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Editors G. E. Pearse \par }\pard \s15\ql \li1440\ri0\sl-412\slmult0\nowidctlpar\faauto\rin0\lin1440\itap0 {\charscalex82\insrsid13262102 Rex Martlenssen \par }\pard \s15\ql \li0\ri0\nowidctlpar\faauto\rin0\lin0\itap0 {\insrsid13262102 \sect }\sectd \sbknone\linex0\sectdefaultcl\sftnbj \pard\plain \s15\ql \li0\ri0\sl-72\slmult0\nowidctlpar\faauto\rin0\lin0\itap0 \fs24\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\insrsid13262102 \par }\pard \s15\ql \li0\ri0\nowidctlpar\faauto\rin0\lin0\itap0 {\insrsid13262102 \sect }\sectd \sbknone\linex0\sectdefaultcl\sftnbj \pard\plain \s15\qj \li4\ri4\sb14\sl-240\slmult0 \nowidctlpar\phmrg\posx2203\posy13612\absh2208\absw7382\dxfrtext120\dfrmtxtx120\dfrmtxty120\faauto\rin4\lin4\itap0 \fs24\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\charscalex82\insrsid13262102 The editors will be glad to consider any mss. photographs or sketches submitted to them. but they should be accompanied by stamped addressed envelopes for return If unsuitable. In case of loss or Injury the y cannot hold themselves responsible for mss. photographs or sketches. and publication }{\f1\fs19\insrsid13262102 In }{\charscalex82\insrsid13262102 the Journal can \par }\pard \s15\ql \li6067\ri0\sl-144\slmult0\nowidctlpar\phmrg\posx2203\posy13612\absh2208\absw7382\dxfrtext120\dfrmtxtx120\dfrmtxty120\faauto\rin0\lin6067\itap0 {\f1\fs26\charscalex71\insrsid13262102 \bullet \par }\pard \s15\ql \li9\ri0\sl-96\slmult0\nowidctlpar\phmrg\posx2203\posy13612\absh2208\absw7382\dxfrtext120\dfrmtxtx120\dfrmtxty120\faauto\rin0\lin9\itap0 {\charscalex82\insrsid13262102 alone be taken as evidence of acceptance. The name and address of the owner \par }\pard \s15\qj \li4\ri4\sb14\sl-240\slmult0\nowidctlpar\phmrg\posx2203\posy13612\absh2208\absw7382\dxfrtext120\dfrmtxtx120\dfrmtxty120\faauto\rin4\lin4\itap0 {\charscalex82\insrsid13262102 should be placed on the back of all pictures and mss. The Institute does not hold Itself responsible for the opinions expressed by contributors. \par }\pard \s15\ql \li19\ri0\sl-475\slmult0\nowidctlpar\phmrg\posx2203\posy13612\absh2208\absw7382\dxfrtext120\dfrmtxtx120\dfrmtxty120\faauto\rin0\lin19\itap0 {\charscalex82\insrsid13262102 Annual subscription per post }{ \f1\fs23\charscalex142\insrsid13262102 f }{\charscalex82\insrsid13262102 I - I - 0 direct from the Secretary. \par }\pard \s15\ql \li0\ri0\nowidctlpar\faauto\rin0\lin0\itap0 {\f1\insrsid13262102 \sect }\sectd \sbknone\linex0\sectdefaultcl\sftnbj \pard\plain \s15\ql \li2231\ri14\sl-264\slmult0\nowidctlpar\faauto\rin14\lin2231\itap0 \fs24\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\charscalex82\insrsid13262102 The Journal of the Transvaal. Natal and Orange Free State Provincial Institutes of South African Architects and the Chapter of South African Quantity Surveyors. \par }\pard \s15\ql \li2231\ri5\sb297\sl-264\slmult0\nowidctlpar\faauto\rin5\lin2231\itap0 {\charscalex82\insrsid13262102 202. K e I v In H }{\fs17\charscalex121\insrsid13262102 0 }{\charscalex82\insrsid13262102 use. 7 5 Mar s h a II S t r e e t. J }{ \fs17\charscalex121\insrsid13262102 0 }{\charscalex82\insrsid13262102 h ann e s bur g. Tel e p h }{\fs17\charscalex121\insrsid13262102 0 }{\charscalex82\insrsid13262102 n e 33-1936. \par }\pard \s15\ql \fi-1896\li4147\ri5\sb412\sl-139\slmult0\nowidctlpar\faauto\rin5\lin4147\itap0 {\charscalex82\insrsid13262102 Volume Twenty One Number Eleven. November Nineteen Hundred and Thirty Seven }{\f1\fs16\charscalex200\insrsid13262102 1 \par }\pard \s15\ql \li0\ri0\sb100\sl-1\slmult0\nowidctlpar\faauto\rin0\lin0\itap0 {\insrsid13262102 \par }\pard \s15\ql \li0\ri0\nowidctlpar\faauto\rin0\lin0\itap0 {\insrsid13262102 \par \sect }\sectd \pgwsxn11907\pghsxn16840\marglsxn398\margrsxn767\margtsxn1334\linex0\sectdefaultcl\sftnbj {\pntext\tab}\pard\plain \s15\ql \li0\ri0\sl-1\slmult0\nowidctlpar{\*\pn \pnlvlbody\ilvl0\ls2\pnrnot0\pndec\pnindent360\pnsp120 } \faauto\ls2\rin0\lin0\itap0 \fs24\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\insrsid13262102 \par }\pard \s15\ql \li1036\ri0\sl-81\slmult0\nowidctlpar{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin1036\itap0\pararsid12811107 {\f1\fs5\insrsid13262102 .,}{\insrsid13262102 \par }\pard \s15\ql \li0\ri0\nowidctlpar\posx0\posy1891\absh11289\absw902{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs15\insrsid13262102 \par }\pard \s15\ql \li0\ri0\sl-216\slmult0\nowidctlpar\posx1243\posy34\absh220\absw1732{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs20\charscalex106\insrsid13262102 FACADE. \par }\pard \s15\ql \li9\ri0\sl-273\slmult0\nowidctlpar\posx3667\posy0\absh297\absw398{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin9\itap0 {\f2\charscalex89\insrsid13262102 B Y \par }\pard \s15\ql \li0\ri0\sl-216\slmult0\nowidctlpar\posx4545\posy38\absh220\absw676{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs20\insrsid13262102 REX \par }\pard \s15\ql \li0\ri0\sl-216\slmult0\nowidctlpar\posx5697\posy38\absh225\absw2668{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs20\charscalex106\insrsid13262102 MARTIENSSEN \par }\pard \s15\ql \li0\ri0\sl-206\slmult0\nowidctlpar\tx393\tx4084\posx1253\posy845\absh532\absw7147{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs18\insrsid13262102 \tab " It is not good to have too much liberty. \tab It is not good to have all one wants." \par }\pard \s15\ql \li6604\ri0\sl-326\slmult0\nowidctlpar\posx1253\posy845\absh532\absw7147{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin6604\itap0 {\fs18\insrsid13262102 Pascal. \par }\pard \s15\qj \fi403\li4\ri0\sb9\sl-201\slmult0\nowidctlpar\posx1248\posy1728\absh6460\absw7152{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin4\itap0 {\fs20\charscalex106\insrsid13262102 A geometric analysis of the palace architecture of Renaissance Italy-of the facade ordinance in particular-must carry us very much farther back than the period of the early palaces themselves. Whether we consider those of Rome, Florence or Venice, whether we turn to the mature works of Sangallo or Sanmicheli, to the provincial masterpieces of Rossellino, or to the fretted airy palazzi of the Grande Canal, we must first seek out the root formulae}{\fs20\charscalex106\insrsid1051263 - }{ \fs20\charscalex106\insrsid13262102 \-the initial rules of the classic arrangement. We must establish the funda\-mentals which existed before the substance of Italian architecture was split between east and west-the common stock of Rome and Byzantium. \par In Italy the Flavian Amphitheatre establishes the note of geometric repetition-ruthless, monotonous, powerful in its cumulative effect. The facade with its rigid and ordered sequence of architectural elements, sub\- divided into units strictly disciplined according to a pre-arranged notation, sets the motive, flexible only within small limits,}{\fs20\charscalex106\insrsid1051263 \'93}{\fs20\charscalex106\insrsid13262102 classic," im personal, and in the great tradition of man's patternizing instincts. \par The facade is anti-plastic, it is without modelling or irregularity save for the outward ripple of its architectural minutiae which never do more than mark the vertical and horizontal c omponents of the geometric arrangement. The cohesion and stability of the structure lies in the inward nature of the disrupting forces. There is not the plastic unity of the homogeneous structure (such as the Roman vault) there is not the poised resistanc e, the outward propping up of the gothic shell. The forces lie soberly, rhythmically carried from stone to stone, separate, yet controlled in a finite stability. \par The lesson of the amphitheatre at Rome (no less in Pola and Verona, in Nimes or El Djem) lies in the formulation of an architectural alphabet, a series of standards, against which the stature of man can be measured. The repetition of recognizable architectural units in established contexts introduces the conception of scale. The amorphous has no s cale because the eye cannot space out and measure its limiting surfaces. The apprehension of space whether in landscape or architecture is dependent upon the disposition of measurable accents within its planes. \par }\pard \s15\ql \li0\ri0\sl-206\slmult0\nowidctlpar\posx1253\posy9235\absh211\absw1430{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs18\insrsid13262102 PALAZZO \par }\pard \s15\ql \li0\ri0\sl-206\slmult0\nowidctlpar\posx3235\posy9235\absh220\absw1776{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs18\insrsid13262102 SACCHETTI \par }\pard \s15\ql \li0\ri0\sl-216\slmult0\nowidctlpar\tx1\tx1013\tx1473\posx5472\posy9254\absh249\absw2049{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs18\insrsid13262102 \tab ROM E \tab \bullet \tab Photo : \par }\pard \s15\ql \li0\ri0\sl-206\slmult0\nowidctlpar\posx7857\posy9274\absh211\absw537{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs18\insrsid13262102 Alinari \par }\pard \s15\ql \li0\ri0\sl-206\slmult0\nowidctlpar\posx1229\posy9830\absh211\absw3777{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs18\insrsid13262102 The architect's own house. \par }\pard \s15\ql \li0\ri0\sl-206\slmult0\nowidctlpar\posx5467\posy9845\absh235\absw1670{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs18\insrsid13262102 An austere, \par }\pard \s15\qj \fi129\li0\ri4\sl-321\slmult0\nowidctlpar\posx7229\posy9859\absh537\absw1147{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin4\lin0\itap0 {\fs18\insrsid13262102 dispas\-Elements \par }\pard \s15\ql \li0\ri0\sl-206\slmult0\nowidctlpar\posx1248\posy10138\absh244\absw5764{\*\pn \pnlvlcont\ilvl0\ls0\pnrnot0\pndec }\faauto\rin0\lin0\itap0 {\fs18\insrsid13262102 sionai'e exercise in