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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 FINE ARTS LIBRARY 
 
UNIVERSITY OF ILLINOIS BULLETIN 
 
 Issued Weekly y 
 
 Vol. XVII MARCH 15, 1920 No. 29 
 
 ,■-'•. - , , ' 
 
 (EpteKd as sedjfid-d*" matter Pecanbet 11. 1912, at tSe post office at Urjjana, Illinois, under the ^ct 
 of August 24. 1912. Acceptance for mailing at the special rate of postage piovided fol- in section 
 1103,ActQfOctober3, 1917, authorized July 31, 1918.), , , 
 
 THE RIGKER LIBRARY 
 
 OF; 
 
 ARCHITECTURE 
 
 BY 
 
 N. C. CURTIS 
 
 PUBLISHED BY THE UNIVERSITY OF ILLINOIS 
 URBANA 
 
'/I®, 
 
 Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924070446145 
 
CORNELL UNIVERSITY LIBRARY 
 
 3 1924 070 
 
ONE OF PIRANESrS COMPOSITIONS 
 Plate 14 of "Ouvres Choisies" 
 
THE RICKER LIBRARY 
 
 A FAMILIAR TALK TO 
 
 Students of Architecture 
 
 IN 
 
 The University of Illinois 
 
 BY 
 
 N. C. CURTIS 
 
 1920 
 
"L' amore di qualunque cosa e figliuolo d'essa cog- 
 nizione. L'amore e tanto piu fervente, quanto la 
 cognizione e piu certa." 
 
 ("THE KNOWLEDGE OF A THING ENGENDERS 
 LOVE OF IT; THE MORE EXACT THE KNOWL- 
 EDGE THE MORE FERVENT THE LOVE.") 
 
 Leonardo da Vinci. 
 
CONTENTS 
 
 CHAPTER I.— Character and Importance of the 
 Ricker Library of Architecture. 
 
 CHAPTER II.— The Early Literature of Architec- 
 ture. 
 
 CHAPTER III.— Modern Architectural Books. 
 
 CHAPTER IV.— A List of General Works on Archi- 
 tecture Recommended to Architec- 
 tural Students. 
 
 APPENDIX (A) —A List of Old and Rare Books 
 Contained in the Ricker Library. 
 
 APPENDIX (B) —General Classification of Books on 
 Architecture and Related Subjects 
 According to the Dewey Decimal 
 System, With a Graphical Indica- 
 tion of the Relative Content of 
 Each Class in the Ricker Library. 
 
ILLUSTRATIONS 
 
 Page 
 
 A Composition by Piranesi Frontispiece 
 
 Portrait of Dr. Ricker 8 
 
 View of the Interior of the Ricker Library. ... 20 
 
 A Composition by Hulot. From d'Espouy. . . . 26 
 
 Restoration of the Altar of Zeus at Pergamos . . 32 
 
 Drawing by Letarouilly 36 
 
 A Mediaeval War Engine, after Viollet-le-Duc 46 
 
 A Doorway, East Borshan, Norfolk 72 
 
INTRODUCTORY NOTE 
 
 During the past year the Library Com- 
 mittee of the College of Engineering in the 
 University of Illinois has concerned itself 
 with the difficult problem of how our students 
 may be brought to a realization of the im- 
 portance of reading, on their own initiative, 
 good and useful books, especially the techni- 
 cal literature of the course in which they are 
 enrolled and are presumed to be primarily 
 interested. The College of Engineering 
 possesses very full and valuable collections of 
 books in every one of its special departments 
 of study, and it is the constant hope of the 
 instructors that students will employ these 
 documents to their utmost advantage. The 
 importance of purposeful reading as a factor 
 in education does not need to be demonstrated, 
 but it is sometimes necessary to recall it to 
 mind. It is with the hope that students of 
 architecture may be led to drink more deeply 
 of the Pierian Spring and thereby avoid the 
 dangers of meager draughts, that this some- 
 what limited discussion of the books in the 
 Ricker Library of Architecture has been 
 prepared. 
 
 Urbana, Illinois, 1919 N. C. C. 
 
DR. NATHAN CLIFFORD RICKER 
 RePEODUCED FEOH a mosaic portrait IX THE RiCKER LiBEABT 
 
 BY Professor Wells 
 
THE RICKER LIBRARY 
 
 A FAMILIAR TALK TO STUDENTS OF ARCHITEC- 
 TURE IN THE UNIVERSITY OF ILLINOIS 
 
 By N. C. Curtis 
 CHAPTER I. 
 
 In his lecture on the study of architecture, 
 Mr. Reginald Blomfield makes the following 
 remark: "The reading of books will not make 
 an architect; his proper study must always be 
 buildings." By this statement we may take 
 him to mean either the reading of books 
 alone, or the reading of them in the wrong 
 way. But it must be remembered that the 
 lecturer is an Englishman and that his obser- 
 vation was addressed to students of the Royal 
 Academy. In every part of England, as in 
 other European countries, there are to be 
 found historic buildings which exemplify 
 every phase of architectural development; 
 edifices which are monuments, and about 
 which architectural history has been written 
 and numerous monographs made. They are, 
 in fact, the solid foundation of historic re- 
 search. Here in America our case is different; 
 and especially is it different in Illinois. Much 
 as we may value and admire what we have 
 inherited in the way of architecture from our 
 
Colonial forefathers, English, Dutch, French, 
 and Spanish, we cannot think of these posses- 
 sions as being architecturally comparable to 
 the historic monuments of the Old World; 
 at least, not in the same sense of independent 
 style. The distinction is at once apparent. 
 Over there architectural students have their 
 material ready at hand; they are surrounded 
 by the great buildings of the past and may 
 see all and know all at small expense in money 
 and comparatively little in time. Over here 
 many of us will never be able to contemplate 
 those great conceptions of genius except 
 through the eyes of the transcriber. How shall 
 we see otherwise then, except we surround 
 ourselves with books, pictures, drawings, 
 casts, and descriptions.^ 
 
 Therefore, how to know books, how to 
 use them, how to make the most of them, 
 become important questions. 
 
 In this connection the value of museum 
 collections should not be overlooked. The 
 University maintains several collections which 
 have a distinct bearing upon architectural 
 study. Especially useful are the Museums of 
 Classical Archaeology and Art and of Euro- 
 pean Culture located in Lincoln Hall. These 
 contain among many other things, casts' of 
 Greek, Roman, Romanesque, Gothic and 
 Renaissance sculpture, costumes, reproduc- 
 tions of paintings, and numerous originals, as 
 
 10 
 
well as models of other historic antiquities. 
 
 We are fortunate in having at the Uni- 
 versity of Illinois one of the great architec- 
 tural libraries of the country: The Ricker 
 Library of Architecture. In a published 
 description of the aims, ideals, and resources 
 of the' School of Architecture at Illinois, 
 printed for the departmentin 1913, S.F.Kim- 
 ball, in referring to the library, says this: 
 "The really invaluable resource of the school 
 is its superb collection of architectural books. 
 The solid ranges of folios, which must serve 
 as a substitute for the surroundings of 
 students in Paris or Rome, are probably sur- 
 passed in but a single architectural school of 
 America. The Avery Library of Columbia 
 is thought to be the most complete of all spec- 
 ial libraries of architecture, and is undoubtedly 
 the first in America for research in architectu- 
 ral history. It may be doubted, however, 
 whether even the Avery Library is superior 
 to the library at Illinois for serving the prime 
 function of a school collection, the furnishing 
 of precedent and inspiration for design." 
 
 Since that time the Ricker Library has 
 been greatly augmented and now numbers 
 about 8,000 volumes. It has not only main- 
 tained its character as a first rate working 
 library for undergraduate students, but has 
 also developed resources for research that 
 compare very favorably with those of the 
 
 11 
 
Avery Library. In other respects the com- 
 parison drawn then still obtains, the Ricker 
 Library holding its rank of second place in 
 the number of titles catalogued, among 
 special architectural libraries in America. 
 Other seminar libraries of the University also 
 contain a great amount of material which is 
 valuable to the student of architecture. 
 
 The Ricker Library, moreover, has this 
 characteristic, which offers peculiar advan- 
 tages: the books are all placed in open stacks 
 and cases in one large, well-lighted hall, and 
 are easily accessible. Nothing is locked in a 
 forbidding stack-room which only the privil- 
 eged may enter. You may browse at will and 
 make your choice. Consider for a moment 
 what this opportunity means and do not 
 forget to make a proper use of your liberty, 
 remembering the due respect that should be 
 accorded fine books. All books should be 
 carefully handled, for age, authority, and 
 rarity which correspond to age, learning, and 
 position in man, are qualities that should 
 command the highest respect. 
 
 Few students of architecture realize the 
 vital importance of the purposeful use of the 
 library as a part of their training. Is it not a 
 fact that at the end of your four years' course 
 of study, you do not know as much about the 
 great volumes contained in this library as you 
 ought to know; that you have not made the 
 
 12 
 
best use of your privileges and opportunities? 
 And whose fault is it, if not your own ? This 
 opportunity will occur to but few more than 
 once. In the course of years even though one 
 or two individuals may return for further 
 study and research or may be able to build up 
 a fair private library for their office use, yet 
 the majority will accumulate only a few of 
 the most useful works, together with a collec- 
 tion of plates of contemporary buildings. 
 Whatever your case may be, while you are 
 here you should learn to know the better and 
 more useful books, also remembering: that, 
 even though reprints are made, yet on account 
 of rarity and* high cost, many of the most 
 important architectural folios are scarcely 
 obtainable and are not to be consulted out- 
 side of great libraries. 
 
 You should then be conscious every day 
 of the rare opportunity that is within your 
 grasp as you pass so often under that splendid 
 mosaic inscription which marks the entr.xnce 
 to the Ricker Library.* 
 
 On every side of you are folios recording 
 the labors of curious and painstaking in- 
 vestigators in every land, monumental records 
 of scrutinizing appraisal and erudition, the 
 work of the archaeologist, and those splendid 
 conjectural restorations of marvellous bril- 
 
 *A dedicatory panel in g'ass and encaustic mosaic designed and executed by 
 P.ofessor N. A. Wells and set up over the portal of the Ricker Library. 
 
 13 
 
liaiicy and power which seem to be within 
 the special province of the French. As archi- 
 tectural students you should know something 
 about the authors of these books, and especial- 
 ly about the pensioners of the French 
 Academy at Rome; how their unusual genius 
 for architectural research and interpretation 
 is discovered and how it is fostered and 
 educated. You sliould be interested in finding 
 out how their investigations are conducted 
 and what governments and scientific societies 
 have been instrumental in bringing discoveries 
 to light. Questions like these stimulate the 
 intellectual curiosity and you soon find your- 
 self eager to learn, not only about the great 
 buildings of the past, but also about men and 
 books in your profession. 
 
 Let the writer propose to you a few 
 questions which you ought to be able to 
 answer and discuss before you graduate, if 
 you have made something of your oppor- 
 tunities. Suppose you were asked to choose 
 for yourself the most useful and inspiring 
 book that the designer of buildings can have 
 at his elbow in his office. What would be 
 your answer remembering that you may 
 select only one out of all the hundreds of 
 great books on architecture? Remember too, 
 that the answer is not one of personal opinion 
 but of fact. Or again, suppose you were 
 asked to choose the best book for a teacher 
 
 14 
 
<jf architecture, who, as before, may have but 
 one work to guide him. Which will it be? 
 Can you name that book and maintain its 
 preeminence above all others? It is there on 
 the shelf and you have very little individual 
 preference in the matter. It is obvious that 
 before you can venture an opinion on these 
 questions and countless others of a like 
 nature, you must have acquired a consider- 
 able knowledge of books, and have also edu- 
 cated your judgment. 
 
 Let us consider what may be said to 
 constitute broadly a reasonable familiarity 
 with our architectural library, a familiarity 
 that your four years' contact with it should 
 have brought to you. 
 
 First of all, learn to distinguish and 
 identify the best works and to retain this 
 classification in mind. A casual inspection 
 will usually help you in this, even before you 
 •consult the contents. There is an aristocracy 
 among books, the intellectual authority of the 
 writers easily standing out, and indeed, 
 showing through the covers. A fine book will 
 have an unmistakable external character, due 
 usually to good binding and printcraft. The 
 ■contents must and will speak for itself, speak- 
 ing to you in a language proportioned to 
 your comprehension and understanding. See 
 to it, then, that your understanding is ripened 
 by good reading and high thinking. Shallow, 
 
 15 
 
worthless books sometimes masquerade in 
 fine attirci but no one is deceived thereby. 
 Although fine bindings occasionally wear out 
 and have to be replaced usually by some sort 
 of uniform style of cover, such cases should 
 be treated as exceptions. 
 
 After four years, is it too much to expect 
 that you should be able to name the titles 
 and authors of at least two hundred books, 
 including folios; to know the contents of some 
 of them thoroughly and to be able to discuss 
 all of them with architects and other people 
 of culture whose inclinations have led them 
 to seek knowledge in your own field? 
 
 You should have a clear mental picture 
 of how each of these books appears; whether 
 it is large, small, or medium size, thick or 
 thin. You should be able to put your finger 
 on each of these volumes without reference to 
 the card-catalogue. You do not know the 
 library if you have to continually run to the 
 card-index. This applies equally well to your 
 private library. 
 
 So much for externals. That information 
 would be easily gained, but is essential, never- 
 theless. Far more significant is a sufiicient 
 knowledge of contents, a knowledge not so 
 easily achieved. This implies a special sort 
 of familiarity quite different from that which 
 you have gained about architecture in general 
 through your various courses of study. It is 
 
 16 
 
largely the knowledge of where to find what 
 you wish to know. 
 
 As an illustration, suppose your interest 
 has been aroused by a photograph of the 
 "Trilithon," that emplacement of three enor- 
 mous stones in the substructure of the Temple 
 of the Sun in Syria. You are curious to dis- 
 cover other instances of the use by the ancients 
 of large stones in their buildings. On such a 
 quest a search through the card-index would 
 avail you little or nothing, because the card- 
 index refers to subject matter of entire books; 
 it is not, generally speaking, analytical. You 
 must depend on your knowledge of the lib- 
 rary and go directly to the books. Take 
 another question, that of architectural design; 
 let us say, vertical communications in large 
 buildings. The card-index would not help 
 you much in your search for the possible 
 arrangements of monumental staircases in 
 plan composition, a matter purely of parti. 
 Here again you must know where to look. 
 You must depend first on your general 
 knowledge of great staircases, remembering 
 that this feature of buildings was given little 
 attention by architects until the Italian 
 Renaissance. You must then search the 
 folios of Renaissance and of modern buildings 
 selecting such plans and parts of plans as will 
 give you the best classification, and finally 
 bring this knowledge to bear upon the solu- 
 
 17 
 
tion of your own problem. It if happened to 
 be a matter of elevators as well as stairs, the 
 card-index might serve you more effectively; 
 but the chances are that the references would 
 fail to satisfy your purposes exactly. 
 
 Many inquiries of a like nature are con- 
 tinually arising, especially such as involve 
 corrparative study, for the solution of which 
 you must know the library intimately. The 
 assembling of correlated facts relating to a 
 single topic is a perfectly legitimate and useful 
 field of book-research, and one which you 
 must early begin to practise. Few of you will 
 ever have an opportunity to reconstruct from 
 a few scattered fragments an imaginative yet 
 convincing architectural abstraction, still 
 fewer will have a chance to do research with 
 the spade after the manner of the archaeolo- 
 gist, but all of you may dig into books and 
 from them unearth many ideas of incalcul- 
 able value to yourselves, and sometimes 
 thereby perform a service to others. 
 
 Up to this point the writer has sought to 
 make evident two important propositions: to 
 emphasize first, the importance of the archi- 
 tectural library, and second, the ability to 
 use it. It has been his object in calling atten- 
 tion to the rare resources of the Ricker Library 
 to urge students to avail themselves as much 
 as possible of these resources for the study 
 of architecture, and to show them that in 
 
 18 
 
order to do this effectively, they must learn 
 to know the library very soon after entering 
 the school. 
 
 Appended to this paper you will find a 
 list of books, about two hundred in all. As 
 many of these titles represent books of indis- 
 puted fame, you should become acquainted 
 with them, if you do not know them. Neces- 
 sarily many important architectural books 
 have been omitted from the list that follows 
 on account of its limited scope.* But as has 
 been previously noted, the library is rich in 
 material for research and for special studies 
 in architecture. 
 
 *Some books which other instructors would have included, have been omitted. 
 This is but natural since design is so largely a matter of taste and temperament. 
 
 19 
 

CHAPTER II. 
 
 The oldest book on architecture handed 
 down to us from antiquity is the Architecture 
 of Vitruvius. This book was held in great 
 veneration by Renaissance architects, — doubt- 
 less for the following reasons: it was the only 
 text-book then in existence; it treated of 
 Roman architecture, and it appealed to the 
 literary predilections of the early scholars. Its 
 contents certainly do not justify its archi- 
 tectural reputation and it may be doubted 
 whether its teachings really ever have in- 
 fluenced architecture very much. Vitruvius 
 is said to have died before the first century 
 B. C, but there is a well founded belief that 
 he lived several centuries later, and was 
 merely a dilettante amusing himself by writing ■ 
 on architecture about which he actually knew 
 very little. If the first fact is true, he never 
 actually saw Roman architecture at its 
 grandest phase, that of imperial Rome. In 
 either case his interpretation of Roman archi- 
 tecture fell far short of what it actually was 
 or came to be. His Architecture is a book of 
 technical and constructive details, hard and 
 fast rules of proportion — that artists have 
 always chosen to disregard. Read the trans- 
 lations of Vitruvius, if you will, but do not 
 spend time studying him as you will profit 
 
 2] 
 
little thereby. In the library there are 
 several renditions, probably the best known 
 is that of M. H. Morgan. 
 
 A more remarkable work is Alberti's 
 De Re Edificatoria, the first printed book of 
 the long series on architecture that has con- 
 tinued without a break up to the present day. 
 It appeared in 1485, some years after the 
 author's death. 
 
 Printing presses were set up in Rome in 
 1467, in Venice in 1469, in Florence and other 
 north Italian cities in 1471. At first only the 
 classics were printed. Vitruvius' famous 
 work, known to the early Renaissance archi- 
 tects in MSS, was also printed for the first 
 time shortly after Alberti's. The Italian 
 translation which did not appear until 1521 
 was made by Calvo at the expense of Raphael,, 
 to aid the latter, it is said, in his architectural 
 work. The original translated manuscript 
 has been preserved and is now in the Munich 
 Library. 
 
 It is stated that of all books on architec- 
 ture pubHshed at this time, the one that had 
 the greatest reputation was Palladio's best 
 known literary effort, I quattro libri delV 
 architecttura, printed in Venice in 1570. He 
 also wrote other work. In 1554 he published 
 L' antichita di Roma, the results of studies 
 made by himself. Many of the other leading 
 architects of the 16th century published 
 
 22 
 
bdoks on architecture; Serlio in 1540, and 
 1547; Vignola in 1563; Scamozzi in 1615. 
 Vignola was the author of Regola delli cinque 
 ordini d'architecttura. Peace to his ashes! Let 
 us not hold him responsible for the many 
 architectural transgressions that have been 
 committed in his name. He has kept many 
 students from straying far from the truth but 
 countless others have been led into the delu- 
 sion that orders of all sizes may have the 
 same proportions. Filarete wrote a work 
 that was never printed and only portions of 
 the original have been preserved, // trattato 
 d'architecttura, illustrated, it is said, by his 
 own designs and by two hundred fifty draw- 
 ings of the Colosseum, Mole of Hadrian, 
 and other ancient buildings of Rome. 
 
 All these writers show the enthusiasm 
 for scholarship as well as for the antique that 
 animated the Renaissance artists; but with 
 the possible exception of Palladio it is doubt- 
 ful whether any of them approached their 
 subject from the standpoint of the architect, 
 for they were too much influenced by the 
 method of Vitruvius. It remained for the 
 pensioners of the French Academy at Rome 
 to show the world how the results of the 
 study of antique architecture should be re- 
 corded so that investigations might be made 
 of practical use to architects and students 
 everywhere. 
 
 23 
 
But the Renaissance architects knew 
 how to make use of the knowledge and in- 
 spiration they had gained for themselves 
 by the contemplation and study of the 
 antique, and if this ability does not show 
 forth so much in their books, it assuredly 
 shows forth brilliantly in their works. With 
 moderns exactly the reverse seems to be true. 
 We have wonderful treatises on architecture^ 
 measured drawings and restorations of antique 
 art, such as were never dreamt of in the 16th 
 century; but instead of our imaginations 
 being kindled as theirs were kindled, the 
 spirit of free adaptation, if not wholly ex- 
 tinguished, appears with few exceptions to 
 lie inert and dormant before the power of our 
 masters. 
 
 The question is likely to be asked: Have 
 we no literary legacy from the Gothic period? 
 The best known original source is Villard de 
 Honecourt's sketch book, an album of details 
 principally, with one or two sketches of plans. 
 This book is said to have had rather a dis- 
 astrous influence upon the architects of the 
 Gothic Revival, who regarded it as confirm- 
 ing their own habit of looking at architecture 
 as a matter of detail. The difference between 
 this point of view and that of the Renaissance 
 architects is evident; the latter seeking to 
 analyze -buildings by measurement and not 
 by mere sketches of external features. The 
 
 24 
 
practise of making sketches is, of course, a 
 good one for students; but it must be remem- 
 bered that mere sketches of detail without 
 some methodical attempt at analysis of the 
 architecture, such as measurements, profiles, 
 and the like, are only of value in developing 
 skill in freehand drawing, and will be of very 
 little service to the designer. We say this 
 without thought of discouraging what is in 
 itself a very necessary practise. Our students 
 do far too little independent sketching of any 
 sort. 
 
 All of the books so far touched upon, 
 being primarily of antiquarian interest, make 
 their appeal chiefly to the bibliophile; con- 
 sequently it is not to be expected that the 
 average undergraduate student will be in- 
 clined to bestow much attention on them 
 unless he happens to have an unusual literary 
 turn. The list of books consulted by students 
 in the course of a year on such subjects as 
 design and history is not large or varied as a 
 rule, and few of them date prior to the 19th 
 century. 
 
 But there is one great exception, Piranesi. 
 After speaking of his work and its value in 
 the study of design I shall mention a few 
 other books which students of architecture 
 ought to know about, if not to put to practical 
 use in their daily work. 
 
 25 
 
A Composition by Htilot feom d'Espout 
 
At once the inspiration and despair of 
 young draftsmen, probably no book of 
 architectural compositions holds a more secure 
 place in their estimation than the collection 
 of Piranesi's Oeuvres Choisies. Besides de- 
 lineation there is an immense amount to be 
 learned about architectural composition from 
 his wonderful etchings. Piranesi was born in 
 1720 and died in 1778. The following estimate 
 of this great genius is taken from a paper by 
 Russell Sturgis. After commenting on his 
 work as an architect, which is of little account, 
 he says: "Piranesi is known now in one way 
 only, and in that way is not half so well known 
 
 as he should be The prints from his 
 
 large etchings bind up in twenty- four folio 
 volumes, more or less, according to the fancies 
 
 of the owner It is true that a hundred 
 
 plates selected out of the mass contain all 
 that is best in his work, and that twice as many 
 would furnish the student with all that he need 
 
 study It is not, the present writer 
 
 believes, because he himself is an enthusiastic 
 student of architecture that Piranesi's work 
 
 seems attractive The thing to look for 
 
 in Piranesi is not so much architecture (there is 
 something to say on that side of him too) as 
 fine and masterly engraving of original subject. 
 He was one of the last of the great painter- 
 etchers and painter-engravers of old times, 
 and by no means the least of them. It may 
 
 27 
 
be extravagant to say, as some have said, that 
 his work would be gathered as eagerly as 
 Rembrandt's if it were not so bulky; but it is 
 not extravagant to say that no man has seen 
 all that the engraver's art is capable of until 
 he has seen and studied nearly everything 
 that Piranesi has left." 
 
 For the purposes of this paper architec- 
 tural books may be broadly classified as 
 follows: books of purely antiquarian interest, 
 books embodying the results of archaeological 
 research, books of reference for the study of 
 of design. As has been indicated, most of the 
 works hitherto mentioned may be relegated 
 to the first class. Histories of architecture 
 may be placed in the second group, although 
 in its primary meaning archaeology deals 
 specifically with the interpretation of frag- 
 ments dug out of the ground. All works such 
 as topographical studies, monographs, books 
 of measured drawings and photographs, the 
 theory of architecture and the like, may be 
 grouped together under the general head of 
 reference books. Although these distinctions 
 are not very scientific or accurate, from the 
 view point of the undergraduate student they 
 are perhaps sufficiently definite. Moreover, 
 classifications by themselves do not mean 
 very much, and you will soon discover that 
 it is futile to try to fence off one part of the 
 field of art from another part. 
 
 28 
 
There are a dozen or more famous works, 
 ^vhich in the Hght of fuller and more exhaus- 
 tive research or by reason of more up-to-date 
 reproductive processes, have been superseded 
 and pushed back from the third to the second 
 class, and are now thought of as, at least 
 archaeological, if not antiquarian. These 
 books in their day exerted a profound in- 
 fluence on building design, but are now in- 
 frequently consulted by students of archi- 
 tectural design. Such publications as those of 
 the "Society of Dilettanti," fall into this 
 group. 
 
 The Society of Dilettanti was an associa- 
 tion of English scholars, travelers, and collec- 
 tors, founded in London in 1733 for the pur- 
 poses of lending aid to the study of Roman 
 and Greek art and for the purchase of anti- 
 quities. The Society subsidized the publica- 
 tion of a number of volumes during the latter 
 part of the 18th century. James Dawkins' 
 and Robert Wood's researches better known 
 as Wood's Ruins of Baalbec and Ruins of 
 Palmyra appeared about 1750. The greatest 
 work published at this time was Antiquities 
 of Athens by Stuart and Revett. The painter 
 James Stuart and the architect Nicholas 
 Revett reached Athens in 1751 and remained 
 there three years; their enterprise being 
 accounted the most important so far under- 
 taken. The plates in their work are beauti- 
 
 29 
 
fully engraved. The Society later undertook 
 the survey and publication, at their own 
 expense, of Antiquities of Ionia and Anti- 
 quities of Attica. 
 
 The Architectural Antiquities of Rome, 
 measured and delineated by Taylor and 
 Cresy, architects and Fellows of the Society 
 of Antiquarians, is a fine work in two volumes, 
 published in London, 1821. The methods 
 pursued by the authors of this work more 
 nearly approach the modern mode of repro- 
 duction, inasmuch as the line drawings were 
 scaled with scientific accuracy and were fre- 
 quently supplemented by details of ornament 
 and decoration rendered in light and shade. 
 This result was accomplished by elegant line 
 engravings and well composed lithographs, 
 which remain an inspiration to the student 
 today. 
 
 An earlier work in which the drawings 
 are also engraved to simulate relief, is that of 
 Desgodetz. The edition in the Ricker Library 
 is the translation and revision of G. Marshall, 
 architect, printed in London in 1795. Up to 
 that time Desgodetz' work was the most 
 accurate and complete of any that had been 
 offered to the world on the subject of Roman 
 architecture; but, although as Marshall says, 
 the book "was constantly in request as the 
 standard of ancient and modern art," the 
 originals were scarce and until his adaptation 
 was issued, were hardly to be consulted by 
 
 30 
 
students. The dedication of the original, 
 which was issued by Desgodetz in 1682, was 
 addressed to Colbert, minister of Louis XIV, 
 and is sufficiently fulsome. After blessing 
 heaven for his birth "in an age so full of 
 wonders," wherein the monuments of anti- 
 quity reared by the Augustuses, the Trajans 
 and the Antonines "have yielded the first 
 place in the temple of glory to the invincible, 
 the great, and the magnanimous Louis," he 
 concludes his epistle by requesting his lord- 
 ship's permission to thank him "a thousand 
 times for casting eyes upon me, so as to deign 
 me any share in the execution of those 
 admirable designs which you' daily meditate 
 for the glory of the greatest king upon earth." 
 Marshall's apostrophe, directed to his own 
 monarch, is hardly less adulatory. "Be 
 pleased. Sir, therefore," he says, "to favor 
 this representative of Roman art and Roman 
 power, exerted in edifices on which succeeding 
 ages have gazed with wonder, and which are 
 likely to stand unrivalled, unless your Majes- 
 ty's influence should enable us to excel them." 
 Edifices anciennes de Rome by Desgodetz, 
 Paris, 1779, was one of the architectural books 
 in the library of Thomas Jefferson which 
 was doubtless frequently, consulted by him. 
 Latrobe, in a letter to the President, suggests 
 that he verify a matter of proportions by 
 reference to this authority. 
 
 31 
 
RE,STORATIO^' OF THE AlTAR OF ZeUS AT PeKGAMOS 
 
While on the subject of Classic architec- 
 ture, Gibbs' book of Orders should not be 
 passed over without mention. This work 
 treating of the details and proportions of the 
 elements, still holds its own among many 
 others of. later date, and is a safe and useful 
 guide for students. It was pubhshed in 1724. 
 James Gibbs was a famous architect whose 
 name has been often coupled with that of 
 Wren. He was the architect of S. Mary-le- 
 Strand, S. Martin-in-the-Fields — London 
 churches — and of the RadclifFe Library, Ox- 
 ford, which is his master work. 
 
 It must not be thought that architectural 
 commentators of this age were wholly pre- 
 occupied with ancient Greece and Rome. 
 There was some architecture nearer home, as 
 well, worth writing about, as Desgodetz took 
 occasioh to state in his dedicatory epistle. 
 "To turn over the pages of seventeenth and 
 eighteenth-century books on architecture," 
 says Simpson, "is in itself a liberal education. 
 Marot, Le Pautre, Blondel, Mariette, etc., 
 take one back to the days of the fine gentle- 
 men and full-bottomed wigs, to the stateli- 
 ness of the time of the later Louis." 
 
 The most famous of these works is 
 Blondel's Architecture Francaise, a treasure 
 for any library fortunate enough to possess it. 
 Eight volumes were contemplated, but four 
 only were published (1752-6). The plan of the 
 
 33 
 
Tuileries as designed by de I'Orme, Bernini's 
 gigantic scheme for reconstructing the Louvre, 
 together with Perrault's design for a similar 
 rebuilding, are all reproduced in Blondel's 
 work. It is interesting to recall that there were 
 three Frangois Blond els, who were noted 
 architects. The beautiful arch of S. Denis, 
 Paris, which as a composition is in many 
 respects superior to the triumphal arches of 
 the Romans, was designed by Francois 
 Blondel the elder, born in Picardy in 1618. 
 The author of Archiiectura Francaise was a 
 native of Rouen, born in 1705. 
 
 Les plus Excellent Bastiments de France 
 published in 1579, is especially valuable for 
 its records of many buildings which have since 
 disappeared or suffered mutilation. It is a 
 work of exquisite draftsmanship, excelling, 
 in this quality, the works of the Italians. 
 The writer and engraver was the architect 
 Du Cerceau. Many of Du Cerceau's most 
 beautiful original drawings are reproduced in 
 Ward's French Chateaux and Gardens in the 
 ■XVIth Century. Concerning the work of Du 
 Cerceau this author says: "No other country 
 can boast so complete a picture of its Renais- 
 sance architecture as seen by a contempor- 
 ary, still less one by the trained* and sym- 
 pathetic hand of a great architect. It is a 
 picture full of suggestion for architects and 
 designers of to-day, to whom French influence 
 
 .'54 
 
makes so strong an appeal, illustrating as it 
 does the works, not only of Du Cerceau him- 
 self, but also of Philibert de I'Orme, Pierre 
 Lescot, Jean Goujon, Jean BuUant, and other 
 less known or unknown names." (For a list 
 of old books in the Ricker Library see Appen- 
 dix A.) 
 
 35 
 
Drawing by Letarouill 
 
CHAPTER III 
 
 The 19th century is rich in the fruits of 
 research in all phases of architectural art. 
 The student of archaeology may yet have 
 something more to say to us about the ex- 
 ternal life of the ancients; but in the field of 
 architecture, so far as it is concerned with the 
 searching observation and reconstruction of 
 the monuments of the past, there seems little 
 left to do. 
 
 It has been noticed that: "Scientific 
 archaeology has done much to help us to 
 understand the art of the past, but it some- 
 times seems to forget that details which are 
 vital to the archaeologist may, on occasion, 
 have no value for the artist." In a large 
 measure this fact seems to be true of the sort 
 of critical interpretation that is to be found in 
 the majority of the German archaeological 
 works. There are some notable exceptions, 
 as the works of Diirm and Biihlmann but, 
 in the main, the books produced by the 
 Germans that are useful in the daily study of 
 design are not numerous. On the contrary in 
 this field the French excel and it is preemi- 
 nently their domain. They have a clear 
 grasp of essentials and a sure instinct for 
 selection; an abihty to conceive and to con- 
 
 37 
 
struct, through the power of the creative 
 imagination working in space, often from only 
 a few remains, a brilhant and convincing 
 restoration that will speak to us in terms of 
 lofty architecture; all this embodied in terms 
 of lucid statement and perfect illustration. 
 Their works far outnumber the learned trea- 
 tises of the Renaissance masters to which 
 your attention has already been directed. 
 
 The complete architectural library of 
 today will contain all sorts of sumptuous 
 volumes which will combine methods of 
 printing and photogravure not even imagined 
 by the early writers. Then it was a slow, 
 tedious undertaking to engrave every plate 
 by hand on steel or copper, whereas now the 
 mechanical processes of reproduction have 
 practically done away with the laborious ways 
 of handcraft. The real bibliophile may regret 
 this, but students of design do not. The use- 
 fulness of books has not been impaired but 
 greatly extended. It is true that there is a 
 certain satisfaction resulting from the con- 
 templation of an engraved plate that is not 
 afforded by a photo-etching or reprint; but 
 that satisfaction should be reserved for those 
 whose preoccupation is with books for their 
 own sake, rather than for what they may 
 teach us. 
 
 Books of pictorial illustration abound, 
 such as collections of large photographs of 
 
 38 
 
individual buildings, like the chateaux and 
 cathedrals of France and the palaces of Italy. 
 Others, perhaps the most beautiful and in- 
 spiring for us, are the collections of rendered 
 restorations made by the pensioners of the 
 French Academy in Rome, the winners of 
 the Grand Prix. These comprise the collec- 
 tions familiarly known as d'Espouy, and such 
 brilliant monographs as Epidaure, Pergame, 
 Selinonte, and the Parthenon. Still others are 
 the folios of drawings carefully made in line 
 of certain styles and periods of architecture, 
 studies representing years of unremitting 
 labor and painstaking measurement, like 
 Letarouilly, Durand, and Biihlmann. Then 
 we have those m.uch dog-eared folios of 
 designs dear to the eyes of our own students, 
 produced by the eleves of the Ecole des 
 Beaux Arts. It is unnecessary to enlarge 
 further on the evident fact that the scopd of 
 modern works depicting architecture and 
 architectural decoration is immense and that 
 reproductions are innumerable. 
 
 Among all the noble books relating to 
 our art there are two which deserve to be 
 placed by themselves. These are Letarouilly, 
 Les Edifices de Rome Moderne and Durand's 
 Recueil et Parallele des Edifices en Tout Genre, 
 Anciens et Modernes. A companion work to 
 Letarouilly's is Strack's Baudenkmaler Roms 
 des XV-XIX Jahrhunderts, a folio of photo- 
 
 39 
 
graphic illustrations of the same subjects 
 that are delineated in the former and a 
 valuable supplement to it. 
 
 For inspiration in design Letarouilly's is 
 assuredly the most useful and beautiful work 
 ever offered either to student or practician. 
 It is the work that in modern practise he 
 would most frequently have occasion to 
 consult. There is a good reprint of Les 
 Edifices de Rome Moderne, the plates for 
 which were reproduced unfortunately at a 
 smaller scale than the original. Letarouilly's 
 work is so well known that it is unnecessary 
 to describe it in any detail. It is in three large 
 folios, published in 1840; the dedication is 
 addressed to his majesty Louis Philippe. 
 There is also a volume of descriptive text. 
 At the beginning of the first volume you will 
 find that inimitable plan of the "Eternal 
 City" — a marvelous expression of the en- 
 graver's art and an instance of the perfect 
 expression of a transcendent subject. Letar- 
 ouilly was also the author of the equally 
 beautiful monographs on St. Peter's and the 
 Vatican, a work in two volumes. 
 
 The other work which has been chosen for 
 special commendation, it is thought, with as 
 good reason as the one just mentioned, is the 
 grand folio of Durand, one of the largest in 
 siz.e of plates of any in the library. The super- 
 ficial dinijensions of this book are governed by 
 
 40 
 
the fact that all the different plans, elevations, 
 and sections throughout the work are drawn 
 to the same scale. Moreover, as its field is 
 the whole field of historic architecture, the 
 dimensions of the plates are more or less 
 determined by the largest edifices ever con- 
 structed, such as the Circus Maximus, a vast 
 stadium reputed to have seated some 
 250,000 spectators. When we consider the 
 immense advantage that accrues to the study 
 of design from having all the important 
 buildings of all ages of architecture drawn to a 
 uniform scale, it is no exaggeration to say 
 that if instructors in architecture were so 
 circumstanced that they might retain only 
 one work for reference, the majority would 
 prefer to retain this one. Durand, who was a 
 professor in FEcole Poly technique, first pub- 
 lished his work in Paris in Anno IX (1808). It 
 was re-issued at a later date in an augmented 
 form by a firm of editors in Liege. Reprints 
 are also obtainable. In addition to drawings 
 of constructed edifices, "Durand" also con- 
 tains famous projects never put into execu- 
 tion and many plates of detail and of other 
 architectural elements. 
 
 The chief value of "Durand" to students 
 of design is not the study of architectural 
 monuments from the viewpoint of history, 
 although it is valuable for- that too, but the 
 study oi parti from the view point of composi- 
 
 41 
 
tion. Such is also the particular value of the 
 premiated designs in the competitions for the 
 Grand Prix de Rome and in a lesser degree of 
 the volumes of Croquis and Medailles. The 
 publication of Croquis d" Architecture was dis- 
 continued about 1900 after some fifteen 
 volumes had been issued. Some instructors 
 prefer it to the folios of Grand Prix, but just 
 at this juncture it does not appear to be much 
 favored by students. 
 
 There is a right way and a wrong way to 
 use these books for study, the wrong way is the 
 slavish copying of the conceptions of others — 
 a habit far too prevalent. 
 
 As an example of what may be considered 
 a useful method of study, let us examine for 
 a moment one of the projects in Part Two of 
 Grand Prix, the fine conception of M. Chaus- 
 semiche, Vn Palais des Societes Savantes. 
 A familiarity with the principal requirements 
 of the program is first essential; there will not 
 be many. The problem should then be 
 thought of as one of proportions and relations 
 between the principal elements of the plan. 
 Make a pencil tracing of the plan, drawing 
 first the principal axes, indicating rooms 
 simply by shaded rectangles and leaving 
 communications white. This procedure will 
 fix in your mind the essential facts of the 
 composition,-the pdrti-, and the proportions of 
 the chief elements, and the relative area 
 
 42 
 
devoted to corridors, light-courts, halls, and 
 rooms. Similar tracings may be made of 
 elevations and sections. In the former it will 
 usually be sufficient to indicate broadly the 
 proportions between voids and solids while 
 in the latter care should be taken for the 
 interior silhouette. Next you should make a 
 study oi poche by tracing with black ink cer- 
 tain typical parts of the plan. Finally, for 
 comparative study, trace or sketch the alter- 
 nate schemes. 
 
 Studies such as have been indicated 
 above consume only a minimum of time. 
 By forcing you to analyze they serve greatly 
 to extend your knowledge of the large facts 
 of plan composition, and consequently your 
 ability to reason in terms of architecture 
 and to solve programmes becomes more and 
 more competent. Mere aimless tracing of 
 detail from books is of little value. Have 
 some purpose and method. Always keep in 
 mind the broad plan of your course in design; 
 first, to study elements; second, to combine 
 elements, to compose; third, to combine 
 proportions, to design. 
 
 It would appear that undue emphasis 
 had been placed in this discussion on the 
 literature of classicism and that mediaeval 
 architecture had been inexcusably neglected. 
 This might be taken by some to imply a 
 negation of the importance of Gothic archi- 
 
 43 
 
tecture. A course in design would certainly be 
 incomplete if it did not include programmes 
 outside the Classic and Renaissance periods, 
 and for the solution of such programmes it is 
 essential that the student apply himself to 
 the documents. But there are several reasons 
 why Gothic cannot and, as many believe, 
 ought not to occupy so large a space as 
 Classic and Renaissance in our thoughts as 
 students of design. In the first place it is 
 almost impossible to conceive of our con- 
 temporary life, outside of our religious life, 
 and to a lesser degree, our educational life, 
 being lived in an environment of Gothic 
 architecture. In the second place, although 
 there are many splendid monographs on 
 Gothic buildings, the literature of mediaeval 
 architecture is by no means so extensive or 
 voluminous as that of the Classic and analo- 
 gous styles. Without entering further into 
 the merits of the controversy that has waged 
 between advocates of these two great divi- 
 sions of architecture as they affect the study 
 of design in the schools, I shall quote from 
 Professor Blomfield's lecture on Rome, which 
 seems to express a rational view of the matter. 
 "We might," he says, "by a process of mental 
 abstraction, imagine ourselves back in mediae- 
 val life, and by a sustained effort of mental 
 histrionics, express ourselves in terms of 
 mediaeval art. But the natural man, the 
 
 44 
 
actual conditions of life, will surely reassert 
 themselves. We shall only feel at home in 
 the broad spaces and serener atmosphere of 
 classic art. I do not say that Roman archi- 
 tecture was perfect and impeccable. That 
 architecture had its faults. It had lost the 
 sensitive refinement of Greek art; it was given 
 to accepting the details of architecture without 
 much thought, possibly even with contemp- 
 tuous indifference to minute refinements of 
 form. But where it is forever memorable is in 
 the splendid courage of its construction, in 
 its capacity for ordered thought dealing with 
 vast conceptions. It is because of its superb 
 resource, of its masterful method of conquer- 
 ing any and every problem set it, that Roman 
 architecture remains the greatest and most 
 profitable study for the serious architect." 
 Among works treating of Gothic archi- 
 tecture which are especially useful for the 
 study of design, may be mentioned: Viollet-le- 
 Duc's Dictionnaire raisonne de V architecture ., 
 a justly celebrated work embodying the 
 results of profound research; C. H. Moore's 
 Gothic Architecture and the second volume of 
 Simpson's History of ArchitecturalDevelopment, 
 both emphasizing the details of structure; 
 and Pugin's Gothic Architecture, a three- 
 volume work containing details. Another 
 work especially good for the study of details 
 is An Analysis of Gothic Architecture by R. 
 
 45 
 
<^ \Mj 
 
 A Mediaeval War ENGiiNfE, aftbe Violiet-leDuo 
 
and J. A. Brandon. Two very modern books 
 on the style are F. Bond's Gothic Architecture 
 in England and English Church Architecture^ 
 up-to-date pieces of scholarship which are 
 regarded by authorities as being probably 
 the most valuable works on English church 
 architecture. Church Building by Ralph 
 Adams Cram explains many things about 
 church planning not generally understood. 
 Finally I shall mention the third part of 
 Guadet's Elements et Theorie de V Architec- 
 ture, which treats -in an exhaustive fashion the 
 whole subject of Catholic churches. 
 
 Guadet's work on the theory of archi- 
 tecture stands by itself. Perhaps it may be of 
 more value to the instructor than to the 
 average student, but no one could study this 
 work carefully without gaining immensely 
 thereby. Treatises have been written in other 
 languages on the general theory of architec- 
 tural aesthetics by thoughtful teachers, nota- 
 bly the discourses of Thiersch, Wagner, and 
 others in the German Handbuch series, but 
 none of them approaches Guadet in rationali- 
 ty of method and in clarity of statement. 
 Guadet bases his theory of proportions in 
 architecture on construction, whereas the 
 German writers incline toward recondite analo- 
 gies discoverable in human and other organ- 
 isms, and such geometrical analogies as are 
 found in the similarity of rectangles. One 
 
 47 
 
cannot study Guadet without being pro- 
 foundly influenced by his teachings, whereas 
 the German theorists do not inspire the same 
 degree of conviction. 
 
 Two very fine and useful works are 
 Biihlmann, Die Architectur des Classischen 
 /lltertums und der Renaissance, and Gromort, 
 Elements d" Architecture Classique. The former 
 is obtainable in a good, translated reprint, 
 and the latter in an inexpensive folio. For 
 beginners there is perhaps no more useful 
 work than Gromort's; the plates of which 
 show a close correspondence with the exam- 
 ples cited by Guadet. Biihlmann's work is 
 equally valuable; the fact that it is one of the 
 most used folios in the library speaks for 
 itself. 
 
 Of contemporary publications it is deserv- 
 edly fitting that special mention be made of 
 the Monograph of the Work of McKim, 
 Mead and White. The uniformly high char- 
 acter of the work of this firm places it on an 
 equal footing with much of the best work of 
 the Italian Renaissance architects. Of McKim 
 himself it has been often said that he was the 
 greatest English speaking architect since Sir 
 Christopher Wren. 
 
 The reading of books for inspiration in 
 design is a comprehensive undertaking. The 
 intention of this paper has been to adhere in 
 the main to reference works, since your study 
 
 48 
 
of design is so largely one of research among 
 books. But there is also another purpose which 
 is to stimulate you to form the habit of read- 
 ing the best books dealing with our art, 
 whether they be philosophical, romantic, or 
 descriptive. With this end in view the follow- 
 ing books will be found highly interesting 
 and suggestive. 
 
 A work to which great admiration should 
 be accorded is Hippolyte Adolphe Taine's 
 Lectures on Art (translated by J. Durand) 
 consisting of a course of lectures delivered 
 before the students of art of the Ecole des 
 Beaux Arts, Paris, during the winter of 1864. 
 This book is an accomplishment of the highest 
 order of genius — the thought being clothed in 
 the most finished and artistic style. The 
 style of Ruskin is regarded in the field of 
 letters as being particularly distinguished, 
 but, to my mind, it does not surpass that of 
 Taine; besides the aesthetic opinions of the 
 former critic have many of them fallen into 
 disrepute. Nevertheless, re?id.Modern Painters , 
 Stones of Venice, and Seven Lamps of Archi- 
 tecture. Taine applies to the arts the same 
 theory he has applied to literature in his 
 Histoire de la Literature Anglaise; that is, he 
 explains art by social influences: humanity 
 at different times and places, climate and 
 other conditions, furnishing the facts on 
 which the theory rests. You would also be 
 
 49 
 
delighted with his Voyage en Italic. Theo- 
 phile Gautier was another elegant writer, who, 
 while not dealing specially with aesthetics, 
 had an uncommon knowledge and apprecia- 
 tion of architecture. This is especially evident 
 in his Romance of a Mummy, Constantinople, 
 and A Winter in Russia. Read also The 
 Alhambra, by Washington Irving. 
 
 The vain-glory and outrageous effrontery 
 of one of the world's greatest artists has been 
 admirably recorded by himself in a most 
 remarkable recital of personal, experience: 
 The Autobiography of Benevenuto Cellini. 
 Read that and also Vasari's Lives of the Most 
 Eminent Painters, Sculptors, and Architects. 
 
 Special mention should be made of the 
 literary work of Dr. Nathan Clifford Ricker 
 in relation to the library. Dr.Ricker's contri- 
 butions to the literature of architecture have 
 been as solid and useful as they have been 
 varied in character. In this connection we 
 can do no more than note in passing such of 
 his work as partakes of the nature of research, 
 compilation, or critical interpretation. It 
 is to his translations that your particular 
 attention is called; our library has been made 
 by him the repository of his valuable manu- 
 scripts. Until such time as they may be given 
 to the publisher, you enjoy the unique priv- 
 ilege of being free to consult in your mother- 
 tongue some of the greatest works of the 
 
 50 
 
French and German teachers. A list of the 
 books which Dr. Ricker has selected for 
 rendering into English is given subsequently. 
 That these works carry with them the highest 
 authority is a fact that will become apparent 
 the more you read and study them. 
 
 In the preceding pages the writer has 
 sought to emphasize as forcibly as possible 
 what seems undeniably true, that books on 
 art exist primarily for what they may teach. 
 At least that is their relation to us. What 
 we may learn from them is, on our part, our 
 chief interest. Furthermore, our desire to 
 understand what these books may interpret 
 to us about the art of the past is only signi- 
 ficant in the sense that the art of the present 
 may be vivified and a reasonable develop- 
 ment of the art of the future assured. A book 
 may be immensely interesting in itself just 
 as drawings are immensely interesting in 
 themselves, and it is very easy to drift into 
 the pleasurable behef that neither exists for 
 anything except for the satisfaction of con- 
 templation and possession. Never forget 
 that you are studying to become architects 
 and that books and drawings are only an 
 important means to an end, the acquisition 
 of power in design. Next to the study of 
 great buildings, the study of great books 
 about them is the most valuable stimulant 
 to the creative faculty for the student of 
 
 51 
 
architecture. In the words of Sir Joshua 
 Reynolds, "The habit of contemplating and 
 brooding over the ideas of great geniuses 
 till you find yourself warmed by the. contact, 
 is the Sure method of an artist-like mind." 
 
 52 
 
CHAPTER IV 
 
 A LIST OF GENERAL WORKS ON ARCHI- 
 TECTURE SELECTED FROM THE CATALOGUE 
 OF THE RICKER LIBRARY IN THE UNIVER- 
 SITY OF ILLINOIS: Recommended to Students 
 of Architecture. 
 
 CLASSIFICATION OF SUBJECTS 
 
 For a more detailed classification see 
 
 Appendix B. 
 
 1. Biography. 
 
 2. History including Dictionaries and En- 
 cyclopedias. 
 
 3. Theory. 
 
 4. Periodicals. 
 
 5. Periods and Styles, Classic, Mediaeval, 
 Renaissance, Modern. 
 
 6. Travel and Description — Europe, Ameri- 
 ca. 
 
 7. Decoration, Painting and Sculpture — 
 Histories of Art. 
 
 8. City Planning and Landscape Architec- 
 ture. An important special collection in 
 city planning and landscape architec- 
 ture may be found in the library of the 
 Department of Landscape Design. 
 
 9. Competitions. 
 
 10. Dr. Ricker's Translations. 
 
 53 
 
I. BIOGRAPHY 
 
 1. Brault, Elie. LES ARCHITECTES PAR LEURS 
 OEUVRES. Paris (1893.) 3 vol. 
 
 2. Cellini, Benevenuto, AUTOBIOGRAPHY OF 
 Tr. by J. A. Symonds. New York. (g1906) 2 vol. 
 
 3. Chancellor, E. B. LIVES OF THE BRITISH 
 ARCHITECTS. London. 1909. 
 
 4. Quatremere de Quincy, A. C. HISTOIRE DE 
 LA VIE ET DES OUVRAGES DES PLUS CE- 
 LEBRES ARCHITECTES. Paris. 1830.2 vol. 
 
 5. Rolland, R. MICHELANGELO, tr. by Frederick 
 Street. New York. 1915. 
 
 6. Samuel A. PIRANESI. London. 1910. 
 
 7. Swarbrick, J. ROBERT ADAM AND HIS 
 BROTHERS. London. 1915. 
 
 8. Vasari, G. LIVES OF THE MOST EMINENT 
 PAINTERS, SCULPTORS, AND ARCHI- 
 TECTS. Tr. by Gaston Du C. de Vere. London. 
 1912-15. 10 vol. 
 
 51 
 
II. HISTORY 
 
 Including Dictionaries and Encyclopedias 
 
 The Classical Library has many books dealing 
 with excavations and explorations in ancient lands, 
 chiefly archaeological in character, a good many of 
 which have a^ near relation to the architecture of 
 antiquity. 
 
 For fuller lists of the most useful works relating 
 to the history of architecture, reference may be had 
 to the bibliographical notes in such books as Kimball 
 and Edgell's History of Architecture, Hamlin's History 
 of Architecture, and Fletcher and Fletcher's Comparative 
 History of Architecture. 
 
 1. Anderson, W. J. ARCHITECTURE OF THE 
 RENAISSANCE IN ITALY. 4th ed. London. 
 1909. 
 
 2. Anderson, W. J. and Spiers, R. P. ARCHI- 
 TECTURE OF GREECE AND ROME. 2nd ed. 
 London. 1907. 
 
 3. Benoit, F. L'ARCHITECTURE ANTIQUITE. 
 Paris. 1911-12 2 vol. printed. 
 
 4. Benoit, F. L'ARCHITECTURE L'ORIENT. 
 
 5. Blomfield, R. T. HISTORY OF RENAISSANCE 
 ARCHITECTURE IN ENGLAND. London. 
 1897. 2 vol. 
 
 6. Bond, F. GOTHIC ARCHITECTURE IN 
 ENGLAND. London. 1906. 
 
 7. Bond, F. AN INTRODUCTION TO ENGLISH 
 CHURCH ARCHITECTURE FROM THE 
 IITH TO THE 16TH CENTURIES. London. 
 1913. 2 vol. 
 
 55 
 
8. Byne, A. and Stapley, M. SPANISH ARCHI- 
 TECTURE OF THE 16TH CENTURY. New 
 
 York. 1917. 
 
 9. Choisy, F. A. HISTOIRE DE L'ARCHITEC- 
 TURE. Paris. 1899.2 vol. 
 
 10. DiirmJ. DIE BAUKUNST DER GRIECHEN. 
 
 (Handbuch der Architektur.) var. dates. 
 
 11. Diirm, J. DIE BAUKUNST DER ETRUSKEN 
 UND ROMER. 
 
 12. Diirm, J. DIE BAUKUNST DER RENAIS- 
 SANCE IN ITALIEN. 
 
 13. Fletcher, B. and Fletcher B. F. HISTORY OF 
 ARCHITECTURE ON THE COMPARATIVE 
 METHOD. 5th ed. London. 1905. 
 
 14. Geymiiller, H. von. DIE BAUKUNST DER 
 RENAISSANCE IN FRANKREICH. (Hand- 
 buch der Architektur) Stuttgart. 1901. 2 vol. 
 
 15. Gromort, G. L 'ARCHITECTURE DE LA 
 RENAISSANCE EN ITALIE. Paris. 1913. 
 
 16. Hamlin, A. D. F. HISTORY OF ARCHITEC- 
 TURE. New York. 1909. 
 
 17. Jackson, T. G. GOTHIC ARCHITECTURE 
 IN FRANCE, ENGLAND, AND ITALY. Cam- 
 bridge. 1915. 2 vol. 
 
 18. Jackson, T. G. BYZANTINE AND ROMAN- 
 ESQUE ARCHITECTURE. Cambridge. 1913. 
 2 vol. 
 
 19. Kimball, F. and Edgell, G. H. HISTORY OF 
 ARCHITECTURE. New York. 1918. 
 
 20. Marquand, A. GREEK ARCHITECTURE. 
 New York. 1909. 
 
 56 
 
21. Moore, C. H. DEVELOPMENT AND CHAR- 
 ACTER OF GOTHIC ARCHITECTURE. 
 
 New York. 1899. 
 
 22. Planat, P. (Ed.) ENCYCLOPEDIE DE 
 L 'ARCHITECTURE ET DE LA CONSTRUC- 
 TION. Paris. No date. 6 vol. 
 
 23. Porter, A. K. LOMBARD ARCHITECTURE. 
 
 New Haven. 1915-17. 
 
 24. Porter, A. K. MEDIAEVAL ARCHITEC- 
 TURE. New York. 1909. 
 
 25. Reber, F. von. HISTORY OF ANCIENT 
 ART. New York. 1882. 
 
 26. Simpson, F. M. HISTORY OF ARCHI- 
 TECTURAL DEVELOPMENT. 3 vol. 
 
 27. Statham, H. H. A SHORT CRITICAL HIS- 
 TORY OF ARCHITECTURE. London.(1912) 
 
 28. Sturgis, R. and Frothingham, A. L. HISTORY 
 OF ARCHITECTURE. New York. 1916. 4 vol. 
 
 29. Viollet-le-Duc, E. DICTIONNAIRE RAI- 
 SONNE DE L 'ARCHITECTURE FRAN- 
 gAISE. Paris. 1834-68. 10 vol. 
 
 30. Ward, W. H. ARCHITECTURE OF THE 
 RENAISSANCE IN FRANCE. London. (1911). 
 2 vol. 
 
 III. THEORY 
 
 1. Belcher, j. ESSENTIALS IN ARCHITEC- 
 TURE. London. 1907 
 
 2. Blomfield, R. T. THE MISTRESS ART. 
 
 London. l')08. 
 
 57 
 
3. Esqui6, P. THE FIVE ORDERS OF ARCHI- 
 TECTURE. (French Vignola) Boston. (1910) 
 
 4. Gibbs, J. BOOK OF ARCHITECTURE. 
 Containing designs of buildings and ornaments. 
 London. 1728. Reprint. 
 
 5. Gromort, G. CHOIX D 'ELEMENTS EM- 
 PRUNTES L' ARCHITECTURE CLASSIQUE. 
 Paris. 1907. 
 
 6. Gromort, F. CHOIX DE PLANTS pE 
 GRANDES COMPOSITIONS EXECUTEES 
 
 Paris. 1910 
 
 7. Guadet, J. ELEMENTS ET THEORIE DE 
 L 'ARCHITECTURE. Paris. (1902.) 4 vol. 
 
 8. Jackson, T. G. REASON IN ARCHITEC- 
 TURE. London. 1906. 
 
 9. Laureys, F. KURSUS DER KLASSISCHEN 
 BAUKUNST DIE FUNF ORDNUNGEN. 
 
 Berlin. No date. 
 
 10. Mauch, J. M. von. DIE ARCHITEKTO- 
 NISCHEN ORDNUNGEN DER GRIECHEN 
 UND ROMER. Berlin. No date. 
 
 11. Mayeux, H. LA COMPOSITION DECO- 
 RATIVE. Paris. No date. 
 
 12. Poore, H. R. PICTORIAL COMPOSITION. 
 
 New York. 1914. 
 
 13. Reynaud, F. L. TRAITE D 'ARCHITEC- 
 TURE. Paris. 1850. 4 vol. 
 
 14. Ruskin,J. MODERN PAINTERS. 
 
 15. Ruskin, J. SEVEN LAMPS OF ARCHI- 
 TECTURE. 
 
 58 
 
16. Ruskin, J. STONES OF VENICE. 3 vol. 
 
 17. Spiers, R. P. ORDERS OF ARCHITEC- 
 TURE. London. 1902. 
 
 18. Sturgis, R. HOW TO JUDGE ARCHITEC- 
 TURE. New York. 1903. 
 
 19. Taine, H. A. LECTURES ON ART. New 
 York. 1875. Translated by John Durand. 
 
 20. Van Pelt, J. V. A DISCUSSION OF COMPO- 
 SITION, ESPECIALLY AS APPLIED TO 
 ARCHITECTURE. New York. 1902. 
 
 21. VioIlet-le-Duc, E. LECTURES ON ARCHI- 
 TECTURE, _ London. 1877-8. 2 vol. Trans- 
 lated by Benjamin Bucknall. 
 
 IV. PERIODICALS 
 
 1. ACADEMY ARCHITECTURE. London. 
 Annual 
 
 2. AMERICAN ARCHITECT. 
 
 3. ARCHITECTS' JOURNAL AND ARCHI- 
 TECTURAL ENGINEER. London. 
 
 4. ARCHITECTURE. 
 
 5. ARCHITECTURAL FORUM. 
 
 6. ARCHITECTURAL RECORD. 
 
 7. ARCHITECTURAL REVIEW. New York. 
 
 8. ARCHITECTURAL REVIEW. London. 
 
 9. COLOUR. London. 
 
 10. CONSTRUCTION. Toronto. 
 
 11. CONSTRUCTION MODERNE. Paris. 
 
 12. DEKORATIVE VORBILDER. Discontinued. 
 
 13. DEUTSCHE KUNST UND DEKORATION. 
 Darmstadt. 
 
 14. GOOD FURNITURE. 
 
 . 59 
 
15. HOUSE AND GARDEN. 
 
 16. HOUSE BEAUTIFUL. 
 
 17. INTERNATIONAL STUDIO. 
 
 18. JOURNAL OF THE AMERICAN INSTI- 
 TUTE OF ARCHITECTS. 
 
 19. JOURNAL OF THE ROYAL INSTITUTE 
 OF BRITISH ARCHITECTS. London. 
 
 20. MODERNE BAUFORMEN. Stuttgart. 
 
 21. STUDIO YEAR BOOK. Annual. 
 
 22. WESTERN ARCHITECT. 
 
 23. Cram, R. A. CHURCH BUILDING. 2nd 
 ed. Boston. 1914. 
 
 V. PERIODS AND STYLES 
 
 This list includes principally atlases of drawings 
 or photographs. Some works have a descriptive text 
 which may not be specifically mentioned. 
 
 GENERAL 
 
 1. Biihlmann, J. DIE ARCHITEKTUR DES 
 CLASSISCHEN ALTERTUMS UND DER 
 RENAISSANCE. Stuttgart. 1893. 
 
 2. d'Espouy, H. FRAGMENTS D 'ARCHITEC- 
 TURE DU MOYEN AGE ET DE LA 
 
 RENAISSANCE. Paris. No date. 
 
 3. Gailhabaud, J. MONUMENTS ANCIENS 
 ET MODERNES. Paris. 1850. 4 vol. 
 
 4. Junghandel, M. and Gurlitt, C. DIE BAU- 
 KUNST SPANIENS. Dresden. (1889-98.) 
 
 2 vol. 
 
 5. Macartney, M. E. PRACTICAL EXEMPLAR 
 OF ARCHITECTURE. Westminister. No 
 date. 5 vol. Reprint. 
 
 60 
 
6. Ongania, F. STREETS AND CANALS IN 
 VENICE. Photo-engravings. Venice. 1894. 
 
 7. PROUT'S SKETCHES. Reprinted by The 
 Architect. 1892. 
 
 8. Strack, H. ZIEGELBAUWERKE DES 
 MITTELALTERS UND DER RENAIS- 
 SANCE IN ITALIEN. Berlin. 1889. 
 
 ANTIQUE AND CLASSIC 
 
 9. Canina, L. GLI EDIFIZJ DI ROMA 
 ANTICA. Rome. 1848-56. 4 vol. in 3. 
 
 10. Collignon, L. M. LE PARTHENON. Paris. 
 (1912.) 2 vol. 
 
 11. Curtius, E. and Adler, F. OLYMPIA. Berlin. 
 1890-97. 8 vol. 
 
 12. Defrasse, A. and Lechat, H. EPIDAURE. 
 Paris. 1895. 
 
 13. d'Espouy, H. FRAGMENTS D'ARCHITEC- 
 TURE ANTIQUE. Paris. 1905. 2 vol. 
 
 14. d'Espouy, H. MONUMENTS ANTIQUES. 
 Paris. No date. 3 vol. 
 
 15. Hulot, J. and Foug^res, G. SELINONTE. 
 Paris. 1910. 
 
 16. Laloux, v., and Monceaux, P. RESTAURA- 
 TION D'OLYMPIE. Paris. 1889. 
 
 17. Place, V. NINIVE ET L'ASSYRIE. Paris. 
 1867. 2 vol. Atlas. 
 
 18. Pontremoli, E. and CoUingnon, M. PERGAME. 
 Paris. 1900. 
 
 61 
 
ROMANESQUE 
 
 19. Martin, C. L'ART ROMAN EN FRANCE. 
 Paris. 1910. 3 vol. 
 
 20. Martin, C. L'ART ROMAN EN ITALIE. 
 Paris. 1912. 
 
 21. Revoil, H. A. ARCHITECTURE ROMANE 
 DU MIDI DE LA FRANCE. Paris. 1873. 
 3 vol. 
 
 GOTHIC 
 
 22. Brandon, R. and J. A. AN ANALYSIS OF 
 GOTHICK ARCHITECTURE. London. 1858. 
 2 vol. 
 
 23. Baudot, A. de and Perrault-Dabot, A. de. LES 
 CATHEDRALES DE FRANCE. Paris. 
 
 (1905-07). 2 vol. 
 
 24. Martin, C. L'ART GOTHIQUE EN FRANCE. 
 Paris. (1911.) 
 
 25. Pennell, E. and J. FRENCH CATHEDRALS. 
 New York. 1909. 
 
 26. Pugin, A. C. EXAMPLES OF GOTHIC 
 ARCHITECTURE. London. 1821. 3 vol. 
 (Reprint— Cleveland. 1919.) 
 
 27. Van Rensellaer, M., and Pennell, J. ENGLISH 
 CATHEDRALS. New York. 1896. 
 
 RENAISSANCE 
 
 28. L 'ARCHITECTURE ET LA DECORATION 
 AUX PALAIS DU LOUVRE ET DES 
 TUILERIES. Photo-engravings. Paris. No 
 date. 2 vol. 
 
 62 
 
29. Biagi, G. LA RENAISSANCE EN ITALIE. 
 Paris. (1913.) 
 
 30. Birch, C. H. LONDON CHURCHES OF 
 THE 17TH AND 18TH CENTURIES. 
 London. 1896. 
 
 31. Blondel, J. F. REIMPRESSION DE L 'AR- 
 CHITECTURE FRANQAISE. Paris. 1752- 
 56. 4 vol. 
 
 32. Bri^re, G. LE CHATEAU DE VERSAILLES. 
 Paris. 1907. 2 vol. in 4. 
 
 33. Bri^re, G. LE PARC DE VERSAILLES. 
 Paris. (1909). 1 vol. in 2. 
 
 34. Cram, R. A. FARM HOUSES, MANOR 
 HOUSES, MINOR CHATEAUX, AND SMALL 
 CHURCHES IN NORMANDY AND BRIT- 
 TANY. New York. (1917.) 
 
 35. Daly, C6sar. MOTIFS HISTORIQUES. Paris. 
 1870-80. 4 vol. 
 
 36. Dimier, L. FONTAINEBLEAU. Paris. No 
 date. 2 vol. 
 
 37. Garner, T., and Stratton, A. THE DOMESTIC 
 ARCHITECTURE OF ENGLAND DURING 
 THE TUDOR PERIOD. London. (1911.) 
 2 vol. 
 
 38. Gotch, J. A. ARCHITECTURE OF THE 
 RENAISSANCE IN ENGLAND. London. 
 1894. 2 vol. 
 
 29. Haupt, A. PALAST ARCHITEKTUR VON 
 OBER ITALIEN UND TOSCANA. Berlin 
 1911. 3 vol. 
 
 40. Letarouilly, P. M. LES EDIFICES DE 
 ROME MODERNE. Paris. 1868-74. 3 vol. 
 
 63 
 
41. Letarouilly, P. M. LE VATICAN. Paris. 
 1882. 3 vol. 
 
 42. Lowell, G. SMALLER ITALIAN VILLAS 
 AND FARMHOUSES. New York. 1916. 
 
 43. Nash, J. MANSIONS OF ENGLAND IN 
 THE OLDEN TIME. London. 1869. 4 vol. 
 
 44. Percier, C. and Fontaine, P.F.L. PALAIS, 
 MAISONS,..A ROME. Paris. 1809 
 
 45. Prentice, A. N. RENAISSANCE ARCHI- 
 TECTURE AND ORNAMENT IN SPAIN. 
 
 London. (1893.) 
 
 46. Rouyer, E. and Darcel, A. L'ART ARCHI- 
 TECTURAL EN FRANCE DEPUIS FRAN- 
 COIS I" JUSQU'A LOUIS XIV. Paris. 
 
 1863-66. 2 vol. 
 
 47. Sauvageot, C. PALAIS, CHATEAUX, 
 HOTELS, ET MAISONS DE FRANCE DU 
 XV= AU XVIIP SifeCLE. Paris. 1867. 3 vol. 
 
 48. Schiitz, A. von. DIE RENAISSANCE IN 
 ITALIEN. Hamburg. 1882. 4 vol. 
 
 49. Strack, H. BAUDENKMAELER ROMS 
 DES XV-XIX JAHRHUNDERTS...ALS 
 ERGANZUNG ZU LETAROUILLY, "EDIFI- 
 CES DE ROMEMODERNE."g^Berlin.:^1891. 
 
 50. Uhde, C. BAUDENKMAELER IN SPAN- 
 lEN UND PORTUGAL. Berlin. 1892. 2 vol. 
 
 51. Vitry, P. HOTELS ET MAISONS DE LA 
 RENAISSANCE FRANgAIS. . .DES XV 
 & XVI« SifeCLES. Paris. No date. vol. 2^ 
 
 64 
 
COLONIAL 
 
 52. Benjamin, Asher. THE COUNTRY BUILD- 
 ER'S ASSISTANT. Reprint. Ed. by Aymar 
 Embury II. New York. 1917. 
 
 53. Crane, E. A. and Soderholtz, E. E. COLONIAL 
 ARCHITECTURE IN SOUTH CAROLINA 
 AND GEORGIA. Boston. 1895. 
 
 54. Embury, A. EARLY AMERICAN CHURCH- 
 ES. Garden city. New York. 1914. 
 
 55. Newcomb, R. THE FRANCISCAN MISSION 
 ARCHITECTURE OF ALTA CALIFORNIA. 
 New York, 1916. 
 
 56. Ware, W. R. (Ed.) THE GEORGIAN PER- 
 IOD. Photographs and Measured Drawings. 
 Boston. 1899-1902. 3 vol. 
 
 57. Wise, H. C. and Beidelman, H. F. COLONIAL 
 ARCHITECTURE FOR THOSE ABOUT 
 TO BUILD. Philadelphia. 1913. 
 
 MODERN 
 
 58. Lutyens, E. HOUSES AND GARDENS. 
 London. 1913. 
 
 59. McKim, Mead, and White, Work of. New York 
 1913. 4 vol. 
 
 60. Piatt, Charles, The work of. New York, 1913. 
 
 VI. TRAVEL AND DESCRIPTION 
 
 Only a few titles selected from the Ricker Library 
 of Architecture are listed here. The General Library 
 of the University contains many additional books of a 
 similar character. 
 
 65 
 
1. Adams, H. MONT-SAINT-MICHEL AND 
 CHARTRES. Boston. 1913. 
 
 2. Frothingham, A. D. ROMAN CITIES IN 
 ITALY AND DALMATIA. New York. 1910. 
 
 3. Gautier, T. A WINTER IN RUSSIA. 
 
 4. Gautier, T. CONSTANTINOPLE. 
 
 5. Gautier, T. THE ROMANCE OF A MUMMY. 
 
 6. Headlam, C. OXFORD AND ITS STORY. 
 New York. 1904. 
 
 7. Howe, M. A. de W. BOSTON. New York. 
 1903. 
 
 8. Irving, W. THE ALHAMBRA. 
 
 9. King, Grace. NEW ORLEANS. New York. 
 1917. 
 
 10. Maspero, Sir G.C.C. THE DAWN OF CIVIL- 
 IZATION. Tr. by M.L. McClune. London. 1910. 
 
 11. Mau, A. POMPEII. ITS LIFE AND ART. 
 
 Tr. by F. W. Kelsey. New York. 1899. 
 
 12. Michaelis, A. T. F. A CENTURY OF AR 
 CHAELOGICAL DISCOVERIES. New York. 
 1908. 
 
 13. Pennell, J. and E. R. OUR PHILADELPHIA. 
 Philadelphia. 1914. 
 
 14. Ravenel, H. H. CHARLESTON. New York. 
 1912. 
 
 15. Schliemann, H. TROY AND ITS REMAINS. 
 Tr. by L. Dora Schmitz. London. 1875. 
 
 16. Stubbs, C. W. CAMBRIDGE AND ITS 
 STORY. London. 1903. 
 
 66 
 
17. Vitu, A. PARIS. Paris. No date. 
 
 18. Wilson, R. R. NEW YORK: OLD AND NEW. 
 Philadelphia. 1902. 
 
 VII. DECORATION, PAINTING AND 
 
 SCULPTURE.— HISTORIES OF ART 
 
 The collection of books in the General Library on the 
 general subjects of fine and decorative arts, selected 
 prirnarily by the Department of Art and Design, are 
 available for supplementary study. 
 
 1. Ars Una Series, ART IN FRANCE. 
 Hourticq, L. New York. 1911. 
 
 2. Ars Una Series, ART IN GREAT BRITAIN 
 AND IRELAND. Armstrong, Sir W. New 
 York. 1913. 
 
 3. Ars Una Series, ART IN NORTHERN 
 ITALY. Ricci, C. New York. 1911. 
 
 4. Baldry, A. L. MODERN MURAL DECO- 
 RATION. London. 1902. 
 
 5. Clarac, Comte, F. de., MUSEE DE SCULP- 
 TURE. Paris. 1826-53. 12 vol. 
 
 6. Cox, Kenyon, THE CLASSIC POINT OF 
 VIEW. New York. 1912. 
 
 7. Hamlin, A. D. F. A HISTORY OF ORNA- 
 MENT. New York. 1916. 
 
 «. Harrison, Birge, LANDSCAPE PAINTING. 
 New York. 1917. 
 
 9. HittorfF, J. I. RESTITUTION DU TEMPLE 
 D' EMPEDOCEE A SELINONTE, . . . Paris. 
 1851. 2 vol. 
 
 67 
 
10. Holme, C. MODERN PEN DRAWINGS; 
 EUROPEAN AND AMERICAN. New York. 
 1901. 
 
 11. Holt, R. B. RUGS, ORIENTAL AND OCCI- 
 DENTAL. Chicago. 1901. 
 
 12. Jones, Owen. GRAMMAR OF ORNAMENT. 
 London. 1856. 
 
 13. Lvibke, W. HISTORY OF ART. Edited by 
 Russel Sturgis. New York. 1904. 2 vol. 
 
 14. Mayeux, H. FANTAISIES ARCHITEC- 
 TURALES. Paris. No date. 
 
 15. Meyer, F. S. ORNAMENT ALE FORMEN- 
 LEHRE. Leipzig. 1886. 2 vol. 
 
 16. Parsons, F. A. INTERIOR DECORATION. 
 Garden City, N. Y. 1915. 
 
 17. Piranesi, J. B. COUPES, VASES, CANDEL- 
 ABRES, ETC. Paris. 1905. (Reprint). 
 
 18. Piranesi, J. B. OEUVRES CHOISIES-OEUV- 
 RES CHOISIES. Paris. 1913 (Reprint). 
 
 19. Price, C. M. POSTERS. New York. 1913. 
 
 20. Racinet, M. A. de. L'ORNAMENT POLY- 
 CHROME. Paris. 1873-86. 2 series. 
 
 21. Raguenet, A. MATERIAUX ET DOCU- 
 MENTS. Paris. 1872. 10 vol. 
 
 22. Reinach, S. STORY OF ART THROUGH- 
 OUT THE AGES. Translated by F. Simmonds, 
 New York. 1904. 
 
 23. Rieth, Otto. SKIZZEN. Leipzig, i 1892-99. 
 4 vol. 
 
 24. Sparrow, W. S. FRANK BRANGWYN AND 
 HIS WORK. Boston. 1915. 
 
 68 
 
25. Shaw, Henry. ILLUMINATED ORNAMENTS 
 SELECTED FROM MANUSCRIPTS OF 
 THE MIDDLE AGES. London. 1833. 
 
 26. Speltz, A. STYLES OF ORNAMENT. New 
 York. (1906.) 
 
 27. Tipping, H. A. GRINLING GIBBONS AND 
 THE WOODWORK OF HIS AGE. New York. 
 1914. 
 
 28. Wagner, Otto. SKIZZEN. Wien. 1905. 3 vol 
 
 VIII. CITY PLANNING AND LANDSCAPE 
 ARCHITECTURE 
 
 An important special collection in city planning and 
 landscape architecture is housed in the Library of the 
 Department of Landscape Design, Agricultural Build- 
 ing. 
 
 1. Hegemann, W. DER STADTEBAU. Berlin. 
 1911-13. 2 vol. 
 
 2. Hubbard, H. V. and Kimball, Theodora. 
 INTRODUCTION TO THE STUDY OF 
 LANDSCAPE DESIGN. New York. 1917. 
 
 3. Latham, C. THE GARDENS OF ITALY. 
 London. 1905. 2 vol. 
 
 4. Mawson, T. J. THE ART AND CRAFT 
 OF GARDEN MAKING. London. 1912. 
 
 5. Moody, W. D. WACKER'S. MANUAL OF 
 THE PLAN OF CHICAGO Chicago. 1912. 
 
 6. Nolen, John, (Ed.) REPLANNING SMALL 
 CITIES. New York. 1912. 
 
 7. Robinson, C. M. CITY PLANNING. New 
 York. 1916. 
 
 69 
 
8. Root, R. R. and Kelley, C. F. DESIGN IN- 
 LANDSCAPE GARDENING. New York. 
 1914. 
 
 9. Triggs, H. I. GARDEN CRAFT IN EUROPE 
 
 London. (1913.) 
 
 10. Triggs, H. I. TOWN PLANNING. London. 
 (1909.) 
 
 11. TJnwin, R. TOWN PLANNING IN PRAC- 
 TICE. London. 1909. 
 
 12. Weaver, L. MEMORIALS AND MONU- 
 MENTS. New York. 1915. 
 
 IX. COMPETITIONS 
 
 1. AMERICAN COMPETITIONS, T-Square, 
 Club, Philadelphia. 1907-1913. 3 vol. 
 
 2. BRITISH COMPETITIONS. Alexander Koch, 
 (Ed.) London. 1905-on. 4 vol. 
 
 3. CONCOURS CHENAVARD. Ecole Nationale 
 des Beux Arts. Paris. 1909. 
 
 4. CONCOURS D 'ECOLE, Ecole Nationale des 
 Beaux Arts. Paris No date. 2 vol. 
 
 5. CONCOURS ROUGEVIN ET GODEBOEUF. 
 
 Ecole Nationale des Beaux Arts. Paris. No 
 date. 2 vol. 
 
 6. CROQUIS D 'ARCHITECTURE. Intime- 
 
 Club. Paris. 1866-98. 25 vol. 
 
 */. LES ESQUISSES D 'ADMISSION A L' 
 ECOLE DES BEAUX ARTS. Paris. 1893-1914. 
 
 8. LES GRANDS, PRIX DE ROME D 'ARCHI- 
 TECTURE. Ecole Nationale des Beaux Arts. 
 Paris. Continuation. 5 vol. 
 
 70 
 
9. LES MEDAILLES , DES CONCOURS D 'AR- 
 CHITECTURE. Ecole Nation ale des Beaux 
 Af-ts. Paris. 1898-on. IS vol. 
 
 X. DR. RICKER'S TRANSLATIONS 
 
 1. HISTORY OF ANCIENT ARCHITECTURE. 
 
 Benoit. 2 vol. 
 
 2. RENAISSANCE ARCHITECTURE IN 
 GERMANY, HOLLAND, BELGIUM AND 
 DENMARK. Gustav von Bezold. (Handbuch 
 der Architektur.) 
 
 3. GRECIAN ARCHITECTURE. Joseph Durm. 
 (Handbuch der Architektur.) 
 
 4. RENAISSANCE ARCHITECTURE IN 
 ITALY. Joseph Diirm. (Handbuch der Archi- 
 tektur.) 
 
 5. FRENCH RENAISSANCE ARCHITEC- 
 TURE. Von Geymiiller. (Handbuch der Archi- 
 tektur.) 
 
 6. ELEMENTS AND THEORY OF ARCHI- 
 TECTURE. Guadet. 
 
 7. ANCIENT, MEDIAEVAL, RENAISSANCE, 
 AND MODERN ARCHITECTURAL HIST- 
 ORY. Hartmann. 
 
 8. MEDIAEVAL CHURCH ARCHITEC- 
 TURE. Max Hosak. (Handbuch der Archi- 
 tektur.) 
 
 9 MEDIAEVAL HOUSES. Otto Stiehl. (Hand- 
 buch der Architektur.) 
 
 10. DICTIONNAIRE RAISONNE DEL'ARCHI- 
 TECTURE. Viollet-le-Duc. 10 vol. 
 
 71 
 
A Doorway, East Barsham, Norfolk, 
 FROM A Drawing by Nash 
 
APPENDIX A 
 
 A List of Old and Rare Books 
 Contained in the Ricker Library 
 
 VITRUVIUS, POLLIO 
 
 Architecture. Tr. from the original Latin by W. 
 Newton, architect. 2 vol. London. 1791. 
 
 The Civil Architecture of Vitruvius. Tr. by Will- 
 iam Wilkins. London. 1812. 
 
 Architectura alibri dece traducti. Tr. into Italian 
 by Caesare Caesariano. Milan. 1521. 
 
 Les dix livres d'architecture de Vitruve. Tr. into 
 French by M. Perrault. 2d. ed. Paris. 1684. 
 
 ALBERTI, LEONE BATTISTA 
 
 Architecture. Tr. into Italian by Cosimo Bartoli. 
 1st ed. Three vol. in one. London. 1726. 
 
 PALLADIO, ANDREA 
 
 The Four Books of Architecture. Tr. from the 
 original Italian by Isaac Ware. London. 1738. 
 
 BOSSE ABRAHAM, 
 
 Traite des manieres de dessiner les ordres de I'ar- 
 chitecture antique. Paris. 1664. 
 
 ANDREA POZZO 
 
 Perspectiva pictorum et architectorum. Two vol. 
 bound in one. Rome. 1693-1700. 
 
 PIRANESI, GIOVANNI BATTISTA 
 
 Le antichita romane, divisa in quattro tomi. 4 vol. 
 Roma. 1756. 
 
 Delia antichita di Cora. Bound with Lapides 
 Capitolini. Roma. 1762. 
 
 Delia magnificenza ed archittectura de Romani. 
 Roma. 1761. 
 
 73 
 
Descrizione e designo deU'emissario del Lago Al- 
 bano. Bound with Lapides Capitolini. Roma(1764) 
 
 Di due spelonche ornate dagli antichi alia riva del 
 lago Albano. Bound with Lapides Capitolini. 
 (1762) Roma. 1764. 
 
 Diverse maniere d'adornare i Cammini ed ogni 
 altra parte degli edifizj.... Roma. 1769. 
 
 Rovine del castello dell'acqua giulia. Bound with 
 Lapides Capitolini (1762) Roma. 1761. 
 
 Vasi, candelabri, cippi, sarcofagi, lucerne ed. or- 
 namenti antichi. Roma. 1778-1791. 
 
 STUART AND REVETT 
 
 Antiquities of Athens, 4 vol. London. 1825-30. 
 
 WOOD, ROBERT 
 
 Ruins of Palmyra. London. 1753. 
 Ruins of Baalbec. London. 1757. 
 
 SOCIETY OF DILETTANTI 
 
 Ionian Antiquities by Chandler, Revett, and Pars. 
 2 vol. London. 1769. 
 
 Unedited Antiquities of Attica. London. 1817. 
 
 CAMERON, CHARLES 
 
 The Baths of the Romans. 2 vol. London. 1772-75 
 
 ADAM, ROBERT 
 
 Ruins of the Palace of the Emperor Diocletian at 
 Spalatro in Dalmatia. London. 1764. 
 
 TAYLOR AND CRESY 
 
 The Architectural Antiquities of Rome. 2 vol. 
 London. 1822. 
 
 INWOOD, HENR.Y WILLIAM 
 
 The Erechtheion at Athens. London. 1827. 
 
 74 
 
CASTELL, ROBERT 
 
 Villas of the Ancients Illustrated. London, 1728. 
 
 KIRBY, JOHN JOSHUA 
 
 Perspective. London. 1718. 
 
 DESGODETZ, ANTOINE 
 
 Les edifices antiques de Rome, pub. par George 
 Marshall. 2 vol. Londres. 1795. 
 
 DURAND, JEAN NICOLAS, LOUIS 
 
 Recueil et Parallele des Edifice en Tout Genre. 
 Paris. An. IX. (1800). 
 
 BLONDEL, FRANCOIS 
 
 L' architecture Frangaise, 4 vol. Paris. 1752-56. 
 
 75 
 
APPENDIX B 
 CONTENT OF THE RICKER LIBRARY 
 
 A general classification of the books in the Ricker 
 Library according to the Dewey Decimal System with 
 a graphical indication of relative content in each cate- 
 gory. 
 Miscellaneous Books Related to Architecture and 
 
 Allied Subjects — 
 
 690 BUILDING - 
 
 691 Materials, Processes - 
 
 692 Plans, Specifications - 
 
 695 Roofing, Slating, Tiling - 
 
 697 Heating, Ventilation - 
 
 700 FINE ARTS - 
 
 709 History of Art, General - 
 
 710 LANDSCAPE - 
 
 720 ARCHITECTURE - 
 
 720 3 Dictionaries of Architecture- 
 720 5 Periodicals : - 
 
 720 9 History of Architecture - 
 
 721 Architectural Construction....- 
 
 722 Ancient and Oriental Archi- 
 
 tecture - 
 
 722 7 Roman Architectuer - 
 
 722 8 Grecian Architecture - 
 
 723 Mediaeval Architecture - 
 
 723 2 Byzantine Architecture - 
 
 7234 Romanesque Architecture...,— 
 
 723 5 Gothic Architecture - 
 
 724 Modern Architecture - 
 
 724 1 Renaissance Architecture.... - 
 
 76 
 
725 Public Buildings - 
 
 726 Ecclesiastical Buildings - 
 
 727 Educational and Scientific 
 
 Buildings - 
 
 728 Residences - 
 
 728 Architectural Design and De- 
 
 coration - 
 
 729 3 Elementary Forms, The 
 
 orders - 
 
 730 SCULPTURE - 
 
 740 DRAWING, DECORA- 
 TIONS, DESIGN - 
 
 742 Perspective - 
 
 744 Mathematical and Scientific 
 
 Drawing - 
 
 745 Ornamental Design - 
 
 747 to 749 Interior Decoration. ...- 
 750 to 759 Oil and Water Color 
 
 Painting, Essays, etc - 
 
 760 to 770 Etchings and Prints, 
 
 Technical Processes, etc - 
 
 910 to 917 Travel and Description- 
 
 927 Biography - 
 
 Miscellaneous subjects not listed 
 
 elsewhere - 
 
 77 
 
:i;rLl|'i<!i' 
 -'tjijp'ijij 
 
 iiiiii 
 
 1-1 I I I I.