,,the ,,brochure ,,series  ,,of         
,,architectural ,,illustration4   ,,vol4
 ,i4 ,,april1 #ahie4 ,no4 #d4           
,,byzantine-,,romanesque ,,windows ,,in 
,,southern ,,italy4   ,the collection of
 photographs from which the plates in   
this and the ,february number were      
selected was only recently made under   
the direction of ,signor ,boni1 an      
official of the ,italian government1    
charged with the care and restoration of
 historic monuments4  ,the province of  
,apulia has been so little invaded by   
the march of modern improvement1 and its
 present inhabitants are1 as a rule1 so 
poor1 that it is difficult to travel    
here except on the line of a few main   
thoroughfares1 and strangers seldom     
visit more than one or two of the       
principal towns on the coast4 ,bari and 
,brindisi are known to tourists1 as they
 are in the line of travel to and from  
,greece1 but the inland towns are       
isolated in a barren priest-ridden      
country in which strangers are not      

welcome4 ,the hardships which it is     
necessary to face deter all but the most
 adventurous even of the ,italians1     
familiar with the language and manners  
of the people4 ,architects seldom visit 
this neighborhood1 and little is known  
of its rich treasure of medival         
buildings1 except through the few       
published works treating of it4 ,signor 
,boni expressed himself as surprised at 
the great amount of beautiful work      
scattered through this region1 of which 
he previously had no knowledge4 ,the    
opinion of ,fergusson has already been  
quoted in the preceding article4  ,the  
mixture in the work here illustrated of 
,byzantine and ,romanesque elements has 
also been referred to in the preceding  
article1 but the special characteristics
 of each style were not particularly    
pointed out4 ,in the present            
consideration the peculiarities of      
detail and ornament are all that need be
 taken up1 as the views given furnish no
 opportunity for the study of plan or   

general design4 ,the derivation of the  
,byzantine style was indicated in the   
,march number of ,,the ,,brochure       
,,series in describing the ,ravenna     
capitals there illustrated4  ,byzantine 
conventional ornament appears to be of  
two types1--the one usually used in     
mosaics1 of thin scrolls1 terminating in
 flowers or symbols1 displayed upon a   
ground which is much greater in quantity
 than is the ornament2 the other1       
usually confined to sculpture1 an       
intricate interlace of ribbon lines with
 spaces filled with ,byzantine acanthus1
 the ornament much greater in proportion
 than the ground1 which only shows in   
small separate pieces4 ,apart from these
 are the borders1 occasionally of       
overlapping leaves1 often of small      
repeated units1 such as ,greek crosses  
and squares and diamonds1 or else       
meanders or guilloches4 ,the guilloche  
takes a new form in ,byzantine design1  
and instead of being a continuous       
succession of small circles enclosed in 

an interlacing ribbon1 it assumes the   
form of alternating small and large     
circles1 or of small circles alternating
 with large squares1 and often          
progressing in both directions at once1 
horizontally and perpendicularly1 and   
thus forming an all-over pattern4 ,the  
roses of ornament are often incorporated
 into this form of guilloche4 ,sculpture
 of the human form becomes more and more
 feeble and crude4 ,the acanthus1       
however1 went steadily through          
successive variation until it attained  
the virile form seen in the best        
,byzantine work4 ,it is no longer the   
olive type of the ,romans1 or the heavy1
 stupid leaf of the earlier centuries of
 the ,christian era1 but has again      
turned towards the sharp-pointed1       
vigorous leaf of the ,greeks4 ,its lobes
 are divided into three or five tines1  
each sharp at the tip2 its centre lines1
 radiating from a central stem1 bend    
like flames2 its surfaces are concave1  
with deep ,v cutting1 and it has one    

very marked peculiarity1 that is1 that  
as far as possible no tine is left      
displayed alone on the ground1 but the  
tip of each is made to touch either the 
tip of a neighboring tine or the ribbon 
or moulding bounding the space in which 
the ornament occurs4 ,the tines are of  
nearly equal size throughout1 and the   
spaces of ground left by the ornament   
are also of comparatively equal size1   
and if possible symmetrically grouped4  
,the one almost universal moulding is   
decorated with acanthus units1 and the  
capitals have acanthus leaves around    
their bells4 ,these caps are of two     
types4 ,one1 that is manifestly an      
adaptation of a classic cap1 is a union 
of an ,ionic and a ,corinthian1 or at   
other times of a ,roman ,doric and a    
,corinthian capital4 ,the other is      
peculiar to ,byzantine work1 and is that
 shown in ,plates ,,xxi4 to ,,xxiv4 in  
the last number4 ,this cap1 as at ,s4   
,vitale1 is often supplemented by       
another plainer cap above4 ,the lower   

cap has its faces decorated with        
scrolls1 acanthus wreaths1 etc41 and    
usually the corners are strengthened    
with a decorative unit1 leaf or other   
motive4  ,the difference between the    
,byzantine and the ,romanesque arises   
from the differences of the races and   
their environments4 ,the art of seaport 
towns1 when ,commerce was most largely  
carried on by sea1 much more nearly     
resembled the art of some great         
commercial centre on the seaboard than  
it did that of its own neighbors inland4
  ,the art of the seaboard cities in    
,europe was1 then1 for many years a     
borrowed art from the ,east1 as their   
people were to great extent ,eastern    
colonists4 ,it was carried on with a    
full knowledge of constructive methods1 
and a facility in obtaining materials   
that the inland towns did not possess2  
and in consequence it is along the      
seaboard that is to be found the        
persistence of the ,byzantine influence4
 ,on the other hand1 the interior was   

peopled by descendants of ,ostrogothic  
tribes mingling with numberless local   
peoples4 ,whatever they touch is        
necessarily crude at first1 but         
constantly gaining as they gain facility
 in working4 ,a precedent of some kind  
they must have1 and they find it close  
at hand in the ,roman basilicas4        
,uncertain1 from the result of woful    
experiments1 of arches of great span1   
they pack their columns close together  
and surmount them with sturdy little    
arches that have scarcely any thrust4   
,this arcade of heavy columns carrying  
absurdly disproportionate arches is     
their only motive1 and applied inside   
between aisles and nave1 and outside in 
successive stories rising one above     
another4 ,as the masons begin better to 
understand their art1 the span of the   
arch increases1 though a large arch for 
some time does duty merely as a         
discharging arch1 and has smaller arches
 beneath and within it4 ,the capitals1  
at first crude imitations of classic    

prototypes1 soon become the field for   
the grotesque imagination of the        
workmen1 and each differs from the other
 and is a mass of light and shade shot  
with all sorts of uncouth fancies4      
,wherever1 for some constructive reason1
 a column is omitted against a wall1 the
 capital becomes a corbel1 carrying the 
arches4 ,in many cases the corbels alone
 are used1 and an arcaded corbel course 
becomes the favorite termination of a   
wall in the place of a classic          
entablature4 ,finally the arches are    
omitted1 and the corbels alone support  
the eaves4  ,it will be noticed that    
while the ,byzantine decorated the      
interior of the churches1 the           
,romanesque builder merely constructed  
the interior and wrought out the most of
 his design upon the facade4 ,as a large
 arch was to him for a long time a tour 
de force1 he naturally beautified the   
necessarily large entrance1 and the     
beginning of the development of the     
beautiful ,gothic portals is seen in the

 early ,romanesque churches4  ,the      
,romanesque is an architecture of       
inertia1 with arches heavily weighted by
 great masses of wall1 and with broadly 
contrasting masses of light and shade4  
,it does not depend for its effect upon 
intellectual quality beyond a rigorous  
sense of simplicity1 or upon refinement 
of conception or detail1 but rather upon
 size1 picturesque mass1 and staccato   
light and shade4 ,the proportion of     
capital to column in quantity of surface
 was very slight4 ,the proportion of    
voussoirs to arches naturally depended  
upon the size of the arch1--large       
voussoirs to large arches1 small        
voussoirs to small arches4 ,columns were
 only grouped around piers and on either
 side of openings2 and lastly1 the      
natural development of the column in    
,romanesque work was toward             
attenuation1--the later and the better  
the work1 the more slender became the   
columns1 until at last they were merged 
into the ,gothic multiple-columned      

piers4 ,the carving upon the            
arch-mouldings is1 to a great extent1   
geometric1 consisting of numerous facets
 cut in the stone1 lozenges1 etc42 the  
so-called dogtooth moulding is a very   
favorite form of decoration4 ,all these 
carved mouldings were picked out in     
color1 usually in red and green4 ,the   
acanthus in the ,romanesque has lost    
much of its vigor1 is flat1             
heavy-tipped1 round-edged1 and scratched
 with ,v-cuts1 and the vine is the leaf 
preferred by designers4 ,frequently     
masses of wall are cut in geometric     
diaper patterns1 also touched with      
color4 ,borders are not broad2 and      
circular forms1 except in the arches1   
are seldom used4 ,romanesque was a      
barbaric art at the best1 and has the   
usual virtue of the barbarian1--a       
directness of attack at the problem in  
hand and a simplicity in treating it    
which is invigorating to see4           
,illustration3 ,,xxv4 ,window in the    
,church of ,s4 ,teresia1 ,trani1 ,italy4

  ,illustration3 ,,xxvi4 ,window in the 
,church of ,s4 ,teresia1 ,trani1 ,italy4
   ,,xxv4 and ,,xxvi4  ,,windows ,,in   
,,the ,,church ,,of ,s4 ,,teresia1      
,,trani1 ,,italy4  ,these two windows   
have very little to suggest ,byzantine  
influence in their design4 ,the form and
 detail are essentially ,romanesque1    
although there is a certain crispness   
and piquancy of treatment in the first  
7,plate ,,xxv47 which belongs to the    
,byzantine work4     ,illustration3     
,,xxvii4 ,window in the ,faade of the   
,basilica at ,altamura1 ,italy4         
,,xxvii4  ,,window ,,in ,,the ,,facade  
,,of ,,the ,,basilica ,,at ,,altamura1  
,,italy4  ,the employment of grotesque  
beasts supporting the columns at each   
side of this window is a very common    
device in the ,italian ,romanesque work4
 ,the use of a reversed capital in place
 of a base for the centre column is also
 a peculiar treatment frequently found  
in ,romanesque work4     ,illustration3 
,,xxviii4 ,windows in the ,faade of ,s4 

,gregorio1 ,bari1 ,italy4   ,,xxviii4   
,,windows ,,in ,,the ,,facade ,,of ,s4  
,,gregorio1 ,,bari1 ,,italy4            
,illustration3 ,,xxix4 ,triforium       
,window in the ,church of ,s4 ,gregorio1
 ,bari1 ,italy4   ,,xxix4  ,,triforium  
,,window ,,in ,,the ,,church ,,of ,s4   
,,gregorio1 ,,bari1 ,,italy4  ,the      
,byzantine architects used pierced      
stonework with great effect both in     
exterior and interior detail4 ,the      
examples here shown are rather crude1   
but effective in the relative scale of  
parts4     ,illustration3 ,,xxx4 ,window
 in the ,apse of the ,cathedral1 ,bari1 
,italy4   ,,xxx4  ,,window ,,in ,,the   
,,apse ,,of ,,the ,,cathedral1 ,,bari1  
,,italy4  ,the ornament about this      
window1 especially that in the long     
panel below it and upon the cyma of the 
soffit above1 is ,byzantine in          
character1 while the columns1 with the  
exception of the capital of the one at  
the left1 are much more ,romanesque4    
,illustration3 ,,xxxi4 ,a ,window in    

,bittonto1 ,italy4   ,,xxxi4  ,a        
,,window ,,in ,,bittonto1 ,,italy4      
,this is not an especially beautiful    
example1 but is an illustration of the  
direct and vigorous treatment of the    
early barbarian ,romanesque builders4   
,illustration3 ,,xxxii4 ,window in the  
,apse of the ,cathedral1 ,bittonto1     
,italy4   ,,xxxii4  ,,window ,,in ,,the 
,,apse ,,of ,,the ,,cathedral1          
,,bittonto1 ,,italy4  ,in this case the 
beautiful and delicate ,byzantine       
leafage can be seen on the mouldings of 
the arch above the window4 ,as in       
several of the preceding examples1 there
 is a curious mixture of the two styles4
     ,the ,brochure ,series  of         
,architectural ,illustration4           
,,published ,,monthly ,,by  ,,bates     
,,guild1  #f ,,beacon ,,street1         
,,boston1 ,,mass4   ,subscription ,rates
 per year4 #ej cents1 in advance4       
,special ,club ,rate for five           
subscriptions44 #b4jj4  ,entered at the 
,boston ,post ,office as ,second-class  

,matter4         99       99       99   
99       99  ,several weeks ago the     
stock of back numbers of ,,the          
,,brochure ,,series held to fill        
subscription orders was exhausted1 and  
in future all subscriptions will have to
 be dated from the number current at the
 time the subscription is placed4 ,all  
who wish to have the remaining numbers  
of this year should subscribe at once1  
as no back numbers will be kept in      
stock4 ,the edition has been increased  
to #g1jjj copies1 and if the present    
rate of growth in the subscription      
department holds will shortly have to be
 doubled4         99       99       99  
99       99  ,the judges in the recent  
competition for the ,rotch ,travelling  
,scholarship1 ,messrs4 ,cass ,gilbert1  
,george ,b4 ,post1 and ,frank ,miles    
,day1 have awarded the scholarship to   
,william ,s4 ,aldrich4 ,mr4 ,aldrich has
 taken the examinations this year for   
the first time1 although several of his 
unsuccessful rivals for the honor have  

entered before in years past4 ,he has   
been for some time in the office of ,mr4
 ,c4 ,h4 ,blackall1 and has been engaged
 upon important work1 such as the new   
,tremont ,temple1 which is now          
approaching completion4  ,in #ahhd he   
entered the ,department of ,architecture
 at the ,massachusetts ,institute of    
,technology1 and completed the two      
years' special course in #ahhg1 and then
 went to the office of ,mr4 ,john       
,calvin ,stevens in ,portland1 ,me4 ,he 
afterwards worked in the ,boston office 
of ,mc,kim1 ,mead  ,white1 and in the   
office of ,peabody  ,stearns1 where he  
was engaged upon the drawings for the   
buildings at the ,world's ,fair4 ,as    
will be seen1 he has had a varied       
experience and is well equipped to make 
the best use of his opportunities for   
the next two years4  ,it has been the   
custom in recent years with the winners 
of the scholarship to delay their       
departure until midsummer or early fall1
 but ,mr4 ,aldrich proposes to start in 

,june4 ,his plan of work has not yet    
been entirely fixed1 but he will        
probably spend a large part of his time 
in ,italy1 working in conjunction with  
the ,american atelier at ,rome4         
99       99       99       99       99  
,the three other scholarships in which  
the same problem in design was employed 
have also been awarded4 ,for the ,mc,kim
 ,fellowship of ,columbia ,college ten  
designs were submitted4 ,the award was  
made to ,mr4 ,john ,russell ,pope of    
,new ,york1 a graduate from the school  
in the class of #ahid4 ,the ,roman      
,scholarship was also awarded to ,mr4   
,pope4 ,in the competition for the      
latter twenty-three designs were        
entered1 and besides the first award    
honorable mention was given to ,mr4     
,henry ,e4 ,emery of ,nyack1 ,n4 ,y41   
,mr4 ,fellows of ,chicago1 and ,mr4     
,bossange and ,mr4 ,ayres of ,new ,york1
 graduates of ,columbia ,college1 and to
 ,mr4 ,percy ,ash of ,philadelphia4  ,in
 the ,university of ,pennsylvania       

,scholarship in ,architecture there were
 six competitors1 and the award was made
 to ,mr4 ,percy ,ash1 a graduate of the 
,university4 ,mr4 ,ash has also had     
several years' practical experience in  
the best offices of ,philadelphia1 such 
as those of ,cope  ,stewardson and      
,frank ,miles ,day  ,bro4  ,mr4 ,h4 ,l4 
,duhring1 ,jr41 of the ,senior class in 
the ,university1 was given second place4
         99       99       99       99  
99  ,the ,american ,architect1 in an    
interesting notice of the recent        
exhibition of the ,boston ,society of   
,architects and ,boston ,architectural  
,club1 takes the occasion to comment    
unfavorably upon the disfigurement of   
the catalogue by advertisements1 which  
it says are most excellent things in    
their proper place1 but wholly out of   
place in an exhibition catalogue4 ,why  
this is so it is hard to see1 unless the
 ,architect believes that there is not  
advertising enough to go round1 and that
 it should all be reserved for the trade

 and professional papers4 ,at all events
 this is kicking against the pricks1 for
 it is well known that the expenses of  
such exhibitions cannot be met without  
some outside assistance1 and the most   
feasible plan that has been found for   
making both ends meet is to interest the
 dealers in materials used in the       
buildings represented in the            
exhibitions4 ,as these dealers are      
seldom named on the drawings exhibited1 
it seems proper that some return should 
be made for their most valuable         
assistance1 without which the exhibition
 would not be possible4  ,the ,architect
 further says3 ,the position taken by   
the ,st4 ,louis ,chapter ,a4 ,i4 ,a4 was
 the proper and dignified one1 and it   
ought to be followed elsewhere4 ,the    
catalogue of their recent exhibition1   
although a much more costly one than    
either the ,boston or the ,league       
catalogue1 contains not a line of       
advertising matter4 ,this is certainly  
an amusing misstatement4 ,instead of not

 a line1 this catalogue has more space  
devoted to advertising than any of the  
others mentioned4 ,what it would have   
been without its sixty-four pages of    
advertising1 yielding an income of at   
least #ej a page1 we leave others to    
figure out4 ,some of these pages we     
should prefer to see treated            
differently1 as they do detract from the
 illustrations which they face1 and they
 are sprinkled full of water-closets1   
radiators1 bath-tubs1 and various other 
building appliances not especially      
artistic in their suggestiveness4 ,still
 there is considerable taste and care   
evinced in the arrangement of many of   
the pages1 and they are well printed on 
good paper4 ,possibly this accounts for 
the failure of the ,architect to        
recognize them as advertisements4  ,the 
dignified course1 it seems to us1 is    
that followed by the committee of the   
,boston exhibition4 ,in this case a     
certain number of pages was reserved in 
the catalogue to be devoted to          

advertising1 and the houses to be       
represented were given to understand    
that all would be treated alike4 ,no    
cuts would be used1 and the pages would 
all be set in type of uniform style1    
thus insuring a desirable ensemble4 ,we 
think that the advertising when well    
presented adds to1 rather than detracts 
from1 the interest of a catalogue4 ,our 
only desire is to see it done in good   
taste4 ,the display of plumbing         
apparatus and all manner of building    
appliances we do not consider in good   
taste in this place4  ,the secretaries  
of a number of the architectural clubs  
have very kindly responded to our       
request for notices and reports of their
 meetings and proceedings1 and we are   
pleased to be able to give short reports
 of such occurrences as are of general  
interest4 ,there are some clubs1        
however1 from whom we have not yet      
heard1 and we would suggest that it will
 be a help to all concerned if the      
secretaries of all the architectural    

clubs will furnish us with short        
accounts of their regular meetings and  
of any other occasions of importance4   
,we shall be pleased also to publish any
 correspondence which will in any way   
further the interests of these          
organizations4 ,we shall be glad to have
 ,,the ,,brochure ,,series considered as
 the organ of communication between the 
various clubs1 and will place our       
services at their command4     ,books4  
,examples of ,colonial ,architecture in 
,charleston1 ,s4 ,c41 and ,savannah1    
,ga4 ,compiled1 photographed1 and       
published by ,edward ,a4 ,crane and ,e4 
,e4 ,soderholtz1 ,boston ,architectural 
,club1 ,boston4 #ej plates1 #aa x #ad4  
#ab4ej4  ,how much the revival of the   
classic influence of the early colonial 
and the immediately succeeding period is
 going to prevail in the establishment  
of a distinctive ,american style of     
architecture it is now difficult or     
indeed impossible to determine2 but at  
all events the reaction from the ,queen 

,anne vagaries of ten years ago to the  
more severe mass and chaste detail of   
the recent so-called colonial houses is 
a step in the right direction1 and we   
have much to be thankful for in the     
improvement which this tendency has     
wrought in our recent domestic          
architecture4 ,beautiful and admirable  
as some of the recent examples of this  
work are1 very few show the subtle      
appreciation of design to be found in   
many of the older buildings which until 
the last year or two have been looked   
upon as merely the outgrown and cast-off
 work of an age much less refined than  
our own4  ,with the very general        
adoption of this style there has been an
 increased interest in the few remaining
 fine old examples which are scattered  
over the ,eastern and ,middle ,states1  
and the best of these are now familiar  
to architects4  ,few1 however1 know     
anything of the development of this     
style in the ,southern ,states1 and the 
work now before us will be a revelation 

to those who have not visited the       
neighborhood of ,charleston and         
,savannah4  ,a large proportion of the  
plates is devoted to ,charleston1 which 
owes its wealth and in fact the greater 
part of its existence to the prosperous 
planters of former days1 who made the   
city a winter resort4  ,the most notable
 house illustrated in the work is the   
,william ,bull ,pringle house1 built by 
,miles ,brewton in #agfj4 ,it has long  
been famous as one of the finest houses 
in the country4 ,josiah ,quincy1 who was
 entertained by its first owner1 speaks 
in enthusiastic terms of its beauty and 
the charm of its surroundings4 ,fourteen
 plates are devoted to illustrating its 
various features4 ,the two-story portico
 with a ,doric order below and ,ionic   
above1 relieved against the brick front 
laid in ,flemish bond1 the simple but   
well-designed iron fence1 flanked on    
either side by a wall with massive brick
 posts covered with plaster1 and all    
overgrown with a tangle of foliage1 make

 up a fascinating picture4 ,the view of 
the side gateway and a group of darky   
boys is wonderfully picturesque1 besides
 being very suggestive as an            
architectural fragment4  ,the detail is 
delicate and refined1 but as a rule     
lacks the force and vitality of the     
,northern work of the same period4 ,the 
interior detail shows a marked ,french  
influence1 especially in the ceilings1  
mantels1 and stairway4 ,the             
drawing-room1 of which a double plate is
 given1 is probably without doubt the   
finest colonial room in the country1 and
 is certainly a fine piece of design all
 through4  ,one feature in planning     
which seems to be peculiar to this      
region1 as it is not found in the houses
 at the ,north1 is the location of the  
drawing-room1 which is here on the      
second floor1 usually extending entirely
 across the front of the house4 ,there  
is seldom1 however1 any indication of   
this in the facade by a distinctive     
treatment of the second story4 ,but the 

effect is seen in the interior by the   
greater importance naturally given to   
the staircase hall4  ,the ,gibbs house1 
built in #ageb1 which is shown by       
several plates1 is also very attractive4
 ,the two interior doorways shown on one
 plate are among the most refined that  
we can remember4  ,the entrance and     
staircase hall of the ,gov4 ,bennett    
house will bear comparison with anything
 of its class to be found1 and the      
plates showing it will be of especial   
value for interior work4  ,the ,bull    
house is of a type apparently common in 
the older work of this region4 ,it is   
square and covered with a hip roof4 ,the
 front is divided into three bays1 the  
centre and wider one crowned with a low 
gable or pediment4 ,the main floor is   
high1 leaving a basement below and no   
cellar2 and the front door1 an          
illustration of which we give herewith1 
is reached by a double flight of steps  
protected by an iron railing4 ,many of  
the houses are provided with high fences

 and massive gateposts4 ,a number of the
 plates give fine examples of these and 
several very interesting pieces of iron 
work4  ,illustration3 ,doorway to the   
,bull ,house1 ,charleston4  ,of the     
churches1 ,st4 ,michael's and ,st4      
,philip's in ,charleston are selected4  
,the former was built in #agfj1 and is  
attributed to the ,english architect1   
,gibbs1 who is also credited with the   
old ,archdale house1 with how good      
authority we do not know4  ,on the      
whole1 the choice of material is        
excellent4 ,there is a large number of  
plates of detail which for architects'  
use are always the most valuable1 and   
the work of the photographer and printer
 has been done unusually well4          
99       99       99       99       99  
,catalogue of the ,joint ,exhibition of 
the ,boston ,society of ,architects and 
the ,boston ,architectural ,club1 ,april
 #ae to #ba1 #ahie4 ,boston3 ,published 
for the exhibition by ,bates  ,guild4   
#if pp41 #cf illustrations4 #ce cents4  

,a continuation of the general subject  
of exhibition catalogues touched upon in
 our last issue as far as it relates to 
the catalogue of the ,boston            
,architectural ,exhibition4 ,the        
exhibition itself is quite small        
comparatively speaking1 including only  
three hundred and twenty-five numbers1  
but1 as the illustrations in the        
catalogue show1 is widely representative
 and of a high grade of excellence4 ,the
 contributions are very largely confined
 to members of the two societies under  
whose management the exhibition is held4
 ,this tends to give a somewhat local   
character to the exhibition as a whole4 
,still there is a sufficient number of  
important contributions from outside to 
make a quite respectable showing4  ,the 
selection of illustrations1 the only    
ground upon which there is excuse for   
reviewing the publication1 is           
unquestionably good4 ,there are         
thirty-six in all1 covering a wide range
 of subjects treated in a variety of    

ways4 ,the reproductions are unusually  
good1 and the book is neatly and well   
printed on good paper4 ,the cover1      
designed by ,mr4 ,george ,g4 ,will1 is  
especially attractive and good in       
design4     ,club ,notes4   ,recruits in
 the already very considerable list of  
architectural clubs are still coming to 
the front4 ,the latest to be heard from 
is the ,architectural ,club of ,san     
,francisco1 which was organized on ,feb4
 #bf with fourteen members1 some of whom
 were members of the old ,sketch ,club  
of ,san ,francisco4 ,it is growing in   
membership1 and gives promise of a      
bright future4 ,rooms have been secured 
in the ,menisini ,building1 #bca ,post  
,street4 ,meetings are held on the first
 ,monday of each month1 and a paper is  
read and the designs submitted in the   
monthly competitions are criticised and 
the awards announced4 ,the first club   
exhibition will be held ,april #bf4 ,mr4
 ,loring ,p4 ,rixford1 ,room #bd1       
,menisini ,building1 #bca ,post ,street1

 ,san ,francisco1 is secretary4         
,brochure ,series ,competitions4   ,from
 time to time1 as opportunity offers1   
competitions in design will be conducted
 by ,,the ,,brochure ,,series4 ,an      
upright or cabinet piano case1 the      
subject of the first one1 badly needs   
the attention of good designers4  ,the  
,henry ,f4 ,miller  ,sons ,piano        
,company of ,boston have1 for several   
years1 made steady advancement in the   
artistic qualities of their piano cases4
 ,they have equipped their factory with 
a view to special work1 and have        
unusually good facilities for getting   
out pianos to order1 carrying out1      
architects' sketches or those of their  
own designers to harmonize with         
different styles of interior decoration4
  ,it is their idea to encourage the    
special designing of piano cases1 and to
 this end they have placed with the     
publishers fifty dollars to be divided  
into prizes for such designs4 ,only     
sketches will be required1 their object 

being not to use the designs further    
than to publish the best1 but to get    
designers to give a little attention to 
this particular problem1 and so do a    
little towards creating an interest in  
the better design of piano cases4 ,full 
particulars1 including a structural     
diagram and a statement of the technical
 requirements and limitations1 will be  
announced in our next issue4            
,personal4   ,as usual at this season1 a
 number of architects and draughtsmen   
are planning to go abroad2 some for only
 a few months1 and others for a longer  
time4 ,among these are ,messrs4 ,h4 ,t4 
,pratt1 ,matthew ,sullivan1 ,c4 ,d4     
,maginnis1 and ,h4 ,c4 ,dunham1 of      
,boston1 and ,e4 ,k4 ,taylor and ,h4 ,l4
 ,jones of ,new ,york4