of handling men as well as tools in the narrower and legitimate sense;
second, the nature of materials employed; and third, the general
principles of beauty. Under the first heading Mr. Marshall makes one
important suggestion, which is at variance with common practice among
architects. After pointing out the importance of studying design in the
solid, that is, constantly keeping in mind that the forms which are to
be designed have three dimensions, and that a geometrical projection,
such as a plan or elevation, only partially represents its appearance,
he advocates the more general use of perspective drawing in designing.
By this is not meant the making of pretty sketches after the design is
all determined, to mislead impressionable clients, but the serious study
of a design to determine its appearance from different points of view.
In fact his suggestion is that the usual order of proceeding shall be
reversed, and that the design shall be made in perspective and then
translated into accurate terms of such geometrical projections as are
needed to guide the practical workman in carrying out the work.

In treating of materials Mr. Marshall takes up separately the materials
of construction and the materials of design, meaning by the latter the
vocabulary in which the architect expresses his ideas, or the
accumulation of architectural forms making up the various historic
styles, so-called. He emphasizes the importance--in which point he
agrees with all the other writers above referred to--of a wide and
catholic knowledge of architectural history and a careful study of all
styles.

In summing up in the portion of the article devoted to the general
principles of beauty as applied to architecture he gives a clear and
concise statement of the reasons why beauty is in itself a necessary and
desirable element in architecture, and roughly analyzes the conditions