,illustration3 ,,ix4 ,the ,principal    
,doorway to the ,cathedral at ,trani1   
,italy4     ,,the ,,brochure ,,series   
,,of ,,architectural ,,illustration4    
,,vol4 ,i4 ,,february1 #ahie4 ,no4 #b4  
99       99       99       99       99  
,,byzantine-,,romanesque ,,doorways ,,in
 ,,southern ,,italy4   ,the             
illustrations chosen for this issue are 
all from the ,byzantine ,romanesque work
 in the province of ,apulia1 that       
portion of ,southern ,italy familiar in 
school-boy memory as the heel of the    
boot4 ,writers upon architecture have   
found it difficult to strictly classify 
the buildings of this neighborhood1 as  
in fact is the case with most of the    
medieval architecture of ,italy1        
although the influences which have      
brought about the conditions here seen  
are in the main plainly evident4 ,the   
traditions and surroundings1 of ,roman  
origin1 were modified by trade and      
association with the ,levant through the
 commerce of ,venice and ,pisa1         

resulting in a style embodying many of  
the characteristics of both the ,romans 
and the builders of ,byzantium4         
,oftentimes these characteristics are so
 blended and modified by one another as 
to be entirely indistinguishable1 while 
at other times features unquestionably  
belonging to the ,romanesque or the     
,byzantine will be found side by side4  
,an illustration of the latter condition
 may be seen in the two views of the    
doorway to the cathedral of ,trani4     
7,plates ,,ix4 and ,x47 ,on account of  
the intimate relations maintained during
 the ,middle ,ages between this province
 and ,magna ,grecia1 and it may be      
partly on account of the comparative    
remoteness from the principal cities of 
the north1 the ,byzantine influence is  
here more strongly marked than in the   
cities of ,central and ,northern ,italy4
  ,according to the classification      
adopted by ,fergusson1 the church of    
,san ,miniato at ,florence is one of the
 oldest examples and a good type of this

 rather mixed style4 ,it was built about
 the year #ajac4 ,it is rectangular in  
plan1 nearly three times as long as     
wide1 with a semicircular apse4         
,internally it is divided longitudinally
 into aisles1 and transversely into     
three nearly square compartments by     
clustered piers1 supporting two great   
arches which run up to the roof4 ,the   
whole of the inner compartment is       
occupied by a crypt or under church open
 to the nave1 above which is the choir  
and altar niche1 approached by flights  
of steps in the aisles4 ,this general   
arrangement is followed more or less    
closely in the churches at ,bittonto1   
,bari1 ,altamura1 ,ruvo1 ,galatina1     
,brindisi1 and ,barletta4 ,the scale of 
the southern churches is1 however1 much 
smaller than those of the north1 the    
width of the nave of the cathedral at   
,trani being only #ej feet1 and the     
length #afg feet1 while the             
corresponding dimensions of the         
cathedral at ,pisa1 which is referred to

 by ,fergusson as the most notable      
example of this style in the north1 are 
#ajf x #caj feet4  ,in these smaller    
churches1 as far as external treatment  
is concerned1 the main attention is     
devoted to the principal faade1 and here
 most of the ornament is usually covered
 with a rich hood supported by pillars  
resting on monsters1 following the      
custom prevalent throughout ,italy      
during this period4 ,above this is      
either a gallery or one or two windows1 
and the whole generally terminates in a 
circular rose window filled with        
tracery4  ,illustration3 ,x4 ,the       
,principal ,doorway to the ,catherdral  
at ,trani1 ,italy4  ,fergusson's final  
summing up of the architecture of this  
neighborhood can scarcely be considered 
too enthusiastic in the light of the    
eight illustrations here given4 ,he     
says3 ,no one who takes the pains to    
familiarize himself with the            
architecture of these ,southern ,italian
 churches can well fail to be impressed 

with their beauty4 ,that beauty will be 
found1 however1 to arise not so much    
from the dimensions or arrangement of   
their plans1 or the form of their       
outline1 as from the grace and elegance 
of their details4 ,every feature        
displays the feeling of an elegant and  
refined people1 who demanded decoration 
as a necessity1 though they were        
incapable of rising to any great        
architectural conception4 ,they excelled
 as ornamentists1 though at best only   
indifferent architects4  ,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 work4 
,this is sufficiently evident in the    
results before us4 ,its logical and     
constructive bearing can of course be   
called in question1 as in fact is the   
case with all but the merest fraction of
 the architectural efforts of the world4
 ,as decoration we can but admire the   
masterly way in which the ornament is   

distributed1 the refined sense of scale 
and proportion1 and the skilful and     
subtle treatment of light and shade1    
even if the detail of the ornament      
itself is crude and archaic4  ,in making
 the choice of these subjects this point
 was kept in mind1 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          
masterpiece1 in the manner in which the 
,gothic architects of ,venice used their
 patterns of window tracery4 ,these     
plates show certain qualities in        
decorative design in their fullest and  
best development1 and are on this       
account invaluable as suggestions to    
designers of the present day4 ,for      
cribbing material they do not stand for 
much2 but this should not be counted as 
against their usefulness1 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 work4   ,,ix4 and ,x4     
,,principal ,,doorway ,,to ,,the        
,,cathedral ,,at ,,trani1 ,,italy4  ,the
 cathedral at ,trani dates from about   
the middle of the twelfth century4 ,its 
main features have been indicated above 
in describing the general               
characteristics of the class of churches
 to which it belongs4 ,the bronze doors 
shown in the illustration were made in  
#aafj1 and are exceptionally fine       
examples of the work of this period4    
,,xi4  ,,principal ,,doorway ,,to ,,the 
,,cathedral ,,at ,,conversano1 ,,italy4 
,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 friend2
 but we regret to say that most of our  
,american designs would hardly show to  
advantage if compared side by side with 
this4   ,,xii4  ,,portion ,,of ,,the    
,,facade ,,of ,,the ,,basilica ,,at     
,,altamura1 ,,italy4  ,the remarkable   
sense of spotting and distribution of   

ornament shown in the designing of this 
facade can hardly be too much commended4
 ,the strong light and long slanting    
shadows of the photograph are well      
calculated to emphasize this quality in 
the design1 and we can readily find     
justification here for the estimate of  
,fergusson quoted above4   ,,xiii4 and  
,,xiv4  ,,principal ,,doorway ,,to ,,the
 ,,basilica ,,at ,,altamura1 ,,italy1   
,,and ,,detail ,,of ,,the ,,same4       
,,xv4  ,,door ,,of ,,madonna ,,di       
,,loreto1 ,,trani1 ,,italy4   ,,xvi4    
,,entrance ,,to ,,the ,,church ,,of     
,,the ,,rosary1 ,,terlizzi1 ,,italy4    
,illustration3 ,,xi4 ,the ,principal    
,doorway to the ,cathedral at           
,conversano1 ,italy4     ,advice to     
,young ,architects4   ,prof4            
,aitchison's ,royal ,academy ,lectures  
upon ,architecture should be read by all
 students who can obtain access to them1
 and this is not really very difficult  
to accomplish1 as they are always       
reported at length in the ,english      

architectural periodicals1 and then     
usually reprinted without credit by one 
or more of the ,american papers4 ,the   
latest one1 reported in the ,builder of 
,feb4 #af1 is that delivered on ,feb4   
#d1 under the general title ,the        
,advancement of ,architecture4 ,it deals
 in a common-sense fashion with the     
aesthetics of architecture1 and contains
 many valuable suggestions upon the     
study and practice of architecture as an
 art4 ,the three following quotations   
are well worth attentive reading3--     
,swift1 in his ',letters to a ,young    
,clergyman1' says3 ',i cannot forbear   
warning you in the most earnest manner  
against endeavoring at wit in your      
sermons1 because1 by the strictest      
computation1 it is very near a million  
to one that you have none4' ,perhaps    
that would be good advice to all who    
consciously seek for what is called     
originality1 which is mostly attained by
 exaggeration1 disproportion1 and       
oddness of arrangement2 real originality

 only comes from original minds1 and    
will in that case show itself properly  
and naturally1 just as wit shows itself 
spontaneously in the witty2 for surely  
those original architects1 who have only
 been able to raise in us emotions of   
contempt or disgust1 would have been    
judicious had they abstained from the   
attempt4 ,i think that most             
architectural students1 if they will    
only study the best buildings1 will make
 their plans to accurately answer the   
purposes wanted1 including the efficient
 lighting of the rooms1 will study the  
,vitruvian symmetry until their eye     
revolts from disproportion1 will try and
 make their profiles tell the story they
 want told1 and will try and bring such 
parts that1 from the exigencies of the  
case1 obtrude themselves in odd places  
into harmony with the whole1 that they  
will produce an effect which will raise 
their buildings to the dignity of       
humanity1 and out of the range of the   
dog-kennel and rabbit-hutch type1 and   

will not exhibit ugliness1              
disproportion1 or vulgarity4 ,we see    
plenty of examples where the designs    
have sunk much below this level2 no     
building of dead walls1 with holes in it
 for doors and windows1 could cause us  
such disgust4 ,let me here say1 by way  
of a parenthesis1 that if you candidly  
consider that your design is more       
offensive than a dead wall1 do not waste
 money and materials in making the wall 
more repulsive1 but let it alone4  ,any 
one can be original if he be only       
impudent enough2 any one can be graceful
 if he is servile enough to copy3 but to
 be both original and graceful requires 
deep study1 much striving1 and natural  
talent4  ,i have also to remind you that
 architecture cannot be brought into    
vigorous life again1 so long as         
architects insist on using old forms for
 beauty that are inseparable from a     
construction that has been abandoned2 so
 long as this practice persists1 so long
 will architecture be a kind of potted  

art2 to be vigorous it must learn how to
 take the materials1 and construction   
that would be ordinarily used in        
buildings for purely practical purposes1
 and give to these materials and this   
construction forms that will excite the 
proper emotions4 ,you must not suppose  
that ,i mean that if you have a vast    
hall1 or what not1 that because you can 
put an iron trussed roof over it from   
wall to wall1 that this will make it    
into a hall that will raise emotions4   
,you will only get a rail-way platform  
or a coal shed4 ,you have got to set    
your wits to work to see how it can be  
properly brought within the pale of     
aesthetics1 and not only as to the      
shapes and proportions of the parts1 but
 the dividing of the whole by supports4 
,it is probable that if you were obliged
 to vault a cathedral in stone1 with no 
more money than was necessary1 and to   
have a clearstory to it1 that you could 
not do it cheaper1 and perhaps not      
better1 than the ,gothic architects did 

it2 but to vault such a building in     
stone when you could do it much cheaper 
and better with iron ribs and concrete  
is1 in my opinion1 dilettante art4      
,groins are not beautiful things1 but1  
on the contrary1 are ugly1 and we should
 wish to obviate their ugliness if we   
could2 but when they were merely        
unavoidable methods of cheap            
construction1 we admire them for the    
invention and skill of their architects1
 and we have to some extent got to love 
even their ugliness from old            
association2 though perhaps the ribs at 
,westminster ,abbey1 as seen from the   
west end1 are not offensive4            
,illustration3 ,,xii4 ,a ,portion of the
 ,faade of the ,basilica at ,altamura1  
,italy4     ,the ,brochure ,series of   
,architectural ,illustration4           
,,published ,,monthly ,,by  ,,bates     
,,guild1  #f ,,beacon ,,street1         
,,boston1 ,,mass4         99       99   
99       99       99  ,subscription     
,rates per year 4 #ej cents1 in advance 

,special ,club ,rate for five           
subscriptions 4 4 #b4jj4         99     
99       99       99       99  ,all who 
wish for a complete file of ,,the       
,,brochure ,,series should send in their
 subscriptions at once1 as owing to the 
necessity of limiting the edition of the
 first numbers and the impossibity of   
reprinting when this edition is         
exhausted1 subscriptions will have to   
date from the current number at the time
 the order is received4 ,until the      
present stock gives out1 all            
subscriptions will be dated from the    
,january number1 but no copies will be  
reserved for this purpose after ,april  
#a4         99       99       99        
99       99  ,response to the call for  
subscriptions to ,,the ,,brochure       
,,series has been gratifyingly prompt   
and generous4 ,the first subscriber was 
,mr4 ,george ,b4 ,howe1 #ac ,walnut     
,street1 ,boston1 the architect of the  
,new ,hampshire ,state ,building at the 
,world's ,fair4 ,the first club came    

from the office of ,longfellow1 ,alden  
,harlow1 and was made up as follows3    
,f4,b4 ,wheaton1 ,r4,t4 ,walker1 ,h4,w4 
,gardner1 ,h4,m4 ,seaver1 and ,j4,h4    
,buttimer4 ,this was closely followed by
 a club of eight from the office of     
,shepley1 ,rutan  ,coolidge1 and another
 of five from the office of ,edwin ,j4  
,lewis4 ,the first response from out of 
town was a club of five from the office 
of ,martin  ,hall of ,providence1 ,r4,i4
 ,others too numerous to mention came   
along in quick succession1 and the new  
magazine may now be considered well     
launched on its trial trip4         99  
99       99       99       99  ,as the  
plan of ,,the ,,brochure ,,series is    
unique in architectural journalism1 much
 of the work to be done during its first
 year will necessarily be1 to a certain 
extent1 experimental4 ,although the     
publishers have for a number of years   
tried to keep as closely as possible in 
touch with the profession throughout the
 country1 the diversity of tastes to    

which the new magazine is intended to   
appeal1 and the practical requirements  
which it is intended to meet1 make even 
the simple matter of selecting proper   
material for publication a difficult    
task4 ,consequently suggestions or      
criticisms which may lead to its        
improvement in any particular will be   
welcome4         99       99       99   
99       99  ,the design used for the   
cover of ,,the ,,brochure ,,series is   
the result of a competition in which    
twenty-three drawings were submitted1   
and is the work of ,charles ,edward     
,hooper of #bej ,west #adth ,street1    
,new ,york4 ,the other competitors1     
whose designs were all of a high order  
of excellence1 were3 ,j4 ,mills ,platt1 
,charles ,s4 ,king1 ,francis ,s4        
,swales1 ,edwin ,s4 ,gordon1 ,fred ,a4  
,miller1 ,j4,f4 ,strobel1 ,jr41 ,george 
,e4 ,roberts1 of ,rochester1 ,n4,y42    
,g4,h4 ,ingraham1 ,e4,p4 ,dana1 ,f4,h4  
,hutchins1 ,c4,e4 ,patch1 of ,boston2   
,j4,w4 ,cinder1 ,w4,b4 ,papin1 ,h4,g4   

,helmerichs1 of ,st4 ,louis2 ,louis ,e4 
,la ,baume1 ,h4,h4 ,braun1 of ,new ,york
 ,city2 and ,stephen ,w4 ,dodge1 of     
,brooklyn4         99       99       99 
99       99  ,following out the general 
plan adopted in the first two issues1   
which1 contrary to the expectation of   
the publishers1 has proved even so soon 
an important feature of the magazine1   
the illustrations in the next two       
numbers will be made up of related      
subjects4 ,the ,march number will have a
 collection of capitals 7,byzantine and 
,romanesque7 from ,ravenna and ,palermo1
 and the ,april number eight windows    
from ,apulia1 of the same general       
character as the doorways in the present
 number4     ,hints to ,draughtsmen4    
,architectural students and draughtsmen 
will find the series of papers begun in 
the ,feb4 #af number of the ,american   
,architect1 entitled ,hints to ,art     
,students on ,travelling ,abroad1 filled
 with valuable suggestions4 ,the writer 
of these papers is ,mr4 ,j4,w4 ,case1   

the latest of the ,rotch scholars       
returned4 ,in the first paper ,mr4 ,case
 points out the desirability of         
preparatory training in academic design1
 drawing1 modelling1 etc41 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 him4 ,he         
continues with a number of useful hints 
upon the best methods to pursue in      
gaining this preparatory training4      
,illustration3 ,,xiii4 ,the ,principal  
,doorway to the ,basilica at ,altamura1 
,italy4  ,the second paper is devoted to
 practical suggestions of such immediate
 value that it is worth while to quote a
 portion of them in full3--  ,to get the
 most good out of a trip1 one should be 
prepared to work in all sorts of        
ways1--to make measured drawings1       
sketches1 color notes1 squeezes1        
rubbings1 sections with the lead2 to    
study from plates and make ,t-square    
sketches1 scratch-book notes1           

photographic notes1 and memory sketches4
  ,travelling students are apt to place 
too much value on perspective sketches4 
,good ones make a nice showing on       
returning home1 but they are of little  
value to any one but the maker4 ,it is  
usually possible to find photographs of 
the things over which one spends so many
 hours making pretty sketches4 ,but     
sketches do have a certain value in     
teaching rendering1 and encourage the   
habit of observing closely the effect of
 light and shade4  ,beautiful pencil    
sketches may be made on ,english        
metallic paper by simply drawing the    
shadows on carving in full sunshine3    
colored papers are very useful to gain  
quick effects with the use of ,chinese  
white4 ,a pad of ,whatman water-color   
paper1 imperial size1 is much better to 
work on than a small cramped little     
book2 and it may be used as a           
drawing-board1 thus diminishing the     
number of articles to carry4 ,the       
,t-square will run along the edge of the

 block well enough for sketches1 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 on4 
,have a canvas bag made with a flap in  
which to carry the block4 ,it will keep 
out the dirt and dust of travel and be  
of great service4  ,sometimes valuable  
color notes are to be had in crowded    
buildings where it is not convenient to 
sit down and make a large study4 ,for   
such cases a small pocket water-color   
block will be very useful4 ,there is a  
small vest-pocket water-color box       
carrying six colors1 which may be set   
over the thumb1 a water-bottle attached1
 and with it one can stand unobserved in
 a corner and get color notes which     
otherwise must be passed by4 ,in        
studying fresco painting1 tempera is    
very useful4 ,it is mixed up with water 
and applied to paper1 but may be worked 
over in the manner of oils1--a great    
advantage in making studies4  ,the      
chambre claire is invaluable as an aid  

to drawing1 in blocking out             
water-colors4 ,it will enable one to    
make a drawing in an hour which         
otherwise would require all day4 ,it is 
an instrument little known outside of   
,paris1 but is much in use there among  
architects4 ,it consists of a prism     
mounted on a telescoping leg which may  
be fastened to the drawing-board4 ,the  
eye looks through the prism and sees the
 building reflected on the paper2 all   
that remains to do is to trace this     
outline4 ,it does not teach one to draw1
 but it does save time1 and produces    
better drawings than can be made without
 it4 ,the best place to buy them is of  
,cevalier1 on the ,seine1 near the ,pont
 ,netif1 ,paris4 ,only those with the   
best prisms are of any use3 such a one1 
with two adjustments only1 can be had   
for sixty-five francs4 ,the table which 
is necessary for its use costs fifteen  
francs additional2 that is1 a total cost
 of sixteen dollars4 ,in buying a table1
 be sure and get one with sliding legs  

which can be taken off the head and     
packed flat4  ,one of the very best ways
 to study1 and one which has very direct
 tangible results1 is by the aid of     
printed plates4 ,take such a book as    
,letarouilly's ,edifices de ,rome       
,moderne4 ,go to the buildings          
themselves and compare the drawing with 
the building2 see what drawings on paper
 really mean when executed2 mark up the 
plate2 note the proportion of masses1   
the size of ornament1 the relative      
proportion of openings1 and wall spaces1
 the effect of color and texture1 and   
the use of material4 ,make suggestions  
for better ornament1 proportion1 etc41  
and then go home and make a new design  
with all the improvements you have      
noted4  ,the reverse of this method is1 
to sit down in front of the building    
with ,t-square and triangle and         
translate the perspective building back 
on to paper in elevation4               
,illustration3 ,,xiv4 ,detail of the    
,principal ,doorway to the ,basilica at 

,altamura1 ,italy4  ,these two methods  
will aid one to tell from a drawing how 
the building will actually look when    
executed4 ,it will give an idea of the  
scale of ornament1 if a cornice looks   
just the right size on a certain        
building1 the plate will tell you just  
how high that is4 ,the ,t-square sketch 
is very valuable in cultivating the     
sense of proportion4 ,draw to scale such
 parts of the sketch as can be easily   
measured1 and put in the remainder in   
proportion1 and make these sketches at  
the scale at which you are used to      
working in the office4 ,they will be of 
immense advantage in giving you a sense 
of absolute scale4  ,there is such a    
thing as 'absolute scale1' and scale is 
not simply proportion4 ,a drawing might 
be made in good proportion1 and the     
building look well if executed a        
thousand feet long1 and yet lose all its
 effectiveness if executed but one      
hundred feet in length1 the relative    
proportions of the parts remaining the  

same4 ,it is a fact that certain        
designs1 which look well on paper1 will 
not look well in execution1 except at a 
large scale4 ,therefore it is valuable  
in making a sketch to put on it some of 
the measurements2 and freehand sketches 
with measurements marked on them have a 
value in giving absolute scale4  ,the   
back of a photograph is a very          
convenient place on which to make notes 
of the building itself1 in regard to    
color1 material1 suggested changes1     
etc41 and will be very useful in        
recalling the building to memory4       
,measuring buildings and drawing them   
out to scale is solid architectural     
work1 and nothing else can take its     
place4 ,it gives a realization of the   
actual size and appearance of things1   
and brings to notice the stone-jointing1
 sections of mouldings1 vaulting1       
roofing1 and construction in general4   
,measured work must be done very        
accurately1 or else the results have no 
more value than approximate measures on 

sketches4  ,the drawing should be made  
exactly as the building exists1 without 
any change or improvement1 or else the  
drawing will lose a great deal of its   
value as a basis for study4 ,many of    
,letarouilly's are nearly valueless as  
data for study because he has improved  
on the original1 and thus his drawing   
does not represent the building as it   
actually exists4  ,a good method of     
measuring buildings is to measure first 
the general dimensions and block out the
 building on paper at a small scale1    
then measure up windows1 columns1 etc41 
and set off full-size sections of all   
the mouldings with a strip of thin lead1
 such as may be had at any whole-sale   
lead store3 only the thinnest sheet-lead
 will work1 as the thicker leads are too
 stiff to bend4 ,the large final        
drawings can then be made away from the 
building4 ,it is important to draw out  
the building completely at a small      
scale1 however1 as it is very annoying  
when making the final drawing far away  

from the building to find that some     
important dimension has been forgotten4 
,the ordinary tape stretches so much in 
long dimensions that it is inaccurate4  
,it is best to get a tape with a        
metallic strip in it1 and it should be  
at least fifty feet long in order to    
take dimensions over all1 which is much 
more accurate than measuring with a     
short tape from point to point4  ,the   
metric system is very convenient1 but it
 is better for ,american students to use
 the ,english measure that they will    
have to use in practice1 and take the   
tape over with them1 for it is difficult
 to find them on the ,continent4 ,a     
sliding measuring-rod is nearly         
indispensable1 and it will be most      
convenient to carry if it folds up to   
the length of the imperial drawing pad4 
,two large triangles are very useful in 
getting the projection of mouldings1 as 
they can be held together to form a     
right angle4  ,illustration3 ,,xv4 ,door
 of the ,madonna di ,loreto1 ,triani1   

,italy4     ,books4   ,verona and ,other
 ,lectures4 ,by ,john ,ruskin1          
,d4,c4,l41 ,,ll4,d4 ,new ,york3         
,macmillan  ,co41 #ahid4 #hvo1 pp4 #bjd1
 plates xii4 #b4ej4   ,the art of       
,northern ,italy has furnished the text 
for a very considerable part of the     
writings of ,mr4 ,ruskin1 and there is  
no one writer among those who have      
ventured to investigate and write upon  
this extremely engrossing subject whose 
work has so great an interest for the   
architect1 or in fact is of so much     
value to him4 ,it is not necessary to   
agree with all of ,mr4 ,ruskin's        
elaborate theories or to unqualifiedly  
admire his drawings in order to find    
much of real value in his books4 ,no    
student of architecture can afford not  
to read ,the ,stones of ,venice1 and    
there are few books which should take   
precedence over it in the formation of  
an architect's library4  ,apropos of the
 illustrations in the last number of    
,,the ,,brochure ,,series1 in the       

descriptive notices of which we had     
occasion to refer to ,mr4 ,ruskin1 his  
latest published work will be found     
interesting4 ,the title1 ,verona and    
other ,lectures1 does not convey a very 
complete idea of the contents of the    
book4 ,none of the five lectures        
included is strictly architectural in   
subject matter1 and but one1 the first1 
,verona and its ,rivers1 has any direct 
bearing upon architecture1 and this only
 from the historical side4 ,the         
illustrations1 with a single exception  
from drawings by the author1 although   
lacking in most of the qualities of good
 draughtsmanship1 are well worth        
examination and study4 ,plates ,,ii4 and
 ,v41 ,a ,fountain at ,verona1 and ,the 
,castelbarco ,tomb1 ,sta4 ,anastasia1   
,verona1 the first made in #ahda and the
 second in #ahce1 are from the point of 
view of the architect the most          
interesting4 ,they are both pencil      
sketches1 the first accented with a few 
touches of wash in the shadows and      

darker portions of the drawing4 ,plate  
,,ix4 represents the angle of the ,ducal
 ,palace1 ,venice1 the same given as the
 frontispiece in the last issue of ,,the
 ,,brochure ,,series4 ,it would hardly  
be possible to come nearer the same     
point of view if the coincidence were   
intentional4 ,in the comparison which   
this forces upon ,mr4 ,ruskin very      
naturally suffers1 as might be expected1
 from the fact that his training in     
drawing was not the most thorough4 ,his 
proportions are somewhat faulty and the 
detail is only vaguely suggested1 in    
fact this is more or less true of all   
his drawings4 ,nevertheless the book    
will be welcome to many architects for  
the valuable suggestions it contains    
both in text and illustrations2 and the 
author's wonderful and fascinating      
literary style is here as unmistakably  
in evidence as in any of his older      
works4 ,this alone is sufficient        
inducement to tempt the reader to take  
it up4     ,club ,notes4   ,at the      

suggestion of several subscribers1 the  
addresses are given below of the        
secretaries of the principal            
architectural clubs as far as they are  
known to us1 but there are several      
omissions and possibly some mistakes4   
,in order that these associations may be
 of as great mutual assistance to each  
other as possible1 through              
correspondence1 the exchange of notices 
of competitions1 etc41 it is requested  
that any not included in the following  
list will communicate the desired       
information to the editor of ,,the      
,,brochure ,,series4 ,corrections or    
additions will be made in later issues1 
and the various secretaries will confer 
a favor by keeping the editor informed  
of any changes of address or            
organization4   ,,list ,,of ,,clubs4    
,sketch ,club of ,new ,york1 club rooms 
#adgc ,broadway2 recording secretary1   
,alfred ,f4 ,evans2 corresponding       
secretary1 ,hobart ,a4 ,walker4  ,boston
 ,architectural ,club1 rooms #e ,tremont

 ,place2 secretary1 ,f4 ,manton         
,wakefield4  ,the ,t-,square ,club1     
,philadelphia1 rooms ,broad and ,pine   
,streets2 secretary1 ,a4,c4 ,munoz1 #bab
 ,south ,third ,street4  ,chicago       
,architectural ,club1 rooms #bgd        
,michigan ,avenue2 secretary1 ,john     
,robert ,dillon4  ,st4 ,louis ,sketch   
,club2 secretary1 ,e4,g4 ,garden1       
,telephone ,building4  ,art ,league1    
,milwaukee1 ,wis42 secretary1 ,elmer    
,grey1 #ijd ,winchester ,street4  ,st4  
,paul ,architectural ,sketch ,club1     
rooms #bci-bda ,endicott ,building2     
secretary1 ,john ,rachac1 ,jr4          
,cleveland ,architectural ,club1 rooms  
#ajjb ,garfield ,building2 secretary1   
,herbert ,b4 ,briggs4  ,denver          
,architectural ,sketch ,club2 president1
 ,william ,cowe1 #gjf ,cooper ,building4
  ,rochester ,sketch ,club1 secretary1  
,g4,f4 ,crump1 ,wilder ,building4  ,the 
,architectural ,league of ,new ,york1   
,american ,fine ,arts ,society          
,building2 secretary1 ,charles ,i4      

,berg1 #aj ,west #bc;d ,street4  ,the   
,society of ,beaux ,arts ,architects4   
,new ,york ,city4  ,illustration3 ,,xvi4
 ,entrance to the ,church of the        
,rosary1 ,terlizzi1 ,italy4