COLOUR DECORATION IN ENGLAND
The polychromatic decoration of buildings in England, like the
architecture, was in a great measure a development of, or at least was
strongly influenced in its inception by, Italian and French art; we
might add, also by German and Flemish decorative art of the fourteenth
and fifteenth centuries.
It may be said that English decorative art and colouring has, and always
had, a certain style and character of its own which has distinguished it
from that of other countries, but we must admit that the seeds from
whence it sprang were not all of native origin. The English tree of art
was not indigenous to the country, but rather an exotic that grew
extremely well after it became deeply rooted in the receptive and
fertile soil of England. If this be true of the historical beginnings of
British art, it must also be said, on the other hand, that the original
features and complexion of the adopted art have been completely changed
to an aspect of British nativeness.
The brief outlines, given in the previous chapters, of the practice of
coloured decoration in Italy, France, and Germany may throw some light
on the styles and methods of ornamental design and colouring as
practised in our own countries, especially in medieval times.
In the pre-Norman days English churches were decorated in colour, though
in a rude manner. The Venerable Bede relates that in the year 678 the
Monastery of Weremouth was decorated with paintings done by French
artists. Paintings and tapestry hangings were the usual adornment of the
pre-Norman churches. As early as 674 Wilfrid, Bishop of York, had the
walls, the sacrium arch, and capitals of the columns of his church
decorated with sacred subjects, and otherwise richly coloured.
Nothing, however, except a few traces of colour on some very old
edifices now exists that dates from the period anterior to Norman times,
and even only a little of the colouring on mouldings, carvings, and
other portions of the Norman architecture of our great cathedrals and
smaller churches, but such portions of colouring as still remain are
sufficient to prove that the buildings of the Norman period, in common
with all pre-Reformation churches, must have been decorated and coloured
from floor to ceiling.
The colours used were very few and simple, such as red, black, and
yellow only in some schemes, but in others, blues and greens were
introduced.
Mural paintings and sacred subjects, together with the subordinate
ornamental decoration, once covered the interiors of Norman churches,
but little traces are now left of such. Decorative patterns in
simulation of Norman mouldings and diapers were still used in the
decoration of later churches up to the end of the first quarter of the
thirteenth century.
Frequent mention of colour decoration in England is made in the records,
or Close Rolls, of Henry III, dating from the first decade of the
thirteenth century. In these documents we find references to the
painting of the king’s chambers in his palaces at Westminster, Guilford,
Windsor, Winchester, and Clarendon, and mention is made of certain
colours and gold, as well as of oil and varnish. References are also
made to the making of stained-glass windows; and we know that miniature
painting was practised in England at that period. The subject-pictures
and ornamentation of the illuminated manuscripts were often copied on
the walls of churches and palaces, and also in stained-glass windows of
this time.
This English king had a great passion for adorning his numerous palaces
and chapels with painted decoration and stained-glass. He also
encouraged the art of miniature painting, and, to mention one instance
of this, he ordered a large book of miniatures, which contained the
illustrations and record of the exploits of his heroic uncle, King
Richard I, at the siege of Antioch during the Crusade. It is also
mentioned that he “ordered that the exploits should be the subjects of
paintings on the wainscot of a room in the royal palace at Clarendon.”
These “exploits” also formed the subjects of other paintings that were
executed fourteen years later in the Tower of London, and also in the
Antioch (Jews’) Chamber at Westminster. One curious and intimate
connection with the painting of miniatures, as book-illustrations and
mural painting, is shown by the circumstance of the king’s librarian
being also the custodian of the colours, which he supplied to the
decorators by order of the king. It is evident from this that colours
used for the illumination of books and for wall-paintings were possibly
of the same kind, and perhaps of the same value.
In some old illuminated manuscripts there are frequently representations
of interiors of rooms having various decorative patterns on the painted
walls and ceilings, and in some cases they are painted as “Stellari
Aureo,” set with stars of gold, on a blue or green ground. In connection
with this it is interesting to find that the first mention of a Star
Chamber occurs in the Roll of Liveries of Henry III, in these words:
“Precept to the Sheriff of Southampton that he cause the Chamber at
Winchester to be painted of a green colour, and with stars of gold (_and
compartments or panels_) in which may be painted histories from the Old
and New Testaments.”
That the colour decoration of interiors was common, even before the
time of Henry III, appears so from another precept issued by the king to
the effect that the wainscot in the king’s chamber in the castle at
Winchester is “to be painted with the same pictures as formerly.”
Some native painters were employed by Henry III, as the names of at
least two are mentioned--Edward of Westminster and Master Walter--but
the Italian, “William of Florence,” the monk of Westminster, seems to
have been the principal painter and decorator-in-chief to the king, for,
as a rule, the native artists and decorators carried out the work under
his direction and supervision.
At this time, and even later, up to the end of the seventeenth century,
many Italian, French, and Flemish artists were invited to this country
by the English king, and many others were attracted to England owing to
the demand for decorated work. Although there were a good number of
native artists and decorators working throughout the country, there were
also a considerable number of foreign artists who, generally speaking,
belonged to some of the religious orders, and who travelled about and
decorated many churches and secular edifices in England. It may be
mentioned that much of the artistic decoration, painted by the foreign
artist-monks, consisted of copies of miniature paintings from
illuminated manuscripts.
The great immigration of these foreign painters, decorators, and
stained-glass craftsmen, in the fourteenth and fifteenth centuries,
served to arouse a healthy competition between themselves and the native
English decorators and craftsmen, and a great improvement took place in
the work of the native artists, although the best work has generally
been ascribed to the foreign painters.
It is difficult to realise to what extent the churches and secular
buildings were coloured and decorated in the centuries named in England;
but we have sufficient proofs from the remains of the colouring that
still exists, as well as from documentary evidence, that the walls,
ceilings, piers, arches, capitals and mouldings of church interiors,
whether the materials were of stone, wood, or plaster, were all richly
coloured and gilt, so that from floor to roof the churches of medieval
England glowed in schemes of solemn splendour of colour and gold, the
whole effect being assisted by the additional colour harmony of the
stained glass windows.
At the present time the interiors of most of these old churches are
bereft of their former glory of colour, this being due to centuries of
neglect, and perhaps vandalism. Some of them have, certainly, a spotty
bit of colour and decoration at the east end, and occasionally a few
coloured glass windows. It is only in a rare instance that one of these
old churches is treated anew in a full and finished scheme of decorated
colouring; the majority still keep to their fashionable whitewash, with
a few spots of colour dotted about; their former beauty has ceased to
remain to them, and nobody at present seems interested enough to make a
serious attempt to bring it back.
Some critics strongly assert and argue that these old churches and other
ancient edifices should not be restored, either to the former glory of
coloured decoration or in their structural features. One critic follows
another by repeating the arguments of his predecessor in art criticism,
namely, that old buildings should be permitted to crumble slowly into
decay, ruin, and nothingness, and also, that you cannot restore anything
that does not exist. These arguments would appear logical enough when
applied to the case of structures that are already so far ruined that
they cannot be used for the purposes for which they were built, but if
an edifice, though hoary with age and weather-worn by stress and storm,
is yet sufficiently solid and sound to be used, as in the early days of
its prime and beauty, there is absolutely no reason why it should not be
carefully and lovingly restored, or repaired where necessary, both in
its structural parts and in its colour decoration, so long as it can
still be used for the performance of the duties or the fulfilment of
such functions as those to which it was originally dedicated.
The best examples of coloured decoration in England, of the fourteenth
and fifteenth centuries, is found in the East Anglian churches, chiefly
in the counties of Norfolk and Suffolk, though in the west and southern
midland counties the decoration of churches received great attention at
this time, but it was inferior to the work done in East Anglia. Several
reasons to account for this superiority of the East Anglian art have
been given, the principal one being that at the time of the greatest
activity in church decoration in the eastern counties, these parts of
the country were in a very prosperous condition, owing to the
flourishing state of their cloth and wool trade, and the close
connection of East Anglia in intercourse and trade with Flanders. In the
fourteenth century Edward III, in 1328, brought over many Flemish
weavers to Norfolk, and during the following century and afterwards many
Flemish and German painters and decorators doubtless came across to this
part of England, and obtained employment in the decoration of churches.
It has also been suggested that the superior quality and quantity of
decorative painting in East Anglia was due to the greater use of wood
for church fittings, especially oak, in this part of the country, and
the scarcity of stone. There was a cheap and plentiful supply of wood in
Norfolk and Suffolk, but the only kind of stone was flint, of which the
churches were mostly built. Wood, therefore, and the plastered walls,
suggested painting, more so than stone, which was more used in the
building of churches in other parts of England. Accordingly we find that
the rood-screens, and other
[Illustration:
_PLATE XXVIII_
_From a Water-Colour by W. Davidson_
SAINT GEORGE: FROM A ROOD SCREEN, RANWORTH CHURCH. NORFOLK: EARLY
SIXTEENTH CENTURY.]
timber fittings of the East Anglian churches, were all elaborately
coloured, and painted with figures and decorative patterns. (Plates 4,
25, 27, 28.)
Flemish painting at that time had attained to great excellence, and
there is no doubt that it strongly influenced the English art of the
fifteenth century, and especially the decorative school of art which
about that time rose to great eminence in East Anglia. Flemish methods
and styles of church colouring and painting, and especially that of the
rood-screens, roofs and reredoses, were freely adopted by the English
decorative artists, and the types of the painted figures of saints,
prophets and apostles, as well as the style and character of the floral
and geometric ornamentation, which has been found in the existing
decoration of the old English churches, had all their counterparts in
Flemish church decoration (Plate 24). The best examples of the English
work of this period that are still in existence are the rood-screens of
Norfolk, particularly those of Ranworth (Plates 4 and 28), Barton Turf,
Aylsham, and Cawston, and the screens of Southwold church in Suffolk.
The painting on these screens is decidedly English in character and
technique, however much the designs of the single figures may be Flemish
or German in style.
The interior wall surfaces of the smaller English churches were usually
coated with plaster, while the walls of the large ones and those of the
cathedrals were of smooth-faced stone. The plaster surface was prepared
for painting by simply coating it with a light, cream coloured, or pale
grey wash of distemper. The decorative patterns and emblematic devices
were painted on these grounds, or on similarly prepared grounds of
soft-coloured tints of red, blue, or green. The patterns were sometimes
painted in one colour only, but often in two or three, one of which
being gold, or yellow, to imitate the colour of gold. On white, grey, or
cream-coloured grounds the tints were usually dark grey, red, black, or
green, and on the brighter colored grounds the pattern colours were
generally in grey or black, or in a darker tint of the colour of the
ground.
Although the early English decorators were good colorists, the range of
the colour was limited, but they made good use of the small number of
the colours they employed by often cleverly transposing and alternating
the grouping or arrangements, so that although the same colour on the
same pattern might be used, the transposition by alternation of the
pattern gave great interest and variety to the general scheme of colour.
Reds, yellows, black and white were the principal colours used in the
early Gothic decoration; blues, greens and gold were added to these in
the later periods, especially in the decoration and figure paintings on
the rood-screens and ceilings, and on the woodwork generally.
Mouldings, whether of wood or stone were always coloured, as well as the
piers, capitals and
[Illustration:
_To face p. 122._] [_From a Drawing by W. Davidson._
PLATE 29.--DECORATED MOULDINGS: FROM THE ROOD SCREEN, MARSHAM CHURCH:
ENGLISH, SIXTEENTH CENTURY.]
[Illustration:
_To face p. 123._] [_From a Drawing by W. Davidson._
PLATE 30.--DECORATED MOULDINGS: FROM THE ROOD SCREEN, CAWSTON CHURCH:
ENGLISH, EARLY SIXTEENTH CENTURY.]
columns; the oak woodwork was invariably painted, as oak was cheap and
common in those days, and the natural grain of the wood was evidently
not much prized.
Mistakes were, of course, sometimes made by the early English decorators
in their over-zealous application of colour, when, for example, they
painted over some of the finest workmanship in carved stone as well as
some of the costly materials. As instances of such mistakes, it may be
mentioned that the black marble shafts in the choir of Rochester
Cathedral showed traces of their having been at one time painted red;
the beautiful white marble monument of Archbishop Walter Gray in York
Minster was at one time painted in various colours, and the shrine of
St. Alban, in St. Alban’s Cathedral, though of Purbeck marble, is
painted blue and green, the traceries and mullions being gilded.
The character and motives of the decorative patterns were interesting
and diversified. A common treatment of the wall spaces between bands,
and panels which contained pictorial decoration, consisted in the
painting of a simple masonry pattern where double lines of red or yellow
were drawn horizontally and vertically, so as to form rectangular spaces
which corresponded to the joints of the wall, and in the centre of each
oblong there was usually placed a circular flower form. Diapers and
checkered patterns were used very much to fill wall spaces and
panelling. The diapers were sometimes sparsely arranged, when they
would then appear as sprig-like forms, “powdered,” or “sprinkled” at
regulated intervals: these were known as “open” diapers; but when the
diaper forms were more elaborate and important, and fitted closer
together, they were called “close” diapers. The latter variety of diaper
pattern was generally copied from the elaborate designs which decorated
the rich Florentine and Sicilian silks of woven damask. These damask
silks were used as hangings and for sumptuous dress materials, and may
be seen represented as such in many of the Italian and Flemish paintings
of the fourteenth and fifteenth and sixteenth centuries. Examples of the
open diapers or powderings may be seen on the backgrounds of the panel
paintings on the East Anglian screens, and the more elaborate, close
diapers appear on the richly decorated dresses of the figures (Plates 4,
25-27, 28).
In the latter important class of diaper the pattern is often made up of
such details as conventional animals, birds, flowers, foliage, ornament
and fruit, such as the pomegranate and pine-apple, all cleverly arranged
to make repeating patterns, these patterns being later developments of
those found in the older Siculo-Arabian silks and Byzantine silk
tapestries (Plates 25-27), hence the oriental character of this class of
ornament.
Various devices, heraldic and otherwise, and emblems, were sometimes
superimposed over the central parts of diapered walls and ceilings,
and
[Illustration:
_To face p. 125._] [_By permission._
PLATE 31.--PORTION OF CEILING DECORATION: CHOIR OF ST. ALBANS ABBEY.]
painted in different colours or in gold. Mottoes, texts in ornamental
lettering on scrolls, and monograms, very much repeated, were all used
as decorative motives, and also flat representations of architectural
forms, especially of Gothic tracery. Lead stars, wavy-rayed, and gilded,
were fastened to ceilings that were painted blue, thus giving a
conventional representation of the firmament.
Projecting mouldings of windows and doorways, and arches, and the ribs
of groined ceilings of the old churches, were all painted in
parti-colours, and the fillets were usually gilded. It was a common
practice to colour the groined and flat ceiling ribs and mouldings only
a short distance from the bosses which decorated their intersections,
and also a similar portion of the web, or ceiling portion around the
bosses, but often the whole of the ribs and ceiling panels were richly
decorated in colours, and with elaborate patterns of diapered work or
arabesques. Stone and carved wood bosses were usually gilded, and the
interstices behind the carved foliage, masks, or figures on them, were
painted in some very strong colour, usually red, in order to relieve the
carving. As a rule carved enrichments were either gilded or painted
yellow to represent gold.
In this period of great activity in church decoration in England special
attention was given to the painting of roofs with their rafters and
beams. St. Alban’s Abbey (Plate 31), Blythburgh in Suffolk, Sall Church
in Norfolk, Plymouth Cathedral, Ufford Church, near Ipswich, and
numerous others had all richly-painted roofs, although the generality of
roofs were simple in colouring, most of them having red, black and grey
decorations painted on a white or a blue ground. Sometimes, however, the
ceiling decoration was more elaborate, as we have already seen, when it
consisted of rich scroll-work, interspersed with emblems, monograms and
various devices. Tracery patterns, flower and leaf designs decorated the
rafters, and the round bead mouldings were often treated in spiral
twistings of lines or patterns, like strips of ribbon round a rod, this
kind of treatment being known as “barber-poling.”
Much of the pattern decoration of the old churches had somewhat the
appearance of stencilling, which might be accounted for by the flat
character of the designs. The painted decoration was, however, not
stencilled, but was first applied to the surfaces by the method known as
“pouncing,” by means of the pricked holes made in the original tracing
or drawing, and the pattern work afterwards executed with the brush.
That this method was adopted is proved by the slight variation in the
drawing of the painted patterns, and by the characteristic freedom in
the execution which brushwork can only give, and further by the absence
of the effect which is due to “ties” of the stencil-plate. In some
instances the oft-recurring rosettes and diaper powderings may have been
stencilled as an easy and preliminary method of placing them in
[Illustration:
_To face p. 126._] [_From a Drawing by W. Davidson._
PLATE 32.--DECORATION ON THE ROOD SCREEN, RANWORTH CHURCH, NORFOLK:
EARLY SIXTEENTH CENTURY.]
their regular positions, but if so, they were afterwards finished with
the brush, by hand, as they have nothing of the appearance of patterns
produced by stencil printing.
The materials and mediums used in the painting of walls, ceilings, or
woodwork, were the dry colours ground in water, and mixed with parchment
or egg size. The latter size, with or without the addition of fig-tree
juice, was chiefly used in the painting of the figure subjects and
pictorial work, while size made from cuttings of parchment, by boiling
them, or from ordinary glue, was used for the larger surface colouring.
The general medium of the work was therefore tempera, or distemper,
though sometimes, but rarely, oil was mixed with the colours. Pictorial
and ornamental paintings on the screens were varnished with an oil
varnish over the tempera painting, but in many instances such paintings
were left unvarnished. Most, if not all, of the decoration on the
screens, pulpits, and the woodwork generally, in the English medieval
churches, was certainly executed in tempera, with the egg-size medium,
which was the common method of picture or panel painting on the
Continent at that time, and most of the pictorial decorations were
varnished afterwards, so that those which remain to this day have the
appearance of oil paintings, and this has led many to class them wrongly
as such.
The subjects on the screens, pulpits and reredoses were generally
representations of saints, apostles, prophets, kings, queens, knights
and angels, etc. The figures were usually placed on alternate red and
green grounds, the latter being diapered over in small patterns in
white, purple, or gold. In some cases a raised gesso diapered ground of
gold has been prepared, as in the Southwold screens. The robes of the
figures were also richly decorated with elaborate patterns, in colours
heightened with gold.
There are still some remains of decorative painting on the screens of
many medieval churches in Devon and Cornwall, but as a rule the work on
these screens does not possess so high an artistic value as that of the
East Anglian painting. In Devon most of the screens are found in
churches between Totnes and Exeter. The best examples are those at
Ashton, Plymtree, Buckland-in-the-Moor, Wellcombe, and the
miniature-like paintings at Hennock on the hill above the Teign valley.
Some painted screens in Devon of a later date, at Southpool, Blackawton,
and Chivelston, are the only ones, according to Father Camm, out of
forty in Devonshire that contain fillings of arabesque ornament, all the
rest having painted figures. The ornament on these is in the Italian
Renaissance style, with the Elizabethan English influence. The colouring
of these arabesques is white, on grounds of red and green.
We have treated the subject of medieval colour decoration in England at
some length, but our excuse for this must be that the period it embraces
was one of the greatest activity in the history of decorative art in
this country. Further, it may be said, it was in this time that churches
and other buildings were coloured completely throughout, and not as in
the more modern custom, where, with a few exceptions, churches and
secular buildings are treated with a few isolated bits of colour, which
being also done at different times, and by different hands, cannot
possibly have any sort of homogeneity or unity as a suitable colour
finish for the building. When any of us are fortunate enough to be
trusted, or favoured with an opportunity to decorate the interior of a
building completely throughout, we might do worse--we cannot do
better--than take some lessons from the practice and methods adopted and
followed out so successfully by the early English decorators.
Though little now remains of this old coloured decoration, that little
enables us to construct from the fragments the scheme and colour of the
entire work, as the anatomist is able to construct a prehistoric
creation from the skeleton, or even from a portion of it.
During the seventeenth and eighteenth centuries colour decoration of
buildings was almost non-existent in England, for interiors that showed
any pretension to decoration were finished, or unfinished, in schemes of
white and gold. Sometimes, however, the decorator was permitted to revel
in pale shades of pea-green, “French grey,” very pale blues and still
paler pinks, so that many interiors of the Adam and Georgian styles,
though famous for their delicate ornamentation in stucco plaster work,
were either left white, like brides’ cake decoration, or in the pale
tints of other kinds of sugar confectionery, a dainty, but timid type of
colour decoration which we borrowed from France (Plate 33).
About the latter half of the eighteenth century, after the discovery of
Pompeii, in 1753, with its richly-coloured wall decoration, colour began
to show itself on the interior walls and ceilings of some English
buildings, both of a public and private nature, but not in churches, for
it was not until about the middle of the nineteenth century that there
was a partial revival of church decoration, a sort of renaissance of the
fourteenth and fifteenth century work, that was brought about chiefly by
Pugin, Sir Gilbert Scott, and other neo-Gothic architects. Many churches
were decorated in England about this time in schemes of rich and strong
colouring, and with similar types of ornament to those used by the early
English decorators. Two very elaborately-coloured and decorated examples
may be mentioned, namely, the chapel or crypt at Westminster Houses of
Parliament, and that of the Catholic Church at Cheadle, in
Staffordshire, after Pugin’s designs. The colour decorations of these
two churches are among the rare examples of Gothic colour revival, where
the interiors have been finished in complete schemes of strong
colouring.
During the last fifty years there have been many
[Illustration:
_To face p. 130._]
PLATE 33.--PORTION OF ROOM DECORATION, SHEEN HOUSE, SURREY: EIGHTEENTH
CENTURY.]
[Illustration:
_To face p. 131._]
PLATE 34.--PORTION OF A STAIRCASE DECORATION IN THE VICTORIA AND ALBERT
MUSEUM. By F. W. Moody.]
fine examples of hall decoration painted in fresco in England, as well
as important pictorial and ornamental schemes of decoration in coloured
plaster, mosaic, and in oil painting. We might mention the Houses of
Parliament frescoes, those at South Kensington, the Royal Exchange wall
pictures, the mosaics in St. Paul’s Cathedral, and in the new Cathedral
at Westminster, as well as a good deal of coloured decoration in private
houses and civic buildings throughout the country, but in the British
Isles the advancement of this interesting and fascinating art is
severely handicapped by the indifference, prejudice and obstinacy, even
of many people who profess to have a love for art.
As a nation, we are a long way behind the French, Germans and Americans
in the encouragement of decorative art. The Governments and
municipalities of Germany and France decorate their civic and public
buildings thoroughly, and with no niggard hand, but in our own countries
such work, however good it may be, is commissioned for in a partial and
piecemeal way, when it is decided to be done at all.
INDEX
Ægina, Temple of, 78
Aix-la-Chapelle, tomb of Charlemagne, 91, 92
----, town-hall, 107
Amiens, museum, 89
----, cathedral, 100
Arabesques, 67, 68, 71
Arabian decoration, 72
Ashton Church, screen of, 128
Assisi, upper church of San Francesco, 60, 61
----, frescoes of Giotto, 62
Augsburg, Fuggerhaus, 104
Aylsham Church, screen of, 121
Backgrounds for pictures, 23
----, treatment of coloured, 51-53
Baltard, Victor, 80
Bartolomeo, 39
Barton Turf Church, screen of, 121
Baudry, Paul, 81
Belgium, fifteenth and sixteenth century buildings, 38
Bellini, 69
Berlin, Alt Museum, 110
----, Kunstgewerbe Museum, 109
----, New Museum, 107
Blackawton Church, screen of, 128
Blake, 89
Blythburgh Church, screen of, 125
Boni, G., 40
Borgia Apartments, 25
Boston Library, 89
Botticelli, 63, 89
Brauweiler Abbey Church, 95
Brunswick Cathedral, 97
Buckland-in-the-Moor Church, screen of, 128
Buon, Giovanni, 39
Burne-Jones, 10
Byzantine decoration, 72
---- marblework, 36
---- mosaicists, 46
Ca d’Oro, Venice, 39-41
Cairo, decoration of mosques, 80
Camerini, Ducal Palace, Mantua, 69
Canterbury Cathedral, 100
Cassoni, 64
Cawston Church, screen of, 121
Ceilings of halls, churches, etc., 25
----, flat, 27
----, Italian painted, 26, 27
----, of ordinary rooms, 47
----, wooden, Romanesque and Gothic, 32
Charlemagne, 91, 92
Chartres Cathedral, 100, 101
Château de Blois, 79
Château de Boulogne, 75
Chavannes, Puvis de, 84-87, 89
Cheadle Church, Staffordshire, 130
Chivelston Church, screen of, 128
Cimabue, 60
Close Rolls of Henry III, 115
Cluny Museum, Paris, 75
Coliseum, 66
Cologne Cathedral, 100
----, church of St. Gereon, 95-97
----, church of Santa Maria im Capitol, 95, 96
----, museum, 102, 105
Contours, 53
Cornelius, 108
Cornices, 29
Costa, 69
Cottages, colour decoration of, 3
Cour-du-Murier, 79
Cristoforo Romano, 70
Cromwell, 5
Dado, 18, 30, 31, 33
Deck, 82
Decorators, foreign, in England, 117, 118
Delia Robbia ware, 37, 82
Denuelle, 80
Detaille, 86
Didron, 77
Diocletian, Baths of, 66
Doge’s Palace, 38
Dresden, Albertinum Sculpture Gallery, 109
----, Royal Historical Museum, 109
Duban, 79
École des Beaux-Arts, Paris, 79
Edward of Westminster, 117
Egyptian decoration, 72
---- polychromy, 78
Empedocles, Temple of, 77
Empire style, 76
Ewald, Professor, 109
Exchange, the Royal, 131
Exhibitions, international, 82
Flandrin, Hippolyte, 80
Flemish influence in East Anglia, 120, 121
Florence, exteriors of buildings at, 37
----, Monastery of San Marco, 63
----, Palazzo Vecchio, 26, 62, 68
Fontainebleau, 70, 76
France, revival of colour decoration in nineteenth century, 39, 77-79
François I, 70, 75
Frankfort, the Römer, 105
Frederico II, 71
Fresco paintings, 38, 58, 77, 107-110
Frieze decoration, 30
Frodoard, 74
Fuggerhaus, Augsburg, 104
Galerie-du-Louvre, restoration of, 79
Galland, 83
Gallo-Roman era in France, 74
Garnier, Charles, 81
Genoa, painted ceilings at, 26
Germany, exterior colouring of fifteenth and sixteenth century buildings, 38
----, Gothic period (twelfth to fourteenth century), 99
----, Romanesque period, 91
Gerspach, 81
Geselchap, 109
Ghirlandaio, 26
Giotto, 60-62, 65
Giovanni Buon, 39
Giovanni da Udine, 26, 65-68
Girolamo delta Robbia, 75
Giulio Romano, 26, 65-68, 70, 71
Glass, stained, 8, 9
---- ----, English, 14
---- ----, Gothic, 45, 55, 99-101
---- ----, Romanesque, 55
---- ----, Venetian, 65
Gold, use of, in decoration, 48-50
Gonzaga, Marquis Giovanni Francesco, 69
----, Prince Vincenzo, 69
Gothic or medieval decoration, 72, 99
Greece, decorators of primitive, 41, 72
Greek temples, 15, 77
---- polychromy, 77, 78
Gregory of Tours, 74
Grottesche, 66, 108
Hampton Court, 5
Half-tones in painting, 15
Hébert, E., 83
Hennock Church, 128
Henri II, 75
Henry III of England, 115-117
Hildesheim, St. Michael’s Church, 98
----, the Rathaus, 107
Hittorf, 77, 78
Holland, fifteenth and sixteenth century buildings, 38
Hospital of the Innocents, Florence, 37
Hôtel de Ville, Paris, 88
Interiors, colour treatment of structural and non-structural parts, 19
Interval, the small, 50, 51
Isabella d’Este, 69
Italian architecture in fourteenth century, 62, 63
---- decorative art, 58
---- Primitive School, 85, 87
Jupiter, Temple of, 78
Kaulbach, 107
Kehren, 107
Kleinkünste, 91
Labrouste, 79
Lateran, church of St. John, 61
Leo, Pope, 67
Lessing, 106
Light, artificial, effect on colours, 56
Lincoln Cathedral, 100
Lindenschmit, 109
Loggie of Vatican, 65-67, 79
Lorenzo, 69
Louis XIII, 74
---- XIV, 74, 75
---- XV period, 76
---- XVI period, 76
Louvre, 69
Lübeck, decorated houses, 104
Lyons Cathedral, 84
---- Museum, 89
Majolica dishes, 64
Magazin du Printemps, Paris, 82
Mantegna, 69
Mantua, palaces at, 26, 65, 68-71
Marbles, coloured, 35
Marie-Antoinette, 76
Marino Contarini, 39
Marseilles Cathedral, 84
---- Museum, 89
Materials, and mediums (medieval English), 127
----, coloured, in buildings, 34-38
Meissen Royal Porcelain manufactory, 110
Mercato Vecchio, Florence, old house in, 63
Mesopotamian friezes, 30
Michel Angelo, 25-31
Middle Ages, decoration in England during, 14, 15
---- ---- in France, 74, 77
Milan, exteriors of buildings, 37
Mohammedan palaces, decoration of, 80
Monochrome decoration, 47, 48
Monte Carlo Casino, 81
Moorish colour schemes, 55
---- coloured tiles, 80
Mosaics, 38, 58, 81, 84, 93
Mosaic workers in Paris, 81
Mosaïque, École de, 81
Mouldings, 28, 31
Munich, museum and town-hall, 102, 108
Museums, decoration of, 6
Mycenian polychromy, 78
Naples marblework, 35
Napoleon, 76
Nature, colouring and forms of, 2, 46, 50
Niccolo dell’ Abbate, 70, 71
Norfolk churches, 119-121
Norman, Alfred, 80
Norman period in England, 114, 115
Notre Dame, Paris, 74, 75
Nuremberg--Schöne Brunnen, 110
----, Church of St. Lawrence, 111
----, Church of St. Sebaldus, 111
“Opus Alexandrinum,” 35
“Opus Sectile,” 35
Palace of Titus, 66
Palazza del Tè, 65, 71
---- Publico, Siena, 62
---- Vecchio, 26, 62, 68
Palermo marblework, 35
Palladio, 7
Paperhangings, 23, 24
Paradiso in Ducal Palace, Mantua, 69
Paris--Notre Dame, 74, 75
----, Hôtel de Ville, 88
----, Magazin du Printemps, 82
----, Opera House, 81
----, Panthéon, 83, 85-87
----, Sainte Chapelle, 79
----, Saint Germain des Près, 80
----, Sorbonne frescoes, 88
Parliament, Houses of, 130, 131
Parthenon, 15, 130
Penni, Francesca, 71
Perino del Vaga, 26, 65, 67
Persian decoration, 72, 80
Perugino, 26, 63
Picture galleries, 23
Piloty, 109
Pinturrichio, 25, 63
Plymouth Cathedral, 125
Plymtree Church, screen of, 128
Poitiers, church of St. Savin, 74
Pompeii, 41, 72, 73
“Pouncing,” 126
Prague Cathedral, 100
Prell, H., 107, 109
Pre-Norman period in England, 114
Primaticcio, 70, 71, 75
Prodigal Son frieze, Cologne Museum, 103
Prosper Merimée, 77
Public buildings, 5
---- ----, planning of, 16
---- ----, interiors of, etc., 30
Pugin, 130
Raffaelle and pupils, 26, 36, 65-67, 72
----, cartoons of, 5
----, Vatican ceiling, 25
Ranworth Church, screen of, 121
Ravenna, San Vitale, 92
Renaissance decoration in England 4, 8
----, applied decoration of, 73
----, Italian, 25, 41, 58
---- marblework, 35
---- period in France, 74, 75, 77
Republic, French, 76
Rethel, Alfred, 107
Richard I, 115
Richelieu, Cardinal, 69
Rinaldo of Mantua, 71
Rochester Cathedral, 121
Roman decoration, 41, 60, 72, 73
---- ----, Eastern influence on, 60
Romanesque epoch in Germany, 93, 94
Romantic School in France, 76
Rome, Baths of Diocletian, 66
----, Castello S. Angelo, 26, 65, 67
----, Loggie of Vatican, 65-68
----, painted ceilings, 26
----, San Clemente mosaics, 59, 60
----, Santa Maria Maggiore, 59
Römer, Frankfort, 106
Rood-screens, 121, 125, 128
Rosselli, C., Sistine frescoes, 63
Rouen Museum, 89
Rubens, 85
Ruskin, 1, 28
Saint Alban’s Abbey, 123, 125
Saint Gereon’s Church, Cologne, 95-97
Saint Germain-des-Près, Paris, 80
Saint Lawrence’s Church, Nuremberg, 111
Saint Michael’s Church, Hildesheim, 98
Saint Paul’s Cathedral, 131
Sainte Chapelle, Paris, 79
Sainte Geneviève, 83, 87
Sala di Cambio, Perugia, 26
---- Piccolomini, Siena, 25
Sall Church, Norfolk, screen of, 125
Salle des Beaux-Arts, Paris Exhibition, 82
Salviati, 92
San Clemente, Rome, 59, 60
San Pietro, excavations at Vincolo, 65
San Vitale, Ravenna, 92
Santa Maria del Popolo, Rome, 25
---- ---- im Capitol, Cologne, 95, 96
---- ---- Maggiore, Spello, 25
---- ---- ----, Rome, 59
Saracenic influence in Florentine decoration, 60, 65
Schwarz-Rheindorf Church, 94, 95
Scott, Sir Gilbert, 130
Sédille, Paul, 82
Segesta, Temples of, 77
Selinus, Temple of, 77
Serlio, 70
Siena, Palazzo Publico, 62
Sistine Chapel, 25, 31, 63
Sorbonne frescoes, 88
Southpool Church, screen of, 128
Southwold Church, 121, 128
Steinle, 105, 106
Stoss, Veit, 111, 112
Suffolk churches, 119-121
Surfaces, treatment of curved, 24
----, treatment of plain, 18
Tempera wall-painting in churches, 92
Theatres, 22
Thorwaldsen’s discoveries at Ægina, 78
Tile decoration, 80-82
Tintoretto, 26, 85
Titian, 85
Torriti, 60, 61, 65
Tower of London frescoes, 116
Udine, Giovanni da, 26, 65-68
Ufford Church, Ipswich, 126
Vasari, 66, 68
Vatican ceilings, 25, 26, 63
Vatican Loggie, 65-68
Veit, 106
Venerable Bede, 114
Venice, Ca d’Oro, 39-41
----, Doge’s Palace, 38, 39
----, exterior colouring, 37, 41
----, painted ceilings, 26
Verona, exterior colouring, 37
---- Cathedral, 38
Veronese, Paul, 26, 85
Victoria and Albert Museum, 70, 76, 131
Villa Madama, 26, 65, 67, 68
Vincolo excavations, 66
Viollet-le-Duc, 74, 77, 80
Wainscoting, 31, 33
Walls, treatment of, 20-23, 47
Walter, Master, 117
Wellcombe, church screen, 128
Weremouth, monastery of, 114
Westminster, Antioch Chamber, 116
----, Edward of, 117
----, New Cathedral, 16, 17, 131
Wilfrid, Bishop of York, 114
William of Florence, 117
Window frames, 31, 33
York Cathedral, 100, 111
---- ----, monument of Archbishop Walter Gray, 123
_Richard Clay & Sons, Ltd., London and Bungay_
End of Project Gutenberg's Colour Decoration of Architecture, by James Ward