THE DECORATION OF BOOKS.
Books may be illustrated in a more or less pictorial manner without any
particular regard to the decoration of the page, or with due regard to
its ornamentation. In the latter case the designer of the decoration
will be the illustrator and decorator in one.
The great majority of modern illustrated books are not decorated in the
true sense of the word, but have their illustrations inserted as
pictures, or scraps of pictures, without borders or frames, and with
little or no relation to the distribution of the printed matter or to
the boundary lines of the page. In this respect the modern practice is
different from that observed in the Mediæval and Renaissance book
illustration, for in the two periods named, when a purely literal or
pictorial scene was inserted, it had usually borders like mouldings, or
borders of rich decoration, or sometimes bands and lines only, which
separated the picture from the printed or written text, and harmonized
with any other decoration that might be on the page. Thus an artistic
unity was usually preserved in the book decoration of earlier times,
which, generally speaking, is the exception in the present day, and not
the rule.
The modern practice was brought about by the invention of copper-plate
engraving—about 1477—when the copper-plate illustration became, in a
great measure, the substitute for wood-engraved blocks of a former
period. The plates were usually engraved with copies of pictures, and
the book decorator was superseded by the painter; the art and practice
of the former declined, while the work of the latter became fashionable,
and has remained so ever since.
Photography has been a considerable aid to the pictorial side of book
illustration, and has, on the other hand, been a great help to designers
of decorative illustration, for by the use of photography the designer
is enabled to have the work of his hand reproduced in facsimile, as in
the process block method, which has been such a powerful rival and
competitor to all kinds of engraving that it has now almost crushed them
out of existence.
Before the invention of printing books were very scarce, as they were
written in manuscript, and were mostly of a devotional character, made
for the use of the clergy and others in monastic establishments or
religious houses.
The writers and decorators of these missals or illuminated books were
chiefly the brothers or monks of the several religious orders.
Some of the earliest and best decorated books are those belonging to the
Irish Celtic art of the seventh and eighth centuries. The remarkable
designs of illuminated initials and capitals, and the intricate
geometric patterns, spirals, and involved interlacings of many
varieties, all executed with astonishing skill, were not excelled or
equalled by the scribes and designers of similar work in England or on
the Continent.
Foremost in importance among the many remaining monuments of Irish art
in book decoration is the celebrated “Book of Kells,” now preserved in
Trinity College, Dublin. It was formerly supposed to have been brought
to the Columban Monastery of Kells, or Kenlis, the ancient Cennanas, by
St. Columba, the founder of that Christian house, whose death is said to
have taken place in the year 597; but this is likely to be only
tradition, for it would appear, according to some later authorities,
that the character of the lettering and the style of the ornamentation
fixes the date of its execution about the end of the seventh century.
Although the native Irish phase of Celtic art possesses many
characteristics of its own, it is a development in some degree of the
more Eastern Romanesque ornament, and symbolic Byzantine, or even the
more primitive Greek. It is also mixed with a few geometric forms and
symbols that had existed in Ireland before the introduction of
Christianity in the fifth century.
In the “Book of Kells,” for instance, there are several illustrations
which show in some parts a Greek influence, and in one page the Greek
monogram of Christ appears.
The initial letters in square or rectilineal capitals usually occupy
large portions of the illuminated page, and are often embedded in
rectangular panels with borders, the latter being filled with elaborate
interlacings and spirals, &c. (Fig. 310).
The smaller text used by the Irish scribes was founded on the round or
uncial Roman variety of lettering, but in the Irish variety there is a
distinct improvement on the Roman in its beautiful and restrained
quality of artistic simplicity, combined with its perfect legibility. In
some Irish manuscripts an angular cursive or running hand was also used.
An illustration given at Fig. 311 of the frontispiece from the “Epistle
of Jerome,” in the Irish missal known as the “Book of Durrow,” is a fine
example of Celtic ornamentation. This and the previous illustration are
from Miss M. Stokes’ handbook on “Early Christian Art in Ireland.”
[Illustration: Fig 310.—Portion of Illuminated Monogram; Book of Kells.
(S.)]
The influence and art work of the Irish scribes and missal decorators in
England and on the Continent has been much greater than was formerly
believed. Missionaries were sent to England, Scotland, and to the
Continent, from the great monastic establishments in Ireland during the
period from the seventh to the eleventh centuries, and carried with them
“Gospels,” “Psalters,” and other missals, besides making many other
religious books for the use of the monasteries they had founded in
foreign countries. These Irish scribes also taught their art of book
illumination to the monks who lived at such places where they set up
their missions, or where they had become recluses in the foreign
monasteries already established. This accounts for the number of Irish
manuscripts that have been found in such monastic houses as that of St.
Gall in Switzerland, Bobio in Piedmont, at Mentz (Mayence), at Ratisbon
in Bavaria, at Honau on the Rhine, and at many other places on the
Continent. The style of art in all the manuscripts found at these
places, though introduced at the inception of Christianity into Ireland
from Italy through Gaul, had died out in the latter countries during the
fourth and fifth centuries, and was re-introduced, as we have seen,
under a modified phase into the Continent by the Irish missionary
scribes.
[Illustration: Fig. 311.—From the Epistle of Jerome; “Book of Durrow.”
(S.)]
The majority of the Anglo-Saxon manuscripts, if not written by Irish
scribes in England, were either decorated or copied closely from the
work of the latter. This is supported by some written testimony, but the
ornamentation of the pages themselves are distinctly of Irish design.
A common feature in the illuminated pages of the books of the Middle
Ages was the dividing of the pages into four compartments with
ornamental borders, and each compartment holding the figure of a saint
or symbols of the Evangelists, or having a miniature on the top half of
the page and two small columns of text below.
Anglo-Saxon manuscripts, with classical treatment of the figure designs,
may be seen in the King’s Library at the British Museum. The figures
have the attenuated Byzantine character, with the linear treatment of
the draperies, and with the long lobe-like forms which strongly mark the
intended position of the limbs under the drapery; while others show the
influence of the early Christian paintings of the catacombs at Rome and
Naples.
The “Charter” of the foundation of Newminster at Winchester (966) and
several “Gospels” in Latin of the eleventh century in the British
Museum, are examples of the best kind of Anglo-Saxon illuminated
manuscripts.
“Psalteries,” “Gospels,” and botanical works known as “Herbals” were
among the principal kinds of illustrated books, which were executed in
considerable numbers during the thirteenth and fourteenth centuries. The
text in these books was usually in solid columns, neatly written in a
kind of half-uncial letter in Latin, with large initials and surrounded
by broad borders, having little scrolls and trefoil leaves or flowers in
which four or six miniatures were placed at intervals. Some pages had
the upper half or more occupied by a miniature and had less text, but
nearly always there were the accompanying delicate borders designed with
great spirit and freedom, and consisting of ornament made up of leaves,
flowers, fruit, stems, lines, and spirals, executed on the vellum ground
in bright colours and burnished gold.
A characteristic of some of the missals of the fourteenth and fifteenth
centuries was the calendar pages at the beginning of the book. The pages
which contained the calendar had also, in some cases, miniatures in the
borders representing the seasons.
The Bedford Missal (1442), in the British Museum, is a good example of
the best French book decoration of that period. It contains a calendar,
and was the work of a French artist, though executed in England.
Towards the end of the fifteenth century the miniature began to assume
more importance and to occupy the whole of the page. The borders had
become more realistic in treatment; foliage, flowers, and insects were
rendered almost naturally on gold or coloured grounds, with cast
shadows, so as to give the utmost relief.
This treatment was not an improvement on the former flat Gothic style,
as it tended to lead to shadowy and meretricious work.
Two of the very finest books of this period are the “Romance of the
Rose,” in the British Museum, and the Grimani “Breviary” in St. Mark’s,
Venice. In the latter magnificent book some of the miniatures are
ascribed to the Flemish artist Memling.
The miniatures of the splendid choir books of Siena Cathedral are the
masterly designs of Girolamo da Cremona and Liberale da Verona, who were
famous at this kind of work. The quantity, variety, and purely Italian
character of the decoration of these books would almost be sufficient to
form a school of Renaissance art in itself.
With the invention of printing a great change came about in the
production of decorated books; but it is curious to note that, for a
long time after, in order to produce a book it was thought necessary by
the means of woodcuts and type to imitate the illuminated missals of the
former times.
A good illustration of this may be seen in the woodcut blocks from the
recently discovered Sarum Missal (Figs. 312, 313). This very important
acquisition to the list of Caxton’s works was found in 1893, in Lord
Newton’s library at Lyme Hall, Cheshire, and is one of the works which
Caxton sent to be printed in France. It contains some additions to the
text in Caxton’s handwriting and has an impression of his peculiar mark
at the end of the book.
The illustrations have been printed from wood blocks, and coloured by
hand afterwards, according to the practice which obtained at the latter
end of the fifteenth century.
Another interesting survival of the practice of placing a cross at the
bottom of the page, on which was represented the crucifixion, is seen
underneath the latter illustration (Fig. 313) in the Lyme Missal. In the
earlier illuminated missals this device was resorted to in order to keep
the picture of the crucifixion from being damaged by the frequent
kissing of the cross; and so a small cross was placed at the bottom of
the picture to enable the piously inclined to still perform this act of
piety without damage to the book.
The custom of engraving blocks for book illustration in outline, to be
filled in afterwards in colour, led the way to line engraving on wood,
where the pure line work was left uncoloured, and soon after became a
style by itself, which ultimately, as the art of black and white, was
sought after and prized for its own sake.
The invention of printing from type may be traced from the woodcuts, as
we have remarked above, some of the earliest of which were those cut for
playing cards at the beginning of the fifteenth century.
[Illustration: Fig. 312.—Page from the Caxton “Lyme Missal.”]
The invention was soon after applied to the production of the
xylographic or block-printed books, which were printed in colour from
the block. The colour was spread on the block, a sheet of paper was
placed on the top, and then rubbed over by the hand to get the
impression. The early block-books printed in this way had more pictorial
or decorative work in their pages than text or literary matter, and
therefore appealed more directly to the great uneducated masses of the
people of the times for whom they were compiled. By means of the block
printing, many proofs could also be taken to supply the increasing
demand for general knowledge which was springing up everywhere in the
fifteenth century. Letters, whole words, and legends were now also cut
for the printing of literary matter in the block-books. Book blocks were
cut in Germany, Holland, and Flanders; the period of their production
was from the year 1420 to 1510.
The invention of printing by movable type has been ascribed to various
people, but it is now pretty certain that the one name most entitled to
this honour is that of John Gutenberg, a native of Mentz (Mainz), who
set up a printing establishment in that city in the year 1455, and who
worked in connection with Fust, another German printer. The invention,
therefore, may date about 1450.
It was about 1455 that the Mazarin Bible was issued from the press of
Fust and Gutenberg at Mentz. Lord Ashburnham’s copy of the Mazarin
Bible, printed on vellum, has been sold this year (1897) for the sum of
£4,000.
Peter Schœffer was in partnership some years later with Fust, and in the
year 1457 they issued the famous Mentz Psalter (now in the British
Museum), the first book printed in different colours from the same
block, and the first printed book with a date. This book is a triumph of
technical skill, and is unique in its beauty among printed books of the
earliest period.
[Illustration: Fig. 313.—Page with the Crucifixion from the Caxton “Lyme
Missal.”]
There are few, if any, of the early printed books that cannot lay a
great claim to artistic merit, but this would hardly have been possible
if the designers of the type and ornament for the decoration of the
pages, at the advent of printing, had not had before their eyes the
splendid models left them by the caligraphers and illuminators of the
preceding centuries.
It will be convenient here to say a few words concerning early English
printing, which is associated with the name of its great founder,
William Caxton (1423-1491). He was a merchant and a diplomatist, but a
man of strong literary tastes. He learned the art of printing from
Colard Mansion, at Bruges, where he had set up as a merchant; but
leaving his business, he entered the household of the Duchess of
Burgundy, sister of Edward IV., where he was engaged in literary
pursuits, and for her he made a translation of Le Fevre’s “Recueil des
Histoires de Troyes.” It was in order to multiply copies of this work
that he learned the art of printing, and it is said that this was the
first English book ever printed, which was probably printed by Mansion
at Bruges, under the literary direction of Caxton, in the year 1476.
Caxton came back to England in 1477, and set up a printing press at
Westminster, from which he issued a great many books during the last
fourteen years of his life. His first book printed at Westminster was a
work called “Dictes and Sayings of the Philosophers,” which is known to
be the first English book printed in England. It is now shown in Case
VIII., King’s Library, in the British Museum. Among Caxton’s other books
may be mentioned several editions of the poets Chaucer, Lydgate, and
Gower, Malory’s “Morte d’Arthur,” &c. He evidently sent books of his own
composition to be printed on the Continent, as witness the Sarum Missal
before mentioned.
The early printed books did not have title-pages. The slow development
of this feature after the invention of printing is accounted for by the
reason that in this respect, as in others, the first printed books were
modelled in imitation of the illuminated missals, and it was not deemed
necessary in the mediæval books and manuscripts to have a title-page,
the scribe of the olden time merely recording in a note or label
fastened to the end of the volume the name and description of his work;
so this habit was continued for a long time by the early printers. This
note or ending was called a _Colophon_.
Title-pages began to come into use about 1490, but it was not until
about forty years later that they became general.
Printers’ devices, which were generally of an heraldic character, were
commonly seen on the title-pages, some of which were very elaborate and
finely designed. The famous printing house of Aldus at Venice had a
device of an anchor with a dolphin twined around it, and the motto
“Propera tarde,” or “Festina lente” (hasten slowly). It was from the
printing press of Aldus, in 1499, that the celebrated book called
_Poliphili Hypnerotomachia_, “The Dream of Poliphilus,” was issued. It
is a finely illustrated book, consisting of classical compositions of
figures and processions, many architectural designs, ornamental letters,
emblems, and devices, all of which are executed in outline and printed
from wood blocks.
The illustrations have a fine quality of line, somewhat in the spirit
and style of Mantegna’s processional designs, or like those great
woodcuts in the “Triumph of Maximilian” by Hans Burgmair and Albert
Dürer; they are supposed—without, however, any definite proof—to be the
work of Gentile or Giovanni Bellini. The book is a romance written and
illustrated in the spirit of classical antiquity that so deeply coloured
the art and literature of the early Renaissance epoch. A reproduction of
the illustrations of this book in photo-lithography by Mr. W. Griggs,
with notes by Dr. Appell, was issued by the Science and Art Department
in 1888.
[Illustration: Fig. 314.—Illustration from Woodcut of Dante’s “Inferno;”
Fifteenth Century.]
Somewhat in the style of “The Dream of Poliphilus” is the illustration
(Fig. 314) from an edition of Dante’s “Inferno” of the same period.
A reduced specimen of the flat treatment of a Renaissance border, from a
woodcut which appeared in an edition of “Herodotus” printed at Venice in
1470, is shown as the Frontispiece of this volume. This rich and
delicate design is extremely effective in white on a black ground, and
is artistically appropriate to the decoration of the page, much more so
than the later French and German work in borders and title-pages, which
was usually of an extremely heavy character.
Shaded designs of an architectural kind, such as friezes, columns,
bases, and pediments, with corpulent figure decoration and heavy
mouldings, were compositions which in the latter end of the sixteenth
and during the seventeenth centuries took the place of the earlier light
arabesque scroll-work of the Italian school, which revelled in the
beauty of purer outline and in flat treatment of black and white.
Jean Goujon, Jean Cousin, Virgil Solis, Ducerceau, Stimmer, Jost Amman,
and others, though versatile and vigorous to the highest degree, and
clever French and German draughtsmen of the sixteenth century, their
work in book decoration was more like designs for stone carving and
sculpture than legitimate decoration for books. At the end of the
century, however, a more correct appreciation of book-cover decoration
was manifested. This was due to the happy influence of Arabian design
when mixed with the prevailing Renaissance forms. The Oriental craftsmen
who came to Italy, and the great commerce of Venice and Europe generally
with the East, served to colour in a marked degree the design of the
ornamental arts, and nowhere do we see the purely Arabian strap-work and
peculiar Saracen leafage used to such advantage as in the tooled and
stamped book-cover designs of this period. The Henri Deux book-cover
design (Fig. 315) is Arabian in its details, but Renaissance in its
general arrangement. It might have been designed by Ducerceau, but
perhaps more likely by Solomon Bernard of Lyons—known as “Le Petit
Bernard”—who was a prolific designer of small pictures for wood-engraved
book illustrations. He died at Lyons in 1570.
[Illustration: Fig. 315.—Cover of a Rook. Henri-Deux Style; Sixteenth
Century.]
Both of these designers, as well as another famous designer of book
decoration, Geoffry Tory, were very partial to the use of strap-work and
Arab foliation. The latter artist was also a scholar and author, and
produced many fine designs for book-covers. Fig. 316 is a very delicate
and rich design for the cover of a “Book of the Hours,” by Tory, and is
a good example of the Franco-Renaissance of the sixteenth century.
Jean Grolier, Viscount d’Aguisy, was one of the earliest and greatest
bibliophiles of France. Though of Italian origin he adopted France as
his country, and was Treasurer-General of France when he died, in 1565,
at the age of eighty-six. He was appointed ambassador to Clement VII. in
the year 1534, and at this time had begun to collect valuable books,
that had been chiefly printed in Venice and at Basle. These books were
generally unbound copies, but were printed with great care on beautiful
paper. On his return to France he employed Geoffry Tory and other
designers as well as the best craftsmen in bookbinding to decorate and
clothe his precious works. The illustrations we have given are such as
are usually found on the Grolier bindings, which nearly always consist
of designs composed of strap-work or interlacings and delicate tracery,
clothed with Arabian foliage, worked on prepared costly leathers in
various colours, and often heightened with gold.
Grolier’s bindings usually bore in addition to the title of the book the
inscription “Jo Grolierii Et Amicorum,” indicating that they belonged to
Grolier and his friends, at the same time adding a testimony to the
unselfish spirit of the great book-lover.
[Illustration: Fig. 316.—Cover for a “Book of the Hours,” designed by
Geoffry Tory; French, Sixteenth Century.]
The strap-work and Oriental foliage designs, which had developed so much
in France, went even further in Germany, not only in bookbinding
decoration, but in gold and silversmiths’ work, and in architecture—as
we have noticed before in this volume—and nearly all the German,
Flemish, and Dutch artists of the sixteenth and following century, who
designed for book decoration, adopted the above features in their
ornament. Great masters like Albert Dürer, Holbein the younger, Lucas
Cranach, and Hans Burgmair, and the “little masters”—Jost Amman, Hans
Sebald Beham, Aldegrever, Virgil Solis, Jerome Bang, Peter Flötner of
Liége, the Collærts and Janssens of Antwerp, and Lucas Kilian of
Augsburg—were the principal designers and engravers for book decoration
and illustrations, in which work they were engaged among their varied
and prolific labours in other branches of decorative art.
During the seventeenth century the power of design was growing rapidly
weaker, the ornament became coarser in feeling and imitated the
cumbersome and heavy traditions of classical art. Headpieces,
tailpieces, and printers’ devices or marks were now more in fashion,
rather than the consideration of the design of the page as a whole
decorative scheme.
Title-pages with heavy architectural pretensions and pictorial views
began to be very common at the end of the century and throughout the
eighteenth century.
The pictorial illustration in black and white was due to the development
of copper-plate first, and steel engraving afterwards, as new methods
for book illustration. These processes were developed very much in Italy
and France at the beginning of the eighteenth century, and in England
their use in book illustration might be said to extend from about the
middle of the eighteenth to the middle of the present century. This
period embraced that of the publication of a type of English books of
essays, poems, and short stories, known as Anniversaries, Amulets,
Annuals, Keepsakes, Souvenirs, &c. These books were filled with
beautifully executed line engravings of landscapes and figure subjects,
and most of them were of the highest order of technical skill. The
period of their existence was from 1780 to 1830.
Book decoration had become more and more pictorial and less decorative
when the method employed was line engraving, for, generally speaking,
pictures in oil or water-colour were copied with great fidelity and
skill by the engraver for use in book illustration, and thus through the
agency of the burin or engraver’s tool the painter supplanted the book
decorator.
Many of the line engravings in the books of the above period show a
mixture, on the same plate, of pure line engraving and etching, the
latter being a process in which the lines of the design are scratched
into the metal plate, which had been previously covered with a wax
preparation, and the lines thus exposed are bitten deeper by an acid
solution into which the plate is immersed.
Three artists of great talents—Prout, Stothard, and Turner—supplied
designs and water-colour drawings of landscapes, figures, and decorative
compositions, that were engraved as book illustrations. The
illustrations, though on a small scale, to Rogers’s “Poems,” were very
beautifully engraved by William Finden, after the designs of Stothard,
who made the figure compositions, and of Turner, who did the landscapes.
Finden was the great interpreter of Stothard’s figure designs, but was
equally successful in his engraving of Turner’s landscapes.
Stothard has designed many illustrations for books which are
characterized by a fine sense of decorative value; his figures were, as
a rule, clothed in light classical costumes, and were graceful in pose
and in drawing. The best engravers of the day, such as Finden, Heath,
Allen, Fox, Goodyear, Robinson, and Humphreys, were engaged for the
publishers in translating his designs for book illustration.
Steel-engraved frontispieces to books on science, history, travels,
architecture, and philosophy had become very common in the eighteenth
century. The designs of these were more or less of a heavy classical
type of architectural framing and allegorical figures, sometimes
enclosing portraits or landscape views. Hogarth’s engraved designs and
the work of Flaxman maybe said to be at the opposite poles of art; the
dramatic realism of the former is in strong opposition to the classic
idealism of the latter. The works of both have been used as book
illustrations, but neither of them can be called book decorators, their
engraved works being produced as plates, or as a series of pictures, and
the text of the books written merely in explanation of the plates.
The poet and highly imaginative artist, William Blake, in his designs
for his “Songs of Innocence” (1789), and in his “Book of Job,” reverts
to the old missal-painters’ manner of embodying together the text,
ornament, and miniatures, in one decorative scheme of unity, in the
artistic treatment of the page. Blake engraved his own designs, and
printed them off in black and white, or sometimes in colour.
During the later years in which steel engravings for books were in
fashion, the revived art of wood-engraving was making a slow headway
towards recognition and favour in England, and its complete revival was
owing to the persistent efforts and genius of Thomas Bewick (1753-1828).
Bewick was not only a wood-engraver and a craftsman of the highest
order, but was an artist gifted with a fine feeling for humour and
pathos, and many of his small compositions are characterized by a good
deal of pictorial effect. His best works, from a technical point of
view, are his illustrations of natural history, the finest of which are
the illustrations in his book, the “History of British Birds,” which
show Bewick at his best in the rendering of bird form and feather
texture. He also designed and executed many dainty little compositions
of landscapes with figures and animals as tailpieces.
The school of Bewick, formed of his pupils and others, served to keep
alive the art of wood-engraving until the revival was assured, for
Bewick had a difficult task to get the public to appreciate his work
during his lifetime.
The names of his principal pupils were Luke Clennel, who was the most
celebrated, and who was also a good water-colour painter; Charlton
Nesbitt, Robert Johnson, and William Harvey.
A self-educated engraver of some note was Robert Branston, of Lynn,
Norfolk (1778-1827).
John Thompson was a pupil of Branston, who excelled his master, and was
the best engraver of his time in England.
A great name among English wood-engravers is that of William J. Linton,
who has done more by his work and pen to advance the art than any one.
His best work was executed about the middle of this century,
particularly in the engravings of Rossetti’s designs for Tennyson’s
poems (1857-59). He is also known as a writer and designer of
considerable power.
A pupil of his—Mr. Walter Crane—whose work is so well known and admired
in the present day, has designed some fine decorative work for book
illustration. His children’s books are good examples of colour and
design, but perhaps his own poem, “The Sirens Three,” where he has
designed and executed the lettering and beautiful decoration, best
fulfils the conditions of what a decorated page ought to be, and maybe
ranked as one of his greatest efforts in book decoration.
The late Randolph Caldecott, whose characteristic humour appears in
every line of his work, was another great designer of children’s books.
His colouring is very harmonious and refined, and though his work is
mostly of a pictorial character, yet in his larger pages he displays a
true feeling for the decoration of the page.
Children’s illustrated books of fairy tales have multiplied very much of
late years, and in many of them is seen some of the old decorative
feeling, where the text and illustrations are considered in an artistic
relation to each other. This will also be noticed in many illustrations
to poems which often appear in the monthly magazines of the present day.
On the other hand, picture illustrations and scrappy designs of the
vignette order are very common.
These are generally inserted, without any apparent order, on any part of
the page, and the type matter filled into the vacant spaces. This
picture-screen method of book, newspaper, and magazine illustration has
no doubt been developed by our recent acquaintance and infection with
Japanese art, which, though highly artistic and decorative in many
senses, is wanting in balance of mass, and is only occasionally right in
arrangement of line. Japanese decoration as such is generally charming,
but when the Western designer copies the Japanese ideas without the
style and methods of execution, the result may have novelty to recommend
it, but otherwise it is a failure.
It is hardly necessary to say that the reign of wood-engraving is almost
now at an end as far as book illustration is concerned, and, like steel
engraving, has nearly become an art of the past, owing to the great
advance made in recent years in the many methods of black and white
reproduction, which is mainly due to the powerful help and agency of
photography.
END.
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HARBUTT. With Illustrations. Crown 4to, 4s.
---------------------
=MODERN ARCHITECTURE=: A book for Architects and the Public. By H.
HEATHCOTE STATHAM, Editor of _The Builder_, and Author of
“Architecture for General Readers,” &c. With numerous Illustrations
of Contemporary Buildings. Demy 8vo.
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=FIGURE DRAWING AND COMPOSITION.= Being a number of Hints for the
Student and Designer upon the Treatment of the Human Figure. By R.
G. HATTON. With 500 Diagrams. Crown 8vo, 9s.
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=ARCHITECTURE FOR GENERAL READERS=: to which is added an Historical
Sketch of Architecture. By H. HEATHCOTE STATHAM. With hundreds of
Illustrations by the Author. Second Edition, Revised. Demy 8vo, 12s.
---------------------
=THE THEORY AND PRACTICE OF DESIGN.= An Advanced Text-Book on Decorative
Art. By F. G. JACKSON. With 700 Illustrations. Large crown 8vo, 9s.
---------------------
=THE HORSE.= By CECIL BROWN. The work is thoroughly practical, and shows
the Horse as he really is, not as he is too often represented in
conventional art. The work will be invaluable to every artist and to
every horse-lover. In Eight Parts, each 2s. 6d.; or in one volume,
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=ELEMENTARY DESIGN=: being a Theoretical and Practical Introduction in
the Art of Decoration. By R. G. HATTON. With 110 Illustrations.
Crown 8vo, 2s. 6d.
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=STUDIES IN PLANT FORM AND DESIGN.= By W. MIDGLEY and A. E. V. LILLEY.
With numerous Illustrations. Second Edition. Demy 8vo, 4s.
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=WOOD CARVING.= By JOS. PHILLIPS. A Carefully Graduated and Educational
Course of Wood Carving, specially adapted for Schools and Technical
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Drawings, 5s.
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=RAPHAEL: HIS LIFE, WORKS, AND TIMES.= By EUGENE MUNTZ. A New and Cheap
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=A PRACTICAL HANDBOOK OF DRAWING:= For Modern Methods of Reproduction.
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results. Crown 8vo, 7s. 6d.
---------------------
=EGYPTIAN ART.= By C. RYAN. With 56 Illustrations. Crown 8vo, 2s. 6d.
---------------------
=PRINCIPLES OF ORNAMENT.= By J. WARD. Edited by G. AITCHISON, A.R.A.
Fully Illustrated. New and Enlarged Edition. Crown 8vo, 7s. 6d.
---------------------
=DECORATIVE DESIGN.= An Elementary Text-Book of Principles and Practice.
By F. G. JACKSON. Fully Illustrated. Third Edition. Large crown 8vo,
7s. 6d.
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=THE DECORATION OF METALS:= Chasing, Repoussé, and Saw Piercing. By JOHN
HARRISON. With 180 Illustrations. Crown 8vo, 3s. 6d.
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=WOOD-CARVING IN THEORY AND PRACTICE, AS APPLIED TO HOME ARTS,= with
Notes on Design. By F. L. SCHAUERMANN. 124 Illustrations. Second
Edition. Imp. 8vo, 5s.
---------------------
=SCIOGRAPHY:= or, Parallel and Radial Projection of Shadows. Being a
Course of Exercises for the use of Students in Architectural and
Engineering Drawing. By R. PRATT. With numerous plates. Oblong 4to,
7s. 6d.
---------------------
=THE SCULPTOR AND ART STUDENTS’ GUIDE TO THE PROPORTIONS OF THE HUMAN
FORM.= With measurements in feet and inches of Full-grown Figures of
Both Sexes and of Various Ages. By Dr. G. SCHADOW. Oblong folio,
31s. 6d.
---------------------
=ELEMENTARY PRINCIPLES OF ORNAMENT.= By JAMES WARD. Illustrated. 8vo,
5s.
---------------------
=HANDBOOK OF PERSPECTIVE.= By H. J. JAMES, M.A., Cantab. With 75
Diagrams. Crown 8vo, 2s. 6d.
---------------------
=TEXT-BOOK ON SHADES AND SHADOWS, AND PERSPECTIVE.= By JOHN E. HILL,
Associate Professor of Engineering, Brown University. Twelve folding
Plates. 8vo, net, 8s. 6d.
---------------------
=HINTS TO AMATEURS.= A Handbook on Art. By LOUISE JOPLING. With
Diagrams. Crown 8vo, 1s. 6d.
---------------------
=TEN LECTURES ON ART.= By E. J. POYNTER, R.A. Large crown 8vo, 9s. New
and Enlarged Edition.
---------------------
=BENT IRONWORK FOR BEGINNERS AND PROFICIENTS.= By AMANDA SANDERS. With
55 Illustrations. Crown 8vo. 2s. 6d.
---------------------
=ELEMENTARY DRAWING.= A few Suggestions for Students and Teachers. By H.
FOSTER NEWEY. Illustrated. Crown 8vo, 2s. 6d.
---------------------
=A TREATISE ON PRACTICAL PLANE AND SOLID GEOMETRY.= Containing Solutions
to the Honours Questions set at the Examinations of the Science and
Art Department (1887-1896) inclusive. Fully Illustrated. By T. J.
EVANS, Lecturer in Geometry and Architectural Subjects at the
South-West London Polytechnic Institute; and W. W. F. PULLEN,
Wh.Sc., A.M.I.C.E., Head of the Engineering Department, South-West
London Polytechnic Institute. Demy 8vo, 9s.
---------------------
=THE CHARACTERISTICS OF STYLE:= An Introduction to the Study of the
History of Ornamental Art. By R. N. WORNUM. Ninth Edition. Royal
8vo, 8s.
---------------------
=PERROT (G.) and CHIPIEZ (C.).—A HISTORY OF ART IN PRIMITIVE GREECE
(MYCÆNIAN).= With 553 Illustrations and 20 Coloured Plates. 2 vols.
Imperial 8vo, 42s.
---------------------
——— ——— =A HISTORY OF ANCIENT ART IN PERSIA.= With 254 Illustrations,
and 12 Steel and Coloured Plates. Imperial 8vo, 21s.
---------------------
——— ——— =A HISTORY OF ANCIENT ART IN PHRYGIA,= LYDIA, CARIA and LYCIA.
With 280 Illustrations. Imperial 8vo, 15s.
---------------------
——— ——— =A HISTORY OF ANCIENT ART IN SARDINIA,= JUDÆA, SYRIA, and ASIA
MINOR. With 395 Illustrations. 2 vols. Imperial 8vo, 36s.
---------------------
——— ——— =A HISTORY OF ANCIENT ART IN PHŒNICIA AND ITS DEPENDENCIES.=
With 654 Illustrations. 2 vols. Imperial 8vo, 42s.
---------------------
——— ——— =A HISTORY OF ART IN CHALDÆA AND ASSYRIA.= With 452
Illustrations. 2 vols. Imperial 8vo, 42s.
---------------------
——— ——— =A HISTORY OF ART IN ANCIENT EGYPT.= With 600 Illustrations. 2
vols. Imperial 8vo, 42s.
CHAPMAN AND HALL’S
SCIENCE PUBLICATIONS.
[Illustration]
=FIRST PRINCIPLES OF MECHANICAL AND ENGINEERING DRAWING.= A Course of
Study adapted to the Self-Instruction of Students and Apprentices of
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Teachers in Technical and Manual Instruction Schools. By H.
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Mechanical Engineers and Institution of Naval Architects. With
upwards of 350 Diagrams in Illustration of the Principles of the
subject. Demy 8vo. 7s. 6d.
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=A TEXT-BOOK OF MECHANICAL ENGINEERING.= By WILFRID J. LINEHAM,
M.I.Mech.E., Head of the Engineering Department at the Goldsmiths’
Company’s Institute, New Cross. Second Edition. 8vo. 10s. 6d. net.
---------------------
=MACHINE CONSTRUCTION AND DRAWING =(Elementary and Advanced). A Key to
the Examinations of the Science and Art Department. By HENRY ADAMS,
M.Inst.C.E., M.Inst.M.E., F.S.I., &c., Professor of Engineering at
the City of London College. 2 vols. Crown 8vo 2s. 6d. each.
---------------------
=ILLUSTRATIONS OF THE PRINCIPAL NATURAL ORDERS OF THE VEGETABLE
KINGDOM.= By D. OLIVER, F.R.S., late Professor of Botany, University
College, London. New Edition. 109 Plates, coloured. Royal 8vo. 16s.
---------------------
=PRACTICAL PLANE AND SOLID GEOMETRY.= A Treatise containing Solutions to
the Honours Questions set at the Examinations of the Science and Art
Department (1887-1896) inclusive. Fully Illustrated. By T. J. EVANS
and W. W. F. PULLEN, Wh.Sc., A.M.I.C.E., South-West London
Polytechnic Institute. Demy 8vo. 9s.
---------------------
=KEY TO EXAMINATIONS OF SCIENCE AND ART DEPARTMENT.= Subject
III.—BUILDING CONSTRUCTION. By HENRY ADAMS, M.Inst.C.E.,
M.Inst.M.E., &c., Professor of Engineering at the City of London
College. Crown 8vo. 4s.
---------------------
=PRACTICAL PLANE AND SOLID GEOMETRY.= A Key to the Examinations of the
Science and Art Department. By HENRY ANGEL, Lecturer on Geometry at
the Birkbeck Institute, Woolwich Polytechnic, &c. Gold Medallist.
Crown 8vo. 3s. 6d.
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=MECHANICAL ENGINEERS’ POCKET-BOOK.= A Reference Book of Rules, Tables,
Data, and Formulæ, for the Use of Engineers, Mechanics, and
Students. By WILLIAM KENT, A.M., M.E., Consulting Engineer. 1,100
pages. 12mo, morocco flap. 21s. net.
---------------------
=CIVIL ENGINEERS’ POCKET-BOOK= of Mensuration, Trigonometry, Surveying,
Hydraulics, Hydrostatics, Instruments and their adjustments,
Strength of Materials, Masonry, Principles of Wooden and Iron Roof
and Bridge Trusses, Stone Bridges and Culverts, Trestles, Pillars,
Suspension Bridges, Dams, Railroads, Turnouts, Turning Platforms,
Water Stations, Cost of Earthwork, Foundations, Retaining-Walls, &c.
In addition to which the elucidation of certain important Principles
of Construction is made in a more simple manner than heretofore. By
J. C. TRAUTWINE, C.E. 12mo, morocco flaps, gilt edges. Seventeenth
edition, 47th thousand. Revised and enlarged, with new
Illustrations, by J. C. TRAUTWINE, Junr., C.E. 21s. net.
---------------------
=THE MATERIALS OF CONSTRUCTION.= By J. B. JOHNSON. Large 8vo. 800 pages.
650 Illustrations, 11 Plates, and Complete Index. 25s. net.
---------------------
=THE MECHANICAL ENGINEERING OF POWER PLANTS.= By Professor FREDERICK R.
HUTTON, Columbia University. 8vo. 21s. net.
---------------------
=HIGHER MATHEMATICS:= a Text-Book for Classical and Engineering
Colleges. Edited by M. MERRIMAN and R. S. WOODWARD. 8vo. 2ls. net.
---------------------
=STEAM BOILERS.= By CECIL H. PEABODY and E. F. MILLER, Professor of
Marine Engineering and Naval Architecture. 8vo. 17s. net.
DIAGRAMS FOR CLASS TEACHING.
(_Adapted to the Requirements of the Science and Art Department._)
=THE PRINCIPLES OF MINING.= Arranged by E. T. HOWARD, M.A., F.G.S , and
E. W. SMALL, M.A., B.Sc., F.G.S. These Diagrams have been arranged
in accordance with the list given in the Directory of Science and
Art (1895). The object has been to supply a really useful selection
at a very moderate cost. Twelve sheets, size 30 in. by 40 in. Price
21s. net; on rollers and varnished, £2 2s. net.
=TERRESTRIAL AND ASTRONOMICAL PHENOMENA AND OBJECTS.= By R. A. GREGORY,
F.R.A.S., author of “Elementary Physiography,” “The Planet Earth,”
&c. These diagrams have been prepared to illustrate Phenomena and
Objects which cannot be experimentally demonstrated or easily
observed. It is believed that they will not only be of value in
Departmental Classes, but also in Elementary Schools where Physical
Geography is taught. Twelve sheets, size 30 in. by 40 in. Price 21s.
net; on rollers and varnished, £2 2s. net.
---------------------
BOTANICAL.
=ILLUSTRATING A PRACTICAL METHOD OF TEACHING BOTANY.= By Professor
HENSLOW, F.L.S. Nine sheets coloured, 42 in. by 31 in., £2; on
rollers and varnished, £3 3s.
MACHINE DETAILS.
=SIXTEEN COLOURED DIAGRAMS.= By Professor UNWIN. 31 in. by 23 in., £2
2s.; on rollers and varnished, £3 14s.
MODELS.
=SYLLABUS OF ART EXAMINATIONS.=
_Minute by Science and Art Department._
MODEL DRAWING,
ELEMENTARY AND ADVANCED STAGES.
Models and Vases prescribed by the Science and Art Department for the
use at the above Art Examinations. These Models and Vases have been duly
approved by the Authorities, and specially manufactured for CHAPMAN &
HALL, LIMITED.
_The Entire Collection consists of_—
1. VASE—Bottle. 8. HEXAGONAL PRISM.
2. VASE—Majolica Vase. 9. TRIANGULAR PRISM.
3. VASE—Large Earthenware Vase. 10. SQUARE PRISM.
4. CUBE—Large. 11. SQUARE PYRAMID.
5. CUBE—Small. 12. SKELETON CUBE.
6. CONE. 13. SPHERE.
7. CYLINDER. 14. RING.
Price in box, complete, £4 net.
Set for Elementary Stage (Subject 3A—First Figure), £2 16s. net.
Set for Advanced Stage (Subject 3A—Second Figure), £1 4s. net.
------------------------------------
=CASTS.=
A CATALOGUE OF CASTS,
Especially selected for the use of Schools of Art, Art Classes,
Technical Schools and Public and Elementary Schools. Price 1s.
This Catalogue contains Illustrations of 423 different Casts, a great
number of which are made by Messrs. Chapman & Hall from original and
copyright designs, and from exhibits in the South Kensington Museum. The
selection and manufacture are under the personal supervision of the Art
Master of one of the largest Art Schools of England.
NOTICE.—The above diagrams, models, &c., can be inspected in the Show
Room of Messrs. Chapman and Hall’s premises, together with a vast
assortment of mechanical and other models, vases, diagrams, and drawing
examples. Catalogues post free.
------------------------------------
LONDON: CHAPMAN & HALL, LTD.,
_Agents to the Science and Art Department._
------------------------------------------------------------------------
Transcriber’s Note
Some inconsistencies in formatting conventions have been corrected,
without further mention. Occasionally, diacritical marks are used (or
not used) inconsistently as well, and has been made regular to
facilitate searches.
The compound word ‘salt-cellar’ is given both with and without the
hyphen. They have been retained as printed.
Any errors deemed most likely to be the printer’s have been corrected,
and are noted here. The references are to the page and line in the
original. The following issues should be noted, along with the
resolutions.
xiv.16 Salt-cell[e/a]r, portions of, by Pierre Replaced.
Raymond
11.f8 Earthe[r]nware Plaque; Alcora Ware. Removed.
83.19 The glaze gives a slight[l]y uneven surface Inserted.
167.4 plated with gold[.] Restored.
272.6 This celebrated furnitu[t/r]e Replaced.
319.18 for g[e]orgeous colouring Removed.
361.33 there [has] been several attempts _sic_: have
382.4 known as “flügelgläs[s]er” Removed.
End of Project Gutenberg's Historic Ornament, Vol. 2 (of 2), by James Ward