Design and Tradition A short account of the principles and historic development of architecture and the applied arts — Reading Companion

Proportion as a Guiding Principle

Fenn's approach to design is fundamentally numerical. He repeatedly anchors his advice in ratios and measurements, treating proportion as the backbone of visual harmony. For arcades, he specifies that the height of an arch opening should be 'about twice the width,' and supporting piers should be no less than a third or more than two-thirds the aperture's width. When a subsidiary order is introduced, the smaller column's height is fixed at two-thirds the principal column's height, then subdivided into nine parts. These precise formulas are not presented as rigid rules but as tested conventions derived from antique examples. Fenn's language is that of a craftsman who trusts geometry: he speaks of 'universal alignment' in entablatures and warns against 'an appearance of undue weight' when pedestals project too far. The reader is invited to see design as a system of relationships, where every element's size and position affect the whole.

The Pilaster: Between Column and Wall

Fenn devotes considerable attention to the pilaster, a feature he defines as 'columns in bas-relief.' His discussion reveals a sensitivity to the visual consequences of architectural choices. The projection of a pilaster, he notes, can vary from one-half to one-sixth its face width, but the choice is partly determined by the order employed. A Doric capital, composed of moulded profiles, is unaffected by projection, while an Ionic capital with volutes at 45-degree angles requires at least half a diameter of projection to keep the volute on the return face complete. The Corinthian capital demands the same. Fenn also addresses the tapering of pilasters: when associated with columns, they must taper to preserve alignment at the top; when used alone, they often remain straight. At building corners, where both faces are visible, pilasters 'should be straight'—an invariable rule. These observations show Fenn's eye for the interplay of structure and ornament, and his insistence that details must serve the overall composition.

Arcades and the Logic of Support

Fenn's treatment of arcades exemplifies his method of presenting multiple solutions while grounding them in proportional rules. An arcade may be composed of arches supported on pilasters flanking columns, with the backs of piers treated by repeating pilasters on the opposite wall. Ceiling treatments vary: flat and panelled with beams aligned to pilasters, or vaulted with archivolts springing from impost lines. Cross vaulting eliminates the need for an entablature entirely. Fenn also addresses the placement of piers at angles, which must be wider than intermediate ones by a half, a third, or a fourth. His language is precise but not dry; he describes the visual effect of each choice, such as the 'appearance of mutilation' that can result from insufficient projection in Ionic or Corinthian capitals. The arcade section demonstrates Fenn's commitment to giving the designer a toolkit of options, each with its own logic and aesthetic consequence.

Diction and the Voice of the Instructor

Fenn's prose is marked by a direct, instructional tone that avoids florid description. He uses imperatives sparingly, preferring declarative statements of fact: 'The pilaster is usually tapered'; 'The details of capitals and bases are the same as those of the columns.' When he offers advice, it is couched in terms of consequence: 'this treatment... is not to be recommended'; 'an appearance of mutilation might easily be produced.' His vocabulary is technical but accessible, with terms like 'archivolts,' 'entablature,' and 'impost' defined through context. The author's presence is felt in phrases like 'it may be as well to deal here' and 'as already suggested,' which create a sense of guided progression. Fenn's diction reflects his purpose: to demystify the principles of design for the student who, like his younger self, might otherwise waste time on 'mis-directed energy.' The book's authority comes not from assertion but from the clarity of its explanations and the evident experience behind them.

Fenn's manual is best read with a pencil and paper at hand, as its value lies in the application of its proportional rules to one's own sketches. The author assumes no prior knowledge but expects careful attention to the numerical relationships he provides. Readers interested in the history of architectural education will find in Fenn's preface a revealing snapshot of early twentieth-century attitudes toward art training and public taste. For the practicing designer, the book offers a concise reference for classical conventions, though Fenn himself would likely urge that these principles be adapted, not copied.

Sometimes I think about how a book like that one on design languages — the quiet way it explains proportion as a kind of rhythm — stays with you long after you close it. I felt something similar reading The Alhambra being a brief record of the Arabian conquest of the Peninsula with a particular account of the Mohammedan architecture and decoration — A Reader’s Guide. It’s not just ornament; it’s a whole way of seeing built into stone.