WAYS AND MEANS
Through the medium of sight, interest and emotion are excited by phases
of colour and form, varying in individuals according to temperament. The
artistic perception and appreciation of these are invariably due to
natural faculty, though much may be acquired by intelligent study.
_Perception_
In most forms of artistic expression the hand is the auxiliary of the
eye. Though sensitiveness of touch and dexterous manipulation are
essential, these can be acquired by practice. Perception, is of
paramount importance, and it may be assumed that the artist’s vision is
more sensitive to appearance and subsequent suggestion than that of the
layman.
The interest of the average individual in art is generally that of
subject and sentiment. This is probably a more natural and logical
attitude than that of the artist, to whom--as a craftsman--the interest
is often merely that of technique. These possibly represent the two
extremes; the cultured individual is capable of appreciation of the
ideal without consideration of schools and isms.
Many students in their early essays draw rather from an imagined
knowledge than from the actual visual aspect--are apt to take forms for
granted, to assume, for example, that an object is round when it is
really subtilely polygonal. Theoretically a curve has no existence,
being really a combination of straight lines varying in length and
direction. Many beginners are unable to approximate even so obvious a
form as a right angle, and until their vision and judgment is trained,
it is improbable that they can successfully render more subtile
combinations. It is the business of the teacher to train the vision so
that the perceptive faculties are developed, and instil in the mind of
the student that art is only concerned with appearance. Any fact not
visually apparent should be ignored.
_Accepted Conventions_
The whole subject is complicated by convention; thus for convenience,
forms are drawn in outline, but these drawings are not representations,
and are only recognisable and accepted as such through education and
tradition. Drawing in outline is merely to sequestrate a portion of the
surface by a line or lines, and can only define at most two dimensions.
When shade and shadow are added there is some approximation to the solid
in the suggestion of the third dimension. Though these tend to a more
lucid explanation, the work remains a convention if colour and
atmosphere are rendered in monochrome.
It is generally assumed that appreciation for colour is inherent. That
this to some extent is true is evident in the attraction of bright
colour to the child and the savage. Subtle quantities and combinations
are only appreciated by comparatively few, the faculty for colour being
extremely rare.
_Influence of Fashion_
The average individual is guided as a rule in colour selection by vogue
or fashion, though it is the polite custom to concede that the average
woman is naturally endowed with taste. This is delicate ground, but the
awful and impossible associations evident at times in feminine costume
certainly do not justify the courtesy. There are superstitions in colour
selection evidently the result of tradition, such, for instance, as red
and yellow being suitable for a sallow complexion. The actual effect of
these colours being to excite the complementaries, is hardly favourable
to the misguided wearer.
The average man is generally more discreet in selection when sartorially
concerned. Not that he necessarily possesses more taste, but because he
is observant of custom, and moreover, has generally an instinctive
dislike to anything pronounced. At times, however, the women-folk take
the initiative, and two of the greatest inflictions that men suffer are
the selection of their ties and cigars by one of the opposite sex.
In domestic environment the selection is invariably imitative or guided
by fashion, and if the prevailing vogue prescribes brown paper as a
lining for walls, it is probably adopted. But the choice, however it may
be influenced, is made possibly without thought of the furniture and
upholstery that is associated.
_Harmonious Consistency_
The colour scheme should be determined by aspect and by the use of the
particular apartment. A sunny room should be treated differently to one
with a north-east aspect, in which an appearance of warmth is
desirable. Furniture, too, must be considered, reds being an unsuitable
setting for oak as a rule, while mahogany is best associated with
delicate greens and greys.
It is a reasonable assumption that the training of the student should
result in greater discrimination, and when the exercise consists of
representing, it is a matter of careful approximation of colours and
values. In original design the harmonious effect depends on the
individual, who, in early attempts in colour, jumps at it, being
unconscious of any guiding principle.
_Natural Suggestion_
It would seem that the wealth of colour combination in the various
natural aspects apparent to all, would surely influence selection; that
it generally fails to do so is testimony to lack of observation. Nature
left alone never makes mistakes, and the colouring in flowers, land,
sky, and water, the plumage of birds and other natural phenomena, is
always harmonious if seen in original environment. When the balance and
correct association is disturbed it is due to human interference, as is
evident too often in the work of the landscape gardener and
horticulturist.
_Colour Scheme_
In decoration the scheme may consist of tints or tones of any one
colour, and the contrast is merely that of tone; in other words, of
lighter and darker phases. This method of colouring, which is quite
suitable in some instances, is fairly safe, as the latitude for error is
greatly reduced, but certainly is not courageous.
The problem arises, when the scheme involves the use of more than one
colour, and the successful effect depends on judicious association and
balance. The simple rule is never to display two only of the primary
colours in juxtaposition, the presence of the third being essential to
harmonious and satisfactory effect.
This, as a principle, forms the basis of much of the Moresque
decoration, in which the details were picked out in blue and red of
positive hues, and separated or outlined with gold.
More consideration is required when positive or pure colour is not in
request, and the proportions of juxtaposed tints have to be relative. As
any tint departs from the full strength of its particular category, so
those associated should be proportionately remote.
Respective quantities may vary and one colour occupy relatively a small
part of the surface, when to preserve the balance it may be stronger in
hue than others occupying adjacent and larger areas. For such
contingencies it is impossible to give exact formulæ, as the pigments
employed are not always constant. In the case of manufacturers of mixed
paints, it is customary to issue samples of colours for the year or
season, and they cannot guarantee repeating exactly any colour or tint
in subsequent mixing. The same applies where coloured papers and
textiles are concerned; therefore judgment based on principle and
experience can be the only guide.
The Primary colours are Red, Yellow and Blue; admixture of any two of
these result in the Secondary colours which form the complementaries of
the Primaries not involved. Thus blue and yellow combined result in
green, which is the complementary of red, the complementary of yellow
being purple, and that of blue, orange.
Intensity of hue of any colour employed may vary considerably, and this
variation should be proportional in other tints associated. Part of the
charm of colour often depends on its complexity, in natural aspects due
to atmosphere and varied phases of light. Pure colours should at times
be avoided, that is, in the sense in which they are obtainable as
pigments.
_Early Training_
Students should have attained some considerable facility in drawing
before taking the study of design seriously, though probably part of the
early training has dealt with extremely elementary forms leading in that
direction. Undoubtedly, too, many enter on this phase of study without
adequate preparation, having little appreciation of the underlying
geometric construction, not only in design but in all form.
This, on investigation, can always be found, and either the general mass
or sub-divisions identified with some simple geometric shape enclosing
the more intimate details. Correct approximation and placing are
essential to the accuracy and success of the drawing. Too often through
lack of training the tendency is to draw detail right away, without the
necessary preliminary of determining the mass shapes.
_Nature Study_
The study of natural form is of paramount importance to prospective
designers. Subjects should be selected as season or opportunity permit,
not merely from plant and floral growth, but any form available, animate
or inanimate that is suggestive of pattern or susceptible of ornamental
treatment.
Students in their early attempts in design invariably find convention a
stumbling-block, and in making their studies from nature cannot at first
grasp the idea that selection should be exercised, and that only those
phases which are favourable to decorative results should be recorded.
Design is not concerned with facts or exact portraiture so much as
pattern, and only those features and attitudes that are suitable should
be dealt with. To perpetuate the ugly and unsuitable is waste of both
time and energy.
_Aspect and Attitude_
In too many instances the first aspect of the subject of study is
recorded, even without any regard to natural attitude. It may be a spray
of blossom taken by the student from the parent tree or shrub, which is
fixed up in any position that comes handy. For this there is no excuse;
the spray should not only be placed consistently, but to the best
advantage, the object being to record aspects that are suggestive of
decorative development.
In design it is conditional that each individual detail should be
primarily effective as a silhouette, surface interest being of secondary
consideration.
Any leaf or flower that does not conform should be so arranged as to
satisfactorily comply with this condition, and this can easily be
achieved by slightly shifting the point of view, as it is generally due
to extreme foreshortening, or perspective that is confusing in
appearance.
[Illustration: No. 285. Natural Aspect of Various Leaves.
Those in outline unsuitable without adaptation for ornament. The
silhouette versions shew natural aspects that readily lend to decorative
purposes.]
Points of study to be noted are the stem growth, junctions and angles of
branching and articulation of leaves, the difference in development of
leaves on main stem and those on flower stalk, and phases of the
flowers. The drawing should be explanatory as far as possible, and any
detail not quite clear should be expressed in separate lucid diagrams.
When readily accessible, a series of studies should be made of the same
plant or growth at differing stages, so as to form a record of the life
history and development.
Care should be exercised to arrange the study with its explanatory
details on the paper so as to satisfactorily occupy the area, not
necessarily symmetrically, but with a view to desirable balance. Those
with a natural faculty for design will probably do this instinctively,
but the observance is important in developing the sense of arrangement.
_Treatment_
The drawings, which should be carefully detailed as to form, and
intimate detail--in fact diagrammatic--can be in pencil or ink outline,
light and shade is generally unimportant, though it may be lightly
suggested.
With regard to colour, except in examples of special suggestion, little
time need be wasted in still life renderings, though suggestive colour
schemes may well be noted, but the drawing should at least be lightly
tinted, this serving the double purpose of fixing the pencil lines, and
defining the silhouette shapes.
These studies should form material for designs, not at first ambitious,
but dealing with single leaves or flowers, and deriving from them
details suitable to some form of decorative expression. These can be
expressed in flat colour, with or without outline, or further ornamented
by treatments suggestive of veining or striation. The blotching of some
leaves during autumnal changes or any natural markings can often be
turned to decorative account.
_Drawings for Reproduction_
Designs in some instances are in the form of perspective sketches, when
it is desirable to convey an idea of their final appearance, but as a
rule they are expressed as working drawings. This is imperative when the
final production is the result of some mechanical production, as in book
decoration and advertisement either black and white or in colour.
Drawings for these are generally made larger and reduced to the required
size by photography, and the blocks for printing made from the
photograph.
There is no fixed rule as to size of drawing or reduction, but if the
designs are drawn for one-third reduction there will be no material
alteration in values when produced. But as the reduction is increased
there is a proportionate risk in alteration of values. It is desirable
to bear the proposed reduction in mind and to work more boldly or with
thicker lines, otherwise the final effect may be thin and weak. In pen
drawing, the lines should be clear and distinct whatever their
thickness.
For designs in black and white, hot-pressed paper, Bristol board or
smooth card are most suitable. The ink should be waterproof, as, if
necessary, corrections with Chinese white can be more neatly made. Fine
pens, except for very minute work, are not desirable, a Gillott’s
ladies’ fine writing nib yielding as fine a line as is ordinarily
required. For some classes of work a brush will be found more suitable,
but care should be taken that all lines--whether thick or thin--are
equally black.
Designs in colour for illustration or advertisement, which are to be
reproduced by lithography or the three-colour process, can be on card or
Whatman paper. The colours employed being transparent or opaque,
whichever is more suitable to working and effect. Larger designs for
advertisement, such as posters, are usually painted in tempera or opaque
colour, and these should be applied as far as possible edge to edge,
overpainting being avoided.
_Opaque Colour_
Care should be taken in mixing the colour to the required tint or shade.
This requires some experience, as when white forms part of the mixture,
the effect when dry is always lighter and colder than when the paint is
in the fluid state; therefore allowance for this should be made. Opaque
and tempera colours are not used so fluid as ordinary transparent water
colours, and if applied too thin will fail to cover the surface solidly,
or dry blotchy. Cartridge paper is not only good enough but more
suitable for opaque colour than papers of better quality. Not merely is
there no advantage in these, but the texture is an unnecessary
embarrassment; moreover cartridge paper can be obtained in continuous
form of good width.
_Enlarging and Reducing_
When drawings are enlarged or reduced, the linear dimensions and not
those of the area are implied; thus one half means one half of both
width and height--really one-fourth of the area. It is obvious that half
the area would be a different proportion, and it is the proportion that
is concerned.
[Illustration: No. 286. Diagonal Method of Enlarging or Reducing. Solid
line shews given size.]
Divisional measurement is rendered unnecessary by the diagonal method of
proportion. Given a rectangular shape, which has to be reduced or
enlarged, a diagonal line should be drawn, and prolonged if the latter,
through opposite angles. A line parallel to either the vertical or
horizontal can be drawn and returned at a right angle where it
intersects the diagonal, and regardless of any dimensions, this will
ensure the exact proportion of the original rectangle.
It is obvious that such designs as the foregoing should be complete, and
both in drawing and colour a perfect anticipation of the painted result,
owing nothing of their effect to mechanical reproduction.
_Textiles_
In designs for printed and woven fabrics, though the process of
production varies, it is still necessary that the drawing be complete in
the technical indications. Otherwise the reproduced version may suffer,
or at least not fulfil the intention of the designer, and it follows
that the drawings should be concise in every detail, even to the colour
effect desired.
The drawings are usually to the full size in most printed fabrics. The
design is not reproduced by any mechanical process, the blocks or
rollers used in printing being cut by hand from a transferred tracing
made from the original. Hence the importance of exactitude in joining
and dimensions.
In some instances the whole of the pattern is cut in relief in the wood,
but in others, lines are the result of narrow strips of ribbon-like
brass embedded in the surface of the block or roller. These have their
influence on the design, as in the former method of production the lines
can vary in thickness and can be invested with greater interest than the
employment of the wire can give. The metal results in a hard line of
unvarying thinness.
Drawings for printed and woven fabrics are usually in opaque colour, and
each tint employed should display a defined edge, graduated effects
being only technically possible by means of tapering lines or stipple.
Each distinct colour or tint involves separate printing; therefore as it
is economically desirable to attain the best effect with the minimum
cost, the utmost should be made of the colours employed.
_Wallpapers_
Wallpapers as a rule are printed in opaque colour, but in textiles, when
the colour is transparent, more elaborate effects are possible by
overprinting or super-imposing one colour on another. In woven fabrics
similar effects can be obtained by judicious manipulation of the
shuttles, but in all cases it should be borne in mind that a working
drawing is necessary in which the details are clearly indicative of the
final result.
Designs that have to be realised by some form of handicraft require the
same care and concise regard to detail, though the drawings need not be
so complete as to appearance, and may be to scale or drawn full size
according to condition.
_Architectural Drawings_
Architectural drawings are drawn to scale, that of eight feet to one
inch being general, with working drawings to a scale of half an inch to
the foot accompanied by full-size details and profiles of mouldings. The
drawings are geometric, that is in plan, elevation, and section,
expressed in line and generally tinted. On plans and sections arbitrary
colours are employed to indicate material, for instance, red denotes
brick, purple-grey, stone, warm grey, cement, Prussian blue, iron or
steel, and burnt sienna or Vandyke brown, wood.
These drawings convey little idea of the intended effect to the lay
mind, and it is customary to suggest the eventual appearance by
perspective views, but for practical reasons they constitute the most
convenient form from which dimensions can be taken for working purposes.
_Structural Design_
In all structural design similar drawings are necessary, although sketch
designs in perspective may be made to suggest effect, working drawings
are imperative to the execution of the work. These, when reduced to the
essential conditions of rendering, with explanatory details and
sections, assume a very different aspect to the original sketch.
The success of the completed work depends upon skilful detailing, which
must be thoroughly explicit to be of real value.
For convenience such working drawings are generally made on detail
paper, which is usually obtainable in rolls sixty inches wide by
twenty-five or fifty yards. This is sufficiently transparent to be
employed for tracings, a great convenience when copies are in request,
and is a good surface for pen, pencil or chalk, though somewhat thin for
colour.
Designs can be sketched in charcoal, and the desired lines drawn in ink.
When dry the charcoal lines can be obliterated by rubbing with a leather
or soft cloth, by which the charcoal is distributed, forming a tone over
the whole surface. This is easily removable by india-rubber, and
excellent relief effects can be obtained by judiciously taking out
lights and strengthening shadows, though to avoid any possible
misunderstanding it is usual to also indicate the relief by sections
drawn through the details.
_Lucid Arrangement_
In geometric and working drawings when plans and sections are incidental
to lucid explanation, these latter should appear relatively; that is,
the plan should be in alignment with the elevation, etc. Statements and
directions as to procedure are often necessary, and these, placed with
judgment and in good lettering, are valuable in balancing the drawing.
Not that this has any effect on the work, but because it has a good
influence on the designer.
Possibly the story of Giotto and the circle that figured in the early
school primers is responsible for the very general impression that the
use of mechanical instruments is inartistic. Another characteristic of
the young beginner is a total disregard for anything in the nature of
exact dimension.
No useful purpose is served, and much valuable time is wasted, in
attempts to accomplish freehand, forms that may be perfectly achieved by
proper implements. Familiarity with the use of these will be found of
great assistance in all design in which geometric construction, apparent
or not, plays so large a part.
Of this the average beginner has little conception, and though Geometry
has been a subject of their early training, they seldom have any clear
idea as to its employment in design. Except in few instances, they are
unpractised in the use of geometrical instruments, and at times
oblivious that these serve any practical purpose.
_Mathematical Equipment_
In design, where accuracy is of paramount importance, a reasonable
equipment is imperative. Drawing boards vary in size, but for most
ordinary work the antiquarian will suffice; the best type being that
commonly used in engineering and architectural offices, with battens for
adjustment and invariably a steel guide for the T square.
Large T squares are more reliable on account of the wider head, the
better sort being in mahogany with bevelled ebony edge. When accuracy is
essential, the T square should only be employed for horizontal lines,
those in a vertical direction being attained by the use of the set
square, when the right angle can be assured by contact of the base of
the latter on the edge of the T square.
Set squares indispensable for ordinary work are those of the angles of
45 degrees and 60 degrees. They should be large, about twelve inch, and
in celluloid, which, being translucent, tends to greater accuracy.
Bevelled set squares, usually in mahogany with ebony edge, are desirable
when the ruling pen is used, and should be placed with the bevelled side
to the surface of drawing as a precaution against blotting through the
ink running off the edge from the pen. For the same reason the edge of
the T square should be slightly tilted, so as not to be in contact with
the drawing when ruling lines with the pen.
The mathematical instruments in common request are dividers,
indispensable in scale drawing. For delicate work spring dividers with
needle points ensure greater accuracy. The bow or pencil compass, large
with extending bar, and small; with spring bows, for minute work. For
very large circles the beam compass is employed, consisting of a wood
bar with two sliding clamps fitted respectively with point, and either
pencil or pen which can be adjusted to the required radius.
For ink drawings the bow or pen compass is employed for circular curves;
spring bows for extremely small details, medium for general purposes.
The large compass in the ordinary set is provided with both pen and
pencil joints, which can be adjusted as required.
_Use of the Ruling Pen_
For straight lines the ruling pen should be employed. In this implement,
the nibs, as in the pen compasses are provided with a screw, by means of
which the pen can be adjusted to form thick or thin lines as required.
Care should be taken in the adjustment; for the thinnest line the points
should only be in contact. If screwed too tightly the nibs may be bent
and would have to be re-set.
There is a limit to the thickness of line in individual ruling pens,
which are made in varying sizes for fine or bold work. Bow and ruling
pens should never be filled to the full capacity, as they are then
liable to flood and blot the work. It is better also to charge the pen
with the filler, which is usually provided with the ordinary liquid ink,
or a brush; otherwise blotting may result. If the pen is filled by
dipping, the nibs should be wiped dry on each occasion on the external
faces.
In use the ruling pen should be held as vertical as possible, with the
nibs perfectly parallel to the edge of T or set square, any divergence
from the vertical might result in a curve instead of the straight line
required. If the nibs are at an angle with the ruling edge, the ink will
not flow freely, and there is also a tendency to cut the surface.
_Proportional Compass_
Another instrument of great use, though not so commonly in request, is
the proportional compass, by means of which drawings are enlarged or
reduced. It consists of two shanks furnished with points at each end,
the shanks being slotted out centrally to form a slide. The adjustment
is accomplished by a set screw which also forms a pivot, which, set at
any of the marked divisions, assures the given proportion.
_Tracings_
Tracing paper is largely in request, not only as a means of repeating
details and units by transferring, but when copies of a drawing are
required. It can be obtained in rolls varying in width, forty inch being
generally useful, and in different surfaces, rough and smooth, the
former being good for pencil work--the smooth being more suitable for
ink tracings.
When tracings of a more durable character are required they are made on
linen, which for this purpose has a highly glazed surface on which the
ink will not always run equally. This can be rectified by lightly
rubbing the surface with French chalk and by adding a little ox gall to
the ink. The latter is a useful agent in counteracting any greasiness of
surface and is often necessary in colour work.
_Conclusion_
The stimulus of competition is always healthy, and the necessity to
attract has resulted generally in raising the standard, notably in forms
of advertisement. The designer has not only to keep pace with modern
conditions, but in some phases of work has also to anticipate future
demand.
Students are too often infected with the phase of the moment, or by the
work of some distinguished exponent. This is quite natural, and to some
extent such emulation may be condoned, but if it becomes an obsession it
is fatal to the development of individualism. It is desirable, indeed
commendable, for students to be interested in contemporaneous work; but
they should realise that personality will never be achieved by
imitation, though emulation and experiment are legitimate methods of
training.
Art training is largely in that of technique, consisting chiefly of the
handling of the tools and mediums involved. It is obvious that when this
technique is successfully acquired it implies a high standard of
craftsmanship. This is essential, but personality is of greater
importance and its development depends upon the individual. Some who
have nothing personal to express may be capable of attaining great
facility in various mediums, but stop at the imitative, and though this
may be lucrative, no great artistic distinction is possible.
If personality is latent it will develop quite unconsciously, and the
endeavour of the student should be to see, understand and express the
subject of study or idea with sincerity, regardless of any current phase
however interesting. In this way only can be attained the personal
attitude and expression that really constitutes the interest in all
forms of art.
INDEX
Acanthus Foliage, 38, 263
“ Leaf (Greek) 264
“ “ (Roman) 266
“ “ (Byzantine) 267
Romanesque, 268
Gothic, 268
Italian Renaissance, 279
French Renaissance, 280
Jacobean, 280
Louis XIV, 283
Louis XV, 284
Louis XVI, 284
Grinling Gibbons, 285
Adam, 286
System of the, 286
Adam, Robert, 123
Alberti, Leo Battista, 76
Ancient Pottery, 8
Animals in Art, 331, 334
“ “ Compound, 336
Angelo, M., 79
Anthemion, The, 262
Anthemius, 45
Apathy, Public, 8
Appliqué, 296
Appreciation of Design, 288
Architecture, Egyptian, 22
Chaldean, 25
Greek, 28
Roman, 35
Byzantine, 43
Romanesque, 49
Gothic, 59
Renaissance, Italian, 75
“ Florentine, 76
“ Roman, 78
“ Venetian, 80
“ French, 85
“ in England, 88
“ Elizabethan, 91
“ Jacobean, 93
“ English, 102
“ Louis XIII, 103
“ Louis XIV, 106
“ Louis XV, 110
“ Later English, 113
Architectural Drawing, 158, 363
Architectural Features, Abacus, The, 173, 175, 178
Arch, 20
“ Pointed, 58
“ Decorated, 64
“ Perpendicular, 68
“ 184
Arcades, 200
“ Vaulted, 201
Architrave, 161, 164, 169, 172, 211
Archivolt, The, 186, 187
Attic, The, 208
Baluster, The, 191
Balustrading, 193
Battlement, The, 66
Base, The Doric, 181
“ The Ionic, 182
“ The Corinthian, 183
Basement, The, 207
Buttress, The, 59
Capital, The Doric, 173
“ The Ionic, 175
“ The Corinthian, 178
Clerestory, The, 51, 67
Column, The, 172
“ Employment of, 194
“ Disposition and Spacing of, 195
Corinthian Order, The, 163
Cornice, 161, 164, 169, 171, 209
Doric Order, The, 161
Doors, 211
Entablature, The Doric, 164
“ The Ionic, 169
“ The Corinthian, 171
Frieze, The, 161, 164, 167, 169, 171, 213, 226
Impost, The Doric, 185
“ The Ionic, 186
“ The Corinthian, 187
Ionic Order, The, 163
Keystone, The, 187
Lintel, The, 19
Mouldings, 61, 64, 68, 97, 107
“ Profiles, 138
“ Purpose of, 139
“ Decoration of, 143
“ Employment of 147
Mutule, The, 164
Order, The, 160
“ The Doric, 161
“ The Ionic, 163
“ The Corinthian, 163
Pedestal, The, 188
Pedestal, The Doric, 189
“ The Ionic, 190
“ The Corinthian, 190
Pediment, The, 209
Piers, 60, 184, 200, 205
Pilaster, The, 160, 199, 235
Plynth, The, 161, 181, 183, 184, 188, 190, 191, 193, 204, 208
Rustication, 205
Subsidiary Order, The, 202
Superimposed Orders, 197, 204
System of Proportion, 159
Triforium, The, 53, 60, 67
Vault, The, 20, 36, 53
“ Treatment of, 224
Vaulting, Fan, 68
Volute, The, 175
Windows, 60, 213
“ Plate Tracery, 61
“ Tracery of, 63, 64
Art, Interest in, 1
Definition of, 5
As an Appeal, 5
Ethical Side of, 14
Desire for Novelty in, 15
Egyptian, 23
Chaldean, 25
Greek, 33
Roman, 38
Græco-Roman, 40
Byzantine, 45
Artistic Phases of Expression, 10
Aureole, The, 340
Baluster, The, 153, 191, 246
Bank of Ireland, 136
Base, The Doric, 181
Base, The Ionic, 182
“ The Corinthian, 183
Basement, The, 207
Battlement, The, 66
Bazzi Gian Antonio (Sodoma), 83
Berain, Claude, 106
“ Jean, 106
Bernini, 80
Book Decoration, 300
Borders, 227
“ Treatment, 233
Boule, André Charles, 106, 109
“ Work, 298
Bramante, 78
Branching, Types of, 273
Brunelleschi, 76
Buttress, The, 59
Byzantine, Art, 45
Caduceus, The, 342.
Cannibalism, 336
Capital, The, 22, 50
Capital, Doric, 173
Ionic, 175
Corinthian, 178
Carved Work, 301
Design for, 302
Ceilings, Jacobean, 97
Louis XIII, 105
Louis XIV, 108
Louis XV, 112
Treatment of, 218
Centaur, The, 339
Chaldean Art, 25
Chambers, Sir William, 136
Chambord, Chateau de, 86
Champleve Enamel, 47
Chenonceaux, sur Loire, 86
Chimney-piece, Jacobean, 94
Chippendale, 121
Choragic Monument, 32
Christian Art, Early, 46
Circle, Symbolic meaning of, 340
Cipriani, 126
Clerestory, The, 51, 67
Colour, Symbolism of, 345
Use of, 353
Opaque, 360
Column, The, 172
Employment of, 194
Disposition and Spacing of, 195
Commercial Production, 6
Intercourse, 12
Convention, 292
Accepted, 351
Cornucopia, The, 346
Corinthian, Order, 163
Entablature, 171
Capital, 178
Base, 184
Pedestal, 190
Impost, 187
Craft Restriction, 256
Cressent, Charles, 111
Cross, The, 343
Crozier, The, 344
Crux Ansata, 343
Customs, Survival of, 311
Early Burial, 322
Dance, George, 136
Decorative, Materials, 289
Deities, Egyptian, 318
Deities, Greek and Roman, 316
Scandinavian, 317
Pan, 339
Delorme, Philibert, 87
Dentils, 146
Design, Mental vision in, 1
Inspired, 2
Process and material in, 2, 8
Considerations in, 3
Public demand, 3
Training in, 4
Influence in, 4, 8, 12, 18
Architectural influence in, 14
Appreciation of, 288
Structural, 363
Domes, Byzantine, 43
Treatment of, 224
Domestic Conditions, 54, 72, 74
Donatello, 76
Doors, Jacobean, 96
Proportions and Treatment, 211
Doric Order, 28, 161
Entablature, 164
Capital, 173
Base, 181
Pedestal, 189
Impost, 185
Ecole de Médécine, 132
Echo, 319
Egyptian Art, 22
Enamel, Byzantine, 47
Endymion, 319
Enlarging Drawings, 360
Equipment, Mathematical, 365
Eurydice, 324
Evangelists, 331
Evolute Scroll, The, 234, 261
Farnese Palace, 79
Fates, 318, 320
Figure Composition, 244
Filagree Jewellery, 258
Flowers, in Ornament 270
Fontainebleau, Palace of, 86
Forms in the round, 245
Four Courts, Dublin, 136
French Renaissance, 85
Louis XIII, 103
Louis XIV, 106
Régence, 111
Louis XV, 110
Louis XVI, 127
Empire, 135
Frieze, The, 226, 266
Furniture, Egyptian, 24
Chaldean, 27
Greek, 32
Roman, 39
Middle Age, 54
Decorated Gothic, 66, 73
Italian Renaissance, 84
English Renaissance, 92
Jacobean, 98
Louis XIII, 105
Louis XIV, 108
Louis XV, 113
English (Dutch Influence) 118
Queen Anne, 120
Chippendale, 121
Lacquered, 113, 126
Painted, 126
Sheraton, 127
Louis XVI, 133
Empire, 135
Gallo, Antonio San, 79
Gallo, Giuliano di San, 79
Gandon, James, 136
Gems, Symbolism of, 345
Gibbons, Grinling, 114, 137, 285
Gibbs, James, 115
Giocondo, 79
Giotto, 83
Gondouin, Jacques, 132
Gouthière, 133
Graces, Christian, 329
Græco-Roman Art, 40
Greek Art, 28
Grimani Palace, 80
Growth, Consistency in, 273
Half Figures in Ornament, 278
Halo, The, 340
Hamadryads, 339
Hampton Court Palace, 114
Hand, Symbolism of the, 341
Harpy, The, 320, 338
Hawksmoor, Nicholas, 115
Hepplewhite, 126
Heraldry, 348
Holbein, 89
Holkham, Norfolk, 121
Holt, Thomas, 91
Horse Guards, Whitehall, 121
Husk Leaf, The, 269
Impost, Doric, 185
Ionic, 186
Corinthian, 187
Impressionism, Early, 10
Influence of Material, 8, 258
Political, 12, 17, 71
Religious, 12, 17
Commercial, 12, 17, 71
Civic, 70
Of the Crusades, 56
Of Fashion, 352
Inspiration, Belief in, 2
Intarsia, 297
Interior treatment, Græco-Roman, 39
Romanesque Church, 51
Domestic, Tudor, 73
Italian Renaissance, 83
Jacobean, 94
Louis XIII, 104
Louis XIV, 107
Louis, XV, 112
Wren Period, 116
Georgian, 121
Adam, 126
Louis, XVI, 133
Walls, 216
Ceilings, 218, 221, 222
Vaults and Domes, 224
Ionic Order, Greek, 32
Renaissance, 159
Proportions of, 163
Entablature, 169
Capital, 175
Base, 182
Pedestal, 190
Impost, 186
Italian Renaissance, 75, 78, 80
Jewellery, Filagree, 258
Jones, Inigo, 81, 102, 137
Kauffman, Angelica, 126
Kent, William, 121
Lace, 297
Lacquered Furniture, 113, 126
Lares, Roman, 322
Leaves, Employment of, 275
Treatment of, 293
Lebrun, 106
Legend, 323, 333
Lepautre, 106
Limitations, Human, 1
Lintel, The, 19
Louvre, 80, 86
Maderno, Carlo, 79
Madrid, Chateau de, 86
Magical Qualities, Belief in, 325
Mainwaring, 123
Majano, Benedetto da, 77
Mansart, Jules Hardouin, 106
Mansion House, London, 136
Marble, Byzantine use of, 47, 300
Marquetry, 298
Marot, Daniel, 106, 109
Martyrdom, Symbols of, 345
Masks, 346
Mathematical Equipment, 365
Material in Design, 258
Mayhew, 123
Medusa, 346
Metal Work, Bronze, 42
Byzantine, 47
Repoussé, 304
Cast, 306
Mounts in Furniture, 108, 135
Methods of Expression, 292
Micheli, San, 80
Modelling, 301, 304
Mosaics, Byzantine, 47, 299
Mouldings, Attitude of, 148
Bolection, 152
Decorated Gothic, 64
Decoration of, 143
Drawn Metal, 155
Employment of, 147
Jacobean, 97
Pointed Gothic, 61
Plaster, 153
Pottery, 154
Profiles of, 138
Purpose of, 139
Repoussé, 157
Rolled Metal, 155
Spun Metal, 157
Turned Wood, 153
Wood Panel, 149
Muses, 328
Mythology, Origin of, 312
Scandinavian, 317
Myths, Nature, 312
Season, 314
Sun, 315
Nature, Myths, 312
Study, 355
Natural Attraction, 288
Natural Suggestion, 353
Phenomena, Belief in, 315
Needlework, 296
Newgate Prison, 136
Nimbus, The, 340
Noon, 318
Numbers, Belief in, 328
Oppenord, Giles Marie, 111
Order, 160
Order, Doric, 161
Ionic, 163
Corinthian, 163
Originality, 1
Ornament, Roman, 39
Byzantine, 45
Romanesque, 50
Pointed Gothic, 63
Decorated Gothic, 65
Perpendicular Gothic, 69
French Renaissance, 88
English “ 88, 91
Later English “ 118
Louis XVI, 134
Empire, 135
Outline, Drawing, 254
Painted Decoration, Roman, 39
Renaissance, 82, 294
Painted Furniture, 126
Palazzo, Pitti, 77
Strozzi, 77
Palladio, 78, 81
Pan, 339
Panels, Treatment of, 236
Juxtaposition, 238
The Composing Lines, 241
Grouping and Massing, 242
Division of, 242
Pantheon, Rome, 36
Passion, Symbols of the, 345
Pastoral Staff, 344
Parthenon, 30
Perugino, 83
Peruzzi, Baldazzare, 79
Pineau, Nicholas, 111
Piers, Gothic, 60
Pinturrichio, 83
Potters, Elementary, 9
Pottery, Ancient, 8
Greek, 34
Predestination, 319
Prehistoric Workers, 9
Personal Production, 10
Primitive Essays, 8
Requirements, 11
Prohibition, 324
Propitiation, 320
Raffaelle, 79
Realism, 255
Régence, 111
Relief Work, Treatment of, 293, 301
Reproduction Processes, 304
Drawing for, 359
Riesener, 133
Rococo, 111
Romano Giulio, 83
Rosette, The, 270
Sacred Trees and Flowers, 329
Sacrifice, 321
Sansovino (Jacopo Tatti) 80
Sarto, Andrea del, 86
Scamozzi, Vincenzo, 81
Sceptre, The, 341
Scroll, The, 266
Season Myths, 314
Secular Symbols, 347
Serlio, 78, 87
Shells, Symbolism of, 345
Sheraton, 127
Sirens, The, 338
Social Conditions, Early, 11
Sodoma (Gian Antonio Bazzi) 83
Somerset House, 136
Soufflet, 110
Spires, Pointed Gothic, 64
Decorated Gothic, 66
Classic, 116
Spiritual Belief, Early, 323
St. Geneviéve (Pantheon) 110
George, Bloomsbury, 115
Mark, Library of, 81
Martin in the Fields, 115
Mary le Strand, 115
Mary, Woolnoth, 115
Paul, Covent Garden, 103
Peter’s, Rome, 78
Stephen’s, Walbrook, 116
Standards, 246
Starts in Ornament, 276
Stencilled Work, 295
Strapwork, 87
Structural Design, 363
Style, 16
Phases in, 18
“ “ Gothic, 60
Sun Myths, 315
Signs, 340
Supports, 246
Surface Interest, 294
Symbols of the Evangelists, 331
Symbolic Ornament, 310
Taboo, 322
Taste, 6
Tatti, 80
Technical Considerations, 292
Tendrils, 271
Textiles, Printed and Woven, 296, 361
Thorpe, Thomas, 91
Thyrsus, The, 342
Time, Symbols of, 346
Torches, 346
Torrigiano, 89
Totemism, 336
Tracery, 61
Pointed, 63, 64, 68
Tracings, 368
Trident, The, 343
Triforium, 53, 60, 67
Trinity College, Cambridge, 116
Trinity, Symbols of the, 341
Triton, 339
Trophies, 347
Tuileries, The, 87
Udine, Giovanni da, 83
Undulate, Line or Stem, 230, 266
Vaga, Pierino del, 83
Vase, Greek, 29, 258
Forms and Decoration, 248
Vase, Stretch out and Segments, 250
Vault, The, 20, 36, 53
Treatment of, 224
Vaulting, Fan, 68
Veneer, 298
Venetian, Renaissance, 80
Versailles, Palace of, 106
Vesica Piscis, The, 340
Vignola, 78, 80, 87, 159
Vinci, Leonardo da, 86
Volute, The, 175
Wallpaper, 290, 362
Whitehall, Banqueting House, 103
Windows, Glazing of, 47, 67
Pointed Gothic, 61
Decorated Gothic, 64
Perpendicular Gothic, 68
Domestic, 73, 74
Jacobean, 98
Treatment of, 213
Winds Personified, 319
Wood, Inlay, 297
Treatment of, 289
Wren, Sir Christopher, 81, 114, 137