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Journal of the Royal Victorian Institute of Architects

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Beneath was the coat of arms of an ancestor of one of the parties to the suit, which decided the issue in his favor. But for someone with only an elementary knowledge of the subject, a Hatchment is full of meaning. Similar evidence of hereditary dignity was conspicuously displayed in the castles and mansions of the nobility outside and inside.

The palaces of the Kings and Queens and the Houses of Parliament were also decorated with royal arms and emblems. And the worst form of the Renaissance character in Heraldry came in the Restoration era. The shields of arms of various great personages of the 3rd century appear on the shoulders of the arches of the nave aisles.

Those still remaining in the east windows of Bristol Cathedral are early and good examples of the arms of the great barons, Berkeley, Clare, and Warren. Then there is the fine example of the rampant lion on the shield of the headless figure in Rheims Cathedral, -dated ca. Unfortunately, in the so-called days of the Reformation, the Royal Commission of Henry VIII, with great vandalism, destroyed many of the armorial insignia in the churches bearing the arms of the Roman Catholic families.

THE great change in architectural taste and the Gothic Revival, which took place in the early part of the nineteenth century, revived Heraldry. The Royal Arms on the Throne and the arms and badges which form a large part of the decoration, both inside and outside, are also very satisfactory examples of the modern use of such forms. Alfred Gilbert, R.A., in the shields forming part of the richly wrought monument to His Royal Highness the late Duke of Clarence, are excellent examples of armorial treatment.

The figures of the kings and queens of England in the tall stained glass windows look like saints in their antique robes. Naturally, we find numerous examples of the royal arms displayed on government buildings. The Kilda road is a finely carved representation of the whole performance (see illustration, page 175, in previous volume of "Proceedings"), except that the trestle, etc., for the arms on.

There is a well-executed treatment of the Royal Arms in encaustic tiles on the floor of the lobby in the Federal Houses of Parliament, Spring Street, with very minor staining. The finest example of the carving of the Royal Arms with the Australian and Melbourne Arms is certainly displayed in effect.

Individual shields are used effectively in Younghusband and Row's building, King-street, but the inconspicuous effect of the shields in the Exchange, Collins-street, is rather puzzling. A beautifully modeled coat of arms of London (Plate I., Illustration 4) appears on the side entrance from Collins-street to the London Tavern, but "Domine, dirige nos" (Lord, direct us!) is a rather strange legend for a hotel to bear. The facade of Patrick's Hall, Bourke-street, and the colored crests of the Foresters' Hall, Latrobe-street, and the Independent Order of Odd-followers' Lodge, Victoria_street, are truly hauntingly and beautifully done.

As regards my contribution in general, in addition to being responsible for the descriptive matter in the works already mentioned, I am also responsible for the notes and notes. Eve; pictures of Parliament from the collection of Sir Benjamin Stone, MP, and also other illustrations. Its pride and importance have their proper place, being placed on visible parts of the building, such as above its doors, and permitted in places where its legend can be clearly read, such as on painted windows, projections of the ceiling, etc.

Also the degree of finish with which a work is executed should be quietly subordinated to a clear understanding of the actual desired effect, together with due attention to harmony of lines, correct proportions and correct balance. It may, of course, still be urged: what real artistic service to Australian architecture can the obsolete jargon and grotesque monstrosities of the old Heralds possibly render in this eminently practical age. The teachings are equally valuable not only to the antiquarian, the architect, the artist or the artist of art, but also to the man of letters, the artist in literature.

MODERN Heraldry is thus the result of thoughtful study of the best medieval Heraldry and research into its principles. Where permanent habitation was known, every opportunity of decoration afforded the building was worth embracing. He further thought that an architect should make a study of the subject in order to prevent the absurdities that sometimes appear in our buildings.

Arthur Charles Fox-Davies' "The Art of Heraldry" stated that procedures were likely to be adopted to prevent such people from using arms to which they had no right.

CAI VED OOX XVI CENTURY

Dobbs, accepting the vote, said that while there were designers who would prepare a coat of arms for a Guinea, there would always be a demand for their services. 34; newly enriched," so the coat of arms usually designed for him was unlikely to be challenged, provided of course he did not appropriate anyone else's "arms. his choice.

DAVID CHRISTOPHER ASKEW, C.E

The late DAVID CHRISTOPHER ASKEW, G.T. 67 stayed at home, where he could write in the study in his garden at Balwyn, amidst beautiful surroundings, without being disturbed by telephone or caller. As an arbitrator he had great experience, his services were in great demand and his awards were always accepted as if he were never biased. His work at the Institute was done with his usual diligence, and at twenty-seven meetings of the Council and Literary and Social Committee last year, he failed not once to register an attendance. He was appreciated by the profession, and as far as his works were concerned, he was regarded by his contractors and workmen as an ideal architect.

He would direct a young man's studies, encourage him in his endeavours, and was never afraid to give his professional brethren some of the "wrinkles." he had taken it in his experience. He believed that a young man, before entering upon the profession of architecture, was much the better for a little practical knowledge of the workshop, and he put the belief into practice in the case of his youngest son. OPEN to all members and apprentices who serve or have served their articles with an architect, being members of the Royal Institute of Victorian Architects, and who will be under 30 years of age on the 3rd day of June, 1906.

Being one storey, with lobby, office, cellar for storage, caretaker's rooms (3) and sanitary facilities. All in black and white, no shading, except windows and cross-sections, which can be hatched in solid or blacked out. Perspective, in which the nearest point of building must not exceed vertically f inch scale, to be in black and white.

Site level a —b Fall of 15 feet a b to c Building to face point c The Silver Medal of the Institute will be awarded to the design judged first on merit. D'Ebro, for the design judged second, and an honorable mention certificate for the one judged third. To enable a competitor to obtain the first prize in the silver medal competition, he must succeed in obtaining not less than 66% in each of the following:.

The maximum number of marks obtainable under each of the above heads will be as follows.

MEASURED DRAWINGS

The Silver Medal of the Institute will be awarded to the design judged first on merit. The bronze medal of the Institute will be awarded to the drawings that will be evaluated first in order. Smart, Vice President, for the second-placed design and an Honorable Mention Certificate for the third-placed design.

The judging of all drawings in this competition will be based on the number of points achieved. To enable a contestant to win a first prize in a Bronze Medal competition, he must manage to achieve at least 66% in each of the following:-. a) Original sketches in field books.

INTERIOR DESIGN

Entrants must make a legal statement that all work on the drawings and taking of measurements for measured drawings is the work of their own hands and that it was done during the current year, and such statement must be submitted with the drawings and enclosed in the sealed envelope with the name and address of the author. The drawings must be submitted without motto or nom de plume and must be accompanied by a sealed envelope bearing the name and address of the author, and delivered to the chambers of the Institute, 178 Collins St., Melbourne, addressed to the Hon. . The drawings remain the property of the participants and must be removed by them at their own expense when requested to do so.

All drawings must be mounted on stretchers with plain colored paper margins and must be on half double elephant or imperial size drawing paper unless otherwise specified. The prizes, with the exception of the medals, will be awarded in professional books or instruments selected by the successful competitors and approved by the Council. The Institute reserves the right to retain photographic or other reproductions of all prize drawings.

The Council has placed four ladders at the disposal of participants in the Bronze Medal subject, but accepts no liability in respect of the use of such ladders.

1906-1907 Persistent Link

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