Decoration of Tiles.—It is in the field of painted decoration, however, that the most attractive possibilities in fireplace tile designs are found. The framed tile illustrated in [Plate XV] opposite—an example of over-glaze painting—is intended for use as a colour accent for the wall. This tile is painted in matt glaze between raised outlines. Three similar tiles are illustrated in the middle row in [Plate XIV]. The right-hand one, like the framed tile of [Plate XV], is a matt over-glaze, but the outline instead of being raised was slightly depressed. The other two are examples of under-glaze painting. They were painted on moist clay, as described in the problem of the bowl, and afterwards covered with a bright glaze. In this case the glaze was itself coloured, thus adding richness to the colour scheme. The repetition in a tile facing of landscapes, designed to be complete or nearly so, would be tiresome. It is better so to design the entire facing that it will be made up of a series of very simple landscape motifs, each fairly complete in itself, but all so related to each other as to form, when joined, a larger, somewhat conventionalized, landscape. A treatment of this kind lends itself to many other decorative schemes.
The fireplace offers a great opportunity for design, not only in itself, but as related to the decorative scheme of the room in which it is placed. It should not be forgotten that it is, in a sense, the focal centre of the room. This fact, together with its comparatively small size, makes it possible to give it a strong and rich note of colour, accenting the prevailing colour scheme of the room. Tiles, properly designed and applied, offer a rich and varied field for charming effects in colour and texture.
[XI]
DECORATIVE WORK IN LEATHER, COPPER, AND OTHER MATERIALS
To become an artist in dealing with tools and materials is not a matter of choice or privilege; it is a moral necessity; for a man's heart must be in his skill and a man's soul in his craftsmanship—Hamilton Wright Mabie
LEATHER WORK
Leather work, like weaving and pottery, is of very ancient origin. The New Testament text concerning "new wine in old bottles" referred to bottles of leather, or wine skins. We read of leather as having been used in still earlier times for shields, saddles, harnesses, parts of chariots, and as an accessory to clothing. In the middle ages the "gentle craft of leather" was not confined to the shoemakers' useful productions but included much ornamental work. There were wall coverings of leather with designs carved, or modelled, or stamped with hot tools; seats were upholstered and books were covered with tooled leather. Some of this work was richly adorned with painted and gilt figures like the celebrated Spanish leather.
Why Leather is Suited to Decoration.—Leather seems, therefore, to have won the right to a high place among the materials suited to decoration. Its beautiful texture, the rich brown tones of its natural colour, the ease with which it takes dyes, and the readiness with which under proper treatment, it receives and retains the marks of the modelling tool, qualify it to minister to the artistic sense no less than its durability enables it to serve the more common uses.