|
[Contents.]
[Index.]:
[A],
[B],
[C],
[D],
[E],
[F],
[G],
[H],
[I],
[J],
[K],
[L],
[M],
[N],
[O],
[P],
[R],
[S],
[T],
[U],
[V],
[W].
[List of Illustrations] (In certain versions of this etext [in certain browsers] clicking on the image will bring up a larger version.) (etext transcriber's note) |
DESIGN AND TRADITION
“They are the elect to whom beautiful things mean only Beauty.”—Oscar Wilde.
Sketch Design for Equestrian Statue, by E. A. Rickards, F.R.I.B.A.
This drawing is remarkable as an anticipation of eventual appearance. Thoroughly impressionistic in treatment, all irrelevant detail is omitted.
UNIVERSAL ART SERIES
EDITED BY FREDERICK MARRIOTT
DESIGN AND
TRADITION
A SHORT ACCOUNT OF THE
PRINCIPLES AND HISTORIC
DEVELOPMENT OF ARCHI-
TECTURE AND THE APPLIED
ARTS
BY
AMOR FENN
LONDON
CHAPMAN AND HALL, LTD.
1920
THE WESTMINSTER PRESS
HARROW ROAD
LONDON
AUTHOR’S PREFACE
IT may be urged with some reasonable basis of truth that much of the modern art work fails to attain the level of that of the past. It must be conceded, however, that demand and appreciation is more general and widely diffused. As social conditions have developed, interest in environment has been stimulated. Improved processes resulting in more economic production have rendered possible an indulgence by those of moderate means, attainable only at earlier periods by the wealthier class.
As a result of this more general appreciation the professional services of the artist are necessarily in greater request, thus affording a sphere of work not only lucrative but temperamentally attractive.
At the present time the facilities available to the prospective artist are considerably greater than at any previous period. In every district and important centre, there are schools specialising in the Arts and Crafts, giving opportunities for training at fees that are purely nominal. Most of these deal with the various phases of artistic expression on logical and sound lines, but the knowledge and experience essential to a successful artistic career is invariably acquired in professional work to which the art school training is preparatory.
To those specialising in design, the study of Historic Style is of paramount importance. Intelligent investigation will show that in all the varying phases, the underlying factors are much the same, and appreciation of these will be found invaluable in personal work.
Necessarily brief, this book has been prompted by the memory of early bewilderment and difficulties, when a guiding hand would have saved much valuable time and mis-directed energy.
A considerable amount of the available space is devoted to Architectural features, with the conviction that a knowledge of these will be found helpful in the formation of methods, logical and constructive.
Attention is directed to the frontispiece, a typical example of the extraordinary genius of E. A. Rickards, F.R.I.B.A., the original of which is in the possession of Philip Connard, A.R.A., to whom indebtedness for its use is acknowledged.
The author’s thanks are also due to Miss Dora Bard and Mr. C. E. Bernard for the reproduction of drawings made by them during their tenure in successive years of the “Travelling Studentship” of the Society of British Decorators.
For the use of the following photographs the author desires to make acknowledgment to the Authorities of the Victoria and Albert Museum, South Kensington, as holders of the Crown copyright:
| Nos. | 257. 258. 259. 265. 271. | 272. 273. 274. 275. 281A. |
CONTENTS
| CHAPTER | PAGE | |
| [I] | Introductory | [1] |
| Human Limitations, p. 1—Inspiration—Process andMaterial, p. [2]—Early Training, p. [4]—Art and Existence,p. [5]—Natural Taste—Commercial Production,p. [6]—“Ornaments,” p. [7]—Modern Development—PublicApathy, p. [8]—Elementary Pattern, p. [9]—EarlyImpressionism—Personal Production, p. [10]—EarlySocial Conditions, p. [11]—Influence—Commercial Intercourse,p. [12]—Effect on Design, p. [13]—Ethical sideof Art, p. [14]—Desire for Novelty, p. [15]. | ||
| [II] | Historic Review | [16] |
| Style, p. [16]—Intercommunication—Climate andMaterial, p. [17]—Phases in Style, p. [18]—The Lintel,p. [19]—The Arch, p. [20]—Egyptian Art, p. [22]—ChaldeanArt, p. [25]—Greek Art, p. [28]—Roman Art, p.[35]—Vaulting, p. [36]—Greek Influence, p. [37]—RomanDevelopment of Ornament, p. [38]—Græco-RomanPainted Decoration, p. [39]—Byzantine Dome, p. [43]—EarlyChristian Art, p. [46]—Byzantine Metal Work,and Enamel, p. [47]—Roman Influence Abroad—RomanesqueStyle, p. [49]—Church Development, p.[50]—Dark Ages, p. [53]—Crusades, p. [56]—Origin ofthe Pointed Arch, p. [58]—Gothic Style, p. [59]—Phasesof Gothic—Early Pointed, p. [60]—Decorated Gothic,p. [64]—Perpendicular Gothic—Glass Windows, p. [67]—CivicInfluences, p. [70]—Effect of Commerce—ClassicTradition in Italy, p. [71]—Foreign Influencein England—The Dwelling House, p. [72]—The Reformation,p. [74]—The Renaissance, p. [75]—Early FlorentineExponents, p. [76]—Rome, p. [78]—Venice, p.[80]—Venetian Influence, p. [81]—Painted Decoration,p. [82]—Græco-Roman Influence, p. [83]—Early FrenchRenaissance, p. [85]—Native Exploitation, p. [87]—EnglishRenaissance, p. [88]—Italians in England, p.[89]—Study of Classic Style—Thomas Thorpe, p. [91]—FlemishInfluence, p. [92]—Jacobean Work, p. [93]—Developmentin Dwellings, p. [98]—Evolution ofProfessional Designer, p. [101]—Inigo Jones, p. [102]—LouisXIII, p. [103]—Louis XIV, p. [106]—“Boule”Work—Mirrors, p. [109]—Louis XV, p. [110]—Régence—Rococo,p. [111]—Lacquer “Vernis Martin”—LaterEnglish Renaissance, p. [113]—Sir ChristopherWren, p. [114]—Classic Treatment of the Spire, p. [116]—Dutchand French Influences, p. [118]—Queen AnnePeriod—Early Georgian, p. [120]—Furniture Design,Chippendale, p. [121]—Mayhew—Robert Adam, p.[123]—Hepplewhite, p. [126]—Sheraton—Louis XVI,p. [127]—Riesener and Gouthière, p. [133]—Empire—Empirein England—Later English Architecture,p. [135]—French Influence on Europe, p. [136]. | ||
| [III ] | Mouldings | [138] |
| Purpose—The Fillet—Sheltering Mouldings—TheCavetto, p. [139]—Cyma Recta—Bracketing Mouldings—TheOvolo, p. [140]—Cyma Reversa—BindingMouldings, p. [141]—The Torus—The Scotia—TheFacia, p. [142]—Decoration of Mouldings, p. [143]—OrthodoxDetails—Angle Leaf, p. [145]—Dentils, p.[146]—Employment of Mouldings, p. [147]—Attitude,p. [148]—Panel Mouldings—Woodwork, p. [149]—AppliedMouldings, p. [151]—Bolection Moulding, p.[152]—Mouldings in Plaster Work—Wood Turning,p. [153]—Metal Turning—Pottery, p. [154]—Mechanicallyproduced Metal Mouldings—Wrought Iron, p.[155]—Silver Work, p. [156]—Sheet Metal, Spinning,and Repoussé, p. [157]. | ||
| [IV] | Architectural Proportions | [158] |
| Introduction, p. [158]—System of Proportion, p. [159]—TheOrder, p. [160]—Doric Order, p. [161]—IonicOrder—Corinthian Order, p. [163]—Doric Entablatures—Mutules,p. [164]—Ionic Entablature, p. [169]—CorinthianEntablature, p. [171]—The Column, p. [172]—TheCapital—Doric Capital, p. [173]—Ionic Capital—IonicVolute, p. [175]—Corinthian Capital, p. [178]—TheBase, p. [180]—Doric Base, p. [181]—Ionic Base,p. [182]—Corinthian Base—The Arch, p. [184]—DoricImpost, p. [185]—Doric Archivolt—Ionic Impost,p. [186]—Ionic Archivolt—Corinthian Impost—CorinthianArchivolt—The Keystone, p. [187]—The Pedestal,p. [188]—Doric Pedestal, p. [189]—Ionic Pedestal—CorinthianPedestal, p. [190]—The Baluster, p. [191]—Spacingof Balusters—Balustrading, p. [193]—Use ofColumns, p. [194]—Disposition and Spacing in Colonnades,p. [195]—Orders above Orders, p. [197]—ThePilaster, p. [199]—Arcades, p. [200]—The SubsidiaryOrder, p. [202]—Treatment of Superimposed Orders,p. [204]—Rustication, p. [205]—The Basement, p. [207]—TheAttic, p. [208]—The Pediment, p. [209]—Doors, p.[211]—Windows, p. [213]. | ||
| [V] | Division of Surface | [216] |
| Wall Treatment, p. [216]—Ceilings, p. [218]—Jacobean—Caroleanand Georgian, p. [221]—Adam Ceilings,p. [222]—Vaults and Domes, p. [224]—The Cove, p.[225]—The Frieze, p. [226]—Borders, p. [227]—GeometricElements—The Undulate Line, p. [230]—Repetitionand Alternation, p. [233]—Treatment of Angles, p.[234]—Pilaster Treatment—Panelled Pilasters, p. [235]—Capitalsand Bases—Treatment of Panels, p. [236]—Juxtaposition,p. [238]—The Growth Line in Composition,p. [241]—Grouping and Massing of Detail—Divisionof Area, p. [242]—Human and Animal Lifein Composition, p. [244]—Forms in the Round, p. [245]Supports and Balusters—Standards, p. [246]—Proportion,p. [247]—Vase Forms and Treatment, p. [248]—WorkingDrawings, p. [249]—The Segment or Stretchout, p. [250]. | ||
| [VI] | Development of Conventional Ornament | [254] |
| Outline Drawing, p. [254]—Undesirable Realism, p.[255]—Craft Restrictions, p. [256]—Materialistic Influence,p. [258]—Early Renderings, p. [261]—The Anthemion,p. [262]—Greek Sculptured Ornament, p. [263]—TheAcanthus Leaf, p. [264]—Roman Development—TheScroll, p. [266]—Græco-Roman—Byzantine,p. [267]—Romanesque—Gothic—Italian Renaissance,p. [268]—The Husk Leaf, p. [269]—The Rosette,p. [270]—Tendrils, p. [271]—Nature Influence—Inconsistentemployment of Symbolic Elements, p.[272]—Consistency in Growth—Branching, p. [273]—Treatmentand Employment of Leaves, p. [275]—Thestart in Ornament, p. [276]—Italian RenaissanceInfluence—Jacobean, p. [280]—French Renaissance—HenryII, p. [281]—Louis XIII, Louis XIV, Régence—LouisXV, p. [283]—Rococo—Louis XVI, p. [284]—GrinlingGibbons School of Carving—Adam Style, p. [285]—Empire—Systemof the Acanthus Leaf, p. [286]. | ||
| [VII] | Treatment in Design | [288] |
| Natural Attraction, p. [288]—Decorative Materials,p. [289]—Justification of Treatment, p. [290]—UndesirableImitation, p. [291]—Technical Considerations—Methodsof Expression, p. [292]—Treatment of Leaves,p. [293]—Surface Interest—Painted Decoration, p.[294]—Stencilled Work, p. [295]—Mechanical Production—Printedand Woven Fabrics—Needlework—Appliqué,p. [296]—Lace-Wood Inlay—Intarsia, p.[297]—Veneer—Marquetry—“Boule” Work, p. [298]—Mosaic,p. [299]—Byzantine use of Marble—BookDecoration, p. [300]—Bindings—Relief Work—EconomicResult of Method—Desirable Treatment inCarving, p. [301]—Backgrounds, p. [303]—ReproductionProcesses—Metal Repoussé, p. [304]—Cast Metal,p. [306]—Character of Cast Work, p. [307]. | ||
| [VIII] | Mythology and Symbolism | [310] |
| Early Symbolic Ornament, p. [310]—Customs, p. [311]—Originof Mythology—Nature Myths, p. [312]—Lightand Darkness—Melanesian Legend, p. [313]—Darknessas a Devouring Monster—Season Myths, p. [314]—SunMyths—Belief in Natural Phenomena, p. [315]—Greekand Roman Deities, p. [316]—ScandinavianMythology, p. [317]—Rising and Setting Symbolised,p. [318]—Winds Personified—Predestination, p. [319]—TheFates—Propitiation and Sacrifice, p. [320]—EarlyBurial Customs—Taboo—Roman Lares, p.[322]—Mediæval Legend—Early Spiritual Belief, p. [323]—PrehistoricTreatment of Epileptics—Prohibition,p. [324]—Belief in Magical Qualities, p. [325]—TheShirt of Nessus—Swords, p. [326]—Invulnerability,p. [327]—Belief in Numbers—The Muses, p. [328]—SacredTrees and Flowers, p. [329]—Sacred Animals—EvangelistSymbols, p. [331]—The Serpent—TheDragon, p. [332]—Poetic License in Tradition, p. [333]—Animalsin Christian Art, p. [334]—Association ofHuman and Animal Qualities—Totemism—Cannibalism,p. [336]—The Sphinx—Assyrian Winged Monsters,p. [337]—Pegasus—The Harpy—Sirens, p. [338]—Pan—TheNymphs—The Centaur, p. [339]—Symbolismof the Circle, p. [340]—Symbols of the Trinity—TheWand, a Symbol of Authority—The Hand,p. [341]—The Caduceus—The Thyrsus, p. [342]—TheTrident—The Cross, p. [343]—The Pastoral Staff, p.[344]—Symbols of Martyrdom—Symbolism of Gemsand Colours, p. [345]—Masks—Symbols of Time, p.[346]—Secular Symbols—Trophies, p. [347]—Heraldry—Interestand Meaning in Modern Art, p. [348]. | ||
| [IX ] | Ways and Means | [350] |
| Perception, p. [350]—Accepted Conventions, p. [351]—Influenceof Fashion—Harmonious Consistency,p. [352]—Natural Suggestion—Colour Scheme, p.[353]—Early Training—Nature Study, p. [355]—Aspectand Attitude, p. [356]—Treatment of Studies, p. [358]—Drawingsfor Reproduction, p. [359]—OpaqueColour—Method of Enlarging or Reducing Drawings,p. [360]—Textile Designs, p. [361]—Wall Papers, p.[362]—Architectural Drawings—Structural Design, p.[363]—Lucid Arrangement of Details, p. [364]—MathematicalEquipment, p. [365]—Use of the Ruling Pen—ProportionalCompasses, p. [367]—Tracings—Conclusion,p. [368]. |
LIST OF ILLUSTRATIONS
| Sketch Design for Equestrian Statue, by E. A. Rickards, F.R.I.B.A. | Frontispiece | |
| ARCHITECTURE, HISTORIC | No. | Page |
|---|---|---|
| Egyptian Temple, Section and Plan of | [10] | [23] |
| Temple, Entrance Façade | [11] | [24] |
| Capital from Philæ | [12] | [24] |
| Persian Capitals from Persepolis | [16] | [27] |
| Greek Doric Temple, The Parthenon | [21] | [30] |
| Ionic, The Erectheum | [22] | [31] |
| Corinthian, The Choragic Monument | [23] | [32] |
| Vase paintings of Doric and Ionic Orders | [19] | [29] |
| House about 100 A.D. Bas-relief in British Museum | [20] | [29] |
| Roman, The Pantheon, Rome | [26] | [36] |
| The Coliseum, Rome | [27] | [37] |
| The Arch of Titus, Rome | [28] | [38] |
| Byzantine St. Vitali Ravenna, Section and Plan | [35] | [44] |
| Capitals | [36] | (Plate) |
| Interior, Ravenna | [39] | (Plate) |
| Romanesque Capitals | [42] | [50] |
| Tower | [43] | [50] |
| Plan, Cathedral at Worms | [44] | [51] |
| Bay of Cathedral at Worms | [45] | [52] |
| Window, St. Alban’s Abbey | [46] | [52] |
| Church Interior with Triforium | [47] | [52] |
| Doorway, Kilpeck Church | [49] | [54] |
| Gothic Buttresses | [53] | [58] |
| Early Pointed Pier | [54] | [60] |
| Early Pointed Bay of Church | [55] | [61] |
| Early Lancet Windows | [56] | [62] |
| Early Pointed Windows, Plate Tracery | [57] | [62] |
| Early Pointed Arch Mouldings | [58] | [62] |
| Early Pointed Capital | [59] | [63] |
| Early Pointed Tracery Windows | [60] | [63] |
| Early Pointed Spire | [61] | [64] |
| Decorated, Tracery Windows | [62] | [64] |
| Decorated, Carving | [63] | [65] |
| Decorated, Arch Mouldings | [64] | [65] |
| Decorated, Capital | [65] | [66] |
| Decorated, Capital | [66] | [66] |
| Decorated, Spire | [67] | [66] |
| Perpendicular, Bay of Church showing Development of Clerestory | [67] | [67] |
| Perpendicular, Windows | [69] | [68] |
| Perpendicular, Fan Vaulting | [70] | [69] |
| Perpendicular, Tower | [71] | [69] |
| Domestic Tudor, Window | [75] | [74] |
| Renaissance, Italian, Strozzi Palace | [76] | [76] |
| Italian, Pandolfini Palace | [77] | [77] |
| Italian, St. Peter’s, Rome | [78] | [79] |
| Italian, Farnese Palace | [79] | [80] |
| Italian, Vendramini Palace | [80] | [81] |
| Italian, Library of St. Mark | [81] | [82] |
| English, Banqueting House, Whitehall | [105] | [103] |
| French, Louis XIII. Luxembourg | [106] | [104] |
| French, Louis XIII. Barocco Detail, Ste. Marie, Nevers | [107] | [105] |
| French, Louis XIV. Louvre | [109] | [106] |
| French, Louis XV. Pantheon | [112] | [110] |
| English, St. Paul’s Cathedral | [118] | [115] |
| English, Spire, St. Mary le Strand | [119] | [116] |
| Tomb of Tantalus in Lydia | [5] | [19] |
| Tomb of Beni Hassan | [17] | [28] |
| Tomb at Kyanea-Jaghu | [18] | [28] |
| ARCHITECTURAL FEATURES | ||
| Arch, The Principle of the | [6] | [20] |
| Balusters, Details of | [170] | [192] |
| Cornice, Treatment where Order is not employed | [180] | [209] |
| Doors, General Proportion of | [182] | [211] |
| Treatment of | [183] | [212] |
| Frieze, Roman | [198] | [226] |
| Frieze, Roman | [199] | [227] |
| Gothic Vault, Section of | [7] | [20] |
| Vaulting | [9] | [21] |
| Cross Vaulting | [48] | [53] |
| Lintel, The | [4] | [19] |
| Lintel, The, Joggled Joints | [8] | [21] |
| Orders, General Proportions of the | [154] | [162] |
| Order, The Doric | [153] | [160] |
| The Doric Entablature, Vignola | [155] | [165] |
| The Doric Entablature, Mutular | [156] | [166] |
| Order, The Doric Capital | [159] | [173] |
| The Doric Base | [165] | [181] |
| The Doric Pedestal | [169] | [189] |
| The Doric Archivolt | [168] | [186] |
| The Doric Impost | [168] | [186] |
| The Doric Arcading | [174] | [201] |
| The Doric Arcading with Pedestal | [175] | [202] |
| The Doric Column and Pilaster | [173] | [200] |
| The Ionic Entablature | [157] | [168] |
| The Ionic Capital | [160] | [174] |
| The Ionic Capital (Angular Volutes) | [161] | [176] |
| The Ionic, Detail of Angular Volute | [162] | [177] |
| The Ionic Base | [166] | [182] |
| The Ionic Pedestal | [169] | [189] |
| The Ionic Archivolt | [168] | [186] |
| The Ionic Impost | [168] | [186] |
| The Corinthian Entablature | [158] | [170] |
| The Corinthian Capital | [163] | [179] |
| The Corinthian Capital | [164] | [180] |
| The Corinthian Base | [167] | [183] |
| The Corinthian Pedestal | [169] | [189] |
| The Corinthian Archivolt | [168] | [186] |
| The Corinthian Impost | [168] | [186] |
| The Superimposed | [172] | [198] |
| The Subsidiary | [176] | [203] |
| The Subsidiary, Detail of Entablature | [180] | [209] |
| Pediment, The | [181] | [210] |
| Pilaster The, Capital | [209] | [236] |
| The, French Renaissance | [208] | [236] |
| Rustication, Types of | [178] | [206] |
| In Arcades | [179] | [207] |
| Spacing of Columns | [171] | [196] |
| Windows | [184] | [214] |
| Three-Light | [185] | [215] |
| DECORATIVE FEATURES | ||
| Acanthus Leaf, Brush Work | [235] | [264] |
| Development | [251] | [281] |
| Development | [252] | [282] |
| Construction of | [253] | [287] |
| Anthemion, Greek, Relief Treatment | [232] | [262] |
| Greek, Vase Painting | [231] | [261] |
| Border, The Geometric, Key or Labyrinth | [200] | [228] |
| Border, The Geometric, Interlacing | [201] | [229] |
| The Scroll | [204] | [232] |
| The Evolute Scroll | [207] | [234] |
| The Vertebrate | [244] | [274] |
| Branching, Types of | [243] | [274] |
| Inlay, Wood, Geometric | [260] | [297] |
| Wood Borders | [261] | [297] |
| Wood Panel | [262] | [297] |
| Wood Panel | [263] | [298] |
| Wood, Italian Intarsia | [264] | [298] |
| Metal “Boule” Work | [266] | [299] |
| Metal “Boule” Work | [267] | [299] |
| Inlaid Floor, Italian Renaissance | [188] | [219] |
| Lace | [259] | (Plate) |
| Marquetry | [265] | (Plate) |
| Mosaic Work, Spandril, Byzantine | [40] | (Plate) |
| Borders | [268] | (Plate) |
| Border, Roman | [269] | (Plate) |
| Border, Roman | [270] | (Plate) |
| Panel, Roman | [271] | (Plate) |
| Needlework | [257] | (Plate) |
| Appliqué | [258] | (Plate) |
| Relief Ornament, Prehistoric | [2] | (Plate) |
| Greek Stone Carving | [218] | (Plate) |
| Roman Stone Carving | [237] | (Plate) |
| Roman Stone Carving | [29] | [39] |
| Byzantine Stone Carving | [37] | [46] |
| Byzantine Stone Carving | [38] | [47] |
| Byzantine Stone Carving | [216] | [244] |
| Romanesque Stone Carving | [217] | [244] |
| Gothic Stone Carving | [238] | [268] |
| Gothic Stone Carving | [239] | [269] |
| Gothic Stone Carving | [219] | (Plate) |
| Renaissance, Italian | [248] | [278] |
| Renaissance, Italian | [249] | [279] |
| Renaissance, French | [88] | [86] |
| Renaissance, French | [250] | [280] |
| Renaissance, French | [90] | [88] |
| Jacobean Gouge Work | [276] | [302] |
| Jacobean Wood Carving | [277] | [303] |
| Jacobean Wood Carving | [95] | [94] |
| Louis XIV. Wood Carving | [275] | (Plate) |
| English Wood Carving | [274] | (Plate) |
| Relief Ornament, French Wood Carving | [113] | [111] |
| French Wood Carving | [279] | [306] |
| French Wood Carving | [212] | [239] |
| French Wood Carving | [211] | [238] |
| French, Part of Ceiling | [210] | [237] |
| French Wood Carving | [133] | [134] |
| Icelandic Wood Carving | [280] | [306] |
| English 18th Century | [273] | (Plate) |
| English, Modern | [213] | [240] |
| Analysis of Composing Lines | [214] | [241] |
| Rosettes, Types of | [241] | [270] |
| Scroll, The, Greek Stone Carving | [233] | [262] |
| The Evolute, Archaic | [229] | [259] |
| The Evolute, Savage Art | [230] | [260] |
| Scroll, The, Wrought Iron | [234] | [263] |
| Brush Work | [236] | [265] |
| As a Growth Line | [202] | [230] |
| Italian Renaissance | [240] | [270] |
| Start, The, Nest or Cup Leaf | [246] | [277] |
| Half Figure | [247] | [277] |
| Tendril, Roman | [242] | [272] |
| Terminals, Branch and Scroll | [245] | [275] |
| Textiles, 14th Century Woven Fabric | [3] | [13] |
| 14th Century Woven Fabric | [51] | [56] |
| Sicilian Tapestry | [52] | [57] |
| 14th Century Tapestry | [205] | [232] |
| Turkish Brocade | [203] | [231] |
| French Brocade | [206] | [233] |
| Details of Inhabited Pattern | [256] | [295] |
| Tooled Book Binding | [272] | (Plate) |
| FURNITURE | ||
| Egyptian | [13] | [25] |
| Egyptian | [14] | [26] |
| Assyrian Seat | [15] | [27] |
| Greek | [24] | [33] |
| Roman Couch | [30] | [39] |
| Roman Sella or Seat | [31] | [39] |
| Romanesque Chair | [50] | [55] |
| Gothic Chair | [72] | [70] |
| Gothic Bedstead | [73] | [71] |
| Italian Renaissance | [86] | [84] |
| Italian Renaissance | [87] | [85] |
| Italian Renaissance | [92] | [89] |
| French Renaissance | [91] | [88] |
| English 17th Century | [99] | [98] |
| English 17th Century | [100] | [99] |
| English 17th Century | [101] | [100] |
| English 17th Century | [102] | [100] |
| English 17th Century. Baluster | [221] | [246] |
| French Louis XIII | [108] | [105] |
| French Louis XIV | [111] | [108] |
| French Louis XV | [265] | (Plate) |
| English late 17th Century | [116] | [113] |
| English late 17th Century | [117] | [114] |
| Dutch and Queen Anne Chairs | [121] | [119] |
| English 18th Century | [122] | [122] |
| French Louis XVI | [132] | [133] |
| INTERIOR FEATURES | ||
| Ceilings, Italian Renaissance | [187] | [218] |
| Italian, General Plan | [189] | [220] |
| Italian Renaissance, Painted, | [83] | (Plate) |
| Italian Renaissance, Painted, | [85] | (Plate) |
| Tudor | [190] | [221] |
| Jacobean | [191] | [222] |
| Jacobean | [192] | [223] |
| Carolean | [193] | [224] |
| Robert Adam | [194] | [225] |
| Chimney Pieces, Gothic 13th Century | [74] | [71] |
| Italian Renaissance | [93] | [90] |
| French Renaissance | [89] | [87] |
| Jacobean | [96] | [95] |
| Domes and Vaults, Italian Renaissance: | ||
| St. Peter’s, Rome | [197] | (Plate) |
| Villa Madama | [196] | (Plate) |
| Ducal Palace, Venice | [195] | (Plate) |
| Doors, Jacobean | [97] | [96] |
| Jacobean | [98] | [97] |
| French Renaissance | [278] | [305] |
| French Renaissance, Louis XV | [114] | [112] |
| English Renaissance | [120] | [117] |
| French Renaissance, Louis XVI | [130] | [132] |
| Frieze, The Jacobean, Carved Wood | [94] | [93] |
| French, Louis XVI | [131] | [133] |
| Interior Decoration, Græco-Roman | [32] | [40] |
| Interior Decoration, Wall Division | [186] | [217] |
| Italian Renaissance | [84] | (Plate) |
| French Renaissance, Louis XIV | [110] | [107] |
| English “Adam” | [123] | [124] |
| English “Adam” | [124] | [125] |
| French Louis XVI | [126] | [128] |
| French Louis XVI | [127] | [129] |
| French Louis XVI | [128] | [130] |
| French Louis XVI | [129] | [131] |
| METAL WORK | ||
| Græco-Roman | [33] | [41] |
| Græco-Roman | [34] | [42] |
| Byzantine Tradition | [41] | [48] |
| Wrought Iron | [282] | [307] |
| Wrought Iron, Venetian | [283] | [307] |
| Repoussé | [103] | [101] |
| Repoussé | [281] | (Plate) |
| Cast | [104] | [102] |
| Cast, Louis XV | [115] | [113] |
| Sheffield Plate | [125] | [126] |
| Filagree Jewellery | [228] | [257] |
| Cast Iron (Modern) | [222] | [247] |
| Surface Decoration of | [284] | [308] |
| METHOD | ||
| Of Enlarging and Reducing Drawings | [286] | [361] |
| MOULDINGS | ||
| Profiles of | [134] | [138] |
| Enrichment of | [135] | [144] |
| Detail of the Dentil | [136] | [147] |
| Aspect of | [137] | [148] |
| Stone, Panel Effect | [138] | [149] |
| Wood Panels | [139] | [150] |
| Wood Panels, Applied | [140] | [151] |
| Wood Panels, Applied | [141] | [152] |
| The Bolection | [142] | [152] |
| Table Top | [143] | [153] |
| Turned Wood | [144] | [153] |
| Pottery | [145] | [154] |
| Pottery | [146] | [154] |
| Rolled Metal | [147] | [155] |
| Drawn Metal | [148] | [155] |
| Wrought Iron, Swaged | [149] | [156] |
| Wrought Iron, Built up | [150] | [156] |
| Wrought Iron, Built up | [151] | [156] |
| Spun Metal | [152] | [157] |
| VASE FORMS | ||
| Primitive Pottery | [1] | (Plate) |
| Greek Pottery | [25] | [34] |
| Greek Pottery, Painted Details | [19] | [29] |
| Effect of Perspective | [220] | [245] |
| Segments of Contoured Surfaces | [226] | [251] |
| Segments of Contoured Surfaces | [227] | [252] |
| Stretch-out of the Cylinder | [224] | [249] |
| Stretch-out of the Cone | [225] | [250] |
| Types of Vase Decoration | [223] | [248] |
CHAPTER I
INTRODUCTORY
IT is an article of faith that to design entails the possession of the creative faculty, which may be taken for granted with the proviso, that the creative faculty is concerned rather with the association of elements common to all than with invention pure and simple.