FOR DECORATORS AND DESIGNERS
[Sidenote: All the Arts in One]
The decorator and designer is a specialist in his purposes rather than
in his methods, and his taste and judgment must be based upon a wide
range of information. His selection and combination of decorative
factors call for a knowledge of architectural design, of painting,
sculpture, furniture, textiles, pottery, enamels, embroideries, laces
and all the other arts, crafts and products that contribute to the
perfecting of “the house beautiful.” The variety of the materials at his
command offers him infinite possibilities of successful achievement, and
as many temptations to incoherence and exuberance. The highest success
in decoration can be attained only when the designer possesses the
resources of all these arts and crafts, and failure perhaps comes
oftenest through too exclusive a use of one medium of expression because
it is the one with which the designer feels he can most competently
deal. The ideal should be not only to employ, but to enlarge, the scope
of every contributory medium of form or colour, as Wagner found new
possibilities in the use of every musical instrument in one orchestra.
This practical usefulness of versatility is clearly indicated in one of
the articles, characteristic of the Britannica, where one great expert
writes about the work of another. William Morris and Walter Crane have
been the leaders of the modern revival of artistic interest in the daily
accessories of life; and Crane in the Britannica (Vol. 2, p. 701) says
of Morris that his influence is to be attributed to his having
“_personally mastered the working details and handling of each craft he
took up in turn, as well as to his power of inspiring his helpers and
followers. He was painter, designer, scribe, illuminator, wood-engraver,
dyer, weaver and, finally, printer and paper-maker; and, having
effectively mastered these crafts he could effectively direct and
criticize the work of others._” Obviously, few men can afford to devote
forty years, as Morris did, to the close study and actual practice of
all these pursuits, and still fewer could hope to develop so many manual
dexterities. But any earnest student can become a competent critic in
all these varied fields, and can retain an equal appreciation of all the
materials and methods employed, if he will enlarge and refresh his
knowledge by constant reading of the best authorities. The
comprehensiveness of the Britannica makes it, for such purposes,
invaluable to the designer and decorator, no matter how many technical
books his working library may contain.
[Sidenote: The Influence of Architecture]
Since harmony of proportion, the essence of architecture, is also the
primary law of interior decoration, the reader of the present chapter
may well begin his reading with a number of the articles described in
the chapter _For Architects_, of which only those dwelling most upon the
use of ornament and colour need be separately mentioned in this
connection. The article ARCHITECTURE (Vol. 2, p. 369) is by R. Phené
Spiers, formerly master of the Architectural School of the English Royal
Academy, with sections on special periods and schools of architecture by
other famous authorities. Oriental architecture, with its elaboration of
detail, is peculiarly suggestive to the decorator, who may be surprised
to find, in the Britannica, treatises so highly specialized as INDIAN
ARCHITECTURE (Vol. 14, p. 428), by Dr. James Burgess, editor of the
standard book on the subject, the _History of Indian Architecture_; the
architectural part of CHINA, _Art_ (Vol. 6, p. 214), by Lawrence Binyon,
whose work in the great British Museum collection has made his
reputation as one of the foremost modern critics; and JAPAN, _Art_ (Vol.
15, p. 181), by Capt. Frank Brinkley, whose many years of study in Japan
have given him an exceptional mastery of the subject. Among other
articles dealing with the decorative aspects of architecture are ORDER
(Vol. 20, p. 176), CAPITAL (Vol. 5, p. 275), and HOUSE (Vol. 13, p.
810), with its exquisite full page plates.
[Sidenote: Design and Mural Painting]
The article DESIGN (Vol. 8, p. 95), by W. R. Lethaby, principal of the
Central School of Arts and Crafts, London, contains a passage which the
decorator may well bear in mind when he has to contend against the
typical client’s unreasoning demand for the sensationalism which, for
the moment, is accepted as an evidence of originality, but is always the
cause of subsequent dissatisfaction and complaint. “Modern use has
tended to associate design with the word ‘original’ in the sense of new
or abnormal. The end of design, however, is properly utility, fitness
and delight. _If a discovery, it should be a discovery of what seems
inevitable_, an inspiration arising out of the conditions, and parallel
to invention in the sciences.” These fifty words are but a millionth
part of the contents of the Britannica; but alone they show that the
work can practically serve the designer. MURAL DECORATION (Vol. 19, p.
16), with its delightful reproduction in colour of a wall painting
preserved in the National Museum at Rome, and its other illustrations,
is by William Morris and Walter Crane, with a section on classical wall
paintings by Prof. J. H. Middleton, Slade professor of fine art at
Cambridge University. The “furnishing” point of view is considered under
other headings (see below). Here the distinguished contributors give an
interesting account of marble and stone reliefs, the oldest method of
wall decoration; marble veneer, especially appropriate to 14th and 15th
century Italian style; wall-linings of glazed brick or tiles; coverings
of hard stucco; the recently revived sgraffito method; stamped leather,
much used in rooms of the 16th–18th century period; painted cloth;
printed hangings and wall-papers, of great antiquity among the Hindus
and Chinese but not common in Europe until the 18th century;
wall-painting, with description of the characteristic schemes of mural
art in ancient and modern times, and methods of execution.
In further connection with this subject the reader should turn to EGYPT,
_Art and Archaeology_ (Vol. 9, p. 65), by the noted Egyptologist, W. M.
Flinders Petrie; GREEK ART (Vol. 12, p. 470), by Percy Gardner; ROMAN
ART (Vol. 23, p. 474), by H. Stuart Jones; PAINTING (Vol. 20, p. 459),
by Prof. G. B. Brown, of Edinburgh University, and other authorities;
SCULPTURE (Vol. 24, p. 488), by Professor Middleton and other
authorities; MOSAIC (Vol. 18, p. 883), by Professor Middleton and H.
Stuart Jones, with a practical section on _Modern Mosaic_ (p. 888), by
Sir William Blake Richmond, noted for his accomplishments in decorative
art. All of these articles are richly illustrated. See further, the
chapters on _Fine Arts_, _Painting_ and _Sculpture_.
[Sidenote: The Wall and the Floor]
WALL-COVERINGS (Vol. 28, p. 279), by James Bartlett, of Kings College,
London, deals with the subject in its practical relation to house
furnishing, with reference to the conditions of the room, the use to
which it is to be put, its lighting aspect, and its outlook. There is
much information about the employment of marble, mosaic, tiles, metal
sheeting, tapestry, and wall-papers; and separate articles will be found
on the following materials: MARBLE (Vol. 17, p. 676), by J. S. Flett;
TILE, _Wall and Floor_ (Vol. 26, p. 971), illustrated, by William
Burton; LEATHER (Vol. 16, p. 330), illustrated, by Dr. J. G. Parker;
TAPESTRY (Vol. 26, p. 403), by A. S. Cole, an admirable historical
account, fully illustrated, and giving information on varieties of
design, indications of date, the marks of makers, modern tapestry
weaving, etc. BAYEUX TAPESTRY (Vol. 3, p. 555) is an interesting
historical account by the antiquarian, J. H. Round, of this venerable
relic executed by order of the half-brother of William the Conqueror; it
is illustrated with two plates containing 11 views of the tapestry.
In the matter of Floor-coverings there are the articles FLOOR-CLOTH
(Vol. 10, p. 527), PARQUETRY (Vol. 20, p. 861), and CARPET (Vol. 5, p.
392), illustrated, by A. S. Cole, devoted to descriptions of carpets and
rugs as designed and manufactured in Europe and Oriental countries.
[Sidenote: Furniture]
The next group of topics begins with the article FURNITURE (Vol. 11, p.
363) with 36 illustrations by J. G. Penderel-Brodhurst. The classified
Table of Articles in the Britannica (Vol. 29, p. 888) indicates over 75
articles on separate pieces of furniture, but in this general treatise
we have a concise history, describing periods and styles, with many
interesting facts about the origin and use of different pieces of
furniture from the earliest time to the “art nouveau” of very recent
date. Some of the noteworthy separate articles, which have been written
by Mr. Penderel-Brodhurst, are CHAIR (Vol. 5, p. 801); DESK (Vol. 8, p.
95); TABLE (Vol. 26, p. 325), and BED (Vol. 3, p. 612). See also
MARQUETRY (Vol. 17, p. 751). For those who wish to preserve unity of
style in furnishing a room, these articles will prove of the highest
value. A full list is appended to this chapter; and the reader should
consult the chapter in this Guide _For the Manufacturer of Furniture_.
[Sidenote: Textile Fabrics]
The decorator and designer must be familiar with all manner of fabrics,
and the Britannica contains an immense fund of information in regard to
the nature, manufacture and use of textiles. For purposes of study a
beginning would perhaps here be made with the article Weaving, which is
in two parts. The first, _Industrial Technicology and Machinery_ (Vol.
28, p. 440) with 28 illustrations, is by T. W. Fox, professor of
textiles in the University of Manchester. Very useful will be found the
classification of weaving schemes into groups, from which we learn the
distinctive weaves of plain cloth, twills, satins, damasks, compound
cloths, repps, piled fabrics, chenille, velvets and plushes, gauze, etc.
All weaving machinery is described. The second part, _Archaeology and
Art_, is written by A. S. Cole. It is a most interesting and valuable
account of the origin of various textiles, and the periods to which they
are appropriate. There are many illustrations of typical designs of
silk, brocade and flax weavings.
The investigation of woven fabrics reveals the fact that the almost
endless variety of effects obtained is due in part only to the method of
weaving. Consequently, it is necessary for the student, in order to
acquire an expert knowledge of the character and effect on any textile
product which he wishes to employ, to have access to the information in
the articles BLEACHING (Vol. 4, p. 49) illustrated; MERCERIZING (Vol.
18, p. 150); DYEING (Vol. 8, p. 744) illustrated, and with an elaborate
classification of colouring matters—acid, direct, and developed colours;
FINISHING (Vol. 10, p. 378) illustrated, and TEXTILE PRINTING (Vol. 26,
p. 694), illustrated. The fact that this fine series of articles has
been prepared by Dr. Edmund Knecht, professor of technological
chemistry, University of Manchester, assisted by noted authorities like
the late J. J. Hummel, professor of dyeing, University of Leeds, and A.
S. Cole, is a guarantee of their great interest and value.
In the matter of the fabrics themselves, under COTTON, _Cotton Goods and
Yarn_ (Vol. 7, p. 275) will be found descriptions of many cotton
fabrics, and see also SILK (Vol. 25, p. 96) illustrated, by Arthur
Mellor and other authorities; WOOL, WORSTED, AND WOOLEN MANUFACTURES
(Vol. 28, p. 805) illustrated, by Prof. A. F. Barker of Bradford
Technical College; LINEN AND LINEN MANUFACTURES (Vol. 16, p. 724) by
Thomas Woodhouse, head of the weaving and textile designing department,
Technical College, Dundee. Those who desire a closer scientific
knowledge of fibres may obtain it from FIBRES (Vol. 10, p. 309),
illustrated, by the well-known English analytical chemist, C. F. Cross.
There are separate articles on BROCADE (Vol. 4, p. 620); MUSLIN (Vol.
19, p. 93); CANVAS (Vol. 5, p. 223); CHINTZ (Vol. 6, p. 235); CRETONNE
(Vol. 7, p. 431); GAUZE (Vol. 11, p. 357) and other textiles. A full
list of these materials is appended.
The article LACE (Vol. 16, p. 37) is one of the most notable
contributions to the Britannica. It is written by A. S. Cole, author of
_Embroidery and Lace_, _Ancient Needle Point and Pillow Lace_, etc., and
has over 60 illustrations. A full history of lacemaking is given, and
the article is of the highest interest throughout. There exists no
better manual on the subject than this, and the pictures alone will
enable the student to distinguish the different varieties. EMBROIDERY
(Vol. 9, p. 309) by A. F. Kendrick, keeper of the Victoria and Albert
Museum, and A. S. Cole, has 18 illustrations and describes the
characteristics of the art as practised by different nationalities. GOLD
AND SILVER THREAD (Vol. 12, p. 200), also by A. S. Cole, is a general
and historical account of the gold and silver strips, threads and gimp
used in connection with varieties of weaving, embroidery and twisting
and with plaiting or lace-work.
[Sidenote: Arts and Crafts]
Before taking up the specific objects of art used in interior decoration
and furnishing, attention must be called to the many articles of great
value to those engaged in all arts and crafts-work whose success depends
upon a sound knowledge of methods and the principle of design. In ARTS
AND CRAFTS (Vol. 2, p. 700) Mr. Walter Crane gives an account of the
recent movement in the arts of decorative design and handicraft that has
for its object the adornment of the house. Handicraft workers will find
valuable material, discussing designs, methods and tools, in NEEDLEWORK
(Vol. 19, p. 339); WOOD-CARVING (Vol. 28, p. 791) fully illustrated, by
F. A. Crallan, author of _Gothic Wood-carving_; CARVING AND GILDING
(Vol. 5, p. 438); METAL-WORK (Vol. 18, p. 205) illustrated, by Professor
Middleton of Cambridge University, with sections on _Modern Art
Metal-work_ by John S. Gardner, and on _Industrial Metal Work_ by J. G.
Horner, author of _Practical Metal Turning_; MEDAL (Vol. 18, p. 1)
illustrated, by M. H. Spielmann, formerly editor of _The Magazine of
Art_; GLASS, STAINED (Vol. 12, p. 105) illustrated, by Lewis Foreman
Day, late vice-president of the Society of Arts; SPINNING (Vol. 25, p.
685) by Professor Fox; BASKET (Vol. 3, p. 481) with an account of the
basket-making industry and methods employed, by Thomas Okey, examiner in
basket-work for the City of London Guilds and Institute; EMBOSSING (Vol.
9, p. 308); CHASING (Vol. 5, p. 956); REPOUSSÉ (Vol. 23, p. 108); ENAMEL
(Vol. 9, p. 362) a very complete historical and technical article, fully
illustrated, by Alexander Fisher, author of _The Art of Enamelling on
Metals_; JAPAN, _Cloisonné Enamel_ (Vol. 15, p. 189); INLAYING (Vol. 14,
p. 574). Much knowledge about primitive shapes and designs may be
obtained from ARCHAEOLOGY (Vol. 2, p. 344) by Dr. Charles H. Read of the
British Museum, AEGEAN CIVILIZATION (Vol. 1, p. 245) by D. G. Hogarth,
the explorer, SCANDINAVIAN CIVILIZATION (Vol. 24, p. 287), and AMERICA,
_Archaeology_ (Vol. 1, p. 810) by the late O. T. Mason, of the National
Museum, Washington. These articles are beautifully illustrated.
[Sidenote: Portable Ornaments]
Some of the articles on art objects have already been mentioned; in
addition to them there is CERAMICS (Vol. 5, p. 703), equivalent to 133
pages of this Guide, with over 100 illustrations including 10 full-page
plates, six of which are colour. This magnificent article is the joint
contribution of six special authorities and describes the art of pottery
and porcelain manufacture, potter’s marks, etc., in all countries and at
all periods, with the exception of Japanese ceramics, for which see
JAPAN, _Art_, _Ceramics_ (Vol. 15, p. 183). GLASS (Vol. 12, p. 86) has a
section on the _History of Glass Manufacture_ (p. 97) in which glassware
from the primitive vessels of ancient Egypt to modern wares is discussed
and illustrated. The authors of this valuable account are Alexander
Nesbitt, who wrote the descriptive catalogue of glass vessels for the
South Kensington Museum, and H. J. Powell, of the Whitefriars Glass
Works, London. PLATE (Vol. 21, p. 789) illustrated, is the joint product
of H. Stuart Jones, formerly director of the British School at Rome; H.
R. H. Hall, of the British Museum, and E. Alfred Jones, author of _Old
English Gold Plate_. It contains unusually full information about
hall-marks. There are also separate articles on PEWTER (Vol. 21, p. 338)
and SHEFFIELD PLATE (Vol. 24, p. 824) by Malcolm Bell, author of _Pewter
Plate_, etc.
CLOCK has a section _Decorative Aspects_ (Vol. 6, p. 552), by J. G.
Penderel-Brodhurst. FAN (Vol. 10, p. 168) by the late J. H. Pollen,
author of _Ancient and Modern Furniture and Woodwork_, devotes special
attention to styles of fan painting. IVORY has a well-illustrated
section on _Ivory Sculpture and the Decorative Arts_ (Vol. 15, p. 95) by
A. O. Maskell, author of _Ivories_, etc. MIRROR (Vol. 18, p. 575); FRAME
(Vol. 10, p. 773), and SCREEN (Vol. 24, p. 477) are likewise useful
articles for the decorator and furnisher. TERRACOTTA (Vol. 26, p. 653)
illustrated, by H. B. Walters of the British Museum, and William Burton,
deals with the use of this material in architecture and sculpture,
describes its manufacture, and contains an historical and critical
discussion of subjects and types. BYZANTINE ART by W. R. Lethaby
contains a section, _Metal Work, Ivories, and Textiles_ (Vol. 4, p.
910).
The subject of LACQUER (Vol. 16, p. 53) is further treated under JAPAN,
_Lacquer_ (Vol. 15, p. 188), a part of a very elaborate discussion of
all forms of Japanese art, including especially _Painting and Engraving_
(Vol. 15, p. 172), which, as well as CHINA, _Art_ (Vol. 6, p. 213), will
be referred to constantly by all who are interested in Oriental
handiwork and design.
[Sidenote: Biographies]
A great number of the biographies in the Britannica will possess much
interest for the decorator and designer. Some of the noteworthy names of
modern times are MORRIS, WILLIAM (Vol. 18, p. 871); CRANE, WALTER (Vol.
7, p. 366); TIFFANY, LOUIS C. (Vol. 26, p. 966); LA FARGE, JOHN (Vol.
16, p. 64); RICHMOND, SIR WILLIAM BLAKE (Vol. 23, p. 307); CHIPPENDALE,
THOMAS (Vol. 6, p. 237); HEPPLEWHITE, GEORGE (Vol. 13, p. 305);
SHERATON, THOMAS (Vol. 24, p. 841); GIBBONS, GRINLING (Vol. 11, p. 936).
ALPHABETICAL LIST OF ARTICLES IN THE ENCYCLOPAEDIA BRITANNICA OF SPECIAL
INTEREST TO THOSE ENGAGED IN DECORATING, DESIGNING, INTERIOR FURNISHING
AND ALL FORMS OF ART HANDICRAFT
Abbey, E. A.
Acroliths
Adam, Robert
Aegean Civilization
Ainmuller, M. E.
Alb
Alexander, J. W.
Almuce
Alto-Relievo
America, _Archaeology_
Amice
Amphora
Andiron
Angerstein, J. J.
Antimacassar
Apostle Spoons
Aquarelle
Aquatint
Arabesque
Arch
Archaeology
Architecture
Armoire
Art
Arts and Crafts
Art Teaching
Bagging
Bahut
Baize
Ball-flower
Baroque
Basin-stand
Basket
Basso-relievo
Bead
Beaker
Bed
Bérain, Jean
Bezel
Biretta
Bleaching
Blondel, J. F.
Blum, R. F.
Bombay Furniture
Bombazine or Bombasine
Bonelace
Bonheur du Jour
Bookbinding
Bookcase
Book-plates
Boulle, André Charles
Box
Bracelet
Bracket
Brasses, Monumental
Brazier
Brocade
Brooch
Buckram
Buffet
Bunting
Byzantine Art
Cable-moulding
Caffieri, Jacques
Calender
Calico
Cambric
Cameo
Candelabrum
Candle
Candlestick
Canopy
Canvas
Capital
Capronnier, Jean Baptiste
Carding
Carpet
Cartoon
Cartouche
Carving
Carving and Gilding
Caryatides
Casket
Cassock
Cassone
Ceiling
Cellaret
Cellini, Benvenuto
Ceramics
Chair
Chandelier
Chasing
Chasuble
Chatelaine
Cheese-cloth
Cheffonier
Chenille
Chest
Chevron
Chimere
Chimney-piece
China, _Art_
Chintz
Chippendale, Thomas
Cimabue, Giovanni
Cinque Cento
Cloth
Coffer
Column
Composite Order
Console
Cookworthy, William
Cope
Copeland, Henry
Copper
Corduroy
Corner Copiae
Cornice
Corregio
Cosmati (family)
Costume
Cotton
Cotton Manufacture
Cotton-spinning Machinery
Cowl
Cox, Kenyon
Cradle
Crane, Walter
Crape
Crash
Cressent, Charles
Crest
Cretonne
Cross
Crozat, Pierre
Crunden, John
Cupboard
Curtain
Cushion
Dais
Dalmatic
Damascening, or Damaskeening
Damask
Darly, Matthias
Decorated Period
Delacroix, F. V. E.
Della Robbia
Denim
Design
Desk
Diaper
Die
Dimity
Diptych
Dog-tooth
Domenichino, Zampieri
Doulton, Sir Henry
Dowlas
Drawing
Drill
Drinking Vessels
Duck
Dumbwaiter
Dwight, John
Dyeing
Early English Period
Ear-ring
Egypt, _Archaeology_
Electrolier
Electroplating
Embossing
Embroidery
Enamel
Encaustic Painting
Encoignure
Engraving
Etagère
Etching
Faience
Fan
Felt
Fender
Festoon
Fibres
Filigree
Fine Arts
Finiguerra, Maso
Finishing
Fireback
Fire-irons
Flag
Flamboyant Style
Flannel
Flannelette
Flock
Floor
Floorcloth
Footman
Frame
French Polish
Fresco
Frieze
Furniture
Fustian
Ganté
Gargoyle
Gauze
Gem
Gem, Artificial
Gesso
Ghiberti, Lorenzo
Ghirlandajo
Gibbons, Grinling
Gilding
Gillow, Robert
Gimp
Gingham
Giotto
Girandole
Girdle
Glass
Glass Cloth
Glass, Stained
Glue
Gobelin
Goblet
Gold
Gold and Silver Thread
Goldbeating
Gouache
Gouthière, Pierre
Graffito
Grate
Greco, El
Greek Art
Grisaille
Grotesque
Guéridon
Guido Reni
Gunny
Halfpenny, W.
Hallstatt
Hamerton, P. G.
Hepplewhite, George
Heraldry
Hessian
Hiroshige
Hokusai
Holland
Honeycomb
Horn
Hosiery
House
Huckaback
Icon
Illuminated Manuscripts
Illustration
Impressionism
Ince, William
India, _Costume_
Indian Architecture
Ingle-work
Inlaying
Intaglio
Iron-work
Ivory
Jack
Jacobean Style
Japan, _Art_
Japanning
Jewelry
Johnson, Thomas
Jug
Jute
Kashi
Knitting
Lac
Lace
Lacquer
Lacrymatory
La Farge, John
Lampstand
Lantern
Lawn
Leather
Leather, Artificial
Lectern
Leonardo da Vinci
Le Pautre, Jean
Line Engraving
Linen, and Linen Manufactures
Linen-press
Lithographing
Lock, Matthias
Longcloth
Lowboy
Macabre
Majolica
Manwaring, Robert
Marble
Marot, Daniel
Marquetry
Matting
Mayhew, Thomas
Mazer
Medal
Meissonier, J. A.
Mercerizing
Metal-work
Mezzotint
Michelangelo
Miniature
Mirror
Mohair
Moleskin
Monogram
Monteith
Morel-Ladeuil, L.
Mosaic
Mouldings
Mull
Mural Decoration
Museums of Art
Muslin
Nankeen
Needlework
Net
Niello
Numismatics
Oeben, F. F.
Order
Ormolu
Ornament
Osnaburg
Ottoman
Overdoor
Overmantel
Padding
Pagoda
Painting
Palissy, Bernard
Pantograph
Papier Maché
Parchment
Parquetry
Pastel
Pearl
Pedestal
Pediment
Pendant
Pergolesi, M. A.
Perpendicular Period
Perugino, Pietro
Pewter
Photography
Phylactery
Pigments
Plaque
Plate
Plated Ware
Platinum
Plumbago Drawings
Plush
Poplin or Tabinet
Poppy-heads
Porcelain
Portière
Poster
Pot-hook
Prie-Dieu
Process
Puvis de Chavannes, P. C.
Raphael Sanzio
Relief
Rep
Repoussé
Reredos
Ribbons
Richmond, Sir W. B.
Riesener, J. H.
Ring
Robes
Rococo
Roman Art
Röntgen, David
Rousseau de la Rottiere, J. S.
Rubens, Peter Paul
Rug
Sacking and Sack Manufacture
Salt cellar
Salver
Samovar
Sampler
Sargent, J. S.
Scandinavian Civilization
Scarab
Scarf
Sconce
Screen
Scrim
Sculpture
Seals
Servan, J. N.
Settee
Settle
Shagreen
Shawl
Shearer, Thomas
Sheffield Plate
Sheraton, Thomas
Sideboard
Silk
Silver
Sofa
Soutane
Spinning
Spit
Spoon
Stencil
Stole
Stool
Sun Copying or Photo-Copying
Surplice
Table
Tallboy
Tankard
Tapestry
Tarpaulin
Tartan
Tassie, James
Tazza
Tea-caddy
Tea-poy
Tempera
Terracotta
Textile-printing
Throne
Ticking
Tiepolo, G. B.
Tiffany, C. L.
Tile
Tintoretto
Titian
Tool
Torchère
Torque
Tortoiseshell
Tracery
Tray
Triclinium
Tripod
Triptych
Trivet
Tudor Period
Tulle
Twill
Uniforms
Utamaro
Varnish
Vase
Velvet
Velveteen
Veneer
Vernis Martin
Vestments
Walker, H. O.
Wall-coverings
Wardrobe
Washstand
Wax Figures
Weaving
Wedgwood, Josiah
What-not
Window-cornice
Window-seat
Wine Table
Wood-carving
Wood Engraving
Wyon, Thomas
Yarn