DOI Heft:
Nr. 161 (July, 1910)
DOI Artikel:Reviews and notices
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19867#0107
Reviews and Notices
In the Heel of Italy. By Martin Shaw Briggs, scribed. Mr. Storey has done much to take away
A.R.I.B.A. Associate of the British School at the odium attaching to it by treating it in a way
Rome. (London: Melrose.) Ss. 6d. net.—It is which cannot fail to excite an interest in it. His
a manifest straining of terms to call Lecce " an un- method of letting one problem "grow" out of
known city," for though it is situated somewhat another, of making the student see the reason for
out of the beaten track and is not generally each successive step, and of illustrating the
included in the route of the ordinary tourist, artists problems by figures which enlighten instead of
and architects are familiar with its picturesque confuse, makes his treatise a valuable addition to
streets and noteworthy buildings, and it has the art student's library,
already been the theme of many gifted writers, as
proved by the extensive bibliography given by The oak foot-bridge, of which an illustration is
Mr. Briggs. For all that, his well-illustrated given on this page, was erected at Eaton Hall,
volume has an undoubted value of its own, for he Cheshire, by Mr. John P. White, of the well-known
has gathered into it a vast amount of scattered Pyghtle Works, Bedford, and 134, New Bond
information, sifting the proved from the unproven, Street, London, from the designs of Mr. C. E.
the essential from the non-essential, with unweary- Mallows. The catalogue which Mr. White has
ing patience, and stamping his text with a refined recently issued is a remarkably beautiful produc-
originality of its own. As a matter of course, it tion, the perusal of which cannot fail to prove a
is on matters architectural that he speaks with source of great pleasure to all interested in the
the greatest weight, but he also shows a wide laying-out of gardens. It is a substantial quarto
acquaintance with collateral subjects and a keen volume with some hundreds of illustrations of
appreciation of local characteristics. every kind of garden furniture and ornament,
The Theory and Practice of Perspective. By including garden seats and tables in wood and
G. A. Storey, A.R. A. (Oxford: Clarendon Press.) marble, sundials of various shapes and uses,
10j.net.—In the opening chapter of this admirably treillage screens, arbours, temples, etc., pottery
lucid exposition Mr. Storey comments on the all of divers kinds, lead vases and figures, marble
too frequent neglect of the study of perspective by statuary, fountains, pigeon cotes, summer houses
painters, and the distaste with which the student small and large, outdoor apartments for meals,
approaches it as a rule, although, as he reminds tubs and vases in wood, pergolas and bridges of
the reader, the subject is one which is indispens- charming designs, horticultural buildings, entrance
able to successful pictorial work, and was so gates and wickets. The wide reputation which
regarded by the great masters of the past, who the Pyghtle Works have gained for their produc-
owed much to their assiduous study of perspective. tions will be confirmed and extended by this
Possibly the reason for the repugnance felt for it catalogue,
is to be found, to some
extent at all events, in the
dry, uninteresting way in
which the subject is
usually presented to the
student. The type of
mind that delights in a
maze of diagrammatic
lines and geometrical for-
mula; is one which is
rarely found among
artists, and it is therefore
not difficult to understand
why the science of per-
spective presented in this
way is looked upon by
the majority of students
as a bitter pill which they
must swallow merely an oak foot-bridge at baton hai.l designed by c. e. mallows, f.r.i.b.a.
because it has been pre- executed by joiin v. white, pyghtle works, Bedford
83
In the Heel of Italy. By Martin Shaw Briggs, scribed. Mr. Storey has done much to take away
A.R.I.B.A. Associate of the British School at the odium attaching to it by treating it in a way
Rome. (London: Melrose.) Ss. 6d. net.—It is which cannot fail to excite an interest in it. His
a manifest straining of terms to call Lecce " an un- method of letting one problem "grow" out of
known city," for though it is situated somewhat another, of making the student see the reason for
out of the beaten track and is not generally each successive step, and of illustrating the
included in the route of the ordinary tourist, artists problems by figures which enlighten instead of
and architects are familiar with its picturesque confuse, makes his treatise a valuable addition to
streets and noteworthy buildings, and it has the art student's library,
already been the theme of many gifted writers, as
proved by the extensive bibliography given by The oak foot-bridge, of which an illustration is
Mr. Briggs. For all that, his well-illustrated given on this page, was erected at Eaton Hall,
volume has an undoubted value of its own, for he Cheshire, by Mr. John P. White, of the well-known
has gathered into it a vast amount of scattered Pyghtle Works, Bedford, and 134, New Bond
information, sifting the proved from the unproven, Street, London, from the designs of Mr. C. E.
the essential from the non-essential, with unweary- Mallows. The catalogue which Mr. White has
ing patience, and stamping his text with a refined recently issued is a remarkably beautiful produc-
originality of its own. As a matter of course, it tion, the perusal of which cannot fail to prove a
is on matters architectural that he speaks with source of great pleasure to all interested in the
the greatest weight, but he also shows a wide laying-out of gardens. It is a substantial quarto
acquaintance with collateral subjects and a keen volume with some hundreds of illustrations of
appreciation of local characteristics. every kind of garden furniture and ornament,
The Theory and Practice of Perspective. By including garden seats and tables in wood and
G. A. Storey, A.R. A. (Oxford: Clarendon Press.) marble, sundials of various shapes and uses,
10j.net.—In the opening chapter of this admirably treillage screens, arbours, temples, etc., pottery
lucid exposition Mr. Storey comments on the all of divers kinds, lead vases and figures, marble
too frequent neglect of the study of perspective by statuary, fountains, pigeon cotes, summer houses
painters, and the distaste with which the student small and large, outdoor apartments for meals,
approaches it as a rule, although, as he reminds tubs and vases in wood, pergolas and bridges of
the reader, the subject is one which is indispens- charming designs, horticultural buildings, entrance
able to successful pictorial work, and was so gates and wickets. The wide reputation which
regarded by the great masters of the past, who the Pyghtle Works have gained for their produc-
owed much to their assiduous study of perspective. tions will be confirmed and extended by this
Possibly the reason for the repugnance felt for it catalogue,
is to be found, to some
extent at all events, in the
dry, uninteresting way in
which the subject is
usually presented to the
student. The type of
mind that delights in a
maze of diagrammatic
lines and geometrical for-
mula; is one which is
rarely found among
artists, and it is therefore
not difficult to understand
why the science of per-
spective presented in this
way is looked upon by
the majority of students
as a bitter pill which they
must swallow merely an oak foot-bridge at baton hai.l designed by c. e. mallows, f.r.i.b.a.
because it has been pre- executed by joiin v. white, pyghtle works, Bedford
83