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Network+ 2005
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In Depth
Tamara Dean
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To Andrew, for everything
Contents

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxii
Photo Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiii
State of the Information Technology (IT) Field . . . . . . . . . . . . . . . . . . xxv

Chapter 1 An Introduction to Networking . . . . . . . . . . . . . 1

Why Use Networks? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Types of Networks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Peer-to-peer Networks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Client/Server Networks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
LANs, MANs, and WANs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Elements Common to Client/Server Networks . . . . . . . . . . . . . . . . . . . . 9
How Networks Are Used . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
File and Print Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Communications Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Mail Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Internet Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Management Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Becoming a Networking Professional . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Mastering the Technical Challenges . . . . . . . . . . . . . . . . . . . . . . . . 17
Developing Your “Soft Skills” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Pursuing Certification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Finding a Job in Networking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Joining Professional Associations . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
 Contents v

Chapter 2 Networking Standards and the OSI Model . . . 31

Networking Standards Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . 32
ANSI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
EIA and TIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
IEEE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
ISO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
ITU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
ISOC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
IANA and ICANN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
The OSI Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Application Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Presentation Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Session Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Transport Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Network Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Data Link Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Physical Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Applying the OSI Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Communication Between Two Systems . . . . . . . . . . . . . . . . . . . . . . 48
Frame Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
IEEE Networking Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Chapter 3 Transmission Basics and Networking Media . . 63

Transmission Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Analog and Digital Signaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Data Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Transmission Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Relationships Between Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Throughput and Bandwidth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Baseband and Broadband . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Transmission Flaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
vi Contents

Common Media Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Throughput . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Cost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Size and Scalability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Connectors and Media Converters . . . . . . . . . . . . . . . . . . . . . . . . . 81
Noise Immunity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Coaxial Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Twisted-Pair Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
STP (Shielded Twisted-Pair) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
UTP (Unshielded Twisted-Pair) . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Comparing STP and UTP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
10BASE-T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
100BASE-T (Fast Ethernet) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
1000BASE-T (Gigabit Ethernet over Twisted-pair) . . . . . . . . . . . . 93
1000BASE-CX (Gigabit Ethernet over Twinax) . . . . . . . . . . . . . . . 93
Fiber-Optic Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
SMF (Single-Mode Fiber) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
MMF (Multimode Fiber) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
10BASE-FL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
100BASE-FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
1000BASE-LX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
1000BASE-SX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
10-Gigabit Fiber-Optic Standards . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Cable Design and Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Installing Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Wireless Transmission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
The Wireless Spectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Characteristics of Wireless Transmission . . . . . . . . . . . . . . . . . . . . 110
Infrared Transmission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Wireless LAN (WLAN) Architecture . . . . . . . . . . . . . . . . . . . . . . 115
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
 Contents vii

Chapter 4 Network Protocols . . . . . . . . . . . . . . . . . . . . 135

Introduction to Protocols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
TCP/IP (Transmission Control Protocol/Internet Protocol) . . . . . . . . 137
The TCP/IP Core Protocols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Addressing in TCP/IP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Assigning IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Sockets and Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Addressing in IPv6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Host Names and DNS (Domain Name System) . . . . . . . . . . . . . . 161
Some TCP/IP Application Layer Protocols . . . . . . . . . . . . . . . . . . 169
IPX/SPX (Internetwork Packet Exchange/Sequenced Packet
Exchange) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
The IPX and SPX Protocols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Addressing in IPX/SPX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
NetBIOS and NetBEUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Addressing in NetBEUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
WINS (Windows Internet Naming Service) . . . . . . . . . . . . . . . . . 177
AppleTalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Binding Protocols on a Windows XP Workstation . . . . . . . . . . . . . . . 179
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Chapter 5 Networking Hardware. . . . . . . . . . . . . . . . . . 193

NICs (Network Interface Cards) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Types of NICs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Installing NICs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Repeaters and Hubs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Bridges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Installing a Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Cut-Through Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Store and Forward Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Using Switches to Create VLANs . . . . . . . . . . . . . . . . . . . . . . . . . 225
Higher-Layer Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
viii Contents

Routers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Router Features and Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Routing Protocols: RIP, OSPF, EIGRP, and BGP . . . . . . . . . . . . . 231
Brouters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Gateways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Chapter 6 Topologies and Access Methods . . . . . . . . . 245

Simple Physical Topologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Ring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Hybrid Physical Topologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Star-Wired Ring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Star-Wired Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Backbone Networks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Serial Backbone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Distributed Backbone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Collapsed Backbone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Parallel Backbone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Logical Topologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Circuit Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Message Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Packet Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
CSMA/CD (Carrier Sense Multiple Access with Collision
Detection) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Switched Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Ethernet Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
PoE (Power over Ethernet) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Token Ring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
FDDI (Fiber Distributed Data Interface) . . . . . . . . . . . . . . . . . . . . . . 267
ATM (Asynchronous Transfer Mode) . . . . . . . . . . . . . . . . . . . . . . . . . 268
 Contents ix

Wireless Networks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

802.11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Bluetooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Infrared (IR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Chapter 7 WANs, Internet Access, and Remote

Connectivity . . . . . . . . . . . . . . . . . . . . . . . . 291
WAN Essentials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
WAN Topologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Ring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Mesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Tiered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
PSTN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
X.25 and Frame Relay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
ISDN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
T-Carriers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Types of T-Carriers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
T-Carrier Connectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
DSL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Types of DSL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
DSL Connectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Broadband Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
SONET (Synchronous Optical Network) . . . . . . . . . . . . . . . . . . . . . . 318
Wireless WANs and Internet Access . . . . . . . . . . . . . . . . . . . . . . . . . . 321
IEEE 802.11 Internet Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
IEEE 802.16 (WiMAX) Internet Access . . . . . . . . . . . . . . . . . . . 323
Satellite Internet Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
WAN Technologies Compared . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
x Contents

Remote Connectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Dial-up Networking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Remote Access Servers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Remote Access Protocols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Terminal Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Web Portals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
VPNs (Virtual Private Networks) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Chapter 8 Network Operating Systems and Windows

Server 2003-Based Networking . . . . . . . . . . 355
Introduction to Network Operating Systems . . . . . . . . . . . . . . . . . . . . 356
Selecting a Network Operating System . . . . . . . . . . . . . . . . . . . . . 357
Network Operating Systems and Servers . . . . . . . . . . . . . . . . . . . . 358
Network Operating System Services and Features . . . . . . . . . . . . . . . . 359
Client Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Identifying and Organizing Network Elements . . . . . . . . . . . . . . . 365
Sharing Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Sharing Printers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Managing System Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Introduction to Windows Server 2003 . . . . . . . . . . . . . . . . . . . . . . . . 375
Windows Server 2003 Hardware Requirements . . . . . . . . . . . . . . . . . . 377
A Closer Look at Windows Server 2003 . . . . . . . . . . . . . . . . . . . . . . . 378
Windows Server 2003 Memory Model . . . . . . . . . . . . . . . . . . . . . 378
Windows Server 2003 File Systems . . . . . . . . . . . . . . . . . . . . . . . . 380
MMC (Microsoft Management Console) . . . . . . . . . . . . . . . . . . . 382
Active Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Planning for Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Installing and Configuring a Windows Server 2003 Server . . . . . . . . . 395
The Installation Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Initial Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Establishing Users and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
 Contents xi

Internetworking with Other Network Operating Systems . . . . . . . . . . 402

Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Chapter 9 Networking with UNIX-Type of Operating

Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
A Brief History of UNIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Varieties of UNIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Proprietary UNIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Open Source UNIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Three Flavors of UNIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
UNIX Server Hardware Requirements . . . . . . . . . . . . . . . . . . . . . . . . 420
Solaris Hardware Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Linux Hardware Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Mac OS X Server Hardware Requirements . . . . . . . . . . . . . . . . . . 423
A Closer Look at UNIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
UNIX Multiprocessing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
The UNIX Memory Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
The UNIX Kernel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
UNIX System File and Directory Structure . . . . . . . . . . . . . . . . . . 425
UNIX System File Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
A UNIX Command Sampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Installing Linux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Planning a Linux Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Installing and Configuring Fedora Core . . . . . . . . . . . . . . . . . . . . 433
Administering a UNIX-Type of Server . . . . . . . . . . . . . . . . . . . . . . . . 434
Establishing Groups and Users on Linux and Solaris . . . . . . . . . . . 434
Establishing Groups and Users on Mac OS X Server . . . . . . . . . . . 435
Changing File Access Permissions . . . . . . . . . . . . . . . . . . . . . . . . . 438
Connecting to UNIX-Type of Servers . . . . . . . . . . . . . . . . . . . . . . 440
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
xii Contents

Chapter 10 NetWare-Based Networking . . . . . . . . . . . . . 451

Introduction to NetWare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
NetWare Server Hardware Requirements . . . . . . . . . . . . . . . . . . . . . . 455
A Closer Look at the NetWare 6.5 Operating System . . . . . . . . . . . . . 456
NetWare Integrated Kernel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
NetWare File System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
eDirectory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Planning for Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Installing and Configuring a NetWare 6.5 Server . . . . . . . . . . . . . . . . 466
The Installation Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Establishing Users and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Client Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Traditional Client Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Native File Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Browser-Based Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Internetworking with Other Operating Systems . . . . . . . . . . . . . . . . . 474
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Chapter 11 In-Depth TCP/IP Networking . . . . . . . . . . . . 481

Designing TCP/IP-Based Networks . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Subnetting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
CIDR (Classless Inter-Domain Routing) . . . . . . . . . . . . . . . . . . . 491
Internet Gateways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
NAT (Network Address Translation) . . . . . . . . . . . . . . . . . . . . . . . 494
ICS (Internet Connection Sharing) . . . . . . . . . . . . . . . . . . . . . . . . 496
Intranets and Extranets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
TCP/IP Mail Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
SMTP (Simple Mail Transfer Protocol) . . . . . . . . . . . . . . . . . . . . . 498
MIME (Multipurpose Internet Mail Extensions) . . . . . . . . . . . . . 499
POP (Post Office Protocol) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
IMAP (Internet Message Access Protocol) . . . . . . . . . . . . . . . . . . 500
Additional TCP/IP Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501
Netstat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Nbtstat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
 Contents xiii

Nslookup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Dig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Whois . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Traceroute (Tracert) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Ipconfig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Winipcfg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Ifconfig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
VoIP (Voice Over IP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Chapter 12 Troubleshooting Network Problems . . . . . . . 523

Troubleshooting Methodology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Identify the Symptoms and Potential Causes . . . . . . . . . . . . . . . . . 525
Identify the Affected Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Establish What Has Changed . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Select the Most Probable Cause . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Implement an Action Plan and Solution Including Potential Effects . .
537
Test the Result . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Identify the Results and Effects of the Solution . . . . . . . . . . . . . . . 542
Document the Solution and Process . . . . . . . . . . . . . . . . . . . . . . . 542
Help to Prevent Future Problems . . . . . . . . . . . . . . . . . . . . . . . . . 545
Troubleshooting Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Crossover Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Tone Generator and Tone Locator . . . . . . . . . . . . . . . . . . . . . . . . . 546
Multimeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Cable Continuity Testers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Cable Performance Testers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Network Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Protocol Analyzers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Wireless Network Testers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
xiv Contents

Chapter 13 Ensuring Integrity and Availability . . . . . . . . 565

What Are Integrity and Availability? . . . . . . . . . . . . . . . . . . . . . . . . . . 566
Viruses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Types of Viruses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569
Virus Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
Virus Protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Virus Hoaxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Fault Tolerance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
Topology and Connectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Servers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Data Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Backup Media and Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Backup Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Disaster Recovery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Disaster Recovery Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Disaster Recovery Contingencies . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Chapter 14 Network Security . . . . . . . . . . . . . . . . . . . . . 615

Security Audits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Security Risks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Risks Associated with People . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
Risks Associated with Transmission and Hardware . . . . . . . . . . . . 619
Risks Associated with Protocols and Software . . . . . . . . . . . . . . . . 620
Risks Associated with Internet Access . . . . . . . . . . . . . . . . . . . . . . 621
An Effective Security Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Security Policy Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Security Policy Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Response Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Physical Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
 Contents xv

Security in Network Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Firewalls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Proxy Servers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Remote Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
Network Operating System Security . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Logon Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Passwords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Encryption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Key Encryption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
PGP (Pretty Good Privacy) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
SSL (Secure Sockets Layer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
SSH (Secure Shell) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
SCP (Secure CoPy) and SFTP (Secure File Transfer Protocol) . . . 643
IPSec (Internet Protocol Security) . . . . . . . . . . . . . . . . . . . . . . . . . 644
Authentication Protocols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
RADIUS and TACACS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645
PAP (Password Authentication Protocol) . . . . . . . . . . . . . . . . . . . . 646
CHAP and MS-CHAP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
EAP (Extensible Authentication Protocol) . . . . . . . . . . . . . . . . . . 649
Kerberos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Wireless Network Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
WEP (Wired Equivalent Privacy) . . . . . . . . . . . . . . . . . . . . . . . . . 651
IEEE 802.11i and WPA (Wi-Fi Protected Access) . . . . . . . . . . . . 653
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664

Chapter 15 Implementing and Managing Networks. . . . . 667

Project Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Determining Project Feasibility . . . . . . . . . . . . . . . . . . . . . . . . . . . 670
Assessing Needs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
Setting Project Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Project Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
Testing and Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
xvi Contents

Network Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678

Obtaining Baseline Measurements . . . . . . . . . . . . . . . . . . . . . . . . . 678
Performance and Fault Management . . . . . . . . . . . . . . . . . . . . . . . 680
Asset Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
Software Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685
Client Upgrades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687
Shared Application Upgrades . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688
Network Operating System Upgrades . . . . . . . . . . . . . . . . . . . . . . 689
Reversing a Software Upgrade . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Hardware and Physical Plant Changes . . . . . . . . . . . . . . . . . . . . . . . . 692
Adding or Upgrading Equipment . . . . . . . . . . . . . . . . . . . . . . . . . 693
Cabling Upgrades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695
Backbone Upgrades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696
Reversing Hardware Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Review Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Appendix A Network+ Examination Objectives . . . . . . . . 705

Appendix B Network+ Practice Exam . . . . . . . . . . . . . . . 715

Appendix C Visual Guide to Connectors . . . . . . . . . . . . . 739

Appendix D Standard Networking Forms . . . . . . . . . . . . . 743

Appendix E Answers to Chapter Review Questions. . . . . 751

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . 757

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829
Preface

nowing how to install, configure, and troubleshoot a computer network is a highly

K marketable and exciting skill. This book first introduces the fundamental building
blocks that form a modern network, such as protocols, topologies, hardware, and network
operating systems. It then provides in-depth coverage of the most important concepts in
contemporary networking, such as client/server architecture, TCP/IP, Ethernet, wireless
transmission, and security. After reading the book, you will be prepared to select the best
network design, hardware, and software for your environment. You will also have the skills
to build a network from scratch and maintain, upgrade, and troubleshoot an existing net-
work. Finally, you will be well-prepared to pass CompTIA’s (the Computing Technology
Industry Association’s) Network+ certification exam.
Because some technical topics can be difficult to grasp, this book explains concepts logi-
cally and in a clear, approachable style. In addition, concepts are reinforced by real-world
examples of networking issues from a professional’s standpoint. The numerous tables and
illustrations, along with the glossaries, appendices, and study questions make the book a
valuable reference for any networking professional.
The Network+ CoursePrep Exam Guide, which you can download from
http://www.courseptr.com/downloads, offers several hundred multiple choice questions to
further prepare you for passing CompTIA’s Network+ certification exam.

Intended Audience
This book is intended to serve the needs of students and professionals who are interested
in mastering fundamental, vendor-independent networking concepts. No previous net-
working experience is necessary to begin learning from this book, although knowledge of
basic computer principles is helpful. Those seeking to pass CompTIA’s Network+ certifi-
cation exam will find the text’s content, approach, and numerous study questions especially
helpful. For more information on Network+ certification, visit CompTIA’s web site at
www.comptia.org.
The book’s pedagogical features are designed to provide a truly interactive learning expe-
rience, preparing you for the challenges of the highly dynamic networking industry.
xviii Preface

Chapter Descriptions
Here is a summary of the topics covered in each chapter of this book:
Chapter 1, “An Introduction to Networking,” begins by answering the question “What is
a network?” Next it presents the fundamental types of networks and describes the elements
that constitute the most popular type, the client/server network. This chapter also intro-
duces career options for those interested in mastering networking skills.
Chapter 2, “Networking Standards and the OSI Model,” describes the organizations that
set standards in the networking industry, including those that oversee wiring codes, net-
work access methods, and Internet addressing. It also discusses, in depth, the OSI Model,
which is the industry standard for conceptualizing communication between computers on
a network.
Chapter 3, “Transmission Basics and Networking Media,” describes signaling techniques
used on modern networks, including those used over copper cable, fiber-optic cable, and
wireless connections. It also covers the characteristics—including cost, materials, and con-
nector types—for physical and atmospheric media that can be used to carry signals.
Chapter 4, “Network Protocols,” explores network protocols in detail, with a particular
emphasis on the TCP/IP protocol suite. Functions and interactions between each core pro-
tocol and subprotocol are described in the context of the OSI Model. This chapter also
explains computer addressing and naming conventions for each major protocol suite.
Chapter 5, “Networking Hardware,” examines the hardware associated with a network,
including NICs (network interface cards), hubs, routers, bridges, gateways, and switches.
In Chapter 5, you will find several photos portraying typical networking equipment.
Chapters 6, “Topologies and Access Methods,” discusses the variety of physical and log-
ical topologies used in local area networks. This chapter includes detailed discussions of
the popular Ethernet and wireless access methods.
Chapter 7, “WANs, Internet Access, and Remote Connectivity,” expands on your knowl-
edge of networks by examining WAN (wide area network) topologies and transmission
methods, such as T-carriers, ISDN, DSL, and broadband cable. Here you will also learn
about options for accessing networks from remote locations, including dial-up network-
ing and VPNs (virtual private networks).
Chapter 8, “Network Operating Systems and Windows Server 2003-Based Networking,”
covers the purpose and design of network operating system software. It then provides an
overview of the Microsoft Windows Server 2003 network operating system, including
Active Directory, the Windows Server 2003 method of organizing network elements. In
this chapter you will also learn how to integrate Windows servers with clients and servers
running different operating systems.
 Preface xix

Chapter 9, “Networking with UNIX-type of Operating Systems,” discusses the unique

features of UNIX, Linux, and Mac OS X Server network operating systems (collectively
termed “UNIX-type of systems”). It enumerates basic commands that can be used on
UNIX-type of systems and explains how these operating systems can share resources and
communicate over networks.
Chapter 10, “NetWare-Based Networking,” describes the unique features of the Novell
NetWare network operating system, including eDirectory (or NDS), which is NetWare’s
method of organizing network elements. You will also learn how to integrate NetWare
servers with clients and servers running different operating systems.
Chapter 11, “In-Depth TCP/IP Networking,” explores advanced concepts relating to
TCP/IP-based networking, such as subnetting and NAT (Network Address Translation).
It also details commands useful for evaluating devices and connections that run the
TCP/IP protocol suite.
Chapter 12, “Troubleshooting Network Problems,” approaches the tasks of troubleshoot-
ing and maintaining networks in a logical, practical manner. Once you have learned how
networks operate and how to create them, you will need to know how to fix and maintain
them.
Chapter 13, “Ensuring Integrity and Availability,” explains how to keep network resources
available and connections reliable despite threats such as power outages or hardware and
software failures. In this chapter you will find information about backup power supplies,
redundant disk arrays, and data backup procedures.
Chapter 14, “Network Security,” discusses critical network security techniques, including
the use of firewalls, encryption, and enterprise-wide security policies. Network security is
a major concern when designing and maintaining modern networks, which typically use
open protocols and connect to public networks such as the Internet.
Chapter 15, “Implementing and Managing Networks,” concludes the book by describing
how to approach large network projects including software or hardware updates or an
entire network implementation. This chapter builds on all the knowledge you’ve gained
about network fundamentals, design, maintenance, and troubleshooting.
Appendix A, “Network+ Examination Objectives,” provides a complete list of the 2005
Network+ certification exam objectives, including the percentage of the exam’s content
they represent and which chapters in the book cover material associated with each objec-
tive.
Appendix B, “Network+ Practice Exam,” offers a practice exam containing questions sim-
ilar in content and presentation to those you will find on CompTIA’s Network+ exami-
nation.
xx Preface

Appendix C, “Visual Guide to Connectors,” provides a visual connector reference chart

for quick identification of connectors and receptacles used in contemporary networking.
Appendix D, “Standard Networking Forms,” gives examples of forms that you can use
while planning, installing, and troubleshooting your network.
Appendix E, “Answers to Chapter Review Questions,” provides the answers to the Review
Questions at the end of each chapter.

CoursePrep ExamGuide
Available for download from http://www.courseptr.com/downloads, you will find PDF
files containing the Network+ CoursePrep ExamGuide. This certification prep workbook
provides the essential information you need to master each exam objective. The Exam-
Guide devotes an entire two-page spread to each certification objective from the Comp-
TIA Network+ exam, helping you understand the objective, and giving you the bottom
line information—what you really need to know. Memorize these facts and bulleted points
before heading into the exam. In addition, the ExamGuide includes seven practice-test
questions for each objective on the right-hand page. That’s more than 600 questions total!
You can find answers to all the practice test questions in the answer key at the end of the
ExamGuide, so that you can practice, drill, and rehearse for the exam.

Features
To aid you in fully understanding networking concepts, this book includes many features
designed to enhance your learning experience.
◆ Chapter Objectives. Each chapter begins with a list of the concepts to be mas-
tered within that chapter. This list provides you with both a quick reference to
the chapter’s contents and a useful study aid.
◆ Illustrations and Tables. Numerous full-color illustrations of network media,
methods of signaling, protocol behavior, hardware, topology, software screens,
peripherals, and components help you visualize common network elements, the-
ories, and concepts. In addition, the many tables included provide details and
comparisons of both practical and theoretical information.
◆ Chapter Summaries. Each chapter’s text is followed by a summary of the con-
cepts introduced in that chapter. These summaries provide a helpful way to
recap and revisit the ideas covered in each chapter.
◆ Review Questions. The end-of-chapter assessment begins with a set of review
questions that reinforce the ideas introduced in each chapter. Answering these
questions will ensure that you have mastered the important concepts and pro-
vide valuable practice for taking CompTIA’s Network+ exam.
 Preface xxi

Text and Graphic Conventions

Wherever appropriate, additional information and exercises have been added to this book
to help you better understand the topic at hand. The following icons are used throughout
the text to alert you to additional materials:

NOTE
The Note icon draws your attention to helpful material related to the subject
being described.

TIP
Tips based on the author’s experience provide extra information about how to
attack a problem or what to do in real-world situations.

CAUTION
The caution icons draw your attention to warnings about potential problems and
explanations of how to avoid them.

All of the content that relates to CompTIA’s Network+ Certification exam, whether it’s a
page or a sentence, is highlighted with a Net+ icon and the relevant objective number.
This unique feature highlights the important information at a glance, so you can pay extra
attention to the certification material.
Acknowledgments

A s with any large undertaking, this book is the result of many contributions and col-
laborative efforts. It would not exist without the help of friends, family, fellow net-
working professionals, and Thomson Course Technology staff. Thanks to Kristen Duerr,
Publisher and Executive Vice President, for her continued enthusiasm and support for the
project and to Will Pitkin, Managing Editor, for his dedication and business expertise.
I’m deeply grateful to Amy Lyon, Product Manager, for assembling a top-notch team and
maintaining enthusiasm, order, and a steady flow of communication that allowed the pro-
ject to advance smoothly. Many thanks to Ann Shaffer, Developmental Editor and friend,
for handling extreme deadlines with grace and for insisting on coherence, clarity, and pre-
cision throughout each draft. With this edition, I am again indebted to Elena Montillo,
Senior Production Editor, and Danielle Slade, Production Editor, who guided the book
from final edits to finished product. I’m grateful also to Christian Kunciw, Quality Assur-
ance Team Leader, and Marianne Snow, Quality Assurance tester—for scrutinizing every
page and alerting me to errors and inconsistencies. Thanks to Copy Editor Karen Annett,
whose close attention to details helped make the book clearer, consistent, and more pre-
cise. Thanks also to Abby Reip, who researched and obtained photos and permissions.
I’m especially grateful to Technical Editor Sydney Shewchuk who reviewed this edition
for technical accuracy and made many valuable suggestions for improvement.
For additional help and advice on technical topics, I’m grateful to networking profession-
als Jim Berbee, Tom Callaci, Peyton Engel, Michael Grice, Carla Schroeder, Tracy Syslo,
Lou Taber, and Ron Young. Special thanks to David Klann, UNIX disciple and con-
tributing author, who generously supplied content, helped with research, and was eager to
discuss the implications of non-contiguous subnetting on a Saturday night. Finally, thanks
again to Paul and Janet Dean, scientists and teachers both, for their encouragement, sup-
port, and continued interest in science and technology.
Photo Credits

Figure 1-5 © Gary Herrington Photography

Figure 2-6 Courtesy of 3Com Corporation
Figure 3-14 Courtesy of VERSITRON, Inc.
Figure 3-16 Courtesy of Stellar Labs (www.stellarlabs.com)
Figure 3-19 Courtesy of Belden, Inc.
Figure 3-21 © Gary Herrington Photography
Figure 3-24 Courtesy of Optical Cable Corporation
Figure 3-27a - d Courtesy of SENKO Advanced Components, Inc.
Figure 3-29 Courtesy of Siemon
Figure 3-30 Courtesy of Siemon
Figure 3-43 Courtesy of BlackBox Corporation
Figure 3-44 Courtesy of Belkin Corporation
Figure 3-45 Courtesy of Belkin Corporation
Figure 5-4 Courtesy of 3Com Corporation
Figure 5-5 Courtesy of PCMCIA
Figure 5-6 Courtesy of Linksys
Figure 5-7 Courtesy of TRT Business Network Solutions
Figure 5-8 Courtesy of Socket Communications
Figure 5-9 Courtesy of NETGEAR; Courtesy of SMC Networks, Inc.;
Courtesy of Belkin Corporation
Figure 5-10 © Gary Herrington Photography
Figure 5-11 © Gary Herrington Photography
Figure 5-15 Courtesy of 3Com Corporation
Figure 5-16 Courtesy of 3Com Corporation
Figure 5-19 Courtesy of 3Com Corporation; Courtesy of Nortel Networks
xxiv Photo Credits

Figure 5-23 Courtesy of Enterasys Networks, Inc.; Courtesy of Enterasys

Networks, Inc.; Courtesy of NETGEAR
Figure 7-14 Courtesy of NETGEAR
Figure 7-16 Courtesy of Linksys
Figure 12-5 Courtesy of Agilent Technologies
Figure 12-6 Courtesy of Fluke Networks
Figure 12-7 Courtesy of Fluke Networks
Figure 12-8 Courtesy of Network Associates, Inc.
Figure 12-10 Courtesy of Fluke Networks
Figure 13-1 Courtesy of American Power Conversion Corporation
Figure 13-12 Courtesy of Imation
Figure 15-6 Redrawn with permission from SolarWinds.Net
Discovering Diverse Content Through
Random Scribd Documents
 where an art has had a continuous evolution it
would be perhaps more philosophical to pronounce
its last results the oldest, and its “modern” period
that in which it was newest. In no other part of this
museum have I seen works which reminded me so
much of that long conspiracy between man and
nature by which wild-briers have turned to roses. It
seemed to me there might be written on the walls
this beautiful page of the “Rose Garden” of Sâdi:
“I have heard that in the land of the East they are
forty years in making a china cup: they make a
hundred a day at Bagdad, and consequently you
see the meanness of the price. A chicken, as soon
MODERN PERSIAN EWER as it comes out of the egg, seeks its food; but an
(COPPER-COATED, WITH infant hath not reason and discrimination. That
WHITE METAL).
which was something all at once never arrives at
much perfection; and the other by degrees
surpasses all things in power and excellence. Glass
is everywhere, and therefore of no value; the ruby is obtained with
difficulty, and on that account is precious. Affairs are accomplished through
patience: the hasty man faileth in his undertakings.”
It was probably under the inspiration of these very words of Sâdi that
Bagdad in the end vindicated itself. “The powerful Abbaside Caliphs of
Bagdad,” says Major Murdoch Smith, “no doubt summoned to their court
men of science and learning from all the countries under their sway—Persia
furnishing them with architects and other artists. Skilled Persian workmen
were no doubt employed in large numbers in decorating the mosques and
palaces in the Arab capital, situated as it was on the very frontier of their
own country. Thence, we believe, arose the so-called Arabian or arabesque
style of ornament, afterward so widely spread, and now so well known. The
peculiar pendent ornamentation of vaults and niches, of which the
Alhambra is so typical an example, is identical in style with that used
throughout Persia down to the present day.” If this theory be true—and
really these works appear to sanction it—the Arabs derived their arts from
Persia, as the Romans did from the Greeks, and consequently the Moors
imported a Persian art into Spain. The Shah of Persia, in wishing to carry
back with him Owen Jones’s reproductions of the Alhambra at the Crystal
Palace, had good reason for his selection.
It is difficult to tell the age of most of this
Persian work, and I think the enterprising collector
of these specimens is not always happy in his
estimates. Thus there is a beautiful vase (No. 1224)
which Major Smith thinks over 500 years old, on
the ground that it bears an inscription in Pehlevi; but
that is no more evidence than would be a Latin
epitaph in Westminster Abbey that the monument
was erected during the Roman occupation of
OLD PERSIAN
Britain. The collection shows that Persian art is by EARTHENWARE (WATER-
no means in such a state of decay as many have BOTTLE).
supposed. This is especially true of the exquisite
damascene work still executed at Ispahan. “The true
damascene,” says our collector, “is made of a particular kind of iron. After
the object is forged it is placed for six or eight days in the furnace of a hot
bath, where the greatest attention has to be paid to the even heating of the
article. The bath is heated with the dried dung of cows and other animals,
which gives a steady and not very intense heat, and is supposed to contain
the salts necessary for the formation of true damascene. When the article is
taken out of the furnace it is left at the temper it has therein acquired. It is
then finished and polished. To bring out the grain a certain mineral (of
which a specimen may be seen in the museum) is then applied in the
following manner: about three parts of the mineral are dissolved in ten of
water, over a slow fire, in an earthenware or leaden vessel. The object is
then slightly heated, and a little of the liquid applied with a cotton wad,
after which it is washed in cold water. If the damascene does not appear
sufficiently the operation is repeated. The object must be thoroughly
cleaned and polished before the mineral is applied.”
It is very doubtful if Corsinet, the French artist who carried the art of
damascening to such an extent in the time of Henry IV., has left any such
beautiful work as this now being wrought by artists whose names are
unknown in Europe. The three kinds of ornamentation known as
“damascening” are elegantly represented—the delicately lustred and
watered blade, the light etching on polished steel, and the rich inlaying of
steel with gold and silver. One of the most beautiful pieces of work is a
 kaliān or hookah (for smoking tobacco) of brass open-work,
with turquoise and other ornamentation. In the head of this
great and solemn pipe the tobacco is placed, slightly moistened,
under pieces of live charcoal, which are prevented from falling
off by the movable top of the bottle containing the water, into
which the end of the stem descends. The tobacco smoked is the
mild Tombaku, produced near Shiraz, which really is the best
“Turkish,” though Turkey never produced a leaf of it. If any one
will gaze on this Persian hookah he will see why it is imposing
enough to warrant such religious treatment as its Indian
counterpart, the hubble-bubble, has received at the hands of an
eloquent Vedantist preacher of my acquaintance (Chintamon).
The hubble-bubble is generally made of a cocoa-nut shell, with
a receptacle for water, through which the smoke passes before
PERSIAN being inhaled. In Chintamon’s parable the stem represents the
KALIĀN. body; passions are the tobacco; the bowl is mind; understanding
is the plug which prevents the tobacco-passions from blocking
up the stem-body; knowledge is the fire which separates
passion—the pure from the impure; the evil is reduced to ashes, and
vanishes in the vapor of folly; while through the purifying water of
reflection, and the mouth-piece of mental satisfaction, man draws the
desirable aroma of content, and hears a bubbling noise which suggests the
still small voice of Reason.
Among the many exquisite books,
manuscripts, and paintings—the latter being
oftenest upon the covers of the finest books—
there is one of surpassing beauty. It is a copy of
the works of Sâdi, a modern manuscript with six
illuminated pages forming the head-pieces of the
six books, all the pages being bordered in gold
and colors. The covers have been painted by the
artist Nadjaf, who lived about fifty years ago, on
the outside with certain battles between some
shahs, sultans, and their like; but on the inside of
one cover is a picture of the poet Hafiz
surrounded by his friends; on the inside of the
other cover is a picture of Sâdi conversing with
his pupils. What grace, what honor, was in the ANCIENT PERSIAN INCENSE-
BURNER (PIERCED AND
heart of him who drew these pictures! Amidst CHASED BRASS).
such tints Sâdi might be saying to his pupils one
of the passages that are here written: “I saw a
peacock’s feather in the leaves of the Koran. I said, ‘I consider this an honor
much greater than your quality deserves.’ He replied, ‘Be silent; for
whosoever has beauty, wherever he puts his foot doth not every one receive
him with respect?’ A little beauty is preferable to great wealth.”
I hear of some prosaic young Englishmen
who are wandering about the banks of the
Euphrates to try and find the locality of Eden. I
venture to affirm that with the Kaliān, plenty of
Tombaku, Sâdi’s Gulistan, and this rose-garden
manuscript, I can get nearer Eden reclining on
yon English grass than those young gentlemen
seeking it so far away. Yet it is pleasant, in a
melancholy way, to see the never-failing
fascination which the Oriental world has for
MODERN PERSIAN INCENSE-
BURNER (BRASS).
these Northern races. The hardest, least
imaginative Englishman will feel some sweeter
pulsation about his heart when he sees one of
Holman Hunt’s pictures of Palestine, or hears the
solemn roll of Oriental poetry.
“A pine-tree’s standing lonely
In the North, on a mountain’s brow,
Nodding with whitest cover,
Wrapped up by the ice and snow.

“He’s dreaming of a palm-tree,

Which, far in the Morning Land,
Lonely and silent sorrows
‘Mid burning rocks and sand.”[D]

But here my rambles through these unlimited fields must draw to a close.
One must, amidst such numberless treasures gathered from the great
streams of Time, more especially remember Sydney Smith’s advice, based
on the post-diluvial brevity of human life, that writers should “think of
Noah, and be brief.” It is with a certain distress that I feel compelled to pass
by the great galleries of pictures, including some of the finest Turners,
Wilkies, and Gainsboroughs, and a large number of historic paintings. The
Forster bequest, with its charming souvenirs of famous actors, actresses,
and authors, in the shape of portraits, character-sketches, and autographs—
among the latter the MSS. of most of the works of Dickens—were of itself
the sufficient theme for a treatise.
No collection in the museum is more
deserving of attention than that of the musical
instruments, which show the entire evolution of
the art, from the first savage bark drum and the
pipe that Pan might have played to his flocks, up
to the last grand piano; but for twelve shillings
the reader may procure Mr. Carl Engel’s
admirable résumé of this department. Since it
was written an interesting series of instruments
has been added (Indian section), and it is to be
ANDREA GRITTI, DOGE OF
VENICE—ITALIAN. ASCRIBED hoped that these will be included in a new edition
TO VITTORE CAMELO. of Herr Engel’s work. The Indian instruments
SIXTEENTH CENTURY.
have not changed in many centuries, some not for
two thousand years; their harp (chang) is
identical with one
represented in the Nineveh
sculptures. Unfortunately
there is no catalogue to the
museum; but there may be
had full works on the ancient
ivories (one guinea), textile
fabrics (one and a half
guineas), majolica (two SALT-CELLAR—SILVER GILT;
guineas), furniture and ITALIAN. FIFTEENTH
TAZZA—ALGERIAN CENTURY.
ONYX AND ENAMEL. woodwork (one guinea).
MODERN FRENCH. There are small shilling
“Handbooks,” giving succinct
histories of the arts of working in gold and silver,
bronze, pottery, etc., with general reference to objects in the museum, which
are useful and interesting. There also exists a full catalogue of books on art
(two guineas); and I may mention that at the present moment it is possible
to collect in London an admirable art library for a moderate sum—an
advantage that will soon disappear. The present art library in the museum is
the only one possessing anything like completeness in Europe; it contains
45,000 volumes. This is quite distinct from the educational library, which
has an equal number of volumes.
But we must not part from South Kensington
without considering how fares therein the aim and
purpose out of which it grew, namely, culture and
training in every variety of art. It will at once be
recognized that the art schools, enjoying such an
unparalleled environment as to examples, carried on
also in rooms of vast extent, perfectly lighted, heated,
ventilated, and furnished, must be judged by a higher
standard than other institutions of the kind in Europe
or in America. And, retrospectively, the schools must
be conceded to have done wonders. For one thing, it IVORY TANKARD—
may be claimed that it found the art education of the AUGSBURG.
SEVENTEENTH
nation at zero and raised it enormously. By wisely CENTURY.
using its power to send floating through the provincial
cities a loan exhibition, and by a judicious distribution
of the annual fund (now about £2500) granted it by
Parliament to aid institutions of a like character, which are willing also to
aid themselves, the Commission has been the means of establishing
throughout the kingdom schools devoted to art, and in forming classes in
colleges to teach art, to an extent which has increased by 150 per cent. the
number of those who study art to prosecute it for itself, or to apply it to
make their work more artistic. Between the years 1855-‘77, 27,000 objects
of art and 24,000 paintings were circulated by the museum through the
United Kingdom. In the various provincial towns and cities where they
have been left for several months at a time, these works have been visited
by over 6,000,000 of persons and copied by many students, the cost to the
Science and Art Department being over £100,000. In order to tempt Schools
of Art to acquire permanent objects for museums of their own, the
Department offers a grant in aid of fifty per cent. on the cost of such
objects. Parliament is continually inquiring into the means of increasing the
utility of the collections in this direction. South Kensington has already
awakened a higher taste throughout the nation, and especially in London.
The number of visitors has increasingly exceeded a million each year; and
should the museum be opened on Sunday afternoons—a step which can
hardly fail to be taken ere long—this number must be vastly increased.
These crowds, however, never make the rooms seem crowded; their
decorum is equal to that which is preserved in the best drawing-rooms;
there have been only two cases in the history of the museum where persons
have been ejected (the fault being tipsiness); and no article of value has ever
been missed. In strolling through the building with George Boughton we
concluded to follow some very rough-looking youths and observe what
objects attracted their attention. We were surprised to find them passing by
King Koffee’s umbrella and trinkets to devote all their time to the statues of
Michael Angelo. I have repeatedly observed similar phenomena in the
picture-galleries—the roughest people crowding around the best works of
art.
The way in which all this has told upon the work of the country has been
jealously watched, and also fairly recognized by foreign critics. The first
gold medal awarded on the Continent for art education, awarded to South
Kensington, was not given by any favor, and it was won by a great deal of
hard work. In the introduction to the seven-volume report presented to the
French Government in 1862, M. Chevallier says: “Rivals are springing up,
and the pre-eminence of France may receive a shock if we do not take care.
The upward movement is visible, above all, among the English. The whole
world has been struck with the progress they have made since the last
Exhibition in designs for stuffs, in the distribution of colors, also in carving
and sculpture, and generally in articles of furniture.” M. Rupet urged the
establishment of a museum in Paris similar to that at South Kensington,
saying: “It is impossible to ignore the fact that a serious struggle awaits
France from this quarter.” The report from Lyons—whose School of Design
was, to a large extent, the model copied by England—says: “With Great
Britain we shall have some day to settle accounts, for she has made great
progress in art since the Exhibition of 1851.” These statements are much
more true now than when they were written. In the direction to which they
refer—that of decorative art—South Kensington has certainly taken a
leading position in Europe. The evidences of this are appearing daily. For
example, the firm of Messrs. Corbière & Sons, which was established in
London about twenty-eight years ago as an importing house for French
patterns and goods, has now been almost changed into an exporting house,
sending to France patterns and designs for goods which it obtains from
South Kensington. Even this is hardly so grateful to the English as a report
lately made by a large Glasgow firm, that it has for some years been
obtaining from this museum, at the annual cost of a few hundred pounds,
designs such as it had been for many years previously securing from Paris
and Lyons at a cost of £2000 per annum.

FINEST RAISED VENETIAN POINT LACE

—FLORAL DESIGN. ITALIAN.
SEVENTEENTH CENTURY.

Lyons, indeed, after teaching England its art of war, has itself lost it.
Neither Paris or London will use their newest patterns, one of which, I
understand, represents huntsmen and hounds in full chase after a stag,
careering all over a drawing-room carpet! In Paris, and even more in
England, taste has for some years been tending to demand richness in
substance, vagueness in pattern, quietness in color, for all stuffs used in
rooms. It is greatly to be regretted that the great manufacturers of textile
fabrics declined to participate in the Centennial Exhibition, having
concluded that their goods would have too much protection in one sense,
and not enough in others. It would have excited astonishment in America to
see what transformation has been wrought in carpets and curtains, and it
would be at once recognized that the old fabrics, with their fixed scrolls,
their glare and glitter, have become barbarous. Messrs. Ward, of Halifax,
recently rolled out for me on a floor side by side the old patterns and the
new, and it was to the eye like passing from poppies to passion-flowers.
“Those blazing ones,” said Mr. Ward, “have gone out of fashion in this
country since the new schools of design began, and we never sell a yard of
them here; we made them for America until the last tariff, and now the
manufacture has ceased altogether.” The new curtain stuffs have always an
unobtrusive, almost a dead, ground of saffron, or olive, or green, and on it
flowing conventional leaves with some heraldic form—as daisy,
pomegranate, etc.—to supply spots of color; and the carpets are of much the
same character, with somewhat larger forms.
These exquisite designs are universally recognized as results of South
Kensington. But there is one point where the results are less satisfactory.
The best designs, which include the human figure, have still to be obtained
from the Continent; and these being of especial importance in pottery, the
great porcelain factories say that their needs cannot yet be met by English
art schools. The truth is, there was long an opposition in controlling quarters
to permitting studies of the female nude at South Kensington at all, though
now the female students have that privilege. In the male school the male
nude is studied; but still the students—those who mean to devote
themselves to fine, as distinguished from decorative, art—have to unite and
employ female models in rooms outside the school. It is as difficult to see
what benefit is secured by modesty, in thus placing a necessary study
beyond the regulation of the masters, who might preserve decorum, as it is
to find any advantage to religion gained by shutting the door to the pictorial
gospels of Raphael on Sunday and keeping open the door of the gin-shop.
Both the piety and the prudery are anomalous. The Zoological and the
Botanical Gardens, in London, the Dublin Museum, Hampton Court, and
Kew Gardens are all open on Sunday, while the museums and galleries of
the metropolis are closed: the Royal Academy has nude models of both
sexes, under the same Government which prohibits the like at South
Kensington. The queerest anomaly, however, existed until lately in the
Slade School of Art, at University College, where the vexed question was
settled by permitting the male pupils to have female models, and the female
pupils to have male models! This restriction of the ladies to (nearly) nude
models of the other sex was made in the interest of propriety, as the masters
felt disinclined to enter and instruct them in the presence of a female model.
 The former restrictions at South Kensington as to models fell heavily
upon the female pupils. The young female artists were not permitted to see
so much of their model as they would be required to reveal of their own
persons at one of her Majesty’s drawing-rooms. The late head-master, Mr.
Burchett, himself an able figure painter, knew well, as all experienced
figure painters in Europe know, that female models are far oftener secured
from vice by their occupation than exposed to it, and that life schools are
not inconsistent with decorum, under proper management; and he (Mr.
Burchett) made efforts, one of which was to have the model encased in
flesh tights, to secure for his pupils the advantages so freely offered in
Continental schools. But his contrivances were stopped by threats of
Parliamentary questions. His successor has, however, secured to the female
pupils the advantage of the nude model of their own sex and male model
with caleçon; and, if he can now secure like privileges for the males, South
Kensington may some day be able to point to as high results in the direction
of the fine as in the ornamental arts. Until then young men of genius will
continue to prefer schools which are without such restrictions. It can only
be ascribed to the consummate care with which studies of the antique are
conducted, and to the full supply of the finest casts offered by the museum,
that decorative art itself at South Kensington has suffered so little from the
limitations referred to; for it is certain that the human figure is the key to all
other forms in nature. It is certain, also, that the female form is the very
flower of all natural beauty—“the sum of every creature’s best,” as
Shakspeare says of Perdita—and no arrangements for art training can be
considered complete which do not include accessibility to such studies of
the same as are required, by those who have given evidence of their fitness
to interpret the sacred secrets of nature.
Beyond this there is no special deduction to be made from the method of
training at South Kensington, which as a school is steadily improving. The
following official memorandum of its regulations (with which is given the
names of its faculty) will show the large scope of instruction included:
DIRECTOR-GENERAL FOR ART, AND PRINCIPAL,
THOMAS ARMSTRONG.
Head-Master, J. Sparkes.
Mechanical and Architectural Drawing, H. B. Hagreen.
Geometry and Perspective, E. S. Burchett.
Painting, Free-hand Drawing of Ornament, etc., the Figure and Anatomy, and Ornamental
Design, J. Sparkes, C. P. Slocombe, T. Clack, F. M. Miller.
Modelling, M. Lanteri.
Etching, A. Legros.
Female Classes.
Lady Superintendent, Miss Trulock.
Female Teachers, Mrs. S. E. Casabianca and Miss Channon.
Occasional Lecturers: Dr. Zerffi, Historic Ornament; E. Bellamy, Anatomy; F. W.
Moody, the Figure, as applied to Decoration.
1. The courses of instruction pursued in the School have for their object the systematic
training of teachers, male and female, in the practice of Art and in the knowledge of its
scientific principles, with the view of qualifying them to impart to others a careful Art
education, and to develop its application to the common uses of life, and to the
requirements of Trade and Manufactures. Special courses are arranged in order to qualify
School-masters of Elementary and other Schools to teach Elementary Drawing as a part of
general education concurrently with writing.
2. The instruction comprehends the following subjects: Free-hand, Architectural, and
Mechanical Drawing; Practical Geometry and Perspective; Painting in Oil, Tempera, and
Water-colors; Modelling, Moulding, and Casting. The Classes for Drawing, Painting, and
Modelling include Architectural and other Ornament, Flowers, Objects of still-life, etc., the
Figure from the Antique and the Life, and the study of Anatomy as applicable to Art.
3. The Annual Sessions, each lasting five mouths, commence on the 1st of March and
the 1st of October, and end on the last day of July and the last day of February,
respectively. Students can join the School at any time, the tickets running from date to date.
The months of August and September, one week at Christmas, and one week at Easter or
Whitsuntide, are Vacations. The classes meet every day except Saturday. Hours of Study:
Day, 10 to 3; Evening, 7 to 9.
4. In connection with the Training School, and open to the public, separate classes are
established for male and female students; the studies comprising Drawing, Painting, and
Modelling, as applied to Ornament, the Figure, Landscape, and still-life.
Fees.
For classes studying for five whole days, including evenings: £5 for five months.
For three whole days, including evenings: £4 for five months.
For the half-day—morning, 10 to 1; or afternoon, 1 to 3: £4 for five months.
To all these classes there is an entrance fee of 10s.
Evening Classes: Male School: £2 per session.
Artisan Class: 10s. per session; 3s. per month.
Female School: £1 per session, three evenings a week.
No students can be admitted to these classes until they have passed an examination in
Free-hand Drawing of the 2d Grade. Examinations of candidates will be held weekly, at the
commencement of each session, and at frequent intervals throughout the year.
5. Students cannot join the School for a shorter term than five months, but the students
who have already paid fees for five months may remain until the end of the scholastic year
on payment of a proportional fee for each month unexpired up to the 31st of July in each
year.
6. Classes for School-masters, School-mistresses, and Pupil-teachers of Elementary
Schools meet on two evenings in each week. Fee 5s. for the session. Teachers in private
schools or families may attend the day classes on payment of a fee of £1 per month.
7. The morning classes for Practical Geometry and Perspective are open to all students,
but they may be attended independently of the general course on payment of a fee of £2 per
session for those classes.
8. Students properly qualified have full access to the collections of the Museum and
Library, either for consultation or copying, as well as to all the School Lectures of the
Department.
9. A register of the students’ attendance is kept, and may be consulted by parents and
guardians.

Nothing can exceed the care and devotion with which the great work of
South Kensington is carried on by both teachers and pupils. In walking
through the rooms with the head-master I could only marvel at the
indications unintentionally furnished by the pupils, from moment to
moment, of his intimate knowledge of their work and their progress,
however remote from such details he might be officially. In his room he
keeps all the works sent in by the pupils in competition for the many
valuable prizes offered by the school at each stage of progress, and these are
preserved in large albums, each marked with the young artist’s name, so
that by looking through it we trace the unfolding in this or that direction of
a human mind, from the first crude geometrical drawing to mastery of the
finer strokes of form and color. The pupil applying for admission is not
simply put in at one end of a machine-like system to be turned out at the
other, but a specimen of his or her work is demanded, and a place assigned
in accordance with it.
 NETTLE IN ITS NATURAL STATE. NETTLE IN GEOMETRICAL PROPORTIONS.

It was morally impressive to witness the large numbers of women who

have here found a field for the cultivation of their powers. In one room—
that of geometrical proportions—the students of both sexes are taught
together, and no doubt the co-educational system will gradually creep from
this to other classes, as it has to some extent done in University College and
other institutions. But the museum is able to supply both schools with any
quantity of models and aids. The young female artists have excited the
admiration of their teachers and examiners by the remarkable perfection to
which they carry ornamental designs, especially such as may be derived
from flowers, fruits, and leaves. In one part of the museum there is a series
of grottoes, filled with all manner of ferns and other plants, which serve the
double purpose of adorning the room, from which they are seen through
large glass doors, and of supplying subjects for the study of decorative
foliation. They who see the beautiful combinations of these plants made in
the training schools will discover that their previous acquaintance with
some very common things has been very limited. In this study of the
geometrical capacities of plants for decorative purposes the female pupils
seem to excel. The exquisite art of one of them, Miss Louisa Poole, enables
me to present an example of this kind of work, for which she recently
received a gold medal. The subject of this very clever piece of combination
is the common nettle; and, even without the beautiful colors with which
Miss Poole’s original work was rendered, these outlines she has drawn for
me will perhaps enable the reader to understand the kind of work by which
this school has relieved England of its former dependence on Paris and
Lyons. It is but just, however, to state that Miss Poole’s work, when
exhibited, on occasion of a distribution of prizes by the Duke of Richmond,
was surrounded by a score of similar sketches which had brought their
designers well-merited prizes. No one could examine them without
perceiving that the young artists have learned the main secret of ornamental
art—that nature is but an alphabet, which it is the task of the artist to
combine into words and sentences that shall convey human purpose and
thought.
Some of the best work done at South Kensington is the copying of rare
and beautiful specimens of ancient majolica and other wares. The
Rothschilds and other collectors gladly lend their choicest possessions for
this purpose, and the copies are of high value to this and other museums. It
is wonderful to observe with what refinement of taste and with what
sympathy some of the pupils enter into the subtle secrets of the old masters
of decorative work. The illustration of the Henri Deux salt-cellar was made
for me by Mr. William Broad, while a pupil at South Kensington, from a
work sent in by him to the Examiners. The reproduction of Cherpentier’s
rich and delicate colors in this young artist’s original work was exceedingly
fine. His design of the top of the salt-cellar is given on the following page.
It is quite certain that a peculiar excellence has
been given to the work of this institution by the
atmosphere of general culture surrounding it. Each
pupil works amidst the splendors of ancient art,
amidst the shades of the great, and each lives in the
presence of men who to-day best represent the
accumulated knowledge of the world. The spirit
tells more than the letter of instruction. Moreover,
no art is here studied in isolation: each is studied
along with literature and science; and, what is of PLAN OF TOP OF HENRI
great importance to thoroughness, all the arts are DEUX SALT-CELLAR.

studied in connection with their own history.

Through the literary works of such archæologists as
William B. Scott, the ever-careful teaching of Thomas Armstrong and Mr.
Sparkes, and the practical labors of such experts as Mr. Moody and Mr.
Bowler, the pupil may study, by theory and experiment, the evolution by
which his task has come to him, when and how great successes were
attained, and so inherit the vital spirit which of old quickened the flowers of
beauty by which he or she is at every moment surrounded. The pupil will
realize here the immortality of good work. He will see that an old
blacksmith, ordered to make iron grilles for Hampton Court garden, put
such heart and soul into his work that his four pieces must now be brought
hither as a monument of which Thor might be proud. Never was more
beauty wrought in iron than this by Huntington Shaw, of Nottingham, anno
1695. Under his hand rose, shamrock, and thistle have grown on the metal
so tenderly that it would seem a breath might stir them, while from the Irish
harp in the centre one might almost listen for Æolian strains. But that was
done in a day when to work for a king was felt to be working for God. And
all through this museum shines the great fact that the best work was never
done merely for money, but for the altar, for love and loyalty. It is a
Museum of Civilization, where each work is a heart. There sat a man doing
his very best to advance the whole world; there marched a brave invader of
Chaos and Disorder; a reason worked through him like that which turns a
bit of mud into a lily. It is a supreme joy to trace these footprints of the
universal Reason. A flute-key that wins one more soft note from the air; a
pot flushed with some more intimate touch of the sunlight; an ornament
which detaches a pure form from its perishable body—such things as these
exhibit somewhat finer than themselves, namely, man elect still to carry on
the ancient art which adorned the earth with grass and violet, and framed
the star-gemmed sky and the spotted snake. The student shall also learn
here the solidarity of genius. In distant regions of the world these men
worked at their several tasks, sundered by land and sea, but here they are
seen to have been members of one sacred guild, like that described of old:
“They helped every one his neighbor; and every one said to his brother, Be
of good courage. So the carpenter encouraged the goldsmith, and he that
smootheth with the hammer him that smote the anvil, saying, It is ready for
the soldering: and he fastened it with nails, that it should not be moved.”
From manifold regions of the world, through ages linked each to each by
natural piety, their works have come here to unite in one mystical
symphony of excellence. By the spirit that worked through them they are
made members one of another. Some little time ago the Professor of
Political Economy at Oxford formed a class of youths of both sexes, and
said to them one day: “There are two great distinctions between man and
the lower animals; one of them is the root of labor, the other is the root of
civilization. What are they?” The first was soon explained; the root of labor
is that the animal has only to seek his food to find it prepared for him, and
his clothing is made for him by nature, whereas man must cook and modify
his food, and make his clothing. The second puzzled all in the class except
one young maid, who said: “The root of civilization is progressive desire.
Give an animal all that satisfies its present want—good shelter and food
enough—it will never be restless, nor show a further want; but satisfy man
in any moment, he will want something better the next. This craving for the
better and the best leads on to civilization.” But it is the combination of
these various lines of improvement which finally creates a civilization.
Savages improve on their own roads, but the Kaffir never borrows for his
own hut any advantage belonging to the hut of the Zulu, not more than the
bee borrows for its cell a hint from the bird’s nest. The savage has the root
but not the flower of civilization. But then each civilization in turn is to a
great extent special; the human race has a wider life, into which all separate
streams of blood are poured, and all arts blend. By a higher law of evolution
man’s moral and intellectual powers are selected from the isolated tribes
and nations through which they have for ages been distributed. In this our
museum men are taken as varied pigments to make the study of Man.
“Man, one harmonious soul of many a soul,
Whose nature is its own divine control,
Where all things flow to all....
Man, oh, not men! A chain of linked thought,
Of love and might, to be divided not.”

Of all countries America is that to which mankind must look for the
fulfilment of those aspirations which are the creative force, carving on the
world the ideals of poetry and art. Each fine work will reflect the culture of
the race. Emerson has reminded us that for the best achievement we must
have instead of the Working-man the Man working, and it were a pity if the
great man’s countrymen should not realize that whole work must be done
by the whole man. In walking through the school at South Kensington once,
I met a young lady who had passed several years in the schools at
Philadelphia and the Cooper Institute, but had never found what she
required for her training until she came here. The picture on her easel
proved her to be an accomplished artist, and her experience appears to me
worth mentioning. The school at Philadelphia, she said, was the best she
had known anything of in the United States, but when she was there it
lacked trained teachers. The teachers were artists in all but the art of
teaching. She believed, however, that the Philadelphia school, if associated
with a good collection, would turn out well. But of the Cooper Institute she
was not so hopeful. It was rather too philanthropic to be a good school of
art. The great aim was to qualify the pupils—girls particularly—to make
money. The pupils are urged on to the paying work rather than to that which
is excellent. It must be understood that these criticisms are here detached
from this lady’s pleasant plaudits to things in America other than its schools
of design, her experience of which was that one with a high standard had no
means of attaining it, while the other, with more resources, had a low
standard and aim. This lady’s experience has been several times confirmed
by American artists with whom I have walked through the South
Kensington Museum. One of the most eminent of them said: “What a
revolution it would cause in American art to have some such museum as
this in each large city! It would in each case draw around it an art
community, and send out widening waves of taste and love of beauty
through the country.”
These expressions, however, were used ten years ago, and it may be
hoped that to those now in the American institutions mentioned that may
appear a dim past. Within that period my own visits to the chief schools of
high art in New York have convinced me that their teaching is of the highest
character, while the resources for culture of decorative art are slight.
If there be among the readers hereof one of those sensitive patriots who
resent the idea of borrowing any ideas or methods from the Old World more
modern than the Decalogue, I would submit even to him whether it be not
less humiliating to import European experience than to export American
brains. It is no dishonor for America to claim her inheritance from the past;
it is no degradation to recognize what has been done as done, and not
needing to be done over again; but it may well be pondered by the patriotic
whether the Coming Artist will go abroad, or whether he shall find in his
own country the resources essential to his culture and his finest fruit.
 DECORATIVE ART AND ARCHITECTURE IN
ENGLAND.

M ICHAEL ANGELO was once commissioned to lead in the destruction

of the beautiful villas around Florence. He of all men! The expelled
Medici, now of papal dignity, were menacing the city. The first
thought of the great artist was to save the Campanile, and he covered that
noble work of Giotto with protecting wool-sacks. But the suburban villas
must not stand to give aid to the enemy, and at word of command he started
out, and for once the track of the great artist was indicated in the destruction
instead of in the creation of beautiful things. But he came upon one house
whose wall was covered with a beautiful fresco, and he had not the heart to
destroy it; the soul of the artist held back the hand of the patriot, and in the
field of desolation one mansion remained standing alone—saved by the
protecting genius of Beauty.
It is but one incident in the long history of the career of Use and Beauty
through the world, hand in hand, undivorceable. All our science is engaged
in spelling out their story. Every spot of color on bird or insect it finds to be
the trace of a utility. What weary struggles carried on through ages to mimic
blossom and leaf, and so hide from pursuing foes! The same force works on
when the art of man enters the arena for new creation. The thin and feeble
blossom of the brier passes through all the phases of culture until it
becomes the full rose of the horticulturist, like unto some little maiden’s
face for size and lustre, all by merest mercenary influence. Our fairest
flowers have migrated from East to West, cherished and preserved for
highest use as oracles and symbols of successive goddesses and saints,
transplanted from temple courts to flourish under the holier chrism of
convent gardens. Despite his proverb, man has painted the lily and adorned
the rose, until we may almost say with the Persian Nizámi, “Every flower
growing in the many-colored garden of the earth is a drop of blood from the
heart of a man.” Out of a dry and hard necessity comes still the beauty of
the world. Behind our tinted Salviati glass, our painted Sèvres china and
Minton majolica and shining silver plate, are the long rows of pallid faces
inhaling poison in stifling rooms, breathing death that they may live. Sad
experience is the prelude to each charming symphony. The noblest statues
and paintings which the world cherishes were wrought in a “sad sincerity;”
in the divine depths of sorrow were found the quarries from which emerged
the Apollo Belvidere and the Laokoon; the blood of great hearts supplied
the chief pigment of the Dresden Madonna and the Transfiguration; and the
magnificent frescoes of Italian churches were born of the hopes and fears of
millions, for whom they meant not picturesque beauty, but a world’s
redemption. Man in his best epochs of art has thus carried on the ancient
creative power of Nature, giving her potential germs and forms a new
blossoming under the heat of his never-ending battle of life. And where it is
not thus impelled by nor surrendered to this utilitarian, this most real, force,
what does Art amount to? Mere copying of works which denote that force
in the past; mere Art Ritualism, crying to other ages, Give us of your oil, for
our lamps are gone out!
If Michael Angelo could to-day be set on a work of general demolition in
London, one may fear it would hardly require patriotism to encourage his
zeal. Would he, in what the London Times once called “this our ugly but not
altogether uncomfortable metropolis,” have reached a single building which
would have made him pause? Here and there he might meet one of those
ancient mansions whose bricks have hardened into one solid stone that will
stand, as Carlyle once said, “till Gabriel’s trump blows it down;” but of the
miles of modern houses in which—to remember the Chelsea sage again
—“every brick is a lie,” one may fancy that but few would be saved by any
genius of Beauty.
And yet this is, after all, not so certain. That an artist filled with
iconoclastic rage might quickly despatch most of the mansions and many of
the churches of English suburbs, erected specially for beauty and effect, is
quite probable; but there are a number of buildings built without reference
to beauty which might perhaps have made Michael Angelo pause with a
feeling not unrelated to admiration. If any one will stand beside the Thames
River near Charing Cross and gaze for a while on the tremendous sections
of the railway bridge there, at its huge iron supports and girders—if he will
then go up on it and realize its vast breadth, see four trains passing each
other, with room enough between, and room enough for the men and
women moving to and fro on their own side-path—he will surely bear away
an impression of grandeur. Nay, there will blend with it an impression of
beauty also: there is no arch, no slightest foliation or other prettiness, not
even a relief to the iron hue save the gilded heads of certain enormous rivets
and the gilded monograms of the railway company fixed on the supports of
the triple gas-lamps; the bridge is not even straight; and yet beauty there is,
and it arises from two sources. The first is the beauty of adequacy for a
purpose, involving at once strength and proportion, suggesting what the
Greeks may have meant when, in their myth, they wedded Aphrodite to
Hephaistos. The second is a beauty almost indescribable in physical terms,
but resembling the simplicity which expresses character—the subtle charm
playing unconsciously through eye and voice of even a homely man, who in
word and act is content with the simple truth. In fact, the beauty of this
Charing Cross bridge, which has least aimed at architectural effect among
those spanning the Thames, is closely related to its ugliness. If any one find
this assertion paradoxical, he shall at least find it not doubtful if he can and
will do three things—read Oersted’s chapter on “Ugliness in Nature,”
observe carefully Turner’s “Rain, Wind, and Speed” (a railway train
thundering over a viaduct through English rain and fog), and finally give
twenty minutes to the bridge in question, especially taking care to pass
beneath it on one of the small iron steamers (water omnibuses) that ply the
river. When afterward he shall see the many ornaments of the present
copied from the utilities of the past—the towers, steeples, cupolas, crenelles
—and remember that they were constructed originally for landmarks, cross-
bows, and the watches of war, he will acquire an imaginative respect for
this unpretending product of the Iron Age. The same simple grandeur
invests old Newgate Prison—perfect reality, entire adequacy for its purpose,
a relation of every part to the end for which it was built, like the harmonies
that make the lion. Did man forbear, it were by no means inconceivable that
when Macaulay’s artistic New Zealander came he might sit upon a broken
column of St. Paul’s to sketch the still strong, gray fortress of Newgate!
He who explores the cities of England to discover that kind of beauty in
architecture which is familiar in other lands will not find it. In a late satire
on the royal family published in London, The Silliad, the Queen is
represented as reproaching her eldest son with not taking more after his
father, and interesting himself in the industrial affairs of the country. The
poor Prince of Wales can only reply, “I’ve not a model-farming soul.” And a
somewhat similar answer is all that England can return to the immeasurable
scoldings poured out upon her because she cannot do the work of the old
Italian and Dutch masters. But the time was when England had a reputation
such as no other country possessed for just one thing—genuineness of
work. It was almost proverbial in Europe to say that you could get pretty
things in every capital on the Continent, but if you wanted a thing which
would do what it professed to do—the knife that would cut, the carriage
that would bear and wear—you must go to England for it. Nay, I remember
in my boyhood in Virginia that the belief in the solid character of everything
English was such, that even articles which could by no possible means have
come from England were yet called “English” to enhance their value; not
merely watches made in New England, but I have known American fanciers
commend a bird unknown to England by calling it the “English mocking-
bird!” All this was a droll re-appearance of the reputation which Eastern
gold once had in England, the word “sterling” being a relic of “Easterling,”
as applied to the British pound of silver when represented in gold. But the
most enthusiastic Briton must admit that the virtue of the “English” label
has followed that of the “Easterling,” and is now a mere survival. The
absence of prettiness remains, but the old compensation of genuineness can
no longer be claimed, or certainly not in the same general way. The genuine
and thorough thing is now exceptional enough to strike one as almost
ornamental. But still the word “solidity” has a meaning in Great Britain,
and whenever Englishmen undertake to have anything done, their first
effort is to have it substantial and useful. They may not get it, but that is
what they pay for, and a real demand is likely in the long-run to overtake its
real supply. It has already to some extent overtaken it, and that not alone in
the great viaducts and railway bridges which the age of steam has called
about it.

ASSIZE COURT, MANCHESTER.

 An age of municipal and civic development has found for the buildings
it requires a representative architect in Mr. Waterhouse, who has erected
most of the magnificent town-halls and court-houses of the great provincial
cities. These vast, and in a certain sense beautiful, buildings are the only
ones that can compare with the old cathedrals and castles of England, built
with as serious a purpose as theirs, and with as physiognomical a relation to
the age that produced them. Mr. Waterhouse takes the Gothic style for his
basis, just as a pomoculturist might take a russet as the basis of the apple he
means to produce, and, like him, modifies only in obedience to the
fundamental law of the style he has selected. His Gothic building has in it
nothing capricious or eccentric. So genuinely as, under change of
conditions and needs, the bent and bound boughs were copied in the first
pointed stone arch, even so, by lawful adaptation, may the window point
become more obtuse or the lancets more luminous; but the lesson of this
style, which, above all others, has no part or trait not traceable to a use, is
never lost, and the Gothic of Mr. Waterhouse is the natural evolution of that
found in Westminster Abbey. In one of his buildings, and one of the best
structures in the world, the Manchester Assize Court, I could discover but
two things which appeared to me without special use or meaning. These
were two small figures, a snail and a frog, carved in granite, sitting in the
angles of a wall on each side of the main door-way. Of course these may not
be mere jeux; they may have some connection with a previous bit of
eccentricity in an older building (such as it is often desirable to copy and
preserve for archaeological reasons); but these two forms, each about as
large as one’s two fists, were the only things in the vast building which
appeared “not to the point.” In going over this building I speedily found that
it would not do to pass anything, as the most casual-seeming bit of
ornament was apt to possess a root in history. Thus the superstructure of the
great portico at the entrance is supported by detached shafts of solid granite
two feet in diameter, which stretch out into foliage as they meet the low
roof; but on examination it is discovered that, framed in this foliage, are
finely carved and most appropriate representations of ancient modes of
punishment—persons undergoing the pillory or some ordeal, broken on the
wheel, wearing the mask, or bridle, for scolds, and the rest. On the outside
wall the decoration of the upper edge of a large corbel is twined about the
words, “He shall judge thy people with righteousness, and thy poor with
judgment.” Over a gate leading to the judges’ residence the tympanum of
the gable is adorned with a fine mezzo-relievo of the Judgment of Solomon.
On each side of the grand entrance are carved two chained dogs, imposing
enough to be mythologically descended from Cerberus and Orthros
themselves. There are but two figures on the outer walls, one of “Justice,”
another of “Mercy.” The building is a parallelogram in form, with a
frontage of 335 feet. Within is a grand hall 100 feet long, 50 feet wide, 75
feet high, with an open timber roof of eight carved bays, the principals
having moulded brackets and ribs forming pointed arches, and the spandrels
filled in with elegant tracery. Carved figures hold the chandeliers. Around
this hall, which is for state receptions and banquets, run in ancient letters
the words of the Great Charter: “Nullus liber homo capiatur vel
imprisonetur aut disseisiatur de aliquo libero tenemento suo vel libertatibus
vel liberis consuetudinibus suis, aut utlagetur aut exulet aut aliquo modo
destruatur, nec super eum ibimus nec super eum mittemus, nisi per legale
judicium parium suorum vel per legem terræ. Nulli vendemus nulli
negabimus aut differemus rectum vel judiciam.” This makes about as
beautiful a cornice edging as can well be imagined. The last sentence is
repeated on a stained window at the end of the hall:

To none will we sell

To none will we deny
To none will we delay
Right or Justice.
The subject of the window illustrates the history of the Great Charter—
King John in the centre, and Archbishop Langton and Chief Baron Robert
Fitzwalter on either side. There are three miles of corridors, all with a dado
of tiles more than a yard deep, of a rich brown tint, and capped with a scroll
made of lighter colors. On the whole, I can hardly express adequately my
admiration of this superb building, the total cost of which was £130,000.
In the centre of Manchester the same architect has erected a larger
building, a Town-hall, which cost £1,000,000. Rich and admirable as it is, it
is not, on account of the crowding of houses around it, and the irregularity
of the ground upon which it is built, so effective in appearance as the Assize
Court. The interior decoration is remarkable for the beautiful variety of
 colors secured by a careful mingling of English, Scotch, and
Irish granites grouped as double stems in the balustrade of a
spiral stairway. The Irish granite is a bluish-gray, the Scotch
has a faint red tint, and the English Shapfels has salmon-
colored spars, which are as large as raisins. They all take a
beautiful polish, and I think that for a large public building the
effect is better than if they were marble.
Manchester has shown good sense and good taste in having
employed Mr. Ford Madox Brown to paint six, at least, of the
panels in the great hall of this Town-hall. These mural
paintings are not surpassed by any recent work of the kind
which I have seen. Mr. Madox Brown is pre-eminent for his
archæological knowledge and poetic conceptions, and his
genius has been at its best in these noble works. At the time of
this writing three panels have been finished. The first
represents the Romans building a fort at Mancenion
(Manchester), anno 60. Agricola, Governor of Britain, is
represented with a centurion beside him, examining a
parchment plan of the Camp; a standard-bearer holds the
silken Dragon-standard—emblem borrowed from the
“barbarians”—which floats in the wind. The Legionaries are
doing mason-work; Britons bear the stones and cement.
MINTON TILE.
Agricola’s wife and little boy are in the scene. The second
panel represents the Baptism of Edwin, at York, in the year
627. The artist follows the account of Bede, who says that a
small wooden church was hastily erected for this purpose on
the site where York Minster now stands, but has introduced a Roman
mosaic floor. In his noble picture of Edwin he has been inspired by
Wordsworth’s sonnet, “Paulinus:”
“Mark him, of shoulders curved, and stature tall,
Black hair, and vivid eye, and meagre cheek,
His prominent feature like an eagle’s beak;
A man whose aspect doth at once appall
And strike with reverence.”

The third panel is the Expulsion of the Danes from Manchester. One less
acquainted than this artist with ancient fact might be surprised at the
beardless, boyish appearance of the escaping Danes; but it is true that the
Vikings began their adventures early—at the age of fifteen, it is said—and
became respectable married men a few years later. The town-folk are
hurling missiles at the retreating party, one of which—thrown by a young
woman from a house—strikes down the “Raven” standard. Mr. Madox
Brown’s further designs include “The establishment of Flemish Weavers in
Manchester, 1330;” “William Crabtree (draper, of Broughton, near
Manchester) observing the transit of Venus, 1639;” and “The Decree Court
Leet that all weights and measures are to be tested, 1566.” No man is better
able to invest with beauty these events connected with the history of
Manchester. Mr. Madox Brown is using for these mural paintings the
“Gambier-Parry” process. The medium consists of a mixture of wax, resin,
and essential oil, with which the stucco of the wall is coated and the colors
ground. Every color ever used with oil, water, or fresco is admissible with
this medium; and the surface when dry is without shine, while yet the
utmost luminosity pertaining to any other method is attainable with it. It
seems likely to become the general mode in this climate, and has given
equal satisfaction to Sir F. Leighton and Mr. Madox Brown.
One other of the immense buildings which have become so characteristic
of the populous centres of England I must mention, namely, the new
Midland Railway-station, at St. Pancras, in London. This is probably the
finest railway-station in the world, and it is the chief work of Sir Gilbert
Scott. It is a vast pile, of which every outward detail is graceful and
substantial, its turrets and great clock-tower superb. This immense building
conveys, however, an unpleasant impression of being out of place. It
implies a park, or at least a larger and more picturesque space than the
irregular and ugly one at King’s Cross, to secure the perspective needed for
any sight of it as a whole. Entering, we find ourselves beneath a vast span
of iron and glass, almost like a sky. The front part of the building is a hotel.
It has been decorated by Robert Sang, and furnished by Gillow, in the most
expensive style, and certainly presents some rich interiors. The reading-
room has green cloth-paper, and a ceiling gay with huge leaf frescoes; it is
divided by a double arch with gilded architraves. The mantel-pieces are of
dark marble, with two small pillars of yellow marble set on either side. The
coffee-room has a general tone of drab, with touches of gold in the paper,
and a sort of sarcophagus chimney-piece, surmounted by an antique mirror
of bevelled glass. The sitting-room has red floral paper, and an imitation
mosaic ceiling. One of the bedrooms which I visited had deep-green paper,
with gold lines and spots, and bed-curtains somewhat similar. The furniture
was of heavy oak, tastefully carved. The halls and corridors have a dado of
fine dark brown tiles, and bright fleur-de-lis paper above. All of which was
rich, costly, and, with slight exceptions, by no means gaudy. Yet I could not
altogether like it, or think the decorations entirely appropriate for a hotel. It
looked as if there had been more exercise of ingenuity to find things costly
than to find things beautiful. The salon, the reading-room, may naturally be
made gorgeous, but the bedroom ought to be more quiet. One does not
desire to sleep amid purple and gold. The traveller who needs rest may well
spare these things—which, however, he knows will not spare him; for if
there is gold paper on the wall, there will be gold paper in the bill.

KIDDERMINSTER CARPET—FERN DESIGN.

For its purpose it would be difficult to fancy, impossible to find, a more

complete structure than “The Criterion,” which the great London caterers,
Messrs. Spiers & Pond, have erected at Piccadilly Circus. This building
includes social and private dining-rooms, room for table d’hôte, hall for
public banquets and balls, restaurant, and buffet; and beneath all these a
theatre large enough to entertain a thousand people. The architect, Mr.
Thomas Verity, plainly had it in his mind to raise a great gastronomic
temple, and when one enters the door, what he sees on every side is the
apotheosis of eating. Through an archway we enter, and find ourselves amid
the French Renaissance. The façade outside, and the door-way, with its
glazed framing and superb bronze columns, make one feel that he is about
to dine superbly. Really he does dine remarkably well, though the French
Renaissance hardly extends to the culinary art of the establishment, for that
would imply a revolution in the Briton’s constitution. Mr. Wyon has placed
some fair sculptures, the Seasons, etc., in the niches and on spandrels of the
wall outside, but the inside decorations of Mr. Simpson are truly, in the
words of Messrs. Spiers & Pond, “upon a scale which has hitherto never
been attempted.” The grand hall rises squarely through three stories to a
light Mansard-roof, from which sunburners blaze down at night, and
outside of which is a promenade commanding a fine view of London. All of
the sides of this grand and lofty hall are of tiles made for this establishment,
and combining to form large pictures, the subjects of which were designed
and painted by A. W. Coke. Over the right-hand door, leading to the
restaurant, is a semi-classical scene of youth and maid by the sea-side
gathering in fish; on the opposite side, over the door opening into the buffet,
is a picture of two girls in a wheat field, where there is an apple-tree, the
one attending to the sheaves, the other to the apples; around the lower hall
are—still in tile mosaic—large figures of Euterpe and Terpsichore (for there
will be music and dancing above), Pomona, Flora, Bacchus, and, of course,
Diana, goddess of venison. The floor of the hall is as fine as any mosaic in
London, and is adorned at the edges with the monograms of the firm. In the
restaurant there are all manner of allegorical figures on the walls, the
Seasons, and the genii which dig and delve and hunt, all with the object that
humanity shall be fed. In the buffet there are charming tile pictures
representing chubby boys and girls; one party up the tree gathering fruits,
the other beneath catching the same and putting them into baskets; in each
picture a different tree and fruit. On one side of the main stairway is the
figure of a boy stealing up to a bird’s nest, over which a bird hovers;
opposite, the boy has the nest, the bird flies away. This device is not
immoral; it means that plovers’ eggs are on the bill of fare. One of the finest
things in this staircase is an ebony hand-railing, three inches in diameter,
with plated silver mountings. Also a very fine effect has been produced by
framing the door-ways in white majolica, although greater simplicity in the
designs than human faces festooned with flowers would, I suspect, have
been better. I must not omit to mention that the cornice inside the grand
hall, at the top of the first and here floorless story, has the unique ornament
of sentences from Shakspeare running all around the walls, with picturesque
lettering:
“None here, he hopes,
In all this noble bevy, has brought with her
One care abroad: he would have all as merry
As first-good company, good wine, good welcome,
Can make good people.”

“A good digestion to you all: and, once more,

I shower a welcome on you;—Welcome all.”

MINTON TILES FOR MANTEL.

So it is that money enough enables common folk now to dine in palaces and
enjoy banquets quite as royally served and surrounded as Bluff Harry
offered to Cardinal Wolsey and the lords and ladies at the Presence
Chamber in York Place. But even that monarch could not have entertained
his guests so luxuriously in one particular as Messrs. Spiers & Pond theirs;
for these, having dined, may pass through a door and descend by a stairway
adorned with Muses and mirrors, and rich with floral clusters, to a theatre
all glorious in blue and gold, cushioned chairs, boxes with curtains of
yellow satin and lace, and a good drab background to set them off, and pass
the rest of the evening in enjoyment of well-acted comedies or operettas.
 So far as most of the hotels and restaurants of London are concerned,
one may with satisfaction follow the advice of the Duke of Gloster to Anne,
in the first act of Richard III.:
“Leave these sad designs
To him that hath more cause to be a mourner,
And presently repair to Crosby Place.”

For the old Gothic palace in the City, which Sir John Crosby built on a
piece of land with one hundred and ten feet frontage, for which he paid a
little over eleven pounds, which his widow sold to the duke who afterward
became Richard III., and which in Shakspeare’s time had fallen to the
richest of Lord Mayors (Sir John Spencer), has now followed the course of
so many royal buildings, and become the banqueting-hall of the public.
 ALBERT MEMORIAL, HYDE PARK.

ALBERT MEMORIAL. EUROPE.

ALBERT MEMORIAL—EAST FRONT. PAINTERS.

Crosby Hall is haunted by memories of the great. It gives flavor to

everything one eats in it to know that it has been celebrated by Shakspeare,
that from the year in which it was built (1466) it was associated with
whatever has been most romantic in the history of London. Here Sir John
Rest was installed as Lord Mayor in the days (1516) when the Lord
Mayor’s Show meant something. The civic procession which accompanied
him contained four giants, one unicorn, one dromedary, one camel, one ass,
one dragon, six hobby-horses, and sixteen naked boys. Here resided Sir
Thomas More, Under-treasurer and Lord High Chancellor of England. Here
he wrote his best works, and received the visits of Henry VIII. Here
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