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Title: The Brochure Series of Architectural Illustration, Volume 01, No. 10, October 1895. - French Farmhouses.
Author: Various
Language: English
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[Illustration: LXXIII. Ferme de Turpe, Normandy.]



THE BROCHURE SERIES

OF ARCHITECTURAL ILLUSTRATION.

VOL. I.

OCTOBER, 1895.

No. 10



FRENCH FARMHOUSES.


As it is the purpose of THE BROCHURE SERIES to cover as wide a field
as possible in choice of subject matter for its illustrations, and at
the same time hold rigidly to the idea of furnishing only what will
be useful to its subscribers, it has seemed desirable to present
something a little nearer our everyday life than the Italian work
which has thus far formed the greater part of the plate matter.

The domestic architecture of France and England has naturally served
as a model for a great deal of our American work, and especially is
this noticeable during the present generation in the close relation
between the French châteaux and the more pretentious American
residences, as witness the recent productions of the late Mr. Hunt,
which have just been published since his death. We are, to be
sure, looking in all directions for suggestions, and it cannot help
appearing wonderful to a thoughtful observer how many and varied these
suggestions are.

Our wealthy citizens are building châteaux in the style of Francis
I or of somebody else, Venetian or Florentine palaces, Roman
villas, Flemish guild-halls, Elizabethan half-timber houses. All,
if tastefully and skilfully designed and placed, have their special
points of beauty and excellence, and all may in the hands of an
architect of ability be made to harmonize with our modern ways of
living and the surroundings in which they must take a part.

None of these models, however, are more adaptable to our ways than the
country houses of France. This, of course, should not be understood
as meaning that any of these buildings can be transplanted bodily to
American soil and still be satisfactory. Architectural borrowing of
this class is never satisfactory; but no architecture of which we have
any knowledge is independent of precedent, and it only behooves us to
adopt from the experience of others those features or ideas which are
most suited to our needs. The plans and the original uses of the rooms
of these French _manoirs_ may not prove directly adaptable to our
ways of living, but the general massing of the design and the rambling
arrangement of plan, as well as the picturesqueness of it all, are
characteristics which can well be embodied in our country houses. In
their way, no better models can be found than the two _manoirs_ from
Normandy which we illustrate in this number. They have both suffered
from the ravages of time and hard usage, and both are at present, and
for a long time have been, used as farmhouses. The Manoir d'Ango is
the finer and more important of the two, and is better preserved in
some of its more interesting features.

[Illustration: LXXIV. Ferme de Turpe, Normandy.]

It is one of the main beauties of the charming village of
Varengeville-sur-Mer, on the north coast of Normandy. It is now
converted into a farmhouse, but in it once a celebrated privateersman
of Dieppe received the ambassadors of the King of Portugual. There are
still many evidences of the former dignity and grandeur in its present
degradation.

Ango was strictly a _manoir_ in the French sense, that is, a residence
of the second class--not a château, such as Chambord or Blois.

The principal part of the building consists of but one story with
an open gallery beneath, supported by an arcade with columns bearing
finely carved caps ornamented with female heads, angels, etc.

In the interior as well as on the exterior may be seen fragments of
sculpture which show much refinement. In one of the rooms of the tower
a monumental mantel carved in stone bears in its centre the bust of an
old man having in his hand a globe surmounted by a cross, the imperial
emblem. This may be the portrait of one of the founders of the Ango
family.


LXXIII to LXXVI.

FERME DE TURPE, NORMANDY.


The Ferme de Turpe is situated near the town of Neuchatel-en-Bray,
famous for its cheese. It has fewer interesting details than the
Manoir d'Ango and is in even poorer repair, but in massing and general
picturesque effect it offers many suggestions which can be utilized to
advantage in our country houses.

Of these four views very little need be said. The charming
picturesqueness of the two general views is sufficient excuse
for presenting them, but they contain much more to the student of
architecture who cares to look for it. The two detailed views give an
excellent idea of the simple, straightforward methods of the builders.


LXXVII to LXXX.

MANOIR D'ANGO. NORMANDY.


This building was erected between the years 1530 and 1542. Its general
design and especially its detail are of the François I type, and very
beautifully executed, as will be seen from the larger scale details.
The materials as indicated are stone and brick.

In Benoist's La Normandie Illustrie a remarkably interesting circular
brick dove-cote is shown in the courtyard of this _manoir_, but it
does not appear in any of our views, and may have been demolished
since M. Benoist's sketches were made in 1852. Its walls were
decorated with colored brick, laid in bands and diaper patterns.



Club Notes.


The Baltimore Architectural Club commenced its active work for
the season on the first of October. It has its rooms in the Wilson
Building, Saratoga and Charles Streets, which are always open for the
use of its members, and there will be regular meetings every Thursday
evening during the winter and spring. At these meetings various
subjects of interest will occupy the attention of the members, both of
a practical and æsthetic character.

At one meeting of each month there will be an informal talk or
lecture on some of the mechanical, constructive or sanitary questions
connected with architecture.

On one evening there will be sketching from the cast, and on another
an impromptu sketch projet, to be completed in an hour. In addition
to these there will be competed for three of the larger and more
important regular projets, such as were made last season by the Club,
and for which two prizes are offered to those obtaining the first and
second place in point of general merit.

The present officers and Board of Control of the Baltimore
Architectural Club are J.B. Noel Wyatt, W. Emmart, Wm. G. Nölting,
Geo. Worthington, W.M. Ellicott, W.G. Keimig, and Charles Anderson.

       *       *       *       *       *

The last meeting of the T Square Club of Philadelphia, was one of
unusual activity. The annual election of officers and the competition
of summer sketches as called for by the Club syllabus was found to be
too much for one evening, and consequently the judging of the sketches
was postponed a week.

The following officers were elected: President, Albert Kelsey;
Vice-President, Edgar V. Seeler; Secretary, A.B. Lacey; Treasurer,
David K. Boyd; Executive Committee, Walter Cope, Louis C. Hickman,
William L. Price.

The summer sketches, which were judged at one of the Club's Bohemian
Nights, were of unusual quality and quantity. Walter Cope, who won
first mention, had a large collection of pencil drawings representing
the fruits of his labor in Spain.

Walter Price (who won third place) and John Bissegger had one end of
the room covered with sketches in color and line made during a recent
trip through England, and Wilson Eyre, Jr., the winner of the second
mention, had a variety of subjects beautifully rendered on quaint
paper, and in his well-known and ever novel way.

[Illustration: LXXV. Ferme de Turpe, Normandy.]

Music and beer were plentiful, and had a cheering effect upon Titus,
Dull, Kelsey, and Klauder, whose summer work failed to score a
mention.

The syllabus of the Club's work for the coming year has just been
issued and contains some features of special interest. The problems in
design are chosen with much care and the programmes are more explicit
than is usual, and will doubtless contribute to the usefulness of the
work to be done.

The T Square Club appears to be more fortunate than some of the other
architectural clubs in having interested and succeeded in holding the
interest of a number of the stronger of the older men among the local
architects. It now numbers about one hundred and twenty members,
and its work is necessarily having considerable influence in outside
circles.

Its example is a good one to hold up before other and less influential
clubs.

       *       *       *       *       *

Among the architectural clubs thus far noticed in this column no
account has been taken of the clubs connected with the architectural
schools. Of these there are at present several which are doing good
and effective work, but the only one of which we have data for a
description is that connected with Lehigh University. The school of
architecture, as it is called, is not a school of architecture at all,
but of engineering (which is a very different thing), but its work
is none the less dignified or important on this account, and the
opportunity open to the students' club is in consequence a wider and
more serious one than usual if they choose to concern themselves with
artistic considerations.

Two years ago the first class in architecture graduated from the
Lehigh University, and since that time the classes have continually
increased, until now the course is a distinct one in the curriculum
of studies of the University. The objects of the department are to
provide a thorough training in architectural engineering, with such
additional studies in history, design, and drawing as must necessarily
accompany all architectural problems.

The first year is of a preparatory nature in which no distinctively
architectural subject is taken up, and in the second year the subjects
are those closely related to civil engineering, including a very
complete course in higher mathematics. It is in the third year that
architectural subjects are brought in, and with studies and lectures
on the architectural styles, smaller problems in design, sanitary
engineering, and theory of roofs and bridges, the full course is
opened for the fourth year, of steel construction in office buildings
(design and computations), specifications by lectures, thorough study
of ventilation, designs for roof trusses and girders, and hydraulics,
finally ending with a thesis design. To supplement this prescribed
work the students have organized the Architectural Club of the
University. The objects of this society are to distribute blue prints
to members from a growing collection of negatives owned by the Club;
to collect specimens and models of building material; to aid in
securing a students' library, and to hold monthly competitions in
pen-and-ink rendering, besides managing any of the affairs of the
architectural course in which the students as a body desire to act.
It is an organization for mutual benefits and already has made itself
felt, although only two years old.

       *       *       *       *       *

After a summer of more or less inactivity, during which, in June,
its quarters were moved to 77 City Hall, where it is much more
conveniently located, the Cleveland Architectural Club has taken
up its work with characteristic enthusiasm, and already a vigorous
winter's work has been planned, beginning on November 14, with the
annual banquet at the Hollenden Hotel, followed by the yearly meeting
for the reports of officers and the election of new officers.

On the evening of January 9, 1896, the first annual exhibition of the
Club will be inaugurated, to continue during the balance of the week.
This will be the first distinctively architectural exhibition ever
held in Cleveland.

In the last competition, "An Entrance to Lake View Cemetery," the
mentions were as follows: W.D. Benes, first; Chas. S. Schneider,
second; Wilbur M. Hall, third; Geo. W. Andrews, fourth; L.R. Rice,
fifth.

The membership of the Club is rapidly increasing, a majority of the
members of the local chapter of the A.I.A. having already become
associate members.

[Illustration: LXXVI. Ferme de Turpe, Normandy.]



The Brochure Series

of Architectural Illustration.

PUBLISHED MONTHLY BY

BATES & GUILD,

6 BEACON STREET, BOSTON, MASS.

       *       *       *       *       *

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.

       *       *       *       *       *

SPECIAL NOTICE.

Back numbers of THE BROCHURE SERIES _are not_ kept in stock. All
subscriptions will be dated from the time received and subscribers who
wish for the current numbers must place their subscriptions at once.

If not a subscriber, you are respectfully asked to carefully examine
this number of THE BROCHURE SERIES, and consider whether it is not
worth fifty cents a year to you. A subscription blank is enclosed.

       *       *       *       *       *

It has been suggested by a correspondent prominently connected with
one of the principal architectural clubs of the country that a very
desirable and instructive exhibition could be made up of the year's
work of the various clubs. If collected by some concerted plan, to
include the premiated or mentioned designs in the club competitions,
and all sent to some one city or club, they could be exhibited and
then passed on to the next club in the circuit.

Exchange of ideas and comparison of methods among the architectural
clubs is much to be desired and could not help resulting in
benefit. No more direct or easier way of opening relations of mutual
helpfulness could be found than this, and we trust that some one
will take it upon himself to take the initiative. Our correspondent
intimates that this might be the first step towards a national
federation of architectural clubs. It is rather unsafe to speculate
upon what might take place in such an event.



Reviews.


    _Suggestions in Brickwork_ with illustrations from the
    Architecture of Italy, together with a Catalogue of Bricks,
    made by the Hydraulic-Press Brick Companies, Eastern
    Hydraulic-Press Brick Co., Philadelphia, 1895. $3.00.

To the architect who desires to use iron or steel in construction and
to figure out his own drawings for the purpose, nothing can take the
place of the handbooks furnished by the great iron and steel companies
to aid in this work; and the convenience of having all tables,
formulas, etc., together with a reliable catalogue of commercial
and practical possibilities, all in one little handbook is not to be
over-estimated.

What has in the past been done for the users of constructional iron
and steel work has now been attempted in a very different field for
architects who may wish to design in brick, both plain, moulded and
ornamental. That this attempt is well considered and most thoroughly
carried out would be perfectly certain if for no other reason than for
the name of the compiler, Mr. Frank Miles Day, of Philadelphia. There
have been similar attempts made in the past, but they are crude in
comparison with the handsome volume now before us. It does not matter
that this beautifully printed and illustrated book is a perfectly
frank advertisement, put forward for purely business reasons. It has
a most important bearing upon the progress and development of the best
American architecture.

The suggestions in designs are very largely taken from the buildings
in the north of Italy, adapted, of course, to the requirements of
modern bricks. They show at all times a most discriminating and
delicate taste and familiarity with the best architecture.

The ostensible purpose of the book is to remedy the difficulty which
all who have attempted to use bricks in designing have experienced to
a greater or less extent, of finding forms suitable for a given space.

The book is divided into two distinct parts, the first made up of
twenty-eight plates of designs with accompanying descriptive matter,
for arcades, loggias, doorways, windows, moulded bands, cornices,
brick mosaics, fireplaces, balconies, piers and columns, and gate
posts, all carefully drawn to scale and with the numbers of patterns
used in each case referring to the catalogue, which occupies the
second portion of the book. In the catalogue each pattern is shown
in isometric view, with shadows indicated where it will add to the
cleanness of the cut, and upon the opposite page the profile of the
brick is shown at half full size. This portion of the catalogue
is rendered much more useful than it would otherwise be, by the
classification which has been adopted. By this means it is easy to
find most any shape desired.

The choice of the patterns themselves deserves the highest
commendation.

[Illustration: LXXVII. Manoir d'Ango, Normandy.]

[Illustration: SKETCH BY WILSON EYRE, JR. See The Architectural
Review, Vol. IV, No. 1.]

The forthcoming number of _The Architectural Review_ (Vol. IV, No. 1)
will include several noteworthy features. The plates are of the same
class of subjects which has given the paper its present high standing.
The four gelatine plates are devoted to illustrating Messrs. Cram,
Wentworth & Goodhue's design for the Public Library to be erected in
Fall River, Mass. The two remaining line plates are devoted to the
Bowery Bank building in New York by Messrs. McKim, Mead & White. The
principal article in the text portion of the number is a sketch of a
trip across England from Liverpool to London by Wilson Eyre, Jr.
The delicate and, in the main, truthful reproductions of Mr. Eyre's
incomparable sketches give the article a more than common interest.
Of all American architects who have been attracted by the picturesque
features of English and French domestic work, no one has shown a
closer sympathy or been able in his sketches to render more of its
charm than Mr. Eyre.

[Illustration: SKETCH BY WILSON EYRE, JR. See The Architectural
Review, Vol. IV, No. 1.]

[Illustration: LXXVIII. Manoir d'Ango, Normandy.]



The "P.D's."

(_Continued from page 123_.) [Transcriber's Note: issue 8]


And speaking of costumes reminds me of some very successful ones, and
particularly that of a Highlander, the whole of which was made on
the spot from the club's "props" and was complete even to a practical
bagpipe, which was composed of three tin horns, a penny whistle, a
piece of burlap, and a rubber tobacco pouch. Both in tone and looks it
was an exceedingly good imitation of the genuine article.

One of the things that has afforded the P.D.'s a great deal of
amusement is a supposititious newspaper, wherein the members are
interviewed on any and all occasions and many interesting things
brought to light. In one of them, for instance, Ictinus confides to
the reporter that he was born in the shadow of the Parthenon. This
mixing up of one's peculiarities, habits, and nationality with those
of the illustrious individual whose name he bears, is capable of being
given many laughable twists and has been taken advantage of in many
amusing skits.

Besides the interviews there are fashion notes, society and sporting
notes, architectural news, and receipts. Among the latter is a receipt
for making Welsh rare-bits that should be in the possession of every
one addicted to them.

[Illustration: THE "P.D.'S" PREPARED FOR WORK.]

The club has been regaled at various times with comic opera (with
scenery painted for the occasion), readings and recitations; and at
one of the annual dinners an illustrated history of the club and its
members was given on an ingeniously contrived miniature stage.

Every dinner, every voyage of discovery, every reception, and in short
anything happening that would be of interest to the absent members, is
written up by some one for their edification. The P.D.'s out-Wegg Mr.
Wegg in the matter of dropping into poetry, and although its quality
cannot be presumed to approach that selected by that famous individual
for the delectation of Mr. Boffin, it being, not to mention the matter
of theme, very often afflicted with a deplorable weakness or strength
in its feet, yet it can be said of it, as in the case of Mercutio's
wound, that it serves.

[Illustration: CORNER IN THE "P.D.'S" ROOMS.]

Most of these literary efforts eventually find a place in the
scrapbook, and their perusal reminds us of many a joyous evening.

  "We seem to see, to taste, to hear,
  Joys that have passed; who say too fleet
  The rush of time? Things passed are dear."

This, then, is a slight account of the P.D.'s, and if their doings be
branded as folly, it is to them at least a very innocent and delicious
sort of folly, and just the thing to free them from the perplexing
problems of the day and fit them to grapple with a freshened and
renewed energy those of the morrow.



Notes.


The new office building of the Chicago Varnish Company, now in the
course of erection at the corner of Dearborn Avenue and Kinzie Street,
Chicago, from the designs of Mr. Henry Ives Cobb, covers a plat of
ground 45 x 90 feet. It is in the style of the brick architecture of
Holland, which has been recently adopted in several instances in New
York and Philadelphia, notably by Mr. Frank Miles Day and Mr. R.W.
Gibson. It is to be built of St. Louis red pressed brick with Bedford
stone trimmings, and will be a noticeable building even in Chicago,
where there is so much of architectural interest. The interior will
be handsomely finished in natural woods. The company will occupy a
considerable part of the building, but a portion of it will be rented
for other office purposes.

[Illustration: LXXIX. Manoir d'Ango, Normandy.]

[Illustration: BUILDING OF CHICAGO VARNISH CO., CHICAGO.]

Many a new building that is approaching its first winter will be found
lacking if its architect forgot the specification of the Folsom Snow
Guard. A great many buildings do not need this device, but where one
does, it needs it badly. It is so cheap, so simple and so perfectly
effective that it should be used where there is the least chance of
danger or inconvenience from snow sliding off the roof.

The development of the kitchen range has been along certain well
defined lines, the ornament changed, new parts nickeled, dimensions
varied, etc., but it has remained the same old stove. The Walker
& Pratt Mfg. Co., of Boston, have made a move towards an entirely
different style, in their "Culinet," which is illustrated on this
page. It presents many good points. The cooking surface is at the
same height as an ordinary table. The oven is about the height of
the elbow, making it convenient of access, and greatly lessening
the danger of burning the arms in using it. The fire, broiler door,
clinker door, and ash-pan door are all in front. All holes are hot,
and the oven is heated on six sides, making it not only an even baker,
but a sure baker on the bottom. One damper does the whole regulating
business. A guard rail to keep the clothes from contact with the
heated surface and convenient towel driers are also provided. There is
no nickel finish, but solid bronze instead. These are features which
should recommend it to architects; besides which it is compact, and
occupies little floor space, durable, and made with the same care in
every detail that has characterized the Walker & Pratt goods for forty
years. It is a kitchen ornament, as well as a kitchen help.

[Illustration] [Transcriber's Note: Lady using "Culinet."]

"The Making of a Range" is a cleverly prepared little pamphlet, fully
illustrated, that was issued primarily for distribution from the
Mechanics' Fair (Boston) exhibit of the Walker & Pratt Mfg. Co. It
is well worth sending for, if one is interested in details of
manufacture. The "Culinet" was the only stove which was awarded a Gold
Medal at the Mechanics' Fair.

[Illustration: LXXX. Manoir d'Ango, Normandy.]





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