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´╗┐Title: The Brochure Series of Architectural Illustration, Vol. 01, No. 12, December 1895 - English Country Houses
Author: Various
Language: English
As this book started as an ASCII text book there are no pictures available.
Copyright Status: Not copyrighted in the United States. If you live elsewhere check the laws of your country before downloading this ebook. See comments about copyright issues at end of book.

*** Start of this Doctrine Publishing Corporation Digital Book "The Brochure Series of Architectural Illustration, Vol. 01, No. 12, December 1895 - English Country Houses" ***

This book is indexed by ISYS Web Indexing system to allow the reader find any word or number within the document.

  W. R. EMERSON, Architect.
  Stained with Dexter Bros. English Shingle Stains (Dark Brown).]

  E. A. P. NEWCOMB, Architect.
  Stained with Dexter Bros. English Shingle Stains.]

  W. R. EMERSON, Architect.
  Stained with Dexter Bros. English Shingle Stains.]

  KENDALL & STEVENS, Architects.
  Stained with Dexter Bros. English Shingle Stains
    (Body No. 12, Roof No. 31).]

  W. R. EMERSON, Architect.
  Stained with Dexter Bros. English Shingle Stains (Dark Brown).]

  EUGENE L. CLARK, Architect.
  Stained with Dexter Bros. English Shingle Stain (No. 4).]

  W. R. EMERSON, Architect.
  Stained with Dexter Bros. English Shingle Stains.]

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

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


       *       *       *       *       *
           *       *       *       *
       *       *       *       *       *

  [Illustration: LXXXIX.
  Old Houses, Hanover, England.]

  [Illustration: XC.
  Middle House, Mayfield, Sussex, England.]

  [Illustration: XCI.
  Worsley, Old Hall, England.]

  [Illustration: XCII.
  Speke Hall, England.]

  [Illustration: XCIII.
  Speke Hall, England.]



Vol. I.  DECEMBER, 1895.  No. 12.


  From The Architectural Review, Vol. IV, No. 1.]

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

"There is much to be seen from the railroad in the way of long rambling
farmhouses and country houses of the modest kind, and there is much to
be gained by studying these for use in our own domestic architecture;
their average work is so much less pretentious, so much more homelike
than ours; their surroundings are studied so carefully, the garden
forming as much part of the house as the roof, and great pains being
taken that the garden wall, hedges, terraces, the little tea houses, in
fact all the immediate surroundings, should form a harmonious effect.
Photographs and measured drawings of the well-known and monumental
buildings are at hand whenever we need them, but no idea can be gained,
except from personal study, of the completeness and fitness of the
country houses and farmhouses and of their surroundings, their "flocks
of gables," the grouping and composition which through the most careful
study arrive at the entirely unstudied and almost haphazard effect, and
above all the impression produced that the building belongs to the spot
upon which it is built and to no other. This is what makes the English
domestic work better, to my mind, than any I have seen, and so well
worthy of study, especially by our American architects."

  From The Architectural Review, Vol. IV, No. 1.]

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

  From The Architectural Review, Vol. IV, No. 1.]

English architecture is not all and never has been all of the sort here
indicated, but where it departs from this type we feel the peculiar
charm somewhat lacking. The early Saxon hut, the Norman castle, have
each their especial interest, and we feel that the home has culminated
in the Elizabethan and Tudor mansions and the simpler homes of later
days which are adjusted to the needs of the family and suited to its
surroundings, because built honestly with due regard to the necessities,
and even if, as Ruskin says, their detail is abominable and there is no
precedent, no right nor reason in the square drip moulding over the
windows, yet we love them as a whole, and cannot help feeling that they
expressed truly the story they were intended to tell. But we do not feel
the same instinctive attraction in the Palladian mansions of Jones,
however accurately classical are their proportions or their mouldings,
nor in any other of the dignified importations transplanted from Greece
or Rome and forced to grow on uncongenial soil. They must ever be to us
exotics, with perhaps the beauty of the exotic, but without the homely
qualities which endear to us the real home.

  [Illustration: XCIV.
  Smithells, England.]

  [Illustration: XCV.
  Saintesbury Hall, England.]










+Club Notes.+

Nearly simultaneously with the announcement that the T Square Club,
of Philadelphia, has been awarded the medal offered by the St. Louis
Architectural Club for the best Club-exhibit of Mention Designs comes
the news of John Stewardson's lamentable death. As a founder of the
Club, as its president, and for years a member of its Executive
Committee, he remained to the last one of its most enthusiastic
supporters. Many of his drawings are now in the Club rooms, and his
record as the winner of many competitions is upon the minutes of the

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

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

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

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

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

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

  [Illustration: XCVI.
  Old Manor House, Lythe Hill, England.]

  +The Brochure Series
  of Architectural Illustration.+


  Subscription Rates per year               50 cents, in advance
  Special Club Rates for five subscriptions                $2.00

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

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


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

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

Since the introduction to the public of THE BROCHURE SERIES in its
present form a year ago, five-cent magazines have been made fashionable.
Their number is countless, and they are of all degrees of value and
interest. A year ago the experiment was a comparatively untried one
and the policy of THE BROCHURE SERIES was necessarily more or less
experimental, but it has now crystalized into fairly settled shape. In
its main feature, the illustration of historic architecture, it must
appeal to all who have any connection with the architectural profession.
An architect can never have too many photographs, provided they are well
classified and accessible; and it is practically impossible that anyone
shall have _all_ of the one hundred photographs given in a year's
volumes of the magazine, as they are drawn from so many different
sources. The classification of subjects is of itself sufficient reason
for buying THE BROCHURES, even provided they duplicate photographs
already owned.

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

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


Draughtsmen's Addresses.

We intend issuing, the coming year, a number of interestingly
illustrated announcements of new architectural publications and
importations. We want to send these to every architectural student
and draughtsman in the United States and Canada. If you are not on our
subscription list, send us your _residence_ address for our circular
mailing list. Address a postal card as below, putting simply your
address on the back. If you are in an office, have the other fellows put
their residence addresses on the same card. We prefer to address mail
matter to your residence, as there is less danger of miscarriage. Do not
get the idea that by sending your address you are ordering something you
will be asked to pay for. All the expense, except the postal card, is
on our side. If we can't get out announcements interesting enough to
attract your attention and occasionally secure an order, it will be our
loss. Address:--

  Bates & Guild,
  6 Beacon Street,
  Boston, Mass.
  _For Circular List._

  [Illustration: XCVII.
  Old Manor House, Lythe Hill, England.]

+Brochure Series Competition No. 3.+

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


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


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

Mr. Olmsted's design, which is illustrated herewith, is, like the design
which he submitted in the last competition, in many respects distinctly
the best of the collection. It is unfortunate in representing a heater
not made by the Boynton Furnace Company, but very suggestive of a
pattern made by one of their competitors in the trade. If it were not
for this unfortunate slip, it would be given first place. The idea is
good and the treatment all that could be desired. It is good advertising
and meets the conditions directly and well.


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

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


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

  [Illustration: XCVIII.
  Old Manor House, Lythe Hill, England.]


Attention has already been called in these columns to the efforts of
the Henry F. Miller Piano Co. to foster the designing of artistic piano
cases. Their later designs are a long step away from the conventional
and hopelessly ugly piano cases that have been put out by the piano
trade universally. They reason that the piano, as an artistic
instrument, should have an artistic setting, and it is to draw the
attention of architectural designers to this point that they have
already given prizes for one competition, and purpose offering another
prize, probably of $100, for a second competition. The making of
special designs for piano cases has fallen largely into the hands of
custom-furniture makers simply because the work of piano factories has
for years carried its own condemnation. The furniture maker often is
forced to buy a new piano, from stock, and build it over as best he can,
charging a price that is almost prohibitory. Since the Miller factory
has been equipped with the best facilities for special case work it has
become possible for architects to have their own designs intelligently
executed without unreasonable expense, or to secure unfinished cases
should they wish a cabinet maker to execute their designs. The Miller
Company is one of the few piano companies in a position to undertake
this departure. The character of their pianos as superior instruments
was established years ago, and every succeeding year has added to their
reputation. The fight for a front-rank position as instrument makers has
been won. Now they begin to fight for artistic case building, and they
deserve the sympathy and encouragement of every American architect. The
work of the pioneer is always hard, and it is seldom the pioneer who
gets the benefits from this work. Should this move of the Miller Company
prove that better designed cases will be appreciated by the public,
every piano maker in the country will follow suit, but none seem to have
the courage to strike out independently with the same aim. The piano
shown on this page is the Wagner Grand exhibited at the World's Fair,
while their Colonial design is shown in their advertisement. They are
the two extremes.


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

  [Illustration: XCIX.
  Old Farm House, Lythe Hill, England.]


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

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


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

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

  [Illustration: C.
  The Gatehouse, Stokesay Castle, England.]

       *       *       *       *       *
           *       *       *       *
       *       *       *       *       *


  public and private work, projets ...  [_spelling unchanged_]
  Illustration: XCIX. Old Farm House, Lythe Hill, England.
    [_"Farm" illegible: supplied from printed list of illustrations_]

  The piano shown on this page is the Wagner Grand exhibited
  at the World's Fair
  [_text damaged: reconstructions in braces_
  The piano shown on this page {is th}e Wagner {Gra}nd exhib{it}ed
  at the World's Fair]

*** End of this Doctrine Publishing Corporation Digital Book "The Brochure Series of Architectural Illustration, Vol. 01, No. 12, December 1895 - English Country Houses" ***

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