,,the ,,brochure ,,series ,,of ,,architectural ,,illustration #ahie ,,volume ,i ,,boston ,,bates ,,guild ,,publishers ,index to ,volume ,i4 #ahie4 ,,list ,,of ,,plates4 ,venetian ,palaces4 i4 ,southwest ,angle of the ,ducal ,palace4 ii4 ,palazzo ,contarini ,fasan4 iii4 ,palazzo ,cavalli4 iv4 ,window ,tracery in the ,palazzo ,cavalli4 v4 ,window ,tracery in the ,palazzo ,cicogna4 vi4 ,portion of the ,faade of the ,ca ,d',oro4 vii4 ,portion of the ,faade of the ,ca ,d',oro4 viii4 ,palazzo ,pisani4 ,byzantine-,romanesque ,doorways1 ,apulia4 ix4 ,principal ,doorway to ,cathedral1 ,trani4 x4 ,principal ,doorway to ,cathedral1 ,trani4 xi4 ,principal ,doorway to ,cathedral1 ,conversano4 xii4 ,portion of ,faade1 ,basilica at ,altamura4 xiii4 ,principal ,doorway1 ,basilica at ,altamura4 xiv4 ,detail of ,doorway1 ,basilica at ,altamura4 xv4 ,doorway of ,madonna di ,loreto1 ,trani4 xvi4 ,entrance to ,church of the ,rosary1 ,terlizzi4 ,cloister at ,monreale1 ,sicily4 xvii4 ,double ,capital4 xviii4 ,double ,capital4 xix4 ,double ,capital4 xx4 ,one ,side of ,cloister4 ,byzantine ,capitals from ,ravenna4 xxi4 ,capital from the ,apse of ,s4 ,vitale4 xxii4 ,capital from ,s4 ,vitale4 xxiii4 ,capital from ,s4 ,vitale4 xxiv4 ,capital in the ,museum of the ,academy4 ,byzantine-,romanesque ,windows1 ,apulia4 xxv4 ,window in ,s4 ,teresia1 ,trani4 xxvi4 ,window in ,s4 ,teresia1 ,trani4 xxvii4 ,window in the ,basilica1 ,altamura4 xxviii4 ,windows in ,s4 ,gregorio1 ,bari4 xxvix4 ,triforiurn ,window in ,s4 ,gregorio1 ,ban4 xxx4 ,window in ,apse of the ,cathedral1 ,bari4 xxxi4 ,window in ,bittonto4 xxxii4 ,window in ,apse of the ,cathedral1 ,bittonto4 ,two ,florentine ,pavements4 xxxiii4 ,portion of ,pavement in the ,baptistery4 xxxiv4 ,portion of ,pavement in the ,baptistery4 xxxv4 ,portion of ,pavement in the ,baptistery4 xxxvi4 ,portion of ,pavement in the ,baptistery4 xxxvii4 ,portion of ,pavement in the ,baptistery4 xxxviii4 ,portion of ,pavement in ,s4 ,miniato al ,monte4 xxxix4 ,portion of ,pavement in ,s4 ,miniato al ,monte4 xl4 ,portion of ,pavement in ,s4 ,miniato al ,monte4 ,renaissance ,panels from ,perugia4 xli4 ,panel from ,choir ,stalls1 ,s4 ,pietro4 xlii4 ,panel from ,choir ,stalls1 ,s4 ,pietro4 xliii4 ,panel from ,choir ,stalls1 ,s4 ,pietro4 xliv4 ,panel from ,choir ,stalls1 ,s4 ,pietro4 xlv4 ,panel ,from ,choir ,stalls1 ,s4 ,pietro4 xlvi4 ,panel from ,choir ,stalls1 ,s4 ,pietro4 xlvii4 ,panel from ,choir ,stalls1 ,s4 ,pietro4 xiviii4 ,panel from the ,chamber of ,commerce4 ,italian ,wrought ,iron4 xlix4 ,lantern on ,palazzo ,strozzi1 ,florence4 ,italian ,wrought ,iron4 l4 ,lantern on ,palazzo ,guadagni1 ,florence4 li4 ,lantern on ,palazzo ,brocella1 ,lucca4 lii4 ,lantern on ,palazzo ,baroni nel ,fillungo1 ,lucca4 liii4 ,torch-,bearer from ,siena4 liv4 ,torch-,bearer from ,siena4 liv4 ,torch-,bearer from ,siena4 lvi4 ,torch-,bearer from ,siena4 ,fragments of ,greek ,detail4 lvii4 ,capital from the ,parthenon1 ,athens4 lviii4 ,capital from the ,erechtheion1 ,athens4 lix4 ,base from the ,erechtheion1 ,athens1 lx4 ,cap of ,anta from the ,erechtheion1 ,athens4 lxi4 ,fragment found on the ,acropolis1 ,athens4 lxii4 ,capital from the ,propylam1 ,athens4 lxiii4 ,cyma from the ,tholos1 ,epidauros4 lxiv4 ,capital from the ,tholos1 ,epidauros4 ,pulpits of ,southern ,italy4 lxv4 ,ambo in the ,capella ,palatina1 ,palermo4 lxvi4 ,ambo in the ,cathedral1 ,salerno4 lxvii4 ,pulpit in the ,cathedral1 ,salerno4 lxviii4 ,pulpit in the ,cathedral1 ,ravello4 lxix4 ,ambo in the ,cathedral1 ,ravello4 lxx4 ,pulpit in ,s4 ,giovanni1 ,ravello4 lxxi4 ,ambo in ,s4 ,lorenzo ,fuori le ,mura1 ,rome4 lxxii4 ,pulpit in the ,cathedral1 ,messina4 ,french ,farmhouses1 ,normandy4 lxxiii4 ,ferme de ,turpe4 lxxiv4 ,ferme de ,turpe4 lxxv4 ,ferme de ,turpe4 lxxvi4 ,ferme de ,turpe4 lxxvii4 ,manoir d' ,ango4 lxxviii4 ,manoir d' ,ango4 lxxix4 ,manoir d' ,ango4 lxxx4 ,manoir d' ,ango4 ,country ,houses of ,normandy4 lxxxi4 ,ferme la ,vallauine4 lxxxii4 ,manoir al ,archelles4 lxxxiii4 ,manoir at ,archelles4 lxxxiv4 ,porch of ,church at ,beuvreil4 lxxxv4 ,manoir de ,vitanval1 ,ste4 ,andresse4 lxxxvi4 ,manoir d' ,ango4 lxxxvii4 ,manoir d' ,ango4 lxxxix4 ,manoir d' ,ango4 ,english ,country ,houses4 lxxxix4 ,old ,houses1 ,hanover4 xc4 ,middle ,house1 ,mayfield1 ,sussex xci4 ,old ,hall1 ,worsley4 xcii4 ,speke ,hall4 xciii4 ,speke ,hall4 xciv4 ,smithells4 xcv4 ,saintesbury ,hall4 xcvi4 ,old ,manor ,house1 ,lythe ,hill4 xcvii4 ,old ,manor ,house1 ,lythe ,hill4 xcviii4 ,old ,manor ,house1 ,lythe ,hill4 xcix4 ,old ,farm ,house1 ,lythe ,hill4 c4 ,gate ,house1 ,stokesay ,castle4 ,,index ,,of ,,subjects4 ,advice to ,young ,architects ,aitchison1 ,prof41 ,advice to ,young ,architects ,altamura1 ,basilica at1 ,ango1 ,manoir d' ,apulia1 ,doorways from ,windows from ,architectural ,education ,architectural ,schools ,columbia ,college ,harvard ,university ,mass4 ,inst4 of ,technology ,ateliers in ,new ,york ,city ,athens1 ,erechtheion1 ,cap and ,base from ,parthenon1 ,cap from ,propyla ,bari1 ,cathedral of1 ,window in ,s4 ,gregorio1 ,window in ,beaux-,arts ,architects1 ,society of ,bittonto1 ,cathedral1 ,window in ,window in ,boston ,public ,library1 ,decoration of ,building ,exhibit ,byzantine-,romanesque ,doorways ,byzantine-,romanesque ,windows ,capitals1 ,monreale ,ravenna ,case1 ,john ,w41 ,hints to ,draughtsmen ,catalogues of ,exhibitions ,clark ,medal ,competition ,cleveland ,architectural ,club ,cloister of ,monreale ,club ,notes ,architectural ,club of ,lehigh ,university ,architectural ,club of ,san ,francisco ,architectural ,league of ,new ,york ,art ,league1 ,milwaukee ,baltimore ,architectural ,club ,boston ,architectural ,club ,buffalo ,chapter ,a4,i4,a4 ,chicago ,architectural ,club ,cincinnati ,architectural ,club ,cleveland ,architectural ,sketch ,club ,denver ,architectural ,sketch ,club ,detroit ,architectural ,sketch ,club ,p4,d4's ,rochester ,sketch ,club ,sketch ,club of ,new ,york ,society of ,beaux-,arts ,architects ,st4 ,louis ,architectural ,club ,st4 ,paul ,architectural ,sketch ,club ,t ,square ,club1 ,philadelphia ,columbia ,college ,competition for ,advertising ,design ,competitions1 ,awards in ,competitions1 ,brochure ,series ,no4 #a1 ,no4 #b1 ,no4 #c1 ,conversano1 ,doorway of ,cathedral ,cosmaiti ,work ,country ,houses of ,normandy ,country ,houses1 ,english ,doorways1 ,byzantine-,romanesque ,ecole des ,beaux-,arts1 diplomas ,england4 ,hanover1 ,old ,houses ,lythe ,hill ,mayfield1 ,sussex1 ,middle ,house ,saintesbury ,hall ,smithells ,speke ,hall ,stokesay ,castle ,worsley1 ,old ,hall ,english ,country ,houses ,epidauros1 ,tholos1 ,cap and ,fragment from ,farmhouses1 ,french ,florence1 ,baptistery1 ,pavement from ,palazzo ,guadagni1 ,lantern from ,s4 ,miniato1 ,pavement from ,strozzi ,palace1 ,lantern from ,florentine ,pavements ,gothic ,palaces of ,venice ,greek ,detail1 ,fragments of ,harvard ,university ,hints to ,draughtsmen ,italian ,wrought ,iron ,lanterns1 ,wrought ,iron ,lucca1 ,palazzo ,brocella1 ,lantern from ,baroni ,mass4 ,institute of ,technology ,messina1 ,cathedral1 ,pulpit ,monreale1 ,the ,cloister of ,mosaic ,floors1 ,modern ,mosaic ,work ,normandy1 ,ferme de ,turpe ,ferme la ,vallanine ,manoir at ,archelles ,manoir d' ,ango ,manoir de ,vitanval ,porch of ,church at ,beuvreil ,pavements1 ,two ,florentine ,palermo1 ,capella ,palatina1 ,pulpit in ,p4,d4's ,the ,perugia1 ,chamber of ,commerce1 ,panel from ,renaissance ,panels from ,s4 ,pietro1 ,panels from ,personals ,piano ,case1 ,competition for ,pulpits of ,southern ,italy ,ravello1 ,cathedral1 ,pulpit and ,ambo in ,s4 ,giovanni1 ,pulpit in ,ravenna ,museum of ,acad4 ,bel4 ,arti1 ,cap from ,s4 ,vitale1 ,caps from ,ravenna ,capitals ,reproduction of ,architect's ,drawings ,roman ,scholarship ,rome1 ,american ,school of ,architecture at ,rome1 ,s4 ,lorenzo ,fuori1 ,ambo in ,rotch1 ,arthur1 ,bequest of ,rotch ,scholars1 ,c4,h4 ,blackall ,rotch ,travelling ,scholarship ,salerno1 ,cathedral1 ,ambo and ,pulpit in ,siena1 ,wrought ,iron ,torch ,bearers from ,terlizzi1 ,entrance to ,church of the ,rosary ,torch ,bearers1 ,wrought ,iron ,trade ,notes ,trani1 ,doorway of ,cathedral ,madonna di ,loreto ,turpe1 ,ferme de ,venetian ,palaces ,venice ,ca ,d'oro ,ducal ,palace ,palazzo ,cavalli ,window-tracery in ,palazzo ,cicogna1 ,window-tracery in ,palazzo ,contarini ,fasan ,palazzo ,pisani ,windows1 ,byzantine-,romanesque ,wood ,floors ,wrought ,iron1 ,italian ,illustration3 ,i4 ,the ,southwest ,angle of the ,ducal ,palace1 ,venice4 ,,the ,,brochure ,,series ,,of ,,architectural ,,illustration4 ,,vol4 ,i4 ,,january1 #ahie4 ,no4 ,i4 ,,the ,,gothic ,,palaces ,,of ,,venice4 ,the location of ,venice upon a group of islands1 sufficiently removed from the mainland to make it impossible to effectually attack it from this side1 and naturally defended on the side towards the sea by a long chain of low islands1 separated by shallow inlets and winding channels1 making it difficult to approach1 has rendered the city peculiarly free from the disturbing influences which were constantly at work in the neighboring cities of ,italy during the ,middle ,ages4 ,while her neighbors were building strong encircling walls1 each individual house a fortress in itself1 ,venice rested secure in her natural defences and built her palaces open down to the water's edge1 with no attempt at fortification4 ,her hardy and adventurous inhabitants rapidly extended their trade to all quarters of the world and accumulated vast wealth1 which was freely lavished on public and private buildings4 ,the magnificence of the former was only equalled in the days of ancient ,rome1 and it is doubtful if the latter have ever been surpassed in sumptuousness and splendor4 ,the palaces of ,venice form an architectural group of great interest1 in many respects quite distinct from the contemporary buildings on the mainland4 ,they were carefully planned to satisfy the demands for comfort and convenience as well as display4 ,most of them have the same arrangement of plan1 and were commonly built of two lofty and two low stories4 ,on the ground floor1 or water level1 is a hall running back from the gate to a bit of garden at the other side of the palace1 and on either side of this hall1 which was hung with the family trophies of the chase and war1 are the porter's lodge and gondoliers' rooms4 ,on the first and second stories are the family apartments1 opening on either side from great halls1 of the same extent as that below1 but with loftier roofs1 of heavy rafters gilded or painted4 ,the fourth floor is of the same arrangement1 but has a lower roof1 and was devoted to the better class of servants4 ,of the two stories used by the family1 the third is the loftier and airier1 and was occupied in summer2 the second was the winter apartment4 ,on either hand the rooms open in suites4 ,the courtyard at the rear usually had a well in its centre with an ornamental curb2 and access to the upper floors of the house was gained by an exterior staircase in the court1 which was often elaborately enriched with carved ornament4 ,the materials used in construction are mostly red and white marbles1 used with a fine color sense1 and the desire for abundance of color was frequently further gratified by painting the exterior walls with elaborate pictorial decorations4 ,illustration3 ,,ii4 ,the ,palazzo ,contarini ,fasan1 ,venice4 ,the earliest palaces are ,byzantine1 but with the growth of the ,gothic movement these were gradually superseded1 although the ,gothic influence worked more slowly here than on the mainland4 ,the richest and most elaborate work was built at this period4 ,finally the ,renaissance took the place of ,gothic2 and the later palaces1 built in this style1 show strongly the debased condition into which the art of ,venice fell in the ,dark ,ages4 ,we have selected for the illustrations of this number of the ,,brochure ,,series some of the most widely known examples of the fifteenth-century ,gothic palaces1 built at the time when ,venice was at the zenith of prosperity as the principal commercial power of the world4 ,i4 ,,southwest ,,angle ,,of ,,the ,,ducal ,,palace1 ,,venice4 ,although the ,ducal ,palace is much larger than the other palaces of ,venice1 and intended for general civic uses as well as a residence for the ,duke or ,doge1 it follows closely the type already described4 ,it has undergone so many changes since its first foundation in about the year #hjj 7#hac according to ,ruskin71 having been destroyed five times1 and as often re-erected in grander style1 besides having been added to and the dilapidated portions restored1 that it is impossible to assign a comprehensive date to cover the building of the present structure4 ,in fact1 the earliest portion was gradually added to1 carrying it further and further around the quadrangle until it reached the point of beginning1 when this process was repeated1 partially replacing the older ,byzantine work with ,gothic and then with ,renaissance1 the present building still having examples of all three styles4 ,the portion shown in our illustration is said to have been erected between the years #adbd and #addb1 by ,giovanni ,buon and his sons ,pantaleone and ,bartolommeo ,buon the elder2 although ,mr4 ,ruskin states that in #adbc the ,grand ,council sat in the ,great ,council ,chamber for the first time1 and in that year the ,gothic ,ducal ,palace of ,venice was completed4 ,this angle1 which faces the ,piazetta and the ,riva1 is called by ,mr4 ,ruskin the ,fig-,tree ,angle1 because of the group of sculpture representing the fall of man4 ,the figure above the angle capital of the upper arcade is that of ,gabriel4 ,the richly decorated capitals of the lower arcade represent personifications of the ,virtues and ,vices1 the favorite subjects of decorative art1 at this period1 in all the cities of ,italy4 ,the capitals of the upper arcade1 no two of which are alike1 are also richly wrought with figure sculpture1 the one on the angle containing representations of the four winds4 ,the arrangement of the tracery above the upper arcade is worthy of note as the placing of the quatrefoils between the arches1 which is characteristic of earlier examples1 is more reasonable1 from a constructive point of view1 than the later practice of placing them above the centres of the arches4 ,the use of the rope moulding as a decorative finish for the angle of a building is also characteristic of the palace architecture of ,venice1 and may here be seen most effectively applied4 ,,ii4 ,,the ,,palazzo ,,contarini ,,fasan1 ,,venice4 ,this is one of the most notable examples of domestic ,gothic architecture in ,venice1 and dates from the fifteenth century4 ,ruskin refers to it as follows3 ,in one respect1 however1 it deserves to be regarded with attention1 as showing how much beauty and dignity may be bestowed on a very small and unimportant dwelling-house by ,gothic sculpture4 ,foolish criticisms upon it have appeared in ,english accounts of foreign buildings1 objecting to it on the ground of its being 'ill proportioned'2 the simple fact being that there was no room in this part of the canal for a wider house1 and that its builder made its rooms as comfortable as he could1 and its windows and balconies of a convenient size for those who were to see through them and stand on them1 and left the 'proportions' outside to take care of themselves1 which1 indeed1 they have very sufficiently done2 for though the house thus honestly confesses its diminutiveness1 it is nevertheless one of the principal ornaments of the very noblest reach of the ,grand ,canal1 and would be nearly as great a loss if it were destroyed1 as the church of ,la ,salute itself4 ,this building is popularly known as ,desdemona's ,house4 ,,iii4 ,,the ,,palazzo ,,cavalli1 ,,venice4 ,this palace1 situated opposite the ,academy of ,arts on the ,grand ,canal1 also dates from the fifteenth century4 ,its balconies and tracery are of the later ,gothic period1 showing marked tendencies towards the ,renaissance4 ,it has been recently restored by its present owner1 ,baron ,franchetti1 and is frequently spoken of as the ,palazzo ,franchetti4 ,,iv4 ,,window ,,tracery ,,in ,,the ,,palazzo ,,cavalli4 ,in ,venetian tracery it will always be found that a certain arrangement of quatrefoils and other figures has been planned as if it were to extend indefinitely into miles of arcade1 and out of this colossal piece of marble lace a portion in the shape of a window is cut mercilessly and fearlessly3 what fragments and odd shapes of interstice1 remnants of this or that figure of the divided foliation1 may occur at the edge of the window1 it matters not2 all are cut across and shut in by the great outer archivolt4 ,this is of course open to serious criticism as construction1 but its beauty and effectiveness1 as used here1 cannot be gainsaid4 ,v4 ,,window ,,tracery ,,in ,,the ,,palazzo ,,cicogna1 ,,venice4 ,this is an example of early ,gothic work in ,venice and is quite unlike later examples4 ,ruskin speaks of it as the only instance of good complicated tracery to be found in ,venice4 ,the fact that it is moulded only on the face is considered evidence of its early date4 ,in this view1 as1 in fact1 in all of the examples which we have selected1 the moulding formed of alternating blocks or dentils1 projecting first on one side and then the other1 which is peculiar to ,venice1 can be seen4 ,it was commonly used as a frame about a window or group of windows1 and is very effective1 especially when used1 as it frequently was1 relieved against a flat wall surface4 ,,vi4 and ,,vii4 ,,two ,,portions ,,of ,,the ,,facade ,,of ,,the ,,ca ,d',,oro1 ,,venice4 ,this1 next to the ,ducal ,palace1 is the most elaborate and it might be said the most beautiful of the ,gothic ,venetian palaces4 ,it has been considerably changed in the various restorations to which it has been subjected1 but still has enough of its original features to remain a wonderfully beautiful building4 ,it is an extreme example of the characteristic disregard of the ordinary principles of building construction to be found throughout the work we have been considering4 ,fergusson's remarks upon this failing of the ,venetian architects is pointed and well considered4 ,he says3 ,most of the faults that strike us in the buildings of ,venice arise from the defective knowledge which they betray of constructive principles4 ,the ,venetian architects had not been brought up in the hard school of practical experience1 nor thoroughly grounded in construction1 as the northern architects were by the necessities of the large buildings which they erected4 ,on the contrary1 they merely adopted details because they were pretty1 and used them so as to be picturesque in domestic edifices where convenience was everything1 and construction but a secondary consideration4 ,the ,c ,d'oro was probably built about the middle of the fourteenth century4 ,evidences of the use of color in this faade can be plainly seen in the photographic views1 and the contrast of the deep shadows and flat wall surfaces is strikingly beautiful4 ,,viii4 ,,the ,,palazzo ,,pisani4 ,this palace is of the late ,gothic period1 nearly approaching the ,renaissance4 ,it is situated on the lower reach of the ,grand ,canal4 ,in all of the examples here selected a marked predominance of horizontal treatment will be observed4 ,the roofs are flat1 and arcades and balconies all help to emphasize the horizontal direction in the design4 ,this1 it will be observed1 is distinctly different from the contemporary ,gothic of the rest of ,europe4 99 99 99 99 99 ,notable examples of ,american buildings modelled after or in the style of the ,venetian palaces are the ,chicago ,athletic ,club1 the ,montauk ,club1 ,brooklyn1 and the new building adjoining the ,hoffman ,house1 ,madison ,square1 ,new ,york4 ,illustration3 ,,iv4 ,window ,tracery in the ,palazz1 ,cavalli1 ,venice4 ,the ,brochure ,series of ,architectural ,illustration4 ,,published ,,monthly ,,by ,,bates ,,guild1 #f ,,beacon ,,street1 ,,boston1 ,,mass4 ,subscription ,rates per year #ej cents1 in advance4 ,special ,club ,rate for five subscriptions #b4jj4 99 99 99 99 99 ,a well-selected collection of foreign photographs has come to be as necessary and invariable a feature in a well-equipped architect's office as good drawing instruments or as ,vignola's treatise on the ,roman ,orders4 ,but unfortunately a really satisfactory collection of photographs is seldom within the reach of more than a small proportion of the architects who could use them to advantage4 ,this is partly on account of the expense of a good collection1 as photographs can hardly be bought for less than twenty-five cents each1 and partly on account of the difficulty of finding a desirable stock from which to make selections on this side of the ,atlantic4 ,nearly all of the most valuable collections have been gathered together abroad by the owners and are the result of gradual accumulation1 probably extending over years of travel1 and representing no small investment of money4 ,such a collection1 it is needless to say1 is not within the grasp of the young and struggling draughtsman1 but he1 of all others1 would profit most by possession and use of such a treasure if it could be placed in his hands4 ,it would help to form and direct his tastes1 making him familiar with the masterpieces of the past1 and would furnish a basis for comparison of the current work about him4 ,of course a draughtsman in any of the larger offices will have certain opportunities to study and work from the collection in the office library4 ,this is a valuable privilege1 but it is only open to a few out of the many draughtsmen in the country1 and is not to be compared in its resulting benefits to the actual possession of even a very much smaller collection4 99 99 99 99 99 ,it is the purpose of the ,,brochure ,,series to place in the hands of draughtsmen a most carefully selected series of photographic reproductions1 chosen both for their educational value and their usefulness as practical reference material for everyday work4 ,this can be done at one fiftieth the cost of ordinary photographs1 and thus be easily within the reach of any draughtsman4 ,no attempt will be made to follow any systematic arrangement of the subjects presented1 although it will be frequently found advisable1 as in the present issue1 to group a number of subjects of more or less related character4 ,the main result to be sought for is the presentation of the greatest amount of the most valuable material in the most available shape1 and at the least cost4 ,the possibility of realizing this ambitious purpose remains to be demonstrated4 ,it need only be said that this initial number is put forward as an earnest of the work to follow4 99 99 99 99 99 ,a most important feature in recent educational work as applied to architecture is to be found in the formation of a number of classes1 or ateliers as they are called1 modelled in the main after those in ,paris4 ,they are all formed with the purpose of furnishing instruction in those elements of academic design which are unattainable in the routine experience of office practice4 ,the details of arrangement for accomplishing this purpose vary somewhat in the different ateliers4 ,we believe the first to be started was the one connected with the office of ,messrs4 ,carrre ,hastings in ,new ,york4 ,here a limited number of students1 both young men and young women1 are received1 and as a return for the instruction given them are expected to render such assistance in the regular work of the draughting-room as they can4 ,this service is exactly similar to the niggering1 as it is called1 required by long-established custom of the younger men at the ,ecole des ,beaux-,arts at ,paris1 which is one of the most valuable features of the school work4 ,in ,paris by this method the younger students have an opportunity to come in personal and intimate contact with those more advanced1 and have the benefit of working on larger and more important work than they are capable of undertaking unaided4 ,in the new atelier a problem in design is given to the class1 thus more than ordinarily equipped for the work before him4 ,illustration3 ,,vii4 ,portion of the ,faade of the ,ca ,d'oro1 ,venice4 ,his work while abroad was systematic1 well directed1 and untiring1 and no one of the succeeding scholars has labored to better advantage or accomplished more than he1 although each in turn has had the example and experience of his predecessors as a guide and stimulus to increased endeavor4 ,mr4 ,blackall's time was devoted largely to travel1 together with the sketching and measuring of important work4 ,since his return he has built up a successful and varied practice4 ,as an active member of the ,boston ,society of ,architects and the first president of the ,boston ,architectural ,club1 he has done much to advance the best interests of the profession1 both within its ranks and in its relations to the public4 ,to nothing so much as to his faithful labors can the success of the ,architectural ,club be laid4 ,he has made it the largest and most effective organization of its kind in the country1 and the draughtsmen of ,boston have every reason to be thankful to him for his unselfish devotion to their interests4 ,he has1 for several years1 been the permanent chairman of the ,committee of the ,boston ,society of ,architects1 appointed to administer the ,rotch ,scholarship1 and through his earnest work the opportunities open to its holders are being constantly increased4 7,to be continued47 99 99 99 99 99 ,club ,notes4 ,the youngest of the architectural societies of the country is the ,cleveland ,architectural ,club4 ,it was organized in ,november last with a membership of fifteen1 which number has been rapidly growing and bids fair to grow much further4 ,in this instance1 as has been the case in all the other large cities where similar clubs have been formed1 it is the better class of draughtsmen who have felt the need of an organization that would bring them together socially1 and give an opportunity for organized study and mutual improvement2 and it is a most encouraging symptom of the generally diseased condition of the public mind in relation to architecture that these clubs have become so numerous in the last few years4 ,aside from the direct influence upon its own membership1 the manifestation of a progressive and aggressive spirit cannot help provoking curiosity and discussion outside1 if it accomplishes nothing further4 ,it is somewhat surprising that with the unusually active interest which ,cleveland has always evinced in matters relating to art1 such a movement has not been started before4 ,we shall have occasion before long to refer more in detail to this new and flourishing society4 99 99 99 99 99 ,the ,illinois ,chapter of the ,american ,institute of ,architects announces the second annual competition for a gold medal1 to be open to members of the ,chicago ,architectural ,club who are not practicising architects of over two years' standing4 ,the problem is the design for a memorial building for the study of botany1 zoology1 and mineralogy1 and is to be finished on ,april #bi4 99 99 99 99 99 ,the ,chicago ,architectural ,club mingles work and play in a thoroughly ,bohemian fashion4 ,a recent invitation card bid its members to attend a ,rip-,snorter at the ,club ,house1 stating that provisions and provisos would be provided and ,frou ,frous be on tap4 ,the exact significance of this cabalistic description is known only to the members and their guests4 ,the same card announced that the new ,constitution and ,by-,laws would be finally voted upon at the same meeting1 and further announced the conditions of a forthcoming sketch competition4 ,things move rapidly in ,chicago4 99 99 99 99 99 ,the ,chicago ,architectural ,club will hold its eighth annual exhibition of works of architecture and the allied arts at the ,art ,institute for two weeks beginning ,may #bc4 ,for further particulars1 address ,john ,robert ,dillon1 secretary1 #bgd ,michigan ,avenue1 ,chicago4 99 99 99 99 99 ,the ,buffalo ,chapter of the ,a4,i4,a4 will hold its second annual exhibition in the ,art ,gallery1 ,library ,building1 in connection with the exhibition of the ,buffalo ,society of ,artists1 from ,march #ah to #cj4 ,for further particulars1 address ,j4,h4 ,marling1 #ae ,morgan ,building1 ,buffalo4 ,illustration3 ,,viii4 ,the ,palazzo ,pisani1 ,venice4