t
only indifferent architects."

The examples of doorways chosen for illustrating this number
unquestionably show the work of men who labored for the enjoyment and
satisfaction to be got from their work. This is sufficiently evident in
the results before us. Its logical and constructive bearing can of
course be called in question, as in fact is the case with all but the
merest fraction of the architectural efforts of the world. As decoration
we can but admire the masterly way in which the ornament is distributed,
the refined sense of scale and proportion, and the skilful and subtle
treatment of light and shade, even if the detail of the ornament itself
is crude and archaic.

In making the choice of these subjects this point was kept in mind, and
they are not offered as material which can be cut out in portions of the
size and shape desired and transferred bodily by the designer to
embellish a modern masterpiece, in the manner in which the Gothic
architects of Venice used their patterns of window tracery. These plates
show certain qualities in decorative design in their fullest and best
development, and are on this account invaluable as suggestions to
designers of the present day. For "cribbing material" they do not stand
for much; but this should not be counted as against their usefulness,
for the draughtsman who has not advanced beyond the "cribbing" stage has
much still to learn before he can do the best and most satisfactory
work.

IX. and X.

PRINCIPAL DOORWAY TO THE CATHEDRAL AT TRANI, ITALY.

The cathedral at Trani dates from about the middle of the twelfth
century. Its main features have been indicated above in describing the
general characteristics of the class of churches to which it belongs.
The bronze doors shown in the illustration were made in 1160, and are
exceptionally fine examples of the work of this period.

XI.

PRINCIPAL DOORWAY TO THE CATHEDRAL AT CONVERSANO, ITALY.

Doorways of this general design are so familiar in the so-called
Romanesque architecture of our American cities that it seems almost like
an old friend; but we regret to say that most of our American designs
would hardly show to advantage if compared side by side with this.

XII.

PORTION OF THE FACADE OF THE BASILICA AT ALTAMURA, ITALY.

The remarkable sense of spotting and distribution of ornament shown in
the designing of this facade can hardly be too much commended. The
strong light and long slanting shadows of