The Brochure Series of Architectural Illustration, Vol. 01, No. 03, March 1895: The Cloister at Monreale, Near Palermo, Sicily

In Short

This volume acts as a bridge between the historical study of European monuments and the burgeoning professional culture of American architects in the 1890s. Through detailed analysis of the Benedictine cloister at Monreale and the basilica of S. Vitale in Ravenna, the text explores how diverse cultural influences—Greek, Roman, Saracenic, and Norman—converged to create unique architectural legacies. Interwoven with these historical assessments are practical updates on club competitions, library acquisitions, and the educational trends defining the architectural profession in cities like Boston, Philadelphia, and Cleveland at the close of the nineteenth century.

The Story

The narrative begins with a study of Sicily, a crossroads of conquest. The authors depict an island shaped by the overlapping influences of Greeks, Carthaginians, Romans, Byzantines, Moors, and Normans. This historical layering resulted in an architectural vernacular that is neither purely one style nor another, but a complex hybrid. Palermo serves as the primary case study for this Norman-Romanesque synthesis, characterized by an "exuberance of detail" and Oriental decorative motives. The focal point of this study is the cloister at Monreale, a Benedictine site erected by King William II. The text describes the cloister’s pointed arcades and elegant, paired Corinthian columns, while noting the technical curiosity that these delicate columns appear to have been inserted after the heavier arches were already constructed.

As the focus shifts to the Byzantine tradition, the narrative moves from Sicily to the churches of Ravenna and Constantinople. The authors trace the development of Byzantine art from the reign of Constantine to the height of Justinian’s power. They describe the transition from Roman construction to a style dominated by mosaic, where heavy cornices "withered into long thin lines" to accommodate the veil of colored glass and gold. The basilica of S. Vitale in Ravenna provides the essential example of this evolution, showing how a design inspired by the grandeur of Sta. Sophia was adapted to the Western capital. The authors detail the specific beauty of the S. Vitale capitals, noting the "flat treatment of the interlace" and the symbolic designs that bridge Pagan and Christian motifs.

The latter half of the volume transitions from historical analysis to the contemporary state of American architecture. The authors examine the shift away from "pyrotechnic" and picturesque design toward a more conservative, scholarly focus on geometric precision and detail. This section serves as a chronicle of professional development: the rise of architectural clubs, the establishment of libraries through bequests like that of Arthur Rotch, and the rigor of competitive design challenges. The narrative concludes by documenting the growth of regional associations in cities like Cleveland and Baltimore, emphasizing the importance of academic study for both the veteran architect and the aspiring student. It culminates in a formal call for entries for an Episcopal church design competition, signaling the era’s commitment to fostering a new generation of disciplined, classically trained designers.

How It Unfolds

The layered history of Sicily The text opens by mapping Sicily’s strategic position, explaining how successive conquests by various nations created a "mixed style" of building that blends diverse cultural elements into a singular, complex architectural identity.

The architecture of Monreale Focusing on the cathedral and cloister at Monreale, the authors describe the specific construction of the Benedictine convent and highlight the "charming" fountain and the unique, dainty columns that define the cloister’s Romanesque character.

The Byzantine evolution The narrative shifts to the transition from Roman to Byzantine art, detailing how the cultural shift from Rome to Constantinople introduced a love for Oriental color, detail, and surface decoration over structural projection.

The splendor of S. Vitale The authors conduct an in-depth examination of the church of S. Vitale, illustrating its octagonal plan and the intricate, mosaic-laden capitals that characterize the height of the Byzantine period in Ravenna.

The modern architectural landscape The focus turns to the professionalization of American architecture, celebrating the rise of exhibitions, formal catalogues, and the importance of academic rigor in the training of young draughtsmen.

The growth of regional associations The volume concludes by surveying the expansion of architectural clubs in cities like Cleveland and Baltimore, ending with a detailed set of requirements for a national competition to design a large city church.

The People

King William II emerges as the primary historical figure, the patron of the cathedral and cloister at Monreale, whose endowment allowed for the creation of one of the Mediterranean's most enduring monuments. Emperor Justinian stands as the central figure of the Byzantine narrative, the ruler whose ambition and admiration for the dome of Sta. Sophia drove the construction of S. Vitale.

In the contemporary chapters, figures like the late Arthur Rotch are highlighted for their role in institutionalizing the field through the endowment of libraries. Among the practitioners, winners of prestigious awards like F. M. Mann and A. H. Wright are mentioned to showcase the high standard of work being produced by students. The members of the Cleveland Architectural Club, including Benj. S. Hubbell and Herbert B. Briggs, represent the grassroots effort to organize the profession. Meanwhile, the "P. D's"—a small, informal offshoot of the Boston Architectural Club—provide a humanizing look at the "poor draughtsmen" who balanced rigorous, high-stakes competition with a sense of bohemian camaraderie. These individuals collectively define a profession in transition, moving from the solitary work of the past to a more formal, academic, and community-oriented future.

In Its Own Voice

The island of Sicily, being in form nearly an equilateral triangle, with one side facing towards Italy, another towards Greece, and the third, towards Africa, was a tempting field for conquest to the various nations surrounding it.

The authors begin their historical survey by establishing the geographical and political context that explains the island's unique architectural heritage.

The hybrid character of this work will be perfectly evident at a glance; it plainly belongs to none of the styles of the North, but nevertheless has a distinct character and unmistakable charm.

This observation follows the visual examination of the capitals at Monreale, emphasizing the difficulty of categorizing such a uniquely blended architectural style.

The desire for the picturesque, which has been until recently the ruling motive with American architects, has had its day, and trained and conservative designers have gradually taken the place of the pyrotechnic draughtsman of the past.

This passage highlights the shift in late 19th-century American architectural philosophy toward a more disciplined and geometric approach to design.

What It's Really About

The book is an inquiry into the nature of architectural legacy, questioning how civilizations transmit their values through stone and surface decoration. It argues that architecture is an inherently syncretic process, where the "new masters" of any age must inevitably build upon the foundations left by those who came before. Beyond the historical analysis, the book addresses the tension between the "picturesque" and the "academic," advocating for a professional standard that prizes historical literacy, technical precision, and geometric rigor. It posits that the true health of a culture's architecture is found in its clubs and institutions, which provide the collaborative environment necessary to transition from mere building to the creation of enduring art.

Why Read It Today

Readers with an interest in the history of architecture or the development of professional design culture will find this volume particularly rewarding. It offers a rare, ground-level perspective on how late 19th-century architects viewed their own history and their place within a modernizing profession. The descriptions of the cloisters at Monreale and the mosaics of Ravenna are precise, capturing a sense of place that remains evocative today.

However, the reader should be prepared for the dense, academic tone characteristic of 1890s professional journals. The text assumes a certain level of familiarity with architectural terminology and classical history, and its focus on the "correctness" of design reflects the conservative, Beaux-Arts-influenced attitudes of the time. The transition from historical essays to club notes and competition rules can feel abrupt, providing a patchwork experience rather than a singular narrative. Yet, for those interested in the evolution of American professional identity, there is a genuine charm in the snapshots of "rathskeller" suppers and the earnest debates over club membership. It serves as a time capsule—a window into a moment when the study of ancient Byzantine capitals and the organization of a local draughtsmen’s club were seen as two sides of the same essential pursuit of professional excellence.