2013-01-23 18:47:09 UTC

5100352e237db 66.130.142.233 Canada

PRACTICALFOB**Oneto

BOOKSENBICHMENTdifficultbooksisone

THE

OF

HOKElitenuy

LIFEdo

of

thea

most

thinipwhichreason

on

tins live

"arth the

to

ii

icries of That of series. J. the ooQmtulatinffthe

pobliah their

up

towe

B.

Lippincottthe

why Onipany

fedon

general franklytheirbe.""

title likeseries,

Pimctical in

Book

dfand

LuBOf

Totam

^whatever CcwUrn."

subject

may

Cubtb

THETHE

PRACTICALSMALLBt

BOOK

OFAND

FURNISHING APARTMENTHOLLOWAY

HOUSESTRATTONin homes9a

EDWARDmeets

ThisIMiblic

volume

spedal andnot

way

the

needshouses.290

of

the199

mwing

want who in douUetone,

in

color,

7

merdy diagrams,

tions Illustra$0."0

pages.

THE

PRACTICAL

BOOK

OF

INTERIOR

DECORATIONBt

HAROLDAMD

DONALDSONEDWARD7

EBERLEIN, STRATTONin

ABBOTT

McCLURE800

HOLLOWAYdoth endoaed

Illustrations.a

Plates

color.

Decorated

in

box.

Quarto.

$8.M

THE

PRACTICALFURNITURE

BOOK

OF

PERIOD

Bt

HAROLD

DONALDSONMcCLURE

EBERLEIN

""

ABBOTT

MO

Illustrations Ina

andbox.

19-page

illustrative

chronological

key.

OcUvo.

$8.50

THE

PRACTICAL

BOOK

OF

ORIENTAL

RUGSBt G.IS9

GRIFFIN

LEWISplates70a

Newtrationschart In a

Fifthin

Edition,color,

in

additional doubletone,and

in

full

designs

color. in line,Orient.

82

Illtt*folding

olbox.

rug

characteristics,

nu4"

of

the

Octavo.

$10JM

THEAMERICANBt

PRACTICALARTSDONALDSON McCLURE

BOOKANDEBERLEIN

OF

EARLY

CRAFTSamd

HAROLD

ABBOTT

889

Pages.

88S

Illustrations.

Octovo.

Boxed.

$7.50

THE

PRACTICALBt

BOOKC.

OF

ARCHITECTUREPRICE

BCATLACKOcUvo.

848

Pages.

M5

Illustrations.

Gilt

top.

In

a

box.

$7."0

THE

PRACTICAL ARCHITECTUREBt

BOOK

OF

GARDEN

PHEBEISO

WESTCOTTDlustrations.

HUMPHREYSOrnamental

880

Pages.

Qoth.

Squaie

'AOu

hil51

THE

PRACTICALOF

BOOK

ARCHITECTUREBY

C.

MATLACK

PRICE

WITH

US

IIWBTBATIONS

PHILADELPHIA

AND

LONDON

J.

B.

LIPPINCOTT

COMPANY

PYRIGHT.

1016,

BY

J.B.

LIPPINCOTT

COMPANY

PBINTBD

BYTHE

J.

B.

LIPPINCOTT

COMPANY

AT

WASHINGTON

SQUAREU. S. A.

PRESS

PHILADELPHIA.

AN

ILLUSTRATEDOF

TERMINOLOGY ARCHITECTURE

NOTE

egardless

of

the

extent

to

which

any

specialmust nature,

subjectalwaysan

be

treatedterms

for ofa

generalmore or

reading, less

there

b

in

technicalevenon

standin underof

of

which

is

essential

the

part

th

alisto

reader. the intention,certain is

t

therefore,of

ofmost

the

followingcommon

seven

illustrateIt

the that,

architecturalcompass,

terms.

obviousto

in

limitedspecial the

benor

impossiblewould doso."

illustratenecessary

all

architecturalpurpose

,

it

be

for

of

thi

to

his

brief

Illustrated reader

Terminology," withthenames

then,of

is

designed

acquaintseen

the

certain

commonly

architectural

features,a

familiarityeveryone's

with

which

d

besome

regardedcases

as

part

ofwill

education.to

thename

readerforan

be

enabled

learn"

th

tectural fora

often-noticed wall-spaceothercases

featuretwo

wil

,

example,"

that

the

betweenthe

arches

lled

spandril.''

Insome

readerthe

willname

b

ednot

to

identifynature

architecturalwhich

feature"

the

of

is

known

will

learn

for

exam

byisa

consulting

the

''Illustrated

Terminology,"

"pediment."

The

Cokinthiam

Obdek-

(Modern

\ersion.:

spsplplKeyor

eek

Fret

Motif.

iT"

I

Greek

Key

or

Fret

Mo

he

GreekMotif.

Ant^emiok

vf

'f

#

r#Mf

EggMoulding Bead

and

Da

Moulding.

,:,

'!:lV^i;'!ilf,,

Leaf

and

Dart

Moulding.

(Also

calledand

eaf

Tongue.)

Grkek

Wave

Moti

eek

Wave

Motif

Interlaced

Guillocme.

s^. .%"v%Guilloche.

%:*^\"^

wisted

Louis

XVI

Guilloche.

COMMON

ARCHITECTURAL

MOTIFS

OF

CLASSIC

ORIGIN.

(With

Carlouche.)

SrAMMIL

DlCOMTIOM Fiau*i",With

Or

MutQOZ

And

CAtToucui

Pau^diah

Ehtkanci.

othque

Cot

Fanlioht

Ova

a

Door.

1

Greek

Fret.) hivecapiuls. the

{Withdcvelapfd thoujha

Eg

(Succinivetrtatire

ages ofon

virkty based

atl

ociginal

Claiiic

SEP

20

1928

FOREWORDbookto

HIS

has

two

distinctlythevarious

practicalprincipal

objects.styles

Ability

distingaish andto

architecture, bea

know

something

of

these

styles, ofevery

uld

partman

of

the

educationwoman.

and

culture

l-informedTheas

andI, A

aimpart

of of of

Parta

Practical education,and theuse

Guidea

to

Styles,

is to

e,

liberal

thorough

working styles,so

wledgeas

architecture

architectural of thegenerala

is

necessary

forso

reader, that it

to

give

it in

succinct

and

practical

way

easily Part II,

beA

assimilated. Practical

Guide

to

Building,a

adds practical

to

the

ve

knowledgethose whoare

informationaboutto

ofhave intheor

more

kind housesat

erected citywhoor

forthe

them

other

buildings, largewayor

either

country,

herany

small

expense,

may

be

connected erection of

with

Advisorypublicon

Boardscharacter.

for

the

ldings The

of

a

more

chaptertreats

arrangements

withnever

architect

and

tractors

of ina

a

subjectmanner,

before and helpfula

presentedglanceat

the

lay

reader

directshow

the

lethe In

ofwork

Contentswill

willprove.a

how

this

portion

presenting

practical devolvescan

bookupon

on

architecturethe author onlyto to"

a

tinct

responsibilitywhich

a

ponsibilityto

be be

dischargedpossible always

the

ent

which illusions

it

may

dispelto

certainthe

ularto

whichseparate to

have

clung into

subject,

dividephases,

and and

architecture set

its several

per

forth

salient

and

essential

oints

in

a

manner

at

once

clear,

accurate

luminating.Ingreat

thisas

task

the

author

feels

that and

thein

opportunitythe to

the

responsibility, be

that

following

ges

it

may

possibleas

permanentlya

remove

ubject

of

architectureas aa

whole

from

itsplaceintimate

presen

lassificationposition

subject

technicalof

and and ofus.

it

in

ue

as

subject

generalofall

with

the

every-day isa

life

Architecture fairly be

comprehensivea

subject,one.

but That and

shou it

t

consideredto

complex infew

ften

appearedis

bethe

involvedfact

complexity

n t

due

to

that into

critics its

or

expositorsparts

ve

divided

the

subjectinvolves

logical

parate

consideration. history,

Architecture practice, The of which

design,suggest

construction

nd

main

divisionsvolumenor

logicalto anyone

present

isa

not

designedon

b

istorymain

architecture,aspectsa

is it

treatise

he

ofcareful

the

subjecteffortto

in

general. thethata

It

repr sent

rather,a

co-relate

essentialthepart

n

clear

and

concisemay

manner,

inas

order should,to

subjof

f

architectureeducation,

become,

it

iberal

and

may

cease

be

regarded

a

^technicaP'In the

subject.preparationto

ofto each with

this

work

the

authorof

has

give

considerationregarda

the

subj

ts

proper

emphasisorderto

to

each

other andof

ation, consider

in

develop whole.ipterest

complete

serviceable

xposition

of

the

Theto

subjecteveryone.

architecture Tothose

eneral

is

of

broadbuilding,to

ontemplateupon

and

who

will

consequentlyin the

alled

exercise design,

theirthe

judgment

questio

f

architectural

subject

is

of

direct

interes

FOREWORD

he

logicalbegin of with

studysome

of

architecture,

forwith

either the

class,

acquaintance of

ment developthen

architecture,

historic in Here

types

andare

forms,

architecturaltheseas a

design,types.

whichwill

formscease

employed study there with

reate

the

of willtypes'

ecture been

historica

development, familiarity

and

acquiredstyles, thesethis

practical the

uilding,

andstyles.

architectural

forms

characteristic

of

With

practicalthen

familiaritymay

as

a

preliminary considerar selection

ent,

benefitthestudy

be

had

from

due"

of

practical of local of

side

of

the

subjectnatures

the

ite,

conditions,the forms architect. the

of dual

materialspresentation

theof

functionsthe

This author's

subject

plan

for

the

t

work. author wishesto

The

acknowledgethe following

with

gratitude andin

kindwho

co-operation have

of generously:

architectscourtesy

s

extended

the

of the of

illustrations architectural

To

profession by the

is

due

the

present

e

merit the

attained Americanmore

architecture has andof beenmore

of forced

this

y,

for withhave

architect difficultarchitects

to

conditions confronted

complex landsand

the

other

times. wouldbe

It

difficult ideals

to

overstate

the

further which

impetus would

architectural bya more

and

practice popular andany

be and

general, of

appreciation effortto

standingunderstanding public effort

theso

subject,thatcall

develop

itfor

willthethe

benefitmost

architectureserious

alike ofto

mustanyan

and

re

writer

in

field of

of

architecture. to

In

addition

expression

indebtedness

al

FOREWORD

hose

architects

whose

works

have

contributed wishespermissionto

to

lustrationwith

of

this

book,

the

authoror

edge acknowl-

gratitude

assistance

connected

th

certain Messrs.H.

illustrations.H.D.

These

acknowledgments T. R.

clude

Eberlein,Braun

W."the

Price,

Juliand

ckly,

W.

Frohne, Record.

Company,matter

chitecturalthanks

In duequote

of

text,

thor's

are

to

Thethe

Churchman

for portion

ous court

permission**

to

major

ofto

thor's

Symbolismfor

incourteous

Architecture,"

andto

A

d

Decoration

permission

paraphrase

rtain

portionsto*'

of

the

author's

contributions of*'

theret in

lative

**The

Englishin Brick,"

Pointand

ViewThe

ture," Architec-

Building

Inherent

tie Qua

of

Building

Materials."

C.

Matiagk

Pbiob

CONTENTSPARTIA

PRACTICAL

GUIDE

TG

STYLESPAGB

ABCHZTBCItrBB

The

Nature

of Architecture The Value andnota

and

its Place of

as

Part

of

a

LiberalAppreciation.

Education.

Benefit

Architectural

Architecture of Architecture Historic ThbEyoLunoN

Technical

Subject.

Some of

Fundamentals

Architecture. Dependentupon

UnderstandingAcquaintance

ModemPast

with

Styles.of

Architecture

The

Growthof

of Egypt,

the

GreatofAssyna,

Architectural

Styles. of Rome.

The

tecture ArchiBysan-

of

Greece,

tine The

and

Romanesqueof

Architecture.Architecture

Eyolution

(Continued)Renaissance of those Architecture. Two and A Styles

Gothic Studyin TheA

Architecture of the Differing

and

Expressions Belgium,

Great

Italy,

France, Ideal of the

Spain,

England

Germany.

ClassicStudy

Immortal in of

QualitiesSeveral

of

Classic

Architecture. Reviyals. The of

Its

Manifestations Place

''Classic"Architecture ofthe

ImportantPublic and Btiantine, The

ClassicSchool

in Beavx-ArU,

the

Designits

Buildings.its

The

ings Teach-

Wide

Influence.and

Romanesque ''Romanesque

Gothicin

DbriyationbAmerica.

10

Revival"

The of To-day.

Place

of

Romanesque Derivations,in

Styles

in

the

Architecture

Gothic and

Ecclesiastical,

Collegiate,

Military

lar Secu-

America. Derivations, Earltand

English Theon

Modern

13

Importance,

Causes Architecture.

and

Meaning

of

English

Influences

AmericanThe

The of

Anglo-American

Countryture. Architec-

House.

Adaptability

English

Collegiate

Latin

Dbrivationb

in

American

Architecture

15 France

Architectural

Types

AdaptedVilla inAmerica.

from

Italy, TheFrench

and Placein

Spain. of Italian

The

Italian

Important Influences

RenaissanceModem

Architecture.

CSiAteaux,

City

Houses

and from

Hotels.

Little

Appreciated

Architectural

Legacy

Spain*5

CONTENTS

I.

Native

AmericanAmerican Types

Abchxtbctubb

CharacteristicStates,

ofThe

New

England, Creole Work Some

The andin

Middle Spanish the Middleon

Atlajitic

and

South. ''Secessionist'' Idea'' and

Colonial West, the

Architecture.

the

"Craftsman

ments Com-

Bungalow.

IX.

Architectural New

Addenda

Stylesto

AppliedNew

to

Familiar *'UAH The The

Uses,Notweau,"

and The House, Hotel,

Old

Styles

Appliedand

Used.

ists" "Secession-

"Modernists."The

City Modem

The the

Officement Apart-

Building,House

Loft and

Building, the

Great

Railroad

Terminal.

PARTA

nTO

PRACTICAL

GUIDE

BUILDINa

TER

P

I.

The

Selection

of

Location,

Sttle,

Material

and

tect Archi-

Style

from

Viewpointsetc.

of

RelationLocal

to

Site, and

Material,Localan

eral GenLabour

Appropriateness,

Materials

Conditions.II.Architectand

Foresight

and

Advice.

Choosing

Architect.

Clientisa

BuildingArchitect.Architect

Business Nature

Transaction. of should the

How

to

Consult

the

The

Architect'sRightly

Services.Expect "Extras,"

What from theetc.

andBasis

ClientofDrawings

each

Other. ArchitecturalMaterials

Charges,and

Supervision, Specifications.

III.

and

Construction of PhysicalNatures,

Consideration Materials.etc.,

and

Properties

.Esthetic Suitability,

ing of BuildCosts, of Texture.

Comparative

of

Building

Materials.

The Materials

Importance

Associated Plans

SuitabilityDetails

of

and

Styles.

rV.

and

Differentofon

Kindsin

of Plans.Developing Doors,Tiim

Importance

of Plans

a

DefiniteDetails.etc.

MethodNotes

Procedure

Both Chimneys,

and

Windows, Interior

Stairways, Hardware,Best

work, Wood-

andetc.

Finish, The

Lightingin

andto

Plumbing

Fixtures, theFulfilment

Manner.

which

Insure

of

Requirements.

ILLUSTRATIONSTangieyFrom Brewster.PAGEan

Manor,Original

Surrey,

Endand Painting by Anna

FronHspieoe

Water-oolour

Rionards

ARCHITECTURALEgyptian

TERMINOLOGY,Bell Capital Ionic Orderofa

ILLUSTRATED....

1

Column,Order

Egyptian

Stalk

Column,

Doric Order

Order

(Modem),Tuscan

(Modem),Composite

CorinthianOrder Rusticated

(Modem),Principal

(Modem),

(Modem).Masonry,

Parts

ClassicMasonry, Moms

Entablature,

Rock-Faced Soins, Architecturalmmon

of

Oassic

Origin

(GreekWave

Key.

FreL

Anthemion,

Egg-and-Dart,

L^-and-Durt,Italian), Spandrils,Balusters.

and

Guilloche).Marquise,

CartouchesAngular,Entrance,

(Curved,Palladian Dormer linenfold

(French and (IHrma, Broken),Palladian Mansard

Pediments

Window, Roof,Acanthus,

Corbels,Fanlight.

Console,

Finial,

WindowPanel^

in

Greek and

Spiral

Vohite,

Pilaster Keystone,

Capitals, RenaissanceAttributes,

Modilhon Arabesque, Renaissance Figure,

Dentils, Lunette.

Lant^,Usesof Terminal

Console

and

Roman

Arch

GBiyatid

Terminal

Caryatid,

and Figure,

Columns,Spindles.

PART

LPAGE

Towers

ical

of American

the

ChAteauDwelling

of

Langeaisof

1

the

Style

Erroneously

Called

"Queen

eDo,"

The

Virginia Building,

Homeseen

of

Thomas

J^ersonArcade of

1

Woolworth

throuf^Post

the

the

New

York

Municipal

Building

1

DetailsDoric

of

the Temple Porch

Clevelandat

Office

and

Federal

Building

1

ek

Segesta,GreekJupiter

Sicil;^

3

Caryatid

of

the

(lomc),Stator,

Erechtheum, Athens

Athens

3

Connthian

Temple

Arch

of Cathedral

Constantine,of

of RomeMark,

3

3

St.of

Venice

3

CloisterByzantine of (3othicof

St.

Pam-beyond-the-walls,

Rome and

3

l

Columns,N6tre Dame,

CapitalsParis

Carving

3

Cathedral

4

ocal

Detail the

4

WindowDoorway

Cathedralthe

d

interior;

of Cathedral

of Cathedral

N6tre

Dame.N6tre

ParisDame,

4

of

N6tre

of Dame,

Paris

4

Paris. Dame.

5

pt,

interior; Chimerasof

Cathedral thethe

of Cathedral

N6tre of

ParisDame,

" Paris

N6tre

5

Gaigoyles Cathedral

of

CathedraltheRiver,

n

from

of Durham,

N6tre

Dame,

Paris,

FVance"

5

England

5

tmmster St.

Abbey, Johns

London, College.

England Cambridge, England

teway,

eway,

Trinityof "La

College,

Cambrid^,Tours, Toura, Prance

EnglandFrance

rway of

"La

Ptolette/'of Maison

er

Ptolette,"

rway

ofTown

Ch"teauthe

Langeius,

France THermite, Tours,France

urtyflurd

of Hall,at

de

Tristan

Bruges,

Bel^umBelgium Spain

Church CathedrahofPuerta

Malines,

Toledo,del Sol, the

Toledo.CaD'Qro,

SpainVemce,Venice.Famese,

Palace PaLwTO

of della of ofthe the

Doses,

ItalyItaly

urtyard

Palasso Vatican.

Rome,

Italy

lonnade ChurchofEntrance

Rome.della of the

Italy

rway

"tf S. Maria Library the Whitehall,

Salute,Cathedral

Venice,of

Italy Sienna, Italy

Paul's

of Cathedral,

London, England

England

London, in

ssic

Deriyations

Modem

American

Bank

Buildings

(Two

Examples)New^York New

atyHarvardLaw

Post

Office School,

Cambridge,

Mass

WaterTea-House

Temple of Arch,Museum

at

SunoL

California Design,on

Claasic

a

Long

Island

(N.

Y.)

Country

Estate

MarbleFogg

HydeofArt,

Park,

London,

EnglandMass France

Cambridge. of Paris, Versailles,France

Cour

deof

Marbre,the

Palace

lonnadeCentralPetit

Louvre,

PedimentTrianon,

ofBois

the

Louvre,

Paris,

France

Versailles,

France

"Orangerie," ChAteauFrench

du

Boulogne, Bois

Paris, Boulogne,

France Paris,France

de Classic

Bagatelle,

du

Shoft

New

York Building,

CityNewNew

French

ClassicRow Porch Revival"from

Publishing

York York Haven,

City City

lonnadeGeorgian "Classic

(La

Grange

Teirace),

Detail

(Modem),Baltimore,

New Md

Conn

Pordi,Grand

ails

the

Palais

des

Champs

Elys^,

Paris,

FVanoe

(TwoFifth New Style

views)Avenue York

Shop

Front,House

in

thein

Modem the

French

(Beaux-Arts)flench

Style

City

F^ntMain

Modem

(Beaux-Arts)Public Library

^igedModem

Columns Church

of

the

Facade

Presbyterian

of Church.

Romanesque New York

New of the Derivation,

York

Madison

Square

City

nity

Church, for the

Boston,

Massachusetts.' of Newthe

awingThomas'

Porch

CathedralCity

of

Baltimore,

Md

Church,Entrance

Yorkto

thic

ArchedUniversityin

Quadrangle,

Graduate

School,

Princeton

otesques

the

Gothicin

Manner the

b-vaulted University

Vestibule,

Gothic

Style,

Graduate

School,

Princeton

ILLUSTRATIONSPhiladelphia124125 126

vost's

Tower,Militarv

Univereity AoademyNew

ofat

Ftoniuwlvania, West Qty New YorkPoint

of the lworthof

Builcfing,Woolworth

York

the

Building,House ofan

City

(Four

Views).

127.

.

.

132

can GardenTerrace

CountryFront

English of English-derivedan

DerivationAmerican

CountiyAmerican

House

133

:

and in

Sun-Dial,

English-derivedHouse

Country134135

se

Derivation

an

AmericanHouses, Building,

CountiyHolbom, Princeton,

136

f-Timber

QtyDormitcffy

London N. J136

er

137 140

House,

Salisbury,Country

England House,Waltonon

ThamesHouse

ish

141141

Derivation

in

an

American

CountryOrigin

Country

House

odem

EnglishDerivations

Comixxsite of in Derivationsin

American

Country

Houses

142 14b146

nglish

Pennsylvania DevelopmentHouse Houses York

cad cal

English

"Neidibourhood"Suburban

146

odem Library

EnSish "n|dish

147

SuburbanNew

in

Brick158159

Building,Library

CitvNew City York Avenue FifthShopFront,

Private

Building,ina

New

Renaissance

DeirivationBoston,

160

orkatjrLibrary Renaissance

160

Massachusettsin

ublic

of Derivation

tiie

Loggia

of

a

Modem

American

160

ouse

Renaissance Qty York

Derivation Shop

in

a

New

York

City

Shop

Front

161

Ftent,

ArchedShop

LoggiaFront

(Italian (Italian

Decoration Sgraffito with Derivation) Renaissance

161

in

a

New

York

16

CSty

to

Decoration ShopFront

Renaissance

Derivation)Country CountryHouse, House,a

in

a

New

Yoric

16

aty

GeneralTerrace

View

16. .

alian

Derivation Derivation

in

anan

AmericanAmerican

yard Court-

alian

in

16House, House,

talian

Derivation Derivation Derivation Derivation

in in in

anan

AmericanAmerican

Countiy Country Countiy Country

from Wall

a

Loggia

16

Fountain

1

talian

talian

an

Americanan

House,

CourtPooland

1

Italian PaviUon

in

American

House,

1

1

talianat

ViUa

Derivation, Union

Front

View Washington,D.

C

1

Pan-American Derivation, Villa Italian Langeais, de ChAteauPatio

Building, Garden

1

I^ntAmerican

Francea

sh-Italian Spanish al

of Buildings,

Modem

Residenoe

in

CalifCalif

omia.

Spainininan

sh

Renaissance Renaissance New England

Derivation Details

Window Officeof

Treatment

in

Building, Roof

Chicago,Type,

omia. Illinois.

.

sh Early

Dwelling

Gambrel

Hadlyme,

ypical

Connecticut Dutch

ColonialPediment in

Dwellins,Porch,

at

Hackensack, Palladian Modem

New WindowAmerican

Jersey Above Residenoe,.

.

eorgian

ColonialDerivation

with ofa

eorgian

the

Porch

ynnestay." Local ModemResidence

an

Early Derivation

Colonialof the

ReddenoeEarly

near

PhiladelphiaType

Pennsylyania

of

nial Colo-

.

Pleasant

iveden,"House

its and Philadelphiaat

Dependencies,"

Philadelphia

ntry

Valley

Forge,

Pa.,

Derived

from

Early

Local

types Proto-

untJ^StateModemof

House

of

Local

''Ledge

Stone."Hall,^' House

at

Germantown,

Pa

House,American

"Independence

Philadelphia fromthe

CountryDwelling

I)erived

Southern

Type

PlantationAnne

itehall," White

Arundel

County,D.

Maryland CVilla,New

e

House,"

Washington,

Elxamples of the Mission, GabrielHouseViews

Creole California

Plantation

Orleans,

Louisiana

ntry

r

ofRecent

a

of Spanish Modem

Derivation, Residence of

Sierra Spanish

Madre,

CaliforniaTypicalof

Dmivation,

CaliforniaTypical American

"Seaside Suburban

Villa"

of

no

StvUstic ofthe

Derivation

Typical

Recent

American

Dwelling

"Picturesque"

TypeModemStyleAmerican

Country

House

Developmentsseenm a

of

the

"American

Secessionist"

City

Residence

in

GrandExample

Rapids,of

Michigan

the

"Craftsman"in

Type

^neseTypical

Influence "Bungcdow"

i^acteristic"Art

D^gn

Nouveau,"

omia Redwood, of Native of School of the Austrian Shop-front in a Parisian

the

Calif

of Country Bungalow Califomiaor

Dwelling

Viennese

"

Secession

' *

mish

Renaissance

City

Houses

on

the

Rue

Flamande,

Bmges,

Belgium Renaissance

mish

Derivation

in

a

Modem

New

York

City

ResidenceModem American

City

Residences,

TVpicalNew

of

the

Newer

opments Devel-

Metropolitan EquitableHotel

LifeLife

Insurance

Building,Building, New

York City

City

InsuranceNew

York

VanderbUt,

York Station,

QtyNew

Pennsylvania

RailroadRaikoad

York

City

e

Grand

Central

Station, PART

New II

York

aty

ccessful

DesignDesign

forfor

aa

Level Hillside

SiteSiteAmerican

ccessfulModem

Country Cottageand of

House

EssentiallyDerivationa

Small

Native in

mplicity TypicalArchitect's

CharmModem

Small

En^^hfora

CottageHouses"

(2 views)House

English

"DetechedDrawing

PreliminaryHouseas

Country

CountryPreliminary

Actually fora a

Executed SmallVillaffe

Drawing

Library

productionElevation

(Reduced) (Reduced)

of

K-Inch ^-Inch

\'S^rkingWorking

Drawing

of

a

House

productionFloor-Plan

of

a

Drawing

of

a

House

ILLUSTRATIONS

1

ctionofa

(ActualHouse

Siie)Eleyation

ofof

a

Portion

of

a

K-li^oh ^-InchIJ^InchFull-sise

Working

ing Draw-

26a

ctionofa

(ActualHouse

Siie)Floor-Plan

Portion

of

a

Working

Drawing

2Gofa

ctionEaves

(Actual (ActualTop

Siie)

Portion

of

a

Scale

Detail

of

ile

26

ction

Sise) ofa

a

Portion

of

a

Working

ing Draw-

of the diitect's

of

Wainscota

26

Pfijetof

for

National Materials

Memorialseen

Monument in an.Ameriean TextureAmerican

27

Possibilitiesnear

Building

Country

House

Qiicagoof the Materials

27

Instances

DecorativeinTwo

Importance

of

27 Dwellings

f

Local

TypicalModem and Materials

Modem

f Moderate erican

CostExpressionin

27 of Stone andin

the

F^npliahHalf-timber ina

Country ConstmctionLainB^

House

27

Same

House

Local

27House

Relation

of

Design

Country

ear

Philadelphiaof

29 Textureas an

Expressionof

BuildingsFinishof

Materials

29

Use

Stucco American

Exterior

29

m

Country

House

Actual

Half-Timber

tion Constmc-

298

Details

laical

of Door Example

and

Window Modem Houses

Treatments

31

American Houses

of the Real-Estatethe

Englishof

Country

House

31

324

oi pplication

in

''Modelto

Villm"

Letchworth,

England.. .

324

of Architecture

Utifitarian

Bufldings

in

a

C3alifomia

Power-house

(two

views)

826

PART

I

PRACTICAL

GUIDE

TO

STYLES

E OF

PRACTICAL ARCHITECTURECHAPTERAECHITECTURE

BOOK

I

NATUREA

OF

ARCHITECTURE EDUCATION. APPRECIATION.THE

AND

ITSVALUE

PLACEAND

AS

PART

UBERAL

BENEFIT

ARCHITECTURALA

ARCHITECTURESOME

T

TECHNICAL

SUBJECT.UNDERSTANDING

FUNDAMENTALSOF

ARCHITECTURE.DEPENDENTHISTORIC

MODERN

CHITECTUREPAST

UPON

ACQUAINTANCE

TH

STYLES

attempt

to

define of and

architecture,

or

art,

is

to

falFew

into

theare

danger safe,

dealingthe

in

catch-phrases.themaremore' '

itionsaccurate.

best has

of

clever theart

Architecture' '

been

called

o

ing

beautifully epigrammaticfrom

which, definitions.

perhaps,The

is

as

valuablehas

as

attemptan

been

the

time

of

Vitruvius,that

and

early

English

r,

paraphrasing hath andterse

classic

authority,

states

that

l-building

three' '

conditions: it wouldso

Commodity,be

essany

Delight.

Perhaps

hard

t

characterisation"

accurately should

applicable beappropriate

ll

architectureto

that

a

building built, and

its

use,

strongly

pleasing

to

look

This

interestinga

statement,

however,

couldalthough the aim

not

alled,

exactly,usa

definition

of

architecture, ideaof

ives

reasonably

clear

and

se

of

architecture.anyone

Takingof

of

thesethe

three world

essentials wouldhave

alone

as

aim

architecture,

been,15

and

nld

beofof the

to-day,architecture

a

heavy if had* '

loser.Commodityalwayselevatorstouse,

Conceive' '

firstthe

pect

or

intended governing

buildingfactor.

beenGrain

its and and

sole

chitectural primarily

factoriesalso

ilt

with**

a

view

include

cond

essential third,

ofhowever,

Firmness,"

but

ignorewhichhas

the

thirbeen

The

the that

building

autifullya

designedone

ititwere

is

*'

a

Delight,"

would built,

t

short-livedone

if

not

firmly

and

eless

if it served

no

purpose.

We

must

thinkintoasa

of

architecture,monumental

then,or

regardless

s divisions

domestic,

ecclesiastical

ildings,

perfect strength

co-relation

of

the

three certaintwo, may

essentialstypesmay

suitability,one

and

beauty.

Inor

ilding

of

these

considerations, each ofthe

somewha

overbalance"importance.must

three

not

h

ual

Generallytake cognisanceconstantly ofanya' '

speaking,

however,

tect arch

ofin

all, mind

and inwe

byour

keeping

ree

essentials

individual

nsiderationtheoutset

given

building,of

will

establis

om

certain''

basisor

universal

application,

gardless

of *'Whatpurpose?

style

any

othera

detail.

Wethist

will

rselves:itst

kindDoesor

ofits

building

isexpress

Whathis

design itsin

p

Is

it well-built,Isit

is

constructionits

cheap

shonest?are

pleasing

form

and

detail?

ese

basic of

considerations whetheror

of designed

significance, in;

entire

dependent

it be

the

stylewe

of

alian

Renaissanceata

Moderna

French

whether

okingIt

church

or

theatre. circumstanceto

is

anan

interestingopportunity

that adaptationsthe

this"

country

fords

study"

in

man

ses

excellent

adaptations

of

architectural Architecturally,

sty

f

all

countries

and

all

periods.

THE

TOWERS

OF

THE

CHiTEAU

OF

LANGB;

A

TYPICAL ERRONEOUSLY

AMERICAN

DWELLING. CALLED

OF

THEANNE"

STYLE

"QUEENw

AboTs

ud

behiod

our

moil

JntimsM

"rchiteclure.make

wdt

u

our

more

im

should vti'tiDr^'ll^'uiiiiterHt'wblcb

itwlMtlt

^t^vory

intclli

"

K

i-a

I

as

racially,

Americanoone

has

beenin

thethis

melting-pot.countrywe no

hasnotone

been

style,

because"

people,

but

many

there

has

been

^andaswe

al

American

architecture,out,

a

notedno no* '

architect

recent

pointedno

because

haveor

typicaltypical' '

climate

merica,This,further

typicalis

landscapea

tion. civilisatopursue

however,at

question

of

style,

h

this

point

would

be

to

depart

from

d At

generalities.theoutset

it

seems

a

part ofsome

of

this

work of

to

point

forcibly

the

importanceand appreciation

degreethe

general

rstanding

ofusor

broadcome

principles inarts.

architecture.

Manyor

of

seldom otherorwe

contact

paintings,obligedwe

sculpture,to

finefollowcannot

We

are

to

listen

music

to

the fail

drama.tosee

go

out-doors,everywhere"

however,

dings

^buildings

good,allare

bad

and

indif-

nt.

Someparticular.

are

important,

interesting thing isnever

inso

Theonly

unfortunate

that trained

peopleto

see see

buildings,

andThe

have aspect

selvesapart

architecture.any

of of ofto

buildings,theour

e

from

individualinseparably

interestsa

prospective

builder, thata

is

so

part

daily

s

it would

seem

highlyon

desirable the"

develop of

at

t

high-school Architecture

course

appreciation special'*us

tecture archi"

is not confronting when Classics,a a

a

subjectturn.

^it

i

niversal Therewas

subjecta

at

every

time^ *

knowledge' '

ofan

architecture,part

ther

with education

the

formed Thefine

important and houses

the

of ofmany

gentleman.

statelymanor

classical

dignity Southwasowners

ofmore

theto

old

of

duethan

thetaste

architecturalofthe

education

their

to

the

master-builders.

mas2

Jefferson

made

the

actual

drawings

for

18' '

THE

PRACTICAL' '

BOOK

OF

ARCHITECTURE

Monticello,

versity well as for the buildings of the Uninot an architect, but archiof Virginia. He was tecture had been part of his education. To-day thereasmen

who, between business and social activities, would have time to draw the plans for their houses, if they had the ability. The architect is better even equipped for this work ; but an architectural education,are

few

intelligent and effecslight,would assure tive To most of the architect's work. understanding the architect's work is far more people mysterious and than that of the lawyer or the doctor, incomprehensible while it should by all rights be readily and intelligentlyno

matter

how

understood. It is assumed that anyone about to build becomes, of a perforce, interested in architecture, but by reason late interest, and no personal basis of architectural conviction, he is obliged either to make a hasty and halfor considered survey of the subject, to accept the varied and usually conflicting architectural advices of his in this better equipped no are friends, many of whom direction than he. His very ignorance makes him suspicious design for him a building that the architect may he will not like, whereas, had he any appreciation which or understanding of architecture, he would be under no.

apprehensions. In addition to the prospective builder, there is the larger class comprised of those who probably much to build for themselves, or be called upon never will

in so direct a manner. exercise any architectural knowledge To these, however, no less than to the prospective Their builder, architecture should be an open book. would become of abundant walks abroad and variedinterest, and every building would hold before been able to read. they had nevera

story

which

'"THE The Gothic MuDinMlitcKl

BATTLE

OF

THE

STVI.F.S''out

toner

ot

(rchilcftuR. Building,

the ia

U'oolworth"ea a

BuildioE,

earried

Id

a

Ure

niudi^rnuivdul

rend

Ihruuih elimpK

while

Clu-xir-UenaiMiiiiKK' Iha \" al.w visible of ilie

uJd

rnliinnntlr EiRhiri^Dih

Sr thr Cenlury

AncloJ^nnic

New

York

Cixy

Hsll

S

!

I

is

S

i^

Pi

illiitrrsilg

I I

Nor

shouldupon,

allasioiias

be

omitted ofa

to

theto

citizenpass

who

alledon

a

member ofaan

board,

ment judg-

the

design if ofa

importanthouseor a

public be

building."

unfortunate

private librarybycivicmoney

bungled hall.In

tous calamithis of

in

thewe

caseare

city

connecti

impressedasa

the

importanceasa

tectura archito

education Publicthe

obligation,is the being erection

duty

the

nity.

spent

yearly

hout

country yet

for

ofthe

important publichasrecommended,

c

buildings,seen

architecturally, It is byno means

the however,

buildings.

toon

be

that

public

opinions

architectureon*

et

up

to

overthrow

professionalinthecase

opinionsan

tecture archi'

excepting

ofthe

incompetent

political" that public

architect.of

It

is

rather

contention result in

ciationresults is thetosave

architecturean

will

securing

ter bet-

through

understanding The ofan

ofmay

what

theupon

tect

tryingappearancea

to

do.

boardimportantor

insist

ng

buildingmay

in down

few

thousandfor

dollars,a

vote

architect'sIfthe

projectmembers

splendid

monumental

ch.

of

the

board,educated,

and

thethe

peoplenecessary

elves,

were

architecturallybe appreciate forthcomingthe

funds

would To

through

public

ription.

possibilitiesits

of

a

noblethean

ecturalpart

ideaofto

is

to

desirethere

execution. beattempted unknown

In

this that

book

will

ductionthe

interesting,

but

vidual indi-

Architect.

o

understand **gift,"This,an

architecture implicationmay

has ofsome

beenpeculiarbe

supposed talentanerroneous an

toor

however,foror

readily

provedisno

idea, painting

although music,

architecture it is different

less

art

in

certain

salient

rticnlars.result of

A

masterpiece"

ofa

painting

or

of

mnsic

e

inspiration of

masterpiece

of

architecture painting inspiration

the

result

evolution. their

To

understand underlyingneedhut

sic

is

to

understandarchitecture architectural Nor

understandof example.

one

understandproduced be

tages

evolution should

which

ven

understandingnatures

confused

th

enjoyment.inart,

Mostmusic, them;

receptive

findnature,

men enjinano

in

in

architecture,

in

hat the

surroundssenses,

but

their

enjoymentplaysto

is

thi

f

in raises

which their

understanding understanding

pa

nowledge

the

level

ntelligent

appreciation.inat

To

see

allonce

architecture theat

a

productstudy.necessity

of

evolution,

o

possess

keymore

to

itsa

Obviouslythan veryrace,an

rt

of

building,the

first of

as

from

dawn

civilisationof the

been the human

close

inked

with inIna

themeasure,

development

as,

influenced

people

who

create

t.

this evolution

connectionthere

betweenismore

human

andmere

tural architec sentimental

thanof

a

oincidence.

Different different differentreligious

kinds and

civilisation, social

characterised

by

developments

roducednew,

architecturalevolved from days byasa

manifestations, earlier of forms. Theand

some tim

often

pr pe

of

kingdoms,are as

their

degeneracy,

th

ownfall

mirrored vividly

contemporary

architectural ofcontemporary

numents

in

the

words

istorians. has alone No

Beingalways should

work

of

thethe

hand

of ofman

man,

tec arc"

reflectedlie much ofasour

mind interest.perhaps,

^and

his

of

its

architecture

theown

past,

has of

been

ttle

expressivefutureages

architecture

to-da

less

are

to

read

in

it the

commentary

t

ibis

time

' '

artisticthe study

ideasand

and

ideals

were

inearlier

a

transitionalstyles

stage,

adaptationNorth of employingno

of

ther

landsin the

characterised securitywe

American

ture, architec-

and

recognisedto

and

rious

types,

had

desire

experiment,

or

olve

originalia.many

good the

architecturalbecausehas

criticsAmerican

have

bitterlysince

ed

times

theno

nation,

arlierstyle.

days,

createdare,

characteristictwo

tural architec-

There

however,

sides

to

this

tion.

ooking

backbe

over

the

evolutionnew

ofarose

architectural only madewhen

,ones

it willwereor

foundout-worn,

that

styles

whennew

conditions socialor

themchange

te,

when

somenew

religious

llywas

dictated

architecturalreason,

forms.and

No

new

foundedforto

withoutIn

solelyany

becausecome

desire effortThe^an

novelty.be **Artto

no

case

hasforthean

goodsake

originalNouveau'* evolvenew

solelywas

of

inalit orig-

illustrationthe

o

effort what

forms

forspirits ideas.

sole

purpose to'^

eaking

certain existingis

restless

believedAndas

beArt

monotony

ofmovement

artisticnow

thean

u^'of

remembered leavingit had

demi epitraceever

ephemeral It

madness, diedbecause and

afterno

itreason

no

nfluence. beenor

ve

created,

because,

in

itself,

it

was

not

l

legitimate. thelastcentury,

That the

almost,no

in^^

this

country

has

development is not surprising,hbove

of

strikingshouldarts, to not

national"be itvery

tecture archi-

and

distressing.thesure

rchitecture,to

aU

other

is

part

o

proceed

slowly,

and

beor

ofstyles

eachare

Sincere

adaptations

of

old

ancient

ch

to

be

preferredonlyas

if thea

alternativede

is"

a

meaninglessattempt

yle

evolvedan

tour

forcenot

an

ove

originalityto

whichproduceprevent

does'*

exist.'*

If

this

cou try

is

destinednothing

a

style,

recognisable legaciesas

ch,

couldother

itwould

"

our

of

p

yles

from Itcanas

lands

be

straws

in

rrent.

hasour a

beenpresent

so

always.

Nor

adaptationsto

ofidea

many

styles

nstrued

contradiction isa

the

of

architecturalthat

olution.prevail

It

far

more

natural

conditionthatone

man

yles

inin

equal thisage

favour,country

thanat

styletime.

shou

paramount

the

present

The

present

is of

one

of

travel

and And

of

education

photography accountable

andfor the

illustration.

human Every

naturone

selectivesome

proclivity.personal

instinctively

cherishes formanor,

idealItalian

o

untry-house, Englishnot*'

example,or a

be

it

an

vi

Frenchfor the

chateau. sake

That conformity

id

uld

be

sacrificedstyleout

of

e

national"

ofthe

architecture.

Weofall

wou

ill

take

pages

of

picture-book

p

chitecture. Italianvillasare

not,

necessarily,themen

consistentwere

in

th

chitectural

style

becauseThe

Italianswho

turally architecand

consistent.

builtno

them, type.

om

theynot

were

built, by ideas,a

knew variety andwas

of

other other,

Th

e

distractedpleasing,

of

and by

perhaps

ually

consequently,

following

e

prevalentAs

style,

there effectmay

evolvedthe

a

distinctive

ty

proof

of

the

whichupon

selective architectural In

proclivity

the

individualthe thereas

have

desigtheor

nsider style

architecturewas

ofso

England. conservatism

matte

not

much

tency consi

has

been

supposed.

Once

the

landed

gentr

to

travel,wason

new

architectural admired,English andestates.

ideasmany

came

in.

The

n

garden

Italian

gardens

laid

out

Theso

Englishman

red

his

own

kindMany

of

honse, Italian

he

did

not

adapt

Italian artisans, andwhichthe^'

villa.

painters,over

decoratorsto**

however, works hadEast

were

broughttoaa

create

ors

ofas

art

gratify of

the

classic'^ Contact Chinese furniture,

arisen

result mania

travel.

Farmostly

created

for

**the

evidencedpotently

inina

Chippendale'sfavouras

nevertheless"

in aliencame

many

other

re di

andcould

certainlybe

style

to

Englishthe

traditi

as

conceived. the

Later

Brothers

imprinting

architecture

andwas

furniturenot towear

o

timethe

withlate

a

classicism

which

of

Georgian intercoursewith

period.of varied of And the

The

more

ideas,styles,

the

more

travel,the

the

familiaritybethe

certainly of

lessone

likelihoodnew

development becausethe

any

ially

style.

intelligentthiscountry

and

calmust

study be be

of

thea

architecture

of

to daessential

largelyto

study

of

adaptations,withany

it isaccuracy

to

able

trace

derivationsto

and

It wouldor

be

impossibleofa

acquire

understanding

appreciationwithout

the

architecture

of

this

country

practicalofEurope.

familiarity

with

the

great

ectural

styles

ith

thisto

in

view,

theconcisely

followingthe

two

chaptersofthe

are

ned

outline with

evolutionto

historic

tecture,of

special discussedof

reference

characteristics

thea

styles,

consecutively,as

and

with

great

degree

brevity

is

consistent

with

te

presentation.however,to

Before

traverse

the

ages

rom

the

timeday,

ofa

the few

Egyptianabsolute

temple-builders fundamentalsthe the reader architects

up

to

resent

of inof

desi

hould be

beseen

comprehendedto

byextent

order the

that

y

what

histor

yles

succeeded would thegraspmay

inbean

realisingeasy

theirmatter,

intentions. in this direction,

It

unge real

reader of be

into fourto

a

maze

of

technicalities, ofall

whereas

great

essentials

architecturalpoints.

sign

said

comprehend have safe of beento**

lesser

ese

four

essentials

rationallythat

realisedthe

given worthyThe

building,of

it isname a uses,

assume

buildin

the ofor

architecture.'* regardless

design functionand the

building,should shouldhis

of

itsand

'^

styl

its

be

expressivehave

appro priat

designer

demonstrated the

is

finished of

building scale and

grasp

of

architectural of

sential

the

pictorial

essential

lig

d'Shade.Briefly its

consideringown

these

fourwhile

essentialsseemingly

"

buildin^a a

feats

design this Theon

if,

tall

right

building,lines.

effectresult

is is ofnota

destroyed distressing

by

stron

rizontal

optical"

ntal

confusion doubtas

the

partor

the the

beholderarchitectas

an

tab ine

to

whether inhis The

had he

be

rfectlyto

certainexpress.

own

mind upright

to

what

ying

tall,an

building ofas

shou

press

itsso

height,

withto

introductionthe verticallong,

horizontalserve

mbersbreakno

subsidiarymonotony.

to

o

the

A

low inIn

building its designany express

shoul

ntain

conspicuous

elements

whic

ll

detract

from

its

horizontality. and

short,

buil ing

should of

immediatelyits designer,

unequivocally betalla

tention

should graceful,

building upright,

massiveor

d

dignified,

light

and

and

spreading,doubtorwe

or

of

any

other inso

type.

If

we

arean

assailedaspect

ny

conjecturemay

importantto

o

building, ofthetosay

well

expect

find

further

serious

nces

inept of

design. appropriateness,would not

On

score

there obvious.should The

is,

perhaps, design

e

which

be

o

lding,

irrespectiveor

ofnature

its of

style,the

be

expressiveandnot

the

purpose

building,shop should

hence

priate.a

A

little

millinery Appropriateness

look

bankstyle,

building.because of

inevitablyare

vo in suited

certain certain

styles

peculiarly

he

expression modem

ideas.styles"

Classicare

styles

are

fied,are

French and graceful The

festive,so on

Italian

s

refined architecture.can

and

through

the

ofwho

ablefor

architectthe

is theofa

tect archi-

unerringlystyle

select whichwill

designclearly

given

ing

theexpress

most

and

tively effec-

the

intentword

of

that

building.metor

''Scale"

is

a

seldomroom,

with outside

outsidetheconversation

the

tectural ofterm

draughting

designers,is* notcommon' '

and technicalerrors

this' '

isone,

unfortunate, andothererrors

because in"

a

scale

more

thanone

of

any

kind

be

the

ion

involvedthe

of

architecture,a

furniture

design,

ven

selectiondiction,wellexactly' '

ofscaleor

picture' '

frame.the

In

plainwhether

involves related.

relationshipa

o

illthe

If

window,fora

for wall-

e,

is ofwhich

right the

proportions

it

occupies,

architectistoo

says

it

isor

''in

." he

If,

however,

this"out

window of inscale."every

large fagade pleasing,

too

,

says

it is

Away

may

be

ably exceptionmay

designed, of be"outone

andfatal

withfor

defect:"

the be

cornice,

st in

scale"

^may

avy,or

or

may' *

be' '

insignificant with bracketNoescape

andrest

inadequatethe' '

in Ascale,

ti re

in

scalea

the

of

design.out

sing' '

ulding, theor

single

may

be

ofa

mar ri

wholetoo

design. smallora

memberthemayso

of

buildingof of

is

rge

to

necessity be'

''scale."

entire

wing

tower

*

out

scale,as

or

ngle

featureovera

(apparently)window.as on

unimportant

thethat

s k

It

is

apparent,

then,

chitect'svery

success

measured hiseye

by foreye

his

works"

mus

pend

largely

''scale"

whic

ght

be

called,

perhaps,

his

for

relative

p

It

willmust

be

concededplayan

at

once

thatpart

effects in the

of

light

ade

important with it,

design

o

ilding, solids. all

and

cognate

the

handling inor

ofa

voi

d

Architecturally, and allof of

theopenings,

"voids"loggias

desig

windows

doorthe

arcades

e

"solids," balance

buildingand will

whichsolid is

isan

not

"void."

ilful

voidas

essential

chitectural ofany

design, building,alsooccur"

be

apparent

inin

one

's

obse vati

studiedbe

with

this

mind.and study lines,

Lig

d

shademost'

must

skilfully through

manipulated,too

t m

often'

muchof

o

ilding

on

paper,

as

a

compositioneffect

withou

fficient

visualisation

of from

the

of

thea

executed

worcasts

ery

projectionshadow,a

the thewhole

face

of of

buildingshadowsthe

finite

andof the the

effect

theseasa

is

ch

partor

design of

detailorder.

o

ulding From

interpretation

classicon

the

foregoingscale that the

observationsandableto

expression, itmuch

propriateness,apparent

light-and-shadow, architect needsof

mu

menta

uipment

in

additionwith

his

knowledge

historic

styl

his

familiarity

structural

problems.

It

ARCHITECTURE

2

noticed,

moreover,

thatthese

the

more

masterfullyof

an

tect

handleshe

essentials

design

theforscale,

les

ciationthatso

receivesineye

fromsuch to

the

lay

critic,asno

the

perfectionrests the The

matters attract

fo

nce,no

as

attention

and

t

praise. will findof

trainedto

architecturalhim

observer,his conscious

r,

much

delight

in

ciation proceedof

these

niceties.in designpresentaa

To

further

consideration would work,no

ofinconsistentmatter

the

ciple prin-

architecturalofthe

be

with

purposes

how

esting internow

in

itself,through

and

necessarily

briefof those

studygreatwe

will

irectedwhose every

the

evolution

historic around

s

present-day hand.

manifestations

see

n

THEGROWTHTHE

EVOLUTIONOFTHE GREAT OF

OF

ARCHITECTUBEARCHITECTURALOF ASSYRIA, OF

E

STYLES.GREECE,

ARCHITECTUREROME.BYZANTINE

EGYPT, AND

OF

ROMANESQUE

ARCHITECTURE

IN

order

to

acquirewhich with

a

practical

familiarityus

with andto

tliebe

architecture

surroundsits forms,

to-day,

acticallyto

familiarsome

it is obviouslyof and inthe

necessary

acquire

general

knowledge theages

evolution several

f

architecture of

through

the

ountriesIt

Europe.and, of Egypt, indeed, history quiteproper,

is customarya

to

commence

study inno

the

of

architecture

withevolution

its

eginningsleft

although of actual

architectural

s

vestige

Egyptian

detail

in

modem

uildings.The

recognisablethemselves character

characteristicsinthree

of

architecture directions:

anifest

principaltheor

in

he

structural archmass,

of

building

(column;

construc

constructionform

otherwise)or

in

its

general

or

(tall andinor

vertical, detail

low-spreading kindto

nd

horizontal)mouldings

and

its

(in

the

ofeach

tectural architype

ornaments

peculiar

nationality).Thereare,

again,of private

three

broad

divisions

in secular

which publicto

to

onsidersecular

types

buildings:

religious,It class

nd

buildings.in

isa

essential

consider

instinctively, becausemuch

which of

given

building existsvague

elongs,

the

confusion arises

whichfrom

in

he

cqnsiderationor none

of

architectureat

lassification,28

all.

And

classification

should

5/

sroyal

be

the

basisto

of

comparison,

andpractical

comparisoncomprehension. which

i

road

intelligentof

andthese

Thecome

importanceto

broadfeltas

divisions,instinctively,progresses.

make

themselves apparent

will

e

increasingly with

study

Commencing

the

architecturewhata

of

Egypt,

it will

ealisedwas

subsequentlygradually

complexan

architectural

c

built

up

upon

essentially^^

simple

ation. thepurpose

For

of evolution

this

bookbe

the^

followingin of

historythemost

rchitectural form

willwith

presented

se

possible,phases

the

intention

enlarging

certain

of

it in

subsequent

chapters.

Thetype

AECHrrECTXJBBEgyptian

or

Egypt

The

of

buildingevolutionor

whichwas

playednot

its

part

later

architectural either"

the

secular

ing,

publiccase,

private,temple.was,

but

the

religious

ing

^in this Egyptian

the

The

dwellingand Notvery

for perishable,

the

most

part,

modest

affair,

bothno

actually

stylistically.inthe

only

are

there

examples of

preserv

condition

of the

the

Roman

villas residenceupon

Pompeiiappears

Herculaneum,

but little if any

Egyptian

ave of

hadthe

influence

the

later

evolu*

private

house.

Some

idea

of

its

form

has

preservedand

in

elaborate butnot

contemporary

ings wall-painton

bas-reliefs,did it ismore

since

its

influencethe

tural architecof

design

extend

beyondto

daysthe

the

ohs,

profitableof

considerEgypt.

religious,

emple,

architecture Egyptian

ancient

Essentially, andthe

architecture

wasan

a

stone

tecture,on

structurally

itlintel

was

architecture beingany

column

(a

lintel

rizontalAlthough

member theappear

restingarchtowas

upon

two

verticalto

members).Egyptians,a mean

known

the

eir

builders

have

regarded

itstones

as

nobleto most

substitutespan part,

for

the

enormous

which

th

ed

the

distancesseem

between that by

their thethe

columns.

F

e

it would their employed. columns, of huge

Egyptians

gaugedthemany

e

merittheygreater

of

buildings

sizethey

of

stone

ich

Although suchas

built inthe

eir

those

great

h

Karnak,of

cylindricalcolumns,an

drums, hewnfrom

theyone

thought piece

ghly

monolithicwas

one.

Theirs of massive columns

architecture and far andwere

of

sublime

proportions,

formswere

simpleheavierthe

lines.than

Their

thosethe

la

velopedheadsas

byof

the the

Greeks,columns, and

forms

of by

capital

inspiredflowers.

such

lo

ora

palm-leaves

lotus is and

Egyptian influencesarchitecturalcountry,

architecture whichsocial

powerfullynatural

illustrativeconditions essentiallya

e

exe

on

character.

Being

iou rel

actuallywas

ruledthethe

bytemple,

the

priests, and building being

the

principal

rm

of

buildingcountry,

essentially

treeless The

principalofof

material understood

w

one.

Egyptians,anduse

course,

nufacture for

bricks, eternity,

but

with their

their

bas

ssion

buildingtoenormous

forbe

crude

bricnot

ubtlessas

seemed

perishable,stone

and

certainlyso as

blesuch

theirpart

members,

brick

playe

in

Egyptianof the

architectureAssyrians. Egyptianthe rock-cutthe

it later

playe

the

buildings of'*

Indicative

theare

architectural

idealhewn which,

eternity,mountain

there

temples, tomb,

fr

one

sides, the

and

usual

whe

t

buried

beneath

artificial

mountain

of

a

pyramid,

THE

ARCHITECTtJREthe

cutto

intobe

solid

rockthe

of

the

Theban

Hills. preferredofa

Thns

s

inferredeven

that

Egyptians

permanen

towere

the

impressivecontentto

majestyrest

fine

tecture archichamber than

They far inthe

in

hiddenrather

heart

of

the

living

rock,

in

ornate

mausoleum. Egyptiantestifyto

All

architectural this

and"

monumentalthe

remai

predelictionthe

Sphinx,the

hewn great

the

solid templestatues

rock,

monolithic

obelisks,at"

cut

of anda

Rameses massive

IIpylons

Abu-Simbel,all theseare

the

sal

acteri charhave sion inva-

bythe

strength

and theover

immobilitywaves

which destructive

d

centurieshaveswept

and

of

whichfor

Egypt.

Yet,

allwas

its

qualitiesnot

of

massiveand

form,

Egyptianarchitects fromlotus,

tectureartistsand

sombre,many

Egyptian forms

evolvedpapyrus

decorativewere

whichwas

essentiallyof

gracefulEgypt bas-relief

and

ate.

Nor devoid

thecolour.

architectureThe

by

anycarvings,

of

pictorial

the

inscriptionstombswere

and

decorativeeven

details

of

the

ples tem-

and

richly, The they

garishly, ofsand

paintedand

itime

anddimmed

brightthese

colours.

erosionhave

wheretombs be

been

exposed,sanctuaries and the vivid

but

he

shelter

ofare

many to

andas

rock-hewnintense

colours they

foundrecently

as

h

had

but

come

from

brush

o

painter. The transitionalisgenerallystep

from

Egyptianas

to

Greekrock-cut

itectureat

givenoften

existing the*

in*

a

le

Beni-Hassan, because theto

called of the

Proto-Doric bearsthe

le,"

form the

columnscolumn,

kingthe

similarity Greek

Greek

Doric

firs

**

Of

the

2

THE

PRACTICAL

BOOK to Greece,more

OP

ARCHITECTURE

egacy

of Egypt with

may

be

onnection

tha

consideration

in appreciated Greek of tecture. archi-

The

Abchitectubeof

of

Assybia.

architecture istinctly from thatthose

The

of

ancient Egypt,

Assyriaand

differed

quite

ike

of

Egyptian and

its characteristics, direct the were architecture, conditions.more

utcome

of social

naturalwas

Secularthe

architecture

n

magnificent

ace

less religious far emples were

palaces of the and less dominated less

prominent, kings, and, by Andthe

notably being

a

conspicuous.

priesthood, being a country

devoid, timber,a

for

s

eveloped

as stone well part, of building in clay, Assyria but naturally abounding instead hfick architecture tecture. archiof a stone

the

most

Structurally,unit, thegreat

since the brick lintel constructionthewas arch in some

strucsmall tural of the Egyptians

is

a

as

oth

so not possible, in its true form, was

used otheruse

and

considerably, Roofforms. ing thoughamong

here

by accomplished is considerable dispute oftenseveral and largely used. buildings Assyrian

theon

of wood, question

this

rchaeologists, extiles were

theories

maintaining

that

Of

only

the

wallsgreaton

androoms

floors

emain,

but beenwas

the

area

ave

here

spanned devised clay.

of the of many only by timbers,a

could

covering

of

perhaps, which, then lighter wood,

hatch Most

and

buildings are of the form of Assyrian versions that the it is known with certainty conjectural, though sively impreswere of vast size, and were and temples palacesterraces, a series on approached of great elevated And broad flights of steps. whatever particulars Assyrian are architecture conjectural, it is certain

by

of

the

Assyrians of

were

the both of

first

to

realise

andand

developdecora-

possibilities Such

brick,

structurally

y.

portions

their

importantwere

buildingswithor

as

conspicuously ofgorgeous

exposedand elaborate

facedcolours,

glazed

s

beautifuland deities,

with

tiles

forming of

highlymonsters

decorative and littlehad

representatio

legendaryarchitecture

heroes.from

Subsequent"

borrowed

the

ians

certainly it. by The

that

of

Greece

nothingbut

i

with Egypt,two

Assyriansof raciallymaterialsthe

borrowed

little

reason

differingand socially, available.the

characteristicsas

he

countries, of building

well

as

i

nature

Architecturally, dispute, ofever

however, pioneersasa

Assyrians

were,

out with-

the

in building beena

demonstrating materialdistinct"

thea

possibilitie

bricksince,

material

,

has

factor ofother

inraces

tectura archi-

evolution

and

expression

i

lands.

The

Abohitectube histories

of

Greece

Most

architectural of archsBologicalmany

are

enlivenedon

by

the

tes

authorities of outline ofsuch these

questionsare

ofgreat

.

Althoughthepresentnot

disputes sketchof

of

st,

architecturalThe

ion

will

allow

digressions.usually regarding

study

reekgreat

architecture, conflicting

however,

beginsthe

with

the

liieoriesis

origin

of

its

Onecolumn firstis

contentionandlintel

that

the

Greeksas

borrowedas

construction,from

well

the

formother

heir

Doricthat

column, the

Egypt.

The

tion

Greeks,

advancinginto stone

inthe

skill

and

on,own

simply

translated wooden

forms

of

earlier

buildings.

There

is much

to

pport

both betweenbutin the

theories.early

Undoubtedly

there

isformsisa

a

la si

Greekno

architectural doubtto

yptian,

with

lesstemple

there whatwe

distin

alogya

Greekand

may

imagine wood.

similarthe

primitiveit of

Greekmore

buildingto

of

For

present

is

importantinthe

crystallise

clear

impression

what,to

main, into its

constituted origin.isthe

eekAn

architecture, understanding important of ofmany

thanofstep

inquire

Greekacquiring

architecturea

f

ally

in

practicalday,

stand underas

the

architecture

of

the

present

w

earlier

periods.understandof the

Tothe*'

understand real

Greeof

chitecture

is

to

meaningRevival,'*to

veral

manifestations frequent architectural

Classic

e

allusion

the

*'

Class

eal.*'The

importancecannot

of bethe

Greek

architecture

in

subsequent

olution

over-stated.

Greekallmodem ofthe

architecture

ndamentally,from later,

basisthe

of

architecture,Rome,

at

it sprangthe

architecture ofthe

and

fr

at

architecture supplanted architecture,

Renaissance,idea.

whic

rmanently

Gothicfurthermore,

Inthe

Greekfirst

itofare

isa

possible multitude

r

time,

to

perceive

the which

originwe

architectural

forms"

with

dailymotifs

s r

to-day immortalcome* '

^mouldings,' '

ornamented themselvesday,not"

e

Greekto

ordersthe

orms ^f

whicthose

ve

downEgypt

present

while live downfall

cient

and their

Assyriaor

didafter

beyondof

nfines

of

lands,

the

th

pires.

Thean

Greeksidealof

evolvedsuch

the

'*

Classic and

Ideal** and

in

ture, architec

purity the

nobility

perfection the

at

it has

constituted

standard

through

age

AN

EARLV

EXAMPLE

OF

THE

GREEK

DORIC

TEMPLE

(UNFINISHED)

'

u

well

u

mouldi

""

"

"

""

-

-"

-

{Tba

CiTyatid

Porch

of

the

Encblhnim.

Alfa"n

E

CORINTHIAN

ORDER

ARCHITECTIRK

is

to-day

the

fundamental

of

architectural isasa

design. colunm-and-

Greek

architecture, highly

elementally, developed ordersto

l

architecture,theseverest

timemost

wentornate

on

Doric

the

thianthree

orders. orders, Dtiric,

The

Ionicto

and

Corinthian,

are

ly

recognisable

andTerminology,

easily

be

distinguished

(se

hitectural

Illustrated'*).assumed by it is

Regardlesselements

of

the

formslater

Greekimportant

architectura

in

times,forms

t

ber of

theirthe

origin.Renaissance,in

Greekand the

reappearedin the

inperiod

the

d

again

o

Classic forms

Revivalconstitute

Eighteenththemost

Century,importanta

and

thepart

to-day details.

ur

architecturalformspave

To thea

possess

clear

vision

reekto

isthe

to way

simplifyfor

study

of

architecture

subsequent

recognition idealswhichcame

o

forms

and

other later

architectural periodstype

beingmost

during

and

in

other

lands.was

The

notable

of

Greek

buildingof

the

e,

although

thefarthan

privatemore

dwellingsofthecase

wealthyof

individua

claimedsculptors

attention

arcliitects

was

thewas

in

Egypt.an

Greek

architectureand its

essentiallysubsequently

architectureto

tone,was

character,

the of

Doric

,

markedand

by

the

refined of

application

graceful

ng

co-relationthe eternal

monumentalof

statuary.

Much inthe

of

excellenceof

Greek

architectureas

perfectionofupon.

its

proportions, which,to

wellhave

as

i

refinement improved

its

detail,

date,

not

It is importantthe

to

rememberand

that

Greek direct

architecturesource

inspiration

of te^^

the

of

the

sign

of

virtuallystyle has

all

the

large

public better and

buildingssuited

-day.

No

been

found

for

pressionform.

of The

dignity,debtcan

stability ofnever

permanent to

beaut

architecture be

the

genius and

cient

Greeceincreasinglytemple

discharged,as

t

comes

apparent

study

proceeds. kinds, province isbut

Greek

plansof

were

of

several

fferentiationmore

these

comes

into than

the

o

r

detailedNor becan

consideration thisto

it

intendedofupon

esent.

kind havea

of

knowledge

Gree

chitecture

said

directismore

bearingimportant,the' *

e

superficialsurvey,

aspects.

It

i

neral

to

recognisegreat

thoroughly

importance

d

meaning the puritywere

of of

the

and theof

immortal

Classicof

IdeaP

form

and

perfection

proportion

ich

the

essentials

Greektheir

architecture.highest

An

ese

basic Greekmostwasan

essentialstemple.

found

expression

the The

importantits"

feature

ofan

theopen

Greekcentral

privat

sidence

planninga

aboutof plan

courto

lled

atrium

type

stilllater

adhered

m

countries,

and notably

encounteredthe

in

but

slightl

riant

forms,

Spknish

patio.

TheThe

AechitectubbRome tookinarch.

of

Bomb

architectsit,

of

Greekaddition,

architecture and

d

elaborated theold Greek

introducingofthe

highl

veloping,The

use

Doricto

order

didit

not

appeal

toappeared

phisticatedsevere was'

Romans,

whom

doubtless

o

andthe

too

primitive.Doric column,

Theiralso

corresponding

rm

Roman

called' '

Tuscan

'

ee

Architectural

Terminology,

Illustrated

)

The.

made highly

bat

little

use

embellished

of the Ionic, the Corinthian.of the

but

appropriated

and

Most architecture latera

characteristicwas

Romanuse

developmentof column

of arch, Italian

favourite

combined for the theme

the

and

architects

of the

Renaissance. Roman carvingor

and similar

ornamentationworkof

was

rarely

so was

refined

pure

as

the

Greeks,were

butloversto

more usually inscriptions,more

decorative.

The

Romans

ofpay

in their and, to secular attentionthan

architecture,

began

buildings, beenand wellas

both

publicthem.

private,works,

hadas

previously aqueductsas

such

accorded bridges,theatres,

and lic Pub-

became baths,or

tectural archi-

monuments,

andvillas,were

triumphalbecame

arches, luxurious

while

the

privateto

residences,a

and

elaborate

degree,

andother

filled with

of

art,

bronzes statuary, paintings, including Greek antiquities.was

and

works

Architecture

fast

comingto

into occupy

a

with of Therewere

the

people,

ceasing

closer ship relationits earlier tion posi-

exclusivewereeven

consecrationRoman

to

theto

gods. besure,

temples,

but

there

an

greater

have which development

played

secular number of Roman important in the a part asas

ings buildquent subsemonuments

of arch