,
in
intersection
vaults
the
height pointed
naturally
arch.
brought
About
about
these
discovery
two
structural
facts
the
genius
of
CHAPTER
THE
in
OF
EVOLUTION
AECHITECTUEE
(Continued)
GOTHIC
A
ARCHITECTURE STUDY
OF STYLES THE
AND
DIFFERING IN
RENAISSANCE
EXPRESSIONS
ARCHITECTURE.
OF THESE
TWO
GREAT
ITALY,
FRANCE,
SPAIN,
BELGIUM,
ENGLAND,
AND
GERMANY
TO
in
to
dismiss
SO
in
few
paragraphs
so
subject
and
so
so
tensive, ex-
diversified,
at
once a
elaborate and of
a
rich It is
or
interest,
be
is
task
many
necessity. *4iterary,"
which
said,
however,
of this
that
the
symbolic,
be
qualities
over
Gothic
must
passed
in
in
chapter
opportunity
for
mention
the
fifth
chapter.
is remarkable and
a
Gothic
a
in
that
it is
dually
)
_
structural
decorative
architecture,
in
with
both
essential
most
aspects
existent
equal
to
proportions.
remember
may
important
Gothic
to
an
single
thing
is that
considering
likened
as
architecture
it Its
be
closely
was
organic
as
growth.
as
development growth
and
natural
and
up,
consistent forth
the
of
tree,
rising putting
putting
leaves. endeavour
or
branches,
these, in turn,
In
a
forth
let
us
few
paragraphs,
of
to
summarise
from late
the its
evolution
the the
Gothic
church
cathedral,
of the
beginning
in
vaulting
achievements
Romanesque
The with
was
builders.
typical
short end
plan
arms
took and
the
one
form
of
arm.
great
The
cross,
three
at
long
and
entrance
the
of
the
long
arm,
gave
directly
into The
the
arms
great
of
central the
cross
nave, formed
flanked the
by
side-aisles. and
a
transept,
great
48
THE
PRAC3TICAL
BOOK
OF
ARCHITECTURE
tower
were
rose
at
its
intersection
the
entrance
nave,
or
there The
twin
towers
arm
rising
of the
above
was
front.
or
remaining
There the
most
were
cross
apse, but
sanctuary.
cross was
other usual.
types
of
plan,
the
Architecturally,
the of The
plan
which
was
carried Gothic
fhp
out
with
an
diversity capable.
were
only
of
architecture
fhp
wallfl
carried
side-aisles,
the
on
columns and
to
poin
were
arches;
arched
vaulted,
the
supported,
thrust.
tresses
buttresses the
take
rose
lateral
Above
to
these,
the
was
exterior,
nave
flying biiP
and
where every-
take
thrust
of the
arches,
there
opportunity
niches of
for with
pinnacles, images
detail. of
turrets,
grotesques,
and all the
was
saints,
the
Gothic
Within,
and
building
lighted glass
end
"
mysterious,
windows
rose
richly
fitted window
dimly
stained
by
tall, pointed
a
with
at
^perhaps
the
nave.
magnificent Everywhere,
the
near
of
too, carved
dull colour
niches in
and
holy
images,
or
intricate
carving,
chrome poly-
textiles. architecture
' ^
Gothic
is
often is
nicknamed
'*
dicular perpen-
inasmuch and
reasonably
descriptive,
its frieze
entablature,
of the
with
cornice, forms
mount
one
part
Gothic
idea, wherein
one
upward,
climbing
of
upon
magnificent vaults,
expression
altitude.
arches,
towers
"
windows,
"
pinnacles,
the details
buttresses,
of
all
point upward
for
sense
even
tracery
and
the
niches
images
of
point upward.
It is this the
upward
which
motion, reaching
has made of the Gothic
often
to
height
of
the
sublime,
the
archiren-
tecture
essentially
architecture
church,
"f
NAlte
Dime.
Paris
TYPICAL
GOTHIC iflchnTacleri^tic.
DETAIL
The flvme-li
The
"upward
Tnotion"of
the
composition
I
Vi
M
"!
M
if
THE
EVOLUTION
OF
ARCHITECTURE
49
dering,
as
it
does^
remarkable
terms.
expression
This in
of
spiritual
of Gothic
nobility in architectural
architecture Some will details of
be of
aspect
dealt
with
another
were
chapter.
the others natural
were
architecture
outgrowth
the
its of
development,
and
outgrowth
on
fantasy
the
sculptural
ination imagthe
the of
new a
part
many
Structurally, point
and
of
springing developed
shaft often
arches for of
support
"
forms
group
capitals
the
^the
clustered
columns,
to
capital
designed
the arches
for
each
varying
were
condition,
from
accommodate
which
were
to
spring
it. of
Tall, pointed
tall, pointed
windows arches.
the
obvious
complement
Any
the
**
arch
construction
of
must
physically
takes the
provide
form of the the of
for
an
thrust'* and in
the
arch, which
outward of
force, composed
and thrust
weight
from
itself.
Arches
naturally
there but
exerts to
neutralise
thrusts,
be wall which
that
is
only superincumbent
arch
to
a
reckoned
with,
tend
the
a
which
abuts
necessarily
would
pressure
against
To
wall this
force
it outward. the
builders
devised
and
same a
buttress, heavily
toward the
same
stone,
slanting
manner
the
ground,
exactly the
one
reason
that
a
would which
brace stood
heavy
in
piece of
of
timber
against
bam
danger
collapsing.
The of the wall arches buttresses took the
care
of
the
lateral the
thrusts
vaulting
the
side nave,
on
aisles, but
called lower for
higher
arches, vaulting
buttresses.
central
additional and
These,
resting
the
buttresses in turn
giving
4
them
additional
stability, were
weighted
50
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
down
with in
pinnacles themselves,
braces
of
stone.
**
To
save
unnecessary
were
these of
flying buttresses'*
skeleton
masonry,
artfully devised
and
nave
to
counteract,
of the lateral
by
their
weight
of the the
direction,
within.
the
arches evolved
Gothic elaborate
fantasy canopies
intricate
tracery, light
as
the
of
stone,
seemingly
most the with
textile,
of
and,
most
and
fantastic The
or
all,
tesque gro-
Gothic
architecture is not
to
grotesque.
the
be
gargoyle,
were
taken
tesques, gro-
as
synonymous
with
The
not
a
gargoyles
all stone the in the
all
but
grotesques gargoyle
distance
to
gargoyles.
Strictly
jecting pro-
speaking,
some
the
water-spout,
wall such of
a
beyond
the
run
the
manner
edifice,
that
masonry
designed
water
drain
not
roofs
would the
down
sides
of the
into
joints.
in taken Human
as
Grotesques
are
Gothic
as one
are
legion, and
and
pected unex-
generally
charms.
quaint
forms
as
faces, animals,
imaginary
three
birds
and
reptiles,
and
well
purely
last
demons,
^'
dragons '^
griffons
handled countless in the
(these
in
ways.
called
were
grotesque
technique
in of
a
and the
in
Entangled carvings
stone
traceries,
strange
or
intricate
capital,
times some-
faces
leered Contorted
forth, sometimes
animals the writhed carved far above
sinister,
in
stone,
or,
escaped
over
from
details,
the
peered
the
parapets,
the
mediaeval
lay below
the
most
cathedral.
as
notable,
of
well
as
the
most
"
weird
gar"
bizarre,
as
grotesques
as
Gothic and
architecture
goyleSy
well
animals
chimeras
in
stone
Hf
I,
ili
Hi
=
lis
^"'"5
THE
EVOLUTION
OP
ARCHITECTURE
51
disport
Notre
themselves
Dame de Paris
on
the
"
parapets
far unless
of
the
Cathedral from
were
of
any
creatures
removed
conceivable
to
religious concept,
evil
they
the
devised
in
depict
spirits, exorcised
and condemned
up
on
by
to
priests
the in
church
stone
below, forever,
and
Ik
remain
high
weathers.
the
parapets
creatures Notre
roof, in
mediaeval
all winds
Indeed of
of
the
chimeras
the
epitomise
which
important
phase
Gothic
architecture and
fantastic, unknowable,
in A the realm of from be
unexplainable
than
*s
an
'*
apparently
demonology
Fletcher
as
theology.
of
and
quotation
' *
History
tecture Archi-
might
regarded
**In the
as on
interesting thirteenth,
masons
uresque pict/
conclusion: and
utmost
the
fourteenth
to
fifteenth the
use
centuries of
stone
rose naves
Gothic
a
carried
the
building
open
material,
heaping
the
it up
in towers roofs in of
that the
archways
transepts,
in
through
and all
in
lofty
away
and
tapered
the work fret-
shell-like
spires
tracery.
embroidered
They
to
seem
hung
the
it aloft
gossamer
ous ponderweb of
dants pen-
by
art
nature,
in
scarce
capable
the and
of of
bearing
the
the
stalactite
which
fancy
fifteenth
century
their
found
to
its the
to
expression,
furthest the thinnest
eventually they
wood
pushing
cut
or
practice
stone
boundaries,
of fibrous
the
granular
iron, and
of the
revelled
' '
in tricks It the
of construction before in
and
marvels
workmanship.
architecture
remains,
considering
more more
of
to
Renaissance,
Italy and
the
Northern
Europe, types
mention Gothic
paragraphically
architecture which
important
of of
became
characteristic
England,
and
France,
Germany,
Belgium,
Holland,
Italy
Spain.
52
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
In
England
was
the
fullest
development by
a
of
Gothic
preceded
Norman
style
Norman Norman
or
Gothic.
Strictly
to
architecture,
conquerers,
was
brought
an
England
of
offshoot
Romanesque,
not
accepted
In
mass
Gothic
style by
churches
some were
the
Norman of
heavy strength,
and
didly splenas
expressive
much like fortresses
a
stability
as
and
often
square
were
places of worship.
was
/
/
tower, round,
of of
without
not
spire,
and
characteristic,
was none
pointed,
and
there of
of
profusion
One is
tracery
the
most
carving
later
English
Gothic. of
familiar
Norman
up
England
There
many
Durham,
are
rising majestically
earlier and of Norman
river.
many
buildings
but it is
England,
to
monasteries,
Durham
as
regard
the
typical of the
style.
a
greatest
churches
diflSculty in attempting
and
reason
brief with
survey
Gothic that
cathedrals of
many
is met and
years,
in
the
few, by
over
involved reveal
or
changes
the
additions intention of
periods original
of
plan
of
the
builders,
of
any any
phase
one
Gothic
architecture
characteristic
are
time.
Generalities,
survey.
therefore,
necessary
in
the
present
Following
the
the
Norman
as
**
churches
of
*'
England
in which
came
style
known and
Early
English
the
'
pointed
became
arch
a
fully developed
part
of The the next
Gothic structural
rib-vaulting
character
was
permanent
(Thirteenth
"Decorated the
Century).
Gothic*' of
development Century)
more
(Fourteenth
became
in
which and
system
rib-vaulting
detail
elaborate
a
in which
decorative
began
to
play
greater
part
THE
EVOLUTION
OF
ARCHITECTURE
63
Of
the is
**
decorated''
style, Westminster
as a
Abbey,
don, in Lonits
regarded
and later of called
good
example,
The
disregarding
earlier
portions.
Gothic
Fifteenth in
Centnry England
is
the the
architecture
"Perpendicular'* developments
a
style.
of this
one
vaulting
Gothic
phase
was
of the
architecture,
in which and
met
a
vaulting" upward
of
a
great
of
vault-ribs,
springing
the from richness that
centres
outward similar
column,. like
ribs
ribs
fan,
groups
a
diverging
of also remarkable
other and
columns,
forming
The
stone
vault
diversity.
masses
builders could be
discovered from
to
pendent
of
of
hung
the
these be
vaults, and,
carved in
carefully
the
may
jointed
of delicate
stay
.
in
place, could
form be
drophighy^
ornaments. est
This, perhaps,
most
reckoned of
the
and world
brilliant
ever seen.
development Fan-vaulting
the carved in
some
stonemasonry^
only in
from the
the
has
is found
English
centres structures.
buildings,
of vaults
while appears
pendent
French
Gothic
distinctly English
of the
Gothic
form,
and
and
conspicuous
architecture
secular
was
domestic
period,
Tudor arch." other
the
flat-pointed
and
arch, usually
the
called
**
Arch,"
by
draughtsmen,
five-centred Certain
are
mediaeval
English
in
architectural
of later
opments devel-
of
importance
houses the
most
anticipation
modem
study
of
English
country
to
and
derivations.
Previously ings
built
were,
Tudor
period
important
nature
dwell-j
castles,
of the
for
the
of view
with
thought
conditions
of
defense and
in
unsettled the
society.
to
assume
While its
English
country
began
54
THE
PRACTICAL
BOOK
OP
ARCHITECTUBE
peculiarly
dawn in
oharming
the
form
in
Elizabethan it had
times,
its
in
the
of Tudor
English
Renaissance,
inception
times.
great
ate
common
hall, where
was
the
lord
and
his
and
drank,
mediaeval but these
the
most
important
castles
gave
feature moated
to
a
earlier
English gradually
The
and
way
manor-houses,
~-"desire for of
"a
the
vival sur-
greater
the feudal
privacy. system,
country
room
**
great
hall,'*
for
some
remained
part
as
of the the
English
house, eating
These
even room
after
assembly
had
and
of the
rooms
family
were
and
retainers roofed
ceased.
means
large
forms
were armour
usually
oak
by
often
of
of
sturdy
with floors
sat
trusses,
carved;
of the
hung
;
tapestries, trophies
were
chase and
at
the house
strewn
with
on a
rushes,
dais
the
one
of
the
at
meals of
raised
estate
end, overlooking
below.
all
those
humbler the
who power of
sat
When
wars
increasing
the of
most
of the
king made
occurrence, moat
family
and other
among
barons
less
frequent
made
the
invention of of
gun-powder
fortified and
the
and
defenses methods
manors
practically
useless,
In
planning
construction
or
changed.
house of
to
was
Sixteenth
square
Century,
Tudor form
court, often
The
in the entrance
several
court
the
massive,
a
tunnel-like
tower
or
drive-way,
The
manor
under
low
gate
of
Wynyates English
is
typical
house.
pre-EIizabethan
country
architectural
to
style
under
called the
'*
Tudor of It of
'^
is
to
be
applied Henry
buildings
Edward in which
reigns Mary.
habits
Henry
was a
VII,
tional transiwere
VIH,
VI,
and
period,
Gothic
design
THE
EVOLUTION
OF
ARCHITECTURE
55
being
gradually
of
Italian
came
style
to
styles, both
be
*'
prop|
the
erly
theii; designation
eventually
Renaissance of the
of
English
into
'*
which
or
developed
Later
Eighteenth
production
leaded windows
of
glass
to
in
marketable the
quantities
of
take
place
and
unglazed,
-timber''
fortress-like construction
**
loopholes,
became -timber
'*
and
brick
^^half
popular.
construction
the
Half
of
nothing
of tween be-
more
elaborate
than left
actual
to
the
building
the
exposed filled,or
was
view,
timbers
**nogged,''
brick-work.
over
The
"/
brick-work and
sometimes left
covered
in
with
case
stucco,
the
sometimes
were
uncovered,
in
which
bricks the
arranged
spaces
patterns
The
suggested
were
by
shapes
and with
filled. natural
timbers
heavy
broad,
comer
their
structural
a
braces,
possessed
great
in
created
consciously Nearly
elaborated all
developed
were
examples.
best London Harvard of well the
as
city houses
to-day
isolated
of
type, the
a
examples
and House in
remaining
certain
at
in
Chester,
Often
few
as some as
in the
buildings
Avon.
such
Stratford-onwere
exposed
timbers
orately elabeaves.
carved,
Another
the
verge-boards important
has served
was
of the
|^
conspicuously
and
one
English
as
Gothic
development,
for much
which
the
tion inspiraor
modem
work,
Collegiate
Tudor character
Scholastic
This
was
Gothic
architecture different
of in
period.
from
distinctly
56
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
ecclesiastical
Gothic in
architecture,
common.
in
spite
of
many
points
1^^ The
of
more
detail
salient
are or
features
of
the
English (usually
Collegiate
in
Gothic the
'*
style
Tudor''
the
octagonal
tower
pairs),
ments, battle-
pjnnacles,
The
nichfifl towers
were a
tracery
parapets.
with the
octagonal
or was
usually
turret.
terminated
battlements
most
lead
The
detail, for
with for of
part,
in
a
scale, and
remarkable
applied
sense
Collegiate
as a
Gothic'' Tudor
England
reason
really
elements
in
regarded
of
style, by design
as a
Early
be
Renaissance
which
appeared by
or no
a
it. for
i^
It is to the
--V
regarded
style excelled
of
a
other
expression
school
college,
ecclesiastical,
Gothic
and much
collegiate
in is
mon com-
types
of in
English
many
architecture of
matters
detail,
type
distinct
in
itself, as
well
as
distinctly English.
France
to
were
Gothic
expression
in
architecture
the
characteristics of
many
of the of
the
style, and
most
the
builders and
splendid
churches
cathedrals Dame
Chartres,
Chapelle
the
more
-J) Rheims,
Paris
"
Amiens,
^these
are
Notre
names
in
synonymous
of in
to
Gothic
architecture. of
examples
English
and
ran
spires, pinnacles
Gothic detail from crockets
the
as
and
of
developed
the and
distinctive
**
style
flamboyant,"
ever-mounting peculiar
as
feature
to
French
churches
cathedrals,
well
the
Belgian,
fieche,
finely
13
THE
EVOLUTION
OF
ARCHITECTURE
57
tapered
elaborate
over
spire
lead
constructed
of
timber
with
was
intricately placed
was
covering.
of
The
nave
fleche
and of the
usually
and
intersection from
a
transept,
entrance been
not
close
view
front. divided
to
architecture
in France
has
into the
and
three
kinds,
roughly
Fourteenth
assignable,
and
respectively
Thirteenth, designated
the
rose
Fifteenth
Centuries,
Gothique,
Rayonnant
of
('*radiating,'^
the ribs in the
from
wheel-spoke windows)
There
are
disposition
and
many
great
Flamboyant
(flame-like).
fine
**
exceptionally notably
the the
Gothic of
secular
buildings
Cceur** Houses of such Gothic When
as
in
France,
and
House
Jacques
in
Bourges,
Palais
de
were
Justice, in Rouen.
also
a
construction
as
istic character-
period,
Chateaux
in
de
England,
Blois
and
and
few
chateaux,
date from
Langeais,
first
a were
began
to
affect forms
architecture,
would French be
resulted if it
mingling
not
so
of
confusing
many
obvious. in their
retained
Gothic than
any
forms
other
as
buildings
many
longer
nation,
**La
that in
buildings,
to and
such
Psalette''
Tours,
Italian
frankly
other
mingle
Classic
pilasters,
details with
balustrades, flamboyant
Renaissance
buttresses,
Gothic Gothic.
crockets, grotesques,
and
gargoyles, essentially
window In
mouldings,
many
other
French to say
forms
of be
these
buildings
of Gothic
it would
or
difficult
spirit
Renaissance
at
architecture
in
predominates.
cases
Furthermore,
the made other
the
of
many
were
of
great
subsequent
throughout
additions
period,
extent
of
these
impor-
58
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
tance
that
as
the
buildings
have rather
been than
architecturally
''Gothic''
classed
''Renaissance"
Belgium
' '
and
Holland,
France
collectively
and traits
the
lands, "Nether-
lying
many
between
Germany,
from
naturally
absorbed
architectural that
was
both, besides
Flemish.
was more
developing
The
much
characteristically
of
;
Gothic
to
architecture
that
Belgium
closely akin
of
of
France
Holland
Gothic
to
that
Germany.
Before the
devastating
invasion
of
Belgium
and
many
in
the
War towns
of
1914, Louvain,
and
Ypres,
rich
interest.
Malines,
in
other of
cities,
charm Gothic
were
Gothic
buildings
exceptional Belgian
/
most
and
architecture lines of
was
developed,
finesse
for
the
part,
was masses
along
a
delicate
toward
and
detail.
^^"^There
tendency,
and
also,
distinctly
as
uresque pictin
unusual Hall
compositions,
of
the
clock As
tower
a
of
the in
Town
Bruges.
"motion'' the
in tower
study
and
perpendicular mounting
was
a
Gothic of the
architecture,
church church
at at
buttresses,
beautiful
Malines
the of
example.
that
it had
a
This
followed intersection
French
nave
type
and
in
fleche
the Both
transept.
^^
Belgium
architecture
and
to
a
Holland
secular
Gothic trade
were
high
halls,
These
and
private
houses.
by
and in
qualities
incomparably
in
mass
uresque pictmar-
quaint
intricate
interesting
the
and
velously
details
of
their
carving.
In
Germany,
was
Gothic
architecture
to
a
was
borrowed
style, but
and
developed
in such
high
as
degree
of
perfection Batisbon,
nobility
cathedrals
Cologne,
GOTHIC
A
ARCHITECTURE
IN
the
beLlry
typical
of
mctureiquc
GOTHIC
"
ARCHITECTCRE
IN
BELGIUM lor
yat
""pnHive
piecv
ol
Galhic
deHsn"iemsrkable
(TtM
Churrh
"(
MaOioeB"
denroyed
ia
the
Wir
at
191'
11
M .11
is
""in
THE
EVOLUTION
OF
ARCHITECTURE
69
Frankfurt,
The in do
Strassburg, style
was
Freiburg,
not
Ulm
and
in
Regensburg. Germany,
but
Gothic
indigenous
borrowed
spite of the
not
fact
that
architectural
the
styles
German
in
often
develop
many
much
individuality,
builders this
attained
architectural contribution
was
masterpieces
in
French
style.
from in
Their
the
way
of the
departure
Gothic Gothic
its
precedent
the in
development
and
of
style
bricky
in
As
Belgium
was
Holland, by ;
half-
architecture
Germany buildings
picturesque
and
secular
in
timber
all these
materials
combined.
In
Spain,
as
might
was
be
supposed,
the
from
expression
its
of
the in
Gothic other
style
parts
expression
this ference dif-
of be
reasons
for
might by
the
reason
cited,
out
Spanish
of
builders,
behind
to
of
the of
the
comparative Pyrennees,
the
Spain
barrier
or
little
opportunity
of
study
which
in was, which
observe
great
edifices Gothic
France,
so
dominantly
the
influenced
developments
There
England,
too,
may the
Netherlands
and
Germany.
of
ever-present
ascribed the
influence
the
Moors,
for surface
to
be
Spanish
fancy
and
decoration,
without
intricate
to
ornamentation,
construction
was or
reference
constructive in the
influence
most
pronounced
in
portion
Christian workmen
of
Spain,
notably
was
Toledo,
and,
supremacy
were
established,
in
the
many
employed
their
building ability.
is
ally gener-
of
churches,
The
by
reason
of Gothic be the
great
skill of of
and
greatest
to
monument
Spain
Cathedral
Burgos,
in
the
though
fine
the
Cathedral in
of Toledo dis-
remarkably
example
itself, but
60
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
tinctly Spanish
^ from The
characteristic Gothic
most
of
the
more
peculiar
of
the
traits.
conspicuous essentially
countries
difference
in
Spanish
of
Gothic
other
the
perpendicular
lies in the
Gothic
European
of horizontal marked
or
frequent
introduction
by bold
or
projections,
traceried of
casting galleries
the zontal hori-
horizontal
courses.
by
ornamental
This
tower
is apparent As in
in the the
cathedral. architecture
France,
the
period
from
Spanish
Gothic of the
representing
forms
transition
many
"
produced
buildings
^the the
was
peculiar
tionally addiMoorish
architectural
interest
two
styles
rendered of
by
that
subtle
infusion
purely
Spanish.
Gothic and of
of
In checked which
Italy by
so
full
development
of those the
of
the
style
was
certain
influences
course
conditions architecture.
potently
the
mould
Technically,
and
ability and
was more
ingenuity
than of Gothic
was
Italian
to
artisans the
on
equal
the
mastering design,
but
construction
there
always
the
great,
of
overshadowing,
v^
Roman in the
ever-dominant later
to
Classic blossom
so
influence
architecture,
works of the
luxuriantly
and with.
Renaissance.
were were
Romanesque
to
Byzantine
In
influences these
was a
also
be
reckoned from
Europe,
Gothic
styles
native the of
transplanted
:
Italy,
reverse
and
growth
Italians edifices
in
were
Italy the
surrounded
condition
existed, and
a
not
only
by
profusion
design,
itself. but
of
Romanesque
remains
and of
Byzantine
ancient Rome
by
the
immortal
Many
features,
to
the
Gothic
witb
muy
poioU
wbicb
lonEut
PbUiu)
ibe dells
liter
srchiMitun 'd
ol
th"
lU
(The
SECULAR
Cs
'Oro.
Venice)
IN ITALY
GOTHIC
ARCHITECTL'RE
THE
EVOLUTION
OP
ARCHITECTURE
61
of
Northern of
Europe Italy.
to
are
characteristic
of rich
architecture made
it
The
profusion
the
of
marbles decorative
perpetuate
and
Byzantine
of
trasting conas a
element, marbles,
mosaics the
wall-panels
of brick
prevalence
building material
to
perpetuate
bands
the
Romanesque
IrinfJa
nf ji^fir^^nf
Gothic and from windows
Rouud
were as
and^yzaiitine
in
ornaments
plentiful
traceries.
as a
r
Italy
as
arches
and
were
Gothic
Thick
walls
necessary
protection
elaborate churches of the
of and
Italy,
so
that
the
of
a
English
Gothic
were
not
part
further
Italian
development
the
style, and
of absence roofs of
this
encouraged
decorative
treatment The
wall-spaces.
of
snow
made
unnecessary
so
sharply
slightly
pointed
pitched
in favour.
Northern of the
was a
Europe,
Romanesque good
deal less
buildings
of colour
remained Gothic
as
in the of
architecture
a
Italy, and
elaboration
stone
building
Of
material. Gothic
none
all Italian
buildings
is
so
in
the
or
perpendicular
so
or as
pointed
the
style,
impressive
with its
important spires
haps, per-
Cathedral
of
Milan,
No
countless in
manner
and
lace-like is
so
detail.
other
building
true
Italy,
essentially rendering.
Gothic, in the
of
its
style and
In Florence
secular and
architecture Venice
the
a
a
master-builders
designed
in
great
many
highly
decorative of Gothic
as
facades
distinctly Italian
(in the
the latter and
Torms,
the
notably
of
city)
the
such famous
buildings
Palazzo
Palace Ca'd'Oro.
Doges
della
62
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
Despite
monuments
many
and
not
interesting Gothic'
associate The
most
in
Italy, one
or
the
style
with
people.
the
architectural
expression seemingly
is the
the
thoroughly architecture,
peculiarly Italian
here and
which, throughout
was
period of Gothic
taking form
Renaissance Based
of the
most
on
Abchitectube
Classic remarkable
history.
architecture wealth of
architecture
turies cen-
precedent which
not
succeeding
adaptation have
real
spirit of
in
a
Renaissance
define
few
paragraphs,
was
of
up
its with
^*
inception and
that remarkable of
growth
inseparably
which
movement
is known
the of
Revival
Learning.'*
which
Historically the
in
period
the
Renaissance
began
Italy in about
was
1400,
at the dawn
Century, Ages
to
the Modem
1400
period of Age,
to about
the
Dark
the from
momentous
discoveries
Dark
narrow
Ages,
and
or
the
Mediaeval
Period,
a
had
been
of
ignorance degree of
churchmen.
prevalent
rather It
was
among
the
scholarship confined
of
the
were
feudalism, when
of their of the
a
all
virtually
lords selves themIt is
pre-
slaves
chattels in
awe
lords, and
power
the
of the
Church. and
remarkable
that
period of such
constraint
THE
ARCHITECTl'RE APPLIED
TO
OF
THE
ITALIAN
OF AN
MAGNIFICENTLY
CHIRCH
dilla
Salulc.
THE
EVOLUTION
OP
ARCHITECTURE
63
have
or so
evolved
any
fabric
so as
complex
brilliantly ingenious
of Gothic
architecture.
of the
sive. expres-
and brilliant,
more
architecture expressed
"
the ecclesiasticism
period
aloof
^Renaissance
architecture
expressed the
was
humanism
of another from
period. Gothic
human architecture
architecture consecrated
was
sombre,
the
life, a thing
life,a
was
to
Church.
Renaissance
to
closely allied
human Renaissance interest in the
an
human
interests. architecture
of Greece
and
Rome,
interest
phy, philosoliterature,
pagan
mythology
swept
aside
the
of warning!^
the
Church,
Greece
that all
were
Rome
pagan
to ancient
enthralled minds
of the and
Church,
liberated
by actually
and
philosophies which
forms
were
were
pagan
immediately
forms, and with these forms as and an inspiration,the architectural a basis genius of vital the Renaissance and developed a style of new expression.
Such architects
as
Bartolommeo,
and 'Bramante
Alberti, Brunelimmortalised
brilliancy of their architecture. of prosperity in Italy,especiallyin The period was one and such important centres as Florence, Milan, Rome to light in the Venice. Great patrons of art came by the
64
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
heads Italian
of the
powerful families
such
many
as
of
merchant-princes
the
and
nobles
and
the
Medici,
The
a
Strozzi, the
too
as a
Davanzati,
that
to
others.
was
the Renaissance
movement
powerful
patron of
ship relationthe
in the
front
rank
the
revival
were
of literature. in
a
state
people
than
closer
another
at any
world
as was
^8
history.
of intense
Men
of humble
great
writers creative
the
period
and
effort.
To
this may
be
richness
and
displayed in Renaissance
of
architecture: balance
were
studied
powerful
in
families the
prompted
have been
the
stately palaces
country"
cities and
luxurious
the
in the
buildings which
of
inspiration and
architects. This brief of the of countries the
were
study
succeeding
generations
its
of
sketch
of the
period, with
in
slight suggestion
In
Europe, which
great movement,
of Italian other with
gradually received
the developments
forms national used handled traits. column
as
impetus
hands
logical composites
and blended
In
by
and of
other
architects
arch
those showed
use
Ste. Maria
Peter's, and
the
great fancy
diverse
of
materials.
Construction
played
such
subsidiary expedients
the
part
as
to
design, as is evidenced
introduction of
by
frank
the
light iron
tie-rods
between
"
THE
EVOLUTION arches
met
OP
65
supports
could Two other the
are
of be
and in the
vaults, design.
methods
to
take
not
characteristic than
of
were
surface
decoration
carving
of the
or
mosaic
highly
^methods
developed
which
in
period
Renaissance
arts of
:
"
to-day
virtually lost
The Frescoes skill
Fresco Italian
and
Sgraffito.
called who
were so a
the the
Renaissance
for
cuted exe-
the
utmost
of
painter-draughtsmen
mixed
was
them.
Specially
the the
pigments
still wet, became often
rapidly that,
upon
applied
its
while
plaster
hardening,
material.
decoration
were
part
of in
the
rior exte-
actual
Frescoes in
applied
of
decoration,
or on
lunettes, spandrils
and
were
arches, panels
used Michael in of
entire interiors
's
fagades,
and
extensively
The
church
ceilings.
Sistine
example
is
a
Angelo
and
ceiling of the
one.
Chapel
conspicuous
well-known The
art in its
of
SgraflSto also
demanded
out
the while
utmost
terity dexstucco
the
or
plaster finish
in
the
process
a
of
dening. har-
Briefly, it consisted
of
of
laying
ground-coat
mixture of
plaster, darkened
paper,
or
to
gray-black
by the
of
burnt the
brown of this
by the mixture
coat,
on
a
Sienna. of
Upon
or
hardening
stucco
plaster w^s
transf
so
applied, and
his dark
to
this
workman
quickly
it out it
was
er^d
the
ornament,
under-coat this
are
cutting
showed the
scraping
"
that
through
finish-coat
and
necessary
do
before
hardened.
Both
processes
extremely
their
decorative, but
and
a
require
exceptional
temperate
when
skill climate
in
execution,
of exteriors.
uniformly
vation preser-
like
to
that
Italy for
their
applied
Italian
Typical
are
Renaissance and
architectural arch
or
tions composiarch,
those
of column
pilaster and
THE
EVOHJTION
OP
ARC3HITECTURE
67
the
Netherlands,
to
Germany,
to
Spain,
and
lastly to
England.
In
or
France,
architecturally,
Premier/'
manifestation is
the the
style of
best-known Italian with
**
Francis and
I,*'
most
"
^'Frangois
conspicuous
a
of the
Renaissance native
blending
of native of Italian
at
forms
Many
magnificent
most
were
built
striking
roof
on
native round
were
feature
tower. unnecessary,
being
Such and of
pointed
roofs,
the
temperate
roof
was
Italy,
flat
Italian
nearly
and
tile, with
of
wide,
overhanging
eaves.
France, period
of
although
the
it underwent
was
marked
more
changes
in
the
Benaissance,
in the
by Classic
Eevival. Benaissance
forms
teenth Eigh-
Classic
the
Netherlands,
in
a
was no
developed
less in the
the
period
the the
buildings.
most
found
great
was
favour,
that
of
popular
and
development
half
human the
half-decorative terminated
or an
pilaster, tapering by
a
toward
human
base,
male
and
Flemish-Classic treated
as a
torso,
female,
elaborate
usually
caryatid,
supporting
In
entablature. architecture
less
Germany,
Italian than
was
Benaissance forms in
the
found
or
less less
favour,
welcome
seemed Latin
extent
understood and
to that
countries,
similar
the in
ment developHolland
to
great
and
Belgium.
In
Spain
the and
architecture
Italian
traces
Benaissance,
of Moorish
strangely
richly
some
blended echo of
influence, and
the basis of
a
Gothic and
forms, complex
formed
peculiarly interesting
type.
68
THE
PRACTICAL the
BOOK
OF
ARCHITECTURE
In
England
in the
Renaissance of when
term
found
its
highest
so
pression ex-
reign
' ^
Queen
Elizabeth,
to
a
**
that
the
term
**
Elizabethan,
with
applied
country
house,
is synonymous The
more were
the
English
of this
Renaissance/'
important
buildings
and of
period
in
land Eng-
dignified, with
the Italian the basis of
little of
the
spontaneous
Renaissance.
Italian and
forms,
constituted all
design,
deeply
The interest
influenced
subsequent
English
ture. architecof
English
Renaissance
reason
development
of its
to-day, by
of the modem The
importance
was
evolution
country-house,
country
and free from
the
bethan Elizawars,
manor.
internal the
the of
government
defence became
powerful
protective,
less
more
element
The and for the of in
increasingly
more
in
evidenc^.
houses
**
became in
livable,
modem''
character. of
Increased
glass
windows. and
or
brought
The floor
about interiors
design
rich
into
woodwork, Elizabethan,
as
coverings
use.
English later,
the
Renaissance
was
an
country-
house,
in the
will
be
shown of
some
important
of
step
development
is often and that
was so
country-house danger
of
to-day. Tudor,
for the three
There Elizabethan
reason
confusing houses,
these
Jacobean
country
the
development
and
so
through
consistent. with
periods
In
continuous
the VII
Tudor
period, beginning
the less Gothic
the
reign
of
as
Henry
it
were,
(1485-1509), domesticated,
style became,
The the Tudor
ecclesiastical.
In many and
flat of
pointed Henry
adhered advance
arch VIII
to
was
the
characteristic. while
reign
(1509-1547), English
traits
some
architecture of Renaissance
furniture,
influences
to appear.
(Elizabethan)
forms
began
THE
RENAISSANCE
st
IN the
eDlnncc of
ENGLAND
of
monumf
tha
Df Ihe
Royal EDiliih
Ho["-OuBrdg,
RinuwiDoc
Whitehall,
ntal srrhi
eionnion
THE
Hi. of
OREATEST
MONUMENT
in
OF
ENGLISH
RENAIHSANCE
ARCHITECTLRE Wren,
Paul'iCathednl.
th" Enclbh
London,
of (he
deufned
Che
"rrhiUrtun'
by
l^ir
Chriilopher
at
Udden
by
connption in huildlntn
RcDunanre
cnlirc
rhinctfi
lowec
porliop
ii
foretrouDdl
THE
EVOLUTION
OP
ARCHITECTURE
69
The the
reign
of
Elizabeth,
began)
from
saw
1559
to
1603
(when
of
way
Jacobean in
period
the
height
the
the for
England,
in the
and
prepared
development
Jacobean
saw a
succeeding
the
period.
years
period, covering
more
from of
1603 Italian
1688,
and
thorough
with
assimilation the
forms
ideas, together
beginnings
of French
stage
was
then
occupied
from William
1688 and
to
1702
by
and
Dutch-English Anne,
were
sovereigns,
whose
Mary
Queen
Holland The
during strong.
notable
reigns
influences
from
most
of
Renaissance in I
tecture archi-
in commenced
England
under
London,
reign
of St.
(1603-1625),
by
the
great
architect Wren.
period,
may
Sir be
Christopher regarded
as
conception typical
of
sance of Renaismuch
temporary con-
architecture,
work A times those of
well
as
lesser
magnitude.
of
contemporary
was
architect
equal
a
influence
on
his of
Inigo
Jones,
who
designed
which
great
the
many
small
for
furnished American
tion inspirachurches.
the Paul's
our was
Early
not
St. the
completed
until Anne
after
period, in the
its
reign of Queen
lived until
(1702-
1714), during
The echo
of
architect. Wren,
of the first in took
1723, dying
reign
development
belated
Renaissance,
1714
to
place during
Oeorgian
in what which is
period, from
called will be The the
itself
Eighteenth
with in
Revival,
dealt
chapter
following.
in
period
of the
Renaissance
Italy
was
period
70 too
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
and too unstable socially intellectually, and politically, to last indefinitely.It is remarkable, centuries. It must two indeed, that it lasted over that those two centuries left to always be remembered the world of art and architecture a pricelesslegacy of unsurpassed works of genius. brilliant The decadence
or
of Renaissance
art
is to be
seen
in
development of the last three was quarters of the Seventeenth Century. Ornament tionate dispropordeveloped to an extravagant and tastelessly
Baroque degree
"
the Rococo
architectural
forms
were
distorted
and
fantastic and impossible perverted in a thousand Structural vagaries. principles were ignored, and decoration was the main feature,not the embelUshment of Baroque buildings. It has
to
been
the habit
of most all
architectural
critics
but Baroque architecture, is neither intelligent merited. such condemnation nor be proved fundamentally that the style may Granted forms of peron illogical scores, it evolved many manent many an beauty and value, and was, if nothing else, later developed along more decorative style, essentially rational lines in some phases of the French style of Louis XV. Despite the usual dismissal, then, of the architectural curiosity, Baroque or Rococo style as a mere immoral, entirelydecadent, and even artistically valuable to place it as a distinct it will be found more esting expression of a peculiaridea,and an undeniably interin the sequence of the architectural styles page of the
sweepingly condemn
past. This chapter, together with the preceding chapter, has been designed, in a necessarily brief manner, to
trace
and
of architecture
from
its the
ancient
Egypt
and
Assyria, through
y
c
*
CHAPTER
IV
THE
CBASSIC
IDEAL
STUDY
OF
THE ITS
QUALITIES
IN PLACE of
OF SEVERAL OF
CLASSIC
"
TECTURE. ARCHI-
CLASSIC
tecture ARCHIthe and its
"
CLASSIC
public
its
buildings.
teachings
arts,
Classic
Derivations
and
the
'Beaux-
Arts
School
IN
of modem
tracing recognising
the
course
of
the in
Classic the
to
Ideal,
most
and
in
its
recurrence
important
:
buildings,
is the
answer
one
is
impelled
inquire
What,
exactly,
The
Classic
is
a
Ideal?
simple
one,
yet
The
fraught
Classic
with Ideal
great
is the
was
significance
Ideal based of
on
in
Classic that
it
was
of
by ties, qualito
purity,
order
purity,
being
have but
to
Classic
as
only
of the
live,
stand
to-day
of
basis
tectural archi-
design
Gothic and beautiful
"
all
time.
was
architecture
ingenious
Classic
were
"
magnificent
was
experiment.
^its and which architecture
even
architecture
as
not
experimental
in the their
principles
have have of
lost
sound
as
Euclid in
day,
none
of
that
soundness
centuries In the
passed.
the Renaissance much there
were
many
paradoxes,
amount
shams,
earnestness,
but Gothic
minor
of There
the
experimental
was,
quality enough
to
of of
architecture. order in
however,
Classic
Renaissance
architecture
give
it
some
degree
73
'"CLASSIC
BANK
FOR
ON
MODERN
THE DORIC
lONir
ANCIENT
GREECE
aeutsl"
I.
an
b"l
randgred
ii
Vark
Cny
Poit-offiH)
vmrd
Lbw
School,
Cambridn-,
Mma.)
THE
CLASSIC
IDEAL
76
The
content
beauty-loving
with order. in
* *
Greeks,
often
however, clumsy
were
not
long
of the it add
lets, annu-
the
heavy,
Their
proportions
Doric
first
effort
toward
lightening
shaft. To
* *
appeared
a
the
' '
vertical
fluting of the
a
little
' '
detail
they
designed
the
was
few
rings,
or
immediately
next
below
The
**
the Asia
volutes**
with
an
concealed
development
great
of
Ionic
order,
column
it
was
was
found
girth of the
the
Doric shaft
not
necessary, its
consequently
was
lightened
and
verticality
emphasised
The in which final the
fluting.
came
in the
order, perfect
vertical It will this
the
capital
transition
to
from
entablature,
round Corinthian
the
the
seen
horizontal,
upon
was
from the
square.
be
study
transition
the
First, the
indicated
height
it
of
shaft,
lines
without shaft
abruptly.
the
of the
upward
in in the and The the
through
the the dual
foliation, gradually
which
springing
This
outward
volutes form of
support
with
the
concave
abacus.
abacus,
square
sides, performs
of the
rests
function
of with
fitting the
the architrave
shape
which
capital
on
conforming
spread
abacus of
too grace
it.
of
the
Corinthian the
below the
gives
additional
weight
sense
the
superimposed weight
the
never
entablature,
of and
great
of
can
by
the
lightness
detail be of
It is
a
gainsaid
the both
Corinthian
capital
of its
masterpiece
and
design, being
in its form.
expressive
function
beautiful
76
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
With
took
the
evolution
a
of the
Greek
column,
of
there the
place
corresponding proportions
entablature of and
a
evolution and
in its
its decoration.
Doric consisted
(as exemplified
in
the
Parthenon)
divided
was
plain
architrave,
and
a
frieze which
into
to
triglyphs
run
metopes
into the
cornice,
split
The
upward
of
great
Ionic
was
proportions
of the
the
Greek
the
those
Doric,
of
a
but
frieze
continuous
of
band,
allowing
The
continuous
appearance
decoration of the
bas-relief
was
figures. remarkably
up
heavy lightened
architrave of the
a
by
the
expedient
splitting it
upper two
into
three
divisions, lower,
and
slightly moulding
cornice
some
fine
decorated The
to
division
was
from
the
also,
decoratively (in
later
extent, introducing
modillions The Corinthian of the
examples)
cornice.
dentils
and
Corinthian is
model
of skilful
and
adequate
The
proportions
and
aptly
remained
applied
as
form,
of the
cornice, the
was
last, or
to
''finishing'' member
form
a
building,
terminate
to
elaborated the
**
crown,
and It
was
logically required
so
entire in made
composition.
diversified
a
effect
interest'*
was
shadows,
the
were
the
''dentil*'
course
part
of
cornice,
Greater
cast
was
a
and
the
various
was
mouldings
projection
shadow that
a
required,
in
order but
to
strong
at
the
building,
of
seem
it far
evident the
to
plain
the
no
stone,
as
beyond likely
face
of
frieze, would
matter
though
it
topple
be
down,
how
masonry
securely
of the
might
actually
To
anchored
correct
into this
the
ture. entablawere
illusion, the
"modillions'*
STBUCTLRE
DKRIVATION
Ihf
IN
a
GARDEN rounlrj' It La
TEA-HOISK
ud
building.in
eaiden
ol
large
Amerii-an
pR"B"iiniDWrei"lmK"IutryiD"lual
derivaiion.
place sirellrnily id
].i"i(
.-hi.tof
lal.
let
"
WORK
OF
PURE
CLASSIC
COMBINING ROMAN
ELEMENTS
BOTH
(The
"Marble
Arcb"
entnncA
Hyde
Park,
LondoD.
EDglmd)
CLASSIC
ARE
APPARENT
LIBRARIES of
IN
VIHTUALLY
AND
ALL
MODERN
MUSEUMS,
MuKum
ART
GALLERIES
Fog"
Ail,
Cmmbridfe.
MuesrhuHtls)
THE
CLASSIC
IDEAL
77
introduced
and
"
flight,graceful
to
brackets,
care
spaced overhang
additional underside
at
seeming portion
was
take
of
the
uppermost
of the the
spaces
**
cornice.
An of the the
expedient overhang,
sunken
cause
treatment
in
the
or
between
modillions,
panels,
the
coffers,*' the
slabs both
to
intention be
and
seem
being
projecting
were
lighter.
famous
the
of
or
''Three
The
Orders''
Vignola
two
developments, Composite,
to
or
new
Tuscan,
Ionic.
"
Boman Neither
are
Doric,
will
the
embody
Boman
principles
order
they
variations.
The in
a
Doric
(later exceedingly
with the with
popular
was
the
Benaissance,
of the of
a
together
Greek base. the
Corinthian)
refinement the
a
Doric,
The Greek
addition
Composite
Ionic from in
a
effect,
decorated
in
of
volute Greek
abacus,
volutes
differing
sprang of
mainly
or
out
comerwise,
with
use
diagonal
lines of
lying parallel
Bomans did
as
the the
not
three
original
but made both than
exactly changes
they
found
them,
and
in
proportions,
far
more
treated
entablature Greek
with
ornateness
architecture. later
The
most
characteristic
Boman
development,
Benaissance
enthusiastically
was
adopted
between treatment Boman with the the Boman
by
the
two of
builders,
in
a manner
the
arch
placed by the
columns,
the
illustrated and
seen
great
Colosseum,
arches.
in most
of the
triumphal
three of
corresponding
all five with of
all
the
were
Greek
Orders,
and
were
developed
favoured
conformity
as
columns,
features
greatly
Benaissance
purely
decorative
by the
architects.
THE
CLASSIC
IDEAL
79
Buildings
sance
of
the in
time
show
and
was
conflict
between
Benaisand
order
design
in what
'Baroque
called
extravagance,
out
(most
appropriately)
Manner.''
succeeding
the **Eococo''
period,
that
of
XV,
is
often
period,
its
because
at
*'rock-and"Louis the
style reached
work is
height
synonymous
time. with
some
Quinze
fanciful
practically
Rococo,
curves
that, like
of
fungous
art
growth, amazing
of elaborate
branches and
decorative
' '
with
rapidity.
in
The
tics characteris-
period
and
were
their
nature,
lines and and
though
cate intrimetry sym-
various
Curved
foliation
was
appeared
designs,
lack
of
considered
many
desirable
of art to from
achievement. China
at
of added
works
Oriental
fantasies
the
grew
already
fantastic
travagant ex-
Baroque-Rococo
style, which
the the
was
increasingly
Louis
no means
throughout
decorative work
the
reign
is
of
XV.
Much without
of
period
too
by
merit,
but
style
frivolous
to
effect
any
permanently Despite
very
great
the
architectural interest
expression.
in the
so
intense
Rococo wearisome
style, its
and
set
extravagance
that
the
finally became
reaction XVI of the
distracting
in with forms the
**
Classic
,
the
reign of Louis
(1774-1793) popular
until
Classic close of
became
increasingly
'*
Empire
period,
uncertain
in
1814.
Despite
the
such
the of
character Louis
at
of
**
style
and
*'
through
XV,
the
reigns
Louis
as were
XIII,
the
XIV,
Louis
and
buildings
in Paris
palace being
Versailles,
and of
Louvre the to be
planned portions
the
commenced, Versailles is
Classic
dignity
to
of J. H.
many
attributed
Mansart,
master-architect
80
THE
PRACTICAL
BOOK
OF
ARCHITECTUBE
of
name
Louis
XIV,
who is
we
vastly preserved
enlarged
the
palace.
The
type
of
call, in this
of the of
mansard'* additions
roof.
to
works and
Mansart,
his the
Versailles
was
Second the of
Church
of
Invalides,
became the
after
Classicism the
which
of
period
had
Louis lived of
XVT,
its
Louis
of
Rococo
Mansart
fallacy
's
butterfly'
forms,
conception
Classic and
well
those
of
his with
contemporaries
a
predecessors,
of Louis XVI
dealt
"
heavier
and
Classicism
an
imposing
of
dignified
and in
the
style, its
of
admirable
qualities
an
proportion
part
alignment
later
parts
playing
of French Classic
important
architecture. elements owed but
to of
ment develop-
The
the
architecture
not of
of
this
to
period, however,
Classic
sources,
inspiration
architecture
directly
the sance. RenaisXIV but
The
not
a
periods
a
of
XIII
and
Louis
did rather
constitute
period
of
Classic of
Revival,
the
continuation
a
the
impulses
in the which
Renaissance"
forms
were
almost
re-Renaissance,
to
Classic of
struggling style.
The Louis real
shake
off
vagaries
the
Baroque
French and in
Classic this
Revival the
took
place
XVI,
were
period
a
architects
and
impelled
of
by
dual
Classic
inspiration
the
Classicism influence
at
the
the
Renaissance,
great (Jreece
strengthened
by the
direct
made
of time ruins
archaeological
and
discoveries
that
in
of
Rome,
and
and
especially
The
in the stimulus
to
buried caused
Pompeii
Herculaneum.
can
by these
enthusiasm Renaissance
discoveries evoked in
be
likened
the
only
the the
boundless
Italian
from
pioneers
first be-
of
1400, when
they
I,
Phu^l):n|"htr
OF
XAMPLE
THE
DELICATE LOIIS
EICJHTKENTH
XVI
(:^:^"Tl"RY
PURE
DERIVATION
OF
THE
FRENCH
CLASSIC
ARCHITECTURE
OF
LOLIS
knd
"pplicBlion
of
d"tul
cbBncurutic
ofl^e
beat
French
Clnuie
"rFhilecun
I
CLASSIC FRENCH
(LOUIS
XVI)
IN
THE
CROWNING
THE
CLASSIC
IDEAL
81
V
came
aware
of the
in the
so
long neglected
The and Classic
arts
treasure-house Revival
of
as
antiquity.
in the XVI Rococo the
**
reflected of
architecture
"
other
the
period
Louis and
as
showed
complete
and Phase and and
reversion in
from
Baroque
is known
forms,
Formal
developed,
' *
what
a
of
Louis
XVI,
Wall
style of the
aces were
utmost
refinement
urbanity.
cornices
surf
^J'
had Ornamental
finely
in flat
modelled.
was
treated
or
usually
window
panel
medallion.
openings,
as
with
garlands
hanging
were
each
side,
and
well another
as
ellipticalmedallions,
architectural of attributes in the low
**
popular,
was
istic characterattributes
' * ' *
the
frequent
purposes.
introduction These
* *
for
decorative
consisted
of
admirably
designed
groupings,
with
symbolieaily
antique
musical hall other
associated
some
building
such
as
tragic and
instruments
comic
for
masques,
lyres and
a
other
or cert con-
the
f agade
of
theatre
(as
at
Amiens),
for
an
palettes, paint-brushes
art
and
paraphernalia
French
gallery.
of architectural
**
Earlier
characteristics
even
called,
at
this
period,
academic,
of
was
still
governed
of Louis
the
Classic and
Revival the
architects
the
period
XVI,
of detail.
many
great
change
chiefly in
matters
While
forms ancient
were
purely
there
Classic,
were
derived
sources,
many
forms,
Renaissance
origin.
formulated des Beaux
a
French
taught
blended
more
by
the
and
Arts,
certain
these ^'modern"
two
feeling
strictly
82
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
to
the
earlier and
French axial
**
emphasis
as
on
metrical symat
on
plans.
Arts has
taught
the the
Ecole
des
Beaux
wide
influence
of many that
years
countries from
outside other
France,
countries
because
students in of
spend
the
periods
and what of the
study
style
habits
architectural
Arts
produce
This
is called
**
Beaux
type
that
design
be
and
detail
is of
more
great
importance
it will
the
discussed of the
thoroughly
Century
directly following
Classic Revival.
to
history
The
Eighteenth
of
no
architecture Greeks
as
period developed
of the
subsequent along
that
of
of
the
ancient
has that
lines
such
"
studied the
period
the
of Louis
XVI
period
produced
de other
* *
Petit
in
at
Chateau
so
Bagatelle buildings
de
many
describable
only
exquisite.
of
period
**
Louis
of
XVI
was
followed,
the the
after
the the
two-year
Directoire Classicism XVI.
It
Reign
Terror'*
covered
even
of
revolution,
years 1795 under
by
to
Period, which
was
1804.
carried the
further of and
women
than
's
Louis the
tumes cos-
invaded
a
realm
dress, with
Classic
in
**Tunique
and famous
la
Grecque,"
as
with Mme.
such
coifiFures
that
of
Recamier
the the
portrait
Classic
by
David,
of
which the
in
as
well,
**
purely
furniture
was
The in the
were
gorical'' Alle-
portrait
of Louis XVI in Classic Greek
tastes when
greatly
the ladies
reign
trayed poror
of
**
the
Court
or
draperies,
of
as
Diana" This
was
''Hebe,"
the
nymphs
called decade of
mythology.
or
period
of
**Neo-Classic."
The the
Empire
(1804-1814),
saw, at
following
of the
period
Directoire,
the
dawn
THE
CLASSIC
IDEAL
83
Nineteenth
Century,
from and and the
taste to
a
for
Classic
Not
and
archaBOwith
logical forms
amounting designers
terminal
of
mania. of
content
inspiration
architects
remains
Greece
and
Rome,
forms
"
revived
Egyptian
and other
sphinxes
The
details. of
an.
Classicism
the
outdid, in profusion
of the
very
Classicism
its
inspiration. Many
architecture
* '
details
of
J^
preceding
use a
of French attributes
survived,
motif. butes attrispears,
armour,
notably the
Under such
were
as
warlike
as
Napoleon,
helmets
at the
most
often
not
military, bristling
time.
and
introducing trappings
So that of
but
design
was
complete
much
the
leaning toward
of the
forms
too
architecture
to possess
are
were
Empire
The
extravagant
merit,
even
though
two
all
names were
Empire
of
no
designs
the
interesting.
Percier furniture These
as
period
for
and
less noted
their
for
their
architectural
are
achievements.
architects,
and the
indeed,
foremost
generally regarded
exponents
of the its bombastic and its and
the
Empire
lack
Despite
heaviness
grandiose
of
frequent
failed
are
refinement,
Empire
works
style
of the
seldom
to achieve
a
dignity, and
many
period
Italian
of
high order
were
over
of architectural
excellence.
or
in France
at
the
Napoleon
and
Fontainebleau,
Compiegne
Trianon,
for the many
the
country-house, Josephine.
Malmaison,
as was
Empress
archi-
Extreme
its nature,
THE
C5LASSIC
IDEAL
86
in the
not
reign of George
first architects
III. to
The
Adams,
in
however,
' '
were
' '
the
design
the
Classic
Taste.
Following
the
Sir
Christopher
Benaissance
Wren
and
Inigo
of the
Jones,
bean Jaco-
great
English
William
were
architects
who
period,
works Eevival*
sources
Kent,
more
died
nature
in
1748, produced
of
**
which
*
in
the
Classic Kent
*s
re-
I \
than
of the
of in
inspiration,
both
directly
contemporary,
J
,.
ceived
Italy, and
many
Kent
and
Gibbs,
work No forms
produced
of the later
designs period
closely
in
resembling
the
Empire
France.
English
to
so
architects, however,
an
popularised
Adams,
creation Taste
or so
Classic
great
extent
as
the the
skilfully
modem the of
antique
and
motifs
in The
of
furniture.
Classic
became ideal
fashion,
permanent
and,
guided
was
by
the
Classic
upon
stamp
placed
in
English
is its
which,
especially
city buildings,
to-day.
ideas found in the extensive architectural and fashionable and in the and
ance acceptdecorative
' '
expressed paintings
caP* of
Angelica portraits
with the
Kauffinann,
of
the
allegorigardens
with and
^
English
day.
trend
Parks of the
conformed the
Classic
period, temples**
frequent
introduction
of
*'
garden
in
Classic niches
statuary.
were
Sculptured
busts
hemispherical features,
and
architectural
virtually
important public
or
buildings, domestic,
Classic
whether
were
secular,
of
pediment
period
of
of very
and the
columns.
was
a
in
England
period
in much
earnest
effort, resulting
influence of the
upon
work
destined architecture
exert
strong
sides
subsequent
both
Atlantic
86
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
Colonial
in
America for
at to
widespread
in
have
enthusiasm it is not
the
ocean
ideas
England,
crossed
surprising
American should The
and called
moulding
**
the
style which
Colonial/*
be
Georgian
was a
American
Classic
RevivaP'
as
distinctly different
from the
development,
and
at
a
coming,
it later
did, largely
date than
France,
considerably
Georgian
influences.
Georgian study
in in
Colonial
architecture
come
of
America,
an
under It
more
detailed
the its in
chapter.
with
to
is the
important Georgian
its tinction dis-
connection and
England,
American Colonial forms
recognise
Revival.
later
Classic
of North
The
Georgian
took
types
in the of
American and
In
different
the
South,
North
especially
there rather windows
in
treatment
a
dwellings.
is noticeable
than
great
Georgian
New
Classicism
detail,
of
general
interior
form. woodwork
England
followed and
doorways,
Classic mulae, fororders
and
rendering
with To
an
Palladian
windows
Greek
honest
carpenter's
the
New
;
technique.
types
of
differentiate
in
Georgian
towns
as
Colonial
architecture
such
England
varieties
;
Salem, York,
south
"
Newport
and
Boston and be
the
found
in New
Philadelphia
this
cannot
Baltimore in
those cursory
still further
maimer.
attempted inspiration
came
the
of
the
Colonial
from
and
Early
is clear from
builders
directly
England Brown,
following
on
paragraphs
of
by Mr.
Salem,
covers
Glenn
note
the best
doorways
work
Massachusetts.
three
**The
in Salem
periods, from
THE
CLASSIC
IDEAL
87
1745
to
1785
dearly
showing
of
the
influence in
of
the
a
Batty
Langley
The
1740,
*
in this
country.
of its
title of
the
explains
Builders^ Art
the and
character
information:
Country
or
Workmen's and
Treasury
the
of Design,
the
of Drawing
Working
Ornamental
Parts
of
Architecture.'
'
*In
the
period
the
on
from
1785 of
to
1810
the and
were
character Bobert
of the
work whose
1783
reflects books
and 1786.
James
Adam,
in
decoration
1800
we see
published
eflFect issued of Revett in
the
were
and and
Stuart's
publications,
as
which
1788 is free
\
V
1794^1816,
reflected. these
in While
this
our
period early
Greek builders
were
influence made
not
clearly
use
of
good
publications, they
showed their
simply design
copyists.
and
They good
were, many
individuality
' '
in
their There
taste
in
adaptation.
to
in
addition others of
the
works
by
Mr.
Brown,
like
character
varying
known ^^The
degrees
of these
merit. Colonial
Among
inspirations
filled window is due
to
Country
details and
Assistant,"
doorways,
It American
a
with
carpenters'
cornices that
Georgian
woodwork.
frames,
these
interior and
books
Colonial
Early
and and in
no
architecture level
were
developed
of
consistently
a
with in
a
high general
when
no
merit,
no
over
large
area
day
there
tural architecas
schools
this
country,
means
' '
great
teachers
in the
France, aspiring
that
and
ready
of
European
"
study
It
for
architectural far
were
apprentice.
number of
is remarkable American
were
by
the
greater
the
work
of
early
and
buildings
from
mere
carpenters,
done
sketches,
frpm
supplemented
by details
carefully
Tbe
trfiuscribed
these
precious English
books.
88
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
result their
is work
lasting tribute
which of
must
to
the
love
for
have
inspired
Colonial
guid/Bd these
in America.
master-builders
Georgian
Classio Classic
Revival
ik
Amebica
as
Revival,
distinct
about
from
the
Georgian through
France War
inspiration,
of for
came
largely
with the
development
the So distaste
friendly
relations
things
English
during
Classic that
the
contemporary
' *
style of Empire.
a
France,
* *
it has
been the
called
American left
popularity
Ultra-Classic in this
number
of
monuments
country,
found
*'
of
which,
perhaps,
tion por-
the
purest
of
example Grange
Astor
is to be
in the
on
remaining
**La below
the
**
Terrace,
Place
Lafayette
York
Street,
and
* '
directly opposite
now
in
New
* *
City,
in
old
Astor
La
Grange
built
Terrace, 1836,
So and
called
Colonnade
was
comprised
eight
is
palatial
this
of
residences. the
as
'*
oughly thorand
so
Classic
relic the
Revival,"
essentially
in this
typical
that the
style
it found
expression
repays its
country, Despite
and the it
the
stately old
of
facade
one-half
close
study.
'
demolition
original
since the
form,
time
many
was
a
indignities it has
the
centre
when
of
New
life, it retains
i
quality
of
dignity
the
tance
from
Greece
in
itself, from
which,
f
ruins, dominates
was a
the cast-iron
was
to-day.
Greek flanked
At
the
street-line The
anthemions.
shallow
on
porch
by twin
of pure
pedestals, Pompeian
the
which
stood These
candelabra
are
form. tense
approaches
a
spoken
has
of
in
past
because
city
regulation
THE
CLASSIC
IDEAL
89
removed
them
**
as
encroachments.''
The
nearly
of
intact, is of base,
manner
proportions
entablature. French the
relation after is of
nade colonof
base,
the
*'
contemporary stone-courses,
entrance
buildings,
joints strongly by by
an
emphiasised,
Doric
is flanked
pure
Greek
columns,
and
abbreviated
of pure
five
wreaths
Empire
level
style.
is
garded re-
French nature
on
city house,
of the
a
street
the
are
basement
the
or on
premier
great
Stage,
rooms
flight.
The
premier
dows, win-
etage
expressed
the heads
externally
of which
by the
height again,
of the the
at
appear,
French
Empire
This
embellishment,
etage
of
in
furthermore,
from the
distinguishes story
thick of the above
to
premier
The
a
importance
base and
a
walls
narrow
the
are
sufficiently placement
rail
allow
gallery
on
the
tall
colunms the
directly
front. built
it with
cast-iron
running
The
are
across
columns,
in
each
drums of
of
solid the
stone,
superb
a
proportion, replica
in of
detail
capitals
ment monu-
being
direct
Greek The
Corinthian cornice
Athens.
was
is of
pure
and of has
so
originally
anthemions. considered the
crowned The
here very
by
acter char-
Greek been
facade
in
detail,
it illustrates
admirably only
of
as
spirit of
Classic
Revival,
also
not
expressed
work
by American
of the French
typical
much
the and
Classic
taste
Revival in
in
America, relapsed
taste into
in the
general
90
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
banalities from
**
and
stupidities of the
it
was
mid-
period,
eariy
which
not
to
emerge
nineties.'*
The
Decline
to
op
the
Classic the
to be
a
Ideal
in
England in architecture
a
Returning
is Gothic
England, 1815,
with resulted
Classic
Ideal
competing
with
spirit of
in
an
restlessness
eclecticism
architectural had
of
Fortunately strong,
imprint through
of
Classicism the
continuing
the
most
reign
George
of
III
(1820), that
were
fundamentals
tecture archi-
securely
of the
The
height shortly
Greek
was
Revival
in
land, Engby
before
decline,
signalised
several
important
moved
In
architectural
publications
as
profoundly
popular
1762
*'
taste
well
as
thought.
Stuart and Revett
in
Antiquities
;
of Athens/*
Robert Adam
by
's
appeared 1831,
the
pure
in
1764,
''Spalato'';
works admiration French With
the
or
''Erechtheion''"
all intense of
which
had for
creating
an
forms,
Classic
independently
Italian
the
interpretations.
of the Revival in
decline
England,
ince prov-
study
of the
of
English
architecture, house,
becomes
or
excepting
a
in the too
country
the
matter
involved conflict
for of
any
but and
no
architect tendencies
the
critic, and
in such
the
styles
that
resulted
effort British
It
emanated
era.
Isles
Victorian
to
is
was
allude
the of
Gothic Ruskin
Revival in and
which
as
by the writings
and
writings
of
many
1851,
temporary con-
well
by
the
earlier
architects
critics
who
held
similw
THE
(XASSIC
IDEAL
91
views.
Lacking
interest in
real Gothic
motive
power,
the
rather
to
tual ineffec-
architecture
was
failed
an
produce
of the
any
great yet
works
(since it
not
expression
in the
times),
occupied
to retard
thought stop
England
further
sufficiently development
The is in the this
of
Classic Gothic
to
attempted interesting
country
* '
in
land Eng-
chiefly because
carpenter
traces *s
* *
the which
impulse
left of
**
fantastic
so
forlorn,
American'*
many
hybrid
country
in
form
Gothicand
houses.
type
is
familiar,
have
wondered,
**
perhaps,
"
curiosities
happened**
than
^wooden of
nothing
which and wooden
better
parodies
to
'*
Style**
windows
they sharply
**
aspired pointed
tracery**
*'fine**
were
express**
pointed hung
roofs, from
and
which
jig-sawed
'*
drop-ornaments.
to
Gothic*'
to
details,
too
(supposedly)
in the The
very
be
entrusted executed
'*
the iron
carpenter, castings,
to
done like
crudely
often,
wooden
sculpture,
an
sanded**
one
**
represent
stone.
style is
interesting
it is
for
several
reasons,
although,
architecturally,
It
sible** imposso
and
many
indefensible. remain
towns
is
interesting
the
more
because
ous prosperas
examples
cities and
in and of the
about
United it
so
States,
far
West
as
Michigan, futility of
and
an
because artificial
forcefully
of
an
the
'*
rendering
nor
revival,** neither
and the
nature
or
rendering
and
revival
half
of
style and
and
may
wilfully
who
blindly
out
Carpenters
in
carried but
this
not
style
ingenious,
**
certainly
intelligent.
with
an ex-
Gothic'*
aberration,
combined
THE
CLASSIC
IDEAL
93
inspiration
in and
so
"
^there Revival
more
was
not
the
was even same
spontaneity
so
or
asm enthusi-
the much
marked
in
France,
in with
England.
of Germans
It
had
derings ren-
Renaissance students
and
Gothic and
^the
were
always,
really
identify outside
scheme
architectural effort.
was so
styles with
national
of creative
No
as on
past
style
characteristic
of
the
country
based of
the
essentially
Classic
modern
style, which,
shows
to
remotely
to
no
forms,
seems
'*
likeness for
works
most
any
a
land,
kind rather
and of
express,
the
part,
of been in
bigness*'
which This
is the
attribute
has
arrogance
than
nobility.
in
a
thought
on
admirably
Architecture^'
**
. .
expressed
comment
by Mr.
There
.
Guy
are,
Study,
it is
and
in ^*The
two
true,
the
art
demic, aca-
in
Germany,
which
the still
academic
modem.
clings
to
the
men
precious
who
heritage
their
the
past, is
school the
formed sixteenth
the
same
of
draw
and
eighteenth
centuries of
speak
beautiful
language
but whose
Nuremberg
is
and
Rottenburg,
influence
unfortunately
**It real
negligible
the
modem
is,however,
of has such
school Animated
that
expresses
the
culture that
power,
Germany.
moved
men
by
in
her
the
impulse
world
mann
Germany
as
ambition and
Bruno
Schmidtz with
have
even
succeeded,
audacious
by
working
astonishing
the
to
and
new;
originality, in giving
which
seems
nation been
wave
style of
as
have
accepted
of unrest
the which
expression. swept
a
over
The
great
Germany
has in art
so
engulfed
the
nation
that
complete
upheaval
has
94
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
taken
place
and
the
very
foundations
a
of
new
the
past
have touches
been of
erased,
the
we
find of the
strange
East and and
a
art, with
mysticism
possessing
strong
evidence
much
daring quaUty.
and
cleverness,
In of it there
a
imagination,
is
artistic of
unquestionably
vital
force
the
;
power
great
of
an
restless
indeed, people
it is the whose
sion expresare
arrogant,
either that of the that
an
conceited Latin
or
ideals
race.
foreign
is it art
to
the
Anglo-Saxon
that find has in
But
with
eternal
quality
Do
we
marked
modem
great
epochs
architecture
pastf
quiet,
is the
natural
scious uncon-
expression
of
enduring
of true
which
?
possession
are
greatness
of but
These
upon
the
columns
Karnak^
what is Bismarck
upon
us
olis, Acropsuch
Forum;
as
felt
or
gigantic
monument,
the claim
Leipzig
powering over-
sole
is
/'
The
Beaux
at
Abts
a
to
France
time
in
and
America,
in
a
and
more
(for that
**
matter)
than be
state
be
chaotic^'
to
tional," transiup
on a
there
could
perceived
growing
condemned
gigantic
several
a
influence.
scores
This
many
influence, critics,
was
by
dual
destined
"
to
a
play
part
tremendous
no
part
in modern
can
architecture
which
It
was
intelligent
observer
ignore
scattered
or
belittle. of from
destined,
first, to raise
Classic
the
remains
architectural
out
tradition,
quicksands
of
and
Renaissance,
into which
of
the
they had
into mould
a
strayed,
definite
and,
welding
Classic
Renaissance
composite,
powerfully
of the
rationally
world.
the
architectural
thought
civilised
THE
CLASSIC
IDEAL
95
This des
Beaux
great
influeniCG the
was
the
French
Ecole
Nationale
can
Arts, and
Classic
nor
be
called
neither
(though
many
Classic
fundamentals) by
type
many
Renaissance
(though
"
characterised
forms) design
of
^but
**
Beaux
Arts/'
of
distinct
Beaux
a
characteristics. Arts
have
Because upon
teachings
of the
placed
it is
all modern
to
architecture
possess
a
permanent
grasp and
stamp,
of
a
important
Arts
distinct
the
Beaux of the
to
idea.
The
following
enable Classic
exposition
the forms forms
to
study
observer
illustrations
will
architectural
perceive
and and Arts will
wherein
play play
an an
part,
wherein
be
Benaissance
part,
Beaux tional addito
able,
of
as
well,
two
discern
not
blending
these
elements,
inventions
but
traits, devices
school Beaux school A of itself.
Arts
and
peculiar
the
is the of
result
not
only
of
of
thought,
of
certain
at
kind the
*'
study.
The
or
conception
are
essential
outset. pro
students
required imaginary
in all in
a
develop buildings,
be
their from
jets''
drawings
the
on
for
the and
of
plan, and
laid of be
out the
eral sev-
plan
axes.
must,
Axis
masses
cases
symmetrical
centre-line There
and
axes
plan is the
of the
any
important
axes"
building. importance
may any
are
rtwo
axes.
of
main The
number those of
ning run-
of
subsidiary
the
two
principal
and
length
With
of
the
as
building
a
the
depth
the
metry sym-
building.
must
these
starting
point, perfect
result. of
any
as
the
New of
disclose of
entire
theory
will of show
planning
that such
grasp possesses
theory
merit
axial
planning
reason
96
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
and
not
guarantees parts
well of
as
well-studied itself
,
relationship
but of all its
the
building
approaches,
The
adjacent
for
to
buildings.
of
on
central will be
axis,
devised the This that
example,
centre
the
front
of
the
building,
toward
avenue a
leading
tion relaof
it, so
building
axis will
or
will also
studied the
to its site.
layout
the
of
or on
immediate
rows a
approaches
trees
or avenues
terraces,
of
the A
disposition
fountain,
of
statuary.
be
large
group
of axis
statuary,
or
would be
placed directly
for
this
on
central each
on
would
duplicated
features
ment placebe
Minor
axes
exterior of the
would the
balanced would
result
naturally
be all
of absolute
It may of
said
that
symmetry
virtually
an
tial essen-
large
buildings,
and
to not
architecturally
for this reason,
Arts
**monumentar^ architecture
on
buildings,
owes
much
the be
Beaux
axial
plans.
in
It must
was
supposed
in
that the
planning
Arts. based Baths
a axes. on
originated
and of
even
of
the
Beaux
was
Greek,
ideas
of
Egyptian,
and
a
symmetry,
was
plan
'^
of
Roman
' '
Caracalla
typical system
Beaux of
axes
plan, with
perfectly
articulated
subsidiary
The
great
of
French
school,
made essential
however,
an
deserves absolute of
a
distinction
law in the The
one
having
the of
symmetry
and
requirement
building
first
Beaux
stages
Arts
its development.
has its critics to which insistence and
opponents, they
on
and in the
of
the Arts
principal teachings
is that
faults
point
Beaux The
is this this
symmetry.
an
contentidn
or
insistence
ficial'* '^artisake of
''paper'*
architecture, that,
THE
CLASSIC
IDEAL
97
symmetry
of needs
than
for
a an
expression
Beaux entire
to
of
the
ments requiremust
an
building, example,
Arts
architect
or a
add,
wing,
balance criticism
unnecessary
Court"
**West
to most
never a
plan.
it is
an
This
up
point,
interesting
Arts
any
fact
that
the have
opponents
a
of Beaux for
architecture
or more
suggestion
better
manner
of
planning
may
large buildings.
in
an
It is true and
axial
planning
result of
a
unnecessary
development
that
an
building,
of
but
it is Arts
equally
is
able
a
graduate
the
Beaux which
capable
a
producing
and been
the
symmetrical
one.
plan
Whatever Arts
is also
logical
have
offences architectural in
may
by Beaux
remain the that in
formulae,
architecture the
general
of the
cases.
is
incalculably
At
a
gainer
great
chaos
majority reigned,
itself the
time
when
great
and
ever
!^cole stepped
established
a
Law, have,
of
design
main
which elements
tectural archi-
design.
No
architecture,
is
no
art,
which
one.
no
philosophy
to
or
religion
and
which
bigoted, and
is
a
aspires
A of and
domination of
absolutism
desirable
school
architecture
a
should
resort
reason
be
on
inspiration,
of
matters
procedure,
and
by
manently per-
of
the mould
teachings,
of many who the
widely
thought
to
countries, whither
have school has in the
come
return
the
students
practise
that
to
learn. Beaus;
It cannot Arts
to
fairly be said
to
of the
has
sought
dominate. to
Its aim
been, rather,
minds of of its
inspire and
an
direct, and
implant
students
impression
of the
importance
synunetry.
7
98
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
Beaux
may
more
Arts often
detail, of
be
to
which
we or
shall
speak by
ently, presforms
of
forgotten,
other is
replaced
but the
appropriate
Arts of
countries,
theory
the whole
planning
basic, and
It of is
a
underlies later
expression
of
Classic
order.
Having perceives,
facade
of
developed
in his
symmetrical
from
plan, the
the
student
or
designing
it of
elevation is
are
building,
and that balance
that
this,
other
necessity,
masses manner
also
so once
symmetrical,
related
as
important
in
a
to
at
agreeable
of the
Beaux
and
logical.
Arts
seen
American monumental
examples
ings buildas
type
are
to be
in New
in such
buildings
the
the
Public
Library,
the station
new
the Post
Metropolitan
Office
last
Museum,
the
House,
and
Pennsylvania bearing
(the
to
named,
Arts
however,
ideas
relation
in
style
Beaux
architecture).
of
Combined and
with the
fundamental
'Beaux French The Arts
Classic
order
as
symmetry,
a
school of
developed, gaiety
reason,
well,
certain
even
distinct
and,
at
times, always
frivolity. admirably
this
seemed
suitable theatres
Beaux
for
exposition
similar architecture the
casinos,
A
music-halls,
fault that and of of
and Arts
peculiar
been
frequently general
of
or
counteracting
dignity
introduction courthouses of
conception
composition
by the banks,
distinctly frivolous
other
detail, so
in which the the
that
buildings
expression
as
an
dignity
tectural archionce
an
is
essential, have
medium.
avoided This
style,
unsafe
at
frivolity of
feature hostile of critics
detail,
Beaux
attractive
and has
detractive
Arts
tecture, archiweapon,
given
which
the
another
and
one
of
they have
amply
availed
themselves.
THE
CLASSIC
IDEAL
99
In
detail
an
there
will
be
found,
on
in
the
Beaux
to
school,
admirable for
on
adherence
proportions
as
and devices
entablatures,
as
and the
well,
accentuating
the of
to stone
of
building
by
the
rusticating^^
central
courses,
accentuating massing
*4nteresf of
part
detail few such
the
create
building
by
extravagant Beyond
a
architectural rules
as
strict
these, nearly
ment detri-
however,
all Beaux
great license
Arts
in detail
has
characterised
to
architects,
often
the
many
serious
of their
works. there
Together
were
with
extravagant
many
forms,
of
however,
developed
merit.
also
forms
permanent
In
style, Beaux
sources, forms
detail
drew
its
inspiration
and
from
tain cer-
Classic
Renaissance
of the
forms,
Classic earlier freedom
are means
from Revival
characteristic and of
of A
Louis certain
XVI,
gay
designers
and
in
reigns.
are
* *
cursive
rent. appa-
Mouldings
Flat and
curves on
profiles by
no
very
full.
' '
and
every
f agade
is
profusion
of
consoles, garlands,
and,
may
elaborate
key-blocks,
Mixed Greek
lions' with
often, naturalistic
be such forms
as
ornament.
the the
chaste refined
fret
ornament,
ment orna-
elliptical windows
of Louis This feature
on
and and
**guilloche''
XVI,
Classic
"
however dormer
the
especially
takes
a
as
employed
forms,
location flame. and
windows,
or
sinuous favourite
balustrades
roof often
for
sculptured
urns,
conventional
Ornamental
iron
work,
in
most
in
the
the
Beaux
of
railings, is conspicuous
this is
designed
in the
cursive
flowing
charac-
THE
CLASSIC
IDEAL
101
ated
peculiarities of Beaux
are
Arts in the
detail
are
not
so
api)ar-
overlooked
a
magnitude
of
the
larger
all of
of
monumental in
a
building. thorough
Nearly rendering
of
a some
city
the
facades, however,
Arts
style, resemble
off and crowded
portions
into
one
larger
This
building,
is
a
sliced in be
city lot.
of the
fault
to
scale, and,
with
perhaps, style.
greatest
faults
found
the
Many
the have of
more
leading
Ecole
architects
Beaux
have Arts
in
studied
at
great
brought
its
the
cases,
most
important
have made and of
teachings.
use
they
of
of than
the of
larger
the
a
precepts
detail. distinct In
planning
work of close
return
the
certain
firms
and
process in
a
procedure
of their
apparent
upon
Directly
commencement
their of
school,
practice,
French
they
buildings entirely
detail the
was
* *
which Arts
or
* '
were
entirely
detail. and Arts
Beaux
in every
Gradually
in
some
modified outward
abandoned,
of
Beaux
entire
aspect
architecture
leaving
of
**
only
the
great
the
*'
order,*'
or
while
to
Italian
Georgian
who benefits
English
have which their Arts
American of
they
School,
evidenced
of
renew
by
foundation
Society
to their
Beaux in
Architects,
the
periodically
side of
reminiscence
^
younger
^atelier'' and
days
in
Latin student
Quarter,
and
scholarships by
prizes
'*projets'' draughtsmen
ambitious
of the
tural architec-
many
parts
country.
102
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
Many
form the
of
the of
Beaux
our
Arts
idea
courses
of
teaching
in
college
as
archi-
tecture,
Institute of of the
such
instances and
the
Technology
Beaux and Arts
Harvard,
the
uates gradsystem
so
moulded M.
thought
great
instruction.
Despradelle,
has
long
dead the
leading
years;
spirit of Duquesne
Technology,
of
been directs
several
M.
Harvard
teaching
in
Cambridge
of
to-day.
Arts and
Evidences
Beaux
teaching
many
are
widely which,
and
at
prominently
first
distributed,
be
buildings
glance, might
will be found and is
thought
of
directly Classic
to
tion deriva-
inseparably pervasive
combine,
of
as
well, the
Beaux in and
ever-recurrent
influence
the
Arts,
the Mexico The
chosen
which
conspicuous,
too, in
of
South Buenos
America,
Aires
more
important City.
illustrations
buildings
show of their
examples
direct
which
have of
been
Beaux
by
traits.
reason
expression
Arts
The
two
details
of
the
Grand
Palais
des
Champstraits of
Elysees,
in
Paris,
depict
the
admirably
and
as
a
**
certain
detail, illustrating
scale
so
fantasy
as
disproportionate typical
motif for
as
often
met
with,
well
of main
naturalistic
sculpture. again,
this
The
fagade
rather
shows,
fondness
as
tic, naturalisthe
The
than of
Classic
sculpture,
of
well
mingling
divers
details
divers
origins.
with
is reminiscent
of
grotesque
Renaissance.
masque
anything,
from
the the
Italian Italian
Further is apparent
a
spiration inin
of
Renaissance is
the the
background,
Beaux Arts
"
yet the
the
whole
typically
of
product
Archi-
Modern
School
French
"og3
HI
PARIS
IN IN
NEW THE
YORK" DESIGN
bulb
DIRECT FOB
A
FRENCH
FIFTH AVENUE
BEAIX-ARTS
SHOP
TION INSPIRA-
FRONT
The
ODtire
Icealmeiit,
in
geoenl
dcEigD
and
ia
every
detail.iB
emllliaUy
THE
CLASSIC
IDEAL
103
tecture.
are ^was
The taken
at
building
"
from
which Palais
these des
tails de-
the
Grand of the
built
"
the
time
Exposition
in
1900y and
In this
are
is the
work
collaborating
architects.
ples exam-
country
shown.
Public of is of
an an
Library,
which excellent monumental
designed
members
by
firm
of Beaux
American Arts
architects
both
were
students, fagade
from
example
type
The entire and
of of
the
symmetrical developed
this
the axial
building, feeling
of
plan.
building,
of
an
in
plan,
Arts
of
composition character,
the
detail, is
distinctly
be called French
a
Beaux
and, perhaps,
influence of the
might
modem
example
better
a
School.
on a
The Fifth
**
second, Avenue,
jeweller *s shop
New York of
(now
is
parfumerie)
as
City,
unequalled
French small
compass,
densed'* con-
epitome comprising
salient Over
of Beaux
as
Modern
architecture,
so
it
does, in such
features. flares
a
many
Arts
entrance
the
metal the
and
glass marquise,
of with
'^
freedom
almost creation.
suggesting
The
contours
an
Art
Nouveau'' iron
*
balcony
on
above,
its
uous sin-
console
centre
brackets is marked
oughly thor-
'Beaux
**
the
by the
curved and
inevitable
The
two
characteristic
pediment
above under The
urns
springs
window
elongated
consoles,
so
the
elliptical medallion
rendered in the
as
Louis
treatment
on
XVI,
though
the
modem
as
behind
pediment,
the
same
well
pedestals, shows
of Louis and ''Beaux XVT
rendering
the
forms is
origin, but
**
thoroughly
and
entirely
Arts"
use
French'* As
its
design,
in
cation indi-
of the
frequent
of Greek
forms
in this school
104
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
of
design,
note
combined should be
with made
forms of the
of
* *
the
utmost
egg-and-dart
ment orna-
pediment example
moulding. comprises
in New
a
third
in York fair
of
the
a
design profusion
of the
of
city house
Arts
fagade
and
of
details,
features
affords
idea the
more
undesirable
true
and
qualities
its many
style.
It
is
that
canons
this
fagade,
despite
offences
a
against
ficial super-
the
of Classic of
architecture, gives
**
certain
impression
the
smartness
' *
and
urbanity.
over
In
florid
supports
of
beneath the
to
the
balcony
the of
door,
there French
reversion
Rococo,
it makes XVI. and French
while
use
balcony
refined
are
immediately
^ '
of
guilloche
motif
Louis
to be
discerned while
up
traces
of Italian device
of
forms,
story
that window fatal
the the
breaking
into
entablature
license excellent
It
which works be
destroys
of observed
in
otherwise
Beaux
origin
**
or
inspiration.
manner*'
will
French
has
been
the
on
importance
the base
^'premier
of the
the
rusticated,
blossoms
severe
into
exuberant
festivity
level the
of
story.
foregoing
Arts
observations
on
the
merits
a
and
Beaux
architecture,
in this American
and
from
study
it will the
on
illustrations
to
presented
in
many
connection,
possible
discern which
buildings
has
important
this side of
part
the the
the
great
and
to
school
more
played
Atlantic,
understandingly
been offered to
appreciate
opposition
which
has
THE
CLASSIC
IDEAL
105
French
architeetnre
by
the
exponents
of
pure
styles.
said works
* *
in of
previous
the Classic
paragraph
Revival unmixed with is in
that, excepting
**
or
American
Arts
Empire,
Classic
are
derivations
with American
Beaux
influences,
rarely
in
a
met
ture. architec-
This,
direct Classic
measure,
are
designs
with
of
inspiration
libraries
as
in bank and in
buildings,
such
certain
and Tomb
art
mausoleums Classic
Grant's it is
in the
in
New
York
City.
all the
inspiration,
true, underlies
this
nearly
whether the Modern
the
monumental
buildings
follows
or
country,
of
rendering
character
School,
Classic endured the
the
in
Renaissance
Italian and
School. Classic
Ideal
many
architecture,
forms,
but
architectural
developments,
the
or
through
and have
more
Renaissance,
the Modem
to
through
French
possess
Classic Arts
Revival
through always
potent
to
'Beaux
School,
and have
proved
than
or
qualities
movements
greater
which
the
stylistic
sought
And future inmiortal been be
adopt
re-mould
it is safe
to
predict
forms,
will
through
their have will future has lost have
evolution,
Classic of ancient
retain
forms
other that
**
architectural
forgotten, apparent
"
in for
architecture
of in age the
centuries
none
genius
of
its since
significance
the
the
of
centuries
passed
The
golden
of the
Hellenism.
design
what the
following
chapter
architecture
is
to
aid
in
discerning played by
the
that
part
in American and of
has
been
by
Byzantine
fabric
Romanesque
the Middle
remarkable
Gothic
style.
CHAPTER
BYZANTINE,
ROMANESQUE
DERIVATIONS
AND
GOTHIC
THE
"
ROMANESQUE
REVIVAL STYLES IN
"
IN
AMERICA. ARCHITECTURE
THE OF
PLACE
OF
ROMANESQUE
GOTHIC MILITARY
THE
T0-6AY.
DERIVATIONS,
AND
ECCLESIASTICAL, SECULAR,
IN AMERICA
COLLEGIATE,
TO
establish
group
American
derivations
of is
to
Byzantine,
a
Romanesque
which historic
styles,
to
triology
these
in
might
types
be
logical
but
a
only
in
that role
played
of
partial
in
the
stylistic
expression
architecture
of
the
Byzantine phase
a
and
esque Roman-
styles inspiration
great
for
and
a
past
but
of
architectural which
to
country,
phase
destined both
left endure
many
important
time
to
come
monuments,
"
long
secular.
^buildings
ecclesiastical the
to
And and
in
ecclesiastical
architecture,
are
Byzantine
reckoned
Romanesque to-day
our as
an
styles
distinctly
factor
be the
with
of
important
in
inspiration
A
church of
architects. the Gothic derivations will outline mediaeval the lesser and the
brief
consideration in American
adaptations
very
architecture
important
in
part
played
by
that
as
great
well
as
style
part
ecclesiastical
architecture,
in
some
it has The in
played
types
of
building.
ture architecrecall that
siderably con-
acquaintance
the
a
formed
Byzantine
book will
second
chapter
it
was
style
after
developed
the fall
by
of
early (with
Christians,
the
temporary
ROMANESQUE
A
DERIVATION
in New
OF
THE of
TYPE
brick
churcb
ol
York *nd
fifures
lerTSMWtU,
dome of the
pedimenl
CarinthiBn
ROMANESQUE
oblivion before the of Classic
DERIVATIONS
107
architecture)
of the Gothic
and
considerably
It
development
that
style.
was
will
be
remembered
Byzantine
arch the the of
a
architecture
by
the
round that of
sprin^ng
as
from
short,
as
columns,
shaped carving
decorative
well
were
basketwith
capitals
which
was
primitive,
highly largely
of
character. the
decoration
dome,
not such *s in
the
as
vault,
Ste.
was
the in
covering
nople, Constanti-
structures,
St. Mark be
Sophia
Venice.
will
remembered,
the
further,
vault
that
Romanesque
of
architecture, developing
led
system
roofing,
directly
to at
the
its
great
Gothic
was
style.
way
Romanesque being
a
architecture, style,
a
best,
by
a
of
never
hybrid
transitional It
was a
style, style of
and
style
uneven
merit, seeming
and
parts
of
the
same
building
often
architecturally
and
meagre, at
ill-studied, barren
same
stupid,
others,
the and In
time, architecturally
interesting. considering
which
one
the been
development
called the the
in
**
American
has
must
Romanesque
as
* *
accept
as
designation
the
embracing
"
Byzantine
safe to
derivations say,
well, and
have
Revival,
and
it is
vasively per-
might
the had will
well
permanently
of
**
moulded in this
character
not
a
architectural
design
Revival*'
country,
Renaissance
supplanted
Let
us
it, as
consider about be
be
seen
later. of
* * **
the
1870. any
**
status
style** in American
* *
architecture
we
If
style
to
it could it
**
be
called,
should
loth, in
of had the
event,
call
The
influence
Classic out
Revival**
even
of
that
century
died
before
1836,
108
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
**
Colonnade
Row** came,
was
built the
most
in
New
York
from
City,
the
and
most
inspiration
debased and
for
part,
bourgeois
or
type
of
contemporary unintelligent
created and
architecture,
of
monuments
as
from The
misguided,
first
inspiration stupidity
type
who of has
or
architectural fronf
anyone
vulgarity
mally disside Eastand
'
the
city residence,
traversed other similar the
streets
em
of
New
It houses
York,
Brooklyn,
cities.
created, usually
with
also, those
alluded
a
* *
great
to
^ ^
country
mansions
suburban
as
'"
great
square
boxes,
* *
hideously
* *
mishandled
* *
sard man-
and
tower
or
cupola, regarded
which,
as an
with index
the of
horrible and
ensemble,
status.
as
was
social
Gothic
effort,
we
have
seen
in
no
the less
chapter,
and
produced
even more
architectural
aberrations
architecturally
The
illogical and
was
struct-
tirally dishonest.
some
country
revelation
**
in
"
dire
need
of
great
some
great
of
a
tectural archi-
light.
' '
Seven
to shed
Lamps
even
ture Architec-
conspicuously
Cimmerian
faint
glimmer hope
to
of of be
light in the
clear
or
darkness architectural
in
which vision
every
intelligent
seemed
plunged.
The
light which
of
one
appeared
of the
at
this
juncture
came
in
"
the H.
was
person H.
greatest
because
American his
architects
Richardson,
clear and and
great
architectural
intelligent, his
architectural
definite and
sincere, his
architectural
reasoning
enlightened.
The
great
Romanesque
with
the
Revival
which of
he his
led
became
first
conspicuous
of the
publication
tower
perspective
Church in
drawing
splendid
of
Trinity
ROMANESQUE
DERIVATIONS
109
Boston,
which
appeared
' *
in
* *
The
New
York
may
Sketch be
Book
of Architecture
as
in 1874.
The of
church the
considered
the it
first stands
monument
Romanesque
of
Revival,
American It the is
true
and
to-day
as
an
expression highest
1890
architectural that of
a
ability of
from
1880
the
to
order.
the
decade
many
witnessed of
erection
great
important
not to say
buildings
architectural
inconsistency,
by the
structures
architectural other
insanity, equalled
or
of
no
country
idea
no
other
period,
as
a
although guiding
One
once
the
Romanesque
held
its
place
light. architect,
no
matter
how
great,
of
could
so
not
at
a
mould and
the
architectural the
thought
remarkable
great
is that
to
country,
^ ^
really
thing
it
soon came
Richardsonian
Romanesque"
such
a
(as
be
called) exerted
demonstrated handled
as a
widespread
the for
influence.
that medium
style might
the
successfully churches,
design
of
stations, business
and
buildings, city
but
and
a
educational He
buildings
had number the and
many
private
houses
in
country.
far
who
and
copiers,
Revival
era.
greater
welcomed of
a
of
admiring
followers,
as
great
Romanesque
architectural
The
the
dawn
new
hopeful
late
even
Montgomery
in
as
Schuyler,
saw an
'*
architectural
and
**
critic,
revised**
writing
1891,
the
Romanesque
future it
which,
Mr.
were
indeed,
become. the
Schuyler's admirably
a
contentions,
well
analysis
he
reason saw
of
style,
founded,
for
for the
possibilities
that
sense
in
Romanesque
was never or a
Revival
**
finished**
style, in the
were
the
Classic
Gothic
styles
finished.
architecture
supplanted
Romanesque
architecture
ROMANESQUE
DERIVATIONS
111
Revival, championed
the Ecole great des French-Classic Beaux the Arts
by McKim,
influence in Paris.
Mead
and
White,
from
and the
emanating
Perhaps
greatest
was
legacy
to
architecture architectural
his in
demonstration this
fact in
a
sanity
country
only
to
intelligent and
historic
adherence it may.
as
worthy
style, be
the
that
Richardson
as
taught
architects
time,
well
the
architectural of desirable
precedent
productive experiment.
results,
him
doing
this, he
left
behind
splendid buildings
these
are
architectural
achievement
in
among
the
designed.
Church in
Conspicuous
Boston,
the of Sever
Trinity
Hall in
Hall Court
and
a
and
Austin
the many
Cambridge,
Chamber
Pittsburgh
Conmierce and
House,
great
Cincinnati
permanently
pleasing
the
of
residences New
many
railroad States.
stations,
especially through
While
were
England
of
were
the
works
Richardson's
followers
admirably
of those
a
sincere
and
expressions
of
most
dominant
who
architectural him
the
an
works
tune oppor-
of
imitated
merely
not
expedient
in
were
ill-studied, and
tended to
only
the
worthless real
and
themselves,
aims of The
of
but the
discredit
Revival. will
higher
Romanesque
observer
architectural this
recognise
the
ings build-
interesting
of the
period
in American
because
buildings
Richardsonian
unmistakable
are
stamp.
massive and
Usually
often
of
stone, their
The
cavernous
heavy.
are
spanned
is
by great usually
semi-circular
arches, and
a
the
composition
dominated
by
sturdy
tower
112
THE
PRACTICAL
BOOK
OP
ARCHITECTUBE
with merit
pointed
with of the
out.
roof. the
The
carved
detail
or
may
vary
in
the
which acanthus In
Byzantine leaf,
or
Romanesque
grotesque
the
stones
heads,
were
be
carried with
masonry In
we
masonry,
each classifies
the
rough,
* *
chipped
treatment
' *
which
such
as
rock-faced.
the
Richardson find
* *
Romanesque
the
* *
buildings
have
as
of
brick,
to at
often
that
bricks
been in
rock-faced
stone, and,
is
an
University,
brick for
there
abundance
specially
muUions
cornices,
string-courses, capitals
in
details, with
foliated
unglazed
terra-cotta.
The the
decline
of
Byzantine
of
of
and
ideas
in
aa
dominating
and the
trend rise
architectural
the
this
country,
and It
Latin
Italian
French,
remains
to
is the
chapter.
we
only
reckon before
to
have
still
Romanesque
on
derivations
in
America,
Gothic
passing
in this
to
the
study
of
our
modem
derivations the
to
chapter.
Revival entire the of 1871-1891
was
Although
not
Romanesque
mould the
destined American
subsequent style
character such
of
architecture,
possesses
admirable architecture
many
qualities
that
for
expression
been
in
ecclesiastical of
a
it has
the church
inspiration buUdings,
to occupy
a
great
distinctly doubt,
successful continue
and
will,
without
always
of
prominent equal
to
place, in this
that To of the cite for
capacity, style.
importance
nearly
Gothic
a
few
examples
which
are
conspicuous
rendering
but for
not
only
the
their
scholarly
and merit
of
Byzantine
Romanesque
their
architectural
regardless
consideration.
ROMANESQUE
the New observer York
may
DERIVATIONS
113
profitably
its the the
study
several
churches attention
in is
vicinity.
Madison
of of
Particular
directed
Square
the
Churchy
tower,
Another of St.
shadow
great
and
to
the
chapel
derivation
Columbia is
seen
admirable
Joseph
at
Babylon,
in of
a
Long
moment
Island,
to
and
again,
to
transport
in the First
ourselves
the
Pacific Los
Coast, Angeles,
Church
Christ
Scientist, in
Bomanesque represented religious
California.
Li
that
the
'Byzantine
and
of of
the
a
early Christians
distinctly simple
of
of
Byzantine
as
Bomanesque
to be
regarded
for
expression
of
the
more
peculiarly
radical
an
suitable
the
church
Protestant
style effects
various
tectural archi-
ranging
'
through
to the
was
degrees
itself,
of
Episcopal
Bomanesque
* *
high church*
architecture for the
Boman
once
church
considered office
adaptable
but the
design
of and
of
modern
development
further
this
essentially American
away
type
has
grown
further
treatment.
from When
any
Bomanesque
were
possibilities of
and the floors
not
walls and
or
of
stone,
of the
of
more
steel than
beams, eight
the ten
height
building
was
stories, the
style
adaptable.
structure
It became
impossible,
was
however,
of
when the
the
building (window
steel,and
proportion
in
overbalanced, Bomanesque
and,
with
to
relation,
was
solids
a
(wall
architecture
from
massive,
not
or
heavy
made
soar or
be
to
this
frame,
upward
more.
twenty,
8
stories
114
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
And
for
the
private
newer
house
the
style
were
became in
vogue,
fashioned/' despite
their
adaptations
architectural
marked
interest,
houses
newer
the
Bichardsonian
Romanesque
and Italian
^'
country
beside and French
seemed creations
or
dark| adapted
heavy"
villas
chateaux,
in
English
styles.
survived
**
style, however,
in the so-called the
the
created
Gothic
immediately
established
of
preceding
itself
for
as a
Romanesque
Revival,
and
permanent types
inspiration
of American of
source
derivation
we
various
current
buildings.
this for
Thus Gothic
find
in the
architecture
may
country
ence, conveniand
to
derivations
**
which
**
be
called,
**
Ecclesiastical,*'
' '
"
Collegiate,''
Military,"
in
* *
^the
designations
referring
part
in
the
to
varying
of
renderings building
in
of the which
style, and
these
part
types
renderings
appear.
It is natural
that
by far
the
greatest
in and of
part
of
inspiration
and
Gothic found
derivation in church
American
is to be and while of
a
buildings
the
true
the the
greater
Gothic
spirit
offers
meritorious for
minority
and
peculiarly
interesting
field
observation
study.
The
explanation
of
our
of
the
failure lies
to
of
the
greater
circumstance the
to out
portion pro-
Gothic
that
nature
their of
architects
organic
Gothic
to
architecture,
a
have
recognise
of
a
its
similarity
forth
tree.
as
tree
comes
grows into
seed,
and
trees
putting
these
nave
branches leaves. of
it
its
growth,
of
put
forth
Different
varieties
way
different
Ways
growing,
each
characteristic
STRONG
o( the
VERSION
OF
THE
GOTHIC
a i-er
II
irKEulirilsThomas'
whirta Cburch.
charBrti-riBoi
New
York
Cily)
GOTHIC
DERIVATIONS
116
of
specieSy and
may
some,
like wind-bent
on
cedars
seem
by the
curious
open
seashore, grotesque,
And
so
take
forms residt of
which of the
and
although
a
the
special conditions.
Thirteenth
or
Gothic
church
Century branching
as
grew, in
organically,
or
gaining
in various
size
out the
chapels
cloisters
each
growth
and idea.
progressed,
springing
stem
naturally
the Gothic
spontaneously
The
to
of
buttresses
rising
and take
side-aisle
above
was
arches,
these like
an
flying buttresses
the thrust of the
springing
great
nave
upward
to
arches,
created has strain
organic
growth,
its many
members
as a
by
structural
exactly
take
branch
greatest
at
girth point.
next
the
greater
this
It is doubtful
if anyone
an
but actual
Japanese
copy
artist
a
would ^but if
to any
attempt
such be
an
to
construct
of
tree
"
interesting
no or one
hypothetical
in
undertaking
dream
**
were
tried,
engaged
it would of
or
that of
structural
tree
organic improved
from
features upon,
a
the
a
design'*
the
could well
be
that
pine bough
look
growing
the of
maple
would branch work
tree. at
Regardless
least feel that
designer pine
the
would^
to
a
destroy
tree.
resemblance curious
to
of his
maple
very who
fact, however,
the
that
tects, archi-
in relation Gothic
great numbers
their is
essayed
such
a
adaptations,
simile.
indulge
The result hence
thoughts
that
profitable
they
duced pro-
illogical (and
"
unconvincing)
with related buttresses
to any
"
fices ediabut
^buildings
adorned not of
no
arches, with
of the
wings
expres-
sion
growth
the
building
hybrid
GOTHIC for
DERIVATIONS
117
in the
first instance
he
has
become
versed,
finds
by
sity, neces-
in material
at
forms,
the
and
in the
one
or
second the
himself,
the
an
ontset age
of his
practice,
of
world
*s workers
in
of which literal
sesthetic
spiritual ideals
at
rarely level,
rise
even
above when
materialism short of
their
highest
commercialism
they
stop
absolute
at
their
**
lowest
level.
Broadly
its
defining
in
symbolism,
current
before
proceeding
ments, achieveFirst
with
expression
be said
architectural
are
it may
one
that
there
to
two of
kinds. literal
"
is
impelled,
are
by instinct,
think
symbols,
to
which
a
of of
comparatively
St.
"
importance
axe,
or
adorn Paul
shrine
a
Matthias
^to
carve
the
a
of the
St.
with
man,
sword
doorway
ox
winged
the
winged
lion, the
winged
and
the
eagle of the
four
* '
evangelists. This,
which
to
be
sure,
is
one
sort
of
to not
symbolism,
master,
at not
but and
the
a
sort
requires
of
our
only erudition
art enters
into
knowledge
many
which
all. show
Perhaps enough
such
siderations con-
of this
ecclesiastical of that
edifices but
do
of
sort
symbolism,
their
it is not
upon
or
significance
to-day
for
terity pos-
symbolism
broader the
to
in church
a
architecture
kind,
basic
understanding
the work
difference
spiritual and
about their minds
material. in
Many
a
architects church of
to
designing
a
by
assembling
forms,
extent
only
collection done
room
and that
they
has
have been
generally
left
no
for
things
no
spiritual. type
of of
* *
Obviously
other
building
the
calls
as
into
play
the
necessity
for
expression
spiritual
opposed
118
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
to
the
material
as
architectural
design
to
so
great
the
more
degree
to
the
edifice, and
so
it is therefore
be
deplored
to grasp
few
latter-day
architects
have
failed
futility of seeking
of form without of stained
or
such
architectural
expression
'^A
by
meaningless
Gothic
assemblage
and
crockets,
which
a are
tracery
architectural church
more
forms,
edifice
a
tools,
well-designed
any
with
true
architectural
meaning words,
meaningless
or
assemblage produce
In
none
of
a
which
are
forms,
true
tools, will
piece of literature
the
arts
can
literary value.
of
of
expression
tools
of
signify anything
that
art
consequence
unless
the
have
been
to
by
that
thought,
the
was
which
is the
spiritual element,
express
finished
fabric
will
thought.
no
painting
great
by
of
technique
words
alone,
contained
reason
literary
in it
of
;
or
masterpiece
any
by virtue
the
tural architecin
is
a
monument
solely by
form of which its
the
accuracy
the
material
several
parts.
accuracy in
There
to
careful and
an
even
stupidity accepting
believes
believes
be
art,
as
its
real
meaning
to
art,
adherence
material
an
forms One
will architect
bring
may
required
expression develop
the
of
an
idea.
conscientiously
some
tural architec-
project
fail
to
from in
work
a
of
past,
even
and
entirely
produce
execution
design
same
creditable.
may
Another, produce
goes
more
a
governed
by exactly the
The
more
inspiration, deeply
as
a
masterpiece.
the
student
into
study
he is
of
architecture
to
art, the
realises the
baffled
likely played
become,
until
the
parts
actually
by the
material
Gradually
architectural
there
and
become
apparent
it
xr
certain
very
truths,
suddenly
clear
GOTHIC
DERIVATIONS
119
some
architectural others be
are
are
great
Forms
and
lasting
not can-
and
trivial
to
alone
assembled unless
prodace
is
as
highest
to
architectural
an blage assem-
expression
that
**
there
known to art
brought
art.
such
quality
As
corollary
that
the
last, it must
all
not
an
be
brought
out
with of
a
*
emphasis
nature
is above
abstract
at
entity,
*'But
form?
of
a
What work of
part, if any,
art! not
in be
more
the
production
into
Certainly
before of the the
taken
consideration,
broad
but
important
of the
must
understanding
and
to
a
opposed
And this
clusion con-
values discussion
spiritual proceed
it for is the
to
the
material.
logical and
to
before
possible
reason
discuss the
a
in of It is take
to
architecture, symbolism
therefore is
that in
only
be in
found
work
necessary,
orderly
succession,
is
cognizance appreciate
to
of the the
the
fact
that of art
architecture
as
an
art,
meaning
obvious conceived of
abstract
entity, and
such of tecture architrue
reach
as
conclusion
in
that
only
is
the
a
highest
for
tenets
art
is
capable
becoming
of the
vehicle of
symbolism.
'form'
most in
**The
question
of
a
place
material the
is
worthy point
to
brief made
discussion,
is its relative
in which
salient
be
importance
In
son compari-
with of the
one
other
speaking
toward had
in
architecture,
truth about
not
testimony
is
to
be
that in its
speaks
only
of
;
architecture,
for in the
but
several
manifestations the
creation
piece, master-
painter
his
his
words,
and
are
the
architect in
architectural intent of
things
arts,
common,
120
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
but these
we are
should
never
lose but of
sight of the
One
a
basic
not
truth become
over
that
a
nothing by
or a
tools.
does tool of
carpenter
virtue
slinging
bag
his the
shoulder, dictionary.
''Great have
great
writer
by virtue
mastering
architects
a
have
been of
were
only
those
who
acquired
the while the
of
knowledge
that these
material but
f orms,
tools, and
of these
as a
who
have
not
regarded
as
use
or
manipulation
but of the
forms
the
end And
their the
endeavour other
only
means
part
of
the
to
means.
part
of
necessary
end have
or
attainment realised
to be
architectural
expression,
they
that that
is called is called
art,
or
quality
spiritualism.
an
''It
as
example
of art that and which it is
is
of architecture
we
may
regarded expression
as
work
may
expect
to
find the
of
symbolism,
in
consideration
of
tremendous
out
spiritual idea
it is not
required
to
bring
in
church such
architecture, symbolism
edifices of this
altogether
in
most
surprising
the modern
* '
that church is of
lacking
country.
of
There
required
symbolic
that
expression nothing
of
short
fabric of the
even
of
ideas
such
magnitude
of architectural
highest
conceive achieve and of
means
degree it, or
it. and
imagination
of
can
the
highest
are
degree
to be
as
architectural ideas
as
There
expressed
deep
far-reaching
some
mystery,
a
intent
awe
to to
by
those noble
architectural
sense
of
and
are
stimulate
the most
thoughts
and the
most
in
the
human
mind
"
which ideals
at
superhuman
This is the in
once
exalting
is the
a
and
humbling.
symbolism
the
which of
first
architectural of
essential
design
church,
obviously
far
GOTHIC
DERIVATIONS
121
greater
called and the
' *
importance
ecclesiastical
than
snch
symbolism
the attributes
as
might
of
be
heraldry,
saints
insignia
because
of material the
master
a
theology.
builders of the pean great Euroof the
And
cathedrals
real
tangible
expression
an
symbolism
architecture,
not
expression
but rather have
to
the
been
impaired,
heightened,
been
so
latter-day
and
architects
as saw
limited
in vision the
understanding
which
by
copying
these desired
forms
they
master
church-builders
they
must
the
result. of
set
appreciation
thus far
not
as
understanding
only
of
our
archited^ral
the
reason seem
significance of much
for have the
church
design, but
as
lasting values
from
of such such
an
examples
would
' '
to
appreciation.
be
thoughts
it will
apparent
that
tectural archiare
sincerity and
essential Gothic difficult of
a
architectural
any
understanding adaptation
it will the of
success
in
designing
from
any
worthy
of not
the be
style, and
to
this
view-point
to
discern, in building,
effort
determine
merits
or
church in
not
failure
reasons
stylistic rendering,
either.
architectural
underlying
American
affords in
smaller scholastic
number
or
of giate colle-
examples
buildings
offers In school effort occasion the
or use a
ecclesiastical
comments in
buildings,
this
yet
connection. of
a
style in the
success
buildings attending
extent to
college,
be found
greatest
come
the
will
from
the
which
the
finished
design
is
122
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
of Gothic feat of
Mediaevalism.
Nor
more
is the easy
performance
it sounds.
design
every
whit
than
form
is
characteristic, only
an
association,
skilful result
in
edifices, and
contrivance
a
architectural but
a
of these
a
anything
neither
compromise"
church
building
nor an
suggests
well-designed
designed
\
educational the
building.
Success
in
undertaking,
effort
however,
and
amply
repays
thd
architectural
involved, designer,
as
proclaims
one were
the to cite
group
or
architectural
if
only
of
such
instances
the
impressive
buildings
College
of
of the
City of New
for the
most
York,
tl^e scholarly
group
buildings
Graduate
Coland
legeof
the and
most
Princeton
University.
Gothic
The
adaptable
for
expressive
derivation will be
found
Gothic
"
in
forms, style
of
Early
English
^the
collegiate architecture
American
out
and
Cambridge.
have
adaptations conspicuous
of
style
at
been
ried car-
with
success
Princeton
the and
University
St. for Louis
Pennsylvania,
as
Bryn
well schools
as
University,
and
in
buildings
the
more
private
Few
public
throughout
have been than
to
country.
European
derivations
felicitously employed
/'transitionaP*
by American style
such
as
architects
this
English
and
applied
derivations
cational edu-
buildings,
more
although
might
with
our
properly
be debt to of
considered
to
in
connection there is
a
England,
of this
sufficient
allow
*'
brief
reminder.
one
speaking
of
a
Military
of the
Gothic,*'
speaks,
in but
haps, perone
versife
style exemplified
FROM
THE
GRADUATE
SCHOOL
OF
PRINCETON
UNIVERSITY
fl"in""
iloDC
thr
arcb
are
""fl"iiiboy"nl"
Frenrh.
Crol*"qu"
hive
becD
GOTHIC
DERIVATIONS
123
group
of such
American
a
buildings
and
"
^yet this
group
sents repre-
splendid
that its of
sense,
as
remarkable could
or
'^
architectural
not
achievement in In is
to
significance
any
be
looked over-
the
works
period
the term
to
any
nationality.
Gothic" of
on
this be
specific
Military buildings
regarded
States Biver
as
applying Academy
more
the
at
the the be
United Hudson
Military
"
West
sense
Point,
it is
^in
general
the
to
regarded type
A will
applying
Gothic
to
massive,
called
rugged,
Norman
at
of
architecture of the
paragraphic
serve
study
make clear
term
buildings
West
to
the
**
architectural
qualities
so
be
understood
less
by the
Military
may
Gothic,"
be.
that
any
as
specific
considerations
regarded
unnecessary.
It is apparent
that
the
some
idea
of
military
of From
a
immediately castle, of
man a
conveys
thought
defended.
place
has
to
be
himself
of nature
's aid
as a
any
kind
by
selecting
some as
site
some
inaccessible which
must
as on
crag
Tintagel,
an
natural
eminence
offer
enemy
great
not
difficulty of
of
a
approach
built
of any
possible.
a
One
or
does
a
conceive And
so,
tress for-
plain,
in
or
valley.
regardless
of
actual
our
necessity, thoughts
natural
even
contingency
edifice
military
first such
defense,
a
a
of
military
as
picture
for
considerable
height
the
location
building.
In this
particular
at
of
mental is at
association,
once
the
site
of
the
group
West
Point
logical and
the bulk
priate, appro-
the of the
masonry.
buildings
with
an
crowning impressive
Gothic of
steep
of
bank
Hudson
sturdy
architecture
is at
its
best
in
delicate
lightness
124
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
and in
attenuation,
the achievement of
at
Military
of In
Gothic
is
obviously weight
and
tremendous architectural
form.
this
are
quality the
successful.
to
West
Point of
as
manifestly
They
student
are,
as a
furthermore, group-study
for it the
was
significant interest
well
was as won
even an
the
individual
building largely
of
un-
study,
because
work
so
in
to
was
a
competition
a a
apparent,
that
committee tremendous
architectutal
judges,
architectural
here
and
expressive
purpose
idea,
of the
dominant
architectural In
mere
in
the
vision the
designers.
between
a
lies and
and
a
difference
"
building
purpose,
work
of
architecture
the
first
lacking
;
consequently
result of
a
failing
definite
in
expression
the
second
being
the
and
intelligent
architectural
derivations
can in Americomments
architecture
**
be
by
on
few the
on
Commercial
or
Gothic,'* re-creating
term of
* '
difficulty
* *
of
creating,
* '
in this
country
Gothic idea
a
' '
Domestic the
Gothic.
very
The
Commercial
is, from
the
most
natures
a
the
commercial
and
Gothic
idea,
paradoxical
to
term,
of
our
yet
one
which
aptly
Much
not
applies
certain
architectural
in
essays.
architecture,
in this
indeed,
but fact
is
paradoxical
historic
some
theory,
in
only
country
in certain
periods
Europe,
such
accurate
a
and
term one,
it is this
'*
which,
to
extent, makes
an
as
Commercial
it may
Gothic'* well be
apt
and
as
in
fact, while
one on
criticised
doxical para-
paper.
It between
is
to
be
submitted, suggested
*'
however, by
is
**
that
the
"
ideas
suggested
realm
of
by
Gothic" than
rather
thought
between
architectural
"MILITARY
GOTHIC"
ITht
ChBpel
of
the
West
Point
Militai
GOTHIC
DERIVATIONS
126
requirements degree
theuL that may
to
of which
our
modem
Gothic
office
buildings
may
and
the
to
the
*'
style
' *
be
applied
is the
most
Gothic be
derivation,
for the with and
however,
that Gothic
a
claimed,
reason
steel
building
of
structurally
dispenses
arches
the
essentials
vaulting,
a
pointed
steel Gothic
buttresses.
no
Structurally point
in
common a
modern
any
building
possesses
with
building.
Superficially,
at
once.
however,
apparent
modem it
building
a
is
''
perpendicular" ground
area
in than The
springs
far
towers
' '
smaller
to
Gothic
church,
* '
greater
is
heights.
perpendicular
for this the
movement
of its lines
a
essential, and
sion. expres-
Gothic
style offers by
steel
reason
direct of and
external the
Furthermore,
slendemess of
of
comparative desirability
tion propor-
the
skeleton,
offices, a
for
an
the
devising
of void
welMighted
to
predominant
in the
solid
is called
design.
Here, solution,
again, the
with of for its solid the
Gothic
style offers
architectural and
members,
Gothic
its absence
The
style is
of
adaptable
the modem that
not to
external,
steel
building
for
reasons
the be
style, considered
the of of absolute
a
earlier, proved
despite
and and ideas ideas
incompatibility
office
of and
modern
building
and
Gothic
church, existing
despite
obvious there
structural
differences
an
between for of
them,
Gothic
is, nevertheless,
in
not
adequate
tall
sanction
derivations It offers
are
the
modem to
buildings
that the
to-day. style
others intended
is
intended
imply
of the
Gothic and is
the alluded
only
to
solution in the
problem,
It
ninth
chapter.
126
THE
PRACnCAL
B(X)K
OP
ARCHITECTURE
rather
to
bring
out
the
or
thought
that
there in of
is the
stylistically illogical
of The the Gothic difference and
unpermissible
in matters idea
derivations
in purpose its modem
form.
and
prototype
a
derivation
all,
chiefly
**
difference
which
might
the
be mind
called is
literary," by busy
Dame dor corriNew
or
mental." of
a
Instinctively
bank
up
or
disturbed
thoughts
stock-brokers
of
swift the
elevators,
towers
rushing
of Notre in the in
and
down
mass
on
Cathedral,
of York. it is
an
of
high
being
lower
chanted
office
building
these form
Broadway
associative
Dismissing possible
to
purely
some
thoughts,
architectural should
impartial
associative
conclusion. be
"
It is true
as a
that
thoughts
reckoned
powerful
factor of
design Ages
had
^yet, if the
confronted
builders the
Middle
been office of
necessity they
not
erecting
made
we
towering
the
most
buildings,
**
their
perpendicular"
style?
admittedly propriety,
kinds of
borrow borrow
architectural
those T most
styles, may
adaptable
not, with
to
given
buildings
Modern for
architectural
adaptations
have of been
of the
Q^thic
style
spicuous con-
commercial
success
buildings
in
a
attended
such
by
as
number United
numerous
instances, Realty
the
Trinity
the in both Times New
'Building,
the
States tall
Building,
houses of
Building,
York
apartment
above of all
City, and,
size and in
towering
the
success
these,
vation deri-
in actual
"
its Gothic
the
great
Woolworth be said
or
Building.
that
a
It may will
repay
truthfully
the
ways.
pause of
to
study
this
student There
architecture
in several
is
intention
in this
building.
magnitude
and
""hDbJKnph
IRAL
h}
H.
TeUa
DE81"X. FOH
AND A A
IN.MODERN VASTLY
WHICH
THE
MEDI^evAl,
GOTHIC
WITH A
STYLE TRANSLATION'
HAM
BEEN OF
ADAPTKD
MATERIAL
BUlLDtN'G,
SCALE
GOTHIC
DERIVATIONS
127
dignity,
far
' ^
even
the the
' '
nobility, of
plane
created
this
intention
has
raised
it the
above
highest
and has
usually
an
a
attained which
by
commercial^
the
edifice
entirely
"
merits
"*a
characterisation of Commerce/'
of
visiting Englishman
In this
Cathedral Woolworth
respect,
as an
then,
tectural archi-
the
Building
of of its
is to the
be
regarded
order.
a
achievement In the
matter
higher
execution,
will
come
clear from
a
idea
of
its
architectural of certain
significance
elements
in its
design"
elements
Ught
and
shade, material,
these is
in
a a
scale, and
in
stylistic derivation.
it may
matter
Taking
that the
mass
elements
succession,
handled
"
be
said
successfully
structure
and
of vital size.
to
importance
tower
of
such
colossal
The the
or
bears of the
rear,
seemly
logical
viewed in
relationship
from
at at
body
the above
tower
building, whether
it diminishes The
the
front
and roof.
girth gables
the the
right height
base the of roof
appear to
the
abutting
the of
effect
an
agreeable
"
transition small
are
from
as
the
sub-structure to the
they
in relation
average
entire
or
equal in size
In the
the
city shop
house-front. the
manipulation
rare
of
light and
shade,
designer utilising
displayed
the and
**
tectural archimotif
ingenuity
at
by
the
to
canopy''
serve,
three
levels
of
structure,
effect with
these horizontal
by the
shadow without
they
any
cast,
three the
divisions
**
conflict whole
not any
perpendicular Anything
introduced
was even
ment" movea
of cornice
the
design. possibly
be
resembling
in
a
could
Gothic
design, under
in
some
pretext, yet it
monotony
resulted and from
necessary
to
break,
way,
the have
ocular sheer
displeasure
which of such In
would
perpendiculars
height.
of
material,
skilful
architectural
128
THE
PRACTICAL
BOOK
OP
ARCHITECTUEE
* *
translation
an
' '
was
necessary.
Gothic of
architecture in the
matter
was
essentially exteriors,
third
were
architecture the
stone,
of the
whereas
Woolworth
terra-cotta.
Building, Forms, by
above
story, is of glazed
created
were
then, which
hammer and
from contrived
material
from
so a
chisel,
means
plastic material
a
by
in
of
modelling.
and method
essential could
difference be
so
material and
production
is
a
honestly point
not
successfully
overcome
* *
significant
' ^
only in architectural
* *
derivation,
but
in architectural
translation.
* *
Perhaps
the
no
architectural Woolworth of
consideration
involved
out
so
in portant im-
study
an
of
the
Building
as
brings
element
design
could of
the
a more
consideration
scale
of of
Nor
graphic
in
importance
scale
architecture
offered. The
seen
details from
two
of
the
Building
stations several the
"
are
to
be the in
widely
are
^from feet
street, where
the such
they
at
hundred several
air, and
as
close
galleries
It
was
the
gallery
at
the
forty-second
forms which with with from
not
own
story.
should historic such the
necessary,
a
then,
as
to
contrive
as
bear
prec^
relation and
scholarly
contrive have the when ^'in
possible
forms
edent,
that
to
these
they would
and
at
telling effect
time
at
as
below,
and
saipe
seen
would their
appear
monstrous
level. in
to
To
design
is not
scale,''
to
understood
this
nection, con-
merely
thicknesses.
magnify,
Such
a
merely
process
increase result
diameters
and
would of
a
only in the
Su"Gice it to
creation
say
of the the
architecture
process
nightmare.
one
that
here
was
of
summate con-
peculiarly
exacting
GOTHIC
DERIVATIONS
129
conditions.
The
is
a
scale
of
the
cornice
no
of
five-story
or
building
matter
no
matter
meriting
in
the
less
success
attention,
of the
means
less
tectural archiso
design,
diflScult.
In
problem
is
by
no
the
matter
of
stylistic derivation
successful. have have than
a
the
Woolworth
Building
characteristic
manner
is
conspicuously
Gothic declares forms
Essentially used,
and in used
a
been
been
which their No
**
they
' '
frankly
for
pictorial
structural
rather need of
a
their
structural
values.
steel
building
(unless
wind-bracing)
introduction and detail and
was
is served
at
by
the
forty-second
The
ful grace-
effective.
picturesque by
far
"
interest
use
of
Gothic
given
expression
the
up
of
the
gargoyles
traceried the in
street
grotesque
of the
animal
forms,
building
among
heights
level
great
but
^invisible
from
below,
from
irresistibly
or
interesting
The
glimpses
windows
of
galleries.
grotesque
quaint
been
pleasantry
in the
the
has
used, also,
stone terity pos-
detailing
under admirable the
of
the
lobby, where
will
sculptured
preserve for owner,
corbels
ceiling beams
caricature
portraits
and of this has
of
the
the
architect, the
identified Detailed reference
to
others remarkable
prominently
building.
in with
with
been
indulged
for
Building
most
the
reason
that, besides
being
of the
noteworthy
intention of
ican of Amer-
(in both
and
form)
value
architectural
points
peculiar
the
lay student.
now
It remains of
to
comment
briefly
in
a
on
the
difficulty style,
Several
expressing
modem
domesticity
aspect
of
the
Gothic
dwelling.
130
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
intangible,
yet potent,
one,
factors
a
militate
against
its of
ceptance, ac-
perhaps,
recollection
the
the
dismal
'^
and
stupid Revival,''
monstrosities
inept Ruskinian
associative ecclesiastical
Gothic
another,
of Gothic
constant
mental
connection
with
buildings.
Some been clubs
"
residential
interiors
of
Gothic
design
a
have few
conspicuously
have been
are
interesiting and
rendered Lack
successful,
in the Gothic
agreeably exceptions.
style
of familiar
precedent
The few fine
has
effect
on
associative
thought.
in
* *
Mediaeval
was
Gothic castle.
residence There of
was no
(excepting
well-to-do
or as a
cities) class,
a
' '
the the
middle
was
and
dwelling
no
the
serf
peasant
basis for
rude
affair, by
Social of
no
means were
attractive
too customs
so
conditions
:
widely
and from
to-day
less
manners,
variance,
numerous
that,
vast
architectural
* *
of
view,
''
and
costly
Mediaeval
in
' '
the have
way
of
Twentieth in
Century expression,
^ ^
castles have
been
lacking
a
when
even
they
possessed
interest. and with of the the The
quasi-roslantic
between the America
picturesque Ages
wide
in to
Middle
is too
Europe bridge
idea
as
the
an
present
architectural
day
in
derivation. remained
The
has
a
sufBciently
in
^ ^
similar,
also
' '
of that
fortress conmiercial
implied
tary Miliis
Gothic.
architecture the
impersonal, claiming
in the
no
holding
intimate makes
analogy
with
with
our
past,
contact
individual in
present,
Gothic
derivations
acceptable.
The
dwelling,
has
however,
has
undergone
been
too
many
changes,
moulded
itself, and
moulded,
too
GOTHIC
DERIVATIONS
131
closely
uses
to
our
personal
in will and
desires,
to
preferences,
primitive
Mediaeval
needs
and form.
to
revert
type
become in and
its
This
truth
increasingly
the Italian offer
upon
consideration,
country
more
subsequent
English
their
houses
villas,
a more
developed
derivative
The
nature,
architectural
opportunity
for
expression.
.is coxmtry
following
of the the
chapter English
modem
designed house,
to
the
evolution
from
forms
to
type,
with
correlated
American
derivations.
CHAPTER
ENGLISH
THE
VI
EARLY
AND
DERIVATIONS,
CAUSES ON COUNTRY AMERICAN
AND
OF
MODERN
ENGLISH ANGLOOF
IMPORTANCE,
INFLUENCES AMERICAN ENGLISH
MEANING
ARCHITECTURE.
THE ADAPTABILITY
HOUSE.
ARCHITECTURE
THE
COLLEGIATE
NO
accord
person
in
the
least
with
the
can
ment developfail to
of
our
of
to
architecture
country
in the
England
its great
trend
architectural
thought.
are,
English derivations
in
our
perhaps,
most
conspicuous
to
a
domestic
some
country
other
architecture, and
became
lesser
degree in
in
expression
established
was
of Renaissance
architecture, which
under the
England
Georges,
as
**
which
planted trans-
to this
country
in
a
Georgian
Colonial'*
^ ^
is
more
fully dealt
Architecture. Our
to the
with
' '
subsequent chapter
directed
on
American
present
observations
are
more
closely
and to
English country
on
modern,
the
our
country
house
on
architecture.
preceding
of and
English
blended
'*
derivation Gothic
transitional forms
monumental
' *
style of
**
Renaissance
called
Collegiate
have
English
American
buildings
but of the
architects
the
stronger
in France.
no means
counter-influence
school It is
by
unnatural for
that in
we
have
turned the
toward
England house,
inspiration
there for
are
designing
two
country
and
reasons
at
least
strong
unarchitectural
132
this.
r
"
I'D
sll
in
m
m
f^
1
a
ENGLISH
DERIVATIONS
133
It the
must
not
be
forgotten
are
that
our
family
"
ties of
with the of
English
people
race, has
very
even
strong
the
^we
are
Anglo-Saxon
other strains
and
not
constant
materially
our
modified
characteristics
of
never
English
**
forefathers.
to us,
nor
Things
can we ever
English
be
**
could
to
be
alien''
alien'* is
the
English
people.
to
It
equally
may
important
said
to to
that
very
English
of
way
*'
be
have have
country
unlike
life," and
any
idea
own are
other
European
with
ideas
on
in connection
country
and which
life,indeed,
it is hard could
to
un-
good
any
English
amount
precedent
of evolution
conceive
of
us
Anglicise
in The
this
hereditary
conception. having
understand kind of
to
English,
life,"
a as
then,
we
originated
it
the
idea
of
'*
country
developed
of of its its
suitable
country
the
proper proper
which
characteristics charm.
the
peculiar
the
own
country
life is the
country
based, the
followed
development
in the
of
country
in France
country
life in
always
differed
considerably
from the
from
English
German
idea, and
country
after
consequently
American
life,and
the
the
large
castles the
German
were
country
houses,
were
Mediaeval after
antiquated,
if
one were
largely
cite
patterned
such of
French,
as
to
only
conspicuous
Souci" Frederick
von
examples
(the
the
name
the itself
or
castle
and
gardens
'^Sans
being
vast
French)
estate
devised of Prince
by
Great,
the
Piickler
Muskau,
in Silesia.
134
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
The continuous
to
English
and
country
hoase,
however,
from
its
logical growth,
and many
the
present,
of
its
salient
been
incorporated
evolution
'^
in the has
' '
American
gone
country
English
' '
successively
' '
through
the
Keep,
the
* *
Hall
and
* *
the
Manor, house,
' '
untU and
it reached its
its present
have
form,
in
the the
country
' '
changes
fort, com-
all been
direction and
a
of
attaining
greater
greater
The times.
privacy
was were
greater
fortress-like thick and
**Keep"
Its walls
of few
no
feudal
small, gracious
isolated
unglazed gardens,
it from
It
was
surrounded and
a
by
deep
attack.
moat
drawbridge
motives of
Here,
from
tion protecdwelt
rather with
him
rooms
than
in
lord's
retainers There
were
this for
abode. his
vate priwere
lady, but
these Life in
sparsely **Keep''
of
our
and centred
uncomfortably
in
**
furnished.
the
the
**
great
halP' this
name
(the
great
to
prototype
common
modem and
living-room
'') and
gave
assembly
of
eating-room dwelling
the
the it
"
type
^the
English
immediately
succeeding
**Hall,'' Hall,
a
* '
name
preserved Hall,
in
places
and
as
Haddon
Moreton than
the
like,
* *
was
more
seemly
became the
the
dwelling
type
of
forbidding
diately immefort Com-
Keep,
and
country
house
preceding
and than
Elizabethan
more
development. apparent
were
elegance
and
became
some
considerations made
at
defense,
attempts
In later
tectural archi-
gardening.
at
Jacobean
country
turned their
was
seats,
eyes
the
time
when
all
English
architects
when
toward with
Renaissance Italian
Italy, and
and
England
the formal
fiUed
designers
workmen,
type
of
AMERICAN-
COVMTEY
HOUSE
GI"D
Cove.
Irimi
laluul)
AN
ADAPTATION
OF
THE
ENGLISH
'TCDOR"
HOVSE
STYLE
IN
AN
AMERICAN
COUNTRY
Thf
Hyle
which
Diicked
the
traniilianiil
h"ii(c.
id
Eneland.
fmni
Gmhic-
to
RcnliHucc
archit"-
ENGLISH
DERIVATIONS
135
Italian
garden, with
^Hemples,'' placed its permanent stamp on English garden design. "By the end of the Sixteenth Century the gloom and of the primitive austerity of the **Keep'' had much quite disappeared. The only surviving feature was the rapidly changing. Its ''great hall," but this,too, was walls were treated with oak panelling, its barrack-like barrenness relieved phies was by tapestries,banners, troof the chase
as
and
and
discarded
famUy and appeardeveloping in variety, comfort too, ever ance, contributed toward creating an environment stantly conmore
rich
and
decorative
livable.
Throughout the Tudor period the *'HalP' was ually gradof Elizabethan and changing into the ''Manor"
Jacobean Sutton times. Great Tudor Old
as
Hall, Hengrave Hall and character Longleat House were stamping a new on architecture. of the houses English domestic Many of this time, such as Longleat, were continued later, garden front of Great Tangley Manor (Frontispiece) conceals, behind its pleasant aspect, an early Norman Keep, quite built about with later changes, and the original moat, spanned by charming garden bridges, has been treated "ornamental as water," with aquatic plants. Under Elizabeth, England became more prosperous and more earlier than at internallypeaceful time, any
so on
Place, Moreton
with
subsequent
additions.
The
Elizabethan
evolution
of the country
house
went
fortunes made imchecked, and, stimulated by sudden by prominent families in foreign trade and maritime almost in its appearance. modern adventure, became Some
great houses
of Elizabeth's
time
are
Hardwick
V.
136
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
Hall,
Wollaton Great
Holdenby,
and
Bramhall,
Westwood.
Knole, And,
as
Montacute in the
House,
instance
were
of
Tangley
up to
Manor,
date with
many
earlier extensive
dwellings
renovations
brought
additions.
Even
and
at
this
time
house
there
became
apparent
which
one
of
the
English to-day
the
use
as
country
a
characteristics and
remains charm
"
no
less
and
conspicuous
varied
were
peculiar
materials.
of
local houses
building
local
Most
slate
ment casewas
of the
great
of
stone, with
and
scarce,
heavy
leaded brick
and
roofs, lead
flashings
and
rain-leaders
stone
was
windows.
Where with
stone.
the In
comers some
and
window
door
of
counties,
notably
Kent,
was a
Sussex,
half-timbered
construction
many in
cases same
Elizabethan
were
type.
all used
In
half -timber
at
the
different
as
times, and
as
this
diversity
natures
colour
and
texture,
well
the
an
varied
successive
additions,
domestic edifices which
of
developed
architecture the
the
essentially picturesque
which
even
type
of
the
formal
classic and of
Georgian keynote
of
period
the
did
not
supplant,
architecture
is
domestic
England Early
to-day.
Jacobean with
manors
continued
of
along
bethan Eliza-
forms, becoming
the
note
the
Italian
Renaissance in
den gar-
increasingly
The Civil
conspicuous, War,
with
especially
its brief did
design.
Cromwellian the consecutive
and the
gloom
not
of
Puritanism,
interrupted,
of the the
but
check
development period
saw
English
of such
country
famous
house,
and
erection
historic
mansions Coombe of
as
Hatfield and
House, Raynham
and
Audley
Park.
End,
It
Thorpe
was
Hall,
Abbey
the
period
Inigo
Jones
Sir
Christopher
A-J
ARCHITECTURAL
LATTER-DAY
TYPE
WHICH
HAS
FURNISHED
MUCH
INSPIRATION houKi in
(Old
Bolborn,
London)
A
The
MODERN
dccontive
ADAPTATION value
ol
OF
ENGLISH work
HALF-TIMBE! ia
uk
bsK-timber
oI
iU
mem N.
uDf
(Dormllory
buildinc
at
Prinreton.
J.)
ENGLISH
DERIVATIONS
137
Wren,
sanee,
both and
was
eager
exponents
of for
the the
Italian marked
Benais-
both
responsible
over
change
house.
which
coming entering
*
the
English
a
country
of
Before
into Classic
the
in
chilling
the
in
diange
which
'the
wrought
well
are
lish Eng-
country
some
house,
it would details
to to
note
review
characteristic
be
associated and
dwellings
in
Gothic,
times.
and
Tudor,
Elizabethan
(Stuart)
late the Gothic barn-like of Tudor
stone
woven
Tudor
houses,
type
to
doors
developed
framed conform
were or
no
battened times
* *
heavily
to
doors, those
with the
* *
Tudor arched
pointed
in
which
they
hung.
the
Bare
walls
**
were
with
tapestries,
was
coarse-
arras,'*
of doors
however,
rooms.
longer used
wainscots
or
in
were
place
Panelled
frequent,
and
rooms
with
* ^
tracery,
* *
with
the
familiar
The
ceilings of large
trusses
the
heavy
open
which
supported
carved.
roof, and
these
trusses
were
often The
elaborately
Elizabethan
period,
"
really
as
to
be
a
regarded
transitional It
has to
as
'^English period,
in
Benaissance,
some as
was
as
much
Tudor.
respects,
the
same
been
characterised
bearing
the
relation
the
fully
developed Francois
Benaissance. Thus such
English
Premier
Benaissance bears
to
as
French
style of
French
fully
developed
many
Elizabethan features
many
as
houses
towers
are
found
to
Gothic and
and
battlements,
while
Gothic windows
mouldings,
instead
of and of
introducing
Gothic
dows, win-
square-headed
pointed
windows
glass,
with
sash
type.
138
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
The
4ineiif in
old
* *
panel
of
Gothic
and
Tudor
times motifs
continued
popularity,
from
though
Gothic
tracery
disappeared
Half-timbered in One
domestic work
architecture.
a
reached
high stage
in
of
ment developand in
Elizabethan shows
houses,
a
both
country
**row*'
city.
old
illustration in London.
characteristic be
Holborn,
that
It must work
of
remembered,
in Gothic remain
however, times,
to-day,
half-timber few in
originated
such
though
examples England.
of
early date
especially
The
assume
interior
many
the
Elizabethan of
the
' '
house house
began
of
modern
ples exam-
to
characteristics
was
times.
as
There Haddon
the and
* ^
great hall,
and,
in
such
Hardwick,
a
the
*4ong
gallery.*^
tural architecand of
an
The
staircase
was
made
highly
decorative
feature, newel-posts,
heraldic
with
elaborately usually
carved carved
as a
the
latter The
staircase,
the
largely
from into the
until
Sixteenth onward
period
again
architectural
The
insignificance.
cavernous
great,
of Gothic
fire-places, with
gave
overhanging fire-places
ment treatally usu-
hood,
with
type,
place
and
a
to
smaller
elaborately
of
the
carved,
often
polychrome
coat
over-mantel
the
blazoned In
gave
of
arms
forming
the
central
motif.
subsequent
tion evoluthe
mantel over-
over-mantel
place
to
surrounding
Gibbons.
and
framing
works
of
Elizabethan
ceilings
of
geometrical freedom,
of the and
patterns,
this
carried held
with until
type
in favour
Seventeenth and
Century.
these in
Panelled
turn gave
ceilings place
to
were
introduced,
the
ENGLISH
DERIVATIONS
139
gorically
of
painted
character Classic the
and
the which
low-relief
came
plaster
the
ceilings
Classic
with
Eighteenth
Century
During
furniture interior
period,
floor
coverings
elements
and of and
more
upholstery comfort,
became
important
the
more
Jacobean
period
onward,
like
plentiful and
of best
similar Panelled
decorative interiors
and to
more
embellishments
were
to-day.
in the the houses latter
at
their
of
times,
and
and
*'
period
modern*' of
velopment dethe
domestic
improvements
period.
exteriors of Jacobean
country
as
houses
well
as
were
by elaborate
of mullioned the
bay
windows
windows,
by large
of
a
being
another
:
member
opening of glass
the in
a
member wooden
dividing
one
pane
another,
Dormer
sash,
with Jacobean in that
than
a
is
gable
fanciful differed
a
in
contour,
from of
the
lines, and
later
they part
were
were
essentially
the main roof.
part
The
wall, rather
of Jacobean with
of
entrances
houses
architecturally
or
orated elaband
a
Italianesque
of in
columns
pilasters gable
much the
carving,
brick
often
heraldic, while
assumed of
*
ends,
of of the the
buildings, shape
and Dutch
picturesque
Renaissance detail
was
gables
type.
characteristic
of
Italian
notably
Jacobean
architecture
the
as a
semi-grotesque
terminal forms
figure,
often
frequently appeared
used in the
pilaster, and
of finials.
grotesque
The
as
form
as
typical Jacobean
it
was
finial, however,
characteristic
alien
to
140
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
many
other
details
was
of
the
style,
was
the
on
small, stunted
the
and
commonly
on
placed
gate
posts
on
of the
balustrades,
posts
carving,
the
both
in stone this
and
wood,
was
was
period, and
and and
detail
carried with
patterns
designs,
earlier
forms
though
spirit of Many
Elizabethan and
English
were
execution.
interesting
to
quaint
the
result, all
contributing
resque
the of
of
that
peculiar pictu-
richness
at
style. period,
a
'But
the
close
Jacobean for
tively comparato
artificial itself
and
fashion
in the
formality
of the
began
make
apparent Mary
of
and
dwellings Anne,
reign of William
the of Classic the
two
Queen Georgian
forecasting
Houses
a soon
the
Period. maintained
certain
to
element in
of the
which
was
vanish
Georgian
manor
Classicists.
was
Jacobean
but the
still house in
more was
picturesque
more
than than of
two
formal,
Georgian
Wren the died
picturesque. George I,
and
1723,
of
during reigns
and
reign
the
architects
were
the
succeeding
Brothers. The works
was
Georges
Gibbs, Kent,
things
Classic
mode of
was
Adam
fashion
was
for
the
of
the
Georgian
in the
new
and and
attained of
of
niceties
design
the and
and
detail
than of
lost
in
the
passing
Elizabethan
were
picturesque
Jacobean
**
informality
houses. amateurs*'
the
Tudor,
Many
and
titled had of
men gentlemuch
to
own
do
with
design
a
and
garden
and
an
layouts
was
places.
scholar
amateur
of
I
s
j
5i 5 M^
I
t
AN
AMKRICAN
COUNTRY
ADAPTED
HOUSE
OF AND
COMPOSITE
BLENDED
ORIGINS
BKILFILLT
The
genermi
etlert
o[
Ihii
Kduh
u"
Ihit
ul if
fnlugod
EnslisI Enslisb
cottige.
while
the
tie
ENGLISH
DERIVATIONS
141
published
the
**
portfolio
of
of
drawings
by
This
Antiquities
Eome/*
with fuel
art
contemporary
of
publications,
enthusiasm Earl
was over
but
general
and but the
Classic
architecture,
of those
him
pooned lamof
:
with
gentle
in his
terrific
satires vein
Pope,
"
who
addressed
characteristic
show
U8
Rome
was
glorious,
onoe were
not
profuse,
of
use.
pompous
buildings
my
things
noble
shall,
half random of
some arcs
one
lord,
land
your
just,
your
rules
the
with
imitating
from your
fools;
sheets shall
drawings
take,
beauty
vain of
many
make;
theatric
Load
Turn
"
church to
state,
triumph
garden
gate.
"""""""
Shall
call to
the catch
winds cold
through
at
a
long
arcades
door."
to
roar.
Proud
Venetian
The
Anglo-Classic
in its The in
country
as
house
to
radical
plan plans
compared
were
English
formal formal
and
correspondingly
Classic
pediments dignity
to
colonnaded
an
air them
of
the
houses, atmosphere
and
doing
ticity. domes-
deprived
of their and
earlier
of
Interesting peared,
and
the
irregular
hard
roof-lines and
disap*
with
sky-line became
and
formal,
urns.
tall, straight
In Jacobean
were a
chimneys
and
Classic
finial
Elizabethan
of
houses,
wall of
eaves
dormer
dows win-
portion
up
the
the of became
house,
the
resquely pictu-
carried the
through
dormer
Anglo-Classic
of the roof.
are a
part
Systematic
part
of formal
of windows
designing,
effects. In
are
not
productive
of
informally
artistic
Classic
II.
T.
Llnd"l"rK,
MODERN
ArctaiUd
(Albrn
LlDdiberg)
IX AMERICAN COUNTRY
HOI'tiEi)
TWO
ENGLISH
DERIVATIONS
Uctun.
wbile
itroke
the ot
introductioD
of Id
Ibe
[ocnml
lUlinn
Pillnduin
eptrsDct
["
"
dirint
but
"II"elJT*
iodividuaLity
deajgn
rii
ENGLISH
DERIVATIONS
143
reflection
can
of but this
an
artificial
taste
in its if
own
time,
the
style
be in
doubly
country
artificial
inappropriately
employed Strong
the
at
to-day.
remained and in force until
even a
Classic the
influences
end the
of
Eighteenth
of the
Century,
Nineteenth chaos
appeared
when of
beginning
of such Revival of Charles
has
Century,
period
loomed Gothic efforts
began,
as
out the
which
mistakes architectural
Buskinian
as
fantasies
the
elsewhere illumine
of
Mr.
Buskin's
attempt
''Seven of the
to
gloom inept
of the of
any
Lamps
of Architecture/'
still
monuments
period
exist,
to
on
Atlantic, arbitrary
Of Eastlake
more
bear
testimony
to
the
an
attempt
less sincere Eastlake and is
popularise
and
architectural
the
style.
haps, per-
known,
than
of
two
had
a
he
more
was,
Buskin,
was
and
lively
a
vision. architecture
's vision
the
creation
was
of
style of
which
on no
to
be, if nothing
else, picturesque,
Eastlake
's
stylistic precedent.
the other fact that the
mistake in
lay
ignoring
or
picturesque,
It is not bizarre
to
or
architecture of
any
art, happens.
becomes
the
even
result
deliberate
intention, and
in direct has
actually unpleasant
of conscious effort
proportion
gone
the
amount
which
into
its
published
found
book
in in
1870, and
hundreds
for
of
time small
we
style"
in
expression
and
mute
England
with
us,
* *
America. testimonials
* *
Many
to
were an
of
these
groping
there
were
for
the
queer
There of
**
differing
and
size, scattered
144
THE
PRACTICAL
BOOK
OP
ARCHITEC3TUBE
there
in
the
walls of
there
were
galaxies
and from
of
turned and
spinriots
Decent of
sunflowers
rosettes,
the
eaves.
dripping
was
scalloped,
in
a
perforated
few survivals
and of
scroll-
sawed,
seem
and
interiors,
curiosities
to-day,
lesthetic
indeed,
restlessly motifs,
and
* *
decorated and
^ '
with lished
obviously
with
European-Oriental
feathers
reason,
embelout Withof
gay
fans, peacock
or
vases.
apparent
colours
were were
glazed
and of
tiles
built
wooden weird
houses,
mosaics in stucco.
gable
ends
embellished and
broken
glass,
shells At
pebbles
the
imbedded Eastlake
to make
undeniably,
the
later
turesque pic-
helped
ance accept-
legitimately
the Eastlake
style.
one
At
its worst
and
of
the
most
structural
ever seen.
and
has
the
rise
a new
William
dawned crafts.
Morris
in
and
in
his
the
school,
realm himself
no
spicuous con-
1858,
England
While
and
thought
an
on
arts
and
a
Morris
and
in
craftsman,
essayed
architecture,
fact that
he
his
tremendous
cance signifito
the
taught
and to
people
honestly
in
things
effort.
of
new
artistic,
Such
appreciate
as
the
hybrid
able, intoler-
the
became
creed
construction,
ornament
expressive
all
construction, Morris,
Madox
appropriate
Bume
a
in
things.
F.
Bossetti,
and
and
Jones,
Walter
set
Crane, making
made
Brown, designs,
in
few
new
others,
about
the
spirit immediately
architecture. of such
contemporary
were
Webb
and
Shaw
the
forerunners
great
ENGLISH
DERIVATIONS
146
modem
English
architects Norman
are
as
Voysey,
Dawber
Lutyens,
and of the
a
Bidlake,
host modem of
Baillie-Scotty E.
others. And
Shaw,
the which
these
architects
English arbitrary
informal that
was
country
revival and
most
house,
of
any
attempted
type,
in its but
style
no an
historic
rather of
composite
works of
all
in the
earlier
Tudor,
and
Jacobean modem
times, blended,
tastes
adapted
express
and
owes
requirements.
teristic its charac-
English
to
country
facts it
house in its
several that
composition. chimneys,
and Houses of the the like
is
historic, in
bits
has
borrowed work
casements,
the
of half -timber
time-hallowed built
Keeps
the
and
Manor
of its
land,
by
forefathers
present
builders. It is
indigenous,
to
as
well
as
its
design
belong
the
modern the
English
tects archi-
have of
advisedly
the the
most
admirable and
practice
have and also colour
making
materials,
realised
endless
possibilities of
and the
texture
in different of
materials,
many
picturesque
in the
possibilities
same
mingling
It is
different because
materials
picturesque
in terms
inherited
forms is
of local
materials,
element has
successfully picturesque
nervously
It is
on
because
been
striven
for because
in the its
design.
whole of
expressive,
a
conception
the
is
based and
natural of
understanding English
country
that
any
so
informality
domesticity
It should be
of
life. fabric
so an
apparent
own
plainly
an
outgrowth
of the
its
soil, and
and
one
entirely
which
expression
it into
national be
a
traits
tastes to
called
being, must
10
difficult
successfully
transplant
146
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
or
to
adapt
tastes
in and
another
land
and
to
express
and
meet
other It
requirements.
that successful of
are
is
fact, however,
of the
pressions exare
English
such
type
country
at
numerous.
And
some
expressions
of architects the
their
when
and
measure
American and
owners,
of
their
blended
can a
their
English
inspiration.
merit Nor
No
literal than
a reason
copy
as
be
to possess
architectural and
accuracy.
other
can
study
exactitude architectural
copy
possess
significance for
must,
above all but house
the
that
"
tectural archi^and
design
a
else, be expressive
lack of
copy
can
express
nothing
country
expression.
be
The world-wide
expresses
English
is to
regarded
reason
as
inspiration
the
chiefly for
house essential
the of
that
it in
country
terms
more
domesticity
any
architectural
or
potently
with The the
than
other
type
nationality Early
of
dwelling,
type.
possible
exception
seems
American for
a
French
chateau and
setting
comparatively
villa it is
artificial
more
formal romantic
of life ; the
more
Italian but
is, perhaps,
no
genuine,
;
less
a
formal
and
monial cere-
the
Spanish
an
is
dwelling, but,
which
we
unless
no
greatly
racial This
modified, affinity.
essential bond which
with
have
quality
most
of of
us
domesticity,
feel
our
this the
scious uncon-
with
own
homes should
of
our
ancestors,
our or
the
homes
of from
people, charge
of
our
exonerate
architects
any
of
stylistic plagiarism.
the
To of
forbid
to
adapt
as
English
type
as
country
to
house
be
nearly
to
unreasonable
green
a new
forbid
or
landscape
to
painters
that
we
use
in
painting
The
trees,
suggest
devise
speech.
English
style is the
TYPICAL
MODBRN
ENOLISB
SUBURBAN
HOUSE
ENGLISH
DERIVATIONS
147
happy
medium,
and
whether is
for
to
the remain
large
so
or
the
small
try coun-
house,
come.
likely
for
some
time
to
The
art
of
architectural and
adaptation
more
is
becoming
tised. prac-
yearly
better
understood
are
intelligently
and and
being
of half
assimilated -understood
worthily ignorantly
instead
have
become and
attracted which
to
certain have
sympathy
task of merit. if
one
interest has
they
adaptation
produced
results
unquestionable
It is doubtful
could
illustrate in
an
more
splendid
try coun-
monument
of
English
than and the
derivation
American
at
dwelling by Trowbridge
who derivations Stevenson have
great
stone
house Other
Glen
Cove,
tects archi-
Ackerman. remarkable
American
success
attained Wilson
in
English
are
Eyre,
John H. T.
Grosvenor
Atterbury,
Mellor Mr.
are
and
Russell
Pope,
and
Meigs, berg's
are
and, country
Lindeberg.
several show
Linde-
of which
illustrated, strong
dual
remarkable
"
they
such
expression
^English
and
American. and
are
They
typify
clean-cut, straightforward
at and its best. Such derivations architectural would have
intelligent expressive
adaptation
of sound than
well-advised
some
conviction,
us
rather
(as
critics imitation.
It is true modem
that
very
few
adaptations
such British in free
English
of the
country
as
picturesque
is to than it
in
architects,
and
the
reason
be
found
rather
temperamental
One has the
architectural that
we
differences.
deplored
lack, in America,
148
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
picturesque
to the charm
so
local
materials modem
an
whicli
contribute
so
largely
To the in
of the
English
answer
country
to
house. for
are,
attempt
superficial
account There
is beside and
the of
point.
variety
and
interesting
if
building
one were
natural
manufactured,
Chestnut
cite
only
near
ever-interesting
so
Hill used
ledgeby
the
stone,
Philadelphia,
of
that
effectively
architects
It
vicinity.
the and 'British tiles
our
is true of
that
architect
stones
may
employ
we
variety
but
even
slates
and
which
lack of
"
supposing
could avail be
architects of
(speaking
these difference
the
average)
there finished For would
themselves
a
materials,
in the
still
conspicuous
house.
this, the
as
client
is
to
accountable. the of
The is
average
American,
self-conscious He hotels that
compared
about
Englishman,
intimate oflSce
;
strangely
tion. relaand
things
personal buildings
launch
will
amaze
rear
''skyscraper'^
the whole world
he of
will
tectural archi-
engineering
them of
projects
with
colossal brilliant
comes
tude, magnisuccess.
carry
through
his
own
the
matter
house
under and
a
his
imaginative. un-
consideration,
he He
becomes has
astonishingly deep
from have
timid
about
misgivings
those both of
house
which He and
will his
be
different
his
neighbours.
in
wife, perhaps,
the
"
travelled house.
land EngIt
and
in
admired ideal
English
^but
country
are are
is,
fact, their
or
they
who
that
their
friends,
will and
even
passersby
odd windows that
strangers,
laugh
will
at
the
**
and which
chimneys,
to
call
queer''
intended
be
picturesque.
Real
appreciation
of
the
picturesque,
on
its
own
ENGLISH
DERIVATIONS
1^9
all, a cultivated
with
an
appreciation,
timidity
the bottom where of the
and
this
inborn lies
at
concerned,
the
modern
English
country
house
adaptation. departing
from the
"n
statement
of of
to
this the
chgrf
average
'^architectural
timidity''
writer
the
part
like made of
American
at
client, the
a
paraphrase
a
large
few
comments
which
in View
magazine
in tecture Archi-
essay
called
**The
English
^^Arts
more
''(written for
to
Decoration'
')y in order
a
make
In
the the
matter
specific and
architecture
point
this
practice
self-assured evolution
if
our
of
splendidly possible
like of
English
of
a
point of view
of
the
type
country
which,
present
will
personal
never
timidity
endure,
always class,
of be
are
become
prevalent
American
remembered
not average
that
entirely
responsible
finished
as
aspect
are
the
country
at
house, inasmuch
every turn
they
very
often
coerced
and
"
by
the
requirements,
upon
restrictions
interdictions
worst
imposed
them
by
their
clients
*'
^and,
and
of
all, by
of
the
indirectly
clients Let is
'
delivered
advice"
opinions
their
officious
us
friends.
a
a
take
modem house
English
which
a
country couple
of
house
which
typical, and
builders
* *
prospective
home the
have
is, beyond
It has
a
ideal
of their
plan, well
thrown The roof
adapted
future
a
enlargement,
wing
out, perhaps,
line is varied of the
and house
the
planning
^here
low,
there
high, with
150
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
an
infinity of varied
with and
every
pitch and
slant
are
unexpected
the
same occur
visual
of the
observer.
chimneys picturesque
of
unexpected
sort,
the
As
and needs
the
are
they
dictate from
of house
the is
rooms
their the
designed
naturally
to
shows
create
unexpected externally,
features for
superficial
windows
panes
"
effect.
are
a
another
casement
picturesque
type,
admired
as
detail, the
small
average
of
with
leaded
type
builder in
"
window almost
by the
as are
American
home
much house
it is shunned.
Everywhere charming
a
the
a
English
vertical
quaint
into
and the
surprises
hooded
sundial
on a
let
wall;
a
low,
door lead
or
giving
copper
flagged
terrace,
for the
hand-wrought pipe,
or a
rain
riot
of
odd
in
cluster.
to
a
things contribute
is
more
the
general house,
tastes
impression
and
an
the home
than
mere
must
be
person
of individual
and
ciation appre-
the
picturesque.
house is
Inside, the
There
are
pervaded
window-seats
by
the and
same
feeling.
ways, stairoaken
inglenooks,
at
run some across a
quaint
a
and
beam may
unexpected
a
place,
overhead charm"
great
in
a
room,
or
passage.
a
The
so
thing
the
of
continual beneath
of
never
charm
grows
dweller
may
corner.
tired,
guest
and
stay
without
ing discover-
every
the
average
American he has
client, who
selected with
goes
to
architect
(whom
and
probably
with
an
misgiving
trepidation),
showing, house,
air with
apparent
few
very
finality,a picture
inconsequential
of this
which,
changes,
embodies
every
ENGLISH
DERIVATIONS his
151
wish
of
himself and
and
wife. client
The
as
a
architect
man as
is after
lighted, dehis he
a
this much of
own
fancy.
the
as
dispatch
possible
delineate the
prepares
set
drawings,
patterned
which after
honse
nearly
possible
client's
beau
The admire
presented,
and
may
the
prospective
even
builder
may
greatly
the
(at this
the
success
early stage)
with which house.
congi*atulate
he He thus has takes rendered the
architect the
upon
English
to
idea
to
of his
country
and
drawings
show
wife
to
friends,
of
unknowingly attaining
reflected His friends
"
bidding
the his that
his
chances have
ultimately
house actual
would honest
tecturally archi-
tastes.
ubiquitous
and
to
own
omniscient
pass law
"
jury
matters
which wherein
many
nearly
he
every
elects be he
"
on
might
which
his
things
The
they
is be
*'
ought
^'^far the
to too
be
against.
*'the
roof
must
queer''
crazy,"
eccentric,"
is
*'
architect
' '
plan
tical. imprac-
A
the
few
of
these
sapient
advices the
of
note to
interesting
his of
a
roof,
to
and
makes
direct roof
architect
substitute house.
roof
exactly
with wife
the
neighbouring
and romantic of of her the to
So
it goes His
quaint always
picturesque
chinmeys.
with
associations friends
casement
windows, superior
are
(whose
tells
knowledge
her that
is
that hard
architect)
and
they
draughty,
clean the
by burglars.
American
no
Consequently
**
ordinary
is installed
to
of
double-hung"
no
window
more
less
draughty,
forced
open
difficult
any
clean
and Another
easily
friend is
other
type.
will
convinced
that
the
chinmeys
not
draw.
This
he
162
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
imputes along
to
to
the
fact
that lines
"
they
and
are
designed,
builder
externally,
a
picturesque
the the
the
to
makes
note
have All
architect
change
features the
ordinary
which house
chimneys.
stimulated
remaining
for
first
are
his
one
admiration
original
eliminated,
are
by
one,
by
he
his shall
assiduous
not has be
friends,
disappointed
convinced and
who in
mined deterhouse.
that In the
be become
his
interior, he
will
across
that that
varying
the
not
practical,
a
great
motto
the "look
hall, with
queer,''
quaint might
carved better
welcome,
will iron.
and
be
of
concealed With
these
returns
few
changes,
to
which
seem
to
him
quite
of
has
trivial, he
the built and
the and
architect
with If the
what
is left
original
many
scheme, country
explains.
he
architect
houses,
remains
patiently
silent,
takes The
notes.
work
proceeds
(if the
client
has
from
not
discouraged
of
a
by his
the house
as
friends
the The
building),
little
and
disappointed
trusts
he the
building
house
to
time, but
that it
finished
reassures
*'
will
his
liking; doubtless
the has had It is volume his
will, he
of
himself, practical"
bering remem-
excellent
advice
he
from
friends. and he is
to
aware
wave
finished,
He is of
even
of the
keen
likely
original why
in the the
a
in idea
the
was
face
not
the carried
architect,
out may
as
The that
every
out, in
way,
was servative con-
salient
in the
original drawings
to
ordered
changed
"
finals,
something
The and
two
are owner
safe,
and
commonplace.
this
seldom of the
good
friends
after
interview,
the
ENGLISH
DERIVATIONS
153
house what
a
lives
in
it
unhappily
he may
ever
afterward,
deriving
what
satisfaction idiot he
from unfortunate
stupid
an
was
to
employ
who
for
are
architect.
more an
His than
friends,
half
the
other for
hand,
the
actually
find
responsible
of of
unhappy
house,
the have
owner
equal
degree
gratification in consoling
much left
worse
with
thoughts
if moral
how been is
we
it
might
to
been
bungled
* '
it had
"
entirely
"
the
architect.
in to
our
The
^which that
if
plain
^io
the
statement
consistently
and consulted look
honest coerced
personal
our
desires,
we
than
to
architects,
of
a
might
house with
the
attainment
and
country
values
comparable
the works
of
{esthetic
picturesque
' ^
English
In
a
architects.
some
more
respects
the
American
architect
has in the
oped devel-
practical
country
and of these
dwelling,
house better
especially usually
plan.
more
The
American
rooms,
contains
an
large
country
matters
lighted, than
type.
the
English
in such house
try coun-
house
as
corresponding
and
more
And
heating
and
plumbing
efficient.
to
American
is
more
livable
Many
from
English
the
to waste
houses,
charming plans
an
upon
outside,
space to
betray
with
in
their
tendency
passages, of
a
unnecessary
corridors
to
a
and
fice sacri-
large English
excellent with
rooms
great
number offer
of
small number
have
rooms.
plans,
at
however,
least
two
of been
very
points,
which
conspicuous
These
two
"
success
and
are as
by American ''garden
be of
a
points latter,
estate.
front"
the
''office"
on
the
seen,
"
finding
only
the
large
be
or
The
garden
in the
front,
house
however,
moderate
may
developed
even
attractively
cottage.
of
size,
the
ENGLISH
DERIVATIONS
165
the
**
rear
elevation. front
'^
And leads
so
if
a
desire
to
to
develop also,
evola-
garden
to
develop,
for the
really livable
tion of The
of
garden,
much
better in in
the
' *
American office
' *
country
which
general. plans
a
is included
the is of
of
on
most
the
larger
floor
English
country
for the
houses
purpose and
are
room
the with
first
provided chauffeurs,
estate.
dealing
coachmen,
of
a
gardeners
wages
other
large
Here and
from
paid,
accounts
complaints
transacted **ofl5ce*'
so
heard,
apart
the
rest
own
business of the
of
the
house,
door and
is
provided
there is
with
no
outer the
or
that
master's
for
employees
the The
private
room,
library
course, and
study. developed
welcomed for of the from the
living
of
is
early English
country
**
country
than
house,
a
was
in this formal
as
more
mere
substitute dismal of
parlours'*
of
the The
more
period
the
*'
importance
country
and the
* *
great
was
English chapter,
American
houses
earlier
importance
' '
of
its
direct much
here.
descendant,
a
the
living
room, any
is too
part
of
our
daily lives
the
to
require
of
our
discussion
Before
closing
a
tale
architectural be made
debt
upon
to
England,
great
few
comments
should
successes
attained
or
by the
modem
English
in
as
**
community"
with
''neighbourhood"
American efforts
planning,
in that
compared
most
direction. The
English
to
our
''neighbourhood"
American desirable
' '
groups estate
of
houses,
' '
analogous
show well
two to
real
developments,
we
highly
emulate: The
traits and
which
would
do
bined. com-
unity
diversity,
skilfully
of
entire
architectural
character
the
156
THE
PBAC?riCAL
BOOK
OP
ARCHITECTURE
English
while each
f rpm
'
'
gronp
of
cottages cottage
thus
is
consistent
and
nnified,
ences differ-
individual its
'
shows
picturesque
the
neighbours,
'
monotony
of
jif^'
rows
of
identical
individually speculative
at^ominable)
dwellings
put
up
/
y
It
will
be
shown merit
in is
a
the
most
second
part
of
this
asset
book
to
so
that houses
/
/
architectural
built that
**
significant
"
by
it
real-estate
not
operator
need
to be
^an
asset
tangible
cause
should
urged
it
may
in be
the
of
better
architecture'*
out to
when conservative
owes
practically
pointed
be
investment. much
to to
or
American but
as
architecture
in
no
English
such
a
tecture, archi-
types
house
of and
building
the school
degree
ing. buildthe
a
in
the Of
country
college
assume
these,
part
of
the the
country
house because
^more
must
greater
and model of
an
debt,
to
us
"
it than
has
an
been
model
inspiration
characterised
architectural elements
by
The
peculiarly English
terms
picturesque
house of
a
domesticity.
in
is
symbol
"
an
expression
of
certain
has
tion concep-
country
which the
even
the
American
long
is
a
shared, question
a mere
instinctively,
of racial
Englishman.
It rather and
aflSnity,
identity,
It is natural
fashion.
that,
superficial
and in
modifications
by
feel of
our
*'many
houses
inventions,'* patterned
after
should those
ancestors.
CHAPTER
LATIN DEEIVATIONS
Vn
IN AMERICAN
ABCHITECTUEE
ARCHITECTURAL
TYPES
THE ITALIAN OF INFLUENCES AND HOTELS. LEGACY
ADAPTED VILLA
FROM IN RENAISSANCE IN A
ITALY,
AMERICA.
FRANCE THE
AND
SPAIN.
TANT IMPOR-
ITALIAN
ARCHITECTURE.
MODERN APPRECIATED CITY TECTURAL ARCHI-
CHATEAUX,
LITTLE
FROM
SPAINl
LATIN ing
J
France the architectural Italian
in have
are
American
come
architecture,
to
us
mean-
from
Italy
and in with of
and cultivation
Spain,
of forms
an
of
peculiar
importance familiarity
if the
appreciative
types.
most
and caUs
And
thought
the
be
derivations of
vividly
to
mind
adaptation
that this than
the
Italian
viUa, it should
is of
derivation Italian
comparatively
in
less of
importance building.
That and
on so
influences
other
types
little
has be of
come
to
us
from
as
a
Spain
lack
as an
able, is remarkof
should the
or
taken the
rather
tion appreciaof
part
architect material it
was
than
in
evidence
meagre
unavailable earlier
Spain.
how
on
In
an
chapter
Italian
the
a
tecture archirevival
of of
the
Renaissance,
from
Classic
forms,
Gothic
emerged
involved
maze
of of the in
Mediaeval
nature
architecture,
analysis
in
of
Renaissance
architecture,
was
Italy
and
European
countries,
also
presented.
is
fluent
a
architectural
"
style of the
which in
many
Renaissance itself of
to
fiex-
style
a,
style
lends
tectural archiIt is
a
expression
style characterised
types
building.
in its
by nicety of proportion
larger
167
168
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
members,
and
by nicety
of
scale the
in
its
detail.
are
sance Renaisand
or
mouldings,
delicate. arch and Severe
especially
Italian,
of
refined column
compositions
may
arch and
and
pilaster
be
or
relieved
humanised
in
by
or
conventional
ornament,
The architecture is in
so
by
decorations
fresco
sgraffito.
Italian it is
evolved
by
as
the
Renaissance that
masters
well
studied,
architecture, ranging
clubs
an
suitable
many
adaptations,
museums,
through
and portant im-
churches,
theatres,
libraries,
besides
city bmldings,
mine of
offering
villas villa and
inexhaustible for
inspiration
Of American
the
for
country
and its
garden
as
Italian
garden,
wiU
the
adaptation
thereof,
more
be
later.
study
of
the
influence in America
of the
could
of
the
Renaissance without
complete
works " White.
as
intelligent
great
familiarity
firm
of
of
the These
architectural
McKim,
Italian believed The
architects
as
in
architecture in
sincerely
and Mead
H.
Byzantine
of
Romanesque
" who
work
McEom,
tects archi-
White,
were
indeed,
trained
and
of
the
many
younger room,
in that
on
draughting
placed
from
of many the
an
ineradicable
stamp
and
American
as
architecture, well,
the
a
1894
onward,
effected,
has
revival of
Italian the
style which
most
dictated
design
of
country's
One member of
notable of
a
buildings. firm,
Stanford of the
the
White,
finest
was
master
detail,
connoisseur and
points
The
of
architectural marble
ornament
decoration.
library
of the
a
in
New J.
York,
P. the
housing
the is
private
late
among
Morgan,
best
unanimously
not
accorded
place
ten^ if
the
best
five, American
achievements
in architecture.
DETAIL
GDlrsilH
OF
PL
This
Pnllldiiia
iDKEiB
of
i" Ihi
adsplabilily
lATIN
DERIVATIONS
169
To
say
that
this is
a
building, masterpiece
of
or
the
great
Library
in
Boston,
the
of American
a
is, in They
are are
matter
style,
little
misleading.
as
Italian, rendered
of the works have in of
by American McKim,
Mead in "
architects,
White.
most
modem
approached interpreting
the
attainment
genius
finesse
to-day, with
the influence
understanding,
spirit of Italian
of
was even
Little, if
Beaux
any,
Ecole of
des
Arts
apparent
in the
to
McKim,
Mead
"
White,
was,
early days
carry
on
Their the
rather,
Bramante,
masters.
a a
Peruzzi,
Brunel-
leschi, and
The
other
Italian
Morgan
of
an
unique
example
for The
study
historic
pure
adaptation.
entrance,
Italian. spaces,
by
open
loggia, is characteristically
of
' '
composition
* *
central
arch
and
tall sideof
Palladian
composition
(whether
window,
The
name
or
opening)
from who
on
is
faultlessly proportioned.
the his
is derived architect
Palladio,
made this and
great
favourite the
Italian
tif. mo-
Benaissance The
are are no
niches, both
less
a
the
facade
of the
within the
loggia,
characteristic Italian
such
style, and
Few
balusters in this
of
perfect
combine
form.
buildings
country
with
To to
harfiionious detail in
general
and
proportions mouldings.
and
to
come
such
exquisite
the
ornament
study
Morgan
library
thoroughly,
its infinite of it is
intelligently
appreciate
the
as
niceties, is
at
to discover its
real
essence as
best, and
directly
The
two
possible
do
without the
visiting Italy.
of
a
illustrations, showing
and and
a serve
street. elevation
the
building
detail
to
of
the
careful
study,
impress
HcKIni,
A
"-md
Whilf. CITY
NEW
VORK
ITALIAN Ooihim
RENAISSANCE
DERIVATION
(Pnnii"
Ths
Compinyl
OF
ITALIAN
RENAISSANCE PCBLIC
BUILDING
ARCHITECTURl
"ckcrouad (The
Public
ia
id
"
slyLc
which Bdmod.
mUht
be
emll"l
"Flor
Librmry,
MiuBrhuHtti}
AN
ITALIAN
DERIVATION
IN
"
ITALIAN
Ths
DERIVATION
IN
the
NEW
YORK level is
bd
CITY
SHOP
FRONT feature
arculed
itreet
tircliit"cturml
of
the
Iinlisn
ReDsiHBDTe
DETAIL
OF
S(
FKONTS
OF trinie-arched
ITALIAN
DERIVATION
by
the
iDggi*,
ihowi
Eighlecnl
Thencoa
"uribule"pBDel"st
"h"fi(ttagtory.
LATIN
DERIVATIONS
161
New
York
or
buildings
the
as
the
University
and such
or
the
Century
A
as more
Clubs,
ornate bank
shops
may
of
Tiffany
in for
Gorham.
a
dignity building,
on
appear
building
the
originally
Fifth
the
or a
Knickerbocker
Company
almost cheerful of the in
Avenue,
degree
appear
of
approaching
facade
as
frivolity
the
may
sgrafflto shop
Another
a
front of of
illustrations.
shop, facade
tion deriva-
design,
rears
delicate
marble, loggia,
for the
effectively lightened
and similar
treatments
by
an
open,
a
triple-arched happy
solution
form of
problem
be
city house
from
the
design.
the
apparent,
not
foregoing
remarks,
in all is
of
a
from
study
but the
only of
the
buildings
with Italian successful
"
illustrated
we are
chapter,
that
of
buildings
the the
which
familiar,
one
style of
to
Renaissance solution
not
peculiarly
of
or
adaptable
variety
of site
architectural
problems
but
problems
only
the
as
type
of
building,
of such
problems
involving qualities
to
proper
expression
unarchitectural
It would
dignity and
a
distinction. of greater
be
diflScult
contrive richness
short the
arcade
combined
front
one
dignity
of the
and
triple arched
York
of
street
Gorham
shop,
In
City, shown
the Italian
are
in
of the
style
of
Renaissance,
for
this of
an
expression
and
inexhaustible,
study
form
range
infinite
possibilities
study
of in itself.
architectural
consideration
Italian
are
derivations confronted in
of
in
the
country
villa, we
by
we
what some-
architectural
even
paradox,
a
that
have house
adapted,
intended when the
and
to
welcomed,
the
type
country country
noble
form
setting for
villa of
life,
the
original, the
of
162
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
Benaissance,
kind of country
formed life.
the
It
setting
has
for
a
very
been
case
in which and
form,
certain added
alone, has
elements has been into
a
been of
romance
borrowed,
(more
with American the Italian in
any
this, with
architectural)
developed,
modem of
was
success,
dwelling.
villa satisfies
The
us
American
not because
adaptation
its
tastes
or a
prototype
or
way of
of
as
American
a
American but
modes rather
reflection
criterion,
look
at
"
thing purity
as
to
^beautiful
the
the
Parthenon,
of
though
The
linked of Milo of
the
human
to
us
life
not
to-day.
it
woman an
appeals
because it deifies
as
typifies
of idea
to-day, but
woman,
time, typifying
than and
a
goddess,
appeal
is
rather
sonality. per-
literary, romantic
to
us as an
aesthetic.
woman,
Queen just
an as
Elizabeth the
appeals
actual
English
The and make
country
Italian been and
house villa
the
appeals
is
more
to
us
as
actual the
house.
"
in the
of
realm
of
ideal
to
it has
task
the
modem
he has
it real
habitable,
which
conspicuous
look back
at
success. some
of
the
at
great
the
and
famous
of
Renaissance the
Italy, and
country
this
way
life
we
for
they formed
come
setting, for
in the
to
our
see
clearly wherein
Italian of
villa
in
adaptation,
Italian
qualities
both
appropriate
In
was
a
one
respect
villa
of of
a
the
Renaissance which it
"
logical and
modem
expression
hold the
in
purpose
most
was a
country
Wearied strain of
houses
common
with
it and of
retreat.
by
endless
intrigues
great
the
nervous
palazzi
LATIN
DERIVATIONS
163
Florence
friends to the
or
Borne,
the
nobles,
with
their
families
to
and
and cool of
servants, loggias,
their
found the
it most
enjoyable
and
repair
quiet terraces,
rest
no
wonderful The
gardens
American social
rest to
villas, to
of and
and less
read wearied
must
poetry.
family
activities
to-day,
business
by endless
find the
same
cares, in
an
and
the
same
pleasure country
resemble The
the
retreat
of the in the
exists idea
the
effete
of country
Italian idea of
noble, and
life
vigorous
the
country
which
modern
American with
to
country
formal
gentleman.
his He
entertained almost
ceremony,
equal
that
or
of
feudal
lord. outdoor
engaged
and and him
too
in
no
active
sports
with whom life
energetic
the
life,
often
brought
friends
him he in
very
on
spies and
have
poisoners
left behind
was
parasitic
in the all
should
city.
we
Villa
Eenaissance
Italy
or
not, by
way
own
a
have
sort
heard,
of
wholesome,
which
to
in
any
our
desirable life
thing
pattern
took
country
of
to-day. modifying
new
Our
architects them
in to
some
the
stage
let
us
settings,
devise and
and,
enact
extent,
of the old.
dramas
place
This, perhaps,
of the
brings
of the
the
most
clear villa
one
understanding
derivar
we
propriety
^it is
to
a
American
of Italian in which
tion
come
"
stage
at home in
setting, and
because of
feel and
its inherent of
own. a
beauty
life
charm,
period
entirely
Renaissance cloaked
depravity, kindly
mellowed of
**
by the
toric his-
mantle
that where
we
find
much
association
charm,
(if
we
old, forgotten
the mantle of
family
histories
tell
lifted
ft
Si
II
-"
LATIN
DERIVATIONS
165
often
patio, which
house. Italian of
a
is the
salient
f eature,
also, of the
Spanish
The
garden
is
inseparable
from
the
house,
and, being
tied
to
distinctly architectural
in
nature, is closely
character. The
cannot
it both
plan
and
in
general
Italian and
picturesque
be overstated of the We the
possibilities of
or
the
garden
of the will in
unduly
admired,
have of what
our a
those and
great
villas
Renaissance
formed,
always garden
form, design.
greater
have
art
part
seen
inspiration
deep
and
the elaborate
garden
and and
of
Italy made
schemes the Italian houses.
upon
were
beautiful in
frankly
manner,
about
Georgian
Italian
'
country
of
type
garden,
though
possesses
it
so
is
what
is ments ele-
'formal
garden,"
that
many
of
the
picturesque
characteristic.
its The
formality greatest
conspicuous
shown in the
disposition
statuary,
of
terraces,
and
pools, fountains,
as
grottos,
an
garden
pavilions,
of
well
as
inimitable
artistry In the
design
all these
garden
that
many
as
people
their
have
decided
upon
type
building by
of
inspiration
the the Italian
because
they
of
completely
which
must
owes
type
garden
Italian
part
plan*
and
garden
to
permanent
it
came as
value
an
significance
of the
the
fact
that
gent intelli-
solution to blend
problem
with
which
nature.
exists The
in any Italian
attempt garden
ing bindraces, ter-
architecture
is the
connecting
the
planting
groves,
it to
surrounding
and detached A
its
walks it to
and
pavilions
ing bind-
the
villa.
garden
entirely architectural
166
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
merely
outward where informal
spreads
to
some
the
architectnre
of
the
house of
or
villa
iuevitably
of nature
sharp begins.
line
A
demarcation
the
planting
leads
garden
natural
entirely
contours
natural
an
planting sharp
and
directly
the
up
to
equally
of the
line
of
demarcation
in
architecture
house.
Returning
Italian
must be
to
more
general
in
consideration American
of
sance Renaisit
derivations,
that
architecture,
a
these
play
more
part
the
European
bases
of
architectural
of Greeks of the the
indeed, wholly
eternal
architecture The
Renaissance
gave to
itself
derived. fundamentals
and
architecture
its
orders, the
mouldings,
which
the
were
entablatures
the
general developed
proportions by
the
subsequently
humanised
to and
further
Romans,
and
embellished
once
by the Renaissance
in
our own
Italians,
an
be
revived
more
age to
as
tural architec-
language
of
a
peculiarly adapted
of drawn architectural certain
life'* owner,
as
the
best
expression
wide
range
problems. comparisons
conceived between the
We
have
*'
spirit of
country
villa To
by
modem
the
sance Renais-
Italian
and
the
American
status
gentleman. adapted
necessary.
understand
the
artificial
of
the
are
French
chateau,
similar
comparisons
French
was a
country
very
life, notably
formal
in the
Eighteenth
tury, Cenof
urban
social
life
being
was
merely
more
transplanted
of
a
city
a
to
country.
It is
Hunting
a
ceremony
sport.
significant fact,
that to the French the article
in this had
not
connection,
even a
ourselves
word
language prefixed
convey
idea,
and
borrowed,
definite
AN
ITALIAN
VILLA
DERIVATION
IN
AN
AMERICAN
COUNTRY
BOUSE
fill
I
ISf
HI
2
8"=^
It
-i II
LATIN
DERIVATIONS
167
44
le
sport /^
more
conscientiously outdoor-loving
endeavouring English
to
emulate
across
their the
neighbours
charming
**
play-houses*'
of and the the
of
Marie
Antoinette
French
'*
admirably
life. To
illustrative the of
her
spirit of
**
country
farm
gardens
Little coterie
make-believe the
at
buildings
Marie
and and
Trianon,
of friends attired Here
repaired
to
charming
play
' ^
being
milkmaids
' '
shepherdesses,
silks
and
in
was
appropriate
the is
costumes
of
and
satins.
keynote
of that
charming expressed
naive
artificiality
houses
architecturally nobility.
the smaller
to
a
in the
country
French of
should
oflFer who
siderable con-
suggestion engaged
the in
architect
is and
designing style
for
as a
semi-formal be
country
as
house,
chateau
may
regarded
house
at
reasonably
a
appropriate place
entertainments intention
magnificent
where
such
Newport,
are
elaborate
and
and the
in
order,
where the of
is to and
recall the
the
splendour,
manner
lavishness,
the
court
luxury,
Louis The XVI.
grand
case
is due the
again
case
of
scenery,
of
trived con-
consideration
owners.
life to
be
by
the
large
may
American be
or
an
country
architectural
chateau
type
expression
"
absolutely according
set
appropriate entirely
to
absolutely
kind of life
propriate inapit is
try coun*'
the
intended
to
off.
'''Biltmore,*' the
Vanderbilt Ochre
place
the house
in of
North
Carolina,
Brown,
and
at
'*
Court,
are
or
J. Nicholas of American
Newport,
of
lent excelFrench
man-
examples
chateau
as
adaptations
for their
the
commendable
architectural
"nd
"ucccHfu]
"
introduclion
m
HD
of
Americui
Ibe
Spaniili
moDumeatAl
paiio,
or
""
[DUDtun. (The
buiLdini
D.
Pun-Americsn
fnioD.
Waahinctnn,
C.)
53,2
m.
Si
if"
Ell
Hi
it
i1
?|
I"' I
SMfa
Omr.
Arrhllct
BalMcr
THE
"AMERICAN
EMPIRE"
STYLE,
REVIVAL
PURE IN
EXAMPLE AMERICA
of
OP
THE
CREEK
CLASSIC
Tb"
Iu"a
ft
folumu pun
an
nplicu
Doric ol
fiom
the
monument
dueinf
flundclBbr*
Gr"k rail
column, dMi(D
Row.
with
French
LyncnUa Empire
in wremtlu
Atbena.
in
tbs
rntrkOM
introud
(be
IricK.
iron
tod
Pompeisn
New
York
City,
built
in
1836)
LATIN
DERIVATIONS
169
or
French
style, have
many
been
extensively
American and the
utilised
in
as
design
be XVI and
seen
of
of
the
largest
hotels,
in
the
ninth
chapter,
the
style of
many
has suitable
furnished
inspiration
and
for
city houses
the
more
shop
fronts. of French of
a a
frivolity of
is and
extreme
type
to
excellently
suited
the
design
to to
restaurants,
to
where the
it is desired and
gay
offer effect
patrons,
for much in the
background
from
too
gatherings.
hotel
inevitable
frivolous ninth
to
pointed
out
chapter.
the tecture archidevoted
France
paragraphs
in the fourth
the and
great
the
Ecole
ter, chapto
foregoing
designed
of
point
out
the
necessarily
as
artificial
to
position
French house. of
architecture It America
It
was
related
the
country
architecture
Uttle
Spanish
tions. derivano
is true
Renaissance
as
Spain
the
produced
native
Italy, yet
enriched
genius legacy
of
strangely
many
by the
Moors,
of
architectural further
forms in
well
this
worthy
country.
adaptation
and
development
Spanish
features,
of residence in
architecture both
or
possesses
certain In
plan
and
detail.
plan,
or
patio,
open
courtyard,
use
is
characteristic.
for
In
detail
of
wrought
balconies,
There
railings
the
grilles is equally
characteristic.
as
is,too,
the
same
pitched
tile
roof,
found
in
Italy,
preva-
170
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
lence of
of
stncco
wall
snf aces,
but
no
such
frequent
use
loggias
Most
and
terraces.
Spanish colonies,
houses,
whether the
as
well in
town
as
those
or
in
the
old
were
Spanish
built
as
country,
somewhat
no man
after
manner
of
private
or
fortresses,
secure
though
trusted in which
his he
fellow,
dwelt. but
felt
the
were
community heavy
and
outer
forbidding,
and
a
with
windows, grilles.
these
street
small, high
door
was
protected
by
massive,
iron-studded
"
huge
bolts but
and
actual
ponderous siege.
locks
barrier
Whatever
was
gentler
lavished
gay centre.
on
of
domestic
or
architecture
existed
was
patio
inner
court,
which
with
flowers, and
Into
of
by
the of the
fountain
galleries
the
patio
master
opened
chambers
house,
floor
the
usually
while domestic the
occupying
servants
the
first
ground,
the
dwelt of the
below,
performed
the
court
duties
household
in
itself.
Many fountains,
but indoor
Spanish
and the
patios
are
beautiful
with
flowers
and
quaintly
greater
where the that
was
devised number
galleries and
resemble
and
a
arcades,
sort
were
by
far
of
barnyard,
secure
cattle, horses
main
outer at
poultry
over
kept
One
within
suppose
door the
was
night.
this of
must
Spain,
time
a
when
type
evolved,
The tradition
country
brigands. plainly
of is to of
the be the
protected
seen
patio, with
earlier United attack be whereas
apparent
and ranch South
need,
houses America.
in
the
of
or
In
by Indians burned,
the
brigands,
taken
outbuildings
and made
could
ily read-
live-stock inner
court
great
it
loss
sustained,
for the
plan
possible
Illiy
|lf|lV
riri-2
BS-g-z
rf?S
HI
^3=
'I
LATIN
DERIVATIONS
Bl.KN'DING
ITALIAN
MOTIFS.
SPANISH
AND
CoIoutihI
temnjottK
dEtHJla
of
Cbiraga
afficf
buildinc.
dencDed
id
riel
LATIN
DERIVATIONS
171
unprotected only
four
householder
in walls
outlying
and
a
districts,
stout
to to
offer the
forbidding
door
marauder.
To-day,
of
however, property,
of
when the
no
need
exists
an
for
such
tection pro-
patio charm,
offers
architectural
opportunity
residence. with
peculiar
especially in the
is
private
nised recog-
This
opportunity
zest many
being
yearly
of
our
greater
well
as
by the
in the in
Pacific
In
warm a
coast,
as
East.
country
climates of the far
dwelling
of the
prevailing
coast,
or
Pacific
may
the
a
states
South, beauty
patio
of
well
be
made in
spot
of
engaging
lives of
real
significance
shadows
cast at
the the
daily
rounding sur-
the
occupantia.
will its of
a
The the
by
most
walls of the
as
render
patio cool
area
hours
the
day,
and
restricted
very
will kind
make of
possible gardening,
ing interest-
contrivance well
as
intimate
the of
selection
of many and
attractive
and
types
In form
informal
semi-outdoor the
furniture.
public
of
a
buildings
patio
in inner the
usually plan
rooms.
courtyard, lighting
serving,
to
of
to
afford
the the
possibilities of
lost
patio, however,
function of
may
utilitarian
light-
shaft, which
attractive The Italian with
a
by
reason
the be is
numerous
treatments Boston
which Public
effected.
Library
really
an
flanked
centre
by
of
cloister-like
a
loggias, plot.
is
one
and
in
the
grass
A of
truly
the
Spanish,
most
Spanish-American,
attractive Union architects and
patio
conspicuously
the C. Pan-American Here the
appropriate
in
open
features
of D. with
'Building
devised
an
Washington,
space, rich and
tropical
verdure,
flanked
by
open
stairways
172
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
balconieSy
the
centre
and of
with tiled of
great
fountain
playing
strange
and
in
floor,
ancient
appear
interesting
The in the American
figures patio,
American
however,
been its
strangely
Italian
architecture,
has been than turned
to
courtyard
have
fared
better, Italy
for
eyes
more
architectural
Spain.
as
architecture, adaptable
and to
well
as
that with
of
Italy,
is tile
construction
hollow
of
stucco,
with
the of
increasing
both these
popularity
Latin
these
the
spread
derivations
Italian
villa
in
or
the
Spanish
casa
can
never
occupy
place
with
our
architectural
thought
country
entirely because,
but
comparable
as a
the
not
English
of for Latin these based
house,
race,
we
are
extraction,
types,
very
as
Saxon. French
Our
esteem
well
as
chateau,
association
will and be
be
largely
aesthetic
upon
upon
superficial
and
into
attraction because
they
"
will
esteemed elements
accepted
our
they they
bring
are,
foreign ancestrally,
life
"
^not
because
part
of
our
life.
CHAPTER
NATIVE
AMERICAN MIDDLE AND
"
VIII
AECHITECTUEE
OF AND ARCHITECTURE. THE NEW
AMERICAN
TYPES CHARACTERISTIC
ENGLAND,
SOUTH. CREOLE
THE
ATLANTIC
SPANISH WORK SOME IN COMMENTS
STATES,
COLONIAL
MIDDLE ON
IST "SECESSION"
WEST,
THE
THE
CRAFTSMAN
IDEA
"
AND
BUNGALOW
DESPITE
and
the
continned
and
pronouncement
who
no
of
critics is
**
architects
bewail
that
there
no
national fact
style/'
truly ''American
there this exist
not
one
architecture,
type,
these would of but
the
remains
that
to
several
types
peculiar
as
country.
And
types,
call
considered their
to
''
divided
should
by
what
a
habitat/'
architects
at term
a
afford
inspiration
It is
our
throughout
to correct
* '
country.
loose
important
the
' '
outset
and
often American
proper
misleading
Colonial,
more
and
to
divide with
early
some
buildings chronological
to
a
little
accurately,
This of
distinction.
extent
division
may
be
a
made
great
of
irrespective
of native
locality, and
tecture archiand West
consideration
the
types
of
American East
characteristic
may then
North,
South,
be
a
better
understood.
matter to
It
is
common
hear Civil
as
any
American
ing, build-
of
' '
date
' '
prior
which
were
to
the be
to
War,
as
designated
it is rate, inaccueven a
Colonial,
if
would
absurd the
people
give
question
moment's
thought.
evolution its of native American
The from
more
architecture,
through
a
necessarily developed
afford the
primitive
beginnings,
is
its
highly
and
to
manifestations,
a
consecutive
tunity oppor"
one,
would
peculiarly
of the
interesting
American
study
history
people
173
^if
NATIVE
AMERICAN
ARCHITECTURE
175
The in the
of the the
on
French
and
Spanish
Creoles in
are
Louisiana,
Southwest
as
early Spanish
the Pacific the
missionaries Coast
"
these
of
varieties
separate
as
from
are
architecture in
the
teen thirand
they
in
interesting
course.
themselves,
taken New
up
due
England
demolition
'^
the which
rigorous
goes
climate, inevitably
as
well the
as
yearly
progress,
in
wake homes
have
few
examples
for this
of the
reason
the
earliest
to
colonists,
the
we
are
likely
as
picture
type
of
New
was a
England
evolved wealth of in
type
of
house
the
which which
Georgian
times, and
seen
examples
be
to-day.
The earliest New
England
of is
houses
were
strange
houses in
and
interesting
off-shoots it
contemporary
land, Engand
modified,
limitations. One of their
true,
by
local
necessities
most
conspicuous
The
comer
characteristics
was
sturdy
were
posts
inches
tenons
of
square, and
the
frame
U-
twelve held It
and
fourteen with
heavily dowels,
many
or
braced,
wooden these
together
has been
discovered houses
were
that
of of
a
early New
half -timber
England
actually
behind The
"
English purely
frames with
construction,
mask of
stone
concealed
superficial
were
clapboards.
and
mortar
heavy
sometimes with
brick, the
laths
surfaces
rough,
sheathed
hand-made with An
was
plaster,
English
as
tradition
as are
U-"
the
second
story,
windows New
well which
the
to
small be
seen
diamond-paned
in the earliest
casement
examples.
England
houses
176
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
._\
with
gambrel
of
roofs
nearly
all
belong
to
the
earlier
period
As
New
England
grew
Colonial
more
architectijre.
prosperous,
the of the
country
colonists
the
ture architecMore
developed
route
correspondingly.
between them
an
perilous brought
the
Old
and
the
World,
and
with
ever-increasing
more
artisans, trained
characterised
in the the
cated sophistiof
architecture
Georgian
The Puritanical
England.
New in
England
their
houses exterior
more
were
still
save
severe
and the
trance en-
aspect,
more
for
which
became
and
elaborate.
Classic
a
columns curved
or
or
pilasters pointed
Beneath
flanked
the
or a
door,
supporting
moulded often divisions.
pediment,
the with
treatment
deUcately
there
or was
entablature.
pediment
wooden
was
graceful
The of and usual
fan-light,
exterior
leaded
complete
sheathing
green
a
white-painted
the whole
clapboards, four-square
roof.
common
shutters house
were
painted
with
roofed other
low-
pitched
course,
shingle
the
most
There
types,
of
being
and
the
barn-roofed
plain gable-end
whole exterior. houses
or
the
more
utmost
simplicity
of
The
were corner
pretentious
often embellished
the with in
England
**
quoins,'*
to
stones,
the house those
fashioned
of
some more
and
intended merchant
distinguish prince
from
ous prosper-
of
humble
neighbours.
An
interesting
is the
"
peculiarity
of
the
New
England
exterior from kind the
may
house and
oft-met-with
a
disparity
which of rich the and
would most
interior
to
house
road,
disclose
be
farmstead the
most
within
intricate
carved
work wood-
and
panelling.
NATIVE
AMERICAN
ARCHITECTURE
177
The house
as
writer
is
the
old
son Robin-
of Bhode houses
an
Island,
in that of
not pass
rooms,
well
as
very
early
New
vicinity.
the
utmost
Robinson
house
were
simplicity, and
the
architectural of the
explorer
suspicion
beautiful
panelled
and
pilasters,
balusters famous
in
fire-places
the
entrance verge
twistof this
'
old
mansion
simple
to the
of actual
poverty
New
its appearance.
houses
an
England
with the
will of
all be
found of
to
have
been
designed
caused
of
idea
to
conservation
heat, which
in the
centre
chimneys
be
on
placed
an
always
wall
as
the
case
house, instead
in houses
same
of in the
outer
was
usually
colonies.
the
middle of
and
southern of
This the
necessity
entrance met
conservation of New
were
heat
made
^^ a
"
spacious
seldom
the
Southern
feature the
upper
England.
most two
to
portions
house
steep,
ladder-like in the
walls, especially
with many
humbler
The
more
larger
house,
fireplaces, often
efforts in the
conspicuous
of the hall
architectural and
the
development
hall
stairway.
When architecture the it is of
a
remembered New
that
the in
early
itself
American be made
ent appar-
England
and be
might
subject of
that much
lengthy
must
interesting book, it is
left
to
unsaid, give
a
and
that
in
the
present
the
most
chapter
salient
it is
possible
picture with
only
high-lights.
architecture in New
:
Late famous of
Georgian
England
Samuel
;
saw
two
early Americfin
and Charles
architects
Mclntyre,
the former
Salem,
12
Bulfinch,
of
Boston
178
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
noted second
for
his
influence
on
residential in the
architecture, design
of
the
for
his
achievements
public
buildings. Mclntyre,
endowed with
really
master-carpenter
taste
and
builder,
of the
note
exceptional Georgian
of his time of the the
and
appreciation
infused
a
contemporary
architecture
of the
architecture,
in
New
in
England
Brothers.
strong
In his
Classicism
Adam old
work,
and
seen
comprising, mantelpieces
the
urns,
notably,
of
gateways,
doorways
are
Salem,
Massachusetts,
the
to
be and
the
of
more
medallions,
pure
scalloped
fans
flat
sunbursts
a
Adam
inspiration,
more
treated,
than
New
all, with
terised charac-
little
virility, a little
Adam of of
' '
weight
It is the which their
prototypes.
Samuel
most
England
Mclntyre people,
In
a
constitutes, in conception
's work
minds
of
Colonial
architecture.
reality, Mclntyre
was
entirely
with work
of
Georgian,
a
transplanted
part
of
New
associated The
certain Charles
of
Bulfinch
lay
the
mostly
in
the
design
Capitol,
the
most
on
historic famous.
'Beacon Bulfinch
is
a
perhaps
designed by
sound
vein
essentially principles
Classic, and
in
governed
and influence
excellent
planning
and
was
composition.
on
His
ideal
was
dignity^
of bases his of time
his
an
the
younger
architects Classic A
I
one,
making
for
architectural
New
thought. England
structure
characteristic wooden
so
is
the
white-painted gleams
so
church,
whose
quaint seaport
steeple
and
to
among
many
grey-roofed
streets
towns Maine
many
elm-shaded
of is
a
villages from
type
often of direct
Connecticut.
Here, based,
in
again,
a
English
man-
derivation,
naive
and
primitive
NATIVE
AMERICAN
ARCHITECTURE
179
ner,
on
the of the
works
towers
of
Sir of of of
a
Christopher
these New
Wren
in
England. churches,
Most
with
the
England steeple,
tower in
are
addition character
shingled
beautiful
of the
the
general
State The
the
of
old
House,
towers
rose
**
Independence
over
Hall,*'
Philadelphia.
of the
the of this
**
entrance
front
church,
the
a
ascending steeple
was
in
series
diminishing
sometimes
'*
boxes
until from
reached,
designed
springing Many
were
delicately
wooden
lantern. New
of
the
early
churches the
tower
of
England Trinity
to
beautifully
in of
designed,
Bhode
of
Church,
be
one
Newport,
the finest
Island,
being
conceded
examples.
All of the
early
date of
churches
of and
this
type
were
earlier
strange
incongruous by
* *
clumsy
* *
carpentry,
called
' *
Mr.
Cram,
be
cleverness,
front made
Grasco-Baptist.
of
...
It cannot
mistaken: columns
porticos
of
four-foot inch
cal Classi-
seven-eighths
and
pine
stock,
like
neatly
a
nailed
to
together
incautious
painted
kick
green
white, echoing
the
drum
the
of
heel;
to
a
slab the
sides,
round-
covered
with
clapboards,
and
at
a
blinds bit of
topped
windows,
up the
little
brick in the
ney chim-
sticking days,
bell.*' stood
the
stem,
cote
where that
once,
happier
Sanctus
little
housed
Disregarding
* *
these
blundering
' '
examples
builders do in well
of
understood misand
Classicism, England
most
church
small
to
ber remem-
historic that
prayer
was so
proper
house which
of
be
designed
built
more
lines
of that
"
sincerely perhaps,
more
^better trained
designed, architect,
refined lines
to
by
refined
delicate, tapering
180
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
wooden
**
tower,
American small
a
yet
in
the
essential
element
of
style,
an
Early
Few
Church.'^
parishes
church do
more
can
aflFord
not
a
good
Gothic
the the
church,
gation congre-
and
if
Gothic would
be
to
good
services
one, in
well
hold
or
Nothing humanly
country
sham in
is
pathetic
repellent,
than
to
speaking
behold and
a
and church
architecturally,
which is
a
vainglorious expression
"
pretentious
Shaving departed
of
not
a more
arrogantly
sincere
and
generation,
from the There
more
within church
thinking
it is
an
no
distance
sophisticated
futile
stupidly
aping.
is, in such
a
pretense,
and
attempted
glorification of
of
purse-proud
parish,
glorification whatever
A New
to
Deity.
manner
England
be
**
architectural
as an
which
**
come
regarded
actual
name
style
*'
so-called earliest
Harvard'*
type,
erected
the for
derived old
from
buildings
the
University
Cambridge,
These and white
accent
Massachusetts.
buildings given
In of
were
of
brick,
door
very
simply
window the old
handled,
trim Harvard esting interand
by
white
and
cornice.
were,
general
course,
character,
buildings
English, with
It
certain
**
is of
from
that the
to
modem
use
times of
first) revived
relieve
In
the
bricks
the
monotony
of the
large
ends in of when
of wall.
must
burning exposed
in
bricks,
to
be
the
fires
kiln,
grey
discolored
up
various At the
shades time
were
blue,
the
purple,
at
scarce
to
black.
buildings
was
Harvard
a
University
to
erected, discarding
too
material
allow
of
NATIVE
AMERICAN
ARCHITECTURE
181
with random
an
burnt with
ends,
the
so
these
were
built The be
into
the
walls
at
other and
bricks. is to
effect
was,
as
naturally,
the
interesting
present
to
one,
regarded
origin
colored
of the
variety of harmoniously
in
more
bricks,
When
be
greater
detail
in
Part
11.
very
brick
threw
plentiful, bricklayers
burnt
stupidly
in the
all the of of
bricks, using
or
them
only
drains,
of A ideal
wall
foundations
beneath
the
ground.
long
and
period
aim
was
lowed folto
which wall
bricklayer's
uniform
* '
lay
any
up
absolutely
of for
* *
jointing,
' ' * *
devoid
texture.
of
' *
suggestion
It
was
color the of
"
or
interest of of from
or
left that
architects the
charm
came recurrence
our
own
time
to
discover
the
much
the the of
brickwork
* *
in
' '
old
buildings by
to
as
a
accidental bricktexture
diversity
ends. in of This
as
the
new
burnt and
interest realisation
in
brick, forming
soon
to
possibilities
with burnt
patterns
became
as
in
brickwork,
sought,
and and
ends of
highly
specified, instead
rejected
The
**
inferior.
Harvard" in
style has
for
been
very
successfully
and
developed
many
designs
of
other
types
building
was one
the
desired
tectural archiand
expression
interest. studied of ^let
to
us
dignity, simplicity
brief review and what of
Having
architecture Colonial
message
"
this
necessarily
"
the
New
England
if
Colonial
Georgian
may
discover,
architect
or
possible,
home
be
its
the
the
builder
of
to-day.
It is
this
New
a
England
of
architecture and
an
of
Colonial
times basis No of
affords
wealth New
suggestion
admirable of
design
of
for
England
buildings
to-day.
type
NATIVE
AMEBICAN
ARCHITECTURE
183
able,
New
homelike
entirely
builder southernmost there
are
desirable of
house
for
the
England
South
of
to-day.
of the New
England
parts
another
as
states, Connecticut,
of New
apparent
in certain
traces
York of
State, and
American
New
Jersey,
"
of
type
*'
early
Colonial/'
house
^the
type
known
Dutch
Thaaa
t}]^ furm
fmn
hmiRAftj
if} the
whi^h
hold
mnoh
nf
intftrftfli-
architect
on
of
to-day,
Island
are
to
be
found
on
Long
on
Island,
both banks
even
Staten of
(old
Dutch from
*^Staaten'')j
New York The of the
most
Hudson,
Mohawk
northward
City, and
familiar
up
the
Valley.
of
the house
superficial characteristics
is the roof-line the
"
Dutch
sweep,
Colonial
low^^
In
near
graceful
harsh the the the New the
steep, of ten\
houses.
* '
gambrel
Dutch
early New
roof
England
the
* *
Colonial
and
gambrel
the
shoulder
is
\
^
ridge-pole,
shoulder
to
longer
sweep the
nearer
is downward
* *
from
* '
the
eaves, is
while
shoulder the
eaves
of
the than
England ridge-pole,
and the
gambrel
which
lower
usually
the
makes
upper
slope
to
slight
a
pitch
steep
The
shoulder
eaves,
Colonial
modest
small
size, and
addition Colonial floor
accommodate
families
by
the
successive
wings. placed
the all
plan
the roof
ground
for
utilised the
space
the houses
low
were
storage.
with
a
type
under
developed,
the
built
half-story
roof,
means
lighted
of small
and
ventilated
at
were a
(most
the
inadequately)
of with the full
a
by
windows it is the
level built
floor. second
few
houses, though
true,
as
story,
set
type
type
connotes
low
building,
184
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
close
to
the
ground
low,
and
rendered
contour
essentially
of
by the diversity
The look
across
graceful
materials
its roof
of
building
used
natural
to
building Holland,
was
material would be
Dutch,
in this
if
we
brick,
to the
new
country
manufacture the work
brick
most
difficult
obtain, although
governments
its
was
encouraged
is often bricks Holland
no are
by
of all brickbeen
colonies.
in
shown
early American
out
as
which
over
pointed by the
was
having
brought
Some often made Holland of
as
on
first
Dutch
settlers.
this
brick,
doubt,
far
the
actually
greater
and
imported,
was
ballast, but
this brick side because of
by
quantity
is
were
the Holland
Atlantic,
taken used
for
dimensions
in
its manufacture.
Failing
made and
to
use or
obtain of laid
brick,
local
up
the
Dutch either
Colonial
builder
ready dressed,
Some
stone,
in rubble
houses
carefully
squared
masonry.
were
Dutch
Colonial
built have
entirely of
survived
wood,
the
/ I
though
comparatively
The
few
of these
years.
interesting
the fact
peculiarity
all four
of these walls
were
houses,
be of
however,
different of
lies
in
that The
may
construction.
as
gable
ends
was rear
usually
most
stone,
well
a
as
the of
front, which
stucco. stone
often be be of
treated
with
or
coat
The and
might might
wood,
in the
walls
of house.
brick,
In
wood the
used
same
studying
to
Dutch whether
Colonial
or
it is often front
eaves,
determine
an
not
porch,
is
an
by
additional
to
projection
the with house and
of
subsequent
Houses with
of
coincident
are
construction. both
so
porches porch,
New
met
equal
frequency.
however, England
conspicuous
in all
by its absence
is
out throughto
early houses,
peculiar
the
NATIVE
AMERICAN
ARCHITECTURE
185
Dutch,
and
forms
the
origin
of
this
essentially
ican Amer-
European
prototype
as our
for
the
of
porch,
even
loggia,
extends
and
journey
we
architectural
observation American
southward
more
will
perceive
those Dutch
two
early
of the
porches
American is Creole minor
nearly
than
resembling
even
present
Attention Orleans
dwelling
the
the
type.
New
directed
especially
villas the
to
old Two
plantation
details of
teresting in-
house,
door and
both the
widely
saw-cut to
employed
wooden
to-day,
shutters.
are
the Dutch
The
iar is familso
all
"
cut
horizontally
may
through
open
its
to
that
and
the
upper
half the
be
thrown remains
admit
to
light
lower
closed
or
prevent
of
the
straying
poultry,
The of solid
the
egress
would-be
children. forms
been
shutters,
crescent
with
apertures
and other
in the
hearts,
moons as an
devices, have
yet
very
recognised
detail
for
to-day
many
a
inexpensive cottage.
became
attractive the
modem America
As
(more
architecture
of
Colonial
developed
detail and
along
Classic the
lines, with
work of
a
Georgian
such
men as
Adam
spread through
many to grace
through
the
Mclntyre
of
ways
agency
of
few
good
and
books door-
designs, began
farm with
charming
the Classic
mantelpieces
rather
\y
V
previously forms,
freedom
as
primitive
were
ren-
Dutch dered
were
house.
an
however,
and
interesting
the
most
so
individuality
rather
"
used,
for
part
that the
suggestions
architect his
a
than
may
working
find be in
much
models,
of
of
to-day
As
interest, well
from in
a
worth of of
study.
who in
might
expected Holland,
and
the free
we
hands
use
people
delighted,
ture architecthe
bright
many
colours
furniture,
find
interiors,
unlike
186
THE
PRACTICAL
BOOK
OP
ARCHITECTURE in
prevalent
various In
chaste
of
of and
New
England,
green.
carried
out
shades
olive
adaptability
uses,
of
the
Dutch
nial Colofacts
present-day
certain
to
striking
the
should
needs the
be
apparent.
very
Designed
fulfil
primitive
farmers,
would
to
come
of
Dutch
unpretentious
house desired" of
Colonial
to be
it
stands fail
leave
up of to
much the
would,
even
indeed,
the
requirements
moderate
cottage
to-day.
In
the
Dutch in
Colonial
house
wider
acceptance
locality
the small
present
accorded
comparatively
It in
possesses
inexpensive
a an
suburban
local
historic
appropriateness
and
which,
itself, is
invaluable
asset,
of
or
its
resque pictuare
lines, peculiarly
such that
may
a
expressive
size due
domesticity,
of ample for
house be In
of diminutive with
tions propor-
designed
no
regard
stylistic
propriety. however,
used
as
flight of architectural
the for Dutch
a
misconception,
type
of
could
a
Colonial
house mansion.
be
model
stately and
architects
pretentious
have of attained and
Several
success
American in the
in
uous conspicmediumfarm
rendering style of
as
small
sized
dwellings making,
and among
the
Dutch
as
Colonial
house,
with
much
as
grace
possible,
found
such
additions
these
seen
been the
sary. neces-
has
addition Dutch
of dormer farm
rooms.
(never
in
original
the
house)
In many
to
height
upstairs
the
profile of
to
these head-room
contour
dormer
on
windows,
the second
effect Dutch of
the
proper
of the and
gambrel
such
general
effect
simplicity,
even
NATIVE
AMERICAN
ARCHITECTURE
187
minor and
details Dutch
as
quaint
Dutch
may
/
hardware, proclaim
Dutch
source
door of
shutters
the
inspiration. Immediately
Island
on
of that
territory
near
Manhattan
where
Colonial there
American
architecture,
another
of the
type
"
type
necessarily
complex by
by
the
nationalities
western to and
represented
southern
came
early
to
colonists.
New
Jersey,
Pennsylvania
Swedes numbers
were
Delaware
The
English,
Welsh,
in
and and
first
predominated
localities
but
in certain
in
there
conmiunities social
entirely distinct
and such
their
observance home
of
language,
religious
names as
customs
of their
countries. and
To-day Athyn,
Geran
'Bryn original
a
Mawr,
seats
Cynwyd
of Welsh
Bryn
bespeak mantown,
all-German and
the
now
colonists. but
part
of
Philadelphia,
bespeaks
left such the
originally
settlement,
the
* *
early Teuton
as
nist, coloGloria in
arts
Swedes Swedes
of
have
* '
monuments
Dei,
many
or
Old
Church,
plainly
the
Scandinavian
of
points
Swedish
its
design, and
in many
imprint
of
native
and its
names
parts
Philadelphia
and
vicinity.
It is
not
strange
left
that
these
varied architectural
nationalities
should since
the
have
each
equally
to
varied
some
legacies,
of
observed,
country.
sometimes would
extent,
of
the
traditions
home
The
study
these
national
traits,
blended nately unfortu-
however,
or
modified,
out
detailed
study
review. certain
of
proportion
can
the
to
present
The
writer
hope
only
mark
point
**
out
salient
characteristics of
which
as
the
Pennsylvania to-day
as an
dwelling
for
it may
be
regarded
modem
architects.
188
THE
PBACnCAL
BOOK
OF
ARCHITECTL'KE
Staunch
and
so
skUfnl
even
stone
Imilding
houses
workmen
was
Welsh
to
tradition,
constitute
In
that
the
models
was
are
found
of
admirable
the
to-day.
early
times, brick
the at
as
plentiful
as
it became such
as
later,
still
while
local
ledge
stone, Hill,
near
especially
is
quarried
itself
Qiestnut the
most
Philadelphia,
permanent
sented pre-
available
building
materiaL
An to
one
early
seen
Pennsylvania
"
house
of
the
Welsh the
type
is
be
in
Wynnestay/'
which Salient
forms
subject of
are
of cited
the
as
illustrations.
a
characteristics of aspect,
in many
an
to
be of
general
sturdiness
echoed of
honest works of
kind the
simplicity
admirably
architects
Philadelphia
is worthy wooden
must be of
to-day.
and
The
stone-masonry
as
special study,
and
such
details
over
the the
solid doors
shutters remembered
was a
the
as
quaint
hoods
characteristia
local
certain houses
"
resemblance
traceable lower is
New to
in
farm
of
^a
Pennsylvania,
which
Jersey
noted
Delaware
in
resemblana^e of colonists
be
the
homes
of
varying
the
exterior
walls
of
many
of
these
were
houses,
left in in the and has the
with
white-painted
stone,
*'
window
were
frames, roughly
natural
some
stuccoed,
called
roughcast**
This
by English
architects,
device
of
whitewashed. been
very
interestingly employed
in
primitive by
successfully
local of the architects
several
present-day renderings
wealth
and and
their of
admirable the of
modem As
historic
type
took the
in
vicinity.
sophistication Quaker
lost much
place
comparative colony,
On the
poverty
architecture
simplicity
of its
were
Penn's
original charm.
pompous
honest
rough-stone
houses
grafted
Georgian
THE A
PROTOTYPE
Colanikl
PennsylvmuB
near
dwelUnc
built
("WyDDHtsy,"
FhilsdFli"hi";
Chajlia
BarluD
Keen.
ArcliJtHt
THE A
DERIVATION
id
Diodtni
FiniuylTaiiU
dwcllini,
niintiuiiiDc
it*
dsam
tbe
"Urlinc
qualitlH
ot
iu
prototype
Tbadnlliof
olRevalutioDiry
diyBin unlike
Amerio any
rurDislieB
pncedcol
far
"
type
of
hi
Europcso
type
NATIVE
AMERICAN
TYPE
TYPICAL
OF thnw
._..
THE
BEUT
GEORGIAN
ARCHITECTURE
wu
..^...
IN
(or thi"
AMERICA
b
b
PhilulFLphiB
.c
ceiitlBniBn
reRwiuiblc
...
nmuksbly
^__
...,
beat
G'Hir^uk
-"^^
Ball."
Pbilulelphik)
NATIVE
AMERICAN
ARCHITECTURE
189
doorways
and
Classic
upon
details
modest
thrust farm
saw
themselves, dwellings.
erection of
often The
many
ill-advisedly,
Georgian
fine but and the
period,
of
course,
the
stately mansions
most
as
of
high
architectural
merit,
of sylvania, Penn-
charming
the local
legacy
interpreted
several of
it, is
the
the
Early
Colonial
type,
shown
illustrations. The
upon
environs the
of
Philadelphia
taste
are
to
be
good
of the native
group
of architects
have
consistently
of has suburban
not
local homes.
precedent
This of made
a
design
country
the
only
continuity
but has
worthy
for
so an
and
appropriate
effect absent
type
of in
dwelling,
agreeable
architectural
most
consistency
of of America. A
parts
suburbs
through impress
been
the the
beautiful observer
a
Philadelphia
that
here
with
the for
thought
the
evidenced
respect
continuity
it is
proper
of
development.
been be. life
The
houses,
modernised,
The have
needs
which, indeed, it is
and
requirements expression
in
of
a
modem
been
given
dialect.
delightful
architectural Mention
should
be
a
made
here
of
the
Anglo-Pennwhich works is
sylvanian
most
type
"
picturesque
in the in been much
architecture
notably
Wilson
expressed
and
always
of the
interesting
work of
In
of
Eyre,
who forms
younger
architects
we
have
inspired
by him. honestly
of
this
style
in
times some-
find
distinctly English,
and with in local the idioms
rendered
local
materials blended
expression, type.
due
to
Native
Colonial
That the
the
pre-
result
is
entirely pleasing
is doubtless
190
THE
PRACTICAL
BOOK
OP
ARCHITECTUKE
dominant
Anglo-Saxon
strain
which
is
still strong
in
Pennsylvania.
Fnrther
sonth, in Maryland,
the the
in The
Virginia
most
and
in
the
Carolinas, picture
of the of later
type
changes.
popular
is
a
mental
Southern rather
mansion,
than the
however,
earlier and
picture
type
less-known
plantation
The
**
dwelling.
first
were
colonists,
though
mostly
people by lack
of of
quality,*^
tremendously
and materials
handicapped
were
*
facilities.
scarce,
so on was
both
painfully
* *
original manor,
of far the
from
or
*big house
which later
stone
stood
years,
splendid
establishment
of
often in the
magnificent.
the
Building
had little
a
is
or
scarce
no
South,
Their
and
first colonists
little
tence pre-
brick.
to
dwellings,
and
was
then,
made
at
magnificence,
of
attained,
a
best,
of
certain
element
who
dignity
them.
as more
which
reflection
the
people
built
Later,
skilled
way to
ships
either free
plied
or
the
ocean
more
labourers,
the
new
indentured, possible
mansions
more
their
now
country,
owners
it became
to erect
the
wealthy
their there
were
plantation
estate.
ting befitthat
Brick
became
plentiful,
type
IJie of
seat
*
built
stately mansions
* *
of the
^ '
in
Maryland, Virginia.
or
Westover,
Byrds
An
in
appreciation
in
a
and
understanding
the
of
vogue
' '
The of
Classic
architecture,
part
of the of
Georgian
of
a
England,
so
education the
gentleman,
Greek
that lived
chaste in
dignity
the
ancient
temple
'^
again
Southern ried such
to
stately
*'
porticos
was
of
the
car-
mansions.
an
strain
later
on
**
often
as
extreme
'^
during
Revival'' Delaware
in
examples
as
Andalusia"
the
(a
hi
m
its
III
Us
NATIVE
AMERICAN
ARCHITECTURE
191
I)erfect peristylar
a
Greek and
Doric continued
temple,
in favour
as own
surroimding
for
some
dwelling
after
house)
the
time Thomas
Revolutionary
*s the
War,
for his of
evidenced
by
Jefferson for
design
home,
"Montiof
buildings
the
University
comparing
with that
the of that of
later
Colonial
architecture the
of
the
other it
was
parts
the
of
country,
for
it must the
most
remembered of
architecture,
part,
people
culture, means,
education. dwelt
a
ment, refineworked of
leisure the
and and
Slaves in
a
plantations,
master
sort
archal patri-
magnificence,
more
unlike
feudal
lord, though
The difference
were
like
prosperous
English
the
squire.
broad
that
planter's
instead of and
ease
acres
made
by slaves
of the
by
of and
tenants.
life
of
planter
his of
a
family palpable
reflection
was
rally natu-
considerable
dignity,
of such
it is not
surprising
to
find
of life in his
dwelling.
and like of
study
of
Colonial
Post-Colonial
the detailed
ture architec-
in the
South, however,
of
any
study
may
of the
architecture
and in
portion
the
America,
an
readily
book
interestingly
itself. We
can
form
subject of
extensive
do
little
more
than
place
it, here,
in
its in
relation
to
other
early
out
a
expressions
it may
America, play By
in all
and its
means use
point
as
properly
of
model Southern
architect
manor
to-day.
of the
the Colonial
plantation
as
Georgian
of
may
period,
well under
as
certain the
its later be
development
as a
Classic for of
regarded
of any
suitable
model
country
residence
American
gentleman
to-day.
AN The
EXAMPLE finsit
OF Dt of
THE AmericsD
PRE-RE
VOLUTION
ARY lecture in
ROITHERN
MANOR-HOUSE
wu
devsl
opine
Colonial
iicrhi
tbe
South
aloDRClaoii;
G"r(isD
("Whitehall."
Anne
Anindel
County.
Maiyland)
AN
AMERICAN
EXAMPLE
OF
THE
"CLASSIC
MANSION"
OF
GEORGIAN
TWO
EXAMPLES
UF
THE
CREdNE KNOWN
ARCHITECTIRE A.\(KRICAN in
thr f"I Sulllh
OF TVPE rombinpd
to
LOUISIANA-
iBflucnres
both
Fn-nrh
and
Spaainh
d*"lop
"
IJl
NATIVE
AMERICAN
ARCHITECTURE
193
glassware
grace
and
silver, taken
in the
overseas
by the fugitives
New
to
their in
retreats
strange
of
World.
the
English
the
colonies
''The
Virginias*'
cotton)
was,
and
were
Carolinas/* by
negro
plantations
and
as
(mostly
Orleans
slaves,
a
New
from
earliest
days,
in
busy
became
prosperous
trade.
The built
of
Creole
plantation
the
same manner
villa,
as
as
it the
was
called,
dwelt
was
in much West
plantation
as a
villas in
the
Indies. and
to
The
actual
was
house,
raised
by
master
his avoid
family,
malarial
story
ground,
dampness
the
at
night,
and many
ground-level
floor
contained
of
kitchens
unattractive
quarters
the
servants,
whom,
The villas of the
in cabins
plantation
old
French
hands. Colonial
aspect
of these low
or
lines
and
in the
with of
treatment
Stage porch
and houses
gallery,
its slender
these
turned New
simple
show
railings. Spanish
patio.
a
old
ence pres-
in the to
a
meet
the
now
tastes
and
of
people
life
our
vanished, (and
some
quaint
most
architecture
of
most
picturesque)
flashes has
of
city
may for
still the
interesting
of
inspiration regarded
than
many
a
to-day, who
historical
hitherto
it,perhaps,
document dormant
an
of
American
architecture
possibilities.
In
studying
in
native the
American modern
not
types
of
architecture,
of
at
a
especially
work of
our
light of
we
the
very
colonists, Spanish
must
early date
of
13
missionaries West
to carry
braving Christianity
the
to
gers danthe
the
Far
194
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
Indians Pere
down
of
the
Pacific had
Coast^
as
French
Missionary
it up and
Marquette,
the
taught
great
his
Mississippi
Fra
Spanish
faithful
with
many
left
possess
behind
us
them
a
great
buildings
now
for
to-day
strong
significance,
of the Pacific
being
appreciated
Mission
by the
architects for
Coast. needs
siderable con-
architecture,
modification
the
use
most
part,
for
to-day,
who
because the
those
early
monks
and
reared and
resque pictu-
buildings
were
churches
sadly
all the
handicapped
work but it had little
was
building performed
from crude.
facilities.
be
by
their There
their
new
hands,
so a
with that
assistance
necessarily
distinct
sincerity
interest There
were
quite dissociated
associated with
naturally
ful beauti-
early missions.
cloisters
proportions,
marked Some
stone.
charming
of
and,
in
in
general,
degree
brick
was
appropriateness
in their
these
buildings.
and
a
a
construction,
local
little
Adobe,
to
natural
clay,
was
material
was
ready
used,
Wall
hand
easily
with
worked.
Wood crude
were
a
little
and
nearly
were
always
quaintly
roofs It is
are
carpentry.
of the
gated corru-
surfaces tile
plain, and
in
familiar
Spain.
missions
our
little
not
remarkable
more
that
the
early
as
Spanish
one
widely
and able availcan, Ameriity, localentire
proclaimed
types
of
most
picturesque
of
American
architecture.
Spanishto
perhaps,
as
yet
essentially
for the
appropriate
architects
that
our
inspiration
Coast and
of
Pacific
Pacific this
Coast
of
peculiarly
interesting
type
extent.
EARLY Outer
wall or Sin Gabriel
SPANISH
ARCHITECTUKE Mission.
Lot
ON
CaUfortua
AMERICAN (ITKO).
The
S
i
Adk^Ivs.
"t^e'haa'pmfu^Jlylnfruenr^^modcrnarchiUrtural "^'"i"D
^
Tha
modim
Calilor
NATIVE
AMERICAN
ARCHITECTURE
195
blending
from
a
with
it many and
from
elements
more
directly derived
also
Spain
Italy,
a
and
have
developed
influence of
distinctive
type
in which in
strong
the
Japanese
is
apparent,
especially
Much
handling
is
exposed
added from
to
woodwork.
interesting
architecture of the
work the
yearly
the
San
as
residential
Pacific
most
Coast,
to
Diego
in other
to
Seattle,
of
and
danger
be of
feared,
a
parts
the
country,
In
is the
danger
lack
of
architectural is
unity.
American
architecture,
caprice
constantly
in
mean
militating
of local for be
against styles.
are
consistency, Consistency
endless
every
especially
need
not
the
matter
monotony,
to
we
there
and archi-
interesting
tectaral Most
as
variations
to
played
have
upon
theme
which
fallen Pacific
heir.
public
buildings
and
of
the
Coast,
few local
as
well traits
banks,
theatres,
the
from
"
like, show
similar ^local
seem
buildings
in other
of
the
United and
States
peculiarities, mostly
confined
to
interesting
architecture. Before
promising,
tic domes-
taking
up
three
distinctly modem
and
tinctly disthis
non-stylistic types
review should
up
of American
architecture,
story
the time of American
briefly
to
bring
the
architecture
date, bridging
native colonial
between
our
the
ent pres-
period
types, and
period
derivations.
Following
early Colonial
came
Post-
Colonial, running
established the Classic
through
the
of
as
extending
which in
far
was
fourth
chapter.
aroused
over
national at that
war
with
time,
caused
us
to Hence
turn
for
foreign
**
inspiration
style
"
toward
^ultra-
France.
the
American
Empire'*
"J
"
AMERICAN
TYPK
Fniin
no
developed purely
a
hiBtorle
style.
"nMur*!
growth"
AN
AMERICAN
TYPE
DEVELOPED
AM
AN
EXPRESSION
OF
THK
""PICTLRESQLE"
liu
unonhodoi
u^?l
E'"i'i^p^"D''ifrrhile"-tunil in'c"iris."Tl"'reB^1.'xainctin"e8"ple"
DeciKa
to
m"t
modern
AmericaD in
rpqulKmentg,
crcaiion or distinct
and
dnaga
nBtiunal
in
IdckI
malcristg,
bme
rcaiilted
Ihe
typn
MODEHN
AMERICAN'
COUNTRY
HOUSE
DEVELOPMENTS
NATIVE
AMERICAN
ARCHITECTURE
197
Chicago ready
ideas.
**
in to
see
1893 the
the
country
was
ready
new
for
change,
light and
np
accept
in
There
sprang
a was
Chicago
Classic
as
White
City/'
which
thing
of
beauty, bearing
a
yet
of
classicism
to
recognised
message
modernity.
The architects " of the became in
World's
the
Fair, notably
leaders and of the
McKim,
Mead
White,
and
architectural
thought
effort and
America,
present
From
era
of that
adaptations
time have
as our a
derivations the of
pages
an
commenced. of
to
the
present
the
pages
European
and in of
on
architecture
been
must
open
oft-consulted
a
book,
be
graphically
In of felt the
apparent
course
glance
through
there of
was
illustrations. certain
amount
evolution,
the
opposition
a menace
part
many
who of
that
to
freedom
lay in the
/
importing
for
architectural this
reason, many
appeared, American,
iarly peculkind of
and
evidently
expressive
sesthetic On
one
revolt.
page appears
a
typical American
1896
or
^ '
sea-side
as
in
even
thereabout,
also
interestingly
house such
as
(and
pleasingly)
it. Certain
conglomerate
architectural
country
shown
an
below
ideas,
English
a
expression work,
of
were
(usually brazenly
most
counterfeit)
thrown
of
half-timber
in with
a
fieldstone tUe
chimney
roof
"
the
informal tile
sort, and
and
Spanish
else in
reason
Spanish
work element of the kind better
in
only,
anything possibly
and fiance de-
profile.
of the
Much
very
of of
this
period,
by
recklessness
in the of
no
a
intention
architects, attained
of
values finds
side sea-
peculiarly
pleasing
in many
spontaneity
studied in
which and
counterpart
houses of
country
Rhode
to-day.
Newport,
Island,
is
198
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
Bar
rich *'the
in houses
of this
kind,
as
also
Harbor
many
in other
Maine,
ionable fash-
north
summer
shore,'* above
localities.
**
Boston,
and
The
picturesque'*
it has
house succumbed We
or
is
seldom to the
very
attempted
critics'
not to
^perhaps
merited
ridicule.
adhere
strictly
European
American three
no
styles,
types
"
to modem in
opments develthree
early
excepting
field
to
**
directions, and
architecture.
these
of
domestic
or
Owning
find
precedent
Craftsman" is
very
style,
we
Secessionist
and the
at
*'
architecture, bungalow,"
which
architecture,
a
dom sel-
bungalow
Middle
all.
The
West,
usually
and its
regarded
as
designating, developed
which of
men
specifically, Chicago
several
vicinity, has
of
strange,
well
interesting types
as
**
architecture of
a
might
who
be be
regarded
called in
' '
the
works
group
should
the
American
'^
Secessionists."
Mr.
Cram,
an
addresb
on
Style
follows sometimes
in
:
American
Architecture,
**The
paragraphs
"
them
as
Secessionist
one
might
even
"
call
him
Post-Impressionist,
to
Cubist,
and in
some
is the he
latest
most
be
introduced,
Unlike
ways
is the
his he
"
confreres
himself
we
in
Germany,
little
Spain
in
Scandinavia,
domestic whatever His work
shows ^f or
except
conservative he and
at heart may
seems
are
individuals habitat
be
"
^but here
to
be
Chicago
a
Coast, enmity
the
his
to
governing
conviction forms of
strongly
any
are
developed
Some
of
archaeological
of
kind.
the
Middle
West
some
striking, quite
of the work
on
novel,
the
inordinately Coast,
no
clever;
Pacific
particularly Personally,
around I do
not
Pasadena,
believe
is it is
exquisite,
less.
AN
EXPRESSIOK
the Middle
OF
THE
EUROPEAN havo
"SECESSION"
IN
AMERICA BDeDdeaT
NoUblyin
WcitC,
there
sppeHred
mnny
hauneg
which
cipren
ORIENTAL
INSPIRATION THE
IN
'BINGALOW
PACIFIC
ARCHITECTURE COAST
OF
FORMALITY
AND
INFORMALITY ARCHITECTLRE
IN
CALIFORNIAN
tyfHcal
Pacific
Coast trunka.
''BuuhlIdv"
The
ia
aevo
tbroudb
ii
ao
cntTum
latunJ
redwODc)
liungaloK
itself
coDitrueied
iuide
peri uid
NATIVE
AMERICAN
ARCHITECTURE
199
possible
forms and
wholly
to
sever
one's it
self
from
the would
past, its
be sirable. undeof
or
expression
On the best other
; and
certainly
the
astute
hand,
archaeology
Classic Out of value of
some
of is
our
modem and
work,
leads
Gothic,
stupefying
of these
two
the
may
interplay
arise.'' An
of
a
tendencies
will
convey
an
idea
of
the
ter charac"
of the
American
Secessionists of the
house
designed Lloyd
many
by the
greatest
work
exponent
has of
on
style,
Frank
Wright,
younger
whose
profoundly
Middle aim and
fluenced inWest.
architects
comments
as
the the
more
general
intent
survey
Secessionist '*Art
idea,
well
as
paragraphic
are
Nouveau'' in the
movement
reserved of this
for
concluding
chapter
portion
Craftsman''
architecture of
a
we
find direct
very
direct
simple
The
** ' *
expression
Craftsman
"
very
' '
and
simple
better be The lead of
idea,
^the
were
indeed,
the
might
a one
creed"
creed its
of
life. would
a
style is
which,
to
origin
"
William
Morris
^a
point
decries
to
which Its
recall
of
foreign
other be
ages.
exponents
tion associa-
maintain is and in
that
whatever in freedom
may
lost
in historic
gained
actual
from of of
constraining
a
* *
precedent,
with
nature
' '
establishment architecture
contact
itself. Nor
It is the need is
the
simple
life.
it be
supposed
a
that
austere
tecture archiThe
necessarily
framed
to
thing
creed
rugs,
as
is
include,
other both
necessarily,
of and the out.
furniture,
as
draperies
colour
and
fitments
home,
well
the
scheme,
inside
NATIVE
AMERICAN
ARCHITECTURE
201
actually
and
exist, excepting
**bnngalow'' Indian,
and
in
rare
instances.
The
of
real the
to
only
is the since do
one-story
this well
to
dwelling
is
Anglo-East India,
we
type
peculiar
the in absent
name,
will, perhaps,
in
at
forget
similarity
and unlike unlike exists of
name.
type
suggested
by
the
identity
as a
look
any
the
bungalow
distinct
type,
often
other The
dwelling,
bungalow,
and
quite
itself. in
many
are
in other
words,
all the
of
cottage,
which
virtually
we
which
type
it:
or a
take
Webster
or
defines
thatched
tiled, house by
as
cottage
single
story,
rate accu-
usually
surrounded
as
veranda" The
definition
of
enough
may
far
it goes. of hollow of
bungalow
and
to-day
all
be
of
fieldstone,
or
tile
stucco, of
its roof
frame be of If
construction, Spanish
one
even
brick, and
may
tile
or
of
shingles.
a
is
invited
at
by
friend
one
to
visit
him
any, see,
in
^'bungalow"
idea
*'
the
seaside,
of
a
has
little,if
he
may
of
what house"
manner
dwelling
from
portable
a
to
substantial
a
two-story
low
cottage.
to
as are on
a
Often
a
**
low-sweeping
will
cause
roof, giving
the
owner
appearance
cottage,
to
describe
*'
his
villa
bungalow."
story
and
a
Nearly
half in
all American
bungalows"
height by
"
that
means rooms
the
main for
floor, and
two
or more
provision
small is
windows,
the roof.
sleeping
a
A of
veranda
usually
since
prominent
a
type
the
dwelling,
and
it is not
or
a
bungalow
of
a
Anglo-Indian
*'
fashion,
"
cottage
seem
' '
week-end
were
type,
it would
* *
that
needed. and
may
Bungalow,
as
however,
is
likely
to
adhere,
do
well
as
anything,
of
despite
the
and flexibility^
usually
the
inaccuracy,
its
application,
202
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
bungalow
low-cost have
is
distinctly popular
on
type
of
erate modwhere
dwelling
the
a
Pacific
Coast,
developed
it is
it into
charming varying
country.
way,
livable of
affair, and
success,
essayed
every
degrees
The
more
in is than
nearly
of
the
bungalow
extensively
appreciated,
it is
popular
understood,
take it
a
and
if architects
more
and
prospective
and
builders
will
a
little
ously, seri-
develop
it very
it into
miniature fills
all-year-round
there
may
house
be
(a role
a
frequently
desirable
no
to-day),
evolved
highly
and
essentially American
to
nor
bearing
which
similarity whatever
its
name
the
affair
from
has
any
come,
yet
other this
an
architectural
type
in
other
a
country.
brief
At
presented
to
in
necessarily
form,
and be
guide
those
architectural
styles
may
types
possess
definite
form,
and
no
which less
subjected
to
definite little
classification, it is
critical attention
tant imporcertain
direct of
our
toward called
**
phases
subject which
' '
might
be
tural Architec-
Addenda. In
point
of
style,
comment
will
be
made
upon
that
upon
strange
the
movement
called
**L'Art
**
Nouveau/^
and
Secessionist
and will
(now
Modernist*')
movement
of
Austria It
Germany.
prove
interesting,
the results old
to
as
well,
have
to
come
direct from
vation obserthe
new
toward
which
application
architectural
of
certain
"
architectural modern
styles to
and the
types
tall oflSce
the
city house
loft
shop
vast
front,
modem
* '
the
building, the
hotel and
new
building,
American inventions of
' '
railway
and
terminal.
In
many
to
fulfil has
unexpected
lived
up
duties,
to
the
art
Architecture
splendidly
its
destiny.
CHAPTER
IX
NEW
STYLES APPLIED
TO USES.
FAMILIAR
"
USES, NOUVEAU,"
THE
AND
OLD THE
"
STYLES
SIONISTS" SECESTHE MODERN ROAD RAIL-
L'ART
"MODERNISTS."
THE LOFT HOUSE
CITY
THE THE
HOUSE,
OFFICE
BUILDING,
THE TERMINAL APARTMENT
BUILDING,
AND
HOTEL,
GREAT
NO
with
study
wonld certain of the be
of
stylistic complete
of
expressions
without
some
in
architecture
acquaintance
exist outside of the this
schools historic
design
which It is the
pale
periods.
to discuss
purpose *'new''
chapter,
and been in certain added
therefore,
new
certain of old
styles,
have
applications
the
styles
which
to
history
of
architectural
development
modem One of
from in the
historic form
' '
precedent
of
a
in
design
which
appeared
was
about
as
movement
new
known
as
^L^Art
Nouveau. would
This in
art,
originating,
threw
its
name
indicate,
France,
at
design
seemed of Classic
in
general
to
into
convulsions transform in
which,
all
the
time,
ideas
likely
or
entirely
previous
and
academic
design
architecture
furniture.
L'Art
an
Nouveau,
absolute
furthermore,
dominance of
assumed,
in the
feeling
and
of
as
jewellry,
well
as
ceramics,
the
bookbinding
arts.
other
in
graphic
could
not
style, however,
its
last
beyond
the and
date accommo-
novelty,
It
because
to
it
was
illogical
form
to
unsound.
sought
mould
decoration,
to
instead
of
accommodating
it
was a
form. of
In
two
respects,
as
highly
sort
art, employing
motifs
plant forms,
201
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
'
ing these
was a
in
naturalistic and
manner.
^'L'Art
Nouveau'
sinuous and
* *
graceful, although
that the
uses.
but
too
bizarre also
and
naturalistic,
natural forms
highly
were
artificial, in
into of the
employed
that in
no
forced school
to
illogical
had
previous
way
design
creations
duced pro-
any
similar
even
of
the
enthusiasts,
accidental
though
in
some
there free
might
Gothic its
traced
similarity
or
renderings height
in
of
France
leaves and
fruit. found
The
its most
acceptance
and
in
too
Belgium,
^^
being
too
* *
French
for
emotional"
for
reason
the
English.
of its of
copied,
without of
in
America,
solely by
novelty,
the
and
any
understanding
creators.
whatever
intention
its French As
a
style, '*L'Art
as
a
Nouveau^'
comes
to
us as
to-day
a
sometimes and
sort
of
nearly
always
guided mis-
ephemeral
This, perhaps,
all its
is not
altogether
Nouveau^^ If
fair, because,
had it had of
some
faults, ^'L^Art
of it real
occasional
flashes
more,
tion. inspiraan
done
nothing form,
appreciation
graceful deriving
the
and
of
the
possibilities of
forms. front of all
"
decorative shows
motifs
a
plant shop
One ^the
of
illustrations
style, perhaps,
a
exemplified
or
a
at
its
or
best, for
a
buildings,
may
hat
shop,
candy
in
shop,
theatre,
permissably
cannot
indulge
a
architectural
or one
a
One
imagine
courthouse
post-office
can
designed
think
along
of and
*^art instances
nouveau^' in which
lines, but
the
style
might
it is to in
acceptable
intents and
pleasing.
a on
To-day,
**dead" the
however,
purposes
style, excepting
imprint
which
it left
previously
Classic
archi-
AN
ARCHITECTURAL OF GERMAN
CONCEPTION THE
NESE VIEN-
SECESSIONISTS
eumple
ii
liken
[rom
"
dnwia(
by
NEW
AND
OLD
STYLES
206
tecture but
of
the
Beaux
Arts"
over
For the of
it
'*new
was
from
art"
the
brief
intense
that in
a
French
architects vein
idea
rendering detail,
tic naturalisas
a
much
to
of their
ornamental
as
well
their
tendency sinuosity
As
were
give
often
as
many
a a
forms
certain
and
frivolity.
restless Austrian and '^art
to
early
1870
designers
ture architecnouveau/' take
a
experimenting dangerously
in like
strange
that of
furniture the
Gradually, form,
became of the
as
* *
however,
and
an
efforts
^90 's of
began
the
**
nite defi-
in
Viennese
"
actual
' *
school school
design to-day.
rebelled of
the The
Modernist
name as
of
their
would the
new
imply,
against
they
regarded
and
slavish
means
copying
of
to
archaeological
Their
as a
forms, perhaps,
or a
sought
be
expression.
some
art,
might
considered
extent
creed,
declaration. it
was a
While weird of
any
based of
very
on
simplicity,
very to
it
was
and
strange
simplicity,
difficult
any
unlike
that with
William other
Morris,
art movement
compare
or
of
as
other
^^
land
period.
as
The
secessionists
to
were
nearly
works
original''
but
it is
possible
certain
be, and
their
suggest
remotely
and
elusive
elements
of
things
is
Japanese
a
tian. Egypkind
Secessionist from
*^art
architecture
very in the
different
nouveau''
as an
architecture;
accessory to
is while
regarded
in the
design
wa"s
whole,
second,
as
the
whole
design
to may
regarded
decoration. it
(quite
Radical
illogically)
as
its
much
secessionist
seem,
is, in
decoration due
is used of
sparingly
fact that
and
cleverly, with
is most
appreciation
when
its value
emphatic
it is made
NEW
AND
OLD
STYLES
207
especially
^'Modernist"
as
derived
from
Persian turban
architecture.
Many
Oriental bear dence evi-
costumes,
bottles and
head-dresses.
textile motifs
perfume
of As
Persian
this
interesting
be
might
small
supposed,
counterpart
and of
(on
scale, however),
many
Secession,
is
the
enjoying
French We have
to
to-day
^'Modernist"
reflected
scintillations also
on a
movement, yet,
an
small
not,
as
American
we
reckon
with, though
decoration
good
bit
of
interior
great Lloyd
latter
American
Secessionist of the
Wright,
part
of
many
Chicago, preceding
whose
work,
as
chapter,
has
contemporary
exact
of
the
The has
place
to
of
tectural archireal
design
yet
and
be
determined,
its
worth,
upon
both the
present
ultimate, must
architect of the and
depend
client.
entirely
sincerity of both
is much in the which best
There
ist Secessionwhile
is show
pleasing
much valid of
refreshing,
is
too
examples
to
strange
existence. from
demic aca-
^'forced" which is
possess way
for
Design
by
or
being
departure
of historic
precedent,
work for
to
the
guidance
No
copy
forms,
should which
or ture ven-
is
the
master
designer.
no mere
amateur
attempt
from
can
it, and
another
ever
of
work
has
resulted
conviction
personal degree
of
ingenuity
merit Let
or us
recognisable
permanency.
now
turn
to
certain wherein of
architectural historic
in
as
styles
new
design
if
distinctly
types
building,
determine,
possible, how
well
208
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
this
has
been
done,
and
with
what
degree
of
stylistic
propriety.
We
have,
be
in
the
larger
American
cities, certain
of which
on
highly
may
specialised
germane
problems,
a
it the
present
tall office
few
remarks
city honse,
building
(once
the
called
skyscraper''),
hotel, the
the
loft
building,
and
gigantic
em mod-
apartment
house,
the
great
railroad
The
a
are
terminal.
metropolitan
of
city house,
to the
at
the
outset,
many
presents
of which
variety
not
problems
architect,
He of
''
strictly architectural.
the natural
is
doubly
hedged
with
about the
with
limitations
the
site, and
multitudinous The
of
design
of of
An
facade
may
is finished, be carried
and
out
the in
interiors
any range
the
within
"period"
interior with
by
the
may
cute exe-
whim be
of
the
client. here
rooms
indeed,
or
called
in
to
work
architect,
to
certain Of the
independently. relationship
of architect
in
working
the be
and
tor, decora-
and
more
clients' said of
in
responsibility
the second
this of this
connection,
book. in
most of
as
will The
part
trend
development
to
the
more
larger
cities
dictate
styles
appropriate
are
in
better
taste
others.
There
strong
recomimendations,
the
a
example,
Italian
or
designing vein,
XVI
facade
modified
or
in
Modem
in the
manner
French,
called
stone
use a
Louis
style,
the
and
white
trim has
Surprisingly
Dutch
little of which
beeux'^
type,
remark-
l*tture
".
o( Now
the York in
-Low
Coupii
in
Cit)-.
ia
of
mivE
dctsila
bri(faiiy
cuJriu
ii
a
ii
Si
"
III
NEW
AND
OLD
STYLES
209
rendering
New York
is
seen
in
one
of
the
illustrations,
have which and
to
City
residence.
Fire-laws
the much
picturesque
charm
to
half -timber
city facade
in
Chester,
and
England,
streets.
old that
Flemish,
a
French
German could of
It is
half -timber
use
*'efFecf
be
obtained
by
ingenious
the result
(or misuse)
be At in
a
fire-proof materials,
and artificial,
quently consewere
but
would
palpably
one
undesirable.
time
city houses
manner,
popularly
various
designed
strange
in
Romanesque
in called of the of
attempts
more
contemporaneously adaptations
'^Gothic,'' and
French Francis odious in
successful
transitional
not
now
style
the
We
will
speak
of
entirely
front/'
the hands
mercifully
of
even
ing disappear"
under
copy
wreckers be
^it was
a
an
entirely base
of
an
(if it could
kind in either the of
called
poor
copy)
taste
a
entirely
existed of its
debased in France
bourgeois
*80
which
early
side
or
's, and
tition repe-
like,
on
of
even
the
Atlantic,
future.
is
fortunately
In modem
impossible
to-day,
as a
in the
its actual
planning,
is
a
organism,
an
the
city house
complex
the of
tural architecof
problem
and
must
calling for
on
order
ability
Booms
-
ingenuity
be
the
as
part
the
as
architect. the
provided
with
adequately
restricted
servants*
a
site
ters quartrance en-
will
allow,
and
light and
ventilation,
kitchen
skilfully incorporated,
and self
a
service convenient
devised,
innovations
as
number
of
such
-operated
of course,
elevators,
the
dumb-waiters,
and
laundry systems.
With the
chutes
and,
plumbing
heating
all these is
now
suggested well,
here,
some
architect
14
to
effect,as
210
THE
PRACrriCAL
BOOK
OF
ARCHITECTURE
sense
of
**
spaciousness twenty-five
house
' '
"
^perhaps
lot.
The
in
city
house
occupying
in
foot
greatest
the
narrow
city
planning
' '
took
place with
' '
high entrance
basement house
to
on
stoop
and
the with
entrance
or near
plan,
the
the
building
in the
line, enabled
nature of
a or
architect
or
design
sometimes and
something
of
an
foyer
lobby,
almost the
monumental width
economy
imposing
lot.
space
nature,
occupying too, by
the
or
whole
of
the of
Some in
architects,
other
ingenious
have of
parts
of
house,
designed
great
living-rooms
as
salons,
lot
wide
"
as
the
(exclusive
desirable confines
partysarily neces-
thickness) cramped
device
' '
most
and
shut-in"
of the
usual
city
dwelling.
Much
yet remains
in
in the with
evolution the
of the
city
house
"
especially
of
are
connection
tion reclamaThere
of
back-yards,
roofs, and
unrealised
or or
possibilities,too,
garden
in the
an
introductions
at
small sunk
court-yards,
roof. attractive of The
either
the
ground
or sun-
has of
many
added
a
diningmore
city house
be done
to
recent
even
design,
under
but
still remains
to
create,
turally architecand
conditions,
more
livable
urban
dwellings. here,
not
speaks, opportunity
and
even
of than
the
a
city mansion,
which of the
are
problem,
but of
average most
these
of The
our
residential of
streets
problem
designing
met,
and of
tall with
office
building
has
success.
been
variously
From the
conspicuous
there is
point
design,
ifew
required casing,
or a a
AND
OLD
STYLES
211
seemly
and for of
or
well-considered
a
disguise,
maximum of solids
manner
steel
or
frame,
window
voids,
openings,
Woolworth
a
minimum
wall in forms
Hie
skilful
was
great
of
building
detailed historic
a
treated in
can more
subject chapter.
in the the
carefully
no
discussion
the be
vast
Obviously
treatment
precedent
of size
followed than
of
building
greatest European
used
as
Historic
styles have
so
beeii
have in
motifs
models,
New York
that
we
the the
Metropolitan guise
of
an
Tower,
Italian
or we
City,
done
Renaissance
see
a
campanile,
arcade
so or
enormously
a one
magnified,
Colonnade discern
an
Italian
Classic
can scarce
crowning
the order In
most
building
tall that
of the tall
columns. office
buildings,
to
effort above
in
design
the which
is
usually
confined
to
the
upper
stories three
street
crown
level, and
the
the
stories
mass
building. by
countless is
an
The
intervening windows,
is
of of
wall, perforated
uniform desirable.
usually
design, which
If
expedient
detail,
*
both
logical and
were
architectural
over
or
interest,'*
such
a
spread building
York
evenly
as
the
vast
bulk
of
the
Equitable
effect The would
Insurance be both
Building,
City, the
optically
* *
distressing.
because
any
building would
fail to
seem
restless
the
eye
would
focus
values
itself of
naturally
at
level, and
many
important
of in
something
some
almost
the
approaching
sublimity
of
larger conmiercial
that
to many
buildings), would
must
be lost. with
to
a
liberties
be
taken
styles
structure
fit them
as
agreeably
modem office
and
urbanely
and
the
building
pl
'is
lis
ij
sill
'
'
y3
"I
2-
ij
*
id
fumiAbed
id
the
NEW
AND
OLD
STYLES
213
the
inevitable
a
presented, banality.
is
one
may
keep
it the
on
being
office
thing
Unlike of
many
building,
may
building
lighted
only from
a
front shaft
and
rear, to
with the
addition^
light from
any
designed
**
Consequently,
is front
to
architectural
acter char-
which
attempted
in the
or
design
street
can
be
apparent Usually
story
stories
space.
only in the
the
are
elevation,
the
facade.
its
entrance
building treated,
over
and the
crowning
intervening
window
being
K
no
to
necessary
buildings perforce
far below
of
must
comparable
rear
height great
of threethese
exist, the
blank and side fourwalls
loft
two
walls, towering
story
remain
above it.
the
rows
buildings
for
years,
Ordinarily only
with
blank
adorned
names
large painted
of the
tenants
signs
of the
proclaiming
the several
the
and
businesses in many
vast
floors,though
has made this
instances
architect
strangely
formed In
occupy to up
a
interesting by
the
a use
by devising
of
two
upon
it titanic
designs
bricks.
may
different-coloured of in
years
loft
building
but
equal
the brick
height
sites
adjoining,
these and
interval
previous
loom
erection,
gigantic
commendable
to
a
patterns
as
an
interesting
No
expedient.
American fail
to
visitor
to New
large
could
city, especially
be
visitor modem
structures
York,
impressed
their
or
by the
hotel
may to
edifices,
even
though
towering feigned
familiarity
metropolitan great
indifference,
who
passes
individual
or
daily
in their
shadows,
eats
frequently
Th^
modem
American
as
being
vellous mar-
organism
hotel, presents
several
unusually
214
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
interesting
inside
As and
an
angles
out.
for
amateur
architectural
study,
both
organism,
one
indeed
vast and to roof
a a
microcosm,
combination
we
see
joined con-
under
of
devices
to
human, pleasure
effect
guest.
Since the
the
present
consideration
deal
entirely with
architectural
we
aspect
of
the
great
its many hotel
metropolitan
other
hotel,
must
force per-
dismiss American
interesting emerged
the
features.
from
absolute
banality arwakening
Waldorf followed of the
at
about of the
general
the
architectural erection
' '
country,
York
after
of
the
' '
in
New
City,
the form of
were
the
of
prevalent
a
hotel
style
suit, taking
French XVI.
composite
XIV,
more
or
adaptation
XV and in
styles
Structures
Louis
Louis
reared
enormous
than
the
greatest
were
French made
palaces magnificent
chateaux,
and
and
interiors
sumptuous
bles, mar-
superlative
mirrors The
and
degree gilt.
of
by
the
use
of
ornamental
adaptation
hotel
has many,
this
' '
magnificent
but
not
^ '
style for
the
large
been
on
severely
the
by
ostentatious.
the
ground
be
a
that
vulgar
and that
tion inten-
It
should is
to
remembered,
with
a
however,
definite
large
"
city hotel
building
it is intended the
French
attract,
impress
It
cannot
and, if possible,
be
and
flatter
travelling
public.
denied
that in
a
regal
universal
architecture
to
a
attracts
speaks
language
and
all
beholders,
kind of
even same
symbolising
social
lence, opu-
richness
It
to
certain
distinction. be said
has
splendid
repose.
self-assurance,
And
managers for
if it may
reasons
lack
these
were
pressive. it is imthe of
quick
of the
to
appreciate
theatrical
architecture
is
one
most
NEW
AND
OLD
STYLES
215
the
arts
"
that
even
certain
impression unconsciously,
the
any
may
be
more
readily
ber num-
received,
of
by
greater
people
than
architectural other
means.
guise
of
the the
building
Thus,
the
great marble
of mirrors and
the
gilded dining-rooms,
modem the hotel
manager
are
palms
devised and
in the
but make
scenery, venture
or
by
the
to
success,
people
eating, promenading
gorgeous
dancing
the To
in
this
intentionally
actors.
environment
are
unconscious
eat
in
one
richly decorated
may
care
Louis
at
some
XIV
the
although
is to
' '
not
all
for
receive the
name
unconsciously
' '
small
the
of
grand
he
manner.
Call
average in
feeling by whatever
is flattered of the elation
other
will, the
"
person the
by
the
environment
^he
treads
footsteps
of of
great past,
or
shadowy
and
cannot
royal
personages
a
and
courtiers
escape
distinct
impression
gratification.
For than elected be called these reasons, which these
an
are
rather
were
architectural,
to
French
make
* '
up
elaborate
' '
might
as an
hotel
architecture,
for their
are
to be
regarded
excellent
to
choice is
purpose.
Hotel is natural be
architecture,
when it is and
be
sure,
superficial, yet
its and
very
this
considered
that
attract
a
appeal please
must
a
instantaneous,
variety
of of
keyed
to
great
people,
averaging
discrimination. Further
.
not
high
degree
architectural
evidence
of the
desire be
to
seen
please
in
on
the
part
of of
the
hotel
management
found well
as
is to in in
to
the
diversity
of which
a
styles often
as
the
the
interior
'*
decoration
rooms
single hotel,
are
special**
the
constantly
ofiFered
meet
continuous
public
216
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
demand
for
**
novelty."
* *
One
will
find
' '
Louis
a an
dining-room,
Marie in
Antoinette Louis XV
or
tea-room,
and
resplendent
Nuremberg
Greater
'^ *'
rococo,
rathskeller,
may
or
grill-room
in the Room" fall devised flat
downstairs. form
"
diversity
Room"
**
be
**
offered
of
an
Egyptian
of
Pompeian
must
are
yet
the it is
charge
inconsistency"
that these musical
these
when
remembered
things
program
to
entertain,
to enter-
just
tain.
out
as
varied often
is devised
rooms
Very
with taken much look the
special degree
for of what
have
been
carried
highest separately
architectural
ingenuity, worth,
may
and,
offer will
A
they
the
are
interesting
about
many
study
to
lay observer,
courses.
if he
him
between
the
not
dinner
great
vast
hotels,
and
only
in
New
York,
but
in
Philadelphia,
in of French hotel
Chicago
other
a
cities, were
new
designed
entered
mainly
the'
element
field
And,
to
instance
forcibly the
and reaction
'*
ever-present
human
close
between
came
architecture in ideal
new
thought,
the
as
against
prevalence
was an
hotel
a
of ideal
There architecture
"
substituted
of
ideal refined
' '
restraint, combined
correctness
with the
expression
call
' *
of that
which
English
smartness.
Architecturally,
had achieved in New
the
great hotels
of
of
the
French hotels
as
type
the
prodigies York,
reared
design.
the
Such
Plaza,
and
Bellevue-Stratford,
chateau
in
Philadelphia, high
tall above all
vastly
magnified
roofs
as
surrounding
historic The
as
buildings. styles
were
Again,
used
in the motifs
to
as
rather
architect have
endeavoured been
approach
problem
it would
approached
NEW
AND
OLD
STYLES
217
by
been
the
Eighteenth
to
Century design
a
French similar
architect, had
structure.
he
required
For the
architectural
a
expression
remarkable
of restraint choice of
in hotel
design, made,
a
however,
and the
success
style
wAs
firm
of in
Warren their
and
Wetmore
achieved
to
adaptation.
Bitz-Carlton
the
new
Previously
and Vanderbilt
the in
of
the
hotels
City
difficult
(the first of
for
us
type), it would
of the
have minute
to
conceive
delicate,
of
the
Eighteenth
Adam for of
as was
Century
to
an
English
enormous
were
style
hotel
applied
the most
part
"
designers they
were
chaste authors
interiors of
not
guished
It
carry
the
large projects.
in
A
desired, however,
Adam
the
newest
hotels,
Adam
to
out
revival the
of
ture furnivogue,
and and it
was
become hotel
fashionable in the
interiors The
style would
the and
not
immensely dignity
French
so
an
popular.
of the of Adam
conflict
the be
diversified
type
hotel
thought
was
of,
"
seeming adaptation
architectural of the
more
bility impossistyle
in
to
essayed
Adam
vast
the
exterior
design
than all
of
buildings
four
their could
proportions
have conceived. That achieved
New
the
brothers
together
this
remarkable in
tour
de
force
was
successfully
Vanderbilt in tectural archi' *
is evidenced
the
great example
Hotel of of
York
City, style.
brilliant
adapted
^ ^
The
exterior,
in brick
Adam
grey,
an
with
terra-"U)tta
details, is
within
quiet interiors
themselves that it is
a
"
daily enjoy
to
in this remark-
great New
hotel
stop
reflect
NEW
AND
OLD
STYLES
219
of
the
woodwork
and of
disregard
as
immaterial and
the
tentions pre-
display plasterwork
in the
marble,
plate-glass
hall.
gilded
Despite
the
recent
drawbacks,
however,
in
apartment
years.
improved
better
considerably
more
plans,
in
practical
details
even as
conveniences
better
design
and the
such
mantel-pieces,
apartment
Real of
some as
wainscotings
moderate
like,
in
the
of
rental.
ability is apparent
apartment
are
in
the
design
as
great
which
houses
of
high
owned marked
rental,
well
co-operatively
was sense
by the by
the
tenants.
^ ^
promising
departure
in which for
a
a
duplex
apartment, by
of
spaciousness
a
was
effected
devising
room,
each studio. of
apartment
The other
large
rooms
two-story
of the
living
apartment,
on one
like instead
being
on
inconveniently
two
arranged private
floor,
are
disposed
so
connecting
a
stairway,
house
that
each
is, in fact,
The
many
miniature of the
in itself. house
well
no
study
different
apartment might
but
problem
the
can
and
its of
solutions
form
more
subject
be
exhaustive here result than from and builders house handsome of the is
to
consideration,
to
a
done
suggest greater
remind the
the
great
benefits of
which
might
ing, build-
prevalence
both
co-operative
and
to
speculative apartment
A
that
alluring
the
becoming
entrance
constantly
is very well of
significance.
a
if it is
the
true
indication but
architectural
quality
than
tenants
a
entire
a
building,
investment.
young
renew
if it is It
may
nothing
attract
more new
lure, it is
"
poor
especially
cause
the
to
and their
inexperienced,
but
it will
not
them
220
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
leases
if the
actaal
rooms
in which
they
live
are
veniently incon-
planned
In
and
an
meanly
bnilt.
building
must
apartment
a
house,
Hotel all
which
from
its
nature,
will that be
be
a
profitable
economy. above
to
investment,
cheap
plans
realise
found
poor
managers must
their
building, they
any go
else,
of
please
the
architects
recognised
to
high
type of building
and architectural of great
more
designed
merit
appeal
considerations
should Of in
a
importance.
will be said
real
estate
development"
subsequent
types
which
are
essentially
a
great
and
have
railroad
has
terminal
a
is
to
peculiarly
can Ameri-
interesting
one,
been
problem
which
architects It is doubtful
possesses
devoted
considerable
study.
in any
if any architectural
similar
building
country
terminal The
the
significance of the
in
New
of
the
Pennsylvania
Railroad
the
vast
York
City.
a
stately colonnade,
of the
quaKty
with
ranks
European function,
architecture. in that
a
Architecture laid
out
building
proportions
while with the its
a
passenger
congestion
impresses
and the
impossible,
traveller scale A of
splendid
of
to
magnitude
the which character
* *
every
sense
prestige
he is is
,
grand
railroad of and
entrusting
a
building
the A
this
long departure
of earlier
dingy
oppressive
of
train of ^it
"
shed*^ the is
a
building
is much of
more
the
a
character
Pennsylvania
terminal
as
than
a
building
in
symbol,
as
perhaps Pyramids
monument,
this
respect,
The
the
Egypt.
of the Grand Central
New
York
City terminal
CLASSIC
ROMAN
An
DERIVATION
IN
MODERN
an
AMERICAN
RAILWAY of York
TERMINAL
ciHptional PuDcuiylVHrdi
ciample
lUilroul
of
eipreuiaa
New
dicoity City)
ITh"
FRENCH
BEAL'X-ARTS
INFLUENCE
[N
MODERN
AMERICAN
RAILROAD
Thialaful*
the modem
ofTordg
mBtsriil
for
ft
compsriton desiia
Ruilnwl
mx
of
Ibe
ntptclive
to
sn-bilcctunl
Htrirl
Hpnaaivcncu
Hchool ot
ol
FrvDt^h
Hhool
Centnl
at
opposed
TenmniU
the
design
(The
Grud
Stftlion,
Cily)
NEW
AND
OLD
STYLES
221
railroad
is of
interesting
the modern of of Beanx
not
from
other of
viewpoints
"
an
example
imity
architecture
with
problems
The the
engineering.
this
fagade
great
"
station
a
proclaims
at
once
tjcoile des
yet
is
Arts
symmetrical
embellished
composition^
with of such detail modem for -scale
ful care-
Classic,
and
entirely French.
architectare shown the the is the in
disregard
out-of
proportions,
figures
alone would
greatly
broken of the afforded the
over
central
pediment.
whole in
"
destroy
dignity
^an a
comparison,
this Grand
"
indeed, being
terminal freedom and
study
Central Arts
Pennsylvania
Classic
are
^Beaux
are
versus
Both
symmetrical
the
manners same
fagades,
purpose,
both
buildings
for
yet their
them
respective
of
tectural archi-
make
buildings
widely
divergent
The terminal
character.
most
interesting complexity
aspect
of
of
the
Grand
Central
its
planning,
tracks
necessitated of
two very
by the busy
There with
it is entered
as
by the
railroads,
are,
well
as
by the Interborough
several different
Subway.
consequently,
several
a
track-levels,
and
their As that
concourses,
waiting-rooms
the be need the
ticket
vided proevery
offices.
architects
at
clearly readable
the traveller is saved of
a can
lettered
point
further
where
direction,
confusion
introduction,
of
possible,
ramp,
ramps
stairways.
runway,
or
which
a
is
long, gently
move
sloping
more
form, platon a
crowd and
a
far
quickly
to
run
than for
ramps
a
stairway,
up
or
it is
ramp.
possible,
It is
also,
train will
down the
probable
that
take
place of stairways
in many
of the
public build-
222
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
ings
remarkable
of
the
future
"
^in
buildings
as
of
two
which
even
such
minals ter-
these
great
railroad
are
We
an
age
*many
appear
inventions
**
"
^new
tural struc-
and
systems
of
yearly
which but
were
and
make
sible pos-
erection
buildings
no one
unthought
architect but
may
of be
in
the
past.
with who
Obviously
these has
an
famiUar observer
innovations, acquainted
with
the
lay
architectural
styles, design,
architectural the
together
cannot but
some
elemental
to
principles
him add in the credit
new
of
find
much
interest
achievements in America.
which
yearly
to
profession
PART
A PRACTICAL GUIDE
II
TO BUILDING
CHAPTER
THE
SELECTION EIAL
OF
AND
LOCATION,
ARCHITECT
OF RELATION ETC. TO
STYLE,
MATE-
FROM
VIEWPOINTS
SITE,
MATERIAL,
MATERIALS AND
APPROPRIATENESS,
LOCAL CHOOSING COLOUR AN
LOCAL
CONDITIONS.
ARCHITECT
FORESIGHT
IN
in in
a
connectioii
any
with
building,
is
more,
perhaps, deep
than
other
oonnection,
trite
there
*'A
significance knowledge
is ill-
the
familiarly
saying:
To be
little
dangerous
ideas
thing/'
of
as
accurate,
indeed,
builders
the
cannot
arranged
even
most
* *
prospective
' *
be
regarded
knowledge.
be saved
"
If
they
rather
knew,
that
much
disappointment
think
might
know either
set to
it is
to
they
any
they
or
enough
build
the
without architect
architect,
actually
to
themselves do
the
above work.
**A
they
engage
little
knowledge**
in
because which
it is will
usually
not
ignorance helped.
disguise,
and
ignorance ignorance
man.
be
Complete
of
the
frankly
calls
in
the
aid
sional profes-
It
to
is the
aim in
and
a
intention
of
the
following
in what
to
chapters
respects
point
out,
building
may be
project, employed
discretion
advantage,
had of best be
respects
Certain
professional things
of
are
opinion
matters
followed. others
are
opinion,
group
as
matters
fact.
Even to
in be
the
first
the
opinion
an
is
usually lay
regarded
while
in
better the
ond sec-
uniformed absolute
opinion,
of
the
futility
argument
should
be
apparent.
15 225
226
THE
FRACnCAL
BOOK
OF
irntrv^i^r*
The be
points
taken in the
np
in
the
following
dictated and The
eadi
chapters hy
the
will
nsoal
arranged
in
sequence
a
procedure
dealt
with
boilding
a
hoose,
step
will
be
in
practical
to
manner.
practising
of
is
tect archi-
is
'^
distressed
to
or
find about
so
that to that
mnch
the
so-called
neous erro-
advice"
persons
build
he toward of be is
arbitrary,
to
misleading,
e"Fort
and
obliged
devote his
considerable client
clear and
time
a
disillusioning
common
establishing
Of
on
ground
will of
sense
and
vision.
this,
the
more
said
in and
subsequent
client.
not call
observations The
in the
relation
architect
private
until The
building
very
operation
does
certain site of
important house,
for
of in
the
is of
pre-determined
The
by might
the
ownership
be for
on
piece
architect
well
called the
to
suggest
but
or on
best
architectural he of is not
location consulted
house,
very
frequently question
These
this
question,
in the
the
what
are
style
is
to
be
followed
design.
things
in
to many
usually
cases
the
starting
well
the
a
point,
for the An
though
client
be
professionally opinion
to
a
from
kind of
start.
as
to
suited
given
in
might
be
well of
might
result call
at
a
better
solution
ways
a
problem.
the
thing anyvery
Varying house,
and
sites
for
different
of
in
locating
which be
here,
the
outset,
rule
is
case
resembling dangerous
It is of
to
fixed
might
easily
follow.
the
to
greatest points
to
importance
of
to
give careful
and
as
sideration con-
the and
the
compass
to
prevailing
in site the is
local
winds,
of
the
these
design
a
inception.
remote
one,
''improvements,"
questions
LOCATION,
of be of the it is
STYLE
AND
MATERUL
227
lighting, water-supply
at
**
and
sewiige
disposal
should
least
considered
before
"
there
''
is detailed the
thou^pht
style/'
most
Although
of
style
the
is to
lay observer
conspicuous
performances,
architect
's
relatively less
than
to many
exacting
of the
more
point
he
of view
technical
problems
this of the
is
required
If
an
architect the
has
visited
as
site, and
exactly
a case
possible, has
of
determined,
to
it is well
or,
for the
number of
a
good
photographs important
made the and
be
taken,
an
in
large and
survey
house,
drawn.
accurate
graphical topoway
In
or
this
the
architect will
govern
may
study
certain
different of his is to
use
grades design
the
slopes which
the house.
vey sur-
parts
for
The
as
ideal data
procedure
for the
topographical
of
an
construction of the
accurately
this model and in its of the first of
proportioned
it is
even
clay model
to
site.
and
On
possible
to
lay
in
out
driveways
house
approaches, miniature,
The
a
block
the
the
itself, in
to occupy.
exact
an
relation
to
place it is by
study
is of
architectural value
a
project
to
means
of client and is of
model To
greatest
is the of
architect
and
alike. definite
a
the vision
given
more
comprehensive
and
to
problem,
the
the
second
given
the
presentation
of he
architect's
to
conception
vivid from and
any
relationship
than
house could It
survey
site
more
possibly
is well
obtain
to
of
drawings.
mention
a
here civil
topographical
or
of the is not
a
site,being part
of
engineer's
's
surveyor's
and
or
work,
for
to
the
architect the
work,
is
paid
separately,
the
surveyor. most
either It
through
is to be
architect,
as a
direct for
regarded required
means
arriving
directly
at the
result
"
the estab-
228
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
lishment
as
of
the
exact of
relation
of
house
to
site,
as
well
buildings, out-
the
disposition
etc.
drives, approaches,
terraces,
The
construction
of the
or
model
his
is
usually
and
undertaken
a
by the charge
architect,
should
a
under be
direction,
for
separate
volves it in-
rightly
expected
of
it, since
considerable
be
amount
It the
should
apparent
without of the
emphasis
on
location, of
placement, Many
of that
natural
its houses
extremely given
because with the
an
important.
appearance
well-designed
unpleasing they
have
awkwardness been
solely placed
On little
agree-
of
the
to
fact the
many
poorly
relation other
features of
low
of their
cost
sites. of
hand,
houses have
and
architectural able
every
pretension
on
seemed it of
peculiarly
will be
seen
because,
observation,
has been taken
that
advantage
and
elevation,
grades,
approaches
background.
as
well
as
naturally,
is in the
the
most
ing pleasgraceful
may
some
which
most
with
well
the
prospective
from his
do
banish
preconceived
this of idea would and
have
an
had, if the
of
result site.
of
in
unharmonious
relationship
house The
question
any
site is often
involved
in the
question
a
of
style,
formal
the
or
type
of
building calling
site of
a
for
level
site, while
an
rugged
hill-side
is
best
suited
by
informal all is
picturesque
must say
type
be
building.
of
Style, personal
when
said,
To
always
that
no
matter
predilection.
placed
formal often in
formal is and
to
house
be
rustic
surroundings hunting-lodges
in
ignore
ultraare
French discovered
chateaux
densely
wooded
The
AN
AMERICAN
COUNTRY
HOUSE
ESSENTIALLY
PICTURESQUE
lishiDg
Ihe
precedenl
SMA[.[.
COTTAtlK
NATIVK
rn.
ranw
.iirp^lly
of S-" \"k
rnily
"liirh
(Brm-houws
Duiiaec
wus
lo
b.
Tl["m
LuUi
LOCATION,
STYLE
AND
MATERIAL
229
chateau,
it is
true,
is
usually
the
blended
with
its
means
land woodof
surroundings,
formal the of who
an
like
Italian
seem
villa, by
that the
gardening.
of
It would
house, from
in the
point of view
architectural
are
considered
light
people
tain enter-
to occupy the
If
a
one
intends and is to
live
and
in
manner
country
formal this
rather be
elaborate
as
(whether
,
not
regarded
desirable)
would
not one's
and
informal
effective
setting.
life is of
If, on
the
hand,
of
most
country
simple English
prove
unaffected
kind,
a
characteristically
French chateau and
an
American,
miserable would
formal
would
disappointment,
depend,
success
rather,
upon
rendering picturesque.
the vidual indi-
of comfortable And
so
informality
every
in terms
for
prospective builder,
tastes there to the is
a
from
of
ultra-formal
ultra-simple
*'next-
to-nature" which
an
enthusiast,
will
suitable
reflect his
tastes
through setting.
appropriate
the
a
architectural
essential of the
a
possible"
too
suitability
individual
few
is too
case.
flexible It is
and
sible, pos-
much
matter
of
however,
be borne in builder
or
to submit either
no
generalities which
cases
might
pective pros-
mind,
has
in those
where
a
the
predilection
for for
specific style,
him
to
where
it
might
be
highly desirable
change
his
mind.
One
may possesses
contemplate
a
building
in
certain
**
locality
which for
one
marked
New old
architectural
character*'"
example,
drives
may
small the
England
elm-shaded
which
village.
''main to
Here,
as
down be
seen are
street,*'
a
there
houses
all conform
certain of white
type.
They
simple,
wooden
houses, usually
LOCATION,
often be influenced
STYLE
AND
MATERIAL
231
by
the
nature
of
local
building
obvious
are are more
generality
suitable in find
it is
to
a
safe
to
say
that
no
given
locality than
in this
nection con-
found
soon
that
that
locality, and
this has
a
will
distinct
bearing
economy.
It
will
be
found
that
local
building styles,
to
a
have
influenced
or
local
architectural and
each
so we
degree,
and dual which
conspicuously,
find the
both
style, interlinked
alliance is
to resent
with
other, forming
of
the
the from in
a
intrusion
some
building
transplanted Usually,
are
alien
locality.
way, local
rials mate-
and
perfectly
to
natural
best factor of
adapted
in the
local
styles, because
of those
been
development
those and
styles.
types
certain
building,
types countries,
associated demand
more
specific periods
in in certain
a
dering ren-
materials,
as
will If
be such
following
to
chapter.
materials
entirely alien
erect to
the
locality in which
the and
more
it is builder
to
proposed
will do
at
to
the
building,
his will ideas
prove
prospective
endeavour suitable. the
most
are
well
some
recast
arrive
type which
In
New
England,
is abundant. the entire
on
for
part,
often
grey, grey,
fieldstone is grey
"
Skies
landscape
a
is
harmony
of low
Consider,
of red
then,
grey up
New
England
the
''
coast,
like
house
a a flagration, con-
brick, starting
or a
from
ground
white
as
stucco
Mission"
a
house,
spot
on
the
landscape
on a
glaring
lawn.
as
newspaper extreme
carelessly
cases,
thrown
many
green
Such
and
less
conspicuously
outrageous,
builder
should that
even
convince
a
the
intelligent and
thoughtful
deep-
232
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
predilection
best of be
a
for
some even
type
of
building
in
discarded, building
temporary
regret,
and the
which
to
appropriate,
will
ing last-
in addition of this
merits,
good
builder
merits
taste.
may
or
Up sought
to
no
prospective
He
he
professional
his
real
advice.
has has
bought
formulated
acquired mind,
location
may
estate,
or
either
or
vaguely placement
definitely,
his house
some on
ideas its
of
site, and
architectural build.
paper
as
have
some
ideas,'as
materials
may
even
well, regarding
of have which he will
on
style and
his
**
the he
With
some
wife,
outlined and
plans,*' embodying
arrangement
wit
once a
his of
was
wishes his
new
intentions
to
the
abode.
a
obviously
* *
consummate
master
own
that
a
The
' '
man
who
is his
yer law-
fool the
client. is and
Disregarding
true
' '
exceptional
one man
instances,
another
own
peculiarly
state
if
profession,
has
a
that
a
The
' *
architect Before
fool
for
client.
to
or
giving
the
consideration
is
the is
different
ways
in the
a
which
architect
usually,
it
best, sought
to
by
out
prospective
of the
more
builder,
serious
to
might
be
well
point
few
reasons
why
any
it is both
and
attempt competent
become
consequential professional
project
Reasons this and The for the
will
increasingly proceed.
find
apparent
subsequent
chapters
will
prospective throughout
builder
himself of
on
capped handi-
by
general
ignorance
details,
he will he
be
daily confronted
If his
more
by problems
time be in his
which he than
reckoned.
he has
valuable,
own
spent
far
time
LOCATION,
would have been called if
STYLE
AND
MATERIAL
233
upon
to
spend
had
on
his his
commission, being
'*a
and,
own a
economy
been indeed
his for
architect, he
client.'^
would
he
fool
Lacking
and
of different
makes,
ties quali-
lumber,
brick, plumbing
he
fixtures,
himself be his
fixtures
at
hardware,
of
will who
find
the
the
contractor,
will
advisor. his
Furthermore,
about
**
friends,
upon
as
soon a
as mass
they learn
of
or
he
is
to
him
gratuitous
dations recommen-
advice,*' and
will be
most
of their
to
warnings
found
be
conflicting, he
or
will the
have
no
one
to
authoritatively
he will
no
reconcile told.
appraise
various
things
With
have
been
working
when
' '
drawings,
the
contractor
great
or
difficulty will
builder the
comes
be
to
encountered
* *
take
quantities
these have
in order have
no
to procure
materials,
unfortunate
to
or
and
again, when
amateur
been
procured
or
the
will
knowledge passing
upon
experience
their
guide
upon
him the
in the
matter
of
quality,
with have
quality
and
of
the
workmanship.
Nor,
he
any any
nite defimeans or
binding
the he
specifications, will
use
of
enforcing
which
of
certain used in of
specific materials
the the work. work he will and
fixtures
wishes
Throughout
be of these asked will all.
the
progress
stantly con-
questions naturally
On the
by the
be
contractor,
to
answer come
most
he
if at
unable he
gently, intellito
whole,
the been
will
realise,
whose
before actual
more
he
is
through,
he
man
that not
**
architect
(with
is
offices than
a
had who
familiar)
something
makes
blue-prints.''
there
are
Before several
employing questions
which
an
architect, however,
the
prospective
builder
may
234
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
properly
look
some
into.
We
will
of
assnine
that the he be
he
has
with
degree
certainty,
which
location
honse,
and will the
the
general
of
style in
which
wishes
constructed.
bnilt,
He
to
materials
it is to
have
on
determined,
the
or
also, the
he is of be him
and too
amount
he
to
expects
spend
actual
do
project^ and
arrangement attempt
later
to
ready
rooms.
consider Here
he
the
will
plan,
not
well
to
specific, because
many
his
and in lars dol-
architect
will
not
show
space
savings,
and remember
only in
Few
convenience, planners,
cents.
amateur
instance,
to
that be
to
plumbing
as
fixtures, from
as
cellar in
garret,
should
kept
save
nearly
possible
feet of of be
of at
vertical
Nor
or or
unnecessary
pipe. heating,
difficult
amateur
rooms
planner
and
warm.
usually
which
to
a
of
ing avoid-
halls
expensive
in
to
keep
Owing
floors of
experience
once, floor
ing visualisfinds
house
the
amateur
arrange
the
several
plans consistently
are a
economically.
of amateur
Impossible plans
of
"
stairways
architect floor
common a
the
lays
and
so come
out
well-
disposition
floor
over
the
first
plots
that into lines
the of
it, on
tracing
paper,
plumbing alignment,
floor
to
coincide, bearing
and
partitions practically
vertical
one
stairways
reach
from
another. the
Therefore,
sketched how and
general
it is well
to to
idea
of
the
plan
that
no
may matter
be
out, but
it
seems
remember be
as
be, it will
as
vastly
ideal
improved
after the
made
practical
it
a
well
studied
little.
consulting might
well
the
architect,
himself with in
the
a
prospective
little mation infor-
equip
local
regarding
conditions
the
locality in
LOCATION,
which he is who
to
STYLE
AND
MATERLU.
235
build, unless
has
he
expects
a
to
engage of
an
architect
in that
already
erected
number
houses
locality.
^ '
By
as
local labour
conditions and
must
' *
are
such
matters
rials. mateto
an
local
local be
facilities
obtaining
a
brought
is
to
distance,
site, greater
local
cost
anticipated
than
if
stone-masons, competent
to
bricklayers, perform
will the
carpenters
A few
plasterers
in
any
work.
inquiries
the
neighbourhood
builder with the this
readily
acquaint
in his
prospective
The
important
will also be
item
project. by the
cost
or
of
house
of
governed
yards, bricka
nearness
remoteness
lumber-yards,
mills and
sash-and-blind
mills, planing
road rail-
or
freight depot.
make the mistake of and
people
of
regarding
as a
these
are
minor
importance,
and find sometimes that
result
disappointed
when similar said shown
to
(unfortunately)
their
a
suspicious respects
and The under labour its cost house
they
to
one
house, popular
to cost
in
zine maga-
all
clipped $12,000,
from
proves may
cost
$18,000.
been
in
the
magazine
conditions this
very
have
of
built
generally
and
may
favouring
but been the has
availability of
factor in
material,
not
important
in the
have beneath
mentioned
captivating
legend
printed
picture.
been written and
concerning
reconmien-
warnings always
These
generously
*'
various
a
advices"
ruined
gone
many
fair
building
to
project
which
might
and
smilingly
and
forward
happy
completion,
more
hampered
can
annoyed nullifying
the
many
architect of his
than
express,
best
efforts,
236
THE
PRACJTICAL
BOOK
OF
ARCHITECTURE
setting
dations.
form
casement
at
naught
many
of his
most
valuable
most
recommen"
Unprofessional
a
advice will be
often
not
takes
to
the
of
warning
windows
"
one
advised
install will be
because that
so
they
the
leak, and
man
it has
found this he
so
upon
investigation
does
who
issued
pronunciamento
has had with
a
because,
casement
unfortunately,
window. And
"
poorly
all
designed
it is
building
have had
materials unfortunate
and
equipment
different
people
or
experiences
and have
of poor
to
unskilled the
workmanship,
with all
misplace
blame,
greater
than used
intelligence.
in
use
Virtually
are
materials
to
building
and
susceptible
under
appear
perfectly
application
be made
to
competent
defective A
can
direction, just
or
as
all may
or
undesirable
by misuse mixed,
climatic
use
misconstruction.
of
paint, properly
under hard for
or
may
give
years
:
of the
splendid
can
service of
conditions
a
same
paint, mixed
may
by
in
stupid
six
or
incompetent
The
painter,
flake
to
crack how
months. value
example
be
is intended attached
to to
show
little
real
should
sional unprofesNo
man
opinions
is
an
in matters it should
a more
on
related be
building.
infallible, but
architect
or a
reasonably
apparent
than
that
a a
is
competent
the
authority
banker
doctor
or
wearing
for
qualities
of
weather-paint
Occasion further
to
formula
in
foundation
concrete. to
ment com-
will
on
the
following
chapter
serious
fallacy of paying
attention
unprofessional
It
advice.
means,
is
well, by all
all
for
the
prospective
as
builder choice of
to
consider
the
preliminaries,
house his after and
such
the
site, the
of the into
the
general
than has
disposition
to
floor
wife, rather
the architect
the
consultation
LOCATION,
work.
in
STYLE
AND
MATERIAL
237
The
two
who
are
to
live
in
the
house before In
shonid
a
be third
perfect
agreement
in
to
upon
party
the
is called
discuss
building,
to
result
of which
is
permanent,
expensive
common
alter,
sense
it should and
certainly be apparent
are
all that
economy
by
much of
a
foresight'
house have which been
as
sible. posprove
Virtually
"
features
unfortunate
'*
it is built
might
at
entirely
The
eliminated
mere
by
little
thought
side
"
the
a
beginning.
door
can
question
determined the
of which
on
to
an
hinge
readily
to mind
over
be
the
plans
of
instance
coming
house
mistress
the
proposed imagined
went
plans
from
very
room
carefully,
to room,
course
and
herself various
going
doors. the
opening
of the that She of
followed, also,
door, and
efficient and and studied
the
answering
communication herself
rooms
assured
herself
imagined
the
guest,
the
guest
^^
to
bath-room,
and, in short,
stone
inspected
laid.
the
fore be-
was
Such
plans
is
is
practical,
different
efficient from
and
highly
ence insisttect archi-
desirable,
on some
entirely
and
biased idea.
or
arbitrary
resent
or
ill-advised
No
will criticism
ignore
of
intelligent
his
reasonable be
membered re-
and that
discussion he
plans
"
it should
upon to
pleasing
suit
his
client, rather
If he best insists interests
than
upon
"
devising
client his
house
point, it is usually
is
an
in his
satisfied almost
architect's
advertisement,
Mentally
and
only advertisement.
with
some
equipped,
and lack
then,
of
and
idea
be
of
the
importance un-
weight
with
to
some
accredited of the
ner man-
to
unprofessional
in which
advices,
he will
idea his
consult
with
architect,
the
Berry
PurkiraiHl
Il";m""nil
AND
r"i"in.
CHARM
Arrbiin-U
COMBINED
domcHtir
m
nrrhiicriuiP
u
Juon,
wi-11
in
vurh
rhaniiini
ft
II
2-!
LOCATION,
unison with with If cautious
some
STYLE
AND
MATERUL
239
him, and
his
to
perform
work
specifications and
builder he
may do
directions.
a
the
prospective
is
believer
to
in
extremely
procedure,
built
may
well
carefully inspect
is
house and
by the
carry
architect caution
he further
considering
gaging, en-
by interviewing
the architect's the
previous
in
client, and
the
same
by
way
investigating
he would
standing standing
Mention Institute
was
investigate
of any
business be
man.
might
of
made
a
here
of
the
American which
tice prac-
Architects,
for
national of
organization
the
founded of
the
purpose
standardising
the The strict
architecture
^d
enforcing
ethics.
observance has
of
certain
professional
in all of the
are
Institute United
Chapters
and be
States,
to
members of
admitted
recognised
Members
must
integrity.
and the forfeit
**
regulations
Canon their
of
Ethics'*
by the
of
a
Institute, or
an
membership.
ore,
choice that
Institute
architect,
builder the
theref
at
it is
apparent
a
prospective
has,
the
outset,
about he
certain
he may
an
guarantee
have been
regarding
most to
questions
and
which
as
apprehensive,
which
he may
has,
any
or
well,
organisation
which
may
seem
appeal
procedure
imethical.
It must
or
seriously
unprofessional
not
be
supposed,
however,
who
are
that
there
are
no
able
reliable
architects
not
members
of
the
American
Institute, for
"
they
exist
in in
great
every
numbers
everywhere
with In Institute
most
architects members
cases
comparable
of
respect
long standing.
architects
where
practise
that
one
their
fession pro-
in of the firm
partnership,
is
^ '
it will
' '
be
found
member the
super-
practical
man,
attending
to
240
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
vision the
a
* '
and
specifications, while
' ^
the
other
is
In to
designer,
of three
man
with
keen the
artistic
firm
an
architects,
or a man
third
is often business
be
executive,
of
marked
ability.
take
as care
Many
of all three of
and
architects
practising
of the their client
alone, however,
as
phases
which
profession,
is not
even
well
other Of
his
aspects
varied be said
aware. more
interesting following
functions, chapter.
in
however,
architects
or
will of
in the
All
large
practice,
it necessary in
whether
to
working
have in their branches
partnership employ
of and
alone, find
able
"
highly
the work
different
specification writers
in
man
structural
addition
upon
to
staff
of
draughtsmen,
a
directed of
whom detail
"
devolves the
great
weight
bility responsi-
and
head-draughtsman.
from the mists
an
Having uncertainty,
emerged
and
now
of
misgiving
and
pective prosa
finally selected
becomes abode
eyes
a
architect, the
is in paper,
builder
to to
see
'^client,**and
on
way
his
visionary
before his
definitely put
in all its
later
nence perma-
arise
solidity and
The
venture
of masonry
and the
carpentry.
is
finally
the the
launched,
business architect's which Before the writer
and
following
which and
on
chapter
has with both been
will
deal
with
relationship
engagement,
should
created
proper
by
the
ances observ-
exist
upon
sides.
entering
feels without
this
important
topic, however,
would selection be of
that
some
the
present
upon
chapter
the
complete inan
advice
for
building
as
projects
civic Here
other
than
dwellings"
projects
churches. from
a
of
an
architect
or
the
decision A
committee about
the
competition*
competitions.
LOCATION,
An will
a
STYLE
AND
MATERIAL
241
architectural
secure as an
competition,
a
for
given building
as
conclusively, unintelligently
design
nearly
possible the
conducted
competition
is the
most
pid stu-
procedure
The
a
of the
to
Architects
has
devoted
great
study
an
to
subject
of
architectural the
competitions,
of committees
effort
standardise
to
procedure
the best
municipalities, and
erection
of
secure
possible results
The results
in the
important
of
a
buildings.
of
' '
of this
set
rules
governing members,
obtainable Institute of
competitions
was
to
be
observed
by
and
Institute is
printed
in brochure
to
form,
readily
by writing
the
Secretary
D.
of the C.
American
Architects, Washington,
all the the
Nearly
country
a
important
of
public
buildings
and have in most been of
of
this
cases
are
result
more
competitions,
firms
to
a
number submit
of the
prominent according
a
invited
to
drawings,
up
program
ments require-
drawn is
or
by
committee. remunerated
An for
invited his
competitor
whether
usually nominally
not
work,
successful. the
In
important
or
civic
building, then,
municipal
well
to
such
as
library,
in the
museum
charge
of
the
project
avail
carefully studied
Institute In the been of
as one
procedure
outlined
by the
of
Architects. of
matter
making
the
awards,'
power
many
mistakes in the
to at
have hands
appear
made
a
by placing jury
as
"
of
award
lay
proceeding
which There
ought
should of
be
absurd
it
actually is.
on
least for
competent
prove
architect
the for
to
jury
some
award,
it will
to
16
absolutely
the
essential
informed
person
explain
drawings
the
lay members
242
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
before
can
any
intelligent conclusion
as
to
respective
merit
be
reached. is
true,
also, of
the with
of
committees The
juries in connection
may
churches. who
may
are
of
several
entirely
one man
unfamiliar who
"
architecture,
be many
has ^but
extensively
should
seen an
ings build-
always
distant
in
architect,
With
no
called
from
some
city.
professional
of such
an
the
prove
be
of
competent
of
diced unprejuand
penses ex-
worth be
amount to
him.
the
scale
"
building
warrant
project
the
"
^a
small
church,
sive expen-
for
example
not
an
weighty
and
procedure
members
was
architectural in do whose
to
competition,
hands the
as as
the
of
the
committee
placed, would
architectural
as
well
study
many
of
the
leading
as
periodicals
they
obtain,
still in
well
books
to
on
architecture,
American
and
might,
of tects, Archi-
doubt, write
as a
the
Institute
perfectly unprejudiced
of architects
to carry
* ^
authority,
works
for
ommendations rec-
whose the
would in hand.
ticularly par-
out
project
* '
are
specialists
in certain and
types
of
buildings
banks and
"
^notably
school
buildings,
to possess carry out
hospitals,
mendations recom-
hotels-,will be found
for selection
to
certain the
type
their
of building
in
which
they have
them
years
specialised, in that
many
ence experi-
has
taught
in recent the
valuable
details.
Only
to
have of
real-estate
operators
come
realise
importance
in
securing
of
competent
groups of
*
tectural archi'
services
the' planning
ready
LOCATION,
STYLE
AND
MATERIAL
243
houses.
a
Careful in
architectural the
supervision
aspect
an
will
consistency development,
general
well
as
of
given
as
the
houses.
In
some
more
instances called in
landscape
toward
architects the
been of
to
work
together living
tracts the
really
there who
attractive several
environment,
which should
that models of
already
to
are
be
all
are
planning
of real
building
The
development significant
operators
involved is
not
any
large
the that
piece
more
estate.
fact
is
that
intelligent
increased
real-estate initial
now
realise
the
,
expense
in
securing wasted,
far
petent com-
architectural
money
but
money rental
**
invested,
and
are
created otherwise
'higher
exist. and
selling
would
"
Neighbourhood
*
planning,*'
' '
garden
cities,*'
been and for
on common
model
villages
have,
for in
some
time,
achievements unlimited
**
England
the
tinent, Con-
possibilities
to
*'
this
practical
are
application
the dawn
architecture'* realisation
to
building"
country.
who is
but
at
their
in
this
Reverting
build take
^^
again
a
the
individual the
about
to
for
himself the
dwelling,
following
this
chapter
will
up
relationship
and the the work.
between whom
(now
to
client*)
out
architect
carry
THE
ARCHITECT'S
PRELIMINARY
SKETCH
ARCHITECT
AND
CLIENT
245
individuality.
social
#
It should
be
remembered,
with the
however,
architect himself
that
and
business
relations
"
should would
be
kept
strictly separate
have it so, and in
a
rather in
far
prefers
instructions
over
writing,
businesslike
no
than what
dinner-table,
said. Some
where
record
has
houses,
built with in
it is true,
a
happily
and
successfully
way,
delightfully hap-hazard
if
any
"
little the
of
the
entering
of
a
transaction
^but
been
tastes
natural
on
affinity and
the
congeniality
architect
way
a
confidence than
part
of both
any
client,
recom-
because of the
it is in
safe
method
to
procedure
average of
in
case,
general.
it
Betuming
that the whole
might
well
be
iterated re-
much
the
success
and
smoothness
upon the
of
building
project
his
will first
to enter
depend
visit the
a
client,
to
the
proposal
to
architect
has
selected, that
It is
many every
a
is about and
men,
business circumstance
strange
inexplicable punctilious
business
to in
degree
their of
day
and
business
dealings, and
in their their
own
the
enforcement
system
routine
in
an
offices, are
with draw for for
a
flagrantly
unbusinesslike
To skilled
not to
dealings
to
the
architect. and
engage
architect
plans
small
he
give
is be the
a
supervision,
do him
a
especially favour,
the
house,
should of
personal
which
humbly building.
more
gratefullhroughout
In this
whole
progress
connection,
than dealt is
figures, perhaps,
words. with The
give
lucid of
demonstration
will be
percentage
suffice
per
basis
to say
charges
the
on
presently"
his
to
it
that
architect
a
receiving
ten
cent,
commission
house
estimated
cost
$10,000.00
246
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
(more
on
often
ten not
per
he
receives
cent,
seven
per
cent.) his
fee, then,
the does
basis
must
'*
is allow
$1000.00,
a
which, however,
proportion
a
he
*'
net, but
expense
certain
for
overhead for
certain the be
amount
the
expense
produce
It
will
drawings
seen
(draughtsmen's
this total become
a
salaries, etc.).
if he
from the
once
that
amount
he
is fortunate of his
even
half
at
conmiission,
to many must
a
apparent,
man, this
client
himself,
in make
cost
business
how architect
houses,
build
averaging
if he is to
$10,000.00
even a
fair become
income.
equally apparent
architect
's time
one
to the
client
about
the
to
he
should
reasonably
house. The
expected
who
"
devote
to
a
$10,000.00
and
very
client house
is
a
building
small
inexpensive
even
''bungalow
unreasonable. is of his first and
client'' In
is, unfortunately
all
usually building
the
most
probability
of
to any
this
siderable con-
venture
sum
expenditure
he
money, He
is bound of himself
receive somewhat
his
money's
in the
worth.
conceives
of
light of
staff of
''captain
industry,"
his
a
and
pictures
on
large
the
labourers
living from
expenditure
patron
build In work his of
house,
himself, giving
some
too, in the
the
light of
to
the
art^, grandly
venture to
were
$8000
of
grateful
truth
this
calibre,
considers
at
the himself
may
known,
architect the
fortunate
produce
the
cost, and
he
one
have
not
accepted
commission he
because
to
could
or
refuse of his
it, or
because
keep
two
draughtsmen
client well
to
busy
through
ideas
dull
period.
The
small-house would do
with
go
enlarged
of his
one
importance
the
more
(unwittingly)
architects
to
of
prominent
country-house
ARCHITECT
AND
CLIENT
247
who
a
make house
no
it
practice
to
not cost
to
any
work
estimated
$50,000.
in the
would,
doubt,
of
* '
acquire
* '
his
scale.
many
There
are
architects, however,
and whose
who is of
specialise
sufficient
work,
practice
to
be
profitable.
enters upon
client, then,
recognition
his that
first he
consultation is
due
a
of
the and
fact
embarking
of
with
due
recognition
work
hand,
time the
fair
just proportion
the
new
(not all)
of his In the
devoted
project.
advisable in his for outline
first
to be
consultation
as
it is
as
highly
dient
explicit and
as
complete
of the
proposed
for
house him of
to money
it is
possible, without
with
to
a
technical statement
knowledge,
of the
amount
be.
Beginning
he
is
prepared
the
spend,
whatever whatever
may
the
client sketches
will
or
do
well
he
to may
architect
plans
or
evolved, magazines
or
photographs regarded
From these
at
as
clippings
he
have
suggesting
documents
kind architect of
of
house will
nature
he be
desires.
to
form,
the
start,
he
fair
idea
the
ect projwill
upon
which in the
is
being
engaged,
and
much of
be
saved
architect's do
not meet
preparation
with the
to to
one
preliminary
wishes. that another wish him
sketches In
one
which
client's remember
copy may
this
connection,
never no
however,
ask
matter
an
it is well architect
should
house
to to
exactly,
it.
how of
closely
No
architect
on
standing grounds,
as a
would and
any
consent
procedure, regard
creative
ethical
a
tect archi-
such
request
The
distinct
reflection with
upon
his
ability.
writer
is familiar
248
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
case
in
which
such
request
The had
was
made,
and
flatly
refused
went
by the
to the
client, nothing
built
the
daunted,
he wished
contractor
house
original
contractor's
"
possession,
grave
an
inferior the
to
common tractor's con-
duplicate
erected
reflection
integrity
architectural
and
outrageous
to every
affront
tenet
the
profession
and
of
decency.
In should which the
first
consultation fullest
with
the
architect
the
client
give his
the
confidence, withholding
know in the
as
nothing
proceed
dure proce-
architect
should
order
to
intelligently and
here
from
a
efficiently with
be
work.
no
The wise
should
regarded
in which
a
in
different
a
client which
If
is
acquainting lawyer
lawyer require
any
circumstances his
the out
the client
will
preparing regarding
brief.
the
entertains his he
doubt
ability
in
or
fications qualishould
for
for
carrying
doubts
hand,
any
satisfy
certain
these
proceeding
friction
any
further,
later
complications
is commenced If him the make
will
arise
on
'*
if the
project
the
mistrust
the
part
of
client.
let
is
naturally
his architect him
may be
or
canny"
vidual, indi-
of
upon
first, rather
for
a
than
heap
recriminations
lack
to
of the in
harmony,
client's
^*
which,
difficult"
to
after
all,
only
personality,
an
oversight
be
neglecting
certain The of for the
to
select
architect
who
reasonably
please
him.
client
remember,
is
throughout
a
the standard
course
work,
paying
standard than the
fixed
and
fee
certain
professional
architect that the
services
upon
(often receiving
in the
is called
more
contract,
to
perform)
and
wisely
ARCHITECT
AND
CLIENT
249
he is be
avails
of
these
services, the
The
better
value
he
receiving
apparent
the
money.
cases
those
where
client, biassed
to set
by
his
some
outside
notion,
the
attempts
fantastic
imaginings knowledge.
both
architect's clients
absolute and
no seem
professional patients,
no
doctors'
more
or
dealing
men
men
who
are
less
professional
judgment they special
had
the
architect,
as
to
show
better that
and
though
they
realised
on
sought
men
better
to
these
to
subjects
certain
than
they,
advise
and
perform
sional profes-
services
In
possible
to
in
the
first
client the
remember will
that,
assume
instructed,
items
as
architect
doors,
' '
windows,
hardware
and such
so as
forth
are
to
be
* *
stock,
by which
on
obtainable
to
ready-made
and
to
are
the in
applies, also,
**
brick
materials
of
general.
stock"
building only
with
or
materials
standard
large
raw
and
nation-wide
costs.
material has
the client
as
in mind
certain of
* *
special
' '
such
casement
windows
or
unusual
type,
or
high-grade special
hardware
lighting
or
fixtures,
floor
high-priced
the the
tile, he
at the
on
should
acquaint
before and
architect
these been
things
to
outset,
the which
or
contractor
asked
bid
plans
more
specifications.
itemise
specifications
(of
later) will
special material
name,
equipment,
any
preferably
on
by
the
in
order
to
avoid The
contractor's
part.
has
a
client
that
the
architect
full
col-
ARCHITECT
AND
CLIENT
251
the far
list of
* *
extras
* '
which
often
run
the No
cost
one
of
honse of
beyond
the
client's has
intention.
more
detail
practice, perhaps,
between architect which
caused
friction
client
more
mattoj:
in that
of
no
"extras,"
to
deplored
misunderstanding Quite
half have often
a
be
necessary.
client that
he
remembers,
had
after for
the
house
is
to He
completed,
copper
intended,
instead of
to
example,
tin.
rain
gutters
the
painted
make the
promptly
and that
much
telephones
architect this
change,
the times fact
as
the the
as
architect, making
copper
note, mentions
about allowed
as an
gutters, painted
will tin
costing gutters
four
the
for
*'
in
the
specifications,
The the client
copper
naturally
that he is
appear
aware
extra.''
to
answers
of
this, but
order whole
gutters,
until for he this
then
promptly
forgets
with other
on a a
the
conversation
extra
considerable
charge
or
items,
house
scene,
added
was
changed
after There
prepared. grievous
may go in
usually
grievous
doubly
client should he had
totally does)
unnecessary.
The the
extra
(and
for
maintain
that the
cost,
the of
on
ground
to
always
copper
intended
start
have,
tin.
example,
fact that
gutters
to
painted
rather
or
he
neglected
to
this
expensive
after the with be
a
preference
the
were as
architect,
drawn
was
either
before
no
specifications
him,
up,
carries
weight
he that
may
although,
man
before,
than the
business architect.
in every
with
Quite
often
accept
words
was a
charge
to
exceeding
that
"
ill-grace, always
say
grumbling
this
the with
he
had
heard
the house
way to
tects archicertain
^they
cost
262
THE
PRAC!TICAL
BOOK
OP
ARCHITECTURE
snm
of
moneyy
then load
you
find
* *
it costs
' '
half
again
on.
as
much
because No be
of
the
of
extras
they
or
put
architect
experience
of his
own
standing,
and
remembered,
accord,
any
the
client, make
the
change
The
specifications for
one
house.
of
writer
with
excellent York
firm
method of
procedure
to
by
iall confusion
architects in
eliminate
to extras.
recrimination
any
regard
whatsoever
They
insisted
any extra
instructions
or
ing involvnot
labour, material
or
equipment
in the and
lated stipumust
specifications by
the client would
shown
drawings
made
in
writing,
be
it clear
or
such
extras
performed,
instructions.
purchased
In this
installed
without
was
such
written
way,
argument
the
forestalled is to be
It
and
friction
not
avoided, only
to
so
procedure
but
to
men
recommended is
a
clients.
curious instructions
thing that
to
business
give
while and
casual
their
or
tects, archiover
either the
going
an
through
unfortunate
the
building thing
that
telephone,
carry order.
a
many any
architects written
up
a
out
instructions would
not
without dream of
to
man
written
order message
eight carloads
increase it
of
telephone
twelve,
is,
his
strangely
architect
on
enough,
to
quite
some
capable expensive
any
telephoning
or
change
his of
without
order.
following
written
been
made and
to
the
^o
cations specifias
drawings,
these and
points,
with
architect's
now are come
supervision
under methods
the
contractor,
There
consideration. of
several
estimating,
and
of
ARCHITECT
AND
CLIENT
253
these
the
only
of
cost
one
which
is to be estimate
regarded
as
an
is the
presented
with if who
liminary preon
sketches.
exact
Even
this, however,
an
initial
data, and
given by
in
architect the
had
experience
will
cost
building
come
type
house
consideration,
of the actual
often
of
within
hundred
the
preliminary
as
estimate,
^'^ local
regarded chapter
way
or as
final
"
conditions" influence
most
spoken
it
preceding
the
the
may
considerably,
other.
most
The
reliable
preliminary,
of
a
well
reliable bases
final his
estimate, is that
on
local
contractor,
and should
cost
who
figures
the
definite
working
deflection
'^extras"
drawings
from should in the that
of the
architect.
any
be due
no
this, and
be
increase
to
as
duly
expected
accepted
Let
discussed
preceding
the
paragraphs. drawings,
outline of the and views.
haps, per-
it be of the of
to
supposed
a
preliminary complete
direct
consisting plans
four and sides
perspective
* ^
sketch,
* *
four the
elevations have
or
views
upon
house,
agreed
the
changed
These
conform
entirely drawings
preliminary
to
have have
taken,
the
building
of he has
site,and
the called in client
discussed
such of To it is
by
his
save
such friends
members
as
client's in to the
to
family
aid his
judgment. drawings,
expensive
changes
for the
later make
of at
every
change
stage.
and
he
are
can
possibly
in
"
think
this
are
These
usually
sketches
pencil, and
basis for
to
be
regarded
tentative When
^a
**
discussion.
are
preliminaries''
is
architect the
ready
to
the
specifications
and
working
drawings,
254
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
is asked Standard
(if he
Form
*
has
not
been
asked
earlier)
Between
to
sigu
of
Agreement
which
Owner
seen
Architect."
a
This builder
very
document,
until dear
is seldom
to
by
prosi"ectiye
a
it is
presented
of
to
him various
to
sign, contains
services which
exposition
is
the
the
architect here in
required
an
perform,
part
and of
is therefore
printed
full,as
important
this
chapter.
CoNDinoirB
or
AflwmfiWT
Betwebn
OwifES
ahd
Abcuitblt
Artide seryicea
1.
The of the
Archiieci*9 necessary
Servioet.
"
^The the
Arehiteet's
profesrional
of and
consist
conferences,
preparation
scale and of of
studies,
detail the
working
the
drawings, drafting
of the
"
specifications, large
of forms of the and
dravdngs;
issuance of
contracts;
the
certificates of
payment;
business ^The of fee the
accounts,
the work. to
general
2. Architect hereinbefore work in
Fee.
payable
above
the
performance
as
percentage
cost of the
the
basic such
rate,
services
computed
have out
respect
to any
of
which
performed,
these
subject,
of
however,
modifications
growing
Conditions
Agreement.
3. costs while the ReimhuraementM, of
"
^The and
Owner
is
to
reimburse
Architect his
the assistants
the
transportation
in
living
of
incurred
by
him
travelling
costs
discharge
of
duties
connected
work,
and
of
the
services
heating,
ventilating,
mechanical,
engineers.
4.
Ewira
amd Owner
SpecM
makes and
(7aMt.
a
"
^If after
has
been
approved,
involves the let if
decision for
which,
execution,
to
services
expense
or
changes
or
drawings, by
the
not
specifications
of labor of
or
other
documents;
if
or
be
sum;
or
cost services
and
material
are
plus
percentage
for to work
or
fixed
the if
Architect the
or a
rendered is
plated contem-
but
executed;
Architect contractor,
put
or
labor
expense
or
by delays insolvency
and expense. The the work
caused of
by
either,
the he
Owner shall
by
for
the such
delinquency
extra
be
equitably
paid
service
basic is let
rate under
as
hereinbefore
one
defined Should
is
to the
be
used
when determine
all
of to
contract.
Owner
^Copyright,
1916,
by
the
American
Institute
of
Architects.
ARCHITECT
AND
CLIENT
256
have
as
certain the
portions
of
the of
work
executed expense
separate
contracts,
is the the under work.
Architect's
burden
the rate cent
service,
connection than
responsibility portions
rate. of
thereby
work Owner
increased,
shall be four
to
in
with the
per
have
greater
Should
determine
substantially
such the
the
entire
work to
executed
separate
In to the
contracts, event,
for
then
higher
basic of the
shall
apply
without the cost
the
entire
any
however,
any fees
shall,
on
increase,
Owner of
apply
contracts
portions
to
Engineer's by
Should the the
the
Architect,
to under
articles
but
any the
or
purchased part
amount of it
direction.
or
be any of
suspended accepting by
or
a
the for
Owner
the
of
by
modification
in his accordance service
covered of this of it
it,
Architect for
paid
of
with rendered
or
ment Agreeup
to
the
of
proportion
such
the
time No
abandonment,
shall
be made
or
suspension
from the
sums
acceptance.
fee from
on
deduction
Architect's withheld
acooimt
of to
penalty,
contractors.
6.
liquidated
damages,
other
payments
Paymentg,
progresses
"
Payments
in the
to
the
on
his
fee
are
due of
aa
^is
work
following
per
cent
upon entire
completion
fee;
upon
the
preliminary
of
studies,
and
twenty general
completion
of
specifications
per time cent to to of
working
the entire to than time
drawings
fee,
the
the
(exclusive
remainder of his
as
details),
forty
from
of
being
due
proportion
other due from Until
amount
on
service
rendered. all is
are
Payments
Architect,
fall
those
to
fee, and
his work
bursements reimdone
to
costs
time
are
or
as
costs upon
are
are
a
signed
the work
charges
and
be
based
estimated the
"
of
payments
received 6.
on
entire ^The
The
Oumer's to all
shall
give
thorough proposals,
and,
sideration con-
sketches,
documents is
drawings,
laid before he time
as
specifications,
him shall not
tracts, con-
and
by
inform to
the
Architect the
prompt
decisions Architect contractors 7. in
nor
necessary,
Architect the
or
reasonable
delay
work instructions
prevent
season.
him
from
giving
drawings
in
due
Survey,
a
Boringe,
and
and
Teeta. accurate
"
^The
survey
Owner of
shall
the and
furnish
the
tect Archi-
complete
and lines
building adjoining
and
site, giving
grades rights,
of
streets,
easements,
pavements,
properties;
of
restrictions,
and Owner
or
boundaries,
as
the
building site,
service.
The
full is
information
to
to
sewer,
or
water,
tests
electrical
pay when
for
borings required.
pits
chemical,
mechanical,
other
tests
256
THE
PRACTICAL
BOOK
Work. and ^The
OF
ARCHITECTURE
8. the but
SupervUUm
of the
defects
"
Architect in
will the of
endearor of
to
guard
Owner he
against
does
of not
an
deficiencies
contractors,
The
guarantee
architect to
the
is be to
performance
be
supervision personal
distinguished by
the
superintendence
obtained
employment
clerk-
of-the-works. When
both Owner
authorized
and
by
the
Owner,
shall be and
derk-of-the-works
acceptable
Architect upon at
to
a
Architect
to
engaged paid by
by
the
the
salary
entation 9.
satisfactory
of the
the
Owner
Owner,
prea-
Architect's
monthly
"
certificates. When
Preliminary
make he be will
or
Eaiimates.
requested
estimates actual of the cost
to
on
do
bo"
tect Archiof
as
will work
as
procure
endeavor with
preliminary
to the
the low
and may
keep
purpose
but and
no
the
of
consistent
and
building
made
can
proper
pletion comaa
workmanship
of other than 10. the
as
material,
estimate
working
an
drawings
specifications
be
regarded
approximation.
of
in the Coet
2
Definition
"
of
the
Work,"
are sums
The
words to
"
the
cost
of
work
as
used total
Article of the
hereof
ordinarily
incurred for
be
interpreted
execution
meaning
work,
the
the
not
contract
the
or
of
the of
or
including
Engineer's
rare
fees,
e.
the when
or
salary
labor
when
aa aa
clerk-of-theworks,
is
cases,
g.^
furnished
are
by
the and been at
market to be
cost
old the
re-used,
interpreted
the
materials
have
necessary materials
complete
been when
new
work,
and if
such
labor
all
waa
fully paid
contractor's
market and
"
prices
the
work
ordered,
11.
plus
profits
Documenta. the be
expenses.
Ouynerehip
of service
are
of
are
Drawings
of
or
and Architect
specifications
whether the
as
struments inwork
property
executed
"
the not.
for
which 12.
they
made and
Stiooeeeora his to
Aaeignment.
The
Owner
and
the
Architect,
and
each to
binds
himself,
other
successors,
executors,
administrators,
and other to the
successors,
assigns
executors,
of all
the
party
this
agreement,
of such
administrators,
covenants
and
this
assigns
party
in
respect
the
of
Agreement.
shall have any into the
The
right
architect
to
or
join
with
him with
in
the whom In
formance perhe
case
agreement,
enter
architects
may of the
in
good
death of
or
general
one or
partnership
more
disability
if upon
or
of
a
partners,
devolve may be
as
rights
and
duties
the
Architect,
or
firm,
firm be the
shall
as
upon
remaining by
him
or
partner
them,
the
partners
he, they
and
so
such shall
established
the
and
it
recognized
covered
"successor"
of has
Architect,
on
until
service
by
the
agreement
ARCHITECT^
AND
CLIENT
267
been
case
performed.
no
The
as
Owner to the
shall vocation
have of
the those
same
rights,
to
but
in
his
limitation
admitted
partnership
is
imposed. Except
as
above,
his
neither interest
the
in
Owner this
nor
the
shall written
assign,
sent con-
or
agreement
Arbitration. submitted
"
^AIl
questions
at to
in the
dispite
choice of
under of the
Agreement party.
in The the of
be
to
general
work the is
procedure
to be
shall
the
laws
which
decision
erected,
may be
permitted
to carry
by
it
law
the effect.
arbitrators The
into
parties
one
may
agree in
arbitrator;
each fail
otherwise
and
a
be
three,
these he
named
writing
or
by they
party
to
by
two
arbitrators,
be chosen
if the
days
nearest
shall
to
by
of
an
presiding
work.
officer Should
the
Association
the fail to
location
to
name
the
party
of
demanding
his
arbitrator
days
other then
demand,
fail to
right
an
arbitration
shall
lapse.
the
party
such
arbitrator
within
such the
said
days,
presiding
refuse
or
shall to in
ew
appoint supply
arbitrator.
either papers
party
or
neglect
demanded
arbitrators
arbitrators
any
information
writing,
the
empowered
by
both
parties
to
proceed
If the
parte.
be of
one
there
arbitrator
two
his
be of
decision
shall
and such The
be
binding;
decisior. arbitrators
if shall
three,
be
a
decision
any
shall
binding legal
precedent
to
any
right
unless
action.
shall
fix and
or
compensation,
the
The shall
or
otherwise of the
provided
arbitration must
on
by
agreement,
upon
assess
costs
and
charges
of be the open award.
either
parties.
writing,
arbitrators to
be account
in
writing
of the
and,
form
objection
proceedings
Owner covenants and
Architect herein.
hereby
agree
to
the
full
performance
contained WHEREOF
and
WITNESS
the
they
first above
have
hereunto
set
their
hands
and
seals,
day
year
written.
Certain
mums
percentages
the
are
have
been should
in
standardised
as
miniin
which
cases,
architect included
accept,
the
and
these,
which
rials mate-
all
not
estimate,
cost
is
understood
and
to
represent
the
total to
in
a
labour,
given
equipment
with
required
erect
building
pre-
in full accordance
specifications and
drawings
ARCHITECT
AND
CLIENT
259
as
he
would
one.
in A
man
any
other
than
law
a
an
tural architecmatter
on
or a
important
will seek
handy
surgeon
or
an
important high
so
operation,
and
he
lawyer
and
to pay
of
standing
that
high
will
reputation,
be asked
will
a
doing,
he
This
should
upon
beforehand,
and
fully into
It is very
advisement for
himself. client
to
difficult
average
be
or
able
riot amount
to
determine,
architect of is
intelligently and
fairly, whether
a
the
giving
work
in progress The in
sufficient
personal
of of
supervision. neglect,
unnecessary is
openly
client
expense,
a
accused volume
reality
for
an
charge
respects
to
assume
travelling
architect that the he
of
integrity
best
quire. re-
reliability,
of the
it is safe
judge
amount
of
supervision
be
work
all, it should
is at he
remembered
not
the
reputation
for which
stake,
is of
only in the
design
but he is
house,
contractor's
part
the
for
which
indirectly
that
to
responsible.
will
It stands
not
reason, allow
upon
a
therefore,
contractor
the
a
architect
monument
wittingly
will of the
erect
which much
reflect
his
sional profes-
client's
may
apprehension
well be
supervision
allayed
reflection.
Before
entering
of the
into
more
or
less
detailed
sideration con-
drawings
and
specifications,
relation the and
it may
be
well
to to
contractor
bears
transaction,
what
tion rela-
he
In
or more
bears
usual
procedure,
to
architect
invites
or
on
two, three
contractors
tender bids
estimates,
to
bids,
on
proposed
building, these
be
based
absolutely
260
THE
PRACmCAL
BOOK
OF
ARCHITECTURE
uniform
data
given
to
each
bidder
in the
form
of
cate dupliThe
specifications
client
may
are
and
duplicate
of these
blue-prints.
"
know
nothing
of the
contractors
usually
in
or
they
contractors
good
local is to
reputation
be
the with
vicinity in which
whom the
building
has had
erected,
architect
previous
satisfactory
dealings.
When the bids have been
received,
presence
sealed, they
of the
are
formally
In the
case
opened,
of
perhaps
in the
client.
important
of
money
large
that and mates estiin.
for
a
expenditures
the that
involved, impartiality
any
it is obvious be
greatest
no
formality
be all of
aware
and of sealed
to
observed,
'
bidder before
of
his have
competitors
been in the the handed bids
the
bids be be
The
degree
formality
may
observed left
to
private
architect Several if
house and
well
discretion
of
client.
bids, then,
accept
is in
a
are
placed
estimate better
before
the
wise, will
the far
recommended
position
to
integrity of the By
no means
competing
should
client.
to
bid, for
reasons
should
be
obvious. If
one
bid several It
is far
lower
than
all
are
others, it is safe
detrimental
to
to
assume
things
be who
which he
that and
bidder.
may man,
that has
is
an
inexperienced
on or
impractical through
desire low
also to
figured *Mow'*
with
everything
an a
lack
secure
of
familiarity
the work.
an
costs,
some
undue
very
cases, contractor
bid
is put
in
by
who,
unduly
desirous
the
of
the
work,
is
figuring
of
his
profit through
fraudulent
substitution of
rior infeor
materials,
or
the
employment
cheap
labour,
ARCHITECT
AND
CLIENT
261
both.
And,
is dear
in any
at any
and
poor
ship workman-
not
be
to
surprised
the
or
architect
little the
or
no
tion atten-
very
low medium
weighs
bid. is
merits
of
the
medium,
A out
the
cautious the
contractor,
figuring
to
on
carrying
on
architect's
specifications
the
most
the
letter, and
will
employing
tender client
a
only
skilled
a
labour,
naturally
if the
very to
can even
it,he
medium and
In
may
do low find
well bid.
years
the
He of
building,
will
any
satisfaction
in
case,
the
architect
again,
one
is
advisor.
He
may to
point
all
to
bid
it in
preference dealings
that
others, because
contractor
past
the
who
turn
over
thoroughly
will
perfectly
built.
The
satisfactory
honestly
and
carefully
relationship
a
between
one,
owner
and concluded
when
contractor
is
purely
for have
business
as
and
is
(excepting
both
payments
the
'*
work Standard
progresses)
Form
"
parties
tween Bepared, pre-
signed
Owner like
of
a
Agreement carefully
Contractor"
form
Standard Institute
agreement,
Under
go out
* *
by
the
American
no
however,
client
to
on
the
or
give direct
foremen certain
up
instructions
or
the
contractor,
At
of his mention
to
superintendents.
which
he
most, he
the
tractor con-
things
the
wishes
even
take
with
architect, though
not
this
is
unwise
and
is much
sees
better
any
done. which he
or
If the accordance
client with
work
considers
sees
not
in
the
specifications,
anything
262
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
which make
he
notes
wishes
on
altered
or
done these
up
differently,
with
over
let
him
it, and
take
the the
architect. architect's
are a
Instructions
to the
contractor,
the
given
head,
and
on
architect's
a
knowledge,
confusion would the architect
a sure
ability and
contractor
grievous
himself
to
all
far
rather
his
one
instructions
direct
from
architect, and
to
else, because
responsible.
the
to
it is the
whom
he
case,
directly
one
Only
is very work the
in
most
serious
of his
on
knowledge,
all
or on
is it well
stopped
can
any
architect is the
appear
the
Usually
this
procedure
only work,
oificious and
ference, inter-
seriously annoying
cases
hampering
the
greatly
in
most
and client
affronting
lacks the the
architect, because
the
professional knowledge
respect,
with officious brick tell
a or
command
contractor's
the
work.
the how
botanist should
veteran
be
layed,
carpenter
successful
a
will
plank
ripped.
realised
as
If these that
(possibly)
appear to
well-
meaning
workmen
individuals
as
they
skilled
appear to
ridiculous
they
confine versed
imagine
their in.
they
advices
such
they
were
more or
Regarding condemned,
architect
workmanship
removed
as
which
is to
be the the
and
replaced,
set
is the with
word,
is
duly
in
forth written
in
agreement
contractor,
the
a
and
the
eral gen-
provisions drawings,
part
afford
of
a
specifications, which,
most
with
the
constitute the
important
architect
to
and will be
binding glad
some
agreement.
the
Any
to
client
opportunity
read
carefully
ARCHITECT
AND
CLIENT
263
previous
to
set
of
specifications, in
details contractor
to
which
he
may
perceive
and of the
what
minute the
of
workmanship,
is bound.
materials
equipment
work is
Every
**
part
specified
manner/'
be
a
done
in
thoroughly
states
and
preceding
to
clause
or
workmanship by
the
is
subject
The nails the floors
no
approval
condemnation
even
specifications
shall
"
may
state
cross-
exactly bridging
be
driven
in written
the
carefully
whatever the
indeed, leaving
or
loophole
on
for of
unconscientious
or
execution
part
his
workmen.
cases
In best
to
many
there
are
sub-contracts,
architect.
which A
' '
it is
have
let
directly by the
on
general usually
contractor''
bidding
in his
the the
average
dwelling,
work and
"
includes
masonry,
estimate
entire
excavation,
while
are
carpentry, plumbing
let and
plastering
electric
painting,
contracts
heating, usually
a
wiring
separately being
of of
by the
architect, his
on
selection
of
sub-contractor
determined
estimates
based
on as
special
in the
sets
case
duplicate
the
specifications and
contract.
a
drawings,
the
general
If
general
in the has should
contractor
is
letting the
sub-contracts,
that
so
clause architect
general
the ho
was
specifications
to
reason
stipulates
or
the
power
reject
any
all bids
any
received,
have
to believe
that
of the the
sub-contractors
undesirable. the
Occasionally
contractor,
excavation this and
architect
dispenses
all
tracts, con-
with
general
from the
sub-lets
to
direct last
work
the is not
finished The
coat
of
paint, though
of
procedure
is
usual. but
profit
the
general
to to
contractor
saved,
to
it is obviously
a
necessary
the the if
architect work
a
appoint
closer
intendent, super-
give
case
much
attention
contractor
the
reliable
general
264
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
were
responsible
A
for
the
work
to
of
all the
sub-contractors.
contracts
client
up
who
undertakes trouble
same
sublet
himself his
man
' *
is
storing
untold
for
himself class
with
and the
archi-
who,
his
has
manner
lawyer,
* *
has
fool
for
of
client.
been
shown,
the
in
speaking
acts most
the
as a
contractor,
detailed
in
tract. con-
what
specification
one
It in
is, in fact,
the
whole
of
the
important
if the
ments instru-
transaction,
will with
and
comprehensively
house of both The in exact
owner
written, conformity
and
insure the
plans and
intentions
architect.
commence
specifications
with which
progress
certain will be of
general
exercised the which
provisions, by
and be the
architect
the of
the
work,
will
stipulating required.
to
quality body
of
workmanship
document
of
The the
in
will the
be
divided into
tions secpenter car-
according
several
divisions with
work,
dealing work,
not
manner.
detail
excavation,
and be
so
masonry,
plastering,
what
painting
shall
forth, specifying
in what
only
It
materials
to
used, but
and
is well
names
specify
and
materials
equipment
assurance
by actual doubly
be
sure
trade
numbers, conformity
' '
making
with
a
by requiring by
the
sample
*'to
furnished be
architect.
Thus,
all such
steam
certain
brick
as
should
specified by name,
and
and
equipment
radiators number.
no
plumbing
hardware this
way of
lighting
be be
or
fixtures,
and In
specified by catalogue
that there is
seen
virtually
bility possi-
fraudulent the
substitution. recommendation
or a
regard
makes
or
to
architect's
of
a
qualities of material
be made
here
equipment,
ception miscon-
should
of
of
serious
the
architect's
function
which
is sometimes
ARCHITECT
AND
CLIENT
265
encountered.
There
are
or
people
who
suppose
that
an
architect, either
from
and
openly
surreptitiously,
for
or or
a
receives
missions com-
manufacturers
use more
a
the
recommendation
ing Noth-
subsequent
could be
on
of
materials
equipment.
more
erroneous,
unfounded
The
dations recommenan
reflection is
high-standing professional
profession.
advisor.
and
tect archi-
only
are
His of
impartial,
his
entirely
in the
professional
entire
work
on
only by
of
represented
cost in
percentage
entire of
a
mission com-
estimated
building. building
to
'The will
nature vary
drawings
in
of
required
and but
the
number
complexity
will
according
th6 for
the
building,
of
:
consist, in general,
all
buildings,
1.
The The
a.
preliminary working
The The The
drawings.
2.
drawings.
scale
i/4-inch %-inch
full-size
plans
and
elevations. details.
6.
c.
Of this
the
preliminaries,
The
or
earlier
in
in
chapter.
perspective pen-and-ink,
be it The blocked
drawing
and will
'*
pencil,
a
water-colour
of
(sometimes, proposed
of
an
said,
trifle
idealised")
may
house.
preliminary
plans
be
part
this idea
drawing,
of the
merely
rooms.
to
give
some
arrangement
In
cases
preliminary
and
save
drawings
the
include
i/4-inch scale
of which
plans
will
elevations,
much
careful of the
re-studying subsequent
lavish their
an
changing English
''working interesting
drawings.'*
amount
architects effort
upon
of
real
artistic
preliminaries,
of
as
often
making aspects
charming
of the
colour-sketches
several well
as
ferent dif-
proposed
house^
of
REDUCED
REPRODUCTION,
t
e
OF
AN
ACTUAL
"l-INCH
WORKING
DRAWING"
Mr
approv^ Hrliona.''sK"'"u'nlelydnwn
Bad
RbukiI
to
jiaeb
scale
REDUCED
REPRODUCTION
OF
AN
ACTUAL
'l-INCH
SCALE
WORKING
PORTION
OF
AN
ACTUAL
'"J-INCH
SCALE
WORKING
DRAWING"
OF
AN
ACTUAL of the
-i-INCH
SCALE
WORKING
upprovil
acluaJ
pnliminaiy^
Ibe
nkctcbci. buildiDg
nlj plant
one
foot
jn
propoeed
9
m
*s
"N*
o -a
s"
S|"
=2 "
"
O
c-=
2
?
-
LS
"
.5-5
ARCHITECT
AND
CLIENT
267
These ink
on
working
drawings
are
usually tracing
done
in both
semi-transparent
the
cloth,
durability
and of
a
of
substance because
will its
sustain
erasures
changes,
clear
transparency
these
permits
blue-print.
much
Obviously,
time and
inal origmust
drawings,
remain for
representing
in the the
study,
safety
architect's
office, while
and
the
client, the
a
contractor,
sub-contractors,
will in
possibly
local These
building copies
department
are
require exactly
copies.
the
so same
printed negative
way
photographic
lines
paper
is
printed,
that
the
in
thd
tones
tracing
blue
"
the
ground
' '
the
produces damage
* *
blue-print.
befall
a
whatever
mischance
**on
are
may
set
blue-prints tracing
to
the
job,'* the
original
ink
drawings office,
of prints blue-
cloth be
architect's of
sets
easily
reprinted
may
number
which From
in the
be
required.
worked there
out
are
the
dimensions
and
determined
i/4-inch scale
scale
drawings,
show with
developed
times the
the size
one
%-inch
of the
details,which
(at three
1/4-inch drawings,
su(di details like.
as
%-inch
equalling
foot)
mantel-pieces,
scale
stairways,
are
ling panel-
and drawn
at
the
a
These
details
sometimes
larger
scale, in which
1^^
to
inches show
equals
any
one
foot, especially
or
carving
the
elaborate
woodwork. and
these
progress,
as
drawings,
the be
vague
proceeds,
out
during
architect
such
full-size in this
details
may
required.
in
even
obligation
but
in
respect
an
is
rather who
tha
a
contract,
practice pride
all in the
architect finished
slight vestige
own
of make
his
work,
details
of
his
are
accord for
necessary
the
execution
according
to
his
268
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
intentions. and
These
at actual
show
are
mouldings,
often
the most
profiles
esting interof
carving
drawings,
which
on come
from
an
draughtsman's
's office.
point
view,
drawn
from brown
architect and
They
are
heavy
the
paper,
though
architect
so
occasionally prefers
the
to
sent have
out
a
**on
job,'* the
make office. the
very
careful
draughtsman
remain in his
tracings,
that
originals
may
Obviously
will detail
merit
of
a on
building,
the
in
point of detail,
of full-size these
depend
largely prepared
number
drawings
are as
by the
as
architect, since
can
drawings executing
It will for
nearly
with be
he
own
arrive
at
actually
the
work
his
readily
such
a
appreciated
as
a
tails destate
building
an
public
amount
library
capitol
part
of
must
enormous ^a
of work the
the
the
"
labour
to
which reflect
some
lay observer
when elaborate he
naturally
has
paused
upon,
gazed,
or
intelligently,upon
interior.
great
fagade
imposing
in
Such,
viewed
brief, is the
fluctuations
or
architect's of
procedure,
often
derment, bewil-
with
misgiving
client. **read'' with Some
plain
by
years
the
to
for
architectural who
clients
entirely
see
follow Let
carefully
ber, rememare
designed
lines
they
that
before lines
them. which
however,
result of
and many
these
and
they
of
the
hours
many
days
of
painstaking
and he
study
that has
to
a
re-study
doctor
at
a
backed
not
by
years
experience,
their arrived
does
the
is
steps by which
professional
diagnosis.
understood
work, only by
be
thoroughly
appreciated
fellow-professional.
PORTION
It
OF for
AN
ACTUAL
to
"FULL-SIZE
DETAIL" detail
or
DRAWING
for all
is customary
the
architect
prepare
either
full-sise exterior
drawings
work
of
special
character,
interior
ARCHITECT
AND
CLIENT
269
Nor the of
do
the and
show,
have
to
the
lay inspection,
into the
thought
an
gone
or
easy,
comfortable
to
staircase,
of
an
into hall
are
adding
or
inches in
over unseen an
the
width
upstairs things
and
many
working
out
extra
guest-room.
These
worked other
go
the
draughting
and
table, these
because
things,
to make
unappreciated plan
more
they only
the whole
the house
whole
a
convenient,
abode. noticed resulted Some
at
more
agreeable
is it may
upon
a
unfortunate
once,
some or
however,
upon,
usually
have
and
enlarged
insistence
albeit client
from
of of
to
the
room-arrangement
the architect had
the
stairway
which
change.
The
foregoing paragraphs
architect"
paragons to
may
seem
to have in
ignored
all
the
incompetent
are
assume,
fact, that
architects
of
wisdom
and
a
abused
and
maltreated
*'
by
a
stupid
It
preciative
without
idiot
designated
however,
as are
client.'^ there
are
should
saying,
that
are
incompetent
doctors
come
there
to
incompetent
and
and
to
They
be
avoided,
or
seldom
properly
work.
as a
recommended,
The selection
upon
by previous certainly be
of the him be
good
taken
or
of the for
reflection
as
judgment commiserating
should
not
client,
"
at
least
occasion
the
professions
they
to
misrepresent
say, at any
rate, that
or rare
the
about is
a an
architecture
so so one
building
that
individual
he
can
place
average
an
in
discussion the
necessarily
"
confined
the
as
present
character be
^he
a
would of
make,
fiction.
a
indeed,
interesting
A word
for
work here
might
interposed
about
breach
of
business
etiquette which
is sometimes
committed
(often
270
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
thoughtlessly)
his
by
a
client of
in
asking
or
another unfinished
architect house
opinion
hands
of of
set
plans,
of
an
in the No
his of
to any
architect
standing,
or
with
the
slightest regard
of
professional
opinion,
without
any
ethics, would
more
dream would
a
expressing
or a
than and
lawyer,
cognisance
This
consent
of the
acting professional.
of
point
is covered
in
Ethics
a
of the
American of
Institute
of Architects. and
tact be
certain
amount
diplomacy
by the
clash and
may not
between
architect
cause.
decorator,
entirely without
The architect structural architect is
a
recognises
the
a
fact
that
landscape
like
a
specialist with
distinct
status,
in
engineer, working
of
a
with
architects
nature.
channels
non-conflicting
the architect if the
The
decorator, however,
as
an
naturally
regards
interloper, especially
to carry out
decorator
is commissioned
important
the like.
interiors It is
to
panelling
architect
as
and
only natural
as
the
should
on
feel himself
treatment
be
good
in
a
an
authority
which for
the
anyone
the
of interiors
He
house
he
has
designed
to
himself.
is
willing enough
decorator
select
all
decorative
acute
accessories, genuine,
all the which
out
his
at
disappointment
all mercenary, and
and that
and
finds
most he
important
had hands for definite and the
out
interesting
(for
are
ideas)
taken The
of
his
only procedure
relation the
to
client
harmonious
to
between
at
architect
very start
a
is
rooms
tell
are
architect be carried
the
out
that
by
his
certain
decorator.
The
ARCHITECT
AND
CLIENT
271
expend
those
no rooms.
time He the he it
were
or
expense may
in
studies
resent may
or
drawings implied
real the
or
of
secretly (which
feel
as
the
riority supe-
of
decorator will
not
be about
inary) imag-
but
as
badly
intrusion advanced be
bered, rememspicuous con-
though
of
suddenly
on
broken house.
to him
at
an
stage
his
work that
the
It should have
too,
many
as
architects interior
attained
reputations
decorators,
designing
selves them-
proving
the
tapestries,
of the the
and
With this
due
appreciation
upon
points
presented
between
in the that
over
chapter, bearing
and his
a
relationship
architect the
the
client, it might
safely be asserted
be
reader, if
shoals
to
prospective
indecision
a
builder, may
and
piloted
and
may
of
steer
misgiving,
between undue and
be
enabled of his
nice work
course on
ignorance
undue
on picion sus-
architect's of his
the
one
hand,
ardiitect's
ability and
motives
the
other
hand.
It remains
only
to mention
few with
in the
relationship Here,
of architects
at the
proceeds
The client
a
and is
a
terminates
business
is
basis.
powerful
a
man,
a
represented
or a
by
corporation,
committee.
municipality,
if
railroad the
Here,
his
anything,
in
architect
to
it
to
outdo
client
business-like the
procedure.
of the the
petition com-
Every
publication
to utmost
the
last
payment
the of
selected
architect
goes
forward
with
formality. meetings
progress,
Formality, conferences,
finds
some
endless
of
clogs the
wheels
the
architect
'*
impatiently
to
awaiting
with his
the
word of
great
board''
proceed
part
272
THE
BOOK
OF
ARCHITECTURE
work.
of
invitations
a
to
bid
on
State
Capitol, for
great
The
instance, is
and
the work
serious
matter,
of and of
a
attended bid
no
by
so.
formality,
architect's
to
acceptance
is
less in
lar^e
complex
the
portion pro-
the
size
to
and
complexity
building
large
he
has
been The
* '
selected
design.
' '
preliminaries,
are
in
the the
case
of
the
petition, com-
usually
called
^'projeV^
ateliers
drawings,
Ecole
in
des
was
memory
days
in the each
of the
Beaux
a
elaborate
are
problem
often
projet.
drawings
enormously Usually
in most
expensive
is remunerated he
architect the
actual
to
produce.
he
cases
cost, though
more
expends
than
he
receives, if unsuccessful.
and makes
an
He
is
playing
for
effort
proportionally.
As
proper
stated conduct
in
an
earlier
chapter, important
the
subject
of
of
large and
and of
in
a
competitions by
been
given
weighty
Institute
detailed
American
are
Architects, special
conclusions
duly
set
forth
document
issued
by that
body.
His
projet accepted,
the
architect
to carry
must out
maintain the
endless
draughtsmen
He must
have
competent
work.
intendent super-
other small
assistants
in the
As
in
country
house, drawings,
the
the to
work
proceeds
or
through
details
the and
%-
1^^-inch
detail
stage
of
full-size
drawing
Here,
work
a
is reached.
however,
not go
* *
the the
full-size
workmen
details
''on the
' '
of
all
carved
to
do
to
job,*' but
who
prepares
professional
models
architectural
of all
modeller,
full-size
capitols, modillions,
consoles
and
ARCHITECT
AND
CLIENT
273
ornamented
mouldings
and these the metal mistakes of the full
and size
all
other
detail
of and
like final
nature^
approval
carvers so
by
and
no
architect, founders,
may
wood-carvers,
the
stone-
together with
in execution.
on as a
drawings, Owing
to
that
occur
the the
importance
various
work
involved such
sub-contractors,
and
to
wood-workers their
as
own
bronze-casters,
minute
so
send
of
take
measurements
building,
of the
it progresses,
to to
that
they
are
may
positive
the several
which
they
and
stone
working
are
parts
in
them,
and
which
being
from
executed the
mills
yards
miles
ing build-
it is of
marvellous and
tribute
to
the
to
see
painstaking
with what
draughtsmen
various
artisans
perfect
bronze
members assembled
of
marble,
from in its
wood,
materials,
' *
different
shops,
place.
on
the
job,
' '
each
designed
Here,
too, in the
must
a
carrying
remembered
**
out
of that
plans
the
for
great
is
building, it
not
be
architect
an mous enor-
simply
fee.
designer,^*
netting
He
tremendous
expense
in
getting
out
the
as
drawings
he
providing
the
have
adequate
of
supervision,
considerable
accountant to to
and
is, in
he
sense, must
steward
an
expenditures,
check accurate time
he
expert
render
bills,handle
and
may
his
pay-roll, and
financial
his
client at
any
businesslike be
statements
required. which,
there build
are a
Notwithstanding
who would
say
many state
architects
that
they could
far less
capitol
or
personal experience
client.
harassment in
and
an
than
they
for
a
would
building
$8000
cottage
captious
MATERIALS
AND
CONSTRUCTION
275
Table 1. 2. 3. 4. 5. 6. The The The frame frame frame hollow brick stone actual house: house: house: tile house. house half
Shingle-covered. Clapboard-covered.
With house stucco
on
wire-lath.
The
The The
(stucco-covered).
(rough-dressed
-timber house.
stone).
7.
The
In the end
discussing
of
these
to
several show
types of house, it
in tabulated form
may
aid
more
clearness
the
may
important
be considered. There
aspects
under
which
any
material
well
are,
we
in
the will
first
place, certain
restrictions
in
choice, which
tabulate.
Table 1.
Restriction
Cost
of
inherent due to
cost.
2.
restriction
to
locality:
material
locally
unobtainable,
and
expensive
3.
transport.
due to
Style
restriction,
of
unsuitability
of
given
material
for
the
expression
style
desired.
The materials
considerations
are seen
under
building
interdependent
in the
closely
:
terrelate in-
be
following
c
Tabue
,**,..
rillT^
Properties
Bsthetic
P~P"rt'eB
_x.
* of
* """*"
"
r"'
6.
Character
Durability
Adaptability
Texture Colour
(^
c.
2.
both
physical
and
a-
'{b.
*"
3. ^thetic
_^, erties
or
architectural
materials
X
"
prop-
\ f^","".""l^^"'*^
*
of
"
^*
o.
Local
^
suitability ^
Expressiveness
Inherent
cost
o.
4.
Economic
^,
propertie.
*^ '^
of
mate-
) *" ?*"'f'*"'" !^
/ 0.
Local
availability
or
A
e.
Workability, Upkeep
structural
cost
276
THE
PRACmCAL
BOOK
OF
ARCHITECTURE
If and
say
the
properties
to
listed
any
above
be
applied
carefully
to
thoughtfully
that all will
to
building
conditions under due of be
essential have
come
of
material
a
view
keeping
the above
the
study
will the
as
possible,
the
tables in
the
of
detailed The
discussion of
following
with
to
types
in
construction, A, will
be
associated
cover
listed
Table
found
all
typical country
which either carved the be in call
residences,
for entire trim. much
omitting
or
reference dressed
a
ings build-
carved
or
work,
with fall in
the
fabric,
Such
in
brick
house
stone of of
houses,
it is and
obvious,
cannot
class
highly
in B
never
expensive
of
**
work,
safely
spoken
The
terms
averages.*'
the fact in
Table
are
will
illustrate
that,
any
since
all
materials
and
equally
materials
available
are
one
place,
for
that
since
all
not
suitable
the
architectural
amount
expression
selection
us
of matter
every
style,
certain
formed per-
of for
in
the
is
automatically
Initial
by natural
the
elimination. factor.
cost, too,
might
well
prove
After Table
defining
properties apply
this
listed
in
C, it will be
to
possible
the
each
of
types
of
building
and
Table
A,
considering
material
construction
dually inseparable.
Physical
Pbopebties
in
a
of
Materials it is intended
tion attenrial mate-
By
to
building
material,
"
denote
to
general
as
properties
whether
or
^to direct
a
questions
not
given
or
is, or
for
a
appears,
heavy,
massive,
ponderous
or
clumsy light,
given
purpose;
whether
it is,
appears,
CHARMING
STUDY
IN
THE
EXPRESSIVE MATERIALS
POSSIBILITIES
OF
BUILDING
It
ii
tnwresliDi
to
obKrve
the
decorative
quaiiiy
of
the
brick
irork,
regulUug
from
the
lua
h
his
"a"|
sll
oil
si:
MATERIALS
AND
CONSTRUCrTION
277
insecure,
Decision architectural
here
is
matter
of
tectural archi-
judgment.
no
Durability important
selection. that of
should
to
require
bear in
definition,
with
but
is
an
question
It is
a or
mind
reference
to
consideration
closely associated
as an
with
tion. ques-
upkeep,
maintenance,
is
a
economic
AdaptdbUity
property
to
closely cognate
with the
use
character,
question
in
a
and
is intended
direct
a
thought
material it
of
the
suitability of
In this
^ven
given
design.
that
a
connection is
same
be
dering ren-
remembered the in
skilful of
capable
same
set
plans,
house,
the set
fact,
entirely different
two houses
of
illustrations of
shows in
or
plans,
one
rough-dressed stucco,
with
over
ledge-stone,
stone. charm This and but
other house
in
rough-cast,
be
or dered, ren-
could in brick
equal
propriety
not
as
in
half -timber
construction, especially
of
agreeably
with
in
frame
construction,
Pbopebties One of
if covered
Both
clapboards.
and
Materials most
Phtsioal
as
jSsthetio
as
the
important,
of
any
well
the
its
least
appreciated,
which is
a
properties
property
to many
were
material
or
is
texture,
and and
both
physical,
as a
inherent,
in
SBsthetic, or
style.
materials Not
be
regarded
years not ago
factor
textures
design
of
the
building
but
were
only
unappreciated, disguised
or
absurdly
a
and
unnecessarily
of American
texture
simulated. the
At
est, hon-
dark
period
architecture,
of brick
was
good,
interesting
a
disguised
were
*'
beneath sanded**
ble mar-
coat
of
paint.
Wood
and
was
cast-iron
to
resemble and
common
stone, plaster
woods
were
painted
' *
to
' *
resemble
to
grained
counterfeit
finer
woods.
278
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
importance
further in
of
texture
as
in this
building chapter
is of
materials
will
apparent building
keen
proceeds. equal
tion direcsmall In the with
materials
taste
importance
in this of
art.
a
texture, and
may
and which
a
judgment
may
attain
results
make,
of
a
a
and
matter
inexpensive
of
house,
an
true
**
work
colour,
architect
as
an
paints'' paints
artistic the
picture
building pigments
consider
create
a
materials
"
just
the
artist of
as
^and
architect
as
the whole
landscape
of true
well
house
itself,and
harmony,
Pbopbbties
as a op
-^jSthetic
oe
Abchitectural
Materials is
consideration,
very
largely
been
tained at-
Success
a
has of
a
seldom
building
house that
given
style
in
material
are
characteristic associated
of
style. Certain
materials. and
styles
nitely defiand
with
are
certain
stucco
Spanish
houses of
of
tile, with
French
incidental of of
the
wrought
are
iron of
cut
so
work:
stone
houses
type
stone
and
many
slate,
or
"
and
through
uses
styles there
material. In of
found
certain
of of the
subsequent
listed house
in
detailed Table
may
types
of
building
kinds of
and
A,
be
given
the
which
properly
there
as a
built
in the
materials
structural Local
methods
enumerated.
suitability, always
found be
emphasised strong
factor
elsewhere
in
this
book,
and
should be
governing
up
choice,
other
ally gener-
will
to be
inseparably
colour.
to
bound
with
considerations, speaking,
are
such
are
as
Local
materials,
to
always
brick
be
preferred
on a
those
which
alien. is
red
house
grey
New and
England noticeably
seacoast
unpleasantly
conspicuous,
MATERIALS
AND
CONSTRUCTION
279
"out
of
key'* with
its
neighbouring
houses
and
with
the
whole In
landscape. expressiveness
aesthetic and
there
are
involved
all
tions, considera-
architectural, and
the
it is intended of
by
this
term to
to
suggest
all the
importance
or
giving
proper
thought
material
as an a
qualifications
make
properties
or
of
any
which for
might
any
it suitable
unsuitable
as
choice
given
is
building.
Expressiveness
with the of the
aesthetic
as
a
property
adaptabUr might
ity
well
physical
without
property"
the
second first.
exist
full existence
Pbopebties
of
Matebials
we
find
may
that be
the the
inherent factor
for
cost
of
given
choice
certain
more
building
or
material
dictating its
costs
"
rejection.
amount
Common
per
brick,
thousand in
a
example,
in any
of money
locality
cost
in
some
localities
at
once
than involve
others,
house
but
this
per
thousand
may
of
greater
will
diture expenout
than the
is
possible.
Local
Brick,
then,
may
be
of with
question.
cost to
availability
combine of
a
inherent
prohibit the
selection in
a
given
If not the
easily available
cost
given locality, a
in be another
inherent
of
which
locality
the
cost
might
limit. make inherent of less
cost
be On
within
the
cost
limit, might
local
beyond
hand, ready
use
availability might
in where
possible
cost
"
of for
material
spite
a
of
its
case,
example,
on
inherent
to
would
take in
considerable
(due
local
scarcity)
transportation
distant
point.
or
Workability
the architect. than due rather
str%ictural the
cost
cost
is
best is
one
known
by
Here
question
the
a
material,
to
though
of
expense
in
directly
the
use
certain
material.
280
THE
PRACTICAL
BOOK
OP
ARCHITECTURE with
cost
of
erecting
and lumber
an
actual in"
half -timber
honse,
far
frame
cost
**nogged
or
brickwork,
exceeds
as
of
the
brick
regarded
merely
materials. In
upkeep,
of
as
cost
consideration,
low is maintenance
are
involved and
questions vity.
the
cost
permanence,
impercost
If low is the
maintenance
desired,
reason
the
initial
of
of
house of
the
materials
cost
low
maintenance,
to
the
involved
of
incident
to
the
use
of
materials.
a
To
must
be
impervious
or
weather,
about
as
the
walls
or
house
be
of brick
''
of tile the
slate,
the
and
fittings (called
at
flashings") roofs,
be
as
chimneys
the
junction
the the in Here could weather
of
well
all
at
gutters, rainleast
metal
pipes and
and
set masonry. of
like,must
windows leaded would
of lead be frames
a
(or
of
should metal be
leaded
imbedded
no
in
the
structure
exposed centuries,
houses
the
same so
part
even
which
severe
possibly
deteriorate
in
of
many
conditions. of
years ago and
English
still have
casement
hundreds
gutters,
were
rain-pipes,
them.
windows is initial
a
buil'
Into
even
Such
naturally
cost
expensive,
subtracting
maintenance
at
the
yearly
of the the
years,
item
and
of
long
our
period
to
best,
we
must
minds
inevitable
average
fact
that, in the
contemplated
even
by
prospective builder,
by
the and
or
in the will be
house
some
contemplated
materials
millionaire,
which will
there
finishes
constant
require
occasional
replacement
protection.
At
a
this
to
point
we
may
apply
in in detail
Table the A
C to like
Table
A, with
of of
struction con-
view
comparing
enumerated
types
means
Table
by
the
MATERIALS
AND
CONSTRUCTION
281
understanding terms)
of Table In Table C. this close
of which
the has
properties
been
of
materials
(in
eral gen-
acquired
by the above
study
discussion
as
of
the in
types
Table
involved
in of
A, studied
cost
subdivided
C,
the
item
ties proper-
comparative
(appearing
is best therefore
at
under
of materials)
survey, and Its will
segregated
be
broad
given
separate logical, in
in Table the
topic.
that
consideration is
one a
the
beginning
is
cost
of house.
the
first The
questions figures
as
involved in
of
can
given
an
D,
only
worked for
be
regarded
out
approximation,
practical
this of that
been
by
of
an
experienced
In
contractor,
a
purposes
comparison.
as
table,
parison, com-
unit
of
cost
of it
$10,000
is
are
no
is taken
the assumed
basis
and materials
hypothetically
of
more
the it is the
listed
can
equal
than be
availability.
an
This,
and
be
assumption,
one
affected,
in the
way
or
another,
material
only
of
matter A
of
labour.
levelling of these
in
a parison com-
extraneous
questions,
which deals
however, simply
labour with
is necessary the
inhertlt
in that the
cost
of of
the
material
plus
called
the for
involved
use
type
construction
by the
Table
Cost
of
materiid.
D
of Total Per Cent. Ineieaae
Type
of
Constraetion
Outer WaU
1. 2. 3. 4. 5.
ahingle-covered
$945
985
....
$10,000
10,040 .004
.0226
clapboard-covered
stucco tile and
on
wire-lath... stucco
.0681
.1272
(ordinary)
6.
(rough-dresaed)
half-timber
.2046'
.2546
7. Actual
282
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
In is that is
assuming
the
outer
$10,000
is the
unit
above,
of
the the
"
assmnption
house ^that
we
only part
whidi
are
changed
in
seven
types
considering
the
seven
houses
in which
interior
work,
tures, fix-
fixtures, lighting
same, of
so
the the
that
outer
the
figures only.
of this
in the This
cost
the
wall
offers It
costs
most
definite
seen
comparison glance,
and that which
a
will
of
a
be
at
in
the
very
shingle house
same,
clapboard
is not
nearly
in
the
and
house
there
great
advance
the
frame
A
with
wire-lath
appears
and with
to
we
stucco.
marked
advance,
the next
the
hollow-tile until
the
house,
in the
types
timber identical increased material It
continue house
advance,
find that
actual
half-
original
and
$10,000
house,
has the
in its interior
in and cost to
construction
equipment,
reason
$12,546, represented
a
are
solely by by
be
the
of walls. that of
labour
not for
outer
must
moment to
supposed
as
the
figures in this
table
be
regarded
on
general
must
application.
always
will be
Any
definite
figures
as
a
building guide,
costs for
taken
merely
anyone
readily
stone
appreciate house,
of
in
the
example,
that
cost
the
less
a
rough ^by
brick
in
certain
localities, might
of
reason
ready
that in
mason
availability
material),
the
than
house
locality, although
the
work
relation
is the
exactly
money
opposite
saved brick be
on
table. in
In
other
words,
in
a
laying brick
from
a
locality
where
must
more
be than
transported
taken
up
great
cost
distance,
of that
might
by
the
building
lumber the
is
equally
available in
car-
in
locality, and
labour
involved
MATERIALS
AND
CONSTRUCTION
the
as
283
pentry
the
is
standardised^
house the be
well may
so
that
figures dealing
of wider
exact
with
be
taken
cation appli-
prospective
will
occur
to cost
ber, remem-
however,
inside brick interior
a more
that
to
increases the
of the
A
according
of
wall.
house,
trim
for and
example,
detail
usually
frame
every
contain
better and be
the in
cost
house,
way.
expensive
proposition
of the the
Having
selection of
disposed
a
consideration
may
now
in
the best in of
material,
the
to
discussion
proceed
Table C
by
as
noting applied
properties
each of these
which
seven
appear
types
building.
The frame
as
house,
certain
in
general,
has
to
commend these
it,as
is the this
well fire
disadvantages. though
much
may
among to
hazard,
use
mitigate
chemical it almost it to is this
by
the
of
and
preparations
non-combustible. the small
which
wood,
of
making
wood
adapts
small house
house,
and small of
partly
the
simple, and
house. wood
because
it expresses
point
durability,
need in
not
be
regarded
with in wooden
storms
distinctly perishable
or
excepting
comparison
Even
are
stone
burnt climate
clay
of
building
New
materials. there
and
the
rigorous
houses
England
the which is not of heat
are
which three
have
withstood
and
the
of
nearly
centuries,
condition.
still in
excellently
to
serviceable in
It
possible, here,
each
cuss dis-
detail such
as
the
properties
of
the
building
and the work. is
more
woods,
other Here
white
pine, redwood,
used for the
cypress
woods
more
generally
data with
exposed
is detailed
which
architect
284
THE
PRACTICAL
BOOK
OF
ARCHITECTCRE
conversant,
familiarise
any
or
with
which
the
prospective
or
builder of
may
himself Of is
study
the most
books
from
library.
and
concise
American
Forest
Trees,
by Henry
H.
Gibson.* Wood is
by
all
means
an
adaptable
the
building
and be
being
parts
run
suited of
a
for
both
structural
building.
or
It may in of
readily
carved,
and
in
mouldings
nor
turned
columns,
such
balusters
an
spindles, operation,
Of exterior
coat
a
is the
as
working
with
parts
expensive
stone.
use
compared
of
on
the
working
be
of made
the
texture
woods,
little may
of the
of
in
work, paint.
amount to
account
protective
stains allow
of
Semi-transparent
of
the and
more
certain
itself, and
in addition
as a
types
of
building, such
timber-work The exterior
of
a same
bungalows
half -timber
cottages,
may
exposed
treated. of
an
in
house
of colour.
to
While
colour
in the
wood
be is
design foreign
house,
colour result
that action
of of
some
substance,
in the
the
of
weather,
excepting
redwood. be
of the
*'
natural
''
colour
a
Thus,
with the been
the
green
colour
of
white,
and
blinds, because
roof for
a
painted,
may
because time be
to
it has the
certain
length
may
of
weather.
attractive
effects which
not also
obtained
to
by the shingle
use
shingle-stains,
only add
preserve
the A the
some
interesting
or
colour, but
never
it. after
wall, should
each
be be
stained
laid, but
In
*
should of
separately
dipped
stain.
point
construction
Chicago,
1913.
Published
by the
Magazine,
MATERIALS
AND
CONSTRUCTION
285
will
be
found and
appropriate Georgian
farm Colonial
for
houses
in
Colonial
houses,
manors
well
as
many
large villas,
Southern
were
the The
Creole
tation plan-
built
of is
architectural that
as
status
of
as
the
bungalow
for
uncertain
wood
is
quite
appropriate
its construction
many
other
house, with
nailed
or
stucco
applied
may
over
wire-lath be
(a metal along
course,
to
the
frame),
The stable
designed
of
lines is
on
Spanish
imitation the small
score
Italian. of
more
construction,
an
forms, yet
attractive this
is permissible
tages cot-
of economy. have
a
Many
utilised of
and
houses
method colours
is not
of
construction,
may
a
because in the
variety
and
harmonious
be
mixed and
stucco,
if the
design
is
for be
large
pretentious
it.
a
building,
caution which be
there
to
little
to
said
against
of and
The
chief house is to
be
observed be treated
in the with
building
wire and lath
frame
stucco
is to
exercised
to
architect's
contractor's stucco
supervision,
until after into the
prevent
application
house settled has
or
of the
framework If the
thoroughly warped
obvious
or
settled
a
place.
even
little wire
(which
lath
all house
to
do),
also
it is
that with of
the
fastened
settie
warp coat
it, inevitably
stucco.
cracking
comparatively
thin
The
upon
question
in too
many
of
local other
suitability has
parts
It of is of this
been book in
to
enlarged require
list because of
mention
here.
tabulated
the
considerations
when of
* *
building
is
materials made. is
importance property
the
choice
being
' '
expressiveness adaptability
"
closely cognate
as a
property
of
^wood
house
MATERIALS
AND
CONSTRUCJTION
287
Table
D,
type
there
of
is to
be
construction,
to
which
peculiar
and
versatility
modem
rendering
historic
essentially
The unit
architectural in
a
styles.
house sometimes such
on
of construction is
hollow-tile
is the
ten
manner
tile, which
usually
inches, in thickness,
as
corrugated coating
of
in
to
receive
directly
and the
stucco
the
outside
of
on
the the
house,
inside.
application usually
the found
of
the
finished
plaster
not to
It is
on
best, however,
of
a
directly
to
surface
a
hollow of
give this
heavy
inside
' *
coating plaster
* *
water-proofing,
to
the
applied
^ '
wooden
case,
or
metal
lath
on
furring.
inch
Furring,
or
in
this
designates
to
two-by-four
tile wall
to
lumber
to
lighter
a
stock, fastened
for
any
the
afford
ing nailof of
side, out-
the
lath, and
of
place
or
plaster
on
out
danger
inevitable
cracking capillary
the
pores
disintegrating
of
account
the
water
from
through
The of course,
superficial physical
never
character since
of
tile for
is,
a
apparent,
For
it is but
coating
of
stucco.
durability,
tile is
an
including
its
nor
proof fire-
property,
it
hollow
a
excellent is
choice,
is
to
by
any
means
material
which
non-adaptable
many
types
of
building.
which
may
of
building
well for
be the
considered
use
as
agreeable
range
opportunities
from
or
of hollow
to
stucco
the
smallest hotel.
bungalow Renderings
or
largest
country
mission
are
seashore
of
the
villa
Spanish
type,
and
type, and
a
of the
use
Spanish
for this
Italian
obviously
modem
logical
"
tion, construc"
that
adjunct
the
private
use
garage
is
for
the
of
hollow
tile.
288
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
Reference
and
to
Table
more
will
show
us
that
stucco
hollow
on
tile wire
stucco,
while lower
expensive
cost
than
lath, is far
In **the
or a
in the
than
considering
house
brick
house,
Brick
is considered
permanent/*
burn,
the
crack
as
decay, and
unit of
by
reason
of
the
a
small
size
brick
design,
it affords
remarkable
medium
as
for
seen
architectural
Brick-building
*
it is is
a
to-day
is
years of
growth,
which of
and
wide
departure
the
more
misuse The
brick
characterised
Victorian than
a
period.
decade
a
bricklayer
was
1880,
that
was
and the
for
taught
all
sideratum de-
in
brick
else,
absolute
texture
uniformity
the
most
of the each
of The
brick
of the
were
brick.
sought
were
bricks laid
smooth,
invisible
more
pressed
mortar
or
these
with
almost
no
in effects than
a a
which
possessed
of oil-cloth. of the
piece
It
very
there that
total
ignorance
is
a
important
as
fact
as
was
the
brick
to
an
unit
of
interest
in itself
well
in
no
relation
ciation appretexture
entire
of
wall, and
the endless
consequently possibilities
work. this
there of
colour,
and
pattern
If
in brick of
the than of
builders
period, however,
and
had
been the
no
worse ness
merely
efforts
stupid,
to
mere
had
confined and
inept-
their
one
monotony
the
unimaginamonuments
was tive conserva-
tiveness,
to
worse
might
overlook But
surviving
a
their
:
stupidity. they
a
they did
work.
any
thing which
The
more
far
painted
rich
brick
used
honest
this
they
embellished
out, with
imaginary joints, in
black
joints entirely
or
regardless
The
more
white
paint.
ambitious
MATERIALS
AND
CONSTRUCTION of
a
289
went
further,
sallow
or,
and
most
of
us
have
seen
some
masterpieces.
sort
They
of
their dark
brick red
work
joints (imaginary)
in
still
more
weird
and
horrible
colour
in
the
taste, painted
imaginary
joints
this, in black
This
or
painting
it is
an
of
enlarged
of the the
upon,
because
admirable
illustration of This
absolute
true ure text-
dishonesty
of from
a
and
undesirability
material. which that brick
denying
is
building practices
further work
apparent
aged. encour-
the
painted
it
was
brick
even
Builders
use
saw a was
not
"
necessary
to
brick brick
to
build wall
wall
since
the
material
in
real
entirely
a
disguised
coat
a
by
stucco
paint.
or
rubble
smooth with
of
plas-
ter,
often brick of
were
painted
pattern
writer work''
to
of has in
perfectly
even seen
uniform
joints, ^^ and
kind of
**
the brick
examples
**
this
which
the
must
bricks'*
actually veined
Architectural had from better this toward vision with
resemble
(one
could
no
suppose)
go
"
marble. and
away
we
insanity
follow the of of
swing
texture
of
pendulum
structural
negation
the of
an
properties
and
dawn such
architectural
appreciation
The beauties of the
clearer
things.
of the
turning
of
very
point
old and
came
appreciation work,
in the
American
brick
specifically,
first brick
interest of A
variety
apparent
in
buildings
Harvard few
some
College,
Cambridge,
discerning
other
architects, studying
noticed and
buildings, and
there natural
10
was a
early examples,
range
as
considerable
of
of
as an
colour often
effect
texture,
well
recurring
290
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
note
of
or
interest
and
variety
brick-ends these and the
in
the here
appearance
of
odd
discoloured
and
there.
were
the
was
days when
scarce,
early buildings
mason
erected,
afford the
to
not
out
all been
the
on
ends,
the
bricks in the
ple, pur-
had kilns.
stacks burnt
baking
Later blue
mason
ends
were or
black,
selected
dark
green
deliberately
in the dation foun' '
by the
walls
for
in
drains,
* '
below dawn
same
grade.
of the
They
new
were era
inferior.
With
the
of
brick-building,
were
as
however, sought
' *
these
naturally
were
burnt
at to
bricks
keenly
* *
by architects, and
bricks.
or
vard Har-
Architects
to
began
burnt
course
patterns
at
was
in
brick in
work,
introduce in the
brick-ends of time it
their
a
work,
and
that whole In
single brick
wall. other
as a
might
be
more
interesting
words,
unit and in
the
brick
as
became
it is
properly
a
nised recog-
design,
this of each
was came
actually
came
unit the
out
in
struction, con-
with kind
recognition
''raked
a
joint.
' '
This
joint, formed
brick
a
new
by raking
stand
out
a
little
mortar,
to
little,and
in the of
immediately
whole
texture
effect the
of
texture
wall. in brick of
to
before
development
brick
came
itself.
to
A because
be
desired,
expression.
as
it should It
was
be,
covered redisand
manence, per-
its character be
as an
and
honest
building
endowed
and at
material, beautiful
with
adaptable
well, and
qualities
of
fire-resistance It of
was a
stability.
this
natural
thing,
that the
point in the
evolution
brick-building,
became
possibilities of the
and several
individual
brick
further
developed,
discerning
MATERIALS
AND
CONSTRUCTION
291
manufacturers
began
all the
were
to
produce
were
beautifully
achieved the olive softer and
in
bricks,
and harmonious
greys,
wherein all
hues
tone
in of
with
"
colours
nature
sap
greens,
oranges.
browns,
are now
tans,
purples,
aesthetic
dull
**
blues scales'*
and of
to
There bricks
most green
"
highly
with
in the is
any
scales and
which
it is schemes. is
a
possible
A
subtle because
person
pleasing painted
a
brick affront
it is
;
grievous
is green is
a
decent
but
brick baked
which
green
through
very
and
through,
thing.
But
because
it is
different
the
difference
or
is
more
than
one
of real
dishonesty
material
"
and bricks
honesty,
of
surface have
as
deception
in
and
to-day
themselves,
as
individual the
texture stones. to
and of
a
interesting
woven
textures,
or
distinctive of
fabric,
Nor has
"
the
textures
different
the
effort
been
confined been
**
colour
and
texture
special shapes,
flat than
to
too, have
devised, brick,
of
longer
so
and it is
more
the
standard
2-4-8*'
possible
effect of
strong
brick
expressions
courses.
the
prospective
new
builder
must
remember,
however, colour,
per
these and
and
shape,
than
**
considerably
more so
expensive
that Table the D
thousand
ordinary'*
type
house of
brick,
house
figure
be with
quoted
taken
**
for
as
the low
fifth for
a
in
must
designed
to
be
faced
special" Having
brick.
pursued
the
upon
to
this of
as a
point
brick
necessarily work,
it
now
history
to
of
evolution
direct
brick,
building
C.
to
material,
considerations
It is not
listed
in Table
necessary,
perhaps,
elaborate
greatly
292
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
upon
these
properties
has
every
as a
as
applied
to to
brick:
as
used
to-day,
assert
opportunity burnt-clay
same
ingly interestits
character inherent
product;
in is
durability
quality, the
its
mass,
ancient
tional, excep-
times, to-day
for
even
and of
always; heavy
adaptability
of
may
effects
delicate
of
mere
surface
decoration
equally
obtained. Of
to texture
and
colour
enough
builder these
was
said
above
to
gest sug-
the
prospective
in both
the
present-day
bilities possi-
of brick In
particulars.
brick has certain for other
ries. armo-
point
of It
stylistic suitability
limitations.
is, of
course,
a
a
universal wide
material of
schools, types
of It church
hospitals,
clubs
and
variety
large, permanent
is of the material
buildings,
above all
including
to
use
others Certain
use
in
Romanesque
house of
**
design.
demand the American
types
of
English
as
of
brick,
as
well in
certain
or
early
house,
either
town
Independence
a
is
stone
model wood
upon.
for
style of
for French
was
city building
type,
has
never
in
brick,
been built brick brick and
and
which,
The
its
improved
chateau,
very
if built
not of
entirely of dressed
with dressed
stone
stone,
often and
quoins, copings
with
trim, the
charm the the
portion
interest.
usually
In the
was
handled Italian
remarkable
villa, however,
prevalent,
showed material
"
despite
marked
in many
architects
ability
of their
pleasure
in
the
city
buildings.
in
(McKim,
American
Mead
White,
of
several
in
fact, ushered
Renaissance
their
great
reviv^
Italian
architecture
structures
by
in the
designing
Italian
manner
important
city
of brick
building.)
MATERIALS
AND
CONSTRUCTION
293
Considering
be This remembered is
the that
aspect
brick of
of is
most
local
not
suitability, it always
must
appropriate.
in New
especially
brick for of
true
localities
Engscarce
landy where
and used
has
always
but
been
comparatively
By
reason
chimneys.
of the
presence
local
clayfields, Pennsylvania,
the
course, of
New the
Jersey
brick
Maryland although,
other
make of
natural there
habitat
are
of
house,
in many
many
brickyards
Of the
parts
of
the
as
country.
a
expressiveness
was
brick
building
sketch
enough
* '
in
' '
the
to
foregoing
suggest
the
evolution
of brick which
great
range
expression
of brick The
may
as
intelligent appreciation
to
and
lays
of
open
the
cost
architect. and
comparative
must
cost
be
D, and
in
be
recognised
The the
varying
considerably
builder of
' '
different
localities.
prospective
greater
total
an
is
again
' '
reminded,
also, of
a
cost
special
may
face-bricks, which
to
a
restricted
use as
expenditure
confine for
excellent
material is
fireplaces.
with
of
local
availability
or a
closely linked
with
the be
cost
tions, considerathat
"
they
house
it must New
remembered will
at
brick
near
Jersey,
brick house
figure
Marble-
'*
very
differently
Massachusetts.
from
the
same
head,
A
large
part
of
of
the
cost
of
brick is
house,
after in
the the
cost
the
to
figured, brick,
the
a
lies small
that with
unit,
tile
(as compared
for skilled
or
units),
effects In
one
labour, jointing
of the the
pattern
or
called
upkeep,
most
maintenance and
consideration,
undeniable
recommen-
of
conspicuous
i'i
i
"
THE
USE
OF
msy
u
STICCO
be
AS
AN
EXTERIOR rendend
in
u
FINISH
"tucco
"
in
or
KVersl
IlaliBD
itylca origiD,
type
ucfplably
u
notably
tboa
"h
o
well
sucb
bouKI
Ihe
Bbove.
derived
frODi
EnsliHb
MATERIALS
AND
CONSTRUCTION
295
the and
Philadelphia charming
The
use
architects
such
thoroughly
colloquial
building
of
stone
material.
from much
or
old of
more
walls it has
is
highly
been
to
be
recommended,
dressed
are
because
a
roughly
the faces
case a
perhaps
to
century
a
ago,
so
that In
weathered which
fine
colour
of
grey.
any
stone
will
naturally
split into
it will
up
comparatively lay in
very
even,
thin
tal horizon-
and in
may
be
laid
with
little mortar in
appearing
the is
joints.
the wall
The of
as
abomination round
a
rough
stone-masonry obviously
of
cobble-stones,
for the
use
calling for
the
mortar
necessity
an
bility staa
wall, and
which
forcing
could
stone
into
never
unnatural
have
a
building
use.
material ideal of
no
natural
to
or
The
rough
wall,
is the has
not to
*'
the
wall
technique
in such which
a
stone-masonry,
mortar course,
While
tion, construc-
wall, of
do
it is
possible posts
calls
as
and for
a
be
desired
porch
or
pergola
and for
garden
walls. of local
dry-wall,
the
obviously,
of
high
as
degree
the
to
part
of
a
the
mason,
for
availability
courses.
ledge-stone
stone
which
split
will
lay in flat
found
very
Any
in
resembling
respect.
be
adaptable
this
The
desideratum,
is the
nearest
wall
of
rough-dressed
in appearance,
stone,
to
approach,
the The
dry-wall. interesting
for
a
expedient
of
a
of
using house,
great
deal
of the
' '
mortar
the
walls
stone
or
and
a
giving
' '
whole
coat
of whitewash
white
paint is
intended
special
type
recall which
of
rough-dressed
very
stone
work,
to-day
farm-houses
to
the
were
early
in
American this
manner.
colonial
treated
Here,
however,
296
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
are
involved
of historical
or
antiqnarian
aspect, rather
Further the house
structural.
specific points
stone
as
in connection be in
with
out
rough-dressed
its
may
brought
Table C.
by
reference Of the
properties
listed of
physical
be said.
properties
Its full character of
as
rough-dressed
is
stone,
ing interestand
peculiarly
and
naturally
be
no
diversity
to stone vary,
variety,
need
as
question
to
its
durability.
be
Adaptor
in
a
bility
fixed
to
applied
because
some a
rough
cannot
stated
rule
stones
geologically,
more
according
than
use.
locality,
proving proving
and neither in select
far
adaptable impossible
stone to
others, and
In
no
few
actually
point of
texture
colour, rough
art
nor
competitor,
upon
for
science
improved
Nature will
these the
particulars.
stones
stone-mason texture
a
with
thought
and and
create
and which
to
colour will
eye, age
constantly
be
a
in
his
mind,
delight
wall
permanent
faction satisand
the with
becoming
and
increasingly
of is vines.
beautiful
charming
When
growth
stylistic suitability
certain stone
as
considered,
for
there the
use
come beof
apparent
definite
a
limitations material
every
rough-dressed Primarily,
material farm and in of
'*
building
in
it has the
proved
respect
of
an
ideal
for
present
in
day
the
revivals
early American
of
houses, general
any
notably
it is
an
vicinity
choice
or
Philadelphia,
for the the
to
or can
**
admirable
ing render-
bungalow,
No any
cottage
house
of suited
type.
of
material house
is better in
mountain
no
the
seashore
possess
surroundings,
stronger
values
and,
of
obviously,
local in
material
suitability.
of
Expressiveness
buildings
rough-dressed
stone-
MATERIALS
AND
CONSTRUCTION
297
will
depend
largely
upon to
upon
the
physical
skill It the
properties
by
the
possessed
will be
mason
lay
are
found
few
brick-layers
a
equal
of
undertaking,
where
to
requires
results
are
great
deal and
experience,
best
course
the
desired,
the
pursue
is to institute
every
inquiries
in the
neighbourhood. building
a
In stone local
ally virtuis to
mason, stonea
locality where
a
suitable will
be
found,
short
a
search
*'
disclose
' *
character, artisan,
but
a
nearly
man
always
skilful of
and
experienced laying
up to
local which
*'job work'*
exists such be found
every
an
in the
just
which nically techstone
stone
in
locality
is native.
Obviously
will
artisan, although
to
untrained,
wall and called sidewalls
"
lay
up
the
best
with the
peculiarity, possibility
he has
so
of build folk
material into
long
been and
diimneys,
foundations He
may
for
the
of the the
neighbourhood.
contractor.
be
employed
directly
by
Confronted,
inherent Table the and
now,
by
the
cost
consideration,
is
both
to
comparative,
the
again
made
D, and governing
prospective
here
will item be
realise
or
factor
will
**c,'*
availability.
no
Cost, building
its
use
obviously,
stone
were
prohibitive
the site of
suitable unless
or
existed
house,
restricted, perhaps,
be
fireplace
that and
any
a
chimney.
stone
It should
remembered,
a
ever, howone,
rough
local choice
naturalistic in
a
one,
hence which
a
poor
for
building
use
locality
stone,
in
it
is
not
native.
an
The
of
rough
such
case,
becomes
fectatio af-
of
an
expression
of
rugged
sincerity
honesty.
298
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
The
vary
working-cost
the
nature
of of
rough
the
stone
will with be In
be
fonnd
the
iidvan-
to
with
stone, and
which
can
tageousness
aforenoentioned
cost of
of the
bargain
struek
any
with
case,
the
the
local and
stone-mason.
laying
up
rough
of brick.
stone,
all
other
things
In
stone
equal, exceeds
or a
that
maintenance, permanent
and
it is obvious substantial
most stone
that affair
"
the
^a
dwelling
in
time.
are
Many
of the
ancient
"
houses
this
country
material
of in
rough-dressed
every
^a
splendid
use
building
to
instance
where
its
is the
be
regarded
as
logical and
forth
on
possible
C.
according
to
set
in
Table
conunentary
the of
building
type
materials in Table
has
D
"
now
last, or
**
seventh
listed
^the here
actual
half- timber'*
a
construction,
which differs but used. discussion
to
and
considering
respect
to to
building
materials in which with
from rather
others in
spect re-
not
in
the
used, they
a are
the
manner
Before
actual
proceeding
brief
of
the
house,
it is necessary
speak
of the
house
construction,
been
although
to tects, archi-
thoughtlessly
for
of of
some
apparent
decorative
to
cost
years, work
purely greatly
actual
aspect
the
appearance
house,
The
would
render of half-
it
prohibitive. work,
patterns*'
in
characteristic
timber
were
especially
as so
the
gable
ends
of
houses, design by
no
appreciated
of
highly
the
* '
effective
from
was
the
point
a
view,
and
effect fake.
' *
only
produced,
perfectly
out-and-out
to
There
is, perhaps,
the
"
serious
charge
there is
be
no a
brought
intent decorative
to
against
deceive
practice,
so
so
long
work
as
exists
long
and
as
the
a
obviously
makeshift,
not
OU3E
OF thi
ACTUAL
fnnie
"re
HALF-TIMBER
of (be houH
"
CONSTBLCTION
houae.
eipciKd.
TOtk
and
Ibe
apBro
belwee
filled
la
vilb
brick
MATERIALS
AND
CONSTRUCTION
299
deception. house,
One but
would
prefer,
to
of Table
course, D
reference
that
will
prospective type
builder of
he
is
considering
there of listed.
expensive
' '
construction work
imitation
a
consists thin
on
stucco
(usually
posts
and
stained braces
brown)
which
were
to to
represent
form
and
structural
patterns
this reason, house
actual
half-timber
There
*'
is, for
palliation for
wherein
mere
half -timber**
* *
superficial
which do
* *
patterns
are
contrived,
than
for
the
imitation which
attempts
not
to
represent
structural
members
thing of architectural
that frank
an
merit
an
beauty
for
reasons
it expresses
manner,
in
struction, con-
perfectly
it affords
not
its
opportunity
for
diversity
the
an
interest which of
manner
these this
used.
some
earlier this
part
of
book,
mention
was
of
type
in
construction, chapter.
members
but In
repetition
the actual what front
are
may
pardoned
the the
present
wooden
halfpears apof
timber
house,
to
forming
the
be
''pattern,'*
shown timbers and in of
(as
the the
comer
in
garden
Tangley
actual
Manor, framing
frontispiece) building
braces. in the with
the
"
exposed
The actual brick
^its
posts,
between timber which show with
sills, studding
these
spaces half-
structural
are
members,
house,
is
as a
filled
(or ''nogged*')
in
work,
to
either
arranged
or more
interesting
patterns,
be concealed
brick,
coat
plainly built
in, to
of
stucco.
It is obvious
that
here
exists
at
once
an
opportunity
300
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
and in
task
"
an
opportunity by
means
to
show of
interesting rough-hewing
as
texture
the
wood-work,
visible marks
it and to
or
leaving
endless colour The masonry, than the
of the
the
adze,
well
as
show
diversity
in the
stucco
in
brick
**nogging,*'
subtle
coat.
carpentry
are
involved,
items which
as
well
up
as
the
skilful
the
moxmt
the
cost, rather
actual of and
Oak,
course,
the is
posts
a
and
braces,
because free The
in
this
^'inherent
factor,
ably reason-
heavy
from
pieces
defects
required,
any
and
pieces
of
kind. under
to
half-timber in Table
house,
the
several
a
C, will be
with its
possess
high
desirability,
the
every cost
drawback
by
and Half and the
considerations,
item of cost.
inherent,
other work
-timber ancient
to
possesses of
by all England
means,
character,
Continent it this of
buildings durability.
and of
the
testify
should
case
its
In
point
skilful
adaptability,
in
be real
self-evident
that
artisanship,
wonders
craftsmanship, ingenuity.
can
perform
structural Half
use
-timber
work,
will
like be
any
other rich
frank in values
and
of
sincere
texture
of
materials,
found
and
colour. The
to
work
is
fined con-
of the the
town
English
country
house,
in the
well
as
period, though
either exclude
of
latter, modem
or
will
the
type
fire-proof
work of
was
''effect" also
halfused the
are
work. mediaeval
largely
and these
buildings
but American
France,
Germany
of
countries,
derivations
MATERIALS
AND
CONSTRUCTION
301
by
way
of could
being
cite
architectural several
curiosities^ examples.
exclude
same
albeit
the
writer
interesting
course,
Local
.
suitability, of
houses in
many
the
half-
America,
other
but
exclude thrown
types
or
buildings thought)
therefore
(with
greater
architectural it in this
melting
pot, and
will
ignore
instance.
no
Certainly
could
type
of
construction,
or more
or
no
use
of
terials, ma-
possess
greater
directly obvious
qualities of expressiveness.
The first four items have listed been in Table discussed
may
under earlier
**
nomic Eco"
Properties'* last,
or
maintenance
consideration,
to
quickly
be
by reference
of
the and
ancient sound
were
buildings
ence of existdoes
not
Europe,
as
as
in in
they
and
built.
decay
centuries,
members The obvious
are
the
'*nogging''
the
manent. per-
structural
is, of
course,
impervious
for the and
accompaniments
half-
timber second
house
casement
windows,
roof -line
overhanging quaint
house and the neys. chimis
an
story, the
picturesque
toto, the
Taking undertaking
for
it in the and
must
half -timber
experienced,
is
a
scholarly
house with
a
architect,
builder increase six other In
a
type
of
which the of
expect
only
over
inevitable
any
in cost, kinds
throughout,
enumerated this
on
house D.
of
the
in
Table
concluding
observations in
an one
chapter,
the
"
it remains of
upon
only
two
to
or
offer
more
few
mingling
^a
building
question
which
there
on
extraordinary
and
diversity
alike.
of
opinion
the
part
architects
amateurs
302
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
The is
most
important
combined
in
general
use
admonition,
and
against
the
of
perishable
as
materials first of
the
same
house,
or
in
structure
story
of
stone, brick
A
hollow
tile,and
the
frame
a
fire-proof
be
roof, of
tile,on
instances
should
palpably
absurd,
but
Broadly
materials second dressed
speaking,
are
most
combinations
of the
or
impervious
hollow of tile
permissible,
on a
notably:
of brick
story
stone. must
base
story
rough-
Bough-dressed
be handled with of
stone
a
and
together,
of
may
considerable
architectural be
seen
ingenuity,
from time remarked of the
to
which
as
striking
well earlier
as
time,
in
an
lamentable
failures.
much
It of the
was
chapter
that
charm
to
a
modem
English
use
country
of varied blended
to
house
is due
idiomatic
building
create
materials,
and
informally
effects. leads in
charming
like
Variety,
originality, inevitably
if
real
to
tectural archi-
disaster
it
is
made sincere
from
an
end
itself, and
If
a
pursued portion
to
a
without
of
a
and
seems,
a
design.
certain
building
use
its structural
nature,
call for
the
of
certain
material,
otherwise
tour
variety becomes
it is
as
logical factor
as
in the
design"
less worth-
any
other
be
de
force.
tions observa-
It
must upon
remembered
the
foregoing
of certain
the
properties
materials While
to
uses are
employed
to
building
work. be
intended of the
same
to
exterior
may
many
applied
interior in
every
work,
it is obvious within
there
is greater
so
latitude
a
direction,
involve
house,
that
discussion
would
extensive
MATERIAI^
AND
CONSTRUCTION
303
reference
to
interior be taken be
decoration,
up
as a
furniture
and
the
like,
properly
It
can
to
separate
that
a
study.*
certain the of should
only
should of
observed be
degree
exterior and
of
consistency
interior
apparent
The exterior house
in
any
building. imposing
nor
architecturally
not
pretentious
mean
or
conceal house
interiors,
its walls
should
the
humble
cottage
elaborate the realm
or
within
disproportionately
Here well best of
one
nificent mag* *
interiors. taste in
'
invades of rules
of
good
in
general,
and
as
as
propriety
be lated formu-
particular,
would
the
not
prove
as
great
as
an
ounce
of
common
sense.
In several be
the
following
chapter
aspects
as
there of the
will
be
proposed
may
existing
it is
irrespectively designed,
as or
which chosen
of
the
which
have
most
appropriate
rendering
style.
"""The
Practical
Book
of
Interior
Decoration"
la
already
in
advanced
preparation
and
will
be
issued
in
1917.
CHAPTER
IV
PLANS
DIFFERENT METHOD DETAILS. ETC. KINDS OF
AND
PLANS.
IN ON
DETAILS
IMPORTANCE
DEVELOPING OF BOTH A
OF
PROCEDURE
DEFINITE
PLANS AND WAYS, STAIR-
NOTES
WINDOWS,
INTERIOR AND IN WHICH
DOORS,
CHIMNEYS,
TRIM AND
WOODWORK,
LIGHTING MANNER
FINISH,
ETC. MENT FULFIL-
HARDWARE,
THE BEST OF
PLUMBING
TO
FIXTURES,
INSURE
THE
REQUIREMENTS
IT
in
i"i the
purpose
of
this
to
chapter
the and
to
offer
few
general
matters
to
suggestions relating
stimulate which
a
prospective
detail
"
builder
to
plan
^suggestions
seen,
designed study
the
observation
may attract
of
houses attention
and
of
pages
houses of these
through
be
magazine. suggestions
And
are
it
not
should
to
kept
sarily, neces-
in
mind
that
as
be
taken,
every
recommendations,
different
nearly
involves
problems
to
some
requirements. following
be
given
the
to
thought
points,
prospective
them and with
builder his
will
better Advice
equipped
which of
a
discuss
architect. in The
a
is
didactic often
specific, especially
its
own
the
design
house,
defeats read
to
end. that
the
prospective
certain
builder,
is
tial, essen-
having
somewhere
point
in his
recognize
not
fact
that,
particular
mental. detrihe of is the
only
be
unessential,
**on
or
but
actually
Having
inclined architect has
**
it, however,
the
authority,'^
the
to
doubt advises
ability against
in
integrity
who made of
it. this In
Considerable
book this in
been
elsewhere one^s
many
regarding
last
advice"
friends. instances
chapter
**
writer,
304
recalling
which
friendly,"
PLANS
AND
DETAILS
305
but
absolutely
a
ignorant
or
prejudiced impelled
one
advice
to
has this
wrecked
one
building
of
project, feels
it. It is the has and his
to to
make
last
most
distressing
with client in has the
to
factor
architect
contend the
practice
contend Nor of
profession,
formulating
writer wish
which ideas.
commit
the that
same
offence
tive prospecas
officiousness, and
builder
would the
far
prefer
the
regard
think
*'
following
and to
not
paragraphs
as
**
things
to
about,'*
*'
The
one
thoughtless
man's meat
adviser
is apt
man's
forget that
and
one
is another which
poison,
that house
very
suggestion entirely
without that The his whose is
might
another.
or
vastly improve
To
the
might builder,
same
"
blight
prospective
is the
experience
friends he and
and
popular
is in
magazine failing
"
articles.
to
man
usually
fears
lay all
for he
before
architect and
the
trained
a
professional
opinions
guidance
paying
Certain
fee.
features
of
plans
exist
irrespective
other features
of
the
are
style
of
the
house, style
on or
while
certain
some
influenced
by
by
other
Proceeding
for the
this
vision pro-
individual's be it
needs
the
plan in
any
case,
large
which the times
small, regular
he
lar. irreguwill
Certain be the
personally
desires
or
provided
cost
style be English
that the
very amount.
Italian,
$10,000
ten
Beyond
may
basis
of the
the
plan
or
be
dictated site it is to
historic A
style of
of
house,
balanced
by the design
be
house
formal,
even a
would
ill-grace
carried
rocky
hill-top,
such
practically
out, whereas
PLANS
AND
DETAILS
307
observed
"
^if he
cannot
wishes
picturesque within,
a
and
irregular
and
exterior^ he
axial
expect,
dreams of
symmetrical
about
a
plan
if his
have
centred
quaint,
ries, vagabling resem-
rambling
he
a
plan, full
must
unexpected
all
architectural of
dismiss
thought
exterior.
anything
classic
Georgian
the entire actual it. And
Governing
should which results builder with
nursery
proposition
of
the of
secure
be
the
practical needs
in order
to
family
the best
is to from
occupy the at
architect's the of
work,
the
prospective
the A architect studio
f
a or
should,
every
or
outset,
the
T
a
acquaint
needs.
T
detail
family
play-room
music-room
must
study
basis
library?
the
"
^these
requirements
house is to be
form abode
the of
of
plan, if the
an
permanent
satisfaction.
The
few its
plan
of
the
large
site and
to
house is
presents
the
comparatively expenditure
finds it
a
difficulties. erection is
Its
ample,
ample,
matter
the include
architect due
simple
client's The
every
provision
for
need of the
and small
requirement.
house itself is
a
plan
very
a
different
test
mat-
ter, the
problem
resolving
The is
into be
"
of
ingenuity. undoubtedly
is to in
restricted, the
the
architect's
task abode
develop
of
pleasing, convenient
restrictions.
say in
and
adequate
spite
these
to
It is safe house
that lack
up
the of
usual
mistake
in the
the
result
small is
a
plan
lies
foresight, and
of
a
cramped
The
plan,
of
made
number
of is
small intended
out In
rooms. as
plan
any
small should
house be
which
permanent
view it is
to
abode,
definitely laid
and addition.
with this
way
future
enlargement
to
commence
possible
building
operations
with
308
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
smaller
necessary,
amonnt
of
to
capital
the
than
house
wonld in with
a
otherwise
be
and
develop
It will
perfectly logical
charming
possess
and
natural the
way.
express
growth
degree
in of
no
of
the
family,
and
and
will
time be
symbolism
other
way.
meaning
which
could
attained In
any
consideration
of kind
the
planning,
interior of
some
due
thought
as
should
may
or
be
given
to
the
of
desired,
of the
this
materially
the
affect of
to
shapes
rooms,
layout
be
the the
stair-hall.
Consideration,
whether be this selected is
too,
should
in the
given
furniture,
or
already
the
owner's is built.
possession
is to
after
house If
the
case,
and
the
govern
furniture the
is of character
good
of
design,
the
the
should
interiors should
an
appropriate
If the
ment environcase,
be of
"
is the the
the of
character
the to
the
should
choice
furniture the
and
furniture
in relation As
a
architectural
setting it is
of
any
prao-
tical
detail, dimensions
should
proper
save
large
pieces
so
of he of
wallmay
furniture
be
given
in
the the
architect, plans.
that bit
a
provide
may
places
This
or a
sight fore-
expensive
In
a
alteration,
of
distressing
word
or
incongruity
architect
a
later. such of
point
as
style,
to
the
on
detail
either
possessing,
architectural and
as
ing, desirfor
set
Chippendale
insure the
dining-room
proper
furniture,
example,
The should the
will
setting. furnishings
relationship always
the be
between visualised
architecture
as
vividly
or
possible, for
the less
greater
the should
variance will
in
style
character,
harmony
It
on
house be
possess.
remembered,
furniture
in will
studying
make all
dimensions
the
rooms
the
plans,
that
PLANS
AND
DETAILS
309
seem
smaller^
room, te
and the
some
thought
should
be
given,
in
each and
possibilities of furniture
which will result. be
An
placement,
extra set
the
effects
of the of in
blueprints, others,
the with inch be
as a
indeed, might
set
well
kept
*'
apart
the
from
of
**
plans,
room
location
sketched of
principal yellow
to
pieces
crayon.
being
of
scale the
one-quarter
are
an
the
foot
so
(at which
that in the
plans
drawn)
of wall for inch
should
spaces
followed,
be feet
actual
dimensions
A
known
advance. be
bureau,
an
example,
wide
on a
wide,
With should
would these
sketched
plans.
notations,
had with the
out,
may may,
conference
be
suggest
with
a
some
better data
placement him,
in
furniture,
How arisen
a
or
this
before
it advisable
to
make
a
few
slight alterations
has is
"
plans.
has ^what
to
often
^ ^
house there
been
built, and
our
the
lament
"
But
no
place for
no
big sofa
was
stupid
fact
tect" archithe
^ '
^and had He
thought
never
given
that
the
that
a
architect sofa."
not
a
been
many
told
there
among
existed them
big
is
has
abilities, but
he
clairvoyant.
the
Beyond relationship
we
important
question
to
of
considering
vice of
an
the
of architecture
furniture, and
on
versa,
are,
perhaps,
trespassing
will in the form
the
field
rior inteentire
decoration,
book in
which
the
subject of
series. which
to
itself, issued
to
present
in
Reverting
be that
^ '
the
provision needs,
planning
it is
well
should
made herein
for
individual lies
* '
remember the
an
important
and the
between is
ready-made
house,
specially
"
and
intelligently
there will be the
designed.
no
ready-made
house,
for the
studio
or
artist, no
There
study
will
writer,
doctor
lawyer.
310
THE
PRACTICAL
BOOK
OF
be
man
no
or
play-room,
his relaxation
and
no
workshop
in
craftsmanship
carpentry.
There the is
an
interesting
in
tendency
at
present
if
to
porate incor-
garage
the
which, itself,
convenient
"
skilfully
small
compassed,
suburban his be
own
is
advantageous
on
in the of
house chauffeur. of
small The
the
owner,
course,
fire-hazard,
the ultra-careful features the
a
however,
man.
should
thought Among
by all but
desirable
**
plan
are
which
rear
might
or
be side
or
listed
entrance
as
reminders*'
the
following:
for
children,
coat-closet
downstairs
wash-room with
a
lavatory,
ample
(preferably
a
dow), win-
(or
of the
at way
least
stair
which
joins the
part
chute, broomall,
is
a a
(easily provided
"
and
above It
large
two
even
of in
them,
the
possible.
house well
curious have
small it
a
thing
notion
that that
modern
may
people
occupy any
the
bath-room
in
space
the
as
second-floor
one
plan,
the
most
whereas
regarded
the second
of
important
as
a
of
floor, and
and
planned
room,
ample Despite
windows the
ample
floor-space.
at the
ever
**
jokes plans
at any
expense
of the. closets.
' '
architect, it is doubtful
The
woman
omitted
usually
she
the
closet-room feature
and
concern
"
in
plan
should
before
considers
not to to
^but
she
remember
cause
let her
in this which of
are
direction
her
things
as a
quite
as
important.
accusation
a
not
result client
the
reiterated
feminine of
are
anent
closets, it is
fact
to
that
the
architect which
for
to-day
is
more
likely than
"
not
plan
closets
actually
nificent mag-
really large
enough
dressing-rooms,
and
PLANS
AND
DETAILS
311
often air
an
provided light,
with
the
window.
a
*'
For is
* ^
purposes
of
means
and
closet the
window
by all
its
advance in
not
over
poke-hole,
never
contents
lost it is
than
Egyptian
fonnd size
darkness,
possible
it is well
to to
and
If
make
the
a
usual is
provide
when
store-room.
This
feasible
larger
closets
would
largely disturb
In
plan. plan
should be from
no
general,
studied
room
to to
or
possess
veniently con-
good
circulation, good
located
"
access
room,
bath-rooms,
aim
one room
narrow
dark of
ways hall"
and
it should of
to
make which
the is of
most to
vistas
of
the
glimpse
or
be
another,
from the
the
hall. of
This,
the
course,
in
to
a
planning
first
floor, and
careful
consideration
of too
abruptly
mixing
ent differ-
period
An and
'' *'
styles. reception
room,*'
may
**
Adam
Jacobean
library'*
other of
a a
Georgian
rooms"
dining-room
as
all the is in
period
well, beneath
but there
palatial
country
effect in
house,
such when
tressing dis-
catholicity
small
house,
which
An
is at
its best
it is consistent. of and
upon
American
'*
innovation
increasing
in
to
popularity
the
is
the
sleeping
is in
a
porch,"
called the
its
architect
usually making
harmonious is the
**
exercise wide
keenest
ingenuity openings
innovation sometimes
to
necessarily
part
of the
or a
exterior.
solarium,"
than but
a
sun-parlor,
nothing
air in summer,
more
the
is often
^^
distinct
a
room
in and
itself,permanently
often
an
on
solarium,"
semi-outdoor tiles
on
with
fireplace,
of
attractive the
treatment the
^Hreillage"
walls, and
floor.
312
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
Two
other in
plan-features,
the
"
however, dwelling
the
a
have
to
a
not
been of
developed
their
American the
course,
fraction
possibilities
patio and
suggests
terrace.
The
or a
patio,
very
of
moderately
large,
large
house,
houses
though
have
or
many
comparatively
built about three it.
Califomian of
can a
been
garden
court,
attractive
entirely
introduction with
a
surrounding
of the
in
visualise
patio, winter,
reasonably taking
makes
the for
glass roof
A
a
solarium.
interesting
rooms
plan, and
have
plan
in
which both
virtually sides,
as
all well
the
as
may
lighting
from fountain the
from
charming patio
glimpses
of
a
windows,
or a
especially
besides
In
if the
boasts
pool,
its floral
embellishment. of the
terrace
as a
speaking
reference but rather unroofed
neglected large
is not
to
made
to
the
garden
the
terrace
which
is
on
really little
the shade it is
eastern
than of
the
an
porch. always
If
placed
be in and
side the
to
house,
part
the of
it will
the if
during planned
will
latter
the
afternoon,
tall
au
adjoin
an
dining-room,
stroll
French
or
windows
a are
invite
retreat
after-dinner after-dinner
the
plein air,
Porches darkens otherwise for
of
pleasant
often
for
coffee. roof
omitted
room
because
porch
it
the be
adjoining
very
within,
to have
although
greater
or a
might
desirable of
a
provision
prospect
if it need
the
enjoyment
And while
did splenopen
sun
view,
terrace,
upon
the
garden.
the the
even
be
occupied
and
is
it, may
two
or
be
attractively
practically
or
enlivened
by
with
three
or
canopy
tables,
wicker
It
chairs.
to enumerate
would of
a
possible
house
all
the
features
set
of
plans
which
might
prove
PLANS
AND
DETAILS
313
desirable
are
or
attractive, because
infinite
are
conditions
and The
ences prefer-
in
their
variety. rather,
of
to
foregoing
a
paragraphs
the
more
intended^
features
or
suggest
are
few
rent appa-
of
pleasing
**
plans which
not
in
ill-designed
of these
houses,
may set
and
to
suggest
and while
In
as
features
in
a
easily
of
inexpensively they
the
are same on
be
**
incorporated
* '
plans
in
formative and
state.
manner,
with will
the
now
same
intention, presented.
it said
to
few
notes
special details
architectural
are
be
Begarding
that
we we
details, be America,
look for
too
in
too at
inclined, in
are
be
to
much
neighbours
is
'
houses
build the
ourselves. of
a
sistency Conlittle
admirable,
may
save
expression
from inside
individuality
into
consistency
details both
degenerating
and
out most
monotony.
houses
no
In
American reflect
show
very
imagination,
same even
and of
specific personality.
seems
is the
true
plans. passer-by
American
are
It
unfortunate be
to
casual
average
should
able,
know modern
from
glance
how
at
the
rooms
house,
exactly
the
within is full of
arranged.
The
English
if
to
dwelling
architectural
surprises"
are
anything,
extremes
individuality
which
are
and
times some-
irregularity
not
carried
entirely desirable.
to
our
Reverting
builder if he remembers and divided of
subject in hand,
avoid
a
however,
the
pective pros-
will
certain
are
amount two
of confusion of detail
"
that
there
kinds
these
exterior
interior, and
into
two
that
both details
details
are
again
details Good
one
kinds"
of
design,
and
material.
procedure reasonably
in
deciding
with
upon
certain
details, if pictures
be
familiar
them
through
PLANS
AND
DETAILS
315
others
he
so
may
be
pleasantly
as
surprised always
attempt
builder
to
find
are
not
nearly
The detail
"
expensive
he
had
supposed.
to
following
in which
lists
cannot
include
every
every
prospective
merely
well be
to
might
form to
be
in
ested interwhich
as
show
the and
such
might
certain
prepared,
which
are
offer
reminders until
upon
details
frequently
attention the
house.
looked over-
too
late, in general
be
to
concern
and of
the
more
aspects
or
lists,then,
may
amplified
case
"
by
particular form,
or
only
details into
being
details and
division each of
interior,
details of
and
these
design
material.
style of the
of the
house, plan,
as
its
general
material,
are
and assumed
the
disposition
to
stated before be
seen
above,
the
upon
have
been detail
decided lists.
upon
preparation
a
of the
these
It will that
survey
of
following
consideration the other.
details of
certain and
of them
involve
one
coincident
design
material,
influencing
ExTBBioB
Details
"
^Desion
Moulded Ironwork.
Weather-yaneB Shutters. Windows:
brick,
terra-cotta,
tiles.
Exterior
ornament!
Plasterwork.
and
sun-dials.
Carving.
Chimneys
Gutters
chimney
rain-leaders.
poti.
Bays,
windows.
casements,
and
French
Screens
awnings.
Walks.
etc. its Terraces Fountains and and and
Porch,
Front
door-hood,
door and
courtyards. pools.
trellises.
hardware.
Lanterns.
Potted
Treillage bay-trees.
Flower-boxes.
Pergolas.
316
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
ExTEBioB
Details
"
^Matisbial
Moulded
Roof-tilea Thatched
brick,
and
terra-ootta,
slates. effects.
tiles.
Paint walls.
or
stein
for
trim
and
aide-
roof
face and
or
Gutters,
flashings
"
and
leaders.
Special
Texture Paint ters.
brick.
Copings
of
^terra-cotte,
stone,
slate.
color
for
stucco.
and shut-
tile.
stein
trim
Walks, Tile,
terraces,
courtyards,
cement.
brick,
flag,
presenting
details of
similar and
dnal
list it
a
of
certain be of
design
the
material,
list with
might
few
amplify
above
brief
Many
even
exteriors
may
be
given
from
added the
interest
by
slight departures
effects
in detail been of
commonplace.
in brick for and such
Interesting
stucco
have the
use
obtained
houses
as
by
moulded
windows
bricks
details
or
the
divisions and
between other
(mullions),
courses. or
for
window-sills
horizontal
Moulded
**matf may
terra-cotta,
unglazed polychrome
in in and the the
with in
surface, and
often
or
color,
be
happily lunettes,
panels,
stucco
friezes,
house.
spandrils
Here is to
especially
be such
great
interest
may any
added,
only caution
in certain about.
concentrate
embellishment
places
rather
than for of
have
it scattered
may
confusingly
be enlivened
or a
Window-heads,
introduction coloured the frieze
instance,
by
gorgeous
the
coloured
may
eaves.
terra-cotta,
be In
well
placed
some
up
in
the
shadow it may
cement
of be
overhanging
or even
instances,
to
permissible
casts in
a
commendable
introduce
or
of
wall
ornamental of of
placques,
or
cartouches
not
bas-reliefs
a
stucco,whether
brick work.
are
there derived
is also from
certain
amount
or
Houses the
most
Spanish
for such
Italian
types
appropriate
embellishment.
PLANS
AND
DETAILS
317
are
of and
may
several tiles
kinds, broadly
decorative. of the tile
uses
divided
the
into
tiles
Despite
of the the used the
division,
The tile
kind
partake
structural
quarry
other. red
familiar
**
is
square
(called square).
for the such
in
tile,'* from
is
French
as sun-rooms a
carre,
This
tile
usually
seen
flooring
and
terraces,
court-yards,
other
roof-gardens,
uses
like, though
as
effective
have
"been
evolved,
inlaid
quarry-tile
walls
to
window break
sills,or
the
quarry-tiles
of
stucco
monotony
uniform
tiles, of which
made
great
find
stucco
many
an
to-day,
uses
may
equally
fascinating
in
houses.
architecture,
use
by
in
of
decorative
bespeak,
ings buildof
the
of Moorish
old
Castile,
of
the
most
conspicuous
influences. iron
to
Exterior
work
is of
on a
to
be
considered
stone
or
as
priate appro-
only place
an
houses
brick,
wooden
stucco.
To
iron
railing
house
is
obviously
be
at
obtained
tively compara-
by the judicious
small
introduction
of iron iron
work,
expense.
one
Delicate of the
as
railings and
features
iron of
most
charming
as
architecture,
to
a
well
of Italian
architecture,
architecture which adds
lesser
extent.
Brick
Georgian
iron work
an
associated
to
type
in this
of
remarkably Thought
into house
"
design
style.
and sun-dials the
of
a
weather-vanes
at of
**
(built
tically ver-
wall) suggest
it is
once
English
country
of such
and
by virtue
the
introduction
seemingly
inconsequential
architectural
incidents'*
318
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
that
the
English
much of
country
that
house, both
of
to the
modem,
which
attains
we
sometimes The
seek of
emulate.
design
shutters
of any
is of of the
special importance
* '
in
' '
modem
adaptations
of
American
Colonial
houses
types
solid
dwelling.
for the
or
The
earliest
American for
as a
had
shutters
all their
windows,
later,
first
actual
sort
against
custom
Indians,
and the
upper
of
habit, only
while Certain
cut to
floor
windows had
none,
solid
shutters,
ones.
the
windows
were
lighter
for
the
designs
in
used
as
patterns
and these there monds, dialocal little
apertures
the
solid
shutters,
varied
were
according
period.
trees,
Notably shields,
house there of is
half-moons,
spades
and
the
simple
stone,
or
of
white-painted
for
clapboards,
opportunity
have
interesting
detail, and
charming
of
a
effects
been and
obtained
resource
by the application
in
little old
ity ingenu-
the
revival
of
and
these
shutters,
with Of the
**
their window
quaint
hinges,
there
stops
latches.
to be
design
is too
is much
as
a
said
to
"
^indeed
as
a
question
important,
whole,
may
class
detail."
as
Bay-windows,
details,
In
as
however,
well
the
as
properly
and
or
be
regarded
windows. windows
casement
French
of
more
general,
be
grouping
on
massing
of
is
to
recommended,
exterior
grounds
well
seem as
pleasing
Three
more
appearance,
as
interior.
to
windows
together,
to create
same an
furthermore, impression
three windows
admit
space
light, and
a room
of
greater separated
in
than
the
by
wall-space.
The
in many
story
of
the
casement
window has
has
been after
one
written
years
magazine
articles, and
a
become,
familiar
of
misunderstanding,
reasonably
to
the
lND ,"HED
wENnows UWKJ.i.lNG
r,i\E
chakactkr
to
THE
TWO
TYPICAL
EXAMPLES
OF
THE
MODERN
ENGI
PLANS
AND
DETAILS
319
prospective
window,
most
builder. whether of
No of
one
can or
deny metal,
It
that is
the
ment case-
wood
by far
one
the of the
dows, win-
picturesque
most
all windows.
is, in fact,
the
charm
important
of the
single details
country
little but
more even
contributory
Casement
to
to
English
are a
house.
perhaps,
double
clean
than
hung
windows,
is
overcome
comparatively
is
slight objection
an
kept
within
eighteen-inch
but
a
width
only
for
practical
desirable
to
reasons, to
mass
in
point
of
of
design
small
it is far
casement to
more
number
units
to
fill each
large
casement
window
opening,
than
attempt
wide.
casement
make
awkwardly
use
large and
of the
The been
casement
and
popularity by
and
windows
has of
largely
increased
yearly
improvement
in that
no
hardware,
casements.
by the
Suffice
manufacture it to
say
ica Amerone
of metal the
of
objections
should
commonly'put
be
forward
as
against by
casement
windows
regarded
them of will
a
valid
a
anyone
who
really wishes
The in
to
install
in
house.
introduction
French be
sense
windows,
to
which
a
are,
found
of
add
noticeable
to any
degree
room,
light and
spaciousness
access
besides
terraces.
affording
French
convenient
may
to
porches perfectly
'*
and
secure
windows with
or
be
made
by
from
equipment
a
"Cremorne
bolts,
as
a
which
operate
metal of the The
knob lock
handle into
(placed
in
door-knob)
head
rods
which
pockets
the
sill and
window-opening. porch,
in of
course, and
should the
or
be
very
carefully
builder
upon to
sidered con-
detail,
much
prospective
observation
doors in
cannot
direct kinds
too
study
and he
various determine-
of
porches
what
front wishes.
order
exactly
type
Certain
styles of house
PLANS
AND
DETAILS
321
often
feature
of the and
'modernist^ often
one
houses
of the
most
ican Amer-
West, Here,
and
attractive
however,
the
intentionally
more tive conservaa
unprecedented,
are
possibilities
of modern
A very
to
be
discovered
through
study
English important
which There and itself. which this be is
no
of
mar
exterior the
design
whole
is
the
chimney,
aspect.
may
are
exterior
possibilities for
of
sure,
picturesque
material
a
proportion
the house
detail, regardless
A
the is
a
of
chimney, nothing
why
to of
any
more
to be
utilitarian
feature
is
than
smoke-stack,
treatment
though
should
reason
keyed
down
the
the its
commonplace.
characteristic made
Every
type
of
historic
type
and
*'
building chimney
chimney,
The
be
highly
in all
interesting. English
intended the
chimney-pots,
from the of
so
familiar
buildings,
to
are,
aid
the and
drafts
by
of
an
narrowing
downward
top aperture
of wind
"
lessening
which
gusts
^besides the
they
blunt and
agreeable
termination In
to
otherwise
chimney-top.
rain-leaders,
these with
was
considering
of
gutters
has
as
little
expression
of
design
characterised
fittings
those of
on
the
house
compared
England.
architectural
interesting work,
from
' *
design especially
late
lavished
in and
lead,
in
the
English
times
country
house The
Tudor
^ '
Elizabethan
two
or
pnward.
leader-head,
one
where
were
more
gutters
converged
detailed
reason,
into
rain-pipe,
ornament,
often
or
very
elaborately
devices. One
with
no
dates has
our
heraldic
doubt,
which in
discouraged
own
great
elaboration
of
leader-heads
country
322
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
houses,
zinc like
or
is
the
fact
that
are
these
are
ordinarily
not
made
of
painted heavy
tin, and
lead work
consequently
of
permanent
the The
England.
will find it well of
to
prospective
consideration
at
an
builder
to
devote and
little
the of
question
his house
screens
awnings
early avoiding
of
stage
later
design,
and
to
by this
later
forethought
introduction
complications,
which will fail
equipment
the that
conform is
harmoniously
necessary to
with
say
entire
every
building.
door and
It window
hardly
in the
house
should
be terraces
screened.
and
Walks,
court-yards
in
as
might
of
all and
be
sidered con-
together,
In house Even front
a
both
questions
these
design English
rial. mate-
such
details excels
the
country
house.
to
usually
short
the
American
from
a
a
country
entrance
paved
may
walk made
street
the
door
be been
charming
and
and
as
interesting
a
detail, if it has
the house.
studied
treated
part
of
Although
under architect's will for
do
and
pools
may
come
more
erly prop-
garden
design
the
than
under
the
part
to
work,
the
prospective
in advice. this
builder
well will be it
consult
much
architect
connection,
If
or
a
he
receive
excellent
pool
of
a
or
fountain
part
of be
the
design
as
of
a
patio,
part
of
race, ter-
should and
are
regarded
the
house Most
design,
architects
definitely referred
the
a
to
the this be
architect. kind of
best
judges
of
garden
in the and
were
detail, and
architect's
more
if
pool, for
it will
to
example, naturally
the house
included
a
design,
have than
closer if it'
*
effective
out
relation
carried
In
later
by another
of
designer. house,
or
'^
the
design
the
stucco
of
the
%liitemay
painted
clapboard
house,
treillage and
trellises
be
PLANS
AND
DETAILS
323
made
highly
significant part
and attain
as a
of
the
scheme,
adding
even
detail, colour
before vines
interest
to
bare
wall-surfaces, Treillage,
has in
a
effective decorative
growth.
garded re-
purely recently
come
device,
appreciated
with
very
try, coun-
to
be
properly
although
admirable
the
writer
is familiar
of tively effec-
examples, employed.
and
too, have
if
been these
quite
have leaves
by
for
cover
flower-boxes,
especially
or
provided
tendrils
vines, whose
spaces.
curiously
shaped
formed
jardinieres,
a
intended
trailing
in of the the
very
conspicuous
of West above
many
of the
the Pacific
^'modernist" Coast.
and
paragraphs,
listed
* *
taking
Exterior
in
up
individually
of
the
' '
details
as
Details what
manner
Design,
the the
intended
only
to
suggest
most
pective pros-
builder
may
effectively design.
in be such
study
sidiary sub-
parts
would
the
of
his than
must
house useless
Rules,
obviously,
where
be best
worse
matters,
procedure
always
cost is
dictated
by personal
and if the tect's archithe
to
limitation
performed
only
builder
observe
impelled
similar
intelligently
in
these which
details
pictures
houses
with
is familiar.
Among
exterior of choice
details relative
material,
roof
there
will
arise
questions
moulded
-tiles and
roof-slates,
tiles. of
or
brick,
roof
terra-cotta
and
structural
If
shingle
asbestos there
is called
for, the
be
a
several
types
"
fireproof perhaps
in
more
an
shingles
may
should for
investigated shingle
roof will be
be
desire
devised found
effect
of
thatch.
This, of
course,
324
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
expensive recognized
One
on
than
at
plain
start.
shingle
roof, and
should
be
so
the
of
the
most
important
of material
to
selections
may
and relative
many
decisions
to
exterior of
detail
be The
the
kind of
**f ace-brick**
''
be
used. of
special
are
texture" at
bricks,
various will
as
special
per to
shapes,
the
quoted
prices
do in the well
an
thousand,
familiarise
prospective
with them
builder either
used in the
actual architect's is
house,
by
It
comparison might
be
samples
that
office.
architect
to
always
able,
by virtue
to
specifications,
section and of The of the
require
**on to
the
contractor
lay
up
on
small
wall
owner
approval,*'
insure such and
to
be
passed
by himself
as
cific spe-
details of
to
colour
mortar,
entire
and
width
nature
mortar be built
same
joints.
in strict is
or
house,
with
accordance of
a
this
true
on
stucco, whether
wall
one
applied
wire and lath. of
on
tile wall
frame be
with colour
Here
detail
may
question
be and
will
of
texture,
with it doubt the is
or
obtained architect's
to
conform
exactly
requirements,
house itself.
applied
to
any
part
exists
uncertainty
either
as
prospective
he
a
mind,
the
tractor's con-
regards ability
to
effect
wishes,
produce
are
specific effect
insured
he
has
in
mind,
this
means
exact
results of
most
certainly
and
through by
expedient
of In the
a
experiment
of
demonstration wall.
small house
or
section of
^'specimen"
or
brick,
stone
stucco, the
in
are
question
with
of the
painting
trim and in
staining
arises
as
only
these colour
connection the
shutters,
design,
attention.
but
only wooden
receive of slate the
or
details
most
the
their If
should is not
careful
the
roof
jf
mudvl
villtxcs
uid
APPLICATION
OF
TO
BllLDIKGS
OF
STRICTLY
arem
here
that
"uch
buildings bBRUly
as
thii
n
power-houH
of
may
b"
made
ediBcee
of
dinin"
well
practieal
utility
PLANS
AND
DETAILS
325
tile, there
it is intended dark black. The is
a
will
to
be
the
question shingles
to
a
of
shingle
to
stain, unless
silver
grey,
let the
weather
grey
and
finally
colour
nearly
approaching
material for
for
rain-leaders
point
consideration
^s
early
stage
of
the
prospective
tin is the
builder least
study
of and
detail. also
Heavily
the iron least
possess
painted
durable.
more
expensive,
tin
or
galvanised
cost. but
little
greater
Copper likely
to
is last
the
ideal
expensive,
without The
use
repair,
lead
as
as
long
as
the
house. metal
heavy
sheet
for in
these
necessary
trimmings
rare are
of every
house,
In
England,
entire
is
exceedingly
of lead
in this often
hibitively pro-
country.
seen
"
Europe,
means an
roofs
^by all
enduring
all
material,
uses.
though
expensive
If brick detail several
"
for of
ordinary
a
the
or
house
is
such
or
character which
up
that
there
are
stone
walls
require
the form
coping,
of and the tile
of
material
comes
in
stone, slate
by style and
by the
rials mate-
the
house
Brick,
themselves of walks here
a
or
tile,
as
cement
irregular
choice in and of
flag-stones
the
offer
materials
paving
general
in be
of terraces character
court-yards,
the house this
'^
again,
may
distinct
the found
selection,
very
and
detail
to
material*'
closely
related
question
After other
to may
of
a
design.
tabulation of the and
study
and the
to
of of
these, and
as
many
details, both
exterior of
design
material
related builder
to
the
house, ready
prospective
his
consider
himself
direct
attention
PLANS
AND
DETAILS
327
advertising,
and
it
contains
wealth
of
as
valuable
instruction,
offering,
well,
comparison* And,
on
having
studied
all such
catalogues
and
and
booklets the
pective pros-
various
building
builder has
materials
at
equipment,
the benefit
service actual
to may
of of
the his
professional
architect,
which of who the
knowledge
will several be
experience
and best
or
advise be
recommend
most
nomically eco-
details in
incorporated
house. The
entrance
the
specifications
of
the
vestibule
and in
entrance
hall
or
may,
haps, per-
been the
as a
duly
studied
are
the
"
plans,
^it is it may
left
to
be in
when
plans
**detair*
to
drawn because
spoken
be
of
chapter
intended
floor of
it with
coat
tile,or
closet
or
devise
some
special arrangement
connection with with it.
lavatory
be
in
entrance
floored
tile,which
purpose,
recently
with The
considerably
for
this
admirable
stairway
for
success
will the
usually
amateur
prove
to
be
the
and
most
cult diffino
problem
very
planner,
attend least
while
great
a
will for
probably
it, it is at
and
his well
efforts
for him
to
at
making
have
drawing
some
to the
devoted
thought
observation
subject. ''Special
among
rooms,*'
while
not
strictly
to
be
classed
details, nevertheless
and
involve in the
special considerations
matter
special equipment
of
hardware
This
any
room
and
rooms,
the
or
like. of
is
''period'*
a
departs
from
"typical**
character.
328
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
It
should
are
be
apparent
of
that detail
fireplaces
upon
and
pieces mantelthe
pective pros-
questions
should
which
builder
have
fairly definite
of the actual and
to
ideas.
mason
The
fireplace
will involve
to
itself, consisting
considerations kind of fuel
may
or
work,
ing accord;
of width is
not
depth,
be used
the
which
may
likely
for
and
construction
call
stock
throats
ash-dumps
be found
to
of be
cast-iron.
The
architect, however,
on
fully informed
is the
these
points.
frame for
which
to
architectural considered
as
be
dually
each
question
to to
some some
material,
the the of whole
influencing being
or
the
other
design style
influenced of
degree
as
by
as
general
the
room
character
any
the
house
well
in which
given
mantel-piece
is to be At
constructed. this
"
point might
either is
so
come
some
consideration
or
of
the
furniture after
may
owned,
while carried scale the
to
be
acquired placement
can
the
not
house be
study
out
as
of it
accurately
be
on
the least
rooms
working
take
to
quarter^nch
the form of
a
blueprints,
up
at
list, made
listed
of
the
be is
furnished, being
as
each
separately.
rugs
furniture
thus
as
itemised,
any
might
be
or
thought important
better be
are
of,
well
large family
proper
portraits
may
paintings,
made in
since
provision drawings.
thus the
the
working
it is in
a an
While
to
plans
two
being
for there them in of
drawn,
easy
matter
place
each
space
doors,
that
example,
will be
such
relationship
with
perfectly
to
proportioned large
an
which the
a
hang
is
painting.
If the
placement
will either
painting permanently
afterthought,
be
inharmouioue
setting
PLANS
AND
DETAILS
329
for
the
painting,
or
its alteration
on
to
fit will
or
necessitate
troublesome
changes
in the actual
the
drawings
expensive
changes
building. suggested
the attention
to
Pursuing
of doors
next
the
list of
details, the
of the
question
engages
prospective
or
builder, and
doors that
are
it will which
be will
well be
list the
bed-room
full mirror
doors, and
in stock mirror
to
these
may
means
be
made,
The
room
sizes door
by
no
excellent the
space
adjunct
of of
a
especially, saving
increasing
the
parent ap-
cheval the
room.
glass, besides
And
even no
guest-room
should
on
be
the
mirror
a
door,
door. of
if the
glass be placed
of
closet
Another
most
type
mirror
door
no means
is of
familiar
use
in for door
modem
uses
hotels, but
in
a
by
inappropriate
"
certain divided
private
panes
dwelling
the
mirror called
into This
small
(the divisions
door may
^'mun-
tins*^.
used
type
be
very
cleverly
are a
glass doors
Let
us
which
also
divided
room,
small
panes.
suppose
diningglass,
similar
are
pair of small-paned
room a
doors,
separate
doors other door of
from
the
or
hall, and
give
porch
sun-parlor.
as
still
doors,
to
closets, perhaps,
Here similar door of door mirrors detail
well
may
the used
service
the
kitchen.
be
instead
panes
clear
glass, the
a
of
the
small for
fecting efwhole
harmonious
equipment
is not
to
the
room.
This
must
type
detailed would doors
be
had
ready-made,,
not
**
but
be
thought
extra.'* of
of in For
advance,
the other
constitute
the
an a
house,
variety
excellently built
**stoQk''
ready-made
doors
wilj b^
330
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
found the
"
the
merit
of their which
design
has
increasing
all
^'
yearly, with
stock" ing build-
same
advance
marked
equipment,
While also
come
including
the
furniture. of and if
studying
under
question
will be
consideration,
which
"
should be of
given
**
regarding
nature
windows,
casement
will French
special"
or
as
windows,
panes,
or
dows, win-
windows
panes, or,
with in
leaded
small
diamondwhich is
a
shaped
fact, any
regular
and
type
stock
of
window
departure
the
from
the
double-hung factory."
whether
window,
product
Wood
of the
**sash
in any
blind
panelling
should and list, the
of the be
rooms,
simple
* *
or
elaborate,
detail
' '
obviously
should be
included
up
rior inte-
taken and
early
house.
in
plan-drawing
is
an
estimating
detail
While
expense
so
panelling
than
as
interior
involving
no
greater
means
the
expensive
many
rooms
pose, sup-
especially in small
The
hallways.
been
English
in with
type
of
popularity
the
in
this
country,
or a
and,
figured
plaster
prove
frieze,
an
figured
and Some
in
beam-treatment,
detail in certain
may
rooms
important
house.
of
are
the
obtainable
stock while
designs
in
to
based architect
on
fine will
historic
models,
a
other
meet
the
design
special ceiling
special
requirements.
and other
With
these,
with the
points
of
detail
listed
for of
cussion discost
architect, and
the
for
investigation
builder
may
and
practicality,
interior the of matter
prospective
of
make
his
list of In
details of
equipment
he will find
on a
hardware,
**
remarkable the
variety
really good
stock"
designs
market.
PLANS
AND
DETAILS able
are case
331
and
these
designs
he
will
be
to
study
in
to
elaborately
architects,
catalogues
be able in his
which
every
supplied
to
secure
samples
on
approval cheap,
the and
through cheap
architect. is not
to
Good
hardware
so
a
is not for
hardware builder
as
good,
as
it is well
^^
prospective
make
liberal lower
hardware
appropriation^^ cheap
medium"
in
possible.
be dear
at
The
any
grades
of
would
price, while
may
**high
be
a garded re-
**high" light
of
grades
an
of
hardware
investment,
to
giving
besides
manent per-
additional far
value in
the
house,
giving
greater
The
same
satisfaction facts
are
utility and
of the
appearance.
true
mar
lighting
effect of
fixtures, which,
of
^ '
if
poorly
chosen,
interior.
as
may
an
otherwise
' '
pleasing fixtures,
advance last
ten
And
as
in the of
'*
field
stock
lighting
a
well
stock" has
hardware,
been made of
**
great
in the
in
meritorious
so
design
the fixture
years,
or
that
consideration is
special"
met
hardware with.
lighting
exceedingly
rarely
Plumbing
which
even
are
made
in
several
are
grades,
ably considerago,
of
to-day twenty
years
better
and
to
of be
which,
regarded
is
however,
as
grades
installation
to-day
are
not
too
good
with
in the
house There
which is
an
being
built
ample
items
expenditure.
now
excellent
variety
and of the
offered
in the it
for
bath-room
and of
venience con-
equipment,
importance
should
comfort
a
make of any
detail whether
prime large
dr
importance
or
in the Kitchen in
on
planning
and
house,
the
small.
laundry
of
equipment,
whether should
not
entirely
its
a
the the
province
architect,
have involve
place
certain
preliminary
which
detail should
list,as
be
it will
expenditure
approxi-
332
THE
PRACTICAL
BOOK
OP
ARCHITECTURE
mately
established
for of of
in
advance/ and
The
aim is
' '
of
modem the
equipment
development
a
kitchen
* *
laundry efficiency,
as
toward
household
and
comprises
as
variety
**
electrical
cabinets" and be be
other
inventions,
and devices in the and the for
well
labourartificiat
"
saving
kitchen
like, and
the
drying
which,
closets if
one
laundry
all of detail
thorough
of
lists,may
with
cannot
well
not
investigated
least
Last, but
(and
usually
is the
very
ously seriwhich
the
architect),
too
or
heating
or
system,
receive it makes
much
thought
the this the
careful of
attention,
the
since house.
destroys
comfort
whole be
Special
to
seem
study,
and
to
in
to
connection, heating
difficulties
two
room or
"
should
any
rooms rooms
given
which
over
exposures
of
likely
or
present
porches,
are
in
wings
walls. if
to
where
three of this
walls should
outside
Every possible,
be
provided,
with
an
ample
and avoid
the
general
be has
as
heating,
to
precaution
cold"
room
should which
"
taken
so
always
a
greatly
many
a
distressed
many
householder roof. be
and,
well,
guest
neath be-
his It should
remembered,
some
however,
abnormal be
that
it is
always
that
possible
the and best
to
encounter
can
condition, expected
of
and
which is
reasonably thorough
and
architect
builder of
every out
conscientious involved in
tion considera-
knowable
point
specifying,
laying
It
and be
system. acquaintance
involved that with
graph para-
will of
of
study
often
and
details
details
material
inseparably
in and
a
design,
to
suggested
foregoing
the
same
relating
of
many
mantel-pieces,
as
is true
other
details
well.
PLANS
AND
DETAILS
333
Floors, however,
rather than of
involve and
consideration
it will this be be well of his
of for
material the
pective pros-
design,
to
acquire
part
in
a
information
to
architect, who
and
will various
position
Not
present
are
samples
there for
on
woods.
only
as
several
of wood kind in
ordinarily
in of
used
material
floors, but
for
is marketed kinds be
varying
grades,
The
intended architect's
on on
different should
buildings.
specification
the
absolutely
be
definite
this
cost
point, and
and As
client
should of the of
given
of
his
choice,
durability
in most
and may
basis,
kind
flooring he
will is be
buy.
questions
well
prove
dangerous, remembered,
however,
in to any
that
floors
are
are an
an
exceedingly
unwise tion direcbe
important
in
necessary.
detail which
house, and
economy,
practise
if economy
Woods
for
general
interior the
trim like
"
"
door
a
and
frames,
base-boards
and
form
subject
of
special
native
study
American
in
themselves. woods
as
Distributors
cypress,
red
gum,
redwood,
the
etc., have
prepared
wherein
prospective properties
interior
builder,
of
"
set
monly com-
various for
as
the
several
woods
used
finish various
to
their
ways
possibilities and
in which the
limitations,
be stained
or
well
as
they
of
may
and
may
finished
prove
preserve
as
a
effect for
the
or
grain,
enamel.
suitable
base
paint
Information
from
to
such
sources
will
prove
of
great interest
has last
the
prospective
to go to
as
builder, who
a
always
resort,
in the
architect
too
to
whom has In
court
of
fusion con-
much of
data choice.
led any
mental the
matter
case,
pros-
PLANS
AND
DETAILS
336
as
indefensible
work
"
as
the
old look
once
popular
of
practice painting
of
painting
brick We
the
not
once
deception
far
to
wood-grains.
ples exam' '
need
find
still in existence
art to
of this which
a
highly
esteemed
of
* *
graining,
in
a
by
dexterous kind of
painter
artistic
your
(taught
excel
this few
knavery)
soft oak
a
could, with
door
as
strokes,
and
make
pine
or
of
strangely
walnut
"
wonderfully
figured
and this
thing of monstrosity by
with
or
crime
Encouraged painters
on
their
success
in
direction,
rare
(often plaster
But
we
misguided
skill) fabricated
these for from the
**
marbles
wood,
not
quarrying
blame them
even
their
paint-pails.
of
must
them,
to
architects^'
that
we
time
are
allowed
to suppose,
do
these
horrible them.
recent
things, and,
encouraged
finish of
' '
An so-called finished''
interior
**
development
for
use on
is
**
the
plaster-paint, plaster
walls exist
are
intended
no
sandto
where
in many
wall-paper
is
be
hung.
The
finishes
varieties, and
acceptance
of
in harmonious in the
pective pros-
colours, and
interiors
of the
finding wide
homes
American should
to-day.
of
The
builder
are
which what
his
rooms, and
to
be
papered,
paper,
make such
similar
decisions
regarding
and
plaster-paints.
resolved of
at
questions
will
duly
studied the
the the
increase
certainty
securing
satisfactory
The that
or
house.
to
writer
wishes of
repeat
and
an
earlier
statement
the
questions
mentioned taken
every
as
plan
in the
detail
merely
to
foregoing
a
not
be
constituting
of detail house. and
list in
point
of
whichSuch
will
a
arise
in
the
contemplation
would be both
every
list,obviously,
It has been
involved
dangerous.
336
THE
PRACTICAL
BOOK
OF
ARCHITECTURE
the
intention,
on
rather^
part
of
to
outline
plan
of
systematie
"
thought
the
the
to
prospective perform
and
a
builder
the
thought
of observation much
designed
his detail
as
valuable his
defining
of
ideas in
directing
way to
as
personal
as
such
to
eliminate for
oversight
in
possible,
preliminary
and
make
greater
the
effectiveness architect.
conferences
with
about
is
to
build
house
is confronted
by
which with
personal
and and
individual,
observances
despite
of
mon com-
its
certain
rules
general
writer
' '
application.
has the
to
The
* ^
always
part
considered of the
as
distinctly
* *
dangerous
greater
definite in
no
advice and
' '
usually magazine
allowed of
every
offered
prospective
the
reason
builders,
that arise be
books latitude
articles, for
for
is
in
the
course as
building
value builder
to
regarded
each
of
greater
by
which
pective pros-
his
and him
thinking,
his
own
sharpen
his
own
observation,
than
to
widen
define with
a
knowledge,
dictum follow
rather
present
which
to
general
to
sibly (posblindly
applicable)
and An without
ounce
he
is directed
regard
of
conditions.
personal
a
intelligent
it is with builder
thought
this should He
is worth
in
ton
arbitrary
every
conviction
mind
his
that
approach
should
are
problem.
when
know best
his
own
preference
should
when
and
ment judgby
the
his of
guidance,
he
has
and
know,
he
exercise
turn
what
learned,
had advice
better and
toward
experienced
professional
judgment.
It
has
been
the
consistent
intention
of
this
book
to
PLANS
AND
DETAILS
337
treat
to
of
the it make
subject
from it the
of
architecture reahn in of
in
practical
and vital A will
way
"
remove
mystery respect,
one a
technicality,
and esting inter-
and
to
seem,
every
every
part
with doors
of
the
life
of
of
us.
familiarity
open many
architecture,
of which
even
if will
it
be
slight,
that
interest,
is
and
enrich
known
intellectual liberal
ment equipeducation.
generally
any
as
Whether
or
not
individual
contemplates advisory
connection architecture back the of into
building,
with
or
assuming building
open
any
responsible
let him
any
project,
its
look
upon
as
an
book,
chapters being
upon
stretching
written the efforts in
the and
past,
its and
its future
development dependent
an
present,
our
architects,
and
upon
ever-increasing
the
understanding
the
tion apprecia-
on
part
of
public. requiris
.
. .
**8i
monumentum
cirtMmspice/'
INDEX
Architrave, Abaciu, Adam, 74,
76
R. and "Art
74-76
Nouveau,"
206
21,
103,
199,
202,
Brothers, 86,
in modem of 284 286
J., 22,
178
84,
203-206,
87,
90,
140,
142,
217
Assyria,
Atrium, Atterbury,
Attributes.
"
architecture
of
of, 32-33
architecture
hotel,
summary 277 36
of, 44
Adaptability,
of of of
materials,
wood, stucco,
Grosvenor,
81, End."
83 136 111
147
rough-dressed
of 327
stone,
296
Audley
Advertisings
326
"
building
161,
products,
163,
336
Austin
Hall,
Availability, misleading,
304-306, 226,
of of
local,
293
279
Advice,"
233,
bricks, rough
322
23"-236,
63
stone,
297
Alberti,
American
Awnings,
Architecture, Colonial, Axis, 96,
97
etc., Amiens,
'"
173,
202
B Cathedral
191 189
of,
66
AndalusU,"
Bagatelle,
Baillie-Scott, 69,
Bar
Chateau
146 199 78-81 63 310-311 331
de,
82
Anglo-Pennsylvania,
Anne, 84,
Queen,
140 76
style,
so-called,
Harbor,
70,
Annulets, Apartment
the,
218-220
Bath-room,
Apse,
Arch,
42, 30,
equipment,
of, 41; 48;
use
37,
77;
Bay-trees,
Beaux
formal,
French
320
Byzantine,
44; 62; 66,
66
recessed,
Gothic
Arts,
des,
outline
Ecole
84
Nationale
pointed,
81,
82,
94-96
Renaissance,
of,
64,
of,
teachings
the, without, 227;
232-233
of, 96-98
Architect,
proceeding
detail,
influence
98-100
of, 101-107
of,
102-106 168-169
employment
selection architectural 240 selection
examples
aims
239-
of, 97-111,
of Grand 221
partnerships,
of,
for 241 242
facade
Central
R.
R.
Terminal,
public
ings, build-
Bellevue-Stratford, Bidlake,
Bids,
146
(see
272
Hotel)
etc.,
"
specialists,"
of,
et
269-261,
167
status 244
and 264
dealings
work,
246-247
with,
"
Biltmore/'
Chateau
seq.,
on
Blois, with^
de,
267
67
time
spent
rorms
Blue-prints,
Boston Public
l^gal
Architect, Architecture,
of
agreement
Library,
of, 171
169 136
160
264-267 the
courtyard
landscape,
definition 270
Bramante, 16-16;
ciation appre-
63,
of, 17-19;
''Bramhall," Brick,
understanding
of,
19; 24;
of,
Egyptian,
32-33
use
30,
44
evolution
in,
20; 24;
Assyrian, Byzantine,
German in
expressive,
structure, of
appropriate,
mass,
of, 46
use
detail,
28
28;
types
Gothic,
of,
69
building,
Romanesque,
revival,
839
112
340
INDEX
Brick,
English,
domestic
use
of" 136
289-^90
Centennial,
Philadelphia,
161 in
106
"Harvard/'
180-181, 184,
Century
Character,
in
Club, brick,
296
burnt,
materials, 292;
in
275-277
rough
stone, 254,
257
blank
mils,
Charges,
Chartres, ChAteaux,
French
246-246,
Cathedral
Blois,
Langeais,
67
67
pattern
moulded, colour,
house 293
in, 290
316-322
Renaissance,
291, of,
292
life,
51
166-167,
216
cost,
etc,
276,
281
172;
in
modem
hotel,
Chimeras,
324 324
Gothic,
60,
samples,
face, texture,
Chinese, Church,
influence
Bruges, Bryn
town
early
Mark's,
45;
Christian,
40;
Brunelleschi,
Mawr
Byzantine,
47; Norman,
64
41,
62
College,
Charles, 198,
200-202
122 of S.
Gk)thic,
68 della
Bulfinch,
177-178
Malines,
Maria
Bungalow,
Salute, 109;
St.
Burgos,
Buttress,
Cathedral
Earl
of, 67
of,
137 129
Trinity Square,
113
(Newport),
(Boston), 113;
179;
ity Trin-
BurUngton,
48,
140-141
Madison
49,
Joseph's,
Los
geles, An-
First,
Christ
Scientist,
New
113;
England
can Ameri-
lUly,
61
type,
"Gloria Cincinnati
111
179-180;
early
179-180,
187 of
"Revival,"
106-114
village,
Dei,"
Chamber
230;
Commerce,
della, 61
City house,
modem 210
208-210
developments
176, 281,
285
of,
209-
Capitals,
49;
76
Byzantine,
74;
41,
46; 76;
Gothie,
ian, Corinth-
Clap-boards,
Classic
Doric,
ideal,
105 and
origin
of, 34,
36,
73-
Baths
160
nature in
meaning
85
of, 73
The,
99,
Flemish
England,
310,
311 Gothic
103
Caryatid,
Com,
172
Collegiate College of
122
(see
Gothic)
of New
the
Cily
York,
Catalogues,
331;
etc.,
ware, hard-
woods,
333,
Georgian,
of
173-183; Dutch,
Dutch,
180-187
Cathedral, Durham,
Rheims,
typical
52; 56; 56;
plan,
etc.,
183"187
Chartres,
adaptability
Southern, 193-196,
"
Amiens,
59;
56;
190-19?;
Spanish,
108,
196
2857318
88-89,
Burgos,
St.
Toledo, 69;
59;
St.
Colonnade
Row,"
77
101;
107
PauFs,
Colosseum, Colour,
Ceilings,
138;
Tudor,
137; 142;
Elizabethan,
46
Adam,
330
flgured
plaster,
in in
Gothic,
61
326,
brickwork,
181, 290-292
INDEX
341
Colour,
in
Dutch
Colonial, 275,
186 278
Cremome
bolts,
French
319 and
materials,
278 284
Creoles,
285
Spanish,
185,
their
local,
of Columbia 113
architecture,
175,
of New
192-193,
98
wood,
University,
and
Chapel
of,
Customs
House
York,
Columns, Greek,
Roman,
lintel, 29
30,
44
Egyptian,
33-35,
44-45,
37
74-78
The,
143
64
36,
49
Byzantine,
Gothic, Doric, Ionic, Renaissance,
74
Egyptian,
44 45 46
31,
44
Assyrian,
Greek, Roman,
75
75
Corinthian,
of wood,
284
69
Gothic, Fresco,
64
*'
72
Renaissance,
66
65,
72
158,
161
Connecticut, Console,
Contractor,
"
178 103
205
99,
Decorator, 264,
136 248-260
Consultation,
Coombe
247,
259-264
Delaware, Dentils,
l74,
Ionic,
76
190
Abbey,"
325
76 of
Copinff,
Corinthian
importance
study
of,
Order,
76-77
35;
Classic, 73-106
70;
76-77
Doric,
275
Ionic,
Byzantine,
Gothic,
Romanesque
10(^-131 and
and
Corinthian, 250,
283
English,
of
early
modem,
147-156
132-
comparative,
inherent,
of in of of 279 293
materials,
281-
166 modem
English,
French,
167-166
166-169
Itolian,
172
Spanish,
157-
brick, building
rouffh
materials,
297 298
181
Italian, French,
stone,
half-timber,
Spanish,
of, 63-56
era
169-172
197
Country-house,
Gothic
origin
08,
133
of,
Elizabethan,
English History
146
136
scale,
130-131
derivation,
full-size,
type,
of
De^"radelles, English,
134-
the
Details,
exterior and
interior,
313 with
313
design
139-140
141-142 discussion 314
material, of,
Jacobean,
architect,
exterior,
166
design,
material,
exterior,
interior interior
material,
and
design,
material,
interior
plans
and
details,
325 198-200
Directoire,
Courtyards,
"
322,
Doges,
Dome,
Palace
Craftsman,"
Byzantine,
INDEX
343
German
Gk)thic,
Classic
58,^50,
02-93 138
72
Hardware,
331
"
320,
139
330-
revival,
Gibbons, Gibbs,
"
Grinling,
86,
Dei 161 140
''
Hardwick
Harvard, Church,
187
Gloria
Gorham, Gothic,
38;
origins
and
of, 43
outline
analysis
71
of, 47H}2,
"
brickwork,
Hatfield
289-290 136
House,"
332 136
English,
Norman,
"
62-66,
62;
71
Heating,
62 62
''decorated," (Scholastic),
121-122 61
"Holdenby,"
Holland,
Perpendicular,"
66,
"Collegiate"
61, 114, French, crockets, 66-68,
67
66,
city architecture,
Hotel,
modern
American,
214
Waldorf,
theatrical
"
Flamboyant, Belgian,
German, Italian, Italian, compared
Victorian 143
66, 67 68,
72
qualities
rooms,"
217 216
of, 214,
210
216
special
Flemish, 68-69,
60-62
61
,
Bebevue-Stratford,
Ritz-Carlton, Vanderbilt"
217
secular,
with
61,
62 23
183
Classic, 90,
revival,
91
"carpenters,"
"military,"
nature
114,
114-116
122-124
Hall,"
Roman
44
use
179
of, 37
the
of,
Institute
Architects,
242
can, Ameri241
symbolism
"commercial,"
in, country
334 336 des
competitions, charges,
268
iniormation,
English
Grain,
of
house,
minimum
wood,
owner-architect
agreement,
264-267
cial offi-
imitation,
Grand Palais
103
form,
Champs-Elys^es,
owner
contractor
agreement^
261
102,
Grant's
official
106
Tomb,
of
Instructions, of,
33-36
246,
76
260-261
Greece,
46
architecture
90
summary
architecture
Order,
317
76,
Groin,
60-61, 102;
43
Grotesque,
Byzantine,
72;
103 325 modem 129
41;
J
69,
136-141
Woolworth,
Japanese
Jardinieres,
influence,
323
196,
206
Guilloche, Gutters,
320
modernist, Jefferson,
H
Jones,
138 66
Inigo,
Hacienda,
"
170
Haddon
Hall," Gothic,
278,
134,
Half-timber,
French
Medisval, 137-138,
301 300
Kamak, Kauffmann,
197,
30,
134
94
67, 61 209,
Angelica,
86,
140
86
Elizabethan,
276,
cost
"Keep,"
Kent, Kitchen,
Knickerbocker
William,
equipment
Trust 136
of, 331-332
imitation,
"
298-299
Building,
161
Hall,"
"Knole,"
344
INDEX
Masque,
Material,
"
81,
275
102 in choice
restrictions
of,
La
Granffe
Terraoe," of, 67
87
88-89,
196
274,
properties
colour,
of, physical
275-278
and
thetic, ba-
Laundry,
Leaders,
equipment
321,
267
of, 331-332
325
275,
278,
279 231
local
suitability,
231
322,
for
331
field-stone, door,
320
Lighting,
front
properties
character
H.
durability,
panelling,
33, 35,
226
29,
44,
Medici,
the,
and
64
Local
conditions,"
235,
Meigs,
147
Location,
Loft
Buildings, 208, 212-213 159, 161, 170, 171, Loggia, 183 Island, Long
Loms in Louis in Louis
185
98
113,
211
West,
Cathedral Gothic doors
XIV,
modem
79
Milan,
214
of, 61
(see (see
hotel,
79
Military
Mirror
Gothic) 230-231,
287
XV,
modem
Doors) 200,
hotel,
formal outline
214
XVI,
of in in
details,
modem modem
272-273 321 76
style, 81,
city 175, the,
146 monument 79 192
82,
Ionic,
house,
214
Corinthian,
76,
183
77
hotel,
Valley,
18,
Louisiana, Louvre,
Mouse,"
191 134
136
Monticello,"
Public
Lut^ens,
''Moreton
Hall," William,
Lysicrates,
of, replica, 89
Morgan
Morris, Mosaic,
Library,
144, 41,
45 45
158
199,
200,
205
Mc
Byzantine,
Greek, 112,
139 139
Mclntyre,
McKim, McKim, 159,
Samuel,
Charles
Mead and 292
177, Follen,
178,
160
185
Moulding,
Mullion,
168,
White,
111,
Muntin,
196,
Napoleon,
Nave,
Madison 42,
83 47 82 82
Square
178,
frame brick 198 280
Church,
113
Neo-CIassic, Neo-Grec,
New
Maine,
of of of of
Maintenance,
England,
229-230
Georaian,
86;
suitable
native
house, house,
stucco
286 293
types, 175-183;
298 301 New New
style,
rough
house, house,
field-stone,
half-timber
Jersey,
Orleans,
174,
of, 58
83
185,
Manor,
Mansard
34
Newport, Trinity
92 New New Notre York York Dame
197;
179 174
Casino,
198;
roof,
J.
80,
Mansart,
H.,
328
79, 80
103
Library,
Paris, cathedral,
98
Cathedral
56
of,
grotesque,
51;
INDEX
345
Plans,
"Ochre Office
"
reminders,"
rooms
310
Court,"
167
"special"
val, revi-
(period,
164
etc.)"
buildings,
113 Gothic
Romanesque,
311, Piatt,
327
Charles,
322
A.,
derivations,
211-212 the
124-120, 35;
man, Ro-
Plumbing
Pools, Porch,
fixtures, 184,
185
234,
331
208, Orders,
74-78
Classic, 3^37;
three, 77;
74,
Greek,
45,
Oxford,
122
85,
Postroffice
Pacific
City),
98
Coasts
324
193-195,
335
Princeton
198,
200 School
University,
Beaux-Arts, La,
57
Graduate
Paint,
plaster-painty
Palladian, Palladio,
Pan-American
86
Projei,
"
95,
272
Psalette,"
63,
141,
Union
159
Building,
137-138
171
Panelling,
Patio,
-
330
tiles, 317
176
"linen-fold,"
origin
170,
171
of,
36;
Spanish, Building,
of
Pan-American
172;
Creole,
193
terminals, 160,
208,
Pennsylvania,
221,
220-222 220-221
220,
Grand
100
Central,
Pennsylvania, Percentages,
Percier,
83 320
174,
/257-258
187-190
136
155,
38
156,
242-
Renaissance,
35,
5(1*
37,
Pergola,
Persian,
207
English,
on
influence
Modernists,
dates,
39
*
Florentine, 63,
of 159 179 ''La
Milanese,
Venetian,
Roman,
39 39
PhiladelphU,
Renaissance,
"High,"
Psalette," 72;
176 111 summary,
otti
57;
"Late,"
39 55,
and
65-66, 138,
furniture
Court of
Roman,
English,
outline
68-70,
136,
137
Jacobean,
analysis,
72
62-71
House,
plan,
origin
French,
and
nature,
63
62-63
expression, consideration,
305-313
preliminary
23^237
67
drawing
kinds
summary
of, 72
67
Flemish,
summary
of, 306 development to relationship style, 306 307 needs, practical 307 special requirements, 307 large, small, 309,
307 to
of, 72
67
German,
summary
of,
67
72
Spanish,
aummary
of,
72
Italian, furniture,
summary
with
of,
72
7S
relationship
328
308^*
comparison flexibUity
Classic,
of, 157
346
INDEX
Renaisflance,
208 in Revett
for
modem
city house,
218
Samples,
of
of
stucco,
324
paints, stains^
24
varnishes, 100,
101
334
modern
hotel,
Stuart)
Scale,
00
(and
in in in
/87,
35,
meaning
78
in in Woolworth tall
of, 25,
Revival,
34,
78-84
84-85
60,
Building,
128-120 212
building
drawings,
design,
265-267 100-110
86, 88-00
in
decline in
England,
02-04
Screens,
322
Germany,
Sculpture,
70-82,
105 modem
architectural,
French,
100
Roman,
45
under
XVI,
140-141 106-114
Georgian,
Romanesoue,
nature
Secessionist, 202,
111 205-207
American,
254
108,
100,
6i, Romanesque,
Cathedral
Services,
Sever
architect's, 111,
112
Rheims,
Rhode
Hall,
Island,
H.
Sewage
158 161
Richardson,
Robinson Rockfaced
104-114,
Sgraffito,
Shaw,
65,
72,
158,
177
(masonry)
103 216
Norman,
Rococo,
in Roman
Shingles,
stain,
275-281,
325
hotel, Rome)
(see
Shutters,
etc., 38of, 46 Site, Solarium,
315,
318
Romanesque,
44 summary influence
architecture,
of
on
227-228,
210,
100
230,
311
236,
253
architecture
Spandril,
Stain,
324,
Gothic
in
Italy, 61
Specifications,
Staircase,
details
233,
334
240,
261-265
revival,
325,
characteristics, Richardsonian,
nature
138
of
revival,
in modem
Staten
Island,
expression
113
church,
Stevenson
Wheeler,
147
Stone,
city house,
country
Rome, architecture
summary
rough-dressed, early
275,
281,
204-
house,
of
of, 36-38
architecture
Stonelnasonry,
of, 45
107 Stuart
Pennsylvanian,
87, 170,
00 172
188, Stucco,
on
204-208
Roofs,
tile, 67,
176 183
160,
104,
(and
Revett),
44,
gambrel,
Dutch, Mansard,
Egyptian,
hollow
281,
285,
80,
176
on
02
287,
323
shingle,
chAteau,
details
samples
modern
hotel,
323 57
216
227,
230-231,
236
of
material,
de 188
263-264
Rouen,
Palais
Justice,
SuiUbility,
of of of frame
local, 278,
278
286
"Roughcast,"
Ruskin, John, Rustication,
stylistic,
108,
104 106
construction,
203
285
brick,
rough-dressed
half-timber,
317 301
stone,
206
of Sun
dial, parlor
Sainte Salem
Chapelle
(Mass.),
240-250 brick and
Church,
56
Sun
(see
doorways
brickwork,
of,
86, 87
Supervision,
256, 258, 227,
by
250 255
Samples,
of
324
Survey,
INDEX
347
Symmetry,
"
96,
Old
97
Trusses,
Dei
137
Swedes,"
187
(Gloria
Church),
Tudor,
arch,
the,
house,
53,
54,
56,
137 134,
137
country
68,
Swedish,
St.
St Ste. 40
early
colonists,
113 122
187
collegiate
61
architecture,
55,
56,
Joseph's
Louis Maria
Church,
University,
collegiate
Church
derivation,
136 321
122
della Salute,
Church
of,
ceilings,
Tuscan,
leader-heads, Mark's,
Paul's
St.
St. St.
of, 40,
09
107
Order,
36,
77
CatSiedral,
Peter's, Basilica
of, 64
U United
States
SI
Sophia,
Mosque
of,
107
Realty
161
Building,
191
126
aub,
of
Virginia,
Greats
136, 299
Tapestries, Technology,
of,
102
Vanderbilt
(see
Temples,
Egyptian,
44'
30
29,
30,
44
Vault,
vaulting,
46
Assyrian,
rock-cut, Greek, Roman,
rib, Beni-Hassan,
31
42-43 42 43 48
Proto-Doric,
35,
36
barrel,
"gjroin,"
Gothic,
37, 40
85
garden,
Terraces, Terracotta,
English
312, 322,
316 320 127-128 325
Gothic,
53,
72
52 62
228,
fan-vaulting,
Renaissance,
112,
128,
etc.,
jardinieres,
Woolworth
Veranda,
201 54
Building,
277, 278,
effects
136
Verge-boards,
Versailles,
Victorian
Gothic 146
Texture, Thatch,
"
275,
296
79, Era,
167,
84,
168 90
shingle
HalV
161
Thorpe
revival,
90-91,
114,
143,
Tiffany,
Tile,
Assyrian, Byzantine,
Roofs, hollow, 67,
172,
33,
45
44
Vignola,
Villa, 194,
323 286-288
74,
77 29
Pompeian,
37
169,
Roman,
215,
327
281,
Italian,
22,
161-166,
172,
221,
flooring, 317,
structural and 317
^87
317 190 Virginia, University
decorative,
of,
126
"quarry,"
Times
use Spanish Building,
of,
191
317
Vitruvius, Volutes,
15
spiral, 75
145
Toledo,
Cathedral 47
of, 59
Voysey,
Transept,
TreiUage, Trianons,
311, The,
322, 82, 83
323
W Wainscot,
137 The
126
Waldorf,
109 179 147
(see
325 227 317
Hotel)
Trini^
Trinity Trowbridge
Church
(Boston),
Walks,
Water
322,
Church and
(Newport),
Ackerman,
supply,
Weather-vanes,
348
INDEX
Welah,
West,
207 Westminster
early
Middle
colonists,
197,
188
Windows,
dormer.
bay,
.159
136
137,
138
(Chicago),
198-199,
"Wollaton,''
Abb^,
190 53
Woods,
for
building,
interior
283, trim,
285 333
"Westover,"
West
Point
Military
136
Academy,
Woolworth
Building,
126,
211
detailed
sis, analy-
Stanford,
190
168,
180,
197
Working
World's
drawings
Fair Sir 140 Frank of
(see 1893,
196
Brawingv)
Mary,
casement,
69,
140
Wren,
150330 137
Christopher,
179
69"
185,
136-
175,
137
Wright, "Wynnestay,"
Lloyd,
188
199,
207