The Brochure Series

OF ARCHITECTURAL ILLUSTRATION.

Vol. I.NOVEMBER, 1895.No. 11.
LXXXI. Ferme la Vallauine, Normandy.

LXXXI.
Ferme la Vallauine, Normandy.

THE COUNTRY HOUSES OF NORMANDY.

THE houses chosen for illustration in this
number are of different types, of different dates, built for
men of different stations in life, and are constructed of
different materials. They are, however, all in the province of
Normandy, in northern France, and they are all situated outside
the towns; further than this it may not be well to go in
attempting to classify them under one head. Like the subjects
chosen for our last issue, they contain many suggestive ideas
for treatment of similar problems in our own country, and for
this reason they deserve special attention.

The tendency among the French has always been strong to
build their houses in compact groups, and detached buildings
with free space on all sides are the exception even in the
country. Mr. Louis H. Gibson, whose book “Beautiful Houses” we
have noticed in another column, says of the French domestic
architecture:—

“Excepting the châteaux, the structures of which we
have the completest record are almost entirely buildings
fronting directly on the street or road. In France it is rare
indeed that one sees an isolated building with a free passage
around it, as is common in our American towns and cities. It is
not at all uncommon for a farm building to be constructed
within a wall; again, the farmer’s house may be almost flush
with the road. Little farm communities, with the buildings
abutting on one another, are very common, because of the
companionship which such association brings. This was not alone
true in the early history of France, but obtains in the
construction of to-day. The small towns, as well as the cities,
are almost universally built very compactly. Thus we may expect
to see very few examples of isolated structures in France.”

In this respect it will be seen the taste of the French
house builder differs from ours where open space about a
dwelling-house is considered one of its important attractions.
Consequently the examples here shown should not be considered
as typical of French domestic architecture. The town house is,
if anything, the type.

Most of the examples which we have chosen belong to the
sixteenth century or thereabouts. The Manoir d’Ango, of which
we gave four views in last month’s issue and of which three
more are now shown, was built about the middle of the sixteenth
century, and the manoir at Archelles was also built
about the same time. It was also during this century that the
best and most interesting of the French half-timber work was
done, and although we have no data at hand for determining the
matter, we judge that the two examples here illustrated date
from about this time. The construction in these buildings is
doubtless the same as that commonly used in others of this
character—a strong framework of timber filled in with
brick masonry and then plastered. Many of the town houses built
in this way were very elaborate and were adorned with exquisite
carved wood ornament. In Verdier and Cattois’ “Architecture
Civile et Domestique” may be found numerous examples, and in a
future number of The Brochure Series we
shall give place to some of the most attractive.

LXXXII. Manoir at Archelles, Normandy.

LXXXII.
Manoir at Archelles, Normandy.

One consideration has influenced the selection of some of
the subjects included in the illustrations of this number which
has not before been mentioned, and it is not necessary to dwell
upon it now. It has been our experience that architectural
students are constantly looking about for appropriate subjects
for sketching, and some are so fastidious that they find very
few satisfactory ones. We commend the views here given, and
also those in the last issue, as excellent and appropriate
subjects for treatment either in water-color, pen-and-ink, or
pencil. Next to working directly from nature, it would be hard
to find better practice than can be had by translating these
photographic views into drawings.

LXXXI.

FERME LA VALLAUINE, NORMANDY.

With the resources at our command we are unable to further
identify this house than the above title indicates. In fact, it
tells its own story. Judging by analogy, it probably dates from
the sixteenth century. Nothing could well be more
picturesque.

LXXXII and LXXXIII.

MANOIR AT ARCHELLES, NORMANDY.

Archelles is a small village near Arques, and its principal
attraction is this beautiful manoir with a garden at its
back, and surrounded by fine trees. It dates from the sixteenth
century and is built of brick decorated in a sort of mosaic
inlaid with a light colored stone. The old walls overgrown with
vines are especially attractive.

LXXXIV.

PORCH OF CHURCH AT BEUVREIL, NORMANDY.

The form and proportions of this old porch are so good that
in spite of the rough and meagre detail it has an irresistible
charm.

LXXXV.

MANOIR DE VITANVAL, STE. ANDRESSE,
NORMANDY.

Ste. Andresse is a small community on the coast of Normandy
a few miles north-west of Havre.

LXXXVI to LXXXVIII.

MANOIR D’ANGO, NORMANDY.

This manoir has already been referred to in the
preceding number, where four other views are given.


Architectural Schools.

COLUMBIA COLLEGE.

In the series of articles in which we have undertaken to
give an idea of the scope of the courses of architectural study
offered by the various schools of the country, we can hardly do
better, in referring to Columbia College, than quote from a
paper in which Professor William R. Ware describes the methods
used for the teaching of the history of architecture at
Columbia. Our extracts are made from a portion of the paper
printed in The American Architect for November 30,
1895.

These four exercises, the Lectures on History and Ornament,
with the study of English, French, and German text-books, the
Historical Research, the Historical Drawing, and the Historical
Design, occupy a chief part of the student’s time during the
first three years of the course. At the end of the third year
the stated instruction by recitations and the lectures is
virtually finished, the fourth year being, by an arrangement
which is perhaps a novelty in places of learning, quite free
from lectures or recitations. The men give their whole time by
day to problems in design, to what may be called
atelier work,” without interruption. Their evenings,
throughout the whole year, are devoted to historical study. As
the college library, including the Avery library, as well as
the books and photographs belonging to the Department of
Architecture, is accessible every evening until eleven o’clock,
and the Metropolitan Museum is open twice a week until ten,
every facility is afforded for the prosecution of this work. In
order to make the most of these appliances, every student of
the Fourth-year class and all the special students (who are of
similar grade, being received only in advanced standing)
prepares once a month, under the name of Advanced Architectural
History, an original paper. This he illustrates by drawings and
reads to the class. All this affords an almost unexampled
opportunity for serious work.

We exhibit to the students the architecture of the past as a
series of problems just as it appeared to the builders of its
own day, and we hope thus not only to give them a clearer
insight into the real spirit and character of the masterpieces
that have come down to us, by bringing to view the ideas and
considerations which really influenced their designers, but at
the same time to exercise our own young men in the practical
application of those same ideas. We hope thus to develop in
them the same good sense and good taste, the same readiness of
invention and happy ingenuity, to which these masterpieces are
due.

LXXXIII. Manoir at Archelles, Normandy.

LXXXIII.
Manoir at Archelles, Normandy.

The exercises themselves may be described as a species of
design by description or by dictation. The attempt is made, by
indicating the conditions under which a given piece of work was
executed, to present to the student the same problem that the
workman of old was called upon to solve. The student can then
compare his own solution of it with the one that has come down
to him, thus receiving correction and guidance in his work from
the hand of the master. It is plain that the special
excellencies of the original monument are likely to reveal
themselves with fresh distinctness, and to find special
sympathy and appreciation in the mind of one who has striven,
however unsuccessfully, to solve the same problem.

An example or two taken from widely different fields will
suffice to illustrate this. In studying vaulting, we once got
so far as to understand how oblong vaults were thrown across a
nave, while square vaults covered the aisles. A class of
fifteen or twenty students were then asked to find out how a
semi-circular or polygonal apse could be added to a choir
roofed on this system. In the course of a couple of hours’
figuring I found that they had worked out among them all the
five solutions of this problem, which in the Middle Ages it
took one or two hundred years to develop. This was very
encouraging. At another time they were given a somewhat minute
description of four pilaster capitals from Blois or Chambord,
and they made thumb-nail sketches on the spot, according to
their interpretation of the description. The next day
photographs and drawings of a dozen or twenty other such
capitals were given them, so that they might understand the
fashion of the time, and they were told to draw out their
sketches on a larger scale. The result was fifteen or twenty
sets of capitals, all showing the same four motives, but
differing in a most interesting way, according to the personal
differences of taste and skill on the part of the
designers.

On another occasion the First-year class, after their
studies in Egyptian and Assyrian architecture, made a dozen or
twenty restorations of Solomon’s Temple, according to the
description in the Book of Kings. The drawings they produced
showed considerable fertility of invention, especially in the
designs for Jachin and Boaz, and the whole series together
seemed to be quite as creditable and as reasonable as most of
those which have from time to time been put forth by the
learned.

This practice in historical design we believe to be founded
on sound theoretical principles. To regard a work of art as far
as possible from the point-of-view of the artist is, indeed,
the first principle of fair and intelligent criticism. To
foster the individuality and personal initiative of a pupil by
bringing authority to bear upon him in a way of correction at
the end of his task, and guidance and suggestion at the
beginning, rather than control during the course of the work,
is the first principle of intelligent teaching. Moreover, the
results, so far as we have gone, have justified the method. We
have, indeed, employed it hitherto mainly as a matter of
experiment when favorable circumstances have suggested it. But
every year we use it to a greater and greater extent, and it is
gradually acquiring a recognized place as an integral portion
of our work.

(To be continued.)


Personal.

Of the many fortunate ones who have come back to a winter of
work after a summer abroad are Messrs. Claude F. Bragdon,
Charles M. Sutton, and Howard Hatton, of Rochester. Messrs.
Sutton and Hatton are now with J. Foster Warner. Mr. Bragdon
has temporarily opened an office at 60 Trust Building, but will
have offices in the new Cutler Building when completed.

Mr. Wilson Eyre, Jr., of Philadelphia, has just finished
designing a second formal garden, which is said to be
delightfully un-American; and Mr. Frank Miles Day’s
Horticultural Hall is nearly ready to receive the mural
coloring and allegorical painting which Mr. Joseph Lindon Smith
is to execute. The latter will be a conspicuous departure from
ordinarily accepted models.


LXXXIV. Porch of Church at Beuvreil, Normandy.

LXXXIV.
Porch of Church at Beuvreil, Normandy.


The Brochure Series

of Architectural Illustration.

PUBLISHED MONTHLY BY

BATES & GUILD,

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Back numbers of The
Brochure Series
are not kept in stock. All
subscriptions will be dated from the time received and
subscribers who wish for the current numbers must place their
subscriptions at once.

A hundred photographs are published in twelve issues of
The Brochure Series. You may get some
duplicates, but the new ones will be well worth a subscription
at fifty cents. This is addressed to
non-subscribers.


We have repeatedly called attention in this column to the
question of perennial importance to us—that of
subscriptions. We have no apology to offer for this insistence
upon the publisher’s business, for it concerns every one who
has any interest in the undertaking, in so far as the support
received in this quarter will make it either possible or
impossible, as the case maybe, to add to the attractions of the
magazine as conducted at present.

We have every reason to feel satisfied with the support thus
far accorded us, for our subscription list is now much larger
than we expected it would be at this time, but this is only a
beginning. In the advertising pages of this number will be
found an announcement which, we trust, will appeal to a large
number of our present subscribers who already know our work. In
most cases it is only necessary to show the magazine and state
the price to at once secure a subscriber. Try it and see; enter
the prize competition, and help yourself by helping us.

In the September issue we took occasion to notice the mural
decoration and color treatment of the staircase hall of the new
Public Library Building in Boston. Those who would judge for
themselves of the merits of our conclusions must see the
building; but it is not necessary to go to Boston in order to
realize that here we have a remarkably beautiful structure, and
many of its features can be fully enjoyed and appreciated in
photographic views. In another column will be found a notice of
a very attractive and unusually satisfactory handbook of the
library, with numerous illustrations from the photographs of
Mr. E.E. Soderholtz. Further than this, we wish to call
particular attention to the set of photographs which is
advertised on the front cover of this number. As a photographer
of architectural subjects Mr. Soderholtz certainly has no
superior in this country, and in this collection the subjects
and manner of presentation are equally worthy of the highest
praise.


Wanted Draughtsmen’s Addresses.

We intend issuing, the coming year, a number of
interestingly illustrated announcements of new architectural
publications and importations. We want to send these to every
architectural student and draughtsman in the United States and
Canada. If you are not on our subscription list, send us your
residence address for our circular mailing list. Address
a postal card as below, putting simply your address on the
back. If you are in an office, have the other fellows put their
residence addresses on the same card. We prefer to address mail
matter to your residence, as there is less danger of
miscarriage. Do not get the idea that by sending your address
you are ordering something you will be asked to pay for. All
the expense, except the postal card, is on our side. If we
can’t get out announcements interesting enough to attract your
attention and occasionally secure an order, it will be our
loss. Address:—

Bates &
Guild,

6 Beacon Street,
Boston, Mass.

For Circular List.

LXXXV. Manoir de Vitanval, Ste. Andresse, Normandy.

LXXXV.
Manoir de Vitanval, Ste. Andresse, Normandy.


Brochure Series Competition No. 2.

The first lot of drawings in the competition for a design
for the advertising page of The Boynton Furnace Co., in
The Brochure Sseries, was due on
December 10, and eleven designs were received.

The judges have awarded the prize to Mr. Edwin R. Clark of
Lowell, Mass., and his design appears in this issue as the
advertisement of the Boynton Furnace Co., on page xi. The
reasons for the award may be a guide to others engaged in
similar work, and consequently we reproduce several of the
other designs for comparison with Mr. Clark’s.

It must be remembered that the first consideration in this
problem is the effectiveness as advertising matter of the
design submitted—its artistic merits, although important,
are distinctly secondary to this quality. The medium in which
it is to be used and the clientage to which it is intended to
appeal must also be constantly borne in mind.

Design by Edwin R. Clark.

Design by Edwin R. Clark.

Mr. Clark submitted three drawings, a second one of which is
given herewith. The first is superior in giving a more positive
effect to the page and in being a more unusual treatment than
the second. Although both are drawn with skill and are
admirable in technique, the type of design and ornament used in
the second have come into such common use that if for no other
reason than this the first would be preferable.

Design by W.B. Olmsted.

Design by W.B. Olmsted.

As decorative treatment Mr. Olmsted’s design is in many
respects the most masterly of the lot, and if the personal
choice of the judges had been the only consideration upon which
the award was to be made, this would have been placed first,
for it is remarkable for careful and intelligent arrangement,
subtle balancing and proportion of parts, and especially for
what may be called the decorative sense by which just the right
relation of black to white is preserved. It is seldom that any
but the most accomplished designers succeed in obtaining this
just proportion, which gives a sparkle to the design such as is
seen in the best of the Japanese stencil patterns used on
printed stuffs. The clever use of motives connected with the
business advertised and the idea of presenting the Boynton
apparatus in attractive form and other heaters thrown about in
confusion is commendable. The only reason for passing over this
design in the award is the advertising value of the attractive
appearance of some of the more ornate designs.

LXXXVI. Manoir d'Ango, Normandy.

LXXXVI.
Manoir d’Ango, Normandy.

Design by F. Chouteau Brown.

Design by F. Chouteau Brown.

One other drawing, that of Mr. Brown, deserves particular
notice for its intrinsic excellence. It is especially
praiseworthy for its grace of line and general arrangement. The
figure is well placed and, although faulty in drawing, is
particularly effective in treatment. It is essentially a poster
design, but none the less appropriate for the present purpose
on this account. It lacks only in those qualities of
draughtsmanship which come with practice and experience.

Design by Chas. F. Hogeboom, Jr.

Design by Chas. F. Hogeboom, Jr.

The remaining drawing which we illustrate is a very
interesting although not especially forcible treatment of the
class of ornament adopted by Mr. Louis H. Sullivan, and in his
hands having a wonderful charm, but seldom used with entire
success by others.

The result in this first series of designs is especially
satisfactory in the intelligence shown in grasping the
essentials of the problem. All of the remaining six drawings
have points of excellence to commend them, and if we had space
to reproduce them would prove instructive in showing the
diversity of treatment possible while fully meeting the
conditions imposed.


Reviews.

Beautiful Houses. A study in house
building. By Louis H. Gibson. Illustrated. Boston T.Y. Crowell
& Co. 1895. pp. 346. $3.

This book is in many respects very attractive, and will be
found useful to architectural readers as well as to the general
public.

It is divided into two parts, the first under the heading
“The World’s Houses” and the second, “Some House Plans” and
“Materials and Details.”

The first part is that which will be of most value to the
architectural reader. In it are described the principal types
of domestic architecture, giving most prominence to the work of
France. The illustrations of this portion of the work are well
chosen and very well printed. In fact, to the architect they
form the most valuable part of the book. The second part is
devoted mainly to Mr. Gibson’s own designs. These are mostly
good, straightforward work, although we can hardly agree with
all of his opinions. His use of language is not always
discriminating and is sometimes misleading.

To the general reader there will be much of interest in all
portions of the book, especially if he contemplates building a
house. And in this case we sincerely trust that its perusal
will result in another commission for some fortunate
architect.

LXXXVII. Manoir d'Ango, Normandy.

LXXXVII.
Manoir d’Ango, Normandy.

Handbook of the New Public Library in
Boston.
Compiled by Herbert Small. Fully illustrated.
Boston, 1895. Curtis & Co. 78 pp. 16c.

The unusual interest which has been aroused in architectural
circles by the new building for the Boston Public Library is
the reason for devoting special attention to this little book
in these columns. Although intended for general readers, it has
a very instructive article by Mr. C. Howard Walker considering
the building architecturally, which will interest architectural
readers. The illustrations, made from photographs by E.E.
Soderholtz, are excellent and numerous, and the cover, printed
in green and black, from the design of B.G. Goodhue, is an
additional attraction. On the whole, even after so much in the
way of illustration of this building has been already
published, it is worth the while of any architect or
draughtsman to send for this little pamphlet.


Club Notes.

The Chicago Architectural Club is keeping its members
guessing to know what scheme of work or entertainment will come
next on its programme.

The annual meeting for election of officers was held October
7. Several of the regular monthly competitions and an informal
exhibition have already come and gone, and a “Bohemian Night”
with all its accompaniments comes every fortnight.

The following classes have been arranged for some time ago:
Water Color, under Hugh M.G. Garden; Architecture, under George
R. Dean; Pen and Ink, under Charles E. Birge; Modeling, under
Richard W. Bock.

A talk on “The Impecunious Draughtsman Abroad” was given by
Mr. Myron H. Hunt, and Mr. George R. Dean has given a
lantern-slide exhibition, illustrating the Château de
Blois.

The club also held a joint meeting with the Chicago Society
of Artists, when Mr. N.S. Patton discussed the question of “The
Architectural and Artistic Possibilities of the Lake
Front.”

The annual banquet and meeting of the Cleveland
Architectural Club was held at the Hollenden Hotel Thursday
evening, November 14, with about forty present. Dinner was
served at six o’clock, followed by toasts from Messrs. John L.
Culley, F.A. Coburn, and Charles W. Hopkinson, with President
Hubbell as toastmaster.

After the speaking the annual meeting was held, with an
address by the president, reports by the secretary, treasurer,
librarian, chairman of the Current Work Committee, and the
chairman of the Entertainment and House Committee.

The club has grown from a charter membership one year ago of
fourteen to a total membership of forty-five.

The newly elected officers are: President, Benjamin S.
Hubbell; Vice-President, Frederick Baird; Secretary, Herbert B.
Briggs; Treasurer, Albert E. Skeel; Librarian, G.B. Bohm;
Directors, M. James Bowman and C.S. Schneider.

A joint exhibition of the Cleveland Architectural Club and
the Cleveland Art Association will be held in the Garfield
Building, from January 20 to February 5, 1896. Works will be
received until Monday, January 6. The exhibition will include:
Architectural sketches, perspectives, and elevations in all
renderings; photographs of executed work; landscape
architecture; interior architecture and decoration; interior
furnishings (samples and sketches); architectural and
decorative metal work (wrought iron, bronze, and brass);
sculpture (architectural and ornamental).

An illustrated catalogue will be issued.

All drawings must be framed or mounted.


A Good Endorsement.

The following letter from the office of Richard M. Hunt is
of interest to all users of shingle stains:—

Dexter Bros., Boston:

Gentlemen,—The shingle stains we have used
on some of the buildings of Biltmore Village, N.C.,
furnished by you, have given absolute satisfaction as to
quality and color. We consider your stains the best we have
used so far.

Yours respectfully,

(Signed)       
               
R.H. HUNT.

LXXXVIII. Manoir d'Ango, Normandy.

LXXXVIII.
Manoir d’Ango, Normandy.


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