first exhibition of, 21;
objects and principles of, 22.
Assyrian reliefs, object and value of, 90.
Bacchus, visit of, to Icarius, Romano-Greek relief, 106.
Bamberg, Royal mantle from the Treasury of, 205.
Barron, O., 200.
Bell, R. A., 159.
Bellamy’s “Looking Backward,” quoted, 83.
Berthelet, Thomas, bindings by, 227, 229.
Birmingham, scheme for frescoes illustrating local history at, 120.
Blake, William, 5, 6.
Bland, J. P., specimen of calligraphy by, 65.
Blickling, ceiling at, 158.
Book-covers, designing of, 225–236.
Borgia apartments, decoration of the, 238, 239, 240, 248;
model of, at South Kensington, 240, 248.
Bournville, 121, 148;
views in, 123.
Brown, Ford Madox, 12;
frescoes in the Manchester Town Hall by, 118, 119, 120.
Building Acts, the, 126;
local bye-laws, 152.
Burges, William, 17.
Burne-Jones, Sir E., 20, 162, 175, 240.
Butterfield, William, 17.
Calvert, Edward, 7, 8, 9.
Carpaccio’s “Dream of St. Ursula,” 144, 147.
Crane, Lancelot, figure composition by, 37.
Crane, Lionel F., design for a collective dwelling by, 116;
cottage at Letchworth designed by, 148–151.
Central School of Arts and Crafts, the, 28, 29.
Chesterton, G. K., his “G. F. Watts” criticised, 273–281.
Cleobury, W. T., 133–139, 141, 143.
Cobden-Sanderson, T. J., 230.
Collective dwellings, 115–117.
Commercialism, evil effects of, 84, 85, 94.
Cretonne, printed, 160–162.
Crivelli’s “Annunciation,” 142.
Crouchback, Edmund, Earl of Lancaster, figure from the tomb of, 223.
Dalpeyrat, M. Louis, 27.
Day, Lewis F., 18, 203.
“Decorative,” meaning of the word, 267.
Decorative art, development of, in the nineteenth century,
2 _et seq._;
modern revival of, 15 _et seq._;
relation of the easel picture to, 265.
“Denoline,” 252.
Dress, absence of beauty in modern, 81–83;
progress of taste in, 171–191;
influence of the pre-Raphaelites on, 175;
types of artistic, 177;
types of children’s, 179;
types of working, 181;
modern and mediaeval, 185, 187.
Dunkley, Miss L. M., designs for embroidery by, 45, 46.
Eastlake, C. L., his “Hints on Household Taste,” 17.
Egyptian hieroglyphics, 89, 90, 103;
decorative art, 112.
Enamelling, modern revival of, 26, 27.
Exhibition of 1851, the, 3.
“Fifteen, the,” 18.
Fisher, Alexander, 27.
Flats, effects of living in, 114, 115.
Flaxman, John, 9.
Fylfot, the, 104.
Garden City Association, the, 121, 148.
Genoa, Doria Palace, gesso decorations in, 248.
Gesso, origin of, 247;
fine examples of, 248;
methods of working in, 249;
Gesso Duro, 249;
“Denoline,” 252;
system of modelling in, 257.
Gilding, use of, in decoration, 237–246.
Gimson, Ernest W., cottage designed by, 152, 153, 155.
Graining, 130.
Greece, the artistic sense of, 90, 91.
Greek, ornament, 104–107, 215;
drapery, 173.
Harvey, Alex. W., cottages designed by, 123, 148.
Heraldic lions, 220–222.
Hill, Vincent, panel by, 67.
Holland Park, 1a, interior
of, 131;
gesso decorations in, 258–261.
Home Arts and Industries Association, the, 19.
House-decoration, Thoughts on, 110–170.
Howard, Ebenezer, 121.
Hungarian peasant costumes, 182, 183.
Hunt, Holman, 9, 12.
Kidd, A., stained glass panel by, 62.
Knole, ceiling at, 158.
Kruger, G. E., 195.
Lacey, Miss C. M., Heraldic studies by, 47.
Lanteri, Prof., 194.
Letchworth, Garden City, cottage at, 148–151.
Line, meaning of, in ornament, 107, 108.
London, some aspects of, 76–83.
Lucas van Leyden’s “Annunciation,” 144, 145.
Mackim, Meade, and White, Messrs., 242.
Manchester, frescoes in the Town Hall in, 120.
Mantua, model of the room of Isabella d’Este at, 240.
Martin, A. E., architectural design by, 42.
Millais, Sir J. E., 11.
Moira, Gerald, 159, 194.
Moore, Sturge, 9.
Morris, William, 15, 20, 24, 156, 162, 175, 272.
“Municipal Journal,” the (New York), 81.
“Mural feeling,” 265, 267.
Muybridge, Mr., 52.
National Association for the Advancement of Art in Relation to
Industry, the, 19.
New York, movement in favour of public beauty in, 81.
Ornament and its meaning, 102–109;
analogy of to music, 102;
origins of, 103;
two sources of meaning in, 106.
Palermo, Cappella Reale, decoration of, 241, 242, 243.
Palmer, Samuel, 9.
Paris Exhibition, the English House at the, 162.
Parr, H., studies by, 38, 39.
Peleus and Thetis, Greek cylix, 105.
Pictures, background for, 142, 144;
relation of, to decorative art, 265–272.
Pinturicchio’s decoration of the Appartamenti Borgia, 238, 239, 240,
248.
Plaster, treatment of, 158, 159.
Pomeroy, Mr., 159.
Pompeian decoration, 113.
Pre-Raphaelite movement, the, 12, 14, 15, 175.
Pugin, A. W. N., 17.
Ranworth rood-screen, 133–139, 141, 143.
Reynes, John, binding by, 233.
Richard II, figure of, in the Wilton picture, 219.
Rigby, H. A., pen-drawings by, 55, 57.
Rome, St. Peter’s, use of gilding in, 246.
Rossetti, D. G., 10, 12, 15, 175.
Royal College of Art, specimens of students’ work, 37–67.
Ruskin, John, 14.
Sandys, Frederick, 12, 13.
Scott, Sir Walter, 10.
Sevenoaks, Combe Bank, decorations at, 159.
Shaw, Henry, 16.
Shaw, Norman, 18.
Shea, J. R., cabinet designed by, 59;
wood carving by, 61.
Sicilian Silk Patterns, 207–214, 218.
South Kensington Museum, formation and influence of, 16.
Southwold, rood-screen at, 247.
Spooner, W. G., studies by, 49, 51, 53.
Stencilling, development of, 136.
Stevens, Alfred, 4.
Stevenson, James A., frieze by, 63.
Stothard, Thomas, 10.
Street decorations, temporary, 192–202.
Sykes, Godfrey, 4.
Temple Bar, suggestion for temporary gatehouse at, 197.
Tennyson, the Moxon edition of, 9–12.
Thoreau’s “Walden,” 111.
Tintoretto, 270.
Tolstoi, Count, his “What is Art?” 69–75.
Tristram, E. W., design for Tapestry by, 43.
Van der Meer, 142.
Van Dyck’s “Jan Arnolfini and his wife,” 142.
Venice, St. Mark’s, mosaics in, 244;
Ducal Palace, 271.
Voysey, C. F. A., 147.
Wall-paper designs, 163–169.
Walton, George, 158.
Watts, G. F., 240;
Mr. Chesterton’s book on, 273–281.
Webb, Philip, 15, 16, 131, 258, 259.
Weeks, Harold, 250.
Weeks, Osmund, 251.
Westminster Bridge, decoration of, by students of the R.C.A., 194,
195.
Whistler, J. McNeill, 242.
Whitechapel, Wentworth Street, 79.
Wilton House, the Vandyke room at, 243, 244, 245.
Windsor, Lord, 200.
Wotton Binder, binding by the, 235.
[Illustration: Chiswick Press]
Transcriber’s Notes
Punctuation and spelling were made consistent when a predominant
preference was found in this book; otherwise they were not changed.
Simple typographical errors were corrected; occasional unbalanced
quotation marks retained.
Ambiguous hyphens at the ends of lines were retained; occurrences of
inconsistent hyphenation have not been changed.
The original book repeated chapter titles on most pages as though they
were sidenotes. This eBook does not repeat the chapter titles.
The original book placed captions to the left or right of
illustrations. This eBook generally places the captions above or below
the illustrations.
Scaling information in captions does not apply to diagrams in
this eBook, and the sizes of the illustrations, relative to other
illustrations, are not necessarily the same as in the original book.
Transcriber adjusted the brightness and contrast of many photographs in
order to reveal more detail in shadowed areas, and did not restore many
photographs to grayscale, although they originally were printed that
way. Without access to a pristine copy of the physical book, it was not
possible to know how those photographs looked when the book was printed.
Infrequent occurrences of ‘æ’ in ‘æsthetic’ and ‘mediæeval’ have been
replaced by the more commonly occurring ‘ae’. Occurrences of the
ligature in other words have not been changed.
Transcriber corrected errors in the Table of Contents.
The Index was not systematically checked for proper alphabetization or
correct page references.
Page 33: Transcriber added missing closing quote after ‘is our
selection,’.
Page 71: Unmatched closing quote removed after ‘with which he infects
the spectator.’
Page 129: Transcriber added missing closing quote after ‘As you like
it’.