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 the photograph are well calculated to emphasize this quality in the design, and we can readily find justification here for the estimate of Fergusson quoted above.

XIII. and XIV.

Principal doorway to the basilica at Altamura, Italy, and detail of the same.

XV.

Door of Madonna di Loreto, Trani, Italy.

XVI.

Entrance to the church of the rosary, Terlizzi, Italy.

[Illustration:  XI.  The Principal Doorway to the Cathedral at Conversano, Italy.]

#Advice to Young Architects.#

Prof.  Aitchison’s Royal Academy Lectures upon Architecture should be read by all students who can obtain access to them, and this is not really very difficult to accomplish, as they are always reported at length in the English architectural periodicals, and then usually reprinted without credit by one or more of the American papers.  The latest one, reported in the Builder of Feb. 16, is that delivered on Feb. 4, under the general title “The Advancement of Architecture.”  It deals in a common-sense fashion with the aesthetics of architecture, and contains many valuable suggestions upon the study and practice of architecture as an art.  The three following quotations are well worth attentive reading:—­