ce . the greater qualities of art are god-giv en andcan be learned from no school or master ! but...
TRANSCRIPT
ARCH ITE CTU RE
AND
HOW TO SKETCH IT .
ILLU STRATED BY SKETCHES
OF TYPICAL E ! AMPLES .
H . W. ROBERTS .
Au thor ofR .
’
s M ethodofPerspective, ! Rhythmic Designing,“Architectural S ketching andDrawing in Perspec tive .!
FOU RTH EDIT ION .
GEORGE ROWNEY AND COMPANY ,
ARTISTS ’ COLOURMEN AND PENC IL MAKE RS ,10 1 1 , PERCY STR EET, W. l , AND 6 1 , B ROMPTON ROAD ,
KN IGHTSBR IDGE, S .W. , LONDON, ENGLAND ,
HUNT, BARNARD AND OO . , LTD . ,
PR INTERS ,LONDON AND AY LE SBURY .
PREFA CE .
THE greater qualities of Art are God-giv en and can belearned from no school or master ! but all means ofexpression andprocesses are mechanical , andcan be imparted much more quickly than some people imagine , ifup
-to-date methods ofteaching are used,and the
student has the desire and will give the attention .
As in language a limited v ocabulary is sufficientfor av ery numerous class , so the latent power of drawingmay hav e been but slightly dev eloped , but that powercan be considerably increased by any individual whoso desires and so determines . Nihil sine labore is
as true today as ever it was . The outflow ofa ripemind stored with facts accumulated by great labour ,may be an impression
,or the slightest sketch executed
in afew minutes , and yet be priceless ! while theov erflow Ofa shallow reserv oir need not be takenseriously
,as it is valueless— nothing without labour
Without great labour, but we have no time for needlesslabour such as drawing circles without compasses
,
straight lines and geometricalfigures without in
struments.“Ars longa v ita brevis , yes
,Art is long and life
short,but just as we try to make life longer and fuller ,
we must try to make Art shorter andnearer . A greatdeal that has been written on Art andthe Old slow wayofteaching it , is now ,
compared with modern methods ,
PREFACE
as much out ofdate as the old carrier ’s cart,when
compared with the modern motor car . Today we gomuch more quickly by using every aid the ingenuityofman can supply . The Old artists prepared theirown colours
,their canvases and tools . Today we
’phone or wire instructions to our Artist-colourman,
and by return Ofpost have our requirements at hand,
in ev ery case feeling sure that we get the best possible,
carefully made by experts in each branch who havethe command of the most up
-to -date manufacturingappliances .
CONTENTS .
PREFACE
THE AIM
VIS IT To AN IDEAL CITYWITHOUT THE WALLSWITHIN THE WALLSWITHOUT THE CHURCHWITHIN THE CHURCH
METHOD IN SKETCHING TO GET RAPID ANDACCURATE REPRE SENTATION
A S IMPLE BUILD INGOUTS IDE OF A CHURCHINS IDE OF A CHURCHOCTAGONAL FORMSARCHE SCIRCLE S ON PLAN
ARCH ITECTURE AND HOW TO
SKETCH IT.
THE AIM .
THE numerous camera-carrying v isitors to our old
Historical Buildings show how very general is theirwish to personally record whatev er may at the momentmost particularly impress them .
Interesting as it may be to record by photograph ,I think it is yet far more satisfactory to be able tomake a convincing sketch
,and with modern methods
it is possible to learn to ske tch rapidly and accurately ,in less time than it takes to become a really good photographer . After a long experience
,I can imagine no
greater possible enj oyment,as one goes through life , than
sketching from the endless beauties ofNature , and thenumerous Ar t and Architectural works ofthe past .
Surely there is no more pleasant way ofgetting usefulinformation ! as here— in Great Britain— we canfindso much to learn from the stone -built history Of ourchurches
,and ifwe get into the habit Ofsketching
as we go,we not only learn more deeply , but get an
instructiv e andvaluable series ofrecords Of our trav els ,interesting equally to ourselves and to all who mayafterwards see them . My own collection contains :Roman Remains ! The Celtic Crosses ofIreland !Saxon and Norman Work ! The Gothic Work oftheEarly English
,Decorated and Perpendicular Periods !
10 ARCHITECTURE
The Early Renaissance,as shown in the Elizabethan
and Early Jacobean Periods ! The Late Renaissance !Georgian and Modern Work . From nearly everychurch one can readi ly learn to read local history !to decide when the various parts hav e been constructed
,
and to approximatelyfix dates ! in some cases goingback topre -Conquest times . In many a village churchone canfind architecture Of three periods
,with
interesting Tudor,Jacobean
,Georgian
,and modern
monuments,extending over a period Of nearly
years .For about half a century I have known and enjoyed
the charm ofArchitectural Sketching , a pleasurein no way decreasing , and Ifind subjects far toonumerous to be ever exhausted . From the manyinteresting experiences I have had
,in individually
helping others to get over the initiatory difficultiesofstarting to sketch , I now take a particular interestin endeavouring to show by written description how
Architectural features may be truthfully represented ,by all who desire to do so
,who may not hav e had
previous experience in drawing such subjects ! and
further,while not in any way attempting , in so small
a book,to go over the ground so we ll done by Paley
,
in Manual Of Gothic Architecture by Parker,in
Glossary ofArchitecture and ABC ofGothicAr chitecture by Rickman
,in Gothic Architecture
and“Attempt to Discriminate the Styles ofArchi
tecture —the textbooks of50 years ago or in modernbooks
,such as Bond ’s Gothic Architecture Prior ’s
History OfGothic Ar t in England , ! and MediaevalFigure — a book of700 page s and 800
AND How TO SKETCH IT 1 1
illustrations— in which the Author says he is but apioneer in an untrodden country ,
! I yet hope to sayenough to interest the ordinary visitors , and to pointout sufficient indication ofdate , so that they maybe able to readfor themselves some Of the stone -builthistory ! that they may the better understand themany excellent local guides to the churches
,and follow
with more interest the generally intelligent vergerwho shows the individual beauties ofhis church . Butlocal information is sometimes more amusing thanreliable . I remember hearing a large party ofvisitorsbeing told
,
“All this work was done by the Romans a
many year ago —it happened to be a very beautiful1 4th -century Lady Chapel . One ofthe party thensaid
,Dear me
,why this will be nearly years
Old.
! The attendant,an Oldman not deep infigures
and facts replied,
Oh yes,yes
,I daresay
,very Old ,
very Old .
! By the Romans the Old man evidentlymeant the Roman Catholics .
I wish as far as possible to help the would-be sketcherto start working butfirst
,I will show some important
points in Representation ! how all form is modifiedby its position in relation to the eye level
,and to its
distance away from the Observer ! and afterwards , ina series of Diagrammatic Illustrations
,endeavour to
clearly indicate how the more ordinary Architecturalforms actually appear
,and how they must be repre
sented in a convincing sketch . I had perhaps betterexplain here what I mean by a convincing sketch .
1 . A good painting,beyond the higher qualities
Of selection,composition
,etc .
,should show correct
form,proportion
,tone
,colour .
1 2 ARCHITECTURE
2 . A good etching may have the same higherqualities
,correct form
,andproportion
,andignore tone
and colour .
3 . A good photograph will probably hav e fewerofthe higher qualities
,but absolutely correct form and
proportion, a modified light andshade andno colour .
Different mediums ofworking hav e their limitations,
yet the results may be altogether satisfactory iftheyfaithfully show a small part ofthe truth .
When working in pencil or pen andink,the medium
is very limited ! it is perhaps the more necessary thatthe given moiety is correct . We can leave out allweak effects , and reduce our representation to a fewsuggestive touches
,ifthe qualities retained are so
absolutely correct that the beho lders are convincinglysatisfied . A convincing sketch may be the work of afew minutes and yet be absolutely correct as far as itgoes .
If you have a difficulty in keeping your drawingupright , use a set square to help you keep right , or usethe sketch books made with Bank Note paper
,which is
transparent,and put a sheet ofpaper with squares
ruled on it underneath the sheet you sketch on .
All aids and devices that are or can be madefordrawing more rapidly and accurately are extremelyuseful
,andArt workers use every practical idea they
can get in their particular,craft to ensure greater
accuracy and rapidity .
AND How TO SKETCH IT. 1 3
VISIT TO AN IDEAL CITY .
Be fore giving the truths of Architectural Representat ion
,which are essential in any andevery drawing
or sketch , I beg you to accompany me on an afternoonv isit to a v ery ideal church , particularly rich in variedexamples ofEnglish Ar chitecture
, and instead oftaking any actual church in one particular locality
,
which would entirely localise the examples,I propose to
select my illustrations from sketches I have made in all
parts ofour country, so that the information may applyin some measure when used in any part ofGreat Britain.
Our knowledge ofArchitecture has considerablybroadened since my young days , when we were taughtto appreciate the Early English work Ofthe 1 3th
century,to just countenance the 1 4th and 1 5th
century, and to condemn all post Reformation
Ar chitecture . The wonderful work OfSir ChristopherWren
,with all the other Renaissance Buildings
,were
held up to ridi cule by a mistaken, but very enthusiasticband Of young architects , who , with the best intentionsofdoing right
,performed many most regrettable and
destructive restorations . Today one can scarcelyrealise what vandalism was perpetrated by thesesupposed purists . Men who were not architects arealso responsible for desecration . I was recently toldby the attendant Of an important church in the Northwhen I remarked on the peculiarity ofsome oftheNorman Carvings
,They had been improved andfinished by a local carver
,but unfortunately they had
not enough funds tofinish them andanother case fromthe South : a gentleman informed me he was on theCity Council when the question was discussed oftaking
14 ARCHITE CTURE
down a veryfine mediaeval gateway to allow a circusprocession to go through the town . The Council byone vote decided not to do so
,but took down two Old
cottages at the side so that the procession could enterthe city
,andthe beautiful gateway still remains .
WITHOUT THE WALLS .
Now let us imagine we have arrived at the railwaystation,
and from the entrance we are able to see theOld city, scattered over the opposite hillside
,more
close ly built round the grand Old church near thecrown Ofthe hill . We are particularly fortunate
,
for just now Nature is picture making, and through a
break in a somewhat cloudy sky the sun streams downon the church and the surroundings
,while the whole of
the other parts are in shade . The south front is instrong light and the western side partly so had theybeen equally lighted it would have been 3 o’clock but itis not yet 2
,and with a long afternoon before us we
can leisurely walk down the hill,cross the stone bridge
andmount the opposite hill by the winding road thatopens to the Market Place from which a narrow crossstreet leads to the church . It is yourfirst journeyhere
,andyou are interested in sketching Architecture .
I have been here several time s,and have made many
sketches . I have brought a few with me to -day to Showwhat I have done , andmy method Of doing it , so thatin due time you may do as good or better work . Hereis a sketch ofthe Old farm -buildings we are approaching .
You remark , How very slight andyet how right it allseems
,
!
and you notice how sparing I have beenwith my ink, putting it mostly to represent the deeper
AND How To SKETCH IT. 1 5
Shades and shadows and not putting a hard,black
line round every part . Yes,I don ’t use SO much ink
I was early in life impressed with the fact that plentyOf whi te paper is perhaps the most useful thing in a
pen andink sketch .
If we stand back from thefield gate we have beenlooking ov er, I can give you the broad principles Oflight and shade , which will he lp you ,
tofirst lookfor,
and then put into your sketches,the truths oftone .
We are again fortunate,for the sun is now entirely
hidden by the clouds, anda general grey light prevails ,
“0
under which condition it is best tofirst study tone .
The strongest lights are on the top plane s Of all theobjects— the top ofthe posts , the top Of the toprail, Of thelower rails , Ofthe diagonal brace , the top ofthe straphinge s
,Of all fastenings , and on the ground itself ,
and the deep darks are on the underside , and allother parts receive their relative share oflight and
Shade . If you once thoroughly realise the top light ,underdark,
and relative intermediate Shades on allObj ects in grey light , you have the key to putting thetouches that te l l ! into a sketch .
1 6 ARCHITECTURE
In the farm building you see the underdarks at theeaves
,under the shed roof , under the milkmaid , under
her arms,under the branches Of foliage that come
forward ! and these most important depths Of toneare carefully recorded in the sketch . Again I notea very good example of the little work needed forsufficient representation, in the wheels ofthe farmcart that is approaching us . See how as the tyrebecomes more underside it also becomes darker
,
and how dark the undersides ofthe spokes asthey get towards the horizontal position ! and
these few truths Of tone,ifaccurately represented ,
would sufficiently sugge st the whole wheel.As we walk down the hill you will notice how thehorizon goes down with us . I have heard it remarkedthat there is a difficulty in representing down-hill
,
so I will explain how you may properly do so .
On a straight stretch Of railway , the rails seem to
vanish up to a point on the observer ’s eye level— hisor her horizon— in a S imilar way ifthe stretch is
up-hill the lines seem to vanish up towards a point
above the eye level ofthe Observer , and on a stretchofdown-hill the lines seem to vanish up towards apoint below the eye lev el ofthe observer . If you willput your horizontal line high in your sketch
,and let
all lines on the down-inclined plane andall other linesactually parallel to them v anish upwards towards apoint below your horizontal line— eye level— youwill get a correct representation ofdown-hill . Thelower you put this vanishing point the steeper willthe hi ll be represented , and the effect is still furtherhelped by a fence at the roadside
,andfigures on the
AND How TO SKETCH IT. 1 7
road, with lines at their feet and their heads vanishingto the same point ! but the eaves Ofa house and allother truly horizontal lines must ofcourse vani sh at apoint on the horizontal line— eye lev el— a point directlyin front Of the observer and generally called the PS .
point Of sight .
Bridge s vary in form according to locality . Theone we are approaching I select from the North OfScotland , a picturesque Old Gothic Bridge
,built in
1 320 . A bridge of such a size could only have been
1 6 .
attempted on sound rock foundations , and contrast swith the low
,sturdy bridges Ofmany openings built
on the softer subsoils in the flatter districts oftheMidlands or South ofEngland .
In my sketch Of it , I ask you to notice particularlythe underdarks, which arefew but effective . Wecross the bridge and approach a couple ofsimplecottages
m brick-built and tiled— suggesting the SouthofEngland and in my sketch you will see the up hillsuggested by the inclined line Ofroad cutting the bottom
B
1 8 ARCHITECTURE
of the high wall andthe house,andevidently vanishing
a higher point than the Observer ’s eye level ! the
sketch also shows that some few feet Ofthe top oftheroad have been remov ed , to ease the incline Of thehill , and this accounts for the unusual height ofbrickwork under the living rooms , andthe necessity for manysteps to get to the entrance doorandthe garden behind .
Further up the hill we come to a group ofstonebuilt houses covered with stone slates , suggesting
Derbyshire . The up-hill is not only shown in the
sketch by the line ofroad at bottom ofthe buildings,
but by the low level ofthe Observer ’s horizon, and by
20 ARCHITECTURE
how the woodwork to posts andgate is again not sawnsquare but cleft and all so delightfully sketchableagain
,note the simple and effective Italian form
Ofchimney top,remedying the down draught that
would hav e caused smoky chimneys and bad tempers .
After making the Sketch,I got to know the owner and
designer Of the cottage,andas you may imagine I found
here an interesting personality— a friend and followerofRuskin . This brings to my mind pleasant memoriesof the many charming people I have become acquaintedwith when out sketching .
The city we are visiting is an Old Mediaeval one, butwas a place Of importance in Roman times
,and the
actual Old Roman gate to the city is before us , stillin use , a large archway ov er the road anda smaller onefor pedestrians . It is a v eryfine bit ofwork , con
structed with enormous stones nearly yearsago
,and is a delightful subj ect for a sketch . You
will see at once that a hard line would not at all representt hese time worn stones ! and one thinks ofRuskin ’s
AND How To SKETCH IT. 2 1
definition ofa good line,the exact wording ofwhich
I don ’t at the moment remember,but the idea is : a
line broken and irregular in length , being continuousin direction andhaving a vibratory life .
WITHIN THE WALLS .
Through the archway we are in the more importantpart ofthe city ! and the houses are somewhat plain
,
but very dignified , many ofthem having good boldGeorgian corni ces and especially good individualdoorways . In domestic work equally with ecclesi
astical, the entrance door has always received thegreatest amount ofelaboration and respect . In
the latter the doorways are Often the only part oftheold church left to us . In the former
,say in the Georgian
Period,the windows were mere holes in the wall in
comparison with the beautiful andproudful doorwaysand door respect is show n to -day
,in the shining bell
pulls,knockers andwhitened steps , andin some Northern
districts the housewife ofthe smallest cottage w ithcoloured stones puts a daily elaboration on her stepsand every other bit ofwrought stone-work at her doorthat she can reach ! and even where blocks Of flatshave been introduced , and their front doors have gone ,they will open the bottom sash Of their windows andcolour the window sill and so much ofthe windowdressings as is within reach . It is interesting to reflectfor a moment that birds and all other animals
,for
Obvious reasons,take every care to hide their nests !
andcivilization tends ,for less Obvious reasons , to makeus take every Opportunity to proudly show ours . Westop for a moment to notice the doorway ofBuckingham
22 ARCHITECTURE
House.The cornice is rather mongrel in form , but it
has good,bold
,carved trusses at the sides . The date
is somewhere about 1 700.
We next note a doorway with much more refined
AND How TO SKETCH IT. 23
detail,about 100 years later , in the Adam style . Robert
andJames Adam , two young Scotch architects , studiedin Italy and brought some expert craftsmen homewith them . They eventually got a very wide practice
,
and considerably influenced the Architecture ofGreatBritain ,
particularly in the elaborate but very refinedplasterwork and interiorfittings .
In thi s narrow street , close by , is one Of the veryearliest Nonconformist chapels ! it has three very
interesting doorways,which much better illustrate
good Renaissance work than the doorway OfBuckinghamHouse . The street widens and goe s down-hill
,and
24 ARCHITECTURE
we note an interesting covered market with roomsabove . There is not much to indicate ifthe buildingis Tudor or early Jacobean ! but time passes andwemust now hurry on to the Church .
WITHOUT THE CHURCH .
This v ery interesting structure has the usual hi story .
The Old Saxon church , Of which there are no remainsexcept a small piece ofrude walling seen in the crypt ,was sev eral times pillaged and burnt by the Danes ,who Often spent their summer holiday v isiting theEnglish churches . Then in Early Norman times alarge church was begun
,startingfirst to build the
choir and transepts for 100 years the work continuedwestwards . The Norman west front was pulled downby the succeeding Bishop and the nav e lengthened bythree bays— Transitional in style . At this date thestyle was changing so rapidly that the new west fronthad nothing in common with Norman Architecture
,
andremains one ofthefinest early illustrations ofEarlyEnglish or Gothic Architecture
,built between 1 200
and 1 220 . Part of the Norman Presbyt ery was thentaken down
,much enlarged
,and built in the new
manner . At three different periods the church wasconsiderably damaged byfire . During the 1 4thcentury great building operations were going on . TheChapter House , much more decorated in manner, wasfinished in 1 319. The rich woodwork ofthe stalls andBishop ’s Throne ,finished in 1 324 , are good examplesOf the Decorated or middle Gothic Period sometimescalled Edwardian. Then the central Norman Tower
AND H ow To SKETCH IT. 25
fell,destroying part Of the Nave , the remainder being
found so damaged that it was decided to build a newNave
,the Archbishop granting forty days ! indulgence
to all who subscribed to the Building Fund . By thistime the style was again changing , and the new Nave ,completed in 1400, is one ofthefinest examplesOf Early Perpendi cular work . The Tower was rebuiltabout 100 years later , and is today considered one ofour most beautiful Perpendicular Towers .
In the troubled later times thi s church sufferedin common with the others , most Of its get -at -ableArt work being ruthlessly destroyed , and the horsesOfthe Roundhead soldiers were stabled in the Nave .
I now give a list ofthe English Kings who reignedduring the periods we are considering, and the usuallyaccepted dates Of the several Periods ofArchitecture .
Norman Period ( 124 years ) see plate 5 .
William I 1066 .
William II 1087 .
Henry I 1 100.
Stephen 1 1 35 .
Henry II 1 1 54 to 1 1 89 (Transition) .
Early English Period ( 1 18 years ) see plates 3 and 6 .
Richard I 1 1 89 (Transition)John 1 199.
Henry III 1 2 1 6 .
Edward . I 1 272 to 1 307 (Transition) .
Decorated Period (70 years ) see plates 7 and8 .
Edward II 1 307 .
Edward III 1 327 to 1 377 (Transition at endOf reign) .
26 ARCHITECTURE
Perpendicular Period ( 1 70 years ) see plates 2 and
Richard II 1 377 .
Henry IV 1 399 .
Henry V 1 4 1 3 .
Henry VI 1 422 .
Edward IV 1461 .
Edward V 1483 .
Richard III 1 485 .
Henry VII 1485 .
Henry .VIII 1 509 to 1 546 .
PLATE 1 . FRONTISPIECE ,CELTIC PRE -NORMAN . In
the Old burying ground round the church are sev eralinteresting tombstones Of the last three centuries !some with dates about 1 700 are more than usuallygood
,and French in design,
the style ofLouis ! IV,
Louis ! V . It is an unfortunate fact to record,but
perfectly true , that our memorials to the dead aregood as they are older
,both as regards design and
lettering . We hav e here one Of the very Oldest to seeone ofthe few remaining Celtic crosses Of which weare justly proud . I hav e sketched nearly every one
in the three countries and this is one ofa very goodtype
,and centuries Older than any other part of the
church . These crosses are mostly in Ireland .
We will now more particularly consider thecharacteristic forms ofthe different periods in detail ,not taking them in actual sequence but dealing withthat particular period that may be in, view . In this caseit happens to be Perpendicular, the nave and transeptbuilt about 1400, andthe tower about the year 1 500 .
PLATE II . PERPENDICULAR PERIOD, 1 377 -1 546. Atfirst glance we notice the v ery large windows and the
28 ARCHITECTURE
enormous buttresses between them,a very necessary
matter when so little Of the wall is left solid as well asto take the thrust Of the heavy stone vaulting whichcovers the nave andaisles . The thrust isfirst taken bythe flying buttress over the aisle roof and carried intothe buttress on the outside ofaisle walls
,andis made
much more effectiv e by the heavy masses ofstoneworkwhich form the pinnacles at the top. Pinnacles arejust extra -weights designed for thi s very purpose , butat the same time forming decorativ e features Of greatvalue they were rarely used before the 14th century .
These wide windows are the last form ofGothic WindowDev elopment . In Norman times the windows weresingle -light , narrow openings in very thick walls ,with buttresses projecting only a few inches
,the
necessary abutment to the thrust from arch wassufficient in the thick walls each succeeding style haswider windows , thinner walls , and therefore deepershowing buttresses . Another characteristic oftheperpendicular windows , beyond their greater size , isthe perpendicular predominance in the form ofthetracery and the horizontal bands called transoms ,which cut acrOss the mullions and divide the windowinto small panels . The same idea Ofpanelling 1 sOften carried on the surface of the walls
,becomes one
of the characteristic elaborations ofthe period , and
produces a v ery rich surface effect . You will alsonotice the main window arches are four-centred , notsimple , two centred arches as mostly used in the EarlyEnglish andDecorated Periods .It may interest you toknow that our English churches
from east to west measure from 50 to 1 00 feet longer
AND How To SKETCH IT. 29
than any others in Europe , but the Continental examplesare about half as wide again across the nave
,about
half as high again in internal height,and fully half as
large again in area . SO it wi ll be seen that our greatcathedral churches are much smaller than the con
t inental ones,but at the same time we have a much
longer vista from the western door looking east . Havingseen the full flower ,or as some will say the decaying flower
,
Of late Gothic,we will now look at the bursting bud .
PLATE III . EARLY ENGLISH,1 1 89-1 307 . The very
well known and justly admired west front,built about
1 200, shows a remarkable advance on the round archedwork ofNorman times . It consists Of three enormouslywide
,lofty and deeply recessed arches
,the centre one
being a little narrower ! each arch capped with agable richly arcaded
,pierced by wheel windows and
flanked by square towers again having their surfacescovered with ever varying arcades . The compositionis a noble as well as a daring one
,andentirely supersedes
any other English example .
The central porch was built in the latter part Of thenext century
,probably to strengthen the construction
,
and is really a very beautiful example oftransitionfrom the Decorated to the Perpendicular Periods .The window on the inner wall under the nearest mainarch has both vertical and horizontal lines in the
tracery,SO Of course is a window inserted in the
Perpendicular Period . Vertical mullions were usedin the two previous styles , but in the PerpendicularPeriod these mullions are often continued up throughthe tracery to the main arch instead ofmerging intothe carved tracery itself.
30 ARCHITECTURE
PLATE III .
AND HOW TO SKETCH 1T. 3 1
Before entering the church you will notice on theoak door a grotesque head formed in metal
,with a
heavy ring in its mouth for a knocker this was usedin the Olden times by criminals andothers who soughtsanctuary . Two attendants alternately slept and
watched that no applicant knocked in vain ! a trulychristian institution ofthe 1 2th century
,now out of
date , at least in England .
WITHIN THE CHURCH .
PLATE IV . P E R P E N D I C U L A R,1 377 - 1 546 . Now
within the church , after a few minutes’ awed andsilent
contemplation,we step aside into the north aisle
,
and looking diagonally , can better see the lofty fourcentred arcade arches with panelled surface betweenthem and the clerestory w indows . We see the largeperpendicular window in the opposite aisle
,and note
the distinctly perpendicular octagonal capitals and
bases ofthe arcade piers , and that the sections of themouldings have the hollows more pronounced thanthe rounded parts we further note that several ofthemembers of the pier mouldings run right up androundthe arches without being stopped by intervening capitalwe further note the plan ofpier is greater from N . to S .
than from E . to these are all indications ofthePerpendicular Period . The full forms ofthe 1 4thcentury mouldings always seem to me so typical Ofthe fullness Of life ! and the hollows , which get moreused andpronounced as this period continues , seem SO
typical ofdecline . There are no hollows infine formthe seeming hollows ofperfect humanity will be foundto be a series ofsmallerful’nessesfi This will show what
32 ARCH ITECTUR E
PLATE IV .
AND How TO SKETCH IT. 33
is meant and felt by those who remark , His drawingis so full Of another , His drawing is poor andthin .
Square formed pateras andcrockets with angular detailare characteristic ornaments , and a free use Of theTudor rose the detail generally becoming less beautifulas the style becomes older in years .
Crossing to the south aisle wefind a Norman Font(NORMAN ,
1066-1 1 89) Ofpleasing form,enriched
with rude carvings now too dilapidated to be clearlyunderstood . The succeeding church builders seemto have respected both the Old Norman doorwaysand the fonts ! and in several churches , where everyother detail ofthe Norman Period is destroyed
,we
yetfind a Norman doorway in a v ery good stateofpreservation . In the case Ofthe fonts it maybe their massiveness , or even their usefulnessforother purposes will have preserved them from destruction : many Of them after Reformation timeswere used in the neighbouring farms as drinking troughsfor horses or cattle . Be the cause what it may , the
C
34 ARCHITECTURE
fact remains there are a large number ofNormandoorwaysandNorman fonts still in existence .
The date ofthis example is probably right at theendofthe Period .
PLATE V . NORMAN ! ROMANE S ! UE ! ROUND ARCHED1 066-1 1 89 . Walking up the nave andunder the centraltower we come to the Norman work in the Presbytery
,
an arcade ofsemicircular arches with wide div idingpiers slightly proj ecting from the face ofthe wall isa pilaster with roll moulding at the angles . Thearches Of the arcade are recessed sev eral times ! theangles having a roll on some planes and being squareedged at others ! the outer plane is enriched withthe chev ron— or Zigzag— the most characteristicNorman ornament ! proj ecting string courses withaxed ornament on face run horizontally ov er thearches . Above the arcade is the Triforium or Blindstory as it is sometimes called ! in this particularcase it is open on each side ! in its more usual formit is placed over the vaulting ofthe aisle andunder theaisle roof , and forms a passage round the church atthis level . Above thi s triforium is an Early Englishclerestory having high windows to light the nave .
In Norman, Early English and Decorated churches Ofany importance we generallyfindthe arcade , triforiumand clerestory, but in the Perpendicular Period thetriforium is more frequently entirely missing or hasbecome a series Of vertical panels as we saw in the nave .
Between the main arch and the two smaller ones Ofthe triforium , the recessed surface is covered withbands Of axed decoration .
There is an interesting detail at the top ofthe Norman
36 ARCHITECTURE
Pilaster . The Early English designer found a wideprojecting mass ofstone which he did not want , so
he placed two small crocke t t edgables on it andbetweenthem started the delicate trefoil shaft to carry hisvaulting ribs . This illustration well shows the wonderfulchange ofstyle from the Massive Norman to the gracefulEarly English which closely followed it .
The characteristic ornaments used in this Periodare round or square alternate billets , the chevron or
Zigzag,cable
,saw tooth
,pellet or stud ,
fret , variousint erlacings, a continuation Ofthe Old Celtic ornament(see Frontispiece ) , the bead and roll
,bird ’s ' beak and
cat -head , leaf scroll , roses , mythological animals ,signs of the Zodiac andrude illustrations Of the commonincidents Of life . There is a well-known quaint seriesrepresenting the birth ofa child , several further incidentsin his life till he gets married ! the story now ends w itha representation Of him andhis wife in the same boat
,
but alas ! they are pulling in opposite direct lons.
There is a charming individuality introduced in
t he simple elements Of Norman and Early Gothicornaments by their arrangement . The arch stoneswere all sorts Ofwidths : 4 in . ,
5 in . , 6 in .,or any other
largest possible stone they could cut out ofthe blockt hey then arranged , say , the zigzag so that there shouldb e one ,
two or three on each stone : the result is, someofthe '
zigzags looked at individually seem cramped,
others seem ov er wide ! but seen as a whole they asthoroughly satisfy the mind Of an artist as they dissatisfy the modern mechanic ! The so-called Gothicrestorers entirely missed this spirit ofindividualityin the Old work and restored with a mechanical cast
AND How To SKETCH IT. 37
iron-like regularity that is particularly Offensive tolovers Ofthe Old work andstudents Ofnature .
PLATE VI . EARLY ENGLISH, 1 1 89- 1 307 . Crossing
to the South Transept we see some very noble EarlyEnglish work . The windows ofthi sfirst Gothi c periodare S Ingle lights with arches generally formed on theequilateral triangle , they are Often arranged in twos,threes
,five s , e t c . ,and are in diflerent heights so that
they compose under a single arch ! the mouldingsare rounds and hollows
,the rounds varied with one
,
two or morefillets the general effect is rather pipe -like .
The plans ofpier are very various,a common one
being a large central circular or octagonal shaft surrounded by small circular ones , whi ch are sometimesdetached and often ofPurbeck marble .
The abacus— top ofcapital— is round on plan,the Old
square and chamfer section Ofthe Norman has becometwo rolls with a deep hollow between . The capitals arev ery various in design thefinest are beautifully carvedwith conventional forms that sometimes approach theGreek treatment ofthe bud Of the honeysuckle ! thegeneral carv ing is so di stinct in effect from that of anyother Gothic period that it soon becomes strongly im
pressed On the memory and most easily recognised .
Bands,S imilar to the abacus
,cut the long shafts into
shorter heights,the bands being sometimes stone
,some
times marble,and again sometimes metal . The bases
are formed Ofrolls withfillets andintermediate hollowsarcades are used on the walls with varying formedarches : Sharp pointed , flat pointed
,circular
,trefoil
,and
pointed trefoil as in thi s example . The whole styleis particularly refined and pure . The most common
38 ARCHITECTURE
PLATE VI .
AND How To SKETCH IT. 39
ornament is the dog-tooth ! in a single Galilee porchthere are more than ofthese pyramid forms .The crocket , a rolled -up ornament resembling a youngfern-frond or a reminiscence ofthe volute OftheCorinthian Capital
,is constantly used on the angles
Of spires and canopies,and Often in piers and arches
in the hollows between the rolls .About 1 280 there was a distinct change Of form
in the carving now all naturalistic in design and part icularly delicate in execution . There is a certainchapter -house in the Midlands full ofthis wonderfulcarving , so deftly executed that it well repays for along journey to see it it isfinished as carefully at theback as on the front
,whi ch has probably created the
saying, It was done for the gods who do not judgefrom the outside . Through the Decorated period, thehollow bell Of the capital is still retained , but the foliagerounds out into a full form rather encircling thangrowing out as in the earli er examples in the followingPerpendicular period the carving goes
,the bell reappears
,
the abacus being generally octagonal and hard in
form .
I hav e only space to j ust touch the great subjectofGothi c Architecture (and very few examples can bepossible in so small a book) . But before leav ing thebeautiful Early English period
,here is a hint for those
whofinda difficulty in remembering dates 1 234 cannoteasily be forgotten it is a date when many ofthe mostbeautiful examples were being constructed .
PLATE VII . DECORATED PERIOD, 1 307 - 1 377 . In
the Chapter -house we have an eight -sided chamberofgreat richness and a good example ofthe earlier
40 ARCHITECTURE
PLATE VII .
AND How To SKETCH IT. 4 1
Decorated Period . The progress ofwindow development between the grouped single lights ofthe EarlyEnglish andthe still more elaborate andlarger windowsofthe Perpendicular Period is well shown here . Thecharacteristic ornament ofthis earlier Decorated periodis the ball flower , rows ofwhi ch are seen in the hollowsto j amb and arch ofthe windows it is a sort ofbudOf three or four petals just open enough to show a
ball inside . The carving ofthe earlier work was quitenaturalistic as already described ,
but a beautiful conv ent ionality was introduced into the best work oflater times Ofthe period. The theme was taken fromsome natural plant , then the leaves and flowers werecarv ed with rounds andhollows on the main rib and asimilar treatment on the side ribs . The variety ofsizes ofthese rounds produced the veryfinest decorativework that we have ever created in England and
ofwhich we may be justly proud . I am quite anxiousto tell you where to gofor thefinest examples ofGreatBritain
,but thi s book is not in competition with either
histories ofArchitecture orv
guides to individualexamples
,so I will say instead
,learn to recognise
this style !find your own examples , they are fairlycommon— you will probablyfind some in thefirstchurch you examine.
My space is so limited,and my subject is so vast ,
that I can only just touch perhaps the greatestglory and certainly the highest scientific attainmentof the Gothic Builders Of course , I mean the vaultedceilings . The illustration here is a specimen ofvaultingintermediate between the ruder Norman vaults and
the extremely elaborate later Tudor work . I cannot
42 ARCHITECTURE
PLATE VIII .
44 ARCHITECTURE
HOWTO SKETCH ARCHITECTURE .
RAPID AND ACCURATE REPRE SENTATION .
REPRE SENTATION ofany obj ect should not only becorrect according to its perspective
,but should also
be pleasing to the eye ! which only sees a limitedportion at one time andnot the whole subj ect in frontOf observer— as so many people try to sketch— and
which the wide angle lense of the camera takes in,
with all the ugly di stortion Of objects towards theedges Of the photograph ! so you see it
'
is necessarytofind the proper distance away ! which is the rightposition for the sketcher to stand when
.
he makes a
sketch . Different individuals will have Slightly differentangles of vision, but it is generally agreed by experiencedsketchers that the usually taught angle of60° is toogreat for a pleasant sketch . I adopted, andfor severalyears have used
,in a series Ofmore than 1000 Archi
t ectural Sketches , a very simple rule .
S tep,or otherwise measure
,or even estimate the length
ofthe longest side ofa building and stand at least that
distance awayfrom the nearest corner or,ifthe object
is high rather than wide, such as a church tower, measure
or estimate the greater height or depth ofthe object aboveor below the eye level, andstandat least three times that
height or depth awayfrom nearest corner ofthe object.As an illustration,
to sketch a man 6 ft . high I wouldstand at least 6 yards away . TO sketch a tower 100 ft .high I would stand at least 100 yards away . TO
sketch an angle view of a building having the longestside 100 ft . long I would stand at least 100 ft . away .
AND How TO SKETCH IT. 45
To sketch an Obj ect of5 ft . above or below eye level Iwould stand at least 5 yards away . By horizontallyholding up to your eye a 2 ft . rule
,with one ofthe
divisions turned up at right angles , as shown in theillustration, you are at the proper distance to Sketchall that is between the eye level and the top pointOfrule ! andifyou will then revolve the rule right roundit will show you how much ofthe obj ect or view in
front Ofyou can properly be sketched . I havedrawn a white dotted line on the photograph to
more clearly Show this . Ifsome part ofthe toweror Obj ect is higher than would be within the dottedline you must walk further away . I often use thi s
method ofmeasuring a high building . When I have
got to a point from which the top Of building cuts tothe top Of the turned—up arm ofrule when held horizontally,
I note the exact point on the ground whereI am standing
,and strike from it to the tower ! my
stride being one yard , I know that ifI make 100 strides ,then the tower is 100 ft . high , or more exactly , 100 ft .
above eye level .Having settled my position as to distance , I decide
46 ARCHITECTURE
on the particular view I wish to sketch , and as thesubj ect may happen to be mostly above or mostlybelow the eye level
,I place my horizontal line low or
high as the case may require . This horizontal linerepresents my horizon or eye lev el , and is the mostimportant line to help truthful representation, for allforms are modified as they are near or remote fromthis line
,which is alway s truly horizonta l , andcontains
most ofthe vanishing points for other lines in thesketch . I now decide on some particular point on theeye level
,whi ch I look at when sketching , and
thi s point , called the point ofsight , is again a veryimportant one . We will take it at the nearest cornerofthe building , and draw a slight vertical line torepresent the corner on the sketch . I strongly advisethat in all early sketches these two lines , one to representthe sketcher ’s eye level andthe other vertically throughthe point Of sight , Shall be clearly defined . Theephemeral newspaper illustrations can be made v eryinstructive ifone gets into the way Of deciding theposition of, anddrawing these two lines on the pictures .The eye Of sketcher or lens ofcamera will have alwaysbeen directly in front of the crossing ofthese two lines .A good photograph shows every part oft he v iew
in true relation to the camera lens level,and the
camera lens position in other words,all is in true
perspective .
A satisfactory sketch should have every part relative
to the sketcher’
s eye level, andto a point on that eye level
immediately opposite his eye andshouldnot be a series
ofsketches, ofparts ofthe view, got by directing the eye
tothese parts in turn.
AND How TO SKETCH IT. 47
Without proper perspective this last untruthfulsketch is almost inevitable ! and through imperfectteaching , Often by people whodo not sketch themselves ,any number ofsketches are made on this untruthfuleye-wandering basis .
A reliance on eye training —which is generally v eryslight— is Often misleading ! measurement is the basis
ofaccuracy. Instead ofholding a pencil at arm ’slength to get measurement ofheight or width , I dealwith the matter in one operation
,and hold a trans
parent celluloid set square as shown in photographa 600 30°
is the best form— at any distance in front
ofmy eye . S liding my thumbs along the edge and
keeping the thumb ofmy left hand at my eye levelI at once get accurate proportions
,say height and
width ofa church . These proportions I now transferon to my sketch
,andthey —height above my horizon
and width— become standards Of measurement,to
which all other dimensions ofthe view and sketchmust be relative . I can alter the scale Of sketch larger
48 ARCHITE CTURE
or smaller by holding the celluloid set square furtherfrom or nearer to my eye .
A measuring set square with a scale on two edgesis made by Messrs . Rowney . It has the sharp angle srounded Off. so is nicer to handle and carry in pocketor sketch book .
A S IMPLE BUILD ING .
If you stand in front Of any building , lookingdiagonally towards the nearest corner , and hold out
one arm at eye level paral lel to the front , and theother arm at eye level parallel to the side , youre xtendedfingers will point to the vanishing points ofthe sides towhich the arms are parallel these vanishingpoints will be on your eye level , andin the Sketch on thehorizontal line , extended beyond the limits Of picture .
Such a view is sometimes called angular perspectivetodi stinguish it from such a view as Fig . 1
,Plate I ! ,
where the vanishing point Of ends come within thepicture and the front does not v anish at all , it beinga parallel perspective V iew .
PLATE I ! . If we stand in front ofa building,
at sufficient distance away to properly see it,the
horizontal lines Of front will remain horizontal,the
horizontal lines Of ends will vanish towards theirvanishing point— in this case the point ofS ightimmediately in front Of sketcher
, Fig . 1 . The frontremains as a geometrical drawing
,except the sides of
roof that converge towards a point immediately overthe vanishing point ofthe horizontals ofendofhouse .
If the front is slightly inclined from sketcher,it will
lose width ! andall its details , such as doors , windows ,
AND HOW TO SKETCH IT .
PLATE
49
50 ARCHITECTURE
e tc .,will also lose width , and all the horizontal lines
on the front will incline to a very di stant V .P. ThisV .P.
— Vanishing Point— is in each case on the eyelevel
,and as the front is more inclined away , it and
all its details lose more width , and the horizontal linesgo to a nearer V .P. The front ofFig . 2 inclines 1 5 °
ofFig . 3 , 30° Of Fig . 4 , 45
° Of Fig . 5, 60° of Fig . 6,
75°
in Fig . 7 the front is at 90° andnot visible , theview is one in parallel perspective similar to Fig . 1 .
A very careful examination and re -examination ofthis plate will make evident some S imple but veryimportant truths ofrepresentation
,that occur
,or
should occur, in all Architectural Sketches . The maintruths are
( 1 ) All receding lines actually parallel to each other
incline towards their common V.P.
(2 ) Ifthese lines are actually horizontal the V.P. is on
the eye level— sketcher
’
s horizon.
(3 ) Doors, windows and otherfeatures get narrower
as they get remotefrom the near corner—further withinthe picture .
(4 ) Lines drawnfrom the opposite corners ofthefrontor side will cross at the perspective centre
,and give the
true positionfor all parts exactly central— as the apex ofgable at side ofhouse— or centre ofentrance door onfront.(5 ) The sloping sides ofthe ends ofroofbeing parallel to
each other will vanish at a V.P. in a vertical line through
the V.P. ofside ofhouse the near up-hill ends vanish
upwards the distant down-hill ends vanish downwards.
(6) As these gable slopes are equal— ofthe same in
clination— their V.P.
’
s will be at equal distances above
andbelow the eye level.
52 ARCHITE CTURE
placed V .P. In a similar way the nearer up-hill linese .e .e . andthe distant down-hill linesf.f. vanish upwardsand downwards respec t ivelv .
INS IDE OF A CHURCH .
Interior views are Often considered more difficult !but as the point of sight is also the VP . andis alwayswithin the sketch , they are really less difficult , especiallyifone is satisfied to only draw so much ofthe viewas can actually be seen .
The essential in a sketch such as shown in illustration
AND How To SKETCH IT. 53
is the absolutely correct representation ofrelative to the eye level
,and to the position Of the
sketcher andthe width relative to the height . The lineE .F . through the centre ofwidth will enable one to
correctly draw the roof timbers points for groining !centresfor semicircular arches
,or whatever detail
Obtains . Thefigure can be divided up as required by diagonals
,and from the points found on this
side horizontal lines will give the corresponding pointson the opposite side . Thi s is a sketch in Parallel Perspectiv e one side— in thi s case the end being parallelto the picture plane — or imaginary large sheet ofglassor picture plane through which we see the view . A
sketch itself is a small scale representation ofthepicture plane .
OCTAGONAL FORMS .
In font , pulpit ,! tower
,etc . ,
wefind numerousexample s ofthe use ofthe Octagon in Architectural
54 ARCHITE CTURE
Design,and it is one Of the acknowledged difficult
forms to draw ! presenting as it does very varyingform in its several positions . In illustration I purposelyshow two v ery ugly positions Ofthisfigure : A thecommonplace almost geometrical v iew ! B the straightj oint running vertically through v iew . As both theseare ugly , we may logically expect a pleasant view in
the intermediate position ! and at C I Show a v iewthat is entirely satisfactory !for the sides are allunequal in width , the angles ofreceding planes are alldifferent
,andwe hav e a representation full Ofvariety ,
hence beauty all t he slope lines Of roof are at differentangles but meet at a point in a vertical line throughcentre ofoctagon on plan and all the mping mitrelines at a.a.a. will meet at a point in this same v erticalcentre line .
Sket chers ofArchitectural forms willfind thesehints Of use ! they are the outcome Of using a methodthat gives perspective truths as surely as the accuracyOf geometrical representation. A reliance on eye -trainingallows a sketcher to constantly miss these and manyother details Ofaccurate representation.
ARCHES .
The correct drawing Of arches,as Ofcircles
,is generally
again a difficulty to the unaided sketcher . One is v erymuch helped as soon as he understands the correctrepresentation Of circles in every position Ofthe picture .
The illustration shows circles correctly drawn in con
taining squares,continued ov er all parts ofthe picture
plane , in order to better Show how the ellipses are
AND How To SKETCH IT. 55
modified in shape and inclination Of axes , as they are
placed relatively to the eye level and nearness tovertical line through the point ofsight .
A careful study ofthis plate will show that theellipses repre senting the circles have the long axesvertical only when they are at the eye level , the axes
are tilted on the next row ,andmore tilted still on the
top row .
Gothic pointed arches are just parts of circulararches with the top part omitted andthe sides broughtcloser together . I advise that this plate be studi edandre -studied until these truths of accurate representation are thoroughly understood .
56 ARCHITECTURE AND HOW TO SKETCH IT.
CIRCLES ON PLAN .
The above illustrates the accurate representation ofcircle s on plan ! seen in joints to large Norman piers ,Early English capitals , bands and bases
,fonts and
other details .
On the nearer column the long axes Of the ellipsesare nearly horizontal because Oftheir position on thevertical line through point ofS ight . On the columnto the left the axis
“Of top ellipses slightly inclines downwards
,andat a joint the same distance below the eye
level it would incline upwards to the same extent attwice the height above eye lev el the axis would inclinetwice as much ! at half the height it would inclinehalf as much . The axis ofthe top ellipse to the rightincline s much more because it is further away fromv ertical through point ofS ight .
Another important point is the openness Oftheellipses accordingly as they are near or remote fromthe eye level . In Sketching all such details Ifirstsketch to the best ofmy ability one of these formsemote from the eye level and then logically draw in
others with relative Openness ofform,using mind s
inference rather than eye-j udgment , and in all casesdrawing the complete form ofellipse .
Mr . Roberts ’ Architectural sketches are made on aS lightly transparent paper over the pe rspective ly ruledsquared paper ofR .
’
S method OfPerspective,which
enables him to draw directly thefinished sketch in
ink.
Bank note paper pocket sketch books 7 in . by 4 in .
with 7 di agrams ofR .
’
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The above sizes are stocked by George Rowney 85 CO.
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S TANDARD S IZES .
S IZE OF PENNY PIECE .
S IZE OF S IXPENNY PIECE .
GEORGE ROWNEY 8: Co’
s
JAPANNED TIN WHOLE PAN
SKETCH BO ! E S .
(WITH SPR ING CLIPS )
F IR ST ! UALITY . pricePrice fit tedwi th Whole PansEmpt y. ofArt ists’ Colours.
g s . d.
6 Whole pan each 7 6 each 1 2 6
8 8 o I S 3I O 9 0 1 7 91 2 I O 0 I I 0
I 4 I O 6 I 3 31 6 I I O I 7 O1 8 I I 6 1 1 0 O2 0 1 2 6 I I 2 6
2 4 I 3 6 I 1 8 O1 6 Wh ole and 1 0 Half-pan Box with Thumb Hole
,2 1 3 . empty .
CONTENTS OF BOXES .
I Gamboge 9 Ivory Black 1 7 Chrome NO . 32 Ye l low Ochre 1 0 R aw Sienna I 8 Virid ian3 Light R ed 1 1 Ve rm ilion 1 9 Emerald Green4 Cr . A lizarin 1 2 Madder Brown 2 0 Indian R ed
5 B t . Umbe r 1 3 Chrome NO . I 2 1 Lemon Ye l low6 French Ult ra 1 4 Prussian Blue 2 2 Neut ral Tint7 Cobalt I 5 Rose Madde r 2 3 Sepia8 B t . Sienna 1 6 Indigo 2 4 Naples Ye llow
Th e 8 Whole Pan Box contains th efirst 8 colours on th e list, th e
1 0 Whole Pan Box th efirst I 0,and so on .
Any colour may be replaced by any other and th e difie rence inprice charged or allow edfor .
GEORGE ROWNEY C0 .
’s
JAPANNED TIN HALF-PAN
SKETCH BO ! E S *
WITH SPR ING CLIPS TO HOLD THE COLOURS INTHE IR !PLACE S
F IR ST ! UALITY .
Half-pan Box3 ,
CONTENTS OF BOXESI Gamboge 9 Ivory Black 1 7 Chrome NO. 32 Ye llow Ochre 1 0 Raw Sienna I 8 Viridian3 Light R ed 1 1 Ve rmilion 1 9 Eme rald Green4 Cr . Alizarin 1 2 Madde r Brown 2 0 Indian R ed5 B t . Umber 1 3 Chrome NO . I 2 1 Lemon Ye llow6 French U lt ra 1 4 Prussian Blue 2 2 Neut ral Tint7 Cobalt 1 5 Rose Madder 2 3 Sepia8 B t . Sienna 1 6 Indigo 2 4 Naples Yellow
The 1 2 Half-pan Box contains th efirst 1 2 colours on the list , th e1 6 Half-pan Box thefirst 1 6 colours
, and the 2 4 Half-pan Box th e
2 4 colours as abov e .
*Any colour may be replaced by any other and th e difference inprice Charged or al lowedfor.
Pricefit ted3with half-panof
aArtists
’ Colours.
I,S . d .
each
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0
0
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1 55 in . by1 81» in .
2 0 2 in .
2 2 9i in.
2 8% in .
Imperial , 2 9 by 2 1 % inch es
z rl 1 4s
I 4 % 1 0 5:
l ot 7 lRoyal , 2 2 5 1 8
CLIFTON BOARDS .
BLUE SHADE WH ITE .
These boards hav e afine su rface ,S im i lar to a Bristol
Board , andare su i tablefor Pen and Ink Draw ings andPress I llust rat ions general ly .
Royal size 2 5 by 2 0 inches, thin equal to 2 ply 3s . 0d. per dozen.
thick 3 ply 5s. 0d.
ROWNEY 8: CO.
’
S
BOARDS .
Price per dozen Boards ne t .4 Ply2 Ply. 3 Ply.
s. d s. d.
4 O 6 O6 O 8 6
8 6 1 2 0
I O 0 1 5 O1 8 O 2 7 O
s. d.
8
1 2
I 7
2 0
36
0
0
0
0
0
6 Ply
S .
1 2
I 7
3 0
54
d.
0
O
0
O
FASHION PLATE (THIN)
BOARDS or TURKEY
MILL (THICK ) BOARDS
FOR ALL WASH AND LINE
WORK .
GEORGE ROWNEY Co’
s
KANDAHAR!
WATERPROOF DRAWING INKS .
Kandahar WaterproofInk.
A superior solution OfCarbon ! when dry w illstand colour w ashes. This ink is a more
intense black than any in the market !flow sfreely, and leaves no sediment in the bottle.
G EORG E ROWNEY CO .
’
S
Kandahar! Wa te rproofDraw ing Inks
are made in thefollow ing ColoursB lac k C r im son S c a rle t
Br ic k R ed G re e n U ltram arine Tin t
Brow n I ndigo V e rm ilion
Burn t S ienna Lemon V iole t
C arm ine O rang e V ir idian Tin t
C ob al t Tin t P russian B lue Y e llow
5 OZ . bot t les 75d. each . 68 . 9d. per dozen.
*1 I S . 0d. 1 0 8 . 6d.
4 3s. 0d.
8 5s.
"6d.
1 6 1 0 s. 0d.
*Th e I oz. bot t le has a quil l at tached to th e stoppe r .
ORGE ROWNEY CO.
’
S
NE ST RED SABLE HAIR BRU SHES .
IN SEAMLE ss PLATED FE RRULE S , POL ISH ED BLACK HANDLES ,FOR WATER COLOUR . F INEST ! UAL ITY .
R ed Sable R ed SableRound F lat
v ie s 4 0 . Each EachS . ( I . S . ( I .
7 NO I 7 NO . 7 2 6 2 O8 7 t 8 3 3 2 9
m i 1 0 9 4 o 3 3I 2 I 1 I O 5 O 4 3I 4 3 1 1 6 6 5 6
I 8 I 7 I 2 8 6 7 6
v ie s 3 0 . R ED SABLE HA IR BRU SHE S , in seam lessferrules, polishedw alnut handles,
for Wat er Colour . Round only .
s . d
o 6
0 70 9
GEORGE ROWNEY OOJS
TREATIES ON THE FINE ARTS .
N0 . of In ordering i t is su/lzczent tomention the number wki chGuide . i s attached to each book.
1 ! Hints on Sketching fromNature Part I. By N . E . Green Illustratedby theAuthor. 3 I st Edi tion
2 ! Hintson Sketching fromNature. Part II. By N . E . Green . Illustratedby theAuthor . 2 9th Edi t ion
3 ! Hints on Sketching from Nature. Part III. By N . E . Green. Illustratedby theAuthor. 37 th Edi tion.
4 Guide toLandscape Animal Drawing. By N . E . Green With numerous illustrat ions by the Author . 7 th Edi tion.
6 Guide toFigure Painting inWater Coloni s By Sydney T. Whiteford. i 2 th Edition7 Guide toSketching IromNature inWater Colours. By L. C . M iles. With num
oroos i llustrations by the Author. 1 3th Edi tion.
8 PrinciplesofPerspective. By Henry Lewzs, B . A . 2 6th Edition.
9 Guide to Water Colour Painting. By R . P. Noble. With an illustration in
colours. 39th Edi t ion.
1 0 Hints tor Sketching Trees from Nature, in Water Colours. By Thomas Hutton.
1 8th Edi t ion. Illustrated1 1 Guide toOil Painting. Part I. By S . Templeton . 62ndEdition1 2 Guide toOil Painting . Part II. ( Landscapefrom Nature ) . By A . Clint . 37 th
Edition1 3 Guide toLight aiidShade Drawing. By M rs. M . M errifi eld With illustrations
1 8th Edition14 Guide toPencil andChalk Drawing . By G. Harley. With illustrat ions. 2 t th
Edit ion16 Guide toPictorial Perspective. By B . R . Green. With illustrat ions. 1 7 th Edi tion1 1 Guide toFigure Drawing. By G . E . H i cks. With illustrations. i 7 th Edit ion1 8 Guide toFlower Painting inWater Colours. By G. Rosenberg. With illustrations
e 1 st Edi t ion20 Gu
l
i
z
dde
itoMiniature Painting andColouring Photographs. By Templeton. 2 0 th
tion
81 Guide to Animal Drawing. By C . H . Weigall. With numerous illustrations .
1 6th Edit ion23 Theory ofColouring. B j . Bacon . With illustrations in Colours. 2 3rd Edition24 Guide toPorcelainPaint ng. By S . T Whiteford. With illustrations by the Author
7 th Edition25 Guide toModelling andthePrinciples andPractice ofSculpture . By George Halse .
With illustrations. 9th Edi t ion29 Guide toPastel Painting. By L. Sprinck, andHow toPaint aHeadinPastels.
By Leon Sprinck. 1 3th Edi t ion. With illustrations in Colours80 Guide toLandsca c Figure Drawing . By N. E . Green. With illustrations by the
Author. 7 th dition3 1 tPraetlcal Manual ofPainting in Oil Colours. By Ernest Hareux. Part I. S till
Life, Flowers, Fruit and Interiors . I llustrated. I I th Edition32 TPraetiealManual ofPainting inOil Colours. By Ernest H areux Part II. Land
scape andMarine . Illustrated. Ioth Edi tion88 tPraotiealManualofPainting inOil Colours. By Ernest Hareux Part III. Figures
and Animals . Illustrated. 7 th Edition.
34 tPrsetiealManualofPainting inOil Colours. By Ernest Harene Part IV. TheArt ofMaking a Picture . Illustrated. sth Edition
35 BlackandWhite. AManual 0! Illustration. By S teven Spurri er, R . O. I . Withnumerous illustrat ions by the Author . Ioth Edition
36 TreesandTree Drawing. By Edward C . Clifford, R . I . R .D 5 Withnumerousillustrat ions by the Author. 6 th Edition
37 HintstoStudentsandAmateurs. By Mrs. L.fooling, R .B . A . Illustrated. Witha Pre face bv S irW . B . Richmond, K.C.B . , R .A . 7 th Edition
I
I
I
I
I88 Guide tothe Art ofIlluminating. By G. A . Audsley, LL.D. Illustratedsth Edit ion I
39 Marine Painting inWater Colours. By DavidGreen, R . I . With illustrations incolour . 6 th Edition
40 Architecture andhow toSketch it. Illustratedby Sketchesoi'
Typicai Example.Bv H . W. Roberts. grdEdi tion
41 Stencilllng onFabrics, etc. By R . W. Newcombe . With numerous illiistrationS6 th Edit ion
! The three Parts boundin one, cloth andgilt , 7/ 6.
71 1 1. four Parts bound in one , cloth ,
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