Architect's Pocket Book, 6th Edition

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Architect’s Pocket Book

This handy pocket book brings together a wealth of useful

information that architects need on a daily basis – on-site or in
the studio. It provides clear guidance and invaluable detail on
a wide range of issues, from planning policy through environ-
mental design to complying with Building Regulations, from
structural and services matters to materials characteristics and
detailing. This sixth edition includes the updating of regula-
tions, standards and sources across a wide range of topics,
with a particular focus on sustainability issues. Compact and
easy to use, the Architect’s Pocket Book has sold well over
100,000 copies to the nation’s architects, architecture stu-
dents, designers and construction professionals who do not
have an architectural background but need to understand the
basics, fast. This is the famous little blue book that you can’t
afford to be without.
Jonathan Hetreed and Ann Ross have drawn from dec-
ades of experience of running their own architects’ practice in
Bath to update and extend the scope of this latest edition of
Charlotte Baden-Powell’s Architect’s Pocket Book, reflecting
continuing changes in design, construction and practice, in-
corporating new contributions from consultants and suppliers
while retaining the compact scale and lively detail of the origi-
nal. www.hetreedross.com
Charlotte Baden-Powell (1936–2006) was trained at the
Architectural Association in London. She practised architecture
for over 40 years, during which time she identified the need
for this book, first published in 1997 and still incisively relevant
today.
Architect’s Pocket Book
Sixth Edition

Jonathan Hetreed and Ann Ross

From the original by
Charlotte Baden-Powell
Sixth edition published 2023
by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an Informa business
© 2023 Charlotte Baden-Powell, Jonathan Hetreed and Ann Ross
The right of Charlotte Baden-Powell, Jonathan Hetreed and Ann Ross to be
identified as authors of this work has been asserted in accordance with sections
77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from the
publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks, and are used only for identification and explanation without intent
to infringe.
First edition published by Architectural Press 1997
Fifth edition published by Routledge 2017
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Hetreed, Jonathan, author. | Ross, Ann, 1955- author. |
Baden-Powell, Charlotte, 1936-
Title: Architect’s pocket book / Jonathan Hetreed and Ann Ross.
Description: Sixth edition. | Abingdon, Oxon: Routledge, 2023. |
“From the original by Charlotte Baden-Powell.” |
Includes bibliographical references and index. |
Identifiers: LCCN 2022046377 (print) | LCCN 2022046378 (ebook) |
ISBN 9781032414119 (paperback) | ISBN 9781032414133 (hardback) |
ISBN 9781003357995 (ebook)
Subjects: LCSH: Architecture—Great Britain—Handbooks, manuals, etc.
Classification: LCC NA2590 .B3 2023 (print) | LCC NA2590 (ebook) |
DDC 720.941—dc23/eng/20221026
LC record available at https://lccn.loc.gov/2022046377
LC ebook record available at https://lccn.loc.gov/2022046378

ISBN: 9781032414133 (hbk)

ISBN: 9781032414119 (pbk)
ISBN: 9781003357995 (ebk)

DOI: 10.4324/9781003357995
Typeset in Frutiger
by codeMantra
Contents

Preface to the sixth edition ix

Acknowledgements to the sixth edition xi

1 General information 1
The architect’s role in the 21st century 1
Designing for a changing climate 1
Metric system 10
Metric units 11
Temperature 12
Imperial units 13
Conversion factors 14
Greek alphabet 17
Roman numerals 17
Geometric data 18
Paper sizes 23
CAD (Computer Aided Design) 24
BIM (Building Information Modelling) 24
Drawing conventions 28
3-Dimensional hand drawing 32
NBS 33
The classifications 33

2 Design guidance 35
Professional bodies for architects and technologists 35
Planning permissions 36
Other consents 44
Party Wall Awards 50
Building Regulations 53
Dampness in buildings 61
Construction Design and Management Regulations 63
Standards – in the construction industry 67
Cost estimating, contracts, fees, disputes and legal
involvement for architects 71
vi Contents

Sustainability, energy saving and green issues in

a time of climate emergency 80
Landscaping 92
Anthropometric data 108
Sanitary provision for public buildings 126

3 Structures 131
Eurocodes 132
Building loading 133
Bending moments and beam formulae 144
Fire resistance 145
Low carbon design 147
Substructure (Foundations) 149
Superstructure (above ground structure) 153
Masonry structures 154
Timber construction 163
Metal structural framing systems (SFS) 175
Steel frame 176
Concrete frame 182

4 Services 187
Drainage 188
Rainwater disposal 192
Sustainable Urban Drainage Systems (SUDS) 193
Water supply regulations 196
Water storage and use 202
U-values 207
R-values 211
K-values 211
Conservation of fuel and power 212
Heat losses 215
Central heating and hot water systems 219
Ventilation 224
Electrical installation 232
Lighting 237
Sound 260
Home technology integration 266
 Contents vii

5 Building elements 271

Enclosure 271
Stairs and balustrades 274
Fireplaces 277
Chimneys and flues 279
Doors 281
Windows 287
Pitched rooflights 294
Flat rooflights 296
Security fittings and ironmongery 299

6 Materials and components 302

Concrete 302
Brickwork and blockwork 304
Stonework 316
Damp-Proof Courses 317
Plaster and render 320
Metals 327
Insulation 330
Roofing and cladding 335
Glass 362
Glass blocks 371
Timber 373
Building boards 387
Wood-rotting fungi 401
Plastics 408
Wall and floor tiles 410
Nails and screws 411
Colour 413
Paints 415
Wallpaper coverage for walls and ceilings 419

Contacts/Sources 421
Bibliography/Sources 433
Index 435
Preface to the sixth edition
In the six years since the fifth edition, the art, science and
practice of architecture have continued to evolve alongside –
though less dramatically than – the growing challenges of life
on this planet. Accessibility of information – particularly techni-
cal information – the core of the APB’s usefulness – has grown
both technically and in distribution. The sheer volume of infor-
mation now available to all of us makes the positive selection
and accessible presentation of it even more useful.
We have aimed to enhance the relevance – especially the
sustainable relevance – of material presented, thinning some
of the denser sections so as to better reveal the useful core,
while retaining the broad spread – and we hope the intricate
­appeal – of Charlotte Baden-Powell’s original.
As ever, the scope of the book is intended to be most useful to
the bespoke and smaller scale of architecture where most of
our own experience has been gained.
Ourselves and our many contributors – both seasoned and
new – have revised, pruned and amplified individual sections,
updating technical references and environmental issues in par-
ticular. Readers’ comments are gratefully received and have
been taken into account in this edition.
Jonathan Hetreed and Ann Ross
Acknowledgements to the
sixth edition
We would like to thank the following for their help and exper-
tise in revising and updating sections of the book:
Bill Gething B
 ill Gething: Sustainability + Architecture
Professor of Architecture at UWE
bill@billgething.co.uk
Jonathan Reeves J onathan Reeves Vectorworks – CAD, BIM
notes and diagram
www.jonathanreeves-cad.co.uk
Jonathan Miles J onathan C Miles, Chartered Building
­Surveyors – Party Wall guidance
jonathan@miles.uk.net
Richard Dellar  ichard Dellar Consulting Ltd – Interim Certif-
R
icates, extension of time, dispute resolution
rdc-ltd@blueyonder.co.uk
Mike Andrews Energy Saving Experts Ltd – Conservation of
Fuel and Power, U-values, Lighting and Sus-
tainability www.energy-saving-experts.com
Liz Harrison CMLI, Liz Harrison Garden and Landscape
Design – Landscaping and Plant selection
www.lizharrisondesign.co.uk
Chris Gross Integral Engineering Design – Structures
www.integral-engineering.co.uk
Dr James Allen E &M West Consulting Engineers – SUDS
www.eandmwest.co.uk
 JP Consulting
B Water regulations
Group Limited www.bjp-uk.com
xii Acknowledgements to the sixth edition

Nigel Monaghan Lighting Design and Technology – Lighting

nmon@hotmail.co.uk
Jools Browning B
 rown Hen Solutions – Home Technology
Integration www.brownhensolutions.com
Paul Smith M
 atrix Acoustic Design Consultants – Sound
www.matrixacoustics.co.uk

We would also thank:

Fran Ford T aylor and Francis for her help in preparing
the new edition.
All those who by their constructive comments on the fifth edi-
tion have helped us to make the sixth edition worth doing.
Jonathan Hetreed
Ann Ross
1
General information

The architect’s role in the 21st century

Architecture reflects the ever increasing complexity of hu-

man life and humanity’s construction solutions. One aspect
of this has been the increasing specialisation of roles within
design teams – though for smaller-scale projects architects of-
ten cover most of these. Whether in multi-role working or in
coordination of a team of specialists, the dominant pressures
in good architecture continue to be the progress of climate
change and our adaptations to it: architects need above all to
be aware of and appropriately responsive to these impacts on
their clients and the world at large.

Designing for a changing climate

Architects and their clients are necessarily at the forefront of

society’s response to the two parallel challenges of climate
change: Mitigation (to reduce the greenhouse gas emissions
that drive change) and Adaptation (ensuring that our build-
ings (new and existing) are resilient to changing environmental
conditions). The former remains the primary focus of ambitious
statements of intent and general policy direction and has been
relatively well embedded in tightening regulations, albeit that
progress has not been as rapid as necessary. Progress to ad-
dress the latter is less encouraging. In the words of the 2021
Climate Change Committee report to Parliament: “Climate re-
silience remains a second order issue, if it is considered at all.
We continue to blunder into high-carbon choices.”
This imbalance in responses to the twin challenges has sig-
nificant implications for the industry. Whereas some design
DOI: 10.4324/9781003357995-1
2 Architect’s Pocket Book

strategies can address both the adaptation and mitigation

agendas, some strategies targeted at one agenda can make
addressing the other even more demanding. For example, our
focus on reducing winter energy use by increasing insulation
levels, improving air tightness and controlling winter ventila-
tion has already profoundly changed the heat balance of our
buildings and, correspondingly, the length of their heating
season. Whereas the primary comfort challenge has tradition-
ally been to keep buildings warm for the majority of the year,
designers must increasingly shift their focus towards keeping
them cool, whilst, of course, minimising the use of energy to
do so. This applies equally to new build and retrofitting the ex-
isting stock (the primary challenge of our response to climate
change).
The Met Office’s UK latest Climate Projections (UKCP18-see
https://www.metoffice.gov.uk/research/approach/collabora-
tion/ukcp) provide a wealth of information on how the UK
climate is likely to change. These are broadly in line with the
previous projections (UKCP09) but are based on four, rather
than three, scenarios for future greenhouse gas emissions.
This effectively extends the range of scenarios covered by
UKCP09 to include the possibility of successful mitigation of
emissions towards international targets. However, it should
be noted that most industry guidance and tools are still cur-
rently based on the high, medium and low emission scenarios
of UKCP09.
Projected changes can be summarised in general terms as:

• Warmer and wetter winters

• Hotter and drier summers
• An increase in extreme events
• Rising sea levels

In the UK, temperatures are projected to rise more in the south

than the north, and, whereas relatively little change is pro-
jected in total annual rainfall, the seasonal pattern is likely to
be different, with more in winter and less in summer. The fact
 General information 3

that these patterns appear to be evident in the weather pat-

terns of recent years acts as a stark reminder of the urgency to
address adaptation and resilience (see Met Office mapping on
the following pages).
In similarly general terms, impacts on the built environment
can be considered under three headings:

• Comfort and energy use – particularly in increasing the like-

lihood of overheating
• Construction – changes in the behaviour of materials, im-
pacts on detailing to deal with increased storminess and
foundation design on shrinkable soils
• Water – too little (the impact of changing rainfall patterns
on water supply) and too much (flooding from a variety of
sources)
Note that impacts will vary geographically, both in terms of
broad regional differences and the specific circumstances of
a particular location. Overheating, for example may be more
of an issue in warmer regions and particularly in urban areas
subject to the heat island effect, whereas flooding may be a
key design driver for sites close to rivers or beside the sea but
less of a concern inland on higher ground – although surface
water flooding can affect any location.
Given the uncertainty about the speed and ultimate extent of
climate change, it is important to note that there is no such
thing as a “climate proof” building. What is needed is an adap-
tation strategy to enable a building to accommodate an agreed
level of change and incorporating further measures to increase
its resilience if necessary through its life; ideally aligned with
maintenance and replacement cycles.
The Probabilistic Climate Profiles (ProCliP), available free of charge
from CIBSE (https://www.cibse.org/knowledge-research/
knowledge-portal/probabilistic-climate-profiles-the-­effective-
use-of-climate-projections-in-building-design-2014-pdf), pro-
vide a useful way of visualising the range of change over the
next 80 years and how the different emissions scenarios relate
4 Architect’s Pocket Book

to each other. They cover the following building relevant envi-

ronmental variables:

• Seasonal mean air temperature

• Daily minimum winter temperatures
• Daily maximum summer temperatures
• Seasonal daily precipitation

These are available for 14 UK locations and can help designers

and their clients select appropriate future climate design pa-
rameters for their project.
Summertime comfort is a key concern, as noted above, with
the growing realisation that overheating is very much a current
as well as a future issue, particularly for new homes. The Good
Homes Alliance guide: Overheating in New Homes provides
useful guidance and rules of thumb to inform early-stage design
(https://goodhomes.org.uk/overheating-in-new-homes). How-
ever, overheating in homes is now covered by a new Building
Regulation (Part O). This has two options: a “simplified method”
requiring measurements of glazed areas, ventilation openings,
floor areas, orientation, etc. and the use of a slightly modified
version of CIBSE’s TM59 (Design methodology for the assess-
ment of overheating risk in homes) requiring the use of full
dynamic simulation. This specifically takes climate change into
account, rather than relying on inherently out-of-date historic
weather averages, requiring the use of “future” weather data: a
Design Summer Year for an averagely warm year (DSY1) for the
2020s based on the 50th percentile high emissions scenario. In
addition, it recommends testing designs against more extreme
weather files: DSY2 (a year with a very intense single warm
spell (like 2003)) and DSY3 (a year with a prolonged period of
sustained warmth (like 1976) and later years. The GLA similarly
requires designs to be tested against these future weather files
and individual local authorities may suggest specific weather
files representative of potential conditions further into the cen-
tury. For example, the London Borough of Islington requires ev-
idence of a future adaptation strategy to cope with conditions
represented by a 2050 90th percentile medium emissions DSY.
 General information 5

The use of specific future weather files is a significant step

forward from a situation where there was no consensus on
what were “reasonable” parameters when designing for fu-
ture climate. It was up to the client and design team for each
individual project to try to agree what parameters to adopt.
Suitable future weather files are available from CIBSE for 14
locations (https://www.cibse.org/weatherdata) and (free of
charge) for 45 locations from the PROMETHEUS project lead by
the University of Exeter (http://emps.exeter.ac.uk/engineering/
research/cee/research/prometheus/downloads/).
Architects design buildings that respond to a set of contexts:
physical, cultural, social, economic and environmental. There is
no doubt that the profession faces huge challenges in meeting
and anticipating unprecedented changes in those contexts. How-
ever, with those challenges come corresponding opportunities
to enhance the environmental performance of new and existing
buildings and reduce their energy bills whilst continuing to exceed
their clients’ expectations both in terms of function and delight.
The UK’s climate has continued to warm, with 2020 the first year
to have temperature, rain and sunshine rankings all in the top 10.
The latest analysis of the UK climate, State of the UK Climate
2020 published in The Royal Meteorological Society’s Interna-
tional Journal of Climatology, has shown that climate change
is already being felt across the UK. All of the top-ten warmest
years for the UK in records back to 1884 have occurred since
2002, and, for central England, the 21st century so far has
been warmer than the previous three centuries.
The last 30-year period (1991–2020) has been 0.9°C warmer
than the preceding 30 years (1961–1990). The warming trend
is evident across all months and all countries in the UK.
The greatest warming compared to 1961–1990 has been
across the east Midlands and East Anglia where average an-
nual temperatures have increased by more than 1°C, with the
least warming around western coastal fringes and parts of
Northern Ireland and Scotland.
6 Architect’s Pocket Book

© Crown copyright, Met Office

© British Crown copyright, Met Office

 General information 7

As well as increased temperatures, the UK has been on aver-

age 6% wetter over the last 30 years (1991–2020) than the
preceding 30 years (1961–1990). Six of the ten wettest years
for the UK in a series from 1862 have occurred since 1998.
The year 2020 was the first in which the annual values for
rainfall, temperature and sunshine were all in the top ten in the
same year. It was the third warmest, fifth wettest and eighth
sunniest on record for the UK.
8 Architect’s Pocket Book

www.metoffice.gov.uk

© Crown copyright, Met Office

© British Crown copyright, Met Office.

 General information 9

Sea areas, inland areas and coastal stations

Used in weather forecasts by the Met Office

10 Architect’s Pocket Book

Metric system

The Système International d’Unités (SI), adopted in 1960,

is an international and coherent system devised to meet all
known needs for measurement in science and technology. It
consists of seven base units and the derived units formed as
products or quotients of various powers of the base units.
SI Base units SI Prefixes (showing the twelve most
common)
metre M length tera T × 1 000 000 000 000 1012
kilogram Kg mass giga G × 1 000 000 000 109
second S time mega M × 1 000 000 10 6
ampere A electric current kilo K × 1000 103
kelvin K thermodynamic hecto H × 100 102
temperature
candela Cd luminous deca Da × 10 101
intensity
mole mol amount of deci D ÷ 10 10 –1
substance
centi C ÷ 100 10 –2
milli M ÷ 1000 10 –3
micro μ ÷ 1 000 000 10 –6
nano N ÷ 1 000 000 000 10 –9
pico P ÷ 1 000 000 000 000 10 –12

SI Derived units
celsius ºC = K temperature
coulomb C = As electric charge
farad F = C/V electric capacitance
henry H = W/A inductance
hertz Hz = c/s frequency
joule J = Ws energy
lumen lm = cd.sr luminous flux
lux lx = lm/m2 illuminance
newton N = kg/m/s2 force
ohm Ω = V/A electric resistance
pascal Pa = N/m2 pressure
siemens S = 1/W electric conductance
tesla T = Wb/m2 magnetic flux density
volt V = W/A electric potential
watt W = J/s power
weber Wb = Vs magnetic flux
 General information 11

SI Supplementary units
radian rad = unit of plane angle equal to an angle at the
centre of a circle, the arc of which is equal in
length to the radius
steradian sr = unit of solid angle equal to an angle at the
centre of a sphere subtended by a part of the
surface equal in area to the square of the radius

Metric units

Length
kilometre km = 1000 metres
metre m = length of path travelled by light in vacuum during
a time interval of 1/299 792 458 of a second
decimetre dm = 110 metre
centimetre cm = 1/100 metre
millimetre mm = 1/1000 metre
micron μ = 1/100 000 metre

Area
hectare ha = 10,000 m2
area a = 100 m2

Volume
cubic metre m3 = m×m×m
cubic millimetre mm3 = 1/1 000 000 000 m3

Capacity
hectolitre hl = 100 litres
litre l = cubic decimetre
decilitre dl = 1/10 litre
centilitre cl = 1/100 litre
millilitre ml = 1/1000 litre

Mass or weight
tonne t = 1000 kilograms
kilogram kg = 1000 gram
gram g = 1/1000 kilogram
milligram mg = 1/1000 gram
12 Architect’s Pocket Book

Temperature

Kelvin (K) The kelvin belongs to a group of seven SI base units

used as a quantitative unit of thermodynamic temperature. It
is named after Lord William Thompson Kelvin, a Scottish phys-
icist (1824–1907). In 1848, he suggested a scale of temper-
ature, now called kelvin, in which the zero point is absolute
zero – the temperature at which the motions of particles cease
and their energies become zero. The units of kelvin and degree
Celsius temperature intervals are identical (thus 1ºC = 1 K), but
the point of absolute zero in Celsius is minus 273.15ºC, thus
0ºC = 273.15 K.
It is now customary for temperature and temperature intervals
to be described in degrees Celsius (ºC) although colour tem-
perature of light sources is measured in degrees Kelvin (K).
Celsius (ºC) The Celsius scale is a scale of temperature on
which water freezes at 0º and boils at 100º under standard
conditions. It was devised by Anders Celsius, a Swedish astron-
omer (1701–1744). He originally designated zero as the boiling
point of water and 100º as freezing point. The scale was later
reversed.
Centigrade A temperature scale using the freezing point of
water as zero and the boiling point of water as 100º. The scale
is now officially called Celsius (see above) to avoid confusion in
Europe where the word can mean a measure of plane angle
and equals 1/10 000 part of a right angle.
Fahrenheit (ºF) A scale of temperature still used in the US
which gives the freezing point of water as 32º and boiling
point as 212º. Named after Gabriel Daniel Fahrenheit, a Prus-
sian physicist (1686–1736) who invented the mercurial barom-
eter. The Fahrenheit scale is related to the Celsius scale by the
following relationships:

temperature ºF = (temperature ºC × 1.8) + 32

temperature ºC = (temperature ºF − 32) ÷ 1.8
 General information 13

Imperial units

Length
mile = 1760 yards
furlong = 220 yards
chain = 22 yards
yard (yd) = 3 feet
foot (ft) = 12 inches
inch (in) = 1/12 foot

Area
square mile = 640 acres
acre = 4840 square yards
rood = 1210 square yards
square yard (sq yd) = 9 square feet
square foot (sq ft) = 144 square inches
square inch (sq in) = 1/144 square foot

Volume
cubic yard = 27 cubic feet
cubic foot = 1/27 cubic yard
cubic inch = 1/1728 cubic foot

Weight
tonne = 2240 pounds
hundredweight (cwt) = 112 pounds
cental = 100 pounds
quarter = 28 pounds
stone = 14 pounds
pound (lb) = 16 ounces
ounce (oz) = 1/16 pound
dram (dr) = 1/16 ounce
grain (gr) = 1/7000 pound
pennyweight (dwt) = 24 grains
14 Architect’s Pocket Book

Conversion factors
Imperial to SI SI to Imperial
Length 1.609 Mile Kilometre km 0.6215
0.9144 Yard Metre m 1.094
0.3048 Foot Metre m 3.281
25.4 Inch Millimetre mm 0.0394

Area 2.590 Sq mile Sq kilometre km2 0.3861

0.4047 Acre Hectare ha 2.471
0.8361 Sq yard Sq metre m2 1.196
0.0929 Sq foot Sq metre m2 10.7639
645.16 Sq inch Sq millimetre mm2 0.00155

Volume 0.7646 Cubic yard Cubic metre m3 1.3079

0.02832 Cubic foot Cubic metre m3 35.31
16.39 Cubic inch Cubic millimetre mm3 0.000061

Capacity 28.32 Cubic foot Litre l 0.03531

0.01639 Cubic inch Litre l 61.0128
16.39 Cubic inch Millilitre ml 0.06102
4.546 UK gallon Litre l 0.21998
28.4125 Fluid ounce Millilitre ml 0.0352

Mass 1.016 Tonne Tonne t 0.98425

0.4536 Pound Kilogram kg 2.20458
453.6 Pound Gram g 0.002205
28.35 Ounce Gram g 0.03527

Density 16.0185 Pound/ft3 Kilogram/m3 kg/m3 0.06243

Force 4.4482 Pound force Newton N 0.22481

14.59 Pound f/foot Newton/metre N/m 0.06854

Pressure, stress
4.882 Pound/ft2 Kilogram/m2 kg/m2 0.2048
107.252 Tonne f/ft2 Kilonewton/m2 kN/m2 0.009324
47.8803 Pound f/ft2 Newton/m2 N/m2 0.02088
6894.76 Pound f/in2 Newton/m2 N/m2 0.000145

Energy 3.6 Kilowatt hour Megajoule MJ 0.27777

Heat 1055.0 Btu Joule J 0.000948

 General information 15

Heat flow
0.000293 Btu/h Kilowatt kW 3415.0

Heat transfer
5.67826 Btu/ft2h ºF Watt/m2 ºC W/m2 ºC 0.17611

Thermal conductivity
0.144228 Btu in/ft2h ºF Watt/m ºC W/m ºC 6.93347

Cost 0.0929 £/sq foot £/sq metre £/m2 10.7639

Approximate metric/Imperial equivalents

Length
1
1.5 mm = /16″
1
3 mm = / 8″
6 mm = ¼″
12.5 mm = ½″
19 mm = ¾″
25 mm = 1″
100 mm = 4″
600 mm = 2′0″
2000 mm = 6′8″
3000 mm = 10′0″

Temperature
ºC F
100 = 212 boiling
37 = 98.6 blood heat
21 = 70 living room
19 = 66 bedroom
10 = 50
0 = 32 freezing
−17.7 = 0

Heat transfer
1 Btu/ft2hºF = 10 watt/m2 ºC
16 Architect’s Pocket Book

Lighting
10 lux = 1 lumen/ft2

Area
1 hectare = 2½ acres
0.4 hectare = 1 acre

Weight
1 kilogram = 2¼ lbs
28 grams = 1 ounce
100 grams = 3½ ounces
454 grams = 1 lb

Capacity
1 litre = 1¾ pints
9 litres = 2 gallons

Pressure
1.5 kN/m2 = 30 lbs/ft2
2.5 kN/m2 = 50 lbs/ft2
3.5 kN/m2 = 70 bs/ft2
5.0 kN/m2 = 100 lbs/ft2

Glass thickness
2 mm = 18 oz
3 mm = 24 oz
4 mm = 32 oz
6 mm = ¼″
 General information 17

Greek alphabet
Capital Lower case Name English transliteration
A a alpha a
B  beta b
G g gamma g
D d delta d
E e epsilon e
Z z zeta z
H h eta e–
Q q theta th
I i iota i
K k kappa k
Λ l lambda l
M m mu m
N n nu n
X c xi x
O o omicron o
Π p pi p
R r rho r
Σ s (V)* sigma s
T t tau t
γ u upsilon u
Φ f phi ph
X χ chi ch, kh
ψ c psi ps
Ω w omega o–
*
ς at end of word

Roman numerals
I = one C = one hundred
V = five D = five hundred
X = ten M = one thousand
L = fifty
18 Architect’s Pocket Book

Geometric data

Measurement of plane and solid figures

π (pi) = 3.1416

Circumference
circle = π × diameter
cone = π × ½ major axis + ½ minor axis

Surface area
circle = π × radius2, or 0.7854 × diameter2
cone = ½ circumference × slant height + area of
base
cylinder = circumference × length + area of two ends
ellipse = Product of axes × 0.7854 (approx)
parabola = base ×2 / 3 height
parallelogram = base × height
pyramid = ½ sum of base perimeters × slant height ×
area of base
sector of circle = (π× degrees arc × radius2) ÷ 360
segment of circle = area of sector minus triangle
sphere = π × diameter2
triangle = ½ base × perpendicular height
triangle
(equilateral) = (Side)2 × 0.433

Volume
cone = area of base ×1/ 3 perpendicular height
cylinder = π × radius2 × height
pyramid = area of base ×1/ 3 height
sphere = diameter3 × 0.5236
wedge = area of base × ½ perpendicular height
 General information 19

Nine regular solids

Various types of polyhedra have exercised the minds of math-

ematicians throughout the ages, including Euclid, whose
great work The Elements was intended not so much as a
geometry text book but as an introduction to the five regu-
lar solids known to the ancient world. This work starts with
the equilateral triangle and ends with the construction of the
icosahedron.
The five so-called Platonic solids form the first and simplest
group of polyhedra. They have regular faces, all of which touch
one another, and the lines that make up any of the vertices
form a regular polygon.
Further variations of the regular polyhedra, unknown in an-
cient times, are the Kepler-Poinsot star polyhedra. In all four
cases the vertex figures spring from pentagrams. These pol-
yhedra can be formed from the regular dodecahedron and
icosahedron.
Kepler (1571–1630) found the two stellated dodecahedra, and
Poinsot (1777–1859) discovered the great dodecahedra and
the great icosahedron.
20 Architect’s Pocket Book

Five Platonic solids

The Kepler–Poinsot star polyhedra

 General information 21

Golden section

The golden section or golden mean is an irrational propor-

tion probably known to the ancient Greeks and thought to
be divine by Renaissance theorists. It is defined as a line cut
in such a way that the smaller section is to the greater as the
greater is to the whole, thus:

AC: CB = CB: AB

The ratio of the two lengths is called phi F.

5 +1
Φ= = 1.61803...
2

For approximate purposes,

it is 1 : 1.6 or 5 : 8.
F is the ratio of line
lengths in any pentagram.

The golden rectangle is one in which F is the ratio of one

side to the other.
This is implicated in the mathematics of growth as demon-
strated in the Fibonacci series 0, 1, 1, 2, 3, 5, 8, 13, 21, 34…
where each number is the sum of the preceding two. This ra-
tio of successive numbers increasingly approaches that of the
golden rectangle.
22 Architect’s Pocket Book

The Fibonacci spiral is a

curve that increases con-
stantly in size without
changing its basic shape. This
is demonstrated by using
squares increasing in the
Fibonacci scale, that is, 1,
2, 3, 5, from the diagram of which can be seen three nearly
golden rectangles.
Leonardo Fibonacci (c.1170–1230) was an Italian mathema-
tician who introduced Arabic numerals to Christian Europe.
He travelled extensively, particularly in North Africa where
he learnt the decimal system and the use of zero. He pub-
lished this system in Europe but mathematicians were slow to
adopt it.
Le Corbusier used the Fibonacci series in his system of propor-
tion ‘Le Modulor.’
To draw a golden rectangle:
Draw a square ABCD. Halve the
base line at E. From this point draw
a line to corner C and with radius
EC drop an arc to find point F.
The golden rectangle is AFGD as
also is BFGC.
The angle between the diagonal and
the long side of a golden rectangle is approximately 31.45º.
 General information 23

Paper sizes

International paper sizes

The basis of the international series is a rectangle having an area of

one square metre (A0), the sides of which are in the proportion of
1:√2. This is the proportion of the side and diagonal of any square.
All the A series are of this proportion, enabling them to be dou-
bled or halved and remain in the same proportion, which is useful
for photographic enlargement or reduction. A0 is twice A1 which
is twice A2 and so on. Where larger sizes than A0 are needed the
A is preceded by a figure, thus 4A is four times A0.
The B series are sizes intermediate between any two A sizes.
This series is used mostly for posters and charts. The C series
are envelopes to suit the A sizes.
DL or long sizes are obtained by dividing the A and B series
into three, four or eight equal parts parallel to the shorter side
so that the proportion of 1:√2 is not maintained. In practice,
the long sizes should be produced from the A series only.
Paper sizes- 'A' series

841
420 The ratio of
210 the sides
105 = 1:1.4142
52

A1 A0
74
594
297
148
1189

A3 A2

A5 A4

A7 A6

A8
24 Architect’s Pocket Book

CAD (Computer Aided Design)

Most drawings are now produced on computers enabling in-

stant transfer of information between architects, clients and
consultants. There are many computer aided design (CAD)
systems available and the most commonly used programs are
AutoCAD, Vectorworks, Archicad and MicroStation and de-
pending on the scale and complexity of projects. Drawings
should be constructed in layers organising the project into dif-
ferent building elements, locations or materials.
Most architectural CAD software can also be used for 3D
modelling, which can be useful in terms of design develop-
ment and communication of ideas. These functions are often
complemented by external applications such as SketchUp,
Cinema 4D, 3DS Studio Max and V-RAY, with further graphic
enhancement provided by using image editing software like
Photoshop.
Standard protocols apply for drawing methods and notation
and many manufacturers now supply technical information in
CAD format for downloading as DWG, DXF or PDF. 3D PDF is
also now a common format for sending and viewing 3D files
in a readable format that anyone can view and comment on
without the use of specialist software.

BIM (Building Information Modelling)

Building Information Modelling (BIM) is also now an essen-

tial part of the architectural design process, and construction
process. Design-led BIM involves constructing an accurate
3D computer model of the proposed building, which allows
elevations, sections and 3D visuals to be extracted from the
model rather than drawn, allowing design options to be ex-
plored more accurately. Most BIM software systems use para-
metric objects such as spaces, walls, slabs, roofs, columns, and
doors and windows to represent the building design. The user
 General information 25

can then customise the parametric tools to the required type,

along with inputting information such as materials, quantities,
costs or “u” values to be assigned allowing the user to interro-
gate different design options more efficiently.
Collaborative BIM workflows involve sharing the BIM model
with other consultants, clients or other stakeholders such as
facilities managers. The most common file format for BIM
model exchange is known as Industry Foundation Classes or
(IFC). IFC files can contain both embedded information as well
as the three-dimensional (3D) geometrical description of the
objects.
Model viewing software such as Solibri, Navisworks and Tekla
BIMsight, can be used to import IFC files from consultants,
automatically check for clashes, create schedules and commu-
nicate with others.
The UK government helped drive the adoption of BIM in the
construction industry by mandating that publicly funded pro-
jects should use BIM Level 2 workflows by 2016.
BIM Level 3 is envisaged as the next stage in development, and
the UK government has been aiming for implementation in the
mid-2020s. One of the main requirements for BIM Level 3 is
the availability (and implementation) of an international set of
standards. In other words, there should be a set of ISO stand-
ards that regulate BIM processes and procedures.
This will enable the interconnected digital design of different
elements in a built environment and will extend BIM into the
operation of assets over their lifetimes – where the lion’s share
of cost arises. It will support the accelerated delivery of smart
cities, services and grids.

Real-time rendering

Real-time rendering is a field of computer graphics focused

on analysing and producing images in real time. Over the
26 Architect’s Pocket Book

last few years, rapid developments in computer graphics

processing (GPU) combined with developments in software
which emerged from the gaming industry have started to
revolutionise the way architects develop designs. The benefit
of real-time rendering is that users can now interact with the
rendered worlds as they are developed. Users can change
time, weather and location, as well as adding animated
people, trees and props to create very convincing virtual
environments.
Software like Unreal Engine, Twinmotion, Enscape and Lumion
now makes it easy for designers to visualise their 3D and BIM
models in unique and compelling ways using affordable virtual
reality headsets and cloud-sharing capabilities.

Virtual reality, cloud computing and the

Metaverse

Virtual Worlds are 3D immersive environments accessed

through a computer. They are intended for use beyond pure
entertainment and are often powered by cloud computing.
The Metaverse is a futuristic vision of an interconnected virtual
world characterised by persistent virtual worlds that continue
to exist even when you’re not present. This includes some sort
of new digital economy, where users can create, buy and sell
goods and experience augmented reality that combines as-
pects of the digital and physical worlds. There is currently a lot
of interest in architects and designers being actively involved
in developing the virtual environments of the Metaverse. The
designers at the forefront of this digital revolution will have an
important role to play with creative input to make the most of
these new virtual worlds.
Many of the CAD/BIM drawings in this book have been drawn
using Vectorworks Architect.
 General information 27

www.jonathanreeves-cad.co.uk
www.real-time-rendering.com
28 Architect’s Pocket Book

Drawing conventions
Demolition

existing wall wall to be demolished

removal of part infilling opening

removal of area making good after forming opening

Steps, ramps, slopes and flow

1
2
3
4
5
6
7
8
9

stair or ramp
(direction of rise)
18
17
16

13
12
11
10

natural drainage dogleg staircase

(direction of fall) (arrow points up)

slope
(direction of fall)
2.150

2.350

flow ramp
(direction of watercourse) (arrow points up)
 General information 29

Landscape

contour - existing gate

contour - proposed fence

line of no cut / no fill hedge - existing

hedge - proposed

cut volume (in section)

tree - to be removed
fall of ground
(arrow point down)

bank tree - existing

(arrows point down)

cutting
(arrows point down) tree - proposed

grass

tree - protection
x
(of existing)

planting bed
30 Architect’s Pocket Book

Masonry

brickwork blockwork lightweight block stonework

brickwork stonework stonework

engineering brick
running bond running bond random rubble

Timber

softwood hardwood
rough sawn (any type) blocking (any type)
machined all round machined all round

Site-formed materials

plaster / render
concrete granular fill asphalt macadam
screed

mulch topsoil subsoil hard fill

Manufactured materials

membrane
sheet - large scale plywood glass sheet
board layer
sheet - small scale

blockboard veneered blockboard

insulation quilt insulation board
 General information 31

Doors Windows

hinged leaf F hinged leaf

side hung casement

hinged leaf (arrow points to hinge - reverse
(alternative) on european windows)

hinged leaf top hung casement

normally closed
(reverse if normally open)

bottom hung casement

hinged leaf
opening 180 o

horizontal pivot

hinged leaf
opening both ways
vertical pivot

vertical pivot
bi-parting reversible
pair of hinged leaves

horizontal hinge
projecting out (H window)
sliding leaf

horizontal sliding

revolving leaves

vertical sliding

sliding folding leaves

end-hung slide and tilt

sliding folding leaves

centre-hung tilt and turn

Source: BS EN ISO 19650

32 Architect’s Pocket Book

ISO 19650 is a series of international standards. It defines the

collaborative processes for the effective management of infor-
mation throughout the delivery and operational phase of as-
sets when building information modelling (BIM) is being used.
www.bsigroup.com

3-Dimensional hand drawing

Although most perspective images in architectural practice

are now produced using 3D modelling via CAD programmes,
or by free-hand sketching, the methodology for perspective
drawing may be useful on occasion and many methods can be
found online:
Perspective drawing – method of setting up
Another random document with
no related content on Scribd:
Peace and beauty and fortune attend her and all those who do adore
her!
Letizia had not been six months in the chorus before she attracted
the attention of John Richards by some imitations she gave at a
supper party at which, most unusually for him, he was present. If
John Richards’s eyes seemed exclusively occupied with the
personal appearance of the young women who adorned his theatre,
they were not on that account blind to talent. He asked who the
good-looking girl was, remembered now that he had engaged her
himself, was informed that she came of theatrical stock, and made a
note on his cuff that she was to be given an important understudy.
Letizia’s luck held. The lady who played the part she was
understudying was taken ill at Brighton one Saturday afternoon; and
that very night John Richards, who happened to pay one of his
periodical visits to the back of a box in order to be sure that his
company was not letting the show down by slackness, witnessed
Letizia’s performance. He turned to his companion, and asked what
he thought of her.
“I think she’s a marvel.”
“So do I,” said John Richards.
Yet he did not mention a word to Letizia about having seen her. In
fact, neither she nor any of the company knew that the Guv’nor was
in front, for these visits to his theatre were always paid in the strictest
secrecy. However, when in July the musical comedy for the autumn
production was ready for rehearsal, John Richards offered Letizia a
part with three songs that were likely to take London by storm, if the
actress knew how to sing them.
Nancy was acting in Leicester the week that Letizia’s telegram
arrived with its radiant news of the luck her birthday had brought.
She went into the church where twenty-one years ago she and Bram
were married, and there she lighted every candle she could find to
Our Lady of Victories. The pricket blazed with such a prodigality of
golden flames in the jewelled sunlight that the old woman who was
cleaning out the pews came up to find out if this extravagant stranger
was a genuine devotee.
 “It’s all right,” Nancy told her. “I was married in this church twenty-
one years ago, and I am thanking Heaven for happiness after much
sorrow.”
The old cleaner smiled so benignly that Nancy gave her half a
crown and begged for her prayers. Then she sought out the priest,
and asked him to say Masses for the soul of Letizia’s great-
grandmother and for herself a Mass of thanksgiving, and still another
Mass for the intention of the Sisters of the Holy Infancy. She gave
him, too, alms for the poor of his parish, and then going home to her
lodgings she knelt beside her bed and wept the tears of unutterable
thankfulness, those warm tears that flow like outpoured wine, so rich
are they with the sunshine of the glad heart.
Letizia’s first night was on the ninth of September. Her mother
decided to give up her autumn engagement, and trust to finding
something later on when the supremely important date was past.
She did not want to worry Letizia during her rehearsals; but her
experience might be of service, and she ought to be near at hand.
Nancy stayed at her old rooms in St. John’s Wood which she had
chosen originally to be near Letizia at school in the days when she
herself was a London actress. Perhaps if she could have mustered
up as much excitement about her own first night in London, she
might have been famous now herself instead of merely being
favourably known to a number of provincial audiences. Yet how
much more wonderful to be the mother of a famous daughter in
whose success she could be completely absorbed without feeling
the least guilt of egotism.
The piece that Autumn at the Vanity was only one of a long line of
musical comedies between which it would be idle to attempt to
distinguish; the part that Letizia played was only one of many similar
parts, and the songs she sang had been written over and over again
every year for many years; but Lettie Fuller herself was different.
She was incarnate London, and this was strange, because she had
neither a cockney accent nor, what was indeed unexpected on the
musical comedy stage, a mincing suburban accent. She did not open
big innocent eyes at the stalls and let her underclothes wink for her.
She neither pursed her lips nor simpered, nor waggled her head. But
she was beautiful with a shining naturalness and an infectious
vitality; and as Mrs. Pottage told her mother, she was as fresh as a
lilac in Spring.
The old lady—the very old lady, for she was now seventy-five—
was sitting with Nancy in the middle of the stalls. Nancy thought that
she would be less nervous there than in a box, and it would be
easier for Letizia not to be too much aware of her mother’s
anguished gaze.
“Well, I’m sorry she’s gone and had herself printed Lettie Fuller,”
said Mrs. Pottage. “Because I’d made up my mind that before I died I
would learn how to spell Letitsia, and I brought my best glasses on
purpose so as I could see the name printed as it should be. And then
she goes and calls herself Lettie, which a baby-in-arms could spell.
And Mrs. Bugbird and pore Aggie Wilkinson was both very anxious
to know just how it was spelt, so they’ll be disappointed. I only hope
Mrs. B. will reckonise her when she comes on, because she won’t
know who she is from Adam and Eve in the programme.”
“Is dear old Mrs. Bugbird here?” Nancy exclaimed.
“Of course she’s here—and pore Aggie Wilkinson, of course. Why,
they wouldn’t have missed it for nothing. It’s only to be hoped that
Mrs. B. don’t fall over in the excitement. She’s in the front row of the
upper circle, and if she did come down she’d about wipe out the front
six rows of the pit. Still, I daresay Aggie will hook one of her pore
crutches in the back of Mrs. B’s bodice which is bound to bust open
in the first five minutes. The last time she and me went to the theatre
she looked more like a tug-of-war than a respectable woman before
the piece was over.”
“The overture’s beginning,” Nancy whispered, for people were
beginning to turn round and stare at the apple-cheeked old lady who
was talking so volubly in the middle of the stalls.
“So any one can see by the airs that conductor fellow’s giving
himself. Why band-conductors should be so cocky I never could
fathom. It isn’t as if they did anything except wave that blessed bit of
wood like a kid with a hoopstick. It’s the same with bus-conductors.
They give theirselves as many airs as if they was driving the blessed
bus itself. That’s it, now start tapping,” she went on in a tone of
profound contempt. “Yes, if he dropped that silly bit of wood and got
down off that high chair and did an honest night’s work banging the
drum, perhaps he might give himself a few airs. Ah, now they’re off,
and depend upon it that conductor-fellow thinks, if he stopped
waving, the band would stop playing, and which of course is
radicalous.”
The overture finished. The first bars of the opening chorus were
being played. The curtain rose.
“There she is! There she is!” Mrs. Pottage gasped when from the
crowded stage she disentangled Letizia’s debonair self. “And don’t
she look a picture, the pretty jool!”
When the moment came for Letizia to sing her first song, her
mother shut her eyes against the theatre that was spinning before
them like a gigantic humming-top. It seemed an hour before she
heard Letizia’s voice ringing out clear and sweet and cool across the
footlights. She saw her win the hearts of the audience until they were
all turned into one great heart beating for her. She heard the surge of
her first encore, and then she might have fainted if Mrs. Pottage had
not dug her sharply in the ribs at that moment.
“Did you hear what that old buffer in front of us said?” Mrs. Pottage
whispered hoarsely.
“Something nice about Letizia?” she whispered back.
“He said he was damned if she wasn’t the best girl John Richards
had found for years. And how I didn’t get up and kiss the blessed top
of his bald head I’m bothered if I know.”
The curtain fell on the first act, and the loudest applause was
always for Letizia.
“Oh, she’s knocked ’em,” Mrs. Pottage declared. “She’s absolutely
knocked ’em. But she’s lovely! And, oh, dear, God bless us both, but
how she did remind me of her pore father once or twice.”
The old lady fumbled for Nancy’s hand and squeezed it hard.
 “Well, I don’t mind saying she’s made me feel like a girl again,”
Mrs. Pottage went on after a moment or two of silence. “Every
sweetheart I ever had come into my mind while she was singing that
song. You know! It was like riding on the top of a bus in fine weather
when they’ve just watered the streets and the may’s out in flower
and you say to yourself there’s no place like dear old London after all
and begin to nod and dream as you go jogging along, thinking of old
faces and old fancies and the fun you’ve had years ago.”
The curtain rose on the second act, and with every line she said
and with every note she sang Lettie Fuller became nearer and
dearer to her audience that night.
Once, after a sally had been taken up by the house in roars of
laughter, Mrs. Pottage exclaimed to Nancy:
“Hark! did you hear that? That was Mrs. Bugbird’s laugh above the
lot. Oh, I’d reckonise that laugh if I was in my coffin. You mark my
words, she’ll be whooping in a moment. That’s always the way it gets
her. But pore Aggie’ll pat her back if she whoops too hard.”
In spite of the encores—and Letizia always won by far the loudest
and most persistent of them—the curtain fell at last on another
thundering Vanity success.
“Bravo, bravo, my beauty!” Mrs. Pottage stood up to shout when
Letizia took her call. Lots of other people were standing up and
shouting, so her enthusiasm was not so very conspicuous. Nancy
felt too weak with emotion to stand up herself, and sank back in a
pale trance of joyful relief.
“There’s Mrs. B.!” Mrs. Pottage suddenly exclaimed. “And if she
claps much louder, she’ll clap herself out of that new dress of hers
for good and all. And when she gets out in the Strand she’ll be run in
to Bow Street if she isn’t careful. She’s the most excitable woman I
ever did know.”
At last the audience consented to let the performers retire, and a
few minutes later Nancy held Letizia in her arms.
“Darling mother, was I good?”
 “Darling child, you were perfect.”
“And where’s Mrs. Pottage?” Letizia asked. “Did she think I was
good?”
“The dear old soul’s waiting to be invited into your dressing-room.”
“Mrs. Pottage! Mrs. Pottage!” Letizia cried, hugging the old lady.
“You’re coming back to supper with me, aren’t you?”
“Oh, no, duckie. I’ve got Mrs. Bugbird and pore Aggie Wilkinson
waiting to go back to Greenwich. We’re all going to take a cab to
London Bridge.”
“Oh, but they must both come to supper too. They must really. I’ll
get a car to drive you home. You must all come. I won’t be long
dressing.”
And, if it was possible for Nancy to feel any happier that night, it
was when her little daughter showed that success had not made her
heedless of old simple friends.
The very next day Nancy went round to see her agent.
“You don’t mean to tell me you want to get another engagement at
once, Miss O’Finn? Why, I should have thought you would have
wanted to stay and enjoy your daughter’s success. It was wonderful.
What notices, eh? By Jove, it’s refreshing nowadays to hear of
anybody clicking like that.”
“Oh, no, I’ve rested quite long enough,” Nancy said. “I want to be
off on tour again as soon as possible.”
The agent looked at his book.
“Well, I’m awfully sorry, Miss O’Finn, but I don’t believe there’s
anything just at the moment that would suit you.” He paused. “Unless
—but, no, of course, you don’t want to play that line of parts yet.”
“What line?”
“Why, Charles Hamilton is losing Miss Wolsey who has been
playing Mrs. Malaprop, Mrs. Hardcastle, etc., with him for the last
fifteen years.”
 “You mean the old women?” Nancy asked.
“Quite—er—quite.”
“I would like to be with Charles Hamilton,” she said pensively. “And
at forty it’s time to strike out in a new line of parts.”
“Well, he’s playing at Croydon this week. If you would consider
these parts, why don’t you go and see him? It’s a pleasant company
to be in. Forty-two weeks, year in year out, and of course he
occasionally has a season in London. Nothing but Shakespeare and
Old Comedy.”
Nancy did not hesitate. Now that her daughter was safely
launched it was time for her to be settling down. She went back to
her rooms and wrote a long letter to Mother Catherine about Letizia’s
triumph. Then she wrote to Charles Hamilton for an interview. She
went to Croydon, interviewed him, and a fortnight later she was
playing with him at Sheffield—Mrs. Candour in The School for
Scandal on Monday, the Nurse in Romeo and Juliet on Tuesday,
Mrs. Malaprop in The Rivals on Wednesday, Mistress Quickly in The
Merry Wives on Thursday, nothing on Friday when Twelfth Night was
performed, but on Saturday Mrs. Hardcastle in She Stoops to
Conquer at the matinée and at night once more the Nurse in Romeo
and Juliet.
Nancy no longer worried over her increasing tendency to
increasing portliness, and she never regretted joining Charles
Hamilton’s company, which now that Mrs. Hunter-Hart had retired
represented the last stronghold of the legitimate drama in Great
Britain. So long as Charles Hamilton went out on tour she
determined to tour with him. The habit of saving so much out of her
salary every week was not given up because Letizia was secure;
indeed she saved more each week, because now that she had taken
to dowagers she could afford to ignore the changes of fashion which
had made dressing a problem so long as she was competing for
parts with younger women.
And then Letizia Fuller after enchanting London for a year
abandoned the stage for ever in order to marry the young Earl of
Darlington.
The following letter to her mother explained her reasons:

125 Gordon Mansions,

Gordon Square,
W. C.
Sept. 15.
My darling darling Mother,
In a few days you will read in the papers that I am
engaged to be married to Lord Darlington. I haven’t said
anything to you about this before, because I wanted to
make up my own mind entirely for myself. He proposed to
me first about two months ago, and though I loved him I
wondered if I loved him enough to give up the stage. You
don’t know how much I was enjoying being loved by the
public. That’s what I wondered if I could give up, not the
ambition to become a great actress. But I’ve come to the
definite conclusion that I’m not really so very ambitious at
all. I think that simple happiness is the best, and my
success at the Vanity was really a simple happiness. It
was the being surrounded by hundreds of jolly people,
every one of whom I liked and who liked me. But I don’t
think I should ever want to be a wonderful Lady Macbeth,
and thrill people by the actress part of me. I’m not really
acting at the Vanity. I’m just being myself and enjoying it.
Of course, people might say that if marriage with an earl
is simple happiness then simple happiness is merely
social ambition. But I assure you that unless I loved
Darlington I would not dream of marrying him. He’s not
very rich, and apart from the pleasure of being a countess
it’s no more than marrying any good-looking, simple,
country squire. The only problems for me were first to find
out if I loved him as much as I loved the public and being
loved by them, and secondly to know if he would agree
that all the children should be Catholics. Well, I do know
 that I love him more than I love the public and I do know
that I want his love more than I want the love of the public.
And he agreed at once about the children.
Thanks to you, darling, I’m not likely to seem particularly
out of place in my new part. Perhaps it’s only now that I
realise what you’ve done for me all these years. You shall
always be proud of me. I do realise too what dear Mother
Catherine and the nuns have done for me. I’m writing to
her by this post to try to express a little of my gratitude.
Darling mother, I’m so happy and I love you so dearly.
Your own
Letizia.

Three days later, the engagement of the beloved Lettie Fuller gave
the press one of those romantic stories so dear and so rightly dear to
it. Two days after the announcement Nancy received from Caleb
Fuller a letter addressed to her care of Miss Lettie Fuller, at the
Vanity Theatre.

The Towers,
Lower Bilkton,
Cheshire.
Sept. 18, 1911.
My dear Nancy,
I’ve been intending to write to you for a long time now to
invite you and Lettie to come and stay with us. But this
new house which I have just built has taken longer to get
ready than I expected. It’s situated in very pretty country
about fifteen miles from Brigham, and my architect has
made a really beautiful miniature castle which everybody
admires. I presented dear old Lebanon House to the
Borough of Brigham to be used as an up-to-date lunatic
asylum which was badly required in the district.
Trixie and I do so very much hope that you and Lettie
will come and stay with us and spend a quiet time before
 the wedding takes place, of which by the way we have
read. You haven’t met Trixie yet, and it’s always such a
disappointment to her. But I’m sure you’ll understand what
a mess we’ve been in with building. I want you to meet
Norman too. Do you know, he’s fifteen. Doesn’t time fly?
He’s at Rossall, and I’ve made up my mind to give him the
chance his father never had and let him go to the
University.
Are you interested in gardening? Trixie is a great
gardener and spends all her time with her roses. Now, I
think I’ve given you most of our news, and we are waiting
anxiously to hear you are going to give us the pleasure of
your visit. Poor Aunt Achsah and Aunt Thyrza are both
dead. I would have sent you a notice of the funerals if I
had known your address.
With every good wish for your happiness and for the
happiness of dear little Lettie,
Your affectionate brother-in-law,
Caleb Fuller.

To this Nancy sent back a postcard:

Hell is paved with good intentions, Caleb!

It is tempting to prolong this with an account of Letizia’s wedding

and to relate what Mrs. Pottage wore at it and what she said when
Lord Darlington kissed her good-bye, before he and Letizia set out
on their honeymoon. It is tempting to dwell on the wit and the beauty
of Letizia Darlington and still more tempting to enlarge upon her
happiness. But she and her husband belong too much to the present
to be written about and this tale of over eighty years is already too
long. Yet, one more letter must be printed.
 C/o Charles Hamilton’s
Shakespeare-Sheridan Company.
Princess’s Theatre,
Bristol.
Dec. 3, 1913.
Darling Letizia,
I’m so overjoyed you’re glad to have a second little boy,
though I hope you’ll have a little girl soon. You are a dear
child to want me to give up acting and settle down with
you at Vipont for the rest of my life. But you know, I am still
comparatively young, only 44, and from every point of
view I think it is better that I should go on acting. I am very
happy with Mr. Hamilton, and the life on tour suits me.
Moreover, it amuses me to feel that one day I may have
quite a nice little nest egg for this new little boy who will be
a younger son, and I know that Vipont requires all the
money you’ve got to keep it up properly. God bless you,
my darling, and let me go on acting quietly in this very
pleasant old-fashioned company which is more like a
family party than anything else.
My dear love to all of you.
Your loving
Mother.

And up and down the length of England, in and out of Wales, over
to Ireland, and across the border into Scotland Nancy O’Finn still
wandered.

THE END
 Transcriber’s Note (continued)

This book contains many intentional misspellings of words and names.

They appear in the dialogue and correspondence of certain characters
and are used by the author as a literary device. These misspellings
have been left as they appear in the original publication.

Similarly, exclamations and dialogue in Italian have also been left

unchanged.

For the rest of the text, archaic spelling and inconsistencies in

capitalisation or hyphenation have been left unchanged except where
noted below. Other minor typographical errors have been corrected
without note.

Page 19 – “lovebirds” changed to “love-birds” (a cageful of love-

birds)

Page 57 – “sunsplashed” changed to “sun-splashed” (on a sun-

splashed piazza)

Page 149 – “parlour-maid” changed to “parlourmaid” (an elderly

parlourmaid)

There are a small number of footnotes in chapters I and III which

provide an English translation of some Italian word or phrases that
appear in the text. Each footnote is placed immediately below the
paragraph in which it is referenced.

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