File:Easy steps in architecture and architectural drawing (1915) (14577472369).jpg

Identifier: easystepsinarch00hodg (find matches)
Title: Easy steps in architecture and architectural drawing ..
Year: 1915 (1910s)
Authors: Hodgson, Frederick Thomas, 1836- (from old catalog)
Subjects: Architecture Architectural drawing
Publisher: Chicago, Ill., Printed by F. J. Drake & co.
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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es andthe sides, and underneath which elegant galleries withcarved w^ooden staircases are sheltered. These galleriesfrequently occur one above another in the differentstories of the building, and they sometimes run all roundthe house, though they are more frequently met with onone or two sides only. Wooden steps generally lead upto these galleries from the outside, when they are nothigh. The rafters of these projecting roofs are left bare,and generally carved in a curved shape. The gables andthe eaves of the roof are lined by boarding carved withvarious ornaments, which materially tends to increase thepicturesque effect and the elegance of the building. Theroof is not steep in its pitch, and is covered with wood,slate, or slabs of stone. Although the characteristics of this class of buildingsare generally uniform, yet shades of difference occurhere and there. These deviations are perceptible in thevarious countries where wooden houses are met with, and 348 EASY LESSONS IN ARCHITECTURE
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EAST LESSONS IN ARCHITECTURE 349 are found even in the different cantons of Switzerland.It would, however, carry us too far to enter more fullyinto these various points of difference. Fig. 235 exhibitsa characteristic example of one of these Swiss-cottagesor chalets. TABLES OF STYLES BY COMPARISON. After the detailed description of architectural styleswhich has now been given, it may not be amiss to add thefollowing table of styles, which is to a certain extent theresume of the whole. I. Old Indian Style.—Childlike helplessness. Pre-tentious mode of expression combined with mythicalfreedom of imagination. II. Egyptian Style.—Solemn earnestness and impos-ing aspect. III. Grecian Style.—^Nobility of expression and ofthe whole effect. Stately calm. IV. Eoman Style.—Manly vigor in form and con-ception. V. Chinese Style.—Punchinello. VI. Early Christian Basilica Style.—Expression ofindependence with the struggle for freedom from foreigninfluences. VII. The Romanesque Style.—A

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