Chapter I: Front Matter

THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION

1895

VOLUME I

BOSTON BATES & GUILD PUBLISHERS

Index to Volume I.

1895.

LIST OF PLATES.

Venetian Palaces. i. Southwest Angle of the Ducal Palace. ii. Palazzo Contarini Fasan. iii. Palazzo Cavalli. iv. Window Tracery in the Palazzo Cavalli. v. Window Tracery in the Palazzo Cicogna. vi. Portion of the Façade of the Ca D'Oro. vii. Portion of the Façade of the Ca D'Oro. viii. Palazzo Pisani.

Byzantine-Romanesque Doorways, Apulia. ix. Principal Doorway to Cathedral, Trani. x. Principal Doorway to Cathedral, Trani. xi. Principal Doorway to Cathedral, Conversano. xii. Portion of Façade, Basilica at Altamura. xiii. Principal Doorway, Basilica at Altamura. xiv. Detail of Doorway, Basilica at Altamura. xv. Doorway of Madonna di Loreto, Trani. xvi. Entrance to Church of the Rosary, Terlizzi.

Cloister at Monreale, Sicily. xvii. Double Capital. xviii. Double Capital. xix. Double Capital. xx. One Side of Cloister.

Byzantine Capitals from Ravenna. xxi. Capital from the Apse of S. Vitale. xxii. Capital from S. Vitale. xxiii. Capital from S. Vitale. xxiv. Capital in the Museum of the Academy.

Byzantine-Romanesque Windows, Apulia. xxv. Window in S. Teresia, Trani. xxvi. Window in S. Teresia, Trani. xxvii. Window in the Basilica, Altamura. xxviii. Windows in S. Gregorio, Bari. xxvix. Triforiurn Window in S. Gregorio, Ban. xxx. Window in Apse of the Cathedral, Bari. xxxi. Window in Bittonto. xxxii. Window in Apse of the Cathedral, Bittonto.

Two Florentine Pavements. xxxiii. Portion of Pavement in the Baptistery. xxxiv. Portion of Pavement in the Baptistery. xxxv. Portion of Pavement in the Baptistery. xxxvi. Portion of Pavement in the Baptistery. xxxvii. Portion of Pavement in the Baptistery. xxxviii. Portion of Pavement in S. Miniato al Monte. xxxix. Portion of Pavement in S. Miniato al Monte. xl. Portion of Pavement in S. Miniato al Monte.

Renaissance Panels from Perugia. xli. Panel from Choir Stalls, S. Pietro. xlii. Panel from Choir Stalls, S. Pietro. xliii. Panel from Choir Stalls, S. Pietro. xliv. Panel from Choir Stalls, S. Pietro. xlv. Panel From Choir Stalls, S. Pietro. xlvi. Panel from Choir Stalls, S. Pietro. xlvii. Panel from Choir Stalls, S. Pietro. xiviii. Panel from the Chamber of Commerce.

Italian Wrought Iron. xlix. Lantern on Palazzo Strozzi, Florence.

Italian Wrought Iron. l. Lantern on Palazzo Guadagni, Florence. li. Lantern on Palazzo Brocella, Lucca. lii. Lantern on Palazzo Baroni nel Fillungo, Lucca. liii. Torch-Bearer from Siena. liv. Torch-Bearer from Siena. liv. Torch-Bearer from Siena. lvi. Torch-Bearer from Siena.

Fragments of Greek Detail. lvii. Capital from the Parthenon, Athens. lviii. Capital from the Erechtheion, Athens. lix. Base from the Erechtheion, Athens, lx. Cap of Anta from the Erechtheion, Athens. lxi. Fragment found on the Acropolis, Athens. lxii. Capital from the Propylam, Athens. lxiii. Cyma from the Tholos, Epidauros. lxiv. Capital from the Tholos, Epidauros.

Pulpits of Southern Italy. lxv. Ambo in the Capella Palatina, Palermo. lxvi. Ambo in the Cathedral, Salerno. lxvii. Pulpit in the Cathedral, Salerno. lxviii. Pulpit in the Cathedral, Ravello. lxix. Ambo in the Cathedral, Ravello. lxx. Pulpit in S. Giovanni, Ravello. lxxi. Ambo in S. Lorenzo Fuori le Mura, Rome. lxxii. Pulpit in the Cathedral, Messina.

French Farmhouses, Normandy. lxxiii. Ferme de Turpe. lxxiv. Ferme de Turpe. lxxv. Ferme de Turpe. lxxvi. Ferme de Turpe. lxxvii. Manoir d' Ango. lxxviii. Manoir d' Ango. lxxix. Manoir d' Ango. lxxx. Manoir d' Ango.

Country Houses of Normandy. lxxxi. Ferme la Vallauine. lxxxii. Manoir al Archelles. lxxxiii. Manoir at Archelles. lxxxiv. Porch of Church at Beuvreil. lxxxv. Manoir de Vitanval, Ste. Andresse. lxxxvi. Manoir d' Ango. lxxxvii. Manoir d' Ango. lxxxix. Manoir d' Ango.

English Country Houses. lxxxix. Old Houses, Hanover. xc. Middle House, Mayfield, Sussex xci. Old Hall, Worsley. xcii. Speke Hall. xciii. Speke Hall. xciv. Smithells. xcv. Saintesbury Hall. xcvi. Old Manor House, Lythe Hill. xcvii. Old Manor House, Lythe Hill. xcviii. Old Manor House, Lythe Hill. xcix. Old Farm House, Lythe Hill. c. Gate House, Stokesay Castle.

INDEX OF SUBJECTS.

Advice to Young Architects Aitchison, Prof., Advice to Young Architects Altamura, Basilica at, Ango, Manoir d' Apulia, Doorways from " Windows from Architectural Education Architectural Schools Columbia College Harvard University Mass. Inst. of Technology Ateliers in New York City Athens, Erechtheion, Cap and Base from " Parthenon, Cap from " Propylæa " Bari, Cathedral of, Window in " S. Gregorio, Window in Beaux-Arts Architects, Society of Bittonto, Cathedral, Window in " Window in Boston Public Library, Decoration of Building Exhibit Byzantine-Romanesque Doorways Byzantine-Romanesque Windows Capitals, Monreale " Ravenna Case, John W., Hints to Draughtsmen Catalogues of Exhibitions Clark Medal Competition Cleveland Architectural Club Cloister of Monreale Club Notes Architectural Club of Lehigh University Architectural Club of San Francisco Architectural League of New York Art League, Milwaukee Baltimore Architectural Club Boston Architectural Club Buffalo Chapter A.I.A. Chicago Architectural Club Cincinnati Architectural Club Cleveland Architectural Sketch Club Denver Architectural Sketch Club Detroit Architectural Sketch Club "P.D.'s" Rochester Sketch Club Sketch Club of New York Society of Beaux-Arts Architects St. Louis Architectural Club St. Paul Architectural Sketch Club T Square Club, Philadelphia Columbia College Competition for Advertising Design Competitions, Awards in Competitions, Brochure Series " " " No. 1, " " " No. 2, " " " No. 3, Conversano, Doorway of Cathedral Cosmaiti Work Country Houses of Normandy Country Houses, English Doorways, Byzantine-Romanesque Ecole des Beaux-Arts, diplomas England. Hanover, Old Houses Lythe Hill Mayfield, Sussex, Middle House Saintesbury Hall Smithells Speke Hall Stokesay Castle Worsley, Old Hall English Country Houses Epidauros, Tholos, Cap and Fragment from Farmhouses, French Florence, Baptistery, Pavement from " Palazzo Guadagni, Lantern from " S. Miniato, Pavement from " Strozzi Palace, Lantern from Florentine Pavements Gothic Palaces of Venice Greek Detail, Fragments of Harvard University Hints to Draughtsmen Italian Wrought Iron Lanterns, Wrought Iron Lucca, Palazzo Brocella, Lantern from " " Baroni " " Mass. Institute of Technology Messina, Cathedral, Pulpit Monreale, The Cloister of Mosaic Floors, Modern Mosaic Work Normandy, Ferme de Turpe " Ferme la Vallanine " Manoir at Archelles " Manoir d' Ango " Manoir de Vitanval " Porch of Church at Beuvreil Pavements, Two Florentine Palermo, Capella Palatina, Pulpit in "P.D.'s" The Perugia, Chamber of Commerce, Panel from " Renaissance Panels from " S. Pietro, Panels from Personals Piano Case, Competition for Pulpits of Southern Italy Ravello, Cathedral, Pulpit and Ambo in " S. Giovanni, Pulpit in Ravenna Museum of Acad. Bel. Arti, Cap from S. Vitale, Caps from Ravenna Capitals Reproduction of Architect's Drawings Roman Scholarship Rome, American School of Architecture at Rome, S. Lorenzo Fuori, Ambo in Rotch, Arthur, Bequest of Rotch Scholars, C.H. Blackall Rotch Travelling Scholarship Salerno, Cathedral, Ambo and Pulpit in Siena, Wrought Iron Torch Bearers from Terlizzi, Entrance to Church of the Rosary Torch Bearers, Wrought Iron Trade Notes Trani, Doorway of Cathedral " " Madonna di Loreto Turpe, Ferme de Venetian Palaces Venice Ca D'oro Ducal Palace Palazzo Cavalli " " Window-tracery in Palazzo Cicogna, Window-tracery in Palazzo Contarini Fasan Palazzo Pisani Windows, Byzantine-Romanesque Wood Floors Wrought Iron, Italian

THE BROCHURE SERIES

OF ARCHITECTURAL ILLUSTRATION.

VOL. I. JANUARY, 1895. No. I.

THE GOTHIC PALACES OF VENICE.

The location of Venice upon a group of islands, sufficiently removed from the mainland to make it impossible to effectually attack it from this side, and naturally defended on the side towards the sea by a long chain of low islands, separated by shallow inlets and winding channels, making it difficult to approach, has rendered the city peculiarly free from the disturbing influences which were constantly at work in the neighboring cities of Italy during the Middle Ages. While her neighbors were building strong encircling walls, each individual house a fortress in itself, Venice rested secure in her natural defences and built her palaces open down to the water's edge, with no attempt at fortification. Her hardy and adventurous inhabitants rapidly extended their trade to all quarters of the world and accumulated vast wealth, which was freely lavished on public and private buildings. The magnificence of the former was only equalled in the days of ancient Rome, and it is doubtful if the latter have ever been surpassed in sumptuousness and splendor. The palaces of Venice form an architectural group of great interest, in many respects quite distinct from the contemporary buildings on the mainland. They were carefully planned to satisfy the demands for comfort and convenience as well as display. Most of them have the same arrangement of plan, and were commonly built of two lofty and two low stories. On the ground floor, or water level, is a hall running back from the gate to a bit of garden at the other side of the palace, and on either side of this hall, which was hung with the family trophies of the chase and war, are the porter's lodge and gondoliers' rooms. On the first and second stories are the family apartments, opening on either side from great halls, of the same extent as that below, but with loftier roofs, of heavy rafters gilded or painted. The fourth floor is of the same arrangement, but has a lower roof, and was devoted to the better class of servants. Of the two stories used by the family, the third is the loftier and airier, and was occupied in summer; the second was the winter apartment. On either hand the rooms open in suites. The courtyard at the rear usually had a well in its centre with an ornamental curb; and access to the upper floors of the house was gained by an exterior staircase in the court, which was often elaborately enriched with carved ornament.

The materials used in construction are mostly red and white marbles, used with a fine color sense, and the desire for abundance of color was frequently further gratified by painting the exterior walls with elaborate pictorial decorations.

The earliest palaces are Byzantine, but with the growth of the Gothic movement these were gradually superseded, although the Gothic influence worked more slowly here than on the mainland. The richest and most elaborate work was built at this period. Finally the Renaissance took the place of Gothic; and the later palaces, built in this style, show strongly the debased condition into which the art of Venice fell in the Dark Ages.

We have selected for the illustrations of this number of the BROCHURE SERIES some of the most widely known examples of the fifteenth-century Gothic palaces, built at the time when Venice was at the zenith of prosperity as the principal commercial power of the world.