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

best only
indifferent architects."
The examples of doorways chosen for illustrating this number
unquestionably show the work of men who labored for the enjoyment
and satisfaction to be got from their work. This is sufficiently evident
in the results before us. Its logical and constructive bearing can of
course be called in question, as in fact is the case with all but the merest
fraction of the architectural efforts of the world. As decoration we can
but admire the masterly way in which the ornament is distributed, the
refined sense of scale and proportion, and the skilful and subtle
treatment of light and shade, even if the detail of the ornament itself is

crude and archaic.
In making the choice of these subjects this point was kept in mind, and
they are not offered as material which can be cut out in portions of the
size and shape desired and transferred bodily by the designer to
embellish a modern masterpiece, in the manner in which the Gothic
architects of Venice used their patterns of window tracery. These plates
show certain qualities in decorative design in their fullest and best
development, and are on this account invaluable as suggestions to
designers of the present day. For "cribbing material" they do not stand
for much; but this should not be counted as against their usefulness, for
the draughtsman who has not advanced beyond the "cribbing" stage has
much still to learn before he can do the best and most satisfactory work.
IX. and X.
PRINCIPAL DOORWAY TO THE CATHEDRAL AT TRANI,
ITALY.
The cathedral at Trani dates from about the middle of the twelfth
century. Its main features have been indicated above in describing the
general characteristics of the class of churches to which it belongs. The
bronze doors shown in the illustration were made in 1160, and are
exceptionally fine examples of the work of this period.
XI.
PRINCIPAL DOORWAY TO THE CATHEDRAL AT
CONVERSANO, ITALY.
Doorways of this general design are so familiar in the so-called
Romanesque architecture of our American cities that it seems almost
like an old friend; but we regret to say that most of our American
designs would hardly show to advantage if compared side by side with
this.
XII.
PORTION OF THE FACADE OF THE BASILICA AT ALTAMURA,
ITALY.
The remarkable sense of spotting and distribution of ornament shown
in the designing of this facade can hardly be too much commended.
The strong light and long slanting shadows of the photograph are well
calculated to emphasize this quality in the design, and we can readily
find justification here for the estimate of Fergusson quoted above.
XIII. and XIV.

PRINCIPAL DOORWAY TO THE BASILICA AT ALTAMURA,
ITALY, AND DETAIL OF THE SAME.
XV.
DOOR OF MADONNA DI LORETO, TRANI, ITALY.
XVI.
ENTRANCE TO THE CHURCH OF THE ROSARY, TERLIZZI,
ITALY.
[Illustration: XI. The Principal Doorway to the Cathedral at
Conversano, Italy.]

#Advice to Young Architects.#
Prof. Aitchison's Royal Academy Lectures upon Architecture should be
read by all students who can obtain access to them, and this is not
really very difficult to accomplish, as they are always reported at length
in the English architectural periodicals, and then usually reprinted
without credit by one or more of the American papers. The latest one,
reported in the Builder of Feb. 16, is that delivered on Feb. 4, under the
general title "The Advancement of Architecture." It deals in a
common-sense fashion with the aesthetics of architecture, and contains
many valuable suggestions upon the study and practice of architecture
as an art. The three following quotations are well worth attentive
reading:--
"Swift, in his 'Letters to a Young Clergyman,' says: 'I cannot forbear
warning you in the most earnest manner against endeavoring at wit in
your sermons, because, by the strictest computation, it is very near a
million to one that you have none.' Perhaps that would be good advice
to all who consciously seek for what is called originality, which is
mostly attained by exaggeration, disproportion, and oddness of
arrangement; real originality only comes from original minds, and will
in that case show itself properly and naturally, just as wit shows itself
spontaneously in the witty; for surely those original architects, who
have only been able to raise in us emotions of contempt or disgust,
would have been judicious had they abstained from the attempt. I think
that most architectural students, if they will only study the best
buildings, will make their plans to accurately answer the purposes
wanted, including the efficient lighting of the rooms, will study the
Vitruvian symmetry until their eye revolts from disproportion, will try

and make their profiles tell the story they want told, and will try and
bring such parts that, from the exigencies of the case, obtrude
themselves in odd places into harmony