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
[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [R], [S], [T], [U], [V], [W].
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]