THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION. VOL. I. MARCH, 1895. No. 3. THE CLOISTER AT MONREALE, NEAR PALERMO, SICILY. The island of Sicily, being in form nearly an equilateral triangle, withone side facing towards Italy, another towards Greece, and the third, towards Africa, was a tempting field for conquest to the various nationssurrounding it. It was successively overrun by the Greeks, Carthaginians, and Romans, and later, after the Christian era, againsuccessively by the Byzantines, the Moors, and the Normans. Almost allof the architectural remains of the older periods belong to the time ofthe Greeks, as neither the Carthaginians nor Romans left much to showfor their occupation of the island. With the exception of occasionalruined examples surviving from the time of the Dorian Greeks whocolonized Sicily, most of the monuments now existing belong to theByzantine, Saracenic, and Romanesque periods. As would be natural toexpect, the latter influences are not clearly separable one from anothereither in time or in locality. They overlap in all directions; but ingeneral the Byzantine, which was the earliest and most powerful element, is found more strongly marked, and more frequently on the east coast. Ithowever forms the groundwork and is the main ingredient of all thatfollows. The Saracenic work, which succeeds the Byzantine in date, founda stronger foothold in the South, on the coast nearest Africa; and theinfluence of the Normans appears in the North. Every new race of masters in this frequent recurrence of conquest foundthe island already occupied by a very numerous population of extremelyvarious origin. The newcomers could do no more than add their own formsto those previously in use; the consequence being in every case a mixedstyle, containing elements derived from every portion of theinhabitants. Palermo, being on the northern coast, has felt the Norman influencestrongly. Its architecture is principally Romanesque in form, with agenerous admixture of Byzantine and Saracenic motives in detail anddecoration. Exuberance of detail and wealth of color are the rule. Under the Norman conquerors the Sicilians built as they were directed. Their arts and their civilization were superior to those of theirmasters, and the Normans were apparently willing to make use of thissuperiority, and merely adapted the forms of decoration and methods ofconstruction which they found here in use to their own needs andpurposes. The polychromatic decoration of the buildings of thisneighborhood, such as the interiors of the Capella Palatina and thecathedral at Monreale, ranks among the most successful, if it be not themost successful, work of its class now in existence. It is thoroughlyOriental in character, although applied to buildings intended for Romanritual. On account of the great superiority of the Moors in art andcivilization, not only to the Normans but to all the other inhabitantsat the time of the Norman conquest, in the eleventh century, many of thebuildings of this period show very little Norman influence. In fact theOriental character is so extreme in some instances, such as the churchof San Giovanni degli Eremiti, that there is very little to suggest thatit was Norman and intended for Norman uses. The village of Monreale is situated on the steep mountain-side aboutfive miles to the west of and overlooking the city of Palermo. Thecathedral and the cloister-adjoining it on the south were both parts ofa Benedictine convent, which is now mostly in ruins. They were erectedby King William the Second, between the years 1174 and 1182, and richlyendowed by him. The plan of the cathedral is that of a basilica. The famous cloister, with coupled columns and clusters of four in thecorners, and with a charming fountain and a separate little square ofcloisters around it, as it were, in one corner of the open space, is oneof the most interesting relics of Palermo. In arrangement it follows thestyle universal in the countries bordering on the Mediterranean, thatis, consisting of a pointed arcade supported by small but elegantcolumns of Corinthian design, grouped in pairs; while in the North, inEngland, France, and Germany, a cloister is formed of a series ofunglazed windows. The columns surrounding the fountain, which unfortunately cannot be seenin the general view given in Plate XX. , show the richest decoration. Theshafts are either plain, rusticated, or covered with patterns executedin relief or mosaic. There appears to be some doubt as to the date of this work, as thecolumns have evidently been inserted since the arches which spring fromthem were built. The discrepancy will be seen in Plates XVIII. , XIX. , and XX. The disproportion of the dainty columns and capitals to theheavy arches which are entirely in keeping with the architecture of therest of the cathedral, but which manifestly do not fit the columns, leads to the conclusion that the columns were a later addition, althoughprobably inserted soon after the other work was completed. [Illustration: XVII. Capitals from the Cloister of Monreale, Sicily. ] XVII. CAPITALS FROM THE CLOISTER OF MONREALE, SICILY. The hybrid character of this work will be perfectly evident at a glance. It plainly belongs to none of the styles of the North, but neverthelesshas a distinct character and unmistakable charm. The use of mosaicoriginally placed in the channels of the shafts added greatly to thedecorative effect and airiness of these columns. [Illustration: XVIII. Capitals from the Cloister of Monreale, Sicily. ] XVIII. CAPITALS FROM THE CLOISTER OF MONREALE, SICILY. A common device in most of the Romanesque cloisters for adding interestto the long colonnade was the grouping of two columns of dissimilardesign. This plan is followed here in treating the mosaic inlayvertically in one and horizontally in the other. [Illustration: XIX. Capitals from the Cloister of Monreale, Sicily. ] XIX. CAPITALS FROM THE CLOISTER OF MONREALE, SICILY. The design of the capitals shown in this plate follows the Corinthianmodel very closely. [Illustration: XX. The Cloister of Monreale, Sicily. ] XX. THE CLOISTER OF MONREALE, SICILY. In a later number of THE BROCHURE SERIES another view of this mostcharming building will be given. The portion surrounding the fountain, with its groups of four clustered columns, is, in many respects, themost beautiful portion of the structure This will be taken up later. Ravenna Capitals. With the reign of Constantine, and the introduction of Christianity asthe acknowledged religion of Rome, Byzantine art, as such, made itsappearance. The culture of Rome was transferred to Byzantium, henceforthto be known as Constantinople. Governed alternately by Greek and byPersian, it had received a strong Oriental character from the Easternnations, and had added to the Greek subtlety and delicacy of expressionthe Oriental love of detail. When converted by Constantine into NewRome, it became a perfect treasure house of Eastern and Grecian art. TheByzantine work, which spread over the East in the sixth, seventh, andeighth centuries, is therefore a union of the refinement of the Greek, the desire for color and detail of the Oriental, and the vigor ofconstructional invention and conception of mass and grandeur of theRoman. A portion of it was transplanted to Ravenna during Justinian'sreign, and there is a glorious afterglow in the Venetian splendor of thetenth and eleventh centuries. The three great centres of Byzantine artwork are Constantinople, Ravenna, and Venice; and the three most notedexamples, the churches of Sta. Sophia, S. Vitale, and St. Mark's. Apartfrom these, the cathedral at Monreale, and the Capella Palatina inPalermo, Sicily, represent a variation from the Byzantine type affectedby Moslem design. From the time of Constantine to that of Justinian, one hundred and fiftyyears, is a period of formation. Under the reign of Justinian, Byzantineart reached its height. Prominent among its factors is the use ofmosaic, the influence of which spread insidiously through its wholesystem, until in the later work the cornices and entablatures of classicdesign withered into long thin lines of moulding; projections whichdisturbed the effect of color by the shadows they cast were discarded;voussoirs disappeared under a mosaic veil; surfaces resolved themselvesinto broad expanses of infinitely varied tones, bounded by narrow butstrongly contrasting bands and borders of marble. All ornament hadresolved itself into surface decoration, or as nearly that as possible. In 539 Belisarius took Ravenna in the name of the Emperor Justinian, andto celebrate this event Justinian decided to erect a magnificentmonument in the city. He chose to replace, by a more importantstructure, the small church dedicated to S. Vitale, and built by Néon inthe reign of Theodoric. The wonderful basilica of Sta. Sophia at Constantinople was justcompleted, and the novelty of its plan and immense effect Produced byits dome, a method of construction entirely novel in Roman architecture, doubtless excited the admiration of the Emperor and led to the adoptionof a similar plan for S. Vitale. S. Vitale 18 by no means a copy of Sta. Sophia, but unquestionably was strongly influenced by it. It was founded in 540, and consecrated in 547. It is octagonal in plan, with an inner structure of eight large piers, arranged in a circle, connected by arches which support a pendentive dome. Following thecustom then in vogue, its interior is incrusted throughout withelaborate mosaics in a wealth of color. The most elaborate design andrichest color is used in the apse, which was the centre of display inall Byzantine churches. [Illustration: XXI. Capital from the Apse of the Church of S. Vitale, Ravenna, Italy. ] XXI. CAPITAL FROM THE APSE OF THE CHURCH OF S. VITALE, RAVENNA, ITALY. This is one of the most beautiful and most characteristic capitals ofthe Byzantine style. Its form and decoration are both typical of thestyle. The flat treatment of the interlace of the vine motive is verygenerally used, and can be seen in great variety in S. Vitale andelsewhere. The ornament is here enriched with gold and color. In thedouble capitals of Ravenna the upper member, or cushion, is usuallyornamented with symbolic designs drawn from various sources, both Paganand Christian. [Illustration: XXII. Capital from the Church of S. Vitale, Ravenna, Italy. ] XXII. CAPITAL FROM THE CHURCH OF S. VITALE, RAVENNA, ITALY. Here again is the rhomboidal double capital of a much more severe designthan that of the preceding plate, but with a remarkable delicacy andrefinement of treatment. [Illustration: XXIII. Capital from the Church of S. Vitale, Ravenna, Italy. ] XXIII. CAPITAL FROM THE CHURCH OF S. VITALE, RAVENNA, ITALY. This is a mean between the two extreme types shown in Plates XXI. AndXXII. In all these examples the treatment of the angles should be noted. Strong confining lines, with a distinct upward tendency of the ornament, contrasted with the flat sides, contribute much to the good effect ofthese capitals as constructive members. [Illustration: XXIV. Capital in the Museum of the Accademia di BelleArti, Ravenna, Italy. ] XXIV. CAPITAL IN THE MUSEUM OF THE ACCADEMIA DI BELLE ARTI, RAVENNA, ITALY. Whether this capital was originally intended for S. Vitale or some ofthe other churches of Ravenna we cannot state, but at all events it is afitting companion for the others illustrated in this number. 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 Rate forfive subscriptions $2. 00. Entered at the Boston Post Office as Second-class Matter. * * * * * An illustrated catalogue has come to be one of the important features ofexhibitions of architectural drawings, and these catalogues are nowexceedingly valuable records of recent progress in architecture. Thecontributions of the present year to this department of an architect'slibrary are especially notable. Of the catalogues which have come to ournotice, that of the architectural exhibition at the Academy of Fine Artsin Philadelphia is in point of illustration the most complete, and showsthe most judicious selection of material. In this there was a markedendeavor to give as large a number of geometrical drawings as possible, and it is unquestionably a move in the right direction. The desire forthe picturesque, which has been until recently the ruling motive withAmerican architects, has had its day, and trained and conservativedesigners have gradually taken the place of the pyrotechnic draughtsmanof the past. The change has been working gradually to be sure, but scaleand detail drawings both in the exhibitions, which of necessity areintended to appeal to a more or less popular taste, and in theprofessional journals are from year to year growing more prominent. Intheir recognition of this tendency, the Philadelphia catalogue committeeare to be highly commended. The same trend may be observed in a little less marked degree in theArchitectural League catalogue. The exhibitions of the League have foryears been the models by which minor exhibitions have been ruled, andits catalogue has been a guide to all others. As usual there is a greatdeal of valuable and interesting material presented in itsillustrations. The Catalogue Committee of the St. Louis exhibition have made adeparture from the general rule, and increased the size of their pages, allowing the use of much larger plates. In some of the drawings this isa distinct advantage, and their catalogue gains in consequence. The Boston Society of Architects and the Boston Architectural Club willhold a joint exhibition in April, and their catalogue now promises to bea very creditable publication. * * * * * In the recent draughtsmen's competitions, Boston has been more thanordinarily fortunate. The medal in both the competitions of the Societyof Beaux-Arts Architects has come to Mr. F. M. Mann, of theMassachusetts Institute of Technology, and a number of the first andsecond mentions have also come to Boston. In fact, nearly if not quiteall the designs sent from Boston have received some recognition at thehands of the jury. A complimentary dinner has been arranged for by the M. I. T. Architectural Society in honor of the winners of the last competition. The annual competition for the Architectural League gold medal, whichwas awarded to Mr. A. H. Wright, also resulted in adding another victoryto the credit of Boston draughtsmen. Interest in these contests is not purely local, however, forPhiladelphia, Rochester, and several other cities have furnishedcontributors and shared the honors. Mr. H. L. Duhring, Jr. , ofPhiladelphia, was awarded the Architectural League silver medal. * * * * * Fulfilling the bequest of the late Arthur Rotch leaving $5, 000 to theBoston Architectural Club, this sum has been paid to the treasurer ofthe club by the executors of Mr. Rotch's estate. The income only is tobe expended in the purchase of books to form an architectural library. This is only one of many indications that the architectural clubs of thecountry are recognized as permanent and established institutions. Withthe spread of this feeling their influence will grow in importance, andas the working foundation of the profession they deserve all theencouragement that can be given them. The Cleveland Architectural Club. There are none of the now numerous architectural associations of thecountry which can more deservingly congratulate themselves upon theearly success of their first few months of existence than the ClevelandArchitectural Club, which was organized on the 22d of last November, andis now only four months old. Its original members, fifteen in number, met in the office of Messrs. Coburn & Barnum, and here the meetings for the few succeeding weeks werealso held. It soon became evident that a wide field of usefulness was open to thenew organization, and a permanent location of its own would becomenecessary. Such a location in the heart of the city, with all necessaryconveniences, was found in the Garfield Building, and the new rooms havebeen properly fitted up for the use of the club. With the purpose of making the influence of its work as far-reaching aspossible, the restriction which has commonly been applied in othersimilar clubs, limiting the membership to architects and draughtsmen, orat least limiting the number of non professional members, has beenentirely done away with, and any one who may have an interest inarchitecture or the "allied arts" is eligible for membership. What willbe the effect of this arrangement it remains for the future to decide. In some of the older clubs it has been found by experience that theprofessional membership was overbalanced and its work impeded by a toolarge non-professional element, and the professional lines have beenclosely drawn in consequence. The work thus far entered upon is modest but of an important character, and if pursued with the earnest purpose which has marked the first fewmonths will lead to a fruitful future. Of the monthly competitions in design the one for March, the subject ofwhich is a scheme for the public buildings of Cleveland, has attractedconsiderable attention, and the public exhibition of the designs willdoubtless lead to profitable discussion outside the club. A plan whichwe believe has not been adopted here, but which has been the means ofawakening considerable interest in the study of design in the clubs ofNew York, Philadelphia, and Boston, might possibly be followed toadvantage. In the January number of THE BROCHURE SERIES the competitionsinstituted by the Society of Beaux-Arts Architects were outlined. Ofcourse with all the numberless calls upon his time, the averagedraughtsman does not have the leisure to properly study and render thedrawings required in these competitions; but by the joining of forcesfour or five, or even more, men can easily work out such a problem, andin some respects the advantages to be gained are greater than is thecase when an individual works alone. Several large tables can beprovided in the club-rooms, and the problem worked up as a club design. This plan has been followed in the Boston Architectural Club with greatsuccess. The study of academic design is of the utmost importance to the youngarchitect, and unfortunately the opportunities for such study in theusual routine of office practice are not very extensive. The working outeach season of two or three such designs as those required by theBeaux-Arts Society will be of material benefit to the older men who arealready familiar with the academic methods of design, and of much morebenefit to the younger men whose opportunities have been more limited. The criticism and suggestion of the older men in the profession iseasily obtained while the work is in progress. Nothing could be bettercalculated to foster a certain _esprit de corps_, which is certainly adesirable quality in any club. The personnel of the Cleveland Club is as follows: Benj. S. Hubbell, president; Harry S. Nelson, vice-president; Herbert B. Briggs, secretary; Perley H. Griffin, librarian; E. E. Noble, treasurer; W. D. Benes and Wilbur M. Hall, members of the executive board. The officersand Robert Allen, Frederick Baird, J. W. Russell, G. B. Bohm, WilliardHirsh, Ray Rice, Albert E. Skeel, and C. S. Schneider constitute thecharter membership. Books. _Church of Sancta Sophia, Constantinople_: A Study of ByzantineBuilding. By W. R. Lethaby and Harold Swainson. Macmillan & Co. 1894. 307 pages with illustrations. $6. 50. It seems especially fitting that a notice of Mr. Lethaby's work on thechurch of Sta. Sophia, or as he calls it Sancta Sophia, should appear inthe same issue with the beautiful Byzantine capitals from Ravenna, whichwe publish this month. In the description of this work from Ravenna, onanother page, the connection is pointed out between Constantinople, thecapital of the Roman Empire in the East, and Ravenna, then the Westerncapital. The work before us is an important and exhaustive study, botharchitecturally and historically, of this beautiful building, which Mr. Van Brunt has called "the central building of the world. " Nothing hasever been done in enriching interiors which approaches in splendor thebest work of the Byzantine builders, and Sta. Sophia, by generalconsent, is the most beautiful of the Byzantine churches; but itsexterior is by no means without faults, and its claim for distinctionwould fall if supported only by this. The book takes up in order the history of Sta. Sophia, with citations ofvarious authorities for statements concerning its early history;accounts of the various vicissitudes through which it has passed; itsconstruction, lighting, details, mosaics, etc. , all carefully andconscientiously described, the descriptive portion based on apainstaking study of the building itself. The illustrations whichaccompany the text are numerous and excellent; there is no attempt tofurnish illustrations at large scale, which are already accessible inSalzenberg. The monumental work of Salzenberg, which has been the architect'sreference book for Sta. Sophia, is referred to and largely quoted from. The two articles by Mr. Henry Van Brunt and Prof. A. D. F. Hamlin, published in _The Architectural Review_, Vol. II. , No. 5, and Vol. III. , No. 2, will be found of considerable interest in connection with Mr. Lethaby's book. Club Notes. When in our January issue it was announced that we should devote acertain amount of space and attention to the architectural clubs of thecountry, we had no idea of the extent to which these organizations haddeveloped within the last year or two. The work of a few of the olderclubs was familiar to us, but it is a surprise to find that nearly everycity of importance in the United States has an active and flourishingsociety of draughtsmen and young architects. It may be well to suggestright here that any city which has not such an organization should lookto its laurels. Among the newer accessions to the ranks is the Baltimore ArchitecturalClub. It is fortunate in being able to start with a strong, if limitedmembership. It is holding weekly meetings, and has already instituted aseries of monthly competitions in design, for which a small cash prizeis offered. The list of officers is the best evidence of its seriousness of purposeand ability to accomplish an unlimited amount of good work. The officers are: president, J. E. Sperry; vice-president, J. B. N. Wyatt; secretary, Louis E. Simon; and E. F. Baldwin, George Worthington, J. W. Case, and W. G. Keimig, together with the officers, constitute theBoard of Control. * * * * * The Sketch Club of New York is following the lead of the ChicagoArchitectural Club in delegating to one or two of its members the officeof Entertainment Committee for one evening, when these members act ashosts and provide for the entertainment of the club. This plan hasresulted in an increased attendance at the meetings, and is givinggeneral satisfaction. * * * * * An outgrowth of the Boston Architectural Club which has shown a greatdeal of vitality and in many ways justified its claim to a separateexistence is the little club of twelve members known as the "P. D's. "Without organization and with only the mutual desire for a sort ofBohemian companionship, these congenial spirits have worked together andamused each other for the last two years. They are all members of the Architectural Club and among its mostzealous supporters. The mystic monogram of the club, the initials P and D contained in acircle, which was placed on their designs submitted in the twoBeaux-Arts competitions, has probably set more than one interestedperson guessing its significance. Its primary meaning is said to be"Poor Draughtsmen. " * * * * * Preceding the last regular meeting of the Philadelphia T Square Club aninformal supper was held at "Bohemia, " a charming rathsheller recentlydesigned by Wilson Eyre, Jr. , a member of the executive committee of theclub. The president, Walter Cope, presided, while the fifty-four memberspresent lubricated their supper with 158 steins of old musty ale. The meeting which followed was of unusual interest, as the doubleprogramme brought forth a great many designs. In the competition for a chapel located on the terrace of a wealthygentleman's country house, Albert Kelsey, who submitted two sets ofdrawings, was fortunate enough to win both first and second mentions, while E. S. Powers was voted third place. The competition for a pedestal for a monument was well contested, butthe winner of the first place failed to claim his design. Mr. A. C. Munoz, a former winner of the McKim Travelling Scholarship, won secondplace; and Chas. Z. Klauder, third. * * * * * To the list of Architectural Clubs contained in our February issueshould be added the following:-- Baltimore Architectural Club; secretary, Louis E. Simon, Builders'Exchange Building. Cincinnati Architectural Club; secretary, John E. Zettel, 227 Main St. Society of Beaux-Arts Architects. The Committee on Education proposes as the subject for its thirdcompetition. A LARGE CITY CHURCH for an Episcopal parish. The wealth of the congregation has been lavished upon this building togive it a special character of devotion and beauty, to which therichness of material and the sedate spirit of its classic architecturealike contribute. In addition to the vast body of the church, which is to be so arrangedas to give an impression of amplitude and splendor, provision should bemade for vestry, sacristy, and choir-room, conveniently situated for theservice of the sanctuary. Two small chapels for the celebration of minorservices will be situated so as to be accessible both from the exteriorand from the interior of the church proper. The plot of ground secured for the building is rectangular, and measurestwo hundred feet by four hundred feet, open to streets on all sides. Sketches of plan, elevation, and section, at a scale of onethirty-second inch to the foot, will be required of all students wishingto compete; these sketches should be made on opaque drawing paper, nottracing paper, and forwarded not later than 22d April, 1895, to Mr. JohnE. Howe, 140 West 34th Street, New York City. For the finished drawings the plan will be rendered at a scale of onesixteenth inch to the foot, the elevation and section at twice thatscale, and a detail at a quarter of the size of execution. The finisheddrawings should in every case be mounted on stretchers. The address towhich they are to be forwarded will be announced later. All drawingsmust be sent on or before 24th June, 1895. (Signed) ERNEST FLAGG, _Chairman_, JOHN M. CARRERE, JOHN G. HOWARD, THOMAS HASTINGS, WHITNEY WARREN, JOHN E. HOWE, _Secretary, Committee on Education_. This competition is open to all students of architecture. Conditions ofjudgment and jury to be arranged by the committee. 1st April, 1895.