232 THE BUILDING NEWS. Marcu 22, 1872.
in in different marbles on the wall in black-
lead, taking great care to have all lines or
bands of equal width throughout—each line
and band and all circles true; in fact,
the drawing-in should be geometrically cor-
rect, for if it is not so at first—it will be diffi-
cult, if not impossible, to rectify any defect
afterwards. The principal marble should
now be painted in—that is to say, the marble
which occupies the largest and most promi-
nent portion of the panel. In painting in the
marble, strips of paper, cut to a perfectly
straight edge, may be placed on the boundary
lines of the marble being done; this is to
prevent the colours then being used from im-
pinging upon another marble, and will also
prevent much labour and loss of time after-
wards in wiping the overlapping colour on the
other marbles. If it is a line or a band we
are doing, we shall find that if we cut a line
out of a strip of paper of the exact width of
the line or band weare working upon, and place
this upon the line or band, then work through
the cut line, we may execute the work with-
out soiling the marbles on either side. Bands
or broad lines may be done as follows :—It is
often the case that the pattern or design may
be and is defined with a light marble line in-
closed within two black marble lines. In
imitating these we first set out our band the
whole width of the three lines. We then
work the light marble on the white grcund,
and having the whole width of the three lines
to work upon we need not be so particular
in the outline. When this is done we strike
out the width of the black lines, and
tun them with a lining-fitch and _finely-
ground black. When the design will
allow of this kind of treatment we get a
sharpness of outline and a decision of effect
admirably suited to our purpose. All
designs of coloured marbles inlaid upon
black marble may be done in the same
manner; as amatter of course, there will
be in all combinations of inlaid marbles
certain portions which will have to be
painted without the aid of paper strips, and
with the greatest care,so as to keep the
division lines as sharp and clean cut as if it
were the real marble. But in most cases
strips of paper willbe found of the greatest
service. It is always best to let one marble
be perfectly dry before we paint the next, or
the one inimmediate contact, as we thus avoid
blurring or smearing. We now come to a
very important and effective method of
dividing and sharpening the outline of each
marble, andit is to produce this effect that
we recommend that the grounds for inlaid
marbles should be got up with four or five
coats of white. If a very fine white line,
about the thickness of a single hair, be drawn
on the division line between each marble, we
get the effect of the almost imperceptible
hair joint we see in real inlaid marbles. It
will be at once evident that to do this witha
pencil so exceedingly fine and true would be,
if not almost impossible, yet so difficult, that
not one in a thousand of even the best work-
men could accomplish it. But by using our
method these lines may be run as true as the
lines of an architectural drawing.
We take a steel or wood straight edge, and
lay it upon the line of division between two
marbles, holding it firmly in its place; we
then take afine pointed penknife and place the
back-edge against the edge of the straight-
edge, and draw the knife lightly along the
line, taking off the top or upper colours of the
marble, and leaying a fine line of white ex-
posed. If this is carefully done the line will
be as true and uniform in thickness as a line
can well be. The width of the line may be re-
gulated by the inclination of the knife blade ;
if the extreme point is only used the line will
be as fine as_the point of the knife, but if the
knife is held in a slanting direction a line
the sixteeenth of an inch may be drawn with
it. Of course, curves and sections of circles
may be drawn with the aid of the ordinary
wood orsteel curves used in drawing. When
the work is varnished and polished, the lines
thus drawn will not show any indication of how they have been done, which latter fact is, nour opinion, a great advantage, for if we can see ata glance how a certain effect is produced, one half of the charm is gone. (To be continued.) —»—__——_. HOW TO BUILD SCIENTIFICALLY WITH THE AID OF MODERN IN- VENTIONS.—IX. WALLS, Eee am not one of those who agree with the views expressed by a clever member of our profession, who said in 1865, in speaking of iron, thatthe proper purposes of its application are ‘‘ those which can fairly compete with brick or stone, or other ordinary building material. limit to its fitness or capabilities ; but archi- tects who have not learned its true artistic treatment for general building purposes will, of course, decry its use rather than proclaim their own incompetence to deal with it. They persist in the use of the old materials, merely because they willfollow none but the ancient forms, and are determined to exhibit them still just as they formerly existed, but under entirely different requirements from those which now govern art. that iron may be used for columns girders, no legitimate reason can be alleged against the wholesale adoption of it in every- thing where it can be successfully applied. It is only because proper attention has not been given to the material ; but the time will come for its universal use in ordinary houses, in walls and windows, roofs and floors, and for every purpose, in fact, whether of con- struction, brick, or stone, or wood hitherto have been, but no longer will be, the generally recog- nised materials.” There is no But if it be admitted and or ornamentation, in which I quote so fully to show how little the prophesy has been realised, for there can be no question that iron is even less em- ployed in the erection of permanent build- ings than it was at the time the writer I have mentioned read his Institute. is so. iron properly, and have not sufficiently de- veloped its peculiar qualities ; in short, they have not succeeded in utilising this material, so as to enable them to build scientifically with the aid of thismodern building material. That it has many disadvantages, I will admit, but they are such, as should tempt the energy and skill of the thoughtful and earnest architect to overcome. who can so develope the use of this material as to make it what it should be, the cheapest paper before our Further on, Ishall show why this I think that architects have not used Further, I would say that he and best material, will have done good service to his generation, for’ probably at no time (having regard to the increased wages paid to the workmen, and the shortened hours of labour) was there greater necessity to ac- complish the building of cheap yet attractive and healthy houses. I pass at once to the especial points, divid- ing them, as I have hitherto done, under their several heads, Advantages.—Rapidity of construction. Strength. Lightness of appearance. Special adaptability for houses having shops on the lower story or stories. Power of introduc- tion of colour. Power of patterned shade. Small space oceupied by walls. Rapidity of Construction.—This must be admitted by all, if only we can secure that the designs are asked for, some time before the building is required ; in which case all the work may be prepared. and ready for fixing before one brick of the old building is removed. Strength.—This is so well-known that I need here adduce no facts in confirmation, Lightness of Appearance.—Again, this is apparent to all—the object being really to
so construct our building as to make it look is almost unlimited : being good taste, way of colour. solid; and herein I feel great difficulty will be found in the future (certainly it has been found in the past, as Iam not aware of any successful treatment) to produce any house, except only such as have shops on the ground story, in iron, that shall have a solid pleasing appearance. Special Adaptability for those Houses which have Shops on the Lower Story or Stories.—Here, I believe, great scope exists for originality. I know of no building which satisfies me on this score, and I would, therefore, hint to those who may haye a client willing to be guided ; one who has not set his heart on compo columns, pilasters, string-courses, entablature, &e., to try the following method of working out the true use of this material:—Let the show in front. This wall is required by the Act of Parliament: then let it be shown. I do not say that it need rise fifty or more feet in naked ugliness, but I do advocate that if it is necessary to treat it with any other combined materials in the front wall, it should come to the front and not be hidden, as is at present almost universally the case. I would divide it in accordance with the heights of the floors of the building, orna- menting such wall with incised work or capitals, or patterned bricks, but taking care that as the work went further from the ground it should increase in boldness. let the required 4in. thickness next party yall be accomplished by the stauncheons. e should be boldly and well expressed, and the leading vertical lines of the shop front carried up to the parapet. the same manner ; divide it into in these panels with ornamental tiles or bricks, or with enamelled iron, which Willing and the De Lavenant Iron Company are com- peting to supply. Should iron determined on, take care that the decorations thereon haye some reference to the business party wall iron and Next, girder which carries the superstructere Treat the upper part in panels, fill panels be of the shop. Should the chance of change of occupation be too probable to permit of such treatment, then havea bright panel—such a one as may please a Londoner on a dull day— and you can scarcely err. Power of Introduction of Colour.—This the only limitation By the use of enamelling almost anything may be accomplished in the Whether enamel will stand exposure to the atmosphere of London and large towns is still uncertain, and must so re- main until it has been in use for many more years. Power of Patterned Shade——I remember having purchased a book nearly a quarter of a century ago which treated this subject, and was called a ‘‘New System of Architecture Founded on the Forms of Nature, and Deve- lopiag the Properties of Metals,” a sufficiently attractive title, and with boyish eagerness I read its contents. It was a patent process. The chief idea as regards external decoration was that the balcony and all projecting orna- ments being in iron, could therefore be open or in cast pattern, and so would throw a varied pattern in shadow on the wall. I fancy, at that time, I did think a good deal of the idea. Now I am certain it is not a method of treat- ment that can be used with good effect. As far as I have had chances of judging of the effect, the result has been destruction of bold treatment and good architectural design. Small Space Occupied by Walls.—Space in cities is very important, and by the use of iron no doubt a considerable saving may be effected. Disadvantages.—Rust. Difficulty of indivi- duality of design. Expense. Not capable of high artistic treatment. Contraction and expansion. Rust.—Herein lies the great difficulty, which at present prevents iron being considered as a fit material for architecture. How can that which may so readily rust away be held to be a proper vehicle to express to future ages
