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UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ARCHITECTURE Vault RICKER LIBRARY ARCHITECTURE GAYLORD F RICKER LIBRARY ARCHITECTURE iy ase iA i Pk te : i pe ee ' ‘ j i i ; ) ee i Weir sap " 2 nay a \ cgeeete? a ee ig lat A iti ae: ! i ee ae sleet - a i i 4, , j i 1 Aa . 4, 7 mi FAVTMITINORA MT SHOTTHOIORS eee | | we use ; i ‘ , é Ce; menaee Oe WM ae Pees £ sangeW soanstor4 er Mee ee " Bae " a ee es ORY ae hae ? i) URRERD oe CRY: nage lfOS % Ase 7a a i ya @iuak Qua ,OTHvOo aAIATe eouaRTMR aenseW H.yoguetosl We bepeetis Ae A notgiok braoad i Ae eld sh . , Ayodh HrotsdD 4h ud doswterent 6, | vee ean \e age) 40%. Ko. Rosh ARCHI@ECTURAL COMPOSITION GENERAL. PRINCIPLES By Professor H, Wagner ‘ PROPORTIONS IN ARCHITECTURE By Professor A. Thiersch DESIGN OF THE BUILDING By Professor H. Wagner TREAMMENT OF EXTERNAL AND INTERNAL ARCHITECTURE By Professor J Buhlmann ENTRANCES, STAIRS, COURTS, AND HALLS By Professor H. Wegner Second Edition Translated by WN. Clifford Ricker Dean of College of Engineering ARCHITECTURAL MIMBOGRAPH PRINT UNIVERSITY OF ILLINOIS URBANA, IDL. 1990 Se a2 ies eas a ’ wa +g oa Wey ae = eeaee pe ; ; ’ “4 _ se se mee er er eS ee a ES ee ee ee ee ee al 4 f — “oe sl ell rlUrllClrrhlU rrOCUlCUcrlUr OO f ‘ ’ , i ay as oF | Os ee ee Srecioes rmtien ad oe -~ weet we He = geet pare See ne mie ~ =. sekieet lew toezinota Yo etusn4 eee eee eR _doettiots to ae ldorl bict-~ow? - ae ee ow oe + TOblind to weldord «oiel igqwitossidosa to moiviviG Ser > = eee ~~ 3albiiud Yo genie? ~~ eeclowiay BPiE Sts) -~n~eem > = legend usilide we one ysiliindive me a) ob oe oh te mm, PRE ESOS IWS giueeesiepak to sheniiiiv4 ainemeiigpen ywmsinec eee OE ce. ae we eee ene pe “eM Lipeccned te toes tinpalt Be oe ; qaiitdesw ee aa See we ke He <=» yiblis® % §oi teed “e- =~ =~ molsousdanc bee ein: pleias in ew oi we we te a. ~~ ae ee me - ee dest wie eee ee we eH orOgwe i rer ae Pe a ee a ee ee ee ee eee - $ [ lead ~s to cron laud ai yibaes mod ak Aaah st ~~ ~~ oe ee ee a Oe: ae at Te athe? te: ‘ennioneadi - = +, tebxO bee deen? -. ARCHITECTURAL CCKPOSITICN. ; Table OF CONTENTS. ; Lee Problem anc dim of architectural Creation ----------- * 1.: Frimary Ideas - ------=- mee ee eee eK KH HK if €:.- Nature of architectural Creation. - - - ----- - --- 11 2. Two-Fold Problem of architect ------------- 2 4, Protlem of Builder - ------+----+-+--------- 12 5, bivision of architectural Lator - ----------- 12 &.° pvesigning --------+----+---+-+------- - 14 7, Beience of Building - ----+----+-=-+-+--+--+------ 1A DIVISION 1.: GENERAL PRINCIPLES - ------------------ 12 | & General - -------------------+---- 1é Chan. 1. Suitability and Durability - -------------- 12 @ suitatility -------+-+---+-------------- 17 8. Fulfilment of kequirements for Space - - - - ----- - 17 10. Building Site, Soil and Surroundings - - - - - - - - - - 1€ 11.. Sanitary Requirements - -------+-------+-- Sw 12, Requirement of Comfort - -------+--------+--- 1¢ b. Durability - ----+---+------+-+--+--.----- ‘HD “13.- Duration of Building ---------- -- +--+ +--+ 14,: Building Materials and Construction - - - ------- 0) 1B, Magnitude - - - «<8 = = eo we oe eee eee Ke xD 1é,. Dimensions of Rooms - ----------+----+---- co Chap. 2. Truth and Order ------+---+------+-----+---- 24 a Truth-----+-----+--+--+-+-+--+---+-++------- 2 17,° Sincerity in Fulfilment of Furpose - - - - ------- 24, 48. Teuth in Construction < ~ 6-2 ea ete ee oe i@.° Trath in Materials = - - -.. = ~Sm « Hwee ee ere ee £2 &. Degeneration ---------+-------+--+-—--+---- 2a BeOrder mm ne ae ym geen me ew eg ee 28 el. oyunetry and balance —- - == = 2 = w)ogm0e = oie a .g&.. architectural Crders ---------+-----+------ EE Char. 2, beauty and.Ornenent =~ ie = 2 oe ee ee eo p.beauty -------- ee - eee ee ee eee £9 BO. UME GY me men ei ne te dene as ee 29 £4. Coneeption of beauty ='- = 2 oie 6 A a 29 Ro, erchitectural Style: sie S (me es oe ee eh ce 25 mo, Building khatlerial =. 6 aie mie ell ee eee i ae 27, Form ------- sa ph th en le Sel ot hac GS © ime ip i bw he iy a 2p eo, Karsony and Rhythw <2 "Oe i ole Be tee et me oc eo, Sutdivision -~-------------.- teint, atliin oe eee oe ~ ee ne re a Sy oo. ri ab Lav" i ie ; 5 ; ; , -{ ee i ae -. Deed we , ‘ uy ih ging ES ry ; i . * Sa fe eh ce 2. 4 She otha ¥ i 25 . $a Mar anki os, hi Oe ae | eee he ee p, a5 ah? rien or Stree ie 0 le ORE i Sa Se a ~elss J a * a hc deghostell —= “se een Bh Leake Se as enoitroqon’ Pd eee desiring —o em ” g0f00 bas axo7 nt tneasn10": d ence ees rohod bes ent ai moiteronef to aigtx s8 licadltesiioal indiana inaliallainediaticaliatiad ination awe “tneasa70 oS hate eee ge odilatialbe are - ¥ wats ~ soled * a8 - ; ; ee se eo Bat hg® yl Bae eg a~< > ~—+e= == ‘a ” gaovday lod 258 apes! a ~ - SW gr ies a pig Pig <== ~ “ewiqlwed bas gatvnied © ve ) i unoite rab 1am0d Asnit “aS ~_— =. = = eh ak hte < Sa = = ened gribsoerd Qe aobtsciigaa 88 ee . “ms egelb tive +e igosd ne fooi ba ied a ere - ae ee de ee ee aenenkt aw “6Lisk am es ; ee aha ttle etwdostidowm sea0H ei ‘anol f1o4974 ~.% qed | le i eee + asladeT aetis3I «8% ~ | ke fl On a ied ip slestertealonal i Pe Fa hae te i ~ ~ agloth kedqay ia? eae ae. > ee ; ry on : oye j oY ee La ead ae. peeetriny _ oe - - =e eee salases ia to aoiszeqaet ; : oT v4 a oe y ee >, _ { Sonedase’ ~~ * ie - wh - ) ewan lide : af aod : ee | 2 eo <2 mere we dea e Lan i ena hae a ARCHITSCTURAL COMPOSITION. @0.. Mouldings and Profiles - --------------- 81. Seale --------- - ee ee ee ee er er eee ee 22, Proportions ----------s-- +s -- ee ee b.-“Ornament in Form and Color ----=------------ 23.: Origin of Becoration in Kelief and Coler - ----- - 24." “OPMBMEN E PT ee ee a -------- 36, Color ----- mee ee ee ee wee ee ee eee 2¢.. Polyshromy - ------+--+----- -“- ee He ee ov. Painting and Sculpture - - - -- - - -“----- = & Final Considerations ------+-+--------------- 28, application of Preceding Laws - - ---------- _ 2$,- Recent Period - ------+-- meee eee Kee eK 40, The Present - - -- - - ne a a i ae ae ae 41. The Future ------+--- W~- ee ee ee ee eee DIVISION II.. PROPORTIONS IN AKCHITECTURE.. by Professor 4.Thiersch - 42.. General --------------------- eer! 43,° Similarity of Figures ----------------- Chao.1. Proportions in Doric architecture - - --------- 44,- The Doric Temple - ----------+--------- 46,° Numerical Ratios - ------+---+-------+--- 48, The Ground Plan - - - - -- - a a ee ee _ 4%, Facades of Cell and of Temple - - ----------- 48, Bntablatures ------------++--+--+----- 49. Elevations of Entablatures - --------+------ BO.: The Parthenon - -----+-+--+---+--+--+-+-+-+-+- a BSL: Leter Buildings - -------+---+-+--------- Be. Other Prorortions - ----------------+-- £3,° Proportions in Egyetian architecture - - - ----- = Chap.2.: Proportions in Ionic architecture - ------+--+--- F4,- Ionic Temples in Attica - ------+--+---- at ae 56. Ionic Temples in 4sia Minor - - - - - - gD pets 8 £8.° Grecian Secular auildings - - - - - - as Pai Biel pa a ae 7% B7.° Ratio of Masses - - - - - - 6 Yas tah” Sey Salt tas Se es ee Chap.2.- Proportions in Romen srchitecture - - - -------- £6, Italian Temoles - ------+--+----+-+---+---+--- 6G,° Triumphel arches ~+-=---+-----+---+- Pie Seis Sar) €0.- Pooportions of ‘flevaticn “~-te 20. oi a ee ee ei, Suldivision of ‘Entablature ‘= —(— = 6 wie ee é2.:~Btatenents of Vitruvits +=" S 2's Ci ae Chap.4, Prorortions in marly Christian and itediaev. arch. - - - are Co? to” <2 7 SF) es o %- Cy) ” 2 C0 1 C13 ‘ oR) Ra ws +> > ts A ars TE oa 9 “ i See ? wae - “ m on oe pe J aie } id ugl tied ben Liotseed ebbuLORD ian’ Gee kis Loc ay << ~/s camll emequeent ee . oe th - ~ ~ewdoetiiosh assbod bas sonszaisnel ai anoizieqest .2.qado (iS + --+-2-- - = + - enmeaeisce’d saiiell of sono) .75— -+=+++ ~~ -oofsaeioneg miiesl to eystblivd etevias -.35 wn we ene eee ee ee + onneel fe noielvibdes 03 Sheen wan ewe ~ewobade bem erag Yo eeventisots OT Se te ee He Sm) BRtCRNS bas agetaeqd Link IT —a we am 5+ —enmulod ban etedeslii to sweeygneau = ST Bam e ee ew ee ee ee + Bostts List te woteivi St Maw et a eee ee Listed od daemegonth 87 Roe ee ee ee = + + aot Ie1O00T bits eolitor? -.dt (ae eee ee ee ee BOnsABiNTeH neaTeD .5T eee ee ee ee we EBA 10 etionetsIs AT ae een tte ee ~ Bolte BEsbox fo oTETOST Mots at ) ~~ - = = = = afolsioqett moge svelteaeseS Yo sone ftel -.8.gsd0 aes = a = He A «a a win ov itoogets9 ee ee ee ee ee ee UM LiNtS to yrosd® 13 pe ae ~— ee ee ee BHO eIeb Leso0 tent? “<= + = ob tet gine gd i Bhokstoceat .f8 HNP a eke eee ee et eee 8 ~ owed 8S : os te. — - f= dengey .H tosestosT gf © SulGilud auf WO wALGed ITY “01zTTIG © mee Stews cee. fatereD .53 . ‘ Dt eee - e e He e ee- ~ ee ees = ngised tot sid of .qsad It 0 ea i've Ne Se ee ee OE +e ewe = omaeTgot) «64h ee ewe ewe we ee ~ Bfoenotispet eceqs = .AS = {0ibited aot asia .43 rein eee we oe aaomeMlIs! isool So =< athling to touyas bis cork 83 : A ' ‘ t i ee ee ee ee naw Siac caant ose ere .26 mab ~_—s— wo yifelinvd ‘to fact wrens OP. ww a ee ne ed te aeifelesind § ee wm ee om oS RMOOR TO SeesiewsT -S.qeH2. ew he we eee se ee ist] a6 a ak ae “= hae we te, ae ee ee de hee aco edt wee ee we oe) tT fered atl ce eee we tet Ytsnosela edt ~ 42. ee se + + ta008 Yo ondinaed =. ARCHITECTURAL CCHEOSITION. 4.° é2,. Barly Christian Easilicas -----+--+-+.-------- é4,: Barly Christian Centralized Buildines - - - - - - to 86, Romanesque Churches - ---------+-----+--+---- 6€,. Gothic Churches - --------- - ~-------- Chap.5, Proportions in Renaissance and Modern Architecture- - - 87, Churches in Italian Renaissance - - -----+------ é@,: Private buildings of Italian Renaissance- - - - - - ~ - @9,° subdivision of Facade - - - - - - - - ~----- --- 70, architraves of Doors and windows- -------+----- 71, wall Openings and surfaces - -------+------- 72,° arrangement of Pilasters and Columns- -; - - - - - - = ?a@, Division of %all surfaces - -------+-+--+-+---+- — 74. arrangement in Detail ------------ -——- == 75.: Profiles and Decorations- - --------+--+------ 7é, German Renaissance - ------------+------ 77, Statenents of altert? - - =«=- + =~ =—--+-- = oo ee 78.: architecture of modern Period - - ----------- Chap.6.° Influence of Perssective upon FProrertions - - - - - - - 79,° Perspective ---------+-----+------+--- EC. Theory of Similarity --------- a nk ee: cd Final Considerations —--— - = —-— = re wh Prcireos ian jai Oe Sa eee a 81.° Proportions in Crganic Nature - ------------ €c.. Rarmony - ----------------------- DIVISION ITI.. DRSIGN OF THR BUILDING. By Professor H. ‘Wagner - - - - €2.°. General 92 a) ce me at ee ee eee ak oh Chap.1.. Lata for besign — << = 2:6 = owe) S 6) 20 eee 84. Programme - ~ - - - Se Ef. Space Requiremente- ~)— — = Ski a a ee Gé, site for Building, — — «6 — = = =: ere i ee 7. Logael. Inf] wemcseys : scien: sk sai et ed ee tit ha: ald es deg, Pagecteh ee S8.° Place and aspect of building -------+---+---~- SO, értzetic Trest nent, ss: make ee ee ee we ke in ok Bae ie Soa 0. Fixing Cost of building - -------- site eae acre iene 9h... Caleulatios of Comt, -_— mm - « gyabhisd to ES eis t _ /—_— =—>—lc — = te = > — 7 oh ~~ -_ . ae ree tO @Gxa avowed sonnde lc ‘Asune | “--« = 82000 To aogtiest drqed avohnss IO Ineseynemt codydexl ad - me nod - i - -~ Da 5 ~ ed oe. le Omi ene mm we GMOLITOG OTA agetblivd te eldest + -~* 7 + + gH00H to ankddged id ee hddatd inmens mene ens cote 2096) giiddytt soesdtel hae yootsd ~ Sighs yoilied bas tdgi3 ebic Ayia SS Ahm te te hae ee RES Intektegens ~ 8008 haga sti tsen, Peer) Tenn} aaeecn gtdieet Seon ~~ - ~ ee — — a —_— =. * 4 ’ a Pauses Oe Fe ee oe me oe Se yeagal -_ = B00 ieawwdal Jeodtin ayoin! twa (Boon elgnie & ghidiasaco ganibiiud ~—<— + eedouise vdid-iewol ~ m1oT tauqaacd to agniaiid,s— ~~ ~~ >. ~ ate a Ghekod feghoatr? ~~“ = + + » ac {9 %o x34 ~~ Seiad 5 dene. aba api2e8 enook to THIG0 710 THs. sue tr g#iiiesilios® set sapef ee we . — - -_, Rie ytiblivd to etxeG to Asqoa ~ Sdyted bos didytel ai dnegne: > -~ coke ~ oe — anes: Regan, | tee -_ - ae oad Bia ~~ ipok. to, JaeageonT 42 ese ion _ Fw - wets oe ee ome tpod Jo apna. “= shoot fo smeeagiered ee ~- RH. “mit? “ pagleda a agi@ Yo-.o8 15. = bpyene base to. seni ~ +, = dmggeyastta ieredad To Fm tm oS: beewe fOr : or: 1 Sor OF OL eyecmid? fo dneeaeuretw .o * OF TOP ag es of a) Ss % ok Sit TL 4 ba ou - te as 94, Forms of Ceilings - ------ - bs eee 07, Length: Distance tetween axes of ‘andors 98.: Depth: Bosition of Loors. - = =4« “2 fe © 99,° keight: arrangement of windews - - - = - 10¢.: Proportions ------*+-*----+-+-- Fable of buildings ---+-+*+2¢-+-+-+ +e b.: Lighting of Kooms --*+---+------ MS 101, Natural Lighting --+----+----- 102. Glass area ---+-2++--+-+-++-+--- 108° Direct and Indirect Lighting - - - + - - 104.: high Side Light and Ceiling Light - - - - - 105. artificial Lighting - ----------- ARCHLTECTURAL COMPCSITICN.. G. arrangement of Chimneys and Heating apraratus 10¢.: Chimney, Fiaes ej ata > om on ie 107. Heating apparatus - - ----------- Chap.2.: Forms of Buildings..- - -----<--<---- 108.: General - ---- - Bd bie thd bee Son! Sa hee cay bok te 109.° Buildings without Internal Rooms - - - - - 110.° buildings Containing a Single Room - - - - 111.: Tower-Like Structures - ---------- t.buildings of Compound Form - -------->- 112,- Principal Points - ------------ 1. Form of Plan ----+-----+----+=- 112. arrangement of Rooms Beside pach Cther - - 114. Roows for Facilitating access - - - - - - - 116.- Depth of Parts of Evuilding -------- 1i@.: Extent in Length and height - - ----- - 117.° Ground Forr - --------- ----- 2. Treatment of koof - --------- ok: ai ou 116, Ceiling - -------------+-+--- 119.: Forms of kocf ---------+--+--+ 120. vevelogment of Roofs - =-+-+------+- Chap.4. Designing ------------+--+-- 121. General -- -—- = ee we eee eww wee 122,. Design -~---- --- e+e ee ee - - ize. Plan of Site -~-------+--+--- 124,° area of Ground Covered ---------- 125.: General arrangement - +------+-+- 12é.: Ground Plan - - ------+-+---+-- ss -s- eel elle S ™m €) a) r+ — — = ee ee fy {i> ' iN t t ‘ 1 i H (MoM faa EUS Ses -_- s- eo & aren oS eee Gg yy —_— — <— - — _ FET ee oe eT oN Zs hea 1 J ' ! { t O ee) > oo oan —_ « oe -~ ~- Ne ie) #51 _-_ =—_ -— —_— =— se I 5 29 wo wp ew 1cC ~ mis 100 ae oh we oo ge el i ow se mes — sXe & as 2 ‘ é 1 ee i) a ore... - re r -" = - , i a eb 7g = wt > ei! ts = . “s Be ' 7% ' 2 a ‘ 4 oe By ~ Nd - Mae er fe a arig i hae ee ee gt + a4 ae | i * en Gin _aseee mae ye ad - . - e's fais la: ech a es? ws - - bagleres a en ee Se . . 2 v4 -— meh — eee oy > } >> on, E cu Sip apa ap de aere ig ~~~ anoitjos? bas eaottevela ye aebi2 Ils no bodon.2sb issues ~ owe n+ = boQuoiD yleeyl oo ie si = + 0 no wo BORON ni ne isb10se ¢igasd ean ee ee Shomsyns TH {soinsomaye ~—=s en ane ene e = gingio! fe enedbtnwed - = eobsd oon 19 900 10 berivp dob ton aynib lind io a i Se ee ere R814 bayer | as fv yas soe wae ine S. i ' ; i Jeg) PK Ae os 3 : Se “ } i 3 7 on ae ee ee pees PR ad fer ip ato% Bavor espslso yilsitid ~ paced’. né soraiV eivod. savadon to gonis4d SHUTOSTINOAA | .TAI Gus “.TX4 YO Tia Teast alli entities iontiadiieadicedienlies os gabsost to antol en me te ee A ISTE) ~~ 6 — —_— ~~ ~~" ame ~ ~~ ~ — - i & - . ‘ {: = —_ . ~ - ~ allek Lenrsdxs to noisowrsencd gate tua to ‘@olatvibdys faoiduey _seapte Io. adie rbdus’ ‘Iganga F604 _ gbboo4 to hose tvibaui Yeoisrs’ ee bene. wae ha “moi sowstencd to nolgaeigKs — ~~~ gedsosd beteoteaud -_—-= 5 eoheos? sedoid ~- voinosa: ow? to autiolivd * aoitage isuoved “to agniblind - i ee Fs - quidens “Ws idd ‘yisdibto ai esbsor4 ~~ =~ ~ = aebeosl efits ie - =~ aebaasolod lo taomyolgal anny loo Se77 bas asysgad to eal) "eb" isasoiod elynia s to se] re ty ewobait yed bas aeinosisd. a Ze. «VL AVTGIVIG at. .godd cer ow 2 bo? OSE Per ‘i ed Bh as BBE, 1 aBF ee bea — to ) aoisirindas compa 4 aig ‘Yo emood dzie apatblind” boLiwa to Bask fertasd to Fem ye Tre te. sou om | Sat sail aRCHITBCTURAL COMPOSITION. 127, Subdivision by axes - ------ - meee ee eee 103 126. Blevations and Sections ------------- -- 102 a.’ building detached on all Sides - - =-----=+-=- -- = 104. 1.:. Freely Grouped.-.-+---- == 9-3 3--—=- 104 129,° Castle stordalen in ocweden - - = = = = ---=- = -~-—- - ~104 &. wcymmetrical srrangement - - - - - mae eee eee -~ = = OF 128. Gewandhans at Leipzig --- ----------=+-- -~ — 1OF b.: Buildings not detached on one or more sudes - - - - - - - 102 1, Rectangular Ground, Plan - - - - = wae ee -- = = 10% 121 Girl's school in Kamturg - ---------- poo = = TCU 2. Partially Oblique Ground Form - - - - ------ - ~- 107 122. Ealece of archduke Louis Victor in Vierna - - - - - = - 107 DIVISICN IV. TREATMENT OF BAT. AND INT. ARCHIT&ECTUKs, 5y buhlaann - 108 Chap.1. Forms of Facades - ----+---+--+------- ---- 109 122.. General -------------------- - -- =— 402 124,° Construction of axternal walls - ---------+--- 110 25.: Vertical Subdivision of building - - ---- - - - - - 110 12¢3 horizontal subdivision of building - - - - - - - ~-- 111 a. Vertical Subdivision of Facade - =- ----------- 112 127, expression of Construction - - - - - - yore ce ee ee Liz 186. hkusticated Facades - -------------- - = = gie 122. Richer Facadeés ~------------------- 114 140,° buildings of Two stories -+-------------- 174 141.: buildings of Several Stories ------- ------ 11 142.: Facades in Crdinary brick Masonry - - - - — - - —- - - — 1i¢ 142.° Sgraffito Facades - ------+------+--+--+----- pales 144. Employment of Colonnades - - -----+------ . - 145." Use of Engaged and Free Columns - - ---------- 12 142,.- Use of a Single Colossal Order ~«--=<==£=2++222H828 1 147, Ealconies and bay windows - ----+-+-2s2-2 2.8 122 t horizontal Sutdivision of Facade = =<252< 226 ~=— = LEE 148. ‘ietached buildings - -+#<+/---+-+-s4-522--225 tZE 149,° Facades between Adjoining Buildin.s - - - - - - - - - = 122 1fQ.° buildings with Rooms of Uneaual Height - - - - - - - - 122 181. arrangement of Central sass of Building - - - - - - -~ - 124 lf. Irregular. Grouping: ofifesign.o- = +262 4&2 os So 124 Chap. 2 Internal architecture - - - - - - - - ~-------- tz E32. General ~ = <'— = = si oie an Sal ee ine eb a 8 wi ne RE a. kooms with Horizental Cealings --------- --~-- 124 vedi j 1 i & > ay f t Fs a iy hoe i Dee he rie * os 2 e 7 ee a ae : -= a f : 4 ~~ = ~ j = SS - * ~ a Thy — ws << . : é : . * o . - a a ee es MG - f x a (Pm . > 7 ah re *- . ¢ Se Se ee eee ee : « = oe _— ee ee ee an MPR ey. a ; ¢ 7 ; te eats re ’ . i ee ee ae ee Te J . ° << ae oe ee a ee i ee She Oe) ais ve ied ny “f i ae ae ole x me . ~~ tee a ; . _ 7 / ~ a : ‘ Y eS hey ‘ ee , x : - a ee ee as nee: ee i 5 ; a = oe ae om ~ Ld oo ee am ee wee ee} yniblicd QS < - ‘a © ; ’ “2 —_——_— ~— ee ee ee ee ee ¥ . Fett lle tea ldtel diet alede + ie. A, ‘ se Ve ae | fs & an ie Rae nn Lae ot 2 A 9d sebOOt ee poet, ai maa ma atagg pantie r 12 Petes S ee aed cas ~— ss per ea fehoow ~ - oe we aftitgpanisa. ofdzna BBE sme wytgiten io thomtesat Bains dgiy stilie) InwJoyass ~— ~ =. — adgeur! ool olsied¥ = SS? > = © 'BISTICO daty ansliso Ae _ me em aanisied betas bt “—<+ eee wuntlisd bedais x ; wes —-+s= B00] to eeversidow .24 wate = - = Ban08 gemel :.08 <--=-+~ amzizes meoiliecd 252 - ~~ 3s watwillad 43am 2x0o - OST ~ ne fd ge luorioiase 4p, al ist RE - - = ayniliso bes tues! agi aaoo! a SES a A ne ae asioat louest Sed pe em essee erige¥ ios) eee tess : “= las ee aa ina Pdi a baa tant ANE - ween OR 8 - Slane "patantag’ S etiue¥ stow) 3% ied soe Bimemir ee | 10 aneitoenacd Pasi pe ie 2 gaciue oi be sagt ‘eacod Jentes> dite 200% ts Rpitonias? “5 Ager ods gat : _ ~~ ot er ‘se =: he 2s Fl Ps 48 LF ad SeinseckG + ,PBr aoe t eee ee Bie io ane ld tee ~abvetiolia) . 20> @eluditas’ “Set | a e0nis7109 feords £3t : ¥ Pre VEG ey a0 as sKChITeCTURal CCirCOITICek, 1F4, base and Cornice of «all - -----+----- -- - - LEB.” wall tarestries - - - - - - SS a ee eee ee 15é,- Mural Painting -------- ee ee ae = 167, Pompeian Mural Painting - - - - - - i ong cel Se Jo te 168. wooden wainscoting - -----+----+-+------- 189,: warble wainscoting - -----+-+--+--+-+-+----- ico. Treatment of Ceiling- - - - - nr a me | ere TE a ea 1é1,° Structural Ceiling with nooden beams - ---+---- -- 1c2,. Visicle Roof Trusses ---------+----- > | sana 1léc.° Ceiling with Coffers ----+----+--------+--- 1¢4,° banded Ceilings - -------+------------- ic&. kainted Ceilinss - -------+-+-+------ ~ Px 1é2.. architraves of boors ----------------- 1é¢7,: Large noomp - ------------+---------- 1e&, basilican Lesigns ---------+-+----- -— = 1¢9.° Rooms with Galleries -~--------+----- -_— = 170, Halls of Gemsicireular Fian -~-- eee ee eH - - b.: Rooms with Vaulted Ceilings - ---------- ---- 171. General ----------+-----------+--- 172,. Tunnel Vaults ----------------- ---- ive, Groin Vaults ------+--+---+--+++----+-- 174.° Pendentive Vaults --------- ------+----+- Wve, Domes ---+-2+-2+£-------------- = 17€, Groin Vaults friclosing panels - - -----+.- - a c. Connections of spartments - - - - - - - -~ awe ee ee eK iv?. kooms arranged in Suites - --------+--u- ---- 7& Connection of Koo with Central building - --- -—-~- 179.: Heightening the effec” — — = == Se a ee ~-~--- WIVISION V.. VESTIBULES? CCURTS aND haLLS. h.teener - - - - - - = - 18C, General - ------- - - ee ee eee HH KH eee Chap.1. Vestitules and boorways, Entrance halls, Oerridors - - 181," * Diversity In’ Pla ee eee eee ee ee a ee a. Plans of Halls =") Sees eee ee be oe et ee ee 162, Vestitules, arcades, Collonades, «le. ~--= —~— ~.- — 163. street Porticos and Verandas - - ----- a ae lace, 1€4, Commecting Porticos and Promenades - ------—-- 18h. Gtete Porticos and LogJgias - - - - - ~ wee eee ee 18€, Treatment of Forticos ————'~ — 2 2 a 1&”, Galleries, Corridors, ete. <= i A - - ~ ry gre Dens it “ee eg See ee > Be. , a4 ae Teas oes s6r tid * aharh Sault se »- 5 aie 4 i fat > - ae ae UY e 7 4 ere Sere ree. Oa nolisooFSe8r oar Sie (eee. nh) hy trcen tee © ihre ety) Tiel etin beg tak apiece + al yhie hed eh aoe es = sagem afareys? _.00f fae ee me inane See a ee ae ee eS ee * - Bee mee Se tlk ew eo the oN AS 20 29 Sa es ee Oo & oOo 8 As FA pS m ©) ae) = ~ be. ~ ae gbindé. ies gndinas inet “rs i: Son cual aati ‘to #dyelT Yo deyaed - ~ BS { RE tne - on a me i atts se | to sdyhlT to debit 88s 3 ¥ au =. ‘at cae lial oe ee egaibas. to anoinnewit 2338 “ne ‘Th esteteaial “wee ee ee em ee sle s+ ~ yakedgid «838 — ee ae ee ee - eatol to troncass? ss ; . “ het hai eis we am aim eswoo to angiaed ‘le qed) aon = saa oe Re we =i leet artical tien {evened “85 | te = + IIsotiotetd 868 Stee ine wae te ee ee erent fi siewogne TIA 5 Stewie's -+-5- Se Re ee ee MEISOOI. - TES Bia ie ee ee eae halk “886 : enofanenkd «SS SST ~— aoisoes _,06S YE nw. asnibtind yi bebavorms yilsitiwg atwoo beaofosk ot 7: ee a ee ee ray i octal ln Me ejmo0 becnel © .[hS ; nh me Bi aan eh eae sk a oe EOD. aN SES Stas eo -+-- Hoe ne Fite Se a + seaED wok - 85S = ~ ~_— ee bsau00- deans lD.t¢ Hersvoonl besolont vo ew eee me ee ee ~- BODEPIOT dtin afwod 265 “=> = pheals-bycrmeaiha dereke: «oe ge LS payor ‘,a8S -—- - a ee ~ «= + goitevela efiT .S8S ee ne oe ee = + tO DaRelD TRS ee ee ie a a ee Hm = Od WOD belooli-sasiD S82 ho ee ee eH eS alist egies to empioe® .b .qedd ie ane ee ee ee ee ee fergie .GES ee Re we ee ee em ~ alin to em10l Isoigyl » | ee" cal oso halla cal aad sath ies ete ae asoiliasd sup isos fare ei: emer coe te ee FF - etied « a@tted te elled _ af BS Bras ine : ce eee - + elied bas sagiliasd savol ©2556 - had loge an ~~ - eettjeodd idgaa bas agiicenT .5h8 ett 4 i Sand pu bas ayeeblinud besiieitae) dd8 2 ie ae oo a mss eile. Tas NE elied fevesibed .ada ieee me ~sboited a1ebox bose gaseeismeh at pelleif:. ARs A ree ee ee ee pl bed. fo w10% bas: cay cgae = kee eatin ~ Be ~ ror Bene ooed to. ~- a ah biel tad — = ee ee ee oe ease ee ee _ J ARCHITECTURAL COXPOSITICN. | 219, Inclination and Stride - --+--- a Se ait Se 20! Sn (le 220.: Length of Flight of Steps ----+--+--+--- Py Se as 221, Width of Flight of Stairs - ------+--+---+-.+-- eec,. Dimensions of Landings - -------+-- we ee ee 223.. Lighting - - -:---------+-+--+----- Peo ee 224. Treatment of Forms -------+++-+---+-+-+-+- ae a Chap.8,. Designs of Courts ------+-------- Lio loge as £e6.: General - -----------=+= ss ile galore ae Ma hs Pkt ee 226. historical - ---ji---------------- - a. arrangement in General - ------------- Lo eee 227.: Location - =—- -.- ---=<=<=+s+4£4-.-+454- = 2e8.: Groynd Form ------+~-+---+-++-+-+--+---. bom 220. Dimensions - --------- Seco oy, hae cee eee ame ye inge 220.: Section ----------+------------ ae b. &nelosed Courts partially Surrounded by buildings - ~ - - 221.' Penced. Courts = — =.= 4: =) Sie eee ee 232, Fore Courts - ---------------+---+-+- eeg.: Rear Courts ---------------------- c.. Enclosed Uncovered or Glazed Courte@ - - - - - - - - - == e34.° Courts with Porticos -----------+--+--- -=-- 228.: Ground Flan ---------------+---+---- - = 236.. The Blevation - - -------+---+-------+--+-+- ear. Glazed Courts - ~ —= = =~ = (6 2 2. 2s Ss Sa - - ‘oc. Glass-Roofed Courts) (= — == 2] 3 Se oo eee - - Chap.4.: Sesigns of Large Halle: 2: ye te es Se 239, General me, xe me me ee ee a ee ee &:. Typical. Forms of Haldia i Se ce ce ee ee @i0,: antique Basilicas == —e 4) 2 eel =e a - = 241. Halis of Baths) = =, oo sec een cebee yk eo e e Oe - - r4c.: House basilicas. and. Haligo— = = ee le ee on te 243,: Theatres and amphitheatres - - -— = - —- 42s -.- = 244, Centralized Buildings and Church basilicas --- - - 245. Mediaeval Halls =«6 <—=— =< - = at ha | feae 24€. Halls in Renaissance and Modern Periods - ~ - - - - — - b.: arrangement and Form of Halls- - - = - - oh: ie) Set ae ae £47, - Classification Of abbas Uo Gitte ieee ng ae ot 1,. Limitations of Space and Wain Form - - - - - - ---+-+- 248, acoustic and Crtic Center see Mi A ah a ge 249, Limits of Good Hearing -------++-2+-+-. -- = b> pk RN SY ON Sy wD a ae * COIN fund ry) WY peat eB) ae BOC HONE LY DO. 08 fx pd mn ateol “geriso - ieee bo08 tot Noilabibbeus pinta «= = duemegantt: nt ysiatevid ek ie Ea ge ee cf jnsmeyaetté natal ile eile yo ringed es thraecarteg essai otcae’ bee) Pergapey chau ay ee ne ge er vat lead 20 emgiaed ~ pA ik ~~ -. ™ .OAotaaen ss Hm oe ne gailies 20 mot Ce te me HOE Jeno. -. ie -, - - Me ee ny ‘om: Pa - ~ ie] AS ARCHITECTURAL COMPOSITICN. Ground Form of Hall - - - - — eee Acoustic Niches - -------- Other Means for Good Effect of Tone Requirements for Good seeing. - Diversity in sAfrangement - arrangement in Detail - - - Lighting --------- Proportions of bimensions - Designs of Halls ---- - Dimensions -------- Form of Ceiling - ---- - Lodat vonviiass se) ele e eee _ ~ _ — a er ee ee ee eee -_-— =—|- —_—_— —_— = Be norma ‘aaurerTuoRA a 2 ia’ ia: eajeone Crane OR id ¢ iy roms so¢as tord qa: > UNIVERRITY OF PERI OTS, emia Tota : Ce ee oummbe ULE L KL | “ae eaogaeg pi tatie 6 evies saya paren peavd i. ixow bas pitbizud ¢aevd- Pi a Eas «Cotas 08 of ,wldsdine Jeom af gotblind. jad? ,peoqiwq aing gatiliiivk ro | sae sblind eds Yo Seogty edt ot botine eves oan wth? bas SUNG TG J QB ‘oe. a eanocs etom Pia esponrabaigh goed? Sastervebay ot eyaood d of gukeoela bas iat ,bezetea ed ered Jana dundoss idea né aaobi Yuentey end , leds tere odd dtiw brooos faylt-teum di .tin asi Lililvt of esusouites ods t0% A bar Juwngoleveb qot. ‘eRpatio Him naccos ot dceidus ots Hostin ,esoktionds ted = prpesncra taelgike bas evidiatds gif beltiboa eved ao Léestiivio to dnomods tex shaen ni aneidoty wed, “pas Bowed, Wert gaioubory et Lean Ei HOD yeiki IW sitaem or % i (eelvant evissero e' nem of bene qo at ainaok dtinttal aa .yedwr biot gn pe ve ‘sot ioexs God amor baie etd ydrrowny od of wa otoatn one ne aeidorq of iA “iaeasags thoad 40% ewal edt. ,G00L 32 bRoo ede eavevih tavewon < .ceaty atd a ate ast at. dnebive esse do else faarws 9 wid Yedo on +9 bis.tumvend oTs a ‘fies. ¢letelgaos ad: agen YO - aiow etd 40% “vain kine git0 jasizit Bik bay tee BT * ite iitiod Jaua sus tose (otutan %) adouborn oi? erxtl ,e@ogiug off i te eriine edt wrot edeingorggs ‘eis isd bine tt Of bonylaed pa Gini 3h: pelien Fons: ome i wae fo AQARBE TGR Sued «ed to sneaunow Mad vom i aie gninses Iewbs aa, and ‘igi. ak * | bas? eft tina eaiwedti ti dua goede cogs wiage? of omnes of wh bie : ( 68950 — ac ptamabate basins notisve 6 “prague bade eye we VL bey teeASD iuthspeay. re sabsheggets Sees eahine: law toodtdons 3D; pwn at hoon ae Pe i ves iiie: diugatente x htae fo dents afaandt ies ade eek we. ag La Bhupexe axogghide., bas” samtali’ om yo nk, miitihduoe waaS etn nth -allg . ra. aa Fou: eiodto” OTE eats jg ites on vatipen “bate ev iodine, yeone 7 ts doatias. pares prrusciod sont ae eh bg ie Wiagors ‘ede. 4a, | oot nee, edt ot aqesdigy AE” ‘oh sabi cont do. Oh: said iabietee old fate ba. si H “ny " ae ’ rea * | sie ant wt oat? nokieuhaaoe 19: pists Longe” ‘ytwtiaa decir ROAR an pare ARbrsdNe. bits nme ynem” te vIto Te benkgaea” ‘neasapes ad longs. ie % baw “eitworind pa weet iikts ome gigod bi, aPlig tet we Yisesegen ‘gon 7) WEeito heen snad ait eybe praia todoaend yur yea ME : aged: “to gaa ode yd gasp hted wd Teo" ( abe Sion tobias ieuvdootisow — ti va Ne-bebis fw tivaaed ele to naky- | J eoigonpds ‘ad ot anb! exiieard pai | 7 of yt papaied 480203. pon etne ae eerinen. at sth ~ bide * 0 rin tte 5 11 ARCHITECTURAL COMPOSITICN. | PROBLEM AND AIM OF ARCHITECTURAL CRBATION.: by Professor wagner.’ i,: Primary Ideas... Ae Every building and work of human creation must serve a definite ad tc For fulfilling this purpose, that building is most suitable, to woien an appearance and form are given, suited to the purpose of the build- ing and pleasing to theeye.: To understand these requirements more accur- ately, the primary ideas in architecture must here te stated: For the structure to fulfill its aim, it must first accord with tne mater- ial conditions, which are subject to constant change, for development and refinement of civilization have modified the primitive and simplest reguire- ments of life, continuaily producing new deeds and new problems in mani- foid variety.: An infinite demain is opened to man's creative impulse; no problem is so minute as to be unworthy his mind, none too great for nis grasp.’ nowever diverse the conditions, the laws for their treatment. are invariable. we obey the eternal rule of nature, evident in its low- est and its highest organisms. : For the work of men to completely fulfil its purpose, like the products of. nature, each part must fuifil the function Ssigned to it and van the appropriate form.: The entire structure must be’ 2 truthful expression of the ideas, that. called it. into existence. If the.work has an ideal meaning as a worthy. monument of human creation and is to endure to future ages, then must it likewise suit the tendency of the human mind toward elevation and perfection, and must appear in graceful and beautiful form: : --&.: Nature of architectural Creation, This gives the requirecents that clearly distinguish works in architect- ure from creations in other arts.,: Painters and sculptors execute while they conceive and require no assistance from others.’ Not co with the arch- itect. For the creative mind is in architecture more intimately connect- ed with the material than in other arts: it is subject to the laws of Science, must satisfy conditions of construction, and for the embodying) its results, requires combined efforts of many men and expenditure of money not necessary in Painting and Geulpture, still less so in Poetry and Music, - In every tranch of knowledge, the judgement chiefly executes the erection of the Luilding by the art of construction.: But if this is to become an architectural creation, knowledge of. the true must be joined with percep- tion of the teautiful, aided by imagination. It is-not sufficient for the creative idea to be clearly and truthfully expressed; it must appear in dudicious forms, pleasing to the eye, to be understood,: It is not enough ~~ for each part to recieve the form best saapeet to the. Foquirenent essign~ ot © Ylixsmig at dh ,leiisiced odd wedlanae sce * ae rok okt of at .ear0t obtatias Agi. gosh ttudody i wotie sxe, ene $ We Jos ton ob bas boosarsden yliaee aesl ots saxod xe voiyie ety - t eek ‘gerito to wolemeiqve ‘lo aebon ods ai ae ldoeuth os oho iow Bitew Jaow 07 . omdien mort beawel sd of ‘OMNU ane & of gnofed - Hap : lak odd to sate bata. sofa tke ade To sone 1999948, at “rod etatog) | . ty | fede to d4eq dose bie, ‘moot tots {bow iaowisd bac berglewh e¢ of eve tt 2 ent Jo &fiw4 + eroquug. wel Of belive Joetie Wed? eved tena’ ani (AO dnesemg Oh as bobivib bas “hoquerg ‘Ot..02 at ete en6 ge salaolons seswag loos “2S b dtow ‘ot bovinpst es feut ,doelte gilagetg & sonse ia agi gee sind berebiano- ed ad Os anolskhace ote the bae | . ats 49, SHOR EAO HT: on Le ne ‘ 688: akieah ioe sporerenieg Aa i ss eons aha : olgentypas is mewog odd seriupa wid? -Qt0les.\te qobae Iga bus ack a peeaere mt tines eid geetg ov olds asiviookteeb ys heagtivas ° n MOtsabtedos rerio tod enolase yaue wovieiel) asitbeb oe bas welgy omg gue’, Actas © ‘yatsaie? ‘to eodutatecs. eds a@ilupes eins mC a 1800 eral mode dgiv MObenbiade wt dasod gatas ot eeu, Pe UE. te eite pr hdoatet adit. do. aepow emi line, | 8 ery pore ar i bowel Lot ed of wives ‘old etanibal eeeit © po Lexegoe sido nai °.bedowet od of nia add bos esudoed ; te gxe jedd oghe luond brie eomatos to Aotdsanebnoe a ot agie tiger Ps A @if to tovexyo ey wort batiepe om bac ¥ aah Asuee oe il espana iu? ak erpohatiuate asebt to Bia oy pt: : abla ta te > estan eLet on tab node A Loe ; auhaeent ne pi sadgnd exotewas me ‘ahhe atiahins ont : Es aidos ythows “WE d6e2 iow oid 36 me Ldorg. ‘gioe ens ae ca Seah to ‘gegasm @ 31). Et dw utbae ton esoste.ty yi woo ont dain: setnatares wine agitaeta, ote | Pateds ‘Yo sHeeteatd éyisowtie ToL avottesol: et FO 19 emu) pele Fea is Aes ARCHITECTURAL COMPOSITION, | snes ed to it in the entire organism; this form must at the same time be ébeau- tiful.: In representing the teautiful, it 1s primarily essential epi the exterior of the building with artistic forms, according to Oe ae jersi ib a e feel- the style; art forms are less easily understood and do not act on i Ane ; j i ‘ i arts, since they ings so directly, as in the modes of expression of other art “, % Qut: ature.’ For most works in areh- belong to a language to be learned from n * OE a 4 ad the * the inter itecture, both the appearance of the exterior ane that of : : - each room and each part of the build- are to be designed and harmonized; each room t ‘f ‘ted to its purpose.’ Parts of the structure ing must have that effect suited to 1Us purposy. | Been 4 » to be so grouped and divided as to present on a enclosing space are vo 60 & : : . Slaes a pleasing effect, just as required for works of sculpture,’ Local and climatic conditions are to be considered, and affect plan, arrangement, and also treatment of forns.. | These cen only obtain the consecration of art by regularity in arrenge- ment and harmony of proportions, attaining perfection ky appropriate decora- tion and splendor of color. This requires the power of imagination, not confused by any difficulties, able to grasp the peculiarities of the pro- y F p ' ‘splem and to deduce therefrom suggestions for cheracteristic expression, This requires the assistance of Painting and Scubpture, for which Architec- ture creates locations fcr offective treatment of their reproductions, in . re ) 4 order to bring forth in comiination with them the most perfect and most sublime works of the formative arts.: | These indicate the paths to be followed by the creative theught in archi- tecture, and the aim to be reached,’ For architectural composition or de- sign is a condensation of science and knowledge, that experience, science and art required from the creator of the building. It manifests the triad of ideas summarized in fulfilment of purpese, truth of idea, and beauty of form... | 2 v.' Two-fold Problem of architect.: _ The artistic side is therefore emphatic in designing a Luilding, tut is snot the sole problem of the architect in architectural composition, his labors not ending with it.: If o master of his art in the full sense, his creation only terminates with the completed structure, and to realize this, he must be both master of form and construction,’ He must te such in concéiving, and still more in cojpleting the design, for the construction is the means of its realization) As constructor, he selects and employs the building meterials according to their natural peculiarities and con- ditions; by the aid of science and experience, he chooses the method and System adapted to the materials; he dimensions parts of the structure in accordance with their loads, and urranges them to best suit their purpose, : ae Sata ty eae ss ciao Hom idl : A ake ee as scsi edt yd meds bs satoons: taney: af : a laseracce paaarennii bus ehtow si diuot Joe ylaaelo baa eudt hewget?, ’ te up tokssoexe 40% yheot al, giow adt bedemisee bua benotanomsh “‘totse79 ad et ed aedw eatped toes idows eit 30 atodsl 30 saltea ‘wen 4 4 Ee DP casstless ag nals geotoo bas woksuooxd ‘ oaciea welini ete ai sxow eid to | “oa Yo aongieob ed? =.befoennco yletsaidat damon din Yreve at as .eniv ee: deoliaus att neve ,baia ald to queda eft ti ovig soum gntblind Atte scien ne nemeto3 eeaneyfe tone {Lit daum ,te0eexev0 ati es bas ; ie : ‘es Ss aes S wheeqae qitet yen nyjiaeb to ud Lows odd ni honed: 40 wel eld dntiis a pateetd oi qu dfiind ese hae ,noldéwutdent Yo wwod na mi beatveb esw sadif + eb eisioataispe: isatetni bas nate ddew jeetaoo to Sour - gaieub ¢ bho sonsiexatteg ot. oh sede ad bas eons iu phpenidteh eit: aebau ed. jeuw ‘wbaead bre aate lo Shed? bea oent seve dotew deva ,soldyb boatni, bite Hoste tance vine = be | ‘tobi bud to: oldest. ve | 38 daebaadatreque. etd, nebau Ai pad. nents. wee 4 greener ft j dose. ak adie tbe que. ‘to, s8eonlegd to egbolwond etd yd bas = j evtanederquoo eid nt doatidess ed? bis of at of Babliso ; ROtSGe capsid edt tot alatiten seed ont eutlqqua od ..meldorg ery pCO Se Lacieis ® HL ola mre patbliod eid scatters ‘to thebiotatreque- etd to nisaod edd ered dotae of” “30 Biees ovitsero odd doodorg has adiatl ati xtt ot tad ab dutatoeh ;bleit. fwid¢kost bos beowd 8 ved dood daomios orpie wort toecidote:. : feds dost :.tootidow odd o¢ asus bas dnebaeingwque edt of acbett, ob eoltive ton, weob eff! comud. dads \ovianesxe Ok ote nkendb bogey ai eeatdaos santigguetphd qa. ae bres aqoda Xtow halt Atal oat gedtous nogy dosoroce Jom. bas pwo ais Ag iw ioedooe - hs 1O8 ft edt of eub ovo. eno ens Yo one gi letng bas ynrene etidae eft %. se oft to afasiat exttae ed? bas \Satlteo aid to adrenarivper t wewee! capone ak wave tee Bad Pa wepapti Ayia ede ertoe ° as eee atsie okbenak: egos nokenovat Yo eng ager setters: — 9. cc vedo | e - e . . 18° ARCHITECTURAL COMPOSITION. : Their formal treatment id then by the artist.: Prepared thus and clearly set forth in words and drawings; spotnel eae dimensioned end estimated, the work is ready for execution.: \ A new series of labors of the architect begins when he is the creator of his work in the fuller sense.: Execution and conception in architect— . ure, as in every art are most intimately connected., The designer of the building must give it the stamp of his mind, even its smallest details, and as its overseer, must fill assistants, foremen and workmen with this spirit, to set stone on stone, join member to member, and create a work in which the law of harmony and the unity of design may fully appear.: what was devised in an hour of inspiration, and was built up in his mind during long days of contest: with external and internal requirements, de- mands months and years of continuous labor, the work of skillful hands under the architect's guidance, and he must aid the performance of their duties, must watch over them, and their claims and demands must be sub, ject to his examination and control.: ‘. 4,.: Problem of Builder.: With the beginning of the practical duties of the architect, the work enters a new phase, has passed under the superintendent of construction, and by his knowledge of business, of expedients in each branch of his calling, he is to aid the architect in his comprehensive and difficult. problem.: he supplies the test materials for the work, prepares this in workshops and at the building, combines it according to directions and rules, arranges the labor as most rational and preferable, and erects the building rapidly and in a masterly manner,’ we enter here the domain of the superintendent of construction, not to diminish it, but to fix its limits and protect the creative realm of the architect from encroachment.: Bach has a broad and fruitful field; the trades to the superintendent and arts 40 the arene Bach should be content with his own and not encroach upon another. The limits of each domain are so extensive, that human life does not suffice to exhaust them.: The entire energy and intelligence of the one are due to the increased requirements of his calling, and the entire talents of the other to truly solve the high problems of his art.: Even in works of lesser importance, the master of trades and the master of arts should work together.: 5, Division of Architectural Lator.: The power of invention acts together with the creative force of thought; thus the purely artistic labor of the architect differs from his scien- tifie duties as a constructor. : 4& division of labor: is possible in many cases, and even to be desired, although-union in the same person with P afl ‘une bt sy 5 weee0 " ek it. vatlaas oh peta ios. in to one es 02 bentupet tom ak dud yiotourtenon 8 6d .oBle of toottdora edt To% tomlees.odt oi semi0 eit 101 \.Llew as foedidow me ed of rotourtends an 0, asi¥anigsal ‘eviseota to nismed edt at widest edt 104 iinenegbyt, ‘vane es ak eno hegee note ivtb aidd to. gatoniged ed? to ot tom ed} ak . Pie: tee ial as aa. edu to iia | eda tedio edt a base Bia i" A 7 ‘Waar Kraan BA _igdaa teed en ond a pcoai dora. edd. “0s quooon ‘o 1 pablosd oved ae soodbasd ehia to ; OR smddo yd obsat aytash ‘eis ‘to tHenthodae ede ai lo Lriw «te idorrg aid Yo i eat bas ‘einemeiiupe ‘Yickmiag. eas mor? inow aid. bevel lot ecoteven? ever re re vara il hea Ao anens baoxd bad. 190 besang over wane taped’ tatty pias itd ¥ Dasnoyne ts pre apres ues ed NES a nytaders 46 Rat [hos denne yliedad. od you tasJrogud wT gtd ta: b oF sabe ab bas “agiess, edd iat ameqqes yniblivd 9 to aelg ent y’ 70% ‘te tedaea 8 bas noitouriedcs ‘to AD teas ed Javh eno -natolind s Ro ec am peetgl aE Lioustancs tO telus 6 em of au lind 3 td ‘aaseanson has -#intes Atiw eoasJalesgoe mk | 4f @ yustmemsle eeoamen of abi iada to eghelwons t9o3t00, 6 bre Yo eredaea {oteau & nts aassaye pratins eins aand ongd nos oft a ag A oo). > ghey Cece kpc Detar #20 eat banger eth, Sq of pond tat oait oa noleaease} S$ th tok tuoexe to. shou, ‘to @inenertopet hae aebead to eotadees of re po ‘anrscon0 ef an noversdy #0 baying etd? or eitlagtens ee ‘poten s ret bas, elt tbace baoaes ed’ 1 eedien | te gnum oll: ‘ayant. 3 a aaa (=e tetthayte dosde ; eae e 8, alain Cai: ovitos a6 bee doelet eteaal fk - Pere A 2s yun, Lagahly totisesed bas oni (sue ‘ By ae to nodutosiened: Xo: egbe lwonk atetvooA 8 ond etidoes: to sudan ott ae taote, ban .emret sed lane : S rate Ldotng. es elds. ‘Od: ae ibe inbadesion ‘pas. tmeneybug egih Ie" vid sfiouu _ bids Rs gudaipe ab su haa etd ee ARCHITECTURAL COMPOSITION. mastery of soience and knowledge is possible.» It is always necessary for the architect to also, be'a constructor; but is not required for the . cénstructor to be an architect as well. For the former is the realm of judgement; for the latter is the demain of creative imagination, or as in the motto of the beginning of this division; for one is the prose, and for the other the poetry of the ari. 6. Designing.: To enter the domain of architecture, comprised in the last division of this handbook, we have decided to accompany the architect to the end of his problem, which is the embodiment of the design made by him.’ he have therefore followed his work from the primary requirements and its first conception; have passed over the broad domain of his creation and his lebors to build up a clear idea of the branches, to which all oth- er trainign converges, the design, plan, and arrangement of the build- ing. The important may be briefly summarized. ‘ a ARCHITECTURAL COMPOSITION, : great periods? These pranches of training are therefore assumed.’ In designing and planning buildings, we have only to apply these primary — ‘branches aad to draw our conclusions.’ whoever has made all these branches of science and art his jntellect- ual property and has grasped the requirements of the problem, derived from custom, habit and from civilized life, possesses the science and knowledge, whose sssence +5 architectural composition. : Architectural design must also combine truth of thought, beauty of forn, _ and fulfilment of purpose.: These are the primary laws, which must first be understood with perfect clearness.’ These were succeeded by studies of proportions in architecture, of planning buildings in general and in ‘of trestment of forms of external and internal architecture, and iess developed veatibules end corridors of buildings.’ detail, of PE a an aige . Yoraues “Plage ta ep 7.* Seience of Buljding.: ; * 4 ‘ . jpis academic essay ss now followed by what is briefly designated " Ssience of Building".: This comprises thorough consideration of all kinds of buildings, arranged in divisions, each comprising several sections. : The course for each species of puilding, after a brief glance at its his- torical development, is that the requirements of the building, its form of plan, treatment and arrangement are investigated and deduced from its . purposes and uses, from tradition and the progress of civilization.: Ty- pical examples serve as illustrations. : The title expresses limitation to a definite creative field exclusive- ly belonging to the architect.: As structures should be classed all ex- tensive works of engineers, bridges and tunnels, hydraulic and harbor works, compared with the works of the architect as corresponding to them, and which must be regarded as suitable objects for the effective devel- cpnent of architecture.’ Yet for convenience, a division of the work be- tween the architect and the enginesr was long since made, and we shall therefore omit structures where conditions of use and suitability do not permit requirements of art to assume control, and those in which tech- nical conditions are to be fulfilled.: But all in which artistic force predominates, or is nov entirely suppressed, from the smallest problems, content with grace and effect obtained with the most limited means, up to the most important undertakings of art, for whose execution the labor of an entire generation is required, will be subjected to critical con- ‘sideration, while we study their typical peculiarities.’ Narchitectural Composition" and "Science of Buildings" necessarily be~ long together and materially. extend each other.’ the have clearly fixed the ideas of both and have limited their domains.’ Architectural Compo- . n th ESS MOLE LAG INO) TRG IIATEHCRA . ae or te soe ies en: feohtoroadd bai Laoiien edt ot Rotthe’ ~ Wey Maas ylsia : tea g id ~~ pee vam quihed “4 has ep * yt A viet ca er Se ee) aaantontad caganaa “2 noriena Mb Gi yy seme ‘Moteaton somostons jeelaaars ae “oc qintiaa ‘ iavemed 3,8. ate rT ha ‘be0d ae Hols snishue Gabber Hots’ ¢Stounsen eds ak dedt Pema to dliee's en? as $% avingooe't af Tadetigine c? & bib étesw bne to aalnet elf aor? bedoslloo bie ooneggeoxe--apet avexk — + iftats bane sot ‘.tlgeeh exos etsiteds% Jaya. ow fd Bates. ast hott o¢ eG :.dad Sas snes. gremiig of stile teva ov Baokegenic ‘@sede of T8were ‘xeqorg a. ik - @dse%0 biuow ef dadw woot sort! duow aco ‘npteed LF eeogqnon st i pak jooise pds te agsal staan 40 oobi nid’ bon. sebl jie ved oF ef eretoed iioh > egadweth “d nok Jassene qe’ Date agonweils. flut n& dao retilyuods eviisen % to oii tienetgs “eels e. encouads ai gatos te | Sueaseoit Yo awed [see 10% ‘eetowes baie end ~eeodieetd bas tdgtl- gris -atesd odd at bauotg elquie s-suggcot bas 800839 nott seauao a1etit | ewisa to fedt at es .dus to lesa ‘etd ond @ Listeng dotdw bas . tis te > ak etaixe yliisatr fads ag isvlove io wel Iewiete edd si obi? iti gone teixe otat affeo te tus ¥i>- ved do lity «0 Pyon oinegto add te viadd boe wog of 32 yok Sfhaweq te ixe Qiitesey ati sot amodedh | ne edt sonvans ti aed nolionet ast alzilot ne iio 9de18 qos Hiddwst ed yaa ogade: elit ‘todd 480 woded™ reget ‘igdexeda ete Lesoqurd eitt adf alihtn? Ul isec aie hno git te < tutta vata) eved oY: Seupdos) Mets to nbowod: oily od Lovieteass? Padiwin a : stoke Lnoqaoo issstees ito to vel ado end etag ne é pe da gaods. ito diets Sang to proud fist qasent. to he ite ; waold hive gofeveb ilar $e seats Yo ost. Ry te atéor od? aire?) 7 eonoies: Pores freq, eger20% ss ytivous4, ont fo exneu [Int edd deb. sO% ig “aguendt shaelt baie dthat Siti J uptekoes® ‘ertsdemn'ed. iisg off ‘0am } is a bas sovienwoe Rte itiie gene ew Jad ‘ dingiglowe'saso Is saen’ . a . Val geod . siginob feutteel iviews vtotdw “spgetog. ‘totdo- odd tea in mal ie eee yetlidemd bas wiilidediag 2 ‘gotqsta enddoag ed? edadtont tht boat liveth: 40. Bfremetinget. edt gat hoe tneageleron ovinae tigers, eons (ylotint tel ety le td nbees Govbesg-etht Y6 macidtanso fonveamt has fon ) ie eld ide Bie le jotsgediinss Gt anckinow wea eangn fs pd yaad’ Esusoqusy o¢ doojdus-e1 eff f to ebees oped? : git © alleen zpatbfivd edt Ao eonosaize to eaottdb c* Spa) fog edd wt aolt, sae aude dud -.tanngel * ot. te oo die a cea bias hy Bes ie ” ot Pt oe } ~ ‘es 4 : ; a - , Ki i yy , Lodied en Bin we i Had " 7 ah pe ey AS y A=” Os. AM aah ea ¥ Dees are ARCHITECTURAL COMPOSITION, sition is the gsneral and theoretical portion, the Science o of Bu uilding being the special and’ prack deal part.- ecu oe OMPOAT, DPTNATOL WS - : SECTION a GENER AD PRINCIPLES. - EY pe can giter Di Fe a OE OM, BO ae ee By Professor Heinrich wagner,’ 8.) General. what is the nature of Architectural Caumposition, what does it comprise, end where did it originate? fe recognize it as the result of knowledge and skill, drawn from experience and collccted from the realms of science and. ert.: But to find its origin, we: ‘enetrate more deeply.’ For _Q@ proper answer to theses questions, reiurn to primary ideas.,: To compose or design, one must first know what he would create. This 3 f= ne EO t= aad § ~ ah ts C3 ro} is to have en idea, snd this 3 idea or mental image of the object is brought out in full oleerness and represenistion by drawings.: Architectural de signing is therefore a clear representation of a ersative thought,: Seek= ung light and cleernsss, the mind searches for general haws of treatment, infers causes from effects, and reachos a Simple ground law, the basis of all, and which prevails in the realm of art, as in that of neture.: This is the eternal law of evolution, that primarily exists in creations - Of the organic world, which i organisn cslls into existence when con- ‘ditions for its vitality exist, permitting it to grow and thrive, if each separate organ fulfils its function, when if assumes the form appropri- ate thereto!: Nature tekes care that this shape may be truthful and beau- tiful, if the organisn really ahaa ts life purposs.: Transferred to the domain of archi ra, ve have (art.2) deduced from this the ground law of architectural compositicn.: It starts from that triad of ideas; fulfil pur th of thought, and Leauty of form, the roots of the tree of theory; develop and blossom un- der the influence of t ; orces, experience, science and art. The path to creati indicated leads through the realm gi mental turing ek eats But we wust siili limit oursePves and make pro- winent the-chief points, whieh orchitestural design must keep in mind.- | Chapter 1.: Suitability ond Durabilit The requirements of civilized life increase the probiems.of architect- ure infinitely, since vrogressive development and improvement of exter- nal. and internel conditions of lifs preducs needa of sll kinds, which Canss sew urestions in architecture, always with the impress of time.- These needs of life ars subject to verpetual change and ere also the con- ditions of existence of pr building; civilisation is the fruitful field of its development,- but its germ lies in the ovrsose:- the impetus toward 7° SS a5 TREE rN. geen MRS WO Rts fs bs mn i 4 ey . vA ‘ eons namie - Pe, i a, woviogneds efen fo Sthw.’ eudtoot dere. to edtow ot atone tins [is benubhh ee bas Istiesea Vlekise taum ow yeue Ison daon* a1. oatios rib amis nk nwo 7 wbliud ets teds 8alnqnoo Sinenetimpes eeedd ob, dade ‘wiseaqing, ofseneae ‘ Mirae ae sis: i i b&b ue becgetgeas sede af esogiyy ° tet tetsu CY ae a gedit odd dik gus (don gid ‘ko sinemotiogor eocge od? abkiaquen akit cae 4 ; . go? beJinosety angty tages. ead’ ‘ftebsan: Pen BmOT? old pe. eaotenoath Bre) ss “dhwe Yeu. inowegna tts poe aebad ‘ateds dant \osdqug aat yd ‘yt Dhund ang Cae Scponiaa pags cd ie bigoos Lieda éuwidounte opiiae wil tadd ban ,aoay. tawny Peles pdd, eoneultak is tdorg oi? Io -einemele eaedT. hobteg4it Yo ataod bem ae ie i ee bai gaons inst ati bas. gnoqiuy eel ‘ante tid od? to miss gia vokgedad ie ear | byte oat doliw of galbsooos .sxotos? es. eyiteled Pi Motde of anstieatp mons aot | bas gatblind edd to shuttagen edt bus .begelyvab ox al tzasane hae ana f Ratu ae: web eotwodil dike eeots ao benbineted. ote aeyaq wei to tolsieqeng ode nen 193 2! fede (fdiut yathliud odd 36 enone bre atqeq: bis ‘Rod fore betog . - ud * eat sensics sige iid eau sheft of galisoos, venyevit’ | Liemwena da edd bas .ettq duembhib to enotenonth bas aa ef. " eh ome ‘ont? ebtiw tiuseg Sti. baw ovis edi at etn) dF nes ays. ‘wv Lo’ ‘eo noe kod baa oad danispe (itor ttth ed inp 1g yiquede.@ ' gated: gablene ead abernd oar! (ooh to hawergiond daak. pd eee ‘ede. bag: denubes {aimeoe eeundn edd lease seerct otis al tneata o% | akan. wos det ond dt andd ,msod at edooted sigile of ovitianes o1on + it qeb bay ddgted ak- ate tite. ohame ev iioega reg aid, todd word welwedht tostdoa ile ave add. owe ‘(hiees yede gee tha esinret so ayadds gee ow Jedd. en be sional on guteseig ya bon klartues ‘od OF .Raattysoeh aie d130 OF | qowks dawkieee fd #3 bei snowonedy wears to noliavraedO 2 to sinha’ ore baie duomant ter & of .abadieg Igqutoosiiond 3 zed end a. oe eats, = aos a end ‘te eantiaero edt al (chute déeinee No adda B, renee s ote ores ie etosesa deoteosy et dotiw awe. emsa edt yl advo ‘tieds ab bemtagoods. ewsit av doidw-bas ,beyokg bi 3 Bidomeniqoer gupiined £0 6 > wad om enidesi tion ii anotseerd N re ag 19: MOLIAN burg _ a i i el ice el 18 ARCHITECTURAL COMPOSITICN, : 10.: Building Site, S041, and Surroundings, : with fulfilment of purpose is connected a proper choice and utilisation of Luilding site, as well as a consideration of local conditions,: Not every site,nor every soil suits any building; it is importent whether a building stands o a mountain or in a valley, in an open area or a narrow street, whether it is under the radiant sunshine or in the shady forest gloom.: What would a Greek temple tecome in place of a Gothic cathedral? Why should an outlook tower be placed on the plain or a monument of vic- tory on the market place? The palm dees not grow where the oak thrives, nor the fir in the place graced ty the laurel! As a plant thrives in a small unfavorable spot under proper treatment, recieving the necessary energy from circumstances favoring its development, so rises a well ar- ranged building on a limited and unsuitable site, if the location and form of the site, the nature of the soil, and all other local conditions of the problem are fully utilized.: These points are likewise essential in the subdivision of a building, but also appear prominent externally, id the designer knows how to deduce from such restricting influences the idea of a work with characteristic treatment, adjusting the effect of masses of the building, proportions and dimensions of different parts,and the forms of members of the struc- ture, to the site and its peculiarities.: The same object will appear quite differently against the open horizon or clear shy, than before a dark background of deep green trees, the outline being more sharply pro- minent in the former case, the masses seeming reduced and the eye being more sensitive to slight defects in form, than in the latter case.: We likewise know that the perspective image differs in height and depth and that we see things otherwise than they really are, the eye being subject to certain deceptions, to be neutralized by pleasing treatment of forn.: Otservation of these phenomena led in the earliest times, especially in the best architectural periods, to a refinement and perfection of form, worthy of earnest study.: In the creations of the pre agtis time, we ap- ply the same laws, which the greatest masters of past art periods om ployed, and which we have recognized in their iad 11., Sanitary Reguirenents,: Creations in architecture are intended for the uses of life and for the exelevation of mankind.: Their purpose requires that disturbing and injurious influences of climate and country, and ,that unf avoratle condi- tions at the locality be remedied and in future’ controlled.: These sani- tary requirements first comprise measured foy protecting the building from such influences.: These are expressed if design and arrangement of ae MOTEREOMOD J LACTOOTINORA a sort nobsoesonq tot anoltuaneng : wi Ona ,WOktenel asi ni .aatbiied edgy Ja ssondued mort bas enidonve nor’. twiniv Yo Blog bas tomaue to dsed aevleeiwe jot lode oi oF, ebay x0" ‘toute Bie dasa 30 igs onydenag moc? .f ato tot atnomegan are ppatsen. end. datibsia Bou aes: eb Yat jiisind Te ats wost é : 2 vy ‘bas. .spongnab. 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Seam) acid Se ae sere Le 2 Sto %aso” eg? thes ertuped Sr meget seue ‘ide? ge otrtnd 42 Loader, ® relist tales (abmhig ot¢ wasdT *: _wnoo bas galted=Llow edt tet Miran hebhs od Oeedt ov MN .ehsig “ed? “di eld gatyoodae orks Pc) Vixehe ee bas count? ‘odd $8" Ram ‘Yo ene tiey Is hve tein etd ak neil d teids “tgs ruled ‘iia ‘odaetSe: etdE23 43625 “to éfiuest qovsebas gnittiaeand® a teal oP Ga closolqnds Be Ldory ats id eeogtig ~tibaco Isnretie Gotll EL a ive itoe's 16% "Sik Sdno ze tue ’ ‘eka orn od _ wazilivte sk eaielion “3 aby “te j ory Lae ei’ atde | at ‘bdiiatinn o a Hen it @ € Leer pact : add X : ul ind ale ee 19.- ” AROHTTECTURAL COMPOSITION. : the building, in its location, and in precautions for protection from heat of sumner and cold of winter, from sunshine and from derkness of night, from penetration of main and shock of wind.: te shelter ourselves fron the elements by defenses against the weather, by arrangements for quick removal of rain water from the building to prevent dampness, and from injurious evaporation, ty improving neglected grounds and prevent- ing future uncleanness.: These precautions against external influences are also in the most in- timate relation to the study of the building and the elements required for life, such as light and air, heat and water.; They comprise those innumerable details in the plans of the building required by safety of the health of mankind, and which inerease his physical and mental well- being.: They do not belong exclusively to sanitary science, but especial- ly to the problem of architecture.: They make themselves felt in the sketch for a building, for sanitary requirements are not alone express- ed in the-elevation and internal arrangement .d€ the house; they especial- ly appear in general design and construction,: If the entire orgenisn be unhealthy, the evil cannot be removed by internal and limited means. : It is therefore first necessary to see that the building is placed on a healthy site, is built of good durable and weatherproof materials, and that it be properly orientated and sheltered from prevailing winds.’ halls should te of such thickness, the reof so erranged and constructed, as to afford security against destructive effects of the elements.: Drainage of the building and protection from dampness are required, walls and par- titions must have openings for passage and free admission of light and air.: The roof is a protection from rain and sun and should have such inclination and projection, and openings in external walls should be so protected, thet rain water may be kept away from the building. In hot countries, one should be protected from dazzling light and scorching heat in lofty and airy rooms, sheded portions, in cold countries having rooms of less height, easily warmed, with olosely fitted and cold resisting construction. | 12,: Requirement of Comfort.: These are primary requisitesfor a healthy building, and must appear in the plans. If to these te added provision for the well-being and con- venience of man, for the pleasure and enjoyment of life, emtodying the results of progressive science and teohnical skill, then is the material purpose of the problem completely fulfilled.’ Man's unremitting endeavor to improve his existence and for freedom from limiting external condit- ions is satisfied.,; In this is the nature of man's activity in civiliza- i ae, ; f q af Garr tM a | beeen! hiahet tld ‘ofa or. coy bas prveiiettts anit to wis 6d), 408s Qt lidetby “sd st 7 Al Toe iM | , agatblivg fo. soiveqd St | mbepion ‘paves & ‘t4Stdne. ne aid, seus nee to eistiow od? tot yind ‘to% .fism yd feve bas coe v3 shanebloos, Amines. ee ‘Agiteurtesh sante so vi alte ms tlitotes te ites aQogTNy ett (2tiet of yotbited eitd- tot bape ek eidt “stoetteds pig Ppes tas ban baa gor ddiw haddets anpetive eae eto sedantery 03,0006 falae. taotottive evet toum #4 dud ,madasyvo Lor _ herve seiwudaes sot ‘fag iereneR to ewhae o ‘beasveb ed netio reum it.. «eeu bas ,soys eustdt ov. yosgel 6 22 bord inane) a8% t% ababenodd: 40%. Hitt Loe to Josmeplopet & ae bene, oala. al yikdevenn, wedtlis 6 tinh to fed? “ee ti .wotteteine ylisxse to mused. yror tenets edd of motiia qa” ae Sg Ma “Lape ak etennt wiles et aoseaixorgy®. iokdgaub | $e" asad rguotomade & ROCIO oo 6 (eee | tentete od? bas eidgegnadony “bdd Ot ertoed s bats | fi i ie ae | F ‘ sotgoutsaago bas Rs te gato iiwa -: 4 ae Wa . _pottuyen na abitadecnie 4d bootegepays #f Jaan. 2D Jieae Jats beliaies ne ae $e sae gy 8 oak siwiovide att ‘to et a ifs +o mokag eid fi era 2! adalele fe Gai | te es -wawel Ieoisess din enaed roses nk be igor “gqadb: iid bomwot Vltey - atebtenes oink neded -ad sae soltousdanco bas Sigiteted 403067 ‘Ieiingdoe } ic ; q ¢ 4 ay - ‘ A ge Ae roe hips ; ’ ‘> Semen, a | yebuttayen (4 Se Atte eaedelens bag gstttde se, 10% opushayen, iedd ae rtupe \ xsd iiistwl ¥ gitleet ‘evitenttend. we eieiipe os vehi to weloww be tie edd bas evoney lin: ieuiedxe denieys ,oaelou sie ond en port oldewgeani erotsxady. etn adi licen bits utitidass seve dud olde ta. yidegios ed. visto, son’ seu ort #0: we ea? | .ebutbo vida qtituees x OF lenxetat te: OE ie RR Thies Teak h insite bya 5 me mene Agkd & ad aoliat 19208: etsans Wh eh Ott payne Ia yabmubac ‘eke ahige: ‘fh a ainivavorws eds avads bende fie 9B" ade lutlitse edd ta.. | Kio desel edi ui nove ei fiemunom efid to zee med? gud (,ene2 — bre ghineio. tuo betvise ,elgfontty lsasitox ada @ to divees tnestete okay yagsilier istocstiod ta meduya vid yegneivond bts J2hs eetet etwores4 isosiiey yine sxexe ase ysivesy ‘to: OY oid ot enl toi ite (4 28 wom AOw% ORT Laat ark yo eviinetie at signs “a wIOT: b2E. Yo pe idoe'biey bos ydueod ads yf bas .sebt evisnor ods cto | , bho’, #0 Beoeiqvetesu sSoataagak seek Jon eit wis ake pe Peete? 125 wor ' aes Moe. ‘bos: .woile bns gaoqg tot bebneiai ei m70} foelieg east odT | Jgaueney & i i pone feauzoes iio _dokesetque ewtt das Llu ag sdyuens doa ah ‘ng 1ouade fisme 245 o19laum guietogque. ibeyasdo e7en aseos!) wld, work bewouied ‘@lios tons 405 | twbdw oe aiioktentay Lootedaé has tehsie Le e1om ate enn lon, .te Bmesae baa davmgeleved daedyid edd,to a hitang’ es. notte witindo. $0. meteys ‘te i Moksiyib ive ad¢ eatereter asivay serdiot’ bi loa bre dots éd?. -.Yibotanger ey) _ kexevex ak eusourse edd jgnihlivd ed) Yo seadsa. 15 asbudioysa o43 bas has. yateoani ‘avin @teeqqs eouzingss to items loved! ,béviova et eAhuots | daepoh edt to aynthlind ytdgde eds eoatrosoemdo has toes piivewogrevo ges en r Be Babes oan nied anubersg ssh Seoitiqose yea hiove ton bib odw i ade Bales i ipea tl als oo ieddieogaoo: lea Joel idows. ast yd \Liooogen, ieuanuahitent favpathea.to eaolise ro edt nl s 7! pence ten. Qoitidada tet yatioe? ed ,a0eld | yt vty i gakinncantt: aad haadeciiht hae Pate om 21: | ARCHITECTURAL COMPCSITICN. nitted by tradition,, & trief review of the architecture of the past will convines us of this, as its monuments are most infallible evidence.’ They show how km earlier generations were influenced ty this feeling and how they expressed it.: They also exhibit another element of architectural cou- position, in the woat intimate relation to magnitude, which is the dimen- sions of rooms, whioh may here ke considered. we must mske our conclusions evident by contrasting suitable typical kudlaings of the wost important eeriods, noting those monuments only characteristic in respect to the gues- tions discussed. : ; “s first mention the pyremids of Egypt, whose sutlime eftect depends almost solely upon their dimensions and magnitude, though partly on the building material, We glance at their temples, which in attidion to oth- er architectural elements, especially astonish ug ky the epparently etern- al duration of their great masses of building and by the simplicity of their construction and their majestic repose. How entirely different does the Greek temple appear! Saterial and mag- nitude are most effectively employed and we also recieve an impresssion of enduring strength; nothing unsafe or transitory is in the appearance of the skillful structure, enthroned above its surroundings in nolle re- cose,’ But the mass cf thie monument is even in its least details the con- sistent result of a structural principle, carried oui clearly and master- fully with full knowledge, the system cf horizontal ceilings, which accord~ ing to the law of gravity wan exert only vertical pressures. The Greek .paple is effective by its magnitude, much more so ky clearness end truth of the creative idea, and by the beauty and perfection of its form.: How different again ere the not less important masterpieces of Foman aref- itecture! The less perfect form is intended for pomp and show, and con- struction is not Lrought to full and true expression.’ architectural de- tails torrowed from the Greeks were chenged; supporting memlers are smail- er, columns are more slender, and intercoluminations are wider. but anoth- er system of constriction is cagatle of the highest development and appears repeatedly.: The arch and solid concrete vaults determine the suidivision end the magnitudes of masses of the tuilding; the structure in several storiss is evolved,: The element of magnitude appears with imposing and overpowering effect, and characterizes the mighty buildings of the Romans who did not avoid many sacrifices to produce this important element of architectural composition,. In the creations of mediseval architecture, especially in its highest bloom, the feeling for stability sand magnitude is expressed in a very di- fBerent way.: The feeling for magnitude did not really exist. The struct~ ae o ee ay ria titia') ig hae ei 4; a o Pri are os’ as - HorTIBOa BRITOOTINGGA ee ow ee , ‘ba py ae bedsert~y Ltois bas gaorts at bedestaeonoo wl ew 2 Veet, agin tad iad luay to modays Odd Asiw eonehaooce. ni eneisaenth Avie ae _ teve yesotws wobnit’ 4 x67 musixem bag elle ynksofoce alti hegneris ots Seq Biset dow’ ‘evetw J iuse » sbaedxe qolseint avoloege bas bibnelad ol? Te pecan to eins WRIT oF torts odd timaneat oF J t4 noau dia bas dose ; var fowdsourse bad" Sedeteeeaserdtud yatyi? aertupes tes exline od tue - tywody tro} nk sod Tied bai ‘ndiokamynt Sige netto as mid woliete BF of aiteq oe ine Tae uk te Aes ad vey, gotiess eas: “tua eyes “AE lagen pari S03 38. npr yotech fedterce c ae Gaon ba deotedgio ‘aoe adoltdng- fiprinbing add. 49% .patgaed nas. eabAe ss WOT : ae aye add o'gitaron oAd40t fiomuiom Saeki toisede ai, doet ie pak lon he y Re “Sb aeds voll bd bem genet ROVE atasgas eid “pBMO8 paethgee-nevesd ad ie ‘4 i ay fobsivibias avotietaym WW ieSetqoo aids ak. useegen enola yl .ol. flaws am ve to duomdesty hanes reget bau * git Lind eld: By. ‘goaees bas aege tie a te ee Ome EE Pata, eee bins ‘ ps teithe: (botte3 hae bie* ecnnnabsieiet os To -etutoes ites ade ‘Ot enOo @3 ey ade, eonie bewvei0g seed aad dfeq omea eld 40" eniego? betsest ed te a am on MUU iM Yhedaere net ded whion. bue baeyy at tedé douy notion gai OO" ee is sao te jad -sbaqoleven need evan a3 bolvond Ag ia hi see O88 bus soxl ‘TyooKe ighteuitsdoo ie wovaye won yLises ox bel =: sab tas AO wade Me iwiae oo spose oat sem mort Gov 160dFo eet} deum.ons-.dw ke abobiwey, yt fuse ‘ak “ada? igfekvedem Bath ited to etwiss:-s0 toa hi moleths ge, io. ‘els beaed oak wymndnae: fen daua- tad necaigio sin gas. grt §3e08¢ éyiued ‘@mildue oft $ dmeaeay. OF % wilidssucpely. bys ‘gaendaoat " dhatssca yliaaisg amu seseiders 4 bad, psdang ody Hb beteopo, Iw ittuded feion cargoes nnaueid: so% woks bbeay; bes enuBhtegxe 16 ev laces. to » te bin eds ov eiloo dawn bas eh pd hpaitg ot ate lo BELAY 8, as < > bs iF tn pen Sy: te bey AECHITECTURAL COMPOSITION. ure is concentrated in strong and richly-treated wall piers and buttress es, with dimensions in accordance with the system of vaults; tut with these are arranged thin enclosing walls and maximum area of window surface; over the splendid and spacious interior extends a vault, where arch rests upon arch, and rib upon rit to transmit the thrust to fixed roints of support.: Sut the entire system requires flying buttresses, arches, and structural parts to te stable; it is often highly ingenious and perfect in form, though not intended for eternal duration and immovable resistance, therefore has a somewhat disquieting effect, since mass is lacking.’ but the feeling for grandeur end longing for the infinite produces its mightiest and most ennobling effect in the loftiest monument for the worship of the Digty, the heaven-aspiring dome.’ This appears even larger and higher than it really is, ty stone masonry in thin coprses, by mysterious subdivision ef surfaces and masses of ‘the > building, and the skilful treatment of tne ornanent.: tie cone to the architecture of the Rendiwednde and modern period, which nay be treated together. : For the same path has keen pursued since the Reformation. kuch that is grand and notle has teen created, skillful science and high knowledge have Leen’ developed; tut these art periodshave produc- ed no really new system of cons truction, except iron and steel construc- tion of recent period, ba sed juore on material than on system,: Yet in this domain very important things ‘have Leen accomplished in most recent years., The Engineer, produced ty our ancient guilds, led the way in this direc- tion by taking the princigle of truth as his sole guide.: Yet his science is still too younz, and necessary time was not allowed him to devise beau- tiful forms for his works! and thereby create with a useful science a beau- tiful art. we are in the. midst of this movement and cannot anticipate it.: cut ea present tendency concerns us, one towards the most rational and e- conomical use of material and lator and minimum dimensions of the build- ing, resulting from foree of, circumstances,: We must take this into account, and cannot employ magnitudé and grandeur to the extent permitted to art- ists in earlier periods of/ art, and must free ourselves from this desire, tased only on tradition and not on nature of building material. tie shall derive benefit from past masterpieces, but must not exchange intellectual freshness and SA Aah 4 present requirements, for the sutlime and beautiful created in the ras! And if Architecture primorily consists of results of experience and tradition for thousand of years, Science has a valid claim to joint possession,: and must come to the aid of experience, and theory to bhe help of practice, Durability depends upon material, dimensions, and construction, and the general effect is in an intimate ie “WOeeoURs ‘TARO AELBO RA, etd. eit to. sonseaegni, oa: SROGing Saf: thge: faye dios. .¢. 0! wt: Yeas (geen. 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DORE: 7 sy E- gee a ae galtoussancs” ‘> fiobage SRbTo « ToMan ods .aeodedamuptio, jpn So Rat. etssib Jaou atts: aentine as. sauuioyisa- ds piled on? aren Nee sik wanes: sakinees een. sinion stecion te oxtupe’ sho! ‘4 ; S bt a . eae ee +=, . 4 Pt eth ehaiek toe? te of .yaitibsant Ie. gaiiest, a soubotg. fog. ob. i: ttt axe , Se Se oe or ange: ue, 5. x eT ore — 7% aimeriniom 62 wiv itis to bleit emiv o- @ney. @ naisouTsercs as | -Branes snaltioate gobki? .eeteka to noimielidvs. oi ai eit 5 risen git. 5 aS, ge .eee dy. bite a lied oF seotet to scietiesnet? tot eel “tes pith Te. ne ake _ ‘si anedtebanel adtemmezerq Yo nolsudersadl stotiou 6 isin as ile 7 fetid gnotanst i> teine%y evnd veum aed twits, isapetze of benogxe pie ; : Pee yotiliod to sdite2soqal bas @aojiwg of gathroo0k eaotiio, beta 2 $a _ badmexon! ‘ign tbacgsesteo TO “javntti edt st besiwl! ed of jas. | ne i Bape - gebeogtt 2: (aeaoques Yiersd wi-seod? bas egrtalind netwedbihte, eo . eygnal sot” bebnednk eeods tas .eldiescy ss fdgil as to ¢! (guise ge 7 —ss s2bak ots ote bas ened -eidowh ero bos gagits od oF ets Aoi. ss gg golTice ecole son ob yedt® “th aeve wyilbitud ‘istsemunon of olinaneg . is ae iow 20 alieteb ab beaaergxs o7 vod? .whtow ste ne ewioltéd eds edn Oe bus Istteven & diol svi oF at ytibligi edt 31 ..fetedeg at ae gf} bas xo of beowber ed Jom blucsa si yofdexwb ysev of of @f bmp ,ehog aS | ed tous ewsoutse ezizce edd bre asteg esl uid of boiotls etd lois | | | eae eines teyiei o a9 begasses | i geamrates dgiw ylao- Joa jxlymtbr000s bedvetee ef of a2 Laiwosen gaiblied @tuten eft a0 gubbneged ,agedevignsa adl aot cols tus eonssaises afd oF i ee spon ,noksouwiset bigest of besoqxe wuon ef boot .migise has | venoie asily fatieson efdedatseg e20m © bevesiance ed Jeua bas * gt! “ct ” BESS che S70 Fe é ARCHITECTURAL COMPOSITION, | | | Both must suit the purpose and importance of the build- vil ec. relation to it. composition puts these elements asthgadiyier USES; acterize representations of Lhe building, both of interior an ee an essential sign of duvretility or stability is direct and visitls support, of all parts of the tuilding ty firm and resisting masses, avoiding ail suspended portions of the structure, arranging supports beneath supports they char- and openings akove openings. How far our instinct to make supporting perts stronger and more massive than there supported, and lower openings smaller than upper ones may take this into account, must te left to other sectione of this work.: but it is certain disquiet oppresses us, when piers stand over openings, and heavy masses of walls load slender iron columns,: These erg enduratle if the supporting system is clearly indicated and well de- fined, if the slender iron construction is inserted in the massive stone structure and srranged independently of stone forms. Late architecture thus produced very satisfactory works. : Under all circumstances, the use of a clear system of construction is essential. The simplest structures ere naturally the most durable and pleasing even in our ere, which has progressed co far in technical natters, bold constructions require at certain points stronger supporting masses, even if they do not produce a feeling of insecurity. To effectively en body ® syeter of construction opens a wide field of eativity to architect- ural treation. This is in subdivision of masses, fixing dimensions accord- ing to statical laws for transnission of forces to walls and piers, as well as with a uniform distribution of pressure on foundations, Parts exposed to external injuries must have greater dimensions than frotested portions. according to purposs and importance of building, dimensions are to be limited to the minimum, or correspondingly increased. Strict utilitarian buildings and those for merely tesporery purposes, are madé as simple or as light as possible, and those intended for long= er duration are to te strong and more durable.: liase and size are indis~ peneslle to monumentel buildings, even if they do not alone suffice to make the structure an ert work. They are expressed in details as well as in general, If the building is to heve both a material and an ideal pur- pose, and is to be very durable, it should not be reduced to man and the brief life alloted to hin, Its parts and the entire structure must te arranged on a larger scale, ; ‘Building material is to be selected accordingly, not only with reference to its resiatance, but also for its massiveness, depending on its nature and origin. tiood is more exposed to rapid destruction, especially by fire, ‘and must be considered a more perishable material than stone,’ Iron is Mat bar s eth sith ies ia shpea bis. minoid moe cam b rao ‘auke bit: seoping ati new?’ bes rhe bra yee cinch beard - ta dae log | ‘ Pt mde Mods ne. ‘hiseqgs deat ahi Jatsa “i wiai ‘a e ofa at Ylesenye: tatu +. soa of eek ets Yo tatom i a ip bite YaAotonon boot ban ae pe oy | duay ee ‘oad Idea Bouin (> seaenditnn bee .eone loost at Otten? sab bie Vari Oe serena (eave vRwabeix ayhasts ot gtive?t ben: auvone wroterod i | Iti Ha oa sake swod eau ek ot ee Aor duc-e7eiy ,xoisetxe ett no yidommye bas nebse havens Sige lm a “nage nreadly ber ee: a gittiion at be: silen-gout seaseidivd teeLorny. ad xGite tad ad? aa. otal te. sine aes i wddiw to: ‘pakdion, dtoyqua ow eaten lig. fos eagnlon eo bee’ at ss ad ens ene [iskiaeese bas luttinaed hetiewtes ened wen geod? teY ger ee fait yer o + dedé adil [iad sto: ebsos't ad duets of on let bas, a7 spatubby ytd geal Of at. et a aie | a Asin ‘Yo goskd %,. ie. geeRsi edd: hs content meets. cape 2% aoc arthy cul plows: penene ie: bre Bes tau nh ob a | b4,: ARGHITECTURAL COMPOSITION, subject to rust, and we do not yet know its durability. Monoliths and ashlars of great size make an impression of resistance and eternal dura- “tion.: Smaller stones cause parts composed of them to appear larger than in reality.: In determining proportionate dimensions, the actual dimension is not to be confounded with the apparent size, produced ty architectur- al members, subdivision and result of art.: Chapter 2,: Truth and Order.: The preceding treats all requirements of the building to be directly deduced from its purpose, and thus connected with practical aims of life, ° but problems of architecture also comprise ideal aims, and these have been touched upon, since both are connected. The law of durakility favors the transition; by the construction it belongs to the realm of science, and so far as based on instinct for magnitude and size, to the domain of art ales. a. Pun. The entire province of knowledge and science is dominated by the idea of truth.: For architecture requires truth in the fulfilment of purpose and truth in the expression of the construction,’ Both must te character- ized in the shape, form and even in the least details of the structure: This means that truth must not be concealed, but must everywhere appear. 17,: Sincerity in Fulfilment of Purpose,: ) | This consists in the arrangement of the buiniding and in the combination of its parts into an appropriate organism, and also in the characteristic form by which its importance is expressed,’ For truth appears in the char- acter of the work; true originality depends thereon.: Unfortunately in architecture, truth is usually under constraint, and both monotony and elaboration frequently manifest insincerity, indolence, and unfitness. It. is without purpose and therefore untrue and faulty to arrange windows and doorway::: in misplaced order and symmetry on the exterior, where out of place in the interior, to project buttresses from walls with nothing to support, to employ columns and pilasters to support nothing or with- out meaning. Yet these are by many esteemed beautiful and essential! It is no less injudicious and false to treat the facade of a hall like that of a dwelling, to subdivide it into stories with several rows of windows, to give a block of small houses the appearance of a grand palatial struc- _ture, or to suppress division into stories as much as possible, permit- ting columns or pilasters to extend through several stories,. This does not condemn clear grouping of the masses in a block of build- ings, where series of small residences recieve united and effectual arch- itectural treatment, each single house making itself evident, tut blames ¥ co) aes Siniot pebsore bins aedok 08 eg 1 pole dada 2 “ae ’ LoD ta tte WAare fn pi w 4 4 J | Sr? * i os t ik i ; fs ARCHITECTURAL COMPOSITION, - poveriy or invention and monotony in architecture, long Lare facades, where feeling is absorbed by visible alsence of thought.: Free scope is af ford- ed to the imagination, so far as it does not degenerate in the grouping and sukdivislon, especially in extensive buildings.’ Thus in a mercantile building, where pomp and show are appropriate, it is entirely proper to combine two steries externally, internally connected as Lusiness offices, to secure larger windows for objects for exhibition, thereby serving the “purpess of the wuilding, at the same time expressing its intention, | we must adhere to this in architectural creations, and will attain this if we devote ourselves to truth and not to appearance, if we state that the window serves for light and the door for passagep not for appearance, cnice is a protection from rain, and is not a decoration for co ing of the interior, that the columns are supporting parts of the an cal structure; a i not merely ornamental like a decorative frieze; in brief, if we see that each part must fulfil a definite purpose and recieve an appropriate form. We shall succeed if we arrange rooms in accordance with their purposes and importance, group less important ones, accent the chief apartments by projections, by greater height and by more noble forms, ‘he great should not be minimized, and the small should not be made to appear great; unity must not ke divided, and separate parts should not tbe unit- ed benesth a single roof.: By such tokens is truth recognized in fulfil- ment of purpose.: How is it expressed in cohstruction? 1%.: Truth in Construction. : A characteristic of truth is that by the most diverse paths the same end is attained, If the same principle hppears in the different methods of construction in architecture in precedifg ages for giving form to its ideas, we recognize in it the principle of trndh. : wo find in the test periods of architecture that the construction is “expressed in its master- plecsssieces equally with their purpose,’ If we sometimes meet with styles or structures where form is not in harmony with the construction, it is : pint tile “srue-from the false. te shall not take stone im- tabions of wooden struotures in Asia Minor as nodels, “tut. we must regard wise and sat aka use of the material used and the syaten Bs Rebate he exosllent systems of construction in Grecian, Roman, and n Grecian architecture with its horizontal ceiling of stone teams, éohe. structed of lurge blocks and slabs, statics assumes its simplest form in the law of gravity; rigid wonerete vaults in Roman Architecture like in- verted monoliths, exert no thrust; a we find in Gothic architecture gen- erally a structure of ribbed vaults, transverse @eches and eroades, con re ae rn eae MNS ag maa mire oie hap om. aoe fact betSct | bis rosin ‘Mite $06 Uleve to beetle iw Hox? | a Ones PU RY Wien r I i A Sy le ) mUTOu ELK ) a hatha ath edd edil gaiblint » 20 Holss04 doe ogners Ylisoltt, i teen hentia bah oe in Festi oa _ vt bq * te seneit edd 40 enots 6 to ie Pn pas gauge ou ssotive - very SECHITECTURAL CCKPOSITICN. on is bev idered; truth and beauty are connected, end harmony is tased upon it. It is therefore indispensable in art and Lelongs to the laws of rai arti invention, 21. Symmetry and Balance. fhe plan oh the building may ce symmetrical or unsymetrical; order coes not ee bee bsolute similarity, but balance of masses cf the building and of its wemters about a central point, or an axis through the centre of gravity of the design.: Not strict mathematical symmetry but Lalence 1 Le adopted as a guide in architectural composition. ne do not un- dervalue symmetry or throw it aside; rightly understood, it is even more ssential to order in ert than in nature. Just as this never attains ab- ee swey over forms in nature, in the inorganic or orgenic world, we. way not subject to it the creations of art without limitation. A ¢rystal, leaf, flower, or fruit, exhibits two approximately symmetrical halves, wut this is not true of the rock, twig, or tres, Even in more highly de- veloped objects, especially in man, the completest work in nature, we find symmetry in the externel form with reference to the axis of the head, but not in the internal orgenism.: What is observed in nature may also Le ap- plied to art.: . Therefore, the higher the rank assumed by the building, the more may we require order and symmetry, or similarity of its parts about a center, or a chief axis, and under some circumstances, of its side elevations L_ about a transverse axis.’ The organism may show variations, especially in the interior; important portions of the entire structure, like the hu- man body, way be symmetrically arranged without requiring perfect similar- ity, According to the importance of the building, location will be so chosen that its arrangement may not be restricted on either side. It is for buildings of lower rank, usually limited to a fixed site,: ee utilitarian purposes and those for the material requirements ife must te adapted in treatment to local conditions, like creations un the inher and vegetatle kingdoas, and symmetry is usually sacrificed to suitability and truth,: The same cccurs in buildings erected only on particular sites, to be harmonized with tneir surroundings.: The differ- ent parts are then naturally arranged with reference to each other, accord- ing to location and purpose, freely grouped without restreint, or within a given space as if crystallized about a centre.: One then seeks to symme- tricsily arrange each portion of a Luilding like the separate crystals of a stone or the flowers of a plant, only sc far as its purpose therely suffers no injury.: The like occurs in the masterpieces of architecture... Very frequently 7 ee oe ’ , : yy am a , 4 ' ¥ - i fnea0 nl a6 evddedys bajae sda hen aotsrose: att of “bas beqvorg irs Vie "auiscebnaves gthsod af elidw orntoos ita -blivd Leymonunoe edd vino eaveced od yam tank? dT _.xto00 anaicer +«! _ Aon st saome aoa ‘oan 42 tne bevieseng ete wileet® eis ‘Io ee ‘eanstt 902010 36? \.hentefque vaworhé ce oneds aa, aed toe: Geom baw x0! oobi j fwtisowed: a cetencnadtigs's eredsdowyy. ofd mh Bu of bord te is Bhtacine 6 fine ofque? eldvob 8° ,euwtowiie eighst. os. Yor gehdetencs pnd: foreney of ot #6 ehxe He Iwods hoyasri ylisolatommys al dmg ris sec radtn baquorg ets ‘get eholthade fool die @onsivieoos ni bie mylesb bePirecdese odd dviw betueeke ois bos weanoupaotsintg bas wobsert papa 4s ted bani? ew ,tnomedede dadoee 64?'Hd oommrvetot al -.gnéies?t oliety ie ‘at ' isxbedteo ‘bhiged eat «Wtesoo titers faves thon to taemixon [s sagnge a4 mort. ‘tude gab a fitw aixe leaites ¢ feods hearers qileolitveaaye viles F abel esxonns to notes tao, wi ive aftadah af yxtewaye elenitivel a ea aed * VIBHA BIS! dod esedu jebie eno no- aay; eb, jue nk yitomayg ‘Biges wheat ot fede fmol lod ttoeid? aovt. gavel deeigacead Yi tagupott bivew 32 29 tide’ ead bivow ,aghéb lind y fneweitib dviw agatbidud ai eee eds ‘@t add? ‘.dduad baw ysilide nag ‘ddan at yeonaaragn: bas esogusg atedt ot. gntbron0n iti <@'eau¢lden s Ys tt rol aeisote to sdgied bre sedaum wi be yenedcgta edd, Vo boots in etow molew lagieadxy edd eavod te @ ais “tad bate @sw alegsio edt bag ,seideca edt eat! eax ‘ybodas i ulinoissomays bere igied cone Lad dose ae Bat baetai sodcesw icawlak we eviddeoed Sa spy edd: os nvenoronog eit ee sd oa - teves Gavol a od yatdiyteve sowbet vo yaiblind edt. eljonne of vmbak } po dbawoget nedd anebteace 2 ie s enokieiba rave daue.yd beetaque aged ts FS bedsranod yliaasasue seoelg (aed: We bowed yliewion exe again: a6 i | i vane, te: hae tegoty ae: asain: Vide dws vind tgouls ow dns: sexedne ‘ Peis egoids seule .xodans. at bewmeial Yliase | 989 Lqnexe osedd nor? 3 t vino het¢ino ed you yxtomaye. ‘tyntelivd ietesmadon pi yllelooges dsde ono ed tem bivorla eno ,amose aiid notin dedt. iMeaser sJinited 6 Of e8uo;eT eved yademays to edeg edd sot reves binéde toi ydeteds bi ‘dose .eidieroq us wel o8 iewobhiw bas ered betid exil eeisib | been kerveney edd tedtedi \[soiaeanya od binade patbitud eds to freq , “aptepyti “jleswees ed geeno [ls nt tavm aidd ded. sae lvgotti 10. se luger of etsteaeRe 30 naa 10. Dpegeeedins ” i, ytisalegens! ton (i) re lugex 09 lake id re sepethLin bas wield oie reba inautootiiess «. : % at: baal anaes “et i 4 ‘ P ‘ } . \ Ley aes Rs ry J J : Fils 7 . yy " M : : we wy F * >, a vers ‘ ‘, ; ne xis TAR ee: i po Ce a rr . - S i . al a tal Feta , oe 28. : ARCHITECTURAL COMPOSITICN, : is the assertion made, that rigid symmetry rules in Grecian and Roman ar- chitecture, while in Gothic architecture only freely grouped and irregu- lar designs occurr,: The first may Le because only the monumental build- ings of the Greeks are preserved, and the symmetrical arrangement is nob- bler and more suitable for these as already explained. Yet Greece trans- mitted to us in the Erechtheum a very characteristic and beautiful build- ing, consisting of a triple structure, a double temple and a caryatid porch, neither part is symmetrically arranged atout an axis, but in the general design and in accordance with local conditions, they are grouped with the utmost freedom and picturesqueness and are executed with the most refined artistic feeling.: In reference to the second statement, we find that the principal monument of mediaeval architecture, the Gothic cathedral, is us- ually symmetrically arranged atout a central axis with a departure from legitimate symmetry in details only, in ommission of annexes, towers, etc.; on one side, where not necessary.: From this it follows that to require rigifi symmetry in many designs for buildings, would be a fault,as it would frequently transgress laws of suit- ability and truth.: This is the case in buildings with different parts vary- ing according to their purpose and importance, in length and breadth, and in number and height of stories.: How, if at a nobleman's seat or country house the principal salon were balanced by the kitchens, the conservatory was like the stables, and the chapels was similar to the chambers and liv- ing rooms, each of equal height and symmetrically treated, so that their uses could not Le externally distinguished? This would be monstrous; not “Only monotonous in the extreme, but deceptive and false, whether intended to ennoble the building or reduce everything to a lower level.; One is per- haps suprised ty such contradictions and considers them impossible; simi- lar things are actually found in nany ‘prsoes externally decorated by the orders, and are almost invariably regarded as proper and beautiful! From these examples, easily increased in number, three things are evident: that especially in monumental buildings, symmetry may be omitted only for a definite reason; that when this occurs, one should not be discouraged thereby but should never for the sake of symmetry have recourse to absur- dities like Llind doors and windows; so far as possible, each separate part of the building should te symmetrical, whether the general arrangement be regular or irregular... But this must in all cases be natural; neither regularity not irregularity may be artificial or cumpalsory, or degenerate into disorder and wildness, 22.: architectural Orders. This means order in architecture, with which must not be confounded the " gcaprtosno auroartus WOES et vas fimins as ‘at bow (id Gilenrgino aieH oot arch ismidondiilon. 7 eta 2 byves cB sénde. webtS eit alqcoc ae cost! ac! 20! wok ah #6 elddtiea tous elute sags si we Jt eaas’ tio nk ist yetyrosaeb tuontine prewols-@. 10, s9Hect 18 t0% ¢ eaistins en ‘fe Inggs9 is4emet od? ci tf: ot: bangiags spisonut 6 2litiet ASA, 20, mot age we we fe po lsthaca at oes tud .asenmds bet zsbi, pats fh, Ropng taney ‘baa’ gevouor oif Yin bee gnatitemmnb: x ixswmr el et iyabh ty! ete SA EP YON pee ‘eas an taste PR agi BitemGe yok dp OSAT hee gO etuasely wiped ios, ccs te Isvivet WHE wie" sbtegiesto spietedt toa al, abbst tu * Big o¥St ‘peseue. ea “aw as fig de lude “juschienses.i punters 28 aad 5 Bag Be cn. ome ak aysea “seed ‘feo. Tesi esa gt Bien +3: ede vi esd gb soni ate qoqu beasd dai ‘eonesatxe stent hrs pie peng: aan kat attest 0 : ag ; tg sates fred edd tos fi nb if re i E t e ae ty hats: Be % sie io ny ee R (FSi im i we, * , aes .* >t $0 16) ee ee aes eo oe a : et io abbas. ads to ;_—— Wis FP hweite: btsebc: sitadents dwseygottdeng ti aa Ot ainlg oat i Jased, oAY eat goue Lowe Jeune: ett acvi. bseosxy ei “yeah ‘argon fs to ‘ages tein sits ‘Sivele i this aickaneno. isumeint eit aoleveb ong aed 3 me wodt yoidsa as enotsia4 telte- othe gitdteesric:adis2 sis foenmos ot no. F Eat od steel ‘Sdsiog “‘gidT .taeceato ban -noieivindus rol Cd snen i + " 9 obsm | dd “yew "d84s ak wil -.esivossitoui ae. qeiaw of hae seine gic a aioge, on gasaaoq "ylsdhs¢ gee dé Mw etedsea- isqicesiiors to aoisefor oe rok J foe Lisa. 2age. a evid ton" Yi iio ‘ Isdd .29¢5e2 Lis to ydinw edd bas pods ever pean ek tial “eae elistivitni! tite: Suh. Gud g q herto, yllsinsbioas to ut i dels etuatioses edd to vises ads ofun sc baig.qgéite fed .s9eb1e Ao yer eker: x, | ayer fay) x. >. 3. yt. Yo adseoh Jsgonutec ey: 6 Pua oe 2 te ee ec etre ae ee ee _ | MAL By ‘- Sagueov} he yiened. onc qi lst tom ent ae ee . 5 a = ‘. ae ie ad P — > » - - r . oF | BP,” AECKITSOTURAL COMPOSITION. Arehitectural Crders,: They were originally evolved in an organic way; from the Grecian temple the Crder cannot te removed from the Greek temple, for its Order is its style, dust as little as may one of its memters te omitted, af for an insect or a flower, without destorying it; in toth cases esan part fulfils a functior assigned to it in the general organism end exhitits 2 torn adected thereto. but there is something else in the Crdsr on a Roman luilding; it is merely decorative and ney Le removed and transterred at pleasure or be replaced ty something cifferent, as the construction of the iuilding is not thereby chenged. Since the revival cf antique architect— aure has se proceeded, that without strict purism one may justiy say that order hes ty the Crders tecoms disorder, that these serve as falsities.: They are only justifiable when columns or piliars have a atatical function or at least so Gertein importorce, ard their existence is h based uron the arrangement of the interior. bts Una ty In architectural design, order is shown in the arrengewent of the tuild- ing.’ he grceeeed from the inmest nucleus, from the heart ci the plan, to develor the internal crgenisi and to clothe the skeieton of the structure, to connect ihe rartse, sccenting the chief portions and meking them pron- inent ty form, sukdivision and oruawernt.. This method leads to the united organiss and to unity in architecture.: For in this way is made apparent the relation ¢f architectural members, which separately possess no inport- ance, and the unity of all parts, that cne may not have a loose ccilection of accidentally joined parts, but an indivisatle whde. Unity is teased on order, but unity and herwony rule the resir of the teautiful, that in- nernost domain of art. Charter &.° Eeauty and Crnament.: The idea of oe is the highest law of erchitectural conposition. In whet directions rust creation proceed te produce Leauty? That belongs to each part, that the work of the architect moy te beautiful? To answer these gugstvions and fix ths conception of teauty, we aust sein compare phenome— na in noture to phenorena Li art.” Pe a Concepticn of Beauty.: The idea in common life, when we spesk of the beauty of a thing, varies secording to the rank the otjest occupies in creation. we may indeed tern ony object crested ty nature teautiful in its way, sinee it is externally corfect; yet we gustly Baie products cf the inerganie and organic world Leautiful, sinee they are distinguished above others of their kind, and the more fully one cf these is ondowod by nature, the higher is it placed, Eee Me bat Wor Tta2eu0o: cnavreaTasén ihe 8 edt we gee ‘edt euHT | .wtoometigget wo 015 heteors ot} bas elt edt bas JAgil ‘buswot tofveded brs .etsewl . 10100 yd ,g102 16 luyet adi Xd. saad toloo to eel has eenoo stings ane wd viene esi ¢i.ws ii ease desitgad odd 1 emien to owe? nteadgid ert eis? aw a enokesetg © », Xfao fon ,baisasa ak viuced jost1eq. ba ft ow .moeis16 onOs 40% doldeeas:’ t6 ong edd tud ,sonswedgs Llenresdie si azenetel qnos to ofgmexc taedaid add OS prods bas .esitivsilisea isutivige adi to doigsetgxe od? napaesny 0 Yo | sted evo1g ayewis fliw-zesostedo ynimacaau4: booed A -.savostelo bait ew -, Lis a Po ‘tetostsis eidon s to sonshive Byewle Joa.si. -besd enfi a an: een e* dtuxs bas ytiision to asebi yd babive of Lilveasdé (teste l eid :anfaes lala bad wenn edd ai hentiane ets dtod bas. wOtkl. nt anokéeusie ile ‘ : ,aiyde laws toatidous eae | ©» sajonsito ae. ‘aud. ie as annneenite atin: oa @ ,etid siesgenqneds dgiw Bs 3 (as #880 ak efyse ts To ‘aismob edd of elite ai oe Otil e' nen os ak we fads sige 1st otkd iE. ysused of tetos tendo. 6 .#tS ak Yinsed of fe ivase Be ae , S: ii mtot ‘goad? coideeas doidw ys soisesoty im Yo iniicel edt | 3 mit od? fo Beebt-edf dtiv bas botssrt Isivesen edd to owisa sit tin [ON t. “an 30 pats toomtad edt ai e{yia " abiow a'yeqnol of baeaetqxe ee bas re Biupet ont ia adie bas. ,tigivo ali to qrosa id edd dtiw ea ’ { ' , “eonssetxe ati to asonetamuotio B to aigixo eit ot busked ai tetzeq emea od? wed au sol ist to eflede Bieaot es betengized ylidgin om adaecunoe gaefons off" $ oltdw easdé Yo eiosd edd mo wo1y Jom bib yods sud jematae gro isteoa he ~ iy ext Side to aseeenoig nebbid eft wi dtaot: jooda yet bib tom jbetarxe _ fo beyolgme esd odw ,ahm to aiow benisudesoo sts. yodd ged ,eteet ist fie yaetiasb iliw .evines ,ewisn to solisviesi9 .gdibastatebai ait wa set s exblei6eds Saiddem to fitigg evitsoto ait to Efiw eext edT = .ataws nehtien: to aigino edd Yo aoitacup odd oant rofost das diogal jaom ois. BS diye Mistieo sidtiw svom enoliseio atd mt besbal deua edd bos ,olyde. ieay i, Cpa fetcobs ti tud .utiessoen Yo bas .ataemstiupet to ,mitihes! to ans te M ris if 9, fevered -Iutess ti sexem ban coissaiises bac aoktqeoteg said ati qs ae “large odd at dove és botyeoos 2ew bas. toos food noiiexilivio tose] wea imteteb of .eoiviee ati ts ewtoedivow baué? elds ,zseastezcanon Is 8 ayswls ei eoneu lint ‘yaks iLivio yidgia asl ~ MOkEseIgKe- £p.J naman ded? dgiw beesetgel veogti’g beweas diiw exer adzov. vet-bas testa ‘ Isiooe auolyiler yaiiievetg edt to 2louaya a sods betevelie dofiv tse73 mort ‘edtet dud ‘atsetidoms ‘edd not? tou ‘eneteye [sortet. é mal oe ‘edt nesdw oz ivqud wen aind bsbea001] gietoos to agote — i ' ha aidd tot bed 5 an } oa Dale ‘ Lae { . au hy 4 iS «@ Je o.. ee it a 4 » aT ene | ae ARCHITECTURAL COMPCSITION, : and the greater are our requirements. Thus the erystal by its simple and regular form, by color, lustre, and behavior toward light, and the flow- er Ly its form, by the magnificence and blending of color tones, by its fragrance, and even by its organic life, produce animated and pleasant im— pressions.’ If we take the higher forms of nature, or the highest product of creation for comparison, we find perfect beauty in mankind, not only the highest example of completeness in external appearance, but the impress “of his spirit, the expression of his spiritual peculiarities, and akove all, we find character.: A head possessing character will always prove teau- / tiful; but a fine head is not always evidence of a noble character. Poss- “ essing the latter, one will be guided by ideas of morality and truth in all situations in life, and both are combined in the idea of beauty. | 25.: architectural Style.: as with phenomena in life, so with phenomena in art; but as character is to man's life, so is style to the domain of art. Style is just as es- sential to beauty in art, as character to beauty in life. For style is the imprint of art processes by which creation takes form in accordance with the nature of the material treated and with the ideas of the time; or, as expressed in Semper's words; " Style is the harmonizing of art phenome- na with the history cf its origin, and with all the requirements and the circumstances of its existence". Let us hear the same master in regard to the origin of architectural styles: "The ancient monuments are rightly designated as fossil shells of vanish- ed social organisms; but they did not grow on the tacks of these while they existed; nor did they shoot forth in the hidden processes of nature like coral reefs, but they are constrained works of man, who has employed on them his inderstanding, ctservation of nature, genius, will, desires, and vowers,’ The free will of the creative spirit of mankind therefore, enters as the most important factor into the guestion of the origin of architect- ural style, and this must indeed in his creations move within certain high- er laws of traditicn, of requirements, and of necessity, but it adopts this by its fine perception and realization and makes it useful.. wherever ate new idea of civilization took root and was accepted aS such in the gener- al consciousness, this found architecture at its service to determine its monumental expression. Its mighty civilizing influence is always recog-— ‘ nized, and its works were with assured purpose impressed with that ‘stamp, which elevated them as symbols of the prévailing religious, social and por, litical systems. Not from the architects, but rather from great regener- ‘. ators of society proceeded this new impulse, when the right hour had sound- @d- Tor Tole. ra 7 [ 4 , , “¢ a 4 ohdehice ark an . ig ae oe: pees. seen. | ut aoe ar b wei ne ud beoubotg “ino et ofyse Istintood ido wen & te BSR yom eobi palvos-bizow ezoin noitssilivie to dooge wen s to thy otis 8 @nottieicgps edt yd betes bawoty edt no ors ow conte -.omwien a3 ma 7 : feAt to eoastizedai edt oni yletelgnoo ietne ow ,eoneasisced eft Shae aa Liew se eonsiod at dtod .awo wo ¢i oven yivat ew nedw bottes ob “te @noktibnte has atnenstinpe: div soasbiooss mi?! gaigoleveb yd eft Ietwtoesidoss futivessd bas evid edt [lit eins mort vetti bestiiele aes 6 OF soun tdguodt ao Tis gedt awoflot cals 21 -.beviteb od ante ag ie capi od seiziitds wo Lis baa ,nolssoto lewwisstidors auosnsetnuogqe of beioet | 3 to dawoq efT .eeogwa dgid sidt tol Xiow nwo wo elsdiginoo of .be J Beet | Ube bas -ygtens ofd elidw ,eoitive ton asob notese tors lewisstisoxe | ee fe. “honey sauodapal gaom @i todsl bexstisos sud = .ynisos! ots aisubivibad we a: ns ed? istpe neo blo edd yd doiseronsbh sods ovntios o) soksulebie et | ; a ‘heviver od yam eslyis tuodtiw shoiveg gait yo .Zeebi wen Yo sold we. ud moisoriiaiios to aeteya asefo s eetivpes aly, ta isa foedifiotn. 8 olyde & wc? tMeett fon 200b aid? teY .enoivibsat’ ifs base @¢men begofoveb od you eiqionixg fewiouisa ean edi Jaageie inesiogal ae eae. molute smorettib to aczad ons axot bas angtiosi1ih iae-te 2h ‘geteye won s to nofsneunt giidea-dosge no. diss of bess fon ecb: = =... dnebasqesh e1tew slydea won s to noifesto ti es .moifous? HP eouboss ‘"lisudos bas a@btow a‘teqmes afi benislyxe ote aeaiatg peaenites edd no abmecebd oiyte- ,owiovsinois to einemeie te ti ns .elute dotad s ,elyse nsboow # to dsoga ylireqotg. yee fer haioene gatbidud evitisegeot edt seedd to dose of saneoe+ | sl eee singer nt stosisio (sicegs » seauens elyie off eee st = Js itotan gaiblive 23468 : ¥ ery ‘to Genie evitootte an Disedi ek ishrogen gatbfias eff. id os inoye bas etinsx) .comsisegqs Isnredxe adi Yo soite! rinse - bean [ger od Jontso detiog baa tolos owsgnoaiedt to yYstiidivcunts | bo: sa adie \oldtee oedt stom yas .cisctedsn teddo ys emfootidots leidaemu ode ie é de pad enosebasd “etwixet esi bane ynintey edi. Boaos att to yorss: ‘fon: hoe is dove Jenteixe vot oishagorggn .eaog Livh ali ud bs ai edoi faire ot os ogaug [is sot Wlilidedina bas ysistine [q 10% olde “ ciKe g b toloo. has ‘teifer tot soilotsa bas pttoo srie) ui bas qaboges ‘ater 13 ovtb yd deinit leaxodai'es toetie tasLivoxs 03 ved Boo% ost wiles 10% qiilidesiue yd bas ,datiog 103 yslas yes atk vd 16102 1 belay Jeor ads. yeassd wit rohaw bos biuos ef4 ai aecuses eb ole ai dmvegoleveb feedyil eit eaiss oxaonti 7s scr upos bit: maroon ttn 3A we ae anced ton to eee d a = al ¥ rn os! *| Le Waste ’ eh ay > Pe Se ee? eae ee ee dee a a) ee a | Ctl - ae MATS ee) Ay Peale @ r SS ne = reer 4g i) ‘y ¥ oe os bead wes he _* sy i pals) & : tay “a i ¥ ~ Oe 7 . , ae : d i y ~ , = eee ‘ a J . Sie a ARCHITECTUKAL COMPOSITION. : A new architectural style is only produced Ly a new view of the world, the gift of a new epoch of civilization, whose world-moving idea may ev- en Le nature.’ Since we are on the ground created by the aqquisitions of. the Renaissance, we enter completely into the inheritance of that great | period, when we truly make it our own, both in science as well as art, by developing it in accordance with requirements and conditions of modern civilized life. From this will the true and beautiful architectural style of our time be derived.: It also follows that all our thought must te di- rected tc spontaneous architectural creation, and all cur abilities te ex- erted, to contritute our own work for this high purpose. The power of the architectural profession does not suffice, while the energy and will of individuals are lacking. but scattered labor is most injurious, and it is a delusion to believe that decoration ty the old can equal the inven— tion of new ideas, or that periods without styles may be revived.: Architectural style requires a clear system of construction by our state- ments and all traditions.: Yet this does not itself form a style although an important element.’ The seme structural principle may be developed in different directions and form the bases of different styles.: The present dcés not need to await an epoch-making invention of a new system of cons- truction, as if creation of a new style were dependent thereon. Other in- pulses are explained in Semper's words and actually produce it.’ Like oth- er elements of architecture, style depends on the building material. One may properly speak of a wooden style, a brick style, an iron style, etc., teceuse in each of these the respective building material is indicated, since the style assumes a special character in accordance with it.: 2é.: Building Material. The building material is itself an effective element of teauty by the characteristics of its external appearance. Granite and syenite, by inde structibility of their nature, color and polish, cannot be replaced in mon- umental architecture by other materials, any more than marble, with the del- — -icacy of its tones, its veining and its texture.- Sandstone is distinguish- ed by its dull tone, appropriate for external architecture; clay is not- able for plasticity and suitability for all purposes, in plain bricks in masonry and in terra cotta and majolica for relief and color decoration.: wood has an excellent effect as internal finish by diversity of grain and color, Ly 1%t8 capacity for polish, and ty suitatility for carving. Iron assumes in the mould and under the hammer the most varied artistic forms; bronge takes the highest development in form under the tool of the chaser, one not obtained in any other material, and acquires a beautiful patina, suprising in antique bronzes, Finally should be mentioned stucco as and ey pws 2 A * pli AT, 2s | oe =a — VP ar oa ewer, of Lot. Bl a ee tpt : al od, ey hed ne Se? ee | erty. win al» PS per eS pp AERA tO eee ae tno .08° fone i isu utorg ous sont dous bas. Byatbivos ois ‘sasot dopa | 7 ae { 2 oer wih he ey ak geld: 2 Sie * ob ef 4 & : de . hs hae sae : ce tmeanad fe 1: A) ii _ eh ie aK “dala i “aot & .29ned oles 10 Isotesn ai ve jewlostiders ai betinger cals le sot 21900 olidw ytoetie gniveblined bas yriseinpatb e esd estot Levon. pe conti ap linte beoubor asd ,eye eds of Joowmygs Sol fnoo aid? gnidan - 20 ‘evel a ao beusd peste ens. as: bsxi? foun’ as Jeu, o1s esedt dade, 8 bse edall’ isstwemses to, beaagaed of ; De eves intisoeritom eaett een arty.. 7 ARCHITECTURAL CCMPOSITICN. te beautiful and may appear ugly in connection with another, the converse ieing also true.: It is quite the same as in music.: One tone is in itself no more beautiful then any other; its full effect only appears when joined with others in chords,”*melodies and musical works. -Rhythm and harmony are also required in architecture; as in musical or color tones, a form is on- ly effective by combination or contrast with others. . The use of successive novel forms has a disquieting and bewildering effect, while repetition of similar motives in rhythmical sequence is quiet and animating; though if these too frequently occur, they become exhausting and monotonous, 2£8,: Subdivision.: , | This is true of formal treatment in general and in detail, the subdivis- ion of the form, ty which its beauty is increased or diminished. | sutdivi~ sion must Le arranged in accordance with the character of the tuilding; sim- ple or rich, graceful or severe, grave or gay, according to the purpose of the structure and to other circumstances.: To heighten the effect, the ani- mated and subdivided portions must be relieved by plain and undivided sur- if faces, a certain accenting must be employed with a certain rhythm of lines, that the correct relation between masses and openings may be retained. Ker- sony is again required; it is the feeling of solidity, durability, and or- der that fixes the requirements to which due attention must be paid in sub- division.: The treatment of the members in detail will thus Le sulordinated to the ceneral subdivision, and is to be adjusted in accordance with the charac- ter of the Luilding.: This extends to the forms of structural parts of the constructive organism, and makes apparent the structural importance of the parts of the tuilding.: we cannot here neglect characteristic art forms de- termined by the architectural style.: The necessity for resisting the same external influences and the same internal forces, and the requirement of making this conflict apparent to the eye, has produced similar lines and forms in the most diverse periods and localities.. As we make known our thoughts Ly tones and words, so do we i architecture express our designs in lines and forms.: we therefore take these forms from those originated by innate feelings of mankind, that-they may be apparent and te understood in the sim- clest and most natural way.: , we can also consider,with slight exceptions, that these are just as much fixed as are forms based on the laws of nature.’ 30.: Mouldings and Profiles.: Such forms are souldings and such lines are profiles.: They are partly composed of geometrical lines and are partly free hand. We do not desig— nate these architectural members according to their functions.: They may represent transmission of a load, a free termination, or union or separa- beitey “Yo Gass aa isqwsoo1te to tofy $6507 , “etsoileb eto to: .yrserl bas blood on02 ,evte atemixotz98 eonkl eaed! ylezclo sion ed yente? tigisate has “we fo ab to ysuead hae. aaa ttods ed bivode olsgyroms: S10 ett weak! nie no a icadiass to ene ao jolts bagmn tx6 Liew ao be Faro rene ig ahs | 4, if Mh ebada bas Hyil i¢ | Sats re ik | TEER ETRE) Bh GPE « ‘fa efyaie § © ao o bonyieos ed o¢ at Listed ai ‘bap femesek Te wate ty tioee ¢ Ts te doow ylreqorg ow sud? ‘peat bts aad ‘Yo eons $703 ui bee eeoctes odd tans to. tos L. -ont,.20- teixe fon asob ' aids etd bis actbhtus 6 to wiaoe » eisoe 6 to bssdend. eriuseed tdozs as ioe %® as. e600 yaontsd §.eleoe wtol Jetinge $6.78 qe adi diin elodw odd to yaomssd tid Vitennye etinp ton : > old | 0 teens ib savol edd te acisey fsoisasbt ylisen aii ak aweadgae ies aie! iets edt of bas ees y legtonisg adios yutblivd ed? oF seni stanly of, Agoise{e2 oa ead ti 410i ,eleos od! wens [y get agluso ent ida xy ett .3gtst to. {lena ed alqnos edd sedgeds «.i tiegwsom end ‘to ig ftir £ aisaigrs xd baxit (lisusos as bas .gasa ade; duois alee — nO! ead. 19 atoomu tow gas git wt tod ' tOOdE: 4joecdo eid yd sc . 2-101 e5. ilow as ,20%6 eibbig edz te anbisseto. edt vol yiler 3 is as agisd at alsoa bexit. @ ,879 Miebox eit bus comes iea a t gotolins edd ng ahiseréts. .Sem, to sdgten ode ad ebasyeb 990 gilie: agotb fivd wo Lis ,oisoe. gins enyars of. iswuisn Beobak ay a. soistegory i Sts {ote jaobe tseu fed 2700 swotofw sonte 3 a 10% bebaosat sodvadw Ot gaibsooss belay ylao goied eaétaceulh pf 20 bebresai Sac saat “songtd nee, sa00, s adau sautse Ix? G ih Saat EL eae Bee er \ 2008 tog Vaan 7o ee to ent, + OP edt sis tae o2 avosnorse ‘ae, Jou, ei #2 = maa as 39, Seong Ae gaimin af es ,exie levenay of eynibhind yishibso to odin speetecn sind list owil eeaogie4 tea dbrovstxe 16% bebrostne ith Livd .oid . faetie Le1esey bas slege odd ab od eligi ne pesos ak aleoe ett regis edd, elisa thegus (liv 32 qo% 2 get Py fasiigas eid? adem of Re ty Has’ \enoiaieath suk 98 % ouol: te, br Wes fo. ® “Hoshi” eid diiu ferhs | tid aeafe. ‘tint’ e bins owt a5 te" + bas’ @ leon 10 shu fiogss yd f s4oe ritiges no vess bas' sak . as exed sham to eisdega ne revere t etbate “e belagigg yaa fii a ) ARCHITECTURAL CCMPOSITICN., : te beautiful and may appear ugly in connection with another, the converse teing also true.: It is quite the same as in music.’ One tone is in itself no more beautiful then any other; its full effect only appears when joined with others in chords, “melodies and musical works. Rhythm and harmony are also reguired in architecture; as in musical or color tones, a form is on ly effective by combination or contrast with others. The use of successive novel forms has a disquieting and bewildering effect, while repetition of similar motives in rhythmical sequence is quiet and animating; though if these too frequently occur, they become exhausting and monotonous. £8,: Subdivision... This is true of formal treatment in general and in detail, the sukdivis- ion of the form, ty which its beauty is increased or diminished. Subdivi- sion must Le arranged in accordance with the character of the tuilding; sin ple or rich, graceful or severe, grave or gay, according to the purpose of the structure and to other circumstances.: To heighten the effect, the ani- mated and subdivided portions must te relieved by plain and undivided sur- / faces, a certain accenting must be employed with a certain rhfthm of lines, 4 that the correct relation tetween masses and openings may be retained. Har- nony is again required; it is the feeling of solidity, durability, and or- der that fixes the requirements to which due attention must be paid in sub- division,: The treatment of the members in detail will thus ke sut:ordinated to the general subdivision, and is to be adjusted in accordance with the charac- ter of the Luilding.: This extends to the forms of structural carts of the constructive organism, and makes apparent the structural importance of the parts of the tuilding.: we cannot here neglect characteristic art forms de— termined ty the architectural style.: The necessity for resisting the same external influences and the same internal forces, and the reguirement of making this conflict apparent to the eye, has produced similar lines and forms in the most diverse periods and localities. As we make known our thoughts Ly tones and words, so do we in architecture express our designs in lines and forms,’ We therefore taxe these forms from those originated by innate facelings of mankind, that.they may be apparent and ke understood in the sim plest and most natural way. .we can also consider,with slight exceptions, that these are just as much fixed as are forms based on the laws of nature.: 20.: Mouldings and Profiles.: ; Such forms are mouldings and such lines are profiles.: They are partly composed of geometrical lines and are partly free hand. tie do not desig—— nate these architectural members according to their functions.: They may represent transmission of a load, a free termination, or union or separa-— “Nn MN .Y) » - By vei Oba rey ESVEOO 9" HAS et 6Y 8, eva yoy satees toutowrte to sokt Signs dtie been etin .! on hits “egeo? eb ersito.yveel bre hlod sro2 (evad siprepiatict, Gat eae} ylezalo exoa arid emtet deghe sie has “ts iy ah ist to yipsad bas oeewe hed? ad Divot oligytone e10d off .azeaki | aa nas lua siaualel 3, epitedo uo eolieubers bagretim, Liew a0 be Tas _ aid yt BORMee roby rel rik p king? lg! Rha jebarte bas H4git io 8 & diy. . ee ee ee Pr 6 ts) herpiesh i Od | ‘br ‘Listed | a ‘bas Ie: teres ni mate tviboua no abseqe dotdw eivesem to simu evids ler s Jud ,eJulogis as 20 beasd fon to ssoz2 ulreqgoig sw aud? \ Geant Litas: ®d2 Jo ecu 39 ogtt brs saogthg sft ase a to dos fl. tec dabxe. ton asob aids ered" ‘bits iubti & to fs 3 eiaca 8. 39 bsodend onudeed dows fie ioe%2 ak e1vs0> yaomist .sleoe ery “ide . ai dw Eas, eleuqee @ii diin Siow edt Yo ysomisd td. bade mate atitp ton Bei. to. sesenele. anol odd to acigea [soitoebi Ylisen od? ai ausaqye | Isuitoeticots edy od bas 68264 Isqioniyg ad? of (iatbitud edz o8 aa Eb, edt of, Aroise for ot ead di ‘act ,elesa edt weds {yer as lus om ent er mois goqoty ett «opel ‘do Ciena od signal eid tedieds “.cneguaom efi te ‘on Bie: fee sitei¢rs yd baxit Uliguics @e bat ease edt: guois ated 18 3 ‘Sid 30 ainemuhon dasv ac9 x9t cud «. teas: tosgzo edd yd 99% es Lisw as 2956 sibbla sit to anbises 10 eit wt Yices is as asis3 wt elsoa bexit s a7 diebok: wit bas eorbes tea @ goibliud odd a9 abiewred ts . :aen. do sdytan oa ego th Liud “0 fis ,elene. Bing omjace ci. } Moistogoty mi ots cw td wabs fou {eg 2100s =peweobi th eonks - meat aedgedw od “gadbrooog Soitey yind nobed badkasesl — bobrese Sas, ed be oes gaily say 9 oaent ‘70 aeuesoutie tee “Y Ba ohoe 484 NIK to i To enick desutoed tore adh as Sew Fes ‘of akoano1ie ae Sout et Fee uke: emodg dexaingn of a6 .enia iguana of euib Lind gisnibyo Yo a se eshp Eadgau int exit ,eeaoqiug etnath ro0stxe 107 bebnetnd $id. 29, Joette Isieves bas olege ely jeadeh ed xine ay ai eleoe Bit segue! edd wellsan eats ‘liv Fe-egy bive. ein? aise of .ileereveios’ Bae peneis ioutd ofug ow ods ‘ewok t¢ dapat: Ja! te Hound aft Adie cLeethe temrot sty to sew oft askit tint « bus ows cow sed eas pred? wancinasete $3. ‘bas elese to obuticase yd teae 15 fi deol om sro o peltigas ate yeetl hae sok : $832 6.ai erat asm to cudiste. | ahr feanut qingie: ud bemnegay | gev gen ddidw disenad 9) ey in Ball 1 . im Fvz4. aN) ” 84 ARCHITECTURAL CCMPOSITICN.: tion of structural parts, and curves of varied curvature, convex and con- cave, some bold and heavy, others delicate and graceful, alternate with ang- ular and streight forms; the more closely these lines approximate straight lines, the more energetic should Le their: sweep, and beauty of form is bas- ed on well arranged graduation, on change of movement, and on the effect of light and shade,: "> “ het OL es suodivision in general and in detail is to be designed on a single scale, not based on an absolute, but a relative unit of measure, which depends on the purpose and importance of the building,» Thus we properly speak of the scale of a building, and where this dces not exist, of the lack of a uni- form scale, Harmony occurs in Grecian architecture instead of a scale, or not quite symmetry, but harmony of the whole with its separate parts, which appears in the nearly identical ratios of the lower diameter of the column to the building, to its principal parts, and to the architectural members. The mcedulus replaces the scale, for it has no relations to the dimensions of the monument.: whether the temple be small or large, its proportions re- wain about the same, and as actually fixed by artistic invention and not by the object itself.: But for the vast monuments of the Romans and espec- jally for the creations of the middle ages, as well as for those of the Re- naissance and the modern era, a fixed scale is taken as a basis, which first depends on the height of man, afterwards on the building materials, It is indeed naturai to assume this scale, all our buildings being used by men, since windows, doors, balustrades, etc., are in proportion to their height, dimensions teing only varied, according to whether intended for nerely use- ful structures or those occupying higher rank and intended for assemblage of many persons.’ It is just as erroneous to enlarge the architectural forms of houses and uildings to unusual size, as to diminish those of monuments MO Ft oO 5 Bs oO Ee gy er Sey Oo G& r f this be dene, the scale and general effect of the building are changed; for it will appear smaller, the larger its scale in proportion to its abso- ute dimensions, and conversely. To make this evident, compare Cologne Cath- edral with the Church of St. Peter at Rome.’ tho would believe that the lat- ter was two and a half times the area of the former? This may be explained by magnitude of scale and of dimensions; There a narrow five-aisled.inter- ior and heaven-aspiring towers are lost in graceful details, suited to the stature of man; here is a spacious interior, decorated by colossal statues, spanned by mighty tunnel vaults with a gigantic dome over the intersection, beneath which men vanish. The Church of St. Peter indeed excels in grandeur extraordinary purposes, like triumphal arches, baths and theatres. - De = AMNRONKCS sctnoETInEN,. i 8. " so0tte custongs¢ nk aleoxs: sagoloo to Teubed deo ede tod s08qe to soette te: genase ons sd Nii | AsorsaogerS | 85 ‘ef seaeem ent to joetts baa not to yivesd hogy egapultal detest, eAT A Yo agotim fer edi aeon yo? seMtoasido $$ Af anohtugqoag e@ed? wi bettexe pine lies ee Wout base ,weveye ofnomisd « ao beak. ,edrey ets ge2 2th at @lodu iy vt | btoterw:ds bis ,of8oe eft one noteivibdve Odi itiw soissesnoo eteiiini ae ene +e te dox0td e€F -.olese bac Jeeide tehso yne ot berietena«s ed tonne | het ed yer Jud $oetteo soviesmedd mk ad ¢s0 atolite jor ele sed: ewoue tee “edt “Yo enoktiogor, odd wetiny t2 nde sebid avoda Oude “.vdlust ylavite thy bs ,08ed-ert to anol tregetg ods «%0a- bie Sg6 dtiv sonabroods al vbod neque sf iit vabtits mor? nemoh ai bre , Syed mort dew of tettih youd. eds of fool fas aie al benasrte 34 You yom yatb tied: 6 to snofimogorg oft 1b esotexadt of gatbidooq betoeios of Jeum tug Beams o | Lia sot bexet olut s dein aane ab \ ite ome yor! fade Norewdeb @ of -Disiy Jom sem eno .eeodaleduenio | 4 wae “deat ni hegotaveb ¢ldvoinay et tekdtocer; to ened .antise? to vd be 4 ee ss wbrooa tb ebatt To oid 8 out, ,@foeteh t]evooe fb ot beriegt eu seus mt 8 3 $ eam om suotacia oi Anon one dsie ae aad lyz ue aboiieg jasg to ewsoesidors ee to amet Irogor 4 | edt bait ‘ew aide Shedd wort |. eaokepogdtg tapaik’ ivke ig We: 90° ted (Sigthiste yo bagvssasem neewited anokis! ex otmowies To ete DOO i | tem fo-tigied bie debs:
  • gobdest tiv eohebicoge ni beiiibos ei eiyca ote bes ti. baa ,ooo01sd to esiivenipiet Wepefod. @i dL. wor vbeze as* e208 iets deta esis ysl egsdteq bas Vx eitod pidde, 10, up agrismOrd ad corienad + | [ide sadddUY -.edoomswags Yo esis oyse 90) 04 9>1e 2 DEO OCA Be E: ; reat eugsed acd swsastidsti. 223s pill ylbic ib ot bead pds S. .. -wfo. woq ous ae lyse ths ulseet basse Ens, ees aqua BJ. tiseti’ nsec toe an: Bes wei. [is ,eno toad “not? ena ore aids, ao: ¢ te, aug af - segs witwe ils. sil ‘Groritest te enuaae a3. ‘ght Aebay eocyce) nae went fp ghia ator bese ‘abit. pameners fi Bain: SOR @):.o1 da tile : /bongenear hy. J ar, F i a2 ; : Been es Bi df. arene L | ¢ M4 =e eS i 22, y- a _ i - S weewreren nn: oases s 40.: ARCHITECTURAL COMPOSITION, : inviolable laws, valid in past great art periods and retained in all ages.: They are known, but are also misunderstood,’ This especially oc- eurs for the principal of truth.: It is most commonly opposed in art, exactly as in life. For endeavor to appear otherwise than he is, is founded in the nature of man,’ Hence appropriateness and even true beau- ty commonly suffers, not alone in works of special importance. Tendency to deception is the vice of our era, and is deeply rooted; it has pene— trated even into the home; we are pleased to decieve ourselves there.’ Is it not generally stated as a special merit, that stuccor appears to be wood, and wood looks like marble, that a principal cornice, a roof, or an ornament is so made of zine as to appear exactly.like solid stone? And all this is due to the art and trush of the painter! 3o,.° Recent Period.- But error agpears in even another direcftion.: The time is not distant, when the perfection of architecture was thought to te the most faith- ful imitation of an antique building.: Structures were copied, whose criginals were suilt many centuries since under another sky, of differ- ent materials, for other purposes, and at another scale.: ‘hat was the result? A so-called architectural style in accordance with the supreme law, which must consist of all possible architectural styles, that the entire history of civilization might be reflected therein, just as our modern civilization is composed of the elements of all earlier civili- zations. : 40. he Present.: 3 This age has indeed some good points for it has led to more accurate” knolwedgs. it is now generally understood, that however great he may be, one men cannot create a style.: It may be a different and better one, but is still not good.: Cne no longer copies;~—but composes, though in the most different styles. Architecture is believed to advance, when the style is modified in accordance with fashion.: Yesterday Greek or Kofman was used, now it is German Renaissance or barocco, and it will tomorrow be Romanesque or Gothic; Louis kV and perhaps Japanese must be found side by side in the same series of apartments.’ whither will this lead in e rapidlyliving age? architecture has become merchandise; ~ end adjusts itself to supply and demand.: Nearly all styles are now of- fered; a bit is cut off from this style, one from that one, all drawn from one source under the pressure of fashionl that all earlier ages possessed, which we do not miss in tke Rococo, has Leen lost; unity of >. ee ! P ae 4 cb:haw ast is eda 5 a hrme Bish owe. et? »;vantios i al "site _ bobteg edicts ets8ie. eA 2 ay liiene << O8einy oiT ~. 26 beats iqgace sabotey due: tasq Yo -reroe at ego telicew Jo bsetant © es = £ i. edd sade. 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' ee ae ae Lo dtiaing Seed off ATi* ..@RRL gon a80 SHS ea n20qq0. shameytidson s:.antmbnwde of bss i tosmeod asols diust eft to? 7 =r Ecc aii nals yee Bae Rael on .vieny yite ads to duewt edd of he i “+ hepa oeted fe webied to wridoses ets « 5, sehamee r BT. .oclsgeosb epdiaed yl. “Lend: std, uchaog, adi to req @lee lio: ¢ fauons ..cdgievde ens. -o2 -eousbing: ¥ fs ~ebepe edi to cial¢geonom pildyg’atotsne1s Ifede. ode jottedt eas inter f ayeN eh > Set happ bh satoh--ew eved inde Metiue ws seurett 2. edio -. 348 3, Ber iwioo-ad gem Vebod avgsd todd bas .ot0m eh oun’ ca: dolve Tadey 8 ‘apt idd, Bieta! pemonmed, $i:Ricneve yovltes.exon atoosd eet aruees{iots mo¥ gnilest eff “i metoisoule to ademob-enis goxt. aniqsceas ,e18 w0o o).tsifdoog ot saioud made gat lievery eis: dads. yrsaeeses. Jeti & ‘Si gud = Saetdest Ie bas —— te nelatontes, pats ago:tast bled. iitw on nie aida adiw bok che j Al.: ARCHITECTURAL CCMPCSITION, - style is lacking. The building is a creation of the age and therefore exhibits the attire of the period,: 41.: The Future, what will result from this confusion of style? how is it to ke im- proved, and how may the taste of our era Le guided in the right path? Only ty holding firmly the unchangeable principles of our ancient ert.: but all maybe truly beautiful and correct in theory, yet by practicing it one can not live. With the best principles cne may suffer hunver, for the truth alone does not lead to abundance, Nothing can be oppos- ed to the truth of this argument, so long as owners and the public on- ly desire deception.’ The remedy is the teaching of better ideas, and ty guidance to the straight, though toilsome path of the gocd, the Begu- ul tiful and the True. Who shell transform public conception of the needs ,¢@ art, other than the artist? what have we done for this? ite have couglained, suffered, and blamed ourselves and others. ‘Ye must turn about, for we waste instead of utilizing the power of past art periods; 43 we yield and embrace electism, as it is more convenient to go with the — current than swim against it. But we have lost original and spontaneous_— treation. To acquire facility again, we must commence the work with ourselves, For "Fine art", says Fergusson, "ia a hard task~-mistress, and to obtain her rewards, men must work, and think, and sxercise infi- nite self-control. False art isan easy, smiling dame, whose favors are readily dispensed, tut worthless when obtained". fe will lay hand to the work, at the same time speaking for light and truth! Even if the mndividual cannot do much, the entire profession may accomplish some- thing, a generation so much the more, and that begun todey may ke con- tinued tomorrow.’ we hope for success, as a visible improvement and a purification of art already occurs.: aAll conditions exist for art in fresh tloom, shining forth in the cleer sunshine of a new era of beauty. The feeling for erchitecture has become more active, even if it has some- times wandered from the path. The public takes a living part in its development; the architectural profession has sacrifice and inspiration and is distinguished ty genuine anowledge and skill; artisans are full of energy, ability, and a wide knowledge of all expedients; we command more money than ever before, and Letter transportation, bringing us near the most distant countries, end while united, ought we to fail in pro- ducing art peculier to our era, escaping from the domain of electicism end of fashion? but it is first necessary that the prevailing miscon- ception of what is good or Lad, true or false, beautiful or ugly, should end. and with this aim, we will hold fast our grand principles of arch- — MOLMZOWMOO JnAUTOIT DEA Sh higgins. 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Viste ebkoty weetbhind 2 Yo -anoienesib [ie soi ,eleoe s Sotoutgenco ashe? | a Lanes hth eens boyolqae asssticow fneiens fst bevetl oa, oudlgir vlsbhaews ete fo) elgasizs asitqysd ods siakisnseeie to seasd aa gel (eats ds dud “lfemstalinpes edt bas ,2eiGae Isupe avin Selgas t4yix ede ee _ emod “da ausen Yo fogs ed? 20 beniinos ets sowyit ecoit doide af dem an a i He: >. galonivace fon @f ensind ts ferbetts> ed? to hoitoea siz? 90 at: ; ‘ee i er ton ob atmeasle ec ia yea on re A aa 2 = . AN = Ps ‘>. Bk 42." ARCHITECTURAL COMPCSITION.: tectural composition. DIVISICN II. PROPCRTIONS IN ARCHITECTURE. . By Professor august Theirsch.: 42.: General.: ree Laws in architecture assure the beauty of the ddifice, just as this is lessened by neglecting them.: To seek and to formulate these princi- plies in a problem that science cannot neglect. we endeavor to find and justify its solution, the direct result of esthetic feeling.. As for pro- cortion, ity is certain and beyond all dispute, that parts of a building must bear a proper relation to each other and to the whole.: kow may this relation be stated, can it be expressed by numbers, or referred to sin- ple geometrical figures? Relations of harmonious tones in music have been definitely arranged in numters.: Different tones have different numbers of vibrations. | Tones harmonize when their vibrations coincide or accord. Physicists have discovered 2 similarity in the effect of colors on the eye. But ‘to de- duce from this that the eye prefers certain simple ratios of magnitudes in proportions and forms is an error,” upon which numerous theories have already been wrecked,’ For if two tones harmonize together and one ke then slightly raised or lowered, the drum of the ear is set into complex cor irregular vibrations, producing a discord.: But if a rectangle has its sides in proportion of 2 to 3, and its length be then slightly chang- ed, the eye cannot perceive the change. Simple numerical ratios certain- ly participate in the proportions of ancient edifices. Much talent and labor have been expended in fruitless attempts to discover simple nu- _ -BeFT cal ratios to-serve as a basis of the three dimensions in space of an architectural structure.’ Only a few points can be given here.: Hen- szelmann came to the conclusion that harmony of proportions in the arch- ‘Stectural monuments of antiquity were neither result of artistic genius nor werely accidental. He beleived that he found the secret of the an- cient er hitects in the use of the ratio of the side to diagonal of a sguare, and that of side t diagonal of a cube, and with these nagni- tudes constructed a scale, for all dimensions of a building. Viollet- -ie~Due believed that ancient architects employed three different triang- les ss tases of proportions; the Egyptian triangle (of the Pyramids), the right angled with equal angles, and the equilateral. But the man- ner in which these figures are combined on the arch of Titus at Rome and on the section of the Cathedral at Amiens is not convincing.’ vie may say that these elements do not holg good so far.: If the law Ss : } Wedd at egetee ciused to “ew s beltiveni ef blod bas evieves sift. co! Si Udused 15 i {uoeq ied J fos eved 8I@to0 1 Ko siste2t fa istoisa ane amiot to Welrev aeitets lot wel « deen wi ‘@n0Ed Ebnop. S87avib gon aft oh ee adie ae Seenugit to etine Liate ie Bato oatse-r. giiale: sede sedsd esw wal s owe io ytevoneih ody banwot geta a tAge q Ber okies ‘eas coda at ted oa 4c edz to nae eit? te ps og debt ‘3 oe, ie @St oath) = 0d 8 ef taite done a! ons, sidiety | i “aebintsd eoasde th ‘oda sound Bleue sam Loo eis. to. sigied 3 ie ee , ted * ad) Pre noone! gone sab ent ‘baid 3-900 aisigs aversidouws edd To. gigiet sia axoold evetd tilots fo dsgael to to ama boo ie edd 98 edacorg ens 30 $dgied wede beiteiéns ef smeaviiupss seait ed? | 8 edd aseuted emg zaib eleuge eased. cee of se .svetirdote Ao gor eae a “uke 39% tissiasa of dnebive Gi-acisoovai as ..(5,8 2428) -seliew 49 ‘aed et. } to henaoioo add at eigas? ef): to iieo to Atbiw of tigied to oliea a oe id. fee 30 feo etd sioted beosiq of 913 anciuloo.olb ia wot edt obese? : ofa? a. '” (flea edt to Adbiw ig.atetxe aa} diiw sbioaioo me: 19 dpe ) D8 Seansio éda to not rtog aids i evoss swe fdetna edt div. s Ot 3 a9 rere 4&3 gettemizosag 8 yleeols ,ofgnesos. s aatot ayer ( ) stun ds tno (tin oaiiloo Yo ayiek oe 89x68 Rees sed ests iefb gents seidT eS. ( ae laups ylisvas ots asefti hon avetiidows soni og Seid tisiee edly io dayier Jen) atas moxtupe't th bas bs S slyasd ebyt eit situs LO0 gid. t6. higied batdd ao ak - «i808 esa a Od Baibiddod) .einocotivpes eeeds eliiict lists, %.@03 to Adbiw saz bridt-asd tetid 3. BR mag hs: gia to A gee stolies lenizemen asd) aistes asnemmos “gatiol > 9 ne eb qayld Ys aves to. éfsns? Y sabadens de aohteees %6 alg . ‘Abs 40° | a 102 sevieater J Biino eos eolist isoitoma speaT pes1} yeti; « sw bas tekess’ a los duoaxe ots Srinyrast ett’ ober eds oe 3 fine genes th 703: alu s abit Fos: bivbo. yeat 2480843 rr Ae | tafe a boa tos ett biger Ss) esteuee guises thors: ata es | mie ‘tau Foo. wid ded} 0a, ees eidy absu bia emi | a3 tows ent oS = 4 dyed 5 bosietie «, eagle dtede as bee ef? .,.€ of) f to cited ef? aespl {Lit beates Pei suréo it J6S~.maulod. 64d of, aoksroqorty ai r9wal " ipicaca ‘ad -bigore” yerbiivd ett to atasg 9 it dante wot as livte. ‘eit < saad 09, yioutst aeit’ alot bat @as Con Ney band . s swaoisne oi ad aay i 44,. ARCHITECTURAL COMPOSITICN.,: The following simple numerical ratios are retained in the ancient tem ples, : 7 width and height ef the cell are equal, as well as those of the pronaos,. 2. Width and height of the facade of the cell, so far as externally visible, are to each other as 2 to 2, (Figs. 1,2,7) 3, Height of the columns equals twice the distance between their ax- es (h = 2a) 4, Height of the architrave equals oue-third the distance between axes of columns, or of length of architrave tlocks.: The first requirement is satisfied when height of the pronpsaos to the top of architrave, or tc ceiling Leams, equals distance between the an- tae or walls.: (Figs. 2,&).: an intention is evident to strictly retaiu. ratio of height to width of cell of the temple in the colonnade of the facade. The four middle columns are so placed before the cell that the outer axes coincide with the external width cf the cell. (Figs, 2,4,7, 9,10).: With the entablature above it, this portion of the columnar facade always forms a rectangle, closely approximating to a square, Semper's unit; which = Hetght_of column with entablature. Three times distance Letween axes.’ Since architrave and frieze are usually equal in height, it results from 3d and 4th requirements that height of the entablature, omitting the gei- son, is one-third height of the column. The rude temple at Selinus byt ,artially fulfils these requirements. (According to Pliny, the height of the column was at first one-third the width of the temple). . The fol- lowing monuments retain these numerical ratios.’ Temple a at Selinus; Tem ple of Poseidon at Paestum; Temple of zeus at Olympia; Temple of athene on bgina.: These numerical ratios recommended tnemselves for practical reasons; the made the designing and execution easier, and were perhaps prescribed by the priests.’ They couid not form a rule for all cases and all periods. when architecture assumed a Lolder flight and freed itself from ancient criestly restrictions, men first abandoned tne limit of height of the col- umns and made this greater, so that the column without its abacus, or its shaft alone, attained a height h = Za. The architrave block firmly re- tained till later the ratio of 1 to 3. The entaklature thereby became lower in proportion to the column._-But the other law remained in force, thet the parts of the tuilding should te similar to each other and to the whole, This harmony comprises 1, the similar forms of the twe principal parts, the enclosure and the nucleus, or the peristyle and the cell; <é, the repitition of the same forms and prcportions in the parts of the tuild- ns 4 ps. * 4] i goals fil rt PS i a ol all > » bes , oA see 7 a « S510 we) AD Pew ar. ne ie Ls R= eee ee NEE cok eS ig ek yey tn) Meee cates ot er ae ot eR ee | . ( a> 2 rir ne erp \s oy. & i Lead i ay r a - : ahd ne ‘Any ip Pins ny ee ny ti ae 4 a f > Ss 4 , 1 i edb x ve ae ‘ ‘ Be ay pet + pas Mer ® & av ° : a: Bote Heat ; asf, erokea ae: *s. re ts gpa ds | ie ct ast . 4 * £9 bavet-. ee sacs fas tw to} i486 gato9 sigboord byte, dane f ae teliiatoy th ifs asin re Danreled ‘egbe), Shithtieg ‘out to. enil setuo f+ ovit.ed mod adda: ‘te Bw Gite BAL Ss 8" seg) * {les eft to, toliwini elt to jeds as azo obas aid (gage “Werisa Yio bs tid: fies: edt bodied bas e10ed geeh yrev- ate scotenod aa no fos sovnes’ he becinloxe ta Jeewogontin hs yesbie atk gvede - e tub oF gave teqqy to ayho to elynedooy ede to Lonoysib oils 31 ebawaRy . *) i mae at “30 bles, edd ‘to vobyesas to fnmoge is ads dit tweeeb for too- rel ia" 3% ya Eie ‘Ae ans ty at 40% eat et aids bas. elisk-Lioo end ah hort Mor? bowekw: pddbfiud: eutene’ Bad. Oh Grae bat ob ca s(eosnotg) apenranee benodaeb & osolunt aabte’ ne ee hse: ore {lena exit ‘eeqgs eeeiT ~.eeqotea ef! evofoat evolxe edaet pen * teont ab MO{o 26. Yods bow ore = bh ot & ( we kd. y nhuy anu dcage 3a nob ieaed. to. olgmek. - hosted od 8( ime th ‘bill agyetaa ga seiyovet. to a fqied, - SO oe6 4026 (maibwol}... sakgis no. gapiits' to signed, « | ov S( me iQ.beM) edwserge ge’ enedda lo @ hyseh. > ‘od S(sieib:,.wod) -, anedta te-auaaedT. to, ekg Sof S(.msth bit). :.°. eaedth te conedias? ed: of Ef moth bin)’. .eseasd ts olloga: to elgued. - hae ro d0 , 93.» oa - iz>: co a 8 & = 4 os os ; > ie, gan eit a iy Og “adisg betrodque Boia ei eecaaae | ‘etd bo esgoea aor). Pate TE “aE ak egsagtant ‘doidw eeaaea TOVO yiotpky to ebeod 6. Pap MOG °. “Olea ita Ar aid’ “@uidowdndbse elqned gied md bas epatbhiud fetaomuion $6 > ree i ataeiy ved seiact i adgotaia to Abeenee bsseetuxe Yitee lo. ‘etl giles . | wedt maga bisl bead. aig Soild “bas ‘gm tos & to ‘mein edd aeowred ofits ont . bd: fied’ ‘feon ot Nat “th sao jatives. ends Lda sae ead. ¥ om oeeds: tiotdw’ bewbtenoo ee " 6 yea tde ime, to soiiieg of? peg be, Bae To. ‘abe saielined eta aeacylF F Ve i 7 4 | Wey ; i 7 ne sane ‘ si aed " A hi say ti yt sal ba vee, ll | Pe ook re ee ae bs we SO LTS OO NET a rn ee 48,: ARCHITECTURAL COMPOSITION. : became higher and the entablature kas proportionally lower and lighter, men were satisfied with moderate display of force by a stumgy and lean form of capital.: The skeletom of the structure remained almost exactly the same, but meagreness and weakness took the place of muscular strength and energy. : an intimate relation likewise existed between diameter of column and certain dimensions of the building.’ The width of the triglyph was always either half the lower or middle diameter of the column,: Since two spac- es between trigylphs are found over one intercolumnbation, widths of the triglyphs must be in proportion to metopes as are diameters of columns’ to their intervals.: The compressed arrangement of the columns, or their closer setting, is repeated in the arrangement of triglyphs.: It further results from relation of width of triglyph to width of por- tico, as stated in Art.: 3, that in the older buildings these also depend on diameters of columns.: Table of Ratios.: Diam.: of Triglyph width of Column to to Portico to Interval.: Metope.: width of Pronaos. ° Temple of Poseidon at Paestum (Mid.Diam.)3 to 4 2 to 4 , 8 to 4 Temple of Hercules at aAkragas (Mid.diam.)2 to 4 2 to 4 o tes Temple of Athene on Egina ... (Low.diam) 2 to 5 2 to 5 B.toup Temple of Athene at Syracuse.: (Mid.diam.)2 to 2 2 to 3 2 to 3 Temple of Theseus at Athens .: (Low.. diam)2 to 32 2 to 2 2 to 8 The Parthenon: at Athens .'.'.: (Mid.diam.)2 to 8 2 to 3 2 to 8 Temple of Apollo at Bassae. .: (Mid. diam.)3 to 5 2 to 5 3 to 5 52. Other Proportions. i It would te faulty to treat colonnades only from the point of view heretofore assumed, and (tonot alsotake into consideration the ratio be- tween masses of the supporting and supported parts. It is always the conquest of loads or victory over masses, which impresses us in looking at monumental buildings, and in Doric temple architecture, this is espec- lally the clearly expressed capacity of supports to resist the weight of load laid upon then.- The ratio between the mass of a column and the mass of the portion of the entablature resting on it may ke most easily observed, if the areas »e considered, which these members of the structure occupy on the eleva tion. The portion of entablature between axes of two columns is of the Same size as the part of entablature Supported by a single column,’ Draw 8 Mg tes [ike vt ox wie ty pean to aa je arr ve ed} ae Ae ddyled bas #tds a¥tw elynetoet 6, gat Asie . to “nerry. ot, ie, Ax ¢ ert elauce sam. eoadw: abe ioe oth, Rael art ‘a as fones obr0f, to. Babs anotoo, Anetettss eH? Yo feed hk i bog. See aumisihog shesoxe ‘go48, pads. [de tne eineaunon ofedsis ok stedg Ph ES a Wp Sisatgorgys aF'8y ows pitt, “Lo anes, BLN te, bagoleveb ie PY ae $8 aos ‘om th L-tetne ,oened fe elqaeT pdt at bee, ABE ta) donated jada ty teteas bea ody att eb ouch Arey shtear 8. to tel? ‘8 idup a | b 6884.5 26 Amgfoo 3O aneday pte 6. baw: eee d oteupa ‘s. Ade hetig s iden ted, arino cauloy Yo ytifewes A A <8 (fedsabeony ys tO - 383.81 Haina ott “to obla 11, ddgied tsppe % xebatl ih . 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Pig i : Hig 9s ‘No dads aoits ta jad? bebbs of yaa Ji adzauforoo af | Bi Let eae d baw} ct ail? tasdsogal aoa es Tleath awoie ead (f oF F poke oe sates i haaltas evetiidets to tuted ban naloo to tetomath roow ies ha ‘aed yo Gols tooo 6 af ol tes sg os Vsifeuge \eldiarog as ylenaevih Bs ‘beiset? Bee et: ini re Viesievaos Das eetle diva goo met bOOR ie 28 | x m0 emioeridothk fsidyysd wb anotisoqgexd 25 meen ae i” eo pobsibsvo, 8 an. bewivpet bias bus taiooes neds ew pemutt fo vtited imi ara $I aelqast Si10G to Aoitoutsanos ods ak Swutoetidow at miei doo, ‘te foe ay ra’ ded?d i 4 Ot 4 4 © dentgant yd bentgter ylavoioamoony saw cist @idd dads Dychfo amnede bea os | iS ata ae bodtiwans 1 need eved of atseqye #1 ..toltiteqes aselsiywons ¢/ bas: ane be rm + Peres eae eas _eieerh ait yo bling sinadoes bas sjodedrow at. 3 4d edt Yo 3008 @ > nl eae 20% “ af a ee > jbokieq otiodeiderg eit io aaeadid edd at ieol Bt ioanitla fide jee Jets tt oi of glues aviosr. 0% heseize elui 8 eonis jadd geogque of noevey eved oi a0 ciate fe 4 geum eto wilsie So Peck! vo" on 1. ne totlree neve eau al aged eve he 5 a : erenagh A4St @udast oct gotowb Jquae oa ¢ to wetven aid ted pee kottixze et ton Linda: et. : yee 36%0 biow odw. \priatogaett: ois ‘evobwy dona , ee ee: 4 Ahi | bs ee 49,° ARCHITHCTURAL COMPOSITION. : ae diagonal of rectangle formed by axes of two columns (Fig.17) and extend it to top of enteLlature, where it will cut off a distunce d; conanr aay? ing a rectangle with this end height of column, the surface d h is form ed, whose area equals area a x h of the given portion of entat. ature, 4 A test of the different colonnades of Doric temples by this method shows, that in archaic monuments entablature area exceeds column area, and that an the developed style, areas of the two parts approximate equality., In the Parthenon (Fig.18) and in the Temple at bassae, entablature area e- quals that of a prismatic support, constructed with the ugper diameter of column as a Lase d.. . Eguality of volume occurs between a prism with a square Lase and a Cy= linder of equal height, if side of the prism is.€&é, or approgimately .@ diameterof cylinder.: Assuming as at the Parthenon, that upper diameter of the column is .8 of lower one, then may the cylinder constructed with average diameter of .9 be assumed to equal the conical column in voluie,. end from this it results that side of a square rier of equal volume is cope Roe" 787, or, e dower diameter of column, so that the mass of a sguare prism constructed with upper diameter of column equals mass of col- umn. This equality is likewise found in less clo ely set colonnades of porticos of the era of Alexander, as in inner portico of southwest build- ing at Clympia.: (Fig. 19). Zn conclusion, it may be added that of all ratios, that of equality ( 1 to 1) has shown itself as most important.: This is found between two successive parts occurring in intimate connection, as Letween echinus and ebacus of capital, the architrave and frieze, and also in most temples, Letween diameter of column and height of architrave.: Otherwise, in parts treated as diversely as possitle, equality as a ratio is a condition of good Kaxm compatibility, and conversely. &. Proportions in Bgyptian Architecture, oimilarity of figures, was then recopnized and required as a condition of good form in architecture in the construction of Boric temples.: It is not concéivable that this rule was unconsciously retained Ly instinct and Ly thoughtless repetition. It appears to have been transmitted as a secret of the craft in workshogs and mechanic guilds of the Greeks.’ Its first establishment is lost in the darkness of the prehistoric period, : he have reuson to suppose that since a rule existed for Grecian sculrters, @ similar one must have been in use even eerlier in Qn agypt during the famous 1&th dynasty. we shall not Le criticised for this r hellenic purists are dis s architecture, even eview of the land of the Pharaohs, Sapearing, who hold Grecian art as a purely nat- mae ‘ ef ar By ba i tia =) hie fossa, “ 3 Tens ee ‘o okt gas edd teekes, ps aig bee gone, 20 dmory “a come fights $18 to. yrode id. eds to moaiiod ed?.: ,eoneul tat Melsquys so + ORE MST & need tou eyed. gwstd to bes dtod. (doeveid? .3 fo axvow wdT ; Ph aie, eds desqeoos, baa bhevegg 8 envage Kem ew gad? af tafLog taeSroqnt, engi [ etiloetidows neidgyg? dtiw efyse otsod 43 to: Soaks Cy ee ab ‘godt begolaveb aaw eotedT 16 BeoLtibe oljmegty oft Yo eiyte edT Nae. 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(.0Je .dcoard | Aevebssd, .wotbs) ookdrog enrevaieit at to eens toute eigques aid al Hie Isgg6: ¥ LMwsls. saon bas deqi} beebal @é. hoy ee .efquad Rr At, s@Saneloo poorer aad yrivsiao “2 elques lovetgiouen, aft be Se an itadners sided none videmtetnes oiycatieg ba» [ido ede gatsaesd 167 ya Be Mame A Ving vhaooxe e036 [dedne to agen. oad .elut s as apbaaiietss © ito i 1. bstebis > Teo Le . ken? Siow. “wisi 2a ‘add? ‘etabacand Ole ois. Eide % adea ods ba gede 16ine%9 erosisas ee: santos edt. to eas ‘bai Rieti theg | 6 yd bébsol oe R ‘ 5 io 2 tay - Ty ah Be ee 4 +7 sy ‘ Ea: 3 _—ROHTTEOTURAL, COMPOSITION. - not the diagonal bit the normal profile’ that corresponds in outline. (Fig, &2) The sane is also found in the boric style. Ca the monusent of Thras yllus at Athens (Fig.33) and on the lemple of artesis at Bleusis, profi- oes of antae-capitals harmonize generally with those of entablature.’ The projecting portion of abacus corresponds to projection of geison; the height of hawksbill moulding of antae-capitals with its fillets is in proportion to frieze of entablature, and ‘the flat tand to the erchitrave.. The pal- metto-band on the necking of Ionic antae and on the cell wall is analo- gous to the sculptured frieze of the entablature.. 57, Ratio of Masses.: Finally, the ratio of masses of supports to those of loads is to Le con- sidered.: In Doric colonnades as a rule, the mass of entablature exceed- ed the mass of célumn,: In Attic-Ionic monuments, the coluans were furth- er loaded by a pediment, and mass of the column was therefore greater than nass of the entablature.: In the Ionic porticos of asia Minor , entabla- ture is universally lighter than column.: The lightest load rests uren the Corinthian capital.: The ratio of masses is to be further consider- ed in the case of complex buildings in stories.: The upper story may be higher then the lower one, if its sass be smaller ( Monument of Lysicra- tes, Tomb at Mylassa).: The same ratio prevails here as that between mass of a statueand that of its pedestal; the latter must be the Ereater of the two, Chapter III.: Proportions in Roman srond tecture. 5&.: Italian Temples.: . New forms appear in Roman temple architecture, but in spite of all trans formations, ancient crinciples still prevail.: The Italian temple has a4 portico Lefore the cell only and stands on a high substructure, only as- cended in front.: Yet the same harmony is produced here as in the sttic- Ionic tenplies.: For the cell and the entire edifice form similar figures in side view (Fig.: 24).. Most rectangles also have here simple numerical croportions, which are repeated.: The substructure and the entatlature add as mush in proportion te the height of the cell, as the grojecting portico adds to its length.. The sides have the following nunerical ratios (height to length): Teuacle of Fortuna Virilis at Rome - ------------ EMO Temple of Jupiter at Pompeii- -----------. ----ite 2 Teuple of Antoninus and Faustina at Rome- - - - - - ~ - - -1 to & nermony 18 more perfect in circular teuples than in any other fora. The visitle cylinder of the cell is similar to the entire structure. 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S8is6T) Jeon le gedasegecq .ysos 7 oe Hae : gadote dsety odd Yo eyslasqo od? ai Beteoos: et roktess) 9) tine stz to an bas eaanloo ent edi! say beqvo1g em wb o xeqgt od/ to Biesas fig odT att 08 eis to noktiteges garied smemeyestse aecqe ode i PR 4.2 > 5 ae : on te Z r “ Pier ; , a com et ~ Say he eRe OP tt Sass oa 2 i.” Tk chee OD eee See ae bemuess: ed tou biueo ‘bea Beto Bqed-ed toa ‘bisa ‘iced? to gaiog tos i a aye hetase eaw elgtontag Teawd oitt ‘eetivedw leche. deseo chaahatetale ON 6 ee a oats «hei “ak pediend -08: Glin svaee | & anf everthiazs eds. nod +e Saye ods (U4.329) stymied oe: ‘pique? baw: (Gie.327) sei len yo-nva edd:to | a a "8108 Pte. gm09 eid ni eoleree $idies(ot, ads déiv. neied od ayor is deos. Peis mato” Mo bes ,aniesgeeY Yo olema?. so. .cosdeasd ed2 at berwooe 091s eid’. ee sbivom eoy0 yd betexonsh axe: eventiddw e42 Yo stsatte oreit - gatey?. to. set Sdyied ni eesetori: asiuyet se ¢tjidue esads ,2evee!-yd bedaensnt. @aci ats evodis SRST OF: to: ‘ioitetas. eotl esinteo. juliiueed edd. ef ovaxy, . — je SHatonaes: Bi avinioo sid to aoidivivdya etee he oat bok hi jeu, visteLa | ae ak ied @d3 -Io.e0s fwe eff 30 solaivth etante ‘bas; bicd “eat Nd bette yf Tam a BY des ‘p£103 - mano Yo tnentcost aewis [q ety sk bapet eum dacite fer ome | ‘oer h . etevantiq t stitvfoo to alstiqns ed? to se! tbtorg teewsed emebte aesait | Bh. | | \@iqusse-aeteet? eff aids dtiv eiagmao - .fRS.gi%) emis ‘téede0 wif nee bieyet asscoivsa at wed) ablod ted daeater dc.. adeie uisa0e ‘age cwode | or: ARCHITECTURAL COMPCSITICN.: ‘Orders of Coliseum, of Portico of Cctavia, of Shrine of the Pantheon, and of Temples of Dioscuri and of Concordia).: where the crowning moulding of the architrave has a cavetto according to custom in asia Minor (Temple of the Sun by 4urelian (Fig.49) and Temple at Palmyra (Fig.51), the eyma must always te taken with the projecting cornice in the comparison.’ Yet this also occurred in the Pantheon, on Temple of Vespasian, and on Forum of Trajan.: where offsets of the architrave are decorated Ly ogee moul d- ings ornamented by leaves, those exhibit a regular increase in height to- wards the architrave cap moulding. an example of this and of the repit- ition of main divisions of the entablature in sutdivisions of the archi- trave is the beautiful cornice from interior of the Pantheon above the entrance doorway (Fig.: 52).: | A more important relation also exists between the profile of the capit- al of column and that of entablature.: As on the Tower of winds at athens (Fig.: 31), the two profiles correspond in projection when viewed diagonal- ly, as well as in subdivisions in height.: The geison, either with or with- out the cyma, corresponds to the abacus, and the three divisions of the entablature to the three rows of leaves on the tell. The modillions that support the geison are analgous to the volutes which curve beneath the abacus, (Fig.53) From this point of view, the Composite capital is com pletely justified.: The minute subdivision of the cornice is especially prefigured by the bold and ornate division of the surface of the tell. The same relations are found in the plainer treatment of Roman, Loric and Tuscan orders, between profiles of the capitals of columns or pilasters and the entablature.. (Fig.54).: Compare with this the Grecian example (Figs82),: while the Grecian style thus places large and simple forms Leside each other, apparently without adjustment, but holds them in stricter depend- ence upon the entire structure, Roman architecture, after this conneetion is loosened, is pleased by repeatedly subdividing the parts of the entab— lature into forms similar to itself.. The gracefulness therely obtained affords compensation for omitted sculptured ornamentation of the Grecian entablature.' (Compare profile from substructure of Temple of liars Ultor, Peers with that of Doric capital from Theatre of harcellus, Fig, 64), é2,. Statements of Vitruvius. : Neipebetnibertinns Brion trie tine sciatic pace er it has nowhere been stated? Such an import- ant point of theory could not be kept secret and could not be assumed as self-evident. jie must seek whether the basal principle was stated any- where in the writings of the ancients.: The writings of Grecian architects FORE TELS DS &, zh)? eR Ma tal Dati fae a apelin : & t 4° tron ent tnd beebat ome ite Wnty Gi xstntevence edt baa’ » ee at bev va “rey pong tecee oa Jévsistbeb seviwitil feetidow asmod eff fe ewe "eae ni aokisa1otnt .eeswee netoen) most awetb sew aide sonte ct ost eouly nk aids to ofoga beebut of .ti mott bedoeuxe ef uss me idorg aa soy ,beriesh od tigia dedt sasaise lo bus [ieded {fe i2iw Jon dguodtis ,ae wats Ns ssw | mies te wirsitele eds * eveloieg. of av tiateq og a2 yloists op . _.etloetitow to wel bettineasit Te - iete005, at GWtosd ine ts 40 @olva ef? to adseqa swivel’ erode .taxtt | .wgittsg ai selques to moisouttanco edt to siseqe ef bas ,(G.ced2 .1 dood) He seo ei | .devteado ed of “qtdenaya" sertinges eri «li qed wi dood) 46 ly eseciiquh 6 ebis one gaidss ,sevisd ond to ysileups sdz eidt yd asem ton @f softisnsiqxve ath whit wot bebeon gated Wal [eiseya on :tedio eft. te : toss Lanett a’ sited si ew? enue ws! ywtsidu yedtar ekit doe ,toetetteb " —s—s'& te ad4ung fenevee off feowted ynomted eldseetys tadd ai aotfsvogord " = a; . ddiw: aoiid te. dremeet3¢ aeiuzet bas Seu; a to Jluset ed¢ 2 deity .gaibfiod _ ¥e dose bas Atgael G3 oF add .dtbiw edd o2 tdgied add to -redso done bas -aadto dese vtiv ssicowiad save #imeq edi eudT " lode ed? of seodi if ent to a104 eit of bas seio dose ot biogse1t00 deum yods xelody adt dtiv s8bau oa of Rihesdvobay | al Bae seater bis — eidd “a Risen: “ig Wical iat + OF ee & ti sredit \vateuse3 to t6tata Inotsas ed bi loud to aoka! ‘i end ode? 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Paganism was overthrown, temples of the Gods fell into ruin and new ones were built no longer.: Religious traditions of paganism were broken and extinguished Ly the victory of Christianity, which likewise caused architectural traditions to pass into oblivion.: Instead of anti- que temples, Christian basilicas were erected, and church architecture was steadily developed in buildings at Ravenna, in domed structures in the Byzantine Smpire, and in the Romanesque and Gothic architecture of the west.. If the theory of proportion be not based on caprice, but on the nature of the case, and of the spirit of the man, on the laws of the Leautiful, then will it appear in these new domaijs also.. No value was placed on the exterior of the basilica, so that we can ex- pect no systematic treatment there. Chief emphasis rests on form and treat-— ment of the interior.: The rule is general, that side aisles must have the same ratio of height to width as the centre aisle. (St.: apolliuare- in-Classe at Ravenna; Cathedral cf Parenzo, Fig..57).. The most import- ant internal effect of the tasilicas depends on the long rows of columns.: These exhibit in ppespective a series of contiwually diminishing simil- ar figures with regularly lessened widths.: Cn this fact is chiefly Las- ed the beauty of the uniform rows of columns.: 64,° parly Christian Centralized buildiugs.: The treatment of centralized structures is of a different nature,’ Al- ready in Roman architecture were the abutments of the dome transformed into a circle of niches.: These are now treated simarly to the principal Space. - It is found in St.: Vitale at Ravenna (Fig.58) that the columns of the niches enclose figures similar to those enclosed by the great peirs Gre wnt nin USS Heats ee nae aeons eae ber of columns in the Bocktf ts Phra AERA py Consiant inp te. ie ie proportion of height of column ee ial di PRS Ae ae TT eT n to +nbercolumni ation. of the stories are 1, gy rbiy ERR aL S2s 1OReR ve to seven.: to gee usual plan of the Byzantine Ried panied by several similar side dones.: For there are sev- while the heights It is scarcely necessary to refer rch, where the main dome is accom— cd at, = jared bodes eS ee. 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Bu | ets. to. Cad ik wiiete bh sabe ai aetdd. evods ebsost ef¢ to soe laxdats i " aes {ied woled dowd» edt “to ebsset ; yrs0s tf oi roa eget cage ,sbsoet?. edd Yo sew leainoy ait d evoda . a itt ‘age: ame Bes # Rerlgas. ed? .@mwyl? penne te ed? emrot ses = i ae rd roe treP ‘ ace y ~g ‘ - 4 re, »; mag ae ‘bee e ee ae ae cars al hie ; , : alone | Sy , : sl: = oe ‘ By e My . 1 a “a ai ’ a i. Dl Tee od ary F: ere? ook eee is ey went pee rat 20 ARCHITECTURAL QOMPOBITION. ° €5.: Romanesque Churches.’ | The harmony in Romanesque churches between center and side aisles, and principal and side apses is merely approximate. The round-arched friens 7 and the low-arched gallery are repetitions of the arch beneath them., like the triglyph-frieze above the colonnade.: Proportions of the stories are frequently fixed by the treatment of the openings.: Thus, where two arch- ed openings are placed atove each arch of an arcade, the upper columns have one-half the height of the lower ones. (Cathedral at Pisa; Cathea- ral at Autun; Church of St.: Saturniic at Toulcuse, Pig. 5%).. The similar- ity of side aisles to center aisle is frequently expressed in the facade.: In St. Zeno at Verona, the portal also repeats the same fornr.: 6@ Gothic Churches.: : ne now enter the domain of the Gothic style. It differs extremely fron the classic styles and completely Lreaks from antique traditions. It part- ly adheres to the older church architecture, but otherwise cevelops a very peculiar nature.’ This is that all large forms are repeated in details or imitated in smaller parts.: Pinnacles, gablets and tlind tracery are repetitions of towers, gables and window tracery. The manner in which these elements spring from the mass of the building corresponds to tree growth, whose tranching and ramifications, even its most delicate twigs, continually repeat a fixed form.’ where this does not cverload the mass- es of the building, examples of simple and clear treatment are to be found. : Thus on the Church of St.’ Elizabeth at Marburg.: (Fig.: 20).- The simple numerical ratios of principal dimensions are first emchasi- zed: height and width of three-aisled interior egual each other; width of middle aisle from center to center of piers is twice the width of side aisles, The plain facade with two towers is effective by its proportions, by the fine appearance of the masses, and invites study of the proport-— ions, : Center lines of buttresses divide width of the facade in proportion of é€: 2: 8. The chief lines dividing the height are accented by foiled bands, which show that height of the tower to base of spire (tell story) is twice the height of nave. The shaft of the tower from cornice of nave to bell story has the ratios of 4: 2: 5 to this and to the Scire.: To this larger form correspond the small towers at angles of iell story.: The opening of the doorway, the wall area containing the portal, and the crntral area of the facade atove this, are figures similar to that of the facade of tbe. church below bell story.: Above the ventral area of the facade, whose large and fich tracery win- dow forms the principal figure, the applied tracery with catels and fin- . Mets diseased eheoet @de 3o awobni«, italb dgbie sted? at ‘on Menee'sti04 of? Yo betrote ods | tengca ; dnsisno¢ svinseonue aw? at ativacs seaean te usiieupe stemixotggs Jsit oe m. " ul , . C@e@%e ett Yo Bat whe sei leas bas segusi Re begogous et Aseoeat wobaiw. iutitueed saom ed? “dvas- Nelode. ‘ods. ob aig etemsges i) es .seyrs{ ett jaezex doddn anonl 3 at eotey. sedge: ak ¥d fem . ete: OBI. mo tesyqs of 2 dud eine hae “edd 10} erewal “gwd diiw. aebeost edd det gation of eovieswmp tisii ei ; Sis os ieee gedd- «sei gn too wlieke eousorg: ow bebivib fue oe aissbedtas faenid RE Sore (ebsos} oti ine eit.od wa fimte id Tabew ai wobaiv egor iiiv esage isténag: ahaa seston i yf leuaisnoo redaio grewor te aeiiess to avid ied serit bas - ore saooes aéitoca oft as detaiaih q ,youtebses griuices as attorborg Goisto oq thlinie ai edaivace ysueed eaodw. ,orisd “a agotsnin eiii .te us selqunxe ei? .s0iteinonenre tiedt to udisievih ed? af bow pte ney to stoning ede 30 ony thwnpart bas evianesxe Jaon eft ebea ot iroah ) ded? wods. ge tietad ai enzo} nieg 36 aoitiveget to ely so soeriions srsbot bas soaseaienes si enoigrogor! -.V 120% qaad ee: _eoanaeisaed aeiietl ai eedowdd rig vase 2sett ¥ive04 didaesor bas ytievido. jbme as of wath aega efobir ee 7 = eat etre! ‘noitewtis bas ‘typos even eleebi sedgo .sheomemmos oases! af aazasio ses 1 wren elizif sud bas. awoes uistgtle .ysinp teas Isoteaeio. ot betootth ses mike _soaKae isnot edd 19 eiwsoatidow edz beosborg aif? to foiietines be as ” tow to elgioaitg Sawory ant edenoa bas. asear8 ed to Studcetidow. eid a a aloetinors tedster: »beiiqge bon bevivet aicga watm aneigieqoiy Le ari, 90h aa _ &4,° ARCHITECTURaL CONSTRUCTION. : a ials is arranged like the spires with their gables and pinnacles atove the f acade.: The high wall spaces of the towers with theif slender win- dows are enclosed by masses at. sides and telow, in proportion to the two windows of the facade beneath them.: Especially effective is the visitle | reduction of masses Ly offsets with increased heights of the stories. . The higher the stories of the bottressees, the more is their width diminished, so that. approximate equality of masses results in two successive portions of the piers.: | | The most Leautiful window tracery is composed of larger and smaller mul lions, which repeat the larger, as the separate parts do the whole. with harmony in principal ideas, the greatest diversity in other parts is re- quired to avoid monotony and produce a pleasing contrast.. The capitals of the little shafts of a Gothic pier are frequently decorated Ly leaves whose mid-ribs or stems bend over, spring from and intersect each other, just like the ribs of vaults above them; this is here given on a small scale, but is to appear on a large one.: vie limit ourselves to noting that.the facades with two towers for the finest cathedrals are subdivided to produce similar rectangles, that the central space with rose window is usually similar to the entire facade, and that heights of stories of towers either continually increase upwards, producing an aspiring tendency, or diminish as the stories become narrow- er, like minarets in Cairo, whose Leauty consists in similar proportions of stories, and in the diversity of their ornamentation. The examples show that Gothic made the most extensive and frequent use of the princi- ple of repetition of main forms in details. Chapter V.° Proportions in Renaissance and kodern architecture, 67, Churches in Italian Renaissance, The Middle ages drew to an end; chivalry and romantic poetry disappear- ed; the great Gothic cathedrals remained unfinished. One of the ereat- est changes in taste commenced. Cther ideals were sought and attention was directed to classical antiquity, slightly known and tut little esteen ed, Admiration of this produced the architecture of the Renaissance, With the architecture of the Greeks and Romans, the ground principle of arch- itectural proportions was again revived and applied. whether architects fiyst employed this in practice and afterwards in theory, or conversely, or {whether it was done with clear understanding or not, the former may beitrue, for it certainly appears in the most beautiful monuments of the Italian Renaissance. The sane elegant proportions appear as in antiguity, rae harmony is no longer : produced by approximation, but is geouetrical- 1 4 a 2 > -, * } exact; in its rich development, Renaissance architecture atfords even SOMOO Ja S83 is it ob nnd. pence er ilies tos bauds coe i RE ebtog + sath 3 pist qeta y1eve Js eovlesmel? trene sq 2 lone die it ates emsa edd beoubotint idozefienuta .eiwtoetidets dowde al _ eit ogitio’ -.32 bas osneto.l -.#2) asleie ebis bre eibbin iot sigied of | Bolotdo to sebscet mo soinomasil oueds esididxe if fesnts otoosd <:(eone syne & ditin sedowdo al -.etewod theds of patbaedxes . 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Ic eee ¥sidou “syet eit: Some te ae se ry i ue ieces bognsri \ilewen aie 2 19dmos yadeolona to dated bas dvbsewd aresas lig it egso en. ei aid? _,gtinege eft to alenogsib dtiw eons 5 T0008 mo ea ,dsbiw wrotiag to eveifiiionin eid of bebbe cais ats gan f09 iisd to | faebrcoo8 ab 410d 2998 [85 iad? att fait Iobass bas Seat ais tat iogied is ieee: : 4 ; - ~ ‘eS ee u a a3 : ; = ig bt ae of Siees ~ Pve ieee = . . ‘ car Cu. : a> a 7 } - 55a © ee oe yn ? Pos tale oa: ARCEITECTURAL COMPCSITION,: of the two lower stories terminates with a belt-course, which with the course of ashlar next beneath, occupies one-eight part of the height of the story. Corresponding to this and crowning all three stories, the en- tablature has three times the height of a belt course, and with its frieze is one-cight of the total height.: The same is true of the Piccolomini Palace at Siena.: On the Géndi Palace at Florence, the lower story is char- acterized as a substructure by a bolder rustication, and the entablature is made in proportion to the two upper stories by having twice the height of a telt—course.’ This is also the subdivision of most Roman palaces. Y The string-course, that crowns the lower story and marks it a substructure, Lears the same mwoportion to this, as does the entaklature to the remainder of the fa cade (1 to 12 on the Negroni Palace).: The simplicity and decision that distinguish Florentine are;wanting in these facades.; The Farnese Palace is also effective , for it follows the simple division of the Strozzi Pal- ace and ends with an entablature in proportion to the whole as the string- courses and tands are to the separate stories. The entablature has again thrice the ehight of belt-course, if vertical heights are not compared with each other, but actual distances tetween upper and lower edges are taken, the dimensions that would te least fore-shortened in perspective. | 70. architraves of Doors and windows. - Rules for architraves of doors and windows exist, and are to be refer- red to the antique.: When a window opening is higher than wide, an enclos- ing architrave of uniform width is unpleasing.’ This absurdity is more apparent for wide architraves or narrow openings, than for narrow archi- traves or openings wider than high. Architraves of openings having great- er height than width require an extension above or below, or even both,’ to make the external and internal outlines Similar. For rectangylar open- ings wider than high, there is oppurtunity to widen the enclosing frame at the sides (Fig. 68).: As the cell of the antique temple was surround- ed by columns and their entablatures, making the external outline similar to the internal, so is the same true 6or Renaissance windows and portals. | when a simple window architrave rests directly on a string-course, this participates in the treatment of the enclosing member, and there usually exists harmony of inner and outer Outlines. (Window of Massini Palace at Rome). breadth and height of enclosigg members are usually arranged merely in accordance with diagonals of the Opening. This is the case if pilasters or half columns are also added to the architrave of uniform width, as on Bartolini (Fig. 69) and Pandolfini (Fig. 6£) Palaces, etc., in accordance aye spear egos ot oe es i edd tz: ithadaiaes eyedd srw wobr¥ ay to — obew ak png poner eat MOH odd Yo Asbéw ocd butt end eH BHbda ; 2 | qo ef # 3% so (ST. 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M asoms Jet feupe yikenoisiegotg Js bata alenogsib agi ddiv cneeneeall al ri -, fo asvig ets tertit eddie eelqusxd .ewecione odd ai dts ~yaiady acid | » (89 .5f7) steomtst toyota sowol .(SC .git) sted ye ponint iff teow = a to eel qusxe wasneoiY af sealed oftod as Liew ee ,aosiss inay yor - san" pe -abecsh:tuwao: lt pit): simeers 20: cysts eee ee ee 64,° ARCHITECTURAL COMPOSITION. : with the shrines in the Pantheon.: Peruzzi and Vignola generally employ- ed these diagonals for architraves of doorways, although a base like that of the window was there impracticable.: If the breadth of the enclosing nember is one third the width of the door, the lintel with its cap is made one-third the clear height of the doorway (Figs. 71, 72) or if the open- ing of the doorway is twice as high as wide, the height of the lintel is twice the width of the architrave.. 71.: wall Openings and Surfaces.: Proportions of wall surfeces enclosing an opening in the wall are of special importance. Proportions are most clearly shown if round-—arched window openings are enlarged to rectangular form and diagonals are yikes, Bither the diagonals of two adjacent windows intersect telow upper — ing line of wall surfaces (Fig. 73), or they intersect the upper nate of the wall space vertically above sides of adjacent openings. (Fig.: 74) In the first, the wall surface is so divided by the exes of the piers, that it is a proportionally uniform enclosing member; in the second, the entire mass of wall surrounds the opening with proportionally uniform width, The first method is used in the Pitti Palace in Florence (Fig. 78) and with more or less accuracy ty most Roman palaces with predominating wall surfaces, especially Bartolini and Pandolfini Palaces at Florence (Figs. 69 and 70) The second system is retained in Riccardi, Strozzi, Gondi, and Guadigni palaces. (Figs. 75, 79).. If width of the pier equals width of the window, then is the wall atove equal to height of windows (upper story of Strozzi Palace).: If piers are narrower than openings, as on the Guadini Palace, height of the wall above crown of arches is also in the same proportion lower than windows.’ In this example, the first harmony is also produced.: That the plain wall surface between and above windows must have equal widths is to be referred to the first system of harmony and it is true if height of the windows is twice their width (Pitti, Bar- tolini and Pandolfini Palaces), ?@.: Arrangement of Pilasters and Columns. The same conditions are required in subdivision of facades ky orders of pilasters.: Pedestal of the pilaster is most intimately related to ped- estal of the window beside it. They either form two figures similar to each other, or the pilaster order encloses the window at Sides and above in accordance with its diagonals and at proportionally equal distances, thus taking part in the enclosure. Examples of the first are given on Rucellai Palace by Alberti (Fig.- 77), lower story of Farnesia (Fig. 78) and Stoppani Palace, as well as Porto Palace in Vicenza; examples of the other kind, ky upper story of Garnesia (Fig. 7€), court facade of Farnese - witg ie 2 fetes = SS tinan Peay A Mi Pee a AN . z : fiesta. ey gC a ec? j s ; vi : + } " "| « a8 ; e ©. 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Pit | asno8 n® bos evifleois 39. tedsedI no eA. .zebsox viw benidmoo aaau los vo enes ot eeolone bivode siedeelig 10 anarlen) io sieq oft ,asdomw ledqeuias 1S .Bi8- .ofbe isd yd bis issuted yd. aebsot) eyeig. to ukeg es. 46 sw 3ii ea ~liasé a'oibalis to toatie auotmomred. sdv.eub et yoomiusd eidd of (ove ,. 1S ay <(86 : pit) tasmejasiie ebiw iuteosigau uii to eftiga ai. .axasoi’ js sot as ‘golnns ne dtiw aeesd shed to iaeateert 6 ered eved anauloo [fema odd Beaigeeei ce) i: 7 oo. J febteiieagtesing to alet¢aebed of yen ae 8 Sa vege Tw [f6% to sofaivic, st , as _ wal ent ot piiinibeds aetivpet coals alis« to ascetwa io aolaivibdye edt woeqee ‘af sist - ye Lovie eds to-dadd o¢ byoqsettoo feuae géteg to agrot ded? _ teeninotg ebem seostwea [isw edt to aoiviog Isqionitg gedd to ouss ylied ai * going Lise its togno? th bagel: ih lepaaes @k-aidt -,golsetaeusato 10 exis yd ‘ge Ae bagolgae _ileteneg. oh bap pqosusigaes si¢ yd bevaiteso ei $i jaged _ ses ed? to. dnomimgslaqineizg edt gi awoig e718 eelqaexd _.elyis coosol “qidaseca. ai. ae. slowed to eos ist edt -to elisd . (63. gi) eoelsS imia ayes: aongoo -yxev A .eoineY ta ensisd ategad ai itoaved basx to Lisi doua es eolisy avid ,olyas ma wa8q.. [Liew eno si wo30b edé eosig of ai tnon ».igied. est mort aeob gaidsosaicw ec} es Liew ed? to digael sox tte anoigivid to squotg micl awobniw ti .. esbsoat sot evtt ai emsa ed. . quote lertpeo edt ,.subsd te ofigtancd ieb scaled on) .edébiw tnerettih me edt of bas poidsog cisa edd of mitate ei yieta soqqu eft to awobsrin to BY aig of selimie ei sigpoi edd .selqsh te-asneigea no bas ,ebsosk exiias =i *.. to elqmexe as es evien yen soineY ak oissed ned to pheost eft .efode 4 : “488 88 yagi?) siyse eoooxsd eid al nbiasb 8 ea 26 baresetans es: sa10% dova .#100b to aevsel_ edd jaiilensg 1. ™ le fe 4 he: mk, aed eynibisvom yd bebauvorwa stm yedd cas ,4oob aritas edd to Jen? > » (ose tsottey eit tt ileal evetsidots edd to apatbivon edd efsti .eocepfi ni esses edd yileioegqee af | by sted saidmted ab SagnegeerA B39 gnorket 20 ws. eds pas gainexil alisseb to noigivibdind.. . ble co ehal Bie wits atari, eh eet . ; ‘ va . 4 Mitre Res Wesgeres 2! = een! ee ce ee 4 —— Mec at he ast « soneht0e0s ¢ ad. rel shiners: ssanscsueite dgiw anniede: ha re pas ‘y <4 as 85. ARCHITECTURAL COMPOSITION. : Palace (Fig.: 80), and principal story of Ossoli Palace, all ty Peruzzi.: The harmony of the window and the pedestals of pilasters or columns, in geometrical similarity, is carried out Ly liichael Angelo (Palace of the Senators), by Galeasso Alessi, Sansovine, and Palladio, and the princi- ple is oteyed, that the two supports must be of forms as different as pos- sible. Moulded window jambs are contrasted with plain pilasters, and those with half columns, Hermes figures or rusticated columns.’ The early Vene- tian Renaissance also affords beautiful examples (Scuola di 8. Marco). The same proportions also determine the arrangement of pilasters and columns combined with arcades. As on Theater of Marcellus and on Roman triumphal arches, the pair of columns or pilasters should enclose the same figure as the pair of piers (arcades by Peruzzi and ty Palladio, Fig.81, etc.’) To this harmony is due the harmonious effect of Palladio's basil- ica at Vicenza, in spite of its ungraceful wide arrangement (Fig. 82); the small columns have here a treatment of their bases with an analogy to pedestals of principal order. .. ?a.; Division of wall Surfaces, The subdivision of surfaces of walls also requires obedience to the law, that forms of parts must correspojd to that of the whole.’ This is espec- ially true of that principal portion of the wall surfaces made prominent by size or ornamentation.: This is generally found in Fompeian wall paint- ings; it is continued by the Renaissance and is generally employed in the Rococo style.; Examples are shown in the prindipalapartment of the Mas— simi Palace (Fig.:83), halls of the Palace of Caprarola, and in assembly Hall of Grand Council in Doge's Palace at Venice. A very common arrange- ment is to place the door in one wall near an angle, thus taking as much from length of the wall as the wainscoting does from its height. The same is true for facades, if windows form groups or divisions of different widths.’ On Palace del Consiglio at Padua, the central group of windows of the upper story is similar to the main portion and to the entire facade, and on Sapienza at Naples, the loggia is similar to the whole. The facade of San Lazzaro in Venice may serve as an example of a design in the Barocco style (Figs.: 84, 85).- In panelling the leaves of doors, such forms are preferred as corres» to that of the entire door, and they are surrounded by mouldings that im- itate the mouldings of the architrave (Doorway of the Vatican, etc.) 1 is especially the case in Rococo. 74," arrangement in Detail. Subdivision of details likewise obeys the law of analogy. Enclosures of windows with pediments are Structurally treated in accordance with the | ) 168 +‘ Pee slince edt to atte LS8dna, japiith bud edt tc vgoisne $f yd SenSisroHOLE nied tdgted sae Hotsoalorg tells uwieldstcs alsa tea as ici Sats Pts “Myton San td a6o5 ewisldsias 6d¢ ep seati yosn 2d (OS PPPfeb10 wobaiw HF AE g fei etat 94 wobmiw to emis idatae seob i ornine isos od F6ind souls adage Gh 3 32 iss. dniitiobaed to exsigt bas soiazo) -. | +=sidetae nism eft to edad is” debe awobatw ed’ to semis fdesne bas p ae! “bnogse1iso ent * "tbr iSbali? Fo Hoe osne, aeaid idgie ob bone etd ee.) ereii (Sot 2 baa a og :s tts (26 -.529) sec ist ‘Fatlooss a, 0. enoittoqorg aa ieee ‘edd of ehaoqeett00' suds ide sae odd ewsouriaiye ©. ak vote bayor ede et sae OH to surt ylessifkotggs et aid? shsos eid to sobaisues @33 to tnhuied ~ t+ ~ ono e! cebts" ‘etbaiw Sits to tdyted ong a. (Beitosa letevee to asosiso ash oe. Aten eit to fdgied brind-eno 2: ewis [deiqe tes .ebsost fo diated oxides Ps ¢,- 730 Atiw eabsost-a0 -.(omok ts seosisg inoxgsit ‘bes 8713 tod) ews liséne ae to aloenil eds forsnos ew ts lis ias tied ,anauloo to etetaelia to etet a i oe 2 © Fede ta ch miso al to” sel ade sued ton ob eaedi ti ,ewobniw ed? was ae rs ; an : re ; (59 Br feet y | BOLTS 10900 bas eseitiorws .aV' ss Rfomrsd fmt eiisy solleme gaiad of tovsebne os sididxe ogis selitord #08. gf. yebay agitib liom ted edi bas sointes RALaWOTD 8 edT aceite tie te ‘elitorg ody aie be taedet Ord & m107 désened a3 reltt. eft d tis. ser ited pit bae. isev1s7 ~ * (yteridne’ efi a0 nolstog_ 7999 g edt i) eve1ii idaws ef! x Heys Btisg eds egasitts. o¢ bas noistyibdua to eboa sind vol) ipl of tete1g «lon ie ae —twi edt. ABS 329) as fee patdaicimtb Ylisunitace « ai eyez Fidos eds to gun aew ‘eup ition edt ick bette lds tne to bas alstigas to golitoza aeewted grom eet get isaoisrogotg e118 abtied ont to moifssioig bas dd tex _.bedgobs nisge ) eb od avoyolsns al etetas Liq Go gaidoen to coitecdmemanto bas .terido dose etd of baogaeit0s anulos end Be antdeen no eotteacl _.eseitt to aroitstoo - .» dt 10 egeilot edd bas, vexetttedgyigiad eft to cobistnensare test inte Bete, biol st. soles: lutitusé3>" \egstio? yd betrevoo exeitt « of .isitiqes ae ‘O54 ,stasae td; ‘$t7ed lA Yo e1)eb1 ed? ,eonseaeienell asiteneY sities ads @& de «the sidsvoanani ai awoad Llew ets oibsifed to bas slomgtVY to. arebh10 edt petsdaun o1itas af“Besesiqxs soizts1 ot aasi yiiasiugog tiedt ewo bas eno? ie POE? Ph) ‘tonto dope dfiw etisy inesstiib tc yaomtsd gailiavetg of mane . > |, Rote ogoty esse ent ered (78 2°) avosds od? dteened atedmen is lunnk i (} gk tee tito edd th .edinted edd ov eve tideus base eseist edd ob as , cf o¢ i abate alae ai ecidoutsed ‘esiogs? owt end evetiindors els “ot eed nostey to sgted od? ,omsteddesae cited a'elomgtV al .dsbiw of geits as parton Lia & > 2.) oftex & 8t désened eveisidow bas eseizt ent wot: Ate : “TY nmufoo to tyted of evarsidors to adgied to it edt ‘te avosde ont , (86: ar) eiris ide sus ot 66, ° ARCHITECTURAL COMPOSITION.. analogy of the building.: Entablatures of the windows correspond to the main entablature, their projection and height being proportioned by it.: As many times as the entablature goes into height of facade, just as many does entablature of window go into height of the window order (Fig.- 70) Cornice and frieze of Pandolfini Palace go eight times into the total height, and entablatures of the windows repeat all members of the main entabla- ture. and go eight times into height of window order. The correspond- ing proportions on Bartolini Palace (Fig.:69) are 1to §& and 1 to 7. where the ground story is a sulstructure, the entablature corresponds to the height of the remainder, of the facade. This is approximately true of Ror. » 4. Focus man palaces of several stories,: If the height of thé"window’order is-one-~ -. third height of facade, its entablature is one-third height of the main entablature (Sciarra and Negroni Palaces at Rome).- On facades with or- ders of pilasters or columns, their entablatures control the lintels of the windows, if these do not take the place of the main entablature. ( Pig. 78),° 4 75.° Profiles and Decorations.: Profiles also exhibit an endeavor to bring smaller parts into harmony with greater.. The crowning cornice and the bed mouldings under it, to- gether with the frieze beneath form a Broup, repeated in the profile of the architrave (in its upper portion or its entirety). Peruzzi and Vig- nola prefer to follow this mode of subdivision and to arrange the parts of the architrave in a continually diminishing series (Fig. €¢). The har- mony between profiles of capitals and of entablatures in the antique was again adopted.: Height and projection of the bands are proportional to each other, and ornamentation of necking of pilasters is analogous to de- corations of frieze. Rosettes on necking of the column corresrcond to the intermittent ornamentation of the triglyph-frieze, and the foliage of the capital, to a frieze covered by foliage.- Beautiful examples are found in the early Venetian Renaissance, the Orders of Alberti,Bramante, etc.: The Orders of Vignola and of Palladio are well known in innumerable edi- tions and owe their popularity less to ratios expressed in entire numbers, than to prevailing harmony of different parts with each other.’ Annular members beneath the abacus (Flg. 87) have the same proportion to 1t, as do the frieze and architrave to the cornice. At-the offset in the architrave the two fascias harmonize in their equal ratios of depth to wiath.: In Vignola's Doric entablature, the height of geison has to the frieze and architrave beneath it a ratio ( 1: 4.5) similar to that ‘ Citas Core to height of column Sab 4). For Vignola's Ton- Tg.: 88), the abacus of the volutes, the architrave mould- ange ei a ea Mi ae Oo Fe een a eens on jews tdeiee hee Menkes wht tas oak J: par dddaincd e'slomgil a1 -.asdyied isupe ¥leviteles to bas sottoss “veo attosde edges (5 >t) ewieliains edi Yo feet add s10v00 noziey old _ PWweelisiae ai? as ylotsmixorggs bas .(6 ; 1) istiqno eft Ye Lied sft exe ie $SaIO. ef to molatvibive of wbnotxs esi 2id? .f@ - TY aaulod edt of 2i ie “7 eeedd bas afweg somiteth osm babivib at tof avridoses edt _ dektednge a 0 siaemsate. eupaedeté aot telimis to sadei osni bebivibdua ealnekzl sts — ae bes i095 eds at ane’ Lanreesty avouniiaes eit etseget notte a TET tea ee eee ee sh <6 _ S08 | atten 5 | /. .egange teas named ~~ -_, woesidow galadanes edz mi sigioning aida 908 tJ ot yipaeecsn toa ei $f © | ommennenl dots ya besitstosisds af aoupad ianet reint60 enT '.eatyge “leq _Sldearsgez sit 60 -.emoistogotg Ine ne le es asddtd 10 amg? taerettib oe “sointa ~(@8 -.813) siudlebiet to eltsed efs ci. ed-adoitaiell~o3#0 29 sbion 3 BIUOGO tebto-r6e0 ita bos swctniw eiduab asewie! nolitagotq to ysonted ab anedans blo olleitesjosisdo edt fo bas te? af ydiowevib’ eri Ife Asie > Od sew meens pecs tue. flew bus e@wobn iw to ewiet baxestqgeb , dosh ! Pose py Be ih | (i £06 af ) slots os, 2 ae bet eee tig -boted!4 Yo atoomegesg °° | don xis ert Naetiade asaits sotveenp ets “epaeaa tenes sit weivet es YI oy ° | gLivttts? oa om ,wel gedd seieds Yimssio Joa bib boiteg teas to atags 2a at. Oa ,Usiupiins rot eeentiw zi auivetai¥ aa ebizostg mi Bo tide int _.ywéneo dict eis sot {S9EE beth) eonetolt to idvedin’s3 bas Gina] ai eonsesisned of! to tebsu5t oiiiiaeios odd- aR w. = _eidgiliezat yliess iguotds: reams vedtone af sebt gaibse i ne eh? *ntaoasoni" HO yoiqsdS 6 Bi “sixogeoiliba of 60" x10 aid to gota a bas @olyns ai sedio dose of baogseiteo of siviouise edt to efteg eotlupes Bie. Rexti To geail bas ewlgns goidailiseas yi hecissée ad ot ai dotds .2oati ie § to asiegivossh 8 sevig .3.qadd yiY dood anoivan tdneg bas sottoeyif © kit OF bedeutbs ed teum ‘agosde {ik" sabvex edd ddie geibse ryicsh hess irs .908 [84 deiieouh to ebeosi a’ iztedia) ."eenmti leliawy <3 aelgas be ie _ sfistdo to angen « etoleteds #i¢ hasderots’ swesh aelgas bas asnid Pris: pe. | seed ond Yo mitgi” gedd benissdo. eer yse aide 31 .@atol isaoisiogerg gat ire — Sofinen isn edi détw ‘beteisupos yLigeoted? ines. doadiowa doidw ak “ee i shoiteq o¢tad eupaid edd to sebt tas ad¢ abatt ee sboite9 misbod to eteyeetidonk -.8¢ eet. sasds rsuaoettteen waen, Yo ascsiquedase of aabtnecss wo tostih ew YI ss sos tbo edd dyuords booed ‘bas exptées edd et basot ew tedw miitaoo os Le a te mueswd to bas ) Sui) fink Yo eehsost df actiaes e¥ -.bolveg. isv, sf a x aut at auelygora bas fedso00013 bio itt gt) foam ido’ Us deed tkives al y — 67,° ARCHITECTURAL COMPCSITION.. ing, and the geison of the entablature, are supported by menmkers of ogee section and of relatively equal heights.: In Vignola's Corinthian Order the geison covers the rest of the entatlature (1: 6) as the abacus cov- ers the bell of the capital (1: 6), and approximately as the entabl ature is to the column (1: 5). This law extends te subdivision of the orna- mentation.’ The acanthus leaf is divided into distinct parts and these are likewise subdivided into lotes of similar form.’ Arabesque ornament- ation repeats the continuous leading forms in the interlaced delicate e- . lements.: etc.: 7é. German Renaissance. It is not necessary to trace this principle in the remaining architect- ural styles.: The German Renaissance is characterized by rich combinations of ditferent forms more than ty elegant proportions.’ On the remarkaktle facade of Otto-Heinrichs-ban in the Castle of Heidelburg (FIg.: 89), strict harmony of proportion Letween double windows and pilaster-order occurs, with all its diversity in form, and on the characteristic old Rathans in aurich, depressed forms of windows and wall surfaces harmonize with, the, asses whole ( Fig.: 90).: , ) 77,° Statements of alberti.: If we review the Renaissance, the question arises, whether the archi- tects of that period did not clearly state that law, so faithfully obey- ed in practice.: As Vitruvius is witness for antiquity, so is Leo Battis- ta Alberti of Florence (died 1272) for the 15th century.: This architect was the scientific founder of the Renaissance in Italy and expressed the leading idea in another manner, thfough easily intelligble.: The begin- ning of his work "De Re Edificatoria" is a chapter on "Lineamenta".: This reguires parts of the structure to correspond to each other in angles and lines, which is to be attained by establishing angles and lines of fixed direction and combinations.: Book VI, Chap.f, gives a descripticn of @ good design ending with the words: "All things must be adjusted to fix- ed angles ty parallel lines".. (alterti's facade of Rucellai Palace, Fig.. 77),- Lines and angles drawn Leforehand are therefore a means of obtain- ing proportional forms,. In this way was obtained that "Rythm of the mass- es," in which Burckhardt, most thoroughly acquainted with the Renaissance finds the art idea of the Cinque Cento period.: 78,: architecture of Modern Period.. If we direct our attention to masterpieces of modern architecture, these also confirm what we found in the Antique and traced through the Medi ae- , val period,- We mention the facades of Main Guard-House and of Museum at Berlin, both ty Schinkel (Fig.: 91), Old Pinacothek and Propyleum in Mun- 5 hs convenes aes baie x et pay hs eve Gut elquexe fest edd at tobe sheen of eid to. aired wag oft shode te oa Symerooh edt bab oo8ti0q coment want nh sels (Letenoy 08 bre doobive o# ef olug to (thre lia 18 of gnibrooom hebivibdve eww eebsogt/ | ODE i vdd ‘Yo noktiog badcent yldokt & 16 ewok $20¢ ‘edi 6 Of abtojeerroe wobtiw a to wick odd m9. gatas ai ‘anilee? . fopvieo 6 Yi ote’ aynoles tt Aoidw is nebiw shea 818: abrie ‘edd 20 eninvan ¢.ote age iveny lone 1a £098 elt pogeq-eltie to dobtesnemanto af 19 ee eee ae oa "304 ortine eis to Jedd of cet hmte “enatsroaer a ‘prttoowe' to ponss (ta TV-red gd, _ovitosqate? -.8T ai boksnx ‘evisosqess siaai Siti iaiibaed 6 to eaotadentd ef? a 4 Esotaeayn bexkt Syolersd? «.weiv to Mioy edd ot anthbaooos eves , “tees od teved aso fostdo eft to anotanentbh esaqe oerdt [le neewsed | O'TIXE ‘fou at. gaibiiud @ to yftomisd eid davod? ayo edt yd epde ge. -f few es eriseegeieq sud ,enols andivoaiorg Iselitences att. ‘ parent: elqgia co abaoteh qaomted Jad? aot¢gmuass ot ae WY ‘bared to qiizsliain bre vyoleay Yo reeds ee eoiktaoo poate qmon @ at aid) ecaks wety benediodeerdl edd ob tee bath feliews ecod? \eonely feliewsg af so emse edd ak eh, eer? Weiserg at .estatl aicrion mingin yilengs penetzode er hewkgnos ox sixeq to atdyled bie addbiw TE (ehepee ® he ney pr idde yess sdf bits .seoneveliih fseiy seve gem ingorse 78 deeb dotdw .elodw edt of aiweg ot to. ¢tt wisite otemixorqas afliM ene tsodaeto? pode vacated aeeeedaod aed: ‘ohevat oft stelse yttloet me v8 {taougertat fom aonsmotedy + wety srOTt.s)e grades at doide sitio to aolset jevivooge 295 ‘mt bekorde janel eine erdigdvib deoioyey seine “etentiredue BE tofvivager tied? brs” ade dose of Jdgtod pad ak lh iat aa _spobscst bodes sorius se! ylyvorde ng ylatels sce wea oe me, fe ; i “a sansa ERTS Yo ytoed? OR 7 gvidoeqexs: M6 ‘gous fy Ag ane soediies ne Aeaqge van atoatdo Lie sone © owt one ni od ie Sepsis thane: $o yrowdt afgete taLog-baete edt BNR hon wid oo oe Bh aoa exe eaomodeds pwond of few Bitte BAA ine oe | mito @ ideal fwupe Yo eeivea pit iaw a ee Ra ee: NSE y fei: gnigeo toe cunts ¢lieltate bas nekto Haeo baoyet Domece satoatse pease | ia * 6&.° ARCHITECTURAL COMPOSITION, : ich by Klenze (Fig.: 92), leaving an analysis of these buildings to the reader. In the last example, two systems of similarity are to be disting- uished; the upper stories of the towers are treated similarly to the en- trance portico, and the doorways are analgous to the entire towers.: The rule is so evident and so general, that in innumerable modern residences, facades are subdivided according to similarity of forms. 4 group of wine dows or a richly treated portion of the facade usually repeats the main form, the form of a window corresponds to the portion of the tacade to which it Lelongs, etce.: By a correct feeling, in framing copper plate en- gravings, etc. margins on the ends are made wider than those on the sid- es, or in ornamentation of title-pages, the decoration encloses a form Similar to that of the entire page.: Chapter VI. Influence of Perspective upon Proportions. 79,° Perspective. The dimensions of a tuilding change their respective ratios in perspec- tive according to the point of view.: Therefore fixed numerical ratios between all three space dimensions of the object can never be determined at once by the eye, though the harmony of a building is not expressed in its geometrical projections alone, but perspective as well. This oppos- es the assumption that harmony depends on simple numerical ratios and confirms the theory of analogy and similarity of forms.: These also oc- cur in the foreshortened view.: Since this is a comparison of forms, which ,»de in the same or in parallel planes, these parallel dimensions are fore- shortened equally within certain limits. In greater foreshortening of a facade, if widths and heights of parts are compared, the eye no long- er recognizes even great differences, and the perspective view then ex- hibits approximate similarity of the parts to the whole, which does not in reality exist.: The facade then possesses harmony when foreshortened, which is wanting in a front view, a phenomenon not infrequently observed. : Vertical divisions are least changed in perspective; ratios of divisions in the height to each other, and their repetition in subordinate members appear most plainly in strongly foreshortened facades. : QO. Theory of Similarity.: : since all objects may appear in perspective, a glance at perspective from the stand-point of the theory of Similarity may be in place.: Two general and well known phenomena are important: 1.; A uniform series of equal intervals changes into a series of con- tinually decreasing intervals, : e.. Eimilar objects, repeated beyond each other and Similarly located, are geometrically similar forms. : e1en0g ei veiw? ‘sottion sd? to yIused oft Staivib ed? sede cepapiy sien évifoegeieq ati Yo desdvod) ade ght: o 2d bsid :'s yletenixorggs BAbSibeI) 10 abotueg BE rote: ditt" japlree «elldo [fa es ‘adm -evereeSony.ows to aadiveales xot ‘viused PAbee UREUAL oe ig SittO8 Few eelues *A°dease8g aisels tus Laeteomucon eons ey Be oredr: cinaiasesii #i beysle ef. Siege smenieoa : om -enil beévass to tiyieate e ae | Youndititeqes « dtiw noitoeered di 'taixe alsyietni faupe bepatinen east: pe — EGSSS GE ‘enotameait go ineoussigdaeda lence a4 moot odd to aofteee eeoto er)! meres try To. qotietns. ens to: Lisd-bedivey s .snauloo asentad esazecq s te teette : a get “Wlimie te ardi¢ieane: ‘saect isdiqe2 eff. gniaogmt erom af ,fowds 6 — . . 06 08 emoned eyed geye wo ted? eldsviseass ei t1 -.beunitaco sts ast a. . »=Rit » Ti seve éedt ,1sfinie ylosen ae semyit isupe biexet of benotave 4 i . 99n9 te ai faeces res @idnt-;eleoa beouber Ul fesitos i¢ ds belascet od ety ix _ beateerve edeteds: en: te [one te bas besinposer 7 .1,anéiiewebianc) faai' ; ' WTO Tse Sinai: ai anoksitocorl = .Id eyes apy) ‘som feun eno sons iseqgs: ke ytinwevib ci besas tines aéfwel « dowe media mag A .“tevayea ect ofa twitwt edexrtene: of iquetie ev tel -.ctaed art ,feaud te neidetint as. ei ewiqluos" -bisa eat soigedieZ aoa teviaw taeaig que etwiss Sinegioal *.amze? tnef{ to mos tasini as al sean aT brs moages «bons iq ai abietie emiten cinegio bea ,atnensle “oitismosy aci!a ie atot % qisnity. ads to soitiseds: s z0 febom s .ase1i to dtro1g edt at yils2 es hs wie @? “iteistogorg.bne yiiteliimie to wsl ads ,atisg Isubivibai ed? ap oe _ @iweqye vhéreupert meve if ‘domed: bivi ax exseqggse: sett eid to atot etl? ve ia ) se% adnela mi moidviveges sid ~.tiwil' ods to 19° “tssl edd Yo mot eds al ae edi bas’ etiavod of yatesetoai: eyiws etecileb Sexit ad? ,déwory mort oi iva beares ef yam guthliad beteiquoo’ eT. sti 320 stelqnos s Bara goed sisp 2 etat aqofeveh: bas wiot leoigyt? & to sue @wexg olodw endl _.metnegio As pnt ‘‘enoiteitey avotesun so%0 @tivides edt no based. at vootis. griase ly & yol‘hogeet tedgons suc ‘« ts aweiv mort eloda: a>: teiegeat. ne grieoqaoo ai esaiemoo bas bain ea? } . hose: od: adisy. edt: to. notiwtes ait aslyete efT | athivefbaste SneteTI£ Bry tn ie ‘ Phas /Tibeen: onomiedgd.bevasqst om yes VAverpert- econ éd3 bas . 16d ee, -ni edd ei yliese:enom adv bus .aenti edt wollad eye edd geob yigaiilin gies _guoddiw axol to wiirtelieie: sie . .betoutsenos egsas [anveetiernt Isated aid? 9008 iasew bas. guoaoronom brge% yisavy,-o1 aetesisaos hat enoiselisy ed of af tagaimob: bas ,Jasténoo: yi. betaemalqyue ed od wef aidt aeziupet oes pten® CT noid suod? 8% ae GNtoo -,nodtzegerg ys benedignetde . -,abeivedbia aeve 10 pit ShF142 oxoe yes giao gi: ARCHITECTURAL CChPCSITION.: The Leauty of the unifrom series is generally based on this property of its perspective appearance, when the divisions are so arranged, that approximately a: b :: b: ¢::d, etc., (Double ratio of New Geometry).: 4ll other series, like those in periods or groups; do not possess this © beauty; for relations of two successive parts are confused in perspecti- ve.: Hence monumental art always prefers a series uniformly continued in a straight or curved line.: 4n important part is played in interiors, where these continued equal intervals exist in connection with a repetition of the cross section of the room in continually lessening dimensions.’ Space effect of a passage between columns, a vaulted hall, or the interior of a church, is more imposing, the further these repetitions of Similar fig- ures are continued.: It is conceivable that our eyes have become so ac- customed to regard equal figures as nearly similar, that even if a fig- ure be repeated at an actually reduced scale, this agreement is at once recognized and an impression of harmony thereby created.: Final Considerations. 61.: Proportions in-Crganic Nature. : “hen such a law is manifested in diversity of appearance, one must seek its basis.: Let us attempt to penetrate further intc the mystery. a pro- minent writer on Esthetics has said: "Sculpture is an imitation of human, and architecture is an imitation of Plant forms." Inorganic nature sup- plies geometrical elements, and organic nature affords in plants, espec- ially in the growth of trees, a model or a repetition of the primary form an the individual parts, the law of similarity and proportion. The en- [@)) tire form of the tree reappears in the branch; it even frequently appears in the form of the leaf or of the fruit.: This repetition in plants re- sults from growth, the first delicate twigs increasing to boughs and the germ becoming a complete organism.’ The completed building may Le termed an organism.: The whole grows out of a typical form and develops into humerous variations, : but another reason for a pleasing effect is based on the activity of the mind and consists in composing an image of the whole from views at different stand-points, The simpler the relation of the parts to each other, and the more frequently they are repeated, the more readily and willingly does the eye follow the lines, and the more easily is the in- ternal intellectual image constructed.: kere similarity of form without variations and contrasts are justly found monotonous and wearisome. This requires this law to be supplemented by contrast, and contrast is to be strengthened by proportion. Con*t.ast without harmony is disturbing and only appears irritating or even ridiculous.: er? Io, ¢neweybut oiverdiies of? Yo trad omen sit jon al iin pjebaes to sudo edd beaad af doidw’ ao t ak neve aescely Hoitw bas ,ysiiaebs eacved Sotinsy doirtw | mydia gsinyooes ef Casgaade bas ydiewvib ett yd ove netasipsart ai Ysommd. tot bedizoaasy exe’ eolvt mliats woe mt fy efft edsngiae of neceaesqxe: beh“ hoitqoomoo Nommao - a be | edt $0 vgolenn os ylqeia et ei toe! aiota: mx: (nontel -.mrot at f 40% 2 105 Fe Fo oly of -.avivwsctV qi“Beveea as .slodw ade o> 8 obam woven yascoiio’s gedayde es to eag saeyiitd.. avtae, to eft Yo egbeiwond edt ,emyds fo aelut eiz-evieddo Yilutesss daum feoq s | fnelet bie {Liw fi $08 Jostidorw as. dow veven Liew ‘stied mob bis! uel Sis pita forte aot? 8: brepy oF baa gnewiteqce I> sawos ed? seot0da of _ 701g ©F tebr0 at . drow fave eainay dotiw nidsiw sieti wor © bemrer ed ; oF ber teu is od vent dokiw p40 Lariat obvedtas vtalves: tedy o¢tuaer soub i tL See | 0s babe Qadeinpad ‘tte ‘eae We dens, 4 Payal ne we tie cath aa meats se, cay a Semen Le peeec tie! 5) ty | Mae vit AURES WEES” 4 {pieces ventas a Sain pues be Beene get) = 85 55. St are ol ee Tie ie a Peet eee res aa er , | istic iy rir’ + | oh Seas peed. Reha iags a ae Put ; Baiiets. \e eu \ . a ‘te 2 a> ; at ' am 4 f i ak A evar * apy 3 et ab ‘ oak 7 hf a | a] ae Se, ‘yee eu ars. by by é ” * ‘ > Tn: ARCHITECTURAL COMP OSITICN.- 82.: Harmony.’ : The esthetic judgement of the eye is satisfied by Similarity in variety.: Is not the same true of the esthetic judgement of the ear? what is rhyne, on which is Lased the charm of modern poetry, but a similarity of sound, which cannot tecome identity, and which pleases even in its complications by its diversity and changes? ie recognize rhyme in architecture as well.: Similar rules are prescribed for harmony in music.: It is everywhere a common conception and expression to designate the beautiful in sound and in form.: Harmony in architecture is simply an analogy of the parts to the whole, as stated ty Vitruvius. No rule of art compensates for lack of genius. Diligent use of the rhyming dictionary never made a poet; but a poet must carefully observe the rules of rhyme.: Thus, knowledge of the law laid down here will never make an architect. But it will aid talent to shorten the course of experiment and to guard it from error. It may be termed a proper limit within which genius must work, in order to pro duce results that satisfy esthetic feeling and which may be justified to an inquiring mind.- is Ae hid hoy > ry eee ses! & ’ , i Let veh \ é vu i ty x " ‘ , , lt } ee Pag as pps lige. ea , , rt Aeys DMAGHTOE SHE WO MOTARA ATL uOLatvrd i a bb atoalit wearaunin’ toate Se ae , ts toneP 86: | ade ~rosat no sant ed taum cae rig ded 1 note by it al dwoda: eer tf yr) 8 lor etemigad émon oft eved. yea diod salt | qpath Lind ens to ma bie yD las Sie 6d tonisg yout igiaed Oat to. abebs sank Ong al * tad TO sose ot nals rae yest eee ylisinem saum ad \sebl aid aineaqiqyt,. : te lia ai suaeiit he tg tsqed i a = bain ai agen. Ieteaey amis dtit ..e.dounes. gritag edt Yo seat lagtoa tq - |. sedoteda ed exédw ,baia eid to gode xxqw wads begod yriwach efd eedsn ef Bas uh ie ~ts.,goltsvele bas malg at yaibliud ef to apiago ity Bead | ihom ers mz POC ttetab ata lg 200Lt aa wtbelang betelquos edt ai te Braybosite ob iekeed Be 2s eo laque® yods, wyatblind ed? to. Modeivibdue (scwdins eiy dag Grol edt exte 7 bas Isnsetxe edd sididxe doidw ,enottosa bos BHOh: fave te awety ode Pavan “Wid anibecetq edT -.dteq al notteuttaneo edz bas APWioesisow Lanvin a ie a “sattblind edd to myteeb one gait loutaco solgtoninzg eit eatadnos. poked © cee, x ‘Rotjoennoo aif bas tneaegnoiw oinepio ef! a1 seviouasde taetiasm sotdw- ae iszeneg eae galtebianon sot wetv to atniog edT, | .adued @fersaer ett to Sor, - theente “. Of Wor ots aeteise) gotbasl.att haunt @i fotiw ao ,ahinet eee ihe ae Agiaed 40% ATL resaed0 RE in) Bair ok 20h ROT ee | Tete 9 ede sainuiies anibiind od ts soasdroque bas egogimg dT aes to. ‘tedauar adt ,bevebianos vest? a9 taum eagdT edneoeringst soe 98 A - aabb Lind odd: ‘so? Mette to ebes esiodo hae ‘sDexit ed anchegeaih itedy bus i, ne c ale’ Yana afhemetiupes Isaoe re to. bre ebeen iscol ialeeqa tc duemsiade 4 . enolingiail bebbs om ssh esedd of .otutourte ons atlcpieah ehacets oa pi) “vauiteiatt bas Migoursesoo lo abou edt yléanupett ,ariblind 402 yanom te ¢ iaiy a. ulisvay eis enoitibnos dove [fh ote ettegotiages vroreiate Bie dake! BW jest tgideb ede to ated tng ed} w10T, bas quanagorg's, mE bee bignes Abe | berebtanos od ot wéniog Lis to sent welo s nietde of ywaaeoon ato oi. ie ae Ht Salata sZo1g edt mort bea into ad mob Lee Y1ey feo aia? ga isasumoo grote _ wteety duow edt to seeoowa odd -dguod! avidoeieb el lereney ai fotin .doote 00 ataor ayew is getblind ens 49% Udelidianogead . * etae qoyu abisdeb vi Bluode oi om sis’ e a ¢2 tt encid eid Baveiost od dine tae tidots et) cia od dud .oumbyjotg eds gaiweqaty ci fesq ex8d Od Yovesbas oxcterers m@ib tuo datos qm od dedf oe ,enolsibaco edt to egbetwon ds taelo giside prey Ylyeqotg blvode eth eimecsalgpe ear evonges hae egolds aucegegas vhs aed ed ylno- [Liw moksengleer efi “beset ed ‘og seoneupesrd: “mod¥ Wammki ” * nclacnmal ed fis - sometEe: eanes}O83 any a Lisi utube ode nariw hed? v j Me ca i ARCHITECTURAL COMPOSITION.. GIVISION I1I.: DESIGN OF THE BUILDING. : by Professor Heinrich wagner.: _83,.: General.: It was shown in Division I that external form must be based on inter- nal organism of the building, that both may have the most intimate rela- tion to each other.: In the primary ideas of the design, they cannot be separated.’ When the artist represents his idea, he must mentally see the principal lines of the entire structure. With this general image in mind, he makes the drawing board the work shop of his mind, where he sketches in its main lines the design of the building in plan and elevation, af- terwards embodying it in the completed project.: The floor plans deter- mine the form and the internal subdivision of the building; they supple- ment the views, elevations, and sections, which exhibit the external and internal architecture, and the construction in part.: The preceding Div- ision contains the principles controlling the design of the building, which manifest themselves in the organic arrangement and the connection of its separate parts.’ The points of view for considering the general design, on which is: based its.leading features, are now to be stated.: Chapter 1.: Data for Design.: 64,.: Programme.: The purpose and importance of the building determine the general and space requirements.: These must be first considered, the number of rooms and their dimensions be fixed, and choice made of site for the building. 4A statement of special local needs and of personal requirements must al- so precede designing the structure. To these data are added limitations of money for building, frequently the mode of constructicm and finishing, legal and statutory requirements, etc. All such conditions are usually comprised in a programme and form the primary data of the design. : It is necessary to obtain a clear idea of all points to ke considered before commencing.’ This can very seldom be obtained from the programme alone, which is generally defective,though the success of the work great- ly depends upon this.’ Responsibility for the building always rests on the architect, and he recieves the blame if it be a failure. ke should therefore endeavor to take part in preparing the programme. but he must obtain clear knowledge of the conditions, so that he may point out dis- advantageous things and improve the requirements; he should properly guard himself from consequences to be feared.: His resignation will only be ten- tered when the requirements of the programme cannot at all te harmonized « an iueoa “ewéotate eft tot pis 0 inaoites 3 Adin at 10008 ‘nt beunerse od sie tenure ti ‘SOgtg Atl of betgsbs ylinew Pe Git cx. temo ed? -.tE mwe to viaquooo of ote ‘odw esodt ic aedaiw ed? eins bis. aotelv ald of bisq ed of ai noltnetie evotewsis bas ynthtind ri. ‘ME bseoowe ylisues flin toetidors” Ssoneiteqxe edd to Litda ed? -.enoke ae: gon ed eonen{tai ain 32 , eames eace Hi agisivoittib ede 3eivioa yizeqorg , f -O1g edt gdionegltat arotest seed tT: _isitine nedt evomar of tretoftica 2 nedt bos ,syctblivd to ebaid foe Tt Lib aid sat yino nevis ed aso samsTy eed evitooies BS 9% aldensiiuoet ened? asoitedaavorio oc anibtoode (Loren rein: ‘AS Yo Soneselaes of? -.betate ylbiaia ood ed of mad? tot as 5 SuaBy God 33 Breit isaatiad edt Raises tos et eldgeneceitn i esoietedt ai Igedide imepell ctas hea 7. edneme tings! eoaqge .a@ Este yodT box? yltssrroont yLleuas ons asidoxg ond 10 ainewextsper eo8qé ‘ f ae ~egbut, efos{ ylisveuw T80K9 qd : bedsws ‘tee 7879 es bedstiebay asdte aie A - sbiivd edt eabeea eit dev 2098 Execs ud beitiespos Udoetisy ti aeve inem | Yeu Aolaestoie edz to sgbalwoux aledit dtiw ancets 4 Afiist of ab wat Re i «blind betelquoa ent ution of ting tud gh insab a bas fersbay ot ‘elds ‘od a oe amooy ode dedd anevessih neds reso add ons vise qgs ative’ ati {fiw gal Picts eg chet) fl Baoiacen ib bts tedava tied? dusond SHSM 90d 19 “ege L ood Sts _Brogses202, Yon cb sacuegce rs bag eoneupen iiels ssdé bas ,wid yd sedizoa inl Sade tae Bae anotsetoeagxe mG aif OF son patho ond to anottibceg ena ot ch ee jbevree ed 0! enogiug edgy yd Sexi? ylieido ess edneaetiang eesd? : ae ce ate haial Boog 8 ed oF ti git iaeen ,ldeiisva veroa edt 19 bare eh qoddag4 vont - ; ibe 7 ‘erotereds f enna Tyo" end 26 easel tat tie sfT pine lsotzonses € sit pas tee .eonsltogmi Jsesy ul | ‘hafblivd to e2ig -.38 wtebierco uliseyery ton ses to $38 otis s to eolods ads ai asitivotttid “yfines etom ed seoqug edt toi ydilidsiise to meitaeup edt “tt meve be | Bs ge e918. snclgnexrh wisyagoen ‘edt 267 - EMdétthage redto ytim msdd bebfosb- oe a it ounsapheon onimexe od et tragxe tm to wen edt bedeaivae~iebny cette es “goo! ast ‘agin gonsbioess ai bre Jisjeb ni bas fevemen al edia gitiblivd oy '§Mivig to (tilidiewog edd ashiaego of .wacignesth hme sexe ,etwina mois my 1) waitttetde to ottapet ¢ a antgts tie ‘to Moisavol fit ws ath lied edz ee0 isdso gol llitive q0t 2s ilew ea .tie to asedeq eet? bas gritdpel boog > E Tet “amo seen eaggt _-ftotaa0 bas ,gitied~ilew ,ifisad 26% ascsquooo ef? fo, ; | 12 ue eis to eaiaio eds sbiosb so atts pelea dows to aan om St ae ’ eee a J * . o> . d f: ie ao ‘ fa: i P - ae bipear phoee2 ise wa indi is e's, b ohia ting pS Ot Rep ete ae — tie.” ARCHITECTURAL COMPOSITION. : with a rational design for the structure.: Even if the building be pri- narily adepted to its purpose, it must also be arranged in accordance with the wishes of those who are to occupy or own it.: The owner pays for the pbuilding, and therefore attention is to be paid to his wishes and deci- sions.: The skill of the experienced architect wili usually succeed in properly solving the difficulties in some manner, if his influence be not sufficient to remove them entirely.” These factors influencing the pro- gramme can be given only for the different kinds of buildings, and then merely according to circumstances.’ These requirements are as defective if too vague as for them to be too rigidly stated.: The assistance of an intzlligent architect is therefore indispensable in arranging the prdogram.: 85.: Space Requirements.: Space requirements of the problem are usually incorrectly fixed.: They are often underrated as over estimated.’ The owner usually lacks judge- ment even if perfectly acquainted by experience with the needs the kuiid- ing is to fulfil. Persons with little knowledge of the profession may be able to understand a drawing, but only in using the completed build- ing will its faults appear, and the owner then discovers that the rooms are too large or too small, though their number and dimensions were pre- scribed by him, and that their sequence and arrangement do not correspond to the conditions of the problem, nor to his own expectations and wish- | es.' These requirements are chiefly fixed by the purpose to be served. They further depend on the money available, assuming it to be a sood and economical design.: Their influence on the programme is therefore of great importance.’ 8é,: site of Building.: Difficulties in the choice of a site are often not properly consider- ed, even if the question of suitability for the purpose be more easily decided than many other conditions.: Yet the necessary dimensions are often under-estimated.. The duty of an expert is to examine the proposed building site in general and in detail, and in accordance with its loca- tion, nature, area and dimensions, to consider the possibility of giving the building a fit location, of enlarging it if required, of obtaining good lighting and free access of air, as well as for fulfilling other needs of the occupants for health, well-being, and comfort.: These questions are often of such importance that they decide the choive of site.: But for other buildings, the point of view may Le of an esthetic nature, re- quiring from the artistic stand-point that the external architecture may produce a striking, graceful or monumental effect.- a | ots qe8 of uibtidt bas ,eldiaeaq so eagson yese es Yo ti anivew dite is Yo Beonedruseth hae slteud wort ae bie galon moti tat fh ‘ | re abot ! ares; ik 1A Viana | :.asbneu tat eer, “38 f at aoe "0 ae outer ast oF. paniunten ak Pere ode to not teinexe fe ef daze tak Yo. ei tilitedog ‘bas hawggy edt af tatew To ecnelaixe ,aoltveutia Agi 7. ‘ i t eve, 4 , i ety Licy angen edd bie seeongtiol bite tedew jetigge wedat od of anotivsceng ‘TAsO hae an ed taus ‘gbaiw Briligvery to asoetio erg. (etoie ea eis. no bos allid ao es odds %d bie sdidwee eis ys gridsie a ‘Yo! Wt Lid taeog ai? |: dhoieae belies va Die patie: eth | fe 3 Wie “beteb laps 62 cals teva soleup Baa: ie ee . gntb lied 49 Jooga ‘bas eosi? -.98 fo vlog beads no baageb: itinad exutoutie edd: to foeqas bas roitace | tbLind ond oY wolstetnetto ao ps Tlew as agatbavorwe brs. deotaun and ae nam | fizeteso ca Taseaey | at bonotinen ered af dud ,epntolind te “Ui edarnenda ledmewiidoa bus araseer as Jeu, ,aidetovet teow ai fooltuo nige 2) yftta edt to Seed aor? ‘x0 Tua sane eno temaue ‘yttavh teds hatosido ef tf ie (seaiianua to dost tot Bebiove od ot ef emsa0gKe ated tion Udgetth ofinw Wy Lbs ida eg Ylinues eidisibaes fanol tedJo bas #gcab lind tases tbs hes ateease _etedw axova eldeteterg oatwredto. Era gat Lind odd to floddsool edd saex nest cage Sigs roy “sve i ee i MEbnooss | ‘isto as seed: doie olaaliek SAH Se pr bee tones ‘to betes ‘bas atil end OF ,wabikedd of gatbiivd edt to yninoge elt _sttete veviol atl xo yathifod eft x04 charg edd ebioeh Iliw do tlw Hoi lab meget ke Ai. “be thems ad nett taut tedsw to som: sgonietb-10t béetgobs ed of — elinx tts insagede ‘bas got to (Ait ye xen ‘te stowed gagm sno: bavotg wol an a a sor bejus%s yt int ed, tii inftog aldT -.adieg att Io saoe tO | th ised vilerenes Agu oid Le dooitue red Fu O8 qitoexth ‘of 39 Lda vac os Ay | ca. sa"1WO0 odie odd to yt bag etude ‘edt eldetiseb eonidance iwiena |e watiwey, dauooes. ofnt eles of jasd ad nadto. bivow tf ,boed ett 9: aed sito Tih of yliosxe gaibtiid odd gaios 3 oon ud: Sao; Jsebigno bite. ascneteto%4 ; Eeaeile Vad ot as EO Ao aaie sud, .BeRgMes: ede. fo eiiiog tekde 9% | | tmeminon anol eeorepitad ob ore Sone 73,° ARCHITECTURAL COMPCSITION.: - . We, Other questions are not technical, concern the suitability of the build- ing, but are obly indicated here.: First are convenient roads for access to the grounds, connection with streets and waterways, and secondly is the opening of the building to business, to the life and traffic of a great ity, making it of as easy access as possible, and thirdly, to separate it far from noise and manufactories, from bustle and disturbances of all kinds. ' . 87,° Local Influences.: First is an examination of the site in reference to its nature, low or high situation, existence of water in the ground and possibility of inun- dation, which will decide the grade for the building or its lower story, and other precautions to Le taken against water and dampness, and the means to be adopted for drainage.: Lack of water must often be remedied.: In low ground one must beware of marshy earth, of fog and stagnant air, while on hills and on the sea shore, the effects of prevailing winds must be guarded against.- The possibility of a sinking of the earth and of earth- quakes must also be considered, 88.: Place and Apect of Building.: Location and aspect of the structure partly depend on these, partly on the outlook and surroundings, as well as on orientation for the building or some of its parts.’ This point will be fully treated for certain kinds of buildings, but is here mentioned in general. An eastern or southeas- tern outlook is most favorable, just as western and southwestern exposures are unsuitable. To directly southern outlook, although generally healthy, it is objected that during summer one must suffer from heat of the sun, while directly northern exposure is to be avoided for lack of sunshine, though sometimes desirable. The nature and form of the site, course of streets and adjacent buildings, and other local conditions usually pre- vent the location of the building as otherwise preferable. Even where one has a free hand, it would often be best to take into account various preferences and considerations by not facing the building exactly to the chief points of the compass, but making such deviation as to make clima- tic influences less prominent.: 3 89,° ARtistic Treatment.: ‘The degree of artistic treatment to be given to external appearance and to internal finish of the building depends on its purpose and rank, then upon the many at command,: For the first, the principles of treatment in Division I must direct and guide.: Consideration of what is most suitable and effective for works of monumental architecture, for ecclesiastical or ‘secular purposes, or for merely useful buiodings for public or private Ww noleanigsat n6- Jaen Ha a tated | vou eer ode WE Bebalont ‘etaone, pbraawnsd te bots abit to enotsoeatd acer eases Yo rede eit a thats ernie ae.98 avis bas olde a Shs deol tate ont. ig tw face eines to idw amt ad Elin autooh tad? aes: eda to eonge ont ques Sort iiade one .bediads on aba eldeLiars " , ened: -fimigpedo yids ive ve peoule 918 pion urs vases: yore: i" ay _ eid Wt oldstiue ae wt oe .ysinlois edd at istredam goiblivd edd ete? oe ‘poleivid. nk begeta ybaetia esw ¢h bos ,eldsielerg yilaieae3 rk Bodh lied | “to dremdsoett. iwtdéert » bas isitedem gutbiiud sidt te eax Ivtitse gadd fT “GO 9xe deivel e1oa.s asdd goette iutiscaod esom bas wedted 6 aeoubgtg ft an ceroteted? ,egbolwond ofttaitye fee7 tuod sha, leizevam yLlisoo ho emudth _ etudxot boog edt aad eno @tedy dae ybobivorg yiqms o%6 ebavt eredw. nove “Tihew ed bivow gi ,emsoedivots ietmeamunon to dtow s dg kw betsuiin: ef ag tot: tad Be lakon ity edt to fw Ybo ta ed of bae noite tebom ox lw ealovexe og Ot dtiw nohiemics. vebede déiy sd lati.,v¢ioilqmie' dgiw bealet ed teum eeen and wee SoteoF ingen jon od tava seotoies tased ods enedw dadd bas 2809 ie aaa : Ceti fk NAOMt 2 ue ee rhitua to seo? golet® ‘08 Bee 99% 805 i senior add ets vn “uf? gedg exotest tetdo sat Bae af teh ease weqgs eaeiT .jnemtneid oltaitw to setkeh edd bra . oti sfugqmos fait? of aebi0 «1 “$290 to sismitas edd ai abiwwiedts bas oa hol suooxe bre brid wilimis. to agiiblind eb liad ody so}, betiupes aye ) She bas Stasd © as modes ed yon .eeonetamuotic edt webay bedoste ylsagoes ne ahaa ty de00 Yo tinw edd beoubeb 24 yen seeds mont adldted - -{eupe goinuees ene to patbliud 6 Yo saco edt 10 anth Lind ed? to seu bavoty to foot ehae: to foot oldye ieq dpoo odd .y {2oertco etom to jseliose eros 10 ond may aon Oa gon ei 1 .bawot ylrelinie od yaw gaiblind edd to emi lov [a tog 9 | a ‘ed yom dont sete edt torlder sud ,amébitud edt yd hetevoo sexe bavery edd gan ghitoubeh tedie .gaiblivd eit to eacquug isteoeqa edd s0% desi lity. _ éinu edt to alasd eft ebsa ed bivoda iadt ,.o¢@ ,ayawtisse 30998889 fcevures3ib elderebtanco ytev s batt aw bas batd emse edt to ayaiblind tot a et Bitbroses ,I90o Of Boege [ulean to soot etdee to ‘stsxpa teq taco al | ‘oe bas Mi) sce 10 etom ef gnibliud edt to telg to tmemegnatis edt tedtedw es) (1809 odd gitiootte enoivihaos wilto to yidaebaegebat ,tosqnon Meed aed-aceitsqmoo eid? ..agnthlivd to taoo edd gniisqmoo zot eobg BS : cepa dnd Jispinyal ed gon bivoda 22 fa oe k a hen «a0 ; r . Ah s2a6 | / a 74, : ARCHITECTURAL COMPOSITION. : - PUrPRePe, must be left to the judgement and imagination of the architect. - Diréctions of this kind, afterwards usually included in the programme, may be stated only in a very general way with reference to money avail- able, and serve as an approximate limit for the amount of artistic treat- ment. That design will be best, which produces most with the smallest cost.: as available funds are limited, one shall not cramp the space of the building, but rather limit. architectural treatment by avoiding everything unusual. Customary local ideas are almost invariably cheapest.: There- fore the building material in the vicinity, so far as suitable for the building, i-: generally preferable, and it was already stated in Division I thet skilful use of this building material and a truthful treatment of it produces a better and more beautiful effect than a more lavish expen- diture off costly material without real artistic knowledge, Therefore, even where funds are amply provided, and where one has the good fortune to be intrusted with a work of monumental architecture, it would be well to exercise wise moderation and to be mindful of the principla, that rich- ness must be joined with simplicity, light with shade, animation with re- pose, and that where the heart rejoices must be not magnificence, -ut har- mony. 90.: Fixing Cost of Building. The chief factors that fix expenditure are the volume of space required and the degree of artistic treatment.: These appear clearly in the design and afterwards in the estimate of cost. In order to first compute the sum required for the building, buildings of similar kind and execution, recently erected under like circumstances, may be taken a& a basis, and assuming equal heights from these may be deduced the unit of cost per square foot of ground area of the building, or the cost of a building of one, two or more stories; or more correctly, the cost per cubic foot of the total volume of the building may be similarly found. It is not so much the ground area covered by the building, but rather the area that may be utilized for the special purpose of the building, after deducting walls, passages, stairways, etc., that should te made the basis of the unit price for comparing the cost of buildings. This comparison has been made for buildings of the same kind and we find a very considerable difference in cost per square or cubic foot of useful space to occur, according to whether the arrangement of plan of the building is more or less good and compact, independently of other conditions affecting the cost. but it should not be understood that dimensions of important and nec- essary ante rooms and corridors or thickness of walls should be reduced; vf ‘Yo wine? yas Ae Couneesat on ote — pe | re gat Leia ‘Sid af doissolmuagos gemelawvmooat of ae meme ped Pha rn has elquite sied? yd beniaies ed of ,ecage te tootte eet bas ohecs! ed? to solanesxe vetaeny seauec Yileuheug onle ald? «.tnen mat ad ($aRO ond sanetont doidw mesuen Latwioetidere yritosiorg vliseup sabagolevet I6Jted 702 sad? adit tetse1g aezty at bexolimes exsd seaet0 Ss . iy saoo1 te aoidsennoo bas fneusynetie ai efage Yo hind @} witdsoh .eneytere e tent eds dikw betoeanos goied Josteb ald? .gnibited edd to aiweqg Yo bas yt batebiance ed iltw agalog wasdT ewe ys8 Fon ote tered st bem we hoe goo” SAT .badsolbat @:, enaqe ivteey to simu ed? no gatbited edd to tees gataad | eoftq diay adf ynkieqaae vd ooane yoam at bealadse vlgads od yoo bee ema /) -wfotode ai as yatbisud odd at bed-bammeoos encateg to vedaua of ya throogd iy she tag tittle qwq raee ois gtiteqnos yd (ote ,elariaeod ,alocdos jae 3 ) e nl to atlay weise yor Beyolqae ed cela yea Bodtom etd? ode eta) Yo aodtetgn fad ‘fe hae tdtewes ® “athe amibiiud add Ye sao to fudmethbe whaweos otom 6 td }. ae Ste fade 19 gaiin iwoleo. iaieqe edt yf at .sottouber a6 enewiel to vss - +18. eda tiguond Sesto ce ved anidzol{ batelgaon need ami sudeeb efy ved . 3 wehtonane: ae ehldug Gid Klin viberesih deus ofc. euieeatenge lotetoed ides » 3qde tipeet Ode bequbowy ead aidT <.gniblind ory Ge gece hetemkeve ede | a a | ot bere tenets bas fost inom et watt rowed Yiieows eee fauntoeside te , moiag bexi? $e tromecvaeen ef to. ere cau! ¢ cot sont tome Wtorean i aes és 2 . oW8e OF Ilfw hydeeb of) yrivagerg to aon of! Bet eerstind wea aT Pe | q {tke Of Joi? bas \neitoese gnituh teatidew eft y¢ aolekvry we to dad’ , be q : ee ¢ff{sreney ei eidt soY toot ai aeooxe You. sanioge ytiwee@ oved on fg eee y fie asebi Joest09 uieet od oaueoad tedtle .tMeeeit secws ede yd be ae ve ‘eto att mor? eejraio atinieg bas ,ewetw «id Be piIndd. wOLtontenea ait gat 5. ated , ; ae ek} } the ; 0 ee ee ee La Mey ioc) «heh wi ee oe Lae Ton ae - 78.: ARCHITHCIURAL COMPOSITION. : else is its position so uncertain, its influence so linited., This is part- ly due to two things, connected with the usual method of estimating and contracting: - 1.: The German architect is generally required to compute the quanti- ties and the estimate of cost of the building, required betore letting the work to the contractor. 2, The architect and contractor are usually the same person, an aca demically trained architect becoming a contractor, or an artistically gift- ed contractor being also a practicing erchitect,: The first case may have results of a most serious kind, as shown ky cas- es in which architects have become ectuelly liable ty exceeding their pre- liminary estimates,’ If the custom is once established for the architect to prepare the estimete of the cost, a moral duty is laid on him to keep within it, end he must lessen the risk by taking the execution into his own hands. It is certainly true that the confidential relation then ends, which the architect should have as professional agent of the owner, and for the good of the entire profession this is most strongly to te deplor- ed.: The position of the architect becomes perfectly clear and independent, and his authority greater and more important, if he aces erepore the quen- wities and the estimate of the cost as is the cese in England and part- ly in France... In England the first is made by the architectural survey- or, the last teing prepared ty the builder; similar functions being per- formed in Franee by the architecte-verificateur and the entrepreneur.: af their basis and for letting the contract, in England, a specification or accurate description of the work is added to the plans and prepared by the architect, who has to see that this is strictly carried out during his supervision of the work,: His duties are otherwise the seme, but his services are exclusively devoted to his employer., The functions of the contractor and of the architect are not united, being considered incom patible with the authority of the architect.’ Interest in any building contract is condemned in the strongest manner by the entire architectur- al profession, and preparation of the quantities Ly the architect or his partners is otjected to, at least in cities. No prospect now exists in Germany, that we may attain to the fortunate position of our English colleagues. Yet they are just es strictly held to their specifications and to the contract, as we are to our estimate of cost.’ Variations from drawings are never to be entirely avoided; for in new buildings, and. even more in aiterations of Luildings, unforeseen things occur; improvements are suggested,not to ke rejected without de- 4 ee BOWES GAAUTON NL MOMARS A Laem eter? ot he sane te sanenais fie Reeuss aynade deus yxeve bes doom fd" daonan is eviese7 OF ‘neue edt Oo} Jweyyue ct efdselvbs ero? yna to scr oon eet htes wit to 2ace eft to Fie tog med tyodse , 107 we ant Aidsiggyood od eidkasog ef ti .vaw ald¢ af boxdt etiokt mideti ia eetg odt dite saeva hebtibaoe Isvaway yrov whew sgeegsons .geon bedeots ue stoetinow eit OF Qalabewe nt wlumes Ihbw aids. cmistehivac to meseve eaee mite ed? sslvreque bie ayseobd ode oiem of misio treuicari nokedeiasy Les dee agi 10? atend hexl} bes objenevava o tatatue ttle (lke Jad: <, tosfouna edt at eocsttogai ef] «.4enwo edd Yo saoge ieettrdili ‘ce an noktiacg Lagu ob ayewie Dinow.ed god? eetogove: bivow senwé gd? © i eldatuqetbal eaod __setpos tors beoneizegxe bas ivtiivxe @ of ynibLivd etd Jeowsme of sedded etantiee edd of soitibba 2 ih iti ate SIA oS aaah a ea a 3 A 0g ; | sed @onebasqebai ert bas .bexestont of ydorednoslose yrinumios baw etade _ ) @AP feds haadertebay bivow oH i scodiiud. t9te0n ott of 22 teteness oa. edd: tokinooxe ak bas dnettsers oitaidis bre .agieeb ai ankey dares bivew Xue as tien #6... qidadansiow bas glelieseg ots-t> nofelvie we a'toetidets. edt. ud ee. moss ads bat wegeinevbs saedT ,astixe uct emialo seninws ud lewoos a6 eS ,Sbsaxban i sbetweke ots adbotetmi aii fads ayond odv jr0ane edd Yo vel ge re Oainipen aa +, S000idote ett: GP bisq aeiesinsoo rot stegmedgas ee aay 8 ato a8 se | 95008 To Paeassed? «(2 aeFgedd fee” | | Le tesed. 38 th ited s Cah. ti sia od? Gileveney af acox havofone os eowherg of . Se fount Mittin oy xe moor elgate edd did eoneasco erwhovedd of pity edtidecmgede. od tot efand @ amzoT dofitw joenele of? we orion gd de wh tence esp Jom e148. ett titeid oiy to bee voor ed} to ean edt - aad pee Ng he q et iaw feniesxe 64/ bre toot edd exe atisy yriablome-seaqe' ed? .avasq fe pee hoe Aotsivib ed? ,guiltes bne to0lY ed? gried agteg. yathivib-eosge eds “(Liaw {ance txe feciontas eid of Llalloxeg i lave teidel edd yallew olbbie pS she eypition brie enoo! ‘wluotbneqieg ¢lissemeg ete tenitey add doldw od i. ‘,goizoed jasettip ofer gatblited edz ebivil ar ni peti tenoa +o. here Ylegen xi SY eoeqe 8 Beortivpet yisdeugett eidt = Taeented edtoqque ate themretat Otivpes. toot bas yailive Jed? casted dowe I¢ “ts tO sebsanolod cine bee” 16 Sieig ow bety heotelomk we Moug ailow eas oo Ne allow | has’, toot ,yotlieo edt ..eoeqe sbivibave of beyolque cule or sebso 7 a) aaoor Adin 72 1oitedes, edt ftiw eokinetaos 4. tok predotdny agblc#..67s on Ay aa § etidors @Ae So (ise sid ee bob ye’ oi of Oala az eldT .gndbiind Yeu dena Lied s aemiiemon :oiiiessg an eea0 em gate! eeiniedio. ,bewmvod * ) elo od ane ae tedy Oe tamed Pe ee bila Tetary race oe vad. ions O07 ont leit tee Gif cf aywoggs ef ec parol Istidoetitouw edi vine gud = “saw douse giibivib~sos,y im ud ufdaeg bane gnivelone-esege yf bemxot ylided eb: % a Z ~ Vie ARCHITECTURAL COMFOSITION,: triment, and every such change causes an increase of cost.: It is there- fore advisable to suggest to the owner to reserve a certain amount there- for, about ten per cent of the cost of the tuilding, independent of any addition to the estimate. within limits fixed in this way, it is possible to keep within the es- timated cost, exceptigg under very unusual conditions.: Even with the pre- sent system of estimating, this will result in assuring to the architect- ural profession its just claim to make the design and supervise the con- struction, but will also furnish eae systematio and fixed basis for its nat- ural position as confidential agent of the owner.: Its importance in the state and community would thereby Le increased, and its independence te- come indiesputable.: The owner would recognize that he would sliways do better to entrust his building to a skilful and experienced architect, than to transfer it to the master Luilder.: He would understand that the «et ‘work would thereby gain in design end artistic treetment and in execution, by the architect's supervision of the materials and workmanship, as wel] as security against claims for extras, These advantages and the secur- ity of the owner, who knows that his interests are assured, abundantly compensate for commission paid to the architect.: | Chagter ¢,: Treatment of koons,. 9c, General. To produce an enclosed room is generally the aim in erecting a building, we therefore commence with the single room as the sinplest form of the building.’ This is also to te regarded as the cell of the architectural crganism, as the element which forms a basis for the shape of the tuild— ing.. The use of the room and of the building are not here considered, tut only its architectural form, as it appears in the design.’ The room / is partly formed Ly space-enclosing and partly by space-dividing structur- al parts. The space-enclosing parts are the roof and the external walls, the space-dividing rarts Leing the floor and ceiling, the division and niddle walls, the latter usually parallel to the principal external wall, to which the former are generally perpendicular.: Floors and ceilings sut- divide the building into different stories.- This frequently requires a space to be merely enclosed, or sometimes covered, otherwise Leing as open as possitle; sometimes a hall must Le of such extent that ceiling and roof require intermediate supports between its walls, such eas isolated pillars, piers or columns.’ Colonnades or ar- cades are also employed to sundivide space.: The ceiling, roof, and walls are seldom unbroken; for a connection with the exterior cr with vooms am tove or telow, openings are arranged, generally so that they can be clos- ' {BY th Lk MUN dias Gable \6- sass vb ceed ak? died Ge ) broget yas anotioor bas weoslg avivasqzer tiedt dye ke ds% o@ | aia 4? to iagntawes od¢ bas eosca edt to tnan "CRS aan | ee dake Nae ht a O° {tO Lereded atl 88 a ty eet a aro 90) hadi oF tari? ved ew moor edd te tnemteort pa Be i 8 Of FE edtodw bas eins gtienes [tad giotnst oF vonawwter ditw ‘wi , — egakb Lied ed? to tcomele atintolwogqe 6 1g. beveleai oe ae bevebtanda ef her bi ; ‘i agl fo meds .wo01 edd to eau Hobnedat ede ao shnegeh ylimseiag wre? alift ~ @ub ddiw axot ab flaie 39 amos ditw $k pakghdace yLiace to ytilisiesog Pring: “hom Je ae ‘ ; Aad, eM oa A, R ee we’ : Oe 5 ee eget - ‘oe ~ ey | , c bas : ; | fd: ie ARCHITECTURAL COMPOSITION. : ed as desired,: te have to treat of these parts of the building only so fat as upon their respective places and locations may depend the treat- ment of the space and the treatment of the building.: : ae: The Room: §83,: Its General Forn.: In the treatment of the room, we have first to consider its form in gen- eral, with reference to factors influencing this, and whether it is to te considered as an isolated or a space-forming element of the building.: This form primarily depends on the intended use of the room, then on the possibility of easily combining it with rooms of similar form with due regard to shape of the building, and lastly upon the money available and on the results of its shape.: 04,: The Elementary Fora.: The rectangular form possesses most advantages in all respects.: Regard- ed from a purely mathematical standpoint, thé circle among all figures, and the square among all rectangular figures, are those most compact, or those requiring least wall surface to enclose.a given area.’ This advan- tage is only theoretical, since disadvantages generally result and neutra- lize it.: The perimeter of the circle is about 11 per cent less than that of the squere, therefore materially less.: But circular rogms cannot be directly connected.: The construction and the details of windows and doors are less simple; all furniture and furnishing must be made to order at increased cost.: With a alrge radius, these difficulties are lessened or or removed by the slight curvature, but with a small radius, they are in- creased and the circuler type of plan is exceptional for small rooms.; The approximate form of a regular polygon also has many difficulties in com- bination and construction on account of numerous angles and deflections. | The rectangle makes everything nore simple and natural in construction and arrangement; it is therefore the usual and preferred elementary form of a room as a building unit or separate element of the building. (Fig. 98). Oblique angled rooms cannot be avoided when the site is of irreg- ular form, and if variation from the rectangle be not great, it then Le- comes scarcely noticeable (Fig. 94).: It sometimes occurs that even with rectangular ground plan, as on sites at angles of streets, it is permis- sible to arrange the plan about an axis oblique to the external walls, changing a rectangular room into one partially oblique (Fig.:95).. To trans- form a slightly oblique room into a rectangular one, if the irregularity must not appear, the solution in Figs. 96 and 97 may serve; but such ar- rangements are not applicable to ordinary plans on account of the consid- erable expense thereby incurred.. If the variation from the right angle ae ) ONeoUOD AARNE a 7. om adie ae odhiteoog om USE au: esi oh od all WEeey ot eat eldeeor gy gd ee sidapele Soo telegen @ comog lider iu Scant aah: oY Galion Glan iba ) ROE © ie 2 @ git) beniaddo' aif Cea Sis teat? onitt ad: Kerastase. ed! oe ei Sn seat “nal gio Wed at Sor docbe, 2 ee Ohno oes: ait Tt tot. wehioss tyr geily ope Pappy. lew tor ymsnoge Ta oa ASME A. rr Od Itt: satede. ORE guys 6.8K douky (tov wttis ? +h at & Yo- Sodrogors .yorl vee aT yaw toe 8 fot SeMOHSTLE Ane i _ sheisens: Jom ote oel@zberety odd “tho myteeb. etd a: wphtigaedauaed Ebay ‘holds tehadtei oc: OONL. aesied: noxrke mcm lly bs z t- & oF ees “SOL Of. eaedw (SOB) arabe ewes Hol betretecs ad: [hay om Hoe ont ; pee > baie: eetevane rte a0 an pes THe coxa hast! Ot: Na hy s be “fin! gf 67> 23 nba PRE (.etlokIoenth did: ai? swemsetd: oman. otd set vdeo gue® jo5) eA Lau js vied ar ; eee MD TAG e “log “Is luxor: ote SoBe S> gine Voaa: bos veede! ut oe Liane” see. | ‘ y i Semtls: to-enoitiec to bs BOWOO -antoOt favery 16? bonteddin ga? ot hoes Gai . Pr. ; Se CMOOT aedtes hos + ot ba BORD. pussy i x, Lagae ws O i fh Rey ie ~aiy 3 vay uy oaeth v aS 707 to: , moos betsoe!: ¢lierites:« tol. ode .ayodh Ligd: wold be. ae “3 BN #0 900 sandeevnoe Yot 19. msi eAd* do ews ied} oVeROR yb bee does » apg ond: to tetinog isoitdancvensy bre Ta-Lirgad: oe ear: way ite 4b. oPySR ae 3 é‘ ’ Dits-- -Onuesty ifenot? yas Oke: 2f wtat faot Fat : le: cyte . er id ces Fe + veiteus aes ee 4 #9 sOG19949. 10.BOW To boscomoo euhit eteainoryget ob yd beta iged ‘od yn f ) ags ; i 7 L ° ‘ : y re : an J ' ‘ ef na & 4h , Or oF OOP agit hisbetnesetyet oi boditsash reek i -etaansiad 1 tw: eee O* a b Sur cy ie EGY 4 FES ee RA a Wet ke Ck 2 eae oA ae * ag pA Pee age p PO SRS MORNE S| a RE oy a eG pins ely Bigithn. fe Mb on ge alee { ; 2 “Lid ro BO'%S vd ‘Shes i BOB sa teh eeeed de Wt OAD +s ‘i , di aha i baa | atid leit etic hata ’ , 4 : . y : * Tea) ~ a+ x : i - mio HG Y spega fs i a aka B a ake AF hi Pe * me fy te ity LVCS"Y oh {i cs . seued signs ..aibexa ,Reiie tiny (aoe gs .ABxEMHS TO Sr it q béeszebianoo ad gaum dolidw.,.o3¢ .ssass ots VBOOLITOG ,28 4 Gads Baan. ; Sak ave I eciet Pai Mahila 2 EO ll ag ar 5 Oe ieas: Sade ) Miei “te eqyd tsiitons «,eecquy Jetosye ¢ stiri aymwis bar aeinecooue Bh f . pips : nm ; eis a 9 hes riads Bap ee ing ny He ee ie Er bsarersosnt: Bl wf D2. tte: ME mit ae ye : eG ‘Sh & > ee > the fa. ed ial ed et - vara Y 5 Mea uert ei sa ty ee op pipes ti An stn qe “y boat es? doe ~ byarta. wet “aus a ete? vibes ” en REET Ra ee ete ies gon. bluoia' earth: .okielt ee Bi amioh [svaumeeio-ba ® Wi ,ohocs Bem odd ercidred] * .vigtaworarn to » 1iesd 6 po a Ee Win Rete: id hasic a falls eye - tremesvas) Yisdahs Jetes ade. ne hao Eymonds [hemion: Seat a ; fen a aie Ulla ttilaise vows. bash Lak ed: Son ih Lisiin (08 -. by “~ ARCHITECTURAL COMPOSITION. : te considerable, the obliquity is to be limited as far as possible to sub- ordinate rooms, or by interposing suitable forms, a regular and pleasin; treatment may be obtained (Figs.: 96 to 101).: It is still to be considered, when the square is to be preferred to the rectangle.: Economy of wall surface will not decide, for if the rectangle dees not differ very much from a square, the saving will be slight, scarce-— ly i per cent difference for a rectangle having proportions of 2 to 4, Therefore difficulties in the design of the ground plan are not created, where advantages do not result, everything being taken into consideration. : The square form will be preferred, for a tower, (Fig.: 102), where no rea- son exists for giving to room different dimensions on transverse and on principal axes, Lut suggesting the same treatment in both directions. Figs.: 102, 104 are examples. In these and many other cases, the regular poly- gon or circle 1s preferred, or ground forms composed of portions of these figures, whether intended for special purposes, as for audience rooms of “theatres, circus buildings, etc., for a centrally located room, or for one emphasized in some other way on the plan, or for convenient use of an acute or obtuse angle, an angular and unsymmetrical portion of the plan is actually preferable.:. The elliptical form is exceptionally found and may be replaced by an approximate figure composed of arcs of circles, or nO fe of one extended by straight lines. The arrangements first described are represented in Figs. 10 to 109.° by Figs, Oe and 10¢ an idea of the external appearance will easily be formed, creating a conviction that ty solutions derived from the most in- portant conditions of the problem, a characteristic effect may be obtain- ed, a trensition pleasing to the eye, and s combination of the masses of the building and of the members, which would otherwise Le awkwardly con- nected tocether rates \ ys ee Jassie rigs. 107 te 10° exhibit rooms enclosed by ares of cir- oS. pExtension of Rooms, For extension of rooms or annexes, apses, galleries, exedra, angle bays, as mais iar a and elways have a special purpose, another type of forn - gulte appropriate, as in Figs.: 110 to 117, whose effect is increased by contrast with the ordinary form. But for Simple and frequently recpeat- ed rooms, the use of unusual forms is unjustifiable. These should not ae sbp we crigin to mere whim or a desire of notoriety. Therefore the “galaahahat ground forms so commonly employed in the last century (amusement buildings, villas, ete.) should not te imitated, however skilfully the may be combined,’ : ana Pease tara. Beets to ane? 2 bt Lit 008 bee ‘Nanadagsd ati ag , abno gua atti lies Yo wi0% aft Rew dT este: sie 4 badeivgaivaib ef of ylletooyse o% _ pot ai 4 ences ad a0 niten wis ages emit ome ‘afd te toot of? -.t ‘ 495 on to yakeolome -eos ye 18¥e 93}, abaatad yak lies wt 5 Ai , aplien addy tesnset begast3s 83 (6m ai tog Weta! pahonnnes {orphan ial to. bolton eis bas * eeviton ows egeri ¢ of ~ enuees” yitasy dotde 2 yai Lion td Va1et beixsv Saou edt. bets tox aj 0s ots a "ages selon. "0 tot ity atjbe bewitors qleteg als am0% “devia "0 etel weds. gau0aib- Qf Ureaeodenny ai ti - axe? bavogroo’ 10. sigaie | te (itgeq Dy Jt0qai Asioejes. to amoot ai GysHne Woo] iy Leva ‘yeiteodia rad 0% x oie patbhliod ont to. etaerels ofquia to sitoox vinaibts 107. af AE 4 5 feds ‘ed Sto loreal dt! Tite tl viewssea teow ci b ptatied ‘to axol ednog 7 “gatbeeL odd 2m mogl boxes: @d aoa 15 sx0t® ws Logad ba dds bing aiesd . tase ,aOoT sit To endgaaeatb: “$AT aig” oF Das: nogtosa ai déod ,sa0. - rO% 1. ead dgiw sorb 30008 ‘NE banidrezen tatkt eis “tag tod, goes {dvgeh 9 att of yittbtooos ebuswisris . grt tL ed, 4s te sone ftoqel baw or ods to Sug gainego-ysoc9 wood | .awodaliw in toivese i ons bow’ ad ewobais ‘QO Bexs nes# sey: sou ds rv $300] ae ae men ont, jitim-eomsbropes. af bextt ei wow sta ae Adynot ed? | at Rdibxooos puis -Liew lenietee sig nk’ bese i q 64 93 avas., : ngince sisce od nviw eeinsy s9de tsf-ed? -.eexe Is oidwev tied fat ~e45075 eda etwtou ite oft taad’ aegal Sto eat ina Lie a floub alqute 1o yttitww a0 ¢ gt ib lied 26%6 enud? sopud at Lis. sam. wallew ootaiyib awoweaun 50s -enoot Ligaa” ty iw aurce lind | MER. pert Beiusouste iseaisnysos elitw .sexs saci feewsed-ascneieih Lien, é i 7 spat i fot 33.5 xortt uitedd saowted agons. taib, Jeet Kev eved 79 HE AT ARL! o of 18.8 engi ie to agus. moowtel oonsteib jenhs ae nevis * outed ernae. $2 oT” {dae Igey eld aged: JF AS 88 ag 34.55 bas ...9308a 9% aivbs ‘ aaked don 32. yatintL qpady eilesuc atist déb ine inev baked? eaxe p sone Jaib, tafeots 8 bug goto leas eds tot fsa: notseity ie euucas od, oLis’ D eiteut bivow. as dtr biged . edd to 980974. ba2 neds. amobh iw ats Fo’ 36. x2. Ieented fan). Udoreds demiak a paviieiee biiiov goor eds to ytitd.ii edt (4h Ba God awobstiy sgewded evonsca thy edse of bed grav ¢1 yialeiiso bloom $f 5 t to SONS IES Ags Seteietxe ba6 [stwicr eds me ‘odogs7 tree: 26008 oft sok” Ate Sout, : paeahageeiabelendh ‘oad petite et ‘Riven sabi ied ; , Pee é2 ; i Ss iieed nt (Lieioe se bas cies essvin. af Pescheaedd se8) .. err naar ya 2 ha Wer aoe OD 0.” ARCHITECTURAL COMPOSITION, : Ge. Forms of Ceiling. of The form of ceiling depends on its treatment, and the tolilowing cases ere especially to be distinguished. : 1. The roof at the same time forms the ceiling of the rooms; it is then space-enclosing or may be space-dividing, when an upper room exi sts,° é. The ceiling extends free over the entire room, or intermediate sup- ports may Le arranged Letween the walls... To these two motives, and the method of construction connected therewith, ere to Le referred the most varied forms of ceilings, which partly assume plane or curved forms, are partly inclined with uniform or broken slope, ,»@ partly of simple or compound form. It is unnecessary to discuss then further, sincethey seldom occur except in rooms of especial importance, (Div.: &).. For ordinary rooms or simple elements of the building, the hor- izontal form of ceiling is most natural. It will therefore te taken as a basis, and the rectangular form of room be fixed upon as the leading one, voth in section and in plan.. The dimensions of the room, its length, depth, and height, are first determined in accordance with the purpose end importance of the tuilding, afterwards according to its construction and the location of windows, doors, ete., opening out of the room, 27, Length: Listance between axes of wWindows.: The length of the room is fixed in accordance with the number of win- dows to te placed in the external wall and according to distances between their vertical axes. The latter varies with the scale assigned to the tuilding. The more important the structure, the greater is the distance between these axes. Euildings for utility or simple dwellings, especial- ly buildings with small rooms and numerous division walls, naturally have sual] distances between theme axes, while monumental structures frequent— ly have very great distances between them. From 6.2@ to 8.2 ft. may be ziven as least distance Letween axes of wie sepdl, Soe to 1148 ft, oye and cc,O¢ to cé.24 ft.: teins the greatest.: The distance between @.-3s erage, axes indeed very seldom falls outside these linits, it not being advis-— ale to assume a greater scale for the building and a greater distance between axes of the windows than the purpose of the building would justi- ty.. The lighting of the room would sometimes be injured therekty.: but it would certainly be very bad to make distances tetween windows too small, for the necessary repose in the internal and external appearance of the building would te lacking; the subdivisions would be too small, the re- lief too weak, and the general effect not imposing.’ The given average distance of &.20 to 11. 47 ft. will therefore te exceeded in important rrivate residences, and especially in many public buildings, on account of their purpose. (See Table).- | bo al - “ | 483 ous ews ibboiss odiatteb 32 dua ae q 88 wn tion ob aldibinn aod et tt .teddeyad eaclo eysiae aay, ost taoqat ezom baa seonete tb. ts bs eye! uttnietde ydeveds BqvON Pa stitedy ‘ag aheoved stort nt ewobatw eon xo Lows oaggel woot edd sedJeds ‘a : ommnted sods teit: totes ost esmis 9TOR 20 ows. ono Adgnel egetevea efi ow | Hi edt noonted ‘teig ect, {iaw oie ty thyeey asendatds ont ane f ewobn Ey _ toa been doidw .ilaw sokaivibd ed? to nobtesol of) 103 soslq edt ei siot i ies hi , we sth al tisd ont Maat eee) .reks edd to eriasD ely sae Adee (o og a » J ” ey abit strsaeb0e 9% al @tom, bat: widbatiw ot? to ebia ano vs gaetol? | | 7 : eT AM ee td Me | ie | ae ‘le TOC". to rottieo as qey | amoletonth nedvo jdWoor eds es: toiwnenth geet ROyms Jeon od? ar Atqeb ent saeblans Ott gutayieod ni bas .dcinotedy. aonsbyoose fis De gre iia od OF) eta Perils m1ot-otd guidoater atronn edt to digas ede np sofennes sole ped y aH ples “eos to. UtElidiasog sit: ehnagen tieadi dtget of Bite. Stue of stiizes | py i 6h to. iD wans1T Si? not? bebaegais of Sakfieo te TT, yen: yd Ha dsanet “a if "boone: ‘edo (alien Note ivib’ attulos. belstoa: 3 toys ‘MO S389, 10 Toure ” eo digeb qa need weds soewted dengque on etivpey ot gs esoaeiatp dous Je 2 eats gi gertenyi i bortw ties iseisttine usd? bab ivweg: Piueselq ds ooder on 4 7: a ~soibat Eel te ate Ak ged 3 wed). tqeb. lava 26 aadot al beaks ue : + Stluper eds etioes of beyoicae ed feu ‘aoifouttenod ‘to abatien bas ; 8 otek Hotiovytess Jaelasia ets .acte Isweenw to amgor oT gid ay ae alaet Ulleréc0y Tl ‘vellew edt needed eett ed of 26 02 char sity © Studhen edd ‘BE @o6t ay to hoyed ede bie eiiew albaia bas. [snwsxe ef? ied ‘ghee ed Yleomoes feo 4 sqao. ens (emaed aor div heve besiatl yils iy, 0.88 os Sta neve nebles {Oo .8 aobrith gn few tvodd tw fi 8 OF GbR aedty arcs Bs B.S jo drqob epstevs «é gaived ylietemeg ommed nebodw duty. 44 a i Nwe Yisaeupett Atqob ssel jaseoqig tao 101 tretoltiva et aint -.¢t f "eT bextooes od otom (fiw emdot agisi atin agatplind si -ytoo brs a9 ic Pgatadgt i eds TE .moon ory. to. tigted melo inetoltiwe epicned wecie! 9b be VouNnel alk giole sivoos yf )) abasaiel ‘dniite woot edd to 4 odd Ud bexit (linen ab diqeb ofa sud i. aoe ot honohe ti ,etotetedT: Atal niestes: 8 to eos true » f few eliglivvs Noh Res es edt ao ebiosh yew ew mQ07 to. dtach eidiaeoq tasel eit eetin, | \ellsw soteivih ef? dt amoot edd to ex00b goidsennos eit gatestz of to aesoatw 78 Om 04 aed be ivod ta etetxe: eostove (few hetduper ods Jet EL da getty foot. ond oF ‘$8.0: wort toeb:: ene ebteed yinedoitive 4: +i job £3.48 08: $8.9. mont dein jommdtew? regia! ma f gt soob seca 6 elgate i $ capa me atone ee. ae eur ‘ ai," ARCHITECTURAL COMPOSITION. : but if definite reasons permit the arrangement of windows and other op- enings close together, it is then advisable to combine them in pairs or sroups, thereby obtaining large axial distances and more imposin,: effect.’ “hether the room has one, two, or more windows in front, depends on whet h- er its everage length is one, two or more times the axial distance between windows, less the thickness of division wall.: The pier between the win- dows is the place for the location of. the division wall, which need not be exactly it the centre of the pier. Less than the half is often suf ficient at one side of the window and more is often necessary.’ (Figs. ' 44S: 40). 18004). €8,: Depth: Position of Lcors.: The depth is the most important dimension of the room; other dimensions are to be arranged in accordance therewith, and in designing the building, ge therefore commence with the depth of the rcom, selecting the form of ceiling to suit this.: The depth itself depends on the possibility of good lighting by day.: If the ceiling te suspended from the framewak of the roof, or rests on girders, isolated columns, division walls, etc., spaced at such distances as to require no support betweem them, then may depth be taken at pleasure, provided that sufficient natural lighting is also obtained.’ In rooms of unusual depth (Div.6, Chap.4), one of the indica ted methods of construction must Le employed to secure the required depth; but for rooms of unusual size, the simplest construction is to arrange the ceiling so as to be free between the walls.: It generally rests on the external and middle walls, and the depth of the room is then natur- ally limited.: ven with iron beams, the depth can scarcely be made more than 24.8 to 2&2 ft. without using girders, or seldom over 21.2 to 23.0 ft. with wooden beams, generally having an average depth of 16.4 to 19.7 ft.: This is sufficient for ost purposes; less depth frequently suffic- es, and only in buildings with large rooms will more be required.’ The latter require sufficient clear height of the room, if the lighting on- ly occurs along its longer side.: But the depth is primarily fixed by the use of the room, which demands avallatle wall surfaces of a certain length. Therefore, if economy re- quires the least possible depth of room, we may decide on the possibility of so placing the connecting doors of the rooms in the division walls, that the required wall surtace exists at both sides,’ For most purposes it is sufficient, Leside the door from 6.56 to 6.89 feet remain to recieve larger furniture, with from 8.26 to 3,61 ft.: at the other for smaller pieces. : according to whether a single or double door is employed, for which with architrave from 4,2£é to 6.90 ft. is to be allowed, there results a depth . LMORTIAOTIO YAROTOATOMA ga ae nodded me 3: “get HE oe (42-08 BPs go BEE .o29 ah we 22 alee ae _«ivib gf) 7 8q. wottieg Holtw ae abneges Ifew te% to Snort asen gon at s00b - eidt 2 mocion CLP. ota) emt? yeb oft at bosdatt deed o4 of €i Liew voids ; & OSE att Gt ps. tiem adt Yo elbbiw eld wt toa ak rood os ti sud 4 wis76Q98 Aatiged to énonegnatye od! :.beviapoa 6) tt OF.00 of 00.8f bo ae beead et aeotwalt anibeseng oat nova tre {lew od? aot tnedioant at ay me edt \.yuseescen Ti sottoubs+ tihateq yodt deY ,anotegeatb geteve devig to ee “tag BMOOT to acliee 6 Sonate moor @lyata &® s0% baxi? ylotes gud ai diaeb a a ia Pie eka | ,stqeb egaceve ease edd evar vileze avobait Io dnemepastt itdgied | .9¢ » goons baogue geirote ede’ coals ,moot od¢ to tgide edd 103 ours wt ald? sbavol yLliemolesooo yino Roig! Mawegiawv~e aiid af deeid 6 .vylleseos sod ede we eunibhind at eeisuiged rot tdedenos beuteme1 and aeixete to ¢tytell : aid .bextt ae bevokianes od atiuil miss Hidtin yom baw batd emee Sone: ud bexit L[isdeb ai axe , ots awobakw ,atoeb edd ,emot to anotementh © >) =tbto Io eeitose to atdyiold .seu to ebom ait? ud @alwiedto .aem to tdy ter q i BALL madd etoe 10-3 29.6 oF (6.8 dat eeef moblee ew awyuth Lind Vian _ Nip 10 tewol edt ,Toloswdo iedmengaum to aynth fhud 102 Jud) - St OF Sf of: 7 : om | th 08 .83 oF OY .8f to atdgiad goy..;mevin od Yleotese vam atinit 1a ie ae ia Leotde? eed) gone {§ bi igueyag Lf{e ta fon Wey Cbkdaind wringer Klemeupert ylriliiy, stem Ie seqoawe to} agaibitvd gud resbut vliteldo teux eno ,anotenoaih tied? x0% ‘@eto levey edd saibesaxe we etedgid ebem od teun Ji bas ,Adgeb ati yd y (Listosqas 200% To eats yd | “Gear Liew ed. yex owobitw wort foedeth toon et4sg todd oe oi gh tegeeb tod tedw woba iw to qos ed? tedgid ed? .ovitoette otom ed Lliw gine tbe ae P bebiceb Wag af tetve! od? x02 ;towol to wedged fudwomae od [fic wobwin ee) OP amo: geab ai eroteredT -,wobaiw od¢ of éxon eonge ed? to osu eft yi 4 uf ce "7809 84 anilies od? ot esol as hbnesxe bluoda wobaiw one »etdarl [lew ed Z cd ) MWothasquey ete ansed edd Yi ysivolttib seaves eld? -.(£8L°.y29) eidze | stivbsal tseqqs cafe awobatn xt anoitsool dyid dows -.flow gmoxt edz ov | got a0 [ejail evods betivpe: at sosge Liew emoe jeguiblind gaom, 102 olds bs 7 ae els Ratoubet tol , ode .ebsiid paieeiue eveloet oc uninege wobaiw Toe a ee | | “SSL .gf% of gnemegaeyis isveu edt eaovborg eid? «.ddgil or edt to slovel edt dserd of yiiseeosn 6 easo.at eldtadinie, et 2] Se wid? pitaiet: tessety ever tava dotdw yemeon distteo to daveoas ao asl i , seysW goad? Yo wedtiie mi enob vd yea is odd at gated ‘¢bleven sedé MOOt ong. ' ed plbling odd aig ditne — eo 10m aa datat ie dows noltourdaaes Pela sel . 4 ( ome A _ babegms a re nhac ate cole Aa eit at el i SO Os geet eaent” “lOOE a tecasfrowi Yo totost « 2mooy Isuegnu dove to ddyted edd gata te s9tob ay \ amoor 30% besoe [yon ed Yom dofdy ,bevebfanco od of ef anc fiwe.iet oftedjee ak me eeatiqnos eid -,eeirota avounisacs ai begas r16 anoteneath yremibyo 2%, egedeb tot @nolgnemtbh adi %6 oltex edt yo ,tofetal ett to nobtaegory * p@b ai ileeii poor elt mi wenteeds edt to wei Yo vaiog edt. ORedd Banke Ca 9¥te8 Ye m1 giab gtlwol lot ait ',toivedae odd wot mad? etas neve ,sviaio edd moansed heuet ed of eit -itqeh baa Agyiel wredw .geloy etamixorggs as ee ‘soo! deen ted bequenne af. isan bee sAtiliso aid te Pog qe, to avared Bek i »gtilies Baa Re ay | +ieelna avemt [few bug blo og gnébroaea (Se | ahiged ods b\S Og. 6\9 * dg tet aa | iGataed + agnolrPE\c * Ata of #6 bas Aigaol to ro 4 oO Ipdogeib) alr = tigte a ~~ ‘wo [eS 7) 4 roves anaes te a . «basi of yaidyooba z eee. aan at | ~:agntiies Iesnosizxod wit -.b Steet aie ars. hedeb abeeaxe dsgnel 2 .dtgeb = sdgion 7. = tsetse to sng oY fog 7 «otaupes “ot digeb aad evel dyad ay ~egriltes betinsy iw? 3 ?: ain ares 2 deat: mheooxe dtagel tf dd gob aeaaie OV © Inpiow ae ie {OROOE talvetio To [enoyyiog ,etsupa 16d Atgeb = dig lal ene pene esis [evesou fo amoor to} beitibow oe ed Lew eel aaeds <3 . aonb Pivlea ss wee teteety eds .ditqah edz ands name, foum oe eo Yer ody ho Te ie | “anode ~ snoamuate? ot path togas: seat to ¢oos oisype * dtgeb SW = sited “8. slam Wier al ban diaes edi Soqgy baegeb sdyiod ont aden efor tert? edt oH gael odd al .eldevilqgent ylineupert ew 2 bas oe ee o OOlix. eae) | @NOiw gon ei moot ond to tdgiod ods todd ber ingooes yliost109 aad breil 4 * ated Oat cele ted ,deqeh bas deanei ert deiw soite lex ote: tignerd ed os of - ay ltwitlirs. sbgeootg ed fei .gnilieo baa saelt odd to erect end dddw. yoow _ bas. edo of 10 ,dégob ett oF Leupo noor ede to dayton edd avtem of uedw Cesena Staupebsni wider devig blow @ hie |. vatiiyeh of9 eenis Rind et rer tod ditt: d AL riadtd seal tabeand bine: “igo dete got (lems aot i ae * ha tae ‘Leeiniie noe ARCHITECTURAL COMPOSITION. : ‘¢ 124).: a. By extending the room through two stories, whose total height is required,(Fig.: 125).: It must always be remembered, that these arrangements must not-make the construction much more difficult, mor may passage within the building be impeded. : . 100.’ Proportions.: In determining the height of such unusual rooms, a factor of importance in esthetic relations is to be considered, which may te neglected for rooms ,f ordinary dimensions arranged in continuous stories.’ This comprises proportion of its interior, or the ratio of its dimensions.: For deter- mining these, the point of view of the observer in the room itself is de- cisive, even more than for the exterior.: The following data may serve as approximate rules, where length and depth are to be taken between the points of support of the ceiling, and height is measured between floor and ceiling... . 1M According to old and well known rules:- ~ ; _ 1.: Height = 2/3 to 3/4 the depth. , 2. Height = 1/3 (length + depth) 3,: Height = 1/8 (diagonal of rectangle of length and depth).: According to Durand:- 4,. For horizontal ceilings:- Height = depth, if length exceeds depth. Height less than depth for square, polygonal or circular rooms, 5. For vaulted ceilings:- Height = /1/2 times depth, if length exceeds depth. : Height = depth for square, polygonal or circular rooms.’ But these rules will be so modified for rooms off unusual size that the height may be so much less than the depth, the greater the aksclute dimen- sions. : According to Fergusson:- é.: Keight = 1/2 depth + square root of length.. The first rule makes the height depend upon the depth and is very arbi- trary; rules 2, 3, 4, and 5 are frequently inapplicable. In the last two, Durand has correctly recognized that the height of the room is not alone to be brought into relation with its length and depth, tut also into har- mony wibh the form of the floor and ceiling. Yet he proceeds arbitrarily, when he makes the height of the room equal to its depth, or to one and half times the depth.: Fergusson's rule gives rather inadequate height for small rooms with length and breadth less than 1¢,.4 ft., but very suit- * i aes ror ali ; ’ laa 5 wk {OOO etoor | ayiel unves Be yin euit vat ‘ddyded ‘olde fee a 4 ee Soeistitva Yo OW egedt cet bemvace od of ot dyad ayeteve elissiue e 4 ae Sais ows. ae bopaette ed NSE anoot twlings etenibtoiue .9>ns drogmd ; ie ‘.t00Lt etetbemetnt ms getrroeni pis a catego oon ge Asin ‘Poneb rene ni beatuyeteb cals oxs ahoos to waglesonid * a eto te todaun edd rot bese luoleo ailed Wi lareney {080g aiedd 167 be he ‘a to noieauos th eit of bevietet ets nlintob oven. wtileted? beavees anog Bes: ) glatt0ob to enoienomtt fanny ed? 20% bas Bytiblivd te abaid tnewettio edg é Bia A tf ay edd Yo tedana s wort ceded .26001 Y¢ atdyted baw aiigebh ,aeoneda lh - fe bee | ni ets andlenemib otuLlords od? ‘sdneoet ylteon (synth lind tne ftogme 22009 . i i an ty ~uliot eve @9ae0 weddo ni sud .noox edt to eoay edy yd bextt B68so Yao ; is ae te edd to oi giexe fe GA- .oniblind efits eons ticcgas bas dae edt ys beone er ia: Soll ts ieted teb BSRyOl Ost bebbe ei sting ‘Moa hasguo9 Got bolieg xe hfase ke The a stage oo: ak dosdw UM IIeD Atht Yo elbbim oft tuods tLiad .esner a pelts RON i es ‘BOLL tOgO"Ng to "webne1s bas Ysueod ni be Mie lr SOATAIITS 10 Blan? : aaa nt awobn tw 10 | eos leotivey teewled eons sa tb ae Loe oo. a 001 ab moor Yo déged = e bee | toot ai Xtode to digted aselo +: in Meet: Raat ei) . lagtth hud to badd pe. ter 3 | ek ei a te ee en she ci aa | ee kel - footlog = 4 uit 5.8 3.5f 09.3 Je tines} agate ilol arth Pe 6,62 O@.8h Ter 33,8 Sanel .seloe lt | “ft Yo .aei | ie S42 8.0r £08 aa. me Lacth tenet H to ae Bb Yo « dabiw - hb @.0F 8.0F 2.86 &.A *" gélve€ ie tolt nde ted dottbel® 077 Oof aST %.8r 6.8 _ ailied fosod isiined ‘ sabi to tidy =: Noe ae 5.08 38.8" “Phstavel sata BOORK | Jaron hai: bat Ter 58.8 AL29@98 eoFTI0 daod Nal redo é elyal2 biat f.ar bc? Ss.¢ : thwsyseeds ‘ined mivie? | haze? {2 guob BAL b.wt 8.88 out Je ae hoomkes gribfigg 9” imine Tevdned S.8F -S.cr S88 OSE. | Whdies9, loved -atenee mn ‘ bb Hd tsa 8 lad tod O48. #0 5.36 O8.tE .gudeonsd vial, adie ates i. Yo tataort otek. Re fora gHSS gauol wave « ionwest & Clad «20 : in: ae ities 898 eased Yeti nar wibldutatsves, _ oosy led hed a “CBSE erotane rt, .20: x (th beds a Bhs BR te is, 49 bebbs i motte lioo A <.doudbasi 22d¢ to IT] sued gon 60 ,aWobmdw 84,° ARCHITECTURAL COMPOSITION. : able height for large rooms,’ If several large rooms occur in a story, a suitable average height is to be assumed. when these are of sufficient importance, sutordinate smaller rooms may be arranged in two stories by inserting an intermediate floor.: Dimensions of rooms are also determined in accordance with space requir- ed for their purpose, generally being calculated for the number of per- sons assumed therein.: These details are referred to the discussion of the different kinds of buildings, and for the usual dimensions of doors, windows, etc.:;, see Part III of this Handbuch.’ A collection is added of axial distances, depths and heights of rooms, taken from a number of the most important buildings, mostly recent. The absolute dimensions are in many cases fixed by the uses of the room, but in other cases are influ- enced by the rank and importance ofthe building.: As an example of the earlier period for comparison only, is added the Loggia dei Lanzi at Flo- rence, built about the middle of 14th century, which is perhaps unsurpass- ed in beauty and grandeur of proportions. : TABLE OF BUILDINGS. : distance between vertical axes of windows in feet.: it D.: = Depth of room in feet.: H.:= clear height of story in feet.: Kind of Building.: A.’ Dy Hy: Notes.’ ied wae a ci mappa aia SO School, Munich B28 eecrberde. 60) Tapas ‘és: Water peasy, Farm tuildings, Frankfurt F900 12.6 &.2 ---- A.:= width of stazl Res. of H,. Fischer, Vienna, ¢,56 19.7 12.6 13.8 2 t-ws combined. | Res, of H.) wahner, Aix-la-Ch,: 7,55 Qo LvMiaed wht? Prison, Plotz. Berlin 8,20 18.1 10.8 10.8 aA. = width of cell Central hotel, berlin 9,325 19.7 17.4 14.0 Front, Fiedrich bt.. assem, bldg.:, Neustadt 9.88 29.5 19.7 4. = unit of bldg.’ Post Office, Stettin.: 6.82 ° 19.7 Th. acd, , Verein bank, Stuttgardt.: 9.86 20.4 14.1 15.4 ae é ie pees: building School, " 11.0 283 14.4 14.4 Jone ote Rables.- Frank.’ Hotel, Frankft.: 11,20 24.2 19.7 18.2 Central portion.. Main bldg.,Univ.Strasburg.: 11,20 4¢.6 19 4 81,8 Ent.hall & main hall. Court House, Stuttgardt, 11.80 21.5 18.4 15.2 Main front.: Theatre, Riga. : 11,60 29.9 18.8 18.4 &nt.: hall 4 foyer.: Polytech., Berlin, h.Bldg.: 14, 80,427. 9,006 420.6 fore 10 small orf stad. art. Inst.,Frankfort 12,20 148 16.7 16.4 4 £ width of rooms.: -sORETSOROD SAATTOOEON eet daar M ail howe oo pili se Bll “yabthua ‘to baet ib iS t ty ct Selina tiene endl et BME ).0,68 08.82 sanpiy Wiad ¢.tanT | edd igre BA 0,88. 08.38." ", —eamel! easdtea cme feadined s oe tf Or O08 ator, | ‘obeened dead le. tvoo pelisdebs + Boob; “O88 Ob St Ataooebsid todmel & “Vttsda esi! 3. dqsg , t bo TBE 0.85. OF.Er Lied 10: intl yuo std ae ie Fils ‘webed Ax.A huts’ Bar @.08 O.Bt | HEfwed , Istiqeoi 0g Bist ie | snes patti 5.GS mame EAD Ob.Bt ni lted \.0dG AE #fontdi Me Wh! |. Piya: eae Doc BD BAP 2 BE OS.8f werd Liet sWietoos olson ” eo) et OB 86@ . B08) OR ar ou. at lied sedvodeross * gokY Yee “viaorl if SOR 4 9- OF ES? 08 at ~ © ed BTL feyod OO) Si toort atek AE BRE DBE sal fists lohan elses) ie “ewobsiw eiduod,, f.8f 8.ar AAP. 8 4F nilsd,: dued segninteu ae Of, to7 moze A Oth: Were: Bar oo. -oeti) ,adoers 4 a ee ae Penta teh we. 808. G08 | EF Ltr ailied .totieds eat os. fled gugotod. §.he SOF wd Str. t.ttired .etdsedt a rc bate ts nil tts 0.56: 6,08 8.68 8.8, enaeL ,eaagod Pe goaso dood, ase b.Bt 0, Cr ae RY « dbapgi tude Ciesdll eset 4 bt £2 9 Br Bt abtaed ,Woel8 gaigs B98 0458 8.88 oT SE trottasrt .feoied to lior “pt Bat’ 8.06" Ol” abbsea smutesanyd i i i: a eee ee milied yooste4 ninunt bubt DAL BRE BUS 5 Lemmel¥), tenon? «wen Ce Ta ae : + f ated 8.08 8.89 ‘Tae BES “dota anitadoetylo | eS cat's : eae ay ee / : ec m7 Uaochauaabisa ee “ witaeo .obeoet oieul @ 88. “$t8 TSh 8.88 aiixed aetedo ded , fed mie an PBwobrin bequos) OAS 8.08 2.88 8.98 abled ,aveaui ‘bal | 2a “ast Line IettneS GAY. O,0RL OR faotdaeti -.06.') Dd oien Gets Wbnsje «A 8,88 EAS SME 8.38 emmeiV feneats .queaul og ca wddighed tere? | v.5¢ 8.88 ae ie “sonetoli, teagd'b sigaod I ‘ Se ee as in ta | | _stH00f to gateigh. - a ie | ope eigd oa Cie tis i csciiat al esis ered betsexd od i lin ‘tdgEl ome yd gatidgia tstuget “mtb 1990 ted#ie oxedT steer 30, cask Leo pee eine ‘ene 6 ge = AP ihe 5 rr f Petey , ts ey S tdy as FA, Haast i Nie sed VM , ew a en Coho sands agi om ‘ bite he 43,5 - i) hi bse SN. ro hae ee hy Se (tay ; ainda ae ie mh a G5. . ARCHITHOTURAL COMPOSITION. : Kind of Building.: he: Dy’ LO NS LT LS OS TS TE AS AS So eS SY ES HS OE SN CS A I NS EY OO CS SE GE SS SD Ry Os ee a ee he Se et SO ae Hn SY Chen.’ Inst. Univ. Vienna Rathans, Vienna Govt. Bldg.:,, Dantzic Abatt.: & Market Budapesth Library,Univ.: Of Halle Gen. Hospital, Berlin anhalt R.R. Sta. Berlin Harmonic Society, Heilbrau Vict.: Storehouse, berlin Royal Villa, Berg.: Castle Hummelshain, Jena.. Meininger Bauk.',berlin Barracks, Lutec.: abattoir, berlin Theatre, Berlin.: Bourse, Vienna State Library, Stuttgardt.: Spinn Block, Berlin wohler School, Frankfort K.w.. Gymnasium, Berlin Borsig Palace, Berlin. Res.’ Thonet , Vienna.: Polytechnikum, zurich. : Pal. Reichstag, Berlin art. Ind.: Museum, Berlin Main 4.4, St.: Frankfort Museum, Arsenal,Vienna Loggia d'Lanzi, Florence 14, €0 a om on ao Ww Oo ro ss hs Bw =O 27 bP © * Om PSO oa no co 1) b.: Lighting of Rooms. TOs * Natural Lighting.: O> Sy ‘Dm © OO pp & a) = « Q ° ° . oF eS Oo AS ee ww = f& “I : al ist. 2nd. 17.8 19.7 14.5 23.6 16,07 S1,¢ 11.2 ---- i i Ulin 2: Vinge 7,4 e2uA W--- 29,5 14.8 18.4 9.2 8.9 19.7 16, 4 16.0: aieeue ia lg aes Te Be 20.7 --—= 15,4; ,a4.8 29.5 42.0 4¢,4\. 32,5 14, 14.4 £3, 3 16.4 14,4 38.5 20.7 24.0 78.8 24,2 26.5 78.7 A=2 working ples.,: A=unit of kidg. Central Building.: A. =4stalls,: A.=Zbook stacks Berens to story, A.=é beds. : waiting room.,: N.front.: Main front Double windows, : A.=room for 10 men,: &.=1 place.’ Concert hall 2 story.: Ent. nall : hall on main front, : fet chookcases; 4 iers in ug. story. For ist & énd stories. rouped. windows at peut A hen all. A, = 1 schoolroom with AeGehe WiNGOW. Voss ot. front. ist & bapement . Blore 168 together: 4.>= é Windoéws in end story. Central portion. fe & windows in jasement. hain facade, centre. Grouped windows, Central buildiny.: A.’ = 1 stand of arms,: Total height... Natural Lighting by sun light will be treated here, and is introduced through openings in the walls, ceiling, or roof., These either open di- area or OM re ey ag OS Be a A Oey 7 hel 45 Va) ps foe, ‘ ‘ TW A fee pe i i 5 Oa) De i i , i } ’ < athe Prectee: ries Pepreicth it ik an abt. 90 uly us pet ft oo gint ig ate 90g add otal ee ee he pibtedte off beworitod 9280 9 ext odd at ben istdo ae tgif took ual oes a t, ateerta | iigosge edinif s snort’ ‘fadd ‘has soltetye. chad ZakEeu ylerisas act ates Tien ny htse 3 gated aedt. snati <2 php tind ¢aoos tbs xd bea oloue .atiwoo ‘10 ai eviloso. nent’ dotdw dolsal tener” te anne oals om agains qo sae? ae Z __ fiteae trebfea yet sisnifo iwo att resins fertsion pas bigest Jeon of ? Pe i 5 a oe ; si te ray i oe) Li Moat wel ert it te ; } ’ oi wise ae an Do “ight ee aaa San Pilon gamyroatiions Pact" Bs: 5 a, mort isa" asen igs: ebom ‘od fain fiottentte th B. ‘tod abte ae hts toe gab ™ at erizctede bese [2 ud 10° \grobatw dase where to xi teon oF nid ‘at i Pils: at $1 sy NQag & tight somites “dale - ‘aagch bexalf. .2 to0% 70, ayit lied ™ Oey ai Aoi tgool ‘abads. a@.. tei 3 sbsnose zie ize. ‘eded? noktnea of. 1482008 He: DCH moor odd Ot soetrg, sul $9,907, bos fipSanads bas yeilteo 10, finw., BCts«C¥GK gm $yMEMMYLE D, ohox edt mo sbaaded IZ! Y.ysi lees beaissnoo | ae ide WS eonbiegea ak sgt l uaklies ety MAgitoebia | dgtd-to wol ‘wed Jodit Cab aeon “ati l grilteg to ob ts beworted: ee) Joost afi eid? ‘vad dedS 3 ar e6naisL1 oa Ie: iccaptowetiabade bas gptteool cer to AOBB9e evento eat 2. : he et ae jets aes 10 (eS Ol * er, ‘ a ae 4 mise is) : , Rime = : it Aeist-ad of ek ‘omg Jeo ul? fret $dail to eotuoe 8 ae bogebtano oo ad” ot a enor 16 gav-ale ne beves ainenetispel tlamibioces beatin rteb sexe sdnil ee , @gntbltwd ROlsidtiixe ,zeuver fooroe es Hove ,ayaibliud to abi ay yal : akator M9830 Mi neviy.ed [liv ,woor sevig wip osas awahain damodit g. dou ae bifog To ‘sneou vd teitenoo yfielde | RIAASIONS | ‘easdt aiovibash aitt to ee ae Le : ti ie -bonigsxe ed ot OOF edt sl fateg BS ged8f.ad.o% ai seis ‘qeolt edg to. dE of VME tiyiod . pxsadbto, 25 damon Ree mud? od. yderte se. Age eylioegs: ‘got ode SOOt do. Ad ggb. sds, ss Spe 1oott a he: 4 aids yd. bexit sine zo wobotw ‘baa. aM o2. oy. to aitex eds pricy verre wtih qsbau doudBrolt elds 39 senulov evieasooue aL benotinaos od {lin root cgeaviaks 701 ait? ss “doue etemwoveal baw etaeay ots ae lus istamey edT SS oe “Wigil ails tedt woot edt $e tintagee dmebaude dove eacubory aesto oltt. Ne | tot eure ai aid? .ofe ,etedsude eidadt00 +o beswoado éoait ds od saum Purts@ 2p. ‘X@lanedal ae es > call edarebieaied ed:02 ex etodost eapae Ber eaai3 et yiiste seteh al. : iy te dade beieJaeme- 6¢ Of ai ti bis Senet aga i tsets to ai moot eft to ean. : 4 oe egne ga tb “phd tto Sihips off as. ‘isoatemni aodeiningh jXyis to ysisnedae > pt. wobadn wily wees lad beri feiminth brs nedeas ai oagel sonia 2888815" P. ae ‘bag ,agago" Mev is ak gnudoes - oti ete? adat e718 ‘gaeds [fa tS most De eonead tdgil to ylitneuy ys inimteteh 10% ebbdtom eldeiion - ode ,aavegua: ’ yes of bereioey Ulsoouib thighs +. bine ryq eld gnestagen iid , to1naass. of | it $a ven figisd.6 se pd Java wobaiv etd to qo. edd ted? Bas .5e%8 aes fy eke: i. e70n yiqave sit. AO: High insioi ivan eouborsat gouttonoa ee doidw’ 58. - eit anett ylenenpers. °F Ge Aoga ativeat retest edt aMiseasnen, #! fads dik 7 E6.: ARCHITECTURAL COMPOSITION, : rectly into the open air or into a well lighted room above or at one side. - Direct light is obtained in the first case, borrowed in the others,: Stal) dspecially in side light, a distinction must be made between that from the entirely unlimited exterior and that from a limited space , streets or courts, enclosed by adjacent buildings, light then being partly reflects ed.’ These openings are also means of ventilation, which then occurs in the most rapid and natural manner; j in our climate they seldom remain Open, but are mostly closed by sash windows, or by glazed skylights in ceilings or roofs. Glazed doors also sometimes light 4 room. It is on- ly necessary to mention these arrangements, so far as their location in wall or ceiling and the required area of light surface for the room are concerned. Guality of light depends upon the node ,¢ lighting:- 1.: whether low or high side light or ceiling light is provided, : e. fhether this is direct or borrowed, side or gelling light.. The climate, season of year, location and surroundings, also influence intensity of light.: 102,- Glass area, In determining the glass area, these factors are to be considered; the use of the room is of great importance, and it is to be remembered that intensity of light diminishes inversely as the square of the distance in- creases.’ Since light is broken and diminished by glass, the window is to be considered as a source of light, and the distance is to be taken from it. All these are to Le taken into account in given cases, and the light area determined accordingly,’ Requirements based on the use of the room will be mentioned in successive volumes of this Handbuch under dif- ferent kinds of buildings, such as school houses, exhibition buildings, museums, etc.’ Reliable methdds for determining quantity of lizht intro- duced through windows into any given room, will be given in other volumes of this Handbuch. These processes chiefly consist by means of sclid ang- le measurer, in measuring the pyramid of light directly radiated to any point in the room to be examined. : The general rules are unsafe and inaccurate, such as that for lighting rooms of ordinary height, 1/7 to 1/5 of the floor area is to te taken as the glass area, and that the top of the windcw must be at a height above floor equal £/2 the depth of rpom, etc.’ For openings may thtreby be fix- ed, which may sometines introduce insufficient light, or may supply more light than is necessary. The latter results much more frequently than the former, using the ratio of 1/7 to 1/5, and a window orening fixed by this rule citen produces such abundant lighting of the room, that this light must be at times obscured ty curtains, shutters, etc. This is true for ys yi" 5 vy pe ‘gayi! ebia ditad 98 este! ed? soit pon ott at an gery { es yd be - wteaty 6 Je ,toot ads Aguouts bevetses Ylisueu gated nhs Sint owel edd down _.2e5(g to eonaenields os dquowit ylferens, T0017 bh mozt sonsieih te Piisiesiaad acim baa goidqiaibd bas, aldesigany ylietoogae Bi sfyil betosl tsa sbabiove «J e307 dag. qoottbat bae toortd Bat myiiytt “Them od of bisa ad iieuan nao digit goo tib gniveloey emoor yao. | ~oo ly em agot 10 alevnil stedé bam yeacgtwg eidd wot boay ets awobe fit be @i wobniw 16 Luigi doe% ad? 62 0A of paktbtooes ,oldiaseg se dgtd es be ; dibiw iaupe ‘to @10t aedto yoe aody Shyel erom gaiitinda ,eldsviue Jeos “oo eid to 6ep oF gnibiooos bexti al wobaiw [lie Yo gigioh Jy ted bap gnivil o¢ éidsotiaw ylleltoogae 2i tt $5.8 of 36,5 Yo Higied spent edt two doo! bus wobaiw ed? neqo vlineinevne nao elo dens dave st bie aol ,bebsetnt ton ois ened’ Yo tidod ( .o¢@ ,atosixg Bloodless} seuso ae aT _ eLisaivbs ed don binow Lite woi s dove bat , oot off Fdgci oF qlerem sud ‘sta of .alled ab as beod gig eveds senso yaem ni ,sengic ned? ai [ite eT ; eer 324) Jewobaiw Yo seotveto dyworls atdguets aout solvoesorg bro | an redw bas emoot efanibtoiue mi yiao beyolame éd biluede tdyti beworrod aneqo ed? yf moldsiiteey eden of as oa kas ete diin gino dud ,eldshlovs ee i rhapd or ae ms bogas sts ed blwede ewobaiw oroleteiT —.oldicsog agms emit " \bebiverg ed biwora weult tle tasol te vo ,ethyel Pi Sik vidi grébied baa tiyid obta dgth | sor en at bas ht jeexg To anoot at atues0 yiletoeque tdail sbte Agis - aRGo1 yniniog bs Yo atoor syods beosly om awooaiv fodd Jagled door) dove to | «wh lieed bas eeudoutin bemob e158 saods to ais apes gidesiow - (ase tt “boog tot otinget dégeb tssxy (tev Yo awool .(GS1 VSL agit) engieed thee goY .abme odd gtole so Liow og aoble gnol Atod gitols ewobniv antsdgel ” | wert ai dfail ynd fRed waspeoecay otedw awebsiw yatosigq biove bivoda ene $agil ebia to moisuioxe eritue déiw ,vlaegqotqal dgveds ,begnsiis ylineup | ' shaeo yoasid «(061 ,88F .aykt) gailioo edd to mtot od¢ domeuLia: netic dtod fey ivtode weqqu ett ‘si Gedago!l goore ni benistdo ed yfae ase gigi gas. ‘s : BS? .gf9 as 2s ,enoor tewol st besilitn ed douitaace coals yom tf ak diged obiz dgid Yo sede itiw mogiwequoe mi ddgkl-ymilies to exley edT fitod tiditxe anciteweul{i evod? .86f Sl ogi at weeliod yd bests iqxe BSP Lied s ak “eiquexe 10t moO emee edd at bexneims gatirgil to eebom Adie ,eebia yaol edd gneis atibaesxe ebin ,J%Sf amgor obia ditw ebiw :.$? “Mort yino tdgil eveioes aneao: ebta eaedT evoda Botrellsg to daitose ows fied to Liew wa ge Se nort %8 “atk Lieo odd mi gaimego ade "0 peti ee’: ane ee to vadaua odd paaent ads 8.2 2 0 atitog 707 eee id's pa 87,: ARCHITECTURAL COMPOSITION, | both side lights and skylights; if the former are more frequently linit- ed by surroundings than the latter, then is the light from the latter so much the less intense, being usually recieved through the roof, at a great- er distance from the floor, generally through two thisknesses of glass, Reflected light is especially unsuitable and disturbing and should there- fore be avoided, | re 10e., Direct and Indirect Lighting. Only rooms recieving direct light can usually Le said to te well light- ed. windows are used for this purpose, and their lintels or tops are plac- ed as high as possible, according to art. €2,: The rectangular window is most suitable, admitting more light shan any other form of equal width and height.; Height of sill window is fixed according to use of the room. ° The usual height of 2.4@ to 2,82 ft.: is especially applicable to living ‘fooms, and is such that one can conveniently open the window and look out. In many cases (schools, prisons, etc.) toth of these are not intended, but merely to light the room, and such a low sill would not te advisatle, | The sill is then higher, in many cases above the head as in halls, to af- ford protection from draughts through crevices of windows, : (Fig.’ 1200s borrowed light should be employed only in sutordinate rooms and when un- avoidable, but only with care and so as to make ventilation Ly the open- ings possible.: Therefore windows should be arranged in addition to sk y—- lights, or at least air flues should be provided, | 104.; High Side Light and Ceiling Light. High side light expecially occurs in rooms of great depth, and in those of such great height that windows ere placed atove roofs of adjoining rooms (Fig., 126).: Notable examples of these are domed structures and basili- can designs (Figs,: 127,129).: Rooms of very great depth reguire for good lighting windows along toth long sides as well as along the ends. Yet one should avoid placing windows where unnecessary. Ceiling light is fre- quently arranged, though improperly, with entire exclusion of side light.’ Both often influence the form of the ceiling (Figs. 128,130). Direct ceil- ing light can only be oktained in a room located in the upper story; yet it may also sometimes be utilized in lower rooms, as in Fig. 128. The value of ceiling light in comparison with that of high side light is explained by Boileau in Figs. 181, 182. These illustrations exhibit both modes of lighting arranged in the same room, for example, in a hall 32.8 ft. wide with side rooms 18ft, wide extending along the long sides, with twe stories of galleries above,. These side rooms recieve light only from the opening in the ceiling, or from side openings in ugper wall of hall, For points 0, L, I, F, of the floor, the number of light rays falling on Pi Bree ya t 4 io pin iat? 88860 ee a nee be | On | | a ay b+ a ast ee ‘of eet p bbe Te AT tatog 401, ok i ra era ae es t Beto perro oy celed ‘ot eth ee ‘etter ee a bs ‘SY ‘e co eae “eit Ree tem ag Pee Woe ee ines i) 342 ie i tee ee + ig? Pat. ae a KEE eG ae s8seaioads Yo elxe ‘ede 9 sednathio we tte bhet 878 aeulev id “1” ~ — wenteo lit ows ott Al gevig seus tike betosad edt te Beet odd at - = ’ = meth | | sad” ey tte Erk yttgit Yo yeboasup. pviss fer edd i 9ua1gS1 aaciv dee $08 ‘20 Wotdrogony edd ct orm edtitey edd dosused ‘22 38.3. Yo soaes | iotsh yltielemie’ ed ayst Rares Yo tedaun ett SBC yl ai 3 aN od + £Sr _emnepthhenn aayil to dayeeT ‘ea? .86it0lIey ow edt nt etalon 203 be di and exes ‘So Vedi’ eldd 08 L's goo Sielgaao, 207. cee ated ai beo0ly oan “Agvords saaly noctose 8 bstdaaem of enela ton feun exad? ei off * art a : > bfew ae .tnieg ftevis’ edd 4F xatier" snody bow .yitine ge ge pial ea? tp eae o ae a eat ‘eoab “” Area enetd vee “ge SET ot ¥ te dng gtvast eas te, golsentiont od} ar - sane Ra a a ‘bondi siog. yoeetls, tetbesen-s [ gte-biloa edt bs; “_ * ae 7 sea sont beoubousai ed ria aebie {is got? besool tex ddgif oAT. ; (PSD: watt ab Gstoted yilsoitsev) Paget fosaib Of eveiney ted acot ed? 3 9 fee ine” S ddgil sbie dgid tens .aids o3 béd fugue ed of wi fi SASEE im 20d eAgis) gael ‘Sigit 2 abiotte Str .ait ai ‘a0 Sigil ga ‘{ieo.te anifaseb Ptev s eat fo tetw, .igtl griltes ne i$ arotinu « 270m bas 395 ee” Dr yeteiiod ‘gansi¥ & “Rott dedat slynigxe ee Bi ‘Sst Ge sit -deette anidsuta th a ylev bas gdgil ebie dgind i0 brid i ‘ter att ak ti neaeyne re odd iitw f Gee Ks peered. pers. i betel deta bede te Afoad =ws2 xd bebtotts 3i evitosl ee | . : was idton ods of Deats3 ed ned; : Yo aims oes fo sotssesistad and ai ‘bedsoo! admoor to priddgct eit. , S i ea -Sdudl ati lies ‘yd Yedtie at ¥1 _etinertige ylistedes ef sqibi. tues a Boot ad? to bre eso ge beyastis em auobniw SauEE Sdia egii to bE grt a an —™ bell¢once ef?” exit “baadgil od yee moor aif 10 ASE pet .BBll AL ee ae yleupildo beouborgad yiisven ‘ned?’ @i ¢dyil ave Yoo'rss 809% . Pee _ tgtl x0 atwoo Shift yamoor Sbians giddy l doortibirs 20%. fis gta 6 Bie, gotvetoe: bas gaibliud ‘ens ab bse ofaas - beyae rie, ulisenpett S18 82 tafe baalg aliuob ro elgnia es eved ‘Nilsteney Sed? .oveds wort Jagit towmsid.. moitalisasy a toor Aged bas pottedo! besofone “hott: ‘ya nt SSE .38T) toay 2 we i, “G6 eilsw obit edt bas (beeuiich yisiokicw yom ai F4yif .beionvses6 9: Miah “aaa bal badd wig: 29s Sere 6 easly ods tod .beedyi/ tebe - ae ie BS roy wes aaa ae f' eS iz aa fetes, ae by ph : ese ; Bas le ta ah : ay “eee ? pea a) Pine s S6;°* ARCHITECTURAL COMPOSITION. : each are found for a oross section plane through the sentral angle in both cases,’ These give the following results, ' Fig.’ 194," Fig. 122 For point F 47 degrees,- 12 41/2 (9 + 4 1/2) degrees,: he We OP 141 VB (14 + 1/2 } tl ate 26 ‘ 10 1/2 degrees, . y G 9 4/@" =) 4/2 " it EB Q if 9) "1 If these values are laid off as ordinates on the axis of abscissas, 6, 0, L, I, F, the areas of the hatohed surfaces given in the two illustra- tions represent the relative quantity of light, which for an assumed dise tance of ¢.48 ft,' betweer. the points, are in the proportion of cOe in Fig,’ 121 to 7@.5 in Fig, 182.. The number of light rays be similarly determin- ed for points in the two galleries. The length of light openings. is ne- glected in both cases. For complete eomperison, this must be taken into account, i.e. there must not alone be measured a section plane through the opening for light, but the volume of the entire pyramid of rays, whose base is the light opening, and whoae vertex is the given point, as well as the inclination of the resultant of the light rays. This may be done with the solid-angle-measurer already mentioned. ° The light reflected from all sides will be introduced into those parts of the room that recieve no direct light (vertically hatched in Figs,: 131, 122),. It is to be ascribed to this, that high side light and omission of ceiling light as in Fig. 122 affords a light less Lright, but much mil- der and more uniform than ceiling light, which hes a very dazzling and disturbing effect. Fig. 12¢ is an example taken from a Vienna building with the arrangement in Fig. 181.: A kind of high side light and very et- fective is afforded by saw-tooth or shed roofs.: The glass area should then be turned to the north. The lighting of rooms located in the intersection of two parts of bien mits is generally difficult. It is either by a ceiling light as in Fig.: 188, or large side light windows are arranged at one end of the room as in Figs. 134, 186. Or the room may be lighted like the so-called " Serlin" room. Direct sun light is then usually introduced obliquely as nn Fig. 142).. For indirect lighting inside rooms, light courts or light shafts are frequently arranged, enclosed in the building and recieving direct light trom atove. These generally have a single or double glass roof (Fig... 12¢).. By their enclosed location and high roofs ventilation is obstructed, light is not uniformly diffused, and the side walls are brightly lighted; but the glass or area should not be too swall, not less - bice king ana ead |Xsols al aes! “Gali i Yeom" wusatbra of | -saengnsd ‘to RoLiereneq tanks 3s aeidowtorg evitostte os ovis ai = yltneuper! os VEE gil ad dent extl ,stuco dagil to baid eid? -.¢ile Pa pate tigel [lees ‘yo baddgil ‘ed mevto teva ew ites yoke wed beyols — testte. 4o #100 eff dxoo eostive etd ni gninege Viacess anf al batouttaaes Eee aT ser art) besossory bas bemevog vite gong yitted- Oe a Poe ignkid ate: SaPoitrota iin a a. eewsxit yatadgal to. Worsnoeh bas ameo' ‘tongmgddgi l’ lalgtyse ait ’ ~ “abou fewien edd ap ander ©. To asia one fo sofew Link doa: a Sexe, foo Meare ae bas ,2oakts Boawdxih goitigs Sovl Mekteudnep jo seat} to” tevonet, & i VE. eo hi etinil nididiw yor gorse? aint \nelielitaey sot evaee ot vals ot, oni? stp) » Fo mot odt eonew iat ys Bide woh ..mooy eit lo inouisext ori enkt seid b erin’. wide to nedqeda jan t edt wt awode og ity elind to bri ya oz hag. ‘eit er reeat ae Pldheeh Al eaunal bas ayonaidd to nano pas A. RSet) boy y ao ee a" ee eous® ponekdd pM? ays 2 ee ets ae eG gatsesd to Jnomeynerte bes Reseye Bttgeed to | vadore ; ont Bo mead at dosdw OF gaiblivd wht tot bas aagt +07 ddod SOME Leqms Peery to laiey .2ovesa a8 dove yhitaad is5Ql tod aussts o¢e nolvnen iso ou Be.004 “fay ti Hoddw ot bas yet ai \eeult edd om asodd Atty pane. ose e900 l3 | egthenl te pits “er edit at begs iy ad Biaorls yady Sac? , Seton ‘a ‘oa ea WS lbbin Ai ¢Léenetety certo Lid ad to tolasat ea) at bas 7 bag gone’ oi eliew aoleivib af SitianE bow ate atte ad eneod sxe | tr OF Aqwote Hid? vbaa ek Liew aokeivib xedJo yews ,e806 f451 ody of * brooo8 8080 eat edd wd thew oibbéa oda sana. Ltneupet? tud . i ae ade eae ue ; eo: Brusis wees teod ‘ab 1u990 se fut ods ait sookjioeds boewemid Be sini . Biro M4 | Sandon “a eleisg mol touttenoo traxet tit vd -thtteg barinpet ota sbotzs oe or? Bteeior Ii asi eldshoises(Jo at eit odT -.auseie ga yidtoel sit to ae wort qitisq ,sewlt sveioer os bediue Jesel sas. bias donqevxs ,aliaw nidg . | Qeds doiiw of sigied Jeotg edt wot gliteg dobisusia betootorg ese! tiedJ Mole HE .egbit edd madd todgid yrto7 & OF toot eft eVods ‘eatt waly fous Dieta yiey ed Liiw eqwisot a Tdangl dai,Jo add. eTeot te li aviw exarbctad of “ai /-Yenaido edt seldsy bas atooy geete. AS be abpeoet Hots mo-olidw ,oidsely tnt Ks RS tees tren gages sbaner th ner | Rava on. se poegiae: ylevitostie of yam ayeo — ma bail ae Le Ss etntogt tog. renee etd | a at Neto ag6: yerreel : me evota te nobssoo$ ¢ as ste bayae es. ad oscemw tees {3 pal . to Mdohe bexit yited qtdy ogni q-<22} ne 94) he ea di) me béeouy ont ae eye ~ To ti Go,” ARCHITECTURAL COMPOSITION. : than 21.5 to 63.7 sq.:ft.: for light shaft, or 107.5 sq.ft. for light court, The ordinary "area" in English houses in blocks has many advantages, and is also an effective protection against penetration of dampness horizont- ally.: This kind of light court, like that in Fig.: 127 is frequently em- ployed.: Low lying cellars must often be lighted ty small light shafts constructed in the masonry opening in the surface next the court or street being properly covered and protected (Figs.: 188, 139).- 105.: artificial Lighting.- The artificial lighting of rooms and location of lighting fixtures do not exert as much influence on the plan of a rowm as the natural mode, The removal of gases of combustion from lighting fixtures arises, and if these are also to serve for ventilation, this factor may within limits determine the treatment of the room. How this, may-influence the form of the ceiling and of halls will be shown in the last chapter of this volume. c.. Arrangement of Chimneys and Heating Apparatus, 10é,- Chimney Flues.. The choice of heating system and arrangement of heating epparatus are of great importance, both for room and for the building to which it be- longs.’ We only mention wpparatus for local heating, such as stoves, fire- places, etc, connected with these are the flues, in regard to which it is to ke noted, that they showld Le placed in the rear’portion of the room and in the interior of the building, preferably in middle walls support— ing beams in Germany and austria, in division walls in France and england. In the last case, every other division wall is made thick enough to recieve the flues, but frequently only the middle wall in the first case.’ Accord- ing to arrangement of walls and teams and to the weakening of masonry by openings, numerous exceptions from the rules occur in both cases. both methods are required partly ty different construction, partly by nature of the heating apparatus.: The flue is objectionable when it projects from thin walls, External walls ape least suited to recieve fiues, partly from their less protected situation, partly for the great height to which they must rise free above the roof to a point higher than the ridge. In sin- ple buiodings with flat roofs, this objectionable feature will be very visible, while on rich facades with steep roofs and tables, the chimney caps may be effectively employed as motives for artistic treatment of the external architecture. 107, heating Apparatus. Otherwise flues are to be arranged according to location of stove or fire-place, this being fixed according to the uses of the room. This rais- es the question of kind of heating apparatus, and whether it is to be sel- ‘od isis ante moon od? jor eb vonesater @toa dete box» oie base ta 0a et evodja ef? joose seal} ode at eometeegye got — gnoninony & seuss ar baones odd wk dud ,woos ws. aie eau d¢iw toee!l exet phen gt mob Is i008 fenretnt to joeido teineonsz0 ae ae noities: — Fanieed bos sone1t mi nommon “vroxpt 6 ef etit Hg Go: dgiw ooaigeti) ett. “elleves gtied nods ,ayntblind evodqaua a2 yino aqoeo ti ydemre af jul tnsasly evitootie yrev 6 ai 2] {.mevaye yntised. laxtoso « atin sentiaoo am to eixe old Ao payne tas ovoteteds ei baw, lion: tq, te kiatwosb ans at web doit at dibin oils rebtance ‘dus dtged. diytia weiahooy, “tk reget moos i “piidate; doidw bangs “vied bas wd. OI wae-al. amide igiste ady nares a bie [sino ai tadd on .fobisasvevaes. efemsae? has: “pie pare, ‘gt ‘wilde (ODT alt) Liew gaol « to oitneo ons de. deo fy: faa si os agoor, aE hati 9 =a wobaiw 6 af bess ly neste et: st-ensig donot) al eta beard 6, sontegs. 30 a ows heed sod Hotseool s oe hind tage ee aeisaioos 30. BROOT.. io8 AR 9O9% aie ae : yinted Faded yaad | evede gtimego odt., git ak. is “apviion tte Hf sane ‘R odd oink” were ‘avidootte as gaits ae etelg 20." sounte, 8 yd beeais Ne th : Weed 4", ae ay | 8207 snes | be -‘Yods schinagee ology bas aot os. batool1eg. 0%. aed Bei vvoda glitz adil my Boats) gove’ less sath eat ot ‘aaiae tat ‘yleorsos ee: tt feaitie 4a} dont, do aa es & {6 i ; Asta bey S abtes ak. ti at have: Pian’ i HOVE ¢: daa? yn igas jtue aaa t teste Ss gfteot ofa ont dou Bloe Lory ¢i an wider goo: 6, 20 elbita edt tn hovel mo eo = pean ig ad gommeo ewateby baa ppsesrobaas jon. ak avoue edd bryars 9o9 ge ye eet feed aig oak? edz to. noivasy . [ead ddan yonebiopse at. oveda’ edt toon ie 8gi at os. ,ilew wih in ody fron oo Lyon anes odd to eto pk ei fi 402 e086 f4 ae lo eau my eoaike shin, tists tt tue oon », 008 & ebised 10 ,2ef oat a o wevola aon base etjoo svisd Saves aa? to not tseo! wid sebiaeh oo 33 add i agit nt ae tien eld rien brevxe fois We ,avor2 «blew ons sefasol cule FL a H etew qoireies ene ys? neg ison favor: (s@moot tieos tbs. Ons. deed ons dA! owas ai noivaeiorg chi ateds bis beau W200! on ee dud “fommog VsToUTOZ fr een COVG eloved yiint eid anideed hedelosi mort guislyeet ettotmooeth dfove oF folssool pitieanoa th suenktie sa asen btodo aitegaya goisweot Lowtnes nego _ mhego 18" toemegne rs edd to. , gatinor isudues bis edstaeqesa ak BLOFS Lb +0 . oBent fed} biss yitered ed yeu 2 ,tis to Isvomat hae aggee ince 40% ayn brs get eub Jedd bas .evoe twa [few lo wolserogeb ods of desive 9d of 916 fake one at grdeces To aeleya betoelea eid od. bieg ad saue epntey Yo af1o% *,€ wedqsdd : . | ‘siete? . SOF “9 989 senogt0g art od eonute tes tuods ti . sella toaphanene 4 ead yew Tambenig i. ~ 4 £0, ARCHITECTURAL CORPOSITICN, : exted with sole reference te heating the room, or with regard to pleas- ing appearance.: In the first oase, the stove is so placed as to inter- fere least with use of the rooz, tut in the second, it takes a prominent position as an ornamental object of internal decoration, The fireplace with epen fire is a luxury, common in France and England tut in Germany it cecurs only in sumptous buildings, then being usually couktined with a central heating system.: It is a very effective element in the decoration of walls, and is therefore erranged on the axis cf a room, where it occupies slight depth Lut consideratle width in rich de- Signs. ts chief charm is the open fire and hearth, around vhich persons gather for cosy, guiet and intimate conversation, so that in social and family rooms it is Lest placed at the centre of a long wall (Fig, 140) or against a broad pier. In French plans it is often placed in a window recess.. For rooms of societies and larger halls, a location between two doors is effective, as in Fig.: 141, the Opening ebove chimney breast being closed Ly a mirror or plate ,lass affording an effective view into the adjacent room, : the tile stove has been so perfected in form and color recently, that aS an object for effect it is scarcely inferior to the fireplace, even sometimes surpassing that.: iven if arranged with an open fire, it is seld- om placed at the middle of a long wall, as it projects much into the room, Space around the stove is not comfortable and furniture cannot Le placed near the stove. In accordance with the location of the flue, the best place for it is in one of the rear angles next the middle wall, as in Figs.” 14s, 142, or beside a door, where sufficient width exists. The use of the room decides the locaticn of the usual terra cotta end iron stoves; it also locates the well-stoves, which extend through the wall, as in Pig.: 144, and heat two adjacent rooms.: Stoves heated from the esterior were formerly common, but are no lonzer used and their great projection is thus avoided, Io avoid discomforts resulting from isolated heating, the fully devel- oped central heating systems offord means.’ without discussing location of radiators in separate and central heating, or the arrangement of open- ings for admission and removal of air, it may be briefly said that these aré to be suited to the decoration of wall surfaces, and that due regard must be paid to the selected system of warming in the design. Chapter 3,: Forms of Buildings, 10€.: General. without reference to its purpose, the erection of a building is in a general way the creation of an enclosed space. A building usually consists an. ie) - Sf él . ah ee i -_) int > ar “ = ae pa aie 9 we aad ey all ye eS a ala ee ae ia ea Pa and ee . * Yértreonion saautadtittacns | se ae "CSE ASab “$0 % 2, es demogtus faerTsttih o* natvess moor fereree to : : Sybhed ascttiots, dasl-edT -:tedto dose evsdé brs ebived uldative bezsens ) mile af? ,wolifsool ateds o¢ gatbiooos brs. .gettose erat 14 eo to 23%; - 38 suesielagntteth vis seitove oltie bee (789qu sbauery .Remos Jnonaasd | getteta eninesnen 0: ‘ote thewrasnt es Liew ettook Isarerst tuodehe agathiind 20: : <2 path Liwd odd to way, od¢ aysuis toil’ Ri Sosa io etuaclone edt ‘Isaresai suods kw eth 70 its’ zis SHO0% isMiedni on seeeeog agaiblind vase fetaomanio re axiow: Fas sroqme. Uidgid enord eles en ei¢H ~.fostis sebi suosas J mogs: s ‘ybodae es. ffe« es ered wnoled ed: Mizito bas omusen yd doldw (ots. 20Bav std lebase yer .aitie rao} ~ -ghiaebts 5° ‘oqsoshnsl OF gatsingted es0i¢ bas eis lantatoed tedéto of anol bas ,Meldotg eidt Yo bas bas. grimsiged igod et.mrct-Tedtedxa soain tua oaths. er: to ewaly one Oo? Stibtoces gatbL tod eat to Jaesegcstis bas ab iach a paces, "ert tebiaaco teddut at eon ly eagy don Bf aids .eoifs - wtissa. leva ‘ed? Hi gaibliod ere te vino tsert iliv eslogziw oniwol fot edt -e@o8 ga eisteqpe te coizentdmos vd beasborg. pitiad ss bas ,btow add to gn Dayie welemepege base .bagoqmeo of Siaale aor! guieaez,o75 9823 int fovea? _ &xO od? -fiyhap edi. 3o giesd tegotg s an. gaib lind ond ‘to ns! * bawora add < eeniling ° ieido ati née bebwayes od xine Lliw robtes Q . a (<> al a BOF elgsls to agar Line rae 4 eee. “> igen elymis ¢ gniais noo agagbiind -,0t2 g ee? ty wk Sab bethany <8OOT olgnie 8 aiisinos eqys daeiquia ond to aaiiblind edi Bi: < “viqgs istasey ai Ba00% to satot ro 39 of be - acta mote ve le bas as fg : ee -ygitiiss: bine bet'g to waet Fo’ eoLods ai befotusces fon @f @m0 gyd js wine ere ‘ edt to giteq bas emoox yaintoj.ng to. AoHissyedlagoo yd \.0te enokenenia gnica Oiseizuw odd nigsex yan 2timze9 tis idorg efit ms et 08 bra yoth lied Ele ted eldazine ylisioeyse S16 zarrot © eqye ‘28 Lge bes. of quite At «eiv Sp ie - equ edt _dotisast tetiols eveiset yltaeuget? aountourte audits tenga a | wtbon rsegqs’ eters bas at ot OfL G3i% af 9s enolenetxe eeveices w1% Bwo1 to ssp rol ytinddat ye etotis aedto ae ldoag eiT -.smoot etns as bgin- ‘-easti s .aiisq fewwdtomnta’ (gaibivib~os'ge tedto to 10 .anmuioo yo 296ig to mat eit ai diod ,bevteedo ed getto Yea mtot egy ent. fo ebiswqy aoldsnto} bedetaw?t yller6ene3, ai a Bai d ind eds to solteFes joi? of bas toice¢ er agaigestis yd bevbanaqnos at. dgien saoilw ae twlouriedua 30 seed 6 djiw , , Smemgeleveh eet s. aIseggs: goibitud edt to somsiesgge isnietxs oft Abie! 7 sper fo prod edd at eee osgncn tt bre. .agieeb fswtosiidom sit to ion i bart = 91.: . ARCHITECTURAL COMPOSITION. : of several rooms, serving for different purposes (Div.: I, Chap.: 1-9-12), arranged suitably beside and above each other.: The last produces build- ings of one or more stories, and according to their location, the ollars, basement, lower, ground, upper, and attic stories are distinguished, as well as intermediate or mezzanine stories. 109. Buildings without Internal Rooms.: The enclosure of space is not always the purpose of the building. For . many buildings possess no internal rooms at all, or are without internal effect.: Here partly Lelong those highly important works in ornamental architecture, which only serve an ideal purpose, embody a spontaneous idea of mankind, and are therefore erected as monuments in honor of the Diety, or in memory of notable events and persons, Isolated portals and gates telong here, as well as certain objects transferred to architecture, like fountains, wells, candelbra, vases, etc. which by nature and origin be-- long to other technical arts, and those pertaining to landscape gardening. ‘But since external form is both beginning and end of this problem, and the design and arrangement of the building according to the views of esth- etics, this is not the place to further consider then. : The following articles will treat only of the building in the usual mean- ing of the word, and as being produced by combination of separate space- forming parts.: Progressing from simple to compound, and commencing with the ground plan of the building as a proper basis of the design, the ex- terior will only be regarded in its chief outlines.: a,. Buildings of Simple Forn.: 110.: Buildings containing a single room. The building of the simplest type contains a single room, undivided in plan and elevation.: Arts.: 94 to 9€ on forms of rooms in general apply. here; byt one is not restricted in choice of form of plan and ceiling, dimensions, ete. by consideration of adjoining rooms and parts of the building, and so far as the problem permits, may retain the artistic point of view. Simple and regular type forms are especially suitable here... These unpretentious structures frequently recieve richer treatment., The type form recieves extensions as in Figs. 110 to 115, and there appear modi-~ fied as ante rooms.’ The problem often affors appurtinity for use of rows of piers or columns, or of other space-dividing structural parts; a trans- formation upwards of the type form may often be observed, both in the in- terior and in the exterior of the building.: It is generally furnished with a base or substructure, whose height is compensated by arranging st-s._ In the external appearance of the building appears a free development of the architectural design, and if simple, especially in the form of roof; m ty woeteess fantesat ead of ba peeget badiveb me Trae gh as: Alamtt tedzte yan wid (5° $74 of gnibtones baz .ore ae a ebaiien digi o@ wgnib soos alice ane neswied gorogque weddo stinpen ee $09 to m10%. odg #eSéaZiorgze ulderetery toot ens, 34. nasaye isiafourte - ie ~baegebai ylortgae ‘a odio Bi destelyens tus. ARGO} 20d, te. itt Lies Ss sman. yi “oJ seonese th bog pene sno TI yd bhowor fet. age aged. amet ed? to Jae bas, batiatl pe: as ie Cote y: “gato age onent: 8 Ri esGi0g eeu > Te erases © Ren 10 ssuqsosi. vatule Ldawen bere reat ta jeerpret 88 , eausosssdont ni beau yi ' dneatsers. ydoit 10 ‘te gabe: ‘Adie: o8@ ~aaeogy bre anpifive; “¢etet tv feu ee ~jua eldssive b1ot te yatd edseqiy y satoxsg Joon #9%.. pobae dis ‘ates bag eeiwedil avail (Tr 93 Set agll)-sewog: iguiteeto, ofintias | ‘ado 40% 2asot amo? figifnas oad. te eusious “odd etety. -egaibtiud suotouge ter Bond ¥ Gaoiea c= es —biose< oi begede sid Fiat GO etidesog ti: hebivtbai ae aE ea gq ttc: Bu. ate tot aineanson sealdod “eit > {ema Bowe hae ps . ai grid ivd aA7 On a “esinode, Sion 1s owe et ietnot» ying}. Bene, tis éof ai eal 13 aliz. evra axinié bas _ setiess wir gi kdowna.ge: . IQ e7169qqe aged Vy teaen 3 gang ois. gud (pabiedxa’ “Ghd “wo Seyne vis aegis ance an ateit seers _., Boot, gbia_ 6, diedayas rr. dest edd al. .gnibliad-edt to t0oitedai ads ci BBE 313) yutisés s tot dndastegd - feniogtys. ait of Sebbs ylisnen @z eet ai ai 2id? .moot. edt afddit eet J Livd aes to ai sseoticva edd do - Ierevee ebivoty of asef ef eeogme tiedt- yeeco edt Uldeisovel geomfe ate ~ ebtati vlimeaeeces ,tdgited Isuayny to moor s sedt ,aedso dose evode smoot ee ba, hetebianos gasit ed of ei tewot beinloai edT «.bsasloss a5 Se ‘woot s. (Oar. ak) Towot ets i bas tevos-agettict ,tewos-dodow ,yrtled 6 96 Bees) 8 10. sowot [led bas xoolo «© ,ssuodsdgii \tenod~ogb ited , Tevol-18ssw , 206 a yto » od beebai ef vt S cmnepodeel beriey Lee ts of ids 3 wo @L .elins gage 2 , + v bra aie tee sad “i wars eh toa avidootte- BAe BE on so > 87, 8 ad, tine 10 bedosieh fon yidmeuper? af qwor ont #6 bhi ted eis to. agigeb odd Yo sottr0y oivalueton ge isdiqus a apiiiber. (i besinpos asd #f . ote eine i teense ot ao¥od, esabtis ia’ 'S fs Be” oven ore < vipaeelaiied Ln tisituaos bits Jaeri’. ae SS & * dene * = Patan OR: ARCHITECTURAL COMPOSITION, : for this directly indioates the type ferm. The form of ceiling is alse of decided importance to the internal treatment, toth in construction and form, and agcording to Art. 98, this may either freely span the room or require other supports ketween the walls,: secording to tath methods, the structural system of the roof preferably approximates the form of treat— mant of ceiling of the room; but the latter is often entirely independ ent of the former.: Both are influenced by arrangement and distenees Le- tween points of support,: These buildings, partly of very limited, and partly of very imposing dimensions, have in all ages been most extensive- ly used in architecture as temples, chapels and mausoleums, lockouts or belvideres, pavilions and kiosks, ete., with simpler or richer treatment, and being intended for most diverse purposes, they afford suitable sut- jects for the artistic creative power (Figs. 146 to 147) Here likewise belong those very spacious buildings, where the nucleus of the desizn forms a single room, individed if possible, or a hall, then shaped in accord- ance with Div. 5, Char. 4 of this volume.’ The noblest monuments for the worship of the Diety, the cathedral and the church, are also included, as well as enclosed structures of all kinds.: 111.: Tower-like Structures, | The building is further changed, if the problem requires a division of space in height, thus forming a design in two or more stories. aA ne- cessity then appears for connecting the stories, and stairs serve this purpose, there being sometimes arranged on the exterior, but are usually in the interior of the tuilding.: In the last arrangement, a side room is usually added to the principal apartment for a stairway (Fig. 148). Yet the staircase is often built free within the room. This is in tow ers almost invariably the case; their purpose is less to provide several rooms above each other, than a room of unusual height, necessarily limit— ed or enclosed. The isolated tower is to te first considered, 4:d which as a belfry, watch-tower, fortress-tower and gate-tower (Fig. 149), a look- out, water-tower, tridge-tower, lighthouse, a clock and tell tower or a campanile, is capatle of unusually varied treatment.’ It is indeed the crown of the building, the expression of an elevated room, treated in accord- ance with the special purpose to te served, and generally affording a suit- able and effective motive.’ Yet the tower is frequently not detached or isolated, but a very char- acteristic portion of the design of the Luilding.: For churches, city halls, etc., it has acquired by tradition a typical importance. It usually serv- es aS a staircase tower to connect different stories. but such a prom inent and monumental architectural mass shall never be so degraded in its Po : } E if ee % : é * | . s p es i ? ze fg ‘a ri | Bods “ya juoddiw nead gett nt ving ven Gtr Pee its” rage ay “a6 goyree anole mension vitinn af ban ae _ «bas fo “a seitiad 3, te” Spi Fr3gat feo. ody ying atebienco yates ‘lle boa. a ee Yo* Wie 19 yooh od sevig Bf oelvanl ap tel ae Bites 5. | } he _, e's do8s Fie fo efoltinests Int Bor, 7 ict bavogmed to aunthiivd i ia ay oe Batol lagfonind «,8f7 - Began aks enya ste -=f100 was BIRD | Wis a0 wiide depts: to emo? wigute to een edt at aa Fi Os ok eons sragat evisise to a6 ‘ifotde segatds taeteltib ows soit tab aig ‘fened ‘batt Lens od nole deo dsidw bes amiounda ef? to mo? 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ARCHITECTURSL COMPOSITION. - lws changes in direction of external walls.: 2.: by the vertical elevation, which either terminates at a common height or at different heights, according to whether the different masses of the building have the same number of stories or not.: 2,° By the form of cross section of the roof.: 4,. by the possibility of proper removal of rain water. The first three factors occur in such varied ways, that their combined effect produces numberless forms.: The fourth is no less important and causes important difficulties in buildings with closed forms of plan having two or three rows of rooms (Art.: 115), as well as for houses in blocks and those of irregular plan.: It is sometimes necessary to arrange the interior portion of the building as a kind of platform of slight slope, rain water pipes being carried down within the building itself, an arrange- ment only to be employed in the most extreme cases and with the greatest precautions. ° It is not necessary to investigate how the removal of water is Lest attained; yet this si shown in part by the following illustrations, Some combinations of roofs are partly produced by variation of ground form and partly by difference in height, the upper termination of the build- ing being effected by the surfaces of the roofs, as represented in Figs.: 187 to 173.: These are based on the most useful combinations of differ- ent parts of the building as described in Art.: 117.. These examples suf- fice to show the influence of form of roof on main form of the building, and to illustrate their external appearance, together with the grouping of the masses of the building resulting from form of plan. The illustra- tions are here based on the usual forms of sections already employed for simple forms of roof. They principally differ in greater or lesser in- clination of plane roof surfaces, instead of which curved surfaces are. common.: From combination of these simple forms result compound profiles as in Fig.: 174.° 120.: Development of Roofs.: That forms of roof are very capable of told and graceful treatment is shown ty numerous classical creations of the mediaeval and Renaissance periods, especially by monuments in northern countries, since men were | there led by climatic conditions to the most suitable design for these portions of the building, for which these periods well understood how to invent artistic forms suiting the locality is proved by well known his- torical examples.: The same conditions exist now as in earlier times.; The form of roof must. afford protection from rain and sunshine, and this requirement must be expressed ty its treatment,: why should we te ashamdd of this neces- A . - nOTeTaOINOD ind OATLAORA yea es ee , ‘to gatievoo: edt ‘Iseonco of dssa bas notsserory Senskaes bce vise Ms sebnu dLivd .pineacmom syiesot to aot tistias biquis sdI -.agat ent ed seum eidTt .zo1re elds of bel eaotave tao ttib 10t bas |» steveb nied’ beige iyea bris eaole etoort iat betowisanoo ylsaeoe7 nee tend 90 | @Y00d oso on esveines oldieiv ylitees fos ai rvevederly 108 :.ineago Be baw vant {usd edd to vneunzobs gaomreqqu edd roi eevison biotite ylales heen ~o8 en evies Ysa ,telxe {fise gedd aanoisibaco 1ebar beouborg astelqtetasa gt _.aleb * bas , foot agi ever tsum.anibiius e edz to. j1sq dose welo asd3 et $1 sia to soisi0g gniawo1s s yd bedaiugaiteib od feng moox tnasiogel yrtsve ‘ae oes beqoleveb vided te eboitey aries berivooo ald? ote .oideh. , toot ay piled soelg of “eoasbsoeh to eholieg got bevieset acw fi has ,euntoast tate aedd aitolo ot bae 2o07 ane, tebac ,emoot ifinea bas satel ,anedotid aweiv dows -."eRoge% isgasaunoa" beifso si aiiT :.gaivayoo evoaotonom s- #azol isnoitex yd stedd beoaivnos ets soa sbotseqsea th tlesanuicot evad a wedded aoeean letutoodidoxs te gaiquorg iswisa yd bas egniblicd to a idors Zo} sevisom svo-aiew x0 tnomento bigev yd asds beosbotg ai toe? 3 2 to agsox @ dud ef side .yew evisesa s si beyolgal -.snemteows Lacy ‘es [flow ae .Beibited fea: suebos edt s62 eos tsoget eldetive gat ! pee oo) eno seaisesoa evad asi “etotourds is Sosauaom soneninetg ro tase eas sisido yan taemele eupaemiols dé fed? ateixe aspqsh «6 sgiiagiasd +b ‘.sedged2 Beha) 6 | ‘ieseaed -.£8t ( tees asd grb Ltws 8 ‘to aelsoox1e eit ai toscidors odd 703 neidoxg ed? 701g. otis bonicdis yltsea eto ovad ow bes ,etinli wore aldtiv sdguoid “"eVoeTOR swutowiia edd to aolisinsasiget bas gningteeb edt .fne beacy _ tebr0 108 pr nete tediien .sehi evitseio eis eebleed .ais eidd doset_os ‘yaianizes sd¢ essoibat of ebsa ad aed L[iié to guedis as jaldos! od sane ; ad Eifwiseiquaxe ence olidw ,bwsoorg of ai goingieeh dotdw sort ataleg a) hed .efodw. B Be hetebiesoo od tect weldotg fosd .anoissttariii es babba ae alisjeb ot ‘Bedoseis Ietsns3 wort sesq tauw ow .ane{q odd ycingieed af 4 a ee toiretat edd mod? Blind ot wal aavig edt of hosoggo soa ef eidt > edt: lssexe asaltguos eidt 10% .biewad sabsehon edt nort ton bas bisw a relia tatasrso4 ‘bes Yare meawied noigaeval bas dewseses ascended eonetetilb tee z 8 to adosasyastas bis: atagaesinpe 1 od! evioa oT .eiwtesdidow at nol¢ a edt oxs ,gniblind od¢ ‘to nelq edé tot enckaulones soubed o¢ bee gatb Lind E he Yi gndagiasb ddiw eomemmog: of sine ldorg. & to sotiuitos bara vaste to (BR000%q ei on > xed of owt daertedos elgaie 6 88 eiwiouste to : | ni etnemeticpor wabicngo of ned? .aéaiog borden eds at Monted ott cate beiid bas = = ew oe Sea FO GO.- | | ARCHITECTURAL COMPOSITION. sary and rational protection and seek to conceal the covering of the tuild- ings.: The stupid imitation of foreign monuments :, built under ancther sky and for different customs, led to this error.: This must be the reason that men recently constructed flat roofs alone and neglected their devel- Opment,: For whatever is not readily visitle recieves no care. Roofs cer~ tainly afford motives for the uppermost adornment of the building, and masterpieces produced under conditions that still exist, may serve as mo- dels.: It is then clear each part of the tuilding must have its roof, and every important room must be distinguished by a crowning portion of the roof, gable, etc.: This occurred during periods of highly developed arch- itecture, and it was reserved for periods of decadance to place halls and kitchens, large and small rooms, under one roof and to clothe then with a monotonous covering.: This is called "monumental repose",: Such views have fortunately dissapeared; men are convinced that by rational forms of buildings and by natural grouping of architectural masses better ef— fect is produced than by vapid ornament or worn-out motives for architect- ural treatment.: Employed in a massive way, this is but a means of obtain- ing suitable importance for the modest rural building, as well as for the prominenet monumental structure.: Men have sometimes gone too far, and a danger exists that the picturesque element may obtain the mastery.: Chapter.: 4.° Designing. : 121.- General.- The problem for the architect in the erection of a building had teen | brought within narrow limits, and we have more nearly attained the pro- posed end, the designing and representation of the structure. jsioreover to reach this aim, besides the creative idea, neither system nor order must ke lacking; an attempt will then be made to indicate the Leginning points from which designing is to proceed, while some examples will be added as illustrations. Gach problem must be considered as a whole, and in designing the plans, we must pass from general sketches to details, This is not opposed to the given law, to build from the interior out- ward and not from the exterior inward. For this comprises exactly the difference between research and invention, between study and personal crea tion in architecture.: To solve the requirements and arrangements of a building, and to deduce conclusions for the plan of the building, are the process of study and solution of a problem.: To commence with designing of structure as a single coherent whole, to pay due regard to its chief points, then to consider requirements in detail, to arrange all in order and bring them into harmony, is the method of independent creation and beat | gant oe alt PRS i peace’ pbseter to rita ae xii? abt of sgaitigold 643 20 moidact of bisget svorsie dyuor >t oF: D haones of ,eoely asi od tedasa giave gaitd of ,aaineyto sei 7 ger. aio; bas ogists o2 aed tegni ay eds suitet of .dcettoqd! ef? edd at aio bas edsde axow os evis of ,yliecl baa .esneiges aub mi ae, é ; ‘ dosois test? oz sot aeldon x ta Be: fAgiaed SSE as ER: _gaeaon 6, ta ion ods Joe a1 AGiiuosxs 1% bebsoetal nytesd ed! — wtagiad bas. ebsa. qldoirp 8 at yaitseggs 295! jesd bas foxi? edt to ties . edt to gots luoit¥ib, edd geibreispod bas xodsl bisd tetts ylno ;fosede be kot ai Aoseda Jeatt. ea, » gaeniseTo os t19g fistéa sebi edt es0bh .zefdo1g , ee lon seo abo ide taitts sezone’d How odd - .buidi a bas bucose 2 yd bewol bas, 258007, Sqsaa8, Ly eis bine sabaisotg geaceed [eiimbede ed’ 129438 | — megeo. on agdoJexe setiie? - “is tio of gatbas! déaq edz ee Unsbbue 3 q : ‘ " yal ow ‘au e10ted ei seatdse dé to agesi nedjod bas wea s jag ytettee é tensa) goied Iaag atde ,benssdo fae beizs si doide .auow ot of alays ¥ an ” pat gomyaes won 3785 (seve 2601 of $i072 gost sedis ,tiel oJ sdyiz Bort F oe had . ok wpldors ef bas .sdiwisiiso ed: don biuoo si-tias ,goalg laxeein ay ae tine JE daee 92 “be‘teye 6s “ed isy on ,datoq wids ‘ot ¢i gm! fad oF «be es 4 ee "toh 8lqate “baw tasio ad ‘beqofsved ei suis thet s ‘ede: fitey nt = eet QASBELOS Sus aaonsviseoto giiticay bas egisivoay~tles atete diay re i a a Jiwrsa saved aaieliixo lence wg asd? ‘bas dari? eomoe asig od? s6Y “ait “evitset2 ‘oat to datditizo gdissayetaiatb ‘tedt ; (189g as of gduob gnigyle wnnitodido . a6. dail; | ale Uodebadgach | $02. sbeqoisvod” ‘el aidt 6 eicted : ,iquods @& Neesid ‘aeool saak? fon aadb “ead | tise p-tlee gainsewtevo en- “ef ia a, © best, a tioas¢ Adin pebaeeiadts | ‘eovionadil? eyintis | qilbsea doade sive dup r floidw ed? a8 Gabagtson” af “bas’ dank? asi, Bie edt of séviy ef ae "Betws bas ‘Tenses Sofieu fiat doidw bas beqofletes excited aeltoig eid F: _.. . e98Tg sOgoR pede ni hexebianoo od ‘¢ gath Lind ed? to sat? # ks wis etic te asli Si ees pas “t “HoLisiol odd Hilx 00 | 9 aIBIOS ‘ged? bivode end Ad. no | tincdta $16 Saedt bas BS‘ .da4 of gatbrooon © . te 4 Leda ‘od sree | ‘eds to mint od? areihike © 100. : ARCHITECTURAL COMPCSITICN, of artistic design in architecture,- Thus to first hew the statue in the rough without regard to fashion of the Clothing, to first fix the struct- ural organisn, to bring every member to its place, to concede prominence to the important, to retire the unimportant, to arrange and join every thing in due sequence, and lastly, to give to work Shape and form, is the woblem for the first sketch.: le2.- Design: The design intended for execution is not the work of a moment, or re- sult of the first and test idea, appearing in a quickly made and talent- ed sketch; only after hard labor and conquering the difficulties of the problem, does the idea attain perfect clearness,- The first sketch is tol- lowed by a second and a'third, the work becomes Simplified, otstecles dis- éppeer, the essential becomes prominent and the unim.ortant recedes, and we suddenly see the path leading to our @in.: Earlier sketches no longer satisfy us; a new and better image of the otject is before us; we lay hand agein to the work, which is tried and Changed, this part teing transferred from right to left, that from front to rear; every part now assumes its natural place, as if it could not be otherwise, and the problem is soly- ed.; To bring it to this point, no pains are spared to test it again and again until the building is developed in clear and Simple form, for which both stern self-knowledge and untiring creativeness are necessary, - Yet the plan comes first and then personal critieism, Never permit par- alyzing doubt to appear, that disintegrating criticism of the creative thought, before this is developed, for despondency is just as objection— able as overweening self-omcoeit.: One does not first loose himself in details, which readily arrange themselves afterwards, ‘With pencil in hand and fresh for the work, it is then tested, changed, and again tested, which is the way to attain the end.’ In accordance with the preceding, the de~ sign of preliminary ground plan is most important. If the building te built up in the nifd, one may have a general image of the entire work; but he cannot proceed at* the same time with everything necessary to its graphical representations: @ must commence with primary drawings, with the ground plan, and n6t‘ with the elevation of the buioding. Attention is given to the growid plan first, and in designing it, the factors of the problem before Zeveloped and which influence external and internal forms of the building will be considered in the proper place.: 123,: Plan of Site® : | One should then commence with the location and aspect of the building, according to art.:€8, arid these are shown on the plan of the site.: This exhibits the form of the ground for the Luilding and its surroundings. eee. otrtzomon Raooartuons | yor - yatveixe, weoutorne eit toast bavoty oir awaxb yflanoteivory st ti 12 a Tfud-t0o bas sachs Ys enefg eysilin be ateone botelqreines to Ms Fr oatass redso Gds acdyied bas .qwode oais ote eyewolsy bas eotueolous B smatoinint ed? ~tentes fced oft si besiiisy bas beian ets bavetg eit to BY | whe d ts todo perchare eis ,OD8 ai deri viistosse ei ast shen adz to . ites. wpoibute jesal atiaeb begnatio: viis itesea eS apiaeb eas bineda ,toit - 7: ebLiod ‘eds Yo aot bawor3 bas snetxe giamixorgye ylotsa avig og seb10 ni : et OF gets 10 noiteluoise esemixorgys as .aslg moigasol ofl nogak ok ak aids eaeex397q wad to bis @d3 4a .botiupet ef gaihliud ed? y¢ be :ewolicl es abe yliex ‘beueved bayou Io seth -.bSf° edt fo bexit aeod eved emoot fu teou edd to setic bis wedaun od? tela ai Ysistisveywe to Ietod edt bap ,onims 13074 to etnemexivpet 99692 to siaed be uasidstes tot toed I9y cist1es & eidg of bbs ow .totisted? bemissdo eset a cae Wot ecisey doifdw joyseesg tot eaoor bus eeloditeey tot brs efiaw edd to Date ineioitwe gods nodes o2 od of al bas egatblind to ebnis ivide ed pa | wet ‘mode yeiaiimo ni betiupes enotioube: bas emottibnhs scot enisaet aly plans we sane: a oe nich oe ” err od ae: wets \ oauresivee ee aor’ capt: 7 a gelititwey wet pidiidnielen bas e@noot anit’ visy , the egnt us ‘yft08qa00 bas elgmie tot snes 13g OT of OS fs ..oce .atOdD- rom [stinso noxttos bas agoot io Brot ow? ddiw exaibliad off sane: gatvad ex0bi 100 eyewriese bas ‘oiled vobaith 1 auolha: ae Mena s 7 ‘a ; “ine siia Bs: Pi. sis hsiies Ste bas alse: eldadotg one istenss s yinc brotix ex fava ei a Gein tengieeh ed of etdourta odd ‘Yo moebiequoo yd dud <.atinti obiw nt Bis. eng Tia jo sets tocol? Isiot sit ,r9edcstsdo wslimie to agaiolindy bely oex'3 y ES “Baa (etiett teaclo nidviw beivqaoo yliene ed yea tea10% odd Yo aciroda Fo ow teT00 od o¢ sors bavorg off ,bexid ceed esd saitota to yvednur. edt 1ottn ; 1 betsloz: ‘ton fedw sxon béetebtemco ed of ai 31 *.Glotsmtxorggs bruct ai bes a dd 3S¥o goibnedxs: olsts as ne 40 ‘tote oninsazon s of beosig ems anoot “vols feomte yqu Sappgdih feroned “Col Bemme Tkotg neste f eft hi Ulla ioe yas Tonnes aids ni gnibseoorg retta yfikbsooos beteaiies toed asd gaiblind to eas ojeainorggs edt r9ste bas_ Serem . @d3 no wbiosh'os woqory wade af $i (02-242 of payors bas efie att of beagex eud ddiw gaiblind BE Sh-tedfodw {SIT -.3%4 of yaibtoovs aelo bax od Wd eae'yo to biloa ed tuou doidw sane boacfone efg” i A: by y ee 3 gs we oe >) Tc aaa ads yabaoet figisairg ssi as as LWodbers gies y @k gibiivi sis “Estlewws smilblind eft to olbbin edt dwwoids $4 0% foilsw 4 ynibrodxs tee _— sce thee Ste7s99 aay atgidaas bisixe nelto saxt sbia enoktoegib ow! east of eae? | OSS dows 19 Byhibliod gibsset to grinto) - a res Vi aotsivts fet: a #4 gta as [low ee .toissJx9 eft ‘of ebnotxe “Ui teteded aéxs yi cole tv ibd Mico, sé lugeitt bus bestinoo gies) ni 22’ eave ‘pmtibited o{2 to toi 29,06 178 od? yi beauss ,wov0 esnil a fbb iw end ai sieert 10 aisstte ,emio0t afo0n bac ewobaia” <830io, teirio ': até nk bexit ef‘etds ai meg ads Yo teem “ot déin ylinsdatanco. bas “yp dgatbrdioos | bestdird ee etaig ban” sebaiate Los fewJiourie. agertd to Maxx ord tokdoiadenca beag bis. sobs bo eingiy “4 lap ooh 4 ae lau aed iui edd to atic, evidoe sas eas at dan setd hype sis 2iie4 Asixs 16 Leigst os ednereida Side mort yaya sof s noe noasei oft? Ineiioa2 idous to jaeasitivpes s ai bas, sisi $b ‘eedssi oat molatyibuge ete ; “sted s: hetsloiy dom exw. Aviat bus Wiiiisdiva nese ,nold feG4aoo sm 44, beverg Pr boa ,t vit ai begolbven” asigioniag btuoty moTt atlugen hae ane ete ei “anit say0o bos eexit fis io equsee riders 10 eposiqig? eds iad ices seua dia. edt emusesly Js asus! ¢3 Jon yoo Bexk plovise wet bas. ,(T .fui) gaiblind eas oi oosqe to woteiv to esnit elisw nacto yi noiaivindue tiie esinowted Jaga xo Y shoe sf aa a bens s os Joa bar etait apriaages to otae, = EAS kee e-* “bassin! ‘4 Gelaieti wt 10 aioe bexswpe oils to abs ete eruines ‘eidt ‘Ye . aise ‘isdz to sagedgovbise ib big ae aoa vie bidétxe doidm ,aenneadates Bas ee ePiosavorbs, “ied? bose ,eaodtus. egedt- yd aitow of ete ai qonetstst :.b0 | 8 wore dotiv .evedesa weblo to bas oibslisd to aynisiqw one angiasd at Pets. sfonks3 vdd Yo tngweyad rad gil ,2exs yd weieivibdua inaiwtemmys ylbcais ee mi Saepive: @i 2247 | 22x68 to sesaye orig coniayosak d1ogqe to eiaiong isa Pe, -jourse be queny geet Ait orn to LLaae ag ago gah “onls dea jane fg Yowtsh : | pduloeds ot eoneus tes ne ‘edeb doua eseasu Yoise tiedi ai seve! ta ede hyies side? edd wi nevi: ei motaye e4/-103 sided o se Deas ewasen io sinu ane Lisae yiev Svod “de dade avola anid liad to nee is jon a3 {OOF + ite ioe ads 20 oisoa ‘eds wana of ei linadg ei $i asodsseib -isixe egw ¢isy = iris wisi tissue bas “pha qoris eivdediua yd ‘aeels aad fy Oe ieaei Frases gannderar meiell ‘,88f een dealin od ot @k elakas: laasasuit ip aban ove aefoseds | shenptest ‘Yiisd Res: ARCHITECTURAL COmPCSITICh.,: ing. Their coincidence is indispensalle in monumental Luildines, Cut is tc be preterred in less pretentious structures. The principal exis of the building is gerpendicular to its principal tacade, the transverse axis extending paraliel to it through the middle of the building. rurailel to these two directions side axes often extend through the centers of ad- joining or receding buildings on each side,: 127, Cutdivision Ly axes... Subdivision ty axes kenerally extends to the exterior, as well as the interior of the tuilding, even if in freely cowtined end irreguiar grounc forms, offsets or Lreaks in the middle lines occur, caused Ly the arranze ment of the glen.. If this te fixed in its chief points, windows and doors, colonnades and piers, are arranyed accordingly; and consistently with re- quirements of order and good construction, the axes of these structural parts are equidistant in the respective parts of the Lulicing, unless « de- finite reason exists for varying from this. adherence to reguiar axiel sutdivision facilitates desi,;nin;, and is a requirement of architecturai composition, when suitalility and truth are not violatea therety. This results from ground principles developed in Div.’ I, and is proved ty mas- terpieces of architecture of all times and courtriss. Yet the system of axes may not te taken at gleasure.’ The unit must result from the sukdi- vision ct space in the building (art. 97), and for structural resscens it must harmonize with suldivision ty cross walls, lines of piers, compart- jents of vaults, etc., und not Le based upon 3 mere fancy.. That one may go too far is shown Ly the designs, which at the cezinning of this century were made on the sguared system on the theories of Lurand and neinbrsnner, which exhitit advantages end disadvantages of thelr meth- od.’ Reference is made to works ty these authors, ard their predecessors, to designs and writings of Falladio and of older masters, which show a rigidly symmetrical subdivision Ly axes. The arrancénent of the grinci- pal points of support determines the system of axes. This is evident in lerger clans, tut also agpears in smaller and in freely grouped struci- + ures, at least in their chief wasses. cGuch data in reference to atsolute unit of measure used as a basis for the system is given in the Table ( art.: 100).: 4 comparison of Luildings shows that with Loth very small and very large axial distances it is rossille to mane the scale of the Luild- ing clear by suitable grouping and subdivision. | 128.° The Elevations and Sections.- After the axial subdivision the trseatcent of external facades and of internal sections is to Le arranged, and when the ground plan is sulstant- ially designed, sketches are made comprising main lines of facades and ae hs, re Pere, ba Suiged * asd privity peri 7 , | B dup bediow at i oxoted yalb lied badsozed 9 aod eben 9 blonds © dneatsis bas anoit1ogor4 set beatsrse gods $8 aMoktaotbal oldsulay olden tevels ‘eda. gd besaesey yluegory ad fouase dotde: eadoed kdo-rwe edd: tt of ‘motatves 16 ond ae beaayoaib 6d iftw eid eonssdogat ats +08 i omoe a co) ane 1) (gningised ais to ingdoni xg hovets edd goleveb bus esexsegt . ithe ~tot od ot bo Aree eit @teoibai of Mevig od. won {lie agniblind besvovxe Bama: geawe aivttes af bowed Paid ‘weebic [lg mo bede adn goth itive 8 a tie a hy a | a , | isbeqgowl yleewd «ft - aa obews. bf aelebrots aivead Ra a ee ena aaihacanthad adt cantblted 8 to ml one ed ten batoivfeeuas -gevewolt me | ~ ws ail eon lg Os itis gale liad atid to. aixs plea ads bredke ot .Yiieesqiamaye oetiasd ai At 498 aid’ woteivsbdye , fs ie of aobyweoss goesgn JhereT hhh’ ewrotne on oly enolsirien lit edt ETRE: of: SUE’ eyi4) oebews af gelehuodi tet - yiribtios edd to aolingnatso bne agnibavoriva, edi of biayet af Botds Sos pega sta ylleoirisamya , toon le qtondag. add (fsnebivo al obsow? deed etd “bedtua tag’ eat .gakdiius atitte ets dyuowds ‘satbneixe GA alxs telts « toads | arte! #19 begne te ote ae ne bied Bswradon ¥idnebive c1s efneatied ingee, ett 2 & OF telus toaeguey elas sete, By oil bas urate bavory 6 a bd Soden ‘ets ne {dong od! to einemertepan ssege ytwreg gas 2 3074 ght YO BHOLIt‘ACG tetT0 | TOO4 penne oft nk ytose 6 ” ; fo saoo7 yliast bag ance: Is ioos yri kogror's vd calq ed? Vo: Jeosegrerm ae Bi gis ib gio ved? doitw aoxt {fed dommes 6 bnvots exool? gétri hea) Secon ot ' 2s a edd tends betoennes o9 fud ,elornw etely (Oo 8 mtOT Sag” aidiedenon sees steuod edt yd badwdatb ried juoldiw tear od bluce adnemere ge oe staavied To oysesed vd to gnigeod | nT bas gone tia9 nina eit! to's <¥ no emdot Yello oft to awiteool eds Mes” $ ' ‘wwhounts add to etry le qiontag oll a) agen t38 ‘ot Yoveabas as awods y lie e# iagk toabeg oie pend ade eludideey bas 40h t'sx09 add dtiw bedosnioo exe totoq spe TiNge, ean xg serevenet © ae geri edd dete eine sion edd wo boos ly gated she f | ‘Gan ha soonnoo gited ‘ffs ,eebscst nay hus Sbie edd sto signs odd te @ Dae I ae addos. nt ethyl gniltes “ys badtgil ors siist adT \easotinte leqtentag ens Pe ie 9} eone tice Inaniedee aoe, _ sfeusoetio ot et iw abte. ais ht od Mes gals ig o18 dotdw Nyce oat ae aagoot a’ S108 VSS ‘babe netori tl aie doef we ye a sxobiti00 bee ‘eludivady add basis "ONE ae i rookie tie soayataesansutbe does eiereged © iiiw ebaotia te etinayaes & tud aatiate ak beoe fq y lime taevaos gaou ot bas ,bextupen eons Ad acid ‘ylfensetke ‘eldideooore ylioetib fe 104. : | ARCHITECTURAL COMPGSITION.: of sections. : when the design has progressed so far, a perspective view shauld be made for a detached tuilding before it is worked out further; valuatle indications are thus olLtained for proportions and treatment of the architecture, which cannot te properly resented by the élevations alone, Zor its importance, this will Le discussed in the nest Livision. To il- lustrate and develop the ground princépal of the designing, plans of some executed buildings will here be given, to indicate the methcd to be fol- lowed in certain cases.,: a.’ Building detached on all Sides. 1.: Freely Grouped.: 1<0.: Castle Stordalen in Sweden. J However unrestricted may Le the pian of a building, the design gener-. oo ew. evavitind] yshows an endeavor’ td “arrange the principal parts of the structure symmetrically, to extend the main axis of the building, and to clace its different masses according to axial subdivision.’ This appears in Castle Stordalen in sweden (Figs.: 176 to 177).: The illustrations give no inform ation in regard to the surroundings and orientation of the building.: Yet the Lest facade is evidently the princiral front, symmetrically arranged about a chief axis A 5 extending through the entire building.’ The prin- Cipal apartments are evidently placed there, and ere arranged on a trans- verse axis perpendicular to 4b. In addition to the tasement story, the Space requirements of the problem are satisfied ky a ground story, and a story in the hansard roof.’ Other conditions of the programme permit an arrangement of the plan by grouping social rooms and family rooms on the ground and first floors around a common hell from which they are di- rectly accessible and form a congplete whole, but so connected that the principal apartments could Le used without being disturbed by the house- keeping or by passage of servants.: with the location of the chief rooms on front, the main entrance and carriage porch are connected with the corridor and vestibule, the three latter being placed on the main axis, with the first on a transverse ax- is C D at the angle of the side and rear facades, all Leing connected by the principal Staircase.’ The halls are lighted by ceiling lights in toth SREP Leni: But i servant's staircase with a Separate external entrance is . Pea nad, Pa 18 most conveniently placed in the side wing to effectual- 4 isolate kitchen and servant's rooms in the Lasement, which are also directly :ccessible externally from an area.’ This produced the plan in Fig.: 175.: Around the vestibule and corridors are grou jed the social, live ing, and sleeping rooms, of very imposing: dimensions, and to which on ex— traordinary occasions could ¥e added the best rooms of the Manserd story. Bhs Te ‘ vgn mae) Tt). Cam ees s, h seule i te | mt ee sities Jog PT aod. (alah ri te sak ‘voaototen cea nt Eeivahive edd dtiw redta? of of YIseReoennn a $f | eal saa te thitdse doldy .imeiotitwe af aqoddantevlit ety o¢ | - fe bavotg-efd bas ebsos? ebia eft to ett: pe, seatt ai ‘sehiova dextt bas bavowg 20 see besilije Isdot edt Pied e: 92 dase ah hetevoo seis bavoty ,ytsta t2q .72 pe GROS to ognteve an - eytaas 4 tot asco bas sllew 20% betlvpsr «i [eaottibbe tase 194 0 aoned PU sien : yanoot luieau dtiw sug dud toddol edzni bedbulost Jon ow daludisavy chy phy OS 4 tmO om. ,.086 ,¢uwoo Jagil odd s9vo [led .seosried Sse nh | | indians geen inolijesays | 3 .etaqévld te anndbaswen .OSf _@ye s to alqaaxe evisourfont YISv s et yhackal 22 sosdboenet xeon ett (we ((28r of OSI _.2gi4) sebie Lis no eer goiblius begremm \yllsoliies ois eteatia’ ‘aot ud bebaved sila s no ,eametyots etd, to athameitlupet 102 tie na [¢ bauory: to Iaeagoleveb sort Jud .eebie L's ac estt abaasa ysiblind goong od 84 39 @ 2Sr ov besvini{ aew dtbaetd att gonia. ,aldiseoqal ew sit a as sestaas yaonze 30 Jnemiitint bas .tnicg yaisande ede ef Llad dues gals goidiiiord ,nyteed oivetiae edd 0 ale of) a) aénonetiuger orioniag Briss ~ulischies't; dasivo qs eae! Yieousea ai dud ong wit tot sanem.e yino ad b ) & fasts avountsoc0 oud to fusasgina1s edd of bel asodost Ieitmeulia£ (ha enh et is fife selfoy J. ,e00 teqqu gat ai Llad gueotoo roeig edt antos& we req ll Lie . feety eit jeanadzogni asi sot ..teyo? edd bas linc twlisway ae a is abd cite to ave lovely netot bos 3 O bas o « 86xe Yoito owd mo boosh: nats : 1900 Gilsquses *“eyot wit to bas [isd I[lema.en? to sortsool ed? aad re Le a aptajeaaya ¢ 8 of folloim,y wese sisaibiodve owt no.abae aser bos daoit te. ‘page S.fEi oO dibiw isidoi hedirosetg odd aort neodT met I wt baqvoty ylia ie Hage nee @{iis2o3 es eocga down a6 ..¢3 T.TEL duods of heasetonl wield) oan ‘wht alfed segs goignias . {ied tagoaoo deetg oft to dthiw eda of henyds Te. axtete davoty edd dite bas sedto dose ditw noiioenroo tneinevage of ee oifivg easig of taemeynetie seviy eft tot eidetine daou sew JI eel a gaiblind ed? to ataag In@xelith of gnthee! bas aoble gnol dios ds - 8 400 edd to ebie done no beos ly ets. vaete edg désoted ayewtinia vedte mm listos ed) baw moot sidaefloto edd of saeoos bedourwedony simteg bae .edota - Repwte | oifiuy eds tot éeodd of baol atobinies Inathbudignol bas ,moot aged _ stearys beosl;z ai (ind sefiswa edT. :.xeyot bare , find Jserg .2ycwrinds ot 8 bas ayswitete fenotdibbs owe: pene bedekars bas sayol ens diiw leoks © ad ,yatolind blo att to 9% old nidtiw bedeool af bie oludtseev Lfeaa st asaeudinsieine yaineve Sonia Jud. _ .adreonge tadasdo. 140i beau yitelio ed Dh fiho ateva bas eysta edd ted begsettm al ti .aiewedd bled: .(Listeaeg ot... myer ais bas $& ,aebtivites? tno1y yTey Yo geen al ..bevomos od yliaaa | a eure ee afd t9 nokee taba Loresvy not ah se ed mam . area mm ‘Wi syns | of wae hie Mand) an ae Sa ae i Sa on x aN pay! Jaaets Sees ren ye bes. et i e+ + . ‘ . ae be alt GP. toe ROR rECRITECLURal OCael Sit IC It is unnecessary to go further with the BEecatieion in detail; reference to the illustrations is sufficient, which exhibit. en effective elevation of the side facade and the ground plan.: The total utilized area of ground and first stories is 11£9¢ sa,° ite an average of 5¢48 sq, ft. per story; ground area covered is 7235 SG, . war hence 20 per cent additional is required for walls and rooms for passaye; vestibules are not included in the latter but put with useful rooms.: ond terraces, hall over the light court, etc., are Sf ee ; & cCymmetrical Arrangemert.: 120. Gewandhans at Leipzig.: The nex Gewandhans at Leipzig is a very instructive example of 2 syn metrically arranged Luilding free on all sides (Figs. 17€ to 181).° as for requirements of the programme, on a site Lounded by four streets the building stands free on all sides, Lut free developeent of ground plan was impossible, since its treadth was limited tc 181.2 ft. The great con- cert hall is the starting point, and fulfilment of space, accoustic, and esthetic requirements is the aim of the artistic design, tverything else is only a means for the end but is scarcely less important practically. 4ll influential factors led to the arrangement of two continuous stories, lacing the great concert hall in the upper one, t,gether with the adjoin- in gsmaller hall and the foyer.: For its importance, the preat hali is placed on two chief axes » & and © D and forss the nucleus of the tuild- ing., The location: of the small hall and of the foyer naturally occurred at front and rear ends on two subordinate axes parallel to C D symmetric- ally grouged in I form,: Then from the prescrited total width of 121.2 ft.,later increased to about 187.7 ft. as much space as possille was as- signed to the width of the great concert hall, bringing these halls in- to comvenient connection with each other and with the round story: It was most suitable for the given arrangement to place public stairways at both long sides and leading to different parts of the Luilding. Two other stairways beneath the stage are placed on each side of the organ niche, and permit unobstructed access to the orchestra room and the solo- ists room, and longitudinal corridors lead to those for the ruLlic letween the stairways, great hall, and foyer.: The smaller hall] is placed synmet- rical with the foyer and turnished with two additicnal stairways and a stall vestitule, and is located within the area of the old building, to be chiefly used for chamber concerts. but since evening entertainments are generally held therein, it is arranged that the stage and seats can easily be removed.: In case of very great festivities, it and the foyer can te opened for general admission of the spectators, saartiaoR) sasoTOaTTAOR ii gor” nhig to asiq Yo incaégnatt. asgio bist alowta’ aid? “betivpet esa oar ‘OAT t.urote vewol edd aot ytodoe te lise, yllerge: ano | bas stabs ‘Adod 62 éidasiia jeomeopes t0qerg ak amcor aieszes aisino2 of peng eon? 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The rooms required were class rooms for about 800 girls, singing and drawing rooms, gymnas- ium, large addience hall, residence of the director, and rooms for sev- eral female teachers,: which required a building of three stories, From the restricted site of the building, it is obvious that a front wing with two rows of apartments and central corridor would not adequate, (arts.: 124, 116) making it necessary to add a wing extending the entire depth of the land, and consisting of a single row of rooms with side corridor, Local conditions ( orientation and good lighting) made the location of this wing on the main axis AB of the building most suitable, thus pro- ducing a ground plan of T-form, placing most class roons On the open and quiet garden front, with the great -hall, the residence, and some element~ ary and seminary classes on the principal front. - Se wife | bre ome, Bh: y) ae ee ys a” oP ms atom. | owe ned . iO ig i Wor t20"MOD etme tery | “aur wit te digud .eeleis aldasrotace bas adseb efived to awerx seine de te to has.,moot griwerb fie Lem 3 to ecodsd <.d% 9.9 ebem ew excot aaa lo ‘Of See kg 0,88 ereW getbiind miss ede to tox el Acs egend evode aadgot taclo — , wee -aebiitoo fertume edt 5.98 28H encoy cnesife “te Jaenelo ihont Yo tad mn ¥ odd 838.80 ds wor: i)edie1 eax noiteotaumnoe doetth tot aed? acews Bei ie jeetse mot eone lett 7 b.&8 ts bext? gated anthiliod teroa to dtqes lesod q bi: a [iad jaoag odd ,ctigit edt Ad gaintotos eeuod add yd beTives soled anil ; $08 od nods bivco #1. 2A olxa teide of votum ddatt ts bebelq feait asw P 7 a80% of diqeb evitice edt bas , tel eit oo tneoe ibs eavod to eatl ot deed i‘ eS £Sl fotiw 10% ,baigoba amedoe laataen-e bis beuueee tobivive off Yo Liaw E Fi cae wttel bas tdgiy ts 0, dose emoon easlo owt Yio snitiwo totte bomtenet .ti Be ie oy we iise Baw Aiiacinais et gebioja seqgqu owt dgrowdds behaetxo [led ade sone ; ; a if | CIO ne 2 4 A 4 de ls ‘ad, ocala binoda selidita de fitsm bas eons tide edt stadt enobive esw tT ett #moxi to (S38f .¢tA) aodtoentesai ge aried teliel af? .d.A ¢ixe co) beynet PB. . eae te deo bis f neds etew poiw edd ten.eeah! ae0 ent, .kehtw mee Aris: an toting a i BS OE ps8? 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Aa to sonsh teen, eo atin: adated bis Ydbre Limes fertotke eved Bs, i“ an sss iyi te | “sttear09 eens ed¢.no betovstence. axited wedd 3 #43 nstdaen et UnBaeoen Yiad Bi st ,c0ly [anoneg edt nisique of ais wy Yee = 107, ' ARCHITECTURAL COMPOSITION. - with three rows of double desks and comfortable aisles, depth of the class rooms was made 21.7 ft.; those of gymnasium, drawing room, and of class rooms above these and in rear of the main building were 23,0 ft.; that of front elementary class rooms was 20.4,: The central corridor be- tween them for direct communication was rather narrow at 12.2 ft., the total depth of front building being fixed at @2.4 ft.Distance from street line being settled by the house adjoining on the right, the great hall was first placed at right angles to chief axis 4 5.: It could then be set back to line of house adjacent on the left, and the entire depth to rear wall of the corridor assumed and a-central scheme adopted, for which 121,2 ft.: remained after cutting off two class rooms each on at right and left.. Since the hall extended through two upper stories, its height was satis- factory.. It was evident that the entrance and main stairway should also ke ar- - ranged on axis AB, the latter being at intersection (Art. 126) of front «building and rear wing,....The outlines.af the wing were then laid out after width of corridor was fixed at 9.2 ft.: and total width at 2¢.7 ft. To this corridor was added at the rear,stairway and a toilet room for each story, with covered portico before class rooms for use during bad weath- er.: For central corridor of front building, stairways were likewise in- dispensable, especially in the upper stories.: They were placed at each end with light courts and were further lighted by skylights.: This was the general arrangement of the buinicing, sufficiently illustrated ty plan of passages (Fig.: 182) and by plans in Figs.: 162 and 1€4.: arrangement of ground story and subdivision of the class rooms, living rooms, etc., do not require further notice.’ For each seat there is allowed about 16.2 sq.ft. ground area covered by the building, including rooms for common use and the residences. If the three stories are taken and the average utilized area be compared with total ground area covered (the hall being counted as a single story), the latter exceeds the former ty about 90 per cent. 2.: Partially O,lique Ground Forn.: 182.. Palace of Archduke Louis Victor in Vienna. . This usually results from the form of the site, especially when bud ate ings are erected in blocks.’ This is the case in Palace in Vienna (Figs. . 185 to 188).° This site was very res stricted in both location abd area ( 15600 sq.: ft.:) and a further requirement was made that the palace should have external similarity and height with the residence of Von wettheinm, then being constructed on the opposite corner. 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' above the cellar story with its kitchen and store rooms, laundry and bath rooms, a ground story for stables, coach house and servants’ rooms was required, then a mezzanine story intended as a part of the living rooms of the archduke and his household.’ The first principal story was taken for the social apartments, the salon of the Archduke and the living apart- ments of the Archduchess, the second principal story containing other liv- ing acartments for the household and the servants, The entrance hall, the principal stairway, and the festal salon in the first principal story © were designated as the chief objects for dignified architectural treat- ment.’ The salon became the starting point.: Its location directly on ich- wartzenburg Palace, the entrance hall beneath A, the direction of main axis AB, all are naturally indicated,: At the right of the festal salon could be placed the dining hall, dtached from the living apartments.: The joderate depth of the latter required the same depth of the salon on account of the limited space, but the salon obtained width required for external appearance of the building by the flanking angle bays on the principal facade.’ The projection of this part of the building was fixed by the in- ternal arrangement and by the different depths of the two halls from the continuous middle wall,: after these principal apartments had been previously fixed, there re- mained the salon suite of the Archduke and the apartments of the archduch- ess on the fronts on Ring St. and on Pestalozzi St. 4 wing could then be carried along Ring St.: facade with a depth of 29.5 ft. and one along Pestalozzi St.: 24.6 ft.: deep, the obtuse angle teing properly adjusted by the circular bay.: The plan was thus externally completed. To plan a spacious and beautiful court and a grand and dignified stairway in the remaining internal space was no slight problen.: without injury to gen- eral effect, this was solved by placing the staircase at right angles in the corner of the palace, starting on transverse axis of entrance hall, leading through mezzanine story and ending there. according to the li- mits on the place, a wing 2@.2 ft. wide was cut off, and the conservatory was made 21.4 ft. wide on the Ring St. front,with a vestibule 14.1 ft.. wide behind the festal salon,. 4 narrower corridor opposite forms the fourth side of the court which is 4@,0 ft. long and 3¢.0 ft. wide, its walls com posed of arcades with three and four openings each, and windows for light- ing the apartments., That corridor leads to a side staircase placed te- hind tween sides of the angle end at apex of the internal triangle pro- duced by irregw arity of the site.; The remaining space is employed for adding subordinate rooms and a light court at the rear of the adjacent MOLT TZ OSHO0 JasNTOSTINGHA | | ‘OE em souate ed etal ie. \ysoga jaqtoatse edt to Inenegnerse fateney eft af alist saaee abeooorg Listeh ai aoieivibdys .88t | Bit .segsaasg eid to nelg off ak faosedal le Losgae tO -,yrore sano gis edkl .yrluortith sedi? se | Daissy eds to inemeonemaoe edd ,ifed gous ties eidon dgix yrose brvoty odd Ee tesolstaed of eos 1d grudnestiswdes sor egseasg @ysiziss edt bas ,ea90 Bie ery ae ont of abaoges 1109 bas Vat Bet ni. awode at ebsost feqtonitg oat ste 2 tin betevoo ees bayorg eld to goatieyaoo A. . ie dong ant. to: atnomastug iq solitbbs as bas yiosa isgionitg edd 03 batinil git sets horiiise odd a = anobtuna Lx eaodd tot atimit ed? .betigps: ai wise! odd of iran seq 08 Sggsel gnu? beaevoath etew gaingised 163 bodsgem oJ ii behbeeoxe od Sivow a |e eg Moke ivid ox99 ene ni Deue oes er) um benego af yew adtT aie gars | ae WI MOlSIVId an AAUTOSTINOMA JAMAATHL GuA JauAaTKS 30 Tuawnae? 4 ; 3 He 44 Se fo eigen tat memset dqeegh: 1ogse Tord v6 ees: Wee Soares eee at | | ; BO i aga Sree gaa Hato nobsoe’ ‘to eee “ s@daadD ca a Ri Ase ap ; am : | | iy alah Re ae 2 oo ke ef | BENT ome. at aeatt, edt setogoe? ows ao ehnegeb yatbliud eto esasxsesqs et Raper ~seado se soqu tlealh peaaoiqat (linemira doidvy .ces exitne efi to #7108 Tipe mae Siete gis @mno ylbnose! «.eldi¢qeoteg enols ait etd eouavath 2 vs bue , Tew si * doin, brad $s sen eldiety vino ylisuev ,eeesu eseit to aecaimwe laodt fae | wokesergai tslucisis, edd eoubdty moigetaeasn:0 bas nolsivibdoe atedé yd a yet esiusamue ylietad of taed od [fiw 31: Joe tts olderius fewbivibal 46 ane ‘dttOg Seat edt no ridtaty id untbsoerq ety WE bai Bo Teomapng ad bobivit ad yeu .beaolo to betiny ad vom pathlind s to eesa eff - oe leblomattg éiqats s avouborg mot bekelo a .bequorg ed 10 seaasm be wine @ighia ytev & ee@agotg emustg01q edt Mt .2e8m iehimenyg so .[sotabakt aie ‘a —i6q anoni bétivget 26 ystislimie “it to .moot olgnia s yd bet tttie 8909 a |.) Baonset yd bedeoibad ,mxot bettas eignie 6 ai beaidnoo sd ot aedd edie H Bwooo gathlind eritne edd to gniquowg A .ysilidediva hoe nottouttasoo Yo >. ediinw wot gaivree ,amoot to tedmua 6 wetinpss ommetgorg anibfiud ely tM egrtblind sieveqes af yfro beuas iys od vlveqotq ane dokdw bas .eonogtug te sorteaidnos aetlvpet anoo% daeisttib eds to noftsennco ofasyxo eat Phased edt Yo ednentiorg ya -.ofodw [ety toed jou etyate 6 odnt aessem odd | mbatemays 6°ni emoot smetzoget egal to geixenas etenéhrodve bar solstog — quorg Isitoetidors 98 eid Yo isaeneses aixe aien's grole gobtteog tao el ti RE ee TOO EE Te ae hee ee rn 109, - ARCHITECTURAL COMPOSITION. : structure, This is the general arrangement of the principal story, illustrated by the plan of the passages, Fig.: 188: Sutdivision in detail proceeds with- out further difficulty, like the lower Story.’ Of especial interest is the ground story with noble entrance hall, the commencement of the steir- case, and the carriage ressage from Schwartzenburg Place to Pestalogzi st.: The principal facade is shown jn Fig. 187 and corresponds to the re- guirements of the problem.: & comparison of the ground area covered with the utilized area is limited to the principal story and an addition of EO per cent to the latter is required.’ The limits for these explanations would ke exceeded, if the method for designing were discussed further. The way is opened to ke pursued in the next Division, : : DIVISION IV.- TREaTMENT CF EXTERNAL AND INTERNAL ARCHITECTURE, - By Professor, Jgesph Buh] mann. | Chapter 1.: Forms of Facades. 123,.: General, The appearance of a tuilding depends on two factors.’ The first is the form of its entire mass, which primarily impresses itself upon an obser- ver, and at a distance this is alone perceptible.: Secondly come the ver- tical surfaces of these masses, usually only visible near at hand, ,which by their subdivision and ornamentation produce the particular impression or individual artistic effect.: It will be best to briefly summarize that said in the preceding Division on the first point. The mass of a building may be united or closed, may be divided in detach- - ed masses or be grouped. 4 closed form produces a simple prismoidal, ey- lindrical, or pyramidal mass, if the programme proposes a very simple pur- pose, fulfilled by a single room, or if similarity of required rooms per- mits them to be combined in a single united form, indicated by reasons of construction and suitability.: A grouping of the entire building occurs if the building programme requires a number of rooms, serving for unlike purposes, and which can properly be arranged only in separate buildings. The organic connection of the different rooms requires a combination of the masses into a single architectural whole.: by prominence of the chief portion and subordinate annexing of less important rooms in a symmetri- cal position along a main axis, diversity of such an architectural group produces a united and organic appearance.: Since the arrangement of rooms ee a lee ve wei iy i fi yea FA my ae | Ort iy ‘ os todd ienadirat! 3 i Pinus ¢ sutsae aft te ae foneexe ‘etd scoot oe \betebiencd ed feva eonsissqqs Lanierxe ed? vislig bayorg ett gasante é ohana od vine puro? ieiveesae stedt ag nsp nottavele Bas ela Jade ein ian a iytedtes Tee “guns iw: bednasd ed vebeos? to onto! soteivid eid? to sesgedd ab £1 ee Pei: ae: nt xiao ,githbiied @hd to senoquy greet Il ed. to coldscinaxe pi ee as abltes 6 ‘enrot bedoedeb bas efytia sot ts20 yino aso aid? ,@r0% fe aterKe a beqioia to efolitog gaimtot avaasi leqwiostidow ets2sgea 10%, to Bgad Zz of. a atatpy (isnibro mort ylno betebienod od evtad yom goiquowg ed? - .settoutis ae eh ed anio% fosutourse, tnovetiib ed? to.nofesetqze old ms dana bas wolv %o a“ a pain sate nen ; | Poseaahetalaah esrwevib eid diiw eonsbrooos al hesaent oe 4 ne Pao Rohs ewe se fiat Lege dx Yo moldouygadod | REL ee eee F diabadash fei o'r, ‘ewiourts Yidve.to Bebsost 19 eeos ia loaxodxd ae ‘teotivey # aortupes araT -.wilew fenvedxe edd yo aostour¢anoo edt ae a ‘gnitiveot diiw abrewqu geeudosdr bodatniakb siedd allow edd to mold ado floss evods aprineyo odd gatonly wetiopat tedtayt #1 -edestto 20 taz oe odd aeonted @eagsn fotfourte to snomisaxt edif-rolgq bas wt it s has “@ a | ite tatoo. 0: ‘toot yritoatorg a yd gees tive fonterne edd to notsoetorg sev’ Memetiuper feriJovita & en berwblasco od aoonescavorin eave webay Yom | Shae eidewh © aqvborg ys ewiovrte 6 to ellaw Ientedxo edt tod sam aaa, off unituees nolsenicmoo s aver aug yods ,solsaetgns ie A crn uhm ‘rl gatazennog heyol que ed daum eisisesex bas at giersde eld i: acs a , waeonou Lat Lenreaxe on ot ohehy 6 gy belfouttence Ktone tha Cilia dn ardent bi Sides ine idave eds bi) dbs ao \foteaerqa! Letcemsinow on eowbotq ameed bis eteoq usboow to tow nub “plovite fox eds yd bats aivineise ody To ysilivewh tigtle edd to dageo”” ae nanan dabh baie fot ‘Meat! aottovtdenco: ad? to nagneate isms hy ah Ft ge es Eera 3 hho yet to soteivtnive fsotsae Ss aia a | er rine beusbea then: edd ‘to a terenetaing fstnonvion add akaiiibas uliek aaed sve liqeiags WernsH @ at cotsevele fsobtrey oft asbivibiua ated 2 ods eid edt to) wolv eidt ot a dl Moke 110 ARCHITECTURAL COMPOSITICN.- affects the external form of the entire building, it is clear that in de- Signing the ground plan, the external appearance must be considered, so that plan and elevation can in their essemtial forns Only be designed to- gether,- If in Chapter 1 of this Division forms of facades be treated Without examination of the different purposes of the building, only in regard to external form, this can only cccur for Single and detached forms of build- ings, or for separate architectural masses forming portions of grouped structures, The. grouping may here be considered only from ordinary points of view, and must in the expression of the different structural forms te treated in accordance with the diverse purposes, ° 134,° Construction of External walls, : External surfaces or facades of every structure are first dependent up- on the construction of the external walls,: This requires a vertical pos- ition of the walls, their diminished thickness upwards with resulting bat- ter or offsets; it, further requires placing the openings above each oth- er and a firm and pier-like treatment of structural masses between them, Even protection of the external surfaces by a projecting roof or cornice may under some circumstances be considered as a structural requirement, That the external walls of s structure may produce a durable and monument- al impression, they must have a combination assuring the greatest possi- tle strength, and materials must be employed possessing great resistance to all external influences. : : As the simplest construction a superposition in courses or a stratifi- cation of the material, and natural or artificial stone has proved to be the most suitable and durable material.: All walls constructed of a frame- work of wooden posts and beams produce no monumental impression, on ac- count of the slight durability of the materials, and by the relatively small strength of the construction itself. Yet upper terminations of fa cades may have a projecting frammed construction in simple corbelled forn, and this may be so treated as to harmonize with the stone wall in regard to durability.: 125.: Vertical subdivision of Building. The artistic treatment of facades naturally follows the construction; it first strives to produce an effect of stakle resistance, which essent- ially determines the monumental appearance of the architecture, and then subdivides the vertical elevation in a manner appropriate to firm construc- tion.: According to this view of the treatment of the facade, there result as essential parts of every facade:- | | 1.: & firm foundation or a thickening of the wall interposed kLetween Av if oe 4 : ; ; ah , ® ie , alee ae by a f 5, ’ oy me or F ' j if we 4 i. are ‘J, Lae eo « we “7 Ld ay if r : O yitioetore yitdaile bra’ Agid aw ‘to 10 eeed goitoolotg yigaotsa se a) ¥0 noigesique eds bas tnomsaz0 suodtiw vot olqala abasaeh ayswle Ee a suo ‘buteese bas avottotqanoo yaiau yd beoubowg teed oonstateer aa i ie bad abiw délw ea a Scene alles pabriges yileotirer ud eoaqe to emweolone [audios off 8 orem asides ot .ee@asog l[etnogtned edd yd swode ‘Yilearedxe ef emJorte oe o¢ sbnoqeets00 abiswqu eeeiom ejat eft to sigtet to solsoubot & .vgeo T89998 od eine siiniedg qithset 8708 bos ifaw edi to azedkoidd bedeiniags eae ihgieh beeseiont edd dilw aad ¥ Keboniee ai ilew edt evods toot ods 40 egbe grivcetorg off +.6 ga iedgqiiod seddeyos eves Cisw add To ee tos galioeloxg bis hema 007 elt to eybe ed? .aatot? {stasaimnom tac al .etudeldetne aniaworo edt + wleveb odd diiw tvastinco al oud Ldsdne enose evcenszomod s eeoqwoo ty i _biveda asatwoo Jnenimor bas 1sqqu onadt (yaitoot 40" eeed edt to smenqe il, gent ade jnsaenge bivota yess jasomddgll teedsexy eid ‘to tevoeusdo « evar «digit s at pidied aetiitaiivoey exedT |notteainies deomreqquv eff ,galbne eae oak sons istics etoterei? af ti bas ,hoow to setdsldsiae of gered . 1D eaeaaaas Settee ‘baie ,enooed evar bivoda boow ni Juo bediow yllanin: i ys 7 | 0tls aexudeldeine eaote Ri Lao a fe .gaiblivd Yo aolatvibdys soonest : 86 aa ‘ at. nobetvebdus aedas ieascen natbitod ae to setters mob oat ates “es sehene ent wort ebnedxe yiisuen aolsivib {e¢noz tor aid? ntis2aor dtod no aeaean odd gitnaests Crdoaaya to to eoesem ‘te linta to sixs as oe wh Ltard ods’ to eaoqwy dtin eonsbroocs ni etdaen oft to ¢nomisort Lstooge | a goiay at “iseqqe texkt enoiseninies ehia edt @a8m isivtoetinore teat a uv ‘ haresesitg utitoeiorg t6 (y8t6ldes tegiel Leivetem tegnotda » aelyne edt ts a ie, _gaeds ,49be087 to eagicob ‘behgedxe al ‘Liew edd goinedsyaexsa 10d exeto +o | weed, bas Isoitvey oT deem Isxtose edd to tedt of essatbrodys eonsttoqa? ee “gees Ot ,ytiny 6 26 wedge of ebsoat edt timteq taum amoletvibdue Ladnont a “a ios tieq agi galweat ydexods suod dw bevone 10 bebbs ed A8o gold den hand ns a6 eyaibavorwe att oF deessa00 ae eal tava palbtied die von ie (tori cong sea eid? iuiely was bas th ai 5 you aT ‘,¢Livd edo? etsegge yathliod eft dotdy a¢ ,ee1o00 | Betty: ‘emit faevettib to eis doliw 2ea 10D dnote yd hedrogqne rfrervenntd at i 40% a4 .bne dose ts anolisainset Sitios Iq bas ,(itsiimtea aid? to asbia - sia betsets Kideiz s of Isditog elquie a ‘Bost hagoleveb ed yea alds aah n a ms bengiaas ai doldw of sBoeasa lewtoes ido: le toega to dalenoo eknibae— 111 ARCRITECTURAL COMPOSITION, : it and the ground.: This footing Lecomes externally a platform or a base course, on which the building appears to be built.’ It may consist of a strongly projecting base or of a high and slightly projecting offset.: It always demands simple form without ornament and the expression of great resistance, best produced by using conspicuous and massive cut ashlars with wide beds.: 2.. The actual enclosure of space by vertically aspiring walls, whose structure is externally shown by the horizontal courses.: In ashlar mea- onyy, a reduction of height of the rate courses upwards corresponds to diminished thickness of the wall, and more readily permits this to appear with the increased height.: &.: The projecting edge of the roof above the wall is supported by the uppermost and projecting cour ces of the wall, these together composing the crowning entablature.’ In most monumental forms, the edge of the roof is exclusively supported by stone courses, which are of different forms but compose a homogeneous stone entablature.: In contrast with the devel- opment of the base or footing, these upper and prominent courses should have a character of the greatest lightmess; they should represent the free ending, the uppermost termination.’ These peculiarities belong in a high degree to entablatures of wood, and it is therefore natural that forms or- iginally worked out in wood should have become, and continued to be typi- cal for stone entablatures also. 136.: Horizontal Subdivision of building. : “hile the construction of the building necessitates subdivision in a vertical direction, the purpose of the structure causes a division hori- gontally.: This horizontal division usually extends from the center as an axis of similar masses or of symmetry, arranging the masses on both sides of this similarly, and placing terminations at each end. 4s for special treatment of the centre in accordance with purpose of the build- ing, this may be developed from a simple portal to a richly treated cen- tral architectural mass.: The side terminations first appear in using at the angles a stronger material, larger ashlars, or projecting pilasters or piers for strengthening the wall, In extended designs of facades, these endings consist of special architectural masses, to which is assigned an importance subordinate to that of the central mass.’ The vertical and hor- izontal subdivisions must permit the facade to appear as a unity, to which nothing oan be added or removed without thereby injuring its perfeotion.: Every building must stand in contrast to its surroundings as an orgen- ic whole, only appearing to be connected to the ground by the universal law of gravity.: Around the chief apartment for material or ideal uses, © eixs L jldaie ype rio pr er eeake pee ie opr seca grote: bequory oie anoot sisatbtodye ‘noltiave te edfi ts) “e «nl iit ‘a :ao7st Begs so8ga besolote eiT -.tetaeo alt mort gat - goret ody: oF ‘Hettiaoggo- nt has .dewory to awe! end dgiw eonabroses af biéw qu ve eaedd ‘Beadso: natetind ede to. ‘ebsost <0 costwe loatétxo oct ‘adivers 46 ‘dtod eessetqnd Fi yi isttedxe twegue of efodw etd to « Lots fsaredal panew ane r 30 GOneTtoga? leutoeliestat ont bas ashemetinpet lsauseuide eee, is" PGE Tighe 8 Maca 6b898F to. More lv ibdeg feoliaev vs st : . ‘foltoyitane) to dotesercx? 1 ggpe die 2s eae 8 rr enols eiaemale Isurgortca ebuont eft to ee Sis af FT “Ke we Loo B8eeg wT .beoubarg ed ydereds [Liv tesoetero seteves bas els blind ag Srisbaeqe’ ai doide -,noitouctanos to ebow edt ‘Io dsdd at aoleeetg ae | betuoexs yiveves sacitourtersg.s yd. .¥ wiessm Io bald bas Letresem gag od nso miot to Ydedisy. age Tobom viey 6 yino. gone megy is [anietxe eld seve ebyt eft evode eel1 tonnes ebsost edt té tneudests s dosa bas beouDorg pei: RA evitawooeb emvess yen amtot Isiudoy ide fol .ydilésn exem to teJsoe40do Ln dud sUieeReven yileweousts goa aazot ddiw bowtidmoo ed vom bas segade a oe fie ebirt. OAS Qaigqoth dwoddiw noitoayt « gttametgxe 10% evies yino dobiw: ay NC adewigernige evisstose? .aottouiwencs eds of gatbnoqaatios tetoesed ed menpinsh Anes Yen amet tasidmas isu tounte edt to vltasbaoysbol bewy: Bs e+. |) eetteveg bas: bLoo sgeiwiedito satblivd s of exaagele thse: 4 wehsoat bedsoltang age a to ate? Letneaunon deon ely brs taolgnia edd em eebers? bay seabaiil hi a qtotngee odd yinonem taldes at nedw beoubotg .o1n bag! \aebcost Leqwtorde Co a AP8L.32%) eosacd besies bas anigisa bevierb yd besdercoed ors asoold is So Gam fasny etisq [fe at ylisups seaaeaacg ateides beaasxd to beeognos flew “gee oe ont de g0aticD Ta. 200lJoeLo1q to ae (ne seiesdqme (Lletoaces of -yeitid hae al ‘seem yveed ot aA. - +honiuped ed of. Teqqs son Bech agilifes edi to elever Mapai Vignora bas evieass od Jann ebeost to mol elit to sesd of! .yane | — evods dele s yd harevoo od Yen te fdas ‘eg1el Yo seao0s anigostotg A git | {acistey eft to seseod edt. .tsee « of bearotansty hated eudt .qete-a oe yiwed eft to etwtossidors. ed? toy doaod: @hid no ULtosrth deo4 yom I few sa — eldetiag m10t to SmYQ. esa themretai 8 exedé beos lq Ulineupert sousea Laneh sta basd gativebiod :s SaogHos od ‘tedjeyod geedd beyoiqas bas .exad o red - tetos wide [swtoowte edd Lore eoughzcoos al .wobsde to footie gaouta a siehamstal wd homeo) a e1eH & Q Psa bas toeb :,emtoesinom edt to Soe @M wlemil yd x0 \somaod 112, : ARCHITECTURAL COMPOSITION. - through which passes the principal vertical axis of the central portion of the elevation, subordinate rooms are grouped along horizontal axes extend- ing from the center.: The enclosed Space rises from a firm base and extends upward in accordance with the laws of growth and in opposition to the force of gravity.: The external surface or facade of the building causes these internal factors of the whole to appear externally; it expresses toth structural requirements and the intellectual importance of the building. - a. Vertical Subdivision of Facade, : 13”,: kxpression of Construction. : If in the design of the facade structural elements alone appear, a sim—- pler and severer character will thereby be produced. The particular ex- pression is that of the mode of construction, which is dependent on build- ing material and kind of masonry. by a construction severly executed in even the external appearance, only a very moderate variety of form can te produced, and such a treatment of the facade cannot rise atove the rude character of mere utility. Yet structural forms may assume decorative Shapes and may ke combined with forms not structurally necessary, but which only serve for expressing a function, without dropping the rude character corresponding to the construction. Decorative accessories, used independently of the structural combinations, may lend grace ahd elegance to a building otherwise cold and severe, | 126.: Rusticated Facades, Rusticated facades are the simplest and the most monumental form of structural facades, and are produced when in ashlar masonry the sep arate blocks are decorated by drafted margins and raised bosses (Fig.189). A wall composed of dressed ashlars possesses equally in all parts great sta- bility; to especially emphasize angles of projections or courses at the levels of the ceilings does not appear to be required.’ 4s for heavy mas- onry, the base of this form of facade must be massive and strongly project- ing. A projecting course of large ashlars may be covered ty a slab above a step, thus being transformed to a seat. The bosses of the vertical wall may rest directly on this bench; yet the architecture of the Early Renaissance frequently placed there an intermediate cyma of form suitable for a base, and employed these together to compose a bordering tand with a strong effect of shadow,’ In accordance with the structural character of the architecture, door and window openings were spanned by arches with bosses, or by lintels, if moderate in width.: Within the larger window openings is a recessed wall with graceful treat- ment in contrast to the stiff ashlar masonry and having an excellent i~ fect (Fig.: 190). Like a continuous band or belt with slight projection MOTT TEOGUGD Jad TON TTA : Bet He ei {Lie wobatw odd. baad fitaeh bas smyp. bevwe yivaey 6 bas (eos taue eit to aolaivih yase oa emtot bas aeseod to 298709, idiv bedeord e _ Lite webaiw edT Komebae? lesiviey siedt guy qu aretant yilevion tuoditiw ae | ota ytivoetorg yiddaile 8 en? atop. olson al oumMgo-slod 6 a6 aS (dedt-diin ebiontce augtetedt bluona siyked adi dns ,eaoda to esayao be te or oalwexil Ysvedey go toch aoantiue ecT eee mes telus | aodto add te ae | gis Lo & Hoyt parotaxe ed-vea gaed? base Jsonetd aad. ébienk asus; Berlup aa age efderebtgnog, ww) Mbet RET) gysttinom beliiorg yignowta ¢ a7 leever ion ‘=Lidete to Bog 69498 ysageved aly aovborg ov betivgar ayewlis at dmst, te “tote oainsssem yas nk to yrode bavory any at wobatw . a6 Ly yng tos on (eda ’ piss tuanys aise 745 i] .eeened ol¢ jxen ave téidons me din eanoqe it Yow _evig bas Lisi beshvisans, & Hl awobsiw 19 axoob welugastoet enis!l eoolg oF £ | Ot Hos toutsanos agboow mott beviteh emmy emiot erotn ,aevaatidow ned d ae Ui fides ont mea, evods Ytoe 8m odd Meagvea od alognit fiigie tte nit ha Lite 4 La - Utaoiofttuadt + m5 yd bowbtat ti es oye edd of auseggs medd [low off To . ¥," a LZ a j be ida 58 - q Md > Pag ” coe * i oo, ~ epetnieg 0 oft to gntivevoo grows baa, te entein idnsamno7, aaeok, atk wormed ayouls on. ewistisine edt ome ia woisauisanos | noboow, as beteniyiro, yiieide doidn ,ovwbs9. 1eqevion eup Bois: _ wtoe tie. ae ante? ¢fisinegas enoisivibdue dots edi dtin aqys. asidgaiad: eds : — gate eetudéfdedas Jey yhieg. beteokdaus eiqeis ed? of saestaoo evs Be ured? to. evige ai ag itn seb iamoo {ist eviemeb soltowijanos esods. af toted be es besogupo; selte9 9-906 [a4 wigiledl to soiates levesiben ofT .ssegevioase aca ae Ts 6 F0Y eFidon ody adv vista en0I9 gnidipggue. aledioo beaiion! ifat Ye as ua bedexoosb gaiv09 efote 4 orwae Lasting, eougsa Lanett Se nto? potbaogees 4 i 0 es 9x8 aged? ‘ao loanon 40 eledtoo. 102 aaed odd aaye) yath low emyo & bi: ; ifozdw aio? Ie davasnto. 8 eveloor, jait eoimics ett drsened. eewodgen bealle | YD edt yd af ddtw betoeanoo bie de La aid evoda desory ig siedd woagaugee hoe Gseanjed BOOK J2 OTAYPG .. Gt tone. eetl 8.ae eegtt epintoo eft. acibiges 07, grote ck dtemgate” eviger000b dots 40%, Rosttisoo! eign tira ets ae low , gaived aldetiva. teow wags aoruwde fdedag.onpsdne 27. ASSt.ad%) ° tedd od beyolqas od, .aeloaros, @e20 10 ielugantont has hab ied dopa aa “even bits. higted: age ogg Addw betgard, ‘98. teu xed altew weides omen _pitows ya _.equdogdidpus vorol edd to iedaetedo edd aviv estnouzed od de _ “ee seed aved ot aiseqgs @lqioaltg edé eoneasiaael onitaeio!? cdi at aeoo? Ajuoge eyuel, obsa ed Jana ees leg 6 evods @wwesidesae edd dads .bedeilded eqys asidtadxod odd 20% utiigted. loupe te ebsanolea 9 10}. eldssina od og — etizas edd dédavetsupt-one of d¢Mews eho mort at aide Pits fede To 2074 Uiblod » vs eos twa ox ei? wort bebtyth gt excl? aisdg 8 ;.tipted gE ARCHITECTURAL COMPCSITION, and a gently curved cyma and dentil hand, the Hinaen sill is atfesuivens con- trasted with courses of bosses and forms an easy division of the surfaces, without actually interrupting their vertical tendency. The window sill as a belt-course is nothing more than a slightly projecting and ornament- ed course of stone, and its height should therefore coincide with that of the other ashlar courses.: The entrance door or gateway likewise re- ; quires jambs inside the bosses, and these may be developed from a plain reveal to a strongly profiled architrave (Fig. 191). 4 considerable depth of jamb is always required to produce the necessary appearance of stabil- ity.. No rectangular window in the ground story or in any mezzanine story may dispense with an architrave next the bosses. It appears unsuitatle to place large rectangular doors or windows in a rusticated wall and give them architraves, whose forms were derived from wooden construction, re- quiring straight lintels to support the masonry above them. The stability of the wall then appears to the eye as if injured Ly an insufficiently strong covering of the openings. The entablature may always Lorrow its forms from entablatures of anti- que columnar orders, which chiefly originated in wooden construction; the Corinthian type with its rich subdivisions especially forms an effect- ive contrast to the simple rusticated wall.: Yet entablatures which appear- ed later in stone construction deserve full consideration in spite of their massiveness, The mediaeval cornice of Italian- palace-castles composed of tall inclined corbels supporting stone slats was the motive for a cor- responding form of Renaissance entablature.: A stone course decorated by a cymea moulding forms the base for corbels or consoles.’ These are in- clined supports beneath the cornice that recieve an ornamental form, which espresses their purposes. Atove the slab and connected with it by its cyma moulding, the cornice rises as a free ending.’ Square spaces between con- soles are suitable localities for rich decorative ornament in strong re- lief.: (Fig.192). If antique entablatures, those most suitable having forms much subdivided and rectangular or ogee consoles, be employed to crown ashlar walls, they must be treated with imposing height and sever- ity to harmonize with the character of the lower architecture.’ By archi- tects in the Florentine Renaissance the principle appesrs to have been es- tablished, that the entablature above a palace must be made large enough to be suitable for a colonnade of equal height.’ For the Corinthian type of entablature, this is from one twelfth to one-fourteenth the entire height.: A plain frieze is divided from the wall surface by a boldly pro- filed course which preferably separated the refined forms of the cornice trom the rusticated word.: Bs. 2. eae S D eRe y > 2, Bernt er “MOLTESOWCO' sAAWTOATTHORE a é eagel ot yveed mort bagniade o¢ tdptet art at’ ves {lew bessoitey ot? eagiiont ssegod To eel }s6etoig bas ase ides “io” aaere qaboBbet v4 g0e tte ott vidve ten waness 26: 2905 t 208" isnteIx3 (Ser <.gtt) > Behtéte iaetst 2b * bio ai jA89d6 bebawor Adiv-ecad: geité & oF ‘wobseee weltSiioimea to aod. « ‘Liswe- sed bas beaclone- y Lies ak yrots basetg eds bata-wids to sdbsos? 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(tion betesitagd us bases .exetetedT .ewobniw.efd to: ewaeolone of flisesos rade yileioegae as “ebase ans apa enitde {Isme 8 2o begoqnoo ai dogdw .beyolque od yen mio} dois tsad | bed mend obian? evensidows os bus svetasiiq 10 anmuloo gnived ,\seluos od yhasd lstaebey edd mort tosjom Lliw aveses fia, 20 asauico toi elssae “eled yaisoetorg ulidaiia beos{g ed yeu ewvorttiw edz atc ted bas 5033 agon d ) sersq edd adiateq eatvoo Sled ed to diane ite out avtegeu iad fw aeiaco coat yeegaareh aft to ewlsaldetae eT .agbe seduo0 efi of ynooleis a sof soel, xe coinzoo bas ovetsidow ed? Ti ,lisy edt ot bento, vic ut B1seqgs 489 ‘jonota to esemmoo Isivega gnitnegexge: ebosd doit es ifew adt anole bis c ,, sbagd eseds Sas ewobniw eft to eomacione ons. sean ted beaoione seosqe edt : ey: t vm. stots ‘got vo camemunemnieed otitieige to pemning sot elisciue ot, gk OF BS . awit . seasons ery bayowts asdoid gon al exincs tied ons baad évigeen & 8h o “$i bas eatoup aligns edi dvsened istesdeg 5 wot veum based Leseebeq ead , sete QI A5@r pit) seevod. adit en: dove. ae fatéete; ods mort sioaior4 gads | e9izase 4. sed. tedtal edd ,(rods:bauety s evods beos iq ai yiove isgiosiig ata to antot sisig bie sigaia yd tesel- ts 10 “tines wsitee yd setos Teds ¥ - cists bawox edé-at beyoique yismeduavnco ed ysn awobaiv selow ened ee abenseds ““tode teggu eds ai bees..ed oF os aletai f+ sdytese adviv eacde oad, aN od a ewéeldsias niesa edécbaé yrote isgicaiag eat te awobaim ‘eid f | —qwobaiw edd -io ddgied isefo eid of Ieupe fesel Is 308 38 i few | as ng Lis tne mer disened yitoerth becslg ed you eeiiote eniasssen tc ewobaiw oe. te aeseod yim .aeitsacoeb exeit? bso1d s dgiw begosanos ad base ems rapuls, gated acinzem bedtexb edd ,seodiwe Lisw od baeyed fopiot, emiaup 7 sdgteass. aoaaod eveeit dguoti? bebnetxe neds ate ebasd exeint bone wezwoo Jled Bees baie ni ei owmteldedae to. ax03 asiddaizod edt .siserd duodiis elgas ett of | a at ebsosi od? to. figient.edt Yo sxsq démeodiyie-~o7 6! dtasottit-om tdigied | > bap. Lisw edt to noktantmzes s ae foetie boog 2 asd Ji dtsened eseist add hogs, s sehen edt déiw. een eet, tt elidw ,eoimieo adr of noitianett . ae eS ae a ee : apes: ast ERT edt o3 quar0 - 135 | ARCHITECTURAL COMPOSITION, In a building of two stories, the principal story may either be placed above a high ground story (Fig. 195), or may be placed directly above a low structure, then supporting an upper story. In both cases, a Lelt course is arranged externally at the level of the floor of the principal story, appearing as a high and slightly projecting course or band. The pedestal band required between this belt and the window openings has its own base and cap. The former is of simple and slightly projecting form, being Scarcely visitle above the belt from beneath, but the latter is formed with plinth and cyma mouldings. To make it prominent, the principal story de- mands an especially characteristic enclosure of the windows. Therefore that rich form may be employed, which is composed of a small shrine ( Aed- icula), having columns or pilasters and an architrave inside them. Ped— estals for columns or pilasters will project from the pedestal band; be- tween these and before the windows may be placed slightly projecting bal- “eonies with balusters. The strength of the belt course permits the pro- jection of a balcony to its outer edge. The entablature of the pediment cap appears firmly joined to the wall, if the architrave and cornice ex— tend along the wall as flat bands representing special courses of stone. : The spaces enclosed between the' enclosures of the windows and these bands are suitable for painted or sgraffito ornamentation, or for niches and figures, . 4S a massive band, the belt course is not broken around the angles; but the pedestal hand must form a pedestal beneath the angle quoins and it then projects from the pedestal as much as the bosses (Fig. 196). If the principal story is placed above a ground story, the latter has a wassige character by ashlar masonry, or at least by simple and plain fofms of win- dows. Arched windows may be conveniently employed in the ground story, but those with straight lintels are to be used in the upper story. between the windows of the principal story and the main entablature should be \a wall space at least equal to the clear height of the window; but subordinate windows of mezzanine stories may be placed directly beneath the entatla . ture and be connected with a broad frieze decoration. Cnly bosses of angle quoins project teyond the wall surfaces, the drafted margins being flush. © : belt courses and frieze tands are then extended through these tosses straight ~ to the angle without breaks. The Corinthian form of entablature is in height arc-fifteenth to arc-eighteenth part of the height of the facade. Its frieze teneath it has a good effect as a termination of the wall and transition to the cornice, while it forms 'together with the cornice a rich crown to the building. F iy oe eae | MOTTTEOIMOS es be | # : | aei1036 lewevet - Se ayaiblivd IM saree ei gaote Veeshiciins edd aolroie, ietsvea paix tela dnog. tyne at a scr edd as betse'tt giied tetis i add [yt0de bawoth ety «6yé beoalq nh aqeset ed vst vio eninsssex Séenibiodve 4 -.{° Tet gli ebsost end 10% peut eat no uioda baworg eid dtivn bentdaos bas soirota owd saeds noewsed « ot medi vetoda isqiomity eft evods beoniq ed yore elgnia 6 vino tI: s10%, “ai esiveco tied s ,tem1ct eff to ewobmiw edd evods soage Lisw eant aistdo ot edt of dea ysn09 al .vy1eda tecqs odd to awobnin eft woled -beos lq. qino dele aifd s to beeoamos af aids ,100ft odd yaitsolbai seus ted we. x 3 ie Lee @oetwe edt to soieivih evitoatie. 10% bheting { eg ti eiode bavwt, edd avods beyne Tis om esitetde teqqu ow? asit otom I wool git ,eeostwe Iisgioniig sets o¢n: ‘ebsost edd ehivih of tasd nedé ah 31 idgisea ed? vi wneviy modd dissued hosd eseiit wort s (agnthivos saya: he -od eno tacedgid xo eno efbBia edt peacd els xe bea tastos “do gtisd eae t@_ ‘ ii4 s git gnied sdgied sasf Yo sno taomisqqu edt bas .suitosatersca: eid gad ef i adi xd bea ttesasiedo- ,y10S8 Isqionizg ed? evodA .aeirote aninessem bas oo - an) - 4s ~ besser 2 ent evods ylsoeréb beosi¢g e1e ytose sxe od to ewobmiw eff .emiot lentes - aR eyed: sods Jaut gwobaiw tewol eft fey .deto sewol eff to atugalidnine J ye sent geeb & edit eumtelietie cist oi ddéiw Senior, ad [liv yrode dam. cm. “ gaidatsg ys aoifsose) (séheesndto tigi evetavoonia neewied as > Fa as Idyteit. ease odd da ed nodd- biveia esinioo etI .avebto semarloo edé - pind ai we2iib: yea: tied bas eskimies edz to earot add medw ,saisoo é Lod : a ed gaiitit dgiw .enode to eversidors selegassoes. s meft aiddiw joa od yaa - i sled te: “enoitesip 74 sigite aerhupet’ ‘fstteism edt Gvertiinors brs dows neews” | ees sees, Jon see eiial ire eworoaia edt gad¢ o¢ aavisstooeb bas ee a Fit 11a.: 4 ARCHITECTURAL COMPOSITION, ra 141. Buildings. of several Stories. In designs: gontainigg several Stories, the principal eteps is usually. placed over the ground story;‘.the latter being treated as the substructure for the facade “(Fig. 197).: A subordinate mezzanine story may be interposed ‘between these ‘two stories and combined with the ground story on the exter- ior. If only a single story be placed above the principal story, then to obtain free wall Space above the windows of the former, a belt course is only placed below the windows of the upper story. In contrast to the low-— er belt course indicating the floor, this is composed of a thin slab and cyma mouldings; a narrow frieze band beneath then art it bhe height re- quired for effective division of the surface. wd <8 oe If more than two upper stories are arranged above the ground story, it. is then best to divide the facade into three principal surfaces, the low- er one being characterized as the base, the middle one or highest one be- ing: the Superstriicture, and the uppermost one of less height being the crowning and dominant portion. The substructure may comprise koth ground and mezzanine stories. Above the principal story, -characterized by’ its © ex- ternal forms, the windows of the next story are placed directly above.the - entablature of the lower ones. Yet the lower windows must then have a Strong projection and the upper ones have flat architraves; if treated too nearly alike, these easily recieve a stilted appearance. The high ~ est story will be joined with the main entablature like a deep frieze.’ ~ Its window caps (if used) are connected by a band like an architrave, and must be separated from the main entablature by a frieze band. Surf ac— es between windows have light ornamental decoration ky painting or sgraf— fito—work. The portal usually indicates the axis of symmetry in the centre of the Z facade, and it may recieve a rusticated arch or be enclosed by forms of the columnar orders. Its cornice should then be at the same height as the belt course, when the forms of the cornice and beit may differ in accord- ance with their varying importance. If a mezzanine story be connected with the ground story, the portal architecture may extend through the en tire height of the substructure. \ 142, Facades in Ordinary Brick -Masonry, Facades in brick masonry with moulded bricks for belts, cornices, and architraves, may be treated with réterence to peculiarities of the mater-— ial in a pleasing and monumental Way. Openings are to te arched, but there may be set within them a rectangular. architrave of stone, with filling be- tween arch and architrave) The material requires slight pr cjections of Lelts and decorations so that the numerous acutting joints may not Lecome appar- \ + yori bas Risosenos Sawa yodd ento® ones edd io » atesgen ba eanibivom smyo" beds rooeb Yo beeognen ej yam awobaiw ‘has eroob to ae ied ines tetios biod ys easel Jootte tiedt yal towborg aonb ‘esi t-~exo ft? ae “Isteves To bsg jx6o as emis Listas edt a6 LE totg. Rao 0. bas . daembirto evisootie ac eouborg ysa enols dolud ni bas ,@eloanoo gnisoeloxtq dgtw: “ae ats soitrto9 aeboow s ditw benidmoo ed bivode eid tug sbbost ond ot HW 0 J abrrog 70° agmiasyo sgiel ti $i evods yaisosio1g pais ted ies ai¢ of Bedos? “Guo to a3 ylitsancoen savm emmuloo xo e19iq yacda bare O73 ent mk ord Bso0 . = ae aonsae isae't ko sebsos t soind yd beilqque ots pLebise ne Tiebx3 erode “6056 (33 ai bot rm, re al @faeasa70 ‘teilet wd betsioosb od ‘co aehsos? doitd 30 'adottt0g gists? >. , tise eds désened 10 giosa bawortg evods eseit? edt yEGs foageo ~8se soo attied. a tia Ylreluoisisg et ‘esaixt doit &. .ewobaiw edt noawied aloneg bis .eoideno 8 bead ed blwoda aidt VTOds bowory ed? af -S5is70q teqe ie svods' oids : a ns ‘eakt basis yd dtgeaed bas ,catwoo fled belitorg vfetsstisb B Yd dived E waetilends 10. axeib bauer w. bedetooeh ers asfow 16 ‘dfonbea ge. ‘ed? ,everiia _ Yo bea0qz0o S13" eonsee isned gizead ods ai baid aids to acitomst20. ‘feo l tinged « ett., tp eegh Saa ie a oe eee i 20Ge SE Ae vee Ate > ae et _ 117 ARCHITECTURAL COMPOSITION. ent, and beaded astragals, dentils, grooves on Lands, etc. Continuous frice- zes and panels of pilasters must be so arranged on the drawings, that with repeats of the same forms they may, appear connected and flowing. architrav- es of doors and windows may te composed of decorated cyma mouldings and frieze-like bands, producing their effect less ty told relief than by rich ornament and clean profiles. The entatlature is comrosed of several cours-— es with projecting consoles, and in brick. alone may produce an effective crown to the facade, but this should be combined with a wooden cornice at-— tached to the rafters and projecting above it. If large openings or porti- coes are in the ground story, piers or columns must necessarily te of cut Stone. excellent models are supplied by brick facades of Renaissance per- iod in Eologna. Certain portions of brick facades may Le decorated ty relief ornaments in terra cotta, especially the frieze above ground story cr beneath the main cornice, and panels between the windows. 4 rich frieze is particularly suit- able above an open portico in the ground story. This should te bordered a- bove «by a delicately profiled belt course, and beneath ty a tand like an arc hitrave,: The spandrels of arches are decorsted Ly round disks or medallions. kagnificent ornaments of this kind in the Early kenaissance were composed of sculptured terra cotta reliefs enamelled in colors (Luca della Rotbia). The Simple and conventional coloring required ty technical processes and the fresh and permanent lustre of the colors in contrast with the dead tones of the bricks lend a peculiar charm to this mode of decoration, so that for this purpose it is to be preferred to any other mode of ornamentation. an excel- lent effect is likewise produced by these glazed terra cottas on white stuc~ coed wall surfaces, when inclosed between sand stone belts. 142. Sgreffito Facades. For decoration of surfaces of facades coated with stucco, sgratfito is es- pecially suited Ly its Similarity and durability (Fig. 196). This decoration may appear as a surface pattern either dark on light, light on dark, or as a hatched drawing. It harmonizes best with architectural forms when very little effect in relief is attempted, this teing always slight in the pro- cess of sgraffito.. lotives for these decorations are antique Grecian vase paintings, where within the outlines of figures only simple lines are used‘ to separate different parts, the entire figures being then made prominent in light on dark or conversely... vecoration of an entire facade Ly tapestry-like patterns is justifiable only in special cases. ‘then two lower stories are composed of light arcad— es, like the Doge's palace in Venice, a high enclosed uprer story above them can only be made enduratle by giving the: enclosing walls the greatest fe . . , MITTISOWOO ska TOMTTHOR: ae Bre i- * ailihen Yisaswes se belsers yllanteixe ynied eon aaenidytl Joo 18396 ‘i sn bi on ted? debits at 31) asians eds Je efaoy leoitasv coonjed bodotexste | bar d-teed isdonsar0 Idyif ue ylao , {few & dove awote seo baka. yas to ou leld bts bas etsoifeb io Jeianoo visiew esinedil yea ewobainw ods. to aevexs idows sage (lew avetooed of rego1g sese Jon seob st .Ieilet sivod tw atebiod, edifl “\880intoo ,etled eviessn seh fi nedw janrecieg viveayed ys ebsost 8 to 2008t & etiupe: eysw ls @3aib low gabzolone bis 2eorsi00. .sevettidowws wobdtie bas an y¥seane to meilw bas ,1edosustio awo aiedt of getdnogsoT 390 bavorgiped - oer wbesaeigxe yldieiv od geun Lisw eis to pemagreng er ar ais | ebennolod Yo ineayoland AAD > ae —usit's G8 BIeqQe Ils grinolons 942 borwsbienos ‘tst 08 sebsont 25 Bm102 ae | E. vebivindve \lerea bas esvsasidow 102 bayer dosd & ec galvies .20n Tw2- tants ptteds ybayowg ot7 Adin iisw ed? atosanoo ezed sfT .esointos bas etlod as tie b Bae erase seht0d yletes 61s Bax0% dtod fwd aot is-ti sedsniatied ow ts ida tae Me “to iieaiset! O2 ete Seci of3 24 .etsminesi Yeati at noid .aaeg add woled “fisvq 168 346. @9eaen Lfew Sif to Inigisw dee eae odd otedw ‘,eeods ore seheois’ * waoquoo bas Aivdyvy baw soiiextges Incifwv tneaetyey doidw ,emyol Yo bexawog | ‘¢ino Ges ipadyss oxdoetidors iavesthel .outowsia betenine 7! Inoinegio me alate ai @browye “teeti dseqget of ohis axoli« bats: neiistigas isolttay ee. “bisow oohsae isael! Sis bas owieotidow expiint tua “letsoileh 10m pr Kiosed Fide Vad rogiue: to Bre abso! to col tease it avoigéawnd s dtiw ebscs? fsehi a6 Mo euro? ed a@vor1od sd0038) 547 eet trantaob ytiaworo to bas yaitiqas rs as: gasaug old ai edb aidt etididxe ebsadiofos edt ex0edw ,owsoetinowm elg 7 ode ‘ov bévietens+) et noftouttenco isamuloo eiT .(9¢f 2%) .mio? Isebi Seon ane doidw ‘jewrot oitedsas ‘teito Wtiw benidaos si bas teilet al sostiwe Las "tod bas betniot Yilsweourse- ‘add ‘Yo doi vsIneae get ef? .asebi aslinie ybod eee mi ehaoet s vee ov paiseqseaib [isW¥ ond to ezan beatyco ylisingad : ie deetisoisnevnce meed ved ,istieisa tadsons- ni bedanigto doide ,amto2 Ssi45%8 Inebé 5 bevsett naisouttencs t9ddgil & imezetget tui anode diva 1m al notisvd ie edd” to begclevsh od ys extot to dfisew'« iselatoniaq [ete ade sons” ebbéos? Bie) aniot ‘teftixse To iedé zleoxe iw? doite ;{sw offsgie i 10829098 vite 10096 tenst” tocwds" ‘{etuemsax0 tie eseaoy sistoutle oxléas Te Tigo" elt of “ytoded ‘toynol oo ‘yeds ii seve eth i ajiw benidmoo e/-ylisse yea gat Boi? to ecinit gidgiw geod ylidse esbsost: 9 aequé dowd .ebnost edt to aziasy P) ~outta Laudos 20° geeniéenise bas qéitevee oviseetq aude bac \etios Lamia - seem fie yerséilg Bie ‘qandu'ide eiiger0esb 10b isuoisn ¢i°th.te%- amrot fou pares ttasie amaoste: weds sechephcted Iytsos?3: bas Sigil sg eaueds ot exwlesd “head i So eee ae ASB) get Fo: idisew-ati yi sosdte ze ais eweond stom ‘evbaerc085 ony eba0st eng to nots Laogasd ont Lif p' Py # a 118 . ARCHITECTURAL CCKPCSITICN, apparent lightness, these being externally treated as tapestry patterns stretched Letween vertical posts at the angles. It is evident that no enta- blature of any kind can crown such a wall, only a light ornamental head-Land, architraves of the windows may likewise merely consist of delicate and tand- like borders without relief. It does not seem proper to decorate wall] sur- faces of a facade by tapestry patterns, when it has massive belts, cornices, and window architraves. Cornices and enclosing mouldings always require a background corresponding to their own character, and when of massive forms, the solidity of the wall must be visibly expressed. 144. Employment of Colonnades. In forms of facades so far considered, the enclosing wall appears as a nev- tral surface, serving as a tack ground for architraves and merely sutdivid- ed Ly belts and cornices. The base connects the wall with the ground; the entablature terminates it at top; Lut both forms are merely borders alove and below the mass, which is itself inanimate. 4s the last step in treatment of facades are those, where the mass and weight of the wall masses appear over- powered by forms, which represent vertical aspiration and growth and compose an orgenically animated structure. liediseval architecture emehasizes only vertical aspiration and allows this to repeat itself upwards in forms, ever becoming more delicate. but Antiyue architecture and the Renaissance create an ideal facade with a harmonious alteration of loads and of supports, of aspiring and of crowning dominant forms. The facade borrows the forms of tes ple architecture, where the colonnade exhibits this idea in the purest and most ideal form. (Fig.199). The columnar construction is transferred to the wall surface in relief and is combined with other esthetic forms, which ex- tody similar ideas. The representation of the structurally jointed and hor- izontally coursed mass of the wall dissapears; we see a facade in esthetic forms, which orginated in another material, have teen conventionalized to suit stone, Lut represent a lighter construction treated on ideal architect- ural principles. «A wealth of forms may be developed on the elevation in an organic way, which far excels that of earlier forms of facades. Since the entire structure posses an ornamental character, other decorative accessor- ies may easily te combined with it, even if they no longer Lelong to the or- ganism of the facade. Such types of facades easily keep within limits of great simplicity, and thus preserve severity and earnestness of actual struc- tural forms. Yet it is natural for decorative columnar and pilaster archi- tecture to assume a iight and graceful character, then producing significant effect ty its wealth of forms. In the composition of the facade, the decorative architecture is usually placed above a high sutstructure with told jointing. Yet this may consist pL By EN oe at ae ee , ~ 0 . * i? 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Remiaoated 94 ot ote casat ierseety } et Perales os, amzes inewsttid » &* wou use | A ie a Vas, Baro Be rake ¥ 7 aad by . 119 ARCHITECTURAL COMPOSITION. ae of a stepped base directly Supporting a series of pilasters or columns, In applying columnar orders to ornamental architecture of facades, two princi- pal tyres are distinguished. Several orders are placed atove each other and correspond to stories (Fig.200), or a Single colossal order is employ- ed with the division into stories treated in a sukordinate manner. Facades of the first kind occur with even four orders above each other; but as in the following examples, a facade is properly and organically treated with tyo orders only. Pilasters are fpreteratle to engaged columns, Since they unite Letter with the wall surfaces and reguire a less project- ion of the entablature above them. The greatest difficulty is to produce a united treatment of the facade, so as to not produce an impression of two structures placed on each other, but to appear as a single structure, com mencing with the substructure and terminating with the crowning entabtlature. The entablature of the lower order is considered and treated as a Lelt course, that of the upper order teing the crowning entablature of the facade. The former has a simple form and slight projection; for the latter it is neces- Sary to develop. the frieze with high consoles, which permits strong project- ion of the upper portion without making it oppressively heavy (Fig 201). The consoles in the frieze support a strong slat on which rest modillions that Support the cornice. To pive the upryer order a lighter appearance, it is made one-fifth to one-fourth less in height than the lower one. Pilasters or engaged columns are generally placed on pedestals; the lo- wer order stands on a massive eine substructure, and its pedestals have the usual subdivision and :*:. tivn .but the tases and pedéstals of the upper order may not project ae Since the unity of the .-cade would then be broken by the width of these forms. Therefore these parts should have profiles of slight projection, being seen from beneath. A combinat- ion of plinth, scotia, and torus is suitable for Lases of pilesters. The width of die of pedestal, and that of base of pilaster, should not exceed that of lower pilaster. Thus in spite of the slight projection of its base and its diminished height, the upper pilaster appears — slender in compar- ison with the lower one.. To place a third order above the upper one and ur- der thea same conditions would not be possitle, Lecause it would be too weak a form, quite unsuited to recieve a crowning entablature adapted to the en- tire building. Zhe pilasters are usually so arranged that one pilaster is placed between two windows. The angle is strengthemed ty two pilasters. windows of the principal story are larger and richer than those of the upper story. Their general forms are to be harmonized with spaces enclosed Letween pilasters. Different forms are employed; round-arched windows and angular pedinents eee ROLTIBOGIOO Lam 1. Bb fonts .29% i209 bas edied Isinosixod diiv sasstn00 ai soedts booy 5 coubeng aS i y10 | feqou etd efsr0osh of seqgorg atesqye sé .weols goa om swobaiw Be Ye! : ~tidets—Jnemibes euT .yiefisy « to soeTic ont tt ‘evig bane atetesilg cas J 08 Goue dtie desisnco ovifostts ss wi0i yiota Isgtoniag edd to ewobaiw = i Odd tol “.exsseelig odd moewiod avobniw Yo amzot-elqnta Attn yiote ow q add ebieed qu elyns ed’ to qiacEsa betsoisert tewol edt baetxs of teed ef eC “ goaaod tsit déiw to sisly tediie ,1oiq s a6 evaittidow ed? of .erstesl pad sd dee ‘ed Javm voutwe [law ‘teqqu ei .2teteslig teqqu eft to colsoejony odd i esetwe Llew tewol eft aot | ys > gamy lod eott bas hegssnd to exI aM * 7 ‘terler ipase. to dogtte as eouboig jeod ebsos? eid To jneaiseit edd UW ee | it0L2 oud mi enawfoo gett to be_agne eved yer Ji noieeeiqai ynteoqmt ns a ended .cbsoct edd ai. aa ias 270 ersvee & nobas ds aeds gana aw S od (S38 .giD) Rat | slit lowidore difiw sgtinego berorw ac ewobulw odd beosig ed oS a1 anauioo eft | Bese eaed! .ss0quug sid? sive of -otiite \degae edd gnidcoqqus serosa yer uisdd = ya asdoie wabaiw to ages Scogat oT eg80 bas faifoe{oty soveetg.etinp ia Ved’ Sbiasd“s1eiq aielo déiw bie dtgeb nf beldvob enmufoo Liame a0. tae7 ' ay webso eds to amtol die One evoicsR lnuvsoutte ‘ds gos sed zanuleo edt Ee od Yxsesboen wi fi ,doniloo seti oi .imemqolevebh Iemica tieds sveieet — pees ~tedeasib teqqu tie! tisn Jasei #6 yd aed? brvote eiwlsidatoe odd Ode “sm Esoelo1y Ysexy Co etinpor os iwredso Eluoy dow ed¢ to emosayed of. swicki iss featoatiqets to icowdsers edi ai saits seliivokiiy © ates oe edi yJ 1sbt0 teqm ont ytiasbs dvorliw emioutia edt See eail Isiaosf1ot sedotdon as at ehsost eff edsaiaied 6 fvode a “edii-teig ,ainouetiuget scaeds ‘Yiut of .eiwJourtedva tdyietfe ov Spiel eyiaess & S1OqGque bas nuiog rose r8v¢ eseint datd so af beosly ots oe ‘eebio, Sl .edast eotare> ods doidw no ,dégoe! eviéne edd gaibsorze dele Bere: loo ee1t to saco af yilsiceges eka reds ts onilégo gelupay blove oe edd p39ig Ilew 5 es: sbi ed? Js doocorg yea obsost edd to acsa Liew ene ei nisig es gi eRo1s beitiss eis das aids o¢ baedxe sedi eeatvoo Jied augks sbsost 6 dowa ,2n0titog aeqje ati to neeneviaess ed? isiw eonebrosos af “4 Sybil $1 .yimoeem blod bas ca tol noida ddiv ewdsoutledue s setiiiges aie. Aiiw goo yvsetl e bam agiol eis! itis eass ytisos,ory qlgkeris « absemed = gps is | bebaoixe me a@tot bas ebsiieuled evowaliaes s acd doidy .basd Yolde | a * gas baia aid’ jo 861 yupxe gneoitings .qyrode Iegronitg eft to Inott a2 e908 isg papeeneet bos icons to y[fetcegqe yeobsost neidens¥ taiel of baset a cP : ie (enedgaod yd Bee is *. |. aebw: feawolod signs a to eal ber 7 pisieeog et sbace? io Insateors basry bas bovicu 6 .vebi0 elgais 6 hee7 Drrenatipors ebsoe? he one elds eX eaxot Frsgey sagt reves atte Bica. see et ee * 1803 > ARCHITECTURAL COMPCSITICN. produce a good effect in contrast with horizontal belts and cornices. her, windows are set closer, it appears proper to decorate the upper story by pilasters and give it the effect of a gallery. The pediment—architraves of windows of the principal story form an effective contrast with such an upper story with simple forms of windows between the pilasters. For the angle, it is test to extend the lower rusticated masonry of the angle up beside the pi- lasters.to the architrave as a pier, either plain or with flat tosses. by the projection of the upper pilasters, the upper wall surface must be set back from the lower wall surface. 145. Use of Engaged and Free Columns. If the treatment of the facade must produce an effect of strong relief and an imposing impression, it may have engaged or free coluzns in two stories (Fig. 202); bu t we must then abandon a severe organism in the facade. between the columns are to be placed the windows as arched openings with archivolts, their keystones supporting the entablature. To suit this purpose, these re- quire greater projection and caps, The impost caps of window arches may rest on small columns doubled in depth and with plain piers beside then, The columns then act as structural members and all forns of the order must recieve their normal development. For free columns, it is necessary to treak the entablature around them by at least half their upper diameter, since the keystone of the arch would otherwise require too great projectim. Special difficulties arise in the treatment of theprincipal entablature, to crown the structure without burdening the upper order ty its oppressiveness, This should terminate the facade in an unbroken horizontal line corresponding to the straight substructure. To fulfil these requirements, pier-like consoles are placed in a high frieze over each column and Support a massive straight Slab extending the entire length, on which the cornice rests. In order to avoid an unquiet outline at the’ angle, especially in case of free columns, the wall mass of the facade may project at the side as a wall pier; the va- rious belt courses then extend to this and are carried across it as plain Lands. - In accordance with the massiveness of the upper portions, such a facade requires a substructure with strong forms and told masonry. It especially demands a strongly projecting tase with large forms and a heavy cap with thick band, which has a continuous balustrade and forms an extended balcony in front of the principal story. Magnificent examles of this kind are found in later Venetian facades, especially of Pesaro and kezzonico palaces by Longhena. 146, Use of a Single Colossal Order. With a single order, a united and grand treatment of facade is possible with severe organic forms; yet this-type of facade introduces conditions, tw es oh aD a ro To. Ree eer Pea ral ey) ; a7 5 : ; ' he Hae af On TTSOSMM LsRUTOSTIHORS rat i ee shiud ottieg bs bre (S98 .f9) geo leg at ¢lao ballitin? ed ylinxsinas neo doinde _ dnomisers eat baogreTicn dan 1oizedxe edd 6 soot te beitiasib adi oP .eyat ; s bas tegi8 8 yino beni sade ad Ysa “igbao fs sone AI | Mofistat edt to 5 * abnedxe moot iset, & To ons is9qgr eit #92U00T4 eyen is $e ted3 08 , toda ae | ge asiiova (sieves ti tud. .yteliey « vs bebivib Yfotea ,ddod dywowld has _ to aeb10 [ké3oloo slusie « dfiv bonidace 23 of 9% agnineyo wobain fsveu odd Bai ss 8 to Jootis efi sOuboty oy vsee.50o bivow ti aqweiee [iq 1o aneaufoo bereyne ‘e + nobnis to alisssb (kews oA? tesa ai doflew ebsraoloo anges vievolvesc eas to elisteb Joo1 sid ig ‘agtitdgor3e 2 uatdiitea gf cored et severiiiotw Bet! ” stebio Lexaolos te ysioilgaie bas dtyaeide getaexdfion ed tun abenst t eds to twenaeiy fd te “-sabanoe tedjis ,sisizgoqpys af wiow bejaolsaut rods’ havory ° to suutounJedag :, w3d eidd evols .aitay Le0 ted «a awsdesliy ent idsemed eteiq tio yfne 10 , aid Rt 26 bene 4o J on Le {ea swdourta ive eat 8B Oo tad fexoidmy svieasm « tk a: weslit Ayow betsoitesus af bedeins} ‘ylex tine @t ait) nedw colicog bariows a6 ae: ae yond seenuoo~tled aff no yltparib basta yea enay foo beyszne x0 ex0d i ie 3 eilta wba te ait 26 jdgted ompa odd to eleceabes to beos ig vi fete 908 Satie bilzow eadd (Elta. wobaiy edt te iibin siz % o hast teit s eveioe7 ead @viggsaa odd diseaed isew de anawios page snd 10 atsias'lig edd aeentei sostwva Yo moleivib cicm adt . sane) fsb a ,digisd sti to bridd teqau o4¢ woled obea od son WIetsEsnTSHOl od? zis) 101 aie irgotgge ei dtseced basd bso 3 | si Jo: gotq edt awobabi adj to fagateett eucinomigd 3 of bedive et o1e anaulos beysyse <0 eteden tig Wiiiein so ebaeged ewoba dy eitt 30 des i 1 aiend As téT-eac od isnia-ono siives(org aveJasisq dvin meds enieed ba ha Aitemibe “patssogque ana too bskesgna to besoquos 3% deiat? wobaiw odd =a -asewied jud e108 ‘lige See porg yer oteteniig brs ulgtorde vitev toehorg « e ‘oval aso taeaibs j eit Yio deosge suil-efoia besseost al bre ends foo bagey P b hniw ont woles ‘Toasq 10. Yaoclei s iviw .sdsiwe ond yntbhivib os footie booy s :, Stosiors | 3103s & wersducliy %o ietaploo. io #edesd ade dtiw enti s ai ten .wob ur Gaegqe tt sie bre dows 05% sosqa eds ai LLit biyow deintt vobaiw Yo not “fies nisl; bas wortss yt being grooss feed ems citsta@alig asiddacx1c).. .deivp eet eas at ovets ito ais dieeasd noice buedxs ofl doitw .ueds sbised eqitta BO ~iw os bas 906 tue lisw @ort istigns bas easd dosteb ot Ulisino dsbiw ome Be ag , + fteig Else e axl of wedeslig betuli bas roocele ed? aeh 3 nis edd PwioutIadua figid & a6 biis ta gamifon SS\egne tO atetas liq conta pnod' ai 16dae0 tasainon a a8 Lisme oat eiseqye wi0% “mntbio sft ni exsdst vd Ja) bises! a8 7% veda ebsidee les « seuiupsx s1otered? 3i has ,dtivergtis 2% GSleem .0caw Howe ofe Isyqy OG to avobaiw od? dissace yaa dodde Bio easiest! penne ead dati 6 co beasiq ed of eyowle mt 7 rat ies te - - 4 2 days te ihe - att 121 ARCHITECTURAL COMPOSITICN., which can generally be fulfilled only in palaces (Fiz. 2C2) and public build- ings. To the dignified effect of the exterior must correspond the treatment of the interior. with such an order may be combined only a larger and a small- er story, so that it always produces the appearance of a Zreat room extend= ing through both, merely divided Ly a gallery. but if several stories with the usual window openings are to be combined with a single colossal order of engaged columns or pilasters, it would be easy to produce the effect of a previously existing colonnade, walled up later. The small detsils of window architraves are there in striking disproportion to the great details of the colossal order. with grandeur of the facade must be contrasted strength and simplicity of substructure or ground story, Rusticated work is appropriate, either contin-. uous, or only on piers beneath the pilasters or half columns, skove this be—- ing a massive unbroxen telt course. The sutstructure may also Le opened as an arched portico when this is entirely finished in rusticated work. Pilas- ters or engaged columns may stand directly on the tLelt-course; they are gen- erally placed on pedestals of the same height as the window sills. Pedestals recieve a flat band of the width of the window sill; this would appear too weak Leneath the massive Lases. The main division of surface between the pilasters or engaged columns sheuld not Le made below the upper third of its height. 4 delicate, belt course with a broad band beneath is appropriate for this. The lower atherefore senerally suited to a harmonious treatment of the windows. The rrojection of the fin- ish of the windows depends on whether pilasters or engaged columns are flac ed beside them. whith pilasters projecting one-sixth to one-fifth their width, the window finish if composed of engaged cclumns supporting cediments, may project very strongly, and pilasters may project still more. But between en- gaged columns and in recessed niche-like spaces, only the pediment can have a good effect in dividing the surface, with a Laleony or panel telow the win- dow, set in a line with the basSes of columns or pilasters; a strong p¢roject-— ion of window finish would fill ip the space too much and make it appear ur- guiet. Corinthian pilasters are Lest accompanied ty narrow and ¢lain wall strips beside them, which also extend along beneath the architrave in the same width, chiefly to detach Lase and capital from wall surface and to wi- den the slender and fluted pilaster to form a wall pier. Since pilasters or engaged columns stand on a high substructure, the entab- lature in the ordinary form agpears too small as a dominant member in contrast therewith, and it therefore requires a Lalustrade above, or an attic (Piz. 204) which may contain the windows of an upper story. Such a crowning mewker is always to te placed on a high base in order to make it visible above the prin- P.. ’ goigiescg ae woutem ce ed bluode 2 [a traebedq glats saed? ,sonoissgqs yvesd- ne at wobriw ysd eff .etetaufed tisd yo asbis ows no hened sitovde ef vam oot | i : .@# ying wk Liew on 1o. atiifsetidoie sdj Adin patent olen sit ta exed MN aovssta ows diawowds busexe Use wobniw ysd A 4itdgied adi ci tectometia 6 evict asks > as mai ety ‘to Sdeussets edt nt sodse.0} bealdmco oss dpeds Sia F 3 «rtp ie AAS os areas ae " abeoe7 edd 20 aoieiviblus issaostiol od 2 oh en ae 0 | 4eniblind oerosseg © oh 2.8 an omnke eens to nine [epitzev to .atbited eft toe sitaes edt beansind w yd! ews ierte ent to fogeivibiue istnasited edz tot dntog yn® tna eu fomtde add .yitenmye eff yt baw @ijna.an? teoda' adgeg to TUSROQNST . eed 8 to edeienoo garbiius ody tH iisavd af svalymeo ylotizne Ti es emseq ot gl 2oltesat edd d3iw sonmbaooss ai’ bsbhiast’ sf oo Jecit ai ti .2gem aap. os Ade saeeiiod 6 40 eixe leoisser IstJaso 2s tuota begasiis 6d ot ai aidd ae ie elt nt yntomage to aixs Iniéneo- s: is sorsugeD Yom oe ,Jasit edd t0% wk Dee exierise AB #O awoed xiao aids wast od? “Ot jeobsos? fis to Jnonjeose a a oid olin onl ied @ic aten fegi0y ais bas saesibeg a sbbost faq lonitg Ae. omrolistvab 10 adem tungs isntstoi tO saursepoe eas senceigxs sobie of7 to Rr \ @enibliod sotniogds meawtes 295 e008 |. ahr ‘eh Se edto- mented éligd aobsoet yd betiepey ai aclisvedisaso Is &D9 2G 12 “of et tevety stowle ‘torsebme 04 Lgecdébiee: utio ai favay aa’ ae 1% gttitheoss aid? sfisd204 eat jo hensse13 Md Yxleumya to ekxe ent “tadebnk istry odd reve yaooisd s ‘gatos ls us beasvisat ed you ent. ne ewobiin $43 gaiquor af atetenoo inebeRaetts le a . rt cea evét 10 ous moaingnoe wen nt ae a el on a pms on cae ‘a Fale ish at anit RERUN eer TEE ee 2h =e : » 122 ARCHITECTURAL COMPOSITION, cipal entatlature. The angles of the facade are treated with piers, dott ed pilasters, or pilasters with engaged columns. ith 9 series of eclossal pilasters or columns, two-stpoy or one-story parts are easily comnined, for in the central portion of the’ facade, round arched windows may occupy the height of the entire order; the impost moulding may Leg extended to the wings as the window sill of a subordinate upper story. 147, Balconies and bay windows. Balconies and hay windows remain for mention as special parts of the fac- ade. The talcony is usually placed before the first u ger story, the telt course projecting above consoles, and it is enclosed Ly a talustrade., The cortels are organically connected with the wall if they sprin: from crismat- ic Llocks connected with the masonry, especially in rusticatec work. ‘he Lal- ustrademay consist of perforated slabs imitating wooden lattice after the an- tique, or of balusters between the angle pedestals. in order to avoid a -heavy appearance, these angle pedestals should be as nerrow as possible; they may te strengthened on two sides Ly half Lalusters. The tay window is really an enclosed structure on a talcony. It should te light, and grace- ful, and constructed with architectural forms, having small columns or pilas- ters at the angles, Harmony with the architecture of the wall is only to ke attempted in its heighté A bay window may extend through two stories if these are comtined together in the treatment of the facade, bt. Horizontal Subdivision of the Facade. 146. Detached Buildings. The centre of the buildin. or vertical axis of symmetry is taken as a stari— ing point for the horizontal subdivision of the structure. by a talanced ar- rangement of parts about the centre and Ly its symmetry, the structure sp- pears as if entirely complete in itself. If the Luilding consists of a un- iform mass, it is first to Le decided in accordance with the interior, whet h—- er this is to te arranged about a central vettical axis or a horizontal ax- is. For the first, we may commence at a central axis of syrmetry in the treatment of all facades; for the last, this only cccurs on an entrance or principal facade. A pediment and the portal mark the centre, while treatment of the sides expresses the sequence of internal apartments or divisions. 14S. Facades Letween adjoining buildings. Special consideration is required by facades Luilt between other structur- es, aS usual in city residences. an endeavor always prevails to emphasize the axis of symmetry by treatment of the portal. This accenting of the cen- tre may be increased Ly placing a balcony over the portal. another symmetric- al arrangement consists in grouping the windows, employing similar forms, +. larger group comprises three or five windows, and may te separated ty spac- en lerdaes: sg ebth ‘tone no awobndw ofynte “0 aquozy pena wort de ee @ elynts S46 h4 407 745 is toe gas ai enuslos 10 atetesifg yd evluowe edd or anieq ai tea od Yam eaend 10 hoieivid. aidd aieolbal weisio yom EIGOF ey A808 .3e9) .bebivibdue pus awobaiw edd 10} On teido edd aos lq od emoor Ofal gofaivin edd ad iug al yiiaeugent - ét aise Se nibs Jo nedt of ,erdaso edt te to beotani absost edt to ebie eno fe i ee es yewtoob edd ebia tito edi a6 iesqer Of (iwaasoenas al of .yntemmye io a ‘swobatw: $6 quo1, 6 Yi otdneo edt os Lead qme ot tested 16% ai it 302 ass logy R ted » \wobsiw rey 164 a yi yswxaod edd git tous feu. swobain Yad %o yoo led bag bbetent (isaassen fia. te ton ai eins Lays ett ides elquie = dd iw "00b 6 267 y, | sowoba iw “ed xo asidoo isd yd bednsgos ed idgia Banke | Atod .yine sitaeo edd Ie | od6) Nisiteo & ebeos? odt of bael seve yeu aidd Be 0 3 oi bell feueunl! to. emoot At iw agntblivd Oar Paleere oineg10” ie ot neds wigtos, ‘isuanne Yo emoor Sniegnon yeibited a tL . rosie bus edits edt te boorig od Yea BOO regs |. pebaoe) bie aelg to trom Sag! tote ‘Petsaso ai atnewd ts qs to tuted, eds #1 oynkn ed? si gene etaath tas as ‘Yam OMS {3s toe ROMMOO & Oya iw eis aa SremeQes 7x5, yroze-ows es aflsup kb nettiy Letfacs edgy to nol ostorg idgite 4 ebaost eildae ait teavo baad | aeetetes (29 {eeacico to aui19a 4 .eoandvoqas ef oatendqae of .Jaad ayawls et 3 odd Atiw asbie add Js ae inode ows ei: ‘fiinkdmos 10k eldsvine ef anadulos Omg 11 tegqu eat MB ENS YO “a lgnte a ve woLdsog {sitaeo. eit to awobalw - 7 at 3 ‘woke oa s "ty ody ‘eas nee wits tie ny end a einages od a HAs +44 ud ai pals ea? 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The central group may become a complete loggia. To mark a clear division in groups, decoration of the stories by pilasters cr columns is especially arrropriste. Single sup- ports may either indicate this division, or these may Le set in pairs to term- inate the wings and to separate them from the middle portion, while spaces for the windows are subdivided. (Fig. 205). It frequently ,, suits the division into rooms to place the chief entrance at one side of the facade instead of at the centre, To then oktain an axis of symmetry, it is unnecessary to repeat at the other side the doorway as a useless form. It is far better to emphasize the centre Ly a proup of windows and balcony or bay window, talancing the doorway ty a larger window. but for a door with a simple architrave, this is not at all necessary. Instead of the centre only, toth wings might be accented by talconies or bay windows. Lack of symmetry with a door at one side is then easily compensated, and this may even lend to the facade a certain grace. 160. buildings with Rooms of Unusual Height. If a building contains rooms of unusual height, then for an organic treat- ment of plan and facade, larger rooms may te placed at the centre and sutor- dinate ones in the wings, It the height of apartments in central portion e quals a two-story arrangement in the wings, a common entaklature may then ex- tend over the entire facade.: A slight projection of the central portion is always best, to emphasize its importance. A series of colossal pilasters or columns is suitable for combining che two stories at the sides with the great Windows of the central portion in a single organism, The upper arrangement may be repeated in the sulstryecture, so that the great windows of the central part enrepecsad to great openings For portals, ane the Wings an two Stories to the superposition of ground and mezzanine stories. To produce an effective outline it is best to treat the central part as ‘a separate architectural mass, making this higher than the wings (Fig. 20é). It then recieves a richer tryatment than the latter and has larger forms. For the central gortion, a columnar architecture with great arched windows, a free colonnade with pediment above, or compositions like triurghal arches are suitatle. For contrast with the more Open middle portion, the wings re- cieve broader surfaces and more simple arrahgement of pilasters. 4 great ex- aedra or niche covered by half dome is sometimes a very effective form for the central part, or a portico covered ty a tunnel vault. These forms require massive piers at each side, treated with pilasters or columns, the lower or- der supporting the impost moulding, the higher one supporting the entablature. Surfaces between them may have small niches with statues, etc. Such a cen- tral structure requires an attic above the main entablature, which may te a > ARO TORT ee. ee oe AUN ina : ; t ast ) erusalues evitarooeb 10 ,daemibey eres uote cae | (0% ,2hixbaup afi oide ,dineeeed 10 eu Joutiadue dain s mo abteda yath lind s Sous YU PY S109 ‘qqw ed¢ tot esad sommoo & wrot of theatserd bas” gatetros niotity eved eda of susoiisid” Tsnxesxe fe 30 ,fettoq teety © od L Lin eidnoo atid. aot Bit UOC tg Badin ond (aot stog isisaeo Aiitosioxg baa hee Ler BAVA =. etode 1aQgh i. “9S ab (ecaianomib ai snot ttoyiani ood Isegas fom of” ttode cot ebas ed ton 07g digit gsagH Yenp iido bewedy ti tusgq fetitheo ot-vd bo tesonos ¥lowline | ett, ddwet-eus’ se dexiguono suoda* \bebneanonet pi 3469" fesines ods Yo Roidows Dnadebpaebed singe tiedd by: ico ve at ed [fiw a ont ddtw eniduoos faum ewtoesidom lserednd edt ewmiiaw’s Iptoege to taeneg lode odt 2g, Peg YTeRaeoed 5 ner qe you sedtel edt sede oe omdiow? wide a why 408, asagetont uséltdiaacn oat Renoquiq iestoven qlewa evods galeih | brteib iQ agatb find. at as; ,jnendse x: Insudoed in 48 (ftotate s moor edt gak Ms a, ote. ,ellad qiio ,asueous gidetaw axe ahs: no beeu Batol lasutoetidexs necnsed ebsa eysvis of conetettib a ; ns, gmi0t to teller’ ,soltesxe odé a0 .goiklivud 8 Yo todtesni ot) ak bas tod — ., qiteuas ek ddgii ‘soitestat adé aL dail toetin yd beaserond ‘jnendseis oitemordoy log -soloo ofynia s te tod 6 yoteea YAee so sot ptisb & dg in bas ,geniiiue eds poids, ith ¢1leLoogas an bie ore ered -ea70} ewinedxe es 50 _faemense bas baporgions seeuted soles te ak npr? epee — ate be 125 | ARCHITECTURAL COMPOSITION. ~ Erechtheum in Athens. . ; Chapter 2 Internal architecture, 153. General,: : The essential purpose of all architectural creation is to produce rooms for the different requirements of human society (art.92). The architectural treat- ment of the room is therefore placed on an equality with that of the exter- ior, if the building is to be a complete work of art. As in facades, so in the architectural treatment of rooms, we start from their construction.: The form of ceiling is especially determinative, since by this fixes the subdivi- sion of the wall.: But the interior requires for its treatment some essent~ ials differing from that of the exterior. External architecture must nequire a character of durability and stability. This is produced by a severely arch- itectural elevation where the material used in the construction appears un- disguised by thé decorative form and, réyuires uniform treatment. ‘but in the interior, comfort, elégance, and richness, attract persons; works of the sis- ter arts of Sculpture and Painting are suitably placed therein and combine with the architecture; the entire decoration produces a harmony, which cor- responds to the intellectual meaning. Forms and materials required for the construction are unsuitable for this purpose. strong and earnest forms on | the exterior appear heavy and rude in the interior. The room requires a dec- orative covering, which permits the construction to appear in better mater- ials, made attractive by artistic treatment. and coloring, or an independent dighter ideal construction is executed. Thus different materials appear in the decoration in combination with each other, each requiring its own tech- nical treatment and forms. Uniformity in forms, as on the exterior of a building of uniform materials, cannot usually appear in the interior. The room serves purposes more or less material, themselves requiring the arran~ gement of special furniture. The internal architecture. must combine with this furniture, so that the latter may appear a necessary part of the whole. Rising above purely material purposes, the rossibility increases for giv- ing the room a strictly architectural .tréatment, as in buildings for divine _ worship, museums, city halls, etc. eos oa ny A difference is always made between architectural forng used on the exter- ior and in the interior of a building. On the exterior, relief of forms is increased by direct light, in the interior, light is usually insufficient for clearly seeing a form of a single color; polychromatic treatment must therefore aid us, especially in marking the outlines, and with a difference of color between background and ornament. On the exterior, forms must bé de- signed for being seen from a greater distance and a direct view, therefore having a bolder and more massive character. But in the interior, they are | ane gl q tied “dgeoned not yloupilde x tells p Pa za "890, haved “hao pe am at bebsosai Se eisoileb ston ee bentter atom ed erotereds £5 Me bir ; dk Me --~,wOoled mort ic ont nant bebivéb 6d of amoo7 to emis atinreg: gniites %o ‘badd eat dria geal edd I Lat Luise ditiw egorthas ,eyailpoo Iednasivor. ds im eaodd puabiied od anitce1s to bas allaw edd gaitevoe to sbodien avoltay heqebie oe + dls tive anole toaea edt bas BMOO : gatbivibuse .%o esbom ,brooes odd ai. | “nee 2] oe: ‘ a ee Aa. etluev %6 ano}, dete 224d - Ss ‘ 7 oyna liso fadaos £108 ddiw ga008 = oe aa ia “aa Lint Lo ¢ Bo fr 1100- Ome oEge "POLE me i ron do kaw allay eit ao ewaaetq Isoivter ulao fasxe ayailies insaosdtoh 7 aa awo tisit xo} bas aweeeig @idd tot dneioltine asendolds sxtuper ylag - ed ysa $i 10 ,ayotiau ad neds yea ilew edt to tnomssets ont, 1s BB MOL 8 awobain bas et00b yl beotelg ad io ,shao mw io ehsanoloo 6 ¥e ido ei? yyevd .Bbsol stiedd tacqque of eide os. 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Ase ‘eds dtin besinu ire or ee 1vod $36 neeqqe dau os .ar02 | me : | pea, Jf mort suo ‘pe Lied iy dite ch: incl kd add " Wwekudieeget (2% + dat _ ons a Biaoksons? aieds ,aeog ime Llaw to noitaxocebd oft al ° od etotereds ate anrot isioesnsavO Lbe dae tgxe ad \yitetdo biveda moot . ey Pebeesans vd padeolont as dae): re ged to mot tseblo edt mort 30% yiteeqs? to yimavoo «© .pisizedag bilce te gited ei [law eff eoaid ie = 1Ofl—o0 ie odd. at oltesiLivio to abolveq ynem yciqbh acliexcoed Liaw ce Lisa nex is. » ioe pons: 10 Aha ste dike seliieeqas esods chot vec es ‘ met ~, F nee a6. at 0 ah wt Mi 12é ARCHITECTURAL COMPOSITION, only viewed near at hand, chiefly obliquely from beneath; their profiling must therefore be more refined, details more delicate and intended to be seen from below. The kind of ceiling permits forms of rooms to be divided into two classes, those with horizontal ceilings, andthose with vaults. In the first are COT sidered various methods of covering the walls and of treating the ceiling; in the second, modes of subdividing rooms and the decorations suitable for different forms of vaults. a. Rooms with Horizontal Ceilings. 1684. base and Cornice of Wall. Horizontal ceilings exert only vertical pressure on the walls, which then only require thickness sufficient for this pressure and for their own statil- ity. The treatment of the wall may then be uniform, or it may be replaced by a colonnade or arcade, or be pierced ty doors and windows, so long as parts above these openings are able to support their loads, Bvery treatment for walls must first have at bottom a base connecting them with the floor, and a cornice at top,: The base usually changes into the lower wall wainscot-— ing of hard materials, a dado or paneling, which must be durable, as the dower part of the wall is exposed to injury.' Stone and wood are suitable materials for this covering. Lining with stone slabs is especially appro- priate with antique wall decorations. Stone slabs of rectangular form are then fixed above the base mouldings and are bordered at top by a flat band or belt-course, wooden paneling also takes a special form at the tase, and requires framework and rectangular panels. 4 moulded cag at top with a slightly projecting rounded profile forms a transition to the middle wall surf ace, The surface of the wall reguire forms above it to both crown it and make a transition to the ceiling. The cornice belongs to the wall covering and has a frieze with ascending ornaments or figures. The cornice is the trans- ition to the horizontal ceiling, and to express its function as a kearing form, it must appear as a course structurally united with the wall and cor- kelled out from it. 155,: wall Tapestries. In the decoration of wall surfaces, their function ia enclosing the room should chiefly be expresesd. Ornamental forms are therefore borrowed from the oldest form of enclosure, merely an inclosing by suspended tapestries, Since the wall is built of solid materials, a covering of tapestry formed the wall decoration during many periods of civilization. In the Graeco-Roman per- iod, these tapestries with inwrought or painted figures played the chief part in the decoration of walls. During the entire Renaissance period, cost- Hy wave" Pte. a LA RUTORETHORA | mit ee (safteizeo fetes? 0 asosisg bas agdorule rt borie'tedts stow anitzeege! Liew we ae mRee0ony gniwosivien teqsetlo betwdivedda won ead Elita feotadoes ‘Be soared “wda09 end 20? eeiutivadue auoiiy bedaevnt asi bao “Pow boat del nae” cok ao — SegeNpeanoD ak pana: ylovianssxe {tev aged oved seeds bas Maitieeged Tie yl wen ane eaenqseio siete to tasah tan. ® ded yatae ged’ ‘tion wanotdihext fetadbh to Ader gomistodoa Fa “seb: eonserisnel bas eupiina of anibrooos did”, ou iol 10 bps lite bites -. 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Ai Golsetueactges dosd i ey og bas vbeadugedd rover mi goatwus od? tadd o@ ,asoloo to noksoadd 127 . ARCHITECTURAL COMPOSITION, ly wall tapestries were preferred for churches and palaces on festal occasiong, Perfected technical skill has now substituted cheaper manufacturing process~ es for earlier hand work, and has invented various substitutes for the coste ly wall tapestries, and these have been very extensively used in consequence of their cheapness. In accordance with oriental traditions, wall tapestry has a uniformly rep- eated ornament or morive, but according to antique and Renaissance ideas, it should have within a wide border representations of figures or landscapes, or ke designed on architectural principles. In the decoration of tapestry ty the first method, it is important that this should be based on an éasily recognizable geometrical form, like vertical stripes, Squares, polygons, etc. Yet these forms must not be enclosed by geometrical lines, but be represent- ed by ornamental shapes, which in their general effect produce the geometri- cal form. Such a surface pattern is appropriate when the wal] forms a Lack- ground for movable objects. The decoration of the wall must then te sutord- inate to objects before it; as a background, it must have a quiet and full yone and exhibit in different parts of the design no great diversity in co- lor, aA good effect may be obtained ty patterns, where design and ground are kept in the same color tone, differing only in degree of depth. Tapestries with ornamental figures (Fig. 207) are used for enclosed Spaces, and must therefore be suited for the wall surfaces to ke decorated. The corners and centre of each torder are emphasized by small panels with little figures, medallions, etc. Figures and landscapes are used in picturesyue composition. @ purely ornamental expression must be arranged so that clear and appropria-— tedivision of surfaces and masses may result, The centre is always occupied by a large ornament, ag by a graceful shrine with a figure, by a small sta- tue, etc.:, whose enclosure combines with the other decoration.’ shields, medallions, vases, etc., may also form centres of the ornamentation, which covers the surface with slender candelabra, arabesgues, and festoons. The border should decidedly ride from the panel surface in its color tone. In Italian tapestries the ornament of torder is usually dark on light ground, and conversely the decoration of the surface is light on dark ground; for French tapestries, the border is mostly dark with surface ornament on light ground. : : 156. Mural Painting. Painting walls is directly connected with covering them by tapestries; old- er forms directly imitate the latter, and in its later development, the im portant laws of style borrowed from wall tapestries are xtrictly retained, ' Each representation in tapestry has acquired a conventionalized form. and com- bination of colors, so that the surface is never disguised, and this always nN } “aaaureseteon 3 aor. | Vi ttals prey Geotsnerzes aval '.gnieeveo 2 26 aveo gge “eeetue ¢ 20 eggs ot ned? -woqanebas ( 70 aOTNRIT ok omen oF dowd otek Deasleniapbey: B divin jaizoloe beowd elqnia bus aemitive eYever yd wolterwodb z eis oiliug bas aelqmod oi agniining feu aeioe:) vines doe ¥te wtvedy P re ‘a yom ow tottal odd, ud bas. B@8A¥ Mo Bgnititieg ai bes teatime yliostreqa: ex0w 4, Efew edt to rosog ado eviterooeh bas besi [enol ivevice Yisteved edd ateed D Be wiot sit ot betive Yon ete sever ne comics to exwhiod novi Vegatsr hary a —. teaggue bas. 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SOWELL lareven itiv esol, egtel « bas webted toi+ » 3 “stasge rg ai awath aatot faqwtoedidem déiw awoly worsen ots aosqe alobin a3 _ itebtod $1ghl aiddiw eoltiaeqss bebseqeve sneasider offs slenag obit ‘evd Bh: o ‘79. etugit gatbaeoes se sacemento ee grivad ostetoveb ylquia ean eis bale as | #i@e-@aat? lawioetidow edi to stroqque oc? «.bavory yrteqeqat mo noille ta -+ igabbnoqeeirt0o s gaivetoe: .sbect xo ,ordalebass .samuloo xehaele eve pitenat Intiowa? yd betexooeb ei bas asdoid yismeupeut ,cwieldstae tigile " bw [asom ai beagieeh ti es ameqqs ewsood iow @iisae odT ‘\.amoteibbs bas ich bebseqgeue ed? tol bexteterq ai ber qoeh p1ofco mehiog « to yllevay at Yo nokdiog edt avoda jbeyolqne enivedtl eter atoloo redio dguods ,ysdeo i, “efi, Mas betsexs ullevac ,esix? qoobh w et hedizozeb vbsonle Liew edt cal “imi eba0 {8 bas Stislebmso wenivla boede asd odd to ano odd moql .zmetsg | bas flew edd. to aoistvibdue revai edi suaiiora dliimg doide eam loo sox iss emai eesti denoetome Hew of 16 sottanteret ays edt elise one ‘428 | ARCHITECTURAL COMPOSITION. appears as a covering. ' Thus conventional wall painting strives less for yeale istic truth to nature in figures or landscapes, than to appear as a surface decoration by severe outlines and simple broad coloring with a perfected ar- tistic effect.: Harly Grecian mural paintings in temples and public halls were imperfectly imitated in paintings on vases and by the latter we may learn the severely conventionalized and decorative character of the wall paintings.’ Even borders of pictures on vases are not suited to the form of vase, but indicate the mode of enclosing such wall paintings, and suggest that all mural painting then firmly retained the idea of tapestry covering. 157,‘ M Pompeian Mural Painting. A peculiar form of decorative painting was developed in later antique art.. It is usually termed "Pompeian" as it chiefly became known in the cities of Campania buried by Vesusius, of which Pompeii was the most im- portant.: In this mode of ornamental painting there was an endeavor to suk- divide the wall surface and apparently enlarge it by making a slight archi- teotural frame-work, suspended tapestries and perspective views forming the enclosure of the room.: This is to te regarded as a pleasing fancy of the imagination, rather than as an actual deception, because not a realistic imitation of actually existing objects, but a sportive representation of light and graceful forms having a purely ideal existence. Such a decoration (Fig. 208). is usually composed as follows. The lowest, part is occupied by a dado of dark or black color, subdivided by lines and bands and containing in its panels, views, fishes swimming, birds, or plants. From this base rises a light architectural structure, enclosing the larger central space, by its prespective depth frequently appearing as a kind of shrine. This enclosure has a suspended tapestry as its motive, with a ric} border and a large picture with several figures. At the sides of the middle space are narrow views with architectural forms drawn in perspect- ivé. Side panels also represent suspended tapestries within light torders and are more simply decorated, having as ornament an ascending figure or med- allion on tapestry ground. The supports of the architectural frame-work are slender columns, candelabra, or reeds, recieving a correspondingly slight entablature, frequently broken and is decorated by fanciful ornaments and additions.’ The entire architecture appears as if designed in metal ard is usually of a golden color; deep red is preferred for the suspended tap- estry, though other colors were likewise employed. above the portion of the wall already desoribed is a deep frieze, usually treated as if trans- parent,’ Upon the cap of the base stand shrines, candelabra, and slender ker- mes columns, which partly continue the lower subdivision of the wall, and are partly the upyer termination of the wall surfaces, connected by light Ne MOTTO MCD JaRIeowOR, Ar “T ane t pave to adele dtyite: ent pecans bas. wbusd alescoeit' vit ve $ tutions? bas ,ttneg begatw aes?) gatoned yd hedmomenio ai nels? ie a ob bis evivosqeieg bk awode ets neon ga nego bas afeasd .ebatd ifs to = tis ‘awe tb ors afieg avoir ‘eds ,tevieede thos 8 oy Gisleot Sed ,osidonmd Che - fieue eonte ine Yltastsqgs soiswtooeb (low gldt .ddyie Lo adilog svete TRE 7 © aettupe fi tod :aweiv af gd bas awiol adi Yo nook is tese+y one yd emote ancien ‘gatvit Deivis to modena aio Aviv bee ,nedoudaw vievitee od ot atiew eds 4 es lessee wot Yino at oldsotlqqe at sh exusiow? agew x “leptons as gon as aniiakeg: lawa to eau. oviauetxe’ on oban eonesataacod edt SBE gods © Ladnsmitegadeontt Gis gnidaioosh di berets oew aeitiesqnd as ww gilinisg eviisroneb yd begnengnio s19w oilew notsw taeo ddSi.bne Aer ond . ooeb | Ilew eupivas to enret isinomente od? bas slisw to sotatvthdae to asbon wien eds otew seviton etitovel .efdivacy aa a1 va beyol ania’ eter. agcvlis® obsm ase (ean. sietabow = evtit to added ad¢ dgeened ovell to cave zehiod of? af _oaeaengex. ylioersy ery. yods dgvods - .ewmtoo sider ak seadooat avisoeuavwd Wo Asttapolinl ytev reds ocala tev aeitiaeqss Yo toowisors inriawsntd be Faeroe Stesoutta @e1t'e yd beosluet ecw eiwioortidow .yridaisq Lowa Las eae Arty tt hapa beitev deen ont ud Sotemian eno? fe A bert vet bididooaniay ashootd SAL sae a eiluniiek: ‘daetizues edt al bewmooo gaisooentinw Aviv eilaw paive vod eS et eonknd bite .9iqaet e'nomolos to paibiied ond te aeviterien [soldld © ished aos a paeien see tes fees) .ewiosetidow astoiaeodd of sideotiqgs ~laspe | pin(as ed timteq Yleoisos ayatifexh to anisast offs gatvovee to ebom pidd > 4 lia aids 10 gaidiyas: ‘YS2 atostiaw ineione ob cor .ytilenad meboow emmaes og Rik ~eeleneixe easy. Baisooen ten gla edd Yo dssor bes eeya olbbl ald Seiwuh ane pepeteanes: ‘AGAR bas AghE ads Hl .e6ldea bas ,eetvedesnom esevod ni beag yf i. i _ BMtinios gos? bsiynssio aottooaniaw bas ,yxtnecies mot bedeseyor as yrealog: me te al dlensy betteant ditw-duowomest 8 of aiieod. beflovea wories iedJewod ie ak xlisioegas .eaivooentisw sol besalxd sone 10 18% ,boiteg gonsee tenedl | oe = Yo ainensiegs bas jeitods ,aeiteliosa ai eelgnexe: emit wt arone (vies? dpe: Ot bedsinanstd e1ew anifeneg to aetot beqeLovad vient? bite doit wede ig a Sa + aoe ly ited oi tevoatedo Lsnotten ¢ jilasegs. Sons's od bas yoswiel oa ah me tehtanee ad geun boow to eeiticatindeg ,gnkiooentaw ynisooisenoo al | : ‘G ny ‘yl qo" quad nak aeisey ElLLewatsnon dfbhiw ati dod .dahest ab ywlidgite ee pied | sak atin dtbiw [ieee Yo drowenext © to acitowwanss. edt ascites: sidt © ote ha ab past edt noosa ‘nied nidsiw ylsdgile evow nso dohiw elena bodys wh _™. tah wen hepa ‘Peds. 08 aevetq beldvoh to hoaoguos. ylsnerpekt Phe be eeoetg eters qe: Sei of Gldtdsog od yan gntllowa aiisq owe af bebivib. yl leven Ruled ilew edt Yo gaitooaniow ef? ts: 8 et Leora? agiw end Pe in 5 ie fe sagt ; * 176 ARCHITECTURAL COMPOSITION, festoons, bands and arabesques. The slight architecture of this transparent frieze is ornamented by dancing figures, winged genii, and fanciful beings of all kinds. Panels and open spaces are shown in perspective and do not at all harmonize, but relate to a near observer; the various parts are drawn with different points of sight. This wall decoration apparently enlarges small rooms by the gracefultess of its forms and Ly its views; Lut it requires the walls to be entirely unbroken, and with our custom of filling living rooms with furniture it is applicable in only few cases. The Renaissance made no extensive use of mural painting as Roman antiquity as tapestries were preferred in decorating the finest apartments. ‘When in the 15th and 16th centuries walls were ornamented by decorative painting, the modes of subdivision of walls and the ornamental forms of antique wall deco- rations were employed as far as possible. Favorite motives were the paintings in the Golden House of Nero teneath the Baths of Titus. Moderate use was made of perspective recesses in architecture, though they were correctly represent- ed. Ornamental treatment of tapestries was also later very influential in mural painting. Architecture was replaced by a free structure with ornament- al forms, animated by the most varied acessory figures. 158. wooden wainscoting. Covering walls with wainscoting occurred in the earliest antiquity in Phoen- icia, bBibical narratives of the building of Solomon's Temple and Palace are equally applicable to Phoenician architecture. Classic antiquity seldom used this mode of covering walls. Remains of dwellings scarcely permit us anywhere to assume wooden paneling, nor do ancient writers say anything on this pcint. But during the Middle Ages and north of the Alps, wainscoting was extensive- ly used in houses, monasteries, and castles. In the 14th and 16th centuries joinery was separated from carpentry, and wainscoting changed from joining together narrow matched boards to a framework with inserted panels, In the Renaissance period, preference existed for wainscoting, expecially in Upper Italy, shown by fine examples in sacristies, choirs, and apartments of pal- aces. Rich and finely developed forms of paneling were transmitted to Sout h- ern Germany and to Frances, assuming a national character in both places, In constructing wainscoting, peculiarities of wood must be considered. It changes Slightly in length, but its width continually varies in damp or dry air. This requires the construction of a framework of small width with in- serted panels, which can move slightly within their spaces. The frame is frequently composed of doubled pieces, so that when wide, shrinking or swelling may be possible in its separate pieces. The wainscoting of the wall is usually divided in two parts in height, a base with oblong horizontal panels, and the wainscoting proper with its high 4 ray ted. si} slqale bg at ; ngivaea wrol edt e{eneg $5 Be Sie ead bn elreil afoetoxg hoddw .g80 6 bia basd ably afeaey. fheaw ses afin Loo ho,ogne to atetas fig Is inensnx0 ever usm aoitiog seqqu | | hone odd déin gonshsooos at {808 yt) Afew eds to soimtoo edt Progque oF bas ‘qisde aved ‘bie battilgate 916 etebta. nema Loo, ond te sarxot oft ,olsoe 16 ye soloe ais: ett ni, idenisory YLineloltiva 188496 of 4&8 O@ Begeda a Lo 4a ie bas anéolucn Pnb—bas~gye eure! ‘ond a4ntb lyom bedercoebh yaoms .boow ad? ; stuosxe af gttbivom tel ddd psoeTte booy ¢lfctoaqae aved ebasd Litneb esnot "he qd beta 1o¢eb ois atenag ats avedan Lig aabined anoiaioni elqaia diiw be = epfant gatbivom Yael s atin ,ebned gadeolo Patbaes | gatderogeb aot bod tem, eiiiovel e ai boow ae sisweins 10 AtOW. bisial a ie bet | Stig dows (12% 52 wot hootetoban sonsunigned matiesI edt ‘steastal edd 402 Ge. aint a ie faq4 wtot. wtineoly boa ivtisuees fo etnemento dtkw ytetiav deety mi eomt “nort abiaw qu gn kwory 85702 fae f Lg besser: ui leaoisnyvaga 16 atalencs AaaTO igs shea pat eilora bevygo yilutssueod ai aftbnedxe bas aurdelebase 1 o36¥ & Ore avon: f9ehdo. sl inde 10 Eleita atala 6 ae sims ei 908 tia edd do i ee yuo ‘welo « ‘peanbors aidT .yen xe Luger 9 né aewaé’ Meaeial ma k “te apna te (4 ot Jasitaco al 29101 ateoifeh bas beoid Yo Aoktented Le ie S¥Maawn Ie boxwdaluce blod ul bedesoceb ed gem A1owens it ed? 2lenag ont hay Oe aid wmad3 saolone eanthluon tisb.) meietegoe YLn0° “neon tind sat nd S aWobnde ‘dass oved fave tod ~hebade, a iti te hen eaent sonta...wobes1} ‘sipeewtotg dt tam bedeanis ‘pa, XSe setiiotd | | ps01ose yl ters Bit) enolzeo0eb is ioega 90a Tuk eat to atid Spatoni'sg aut #6 Ineeeng a | a ve fO.enil to aivitsegea ly 2G hesivvexe qilevai ote enol seiqoeh gail feo dopa ; i! nigel edd teilen wol doin yatinisg enidace ot yese at. a . “i1e3 1p. wedpelg | m: maayo edil .emtoi. bewios ylgwedd eved yen BoreC gaibitvib ods ‘to. aot ad: 18 et Yd Davotgdosd edd OTT beeiss yltsnisa ib ad fine cant Lage sg@0 bobaed bas Rettig? Yeller doua ao beosbong yottbada Yery eisol io oat wil. ‘ot fag je) ‘pbned. be S bh . a oti as [int edt oF te613n00 aitipee lq & edie wa, eh, ad. agnib iy | * te nee waems x70 i¢ abasd Pika onin arts xegne0 ads panilios dona toagon ime ols 3e fal kak th, at ais ag. ashta ash $8 eleneq yatlegs Yd babau ote lensg I9 gu. io & ve tan sens a : te B88 i a add rebivibiye' Siomsis0 ! eboied ,adeoganob vod? £98) 204, ae igne gaetis sentatete yllswisa ‘gti tieo te ece twa" do erat a ’Utsaeegen ae Mh 89 “mao eiuy eldsoilggs qlisiene3 8 bas thoneg eid to ogsde brs “ftom ednen mx (08S . git) etaupa. anit ayevle af tcomogieiw teetaeo oft .mayly . sity womgit Lieme. sade lobnas yam102 tagig ed yom aeonge olpkbaw ian, af, a ‘ wliso odd ti as biawai wbibs tesuc bid” mein? bnewxe ayew Lo biveda Poa 238 iM si Jaemegns Tis eiat jebasige Wong a fnenanto ens bine PAINGD eit ‘te asa}a aad ~ / feb s yd ed yen flew edt ot noisienss? weled woul bewety dookmeynod , oata ae % Daids sonia: 081907498 Bi ‘S2tevso WBA L & Jey jeobnteo bet tong Ylegaot, ok hw clrqetegys bas aadiaid bedoteive ody. to eaongdgt! elt of ebaoqees toe . aboot ‘Jaon ek’ aietat {iow odd Jbaélieo 6 wit, s dove ddewned potbwod {k oe | woes ido ed? al agidiaieg ogist gnitaeent ee bas Beupeaders Yd bevsxopeb MEE, Bos doh osdixt » dows heleats eotseaindod as tle 7 § eft .aedd disoned webt0, inae @ ae att ei ot twa ilew reqae ae ed sot Uidaage le baa wf (dott ROLE. 2: a: "ed wtnokse1bo0b 467 bao eqwaty % anol feinecenge’, widigelg 70% oon ft q aidé Be. bial 19 BIGRK, 59 ‘avert idots a.) a Taken Yo hes sotdyti ed bluede patbitvd. ody inditgtw arooh ‘to eevesdidons © stb Yelisae pved ageo snedtbe, dT wsokresne aii oo. saodd add wr} fgg i: ae waisted wif .woled ox! yleipiido beweiv yltelio Sus yen Goal ancleaen ac Jomode to asttioe bas odnay, ‘oob: ei | besoutseinoe ayew fo tacts osas8 ent sensnort) one eseiogeb mes £. ant et ee boited, wee ode Sey en ; os ba “ty, & Perel: ut Sod Ay 185 ARCHITECTURAL COMPOSITION, Forms of ceilings previously treated contrast with those consisting of dec orations of stucco-work. The painting of the ceiling should cause the upper surface of the room to appear like a stretched canvass. Therefore this sur- face recieves a broad bordering band and an ornamental center, which repre- sents free suspension and approximates to the ornamental forms of textile art. bands that divide and enclose the surface may Le painted as flat ornaments, or be raised in low relief. Painted ornament in the spaces may itselt Le Slightly shaded, but must have cast shadows on the surfaces. Only separate- ly enclosed pictures may Le treated with picturesque freedom, since these re- present on the principal parts of the surface special decorations (Fig. 21¢). such ceiling decorations are usually executed on a plastering of lime or plaster of Paris. It is easy to combine painting with low relief; the bord- ering forms of the dividing bands may have sharply raised forms, like cymas and beaded astragals, and be distinctly raised from the background ky color- ed bands adjacent to it. The delicate gray shading produced on such relief mouldings by side lights makes a pleasing contrast to the full colors of the bands of ornament. As for division of the surfacesof such ceilings, the center is always made prominent Ly a larger panel, surrounded by smaller panels at its sides aneé angles. between them connecting bands of ornament sutdivide the surfaces so far as necessary. The form of surface of ceiling naturally determines arrange- ment and shape of the panels, and a generally applicable rule can scarcely be given. The easiest arrangement is always the square (Fig.220). Ornaments in intermediate spaces may be plant forms, candelabra, small figures, garlands, etc., and should always extend from the outer torder inward, as if the ceil- ing rises at the center and the ornaments grow upwards; this arrangement is also conveniently viewed from below. Transition to the wall may be by a del- icately profiled cornice; yet a larger cavetto is appropriate, since this forn corresponds to the lightness of the stretched canvass and apparently exclud- es li loading. Beneath such a form of ceiling, the wall frieze is most read- ily decorated by arabesques and by inserting large paintings in the architect- ural order beneath them. The Italian Renaissance treated such a frieze dec- oration richly and elegantly, for the free upper wall surface is the most vis- ible place for pleasing representations of figures and for decorations. 16é, architraves of Doors, architraves of doors within the building should be lighter and of more el- egant form, than those on its exterior, The pediment caps have smaller di- mensions, since they are chiefly viewed obliquely from below. The Renais- sance almost always constructed the door jambs and soffits of stone, and in the earlier period gave to them a wide decorated band (Doorways in Palace of ay | aonensonen nario Mer t Poreiriees eoahlaa buf sedatiant dbte bedatalt ow ayewidcd ‘sees Lonkset - . — Sidetius af amtot ynitroqqua Yo tnemtaeit evitexoces eet? 4 %h% vite f ie.dihe a 5 mistoasb ed ysm enmvloo bag vowglt eeeted ovat egnsdo yor eresed £12 erie 0 10 a —levew boitey t2om. eat at aaoteion: 2) eevee! to ewer” agaly ud be *- Sine Ma 468 jaemibeq add “evo noltesooed ® an heoaly omin ‘et sacusitio gif | dude evetoet of tetaeo edt je neko ed toltie yax tnegtbeg” hevmus Ho ‘et i Z - tatoogs beosly ad yom ase edt Yo eoimios isinoviawl eft evode 20" (wast “4, of - Willows 10 setvlov besnemsare yd betoosaco .ettaeo hits wbae $e’ esnemettto Bs a .ayewtoob etede oxst af ener Yo grled vico ,boow ‘te yflen at oe ag a ett moqu ebnogeb gaitlensg off .elensq bos dxowasert Yo ‘benccdde’ ote yoihr”* debe aleasy steupe mtotial « wieetifdow sreoe tbe edd te “aed sored bet witee a oss matt to anoifceatsiai mo adond so akath ditty bas sledge ent iat eet feaor * % 4 te alensg exist bas Lleme otai aolaivib iwa0ob tesnekumes tot Stelbrgo%g qe” — dnsysle a6 asouborg wow? To atnemenid yd bet foam “a wt wetettip a Aeabee yy 00% @h¢ to noisedoousnte beivey dein vextnantid hae. tie y - Je | Poe on a ee. gebivib. dotaw. aehnind india balaehi ylaeeio Ry etinpat, amdo'y ‘byl’ nie a +: Griktetoo. ewdte'o0 ab afi wot drowemsti fen soutia 8 Be ameqge bas" ‘Flew fd giiintol eiddanlig to aeinee s yd bollztin? y! gat Hoa Hi e@oqug ati’ ‘if stall 2d 10b70 wedqu, edt ‘aebiois ows dywouis abadine moot eds th Fn : he es = gasi1s ‘edt. euseldeine ett os bongivas at ‘enelyy on bus wot) - fod od besqabs yaioviedne etd fo aéieivih. looted dys & seouboiy wetact iy edz % Hoitexaoeb at desrinoa svisootti sea cadiniha edt Id mit vo Lug daeqas 10 aa7o! fednemser0 ¥e aano Yeno! eit ya iiavas | id: ton tetde ‘ete ehae * a a _b10008 fiotaivih esi ai taum gat ite en om Alt jilved gens: tte quit ei?” He tl ats of bndyseri0d jaum sased gafbasqgue aha vee ity etd to diediouns tue arg re | , Hi ie ,A0TOg Que Stem 3 oe, | 3 : waaised neofliesd~ a en | s903 ot erttiped yet dib ie: ymeeooen edd vilstooose bas enogtwy fs Looe’ oat Givi 35 dyéd 6 Yo avatanoo ylieitneeae aid? ok tigéd 9 Yo wo} ‘ont oded of . oat ghinego ebia dose gaole sebsore 10 sebanmolco itiw ofeis vo conga a os: e802 evods aebie ati at awobaiw xd oetdgtl bits Ha fas eble 8 RMOOT ‘ ef usa awcbaiy [sntetxe 40 ,olele albbim eft nox? sdgit avetoet yea seleta at bas svods mort olaie elbbim edt at ellet Jdgif edt. atisw ebie edd ak ate anoiteoosh edd qol bas sostto {stemey ont 408 YIOtos tatise yew tsaoksaoqong fife Ath iw. jaertg s aldieaoy sedan solate teatbus signet oink dos ih tte oft bas atdgied beitey ett arsiw bas betsvon ad Qs até ge Ifema ve | ge Maiteroceh af {foette oviseogserg dott # aeonbory Ji jenn foo ati Yo 8 seis 1ttieo edt To aeisiog soe od¢ Gilea od YuMegenen at dz toltedat as Lott scale, peian sonst ‘te Spaces ommmemmad ae ght Beis i ' ' ee 4 ni : tor ; My Ss ane oleate LR 4 can oie ea Ae i _ es i, .. m ir, a ae 7 uo ar | hs *nS Oi Bias K ‘ vo BS a) ee a 13é ARCHITECTURAL COMPOSITION, : _Urbino).. Large doorways are finished with pilasters or columns supporting an entatlature. aA free decorative treatment of supporting forms is suitable here. Pilasters may change into hermes figures and columns may be decorate ed by rings, rows of leaves, or incisions, in the most varied ways. 4 crowle ing ornament is also placed as a decoration over the pediment cap, an angu- lar or curved pediment may either be broken at the center to recieve a bust or vase, or atove the horizontal cornice of the cap may be placed special ornaments at ends and centre, connected by ornamented volutes or scrolls. Doors are usually of wood, only teing of bronze in rare state doorways, and they are composed of framework and panels. The paneling depends upon the style and character of the adjacent architecture. Uniform square panels with rosettes on the panels and with disks or knobs on intersections of frame are appropriate for monumental doors; division into small and large panels of different forms decorated by ornaments or figures produces an elegant impres- sion, and harmonizes with varied ornamentation of the room. 167. Large Rooms. Large rooms require 2 clearly arranged architecture, which divides the wall and appears as a structural framework for its decorative covering. This purpose is most simply fulfilled by a series of pilasters forming twe orders, if the room extends through two stories. The upper order is kept low and no frieze is assigned to its entablature. The arrangement of the pilasters produces a rythmical division of the intervals, adapted to any j ar- ticular form of the apartment. Effective contrast in decoration of the inter- vals are obtained by covering the lower ones by ornamental forms or tapestries, the upper ones having figures. The ceiling must in its division accord with the arrangement of the pilasters; supporting beams must correspond to the ser~ arate supports, 168. bBasilican Designs. The special purpose and especially the necessary width may require the roox to take the form of a Lasilica. This essentially consists of a high central space or aisle with colonnades or arcades along each side opening into lower rooms or side aisles, and lightea by windows in its sides above these. side aisles may recieve light from the middle aisle, or external windows may Le in the side walls. ‘The light falls in the middle aisle from above and is very satisfactory for the general effect and for the decorations. Divis- ion into longitudinal aisles makes possible a great width with proportional- ly small spans to be covered, and with its varied heights and the arran,ement of its columns, it produces a rich prespective effect. In decorating the interior, it is necessary to make the upper portion of the center aisle as light as possible, so as to not produce a heavy effect above the rows cf evedis ete dght wedge eeiigex ee teia ebie 6 shoo: vee eat. ennelony | © aqiuos g qeeb s ys obteat betexéoeh od isd eit bie ,eon0m ede to-elethesqa | ent a Baitrogqua .exstaslig fight evad @idd evods elfen veqqv.edt .gsattt hegis P egos ty eved aiaviessi ot ai swobsiw wietion dike gailiea. pahwaqace dyid off >. “Qaktdaoo al jwenvesieg Yaieeqes wd Setexooeh ate pegs tive dove tide, bat ods y ed yea oolais obis etd ,goketeg weqqu eas to note soggh an asad “08 I Oi dhtakeeliad 2 as emeque Yiode tewol ats dads ow .voouda %Q- aidana doly be. 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Howe fa eo loanoo | (i tyke cigs ancot seed everiidots odd 30 Asga sext pa iouber, xf Lot socom _inetie ed ito das Li dvi ytode baidd « ee wlq avdilivad & eved- gels You ao bial {oy eft) .allew toque edt toT Sroqaet sow “eddax e seouberg mids, sey beblverg | phases smmiice fesacids (60a fatnournod a acl Sdedeycotis. yoiwgt ast woul penser bees iy yoked ewobadw até ,yrovd iwelo edt Yo dLiipw ede trpyniliy £ te oe 4 6 bas enawlos edt batied :dyAl andy ddbiv ge poe, atodas is “4 os 4s ateteel ig. barrow! yd besioyged eh ietie lien. ddyied tiede ohiidy a ott LGe Gduslos feaadioe ddiw Yrolisy edg so nottentded aba? eine os Wosseid oft edey Litn qrollsg edd bus ,toot%e yintostelisge yhtostiey ‘te [ere08y be Fda 5 seontor Siemepoe rid aids doy yomacolone, reboww 2 by sotseutdeanod cote ei bas ,moot add af ie el te iwottoinsa to allek OYE -. | on. do tan pee ulducdew ‘de luonkotnes groled eotieling gatvad atoot: Agee : ss dyvoudd solveiak odd of nego yells. « tobivion beaolo a evods nied , is da at} olf beyne its Ulisuey ef eioit 10 aaeoe% eget & ,zebgots 0 “2pm ae “ sexggs: Y1ev sece tie b4ot ls emony done wrbtsaly wo eaudiat si? 102 iow ee. - eises %5 awor Gitideonde ered .snedtcets evistesooek futitused tot ots ing Zioimes edt .{iew- avopatinoo edt ac wie ed vst dosuytt déiw oseial 2 ee noont Latoeyse to swykt veyiel « {et tot eidetiiia ei edoid: eft Yo dois asive - oo 10. be wig ue bee notdetosel belyey YoT weostwe eis edola odd ob iaed _ Na aan | ‘liste baa hernia ® wicennndnate ‘ot aad ad yea gnilies’ edt oe | Ane | ee nine ayn bos ive’ dat amook: rae | vf ay Ph a ip ea Pa ade ok: yarn: sot on nse eons 22 mpbtowisanco: ade x0 y ey ee Pint 7, # ‘Va ?-7 137 | ARCHITECTURAL COMPOSITION, columns, The adjacent roofs of side aisles require a rather high wall above the spandrels of the arches, and this may te decorated inside ky a deep sculp- tured frieze. The upper walls above this have light pilasters, supporting the high suspended ceiling with coffers; windows in the intervals have grace- ful architraves, surfaces are decorated by tapestry patterns. In contrast to this light decoration of the upper portion, the side aisles may be veneer- ed with marble or stucco, so that the lower story appears as if entirely ex- ecuted in stone. Ceilings of side aisles may have a massive Character with large beems, serving to tie the walls together. 169.° Rooms with Galleries. | These (Fig.221) usually have two colonnades or arcades above each other, Ratio of height of lower to upper odrer is then taken 2 $ 2or4: 8) GeP pees ' tical uses of such an apartment usually require wide spacing of the columns. The straight entablature is to be madeas if constructed of wood. Cap blocks with consoles at each. side may be set over the Capitals and produce a good effect, materially reducing free Span of the architrave beam. Rooms with galleries may also have a basilican plan, if a third story with pilasters be provided; yet this produces a rather weak support for the upper walls. The following arrangement has a monumental effect: colossal columns directly Support the walls of the clear story, its windows being placed between low pilasters and are wider than high: tehind the columns and at less than two- thirds their height, galleries are Supported by inserted pilasters or cor- bels. This combination of the gallery with colossal columns wid not have a perfectly satisfactory effect, and the gallery will take the character of a wooden enclosure; yet this arrangement produces a dignified general effect in the room, and is stron construction. | . 170. Halls of Semicircular Plan. with rooms having galleries belong semicircular assembly halls, which con- tain above a closed corridor a gallery open to the interior through colonn- ades or arcades. A large recess or niche is usually arranged in the straight wall for the tribune or platform. Such roons afford surfaces very appro- priate for beautiful decorative treatment. Above concentric rows of seats, a frieze with figures may be arranged on the continaous wall. The semicir-— cular arch of the niche is suitable for a larger figure of especial import- ance. beside the niche are surfaces for varied decoration and sculptured orn- ment. The ceiling may be painted to represent a stretched and richly orna- mented canvass. kt. Rooms with Vaulted Ceilings. 171.: General, For the construction of plane ceilings and for covering them, the most Je100¢ at eer i Hrevhuesote pean fe beau @76 wha tesaed soir aj vapors o% giifieo eft Yo sooekws. Ife (eaces betivey nt dua --taom he nap ra wodd: dent Yoo Shenteord Mededaato at? 2 {wireven path Lind ense odg “vob YIieeg@! iditeq inetetiib ody Yo aux? fnnoisaevaos 6tt at Yaoutet ated. ! a : * GE enottibbhs edcensi%xb ay wweqqe eyewies ..ote .pritooanthw Heboow jeyalde - a i, tite--bas @Aode' al lexietea evissioseb bas fenvdowrse isaeig add “emoor bet lysy a ee sitvo? béite}-at betneid-ew @leiiesaw aad gonia ta eisivossa 162 er ane te: 6 dicgee ie naaiia éids gaiedesad a6¢ bear a Vem“ beto lag po = etre? Letneminte Yo eonkbeude na. avouboeq.2 lek a A Wie’ pions oils ‘a mere sexi’ Ob fitsioned oft to IisiwBydersa Lo tehey ent): i" ae . WIS¥ Bs uletem foc’ tow ob atins¥ [fue ed? to nokventtence ‘ed? .yd-bus Tioav shou TO adnonidds yolisoper jededadg ‘ddiw auxol anitevds os yew .ebas? igaid | SKS Hetseditades alid-s%el teaver doseeaionet edt bas supiisa edd dud leoeeet é' ane Moor oft to taomtaetd ii ddiv 2%. Besoonads ayawls Sud ,baactxe yilentwe 4 ae peldtsiv seldotqg isoiteds edt to noituics ef?’ nedeam 2h bas yiersenen eysegge , daeasacnt lejnoaento bas-fequenetidois oil . \deuas way Ro moteivibdve eft at . ge his -eopasa anitiogqve edd aoitourtaad> Ieaebi fanaddolie od: aede steban noid Wee "> © gauvoe. ttions fesiwennow wi beidmos syewle et dotdw dtiw ,mooy eft Yutdevod heey Lite yniyeolbal Aoitovaweades -leobi-aidd- ,ddgtow tae%s 10 volidorake ants _ e890 aax0t To- yeaa ‘Ae goer ati yd Aas dead bas Stoqque seewted sasttd | aad tetiogtot ed-o% $2 batted belaeanus Jduiow eas gre + etlede tilie suocenegonsd as “hetabigaco ylevisdexoosh ete ei iuaV™ Shes 1td at bevive yniiieo & to tedd edil t do tiow od o¢ wed? ef aotdato” Va n1O% La tO wellote ‘“STige to hewoqmoo di af. .yitilisé enely odd el2t .awtot 4 te {mend meets’ Qai¢l alonsq +0 -wedeqe fate erowemest lewinorte 8 yt | atedg, BAtio aque to @ielemoo law gaiedisas edt. ~ .2ygaiesgo-ae beiedianeo ed yas ne bts hasty ral hoe die a Stesengee: sail noewied tow eliaw seqice to bas eg Mi vs * fof lege Bo eageolone odd poo meet 4 | | | e¢ddet Lenmut Oth? sod Bi edhe ,alisw ebie edt ao sveunit avi ns bsel athiaysd dlusyv fensyt edt * daunit ody tot eilupot aliaw ebie sAT .-abo% edt seotene ylowd otiaw bee a Naaotas peuue eas S20¢gvmtOs yuseseoes 3. A itaeys att saatioids qeseory doe & ea -tyetelq Gesbh bavelosi or#t bebivib-ti Liew.oe teul esoqusg tied? iittvt- yodT nvewsed agony? -seots yd betoomtes Fifa ye ote e6Htl yotyaiage oft woled do ide a a | SAT< <.aleqeds +o sedota ‘ext aoor is; toatay edd “to smoianesxe iol axole odd Moore ed -10 ,soksanoleo 10 sieiq-osst bebivih Gleett ed-yem sbae af). fo el isw Miotiov “to slivd seivie om etluay /sdaet swwobatw bie ayswioob gue! dvin be eetevanets gaittoqque edesegqea: .o:beaoqaod YO: ,a10WdOLTd oi oh eaondoldd til edt al .nods soowsed boosiq yrroesw tghi-to dele dtiw anode duocio ee | * Led? at sud? owesdiq sa seaect ine i ahebe ¢ orne bebivib adiYsa ei tin obte bi An J eh ies He ee: He ee Eas Sie BURN i % oa “4 y Wa ” “ : A x x a - mene ‘am ich a =) es, “ek WW 2g , 7 a Yan on) hes toe Lice ae ER eT , mt rth 138 ARCHITECTURAL COMPOSITION. | varied materials are used and require corresponding variety in decorative treat- ment. But in vaulted rooms, all surfaces of the ceiling are constructed of the same building materials. The ornamental treatment may then show a cer- . tain harmony in the conventional forms of the different parts. Tapestry cov- erings, wooden wainscoting, etc., always appear as extraneous additions in vaulted rooms; the proper structural and decorative material is stone and sim- ilar materials. But since these materials are treated in varied forms, are painted, or may be used as veneering, this varied treatment of similar mater- ials produces an abundance of ornamental forms. The general arrangement of the decoration is first fixed Ly the form of vault and by the construction of the wall. Vaults do not act merely as ver- tical loads, but are covering forms with thrusts, reguiring atutments or butt- resses. But the dntigque and the Renaissance never left this construction ex- ternally exposed, tut always connected it with the treatment of the room. This appears necessary and it makes the solution of the statical protlem visible in the subdivision of the sses. The architectural and ornamental treatment then undertakes to clothe,an ideal construction the supporting masses and those covering the room, with which is always combined in monumental architecture the expression of great weight, this ideal construction indicating only con- trast between support and load, and by its grace and lightness of forms caus— ing the weizht concealed behind it to be forgotten. Vaults are decoratively considered as homogeneous stiff shells. Their dec- oration is then to be uniform, like that of a ceiling curved in different forms. Like the plane ceiling, it is composed of stiff arches or ribs, form- ing a structural framework, with spaces or panels lying tetween them, which may be considered as openings. The enclosing wall consists of supp,rting pliers and of screen walls set between them, expressing aspiration and support, and the enclosure of space. 178, Tunnel Vaults. The tunnel vault lays its load and its thrust on the side walls, while the end walls merely enclose the room The side walls require for the thrust a a much greater thickness, than woulu we necessary to support the thrust alone. They fulfil their purpose just as weil if divided into isolated deep piers, which below the springing lines ‘are again connected by arches. Spaces between the piers form extensions of the princiral room like niches or chapels. The walls at the ends may te freely divided into piers or colonnades, or te fill- ed with large doorways and ‘windows. Tunnel vaults are either built of uniform thickness, és in brickworx, or composed o1 separate supporting transverse arch- es of cut stone with slabs or 1ight masonry placed tetween them. In the first, side walls may be divided into picis and niches at pleasure, but in the last, Boe aS LT oreo | Pr eee ee i he ein ait Mies at) jew ots + aedow. oa ere, $92.92 | team paste pret srogqua ! seen ‘paitarooed to shon odd feogye hediroved Spe eQuadengp, 10 pwr gat, we etitae ett wyo soitexcosh wrotion s and tluey, Jeet, 73g jitey to.9e eb. edl(-oysi lot 20, drowtes betaisg oxi atiaits Eyay: eR aR: aninonags.. aout od mk bagot or atlusv bedaing Josyo 210% too, gant. $25 ADEE Ge Cel popinge taete thio to alensq eeolone ebsad pavonno at x the daaapes tlpaged dg, aged tin boaidago yliswan) admos femon at (aes Fh hams 3998 Seite, arg tacee } a below ,auiluly egod lo slfi¥) amity es eo.can page, Silex Qian conte antt saw (ess Bia) ‘Bre tied femsilo yt to aliovoa bas apoliiel »ieotiak ditw gabia a (REDS eved yer bas 2gGs. tou ents La Bh elqiontrg CiKasey. nee: Par: 60] bes sag | mtpedidors: gemor sl waeno eisupa Lisme tin yaisvenrests auolips Ladony yfoq "$0 ‘aa — aaiod emtot Keboow . tron doiad 10 etow, amsed is tage buort, Sas pefare Ung, Pek S i ye 2 jaled sivev odd to tokérog aid? are tho eid To od. pat Tein i oid ho j9@ eS * Asmoh yoni sas taqod to aol liess semiot bite anne 4p al gen) sete 1900 Sa xoyrs L s ddim yliewaw ,tiuey edd to nvorD. os Je mga guns WAG BE tan ee 1 30 : ke to etiuev ai elensg dove to dnome yan 41 fs theans c to oT) wetaeo eds. 38 tamed . toss fo atluev ai edigtl yailies to solisqnyaae ond ait be 204 anpnrts ymin _ ode $0 encieaegib of yaibiooos i od Sai dibiw ody at Rie. NEE oo to. tegmusm eft mea iy Ce . shy) oho ber fre seer adi. ef tay bag {lew eds setswges eointoe ‘ged isestoxa, i hanortte but a yas , a: rq eal stuseddedae ne tdsaiiod co cine! ead Io eRgdt pont, hay feeb dt he eidt th eveds aos turg ait Yo tag, outel 5 wolad #0 oat ine yp ry og rans ouse eat to baad aislg s avods eogengea Jasna iiuaw ode, ‘to. roi de t0pmb fe nine —Wigatbioess’ beg itte ed b Lior + Luge eft Jedd pas peyote ott a6 Bh | — -cameseye ieee tt ib ot gaibyoous ed Yaa 2 atgaivge odd woled tisw We as — ggau loo betes agaoaibeg ddiw begins xt ad. Yea agdoin OFS TH 98 Bae bShod at ed besquiietat ed Linw edd 21S | mad? svods. gatbnatxe eseied BOOT ELAOS 46 ot ed yam anmsloo ees) ,aemob. files ‘to atiuey Lomitis yd betavon aedaim oy 48! Lat 403 eolatoo oft grimici ealt oaga elt t9 omdoiiedne thedt ,atetg add gated q ee ede ~ot eoouig eldavine o16 cin [oo eis evods wadotn edt reve qiluey ont Aight ee Jaded ana ne ewobaiw ae lvotio tues. aon '¢d batoe? te taed at ankidwed » ‘aes = etluay. 4 e ete 4g _daagolovsi antnaaeeh bas, Lemmsourte 6 sididn sewtourse ouphtne serene} BAC. oy. eolgaed to egnilion msod anode, alisoe: dadd ,eagta. duo ab J lvev lenny g§ 430. _mimea s ognt éned ansed exit anoijoes evad geodon oayevanstt gnitrogaua . OLS i a & dows ale Le enote beb Loon agit ylewolo dog em eaodt oo iors eid toy .Inixetem od dtiw somebicocs ni solsearqui letaaaucon s' geovborg Wet '* _ - te tasq epi « iseonce .yloupiido bewety nedw. bas Wigdonta Jongorg. sadots = eat pepronet sid .aelgtontag eaudt Adie eqnehorene. as eee ad hen Bs en My a @ J ee pear Rite: fate , Bo 4 he a AO ae — feaaus bedeois conswelsnes of? ,coititges yd evongvorom asoqqs bre adele ede 139 ; ARCHITBOTURaL COMPOSITION. . Supporting piers must be set under the arches of the vault (Fig. 222). The forms of construction described suggest the mode of decorating surfac~ es of vaults. The tunnel vault has a uniform decoration over its entire sur- face, appearing in many variations, from painted network or foliage-like dec- oration to a series of deep coffers. Blegant painted vaults are found in the baths at Pompeii (repeatedly interwoven bands enclose panels of different di- mensions, in which soar small fires), in Roman tomts (usually combined with fine stucco work), and Renaissz::ce villas (Villa of Pope Julius, arched cor- ridor with delicate lattices and scrolls of foliage). Coffers (Fig.228) are treated on the same primary prinoiple as plane ceilings, and may have Square or polygonal coffers alternating with small square ones. In Roman architect- ure, only arches and horizontal beams were of brickwork, wooden forms being set on the centering to form the coffers, this portion of the vault being of concrete.’ (Temple of Venus and Roma; Basilica of Constantine; Rome). A row of coffers is always found at the crown of the vault, usually with a larger panel at the center (The ornamental arrangement of such panels in vaults of triumphal arches permits the assumption of ceiling lights in vaults of temples), The number of coffers in the width is 7 to 15, according to dimensions of the vault. é strongly projecting cornice separates the wall and vault.: Its forms are derived from those of the Ionic or Corinthian entablature. Its projection conceals from below a large part of the surface above it. This indicates that decoration of the vault must commence above a plain Land of the same depth as the cornice, and that the vault should be stilted accordingly. subdivis-— ion of walls below the springing may be according to different systems:—- 12, In solid walls, separate niches may be arranged with pediments and columns, a continuous frieze extending above them. 2 If the wall be interrupted by large niches covered by tunnel vaults or halfi domes, free columns may be set before the piers, their entablature at the same time forming the cornice for the vaults over the niches. Above the columns are suitatle places for sta- tues. Lighting is best effected ty large semicircular windows in walls at ends of vaults. . Different antique structures exhibit a structural and decorative development of tunnel vault in cut stone, that recalls stone beam ceilings of temples. stron supporting ttansverse arches have sections like beams bent into a semi- circle; on these are set closely large moulded stone slaks.: Such a construct- ion produces a monumental impression in accordance with the material, yet the arches project strongly, and when viewed obliquely, conceal a large part of ‘the slabs and appéar monotonous by reptition. The Renaissance treated tunnel vaults generally in aero-Aance with these principles, but proceeded in a Be sé ow P chat ow ahdow ahead A883 B83 eye) ‘yaw oviterioned | Wivreal qaebla whet no esmyo Ui ons coeds towel sieae 9 Abasd yd beset *~ efensg brs dAvonemext Yo teienoo baa .aynthivoa wo afensy ogre f evad bdske aanaaoger noitetneuants otisas edT el. iotitqg lawtowie ong ov pr ibsoog.. a, ) id to noise coe’ enno1s 6 aqedtsy to (gntites galt bevwo ted Pr yilesbs . ake eiwy eth jes osat hebivibina eliaw faatbusigaat edt to ety. “stots belensq ebiw e togqte of ,axisg af neve ors bis sototg et ‘wehaw fa, j Fa sav gnitooatosai asouborint yatilvey esatbemistai sdf to re sSa7edo fdgil oA. WeuG .gebia ety gnols dlegsdo to ayainego bedow od) “evo anpba, tw Agte baw aoheer’ seg aeouboty baw @uoox edd tot gitifdatt boo, abuot'is ei iooth:, - ppeting getowdo sonseeienef béetivay oyiel .scomesord ev Hstooeh- ns ye Paay., : ey et, “nortizoauco navrearDigss. re OO se oft dtiv bétoennoo yledewitnr at ative to aotteroosh. ati? jiyey | . LO ssid simteg efiuay leanud to zegasittud guowla sdT .2ola exe ine tioese ; Ses (teal ts ativey loans yd besevoo aleye i8 fegedo TO amor ab te to noise Greeks: . .etlyev bentowgalew yt to cbeatoty ys .eno faq tonitg ae ot ael - -Boanoise fe toa ad yen ative fennet ,zbne tied? do besdyil aucoy tisag, £35 bie and, ‘to gntiies edt dguowly bess tedasss guied Jauzly ed seebgox 10. ae mye add to méiterooeh {yteos 14 bas: Sdy ts agin ifaw Tedvo od? of gsnagg erty tata ow {88S.gi8) aoldserqmi tony6 [6 Baie lols s equbo1g asooy datig we sete A 4S@t0T [sottqilie salt 6 sao0r tetd eats l jwovo adlusy leaay? of. , sof. disse geou od ' bivode srebtod galaoloie felt dédw ¢ ath. “fesnegent ai aeeatigil taety to noteserqal as eouberg ce | ‘i 11a ust ie apreate vd beterooeb ,So .pi7 sine! al ited 6 to uth” Pit Ko ro i ad", tok i a. ee eudda debe BYQWLiBIe wave heey el giuav least benifoat ‘ont . Pctaigie eritee edt gaitneneatc ro etsingor4ygs tao ois atinit bat aeviol te) owt Hi enottoetieqn? yitiem ,foetie igil yrév « tivey aid patvin , dvovéaaat” fo giidw ex ehooteet edT .(08S 888 .egit} eolieY te eoats4 e'egcd edt ae os ‘ 4% blog diiw evidw eltw¢ ews ,.ote asuyo Ziteolone edy hasbayoty bidy | owed sibbia od¢ ni eaodt \aemyit bevolos aisjngo ebie dose mo asosga opie t -dgil no esassanto betoles svad ebasd gaol sbavorg biog do ateifer ed idi. wai dawosee nO .bavory blog mo atetlor ditw befllt ts esteupa Ilewe bas | Inoatsen! ‘islygetsi odd ,yawrisia edt to dthiw finma odd ot dénmel to olives ad basi add eweiv eno enemnerfh ‘goatee, vitese, ot at @abetive [law edd 3. f he iagorcion, ' rca 1S SLO a RIN arya Nida pb of te Aan salted : sa oo Rs ee a sas ey & iyi rome i eM mae | St " ‘ ~ ia me 90 ed eyewls tavu Sud jeiue ods o¢ Belgas Inyit fs beoa lg doin ee eodég, | diva abasd famtbutiynol dtiw anofsoearésak auptide eoale ulfeassiey pogo + BES iter fneoitingss add of beilqque of elqmsxe as dows col tou-ttages } ia ¢ - ote" sisod eff at bavot ei eiqusxe treoltingen 4 .dhealaora toa soteivib ; 140 ARCHITECTURAL COMPCSITION. . Surely decorative way (Figs. 224, 225). Transverse arches are flat, are dec- orated by bands on their lower surfaces and by cymas on their sides; the slabs have large panels low mouldings, and consist of framework and panels according to the structural princi.le. The entire ornamentation represents ideally a light curved flat ceiling, or perhaps a tronze decoration of the vault. This decoration of vaults is intimately connected with the architect- ure of the longitudinal walls, subdivided into separate parts. Pilasters alc set under ‘he arches and are even in pairs, to support a wide paneled arch. The light characver of the intermediate vaulting introduces intersecting vailts with windows over the arched openings or chapels along the sides. ‘Such arct- itecture affords good lighting for the rooms and produces great freedom and variety in decorative treatment. Large vaulted Renaissance churches afford exeellent examples. The strong buttresses of tunnel vaults permit the form- ation of side rooms or chapels, again covered by tunnel vaults at right ang- les to the principal one, Ly groined, or by welsh-groined vaults. In small rooms lighted at their ends, tunnel vaults may te set on colonnad- es or arcades, the thrust being transmitted through the ceiling of the side passage to the outer wall. With light and graceful decoration of the vaults, such rooms produce a rich and elegant impression (Fig. 228). tie might give to tunnel vaults over large flat rooms a flat elliptical form. « varied panel- ling with flat enclosing borders should © be most suitalle as decoration, to produce an impression of great lightness in ornamental treatment, like the construction. Such an example is supplied in the magnificent ceiling of the Library of St. Mark in Venice, Fig.227, decorated Ly paintings Ly Paul Veron- ese. : The inclined tunnel vauit is used over stairways. Decorative transverse arches are not placed at right angles to the axis, but must always be set vertically. Since oblique intersections with longitudinal bands result, scrolls of leaves and fruits are most appropriate for ornamenting the entire visible framework, giving the vault a very light effect, making imperfections in suk- division not prominent. aA magnificent example is found in the Scala d'oro in the Doge's Palace at Venice (Figs. 228,229). The festoons are white on _ gold groundand the enclosing cymas, etc., are partly white with gold framework. Large spaces on each side contain colored figures, those in the middle have white reliefs on gold ground; long bands have colored ornaments on light ground, and small squares arr filled with reliefs on gold ground. On account of the ratio of length to the small width of the stairway, the irregular treatment of the wall surfaces is not easily perceived, since one views the whole as foreshortened. 178. Groin Vaults. atl 0 fi TU | i a a j ’ ’ roe. re ie or ee t “4 a i A i + \ a fan . . ~ ora 4) Dale v> our’ i ; 1 me rer ne . ee ee ree “Mor tIeosuco aavifoartabra mee iors sf eects ‘no nteor iliav feannt odd Yo dtyael eaidae aif o Lede "en it99 | quot ge gatvees vino .atluse lennus ons to notvovaresal” ‘edd at dinev t ‘edfn 40 @mtot, wot eit absol faili eweee4 eet ‘eratif yatstog gue 0 De gaedy yd bortiwensi af $i bas ,adnemtuds add avewsad yilemoge ib’ gat korg 3 vaods isiw bedoennoo yleaole af not tayoosh ‘edt aely ‘ode of aodots . geyoT 548 Binendisgnoo besiuev eds yaeail {eqtontty as beig@bieneo ots ‘doubitow peak? ete edit Jo anioty edT Janiowg od? neowied asos Tua ovotiau ‘ah be ve like Seble aiefs ynols ,tetlet ni anit «liste 10 allows egetiot yi beanems Hk a ead to gooa tive edt of aoivienst} 5 se alagertas bebsad to ddnyo- gathaes ok emit a 10 .(06%.u2%) eddeact s beoslg od yom Jiusy ‘ed? 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Bem tnemines) aid asin foe ih eke Say of bento ous exeig eit avewses wooage (£85.92) edluey benkony Betas: evode ilew od) nt beosiq ef ysu awobniw qe ivottolgen egte! bas aoot feq ie eto Ye tise jeom oft mi beddgif af soor dotin dAguonid dow odd dieened ne ‘neilt que ¢s woot isrgaeo sail nowt ‘besa ze gee ray. ed TS agas qe eeoeT .yar- 4te> wae « heobamme ton abies eno yools nego etbsous tot eldadiue ylistoegsa.ai tluay atery edt ‘eebia faatetxe tied? a0 beveine? #yelq emsoodyionws eonsanisses nema «seein ingele eds pent weds expis wuntaliedie ne diinw ananlen be ko pele Ret? & hevetoet hee sbebivebdas Bow 140 ARCHITECTURAL COMPOSITION, while the entire length of the tunnel vault rests on abutments, the groined vault is the intersection of two tunnel vaults, only resting at four points on supporting piers. [ts pressure first loads the four zroins or ribs extende ing diagonally between the abutments, and it is transmitted by these groin arches to the piers. The decoration is closely connected with these f groins, which are considered as principal lines; the vaulted compartments are regard- ed as uniform surfaces Letween the groins, The groins or ribs are first orn- amented by foliage scrolls or similar forms in relief, along their sides ex- tending cymas or beaded astragals as a transition to the surfaces of the vault. In the middle of the vault may be placed a rosette (Fig. 230), or a figure in a circular or polygonal frame. Decoration of intermediate surfaces produces Simple forms, if at the centre of each triangle be placed a circular or pent- agonal panel containing a figure. The direction of the object is from the out- side towards the center; the angles are filled ty ornament extending from the springings. In contrast to the decoration of the arches, the entire ornament- ation of these surfaces may be either by painting or be in lw reliet, appear- ing as light tapestries or ornamental network stretched Letween foliage scrolls, In a series of groin vaults the bays are usually separated by flat panel~ led transverse arches. Yet the compartments of the vault may te joined and decorated together. Large square panels may then te surrounded ty smaller polygons and produce a gotd effect, for they appear in continuous straight lines as viewed lengthwise the vault. abutments must be massive peers, capable of resisting toth vertical press- ure and the thrust. Inside them, projecting pilasters with entatlatures re- cieve transverse arches and rits of the vault, permitting the observer to forget the thrust that acts sidewise. [If free columns with an entablature are set beneath the springing of the vault and before the pilasters, merely appearing to supp,@t the vault, then according to the light s decoration of the vault, the supporting forms will have a character of light aspiration and Support, the vault with its graveful forms appearing to lightly rest on the columns. This treatment was especially peculiar to large antique columns with groined vaults (Fig.221). Spaces between the piers are joined to the prin- cipal room and large semicircular windows may te placed in the wall above them and beneath the arch, through which room is lighted in the most satisfact- ory way. These spaces are frequently separated from the central room by small colonnades, : The groin vault is especially suitable for arcadrs open along one side, In Roman Renaissance architecture, piers recieved on their external sides engag- ed columns with an entablature above them. Thus the heavy form of the pier was subdivided, and recieved a character of asciration and support; the engag- es i ee “MOTTIZOMNOD JaUToRMHON ar a exiuper pits ods ‘aa Atacateds edd nad dgneite of ¢ygen of tedgaut ponaibed be’ “H6975 ed? .dthiw e¢exebom dud dtiw .Jeuris edd jakeey of ‘ddqeb, 0 idaxveeianoo ptiusy bowiory seooitroy badivey al ti at Luge: aoLgougdanog- to. gaensigil Jae” ae sebor ayes yd mene ed saum honk au Sie awiq: to. beetand. adavido so seems 5 1. sthtiuaY evadaghaet i. 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Fe. | veld sidue evens te fk yrev ak doinw .slosy beniory edt aed? awous ge digaenie =nebaeq yt eaeds gaisevoo brs setmeps ‘eta te gee otek, anoot qe [ygitia soe Oo GO¥.* \, aio diiw eliad -uamod Yo isdt od asiista soor Yo no lg s geouborg evivey evid=< Be ‘yd befrogque qitaers qqs ad ee iwaxti ysw a lae¥ {JOSS des, HES gtd) atiusy.. | gadadyid qe Telq: edd awiot euwislisine enodw ,eteiq edd si0ked fea cra lee “40 ,nolow odf-dteened allow at bas eebia ts gwobaiw egisi yd sedtie od yea. . ta. hewevoo sts axety edt aeewted alegsde 10 eeonqa =a lua ai addgiiyde «d- eehsanoloo Lisme evods aetteiisy eveioes od-betina ois bas wiiosy Llenmd i. ae jaivtogque eau lod -Isagoloo aly to jootio: edd nesigied yilsliejan doddw ve se bas hae inet: Oouboty aint. ewisidsine eviaaaa ahed? to bao etlesy gs He Pov hogt Mainaton | to bas eanot pene. to solishexg evitoet™ ni _ at fis eRe, €) es ae \ Gaeta Aye 142 ARCHITECTURAL COMPOSITION. ed columns further to serve to strengthen the abutments, for the piers reguire considerable depth to resist the thrust, with but moderate width. The ereat- est lightness of construction results, if in vaulted porticoes groined vaults rest on columns instead of piers; yet the imposts must be tied by iron rods, 174. Pendentive Vaults. Pendentive vaults are closely allied to groin vaults by their uses, and con- sist of a spherical surface described with half diagonal of Square to be vault- ed as radius. Semicircles on the four sides limit the surface of the vault; a horizontal circle at the crowns of these arches divides it into a central plain calotte and four pendentives. These surfaces are much better suited to a uniform system of decoration, than are those of the groin vault of four compartments, and the former is therefore preferred to the latter in modern architecture, In statical condition, the pendentive vault is similar to the groin vault, but the side arches recieve part of the thrust, and should there- fore not be too narrow in open vaulted porticoes. These arches have plain panels in their soffits, and their slightly projecting sides are bordered ky cymas. The calotte is only separated from the pendentives (Fig. 222) by a belt of slight projection, since at this band the surface of the vault is in- clined at 45 degrees. Suitable modes of decorating the calotte by coffers, ty division into four large panels with figures, between them be- ing narrow bands with a decorated circular space at the crown (Fig. 223), or by representing a tent roof with its decorations. Pendentives contain soar- ing figures, garlands, medallions, or onnaments rising from the imposts. all telts and enclosures are light in their general tone, decorative panels Leing colored. If the Romans preferred the groin vault for covering large rooms, it may te Lecause it was Letter adopted to construction in concrete with separate cross arches, than would te a vault with spherical surfaces. For vaults entirely of brickwork, the pendentive vault presents less difficulty and has greater strength at crown than the groined vault:, which is very flat there. Subdivis- ion of rectangular rooms into separate Squares and covering these Ly penden- tive vaults produces a plan of room similar to that of Roman halls with groin vaults (Figs. 234, 234a,234t) Vaults may likewise be apparently supported by columns set before the piers, whose entablature forms the plier cap, Lighting may be either by large windows at sides and in walls beneath the arches, or by skylights in vaults.. Spaces or chapels between the piers are covered by tunnel vaults, and are suited to recieve galleries above small colonnades, which materially heighten the effect of the colossal columns Supporting the vawlts and of their massive entablature. This produces great variety and ef- fective gradation of architectural forns and of enclosing surfaces, very ap- wal aes ; ee ay eh srs ft aaa rae Mae YS . ya i >, ; 5 et et i yi. on i “mortTs034o0 JnsuTOaTT#ORS ita tat 2 | dow fag B- posi att {te din Joy dnomteatt oviterobel xf idbeessal iid eres us Casimesel fo obo eid? bas actanisoberg re Iewwtodtte eee — eotawengat auoinomre | sand dats bas galdogat “Hs aeawkdtg Bh sna doe es a oR... dal By: yanren sbhae tsoiubablyo inoidaey s no e¢ac% ‘auob add ‘td seseutseg ont i iat sh (6 eotiupes fisw leotsbatixo eldd idastd bra ‘9162074 “mio tins 's ‘add ne | eoyee od yes Liew ei? .siusy leanud & yaidioqque allew 0 Seis eatt® ‘Saen yd betoennoo atetg gaiviogqua af betetinednoo 9d Yea Yi to 28 tee go ° “Gd be ' gk nosdsasd edt to aloqado 10 wendokn qeeb odT goign krge oft witSs edttows exe dotdy ,aiig teeta tdgie ofet- Piaw ond ebivib yljaersgs’ » $aes Gta) Sah ies fsoitthbcilys leoisaer eit e089 ng [works Emon ‘wollod | ais ties 4 ibatés | ergo yimwon bivode doidw ,omds lasso nlod s ud em ob ody ort bb tse god, at a odd tot emottetooeb ah .ddgtor {supe to obs aio les to sally ot bhoga tap faotrrev ad? eontea ,ateiuqotqge ei oqesis e1eNpa (lessintsorg4s ¥% atetteo - ‘ede al. ,oredqsimed os to aot old en ives quo ylisels edit Tediiol trod bas at § so 2 dow ,85 o¢ BS at wox ano al exeitoo to sedmen ead (a Lque xe “28d Verne tdgtlouie edd ebhwos te A ah geeb s ate ttoo, odd bvoc A ddyted pi lob eo aba. tayil : yithivem baves 6 Aven waa Sybe" ‘weve! ett i ; tin. 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In the decoration, the different surfaces have a varied treatment in color and ornament. If encs of side compartments are closed, these surfaces and the central space are suit- able for picturesque compositions. In contrast with these, the compertments and the triangfles or pendentives receive a predominating ornamental deco- ration with ground tones of dafferent colors. kany Renasssance decorations have in the pendentives shrines with figures, supported and accompanied by ornamental forms (Fig.241). These surfaces may also te divided into a hex- agon and three small triangles, the first being appropriate to recieve a fig- ure. Such a decoration was employed in the portico of Villa Farnesina in Rene by Raphael. Painted garlands of leaves and flowers cover angles of the com- partments and enclose the central surface. Panels have tlue grounds and are treated like the sky, on them being represented the story of Psyche with fi.- ures soaring as if resting on clouds. The whole exhitits Raphael's sense ot beauty and produces an enchanting effect, which could only be produced in sin— ilar decorations ty a master with genius. e. Connection of Apartments. 177, Rooms arranged in Suites. | Simple forms of rooms may in many ways ke combined to form suites of apart- nents. They may be either directly joined, appearing as portions of an a- partment, or be merely arranged in a series along main axes and connected ly doorways, forming the separate divisions of a bui,ding. Thorough treatment of connection of rooms is not intended, but it will be briefly illustrated by some examples. The arrangement of rooms as first mentioned first appear- ed in many Renaissance basilicas, where with horizontal ceiling of central aisle, side aisles were covered by groined vaults or pendentive domes. The heavy loading of arcades ty clearstory walls so nearly neutralizes the thrusts of the vaults, that their resultant is Lut slightly inclined. The necessary buttresses are included witnin the Luilding to form recesses fo: chapels. The side aisles thereby has a rich and architecturally Leautiful treatment, with an effective contrast to the spacious middle aisle. as in Barly Christian models, the choir usually ends in semicircular form and is cqwered by a half dome. Beautiful examples are found in basilicas Ly brur- elleschi in Florence (with rectangular apse) and San Bartolomeo in Eologna (with ceiling lights in pendentive domes of side aisles). It was most common to combine various forms of vaults in subdivided plens of rooms, using horizontal ceilings and vaults over different parts. A con- bination of groin and tunnel vau’ts was mentioned in the description of kanun halls. Pendentive or depressea domes form harmonious combinations with all atl astmgouon ioAUTOBTLRONA | Sena liaatie . rhe poral bas tdghivie « dtis ' asluay 29 ays xe lvotésiave F Pia dngos ibs’ agin souborg yous 89bky yaotsa. 1Yo i Yi bedtoqque 00% dy Yo - aypeus neohisY Yo oyout cidoonid eds aud? moor to mot betian ylyaorte « on etdgilye yf hetdgil antes ofodw end .emob Sted bao atiuey fennad owe dden mn al sob evistasbne 3 istingo eft Sh3 8S wyit susbed ALLi¥. to efudiseer al ‘a t o1 ose itiusv Isanud 6 ww dia gab Oi babmatse bas 27 lousy story ows yl beadaa lt ary “he hy aodbin a.15i ud eobis ows so bebttiedxe af tiuev ior Agiw Bit ; | |) spithtiog Leatne Asin woof to noltbeane. 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Thus the bracchio Nuoyo of Vatican museum with two tunnel vaults and halt dome, the whole Leing lighted Ly skylights, In vestibule of Villa Wadama, Figs. 242, 242, the central pendentive dome is flanked by two groin vaults and extended in depth by a tunnel vault; each room with groin vault is extended on two sides by larze niches. 178. Connection of Room with Central Building. If the central space be increased in height ty placing a dome over it, and if on four gides lower tunnel vaults or half domes adjoin it, this produces the grand and beautiful combination especially developed in Renaissance enurch- es and known as a centralized building. The central space consists of two forms placed one aLove the other; the lower part is square, with four pliers connected by semicircular angles arches and supporting pendentives, which form at top a horizontal circle and are crowned ty a bold terminal cornice. Sur- ~ faces of these vaults are portions of a spherical surface, when piersstand at angles of a square. but if the piers are partially moved into the square and its angles are cut off by straight lines, the gendentive vaults form pe- culiarly curved surfaces, which horizontally gradually pass from right lines into a circle. These surfaces overhang the less, the more nearly the plan of the room approximates an octagon.’ This is much Letter suited to support - a heavy and large superstructure, than are-regular pendentives over 4 square..— Above the circular cornice of the pendentives rises a vertical drum and a dome resting on it. The drum must recieve the thrust of the dome and there- fore usually has projections on its exterior to make the interior of the dome appear light, and to admit light freely. If the pendentives are placed over a sguare, this dome cannot exert a great vertical pressure on them, and should have but a moderate height. both the form of vault and the scale of execution are decisive, for construction may be executed securely in small dimensions, but the resistance of the materials does not increase with its dimensions, but the resistance of the materials does not increase with its dimensions. It may generally be taken as a rule, that the higher the drim and dome are made, the more closely the flan of the pendentives should appro- ximate to an octagon, when its heights are similar (Fig.244). This produces proportions harmonizing with the construction and pleasing to the eye; dimin- proportions harmonizing with the construction and pleasing to the eye: dimin- ishing the main sides of the lower part, arched openings become more slender and a corresponding form then results structurally in the superstructtre. but ‘with the square, ‘arched openings are usually wide and require structurally — and esthetically only a slight increase in height of the dome. The following principles are applicable to architectural forms of the pred- “oInteoguco s:aytoaenion: | ay ae ‘ered sine sot ¢f2 to sao7t at Joo o9e enauloo 10 eretes lid ‘.cosga lego’ meued Bid? eons piasi sot avoimied geogpt edd emict ewdéslisine siedJ baa * : ¥ pes at bes sasieviaese yveed to noseagn gal, edt evol of aoftouiseaoo add ae ee geen teiq Hove to eostwe adt Jreqque bas nokiaxiqee to noon teil ) astiny a ‘at etd evode teller 10 deldet ddiw eafioin s evad blyode 20898 fertueo erty bhod & vi beeolons ef bluoda eosye Isivoito eyiel s oos tive avitnebsey Mose on fesaemenio eveitoet solgae Aninisset ed? ,otwylt s ¥d paspar i parawes a. ‘exods ,bavor-tled biod s eat tiusy eidt Yo egbe gaitiei! teqqu edt .aolva7 ylgnoita ‘A. ditw bne neds sevidaebneg eft bas ,exeitt iscivbe ae af doinw feoidrev eiT Leotatoo teoqmi edt aedt enolanemib tey16! 49 eointes yniseet ald. to power yd teds op. ,avode gaosime Leoitzey edt 10% eetsgety onelt} “IGqqs e186 anolemenib adi .sttoh edt to an93 bentte1 edd Atiw eotntoo nots veel netic: eséo4 ot0% elamia esodw ,muxb edd to aasd eit bas (beasoions \yiing Peat easd sielq efi evods woled me i fd dis ai sovisnebieg edv noyu ylt oF aid tisd~stie os absidd-ows at tdated eeodw miejesliq to aeitee 6 esd my -aiw aisdaoo jacks weno! add mo begnsiie ots algyviedni ait .sebto sewol To Fbropos ,redaut ak aeetxin od ddyte. port eva bas .eevetsidow elqmia dtiw awob bbbivibdue eyewls af emob edt yntibiied to esia bas"emob to ¢dated o¢ gms “aby evods @18 BgOKGa egies dete oe ,eteteclig ed? to dastexnait of) Jiva o2 | Bved 4 Iworde ewob bas suxb odd .emtdedidow s9wol edt of sgasaimoo ol °.ewoh. ve pas obtsroseb botoloo vd bedeiass paondagel, seeniuteosty to tetos%edo 6 hey ee neste webfod ati jive od taomento telex guivad disq tol i | wh | gnitiaisg ad bets toaeb cL Lowen ets gevitaebneg ae ti 6 e20q0d bas ‘etiuew Lemavd. vad 205%. Inadaso add. niintethe amoon “sty be toanaeo ee08 ye bomab jalisae beorlg yileves ‘em eelgns saodw ai e107 ams agdleew bivow enegqe ‘ietiaeo.dtiw notvosanod astorw eyisl yd amcor ebfa ety _ateeta evi .coed = .(sa070 16 amts sRO7108 gedow to ftbiw steaigib 10 eekg “ateteeliq to sebto ed? .eosqa Ieténeo to feds awollot aeoto to eos fo sae Bd yveed bas etevee edt piettoo eved ativuavy fanaud edt bre modo ai abe tee “han seldyil wseqas amob to moiisiopeb ed¢ 2exsm dastinoo yd atetios to Joe? ord 1sinaitoinea as wey fesaut diiw emis e#aot, fo bsedunt Jjnsgels enon. 4896 on ge {sitaeo ont akoibs Ysa sogsaesq vielisy Aviw bos gemod tisd yd hétevao | ont au Jaume yods 10 batiteo ed teva songe Laqaeo edd ar etedaeliy isetg fT he | 2 t0 ouusoedidors %6 coijoeunco todd _ fetnemgai0 ‘yletq bane tebagie os La Sop haa ai geaob ‘$le taposibs 2 Jad¢ Adil -oosqe | a eeu {eos siteslooe te yotvail dgdotd . gas soasbig998 ar bedsext a swiSetiders -giodw edt” * atime zyotg bt 2 dons | ait 10f moliexiqas of 3g Asebt autho yreve fiat 147 ARCHITECTURAL COMPCSITION. , cipal space.’ Pilasters or columns are set in front of the four main piers and their entatlature forms the impost cormices for main arches. This caus- es the construction to lose the impression of heavy massiveness, and it aec- quires a character of aspiration and Support. The surface of each pier next the central space should have a niches with tablet or relief above it. In each pendentive surface a large circular space should te enclosed ty a told moulding, filled ty a figure, the remaining angles recieve ornamental deco- ration. The upper limiting edge of this vault has a bold half round, above which is a vertical frieze, and the pendentives then end with a strongly pro- jecting cornice of larger dimensions than the impost cornice. The vertical frieze prepares for the vertical surfaces above, so that by contrast of the strong cornice with the refined forms of the dome, its dimensions are appar- ently increased, and the base of the drum, whose Simple form rests rather heev- ily upon the pendentives, is concealed from below. Above the plain base the drum has a series of pilasters whose height is two-thirds to one-half that of lower order.: The intervals are arranged on the lower axes, contain win- dows with simple architraves, and are from eight to sixteen in number, accord-_ ing to height of dome and size of building. The dome is always subdivided to suit the arrangement of the pilasters, so that large spaces are above win- dows.’ In contrast to the lower architecture, the drum and dome should have a character of gracefulness lightness, assisted by colored decoration, the lower part having relief ornament to suit its bolder architecture, but pendentives are usually decorated by painting. Rooms adjoining the central space have tunnel vaults and compose a cross form, in whose angles are usually placed smaller domed spaces connected with the side rooms by large arches(Connection with central space would weaken the pliers or diminsih width of arches across arms of cross). Deco; ive treat- ment of arms of cross follows that of central Space. The order of pilasters extends in them and the tunnel vaults have coffers. The severe and heavy ef- fect of coffers by contrast makes the decoration of dome appear lighter and more elegant. Instead off cross arms with tunnel vaults, semicircular arpses covered by half domes and with gallery passages may adjoin the central Space, The great pilasters in the central Space must be omitted, or they must be made so slender and purely ornamental, that connection of architecture of central Space with that of adjacent half domes is made possible. The centralized build- ing, though having an ecclestiastical origin, is frequently used in seeular architecture, if treated in accordance with a noble and ideal solution of the programme. "The whole should be essentially a tuilding of purely esthet- ic aspiration for the architectural forms in themselves, just as well suited for every other ideal purpose as for divine service", | me phate hie trae eS “Mar TEa0so0 Ji SU TOR TEHOR PS a as ee | Gos ttd ed? guinesdgies Lent nae , “anos ivi at betste ae you dgieel (etutoetidors ws ai emcor tnoxettih efT o. | esd. et aes bins Sanita az sath ftud 8 6 paingieeb isteney od? eosnte oc connate ‘thin gee? sao to nofeivid das t aids ,moteivid. tant edt at verébis | bo ak eraeY 03, tediwt gath lind odd ‘YopHnemepne 77s eft pa twe ib nets wa er gieve viwwon af beqolevel, gael io @19m ,sav MommOD dol axoor antes ; ee ioe yfacmrics ow. alisd, sot angtao’ 8 YWOO, bas eyswatede ‘\aeluditaey as dove Be As Neale Ind pagatb sive ‘sei to ‘anol s%oq #8 10 tmebreqebat yleriine an “hyo @ ae PE 7 | bose. iateney, of hatoei, diva axed , ous ‘4 bas obieool spend bas. adwoo bas “eb fudt iaev abiswgiede to eons drogme ode | Swioes tiers niedd (St UME .e¢sa) © solakvid at hesagoeth ovew taeas gas 1Te wort en motatvid Yeol ‘edt at bedsext esw aiisi to tadt dein , dnoutsots Is on ‘ag tedso lose oF os anolislpy, steds ,(evemeg of ene hy, iieds edeultedvat ot evad ee : fo noitales eteuisat aiy sovt .gatblivd edd to atu [agtoat tq eds of bas | in bee ayeniisse ,oludkiaey edt to ylinkowgae ,gniblind edz to anotdiog esedy etedu « es berebsamoo od ad veildex ois fod ,bedeiqsa ed sonnso yeds (asiwoo ) etobiv0d bas alia eoastyai ster tet bas eeluditeeY .f sotgsid fel at ytiavevid 16 Pe “weoqua omyitg 20 ot dug x03 evites od at gaibliod a weitedy of gaibtoood 7 ——s | woamend ee meee ahi ,euo0s @fas Hs! 2p asta odd 30. aa ea “ eT “a } 148 | ARCHITECTURAL COMPOSITION. : 179,' Heightening the Effect. The different rooms in an architectural design may, as stated in Divisions 1 and 3, be divided into vestibules, communications, and principal apart- ments, according to their purposes. According to the importance of the rooms, a suitable gradation should ap jear in their decoration. In the order in which we pass through them to the principal apartment, there should te a transition from severe architecture of the exterior to elegant colored orn- amentation. Therefore the vestibule and the entrance hall retain the charact- er of the external architecture, and we economise decorative forms there, to heighten the effect in succeeding rooms by greater richness. Vestibules should be less strongly lighted than the principal apartment, to produce a gradual increase in lighting. The effect of rooms uniformly lighted by light from high above is materially increased if we enter through a darker vestibule. The highest effect in decoration and the most harmonious lighting is requir- ed in the chief apartments of the building. These should express in monu—— mental designs the intellectual significance of the building, where the form of room, its decoration sculpture, and painting work together in a harmon- lous way. DIVISION V.: VESTIBULES? STAIRWAYS, COURTS, AND HALLS. by Professor Heinrich wagner. 180. General. - 7 Since the general designing of a building in plan, and section has been con- sidered in the last Division, this last Division of architectural Composition may then dismiss the arrangement of the building further, so far ‘as it con- cerns rooms for common use, more or less developed in nearly every building, such as vestibules, stairways and courts. Designs for halls so commnly oc- cur as entirely independent, or as portions of other buildings, that tney are here subjected to general study. The importance of stairways, vestibules, and courts, and their location and arrangement were discussed in Division 3 (arts.114, 126); their architectur- al treatment, with that of halls, was treated in the last Division. | ne now have to investigate their plans in general, their relations to each other, and to the principal parts of the building. From the intimate relation of these portions of the building, especially of the vestitules, stairways and courts, they cannot be separated, but are rather to be considered as a whole. Chapter 1. Vestibules and Doorways, intrance Halls and Corridors, 181. Diversity in Plan. According to whether a building is to serve for public or private purpos- es, the plan of its ante rooms, vestibules, entrances, doorways, entrance L be ee i} soil rene ia “aquego M00 “agimaryyon | ; os aed “atau 1 $apigerttb al bedpett od of ove Liiv ,atobiziep bas pilsd a enio ot ei holtons’? thes bis gotblind oid ‘st anon yg Ltpenaes ‘edt ieque 1s dgod to ovis 3f ald? -soiretnt ati ov robeine “ei nott ages tt porate biveda yea “eggaanq ‘Ye game faswyoo bre (ath wah) inomisond Pick aut, aeonen Liat ignsetas bae | {satedxe "“d peaves qrot ab agpieye toh e¢ia Ey he Bs i? aoktasal ond te guik ena oo sobtedye age to yraud odd “gont beet yode a. He neds nef inma AGUE ed “y (aode ggucil esavixg * “to gpooy eonn tie jadi semuaae . eau edt 10% bebasiai ayew is gs solveant egonw ge tb fiwd si ldug a to eaodd - stositer ed bifnoda ysinsiiveeg tasaimoryg yteve eoate baa blow lantedxe ed abe jedos te a eae ‘(iemg stom s emuees bivow aide etood tt ious odd ak be <2 a a adq 8 to eaodt ak med weaned etavirg 4 ‘te HAQO' gous tee me aael Sud yoda dose of aeludizeey edt e168 doidy \aTobs7709 ‘end at \lieloeg ) soso! .gtiblied eds to soitesnt ang oy Lied eonsasae bas eludgreey nt 96 fiolenesxs a6 yriatol yisieg a'1ob ii'yoo edd ,atled aegis! ro agate itud nt Lis aes 2 -bavots robitt09 tO BRSESSY e yidtes btewitue yaibiivd eit “te 3 geen Snomteasd edd bas ,tieg. sna droga! ne aysly atamits eqgieeb dowa ih 20 brotte ayia ag liayoo mired Iron ite am of sons “i tine of bogus ti bom iew yligizieg od cel gaia yada bas ,bfLoo bas woire fist aos not toed 7 ; 1008 nor? foi soes07 bas tis ‘to Basoos eet? eaitrayoo miusw edt 23 elide are Bie) Intidvead exqa ddiw begsett od you aoludiveev bas et lst heriapet 9% ae mee ee: AuCOT “gonsiind .inseselg bane biim 2: otsmi to 9a oilw , taette beditdgib bas a tolagixe edt so ylaselo Som bas jetted anitegqe Mego (feen? e1om od noid oat edd id iw foitoennos gi betebiadoo ed of 1% ate tg arent garth Ls iad ony 30 ee Bn007 eons 1416 iis ‘20 {homens 11s edi dotdw ag oone t2n¢ ed? to nod ABS faery | alist fo age ls A . are ; ote Ag pakdaso8 pobsotk eeonid20} SET _xLlanedxs aqinedo amoot gateognl ator yitnavoatt gantbt iud of eegas ital s@ iste gto fewiquide edt mort tool otg dotdw .eeltmesd saetonde to eeoolltoy evil | i al. vangeeeb Ytose ano to afebou eidu’ bas eiqmie déod ots one tipads gtieo sigmas ed? d¢iw toot omsa ‘eat sebnu - ang rad at dokitog eds Ay ov GBS “oie ebaesxe ylénenper? oa Ls. pied 28 evasdemoe ine eo YiaG Ta nonitomoe is. uit ai dud ewaolone ns ae ‘18308 She ei ead of oss git al ,aabke odd ® shy 008 fdoue tedd Faeme's Lp o's otigdias mo al..t .O06fo1eg nego as at oi Mas bie bas beats ad bivode gud . igase ed? no yitoeuth toa ed fom bivorde esootd “two gatworg to fostie edd evsd salwiedto b'vow yedt :emfovidedya & BO eDagE = ateds eaoktseno oiseiias eeit eail wmeqqye von biwow bus bavory odd to figs” \gostie tnebaegebri ai deca aot bivow ngteeb fe 7 yotrog Lis. to ewsoosidorp odd ak aenritie9 of bemylaas esw doce tuoqgal ead ii "oe el qodT ..gadinew yeds row .yvhupiiae af gatbitud olidug s (leomes as ve ) steer vedio e708 agatage) atinat (2 wO milion petoans ocd s yd hewevoo 149 ARCHITECTURAL COMPOSITION, . halls, and corridors, will have to be treated in different ways. These are the connecting rooms in the building, and their function is to facilitate pas- sage from its exterior to its interior. This is true of both architectural treatment (Art.179) and convenience of passage. They should harmoniously u- nite differences in form caused by external and internal influences, just as they lead from.the hurry of the exterior to the life of the interior. This assumes that entrance rooms of a private house should be much smaller than those of a public building, whose interior is always intended for the use of the external world.- And since every prominent peculiarity should be reflect- ed in the architecture, this would assume a more purely inte. iu; enaracter in entrance rooms of a private house, than in those of a Plot ak) pas Od ee ee pecially in the corridors, which are the vestibules to each story, but less s0 in vestibule and entrance hall to the interior of the building; least of all in buildings for large halls, the corridors partly forming an extension of the building outward, partly a passage or corridor around it, In such designs climate plays an important part, and the treatment must be arranged to suit it. Entrance ro,ms in northern countries must afford pro- tection from rain, snow, and cold, and they must also be partially warmed, while in the warm countries free access of air and protection from scorching Sun are required.’ Halls and vestibules may be treated with more beautiful and dignified effect, whose climate is mild and pleasant. Entrance rooms may then be more freely open, appearing better and more Clearly on the exterior of the building. Their plans are to be considered in connection with the lo- cation of the entrance, on which the arrangement of all entrance rooms depends. a. Plans of Halls. 182. Porticoes, Arcades, Colonnades, ete. Entrances to buildings freauently form imposing rooms opening externally, like porticoes of ancient temples, which project from the structural organisn itself, and are both Simple and -vble models of one Story designs. In Figs. £45 to 247, the portico is brougia. under the same roof with the temple cell, sometimes at only one end, sometiwes at both, also frequently extends along the sides. In Fig. 245 it has the character of an énclosure, but in Figs. 24é and 247 it is an open portico. i..is an esthetic requirement that such por- ticoes should not be set directly on the earth, but should be raised and com- mence on a substructure; they would otherwise have the effect of growing out of the ground and would not appear like free artistic creations; their gener- al design would lose much in independent effect. Due importance was assigned to portienes in the architecture of all periods; in scarcely a public building in antiquity, were they wanting. They were eith- er covered by a horizontal ceiling or by vaults. Openings were either rect- 3 iin ial tH ely: ‘ed bablvtbdim yo 40 4S rays nk ceils ted «tote elanie » 4s yore tom oxs (aehsou 10 sebsndeiee . 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Aa acinal ‘aeskeie 5 aed aneddivos al yilsiosyse .ayribliied yasm no babi of | @eyseasg nego, gtdmset bos berevoo .yiote wewol et) goole gacbaedve aonid. Of .%te-Geqo edt af :etil bas dtow sot haciye das ,enidaaue mort beroagotg -songae iscoi Kanes edt af wmoso:yidmeupeit coals yet” .so8t. aiedsaon of “teeb wewol esodw vila toogue. gegarh Lind . did Yd asbie vod we betqudoo steeie — “ Anwaae {ga bas uveed ‘oe aoubory ylleteney .ccbasiey 10 eendéti0g eed aditote S 89001 F104 yiletoedes bald yxeve Yo eaulopide galtoelods wel tevomy x) 40 ,ajeente edt ai Snget ot Lelioqmoo aeuiteror gregmriwreg, ov ‘air erat dee, | *mommod need avai taum eowdsoutta dove dyuodzis sedt dgwoidy eww thidé- “dem “eget brs ento8 sncases atcha rade -baaod Ai ON-B¥eda ecidio yoow a : ee ett ) geoot Pod: faertis on oved eof goaeitae feqtonixy eds ¢ .angdash eupaettoig yxev ne¢io Sus iivteey eweds atin! 2. Wegnol ‘on © Gabfteg edd zbosiagoves ystiuoittsh asin af gutblivd ode o¢ edd of digit atomiteds hla here g Seve si . caalbliog ait ort eoasttue eadiv > stilted ae tight an med? oasm oF yremotEuo exolsseds ei f .dk bidded Anoee te * Rot tetwitdns i” letod alguexe 10% 2a) .tiiet er Reonitory dove sosdw " - a te ah sapiens nate ued dbuct pee Ses MF Medex nae Phe * ‘ = eet fom - a a et . ae ‘ L ph” Si 8 Gina Rds “Se, ~ 450 ARCHITECTURAL COMPOSITION. angular or arched, subdivided by piers or columns.' These open porticoes ( colonnades or: arcades) are not merely in a single story, but also occur in several stories, according to whether, as in large iErecian temples, the ex- ternal order occupies the entire height of the structure, only in the inter~ ior being two orders above each other, or whether the subdivision into stori¢s extends to the exterior. Excellent examples of the former are portico of Schinkel's Museum in Ber- lin (Figs.91, 249), Klenze's Glyptothek in Munich (Fig. 248), Semper's Capi- tol in Winterthur (Fig.20@), and Hansen's Academy of Sciences in Athens (Fig. 252). Typical buildings of the latter kind, among other elegant creations of the Renaissance are Belvedere at Prague (Fig.250) and Basilica at Vicenza (Fig.261). The former was built by Paola della Stella after 152¢ and is sur- rounded by porticoes;* the latter has two stories of porticoes, andrea Pabla- dio having rebuilt the old Palazzo della Ragione as a "basilica". The sim- ple grandeur of the first strikes the eye; in the latter, the exterior consists of arcades, but has the genuine character of the portico, although dominated by the inner nucleus of the building in the most effective manner. Arcades or colonnades appear as projections or porticoes, and very frequent- ly as loggias and recesses with closed ends. In all cases the porticoes serve to freely open externally the walls of the facade, sometimes in the lower stcry (Fig. 198), sometimes in the upper one (Fig. 206), also occasionally in sever- al stories. 188.. Street Porticoes and Verandas. we find on many buildings, especially in southern countries, external por- ticos extending along the lower story, covered and forming open passages protected from sunshine, and syited for work and life in the open air, so dear to southern races. They also frequently occur in the German Renaissance. Streets occupied on both sides by high buildings, especially whose lower stories have porticoes or verandas, generally produce a heavy and unpleasant impression. Projecting structures of every kind, especially porticoes, are obnoxious to governments sometimes compelled to fight in the streets, or to march soldiers through them although such structures must have been common in many cities, where no longer found. For political reasons Rome and Nap- les have no street porticoes. with these useful and often very picturesque designs, the principal entrance to the building is with difficulty recognized; the portico no longer in- vites entrance into the building; it even partially obstructs light to the rooms behind it. jt is therefore customary to make them as light as possible, when such proticoes are built, (as for example at hotel "Frankfurter Hof" at Franxfort-A-M.', Fig.252, and the new arcades adjoining the City Hall at Vien- tat a Fie 7 i io i octiss = a 4 qnarp ob : fi ; Be rel sae iesoee joduiae [48d ak. esiwodil (BGS .yfF) abied at ateorde tedito, ‘ Ba3 ~~letiine teouls “feed eved yedd ((32% £83 .2gi% 2 eeiqnexe oid. 2s), agoteqea | i ess "wcbaln ‘nsité’ ope | dtiv sqodé bas soaiired jeexta rekon’ ud heos lqex ET seed “achsromor’ bas aogitso4 acivoesro) PRE la gaiteor bas sebsnoaotg bers voo, wot of bebaetat “ino os adeissoq +E. 8 ot. poled eacitdsx ‘wied? jnedt ‘éveds: to ebiaed ssdcrs hagolong swortin. se i teisge Le nis as eviea oale yl lave vedt ooas tioqad Ls § peqes. talntelo ees he _ amy ‘$0 agethlivd isievea aeow sed agitoeaaoo avisos ts te ylisnitoadidere bam. , epg ne : i 7 _ 6900 bas yequol to soolt1og: sd? @eayod etevigg atin as Liew as. eyaibiied aes 3 tit ‘Liat ‘ak tisq tne7ty @ dSeyelg esivedtl , ote. any iasaayd cedied " vionst ed ooksnoq olden edd al sores isnéil dgiB-aeiiet] ats: Gl eLquaxe mAs s ens Loo "to awo' qs0% dite ‘gweeloue Laci tgtlie ns at GOLIIGG - snort ed? if gear on atk abdtmow xt sftad 34 Bed T sebasxels baa. dgiudanete’ .06. ait Sache ‘i : “$0087 at ben 2elqaexs iaxevee io alssd odd eazot ovidon ema odT {a Mone sea qasrig gaa ‘lo sé Is% jnooltingss ed¢ to acotéteq edd as fous @16ey i). | ede da tw ayaibLind elase ait paitogans asbosenorg as eviea lores: (Tae shee aot ben its eile om 908 estat’ i bag ce" aakygod ‘bas nopi2719% ssnie aat ae oh doidw eo0id30q eisse bebhe ad oF 21s bhgiaed iewetogtidore enodd of “aco od of ois: dogde ‘bos | vlest ai wove yllsiosgae doide. astgnol aego botoad ie hate elt bad sotgilixe | baposidh edt to rt ‘eyaPb lind dnebcogebat ae bewebia 7 > pha: fan: 2 hie ie “Waa satin beyol que yldaoupes? erw yes ,eocia solsdneo vet. nf _ Yo adtues eit “ileasedxe aiede baoixe of to ,( THR. B88 . dnt) aya ibl dud, to mn _ dildug ‘tach es Ifow as ,a0ctiseg qd babawotwa sede exo» aolquet as tiqnga om djiw betcennte gated ebei} .atismor drs ailee iseionn oft to sotsipe. aaws08 ods to eoodT BA {Uoy vid leew to aehsneaotg edisavst: atow on0H- af; Gi, legen wf Hormd + ‘a tedeT oa esotéd eos! eds ‘easolons doidy (38S .g24) Ea. igre a dose. as anisdanos adie dakiedo edd gaisd sttac0 efi Je,2su bersyoons as , ae | fib ‘aooistag tdpiaxta eigaéa yd beso lone | ak Moisiag W88'. eit. ae cgsseyadigs “flegeo’ bas ssyiel iseqgs ses lq selena one sda of dete. edt die nsxst ototed bejoo1 ase otis Le tasbsiup ‘to Bog itj09 to yatie: ian0o .93te a -§ rer to Bsite »ooty ead $0 vse “ og ey ae ovehaner? to eos isd edd to seody, ‘bits _(Ov-s6ar betbas tage wd). avilies : ares BET) Weix0k edt Ys ‘ashaanolce off Cesar ,aisbwed bas byolved vd) atm. “etahssort do, enagt eltey, “egerees tad dsxineo | flew s yd aset eld ts begoloue 38 bus ,ec0Lzid. - laa) Raoled evel ‘2980 ‘eilduy os ‘besoyeb ‘ul teitie en sud asbsnese2} as evIea. . | 6 xd) hesigntt et tnoal teh bree gt mt ‘ rh ... ieacnet as oS ie 2 eT U Ne “eh, ee he han ee sb ale 151 ARCHITECTURAL COMPOSITION... | na, Figs. 254, 255).- From the faults mentioned, such porticos have fallen in- to disuse in northern Burope. At the beginning of this century and even a few centuries since, they were frequently employed, as in Rue de Rivoli and other streets in Paris (Fig.254), likewise in Carlsruhe, etc. nith few ex- ceptions (as the examples in Figs. 252, 254), they have been almost entirely replaced by modern street porticos and shops with large ‘show windows. 184. Connecting Porticos and Promenades. mre If porticos are only intended to form covered promenades and resting plac- es without enclosed rooms beside or above them, these creations belong to a class claiming especial importance. They usually also serve as an elegant and architecturally effective connection between several buildings or parts of buildings (Figs. 253, 257), or to extend them externally. The courts of Egyptian temples were thus surrounded by porticos, as well as most public squares of the ancient Greeks and Romans, these being connected with public buildings as well as with private houses. The porticos of Pompey and Octa- via in Rome were favorite promenades of wealthy youths. Those of the Forums, Baths, Gymnasiums, etc., likewise played a great part in daily life. An example in the Italian High Renaissance is the noble portico by Berni- ni (Fig. 256), which encloses the Place before St. Peter's Church in Rome. The front portion is an elliptical enclosure with four rows of columns about an uncovered area, at its centre being the obelisk with fountains at each side. The rear portion is enclosed by simple straight porticos diverging towards the church to make the smaller place appear larger and deeper. A similar de- sign, consisting of porticos of quadrant plan, was erected before Kazan Cath- edral in St. Petersburgh, and Alexander I had it built by Varonikin in men ory of the victories of 1812-15. The same motive forms the basis of several examples produced in recent years, such as the porticos of the magnificent Palace of Longchamp near Kar- seilles (by Esperandieu, 1862-70), and those of the Palace of Trocadero in Paris (by Davioud and Bourdais, 1878). The colonnades of the former (Fig. 257) merely serve as promenades connecting the angle ice aierate with the 1 building, while those of Trocad central building, while those of Trocadero Palace are also Se aad for exhi- bitions, and are enclosed at the rear by a wall. 185. State Porticos and Loggias. To these architectural designs are to be added state porticos, which do not serve as fgromenades, but are chiefly devoted to public uses.: Here belong de- tached open loggias which especially occur in Italy, and which are to be con- sidered as independent buildings. One of the finest examples of this kind is Loggia dei Lanzi in Florence (by Orcagna, 1375). The three great arches with an arch at each side, in the facade of the loggia are of imposing dimen- >. mart: a ae ou 3 | abe MoITTZ03N00 tadUTDS TLD: | sar _ =ftae. viotanisak. oe. bas betsent visas zele oa eis sud (OOD tna ist" enoia Jjosqeast aidd af besasqwany ai gatbiiud odd tadd ,eoinio edt féiw besoon -elolo oa is woitetsue. {sinemraom to asics bas adsot essolone encitiog wdt0 $2109, 0 ansi9) © sesqsdd of tel ed [liw nokaeuceib twdiau® .ofe ,atawoo ef = se agph) a , ‘ eepclov 20%8g bas nee: ae eooissol Y6 exsassoxT 58 esi ~neare ai $i .sebsow betluev to ylietoeqae ,scoiitog to insassens edt al hac) 3 bos ao igas tiedg #3 eyaibne eds of solinedie yisaaecen edt etoveb of istt ots gedégaezse of anoase1 olseitas bas lewdoutts wot eldeaivbs ylisuas of tk m0 jetedeniiq .eamuloo gatosiq yd emob ylievesey at aid? . .ctedt atzogque ak Pesos e2s sooiviog tI] .esdow edt gaistoqque etocsss ola eroled eteiq aa "agua amie: ai yxosa towol edd deeit of medad ylisues at emo ,eeliova lasevea a bine: mized ysa ot .amtot teddy! otni abrerqu gateees ,dsgnetse twelise1g goiseeg Midenizod edt aeds .wolfot Lliw oinel efit :t]eb10 aeoeuT to ofitel edd die - toetis book 6 eved iliw wettel edT .auig eiif-weswd so sbizsyiso eqedteg Lasen tied? _bawOTy add mort vedgid asdw 203 Aagles eéatebom 6 da stedw Yiao ees gon [Liw sotwgi? odt to eulsv oiteitw edd bas ,efdiviv ed toa Lite aaaot Lev at wd. of selor ew ,soolftiog to snendsett isarot sa Jootie Lint aft. LS Ee area Rabe as x doudbusH aids *0 e a Ha sah ‘i eee be eS Ode yerebix100" pottet iad By St er ee es bos taks ylisween ai asipgol bas eooitiog aeqo (libpavedse to oer see ce he cee gad wed dean bose baiw oF: besoqxe fous ox eva vod? « .(yasarie®) osaeilo 5 “00. bas aweiv 10 fitiw brooos ton ob yors ,e2cemsusys gaisoonaos 103 Sebaetet 4 Mead iswitoetidoys he jueas {2 evizoetie as dova af estizog edd ¢eY -.emod * =yoigme to sasem | siquie &” " idsanpqethal ee bebwgei od deum tt fede .aotti _ spatsoqe odd galsness at etzinace ,adoe Tie avoisbiad e#edd duodtie wedi yak § eta daemiseiy Sas Goksowrsanceo gniniese: esiwsedso .radd- BALES bas ewobaiw a6 — a? “ou wom a ulletoegae .someco wor ai aidT .adasy laigneads ile at ooltvog ed? To cr ‘etew seok) 86 ai ogcizeY odd ai fesdgqsl to es igpol aveast edd meva “agath Lind ™ "7 - flotavk ni dedtoosnit bi0 eds to asiggol edd .anolisdtak tied? has ,beeolone ~ = : oes, >i 3 ve i . r ie nal —_— eo Shue at v ra a ks esiwtedic doidw ,aroblaton bas seiiiisg bess lg yd. geile? eew soalg tied? wort shipsdaeie yd betetsagi{i ai aicT -sdosisio issaemuaom ease edi sidid eae ® ‘jcuseod bas ont yd } aiwed ai eotieut Yo eesisd a oye bias home aiaeiads |: -BYSIORE bas aeons 1208 iad * ar ry 30 weivetnt on uaitindnn neew sed hennanedat pinets a6 sebisibe rb edt i po Abe saetoen mot? betsett yligoite iis ased eved sguiblivd ot aeoassind ~ pak _ = ages doide , vaetaets ai gékbliud oid ‘bo wae eft ylavossigqanas etcn ed? Ge ee j mild \gniblind dt Wo cational’ od? sont seorss 20 esnups alien af 2ese% Lapoetstuea nego edt ai bavod wobads to soetie gnonta edg eovborg foanag ssadt 152 ARCHITECTURAL COMPOSITION, . sions (Table, art.400), but are so elegantly treated and so intimately con- nected with the cornice, that the building is unsurpassed in this respect... Other porticos enclose tombs and courts of monumental cemeteries, also clois— ter courts, etc. Further discussion will be left to Chapter 2 (Plans of Courts) and pater volumes. : 186. Treatment of Porticos. In the treatment of porticos, especially of vaulted arcades, it is essen- tial to devote the necessary attention to the endings at their angles, and it is usually advisable for structural and esthetic reasons to strengthen the supports there. This is generally done by placing columns, pilasters, or piers before the members supporting the arches. If porticos are arranged in several stories, care is usually taken to treat the lower story in forms sug- gesting greater strength, passing upwards into lighter forms. tie may begin with the Doric or Tuscan Order; the Ionic will follow, then the Corinthian, perhaps caryatids or Hermes-like piers. The latter will have a good effect only when at a moderate height, for when higher from the ground, their detail forms will not be visible, and the artistic value of the figures will not have its full effect. For formal treatment of porticos, we refer to Part IT, Vol. 3 of this Handbuch. | 187. Galleries, Corridors, etc. The use of externally open porticos and loggias is naturally limited in our Climate (Germany). They are so much exposed to wind and weather, that when intended for connecting apartments, they do not accord with our views and cus- toms.- Yet the portico is such an effective element of architectural compos- ition, that it must be regarded as indispensable. A Simple means of employ- ing them without these injurious effects, consists in treating the openings as windows and glazing then, otherwise retaining construction and treatment of the portico in all essential parts. This is now common, especially in new buildings. Even the famous Loggias of Raphael in the Vatican in Rome were enclosed, and their imitations, the loggias of the Old Pinacothek in Munich. These cannot produce the strong effect of shadow found in the Open portioos. Their place was taken by glazed galleries and corridors, which otherwise ex-— hibit the same monumental character. This is illustrated by Fig.258, from Palace of Justice in Paris ( by Duc and daumet). b.: Entrances and Doorways. 188. The Entrance.: The entrances are parts interposed between exterior and interior of the bvild— ing. Entrances to buildings have been artistically treated from ancient tinz- es) The more conspicuously the mass of the building is treated, which sepa - rates the public square or street from the interior of the building, the great- ja awl insite a aka sas pop enig a F piicolios § Ss ‘sien ds a te ES “gaiblivd edd ¥o aoixeini dtiine edt of ti dgvotlt aeeoos tails Hedeott of 26383 tnebnegebal -eotietine teddons dese of bettupst ton ai ato bee ,taeblive ylievey fi ‘ddiw bedoensoa yleacdl x0 yiibfind eds sott buacsteb ois aysw | 3 odd mott doad tlind ei so ,abavory to ¢thbia eit at souK oe en souiis ‘eds? “(038 oe yaveieg edd dguowls betaine sowiolons as goisinpet neit fsot Yo” AGTISOAE + BL een abit -gons ftocut is ivetived ev to et gaaattae edg to -aottsoo!l wit eds ‘gaigasyis ti eéatoq teido ed to gio os (38h .3s) TT aoigivid si venord “gaeblind edi to sonstseqgs oft yok 2A :gttblind att at adyneesg to meteye + etd Yo atxs féqioniig ods te ani sasost orteiti ns at: “i Ieoan, lejaodg “ede -* | gaait Sid 3 sidasingovet sd biuode gatbliad édg ot ooterine gi? swrou tia i ; j a ters tiib ef? to ead 70 ,ebs0s t gigtodixg sté to sexs ety yg) * eal ely et bag pier eis yed? dtedw eecsig¢ oft ot Shi soutae ort “to easasa fooat - eh: | bin ey: bevot ed ee sébeo . end to sitdge eas te eons tite giv soalg 2 éidiaéog aystia ton ei #2 if eit eee 6 ato? seyw (gribiied ane te tao? @dt at anoor ifs aed ‘wteode ‘eg ed?® my ai niclatyib « ded? flees oa ef fnoit ots to dfguel git disde te ‘teobude Se tas ed? bie dose ts begas tus ed of eag: tot eldstivdiv ad ‘Bisow aev tad S.eds to pas 2n6 $s ¥itaeuge? Stine edt To Idyiz to sie! beséig aed? ar ; ; et t tessa l ott gril ied ad? to ebkie eno" ni keve aeled wed to 6 oda j “+100 edd $e jeotmsonie bsqioty yleort at vife toeqaé- adbade' re Pin al ‘eigid tevea ef gniblivd edd to met df tad) .gaort eff wort nesd’ yl tibess ef yaw ee . bas aias yee aTOYOV Wy 403 agin isne 40% ylie (sone 1308 ve ism eae 107 ene fi ste das | pbféven ai ti ,fesréa sat 20 Texte odd. ts agaib lind ai soa te 4 eiaviig: | . ae oth) -beaw dows nedw ylistcegee .telric> edi ts oocntine off girs ‘Sg oo ‘Syn Tt 08 od eidigivbs ai ai ,dwoo s abavorwa ets fou va ode I NIC et janet dae eidt .dwoo edd Gini 2 movt easq vis poe rib eu eco tad¢ eotis vias edf * ens atin s od Gt bebsotai giisues ei bas oot sag & edit ad wert? (Lad ‘esoneysed edsisged D€!- ney a _ ~as ane [e1xs'vea seiadbétes age f qol dneioitive sovled af yewreob d fants’ : . a . iia _StusouTls eas to afieq fastettib ot beet od. yusaeener Usaenpett éxs ba xed yod? ,2bsos 1 to digoel toeiortive asia eenog'ing heitev xt evitea, idea : =@ ylmmem oved yeds as tt o# .ebedst a0 we begastxe yfinciutentiya od ded oF Saone yas 176 sotisl edt oqobs of Sat Utwengat? ei ti set “dings leu oak ‘od busge eub dgiw bine _jietteg Aisa sft Y% soitingooes to sgemesigpex edt SS raegese e1s gecnbiiae Latevea neds -gotbiiad ei¢ Yo avidivibdua feud | _ Sidiatiesas es gaedt Ut ootin tmewWtTih ai bade Ly eitsoss ote yedd « Sy ot? mo ,aebsoat ebie bas leyfonivg dt of oysiiti id sesiadiueeis 7, % UE ee Rae me etd a sneaks oom ° Reed) sign orl maepartageenend ‘ > . 153 ARCHITECTURAL COMPOSITION. . er is the nea? of emphasizing the connecting entrance, ]|t should always be so treated that access through it to the entire interior of the building is evident, and one is not required to seek another entrance. Independent gate~ ways are detacned from the building or loosely connected with it, usually when the structure stands in the middle of grounds, or is built back from the street or road then requiring an enclosure, entered through the gateway. (Pig. 259). 189.' Location. : The location of the entrance is of very particular importance; this was men- tioned in Division III (art.128) as one of the chief points in arranging the System of passages in the building. 4s for the appearance of the building the portal usually is an artistic accenting of the principal axis of the structure. The entrance to the building should be recognizable at the first glance, and the axes of the principle facade, or those of the different pron- inent masses of the structure, are the places where they are sought and should be found. - it is not always possible to place the entrance at the centte of the facade. This occurs when all rooms in the front of the building must form a connect- ed series, or when the length of the front is so small that a division in two halves would be unsuitable for rooms to be arranged at each side. The entrance is then placed left or right of the centre, frequently at one end of the fac- ade, or often being even in‘one side of the building. The latter is permis- sible in short facades, especially in freely grouped structures, if the door- way is readily seen from the front. But the rear of the building is never suitable for the main entrance, only for entrance for purveyors, servants and private persons. In buildings at the corner of the street, it is usually best to arrange the entrance at the corner, especially when much used. (Art. 212: Pig. 806). If the structure surrounds a court, it is advisable to so arrange the entrance that one may directly pass from it into the court. This entrance will then be like a pertico and is usually intended to be a carriage entrance. 19C. Separate Entrances: A single doorway is seldom sufficient for large buildings; several entranc- es are frequently necessary.to lead to different parts of the structure, since they serve for varied purposes. With sufficient length of facade, they may then be symmetrically arranged on one facade, so far as they have nearly e- qual dignity. But it is frequently hard to adopt the latter arrangement to the requirement of recognition of the main portal, and with due regard to in- ternal subdivision of the building. then several entrances are necessary, . they are usually placed in different sides, if these are accessible. vistribution of doorways to the principal and side facades, or the greatest possible division and wy tyne of the berered entrances is indispensable, es | “MOTTTEONOD en ‘BOt ae pati anoase1 booy tot vi gakbitad of: ‘§aitetas anoateg ‘Yo sotdé is yea vt ic =194 to etedmun Jae1g etetw ,angiesd (ls i¢ie 260 ead et” eatdT + .yxsendsen «0 “aaneth ane os 96 30 Lvechoonae ois of eait talid at bods Lube ee od eis anoa ‘ear "nos tertedd a enoe1e9 aay sens canis segsitmo wot seose 1309 Yo nobis gee “é ‘at Jerk _ Isstog afd yrtgns ites ud ylfeioeges ,aysw evotisy ni oldimecy ak “doadw’ * 400% | Dogo lebis oxo se eonetine eysixieo edz price lg enoeteq tot eive atea edt a0 a alisd eoiiseds to sasiq yd awode ors aslquexe eviscitsenl .aatavno9 edd beige @1om ef coifeisgea eidT (SLE ,aTS BSF egit) ots ,allad s1e986d 2ebia ae oo tieasio agpebeted sed to 34 abset berate e bid oe ms nebo fitad 19% ‘Gebhiong iStaoas ef yewTeds élge he a ae ial | : OS fatiot edt Qt ee: fois bas eveioaisis fe sh bam eonsitne ed? sodetugaiiecs is seaq “ed” | eat pribiind edf te Sieg Hide Lory ses wmeqgs Sivods qewidoh oft” to ‘ew ees dgiw bedsex? deed évad isatoq ets to aolistoseh bas aiot ‘[stétidg {| tedgo on si eboiteq (emtostidea tae¢ add [le wt sfoost: fous’ “ piluts jeeir vasgele ézom sii to gonsktlids doa basot ed Ysa aaiblivd eit to foid an iw KO edt ai wlebon ast idaquoa aed boieg mrsbas aig to Siwioestdets ed] ws —- enon 1d ibs04 estisadicael to eat da aspen bas biz? 1a :. 3 . BOs (£08 (SOS ber agit ME tle ail se | Hedin ano Se gis os ad deans wi‘ doy egeisiso be reine’ @ disened eons. xgae. oft. gatos ; : ov od for dese podoteg dove to enseli. .sanibliod ofidng outed bas 8906 a ede gated .qoere oot ed -g6a faue-bns jebia dose sts degistt e1s.squea be. betey me awode 293°.y24 beaker 22 Wwrggiogsi ties ede. sedgid ert Teytod ~ qete 3 ‘gattoatog itiw ows awode Bef ait ak ‘tial Yio busty eis bas .¢ yb Ras | gagiewwts adie eno 2i 35S. Bid: eques: : heguio:ditw. dotoq egeitiso.s ei ot gi oss to ages eft aebined .elgae as je dono ayeizise s ef GOS .gs% bas ,2qsie't th gtotwixe ett co tH etoted aqets e_tcius of Yismodeuo a4 ti ,floreg eye is 189. eit inwdoedidew tot evisos encoler a brotts oaedd bas. (68S .f68 apt) Z gnth Lind and Yo tatdedxe add dziw bestaomssi ed of ete goiloteg 938: ivaed (sJ6o1s 9n6a tid dgiw baw fe isesan euee add to tliad od of eioteredt ex bas 07 ‘gaifoesotg & ylao ed: dowg eysiriss ot tI .westsl edt as aaiot to tase id edt to yiosasnos a8 88 HISSGGE yleted. si eam Loo mort gigi l yd besroqque. $o goteasiget oivedtee edt Ji of bedosdds Jovasie myterol & evil ap get ; Sad pa vine ~ se sane ae genera ylerivae wobiaa at. taeudesut dove = 3 Rasa re bewtai ydeweds ef Tie 3 mogseesT syoiviad 30 1s) .eystieut bax .sovizh MO segssasg eysiiis/ bss ‘olga 7 pense ets enciosge vléaetott | ‘* en phen ¢ iste bogies) : i oe ‘oO 155 ARCHITECTURAL COMPOSITION, tive, revived into fashion very recently, for accenting doorways and porticos of monumental buildings. It consists in the Roman triumphal arch. It was used by Semper and others with more or less success on theatres, exhibition palaces, parliament houses, and other state buildings, whose size and import- ance are to Le made prominent. 193. Entrance Porticos. The entrance frequently leads through a covered portico, sometimes open and sometimes closed, either placed entirely before the facade, as in Figs. 248 to £60, or as in Figs. 260, 201 arranged entirely within the building between adjacent apartments. In both cases it is generally necessary to set the build- ing back from the building line of the square or street as much as the depth of the projecting portion. Entrance porches are sometimes found on Gothic churches, with a plan in form of a triangle or pentagon, one side containing the entrance doorway, the two others being treated as openings for passage (Fig. 262). Porticos may serve as entrances or gateways for carriages; they then recieve different names according to their arrangement and have the ad- vantage that one may enter the building with clean shoes. Covered carriage porches are preferable to carriage passages, which are easily exposed to draughts of air. 3 194. Carriage Porches. Placing the entrance beneath a covered carriage porch is preferable in pal- aces and large public buildings. Floors of such porches must not be elevat- ed. Ramps are arranged at each side, and must not be too steep, being the longer, the higher the carriage porch is raised. Fig.2é4 shows an uncovered drive, and the ground story plan in Fig. 178 shows two with projecting roofs; Fig. 263 is a carriage porch with curved ramps, Fig. 2€é is one with straight ramps, and Fig.265 is a carriage porch at an angle. Besides the ramps of the carriage porch, it is customary to arrange steps before it on the exterior, (Figs. 283, 286), and these afford a welcome motive for architectural treatment. : Carriage porches are to be harmonized with the exterior of the building, and are therefore to te built of the same material and with the same treat- ment of forms as the latter. If the carriage porch te only a proteoting roof Supported by light iron columns, it merely appears aS an accessory of the build- ing, or like a foreign element attached to it. The esthetic impression of such treatment is seldon entirely pleasing. The effect of the entrance its- elf is thereby injured. 19h. Carriage Passages. Carriage passages or drives, and gateways, termed gateway porticos if suf- ficiently spacious, are enclosed by simple sukdivided walls, or developed like & portico with colonnades or arches. If they are also used by persons on foot, VW \gummte fee eee , 7 a) eo " i , 4 _ Miley, beeist 6. 4%. wes a seltenae yatbooqsers03 iL ws hedostoug ote soadt ements oot Shy wet teeinl | (TSS 329) pbsnaoloo 6 yd 10 aay foun sayeinne. pon ca ,tixe ne vilerney onde 2 sone1in6 egsiziso ed? | of ai seysiriso ‘to tedawa egiei 6 if { gaibligd eit to twoo ede al Bavows Protests ek $i Moe anit onse ‘ed? Ja bas aacidoeith vod Pa besoegue eg - atixe” bas; agons 1396 eqatsiss. 998 ts gee woiredal eit ai ates ag ‘aeyelsise tot a ‘ylivorih evia yathlind of? t2 ,hegastm oe od cidevete7g {fiw bas .potblind ae lg ode asdu 30. (38 427 at se(%) m1 20 esdiv. edd és seaside edd enioiba P§BO.G 10. 19022209 soos tine eldugh ® vd ede fagor ‘Betceanon od of Bzod wgiereg © — ninn od? to. asaiog. sijesiua fing, osbts goa te bebtver at ozseasg egeia” > A908. ,859 227), wth bid, ads io ws. ke eilsh cess mes bas seluditae’. .o : ty eg Lie “glndi sant eit. bet er hae yol at gaibliad edt Yo. sosesat ot oor stOq eonn tse nent epszenq ont BP sas (lac. boocerebay’ ag ot doe. ai sivdiseor ya tied gosetins 10 sludiseey edz, es div: woisceanee, isaietxe” nott, Bids ud. begn gee ‘boda iias euid dxen Bo0T- ~esa8, Weld gergh doidw. allen oti ‘poltingia os is sk pid ey ‘ sd 25 petted. base . Goisavasetoo ,isiveisa ai avitiavevib oc eoustel ae edgalt, digietie ai eiiess Bh: euseai didi deh? gao ai avaisaco aeuliexoe eemotiaiz oi7.io acete edT te eisisqen ofai bebivib alavieiai, 14 8g YP) Nils teaey ete yodg dud sorigna ~ __ ,mpisoerth ni ogasds Juodgin 10, iin yagndbaal 10 asosge gatiiew ed etigit? \- ati ed¢ ni toomegaatis gaijootis esoreuilai.aott tivess ani0t Seitsy- seom, od a Cre rer to satan a. ote Kp od yan anes: fet «getdligd eda to tobtes es Pe Hh sboqe?e ne | wi 8 Cladenanieit: tigiess2 803 eo i rer heii AP dnooes. at ofa :vamtae: ben: sasimevaes feon giot edt Voegeli basoloue, od vse fl.» bas of yadacized work saws. teottin sasotiete 1 ee at paereanetitr eens: (328 .ge4) aqede edt ebieed gaihmesxe elise ya ; : f |! ee 159 _ ARCHITECTURAL COMPOSITION, ; In nearly these words in Chapter 28, Book 1 of his "architecture, Palladio points out the chief requirements for these important connecting members of the structural organism. Very much depends on correct arrangement of the Staircases. Yet this will te materially simplified by that said in the last Division in reference to planning the building in general, and that in Part Til of this Handbuch on their arrangement and construction, parts in detail, and on external staircases. There remains the designing of staircases in the interior of the building, especially those of monumental character. a.Forms of Staircases. 202. Historical. To characterize staircases of different periods of art, the following points become prominent. In antiquity, staircases in the interior of the building could acquire no importance. Principal apartments were limited to the ground floor; stairways leading to upper stories were enclosed between walls, and appear to have received no architectural treatment, and were guite steep.: This is assumed from the writings of Vitruvies (Book Ix, Chap.II) and is proved by extensive and partially preserved staircases of Roman amphitheaters, planned with extraordinary skill, to provide access to all parts of the building for great multitudes of persons, with quick egress for them in the most verfect manner. Staircases of mediaeval buildings are generally placed on facades 1h Cpen stairways or stair towers and mostly consist of Winding steps. Desire for richer treatment appears everywhere under influences of late Gothic and aarly Renaissance in numerous gracefully grouped and effective creations. The monumental stairways in interiors of buildings are among the creations of the Italian Renaissance, and they have been transferred to modern: architect- ure without material change. specially in public and palatial buildings, while dwellings have comfortable, and attractive staircases. stairs will be considered from the point of view of suitability, without re- ference to diversities in material, construction, and forn. 1. Stairs in Straight Flights. The steps of the staircase sometimes continue in one flight without inter- ruption, but they are generally at pro er intervals divided into separate flights by walking spaces or landings, with or without change in direction. The most varied forms result from influences affecting arrangement in the in- terior of the building, yet these may be classed under a number of simple types. £03.° Straight Staircases. The form most convenient and appropriate for ascent and descent is the strai; h Staircase without turns from beginning to end. It may te enclosed between two walls extending Leside the steps (Fig. 281) be built free on both sides in the 8 tanks (383.289) oor in pidi, as or <. Ase end ti i tee tuedireoa: ,ee8so [ig al *.(629 5i%)49 x oe gb iw 9 ide reb enoo & geno fetit off ai bas .eosge to digoel fseth ¢ eonine _fegaed eat of moitieqetg ai wowrss yiev tseqqn fon daum sasotisde ode it , flew _ tite tlese evode beosiqg ed fava baéd aidt to eeesotaita (siévee 22 -tigted baw ’ fod stool? 32 soul? sett grisasg i boleveds ed dava eonsitaih aumixes edd ,7@ .) | bas bae1y ei sacorisse fdgierse aft ,sosqe asimoacos oF bexsivps:s ton t2 * ~odtieg etctesed? ai fi .sedto yas yd belleoxe son wt bas toette lexeneg ak R ai . falq ai @idwob to alanie ai seddie ,eacibiiud [lasaeautoa of betqobsa ¥lisiz i) + (838 .83 -apit) dO to 2 A of Ulisolssommye begnezts od Yom 40 “Isyest) sizei cisod eft ei batd serkt edd to aewtowrda gneldos oid to ec0 ) emoh Js asoiteT at a@teemiwsge leioftizdeq of gaibsel (iainwsd yd) Gatisde \dégael ei:.é% Sk aedd gtom tol Jdgilt elgoie s gi aboedxe doidw ,(b08.alf gol ,esco oft ylinutos ak asd evisoegateq ai weya0k isos awseqis sevs has “ib gidd .3% 4.°S ad See qowol edd fe dzbiv ati enmioce to tisg oi! seewled | #dpierta to # Logie xe faeoltingsm A bas te yu edY ts .$7 5.55 oF sodatuia a” get NBL ni beyoiseeb etre mi effi¥ sh lesol ni saw aesorlates alduob a wee sito odd ae N39TB bueoty eae to mefg edg ,Ned éac ao atnesetqet | ers vote [agiogiig edd to sade it adié lin’ om aha aeesotisie deus Yo sbas teqqg Je agiidve at its: roegad Be come em ened? bas .gx007 yoiaioibs eit diin adds Jooamo od asi salisy didiw — beaokoas plete ew bus ovods esti ew 10 (268 gf) acottaog edi! betsert 40 if esoted easdtistea efqnie a aa © .(185 RIt} es¢otisde eft fxen sebasyaulad yd Bs | 388 99iF aia veusotisge idpietsa of? ,.ose .afuuos xt ,slisd somexdme me a ismibzo 10% beeu cals ai acyt atc? ote 058 gil) .beyolque ylineapett yrey ™ petoven. nnd, 8 grols boyost1s ti. caete to idgied efarehom dviw exiete | \eoege eldisneson yliniene; 4 at to acivasimgenos __. BIdRLIT ier]eved af seagorteda °.b08 | 4 wepnibess seewsed figilt dose wt begcato od yliszens, yen @ iseorih oft t o edd ait awooo ayarls egseds aids 1 .atigili leteves ai aeesozisda goloub ads oved ew geeerceatal diod ai ti .stivees easorista ofguie a ,noisostth suse a ‘ate CMe nce ace etdgtit owt oi sesotiste efduob Bee sy < } etdyilt ow? at aeasoxtese 908 “an xO ana pea hit eas sedw boavot ef afigilt ows as easotisva adT ae aewol ed? déiw eigas. gentde 10 ,98uo6 .$dyhi s mo , to aolasetxe as sig am. addyils owt ot bebivib: ai AGS pit si eucoris2a off .emst 91 tesiel edt tigalt tewol edd oes = ames diyael etitas ati tes gol yse tipit bor sormmnent nha a Rene banged gt PSIUIOL HOS. 70 gaiveorecat ra sahichiveass wor sangaioss. edd =: = bt a Sues Mine viet Phe eT Hide 3 i ma ee oe Shs => ae io. alin ARCS Ge ARCHITECTURAL COMPOSITION. . room (Fig.282), or may be free on one side and built against a wall on the oth- er(Fig.@683).: In all cases, particularly if the height is very great, this re~- guires a great length of space, and in the first case a considerable width as well, if the staircase must not appear very narrow in proportion to its lengtl. and height. If several stadrcases of this kind must be placed above each oth- er, the maximum distance must be traveled in passing from floor to floor. but if not required to economize space, the straight staircase is grand and Simple in general effect and is not excelled by any other. It is therefore partic- ularly adopted to monumental buildings, either is single or double in plan, or may be arranged symmetrically to 45 or C D (Figs.: 281, 288).: One of the noblest structures of the first kind is the Scala Regia (Royal Stairs) (by Bernini) leading to pontificial apartments in Vatican at Rome ( Fig. 284), which extends in a single flight for more than 197 ft.: in length, and even appears much longer in perspective than is actually the case, for between the pair of columns its width at the lower end is 27.5 ft. this di- minishes to 1@.4 ft. at the uper end. 4A magnificent example of straight double staircase was in Hotel de Ville in Faris, destroyed in 1871. Fig.: cil represents on one half, the plan of the ground story, on the other being that of the principal story. BSpecially in stories at upper ends of* such staircases, they are furnished with galleries to ccunect them with the adjoining rooms, and these are eith- er treated like porticos (Fig.211), or are free above and are merely enclosed by balustrades next the staircase (Fig.281). As a simple staircase before halls, in entrance halls, in courts, ete., the straight staircase, as in Fig. 282, is very frequently employed. (Fig. 260, etc.). This type is also used for ordinary Stairs with moderate height of story, iif arranged along a passage required for communication or in a generally accessible space/: 204.' Staircases in Several Flights. The directi,m may generally be changed for each flight between landings, pro- ducing staircases in several flights. If this change always occurs in the same direction, a simple staircase results, if in bcth directions, we have the double staircase in two flights. £05. Staircases in Two Flights. The staircase in two flights is formed when the upper flight forms on the plan an extension of, or a right, acute, or obtuse angle with the lower flight, the latter are rare. The staircase in Fig. 285 is divided in two flights at right angles, and its entire length appears at a glance, the lower flight ap- pearing in front view and the upper in side view. Suitable treatment produces an interesting or even picturesque and effective view. These advantages make the.staircase very appro priate, where as in Fig. 278, it is built.free in the t : eo . 5 cove of betiue at #2 ‘tedT. Cneteaal ae a tak anek ban soot doth pigd ett Yo enefq yd cals 308 .gf% yd cwade at ayethilud te sine tewol bas teqqe yd bas (Gf .gi%) easel! ai tos0i¥ Ele - ae “att gescorisse doa owe déiw bedsinw’! ,witwesci* sa Lost Rit ai as .susotiddga eceqge Tled edd al beaux. yiaeaos jace wt yd soot aes ined digeh yisaibto Yo asoot dtiw beynets yldosqaos | ‘bas ¢liese af jt rt emoo1 faetettib ads oF gribasd isgionitq wott.seooce atiwieg ,Ileeti yd be a Ps seesiode odd seist yibse-ixen oat of Jaeons only emer edz is bas ,yr0cn ged? a SSE. mk jus hele’ saom ed? ton agwods ,w10% ese lxqotqgs $aces edt ef etdT uae i Aisoned aott aTeeq4s vilewew esiedea ed? to sdyilt ieqqe oft sonia ,eonetssqqs ~ oat C18 ed? to sipiedbin gs ga iaego ei? eeotcs efve Si ae bas jausa ish s a @@I af etu0;o yltseupet? eid? ivewtinde edt mt waiv edd afoursade ylistting i e168 bas bao eziup sted? ew atiaia to acigi ly . LESS gif) secs isg ns E16 io ‘ai 98 tleati ya guineeqge sdRift dose ,al{aw sbie aeewted heaolose qigeon «edd Of Yxota ono nor gaibnesxe essotisia faifoaitg 6 @ aeeeotisse jdntaate hes: #i bas weqsae th asad efoeish Isateixe ,m10l nego ai svods ebas $i ,txen ee to gatbae edd baw el lew. gaimelinse. ed? to dauonss Ao eldiaiv Jon ceaaig (grade drneny $0 mafg) 588 .5i%. vi awode as vasitata gis %6 diag 46 qu "bodied eo? Yaibrooss yntiast eit to aelgms Tho bavox 6i dideteteig aesto ai #1 88 (Bes. 2git al ‘wekl 3 athgiit eettt af aeasstiess © BOS “A © asd wits at easorbaie 6 Bestho tg” ‘S68. 388 30554: 2g. nezok 4 a gi intdaod tS aged of syods ‘Woled bebba gated sigift groda baidd s ,TOk” STS cay tt af as i ~~ busines" sabia” ‘tee aerkg. oide. . .ggoes, ait atalqaca, i atged od 25 i /-" g@t eosqe sogtei wtiupe of beliay.qop.paked. tuads ‘iy, tdyied “wwieetg YICte tow tev ed iWSHTT Bt wt elatT .ageta: Ro: aeeha taupe dvie .yawiiste edt - Scenics eon gil petti “ud besehous: oais ei toetie boo .A 2058 189 weaifesT wi a ~ enlt i Ulietoeges ', 82S INS .ghi-ai selgne sigit Js aoisoertth degnsdo ‘fotdw a aie 6 ‘gaiowbong « ,we redvo es nadd aggnel tedsetk «6. eved int) stilt bacoea” {00S ght) yswtista edt ag weit bésoutseda ergslt woi ak. eeasorias2 008 | “agdgil edd eae pit ot -as ered. ,zeasotlgsa @0896. fie? bes tentgixo eaiwedtl | atiysd Yo satog sid evods bue bas ,eclgas tgis de. aqus galbasl of gntbacl not / ge tw bre olod-Lta¥ dit atten" aeqo ote. 28S Ast ert) ai sensoulss2’ “bata es he Aguowis Sigil evi ises yedd .sedto dose oveode Segastts 678 geitota Levevee eretni edt ni aottenol OY segatnevbs [oloege, seeReoq etotereds godt Sigil jansiq nevig edd vd bag eelqisxe avoremua yd swede es bog , gitblivd edt Yo rol atts t basesh aatot dfeo@ .tmegtsast letidoadidowa gvitas tie “to oldeqes” ‘Sun yode is aoe 8 Paanye3 premptien nat Ld ‘tnueoos oo etre Latah neds gosue woof? tos ye oe Fy-thed F, t oibS4ti edd of aolyns. siyit va ylisueu srbade ‘eosge Med Teas ARCHITECTURAL COMPOSITION. . room and forms a part of its decoration.: That it is suited to even monument~ al buildings is shown by Fig. 285, also by plans of the Palace of Archduke Lud- wig Victor in Vienna (Fig.185), and by upper and lower entrance halls of Cap- itol at Winterthur, furnished with two such staircases (Fig. 310d).- by far gost comonly used is the half space staircase, as in Fig. 288; for it is easily and compactly arranged with rooms of ordinary depth, is enclos- ed by itself, permits access from principal landing to the different rooms in that story, and at the same time ascent to the next story takes the shortest way. This is the most appropriate form, though not the most elegant in its appearance, since the upper flight of the stairs usually appears from beneath a dark mass; and as it cuts across the opening zt midheight of the story, it partially obstructs the view in the stairway. This frequently occurs in It- alian palaces (Fig. 272).. Flights of stairs are there quite broad and are mostly enclosed between side walls, each flight appearing by itself as in straight staircases. As a principal staircase extending from one story to the next, it ends above in open form; external defects then dissapear, and it is partly not visible on account of the enclosing walls and the ending of the up. er part of the stairway, as shown by Fig. 28¢ (plan of ground story). It is often preferable to round off angles of the landing according to dotted lines in Figs. 288, 292, 208, Staircases in Three Flights. Combining ty j forms in Figs. 285, 288 produces a staircase in three flights, as in Figs. 272, 287, a third short flight being added telow or above to the half space stairs, usually at right angles to the middle string or wall, so as to begin or complete the ascent. This gives the lowest or second upper story greater height, without being compelled to require larger space for the stairway, with equal rises of steps. This form is likewise very frequent in Italian palaces. A good effect is also produced by three space staircase, which changes direction at right angles in Fig. 271, 288, especially if the second flight can have a greater length than the other two, producing a less obstructed view in the stairway (Fig.277). 207. Staircases in Four Flights. Likewise originated full space staircases, where as in Fig. 289, the flights from landing to landing turn at right angles, and end above the point of bkegin- ning. Staircases in Figs. 288, 289, are open towards the well-hole, and when several stories are arranged above each other, they recieve light through cky- light. They therefore possess special advantages for location in the inter- ior of the building, and as shown by numerous examples and by the given plens, they are capable of effective architectural treatment. Both forms demand })-ath-— er more floor space than many others on account of well~hole enclosed by front - Sar ot Xe ett i as 44) Erie “s > ‘proite yeds sonia 2 a saguacwi vtibed: ‘Esieieabs ew yed? tod ,ynisde 2 sien? $ sud ~ wiles to ftbegid ot dtgaok | Yo oftes gry "62 ydiaed wigge olde eee ton ded 08 sotin: SS .0u dite epgebroses ai bexit .Jiall avmiata « et a ae ee #. ‘aan tbas f - geewsed beowlg od Saua eqgota wok to eeti! sede a # oe Wee ke ay i, Se ot be hded ao sedoaard owT ni goneonieda 805 30103 io siaanie ond not peoubosg @1s eessotietu, to en1o% easevib devon oiT ake ore dotdw bas einditeey so ilad gone 7319, Yo asxs off ao wordt gaildueb yd mes a@mro? bawoymoo onetT 388 bow E83 188 ght ac 00 bm. d 4 eentk yd nov bas: “<@atbeve yg edt aot? bevineh yltbaes gated ,soiteaeique bebmsvxs on etiuy i. —) faom ef? .tetisoxedl beseott of I1ix agetblivd to ewcivetni ci eas tied’ q ales 838, bas S83 498). 2ytt gout bemvot dedt¢ ef vedonard owt sk, sesoriese [nl y doidw diiv edge lt elbbis ada to 2a wixe oft suede tnesegasiis [soitteamvya Ore 2 aixs oat se betseqget .ttel bas Sait or bebivib ai oiry bas. ,zniged y @ORS git ak gasorista eft ere aeiquexd.. seanonks Ja. elived 6 osyte? ed ¥sa “088. 308 .pet ai. gale 206, Ril mi yoiblivd senzos ai fads Sas- oS ail at fe Ys wis 4o onid aisoseid HO bavot ai yiola bavoag of eonkaing. edt 208 .3i% al ” a oY oud: easotis sa ade at oandiiant eds. ai pakeona th pina at euolonads bus ofa i: di a , + 4 en ste 1éz - ARCHITECTURAL COMPCSITICN. | string, but they are otherwise easily arranged in plan, since they afford a suit-. able oppurtunity for varying ratio of dength to breadth of stairway. But there is a minimum limit, fixed in accordance with Art.220, which is that not less than three or four steps must be placed between landings. 208. Staircases in Two branches or Doubled. The most diverse forms of staircases are produced from the Simple type forms by doubling them on the axes of entrance hall or vestibule, and which are gli- ven by lines 4 5 and C D in Figs. 281, 282 and 285. These compound forms re- guire no extended explanation, being readily derived from the preceding, and their use in interiors of buildings will te treated hereafter. The most use- ful staircase in two branches is that formed from Figs. 285, 28@ and 268 by Symmetrical arrangement atout the axis AB of the middle flight, with which it begins, and which is divided to right and left. Repeated on the axis C D, it may be termed a doutle staircase. Examples are the staircase in Fig. 290, that in Fig. 246, and that in corner building in Fig. 306; also in Fig. 307, etc. In Fig. 305 the entrance to ground story is found on bisecting line of the an- gle, and therefore in this direction is the entrance to the Staircase, but the exits in upper story are on both sides perpendicular to corridors parallel to street facades. It may te said with regard to these staircases in two branches, that their effect is more spacious and stately than that of simple forms, but the demand for space is correspondingly greater. And when space is not abundant, a simn- ple and spacious staircase is decidedly to be preferred to one of two branches, restricted in plan (see art. 221). Burchhardt says that a chief innovation in the architecture of palaces in Late Renaissance consists in doubling staircas- es for sake of symmetry, after men had already become accustomed to such in gardens and courts after bramante. They either commenced below with two separ- ate staircases, or one staircase was divided in two atove the first landing. Great merit is due to Genoa with its steep flights of steps, where care must always have been taken to obtain for the numerous external stairways a good and Leautiful effect. <. winding Staircases. £09. Simple Forms. : Instexd of changing the direction from landing to landing, as in the preced- ing straight typical forms, this may also Le effected from step to step by winding staircases with a solid newel or a well-hole. These are either entire- ly of winders, as in Figs. 293, 294, or partially so, but usually are enclos- ed by a semicircle. Winding staircases are easily adapted to either a2 “icir- edcular or polygonal, an oval or rectangular room, and is therefore more read- oa ir. ea 3 Pe ue 7 “eee ee wc mee eee oe ae See oP. aay , ee a iene t Tea Pin a be ee eey oe a bel Ips x oh mi hy ied LS Se gees Gar 2 es * =P, Falls ae ie. i Res A eVeaEys La es SPs Ut ee cree ei ne F a ' Pe | a ghee Mtaide ib ether ws on a. YT, ae Si rr. ee , ce vs “sy i ‘S (RSS ta ‘= f\s4 4 f ar led > , 1 « Lf ea inet : 4 A ied ’ : 3. ro Bers et ; ; r ‘. 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Yo solqanxe dénett avowesus goose. seat AGG gf) qwiaeo dvr eds to yliace > aubugetedd to usededd to eesstista (lewen Iu tisused erly of sonseaisash ylage ‘ Ys toqagtnos jgom wott gaitevti = jes RE aQk® purines cv6r to anianiged to RY fegwied eysees 3 sett saisetmieg .gaibiied oct af beaciane af vetdal add aagiaed ‘bits .aogstoo ae odat bewtoidas si at¢ines feotnoo yd af asig emcpe edT ..2 bas 4 - ” feobfed ont ynirroqgques eaduloo iso heiledwoo edgis edd yd efotio 6 s ofl side R “y 2oiatog Be wthaié - odé to emtot eiqmia ered of begnedo @ uliigts aed euiinetidore atebo 4 -ag Sts yedT sev aiedt To qobdetinil lewtimerg o d¢iw emi? ease eli Ja . asso ddan atdete boteloet wottsa 68 apt Josgmes sacs ated? mi gees eduain 10% beyolg gts Yedd oonia .asaoqing egantbsodse sot bese yino ew esiwtedéo tad ,ailewen won yodt ,ofod-Lfew obiw dik .zaceteq yas yd eeu 101 oldestuenc qiewtine >) pes git nf as wot wsteotioiaes at ylisuer seasetisia aise 8s IWOOS en wer Oe. EEG "x teammate -atmeso baneqgacd — .0F8 edt ai néakdS deci ‘geno diytesse dzi~ eniduco of betive om esisea peek bes tt ‘a et ? * aan 4 + : i te Laipiidoes dedtie ni gatbite asco: ai beosig ed yes doiie ,Ses -att at eays seb edd bas #8 s eft ated anietet dotdw bas ..w102 Lenogyleg 70 , 18 lwoxto ae, OAS Oawed Bap ERIE SUS SO Ry REPENTED” BeOS Bietree Y =a > Pens Pee ee re 182 ARCHITECTURAL COMPOSITION. . ily employed on an irregular building site, than are stairs of other types ( side stairs in palace, Figs. 185, 186). They occupy least space on plan, and _ admit of access at any height and at all points of the perimeter; they are al- so the only form suited to any stride, since on the radial steps may be selec~ ted at pleasure any proportion of tread to fixed rise, both ascending or des- cending. “ This type has the defect in case of small radius, that the change in direc- tion from step to step is perceptible, ascent and descent being quite trouble- some, but this almost entirely dissapears with a larger well-hole. On account of this difficulty the winding staircase is not employed where it is preferable for its other advantages, as when the arrangement of straight staircases is ob- jectionable for local reasons (lack of space, irregularity, etc.). It was pre- viously stated that winding staircases almost exclusively employed during thé middle ages and the Early Renaissance. As historical examples in Italian buildings, which seldom exhibit this typi - cal form in the interior, are the circular staircase in Belvedere of Vatican (by Bramante, 1508), and the later oval staircase in barberiti Palace in Rome (by Borromini), only differing from the former by its elliptical plan (Fig. 204). Both are of considerable dimensions (about 29.5 ft.:in clear width); the hollow newell is composed of twelve Doric columns, which follow the helical curvature of the strings and balustrade. among designs of allied type, though of differ- ent form, are the elegant winding staircases in middle and southern Germany, mostly of the 18th century (Fig.298); then among numerous French examples of Berly Renaissance ie fhe beautiful newell staircase of Chateau of Chateaudun, of beginning of 16th century, Figs. 295, 297. Differing from most contemporary designs, the latter is enclosed in the building, permitting free passage between & and B.. The square plan is by conical vaults transformed into an octagon, and this into a a circle by the eight corbelled out columns supporting the helical cornice. | kodern architecture has rightly s changed to more simple forms of the ~ statir- cases, at the same time with e prixtical limitation of their use. They are en- ployed for minute uses in their most compact fam as narrow isolated stairs with newells, but otherwise are only used for subordinate purposes, since they are entirely unsuitable for use ky many persons. with a wide well-hole, they now occur as main staircases, usually in semicircular form, as in Fig. c91. 210. Compound Forms. winding stairs are suited to combine “ith straight ones. Most common is the type in Fig. 292, which may be placed in rooms ending in either rectangular, circular, or polygonal form,: and which retains both the advantages and the de- 2 gabe Sea PEEBLES IOS EEE POE SX, Fee a "ab anngn efit orode oostngersee ai wl at gakacgace eatot ows edz to afoot” te edgied wol Yo gnuooos wo betsino ai gaihasi etethestedit as base elislisve . a yiility to aewoqwg 10% egniblind tedjo ban sechod- tmenrtaye fi es .ysote - egeve wet e@ to bsevani efoiic & to toJoea © to WI6t at souqe gaidlew s tavant - entupes os dguone sbiw ton ai Sea ed? 32 .sroogstasvds nedt yridaotib eicom ai _ bawoqaon \seesotiaia. dive ga | .(8SS .fti) acoreds-eqeva yuanibto ows jena! te ew 8k a ‘eyntbiiod Isdaemuaon ai acdonesd owt al begnetw ylieway ets aarot — edd moti asdonatd. doidw..tdgilt sdgtette efbbin"a aviv ecaeunco of Inu day ponies elqasie eldston eet 82S .giT- .( 50S 929) see Bovivo ows ii > vileveys om egete tixe bas eonetse6 yilsveuw as dove ,eyade to aga gilt - vse gil) rebiw getacoed -ylisubsag .2qese bevawe atel so si0d atin be a a (2s ey woaso1lsle “to eto bas dnteuegneTm © .d ay one cet’ | seasotleds Gisvisd bie nish 212 smite eve rossorisda lied bas tisu sonsdtoqsi bas aseoqwy of gtibiosss “OR ai tossal odd fud yayntbliud saow ai san: ‘ofidvg 108 ot saxit ef? -bedein ome fetenes tot moot A BA ..atasquooo ed! to syeateg eds 10? Drs ‘eas stevia bas (ite? at yiao yeldisesnos bas besingooot yfieee ‘ed teva yostisis aisa ods a [ Slo no gud .noissloet bas aeijemjee aisitso 5 betispes ef aeanebiser staving a _ yswiiste: uiea ‘etd toon of eredw ddued ton blo de edo ~eyaiblind olldeq gained ~ oe ankag sdf ai e711 abee yliexsney ti sonie .eottine ylievay edels fon aeob ati? 7 gs AS pase fon best? oot. ows fedi: eameitms ca of efderiees ai ¢i bane ,ytote Isqie = ae ae Shatin | tedto dose evods Pe: - Saskia om ayswtissa ebis sgibiie: teqay eid étiwn aoifsoinunamon ebivary' of f 2.mo1t bastxe. eaeds tus .Wewtiete mica edg of moitibbe ai egribfivd qogtal od ett od-eudnes dlin admevisa sbivorg Yeds erste soivise ais .obdse oc “tel * < RRS : ys aicceumie ieee Ae MEST eae hte aon at © lia cea ey: A Saaee a So, Simca tes ee ’ MS Ges Bao > ee ei > o>. fees a : cae gy © e ’ 124 ARCHITECTURAL COMPOSITION, . fects of the two forms composing it. It is appropriate where little space is available and an intermediate landing is omitted on account of low height of story, as in apartment houses and other buildings for purposes of utility. Te insert a walking space in form of a sector of a circle instead of a few steps is more diturbing than advantageous, if the space is not wide enough to require at least two ordinary steps thereon (Art. 222). as main staircases, compound forms are usually arranged in two branches in monumental buildings. It is us- ual to commence with a middle straight flight, which tranches from the landing in two curved arms (Fig.29@). Fig. 216 is a notable example. ixternal straight flights of steps, much as usually entrance and exit steps, are usually construct- ed with more or less curved steps, gradually becoming wider (Fig. 177). b. arrangement and Form of Staircases. _ £11. Main and Private Staircases. according to purposes and importance, main and private staircases are disting- uished. The first is for public use in most buildings, but the latter is for private use and for the passage of the occupants. As a room for general use, the main stairway must be easily recognized and accessible; only in family and private residences is required a certain seraration and isolation. but on en- tering public buildings, one shald not doubt where to seek the main stairway. This does not alone usually suffice, since it generally ends free in the prin- Cipal story, and it is desirable to so arrange that two flights may not come above each other. To provide communication with the upper stories, side stairways are placed in lerger buildings in addition to the main stairway, and these extend from cel- lar to attic.’ As service stairs, they provide servants with access to the housekeeping rooms, so that the main stairway is kopt free; as stairs for pri- vate use, they are required to directly connect a series of rooms in different stories, but belonging together. Side stairs must sometimes serve for sever- al of these purposes and be planned accordingly. But it is especially the main Staircase whose suitable location and arrangement will cause difficulties. 1. Location and Direction. elz. Location of Princi.al Landing. In harmony with the internal subdivision of the building, the main staircase is either located at an external side of the building, or more commonly at its center. It may then be partially or entirely surrounded by rooms. This is ce- termined ty the location of the principal landing, since accessibility of adjoin- ing rooms is thereby fixed. If the principal landing lies in the interior otf the building, then according to arrangement of entrance hall, the space in the ground story is divided in two equal parts, tig. 299, or in two unequal ones, Fig. 200; both methods permit access to and from the staircase in the three - -* - / eer a a | ee 4 1) ag ve A Seb Sd ws ek: : Se a! tw J Sh Lveeaing Pia % Me ve gettase chet ie el eats: sat yratees Seg fer : mf Fis hi Jag Be AO eG “ MorTTaQ5MOo JaauTORTIHOAA eka a aiens 62, 4 Liwd sasnteud wegysi ai bas eyntbiivd olldug tace ol Detentoat enoltoerth _, Ataoupetd Lliw Jf dud wldanoisosyio toa.ai naciseimges aldd ,zero0te bas egat | 4933 eoasaine edi gatos 1% .ecevod tnemtisqs 12 efevizg at yoliwiald yrev ed, “ as, ai ytibasl eteiboatesai edv dteened mer 10 sbia ‘es of ebsoa} he’ es onthe 80 aerate ai 10 .agaiblind iuteau ylewea so ytantbte si elds pp hase 8! ott of gribtooos ,eoaedzogel teal heosig ere gtibnel inate ion bas eacorieda edt ,engiess tailema al , FOB yTOD 8 arot amoor odd dedi egetnevhe afi. agninieide ,jisw Isevedxe a8 . Gon sid? .dnottoexth owd ai tad wooo gso.aedd oF BaeOoA (206 it) eek. find qwyiel to eyewitisia aisa 10% neve ,asalg douerd ai betueterg ai dae a” ‘gotbas {sy doaizg evoda ewobniv edd sonlg of eldieaoy eemooed of as ayad x 338 el‘ exyetoavbe sisa eiT .gniblivd eff to ewobaiw tolto.aq-tiyied ema edd . ik: arr Lis dtiw neitoeamco sedotdas dity tedtepos gals. bas Jno1t. add buswod enoiteeith eeudd edi ai saecos evi yoo gattbast a * poiblivd foodoc edd al eudT .iset odd of oysaacy eit ot eaiwebie yidoet I. eae 39 soitetai oft ai ylerisne beosiq syswzisvea Lie ai ytisreneg bas ,f8L | isda edd Yo nolganol edt 10% seve edt ewode : gotbliod teal odT .gathlind ~bliwd eds to again. oda ty .eldiesog ai fdakl obie toetin yd grithgil ,ease _ isoouretal anil edd mo beosiq eeaisemoe ai essotiase add ,olgne ae avot gal a ie “ead qo 308 .gif ai Snemegasi4s eds iedtis nevodo ad iLiv ete, -elgna od a { edd vaegetaevbs torso groms 406 .gf% af eavdonsad ows dtix sacoiieds 3 eno bas 0S gf aE ewrisse edt buwwos selgas advan: ‘Ratbiovs to ted aed i“ a8 Si gotgnerts ya .gaiw ftel. 10 ddgét to tobimto eddie ¢i sot] tesa. . ty) we 6 bas , beats sdo ed a60 qobitx00 ebis edd to yaisdgil neotéed a0S .y24 i“ Nhs Beet bt .beabivotg od seus sobse16 ged bar Utilidtasooes 8S * , tongiens ed of godinenh edd wode S08 of OCS ..egfi al adelq agoixsY |. iq t ae gagoos to ease eldtasog teatse13 of bisya1 ddiw ensoviave ed? od uk. oeacigeme jaeadiod to edooid egw ai ,erotesed? .yaiblind edd to iusq aisa om bas ,oléianee + ulinauatae ome splewméel boast te hemowes em sesnotiede eas oe te: 4th ARCHITECTURAL COMPOSITION. directions indicated. In most public buildings and in larger business build- ings and stores, this separation is not otjectionable, but it will freguentl: be very disturbing in private or apartment houses. Placing the entrance froi facade to the side or rear beneath the intermediate landing is only permiss- ible in ordinary or merely useful buildings, or in stairways of subordinate importance, according to art. 169. In smaller designs, the staircase and principal landing are placed against an external wall, obtaining the advantage that the rooms form a compact ser- ies (Fig.301). Access to them can occur but in two directions. This arrange- ment is preferred in French plans, even for main stairways of larger build- ings, as it becomes possible to place the windows above princiral landing at the same height as other windows of the building. The same advantage is affcrd- ed by a location, Fig. 202, together with unbroken connection with all rooms, Fig.201. This has the defect that passage must be arranged around the stair- way, not only requiring much space but also a wider passage for reaching rear apartments. jt is therefore seldom arranged in this way (Fig. 291).: but is preferable if (Fig. 203) it opens into a court surrounded by porticos, or (Fig. 304) it gives access to several intersecting wings of the building. The former arrangement is found in austrian kuseum of art and Industry of Vier. na (Fig.337); the latter occurs in hospitals, etc. According to art. 126, in- tersections of compound ground plans are generally suitable for location of stairways, lighted by sky lights, and also when wings of the building partial- ly intersect, as indicated by dotted extension in Fig. 204. The principal landing may give access in the three directions toward the front and also di- rectly sidewise to the passage to the rear. Thus in the School Building, art. 131, and generally in all stairways placed entirely in the interior of the building. The last building shows that even for this location of the stair- case, lighting by direct side light is possible. jf the wings of the build- ing form an angle, the staircase is sometimes placed on the line intersecting the angle. ere will Le chosen either the arrangement in Fig. 3206 or ‘the staircase with two branches in Fig. 305. among other advantages, the last has that of avoiding acute angles toward the stairway in Fig,. 30¢, and one may enter from it either corridor of right or left wing. By arranging it as in Fig. 305 better lighting of the side corridor can be obtained, and a skylight must be provided. 218.. accessibility and Separation. Various plans in Figs. 299 to 30é show the location to be assigned general- ly to the staircase with regard to greatest possible ease of access to the main part of the building. Therefore, in large blocks of houses, barracks, etc. staircases are repeated at fixed intervals, are externally accessible, and are i 08 10 : | pee 9800 a Asie td ‘Yoorg-ert? ve Ute be lata oh cinsaue Sense neste of (mane ah mapa ines gadte 200i 6 douse eved saue agieat edd ,tedto dose svods hetseqe1 yfisqotq vot ov eadgiti - adgiod otisne od? eacetiete olzaia s yd baeoas "sivis tava emg ted? Aigadl « | to ,ytefs tecqu briosea efg auto? folie ,yrote Isqionizg of yiova barby sot? oe sisise dose ob ibe’ 10 bailed beosiq eaasotiets of yd taiog ease edt dose © emononmod goibas ati. te bae ,Ytote TeqaH gextt of yrote Soper aort obeel teat | ets ‘eyawiisva ows edT a (acte Iq isaing end né aes? ehae dsirie 28OI68 eas ond do sdgied etisue Sis dyworuls yalboeisze otto \aolsoenados foerib ot becefg’ uF @ pioliseists ok ssa vasitesé mam ows So soils euler todo ed’ saeltode bemed wt 3 io ar ‘basot si. ote Seoiehe oS ence ‘ait ed? date ,s0re agit aa besnesez¢e% _ wow Jexit edd fst exaq ooced! yse en .snibaal yrosa elt digeusd eins aioe ie pena gail dateq edi of .aedoasad eowls ui bebivih eseotiete ede yd to CIOde ae aK “4 a ees! | _ geasowmisg to equerd TIS” Pe 1 ot | abenelind yates mi beewens ef ot ere olqosg to axeduna easathsostéxd ) geuteeds of yimsluoiswi eeitote sae1stiib al atisg sieds fle of vitiidieesdd > bas tedass edi ai wooo foide eeacotib de toorq-o72? eatewgen yd enob al aldg” "aed to. sae id} cesbtenahatind evisoetiis of beet hae eixe alsa edt to saenegaatTs (XSi ,O8t all , fish gis a as bas ylides ius thted ,sosite oisedsae cd sone wies dtiw ewils ,eigasxe BA * | eblabas 2 ae fied eonsizime sort sung yen ead StS giT ,dbenadod yd .ogtf ts Biireee lt om eantbnns of, bow oladtsoes coun beers 0? « <@ tm goastice obig sot? Sh fe es. . ) [ike Widedehede athe on9 019 30 000 4! sot “git aud? -eoeotiiie' ales bewied sh ays edd oF eonetine odf ai otede ,ytote teqqu Sacose ad? ci sf evods viedek a emoor add Avia aokevetnas edT ..d tel 10 digia of aeissetib sgaado you ao , lind” — hewery a bus agbie dvoi és alisd “4 aeitoda woq ti heyisris ei wer edd’ ‘ak | evista edt diaemed ano yd yi0sa- d ek idug ons Yo aaence efaloyet ot yusemsoot si ti ,.od0 .asenoT se .alind freacoa ban egnibicua edd gotytqne ylioiep 10% ehivorg of yliniveqee ,alteq dnereItis OF” _padeedT ytid qd bebuote ef ,egieed a2 ni savooos otek aedsd dvod ever erin | od .nedto big BV6Es “Sno ‘isons inia owt ui bus gaibiiad ed? to tetaeo ai Suitio” | Se@eaceas © Wo em at-8 RSI qm m O 187 | ARCHITECTURAL COMPOSITION. : termed twin staircases.- Thus"Pig.: 210e is one of the two main staircases of Technical High School at Charlottenberg executed with very imposing dimensions, and arranged parallel to main axis along the passages around the great inner court in center of the building and in two stairways, one above the other, to connect with the three stories. A person may start at A or B and ascend the staircase with a half turn in the direction of the arrow s-aé or B-5, or travel in the approximately straight direction 4-B or 5-A: Also the main staircase of Opera House in Frankfurt -o-t-M (Pig. 814).: Two staircases may be combined in still other ways, when their junction is effected at the upper landing instead of on the intermediate one.’ This may be dont’ when the principal story is two stories above the ground story. Since the staircase may terminate only in the main story, and in accordance with Art. 204, flights are not properly repeated above each other, the design must have such a length, that one must either ascend by a single staircase the entire height from ground story to principal story, which forms the second upper story, or reach the same point by two staircases placed behind or bedide each other. The first leads from ground story to first upper story, and at its ending commences the second, which ends free in the princi jl story. The two stairways are thus placed in direct connection; one extending through the entire height of two _ lower stories, the other through that of two upper stories. such an arrangement is carried out in Techhical High School at Munich, and is represented in Figs. 210a, 210b. The entrance to ground story is found on the main axis henetth the story landing. One may thence pass into the first upper story, or by the staircase divided in three branches, to the point lying immed- iately above it in the second upper story, where is the entrance to the large hall, or may change direction to right or left. The connection with the rooms in the rear is arranged in upper stories by halls at Loth sides and in ground story by one beneath the stairs. ei?7. Groups of Stiarcases. Extraordinary numbers of people are to te assumed in many buildings, to ensure accessitility to all their parts in different stories. Particularly in theatres concert halls, arcuses, etc., it is necessary to reculate access of the public to different parts, especially to provide for quickly emptying the building, and this is done by separate fire-proof staircases, which occur in like number and arrangement of the main axis and lead to attractive entrances. {Plans of Dép- zig Hall, Figs.178, 181). an 6xample, where with reference to esthetic effect, toth suitability and se- curity were both taken into account in its design, is afforded by City Theatre at Riga, by Eohnsedt, Fig.212. One may pass from entrance hall at p, and also from side entrance at p, to ground story vestibule and to landings at the sane > s begnsem yflesimoncoe ons ylavotaegat 476k ud ~teddo dose tave bas abined aadgelt sont ebiswqu yiote basiorg edf mov .eyeibast yd bon efiaw noistiaeg, oviewsa ae te fads x $s eeteniotes doide .9 289417 ond aeay eis] ad? %o jnsquoea a aoa | dokitw .o weve beizwo Jiyiit bower 6 nets (4 #igiiY eesu serit wis Li eds a png 48 d84273 abaevas fetit wit ILI edz Yo dedt Ni Lealt “* 5a ebnte selveail is sui Yo gaibwor afT .x te baal of .o tovd FRI? buidd 6 bas ¢ devo basses: 4 es - de @ 36 ovod? bre eteit 1] bne 1 edt mi y ts etch ti eviinacent ai ot Lda rf: ‘ “en asewted bene qo od saun e1edd tel .beeolo tqed oi weit I e823 To sighed 5 wets edd of bas mae ot wit mai gmigaso 16% fixe asesos isa 19800 of eonle 4 ae ‘Weekt I eft to dd4gied te [ied oons tine eft teve the etete leataeo a bias ,d-o-St0tdest? .sancil .2f1849) aetisedy ogi! ai — ny eit tneweliih eff to 492607 ie sé ebie edt neerted bsos fq ai ht ee ogni yisert 340 aeasoriste shia silt . (reins vd eised ni s 4aq0 bis79) of — bave1g edt -.eveit Lie 10? oviee Ske easotista Isqioaixue edd bavots ‘eiiss: hihi sit to moigoetib edd mo sonszéze niga aor? vitesrth belones af ‘seectints “a en edt ddsened beooiq asyeiiiss soit Liss eonstias Jeo1g odd dguouts bis 0 |_coaveempeteaakainnge ‘dfod .ebtswqu yttheel axiése lo esiyilt ows yd ROS” awnings exitns edt Yo eonsiségas udiaseia’s acubéig of swore ae bevwe ets es ma ‘ cm feta-ebie {es0n! yd w~o--f% ordain x9 nt eagoH seq) PIS gi% a1 .fyieed mk psa gesotisia oien eft to ineren ited aI .ayswtiste beacio at beostg b ai wyoT edt Oo bas exeit ‘ody OF Se 9008 ‘olidw mixes sion ear to notisetsd Rit te oie teom womnonieta etd Indy om sunib lias aif to ebis dose of bettev eee ize odd of ee lyns ares ia: Sneseonemace is siete to agngilt te soiteeribh WitenSlivpst esse edt di ue Yasa mi WOOO ,aixs ‘ead Yo Biniog ativoggo ef ynibsel yLiseupget? | .gicdng : beets ae eosqe bas aacisibaos edt jotted ‘terido oft oO .{eTTS,SIS.agi9) eolgmsce te * wiyes oda 1e¥0 yltoetib 93 fies yrthas edd tsedd beamed ei vneupest isavqaib < Dead 8a70? wilvoeg sinsie0 of yIteiad tele: of aainmet JI GALS gil) gain Sum re eat .(52¢ .@24) atista to etiotit fiyie tte bre gn tbetw to beadd was eer Atiw x0} oo : ai ota seasotin fa owd suedt Yo snoketg hm odo 0 enoxtent aco bas neiy te says edt ‘sitions? * sight cae PA Bess ae begneest39% ated as ef teiito. add battled ono Bei A. agen ial Fe somo te. toonagont bas Inewegosst 3 ee, REL Wid " bettupeR songs 85S” aor’ of m8 geatoriase deadbeat ake ak oboe Heo ee amma Bf) bepsd ¢ Ye. : igs X bag | aN po ak Se OS or ee eh a a ee ce 2 i ag Bits - POPOL oe eT eT eae "—sxAROHITRECTURAL COMPOSITION.. : height by means of the other ascents I, II, and III, which lead from the cor- responding vestibules to staircases of the I, II, III tiers.: These stairsa are both ingeniously and economically arranged as twin staircases (art. 21¢) in three flights beside and over each other, but are separated from each other by massive partition walls and by landings. From the ground story upwards, the occupant of the I-tier uses the flight c, which terminates at x; that of the II tier first uses flight b, then a second flight carried over c, which likewise ends at x; finally, that of the III tier first ascends flight a, then a second over b and a third flight over c, to land at x. The crowding of the public is impossiboe if doors at y in the I and II tiers and those at a@ at height of the I tier are kept closed. Yet there must te opened between the acts, since no other staircases exist for passing fr,m tier to tier and to the foyer over the entrance hall at height of the I tier. In large theatres (Paris, Vienna, Frankfort-o-k, etc.’) a central state rail- way is placed between the side staircases of the different tiers. In Fig. 212 (Grand Opera in Paris, by Garnier), the side staircases open freely into the halls around the principal staircase and serve for all tiers.: The ground staircase is reached directly from main entrance on the direction of the axis and through the great entrance hall from carriages placed Leneath the audience room, by two flights of stairs leading upwards. both steps and balustrades are curved as shown to produce a pleasing aopearance of the entire stairway design.: In Fig.314(Opera House in Frankfort-o-it by Lucae) side staircases are placed in closed stairways. In both, ascent of the main staircase begins in direction of the main axis while access to the tiers and to the foyer is di- verted to each side of the cuilding, so that the staircases must turn at right angles to the axis. The same requirements, direction of flights of stairs at commencement and ending, frequently leading to opposite points of the axis, occur in many oth- er examples (Figs.317,217a). On the other hand, the conditions and space at disposal frequently demand that the ending shall Le directly over the btegin- ning (Fig.2159.. It remains to refer briefly to certain peculiar forms, com- posed of winding and straight flights of stairs (Fig.21¢). The two-branched portions of these two staircases are in semicircular form with winding steps. The plan shows them at height of the uoper landing. This floor of the upper story is partially occupied by an opening to light the lower rooms ty ceil ing light. Therefore, the type of plan and combinations of the two staircases, one behind the other, is as here represented.,: £. arrangement and Treatment of Forms.: 218. Space Required. : Based on investigations made in this Handbuch, staircases are to Le arranged Ae Ps ¥ AP knee AY. ne ae Lee ‘ cessicoeerteatd Sha . | vate 2 ) a0. Pere ae 7 LEE eg ‘ygdhooesg aed i, OF patthnaooe betutiexe ‘das chi" Paige ge abpo det ua" bsiedd ad of deni? ak oeTtyper egage oft hea gawk NS ae “e el gta: seiioty eashpie ds 73 | ‘tala. bepor® “ft Bei! tem. Gmaprhada 20 dtbin bas qoute ase to co ae a * ted de obi bas aaigeaiioa? be Si Br ae @d Od Paes sevia 6 sot enais soitent ont to sist eds tin eonsane sapiagi edT .boxit ydered? at aule etd no sunotin te aig to Adgoes edd bedawe bas seeot tose ey te ytingih ad? Adée Bonns 10008 si dicd es “ogi. ‘eat tue Tale i Fogaoi ei? 16t Ineinevans o108 ahaa od of am yedt cSrigied | eti Adin rf pe “ ateel tigiette s at bebtenas ed of egede to tetavs ent assay od 7. jevagitt i} ates agete £2 ,tdgilt eigale s ai eqete 8 ed (bas. git) pigel 6 igoc eee avd? O¢ seit eotoni 1d eved aqesa eveds ban .2ymibasi bnosea baa saik? nesiad ~ £35. abaeoes sensi ni vos iss som] edd si cqnoticve edt beets aedoré é 8 Be ) gedond 35.4 yrigeteve ,aqeta 08 yd ytove | sable ot (tote bawork ‘sort tt ats ows yd bedquaternti ove oaeds Lis band sedoar T.°F of 3 5! mor nt of aot - ceed} -wanibiind (ainsauaom dei tiagt® zael bas sue0 eron tue olicw eae qa gai OF aa asd? esol bne ,Jigeil oignsce » i aonde a of C8 asdi 70m even aobL ise -didyiad etsishoa 6 4iie Bie Yigsuwea beets aedont OS) of BEI of esi : We a asd ,doae mete UE oJ Sr dedw. pont ios yey eqsia to egdyt tt one acts to aie at tnavies 107 boots eedomi 29.3! of 0.11 - x0} eait eedon i ¢.8 Od ty 3 ga ed tg heets aetinad €.7 as | #b.2 tol eats gonoai &.7 od Es Fried. pats $eo% Jor ai yiods” te sdgied | ‘hgh d 9088 ot? a tava zenit of bseus to ofthis gent betedmemer ad of ai La Ag eas tedy bebsegmoos 1 ai di .wevsgsl odd “Liiqaza oF bess aids cookie oT 0 nant aya peat ho pr 5 edd” aque ‘fia s weiv ai dood od oF O16 OFGLOg gaiwello? add” sao Lenssen goixtt al aed weqged3 te $i gl® to digset eae" “ pybhadl eaoitxe add tage s to dtyael 1, ayatbass seerted aeduatel to ie » moit teds elut iseen ‘gif movi Jedi, ativeot bas velqunae sav ys aevig et - sotetns ei sigilt s a sodaesooue goatib @ mi bewoile e¢ blueds eqeda Sf od SI g2ieinseia io bas yreve to tdgied faves edt ao deasd ef Ji ict ,foesme Ul _ wriele sism as! ‘beyaa tis os gotbasl ojsibewtesal enO gasel- “ge ~deil geiiiupet Lea nedd east toa od of ai tdyil? to dsgaei wsiadt eg? wciore ieee af e8e0 eoata ,tdyili siyiarta & degrd oe) beitino od son biwedea eddie ef jess agede ein ve auoreyc6s gacuet aave you das eta ,bedgolstve yolzee ous vers pett ontntere ods os sete dose fred Santee 3 en iesevea Yi tip oF age, < a ee aed — ——— ies a ee 7 > - — eee o> 129 ARCHITECTURAL COMPOSITION. . and executed according to the preceding principles, - The space required is first to be fixed, and depends upon :- Ground plan of staircase, whether single or double, : Height of the riser and width of staircase, - £19.° Inclination and Stride.: Commence with the rate of inclination, since for a given height to be as- cended the length of the staircase on the plan is thereby fixed.: The tread and the riser are both in accordance with the dignity of the staircase and also with its height; they are to be made more convenient for the longer flights, or the greater the number of steps to be ascended in a straight line.,- Thus the Scala Regia (Fig.284) has 90 steps in a single flight, 41 steps being ~ between first and second landings, and these Steps have 4.75 inches rise to 20.5 inches tread. The staircase in the Ducal Palace in Genoa ascends 25.1 ft. from ground story to principal story by 80 steps, averaging 5.25 inches rise to from 1¢.2 to 17.7 inches tread, and these are interrupted by two walk- ing spaces, while our more recent and less dignified monumental buildings seldom have more than 20 to 25 steps in a single flight, and less than 5.5 to 5.S rise to 13.@ to 12.0 inches tread scarcely occurs; with a moderate height of story, two flights of steps usually suffice with 12 to i5 stecs each, hav- ing ¢.7 to 6.9 inches rise for 11.0 to 1Cé5 inches tread. For servant's Stairs, 7.1 to 7.9 inches rise for 9.45 tp 7.9 inches tread ere vermissitle, when height of story is not great. It is to te remembered that ratio of tread to riser must be the same through- out. To effect this and to Simplify the figures, it is recommended that heights of stories be made multiples of height of riser, just as the length of a flight of steps on plan is a mnultirle of the tread, thus requiring heights of the stories to vary slightly, (Not usually practicable). If the number of steps has been fixed, then is to be determinedin accordance with the chos- en type, the division into one, two or more flights with landings between them.- In fixing dimensions, the following points are to be xept in view. : 620.: Length of Flight of Steps. : 4s for distances Letween landings or length of a flight, the extreme limit is given by the examples and results just given.' The usual rule that from 12 to 15 steps should be allowed in a direct succession in a flight is entire- ly correct, for it is based on the usual height of story and of riser, also requiring that at least one intermediate landing Le arranged in main stair- case in each story. The mininu length of flight is to te not less than three Steps. Single steps should not be omitted to break a straight flight, since they are easioy overlooked, ‘are disturbing, and may even become dangerous. if several flights of steps extend above each other to the different stories 3 Fie Be @ aye fen wg odd Yo temengunree ese irqorce Arba? | grrr ocean deibdhon of ‘gen eghte ud: om enlinds ‘mowol peta em weitom to aidgted edd Tl -.ylgothreogs beaseros gaibasl Yo dshie ade oe < ee i guisilaipe to scsen Abtotts eiinds eveqi to aero ieotaye anette fib Yee f. ‘edt of bus botsino yletiiue od yom digits wibbia ees COX. yi af coats ott x va ek grote bavory ‘ede +1. ‘gewrieie off to débie etitae ad wevig ed gaibaal 09g G Is Sdylit s améxitetg xd beibese: of yes aids .yiose iron node wedgit of seviy ed bivote alsgae!l Isuge erurpcarts fsLoeqn 70% SqonKe out 208 fg 79d - ai anwd edt désened tends ‘ewese of , vedio. dose devo beos fq suede to asdigh bt ei: abrlds~owd aed. awe! jos iooisbeed foeteltivn eisset bisoda evel? aziase ade moe _s¥%ege edd to sey tes eng edd wot-contd, © st ae ‘BthIG Yo dighit Yo debiz 2.688 0 | hidotitien ° re 3 ‘totserty ed of af agete Ye dtgasl so wsisde odd to thin of? (#2 bas -,aebis died 1 ens mo gego Tf ond? , A(eateda xo) allew bia ssented © > quar onl ‘Odgtetse 6 ci ehaetxe digilt eit tedéat eds .widsoty ed oe is tena ., ayathlind isssemumon ai teds q{iisreasy acinges #2 SLE AS : ett ni anoéa e% wtiete betloasii mi bas .ievevas toa af $4 88.8 of S.8 aort existe Yo débke 8 eee feuetaia 5s osis ai esant -19biw fide vllatemes af gilt elobim edt Bseno e i Ms “eBay & ai nels. ‘Pimaasoes: ai-ddbtw GESTS 8 16% .aodonesd ove oi etiada 10? ealed od yom eda? eee heeqqs ‘od Sod G2 bné*Gedu od @2 Bi ,ecasblaet edsy es eat at 2.2 of 30 .b- de-- bas sdgels olbbin eid 90%. ‘482 SG.5 tuode-: a8 page i a g8iyilt ebia ge Waves bey ie ‘Sgt to ensiensnst BSS - > 7 ae es niet ed? isupe of ai dsbiw ag2:ded? .gsivas! ed? rot eivi.6 ef #1 iY ia “ogarragl ows. mi ensoxte da 8 rad eqe ta Soe $aQilt sewowrsne edt to tad? to goss “tadt oe bitte te ‘Adgnel ot Isnottieqoiq od of af atibasi To dtveb oils dud “tk no dons aedoai 6.28 ot 8.IS to aceia yweatbio semis 16 one ofed yua arg , eroterads at fi bas taless gtiede ed? to taeces edd odea Sf Cliw aedd vtao a i “ay Long dase inteb ‘eit: ot ei ARES usted A ageneg! at? dino yfletitae- Qe: apédied ‘ a ye ‘) Bi ai t va :: oP F : gnirdgt £88 } a: ree ed? to eons iseqds . mn gaemegae tes so eousdroqus dnerth to af eee) hie 3 ,daaerqad anteasde bra eidseatas as node yawiiete bs! reii Liew. « 1% a (Ps Xiienndec oh -.gseTie swoimerwdst bas dasessiqay as geoubo td aco tsk 6 ef et sevooTlH .gaibaedsed to gtibasous mi ysiwoeanl to yrilosi » cod? eval mY ‘Cipleoalh ‘amoot grintothe, to -yetedgis gowrihst 103 oeis aaviea ylienan yseiiede” | on. d2 bas gigil foseth send weitedecoaponio ‘fle teban tena yorrlsse edt ev i Sneween wpalsisrtear get Pevaw edT .aldienog.es yltasbavds es beligil of | | _ a rhe: remanded es tas fsewpixe os fenkeys ye : a5 aM Ly Fea? SLES. APR CRs aie: ‘enit to otet agqoug, | ay ‘eh bpe aes Des. - ae oP é 7, nica ee ERE Or ae a ‘ — Sere 170 ARCHITECTURAL COMPOSITICN.: with appropriate arrangement of the plan and equal heights of senen: they - aust have corresponding head room; if heights of the stories differ bur little, then in lower stories one or two steps may be omitted from the flights and the width of landing inereased accordingly.: If the heights of stories are very different, typical forms of space stairs afford& means of equalizing them, since in Fig. 209 the middle flight may be entirely omitted and to the landing be given the entire width of the stairway.: If the ground story is higher than next story, this may be remedied by prefixing a flight at a pro- per place,- But except for special reasons, equal lengths should be given to flights of steps placed over each.other, to ensure that beneath the turns in the stairs there should remain sufficient head-room, not less than two-thirds to three-fourths the height of the story.. fei. width of Flight of Stairs.: The width of the stairs or length of steps is to be greater if enclosed Letween side walls (Lox stairs), than if open on one or both sides, and it must also be greater, the further the flight extends in a straight line. This is shown in Figs,: 264, 311; it results generally that in monumental buildings a width of stairs from 8.2 to 9.84 ft. is not unusual, and in tranched stair- cases the middle flight is generally still wider.’ There is also a mininun for stairs in two branches; for a certain width is necessary, even in a pri- vate residence, if it be used and is not to appear mean.’ This may be taken at about 6.56 ft.: for the middle flight and at 4.92 to 5.25 ft. for narrow- er side flights.: 222. Dimensions of Landings.: It is a rule for the landing, that its width is to equal the length of the step, or that of the narrower flight of steps in a staircase in two tranches.: but the depth of landing is to be proportional to length of stride, so that one may take two or three ordinary steps of 21.6 to 23.8 inches each on it. Only then will it make the ascent of the stairs easier, and it is therefore better to entirely omit the landing, than to insert it to the detriment of a proper rate of tise: 223. Lighting.. Lighting is of great importance for arrangement and appearance of the stairs, for a well lighted stairway makes an agreeable and charming impressi,n, just as a dark one produces an unpleasant and inharmonious effect. we naturally have then a feeling of insecurity in ascending or descending. Moreover the “Stairway usually serves. also for indirect lighting of adjoining rooms.’ There- fore the stairway must under all circumstances have direct light and it should be lighted as abundantly as.possible. The usual arrangement with the land- ing against an external wall causes the lighting of the stairway by side light, at iis st a _MOE2TBOTMOD inswroneniona BY #e,.€ _ er "008 bas ees app ae ae .Ytoga eds te tdpien-bim iz deosig gnind awobaiv, add y eds iboaretat @ingtitoe(,oug vd yliegowq tnewqgs chee ed. enotords Lidm stat ered rohtssxe eit 0 tibiiwd edd to saat) edt baoyed yewticse des galtbasd ted stohisint edt ai ayiseb eft to tnanqoleveb 3e% sosge etcm painiesdo xd a ezottd as sdgied amse edd gs becetg ed of gan ex yortista odd to awobile. edd q DP cseae @idt base yoibast I[eqtonisg edd eveds bess fy ed bleole yads jamooy eid To a eget 10 jtibesi s xo% SOC bas I08 agi ai as [ise ieawetxe se secisyy; 0d eS te | tes tcoenal ai eawobale odd to eos twe mrs edt seomws Jeo ot etindg,3e ~~. ; lau bee cunarthnee edd 22 dads ietedseast: ed of ai ei ddgiiuie & yd gnittyil at _ §etoss wewol adit ai siyil ead %o ytianoini ,gaiioje istevas fgvotdd abaetze z at ewobsds edt yd bemesue! qiseery setitml ei i bas ,beoubes dows yilewdsr #f a a 70% eldsdive asiq « teua ying gon. 708 3%. gi as - tinie to. escyilt oa Ye gaat yiev obese od Jaum sos tae gecetget ode aud ,aazodo ad sdgil to notes iste tb, ai benisido ed exo teieds save bis ulenerg aettih ylsinespert etuenenigged fe @eiiose sewol ons ent dyoosdd gothoesag soasoticse edi al .eoaso doemet _ ntascoi tue ai ysote bavorg. onl: (bore. 3ea) taddrese tt te logics? istehet- ad? Lied aisle teqgy wort aw ob yi ieasg Sipdl obia agit eds yd besdgtl. gi sad to Boe ns eved sedsegot doidu ler sewgl ‘Ye gailiew si, eyainego- one d “ 007 edt to seis 10lt edt to itacqsonia~pno juods 19 , .42 -.98 DAO | 1208 digiiyde to Bar adit (G08 Aci) basatings .. Pe welosk soa oid te spt Hales “wor swohit: ols "etqmse deel odd eewsiats ole ‘Yo agigild : bie baa. patie: eee cad aspiaeb al .audor yriniojbs goisdyii Yltooukh sot bogilisy ed vex sdgal | ertisie 3 to noite lisnev daeioitiva ebiverc of seosed ed dham oreo .ecibtl oe a path | , £Or.2w ttis eoasbwooos, 2 Be oo eS ) | eet te gaesteesT 298 ‘ fend ai eseotiste eds te ate bas sone 136496 lausdoos idozs ai ytotas¥ iiss _" yewaieds beeols ». Be pitibaaces eesotisda eft ..nsig navorg ett vd boxe? - eone1dae odd dtiw agiseh, RUoLOS CR s oint besidace jad? aoxt faexettlb ameq a ad eo wais ai ‘Lied eunoriega ads to ineaisa1 eft floweg 30. .ootizog , fied ‘* 2 ' " beitev ytev ei aavot eis t¢ taomsae7! .ysetieta eid to eens a0) donivakb mdse ets 10 fdéscned sett yletisne em aqoda to eddgilt seddedw of yaibuogps | sxo09b aheds bas arisge diaenad as luay a0) ad iany 19 mgt aretg ud. ze poeta ‘ 5 edt - uulesees ‘eds yd bedsest | pti? edi@ 90 eegasds ods bus sotten 171 . ARCHITECTURAL COMPOSITION.. the windows being placed at mid-height of the story, as in Figs. °c$9 and 300. ‘This will therefore ke made apparent properly by projecting,he intermediate landing and stairway beyond the front of the building on the exterior; there- by obtaining more space for development of the design in the interior. but the windows of the stairway are not to be placed at the same height as those of the rooms; they should be placed above the principal landing and this should be against an external wall as in Figs. 3901 and 302. For a landing or flight of stairs to cut across the glass surface of the windows is inappropriate and ugly. In lighting ty a skylight, it is to be renenbered that if the staircase extends through several stories, intensity of the light in the lower story is naturally much reduced, and it is further greatly lessened by the shadows of the flights of stairs, As in 4rt.207, not only must a plan suitable for admission of light be chosen, but the lighting surface must be made very large. Requirements frequently differ greatly and must therefore be obtained in dif- ferent cases.' In the staircases extending through the two lower stories of the Federal Capito] at winterthur (Fig.310d), the ground story is sufficient- ly lighted by the high side light passing down from upper stair hall through two openings in ceiling of lower hall, which together have an area of only $7.& sq.. ft.: , or about one-nineteenth of the floor area of the room.: In the © House of the Museum Society at Stuttgard (Fih 209) the area of skylight amounts to 172 sq.ft.:or about one-seventh. and is admitted through well-holes tetween middie and side flights of the stairway; the last example also shows how sky light may be utilized for directly lighting adjoining rooms. In designs for sky lights, care must be taken to provide sufficient ventilation of stairway in accordance with Art. 1032. 224, Treatment of Foras. Variety in architectural appearance and effect of the staircase is first fixed by the ground plan. The staircase ascending in a closed stairway ap- pears different from that combined into a spacious design with the entrance hall, portico, or porch, The treatment of the staircase hall is also to te distinct from that of the stairway.: Treatment of the forms is very varied, according to whether flights of steps are entirely free beneath or are support- ed by piers, columns, or vaults (For vaults beneath stairs and their decora- tion, see Art.172, Figs. 228,229) or are supported by walls at one end of the steps, or extens between entirely solid walls (box stairs).: It is less necessary to consider differences in form produced by construct- ion and building materials, as these have been discussed and have been illus- trated by the examples. The balustrade or railing always follows the incli- nation and the changes of the flights of stairs. 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Pee wet x6 dete solseganoo iselsevaos eini sesottite ois gakad of sebt6 ‘ak “OLtes ins Biss wed, edt ebiwwot deqo blwode [hedi' "Bonstdae te webinseo sid ,dason ed? efetagee: aiiipet eiwo abs eldiaeog ies "Gdd8 cn oben ed oF i 22 OF mReone ‘eds dein Koksédacco agi bait © " $iv0s ens RF ottsaol ead esiwiedi0 - geonstins x snot ‘st o@ ylac ad eter ifie 3: bas jeoliloy eit ke ‘ar0t edt ao Buages ris iq Be ¢ f Brae wi: “gtisb ans tS (irae ‘3 Ud beiiupes: ei be Be ath. 3 * aa wot Bazew 68S edt ates .teY _.oldéstina tea bas toefquia Atod at nalq wivgessoan od? . beaoqudo ‘ear? wtS 46 fesitgri "me ThSato _inaoyelog .elquexe gaiwoilet ! Jeieee si ti dedie Geibiied ' Nia at nd” 26088 demttemce ‘eoni! filginate Yo ‘iE — Pu)8s ad® . {G88 .gi% bas SES oad) .mrot S8Téges a-tuoo ait evig of teed yf somos baa jnebsaeaory Ud betobros 10 .2edte' exon ro"Sto so aeqs eeulsouca ai . pedbaporwe efT hermes | isnx8fat) agntbtind ys beedions ylorééae af genie aa sopizenoe gated’) ¥ Ctiuoiwy ‘oble ete yaiblind edt %6 -wdaaq eB _ ritdinaes oid sadsee Jeon te aeoaws feito ed? .wsiuose lewves al aeaisenos # Be T gaed yLiswiss af ris bas digit sssdourde get whortik to st at -d ake aied? 16% aego ylees? ebia eno sadet $8 jatved — = Sipeageeacigcess-ocearked eepatbited Sd ti ary, “t . e, eu b ‘a j a ear! = ’ * * 4 eae Oy Cre err Nea ae a ‘ ARCHITECTURAL COMPOSITION. The mosques of the Arabs were also furnished with similar fare-courts,: with these picturesque desigss are included mediaeval cloisters. They were sur- rounded ty buildings with cloister aisles in the lower stories, behind which were the habls and other rooms of the monastery. One of the finest examples exists in the Monastery of Maulbronn (Fig.222); the cloister adjoins the north aisle of the church and is enclosed on the remaining sides by halls and other rooms of the monastery. But fortified courts of mediaeval fortresses and cas- tles appear otherwise, but belong to a different eukject, which cannot here be pursued further. but it is especially in the creations of the Renaissance, particularly in the courts of palaces and other prominent Italian buildings, where must be sought models for present use and for transformation of these elements of architecture. Consideration of a few typical examples a'‘will be useful in the following study of arrangement and treatment of courts,: a.: Arrangenent in General. 27.‘ Location. : Courts are ore tag ip plan and ue tikes according to their purpose and to the conditions. eapurpose fixes the location before, within, or behind the building, then the formal treatment, and within * certain limits, their space dimensions.: The arrangement and treatment are different for a fore-court, from those of an inner-court; for a principal or state-court, or for a side or rear court.: With regard to the relation of the court to the rooms for com munication, in order to bring the staircase into convenient connection with © the court, the corridor or entrance hall should open towards the court, and access to it is to be made as easy as possible.: Side courts reyuire separate entrances.’ Otherwise the location of the court and its connection with the plan depend on the form of the building, and it will here be only so far treat- ed as required by a study of the design of courts. 228, Ground Forn.: The rectangular plan is both simplest and most suitable. Yet, as in the following examples, polygonal, circular, elliptical, or other forms composed of straight lines sometimes occur. On irregular building sites, it is usual- ly best to give the court a regular form. (art. 235 and Fig. 323). The court is sometimes open on one or more sides, or bordered by promenades, and some- times is entirely enclosed by buildings (internal courts). The surrounding parts of the building are also variously treated, being sometipes in one, sometimes in several stories. The chief purpose of most courts, the possitil- ity of introducing abundant light and air, is naturally best fulfilled by having at least one side freely open for their admission.- In many kinds of buildings, as in hosputals and insane asylums, prisonm barracks, etc., no arena es japan” re “sanoesot yusiaee tot oLd es la194 ai ¢woo 26 bats redso ee anolanesig = 855 i foe qs “sons Sroga! to on fs ai adsineonts eosqe at Yo soiveninusied =i Uler os $30 & gnkbavotwe ayatbLind. edg AT - “s@taug0 beediogs to ease af owol edd setae son fiw $dgil. jneiok¥Wwa ,ebiw fon. et Imsoo edd baa dgid re - tarit etotered{ ot medi ai ewmqel sexooed bas eetengaia tle etd has encot ; weedy tc esisil avaiaia sievteo Sas aval eft oF Sdgtet Yo otto ed? tebiamco me 5.08 eonstwist itiw bexit sud ,etedana otu loads atk beaae que ton .snoiesenib re yeni bre shade ,dieod eff 2o yse ynave ed¢ déwaned bead ato} bse adeailo _ bios bie briw mort soisowsoi .A2 so% jJaemelowi efi ni bee .Detiupet ot Sage ,Belysnsoo aise ak smoo ed’. 10% eoiTiva artoignemib telisaa Aouu sictetedT #1 ..sue ois to ayet.edt.og neyo wiowved feus ti eastw bnotget bloo ai andt mit Davote gaiblind. eid to fdiyied off dadd ynemte® ni beauags yiietemsy ai _ wievog xino ai efAT .sa0o0. ‘Bay to fthin edd Dutdi~ano svods oJ biveds s1uge AAgiot bane tasdxe otiias alg cede. .wisesonan vino ei bas aseao 618% az old okies sevi ai? aedt-newd .qously 6 de Bese oi oF Yliase evs face sdf To - pkidug e shih bagsetts - dmoo o-70% .one egetevs. 18 a6 Hels’ ad ef yiao at Deculbes tegaeaunon teets yi bebavotiwa bas esnerrias | eeit 10l yaiviea ,oteups- carer iavod tingsu edd eudT .seviy fete add dgbiw tedset4 « setingss ,egat (sivdt odd aouit $\f~4 tuods ebie ast 107- aed .a2iaed at stvuci edt % $2999 AE email bas { aioneyd tebey fooze! ettelt yé shied eatiw Jeewol edd To Pe ase gote fos edt 101 asaitive jdgies eds esis o¢ isups dtbiw -« tof shes pare? gid ete itowngy! bre. (isostie, ace at urgisiaog 6 gic? 480 wvaet “send ni elianictis tobies.ai oftex irs sud eencos ft. suoo edt to etesast dgbaw edt bald o0 ,1eworwen od ys sisvco store Uistl al .etiwoo beaofose had —ioqotg oil ~.emyised sabasty old wi lao tdgied sad yaibessxe 10 gull loupe $o afiwoo mi bebaciai coed eved of emege: dwhia bos Idgked Inupe 3° rods be: _,o1Bups aeaisence ew saat beite4 gonesaisne® od to aytiblind botox ones * oS bas ,psootsT ,pue thd tc etnies lutiguced eft ai we .talugassoes aeeisteaod vat wlitw .aone! ni tiisewoal, 2» fetiqeol to fede bos emo of essa le eaekutet , omen ai sitelisons2 to Jd1y06 fasyeis ond obin rads todgid wenifesos ams yond ia > “pong 11. ai sonst daaowe: to swe elt bre. 2% 92 3 tends to ofiet en? goived | oN OTE eine el isthie eit ,aisuco. we iiedt tom ai. twa.-.5 of 8 suads Yo ted? | ve } “esel ‘gove to .ddgied edge S\r of 8 tastettib: a arokievieaso wont _ihgied Yo am@ienesib eiu losis eds 07 ga _psenten ae mort bar esaco betigil yldadqooss ioittivs aumiaia déiw J2wo9 beseatt vet S88 08 3 2.68 aadd. enol ous a 175 ARCHITECTURAL COMPOSITION, . other kind of court is permissible for sanitary reasons. £e9,° Dimensions, : Determination of its space dimensions is also of importance, especially in case of enclosed courts., If the buildings surrounding a court are very high and the court is not wide, sufficient light will not enter the lower rooms and the air stagnates and becomes impure in them. ‘We therefore first consider the ratio of height to the width and certain minimum limits of these dimensions, not exrressed in absolute numcers, tut fixed with reference to climate and form used. beneath the sunny sky of the South, shade and cool- ness are required, and in the inclement North, crotection from wind ond cold. Therefore much smaller dimensions suffice for the court in warm countries, than in cold regions, where it must te more open to the rays of the sun. It is generally assumed in Germany that the height of the building sround the court should Le about one-third the width of the court. This is only possi- tle in rare cases and is only necessary, when the entire extent and height of the court are easily to te seen at a glance. sven then the given ratio is only to be taken as an average one. For a court arrenged like « public square, serving for free entrance and surrounded Ly great monumental tuild- ings, requires a greater width than that given. Thus the magnificent Square court of the Louvre in Paris has for its side atout f-1/2 times the height of the lowest wing, built by Pierre Lescot under Francis I and henry IV.. Yet a width equal to twice the height suffices for the court, when the ob- server can take a position to see cerfectly and appreciate the entire archi- tecture of the court facades. but this ratio is seldom attainatle in inner enclosed courts. In Italy, where courts may be narrower, we find the width equalling or exceeding the height only in the grander designs. The propor- gion cf equal height and width appears to have teen intended in courts of some noted buildings of the Renaissance period. These are sometines square, sometimes rectangular, as in the teautiful courts of Giraud, Farnese, and Borghese Palaces in Rome, and that of Hospital d.° Incuratili in Genoa, while they are sometimes higher than wide, the elegant court of Cancellaria in kome having the ratio of about & to 7, and the court of Strozzi Palace in Florence that of about 8 to & But in most Italian courts, the width is only from 2/4 to 1/2 the height, or even less.: 7 4s for the atsolute dimensions of height, from observations in different acceptably lighted courts and from comyarison, in Germany an architecturally treated court with minimum sufficient lighting should have a clear width of not less than 29.5 ft.- (to 32.€ ft. with a height of at most 39.4 to 52.5 ft.- The eye oan here see but portion of the interior at a glance. ith so great a height, it is necsanery that light entering through glass roofs should in ia a s bie sd _ MOLTi208se- dan TOATLACAn | aie” hae is 1s ee Sal wd eas e4t <1 betoustedo o4 of sxivoa bls bt ‘ Moltosa . , 83 - oehe ab Ft gl? at baomageeree wit .eyntblled dyhd yd bescloae eiiwoe 701 4 WOH oe pues od? gatiae yi tdati to soktoubostni tested «07 beyel _ ppebde, ear. aed set git ei yee abge ati «In 3408 tower ed P1200 edg 31 6d a bat } by as oo yew aidd ad pedo? xotgas «J Yom enoipreqoig nersy on? eat _ Batibiind ya benawoTine lis ified atmed beeoiont. .J ‘~ ent elmo) beonsd tes | Agree Detixdso ai apepos ;Fwoo 6 oi. soden etegpa--s to ewsolons Ineoneat34 wei 368 BS Atiwwiads igi toannoo oassh ti 40: omeologs adds ntdétw bis ,eyswedas to elie ys ots Biwoo eased) eweoioge to ebor odd of ‘yaibresas ,yatblén i ieee 19 vislge Aego feo and otec duyes ‘edt at6de inenssert beiuey taou efi¢ ae suv ORG ,Aycvose, poms tt de twodgiw so die flew & 36 staianos emaolony sit autos 10 n04k tetiis dees 39 aon - ‘wieoigas ne B64 ti ,4isw on al etedd 949 2otwd ye evaay ‘wtrroaque asim Loo bas esi fifo ig chemuaon te - feue e2t0? tistt baa ,somel ei? ose 1000 od eisviedné eldssive so neosie ote etl 9 tives ban lessoq ed? .YaMeds edly to ate foes ions eit ot hetive od =a ul ln th geod ef Yidaes yet? to dows ledemuiat s eat beisets. aamiteqos se f | 83 gi) neqood-~etsg ad2 to} ascot yoivil arin cs powtets wideilgio .saaulos aii daa 29 TGIs F240 TO} eseinzoiggs eacitnxessG tia: “eat to RI wOS wy%ni 102 vita afigoqag" ¥lisepe em , we aaieiauel aR WOK "9 ) eng gik pane 5 ei allit, m3q0 mu ylotem ,ak o7.bs sabe letevee atads -.baga rane P90 ab gee % to ten? od java aoiaaetqel etd .aed? yiigetegea 10% olist = fme eds gaslons of a5 Liew es ,a0 i gee 288 2 t0% .etteq Istevss ofa bebivée oR “40 end MO beget vac BORE 109. lis neao 40 Liaw biloe s to bevtagi ae evbix iso 19 Xs.0 fIe1 ots ysds bas edie IHorl. edz no ullisiosqas .zebka : ee. epwood .smwon sit ixen neyo sis! bas {few tate? xe m& yJ besolone ozs a Yate 82 PMETOMIGS IMP T AL bas qizup itas to axyaiblis yaem ni swws0s aud?y be ae log _(asbansze14 Asn i » ato lio s Hoitisidzs of 20MiasD oF betosiie yoied ters . at ek gcotioy qs Ovinvoywe Fiw0e egw! « te vigesxe vidston seom 4 ose 49 yoinetin gt sati-olqaes odT (SS nif) atfaed ni yrelisd isnotis4 ad2 a oy avitoslty Ullsiovase @bea of aystbagorwe etidine efi to bas yatblivd wid aso pes:et) Yilewicotidow ,@2ne6 aids mi nedsT .Jumoo eff to ayterh ef? ' content: vi betavorws ativo> as ‘betsbieaeo of esiwedil bluata aeitwete ; | sede Sag 2% ssaemsoo doisw feaisys efisw (2S 968889 a at 4 |. Béwod-exot” "363 ayarbLing secret etea yi etl iis no eseoloas: gilsuaw son. 8 eswoe Sud. : “pave¥ ‘Faw ghG TT itauypest odd ei gid? weble ote 10 enc mo meds nioibs ee = bli fais way age ‘Yt Sead “etede. . 989 Rete 4 nesoidon eeosisg af | Se peallip eee. a. i rile; ods a0 y Yisoorth. ft ae eee Paid | her 172 ARCHITECTURAL COMPOSITION. . nowise to te obstructed ty the structure of the roof. £20. Section.- Fer courts enclosed by high Luildings, the arrangement in Fie. 7:2 is also employed for better introduction of light Ly muking the court Larger at the top. If the court ke rectangular, its ends may te higher than its sides; the given proportions may t«- approxinated in this way. vu. Enelosed Courts Partially surrounded by Euiidin,s. 221. Fenced Courts. | Permanent enclosure of a square makes it a court, access is oct-iined througi. gateways, and within the enclosure or in direct connection therewith is the tuilding.: According to the mode of enclosure, these courts are cxpatle of the most varied treatment. where the court sajoins on open syuare or street, the enclosure consists of 4 wall with or without entrance gatewoys, ond where there is no wall, it has an enclosing fence of metal, either iron or tron, of monumental design. Fbiers and columns supporting vases, spheres, etc., are placed at suitable intervals to decorate the fence, and their forms must be suited to the architecture of the gateway. The portel and carrla.e entrance are sometimes treated like a triumphal arch or freyuentiy as deep pvateways with living rooms for the gate-keeper (Fig. 2&9). . Cecorations appropriate for oren squares, such as columns, otelisk:, statues cr prours, fountains, etc.,, are equally agoropriate for lurze courts of this kind,’ where several courts adjoin, merely an oven grille is generully cref- erable for separating them; the impression must be that cf a single court divided into several parts. For a separation, as weli as to enclose the court, instead of a solid wall or open grille, vorti®os ore arrsnged on cone or more Sides, especially on the front side and they are left oven on toth sides or are enclosed Ly an external wall and left open next the court. Courts erran.e- ed thus occur in many Luildings of antiquity and in recent structurss, the latter being attached to casinos, to exhibition tuildings with crosenades, etc, A most notable example of a large court surrounded ty itorticus is that of the National Gallery in berlin (Fiy.224). The temple-lise aprearance of the Luildins and of its entire surroundings is made esrecially vffictive Ly the design ot the court. Taken in this sense, architecturally trestsa ces— eteries should likewise Le considered as courts surrounded ty portico-ligze passages, walls against which monuments are built, ete. e222, Fore-Courts.: : But courts are not usualiy enclosea on all sides Ly tere fences, buildings adjoin them on one cr mcre sides.’ This is the freyuent arrenzement found in palaces, notlemen's seats, etc., where instrad of placing the aoin Luild- ing directly on the street, it is set tetween the court end th: zsrden. Low Eaerroe! “e bende g Py a" Stevie sot ¥ylieoa babi vos sie Seas ta028/ fowerse , duos isyioaitg a8} : bad beg te ib .teitncol diiuy ae. dowa tyteeb ait to @agedoavos eit pau ishive ew oe ans inqkoar *4 ed? to sone 19496 inuie 349 oti ee0s1n3 2 ry &! yaoe ‘od teiivong , Sou tty to soineddied tedesty Ilite a. eats vid 40 staupa wuld txon tasbiv “eenin dgad a eitbi ius Xd be dma LY «ig. to: i1w0e ent +s inléad tien to wed, ~— abiawed lsbiw at yatine iniwib has ivtiques! bas bettid ih ys ‘inert dae ms dtie Gude bedubexe wi aelLicate? to 256 Hes wet q9ite ne ad Ysa eigtoetinors ati auongzones ‘eda ofecs elpbias elt erlets evit 10 sould ofnk euiy 10 aeasiss 4 48 ext P bef, “wb TO9Re Athia thedt as2id stig) asieis ebis ed) neds wablc qidenpbsenes sem Ae sheil oria Ayih ns dade o8 .tetigid ayewle sucmls usw bane anki iets P% ad yak ei Ypereveeet elels. atie To @1601 teve elain weiaco ef) oa) seapbotict 64 b lice a e 4gnol wited: enmuloo teqqe edi ,eoleje bis weve dv yiesis ql isges etee asi : ae “afotas bas eias cise-o4f M0 .elets: welneo wif Jxon sebettanicd. tight: ‘isis. bes: Me any * yd beegloae sosqa bas ist & oan et ja odd wc eenitezor Agurondd: dae eid ja ub — seiog. xo wsivoiio 6 to w1ot ads soo! yf lauee doide leneding eid; sober teu lid eae soit caed' eat .eihd bentotbs ultnos got Bagot etenibrodne | eke 1S Att. etluey cals eee Sud ,geiiies Isintsirod s Ye ‘Betewos ‘Lin teted. a at, yse bas (ras gt) anofaneaib 3,151 to sew exon as eélwk soi fieed: at ie E aesaes to eofiiaed ot te) eotlived isiotaseo a7 edt % wee e a6. aede? eo “ettta eupiinis | ts ‘Qo eqyt ed? as berebienco of GF es (Sah fF) oe of ead? bas anode fate tins 4 to moldeiao edt yi ovaitetosmio «i taatot eff bled “abd Yo sdic wWyIGl oft gaoks exoot ofeoihtodue anoiseun to soeslelaw aa es - geaol off Yo qely ai? wi evod Yo Yddion wig iti sokliacd boigcu -avit eebie iwot (is bawdte eaigis obit fo slibiesxs ati. y Lie Soegee: @f. sokliasd, t —— iefacgivod © (ino sed evied- blvoo siist eutkivec eft edt tnabive af # ‘gesaeo seade .eniitutaacd to ssi line? edd ef siimixejoawdo easel fal ght ae wed otat fabivit: mege 17 34 to tidsy ators iseeolos ¢ ed cemras ef fade, | eelumo diyin de atiosy fecaud words yi betevon. gitied eslaeis etic eit aed Tena lapsed PLR eid ie taouwit edt evesoes alveetuds toad? .aiee eft od + ad | | @ited te slist -f55 ne Waited asnod ots 6 abled Inco! tingea eds, ots a0i Lies agp hse OF duet i ed saeaagtie7 euse ef? ten10) edd ae nolugetixe ema off quad ds cite ok. bio? ak edi Jas Jasoo tg wolliand sid: le Inpueyastes seam ott “reset qgrs TSS .pi7 sunt ai netseloa}® Yo wanit ok dam skiegewe to adios oe Ao ia? paRE <3 7% ) anime £O% yitsootone henisxRs o1se aiaiay, prhyclsys teed e | on a ist soot ai aldon a4 dani, .iled lagioning add | Tevet vg ats eames auton 12, aRCHITaCTURaL COMPOSITION. er Cities of Greece Ly Grecian writers, we may assume a certain similarity of their design, to the Roman Lasilicas. The name basilica was first aprlied by the Romans to covered halls adjcining the Forums, which served for neet- ings of merchants, for sittings of courts of justice, and for putlic busi- ness of all kinds. Yet Roman basilicas sre not Luilt after a generally ac- cepted model, any more than any other kind of Luildings. The resains of ba- gan Lasilicas vary from the rules given for them Ly Vitruvius. owever it may have teen with details of the design, it now agppesrs to te settled that the Roman Lasilica was a rectangular hall, crotatly with clos- ed sides, and usually with such a width that to cover it, it was divided Ly rows of cclumns or riers into three or five aisles. The middle aisle then was considerably wider than the side aisles (three tines their width secord- ing to Vitruvius), and was almost always higher, so that a high side lieht could te introduced into the center aisle over roofs of side aisles. Galler- les were usually arranged over side aisles, the upper columns being lower and with high balustrades next the center aisle.- On the main axis and usual- ly at one end, though sometimes on the side, was a raised space enclosed Ly balustrades, the tritunal, which usually took the form of a circular or poly- g0n2l niche. subordinate rooms frequently adjoined this. The basilica was kenerally covered by a horizontal ceiling, Lut was also vaulted, The Basilica Julis in Rome was of large dimensions (Fig. 241) and may te taken as a tyce of the true commercial Lasilica, Lut the basilica of Constan- tine in Kome (Fig. 342) is to Le considered as the type of an antique state hall.- The former is characterized ky the omission of a tribunal niche and ky the existence of numerous subordinate rooms along the longer side of this five-aisied basilica with piers. erthy of note in the clan of the Roman basilica is es¢ecially the extending of side aisles sround all four sides. It is evident that the basilica Julia could have had only a horizontal csil- ing. Not less charecteristic is the Basilica of Constantine, whose center aisle is covered ty a colossal groin vault of &2 ft. span, divided into thre bays, the side aisles Leing covered ky three tunnel vaults at right anzles to the axis, Their abutments recieve the thrust of the groin vaults; telow their springing points were arranged projecting columns. £41. Halls of Baths. Next to antiaue tasilicas are the magnificent halls of the Koman Lathes, which have the same expression as the former. The seme arrangement of the former. The saze arrangement of the Basilica of Constantine is found in baths of Caracalla and in those of Diocletian in Rome. Fig. 221 represents the principal hall, just as noble in effect as appropriate in construction. This makes possitle vaulting instead of a wooden ceiling, securing a aecid- 4a Petr bere: iberiraestiiie yore 4 sun TOATIHOAA sat 08 “oer elate af etiuey aff -.davadeerd stu toad ido ak sonevhe be aow Aah aa: aman ed? yd avoia es ged? ,solain edie edé syoin agit . ! Mane Wy ihipees ditt weleis adie svode aldyil bia fgid ey bette t Be: alist oon seoiliesd sage 30S SS bas: soilised oda qoleveb of vod wend. ancaok eff iadj wore eel yenKe gaedt © ‘ra adorn 208 wot secs ing ai ylmo fon ,fouse eh lied otete eo odai $f einai Bei to anylavd ae oieb eset .agniterntsy ietee? a9i eeavot esaeiag “ad eal id gerido bas yhindb os asdaiugniseth Ole .aviviasi¥ 43 aeviy ote ‘aliss neon ie) gables aitayy? bas ,anmvloo wot ddiw alied xo .asitiinixc? aeowd od elind - . -mtoloo oleate teve ytilien bedluay s grived ac yeaIet ed’ eedi ‘sane ed “wot send yrisavoo , wide Jo89 avoids aebaccoico owt weiiel ef? oF aeviy sui yasbaa wan [29 qeqqu vd nsensed ewoba iw dtiw gailies bezettoo Intqesnris ao yd oe wot alled oail todd hetesa yigo at si Se pa 46% alisd ad bongo | at 4 @hisd £630 agit e16~ siasnays ai gridseq ict alls Tegel stew gail? ‘yad lceamed aredgeoliag gods a2 ,eteos ifviv bedetasta ot ashbeasolos 27 bedoa tis ~eoneibes 26 Bauas. TO OF aoi toutsent erty > es i6ed J Gl yms bas #3" teodT £22, pSkiinei sevod ‘gtpijas soit ,elien seeds ars? ‘tnsvoiti adios | noe Eins pieart edd to aaoitesso yidgta ern t etee 2608! fend “feis a ; , ts, eds ‘bie ,saotbeggis sad ,etieedstidgas ed? .aoleac eff bas ‘easepad a = ot 90a | bigeda ysrs ,siiows ap yd Sewmroo (0 Fo .atoot tucdiie dguodi ia © etolen cies, eliod to engiaeh wo 202 amtot lsolqyes ot ters soils betoely ed BST" Isiueoetidors ed? coils om dae e565) dae eeogiig Be. weds ot ya he ~tib eed? .weates ysiaogat taca si? ni ee of54 ensg getblisd wiverto edf 70 ‘ts lvatiaseos goaiteang fadd O8 ,8sat tied? of avh aftaneyie ti sk wt Sanig beveyrols eTon 6 10 igvo sonifence .oidstine saoa me0qye san fg xa tug pie ma. eumitonca yoiblivs wivosie ets ,eco% besolece ylezizas bas beimy at HS SATOH aiden ai sSoetie WSs seaey 3 avosk i ‘gaciliesd dowd? bon syatbiivd beatinained 30S ; qited as ‘betweee ait gaibes i eidt Yo aoijaavolean yw sidedmsee's ywev é \) ggade asuoi sos’ ewareriiot | isolsesive{ioce si yi isiosqee ,tre smubseiadd sottaeo 343 bevitiws aew boit04 laiwqui telol adz to ajusanace peo agate lied 196 5095 Ld ote isiaeixo Yo aooren | tai edd tetas asijgassyd ai eyikbiiod beall tuples 13 «i aaeLdivoa ,aeriomsdo asoiliteed até béowbo1g ose soos edt af bee i iaideron tet sataho 02 ‘Giciliand asjyeqg eit Io soles tuo Lite tt ered emsossiicts. dodo: seblatos pp, zen ton ob ow aonis | oa ce dors ie #01 atotiiess <0 beaiie tives ad pie tet of yIssseoes al : ‘giled to ante? to asesau te Eadingooe od (ot ‘patsiteiluoey felts ati af aa i fe rey i ewioeihom sa luces al ae 298 sono is a aot even astlvees ‘edd tonebis beailatines al 2 “# . ar 183 ARCHITECTUR«aL COMPOSITIGN. ed ‘advance in architectural treatment.: The vaults of middle aisle rose so high atove the side aisles, that as shown ty the illustration, the hall was lighted Ly high side lights atove side aisles. 242.. House Basilicas and halls. These examples show that the Romans knew how to develop the Lasilica and transform it into a state hall. as such, not only in palaces for monarchs, tut also in private houses for festal gatherings. ‘Some data on designs of Roman halls are given ty Vitruvius, who distinguishes in dining and other halls Le tween Corinthian, or halls with four columns, and fyetian kallis, for he describes the former as having a vaulted ceiling over sigcle colon- nedes, Lut gives to the latter two colonnades above each other, covering thei. Ly an ornamental coffered ceiling with windows Letween the urper cclumns.: In regard to halls for paintings, it is only stated that like halls for sceah- ing, they were larger, Halls for speaking in gymnasia were large cpen halls attached to colonnades and furnished with seats, so that ¢hiloschers could give instruction to or amuse an audience. £42, Theatres and amchitheaters. auite different from these halls, from antique house tasilices and commer-— cial kasilicas, were those mighty creations of the Greeks and Romans, the theatre and the odeion, the amphitheatre, the hippodrome, and the circus. although without roofs, or only covered by an awnine, they should not te ne- glected, since they are typical forms for our designs of halls, nearly relat- ang to them in purpose and form, and are also the architectural woras, where the circular building came into use in the most imposing manner. They dif- fer in arrangements due to their uses, so that sometimes semicircular or circular plans appear most suitable, sometimes oval or a more elongated plen. In veried and entirely enclosed rooms, the circular Luilding sometimes cro- duces a peculiar effect in noble works. c44, Wentralized buildings and Church Basilicas, A very remarkable transformation of this leading form occurred in Barly Christian art, especially in ecclesiastical architecture.’ From koman state Luildings and monuments of the later imperial period was derived the centra- lized Luildings in byzantium under the influences of oriental architecture, and in the nest were croduced the Lasilican churches, douttless ty trenafor:- ation of the pagan basilicas for Christian worship! Since we do not have to consider church architecture here, it will only be necessary to refer ,vhe centralized or Lasilican form of church, so far as in its chief peculiarities may be recognized elements of forms of halls in secular architecture, In centralized buildings, the veculiar ground form is at once ancarent , | be eld aS 2 » ponacing waloyer o Si achsieets pieinaua bi. tt baw _ & 3 atedenoo (S98 .gf4) xo .wigoancrs hae even yiswa Aiiv azor. dese) & etsdiprodse edT .202qn wivorlolawe bas seluia tesuo fiia ewsupe yiexizg - "87 Sueadso1s femisoetinor edt .ydtreseton ceia oi SAS ght ai agaiblied we ott yt noigeetqna piseivesosiadn bes evissotte yleaettxe aevieo pS edd evo.ik gtisit omob farioniay edi to gniquotg boiwey at betsetioss ww . apizose ows ai ewidiins ‘serio bas selais ods Zildivey ai ae Tlow aé ,efonw eee! avis ia s (85 of oh. 82: @ ht} iia '% dads edit fend fe enw oak ibend amide fwd eiued ett to faens 318 1% eat ee _bae aoitoutteage at eal to stom beisived yilswhery sud Sol Liasd as gq eas 7 Bas : cae to, hompatregen _ tie eialiss OF dteots yee es qileteney — fiiw 32 _stigies® - ei 7 oa 3 . ois BENE SRE PEU SE: ° sawit ead tan wong Yo enotaertat a Vegas : 4 | 1 pptas® okt gO baw Sisesoss * 8 ba ex isis bony so) botctnt olla sinion sceen nity a olzacs OS - misogs wd? qs beveosdal sf 1 "vgrageepeetua sommieet 20% eiied al .gatese ee evi TGF ARCHITECTURAL COMPOSITION. . respect, not only in fanciful crnamentation, tut also in refined develcoment of construction and forms of halls. They were indispensable to every pron- inent building; according to Palladio, "like putlic places, which serve for festivals, feasts, presentation of comedies, weddings, and similar amusements, they are therefore larger than the others; and must have that foru Lest suit— ed for many persons to comwfortatly occupy them and see the proceedinus", If this primarily means the hall, which " all well arranzed houses heve in their central and finest part," it no less relates to halls in the palace and the villa, as well as to well known large halls of Italian municipal iuildings and courts of justice, and to old city halls, commercial halls, pivasure hous- es, etc., in Germany and other countries. but the modern period makes the most extensive use of halls. For in every sphere of life, in the state and in the community, in art and science, in trede and travel, in the great world and in simple fanily life, the restless activity of civilization has created new errangenents and improvements and Caused new needs and views, exbodied in new works of architecture. The de- sign of halls is always of decisive importance. As in older sodels, designs of halls now produce the principal types of the basilican, and of the centra- lised building, the latter being subdivided into polygonal, circular, and cross forms. It remains to examine how these transmitted forus karacnize with the ain ana purpose of our tuildings. a. arrangement and Form of halls.- £47, Classification of Halls.. | To whatever kind of Luildings halls may te attached, they may be subdivi- ded into the following groups, according to the chief purposes they are to serve: ~ | I, Halls for the purpose of seeing and hearing well.: Tl.: Halls for assemblies, festivals, exhibitions, etc.- {Ii.: Halls best adapted to fulfil all these purposes, The arrangement and form df halls are therefore generally sulject to one or more of these requirements, and to the conditions of the protleax. The design of the second kind of hall admits of greatest freedom. and that of the first hassthe least; limitations also extend to halls of the third group. If a roon completely fulfils the requirements of good hearing and seeing, it will not generally be difficult to satisfy all other requirements of the design.. 1: Limitations of Space and kain Para: 248, acoustic and Cptic Center. an acoustic and optic center exists in halls intended for pood hearing and seeing. In halls for lectures ond addresses, it is indicated Ly the speak- y 4 ; Pr pal saa Cgls la eee ee ba 2 G8 sh fat hee ‘ ateal Oore } ae DA ia i eat vi go ,eaduedosa edd ob bedsgal et Fi ai | be 169 Ind oriesds bee sreomem ai jieek a” we of exenaucua wi 24 jade snebive ei #1 «.ebsewiss is obe2 o%8 tots tooge ‘307 goede 10 mt itotibue doum au ttab s1otssosgt 10 sietsed 40} ene36 ef! wt sidalins SnemognsT Is HS GG ayode en z0% we ,Tetaso oisqe Go gigavoos edy to} betive eroty sotk - yleo si ayer doatib yd sees vt of gosido edd ‘lo 10 sent to xoisqeowsg fonts So nogteool 10 bauce to eowos ert noxt eonsjeib besiatl s aiddiw oliieeog: - sooide eae «bala atag reads) ebiete) 8 yiivesi bool to eftakl cs -neqgne (i vexil seed oved sin naco Jotup off ai sitet boo, fo evimii et? etinil ase t otede ,bbS 447 Of elo" ow aokenunels aadéawt gwoilie ./eBs - elf 7% boosiy ad of qe.ineqa édf yiiaudan .botnesetget Ylisoifasty 836 eid so1i amoisoarth ile ai gniweed boo, qo% diati e4f wodeodoni onil Lise te eaoty jntenaus? yi wakbhiteons tress - iow a8@ dé¢iw sonsbuness ai t0deoqa ,esiuae't seListe bis eeodd to vised ga} wO .te22b eilefceina ton ob yined . —pdeuste 23. i8f to elotio 4 to gah Siqain sid avi, owe’ ovis ona ditt fahoq ets mari .oi & So bag &.90 Fantelbh efavissoqaet ataiog dyuond? awets « swonage glag ti seve “pause to CHitmeat leuce hte anil yrisiell » 36 as | egeimese qisdissos tine 6 et pigris BIR ‘daoqwg wo Bol soy .soaTIOS yieeaumt OE: oo hah | 7 Shatl ad% %o eelsaivosetqs? te fled [iad neaclone ‘ae at saiwsadio ecivp @4 savas to cofewt2ib dywods & % bad wseie al terveado.: ods stede -, tin aeqe geinp offs ai aad? .elqoey ddiw Jing baw icasttenss ylsineq oe J ister dolde acoseu lini edg dyvods ens oa Ys a @sed2 t2yoon fauy oF aatot ‘to sooiigeoseg to guengontselid of avolwijnl et ey ~atbieed Kooy to eddetkl edt aed? o%s ovedT isd wedio to goal: 16% etiszet is (nfoitiide ‘vd hensddgadste tones ect eds 40 eokev wid Io. doetio enz sede sends? Hows bebaedae wd You Bedell eid ~bovelges ers oseds gece. A "Seochong a: basen Jo.aivetie avotwist 2£-,eeal dovaedsz o! oi: 075 YS BN a ie ereerg. fies “ko maoT baget -.028 Brel " adtepot _aiibeosta ud? aot tevixed at sospthua edz 762 oce9s8 to aro0y, eff ete mgs atot aid’ qisecto eto ei? bsuce to socedttib ‘wot ewal tocs° itiw i . mm “paeed as enter ody Astiw obitie .etiali bas aeoasinib savds oF esting laong a eis Like quated ais ,sseantooijaib leuoe yloJasssotgse doia gaotioetib Lis ms " pasoty oldadine jaoe eds decd eugiiot - Qiiwseed boy 762 besgsds es BOOT pitiesixoiggs ‘thds 42 badd ect te alied 102 e702 neacione. efteide st doide .etteeds abioc) eft to tevnt dtaw ane 4it ai wat? beyrosty edg ,elaed oils. “¢lshinkzeib reysok on san, cenal-odt ,geiteed Booy 10 pain § RE Se Ore eC ee” en eee er ee iy. ee to e{fed at sonatrogad easiqua to o1slered? o16 afiail eaetT Shee x = ee TN tr te << * " FR . 3 —s _ 3a. = bats et, oe iy . yok. , : - a « « i ‘ so - Ne , 18é aRChITECTURAL COMPOSITICH, me ex "s desk; in concert and theatre halls, it is lceated in the’ crohestra, or on the stage near the foot-lizhte, In designing a hall, it is necessary to commence at its acoustic or optic center, and the clan or arranyement of the auditorium or seace for spectators are made afterwards. It is evident that an arrangement suitatie for the espace for hearers or spectators differs much from those suited for the acoustic or optic center, or for ths steve. Dis tinct perception of tones or of the object to te seen ty direct rays is only possible within a limited distance from the source of sound or location of the object.: These limits are therefore of supreme importance in alls of this xind. 242. Limits of Good rearing. The limits of good hearing in the quiet open air have teen fixed Ly exper- iment. without further discussion we refer to Fig. 244, where these limits are graghically represented, assuming the speaker to te rlaced at C. The full line indicates the limit for good hearing in all directions irom the Speaker in accordance with the well known expericents ty Saunders; those of tenry do not materially differ. On the basis of those end sizilar results, Crth and also Favaro give the simple form of a circle of 121 ft. diameter drawn through points respectively distant 96.4 and 22.8 ft. from ihe point O, a8 a limiting line with eaual intensity of sound, Bven if only approx- imately correct, yet for our purpose this cirele is a sufficiently accurate representation of the lisit. although diffusion of sound is guite otherwise in an enclosed hell filled with people, than in the quiet open air, where the : observer is disturbed Ly no one, though the influences which result are partly Leneficial and pari- "ly injurious to distinctness of perceptions of tones, we nust accept these results for lack of other data. These are then the limits of good hearin:z, when the effect of the voice or the tone is not strengthened ity artificial means. when these are employed, the limits may be extended such further; but they are to Le made much less, if injurious effects of sound ure produced. : 260.. Ground Form of Hall. ihe form of scace for the audience is derived from the preceding, togeth- er with other laws for diffusion of sound, The more closely this form ap- proximates to these distences and limits, within which the voice 2s heard in all directions with approasimately egual distinctness, the cetter will the room te adapted for good hearing, It follows that the most suitaile ground form for halls of this kind is that approximating a circle, after the model of the Grecian theatre, which is chiefly enclosed ty acirele, Starting fron this Lasis, the ground forms in Fiz. 346 were developed.- Beyond the limits of good hearing, the tones are no longer distinctly perceptible ty direct | a tt Gasshuanshn Gk Gidainteh i xu uel’ ed “Yo out ot omne oa? \ avrppehigigeseetenerdley, chgaueheneMadpandgeel abo a sinter - hia i | “RS «ght at solqeaxe of? ‘. edo osiauocm, J sed fst el “att. x0 one te axot ws ‘daaw noisoeanco edselini teas al yd boviex ei ylisveu edoqTyy, ‘aia? ‘ sbauide %e ooo ect to ytileooi edt to pauee 36 cifaunon ads bowed” “od @eoa eid? sweat giimecigoctie eal? onaa ody te “Om aa: eauzoed " ‘to sod “ght bas tneayotne «tb oded ava” wot om ever afnonstiaget ismisqo ii ie (Gueyoosg ,evo7se ical witauoos #43 aadt, par satoes tigaie edt ov cad Pivesicy et eit boda. ebtonions yliavay diog , Liew aset eno wwe hoot go at gedd .nottsdinii edd dtiw ert et geet ont iy “eetever odd! ayew Le gon “Aguods: , lew ylil{sipe edhe yllateney ei ,steieg [le ge . -ob aldetive 5 ‘ghee bre ,bavoa to eotuce eds taises suordiie- gead yet exo 10% Ms gootis retded odd ef hoe gels’ ays7 bayer -hesooliet ed? ,acox-eds to agke Te ee agewtod dpixe n6o Hfomtedo Oo ,soeido ds sea af of [de ad of .bsmoe ent mas 1% sobuse ot: 0B ib: catty ganic Yous: Lagasy ei2-..sevieuds edd te oye ed4 baw - sane aa? _ptseuies: bat? botietiv® (lisse e108 ete-eisonetiipes ’ gilgs nedg seva— Hs aha aati? neds: beeZrse0' stom ai colaiv foaigdit te intl - aft 8.86 ds corey vfiewes ak $1 - Be «it | we anton” towioa at BG canesce at nélate weélo prev oeds yoewgr' ; a bas jana swgo. to sax ead wi beseisolas o%8 as tdéa | este yd. pebasaab ,ilsteaeg Jon ei acieliv aed ae . sSttodegne TA as giiarevid : .b3 Rone ornis! qleniane’ ai ti eotormie ai es agi Ligeaes oiidus 16? olled yess ”) aes Ba es | ydhlédianss 5 dite coaweq floss of nego ei elise Issaiv begiall & gud ti Inet - ae port eos eid edt _.vodseaa of? bac sizing odd eva yliaeinevave oF aid sod pz e bas find: @dg Yo sold edd devo bedudixseih 1s aiieed jovst to fugastoet soasteth 12890%% 3 36 heodetehae -yiiese eton od bas Bia sii ‘sins to graworinpas of2, 258 efter evideieigel .elisd ewiool al %, | .pnttsed soni sath to Jads edt, instsomi sae! yleots0# oF noe meree es eA atson beyite ite glisiisb goot - | ak -ylisioeces -Joside eft -10 yitosss besostib if seg ' d8e% edad 33 Souaso- -ggusteiii® yniviarl ets g19 Ba! f me Serve vais: ak dtyaot ” isoqa ed? Yo fie: 4 bi a7 Ve gol ‘ydoreds aah a canis ,batsve le sual 4 escn eosig # seiquoce selsege: ‘ede « ever yi totenes alicd eas? exoletedT eiderebiedod ed aad¢ yen eyo ett 188.° ARCHITECTURAL COMPOSITION of ceiling, etc.: : 253. Reyuirements for Good seeing.: The acoustic requirements of halls have so far been treated ky creference, and even if these have not been exhausted here and must te mentioned later, g00d acoustics is not alone decisive, but other requirements are now to be discussed.’ For in nearly all cases, a solution of the problem depends upon a happy combination of different properties required in a hall with reference to its purpose. The demand for distinct seeing is in many cases vo even pore- cede that for distinct hearing. For many halls ere intended only for the enjoyment and perception of the eye, and not for those of the ear{hippofrome, circus, panorama, ete.). If optical requirements have so far teen subordi- nated, this is because they are more simply satisfied than the accustic, though toth usually coincide. | The last is true with the limitation, that in a room where one sees well at all points, he generally hears equally well, though not always the reverse, For one may hear without seeing the source of sound, and with a suitable de- sign of the room, the reflected sound rays also add to the better effect of the sound. To be able to see an object, no obstacle can exist between it and the eye of the observer; the visual aray nust paces directly to the object. Even then optie reyuirements are nore easily fulfilled than accustic, The limit of distinct vision is more restricted than that of distinct hearing. It is usually given at 39.4 ft. from the object, or at 28.2 ° to 29.5 ft. where very clear vision is necessary, as in school roons. Yet it is usually not required to restrict limits of space to small dimensions, since many ©x- hibits are calculated for the use of opera glasses, and alsolutely distinct vision is not generally demanded by others. 264, Diversity in Arrangement. In many halls for cublic assemblies, as in churches, it is entirely suffic- lent if but a limited visual angle is ocen to each person with a sossitility for him to conveniently sea the pulrit and the Spezker, The distance fron the eye may then be considerable. Therefore these halls generally have a rectangular nave; hearers are distrituted over the floor of the hall, and the speaker occucies a place more cr less elevated, since he can thereby te visible and be more easily understood et 2 greater distance.’ In lecture halls, legislative halls, etc. ,the reguirement of distinct vis- icn is scarcely less important than that of distinct hearing. For a large room, darially arranged seats are indispensable, since the eye can then te directed exactly on the okject; especially in halls for €xperinents, where the limiting distance cannot te made great. In rooms of moderate pceinaich and length, slightly curved or even straight seats are sufficient. The platform of the speaker is usually somewhat higher than the lowest of the usually as- ium soakte ott ne @lewoos yrer 102 ded wateeu to evo gnieaae - atser to wo Jeowol eff 10 tavmedo afd Yo oye eit aads setigtn beeisx oi Joa a0 yey tied bes soieiv fonigeih to atnesetinpet ed? .emwoos favoo al fe 3 begs yao stoeteq avoliy odd 20% ylictosqes , fist ‘ed? to atwsq ineiitib tend aoe syste wtisne odd ,euTineds al oiling ™, 7} boris aynibewoosg daweoo edd ieee ; Aeea el yliase fear es beta’ edd to I1eme,ns 18 ientesat atid foe Tic yliraaing anoisibaco esedi 1 7 «blind od? Yo atot baa J atgane Bir S88 eis no soneulted soeth everl exinedii yods 1: a ~-ewot beaiisat yligeeda to Inimegnayts ‘edt .2otsneds eupisas mi ee Jou gent BBLS QUO lawsoutée edz to saeavlé obsaitssoa ws is e ei elisa ai atses Yo eit to msi oTsgo7g oiseuone Onis des oksge eis ylao ton dneqeb sotdw aoqe ig -aeelq fe onil ddyiewde s m0 ai son ood aisea io swox To noitéailost eft ..2007 4 ss feGasbuoocn ai ons eisck oF betouifeacn ebrie Qu’ ‘ersoaes ,evwe se al jug ,et itt fort ‘wetneo obtq0. so otteiwreds %o waonstadh Iestiney bac [stscaiiod lenion déiw ee ‘levwd otgavoosal) sevieedo 1o tomer ed? to eye edd. egestas liste ni feessyterrs «3S ime or gongs to IeJ3xe To enotssdiasi eit beesd ems ecigioniig ge ihenesq edz tv F breee, sag isiton won ifiw om Sic - ‘oniiiuo wit yide dquoitis .alled iv envet bag bas Peake) quoi to alied figiw (are - “e272 pices bas gaiueed boay ‘tol i quos to alisd il phiat eacds asin bas {See pit) "eee yenors esa: dxd elaviseet eetiduepes 3% 1 tend Lite | Ss bam .BeeOg NG axed {ig e¥ ovisd doide (TOS .4f3) TT qo te “ - sfadeeb steds: to atngneTiuge' setido to yisoont ylieire efidw .aede oveqnes . sgkaidylt 3% st ‘ebasawd ots. Agiw beseornos ylorsaisnt deou ef Lied edd to gaioelysl ent Base 7, “neoen gnidyteve besttepace af ytisdyil Isqwdésa us ust oe molere fase dak i - whee sot elisa ,eaueaes Yo gnisagal eds sor Sun af bins fasd ybeotin and ym iy ere tedso. to bee eolianl to admom Yo sods ac Tiew es ,osurrididxe ino eacivoss . hn: yee gt jud ."deudbaad” sidz to ‘gisectow wez¢i ai beenvocie od (fiw wiles c ise svidetooed ed! bas ,leioltisae neds Yasttegai eased 22 sigit iewtea eiied aiemiakd gudaigtl ats Jo Isezegneazss et2 Ho abneqsh ilies oft So unialrab ie yino tna alled Yo sxe? 5a8 sqanngns sie vas sonesiint atojaat weiss em0e ered hadesg,we ol od etinp AG gsotaneaic bas enoisseqods 58 ey, Leneosio geo on aver sods igre ban detin ,Jduked Yo oife1 od? sod a i usivievil sot eons eal 26 ‘foutte elicides ag mad’ .oiganoon O47 HO piss ad yse g] ‘saeco dens ai bext? ed glao ame aseiselet seri .si01 bawoty (ce Ce Se Aen in i st! ae oe = Ad uee wee , ore. $5, 4 ie Fun % a ib! , 4 es re ha ae ERT ee Ah oes be ea he as tae Sols oes ms Oe ne HS . “wih ‘edn. O84: ,eetged aisziee 6 of eis tad coviisten yine soa Jadd leveceg at Vivier, of euisseisd vdyia one to an i¢ ‘, L ’ r stabbed a f —- a 189 ARCKITSCTURAL COMPOSITICN. cending rows of seats. but for very accurate vision, the otject viewedmusi not te raised higher than the eye of ths observer on the lowest rcw of seats, In court rooms, the requirements of diatinct vision and heuring vary for different parts of the hall, especially for the various persons engaged in the court proceedings and for the public. In theatres,the entire stage must easily Le seen.: If these conditions primarily affect the internal arrangement of the hall, they likewise hove great influence on the arrangement and form of the -Luild— ing. Just as in untique theatres, the arrangement of steerly inclined rows of seats in halle is a characteristic elexent of the structural organisn, uvon which depend not only the optic, Lut also acoustic rrorertics of the root. The inclination of rows cf seats may not Le on a straight line at oleas- ure, cut in a curve, concave upwards, constructed to scale and in accordance with actual horizontal and vertical distances of acoustic or ortic center from the eye of the hearer or okserver (Isacoustic Curve). 2,: arrangenent in Detail. Cn the preceding principles are based the limitations of extent of srace and the forrs of halls, although only in outline. but we will now contrast halls of Group I for good hearing and seeing (Fig. 245) with halls of Group If for assenblies, festivals, exhibitions, etc, (Fig. 242), and with those of Group III (Fig. 247), which serve for all these purposes, ana se will then compare them, while briefly treeting of other requirements of their design. 2EE* Lighting. The lighting of the hall is most intimately connected vith the demands for distinct vision. So far as netural lighting is concerned, everything neces- sary has already been said in art.102; the ligrting of museums, halls for col- lections and exhibitions, as well os that of courts of justice and of other halls, will te discussed in later voluses of this “Kandbuch", but in weny halls natural light ie less important than artificial, and the decorative suk- division of the ceiling depends on the arrangerent of the lichting fixtures. some other factors influence the sa | in i end form of halls end only re- quire to be suegested here, 2ebc. Froportions and visensions, a8 for the ratio of height, width, and length, these have no less influence on the acoustic, than on esthetic effect of the room. Fron diversity in ground form, these relations can only be fixed in each cass.‘ It sey be said in general that not only relative, tut also to a certain degree, «isowute di- mensions are of imcortunce.- Feight of the rooz should not te toc ereat, since an echo gight otherwise te sroduced (art. 100, rule @; very suitatie for larze halls). i ee, Ask bs ¢ Sesh oes HT Sate gOPMboted: om sO i {fon a6 pers Bin eisou to svor T2 stoi toottence ods yd eatewsss daa a. af -moor'sdy te s1ot vawory. ade \eddbetedee setto bao aedota ui a qotte bewsot Ah: ._f4 .1 qtow Yo alied al .dvetts Oiteveos eff as beyasdo 2m ib one yiiakder sway yen bausoe Lis #edd Oe ,o12seds oupheas oi¢ to Lobos of? ye arose at ta vldueq gates .beqgsie yiletensy om Ginse edt tee edd 63° Yisost | 6. Bf esc tie bagorty wid B $8044 gideusios od yea ¢dyied eff verito dose Lane 4 pa, A ill} a S: RNA | . gnaine edasebon yar: oaths ve Lheri 40 eiginas = TR aienké 4 bias Lobe to Lind sudeal ans i hie .benoiinas yoeot is: ea loun ee” ‘gobieed™ : : at vyideoaae sviteidiyel to aosiel at @abingeG Yo List bas. ‘esusitent wothjgtZ | ; ya Lie ai sisoc odd aa1o? taoiuyd oidarisios tefia *48 gniwol lar ‘gif .eamek? eee - Vapds'299073 sigayoooe aff Wt avons aiolteiat sitreds tasbaaty att te eno ie anon se3 basevod! svit suede abied Aside alized ai sc8is7 ersbscorT edt to Lied a h . sis bopapods aes 20 ,basaucts idghe wot bebastai~ HG5H0.) ‘ak (isn dvoflac han | . bese ques agiu ancitele: oiftageos ni evisooieb 31: ova. “.¢zelity teadgii oie a Sante Sc alfid bliud of eldieacy ti ovo yods 7 la bawety yndlic Jo sailed 03 Feet ryt Wasudd singacs seo foide .aysa 16° nei dushirs ‘tigate. to oi qin” Yq ef? ao at? i ie cet oy bal tings yeeres ei ero svedw 268% Bivynegoot 4 a6 anoeteq vans 26 By i lpeuee $e -nodeekaanaas toetibaé now ¢iv2 é io ae at bas a> . a Fuoda to anoistoqoug eff aad (3h0 git) [ie#. seta: ai? baie! : t Bat. tuole ‘te nets aeely eventos ait tives et? gort bentgis eistiane 4 sbwtg + bluow 22 '. twoie to pated sidetebiamen s23 bad T atid igus) muiweiov: ace soda goa #k oxen ,baned Yo stoeTie yrtdwveth fees wc dhacegnates aii oT (S55 ‘[yl@). elsiaetea biloa Yo bas aiet xeveoo. fé. Swe a aviwwliny, bas bas cifeedo1 to aliew ynigolone te satsovediew aebgoe OF » tot .giiobiad ens ‘gf bnBGT snot Yo toate ios0s teifes sit bediaces 64 OF 4S wy | Mes in) beasse203: fou et mise ory aeedT belli ylesoiqzoo 0 .visdeteboe . mac vi. en Yop ttcae ylietabianco Ayuodtie Lovebsoort of) Yo Lind. fivtast eat ud ¥ Lieate % ggllt © (ava) venegd eu" 22 oanin outs eadeed sat doluzevexe 8° 1% tated evolite Bes petite gon o4¢ Yo Liet-aguad gif .“eelsioi ci sate eail aeqoed vileutoars afind Yo Jivti atddt biogas gtasdxe osbad efi $e yiso {2S 239) géegiel ot Do eS ine was qe pit ms inant cates res of agacted fi swt ats yiiwsen Joatsiel= es . 182% 2 8 ow diyset bas d@besetd ,édyioi To snoleteg eure pee bas tir qo“ ty ents at eLlsiovges mile isan to affed 6 oy eects at aot pauot, edt ,ehads gatevib juoa wd? to aseoqm”, oF heyuebe ad Ramee aa te ghigivs ui be,nede dowm e2 gxst fed? ieijnerost & To .tcd9 yl gots wefuotio mi stiisadwres qltaauport.abas vd2 ,orerteo of% yet “coobsassid teidiad ath ak wtswt paves edd vate OF barpteus om o2702 ” Aaagd ott cod? weet ybdvxedganoo wqivih seomka yigtitroos. a2 sapdw edd qissaixos pee noe nremmnns + ett =. eS .< 19¢ ARCHITECTURAL COMPOSITION. Otherwise, Ly the construction ef rows of seats and of xallerices, as well as Ly niches and other extensions, the ground fore of the roon is oS much changed as its acoustic effect. In halls of Group I, Fig. 346, fcrmed after the model of the antique theatre, so that all sound may pass radially and di- rectly to the ear, the seats are generally stepred, Leing partly in rows atove each other. he height may ke toleratly great if the ground surface ik of moderate extent.- £57,: Designs of halls, besides exauples already mentioned, and the lecture hall of hidiand & birkn- ingham Institute and Hall of Deputies in Palace of Legig’lative assembly in Vienna, the followin, are characteristic typical ferms; the Scala in silan, one of the erandest theatre interiors, famous for its accoustic croperties, hall of the Trocadero Palace in Paris, «hich holds atout five thousand rersons, and albert Hall in London, intended for eight thousand, or ten thousand with the highest gallery. Even if defective in acoustic relations, when compared to hells of otlong ground plan, they prove it possible to Luild hells of this type on the principle of direct radiation of rays, which can contain twice as many persons as @ rectangular room, where one is partially comcelled to rely upon indirect transmission of sound, The Altert Hall (fig. 24F) has the proportions of about 2: 4: & and is entirely lighted trom the ceiling. The concave glass area of akout 1368 ft. Ly 174 ft, and the considerable height of atout 181° ft.: would produce very disturbing effects of sound, were it not that the velariun (awning) is made in convex form and of solid materials (Fig.348), To this arrangexent and 3ls0 to wooden wainscoting of enclosing walls of orchestrs and #e@llerivs is chicf- cy to te ascrited the satisfactory effect of tone fcund in the building, teth when noderately,or completely filled... These pro erties are not possessed e+ yually by the festal hall of the frocadero, although consideratly smaller, unless Garnier's excression has tecone true since it was opened (1E7E), " that halls eventually tecome like wine in tottles". The large hall of the new Cloth ral] in Leipzig (Fig. 34£) only at its ends exterds beyond arth's iimit of distinct hearing. by its form it belongs to the examples in Fig. 24: the cro- rortions of heisht, treadth and length are 2: 4: &, In halls of unusual size, especially in those of Groug III, and thich sust be adacted to purposes of the most diverse kinds, the -round form is general- ly that of a rectangle. Their form is much chanzed ty cutting off or round- iny the corners, the ends frequently ter@inating in circujar arcs, etc. These fornzs are designed to oarry the sound further in its initisi direction, and the width is accordingly alrost always considerstly less than the length. This is seldom less than 1 1/2 times the width; the ratio of aoproxiniately 2 to 1 ae 7 ee eras MOLPreowoo,c.aUIMAR ED Re ye “ye: % ab ft oe £ to indd agre-ban ,atwoes ostppeamigaie =: aoe e ‘tem gael wr “dlad ada Sewnl sfT .teo1y ysev of fonges sdgied ane twa: ; URE jae oF feope ij * ote: ont bawod lo eéaeiteyadiupdath to tage edd od ite figidw ,iail edt oi of awegas “(escetue ,ateolece ngeutes beweser)dibin 3 ‘bos .atoranovit atu loa is fieek %0 otexedbon to aifed at ino berlosot ed ase pen Nike .bebseuxe ed uleotoe mes Le Ptieoi) bas ,{oeisea -fneiso3s70 a9% ewxes vico fon alisd saods sonit bets yee ‘add gheLiopey essaoqury Tedso 192 oce aeildaseas: iadaai 46% cele Jue ,evev 1 ge agrotisi: JeY fetnczrod ebae ai isd oft Yo so0lt eff .ade: edt to eae . te ewer eoiacoled siitostoz, as ilew ee ,eilow of3 ynols hognets Lievaw ‘ egml oid ai 26 ,907) Jiiwd sxitie em twiiel edi dns «eit iay asuae “anodes qedd ao, (95. pid) saneit ai siete’ dinud ott So gathltvd edd to-1 iad : adie etwoso ‘yidaouset?. Angnegne Ts tettet ofl Aisd oft to gutlieo eds oF Ati ios of -tia9%) esiain evil at oom fitiw semivesos bee .2eleie sexi? int mateivid 2 Sen fone 24 ,sebaold at ene iad atbnexels to Lis! Isatned yeu iis? ad Lies is ; i Wi 16. as ints abin eisiy ~Lisa to B02 asoilieed eds giisteneJadpa e¢ gédt pas ee ; tebee bre anode rpaqa sot aehselisi hos sewotsaieg ofni bebsvib. yi tefie digtet pos i vod ‘AcisDiigmacD Toi erie sesivence selale eds tp atieq wseel off vee _ ohsg eas : Bi a) eomevell ni isd ysid edd ai es .iled minw od? ebsesuo. obi 2 Sgeaaeg tevoi odd yino ai ssedt bas evods hojting svsivence ef. que! oar wath gids. Io @ilad xeliess {S58 .4i4) sonetd af eawmod to iied iqgaeke 06 donc .bne.eno Je emo yiao 1 .aeiteiley 100 eejsaesg tedtien ; me ae bite: at igdou ieagned 20 sebtey saiais wat ei ,taedus jaws Youn’ 09 eno 2 ats allied as angiged Meare) yaasa of OF 3 duods gttod graissoqorg 4 tigi agye etoqgwa aigibewsatai gucktiv sexs sooit sasla jeednety ett ener ii ate eisety doen @i winiek 36 Link wid to sege seel) sie | saad’ is on iged to Lied lewddeo? bat sieonce edd vd owoda ei 203 40.2 lwoag he peeerizoes: oad thw. bipocs dounge “Yinksrieo Sosdw jad (tag ra "2 .eyi9) bred “aso es Llisw es _ Lames, st tol base ingassmei%s esi jess Js jeotteucte Yo Leolons bessig edd Yo etudes oft emvase of 2H Jiming , sieia pawoe edi te aakd js beonla ef (hewn ti) ,edoin booce ets ,senss Wet eal. ote hems Yue yak q857% ont. t6 ogre 118 ayawls sgletedie ei th wi ehie taynhol edi to ssineo. edt aleviiee: «9ilisesas tot bebaedak Li quoi 1% iis. te. gui gtowt ef3.0k chao re oads duce 838 ys hae ,betoéatee: eaai Wiism inc at. S09. ,.9¢08 edoididiaus bas gussevl, te ylineqg ef eoicds ads 10900 peebai a find, je aexot. _iepiqes tis sotto, et! to asaomerinpet odd yi bas ,esoisibnos {soak qe neniatetsh vitwe “syst offeb eagle jo Lind eds ,gasblivd bets grole eigsie 6 to eiquaxe as ai © ajenixozaqe dake. gtlectl gt.gifsd seegwl 2i3 to ego anne use evbed aé emo hor) Nae apes enipepealianbeed $ 22.25 20 saotssoqosg - efag gagi vat a ik 5 ab guvde to ene aviv sana sided yrer. Paeeny eye re ay) Na Neh a 1¢4 ARCHITECTURAL COMFCSITICN, nore frequently occurs, and even that of 2 to 1 is sometimes reached (Fig.- 247).: But the height cannot Le very great. The lower the hall, the less will be the danger of disturting effects of sound. The ratio of "height equal to width(measured Letween enclosing surfaces)" appears to te the limit, which can be reached only in halls of moderate or smali atsolute dimensions, and can scarcely be exceeded. Since these halls not only serve for oratorical, musical, and theatrical uses, but also for festal assemblies and for other rurposes requiring the free use of the room, the floor of the hall is made horizontal, Yet ,iatforms are usually arranged along the walls, as well as projecting talconies, rows of seats, or galleries, and the latter are either Luilt free, as in the large hall of the Building of the husik Verein in Vienna (Pig. 342), cr they extend to the ceiling of the hall. The latter arrangement freyuently occurs with a division into three aisles, and sometimes with one in five aisles (Fesii- val Hall in Carlsruhe; Central Hall of alexandra Palace in London, Fig, 3247) This is substantially the basilican form of hall, where side aisics are in height chiefly divided into platforms and galleries for spectators and audi- tors. The lower parts of the aisles sometimes serve for communication and lie outside the main hall, as in the City Hall in Mayence (Fig. 260); the gal- lery is sometimes omitted above and there is only the lower passaie, as in the hall of Bourse in Vienna (Fig. 262). Smaller halls of this kind zostly have neither passages nor galleries, or only one at one end. cuch an example of important extent, is the winter garden of Central Hotel in berlin (Fig. 347); proportions Leing about 2:14:13, among German designs of halls, this one co- vers the greatest clear floor area without intermediate supports, even though the Clear span of City Hali at Maintz is much greater. “#& peculiar form is shown by the concert end festival hall of Casino at Cs- tend (Figs.: 251, 247) but which certainly cannot accord with the recuiresents of acoustics; at least its arranzement and form in weneral, as weil es loca tion of the sound niche, permit us tc assume the nature of the glazed enclos- ing surfaces, etce.. In a few cases, the sound niche, (if used} is claced at the center of the longer side, tut it is otherwise always erranged at the rear end. In the designs of falls in Grouc II intended for assemblies, festivals, exhibitions, etc., one is naturally less restricted, and Fig. 242 shows that ali typical forms of halls indeed ceccur; the cheice is partly at cleasure and partly determined ty local conditions, and ky the requirements of the pretien. 4S an example of a sinple elcngated building, the hail of Palazze della Raz- lone in Padua may serve, one of the largest halls in Italy, with epcroxiaste proportions of 1: 1: 3. The new Vienna course is a tasilican slructure of very noble dimensions with orcecrtions of about 4.f : & : it.- Fhe Glass Pal. 7 ? | | ner. oe et 283K aed tasq ede wt eala ‘seagte!. add. 16 ited’ s a heew ,doindd af sos } . «eviis let end ai e1segas wo? 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Sas 33 quer 1 eats. ag ata tee -watnee diigo 10 Sivergs hoeese = ‘ | . ye res a2 yltaonyatl ai si ud wo84 30% “dat AE srattat tet? Rass er' te “ebut ie” _ ene, ey jaggienas si ,ai0ioq, sedto.> ne yaafhgil .oLiontiano: oF. 90m iets ie | hea HOOT, esi fil bso9qKs aoe" 135 to 19 Siusit ads. dtiw eonsbrcoos ff bexd 4 ¥his a Sh edd er. ‘\adbreDes | wel ieee . 19 ‘tgtsoty T90 ds adi ied qevrg aff # tO) ak. eit peut sibbic ‘io Lied ‘eft tna gtd hoo. Iedege Lg, ain © elgaexe apt: at : ~s31008h aidiely s dice 61s anodivis sila alg, ag asa, qeliate a o mE (4° 36 gt): “nob + yasetic “aie ass boitea wiebos eat te ells i to e420 a, 200% To drossaa tl’ ‘bs ; { “16109 eett o divin (sae gpa)” siiisa Gi mseus Bid Yo shauton aeaeb benorated hi adued ai inwdt isaciseij to B07 sgitbawt ods bie Jf bawots sleis bie . stan ' nttaurtenoo aork éidiaiy odd isoiays ae boasts’ od you doisiv , (388 me ii oil (oort beielos “ barevot 23 ev isoigok ea fs 4 Jaogcue yoiltey eat ere) niet jatsoaetsdnt ns ‘enoie. (ese: git) engl a jaivoe to (ied ef2 to noitoes He eeu to gate Lied to (isa ont. - plens . alsbig (Sanondred eatei « Asie yedlive Be) oA Sucks gone 7. sane: aio vpitteo, | iedapaksel + és, od Teng ht) shige 3 NG. nigne¥ Set Pee? ped eet Tats et ee 192 ARCHITECTURAL COMPOSITION. . ace in WUnich, used as a hall of the largest size for the past ten years, is five-aisled and arranged in cross-forn.: The same form appears in the relative- cy very stall hall of hotel Frankfurter Hof at Frankfort-o-k. The festel hall “of City Hall in Berlin again has the rectangular form with a single gallery along the longer side, and proportions of aiout 1: 1: <.. &é Circular build- ing of vast dimensions, the largest clear internal area now existing, is found in the rotunda of Vienna Exposition of i872: it properly received a relative- ly low height with a ceiling of conical form. Another circular design of very imposing diameter is the reading hall of the british ¥useum in London, not intended for acoustic effects and covered Ly a great dome. The same is true of the small though beautiful rotunda of Old Museum in berlin (Piz, S62ieee notatle example of a tetrastylar design with elliptical niches occurs in the reading hall of National Litrary in Paris (Piz. 252). c6%,° Disensions.: Figs. 246 to 247 give dimensions of several halis of various Kinds, No a- coustic or optic center exists in those of Group II, and therefore the magni- tude of the room is not limited in that rescect; Lut it is freyuently so in reference to construction, lighting and other roints, Dimensions are ¢ener- ally fixed in accordance with the number of persons expected in the room and area required ty each person, whether greater or smaller, according to the mode of use.” Data on this point will te given later, when this point can ie nore fully discussed with the different kinds of Luildings. £59." Form of Ceiling; Treatment of Forms. everything necessary has elready teen said in regard to form of the ceiling in reference to acoustics, and in reference to construction and treatment of forms in art.S@, 180 to 12h, and 171 to 18@, Sesides examples there given, forms of ercss sections of some halls are reoresented in Pigs. 34£ to 261, with internal views in Figs. 25£ to 3&7. The latter illustrate the treatmeni of the forms, with reference to arts. 127 to 179. The great hall of Vecchio Palace in Florence (Fig. 264) is a remarkable Italian exarple with horizental céiling, and the holl of kiddle Teaple in Lon- don (Fig. 356) is o sigilar one of the Slizatethean era with a visible decorati- ed framework of root. as forss of halls of the modern eeriod are the already mentioned domed rotunda of Cla kuseum in Berlin (Fig. 252), with o tree color- nade and aisle around it, and the reading rocm of National Litrary in Faris (Fig. S&é@), which may be assumed as typical: the visitle iron construction cf the ceiling supoorts nine domical vauits, covered ty colored tioes, The section of the hal] of bourse in Vienna (Fig. 252) stows an intersecting grein- ed ceiling with a larze horizontal giddie panel; the hell of builaing of Kusiz Verein in Vienna (Fig. 349) has a horizontal ceiling, City kall in Nayence my ca6 ‘ ‘+s = F "4 _ f : te y x o> ’ oe ‘not 1 olgiaty a2 dbo 'wiot pages. Ae dtoayen.- oe ca ehesl argo (0a¢ ae) sees qiertins bos aeirelisy Atty hied. byiet & Io siyapxe eldedzeaes a amiga Ny ry SATSE - eet) a es ) hie | ed eool 088 * ade a Lies efi oF juin gi ot ottesol ot ban 4O% 0s alenet a>row ved i A ‘Hisd o42° saddete fetieaus ont bsqelareh ¢bsotts aplateorizg eld of gribiee - | attote suites edt beni’ beebdnt note tosh eidT ‘.omaetyorg od? to adneaeriuget. - 8908 edg to seiaeyro Ieustoent: teow: wi tiled: oat dal: ans 90 nakéeno! asi gmat a insdteai amed 3e8. peo Lis mi sucks: syrtniivd ats to ease T4905 iaqistss ot _ovisos: sua fogad. he a fai Ylwivntine? -istly ait ot 3 od beayieae od teen anisieoq Fieeiaorg 6 5 ea ites et¢ go tt sats. a? tned ah agents faomls {liw #2 eyribl tnd felaene a | Futter Riek ,gale grioiivk ane, 49 Bixs sanevensit adz co ylineupert Gee ad pngaxtian ting be ons: ite aisa jo cote les 70%) bed er gntb lied qi? to eopipa jietste. Aeusosifezal od? axgived iaruseeaom af 4 om aerer bedaend Yse inten bar. eeeagiane apnea noes to sod off . * aw suateoared é oe ae ~ s hee a x ‘ rs 7 4. ea 5 ‘ ane a. J “ 1 a » rr ae! ' 4 . . . ” ie ) p twroh s-20% (PAC 4F1) nebacl af let t19dl, den und | bins hos ileigeoe eatines 4+ afleoor (£20 -.22%) heoted gi fed sreamod to eats. ‘odd qd beltiee ad qiinues Min. gigia seqyx 10 sev01, 9 ai betsool od Llade ~; ae 08 Jeux wilbadsasgore bets tit ties ive to ainesetingat sev hkl, fu | @E8 of Sat ath ese i ene teal ads guétesqot q notte giteavad ‘esd. eagle {lin Om Wade 4kbdgtL avoltomusd gaon aig S@ moisstossd. ni toetts tuody tit edi te soi filvote di ul a pep ind ait to ateenti9s teiie add mt hentboyg” 8 as a =e - — fowiat to mpssult a Liet sien o33 nik wevis #i aoxt Ye. netovia ef veh 08 $4 geinsieub mi @219 Atiu aeonsados ero tot ceycalet di: doidw ai yorniid ~ 192 ARCHITECTURAL CORPOSITION. (Fig.: 360) has a ceiling of segmental arched form with visible ircn construct- ion, and Albert Hall in London (Fig.: 348) has a dored ceiling. The cross sec- tion of Concert kall in Cstend (Fig.: 3F1) recalls byzantine centralized Luild- ings. 4 remarkatle example of a large hall with galleries and entirely con- structed of iron is piven in the main hall of Museum of Natural History in Paris (Fig.: 267).° 280. Location. a few words remain in regard to location to Le assigned to the hall in the Luilding in which it Lelongs; for one commences with this in designing it ac- cording to the crincinles already developed. The cuestion whether the hall shall te located in a ground or upper story will usually te settled Ly the requirenents of the programme.’ This decision indeed fixes the entire arch- ‘Etectural organism of the wora. Not less important is fixing its location on the rlan.. The hall is such an imvortant active for external appearance of the building, that in al] cases a prominent position must Le assigned to it in the clan. Particularly in mon-— umental Luildings it will almost always te test to place it on the main sxis, and frequently on the transverse axis of the tuilding also, as in centralized tuildings. Yet reguirements of suitability and accessibility must not be ne- glecied.: (For relation of main entrance and main stairway tc thst of hali, see arts. 122 to 215). 7@ will close this investigation Ly repeating the last words of art. 179:- "The highest effect in decoration and the most harmonious lighting should be © produced in the chief apertments of the building. In it should ie expressed in monumental designs the intellectual significance cf the Luildinz, in which the form of roon, decoration, sculsture, and painting ssy “work to,cther in a harmonious way." te 7 be i i i | hs ; ine ih er vik ihe y Pein fly 2) bag Sy Ped ds fae ey i 5 mn hs VON = é Hake tants th a : “ Kapmoe uvepee heen iiient