principal structural members are set crosspieces of wood, with the spaces between filled in with brick. The herringbone pattern is used almost exclusively but is laid at many different angles for variation. However, there is a certain element of monotony in this building because of the great number of crosspieces, and I do not think it is as good an example of half-timber work as that shown in the other photograph. The detail exhibits quite plainly the mortised and tennoned construction of all old timber work. The warped and twisted timbers and the irregularity of the brick work create a most charming surface. At the right of the picture is an
interesting detail of stone work exposed by the weathering away of the stucco surface.
It will be noted that the brick used in these old buildings differs in proportions from our modern brick. It is longer and thinner, and, because it is hand moulded and imperfectly fired, is often quite irregular and warped. These imperfections make it a more plastic and varied material to work with and give a surface which never is monotonous. The stone, even when it is cut to a fairly smooth surface, is usually somewhat irregular in size, with a resulting unconventionality or freedom in the sur
face. All joints are pointed up flush with the stone or brick work, which serves to weld the surface together into a homogeneous mass. When the mortar is recessed between the stones, the manner so often seen in this country, each stone stands out with startling clearness and takes on an undeserved importance.
It appears then, that the beauty of old masonry, as demonstrated in France, results from several related causes. First, the materials are all sturdy and enduring, but irregular in size, color, and surface finish. Next, the craftsmanship is honest and painstaking, but not in the least mechanical. The subtle
points, the fanciful details, arise from an innate, and, to a certain extent, an unconscious feeling for proportion possessed by the craftsmen of past centuries. Innovations did not appeal to them, because they knew from long experience that the old materials and methods were best. Nevertheless, the type of architecture which they had evolved was so elastic and free from rote that there was plenty of room for the play of imagination of the individual workman. Personally, I am convinced that the closer we come to duplicating the old materials and methods, the more beautiful will be our
DETAIL, HOUSE IN COURMEMIN, LOIR-ET-CHER, FRANCE
A GOOD EXAMPLE OF HALF TIMBER CONSTRUCTION, SHOWING HAND-HEWN TIMBERS MORTISED AND TENNONED TOGETHER, AND SLENDER HAND-MADE BRICKS SET IN HERRINGBONE DESIGN
interesting detail of stone work exposed by the weathering away of the stucco surface.
It will be noted that the brick used in these old buildings differs in proportions from our modern brick. It is longer and thinner, and, because it is hand moulded and imperfectly fired, is often quite irregular and warped. These imperfections make it a more plastic and varied material to work with and give a surface which never is monotonous. The stone, even when it is cut to a fairly smooth surface, is usually somewhat irregular in size, with a resulting unconventionality or freedom in the sur
face. All joints are pointed up flush with the stone or brick work, which serves to weld the surface together into a homogeneous mass. When the mortar is recessed between the stones, the manner so often seen in this country, each stone stands out with startling clearness and takes on an undeserved importance.
It appears then, that the beauty of old masonry, as demonstrated in France, results from several related causes. First, the materials are all sturdy and enduring, but irregular in size, color, and surface finish. Next, the craftsmanship is honest and painstaking, but not in the least mechanical. The subtle
points, the fanciful details, arise from an innate, and, to a certain extent, an unconscious feeling for proportion possessed by the craftsmen of past centuries. Innovations did not appeal to them, because they knew from long experience that the old materials and methods were best. Nevertheless, the type of architecture which they had evolved was so elastic and free from rote that there was plenty of room for the play of imagination of the individual workman. Personally, I am convinced that the closer we come to duplicating the old materials and methods, the more beautiful will be our
DETAIL, HOUSE IN COURMEMIN, LOIR-ET-CHER, FRANCE
A GOOD EXAMPLE OF HALF TIMBER CONSTRUCTION, SHOWING HAND-HEWN TIMBERS MORTISED AND TENNONED TOGETHER, AND SLENDER HAND-MADE BRICKS SET IN HERRINGBONE DESIGN