The Project Gutenberg eBook of Selected etchings by Piranesi, by Charles Herbert Reilly
Title: Selected etchings by Piranesi
Editor: Charles Herbert Reilly
Artist: Giovanni Battista Piranesi
Release Date: March 29, 2023 [eBook #70405]
Produced by: Tim Lindell, Charlie Howard, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries)
Larger versions of most illustrations may be seen by right-clicking them and selecting an option to view them separately, or by double-tapping and/or stretching them.
Transcriber included the plate numbers in their captions.
Cover image created by Transcriber, using the title page and an illustration from the original book. Result remains in the Public Domain.
With an Introduction
C. H. Reilly, m.a., f.r.i.b.a.,
Roscoe Professor of Architecture, The University of Liverpool.
TECHNICAL JOURNALS, Ltd.
CAXTON HOUSE :: WESTMINSTER
|1.||Title-page to the “Vedute di Roma.” (Pub. Rome 1751.)|
|2.||Composition of Ruins.|
|3.||Bas-relief from the Portico of the Church of the Apostles, Rome.|
|4.||Antique bas-relief from Naples.|
|5.||Trophy of Arms.|
|6.||Design for a Grand Staircase.|
|7.||Design for a Sculpture Gallery.|
|8.||Design for the Mausoleum of a Roman Emperor.|
|Views of Roman Buildings.|
|11.||Pyramid of C. Cestius, Appian Way.|
|12.||Temple of Hercules, Cora.|
|13.||Basilica of Maxentius, Rome.|
|14.||The Capitol, Rome.vi|
|15.||The Capitol, Rome.|
|16.||The Colosseum and the Arch of Constantine, Rome.|
|18.||Tomb of Hadrian (Castle of St. Angelo).|
|19.||Ponte Molle, Rome.|
|20.||The Temple of Vesta at Tivoli.|
|21.||Interior of the Pantheon.|
|22.||Gallery in Hadrian’s Villa, Tivoli.|
|23.||Ponte St. Angelo.|
|24.||Temple of Concord, Rome.|
|25.||Interior of Santa Maria Maggiore, Rome.|
|26.||Piazza Navona, Rome.|
|27.||View of the Churches of the Madonna di Loreto and Santa Maria, by Trajan’s Column, Rome.|
|28.||Piazza of St. Peter’s, Rome.|
|29.||Antique Equestrian statues (Castor and Pollux) on the Quirinal, Rome.|
|30.||The Quirinal, Rome.|
|Imaginary Roman Prisons.|
|31.||Etching from the series of imaginary Roman Prisons.|
|Vases, Tripods, &c.vii|
|33.||Vase from “Vasi Candelabri.” (Pub. Rome 1778.)|
|34.||Vase from ditto.|
|35.||Vase from ditto.|
|36.||Vase from ditto.|
|37.||Vase and tripod from ditto.|
|38.||Vase and pedestal from ditto.|
|39.||Tripod from “Vasi Candelabri.”|
|40.||Tripod and bas-relief from ditto.|
|41.||Tripod from ditto.|
|42.||Lamp from ditto.|
|43.||Vases from ditto.|
|44.||Altar from ditto.|
|45.||Design for Chimneypiece from “Diverse Maniere.”|
|50.||Design for a Chimneypiece and clock from “Diverse Maniere.”|
Architecturally speaking, we live at a time somewhat similar to that in which the genius of Piranesi first made its impact upon English designers. In the latter half of the eighteenth century English architects and patrons were alike growing a little tired of pure Palladianism. The novelty and spirit of Inigo Jones’s work had given place to the uninspired correctness of Campbell, Kent, and a host of lesser disciples. Restrained and elegant as the work of those architects appears to modern eyes, after the debauch of “free Classic” from which we are now emerging, it is nevertheless true that, at that time, the English Palladian formula was nearly exhausted. The circuses and crescents of Bath, with their unfluted columns and dull ornament, their endless repetitions of correct features, could not be indefinitely extended. The early Georgian houses, so comfortable in the country, began to look a little coarse and provincial in London streets, particularly to those who had taken the Grand Tour.
What more natural, then, that architects should turn again to the source and fountainhead from which Palladio had drawn his inspiration, to see whether it had anything fresh to yield?
The practising architect in England at the end of the eighteenth century required, however, a cicerone to the remains of the antique world just as much as his predecessor did in the seventeenth century. The seventeenth-century architect chose Palladio as his guide; the architect in the latter part of the eighteenth century chose Piranesi. Naturally, the lesson taught was somewhat different. The eighteenth-century architect was much further advanced in scholarship. Palladio gave the main proportions of the Orders and the principles of composition. He laid down definite rules and precepts suitable to beginners. His was the first-year work, to use a school simile. Piranesi takes the scholars of the later years and initiates them into all the mysteries of ornament and stylistic character. Offering no pedantic rules, he makes a direct appeal to the imagination of his students. He reveals to them not only the power but the intimate spirit of the Roman world. He offers them whole collections of vases and candelabra to use or not asx they like. He unlocks a treasure-house—a library full of fresh detail. The detail, too, is rich, complex detail, safe only in the hands of the discerning. But Piranesi’s students in England at that time were fit to profit by such a master; among his more attentive scholars being Robert Adam, Chambers, Dance, and many other architects of the late eighteenth century, and through these he influenced the decorative designers from Chippendale to Pergolesi. Mr. Phene Spiers, not without a certain hyperbole, traces the Empire Style to Piranesi’s designs for chimneypieces. At any rate it is safe to say that the new vigour and life which came into English architecture with the work of Chambers and Adam was derived from a more thorough and complete knowledge of Roman architecture, and that the chief source of that knowledge was the vast collection of thirteen hundred or more engraved plates which Piranesi etched and published at the marvellous rate of one a fortnight throughout a fairly long life.
Now, if any coherence at all can be seen in the trend of modern English architecture, we seem at the present moment to be just as dissatisfied with mere Palladianism as were the architects of the end of the eighteenth century. Like them, too, we are lookingxi for a more complete expression of the Classic spirit. To us, therefore, Piranesi may have a very similar lesson. The unfortunate thing, however, is that his etchings, a few years ago so easy to obtain, are daily becoming more rare and expensive. A collection of the best of those issued during the artist’s lifetime could hardly be made to-day for less than a couple of hundred pounds. The Paris reprints which his son issued in 1815 might be obtained for half that sum, but to the ordinary practitioner this may be considered as half infinity. Even Mr. Keith Young’s massive volume of reproductions costs several pounds. The days of Robert Adam were the days when architects were few and patrons were rich. Our own times are less happy in that respect, but they are nevertheless the days of unrivalled opportunity. Piranesi is the magician who can show what opportunities may become; more especially as the process block, albeit lacking in the marvellous gradations of tone and feeling of the original etchings, renders it possible to publish at small cost such a series as are comprised in this volume.
The following are the main facts of Piranesi’s career as far as they are known:—
Giovanni Battista Piranesi, to give him his full name, was born in Venice in the yearxii 1720. His father Angelo pursued the honourable calling of a stonemason, so suited to the progenitor of an architect. His mother was sister to an engineer and architect named Lucchesi, and it was to him that young Piranesi was articled. In his early years he seems to have been something of an enfant prodigue and is reported to have been able to draw the architecture of Venice at the age of eight. At eighteen he persuaded his parents to send him to Rome, and ever after, although signing himself “Venetian Architect,” he remained at work in that city. At first, in his desire to obtain a firm grasp on the technique of the graphic arts, he seems to have attached himself to various masters. The story is told that he threatened one of these masters, Vasi, with the loss of his life because he imagined that some secret in the process of etching was being withheld from him. Such a story, whether true or not, together with the later one that he saw for the first time and married his wife within the space of one week, fits in well enough with the impetuous temperament and fine fury of work which all the etchings exhibit. The numerous controversies in which he was engaged in later years, sometimes involving the erasure of names from dedication and title-pages, are all evidencexiii of the same characteristics—characteristics which may have made him, according to modern standards, a poor archæologist, but which were not without value to the artist and teacher of artists.
In 1741, when twenty-one years of age, Piranesi published his first etchings, four compositions of ruins, afterwards included in his Opere Varie, issued by Bouchard at Rome in 1750. In 1748 he published his Antichità Romane de’ Tempi della Repubblica e de’ primi Imperatori, etc., containing thirty plates of triumphal arches, amphitheatres, and other ancient structures, mostly from places other than Rome. The price of this volume (Mr. Samuel informs us in his admirable book) was 16 paoli, or about 13s. 4d., which shows for how small a contemporary reward Piranesi had to work. In 1750 Bouchard published his Opere Varie, which contained a number of his imaginative designs for great halls, staircases and monuments, as well as his famous series of prison dreams—the Carceri d’Invenzione. From this time onwards followed in quick succession an immense number of etchings grouped somewhat irregularly in great folio volumes with varying engraved title-pages. The Raccolta di Varie Vedute (Rome 1751) contains ninety-three small views and includes work by Israelxiv Silvestre and other etchers. This volume must not be confused with the Vedute di Roma, in two volumes, containing large title-pages and one hundred and thirty-seven plates, thirty-four of which were published in 1751, under the title Le Magnificenze di Roma le più remarcabili.
Perhaps Piranesi’s greatest work, in both size and importance, is Le Antichità Romane, in four volumes, containing a varying number of plates from 216–224. This was first issued in 1756.
In 1761, he etched four plates for Robert Adam illustrating the latter’s design for Sion House, and in 1769 he published his Diverse Maniere d’Adornare, in which appear the ornate but very stimulating designs for chimneypieces, referred to above. Of his remaining works, perhaps the most important to architects is the Vasi Candelabri Cippi Sarcofagi Tripodi Lucerne ed ornamenti Antichi, to give it its full title, which was published in Rome in 1778—the year of his death. This contains a series of magnificent drawings of antiques, largely from his own collection. A great number of these drawings are dedicated to various English gentlemen, each described as “a lover of the fine arts,” which is proof of the interest Englishmen were already taking in Piranesi and his work.
In addition to the foregoing, Piranesi published a number of monographs on special subjects illustrated with etchings. Among these are the volumes on Trajan’s Column, the Theatre at Herculaneum, Hadrian’s Villa, and the Temples at Pæstum, all of which are more noticeable for the boldness of the draughtsmanship than for the archæological views they set forth. It must not be imagined, however, because Piranesi was the interpreter of the romance of the Roman ruins, and through this very romance fired the imagination of Europe, that he was not when he liked an exact draughtsman. The cracks on the obelisk shown in the foreground of his etching of Santa Maria Maggiore tally with those shown in a photograph taken one hundred and fifty years later.
In April, 1757, Piranesi was elected an honorary Fellow of the Society of Antiquaries, which is another proof of the esteem in which he was held in England. He was knighted by Pope Clement XIII. in 1767. He died in 1778, and is buried in the church of Santa Maria Aventina.
Of his five children, Francesco (b. 1748) and Laura (b. 1750) etched in their father’s manner and assisted him in his work. After his death, however, they took to print-sellingxvi rather than creative work, though Francesco still etched plates on his own account. In 1798 he packed up his father’s copper-plates and took them to Paris. During an adventurous journey they fell into the hands of an English Admiral, who, however, knowing the fame of the father, unfortunately restrained his first impulse to throw the plates overboard. It was unfortunate because on arrival in Paris Francesco was able, with the help of the French Government, to republish from the old plates a new edition of his father’s work, which, from the state of the plates, for many years did considerable damage to Piranesi’s fame as an etcher. The plates exist at the present day, and it is believed that prints are still occasionally struck from them. Now, however, the difference between the original Roman impressions and the later Paris ones is well understood, and Piranesi’s renown never stood higher than it does to-day. His son died in 1810.
The plates here reproduced are from the author’s collection, with the exception of the designs for chimneypieces, which have been kindly lent by Mr. Batsford.
C. H. Reilly.
SOME INTERESTING PUBLICATIONS
ISSUED BY TECHNICAL JOURNALS, LTD.
CAXTON HOUSE, WESTMINSTER, LONDON
In presenting this list the Publishers would draw attention to the distinctive character of the works which are described. These cover a wide field, being of interest not only to those who are professionally concerned with architecture and building, but also to those who have a general non-technical interest in such subjects. Thus, the volume giving an illustrated historical survey of Mediæval and Renaissance architecture in England, and the volumes dealing with English domestic and ecclesiastical architecture, garden city houses, and domestic interior details, appeal alike to the educated layman and to the architect in practice.
“The Practical Exemplar of Architecture” and “Standard Details,” though also of strictly professional interest, are of totally different character, giving, as they do, carefully measured drawings and photographs of some of the finest examples of architecture in the kingdom; while those who are specially concerned with architectural education from the standpoint of design will find in “The Liverpool Sketch Book” a notable collection of students’ drawings.
“Who’s Who in Architecture” should be warmly welcomed as a work occupying a mid-position between the biography and the directory. As its name implies, it gives biographical particulars of all the leading men in the profession, and furnishes as well a complete list of architects in practice.
In addition, particulars are given of “The Architects’ and Builders’ Journal”—the most up-to-date, the best illustrated, and most widely read of the architectural and building weeklies—and “The Architectural Review,” which, in its new form, has achieved the distinction of being the finest of all current publications devoted to the art of architecture.
The greatest achievements of British architecture are presented as a coup d’œil in this attractive volume. Thus, in Section I. we survey the work of the cathedral builders; in Section II. notable examples of the Early Renaissance, in Section III. the great buildings of the Later Renaissance, and a few examples that carry us into the nineteenth century; the survey concluding with a fine series of illustrations of work by Sir Aston Webb, Mr. Ernest Newton, Mr. Mervyn Macartney, and other eminent architects of the present day.
The letterpress accompanying the illustrations is written by acknowledged authorities, and sets forth in brief order the entire chronological development, following the succeeding phases of architectural art, and supplying those essential facts which are necessary to a proper estimate of the whole.
Section I. Summary of English Mediæval Architecture (1050–1550). By Edward S. Prior, m.a., f.s.a., f.r.i.b.a.
Section II. Summary of Early Renaissance Architecture (1516–1650). By J. Alfred Gotch, f.s.a., f.r.i.b.a.
Section III. Summary of Later Renaissance Architecture. By Mervyn E. Macartney, b.a., f.s.a., f.r.i.b.a.
Section IV. Interesting Examples of Work by Living Architects.
Section V. List of the Principal Architects of the English Later Renaissance, and their chief authenticated and reputed works (with dates).
One Volume. 12¾ in. by 9 in. 150 pages. Art Paper.
Price 10/- nett.
A Magazine for all Lovers of Architecture.
“The Architectural Review,” in the new and enlarged form in which it is now published, is acknowledged to be the finest of all periodicals devoted to the art of architecture. The superb series of large plates which are a feature of every issue are sufficient alone to warrant the generous praise which the “Review” has received from all quarters. The illustrations are, indeed, a most striking feature of the “Review,” but there is also the literary side of the magazine to be taken into account, the articles which appear in its pages being written by acknowledged authorities.
In recent years the scope of the “Review” has been largely extended, so that in its present form it appeals to the educated section of the general public, as well as to the professional architect.
One has only to glance at the issues which have appeared during the past year in order to appreciate what a wide range of interesting subjects are dealt with. The finely illustrated articles on London Clubs, Georgian interior decoration, large country houses like Sutton Place and Broughton Castle, the etchings of Méryon, Frank Brangwyn, &c., afford ample indication of the general attractiveness of the contents.
Garden design, too, is well represented, beautiful examples being illustrated by means of photographs reproduced to a large size.
Monthly. 14 in. by 11 in. 90 pages.
Price 1/- nett.
Can be obtained of all Newsagents and Booksellers.
Annual Subscription—Post Free Rates: England, 16/6; Canada, $3.50;
America, $5; Abroad, 20/-.
Garden suburbs, or suburbs developed on lines that are far more rural than is possible in the centre of a town, have sprung up all over the country, and the architect has been confronted with a new task—the task of designing a small house which can be erected at moderate cost, but which, nevertheless, provides accommodation in keeping with the demands of modern life.
It is of great value to have an illustrated survey of the most noteworthy houses that have been erected. The present volume gives such a survey, in the form of special photographs reproduced to a good size, showing the actual appearance of the houses, accompanied in every case by carefully drawn plans. The examples include work by all the leading architects who have devoted special attention to the problem of the small house, and their solutions are presented in the most attractive form.
Such illustrations alone would make the book an extremely useful one, but when to them is added a fine collection of domestic interior details, the value of the book becomes greatly enhanced. These details are of an essentially practical character, showing in a complete manner the design and construction of such features as chimneypieces, panelling, dressers, servery, and store-room fittings, &c. A typical specification of a garden city house is also given, accompanied by working drawings.
Post Free Rates: England, 2/6; Canada, 75 cents;
America, 75 cents; Abroad, 3/3.
Examples selected by
Mervyn E. Macartney, b.a., f.s.a., f.r.i.b.a.
English houses have so long established themselves in the forefront of domestic architecture that the distinctive qualities which they exhibit need not be enlarged upon; no houses excel them for quiet dignity, appropriate treatment, and charm of effect.
English architects have enjoyed a unique legacy in the mansions of the Tudor and Renaissance periods, and the delightful character of these examples has been a never-failing inspiration for modern work.
Of great interest and value, therefore, are these volumes dealing with recent examples of English Domestic Architecture, by architects whose ability in this branch of work is acknowledged and admired. Great care has been exercised in the selection of the examples, which are illustrated by means of photographs reproduced to a large size, and accompanied by plans and descriptive particulars.
While being of interest equally to the layman as to the architect in practice, the volumes are no mere picture-books, but substantial contributions to the subject of English Domestic Architecture. They are very complete in their scope, embracing not only general exterior and interior views, but also details of decorative work in the houses illustrated. Garden design, too, has received adequate attention.
Annual Volumes. 13 in. by 8¾ in. Over 200 pages each.
Price 7/6 each nett.
By A. W. S. Cross, m.a., f.r.i.b.a., and
Alan E. Munby, m.a., f.r.i.b.a.
The fact that this Portfolio has now entered upon its second edition, and that the demand for it is even greater at the present time than when it was first published, is clear proof of its value to those who are engaged in the practical application of exact draughtsmanship to architectural design. It is essential that the draughtsman should be able to set out “The Orders” in a rapid and precise manner, and such facility can only be acquired by familiarity with the best methods of setting up drawings. It is the special object of this volume to show these methods.
The plates are not confined to “The Orders” proper, but embrace their application to windows, doorways, arcading, niches, &c., and include also a number of large illustrations of domes, staircases, and other constructional features, as well as plates illustrating the best methods of setting up perspectives and the projection of shadows.
In the new edition several of the drawings have been enlarged in order to facilitate rapid reference, and the collection has been improved in other respects.
One Volume. 19 in. by 14 in. 27 Plates.
Price 15/- nett.
Especially prepared for the use of Students in Technical
Schools, Universities, &c., &c.
This volume has been prepared with the special object of providing very large plates of exterior and interior details, which, by reason of their intrinsic excellence, may be regarded as “Standard” details of their several periods. The selection has been made under the direction of Mr. Mervyn E. Macartney, B.A, F.S.A., F.R.I.B.A.
The drawings themselves are of superb quality—it would, indeed, be impossible to excel them as specimens of line draughtsmanship; and included on the plates are small photographic reproductions of the actual work.
The scope of the portfolio is best shown by the following annotated list of the subjects illustrated:—
Staircase at Thorpe Hall (2 plates).
One of the finest examples of a seventeenth-century English staircase, richly wrought and carved.
Porch at Rainham (2 plates).
A very graceful design, executed in wood, dating from the late seventeenth or early eighteenth century.
King’s Bench Walk Doorways (3 plates).
By Wren, displaying all his skill in the use of brickwork.
Panelling and Chimneypiece in New River Company’s Offices (5 plates).
As an example of the Later English Renaissance, nothing finer than this room could be conceived. The carved enrichments are in the manner of Grinling Gibbons.
Judge’s House, Salisbury (2 plates).
A dignified Georgian house façade, dating from the early years of the eighteenth century.
Exterior Brickwork from Enfield (2 plates).
Part of a late seventeenth-century house, now in the South Kensington Museum.
Library Chimneypiece, Thorpe Hall (1 plate).
An example of the Early Renaissance.
Staircase in Guildhall, Rochester (1 plate).
Of the Wren period—a simple but sturdy design, full of interest.
Dining-room Chimneypiece, Bourdon House, London (1 plate).
Executed in the eighteenth century from a design by Inigo Jones, with a firegrate of the Adam period.
Staircase in Cromwell House, Highgate (4 plates).
The most wonderful staircase of its period—the Cromwellian.
Chimneypiece ascribed to Settignano in South Kensington Museum (2 plates).
A Florentine example of the late fifteenth century, finely executed in marble.
One Volume. 24½ in. by 18 in. 25 Plates with Portfolio.
Price 15/- nett.
In all English-speaking countries “Specification” is the recognised Standard Authority on the many subjects with which an Architect must deal when preparing his Specifications. The work is at once concise and comprehensive, and so vast a mass of practical information is not to be found in any other single volume.
Every section has been written by an accredited authority, and the annual revision comprises the contributions of scores of qualified specialists of recognised standing in their several departments.
To the Edition for 1914 (No. 16), the following important new features of topical as well as permanent interest have been contributed:—
The Year’s Progress in Municipal Engineering. By W. H. Maxwell, A.M.Inst.C.E., Borough and Water Engineer, Tunbridge Wells Corporation.
Recent Developments in Road Construction. By W. H. Maxwell. With about a dozen diagrams of Typical Road Sections.
Surveying Instruments and their Adjustment. By G. A. T. Middleton, A.R.I.B.A.
Public Lighting. Specially contributed.
Some Waterproofing Processes, Lining and Integral.
The Cause and Prevention of Smoky Chimneys. With many diagrams.
Schedule of Select Prices for Building Works. Compiled by an eminent Quantity Surveyor.
The Problem of Shop-front Design. Specially contributed.
Planning the Suburban Middle-class House. With eleven typical plans. By Edwin S. Gunn, A.R.I.B.A.
Architect, Builder, and Client: Day-work v. Contract. By Paul Ogden, F.R.I.B.A.
Close Tenders and How to Get Them. By A. G. White, General Secretary of the National Federation of Building Trades Employers.
The Local Government Board’s New Model By-laws. By H. D. Searles-Wood, F.R.I.B.A.
Builders’ Hoisting Gear. By Henry Adams, M.Inst.C.E., F.S.I., M.S.A.
Modern Estate Buildings. By G. S. Mitchell, F.S.I.
Issued in December of each year. 12¾ in. by 8¾ in. Over 500 pages.
Price 3/6 nett. (Postage 6d. extra inland.)
Can be obtained of all Booksellers and Newsagents.
The ecclesiastical buildings of the prominent exponents of the Gothic revival—Pugin, Scott, Butterfield, and the rest—have already been fully illustrated, but never before has there been brought together a representative series of photographs of the recent work of English church architects. The interest and value of this present collection therefore is self-evident.
Examples of the best modern church work are included, the illustrations being from specially taken photographs reproduced to a large size. Much care has been exercised in the selection of the examples, which, moreover, are not confined to any one style or creed, but embrace Established, Nonconformist, and Roman Catholic churches in various phases of Byzantine, Gothic, and Renaissance design.
It is a volume which appeals to all who have an interest in modern church work.
One Volume. 13 in. by 8¾ in. 250 pages.
Post Free Rates: England, 10/6; Canada, $2.80; America, $2.80;
In order to secure a complete representation of Architecture, it is necessary to encompass the resources of the photographer and the skill of the draughtsman. By these means a pictorial record is obtained showing all the effects of light and shade, of tone and texture, of weathering and exposure, which make up the total effect of the original, and at the same time there are ready to hand drawings which show the design in elevation, plan, and section, together with details of the enrichment and construction which are not comprehended in the casual glance.
The drawings, specially prepared for this publication, are themselves admirable examples of accurate, clear, and artistic draughtsmanship, and the subjects which they depict have all been specially selected by Mr. Mervyn E. Macartney, B.A., F.S.A., F.R.I.B.A., as possessing merits of design and execution which are worthy of study and emulation.
The “Practical Exemplar” is, indeed, the architect’s vade mecum. In it he finds illustrations of fine examples of chimneypieces, gates, panelling, doorways, ironwork, staircases, windows, and a score of other features which he can make practical use of. The illustrations are also of value as being technical records of notable examples of architecture which have already been demolished, or which, in the course of modern improvements, are likely to be swept away.
Four Portfolios. 13½ in. by 9½ in. Over 450 Plates.
Price 15/- each nett.
Complete Set, £2 10s. NETT.
Full List of Plates will be sent on application.
Continuous progress has marked “The Architects’ and Builders’ Journal,” which may now claim to be the most up-to-date, the most widely read, and the best illustrated of all the architectural and building weeklies. Every issue includes a set of no fewer than six large photographic plates of architectural subjects, together with a double-page plate illustrating a measured or working drawing. Articles dealing with all phases of architecture and building are contributed by well-known men in the profession, while editorial notes deal trenchantly with current topics of professional interest.
Special attention is given to constructional subjects, all important new works being illustrated by means of photographs and drawings, with accompanying letterpress. Thus, the practical side of building is represented equally with the subject of architectural design.
A very complete list of Contracts Open is published every week, together with full particulars of all projected new works, competitions, etc.
Two other valuable features are the Special Law Reports, dealing succinctly with all cases of importance, and “Inquiries Answered,” under which heading experts furnish advice on various problems raised by correspondents.
Can be obtained of all Newsagents and Booksellers.
Published Weekly. Price 2d. Every Wednesday.
About 52 pages weekly. 12½ in. by 8¾ in.
Annual Subscription—Post Free Rates: England, 10/10;
Canada, $3.20; America, $4.75; Abroad, 19/6.
“The Liverpool Sketch Book” records a selection of the best designs and measured drawings executed by students of the School of Architecture of the Liverpool University. This School of Architecture, under the direction of Professor C. H. Reilly, M.A., F.R.I.B.A., has become closely identified with the modern movement for the development of classical design and the careful study of monumental work. It is conducted on the most scholarly lines, embodying the best methods of the French and American schools, and the results achieved have been approved by all the leading men of the profession.
The illustrations in “The Sketch Book” are beautifully printed on thick art paper, and the volumes will be found particularly interesting and useful to all students. In view of the fact that for the Final Examination of the R.I.B.A. four testimonies of study are now required, the designs and details illustrated in these volumes, which show how similar problems have been dealt with, should be found of the greatest possible value.
In addition to work by present students of the School, and the work of the Travelling Scholars, that of its old students, and others connected with it directly or only sympathetically, is also included, the object being to present a consistent and definite architectural outlook rather than a mere collection of drawings.
|Vol.||I.||Out of print.||1910.|
|Vol.||II.||Price 5/- nett. 140 pages (enlarged edn.)||1911.|
|Vol.||III.||Price 2/6 nett. 120 pages (enlarged edn.)||1913.|
This new volume, which makes its first appearance in 1914, will take its place henceforth as a work of reference for everyone connected with architecture and building. Perhaps its greatest attraction lies in the fact that it occupies a sort of midway position between the biography and the directory, possessing all the personal interest of the one and all the detailed information of the other. The societies have their list of members, and the directories give, more or less correctly, the names and addresses of architects in practice, but the information thus presented is of the baldest description, and quite devoid of all personal attraction. “Who’s Who in Architecture” is of far greater interest and value. It gives a succinct account of all the most notable men in the profession—their training, achievements, etc.—and not only of the leading men, but also of the many architects who have done important work without having had the attention of the profession directed to it. The book also gives addresses, etc., and as the list of architects is a thoroughly comprehensive one, “Who’s Who in Architecture” thus fulfils a dual purpose as—
(1) A personal record of members of the profession, and
(2) A list of architects practising in the United Kingdom.
Hence it is a volume which every architect needs to have on his shelf.
One Volume. Price 10s. 6d. NETT.
By A. W. Clapham, f.s.a., and W. H. Godfrey.
Buildings that have been the scene of historical events, or have played a distinctive part in the development of national life, are commonly dealt with either at length in a most unattractive style, or dismissed in a few sentences embodying dates and particulars which are frequently inaccurate. Thus, the general reader finds himself confronted with two extremes, alike unsatisfactory. It was with the express object of correcting these deficiencies in respect of certain famous buildings that the authors compiled the series of short papers which constitute the volume under notice. They have been at great pains in their task, and, as the result of much original research, a flood of fresh light is thrown upon the subjects dealt with, every chapter adding some new fact to previous knowledge, or reproducing some hitherto unknown or neglected plan. In this way we have set before us, by means of description and illustration, the most remarkable of all Henry VIII.’s palaces—Nonsuch, in Surrey, whose wanton destruction was probably the heaviest loss which English architecture has suffered since the Dissolution of the Monasteries.
The Tower of London, dealt with in another chapter, offers a wealth of interest when critical research and architectural acumen are brought into play, and in the same way the Royal Palace of Eltham, Northumberland House, Sir Thomas More’s House at Chelsea, the Fortune Theatre, Barking Abbey, and other famous buildings are dealt with.
One Volume. 5s. NETT. 275 pages.
CAXTON HOUSE, WESTMINSTER, LONDON
PRINTED BY VACHER AND SONS, LTD., WESTMINSTER HOUSE, LONDON, S.W.
This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.