Architectural history is littered with amanuenses—unsung (or at least under-sung) heroes whose contributions, typically done at the drafting table, helped popularize the work of some more recognizable genius. Look at the bottom of any rendering of a Philip Johnson project, and there will be the name of John Manley, the in-house artist whose luscious images earned him the nickname of “the ice cream man” from his employer of over five decades; leaf through a book on Frank Lloyd Wright, and on nearly every page covering the 1930s onward, the delicate, watery delineations will be from the hand of John H. Howe, who came to Taliesin at the
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