wherever possible. Roman buildings display an
unswerving adoption of certain universal principles of
design – in this sense the architecture of the period was
not unlike modernism in the twentieth century in its
stylistic consistency from Scotland to Asia Minor. To draw
such buildings reveals more than architectural truths – the
sketches tell us something about the Roman world view.
Ancient sites are often busy places in which to draw. It
may be best to plan a sketching visit to coincide with
when tourists are less in evidence – as in the early
morning – or to find a quiet corner away from the crowds.
Often Roman or Greek sites are quite extensive and there
are usually stone slabs on which to sit. Since sunlight was
used to articulate many classical buildings, it is advisable
to plan a visit to get the most out of the effects of light
and shadow. A diagonal sun (rather than one directly
overhead) is preferable and, since conditions are not
always ideal, the student is advised to apply effects to the
sketch that bring the monumental qualities out.
Buildings and towns display the social structures of
their age. Attention to the plan is important if the social
hierarchies present are to be understood. Hence,
sketches can have a combination of view, plan and
perhaps also section and elevation. This combination can
help in unravelling complex relationships on the ground,
particularly when the archaeological evidence is
incomplete. Architecture is a social art where the plan
provides the clue to power and order in society.
As with many subjects discussed elsewhere in this
book, freehand drawing is not just an observational tool
but one that allows questions to be posed and answered.
The modification of the landscape by early man was an
exercise in design as much as it was the result of
developments in agriculture or social organisation. By
design one means a wide definition of human intervention
involving the construction of field walls or defensive
enclosures, of dwellings, the evolution of primitive
technologies, the making of furniture or domestic
implements, the design of fighting tools and ceremonial
or ritual jewellery. In fact, the root of modern design19.6
A sketch by Basil Spence made in
1962 showing how the proportions for
his design for the British Embassy in
Rome were influenced by the adjacent
Porta Pia designed over 400 years
earlier by Michelangelo. Drawings
rather than words are the best means
of exploring such ideas. (RCAHMS)168 Understanding architecture through drawing