Te ee si ‘ > kota ” ~ 2 Se SS 8 ee ew ene wee eal mer ma cera Re gine aes Tn = ne ae ILLINOIS LIBRARY AT UABANA-CHAMPAIGN ARCH (TECTURE VAULT, es rt ~~ a s, é ¢ ' re ‘ a er F, - , a . « 3 ’ J 5 ra0ae? ata crease , We ' Tita 4 Sy (is } HROTOAT THOHA ‘ r £ i boas 3 pi ¥ A 4 uz i je4 | va) ae 6y P i as 5 : : ¢" : : ¢ ee woney wha % ) : awh i Al ac vt 2a. oY a #AQAUD el, : r omy O°) eguipiioe Liveo to) tiated aotoogeer \ eR eae Me Ries Dy A Pe teat Shageon seleoane. te sede bas oaaphod we ee oath: 0898 Beh saat b a SBE 158s erika Ml ple, ne erseau v0" ERAS soda ery be i4-? » ta0 » aa » ) he) Bs i | ~_ a le * ei ey ee a ? e iy Wie ; ; Lt) ; k : oa | : oh mi , } f ni * ¢ d ‘ ELEMENTS AND THBORY ARCHITECTURE oF GUADET Inspector General of Civil Buildings 3 / Professor and Member of 2 ; ee : i Saperior gouncii . 95 g Boole des Beaux Arts | Volume a PARIS. ‘mi } Fs ‘franslated by N. Clifford Ricker. D. arch. = : a |= ‘Emeritus Professor of Architecture me ss UNIVERSITY OF ILLINOIS ‘Urbana. 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Wied id Iern tal to avoawh odét bas sauol a1eq0 Mi adaiédaninaccet eid to bass abaed de solliO Jao3 add to doad ay _ see 10 alatoitio daswatevoh edd 16% ja%JsadT donexd odd tol 4 Me fetens$ t0doeqedt odd aaentand nt teu eved sada aristts to: + bit hes jms ie iia. 103 soazelo1g s emooed bed jada. smsiots ts aor ie kaon eiisae odd at adatdrs: BONS ag a jens tot ee trosit in bu pets anes tedd yd An ne asw tsdw prima oie m of vie ae Sataniged, edi 48 eis8fY efdon odd >,t9eqmed mtotian bas agen yi | eotvace edd at ascet3 Isenténoo eid ols bas ,smulov eidd Yo |. " ot dud. diid aebau yltos1th exsw Jjsd? ,edduoy add ulaco jon to | ~~ atedd at enevigdad and eved of sdgia df gatvatisd exodt Ife i A Chas br atieits Lae Ta om nod etéa et (isassoen dt ‘ad enola orgtut edd tot. a — ds w Yaout. dat al baetxt sob : ys to iow edt ‘te, "tea bis ic sbacosa sit of taltata Fish See nye afdt Yo aaid ho: ts abaim tiedd of heowhordnt ody atisgsaod oun at sinek Fy i . ta ee ern, ea? in = sy ae ; Brand EN ad ts sdiow to tovoeqeni edd .,em08 Ja ywebsoA donetd edd Yo ~ Shae | Yiiedasa odd ,dtegxe beistoerqgs [low odds ,agaibliud Livio a get [alalite Yaem 08 Ll ‘,¥teatesil bas neanode | eUnsee . : ay Preface to the third Hdition.; Note on the. Life. and. Works of Julien Gaudete: | (December 23,:1684—--May 17,: 1908),: By ee J.. Le: Pascal.; Member of the Institute,: Inspector General of Civil Buildings In one of those paradoxical caprices of thoughtful boldness in which his genius indulged,: our master Garnier said that for. the architect,: the classical is everything that constructs.: In giving to that formula emphasis by the most cautious selection,: Julien Gaudet,: the author of this beautiful end good book,: for any reason would not, have to present it for a new edition,: but, death arrested the masterly and ealm product- ion of that balanced mind,: very particularly delighting in educational labors,: soon after he had completed the prepara- tion of this third issue,: nearly similar to the second. He is no more! For several generations that remember the brilliant pupil of the School of Fine Arts,: the strong pensioner. of the French Academy at. Rome,: the inspector of works at the Opera House and the Museum of Natural History, the archi«= tect. of the Post Office at Paris,: and of the reconstruction of the French Theatre; for the government officials or men of affairs, that have met in business the inspector general of -eivil buildings,: the well appreciated expert,’ the masterly author,: accurate and literary,: of so many official: reports ‘almost educative on the most diverse matters; for enthusiasts ‘in higher studies,: who have appreciated the instruction by a chief of an atelier, that had become a professor for all. stue | dents in Rue Bonaparte,: who introduced to their minds architect- ural theories for the numerous artists in the entire world, | that, unconsciously were impressed,: it would only be necess= ary to make known what was represented by that, serene kind- | “ness and uniform temper,: the noble figure at the beginning | of this’ volume,‘ and also his continual graces in the service | of not, only the youths,: that, were directly under him, but to all those believing it right’ to have him intervene’ in their affairs.: | ‘For the future alone is it necessary to note how thw sys- tematic plan of the work of my dear friend is in harmony with the charming existence of the artist,‘ in which rank posterity | & “Baideegs at avotitdas oof Jon od brow odd Yt aid eoelg flim ‘etosdiders we to ebing & ebatd divoy beone treqxant add gegsg terit oft al od efds zstigant as ,199%80 aid to sotedo od gaibtoeh sof sort wid gaisoorith aeatvbs as 28 [low ae ,westendiae atid hte _ eonemmoo of ton wid 10% tnshaurg ed gt Yi .2notaglit yoem ood pettodsl daou odd gatbecetg acthute to asitea add at mobas1 ts ' Gtdeesltinetqcs sisvee aid gntrsb bas si0cteS .atestse to eso end bentadiecse oved [{tw.,aaqoo aid nedes anived Liquq edt alitfsnetoa eid | bertiapos ed oJ eghedwond oft to ystotiqttlom ybedslomuoos ed Jaum dedd 2ateasetont ylisuntdaoo anoters22og edt ,adiotte eid lo edluzer yqaed edd mtd autwode alide fod | tobeel edd .amastaudins tge1g amooed oft bentteeb ayot ilema j hatataw yd bao [eatt edt o¢ bister at mid barseeset oved {lin »=we dadi ,fiot aii tot eaoittua yeb dose sedt:,elinatenoo aid ; iitw ea ¢laouloanooas dedg bas» batasvomrsa ai vttvualttib ym ~aoqa ),eaoiduloe favaitges asouborg doidw ytatedaso isdt doses anis eij e%% dads ydsilidixel? Oboe ¥Ydivaekat ,ebalt to ysiensd " A: at beniaénoo eetioeds edd to vietitiae [utid¢used edt.to i stadesm odd to seaxudoel edd lo yismave en aiavele bas doutdedt ,s10tai aes dsdw nese aaived wodth eee bedaini? aged asi modw ot ,ateat ot ei od tedd datéae oft au 94,9724 {Liw ed teds ednengatant odd to soltgitoeeh edt no ¥¢ olga oft sono te bat? Iliw elfgioatb bemtotni eid? ad Tle. bats eid to anotderego {ie sheoorqg taum teft sone | eonsvininos eid to tnedtsodne edd. / #oltseto at atiotte my: ef te9dsd ,ehiedo aid at etsotedat odd to gniioe tara Lcesevey nae ~aleaubivibat biewod mid fogs dénedmvont detest odd . Ae reitd degad tedd aetiiaumion 10 eotito tne Yio ed [fs betespnoo asi dadd ed Hove : wistotiosrq ent ) ft0a : 8 at besttemmua etodt batt [Liv toexas etd to estd = awal odd neito Jon w= g0licb edd to aotéstesuue of% shoo oo tebag toubaoo asolaquica aid dindsa Jana.ed doidw od. = gobs need asd dtow eft to disg 8 Jedd boog of ~~ ,eatigtoath 4 mae edt to slut ett es 6 donet®? to seshlo edd yd be | etodmem att to toub "a9 daatnob yleugev etedweale yititdtenogas1 to gntieet atd? wie Uiss loots etom ,aoktieoqmos to vatw989 eitins edd ai st tbtow Laat? | edd at pertiaaase spam; cauaeg seal. edt at betsty Sr , x a f an ies stoned ‘4 + 4 > roe, fi * ' ’ ? , 3 will place hinm,: if the word be not too ambitious in speaking of an architect,: In the first pages the inexperienced youth finds a guide for deciding the choice of his career,: an inspirer able to aid his enthusiasm, as well as an adviser directing him from too many illusions, if it, be prudent for him not to commence at random in the series of studies preceding the most labori- ous of careers,.; Before and during his severe apprenticeship, : the pupil having taken his course,: will have ascertained the multiplicity of the knowbedge to be acquired,: the scientific possessions continually increasing,: that must be accumulated; but while showing him the happy results of his efforts,: the small joys destined to become great enthusiasms,: the leader will have reassured him in regard to the final end by warning him constantly, that each day suffices for its toil, that. ev= ery difficulty is surmounted,: and that unconsciuosly he will reach that certainty which produces continual solutions,: spon= taneity of finds,: ingenuity and flexibility,: thet. are the aims of the beautiful entirety of the theories contained in the summary of the lectures of the master.; After having seen what can inform,: instruct and elevate hin, : the artist that he is to train,: to whom has been furnished eve en the description of the instruments that he will have to use,: this informed disciple will find at once the rule of consci-= ence, that must precede all operations of his mind, all his efforts in creation,: the embodiment of his contrivances,: the protection of the interests in his charge. Later he will find the indications of the sad temptations which he must avoid,: the duties incumbent, upon him toward individuels, the govern ment, cities or communities that trust hin.: The practician,: even he that has conquered all the difficul- ties of his career will find there summarized in a sort of code the enumeration of the duties;«- not often the laws « to which he must submit his serupalous. conduct under severe discipline;== so good that a part of the work has been adopt ed by the oldest of French Societies as the rule of the cone duct of its members,: This feeling of responsibility elsewhere: vasuely dominates ‘in the entire course of composition,: more particularly forne ‘ulated in the last pages,: and summarized in the final word; = ‘honor,: j 7 o% 7 _ F > 7 y ‘he aie - 2 Y 7 7 Ds y . 1 el S y . ti , ? Pea) q : ~ a -. i r i? at? ef is re 18 baba thed ‘ae a Mpeetie eit aeowded ion so Yo ‘eottosrg edd tot: | tetonrede agid dove to eaaisees edd ‘tebr0 oldigtifesat ytev a ai ebnadxe ered? ,aotaestorg ‘Taottodsaid ud belasqmooos sokeq Isotiostq at aoltanalaxe qitoaeb betsy odd \,snctssbavoi at aoxsbesotg edd to aelg sian edd bas .,sissourds odd at beyolqme aletiedsm odd to Bag stoot. ,aitoolt > .alisw s1eis «tadnemels to dail elds do stlusy | .asete dee1% oals es anege [isma anizelone 10% aa extisaaya vidstimbs {{ftw astnedaoo to eldest adi da fbeed diel need eed dotdw Yo oonebtve .aneem Yo aiayisas jnol 3900 neve ,soidatuh to astassaoo Yo noitonse edt Suodiie . =19q eaols eoneltegxe heol dad3,setubeoorq ydats seom add j pettbeoess esod? 107 eno a8).naud tiedd at tnametata atin lata ot Yue ood fon wm 2a0kdardenllt jastoitige exe etedT to doiselomuoos as gateitgmoo ~«,txat s dott oa gatgremdua ‘i tise > Lotdttet | <2eots0s teed oft mort aedat ile ,aalquaxs | beavbet yliseupet? | ebtinoo qgso eno doitdw nt ,esaiuoes bas @ ead de eatudoel to eesn0on edd rot chem sedslq te1g wor? ,emof to extig edd 4062 at beatasdo pen ©: sJr0tie Seed sie divin 5 he doge sam olants ie ee ee tend ie . | < ah at: ‘.~€Oftisaif{ivio as0 - Bes 6. time one will not, even refer to any other plan or statement. to indicate the evolution in our art.; The fixing of this stage will represent,: if one desires to seek an equivalwnt,: more than the surveys of a Vitruvius,: the statements of a Philibert. De- lorne,. the studies of a Du Cerceau,: the information of a Blon- del, the notations of Réndelet,: of Blouet,: of Leonce Raynaud,: etc.,: because never has such a number of examples been colle ected under the severe control of the firm and lucid mind of a practician so experienced, with the fixed intention of tree ating as an artist the art. of building in its relations to our civilization.; Perhaps one will find that in this rapid analysis of one of the best. educational works of this time,: my friendship for its author may have counted too much on the knowledge we had of the high persdénality of this representative of French art,: as I. have said in commencing, and that it would err too much by preterition,: when the work will earry its ideas afar,: or transmit them to the generations that will follow us,: than not. to speak here at greater length of his life,: because obit= uary articles have been devoted elsewhere to hin,‘ Let. us. then summarize his laborious existence; Julien Gaudet. was born December 23,: 1834 at Paris.) This descendant. of a Girondist. family,: one member of which,: his great uncle, had already made the name illustrious by leaving a trace in the political life of our country during the French revolution,: and had allied himself by his marriage with a fine family of Marie,: known so respectably since the part that, it took in the revolution of 1848,: and later by the marriag of his daughter into the great. family of Carnot, whose name is so nobly associated with the republican government,: Led by quite personal tendencies to regard in the career. of the arts the special branch of architecture as more in hare mony with his faculties,. capable of knowing the scientifie part. equally with the artistic evolution-- to the point, of serving while quite young as master and guide in the instruction of his comrades, at. the same time after severe classical studies, that. he prepared himself for admission to the School of %ine Arts,: he passed the finest, career there as a pupil,: until he obtained in 1864 the prize of Rome,: that consecration of a ~ : single man each year,: with the best efforts added to natural gifts.. ow of d - were es — Siew 2.7 r a Or eee erry eS ae a as Y 7 Ly b a 3} we A 7 a Lu tstoa} ultsluoidiag asw aloibew alli¥ 4s niseieoe eit e8d of eealqusxe as bebbe need evad ekatwatb aid to Latevea soaks bas .Jneeeiq ew Moidibe baidd seodw..diow svidsoursani 1 jo%99qQ 6 Juoddiw dt x iy bed of ..ateey Leteves 10614 aa etsdregeb aid eto les | @oidvoexs off Io gaianiged edd bas eaolsesaqetg odd ant diag Yeide «wo Yo acidoerth edi tebag :,2iiad to savok si9q0 add to e978 fen Of ,otboA tedeaa aid tebau bas aisder aid a0 .teintad doidw :.ytodaii Isivisk Yo sneauM add to edtow ed oF bodoas 1g d8014 od3 to aoidouadenos adt too1ib of wlac titel ad ' to aniot edd eroted »,eaotti0 sac edd s02 eermtontde yian ) mteq sii to acisourseanco edd beduosxe od efidw.,sataelin® 4 dnebive oa ai edte odd Yo seenlisaa odd etedw.eoitibs ia 161 fawts oa ato1ts edé¢ to saves teido sid mid 10% aew bae ,ateflese odd Yo suo to noidoetid edd bemuezs of 8V8t al pad Sail to flooded odd do tcif{ase eusey smos. bodssto aead bad > ool ods bebswedda hed ed atbnd to [liquq edé Qnimosed atoteSs id ai arsoy yinews 10% .eteuordsd ».1edaem Jjnenine as to asta a 8 8 hontett od > e210 to boddem [sahivibat tedd yd aad equcoet eidon 4 asw wid of snendogdsa o2odu > aliquq to ots eae ot fuldiiet anismet jedd base: ,twod daai aid [its 38 etoig io sucisonst edé x02 aotdisog jedd..dtel od ned¥ :.yt0 Late ald 103 besstootgaqs of . wolsourdeni aid :,ytoeds to +0 - of edd. .vsdotstav eldibaroat odd tot eiom (Iida base aeustoel ) to sommetgo1g edd to sotiersgetg Intetso eft ,eomeupea xo! ) Mottdosieisse elLined odd mid evid ton blyoo 2aofsitequoc | tnd wtedouqdsJani es r9esis9o ezid to tasg tert? edd at bevtes . od bas tloanid etagetg o¢ mid bel eeeneuoisasioanoo dgisd r ett» dolteLiguoo evomtons efi of déatd ove doidw.,éi ated sedaideleo ew adtzes saodw,atow [ulidueod gid? otnt beatct Bir, .eintoeadideatA Yo yioedT bas ataomel[i att odd . peotvaee eid Listeh ot y1sexe0en od hluow digael tsar ae penta tind [ivto to todeegent bas toetiders es berehaed of hiont betosqxeny Jzom ed? :.awoad 1t9e%s0 aid eisa od tebt0 2 od ytiausioggo sid eves :,erttseds doner¥ odd to gninwd odd io dgid atd miodoursenoe es Snoiad etd ,2aenlooo aid tididxe et odd bas detddut edd Yo Isvomet odd ni (itdea fenotese? pid tlezwtd bewode oH ;.entua gnidome seodd Yo aoldouisanooes an Ceganne Usilenoaeteq sid sevetsdw.tebt0 setit odd Yo as 4 ew on sah esn od aeonsdemsortio eldarosem todas a mS A EE Ce EY a een eee ee dosdtidesA to ydetoo® L[eitned odd Yo yonsbtee tq odd Lid 6 His sojourn at. Villa Medicis was particularly fruitful,: and several of his drawings have been added as examples to the instructive work,: whose third edition we present,: and place it. without a peere, Before his departure and for several years,: he had taken part, in the preparations and the beginning of the execution of the Opera House of Paris,: under the direction of our chief Garnier.; On his return and under his master. Andre,: he was ate tached to the works of the Museum of Natural History,: which he left only to direct the construction of the great prelimi- nary structures for the: Post Office,: before the ruins of the. Tuileries,: while he executed the construction of the permanent edifice, where the smallness: of the site is so evident. today, and was for him the chief cause of the errors so. cruel for hin.; In 1871 he assumed the direction of one of the ateliers,: that had been created some years earlier at the School of Fine Arts,: Before becoming the pupil of Andre he had attended the lece tures of an eminent, master,: Labrouste., For twenty years in his turn,: by that individual method of ours,: he trained a genera- tion of pupils,: whose. attachment, to him was a noble recompense till his last hour,: and that. remains faithful to his meme orye) When he left that position for the functions of profess- or of theory,: his instruction,: so appreciated for his oral lectures and still more for the incredible variety,: the los- ical sequence,: the careful preparation of the programmes of competitions,: could not. give him the gentle satisfaction ree ceived in the first part of his career as instructor; but, his high conscientiousness led him to prepare himself and to maine tain it, which gave birth to the enormous. compilation,: trans- formed into this beautiful work,: whose merits. we celebrate:= the Elements and Theory of Architecture,; Great length would be necessary to detail the services,: that he rendered as architect and. inspector of civil buildings in : order to make his career known.) The most. unexpected incident, : | the burning of the French theatre,: gave him opportunity to | exhibit his coolness,: his talent as. constructorm his high pro- | fessional skill in the removal of the rubbish and the rapid reconstruction of those smoking ruins.; He showed himself there as of the first order,: wherever his personality appeared,: un= til the presidency of the Central Society of Architects,. where under memorable circumstances he was almost heroic,: braving suffering and menacing death, in order to accomplish what he bad! ao Si 0 iT tr re aa Bs ly ‘ey i z ' Paes ‘ é , eee | te agenb 8 #8 bebteger ‘Voeesid aude od. ietedie buticetiatae base betstootqgqes «A Yeemid ehea od ¢sdd o8 - ~eomeburgelw~, at beetev oa le #4 Yo Loose? eft to sotdoniéenl Yo [tomwod rotaequ? edd te fetened edt ta ystreddiue aid Wiéterteviad efd de bas adtaA “eddotil ebtow aid to diuad odd, wantofiwd Eivid Yo LtongoDd oy edgid odt ested mtd ever ovis agnisiaw xsid lo eelitlanp pie bi tod deal edt Litau soalg & eeseaib 2gneide &-to eonsuditnoo eft yiseasoea saw ored? dds divod edd ait deee of notatoed baa edt daomfe bas $ eeecaih odd nonw.mid o¢ Ie¢et saw sed’ ..4ts to esasdo w to t9¥0g bag bain edd eredw. aoltatidanoo tnedeiaes « Mera. | fetgod [aatt edd (Lis bedetniatiban aew Peldon s dove gninseon0g adnometsde cesdt gielqmoo of S230 seidilewo edd jedi vee o¢ YIaeaaoenny ei byt / 818 oxe eit to agiisvole edt te etew ,ylisat to asa e) 180 dd bae»,sebt ieiad ¢ dud wovis evsd ew doidw to .adtin fe tdoddiw eacabuid etsonie ati ,aciviea 19hae1 of ybser aven Be: / Gem@td-od eatsooe: hed 1t9ve0dw of seqo sew aesnedind se1g odd dads o2>.Ystiaseand to nemtoege satt s een off tebas -eohte. pei eid io eno ewode ,avoluquxoa bas Lu teiss RM subir 04 a. welgmsxe as as novig sated. atizves sd doidw % io teoses ad ak : ef OCr SS Lita S ‘ ee Mw © 2 4 ee : h Th) 2¢ } y fy » 4 ipa 8 : 4 ‘2 Ks, ' mets ae Poa ll whe ato ets i regarded as a dutye! An appreciated and experienced expert,: he showed himself also versed in jurisprudence,: so that he made himself heard at the Superior Council of Instruction of the School of Fine Arts and at the University; his authority at, the General Council of Civil Buildings,: the truth of his words like the qualities of his writings also gave him there the highest, place until the last hour. There was necessary the continuance of a strange disease a and almost. the sad decision to seek in the South at Lugano a change of air,: that was fatal to him,: when the disease attacked a resistant. constitution,: where the mind and power of work was undiminished till the final houre: To complete these statements concerning such a noble fige ure,( it is unnecessary to say that the qualities of a private man,.'a man of family,: were at the elevation of the exception~ al gifts,: of which we have given but, a brief idea,. and that, ale ways ready to render service, his sincere kindmess without. triteness,: was open to whoever had recourse to hime} He was a fine specimen of humanity,: so that, the present, work, careful and scrupulous, shows one of the many sides under which he merits being given as an examples: April 27,: 1909.3 Jo. Le. Pascale; 8 eo" ° “MQITICN T2RIY BHT OF FOATHHS (e8aee aisizes s ni baa ,bfotows si Asow atdst Yo Htgivo aif Ppows . ‘a@tonidws ows aad di asodiee eft bas toned edt bad evewls eved 1 SV8l gout? etsey owd~ysdaews tot etetoetide1s gnidoses to Utilidienoge q ‘Dbavot I etedmud gatesotont déiw retleds ne Yo todoerib es | Batdosl ylsiasypertt oof aew egbelwoad [saad to ytemtig ted’ ' totg A .tede! beflit ed oF tom dasid sg .aénebude ino ddiw ‘ “bas Jeontse nee gavoy bottig s eee of atarthet witas1e to " Ylotem-setbute odd 10% beragetg¢ Yitoog gatviaze | avolitiaub | = deom edd seve son déiw> beteogtban . coifoutdsnt sousdo iw, sefthuda odt to etvian betevala bas avoitee edt to sabi Fe wine's eis Yo weiv [aduem s 10 solttaisgerq Ieoibodier juo miferq geist duoddiw bane atiaviv {Lite ed [toa odd T1 -.s12 | Putase*etat rena ns eeoubou aetto dotdw\,aotsoutsent he 1 meee: od [ftw toszaetoty edd to dead af3 tots ,egod yam a8» bemr0? ybsertia aemoo dnsbutea soog edd ti -.{utiiortt sod aot opabeapadl bus Yilezsneh Sat roszetgig add .bise nedto lies at? = ladesf{ oot si fi Jedd wid miotai to ‘ guthaseicos _— bas aids woud diguad oved tedt ff “ ce? bie 4s Tefuset aids yall caries Yietdo agedieq tud:,2zncase1 ease tot yLlénebive by @ 0% gefantged Sbods tot bobuednt food someon on at stedd : mend dosed at gaitdadsebar saodt 10% tedtien » ) eigsoetidors BR ibartess T*agdesn edd, bus [igqug ed? to dood eid? .ednouels -) dead eldeishienos ey rerrener edi neged bas tqwedds of Om t9d1e ni bessons Jfginm I Jedd {[oIees bas kaideotedat joeteb edi Yo eoneixeqxe to bas satdoass to aise¥ ysaews sadé og ‘e83tebude af tassel si" belles od biddaas Merete ye of: .dood aid? 3 ‘aap oad -s"etndoedidosd ed? " ni aatsoo add ddiw hegiedo need senta eved I tua ikaw: ‘eei1v00 ata? sesh ent¥ %6 Loode? odd J3@ “exudosdidaca Mg iat ‘nétiesiéadi eds eoxixqmos hae $08f at em yd beonemmoo betgoo ai Eonanrnete letenes #31 -.ersdoetiders Yo selgioniig ar eee wn zawolfot ea s10d = (QTHA BUTT TO JOOHOS JATONGe GHA JAMOTTAX © “Hewwsoedtdora to ytoedT af eaiv0d to emmerg0149 ] ‘To moidisogqmoo eft tosido esti 16% esd sain0e aint Reemaetiserone odd dtiw .yietitae bas eftaemele rledd ai 8 PREFACE TO THE FIRST BDITION,; The origin of this work is twofold,: and in a certain sense it has two authors} Sinee 1872, I have always had the honor and the seréous ree sponsibility of teaching architecture; for twenty-two years as director of an atelier with increasing numbers,: 1 found that primary or basal knowledge was too frequently lacking with our students, a blank not. to be filled later.: A professe- or greatly regrets to see & gifted young man,: earnest, and ine dustrious,: arriving poorly prepared for the studies merely chance instruction,: undigested,: with not, even the most, remote idea of the serious and elevated nature of the studies,: with= out methodical preperation or a mental view of the realm of art.) If the soil be still virgin and without, false prelimén- ary instruction,: which often produces an indelible stain,: one may hope,: for the task of the professor will be difficult,: but. fruitful.; If the poor student, comes already formed,: as often said,. the professor must generally and conscientously inform him,: that it is too latel All that have taught know this and cannot. contradict, me.; Why this result? Evidently for. many reasons, but. perhaps chiefly because there is no common book intended for thode beginning to study architecture,: neither for those undertaking to teach them its elements.: This book of the pupil and,the master I. desired to attempt. and. began its preparation,: @ considerable task, : interesting and useful, that, I might. succeed in after more than twenty years of teaching and of experience of the defects in students.. This book, in my opinion,: should be called "The Elements of Architecture". | But I have since been charged with the course in " Theory of Architecture" at the School of Fine Arts.; This course was commenced by me in 1894 and comprises the instruction in the principles of architecture.; Its general programme is copied here as followsieu~ NATIONAL. AND SPECIAL. SCHOOL OF FINE ARTS.) Programme of Course in Theory of Architecture.} "This course has for its object, the composition. of, edifices in their. elements. and entirety,: with the. gwofold view of the . e em jam oF One eemmetgz0xrg etintteb ot aoldetqeds Yo bas s48 rs. * sitaemotivpet le edd betbude pay ena ed [fiw tasq teatt edd al" divsey): ,awobatw ..2100b ».2ebsots ,atebio . ,allew .o.f -.yaqotg ++ adnemele xolgqmoo etom edd aedd 7.0d¢ ,atoor> agatlies je) 2diu0o ,ettads -eooiiiog codoteg eeludliésev. .alilaed k odd bedaildedee gaived tzotia :,isagq basoees edt al " Isqtonizq edd bethyte od {Lin ,sottiaognoo Yo eeigionirxg Oi{dug tot: .visdifim.[ivio ,aveigifar --:eeoitibe to ze et etom edd dose tot gaivid.,aimiiiewbh etaviug bae aseog efit Qniwode ,saeingauoo base edooge Lis at aelquaxe olde re @aodxe Jadw od bae wod hniatelgqxe sedd:,medd yd-beilatises abeon gnkselxe ot emoo of bettthom eve stnemettupes sacii os * eomgarso01g dagoes geom odd “ban cinsnanese diod.,édsat% yiev vitashive at istaedeaa oAT 7) reeelibhuta betsvele er asihuds [Ia t0t. beosavhs bed I djadw wone yhusa of wieesooen eau fi gaiveo afds 10% oldigzned o¢ai eanebuoo at: ,eonte atasy yitct beibutea bertivupes oxitaumue of »,donidani as ylerem aatto wi ied pa Of ,atetsed Ragoy Yu tod es lleeya t6% douw oa fon eoaait ate: igh Daanes gaed edd need evsd etodmaun gatasetoni stove = ‘~e8t1otto | taunt bed I ire ede fqaoo baa tevo dtow gasm 1 yllesstsli ‘od Sataeedhorg avewls. efidw bus ,eteantaged i902 beraaety sidus ao dowod gave I, vbode ile to ataed oft ataemsls edd i. bisoo I basd sedto edi ao oltidw.,medbbidiot ylrem10t Hey .slesdqme dviw asaemele odd [feoe1 nedd atom saigoo ald’ i etdd Yo fs fetgednt ne es [teteb at sedé &Batnielaxs don Bist» ae ae ‘efoktoutia | jt daildsq ton bisow I %i bedes aia yitasspe1? evad I ( gatdeoiedai as 10% Iaiiedsm ylaisires at etedt :,eaasco | Re gr ".emdoodiderA to yioodT"® od Aluow oldtd Imigtsn osodw Gnidosl eauaced edelqmooni dtuodd,dood L[otees s Seebal jtorg edd yd betsqetq dood edt 11 .adnowels Iadnemsbhau’t yliese josieh e-~ .yliquide ocd gods biseda 1stlede edd to ylno bisow yrosds to toagetosg odd yd ebam isdé-=,bettage? Roads 9s {eyontsot.edd to sgede buooee edd ta aiged 40 Safonemmoo e2odt déod o¢ [nteeau ylisex Aiow 4 andT emne1Zo719 owd edd entdmoo Jaum>,adibuse ttedt al beoasy Bott Bnidiveer acixoeds edd--esaensle edd to eogisaneiaxe wy — % b at , & mee @g art and of adaptation to definite programmes and to material ~ requirements.” "In the first, part, will be successively studied the elements proper,: i.e... walls,: orders,: arcades,: doors,: windows,: vaults,\ ceilings,: roofs,: etc.3. then the more complex elements,: such as halls,: vestibules,: porches,: porticos,: stairs,: courts,: etc." "In the second part,: after having established the general principles of composition,: will be studisd the principal classe es of edifices:e- relisious,: civil,: militery,: for publie pure poses and private dwellings,: giving for each the more remarke able examples in all epochs and countries,: showing the needs satisfied by them,: then explaining how and to what, ext.ent, these requirements are modified to come to existing needs and the most, recent. programmes,;” The material is evidently very great,. both elementary and advanced, for all studies are elevated studies. For this course it. was necessary to study anew what, I. had studied forty years since,: to condense into tangible formulas what, is often merely an instinct,: to summarize acquired expe- rience, not. so much for myself as for my young hearers,: whose: ever increasing numbers have been the best reward for. my efforts. Naturally I must, work over and: complete what I had. first, prepared for beginners,: and. while always progressing toward the elements,: the basis of all study,: I. must, touch on subjects formerly forbidden,: while on the. other hand. I could not, in this course more than recall the elements. with emphasis,: yet. not. explaining them in detail as an integral part, of this ine struction.) I have frequently been asked if I would not, publish this course.) There is certainly material for an interesting work,: whose natural title would. be "Theory of Architecture.™ Indeed a useful book,: though incomplete because. lacking the fundamental elements,., If the book prepared by the professor of the atelier should stop too abruptly,--a defect. easily repaired,+--that, made by the professor of theory would only begin at the second stage of the journey.j Thus a work really useful to both those commencing or ade vanced in their studies, must, combine the two programmesr-=the explanation of the elementse-the theories resulting from thenm.; Of @atv00 edd to aituomefe text? odd antbbe ».dtod benidmweo eved | p edinp ots eenil gutbivib eonte [sokgol etow edt ,yr098ds af auitq gdimveas aedw edelqaooni od yam dood # ti bas) ,yrssdid ed of dfduo dood eft ssy,bedolamoo ybeosls 28 asibuse va daet odd (fe tiuset acibuts yismitg edd mort aedw,edselg sideq tatit edé to eotode ssdeaudioy odd Yo noltdeanslyxe as es laten yaisivser eldid odd evieoes bivoda dtow wldd eoaell BHLE =s~seaogqutg Hlotows aids mot? yl eb. 4 MRO TORTINORA.4O YSOGHT QUA STMENTIE et0m has tedgal efi t03 eonia Vtoods Isitiai edd ylao Je # ,ee0titbe to noltdleoqmos [exeaeR edt, matdioq bodavele | tedel gu nedad od toaidue eldt YI .adimii we boeoxe blow oo ati bae>,dtow tedéone ed bivow aids ,xveddona to tMeayw » tot .ileays ‘dimil saug 1 wot «boatereded od sedt bivow soit | #@ Mt beetiqmos ed of tear oot et exutoatiders to ybute end apeees edi asdisedéex atnomunom edd weiver of y2emalev wet ? Ege “stow yisdnesefle as aadt exom exiupest blyow exudostidoyvs -¥tednous ie a6 se ietosiedo boitem [iew ati of blod 1 andT a Saobmeoenstd edd exs.eiuiedetil ganidosed ait aa dent .di0w mixes saebon etom dfiw,o1scik to bus aiswelit¥ to seisdoel ~ doodess fo edt at gi, taredsto to twontw yd beadts adood a. © +) jedatiduqvot erieob,! ted? ateaniged to doset atdstiv i, [\-guidosl af di sausoed Yydw bad 8 etudoetideors anidoset to 10n0d ed¢ bed sved I gomid jfigedat sem Save ;,bexrrwo0e yléwenpert eved agaid? ism eetven: bedasnpet evetix«eevideles aiedd st0« Jefebnot Yo evodd otf .adiow daelleoxe ets ered? sex 7: o doldw at ecoitesotteib oals iyisdaemele ton tnd buen sedt .anciasuoetb bedavele otom ebtaed etedsen Yistaeme fo $neze1g Jonaso Jud ,soastete1 16% dnolleoxe tad¢a{ ers adios miedo yd bedasa1e ceueced) .2ethede edd to t9b40 [eoidel odd * it Jou Yiniadieo ,"awosds” aniatiob dati? ..vyilsoidedsidqis basot ef ‘etal asemufov [etevea bas .awond od of Qaidd satid nde edd prreretae etoled tseqqe bisode beebal doidw »," Lise" Wa Tit a PO ed vf eas *« 10: I have combined both,: adding the first elements of the course in theory,: the more logical since dividing lines are quite ar- bitrary,: and if a book may be incomplete when assuming primae ry studies as already completed,: yet, the book ought, to be come= plete,: when from the primary studies result, all the rest,: just, as an explanation of the fortunate choice of the first. path. Hence this work should receive the title resulting natarale ly from this twofold purposei-= ELEMENTS AND THEORY OF ARCHITECTURE.) Yet. only the initial theory,: since for its later and more elevated portion,: the general composition of edifices,: this would exceed my limits., If this subject be taken up later by myself or another, this would be another work,: and its concep- tion would then be determined.; Now I must, limit, ayself,: for the study of architecture is too vast to be comprised in a few volumes; to review the monuments rather than the means. of architecture would require more than an elementary worke, Thus I hold to its well marked character as en elementary work.; Just, as in teaching literature are the transcendent, lectures of Villemain and of Nisard,: with more modest, text= books signed by Burnouf or Quicherat,: it. is the classbook ‘within reach of beginners that, 1 desire to publish.) And why? Because it, is lacking.) Sinee I have had the honor of teaching architecture,: abnor- mal things have frequently ocourred.; Young men intending to study our. art-eor their relatives+«have requested me to name an elementary work for guiding them in their first, labors,: or to prepare them for the time of specializing in their studies. The same question has evidently been put. to all teachers, and all alike have replied,: that such a work does not, exist.; Vignola is indeed found, who Represents a sort of the- orye, or rather tables of proportions of the orders of architect: ure; there are excellent, works,: like those of Rondelet or Rey= naud,: but; not, elementary; also dictionaries in which occur elementary matters beside more elevated discussions. These works are later. excellent. for reference,: but, cannot present. the logical order of ‘the studies, because arranged by chance alphabetically,: first, defining “abacus",: certainly not, the first, thing to be known,; and several volumes later is found "“wall",: which indeed should. appear before abacus in the aSaty-d | 12 ‘ he ee Ald oe eG vl _ dag ly . f ven , : “1 rt "88 etood ytadaenele ati ead eonetoa 10 J1e yreVve Jet ems eaoqmt aottosnneo bas oigol Yi bas ..1ea@thed edd 104 | to:,xbuse s eonemwoo nem gnuoy sedw at yintadies a@idt janis’ oil 7) Ss “Veg DP aids yd p.eebt of eved yeds dotdw en at enotisotidag tsrutoetidore to dati edd saelsdvod Hom Lottiased dsom edd nwoad shew oved sasled éset2 to nen eaollevism s of eovieamedds gattoved eaoined ett enoe ,ainems 26d edti atedto jalisseb adi to adeylens edusim a bane eoltibe eeottibe edd gatwath ai ofif erisae oa gathaegs yiltuvorss ttag@oo ¥d boeoorg ateddo padre add at ba Liaupans ysis «s d to ylimst « ot aganttsler gatdsyieve aniteert? vidauvorods moo 10 ¢esq io edqeagon0m avotenus grey eis yYllenlt yagnt ‘a bas viasdit evsoteetg ¢ mot ezedd [1A -.atnomunom yrs / et beew on rene sooqeet aids at dta ayo ,aetdoeifoo dots BAW ews oo eeobsiwond to denasd t9dto yaa yvae Mod biel: ysm edaiéas oldesiandine taeda jnsbive eit gk bostul di eouborges of ysievos aef@ 10 Joe{due enti « yd beoubat need edd neds evidesatije exom 2i aid .yletelquoo bea ylotintien at ted Seteaniged soi dtow ovidourdeni as to notdteagmoo ier eds of nevis: eoivhe od ef Saidosed ai gaiteetednt Jeon q seteaniged Yo nottenrtent odd You tnd. ‘ataohudea heonsvbs 3 > tae1g edt wode id Yisseceen af antdeased ai agneiieqve road ee £5 188 8 oem yd bewottivem aloed ed? Yo bean “Yo ysluottTip ont etididxe seneitegxe aidd tevos10e a @ basdetobau ybude yd bedotine eteisiA ;.d10w a douse gai mu sheubnal s deoge of YIsessoen Sted at di yadaid yd teddo : a. betinpes oie ancitexdisvomebh yarsbeet od3 od awond ad taedef {{ite eds mo tom beagore noliesoaqat edt ao gat ns ed of ef dta ag elfidw.,esasiaa 6 at 23 beea0rg of ie oda sdaidiat of ~alegat Jadéd aeonyib hiova of yilent? des wodé bis eaimorq oF «,dnemyo(ine oltaiayve beautaco ine ai>,tobis eavyots has soneilinco exigemi at :yloque ¥aeseoen eausood dood ym e1sbne" ;s19bas1 Savoy of yew a * boat beaisoig edd tedae soy Lisda eaus aiihaiehtia vee’ yinrd »,xtow aids nedatvebay sved I eta iw djqed Ti ylialwotiseg ),esoalutsens adi to beonivaco jooside1d Yo a2dasuels Ksotieroeds odd ;doatdue ym Yo adits ere atasen ya ean Od Yisaeccss od yeu di eqgadied :.e1 3 tbe taonmuc Pisa: ¥ es ‘ebtow seeds neragge ne 200 YIev. danas ad sed eissoos ido * I Ld S 11 Yet every art or science has its elementary books as guides for the beginner,: and if logic and connection impose somee- thing, this certainly is when young men commence a study,: of which they have no idea.) Why this lack?: Doubtless the list of architectural publications is rich;. men of great talent, have made known the most beautiful mone uments,: some like Penrose devoting themselves to a marvellous edifice and a minute analysis of its details; others like Lee tarouilly spending an entire life in drawing the edifices of a city unequalled in the arts; others proceed by comparison, thoroughly treating everything relating to a family of build- ings; finally are very numerous monographs of past or contempe orary monuments.; All these form a precious library and a very rich collection,: our art, in this respect having no need to envy any other branch of knowledge... Indeed it, is evident that enthusiastic artists may have been induced by a fine subject or. tts novelty to reproduce it. definitely and completely.) This is more: attractive than the composition of an instructive work for beginners.) What, is most interesting in teaching is the advice given to the more advanced students,: but. not the instruction of beginners.) Per- haps experience in teaching is necessary to a the. eat need of the book mentioned by me. | hae Te Moreover this experience exhibits the difficulty of compos- ing such a work.) Artists enriched by study understand each other by hints; it is here necessary to speak a language une known to the readers;. demonstrations are required,: never count}~ ing on the impression aroused nor on the still latent taste;- to. proceed as in a science,: while an art.is to be exhibited; finally to avoid dryness that repels; to initiate into still confused artistic enjoyment,: to promise and show rather than supply; to inspire confidence and arouse ardor,: in brief to say to young readers; "endure my book because necessary,: then shall you enter the promised land." I. have undertaken this work,: truly fearful,: only because convinced of its usefulness,: particularly if kept within the limits of my subject; the theoretical elements of architect} ure.) Perhaps it may be necessary to explain my meaning 3 these words.: Architecture has a single very clear and apparent, reason toe © Re ee ee bid A a7 ? gt oY odd {le-emne hiow aidl .towrdanoo of yoonedeixe 10? + e%0dee% 10 ee se 48VI9e80%g OF ,toetiders edd Yo Pe hot: ‘etoustt#anoo of [itda at he ‘efots odd Yo sagem baa eacqtug edd dtod at tovrdenoo of | adi bait ow “soodtisiors" brow edd to yZolomyde et yd séooft =) S.10sou1saqoo tetaem" yootitatteh s et dotdw:,eanss soaxe #t jewdstootidors ni tisg seet3 8 ayelg nokdeurtenoo Ti tu Uae ebeon bane avsi yiadnewele bas {sxeneg adi yd ateeqqs yao > “fO 43%6 ai asdowseaet bas aethute edd to aninatged edd edd» eseido1g bas sasem adi Yo ybuda ofllinetos edd yiaxd edd aedw>,1e3sI emoo yYIno aso enatisatidmos eft to Lord 61 bas amio? of d to sebi dnetotiiva « aed ybeeria Jasb da toaxsanoo at dedw awode ed dgenm daxit Js exndestidess Yo a@ ed ago noftousdeanos ed? saseu gadwu qd eea tede{ Iliw ef f ono ylandiverq gaiddonce Yo #etisxileet odd 9. b bore a } ytsdtatlerg €1s steanibed tot bézeqgeta asibuds es aud? Dmatointenos Yo seehi yIno Bileliqnoe> sakionvienoo to s80d3 £7 Sabai 18 -SeeBbioesedds mort? sedd medd wode oale I :ydili¢ Shs meds od niaiqxe ton of I dud.,am10d lerssos J tiove non etolcetq edi ai aids bait Iliw yedl .neisoartenoe to Monod of evad don ob I jenna! rossetor? bednemal eda aeies ") “sfengem'eciniteh « ct mid yd bojserd etootdza yaaa aaa G3 nadd-seddtnt on beeosotgq Ifaedea I G dadw eeu of wi saogmeo of -.emmetzo1g end Yo nolidnvioe offs pe iidenoo etil tant aleaizvetsm edi eat noidieoqmod ~ewoad Pie tap ioesitors Yo ednemole edd exe aleixedam eeods bos in. ade bas eolst mot) eogades nalidiseqnooeebiees Tietoeds seetiqnco Yleorsea Jud. beiispoe ylinebive "Yo dasq odd Ore [sndeveq yleviine ef JI .tottourie PROT 6°%0% ebsatt eno yebost jad o8 pJserk af Fi wt 6Jzey ~~ stgitons epee Jud. ,noidlecqmos yoqsd s hg +e . ".ROVION © execeng os ads ei noidouijeni io efor beitese edt ‘eo i Jeon dove bus >.eletiesen ett doelfoo od) walsizeod onltgedy #donneo jadi. .eetbute yYisming ef 3 Yo eaog « steoquco ni ineisequi edtup exe dest te einebuse heed eso Loodee eft od doteginbs vot adesd? efi at eanaoed f ef of eitgeh yeds meds sort heriuper ai dosede s eoquoe Ileme ss yse.t woldasagetg duofiiw foJede s | 8 00d +e Line de higiaiorcomel bas. bod den hed A We r, : ah ‘Ms SS 7 ie RTs | 7 ‘ae r ~ he» athens en a: 0 VA ; ; , 142 for. existence; to construct,: This word sums all the functions of the architect, to preserve,: maintain,: repair. or restore is still to construct... To construct, is both the purpose and means of the arche itect; by the etymology of the word "architect" we find its exact sense,: which is a definition; "master constructor,;" But if construction plays a great, part in architecture; it. only appears by its general and elementary laws and needs at, the beginning of the studies and researches in art;. on the cone trary the scientific study of its means and problems,: the con- trol of its combinations can only come later,: when the stue dent already has a sufficient idea of the forms and resources of architecture; at. first. must, be shown what, is constructable;. he will later see by what; means the construction can be en= sured,d.e@.,the realization of something previously conceived.: Thus tha studies proposed for beginners are preliminary to. those of construction,: comprising only ideas of constructa- bility; I. also show them that from these ideas are derived thse architectural forms,: but, I. do not, explain to them the science of construction.) They will find this in the precious work of the lamented Professor Bnune; I do not have to touch on the subjects treated by him in a definite manner.: I. shall proceed no further than to composition,: 1.6-,t#0 the solution of the prosgranme,; Po compose is to use what one knows,: Composition has its materials just, like construction, : and these materials are the elements of architecture.) Besides, composition escapes from rules and formulas,: it. is evidently acquired,: but, scarcely comprises theoretiaal ine struction,; It, is entirely personal and the part of good fortune in it is great; so that. today one finds for a programme quite a happy composition,: but. perhaps nothins for yesterday or to- MOLT LO We} | vi The assured role of instruction is then to peepare for com= position, to collect its materials,: and such must be the pur- pose of the primary studies,: that, cannot be too thorough. In- deed students at. first are quite impatient in composition; because in its tests for admission to the School of Fine Arts a sketch is required from them, they desire to learn to make a sketch without, preparation,: i.e.,: a small composition.: A bad method and necessarily sterile,: too stronsly recalling | | me. 5 a) er A be 1a 6 4G 45 | ‘seedabibawsos 101 Ti chdedbzent 8 éfunsad 101 soitlsoqmeos dechom daom edd al ‘i 2 eoinice ss ,2evcbaiws.et00b. .x2ilew od eysnis [lin aren — Josr0ngt ei eno nedw doe{idue eidd déiiw enobh ed nae tadh :.ode Rael ie amedd avaed ,esedd woad don of oeog diw eyswis .ydsinptins tedd eos [Liw od ywobatw vo i27Gb edd avode [lew eves :,emid awo of nadn@ vo ond ,oiies pd yisdnonole mies I. dadt ,ybadte eidd to yailidon bas yi is RP: / «teddeo | )si gedw yino dosed nao ow).en ogsces eddgied evedd Jto% | snot sitens bag” Yiisrodiue eldeieednoont yd se wileotkol bev Paigh te. Sane camel tonrsent booyed av of enisiveqgs gaiddoll - dots to » dnome le feoidjetoeds ens to doldenelgxe edd tof f ie metgzorq eidd od bedinil Ii edelqnoont ed bInow exnsoes = ee 1006 ef'd' es dove ersdoedidors 10 ednenois eid seew omg ‘ednemele edt sod eos Ig 6 ei noitiacquoo L[ateseh bas | ‘etiidd oteloxe IIin eiquexe aa ankike i © néisia: déiwibepasdo ef Jeadiders se Jadd onneed aie s1RO1g- bebnedxe seel 10 exom eff re guerxs Leodos ea +t07 aNdiotviv \,28e098 eite Io gexs bedimil nedto bas maod 610n o&lg ed To ybude eid eta adoowetinper Ieloege ndidizognoe wl aldd ;doelerq asel 10 et10m ,avoivedel coreselo & .ye10%led hoodetebay ed dens epaidd wledreo “a as Y haba ers esod? .oJ¢ Raiwaab 16% moot ,dastiadaot — eres 8 Od qh tibved od yen ozedd bas ,nolileogmoo Ae ©) ) ssttew eidd Yo eacasua techom edd el stad? inate: edd mxot eeeg ot eyewls doos I+ boriten. so8. ae , dnebsts. edt .gnthosses vd ebeeooag Ils susdoedi ae exoted enoh ead seisvduso io r0dsi etd ded oe gama bos ehh eaeat aoe Io. eeoueb se ae ae ee Junge un? es iteesvot: bemsed e1s doidw>enctdentinexe 103 gnireqe1q efoodos © cod edead ai exsnniged wo Teoiniee to wobniw. 00h s» Io° us tefid bedavele seol on dey, ,ednemelo edd ylleet eis ocvedi wode od ego I gawondan od nwond hort \,xeLquos Breeertrstiny wiesten: edd ,eboen viemiag: odd dexii 13 schools preparing for examinations,: which are termed "ovens" for candidetes.: In the most, modest, composition,: for exaaple a guardhouse,: there will always be walls,: doors,: windoss,: a cornice,: a roof etc.; What. can be done with this subject. when one is ignorant. of a door,: window or. cornice? Now beginners in haste to come pose do. not, know these.: Learn thea.: There is evidently the first, object. of studies; always with the reserve that, no portion of the studies can be considered as completed.; The pupil is taught, how without, great, faults to lay out, a door or window; but, in his entire life,: if truly an artist,: he will be ambitious to learn how to make a door or. window; he will see that, antiquity,: then Bramante and Sane gallo,: Duc or Duban in our time,: have well shown the difficule ty and nobility of this study,: that, I term elementary because these are really the elements,: yet no. less. elevated than any other.,: Yet. vaeee heights enone us,: We can hesah only what, is BEO© Nothing apportatier, to. us beyond sank xatenee Yet the explanation of the theoretical elements of archi- tecture would be incoaplete if limited to this programme,) Bet- ween the elements of architecture,: such as the door or window,: and general somposition is a place for the elements of compo- sition. An example will explain this..: Assume that an architect. is charged with making a project, for a school group.; The more or less extended programme, the form and often limited area of site,. access,: viwinity,: and special requirements make the study of the plan more or less laborious,: more or less prefect;. this is composition. But certain things must be understood before;. a classroom,: yard,: restaurant,: room for drawing etc.) These are elements of the composition, and these may be taught up to a certain point. — That, is the modest. purpose of this work,: : For method,: I. seek always to pass form the simple to the complex,: from known to. unknown; I. hope to show that. in arche itecture all proceeds by reasoning. The student. should repeat what. the labor of centuries has done before hin; to recognize first the primary needs, the primary means and the first, evio dences of art; later the complex and refined elements, fr ed (yadnemerinpet hedact1qaoo e108 tol bedseito ole sevieeneds | | bes elquie ezedd noented naivoennoo w si exedd dadd eee snum aid ed osls ILiw sedd eonsvbe [avbevk @.,ednemele bavogmoo of ytrs aid to dcemqofeveb [aolgol edi eos ands [Lin md jwie daew Jedd Yo eeianineo dpuoids eeexgo1gq eft baedoramoo {ftw efiidnoo doidw bas). bedsiegooo aed toisasiLivie yteve dofdw ai fditentoteses3 to bas snemevom to wal {saved ‘etd yedo et sex gia Lenaidnevnce odd esthude ave set senha jon ob I awd A sews: ni oiitnebeq s1s9eqqs o¢ we0el don bib I ti bas ,taiog ai — blvow, bod sow yuo dedd ysae bluode I. ,biew euoididws ood a gat a bea. ‘eeeersotq lainemitegxe to potieallisney edi ed q . Teer yteve exid weviasloxe ed tonseo hoddem 8 fone _» oI seeeelorg ss jnds.snctareys bos eeoneretetq ym ever yeu -» stoidsoinuumooxe ion beeto wourss 6 bedisonos t9ven eved mid Yo omen edd ai Jadd oaoidourtent aisinedae tetitien fT “ae 0 eneeto2 owd neewded Blessi asude dotdw ywege © [hbin “e Y.edd teddo,edd bas desqg edd gnilaeonco eno eilew ores Sona doidw *) oa od ngisi0? ei new gatnteones gridiuoh" 0.8 Jno il emet binode ciseitis gniddon" :20 102 alas ‘% e * eelbude Dae HO 080 88 107 Jgdw soqgn dove! o¢ eved too ob I dud | idqeoxe nogh ton ,enkine os 10 gatedosddelib %o Joatde fe Lavcisqooxe seotw iod..eeteons? gntarede ylinavpest od i i oo »eeibude [scitteresdd ave ehiledso modd eevee! sed pesai Igeasucineds! ybsetis st dtodd Enge-ylsesbo¥ flo eldiasog es oitenedeyases Yrcdneyni se edvebnia sit 13" mod d od yas, I seusdoedidorws to ynomindag healtnp ae... [fin nov ,ooidouideni mor? gniwond jeacodo medd Rega) eg? | ",moboest — me eke fe sasoitoeide bednesetg ed hoebal yen atoll | a ane otifineioe «..buiow a ylevem ei bodiew aso¥ ! gent So edefenoo ti. besootg oe tor e90b f1e ibicee ed , TOY KE Jovbude eid opidoindess yd bas ,abat? bas | Biseticcise bae-asebi aid yiiele? soy) .eeires 1u0y bas > hy A ae eid Ife yd daidie oe as aid sididxe of eenoo ih inated eved ylgnidtinwan yeu of dada IIe 2) % ‘A ie chen. as ad Yo oman end ai dedi tom :,perze elbbinw edd sioeier expid— betiqved: {fiw eidd [fe » gniddemos niamer Iliw exedd i” bug» ddéina.s\emooed (Liw end ganigsot yd jbegasi1e T . J y A eR ean ea ee cy 14 themselves also created for mors complicated requirements; he must. see that there is a connection between these simple and compound elements, a gradual advance that, will also be his aim; he will thus see the logical development. of his. art,: he ‘will comprehend the progress through centuries of that. work in which every civilization has cooperated,: and which contine ues to obey the ternal law of movement and of transformation,- Thus I. do not. adopt. for our studies the conventional starte- ing point,: and if I. did not fear to appear pedantic in employe ing a too ambitious word,: 1. should say that our method would be the verification of experimental progress,: Such a method cannot be exclusive; ike every artist,: L may have my preferences and aversions,: but, as professor I. have never conceibed a narrow creed nor. excommunication,: I neither entertain instruction that in the name of the an- tique rejects the middle ages,: nor that in the nane of the» middle agew,: which shuts itself between two screens or. Chi» nese walls,: one concealing the past and the other the futures) "Nothing concerning man is foreign to me," which may be translated for us; “nothing artistic should remain outside our. studies," ie: But, I do. not, have to touch upon what for us can only be an object, of dilettanteism or an enigma,: nor upon exceptions due to frequently charming fancies,: but. whose exceptional - charace ter leaves them outside our theoretical studies.: Modestly--and that. is already laborious-~-a!: place before students an inventory as systematic as possible of the ace quived patrimony of architecture; 1. say to them, "Know first, then choose; knowing from instruction,: you ae select, with freedom." . ’ Here may indeed be presented objections.} Your method is merely a word,: a scientific expression, may be said; art does not so proceed, it consists of inspirations and finds, and by restricting the student, in your deductions and your series,: you falsify his ideas and aspirations; let. him do like us,: see,, try everything,: explore perhaps by eneane;: there will remain something,: all this will be piled and arranged; by forging hwe will become a smith,: and a fine day comes to exhibit. him as an artist by all his attempts,: and by all thet. he may unwittingly have received from the enclosing Rf P eeibsde alieidas eid Jo etedqeonis a0} tedsed ai Aniddon yyee oats ileada I bas ..vloiasredum «bei qnexe edeiice ents diiw sotistooess nasd toantbed end ) ait asonioqnueer¢ : enoiiidme exutaserg seve .,pecnestini bao ape hee aob1e tuondiw eno of -.saiseves L[soinemido xo yailev 103 ebam ton seihuie oideiius sobsade ybise ed dave eonebt? fot sodel I jadi ,beveifed orew Ji Li Jexgea binode I bad twoy is faeddoa owd edd diiw bedtis ton eaols s0o1) ,erceselg Lisme | Pky jtoldidma bas eblig jtalixze edd of Ydigeeoen tatit edi to pe ja ova niemer Ifiw base exeonigzed Jud e1e avebset ya teY ne eeibuss ateds baedxe Liiw yedd rede :,¥00d edd Yo hae etomedis Isnceteo to ..csenblod Jo teasso e641) afd ao t6dne on jadimil adi ead beobai Snidosel -.abaii Yo eqefseq bas tedase ed 103 >,sonefidsel gs otam oF wor ennitol fioweed blyoe noo edd eatiad oF editive Jon blvuow noldonuritdani oe bib eid 0 10 19799 .2 Yo semeb odd .,emed extod to ebsosd edd Yo. q Yo atodivg ef¢ 208 :,ebtoon0D #ef ob soe lG edd 10 ,ebilevel apes. bas sisinedan to bezogeib eexsiourta In.idused over’ Setisne edi to ebish od bnederg dou ob [ .2inemole bedrad Yo Ty Hetsd od of dnemgtupe efi edaotbab of Ylno yenrHos vom et ae ‘OK Ted%e giimoo 2 izes nngel eno Jjadd wonkt 1 ..baed tedio edd no ned 'd mort .jeoitias don ob stood ‘bas aiqeoetq iaits edd onole 729 eves ol j.elamaxe bas ecivbe UIBBERLOH O12 taltoniged ‘§asoy edd teddy? (been eidd o3 anibsoqrestos etelifleds t 10 Hofensm fenredeq efd ni veaidowog :,o611 exom ei tneb Bet Inespet? wiquedsa Javii edd ohes ed deus foodos, taelbos ) hisdteons ed Meemid ILiw todourdanl yretoqmet to shing Dare ditabon emos ico eonedo fd od ¢tefl.ed ILin sennised edd ti ae audT ;.eofods 10 sonenpee duondtinv beisoo1g:,bad 10 emulov «'setasa end. gntien Avotdiw ,etood lsolaasio yis iii beoehal eveiled Eo, Lbawe eid vot Jadi te d1a gre dnsoo Fi figug ens ct se totlossé sd of Ivteen as ed Iftw dood Oofes Isnick to dtoe & 26 bebssger od yom Ji dedd dante — a . setndoesdinors of eeibose yramirg eft tot 3a ney tenesere vibsd ees ylineupett aod ew dadi iseqes I inal Heve semisends jersey jaol diiw ylbsd gainnigzed nea “te ood da di bos bensacian od deom eidd Ile >.emtd sacl evae ed yen omit -.see1s9 etidne se etebnid goisotged bed ame sic * Seg hina yiev et aidd bans : ‘toldersqetg tested a a * a ; . ‘ x ; ‘ “ ‘ “ ’ ; ' yen oS ioe 1° im as iy «oe a oa aay +. P A . y oe eae y 15. atmosphere of his artistic studies.) --Certainly,: and I. shall also say; nothings is better for the beginner than association with true artists, examples,: good influences,: even premature ambitions,: presumptuous rie valry or chimerical reveries.’ To one without, ardor and cone fidence must be said; abandon artistic studies not made for youl And I should regret if it, were believed,: that. I labor for small pleasure,: for those not gifted with the two mottal sins;. of the first necessity to the artist;. pride and ambition,.; Yet, my readers are but beginners and will remain such at; the end of the book.; hater they will extend their studies and enter on the free career of boldness,: of personal attempts and perhaps of finds.: Teaching indeed has its limits; no one could teach Ictinus how to make a Parthenon,: for the master did: so; instruction would not suffice to cause the conception of the facade of Notre Dame,: the domes of S,.: Peter or of the Invalids,: or the Blace de la Concorde,: But, the authors of these beautiful structures disposed of materials and made use of tested elements.; I. do not pretend to guide for the entire journey; only to andicats the equipment to be taken by those Goming after mee: Then on the other hand,: I know that, one cannot easily study alone the arts; precepts and books do not. suffice; from the beginning are necessary advice and example.; We have in Paris ateliers correspondins to this need; further the youns stue dent is more free,: Sometimes in the paternal mansion or in a modest school aust. be made the first attempts; frequently the guide or temporary instructor will timself be uncertain,: and the beginner will be left to the chance of some models,: good or bad,: procured without, sequence or choice.; Thus as in element, ary classical books,: without making the master’s volume a counterpart of that for the puwoil,: I. believe indeed that my book will be as useful to the teacher as to the pupil,: and I trust that it may be regarded as a sort. of Normal Sekoot book for the primary studies in arshitecture,: I. repeat that we too frequently see badly prepared young men beginning badly with lost. years; sometimes even more than lost time,. all this must. be unlearned and it, BB too late; a had beginning hinders an entire carser.: Time may be saved by better: preparation, and this is very important in our lengthy or “eeibute \ sgoetidoss edd emis ano al -eetstives eoet eno taum niass q Joetidows atebom edT ,osm bedsonbe base auoliee 6 ed Jaum Ake es nofdshtsemt elisvet? s .anilee? oldeisws ».edeed ehbesn “Ht seornoeet ni ysilivast ,cense [enidiio es ,erxhelwoadk ee Siwetee? avo dedW ,bedjaotiqnas evom eyawis senmatgorgd Yo ease | Bniddon etow atnemetiuper bne e¢icinotttib es evloe of bat bos nise!l tevn ow yen no beeoqnt exeldorq odd Ile eblecd ‘bebie«ynes yrev s ed tenn yebos dostifnors edT .ervom bas exom mgs 8éi hos notJouidenoo of Bnideler Ile 10d deténeios ¢ jaan | @%idne edd Yo sthefwond bawotowg Yo segs cals +.enolsaotlg @tiine edd ai satire ne Yllantt yerudoediioise Yo ynowinsac O8ea bos: ecisninoh .eetetineonoo Jjadd tts as Yo ytlwolvegue lida ef{don eiom on ei evedT .edis teddo edd sedatio egooce ed? nett eee! watidon yenorbh ts evom enon af siedd Rasiess evoisee geom odd bas veisivesl estevib teem ed3 io .- Bh en setts bas’ 6onetoe » ¢dguods Yo-emleot odd at nots ae Yo disq s ai [wean Ileaeyw edew 63 horevesbne oved I dd ane J ed bidede bas yam sdatiw tnteislyxe yd notdertsecerts om p dose 10% -.eeibusde sedtal to mobsert of d Enidoiniees tuo ay aa “esd dnabitaod bas seaivbs ),eolodo eid to sed20m oft 2 > Joa daoo doertb ond yteeesoen &1 e1redd ynolidifaogmoo Yo ele fe orgioss 1 notisvedslion yiieb > .eisam ent bas tnebude offd o Lites end segnol on sé eno etedw s¥tdaquye [enoe1sd bre “BEAT. tebdxs ns Yo Slotoeib of yLno sod 8 16 Sootoe ‘oa ei deers bos Joegeet ) .gifebnaiat te [vt et not i a iics’sexs bus Joogeet \,eosebitnes Yo eno elux yueve ' mot) beviesss od vem daddt Ils eevieoet Jeidve Savoy 2 6 eid 102 ebndidges§ tnetoitive evsd seven [fiw ed bas gee ebbat elbnte e\atd 10% enisner eredd biewredté TY eciense: afd gail ioexe yd BeetZ0714 to wel edd sees on ‘ Be Baie ia? Ay hese 16 studies,: Again must one face realities.; In our time the architect, must, be a serious and educated man. The modern architect. needs taste,: artistic feeling,: a fertile imasination,: as well as knowledge,: a critical sense, fertility in resources in case of progranmes always more complicated,.; What our fethers had to solve as difficulties and requirements were nothing beside all the problems imposed on us;. we must learn and know more and more. The architect. today must be a very manyesided man; a scientist for all relating to construction and its ap- pliscations,: also a pan of profound knowledge of the entirs patrimony of architecture; finally an artist in the entire superiority of an art. that, concentrates,: dominates,: and asso- Ciates the other arts.; There is no more noble career,: but. there is none more arduous; nothins less than the cooperation of the most. diverse faculties and the most. serious prepara tion in the realas of thought,: science and art.) I. have endeavored to make myself useful in a part. of this preparation by explaining what, may and should be taught with- out. restricting the freedom of later studies,.; For each one is the master of his choice,: adviser and confidant. ibthe tri-« als of composition; there is necessary the direct contact of the student and the master,: daily collaboration,: reciprocal and personal sympathy; where one 6s no longer the pupil of a school or a book,: only the disciple of an artist.This instruct- ion is full of friendship,: respect and trust, is beyond every rule one of confidence, respect and friendship; the young artist receives all that, may be received from others, : and he will never have sufficient sratitude for his menmories,: Afterward there remains for hin: a single judge and adviser,: . himself,- All that. may bhenceforth be desired for him is to | confirm the law of progress by excelling his masters, = Agrt/ sGEIGUTE YAOTAHA WAY ;,1 #008 indoeticayA Yo yaoedT ak easis0od edd of soldouborial f > MOIDTOUAT2UI YSAKIMivaAs Lf sargaHD | SA =~ ,8eibude Yiedinilerg to ydisseoeHow, YAAMMUC _- evidgqinoeeb » woitisneddsm jseihtda oliidneto@w~ -.soisourseni ~ sewobade gniosrT~- .exudoedidors of poidacilgqgie= ;.yrdemces en ee ‘shailobom bae gniwarda= ,evidoogeisq Io eseblan ) has oneizeetorg & ez00d5 oc emoo ead emits odds nam sano! dedd ti vol. ifew at dad? wesndosdidors seeodo evad BOY baa: tuttsssed gisv desel gs ef dt .areddo gnomes sivoitith od “etom ceiwedil ;d18 evidsero bas [wees elt ylrsisetdisg et egbe Iwony blotiasm,.eeibsde gaol: to dte odd. ,1eddo yas osdd Be Rirngd ae): reddawodd evekiee bre ever voy gdeuns I. ttdeatesddne bane dnelieqni ers soy toY — bas esenod jusoo :,areetado «elesboddeo wo) barttwbe 8 Yo sseth [fiw soy .cisd suoy ai wouromot st8dta bas ‘si ansiq ed tegsq mo bafosic to 2eotitbe evolleviem i, ©) “s@idvsem bag: enosje to esinoigmye od ILiw jsdt einem ao wddno avossadoogs baci eve eleven ni yinw~ -.ylineb gn. | gninusel @uoisiinw, gniddyxeve senivib dadd..eniney Yo 5 se 30 st0807 bas droite yiove soidinini etem ud gnilleoxe (fem eieisas dgpetd.:.er9vee otos si ysileor ait | BONO LITCG bo sbhaeixe to ger mneod eyswis eved : feed tiedd te evined pegbate Yo eniigqtonth avotoldian yd bemret ..ybude bavotlorg oan sheen ,ednemele eft ddiw aevloemedd guivytidnebi vi Wilvost edi wost gotonsvbhs ».d4e vledd Yo ynomindeg bexiap od Bntniadss Yifanitsoalodo to tdgia eft of sagiaagaoo ie eqve ydi.daidis edd to yrolg dads .ystilenigiqao [vt - At egetQorg », hain to tequed .boftom ni sogia > ,ebbe lwond f ysh dose siow fas etom bedstioetqqs yedt as ,dte atedd Yo Hse ye .eetdiueed edamidal Jeow fon od hosts Ifiw i a ed beebsit Iliw eeibuta avo ) dedwenos od gainnited edd 2f bna »evitoetdis etom baa - “yedd .¢fvotttib bae bedevele ed evyewld Jeom yeds i Huoittib ovidositis base eldom yino woy of dnesang wed Retin se edd bos Ieidosidadve ed etesd add sant hebivera $ wosd od soy. sot YYeeesoen weit et Jl ‘etevodo yYlteqotg od : od od educy edt to setete oft bas eetbhude THOY to neltg a qeetbddin od emis Iitde et si9edd» npntind aban YW. +.be ny PORE Tbe wow oA f rt : bb * i] ‘ mL ey oY ead ‘ Ae x Ae \ aan ae ep Si stp ak. va og 17 BOOK I,; PREPARATORY STUDIES. Introduction to the Course in Theory. of, Architecturse.: CHAPTER tt; - PRELIMINARY. INSTRUCTION,» : SUMMARY, --Necessity of preliminary studies.«= Generali instruction.; «--Scientific studies;. mathematics; descriptive seometry.i «-Application to architecture,: --Tracing shadows,: --Ideas of perspective,: -—Drawing and modeling. Young man, the time has come to choose a profession, and you have chosen architecture.: That. is well,: for if that art. be difficult among others, it. is at. least. very beautiful and is particularly the useful and creative art;. likewise more than any other, the art. of long studies, manifold knowledge and serious thought.) Yet. you are impatient. and enthusiastic, I. trust;. you have. admired our cathedrals,: chateaus,: court houses and city hallse and after. tomorrow in your. turn,: you will dream of composing marvellous edifices,: of placing on paper the plans of monu- ments, that. will be symphonies of stone and marble.: Gently.; --Only in novels aro found spontaneous outbursts. of genius,: that. divines everything without. learning anything,: excelling by mere intuition every effort and result of exe perience.; The reality is more severe.; Great artists,: men. of genius at. their head,: have always been men of extended and profound study,: formed by rigorous discipline of mind,: patient- ly identifying themselves with the elements,. means and ace quired patrimony of their art,: advancing from the faculty of comparison to the right of choice, finally attaining to power- ful originality, that glory of the artist,: by superiority of knowledge,: rigor. in method, temper of mind,: progress in love of their art,: as they appreciated more and more each day its most intimate beauties, Your studies will indeed be lengthy,: they will also be more and more attractive,: and if the beginning be somewhat, dry,:« and if they must blways be elevated and difficult,: they will la- ter. present, to you only noble and attractive difficulties.«- provided that the basis be substantial and the starting point, be properly chosen.; It is then necessary for you to know the plan of your studies and the stages of the route to be travel- ed.; If frightened, there is still time to withdraw; if you st eved {ftw woy bus evoioenes od ILiw siolie auo0y. ere vaereg Reoeedl. 10% iis edd yd bevieeet snomyotne edd bodixem vi lv tas -_ ce ‘~etewollot [wtddist es a gsicsgsotuoss (andtiite ne eeiluper Jeri? soegidoxs eff inf Giupe bos egegzed eid od iltw eidd jeapdoedidors sey Jon . %0 foodoes ni eeibuse [sneneg ascy wt Ifew onob evad soY sded edd ifh :.e0ind agadieg »,.8.A ne exe voy yenuese Is .yme ‘MOY tessl conte voy evies ylsioetib seibude yrsissii vot. red ayous eved yedd ti beebni ywaxb ea iiew ee sditiw od ever [iin ee est quoy pintdd of bentesl eved voy bata aey be ) *ymedeye déiw sone. .etivset dtiw beet nego soy .bessvele st _ ‘@eeidgor xo xobeisq s to déuad odd nigdseces bre toe ster “Bniddon :,dneioiteh eeof 1 erom od elesd Yissizg eidd Tl eva =o IH0¥ lo exsidiso es exnane ileeswoy deum voy duds geo! ef dts au0y to sebi datd yf{ioeiottice « eved vlad. .eonebi lied | at elfien10) to ybégetd s Yo gatbeet etd dads boedeteban o@ Bow ie ae tedoedidows edd tot ¢itovg dnoddéiv don nis p mo Yldiaiy etom bas yiioes ib er] sovod eoonetion ad jax gia, bos Sigel e¢ eno modenooe aeibsda oftitneio’ -erioed -o08 SoHE Yo eonewper lov yilvost edd qoleveb.,2Kfooases at Secenetses bata e to eotieausys onse odd ore bodian seo 24 - moo bas entmexe ot Iftw od? edsor9 .ylivev bee esvia to) fidenoe jon sno of Sninoaser to ytivost edd beineb Lao | Wtagseoen od Iliw senefoe ..ylianisosyze coal atsioindemoed Lar eek fooee eyenis si tisg edi ;xeetss bos eetbode wow ei oi )) ydinnegal oidaiiae » coisjantpani HOY evih don IfLiw st bouieks siveqdi ¢ud nso woy Ji suodtin dud sodead lon «nots ie anve: ton ,anefiqeonos zH0y exsifest) seitifsesp eeedt ex é eee ibovg to wel ewnotreqmi na yd eonia :.yidgvoreds medd B Benoced etndoedidosre as0 et! neaud Sninreonoo Ile 16 Woy seelau bmided oiswes [liw soy .oitidnetoe ston | - .jaet0zee0ebeag ao nad? yeatw ers odws,ow aadd — mitin & es yeldiasog es te? es nsioiismeridem « 98 | qerden ts urednome Le bos yidemes) ,oidemddice entinp temisg tis iwoy 10% .eldsenequthai ylleisegee ed Lliw_ ‘i ow di bua ,shifoe 10 esostivz Leoitdemoes Yo edsexd oeeden eroted eiutoecisors to ybudea ed? iqwedtea o¢ ivisas »,.Yisemonozine nisel cale biweda woY -.eonetoe c g Yh baw ecidade » , dneveerq end vo? eottive {fiw ews! tsexg bos eelgio ‘ddiw beioennoo ylioetib erom aeidtisioegs odd ybude sedel fin Ota : | adts iHoY at beatbode od as! leknkctee e ef ytdemoes evidqiieseb sud ) yileseney gon ei di vlodenvtarotal -.notdest dgvoteds seom ie csasahsavce deun oY “HOY SOt VIIeiad ood yllenen »,¢dguad 3 @ideesd boos s Yo eonsbins old ddiw di thade of YieasHoy - Bee csensce eno to sincittib ylfse1 Jon ei eoneioe. eid etcet to bodes es yletom yilsudos at ti yyudemoe2 yisinen > entt es bas *,ifide levnem esonenmoo fi ddiw dud yaoide Penrith eid Yo nolinoexe Jooelieq odd elsupe gnidton aot 17 aeep, Sey Fey es | “Yidemoes evidqirosed ODS Se esaticdiess voy gniddyteve Jadd Ilew basdatebal UES Yxev nedio' Wrasence® evidcineesb od Ifiw enoldoes bas ylno et eoneto eveidd vintsiaed wtiverttib ediup eomidenoe fee es werb: yltenr0} esoedinorws dserd edd hoe > blo yiudneo “Yer ofyemedeys: eid yino bedoe! yedd JeY .yledersoos es has test + bus ,fedd ydibeyolome ebodisem Isoitigqme edt of od {aisesl gfed eidd mevik. ei scy of yredsexk yYloo esw | aD ol ea ybude yino don bas yderedd Jiiierg afi dctsonme, 7" F if Bahnce T eeeadbtaes adi ‘it seioiexe Sivode voy » stots rb qesst0o edd gatiem yledeino9s jvosdiw meldorg dood sow ai mergsibiedd Io esedé woxl Qoivellib edab ddiw Yasewooh. evidqinoesb Yo nudis Isnceteq a exam andi pol - eeioe aqibns edsiso9s lo dided ed’ <——oe emis emee oft ds a 7O Foehe wid. Oy: ~ehatwedh oe obigge Lerusoosiders edd axduee od tfeervoy motenood ees observed sedsens yisonosg evisciresed .ybode edd Yo | 0 ine atidt meacediy: bre gencd ,etebni {yo nonedg» coats ) wy : by ele Bes i "rey me siiig e er Hi ae enn «3 S meee Oy ee 19 pensable at the beginning of your studies and may be ree served till later.; Yet, since all that can be learned anywhere, it is best to complete at first. all your. mathematical equip- ment, for once familiar. with the substantially conerete stud~ ies 6f architecturs,: you will rebel more against. abstraction-~ the essence of mathematics.: You can study general physics and acquire ideas of chemiste ry anywhere.: Learn the most of them possible,: without. spend= ding’ toe much time demanded by other studies,: Fundamental prin- “Giples and great. laws will suffice for the present,: and you will later study the specialties more directly connected with your art. But descriptive geometry is a science to be studied in the most thorough fashion.: Unfortunately it is not generally taught, usually too. briefly for you.; You must count much on yourself to. study it: with the guidance of a good treatise,: This science is not really difficult for one possessing ele- mentary geometry; it is actually merely a method of represent- ation; but. with it. commences manual skill,: and as line draws. ing nothing equals the perfect. execution of the diagrams of descriptive sgeometry.: Understand well that; everything you draw,: plans, facades © and: sections will be descriptive geometry,: often very simple,: sometimes quite difficult.; Certainly this s cience is only a century old,: and the great architects formerly drew as well and as accurately.: Yet they lacked only the systemayic key to the empirical methods employed by them,. and their merit was only greater; to you is given this help lacking to then,: profit thereby and not. only study descriptive geometry,: but practice it.: It is indeed a practical science,: and while learning the theory,: you should exercise in its application.: Study no problem without. accurately making the corresponding diagram with data differing from these of the diagram in your book.: You thus make a personal album of descriptive geometry, and at the same time acquire the habit of accurate and precise drawins,: : Accustom yourself to seize the architectural applications of the study. Descriptive geometry treats theoretically of lines,: planes,: cylinders,: cones and spheres; it is for you to PY Os | -©,esnioecinowa to ssebi emca es, Yo eélgfontig deié? omoe ntaél .sidiesoq YI fiese et eviisegeieg ,felieed bie dey dnegay ton at ais? ; YTsemoed evidginoseb to ekbelwons divovedé « diiw benvsel * ian eiditewog ylors fon ai st deY ;ami02 Leitndoedidois Yo ig ©). Nevideeqeteq Yo esebi devi? odd Jnontiv agte edb ie'a 2ex16setd eiuseredif{ to gox od dsoge yeds sod Te cihissecs evet tud.»,eeedd segrot gon ob I j}.tniwarh ba8 é 1 selbuse avoy to etevee J8om ‘eos woy od dexrit edisos | btswet s > erence oideitas of Sfgi1 odd dadd wond oF yoy apa ats: ‘abedisem od teum dadd I Liw oy isdd).bniwerb Yo bise ed of ai gntdé eno Jud bee } suicinee # af Sniwasb ybut? snauadisyb 6 Bo doum ooF od ped dnd) sedodedwe gnteselq eden of son ,notdast sreves he ee wons of atael :entfino as bre mot « etem yletss. oust 2 ed jyed yer df sevedadw,.¢i sebnes yilditddist of bas exb Yo ybhude edd yin -.exoqqne soy asi’ 18184) wemedterh tsoifeb yLemersxe ezodd ,2nottreqorg evieoreg uoy edsm {Liw ine bevieoreg ets dey bas eesssgmoc edd yteb dani sebsdea bas notisnthent .ystilidtet soy evita [fiw tf yexeo Swe ho ee ‘as 20. find examples.: Thus on roofs are intersections of planes;. the intersection of a prism by an oblique plane is the inter section of a chimney cap by a roof; on vaults: and shafts of columns are found examples applicable to various problems on cylinders, cones and spheres; you discover. surfaces of revolue tion on bases and capitals of columns,: etc.: Thus even in your walks, you will commence to see architecture,: no longer as a thoughtless looker,: but already with some ability for analyz- ing its elements and its means,; The necessity for this study has been recognized, so that for. several years has. been ree quired for. admission to the School of Fine Arts a diagram of architectural projections as an application of descriptive seometry.: Particularly exercise yourself on problems showing the trace of shadows,: without. which you. can later neither study nor render the effects of projections and the relief of your. come positions.: But, I consider as premature now the study of the special ape plications of descriptive geometry comprised under stereotomy~=~ stonecutting and carpentry; --for these studies are required some ideas of architecture, that. you do not, yet possess.’ If possible, learn some férst principles of perspective.: This is not urgent. yet, and besides,: perspective is easily learned with a thorough knowledge of descriptive geometry and of architectural forms; Yet. it is not, truly possible to de= sign without the first ideas of perspective,} But they speak to you of literature,: history, sciences=~- and drawing.; I. do not forget these, but have desired to dew scribe first. to you the most. severe of your studies, wishing you to know that the right to artistic studies is a reward, that. must be merited.: But one thing is to be said of drawing, that you will never be too much off a draftsman. Study drawing in a serious and severe fashion,: not to make pleasing sketches,: but. to accu- rately make a form and an outline; learn to know your model and to faithfally render. it,: whatever. it may be;. be a logal draftsman, rarer than you. suppose. Only the study of drawing will make you perceive propoertions,: those extremely delicate shades that defy the compasses and yet are perceived by the eye; it will give you fertility,: imagination and artistic 2 =, wir is Ipsiitds ¢som odd se2 syswis ew Jedd ,ou1d o8 at atndT .détleow Dbewobne deom .sontiseb efidae? saom edd emooed nesedtath | etnetis od gniviessos 103 diod ,viinonegut bas soidenizemt .@idd bas ..obsost Isinomento os gaidostorg 10% base mela g Yo ‘beiwarb bas bedgoennoo ats aknids {Ie dre ni a0ot.,08 ed bisods Meense 6, ) ‘eed%e edt {le lo onode steni09 odd ei 09h 8 ilew esuoexe 10 Ifew ersiostisore wate seven [Liw ol it nemedte1S « vidaeinitiwe oss voy eeelnu ,eniwerb laoiadens 1 Ye ‘VTeidd to Tootg erteeb voy of -.bxow edd Yo oanee Laven edd Om fsspioadicois sense eid eivasom adoeiidors ows dedi seuzed ; : oved dtod .sersiqgives Jvoddinw bas, lasindesoes yletg ovis. 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Bhee® ddbisade boidowsa jiegaol od efainniged evidoe led eC p db anil Aaanee a af gatwatinos base Jnatog golisede ) a ee abrswr0t dorem od woy 107 21 wealth. This is so true, that we always see the most skilfal draftsman become the most fertile designer,: most endowed with imagination and ingenuity,: both for conceiving the arrangement of a plan and for projecting an ornamental facade, and this should be so,: for in art all things are connected and drawing is the corner stone of all the arts.: You will never draw architecture well or. executes well a geo metrical drawing,: unless you are sufficiently a draftsman in the usual sense of the word. Do you desire proof of this? Assume that two architects measure the same architectural mo- tive,: purely geometrical and without, sculptures. Both have the same accuracy in their measurements and sketches,: but one is a draftsman and the other is not.: The drawing by the forme er will be faithful and correct: as a representation of the model,: while that of the second will render neither its char- acter. nor even its forn.: The study of drawing is completed by that. of modeling,: an- other. form of drawing; for in drawing or modeling not, the hand is trained but the. eye,: the faculty of observing correctly;- only while drawing teaches you to see the appearance of obe jects,: modeling teaches you to observe their reality,: and more directly prepares you for the sense of architecture.: | As for geometrical or architectural drawins,: I. will speak of it later.: Such is the entirety of the plan of preliminary studies,: that can be made anywhere that. secondary instruction is given.: Aspecial school is unnecessary,: and it is better to not. ate tempt the study of architecture until well prepared by these preliminary. studies. Then wifh the mind ready for the meth- od regulating your later. studies, you will be equally inter ested in their artistic and scientific sides,: and will make rapid progress,: for you will have no bad habits to lose,: nor. defective beginnings to forget; marching straight, from the starting point and continuing in a straight line,: it suffices for you to march forward.: Ss | SGSU HAIGHT QUA STHAMURTSKHI BMIWARG © ARTIAHD wweneidectyue {eottosiIa~ ,edinemnutsent gntdaohe~ -.YHAMMUZ 3 — yeetgosinzt ,ersupe~T»,bisod to eee -.seqsq baiwerd eid ‘eenesw to eaitoesd+= -.dni esonidQew ~eontd~~ -.ort9 BY). ‘sdpemgqinpe avoy o¢ Bntdseler derit ds eaebtow soe f teqsq elgse bhusig 10 ,ebts0d gniwerh ows ontinper [fiw voY | yen noY -.(.enk Sr X @) elgee baste Ued s bustnent @ XK 38) | d eeedT (.eani &.82 x BL. 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SUMMARY,: --Working instruments.; «Practical sugsestions.-= Drawing paper.: --Use of board,: T-square, triangles,: dividers etc. --Lines.: --Chinese ink.: --Practice of washes; Some words at first relating to your. equipment.: You will require two drawing boards,for. grand eagle paper (36 X 25. ins.:)and a half grand eagle (25. X 18 ins.).: You may also have a querter grand eagle( 18 =x 12,5 ins.:).: These boards should be paneled,: i.e.,: with frame of hard wood and panel of soft. wood; boards with hard wood cleats at the ends. only are not sufficiently accurate,; The best. woods are rock elm for. the frame and poplar for the panel. There should be no knots to spring the wood,: which should have straight grain,: be well fitted and truly plane.: Protect your boards. from accidents,: sun and dampness,: every= thing that. might. warp them,: and when the edges are not straight, have them trued,: or. you will no longer have parallels in your. drawing s.° You. will have grand eagle,: half grand eagle and quarter. grand eagle Tesquares of pearwood with straight grain and uri- form texture,. Avoid injuries and never use a Tesquare to glue or cub. off paper. The blade must remain perfectly straight without notches or nicks.} Two triangles at 30: and 45 degrees. Good triangles are now of wood, hard rubber or ebonite;: wood should be selected as for the Tesquares.: They must not be too thin, about the same as the blade of the Tesquare,. The triangles best retaining their accuracy are framed.: (Fig. 1),.: This equipment is con= pleted by a folding metre rule and a boxwood scale 2 decimete- res long (6.55. ins.’),: graduated in millimetres.: Division in half millimetres is useless and troublesome.: The case of dividers should be well chosen,: for which the price must be paid,: for good instruments last. a lifetime and make your work easy.’ Do not encumber yourself with a large,: heavy and troublesome box, for. the pocket case is best, Light and portable,: (Fig.2.:).: You find therein dividers with plain points for messuring,: dividing,: eto. --Dividers for circles with jointed points for drawing circles,’ -~Pen and pencil points fitting these dici- i. . a 7 eg | | ~#:.selotio [fsae yrev Sniwetbh rot erehivib yaiaoa<< ‘.e8%eb w= eeheq builos owle= .avebivih egiel efd vot vad nolenodx® te800L ood TO ddREd CGF Fon ,ebeed t8biwtb dnigertbs tot yoX | Wolitwi Isdom ec¢iiw to eassd oi ebsm ore ednsaeitent esenT ‘book ylisupe ors tat geiwolls seven ,eineautsent avoy Yo e160 teqgorg edeT ge . ‘.aneq edt al yh } fidftdw ,elieneg bse! +6 BKOyeTO | been ed of ete eLtionsd en)eds doitiw to:,a'tedel elgusxe tot .viilaup book Yo od of +b bred tenjes << 1,d9028. © i:$toe yrev. yto~ietedasa tH08t ets Beech eyewls .s2s0 edt of Qntbhrooos batd sediis eet .brad yrev daeileoxe ei ®.0 cunt; s19408g 61d Yaieseto Jon bue ylidstl » bas 'S “so yeonil bedimil eetoeng ytev sexs eft aniwerh s0t g e2, de: shasd eert nt gnidotede 101 tedéis1 exe 2.0% —oaasanena lo deite 2 .,egn9 nialeored emo eved [fiw woY Niddgife s¢ dosid .nntnide | bisd ed seum hood ed ‘ot tad’ Diidetbes ton enfers sediier anteubotq » fdeienid Jon bee death ) +,dew nedw adniog book aninisisey -,eaie mutbem Yo eefanrd ows Sipen dtte eneq gSaiweth jelbnsd efgnte ¢ to ebas add at tes t Sigesle dtoe zemls diuom ;eltoneq ex exie eomae to eroblod Baie | meagnoge Jioa 6 hans :,batdodstoe to yerth brad Jon .r]8ed 08 ewld neieani9 to bas eninzso Yo adetias,esrofoe 10% — on eeivhs ylanorte I gud ‘.natdoes at edasg tnit of seabed Snidush wod evetied Jonnso woY .tneze ts te avetos a @1b s af desew od wod wond don seob eno aedw’ edided bed a - eae smixg edt to notdietupos ed¢ adnevetg bre . 8 pag ‘~teifey bas exentee!s Her edwiwexb 10% .yreeessen e718 seqsq to sitoe Isteved ke ei secsq eliud exo1 10 wolfey ):,ode ,eedodede » fioneg ni ed 10 dowm ood beddut ed gon daun dud>,.csefo yrey bae tnol Gf ditw esieltedni doidw.reqsq beddix ean revel .s%0e ood * geq nemded® ceifaod’ ylno at er]8edd .,esdesw 104 -.ehotwarh phate ne» gnidotjete roF .eotrq dhid esi ret dgenxe snes ieoxe eet seth sia 1egeq ntosad v8t. stegqsg elLiasbssp 10 el ind ASE ‘.ftagb mov? bedoedore baa ytb te8e9qeo.. bai of ih bakens 608 eetiopes inenqiups etdt to ean aft ia = “ve «,8ntnaataed edd sort aedidsd boos gole odd bus elded tniwerh eft sddied tuoy o¢ tewtbe devit vo gntbnsd Biovs ,tntbesde a0 bedsor teddedW .bas0d efd Yo dileed (}d perenne deedo edd Io nolesergeb ylisioeqee has 93 ders.; --Spring dividers for drawing very small circles,’ == Extension bar for the large dividers.; --Two ruling pens-j <= Key for adjusting divider heads,: not too tight or too loose.) These instruments are made in brass or white metal,: which are equally good.: fake proper. care of your. instruments, never allowing ink to dry in the pens.’ Pencils are to be used, crayons or lead pencils, which are to be of good quality, for example Faber's,: of which there are four numbers:<<1,: very soft; 2,: soft, 3,: rather hard; - 4,: very hard. Use either kind according to the case,: always , lightly and not creasing the paper.; Thus No.4 is excellent. for drawing the axes,: very precise limited lines; No. 2 and No.i are rather for sketching in free hand.* You will have some porcelain cups,: a stick of Chinese ink,« that. to be good must be hard,: shining,: black or slightly red= dish and not blueish,: producing neither. grains nor. sediment; two brushes of medium size,: retaining good points when wet, : set. in the ends of a single handle;. drawing pens with light holders of same size as pencils; mouth glue;- soft elaséic rube ber,: not hard gray or scratching,: and a soft sponge.: For colors, stisks of carmine and of Prussian blue suffice to tint parts in section. But I. strongly advise no box of colors at. present. You cannot believe how daubing produces bad habits,: when one does not know how to. wash in a drawing, and prevents the acquisition of the prime qualities of drawing, clearness and relief. Several sorts of paper are necessary.: For drawings left in pencil,: sketches, etc.,: yellow or rose Bulle paper. is exeel: lent and very cheap,: but must. not be rubbed too much or. be too soft.: Never. use ribbed paper,: which interferes with line drawings.: For washes, there is only English Whatman paper,: excellent except for its high price, For. sketching, Canson,: Bulle or quadrille paper,: for tracing paper. buy dioptric. Keee paper dry and protected from dust. The use of this equipment requires some advice for forming Sood habits from the beginning. First adjust. to your height. the drawing table and the slope of the board. Whether seated or standing,. avoid bending over and especially depression of the chest. injurious té health, o) oes ae =A i ag edsoileb s 10% .bstelqnoo son ed dtwors Yi yilaloegee wih :.dnemeanetss add Jorinoo blucde nsteieydg yLimet edd re eno bas ,Ieinostiod ed don bloode breed aniwwsd edt ppetiaens. eldesentbA .dt gates ni elfdiesog as elsiil as baed “e(E 82%) -.dnelleoxe excteredt ose yd. yeenbe best semt0ot.edét Yo esesosit evomex aysawiA tadd obsid « yd hevomet ed nso yond ,medd gnidtsoe bne e@ wen e oo ani bas bteod edd Ilew desw ,tg0 Jton eeoh has di tow..deede ofd onl of .betab [few ef i stedts ylno iw tedew evonet,,gelt nismet ot a2 oe xtosd sedi no ylartot gush vyimzolinn ed yeu deode odd dadd o2 ..dolo Yih 10 ehaoge watned yd basot [fle di evi nedT -.¢ow Jon sud bebosgxe bas @ edd sedd ».yirsqoxa di anidoderate ..2~elbbia ase t edd ga bata ia et seeds edd aud? .edisq oteibemiedai edd yldeal bas aten Ifiw aofiwesb as0y bas detodorée rloigss bos ylieqorg _ oo t4 GQ 8i goods edd Litas Fish ;.130 ii gntddso wi bemioish aye’ oerb yl i } eesd 28 has aleadnoxinzod waib of sevies eisupa~! oAT a yo bevow heed eft diiw di say vind ‘eisoidaev sot elansiad pitied nO 6 gos tae edd gis ,eleoidsvev 10% bred Jiel an0y 3 fete hedTnvwiteL\ ody. vx, yried ebie tecihaeres pdt Eurige te sp" @ ib ddgil qot, .dtel any odpetisil:s baw faoxt, dived, taum aelgasiat Sas ossspa onl -sgatwerb Se dete sot 5ad > Ome bedatog ylenii eas alioneg 190Y j.neslo ytev od eyswie ft ned seldtasog es Igottiev yltsen a8 bled boas ylsdgil 1 bus yisv sentl edt elgnaiis to otsupe~f oft Quols aeil iy tvaon eis aentt [toneq tsit tedmomeh .tdgistte ed son Dad etwint ov Sted tedduy edd Saiau tucdtiw beastie od of - fa ywodd ,obodat ed oF ore Benti [ioneq edt t1 .teqsg shat fiemeq yvsed « of vibsd eetadhbs uni sot i tdgil Bx #/1,%007 ed od gnfitinpes Jon asdw Lioneg a Jnioged of ae ti siuteau gf teqsqbase 10 slit ent net i eden Joo Raa glddgil deer bivode edatog tebivid “4¢18qsq edd of tsivothbmoqreg bef sit geod .19geqg ads “sbeouborg 91s teqgsq odd a¢ ytulat bas Yoetvoognt : emp | id ete edutot edt sasforto tot atabivih ed¢ tot ylusl ) odd od 18 [uotbaegteg neq bas I[foneg ,dateg odd goed ” 3 320 ld dion ets apel af etatol tvoddtiw atebivih eoasll be ea tioweg odd eAil beay af meq gailus out o4 od 3 9 re rare it ae ns ape eG ‘24 especially if growth be not completed. For. a delicate youth,, the family physician should control the arrangement.) Always,: the drawing board should not, be horizontal,: and one should bend as little as possible in using it. Adjustable trestles are therefore excellent.: (Fig.; 3).: Always remove traces of the former glued edges; by wetting ‘ and soaking them,: they can be removed by a blade that scrapes and does not, cut,: wash well the board and glue on a new sheett only after. it is well dried.; To glue the sheet, wet. it uni- formly on the back so as to remain flat,: remove water with a sponge or. dry cloth,: so that the sheet. may be uniformly damp and expanded but not wet. Then glue it all round by begine~ ning at the four middles,: stretching it properly,: then the cor. ners and lastly the intermediate paris.: Thus the sheet is properly and rapidly. stretched,: and your drawing will not. be deformed in cutting it off.; Wait. until the sheet is perfect- ly drye: The Tesquare serves to draw horizontals and as base for the triangle for verticals,: Only use it; with the head moved by your. left. hand.; For verticals,: slip the triangle on the Te» square, its vertical. side being at, the left,.; Them jhe light, must, be in front and a little to the left,.: Top light as very bed for architectural drawing.| The square and triangles should always be very clean.) Your pencils are finely pointed and lightly used,: held as nearly vertical as possible. When it lies along the Tesquare or triangle the lines vary and may not, be straight.; Remember thet pencil lines are working lines to be erased without using the rubber hard to injure the paper., If the pencil lines are to be inked, they should be | light,: for ink adheres badly to a heavy pencil line.: To repoint s pencil when not requiring to be recut,: a very fine file or sandpaper is. useful. Divider points should rest, lightly .and not, make beles in the paper., Keep the leg perpendicular to the paper;: if obli- que,: inaccuracy and injury to the paper are produced. Simi- larly for the dividers for circles; the joints are bent to keep the point,: pencil and pen perpendicular to the drawing. Hence dividers without joints in legs are worthless,: The ruling pen is used like the pencil, lightly and as vert- ical as possible. Pressing too hard on the paper,: it is | ; eS a9 194 edt esolo voy .ogbs odd santsge bisd oof to, beaseto P4ga1 @ bas t9daw déiw beaselo einiog odd bus -.bewoner yf | Qutdoteda to gnilus ses a9veK -.20q basd ewtt odd rot ome dai Baidtaw diétw ansg h ediatteb odd eoubo1g eaeg basd sext bas aatin« oAT law noose ftw goY beasts ots eonti Lioneg edd dotdw t93%s @ wo went! yosa ,ftoneg add déiw senil Ialtaezae sdé vino q@ Qa0idintl of¢ seowded Ant a6 yltoerth shaw gated gaiwsxh Ylgqs iLiw asuattets edd Yo sonegilladat add yasati [to edt odam dertt o¢ weeloey ak si antwerth dose of bodtew gs dat atateze Jt t9ovo 0% bas L[ioneq at gatwath etid ‘Mamedieth odd perrgety ¥fao: menos yisow bas Isoinadoos bie ton ‘steqsq edd §atggow fi 7que) aselo eLeakethi a ai bedd#@ 4d daua dat seen idd ovis ed daum e1a90 » sala: “quo edd af boixh dat alegs dust on ij tj . ‘eHat osentdd to oan edt ad Bhewonet ed ;ydesq goa tud dosfd ed daum dat aniward ot betevoo ef gro oft Abedanaet! nt ylisteseqes ,.viisbh eeats Oo aL yonn.a ‘etasb brow i ies ‘Roiddat 1979A.2odaaw tot hotivps1 al eteo twlinwt? qs eo Odd abigti-evsel, dos{d yliacioittsa (lis dat quo wLib ».moddod edd Satdavgeth toa. viaaw edgy tol yiseasosa eg, 30 ves eudT (,19dew aacl 20 atom Adiw quo tedjons af aids , 28) St dotdw at quo gait? od at dnt edd détw deew s tevo fons pdj ni tedew ditw bexim [few at dasw edd nodW -.bavotg guived. lagtd odd gatqgib aedw dt gatattia biovse ,quo mi _. ‘satow odd 10% bean od 1even bluode Awt seed odd aove aoe to did a, dnedxe I[{sas to asdesw 10% ae 1 alain a ap a a sani AO. 4 to bseteat beay ed Yen 9mo8 “dot. jeoidoatg: ae ot gemoo yiao sedasw ai I[Liwe OY .saemieelo 19% etso yteve to etiga at tI .iwteau al eden solo eltoetieg bas egn0ge dtoa yrev s détw eLingis Bri ves nent sotedwyteve gt gatdiew baa visdgil yrev dnd n do aiddua tuodiiw bas eldtaaog a8 yisdpil a8 e@gnoge ede ots a9 dean edd dfiw atked cea vot ote g & 998T%¢ ‘oe voi ta 7 nod ¢ od ifte sens docs tod teow weas0f on ef " nce ea eee id. Se ee, 11 .seqg odd at Ginlt od eyswis Jeum Ant ed? .elesotoenoo dw deuidis dftw osstise' adit mot? edet sedT .elttea of © aogeb edd otodw ,sotdod edt agnidose1 tuodtin ¢nit gaat eee hatte ulstdgiia emeea bas efidw regm0l on at req 25. creased, or too hard against the edge,: you close the pen un- consciously.; The ink must always be fluid in the pen,: frequent~ ly renewed,: and the points cleaned with water and a rag. The same for the free hand pen.) Never use ruling or sketching pens with writing ink. The ruling and free hand pens produce the definite drawing,: after which the pencil lines are erased. You will soon make only the essential lines with the pencil,: many lines on a drawing being made directly én ink between the limiting pene cil lines; the intelligence of the draftsman will apply this method to each drawing; it is useless to first make the en= tire drawing in pencil and go over it again in ink,: a purely mechanical and weary labor,: only fatiguing the draftsman and wearming the papere Chinese ink must be rubbed in a strictly clean cup; never rub again ink dried in the cup.: Special care must be given to the use of Chinese ink.) Drawing ink must be black but not. pasty; be renewed several times daily, especially in summer; the cup is covered to a= void dust. Similar care is required for washes. After rubbing in the cup ink till sufficiently black,: leave it in the covered cup to settle., Then take from its surface with a brush what. is necessary for the wash, not disturbing bhe bottom,: diluting this in another cup with more or less water. Thus never pass over a wash with the ink in the first, cup in which it was ground.) When the wash is well mixed with water in the second cup, avoid stirring it, when dipping the brush,: having suffic». ient. tint. without, reaching the bottom,: where the deposit, from even the best ink should never be used for the work.: For washes of amall extent, a bit. of noneabsorbent paper may be used instead of a Cupe! Skill in washes only comes from practice,: yet. some advice is useful.; If in spite of every care for clearness, your pa= per is no lomger white and seems slightly soiled,: wash it. lightly with a very soft. sponge and perfectly clean water,: but, very lightly and wetting it, everywhere. Then dry it with a sponge as lightly as possible and without rubbing,: which might efface ea part.) You gan begin with the wash when the sheet. | is no longer wet but, damp,: which will be best for the first, . - ne «+ ae oR ee i a ee nO ee Pa as ‘ezaw ’ @ bas>,¥ase yrev at $i dud, gatitiaa amesea ets9 afdt “ddoddin bas gait miotinn déivbenistdo ydexedt at dese saersg ‘at gutbede daoit bos json to misdo edt aeouborg dotdw \.2edoga a 0 te teiloes - d-bettupos {{tde [eaoateqiasatigqsooa dawitd edd Yo sau adT Jexe oJ oved voy otedw dow atemet aysvis Saum f10w toy yo8K at yltelsgetit bas yldotup ood actib tedd dasw a Jt baed tlomt ylidagtfe ed teum brs0od ed? .xendized odd tot tegaeh yotqod ed od at doidw) dase odd gateesq tot aotdéoorth add at ik? @ te dont S\E to 8\E awob tt gntyriso .azzor0s sdgiarte “a iid dautd edf -,aefont oetdd to owd foad antonommoo tad ee ns daw edd ce3 [fiw woy bas ,e2entis Lletevesa etedwyieve ze | bas “tow asoy of Lelleiaq Satgoed ,god odd aiott yllachara “edd bas )ybatded slidil a asbia odd eveod wit no gnimtsg ‘ # 36 ausetsa Ateh gatbiovs ,elbbim add biswod aut L[itw . ui at rege ads sens begasq oa od daya dasw edi :,tetad al en, a batiow Yfatotiag bas yidguor 7 x1 10 ‘edidw of fos id mort teddedw ,sedasw beissbars 10% ie 1 on: ,asoudtdnoo aoltssbetg etds odem tosid of otédw _ gitess »,sonsvbe dosé is doafd to tetaw Qatbbs yd dasw edi th ytev et st] ;.beaotétogo1g [low ota anottibbs saedd asd? a ‘ILkee teqsq fo desw boteubs1a [few s diiw besooge of tno = @fasd s es eviea oF fdaaw dalt s eaaq of tetted doum jodtidw ea | . etait beteubse13 ed’ tetism A-.basd Yo asenddyil gseta eertvper dewsd eff | 1a don Bloods maze tdgta edt .attdsed hook to coals bas sidsd EE add wsatweth eid ao deet ti Bilwode t0OM ,.ybod edd t10q aq edd d#iw tosinoo at ef saole basi gdgia edd to asg0tt che .dmodd yd {[foseq s oXil ylisen bled at dewiad ent ‘Yletom bue ednomevom adi at eet? od hluoda .,ategatt ofh iad evawih ‘eybod eft détw ton bns tntog odd dtiw teqeg odd ‘2 svomer: ,dosm oof Tt ,desw edt to aaidiinssy [supe gu 275 deagid edd y1h> .daew edt Yo bae oft gatdoset asdw bas yi ent biased oft oveed .teqsg antdsoid ot tf aaitdowot vd yl. et dasw baoose s tI .y15 toa at teqgsq odd olidw beanile ) tegaol on ai dt Jedd atadteo ed .Jjatit edd tevo beaasg eet ‘staol ed [fiw [fe te vo Ulsviaseooua eedeas to tedmua ettsl s Rataesg blovA fixd bewollod emooed [fiw teqsq odd to .s98f¢ eusa odd (ips hs bog 720 w ,, J tae i , “ie . - di ie 8 t a. 5 ” i) 2355.08, or 26 washe) This care seems trifling,: but it. is very easy,: and a trans- parent wash is thereby obtainedwith uniform tint, and without. spots,: which produces the charm of neat and fresh shading in relief.) The use of the brush comprises personal skill acquired by use; your work must always remain wet. where you have to exe tend it; @ wash that dries too quickly and irregularly is the danger for the begibner.: The board must be slightly inclined in the direction for passing the wash,: which is to be kept streight across, carrying it. down 3/8 or 3/4 inch at a tine,: but commencing back two or three inches,; The brush thus pass- es everywhere several times,: and you will see the wash dry gradually from the top, keeping parallel to your work and not gaining on it,; Leave the sides a little behind,: and the wash will run toward the middle,: avoiding dark streaks at the edges. In brief,: the wash must be so passed that the paper is tho» roughly and uniformly wetted.: For graduated washes, whether from black to white or per whote to black,: make this éraduation continuous, modifying the wash by adding water or black at each advance,: seeing that. these additions are well proportioned.; It is very diffi- cult to succeed with a well graduated wash on paper still white;. much better to pass a flat wash to serve as a basis for the graduated tint. The brush requires great lightness of hand. A matter of habit and also of good habits. The right. arm should not sup- port the body,: nor should it. rest. on the drawing; the little finger of the right hand alone is in contact with the paper. The brush is held nearly like a pencil by thumb,: fore and mid- dle fingers,: should be free in its movements and merely touch the paper with the point and not with its body. Always take up equal quantities of the wash, if too much,: remove this,: and when reaching the end of the wash,: dry the brush graduale ly by touching it to blotting paper. Leave the board ine clined while the paper is not dry.: If a second wash is to be passed over the first,: be certain that it is no longer. damp, or all will be lost, Avoid passing a large number of washes successively over the seme place, or the paper will become hollowed by the | ¥s . e8d4aq bedosette bas betas edt Yo acteass (yeteorse evoget Sns aedeaw A18b oot nettoa yom egacge od? a joaw ',4atgno0ca sed¥ *.bsesde ed fon daum yhomet etd’ tad ¥teov- ed dana istew odd yylinatisg bas ylddyil yr0ev .sadew | meqaq edt to dee1 edd yilet anitsaw yd sosemmos baa .(xeelo — et ognoga wdd eaiwtedt0 (.acivtog botaew edt gaiisiow ototed pdidw odd tevo Ji aetudiateth bas desw edd to motdrog 8 aevos , edtoevomet yiloterse : gafgsogs testis .iedd gatltos .s98asq : ietedsw asefo af eaaoge edd duo gnidagw ylinetesoo .198 ‘Yo ysilssp yissiag edt Jedd tezaiot seven {Is to garit s04 sete, as daard a diiw wath aso soy ~aeenteels at desw a ostu0o8 atdd etiupos of :,fioneg a déiw es Yleatostg bas mh oa ton Ifiw yoy (Yissaecen at eottosig ators htovs {fiw wo) boystuooa th gon Ti dud. ,tqmestg tarit edd -,ftobeett baa [fide déiw daaid edd t anived to bwowg nt e009 ,etcmmiged of ootvds [entt A 1-20 , dt tno ot anetesd bos antweth desw gattt etd be f doy, joa at teqesg edd dew tegaol on e1s aadasu odd | sao < ood ‘Tio dso Tf 2gtew gaiws1b edi bas) .werdit ‘ (e$alweth # gatvomey etoted ys5 a tasel (reo eid «Re a % Behe eis) 44. ¢a00 past Bod teen aie laksa! bs “ghey aaa pteAte ore aa steteTrwWs «4 | , eG > a” ( Mego, ‘+ my ‘hy ws Ba) aah i. aete © 4 ; oa f ra on : ‘ 7 4 Ce . or! % a sy —— “a eo St 27 tension of the dried and stretched parts, The sponge may soften too dark washes and remove streaks; but this remedy must not be abused. When sponging,: use much water, very lightly and patiently; the water must, he very clean,: and commence by wetting fully the rest of the paper before wetting the washed portion.) Otherwise thw sponge re= moves a portion of the wash and distributes it, over the white paper, soiling that, After sponging,: carefully remove the wae ter, constantly washing out the sponge in clean water.) But first of all, never forget that. the primary quality of: 8 wash is elearness-: You can draw with a brush as clearly and precisely as with a pencil.) To acquire this accuracy and avoid errors practice is necessary; you will not sueceed at the first attempt,: but. if not discouraged,: you will soon use the brush with skill and freedon. A final advice to beginners.) One is proud of having finish- ed his first. wash drawing and hastens to eut it off.: Bven if the washes ere no longer wet,: the paper is not, yet. dry in its fibres,: and the drawing warps if eut, of f too soone; Wait at least a day before removing a drawinge: Werte. ae ly ee wien? a: at aa iN Py (4) 9 te DHINARG JARUTOGTIHOMA 4& tetqedd, we setnometiope adI «= .8aiwsib [aokitemoeD-~) ,YIAMMUZ spenesnesne! o~ (Otdeveld =~ .notines + .aald «= .selsod m7 ~~ /.M0idatuoaetqes etelquoe e 10% anatitosio1g [s1eVvee Si assdtontess bos alsotdweY «-'.eelgqnsxe yapxe vd gotwerd<~ wed rom Jeong gaan — ow atvotdaoo Bnidtintt eontd «« The ~etnengoley =~ jeYtomem sort gotinses? ~ swolio? od hoddeM «~ -,2eedotad? ' eeedodede to soltsoe le? bedut: vegetsoon .gatwor’ {sotaismess af Saiwatd leas doedidors af iq oftdW .1slésitvasq at gatwarh bowted od you Sna >, pat =O08>,2d0e{(¢0 to sonsiseqas edd yfno adaesatqet aatwarh supse ge Lguaxe 10% .e18 yods ae aodd adnezetget antweth Lactaisten ies edi et 2 .hit bas ovidosegqereq al [atiqas s awode 5 -,yf4 bere ® timieg enols boddeow aid? .gantwetbh [satasemoeg ai Iediqae or edaqmoos edi to aattqesnoo s to aotdssi{sax Josxe teem add die! ogmi af ti avdT .bestieox ybeorls Qatddyns Yo solsouborg A yenoitseto yd evtl tadd ,eetitasbal Ons sixes edt [ls a0 adanco,eisdinast 19 yrell{tias ,ytlewet, 10 eentdosa to 10 i areK 4. gvetutoedidors, 10 aacliseitidiel.,aqotsatooeb 1x0 nai /etso off .yostH902 eduloeds nedd at ydilevp vyisaiag ad! Lue eto esigaial aét > ,ovtazceoxe at yoetuoes aids anitaietdo oi s yd setttb ayswils [fiw nofatoe1g Isebt bas gntwsib edt “aha [adtatemoes at bodéem eaatine oct .eail Laotisa e ged, sove:,to1t]e to sesasdo [ia gathtiova at asatenos dd ye lace ssexrstiib s 10 emss edd ds gBatusih & gatyqos Pasa, @t dl .tusttoqmiay gated wort ast ai ersbseety L[eot eg ? eetsene gadd yhbuds edd sort ditened edd 10% tasdiogat Isotnedoen s yf{e1t0em od si aeelny ».gatwesbh 8 to noldsoe oy to ato s gatwsth edt gnivem tot elgtontiq staxtt edt fod et basd bas exe edt to oatorexe a8 28 {low 26 sonegtl Bd sHoy at eouborges of), fehom odd déiw tlea e'eao ytit es Ieatgito edé¢ to drow ed¢ ansom ouge edt vd : “Ratdsienstd Yi ;toansm seea od vi bosootg bas seagteod . geht dose», ,aniwaih « otal ersdoodtdora to dtow Isetos : eae entrees? adt etvane of dt awath eved dagm 10 ot cs tier § regaiwedil | ootorg Saot0 3328 ea? fatds to? ease odd ots Jedl = 2 as . ” 2" . ' Bac) Pe eet eee tgtto edd to eisbesetg to ehos oft door ,$aivath 8 gniy , 28 Chapter 3.. ARCHITECTURAL DRAWING,: SUMMARY, +-Geometrical drawing.) -- Its requirements.) -< Scales.; -=« Plan.i «- Section.) «« Elevation.) -- Necessity of several projections for. a complete representation.) «-Axes.: --Drawing by axes; examples, -- Verticals and projectéons,: -- Lines limiting contours.) «= Oblique projections.; -«- Dee velopments.| Sketches.: «- Method to follow.) -- Sketches from memory.) «= Selection of sketches: Architectural drawing is geometrical drawing, accurate drawe- ing,: and may be termed drawing in particilar. While pictur- esque drawing represents only the appearance of objects,: geo- metricel drawing represents them as they ere.: For example, Fig.| 4 shows a capital in perspective and Fig.) 5. is the same capital in geometrical drawing.: This method alone permits. the mest exact. realization of a conception or the accurate re- production of anything already realized.; Thus it is imposed on all the arts and industries, that live by creations,: whethe er of machines or jewelry,: artillery or furniture,: construct= ion or decoration,. fortifications or architectures; Its primary quality is then absolute accuracy.; No care for. obtaining this accuracy is excessive,: for in spite of this, the drawing and ideal precision will always differ by e@ mathe e matical line.; The entire method in geometrical drawing then consists in avoiding all chances of error,: even when merely copying a drawing at the same or a different scale, the log- ical procedure is far from being unimportant.: It is not less important for the benefit from the study that assures the exe ecution of a drawing, unless it be merely a mechanical work,.; The first. principle for making the drawing a work of intel ligence as well as an exercise of the eye and hand is to idene tify one's self with the model, to reproduce in your turn and by the same means the work of the original draftsman. In cop] ying a drawing,: seek the mode of procedure of the original designer and proceed in the same manner; if translating an actual work of architecture into a drawing,: seek how its auth- or must have drawn it to ensure its execution,: and proceed likewise.) | What are the means for this? 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Note this order,: for it. is the logical one.; These drawings are laid ont, by scales,. a ratio adopted between the object and the drawing.) The most simple scales are to. be preferred;. one or ten cent- imetres per metee (1/100 or 1/10 full size),; Purely decimal ratios do not lead to errors. But material reasons may ree quire other scales,: which will generally be twice or half the former; thus 1/2 or 2 centimetres,: 5. or 20 centimetres per metre (1/200,: 1/50,: 1/20. or 1/5. full size), The plan is a section of an edifice at a variable height made by a horizontal plane intersecting walls,: piers,: par= titions,: etc.) Assume this plan at a proper height to show all the details of construction,: walls,: doors and windows,: piers, : columns or. pilasters, fireplaces etc.: It may be regarded as a flat imprint taken from the structure at a uniform height.; Hig.: 6 represents a part of the construction above the grounds which is shown in plan by Fig. 7.° On the assumed plan the construction is shown by its horizon- tal section§:,an invariable element,: but on it may be project» ed anything below or above this.) In the first. place the plan shows those architectural parts projecting beyond the bases of the walls or piers, such as base mouldings,: plinths,: steps etc. Or in the second case are shown the vaults or ceilings, entabletures or eornices.; Both projections,: or half of each are given,: when both above and below are of interest, The. section is an intersection of an edifice or its part by a vertical plane;. it. is vertically what the plan is horizone- tally.) And likewise it first shows the intersections of the assumed plan with the construction. These outlines comprise the parts in section.: Then as on the plan may be projected all that might. indeed be projected on it in the building.) This shows that a single section is rarely sufficient to take into account, the entire interior of an edifice,: and at least two are generally necessary.: One is in a plane perpen= diculer to the facade and is the longitudinal section; the other is parallel to the facade and is the transverse section.) Numerous secondary sections are also frequently necessary. A section limited to a facade wall for use in the study of the elevation is rather termed a profile.: The elevation is the projection of the edifice on an OF. = 2 yiev ia huis eetxrqmoo ysm dl .emetg Lsaotitev ([sntedxe a bne dorsde se to ehscat Isgionixzg edd .elquaxe 102 ,bedarts ae io: ‘s2iqeamatd eit dosd tedd fexevee yetedwyieve e1udoedidots mietiau Yo easo mi tqeoxd © edd danooos odnt gnidss tot yiseeooon eta enotsavele .8ebsost 180% bas eobte ,Isqtonirg yeatttbe edt to | Otisvele coals baa aottiose ,nelq to siqmaxe as #i ot0d | F mcals. *,R24) .omod te endiT Yo dowd edd .gatbLiaud stealquoo x | berivpet ets ~agaiweth ag0% asd eeel on sedét evteadoe got ‘einempnom elquie yisv aidd tneaerqet Dpentens woda od tnetotttua ¢dtted s te asied ah nalq edt : q:,addaitlg eft tisd ono ab 3akdididxe ,moitoss ai eaun Ay,aewsdeldetiae bas ativev eft refido ed? wo bas) ,.9t9 a0and i t@61 8 Dns i,silie guied déod jaooittwa ebeost ebie ofgata et [sqtontig oft gutsaeqes sausocd aaelaan sd bivew ehso Qodinees Joa aeoh di tot yisaasosn gi ebeosrt shta edd tn8 a2 ise ios fa aoaigeee [antbutigaol ed? -.agatesabh raddo edt enimisteb seshaort edé to eaodd diiw sinenwsle ett tot 88 aso eno. eotiibe ed? to sofitecqmoe edi s9edie yliaebiva feidw bas yrseseoen ois anaisoo{oty so .egaiwerh yoam wod a Rene 9 ‘eistees seou * qge: sVisaespet?. thin aixe brow sd? «= °,ca%A Yad Ou TWAnd Ds Sebegnce to bas Sniweth to yet edt at di yasthude au0y at ae o teheatteb ylieqotq ed-od ai divndsdd o8 iL ond no yletem et dotdw,atxe Lsotatemoes s woud aoY oan enelg Isolidemmys « adisq-Isups owt odni ganibtv gem 6. monoftiuloves to sostive a al aslog edd aninitet enll HE of (.2eesd asivger déiw maizq ¢dyia 2 of tl bilos § eowitosoo Ji 102>,bebaeixe etom ali'otuioedidovea ni aixe eam '@ Yo zevied ows edd aniteisqee onalq Isoidiev atisne aetiesa, eeerget Ieoftdget2 edi dguoddis audT:.eanttibe [esit 10% .eaditl otem 2 tom ai di sadd r9dmemer ,enil sdgta « ~ vison @ixe adi>,aelq adi: Raiwoda ai;doido 6 exes olgme a Joy ,aelg oft to antitso odd gatdoeaid eati sdytarde edd ‘ee Pa sp to eenodeyod off bag :,tneusnom siitns odd To aixs ‘gh oo edd to s1dn9eo edd» modiyd Settoaqus ateiflebasdo edd uonaegh odd 10 ets | ae ichieae eft Yo 10 wobniw esct ae 2] ot d@nsig sibiim edd toe saitoafetg edé yino ak sartl 30: external vertical plane. It may comprise parts very far sep- arated,: for example, the principal facade of a chureh and far- ther back the transepts.) Except in case of uniform architecture everywhere,: several elevations are necessary for taking into account the exterior of the edifice; principal, side and rear facades. Here is an example of plan,: section and also elevations for. a complete building, the Arch of Titus at Rome.) (Fig.: 8). You observe that, no less than four drawings are required to. represent this very simple monument. The plan is taken at a height sufficient to show the col~- umns in section, exhibiting @n one half the plinths,: pedestals, bases etc.,: and on the other the vaults and entablatures.; A single side facade suffices, both being alike,: and @ rear. fa- cade would be useless because repeating the principal facade.: But the side facade is necessary for it does not; result from the other. drawings.: The longitudinal section alse suffices,: for its elements with those of the facades determine everythin Evidently after the composition of the edifice,: one can see how many drawings or projections are necessary and which are most useful.; DRAWING BY AXES, -~ The word axis. will freguently reappear. in your studies; it is the key of drawing and of camp Gameter,> | so that it is to be properly defined.: You. know a geometrical axis,: which is merely on the line di- viding into two equal parts. a symmetrical plane figure,: or the line joining the poles in a surface of revolutionor a regular solid,: like a right prism with regular bases.; The idea of the axis in architecture is more extended,: for it comprises the entire vertical plane separating the two halves of a symmeteq rical edifice.) Thus although its graphical representation is a right line, remember that, it. is not a mere line.: For exe ample, take a church;in showing its plan, its axis will be the straight line bisecting the outline of the plan,: yet this line is only the projection of the middle plane forming the axis of the entire monument,: and the keystones of the vaults,: the chandeliers supported bythem,: the centre of the great rose window or of the apsidal window, are on the axis of the church.: Note further that the axis of the plan,: the: axis of your. principal or. rear facade, and that, of the longitudinal : ré ) eimee add To wpotwoht esedd mo pecaetd Ylno o18 ) .aciides ae WAR wT reaixs [sgtoning edd at dokdw jenalq Ise Boxe edd er w9em10t ed of [9llaieq jexredto eta sisds ty4 | sted? neowsed ateig edd to sexs edd baa aelets ebfe odd to edd. .ysd dose to ,etqeenait edt Yo sexs odd ors Yloetevenat? -8s,4 ‘Ode aleqedo edd to sexe [eather edd b Qutveool yd \,awath ed’ od wt dowdo etdt Yo adatq oft TI f aos ni bheeoova Lliw voy ,yleatoeig yiev aexe atottav azodt bas etso diiw eoxe odd gatoala yd cel .aelg odd gnitourde 1 885.500) 4. bextataia ete atoite Yo eecnsiio » mend gniyilitoey od Yteaseosn aft II seins fatudootidors ne no audTt SORE Lae: ‘.eexe odd déiw nized a ¢ xd heute lgxe oc ilfiw eonstroqat [etigqso to hoddem aidt Yo jadi od of bomueas.nelq 6 gatwatb Yd eonsumod ‘eel qguexe 4 | eC? BiH) waited ge dail odd Yo eludideev fwitinsed oda jnemunom eft to eixe Ieqioaiig oft 28 € a@ixe antwath a9dA Upe ete anoiliveg efbhia adt to eeletse svit oft tedd aston voy | end ,guitocald bas» sexe teduo edd gnidsool detit yd aod? ¥ | te11e to sénuedo es avi? .bouteddo esa & goxe sisibenisial WSL sexs odscol woy tt belduoh ed bluow tud ,bonsezel zi ba ‘Bae & Sexe toto etd eosiq voy: ,sbita add of antees® ‘ots ened ~ eite atssdo o¢ € of * goeqn odd Bnivoenid es a ee ,aelats edd Yo sexs Lagioutag yar gne118 /,anaeloo to ewot edd to Y eexe sisi ooo dxall uate 8 sexe edt yifeut? ; eoxs odd oF ednateter dtiw eexe odd yd modt Qaiiforiaos ..{ 2exs r68edno eft oF 9on6 ld medd ef aixs sarit bntdsool \ eaiwddgnel ylashimt2 vad dose fo tio gntyel bas :.€ bat? oF Qattosatd sS eexe ve 3 sa gutoo ed Yo 0 bas € eexs odd eoasdaih Bad edt & to idem emsge edd yd bogeool ans sexs yrebn00e’ ;.bavot as ntelhiegs tmerettth edt teed ot (flow et ti, eliant sbaooss g [sotrsommya edd to seonedaib te ysilswpe edd aniyli es peavece se [stensg ni bas .eixs [stdneo edt mott sore os phan famed de hatosia at Bayolose oeondd mott gainret a ae a to tennsm edd bas aalg eid gntybota +4 oie a3 to dnemegasiie odd bas ,edatv008 etom Yiynebive st eon ‘Ifedni ead be eoacvagaie aid? mone Seyenon mort tat 26 Base: . th oe . ‘etamestierb eft 4 stuottetb etom ef st sad? yse vam Ia nae eid? a0 Jie UN eRORR EF AP as g. i i has. te - i ' - < ee) . vf} te fu . » ‘ TO a ; oh ) & ay Mat ed ‘i ry / f ae ie hota t Me o> &'s ee ee ae Re. yt 0 Se ee re * wei 99 gn) ei eb 31 settion,: are only traces on these drawings of the same verti- cal plane,: which is the principal axis.; ; But there are others; parallel to the former are the axes | of the side aisles and the axes of the piers between then.: fransversely are the axes of the transepts,: of each bay,: then the radial axes of the chapels ete. If the plan of this ehurch is to be drawn,: by locating first. these various axes very precisely,: you will succeed in cone structing the plan.; Also by placing the axes with care and verifying them,: chances of errors are minimized, Thus on an architectural drawing it is necessary to first begin with the axes.: This method of capital importance will be explained by some examples.: Commence by drawing a plan,: assumed to be that. of the beautiful vestibule of the Mint. at. Paris.) (Fig.i 9).: After. drawing axis 1 as the principal axis of the monument, : you note that the five aisles of the middle pavilion are equaj. Then by first locating the outer axes 2,: and bisecting, the intermediate axes 3 are obtained.) Thus the chance of error is lessened,: but would be doubled if you locate axes 1,4, 2,%: Passing to the side, you. place the outer axes 4 and then 5,: bisecting the space 4 to 5. to obtain axis 6,: These are the principal axes of the aisles.: Next. come the axes 7 of the rows of columns,: arranging them with reference to the axes 3; finally the axes 8 with refer~ ence to the outer axes 7,: controlling them by the axes 2,) Similarly lengthwise,: locating first axis 1,: then the oute er axes 2; bisectins to find 3,: and laying off on each side of 3 the half distance, the axes 5 and 6 of the columns are found.; Secondary axes ars located by the same method,: Fineally,: it is well to test the different operations by ver- ifying the equality of distances of the symmetrical secondary axes from the central axis,: and in general by operations dife fering from those employed in placing then.) By studying this plan and the manner of laying it out,: it, is evidenfly more accurate,: and the arrangement of the axes és far from unimportant, This exercises the intelligence of the draft smun.; On this point, I may say that it is more difficult to draw a I, i yy ‘a Se paidsyoa nadd etom eqedioq ',Se20qqua ef naedd ylasgorg netg 5 | ,exitet {inst od bas .,evidstequt wi aaatq at yosiwo00d -.sale aa od ates ob {fiw soy ,gaiweih Isixudosdidere didiw Ileaiso0y Brains | senslg gaiweth eaisea1q gait? reese edi to silqmexs emse of d Santdsl -~ :,anottoee at easd 3 ami vouds Ulivi biluoo dosdiforis eds dedi y{lbsert esa soy x diaq ete owl ;,eanoidoes evotemun to his edd yd aoidtacg etdoaaye: to Bexa leqioaing edi so owd edt .yteezeosa yf pk’ soatwdda ael bas. eeiwazor0 fo setitmrsseb doidw eatmsxe jnztii ,cws1b ed oF 18 déod V1 pad end ei dt geso evidd at teddt e094 woY ,19edto edd alordaco fenibetianol edt ;.(ebsox2t edd of [olistsq)uottoez aetev psenpgaes aed? .tedéo edd to notios{org sdd yletem al nots “y re( OL :.924) aotdoes extoveneté oft ddiw +38, bae at 26> Sf aslg odd ano 28 sexe odd etsool teril >, edd mi bees boddem to ysing ai audT gmods aniyitasy neds Ki: Pe dow! ‘sanottosa bag asilq to agniwaab See iekiieiehions ai edtsq to saeliteiq eds t0ot aA la: heap edd anidsl :,2inemele [stinsaae edd Io addgied odd . o ot Io 8 eatl seqqu odd sgaxtt sdsool ,jaiog gaitsede 6 as DO etissy ods to setsneo edd nedt baa, ,acuvloo edd to alsdi a8 8 _ofd weib voy ,zenil aatflorgcoo ovedd gatew aed? ad. to eddgted ‘edsool aamuloo off s0% andl ..yleviaasoonue midors bae egisdigeso odd to addgied edd ,enob evad - lao vonit dwulq e@d3 Sud antl tedd mor aeoneyeth edd berg “yameloo eddRo 2ixs edt sisool o3 bas elitorg edt tot esvtes | ends jeoeivgqnoo boddew aidi tadd {is aexe yd waih soy neds ~~ “Di .edqylgiis edd Yo &).amulos eft to A wixs oft eoala woy Matt? ..adidgzied edd s0% ».ode heed a'noil edd to 1) ,aeqodom edd 8 *°Cettdne | Istiqso extine eit ,encdtaivid egtsi edd tto vel Peo>” oF dddied ni L[isseb dose teter aeds ;e9intos baw exeiat ae, 9 . “aaotsivib yremiag seedd se1t ed of ste egoibh edt bas sdqylsias edd Yo elennedo aAT ¢ Yo setuit edi tol 2A «.e9xa svidoegaet ttedd oF gatbi0o.s F sdoefoig owi Yo bis edd yd owath od ylno aso doidw ams loo espana ~aeiq odd mor? gostoig duds ,medd yqoo ton ob ,anat Ree = ‘s83I6Q YInews otal aonetstavoits eff ir ~~ beeogorg odd wt eudT -.yldavor0dd febom awey ybude tert )at Sversidors edd tedt ewods sotientusxe [wteteo 2 »,elquaxe soneilo & ovsd TOU QI -.eseitt edd gom dud. bention: yltdatis we Yilsutoe 10 18limta teit¢ie.wsib soy ssdw to dees 3 908 of i teeges yYidnenpert cod gonnen I -.di yhuta ot [lst Jon ob ne eatotexs ns od bedimif od ton ¢geum daiwatbh Isastoatidor a gee ““ewe%) goy daw Yo yhude [sex ¢ od denm dud .bnad odd 4 Bedenibro bas asadioads edd wond woY~~ -.24U1d OUIPINID 90a e18 ainomele ezodw balwerb 8 to adisq [ie 10% .yrdemoe’ ef efotts x0 enti jdgisite edd as dove eentl Isoiassnosy Liter & tot hetivper ef asteathto baa esvatoads to boddem 7 NS ‘dig8 -.ode 2880 es dowxe.sdnemsato bevtso to asizes 8s s thataats Yisv s stat .eiqusxe rol .soaodo {Lew ed blLoode tete1 yd mwarb yltnebive ef g1 (SI -.ht%) tadenled & Yo efg — emecelimeiag ,anoteaivib ([stenes aatdsoo!l yd eixs edt of eone i Y dotdw asdts ..(qso)9~d (stede 0-9 (ettoos 10 32860 )0~8- BD asewsed Jud -,ehoibivom edt to aeanil yrsbaoees edd g08 fg ae yisv Ysa tisde edi to s{tto1g edt elqusxe tot ,d 1a gatisd to bsedenl .elednoxttod yd aweth ed yino aso Ft a 60 ,u~m ddbiw edd to eatl anisimil odd wath »,eoail yiatd jatwash wot o8 era etdd a9tensad bas M notteool edt ’ gs my Fo take a fragment of the Dorie order from the Parthenon (Figdi).: To reproduce this drawing,: the projections must be measured from a single vertical.; The axis of the column is not a logice al starting point,: for it determines nothing but the column.: It is better to proceed as the author of the drawing must. have done,: who employed a plumb line on the exterior and meas~- ured the disyances from that. line.:; But thas plumb line only serves for the profile and to locate the axis ofthe column; then you draw by axes all that this method comprises; thus you place the axis A of the column,: B of the triglyphs,: C of the metopes,: D of the lion's head etc.) For the heights, first lay off the large divisions,: the entire capital,: entire frieze and cornice; then refer each detail in height to these primary divisions.: The channels of the triglyphs and the drops are to be traced according to their respective axes.; As for the flutes of the column,: which can only be drawn by the aid of two project- ions, do not copy them,: but project from the plan, dividing its circumference into twenty parts.) First study your model thoroughly. Thus in the proposed example,: a careful examination shows that the architrave is slightly inclined,: but not the frieze... If you have a chance to see a cast of what you draw,: either similar or actually so,: do not fail to study it.; I cannot too frequently repeat,: that architectural drawing must not be limited to an exercise of the hand,: but. must. be a real study of what. you drawe) LIMITING LINES.: «You. know the abscissas and ordinates of geometry. For. all parts of a drawing whose elements are not. geometrical lines such as the straight line or circle,: the method of abscissas and ordinates is required for a profile,: a series of carved ornaments, such as egss etc. But it should be well chosen. For example,: take a very simple exam- ple of a baluster (Fig.) 12).; It is evidently drawn by refer- ence to its axis by locating general divisions,: AWB(plinth),: BeC( base or scotia),: CeD(shaft),: DeE(cap),: after which you place the secondary lines of the mouldings.} But between C and D,. for example,: the profile of the shaft may vary much,: and it can only be drawn by horizontals.; Instead of taking arbi« trary lines, draw the limiting line of the width mem,: mark its location M and transfer this operation to your drawing; - saa | a¢ ‘eas eovts dotdw,f edntog odd bas nan enti edd to ylraliate _ftoneg otem s yd aiatog ezeds Aism ton of .1etemaih tesef # ¢ ezeto bas exedwyteve aenil gaidintl apoy ese1d dud dob puerssece evig bos ebing [fiw eontifl ezodT ;.gnidai sedis yino ede. 9 ‘eaaiwatb af * itey dtiw eols102 8 to tnemhetts ,slamexe r9dtons det Et gt ews ts HrooneD to siqmeT edt mort sedad ,esnewanro d deom doidw bas ,gniwaiab aidt no hedism zonift gatdaow of? a onl agttwaib eft Yo aoltefLqmoo Iidaw Lioneg at bevieserg eget duoddin ».bewolfot ed od boddem edd edsotoat yltnetoit Pats .Holdsnsigqxe ym gat teqsoos yletistne od ot at guiwere [aspsoedidote » taiad al 10 ;.adided olismedeys bas boddem Inisdguods s settopet bas bodsem ed’ 08 ;.ydiftost gaibulont ,guiddyreve eatss gal tags, «i semadias® edd So sonesif{letni efi ,let9emeR od ylino ‘ot Isdtoniag mart soasv5s odt oxtagooor ayswisa [Lin Fi gat ‘a0 d gbillnesk io mainestoem ed ylerew ei cigs. giegd yrebao : joni kei lee? bas Grthest ‘eg e.eteed, bebe ed Jen dot ge a ‘ edd 8 auptide; esssevi ton ae sets tneand dh phar toed 10 ebso Bie Ott ithe, xe [uorio & no eudT ;.noéstoejorg Io enslq [egto ) teereTTib ds ebsoe) efd.co, doatotg awobriw telimts %o Beachtod aiedd dud ecddhiw dJnesetilib buived ylinexporroe eYIs¥ Jon ‘3, yen jedd enoidibnoo, oeedd diy tfeerpoy, os irsiline® auoioerg ed Ifiw yidemoos evitigiteseh ese ).1v990 yldneup $5 ,moldoejorg Io eensig oi eeamsdo anisonoo Jsid Ile Baidocr mn seinewgoleveb hse of -,ditened dsers s based onie ei ysineitiib Ileme « AdiW baa anced ed.jeom di elias yos js evison & soeiorg yluegetg sHomegieits Setndoedidors as bos ,Yidkvoreds besylens onan nxedw edetoes adi gu pevi® Yino acitestorg [emxen al MARE os ws ‘-foisostora espilde hehe 0d BOY entvbe I, ,eetotexe Ipleosn ytev 8 es anedT oust, esiorexe boos & ,edcidosjorg expiide yd Ismion sv0y idow 101 noidersgexg dnelleoxo ylasiveisyag e bas gai 4 woy. elegues vbude eidd ..elebow asoy exsylens od beor0) iat “9b, noldizog odd e¢e hos enotinejorg efd edon:.coage af phe #9, regnol oo bas yiilset edd po, A108, wo! :,e lis’ as v4 - ro] a *, Se eee ite | wis en . f 7. ea a ei Se ea 34 similarly for the line nen and the points N,: which gives the least. diameter. Do not. mark these points by 4 mere pencil dot,: but trace your limiting lines everywhere and erase them only after inking.; These lines will guide and give accuracy in drawins.; Take another example,: afragment of a cornice with various ornaments, taken from the Temple of Concord at. Rome( Fig.) 13).: fhe working lines marked on this drawing,: and which must; be preserved in pencil until completion of the. drawing,: will suf- ficiently indicate the method to. be followed, without, sisal ing my explanation. In brief,: architectural drawing is to be entirely accurate and requires a thoughtful method and systematic habits.) Drawe ing gains everything, including facility.) But. the method can only be general;. the intelligence of the draftsman in apply- ing it will always recognize the advance from principal to sece ondary.: Again, this is merely the mechanism of drawing,: to which must, be added taste, refinement and feeling, for that is only one precept; only by hammering can one become a smithe; OBLIQUE PROJECTIONS.) --It frequently occurs that. on a fae cade or section, architectural motivewsare oblique to the prin= cipal plane of projectdon.’ Thus on a circular edifice a series. of similar windows project. on the facade at different angles,: consequently having different, widths,: but, their heights to not. varye} Familiarize yourself nibh these conditions that may free quently occur.; Here descriptive geometry will be precious,: for all that concerns chamges in planes of projection,: recesses and developments,: With a small difficulty is also found a great. benefit. To properly project a motive at. any angle it must be known and analyzed thoroughly,: and an architectural arrangement, drawa in normal projection only gives up its secrets when drawn in oblique projection.: Then as a very useful exercise,: I advise you to supplement. your. normal by oblique projections,: a good exercise in draw- ing and a particularly excellent. preparation for architecture; forced to analyze your models,: this study compels you to see in space,: note the projections and see the position of dew tails.; You work on the reality and no longer on the image; soon RE ‘eniovexe sidd to ysiiltiu edd oge [Liw voy ) oft Yo ewobatw edd Jo enc siqmexe nae es sted evit I bas ylismron beJogjo1rq enof is osentatceosiel fo yids b forq Iemyon odd ylno yldnebivd -,(4f ;.gi7) elfgns os te sOstoig evpifdo ni isi? bas »,esoidroqoig Yo ybude odd adimnreg ! | Jedd to nolidieoqgmoo edd asmifged « of setted ewore noid rn | rs0d@ esacidoetotq edt .wodb. eae AE to edinenqoleveh o¢ni encidodjorg edalensrd eeiwedid edd yiinobivi -.e¢ivnav lo eiatwerh 10% ylisteeges .,yle . © (ifaw weisotto 2 to ,bood ss, tIusv [eciabnifyo s Yo nois So did isoengoleveh a no betbude ad ylno sso .,xevace to evae jig at eiseqqs scitavooeb aindd neve gaiweth -« to yseortine eff ) yed s gnitnexerges gniwerb s ei .elqmexe soi exdT :.naldos|, MBotiors edT-.0,8h.9t4) neotdeViedd ds fesiqsH Yo saiggol edt fit esedweele bas nétdogfors ni betnererqes: sis netioes ai - ‘-.djnemqoleveb of nwofe ei tinevy ed olidw >. dnemgo loved gone exif g0fteth: [ersdcedcidore ybuden tetad oJ dd ebangae l 8 ylexem poy tot emooed noose jana snolisdneeatqes _ Meeoquoo eddodstw se demh Qntdd edd eee yYlisnios soy has soo HeddfIw eid seqsq belos no awob tatitdet eLidw ,olesm Yo H od. 8 at Qnibser ni es Jeni (ii srsed ylisudos ed .nalitsog Ieinedem eld eee yeenol on noy:,azediel hedaiag cdiw 10H Looderetes eld to nofidome edd od Mesiroy gnibnel ni <@akOre xe ; gaem ),etniwerh ‘edsino0cs %o adsetd &ufbeoetg edd IIA te’.dasg edt. .eeeesamoe hoe etanpe ddiiw bisod edi vo shaw Pad oY JOE «awode yilst need eed ebntwaibh cxvedt ni eonediiled fisor 9wo HOY evxedw,eefodeda ni cetwiedio wetb oats I[Liw pate. -ifearisoy od sJqeoxe ee ak soertov So engem Hlosy teom edd ot {fin doteda oAT ime xe ylivitewse beived jnodiiw dotexe Jonnso soy 101 :.dvs fesni dnodditw df webner son ,Jooide edd bexylsne bas G extees voy Joum Yoo Jol .doeidue edd Yo egbelwond bag egh xit Jewm dnd .sinemoSe edi detuantielb . dotiieoqmos - fg esos Yo ybuse Ivterteo s tqeoxe bis Jduoddiw enoisrog te enols eyo edd 2eeluy ton eeesegmon teddiell ;.ancid ee eee to bus exsesem to tnemprteni efoe edd! wads: evitosudds bone gnimyedo erom ef goindol ped Jevm dowm 10? .,besivorgnt tom st didsd of ds tnd bs, -.. ; 2 ny’ an ‘: i” " i you will see the utility of this exercise,; I give here as an example one of the windows of the second story of PalacecFarnese at. Rome,: projected normally and then at an angle (Fis.; 14).: Evidently only the normal projection permits the study of proportions,: and that in oblique projece tion shows better to a besinner the composition of that wine dow, its projections ets.: Likewise translates projections into developments or inverse- ely,: especially for drawings of vaults. Evidently the decora- tion of a cylindrical vault,: a hood,: or a circular wall,: con-~ Cave or convex,: can only be studied on a development; but on the entirety of a drawing even this decoration appears in pro- jection.) Thus for example, is a drawing representing a bay of the logsias of Raphael at the Vatican (Fig.15,).° The arches in section are represented in projection and elsewhere in development,: while the vault is. shown in development,: In brisf,: study architectural drawing: like architects;: Bee come accustomed to see in the drawing the object drawn; the representation must soon become for. you merely a language, and you, actually see the thins, gust as with the composer of music,: while jotting down on ruled paper his written com-= position,: he actually hears it;. just. as. in reading in a book with printed letters,: you no longer see the material signs in lending yourself to the emotion of the understood words.; SKEPCHES,: All the precedins treats of accurate drawinss,: measured and made on the board with square and compasses.; The part. of in- telligence in these drawings has been fully shown.’ But you will also draw otherwise in sketches, where you owe nothing except. to yourself: The sketch will be the most rapid means of progress in your art,: for you cannot. sketch without having carefully examined and analyzed the object,: nor render it without intelligence and knowledge of the subject. Not only must you seize the compositiokh,: distinguish its elements, but must fix its pro- portions without aid except a careful study of those propor- tions.; Neither compasses nor rules,: the eye alone being the sole instrument of measure and of estimating proportions.: Nothing is more charming and attractive than the sketch, but the habit is not improvised,: for much must be done before | | ae dod. sevice choles eotdosrg ;yinisdieo bas exendest? giintadss ed bos bhodéem edd Se efivbsa emoe evi desol te yar I ceil ‘.gonotedte [utes to eotodo | ee itatevenys Yo holseelico's 104 dosede & otam seven Jest? | *goY ,9e8° 63 poy dosed od bos beviteb Sttened eid 10% dnd evedd dod eetbute asoy to etinevoice es ssooddodede evrevetd ovedte avoy Ji neftonrtent asoy tot emes edd ef ditsned edi Ils bevebhnet asd dostete beielqmon yseve sis]6qge dom bas .ee2 o3 soy dosed o¢ ystleet edd mort mete etek ar eante’ febom asoy yi bertivupes e6 thd .exciistweesitoed sort pyeteddo ot tnfwode tol gon ,encitsvelo bas enotioes .ensla / 6d tebr0 ni esivesem goeteh -.ybude deucsodd snoy oxsens of Beco Bie uc “,dnSaptdent eisiyoos as sye as0y stan b8 CF HOY Saimodsenoos Seaitsienoes ed bivode esfodete ane ti elqusexe 101s ylenpiide bedaool Yi neve > .vyllsotriesoes P bee 20 fo) e.eeitibe as Yo es isldeine teqqu edi werth of datw gatved: aiedw ylno' dud ,evisdesqaieq ni sedodede edlaw sedted i de evidooqured ‘fediisemoss eft Yo Jidad beiuees odd PUP soo 8 Qeat6d [eottiomoes nt esodd dnémelgqgve ylno | x0 $089 «inscog torese: ean od Ifew ob Ifiw noy dgextt ga HOY eett nBo voy 2s nooe ee dnd. ' Yostnooe eededsifio Sele) S ',a8qeq nisIo ylno ean eonshiuk Jad Sntbede ddtw .«selo bae ddgifl ed Bloode dogeda A ‘ paivend's,3aiseboos x0 dosid jvoddiw ind) Yetlos ezergxe oe is ‘eif{e Yo Jdevit a eeivbe “ignoxds oos Jonasos li ,gvoeteres Yi ylisait | Wey evresd0 .exiotexe ineflooxe ms ae Yiosem moxt ant of dqmetis bae emod nintet:,eidtescg ee yleeofe as yrezd0 ,doelveqmi ed bos voy ysided [fiw yiromem as0Y ; .YIBeseoen Ti eotadd to eotwd. ylinterso atom nisg god Jjnow poy Ti es doeri0e es dotedte « etiam yilant? {Lliw | «tft ete gq betexpe no dodexe s Yo elqmexe as ered inevzerq I ce. edd il dnemgs1) faindoedivors oe Snied evisom ond i ey “AOL.827) ervood edd se ebisdaytad - Sapseoen et gi. .woy ot Ivtees ylord od xxow e2tdd dads of Woy sed_ijea 10 ,ifleerwoy yiocs bas safbuie ancy exetng of s tise1 edd ercted ebhiadvo ;é180 ni beldvob ed [fiw eeibuse poeonpuneae 28 Isdidinebi es edoside to gatdodede edd Sagan has noldidus ayoy edJsishisxe steve ,relimte ejer if ys 36 attaining freshness and certainty; practice alone serves,: but. I. may at least. give some advice concerning the method and the choice of useful sketches,: First never make a sketch for a sollection of materials,: but. for the benefit derived and to teach you to see. You may preserve sketchbooks as souvenirs of your studies, but the benefit is the same for your instruction if your sketches dis- appear; every completed sketch has rendered all its service.) Make them from the reality to teach you to see, and not from representations, but as required by your model with plans,: sections and elevations,: not for showing to others,: but, to ensure your. thorough study.. Reject. measures in order to make your. eye an accurate instrument. Your sketches should be geometrical,: accustoming you to see geometrically,: even if located obliquely,: for example, if you wish to draw the upper entablature of an edifice; Later make sketches in perspective,: but. only. when having the assured habit. of the geometrical. Perspective sketches only supplement those in geometrical forms.: At. first you will do well to use squared paper,: that faq cilitates accuracy,: but. as soon as you can free yourself from that guidance, use only plain paper. A sketch should be light, and clear, with shading only to express relief,: but. without black or rendering,: drawing being first. of all.: Finally if courageous,: I. cannot too strongly advise sketch- ing from memory as an excellent exercise, Observe your model as closely as possible,: return home and attempt, to sketch it.; Your memory will betray you and be imperfect.: Observe ib, aw gain more carefully, twice or thrice if necessary, and you will finally make a sketch as correct as if you went to comp- are it.; I present here an example of a sketch on squared paper,: the motive being an architectural fragment from the Hall of Caryatids at. the Louvre (Fis.16),: So that this work be truly useful to you,. it is necessary to pursue your studies and apply yourself; or rather your studies will be doubled in part; outside before the reality the sketching of objects as identical as possible,: at any rate similar. Never exaggerate your ambition and do not at, fir a). ¥é dG -.c08le0 10 Issbetidso s 30 ebsoezi edd to dodede 6 sqnedis yen soy nedd bas» ersdaidsiae ne wath [Liw woy dsdd emsees I “ de avoy em10% doidw,eisdsidaine welinmie 6 bead de bait Yo seibnde odd Je Jnoverg ots bos seileds oa af ers. voy tI eos [ftw yoy ,1edsem sedt to enoeeel edd has sebsein0o 1H0Y exe jwG .woy od tedde! bseob s od ILiw tsdd..ehotdd yuse se08d ‘poy bas weds eee! yoy od dno bedoiog od oso bas deixe eelque glegs qnoase! boojeiebaveia edd meds eicted bassdershan ifiw BOT) 2S adodete anoy 10% soetdre s ude od bas Tieexrsoy tol esogmoo oJ elds ed sedel [fiw wot » asoy divanod .eciseinev edt redel bas adnemele edd dext? se B.setleds 10 [oofoe edd sot eotvbs svieost {fiw woy bas adood e060 bas soy dontdent od oredd ayenis ef yiilses to good ond eid base eelawexe deed edd yd ancidourdent eveds wilt ) \eedodexe soy exe esedd> niete yee Inedeixe iadw to dduad | bas teilets edi at ybute edd Ielleseq of voy to des nods I _etdb.doodiotede edd bus brsod goiwerh edd yd ydileert edd Yo e od [iiw woy>,di sveig voy ti bas | olitsvet ef bodies bas ytsesooon ef Iliw ipa .eecige%o tu0g to asyedo edd yd be ) eq bos yliot weviezmeds eioveb neve stediol ,di dosl yas eke ieodd Qnibie duodéiw novacl 10 vesd hbetsoibsi eds of vidneid we bain to seonelbiqevissid ini [otadaneds to ason L[enceteg “8 Mo easem Intsowoo vids soelgen teve..iliw to dosl ss ti. bas’ dnebiInoo ed .eomo we etIveex esa Jon ob voy TI bas | ny 7 “Si no tlearvoy edsfudersza0n soos Iliw oe OME ho eometnodm: edt Go beomiumes o¢ ao if 1.1 odo!) se do yroodl ai cwvunoo est vio} eocdond ot peivot todd tro g Sownns wo fo eeu edt wtvD om Jo Soolob oft fo evwihoot } mS et bempiecn 23 tnemegorwoone ohtd Jolt bedeo coed f > ko, Sowtow: edt re ebow wetoteds jo maitos$iwo Fvegiitetuns A pmetwoo ott ot botnet “2 Saee = : 57 attempt a sketch of the facade of a cathedral or palace.) But. I. assume that you will draw an entablature,: and then you may. find at, hand a similar. entablature,: which foruas your. sketch.’ If you are in an atelier and are present at the studies of your conrades and the lessons of ther master,: you will see and hear. many things, that will be a dead letter to you. But exe amples exist and can be pointed out to you; see them and you will understand before them the misunderstood lesson; again a subject for your sketch,; You will later be able to compose for yourself and to study at. first the elements and later the varieties.; Consult your books and you will receive advice for the school or atelier.But the book of reality is always there to instruct. you and con} firm these instructions by the best examples and the superior. truth of what. exists.) I. say again,: there are your. sketches.: I. then ask of you to parallel the study in the atelier and of the reality by the drawing board and the sketchbook.This method is fertile,: and if yon pursue it,: you will be surpris-«~ ed by the charm of your progress,| But will is necessary and many lack it,. Workers even devote themselves fully and paq- tiently to the indicated task or lesson without, aiding the. personal work of thoughtful initiative;. idleness of mind and lack of will.: Never neglect. this powerful means of progress, : and if you do not. see results at. omce,: be confident. and you will soon congratulate yourself on it,: (Note 1. ti am a0 convinced of the imbortance of thio meth od,: that having to bropowe for the cowrnre im Sheory of Grvem-~ teetwre at the School of Sime Grta the we of an annual gitt,: Ni have asked that thia encouragement be assmiqned to the moot intelligent eollection of sketches wade of the actual eve treated in the course’). 88 . | -,sefeal bas [stoned af ‘gatbede .e eceuadee ine -.°RS de ewobsd@qe .Yetler at gntbed@ +» -.YAAMMUE efter bas esbhere ).ewobsade tesd ~-)>,.2enfsVe~ ,d0RTL bas =m *,e6Tqmexd eee edd mi ed¢asgq Yo gnibsd? «- pt odin bene paadegar acc gn inebaell d + , pea cas iniwath edd ne ti bien ylno elo Satwath eff Yo show yak .m10t sfd to sotaeerqxe edt) ness anibstiea ods h teow edd ali deswiedT .doexs09. 6d Ji Ti book ei guthbeds dod .sebstiyo edd Yo siaq afd 207 ‘ ' “~eyst esontme!l edd : q 4 . ¥ "* 39 On the other hand,: Seometrical drawings not. having the illuse ions of perspective to show distances and projections,: is ree stricted to a more expressive shadins,: since only the values of tints indicate distances,: Thus to make a plane advance or recede in reference to an- other,: the only means will be to tint it differently.: Observe what. occurs in this respect in nature; while an object. placed near your eyes is vividly shaded,: a distant object is much less s0,: and at; the limit of the horizon is seen only a mass without details,: confused in a uniform gray.: Thus. the nearer. the object,: the more it ids shaded and the greater the differ- ence between shadows and lights;: on the contrary at the great- er distances the shadows and lights tend more to become con= fused.: Then as: a principle,: you will have on the first, plane vigorous shadows and bright. lights; between these. are inter= mediate proportions of shadows and lights.: And these effects are real at great. distances,: and arse to be observed when it iis necessary to make visible several planes,: but. in what pro- portion? There is a question of degree and of skill. So I. summarize the rule of-values for the different planes in this principle,: --for example when on a facade are pro- jections and recessions,=- that in the distance, little shading; but as you approach the first plane, the shading is to be more and more accentesd,: | What will be this shading? twofold,: shading of shadows and shading of lights;. this is conventional to a great. extent,: but I. shall endeavor to keep closely to nature. Figst by looking closely you will see no flat tints in nae ture, but. every light and shadow is shaded,: i. e.,: degraded; the shadows more sensibly than the lights. The shadows are modified by the reflections,: i-e.,: by the indirect. lights cast. on the shaded object. by the vicinity of other lighted objects.: Assuming a cylindrical body like the shaft. of a column,: Gast shadows and only actual shadows may be seen on the cylin- der.| Cast. shadows result from interception of light rays by another solid,: when without, this the cylinder would have been lighted; actual shadows. result from the absence of light on the part of the cylinder, that by its position cannot receive the luminous rays.: aa’ oe Os Deas beebal ,evoisoeiies esel eved ewoheda Jose .yllean deli _beddgil got senco andisoelIex antouhbo1g tdgti to gnibned Danas, yzoods ni doidw dod: etuden ai yléserg gaiyiev eaibod iW + ,eYyst ensoning{ to seoin0e yIshaosese a8 hebreiet ed yYlno eid déiw dud ..2yas sd$hl odd oft [ell{eusq od I[Liw Jnsdlveer cave ed yes Ji edoegees nisiuoo at -,nottoe1tb eatoeval soidaehi eis Mie lees tp io bas anotisoelies to shomonedg eft i ib 2 buewawob °& Yo naldoerth « asd Jdtil edd elidw aud Ties edd to noidoortbh edd .,(yllenoisnevaos) ddgta ot d3el dtel o¢ idgita mort bos biewqu od Ifiw enoi en et dud eduloeds ood 2f soitnevnee Isoidetoeds atdt dddin sonsmmod -.tnibeda avoy 10% elws edd od [fiw bns s.yte v -,boosesebay yliese stom ers einit edi ci)edw.,addgil oo etedge & olynsexe 1o%.,enode ocidw at bilos « empeed ss 3398 Baiddgil deeddgiad eit dadd seee viiese ei aI (XI Ysa evoninnl edd yd costice edd to neisoeestednt to dniog ond | eae aaah to efog sidd efitaduo waisdmeo edd mhnoidd gnteasg 6b ylinsdenon eostuse erld ditw ayes evontmul add Yo pe tags \ an thetides iniog evoninusl edd ddiw eenos [eilstsq ni det efoto igesd. ge nt ever ge efd od énegsss emooed yed Lidas gee enil edd ‘gi dotdw bus ,efoqg es tniog aponinul eft gaived “petetniatt ned? tants edt -.dd8i1 eft bos wobade edd antiats a Bom ruodsupe sii of efog edt sort nto edd no% > ,wobade eid ni euad si eanee exsever off , badeesg sedemsth eft Yo bae reddo odd ds ed ILtw naldoelt Sai ai sess iain it wobede edd bas >,éatog egonimn! edd dgnordd 1 ine ddgit bas wobseda edi passnraane eloxto edd moat ydéte a oa sanoisoeltes Io efog big aphite ios beddgil edd no wobstle s edeso ybod yas i Jud Haakiioes ve bnowge seel eved [fiw wobsda Jeso Jsds »,etedge 4 tedga edd to wobsis odd nadd oanedni etom srolereds af bas pate. xignoiie otom e no veiled Ji eonfs ,eanetai stom odd bas ~o1sige eft to disg be ed ylno nso wobede « ;g3nibeda 1602 2olua ows orcteredT "onlay eis ddtil wi ed exiwieddo bluow Ji eisdw ybod @ ao toad Haldiogotg Joetib at ef wobseda dase edd Jo ysianedni to ‘siniog emee oft te Jddil edd Yo yYsienedat edd jiademocs elqwie yrev s 101 benisidxe ysoadd edd ei dowe sudoed idore to Jnemtstt « od noidsotlages adi entmsxd -,ybod E S edt boe amuloo atrod « to Iaiigse edd: 6 Lomexe 10% ‘sani é he 1 5 a & 7 ie ws - : a aay 7 40. Naturally, cast, shadows have less reflections.: Indeed the bending of light producing reflections comes from lighted bodies varying greatly. in nature,: but, which in theory can only be regarded as secondary sources of luminous rays,: whose resultant will be parallel to the light rays,: but. with the inverse direction.: In certain respects it, may be said,: that the phenomena of reflections and of elasticity are identical.: Thus while the light, has a direction of 45° downward from left to right, (conventionally),: the direction of the reflect- ions will be upward and from right to left,, This theoretical convention is too absolute but. is necess- ary,: and will be the rule for. your. shadins,.: Commence with the lights,: where the: tints are more easily understood... Assume a solid in white stone,: for example a sphere (Fig.; 17).: It is. easily. seen that. the brightest. lighting acts at. the point of intersection of the surface by the luminous. ray passing through the centre; outside this pole of light,. the angles. of the luminous rays with the surface constantly dimin- ish in parallel zones with the luminous point astheir pole,: until they become tangent to the sphere. in a great cirele,: having the luminous point, as pole,: and which is the line sep- aratinsg the shadow and the light.; The light. then diminishes from the pole to the equator.; The reverse senso is. true in the shadow,: for the maximum ree flection will be at the other end of the diameter passing | through the luminogs point,: and the shadow diminishes in inten sity from the circle separating the shadow and light to that. pole of reflections,; But, if any body casts a shadow on the lighted portion of the sphere,: that. cast. shadow will have less strong reflections and is therefore more intense than the ahadow of the sphere,: and the more intense,: since it falls on a more strongly. lighte ed part of the sphere,.: Therefore two rules for shading; a shadow can only be cast on a body where it. would otherwise be in light;. the value or intensity of the cast shadow is in direct proportion to. the intensity of the light, at the same: point, Such is the theory explained for a very simple geometrical body. Examine its application to a fragment. of architecture,: for example,: the capital of a Doric column and its architrave, 7 nok at Pad i : ) fe —@i dais wobsde dexil « bas beosid ete ewobade od? (82 229) ed4 yldoohiva Swobsede exnednt seom oft od ILiw dad¥ ;.besasg | -faotabaiiyo eit o3 Ismion ysi1 & yd beatwiedeb A wobsdae seco jrobeds ¢eso odd to 'A "A edteg edd bos ameloo edd Yo soslime » te asthivem evi gnole notsuloves to ssetave edd toom dads wh end ai eldietv jon ets enoitositer Jeeddgtl odT :,ddgil . edizoago nsibiavem edd no buna noitdoe{otg edd batted su090 Jud | Bbedootis ieow osodd ,eldisiv edreg edd sot du8 4A dniog odd ) yd Bedoelies yidu0h),4..8 adatog edt ed ILiw snatioeltes yd -0S ~.anibivom edd Yo wi0% odd Yd bag nele wi noitieog t~iedd stedni eved [Liw 0..0 atasg elbbin edd eomerdxe esedd noord ,ewobsie daso es 10 ewobede [aedos es sediis .eeulav sdsiber | Biv ddgil edd od noidelex diiw ‘D entituo eds tedd gnivieedo eyivemays ed nedd [ftw avedT .9.,09 edasq ofy déiw [soindemmye | =0f edé# 10% gotddgil te eixe as of souerstet déiw gnibsde Yo » ed [fiw dotdw.,ewobede to ysianedni ofd Yo bas edieqg evonis Sree ‘sh osthincem edd phi in oulew lenrenes Sheds 4 +,0 ehnibluom, gdgiarte edd 103 eA ) eves ety 0,9 eeulev sibbiw edd Yo Jad’ od evotalana od . pbsedues seon aseowete gant soe ow. ,pddett edd o¢ anteasd 4 id bos ,'S ,'s xiidasencg eft nedi bue.e dnieog edd od Iftn - dnezned edd biawod benex1sbh exom bas -er0m emooed ILiw sdpis e eres nseeennect dd3il edd {etardas of Saofe sud mo pereewse “¥llemion erom tebhotiyo efd sedirdte adel lit bas Severe ete Aaseade ARERRG ensIg odd sot eA fc boa ,'s,'s ds: aebatiyo edd nedd ddeit eael eviaoet eTevoe 708 » ebeddeif esom ed [Liw egole oft tud,,05,.9 js ee an ed diiw jdpil 10 wobsds at eeostave enslgq szedt to dose ed epbh noldoelter to sauoooe no aoddod of god mor? szsdigil > evad I ee bedsoibat od [fiw eoonsdeth oft bas | basorg edd a ess reto0ted emob “sbeifggs ei gntnozse x emer afd snaq dose Yo Lisdeb edt 104 Ny. end js bas baswawob geso ef wobeda s .,e100 edd x01 eu fF wobsde edf -.T dnetdai edd evods wobsde [eudos as emits omee he 10% -.woddod oF god mort gntsddil aevonnidaoo yd bebade 86 wobsde [endos ne. bne 0 ewobsade seso s1g etedd: eedo ‘eenotiosltex1 dyin at es 3 rete ote ek & iilveot [liw antbeoerg of d mor? “(PE RET) Yo elfgmaxe y patbads od’ etoette pevenear inemele vettons Iu8 7 41 (Fis.: 18).: Phe shadows are traced and a first. shadow tint, is. passed,.; What will be the most intense shadow? Evidently the cast shadow A determined by a ray normal to the cylindrical surface of the column and the parts A’ A' of the cast. shadowp that meet the surface of revolution alongs its meridian of light,.; The lightest reflections are not. visible in the drawing, but oceur behind the projection and on the meridian opposite the point A. But for the parts visible, those most affected by reflections: will be the points B,:B,: doubly reflected by © their position in plan and by the form of the moulding.: Bew tween these extremes the middle parts C,.C will have inter- mediate values,: either as actual shadows or. as cast shadows,: observing that the outline C' with relation to the light,:is. symmetrical with phe parts C,:C.: There will then be symmetry of shading with reference to an axis of lighting for the lu- minous. parts and of the intensity of shadows, which will be the meridian A,: As for the straight mouldings D,. D,: their general value will be analagous to that of the middle values C,: C,; Passing to the lights, we see that the point. most lighted will be the point. a,: and then the generatrix a', &",: and that. light will become more and more darkened toward the tangent. m, me: But along the astragal the light increases,: for it strikes the cylinder more normally.: As for the plane parts,: abacus,: architrave and fillets,: they receive less light than the cylinder at a',a',and sensibly as at ©,: 0,: but the slope will be more lighted,: moreover, : each of these plane surfaces in shadow or light will be made lighter from top to bottom on account of reflection due to. the ground,, and the distances will be indicated as I have done before,; For the detail of each part the same reasoning is applied. Thus for the core,: a shadow is cast downward,: and at the same time an actual shadow above the tahsent T. The shadow is shaded by continuous lighting from top to bottom. For the ogee,: there are cast shadows 0 and P,: an actual shadow at N wivh reflections.: From the preceding will result a general shading as in the example of (Fig. 19).: But another element. frequently affects. the shading,: recesses + ee hol 2) Che sa al ATs ay a 7 r , J j 4 : ‘ Sh elqmie se nadd sedieh eyewle ei ezeoe1 A ‘senatioe{otg 10 “neesel of e1edd exsoqys nolioel ier yas yleousees 10%» ,wobsde elqmexe edd ni es .cheos? s nf synineqe ere Hove -.wobede odd ) wo1g eatwodttd .(08.219) seine’ 20 ofdexwoo1d edd may? nexas | aeds sedish ed Iliw ancitoelies of eldtseeoos sael enctioet di ,ea(ttseb meewded sedsce eft 08 ,ewobsde dnoostbs eft 4s %o ogi eds gettin enoriflthbom 16 eelosnce COR Hee ss ‘ Wwobsde [ateneh edd at | nf ase qqe edasq edd Jedd dowe ed bhinode gnibede edd te¥ bas enoiistegeexe on 6d Hives eveds :ytifeed at es ahtwadb . Ytseeeoen exe eidd t0% sedgute nismet biuode gntbsde edd Wee Yoo .Ratomemmoo ¢s eLebom boos bas .,edess [amo « . @gatwerb desw book to eqaigoidodq ,alebom doertbh gnivoad yet dues sgniwexb Yo aedavn dseak & andd ;berso01g yLiese ens ‘etebon ors ea0d3 yhedetidug to bedgéisgododg weed evad emok = wietew | im ‘yhbaeletm dgonnso tend @iatd of baedetq Jom of I dedd Uinialo edate oels bluode I yd bebing 6d od Jasifigoxe et di 36Y -.celua emoe yd nemadtarth ati; oe od emece cifd 21 Vantantaed wi vifstoeqee. bodiem « pdidéte dads ebdlonce [lin ney. .xelamoo bane evoubigs s¢ a Pwo Jddd bos {beeooque es yrsinewe le oe don ef ga twanb ours ee ee sattseeltet doum ebneneb gi yess ‘Qnigd woy dadd esiitiano [anoexeg bane ofieliva edd Be aeaeise ynsm tedte ylno ted: .esotesetqmi bas stoden «nea dofefoeotq ddtw obsa et aniwets « deeds ayawle xs6d ‘-Sonibede yd‘enob ef gaicdiner edd todd bre 42 or projections.: A recess is always. darker. than a simple: shadow,: for scarcely any reflection appears there to lessen the shadow,’ Such are openings in a facade,: as in the example taken from the Procuratio of Venice (Fis.20), Likewise pro- jections less accessible to reflections will be darker: than the adjacent. shadows. So the spaces between dentils,: between consoles or modillions,: etc.,: produce the effect of a recess in the general shadow,: Yet the shading should be such that the parts appear in the drawing as in reality; there should be no exaggerations and the shading should remain simpbe. For this are necessary skill, a formal tasts,: and good models at commencing.; Lacking direct. models,: photographs of good wash drawings are easily procured;. thus a great number of drawings sent from Rome have been photographed or published; those are models that cannot. mislead. I. should also state plainly that I do not pretend. to train draftsmea by some rules. Yet it is excellent. to be guided by a method, especially in beginning. If this seems to you. rath- er arduous and complex,: you will conclude that. architectural drawing is not so elementary as supposed,: and that. on the con- trary it demands much reflection and study,: without mentioning the artistic and personal qualities that: you bring with your nature and impressions,: but only after many efforts. Remen-~ ber always that a drawing is made with precision and accuracy, : and that the rendering is done by shading... eh . “senniwerGd belaed-.¢ vedqedd Sh nent bas s10%~-< .[stenes ai gatwases .yaiemmye werg odd sont ssolastonov ~~ .afebom To eofodGe~ anid teadea ele ‘sgatbeeo wed + boodatebas bos Setqeoos. af atvele beigos aves ofT Isoinadoem « od uniwaxh Snitewo!l.,em seaelg Jon eeob wisi wok .oTil [Lite to ydoetgodonyg od bluow [eebhi eacdw _ eae se evad od asmedtewh esoliidue odd 16% Laidnee ebautwarh -aeisqeorss stemiidnot brs bavototq @ [is to serit et gniwadd eit Bo eoneitifesini edd yo Lebom edé Yo diniga eridas edd Yo ppntnexs yievd .tnfese to dis giwottiib es ef JI -.nemedtath ‘nofeess2oq odnt tatist s bas Jeeupnoo « et adie aise “~eonesiifesint to yLinemiag avow #8 ef sniweatbh aint J bas dogil s 10% .nsmedtesrb & od seven [fiw nosteq vaexilleds lyeteves: bas eidon: al oQntwetb Yo ybuda ode ;botm [slolbiveque aS Ee a ; ‘~eind Yo baodivaos ed gexit cen woy bas Rooms fonlV eb einipe wed bre obpooebf ervuod edd ts evreed0 ») tebdrs Jeo dans blucoe woh .antwsib to seociquedeam reddo Bai | eeiasines tu0t act ved» dtetdit0g edd edem nem Jeet bas Sadao eddies noisjettwhs of d mo Meett boseergni i yoced & di al Thtew ef 3d to eener Jesldon edd ni tninarh x 2 sup 91 oe to :,eapbsootd ni {Itde to exenove sg \ .noltisaiverg ne ae /gemidonos «vishaoces evyawls .,esudiot bees to v3 vil aM | oll fretnteg eds to exoiand edd>,gniwerb nf neeitts edd yd uid igesh etew nottidre ysseq to saoitd exedt bre . oetw Oy ob .yisisnos ef 10 .wedd aeeanog oF obrsnoed yd sown “alton gid’ odjni duq seisis’ Jée12 add to Ivoe elodw edd ese s dora wond yidguvoieds oF bestorvs sonegilifeini sid cog dads to noiseoesog Lint edd yilenit bas. isbom ieline Sfi eemooed eonesivet josroes yas duoddiw [uoe exidnas Ho? ynoisecto e yloxd ei duvow éeodwi,vednisa edd Yo etuesesd OOLD Jsdw sud »,obmoooltD edd vine Jom at eee voy Jatlw y HYistevos bas vhs banotorg efd yd bessetoxe es done iS eee *~tent¥ eb obtsnoad Yo. i$ eaogorg of don et eidd .addbied omedd voy wode I 4T pebi ne ef tesef Js voy ot edsotbad ot ef Ji duds eis rsoy buoy wods of extesed I detit bad :.ed bloode gniwatb dsdw to ter it gi geiwesb Yo ybude edd dodd.,Jos? awondan Yliseupett is eotsoany dovn oele dud Aacaunattbieaks sal Jxsow se ile to ” 43 Chapter 5,: Copied Drawings.’ Summary.) --Drawing in general.| --Form and proportions.: -«Satting.: «Choice of models,.; -- Conclusions. from the pre ceding.: The term copied drawings is. accepted and understood,: but. does not. please me,: lowering drawing to a mechanical function,: whose ideal would be photography or still life.: Now it: is ese sential for the ambitious fvaftsman to have a hisher idea of drawing.: Drawing is first of all a profound and intimate perception of the. entire spirit. of the model by the intelligence. of the draftsman, It is. the difficult. art of seeing.: Every drawing is a conquest and a taking into possession,.: This drawing is a work primarily of intelligence. An unin=' telligent person will never be a draftsman.: Nor. a light. and superficial mind;. the study of drawings is noble and severe;. and you must first. be convinced of this.: Observe at. the Louvre Giocondo and Leonardo da Vinci. among other masterpieces of drawing.: How could that; great, artist and great, man make the portrait,: that for four centuries has - impressed itself on the admiration as. the absolute type of drawing in the noblest: sense of the word? Is it a happy im- provisation,: a suecess of skill in procedure,: of some quale ity or of good fortume,: always secondary,: sometimes echoed by the attisan in drawing,: the tricks of the painter? Now wise, and these tricks of petty ambition were despised too ~ much by Leonardo to possess them. On the contrary,: do you not. see the whole soul of the great artist put into his work,: all his intelligence aroused to thoroughly know such a complex model,: and finally the full possession of that, model, whose. entire soul without any secret, reticence becomes the artistic treasure of the painter,. whose work is truly a creation, for what, you see is not only the Giocondo,: but what. Giocondo saw,: such as expressed by the profound study and sovereign senius of Leonardo da Vinci.: If I. show you these heights, this is not to propose them as your aim,: but it is to andicate to you at least as an ideal of what drawing should be.; And first I desire to show you the frequently unknown fact, that the study of drawing is first. of all a work of intelligence,,. But also much practice and ex bd yilees ol -.notdountent bas wmedeye » bertupes ai extiore gi eeassoo [Is ti a hagh eboege dsdid» medeye edd so omis edesw sevell a ob woy 21 -.kaiddon eedossd JadT .egnivergse gniydés Jon baa... stedesm edd to ebntwerb to edcarsododg od Ji ms &.emidvoty yasm os -ebsm oved Jedd .elebom aniwexb suo | i meg Ui bae:,daso t9deelq betdeil Llew edd mori elebom yeee eteT .ddgifquel yd ddgia 3s baiwssbh yd sf .tedles bas putot avo tiedd déiw elebow yLlent? Sc akhtedsuane eislenexd seven Jud» gaisslensad 1 eonadsegel on to tjaiddemos vend; oF ebsem al Liqag edd > oo, 44 ercise is required,: system and instruction.: You really learn to draw in a course in drawing;. if all courses in draw — ing were good,: my advice would be limited.: : Unfortunately the laudable efforts made for some twenty years to create systenatic and rational instruction in drawe ing have not been free from ancient errors and false ideas,: or rather. tha absence of ideas and of methods.: In this respect. you will be favored more or less; in any case it, is well for you to receive some rules to guide you in your. studies.: Drawing is first of all the expression of form and of pro- portion.: Do not hasten to seek effect, to rush into shading,: before being certain of your preparation,: which is the impor- tant matter.: For. this preparation the primary ideas. of perspective are indispensable. Certainly if your. eye by a very rare physical gift is: as accurate as an instrument of precision,: you will be saved from faults, but. even in that, favorable case,: two guarantees rere better than one,: and perspective: permits: you to control what you see,: i.) ¢.,: what you, think you see-; Never forget. that learning to draw is learning to see, Noth- ing surprises a layman so much as when told that he cannot see;. yet nothing is more true;. we only kearn to see after long training of the mind and of the eye.) I. give a single proo you see on the right. and left two objects distant from each other,: for example a man and a horse; abruptly ask yourself which appears the larger; it rarely happens that you are not mistaken,.: Make the experiment,’ Ok 5 Therefore learn to see, for this is drawins.: When the eye sees, the work of the hand is nothing. Take some days of ap- prenticeship to acquire this dexterity of the hand,: when years will not suffice for learning to see-: Never waste time on the system,: that. spends long months in ~ cbpying engravings.’ That. teaches nothing.: If you do copy,: let it. be photographs of drawings of the masters and not the odi- ous drawing models,: thab. have. made so many victims., But draw from the well lighted plaster cast,: and if possible commence. by drawing at night. by lamplisht.: Take easy models at first,. finally models with their own forms and reloef. Draming is translating,: but, never translate translations. Too frequently the pupil ils made to draw something of no importance on the rd a & ay Vem GE evelidvod “eefotexe ne ayents @i ¢i dedd Sxedory phoqhore Jeud Iptsdnret emoe Yletervoos wath of SiantPTEb H Yo.sseud enpiine eldetimbs eeodds es yrellah gnivoors s qino aso jaiw déiw goeinoo nt ylish ef [iong edt ti .edeea ijas edd ni bas futitussd ed sesm efebom swol Vdi evarc Sean (6 . ‘ebanot ed yeds [ftw S18 smelt efi o16edw .2lebou neoie Yiev eoneieterg yd sa00dd | watodtve edd yd to emis yd bebanor xo niow gon bas sontieth >p od Iitwdtib eds eatwredio sot .nsefo ed offs blaode yout Soedd wi ate yléneuper? [fiw woy bas ,ietler att détw bobano% edd to siasq edd no elist tenb add 10%. ,bexebast ed oF mio? —xe 10? >,ddyil yienibio yd beddgil ¢aed ed biuode tadd\,lebom pee ee ‘absed ef3 to qod oft no olgus (yeu dotdw,fsed odd gniwetd ~.e.% tad odd to Aeeqe I ty8 to web od eved {ltw poy veseis9 in0y Wi Ol) voy sefigrHE to beed edd taitweab vd yinO -sbeed ets oadst s]6eddax doen diepapeans: fi besoone voy tI -.werb of nissl eno nao ybod nem 5 {fous « ahieebo od ysiy Yino ed Iftw #2 \.19em0N to sand od ye OF Qoinsse! at web od nisel od setusoed eyewls ,betsegestig ete oY 00 of gainissss steted exdoedidors ni notéexssys1g evad [iin hes ah | .eeibode ai ymonooe exes wmedaya Bas 1ebh10 .noidiaog elasstéssiosaco seviesivoy cnimexe,daiog aidd Je yIn0 oad YE voy esisemieg ednemele ati [le @t oalseiscese wid ot ce ead beobni eis poy iedi [eet bas »,dit 102 edegd & over ‘be Heels . ated coda seinwredio ,;besactgq ,seibuse eaesdd : dey ei evens sedefqmeo bated mort ws ef eotivbs aidt wad ‘spoy awoso I[[iw Jsdi . ecivbs lent? edd eroted yee od - : mt elsdil yseve-aso yond jadw yino dosed elootoe ad ‘ad eltiiv yd. oigoeltex yd seviseiwoy swo roy dsdw od noel ; mort Binomeriupes auoy to dizigqa edd yd ,Jiette besatdsace aL eoneioence toy bas sis ss0y 10l Josqeet yd ,zovieesnoy woitsesbal ffs >,dneIsd [is bos exbelwond [fs evey aatioutie | fd [low osti{se1 tud-~:teds moxt 181 .lavpe od blsow eliqna ng dro% boot e1s dedd etiid leiden yliantos o18 esedt Yi 19GmooS gs ete dedi. ,2d8ida bexiupos ers Ife evods hue oals “s ex dsdw dives Ifiw:.detirs 18 28 | oY to eno dose bas = .8idd debrot aevel .ed 5 Lv vath M4 i ‘ a be . = ; . i4 45 bd Si a me eee a) , ae ee ey) ea ee 46 But, here again instruction is necessary. I. can only give gene eral advice, desiring for you a serious instructor,: to direct. you slowly and surely in the path of true drawings and model- ing, before models chosen to form your taste.’ CONCLUSION,- This: is the programme of your preparatory studies,: made any- where without the need of a School of Fine Arts or of Arche itecture,. The general instruction required for all liberal careers may be acquired anywhere,: and the modest. scientific instruction mentioned,: Drawing is taught, everywhere today,: even if it is not, always what. it. should be,. yet choice is pos- sible and the young man can always. find a useful and serious mastere) After. statins what. should be studied, 1. find it; necessary to advise you not. to study architecture now! We e@nsider here the preparatory studies very important, for. if lacking,: this injures. your entire life.: Then finish them.: No impatience nor presumption.: For good officers is requir- ed serious preparation in literature,: history and science;: candidates do not. have to prove having played soldier in school battalions.; Architecture for. you will come later,: when you are prepared,. and after preparing for architecture,: you will have preparation in architecture before attaining to conu- position.: Order and system are economy in studies, Only at. this point, examine. yourselves conscientiously. If this preparation im all its elements permeates you,:if you have a taste for it,: and feel that you are indeed the man for these studies, proceed; otherwise stop here.’ This advice is far from being complete; there is yet. much to say before the final advice,: that will crown your studies:- the schools teach only what. they can-«very little in compar= ison to what, you. owe yourselves by reflection, by virile and continued effort,: by the spirit of your requirements from yourselves,: by respect for your. att and your conscience, If in: struction gave all knowledge and all talent,: all indastrious pupils would be equal. Far from that:--but realize well,that if there are actually natural gifts that are good fortune,: | also and above all are acquired gifts, that are a recompense,: — and each one of you,: as an artist,: will merit what we will be. Never forget. this.: | DeLee iescad lois ee ai ne icelikien abit eadane he ig ak event yd bevieret eyents exo, ¢ aga Woddw \,basl beeinorg edd emis emsa edd de | Rovin tat ib od a Piero edd eonemmoc won - cia Powe bev LOtAiwse 4teal ctecete BOs te: : re eae Piweors is ted ae oi HAS 0 ONS, ae ore - f+ y gl hey UF it F ' fa, naie eee ee wa Pity Shoes oh ae 47 I have thought. it useless to touch upon lengthy and always elevated studies without. an initiation into the labors and joys always. reserved by these studies,. desiring you to enter at the same time the promised land,. which must be merited.: We now commence the architectural studies,: aye 7 i ae ¥: ser BRUSTOMIEG ‘JAAKSKBE 11 2008 | @ ernsoe! [eaouenl «= +.dnomedede Ist6neD—— “eYHAMMUZ pig. 1q dnonsete$--,omdoesisors Yo yrosdT mo e100 ed? ‘m= ,endtdtogota IateneD =~ \.noidizogmoe Yo selut dee1D a= Lomed-~ -,8iled to enaisirogotd ~~ .encidrogosg oitioeg& ~3o- eoneto? bat gad «- a.enaidiogetqg to. abere sit to ‘fol a ee gi hs | . _,eantoed tiovk ‘Yo enneiil ‘Bo "pine ier «f sedged9 30 etdoel Isiwausal =~ ,Jvemoteade IeseneDee .YSAMNDS At% to foods? edt gs exsdoedidors Yo yioedT no esis0? edd Seer oees 4). | ‘soumetzotq [etene® -— .edad — Lvtat gGltcs fo qiocesT Yo eexv0d edd to gnidibe edd e1]ed eomenmoo 1. Ro foofe2® eds js OSI conte sont eved I tedd .,erndoedi - pieta: pes ©! tet ek sgaadnesole, exon bebbs ot {lim exeds yreneeoea sevenedtl H eaanon oss Yo aebao eff, .etenntged Joees ef d 10% enoldees oxigen samrapnet edd taioshorges darit.,bewoliat ed mee wht bcted de cetiqesthoneds yd awob ude edd a osinxtbonc edd ylso ei swwdoel einf Sa atew bedads aelqioning edd ,soetidors Mid dads of \.doevetg soidourssat Jo evetesm odd Ife to Ie aiteoxe eeodd yd nevi sae bebisze1 ed yaa soivbs, igensiqxe nitsi1so, tatatsinoo dapotitis baa jeetbste Pa,ifet dt st oda Ber vied eatt toa, Loode’ edd ot¢.t8t 48 BOOK II,: GENERAL PRINCIPLES,: SUMMARY,: --General statement.; -- Inaugural lecture of the Course on Theory of Architecture, --Permanent principles. -- Great rules of composition.: -~ General proportions, <= Specific proportions, «- Proportions of halls.: --Corollaries of the study of proportions.: «= Art end Science of construct~_ ion.: | | Chapter 1,:Prosranme of Theory of Architecture,.: SUMMARY,: --General statement, -- Inaugural lecture of the Course on Theory of Architecture at the School of Fine Arts. -— General programme. I. commence here the editing of the Course of Theory of Arch- itecture,: that, I have given since 1894 at the School of Fine Arts.. Whenever necessary there will be added more elementary sug- gestions for the useof beginners, The order of the course will be followed, first reproducing the inaugural lecture as taken down by stenography.: This lecture is only the progtamme of the studies of the architect; the principles stated were confirmed by the approyv al of all the masters of instruction present,: so that, thes advice may be regarded as given by those experienced in our studies; and although containing certain explanations pecule iar to the School of Fine Arts,: I. give it ib full. ¢h fA TO YAOSHT HO REAUVOD BHT 10 AHUTORI JARUBUAKI o> ggbOSI SS ABAEMEVOK STHA DULY GO JOOb08 Gh TA BAUTOUTI ‘Yo tiedo aids fo solaesezeog anidsdt al ~~:nome lined -=foo ym Yo omen odd ai ef ydub tert? ym ersdtoedidorA Yo yo oem tietéised a seerbbs of ,Yleaym bas soviesssoy ,eenkac! s toesesebetc yu od tidaqaye Isibtes to [sisomsm g bas Slew ae. Ea « ‘ents iligd baombad . bueist qqe oJ benisel eved ndtdoertb eid sshow betbude evaed, vol 1g ‘Hgid Yo..vdwb Yo sem odd: ,daitas bewsees odd mid at gisto end of yisesooen estiilauyp [fs 10 .eonetizegxe bas eonegilis? ‘se to ytileup jedi IIs ovods besaeseog emusiliud> Jdjoettdors SoH -.,gnidosed ni ylistoegese has exsdwyteve encaicetg ),ydiogs 902 ndiess¢ s ditw.enotéibards esse at gu tdyuvotd asm s eaw '@acitsonn? sid otnt ddgno1d of euddt bas ,ydub Yo evol ),ybute S66 sew notioveh aids seveinatioveh edwlozds ae r0eesetarg to ius aid bose eftanq eid ,esibuse etd bevel ed sensosd. aid +64 e6%q Ifiw soy Jedd nisiitoo me hue eveilfed I: nemeliaed Wis Blwode ee dove eonstdwiemes « mid Yo yiomem [utddiat 2 Bese eved odwi,nem set adetias to adised edd at niemes -aney ntcbebis eved ofw:.ednomyotne otdeiias odnt soy HY edd to edatéiise odd voy exem oc Jdguoe eved odw > not ee esol exidemeig odd tot heseeigxe stor1ge1 esodTt we y dodd .,Jorbe4 Ienoateg es ¥d ynsqmooos Hinode I ,omual ee! ) ‘mid gantbeeo ar wa Boe. yanidd I dedw yvinielg yee of wodenso yo at Ji ‘,oted me I ydw ylqnite edste of soy od Peisactst: jnnteaesgq jemusiLind «.M Yo diseb edd tedtA eo -ebmekyi j;om of obem etew enciteesgue efdei0ened yt 1 beeooue ot das biwode I Jedd deieni at betieeh esugsel yi aetieds ne: etmobuds > nokdoutseni yeddo bad I .dy8 bisa IT i.deenpe1 dsdd exsm of beniloob bas of gninntaed ie 1 s,semeliast .beebnt bas ",tleeya Jnese1ga son bivow ‘Lionsod soiveque edd du ;eoslg odd tot ileeyos hetetto pisos 6dd dol edabibass 2 sneeotg of Sdbix wo sed Loodod Pd Batlifequos dzomie gud» .mid anisivenoe duoddiw beebad ~ Y ylieat’ I (tedésm aidd wo beaotdeoup yleeol) ,yraeseoen m of bedasibut yiveelo LiennoD actieqs? edd Tt Jedd» betla eb fo. 398 a8 ,looio® efi to issreini edd of Citin?.ed ysob biyow 1, | dbedgqsoos $d OS goitiiosass bes .atotted ad act? we ei sed: te Viilidiaaogaeg ada nom yia6 oft Dtove ted | Ne AAS: PURE 5 at DF te ihe’ ‘At < % J a ry Dikiae y it ke OF tor ‘ “ae a r. ‘ - ale ) ose ‘$ . iJ * ‘~ a * “ vi o. 7 "+ “2 , ews 2? oa are ha ea A o -*t eM tad ‘| ry 49 INAUGURAL LECTURE. OF THE COURSE ON THEORY OF ARCH- ITECTURE AT THE SCHOOL OF FINE ARTS NOVEMBER 28,5 1894,; Gentlemen:-- In taking possession of this chair of The- ory of: Architecture,: my first duty is in the name of my col- leagues,: yourselves and myself, to address a heartfelt. fare- well and a memorial of cordial sympathy to my predecessor and friend,: Edmond Guillaume.: You, have studied under his direction, have learned to appre- ciate in him the assured artist,: the man of duty,: of high in- telligence and experience. Of all qualities necessary to the architect,: Guillaume possessed above all that quality of sa- gacity,: precious everywhere and especially in teaching.: He was. a man brought up in sane traditions,: with a passion for study,: love of duty, and thus he brought into his functions of professor an absolute devotion; yet this devotion was: easy for him,: because he loved his studies, his pupils and his art.) Gentlemen,: I believe and am certain, that. you will preserve a faithful memory of him,: a remembrance such as should always remain in the hearts of artists for men,: who have initiated you into artistic enjoyments,: who have aided in your instruct- ion,: who have sought, to make you the artists of the future.; These regrets expressed for the premature loss of M,. Guil- laume,. I should accompany by a personal regret, that. of suc- ceedings hin,.- It, is my custom to say plainly what. I think, and I owe it. to you to state simply why [I am here-.: After the death of M.: Guillaume,: pressing,: friendly and ve~ ry honorable suggestions were made to me; friends and col- leagues desired to insist that. I should ask to succeed hin. But. I. had other instruction,: students,: an atelier, and from beginning to end declined. to make that. request.: 1 said that "1 would not present. myself," and indeed,: Semtlemen,: I have not. offered myself for the place; But the Superior Council of the School has a right to present a candidate: for the office,: not indeed without consulting him,: but almost compelling him,: if necessary. Closely questioned on this matter,: I finally ree plied,: that if the Superior Council clearly indicated to me a duty to fulfil in the interest of the School,: an act of devo- tion to perform, and e secrifice to be accepted,: 1 would nei- ther avoid the duty nor the responsibility .: Phet is what oc- a vate F; os 7 at eal cil ‘ LJ 7. 7 “\¢ hale Th a * - @ t ae oe » gattsaptecd ot evontasay esw [fonvod soitean? of? bor) ‘efauctvetg sao od¢ asdi asoliteg exom seve ,.de0g aidt tot om tebedosot vinistres asm baa betoaod yliserg 2am I. .beiquose | pe ndtalaal HOY etoted ts9qge won, bas beyedo I eaey oF yee, oF boon don of ylaisdit9eo I ,ertessed gauoy. yu oy nOigonagenti nobasds I ob, texge1 bavotorg.diiw yino sedd jo gaed wont volt .atsoy evileyioews asdd o10m t0ot t9eiliets oAd | -w0m odd si noitoutieni sotlodA .ai agnidosed aid’, jadw Lis ) @agis eotudeel to eeeevco [fe jnoitourdent otdelidis, berisp ) peteget (itte bivow adaA omt% Yo Loodo® edt tud. .rs9qaeath | setetiets edd tuodtiw foodo® edt eviaonco, tonnao ono elidw oy bas’ ,gatdoset oiteatias oldatesev 26 nottsounsent gedT A onfH to Loodo® edd at efoyotmelH odd to)llew tedt sto sa! tosketoig odd setietse odd al .etodastavy bas atoaagoe | setsiosl to.,acisedtee eid to ,ysoods aid to togasm otul go 10110 To easo nt sot astqot¢u eh bas aeenhbiod sid to aeve igepeoen s ai ossdd .ysilididequooni Yo neve to J1eq etd ~ot bedinens Bf »s2eelq dou, seob anidoset aid Ti sevideotrt aeete 618 ebladwo axeilods edd ,stdaebute emoa Yo oxudsn panes: “gossetotg" Siow odf ;,2tedasu to eotodoe sved voy oodoe x90\-,teblets edt io beet ait adsagiasd yliegorg fo efidt wydilenigizo Ons 1t9tos1sdo (sioega ylotivas 2 «isto Yee eonsat ai, Jaoteotg od sove bas eloodoa Esowi sea insbasoansid - ,aolioutsaat solseque ditesed hetiexs ae oved soy doidw to soitourdeat aidd a0} eomen 2 - i “vanspegaaae awo adt asd adiA emi Yo Loodoa awe 109 + 6: Bria Heouelteqxe me ei r9desm edd ote .noisovaiseat idegxs . eeibuda, woods Snigivbs ,2dnei1t gasoy ali atwods .ydeobom ealei duoddiw | madd didiw sadaJdiaad Nap ‘aL at sebat? of alist ono ydw move bas,bni2 04, ».se08 e ee tequed tiedd woud deum ,aLiqug eid to dweitt t6edlo femedsis0one sheen -eno Jadd yooim Yo nist bas serdd ray iisiteet odw fue bedeug od blucda odw yyitteves es Ps vambics simmetas etooibem « e1oted"boos ytov at sadT" yas low i atoted "bad yrev ei dad?" sedt»,asetgorg adi . 906 yterogas? 3 awode dotdw jad »,cem1ot, odd asdd t9dt fxg of ‘stoddgs adi Yo viileaosteg add gnivebtanco. i dd ten od »~dnobude od¢ Yo e1tuden edt ao eoivbs eid | agisa edd oldsulav acdem Jud) setydisdedua ton of Sao, "ine dua dose (d betelto asoisoe ue » " vee { " 4 a a end at! 0 ee rhe’ ee ES a ae ee 50 curred. The Superior Council was unanimous in designating me for this post,: even more perilous than the one previously occupied, I was greatly honored and was certainly touched.) ; I obeyed and now appear before you.) | My young hearers,: 1 certainly do not need to say to you,: : that only with profound regret do I abandon instruction in the atelier for more then twenty-five years.) You know best of all what this teaching is.: Atelier instruction is the ree quired artistic instruction; ell cousses of lectures might, disappear,: but, the School of Fine Arts would still renain,: while one cannot conceive the School without the atelierse) That instruction @s venerable artistic. teaching, and you have © on that. wall(of the Hemicycle in the School of Fine Arts)pred= ecessors and guarantors.) In the atelier the professor is abso- lute master of his theory,:of his esthetics, of lectures given, even of his boldness and fiis utopias, for in case of error. on his part or even of incompatibility, there is a necessary core rective; if his teaching does not please, id unsuited to the nature of some students, the ateliers outside are open,: and you have choice of masters.) The word "orofessor" does not, properly designate the head of the atelier. Our School has an entirely special character and originality. While other schools and even the greatest in France may claim for their benefit superior instruction, transcendent instruction,: seek names for this instruction of which you have an exalted idea; our own School of Fine Arts has its own teaching,: friendly instruction. Here the master is an experienced friend to guide his young friends,: advising them, studies, experiments and hesitates with them,: without false modesty, showing how to seek,: to find,: and even why one fails to find. He is an- older friend of his pupils,: must. know their temperaments,: na- tures and turn of mind; that one needs encouragement,: another severity; who should be pushed and who restrained; he will say "Thet is very geod"before a mediocre study,. that exhibe its progress, then "That is very bad" before a study much bet- ter than the former, but. which shows e temporary decadence,: considering the personality of its author. He primarily bases his. advice on the nature of the student,: he neither deforms nor substitutes,: but makes valuable the natural gifts and ree sources offered by each personality,: happy if he has formed and lor ee ee a ar) | er = te onteds to atatygos toddien e318 tedd ,adaebude sasteitidh yrev ae stedasm tledd Yo you eshsim09 udtlanp eno Ullsfoegqas hetiuport ai notiogadant eidt tol + fas @ od Jaum todasm odd dedd+,oudtiv on0 .éneustequed eno _rfel ).ggtdosed oliai¢is on ed ago aidé juodttW -.adt leet Yo p,tfeadt datvel Jeaum wesltaudiao gud. ,ecittue soa eaob tne | .@idabaetrt odd ytseaveoou ei. eteds jrotsnagxe misw bas dash moo otliae oved of dnebuta odd gntanso. .beaatéaes yosatle » @ig.soqs tasoo weo od awoat of Jods tetasm eid ait eouebhit w20dt yd adtolte atd tot bebiswe1sed [fiw ed teadé | gadaoba dea Malies i ‘mid ebteed bae bavote zead vot .,e9 oF awond Stee ak Iebew odt Yo gatever of? Rid aids Yt yeagntantged fanatsaoo. olstaim [uv lworree \.2¢ yai2a to} ,t0eddem on »,audgyet2 te t9odsl s aeito at actaata P ‘ bas \,adisiavom atetaasit Jedd dite? edd vd beanisdeue ef thee) | te2dseqg daedgid oft to notaneoes a43 adtmtegq evan Woy dotdw at, fvtdidie? sattqghtoaeb aidd don 2 ,nemelined 6 seisioe! saodw,,eisieam tvey bestagzooet ylatetteo svad be BP ui fet ite afd: * Thevol a ee eae hasotoig dtiw dtef I mottouttant tad? sf patie: sOftoteds e19en ton 2@i aidd woud HOY .dsdst beontv to a dauodd adotoerg Ytouom a -ddgvsord I tf gatvaal a0 | w teed van belLitiat gnived to ..vltmst ym tot Saa stil . ‘'staitovebh bas yile iRaserood at setges eer atated won me I. aeaeldaed ad bivode tedw. as oF begkido tarttt wae bae evs | ley saimoo edd 10%) .o3ae1¢s moor yem aoattaeup eAT fon dot) to sem yd oted mevid seed acd bas .ateey vee ega I «-Jey bas :»borletidsdes ed Silvoda soisthers ad ted qidteaeraa! ms e@ bayoiww Leet I ~-ayewls es won yl ie Re ‘ a Sn ort. whbedse1o od ot ai eatuoe do: ae. mest at eatu0e aidd dedd .at yilootttib adsl ) thatinoo s ,Jjnistgeet s gaisooed Io 19$086 ai at ow ot ddgia @ eved atedaan ivoy Jedd >,sottoursant odd | 2 a on ats Gt todd .,2t Loode? aso Yo ydtisatgino off * aud dt ot beineh ai yiileup aid? .bliow edd at Lex $ tdgts tied# besoelzen aaivad 10% aselsduob » sem rte paasan todseme1 10 fi baodde tedt ategsettg to etal boot @ ,“aeotregA as yliaooes Snes -,aidt miele nptoaton ats, shan od ylasotgxe eget! o3 esse odw ee a Ms , = * ee Ces | “j aed a : is ‘ et ’ Ly ee Oe art Sy ma. § . * ‘ef é i se Wheres. re? fs S eereoe. Ua’ ¥, Da very different students,: that are neither copyists of their comrades nor of their master. For this instruction is required especially one quality,: one temperament, one virtue, that the master. must. be a man of feeling. Without this can be no artistic teaching. Tale ent does not suffice,: but. enthusiasm must lavish itself,: ar- dent. and warm expansion; there is necessary the friendship already mentioned, causing the student to have entire con- fidence in his master, that. he knows he can count upon his students, that he will be rewarded for his efforts by those around and beside hin,: The reverse of the medal is well known to me, the weakness-= es, sorrowful mistakes, continual beginnings; if this high mission is often a labor of Sisyphus,: no matter,: for Sisyphus is sustained by the faith that transfers mountains,: and al- weys permits the ascension of the highest peaks.) Gentlemen,: is not this description faithful,: in which you have certainly recognized your masters,: whose lectures you © loved? ey Theat instruction I left with profound regret,: and I am con- vinced thet you know this is not mere rhetoric.) On leaving it I brought a memory precious through my entire life and for my femily,: of having fulfilled my task with loy- alty and devotion.) Gentlemen,: I am now before the course in Theory of Architect ure and am first obliged to ask,: what should be this course? The question may seem strange,: for the course has existed for many years,: and has been given here by men of great worth. Its tradition should be established, and yet». I speak plain- ly now as alwayse-- I feel around me an impression, that this course is to be created. Its difficulty is,: that this course in Theory of Architect- ure is in danger of becoming a restraint,: a contradiction to the instruction,: that your masters have a right to give your: The originality of our School is,: that it is the most libe- ral in the world.: This quality is denied to it. by some Frenche men,: doubtless for having neglected their right to instructior strangers thet attend it or remember sitting on its benches p! claim this, and eecently an American,: a good judge of freedom, who came to Europe expressly to study art schools and select shtea> .yidasce eid 10% oldatovat taom eeobi odd egotw [le at -somfs sese eaods mort L[oodo8’ «voy aedatsgnideath sadt"~~:9% of | belevers seu, bed ad--"siitesA baa basfgal ,yasared .ylast _ gatteors ed¢,mobeert otuloeds edt si"-segord twodgvordt asdesm atd evoodo o¢ tddtt edd détw nem @ ee dasbuse edd Yo Be Geo ‘3 ‘i> © "feertvoo otdatdqa atid bas | «09 omos to sonerdmemet [snoateg s timieg .,nomoftaed t04 dgwords beeasq [oodo@ two nedw omtd s 44 .toeym bas eober =toiash sesd joa di bed ,otmoo need eved sdgta ded? .¢nove as Zee of Rafddoa oved I -,bedse1o asm aoidedias wi eexnos B ,auO fottentasxe ytoelaqaos etseto of betteeb asw si dud s,¢edd Yo ® tieeya bas 2obsimos exoe bass,ag bettoxe dad? -.eotsoddeo at 40 tedatata odt to conethug as oatagise yd stedwowos hontad is eonetbedo tot miti yrovo,.tetbies blo ss eew aH ,etaA eatt said Ti jbeasvoath ed bivos aeletw aid tadd bedetsotas doum ~fsdateam A .at)edio ydbeteaygua ton 908 awo etd stew sadaltw 3 aael tat om bodsbimtint ,Aas1t etd saw ted 10% +,.s9aat% to Bente bewolis 1 eoausibve dedt ni bas ,Adtow Yo seltira as Sot adaiiqs edd Yo notgtien odd at eotiedted " -~:yee Luqmoo+,aeitediac edesa,entudeod sta3e.a au ditw edu NY aaiod nuogdnas ett s od dosd ev edet bivow ,aolitedtes ne OF aodws [feoe1'tdgia etoble ivo deidw tnd ,elqoeg 109 od yiesssoon saw Jio--naiseinuso & t0o+-daendaloggs . baie jee © 4 ®ggoteeetaoo to Sisoltidsves s gatwods yd ws hevisset aew anotdevidedo aids jedt°edsds blvoda I re doftgo di enoittsatmsxe efj ylleait toy ,eldtazog as et dud», Ife ta tivem edi ertaeb fon ob 1 san090° son | etidn yYbsetis tedd.woy wode.o¢ af ft ,edoboens etd moivourtent Jo ydtedif tot antiest « bed 1 ,eted Jed je dads bed I:tt bas! jenitgoob 10 aotgtie: aéste e to eto1g 28 yshos woy ao exogmi ods toa et ti ,dasbute g) eotdredil. toy dostis of dite to ealttoob atsda ee Joedtes Ot» Ao ce atom geve sd bluow ¢f tot. ,asel 4 if at iysoedt ai eesuos odd to veansh edd ef beebwt etdt rors qua edi to beodivnes ylgno1te cot setiqa as to ebned ud betebdes asivioe odd to ,ealatoob 8 to soaelisoxe bas 0as Brees od etseggs itsdw vlovidedirzoddus gatdosed ai 0 ‘Lantateob oof smoosd ylteme tdgim gt dturd yen 2 ae enim {fatedt{ yleduloeds i909 at tok > ' e! he he P t PT a a) ee Ty alin &@ i naa +t ae -yatedeem as0y to mob \Y a ee ee 52 in all Europe the ideas most favorable for his country,: said to me:e--"What distinguishes your School from those seen in Italy,: Germany,: England and Austria"--he had just traveled throughout Europe--"is its absolute freedom,: the treating of the student as a man with the right to choose his master and his artistic course!" But Gentlemen, permit a personal remembrance of some com- rades and myself.) At a time when ovr School passed through an event, that might have been comic, had it, not been dangere ous,: a course in esthetics was created. I have nothing to say of that,: but it was desired to create compulsory examinations in esthetics.: That excited us, and some comrades and myeelf ob- tained somewhat by surprise an audience of the minister of Fine Arts.. He was an old soldier, very firm for obedience,: and much astonished that his wishes could be discussed,: if his wishes were his own and not, suggested by others. A marshal of France,: for thet was his rank,: intimidated me far less than an artist of worth, and in that audience I allowed myself to say:-- " Esthetics is the religion of the artist. To insti- tute with us a state doctrine,: state esthetics,: compulsory esthetics,: would take us back to a time unknown to us youns people,: but which our elders might recall,: when to obtain an appointment--or a commissione- it was necessary to commence by showing a certificate of confession.” , I should state that this observation was received as badly ~ as possible, yet finally the examinations in esthetics did not occur. I do not desire the merit at all,: but if 1 relate this anecdote, it is to show you, that, already while a stu- dent, here, I had a feeling for liberty of instruction,: a fear of a state religion or doctrine; and if I had that fear as a student, it is not. to impose on you today as professor a state doctrine or faith,. to attack your liberties,: and still less, for it would be even more singular,: to attack the free~ dom of your masters.) This indeed is the danger of the cousse in Theory; in the hands of an artist too strongly convinced of the superiority and excellence of a doctrine,: of the service rendered by him in teaching authoritatively what appears to him as thesole truth, it might easily become too doctrinal and too personal. Not in our absolutely liberal School,for if necessary for me > : ? Py | &@ | # 10% Yisezedes ton ef fi) e1udoedidois Yo y1oedd s to deege a a sonetettib edd je1stoedidors to yroedd ym to Asega of : ‘stedsogrot ed gon [fiw bas sidia , Tatemoh ym od Ifiw neds tedtl aedaco ‘od ye to af dtsdt [is 101 ,oldstastnoont at iadll big Sesasduoo ton ai dadw jasugeetioo ym to atemoh edt ai | Yo bus: edadisbas ysm I tedw at:,wod edé bas ydw odd yliai “sdesy edtup {{tte at toeidse datdw..woy ot Aseqa yew I doidw istse Lo yiev ef dite to aofaaetotg ya .acitourteadt t0% oA : ai Ylislsaidieg | anidd [Ie at tedt heoatvaco ylmatt me I mis Ulleisasazes ed biveda aethudea ytaatio odd: ,etudoetidors titsg 8 ot Yfee a‘'eao baoid o¢ ton at [eoteaalo ed of ,faot edd eaofs of di af tedstien ,editszc1g of to evieuloxe od of 2 es eoale o¢ dud: ,soisd garsoo edt doixteat of 1r0Om 29X99 - Tigbeke Yo Hedstoeanoo asnemele oft aethuta odd to aiasd fay. tave mitadifiupes oe Eg af ai oliseslo i sedw ‘gnkarsdo gemiteson eats eofiges bas yous? ylaiadied a riage gnididtdxs sedw oldsttogqusai --taelss yd belt! at, Isaoaseg cod eis atetiem onenT -,dneled juyodiitw eaned ee se ed daum nove soitgso wt bas ,2nidosed ni sqe520 at at etodt .eothute [sotaerlo yd bexivpos ylao otgol SD ‘bas asotiasteenos od Jewm etdd toy ,eaaeoil Caged a « deg aids .sigtonitg s mot qitisdassom tiea a'ano ons adiatteb s 06 {eoiaaalo Yo oltit entt v2idd s08 to. 'aateh to to eafgtio to tistts as gon at te ot pateo.es aditem Jedd [fs at faetaas(9 .esbaditeal to to aio edt .foodee to yasaveso oaks ot doeqset dvodtiw ee to iv aniswe: dedi [le #i Isoteuslo ofl .3t r9daigzer 1. Jab eme1 jsd? [fs ,ad18 edt to aelgauide Laniede ed ni H qtoaixg eldstisvat emsa edd amiitacs gromiadsg adt ,yidasoo Lwtdigoy 2 aud bas ,tloadi betoeteoig aed enols eonatt ee ws ot? errs 4 Sophia or Notre Danes: Stes, Oueerer Sh; Paton PRIME Farnese or the Louvre, And such has always been the broad and phil- . osophical conception of our School,: since in that, painting,: . which is the Pantheon of Art,: are grouped to preside over your studies the incontestable masters of the most varied schools,: — all these grand classics of inspired ages! Yet one cannot describe architecture without. showing its historical evolutions; I shall have to do so on occasion,: but, ) with this important reserve; history is an explanation,: but a misfortune to professor or student, who restricts the study of architecture within the limits of a historical studyl To study this history usefully,: must first be known the materi- als and the elements of architecture, History them confirms. the sane studies,: exhibits climaxes coinciding with the ace cepted discipline of principles,: decadences fatally expiatigs their neglect, renaissances illuminating their awakening.: But for these. without that. necessary preparation,: the history of an art is no more than that of archaeology.: Thus isolated,: arch aeology,: that should be the auxiliary of the arts,: may be their most formidable enemy. The question is grave and indeed merits a ery of alarn,: for it is a question of life and death for the arts. For a century and in the entire world,: arts and architect- ure have been in a condition of anemia by their subordination to archaeology. Had we a Raphael or a Paul Veronese,: they would not. be allowed to produce edther the School of Athens or the Wedding at Cana,: for archaeology objects to these ad- mimable masterpieces that they are incorrect! Architecture is today required to be contemporaneous with St. Lois, tomor- row with Louis XV, and is abroad now merely an archaeological expremsion,: a servile adaptation of illogical anachronisms,: like the epoch furnishing the model for imitation. At Munich are conceived utilitarian Parthenons; at London, to corres- pond to the entirely modern requirements of the Club,: you will find old acquaintances,: Palace Farnese, the Procuratios;: or the Colonnade of Place de la Concorde,: everything copied even to the reliefs for greater servility.; Italian art only knows how to repeat; everywhere the same,: and even in America, a youthful country,: but. as aged in art as old Europe,.; France elone has protected itself,: and thus there is still J) elie ee RE eddy tebny goslas solfiat deomis eved ow ¢aY Ifeodos donesd «6 =Joides yluo edd .yisdneo edd to Qninntged odd FA .qmug tie at mi daeel de~-s0fttibe semoS 2 evieonoo ¢axtt of aaw ant ‘bas ett atebom berudrod Se sant00n4 to bed etdd neds ;aolté fevetbsa odd betudidedua ‘aen toda{l olddid A etnomettopet Nero most JaotetTib etom doy actiasilivio s to e1avdoetido ~*~ seddid s 2ew esquso [softgoloesdots yleiug owd eaeddt anoauded ) <) ‘Snew yods Jedd oc@ ton bib aestiaylod bus aglooed3 4380 “to déia? smsa edd bas noisibaoe elivies emsa edt alt atedioxd PAPA -, ‘sna taordosna yyorg bas neea oved letbintnsiia wo ~-adelixe bfod .yLligasl \ bas ,vtevil gataasdo ni tatienoo ion ago eonohbusgebat tad? _s¥golotnoelIsg isdt mort Yleati beard yilewbara asd das as0 vi Siewod eitotte [ls Jud “w¥qgsd Yiatotian need dom asd [fA . gedd misloorg bae wond ow yshos bas>,Ivwtiivii need oved bae yh 6 Peart aso enols yivedi{ Jjadd :,mohbeatt of sdgia « aed Jas yet.) oe) cae Ilyvdotes cove .vstiliiret .,eatil babies iliac ine re aotdeiehtanes seed oxtasdqae I 2D, ai ace {vO ,ViIstsaoo edi ao jan antbeooig guiddyreve youtesh dota @ \egsdiied-s ets sobidsxsilivio se dae skangast avo edi! org oldatirs eied I tu& .2eitsineo gnitawh betetides yaomiriag I bas (adeivianlexe olftaidts: ateddo Lis aAtl anotigéaoa did . shay 1 senea g etever bas Saatd dtod dstiw ni dididxe of fae od dom edd to% mtelo I tedd >» ,isetasslo Stow ed 893 bbude iy y A eno [esoitdasvnoo s Jedi bas .yiao aotitoitdaes eno Hos | i” oes a6 so} yliaqgsd » atedeen agoy to edtow edt Sao vill _— ts duds etudut ai Isolaselo esoosd ylso toa ILiw Ss & doanss atotoutéani Jedd bastavebas biuoda wel .y¥sbod sig to atzow oft ga0ms 2elqmsxe toelea fon bluode )beavoos ed of daiw toa aeoh 192esto1g edt eausosd ees sofaieon fisde I asigqusexe ya si otolodedT .saneont cevby sail ico hanes Yew eaol tevesedws,dimil [eauden ood dad? . di 2 ino toelsa [iede 1 jaoisourdeni aeoy bas aeis eo a! deb: yd e1oaesoabeta q50 ebsm ybeetis eeodd to adaiow | etoquednoo y{isidnsdedua dtin atoe{dae alst1eo tot ant t #1 ode yiedtgqaed edd ,foodoa edd as dona» ,anaisulos ene: edd mott wortod of yierseoen foos? ak eertiod edd lo tiatige edt af aidd ,womeliaed ee 6 ts) se) ) Tamotetvth edd ed [fiw dsdw aedT — - ee Sek asa aeNo . 29 i a Pet dee ok ey Per | haa: 7 Becta s: Aah re : i hie tae 55. . a French school! Yet we have almost, fallen asleep under the: air pump.: At the beginning of the century, the only esthet- ies was to first conceive a Roman edificee-at least in inten- tion; then this bed of Procrustes tortured modern life and requirements.; A little later was, substituted the medieval ar- chitecture of a civilization yet more different from ours.: Between these two purely archaeological camps was a bitter war; Eteocles and Polynices did not. see that they were brothers in the same servile condition and the same faith of anachronism. Happily,: bold artists-- our masters-- have seen and proved that independence does not consist in changing livery,: and our art has gradually freed itself from that paleontolosgy.. All hes not. been uniformly happy,: but all efforts toward: that end have been fruitful,: and today we know and proclaim that art has a right to freedom,: that liberty alone can ensure life,: fertility,: even safety! If I emphasize these considerations, it eertainly is not. to destroy everything preceding us;. on the contrary,: our art like our. language and our. civilization are a heritage,: a rich patrimony gathered during centuries. But I hate artistic pro- scriptions like all others,: artistic exclusivisms,: and I seek to exhibit in what both broad and severe a sense I understand the word classical,: that I claim for the motto of our studies.’ One restriction only,: and that a conventional one.’ Among the works of your masters,: happily for an epoch,: some will not only become classical in fututfe,: but are already so today-; You should understand that instructors cannot and : should not select examples among the works of living artistsp because the professor does not wish to be accused of offering incense.: Therefore in my examples I shall restrict myself to _that too natural limit,: whatever loss may result for my theo- ries end your instruction; I shall select only among the works of those already made our predecessors by death,: except- ing for certain subjects with substantially contemporaneous solutions,: such as the school,: the hospital, ete.; It is there necessary to borrow from the living.; Gentlemen, this is the spirit of the Course in Theory.) Then what will be the divisions? Piet et case Ts par ee be Yo etoden edd yd bedeotbani od of teeqgqe eootatvibh ssent eds [fe Ja ainebute ors adad enid Yo Loodo? edd al e8@ gatas esond ,yshbtetaoy bedsinbs Jau¥y atenaized .aoltoutdent Yo @d¢ 3nivesl enstedev edd bas ),easéa etatbemtodat eld Yo | ‘bas \jdetxe ectbude at Jnemsonevie to zee7g9b [LA .wotromod bis oof gatddon diiw .ifs of beseotbhhs od t¢eaum saruos eid’ leves tsed aso yes .aastesey edt vot aa ;atematgxed 40% e200 “OS Beseerbhe ylletooqes od [fiw dotdw.,éttenad diitw anid stent ed [fiw yeds jedt i .aelqtodixg Jerid eft ee [lew 2a ' “Sevewod | ,beaisbath ed o¢ o1% adoatdua ts off ‘anti fsoe. af wi bedsvele edd zi atosidue betsavele asisu dedw :yaisdademoele dex @i Josidve edd Yo aotisvele edd ymedst Satteext Yo not WE4G28. 2: tedatsis odd to eomegilleiat edi Yo Jdgted Deartibceasracnterds ed blaode wateivib adt jedd avatfed I =fiaeval bas {stems odd oldid2og as _leatonoo ea bedaildstue $ fig wi (sottaeht eelqioniaq=«,tis eds to selgtodinxng olds geomereTiib bavotoxg edd to etige ni adooges ofdetivs stead ddisepos smooed daxit deum doodtidotes eddies emtoi Isaietxe at sido ‘So [sneate edd. eiseogsib atd ds asuamels ead adciw be petellg. ewosain ‘~ayewio00) |.alisw dilw aesogwoo ef owdoed oh Sts seeds Ile javewiteda bas eantlieo .adlwey eehhtee oa (Sindsediders to eineacle ‘edd ares I dotdw .adnon Pt Bas » e209 s to tisq daxit edd yiisofpol as om of Stedat ,deebom yLinesegqqs vido etetisa aged? ao ted? oud meds yee yew I dedi ton “sbise ed of ots aduidd ig) deeqet I. bedsvele yrov 2 t9edéeam odT -.bise 9d of Q —weltourdant asid ed don yee dae nt gnidden syle 5 Lud tt30 Jeom odd fodW .bodsvele ed gon yeu vbude ond sey 5501 eesq o¢ 0&8 bas oxing basthk oft aigtdo voy ‘ddiw esashicoos wi eno0bh dart? el ssdw.s,scee%9 bas Torq ¢ ddiw nem yd sbem eolua oein ,ymebsoA edi to “Tnotdourdeni otdeidae Yo abeen edd dtiw soassoteup bas Ulbavototg o10n ajaomele of3d gaiybude yd eonem idfverq 2éncwole emaz odd »,nctdest teqsob s at bas edd eewtionce sasibude rs0% to tatantbed edt te bat joreo. @ ddgmet dee1g de nisgs aedem ylot]em emof Js yrs i nee uta > ete ie pot om yy j Me eet pad s eetee "5 "Si fooded edd of notawinbs’ owt tiieg capa f ey T,ctwddedtdow to etnomele seeds asf3A daoo at en “saat¢inogmoe to adnemefe edd miod Pn goatdua edd weve zaw eqedieq tedd ,gatddeomoe to gat. + —. ae) 56 These divisions appear to be indicated by the nature of things. In the School of Fine Arts are students at; all stages | of instruction, beginners §ust admitted yesterday,: those of the intermediate stage,: and the veterans leaving the School tomorrow, All degrees of advancement in studies exist,: and | this course must be addressed to all,: with nothing too. ardu- ous for beginners; as for the veterans,: they can hear every= thing with benefit,: which will be especially addressed to them, as well as the first principles,: that they will be interested in recalling.: No art subjects are to be disdained,: however. elementary; what makes elevated subjects is the elevated fash- ion of treating them; the elevation of the subject is in the height, of the intelligence of the artist.) I believe that. the division should be this:--after. having established as concisely as possible the general and invari- able principles of the art,--principles identical in all the Sreat artistic epochs in spite of the profound differences in external forms,--the architect must first become acquaint- ed with the elements at his disposal,: the arsenal of archi tecture. He composes with walls,: doorways,: windows,: piers, : columns, vaults,: ceilings and stairways; all these are ele- ments, which I term the elements of architecture.) This appears to me as logically the first part of a eourse,: and I believe that on these matters only apparently modest,: interesting things are to be said; not that I. may say then,: but they are to be said.: The matter is very elevated,: 1 repeat emphatic- ally; nothing in art may not, be high instruction; nothing in the study may not be elevated.: When the most skilful among you obtain the grand prize and go to pass four years in Italy and Greece,: what. is first done in accordance with the rules of the Academy, wise rules made by men with a profound ac- quaintance with the needs of artistic instruction? You con- mence by studying the elements more profoundly and intimately and in a deeper fashion,: the same elements previously stud- ied at the beginning of your studies; sometimes the pension- ary at. Rome merely makes again at great, length a careful draw ing of something, that, perhaps was even the subject of his co! petitive admission to the School. : After these elements of architecture, I see what I shall term the elements of composition., Composition is the combine | Xe _ -8t, e2odw.es1sg dnotettib edd [ie to yderléae os a notde | ra09, of, gaibnedexg etoted awond od bilwede ensem bas eeoiyo0a 4 ye ‘eYderisae a8 mods mott axem OF ¢sGai po20q hadwond to sotithbaeo so ylao ylivutesy easoqmoe iLiw woY _sideov .,200id10g inetettib edd od yew tedw.allsd snarsttib etoitedni .wnotliveg,ebsoat a to aysd sis tedu,.ote 20 lud efgmsxe fulidused to wetv to jatog ofd mott ton ,atolisixe e80dmoo voy aed ,tia to stemob edt wi woud teu voy dotdw Feids ed of epbelwoad af dguone doia od ot wtesaeoen af si bids od gaum soy jalebow [stidused deom to ygolsne odd [leoer | ,0¢ evol biwode I tedd [led 6 at otok" .2evleatsoy of yee o¢ ad to 10 .,20ffisateY to alisd edd Io ietosiedo edt nit agtaed wtiede afdd jomssod edd to to eottesl to eoalsd odt to ellsd | te advegeD to eostsd edd to dadd of avogzolens ed bluode yan edd eved Bblwoda aoiliveg aidd jatiad at Ieyod sealed edd to rele edd 10 ,eb400n00 el ob. aea[4 avo. to ezods to shatilqua wmitebat b{uoo I “.ewoh és gitelleous0 edd Yo s2edi to soued 6 dadw woda od egt}ae" yodd dud ,2elqmexe eaedd ylatifum yf pierre: a teftekdteoqmoo to edneusle odd od estworg doa, ob. 7 tod. et%eq btidd « ai etedd .yllenlt a. | bevteae: t eqsdieg. bas dssv o8 ed bluow dt :3i so dowod vs) hg eesig agi Jedd bas ,erotiets edt at 2ietasa am0y : Hee. I tadt aeetuoo tedéaut teum I> .y1080dT ao ears0s Dm 3 oT Saazetg js isdt,asade evidedaet s at ysbod soy vt eis EpapetHoo aid’. to .daesxe edd bas adinil edi stasf i om iis. kp s9T8Q8IG , sao: eo Lis gead asel, sébdens windtan baidd aftdd>,18evewoH qnoo, so eeottibe,to acatisgmoo edd od bluow ~~aols 40? ,e1dsedd & to eumetgomg odd antisl .erstoetido wpitne wi asw stdsedd.edd dsdw voy [led biwoo I TE | £ gt jedw bas,emid awo awo gaidosorggs edoogs jnete? ; 99 bivoo I Tt ,seivemA bas egoiwid st .,eosetl at eup. aids: to dnemedsde etolqmoo ods voy s10ted esalg ao ion, 03 ys2 Sas di daini? jos biluoo 1, ,estseds edd. ott um ton 2% e2idT Sersceds s oxem bluode goy wod |b foua"= :00y, ot yee bluow 1 -.ytoodd awo ym ed bivow ime svbe to etade edd et sidd one yt9tism edd Yo. dei bute gon at bag anol oc beset esd, tadd dorssa 308 pawoy leoxe yem voy eqadzeg bas nist asoy ni itaeealane bilvow suedoa dasv a dowa tot Jed i ¥ Api A ee 57 ationin an entirety of all the different parts,: whose re- sources and means should be known before pretending to come pose, ise-,:to make from them an entirety. You will compose usefully only on condition of knowhag the different hells,: what. may be the different porticos,: vesti- bules etc.e,what are bays of a facade,pavilions,: interiors and. exteriors,: not, from the point of view of beautiful examples,: which you. must know in the domain of art. When you compose,: . it is necessary to be rich enough in knowledge to be able to recall the analogy of most. beautiful models; you must, be able to say to yourselves,"Here is a hall that I should love to design in the character of the halls of Versailles, or of the halls of the Palace of Justice or of the Louvre; this stair- way should be analogous to that, of the Palace of Caserta or of the Palace Royal in Paris; this pavilion should have the amplitude of those of our Place de la Concorde, or the ele-~ gance of those of the Cancellaria at Rome." I could indefinite ly multiply these examples,: but, they suffice to show what, are the elements of composition. Finally, there is a tkird part,but; I do not promise to touch on it; it would be so vast. and perhaps isreserved to. your masters in the ateliers,: and that its place is not. in the course on Theory.) 1 must further confess that I am before you today in a tentative state, that at present I do not know just, the limits. and the extent of this course,: which I. must. prepare.; However,: this third perte- nothing less than all composi- tion-~ would be the comparison of edifices or comparative ar~ chitecture. Taking the programme of a theatre, for exemple, if I could tell you what the theatre was in antigquity,: at dif- ferent. epochs approaching our own time,and what it is today in France, in Burope. and America,: if I could collect and : place before you the complete statement of this question of the theatee, I could not finish it. and say to you:+="This tis how you should make a theatres This is not my part, .for. it, would be my own theory,.: I sania say to you:="Suech is the state of the matter,: and this is the state of advancement of this ré search, that. has lasted so long and is not yet finished, Seek in your turn and perhaps you may excel your predecessorse)" But for such a vast scheme would the entire life of a man 8 t j ‘ | 88 f ‘byte eved of | wood od YIseaeoes ed node Ji HluoW Toottive ob of Shstne Jonas I {gatdtyreve besmebnoo bas besylane Yo tewog s to Jon dud: enotineiat book. ym to bervess ylao “yas to towog sit at dom aqedteq ,notdetdaeonoo sibeqofoye en0 bas |,tebtenoo I dedd yslvotYtib deat & ) etowteddtat a emeshon eagso’ of etnten a Yo ei sadd Iw@iretem dauods Y te eomesdsa end af ,etsesem aiedteo g wit sotseaesiaod dee geeisoo [sisdoetiders edd efides,ylsuons islwante = ye soremon baed js eved .yisaseoos dud ers saedd etedw :,aloodos | Won ob I t,acttoelloo on esd ytoedt nt oatvoo a0. ,agaiwerth anes qtoegeet dedi ni exvoee nao bas ,oh o¢ me IT tadw word , edd at aoidjowrdent ¢add,voy of eteate ot begtido as | peel Somten Slaolttib ylemeidxe od {fiw ,df evieonoo I as a a6 efdtaiv yrev yd ,eleoe egasl ds ekniwaxb yd wode yleduloads eved sonnee soy tel :,woy of yeaa o¢ stteobh IT tedw Wedeega ov eved {fede I detdw to ,yiowem at eeoitibe edd [fs on etsJe neo I tedw eeviecet atsdseo ditw sea so¥ } ‘ot Stiesh gon ob 1 -xediaut .eatwoo ya to emustg0rg 2 eved I ‘eonsvbs wi bersyetq atnedaos to efdest « of tloayn “8 éaevos. 1 “uOyY ddiw dese of i gniddyiave yrs bas ybude Jo rns SOY sedt {fiw _ vaees at ies gattetto » .Jibeto ald i Fa Pblene eh) i ‘dduob es + to La tibesiats edd telgex 10>, ytoodT at ‘eamsoo eft weeup dInsdiogmi asddons aeattqmoo ,ytoedT to 9 etarfov I daddy eoasttoqgmt dove to: 2emmetgotq edd Parent Apctatas awe awoy ed od evet{ed IT eidd bas odie edd aso weumetgo0% edt Yo nottatege1s edd fost aetbiude iw0oy ao Jjoetts tneasmteg bas eldsiuh « evsd co sts 4 reeviete ot beiizeh eved I nofiseup I[stigso sidit to vn $ bevieoes evad woy etoted .ervtoel Leivguent atdd =) ‘Rulddemoe eved I eevgoed:,em yd beaaize smaetg01g taqiue emoe [eel aqedisq yam soy bas ,dostdus sedd 00 #08 a91Tt6 yom ¢edt.,zommetgo1g acivieos1 wo deew pete “seviteoet od bamothvooe 6%s soy evsods mort tned PyIeve baa Giver ITih 2t ommstZo1q boog e exsm of +t el eted? .eemmextoiq to settee hoot s eden of J od ndiduedie Ynsianoo » yesebt 3 eonenpea #1 ,med. p dountbras esn0 Pe eee edd Hi eetbude to edede wet onan 58 suffice? Would it then be necessary to know,: to have studied,:— analyzed and condensed everything? I cannot. engage to do this,s only assured of my good intentions, but. not of a power of ene eyclopediec concentration,: perhaps not in the power of any oné.; Furthermore,: a great difficulty that I consider,: and one ale though material that is of a nature to cause. reflection and hesitation in a certain measure, is the absence of drawings.) By a singular anomaly,: while the architectural courses in the schools,: where these are but accessary,: have at. hand numerous drawings, our course in theory has no collection.; I do not; know what. I am to do,: and can secure in that. respect; but. I. am obliged to state to you,: that instruction in the theory, as I. conceive it, will be extremely difficult, unless I can show by drawings at. large scale,: by very visible drawings, « what I. desire to say to you,: for you cannot have ebsolutely. all the edifices in memory,:of which I shall have to speake: You. see with certain reserves what, I can state will be the programme of my course,’ Further, : I do not desire to restrict myself to a table of contents prepared in advance I. have to study and try everything,: to seek with you; I request a lite tle credit, offering you in pledge good will that you cannot. doubt.: The course in ‘tabeb ptt rather the functions of the profess or of Theory,: comprises another important question,: that of the programmes,: of such importance,: that I voluntarily say,: and this I believe to be your own opinion, that especially by the preparation of the programmes can the professor. of Theory have a durable and permanent, effect on your studies.: Because. of this capital question I. have desired to present before you this inaugural lecture, before you have received the first. programme signed by me,: because I have something to say on that subject,: and you may perhaps feel some surprise next. week on receiving programmes, that may differ to a beep! ex- tent from those you are accudtomed to receive. To make a good programme is diffieult,and very difficult to make a good series of programmes.’ There is required a sys- tem,. a sequence of ideas; a constant attention to the general state of studies in the School,: and care to direct them to that side on which exist gaps and deficiencies.: Yet with all these reserves,; I. will state my mode of thought.” ot ge Si a al oe! 88 , vod soiJonigetb edt [oodo® ino of dedd evetled 1 ..acemeldmed yilepbers need sad eeeselo baoccea odd has daxti edd soewd @nwetvy to tuo da0f, need eed ti egsinegq ydoum oot beost d3 djedé .saluoidueg si acidiaoqmom Yo ysdé at seslo sertt od bebitaoo sefbudea odd Ile yd aoiisrsgerg to eno et. bae W evetog of eeths bas wollé? voy Jjsdd. guaoeeetorn, Ist daiog Isindostciders edd mort aoidsisgetg 6 e180 Jeetast2 jor Yo setbude yd cels bas ednowele [eoisylens YS Jextt wey Jo wie nevig eeams1z01g aisdieo nee eved of -.sdoeto1g deteb edd ait beebat 10 ,eeeeelo bnoses bas teitt eft of yledented eit dud qdaadtogmi o10m oLidil s ezew Josjexg edd aasflo Jaait sogmt ati yd betsesen Jon ai emmstgoxg s to. ydisoeittib | Yde» efqusxe tot .,ecee Jon ob 1 bas ,berevoo sors edt yd 10 aetese as 2i totideath « Yo ytio Yeido edi set [led ytio « st sedT adnonttegeb s to. Isiigss, edd 103 ex0 neds ommaetd jp I benoidaem Jani, soitsieqerq to weht atdd ditw sonsbhoo saisgetgetaied 2s agsio bacese edd Jo veommsigzorg edd baedared ¢ voy deenpet base tebtenoo Iliw I gaxil.soidieogmoo ad yi0d Maeda ednomelo [esidylens to semmergotg edd om déiw bieget viet seiieee eumsoo edt to soldiog daxti ‘sidd od gnibnogees eee b) tent ucewetmtosdinosrs to ednomele odd voy od benisty i Vo onpaagiopeh Ai egnoiditequos [exeves bled gaivad seJdiA | yd dite1qg bas ..goy ivods dool od, oxteeb I. etnemele dé 08 -bas eelvqmi baaxg odd vf doidw..,saibude Jo yiiaum ; Dida ensite eeedd wond, vem soy vedd .,seifedse edd Yo sill sit, edd ai gomidemoe 2xu000 a8. KEVe ,Toee@loig 1WEY sx od wor aise! medi"==:soy od yee od evad Jon 2906 ‘get ‘Vidontdeth seviearwoy Lisl “!wobain s to yew fade Ngod voy edem ot dom ef anoldisagmoo ezedd to eaog 181 ig odd at ityaedesw ot soy extotexe ylesem o¢ 10 exood 3 | sH0y Yo eleitedsm edd to egbelnonk esd .Asmmets id ¢ ayre eetbuda nee ala adjoeidue besoisajiaet..,2el i dar eade a 98906 %R | exer medoe fore hcpehamn nt enotdisgeqmoo edd tot eA esa as wi dom a-ei sofidaeini ym >+.easlo baooes brides nt eduloada aniddyas ed donnso ereds 10% ie aioe etedw ),etoeidue elguia soy evig yiilseteses 1 te eno yd dgeoxe ).bed ed od seonado ynem ood eved seavaliadsan voy dexoea caodw enotinedat hoog Jo sne mesons etom at gniddon > .yifeait ae Shvere? lag craig cra, erty 7 oR ty = } a Ago > ila ; — * ' i eK in, ryt yous a ¥. ‘ ; ‘554 & | 4” ) ae ae ee 59 Gentlemen,: I. believe that in our Sehool the distinction be- tween the first and the second classes has been sradually ef- faced too much; perhaps it has been lost out of view,: that the first. class is thay of composition in particular,: that. the sete ond i is one of preparation by all the studies confided to spece ial professors, that you fallow and agree to pursue with the greatest care a preparation from the architectural point of view, first by analytieal elements and also by studies of ren- dered projects.: We have seen certain programmes given al- ternately to. the first and second classes, or indeed in the first class the project, was a little more important; but, the difficulty of a programme is not, measured by its importance, or by the area covered,: and I. do not see,: for example,: why a city hall for the chief city of a district, is an easier pro- Sramme than one for. the capital of a department.; Then in ac~ co#dance with this idea of preparation just mentioned,: I. un» derstand the programmes of the second class as being prepara- tory to composition, First I will consider and request you to regard with me the programmes. of analytical elements as cor-= responding to this first portion of the course in Theory exe plained to you,: the elements of architecture. After having held several competitions in the analytical elements,: I. desire bo look about. you, and profit by this com- munity of stn dicate is the grand impulse and even the life of the atelier,: that you may know these elements so that your professor,: even as occurs sometimes in the first class,: does not. have to say to you:e-"Phen learn how to make a door- way or. a window!" Tell yourselves distinctly,.: that the pur- pose of these competitions is not to make you copy details in books or to merely exercise you in washes;it is the primary grammar, the knowledge of the materials of your future stud- ies,: restricted subjects but, complete studies will be the pro# Srammes,’ As for the competitions in rendered projects,: always in the second class,: my intention is-~ not in an absolute fashion,: for there cannot be anything absolute in making progresse- to. generally give you simple subjects,: where sketches do not, have too many chances to be bad,: except by one of those phenom- ena of good intentions whose secret you have,: and that. foils al foresight; finally,: nothing is more painful for the student tede & of etinom ows tot beit ed of nad tOssetorg edd bas m@qaeo ef¢ sotd- aruda woy nedW evil of shew ed sonase ted? ) nedw.vse od om wolfe .eedodeds eeodd %6 eno dtiw aoitdti @iorg isoy to clos edd s,tt exed od bao dofdw yd ton enond howe Saebude edd bas .iuintsg bus aselitnasds yidixxod sexoosd = gode yilais? $uidéemoe of rodsl bas [liw boot wid setigq. Da ainda seibuda edd moit siueet nisiveas s beebat af exedt bib bas devgeib to datz edd af ysartdnoo edt no duds .dnemeouey ‘Yo semmatgorg exeds eriseb I bated tedéo eft 10 .dnomegetsos om ogni yoy steidini d3a esos tadd [fe au xaoma dadd yates Yo aol ngoyeds ,oisso%g sts eommaxgo1g 110 .éngeo Jon es0b doisee | 3. bbs woy sot~al Ji yws0t siedé of eeivsedio ed yleorsoe % eras. on sso 1 doidw ,ddvoy woy bas yiseog medi i yidnoy sHoy- squaidioed jon ob jate%8ed ganoy yo IdA “i - age gata wads yilui evelieS tynof ood deal son | evele ns eved bivode voy sadé yeeibode {fs to evel seen - i eveiled box geidd adixves di vet >,d18 mwo0y Jo sebt ities Og \,femsiineD:.nwo thoy af doidw 31s two to oad ne ¢ 0 » LLiw adeisas oa ose erend: doidw scodstw aouditv Sah a i ae ‘. “ia . ee ete BA. or a Pye re era’ sis , esa a Seale ad Be pie tr he : Sine j % pte reap aires Fikded nine eds B95 cae Pa bshen et eee pine thon ‘ee ung ae, ale 7? oe ag * nis “tt ‘4 ¢ er. , a pls 5, Bein te < a a) Mgrs ene , 61 will receive programmes; these will be my beginning in making — sehool programmes, and the students. in the second class will find themselves before a programme for the composition of an ~ edifice, so that; I. do not. wish them taken by surprise.: You know this,: gentlemen,: so prepare for it.: A further. word,: gentlemen, Whatever the programme made by me,: you must. add something to it. I cannot. repeat diffusely what goes. without, saying,: that. you must read between the lines and words of the programme; besides the always dry naming of the requirements demanded from you and the needs to be satisfied, there is this understanding, this postscript, which like all postscripts is frequently more important than the body of the letter; it. is that all you do must be a work of art,: must be composed and studied with the love and pass~ ion of art;. that amonds us all that lacks art,: and artistic ree search does not. count, Our programmes are prosaic; they can scarcely be otherwise in their. form;. it. is for you to add to _ them poetry and your. youth, which I can no longer do.: Ah! my young hearers,: do not bankrupt your youth; it will not last too long! Believe fully that, perseverance is the great lever of all studies; that you should have an elevated idea of your art,: for it merits this; and believe in the fu- ture of our art, which is your own.; Gentlemen,: possess those virtues without which there are no artists, will,: pride and faith! aw ae | eee go . eHJSTOUIAS PMITOBEIG «.S ARTIAHD ed? ~~,se{omr0t Iscivemun mort mobeext ~~ .YSAMMUZ od =~ .ddotd dtiw ydidoebi edi bus eidoedidors af Intts ae Listeb of {arenes sort .ersdoedidois asi motdteaguoe to = «edemifo ,cintbasorwe .bnv01k .oclsdsood == ,emmsizarg ont ~- ,exudosiidors yd beseeigxe sotsjoutdenoo al ddaxf : bene edd bas ysilidesea [eireteaWd «~ ,ehooder ls? to weaeds - stdi fio eet oa _ evad I. wuthatad anicihiantanes ed yen studoel [siugweni YM De saoy to notisvele airline edd cee soy etd oF Jdguoe -etom .,bni lee? bedsevelo sion ddiw noiteees dsdd diel poy Ti eR Abioeet : cebedeasw don eaw omit yu ,ediguods enoitidne fsnlatanee es te21 26 ~~ voy ot atsiqxe ad ezogatg I ysebot ude awoy ntevog eyouls binode tedd eelqtoning Iatenes ef? 2 Xétas edd vacliaamiushes 0% evicareg ed oY ottaeb I dita ty Jomoe Ot2 “Seite gto AHOoy ye idseds 6 ac woxrtoRed aa. bedimifl sas eedie avoy wiblrow semidenos | ered ane v atid -syadauos oft ai ytis bas cert so ..ydio « aidiin a shee pet ae, udifidixel Hoy al edeeto of yieseeoen af i i aod bas ysb ineesexq edd Yo eaihude eaedd hacyed eons 86s Iie at te savoy to dads yybude taensmreq base te shah baa sous: Iset edd ef yhute aidT -.sevieais0y Yo bas Bs j/efd,to. niemob ena ef #2 :atodel qsoy to yiian edd 7 bas. poidsvlae ,2eebind Svoy od [fiw doidw., benoliaem at yestseh s.vyd aiged ep dol, gideg su0 segqo od jaxkd ume ae sdon.os I dedt. voy Iled ef hoon ow ai ei0edT oa evil cerns ed et)edd i¢diedw,.erebie evpitse pe siete eaodd ses of bedoote seod eyaguis evad I ode oft neduw.,zethude Yo inieg gnidseda edd ids boyd ylrselooidisg bas meds besdaveban of eldecs 2 sotoseraxe M8,.9.i .910% eno balt bas dees ¥lno 18 atehto edd dedi soy woe od ogod I -,aobiges : +. yt “= y, * : : : es pal Oil oF ae tt BS deve “Yo dovig elo edd as meds eee donnao 1 tu sbeviee ers... f se6tbude suoy 30 ekede deiit esd 10 tH ise ereerettsets |, sefisiseo owd nadd exom 10% Jef aaa soy ba ont asidli count tegaes. aidd of tsoetdse seed Ems ies uF di, ‘ee ‘ . i (a f a Lee ay “pe ; 13 — Ps at ee Wee Tl a By! 9 bet 7 > a. wer eoude odd bas 2x0dednenmoo siedd edd eld | autebe neh, eves: ects bre soone lon osoiere ss .* ae. AME 65 9 F A- ; ; i ae CHAPTER 2,: DIRECTING > RINCIPLES,: SUMMARY; mm Freedom from numerical formulas.»=- The beau- tiful in architecture and its identity with truth. -- Method . of composition in architecture,: from general to details, == The programme. «~« Location,: ground, surroundings,: climate,: «- Truth in construction expressed by architecture. -- Artistic falsehoods.: -= Material stability and the appearance of sta- bility.: ) y My inaugural leeture may be summarized briefly; I have sought to make you see the entire elevation of your studies.’ If you left that. session with more elevated feelins,: more ambitious thoughts, my time was not, wasted. Today I propose to explain to you «= as far as possible = the general principles that should always govern your studies.) I. desire you to pereeive for yourselves the unity of these studies apparently so diverse.: You exercise today on a churchyi tomotrow on a theatre; your programmes are sometimes aus= * — ters,: sometimes worldly; your sites are limited and enclosed within a city, or free and airy in the country; this variety is necessary to ereate in you. flexibility and insSenuity; but. beyond these studies of the present. day and hour is the high- er and permanent. study; that of your. art in all these cases, and of yourselves.: This. study is the real purpose,: and i& is the unity of your labors; it. is the domain of the principles mentioned,: which will be youm guides, salvation and light,: First. to open our path,: let us begin by a little clearing. There is no need to tell you,: that I am not. an enemy of the antique orders,: whether there be three,: five or even four,: But I have always been shocked to see those antique orders placed | at. the starting point of studies,. when the student is still unable to understand them, and particularly by authors. bs ai only seek and find one form,: i-e.,an expression and not a cone ception. I hope to show you that. the orders are more valua- ble than their commentators,and the sauce with which they are served. But I cannot see them as the sole pivot of architect- ure or the first stage of your studies.’ Yet for more than two centuries,: architectural studies have been subject. to this despotism. When the Renaissance, in that grand movement-of the human mind that renewed philosophy,: lit- ‘erature,: sciences and arts,: gave its admiration and enthusi- | | Rat: YY &3 | © meds beitmbe df. vstopisne Yo edneuunow bostg of4 of mea | SMeett Ratettiicse Jnodtiw sey bos beobat aitmtl tvodsiw \=aisnes sid ¢isme: of wot wont dnd weds yd bettqen? 2ew +I “IfwXoe eonssetanc® edd 1YIOtetd to emitantige sadd.eonse © hevetiod di nedw neve tedd,yiredt! 10% dushas oe bre gee deeds e6osiqiodesm vit no beeeetgmt sf. santyqos Yeast © yioehs efd svevooet od berteeb odw .evodiaw bas edeivosd? w® dud. .entui ed? henolieenp yeds sbextwbs ti elevigs ens in “ORe ‘Savot yont~= yYldonisdeth yrev efdd yse I =-yletsnud } : ‘septvexdiv hsgeqnedécc bis teitsw eroctbem s ulnaisdaeo ssw entvasdst¥ B® Sifvesl doedisor os beebai saw od tk ,doedidors etosiben onsite etom softdoslloo s .sofeetorib of foetdue yrev dood VYiev jertsdosdidows nsioexD Yo selua edd oF bemsotanoo D Btedeor9 end ot gew of dss Jatt Yo enigivo edi mort bevom - ¢ ved3 o¢ ensiotioseds eff ‘sien 2s gast emdoedidors ne 28 108 “erenqoeclidg jeets ‘edd of adetiqoe edd hae .arod masee8 ‘bine \,bevivises enole ed exsdoedifoys no red iaw Jnedons eal tmeetigang Yinines dot edt satod neds Jon eaw mateo Pare gait ni neddivw gnidsyns beveiled medt Si ee tent fed jefoneiv Petedif ddmseatanef edd-to etodd ptaiy edd ai mid bewolflot:,edetixe deste Ile esto! 6 eonssttensh edd Yo evinet eds ,c1sdsedidors bedug tofssgue sew = edd bae [fe to etige ni sext be y ‘~bevieoes Fi nor “ih eas nedw > VIX efgod shad odd sebay sets JvG seggseib bed Yandaeo ditt edd to Ylad Jatit edd Yo stetoreh vorens Mtitediss rot noliisderegua behees Lo 8 eitsmet eiedT :.meidogeeb to nolserenev edt add ern soodidorA to ymebsoA [ayor edd Yo nalts “ BitvutdiV Yo youmerqwe ed! bemtefoorg dotdw edt Yo domuiad edd bas. fevor tzomle ense esterevorsnos 16 efsbom eff -.déist to efsisrs P yfsslugute bas nolsouideni ni sory seerd any to sifge nI -.t1e to niemob edi ni ngterve G atyyemts [is to atetdias eurdt edd Yo sone edt bad ai dud -.sonehnegeint biviv esi to bas gts awo ett Haegebni blod o¢ :bemrolens1s sew Sitige donevT ~ i sMowude otdaiigs edd to tefdel « aid eben ii Iefade® 10 eonseatsnef sastifixd o8 bas yt | 63 asm to the grand monuments of antiquity,: it. admired them without limits indeed,: and yet without sacrificing itself. It was inspired by them, but. knew how to remain the Renais- sance,: that springtime of history,: the Renaissance so full of sap and so ardent for liberty,: that even when it. believed itself copying,: it impressed on its masterpieces the stamp of © its own art and of its vivid independence, But. it had its theorists and writers,: who desired to recover the theory of the marvels it admired; they questioned the ruins,: but. unfor- tunately-- I say this very distinctly -«they found one named Vitruvius. Vitruvius was certainly a mediocre writer and probably a mediocre architect, if he was indeed an architect,: leaving a book very subject to discussion,: a collection more or. ‘less conformed to the rules of Grecian architecture; very far. ree moved from the origins of that art,: he was to the creators of architecture just. as were the rhetoricians to the great ora- tors,: and the sophists to the great philosophers. But as an ancbent writer on architecture he alone survived, .and criti- cism was not then born;. the 16th century took him at his word, just as it. then believed anything written in Latin;the au- thors of the Renaissance,: Alberti,: Vignola,: Palladio and Dee lorme,: all great artists,: followed him in the path of com- puted architecture,: the genius of the Renaissance alone remait ed free in spite of all, and the art was superior to the insta tion it. received.: But later unger the aged Lois XIV,: when the great chixters of the first half of the 17th century had di sappeared,: the French spirit was transformed; to bold independence had suce ceeded superstition for authority,: narrow devotion to rule,: the veneration of despotism.: There remains a curious deliber= ation of the royal Academy of Architecture,then just created, which proclaimed the supremacy of Vitruvius,: and in some sort made him a father of the artistic church.: Then his theories b came almost royal,: and the triumph of the module was almost a article of faith. Phe module or controversies on it held a great place in instruction,: and singularly figures became sov ereign in the domain of art. In spite of the sturdy independ- ence of the true artists of all time,: in spite of the tempora ry and so brilliant Renaissance of Gabriel and his rivals,: ne ¥e - mttao aed of etsdostidosrs eveifed enoeteq enmoe yebot alagé >» Ieeliutct Lsotsemedism has bizia to Isunam 6.318 bedug bae ,eteduun Yo eonetos # gon ei otudoetidathe ,boebalt olf ) ow eno yd fi ovomg bilwow I. ,e@tdd‘evotq od Yiseeeoen Ti edd 00 leted dosed of yiseseostingy ed bivow di esiwredsO panee otsoilfeh odd tadd voy wode nooe Jisde 1, .ytert | wvicoteq to yilwost edt medi etom duidton et enolidaoeg Yo tosod edd neve ef ybude at mobees? sidé yeebsdea etinitat ; ‘potdibace eda sanahoti edd eeiwotif et Ji tot ,detine odd Mipi tate jit: 2 | ~fiqusivd edd to yroly edd din - So hariedaigeslaneiat eupfiins edi io dsega Ilsede I lath? off -.coelg bas omté ttedd at iud,motsjertabs base | foob hated elisw esedd at .2lisw élivd ylevoiverg bad i © esis 80 bedose1 nedd erohto edd te ybuta eds U1 ‘,ewobaiw elie og Vino ssw eidd dedd ousd eeel on ai dt. ,adaomeleo Biarastaatostotses {adigel odd iat aid? .shiewiedts | edd mi dowitent o¢ at etebto oft ddtw ooldautse Higex oid mA doutdent of ef Ilaw edt dtiw niged of ae Sy ‘ se®@eldioaiag eds of nistex I ’ ili siuine. igi eed dite ;amcixs edi ead eansioc HEL dod. ieelatonitg esorogisa deom edd dtiw Jedd azeJe edd vdesaelan,.oldersenomeb gon o1s salgio 69801 Vilutddiel. ¢aom evad dedi. ,adxow edd Jo. yd ming edd: of ettow edd Yo Ydiaiotncs dnadenos eT enth ens tin]em dedi ,edooge ofdaiirts Jeoxg ofd gee Mia aeods te. yidgsow @1erasvow ocodw , Isoluns fe Bresaiadt vo v0 f320< trae lo ydueu oa Jineastd cot .2988 e437 antswb hd eee a god doistiesa @ son eta aolqioniad - edd has avot¢siv edd >,dte as to ydilidoaedd ta so roe oto eddas- ound ayewis ed aidd Yi bad yedet iy yids yet Pt ae ivt to Seontvace ad Iliw soy e100 to ydileaoated betlosjo5 2 193ad .astbede edd . Hhas inact letret egivbe senitenoe yaa eoidteaso et ss eit :.modd tot bas seibste odd aniagd pdeer eed doidw asodd enimaxe a0 ted etbada bescetteds alah 20 mtenaiee: jasit odd MRSS Rae betas tac sane a vee. , ; a , tre? eth Wee ek Weide ie i ie wi me heen an +o s i : rie 4 1 oe ei lasbes adr Lhaae yans1ys aiedd heneddgnetdéa soxsglt i Ss eau ti baw ~~ eshsnnoloo bedoste Jedd edoait sions «te ess {fe 10 :.2ethustea avo-to stead odd ee 5 , 64 | figures strensthened their tyranny until very recent times.) Again today some persons believe architecture to be a con- puted art,: a manual of rigid and mathematical formulas! No indeed, --Architecture is not a science of numbers,: and if necessary to prove this,: I. would prove it. by one word,: art Otherwise it would be unnecessary to teach here! On the con- trary,: I. shall soon show you. that the delicate sense of pro- portions is nothing more than the faculty of perceiving their infinite shades; this freedom in study is even the honor of | the artist,: for it is likewise the danger, the condition of the slory of the triumph.: | I. shall speak of the antique orders,: certainly with respect and admiration, but in their time and place.: The first arch- itects that erected colonnades == and it was assuredly bold-- had previously built. walls,: in these walls being doorways and windows, If the study of the orders then reacted on these elements, it is no less true that this was only possible. afterwards. Phis is the logical method;: to commence the in- struction with the orders is to instruct in the appearance; to begin with the wall is to instruct in the reality.’ I. return to the principles,: Science has its axioms; art has its principles.: Both are the basis of our studies.: Of all the arts,: architecture is that, with the most rigorous principles; but like axioms,: prin Ciples are not. demonstrable,: unless by the eternal superiori- ty of the. works,: that. have most faithfully respected then.: The constant conformity of the works to the principles produ- _“ @es the great artistic epochs, that merit the fine name of ~ @lassical; whose works are worthy of thought. and studyyamas “> transmit. to us by elegant exemples even the consebenes of art ) during the ages,. i Principles ere not. a restraint but a light; they are also the nobility of an art,: the viaticum and the watchword of art ists.. And if this be always true -- the more you study the more you will be convinced of it,-- it is doubly true for the studies. Later a detached personality or accidental ne- cessities may sometimes advise deviations and compromises. During the studiea and for them, the principles are inviolebl Let us examine those which should guide you, that concern the first attempts or the higher studies.: batt ates Sine /,outd ont to tobnetqe edt ef [wtttuaed oAT. t to venue eid mods ei jus plotidused oft ba touborg be mY ‘,outd odt yd Sas sutt oft at fu ti¢ 8" ia tales gh jtutea al owtd odd: w2iva ev¥idstini edd al » ¥libset asel vi esti odd. mtostidsris wt yldeton bas atts oe. Le ; fantedxe edi ai et estt odd ,vosaluoe Sa8 totabeg edd 10% tI Qt oe e@evieatno at sebiest sf ay tot: ,6ftow THO 80. p ullsyol od wod womd ow bebivorq :.eeviesatso al v dedd: ddors basotorg bas etamisat isdt 4ae2 ned? ,cevloe ee ot gostotg [Lbw woy aad? seonetoeaoe to ya _ @edast Yo yanetys oft mort ,sse00u8 [s1eaedge to sotgstaco wealddgsods to picierttie edd mort: sehen #imt eltvisa mort. nol va hengere 3 ge ven 9 ¥one? os [ftw edd oved u woy YE ,aebiva efea saved [Liv soy eehtesd woy of medd otacibat o¢ tovsebao [fiw 1 -.medt wollot eid nt endiatvib eerdi bestagose1 atodtus staetoas afT oe EES i oe dtdars eds to fet. » Ls paall fteaguoo ffao ow dofdw.,dsemeagnsite eT . as ‘ans *) See ryaybita ods ei ted? anotéiogotg adT a hal vd bode odd te lottaco odd .nottoutsenos aAT Shanta ede #5. 2 sattokdoste odd yllentt yal! 9d ylae aso bas iy PR ed tonass aoitsiaaqaed xahindhiaal )joolvbe ‘bas solqmexs . atquasis beisegq 05 ¢ K ‘gy WA ae bg P een eee! Se ae? peo mero Bag ii ; got ase ot mevisZ easem edd ef dA .nottiafieb stneoltinbem | brow odd yd ie aeeagre [fede 1: %feaym vot as ybon i? ~ cee “ateito Yo esnetiegqxe oft ao Dbeacgisg a eat ybots odd tol Bf, stomreddas4 eed to d1eq odd. ,atewog afd Yo atatirsa ylasen Sefdus euse odd 10% .teoth zt soistieognao at bas Ysbie deey anion basa? odw ,ysbhos bait « 19 d nae: ef. tt tot Yllutetso eidt tedmemet ted * to p La Wdduob bas gatgos!? widd yaothgsa avey e OY od eemoo Ji Tt ;anoada od af tyeoxs t Yadtbude suoivea bua snotdée yd betaqeta 1G. ith eto 8 yd Ti yeoqaos ago voy yt oew Sip 10 aeons o¢ ff wolls [ftw eds, dasrongt 8+ ,eebi cits yiseegsed at esogues of aunt ee iu yh ee a ee MN faa ay ae : 2 i [ a ry 5 hey WOTTOMos ant a 4 i‘? ee M4 $44 oy \ ae Xat Py ese VERE Sy Ree te ese 19% retiveet vas tvo ~ | gi aelbude sov2 venog edd jenwatot 65. | The beautiful is the splendor of the true,: said Plato in a magnificent definition.: Art is the means given to man for producing the beautiful;. art is then the pursuit of the beau- tiful in the true and by the true,: In the imitative erts,: the true is nature; in the creative arts and notably in architecture, the true is less readily de- fined; as for myself,: I shall express pt by the word conscience, If for the painter and sculptor, the true is in the external world,: for us it resides in ourselves.) In ourselves,: provided we know how to loyally question oure selves.’ Then seek that intimate and profound truth, that ver- ity of coneciences: Thus you will protect yourselves. from the contagion of ephemeral success,: from the tyranny of fash» ion,: from servile imiteation,: from the mirage of thoughtless fancye. Besides you will have safe guides, if you have the will to follow theme; I. will endeavor to indicate them to youe; The ancient. authors recognized three divisions in the work of the architect.) The arrangement,: which we call composition.; The proportions,: that is the study.) The construction, the control of the study by science, and finally the erection.. Composition cannot be taught and can only be learned by re= peated attempts, examples and advice,: personal experience su-« perposed on the experience of others.) Furthermore, if for the study the experienced artist is nearly certain of his powers, the part of daily good fortune in composition is great. For the same subject,: some will make a find today,: who found nothing yesterday and will find noth- ing tomorrow,’ - But remember this carefully,: for it is even the reward of your studies; this fleeting and doubtful idea offers nothing | except to the strong; if it comes to you when you are well prepared by strong and serious studies, you will know how to use it;. you can compose; if by a miracle it appears to the ignorant,: he will allow it to escape or will torture it withe out any result.: Thus to compose is necessary the idea,: and that is a good fortune; the power from studies is required,: for this is the g01 to aeitea s to tivees odd od ylorsy [Liw eebt eidt e sti at satett.,cisvediaya od Ylinsipett geom fiw ¢k yegat oiitted dedd ,swoidsete to obom aidd sabeta ageoy ai ytorts ted? ,oigol {encidibant to eboddem bas 2atroedé pata outst odd: aottindnt af aodtsoes§ bas dosed | pavene edd od Lliw etpbeootg odd bank .asebl oftatias + Reon: seenemak 19 bototttee1 ed toetdua odd a deat? yoy ,eumetgorg bebnedxe teom eds at boobal ican: ,901dd 19 ond YIno evieoreg of tebxe aft elisges | Se Rihbon vie dan dadseantibabces lo 2quvosk dsetg evit 10 Saitentaoh edt evsd bloode dotdW¥ dese to moisitogotg ovite vesedt, 1h Ginetvxe reesei 10 t9esseng odd datdw hae ,noittacg Lin nie Qalbnadetebas. as bas amustge1g ed? to eaotveoup eve -od yYsstidne off mot) Qnteacd .joette oft bas aboon goy ,alisdeb adi es jnib(tsd edd to aega oft mort Whietoeges :.cucioiaul ed éateg gatiatete Yoido xwoy tt aeetg Xa a thats: agtal tot yiesseoea Vi gaivieecs ,bawot et di Yt afin ee ad¢ o¢ fibers evi o¢ afisted a ti g ss adimil aid bas alatioism saetotttas edaes oe 1 Seat at doofden I dotdw Meictstro bas aningoasef | aera tgoy fontaco of sist tiedt nt -emoo . eceaiees: ed od wod woos geua voy: .bevisonoo avad aa, sanokstqeaonoe 1W09¥% oo re gatk?. itie woy aaaliteoguco asoy al nt ed gon bivore ati? .ommetgotg edd oF yttleb ® yaid ot sevid od exyswis blvode tad. ,soasidors noi ‘olde. datias odt ei soadtdors edT sndteq- ano eid sf Yi ebtioeb. od mid +03 ton 22 di dud -,oumethortg Gaon 30 aetinpet od todéedw ..etedusdo {[etevea x0 90 sa s ened, ets ealqusxs sekfiasl) ete ,oasod sgaiatse sq soedidors., eds yidmeuper? jedt ests yrov ef #1 boas OETEHe .dasdioqmi exow 1s0 to yYasm dae emaats “of ba 8 bse Ytev et ¢I .emmet2z0%q s duodsin detoet eit ) edi: ot-sotd? tadd savsood ei ¢1 Taione di ydw. aX sdnen vods dedw wood gon ob alsinitte 10 agaatlo | ye 5” so geam 10% Jom bue word of modt 102 pre kth moy 10% ,eted o2 ed Jon Ifiw st sesol gh ts a ylteqgorg eo o¢ wodd envees I .2emmatd 94 wor ae Sade $1 .ddgia ye gaibosoxe dom Ul 4 % i , ai H aed y : ‘ iy : ri y F ‘ ) e it? ee , “4 oy. , ee Si eas | : »" y seed os AS Wee 3 sa: ieee s808L edt gateo to ytdiadreo eid 66 certainty of using the idéa.; This idea will rarely be the result of a series of reason- ings; it. will most frequently be synthetic, rising in its en- tirety in your minds; this mode of creation, that baffles the theories and methods of traditional logic, that contradicts Bacon and Bescartes,: is intuition, the true generator of the artistic ideas.; And the procedure will be the same,: whether ' the subject be restricted or immense.: Indeed in the most extended programme,: you first omit the details in order to pereeive only two or three,: perhaps four or five great groups of varied importance,: conceiving the rede ative proportion of each. Which should have the dominating position,: and which the greater or lesser extent? All these — are questions of the programme and an understanding of the . needs and the effect,; Passing from the entirety to the parts,: from the mass of the building to its details,: you readily prog gress if your chief starting point, be judicious,: especially if it is found, reserving if necessary for later study many details to give credit to the composition,: provided it pre- sents sufficient materials and the limits are propitious.) Reasoning and criticism, which I neglect in nowise,: will come in their turn to control your conception,: for after you have conceived,: you must know how to be the proper judges of your conceptions.; - In your compositions you. will first be guided by loyal fi- delity to the programme.) This should not, be the work of the architect,: but. should always be given to him; each one has his own part,: The architect, is the artist able to realize a programme, but, it. is not, for him to decide if the client needs one or several chambers, whether he requires or not,: stables,: carriage house,: etce.; (Familiar examples are here assumed). It is very true that frequently the architect, receives no prow Sraume,: and many of ovr more important, edifices have been C= rected without, a programme, It is very sad,: and do you. know why it, occurs? It is because that. three-fourths of the time clients or officials do not. know whet, they want. Yet this is for them to know and not, for u&.) At least. it, will not. be so here, for you will reeeive pro- Srammes., I assume them to be properly made,: this assumption not. exceeding my right.: It belongs to you to know how to read | | (al Y © 2) “oO gee , wy jeer a7 iste «J ea. Di ” > e) he 8 ' ’ , vt Tie i Ya ie martated - | ayfveqorg med t Me this set babs yewoot od to dail @ voy devia eumergorg A Stogo%q ‘108 aotisatdmos ahed? toddien ateotgue tnd, eaockts ler reel (fide blwoda sumergorg odd yeezendtand swoy et tsdT ;.enots ieoisetideae1 doves beviesaoo teven eved T bas) andédulos- oxoqmi Sedif woy eevee! emastgotq ef? .abasd ww0y blod Ifew as saul | bedoegxe ef sdw fiew buatersbau Javw voy dud \jeasem to x3 dd Yo Envitrogorg edd to gsebi vaui s sved deum voy ‘qoy mott edd dedi nooqed sedto if[iw si bus. edveq dnetetTib es: ofidw,biow evo wt detadoo ([Liw gnid? Ledigao bas “ai awoy diftw df bee .eeitosesoos toain edd 107 Yisese0en al pared BRE LETS ~. ‘e8enea boo§ bas sonesi {led emmstgorg edt to aotielo1 odd [[tta zi ot90eds ) eddint 04 “6i60 wel (,eeunetb07¢ faxusostido1s to yderttina odd of tloadt Ee /tu0y nt eee ex bas ,cotisrs¥hexe of yousbaed Yees ae Litt 402 oaoi ai sede 1.d% Yo eleae of d a0 atnomeagneite anots ei etd? eodead bane aoisiogeta ai 10190 :.2eanod Jisoo efs paadive “Yieesisoy cos lq :yrommetgorg eltdil bas mufheom +, dse13 a ak oo. Rigsss HOY ifiw avid elao 10? ,elase > ae ‘ste tositsds ois saibe fea soy ot eedsoibat omsatgo1rg ofT edidotk wboaverg bas soidesol edd jaoidtzoqace to ih edie cies tiedd Lis ditw eeidio eds jeatsaob ete a a oft agatbavoriwe bas asqeoebas f adiidiw vtdasoo ni bbw ponsaivel snare Xtth use qaniedavon edd bas (sone te eccoey e128 Stab altelinantnat edit ysto es al rb Beis -svideiseval toa dguodd ,eaetdésool Isdaonunom a ee edz ed [{iw entism to ytveainin s tot enmmatg apes oF | tuoxettib etiup ed bluow ¢i sey bas »,10¢180p edt a exse 8 10 %0),9bt09000 sf ab sosid ao bedeo pak een taste TYEB qiexridae ed aselsduob bluow me 2a bLwow eno bas ,evaivess® .2 to [Lid edd to e9 bfx edd to erudoedtinors edd at atngoooA Yo sawed iT edd hae eates edd a6 dooliso ans doa JI bad yee ie slow b voy 30 -atdio fevol s dgeomia at etted Jef 50 ft ey W bloded bluow Beye Woy. / sone oXil exdaods ~ he i vee Bayes es. fis te ilduad to diwo edd ai bald ae wot aoljsloa Isool baa {snigito as iavdlo odd Yo aofd | 67 them properly.) A programme gives you & list. of the rooms,: indicates their relations, bur suggests neither their combination nor propor+ | tions.) That. is your business; the programme should still less — impose solutbons,: and I have never conceived such restrictions, Just as well hold your hands., The programme leaves you liber~ ty of means,: but you must understend- well what is expected from you; you must, have a just. idea of the proportions of the different, parts,: and it, will often happen that, the important, and capital thing will consist in one word,: while a paragraph is necessary for the minor accessories.; Read it with your in= telligence and go00d senses) But further,: there is still the relation of the programme itself to the entirety of architectural programmes.) You have — an easy tendency to exasggeration,: and we see in your composi-= | tions arrangements on the scale of St.) Peter. in Rome for lite tle court. houses.) Error in proportion and taste.) There are great, medium and little programmes;: place yourself at. the scale, for only thus will you attain variety in truth,: i.e}: character; The: programme indicates to you an essential element, of the composition; the location end ground,.; Architecture has many domains; the cities with all their diversity of sites, the country withits landscapes and surroundings,: the seashore and the mountains; very different, latitudes without, leaving Francée} In a city like Paris,: monuments are generally placed on monumental locations, though not, invariably.) Evidently 2 prom gramme for a ministry of marine will be the same in whatever — quarter, and yet it. would be quite different to assume it lo- eated on Place de la Concorde,: or on a street. The Pantheon would doubtless be entirely @ifferent,: were it, not on the top of the hill of 8.; Genevieve,: and one would not. conceive the Court. of Accounts in the architecture of the old Palace d'Or- say, had it, not. an outlook on the Seine and the Tuileries.; Yet. Paris is almost, a level city.) If you dwelt in an amphi-~ theatre like Genoa,: your eyes would behold what, you can alread find in the owrk of Gauthier,: all programmes receiving in ‘urn an original and local solution for that, very peculiar. situa- | tion of the city.; | ai 83 ; amotdiaogmoo asoy ai dfei ed bivoda eredd ,yadaroe edd al ‘7 ebts eno eysavie et otedt .1ls bus dooldue tot s9vsebne a2 od? fads ,btse ed yem di bas 210dto edt edt evitosiéie oxo | "i Aatoega diiw bezoqmeo at eauod yadavoo yseve to aig 7 rod ee oh ih peweiv berteterg edd of gone edd tot dowssa tda ,ontgole tedwomoz ed baverg eft YF aoldouttenoo to asnemertupet eid dtiw aatoqnoo wetv [wtiissed \ bobasdxe ettupes soy Seebat tI :.aotétaogques edd edesoib ag nce ei di ,daemeknaite Lgoixiounya addin eotstoniite rey bestisse1 od aso evedt Jedd seni! [evel to nedq Ladaos een memoiteveoxe bag effi? evomions ,zotysourdedss Jserd OM to yeddA beterdeleo odd eAil exngourdea altaenom & sagem deies oebtep 6) (tS ,gilleodneted9 edit Lediqeod 8 ,oateeed 8S RET) Efovift ta otefi'b a l{t¥ edd 10: nobsveld .eantemred :.2 naniiaens bavo1k edd ,ewod de atoatd sid to ebsaomorg edt to to aeneneds tol Ti as (alevel eviveeooua ai aoidiaoquos 3 -.vewtiede ef esottegut etos.odd.,.soidsnifont edi te48073 fT |): jwotode elgate $ mo seit afedavom a a0 oa e10m neve fteqg edd ofl -eacisoetoig adeca eno etodase2 add JA Seoqmo) ,etzev) dnetane1d as Jaomyojas 10 ~wadagiidsdat add rednomer ,soaises yo.selliv »,eledod +0o% bas ylgathioo 3 tans to wetv s diitw emoot dguome oved fonaso vox te@4tedd gatog rot aoaset ofos dé fonrie ‘sidd teds soy isd ylqmia ILiw omumsitgz0%1q edT ot soy tot af Jt jodie io Davos niattes s so od Mi pei Lio od bas eaatdg: Yetad tadd to ativeer odd Ils ae (eeibude avoy to ysatisy odd 2g: “emsa edd déiw semastg0%q Isotéaehi ows omuaad ‘oo ted do atd bas divot edt af cao .adaemetinpes bas aga Seek dao a3 visoertont boddgil amoot fiw dia0d edd al Wy daidw) awe edd mor? acvieatvoy toatotg Lliw eitdors deds efdeixemer ytev ai ¢t yabeen tas ak adidiow adoodgidows asiisdI seve bas ote pea tren ceso adi vis dt mor? bawotred » ,tob ? ‘yadtdiaogmes adt fon sod y kale af ybede xo ystnego yldereteio »,2zoatsieg o1ndoos dens asdsailo ddvod al .idrol ets “%o baol yledsaoieesq o2 yeonatt al yaudneo | % to} 68 In the country,: there should be felt, in your compositions an endeavor for outlook and air.; There is always one side. more attractive than the others,: and it, may be said, that the plan of every country house is composed with special refer= ence to the preferred view.) If the ground be somewhat, sloping,: this search for the most; beautiful view competes with the requirements of construction to dictate the composition.) If indeed you require extended structures with symmetrical. arrangement,: it, is not, by a hori- zontal phan or level lines that, these can be realized without, great. substructures,: enormous fills and excavations.; When it, means & monastic structure like the celebrated Abbey of Monte Cassino,. a hospital like Charenton(Fig.) 21),:a garden as at. S.; Germains,: Meudon,: or the Villa d'Este at. Tivoli (Fig.; 22),: or the promenade of the Pineio at, Rome,: the ground requires. composition in successive levels,: as if for the steps: of a stairwaye; | The greater the inclination,: the more imperious is this law,: even more so on a mountain than on a simple shores; At. the seashore one seeks protectione- like the permanent, inhabitantse- or enjoyment. as transient, guests.; Compose ac- cordingly and for hotels,: villas or casinos,: remember that, you cannot. have enough rooms with a view of the sea.) This is — the sole reason for. going there.) The programme will simply tell you,: that, this structure will be on a certain ground or site; it, is for you to understand ~ all the results of that, brief phrase and to utilize it. for the variety of your studies,.: Assume two identical programmes with the same importance and requirements, one in the North and the other in the Souths} Not. merely the studies but, the compositions entirely differ.) In the South will be rooms lighted indirectly from beneath porticos,: preferably opening on shady internal courts; you will protect, yourselves from the sun,: which you will seek in the North.) In both climates architecture has entirely differ- ent, needs; it is very remarkable that, architects in the 16th century in France,: so passionately fond of Italian architect= ure, and even Italian architects working in France like Boccae der,: borrowed from Italy its taste,: forms and decorations, : but, not its composition.; » eli ST as = 5 i & ade Me a Fy ek 1 eee | e3 3° es Pernt to {Is ytd cf ee ee tohgoooa betio evad I p to dd¥tod atitse odd déiw awobatw esnemait ozodd absoet odt 8 ian d#dgil to bean ;ylesl wi davot etedwon (4&8 >.874) yroda j ) edd je 28 ,omoh to sonet0l% Js ave mort mofdostorg «at jib $1 (49.987) [fed ytio s emooed aed edd emo to Lo [e base détow deeth ytev to adaonvaos ows e1sqmoo ot gaitaoted cS + bas (8S 327) exvaod eds Yo ds1soo odd) .vret0gastaos daon avv0l eft to tisoo off «(98 :.8fT) ewok Je ooatsd sire lileoned > (en0tdsi00eb bos ybude at gis natlsil yd betigant yilut at bo ewobatw to ¢daied at encitiogotg oft o1vuod edd ds soa t8 edd to ebsost odd Adt¥ .etreif{eousd adi to eaods déiw betsg fe dud) ylionisath eee don bilwow eno:,aiisd ani sitelleonsd i bivow sao +, 9tviod edd to divoo edd to shaoat odd ddiw omok Py ee 8 ‘.beatod baa bobalfid aug}? ef ae 101 ,geonetettib jdgile don exe se0dd bad eS =-iai ehsosl eno to eostiva [edoT beh tay ee ‘edt apa SRC suode elas lleonsd bate | mot pe PASl Jsucds erviod yee | ==iglevidoegee: e1s santmeqo edt to ssors stot eo nse geq BE to yntt pe ELL dvods» siralisoasd ‘to taso tog @.08 to g.d% wpe 8S duods . ,o1vnod sate sei tgs evad ytote honey edi to awobniw adt B's, coke | ott &, . @irel feonsd sf) Beit? Pre! ag + aetvaod bait ask snaehbante agewded acosge Iisw edi gatdeT i ; ; we SELES 2 tal (908 ‘.dal bas Senet tall fet? E82. site llesned 18 { att... Or | 1 stysod Me shsost ‘fons m0 abaimego to sdgted Isdod end) Vifent® Maree. w-=;e%8 eotiibes eit to sdgied [stot od otter aft _ Gactdeh .ewobniw fedoT :.jdgied isiof — Re EEO) 5.97 0.08 nt eLlooned RPP RRARC 0) -08% FsOd “adh MedT cor orvaed quos etd: } mor? nozael’s bentsel.ed of sf etedd elatadred Py ca. gi de oe. edé yd dud >,tleegza wd aevig Jon .s02 vee dance ‘to déuad eu. Ifiw soy 102 obiva teddoad u do peines I exe .erndoedidore edd yd be Boy ' ‘ iy ee ce Fe ‘iy j : ee i a 7. ived odagaba bediveet over atovte ted .yivdneo dol es Ry Le 9) dt best988 8h 69 I. have. cited Boccador,: i,ee,: the City Hall of aris; see on the facade those immense windows with the entire height, of a story (Fig,: 23). nowhere found in Italy; need of light. at, Dar- is,: protection from sun at, Florence or Rome,: as. at, the Capit= — ol of Rome, that, has. become a city hall (Fig.24).: It is ine teresting to compare two monuments of very great, worth and ale most, contemporary,: the court, of the Louvre (Fig.; 25). and the Cancellaria Palace at, Rome (Fig.; 26).; The court of the Louvre is fully inspired by Italian art, in study and decoration.) But. see at the Louvre the proportions in height. of windows com. pared with those of the Cancellaria.; With the facade of the Cencellaria in Paris,: one would not, see distinctly,: but, at. Rome with the facade of the court, of the Louvre, one would: be blinded and burned.) And these are not slight. differences,: for taking aan Total surface of one facade is: «= Cancellaria about, 958 sae; fte: Louvre about, 1269 sae; ft.) Total areas of the openings are respectively: -— Cancellaria,: about. 113 sq.i ft.,: or 11.8 per. cent, of surfa Louvre,: about, 245. sq.; ft.,: or 20.9 per cent, of surfaces; The windows of the second story have heights oft==« Cancellaria,: «i+ 9.2 ft,; Louvre, 15,41) fee Taking the wall spaces between windows,: we find on the con- traryi «=< SEO Bet.) Ground and ist.) Bet.) 1st. and 2nd.- Cancellaria,: Azelf; 16.4% ftp} Louvre, : (10,8 fte; 12.;8 ft; Finally,: the total height. of openings on each facade and its ratio to total height, of the edifice. are: «« ‘Total height,.; Total windows.; Ratio.; Cancellaria,: 80.0: ft»j 28.72 ft, 3D he; Louvre, 74.7 fb53 40.3 ft,) 54%) Certainly, there is to be learned a lesson from this compari- son, not. given by myself,: but, by the great, artists of the 16th. ecentury.; What, errors have resulted from having forgotten or scorned it? Another guide for you will be truth of construction express ed by the architecture.; Here I perhaps touch upon the most, pate aay RR as 5 5 |. seethude apoy, Ile Yo bedavete ‘dae edd TE inl apiAdre tedd ddaoat, etavoudad fase age seotorg 2» qtoktontieih tassilte s aan eidt~~.gat 0 2 foodes fisttes at notgourdenoo Yo migbaih [sex ooF ese asisisttebh Jedi ,éavoo son sity Bie: | ‘sauototy ef sotsoutsanoo.edt gotttelst eve basdeteban mov noltosidgesoo biew edd yd Yi bad Beets bas sititne efi. ,eotitibe 2dd.to sistowadte eee oc: betelquoo of% gedd evisonao, soy A vepagheaad edd dedt>,stgtouxta dedéonedt sedto -doue toy [is je fol Tileasi tod gaiddyns ot: 10g bas. etdtositgors,ai eboortsale? ocala ets fale? at beyslge ib jnelat tseun to atedo avothtiieg at dé. .savod 6 to sbheost odd Yo yess woy bivow sect othia A, foetd? sud eta sotedt sodw .asitoda asot ered et sauod oft boebai bus --daint ILiw woy or eis Jj08 ‘Udtlidtasogni edi vd boodeslet dadd ihe. 5 Yeredweele verve jon esobd atdd pins og $i tetetg 1 tot == Yleadt ataed mi Ilo, | to aehsos3 eit eee ~~ Yitiev ‘aeo voy ted aeicen tress eerdd ewode dos& .einod bas {ved | 524 Yo 0 nMOS mt saidgon gnived satisnuo as ejinsestq dosil Daovete {i gad¢ of ,eottibs edt to sotsouitenca acres eeusle to doette eds eonbo1g asbsost - S ezingeth yedt dsdd) .Jnenunom edt of agie m a0! 8 adnemunog gvoredos ote yledl at sainextid ant ress as i¢iw ~poond Yo Letheits? ed otto BED rons edd diiw.broo0s to tuo ylorttd . loxudo. taddo to wehsoat edd ses: .yisit hap ss ems, jae Ae ath a = oma’; 2 to gebsost tqoasass edt eqmsdd oti marreee din doomed (2 bas sok 70. elevated of all your studies.) Henri. Labrouste taught, that architecture is the art of buil ing.+-This was a militent distinction,: a protest against the too real disdain of construction in certain schools of that, time.. But to be more incisive, that, definition was incomplete — and itself sinned in forgetting artistic composition.) Arch- itecture conceives,: then studies,: finally constructs. | But,: and this must be fully understood,: construction is. i the final purpose of composition and of study, for one never } conceives or composes except to be able to constructe: The * constructbon should be the constant, thoubht of the architect,: for it supplies the arsenal of his resources and also limits ; his domain, All tentative architecture not econstructable does | | not count,: and every architectural form that violates or i, falsifies the construction is vicious.} % And if by the word construction you understand even the . structure of the edifice, its entire and effective reality, @ all you conceive that the completed edifice expresses anything other than that structure,: that the construction expresses anything but itself? Not at all,: yet, such still exists,: there are also falsehoods in architecture, and sometimes with the oerfidious charm of great talent displayed in falsifyins., What, would you say of the facade of a house, that, indicates four stories,: when there are but three? A ridiculous question you will thinke- and indeed the house is guaranteed against. : that falsehood by its impossibility. But are you certain that this does not exist elsewhere? | Well in Paris itself -- for I prefer if possible to cite exe amples that. you can verify -« see the facades of S,: Gervais 4 or of Ss. Paul and Louis.: Hach shows three stories.) «= Hhy?--— Bach presents an outline having nothing in common with the ; construction of the edifice, so that if viewed sidewise, : these facades produce the effect. of planes isolated in space,: fore eign to the monument,: that, they disguise instead of - indicating Likewise in Italy are numerous monuments,: among which 1 will cite the Cathedral of Lucca, with an interesting facade en« t tirely out of accord with the structure(Fis.: 27). On the con | trary, see the facades of other churches, Se) Niicholas=-des-= | Champs, the transept facades of S.) Eustache,: S.) Etienne dw 4 | | | Mont and S. Laurent; with sensible differences in style and ~ ; ry 1 ‘les fer Pe tare, gnsmunom odd to s1isdovtdea odd neve ,etead Po “Wie ly ed¢ yd Bevioeds agsdisq ~~ hoodeelst e wieds ei eeodds).eaveod edd Yo sbenuolos Jedd aiw~~ dqustat ‘edd agin ‘yaomted trodviw VIX ctwod mort exviod ens 1032 ‘paidds s Yo aoftsibbs’ eis bhberisper tedel hotdw das tie ixded vd bewafesh ylieged .exvued odd to divoo edd q Isdnensato enti s ,énox1t [vttinsed s beebal ef Ss! ax éInsrviet bed .oldstimbs bus I[vtitssed atom doug wod > ulrsen bas zatieloty tvodiiw soeite onsa edd eovbotg od dove gnidtvem fom yiniasdiso snewsaom s gatetmorg igus odd vd yviesosnotte o8 bedovai stew aupitas odd Y1 agi at aids -sedd ebam teven df ,ehoodoe let olteaiste ovedd "ew « Dn fe =Oels bas .vttitctieque olidedtas bus yiols Jeoteg dyvorts doze? udtiatiegua evideoube acdi~«loodog and at ete eaodn o otttbe efsdie ¢ bait tom [Liw soy bas ylinptiiéas {ie we 20, sIs203 add ellsovorgioss fom 618 toltsixe nae yoftedsal Sa eR ‘eff bobaedetqmos eono vei voy aedW c.tedto t bas noleaergxe mtot adi ,eortibe eupiine 47 teNdiegsoen to sobi etuloeds edd voy at i outst omae edd JA ;.02 90 ton blwoo JsAd § hottisoqnoo yd inti jused tud .lvtisused oy , ‘gdta dootveq af etedT | oe ait Aen Sydiuottas to Sgeliviag eds atds et taS jo ed tos blues gadd" Yo notasetomi> vsilinsbhi ,yiines Me ne 2: deed 190 ak» sonscs lanai astist&@ edd to ascalisa fs saobive eeel baa beoavomotg 249! aaedreq j2eoftibe gat floidw » TaJean aid to ydatierevoe tedd yd beitic wiioptins So dtem ofd od of smose orndsredif nt as eemmetzegg aii to qiiotiqnia edd to egueosd , to to ezcq1mg badsvele edi bas nis, “edd ef dove ja don al th pits %o sooged edi ai ddguods eldoa s as ti adt ud vlao dud ;ioset awe buoyed ef Qe gol yactteivdh ssodsiw diag boiweas edd ¥ gi 10% ,edooge Intidueed edt Yo Lsebt treo obras edd af isebi aidt eonte as déoxd - .basd 920 edt no boodealel .ense bas [eat $0" esdorrdo wo st ,sseeliesd texit edd al bxkT i me \erres ytioe ateddsol t#0 af .setirsace dgvit Bune deel . 2S Os | q two bas ».2noljieotiquoa ead eit ago beebal rons eda od gevisameni bael son ob ded? ,etmemetiny Q ‘ ’ a 71 taste,: even the structure of the monument appears; all is loge ical and sane. Falsehood on the one hand,: truth on the other.:— Again a falsehood em perhaps absolved by the slory of the triumph «-is that colennade of the Louvre,: those facades of the Louvre from Louis XIV,: without harmony with the interior,:— and which later required the addition of a third story next, the court of the Louvre,: happily designed by Gabriel(Fis.; 28),; It is indeed a beautiful front,: a fine ornamental page; but. how much more beautiful and admirable,: had Ferrault known how — to produce the same effect without violating and nearly con- promisins a monument certainly not meritinsg such disdain! ’ If the antique were invoked so erroneously by the authors of these artistic falsehoods,: it never made them; this is its : purest glory and esthetic superiority,: and also-w- since we : ‘ ‘ 7 r ; are in the School--its educative superiority. Search through all antiquity and you will not find a single edifice,: whose interior and exterior are not reciprocally the result of each other.; When you have once comprehended the structure of an antigue edifice,: its form,: expression and realization arouse in you the absolute idea of necessity.; This must, be so,: and that could not be so.: At the same time it, is generally very beautiful. but beautiful by composition and not by artifice. There is perfect art.: q But is this the privilege of antiquity? No. The same sin- ~ cerity,: identity, impression of "that could not. be otherwisé™,’ I. find in the first. basilscas,: in our churches of the 12th,: ~ 13th and 14th centuries,: in our Northern city halis,: in the palaces of the Btelian Renaissance,: in our beautiful modern edifices; perhaps less pronounced and less evident,: less Slom rified by that sovereignty of the master,: which in thw arts as in literature seems to be the mark of antiquitys--perhaps because of the simplicity of its pBposrammes. “a Such is the,aim and the elevated purpose of our art.: 4 Indeed our life has complications,: and our programmes have ree qguirements,: that do not lend themselves to abstract art. Yet a noble thought is the beacon of art; it is not atteined and is beyond our reach; but only by its direction can we follow the assured path without deviation; let us give ourselves that, ideal of the beautiful epochs,: for it will not, be to copy ial since this ideal is the entire sincerity of a conscientious ~~ ‘alae vf | a os dD wis rut ‘atid -_ eS qs hi! ‘ a tee “Uiotisme soa ed ai Xf tooiteq of Jonmeao dotdy . .wbhoor bigest ¥ ae (smoigertigen! awo éd£ bas sonetive fh at0 09 od: hakennnqet otdeisxe eldoa atdé 102 404 “od ta @f dod. [eer od of yillidsese edt tol eolttse dos hee jae 2) diitened iseot set tus af nottsttadé .gaeht ms -duoddiw “goso doa seob dnouietuotdes skid ,noktos? it no eextee idinetde eldsidecinocoi bas saebive endl » thas bevseces ai vofdssinge -ecingige edd nedt ston fT | " .uneeseoen Jerk? el | sase aft ao dhoteggs yiev sus eocisecignt owt esodt ‘seins? ni emed erxdol Eiéiw: (CS -.bitlebsfet Lactonizg odd oe2 ow. nodlh geste ead, ~beaclone iiew of aladicg adi»,etewod fe ‘idin Jjosagonoe edd eitishs yoy ,eaisvelle: ‘Ivd ead sin00 243 SVS) .@180%? 20,adnebices oa yydlase égea ag [lew ea {letiine gedt sxnini sweve.to yowesed ; atitnae at et%odds senoiireqoic adi ai go0ande @te 00 ai Snileet aics ii bas »,¢deltxas on Pete tiotie? Mites oviats soy nies abe 0 Sag ses re $1 i Bo dovedc aa) evtteasds base babots ceed ona atom eexiuge: eae won soy dsdil od 2zevioonce vieonxaoe 400 .geonbiod sisuy dtot 40. ybiewa bas Stewie siayids. anoftoser, haa Bat a0, ca 8 ep wisidhey {ies tem on T ess aaa bexepashas ehoda bedevts & 50 doade 8 @ isioilidgs. dod > beebab twidetnoded erectsae » hala gbolileviam gedd din noaivaqmoo nt . ba ed od de pee on Say +’) 0 ee ae | : i) a ia 4 : mi b , 7 ) ee Tee Le ov ieee ae Spear hac SY oi tes a eree ait bas enson awe nae tite vino noises teeq antkece ,.d38 ease asdscenn mie to comebive edd at Shy” Cea 72 art, seeking perfection only with its own means and its own needs,: which cannot, be perfect if it, be not, entirely its own evidence and its own inspiration.: But for this noble artistic impression to be felt,: it does not suffice for its stability to be real,: but, it must be ev- ident.: Admiration in art. is a real benefit,: an entire satis- faction,: while astonishment does not ocoyr without, anxiety.: Thus evident and incontestable strength seizes on the mind more than the surprise; admiration is reserved and conviction is first necessary.’ q These two impressions are very apparent, on the same monument Notre Dame in Paris.: i hen we see the principal fafade(Fis.: 29). with its monument al towers,: its portals so well enclosed,: the clear lines of its twi gelleries,: you admire the monument, with its magnifi= — cent, sanity; no. accidents or. freaks,: even the centuries cannot destroy or even injure that, entirety so well posed and so strong in its proportions; there is entire satisfaction and — no anxiety,: and if this feeling is not analyzed,.it is still effective; you admire with felicity, giving yourselves up en= tirel ye; | Pass around and observe the chevet, of sot Dame(Fig.: 30). What. you now see requires more science or. experience and more foftunate boldness.) One scarcely conceives how these forms. | and reactions,. thrusts outward and inward, can be equilibrate The monument appears like a vessel on its ways for leunching, supported by struts,: and the mind asks what would happen at a shock or a crushed stone endangered the astonishing equin librium. Astonishing indeed,: but artificial and precarious | in comparison with that. marvellous principal foosdesimee aaje tic im the evidence of its unshaken strength.: €z. area —., AR: i Bs om tae erat fill RY nt “ a mn, 4 . waa as le + ad } iat f r ye") yee gees ; I Pl a ‘’ ie worrr 1 40 fe Op GARE BAT [TET RATSALD - eastepatbannsy Sak seotes {rtoet: a sFanwiue cies 'yaed «= wdolderes Has PALIMSTd we HOt steogmoo wi habeh }o-esred etd Yo epasdaogu! Yo soltvedhaitpied «= .sedaw aera Se xdnemetnsi1a odd Yo wotv af wiaresh | a iavideways ~~ aedneasiaeris {utidueed bres ésaeme gaan y oft wm yng rari aga s'vo boodaseing’d oF wk | 8 ita Pade tbnoe B as7oaenstd ~~ sossoavedd ~~ 4Edetael wHdets ois 00 Bnoldibneds Tatsos Yo doot?h ~~ yanks tber? &4 ~ ‘ote ; (couthay aS cara sdooge dose Wo e410 fo84 aia wy - ae einenetivpet edd gedweace sanehroo ep gad: 5 one xelgmod al #f ae ndca xe snnerhong yreve nl fe on [vtean miet Ileda i sidw text? aduge te ghipmoe eidt woxt exe o'f eiuht a Nbacale yrer hteiitnes ¢ ess) ,tetosiedo soattede ylidgifa @ totacen sas79 6. %6o aig Sad easely poy 4 #06 fee Toe hht: aa rhi.. vanes ea ifs, ete, o% sii eeorte Inteat vent a eid Lo deweito:; and does 6 moot hein ks A times Bas seadt fic £0 GAGS - ‘Od GR8 oe Aye | Ladnowinod sénotiscinommog Vieeesben spore hesoaede Goaetsne emote dab, 2rchdx709 2s eldativent er Seite uyewiiate eniveer bac aigm dete Movs: MgndClowh, ott wiais bas e48il wot adcuce fod Yrazscoss ete Yedy Seuadods .2roleun. bemies at: } Vi3n09 to- toeidc eid anied dwodiiw bos betgue | rygelivenbat end! ae 2oeasgxe ese ae\ierouep edd. setierdnt edd of ee! tanh 8idizecg, ag pot a6 bedotwaeas ed dete ested sy ef Rint edn iinet anmmoe: LB oe beth ‘ded3 yas oti dedw doa’ eb tT” AGxt! to? \gorses goo hirq 10 shabbat ae to. anegat aged s Ciatt fon ybaratean ain een se dae, pert ccet ctaneane bus elteqory YoR/Qend YroLsibhbtcs. yreaceoan | +” ¢ aide tednegey anes icc Al om eitttanog as doom ve back ee RS et | 73 ee CHAPTER III, THE GRAND RULES OF COMPOSITION,: SUMMARY. «- Useful areas and conmmunications.«-Zconomy in compositions: w- Lighting and aeration., -- Basy renoval of | water.) -- Determination of importance of the parts of. the pro éramme in view of the arrangement.; -= Sacrifices.) == Useful arrangements and beautiful arrangenents.: -—- Symmetry. <~ What, is to be understood by a beautiful plan.) -- The picturesque.-- Variety. -~ Character.. -- Character a condition of diversity.} w- Tradition. -- Effect, of social conditions on the archi- tecture of each epoch.; bet. us condense somewhat, the requirements of conponti dees j In every programme as soon as it is complex are two distinct parts; first, what 1. shall term useful areas, then the Hetoas sary communications.) To take from this consideration its "7 slishtly abstract character,: take 2@ familiar example,: a hous: select if you please the plan of a great mansion of back 18th century (Fis.: 31). i an q The useful areas here are all the occupied rooms,: which ar enjoyed and required by the occupant,} He build to have selo dining rooms,: chambers,: closets,: kitchens,: @te.; . But to-connect all these and permit access are requi: necessary communications; horizontal,: by means “Of! ga corrbdors,: anteroous,: entrance spaces; vertical,: by main and service stairways.) That is inevitable,: as ~ courts for lifht. and air in the dwelling; such ares be termed useless, because they are necessary bub, : cupied,: and without being the object of construct necessary condition; they may properly be compared % eral expenses in the industries.: ee Just. as in the industries, : the general expenses. duced as much as possible,: so in architectural compos must be restricted as much as possible the areas communicatiabs,.; This ts the intelligent economy But, remember this.). | fi I. do not wish to say that. your. at oteneye must. be. galleries or porticos narrow,: fab, from that; but do uselessly multiply these means of communication, : al communications beceme embarrassing and even obstru erally the chief difficulty in composition is to ar easily pass everyalere that. all babe may be conve c 1 Mes | ‘ sO ie (ah Ay Tt ka Py Seema sent aaah odd eo [iis boogetebna Win? o¥oy bus 19 fish soottaog: Yo B2A9R9 dvoddin aed enélicotane “saa y ysto tigate ‘beats gooss ed od at saluekiuag af sexed ‘stGliteoance To yiiiseo edietop peien yoig gubot ingen atid see ,welv Yo tatog elds mor’ Sea Oigen, 26 eon isS,abilave! ed? (eliepeta To ends? | inal doonte ed Litw gay ceirxet to. Ligh yshQ ede bas et eee wean tostidore ef 3 | dofdy vd awepm odd Yo Usi DakterIne ond nO .eeengsen wsidiw enaldeoinnmios mane evi a hosideddbe exe vov, bus ,ofomte exon . VeGROLIsc neo tacO1g Lpwe 3 am fas gard at gilugetiio eldatebianoe tadionA b dooter ayer Le sant en0 ,dolitieoques * 26 asieg © enaiseo APet wilds te Rak Bataed end te moievo dmed b ghtas Sige a6 gloagod .bastisva gost, aniseed rela baste Jo woivoeiloo oda Yo env low BHO ‘ dor abewollot: ed.od Jon, edlgqtake ae je bos aettias dzeek gs. adit saala gee gwan Pealsares off .2 toc eld af addgiiyda vd butte nedgid & ylekaaisa jissweae ef aold 8 d§ tot beainos ean doldsitanos: Jahd To. eons | all paltiers elfin:.acldiseogmoo ai besaxe baa bitew sidt. Torre Jadd nso eonedh se Ts see as ‘shible veie cat Hisw OF ss aoigiew ; > witha. of “ee Bate aie 6 agen a) 28 3ae2 ly seg pore Y ania See agit Svan Geum envadd: tedge neh se are im 20. e fied end, mo} eeleseco Jatooge ul booy Ria rah. ey aitken. ait ¥, ee foaie ay bae oe eae Om ecens bia) Wgwiilivd taeoaibs io) addhin- ‘igtasogei Beik \yeeomatemgagic emon af, ade ie sere e. ee pani tiseet: viswen, 918, ened a. fhe ae ee ae at . Lewobatw hgta Sai iaso oets at nohtatehtenoe LAs 205 A aiptewieet to. [evonsy wese) afd)» htisiasa art: 3 os Udeadt ghost whites mhHe Yliese oo Yer 9 Jam asd dada. phen F ® baokibas gag idicirohs feaha Jad! ee Aut ae fo lhege Too%, 1HOR: youre. aystle Jon), aia £89) patios mons ieee row} ae aoe he anes fh 2s wend, iyo Cada WO ieee a ole er picks: Sia aad 74 q connected and the simpler the means found for this,: the clear. er and pore fully understood will be the plan.) Ensure the cone munications but. without. excess of porticos,: galleries,: etc.) Here in particular is to be recognized Simplicity as an exe a gquisite quality of composition. From this. point. of view,: see the magnificent, plans of chee Baths of Caracalla,: the Invalids,: Palace of justicel Figs: 32). and the City Hall of Garis; you will be struck by the simplic- ity of the means by which the architect. knew how to ensure the communications withour meanness.: On the contrary,: they are more simple,: and you are authorized to give magnificence to such proper communications.: Another considerable difficulty is that, of lighting all parts of a composition.; One must always reject, the too conven ient. custom at the beginning of the 19th century of providing lighting from overhead. Consult oa this point. the very cari= cus volume of the. collection of srand prize designs--curious — as examples not to be £6llowed.:; You invariably see there ~ compact. plans with at, least, three and often four or seven widths of adjacent, buildings,: all these possibly only lighted by skylights in the roofs,.: No aeration possible,: and suffoca- tion is assured; stransely a bitter struggle or the disappera ance of that, generation was required for the window to be tol. erated in composition,: while awaiting its recognition as. ™ essary. Whence came that error? This would take too much » to show;. I. mention it. to warn you,: that you still suffer fr it: even today you sometimes project, audience halls Lignted by skylights, a pure monstrosity. Hass a Remenber thatwe must have light, and air. Vertical Lighting e is good in special cases,as for the halls of museums; — ler. ‘ able in some circumstances,: when impossible otherwise; bat, all these are merely exceptional,: and save exceptions, ase windows! . me This consideration is also combined with another,: n sential, the easy removal of rafnwater.; A good composi’ essarily lends itself to a rational plan of bhe roofs,: made that, the water may be easily and certainly remove ing all internal down pipes and long gutters for wabe not always study your roof plans,: but your ground flo fixes them and may show their complexity or even impo ity.: Observe the plan of the Invalids (¥Fig,: 41); this , ow =~ - aaY >) wee 4 erm /ifpe* ads Lal ri [elm .@ na ’ ~~ a ie 7 A aig site ir met Bi pg vie Ae ie j si : ! i i fi alia ae ae M004 Gh beet Koy bis .a0dtiI6H Foo!) bavoyy ods ‘Yo C mat ‘mele int asise eds Yo! tovoue Weee iy Syord « Aagevgyld "6: boos 66 anived es wedted at Jud evol ae ae k hie paitoweye baked Od: fiew 256.8% aimee feeadve rae as ‘sed gia au # Boob Yeu? grid ae. ebson?.ens- tod wt iveed. @ ad Aadsons wk Nisiney wknd y Vitae: eit, fenies. don aK, ppted a: ade fsgtatecnya 76 wrote a singular essay,: in which he shows that, the Spartans ~ the men of the black broth-- had and desired an art, but they also wished to conquer thw Athenians.; And I believe this,: sine otherwise they would merely have been savages.: Your compositions must then be controlled by another Neuetll eration of beauty. This is the undying principle,: that the useful is pleasinsg.: Is it necessary to define a beautiful composition? It. will first be good,: but it will also ensure a good appeerance.: ; Your salons will each be doubled by the total effect,: if you © know how to arrange beautiful perspectives; your courts,:if prolonged by skilfully managed views; your facades,: if arran= Sed with fine projections,: accented recessions or pavilions, — energetic or elegant outlines; if all that is varied. and you — have contrasts;. and briefly,: if you know how to be artists in your composition.; 1 could cite a very great. number of compo= | sitions well indicatins that care for beauty; all actually ex: hibit, this. I. will indicate but, a few examples; the House. of Panza at. Pompeii. (Fig.: 36),: Palace Barberini at Rome Co 37). and the Abbey of Monte Cassino (Fig. 38); there is only embarrassment in choice; these examples. suffice to show what is a composition,: that, occupies itself with beauty of diet, ance and a wise succession of perspectives.: | Symmetry,: but, with variety,: should generally be sought) But it. is well to define symmetry.} be a Symmetry is the regularity of what is seen at a single | glance; symmetry is intelligent regularity.) LAM IT have just mentioned the first, volume of the grand prize You will there find a great, number of plans thus anraasediel longitudinal and e@ transverse axis divide the plan ‘at Same quarters,: that may be exactly superposed; not @ Pi et aa or less.; That is not symmetry but nonsense.: ‘yd ‘The City Hall of Paris has each facade symmetrical; “th a beauty, but. the facade on the Quay does not. repeat that. Rue de Rivoli;. this does not lessen symmetry,: any nore tien, the difference. between the principal and rear facades, On the contrary,: this variety is another. beauty.; Versailles is symmetrical at. a Slance,: but, not actually s0,; and tng ‘same with other monuments. eel Symmetry is incontestably a beauty,: and donsnente compen sndoweg Wheres ans dolite bet: ON ae | acghas ‘gt otut a aie® Lie vou ban - “ebeatina + ot S0scel ORO Sid hedtivesx vile ay eae suoddtT to Gdiw sac jead 4692%03 Yieudloengo r NEN, ob Weer gE ons cena axa exeido: anJ Ps ee Mbisveds ‘ete eoe la yagye gateoqaee oi ,befhude > Rae o stuegag af se hang ef} aevoath adjea ehasl att ia ne ane Lo bewaes he a ules {sxe conta SteeU RIT ! Se tarxout tad nt dati dueyh eon! as §,2O oe sGge, oraN eralis4 ad Wo melo eds et sodind aly Yo Says eo Be tess A EAieTO? Snoksoclora cvlt atin soros 70 bd 8 ital nese ihe £ a tane sent satcace ots ide fiat ee aay poe rie os 8 ASSES B. Rh ere easaid boeaegal 4 i] wo : i ea x Bee dratirien: bap \yeroderss dc be Gad etobe i A heaaddigeh Weadteto’ ais 2 0. eradeto end SaogHoo gon agoh , aentect 8 hk "antab oDEE honor phi , te th the A. Dib ob on 9 7s —— . 4 beh 2S ¥iLOMO % 3A soe dgd & 23 ” 5 +] = = sd wae biuoe cay speaks Ba > | eat Ayeb a igi baa enota (seni Lbs eee aieaeese =. he ah sno: aie AGTogROD, i a! Qed :ootnet te jos Mc aU BORE: cbs een eas Foe co. > e io 3 Si : 3 77 sition can rarely renounce it without, detriment.) That is a= Sain a rule in composition to be heeded.; From you. is gener= ally required but one facade flor a project, and you will consciously foresee that one with or without, symmetry; but. the others are not studied and are implied in your plansp si og side and rear facades, those on courts,: all at, least may be studied. In composing your plang,: all these are to be compose This leads me to diseuss this phrase,: "a beautiful plan”;: This is concise,: and one must, understand by it a plen,: that. permits and promises beautiful interiors and facades.: Some forty years since were freely mentioned plans beautiful in themselves without, regard to ell the rest.) Outlines of plans — were spoken of,: as almost symbolism in horizoatal projection. The type of this bathos is the plan of bee Palace of the Legi of Honor with five projections forming a star,: and a circular hall at the centee,: just what Psison Mazas was to realize som years later.: HALE , Indeed there are beautiful plans and the expression is quit legitimate, but. just. like books,: beautiful by what isread therein,: or a musical score,: beuatiful by its contee sae not. by the arabesque appearance of the notes.’ ihemrdio fo the general appearance of the composition and particular ly to symmetry is freely contrasted the picturesque.) Thus the Pelace of Justice in Paris justly passes for one of - the pict- uresque elements of the capital,: with its Palace of S.: Lovis % of Horloge,its waiting hall,: and the S.; Chapelle in the | midst, of its buildings of the three or four last. cons eal CPigky 393.; ‘i ae I. adore the picturesque, and certainly the picturesque nost strongly strikes the foreigner arriving in the Clty.) oa But. one does not compose the picturesgque,. which is only con posed: by the works of the Sreatest artists and by time. Seve en centuries have labored and made their imprint on this: al ace of Justice;. who would dare to flatter himself with: doing all that alone and in a day? One composes the Place de la i Concorde,: when one is an artist, of genius,: but neither the — Place S.: Mark of Venice,. the Place Signory in Florence, 2 of Siena, nor the Capitol of Rome.; (Fis. 40). ih 7 I go farther; do you desire the picturesque? Do not. ‘seek - Not. thus may you perhaps have it,, The last. centuries a mre? to Gia yscines ditt ak kntten guodete, fear b perio) Mose Sos aud extol oh ‘“wanppeintolg ef mAs ait ad Atht eid mark aoly ie Svlesovone. hilt siamob a) Bubiigo! ..oupserw sonic et Sanh andor bre ae bln exbolwo? to {arhetted edt Jondizod e les olbendote ae, neds ai: Coldw yadzag owt edd Jo G Reupaertaseig ods ylisusos 2t medd data said ; j a9, knee’ yin itay add ton asob fed .gdo rind. | Seteeas od Aigdo bos ehivoia cao e® dolde eee epke gnidion gl vio Lose etondathed aiet si bezoth Lista bas fennsoe disor edd YO galanehs Ne OU ptg pedd. ta, viueed sbuadennin Ne ,Bs onede avel dduoe 0 WG, an0sW @igemn ion, to esabteev dvsete aac en table it teup daa gaenaco A dod et Yireen toe .auros anons | BLP. . od. MEorr tos wet th ae) dovede oust Bipow aon led 6 So enick teeott bitem ont 8 a sods: Of B8OLoibo to swasoeraiio eit 559. Bao 4ho # peytsootd bas eo bere tanbe | bees és SaeR Poaditots: oT) ~werddosaga bigelen, “ eines al nStouniede jot donane oAT ree: apa soy Nase igs aimapiattae ake e died rebpssde. ead to deeds annodiee eae. e8hs 2 a yfebs tio 4 to onitios Yisiitin ed, uHEles | tizeoatny ge liad xa go°o8 fe: feltoe ge i auiewekattticd tnmoidsouse tae iB By ah eas oon: son st) eeany % pe side ings ahd goad ine | betete, a adel axe quae e4en aede bua be ines i date seoiets iprienss denM Oh ad rf J Sd SS ol wi Pld Lid rb Sri Pe ar pe As Pes : e i ; he y A ‘ ig : wa ‘ t A ead i Lis Ca re PP eee wy, Fi ese Che OTe hon PR Bye eae, a+ PL. tae i 9 | At y 5 ae Bian me Ot : ; J o- , cen ree a Cas ’ ® ahs f bike ; : i f a) ae ? y = ve . . ' ' io bib tesa pie No apo th laa res aes Be ‘igs tan i we eetdaal te Mesls® afd poltve) baeh b'.08 besotrde: Br ppane w Od Pediods inoshiq ie oF bebiq. meoe ia to. ceo. od Ape BL sow vaas ey ; wie Vitel Eh i Gh eo: Si ihee woe he . feaiodt to, ¢iled as? aailyen bt ce dhemete:) eh weet bap gere: 4ibb}n edd: Ati® .onivasdenod || gto H Fh modoarado » eqviovsinors Hashes ye fenats OA 605% epee» daawnoo bug aeiiedeuho’ : eortousie, | 704 78 completing the great edifices of the past. did not, feel re- stricted to a dead sytle; the Palace of Justice was contin- ued without making it 13th century,: and the Palace of Justice) is picturesque.) At Notre Dame and many other churches,: you. find suecessive styles from the 12th to the 15th centuries-- and Notre Dame is pictureaque.; Nothing is more so than the im terior of the Cathedral of Toulouse with the lack of coherence of its two parts,: which is again an archeeological anachronism But. what, then is actually the pictureaque? Variety. And does not, this variety depend on us architects, which we can provide and ought to ensure? | This legitimate variety is nothing else than character,. the identity of the architectural and moral impressions of the ; orosranme.; | ie Doubtless there is an intrinsic beauty of the programme; we admire the suverb vestiges of monuments whose purpose is Une known to us-? But beauty is not, a commonplace quality,: and re the search for it has no right, to dispense. with characters; The magnificent forms of a palace would be ridiculous if ape plied to a prison; applied to a school or industrial structuar ‘ they would mm, be out of place.: : a The character. of edifices is then a condition of their dix) versity,: and preserves a city or a period from monotony of tee structures... The architect must at. need adopt. abneg sete also resist, temptation.’ | Sper il Fhe search for character is further a relatively deinen eeption.: Antiquity has many edifices clearly characterinedy: but, id does not seem to have made character a chief merit; thus the Parthenon,: temple of the Athenian deity, and the Pre pyleum,: the military portico of a citadel, present the same - clements; likewise the halls of the Baths and the Basilica o Constantine.: Hith the middle ages and the Renaissance, con= tinued by modern architecture,: character is more impressed 0 churches,: Monasteries and convents,: whose architecture iss special, also on city halls,: palaces,: then on adninistrati judicial and educational buildings..: oe This is not. surprising, being the confirmation of a) frog ly stated law.: Since the Christian era,: men have become pore varied and also more complex; let. us not complain,: for ai Pi ten: ab Fis ® bias ie) en etanee “We j 404 Beeeay en0 noid fherd 38 Meade Se satis wow | paths ‘gion es youvbues dnsgerg’s ar si oat 2 eid Ae agora Hevhisnos “eisoi%s ‘gaol weiceeh 62) ai Ad, BP ylldaenet ow bitbvoute anoldsnene'h’ guglateg hint Ag ‘pres of) gebeosyin ‘Nd eodprownt feamnot of peas is rons og Opchdey ies ‘Saotia edd bLova tg eda (p2 ey a ysase et uisote Ebeaaorn Toveodt espe) bs FRG! a | ites edohensa ST a My theniyise hor Rages yey ei fadu wows moy oF ponees goch hers, ‘ever erotic » te dw Lew. teey a ae doibdw yi @aodd Gee edicce goontt eal pei xeG Rievedatsscr’ Bew wdeakovo wedw | bofoede a: nom), eh eds lew: carat ‘“nolgdLlovet Jon bus im dase dont aeomsed Adte ol welteteneh eaganeg Hi ) NFS gehetla wine ot gt Aa theverg eet inte t0% Yitdtogdes bas S4omted tis? | Hi HOTd Sex Y encode of ‘ota oF iuMak oe gibett: awe hae ae dae PP Oe wield of ole! eh tie on A: a ‘ fs /- ¢ ie al ee batch hal Bait ; : ; Bevzeced dent ‘at Jc. 804 + ,anoliveqesa 1d kxeetie wor .geus..2 wie eG ye i * ’ - Te orth Whe) y F _ ee ’ vs var. 1 a ; . 7 t ~ a CALE re @ | q ay SA Mw ny 2 wa > ays “y ~ ie et we * ra -_ + be Aine he oes ‘ Re pa (tte wer ie Sat OF oOTIod SL HoLgiocdai witca {t Wear teotiexy. to Vitlagses ditin. erortoosya.2s meko to. gotatvit edt So gacivoon sot ei Gidet, ons (divesd SOLstOROT"d. 43: ,oense sy idafor 42 gf yeedsaas wep? neewied PaoOn TEs ONT 08 wl ,BOtIat Bor. gFesin gat Hoy eenes err kitts Oi a¥ieis Uae 68) 20. 2eteho. che eno Bi e549 Idacne tiegi¢es s Jo Jsdgted sad; dead . . ” “ ‘ ives IOS es ) eee Py Aah © 4 4 aye " , m me se ea AS OPT C3183 a is # ee | wa oe at ay hel aoe ek x Me bE o f : Poe ae DEIW t i > eae wy Gy Lat FN SO Oat ey rs al " - 5 . y P “ me “~ Ph ?. | ‘ os FT oe ' tte ‘Sy pg ino 00 rt ad Hegeese Ri Beet ie fe} aS Bae < i onik S08 - WPetinoo 6k! nO To osha ty ii ; as of ) RE oe 5 aa mT: ook Mey yee x My Gore. 2 DA RS ag Joa « SO to Gy : 22 MOLARS WD: Ke BAT ROOsee - one '- god Ciiberg % Monideat ase tools se ogsela cd. ¢.o.2 " oly Rt ve Be Be eved pov hatdadeo vo sivdgalyos of god | are > ap an - “ a i ro jaten. et ei MeGOls Togas 26 MPLISTIV9, 2 26 S390 . tba) be oank Peat snabee [adtool mov? 2aclisvogare. e218 em on aig ayenion- An inogses ‘Mes’ oe te Se cele a O. . <2 iv ae. < e < ag O28 ii aetss * V19V, Bias QU GT m- ( 8 ITE OAS ” od. ote ee poe. wee an yo beaogms Sis oa ve - aeanes Mas easton adann les os ea to), Ho: perenne eretiee, 97 \ Ba CHAPTER IV.: GENBRAL\P ROPORTIONS, SUMMARY,: -- Definitinn of proportion.-- Lestaall pel trod ditional proportions.+- Architect \is master and responsible for proportionse+=Proportion in composition; examples.; -- e | Difficulty in the study of parts implying false proportions. Reciprocal proportions of interiors and exteriors,: of courts and of halls.-=-Proportions of the same object, according to ; vicinity or distance.+-Sxamples of identical compositions ix diversified by proportions.’ x | | ; ; | % : ; I must. now speak of peoportions,: and it. is first, DROPS aRry: Z to define theme: . % 4 The word proportion is borrowed from nethenatios,: im which 4 it. is. synonymous with equality of ratios; in an absolute sense the ratio is the quotient, of the division of one number by. another; in a relative sense,: the proportion ene from propriety of ratios, i. ¢e-,: the harmony. between the differ- ent, parts of an entirety.; In the first, sense,: you would say that the height of a certain entablature is een of the column; in the second sense, that all parts of a ede ifice or. of a certain part, of an edifive are admirab: portioned to each other; likewise as you say for a statue,: the head is assumed to be comprised eight the total height;. or indeed that this statue is : tioned,: or on the contraby,: the arms are too shor too long; hence the expressions, "to be or not, to - tion,” i.e.,.to please or shock our instinct for Ba But in sculpture or pahnting,: you have an assured ture as @ criterion of proportions.: It is not, so Wi are proportions from logical deductions imposed as reasoninsg,--always with the very wide latitude requ: the arts;-- there are also. very generally accepted imposed by general taste,: and that are however onl} of the eyes or the mind,: whose permanence is in $01 heritage transmitted from one Seneration to anoth Authors that have sought to establish a dogm portions,: to create a sort of hieratisa of. architec tried to give a solid basis to their theories,: have to. invoke science,: have sought, cabalistic combing terious properties of numbers,: or again ratios. 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Purely chimerical.: Others content themselves by proclaiming a legacy from antiquity with Sreater truth,: but they receive this as an indisputable revelation,: as if the artist must. first. refuse for himself the liberty of a man! | Abandon these chimeras or superstitions.; In the study of proportions is a sreat part of traditions -- custom if you prefer,: but also all the shades of the art,: all the search for character; all the study of which you are masters and are free,. on condition of knowing that in art as in ell things,: © if liberty be most. vivifyins,: it, likewise imposes most duties, As your freedom inereases,: your responsibility becomes greater Proportion is at first and primarily a quality of composi- © tion. It. is unnecessary/to say,: that between the different parts of your composition are just proportions between what — should be srand,: medium or little.: And do not CGount too much © | on study to ensure that proportion; study can indeed ab Gone thing,: but within limits imposed by the orisinal composition. For assume that you have a court of honor,: whose length cor-~ responds to that of two lateral courts on each side; if in the lateral courts of your composition have been placed too many — things, the study might, demend their enlargement; but the © study perhaps also demands that. your. court, of honor should not be increased,: What. is to be done? Compromises,: sides badly divided,: and all because in the primary composition the ense: of proportion was defective. Seams ea | It is impossible as you see,: for me to give you rules in- .y this respect. Proportions are infinite,. and an example will Lj serve better,.: ; a hy Observe the magnificent, plan of the Hospital des Invalids — (Fig.: 41),. and assume this grand entirety not deserted: as NOW, but occupied by several thousand old soldiers,. Nothing as a mean in this plan and nothing eecentri: c yet. unusual propor tions are found.: A vast court of bateaedy nae cll a public : | square,: imméBnse porticos that, almost become a waiting hall bee fore the chapel.; This court, must, contain the invalids at. Pew views): processions,: in all that recalls the profession of armé In these porticos the inmates of the hospital walk with crutet 6S8,: pass in litters or little carriages. The chapel is a real church, because. its inmates are numerous,. because it is in cae rea Base gidg ni ok pipe lo abe ed it RTSEOTE 96: ‘the foceno sid ne ldiob AL we), Qdne 1734 . Bact noenes 1¥9 agi iknived OAs es ge baticsmoe® aAnied 1 ee ef fuera. 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Prog: 83 | | the age of Louis XIY,: In this chapel the Dome as of great. in=§ portance,: as it, doubles, the chapel and scarcely belongs: to it beins somethins apart, and having its own reason for existena it. will be the place for the burial of great Senerals,: w while awaitins Napoleon,: : Again not, at the bottom of the court of honor are those i grand stairways of exceptional proportions,: each occupying an entire buildins.:; Because these stairs serve for. infirm men, i often borne on litters,. for whom is always necessary a broad and gentle ascent; I. have. seen some take a half hour to des= — cend: one story! | an And in this entire plan before readins a note,: you see at, a glance what, is principal,: secondary and merely accessory! | No need of compasses or scale for. that., Such is proporkipn in architecture. | These proportions are reasoned out, and dod not, come from pure instinct., Assume a boarding school,: where a certain 2 number of pupils sleep. at. the same time,: eat, together,: and are in classes or studies at, the same time,, For. each of a divisions do you need four equal areas? Evidently not » for the dormitories require much more space,: as you will see ribhout, | the need of demonstration. Then for. meals,: as if the space | for a pupil be no greater for eating than working,: yet are | Pequired more passages for service., The study room demands a little more area than the elass room; if recreation halls are. required for the, same persons,: they will never be large enough to permit the necessary wolveeeani tee again all that, | may vary according to whether the pupils are young ehildren, youths or young people. For an equal number,: a room for. a oi class in drawing will be larger. than a lecture room.) You may — say,: that, all this is. evident,: and that to teach im, is. to a | break in an open door. How is it, then,. that, you bring y our pre fessors compositions so fregquently,: that cannot, (be st ' because of nonsensical proportions? eee I could multioly examples, but, Ib; is. . useless: The » serena al thing is to make you see that, a programme is reasoned one should not stoners himself be the pega ta bag should: ee | ev iden 01964 Jad tenes Oe ths fo aa mi bew: 46 e009 8 Be ee KOG aan! (2 Wwe hide) F 7 ‘ ; : PP pericivsberg/e7s Peay.’ Shade ROSMIEG «ger BEd ASO ih BROS togos Sc. hobtebath@ind geby Whisgor éved EE ounce Qooe-#2 BovborG vitiedeooon Tite aay: send vee Atty. ney’ dec we JY. Ssnres tecdvo, VeeR Oe 68a etsnd ni ybelindée: od gonnss Gotan .vocizisoaneo beads: 26 si0 Bi lies Biness 7eorvsl on aldigos Jsatg end sper» ely He ps etetito ef0. pelasenon! oe fe .tikaidiy «io @healne sanges cov th Prat 7; : é ee 5) —o87 4h Lerdraf en? Ba tsen too M 7 ‘iw ® om oat > ; Iida r DAT t ae ) a tua te eeu. om oe . 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Caer sho iaes Ve Ula wor eas 9% ee ~ ve ta ae , pinoy Bi ee AY enn (| ri | : Hob) Se fYawgKos Hs ce ane pa lilies F ae ‘ “4 ey * P) e *. “ es ee ) Lee Pad So “ddbiw ide sgh gurd POs SF LG oe ae : ya Yee Mot Sg Loken Wee non ¢ bit retiavs ebm @ Se \ebiee grein Vee . (oh f, ff ra $i h R wr tat CaN cond ro ties af ee is SAR te) p | pa? ae 0 ir sists, head bad adt. ‘a iebion’ aHdvoh potdel 3 pode batt z ne a Sh pe 4 + “a To ha Vers P aan i] 84 . . others,: but. approximative in what degree?. Then something may appear. as a tyoe of medium dimensions,: also something smaller) than the rest.; Between these types are sSradations. If you have properly seen this Sradation of proportions,: I do not say that you will necessarily produce a good composition, w= there are too many other things yet,—~ but, you will not make © one of those compositions,: which cannot be studied,: for exane ole,: where the great court is no larger than a hall,: and where you acnnot enlarge one without also increasing the other, per: petuating the initial @éfect.- That error. of proportion between courts and halls is very | frequent.: How many plans have been made with a court of hon= or. continued by a hall of equal width. (I do not. say length,: which would not, be unusual).; How frequently has been repro- © duced at the School the plan of Garnaud's project, for a gone $ servatory,: seductive by its simplicity,: and which is neverthe- less impossible.: A court, of honor is always a court in the nin of its author;. consider its width and ask yourselves if it t “ever possible for a hall to have an equal width. I. have cite ed the Invalids; the church is a wide hall,: but including side aisles,: it has nearly one third the width of the court, of hone or; its nave in the clear is almost, exactly one fifth,: not. ‘ including the porticos.; This width of the nave is com= t prised nearly, three times. in the width of the lateral courts.) Phe internal diameter of the Dome of the Invalids is” a little less than one third of the court. of honor, or a little more — than half the width of the lateral courts.: Be | At_ the bLuxemburs,: the senate hall is large,: yet, bo latera courts are added to its width and to those of the communicas tions adound it, to equal the width of the court, of honor (Fig. 42).° aE * At the City Hall of Paris,: the great festal hall , not tnelad ins the Sgalleries accompanyins it,: is a little. more than one third of the averase width of the court of honor,: and” that. is | a vestige of a much smaller monument... With these galleries,. it slightly exceeds the half of that, averase width. = oe Here at the School observe the hemicyscle with its relation to the court precedins it,: the hall of Melpomene with its. req lation to the court of the Mulberry (Pig.43),: and. you” welt always find these widths. of halls less than eveh the wide s of ete ud Sod Bonita 5 ene 66k waasqunon foes adiues ang EP) jnatedn vsnozet eyo baos sesdihe ptas he vow 14 Sed? atsnatgtocatd nt eldtoning fagenes seddons Bs xrer fb eteN, .egnrhose rire bee us fated edi 30 noke Woos ste voy mod qacse de “1D Ges B batted , vem reg Y deac & esiesda S6040 mebigtia nit tig. nege Mad. ai oex ig wos iend @x Peso odd Jeds grosses LL iw pew gnodt: oni Ae. ctehsootl Lo wee ul ‘eu é je and? yaoetdd “esta f ‘sbegralac “segos Pitw TiG @eqo eas ai woot way deds Bs dove ‘TeQOGS sh rood e ofioes viieven coy dec | fel Oepe ag ¥ lag: Seti ne met fod sebbowbo saded Si ade tier vans dee I edd wnnctiacnore Io oxpeeen t , - ‘ Pe ih vie enthwesos ‘evlrev mi thE t Lert: ee ee ' dada’ nobisoqer¢ to earner aiteecewls ao. 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Two considerations govern you here, the prosramme or. requirements and the monumental effect., Kven this same variety according to this twofold oseshdenciil tion of requirements and of effect,: after beings established f in the sgeneral composition will be found.asain in the elements of that composition,: since to it, is added a new cause of vae- | riety -«- that also acts upon the composition by mediation of the elements -— that, cause of the variety is the mode of con—— structions: 1 Then let, us study from the point, of view of proportions the © diversities resulting fren the elements of architecture then- selves.’ Here are two identical compositions,: and two staadene of 2 these compositions,: that. are two masterpieces,: yet. as differ-_ ent, as possible. The superposed porticos of the Pheatre of Mar: cellus (Fig.: 45). and the superposed porticos of Palace Farnese (Fig.: 46).: You know them well enough without, any need jae ; to describe them; I. only call attention to their identity: arcade on the ground story with engaged columns of RES order and entablature,: then the second story composed of an | arcade with engaged Ionic columns and entablature.: Impossible to vary the description.: | ‘ Yet. what. a difference,: or rather contrast! That.cstebkeacgani and everyone.; But it, is not, sufficient, for you to state | this,: but to. see'’why.:. This contrast. is not in the. ornamenta~ — tion,: not. even in the mouldings,: buf particularly in the pro- portions.; [t-may be said that, it, is only in the proportions. — This principle may be stated here as an axion.: pie 2: Ae Fhe same motive of composition produces absolutely different expressions according to the proportion assigned to ib ‘by the” will of the architect.- >a Sie Wa Or in other terms,: the proportions studied freely by the are echitect, are ih the hands of that, artist the means for etrieee to his Se: the. art, character desired by him.: A neq Pas & Frigate q. be Wh é o ha: Pe “ bs BEO mpne Dek i BABS 9) 7 OMe! Soon “hs . oa . ME “color On bad ere sows hilo fagiee ck dt bad: ane No ewal peeedd #h0 v + 2nich again hee sa63. 3 Haan Which again becomes a asada that thea must, be master of his sips aie adits « erty,: there is no architecture.: | ‘Bip See sald far We are fron | Loaner formulas! if ratiiowal damgifage te Mh Fipst ean nied ‘no nied that cannot be violated with impunity. And it. te teresting to clear up as far as ig oo 1 by iw proportions.; (ety q or 5h be day Ai) nd a AN Rg k : ie me “Lowortdosoae areipbte. SV RRTSARO : ac P(sev denn dads asaceo 134: flogees wm LAA BENZ Ms ays w= QROLQ@ERS BREAN! S4SbTS G4 MOlIgoi Lacs ~~ ae ana iO niniog Yo. te daur enehédeonae ci: veh OLE sot | oise dak, nt @holtidgets Yo nbeeg-taueinsisic Hi zet eros. 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HAS pase PO 2B of Poel InGeiad io esncie ertuppe » o¥axdiinowe: edt “HTL geet, ea) poliioadrd: Orde) etd Seueee ew ea oe, fem iagoaonsi®. a? date dake cxehee ne Lena Aa Leer ‘ett ait aadene le Saag, ‘date foe duewtes: meen sea Boenk ) hehe Rained “to seeneda’ ‘ a , lig fe ¥ v) Faq Ae ee ; Lhe - ie —68B8 CHAPTER V.. SPECIFIC, PROPORTIONS,- Cy i SUMMARY.»- Search for causes that must. vary proportions.; -- Application to orders takenas examples... -— Effective di- q mensions; superpositions; number of points. of Support; art— istic character.*-Study of proportions in interiors.+-Coup- led colonnadesw= Orders above a casement or a story.; Oe Proportions in doorways and windows,: derived from their ef fective uses; -«— Monumental. doorways, ordinary and service © door ways.;-— Application to proportioas of windows.; -- Connee ion of these proportions with heights of wtories. Proportions of arches,: -- Function of the arch.; =< Great, arches.; -~ Monumental proportions in arches.; Portals of a churches.) «= Proportions of arched windows.,: 4 Proportions between the different elementd of an edifice,: © particularly of arches and plat-bands,: -- Exceptions.; -- in- finite variety. ‘ Conclusion that truth is the rule of properh ee are many.) / es First, the effective dimensions. Thus the porticos a a Madelaine(PFis.- 47) and those of the oval court of Fonte | bleau cannot, have the same proportions.: ae eas asa, RL: an example the: sate Avenser. at, ou I find in ipraserbeny be ae dtamebl Column,: diameter taken as the unit,: 100%.- A Space between two columns about i 2/5 diameter,: And. since the lower diameter of the column is 549 Space between two columns is 8.3 ft. Length of the lintel is 14,2 ft. As you see, the passage is very niae and the am the architrave eegquire stones of unusual length. if we assume ps same Sidhe ah tpape to be applied i pievebox 1,64 Pte: Space between columns 2, ty arr Lensth of Liste? 4,0 ft.- As | He ape re Ni mc anew) eR ene 64 ealwedld: py yt, RS Oh 8 son kon edt lo seveneit. ie Cif eamalos” on? ‘gaawded apeens® bai: eae eS bt evar dido ted $0. dogoe db ee sand ‘edd 08 beilque of aoléxogorg erry. 3) gn PbLnone gier~e0go relieve ote ovedd Mite (Oo bh) 2 ie note . ‘os ee SES “onelee, te: meo2dei0 , ep (ed tehOQS Qameloe cud neswied ogeaass ag to abir Songoe inet? veto t ene nt’ altsoldoavont ti pan ae as eae ht Coa tipo gaked toemunce ene5 efs 0g. Witis ton9e etor sa), eraade' sws mex e Lesives io” ei walt) emeS ts alvaved In oohdiod dd ynived 850 “ybaa. 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(routed St0a end et nating wp -POOhoe POR IW. 64ob ei. daenainarvie oy. eit oe tei. ywobsinoloo. to aieaege f eants ebro, beeogueqre to ssat at besoowl reggeset ti Redic NOY Bpecefu ehgonalos & Xo Potdvogorg 683 wie we, wi no. don incid iieags Leet dned t he ya el BuOO), pterat add dud, Po itenas one Yara weeqce YD NO) Saucess: ont Lil ani tt og8 ,beaneats, baa pacts ody 2 he OHI Ro @oort add to nckyisoqneque fnohs * oar endettogoss eaost ean dp en mege® ns y view), on iveni bag wevleeia0g 36 edice’ 3. nimi y. fendos, 24 ahaulon begaegas ows eacdd xdhievve ddim ‘ave disks yPolasoqoug lado? MaKedvone yd badycowaus amutao est. emotes. ak “Me SNe F te a " ti whe, et 1% Ks “a he hea: * nent | ny ; a4 2) oe as AE ded ay » R j THe AS PY Be ae tage SPS a 2 ts cyt Mts aha, vn Fact eo ay - ay aes Ae FAG eA a bitw ein Py lee ' a’ ‘an, Sv: ave ae a oo Yonare. bag (tocgue. e. nied enae ‘odat foliar an L got reltons, atiasonen ae 89 Likewise for the Parthenon (Fis.-: 49).- Diameter of the column 6.:15. ft.- Passage between two. columns 8.0 ft.: Length of architrave 14,1 ft,- -If this proportion be applied to the Doric Temple of Cori: (Fis. 50),+-and there are smaller oness-we should have: =« Diamrter of column 92,52. ft.:; | Passage between two columns 3.02 ft, An impracticable. dimension,: the actual width of thw passage being about, 5.25, ft.- \ But others are more eonclusive; on the same monument,: the Portico of Octavia at. Rome (Fig.; 51),.a classical example. of olacing a small order beside a Sreat one,: one having the pro=~ oortion of about two thirds of the other, the intercolumnia- — tions are equal between axes of columns,: so\that, the passages between columns are greater in the small than in the large order.; 7 I could multiply these examples,: taking anda s more: closely set than the Parthenon and more widely spaced thee ai Cori; I prefer to say to you, see the Madelaine and the oval court 7 of Fontainebleau,: and you will recognize this law of propor= — tions.’ 2S eo ~ In colonnades and in general in structures sore straisht arches,. the Sreater the effective dimensi portion is the more narrow; the smaller the dimen arrangement is more widely spaced. _ Since I speak of colonnades,: I. also desire you differences imposed bn case of superposed orders,: _ The proportion of a colonnade pleases you; attempt. bo super= pose it. by an identical repetition; not, only will the order appear apeee and Sibeiiian cr but the lower ord ed by a ions,: the E Al ci a ‘reat superposition oe the Poon, Py: the: Sdupts oe and Faustina at Rome,: whose eS Saga aie iene ae day date’ Apbanie as detneiiy forming a the same point of support,: and cannot divert iteellt from the total proportion; again even with equality of effective dimen- Sions,. the column surmounted by another arouses the idea of © something smaller than the column alone oceupying! the entire ob bale cay. ib nsngebeso dadt bua sdot¥ise: ‘end %o sition oo eE) ae Qhal SOqoRy tebe 8 ered dee oJ eRtenso Ilene add i etasd bas ddan ag6% su disimn been seq end 10% BA f+ (woled asae aads sesdetil Sos tellege eno baskeb ,eotifibe edt 40" +etoaneie eay oe el wered bisa eu wan dadéd Lid .cicad fengesed no boxed ] “il nom 649 Yo -aehh ef3 sevore of erteab’ Hoy eton on) ee ‘cuampalandeedeas fecoksibert oteder OY binede ron eh ot ikea yato: Oy dete ekdtdegnce ae, tite eal\can bas vous i jcerk .yserdnog. 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Weavor oy a0 hoods ehannolde odd 23 & ig kas | jodttk ehiv co wmese dt. oltrogors end, ay bréig: ‘ede date ha dnwse At st Seba oe zr “peat ‘cae i: her ged onl sid eds rea ai ae ebeots a ee cee Nee: ssholdsook on huwWeay Bk idl’ @ Ben is “ ea) 9 oT Ae 4 soot 91 : | impressions,: and when we seek. to produce favorable impress a | ions in the spectator,: we must, study these implied reasons,: | so as not. to shock him by a misdonception.: = Ags for the shades of proportions sought by you to strength- | en the character of the edifice,. they are infinite and are ~~ based on personal taste.; All that may be said here,: is that. the more you desire to arouse the idea of the monumental, the more should you retain traditional proportions in so far as compatible with yous composition.: | | On the contrary,: when fancy and caprice will be ee | you. will free yourselves from this severity,: which would be-~ come pedantry. All is a question of degree and of taste.: In interiors where colonnades are employed,: the proportions || should be less severe than on facades,: especially if then col- umns are before galleries. The chapel (Fis. 56). and theatre of the Palace of Versailles are very happy examples in this. respect,: as well as the engaged order of the antechamber be- | fore the chapel of Versailles.; ¥ You will also see that the study of coupled columns ‘demands proportions different. from those of isolated columns.: The two. columns then actually form one. point, of support, and. ‘the | intercolumniation would then be much too narrow if you give 5 average proportions,: for then the solids and voids would ben come. nearly equal,: conteadicting the idea of a port ieee ‘Thus with quite similar dimensions,: the portico of the court, of u sion Soubise(Fig. 57). with coupled columns has a much wider — oroportion than that. of the Palace of the Legion of Honor (Fig 58). with single columns.: The proportion will again vary if you have a colonnade. ove: a ground story;. observe an elevation of the Palace a ee de la Concorde (Fig. 59),: then conceal the ground story, as if the colonnade stood on the ground. You do not, recognize | the proportion,: it seems so wide. without, any reason cnevareee Phis is because it is counted with the piers of the basement — arcade., -—- It is that the study should be appropriate ‘a its location.’ If we pass tocdoorsrandowindows,. we likewise Pind. great \ riations in proportions for the same reasons. boa Val At first these openings appear matters of Seuist om that. ope cede all nd elit a door must be sufficiently wide and high, i x 7 ary “4 : Y . i ? sl ean ‘ A : j i os. i} ~~ ; r my al e { “9 } ’ 4 i . o 4 i ' ; J ‘ “ : 77 PY. ast > A “¥ fi ie re é } ge ? ; oe : ag PEF Ea, Co yaeeeuse ‘qine Lnod dame gon. nedw=~o7ls bie ei asboow ei! 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Lagionixg agi) Jud .xeigthco ed a eles: Ralvatd dat iWacatmoxg exam od dele soy dear se ae 1 elo asaud ge etedd ensi¢: HOY Sei gs roe ata eal fait a lebat} pooe qantaob ua loAnedess wat y en ctee Gidied odd 282 ‘yhnode Yo enckenemib Ipc TLgiBted jet 04 {Liv 42 noisy fue .forIaeo vide Sy Ween widbin edi easing yisoexe. saomts pte ted 6° rr, » edi taiw eoittbe end gotrsqnon wd, baviewval exte: ei edy at, dofir « noljoussenco. evobina «ak ¥llatoed aris S0iw 37 SB kyewrceh Teves of jledatl - ‘ ol do 98 bo ener: ad edt Botaames oN 92 and alsoew-when not. particularly ornamental,--its dimensions must suit. easy opening and closings of its wooden leaves.: Vew — ry large doorways sometimes have bronze leaves,: like those of © the Medeleine,: and are exceptions; they are rarely opened and then by several men; but these conditions are entirely differ : ent from those governing doors in constant use.; | You will find in ancient, authors the indication of a propors tion for doors making the height twice the width. Here again this proportion cannot. be taken as a rule,. and I will demons- __ trate this by a familiar example. In our rooms are doors with | two leaves and with one leaf;. the width of one is nearly twice that. of the other,: yet their heights are necessarily the same.: In monumental doorways are sometimes very sreat, heights, : Like the doorway of the Temple of Vesta at. Tivoli (Fig.; 60), 9 whose average width is 7.7 ft.: and its height, is 18.0 fo25% the ratio of height. to width then being about 2,55.: The cel- ebrated doorway of the Temple of Minerva Polias at. Athens has” a height almost exactly twice its width; that. of the Pemple © of Cori, (Fig.:.64). is a little higher; in general these door- ways are narrower than those in ordinary use; compare their proportions with those of most, carriage doorways,: and you a Will have no doubts in that respect,: and yet their widths. are nearly those of an ordinary carriage doorway.: Whence gone . the difference? This is. not from the. use made of the doorway, for from this” point of view the carriage doorway should be hisher than the. | doorway through which pass only persons on foot. The reason © is the desire of architects to produce a monumental impressior What, indeed is the monumental? A complete definition would Se complex,: but its principal character is the impression of. size perceived by comparins the edifice with its own grandeur; when you wish to make prominengt inp drawing this search ‘he the monumental,: you place there a human fisure,: ; The rectangular doorway soon finds a limit to its width, ‘: pecially in antique construction,: which is the span of the a lintel; to cover doorways 8.2 ft.; wide already requires anus-— ual dimensions of stone. But the height. is independent of rs this control, and then it, will be the height. from which is ae demanded the monumental expression,: and to obtain this the © | ‘ede acd wayee ohem aa eharnnk bad Yo buinega od} exit rare vegan text? « +o teeumi ws ead si neild Siaebiv bos deeds (Se 1050) ewok Ge noedine? 045 Yo eno Petes movl Spentitosie wiev ci S40F .ghtweco Leusos | eletiat: ont..te elotexs evotolens pe eee yam HOY .woiv Eaiexs 467 HemoR SKA YS gsdt yo boil oene ed VRRIIOD seody polesadaae LUte ey een mmeion eeet TER eo I8t god? 4 he lsgnonad1 yieru~, and thin esse edd glyeca Yo “evsd sete soy posal itn Regio Pask syvewroon ici Rh geve f93 Wiigied exkdne vieds uithego wewas lows Led ao? bevasaes idated iedeets to wal dade’ Sauwketas bade Ubotsen %6 e0Ale? eds do auct spobeaor dnl fs eset egniaetia (kd ai if) pecieed to dared odd tb yew ie@nad Yo stoch end ee ener edd ylraok Leaordrocest i: $3ni Griivhaed s.16) jorvied ed ave Tl yimeh To 4a0 UeMGtetogotg Geel “.eothol ni Stal soeisd ak van igtot Gas) Vilaneacs Bareie Vevoltetnt ai lanorigeons | ned of ers WARY. 24000 ol sidv Bidde? deve Bett a so tied’ “eleert Benaoced aaleroocorg edd Gah eel eho déiv s.obb tellers ime x>% ; gortes SO GAblen sn sxe t.deebom ator: Rea Beso YER eno edd da Hei Lupe’ avewls 3 Pease: Woah a Vl knmosinin east do .5% O19 Sad. yp aade fare RP Aolsrogokd elif gadd bes vow eG ir Je ag6e Penk Hedto Zfove? ta #008 igdeeoehom 107 bnotdregere badavels ena? Pitent Bio: etbeet 16) eaciingabyg wel sesmidenoe fas AL ore peYook: S$8ellece eas i &: @noitieqors id sik YR2F inh ead nhetreg LI tw yhude ‘eds of ivtivassem yd it 38. meas id ehlerme aed eif ed dnih obese dose Ant ee ’ | Heeyey ‘ene Jou tate arr. ed: sotdson ein oy ‘ylage apie: enoidershisnow even? Te voam: jopises fe PTO rr ‘wed evobatw eeetre paeit be i or 4 4 v ein. va th land (jnouges: irkte te ocite bagorp edd | Pysdete Iddnengnog 207. tegore RY Sadt ree tw ‘ed¢ ‘seals & ashradz eas een law penne doanke snoleoucite ‘tone to? < e pas Ri so a Yor dates sas an sotoaneitonas ah ‘\beabal tT +8 dd to onat | To ub 186, a ey i" ms > i Py ean oe me oS ‘tw ee sa 7 ete < ‘ :* peal Ce 1 Ae ksrae Or s >) opening of the doorway was made higher than the actual door; then it, has an impost. or a fixed upper part; like the doorway — of the Pantheon at. Rome (Fis. 62),: higher and wider than the : actual. opening, that. is very significant from this point of view. You may see an analogous example at.the Madeleine,: whose doorway is inspired by that. of the Roman Pantheon, Then for. a far less solemn use,: you still require a passage of nearly the same width,: the purely orbamental height of doorways just cited will diminish; you then have doors with | two leaves opening their entire height. But even in interiors continues that law of greater height, reserved for a monument — al impression.; Thus at the Palace: of Justice, the sreat door-— way of the Court, of Assizes (Fig. 63). attains very elevated | oroportions.: Nearly the same are the doors of the royal cham-_ ber of Henry II at. the Louvre,.or a beautiful internal door= way in Palace Doge in Venice,.: These proportions are entirely exceptional in interiors,: where generally the heights of stom ries even forbid this for doors,: that are to be made wide. And the proportion becomes. Sreater than on monumental doors. for our smaller doors with one leaf,: and particularly the vi more modest.; Here the height, can scarcely vary; a minimum is 7 always. required,: so that, one may pass. without bending the hea take 6.6 ft.; as the minimun.; If a door. be only 2,0. er ae ee wide,, you see that its proportion is higher than that, oh the door at Tivoli. cited just now..: . Thus elevated proportions for monumental doorways,: medium and sometimes low proportions for larsevordinarys doorspwag air ‘very high proportions for the smallest doors,: are Indicated ' by necessity. To the study will pertain the duty of specify= ing each accordins to its destination,: then arranging: the pro- portion by its character.: ‘ t Many of these considerations also apply to windows. Thus the great, monumental wimdows of the court, of the courre, (Fide! 64) have a ratio of 2.43 between height and width. Those of the Sround story are still higher, the ratio attaining 3 : | times the width. That is proper for monumental architecture, : for such prépertions cannot exist unless bi stories aren : high.: | , Indeed,: this consideration of the heaght of the stories fi determines the proportions of the rindows,; the wiathe sain { Hr waists 8 Bee igdeey eile nlisin ysex ay Lae 2108 30) Oud Ne geet ad, Yfotas ooo naire * 1 ie ehold +0 Gab ky. ond faci OFOw O8deid & ek etsy Feb iw: | vi ia? ysisleope ONT NISY Ver vitbied enduelidy> Lesvics i eirsy yey ebitibe swat ert of seg Wey Ts voy cunt Ves fF Rowogvegna pele videvos. rv pee ; e MA) seideies « pie ns Bethea tiidelsdoo «= @laeveb te 4s ‘ « a ie "t: * Passo Ton t VlgneiALrtigg even 1) 22 (a) fame ye 4 bid Layo gos | Shias a $ ¥ ) Fyn t z YAIR dz ) Ae 4 ‘ - : » Pe. heinude eo 11! AHS Gast t . Oe a4 © rash vee r va i | f 4 ,? =e apt oe | ww Oa LO ee ) Wah a } MOD OTS AOL CHL ST BSc 22. REVS te a © or Hh mi “Vv 5 2 yo ; > ¥ ee OE A A ae et Lh ee vv hw OF z me Lin Yateve a WOT" of v ; ee 4 i o ey | 7 i ie Le 2 fe By oe, ies neo ; 6 A rt Fey: Pr» a SE SSR OF BALNXKOSOR CRETE TID flies i y te ¥ : i? - a b os . t wes ik ett ime i er ae mas > eg ia es A awe ow ve Oe os fad ty hie 2Q ue bd O< iy Shes (3 2 c ' 7 : Ve Ox A a a i weyrdwaw wae Rkahoe ie T° 60: roe 3 re J + ¥ is g wea be + ah ben a57 4 Z a he Be AS ® 25 f, © a , : ; é = sf ' 8 Teh Sp ‘ ; * Sy ee ne 8 ‘ ds ap n ‘ eds en HH Lo Si Pe Ss r Pr GO y§ wt “5 QO aCe * G i & Ahte ti We Bod Wood >) hs x ik he dhe 7 . om " 4 : iy 3 eMigiitay tb: Me ~FRenhasse AG > Th CO Lead & are siel ey joecibora: of delagon. casas 7 BE ty. wn? & i a 4 ; y) ; . t Sy Pipher ea ; ¥ } Z. ‘ ‘ga : > a : a ? ein aia ten ‘ ee aw Pee Oe oN ire oy, Bt . es id Wy is ' fieG i iat SF & Tay. VLG BA DR ag Sid. on, 2S ee: i i i 4 © rd ri oh ee Le mn 2% a ¥¢ - = ag Sy. ho iynekcid 2d) mo 2 fndd nerd vei iv dette nh : q ¢ : r ay f ‘ : : : F 2! ehh es o> i mt dt See wn, Ke i be oo, lt abe sa) Mlk atts @ ae fiaaed vo (a5 eed BY A Lad rae > Ah we. ree BE SRS STE ‘ o i ’ Ja 5 : Ps Ne . ‘ i - Haba ie #8 eid awobe iy paar ge ese be 9 0K ae ee es ee i. ae ee -. fe 3 i es * = A o gt ae = ~] Ii = dei in «2 t 3 t 2 a ie | RN lat: tee feta C8 nm F ehcbinay Rem tat) aie ino) eee etd ¢¢. siebe eat fidlde Wbi8 7 ging.” ~ ekeen end, od Meleenwiaxs Iewpy Sons ae ta’ | Basa sdvaubdera ‘oss. fd pe baitpe! pa Per ‘ 1 ia] ‘ a e sf eas Ba Rison Sehaick Galaaier hilse ava Cgedde Die ol a ae oeyatia to. dpa tte: She Wtereqae YM ah 160.) ‘einai et aad ini. Be don FeRES! | T% ve o,aness coh Ae ute ged Noyine edd 6 g abidoeadineon| al: y oS “ 94 7 vary within quite restricted limits; the window with two leaves. can rarely be less than 4,0 or more than 6.60 ft., @ wide(this is a little more than the width of thode of the Low Louvre),: while the heights may vary from equality to threefold, Thus you often see in the same edifice very varied propor= tions for the windows,: notably when superposed: in several sto-= ries., I cite here the superposed windows of the Louvre, of the. Mint, (Fis.; 65),: and of Place de la Concorde. Widths vary ‘little in these examples,: the differences--and they are tes Siderablo -- consistins entirsly in the heishts.: ¢l ) If I have sufficiently indicated to you what is the arehtal | publ study,: 1. scarcely need tell you,: that it, is not, alone on the facade, that, will be studied. the proportions of your — Windowse: | The heights of the stories rule the heights of the Cadena but even in that relation are possible differences mee to whether your interiors are vaulted or have horizontal cE ings,. are wide or narrow. Every window is made to lisht an = interior,. and must, first, satisfy that programme, It. HHL be still different according to whether it, is to be a house win dow,: where one leans on it,: or rather a window lishting a ‘ag room intended: for. work or study; the window of 2 hospital 1 have its special proportions,: as well. as the vindoaseiianlll school or off an acadeny.; ays eae Perhaps nothinb in arcBitecture lends itself to propor more indefinitely varied than the window,: from the m 2 often wider than hdsh, as on the Library of Venice,: to the Farnesina,: Mansion Pourtales (Fig.: 66) by Duban,: Rue: Trone : or Palace Massimi,. whose windows are as slender as for ch ese’ But. search carefully and you will always find Be in these proportions «= at. least, in beautiful | edifices i sor reason will here gears be the outer: conformity of be satisfied by she archi becte: a In all that I have said relating to proportions, you apparent thr effect of construction on architecture,; 7 not, an imitative art,: nor is it an art, of arbitrary con tions or primarily of esthetics.; It. is before and above the art of truth; the true has its needs bo satisfy,. aad seit ae Nie eat dhb one EG Sqeite’s6Y .aboan t Papehsoqsks Petiey 626r sey Egtt niege {lets si” 7 ae nd yreetecen ef Ji .wehs evbetnos vlrecdig oT | rons oh sd ponedelxe ‘ot hopaen! eet’: ee tis 2 Hs Sbok Sania eeu ieso4 46 sunkaees wii binign ee , UIenibiodtsxe -eidigeogms ctor Bhed@ saath bid M2 eH Je 6 heniavia beohut sien feisever ond 103 Hittite ‘gat Nn OP hshessxs eused aiden ereaw -; raed de “aIges edt ifs Witliae Ponseo sens yenenele Lovins ure) ; “mbehiate wot emtoe itose Pn! vd" otetiw wiedden vletteoe Ji -ervédwence oest “does eng bhedneval saw yisaeber, "ei Eapxiake esiuioxe diced bas glish riots sdv eee we¥ rhe: “ns Yo peizevooe it veers edd To anc Brat Agee kite ag i hae’. 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Binet Qatignad ‘ieh wigdod wad) bad ((%9 / Rea) | 4 a) 40. rary) owe to widas ed2 inl wingl - Hee oor gota Mvebrass oad ot phbs sot ttounrd ets fore wor elon 4 ava, BLS » uri ene Ee Hes lash noieu (Le te ya. | : BON: aps gents. celeb 6 pols qpntier..,fora Seek cv Ef Ibs NN « a He ¥ ) : on aoe ee we oh ya POE (hk aD Le OR | Tees 7) y cs wis rr f 6.0) otk Oye So RBS ALY “0Q i) seo f meg «a 4 ne Yo. ea saike oye end v ol dro ue%g Jedd so i ete toe na ibuorto.s 4d cop baw (ast,.8 40%: obéw. dens exedn’ sat Bi, Seats 8 Febat ao 2 tod ao ts) Wonemd gues te So: petlone. joo atiaad Komrscmek; Gl Oa fens’ tal dd. wepiol on Likw eaegt abate ty Cale eas | vrasenitaatl bedaay wehaloae os dayace ‘oan can. Pat ; ys pty a ead “ ant ta { ‘ ie q craxe hs aoe) iy , re ai: view : wegt Pee a iGusath ae ; sooty edd ea rom @odonuido. oH id Eis 1, ‘com 2; diated eid | Srawka: eyed pauwendsd eon) Me ae: at" Aan ee 2 it. weizsocoss, Taxon, le be naa aa os ° 3 ‘ ai PS a ae? 96 | | know,: but, of the last. narriw ones and. those just, cited,: which” have grand. proportions? No. doubt is possible. Nothing will make this truth more strongly felt. than pian study of porches-or portals,: like those of the principal fan | cade of Amiens (Fig. 70).: However grand it. is materially,: if” the principal portal of Amiens were only a simple opening in | the wall,: it, would appear small; it, would again seem so were © it, not enclosed by a single arch. But you. know the arrange ment, of these portals with their successive archivolts projecs ting beyond each other,.: thus forming a large number of concen= tric arches.: Hach arch adds only one width of archivolt in height but two in width; thus without the slight, difference resulting from the pointed form,: the widths increase in rela= tion to the heights in the ratio of two to one.; And then note how much the proportion adds to the grandeur of appearam by an illusion desired by the artist,: your eye first oerceives the widest, arch,: which alone determines for you the PRP T tion of the portal.: Finally of extreme width is the bridge,: the srandaue exe | pression of the arch.: + nea May it, be said that these principles have no exceptions? No,: for. there may always be in each composition an idea,: a feeling to express in a special fashion,.: Thus the Gate Sai Denis (Fig.; 71). and the Arch de 1'. Etoile (Fig.; 72) have eleuw vated proportions in spite of the considerable widths of th arches,. especially of the latter.: But, who does nobrseciin even in that. proportion,. the enclosure of God or the. idol,: th arch made for a man and not. for a crowd? An entirely moral proportion,: for I conceive that if in future after a vietory,: our democracy has to erect, arches of triumph,: the proport of their; arches will no longer: be that, enclosing a man. b Wide enough to encloses ranked regiments,: and nithout, Ae its chara! ; , Also there are Often very: high proportions,: beam aru lighting churches,: like the great. Slass windows,: that in 4 transepts have almost, the heisht of the aisles themselves,: Still an entirely moral proportion,: the result, of the > specia proportions of the monument, itself.: | ; But, when the arch is only a wifdsen a the na pian previousls mentioned for rectangular windows still control its propane ' ; nt bn vied r one bye peal Oe ee ics Sr ee ) Voeits ar oe dade ton ete I eae Be ae a 2” ewobain: Ayebtn ot Iheedt shee lh: Ylaodova «iT peed! seevael ond Qo beeols wobuiw.eltrie edd re eG £ : edd “Yo eRads otew as ewobadw eexh Y1ev: pede ‘ im “gakitew PHE TO) eadorutic toreneds extl.jadash ‘gisecord stndkdsix youliax YO bas £9iteak 1d eos. s bexeth Seech ee did swobalw v9 pare t: Oa C18 eeedad wobs ix etd to ‘yditelaek ehae ead) mont ageoee elles ven oo Beas bes ARH 0's J A tebe feo ce sat at vaet seelbdecl fo eno ‘ike nae ete Rett Hd ey .ce bojseto sev dots add conic ce. ed dwam abdg . Span eHotenesth to setieizver cidteroq Ile-exr ile ie} tte Weloeth even yes does inone ed? ae ae rae ae a ne ines Gedvoetbaw edd @b ed sot (faetss eld. to fd gehd soe boy eunt.eipeeelo etd da Besctnest fe oe ‘«nobeatt anoy, to ontiee? saci lieses evauia wed ee ik "glug #00) feas H&a Os -Yiaeaevosd JT al | : fahdieaoowet | Paden Dees Hoy eolitbe ouag edd at Bn8 eto’ voflons yicneope rt ofiw isd) eototw Wen eds Gee nigivo esd o4 spoeyr oy TL | Ont eo edd To eonebive edd extotooe {flv ei ats 0 nook add of dose ode petites ‘oe @nee @nase ond: yuslayns joes ens eooo tellade eddeltdw het ieehod # at yewsoch chainvies “salugaadser « Mo Acisiaconce and Jedd ecard ph at henote 28 Hoe bac (Berbisids tne Ona. enus Lop fehepne idiv eoaisiod Llevole etow gatxool dud lreiqtonive aid’ Iotbete Anemesoa ss ef0 nodw eidenexbeott son cli orden OR BeKcoed tnd kolnego na. dap. bas noisasooe 6. eet gas lp tit ohn ne F oantache suds tae eval ek” Ni We 868 16. oR) val ab eats to davete?: ety eiaae rea obute as Be isces end moxh beviseb eer ling boakad. st a Jaks 3. G6 Yiode Havoth ef} ge84t oF oetcre, sha%o Lae A : eRe A etetg. Tseesscou: bexizadgas aot. jeiadouade Phos \eietine ‘desap 0." ‘beddtared er eanborl Jens hotest oa jaat’ eet cranes & chad ot any 80 “an | 97 a proportions; Therefore ry shall. not, return to this.: fhe arch only lends itself to wider: windows,: that are no longer. the single window closed by two leaves, These are then very great, windows,: as. were those of the halls of the 2 Baths,: like those of churches,:. of the waiting hall in the Pale ace of Justice and of railway stations. Properly speaking, : these are no longer windows but are great glazed arches,: that naturally escape from the proportions of the window,: ein. | so-called.: . a In brief, the proportions of arches vary infinitely,: and this must, be so,: since the arch was: created to permit, and ren alize all possible varieties of dimensions and proportions of openings, The architect, may here display all the flexibility ~ of his tafent,. for he is the undisputed master of the mateti=” al fashioned at his pleasure.: Thus you see that these stud-q r | ies always recall the feelins of your freedonm.: | ‘a Is it necessary to add that one using it, badly is the mors | responsible?: a | But in the same edifice you will not, have merely lintels or arches,: but will frequently employ bota.: ; If you, recur to the origin and the purpose of forms,: you will recognize the evidence of the principle,: that in the: | same. composition the arch is the form of the oe while the smaller ones are rectangular.: One cannot conceiv a rectangular carriage doorway in a house,: whose ordinary 1 in dows are. arched. It. is true that, the composition of arcade porticos with ensased columns and entablatures appears: to con= tradict this principle; but looking more closely,: and this 7 motive is not disagreeable when the arrangement, is merely a decoration and not an opening,: but becomes so when the column is free,. and thus forms an actual portiso with lintels before) an arcade.: a) Sah | Yet I recognize that beautiful monuments disobey thas prin ciple,: natably the Palaces of Place de la Boncorde.: These are indeed motives derived from the location, from the de of the artist to treat. the ground story as a simple. ‘sube | structure,: for emphasized contrast., 1 prefer again to tell y that license is permitted to great. artists, and that it woul be rash to’ question a masterpiece,.: That no rule is” without — exceptions? True, but I add that the exception does not. pres — ms MP gel j ', Dey a . 4 oe 7 s* ' a is pe ood i haga eee a i ibe aks 0s A yan : ‘ ae Bre ee rer Teens, i in Aa tae. 5 Sa Eig Wiese Sag BAe cows Vo: Rs b haa | e a er ; WOE P Feeney Tae vy 4G} ke aN a i Dy ; Ie, 4 a ae ee J i. } A ¢ ; A? ; : rv) Lan Coleee ‘ a ‘ : ; : ee ee fut : ves ay » ; tee y i geo \ : isag Si +¥. ey! ’ a nin oaks DK ah eas 3). att eye ae Pee edd sa8y | b eon: Pi avooks:: $0. olwe Gite evest an ged? : Pag tj id 7y pty) me > iw & & equch,eebaunoloo. mk, eadk Inogord Id) Hoy 0d ‘ned . ne Si pendidey eeens voowsed enakigled eit. 18. .eador ; tong gai etat ee Tied sy 2 lo1dnas) SEEN (O92 SOx Koy Reh FEN YoH Yaodsibars beoisloxene fp Givin bovice ay Ree: ee eet Se vedaend 1d Myeseey giaate bie OR “a Baas sit ‘yess ‘Va bossetehns nedd ian. od Aaa aed Potisurxayires to Bshenole 2yo lone sandpeg tr , mF AriB is Souss eno! seo AEN csehee ¢ fer oc his Sh eats: ; i ha ah ps a, aS ce tL a UENO ON fo-uns! yrautrs uP ea Honiov< staked to are eae ‘ydendii heyorde ch teodsevan end? Tie cee i Rag Bvt ah eLaver Rovteut cee ek: mens hg ve ed) be saned do= Saka. edo te veriey Bisd wibacc lore testangod itisonony meds, goa of bedetaciesn od WLiv wogthas ome GNs godit: nentuedd Angtlorwsnes, geds tos To ary aie ubass, hued ih A oo iiftwivody: osebeae oord Be hed . Vadatias ised goed ke asvieereoy 4 ‘ . ad aL s NO rt % Ne Av oe 5 s ‘ oe OO er ae te |e Ae ma. y J tae pe hora co) et ak ure, and all those have been destroyed thereby,: w ae nes the Sere etme! ese various ele you. not see what controls them? Will this be cap: eeived wish,: an unexplained tradition? No, it is. and simply, beauty by truth. — Aes dhe vo Kae: ae: we then understand by truth? Cain eae 3 The laws: of Sh evMe RRA D are the primary laws” tempted to evade them in a spirit of revolt.: +i sly habe ic lh gh nate mata cing: at. the base of eins bake PLATE you. vill be wate ee to yourselves as being real ii mehr me . ee ee SP AS aoe REM Ae 4 “ ay : eee: + vi \ ate | " a + e : , : eae, aay Sgn hee v3.2 Hi : a } a Tele ‘ae ado ani i) Sia allan IG ED NA We tbat ys i we vaca Cee | y fhe Febash UE PROT? HOSORE ar Aatsat9 f vs Boge. aaa “obser | dstos hie Ce ke ee’ he HENNY o tor Yiseasnem i enoksrc cess ‘now sebiosidy gtedouiado EBV ae ‘sbheois dt how on iekaas tle. al Led Baiotgnit cebbdonbnts Ovi tos the; OP ph tbsabos wok? : ae os agotdroger? me adagil Casreixe to deiteubor sat abla Aen tie pian ‘nmobtonise ao od¥ to btugan 40d vd | wate) 2% shaded oh 14 Hedivey aaa obah weed (asd) walters wonah Lieb edt Miao ervey doidw),enoitersiianoe storks) mo1t) bagnbob Eee tesoqota > foetdue edd bejeredxo L sya .se yo? ris {is to hyde edd i. ( [he penixgmod Jt voto Beeb eet nit 4 nf Sesnehiod: $4. sonnao where okay bas i | iNnSESPRogMoo te Geeuts Tobsis, shahepense se Btn ty) Maske dow od) UOX agentes Woks Pas ae iquym: Etaie feat ane TEs HO"! yaoidiacagso Yagva al: hato> RHE feo) ediasy (Redo ts \ (aye TAOS A Se . , ah, Motinem qhbsoiteenobinogerq ited? avant gytexdides eo: Ves notaws wnoitioeasia soils weve Com Bdereevolicitxs bee moaaee adgod wort besegyy Bisa. autiguoe emoktigoumes. iro eee KS Yeon nt | “ poamoe a eved iL bau Sie: ¥sade tee etd aL evdd PMOLGIOg01g Sid enigiede® Avidws~adsoiw uiead , ai sonexsitib edt ayletiwttal Yinve- ,addaes : ete Pat Loh isyon | ‘6 bub Beer Aniaths 29 noles s 9 odd: bas molec, ed). nsended: eoosete lth ofdtgusp pt rb edd agoudod OL TTOGOR Oientyios oa xd nao BPRiipet odd montenvideed gdeds: yowsvsce eid a “aera apathy: 6 all ba eae i asa ia hae solid) ‘cell aaa Hod edd: Yo, detroda lent: ddiw Soe > yaetudiszey | ehaie wuolssy (to: elie’ Lie AHON no yleridas. pasush doa seo obided Siin hia s a hewognh Ma rote. edd Iq edated aft bow ela es A ined an Las THON, deka ‘Ye 5 Fac Gunien bi set OY aie Mattias pie UHacaag aeene 99 CHAPTER VI. . PROPORTIONS IN HALLS, ; SUMMARY,.: ee Material and moral needs.: -— Proportion and character; churches.: = Proportions necessary for certain halls,: -« Halls rising from the ground.: -- Variation of propo tions according to effective dimensions; hygienic requirement, introduction of external light.: -- Proportions controlled by the nature of the construction.) Proportions of halls,: vaulted or with ceilings,. etcs: a The desired demonstration has been made,: the conclusions deduced from those considerations,: which were only examples ~ for me.: Have I exhausted the subject of proportions? No ine — deed,: for. it, comprises all, is the study of ell architecture,: and this study cannot be condensed in a few lectures. Yet there remains for me to say a few words on propor hese the elements of composition, te ‘at Perhaps you do not, catch this distinction, and I will exe plain myself.: . $3 BUR “a In every composition,: you will employ colonnades or windows. doorways, arches, vaults,: ceilings,: cornices,: ete, All these have their. proportions,. already mentioned.; But. you also have halls of various kinds, vestibules,: stairways,: ete. All these have their proportions,: which may be erbitrary,: and which yl proceed from both reason and artistic sense. The variety is infinite but. does not depend entirely on youe: pe cat In most cases,‘ our compositions comprise several stories; — thus in the same story all halls have a common hebght, an their widths,+-which determine the proportion rather depths,:--vary infinitely., The difference is enormous a salon or. a dining room and. a corridor,: and there 3 sensible ici mbar eanacte lsd ant the salon and ‘a ches plan and the hanuns. of: an le deh an ay ee you must accept, fice’ of which your tatem iyo a t esecah of xtontos are \ceeceee hor eG roons anal inver the plan of one of our citizens apartments would be r with the stories of the Louvre; the arrangement, must be . proportion to the edifice.: if eS ada ey ae jen b ane boy bawory ohe cox} Rethmagne’ atte LE gual ‘ie try seretecn Ylrecn sion Jamal Se otssouctg | aaa ear’ ‘bak isbtedex end ,etooldo' omW ered roy ércav + ae fi nteloxe bheSn fathetek -.gonahicess ng nee to YLOW ) 92 Wor ates Siteoke tow ers! ddiw boeoqni ova gheen” Toon! ov ice G0: iq baseve te: dove eved eenesuds tuo of VAR etd iar? cea! ‘ “ahs 3 reo. et $i Tbheed taxon £ Od bnogeet ae. Jon Ye enoks ts fos erst Wow Lh Hihiw'bue ddynel .aedediaeq ees \ede dais lakasxos iit SY erodes 64 & Sted Soe [dosnp a eted Jaf, gil treten YroOs6oIe1 OAS Liksn bas .geadhtd. féagde “eUaa od sovth @aated Bias gvt sate Yo suolov dSeetaent She Bax typ. psatvte Mo Bebt eds YO havinper Wleviserednt ef Tagado end iq Poa fain poy Jedi ent soea omae ed of fLiw Fh iwies Miteuh #60 ob DP ..8eogtig lefeatan 4 vehs arog fetow & & & s Fen) Ss i puotrocoz< ew 2o Netva edd set covivow tohig ¢¢e ere oni wi ttay 9a “a eeetan il “\eee itor warsneg aa fet om 2. g " P fl i f 4 y ' } 4 ie 4. ar Je } vx Ly (>. o : f BV BOT 2 Ri SD ia*S } \ eX d i ’ a i a i ih LS i Dien. 4et Acme ae | v 4 a - i yu hee 2 Ff : F354 1% { S iv i ade se Ph ce Me pa ai, imi 4 ¥ © a fr P & 2 9 aS ) ae a se * 'D SG a A OP qo 4 ie & ik i o i tee botevenes of wera i baa’ .eft A fatbaes (fad vrsve | desde sinve gan ef, Py 70: tsotd ere Pe VIP PeUeSGHOd RAS fisd Geers ayy Tee , x wom x ** 4 ais ; s ak ere S ’ : ae a soa be . ela? yk « ibd tsdastane 820 sab fet S49 MOAT FO) Ssrerese Vornses ork ett: ei bite 39. 9286 Taito eld Bigs ) d28)\evleseo ko gon at moksrog td agape bib om [ead Goyrot ,nevel, Tdald.23 548 natdo add * 30% ted ad. tobkw anit goad yaldioning Ididugees hae > Sebebied eit ez AdtMegotg: a exer e ne Moh Wahi ¥ aeibe 4% 490 ho. eh ae | i ghono to qest yosouls anos eet dias ign a gnot 40k 64 sidaeres emote Met 3 evens Pehl iene Pichi bn estat Re: Ulan Fe « 100: But, in halls extending from the gubawae you are masters of proportion,: at, least. more nearly masters.: re There you have two objects, the material and the moral needs,: very often in accordance. Material needs explain then= selves; moral needs are imposed with less precision,: but no | less forcibly. Why do our churches have such elevated propor= — tions,: if not to respond to a moral need?’ It is certain that. with the same perimeter, Length and width, if you have to pro: ject here a chapel and there a refectory,: you will certainly p | make the chapel highest, and still the refectory materially re quires the greatest volume of air.; But. this height, given to the chapel is imperatively required by the idea of divine maji esty;: it, will be the same each time that. you wish to enphasia & moral more than a material purpose.; I. do not, anon on these | incontestable verities,: | i There are other motives for the study of oroportialeea spec ial or general motives.; In structures forsutdaaey a ae academies,: asylums and hospitals,: barracks,: ete.,: you will ; have to obey precise rules fron the standpoint, of hygiene; there the programme itself will dictate the proportions in | some sort. These I call special “mofives;: but cannot enter into details, and I pass to seneral motives,: sit el We may admit, thet. every hall extending from the ground is a great hall,i and consequently we here treat of the ‘propor= tions of great halls.: : These halls will always have a suffigient height, « for one cannot assume for them the heisht of a simple roote; But the — proportion of this height. to the width cannot be consented ‘ | | | { \ and the other 65,6 ft. wide.. If the first be 16,4 ft. hi this square proportion is not excessive, But, would you, 1 a -the other 65,6 ft. high? Never,: for you should conform to the: essential principle, that the wider the hall, ‘the — Thi ‘proportion is its heigsht,: | j 5 a But. other factors interfere in the study of this propor hygienic reasons already mentioned; if a hall -is intended receive a numerous assemblage for long sessions,: you should make it sufficientky high that the volume of air suffices f respiration; then for reasons of lighting, the Light. shothal penetrate everywhere as much as possible; thus equal width a sil wh has ii bsg De Cer Mma ee ears Wy abd 4 i ve ‘] Aa cA 5 7) 4 ‘. erage ree eorlups® obie eho, Yl0e ‘ho; @wobaln dite be 3 asks nknoee Badyid 4% « Lownevaoo’ Hoe | (tedgic iy dns bd git edie qidiervses? aula ones) Meet ie ated mogal jo ads bel oud jegntbelingd ‘Stensibs sawot avota ylao botox MOT nenest ¢ ieee) bev a bug | prone ane to Bayes odd a2 Bat hrs * Pyrat . | tetdevdle Por? 7) abet ods? bans Koy Liiw.nteoy eve seni ; oved sogase pote at bedivay (Led sve erations teceey et tot unbecéoat ek dghtw dsesty th ne abe Hae flag batvbaw sities tose 731 ebigid ae Be iies : Hig bew ond: sai¢noganrs gadnrs siverenetd ‘euote ig &F ian: yan: zai nap yok deducts ¢iassa elafareer (tien ie 1b d99 °! #6 hae sidged .8 ig) cdisd pods, Ta Bilan ne hiv. hisean’ to a dinhs x1oweae ? soboow oe fdigiv. 39 didsooots sowie, 1a ‘naw Gk idin yidnadode soy > aa leay ees eae Pe tar RV ict «Bu INE NS Te 0 iesaies®: add Pelee gua Oe dh, eaeedo \e all Beeokei (Ph 558) cmiont to ferbolsg® es | iM d<0 fied ato es dove yehaittes dd is Bek ie. BAR “2934 \ofwongaM vote ge chet fan ore add £0 neue .Jaebs JRReecekh wedges ey ireen Sie sabldbaoaies tt wee ogta 4 4 Pe ieas see A@elats Shite eft evods ymokaiw yd doddyil Bisrer Sad bated Gael gag ue’. evo itt (iothpaei mat E tas Milewaidine wiost Ww laotiailoon agi -evaunds ip cdtovenast eae exene gai ties: edt pitied; deo end Péhatstocosa edned sooltea: iseitiey "ier ue a. a ilav * shaadi 3 no pines esd fi te, (dnote ttes’, ¢lagel So beebak ai -yiluay aio LEX 321) eoktaat q0. Le daeuet lip a be 101 and with windows on only one side reguires these windows to © be higher,: and conversely a higher proportion than with light, ing on both sides; -- also frequently the lighting can be ase sured only above lower adjacent, buildings; such is the case with the naves of churches, and it is again a reason Ser their elevation,: “ae Finally,: here again will you find the direct, results: Ou con struction.; Your hall vaulted in stone cannot, have an undefing : width, and if great, width is hecessary for it, (you are com— pelled.to divide it; such is the waiting hall of the Palace | of Justice (Fis.: 73),. whose vauly is indeed of bricks,: but. with stone transverse arches supporting the weight; vaults of small matrrials permit, greeter widths,: as may be seen in the halls of the Baths, et S.; Sophia and at S,; Peter.) A cedling — or. visible wooden framework admits of sreater widths than vaulis,: consequently with lower or wider proporti oases aeeeae is synonpmous.: ie Thus observe at the same scale fhe transverse sein ane of the Cathedral of Rheims (Fig.; 74) and that, of the basilicas q with ceilings,: such as of S.; Paul wet-Walls (Fis.; 75),: Sa: © Maria Magsiore,. Monreale,. etc.; The religious idea is in both cases the same idea,: even of the programme; henee identity of purposes: The compositions are nearly the same,: each with nave lighted by windows above the side aisles.; But, the construct-_ ion entirely differs,. on one hand being the vault with its thrusts,( its mechanical effects on the walls and itself; on the other being the ceiling where the framework exerts on th walls a purely vertical action,: hence proportions are. shone lutely different,. with the result, of a different, sopearance and @ different. art. | ee Os ia or — = a a wii d sie sis Pi EAN ae oh dn ee SO a la EI GEE 2)! ibe ate ent Ror PREG oe eee a Osan yy ie nt “ Somme ies daecnns aan. ; ei scala pnd Loowe anel 9, XO Te od 4 e SARKEE p) fab. * ie m'a20ns Pie Aire Fa wis bude enoe ag y herent ee : Baie: aghe ts to baite’s Agta RH. f ige 22009 iba tab 6 ssiiubet ano biiqary io. q hue boa agiase to Yeisnael mi -aSReE, te have, edt yd ! ‘i caeodoveda na haiwaxh to, vfieecobh 0 sedaldrouo™n ; tte wou ~ ‘aboamehace ed od siete, hs tipdot 4 Eat “a 2h bad envi tiet sere doad istoxe mt, woke, eae tet is | ete. : biped en aia heaikhe ete oo¥, dai hed 1 # baived hue. ,tsolega te bus ‘ba Jama bee Boo Li Phe ; oat ~ourd ere Yodd yahokdetusy ttadd’ (1498 wos i stods etoibas a ciairs den Ya 2iealih ¥ Wises, oti i aphotsiodetg ‘to. Wroeus otivce od wl sagt Br eee euica If ate eihiehia os fats) au dtidansinets ie he, ene to Vabab Ladies tunuxarods Eiybude moy .yilewenge svhbuse sad o ae Ginedt ,aredto eds cf Holdmestde Saale aan HOME IaMOa ag enue eae Boks Le 5 (Kapvecra besaea sede $¥ dud ives ished Be caidenen Thi Soewroal es fas, Lortuan oF, gebec “ wparaced renee’) etolod Naqol souar pobdres tf ee as ay oe abe 4 Adi coo Neely iotan tant Seid, Caney Haas bedyoneos, nPy haces. Lia wide, GOW. Re SRR a | beh a Ro aactdaoqors atid eed gidedon: aushésagore Soh es ae ye ut geto Ladd ote to. ue gis qd bemtiewog 6) HE Koide > widemeg hagas, PAS AG, We Loneia ive xg, ebited | sé ruse. leat Yo Aiibiad sid 55.9. on. Piola wey ane Bein: We eheds ody, wodasiten at. vawabutn to, aonb ied, ne i of Pebiibes ens .gnidaase atdteens ROM aN S. To a al cbnaaya mV eeeem ane Lg ids cody Bs. papas Sy aek pages: dae 102 CHAPTER VII.; COROLLARIES OF THE STUDY OF PROPORTION: SUMMARY, -— Study of plans,: sections and elevations is merely the same study.’ == Their reciprocal depeateneaun sina method of study.. Sted Study of proportions requires 2a delicate sense only created by the study of design.: -- Identity of design and study of | proportions.: =» Necessity of drawing and sketchese; . Criticism of errors to be condemned.: «— Abuse of enormity,: 7 and true grandeur inearchitecture. -— Negligence in drawing... I have shown you the admired proportions,: that. have made edifices celebrated and classical, and havins a character com mon to all their variations,: they are true.; This truth is the beauty itself of architecture,: and is ‘hte That is the entire theory of proportions.: | Permit me only to deduce from it some corollariese; Phe first is that, the study of your projects in plans,: sections and elevations is but, one and the same study.: To represent, an architectural entirety requires several drawings, each the : reciprocal complement of the others,: and not successive phase es of the study. G nerally,: you study your plans too much without, attention to the others,: then you study your facades separately, and sometimes =— iaduninstate: ae your sections. A bad methods: eri eA _ In most, cases indeed, the study of your plan must precede somewhat; but it soon becomes necessary for sections end fan cades to control,: and to correct it, if necessary.; Note tha I mention "sections" before "facades",: because it is the 10g- ical orders: I have shown you how all these are connected in the study of proportions,: notably how the oroportions of a facade are Soverned by those of the interiors.: In any programme, : you. decide provisionally on the srrangement,: which is the plan. Then you should now fix the heights of the stories, theo id heights of windows in relation to these stories,. with the vie of the best. possible lightins,.the outlines of the roofs,: ete Then this plan,: merely a horizontal section and the section © in a vertical plane, has.ea facade as resultant,.: a Not. necessarily a facade,: for: on the contrary it is proban ble, that, this first, attempt. at, a facade will require numerow ~adhegeeah ie (ae ieee ey gan: ee ait f - CPAs 7, : ue ed. {ite 188s Lebesu? Bah Be yin ay! wow vinden t setts Ri feakt GBBe GTA I 2e°5 ‘sidedavowivnat so edete ede to ehaee vais hoe woeloaes Anon nok sghe bis pee rfl eh | pay tt: twbadat toon eavidycosb: Oe ae seacndel aud) akee Lat re yiwo one e4ais- fokdw sods ee es paelieand & Vieheeoot Oce oY Peworevecs excoed coy Titw wri) (ine sawoles i pra SAIL websoet soubor son fLiw’ WON. ghhzwe he Fah? ndewsead ete de etoe tots 7 aayr Hh: Gree Ligne ays #igtes Gt. e2 G2 508 ess ve tac be Sees pays ated ow $ yee W; ont nassen aor eaokeactbut “0, S90 geet yaa ais op aVtede a V6 SURES hdd th onsa Hoe Bet avy T zt ite! bayith +6: ba ve cahetdd Poets [ losee A 1eo8s,! eh ena pa 8 vane ia. teed S40) et ere erect ant Ge . ea Pheeebony Otwht Hatdd Son od) aad t soe ie peatine 3. meena thoy to owe ha iM biycuin ek | tase lon etusoatiijed (hude aes Petey in Lee Gav agcis to wes Tia We 8 atiabi«e 16 @iead ytewitg eids. soelide ioe dtdors vind odeida ad od eeawony on virlisete @fl .nogees fae eonedee Aabdeou: ‘et Noes dene +07 mee Gere Big al | fea ddayiilors ro iva g Fan v ‘Sagal, 6 eetle wee%c (cn aaa e eenee: eieetoia teiso ete wh amotio ys 4 Sabu 8 ad AFL yam 6, Sa PHidesio Bie He vs. Le saataeob i: oe 20K Piave Chea ‘Bam paaen fteh Bae) eo Pir te f PL y eo eis LL acne Deotth, w petdgcsey Ow) Oh eae ‘had yaoexne to WASTE a wen od este toy: TF. Seg dik ae ere, on et bad a cca ha saras3er0, tid est ae ear re Aerie ; ay aay t ee rete even ay: bie SP bontoger ech iat ait betbends gene bss ‘ed beet. Os eee lap: As (HTOTs., pnolirog sory ew ean gon weoh Daedalian ‘eft vets , A ¢ te. | 104 corrections. Then you will require the plan and section to permit you to modify your facade,: there will be mutual conces= sions or insurmountable resistances; finally after long con~ sideration harmony results,. and the study of the entirety is” completed: | Shahar. | This is the reasonable study,: not, deceptive, and I add,: the) necessary study,: without, which there are only errors and ill-— usions.; Only thus will you become accustomed to good sense: © and reason, you will not produce facades like those too fre= quently seen in your projects,: where between the windows of — two successive stories are 20 or 26 ft. in height, of stone and perhaps more,: or indications of a mezzanine where @ sec § tion does not. permit the heisht of a story.: 3 7 3 My second corollery is this:+- study drawing as much as pose sible.: Drawing is the basis of the arts; without it are no artists. Do not think thet I recommend drawing from the spec= ial point of view of your rendered drawings; I say more,that — you never can study architecture unless you are good drafts= men. Note the failure of those who are wise and intelligent but lack this primary basis of artistic studies, and who thought to be able to study architecture with thw sole aid of science and reason. The sterility of their efforts has ernuel~— ly punished them for that, lack in education.: AS a ““ Proportion plays a vast, part, in architectural design,: the sense of proportion is the chief artistic sense, and nothing § develops it. like the practice ef drawing. ith us proportion. are infinite and delicate, and are still more so in natures & How do you recognize a friend among all the men you sooth Oe if you were to see: millions of persons pass? A matter of abe: portions alone,: for unless your friend be a monster or a eri ple, his composition does not. vary.: But. proportion is 50 aon riable and infinite,: that, among pillions of heads are no two exactly alike,.; Then what is drawing? It is to perceive and then express: these specific proportions,: that distinguish ani | identify the model. The best draftsman is most. sensitive to ie ie ‘ha proportions,: | This sensibility being once acquired is another sense en= E | iching you,: applicable to architecture as to painting» and 4 sculpture. That is why painters and sculptors could be ee ite architects,: and why there has been placed at, your disposal r a ' if, , yee .. i , v5. ; py,’ OS ear Ocha é me Em mel guklebudy sot eases wae deed Anta Ws Re esivbe. i jabat Ya pee ° it; “yao nws teyago avoloone | nasi ae end A Bes 7 hal eae <> 4000 ‘eds +t6.5 24 Pos t as i FIGS Lara wast P ' a Se cad: gise!l od ea0le Saltaaigss, cit fs Wtaneaoe a yi sail t oF if fa ta ite NOD 73 ii + SiS a ae + ee bs nt} 2a | ag re 22 ir oe iy tt eye ef re] 4 rns a Teed ty " ext : . on bute ines 40 Setveeem een oad poy etiven4 yon OD : ~E ORD Powe BBM Oi S dec od vem Sdtdotets to tidad ond teh dieet | y Mr ae ‘9 GORE eiaih age, ais 8 ¥ StORGCRAE IT ’ i ni a ee u ‘ gO%.0f ¥ ei co éaide ois gad Descoibal.voeexts evad ft ag pads $OGHSOMOCY AOL elts WOT. as ea Sob To 2) Ve Age ii Pe Te ‘ * iy i eee ae Pt ie ea dere ' ie hd 4 arte San” pS kos ve ai t sam PIeV i CH - t af Rees nen kG vi i py Ped Ske Seek oe pamomeen dead ifs asooat t00,.,hortdod elt ed haw, eatea Zi tia tj CNN s a hed ab he a ee ‘ “Bare ey rt ‘hee hie +i aed Mabie SB MOF TO BO Lee eaegod OMe, Osehe ae F _ Mee eee diy Renta San anes emerge" mu) lee a8 oe Pe RH wh Oo OO a DOE AD ARS pives, paloe ered bac inod, Vine Med. | vnoy eroes. [Tiw Re, sig pied senodeie te sek doe i lea. Paes & OFS «* « ie ha i Beli t % hie eb Sev ¥ y Odds 5 ps ry: Caw) ead re! Set ‘de ce Ya a hereto ae ie, ye Be eek 7 aie add. ne “beths gi teilstagood voy seivis itese ¢ Aygo . ae" , F nd, . | RNS REOTROT EEO to 99 . gf, Kol hosdsoxge i Retdvomoe eye ALoodg? pa aaalalaiiiae osak noida (gins 0a, : ee, Gatien, wis 6 Sond d dite gd gd ned. dad ving sos od J Be fr, "Db A ae gia, xd wey oF tine fou! hh GRA sade las, Bas PPTs \gstener: pee ee forsepa vad by.608 3. Lovtieo) oe as Poets cn euusea tiers ris dagone Bois) BE we Ng preties POY. Balaeit to: Peres eect bitot rte °° pen eankiue gona age 1g wed Gin 194 the most extended means for studyins drawings and modeling. Profit by them,: I advise as an architect,: who did not. find & at the Ecole these precious opportunities,: since trequeusa® \ resretted.: 4 Also draw architecture,: not. after the book or the drawing. That is necessary at. the beginning alone to learn to outline and to pass washes,: but: from nature and the completed monument I. do not require you to make measured or rendered drawings,: to make sketches,: | iofear that the habit. of sketching may be lost;.as FOR, Bom come photograpKers,: you are less draftsmen.: | I have already indicated that, the sketch is the most, rapid means of progress in your art, for you cannot, sketch anything” ithout having carefully examined it, analyzed it in every s 7 sense and to the bottom, nor render all that wothout the know] edge and possession of your subject.: Not. only must, you seize _ its composition,: but, must; fix relations without, any other aid than the attentive study of proportions,.: baad Nothing is more charming and attractive than the ae dtl but the habit is not. improvised.: On the contrary,: many must, have been made before attaining certainty,: and practiges alone will serve you. I. can only confirm here some advice on the | method and selection of sketches already given in Book I relae tins to preparatory studies... I. again advise you to parallel studies in the atelier and 7 before the reality, with the drawing board and sketchbook. This method is fertile. and you will be astonished by the | rate of your progress. | ’ | | Schools are sometimes reproached for leaving stinbenee with out initiation into practice. Unjustly,. for a sehool can & teach only what can be tausht within walis by the aid of books and models.; But it, belongs to you by initiative and will to. # control that instruction by the careful study of reality.: Pare is is rich enough in architecture to sive the highest in- struction. Visit, other cities as you can,: pencil in hand; . will teach you proportions better than I can.: =i a I know the charm found at its school and ateliers,: -- corm tainly I desire you to feel this,: -— but that is not all, ah cause of the custom of all days alike in passive labor; work=_ ers even devote themselves precisely and docilely to the give en task and lecture,without, adding the personal work of | wee v a Sorte Yo waone i tte. 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the views leading to it; but. it, always astonishes me to recal that the awech has a span of 52.9 ft.) Observe the enormous are chitecture of the wing of the Tuileries on Rue de Rivoli and Place du Carrousel with its enormous pilasters and its bays of 32,8 ft.: or more: between axes.) Besides being inconvenient and. uninhabitable,: is it then beautiful? Is the proportion a grand thing,: or is it, best, to seek it, rather in the nae | able composition of the court, of the Lonvre?: | The colossal also had its hour in Italian art,; 5 ,:Biwiehen off Rome -- which I. admire,: believe this as much as may be == om S.. John Lateran presents this character.: When 1 commenced | study architecture, I heard that the proportions of Sa Peter were so harmonious,that one did not, at first perceive iba.) J Srendeur., Singular praise! Happily S.: Peter did not: catirely merit, that, zeal; but, it, is certain that to judge correct, of the grandeur of S.: Peter,. it, is necessary to nana at, least, once,: when relisious festivals collect, pene ty thousand persons beneath its vaulis.; oe ee Oa On the contrary,: as soon as one passes the dootwaee of Sef phia of Constantinople -— where I have seen scarcely more i than twenty persons together -— the character of grandeur sei es upon you instantly; perhaps no artist, hes not. ubveneers ery of admiration afid surprise at this first slam Sophia is far from attaining the dimensions of §&.: e the effect of Srandeur is not compromised by the use ‘a enormous,: which is the enemy of the Srand.: | I may add that. you saa this: Yoel You zaue the cnoraons years; elec it will require a lien time still to ope it.: Since I have changed the instruction,: ny hatred w rh Oe ae: Oeteern 20 sta wi ye oe palouen 96 OneAsoas. coy oF vokdnR Kiss Jays I iB Leneaes ai’ eved got emoidsoootd te ‘adoy gad 329707 od batuseqge iklaaclerso pet Obeid Pass g) 0. atneometsent haliso @14 | sensu @ nor Benkl Yo @eonsetses add yd yitetap ttre, ¥@ Mom gisbiw bak OEM ead enti e& VE abkercoose isk B fa dotdw pamuloo 2s to soldvogerg ads etslo venti, “poe ted dad. her kai brooos” ytebisle 46 WWeee xeedce . ae @ ton et) daddy bad Atk ekltedvo ‘+o ghtent apsed ed we 1 don Rie hed ¢{istoedes ef dud. .2initward» Serebnet 10% ye " es see) dt oveiled ot . abindae oot sev leargoy) mod shaded he bei ai hasanties ond eames eB EOE. env: yava Tleaym, ctsed.goonen 1) weds ‘eee wor doe ye2. ifin Stow 2 ints Fags eqed. i ssnatitogeya ao bwoisieoqsoe gts ai ‘il: sgasv yuev eh +i vatled. Pnatsiogorg- waged 4s) (bakies) iat ; geaokiatonoerd. | ies ete btae e800 26 notteats visa br thea C paatniiitanastenanmetaa” vf “b f s i ae ‘ Ms | Sa 107 : a f i Y be aubene to it. in ees courses; bray ribs ing carelessly,: appearing to forget that your drawing in tom yourselves too readily to believe it. ah hae niente proportions.:; I hope that this word will say much to I must again mention to you another: criticism on. h of: proportion.: You have in general acquired the habit, ments are ition instruments of ebinbemassh oh “PO as be Giate pas proportion of a vehi Ghaal weeen ae a sual lusaneen appear peer gs. or span ike ARLE to whether! thoolameray your eine ivneiween but is cup este ts eau since oi rose proportions. * It is a sense too delicate to resist. beatal tenth You see that I. cannot, tear myself away from this ‘sub je it. is very vast.) If in art, composition és thought, is feeling; a happy proportion I believe to be the: mo id satisfaction of the artist.) ; nde 2 Wh he ienole’ dm: ad wee aha hates ait a Peenvennenies S808) te. Morte sitet it~ gat RS a | “WWitlidese to Lortnos op sathsontiaere: 29. pen toe Bias) biel ear ae alt | ri - a bar, 8, vieres at bkes Pere. ono tutehad, ai gant eo tootonre adi dees Teverod ea7uG ne pwole need ged noitouborgnl aide, a) , ident gfe yd-hoiliotc eved voy, sedw Rathyve “eget horssocoig: has aobtisactioe - foodoe /ekad at panes rtae s9ey ¢o Hetdigusg: ef dadw gov To. ee Baw feoge 94. evad woo ti: stwex eital wie bus 9oued Eubk cat Soin eanvan eas) Ro nokirog 10tbu atid ea fie haa! poets wengeste OU 38 neon le wah abn pie se ay) beliase i. ise eit. ai aidt - Ashotionsse” oo (Das wets id Bdbbu de edt al sdoadidacte be oubs eda “i seT9 edn adolvevadados to Spake: has angen eaadetes ts too dae, jedsiate «vote, seodd, 1? a pedkdhda te qroad? sav ne eewod edt leon? " pies dou Teaidaosdanne AL 6atgoo edd to een ok ed flvow th ndigooor ‘o® wokiqk of -notingéat of o¥ed OKT: unted, ee Aexrs0o gat ‘sit ewleonos gd aver a kr fee Dibsasarohne ylasefo ad ot hesaiee 2: adaet ne yageaas dreieitib edt isl soisowry. nde welanpe aang nen et ioe tito gs Beech ©: vice & Conte NY ae Sen es. ask Ba. e nee, ipiaine 3 Noa odd, ay af oath gon. edo a4A,; baouekoe) Kediiet 16. SAbTTO donned sone. Wf 20 Ragiscavo'edd'ay eoviotsuy ati ore : ee On genene edd aA Siudostidor. to) encftearege évikesnoue ae Yo) ‘tetany tosses on jnolisopysemt ase, » aps. ae exe eoed Sto ao gonatie ao flout 4 103 ‘SG Si em ~ CHAPTER VIII.: ART AND SCIENCE OF CONSTRUCTION,. © SUMMARY,: = Structmuresoaresthet objeetcof atchitectar construction is its means.=-~ Construction is an art. anda 9 science.| --lnsufficiency in art alone and in science alone.; — evArtistic study of constructability; scientific methods for control of stability.: . Chae Actually the art, and science of architectures: gr What. has heretofore | been said is merely a long introduction, however vast its subject. “*y ied. Com In this introduction has been shown the purpose; after your studies,: when you have profited by the instruction freely siv in this School,: composition and proportion will be for each © one of you what is permitted by your Mee gence and artistic: sense.) I. now have to speak «and this w be the major portion of the course == of the means that, arch itecture places: et your command.) Apparently. a transposition mal yet it. is first. necessary to Ahow you your route,: ¥ What. then remains to ere bogetaor méeans and result. of. constenekibn ae aroma ait ‘taae ‘re for these are our alphabet and our arsenal. i 3 have no Chetan Oba to follow Me: Monduit It. sean be Cae science on one alana ‘art, on the tho Here I need to be clearly understoodin using es truction in its different senses.: j Architecture has costyructuresis 2s kigok purposeyceo: as its means; ; . Art does not. suffice to give the oueteaeeee. aa ence cannot ecreate,: or rather science does not ereate,: lends its guarantee to the creations of art «5 ae At the School we do not construct,: but, all that, we make it constructable; an architectural conception otherwise dos exist.’ What, is then the peocedure of ‘the thought, of the ii stil aul hig i Mh if a A Ee ip ality v4 ie faeob: Miia ‘er om Co Fs ee Laie Wboda\ fauet ten timve goolet: To BdBoto 63 los soneige Wee ov -boxt,% eh) Bebe Sot) te¥te ners Dysteon bas Bano lt Oras ae tliaw sai Se) eo! ‘Pade dis eh waudes ov not sa dlice ace oP iewme toe dad tediie q fin /eoustee’ senie Yacksasen0s e6.F ba Yhuia) offset _ aanehinsoend) Yo 22ers ne ho @dugburcat one VOX .elqmexs. ‘te 242s Poote toba wy xo S4O8" Bobo ean oF ased isd daoty. ode seitvenl: to Gomtad: end “thE obao. fedesouiow aft balded ostbhastxe died aahytew a tpi fekoegqe.to/ cebecs! .(8V.". R88) netted ob rom! 26. foes sacdd sowwdesou of Yossi¢obs sii los borsindo ae eendtr esrevenard Ah toi) whites | $etag hassrctiavds eedove geors Ilews vwenge J alilaw edd Sten (estado eid ws es totes. Leaolrtedga cm: tv gad ea cbibobets cave pote dawg Ho sidiheb to woat ae ays seiedg? 8) 20 so muted s cates: aqt motsanidaog sidd bevinonso® ent Re G wt gdNob on YO? Sabdae edt Gym doare da git toads oF Ris FO? Vieeae” eho oasis to enoidas . behest edt ede tro iao- pla eis ixe bus isatevni ens “i a vig | jotesbwenke Biss wavs ot we tegeeth fon asok ponaioe: ous ot ‘bas dei. BAhv Snoyed 609 eiqmegia, FL aeilw be a Bin gotdaste (35 eiyuedte odd ois avelitusT vod PAsunoo js aongtoa yiag bed ode snow t Lfesat ne Wear of 92, | ale atddyce 6s mer oe sntge it & ean ees dae imebad vise is griddence died lho blood Bode lor .. ‘ybsorka, we idotg ett) tens, SUepal. ha vinnlsai a <6 tne. etols wrk stab Legisenun ed¢ eniincde qt gut dice, peenee's ae “ek ,atvepels edd ence aoe i Ra Reb SERBS # ay0 a) ele ous, di edie bie: yeodaon. of 808 is ia aes an oe ies AP Te as ee 4 wo Has oF * i ' + Te ; we Pe ; Re PON ;? 9 ’ i 2 ees DUTAE HOD, ose to nigeob aki’ ‘mtd tke ene tae 406, wee meet acess old bas hag . 109 ae itect?: To move within the domain of the constructable,: there to ereate or select combinations,: study their proportions;. 7 then after its idea is fixed,: to ask science to verify the stability of its walls,: vaults,: floors and roofs; perhaps after that scientific consultation to return to a new art istic study of its conception,: since science. will have shown an imprudence or an excess of precautions.’ 3 . To make this better understood, take an example. You know © in the Palace of Justice the great, hall,: both vestibule and © waiting hall, extending behind the monumental facade of Rue de Harlay (Fis.: 77).: Because of speckal combinations,: it. occurred to the adchitect to consturct, there vaults of novel” design (Fis.; 78); transverse arches perpendicular to the face ade, other small cross arches then forming panels, with a 7 spherical calotte at, the centre, next the walls beins a sure face of double curvaturs,: which might be either a portion of - & torus or of a sphere,: ed a Who conceived this combination for producins certain ef- fects? The artist,: for no doubt is possible. Then it was neem essary for him to study its stereotomy,: verify its stability, calculate the varied actions of these elements on each other, and on the internal and external walls.: This was the” pore science, In art, science does not greate; it is absurd aah ake ed: when it attempts to g0 beyond its part. and roe how fruitless are the attempts at creation emanating fron however intellikent,: who had only science at, command. They — could neither imagine nor create anything; prepared for rol, they could only take something already made, vary sp or distances, solve anew the problem already solved,: by me ly changing the numerical data.: Art alone can (Create,: can Combine the elements, i. e.,: compose,: combine the a ¥ 1. @.,: design,: But. to compose and study by the aid of our ie remaining within this domain of the constructable; that if the architect has not the necessary science, t construction,: he will likewise become sterile;. compared the incomplete architect as only a scientist, is a ineco a plete architect, as merely an artiste: — i. & “i ‘ od ‘ Many are unwilling to accept this Sut i, . which is | stronger eta eee, Ue ree ai 3 » Se AROY 3; wee + ‘ - a a 3 ww ve td wh ad ¥ ib ive a a> dou “Je Titeba Of . DEE tg even mene Pr WR ie hh Tat | than all opposition; you, must, take your stand and Ke . iz resolutely; you will be architects only if you are artists a and scientists.: Take iti omeleare He; . 1 PERRe I have just. stated construction to be an art end a se! and the end of the explanation spoke of the art and science of architecture; one does not. go without, the other.) © + Shp But, the instruction is fortunately divided among’ several a courses.; 1 do not have to. teach you sciance,: but, do have to Show gou the means at command,: their variety and the condin | tions of their use,: adhering to the. constructable as an a indispensable in the art. I propose to place before you the inventory of your venerable patrimony in the lectures: to. i Lowe: wat fo begin,: I. shall next, speak of walls.) perhinth you will : ask how much can be said on that, subject;. you think cate wall is: merely a wall; you will see,: and I only fear being — unable to. comdense in a single lecture all,: be qt heve : say on that subject.: | ‘bo wf wii =i Ai 30 é > h ae -, ¥f3 4 Ae “4 ry iy 8 ae BOOK III,: ELEMENTS OF ARCHITHECTURE,: I,. WALLS AND ISOLATED OPENINGS,: | > tg) Walls., -— Isolated walls.: -- Assembled walls.; -— Combined walls. -- gtudy and thickness of walls. -~ Character and dees oration of walls.: +» Openings in walls,.} += Application te | | doorways, windows,: tec.:-« Decoration of doorways and windows CHAPTER I.; WALLS.: — : ; SUMMARY, -- Importance and variety of the study of walls; -« Isolated walls,; «= Battering construction.: -- Plinths,i r ; cesses,‘ footings. == Bond and solidity. <= Jointing. = Ane tigue jointing with stones set. dry.: -- Covering of the wall;. cornices: and their reasons.for: existence.| | As Today I must speak to you of walls.: Perhaps some among you may regard the. wall as the subject. of a chapter on constnuct- ion,: and not that of an artistic lecture. This would be @ © profound error.: Doubtless in the wall as everywhere,: construe tion and art, are intimately connected; but, from the point, of ‘View of appearance and character,: nothing more than the wall lends: itself to a profoundly artistic study. Observe the study of the lateral walls of the Pantheon in Paris (Fig,: W4er. of the Arch of the Star; those of the great. reservoir: at Versailleé, of the terraces at. Meudon, and you will con- — vince yourselves that paintings and: sculpture are at ly arts,: that. derive from the study of the nude their most | erful effects.; Without, restricting ourselves even to these nude walls,.is there not, again a study of the wall on the e ries of the Louvre,: on the Sround story of our School of Fin Arts,: and of Mansion Pourtales in Rue Tronechet? And if we leave Paris, we then find the justly admired walls of Grecia and Etruscan antiquity, the great supporting walls of the Ca) itol of the Tabularium (Fig.: 80); the great and iapestng wale of the theatre of Orange and the elegant walls of Pompeii; _ the middle ages the walls of Carcassonne (Fig.: 81),. of Gu res ande,: of Moret,: ete.y later the grand terraces of Blois: an a of Amboise.: So many walls were conceived and studied. be at v ists with the will. to produce a work of art.: a On the other hand,: the wall is the primary element in ev sat 4 og archi bdo hires is also the woe Te i's: a cere ik hla ef cia ae aie il Wee es es a iy Pe een) wklow oe ASIONSD ‘s nf tuners yiev s48 whtan 46 ehokioand Wi ogres ond osat bebtwth ed text? yan ae Sbaeiiew bésoornoo bag alisw batsloel i nee te: disw dt ag wove ~~ Digwoboisloet eft fein net al (eit iour Je cwocest vd tiewak giogove seen rt a texenss teonm eft) s~ lew bodoennas edi avs atic ye “mobrosanoo eff most wdiitiers efi Ho tego enor gO y 4 i," ’ pins ® ; : ‘ } 4 F Oy Pad 8 og.” 2 err Gad tet! vetoes “eho He at PE: aeksortiancs dose» fapinos iets ch Te WSE Gi Lew figta RUS Biembars. ‘sfehine tye Dstaie edt igsrouqpe wakube Kodo and ‘z;beol os to edt ‘mor@ ‘Ghaadis edd of 3h. aeimegets has Claw Pisbiwahe Yads tutees” os basen y ode ¥ilstosage bus, Heese Bets He qsVO bodudiade ko od apa dk hey crs berin. etson05 jee v4 bat dareine (a8 ete) Jot eens to ebuswels edd oF Bathiooce snedelbidesf so pow Liaw eB gore, swt : Crate eonk ie faen 5 Wdkanad vas. dfoathiis base sonetsegos ai x fapowrs joc if Bentasdo ed bitow sleder ene ef Ser Line te wi Stes BY to. fn: Tisai jimreg Hobiw/(R0 .8l9) BieeTia so enck fae ialds cas Gols otok seenatq bent toad vi MABEL) Wo’ Leet? a3s cebapdanle ‘baa sudipeeoet eth yo izoisonoss ete at im } God. ae. evendaidd fegoe la th atten poy. TF sens ; ebod dakvies elio ceat eeslegy « ed Skiror ahi ates i ked: Gad We poy jetotSd gendle atat , raadiqioatig o«s eed 7 r he ‘ r ee eal , io ce de dgeéine sd hivede STP Oe Fiiborn ty Mat boa-doneti((esdniddiw asctaylonon odd ic Ws disor ay bowiot hen s ; se (WIG sVO Stross Ass G0 Ri Io ho ae ay Bs ee Be se SRP er Oe et: te Go Perr epe rer We ne f , yet coe ha bee > Yawn SVOSTI VIS¥ Bl: QA wAroE lat 7 hat oefe \ ‘ a 2 oar So ae ei oy Lae i a We ipk iy asa ae Tesidryev. 660 <0 sien RYOTiO“: To BeeTEY ry satan sae o Te 2% r& iy ; ; : } ass i oA \ : vi ‘ Pol re ae. eva yee hep Pare Va r i : fi ees -§ “2 stk x! ‘ ; ’ ¥ 1 ga il ca 5 Mal aac ee nxt ea to aearakons’ Yxenitsn eek ei ‘panies ke ded. at 8F jLTge beaoussenco eas. 0 pokinod a oval af. “gaseneoen edd ddtw harowbk hook’ Rae uo tonedxe amok? © wa I beni0} e1ay senol sedotda east wisaihe a sede: P\¥ Ga fegelgac: ai. Dien’ ens yftenke esKode segrords , ies lode. denas Od Od Veane ne eRe. ei WAC? wait) has ‘enote. ets . aPout Is arose tte, avito@ivash UE ge egew So. (het oc Lite ecotot ods tna dasaragds gle ,eeoinipo ia ten -bevoedona ed Yeve Claw OES TC ar ae | Piha vated “a8 caarod Benita F sé Lig baat hie fivens eis vet ealutoo ent ets allow ‘gente Lowe aignie, yi lelooqee: bas efie¥ rowadans dud atenrs) leaden dectiz vo celis ye medsia, Wettrstoss t sevbdaciidors fagnennrom nt dikpae 4d ~ aR ipa toe £8. Saba -amediced wollet o@.nov Rate fyb. sande apg 7 , NKGY geentota cdi ceivd, Sh ohed * es j dnt Beowors JHEED a6W dS i ELew @ dootorg oT Ga bIdlasoc. ao. .eeseto ag h aa ak. ence “4 Seay a Vd beoawete .adafiof, To vedova Poteotore ens bainwer eofnia9 ene. ed “ia OSHS a one extremes pata: HED» setholl* Bs seen bossa g On oN rede ig se.» en? elerieneq Jonoso; sedan ii ave e8asenol 02 Beetint. eons: fre, (lew eds nwoh oa emole Hies 6 esiwoo « sosrntog. dele ba tices, tegaw eis O58 CRO BE fy Uiew e639 to eoed eds “broy Beepirs1 piesa has duew edd @Wob udinnoy redie enod Bie! 8: Pi. wot Wisvcooen nedd gt tt .ifen etd Io eos | ‘fearee. Si me°03 duo tebas em Besedane wobou ond exe? Brsed cat tele edt sheds apiddem anoted ito [let of 835) gerk SPR of nent ABR EET) wotwh ddim, sinh yee okin mY Mev Eniges edd Ae aumioas? antder Sno’ | teal Isotiver éa2 Seda Balcon qiiont’ bre ayegal: | be griSivor Riad ie ud beanare al at reatien end roo Iseub ety ever: pay hoa siveen afte eossT).,.” ei imeedts to aeekrqotd edd nOvt) ehumere >) ') BAS hedpienot gasit ectaxge. SBS a0NT sae ne sve igph..ovek emt ibigom: ‘SecKu hoe tewol. va ti at bas. te pien: ake Ydisentaoh Syer. oie eae ayer te, Boe, saneeiat bbe ‘sia aaa . in Let. us return to more ordinary condibions of construct it Fake a portion of the constructed wall; it has its. ‘Senet tions extending to good dround with the necessary footings; | then a plinth or thicker lower part, formed of larger and stronger stones; finally the wall is completed to its hefsht (Fis.: 93). It has an enemy to be feared, the rain that. cause the destructive effects of frost.; If the stone be soft yh absorbent. and the joints will be full of water,: so — the wall must be protected.: Hence the cornices.: vet ye ae Cornices.: : a The cornice is the crown and shelter: pie a valle Walls: and especially simple enclosing walls are protected either by tiles or sheet metal (zine).: But instruction must, be sought, in monumental architecture; I prefer: the cornice: | stone,: advising you to follow carefully the reasoning that. 1 brought, it, to its richest. fornm,: i reas ery. Fo protect, a wall,: it, was first crowned by a course of hard stone in as longs pieces as possible,: go as to diminish the — number of joints, crowned by a wash to. throw off water.: Ph is the cornice crowning the enclosins wall of Prison panies “Hote. Ut. brorvections tw briaone ave bortidden, + hence + cobing has no bropeeltons ! ‘ But. if water cannot; penetrate the top of the wally, ae down the wall and thus injures it.; Hence the idea of a | “i jeeting slab,: perhaps a course of hard stone projecting fe yond the face of the wall (Fis.: 95).: But the water wets. stone after running down the seuss cs asain follows: the ace of the wall. It, is then necessary for it, to fall as fore the under surfaces are. under cut so as to compel thee ter. to fall off before wetting them.: The slab has: become « ping with drips (Fig.; 96).: Then to sive sreater projectio out risking fracture of: the coping, it. is a ings,: and. finally noting that its vertical face is: soil 1 the water, it is: crowned by a drip moulding to reject Trace this result and you. have the Greek connie ae example from the Propyleum of Athens. (Fig. 97).-: Thus the cornice first consisted of a copings with iene lower and upper mouldings: less important than ai 1 ways dominating in height and projection. In the infinite: ve ones edd Oheoy. deeme Vib clin ‘Agveriber Sod: To habe’ eit to sbvii7 w eVomET oF 8GolR! TOCaD es fevee'ts biveea hr Sha thieves, sta 56TH. pealsaer Bite. Bo ae fed i aut 4, hy an} (feo yee ae ee i Ce on ih Pr eaeant: BRRTCLE a abo a De sefkeW ietdmoO? bus bedomnpod 0) ae ee SO Sugita +4 alien bécodnnod + “Tas an . a% seid beet ouetb 7 xegadse aha Eten $0, Keldoow m a taene Vib Fo. ei tow ben iatiot ma SYBte ET opty ay Psoiivey fae fs JdovbaGh he i; tore iddee ‘iaataaet oe ‘se ilan Bsns te. biked cares Yo. Bead) i - Pes Que ae Mae U } : te | recs aha 1keiie ae tere hese toed say ed eae. te g oie 102 hae) Lente dal vo Lantedee ea LDE0 ay Bae te Ne pe adtno ed fLiv enthaty Ena evar bet OWS HEEB LES bevinakis lay sto eben yaa: sate bsdeloet ae Yo rved Bod enosolina othuy ef agence | Yolshdom ech Jon darct gro Dib hee: egoneerdd: Be seoe eno ng evan” ae a eee ada d Rife temes hte 1 SE ribhrowe TE eden hye aah» ei iee: pandges teh to enoidoueraitat ah Demmatsilen etl .encicoeons FloAs ut opel Teeeass Sonteiai badwses ed van eaotseta,. Shed J ds el taw ewe to nol tseadaéor sd AOU ety heath tied ed} toe Pas Gier trsy 520 No Bie eds ae Hekdosb hae ie tee Weldiores & 10 ekeo GIs et idese’ Yiibw Ane ata neve eh ae oct eats i Siew Bb eos . wait abtay anoyhivnay che, ie nes ioenacd As 3 aA amor tase Phe abhor 4 GERD: el Lae ois gee fob «Sas wf} irtx soil J's Mideacbsit & To’ Bi pe Bes se AGEL NO On | | he cep oat ‘ehoog hs pate biveats Spe aged eitev, YAav Vedcu sal: Ham ee any nbahen Lereped: eetiy os edd ‘Ae au0k ee hue a mote Paige et des 2) law eeons ded oie de oF Wak UN : e goo a Bropaty veiatasvhy Lag weetn. “one 6ten ic iaa a eeing vais “ y : =e | are | a CHAPTER II.: WALLS; CONPINUED.: Ons Connected and Combined Walls: cuppa SUMMARY.: «- Connected walls.: ~~ Various. cases of intere section of walls.=~ Danser. of disjointins.+- Free treatment,: simplicity. -- Combined walls of different materials.+- Equa settlement. -- Horizontal and vertical combinations, -- Sys= tem of construction of Roman walls.; «» Vertical lines of ” ‘Cae ‘Ae! >"> quoins.’ beaving the isolated wall,: we shall study the pene It will be external or internal,: and for the oresent,: doo ways. and windows will be omitted.: | e Any portion of a %wall comprised between two intersectiol is: quite analogous to a part of an isolated wall,: for ee thickness may differ,: but not, its mode of construetion.: Als generally this wall will have but one. sida eli external, oom and none if internal.: AR) ee At. intersections of different walls appear special prob] leus in their cdnnections.: The conditions of these besbeaiy a sections may be reduced to three general kinds. ~ ti aie 1.: Connection of two walls at. chedr enae,, 135 aun Bes angle of the building (Fig.; 99).: saa 2 at ana a of the ond of one wall with another con ous wall; such is the case of a partition wall joining : a Ara wall ay (PEG. 1091.6 Fey 3.. Connection of two continuous walls,: like two. inters ind internal walls (Fig.; 101); all surfaces are then” int nal, or if at, the angle of a court,: then will there 2 bet facade faces.: j,i cag other end f Geka ements’ Tha on iy are uerely appl ness or of: at rferedt naterials,. visible or. not, | soeordia their: purposes.: . ait Now in every junction of walls is to be Poareae a separ fhe essential condition of the stability of a masonry st ure is’ its solidity.; And here again it is ®#nsured by bon Phe connected walls must have as many stones in common a gible with bonding of'-the joints.: : | Thus in the first, case may be obtained a certain ‘ponding 8 a rane simple jointing (Fig. 102); yet. thoush this. jointin hind eae » ¥ ; inf ; / ; ies - Meee Tye Sa pees i ie Riko! SSM Re tay FEO AY alt tii ee + ap yt) hed aa 7 a La cad ve W ‘ay to ae ueeec aan ih poem Bditg b ii > La ef Ei) ¢ Po crea be Ne Qo, Vas Lyne: ede poate beg Pervert lon eg ie pholed® vitensoe eTet .exode jon i Liaw 08) ‘Shifactad @ weoode bps B Llew Jo. sasy @ ata a “Palenerte HRT HG LL iw patente, notied A yee hos Bed orks Wibtaotesis bas, £3 fet) ddod of ace ¢ i wosreee. oi eenhoed: Videooenog af) tneeppnarre ehet cya SP tb tog petvew, bok eobese Aes ak esl erat - in dee7h ee Ot Gisteoven evsndeek Ob BOA’ (dake dT ssetbitod « to hi eas: 76" vabitlidede mate | jadw gadactbhat-ete: (Lie6 to snekereatan to ie ap iis bas wegeayes | he ent oote? ed baa oLde phd factors. eeoih ehtvba 2k? ‘Ider wadaepen' sede rt Bi ‘ear ouy, signe or kart aloe: wey Beas 90 22300 tia 8 don. feurene Hoktong, wade need pod aye Ls: Eilts httdniet Jeed sdb onde ‘edd od ee ae Caos (hem Owe Ode Ok Mamads none e | gi SE) hood ak Jevw sndwode: se} ta be figitooupen} fkoonsle mnt 08 one ed) dail 1fD* Ob gEe Of ta Goro heifer. e4¢ Noede tte St ne. diverts ° ed Luger ncivoursenas Hou i pie ; Ladinfoittoant aa an gy biti sibabe tins wow! Liew s toa ties as) ris god modh [eeeR tio. ma. berted eh, ie tat:jents HPStENie Koos Sines? nese Peoiioend at hentdg od Yeved hivody Win eliav sénideth ond eve eilgas. GHA, soX TOG ; Mee ia ei) Satbwed totde ot eongs oo mER ly “Se bee Mieeldnexs +o) Sane.eds fon ef ah) todd oe Bidote, noidowpdanso. & ded awe | aba) re vipa danon)a, et eieet “abe htpebay' je Pye aens Jou too maar y af. pi hie: &) ‘ahd ees 4 Them, et RE 5 Leni he eget ite ad) 1] shiek + > aot: is ee 4 Y i i * a 1 at : Py * TOAST me eee Oo 8 ee ee ut oy ee ee) ee eee oe eee aia fs ‘i Ney on ie Taig ISS z ne ides Fy ri " a We > ae - f ad os ou tea At? q | a ge - 3; ‘ fe. ey it hee oe ey * Mh 7 : Lr. a y a, sth aie SAR RR ae ik a ki aa 1 i ae i i) » ise doethe esd: g8bo0 ea riahete dh” Ienioneth dee” as f eB: ieael benolieenocaecho ove end Sov eno na Wed’ sont d oO bea! &gel peowe le ho ous eens | ay iy veda ‘eed OF, na toles ies weno) 119 " is quite sufficient, in many cases,. i% does not, entirely pres vent diagonal disjointins;. under the effect, of internal oressure,: the angle may open as in Fig.; 105.; This: is becaus no stone here actually belongs to. both rallsshonee being a part, of wall A and stones B belonging to wall B,: A better jointing will occur by arransins stonwet really ¢ mon to both walls and alternately like a,:.a and b, "pCR fhis arrangement is more costly because it, assunem eee angles in the stones and waste,: but it, is perfect, as construc tion., And it, is always necessary to pay great, care to the st: of the stability of theeanShe of a building. The Connery a of cornerstone of a structure indicates what should be inmov able, and is found in all languages and all agess:; oy Then remember well this advice,. whose. principal aoplicatio you will find in angle gquoins.: a When the junction occurs,: not, at, an angle of: tho building), but, in one of the two cases: mentioned later, the theory wilt be the same.: The best jointins will always be that, employin stones common to the two walls,: i.; e.,: in form of oi Mi te onl case: and of a cross )a,: a and b,: b). in the other (Fig.: 105).: After showing what, is good, it. is perhaps useful to see ~ what, is not. so -» although frequently used.; Assume the inter: sections: of the walls. A or. B as: in Pig.; 106; you can already see how good construction would be difficult, in these condi= tions; it is truly necessary to torture the materia’ ai.) ea tain bonding,. and yet these are insufficient... i ee When for: arrangentat orceffect,: a wall cannot. be continued in a straight line, this is termed an offset, An eee Should never be abused,: is practical when frank as in ae for you then really have two distinct. walls with an inte: diate space in which bonding is possible,: but. you must, see that, it, is not the same for examples A and B.; This: shows that, a construction should al nana be. frank « an not. undecided.; This is a constant. rule,: and you will stieuel hear that, a thing is: frank or not frank,: an Silat. in: one case,: criticism in the other.: | In all the preceding, it is well understood,, carael % ay only theoretical indications,: reblly susceptible of num Ls ‘varistions.: But. theoretical rules determine the aren tteeea al traditions,: that. you will have: to study,: and it, is this, that, it, is important. for you to know first.: Bi by L, ng x a fae hs Se Ga a penew hia tad i he gl yoneea use SaMebeds. poubaoy’ vt as tater press eboA On ob py) Weeecosn wot | Aaa hs) SYN 1. itige Le Dae oe Ane th oo fawee clam oid festat us witodvais oo alentdice {fae et. | “ant ese! ABS Res Ghd pi ewe Dae’ oh make aay é bamefadas Mingtadidnes» (ete tesem vedi tite ae divi wees ‘ah wixtiog oo vals bingdacya el bds 12 i to. fotsoesisen| has Reternd to sadam vd ey evla set Xedee Gite pueda Id cos latde wl. wine ads bead Go mosdusbayeth agtivitel Bias, koe: G2Ofo.86e To Gabvonson ie ee i bag Wigreste hie) Adu Teo Cs ent 5 sis Yeti gaa pad paves y heen am mpetat Lo aot sree! €ta. ¢ fed oeton Thea: bieik £5, 6.0) “ehode athe SG) setis & joo a eoxk paar a: sade éoinweo bys baw vy kn ahd Ro 08 Fic. werkt. Fetaneiiok owe: sth deenaes ot snk? oF eleire den Ag Suvtsinie ed Sea i mednog Jeotisey odd fae Ietsos trod ane a foe i beband: vise tian od) Phew aba TE a ote gost ‘eGldenidues Tadnox tron eae aL. s | sn Iiens ‘Fo. bina Soda TO estos Lay peur te er dane’ a, pedi. Berok to) fastierol sit. top itew | ou We, EB aveind Sis. SAGA %e His sur eS Te. weakens ar ee gedasy hay csi ved baebot eee rthnionny, oa rt eee y ys ais SHR ELe pat Sapue laser edneret ae oa Senos: om co raids exeper so. end east Penta: et ae ‘iat He | ‘) Y ifs af Ye: i . ta) ait i anid aes Pekaeusn: anos nade: med atta iy mie oes A Siduteb fanpo Bsa Wawa linege loses eds ye redy’ Oho fate’ engde gre: Re: gE ees. Bed NS: henge? we a ) we ioins ‘ak saa) Hebbawt | a dei Thaw. gee! + Lyhiphauas ate “ ‘ AR re ia a Tae : ti a ane ae ei bh eee stent Levee oy: Seen ice } . x Pe Ci " ) j ae : aN nd, salt ahr} ; I Se F VF ie ‘ ’ a ; 4 k . h° * yh i : ay as UNG ; N VER ae { ber Beas: a a4 a Hs J Wey ieee S wed t Rah. iti: fy Rate ay oF ie: ray h ‘ Shy ee yan Rate rE fe ie : oe ee ‘iT J 4 ‘ R m. ai £ 4 i i : Beat ¢ Ste ne hv Y Paes, ap Ce FP PPS eiiey ye ae tee. & y a | 4 are ty AYA, “Ag ne n 5 ets Bee es An ae rc 120: Compound Walls.: fo. conduct, these primary studies from the beginning,: it, is how necessary for you to know compound walls, 1.6.3: those ¢ posed of different, materials.: | | al The wall entirely of cut stone is: indeed a luxurious. constr tion,: and even in monuments are frequently employed: stone with other: naterials,: particularly. rubble: and bricksa: , Stability should. always be sousht in these systems; it is © always by means of bonding and intersection of the materials: that this is obvained.: But. there are other considerations,: — and first, is the judicious. distribution of the aaterials,. a with equal settlement,: whether this relates to isolated es a eonnected walls.: | In a wall composed of cut, stone and small materials,: ston Sives the reality and the appearance of strength and of bask smell materials are proper: for filling.: Thus it, will beclegae ical to first. make of the stone. the plinth,: that forms the bs: of the wall,: and the cornice: that, protects ik.: | a Between the two horizontal lines of base and: cereal .. there be a mixture of materials,: we find two seers method. the horizontal and the vertical combinations.: re oe If the wall be uniformly loaded, nothings is more. logical than the horizontal combination, i.e.,: alternation of fea or unequal courses. of stone and of small materials,: like @ walls of the Hospital of: Hotel Dieu at, Paris (Fig.: 107),: or again an alternation of rubble and bricks as at, Museum a These combinations indeed have the advantage of ensurin equal settlement.: Settlement is a slight loss in the height of a work in masonry under the pressure of its: owm weight. and the loads supported by it,: produced: in the mortar of the horizontal beds; neither: the. stones: nor the bricks: yield,: bu the bed joints.: Then the more numerous the bed joints,( the | Sfeater the settlement,: and with equal heights a wall come — posed of ten courses: of cut, stone will settle one-tenth as a as a wall of a hundred courses of bricks. ( 1 here assume m0 settlement, due to the soil);: | . The consideration of settlement, may afford a motive for ve judicious departures from the principle of bonding.: We find a very instruetive example at, the Coliseum.; The facade Diuttettena dared 131 in idee igeherelivee elidigsen. aaah atl Om! Gosid Joebaba esivev: yenode hutveeseog has eposvetoiod. Ylssotieas,e17se sonite ry hed avoitiog eae) voonted wea? ;.i fendi ot fiose ena to. Sifew ofitasonos edP eter gyses edd ifasuees yd be dosanon ecetemos Braevenoisd at certs asfoouesonod yitesiieg sedvoos oufe Bs Bio Seva) bas, Rap 889. eae Va rLdede Awo JbRE | désa d iNew enose:) #62 nosKves ,08 of sromnar .dalivo eds ro} dove eid Ro efisn ‘oinineosos ads) has pooldxod ation eves s CBOE gt9) -enote baod e doa) natdonn yo tease: to dnebasgebal wlecelgnco ate Sabi eve t a ie. poet | etoltaveb ienoe bpaTStbai, a eionexe evi Be a ‘i wephe dose nk Joodidota, of¥ Ne geen od Van denied: Petnceivod 26 nuivonrisned a doe! ixforrs gmacofonhivinalrotdtss,..pdnsapaon, Int foredives hetolooino enote odd anode i yintaes 2» er | eeeas it lsh isaisy yd Ptele ay gbasd. ledoontsod wo Nolety sa 3 10 bexesealy od cd allen at seve : winiovey ¥ Sy attr Bi kyd of: “acidouisenos to boddem 8 el x idl rhe Le fron bred 6 Reosl 4 ehemot. odd). a6egdoicd 188% | ansaes & sot neds 4 OO wits slo hod= Yo: gw iet Satie Hie 1c end ic esoed ond: Mie petouatanoo Yeddyep iit pibbie edt thelpgoains Riferoney vwetdday wz ailolad § Seiesaaravaco Tsbibirs ogdigod wd 8 If ow, dokde qe q 2M “ytey afer Vo vholtsatimad eat ‘odd cigs? poiviness wedbie seedy ecotetyib teak) Rees Auuohiesdbeb “ot bobasgnt vleten Li hae } Ly Le yt 2 # (6hsoe benvess ayaws p)ittem s nt. went hide emote te oil pot + Weneineveoo.! ets evcr ioe ved eT peebt ‘a fdyp hide ate a lalate No eonsnsoges edd Liswredd: bie eserono) syd bollid meats ger Paoet sead?, eons fe “pibidd to eeitoo ven a “iiastt. redron bua: RoAOTE | |, ae Yo massed (edd tafod Sninevoc peti ywod YO Peery Y tetra! £ew, soitesto Bhat: Shere tines, vite bow Pee ey ie by ase ee py Me ‘erons et: east Bi Gaibd eure o6t flor solnd » Ye sess. visvexo nt 8k oe ee yes bit eed) 304 Bescauce 121. : a wall is there of cut stone set. dry and consequently without possible settlement; behind it, is an oval wall also of cut, stone; vaults connect. these two walls, forming an annular ~ agructure,. perfectly homogeneous and possessing a stabil ty in itself.: Then between these porticos and the arena beneath | the seats are the concentric wails of the sections; these are in bricks and conerete,: connected by rampant, tunnel vaultss; This: is also another perfectly homogeneous structure,: having also its own stability.) But one can and must. settle, while | the other cannot. do so.: Between the stone wall limiting the 7 porticos and the concentric walls of the sections: is no con= nection, not a bond stone (Fig. 108); these walls are in cons tact,: but. are completely independent. of each other; an ieee ive example of judicious considerations,: that. wits, aa the architect in each case.: a Construction on horizontal bands may be seen in very beauti ful monuments,: Particularly in Tuscan architecture of the 14¢ century,: where the stone or. colored marble clearly accents: this idea. It has always: the inconvenience of taking from the wall the appearance of unity, more readily imparted to it by vertical lines.: | oe Division by horizontal bands is also found in Roman archi« tecture,: even in walls to be etaaciaiie ty or covered. pie oer This is a method of construction.: To build walls: of very great, thickness,: the Romans placed a horizontal layer of ou eral rows of bricks (Fig.; 109),.then for a hebght. of abontt3, ft.-,: they constructed the two faces of the wall either of | bricks or rubble,: Senerally triangular; the middle space be= tween these faces was then filled by a concrete of small : stones and mortar; finally a new course of bricks closed this sort of box, its covering being the bottom of the succeedi box,: and thus. pomiimneds) Th practice was only suited for very thick wales: As: for the: external appearance of these: wal it is exactly that of a brick wall,: the faces a ve composed of bricks,: y The combinations: of walls very Prenaetey consist, of’ “soa ical divisions, these either resultins from the costo or merely intended for decoration.: Bhen in a wall (always assumed solid) there exist. versie aL divisions of cut. stone with small materials, the stone is a iby vy a aie 4 , é a - i. he / : DE eo hte E ee Mee ele ie _ a f° ts hae fay r MP re fn eae us Ne AD IA: Fo “ Ay a PA ‘ ; mAs te Paves eee ries i | {36 a “sade {bbvebaty ae. at taw te | of ‘fwstivev’ & alaxod eidd eoade Yo: 65 400 fankh vesabntiald 0 Loup @ibbbepiedat he bn gan fore eltas aon eats aad’ io: ‘OS . hedow Fenue: of Tfewie al ae “Pisibewsesti(eds neewded Bes (ede tare Seeel)” fe Weeiverceds S49 asidiixe Off 3b entire) ada ag cet batwollot) enti so} elise hae ais kienkdiws ed at té AU Td ov ao aeivhey 36 selawbe enfou > if orth b feolsver Sig duds bax bho od ‘sarrdad Yo redewa es! pe ge doo ls sol dure bine ban Gers sera tonoia edd aadiw duo eye enboud =e - Head igtw Roitenant segatbnods eds cquaee oles) oe 86 1a li Qi sétoxe eATNyholl£it ott Ie cleines poy “Wonkddood Bemyes of Ca ce) Re Oe dsl ain: don i gethdbod add to poitostorg edt! .e “ene 3k: Pe hnthEe? $00 20 etnden OhY OO, ehheded oat PMs racttostery bhi) ,daode et dio Vee fithaod Book's ro? od sehrol at “edaerhy ® (iiew, etd Yo Snivntot edd to tend at i lasroy is seeds ‘To Jetlox ef ded ka hep Elen ddottin not Hdpetorq ebdd egaind so an itu uote) xozes ‘@ 26 40. puoi siddst ato dipie! oe 7 i: ati? ae ens haiti pe eene: 48.) Sd) ie abs any Sr cat std To wideien Jedd. yrersedye Anied! gon axtstad to | ageuned $O Wodusn soardena adit orgs Java onode PRA ELIT? ett to oruisa and oF Mnthinoss endl x setae ont: ai od bani tits Ratan ledigvey add, ay PAM at it» HOt eke GEE AE Sisk Nugheeiate dese case yeilor psa et} saya No Seven Bapitded ro wolvdi tee: ata? Av heentia ed deom Yeas AY -yemae ede Od) DLkw Poe demiene 300 ai i suphuahe bisa! 9g Mace | ia a wi) piss te olen aes ie - ‘ < we ‘hy be wate ; ‘Sor Ri : , a wy Ents uw “wd Re € .« a > t ‘ ] q ‘ 6 tal an asi, f : oe 4 va AAA uk ‘5 yp wet ‘A ry Ts a) WS hie) AM wae aD) as: ‘2 ae ce m . i] ee. , Sv 7 Fe 4 ee We, . At , ue, Ae 4 « al he bike Ons vu Py. : 7 i BA, ORE | oon | es 4 a ; 4 ig ™ ta he hal: if: a ait: Lat a , hon ney, hy PRY cy \ 4 ¥ t, ing de - ye me is:: Re ean hie anes - te A a RE Se | 122 Pi urally indicated for the parts most, heavily loaded; junetions of walls,: divisions beneath Sirderd,:. etc. Superposed . courses of stone thus forming a vertical support. are term ed intermediate quoins (chaines),: distinguished ehiceri y from angle quoins.: : oy In a wall so constructed, the cut stone will occupy the least, surface, and between the intermediate quoins is: saa { the filling. Fis.: 110 exhibits the theoretical elements of F pide ne ieee calls for the following remarks. . - Quoins consist, of regular masonry; it, is best, that. hol Beste of eourses be odd,: and that: the vertical eames and end with longs blocks.: th hee -B,: Quoins are cut with the stones alternately projecting,« | SbORES bo babuke Mba bonding or: junction with the spell mae terials of the filling.: The excess in lensth of the +eRey stones (a,: a) is bieraed toothing.: | ee, 3.. The projection of the toothins is not, arbiiraryieeeell depends on the nature of the fillins.: If the fillingigee ioe self cut. in stone,: the projection of the toothing will be Sreater: in order to form a good bonding, this study will then be that, of the jointins of the wall,: simply accented at the quoins by the relief of those stones; if the filling be im. rubble or bricks,: this projection will be half the average length of a rubble stone or of a brick (about, 5.9 to 7.9 ins.: for rubble,: 4.3 to 4,7 ins.: for bricks).: mee cole - if the filling be of bricks,: the height, of the courses: is ‘ete not being arbitrary,: the heights of the courses: of stone must agree with an exact, number of courses of: brickss: Thus according to the nature of the filling,: the forms of the vertical gquoins will vary as in the three examples{ Figs. 44953 4229 LAS a For internal walls,:if they must. remain visible, as in cer tain vestibules or porticos,: naves of churches, ebes;. the rm will be the same.; If they must, be covered by plaster ee y facing, the same regularity is not. necessary,: provided tha’ the requirements of the construction are observed,: = i Ake . a hers Ataverrioo addad EEE ARTA ent hid hophbuentaaae damier hte da igobebneds: enawes ‘Riot bas Mie ths hen’ ae) oh Canndeetivets ’ Ge fo 2ilueet sestieaeegae bests me unit pees: Panther TOE h: Hitters sanod Yo adeette ent vy alia =~ (a@ifew, [enteadol das Lentadeh em) snr in Swill bese lowt Meee livede «+ \ieoy lt bas) eee sa py iagnene cow ne veilaw Ro donniesa gh a+ ap seuersd rai ahr enemy aeansa ls tT ~sseserxokde (oaers pre . Wied pura hd mie WRU S eet: as ay | | naece Ded biee 6ad (Id Beoddoidy eK s: aeitrine emse add al ger eonssnrotidd eft To aolsenittedeb ed? aay B a0) bia Besoatiiac ed aan deds eJnegele theta TTLh RS) 4.0 § Ye ae Re Sie ae sai ailee Atte Sekt uolnuae i Yore dnomerLoped “t | | em Sede chlo ov To SOMO TLOGOR (ae ¢ Bebetises a Ro ASotio As takuieddd -2h aga feubsos fidote as io ed{ieen odd iB Rowe eet gavw eiiah = .WaivoutJeno OR ms reno} Gd) pwors digsreve “oOo: Uearo gs jel. oe Medigl oft ,etdzesiq: yd toa aa isot ed od 148: Peassitva ([stedsu swrpxrodt yO TO edeucity i por): eiapacsczeiin wivod east eevigoct iisn a) Th Bane had ede haa gical ites f AuPETLops seilw yavivev Y , ‘tate. eye Ad oie aotes wate Ae | pievs: [fiw soidéuedamos Bo yhude oftiiae Selaate YISyY ots enotsesipetey , ‘heaves se Beaks: ve ed anidtoa aad i, yregecoed widv ens. dnd. 2ee9 ef waskis Shimeeset O38. 16 eAtdiet oF feors oF and: m1: Prev Ag Rete ed bihmes woleLad vod ak ego ee SH eses, gailt famtenat: TORT, nibuheste ene Lie pat): oF fyeket: nt sgadtad .brobes odd ah waned. 008 a Eiik deeseo1s old: mad Joesdlorw edy eliaw A oNs hymn ket dows bas ited Jnened oe (Yo dotooy tl eo eltaieb oint Batre sao noditin Vseees¢ te dv eitipa tthe’ SE aflow cai paitog: appetite: Tonge bite f ee niet tte cl el opie be So a ee iy PAN a es i 7 . a t 0 = 3 i a) 5 ; 3 a Reere Bees, : oc | | 123 aoe Mes) CHAPTER III.; WALLS; CONTINUED. . o>. She fi Study and Thickness: of Walls.: : q SUMMARY,.: «- Thiekness of walls determined by requirement of construction and of climate; obtaining an effect or a dew © sired appeerance; results of an architectural decoration.; «= The effects of construction upon walls.: <= Case of equilib” rium.: -- Externel and internal walls.) -- Walls with firee— places and flues.;=- Stability of isolated walls. -- | Buttresses.: «= Appearance of walls.: -- Monumental power of g Sreat, thickness.: -~ Thickness resulting from successive off sets. = Overhanss.; | . ae In the same edifice the thickness of the walls generally vary. The determination of the thicknesses results from very different elements,: that can be collected in four general q CAaUSES.: 1.: Requirements of construction.’ - Requirements of the climate.; Tee is Obtaining an effect, or a desired appearances; - The results of an architectural decorations; — ele Construction.: «- Halls must, resist, the stresses ‘benct ae to erush or overturn them;.the former are most, frequently v ical and act by pressure,: the latter are lateral, acting Dall thrusts or by flexure.; Lateral stresses may be noubral igedey if- a wall receives. from both sides thrusts from thet vaults,: when equilibrium occurs,: and. the wall supports 0 vertical stresses (Fig.; 114).: reais ie Scientific study of construction will later: enable you to — find these stresses; caleulations are very simple in. most, — cases,: but: are very hecessary,: for nothing is more dangerous than to trust to routine or to determine thicknesses by gues as one is very bold or timid,: he errs by lack or. org sbi Sa thickness,: producing danger in the first, ease. and useless” x pense in the second.: Perhaps in regard to the thiekaneniell walls the architect. has the greatest, duty of ona ligation of an honest man amd practician.: But at present,: without entering into details of the ont lation of stresses acting on walls,: it, will suffice to den duce Fenerai principles of proportions.. 4 Generally, an internal wall is in practical equilibrium; external wall of an edifice is never in absolute equilibria v Sra ih etek 0 tedy ‘bavat ‘dtod tO, aeeeatte favedal Mice pied at bates af/gen? aeonear de fa9iavey Jaa indonaye ac bo niga hone tad ibas Sresetees srvom ed blaude eifenw lenied ce nea doedotg gould pata ai aozsev tedsonk. ye ietre den r yaa iion keotedoi as sel ,ode'adwad plage we? j dete tena. at FEvqpeonso ida sedaerh gattienos 10 Bin hie , > ‘ebaddode don @iivev tbo iaegueen pidetagetio ts oo seus otis dink gas ai ids Ree Te Lect» .aronks ‘me's Gotten adenoe edd gat “hg vous: wowed? ifaw tehtencs os yrseeeoen osfé zi Jt p ROnL. “enamide nigdsoo veer); coftourseaoo one eae pioiad ated? .,satdosia Sots sat ort Ath} ce sons BP esi sacidiitag sdghbysect O& sads seol od gon b dh ncktowrseaco Siec (to Meiv.to dice oa%) movl at edd at. fen rors. eos loysanide tt «essed ed bioox xa itd. a efieto sasnele yteatiq odd exe allan é 'S sien ania Splice Jans tqadhive, aivdé bas ebet menevods ~nwobalie bae aroob te saaiuenc tad wow foere> bien ag hg dab Pe. YRoNedEe ile yronennes gaum 1 any Us log seekito ni ee Hoddod. oF god cwaek anus en. oi Se ie oft ‘a0dd Jadd Anidavoo dnodsinu jesosseponcn ¥¢ dun eds qdibexil aexeoaigtty eves elish duiaG. fag ddctived yan tetd yells actekvitb ¢lamtsc ut. Seow paebuab daenauseo e elo god os seed: weaon set lien ade. ersieshiae enlk yenuido od goiieedt exolsibade of gablono® lenisixe od, ene *, ay Be sints mitopiwink Ch. mort yaoisees, exoto Fie iS rin ip Gemgoed ful -.oc creck 2B TD, (AOWEE 03.8 tease be isou0> at Piseedoon ai 9h yevaiog edd.yd. na = chet a bee etted te eeu af asioisd to emote sieges. Hi modesto (sootpod enh, aeotdebtey toa eevee Jos tieq4 eliow bavatoud 10} ah iM edt tedd wreooe wifese gf. bag ge lost ttib ei . a 20 Seosent begugew, Antes? Bovstrus ties Adnodieords wenndotiy, ev tazcox boy ai nf 7 x a o pomemet nt fitioaes Ritu ban) Ae as 0# 9 aa si goon ) Beast Asirvd Owe isdt aoondod .eat Oyen “y- -ekfer Lees gintaneg, 4 124 having laterel stresses on both faces, that cannot, be tie sa and unsymmetrical vertical stresses.) Then in orinodp1 6): ena ternal walls should be more resistant and thicker for the sam materials.) Another reason is that. they protect. the ~aiTiootE| from cold, heat,: etc. Yet. an internal wall may require an eat or sometimes Sreater thiekness,: if it, must. resist, bic throne of vaults not. abuttede: Ph ws In the interior must bse distinguished between walls: support, ing the construction,: -- floors,: foofs,: tec.,: -~ and those ner ly simple division walls, that may be light, pare it, is also necessary to consider walls,: that, without suppor ! ing the construction,: must, contain chiauney flues or hot, air ducts.: (Fig.; 119).: As good practice, their thickness should — not. be less than 20 ins.;light partitions are generally 3.2 i From the point. of view of pure construction,: ib, certainly 4 would be better.if chimney flues were not, in the walls. The walls are the primary element. of the stability of our: buildé” ings, and it .is evident that a flue that, intersects them fron base to top is a permanent danger,: whatever care be taken. A chimney flue endangers the wall far more than the much large! openings of doors and windows,: above which thm wall recovers. its solidity.: The old method of chimney flues aie wall was then preferable.; But. we have to count too much on % economy of the site to permit ourselves that: Luxury,, espeeis in ecities.: In any case,: 1 must point out all dengers from ¢ ney flues in the external walls. of buildings; they are ott used,: yet, the flue runs from top to bottom of walls that, be homosgeneous,: without. counting that those flues are expo : to external cooling in conditions injurious un Brick walls have thicknesses fixed by the number of bricks in the cross section, from 4.33 ins.) for a single row; then oceur. 8.66,: 23.00,. 17.52 ins.,: ete.: But, because of the space occupied by the points, it, is necessary to count, 9.45, 14.47 19.0: ins. between the two. brick faces (according to the dime sions of bricks in use at, Paris and a great. part. of Brance,e cept variations due to,local custom in nanufectarg.: 4 As for isolated walls,: perfect construction of a long » wa, is difficult, ané it easily occurs thatthe wal acneeni ed their surfaces being warped instead 2 rensiad void excessive thickness throughout, it is often necessary | combine these walls with buttresses,: abr Coon actual con “i itr ¥ e “> Weald st el 5 ti a 1¢ i vy wa ( ely ee ee ee foal ih; 4 ' ‘ ’ silk each O15 4. y athe ae), wi lew hetoee Pa agebocsss:t sabagetoty giiaes ers: op . meds MOVES Ste entol [armfomPsiiois: sede eos 9 ealged: te. eral s bos aiiew. unin be oe 4a, e0a718'! “ABO TS favetal: jecah, od shia eno:ao: bexcons BEd j vente sie bos - end Gis te esondokid ShetZ ariiip bi Gat tseatetopbletvo vo shient ‘gteetio opal a THcse fettetriidtin Liaw a at fh AGlE hee) x98 mi bassyediad Isnietve Adis Llew os ef &-yeieatto P id sehen e027 dose Mo od dot yaw eoedkt) ese: eq iret? sesenextsyd axe i +fdoeupany. ehieyv. tot rot. apa. Paved: iiede ew tediavooa aevdh meds eens Baa | h amead af ebam edoyd ly tees wees. aon ak xy adie deri? Ph av ye textLo Vid ‘sailew Yo eaenteidd edt wened LIKE Sliage Asem ye gas’ Sis govt. wae toedorg ad ef, oxnapetidora Ye pa gao mae. -Pateclone eid. % aiowtte ineineraponh yl Teaneaee Gaetan oc lent odes) ali etemone dG Cen S 46500 moat? wealoo eds: teshy teed nyo 4 BRat Looe TO RWiGeod eee Tague, os dhnoag wacehs Sonetsh eact been emole e*iatauce 1 m7 Fowsds ip iag bes: feokgoid andd was il ‘ytos Ane: soinedxe out “ed doenad etds dost uke dud. | Eire. Bae jnedagda rey ot ‘geile tga s[hloo) 40 38en8 ay . Tot. Bebrgistel: a% Sid x Bib One \erse yoived veits yt De isoin tn sonnet dobm «sidteod eae 73K] adg Ad tO eo oneal actin asds tage andiioos snednoecd saow:, be anne fi ayawld -.ovols Redivie yo. doed covt gat Vi ve ait ase’ Mails OWT AC TRE GABE) ox teOi des Gerla’, s, ~c fate, Be seksidnes . aes ovantsthnoe. esi | woe se ae dral Eigse ct bette, 08 0 wlfie Matted aa G ie Miata! tal Se “a7. ay’ o/s 4 u.?, 7 Oe a Laeiteds ,Omee oid evewis e46 edsex anid: wet Piot sot} doliteedosd, ji ay esa reertd, As Laide Reps 260 om ite Bias, edd Pre nO seewoo sp ¥o iad es bai, ‘nodeeritbee ang of bao Ge Boto. (liv Ivbae, eceo: eins woge, cyew ee ee bas. (Ott. pit exkh ods .jorteis4d tego ‘ser -.. dean rah oe Ham se¥isoeSch to Afted yateead wadto ets | ati b aeanie, ok aedhinidantuid yxabnol hum, as. db Nea ein Oa 195 a nected walls (Fis,: 117; A‘, A are buttresses).; These buttresi es are really projecting intermediate quoins;: we shall later see what architectural forms are siven then.: tah: a ferrace or retaining walls and those of basins or reservoir are exposed on one side to great lateral pressures: They rea quire great thickness at the base,: and are always built with” large offsets inside or outside, ordinarily with strons bath ter (Fig.; 118); A is a wall with internel batter and external offsets; B is a wall with external batter and internal off- sets). These may both be on each face; finally, these retain« ins walls frequently have buttresses. Their pyramidal appear- ance them gives security; we shall later see how recesses may usefully be made in then,; : AOR ae Climate.) -— At. first sight,: it would not seem that celi- | mate should influence the thickness of walis.; Yet. a shacherhiis « of archjtecture is to protect, man from the dangerous or mere ly incanvenient effects of the enclosing atmosphere evaubieal nal phenomena.: In tropical countries,*one ee from heat,: near the poles from cold; whether fron heat, or. col the means are always the same, shelter by a structure thick — enough to suppress heating or cooling surfaces.) Temperate countries alome need less defence against external bemperae — ture, and thus tropical and polar structures are much’ alikes: But. in faet, this cannot, be.: The exterior not, only affords — us heat. or cold,: but also light,: abundant and even blinding — in the South, ware and dim in high tatitades:; Shea ~- or in the extreme South -- much larger windows are’ requ: ed,, most important cooling surfaces, which alone suffice to. break the equilibrium. Protection from cold is also by cloth ing, from heat by shelter alone.; Always in hot, countries } me snemy ~~ the torrid sun -» has been opposed by thick walls w with few openings,: with an arrangement placing in shady court the ventilation and lighting of the house.: Oriental plans al ways show this ease,: and I will cite as examples the Arab s ures near Palermo,:the Ziza(Fig.119). and the Cuba (Figs: 120) or a house at Cairo (Fis.: 121).: The walls in these sditiongl are often hastily built. of séheut dee. materials,: crude bri and mud mortar,: but thickness is always sought, and in’ the coubtries is the primary condition of the habitation. me Appearance of Walls.: -- Beyond the requirements of con= struction and never less,: you can be guided in determining tl ioe. thickness of walls by Ma ioTR Thing of ie Atarniai or character, et Ate SR le hee aa r few Beka do a ah pai aa ftie’ faeadio ta | to ‘sebiedddaeswo 9 Re pane eliew xotdy 40 Tipped AH) yd ourse | tad oe: td mobail to Yalq bal heokte wepioe tidots a vanen “Gntieweg sie seen? stawiteeqater Letreny edd: va betgete RE Cunevgory of aedwiesenmt st ses | eoeunt fodetves editor bitode totdw dnd) (pemsieos —. fot anon ebactieh eatexgor sdt nedw betaneirexe Sopa evens olttee cane ne Wage W aid to) SnbLedi apended. Shine Slarone dads wrearnrte d sid etyene fae Bi ‘Velien Te, na tvarocoet etd Owe Be ened? «ees ae anoksenpes™ (aigdbedtacad aa te eainesks pad sexo igs: % vidfenes Hesweet Likwa eabtodd idan KARE QCS "oO natsatoneds seisou: jean yedvleayd be ‘ oa i pqeettiae te | te wréde (bhreys. ods Voor tie niaw ote Anvors and wi We x6 oi heavens oc) was soe? ede Aaotesna Lane ett 4o% evods foo Diyed? thie iS hat San: | AO Mae Og Boitnedia “vot! bei fed evened 1 fMeaysave ni needs: Che’ Jetie eipone ads one in@ QULILE RS BtaeII9 Total fy To ‘ao? | ahalateii be cig sowol a yd bolsisn Ty wRebiows: 24 avents .p Igaite es os edd ao Mods Beweeh * elgmexd, to® esta ¥tove Suueta ens 90 Lien edt eel 2rd at eeu to) gadd o8 otters t4+ ie pew bne ebteat go, Btivae eas wd ben invades ppendorid etixarae even as aaa” SA A udeento p42 To cotdoes ‘edt. ‘to ete ¢ bed aginorg wisv Lagto ju ‘ened . ace 5° pon lg Wy adibeat: base’ sreia #¢ svods: T1 fer’ Maw ebenss is PAtee St penn log ‘behekne ; ye Bis, Bathbhe:. enn ioe behets Beet) Be id tations Lote 4 Be Seti eevitoes cern fhy 30 edep ito > eeesd afars | ht eng L ein RST Pet Hida de eek xvee8 vab RO 01 sex te Boe tes eta coor shih) Bi Roig hrs Cor : | iss ibd we bas dae bo digon edd AehnabLiv 9.4 aa8 > Edi no ehiiseey de, (Cesk Behe); eile qed | aaa entavuga os ae spf ne goats. See Foers. 78 . “ans bla lehlg e e So abusiiinn de i uLingoeecer Yon' paw Hiversh bh eo : 126 ie A thick wall with deep openings for doorways and windows,: ouses theidea of richness and monumental effect.: Krobyokere struck by the beauty of thick walls eharacterizins oowerful architecture,: affordins play of shadow and kight,: with none unenyal perspectives.: These are powerful means of effeet,: legitimate when the programme is adapbed to the monumental ap. pearance,: but. which should not, be lavished unese ae exasserated when the programme demands modesty; the tact an feelings of the artist must settle these delicate qusehae seen ensure the harmony,: that should exist. between the effecta: oft the thickness and the decoration of walls.’ ap os. Results of an Architectural Decoration. -« In’ neeenentall architecture a wall is: often sensibly thicker than is demand- ed. by either construction,: decoration or appearance,: like cel tain walls of the ground story at Versailles,: the Louvre,: ete The fact can be proved to exist in the ground story or ab, the base of an edifice; look above for its explanation.; 2 xia TI have ealled your attention to the character of stability that, shouls exist and appear in every edifice. The oroject= | ion of plinth or offsets existing on an upper story must. be carried by a lower story,: as otherwise overhanis oceur, which should always be avoided,’ Wa BP For example,: assume then on the second story préjeoteab esa in Fis. 122,; The wall of the ground story will be vertical inside,: and with reference to that: of the second waite have an extra thickness determined by the entire projection of the section of the offsets A,: Aj. a projection exaggerate: here but often very pronounced.: Ee ee If above a plane ground story you place a second story. w. engaged columns,: the extra thickness: will comprise the” not projection of these engaged eolumns,: addins the section of their: bases,: offsets or olinths; such is the case of the co des Beaux Arts at Paris (Fis.: 123),. with ibs profile in he 127 and plan in %ig.: 128,:the Palace of Justice on the pa. ilion of the court, of honor and on the facade on Rue Saint Chapelle (Fis,: 124),. at, Versailles on the facade of the th tre of the Palace on Rue des Reservoirs (Fis.; 125), cand a ti multitude of other monunents.: These combinations may vary © Sreatly and nob. necessarily assume the use of the orders; th at, the Palace of dustice on Quai de 1' Horloge,: the facade o which above an entirely plane ground story rises a second * a a Lad wy) A Li os. 8 6D) a ah ey ee re ~ oe PONS be, —. er : L t é 3 : ; P . : : CS aN a : \ TS Ser aah : my iM Pa te) ei ’ yy z " . PD acct shecoss Mamngeud sty Yioge HOY ,sstuste Pak baorey Biye ROG NG dada Waldaus ooh ie eee! heeds” ieund cogs Pe eat 0 wily aD Pore levers yve's ; Bey. se a eereiesal Yo She asl se abi te fey: rsh a nat Lisidenonen BiGd ton? i Se dw ewaatped id sasvouga®: WAIaeepetTk ood ; ane ene Aeite. Lee bexit yiecini hel ‘ed 1s | ss me) | See beOe kh ot y phe eate an? 4: sets": Metts ths sedia eit aget ~ Stan: Wises NGhe fe 407 Sentsedo ed fed piasd PAE tnodrers na seks poneHiAy Co Se tdad) dom abide! Paiacicasanon. ei eonetecque eit hae aol copes ges Beeeet shit at 46 banald> awe ede @Picantverg et Phone Be, istsons Ab Ee dnepeto oH? sbuistoode Fi Hakd gta heideronces) en sony rt Gui snob Lido bohoaws r DD IFES ef enedey pePiibe Shei To elias ey: okcaehacibaeteaa ait mele sane wae Sh oa’ ee) vie a. eile ne pi Nee POE wD. pencediars BOT? UOT:,4 mo ae oo wat tine ELTSd% 8 av ty Sebnro in SS ao! to ; S cone Rie eiisiteeh vlanast Se 2 her Los 5} a Si) me fo. » i ,) ~ a 4 \ , fy hat - ‘? ih A ’ o . ’ ¢ y i Ad: b > ot " 3%) 5 be ite / weet Bias), ot PAN any me TCR a, ; oes eri tis ra ate alee fe 4 De LY od ay . by > ¢. g oF), A he ‘oa Pll Sas nie € he oe ta ae Pe 5 ek > Pebe ioe s peneaphe ciigernets you will aay take: i count, these cei of Wise iseombiats ween you. arranliy lon and by. hatching: From this demonstration must, be retained an essential rul too frequently. forgotten by besginners,: which is that, a plat can be definitely fixed only after the study of thee si the eres Bad ish wad wi renounce: them;- an over iein is, seu econstruction,. and its: appearance isn nonsensicalss Asst orofile orevinusiW shown,: placed as in Fig. 129,. and find ei Bhogk Temp ah presented. in conn ae ees Sabine abs chip REEL appear in enh propo: the diagonal to the side of the square, and for the C » Cy. you will have an angle D - D of the facades} 3 suffice to protect. you from overhangs, which are a should not be confounded with corbellings (Fig,; 130, frankly desirable and hence susceptible of perfeetl mate study.: ay % ii V gihiais ANC Y yee | Hy wallpicoey fox deaecthad,' Bai Me tela welds fet Lew 1d sefonredd ae Melee. ‘i pails ma Atdadrcdon in 466592809, Bett den d snore | o. Bie eltih), rigbaneod Boe einlet wise ne aaeiideut! ae Ba ae | queen me erand (at SOBs ei. hippie wen “ie hg tee WARS vats . | de ee : , i ik: ites So, qrosss en) HO On onda iGke gVhd” a sh e, Berd PORE mee Bide bode IRE ied cw a aes Dinah a me Rebehion: cad, oR prey bin hoigoutia ds Bhs 6 pe létoovaa Hox die io enote) 3ne 10 o@ LETS a 6 hoe ddlkg 4O OseH ta RR ssh toa oo et 8 ee Eb Saf Bi yelciah to enous. to Liar ae ae or aah ba Ee dhequp? te Claw ea84, (ebeo oh acess oak gat, “enabels Poutten 2i eaatdntes Ps et idias Qo atcoe Gf Jef hos, he sok dives nes tye’ OF go 6 ha i ie ven keie a8 noend Pais. pactesatgat to yrs trey oad) ey rors ‘ wile onto. cnorefo vido ache ne | R Pay Weoeleoeoncn Ledmonngon ansed): pn iveew eoneieletd Yo bovolgee elatiegay Sari 1) [ieee to Bey benisvoo. * Ciiaroegee:». erotrd RaSUHET RON Getied > ae Sis 00 be Bak soe? vara) a Wola’ LO YeeK.e b va penite * a PEM OE yA is. ange im fh eeh aytardhl Lecatied jdt to om “ie 0 oy Ag 4s Wy ie gh Pours Pence td ebom ede id) anh dele eb seaeieeogs ae teotinehs. Oe ,FADEH outed: hic te.alisu baer Ag biigires, DEwow, jada fax, wonastborg esd 0 asjoe | VEG ‘need’ \ ct eta 5 Pedy Bat. yevbese to qxe eed estes tat ieee! Lente sotieromeh pad toh ehh prbiie ed od. Ciengote. “od moat ehaen edd wmassad bisi¢ do dea, Woo dowtag! t)sevebro sd xiistoes ee aa iter. eats, to) MOL SROngH te kg beeod oi an tio, Pia, al, no) ie tad. TESORO Bay ‘ag tani saery so iaaas, Aolsoorseago ety. 20. ‘no kepesyae 912¢ tbe oad Ufint Lee etd Yo obetrwe ont, Pry. peau late Mise CA aa coihiog (ewe ! ia aii ; 19 a es hig a a iahas Ph oie ¥3 \ " pa ye ‘4 ; a) aie h t Mae hots ot 7 ae ae ba/s 4 ¢ oh, be ae ‘ Ae! ue Pere, We ym i : LPR» Pa}, re C1 Fae A; hots wes Oe (28 ai fe 2 CHAPTER IV.. WALLS; CONPINOED.: 2 Character and Decoration of Wallse, = = =| SUMMARY.: -» Character of walls chiefly consists: in thea construction.} -- Character of materials.: -- Plinths and. subey tructures,.: ~- Sunk joints and bosses.; +» Ansle and. intermedi- ate gquoins.; == Belts,: bands and. cornices,: nt ta Aa I. have explained to you the theory. of walls in their vari- ous combinations. But when this wall must, play an impobtant — and artistic part in your composition,: what. will be its char acter? This will primarily be that impressed on it by the ~ mode of construction selected.) According to the needs of: cons struction and also to the impression to be oroduced,: your: wal will be of cut, stone,: of mixed materials,: or again be. covers. by. a facing of marie,. stucco or paintins.; : The antique wall of stone or marble is the grand architect- ure of the nude;. the wall at. Pompeii. with its stucco and paintings is refined elegance.: The Tuscan wall was: previous]: mentioned and is the seorn of artifices; the wall of our Pane theon is solemnity. I might so farther but. only desire ee show you the variety of imoressions the artist can produce, ith this element,. of the wall. eel Leaving these monumental conceptions,: you will see the wal. of small or mixed materials employed by oreference for ubilt- tarian programmes; bricks,: especially if combined with sto bringing’ sayety of color to our facades,: as om the buildings: of the National Library,: Rue Vivienne (Fis.: 151); ort appearance is also due to the mode of construction,: like thi grand walls of old Prison Mazas,:so identical with the chars acter of the prosramme,. and that. would certainly have been less expressive, had their construction been different. a As for. the decoration of walls,: it is infinite and often borrows: the means from the elements to be studied later,: ess pecially the orders.: I. cannot. now speak of the tccott based on the conception of the wall itself.: Yet the. word — oration is: proper here,: for in all hisher. art, / it. is: Mine cere expression of the construction itself.: The surface of the wall will be plane or designed with jections. In the first case,i the beauty of the masonry wild as est ban | o eae OP ie ea) thw ‘sae pete ¥ (fa toe ane i few edt nO BacldooLorg-eds SOY e4 .ctreq ss ‘ede od Teilune gq adhonate | ehtitexs eter noitomisenos efdial ~~ .eieatid eas de527 AG ey bie Se Susadsiis ssvaciy s etgase! Ri leateol y da o od 3 ULlatoggee ih eexiopet vet? tide2? “sbvods a otdees ait He ,Jdavetaer eeel af catitebauot ‘aid to te deo efe ede: ‘gonek Yenodea tha Ta shsost 8 déeencd bio aesnxots ‘ite seeds heewsed aotdienats s “Slew ele) ta’ bad Beer cag Theale, Baad “aitghhi¢ ed) "to aaa ed tliat aidt oF re 2 rads waubiny Sexc08 sed yfaa nae sidaiia elt a. Gren to ‘edoold esisl) to ed [Uiw eaavod atile sha “thadses AG EARLOE (s$fexey to sé¢dnng’ tea fieme P ylienenss | eset re Yo eéernoe Larevse Ors e2iaeky sr ton qe a2. 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(8 g%exdid eng os 129 especially. decorate the wall,:as well as the contrast value of great, nude spaces between the projecting forns of adjacent. parts., As for the projections on the wall itself,: we share here examine elements peculiar to the wall.: aes gt First. the Plinths.: -- In the construction of the wall” logically occurs a greater thickness at, the foundation than above.’ Stabil “ty requires it,: especially if fhe construction © of the foundation is less resistant,: as with rubble or érit- . stone beneath a facade of cut, stone.’ Hence the element of the base of the wall,: a transition between these two thicknesses.) This is the function of the plinth,: . The plinth can only be a course thicker than the wall,: and this course will be of large blocks of hard stone with the = smallest number of vertical joiny¥s.: On certain antique mone uments. are several courses of plinths,: generally three, re= | ceedings behind each other.:; Such are the steps,: not to be con= | founded with actual steps, extending beneath the columns of the Parthenon,: You may see such plinths with less Ses big or, at the Library 5. Genevieve in Paris.: i. Most. frequently the upper part of the: plinth terminates in some mouldings; it sometimes becomes a true substructure with rich profiles,: such as you see on Palace Giraud (Fis.; 152). and the Cancellaria et Rome,: by which is inspired the less rich substructure of the Palace of our School of Fine Arts,; To be cited are the plinths of several churches of Venice: notably Church S Zacharia (Fis. 133), those of the palaces of Florence, often in the form of a bench (Fis.: 134)); those of Bologna, of the Arch of the Star, etc. The character is” always the footing or base of the edifice on the ground, a strong base,: and the design sradually attains refinement es it rises from the ground.; Always et the bottom is @ plain course to receive shocks, the mouldings only beginning above © it,: for. when you see on a beautiful monument, ‘like the Louvre; delicate mouldings almost, at the ground,: this is Mey ors be- yi cause the monument. has been partly buried.: : ak In this sfudy we then find regesses and bowueee: These tio terms express almost, the same thing,: but, mot. quite so.’ a A sunk joint. is a joint. sunk after the execution of the fa- cade, horizontal or vertical,: but: must always express the | jointing itself. etdoatond bas geontoldy: edd gakat, dove add’ to “to aodderos sod soulttoe @de to.Bgiech ait dee | ieigkion tego) eao 4b Bse tad m oktons Bales Yoved vam. de £ot: wnwa oc? x5: edah eat 46 (soot ehh 86-vaode, Harort _faqane 106 ads vino. elqaexs desT saa ft ‘oft ® eda ie ond He Gndhneced ylno dooqavy aldd ak) gpesnedos | res aot dave end Fo. tnewebanise od). 40% Gh ybeoshore pak .fou 40 eeduger aedtedw ,kctiaiot edd woltoe itis to, ; edd wus bre fagoos oF Tino boopak 2k dirbot ik Bt ops? $a8 goat Saidoelotq esose 6 aioaedds ent ad $e2) Gopd el eaod hxow edt. .s]eisl bedeent 6a od an pay oF ev bs eis Ro Boldoetord BO) sehieds eeordxe oF /Jaital ae bas, ,gnbol, edd Bebiaia Yo dedy aang agaektosiorg te web cid’ apxisedgae polvery snois 6 ef eaoduedg wlavoatag af Si ekk pohen vbserls gotdoatong: pide b ciobtrsas yey edd ia nexoge oxne i . oe es. audtopidue, asoagisd Yo soit ibaa ¥ ve Le LS Giiiwes Gonaitne of) to aeacod edd et boro PEED shit tn WabsxionalY bailae neefidenpadaa® to 1 Batwolte . enedetirg bred et beroigue eugie. ede eas ane: ih th .~€ 2, Bite ® ,gakddne. shor, has bodeobien fee @ivacisssigent aa aweptoai ovis Litr.t .agenod i enaete¥ Sb seh pieeivo tga. Yo. ve se Poth acy 26 onpevi MhSERUOD 922) eonaod yy inonags daom) cad Jafagtabiri iyo: qistiiag 8b e204 ent mo uandner bg "Fad a agabass gtcres, patsogioxa edd ahd ie | it fi A yank £%. yeaa (tbe ona Rckibabeng fis ebS a LOF say Be Go fwd Ome, gab ace Repanar doin esmisemor, eeizoo talgoeporg: vid Nal gue. Abrvdo en dy Ko reed awefiey ae HSE. etl tr ede nO-sebect (hen es .bostat so ,qaua, ells, oe od! brctomsioen eit Ssbioom gitota, aevioc ak eead , eee a, jaghnap adv 2x80 dildga to xretten edd. | figs & cals ah exedw KORE eta) ‘eyysod eats ahah a ie) Bie: Be: oN OO It. is impossible in principle uniess the face has suffi- cient projection for the wall to still votes 96 ee of the sunk joint. the thickness and projection required by © | the design of the edifice.; For the cs do of the joint, becom the face. of the construction.: eis a The sunk joint, may be of rectansular ecaties ae on the | a ground story of the School of Fine Arts,: or rounded as ath ad the Mint.-; In the last example. only the horizonyal joints. <8 3 accented, in this respect only depending on the effect to | oproduced.: As for the arrangement, of the sunk. inte oe will follow the jointing,: whether regular or not.; The sunk 4 joint, is indeed only to. accent, and show the jointing. ae The boss: is a stone projecting from the face like quoins,: to be treated later.) The word boss is used rather than sunk ~ joint to express the idea of projection of the stone, rather than that of sinkins the joint, and particularly when any dee oration emphasizes this idea of projection,; , | ce In principle, the boss is a stone prepared and me vith a this projection already made; its face determined by the: 4 cutting at the joints.: a I. have spoken of the very energetic bosses of Puscan ali ; 2 tradition of Etruscan antigquity.: An analogous character i found in the bosses of the entrance pavilion to the oval of Fontainebleau called"Baptistery of Louis XII" (Pig.: 155); the stone employed is hard gritstone,: allowing nothing but ~ rusticated and rude cuttins,: which is the appearances of th se bosses. I will also indicate an inspiration in the bosses” om of the Ministry of Agriculbure,: Rue de VYarenne.). 7 yee a But most commonly,: bosses: are coursed., Frequently acabieln 2 projecting courses,: sometimes with rounded edges,.as at the — Luxemburs,. or the boss is entirely cylindrical, as: may be seen on various parts of the Louvre,: Rue de Rivoli,: or next the Guay,: or indeed as nail heads.: On the contrary, a base is often richly moulded,: like those on the building the gallery of Apollo next, the garden of the Infanta at. tual Louvre (Fig.: 136),: where is also a contrast of the stancallll with the projecting marble bands.) . in Finally,: there are numerous examples of decorated beseauil thus vermiculated bosses,: very common and a singular imit: : tion of the destructive effects of saltpetre and frost; mo (emIO' TL eb eeods “o> Aver seee) t fi sled add? OE nexidsos |B eves, oy. dokiw to shin eftatvoxs: Dy etl theod: SEs Web he,) OE a ara hit Pb ie : ' “wht Foneavect bate art swe LbGhtA ge elladdoc? he exuded? tdorxe ead) ml een? es le nonnad eds Be ‘beset it aaen. wi REO Me time! aw ’ ‘ * guedi ead ‘Sei oe : d ' ‘ fi . wratgisos a 3 bucks pooh: aeeee od geif Site ad Fea? eS Bg een a : : _ eeese tatohdaeoxe. va wind gotwre tio. BN ete ef *e) oy : Bs ofc xe ba hy x sabia dadd Sot Aseki serve lio a, evrorys ae » . + s ~ Pog is » s -* z Sts = call & toy ad pore foe tes a, 4 Gh fen ge. ese sez 4 Pal i ny Bic : coe PALtoor sano taseox ov + hatiniol, sde “ode. one oP aa s iad Bi SEK Cooke meses 3 ieee twinkey ond i —~ “ o & 4 a ~ 2 ove 2 oe © . +) n A Ee ae 2 +4 e ie fe aio s feimesec hegG en Das: wert 7 i et * ate ees ‘ skdas ie esx SE IGUO <= ai so Te) Bee Oa} he q % a “ ~ me 7o @orwes 6 fated emiaup sag wes / on rr “ al *% " Zouatian ond To Bargoart ods) x Sef aeons hues eto! ts bai f Plat oa 2.8% i bee PS Ire o ss, wel BS OL ea ys 7] eat bae elie eta enedt Lts = ee . ni el iz Alaode ehage yi ~~ Seen yi 28 nt awe? Jiebieat nef pititeitoo: eng =o. yuaeasces Apidseas ent he, (7ae@ed 9 pat ‘bo MDE dedoosh end ak Lae Te PRESS ne binosenneniin’ one to ‘pobenads edd: Mek atenod inten guiveet ord. Tgptivves nen, f ie tartan lee penots ae le Beivatot maefuset Sane. lachool stieod. ease tl sad OR KR bos powé tay She Eaeteogd. ethee, BA Ri; “idenay aes ae a Be edd ‘toy-esen: pees ee iae08 hag ice tou abaag idbety, ‘worl ite, een mee tayey ons “he Miaiasse A cone WR hic ey ed i a oe ne ’ Oh ‘ rue: 7 oe en celebrated of all are those of the Louvre alons the con (Fis.: 137),. or those of Philibert. de 1'Orme at. the Euilerics, of which you have a specimen in the court, of our: Sehool ne} xt the Quay (Fig. 138); both have an exquisite delicacy end cha: ming invention. “ In the architecture of fountains, stalactites are frequent - ly seen imitated. Such are the bosses of the: fone era of: the Luxemburse: | nuk > A a) oo a te @ - ; ' d , oY f Se inne ed } Me Shy het .: - j P pt. » Pro Lal et eas he i a? ay a CM PAE MP 30 > va ; i Q ) ’ re Pye eae i } ‘ ‘ ee AN Sedqusks sot nae “doh Ew bake 2 am I Ee new 1 3 ys | er e073 ag (ta eretg: odd. ‘evade ona Has SP Cdeael ve eatoiny ie | ee ys eee /paieavogi8® aa 3 20 cata’ sueted. to lanods ike sahaep-a batazaies tntsien qedaemesivpes edi of : dobinst se ghey Olas Headstone Cay mottod oF gad: BOA Bak teoidcos 7 o yhanote deadnody: BAG AO witha l 3 etd nasty aetrove gaere IIb at avidgnet Abels) aeows % + odak bets leuet z eons at Lisadt’ iin fy sade t vo . H Ms, tottichass eon fe 9 i to ates and ep toma tao be af ods qmitiounid foaigat van soesidora seody, Alot “tied aon. oe 1 ,A0lutoo tog ue ca weeds, S108 astdden exe see eh to-date > paki re dod Dewtet Tle. penton: bad loom Pia Sn Pay Bi accion: to speed ws | mega doe rarenegy @ ped naatd thed baht) iat 5 oxo asdTo wh, A eh dseaire 3 suathivos cee eet} bude aged s. vd batidoesa Gidnens rant aiedioan cet meee), eateyeteoaiad to) os 5 Abana snginG oO oe youaind « gpoldiw bet eu toi ei a¢los 19 baad oie gusty edt yao) (ane 1, hdc ahatale ma Panui agen) eS “LAY tb i ¥4 > eles ’ a eh dA BY Uh iy By ‘! iy NS . 4 Aleks ae hy oe ty d a ; ihe b 4 pas al ag nae a Dy. i dey te : ped gs ¥ eu? , Is at ‘ tik ve ie bie 3 7 Nag fag 152 wider than the possible width of a wall,: for example the quoins at least 9.8 ft. wide above the piers Co of the Carrousel. | iy Returning to quoins like those of Palace Farnese,: I shall call your attention to the requirements; retaining the same ~ vertical line from top to bottom for the line limiting the ~ lengths of the shortest stones,: consequently a difference bes tween their lensths in different. stories when the facade has” offsets; the wall itself is thus translated into the eleva- | tion;. such is the desisn of Palace Pandolfini at Florence (Fi 141),: whose architect was Raphael himself;-- the toothing frankly extending for bondins the joints,:. their projections — diminishing in the upper stories if lower stones are employed in the masonry,: the quoins always. projecting,: but, the bot. — tom of the joint, beins frequently the face of the bieiscdeinis times havins a slight. projection.: , The same principle naturally governs the intermediate lin of guoins.: if there be several stories,: you. will neturally mark thea separation by horizontal lines.: These are belts or bands,;: that; in principle indicate: the levels of the floors.: Yet. they are also frequently placed below thw windows, for which they, serve as continuous sills.; Such is the case of the magnifies cent Palace Strozzi| at. Florence (Figs.; 142).: not: a I cannot, too strongly advise the study of: this Pelace;. 1 know nothing in modern architecture,: that. presents in the : same desree the qualities of antique architecture; weeny: truth,: nothing more nor. less, | Note especially the proportion of the belts and of tguee up per cornice.: I have spoken of cornices that crown the facad also of belts that are nothing more than a oro ject fil eal 4 moulded course,: well marked but. not, competing with the | corni in height. or projection. i The belt, often has a general rectangular section with so mouldings beneath it. [t is often ornamented,: also being | aquently preceded by a decorated frieze; such are the belts of Palace Farnese (Fig.: 143),: another masterpiece,: or decor ted without a frieze, as on Palace Pandolfini (Fis.- 144),2 9 fhe variety of bands or belts is infinite, and I cannot. pr sent a volume of citations,i only saying that in mediaeval ia ane pet ian ey ‘is hla Dechited: aren dete mle Wons bie vital .CGBEQRIT) Teew yoo se ae Pe A iets, eeodd (BeGLAVOD OA! L’ edto | Fae Uiievene) — lesen dita beaeves oii tk 98 [Ltedie¥ to Legenda ads se ‘eat wile £ fox as, Botineg eidusekteaay A weret oF Prse2e80en bib nos sent: to’ sdtetwosy eft jentet vd ibavos Peay Sl davnizaves deel yd béeaer pa mort? wo Jaece: od even fdeile I .esekaico wodveb e 3%. entia® iSsronse weoels® ra: teas. wou gnrmddes rogers af ef key a eit koran eb oh Seon Raveod esl of6 tegen Ons Gd Yleied fou. dnensnoe ex idno eng fe. | ‘soHemtse td Sigate we Sraven edd, eh ehagory Bee’ eyed yklarcney (Oat (RTE Pape tesco: Leveaitey - do SH sertpdoos tors fis Bash) PO de sabia nt ned? pove ais 32 tie? ed F014 tris aes ne Hodiess | on din foigeowsnso af htshe heonotinen | a at Rot qadtrs't 04 Wiesteos, wea FT Py of noted vouse “ibns Yo esaoaste eslon | ROOTS awobniv fae: Beer saon roy “pag ha tah ia ree ode (pee Ror Le ae ,beesay need 4ody ead ebaie eri? od? ode eth, Thyeeite ips. gubuenos seal, Jon. soy evel es nS ‘pera at pee tte, MOT Fens . ‘Ghali aes Lie Bi at Sud): seta ce Snedet Awe wk. tee ce aa e° Bru Jooaidare To. eelgipeiry “Janeh ceeds to nox ve palacnys | vols baa. palbbud erty. dovoylia kes adobdopagencs vena Yeuckolxoss s 84. dom Li be tts Wiad dod a 3 Y per ABSA 2 a a Nagy baa ana ve hd we del a Teh oe aeite eal ‘evad flix st me diet! hey ginagetg ee toF aeis bag 9A dtin gokdoen: eMeeth ad) Geiei ing eis aa e a e6elten os Od pape Dospotie tbe ail Raeda vend vit TOY getw. cn hx phaerd! gah Sint etiépe ta Sine? Aas enol dy 3 ag apidons eis Hes vetdleved tovbre Erte! Fey nee erh: oa, et 2 43 12% ‘send dee) 70 ehudMetged. HE Added bas MAES Hes a architecture the belt is generally quite thin,: since the cou forming the belt has a great. part of its height, occupied oy steep wash (Fig.; 145).: Water and snow are enemies of belts,: often like cornices; those projecting and rather Plat sheutal be covered with metal,—— senerally lead,-- to protect them — from leaks.: Thus at, the ghapel of Versailles it has been necessary to renew a considerable portion of the facade re= ~ moved by rains,: the recurrence of these accidents being pres vented by lead coverinss.: a As for cornices,: I shakl have to speak of then again in con nection with the orders.; For the present,: I limit, myself to © showing you that on Palace Suing SOUR Atee Farnese,: on the - Louvre next. Rue de Rivoli,: the cornice is in proportion to = the entire monument,: not. merely to the upper story. Its am= — plitude is the reward of simple treatment,; ee - Mediaeval cornices({Fis.' 146) generally have less import. — ance than in antique or Roman architecture.; The chief resson is the projection of the gargoyles,: which localize the rea tection of the wall from the fall of rainwater.) Phey pisos mentioned again in connection with roofs... I ean searcely go farther now in regard to walls;- Ge: nan elements of their study belong to what we have not. seen ben fore,: doorways and windows,: arches,: columns and pilasters,:p els, niches, etc.; q The first. stage has Shee been passed,: let ud stop & none ‘ to reflect. a little and also to drean,: 2 be Have you not been somewhat, surprised? Are these studies” Ei what you imagined them? They probably seem to you slightly © austere and dry enough. Yet, reread ail this and you will already,: that from all this is revealed an art, composed of light, and truth.: In beginnings or rather for the beginner,: 7 art is in a latent state,: but, it. is all hose, ya flower and fruit are entire in the bud,: and I cannot, speak you of these first, principles of architecture connected with construction,: without, the budding and blossoming of art,: pro ising ardent novelties and the emotion of unknown onset But this art. will not be a capricious fancy,: but conscio It will have its laws =~ for between these laws and anarek ny is no middle term --« yet its laws will not, be fences,: and jus because you have learned,: may you do what os possible for es oh Tih “tiottielne be abbots. otal ae wy | aye vee Yiahons ous YIese peunataos | ie pbaadine soy ¥o tah eae’ sos ihe ee). oboe isers HE Fond aedwonet me 3 40 Bedseniey cueoe® ydonawrogn? | "7M dadd hig. mov bertapor yea git ef wets Re beatae! i nhs Shah rele aee hip Rally tip kakoupnonehtal losing any part, of your heritage; = Remember that in every study,: the. beginnings ar importance. Become permeated by the fixst. princip] aS this is the key required for all that. Tenains to yoy te learned,: 3 ss % Aes anak tostéacod: mae a & etmet eantasca ve Lobaedbeh on ed ra edd WO bsvintt Ath olguare. 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CHAPTER V,: OPENINGS IN WABLLS,; Their Construction.: SUMMARY,.: -- Rectangular openings,: jambs and lintels, «= Very ancieht, exanples,; —- Width limited by the lintel.; -- | Primitive expedients for enlarging them. -~ Inelinetion of jenbs,. corbellings.: -- The arch.; -— Different, forms of arch- CSel == Semicircular,: segmental,: pointed archese; == Imposts,: voussoirs,: keystones,: intrados and extrados.: «— Jointing of arches., ~~ Oval arches.; -~ Jointed platbands.; -- Relieving arches.) i ieeeeer ae) Peeae to the solid wall; now we shall study the wall wifh openings,: here again to examine the resourc- és: and means of construction.’ All openings made in walls are designated by the general name of opening.) From the point of view of use,: they may be simple openings | never closed,: or. be destined to be closed by plain or: glazed shutters,: such as wooden doors or sashes,: Slazing,:« etc.; That, has no immediate importance from the point, of view of their © construction,: and you can at first consider an epeninsg apart. from closures,: that, aight. be comprised.; | | fhe simplest, and earliest, opening was rectansular,: a verte ical interruption in the construction of a wall,: terminated: | or: covered by a horizontal lintel. In very remote antiquity,: such is the Gate of Alatri.: It is the doorway or the. common 4 window (Fig.; 147); the sides are termed jambs,: and the membe coverins the openings is the lintel.: The lintel will frequent: ly be of wood or of steel in ordinary walls,: of stone in mon umental construction. The monolithic lintel being an almost ‘absolute custom in antigue architecture, that. presents magni icent. examples of it.: . the svone lintel resting on the jambs by short ends,: loaded by the construction above it,: forms: bad conditions if the vertical pressure stresses it. by flexuree: Hence broken lintel are frequently seen, Amons the ancients, the courses of ston being set Qryiand the walls founded bn the rock itself, no settlement was feared,: and lintels of 16.4 to 19.7 ft, could ' pe Aye a) s is il le ith een ol - te rs : Ce i be ot. 1% Lh a ; pi ies ie ack Na EY oa ‘ % ; ‘ : , ee Ws a: eacds ne ‘sen bales ee ay 6 bigdteio ‘inna eds Jo sanem yd Ss8atydo es0x oo Po as te | k degee th tve tf i > ddneoi sat dekotatb od tdguor vale’ ovat nok git) sdaet pid Yo noiventinnt siptie s janeem ows vd foo ter esiaesn Detixed etaoyuie Yo acistbke efé Fd. 40 # eibs, add af) Sexo lgme yivaenpss? 2an tadgeve Gaol add | pies hege eAsnsascg &. YOF eldsvior et venta? oft ~ ¢ , , 4 r Te | ey vieniias ed teum eere cid conte .vroehoon eval! Semel) (wenvoed: th pe fi bia Tis) tet aniaoco wv iaee lta; hug 0% panes. oh hianaiag eeels “to Shas eu bicenentl aad : au ee gnedoerade einicns? ® nate: die “ algeish ae a Bi MALeCPPt sait) vesdet ots cot ed pian Jom Iga kook bac 344 tbe 4 WHEW S49. Geseton! dood sonnee eed? Riied2iot badolitedt aten srndvoedidors Loy NEA. ed veo ILide veaninego sseth niveis addin Bekéleotiiib edt: to aaosty ode gelquexs Eavutt elqute. aad” Gf Bagotsszees neds batasinoa et: oe; RMtoRee eareon ‘to wish is at etude at oe aedaa ito. aiiw guldeda abiw'e eyew of datw ane i. Rafaghth a yd s% tevos of Ji gatovte soi yeh bieds. pene ehaliledtde eViuneotse jcataia 3h Et Soellig gaan? 36: nodoge- grad toe Blyodad OST GCE ‘Uliegety Bi woe Sitegsig of yoreds boxte | edd ‘geokrovoosts sneot thanam onotts pam cr, | ee foas. oda at weavoon te ain? Ra or p ie ae * fy wi als! ue et “ ni aoe i. y tives $4 sings ody al wos ge aebiniseisen® Yd kentag at goistcn Jets of) .(@xmeoLS end: To Hiowhoow ed9 | al wurot)henatieb vious.) 3° vd, Fujdedritog seonia af @tot edd leietL on eved: di sid Packed sacvec: Wane Yo: Rak soe, miei! OL 28 flew 28) ,t16 se To: coingamentl xboor te: asd) Rs okey ie ee a tiaded ‘teswerg M OS Res Nis: Tea 136 | be employed,: of very dense and homogeneous marble.) But, with — our mode of construction the monolithic lintel is only adapte ed to small openings,: giving it, 6reat. height. an@ with dense . stone,; It, was thus frequently used in the middle ages.: He shall later see how these inconveniences of the lintel were obviated by means of the jointed platband and the re~ lievins arch.: Men have tat sought to diminish the length of the lintel by two means; a slight inclination of the jambs (Fig.; 148),: or by the addition of supports termed consoles or corbels.: The last system was frequently employed in the middle ages.: The former is: suitable for a permanent. opening,: but. if- it, must, have woodwork,: since the axes must, be entirely vertical, : the effective opening for air and light: becomes rectangular: so that nothing is gained by greater width at, bottom. Also the frequent, use made of these openings in tombs Saarinen, ae) with them a funerary character.: As for. the latter (Fig. 149),: it, is no less obsiipacb era: ‘Por the woodwork of the closure, and does not. accent, the: opening by a freely defined forn.; It is merely an expedient.: oh These cannot, much inersase the width of an openings,: and if architecture were restricted to the lintel,: it. eonld never. attain great tite ae heer nay be seen in very ancient. | examples the traces of the difficulties with which em ure contended when restricted to tne *ntubie lintel.: Thus at segni in Etruria is a sate of coarse masonry,: Showing clearly the wish to make a wide opening with offsets,. and the neces: ity for reducing it. to cover it, by a lintel.- a At Arpino,: successive corbellings cause the sate to really have no lintel,: the form is: almost, pointed, produced by. pros jection of each course beyond thaty just beneath.: | I should not have spoken of these attempts,: had I not. dew Sired thereby to prepare you to properly appreciate one “of those magnificent discoveries,: that, are a capital fact. in th evolution of an art,: as well as in the advance of eivilizatd This discovery is the arch with the vault,: merely its @ i Sion-; it has already been mentioned, but I now return 7 in greater detail.: Is the arch the result, of progressive attempts, the syster atic realization of a fact revealed by chance, or is it, a co ee saad a Sos thes i stn Re aokiqed dé 2aiebtn Be’ Bently nad - geetneqa: ae) ene of angla one beoeninteaaan ‘Ae onmE dts ted deena que b ARoe: oan mer: gaom ent ‘to: Bro, ees od, RIE! . f ‘Vewites mapenerst to: enotiusy sgn d bonttobas bap wen need ovad Yam tayededs age Sreectnhe eda. fexiiivu veds )erginesiders. 04 met aoisonzduaoo URE, ‘ag beilega ai dona ated ant SSiet, sai gniaege ie aeqe of Sebnstnd) .m102 bwlry i “ Gave Gd ef yloxs afd Yo Holsongt da eudT gt ovo pars edd S$to0Gre: to aeten sasieiess. oF astenai sd Wetenco mothesoo eek saebveoisenso dent Yo eee ret } revedadn ghotéutot oliiueontos efi ot bos a0, | bircee jon ei dors: of? “Sexo lqae efaivetsm gd te agi ne ee tg oad imvitdilides ¢f¢sdea to nakdibacs Be scisna see at ne st mrGteh) os aco eat $f) gd | sii tide ds aide ap sagpaten ite soe qaeeagoon aka secahan 10 one & dness1g97 hisodes nas Eo ode 20 eaam eng ‘ fe “thors etd To dauttdd edd nad t ee “morne> a d¢tw sonave feuidnebt taecetbs owt ks to.0G, bas edd tT, zhote dads fo. me rads Cte eB i) Gritgdpob at estiidare end. soivose s 20 a), 2 SS clan a8 fonexc anciesha (2. bare? > Elen inony, od yaseesona et th dl bre odd gisss: eed baer ree meats Asin os ed od meidorg 2th onussd’ > edd Ao beaol edd Micadsi wd. tainon Oa Beer O54) oe ah eae teh dita sede alc act. enetg Nats - ohahiy ant havin, pot ieose edoctfeb s ai etiftista eids Xo robdeot oh i x03 “bas ) atatos? erotemss. o3 heer? ida ,nokiontaa bog wrodagme le ne, soy. 8 ‘eiectial vine aso, 1) ig odé evreado, ad bd ade ifee ebiuy ses hee aot pote angtatnsd: e ef oh. yeoetoaad ran papal 20. ids fa }o een “etd 708, Cameeaitees nadd tedded, ad ‘bbaep it 1387 ception of genius due entirely to the power of thought? | Assume this problem to be set; with stones of limited dimen= Sions to span an opening ten times as wide as the stones, ant Suppose that ancunknown Archimedéesscouldysolvenit,: would not. there be seen one of the most, sublime and most fruitful in- ventions of human senins? whatever may have been,: new and undefined horizons opened to architecture,: that. utilized them admirably.: | the term arch is applied to any construction in masonry of curved form,: intended to span an opening in a wall or a part | too weak to resist. by itself the load of the construction abe ove it.) Thus the function of the arch is to support and to transfer to resistant parts of support, the stresses of the mass of that. construction; its: condition consists: in its arck ed form and in its concentric jointing,: whatever the nature of the materials emploued.; The arch is not. naturally in a condition of stable equilibrium; the pressures supported tend to deform it. and tp displace its points of: support; these E must then afford sufficient, stability, proportioned to the — width of the arch and the load of the supported. masonry it. J sustains.) The widths of the piers is the princtipal condition of this stability, but it. varies according to whether these | piers are more or less loaded,: for: it, reduces to @ question — of weight; it is necessary that, the stress required to displa the mass of the piers should represent a pressure greater than the thrust of the arch,: | | two adjacent identival arches with a common pier are in e= quilibrium on that pier; for the end pier or an external wall of a section,: the stability is doubtful (Fis.; 150).: The ver= ification of this stability is a delicate question of con» © struction,: subject to numerous factors,: and for its solution { ¢an only indicate to you an elementary and empirical rule: Your safest guide will now be to observe the proportions’ — Found in numerous examples,: remembering that an excess Je ort dence is better than rashness.: It is necessary to know well,: that if the arch reserves vas resources, if is a dangerous means in the hands of: imprudent, or unskilful men,: But here again the principle of the appear= ence of stability will preserve you from serious faults,: i for the appearance of a construction to command confidence, gil bas PER aL Sole. eit ae gt c ea me) . — Was... snvapee pe oe géiieoen vidi at wokirn00. “ads “At Sxinhooes ot HStotauess enone cE H6Oe Sd Yeeinte Yo srtot ‘sgovenag geixe ate dT : e oft “(ter “hi%) ta lvortobinge O89 al dsens< fv! Gone AB speatssnt aishy I8GtTROV, Gacdw sedi. 2) ed? yoteig end seguded eonaserk sft gheebxe si usAs r8dse1y enibst avin: core Lavoe, owt te beni0 i Ph “Anted eetines tod s gerete eda seowted eonstqib a ae neveCumr Batt! 20 we ‘dane Bhtubog as: 10 esaldtogosg nT | Got ~Weoltenidnos eens boats) Hots Eataaite ‘tees ban ppenipntny ea > ~eentaa trae ads obits Ht werd tuo Rexsese adie a Bs Mm dove dsoaal of? :.3 Y Sate te! edd "to aaegs “peek “pRit) hows feuedeLivps adT 748 ana edd de esudance Md bitp @ aac owd eid Tiicawrot avototiaes ‘avottay eis |tent tev “f4ede yd bekwesxe ef dots eis etads isos odd ned t Hedin eexgneo Adinv dots ihe ts. Gaxk «at YLiakos gas fas vitawt? {be gntog 20 4eluotto dare gotweatod Teaaas> - yenoda untisaporg 4 at gaoqnt sit a ee Sst i OE weatt: hi A) wei g edd, eedeniats 3 inie edd to tnigatot sid. bic in iat Zenoss enbew edd Pees bia \,29 20 is02 aid bemed et ehte idee Ys tTihoeevcy ame eiciaiv ant * ORG Tey S2 ead er & . whose diameter exceeds the distance between the piers.) The pointed arch is formed of two equal arcs with radius sreater than half the distance between the piers, their centres being in the aig of its imposts.: The proportions of the pointed arch are variable, rhs, form three combinations.: a 1., Depressed and nearly circular arch (Fig,: 152). be a cen tres inside the springings.; : 2.) The lancet arch (Fis.; 153) with centres outside the span of the arch,: 4-) The equilateral arch (Fis.: 154),. intermediate. between the two. forms,: with centres at. the sprinsings,; ee There are various capricious forms, like the stilted arch,: where the arch is extended by short. verticals; the lanceolate arch with centres higher than the sprinsings.: Finally and especially in Arab architecture is found the - horseshoe arch,: circular or pointed.: fhe. impost, is: a projecting stone,. generally moulded, that. | terminates the pier (A - A,: Fiss.: 151,. 155),: voussoirs being the wedge stones forming the jointing of the. arches; The first. voussoir at each side is named the springer,: and the middle © voussoir B is the keystone.; The visible cylindrical face of a the voussoirs as seen beneath is termed the intrados,: i The number of voussoirs is always odd,: producing the key- a stone. fhe jointing may be conceived in two principal WAYS;: it is either with an extrados,: i.e.,: the. voussoirs ars compri sed between two cylindrical surfaces,: the intrados being the inner and the extrados the outer one.: This jointins is very 4 logical,: as the masonry aboewe may slip somewhat on the. arch and cast all its weight on the piers,: and the voussoirs. with radial beds act normally.: Yet it, always has the inconvenience of producing acute angles in the masonry of the re which 4 are always bad.: : : ae The other node of iki represented Po nea 14, by fie 5 ag OMem of \elelxe esiispsr Satuprh esl -.iinw ede sant In jarit as xitanbobttve aod 2 inioy oe > eevee l. ylscotot tian ed was ssioaescy telah. 8t408 ghafosa-ni oattodh in Woy eqeites 583 ‘62. .eelsan, tnaxiness ddiw dno 6%& Beagds ars fat “iat eS | ‘WE-2e...peets0o Ietaonttont bie Natosewsy chp tie loa 6d bivods baz avatoiv gf gnumexnbt es eoitns inertness ads de ssexd ayewls Feowls gearot reds . eeutignos pele sedore to. wedaee ant. see et site: ete Bods ssemtol a12° to genetaey ylar | ‘Mfeyoulentizey Ao Letoosivod gaisd gina veger ney Seluentetise i.gadors bestize, eardnee Lao 38 RagiveyceedT sagekeaiaga.cdy coos wadgin gous —, di ‘ys — o af e | Ped yoeds Catan vod fel tin voy nosey Rae . ts 9k done gatoou! ston aad, ot? sadnn VEE qidkan’ 7 Daa! ison DenToOTe) s £4 twegge goo Sivore = Wan a Al .vodé 503 oldicada et exgiffe azo gud soe! ad ee to to to none 20. boapamen dove {sve edd imap Yo.tednun: gdiijedieg ni setdned dviv bas «9 eae Pfhoods -,estaitor nied i dbhinvn tae. tdedod savia ee19080, Piro Ve Aede: ho sd averke [lin asvino ci Te dtu nt bis yadacte eff faottveaiys ylitesrs tise a (bas +o tssavady Hiveehtads eta gqside gel ey tetrer:- Bee): ekaerd SATO Oo heey ota “AE eS edd tbo: qioeds edd Aoty, Headea L Ln ht ee ee end of scott as MW Bhi sntot gag ) ir benisvoh ak oodiogareton thets: “fire. nomees eget Peso. eine atone taltécviotuee ead 22 shee ihe ae iviw Jeotngeudeh bated ,eaqgiife add. Bee miter adored. Cay oes on \beaddala hs on Ang nwode ‘yeed ced fetnkl o ingitonan |) A, RLRO beat. ge bi vots one tices eipagd), “sat sed) omtroea AaoL sia tecoe %, 2 Sen! AD, O) Me Se Poe a any ; es, eas). i 149 Se the jointing of the voussoirs to the lines of the. courses of — the wall.: Its drawing requires trials to. make the vertical joints bond sufficiently,: and that the contact plenes of bheg voussoirs may be sufficiently larse,.: | | Perhaps you will find in ancient, works a jointing in which the stones are cut, with reentrent angles,: so as to form both © voussoirs and horizonvyal courses,:as in Fis.; 156.: This ar- rangement, is vicious and should be rejected,: for the stones almost, always break at, the reentrant. ansgle..: The series of arches also comprises other forms,: that are only variants of the former;: thus are: elliptical abches,: the major axis being horizonval or vertical,: oval arches with sev eral centres,: stilted arches,: semicircular arches with cen» tres higher than the: sprinsings.; These various arches are less common,: and their construction is governed by the same principles as the semicircular. arch.) Only note that when for any reason you are led to. employ then,: they must. be drawn frankly different. from the semicircular. arch.. An oval arch should not appear as a deformed semicircular arch. As for | the ellipse,: beins geometrical with a given height and width, but. one ellipse is possible for them.: It is not. the same for the oval arch,: composed of ares of cireles tangent to each ot er. and with centres in pairs,: the number of combinations forp given heésht, and width being infinite,: though the number of © curves will always be odd,: with 3,:5,/ or 9 centres, and nec= essarily symmetrical.: The greater the number of centres, less abrupt, are changes in curvature,: and a sufficient, number are used to prevent, breaks (Fig.; 157).: Finally,. connected with the theory of the arch is the joint ed platband.: fie return here to the rectangular openings; the ® monolithic lintel has been shown and reasons given, why it breaks easily and should be used only for small openings,: im our mode of construction. Assume that, the voussoirs of a se6- mental arch be prolonged to the horizontal line connecting the springings (Fig.; 158),: and then with all the stability of this arch you have the platband.; | a The jointing of the platband has the inconvenience of re= quiring acute angles at. the intrados instead of the normal @ rection of the joints of the arch.: Therefore this jointing has been reproached as a sort of dissuise,: applying to a iin: as issn ‘ei A Wladiste end ; dond? bag: besousua eg Jeon at ssid ).a8 Sobek yolars Od hedtide ylivsatiessg ‘ned svsed aki ff ei \anabbeqte edemisitsi-yliespe todzons Bé ¢d berevos’ @t gniseoo ielwonayosy Ar, (C8l 4 tt) see ht Yo ‘diag Beaodxe> ‘Sie weew a vlinebive ., baedtsia et ats mort eivaecig edd. vodad ai evods sisaa nx 11 “Soberpade Heonded hailltt edé vino vixeo.od evad Ili @ 9d Yon foes widT<.dows sSaiveties end Yo: actstict gaeg yino si snd) bedatog weve to Isdnomase «sa! ag ek baol 42 edimsngad (si dotdw of Lfaw Biloe | eldiasoqut ed Oisow sr ceud? wgesidd ett deteet we zinsaera tiseit eitne git aasing*, vobalw 16x Ffiabatnegs ovece ayawie don ors. esxows jatvetie® 8 e@teig evode hansi{g yisneupe1t ots yods {2% et a1ok oF fiswoedt to tdbkiow od? ontats teast3 o gonae' on fac¢..bbe of eeeioas easoe Jl ee rces qilapios. if seeilan ),fors Saiveil esiedsetord aor ai mesa semisonoe ste to jecnsednt evitor juosstiw eedors’ witaue irk Baud edd fo¥snos Yan s6e0h Ao2807 ON eee {sso net ads vol {iso -estogs C14 ve, ol gid? ;.tacete tThedd vised edd; .er8 “Yads oth eae pone fLin basdéels edd. ,enoksifess bas alae Lio! ~se@eseh ied dove hetateg sit fas ete ieins: Ao died 1s sefote eed. yileni® gr 0 co @¥6 ‘Sigtie isn seshi~jenecesing x0 siddet = me ohn a 's orb iost ms ag esi eld ot chalet tadrom) ce ae . Lv sh ‘ a Nt sai 4 eR ‘netoidt cis alates, sation sid¢ bas ‘meta 7 watt 140 straight. form the elements of curved construction. ?rue, i the platband is merely an expedient,: but one so necessary Po ‘that. it, must. be accepted,: and its theoretical opponents have been practically obliged to employ. it.; Another: equally legitimate expedient is the relieving arch (Fis.: 199).; A rectangular opening is covered by a lintel or platbank: evideutay a weak and exposed part, of the structure, If an arch above it takes the pressure from the lintel, that, will have to carry only the filling between itself and the intrados of the relievins arch,.; This arch may be semicircu- lar,: segmental or even pointed,: but is only possible if the solid wall to which it transmits its: load is: sufficient. to resist its thrust.) Thus it would be impossible above a cor ner window,: unless the angle itself presents sufficient widt! Relieving. arches are not: always above openings.) Thus’ in gen» eral they are frequently placed above piers or walls for transferrins the weight: of the wall to more resistant’ partse} It seems useless to add,: that no reason exists for a re- lieving arch, unless it, actually relieves something,: but: ther are sometimes seen in your. projects,: and even in executed works,: arches without. motive intersectins a wall solid below and above.} That. is not only nonsense,: but it may injure: the — solidity of the wall.; An example of faults committed when reason does not. control the design. All arches call for the general ramark,: that, the flatter they are, the greater their thrust,.; Thus for the same span and conditions,: the platband will exert the Sreatest thrust ~ and the pointed arch the leasta,) ie ; Finally,: when arches are built. of small naterials,: bricks;: rubble or sritstone,: these materials: are not of voussoir shape, and the mortar joints are thicker wedses,: so that. ta mortar determines the resistance of the: arch.; THR Er OTT seROoO-o coon sal rete get ae Pies ABE IUNSO eU0i819 elwmocutw bee pee epdinegs be desoal oer VRAUNUE ond 30 ee atia . Ae BUewiood isotedme ete Lente ial pee fenre sat has adeoqgul u Vygawseod fades Be me teheldonuadancs eueline | peueba iw asiogagice® > daand ~(anctavoied bare schssdey. fed. ee “aad oy 7 ent aay » “i et Ra bites fa-exist & % ' el psyoiiecc bei nbisuad wend @vas i tee ee we 6 Yedt>.wetv fo. 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Og Ato eruicedisoys ots KOTLOS eyenioob ose yf eae rletedncmle Afove od cidaasenribdr 2% sSelemexs Yan ec bles used ead dso og bbs ot bak wEaego Me ai YSwisod ‘To baiz SLHT 1G haZ ie es te z ‘ebisees 4 SL Guts a fp dectties gqe>e26ls of amivass ayarteoh v04 fen Og el ndtioeideih# @ {ied vo moot @ -, ba ibling Raiods 409 ¥Lee domgenood lenredat ing {eatedxe 7 Sxscteds t0% gala. dud» tevel: age Lieiv an ze fe iSenunes eased, Hekdqeoxs —~eetwedad. or al apis ic ehegdolos ~eindidaey A t6% Med goes - ao@) ésedidois odd yd aesods iavewsoo 243 Yo eseteteniad to-.een e423 word Pivees {svcer hovwetroggre: BIRUSS FO. bavor llese 78 eveven {sd do btet gs. dabdtoggue anozwseg 3c. és lee. orse'ns oF uted etidoe “ait .hiniie « oc gaisees bas elds ee 20 wet Tha. igode- ed bluode iisy bas eietevled Eola: Ti oss sents aig ae: pane? Coded on whatid Sita nn biieiedyaks: eselits ‘GQetTiti-etats x2 sel Eayptaxolone aworddyeve vituas ie Bey 7 Be tecasu: webieselh: deno%g @s veds.. eis pied bisodz pectigieih s2eoda.,(3tl. sit) ac Boul Soafon elhate ani edyyen Lies ie sanisdented acs evods, stator doowsiv ren waka: fiiw- ebstdeuied wobatw & Yo wselo est hve 24 nods. iLin-ebarteyied 2d So eeorinny ed’ Beret Gide) Liew-redoids Sig teiiwote. fed a yo eel. MO OR. selosgon go! xnooiad go1m, &f t whe bes beinionc, #nee fedteohed. ‘etd peewsed © Sonne air le ibe haeeishdel eGo Jo dais esverax ens ed Hleone : Dk ae A:o -oceee DP veves Jed , te nncddaigkiiec ioe toast se 3 sa: p Sor: ‘ee Rdtaqnose Ys) Sone wegcs os. enatiaed se Lornes Rhowte yd enaod. ett. Og wend eetingss tide, asi lidase ecd-eegssont yin jeum calves Sete heeket yllaiian sated esinooled edt .Siec tiles: s (S8h 217) cbse eb exis#t 48 Yo dorsdd sesetiireldésion daiedud .potesqo, So sto? apoke AEE 2M Pani) s00eTol% Yo nbn eed (to: woknin soe! gated pad od Hogis lero ni epoidvogotg seein. dove deta. La Cates abi excieson ét08 betaiopes vi a8 bonve ide ae) “Ete8 odd ae eyac edt ae 2: Sicuy sid) 05 tents eo} eeag ow Ut : Teds “pet: stiot to worn iw scot ed? bet mpaednt hoe yllenvecxs ese Nam poy dotin iepe eeonies oy Io elfegedd.-.2 anc to Jaus eo seers Som ite toe % i508 iat = sbtes aved fs Oe De a. 148 a case,. the divisions must be adapted to movable sashes,; and consequently with horizontal and vertical combinations.; It, — is well to make access to them as easy as: possible.: In most” closures of the great windows of churches the stone divisions forming mullions and arches are very delicate and fragile.,; © Thus frequently the iron armature enclosing the glass makes — the stonework stable and supported. It is better that the stone may suffice alone by the connection of properly sup © ported parts; the stonework then abmostsbecomes woodwork,: 3 Amons a multitude of examples of these arransements,: I. § shall limit myself to placing some before you; one of the dre side windows of the 8.; Chapelle at Paris, or those of the ~~ Church of S. Pierre de Louviers: (F Fig.: 182).; In a whitelist ogous form of opening,: but, with notable differences in desig: is a window of eins ienp dee of Florence: (Fig,: 1835). Then iam much wider proportions in relation to the height, consequent- ly requiring more numerous divisions,: I cite the windows ofS the bays of the Hall of the Synod at, Sehs,: and the great, wiln- dow at the extremity of the same hall.; (Fis.; 184).: Finally, 4 if we pass from that. to the great, rose windows,: no less va= ried, the rose window of Notre Dame above the ‘South vortaly: which you may see externally and internally ea that, of the 8. Chapelle of the Palace.: Cpa 'S «i . I could not show you these combinations vitholle, dan a time having you see the decoration that, they sugsested,: bein a little in advance in that respect; we leave this to return no more to what has been said.: uct, ai bk GYAWEC @ i mortuscad ay oe ees Bibel aA" (atyitc eagliak wx VYGAM HLS cae exGob eupidad ono geo eee WES Dok sane 5 ieeahe gana wee Sra, mm RBRPOEKCO Adi y 467 lh a Sietore fo sétoetad ifs Kolseroses = shedstoood Nidet+ werots .«- .iitute? baa tise tp® 1a Eseptwexys: bua ited of sedocA ~~ wol{ot ov ata ; rte yanedots ofised ~ -.cedois oupenasds ne siden bis ‘soup itas tc ealonehue s 9: tes iieamod Ae seuobats pedtorn 1 tak dened Pimigis edt Caiaeds aeiuugadoss ond ances? Sacdiesasea devtt ges Jodarl- ods sett. Ges tyqus et mot? eeedies + edusi, oda bewtiot. isis hee BO Sensed-boa eizog teiw boow Al notiswivence fe Oia Wid tol ‘seaisovisesvo dive -eeat danse ee hataedce ef) bavets hare e fiiserise eien sheen isdnti{ eds s0e ie e3gne! Soh. e0et dior .edy. 46 oi bs * Hlvors: inbas e@heueis feckiervost? aes soo dos? ie teak OY - ‘iat OKT Teet Hoy poiiw neve sed tog poste. beibsiv: eyarvoot feratee dra sett tener: eet Te ‘oth Tends ad Honbdcar ears au modiedd .yneRe. as e¥avle et cisy se8 i ee ons ‘6 aa ds ica; wines bade + ne ea ol Meseo. pwicok Pe te fet qne xs - one sebed? ‘i lee oss’ ved tes; ve v7 ee ifevit fe easel te a igvet ot fo #rob 2a yee ea ti i aes “aereéeei te 16 wari sos madd ped baavent Bs reer oa Jeane senode. . tO6E oS pies ond ee re) , : cin, ede outer etc od segtroom: eFst hoki lac de pilot “yivendider: edd we ¥idoovit bee 8 fig Bho ges = 149 CHAPTER VII.. DECORATION OF DOORWAYS. AND WINDOWS.; — SUMMARY.; -— Antigue origin,: ~~ Jambs and lintel,: archi= trave and cars.,-— Caps; -— Antique doors: of Cafalu.j <= Caps with consoles, -~ Doorways with pediment, caps,: enclosed by ~ columns or pilasters,.} Decoration and character of arches.; -— Antique arches of Falerii and Perugia. --.Arches richly decorated.: -~ Princi= ples to follow.; «= Arches in Latin and Byzantine architect uri w. Romanesgue arches.; =- Gothic afches,} | | Comparison of tendencies of antigue and mediaeval arahive ure.; Decoration of arched windows.: Resume the rectangular openins.: Its original comet eeai comprised first, the lintel,: at. first supported by stones: set, on end that, formed the jambs,: perhaps from tradition of sin ple construction in wood: with posts and bean.; 2honeigeeaeall ‘stones must. be oroperly dressed in the midst of ordinary and sometines: rough econstruction.: Mote the architrave (moulded ; band around the. openins).: : | But, the lintel needs more strensth and is: higher. than chell width of the. architrave,: its lensth extendins. beyond the jambs.: Thus: the ears: (Fis. 186),- Hence in principle,: the architrave is a flat, enclosure: wit, only some border mouldings; by its enclosure the ear is 7 cented and ranges with the top of the opening.-;° 9 8a 3s a Such are the theoretical clemenés,: that. should not be for: Sotten,: even when you vary fron them.: You may see in the Set of Fine Arts several doorways studied with architrave and ~ ears aunties in absolute purity-: B But. rain is always an enemy.: Whether the opening be a doo! or window,: it, is important, to preserve it.: How? By a cap, as: for the wall.: There are examples of doorways where the cap is placed directly on the architrave;- such are the wine dows of the Pemple of Vesta at. Tivoli (Pig.: 187),. with a vei beautiful study of architrave and profiles,.: Particularly on of the doorways of the Temple of Diana (?) at. Cefalu (Figo 188),: whose architecture expresses the theory just. stated; again another: doorway of the same monument. (Fis. 189).,; It is interesting to compare these examples with a pretty eo Y ‘i } t a | ae ee ire 32): ybude:. aphele® yiev s at rie en de aa0. one: 4d Yo nwcidds od ahet eds dhvoat pts eee in basgh 08 ex0%Gd slat events #1: $o%.jeuots{0! ty p xeet: GA. wiiat tt wele).,yautocd A ed eid -2t vi ee tu teds od hivow at nsit .eofvsel 20. geivedxs a StBH rer aint: if evoet bose ,xifarededi rece >. ae ET a ae Waites Sedaenifac asivecio t¢ setoknes sl eeelaag ei ndveewen eeatoivixno ati toate I codf prehan ~exchuiw to eyarice> gilawoxus adnowibed.o2 Wa -esi3dnc0 :.003 So bas ed) ei sseribey ods saad . Kietc% detedsesgisiois os. 30 say sid Jadé ¢nenos of) “Lie eeqeces tf :jlotses Ene lacigel ad divete:du ea dnantbeg Dae Geo. 286291 jovatiivor + socal datos ‘futiguseé sysraoob igusedxe eds Yo Aol deroeeh hwewiooh hbrers es Bf Coidw werd. to sno ectig I wasp eelgsaxe RE sentih Vino. hbe.2 sist iW Be ekcoes. zen ila eis gind soar’ “hisses ae a Shagsct Mi beyolague nsos seiwext td Peete fadt. dis 2i-ci dads jpdeocer ogvedelerc’ ei $i Mis) jyacoled so bn iiies eds als Soak ms he +O eten Od So ylisore tithes Yasue disse 1 exciared’ -.beacis ae eeidt. sevis oels .ovad etss ‘fate. bas Khas eee 9 HoObdibdbs.ous Yo beivesv bidda to epdnetiaks ta signed. Sebi cre be {ee Sena Ao stigdcun Jeend, NOV Bat ora., (Sth ares as cd sucibsd od bibex Abvtotin.. jovani idigtetiendgiiv = naoksse Hae Vevyerqonh act 2 Sst deend. qetiewiheg dnoddie a6 atin bag 2QRD . eee SAMO NICs JotnsH oa0..anercoKn vlexendxe ae eee ‘senoe pda fliw I meds, gaideom fees sors se fo yswioeb ahd ,~ainsdxe eff Aad _ i: gkisV oda te eysuxock evense. gh 88 peacsad PRado se seg? oats We danod po: 2k pk GPE 24BE2) enor Js nhaene a ifjeb-éqaest. Eetigtecant ae eauaoed » ieda0 Vis of; epcese Tete a] SAI. SIPCOBS ( th ott oda ne wee. a — 150: Renaissance doorway at Corneto,: composed in the same siete in a very elegant. study (Fig.: 190).- a a Though the rain be thrown off by the cap at. top,: it, is sti. injurious, for it. always falls before the. opening,: particula: ly if this be a doorway,: when it, falls no less on the persons entering or leavins.: Then it would be useful to throw the water laterally,: and hence the doorways were covered by: a tri angular. or: circular. pediment.; picaet ee Then I reject the criticisas: by®*certain purists in ER | to pediments crowning doorways or windows,: under the pertext that, the: pediment is the end of a roof.} Doubtless,: but, from © the moment. that. the use of an architectural form has: a motive where it, is logical and useful,:. it, escapes all critiscisn,: Hence,: architrave,. frieze,: cap and pediment, form a complete decoration of the external doorway. Beautiful examples abound I cite one of them,: which id the grand doorway of Church S., Jacopo degli. Spagnpli at, Rome (Fig.; 191).; This is mentioned — in preference to any other, because I know none more. beauti= ful.; 1. add only that in examples taken from the purest archi- tecture, the pediment is not found over doorways not exposed to rain.; Since this motive has become especially decorative — it has likewise been employed in interiors as on exteriors. It. is ussless to repeat,. that. it-is all the same for doors) ways or wWindows,: except the railins or balcony,: already men= | tioned.; Therefore I shall speak indifferently of both. 2 fie Architraves with ears have also given rise.to coubinations varied by the addition of friezes,: caps, etc-,: as on a ce way of an antiague Temple at Asgrisentum or another at Tivol: : (Fig.; 192),.0r in a very great. number of examples in nodal architecture,. which it, would be tedious to enumerats.; 7 As for doorways and wondows with straight architraves,: wi caps and with or. without. pediments,: beautiful examples are © extremelv numsrous., One cannot. turn over a book a a meetings then,.; | will cite some... — a On the exterior,.: the doorway of the Pantheon at, Rome (Fis 62),. several doorways of the Vatican,. the windows on the court. of Palace Spada at. Rome,. those excessively rich ro Gertosa at, Pevia;.in the interior,: the doorway of the li in the Cathedral of Siena (Fis.: 193).: To sSive greater monumental breadth to the motive of thea ; < 4 % pee 4 i) > -* . : Pa : + ye saci 2? © * es tvoagss gei6ensd 7a mas: 1 ayevia” Ge. bag stineb aks as He itistes ss 7%: : to $hbolaods iain daow abo. poy bees eibinc uc i #éiv yd beisvoe syawigoet {Pi wit) eektGed tH » gbaadielo: SGMS FOL todd shietv0 .haadta le bedatat : iat? bexts erode Botts: bas did s ,eloaswas a. ee ly te mosis GAS es a edvooors no bvoeT org *eang eReAE ~WOHLATSO) Gas TetnY Oat .yeool«U s fe phieo ia hde showehterts: Iscissrcend eng) ei dope etaemet.evatiey so ae de nox aot yfsasic Pits ete tsur Sloence sak (f as a atid ‘to s epateadr tits foe edsidinteo of anideqteds - 4 pis moisedsd oii xf spaie ¢ “wala sod Se ges @etne gor binode-elosnce eid? 8. Oc J hetaolowe tt «ok. edust etvekaid ade ts. soold eset foe 1 lemenede. no : Ae eG Sek 3 bas 4 te) oa ts. fade Be ne m= ob ut oa LF + ad rs ‘ 7X ~ ft C2 owe eS Go tas) ats o 2 er . S Rd “% Saye ee “ ty ot i) 53 v ae | ie! * Ra 7. 4 i | i Dal ot pier ya Sz _ S) ¥ fajtaeen goed binow anid) leek be mead OD eanitiwe She Roeset o2s¢ 245 G4 “68 Se Gai euissb: he sui ee 738 des onaanesamrtall SVS DVAMteTS i Se Exe 9 fem, as ee ae ie 1 ey @ fake = 4 ey @ alll ‘ pa cr axe J cone edd SR beES sedbtud ITiw woY.) 2 4 f Gi Opiag Laltmoaae, stom ent. $0, aotésy pope | a Ea p ators iw oe 8 ii 151 doorway or window,: the cap is frequently extended beyond the line of the architrave and then made to project more by means of consoles supportins its ends.; This beautiful motive is often falsified in the design,. and as always,;: 1 direct you to its origin,: and you can work with knowledge of its motive.: Our doorway (Fis. 194).is always covered by its lintel or jointed platband.; Outside that. lintel or platband,: you can place a console,: a high and narrow stone fixed in the wall, whose upper projection supports the cap after the fashion of a balcony,: 1.¢.,: under the cornice,; ) Such is the theoretical arransement,: which calls at once for. various remarks,: 1.; The console must. be sufficiently far from the jamb of the opening to permit the construction of the lintel,: the more sO since in the interior the opening will be wider on ac count, of the splay.; 4 2.; This: console should not extend Petow the joint. termina ting the jambs,. for. if prolonged to B,: the lintel would rest, on the small and weak block of stone without, bonding at. the joint.: 3.. If it, be desired that, the upper moulding of the console © should be enclosed by the angle of the cap,.this cap should ~ extend little beyond that. angle.) If the projection 0,D,be inw) creased, it, must. also be increased in front,: and the Bap will® then have an excessive projection,or not have equal projec tions in front and sides, which would be a mean arrangement, | 4.. For the same reason, it suffices for the console to be . crowned by a simple moulding; if you desire a richer moulding” of the cap,:. it. is matural far the lower: moulding to stop be-= ; tween the consoles.; Rant de In general, the opening is enclosed by an architrave,: 4 and frequently above the consoles is another architrave.: The © theoretical scheme of the window is then that. of Pig.; 195,- | Note only that, the upoer architrave is sensibly narrower than the lower one.; Chae Must. you restrict, yourselves within absolute rules? No,: but; at, least. you know when and why you. depart; from them.) . You will further find in the beautiful exemples the obser= vation of the more essential principles; width of architrave,: wilh or without, ears; frieze often decorated,: thin and oben ; ae 44 i z ye BO etait. ooh rsa. nt whut? “a3 ionnoo Picemvanetideis 1s ~% 38tio? Shee ir etans? issibna' eS oe Pas .¢2 rec¢g0N Yo eidmet sts 16 afiierws niehon al - hOet -~R174) ankdteated 4s ect (te peta eas To. swobaty gn nelfex 6d? ad goto ir | dons ‘doe ttists edd et nad yd reach enh to Locdos eda af Feottaxosdds g20r7 ie safe ef eised teow 5 eeabd te gaa Yo nofsteoguos ei? vou de gon? eno 6 eneled Io yewioot ef3. (NSE .Bhh) Pa tenoee wih te awobiiy faesitines: sad sec Eas 0) Pay Weare | ede.) can 36 (ARO SATE) Seyvod se. TWeY 103 ‘bacumoos7 tan tersen bas ylleait ser eds. ge Stave to foblivag edi tS agewteos juin add Me doiexs s aey.wods of aoleacos sic? eksé i et e ee leer a ea @ sertrhe sidtil idea send @eferaccd Gaidtiaior: 2uvtenra Sni4 aise Iliw vol “te gangioo ond vd’ deseo lors at S ecamils aLzGdw ,Bwok . ad Oo dvoe ‘BLer erat letass (dedac ma ta bivocdqve i oobi Bay. Ov cai Lege abana any A t Eiice: edd De diseess ati 0s ao sis Mé@ @ishic sii Yo. ybuda odd niged ct deity d 9moo mov-os esanthai wos Jegm I seY «sactieotls s¢ Mia @wobuiw odd endd) vineme2usite ets Yo sotcns gasdic sism yd Sas (at gid) vlevoivasg beste vac 4 ¥ biota edd pjeiuedsd de “yatets hus gied «ores Sas oa ae” ewobhiw <3 an ine Ga sas to eect tibe geass eds at Ulsineupert..c20N O% ee Gon “AO Cees J god —e 2OROTS Jewvee ove 3%. elioexs ddeened coil neea Ti foe: iedds. Sore sate% So ed62 edd of vie eaivastes -geqeve bovine atiovidsen od ends tenses to zatiote, om? cas sans J aaiocoss 1eliewe $id wotis ones etd ni “fon ioe ee Ate dots egpeense of ei¢ ot bisaw Bias weaso eee ip ee 4 LOS ert ew ove : peredt mncrhol ret weigstes shisountanoe: 624 } mono: BU od: di gtew- sldateh isos enuaas ei fovine \ deeod (iis t#oin? «na efdiseoco ote Ldfortinis peat at etivsss to extieo: ediivead [lew #2iad eesee beh g cto ao iTdigivos ct ¢h eater

ecuton et @é tude gapt eutee asi) Loses ott Si es hetsusteken welpsa 3Ht a6. to notisitat fancisen i ni bavei ver itepos as Tie enntostiitors | sats eboetadreg hire 1, eaecoes! wh em ; ine AVE GAN SEBOO PAS TtX cosh dou ei potent at id. o@io its Late 3 ‘Be hietvee ns fe ed eeost -snoidgecxe emoe egadss: pet efyae odd Segddex #6; ifovireys edd Yo sest-ete eeea cones ati otek ALIS gta) Seth ivom Saaoy, & cee bebss TF) siaeay 20M Sobio odd nie ea Tiaede epee ee eo navta . eidOpenio siokray atte th ivce waliid xo #c rss ear Lf ~ncidouwtsends ed? ALE diye bietuden sede we téeqesits gitencs ro. bi Gians Beides1 to navsvo eds yo pest Bae dosh utev fie san tok eer 2 eyfiis Ree: PI i Ex fas vneheteeine uta? «foto eppesnanas Bagicc $e ‘eonstele Jaetg ot we teres ia dhe “sth EO {ettog end +o weirs ga Oa tigess “4c tno net yoKet feb ards: dasa elere: 7.37% KipsGLvior® ied edd So Qdhjies eds te)ed. toc Ob ajode ocean ote | SS) eanolos end dante. oinos dacd mi maine eytion™ Bits 05 -23a%d95e% Syed voy Ts Pumice; dose @upesnenci: jencisiede ss ‘s(cizaceal ao cums ss Ba-aots Bo. Tete ios 5 ast: S Fee : giov the deih Subs Gems fas Yeanto Yeon ciev eaht, 7 bs Gots besaicd eng Fo pikéie a3 piv sone ibe u9e¢ a8: {f< efasie Wel /F? Se SEgkise T dod aiewpe XA ied ‘08 notesaco Sad shic fisia TA aos FP esnedt,. “Yo eet. ncabieall gesasedeTow. nk sete bewnios 0 ae Dalia getwdee Di cohen mdbasee ee is dors: Bedatog est, WE a p bred? 28 157 But: particularly these steoped archivolts form a shelter | and a porch.; The door. or window is beyond this: porch and far from rain,: and the motive has a decorative flexibility that. 7 perfectly justifies the arrangement,: on condition that one 7 learns just what he is doinsg,: when he has hecourse to it,; 4s. for arches constructed as in the sketch (Fig.; 210),: such’ as sometimes found in irrational imitation of Romanesque arch- itecture,: and perhaps in that architecture itself,. it is six ply bad construction,.: In Romanesgue: arches the intrados is: not. decorated, (with perhaps some exceptions.: These are at an acute angle with the face of the archivolt,: or rather the angle is replaced by 2 round mouldings (Fis.: 211).; As for the face, after being | smooth as in the older monuments,: it ended by a with various ornaments,: often contredictory to the feelins of the construction,: like chevron or: billet: mouldings.; | Finally,: stepped arches naturally result, in stepped piers,:— and then by the custom of resting each arch on a column,: we | arrive at the well known and very decorative motive of the Romanesque porch.; This arrangement, is rich in appearance, — | often carried to great elegance as on the beautiful porch of S.; Frophime at Arles,:or the pobtal of the Church S.: Croix at, Bordeaux (Fig.: 212); but, this delicacy is: only justified if 7 these steps do not, bear the weisht: of the construction above, that. would crush the columns.: > SERs i If you have recourse to this motive,: think carefully of the > construction as always.; Note the function of the arches, ef= fective or decorative,: and arranse that, bearins arches are j supported,| ; By insensible transitions,: Romanesque architecture became t | Gothic architecture. The arch is drawn with two centres,: at first very near other and then more distant.; Volumes have: been written on the origin of the oointed. arch; this is not, — my domain,: but I. study it, as it is,: where I. find. it,: and whence it. comes. I shall also have occasion to speak of the pointed arch in more detail,: when treating of religious arch=| itecture.; . Al The pointed arch at: first, presents the: same characteristics as the Romanesque arch,: the archivolt, being clearly indicated, This appearance is also found in italian pointed arches at. 1 ia pibb ic ipsa es; $0 EE Seale youre ik ‘ Ig Deer hae ébodden gsi Yo .cokeeeRROg efi At Horns «ties qdilavp env lenzoce atembléd Bleasi. oi oo ned “ ppt Bseseost sia¥ Kiflovideya off o05 1 a6 ite eonsiseigs ne eorore putts yd bebe a? <" adous all dote oh ee Shek ange ha ta rs Be asiniiecls ond ear dcidue-~ vbate ett Yo énice Ai —; miei’ YWons.ekd —-dnesels istudouzde end te ORLY iq. a4: Detates 9 eedgigizos ,csesatois deesaary odd to Aa dle Bifea af¢ ni dun eeishki yaéfosnais bana ao to ‘bie O83 NG Joe orow bas. olbosa eds af betan ai vpendoia eft setpdoesidets end. to yERIsoe? _od festetasy dedwemos es ~gasmele isintoedifete: eda eat" Pinta edd ylisioeges osc «inemeic Yasuises eitiad ase o8 fan ansivd emied? To: ,cash exdok. Xo aise ‘ oneal Joona 3 aaoltalsey octetint sacs “te ‘qneods nesd over datdw, to rt. ‘ 208 eds vd bre Ienenet ai beweiv: sot _* a piades aodoicyg davsio ‘boadh oaedd fengoL.sy el ebit BAA oa St Lediste Switveee (enc diva So ddbecid.taeeta: to sebi edt essere b “deo. : Bsa iccstssos gtdd to wesusmeis sid deeb 5 ‘aii alect eid dad: eetdaza afi yd besesn yi diKe sont eaptios efd-adi aa seys ead aed bs finsasig Jon 4 ape ‘Td-.tt8..and zegnof rr ge to a de %% supuetancs sa foves gon eecb df, ee paol on #12 sidat taibe xo 4i si a6. tHok ee faoldostéenon to acinesotis 4 padoeee ni Goce eyed oe tedd eefqiconinxg e282 2.66 doo Hivoo ns ens gens BS QTS, RILOM edt ; ae as eddidorts ni gcaediogs: dons ss is eng i. anaes > ts ded: Sei iiein. a ovat moked tides eapiéas edd mort qeoivie oda caimsosoh 98 sate ebb ic edi So She gid of tinelat- to star =: aa a ote: To motdy tows gnoonkddod .fa5- - Ptah i> 5 . - x 9e3: Srevis eal RG helad Seteguisace. Jo wsois A > Mb Sapieied: Loed i. Lewd 20 5a | 7 ‘od nt Mak evebtiin. Po sci dc ivey sek, hepon eaads: He: ghanea-we Gfoiesd qe lagen qo ge Bo. dpetdieryastocroie sav ERs gst Fim abel sxe: head ses pi inaxo) Beta inwd aes eas eon die: i gates Geert mco % ao figtare, sootence: Pas 236 kot thwe Pia qu(fifedei ae&, io Fuowredess. hess oR Sh eae se Y- ROG. ‘weodote ee Ce NM, (BO td ead ae 5 y 6h2. tot loo, dale aetacwibop tt Romar). RCT eh AE EE oO am: 160 tioned.) Since the Renaissance, the arched window has. frsauauanee been treated with elements analosous to those of the rect= . ansular window,: architrave,: cap with or without frieze,: and _ sometimes consoles.: Considerations are nearly the same,: and cannot do better than indicate the arched windows of Balace( cellaria at, Rome as masterpieces of tabbe and design (Fis.2 Then the doorway and window with semicircular or segmental arch played a very important, part; in French architecture of | the 17th and 18th centuries.: Fine examoles exist, at; Versaille on the Palace,: and those of the chapel are treated rather — as arches in a portico (Fis.; 217).; You cam see the doors a way of the Palace of the Council of War at, Paris,: the wins S| dows of the great, pavilions of the Louvre next, the Quay,: and) a Sreat. number of other examples in the old manstons of the Marais or of Faubours #.; Germain.: I. can only show you the les known doorway. of an ols: mansion at, Dijon.; (Pig.; 218). i The arch,: by its construction and function calls: for bossa and sunk joints,: and numerous examples exist.; In antiquity i: found Gate Massiore at. Rome,: but especially in the Renais= — sance was this motive employed with such breadth and style,ei ther as a doorway whose value is in the jointing,: like those of Palace Farnese. at. Rome,: Palace Pandolfini at Florence,: or that of Villa Medici; or these doorways were accompanied by columns,: like the gateway of the old Farnese gardens at, Rome, that. of the oval court of Fontainebleau,: of f Fort, 8.) Andrea at Verona (Fis. 219),: a masterwork of San Micheli, or by pila a ters like those of the Caprarola and of the. gallery of the Gm eourt, of fountains at. Fontainebleau; I cannot. review hei riety of combination tried by artists,: always: the same ones ways novel for real talent,: Some varieties of windows are to be treated, oll ipeieste rosette, trefoil or round; all these require no. bheoresdmaiie considerations,: any more than niches. Dormers will be mens ~ tioned in connection with roofs; for the oresent I conténue wibh the very elementary subject of an opening in a walle: The isolated openings has been examined,. and I come. to continuot openings,: i.e.,: porticos,: which will be the subject, of the — next. book,: > ee ay Pe Me a ee Par ee En iN "ia we see ae cba aa le yy we naam i a 4 ae By | , : Pe ~*~ aE hale Pe ity somes fee * T) 290 a ve on r . = o x J : 547 ee ies a = 7 Ry, : ae Gehesusss, G¥E BOOG = 25 eG ebuTHRSC. ougpede: Ad ecvmase eupisag sit con 901 620% peener ees ebdotk y seme he enoteaeg- ce apPOAMD ; i “ sugtver aiend bas @19f9 w= -( Ena Bee do Setdsde-ecaiires ma enelice: tc cpadteiees qeonté f.talvosto aie “seotazet. ae (807000. it “40 séhsost' a6 20 Sf. ; oe (enoidigogued “gusigvedd-%0 ybade edd ni benheeee Jtpizero% fs bow _ on ea tandel ee bantiok sea dealt sodisio4 . | Spartan me eka mt Rate eS bosereuse Bs (ae ee hemvssea ec) tena at -joakinog Saas ease oid stinexe gout tenn telq eid jo sxct sviviniia eat Pipi tones @%o tedJo icee 1G dee. tofed: | dete tein O80: BAldoeanod .veig of F 7 ookseog 663 bdvubors aelgta. Us ye. ge80 eucha bbee saiqievesps esd FUG Ayaoltons se50e fi wecdean Ylneer keied ., Tio be hee Pee Aeatasis Lo paanaae 228 fe4oueton Se ee | teen Bo iS sncd tac, rere Se ise aaron’ 2kte pete 20% > wiavis ec1s ie ofése ofl Yo ciseto} Juba a0? i,8taipoloentouatdo edoog 20 enotdsal es: Peer ee , SMe kev Tiaostan t bos Incke PER he gaiehS oH) oAbE pred © vot dol *) anos te note Yo: abed ‘ Sesh i he aa uw Odd ont givadaadtved, sbyiyod sot! seeaiek ‘aati : Few Reto rest Froth oie’ Seve) aroerntarl 92 SHRMOS: ae sen oN nes eee % ! Soe wfotnp » wedove 164 BOOK fs ELEMENTS OF ARCHITECTURE,; q II.: GROUPED OPENINGS OR PORTICOS,; «= THE ORDERS.) Porticos.; ~= The antique order.;-- The different, orders Arcade porticos,: ae, CHAPTER I.; PORTICOS AND THEIR CONSTRUCTION,- SUMMARY.; += Piers and their various formda.; «= Arched pol ticos; resistance of angles.; =» Portiicos abbited by buildings on facades or in courts.; -~ Porticos on circular plans: == Su= perpositions.; | oree | Foresight required in the study of the. ree Porticos have been defined as Aopeninss grouped in a series and separated by simple piers".: In principle a portico is not closed,: but if Slaged,: it, still retains the character and de-= sign of an open portico.; Then in this primary sect of ehciet: portico,: it, must be. assumed as open.; First, examine the pier.: The primitive form of the pier was: evidently square,: syones beins set. on each other or a monoligfh with four sides made the pier.: Connectins one pier: with another by lintels or arches ordduced the portico.: eo oe But the square pier obstructs passage,: its angles: are round ed off, being nearly useless in construction.: Henee fromthe. polygonal was necessarily attained the round pier, (the ‘ool- 9 umn: i “ ard O47 FC% 3 yee 3 gniastet > yevotetmed yidsob...crsd» gar ve ari 6 Sdode. en Seacd bag boeaxs «ser od ebdg ht tgex bas {seiice ta eine @d2.eekannclos: 10% (.gned ope eel Bane mood @ved, exx6t sedtw pesto, ‘gam cidT::.edscqmi: eig- dsennos of etioxsuov : B sacle. end af. esol. “aleSs ABER) atys¢. ni noedéas’. pyeds xs Beyefcms aqawieiviedanit Siddilonom, oddied by toons ated ae emt ley ree a eS eae 162 and left,. whose mass neutralizes the thrust of: the arch or olatband,: permitting the use of that. mode of jointins without danser,: this is not, so with the portico forming alone a fa- cade.; Assume an arrangement; like this (Fig.; 220); at h the © thrusts of the arches are neutralized, and all stresses have as. resultant, @ vertical alons the axis of the pier,: making pe fect conditions.But, at, B nothings resists the thrust of the arch outwards,: and this thrust, combines with the weight, P of the construction above to give an inclined resultant, R,: hence the overthrow,.; Not, a localized overturn,: since if the first. arch fails,: the second is then in the condition of the first, and thus continues the entire failure of the facade.; A new oroof of the importance of the angles,; 4 Instead of arches assume jointed platbands and the result: © will be the same but more to be feared,: since the platband exerts the greatest thrust, of all arches,; Thus when you see an arrangement, of this kind with arches,: like that. on Palace Doge of Venice. (Bis, 221),: be assured . that some artificial means must. have been employed to suppre; the thrust;- on that: nonunenk; arsyeiaibiesi means has: been frequently. employed and is not to be condemne yet. it. is more logical and has a better. effect for security of appearance,:to make the angle piers different from those ~ intermediate,: and sufficient, of themselves to resist the’ thrust, (Fig.; 222).; : = For jointed pTatbands the difficulty is sreater.: The stan i ple tie-rod is no longer possible,. or it must, pass through th voussoirs to connect. the imposts,: This: was: often done at. the Pantheon in Paris (Fis.; 225).; Holes in the sfone. are Filled by iron bars,:« doubly dangerous,«injaring the stone and also liable to rust,: expand and bugst. the stone,. a frequent acci= dent.) For colonnades the only practical and rational method is the monolithic lintel,: always employed by the ancient s,: 7 whose forms have been frequently borrowed without, dorrowing , Wisdom in their use,.} Nothins better than the Pantheon: can show what. direvoultieen are encountered by desiring to violate the laws of: const tion in architecture,; I. respect. the work of: Soufflot. as mue as anyone,. it being very remarkable. in many respects,: but, — having eas rcs small materials, he desired to sean « * id 1: ellis ae oe nom edd yandteacri’ deers, yer 40 shéanoloe Witetdovee ed yer iluves eit otiidaeice bes n odd tek Wuhdoos ag Autitersd ‘et dxon 6 weds it ed\tanu stow fatsitisas da: Jeo <,betivpes ed gon Send azsloveds eft ifs evad eehsanoloo: sxpidns 2 FOB. ee Gig =~ Refs eophoices sauw ew 12. yestmotg Yes pheer a eup tins eg gones of eesincs edé evad dase! de ~~ = oo | be 1 tao bttes ghoo “tend icin vacoasan ai enol ne beoeig Sd ootixog « tt sxse cfs tho at 37 oa 1" to edtteunnox. 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Res fost isgsd duon sii to Sno 1,en08 gs . | qBeohidrog -ddiwe. gatos se tage ative ¥o AE fi e929 wegellisda «6 +8 uehive: ai. #4 eQiegrevenes3 stupas tevn sosoiJic¢ qxa aie Atel eds to 840% detmices: ons. bap hottome aT asel 0 Sos bebeal cast so sion Sve yerd 2* Bai Be gagos. efi to asia eid At eedtyanosdiievo aoied “ie d'xinc Si eras fos edt So waentetnele odd is ae aoe UR Sigso naddssn dite ediosth Joflers Yeds 4e0cesss ced-.s0% ys bes sacebie Si adinev efi to dansdd od) boa jeeesd LG -ifie. wot -.y Lee vevenst retbdedze showng id is ipadte’ uae aedie xseidad: ecotdeishieneo S. ne ‘,edluav. to xdestls be Ma grieenvic: evita BAY me fe tsivoriows #0 rb-eas eyed Ila “btele Pisibeareinl won elbae | AN Bexast edd dosestq Ils 4085s gener’ BboiNiog Sy! | eosmsourdés Teiosrke Tisai. ies aonmss evad ‘ond geonded eftos eidie . | “yeaa: enki tiads Serainn ts eit D . | Se igen — ies ny bia ae 164 colonnade of very great. dimensions; the means are ingenious — and scientific,: the result, may be astonishinsg,: and doubtless” when 2a work is beautiful,: an account, of the means used may. ; not, be required.: But an artificial work must, be precarious; © antigue colonnades have all the eternity, that. human works may promise; if we must reproduce them ~~ and I do not oppose ~~ at least, have the courage to resort. to antique means,: a~ lone in harmony with their composition,; It. is not, the same if a portico be placed between resistant pavilions,: as: on the beautiful monuments of Place de la Con= corde (Fis.: 59).; The mass: of the pavilion neutralizes: all ; thrust, acting in arches or platbands,: and for the portiso on= ly the stability of its elements: is necessary.} | hikewise in a court, when internal vaults resist, the thrust of the arches.: Assume a olan with arched portico next, the court(Pis.: 224).; In two directions internal arches exist, on the extended lines of the columns;. beyond these arches are F solid walls forming actual buttresses; stability is then as= © sured,: although the sangle pier may not be sufficient to ene~ sure it. will cite the court of Palace: Caneellaria (Fis.: 225), at, Rome,: one of the most beautiful examples of an internal | court. with porticos.: . We shall later: see in speaking of vaults: what. resistances porticos must. ensure transversely.: It. is evident. that. the. section and architectural form of the piers must, very accords” ing as: they are more or: less: loaded,: more or less in danger of being overtheown.; Thus in the plan of the court of the = Cancellaria,. the slenderness: of the columns: is: only possible fortwo reasons; they are of granite with marble capitals: ande bases,: and the thrust of the vaults is neutralized by iron tie»rods ex bending transversely. You will appreciate these considerations better after having studied the functions and effects of vaults.) On a circular plan the curve closes, and there are neither » angle nor intermediate piers.; All bays are in identical con= © ditions,: but. all present the danger: from overhangs inherent — in all circular structures.: Thus porticos peguiring &@ sone Sible angle between two bays cannot, be constructed.: The lit — tle: rotunda of the Trianon (Pis.: 226),. called Temple of Love, isi’ a pretty example of a circular portico,: realized without, an Mets os eer” fia lil “wuntodeeneds “aE. {five to giao bas sot To sun ; niet vend pberevoo. ed yen ogisiog edd dpuos tie kets nen’ eft a! eg 8h it. 698 edad henueee Vi Pyath. on eta etend Afewebla 4 40 Sqste sev0 Vic od: baa dmomevag edi os nevig ef egold vdxile st. fed Yd besofone ed dr ti ive .sedew od ecnaseats our wtedewsiss 4643 bebiverts ed face “ese line» EROSE Tatevee bas YIsSRBCOND OTe atebsel on death anted son | fo dhidq esnoiieb rev & avenis et atda ge¥ ..99i thee weteeveocai eibakvee tataues ai. 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Biitedipte isntedai yaas to to evi Qe Medatiowel ylineses quody) 10, eco% #8 ese Ri to, ‘ei 3h teidn To gromed ie oynines as bof : | > i a RBSE pas (eh! eRI18G tence otis te. essb ar and exe fone et ie. bs atieas: Es sinets eon Masibes eevee 3 2 = ai oasdegt ene . gers soesisene: GRY nage stom ott i idpd5 oi pbudsi edo ni deesvt ee or =. a inbericen adinaes ard el? greatiod edi ae" rey “Gsiid.gene ~~ mate e To yiwsaeny a) ant: asa fas Pwievis. fkpoie woy +~ 52 | ¢ A ponaioga de: edd Yo.cdueg ad tet oo eta 1 odd Snikstilexdven gi-tiee si. onidiag HER yoni eon doides eoned. ie 164 use of iron and only by skill in stereotomy.; Although the portico may be: covered,: the rainwater enteral if assumed to be open, If it, be in the ground: story and sim= oly over steps or a sidewalk,. there are no difficulties;. a slight. slope is Siven to its pavement and to ensure its re= — sistance to water.: But, if it, be enclosed by balustrades in an story, outlets must, be provided for. rainwater,; The quantity — not, being sgreat,: no leaders ars necessary and several outlets saffice.; Yet. this is always a very delicate point, of the study,: negligence of it, causins serious inconveniences.; Porticos are: not, always detached edifices,: but, often form apart of a facade in stories.) lie have seen them superposed on Place de le Concorde: or asain at the colonnads of the Louvre.) They also exist, in the ground story receiving an en= — closed structure above. Such is the case on Palace Doge,: pre- viously cibed,. on the buildings along Rue de Rivoli, the The- atre Francais,: ete.) Then,: provided the sfone of the piers of=— fers a sufficient, resistance to the crushing produced by verte ical pressure, this additional load increases the stability — of the portico itself bu neutralizing the thrust of the: arche) és or jointed platbands.; Thus for these porticos stability may be pBecarious durins construction,: becomins definite when the eee ee are builta; the wooo pe es increases rs ih at: igen = the o: eb aha of the lower portico. Such ars these of the facade of S.; Sul= pice or of many internal courts,: like the court. of Palace Fara nese at, Rome,: or those recently demolished: of: the old Palace © d'Orsay at. Paris,: a memory of which 1b, is of ine serve (Figs.; 227,: 2283.; | Such are the primary dates of the onnuben ate of por» : | ticos,: All this: requires the scientific study on construction; I merely deduce some things in passins.; | The more open your. architecture, the greater need of- rus dence,: which must. increase in n the study in accordance with the boldness of the results desired.; 4 In the study of a plan =~ once that the arrangement, is fixe ed -- you should always and particularly think of the upper | parts of the structure.; A plan must be studied by clovatiaes | the eyes in thought,.; The upper parts control ibj.3 co Ae Pe = ee ut as, aire ee val = ae pay ; : Be ay ee) me See, te eee ai A ae . ap Pew t aoa eR Re SP wk: — ins Pe oo) yee Pa vit Ns eee e ras Ly A plan is never ‘nei tFathadbdye-unteendtepnay to lend itself to construction in entire repos necessarily permits good ck not, be a pone tgtces ys rete kere «ce eee , ¥ 7.4 at Wy 2 vd ee “ 3 ce ; v ee Aq ‘ », ; > a ae £5 24 pe SS “i es - < z= ww ’ * a 7 a x paris 7 s Bs, C7, 4 =) “tT F 4 ~~ > By ¢ * PS 3 5 ™ 54 2 5 nas a a ry a ae Li 4 i] i = # ¢g hep ae £ : ~3 a ‘rs vi] > Leas ieee “* ¢ phe Pe seh 4 e - . : “a BB Dee Se DARSS OSE): LAS ear i ies My <7 ‘7 Piz xi ? 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SUMMARY,: Column,: capital,: architrave;. reconstituted Wall. «= Portico of Caryatids at, Athens.: -—~ Entablatures — with friezes., ~~ Function of each part.; -~ Composition common to the different, orders.: The study of porticos reached its climax and established its principles in the antique orders,.: Before beginninsS with @ the antique orders,: | will explain what an antique order is in its unity.: The classifications called Doris,: Ionic,: Corin= thian and Tuscan are only special cases of the same conception orimary divisions fromtthe. point, of view of character and. style,: and these may be infinitely Subddivided.: | At. regular: distances,: primarily determined by the possible length of the stone lintels,: are. placed the shafts of columnsy) which are round,: the form best adapted for passage and for | light, and for avoidins shocks disagreeable to persons and ine _jurious to the monument.) This form is also beautiful.: Most. fre “quently. indeed,: the column is fluted,: a traditional memorial © of the. transition from the square pier to the circular section the angles were removed to. form the octagon,: then passing from eight, to sixteen sides, the number of flutes in the most an= © cient; Doric orders.: | 4 This circular column is: not, a cylinder but. at. first a trunee cated frustum of a cone,: then assuming a slight, entasis,: al- ways. smaller at, top than at, bottom.; Is this a simple caprice or search for effect? No,: for the construction demands it,: the column beings more loaded at, base and less: at. top; larger and heavier olocks are best, handled near the ground thah to — raise them to a great heisht,: and through their upper inter= columniation chiefly passes light. Finally,: the mind requires a pyramidal appearance,: and so this architecture everywhere - realized the absolute harmony of requirenents never equalled _ by construction,: with the esthetic satisfaction of the most, | perfect taste.: E The column has an entasis,: Gat: not, a regular surface by & curate Seneration,: and it, is never swelled,: In modern archiall tecture have been used swelled: columns,: a esutae imitapion | of a column crushing under its load.; The perversion from the Vitruvian superstition by reading in Vitruvius,:. that. the ecole ” $ aan Riki seks tikes ie) etidiasa® nee ‘besten’ gatiiens gi bedalenauss blhesias bene? fodq: tinde ds) Mi ets qeon,. .esnehive @xiseh nav ti i] sgpaezlons® edd to banuhod eléstiabe eds ehd-o8 “gwibsel wollivss cd2 no: botoilial “esas sero nt eneutoo we vhelen eft wo betao ed iTtw ne a aanobdes? fanotserst. Lie ettt loons iF > ett bedcvadenco 6c.Jdaom enenleo @asnhs evo pies yevard ldots Gia ‘to cobsonias sas ei ro -it? ned ffocw. 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Cient,: and the rounded column must, again become a square: pier. to support, the architrave.; Thus it, terminates in the capital,@ a last, course,: round at, base to fit. the column,: square at. top to receive the architrave.: Then every capital is not. merely an ornament, but a support,: always passing from the circular: to the square in all combinationa.: | Thus are the columns constructed,: properly aligned,: spaced © and on a level.: From axis: of one column to that ef the next — extends the stone architrave,: a word exactly corresponding to. main beam and termed epistylion in Greek,: meaning on columns.: These lintels arse single in lensth,: but are often two or some= times three in width.; S80 the architrawe is a lintel (Fig.; | 229),: composed of a rectangular: section crowned by a fillet.: 7% hen its sectionsbeeomes complex,: the merely rectangular secon tion gives place to facias projecting beyond. each other,: yet, — retaining the original character,: as already stated for the @ lintel, architrave and archivolt,: The wall is then restored,: and we can proceed with a hori- zontal course,: as if no openings existed beneath,: Much nonsense would have been avoided,. if for the purely | graphical and modular division of the order into column and © entablature had been substituted a more real division,: i-e.3: the colonnade and the architrave covering it,: then creating ~ a need for the protecting projection,: i.s.,:the entirety rem quired to receive the roof,: for which the portico is covered) But. f have no desire to rebel against. an expression accsdte ed for columns,: for names are of little imoortance if produc= ing no changes,: so I. state that, the architrave is the first, part, of the entablature.; . x what, is found above the architrave again depends on the con a Vere: ee ties a selsovede f°. ore ted byes ee ; | 6 (acthol: vais qusxe gop a Siiampt ox 57 ole ‘te. cot eo coe sindalising $d 036-00 aveonoc ae eyed cp lt8e 3 OSG btiG) evened to edonoshis® oF bere har: cir” todd. be: afngsve |¢ Lite: Bov Boatae4 tae d¢tw émomoocm Jepoijosexe fs sobsaen $9354.06 EHFO -_ ae doe i. 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Be, | vo Sioa, Yo noi) eilite ois ye 168 . struction,: and will be first, explained,: aside from an anom= — aly to be mentioned: later.: 1 now treat, of the final theory of the antique order,: not, of the phases: through which it pass There remains: a unigue example,: that, logically exhibits the conception of the entablature,: the portico of Caryatids or Pandroseum of Athens (Fiss,.; 230,: 251).; Perhaps. you will be surprised,: that in regard to the antigt order,: 1 first, mention an exceptional monument without the. primary element, of the order,: the column,: which is: not, with-— out. a motive,; You, know that, this monument; is small and built, against, a buildins.; As covering it, only exhibits thick marble: slabs). ceilins below and roof above.: Then naturally the ends of the slabs form the cornice set. directly on the architrave with nothing between thea.: This construction dictated the architectural treatment,.: Bus. this. course of slabs forming both ceilings and. roof is © exceptional, and less simple compositions were necessary vee larger monuments.,; . 7 There in the mostrrational construction (Fis.: 232). ening’ beams were placed on the architrave,: principal beams perpen= dicular to the facade and centering over the columns,: These beams then do not. permit: a cantinuous course like a cornice eCourse, since they support, the compartments of the ceiling,: to be studied later,: and that, do not. allow the direct placing of the cornice on the architrave.; Hence a wall course with openings for the ends of the beams,: and sometimes composed of two slabs,: ob even left. open,; This is the frieze,.: | . fhe frieze is thus’ a first course of the wall above the lin tel,: has the character of a vertical course,: and when decora-= ted is always vertical.- . 4 It then remains to crown and protedt. the wall by its core Z nice,: as already seen for walls,; : nd Thus the entablature consists of architrave,: frieze and COR nice,: connected with the construction,: the columns and entab- lature constituting the order,; : a The orders vary infinitely in their details and the gradam — tion of their proportions.: But this variety does not: destroy the artistic unity of the orders,: governed by the hes 4 a ea) ry mi , : Wee. yee he ae ee ee eee ‘ ** ar a iis Tee ate 9 al as SOT pia I il he - io lee 4 vere” *8 ‘ Pairs “i a aaa ae <4 alae wbedede Bit oF) Wai hanruet ick Leeks todiet (geltmexs as Jeiti-iididxe fits * sn yeaa ange autem on haldnesete bat .,slomie a6 BAILS Ac eloneT vid Io. dtodd ebro, exgisns eval ‘98 e124 ‘etisme x emos ab. eetiaewatg al th wt nanlow eddteis ase2z ybesale eved vol gis aud re 8 avail jon esobs {dat od-acdzod AOE. 4 OSS | cesaditio F venekeestg tb %cisd 2 vetives: sit Pay fae otiatits yaev fd¢od eve exseil ont fi,@evtioc lausisesidore viedd at vdetrev .e-Ladt i i .sivige\ ioe) & bal dey bas noléibes’ of bedoe’ : ynidoetueg Gietue fuse qlucle eteléde ylineuira padnomele wen sisaxS 08 bows oq ¢fet yadt \wtewg ode tid 3 mivegiduas “ted s6%-bepitinue bnentioo ds s2odd +f fem. 3h: wSoetsec stou oot ybus _oegeaaia ages red SERS sud jebanadioes 8 stan | op Sie Mery ‘6Sv loo Bgab behotenen oF “Bleed: baetl Jesn sebto eid’ ts6¥ pkdadtitere: go *etsidsettifoze ait ot slomize yeve i qe k Tete. yiniedred Aaeotiesiiags tsiney ylieers i oi baensice seenetiih yiev oF yiolasy asi ys sige as ee sinal pirvod yesebio ID gsilice? 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Ped mobiarigent TOY Pays men? ev iseb nso gol ~ (al Be * % 7 : ae . “po fone _ 0, 170 At. present,: I. have desired to show all that. is common in ~ this unvaryins conception,: whether the character. of the arches itecture be rich or poor,: severe or. eléesgant.; 4 This is the antique order in its entirety,.so. complete. and. ith the masterly beauty of truth.: Its place in design is the greatest, of all by the great instruction resulting there- from;: as well as historically by excellence in architecture.: You cannot, study it, too much,: not, because you may. have to | make a colonnade,: but. because in studyins it,: you study your- selves.; ' . Yet, this order must. lend itself to numerous needs,: for hows ever simole is the architecture: of a civilization,: it has 4 Sreatly varied applications.) Certainly,: the antique adapts if self by its variety to very different, expressions; henee the three great. femilies of orders,: Doric,: lonic and Corinthian. © These names correspond to. ethnic origins more or. less just-= ified,: but, for us they arouse impressions of earnest, strength Sraceful elegance,: and of rich na jpety ee ee are infinite varieyies,: also sometimes borra@winss from each | other.; But. finally all these belons to the three types to. o@ be studied,: Doric,: Tonic and Corinthian,, 2 But, after what. has been said of the proportions and of @ their: infinite Sradations,: I. decline to make a canon of obe ligatory modules.; Only one thing may be said; in each case,: each orosramme,: each expression of character,: observe the most. beautiful examples,.: and be inspired by thet later present the most celebrated examples with their variet : You can derive from them your sie ania / tee in full liberty of choice..: an” ae he eraoa Til aetaauo “pit. ebte oftod nekaesd w- .YSANNDZ te. netsedidl -- niekh10 stent pha dnedteided nic? ‘oie emusosditois 9c vhids ed2 Jo nolios tieq: od3 i : isasevias igigesceog ebro oiveS sik’ set davevods noisiveteque gnininds ¥d badavele meee eiceyidovieh ef Ji sadd.worle ed const ue a so Srtol larudeedivevwe doetusy adi e Aas Kdenoo Nace be tebic ofto8 asissie ec d | ot itahen Sai :, LEED LEERY fopaddts3 ocd epeeite edi tailioawimoo Jneness goan A poewaned mgteete & tol. .conhescixne tcl acaset tent Soi (gncigestd fled s dou svoxg of dexit pat: 220° Medeeig.otd noneddisS ecc te noidese edz is ar eitesiachs ef) evafoo eft ivodo? edé to | Heatenes! einene Le a, covet ei fdous ats oe fe ee eis ietideines, 25. tier eat. a ete Bane . tide: ageal Ag oo kiroo edd Ae onlreves ead | ote: yas. pibisd is. ae ga eatieo Eacooa & tal. ¢ Holttee 6afseeetsi od? ef dotar ptasogus gullies ci oft j.weelery an ied eseiat eh oi st Bi obs ides od dnfid « 3a fash | | Oe: ezeleun, boon end Vintis Ne eee Oo eee weots oo ed? 40 mare ) evan aisiore edd no. videssié gagt ddbim. pots . Sipes binow avezosbned end Fo. geht. 472 CHAPTER III... DORIC ORDER.. SUMMARY,: ~— Grecian Doric order,. its character.) == Frieze is wothout function. -~ Imitation of wooden archi-« becture.: == Column.; == Capital.) «— Architrave,: «— Frieze; . triglyphs and metopes.: =~ Hypothesis of origin of Doric frieg and cornice. «—- Successive constructions of the entablature,.” ~~ Transition from wood to stone.: fhe Doric order is particularly the Grecian order, most. max gisterial and most perfect. in style.; It. requires precise and thoroush study.: Yet. the Grecian Doric order,: properly so- called,: I hope at least, will not. be employed by you,: for less than any other does it, lend itself: to reproducyion,: even its perfection makings imitations grotesque.: But. as students,: noth ins better than the Doric order can show you to what degree the perfection of the study of architecture may be carried,- Yet this Doric order,: possessing universal admiration and — elevated by admiring superstition above all criticism,: I shal dare to show that, it. is defective in ome respect,: and that its: perfect, architectural logic sins in one point, that in the Grecian Doric order as seen constructed at, Sina or on | the Parthenon (Fis.; 235),: the magnificent, frieze,: a predomi= nant, element comtrollins the arransement,: has of itself no reason for existence, Not a Grecian phenomenon,:; First to prove such a bold blasphemy. For that,: observe the section of the Parthenon,: the plaster cast, in the court. of the School. The column is admirable in all respects and ail so the architrave; certainly elements identical with their function in all points.: After the three blocks of the archi= — trave are set, the wall is reconstituted and only requires ~~ the coverins of the portico by ceiling and roof == the orojec= tion of the cornicsa,: Yet a second course as also set. before any element, of the ceiling appears,. which is the friege,: The ceiling and cor- nice misht, rest, directly on the architrave without it; the frieze being useless.; The composition of the order of caryate ids,: of the Pandroseua would again suffice here.: "hat if a thing be useless,. if it is beautiful or very beau= tiful? Thwe word useless go contradicts all Grecian archi» tecture, that here is a fact, requirins explanation.; This - % ae. 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Es \~. tablatures,. and particularly the frieze,: 172 explanation is: very natural,: being the traditional imitation of wooden architecture.: By a singular and rather disconcert-= ing phenomenon, the most. monumental element, of stone architec ture, the Doric entablature,: is an imitation of wood,: though this: is contested,: M.: Leseur in particular has sought the orisin of the Doric entablature in the imitation of Egyptian art. On the contrary,: others: have constructed a derivation of this architecture from the hut, with its trunks of trees.: beave these archacclogical essays, as for me a proof of the — imitation of wood in the Doric entablature is the uselessness of the frieze in the stone construction of the Parthenon, | This imitation is indeed quite visible; look for yourselves! Why that imitation? Naturally because the spirit, of relig- ious edifices is to traditionally retain the forms and appear ance consecrated: by veneration.: The first temples were ceil~ 6d and covered by woodwork,. but, fires were numerous.) The rule was. then established to no longer use combustible materials: but the forms were consecrated and respected: I have frequently said that, I do not teach archaeology. But, one must. choose; accept, the antique Doric order without. examination as a startins point,: or seek to. understand its sense and. comoosition,: . One fact doninates all, else, in the evolution of architec- ture; the Doric is the Mee gree of the antique orders,: and | during all transformations,: this is the most, persistent ele= _ ment of architecture; it, is then necessary to know either ther beginning point. of this permanent; element,: or the law of- forme ation of its: primary ancestor,: the Grecian Doric order.; Perhaos we may define it. as follows: == 7 fhe Grecian Dorie order is an architectural element with a composition remaining that of a work in wood,: but. whose pro= 4 portions are soverned by the conditions of truth and necessity resulting from the use of stone substituted for wood.: This d subject. will be more fully explained later,: when I ee ens i shall et once say that this: nonsense has not endured,- . foe antique order understood how to realize the absolute ace © cord of purpose and form in compositions,: less sublime in ; style,. freed from a restraining tradition, or rather later kne how to find logical arrangements demanded by the BSONaS stone. by ro esd ite eats avs ebds eduttles: gecud i 80H ee ee ‘ehee sued iis ~ peo Tud ae Babb e¢ yee Ph et0x “Soret Foon et ocijauaiznos mebocw sort taf, Bee a Fk A ekitac 10 snore at begshise: seve dan beds tminio' eso¢ igattin 22 usyieo- atic’. ent : seemed 8 zen Pteds edi tot (isetaos: viesufecda pb tou : > Bal: geedafY wollase yinews nad cl “cate o pil oka Beeysoo. mi figgstet en3% view Aéiw emord io scse >: Reeagtoe: ME et Ghlsnvoniste fatigso eft cp yelled ‘as Sev tesant® 602 ovocs 2tetiii telease yaporuooes 10 ahothiuon MeGdsth dae: .eveade wa (yd Lenwots tees cn phates Yseniine aa ealgs ai o4 eidiaedgni et cf FAGRSI0GCTG Bit Sevetsds adzog”ae sido eesnmir” Wittens? dé ta webaste to {36° ao negesed ta Edoewd end: seteotbat qices lo bnitehi Leolsvze estas fatinse add Sep an flairan si . on ey Sy oie Linteetharris Yo tow baue bet: — fsjuas tfeds 27 Moire Westdi celibate s bhs vo fim. wet (eyudal Udipiames osisw - pMalesods eveg Ji slerdw @nse gniticcsds Yo enesmpdesd ed! std 91. 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MPa, RFT? S1OK ve ean @ikas na Ulinseestev. .eunicego e315 , pe (eB YSR ES vasgsbeerss abe AS Edy davis Ss! Be cukachs Hsin po ygedeosceceds go sec! aicode ‘haa: Beteved ut boow eis sqole edd to sauso p eboosxe baed asiswta sivig’ed? ebtaivo edi és ‘34 ‘ni ‘tedeid al: Fife erat. whaviotes oss to, satHs i to notvostors, # 3e Bneta ye aaiticn one sviouey Ad cue yptediet edd duocqua di gf hi Bnt4 a1 dd weidgod adieu eelutunm edi sya geen’ $< A Aycan Revieerons pista aeons Ou “oh are aes. eo, a word, foo sb if : a at sage ae cs Rate chet oqanat: sete a0) Bee ced te) 175. | Then and always the construction directs us,: but, it is nee ary to ascend a step to find it.: If such be indeed the primary arrangement, of the: Doric tem ple ~- and it appears demonstrated «= the formation of the Doric entablature is easily reconstructed,: always on condi- © tion of remaining an architect,: Let us then restore the temp. of Huripides., | . The architect, has erected a wall;.the masonry being comple: ted,: he passes to wood,: which furnishes the upper part of thi edifice,: the windows and carpentry.; It. is a small half tin- ber work raised on a wall.) | We place a low sill to receive the posts,: and prevent its displacement by fixing it, on the wall by anchors.) Now the low sill is the taenia,: coverings the architrave;. the anchors are the small fillets. above the drops,: which ars. nails or ~ pins.: On the wall are cut, gains A (Fig.) 239),: which receive © the transverse planks pinned to the plate,: preventing its dis. placement.: Note that. the drops recall the ancient pins,: that, in certain entablatures they were attached later and were of marble,: while the architrave is of: stone.: a The architect, then set. the low sill,: that made a regular platform of wood over the entire wall (Fis.; 240).; At, suitable small intervals,: he set. the posts of his little half timber ~ work (Fis.: 241).; These are triglyphs and between the posts % are openings.) Necessarily an angle post,: hence an angle tri-— Slyph,. which has caused many essayse) ie Then on thesecpostspcachish plate reteived thevraftersy-be- cause of the slope the wood is beveled and shows little heigh at the outside,: the plain straisht band extends above the ree turns of each trislyph.; This sill is hisher inside and could receive the ceilings by means of a projection or hollowe; 4 Finally,: it supports the rafters,: set, closer than the posts these are the mutules with double the number of triglyphs,: a and these rafters themselves receive the inclined sheathing | of the roof pinned on them; hence the facia and drops beneat the mutules.; Then as covering are tiles with cover tiles, with an antefixa in terra cotte at the lower end of each cove er tilc. This perspective will make this hypothesis clear. (Fig.3. ) 242).: , g I do not know if I err,. but, all this appears clear and arch " , jab . ae ee Sie ie DT - hie et pie e : ee oe sin eee - we ee os fann toa se “ . rf tite AG} gre a Pigeeae (t= en $ efdadere et es6tr00 car “aeGEes edd et atnt meee . salicetg eter efoltsiiey pegnit: -eetrusiass os sSwor Sarseyying wedats Wied iit eesliduobh iss east ve He a end chi ceiansl ai ilo he exevseia to alened a wae ata aan et s80qodea beavdqgivos ee ud to obsk in Yo makeeesi ‘etd ot pitbioies agit at bas» bendbnads easy DoOW eeitI enoresyva selks a eesti ‘eda ylso tomvetote to stag oo berisps ae “a@toot bas utorenstt. aeeailion neve tud:jsefa thew 26. jeeiqaes vizod teadvo ni Sue betters Fe eiitiaree edt ¥ino goa eldisn al cosa ev :, Shoe 4 care ‘ee pranotttatdeny: adit) (geelis teva yas ‘os anid pace 5 ataed iegesgid. Wen 8 ive RORY, reid bak ig eit etoaed Sirod 8 aes fis pick aniians ais {ig to dntoc bum S$ueg adélownes.s "on Shestareele ast Baistoxe fas badosncag ef tans ce Qiesnid vol aailipe o¢ oe awouk ~ 2 nie. aostsua A965 10: 2 7008 6d? faeixe ev tei ja Be ~~ % ar ke ei 2. » | Pe « ‘. ‘ - : ie “= Saf, ua . Led age ia : oS a tea “ iii 12, go | } . - Pi nf > ve ‘ Paisag w ehniaego atadteo eusiteg wWeiietTooeh bis sas. igo Yo atnentrzegnso eid {fe aa fisw eg > jeiiiice bal cooate ‘gant atrol ef? ot sonst ton idvia ofgaed | 176 itectural to me.; This is the origin of Doric... It, is probable that during two centuries, these veriations were practised with more or less art; doubtless this half timber work had something ele- Sant, and decorative;. perhaps certain openings were closed by panels or shutters ornamented by paintings, the origin of sculptured metopes,.; Then according to the progress of the art of building andl after numerous fires,: wood was abandoned, and architects wer required to make of stone not. only the external walls of tem ples,: but. even ceilings,: framework and roofs.: Thus at, the — Parthenon and in other Dorie temples,: as well as the Propyle um, we see in marble not, only the entablature,: but the beans and soffits,: as well as all the compartments of ceiling,« pur lins,: tiles and cover tiles.) The prohibition of wood is eran dente} a a And that brings again a new digression.: I wish to me ar chitecturally a Doric temple like the Parthenon.; That; is-not mere historical curiosity; the Doric temple was the starting point, of all antigue architecture from which proceeds modern “architecture; now a conscious art, must know its origins; all that is connected and explains itself,: and therefore one knows how to outline for himself his own studies.) Let us extend the scope of our subjeet and. study the Dorie temple with reference to the Doric order alone,; y OTH00 OH ‘saga o1a0d VE Berend 93 3 . ptenoue _aeenons Lewd am tet 1A MUU {i = /sboow to aotectoxd mre gAONS AIRES ae ebacv to i te ofnod sf? ~~ ‘sion ae: ee etd aca with heist “th edith Bie -,9rsol * 4 ae Beis Si PLEO AS _gieoteos eaw “at yerain fig the gtised sds ak fq PE HARON: to eeu edt od saafe 20 yeolcne ett Si, eens ‘wSE mo’. dafeni: i. dua 2 oie pare St era tbs: aot comed tre S ent etat fiseneoed techsasy ef ssetri eds ality. beations al eid? bie», lilav sis To FBVULOD deat, aft 2x shifew duetons . fis Jace ts o3iLa e i { bluode deog wes jpladtivey «i dqyigixe 94% as ad: yiireeeones Suae ated? ge ioviwind eitwe _ dgyiaind.. ead gnotiass oF icttow sedyid ifed r ae eit eyed toa e6¢0b- Sud .Roldnee leduos] Ao . ~eseinr ont if io. dnsnebaasis we ludigyso say 40% 25 Petauees Aqeors ~emwace solsensivzs aid Ptisd ed%. to Lfte ede pnw 2uhs Ly cate v | hab jen Gales Viatouw cts. esgesen. ef i yd. 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