The Brochure Series Of Architectural Illustration, Vol 1, No. 2. February 1895. | Page 4

meet, make even the simple matter of selecting proper material for publication a difficult task. Consequently suggestions or criticisms which may lead to its improvement in any particular will be welcome.
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The design used for the cover of THE BROCHURE SERIES is the result of a competition in which twenty-three drawings were submitted, and is the work of Charles Edward Hooper of 250 West 14th Street, New York. The other competitors, whose designs were all of a high order of excellence, were: J. Mills Platt, Charles S. King, Francis S. Swales, Edwin S. Gordon, Fred A. Miller, J.F. Strobel, Jr., George E. Roberts, of Rochester, N.Y.; G.H. Ingraham, E.P. Dana, F.H. Hutchins, C.E. Patch, of Boston; J.W. Cinder, W.B. Papin, H.G. Helmerichs, of St. Louis; Louis E. La Baume, H.H. Braun, of New York City; and Stephen W. Dodge, of Brooklyn.
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Following out the general plan adopted in the first two issues, which, contrary to the expectation of the publishers, has proved even so soon an important feature of the magazine, the illustrations in the next two numbers will be made up of related subjects. The March number will have a collection of capitals (Byzantine and Romanesque) from Ravenna and Palermo, and the April number eight windows from Apulia, of the same general character as the doorways in the present number.

#Hints to Draughtsmen.#
Architectural students and draughtsmen will find the series of papers begun in the Feb. 16 number of the _American Architect_, entitled "Hints to Art Students on Travelling Abroad," filled with valuable suggestions. The writer of these papers is Mr. J.W. Case, the latest of the Rotch scholars returned. In the first paper Mr. Case points out the desirability of preparatory training in academic design, drawing, modelling, etc., and a knowledge of architectural history and of the French language in order that the student may make the best use of the opportunities open to him. He continues with a number of useful hints upon the best methods to pursue in gaining this preparatory training.
[Illustration: XIII. The Principal Doorway to the Basilica at Altamura, Italy.]
The second paper is devoted to practical suggestions of such immediate value that it is worth while to quote a portion of them in full:--
"To get the most good out of a trip, one should be prepared to work in all sorts of ways,--to make measured drawings, sketches, color notes, squeezes, rubbings, sections with the lead; to study from plates and make T-square sketches, scratch-book notes, photographic notes, and memory sketches.
"Travelling students are apt to place too much value on perspective sketches. Good ones make a nice showing on returning home, but they are of little value to any one but the maker. It is usually possible to find photographs of the things over which one spends so many hours making pretty sketches. But sketches do have a certain value in teaching rendering, and encourage the habit of observing closely the effect of light and shade.
"Beautiful pencil sketches may be made on English metallic paper by simply drawing the shadows on carving in full sunshine: colored papers are very useful to gain quick effects with the use of Chinese white. A pad of Whatman water-color paper, imperial size, is much better to work on than a small cramped little book; and it may be used as a drawing-board, thus diminishing the number of articles to carry. The T-square will run along the edge of the block well enough for sketches, but it is better to carry a straight-edge to clamp on the edge of the block with thumb-screws for the square to work on. Have a canvas bag made with a flap in which to carry the block. It will keep out the dirt and dust of travel and be of great service.
"Sometimes valuable color notes are to be had in crowded buildings where it is not convenient to sit down and make a large study. For such cases a small pocket water-color block will be very useful. There is a small vest-pocket water-color box carrying six colors, which may be set over the thumb, a water-bottle attached, and with it one can stand unobserved in a corner and get color notes which otherwise must be passed by. In studying fresco painting, tempera is very useful. It is mixed up with water and applied to paper, but may be worked over in the manner of oils,--a great advantage in making studies.
"The _chambre éclaire_ is invaluable as an aid to drawing, in blocking out water-colors. It will enable one to make a drawing in an hour which otherwise would require all day. It is an instrument little known outside of Paris, but is much in use there among architects. It consists of a prism mounted on a telescoping leg which may