,transcriber's ,note3 ,italic text is enclosed in underscores2 boldface text is enclosed in equals signs4 ,transcriber included the plate numbers in their captions4 ,,selected ,,etchings ,,by ,,piranesi ,,series ,i4 ,illustration ,selected ,etchings by ,,piranesi ,with an ,introduction by ,c4 ,h4 ,,reilly1 ,m4,a41 ,f4,r4,i4,b4,a41 ,roscoe ,professor of ,architecture1 ,the ,university of ,liverpool4 ,,series ,i4 ,,technical ,,journals1 ,,ltd4 ,,caxton ,,house 33 ,,westminster ,,list ,,of ,,plates #a4 ,title-page to the 8,vedute di ,roma40 7,pub4 ,rome #agea47 #b4 ,composition of ,ruins4 #c4 ,bas-relief from the ,portico of the ,church of the ,apostles1 ,rome4 #d4 ,antique bas-relief from ,naples4 #e4 ,trophy of ,arms4 ,,designs4 #f4 ,design for a ,grand ,staircase4 #g4 ,design for a ,sculpture ,gallery4 #h4 ,design for the ,mausoleum of a ,roman ,emperor4 #i4 ,sketch ,design4 #aj4 ,composition4 ,,views ,,of ,,roman ,,buildings4 #aa4 ,pyramid of ,c4 ,cestius1 ,appian ,way4 #ab4 ,temple of ,hercules1 ,cora4 #ac4 ,basilica of ,maxentius1 ,rome4 #ad4 ,the ,capitol1 ,rome4 #ae4 ,the ,capitol1 ,rome4 #af4 ,the ,colosseum and the ,arch of ,constantine1 ,rome4 #ag4 ,the ,colosseum4 #ah4 ,tomb of ,hadrian 7,castle of ,st4 ,angelo74 #ai4 ,ponte ,molle1 ,rome4 #bj4 ,the ,temple of ,vesta at ,tivoli4 #ba4 ,interior of the ,pantheon4 #bb4 ,gallery in ,hadrian's ,villa1 ,tivoli4 #bc4 ,ponte ,st4 ,angelo4 #bd4 ,temple of ,concord1 ,rome4 #be4 ,interior of ,santa ,maria ,maggiore1 ,rome4 #bf4 ,piazza ,navona1 ,rome4 #bg4 ,view of the ,churches of the ,madonna di ,loreto and ,santa ,maria1 by ,trajan's ,column1 ,rome4 #bh4 ,piazza of ,st4 ,peter's1 ,rome4 #bi4 ,antique ,equestrian statues 7,castor and ,pollux7 on the ,quirinal1 ,rome4 #cj4 ,the ,quirinal1 ,rome4 ,,imaginary ,,roman ,,prisons4 #ca4 ,etching from the series of imaginary ,roman ,prisons4 #cb4 ,ditto4 ,,vases1 ,,tripods1 ,c4 #cc4 ,vase from 8,vasi ,candelabri40 7,pub4 ,rome #aggh47 #cd4 ,vase from ditto4 #ce4 ,vase from ditto4 #cf4 ,vase from ditto4 #cg4 ,vase and tripod from ditto4 #ch4 ,vase and pedestal from ditto4 #ci4 ,tripod from 8,vasi ,candelabri40 #dj4 ,tripod and bas-relief from ditto4 #da4 ,tripod from ditto4 #db4 ,lamp from ditto4 #dc4 ,vases from ditto4 #dd4 ,altar from ditto4 ,,chimneypieces4 #de4 ,design for ,chimneypiece from 8,diverse ,maniere40 #df4 ,ditto4 #dg4 ,ditto4 #dh4 ,ditto4 #di4 ,ditto4 #ej4 ,design for a ,chimneypiece and clock from 8,diverse ,maniere40 ,,introduction ,architecturally speaking1 we live at a time somewhat similar to that in which the genius of ,piranesi first made its impact upon ,english designers4 ,in the latter half of the eighteenth century ,english architects and patrons were alike growing a little tired of pure ,palladianism4 ,the novelty and spirit of ,inigo ,jones's work had given place to the uninspired correctness of ,campbell1 ,kent1 and a host of lesser disciples4 ,restrained and elegant as the work of those architects appears to modern eyes1 after the debauch of 8free ,classic0 from which we are now emerging1 it is nevertheless true that1 at that time1 the ,english ,palladian formula was nearly exhausted4 ,the circuses and crescents of ,bath1 with their unfluted columns and dull ornament1 their endless repetitions of correct features1 could not be indefinitely extended4 ,the early ,georgian houses1 so comfortable in the country1 began to look a little coarse and provincial in ,london streets1 particularly to those who had taken the ,grand ,tour4 ,what more natural1 then1 that architects should turn again to the source and fountainhead from which ,palladio had drawn his inspiration1 to see whether it had anything fresh to yield8 ,the practising architect in ,england at the end of the eighteenth century required1 however1 a cicerone to the remains of the antique world just as much as his predecessor did in the seventeenth century4 ,the seventeenth-century architect chose ,palladio as his guide2 the architect in the latter part of the eighteenth century chose ,piranesi4 ,naturally1 the lesson taught was somewhat different4 ,the eighteenth-century architect was much further advanced in scholarship4 ,palladio gave the main proportions of the ,orders and the principles of composition4 ,he laid down definite rules and precepts suitable to beginners4 ,his was the first-year work1 to use a school simile4 ,piranesi takes the scholars of the later years and initiates them into all the mysteries of ornament and stylistic character4 ,offering no pedantic rules1 he makes a direct appeal to the imagination of his students4 ,he reveals to them not only the power but the intimate spirit of the ,roman world4 ,he offers them whole collections of vases and candelabra to use or not as they like4 ,he unlocks a treasure-house--a library full of fresh detail4 ,the detail1 too1 is rich1 complex detail1 safe only in the hands of the discerning4 ,but ,piranesi's students in ,england at that time were fit to profit by such a master2 among his more attentive scholars being ,robert ,adam1 ,chambers1 ,dance1 and many other architects of the late eighteenth century1 and through these he influenced the decorative designers from ,chippendale to ,pergolesi4 ,mr4 ,phene ,spiers1 not without a certain hyperbole1 traces the ,empire ,style to ,piranesi's designs for chimneypieces4 ,at any rate it is safe to say that the new vigour and life which came into ,english architecture with the work of ,chambers and ,adam was derived from a more thorough and complete knowledge of ,roman architecture1 and that the chief source of that knowledge was the vast collection of thirteen hundred or more engraved plates which ,piranesi etched and published at the marvellous rate of one a fortnight throughout a fairly long life4 ,now1 if any coherence at all can be seen in the trend of modern ,english architecture1 we seem at the present moment to be just as dissatisfied with mere ,palladianism as were the architects of the end of the eighteenth century4 ,like them1 too1 we are looking for a more complete expression of the ,classic spirit4 ,to us1 therefore1 ,piranesi may have a very similar lesson4 ,the unfortunate thing1 however1 is that his etchings1 a few years ago so easy to obtain1 are daily becoming more rare and expensive4 ,a collection of the best of those issued during the artist's lifetime could hardly be made to-day for less than a couple of hundred pounds4 ,the ,paris reprints which his son issued in #ahae might be obtained for half that sum1 but to the ordinary practitioner this may be considered as half infinity4 ,even ,mr4 ,keith ,young's massive volume of reproductions costs several pounds4 ,the days of ,robert ,adam were the days when architects were few and patrons were rich4 ,our own times are less happy in that respect1 but they are nevertheless the days of unrivalled opportunity4 ,piranesi is the magician who can show what opportunities may become2 more especially as the process block1 albeit lacking in the marvellous gradations of tone and feeling of the original etchings1 renders it possible to publish at small cost such a series as are comprised in this volume4 ,the following are the main facts of ,piranesi's career as far as they are known3-- ,giovanni ,battista ,piranesi1 to give him his full name1 was born in ,venice in the year #agbj4 ,his father ,angelo pursued the honourable calling of a stonemason1 so suited to the progenitor of an architect4 ,his mother was sister to an engineer and architect named ,lucchesi1 and it was to him that young ,piranesi was articled4 ,in his early years he seems to have been something of an enfant prodigue and is reported to have been able to draw the architecture of ,venice at the age of eight4 ,at eighteen he persuaded his parents to send him to ,rome1 and ever after1 although signing himself 8,venetian ,architect10 he remained at work in that city4 ,at first1 in his desire to obtain a firm grasp on the technique of the graphic arts1 he seems to have attached himself to various masters4 ,the story is told that he threatened one of these masters1 ,vasi1 with the loss of his life because he imagined that some secret in the process of etching was being withheld from him4 ,such a story1 whether true or not1 together with the later one that he saw for the first time and married his wife within the space of one week1 fits in well enough with the impetuous temperament and fine fury of work which all the etchings exhibit4 ,the numerous controversies in which he was engaged in later years1 sometimes involving the erasure of names from dedication and title-pages1 are all evidence of the same characteristics--characteristics which may have made him1 according to modern standards1 a poor archologist1 but which were not without value to the artist and teacher of artists4 ,in #agda1 when twenty-one years of age1 ,piranesi published his first etchings1 four compositions of ruins1 afterwards included in his ,opere ,varie1 issued by ,bouchard at ,rome in #agej4 ,in #agdh he published his ,antichit ,romane de' ,tempi della ,repubblica e de' primi ,imperatori1 etc41 containing thirty plates of triumphal arches1 amphitheatres1 and other ancient structures1 mostly from places other than ,rome4 ,the price of this volume 7,mr4 ,samuel informs us in his admirable book7 was #af paoli1 or about #acs4 #d;d41 which shows for how small a contemporary reward ,piranesi had to work4 ,in #agej ,bouchard published his ,opere ,varie1 which contained a number of his imaginative designs for great halls1 staircases and monuments1 as well as his famous series of prison dreams--the ,carceri d',invenzione4 ,from this time onwards followed in quick succession an immense number of etchings grouped somewhat irregularly in great folio volumes with varying engraved title-pages4 ,the ,raccolta di ,varie ,vedute 7,rome #agea7 contains ninety-three small views and includes work by ,israel ,silvestre and other etchers4 ,this volume must not be confused with the ,vedute di ,roma1 in two volumes1 containing large title-pages and one hundred and thirty-seven plates1 thirty-four of which were published in #agea1 under the title ,le ,magnificenze di ,roma le pi remarcabili4 ,perhaps ,piranesi's greatest work1 in both size and importance1 is ,le ,antichit ,romane1 in four volumes1 containing a varying number of plates from #baf-bbd4 ,this was first issued in #agef4 ,in #agfa1 he etched four plates for ,robert ,adam illustrating the latter's design for ,sion ,house1 and in #agfi he published his ,diverse ,maniere d',adornare1 in which appear the ornate but very stimulating designs for chimneypieces1 referred to above4 ,of his remaining works1 perhaps the most important to architects is the ,vasi ,candelabri ,cippi ,sarcofagi ,tripodi ,lucerne ed ornamenti ,antichi1 to give it its full title1 which was published in ,rome in #aggh--the year of his death4 ,this contains a series of magnificent drawings of antiques1 largely from his own collection4 ,a great number of these drawings are dedicated to various ,english gentlemen1 each described as 8a lover of the fine arts10 which is proof of the interest ,englishmen were already taking in ,piranesi and his work4 ,in addition to the foregoing1 ,piranesi published a number of monographs on special subjects illustrated with etchings4 ,among these are the volumes on ,trajan's ,column1 the ,theatre at ,herculaneum1 ,hadrian's ,villa1 and the ,temples at ,pstum1 all of which are more noticeable for the boldness of the draughtsmanship than for the archological views they set forth4 ,it must not be imagined1 however1 because ,piranesi was the interpreter of the romance of the ,roman ruins1 and through this very romance fired the imagination of ,europe1 that he was not when he liked an exact draughtsman4 ,the cracks on the obelisk shown in the foreground of his etching of ,santa ,maria ,maggiore tally with those shown in a photograph taken one hundred and fifty years later4 ,in ,april1 #ageg1 ,piranesi was elected an honorary ,fellow of the ,society of ,antiquaries1 which is another proof of the esteem in which he was held in ,england4 ,he was knighted by ,pope ,clement ,,xiii4 in #agfg4 ,he died in #aggh1 and is buried in the church of ,santa ,maria ,aventina4 ,of his five children1 ,francesco 7b4 #agdh7 and ,laura 7b4 #agej7 etched in their father's manner and assisted him in his work4 ,after his death1 however1 they took to print-selling rather than creative work1 though ,francesco still etched plates on his own account4 ,in #agih he packed up his father's copper-plates and took them to ,paris4 ,during an adventurous journey they fell into the hands of an ,english ,admiral1 who1 however1 knowing the fame of the father1 unfortunately restrained his first impulse to throw the plates overboard4 ,it was unfortunate because on arrival in ,paris ,francesco was able1 with the help of the ,french ,government1 to republish from the old plates a new edition of his father's work1 which1 from the state of the plates1 for many years did considerable damage to ,piranesi's fame as an etcher4 ,the plates exist at the present day1 and it is believed that prints are still occasionally struck from them4 ,now1 however1 the difference between the original ,roman impressions and the later ,paris ones is well understood1 and ,piranesi's renown never stood higher than it does to-day4 ,his son died in #ahaj4 ,the plates here reproduced are from the author's collection1 with the exception of the designs for chimneypieces1 which have been kindly lent by ,mr4 ,batsford4 ,c4 ,h4 ,,reilly4 ,illustration3 ,plate #a3 ,title-page to the 8,vedute di ,roma40 7,pub4 ,rome #agea47 ,illustration3 ,plate #b3 ,composition of ,ruins4 ,illustration3 ,plate #c3 ,bas-relief from the ,portico of the ,church of the ,apostles1 ,rome4 ,illustration3 ,plate #d3 ,antique bas-relief from ,naples4 ,illustration3 ,plate #e3 ,trophy of ,arms4 ,illustration3 ,plate #f3 ,design for a ,grand ,staircase4 ,illustration3 ,plate #g3 ,design for a ,sculpture ,gallery4 ,illustration3 ,plate #h3 ,design for the ,mausoleum of a ,roman ,emperor4 ,illustration3 ,plate #i3 ,sketch ,design4 ,illustration3 ,plate #aj3 ,composition4 ,illustration3 ,plate #aa3 ,pyramid of ,c4 ,cestius1 ,appian ,way4 ,illustration3 ,plate #ab3 ,temple of ,hercules1 ,cora4 ,illustration3 ,plate #ac3 ,basilica of ,maxentius1 ,rome4 ,illustration3 ,plate #ad3 ,the ,capitol1 ,rome4 ,illustration3 ,plate #ae3 ,the ,capitol4 ,illustration3 ,plate #af3 ,the ,colosseum and the ,arch of ,constantine1 ,rome4 ,illustration3 ,plate #ag3 ,the ,colosseum4 ,illustration3 ,plate #ah3 ,tomb of ,hadrian 7,castle of ,st4 ,angelo74 ,illustration3 ,plate #ai3 ,ponte ,molle1 ,rome4 ,illustration3 ,plate #bj3 ,the ,temple of ,vesta at ,tivoli4 ,illustration3 ,plate #ba3 ,interior of the ,pantheon4 ,illustration3 ,plate #bb3 ,gallery in ,hadrian's ,villa1 ,tivoli4 ,illustration3 ,plate #bc3 ,ponte ,st4 ,angelo4 ,illustration3 ,plate #bd3 ,temple of ,concord1 ,rome4 ,illustration3 ,plate #be3 ,interior of ,santa ,maria ,maggiore1 ,rome4 ,illustration3 ,plate #bf3 ,piazza ,navona1 ,rome4 ,illustration3 ,plate #bg3 ,view of the ,churches of the ,madonna di ,loreto and ,santa ,maria1 by ,trajan's ,column1 ,rome4 ,illustration3 ,plate #bh3 ,piazza of ,st4 ,peter's1 ,rome4 ,illustration3 ,plate #bi3 ,antique ,equestrian ,statues 7,castor and ,pollux7 on the ,quirinal1 ,rome4 ,illustration3 ,plate #cj3 ,the ,quirinal1 ,rome4 ,illustration3 ,plate #ca3 ,etching from the ,series of ,imaginary ,roman ,prisons4 ,illustration3 ,plate #cb3 ,etching from the ,series of ,imaginary ,roman ,prisons4 ,illustration3 ,plate #cc3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #cd3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #ce3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #cf3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #cg3 ,vase and ,tripod from the 8,vasi ,candelabri40 ,illustration3 ,plate #ch3 ,vase and ,pedestal from the 8,vasi ,candelabri40 ,illustration3 ,plate #ci3 ,tripod from the 8,vasi ,candelabri40 ,illustration3 ,plate #dj3 ,tripod and bas-relief from the 8,vasi ,candelabri etc40 ,illustration3 ,plate #da3 ,tripod from the 8,vasi ,candelabri40 ,illustration3 ,plate #db3 ,lamp from the 8,vasi ,candelabri40 ,illustration3 ,plate #dc3 ,vases from the 8,vasi ,candelabri40 ,illustration3 ,plate #dd3 ,altar from the 8,vasi ,candelabri40 ,illustration3 ,plate #de3 ,design for ,chimneypiece and ,grate from the 8,diverse ,maniere40 ,illustration3 ,plate #df3 ,design for ,chimneypiece from the 8,diverse ,maniere40 ,illustration3 ,plate #dg3 ,design for ,chimneypiece from the 8,diverse ,maniere40 ,illustration3 ,plate #dh3 ,design for ,chimneypiece from the 8,diverse ,maniere40 ,illustration3 ,plate #di3 ,design for ,chimneypiece from the 8,diverse ,maniere40 ,illustration3 ,plate #ej3 ,design for ,chimneypiece and ,clock from the 8,diverse ,maniere40 ,,some ,,interesting ,,publications ,,issued ,,by ,,technical ,,journals1 ,,ltd4 ,,caxton ,,house1 ,,westminster1 ,,london ,,technical ,,journals1 ,,ltd4 ,publishers' ,note4 ,in presenting this list the ,publishers would draw attention to the distinctive character of the works which are described4 ,these cover a wide field1 being of interest not only to those who are professionally concerned with architecture and building1 but also to those who have a general non-technical interest in such subjects4 ,thus1 the volume giving an illustrated historical survey of ,medival and ,renaissance architecture in ,england1 and the volumes dealing with ,english domestic and ecclesiastical architecture1 garden city houses1 and domestic interior details1 appeal alike to the educated layman and to the architect in practice4 8,,the ,,practical ,,exemplar ,,of ,,architecture0 and 8,,standard ,,details10 though also of strictly professional interest1 are of totally different character1 giving1 as they do1 carefully measured drawings and photographs of some of the finest examples of architecture in the kingdom2 while those who are specially concerned with architectural education from the standpoint of design will find in 8,,the ,,liverpool ,,sketch ,,book0 a notable collection of students' drawings4 8,,who',s ,,who ,,in ,,architecture0 should be warmly welcomed as a work occupying a mid-position between the biography and the directory4 ,as its name implies1 it gives biographical particulars of all the leading men in the profession1 and furnishes as well a complete list of architects in practice4 ,in addition1 particulars are given of 8,,the ,,architects' ,,and ,,builders' ,,journal0--the most up-to-date1 the best illustrated1 and most widely read of the architectural and building weeklies--and 8,,the ,,architectural ,,review10 which1 in its new form1 has achieved the distinction of being the finest of all current publications devoted to the art of architecture4 ,a ,short ,chronological ,history of ,british ,architecture4 ,the greatest achievements of ,british architecture are presented as a coup d'il in this attractive volume4 ,thus1 in ,section ,i4 we survey the work of the cathedral builders2 in ,section ,,ii4 notable examples of the ,early ,renaissance1 in ,section ,,iii4 the great buildings of the ,later ,renaissance1 and a few examples that carry us into the nineteenth century2 the survey concluding with a fine series of illustrations of work by ,sir ,aston ,webb1 ,mr4 ,ernest ,newton1 ,mr4 ,mervyn ,macartney1 and other eminent architects of the present day4 ,the letterpress accompanying the illustrations is written by acknowledged authorities1 and sets forth in brief order the entire chronological development1 following the succeeding phases of architectural art1 and supplying those essential facts which are necessary to a proper estimate of the whole4 ,,contents3 ,section ,i4 ,summary of ,,english ,,medi,,val ,,architecture 7#ajej-aeej74 ,by ,,edward ,s4 ,,prior1 ,m4,a41 ,f4,s4,a41 ,f4,r4,i4,b4,a4 ,section ,,ii4 ,summary of ,,early ,,renaissance ,,architecture 7#aeaf-afej74 ,by ,j4 ,,alfred ,,gotch1 ,f4,s4,a41 ,f4,r4,i4,b4,a4 ,section ,,iii4 ,summary of ,,later ,,renaissance ,,architecture4 ,by ,,mervyn ,e4 ,,macartney1 ,b4,a41 ,f4,s4,a41 ,f4,r4,i4,b4,a4 ,section ,,iv4 ,,interesting ,,examples ,,of ,,work by ,living ,architects4 ,section ,v4 ,list of the ,,principal ,,architects ,,of ,,the ,,english ,,later ,,renaissance1 and their chief authenticated and reputed works 7with dates74 ,one ,volume4 #ab in4 by #i in4 #aej pages4 ,art ,paper4 ,,price #aj_/- ,,nett4 ,the ,architectural ,review4 ,a ,magazine for all ,lovers of ,architecture4 8,the ,architectural ,review10 in the new and enlarged form in which it is now published1 is acknowledged to be the finest of all periodicals devoted to the art of architecture4 ,the superb series of large plates which are a feature of every issue are sufficient alone to warrant the generous praise which the 8,,review0 has received from all quarters4 ,the illustrations are1 indeed1 a most striking feature of the 8,,review10 but there is also the literary side of the magazine to be taken into account1 the articles which appear in its pages being written by acknowledged authorities4 ,in recent years the scope of the 8,,review0 has been largely extended1 so that in its present form it appeals to the educated section of the general public1 as well as to the professional architect4 ,one has only to glance at the issues which have appeared during the past year in order to appreciate what a wide range of interesting subjects are dealt with4 ,the finely illustrated articles on ,london ,clubs1 ,georgian interior decoration1 large country houses like ,sutton ,place and ,broughton ,castle1 the etchings of ,mryon1 ,frank ,brangwyn1 c41 afford ample indication of the general attractiveness of the contents4 ,garden design1 too1 is well represented1 beautiful examples being illustrated by means of photographs reproduced to a large size4 ,monthly4 #ad in4 by #aa in4 #ij pages4 ,,price #a_/- ,,nett4 ,can be obtained of all ,newsagents and ,booksellers4 ,annual ,subscription--,post ,free ,rates3 ,england1 #af_/f2 ,canada1 #c4ej2 ,america1 #e2 ,abroad1 #bj_/-4 ,garden ,city ,houses and ,domestic ,interior ,details4 ,garden suburbs1 or suburbs developed on lines that are far more rural than is possible in the centre of a town1 have sprung up all over the country1 and the architect has been confronted with a new task--the task of designing a small house which can be erected at moderate cost1 but which1 nevertheless1 provides accommodation in keeping with the demands of modern life4 ,it is of great value to have an illustrated survey of the most noteworthy houses that have been erected4 ,the present volume gives such a survey1 in the form of special photographs reproduced to a good size1 showing the actual appearance of the houses1 accompanied in every case by carefully drawn plans4 ,the examples include work by all the leading architects who have devoted special attention to the problem of the small house1 and their solutions are presented in the most attractive form4 ,such illustrations alone would make the book an extremely useful one1 but when to them is added a fine collection of domestic interior details1 the value of the book becomes greatly enhanced4 ,these details are of an essentially practical character1 showing in a complete manner the design and construction of such features as chimneypieces1 panelling1 dressers1 servery1 and store-room fittings1 c4 ,a typical specification of a garden city house is also given1 accompanied by working drawings4 ,post ,free ,rates3 ,england1 #b_/f2 ,canada1 #ge cents2 ,america1 #ge cents2 ,abroad1 #c_/c4 ,recent ,english ,domestic ,architecture4 ,examples selected by ,,mervyn ,e4 ,,macartney1 ,b4,a41 ,f4,s4,a41 ,f4,r4,i4,b4,a4 ,english houses have so long established themselves in the forefront of domestic architecture that the distinctive qualities which they exhibit need not be enlarged upon2 no houses excel them for quiet dignity1 appropriate treatment1 and charm of effect4 ,english architects have enjoyed a unique legacy in the mansions of the ,tudor and ,renaissance periods1 and the delightful character of these examples has been a never-failing inspiration for modern work4 ,of great interest and value1 therefore1 are these volumes dealing with recent examples of ,english ,domestic ,architecture1 by architects whose ability in this branch of work is acknowledged and admired4 ,great care has been exercised in the selection of the examples1 which are illustrated by means of photographs reproduced to a large size1 and accompanied by plans and descriptive particulars4 ,while being of interest equally to the layman as to the architect in practice1 the volumes are no mere picture-books1 but substantial contributions to the subject of ,english ,domestic ,architecture4 ,they are very complete in their scope1 embracing not only general exterior and interior views1 but also details of decorative work in the houses illustrated4 ,garden design1 too1 has received adequate attention4 ,annual ,volumes4 #ac in4 by #h in4 ,over #bjj pages each4 ,,price #g_/f ,,each ,,nett4 ,practical ,notes for ,architectural ,draughtsmen4 ,,by ,a4 ,w4 ,s4 ,,cross1 ,m4,a41 ,f4,r4,i4,b4,a41 ,,and ,,alan ,e4 ,,munby1 ,m4,a41 ,f4,r4,i4,b4,a4 ,the fact that this ,portfolio has now entered upon its second edition1 and that the demand for it is even greater at the present time than when it was first published1 is clear proof of its value to those who are engaged in the practical application of exact draughtsmanship to architectural design4 ,it is essential that the draughtsman should be able to set out 8,the ,orders0 in a rapid and precise manner1 and such facility can only be acquired by familiarity with the best methods of setting up drawings4 ,it is the special object of this volume to show these methods4 ,the plates are not confined to 8,the ,orders0 proper1 but embrace their application to windows1 doorways1 arcading1 niches1 c41 and include also a number of large illustrations of domes1 staircases1 and other constructional features1 as well as plates illustrating the best methods of setting up perspectives and the projection of shadows4 ,in the new edition several of the drawings have been enlarged in order to facilitate rapid reference1 and the collection has been improved in other respects4 ,one ,volume4 #ai in4 by #ad in4 #bg ,plates4 ,,price #ae_/- ,,nett4 ,standard ,details4 ,especially prepared for the use of ,students in ,technical ,schools1 ,universities1 c41 c4 ,this volume has been prepared with the special object of providing very large plates of exterior and interior details1 which1 by reason of their intrinsic excellence1 may be regarded as 8,standard0 details of their several periods4 ,the selection has been made under the direction of ,mr4 ,mervyn ,e4 ,macartney1 ,b4,a1 ,f4,s4,a41 ,f4,r4,i4,b4,a4 ,the drawings themselves are of superb quality--it would1 indeed1 be impossible to excel them as specimens of line draughtsmanship2 and included on the plates are small photographic reproductions of the actual work4 ,the scope of the portfolio is best shown by the following annotated list of the subjects illustrated3-- ,,staircase ,,at ,,thorpe ,,hall 7#b plates74 ,one of the finest examples of a seventeenth-century ,english staircase1 richly wrought and carved4 ,,porch ,,at ,,rainham 7#b plates74 ,a very graceful design1 executed in wood1 dating from the late seventeenth or early eighteenth century4 ,,king',s ,,bench ,,walk ,,doorways 7#c plates74 ,by ,wren1 displaying all his skill in the use of brickwork4 ,,panelling ,,and ,,chimneypiece ,,in ,,new ,,river ,,company',s ,,offices 7#e plates74 ,as an example of the ,later ,english ,renaissance1 nothing finer than this room could be conceived4 ,the carved enrichments are in the manner of ,grinling ,gibbons4 ,,judge',s ,,house1 ,,salisbury 7#b plates74 ,a dignified ,georgian house faade1 dating from the early years of the eighteenth century4 ,,exterior ,,brickwork ,,from ,,enfield 7#b plates74 ,part of a late seventeenth-century house1 now in the ,south ,kensington ,museum4 ,,library ,,chimneypiece1 ,,thorpe ,,hall 7#a plate74 ,an example of the ,early ,renaissance4 ,,staircase ,,in ,,guildhall1 ,,rochester 7#a plate74 ,of the ,wren period--a simple but sturdy design1 full of interest4 ,,dining-,,room ,,chimneypiece1 ,,bourdon ,,house1 ,,london 7#a plate74 ,executed in the eighteenth century from a design by ,inigo ,jones1 with a firegrate of the ,adam period4 ,,staircase ,,in ,,cromwell ,,house1 ,,highgate 7#d plates74 ,the most wonderful staircase of its period--the ,cromwellian4 ,,chimneypiece ,,ascribed ,,to ,,settignano ,,in ,,south ,,kensington ,,museum 7#b plates74 ,a ,florentine example of the late fifteenth century1 finely executed in marble4 ,one ,volume4 #bd in4 by #ah in4 #be ,plates with ,portfolio4 ,,price #ae_/- ,,nett4 ,specification for ,architects4 ,in all ,english-speaking countries 8,,specification0 is the recognised ,standard ,authority on the many subjects with which an ,architect must deal when preparing his ,specifications4 ,the work is at once concise and comprehensive1 and so vast a mass of practical information is not to be found in any other single volume4 ,every section has been written by an accredited authority1 and the annual revision comprises the contributions of scores of qualified specialists of recognised standing in their several departments4 ,to the ,edition for #aiad 7,no4 #af71 the following important new features of topical as well as permanent interest have been contributed3-- ,,the ,,year',s ,,progress ,,in ,,municipal ,,engineering4 ,by ,w4 ,h4 ,maxwell1 ,a4,m4,inst4,c4,e41 ,borough and ,water ,engineer1 ,tunbridge ,wells ,corporation4 ,,recent ,,developments ,,in ,,road ,,construction4 ,by ,w4 ,h4 ,maxwell4 ,with about a dozen diagrams of ,typical ,road ,sections4 ,,surveying ,,instruments ,,and ,,their ,,adjustment4 ,by ,g4 ,a4 ,t4 ,middleton1 ,a4,r4,i4,b4,a4 ,,public ,,lighting4 ,specially contributed4 ,,some ,,waterproofing ,,processes1 ,,lining ,,and ,,integral4 ,,the ,,cause ,,and ,,prevention ,,of ,,smoky ,,chimneys4 ,with many diagrams4 ,,schedule ,,of ,,select ,,prices ,,for ,,building ,,works4 ,compiled by an eminent ,quantity ,surveyor4 ,,the ,,problem ,,of ,,shop-,,front ,,design4 ,specially contributed4 ,,planning ,,the ,,suburban ,,middle-,,class ,,house4 ,with eleven typical plans4 ,by ,edwin ,s4 ,gunn1 ,a4,r4,i4,b4,a4 ,,architect1 ,,builder1 ,,and ,,client3 ,,day-,,work v4 ,,contract4 ,by ,paul ,ogden1 ,f4,r4,i4,b4,a4 ,,close ,,tenders ,,and ,,how ,,to ,,get ,,them4 ,by ,a4 ,g4 ,white1 ,general ,secretary of the ,national ,federation of ,building ,trades ,employers4 ,,the ,,local ,,government ,,board',s ,,new ,,model ,,by-,,laws4 ,by ,h4 ,d4 ,searles-,wood1 ,f4,r4,i4,b4,a4 ,,builders' ,,hoisting ,,gear4 ,by ,henry ,adams1 ,m4,inst4,c4,e41 ,f4,s4,i41 ,m4,s4,a4 ,,modern ,,estate ,,buildings4 ,by ,g4 ,s4 ,mitchell1 ,f4,s4,i4 ,issued in ,december of each year4 #ab in4 by #h in4 ,over #ejj pages4 ,,price #c_/f ,,nett4 7,postage #f;d4 extra inland47 ,can be obtained of all ,booksellers and ,newsagents4 ,english ,ecclesiastical ,architecture4 ,the ecclesiastical buildings of the prominent exponents of the ,gothic revival--,pugin1 ,scott1 ,butterfield1 and the rest--have already been fully illustrated1 but never before has there been brought together a representative series of photographs of the recent work of ,english church architects4 ,the interest and value of this present collection therefore is self-evident4 ,examples of the best modern church work are included1 the illustrations being from specially taken photographs reproduced to a large size4 ,much care has been exercised in the selection of the examples1 which1 moreover1 are not confined to any one style or creed1 but embrace ,established1 ,nonconformist1 and ,roman ,catholic churches in various phases of ,byzantine1 ,gothic1 and ,renaissance design4 ,it is a volume which appeals to all who have an interest in modern church work4 ,one ,volume4 #ac in4 by #h in4 #bej pages4 ,post ,free ,rates3 ,england1 #aj_/f2 ,canada1 #b4hj2 ,america1 #b4hj2 ,abroad1 #aa_/f4 ,the ,practical ,exemplar of ,architecture4 ,in order to secure a complete representation of ,architecture1 it is necessary to encompass the resources of the photographer and the skill of the draughtsman4 ,by these means a pictorial record is obtained showing all the effects of light and shade1 of tone and texture1 of weathering and exposure1 which make up the total effect of the original1 and at the same time there are ready to hand drawings which show the design in elevation1 plan1 and section1 together with details of the enrichment and construction which are not comprehended in the casual glance4 ,the drawings1 specially prepared for this publication1 are themselves admirable examples of accurate1 clear1 and artistic draughtsmanship1 and the subjects which they depict have all been specially selected by ,mr4 ,mervyn ,e4 ,macartney1 ,b4,a41 ,f4,s4,a41 ,f4,r4,i4,b4,a41 as possessing merits of design and execution which are worthy of study and emulation4 ,the 8,,practical ,,exemplar0 is1 indeed1 the architect's vade mecum4 ,in it he finds illustrations of fine examples of chimneypieces1 gates1 panelling1 doorways1 ironwork1 staircases1 windows1 and a score of other features which he can make practical use of4 ,the illustrations are also of value as being technical records of notable examples of architecture which have already been demolished1 or which1 in the course of modern improvements1 are likely to be swept away4 ,four ,portfolios4 #ac in4 by #i in4 ,over #dej ,plates4 ,,price #ae_/- ,,each ,,nett4 ,,complete ,,set1 #b #ajs4 ,,nett4 ,full ,list of ,plates will be sent on application4 ,the ,architects' and ,builders' ,journal4 ,continuous progress has marked 8,,the ,,architects' ,,and ,,builders' ,,journal10 which may now claim to be the most up-to-date1 the most widely read1 and the best illustrated of all the architectural and building weeklies4 ,every issue includes a set of no fewer than six large photographic plates of architectural subjects1 together with a double-page plate illustrating a measured or working drawing4 ,articles dealing with all phases of architecture and building are contributed by well-known men in the profession1 while editorial notes deal trenchantly with current topics of professional interest4 ,special attention is given to constructional subjects1 all important new works being illustrated by means of photographs and drawings1 with accompanying letterpress4 ,thus1 the practical side of building is represented equally with the subject of architectural design4 ,a very complete list of ,contracts ,open is published every week1 together with full particulars of all projected new works1 competitions1 etc4 ,two other valuable features are the ,special ,law ,reports1 dealing succinctly with all cases of importance1 and 8,inquiries ,answered10 under which heading experts furnish advice on various problems raised by correspondents4 ,can be obtained of all ,newsagents and ,booksellers4 ,published ,weekly4 ,price #b;d4 ,every ,wednesday4 ,about #eb pages weekly4 #ab in4 by #h in4 ,annual ,subscription--,post ,free ,rates3 ,england1 #aj_/aj2 ,canada1 #c4bj2 ,america1 #d4ge2 ,abroad1 #ai_/f4 ,the ,liverpool ,sketch ,book4 8,the ,liverpool ,sketch ,book0 records a selection of the best designs and measured drawings executed by students of the ,school of ,architecture of the ,liverpool ,university4 ,this ,school of ,architecture1 under the direction of ,professor ,c4 ,h4 ,reilly1 ,m4,a41 ,f4,r4,i4,b4,a41 has become closely identified with the modern movement for the development of classical design and the careful study of monumental work4 ,it is conducted on the most scholarly lines1 embodying the best methods of the ,french and ,american schools1 and the results achieved have been approved by all the leading men of the profession4 ,the illustrations in 8,,the ,,sketch ,,book0 are beautifully printed on thick art paper1 and the volumes will be found particularly interesting and useful to all students4 ,in view of the fact that for the ,final ,examination of the ,r4,i4,b4,a4 four testimonies of study are now required1 the designs and details illustrated in these volumes1 which show how similar problems have been dealt with1 should be found of the greatest possible value4 ,in addition to work by present students of the ,school1 and the work of the ,travelling ,scholars1 that of its old students1 and others connected with it directly or only sympathetically1 is also included1 the object being to present a consistent and definite architectural outlook rather than a mere collection of drawings4 ,vol4 ,i4 ,out of print4 #aiaj4 ,vol4 ,,ii4 ,,price #e_/- ,,nett4 #adj pages 7enlarged edn47 #aiaa4 ,vol4 ,,iii4 ,,price #b_/f ,,nett4 #abj pages 7enlarged edn47 #aiac4 ,who's ,who in ,architecture4 ,this new volume1 which makes its first appearance in #aiad1 will take its place henceforth as a work of reference for everyone connected with architecture and building4 ,perhaps its greatest attraction lies in the fact that it occupies a sort of midway position between the biography and the directory1 possessing all the personal interest of the one and all the detailed information of the other4 ,the societies have their list of members1 and the directories give1 more or less correctly1 the names and addresses of architects in practice1 but the information thus presented is of the baldest description1 and quite devoid of all personal attraction4 8,,who',s ,,who ,,in ,,architecture0 is of far greater interest and value4 ,it gives a succinct account of all the most notable men in the profession--their training1 achievements1 etc4--and not only of the leading men1 but also of the many architects who have done important work without having had the attention of the profession directed to it4 ,the book also gives addresses1 etc41 and as the list of architects is a thoroughly comprehensive one1 8,,who',s ,,who ,,in ,,architecture0 thus fulfils a dual purpose as-- 7#a7 ,a personal record of members of the profession1 and 7#b7 ,a list of architects practising in the ,united ,kingdom4 ,hence it is a volume which every architect needs to have on his shelf4 ,one ,volume4 ,,price #ajs4 #f;d4 ,,nett4 ,some ,famous ,buildings and their ,story4 ,,by ,a4 ,w4 ,,clapham1 ,f4,s4,a41 ,,and ,w4 ,h4 ,,godfrey4 ,buildings that have been the scene of historical events1 or have played a distinctive part in the development of national life1 are commonly dealt with either at length in a most unattractive style1 or dismissed in a few sentences embodying dates and particulars which are frequently inaccurate4 ,thus1 the general reader finds himself confronted with two extremes1 alike unsatisfactory4 ,it was with the express object of correcting these deficiencies in respect of certain famous buildings that the authors compiled the series of short papers which constitute the volume under notice4 ,they have been at great pains in their task1 and1 as the result of much original research1 a flood of fresh light is thrown upon the subjects dealt with1 every chapter adding some new fact to previous knowledge1 or reproducing some hitherto unknown or neglected plan4 ,in this way we have set before us1 by means of description and illustration1 the most remarkable of all ,henry ,,viii4's palaces--,nonsuch1 in ,surrey1 whose wanton destruction was probably the heaviest loss which ,english architecture has suffered since the ,dissolution of the ,monasteries4 ,the ,tower of ,london1 dealt with in another chapter1 offers a wealth of interest when critical research and architectural acumen are brought into play1 and in the same way the ,royal ,palace of ,eltham1 ,northumberland ,house1 ,sir ,thomas ,more's ,house at ,chelsea1 the ,fortune ,theatre1 ,barking ,abbey1 and other famous buildings are dealt with4 ,one ,volume4 #es4 ,,nett4 #bge pages4 ,,caxton ,,house1 ,,westminster1 ,,london ,illustration3 ,,technical ,,journals ,,limited ,,printed ,,by ,,vacher ,,and ,,sons1 ,,ltd41 ,,westminster ,,house1 ,,london1 ,s4,w4