HOUSE AT MONUMENT BEACH, BUZZARDS BAY, MASS.	W. R. EMERSON, Architect.
Stained with Dexter Bros. English Shingle Stains (Dark Brown).

HOUSE AT WOBURN, MASS.	E. A. P. NEWCOMB, Architect.
Stained with Dexter Bros. English Shingle Stains.

Dexter Bros., 55 and 57 Broad Street, Boston, Mass.

HOUSE AT CHESTNUT HILL, BROOKLINE, MASS.	W. R. EMERSON, Architect.
Stained with Dexter Bros. English Shingle Stains.

HOUSE AT BROOKLINE, MASS. View from Rear.	KENDALL & STEVENS, Architects.
Stained with Dexter Bros. English Shingle Stains (Body No. 12, Roof No. 31).

Dexter Bros., 55 and 57 Broad Street, Boston, Mass.

HOUSE AT BAR HARBOR, ME.	W. R. EMERSON, Architect.
Stained with Dexter Bros. English Shingle Stains (Dark Brown).

HOUSE IN BROOKLINE, MASS.	EUGENE L. CLARK, Architect.
Stained with Dexter Bros. English Shingle Stain (No. 4).

Dexter Bros., 55 and 57 Broad Street, Boston, Mass.

HOUSE AT NEWPORT, R.I.	W. R. EMERSON, Architect.
Stained with Dexter Bros. English Shingle Stains.

HOUSE AT ROXBURY, MASS.	GAY & PROCTOR, Architects.
Stained with Dexter Bros. English Shingle Stains (Roof No. 11, Walls No. 41).

Dexter Bros., 55 and 57 Broad Street, Boston, Mass.

HOUSES ON
THE GODDARD ESTATE,
BROOKLINE, MASS.

	SHEPLEY, RUTAN & COOLIDGE, Architects.

STAINED WITH
DEXTER BROS.
ENGLISH
SHINGLE STAINS.

LXXXIX.
Old Houses, Hanover, England.

XC.
Middle House, Mayfield, Sussex, England.

XCI.
Worsley, Old Hall, England.

XCII.
Speke Hall, England.

XCIII.
Speke Hall, England.

The Brochure Series

OF ARCHITECTURAL ILLUSTRATION.

ENGLISH COUNTRY HOUSES.

OLD HOUSE NEAR WARWICK. SKETCH BY WILSON EYRE, Jr.
From The Architectural Review, Vol. IV, No. 1.

Mr Wilson Eyre,
Jr., in an article in The Architectural Review for
January, which has been alluded to in our issue for October, and from
which we have borrowed the three charming illustrations reproduced from
his drawings, speaks as follows of English domestic architecture:

“There is much to be seen from the railroad in the way of long
rambling farmhouses and country houses of the modest kind, and there is
much to be gained by studying these for use in our own domestic
architecture; their average work is so much less pretentious, so much
more homelike than ours; their surroundings are studied so carefully,
the garden forming as much part of the house as the roof, and great
pains being taken that the garden wall, hedges, terraces, the little tea
houses, in fact all the immediate surroundings, should form a harmonious
effect. Photographs and measured drawings of the well-known and
monumental buildings are at hand whenever we need them, but no idea can
be gained, except from personal study, of the completeness and fitness
of the country houses and farmhouses and of their surroundings, their
“flocks of gables,” the grouping and
189

composition which through the most careful study arrive at the entirely
unstudied and almost haphazard effect, and above all the impression
produced that the building belongs to the spot upon which it is built
and to no other. This is what makes the English domestic work better, to
my mind, than any I have seen, and so well worthy of study, especially
by our American architects.”

OLD HOUSE, LICHFIELD.
SKETCH BY WILSON EYRE, Esq.
From The Architectural Review, Vol. IV, No. 1.

The one distinguishing characteristic upon which all observers agree
when comparing the houses of England with those of any other country is
the importance given to the idea of a “home.” This idea of
the family life, more fully carried out by the Anglo-Saxon race than by
any other, has given rise to conditions differing essentially from those
governing the domestic architecture of other races. As pointed out in
the last issue in speaking of the country houses of France, the impulse
to associate in communities has been a stronger power in moulding the
domestic architecture of France than the desire to have an independent
home. In England the isolated house is the type. The social unit is the
family, and consequently the architectural unit is the
“home.” The English character has given to the family an
independence and privacy, a permanence and sacredness which are all
reflected in the English houses, and it is this which makes them homes.
The evidence of these characteristics is what has attracted Mr. Eyre and
many other Americans besides, and will continue to do so for years to
come.

CHAPEL, DEERHURST.
SKETCH BY WILSON EYRE, Jr.
From The Architectural Review, Vol. IV, No. 1.

English architecture is not all and never has been all of the sort
here indicated, but where it departs from this type we feel the peculiar
charm somewhat lacking. The early Saxon hut, the Norman castle, have
each their especial interest, and we feel that the home has culminated
in the Elizabethan and Tudor mansions and the simpler homes of later
days which are adjusted to the needs of the family and suited to its
surroundings,
191

because built honestly with due regard to the necessities, and even if,
as Ruskin says, their detail is abominable and there is no precedent, no
right nor reason in the square drip moulding over the windows, yet we
love them as a whole, and cannot help feeling that they expressed truly
the story they were intended to tell. But we do not feel the same
instinctive attraction in the Palladian mansions of Jones, however
accurately classical are their proportions or their mouldings, nor in
any other of the dignified importations transplanted from Greece or Rome
and forced to grow on uncongenial soil. They must ever be to us exotics,
with perhaps the beauty of the exotic, but without the homely qualities
which endear to us the real home.

XCIV.
Smithells, England.

XCV.
Saintesbury Hall, England.

LXXXIX.
OLD HOUSES, HANOVER,
ENGLAND.

XC.
MIDDLE HOUSE, MAYFIELD, SUSSEX, ENGLAND.

XCI.
OLD HALL, WORSLEY, ENGLAND.

XCII
AND XCIII.
SPEKE HALL, ENGLAND.

XCIV.
SMITHELLS, ENGLAND.

XCV.
SAINTESBURY HALL, ENGLAND.

XCVI
TO XCVIII.
OLD MANOR HOUSE, LYTHE HILL, ENGLAND.

XCIX.
OLD FARM HOUSE, LYTHE HILL, ENGLAND.

C.
THE GATE HOUSE, STOKESAY CASTLE, ENGLAND.

Club Notes.

Nearly simultaneously with the announcement that the T Square Club,
of Philadelphia, has been awarded the


medal offered by the St. Louis Architectural Club for the best
Club-exhibit of Mention Designs comes the news of John
Stewardson’s lamentable death. As a founder of the Club, as its
president, and for years a member of its Executive Committee, he
remained to the last one of its most enthusiastic supporters. Many of
his drawings are now in the Club rooms, and his record as the winner of
many competitions is upon the minutes of the Club.

His generous aid, sincere criticism, and deep interest in the welfare
of the Club contributed more to the advancement of architecture in
Philadelphia than can now be realized.

The ninth annual Exhibition of the Chicago Architectural Club will be
held at the Art Institute, Chicago, opening March 27, 1896.

This exhibition will include architectural drawings and perspectives
in all renderings, scale, details of public and private work, projets, landscape
drawings of parks and other public improvements, works of sculpture and
artistic exhibits of works of the allied arts.

Detailed information with circular of instructions and application
blanks can be had by addressing Frank M. Garden, Secretary, Chicago
Architectural Club, 274 Michigan Ave., Chicago.

In the seventh annual competition for the Robert Clark testimonials,
held under the auspices of the Chicago Architectural Club, the prize
winners are as follows: Addison B. Le Boutillier, Boston, Mass., gold
medal; William Leslie Welton, Lynn, Mass., silver medal; John F.
Jackson, Buffalo, N.Y., bronze medal; Harry C. Starr, Chicago, first
honorable mention (bronze medal); Edward T. Wilder, Chicago, second
honorable mention (bronze medal). L. J. Millet, R. C. Spencer,
and Irving K. Pond composed the adjudicating committee.

Messrs. Thomas Hastings, John Galen Howard, and Albert L. Brockway, the
committee of the Architectural League of New York upon the annual
competition for the League gold and silver medals, announce the program
for this year. Drawings are to be submitted on or before February 6. The
problem is the principal entrance of a terminal railroad station. Plan,
elevation, and detail are required.

XCVI.
Old Manor House, Lythe Hill, England.

The Brochure Series

of Architectural Illustration.

PUBLISHED MONTHLY BY

BATES & GUILD,

6 BEACON STREET, BOSTON, MASS.

Entered at the Boston Post Office as Second-class Matter.

Renew your subscription promptly if you do not wish to miss any
numbers. Single renewals must be accompanied by a remittance of fifty
cents. Five or more names (new or renewals) must be sent in together to
secure the club rate of forty cents.

SPECIAL NOTICE.

New subscribers should order at once, thus securing a complete
volume, containing one hundred illustrations. Considering the selection
and quality of reproduction, fifty cents is an exceedingly low rate for
these.

An index and title-page for the first volume of The Brochure Series have been prepared for the
convenience of those who wish to bind their copies, and they will be
mailed free to any subscriber upon request.

Since the introduction to the public of The
Brochure Series in its present form a year ago, five-cent
magazines have been made fashionable. Their number is countless, and
they are of all degrees of value and interest. A year ago the
experiment was a comparatively untried one and the policy of The Brochure Series was necessarily more or less
experimental, but it has now crystalized into fairly settled shape. In
its main feature, the illustration of historic architecture, it must
appeal to all who have any connection with the architectural profession.
An architect can never have too many photographs, provided they are well
classified and accessible; and it is practically impossible that anyone
shall have all of the


one hundred photographs given in a year’s volumes of the magazine,
as they are drawn from so many different sources. The classification of
subjects is of itself sufficient reason for buying The Brochures, even provided they duplicate
photographs already owned.

The educational features of the magazine relating to architectural
societies, schools, and public competitions have proved of unusual
interest to the younger members of the profession, and during the coming
year it is hoped that more importance can be given to this work. The
cooperation of all who are concerned in organizations of this character
is earnestly solicited.

The competitions which have been offered from time to time under the
direction of the magazine have proved so successful that an effort will
be made to establish them as a regular feature, and it is hoped that at
least one competition a month can be looked for in future.

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.

XCVII.
Old Manor House, Lythe Hill, England.

Brochure Series
Competition No. 3.

The designs submitted in the competition closing December 20 for the
advertising page of the Boynton Furnace Co. proved of even greater merit
as a whole than those submitted in the first competition, and it has
been difficult to decide which has the best claim to the prize; but the
judges have finally decided to award the first place to Mr. William L.
Welton, of Lynn, Mass., and his design is given on advertising page xiii
of this number. Of the reasons for this award some will be evident at a
glance. The effect of the page as a whole is striking and unique. To be
sure, there is a certain suggestiveness of Mr. Binner’s familiar
advertisements for the Pabst Brewing Co., but the similarity goes no
further than the selection of Egyptian motives and the simple, flat,
silhouette-like treatment. Mr. Welton has merely gone to the same source
of inspiration, and his design is just as good in its way as Mr.
Binner’s. The idea of connecting the character of the ornament
with the advertisement is carried out in both cases.


The Pabst advertisements all state that the history of brewing begins
with Egypt, while Mr. Welton has very cleverly used the Great Pyramid of
Cheops as a graphic illustration to indicate the area covered by the
heaters built by the Boynton Furnace Company.

If any suggestions were to be offered towards the improvement of this
design, they would be mainly in the direction of refinement in drawing.
The lettering is not what it might be, especially at the top in the name
of the company, which is somewhat confused. The monogram, an unimportant
feature from an advertising point of view, is given the most important
position in the design.

The following competitors, in the opinion of the judges, deserve
honorable mention: W. B. Olmsted, 118 Lake Street, Elmira, N.Y.;
Pierre Liesch, 53 State Street, Boston, Mass.; P. G. Gulbranson, 31
West Street, Boston, Mass.; F. Chouteau Brown, 31 East Newton
Street, Boston, Mass.; William J. Freethy, 85 Water Street, Boston,
Mass.

Mr. Olmsted’s design, which is illustrated herewith, is, like
the design which he submitted in the last competition, in many respects
distinctly the best of the collection. It is unfortunate in representing
197

a heater not made by the Boynton Furnace Company, but very suggestive of
a pattern made by one of their competitors in the trade. If it were not
for this unfortunate slip, it would be given first place. The idea is
good and the treatment all that could be desired. It is good advertising
and meets the conditions directly and well.

DESIGN BY W. B. OLMSTED.	DESIGN BY PIERRE LIESCH.

The design of Mr. Liesch has the virtue of being unusual, and would
arrest the attention of many who might not be attracted by the preceding
one. The lettering in this case, although done with exceptional taste,
is not sufficiently clear and readable to be entirely satisfactory as an
advertisement.

Mr. Gulbranson’s design is of more interest as a drawing than
as an advertisement. To the readers of The
Brochure Series this characteristic would doubtless appeal, while
it might be of no value in an advertisement intended for a different
clientage.

DESIGN BY P. G. GULBRANSON.	DESIGN BY F. CHOUTEAU BROWN.

Mr. Brown’s design has an interest of a different sort. It is
crude in treatment, purposely so no doubt, but the idea is so unusual,
with a quaint touch of humor, that it would be sure to attract
attention. If space would allow, several of the remaining designs could
be reproduced to advantage, and would give a wider field for
comparison.

XCVIII.
Old Manor House, Lythe Hill, England.

Notes.

Attention has already been called in these columns to the efforts of
the Henry F. Miller Piano Co. to foster the designing of artistic piano
cases. Their later designs are a long step away from the conventional
and hopelessly ugly piano cases that have been put out by the piano
trade universally. They reason that the piano, as an artistic
instrument, should have an artistic setting, and it is to draw the
attention of architectural designers to this point that they have
already given prizes for one competition, and purpose offering another
prize, probably of $100, for a second competition. The making of special
designs for piano cases has fallen largely into the hands of
custom-furniture makers simply because the work of piano factories has
for years carried its own condemnation. The furniture maker often is
forced to buy a new piano, from stock, and build it over as best he can,
charging a price that is almost prohibitory. Since the Miller factory
has been equipped with the best facilities for special case work it has
become possible for architects to have their own designs intelligently
executed without unreasonable expense, or to secure unfinished cases
should they
199

wish a cabinet maker to execute their designs. The Miller Company is one
of the few piano companies in a position to undertake this departure.
The character of their pianos as superior instruments was established
years ago, and every succeeding year has added to their reputation. The
fight for a front-rank position as instrument makers has been won. Now
they begin to fight for artistic case building, and they deserve the
sympathy and encouragement of every American architect. The work of the
pioneer is always hard, and it is seldom the pioneer who gets the
benefits from this work. Should this move of the Miller Company prove
that better designed cases will be appreciated by the public, every
piano maker in the country will follow suit, but none seem to have the
courage to strike out independently with the same aim. The piano shown
on this page is the Wagner Grand exhibited* at the
World’s Fair, while their Colonial design is shown in their
advertisement. They are the two extremes.

One could hardly get a more attractive case for ordinary purposes
than the Colonial pattern.

XCIX.
Old Farm
House, Lythe Hill, England.

SHINGLE STAINED HOUSES.

In this number we present to our readers a class of advertisement
that cannot but prove acceptable, owing to the intrinsic interest of the
subjects published in it. The seven pages preceding our first
frontispiece show an attractive collection of country and suburban
residences by Boston architects. The fact that these residences are
stained with Dexter Brothers’ English Shingle Stains, which
constitutes the advertising character of the illustrations, adds to
rather than detracts from their value, for each subject is remarkably
satisfactory for its color scheme, and while a photograph does not give
the effect, the selection was made very largely on the basis of good
coloring.

No further word concerning the stains is necessary. The fact that
they have been used on these houses, let alone thousands of others
throughout the country, is sufficient.

OPEN PLUMBING.

The Dalton-Ingersoll Co. have come to the front with an improved
style of lavatory, which presents many new features all in the line of
open fixtures. A cut is shown in their advertisement where a
description of the lavatory is given. The same arguments in favor of the
porcelain, or enameled bath, standing clear of everything, apply with
equal force to the lavatory.

The attention of all readers of The Brochure
Series is called to the announcements of our advertisers whose
goods are offered as premiums in the subscription competitions, which
will be found in the advertising pages of this number. None of these
offers have been made without careful personal investigation on our
part, and all the goods we can confidently recommend as strictly
high-class in all respects. Those who may have occasion to make
purchases in any of the various lines represented will do well to look
up this matter. A few moments spent in writing for information may
save much time and money.

C.
The Gatehouse, Stokesay Castle, England.

Full Pages

The first five pages are advertising. In the body of the magazine,
all text was on odd-numbered (right-hand) pages, alternating with
full-page plates.

*
These lines of text were damaged and had to be reconstructed by guess.
(The text column is unusually narrow because it was printed alongside an
illustration.)