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Principles of Decorative Design.
MTfiim miMr ptcoRAiivE
Design.
PRINCIPLES OK
Decorative
Design.
Christopher Dresser, Ph.D., F.L.S., F.E.B.S., etc.
Author of
"
;
The Art of Decorative Design," " Unity in Variety f
tie.
FOURTH EDITION.
Cajsjsell,
Petter, Qalpin
LONDON, PARIS
&°
NEW
YORK.
&
Co.
Preface.
-*Y object in
I
writing this work has been that of aiding in tbe
art-education of those
who
seek a knowledge of ornament
as applied to our industrial manufactures.
I have not attempted the production of a pretty book,
but have aimed at giving wbat knowledge I possess upon the
subjects treated
of,
in
a simple and intelligible manner.
I have
attempted simply to instruct.
The substance of the present work was lessons in the Technical Educator.
As
final
published as a series of
These lessons are now collected into
a work, and have been carefully revised
been inserted, and a
first
;
a few
new
illustrations
have
chapter added.
the substance of this work was written as a series of lessons for
the Technical Educator, I need not say tbat the book
working men,
for the
whole of the lessons
is
addressed to
in that publication
have been
prepared especially for those noble fellows who, through want of early opportunity, have been without the advantages of education, but
have the praiseworthy courage to educate themselves in later
life,
who wben
the value of knowledge has become apparent to them.
That the
lessons as given in the Technical Educator have not been
written wholly in vain I already know, for shortly before I had completed this revision of ball
them, I had the opportunity of visiting a provincial town
which I had heard was being decorated, and was pleasingly surprised
PREFACE.
Vi
to see decoration of considerable merit, [
and evidences that much of what
saw had resulted from a consideration of
Educator.
The
artist
my
articles in the Technical
engaged upon the work, although having suffered
the disadvantage of apprenticeship to a butcher, has established himself as a decorator while still a ability
young man
;
and from the manifestation of
which he has already given, I hope
for a brighter future for
who, as a working man, must have studied hard.
now
collected into a
crerras
which doubtless
which I have sought will
work should lead lie
dormant
Cressy, Notting Hill,
London,
W.
If these lessons as
development
of the art-
other working men, the object
to attain in writing
have been accomplished.
Tower
in
to the
one
and
collecting these together
CojMTE^T£,
CnAPTER Introductory— Division „
II.
III.
Truth, Beauty, Power,
Humoub
•
.
.
.
.
.
.
.
.
.
.30
III.
CHAPTER „
I.
II.
— Ceilings .
.
.
.
.
V.
CHAPTER Woven
— Division
I.
II.
„
III.
Pottery
.
107
VII.
.
.
.
.
.
117 127
.135
....•«•••• ..••••••• VIII.
CHAPTER
Stained Glass
.
....... ......
CHAPTER
Hardware
.
Glass Vessels
Metal- work
94
VI.
Fabrics generally
CHAPTER Hollow Vessels
73
.83
...........
Curtain Materials, Hangings, and
50
IV.
General Considerations Decorations of Walls
CHAPTER
144
IX.
.....•• CHAPTER
Conclusion
25
...........
Decoration of Buildings— Division
Carpets
1
14
II.
.
CHAPTER
Furnitube
etc.
Ornament
in
CHAPTER Colour
.... ..... .....
pacp
Art-knowledge; Historic Styles
I.
„
I.
X.
...
153
160
Principles of Design. CHAPTER Division
There
are
mentation
many is
an
artist,
truths
;
I.
handicrafts in which a knowledge of the true principles of orna-
almost essential to success, and there are few in which a knowledge
of decorative laws cannot be utilised. is
I.
and
so
is
man who
the
can
but the converse of these facts
cannot form an elegant bowl, nor
make
The man who can form a howl or a vase well make a beautiful chair or table. These are is
also true
;
for if a
man
be not an artist he
a beaut iful chair.
At the very outset we must recognise the fact that the beautiful has a commoney value. We may even say that art can lend to an object a value greater than that of the material of which it consists, even when the object be formed mercial or
of precious matter, as of rare marbles, scarce woods, or silver or gold.
This being the case,
it
workman who can endow
follows that the
his productions
with those qualities or beauties which give value to his works, must be more useful to his employer than the
man who
produces objects devoid of such beauty, and his
time must be of higher value than that of his
less skilful
companion.
If a
man,
as a " son of toil/' has that laudable ambition
who has been born and brought up which causes him to seek to rise above his fellows by fairly becoming their superior, I would say to him that 1 know of no means of his so readily doing so, as by his acquainting himself with the laws of beauty, and studying
till
he learns to perceive
the difference between the beautiful and the ugty, the graceful and the deformed,
To perceive delicate beauties is not by any means an easj who have not devoted themselves to the consideration of the beautiful for a long period of time, and of this be assured, that what now appears to you to be beautiful, you may shortly regard as less so, and what now fails to attract you, may (he refined and the coarse. task to those
ultimately become charming to your eye. led
away by the
false
judgment
possessed of good taste.
It
is
In your study of the beautiful, do not be
of ignorant persons
common
to
who may suppose
assume that women have better
themselves taste than
men, and some women seem to consider themselves the possessors of even authoritative taste
from which there can be no appeal.
They may be
right, only
we must
be pardoned for not accepting such authority, for should there be any over-estimation
PRINCIPLES OF DESIGN.
2
good
of the accuracy of this
taste, serious
loss of progress in
art-judgment might
result.
may he
It
taken as an invariable truth that knowledge, and knowledge alone,
can enable us to form an accurate judgment respecting the beauty or want of beauty of an object,
and he who has the greater knowledge
He who
ornamental qualities of an object.
of art
can judge best of the
would judge rightly of art-works must
Let him who would judge of beauty apply himself, then,
have knowledge.
to
earnest study, for thereby he shall have wisdom, and by his wise reasonings he will
him a new source
be led to perceive beauty, and thus have opened to
Art-knowledge the individual
is
it
is
and
of value to the individual
to the
and wealth, and to the nation
riches
it
to twelve according to size)
worth
pounds, or perhaps
five
To the nation
material.
A
it
It
fifty.
is
gold which
we
its
itself all
natural material than
value at five pounds sterling,
material and yet secure wealth, than
little
sixty
becomes a tazza, or a vase,
it
saves impoverishment.
pound of clay that a nation parts with,
for every
this material
the art which gives the value, and not the
wise policy induces a country to draw to
without parting with more of
but
hands of another
in the
;
man
number varying from
(a
To
saves impoverishment.
Take, for example, clay as a natural material: in the hands of one
becomes llower-pots, worth eighteen-pence a "cast"
of pleasure.
country at large.
rate cither in its native condition, or
it
is
the wenlth that
it
can,
absolutely necessary.
can draw to
itself
that
If
amount
of
obviously better thus to part wit
it is it is
li
to part with the material at a low
worked into coarse
vessels,
thereby rendering a
great impoverishment of the native resources of the country necessary in order to its
wealth.
Men stone
of the lowest degree of intelligence can dig clay, iron, or copper, or quarry
but these materials,
;
if
bearing the impress of
rendered valuable, and the more strongly the material
impress the more valuable I
must qualify
impress of mind
my
may
mind, are ennobled and
marked with
this
ennobling
becomes.
last statement, for there
are possible cases in
which the
degrade rather than exalt, and take from rather than enhance,
the value of a material.
only debase.
it
is
To
ennoble, the
mind must be noble
;
if
debased,
it
can
Let the mind be refined and pure, and
(lie more fully it impresses itself upon a material, the more lovely does the material become, for thereby it has
received the impress of refinement
impure,
Let
me
tin,'
more does the matter
to
and purity; but which
its
nature
is
if
the mind be debased and
transmitted become degraded.
have a simple mass of clay as a candle-holder rather than the earthen
candlestick which only presents such a form as
is
the natural outgoing of a degraded
mind.
There
is .-mot
should be of
her reason
little intrinsic
why
the material of which beautiful objects are formed
value besides thai arising out of a consideration of the
ECONOMY exhaustion of the country, and this to
form beautiful objects as
iron, stone, are materials silver,
MATERIAL.
01'
o
will lead us to see
that
it is
desirable in
far as pos>il>]<> of an inexpensive material.
which may be fashioned
The
and of gold, and of precious stones.
into beautiful forms, but
inosl fragile material often
cases
nil
Clay,
wood
beware of
endures for
a long period of time, while the almost incorrosible silver and gold rarely escape the " Beautiful though gold and silver are, and worthy,
ruthless- hand of the destroyer.
even though they were the commonest of things, to be fashioned into the most
money value makes them
exquisite devices, their of
How many
art.
a perilous material
works
for
the choicest relics of antiquity are lost to us, because
of
they tempted the thief to steal them, and then to hide his theft by melting them!
How many fierce
unique designs in gold and silver have the vicissitudes of war reduced in
haste into money-changers' nuggets
Where
!
Benvenuto
are
Lorenzo Ghiberti's cups, or the silver lamps of Ghirlandajo as Aaron's golden pot of
pletely
which kept
St.
because this
is
Paul
silent,
a world
becomes dim and the
'
'
—
we cannot now speak This, too,
silver perishes.
—
is
it
only
gold
a world where
to
do with the
costliest
could be exchanged as mere bullion for the lives of those it is
!
Nor
steal' that the fine
particularly.'
'
love
is
is
strong as
love of family, love of brother, love of child, love of
prompted man and woman
Workmen
Clone almost as com-
?
of which, for another reason than that
where thieves break through and
death;' and what has not love lover
manna,
Cellini's vases,
when they
things,
who were beloved?"*
fortunate for us that the best vehicles for art are the least costly
materials.
Having made these general remarks, about to attempt in the
aim
will
through
I
work which
little
may I
explain to niy readers what I
be to bring about refinement of mind in
my
studies, so that they
of the nature of
—and detect
any decorated
its faults, if
may
object,
new
and enjoy
such be present.
formations,
if
I
may
am
primary
who may accompany me
all
individually be enabled to judge correctly its
beauties
—should
it
present any
This refinement I shall attempt to bring
about by presenting to the mind considerations which so that its
My
have now commenced.
thus speak,
carefully consider certain general principles,
it
must digest and
may be
of knowledge.
which are either common
to
assimilate,
We
all fine
shall
arts or
govern the production or arrangement of ornamental forms: then we shall notice the laws which regulate the combination of colours, and the application of colours to objects
;
after
as associated
which we
shall review our various art-manufactures,
with the manufacturing industries.
furniture, earthenware, table
window-hangings, dress •
From a
and window
fabrics,
lecture
shall thus
and consider
art
be led to consider
glass, wall decorations, carpets, floor cloths,
works in
by the
We
silver
late Professor
and gold, hardware, and whatever
George Wilson,
of
Edinburgh.
— ;
PRINCIPLES OF DESIGN.
4 is
I shall address myself, then, to the
a combination of art and manufacture.
and dyer,
carpenter, the cabinet-maker, potter, glass-blower, paper-stainer, weaver
silversmith, blacksmith, gas-finisher, designer,
and
who
all
any way engaged
are in
in the production of art-objects.
But before we commence our regular work, let me say that without laborious study no satisfactory progress can be made. Labour is the means whereby we raise ourselves above our fellows; labour
Think not that there
is
—the
road
not yourself with the idea that you were born a genius If
you are endowed with a love
we
the means by which
is
a royal road to success
toil.
Deceive
—that you were born an
remember that
for art,
arrive at affluence.
through
is
it is
artist.
by labour alone that you
can get such knowledge as will enable you to present your art-ideas in a manner
Be
acceptable to refined and educated people. of
an individual, success appears to
to the
me
One man works
study of that which he desires to master.
One
another works eighteen.
In the case
content, then, to labour.
depend upon the time which he devotes
to
has three days in one
;
six hours a
and what
day
the natural
is
Simply this—that the one who works the eighteen hours progresses with
result?
three times the rapidity of the one
who only works
duals differ in mental capacity, but
my
six hours.
experience has led
It
me
is
true that indivi-
to believe that those
who work the hardest almost invariably succeed the best. While I write, I have in my mind's eye one or two on whom Nature appeared yet these have made but little progress in life. o have lavishly bestowed art-gifts f
;
I
see,
as
were,
it
before
me
who were
others
less gifted
by Nature, but who
industriously persevered in their studies, and were content to labour for success; and
which the natural genius has
these have achieved positions
Workmen
We
I
!
will
am
commence our systematic
good decorations of any character, have are silent to the ignorant, facts
;
even to approach.
course by observing that good ornament qualities
and that these
we must
which appeal to the educated, but
make
qualities
but before we can rightly understand what
of ornament,
failed
a worker, and a believer in the efficacy of work.
I
utterance of interesting
may term
the hidden utterance
inquire into the general revelation which the ornament of
any
particular people, or of
makes
historic age,
to us,
any
and also the utterances of
individual forms.
As an
illustration
of
my
meaning,
the Egyptians.
In order to see this
say the
Museum
British
provincial in the
museums
— where
boast one or
it
we
may
find a
us take the ornament
be necessary that
we
produced by
visit a
museum
mummy-cases; but :is most more mummy-cases, we are almost certain to find search out the
leading country towns illustrations
mummy-case you may
let
t
hat will serve our present- purpose.
singular ornament, which
is
On
a
a conventional drawing of
EGYPTIAN ORNAMENT. the Egyptian lotus, or blue water-lily* (see Figs.
1, 2,
Notice this peculiarity of the drawing of the lotus
ease.
Egyptian ornaments about
in all probability
—that there
is
you
mummy-
—a peculiarity common to
a severity, a rigidity of line, a sort of sternness
This rigidity or
it.
severity
and
:j),
ornamental device repeated over and over again on the one
will find this
drawing
of
is
a
great peculiarity or charac-
Egyptian draw-
teristic of
But mark
ing.
severity
there
coupled
an
dignity
some
firmness
of
cases
of line,
drawing,
se-
and sub-
of form,
verity
of
very ap-
is
Length
parent.
always
amount
dignity, and in this
with this
!
is
tlety of curve are the great
characteristics of
Egyptian
ornamentation.
What press
It
character
who
HUH does
all
expresses
the
of
ornaments
!!
IHil!llllllllllllllll|ilH!llll!ll)lll[|l
the
people
created the ornaments.
The
1
this ex-
iiiiiiniiiniimiiiimiimHuiuiiiHHiinHiiiumuiiiiuiiimimuiHinininmrrniuni
the
of
ancient Egyptians were
all
ordered by the priesthood,
amongst
whom
ing
this
people
Avas
The
priests
were
of
stored.
the learn-
the dictators to the people
not only
j >£
of the forms
religion,
sy»s^S!^sp|si^^
but
which their
ornaments were to assume.
Mark, then, the expression
Fig.
Fig. 3.
1.
of the severity of character
and dignified bearing of the priesthood
:
have presented to us the character of the this
is
only what
we
in the
men who brought
about
are in the constant habit of witnessing.
* This can be seen growing in the water-tanks in the
the Crystal Palace at Sydenham.
we
very drawing of a simple flower its
production.
A man
Kew Gardens
of
But
knowledge
conservatories,
and
in
;
PRINCIPLES OF DESIGN.
fc
writes with
power and
force; while the
The
with feebleness.
man
of
wavering opinions writes timidly and
by knowledge) and the weakness of the other
words.
So
it is
made
force of the one character (which character has been
forcible
with ornaments
:
power
is
manifested by his written
or feebleness of character
is
manifest by the
forms produced.
The Egyptians were a
number
the work was not finished
when
till
— noble in
knowledge of the
arts,
work was completed; and
We
But the Egyptians were a noble
noble in the erection of vast and massive
buildings, noble in the greatness of their
drawing
the
the food was consumed, the slaves perished.
do not wonder at the severity of Egyptian drawing. people
a
of slaves were selected for the work, and
a portion of food allotted to each, which was to last if
When
severe people; they were hard task-masters.
great work had to be performed, a
Hence we have
power.
nobility of
— power and dignity mingled with severity in every ornamental form which
they produced.
We
have thus noticed the general utterance or expression of Egyptian drawing
but what specific communication does this particular lotus make?
ornaments of the Egyptians vessels, or
truth or
mere charms
dogma
to be
—whether
Most
of the
the adornments of sarcophagi, of water-
—were symbols
worn pendent from the neck
inculcated by the priests.
Hence Egyptian ornament
is
of
some
said to be
symbolic.
The its
Nile valley was chiefly due to the river annually overflowing
fertility of the
banks.
In spreading over the land, the water carried with
alluvial earth,
which gave fecundity
to the country
on which
it
it
a quantity of rich
was deposited.
When
the water which had overspread the surrounding land had nearly subsided, the corn
which was to produce the harvest was through which
it
within the river-banks, the to the
flower that sprang
first
was the
It
The water being now well-nigh up was the
first
lotus.
must be worshipped.
symbolised the springing
it
all
appearance, taught that in
The acknowledgment
object of worship caused
and on
its
it
it
abode a god, and that
of this flower as a
to be delineated on the
(first rose).
was viewed, and the
fit
and primary
mummy-cases, and sarcophagi,
sacred edifices.
A\ e shall
have frequent occasion, while considering decorative
symbolic forms; but we must not forget the fact that utterance.
This flower was
flower of spring, or their primrose
priesthood, perceiving the interest with which this flower
watchfulness manifested for it
by being cast upon the retiring water,
Egyptians the harbinger of coming plenty, for
forth of the wheat.
The
set
sank into the rich alluvial earth.
Let us in
all cases,
Egyptian ornament I cannot forbear giving
is
all
when beholding them, give
so full of forms
art, to
notice
good ornaments make
ear to their teachings
!
which have interesting significance that
one other illustration; and of this
I
am
sure, that not only
does a knowledge of the intention of each form employed in a decorative scheme
EGYPTIAN ORNAMENT. cause the beholder to receive
;i
amount
special
without such knowledge no one can
that
/
of pleasure
when viewing
it,
hut also
of the nature of any
rightly judge
ornamental work.
There
a device in Egyptian ornament which the most casual observer cannot
is
have failed to notice;
what
is
it
is
termed the " winged globe," and consists of a
small hall or globe, immediately at the sides of which are two asps, and from which
extend two wings, each wing being in length about
diameter of the
ball (Fig.
The drawing
I).
with which the wings
are
the protection which the
kingdom
delineated of
five
of this device
well represents
Egypt
to eight times that of the
afforded,
The
very grand.
is
force
powerful character of
the
and which was symbolised by
the extended and overshadowing pinions.
know
I
combined
of few instances where forms of an ornamental character have been
manner either more quaint or more interesting than in the example The composition presents a charm that few ornaments do, and is worthy
in a
before us.
- '
Fig.
of careful consideration.
when we
interest
shock which
its
consider
if
The priesthood so
it
where
it
this
-
-
-
< i - -
-
^
ornament derives a very
special
it
^
-
-
and unusual
purpose, the blow which was once aimed at
not believed,
-
4.
producers must have received, upon finding
they had taught,
that
But its
:
it
it,
and the
powerless to act as
would.
instructed the people that this was the symbol of protection, and
effectually appealed to the preserving spirits that
was portrayed.
With
no
evil could enter
the view of giving a secure protection to the inmates
of Egyptian dwellings, this device, or symbol of protection, was ordered to be placed on the lintel (the post over the door) of every building of the Egyptians, whether residence or temple. It
was to nullify
gods, that Moses was
this symbol,
commanded
and
to
show the vain character of the Egyptian have the blood of the lamb slain at the passover to
placed upon the lintel, in the very position of this
winged globe. It was also enjoined duty that the blood be sprinkled on the door-post but this was merely a new duty, tending further to show that even in position, as well as in nature, this as a further
;
winged globe was powerless interest,
to secure protection. This device, then, is of special both as a symbolic ornament and as throwing light on Scripture history.
Besides the two ornamental forms mentionedâ&#x20AC;&#x201D;/.?., the lotus and the winged notice many others also of great interest, but our space will not
globeâ&#x20AC;&#x201D;we might
PRINCIPLES OF DESIGX. enable ns to do so; further information may, however, be got from
Kensington
Museum
maybe
—from the "Grammar
seen;
Egypt by
library,*
Sir Gardiner
Wilkinson
of the Crystal Palace at
that court. f
we can
say
character,
little
here
we may
;
of
Ornament" by Mr. Owen
and, especially,
;
Sydenham, and by a
Much might
yet, as the
—by
Jones,
— the works on
a visit to the Egyptian Court
careful perusal of the
also be said respecting
hand-book to
Egyptian architecture, but on this
columns of the temples are of a very ornamental
notice that in most cases they were formed of a bundle of papyrus J
—the heads
stems bound together by thongs or straps of the column,
the South
where several interesting works on Egyptian ornament
and the stems the shaft
(Fig. o).
of the plant
forming the
capital
In some cases the lotus was sub-
stituted for the papyrus
;
and in other instances
the palm-leaf was used in a similar
way
these
;
modifications can be seen in the Egyptian Court at
Sydenham with great advantage, and many
varieties of
form resulting from the use of the
one plant, as of the papyrus,
may
also there be
observed.
We
have here an opportunity of noticing how
the
mode
of building, however simple or primitive
in
character,
employed
first
become embodied
by a nation may
in its ultimate architecture
undoubtedly, the rude houses
first
;
for,
Egypt
erected in
were formed largely of bundles of the papyrus,
which were gathered from the river-side
wood was
rare in
Egypt
—and,
ultimately,
—
for
when
buildings were formed of stone, an attempt was
made which the old reeds presented.
at
imitating in the
But mark, the imitation was no gross copy of the
original work, but a well-considered
and perfectly idealised work, substituting for
the bundle of reeds a
work having the true architectural
and useful column.
We
*
qualities of a noble-looking
must now pass from the ornament of the Egyptians to
that of the Greeks, and here object and different
new material the form
we meet with
decorative forms Laving a different
aim from those already considered.
Any person can have admission
to
the South Kensington
Museum Ait
library
and
its
Educational library, for a week, by payment of sixpence. t
A hand-book
to each of the historic courts erected in the
the time the courts were built. These are
still to
Sydenham Palace was prepared
at
be got in the Literary department, in the north-east
They are all worthy of careful study. The papyrus was the plant from which Egyptian paper was made.
gallery of the building. t
the Scriptures, in which the infant Moses was found.
It
was also the bulrush
of
GREEK ORNAMENT.
V
Egyptian ornament was symbolical in character. specific meaning's
find
—the
no such thing as symbolism
people,
Its
individual forms had
purport of each shape being taught by the priests in
—but wo
The Greeks were a
Greek decoration.
refined
who sought not to express their power by their art-works so much as their Before the mental eye they always had a perfect ideal, and their most
refinement.
earnest
were made at the realisation of the perfections of the mental
efforts
conception of
absolute
new
Egyptians, for they rarely created the Egyptians,
it
In one respect the Greeks resembled
refinement.
could not be altered
law, the love of
once a form became sacred to
but with the Greeks, while bound by no such
;
forms was great
old
When
forms.
the
;
yet the Greeks did not seek simply to
reproduce what they had before created, but laboured hard to improve and refine
what they had before done
and even through succeeding centuries they worked
;
at
the refinement of simple forms and ornamental compositions, which have become
them as a people. The general expression of Greek
characteristic of
art
is
ornaments
One
astonishing.
is
decorative
device,
my
pupils,
Fig
6, consists
—and the variety of refined forms in which But
it
appears
Great as is the refinement of
more than the perfected their creators
made manifest
in
expressed by their
—
(the original
ornamental
primarily of three anthemions) is
most interesting.
must not be thought that the Greek ornaments and
present nothing but refinement
architectural forms
in form, for this
not the case.
is
some of these forms, we yet notice that they speak
taste of their producers, for they reveal to us this fact
of
—that
had great knowledge of natural forces and the laws by which natural This becomes apparent in a marked degree when we inquire
forces are governed.
manner
into the
it
is
which we term the Greek
Anthemion, may be regarded as their principal ornament composition by one of
manner
that of refinement, and the
which the delicately cultivated taste of some of the Greeks
which they arranged the proportion of the various parts of their
in
works to the whole, and especially by a consideration of the subtle nature of the curves which they employed both in architectural
but into this we must not
upon the manner
in
now
Yet,
inquire.
which knowledge
is
members and
by way
of
throwing some faiut light
embodied in Greek forms,
I
may
the Doric column, such as was employed in the Parthenon at Athens* (Fig. idea presented
contact
in
by
this
column
is
forms;
in decorative
refer to
7)
.
The
that of energetic upward growth which has corns
with some superposed mass, the weight of which presses upon the
column from above, while the energy of the upward growth causes the column to appear fully equal to the task of supporting the
—that by pressure from above,
this
*
A capital, and
Museum column
superincumbent structure.
or weight, the shaft of the
column
is
portion of the shaft, of one of these columns are to be seen in the British
Sculpture-room, and a cast of the same at the Crystal Palace, Sydenham.
is
Mark
distended,
employed in the Greek Court
of the Crystal Palace.
This Doric
PRINCIPLES OF DESIGX.
10
or Lent out, about one-third of the distance from this distension
its
base to
its
apex
(just
where
would occur, were the column formed of a slightly plastic material),
Fig. 7.
and yet tins distension of the shift
is
no! such as to give
any
the column appears to rise with the energy of such vigorous able to bear the weight which
Mark
also
it
lias to
idea of weakness, for
life as
to be
more than
sustain.
the singularly delicate curve of the capital of the column,
which
EASTERN AND CHRISTIAN ORNAMENT.
1
1
appears as a slightly plastic cushion intervening between the shaft and the super-
incumbent mass which
presented by this capital
The
has to support.
it
is
delicacy and
form
refinement of
we
perhaps greater than that of any other with which
are acquainted.
The same
principle of life
pressure from above
and energy coming
in contact
with resistance or
constantly met with in the enrichments of Greek cornices
is
and mouldings; but having called attention to the
fact, I
must leave the student
observe, and think upon, these interesting subjects for himself.
to
Let me, however,
say that there are few classic buildings in England which will aid the learner in his researches; there
is
but
poetry in our architectural buildings, and but
little
refinement in the forms of the parts, especially in our classic buildings to this,
Greek
art
without Greek colouring
to the living form.
For the purposes of
is
my
;
little
and, added
dead, being almost as the marble statue readers, the
Greek Court at the Crystal
Palace will be the best example for study. I
might now review Roman ornament, and show that
materials of which the
the shapes which they assumed the all-conquering
in the hour of pride the
Roman works were formed were
Romans
;
and how we thus get
—how the sunny climate and
considered, rather than
little
worthy
from
of praise
religious superstitions of the
East called forth the gorgeous and beautiful developments of art which have existed, or I
still exist,
with the Persians, Indians, Turks, Moors, Chinese, and Japanese
have not space to do so
;
yet
all
;
but
the forms of ornament which these people have
created are worthy of the most careful and exhaustive consideration, as they present art-qualities of the highest kind.
know
I
of no
—no geometrical
and mingled than the Persian lines, so rich as
those of India
Moors
those of the
—none
ornament more
intricately beautiful
strapwork, or systems of interlacing
(the Alhambraic)
—no
fabrics so gorgeous as
harmonious as those of China; and Japan can
so quaintly
supply the world with the most beautiful domestic articles that we can anywhere procure.
We ment
of
itself in
must pass
on, however, to
ornament which had
what we may term Christian
its rise
art,
or that develop-
with the Christian religion, and has associated
a special manner with Christianity.
Neither the Egyptians nor early Greeks appear to have used the arch structurally in their
element.
buildings; the Romans, however, had the round arch as a primary structural
This round arch was also used by the Byzantines, and amongst their
ornaments we
find those combinations of circles, or parts of circles,
recur in later times in Gothic architecture and Gothic ornament.
again,
show us the round
arch,
which
so constantly
Norman
buildings,
and present us with such intersected arcs as would
naturally suggest the pointed arch of later times, with which
came the full development
of Gothic or Christian architecture
There was a very
and ornamentation.
fine
ami
marvellously clever development of decorative art, enthusiastically worked at by the
PRINCIPLES OF DESIGN.
12 Christian
many
monks
of the seventh
beautiful examples
manuscripts; but what
is
called Celtic, of which we have Westwood's great work on early illuminated
and eighth centuries,
in Professor
generally understood by Christian or Gothic art had
Gothic ornament, like the Egyptian, in
many
is
essentially symbolic.
Thus the common
instances specific significance.
cases used to symbolise the
some
its
development about the thirteenth century.
finest
Holy Trinity
so are the
;
Its
forms have
equilateral triangle
two entwined
is
in
triangles.
But there are many other symbols employed in Gothic ornament which set forth the mystery of the Unity of the Trinity. Thus in Fig. 8 we have three interlaced circles,
which beautifully express the eternal Unity of the Holy Trinity,
for the circle
Fig. 10.
Fig. 8.
alone symbolises eternity, being without beginning and without end, and the three
A
parts point to the Three Persons of the Godhead.
very curious and clever symbol
portrayed in Fig. 9, where three faces are so combined as to
of the Trinity
is
an ornamental
figure.
form
Baptism under the immediate sanction of the Divine Trinity was represented
by
three fishes placed
together
numerous wei e Christian symbols -
merely would occupy
much
space.
in
the
manner
of
a
triangle (Fig.
after the ninth century, that to
Every
trefoil
And
the sop, the
into Gothic ornamentation the chalice, the
hammer and
passion have entered.
and
to
(
enumerate them
of
some
crown of thorns, the
dice,
martyrdom
the flagellum, and other symbols of our
:
columns
Lord's
the church spire points heavenwards, and the long lines of the cathedral direct
the thoughts upwards to heaven
rod.
Gothic ornament, having passed from
began
but so
But, besides these, we have more purely architectural forms
making gentle utterance of the clustered
nails,
;
symbolised the Holy Trinity, every
quatrefoil the four evangelists, every cross the Crucifixion, or the saint.
10)
to lose its hold on the people for
whom
its it
purity towards undue elaboration,
was created, and the form of religion
RENAISSANCE ORNAMENT. with which
IS
had long heen associated had become
it
of old traditions
and usages occurred, commonly
old,
when the great overthrow
called the Reformation.
^\'it
h the
reformation of religion came a revival of classic learning, and a general diffusion of
knowledge, and thus the immediate necessity for art-symbols was passing away,
it
being especially to an unlettered people that an extended system of symbolism
With
appeals.
learning came the investigation of classic
this revival of classic
â&#x20AC;&#x201D;the exploration
remains
of
Greek and Roman ruins
;
a dislike to whatever had been associated with the old
which
up,
and while
this
was going on,
form of religion had sprung
dislike turned to hate as the struggle advanced,
till
the feeling against
Gothic architecture and ornament became so strong that anything was preferred to
Now
it.
arose Renaissance architecture and ornament (revival work), which
based on the
Roman
remains, but was yet remoulded, or formed
ornament of the Renaissance of the
end.
same genus
is
not
as that of
I confess that
all
the
Roman
ornament, but a
Roman.
new
Here, however,
anew ;
was
so that the
decorative scheme, all
my
sympathies
Renaissance ornament, whether developed under the soft
sky of Italy (Italian ornament), in more northerly France (French Renaissance), or
on our own
feeling of
me.
soil
sympathy
(Elizabethan, or English Renaissance), fails to in
my
breast;
and that
it,
awaken any
on the contrary, chills and repels
power and vigour of Egyptian ornament, the refinement of the
I enjoy the
Greek, the gorgeousness of the Alhambraie, the richness of the Persian and Indian, the quaintness of the Chinese and Japanese, the simple honesty and bold-
ness of the Gothic; but with the coarse Assyrian, the haughty cold
Renaissance, I have no kindred feeling
my nature this my feeling
which have no chords in
must be pardoned but
my
for
â&#x20AC;&#x201D;no
Roman, and the
They
sympathy.
strike notes
hence from them I instinctively
:
by those who
differ
continued studies of these styles only separate
fly.
I
from me in judgment,
me
further from
them
in feeling.
It will be said that in
and that
my
material at
sphere
is
my writings
I
mingle together ornament and architecture,
ornament, and not building.
command, the
religion of the people,
I cannot separate the two.
and the climate have,
extent, determined the character of the architecture of all ages
The
to a great
and nations; but
they have, to the same extent, determined the nature of the ornamentation of the edifices raised.
Ornament always has
arisen out of architecture, or been a
reflex of the art-principles of the building decorated.
ornament without architecture architecture than
is
;
We
mere
cannot rightly consider
but I will promise to take no further notice of
absolutely necessary to the proper understanding of our subject.
14
PRINCIPLES OF DESIGN.
Division II.
my previous remarks I have attempted to set forth some of the first principles of ornament, and to call attention to the purport or intention of certain of the leading historic styles, and the manner in which they make utterance to us of the faith or sentiments of their producers. In
But there
are other utterances of ornament,
which decorative forms con vey
(
, ,
the mind.
and other general expressions
Thus sharp, angular, or spiny forms are more or less exciting (Fig. 11); while bold and broad forms are soothing, or
tend to give repose.
Sharp
combined senses
ings
in
much
forms,
where
ornament, act upon the as racy
and pointed say-
Thus " cut "
do.
glass,
angular
or
or
metal-work,
spinose
angular as
the
pointed foliage of some wrought-iron gates, is
and other works in which there
a prevalence of angles
so act
upon the mind
and points,
as to stimulate
and thus produce an effect opposite to repose while " breadth " of form and " largeness " of treatment induce it,
;
tranquillity and meditation.
Nothing can be more important to the ornamentist than the scientific
study of
art.
The metaphysical
quiry into cause and
Fig. II.
in-
effect, as relating
to decorative ideas, is very important
â&#x20AC;&#x201D; indeed, all-important â&#x20AC;&#x201D;
to the true decorator.
what
effect
which cheerful, which melancholy, which which he
He must
such and such forms have upon the mind
solid,
rich,
constantly ask himself
â&#x20AC;&#x201D;which
which
effects are soothing,
ethereal,
which graceful, which lovable, and so on; and
in
which gorgeous, order to do this
must separate the various elements of ornamental composition, and
these apart, so as to be sure that he
is
consider
not mistaken as to what affects the mind
any particular manner, and he must then combine these elements
in various
proportions, and consider the effects of the various combinations on his
own mind
in
and thai of others, and thus he
will
discover what will enable
the senses as to induce effects such as he
Are we
to decorate a
dining-room,
may
let
him
to so act
on
desire to produce.
the decoration give the sense of richness;
TRUTH, BEAUTY, POWER. ii
drawing-room,
give cheerfulness; a library,
let it
repose; but glitter
must never occur
only be sparingly indulged in
—
if
let it
give worth
a bed-room,
;
which
in large quantities, for that
excites can
too freely employed, it gives the sense of vulgarity.
Long
In this chapter I have to speak primarily of Truth, Beauty} and Power.
so fully impressed with the idea that true art-principles are so perfectly
was
since I
manifested by these three words, that I embodied them
which
on
painted
I
which
principles
I
my
study door, so that
my
sought to manifest in
There can he morality or immorality falsehood
;
Truth.
debasing
much
and hy
that
It
false,
might
the utterance
in art,
learn the
truth or ol
of
;
;
as well as morals;
degrading, and untrue in
and I fear that there
my
is
beautiful art as there
almost as is
of the
and exalting, although art should only be practised by ennobling
this grovelling
is
entered
works.
may exalt or debase a nation. how beautiful how righteous to utter it and how we see falsehood preferred to truth — that which debases
exalts, in art
is
noble, righteous,
hands.
noble,
falsehood; yet
is
who
all
an ornamental device
in
his art the ornamentist
— How
which
to that
5
]
ornamentation, which tends to
so-called
this
art,
make
debase rather than exalt, to degrade rather than
noble, to foster a
lie
rather
than utter truth, which brings about the abasement of our calling, and causes our art to fail in
many
instances in laying hold of, and clinging to, the affections of the
noble and the great.
Art ; there it
is
Ornamentation
can soothe the troubled
;
it
it
heaven and to God.
to
the feelings of the soul of
Creator into the
man
lifeless clay as
who make merry
refine, elevate, purify,
inward
who
it
and expresses
which was breathed by the
spirit life
;
aud point onward
It is a tine art, for it embodies
—that
refinement, and deprive themselves of
—however noble, pure, or holy.
ignore decoration cast aside a source of
what may induce
their elevation in virtue
Such a neglect on the part of those who can afford luxuries would be
highly censurable, were false pretenders,
it
not that the professors of the art are for the most part
knowing not what they
The
which they hold in their hands.
unknown, frequently misunderstood, lost to
can
the image of his
This being the case, those
and morals.
It can cheer the sorrowing;
can enhance the joys of those
can inculcate the doctrine of truth ;
and upward
in the highest sense of the word a Fine
is
no art more noble, none more exalted.
practise,
true artist
and men ignorant is
a rare creature
or not understood at
all,
and
of the ;
he
is
power often
not unfrequently
is
a people that prefer shallowness to deep meaning, falsehood to truth, aud
glitter to repose.
We
now
matters of
art,
see the utter folly of appealing simply to
and the uselessness
what
is
called " taste
of yielding to the caprice (falsely called taste) of
the uneducated in such matters, especially as this so-called taste
most vulgar and debased
order.
" in
We
is
also see the absurdity of persons
a true artist interfering with his judgment and ideas.
The true
often of the
who employ
artist is a noble
;
PRINCIPLES OF DESIGN.
16 teacher
he be told, then, what morals he shall inculcate, and what lofty
shall
;
embody
truths he shall
what he
We
shall say,
in his
works, or omit from them
and ask him to withhold whatever
do not, and in art
we must
? is
Do we
tell
the preacher
refining and elevating
leave the professors free to teach, and hold
?
them
responsible for their teachings.
thought that I had now convinced
If I
my
reader that decorative art does not
merely in the placing together of forms, however beautiful they
consist
individually or collectively
but that
it is
nor in rendering objects simply what
;
a power for good or evil
which cannot be neutral
in its
that
;
—
tendency
it is
what
is
may be
called pretty;
will elevate or debase
I would advance to consider
—that
principles
its
but I cannot teach, nor can I be imderstood, unless the reader feels that he practises art wields a vast power, for the rightful use of
who
which he must be held
responsible.
wood
All graining of
is
false,
inasmuch as
it
attempts to deceive; the effort
being made at causing one material to look like another which
"marbling "is
made
false also: a floor-cloth
false; a Brussels carpet that imitates a
Turkey carpet
is
These are
all
is
;
and
beautiful, but it will not keep clean
and
own
its
duality
is
as each material has the
;
why
then
if
is
jug that
its
is
always
less
power of expressing
own punishment. A deal door It is now preserved,
then be varnished.
characteristic features are enhanced
A
by the varnish,
so that its indivi-
floor-cloth can present a pattern with
—
how absurd, then, to try and imitate the dotty effect of and the Brussels carpet can express truer curves than the Turkey carpet, ? But perhaps the most senseless making an earthen jug in imitation of wicker-work
imitate the latter in the finer material
of all these absurdities
when
let it
emphasised, and no untruth told.
true and beautiful curves a carpet
;
All
untruths in expression, and are, besides,
beauty truthfully, thus the want of truth brings is
not.
woven, a gas-lamp
vulgar absurdities which are the more lamentable, as the imitation beautiful than the thing imitated
is
false; so is a
imitates wicker-work, a printed fabric that imitates one which that imitates an oil-lamp.
it
in imitation of carpet or matting
so
formed
it
is
the
would be useless as a water-vessel.
I can
imagine a fool in his
simplicity priding himself on such a bright thought as the production of a vessel of this kind,
but
I
mending such an Beauty.
—
cannot imagine any rightly constituted mind producing or comidea.
Let the expression of our art ever be truthful.
I will say little
on this head, for decorative forms must be beautiful.
Shapes which are not beautiful are rarely decorative.
I will not
now attempt
to
express what character forms should have in order that they be considered beautiful, but
will content
myself by saying that they must be truthful in expression, and
graceful, delicate, and refined in contour, manifesting
obtrusiveness.
My
no coarseness, vulgarity, or
views of the beautiful must be gathered from the series of
chapters which will follow, but this I
may
here say, that the beautiful manifests
!
UTILITY.
A
no waut, no shortcoming. which could better.
composition that
taken from
be
perfectly beautiful
is
lovable, and, as that
which
it
the merely
;
its
we do not
really beautiful
is
good
new
â&#x20AC;&#x201D;We
importance, for
from the earth
The powerful
now come
if
The and
lovable, takes hold of the affections
to
them
as Lime rolls on.
an
If
of it; fashion does not induce us to change It
it.
becomes as an old friend, more loved as
.
in spring
orator
is
With what power do
!
man
a
Power
besides
fellow-creatures.
all this,
we
the result,
the buds develop into branches
we
man we
esteem.
involuntarily approve
â&#x20AC;&#x201D; the
our commendation, for power
call forth
then,
is
power means energy
also manifests earnestness;
Our compositions,
impilies a conqueror.
is
great
the plants burst
to be admired, the powerful thinker a
or brute force, of animals
antagonistic to weakness.
But
With what power do
not pleasant.
is
powerful tiger and the powerful horse
in our works, for
an art-element or principle of
consider
to
absent from any composition, feebleness or weakness
Even the simple power,
;
must be powerful.
we, the professors of decorative
art,
must manifest power
are teachers sent forth to instruct, and ennoble, and elevate our
We
let truth, then,
;
is
and firmer
tire
does not displace
the manifestation of which
power
parts
qualities are better understood.
Power.
power
must have no
beautiful
that which admits of no improvement.
is
clings to them, binding itself firmer
object
is
and yet leave the remainder equally good or
it
The
beautiful
17
we do
shall not be believed if
not utter our truths with
be uttered with power, and in the form of beauty.*
There are other principles governing the production and application of orna-
ment which we must now
notice, the first of
which
is utility,
for the first
aim of the
designer of any article must be to render the object which he produces useful.
may go
and say that an
article
perfectly sruted to the purpose for
which
not
further,
how
beautiful the object
were a mere work of
view
it
may
utility,
is
if
intended as
it is
intended to be,
and after
it
must
it
first
it
why
an object, however beautiful
beautiful ornaments, or
It matters
can be.
be formed as though
lines as
we
our works should be useful as well as beautiful, it
may
be in shape, however richly covered with
however harmoniously coloured, be unpleasant
one idea of power, energy,
force, or vigour
see in the bursting buds of spring,
especially such as are to be seen in the spring
;
and
to use, it will
flight,
in order to this, I
when the energy
of
growth
is
and which give us an impression
of
in the powerful propelling fins of certain species of fish.
embody
have employed such at its
maximum, and
growth of a luxuriant tropical vegetation
also availed myself of those forms to be seen in certain
the organs of
it
has been carefully created with this end in
* I have given in this chapter an original sketch (Fig. 12), in which I have sought to chiefly the
I
useful, but as
then be rendered as beautiful as you please.
There are special reasons for
must be made not only
;
I
have
bones of birds which are associated with
great strength, as well as those observable
18
PKINX'IPLES OF DESIGN,
Fig. 12.
;
UTILITY
AND BEAUTY.
ultimately be set aside, and that which
even
if
is
move convenient
As an
the latter be without beauty.
IV
for use will replace
it,
illustration of this fact, let us suppose
the balustrade railings of a staircase very beautiful, and yet furnished with such projections as render
almost impossible that we walk up or down the
it
how
tearing the dress, or injuring the person, and
beautiful railing disappear, and even be replaced
stairs
without
soon will our admiration of the
by hate
In like manner
!
the
let
handle of a door, or the head of a poker, be so formed as to hurt the hand, and the simple round knob, or round head, will be preferred to
however ornamentally
it,
or beautifully formed.
In relation to this subject, Professor George Wilson has said
" The conviction
:
seems ineradicable from some minds, that a beautiful thing cannot be a useful thing,
and that the more you increase the beauty implements of every-day
Put
pewter ink-bottle.
am
but I
the necessary furniture or the
Make
the more you lessen their utility.
the Queen's
but don't try to beautify a poker, especially iu
please,
My lady's vinaigrette
cold weather.
my
life
you
sceptre as beautiful as
of
carve and gild as you will, but lea\e untouched
fine furniture, if
you choose, into
a plain man, and like useful things in
my
my
drawing-room
Good
and so on.
parlour,
folks
of this sort seem to labour under the impression that the secret desire of art
rob
them
of
all
Its unconfessed
comfort.
the faith of their childhood,
when
it
but actual aim, they believe,
is
is to realise
was understood that a monarch always wore
crown, held an orb in one hand and a sceptre in the other, and a
to
his
literal interpretation
was put upon Shakespeare's words, "
Were
art
to
'
Uneasy
lies
the head that wears a crown.'
prosper, farewell to fire-proof, shapeless
salamanders unharmed in the hottest blaze. Cinderella's foot,
but
little
frost-bite to miserable toes.
varnished boots,
alabaster ink-bottles,
astonishing
his
velvet door-mats,
how many
...
spider-legged
chairs,
with the greatest beauty.
it is
I offer
place,
Farewell to shoot ing-eoats
white satin
and scrapers of
If there be one truth which the
like
modelled upon
Nothing
chair-covers,
or gold.
silver
people think that a thing cannot be comfortable
works more clearly than another,
utility
pair,
at the elbows, to patched dressing-gowns, and hair-cloth sofas.
full-dress,
beautiful.
aesthetic
and covered with snow-white embroidery, must take their
and dispense chilblains and out a
An
which bask
slippers,
Author of
all
It if
is
it is
has taught us in
the perfect compatibility of the highest
you one example.
the beautiful shell of the nautilus.
Give the nautilus
he will show you that one secret of
its
gracefulness
itself to
lies in its
All are familiar with
a mathematician, and
following in
or whorl a particular geometrical curve with rigid precision.
Pass
it
its
volute
from the
mathematician to the natural philosopher, and he will show you how the simple superposition of a great
number
of very thin
transparent plates, and the cIosp
â&#x20AC;&#x201D;
'
rniNCiPLES of design.
20
approximation of a multitude of very fine engraved Pass
exquisite pearly lustre.
he will show you that this fairy shell sailing vessel
are the cause uf
lines,
from the natural philosopher
it
and a diving-bell,
is
a
which
in
most perfect
to the engineer,
practical machine, at once a
living possessor had, centuries before
its
Archimedes, applied to utilitarian ends the law of
and centuries
specific gravity,
before Halley had dived in his bell to the bottom of the sea.
Pass
engineer to the anatomist, and he will show you how, without marring is
occupied during its lifetime with a
it
its
from the beauty,
it
most orderly system of rowing and sailing
chambers for food, pumps to keep blood circulating, ventilating apparatus,
tackle,
and hands to control Pass
its
and
lastly
it
so that
all,
it is
from the anatomist
part of the shell and the creature
a model ship with a model mariner on board.
to the chemist,
compounded
is
and he
will
show you that every
of elements, the relative weights of
which follow in each individual nautilus the same numerically identical ratio. " Such is the nautilus, a thing so graceful, that when we look at it we are content to say with Keats " '
A thing
of beauty
is
a joy for ever
and
;
with the utmost perfection
and yet a thing so thoroughly
utilitarian,
the purely practical aim of
construction, that our shipbuilders would be only too
thankful
if,
its
though sacrificing
fulfilling
beauty, they could
all
make
their vessels fulfil their
business ends half so well."
Viewing our subject
we
in
another light, and with special reference to architecture,
notice that unless a building
words, answers utilitarian ends,
though
it
has said
pews
:
it
fitted for the
is
aisles of a
for Protestant worship,
where
it
Owen
Gothic church become absurd when
all
other
or, in
otherwise might be, even
In respect to this subject, Mr.
be of great aesthetic beauty.
" The nave and
purpose intended,
cannot be esteemed as
are required to see and hear.
Jones
filled
with
The columns
of
the nave which imj>ede sight and sound, the aisles for processions which no longer
rood screens, and deep chancels for the concealment of mysteries,
exist,
longer such, are Further,
"As
all
so
many
useless reproductions
architecture, so all
works of the decorative
arts,
should possess fitness,
M. Digby Wyatt
harmony; the result of all which is repose." has " Infinite variety and unerring fitness govern all forms in Nature." Vitruvius, Sir
proportion, said:
now no
which must be thrown aside."
that "
The
perfection of
all
works depends on their
fitness to
answer the end proposed,
and on principles resulting from a consideration of Nature East lake, that
"In
characteristic quality, fitness.'"
A.
itself."
Sir Charles L.
every case in Nature where fitness or utility can be traced, the or relative
W. Pugin
beauty,
(the father):
is
found to be identical with
"How many
that of
objects of ordinary use are
rendered monstrous and ridiculous simply because the artist, instead of seeking the
most convenient form, and then decorating
it,
has embodied some extravagance to
ADAPTATION TO
21
I'l'IU'OSE.
And
conceal (he real purpose for which the article has been made." of pointing out
how
fitness for, or adaptation to, the
end proposed
with the view
is
manifested
the structure and disposition upon the earth of plants, I have written in a
now
out of print
owing
leaves, which,
which grow at great
such as commonly occur
moors
altitudes,
and
;
This
seen in the case of the species of
is
where the leaves are more
also in the species of heath
owing
in both cases the plants are,
:
have usually long, narrow, and rigid
plain,
to their form, are enabled to bear the fury of the tempest, to
which they are exposed, without injury. fir
in
work
" The trees which grow highest upon the mountains, and the
:
grow upon the unsheltered
plants which
little
to the
like needles
than leaves
which grow upon exposed
form of the
leaf,
enabled to defy
the blast, while those with broad leaves would be shattered and destroyed.
"Not
only
the form of leaf
is
such as
fits
these plants to dwell in such
The stems
inhospitable regions, but other circumstances also tend to this result. are in both cases its
woody and
that while they bend to the wind they resist
destroying influence by their strength and elasticity.
the papyrus/' which Sir
flexible, so
W.
is
a plant constantly
met with
Hooker mentions an interesting
J.
in
which manifests adaptation to
fact
This plant grows in water, and attaches
position.
In relation to the stem of Egyptian ornaments, " the late the margins
itself to
its
of rivers
and streams, by sending forth roots and evolving long underground stems in the
Owing
alluvium of the sides of the waters. influences of the current,
which
it
stems of a triangular form
having
its
pressure
— but
to its position
has to withstand, and this
—a
it it
is
exposed to the
by
does, not only
shape well adapted for withstanding
by having them so placed in relation to the direction of the
also
stream, that one angle always meets the current, and thus separates the waters as
does the
bow
modern steam-ship."
of a
might multiply
I
illustrations
of
this principle of fitness, or adaptation
purpose, as manifested in plants, to an almost indefinite extent; but
been said we should yet have but the simple truth before
end which we should have in creating any object, fitted to
answer the proposed end.
invariably useful, as they should be also the
most convenient
— and
the beautiful would become
moment, the
price
perfect utility.
and that which rise to
it is far
perfectly
those objects which are most beautiful were
is
no reason
why
loved and sought after
is
it
of, if
otherwise
:
they should not be so !
— how
Cost would be of
little
beautiful objects were works of
that which
often inconvenient to use.
is
useful
is
often ugly,
This very fact has given
the highly absurd fashion of having a second poker in a drawing-room set of
fire-irons.
other
!
beautiful
that of rendering
chief
if
would not be complained
But, alas is
there
that the
to
had
all
works which are beautiful were but
If those ;
is
us,
when
is
The one poker is ornamental, possibly, but it is to be looked at ; the and as it is not to be looked at, it is hidden away in some corner, or
for use,
close within the fender.
I
do not wonder at the second poker being required
;
for
PltlNCIPLES OF DESIGN.
•£•&
nineteen out of every twenty pokers of an ornamental seen during the last
lump
to break a
of coal with, that
If the poker
of your drawing-room,
from the eye that
case, if
I if
if it is
;
an ornament,
it
is
it is
at such a distance
no use saying
it
would be
should he placed where
it
can be best seen
—
in a glas«
worthy of protection.
hope that
an object
is
sufficient has
now been
law we
this all-important necessity, that
it
strong ?
have to
is it
without using more, or another, material
When we
bottle should he
?
create a gas-branch
we
the end for which
it
it
When we
could
it
he stronger it
shall inquire, is it useful ? is it all that a
he more useful
and then,
?
is
intended? and then,
and perfectly answer
And
beautiful?
is it
When we
beautiful ?
it
shall ask, does it fulfil all recpiirements,
is
construct a chair
?
To we
and then we should consider whether
?
we
design a bottle
could
refer.
properly put together
as
it
objects which we create must be useful.
all
shall constantly
shall ask, is it useful ? is
beautiful.
upon
said
to be beautiful it should also he useful, to cause us to consider
a primary principle of design that this as a first
is
It
If to poke the tire with, its place is within the
out of place in such a position. fender
they were used
on the table or chimney-piece
it
and not down on the hearth, where
beauties cannot be discovered.
its
if
abolish the detestable thing altogether?
he retained as an ornament, place
to
character which I have-
would be almost impossible to employ them
it
But why not
constantly for such a purpose. is
(?)
few years would hurt the hand so insufferably
in relation to
we shall also have to make similar inquiries. Thus, if drawing a we shall inquire, is this form of ornament suitable to a woven fabric ?
patterns merely carpet design, is it
which
suitable to the particular fabric for
ment
of the
background does to a
of
is it
picture,
beautiful ?
which we
may
and
There are
Such inquiries we
suggest
many
to be
is
:
hence, in
utility before beauty, in order that
? is
the particular treat-
shall
all
my
subjects yet not
is
to act in relation to our furniture as a
viewed at some distance from the eye
and
art, consider
our inquiries, I shall, as I love
art
?
put respecting any object the formation
may
named
be fostered and not despised. in these pages
which we ought to
must content myself by merely mentioning them, and you must be
consider, but I
willing to think of them, and consider
demand.
intended
ornament which we have adopted the best possible when we bear in mind
that the carpet has to be walked over, as it
then,
it is
Some
of them, however,
we
them with such care as their importance may shall refer to when considering the various
manufactures.
A
principle of great importance in respect to design
an object
is
formed should
that particular
way
be used in a
in ichich
it
manner
object is about to be
are) most appropriate
to
its
that the material of which
Us own nature, and
in
can be most easily "worked."
Another principle of equal importance when an
is,
consistent with
witli
that just set forth,
is
this: that
formed, that material (or those materials) which
formation should be sought and employed.
is
(or
These two
23
CURVES, PROl'ORTIOX, ORDKR, REPETITION.
propositions are of very great importance, and the principles which they set forth
They
should never he lost sight of by the designer. successful designing, for
Curves
toill be
found
involve the
lir.st
principles of
ignored the work produced cannot be satisfactory.
if
to he beautiful
just as they are subtle in character
;
those
which are most subtle in character being most beautiful.
The
arc
the least beautiful of curves (I do not here speak of a
is
the line, as a line, is
which bounds the
instantly detected, while the
circle)
mind
;
The
powers of inquiry.
of
origin
its
requires that a line, the contemplation of which
be pleasurable, must be in advance of
shall
circle, but
being struck from one centre
elliptic curve, or
its
knowledge, and
curve bounding the
call into activity its
ellipse, is
more beautiful
not so strikingly apjiarent, being formed from two
than the
are, for its origin
centres.
The curve of the egg' is more beautiful still, being formed from three As the number of centres necessary to the formation of a curve increases,
centres.*
the difficulty of detecting
curve presents the
number
is
is
origin also becomes greater, and the variety which the
its
also proportionally great; the variety being obviously greater as
of the centres
from which
it is
struck
is
increased.
Proportion, like the curve, must be of a subtle nature.
A surface must never be divided for the proportion of 1 to 1
beauty.
is
bad.
As
The proportion of 2
5 to 8, or of 5 to 13,
is,
purpose of decoration into halves.
proportion increases in subtlety
to 1
is little
better
;
it
The
also increases in
the proportion of 3 to
8,
or of
however, good, the last named being the best of those which
I have adduced; for the pleasure derived increases with the difficulty of detecting
from the contemplation of proportion This principle
it.
is
true in relation to the
division of a mass into primary segments, and of primary segments into secondary
forms, as well as in relation to the grouping together of parts of various sizes it is
worthy of
A principle Confusion
The operation least,
;
hence
special note.
of order must prevail
is
of
in every
ornamental composition.
the result of accident, wdiile order results from thought and care.
mind cannot well be
set forth in the absence of this principle; at
the presence of a principle of order renders the operation of
mind
at once
manifest.
The orderly repetition of parts frequently aids in the production of ornamental effects.
The kaleidoscope
affords a wonderful
example of what repetition will do.
mere fragments of glass which we view in
this instrument
please were they not repeated with regularity.
can do much.
(Figs. 13
and
would altogether
Of themselves
repetition
The fail to
and order
14.)
* The ellipse and egg-shape here spoken of are not those which are struck by compasses in any way, for the curves of such figures are merely combined arcs, but such as are struck with string, or
a " tramel."
24
PRINCIPLES OF DESIGN. Alternation
a principle of primary importance in certain ornamental com-
is
positions.
In the case of a flower coloured leaves do not
fall
(as
the buttercup, or chiekweed, for example)
over the green leaves (the petals do not
Fig. 14.
sepals), but
manifested
fall
the
over the
Eig. 16.
between them in plants,
â&#x20AC;&#x201D;(hoy alternate
hut also in
with them.
This principle
many ornaments produced
in the best
is
not only
periods of art
(Fig. L5).
If /tin n Is are employed as ornaments they must nut be treated imitatively, but must be conventionally treated, or rendered into ornaments (Fig. 16).
A
monkey can
imitate,
man
can Create.
EASTERN GROTESQUES.
These are the chief principles which we
shall
25
have to notice, as involved in the
production of ornamental designs.
Division III.
Some
other principles of
a
noble character than
less
amused I hold to
must he pleased
as well as instructed; he
as well as ennobled
Man
will
by what he
be
sees.
as a first principle that ornamentation, as a true fine art, can administer
it
man
we have
those which
already noticed as entering into ornament yet remain to be mentioned.
varying moods, and under
his
in all
all
phases of feeling.
Decoration,
if
properly understood, would at once be seen to be a high art in the truest sense of the
word, as
it
can teach, elevate,
we have now
to notice
rather than as the
it
handmaid
Humour seems
refine,
induce lofty aspirations, and allay sorrows
amount
of
much an
to be as
humour, and
It not unfrequently
â&#x20AC;&#x201D;great
talent
The
in his various
;
but
moods,
to religion or morals.
attribute of our nature as love, and, like
There are few
varies in intensity with different individuals.
certain
man
as a fine art, administering to
in
some
in
whom
there
is
it,
not
a
this one quality predominates over all others.
happens that men who are great thinkers are also great humorists
and great humour heing often combined in the one individual.
feeling for
humour
ministered to in ornament by the grotesque, and the
is
grotesque occurs in the works of almost
Egyptians employed
it,
of these nations used
all
ages and
so did the Assyrians, the Greeks,
it
all
peoples.
The
and the Romans
;
ancient
but none
to the extent of the artists of the Celtic, Byzantine,
and
" Gothic " periods.
Hideous
"
almost every Christian
edifice at
one time, and much of the Celtic ornament produced an anastomosis, or network, of grotesque creatures.
by the early monks consisted
The
of
evil spirits
"
were portrayed on the outside of
old Irish crosses were enriched with this kiud of ornamentation,*
and some
of the decorative embellishments of these works are of extraordinary interest; but
those
who have
access to the beautiful
scripts will there see this grotesque
Eastern nations, while nearly
all
work
form
of
of Professor
ornament
to
Westwood on Celtic manuperfection. As regards the
have employed the grotesque as an element of
decorative art, the Chinese and Japanese have employed
they manifest a most decided partiality.
The drawings
it
most
largely,
and for
it
of dragons, celestial lions
(always spotted), mythical birds, beasts, fishes, insects, and other supposed inhabitants of the Elysian plains, which these people produce, are most interesting and
extraordinary.
Without
in
any way going into a history
characteristic forms
which
it
of the grotesque, let us look at the
has assumed, and what
is
necessary to
its
successful
* Casts of one or two of these can be seen in the central transept of the Crystal Palace at
Sydenham.
PRINCIPLES OF DESIGN.
We
production.
humour
have said that the grotesque in ornament This
in literature.
is
it
with power
;
for
if
This form
repulsive.
ornamentation that I shall not dwell upon "be associated
may
the ease; but the grotesque
and be simply
horrible or repellent,
it,
the horrible
is
is
the analogue of
represent the truly
so seldom required in
and when required
it
should always
feeble
is
but only revolting, like a
cannot be corrective,
miserable deformed animal. I think
may
it
be taken as a principle, that the
further the grotesque
removed from an imitation of
is
a natural object the better
it
is,
energetic and vigorous- -lifelike.
provided that
Nothing
be
it
worse
is
Fig. 17.
Fig. 18.
than a feeble joke, unless
it
be a feeble grotesque.
The amusing must appear
to
be earnest. In
connection with this subject I give here a series of grotesques, with the
view of illustrating
me t<> do The initial
permit
(Fig.
17).
It
is
my
meaning, and
I
would fain
n-ive
letter
S,
formed of
a
bird,
quaint and interesting, and
is is
n
characteristic
It
is,
in
Celtic
grotesque
sufficiently unlike a living creature
to avoid giving any sense of pain to the beholder, while position.
more, but space will not
so.
it
is
yet in a most unnatural
truth, rather an ornament than a copy of
a
living creature, yet
NATURE OF GROTESQUES. suggestive as to
it is so
call forth
27
the thought of a bird.
It
should be noticed;
in connection with this figure, that the interstices between certain portions of the
creature are
This
well
is
by a knot.
rilled
â&#x20AC;&#x201D; the
whole
thing being an ornament;
and not
naturalistic repre-
a-
sentation.
Fig. IS
Siamese
a
is
grotesque head, and a
sample
it
fine
of the curious
is
form of ornament which
Mark;
represents.
it
it is in
no way a copy of a human but
head,
ment, with
its
ranged as to
true orna-
a
is
parts so ar-
up the idea
call
and nothing more.
of a face,
Notice the volutes forming the chin highly
Fig. 19.
the grotesque, yet
;
ornamental,
lines
forming the mouth and the upper boundary of the forehead, and ears
the
flambeauant
the whole
;
thing
is
worthy of the most careful study. Fig. 19
features
a Gothic
is
which are
We
have, in-
;
but here
naturalistic.
deed, only a hideous
with
face
human
marginal ex-
a
This
crescence of leafage. is
foli-
we have much too
ated face
a type to be avoided
;
it
is
not
is
simply unpleasant to look
droll,
nor quaint
;
but Fig. 20.
upon. Fig. 20
is
a
fish,
with the feeling of the grotesques of the Middle Ages.
It
a good type, being truly ornamental, and yet sufficiently suggestive.
In order that I convey to the reader a
fuller idea of
my
views respecting the
â&#x20AC;&#x201D;
PRINCIPLES
ids
grotesque than Tig-. 21
01'
DESIGN.
otherwise could, 1 have sketched one or two original illustrations
I
being suggestive of a face, Fig. 22 of a skeleton (old bogev), and Fig. 28 1
of an impossible animal.
They
are inten-
from imitative.
If naturalistic
some would awaken a sense
of pain, as they
tionally far
are contorted into curious positions, whereas
that
which induces no thought of feeling
induces no sense of pain.
Of
all
grotesques with which
quainted, the
am
I
ac-
dragons of the Chinese and
Fig. 21.
Japanese arc those which represent a combination of power, vigour, energy, and passion
most fully. the fact
This
is
to be accounted for
by
that these peoples are believers in
dragons.
When
the sun or
moon
they believe that the luminous
swallowed by some
fierce
eclipsed
is
orb.
has been Fi<* 22.
monster, which they
give form to in the dragon, and upon the occurrence of such a phenomenon they,
with
(.-ins
and
kettles,
make rough music, and thus cause the monster
the luminary, the brilliancy of which I
can understand
spirit
that the
could do so
a
to disgorge
it
would otherwise have for ever extinguished.
believer in dragons
drawing these monsters with the power and
Chinese and Japanese do; but
â&#x20AC;&#x201D;a man's very nature must
and mischievous power,
in order that
I
can scarcely imagine that a disbeliever
be saturated with a belief in their existence
he embody
in
his delineation such expres-
urvorit
assumed character of
sion of the
tin's
in
ornament.
29
imaginary creature as do the Chinese and
Japanese.
Although
now
am
1
may
ture of objects, I
he
frequently
where
used
meet with
naturalistic
We
imitations.
say
should
grotesque
the
that
â&#x20AC;˘we
no1
considering the struc-
not unfre-
quentlysee a figure, naturally imitated, placed as a support
to a superincumbent weight
â&#x20AC;&#x201D;a
female
figure
architectural
pillar
weight of
the
bearing
the entab-
men
lature above,
an
as
crouched
most painful positions
in the
supporting the bowl of some Natural-
colossal fountain. istic figures in
such positions
are simply revolting, however
perfect
If
sculpture.
be
to
as
works
of
weight has
by
supported
that
which has a resemblance
a
living
creature
of
to
any
kind, the semblance should
only be suggested
;
and the
more unreal and wooden v I
may make
the
support,
(if
such a word) if
possessing
the quaintness and humour of
true
a
grotesque,
the
better. It
is
not the business
of the ornamentist to pro-
duce that which shall induce the feeling of continued pain, unless there exceptional reason for his so doing, and such a reason
is
of rare occurrence.
is
some
CHAPTER
II.
COLOUR.
Having considered some
the chief principles
of
decorative design so far as " expression " goes,
involved in the production of
we come
to notice that constant
adjunct of form which has ever played an important part in
â&#x20AC;&#x201D;namely,
Form can
exist independently of colour, hut it never has
From
development without the chromatic adjunct. should be led to conclude that form alone as satisfy colour.
all
;
for
is
no national system of decoration has ever existed in the absence of
Mere outline-form may be good, but it is not satisfying mere light and With form our very nature be pleasing, but it is not all that we require. demand colour and it is only when we get well-proportioned forms which ;
are graceful, or
arranged, that
noble,
we
vigorous, in
or
combination with colours harmoniously
are satisfied.
The
Possibly this feeling results from our contact with nature.
thousand hues, and the
hills are of
ours would appear, were the ground, the
the waters
all
of one colour
!
Form we
What
ever-varying tints.
flowers appear
a barren world
the trees and the flowers, the sky and
hills,
should have, and that in
its
richest variety
and shade we should have, with ever-varying intensity and change
would be gone.
so appalling that
we can
would be a deadness, although the world be
scarcely conceive of
it,
and cannot feel
full of life,
it.
A
Colour alone seems to have greater charms than form alone.
entrancing when the sky glows with radiant hues; the blue yellow
is
as a sea of transparent gold,
which charm, and soothe, and
of tints
is
combined with beautiful shapes? I
sunset
almost lost in red, the
lull
to reverie; and yet all form
It is
difficult,
is
indeed, for
is
indistinct
when
colour
many
properly
of those for
write to answer this question, even by a mental conception, save by
England
reference to nature; for I could scarcely point to a single building in
which would be
in
any way a
satisfactory illustration of
combination of forms and colours. nut
is
and the whole presents a variety and blending
and obscure. If so charming when separate from form, what
whom
;
but colour
;
There would be no green to cheer, no blue to soothe, no red to
excite; and, indeed, there
d<>
we
incapable of yielding such enrichments
;
seems to
light
had any important
a consideration of history,
may
shade
in a
decorative schemes
colour.
even
know
of
:
it
There
is
a beauty in Art which
does not exist around us,
thought about, and never seen.
A
what may be done by the
decorator
is
it
is
little
we
talked
in
England
of,
rarely
called in to beautify a house,
and
31
OBJECT OP APPLYING COLOUR. yei not one in
know even
the so-called decorators
fifty of
the
first
principles of their
and would not believe were they told of the power of the art which they employ.
art,
place on the walls a few sickly tints
They
The
not very apparent.
— so pale that their want
colours of the wall
of
harmony
is
become the colours of the cornice and
know not how to produce a harmony a house which may be clean, but which is in every other
and the
of the doors, because they
of hues
result is
respect an offence
against good taste.
;
I do not wonder that persons here in England do not care to
have their houses " decorated," nor do I wonder at their not appreciating the " decorations " when they are done. Colour, lovely colour, of itself would make our
rooms charming. There are few objects to which colour
which are
now
colourless
may
not be applied, and
ing colour to objects are twofold, and here, in
new charm
Colour lends to objects a
without
it
its
first,
absence.
it
is
see its true use.
if
on objects a charm, such as they could not have in
In the hands of the man of knowledge
do so
it will
mere application of colour
—
it will
make an
will not do this.
Colour
be so applied to objects as to render them infinitely more ugly than they were
without
it.
I have seen
less satisfactory
when
rather than improved,
Knowledge
many a bowl
its
so coloured at our potteries as to be
when white
coloured than
stone
for,
;
we may almost we produce
it is
knowledge that we want.
Knowledge, then,
by the
say, if possessed
But a
true beauty,
we
little
require
the true philosopher's
is
artist it does enable
knowledge
will not
much knowledge, and
be got by constant and diligent labour, as I have before said
gained
is
worth the plodding
toil.
Believe me, there
works develop as things of beauty, delighting only, but also the educated thinker
there
is
— such
all
who
is
difficulties,
that one obstacle after another inexpressible satisfaction.
separation of form. of the
same
is
see
The second
him
this can only
—not the
as words fail to express. is
illiterate
Although
long, and lies through is
pleasure in feeling
from your path, and at the end there
object of colour
to
In
this.
but the end to be
;
them
yet as you proceed there cleared
do
a pleasure in seeing your
no royal road to art-power, and although the road
much tod and many
much
colouring having marred,
transmute base materials into works of marvellous
transmute the baser metals into gold. order that
—the
Here, again,
general effect.
will enable us to
beauty, worth their weight in gold.
all
1st.
charm which they would not possess
These, then, are the two objects of colour.
to form.
to bestow
object lovely or lovable, but the
may
we
fact,
articles
for apply-
and, 2nd, Colour assists in the separation of objects and parts of objects,
;
and thus gives assistance
Mark,
—a
many
Our reasons
might be coloured with advantage.
is
is
that of assisting in the
If objects are placed near to one another, and these objects are
colour, the beholder will
have much more
difficulty in seeing the
boundaries or terminations of each than he would were they variously coloured
;
he
would have to come nearer to them in order to see the limits of each, were
all
â&#x20AC;&#x201D;
32
PRINCIPLES OF DESIGN.
coloured in the same manner, than he would were they variously coloured
forms
produce a decorative form,
to
much
often lost sight of, and
is
it
is
confusion thereby results.
worth while to render
much ornament, and even good ornament, dered manifest by colour Colours,
!
when placed
Colour
is
it
it is
visible
;
worth while
and
yet,
when
together, can only please and satisfy the educated
What, then,
are the
and how are they to be applied
?
making
shall endeavour to answer these questions by
we
how
the means by which we render form apparent.
laws which govern the arrangement of colours
We
If
to the eye through not being ren-
is lost
combined harmoniously, or according to the laws of harmony.
axiomatic form, and then
thus
:
This quality which colour has of separating
colour assists in the separation of form.
a series of statements
?
in
upon these propositions.
shall enlarge
GENERAL CONSIDERATIONS. Regarded from an art point of view, there are but three colours
1.
red,
i.e.,
blue,
and yellow. Blue, red, and yellow have been termed primary colours; they cannot be
2.
formed by the admixture of any other colours. All colours, other than blue, red, and yellow, result from the admixture of
3.
the primary colours.
By
4.
the admixture of blue and red, purple
red and yellow, orange
is
formed
;
is
formed; by the admixture of
and by the admixture of yellow and blue, green
formed.
is
Colours resulting from the admixture of two primary colours are termed
5.
secondary
:
By
6.
hence purple, orange, and green are secondary colours. the admixture of two secondary colours a tertiary colour
purple and orange produce russet (the red tertiary) (the yellow tertiaiy)
;
and green and purple,
and olive are the three tertiary
;
is
formed
:
thus,
orange and green produce citrine
olive (the blue tertiary); russet, citrine,
colours.
CONTRAST.
When
7.
lighter than
When
8.
when is,
a light colour
it is,
is
juxtaposed to a dark colour, the light colour appears
and the dark colour darker.* become influenced
colours are juxtaposed, they
red and green are placed side
by
side, the red
Thus,
as to their hue.
appears redder than
it
actually
and the green greener; and when blue and black are juxtaposed, the blue mani-
fests
but 9.
Thus,
little alteration,
No
if
one colour can be viewed by the eye without another being created.
red
is
viewed, the eye creates for
â&#x20AC;˘ If a dark grey tint be
white, but
if
while the black assumes an orange tint or becomes "rusty."
itself
mixed upon a white slab
a small portion of this same grey
is
green, and this green it will
is
cast
upon
appear dark in contrast with the
applied to black paper
it
will
appear almost white.
COLOUR whatever
If
near.
is
â&#x20AC;&#x201D; CONTRAST
views green, red
it
adjacent objects; thus,
is in
upon the green
cast
is
The eye
being juxtaposed.
also
yellow,
is
and
;
tint,
and
is
with the blue, this orange thus causing it to look " rusty."
10. In like
cast
of the three primary colours,
these are not present, whatever
if
is in juxtaposition
orange
manner,
if
upon adjacent colours ;
cast is
cast
or, if
we
upon
it,
formed
is
is
upon what-
a mixture of red and
is
upon whatever
look upon red, green
we
and the green created
red,
this induced colour will be cast
created in the eye, and this colour
is
upon the
cast
Thus, when we view blue, orange, which
near.
upon
<;ist
and the red and the green become improved by
;
deficient will be created in the eye, is
manner created and
demands the presence
either in their purity or in combination
ever
like
red and green are juxtaposed, each creates the other in
if
the eye, and the red created by the green
by the red
33
AND HARMONY.
look upon yellow, purple
is
is
near;
black
if
and gives to
it
in the eye,
and
an
is
formed.
HARMONY. 11.
Harmony
results
from an agreeable
contrast.
12. Colours which perfectly harmonise improve one another to the utmost. 13.
In order to perfect harmony, the three colours are necessary, either
in their
purity or in combination. 11.
Red and green combine
green, which
to yield a harmony.
a secondary colour, consists of
is
Blue and orange
primary colours.
also
Red
is
a primary colour, and
blue and yellow
â&#x20AC;&#x201D; the
other two
produce a harmony, and yellow and purple,
for in each case the three primary colours are present. 15. It has
been found that the primary colours in perfect purity produce exact
harmonies in the proportions of eight parts of blue, 5 of red, and 3 of yellow
;
that
the secondary colours harmonise in the proportions of 13 of purple, 11 of green,
and 8 of orange 21-,
russet 21,
and that the
;
and
harmonise in the proportions of olive
tertiary colours
citrine 19.
harmony which
16. There are, however, subtleties of 17.
The rarest harmonies frequently
18.
Harmony
of colour
is,
in
many
lie close
it is difficult
on the verge of
respects, analogous to
to understand.
discord.
harmony
of musical
sounds.
QUALITIES OF COLOURS. 19.
Blue
20.
Red
is is
21. Yellow
a cold colour, and appears to recede from the eye.
a
warm
is
colour,
and
is
exciting
;
it
remains stationary as to distance.
the colour most nearly allied to light;
it
appears to advance
towards the spectator. 22.
At
twilight blue appears
By
yellow slightly darker.
and yellow lighter. white
itself,
By
when viewed
much
lighter than
it
is,
red
much
darker, and
ordinary gaslight blue becomes darker, red brighter,
this artificial light a pure yellow appears lighter than in contrast
with certain other colours.
â&#x20AC;&#x201D;
PRINCIPLES OF DESIGN.
34
Bv
23.
certain combinations colour
of purity, richness, or poverty, or
may
may make affect the
glad or depress, convey the idea
mind
in
any desired manner,
as
does music.
TEACHINGS OF EXPERIENCE.
When
24.
a colour
darker shade of
its
When
25.
own
placed on a gold ground,
is
it
should be outlined with a
colour.
a gold ornament
on a coloured ground,
falls
it
should be outlined
with black.
When
26.
an ornament
must be outlined with a falls
falls
on a ground which
lighter tint of its
own
is
colour.
in direct
harmony with
on a green ground, the ornament must be outlined with a lighter
When
27.
the ornament tint of the
it, it
Thus, when a red ornament red.
the ornament and the ground are in two tints of the same colour,
is
darker than the ground,
same colour
but
;
it
will require outlining
with a
still
if
darker
lighter than the ground no outline will be required.
if
ANALYTICAL TABLES OF COLOUR.
W hen commencing my studies both in science and art, I found gi-eat advantage T
from reducing
all facts to
would recommend for
by
done,
it
it
we
a tabular form so far as possible, and this
To me
to others.
see at a glance
becomes an analysis
method appears
this
what otherwise is difficult to understand if carefully and by preparing these tabular arrangements of work ;
;
another, or of one part of a scheme to another,
The following propositions. The
figures
.
8
Purple
Bed
.
.
5
Green
Yellow
.
.
3
Orange
Primary Colours. .
o
.
Red Red
§
. .
.
Yellow Blue Yellow
.
Blue
.
Red
.
of the facts stated in our
Tertiary Colours.
Secondary Colours.
.
Blue
many
which follow the colours represent the proportions
Primary Colours.
.
.
13
Olive
.
.
24
.
.
11
Russet
.
.
21
.
.
8
Citrine
.
.
19
Secondary Colours.
Orange
to
seen.
:
Blue
Blue Yellow
is
analytical tables will illustrate
which they harmonise
Yellow
of study I
becomes impressed on the mind, and the relation of one fact
of facts the subject
Red
mode
to have great advantages,
Tertiary Colours.
in
â&#x20AC;&#x201D;
COLOUR
â&#x20AC;&#x201D; PROPORTIONS
how
This latter table shows at a glance colours
formed, and the
is
proportions in
35
THAT HARMONISE.
each of the seeondary and tertiary
which they harmonise.
It also
shows
the three tertiary colours are called respectively the yellow tertiary, the red
why
tertiary,
and
enter,
yellow
;
two equivalents* of one primary
.one equivalent of each of the other primaries.
two equivalents tertiary.
tertiary, for into each tertiary
and the blue
of yellow,
Thus, in citrine we find
and one each of red and blue; hence
In russet we find two equivalents of
red,
is
it
the yellow
and one each of blue and of
Hence they
and in olive two of blue, and one each of red and yellow.
are
respectively the red and blue tertiaries.
BLUE PURPLE
RED
PURPLE
8.
OLIVE
13
YELLOW
5.
ORANGE
GREEN
3.
1-
RUSSET
24.
ORANGE
II.
CITRINE
8.
and 25 are diagrams of harmony.
harmonise when placed together.
I
19.
thus, blue, red, and yellow
Purple, green, and orange also harmonise (I have
connected them by dotted lines in the
secondary formed of the other two primary colours
with orange, a secondary
is
presence of the three
the two remaining secondary colours.
harmonies I have placed opposite to each other
is
(for the
and the other a
necessary to a harmony), or the one will be a secondary, and the
other a tertiary colour formed of
colour
But when two
the two diagrams).
first of
colours are to produce a harmony, the one will be a primary colour,
is
8.
have connected in the centre, by
harmony ;
three similar lines, the colours which form a
primary colours
21.
Fig. 25.
Fig. 24.
Figs 2
13.
;
yellow with purple
;
and red with green
;
placed between the two primary colours of which
formed of red and yellow, between which
and purple, of blue and
red.
it
Such
thus blue, a primary, harmonises
it is
;
and the secondary
formed; thus, orange
stands; green, of blue and yellow;
In the second of the two diagrams we see that purple,
green, and orange produce a harmony, so do olive, russet, and citrine.
We
also see
that purple and citrine harmonise, and green and russet, and orange and olive.
Continuing this diagrammatic form of
illustration,
quantities in which the various colours harmonise
*
An
equivalent of blue
is 8,
:
of red
thus
5,
we may
:
of yellow 3.
set forth
the
36
PRINCIPLES OF DESIGN. Blue.
TRUE COLOURS AND PIGMENTS. the agency of the prism
pure colours harmonise
nevertheless, a
;
knowledge of the quantities
The proportions
very desirable.
is
.'57
which these
in
which we have stated
in
that colours perfectly harmonise, and in which the primary colours combine to form the secondaries, and the secondaries the tertiaries, are given in respect to the colours of light, and not of pigments or paints, which, as
we have
base representatives of the pure colours of light.
our purpose, he regarded as representing pure colours. ultramarine we will regard as blue (cobalt
yellow in
it,
the purest French carmine as red is,
less
has a
is, it
real little
and the French and German ultramarines are generally rather purple,
or have a little red in them, yet the best of these latter
that
Thus, the purest
rather green, that
is
more or
just said, are
Yet certain pigments may, for
has blue in it; vermilion
is
a tolerably pure colour),
is
(common carmine is frequently rather crimson, much too yellow), and lemon-chrome as yellow
chrome selected must be without any green shade, and without any orange shade, however slight) ; and these pigments will be found to represent the colours (the
any that can be found.
of the prism as nearly as
I
would recommend the learner to
get a small quantity of these colours in their powder form, substituting the best pale fill
German
ultramarine for real ultramarine, as the latter
is
of high price,*
and to
the various circles of our diagrams, which represent the primary colours, with
these pigments, mixing
them with a
prevent the colours from rubbing
colours
be fairly represented by pale-green
will
—that
by orange-chrome orange-rind
—and
about the colour
of
depth as the green. tertiary colours.
I cannot
Citrine
is
often
lake,
a
little
white to bring
is
is
to the
same
;
olive about the
often seen on the skin of certain apples
form of a slight roughness; but
this russet
cases not quite sufficiently red to represent the colour bearing the
rust
it
well represent the
about the colour of candied leu/on-peel
called "russet apples," in the
drop-green,
deep-coloured,
German ultramarine and
name any pigments which would
colour of candied citron-peel, and russet
just
The secondary
called
rather
ripe,
the purple by the admixture of pale
crimson-lake, in about equal proportions, with a
arabic and water
the paper.
off
of
—
gum
dissolved
little
sufficient to
in
is
same name.
many Iron
This colour should bear the same relation to red that
rather too yellow.
the candied lemon-peel does to yellow. If the student will try carefully to realise these colours, and will circles in
but
it
our diagrams with them, he will thereby be
will be still better if
squares instead of circles.
* Real ultramarine
is
pigment. pound.
The
up the
scale,
and use
I do strongly, that the
German ultramarine, is The best carmine should be procurable colourmen often charge £1 Is., owing to the small demand for this
sold at
£8 per
recommend, and that
fill
assisted in his studies;
he prepare fresh diagrams on a larger
I should
procurable at any oil-shop at about 3s. to at 6s. per ounce, but artiste'
much
ounce. 4s.
The
be3t imitation, or
per pound.
best chrome yellow (chrome yellow
is
kept in
many
shades)
is
about
Is.
6d. per
;
38
FKINCIPLES OF DESICN.
student work out
the diagrams which I have suggested on a tolerably large
all
using the colours where I have used words.
scale,
him
I should also advise
do
to
an ornament, say in red on a gold ground, and outline this red ornament with a deeper red
to do a gold
;
ornament on a coloured ground, and outline
with black
it
and indeed to carefully work out an ornamental illustration of our propositions, Nos. 24, 25, 26, and 27, and to keep these before
which they
to feel the principle all
him
he
till
impressed by them as
is so
This should be done on a large scale in
set forth.
our designing-rooms and art -workshops.
have to refer to colours by naming pigments, and as I
am
constantly asked what pigments I employ, I shall enumerate the paints in
my
As we colour-box
shall
but I shall place a dagger against those which I have in
;
my
box, and which I do not supply in
offices
;
but these I seldom use.
my
private
Of
yellows
have fking's yellow (not a permanent colour), tvery pale chrome, lemon-chrome
I
(about the colour of a ripe lemon) , middle-chrome (half-way between the lemon and
orange-chrome), orange-chrome (about the colour of the rind of a ripe orange), tyellow-lake, -fTndian blues
—
fcobalt,
Of greens
Of
yellow.
German
reds
—vermilion,
— emerald, green-lake, pale
Vandyke, Venetian red, purple-brown, brown-lake.
which
called celestial blue,
a very pure
is
Antwerp
Of browns
and deep.
Of
carmine, crimson-lake.
ultramarine, both deep and pale,
—raw
blue, indigo.
Turkey umber,
Besides these I have what
is
and intense turquoise, vegetable black,
and gold bronze.*
flake white,
There are certain facts connected with the mixing of colours which must never be lost sight of; thus, while the colours of light co-mingle without any deterioration,
but by admixture tend to
or loss of brilliancy,
pigments or paints
destroy one another.
This takes place only to a small extent when but two primary
colours are
combined
but
;
if
any
will
not do
so,
of the third primary enters into the composition
of a tint, a decided deterioration, or loss of intensity, occurs.
For this reason we employ many pigments, so as to avoid as far as possible the
mixing of is
But there
colours.
is
another reason
why
the great admixture of colours
Colours are chemical agents, and in some cases the various pigments
undesirable.
Of
act chemically on one another.
with other colours
;
but this
is
all
colours yellows suffer
most by admixture
accounted for by their delicacy and purity.
For this
reason I use a greater variety of yellow pigments than of red or blue.f
Were *
Some
it
possible to procure three pigments devoid of chemical affinities, and
of these colours are
not of a permanent character and could not be used
use them for patterns for our manufactures, where
intended to he lasting.
I
once copied in a fabric
it is
destroyed.
Some
when
in
work
the drawing
of the brightest colours are unfortunately the
is
most
fleeting.
f Of chemical
all
mediums
affinities,
and
in is
which colours can be mixed, paraffine
is
the safest;
it
is
without
therefore well calculated to preserve pigments in thoir original condition.
—
COLOUR each of the same physical
—
—SHADES,
AND HUKS.
TINTS,
;
39
constitution, as of equal degrees
of transparency
or
opacity, one truly representing the blue of light, another the red, and another
we
the yellow,
should need no others, for of these
we could form
other colours;
all
but as no pigments come even near to the fulfilment of these conditions, we have to
employ roundabout and clumsy methods There
one statement which
is
of arriving at desired results.
have made that, perhaps, needs a
I
may have
elucidation, although the careful student
with
might have expressed
I
olive.
The complement complement of is
of citrine
green
is
it,
A
asser-
many would have done is
thus
so)
:
green, and the
is
complementary
any other
to
thus
:
the complement of red, and red of green, for each, together with the colour
is
which
now
my
green with russet, and orange
complement of russet
colour which
little
completes the presence of the three primary colours
But
the complement, completes the presence of the three colours.
it is
order to a harmony, the complement
us
citrine,
(and
it
purple, the
olive is orange.
that which, with
to
harmonised with
I said that purple
tion.
seen the reason of
refer to our second
must be made up
diagrammatic
table,
Let
in certain proportions.
and we there see that
in
citrine is
formed of two equivalents of yellow and only one equivalent of red and of blue.
Now,
in order to a
as one
harmony, each primary should be present
present in this quantity
is
i.e.,
the yellow.
One
two equivalents,
in
equivalent of blue and
one of red (both of which are wanting in the citrine) form purple is
the complement of citrine, or the colour that with
russet one equivalent of blue
bination are green
is
also
in
all
then,
is
the complement of russet.
or reduced
;
portion of
All colours
by white, when
intensity, a portion of
one colour
blue be mingled with
may
or
In
in olive
one
like
when blue
manner, when yellow is
may be
is
Thus,
added to another.
becomes a
a small
if
becomes a crimson or blue-red
;
or
if
a
scarlet or yellow-
we have
in excess in a green,
in excess, a blue-green;
to deal
Besides these alterations
tints are produced.
red, the red
we have
be darkened by black, when shades are
small portion of yellow be added to the red, the latter red.
And
—red and yellow form orange, hence
colours as of full intensity and purity, but
with other conditions.
produced
In
the complement of olive.
have spoken of
I
harmony.
a
and one of yellow are wanting, and these in com-
red and one of yellow are wanting
equivalent of
orange
—green,
produces
it
hence purple
;
and so with the other
a yellow-green
Such
colours.
alterations produce hues of colour.
We now come to
—a
scarlet
blue-green
the subtleties of harmony.
red with yellow in ;
or if
we
—the
it
Thus,
have a blue-red or crimson
:
we have
— a red with
that will harmonise with it will be a yellow-green. This
reasons
if
a yellow-red or
green that will harmonise with
is
blue in
it,
thus causing
it
will
be a
green
obvious, for the following
—Let us suppose a red represented by the equivalent number,
part of blue added to
it
—the
it
to be a blue-red or crimson.
five,
with one
Were
the red
—
40
PRINCIPLES OP DESIGN.
pure, there should be eleven parts of green as a
complement
which green eight parts would be blue and three yellow six parts,
one of which
blue
is
;
are, then,
;
but the blue-red occurs in
but seven parts of blue remaining
combine with the three of yellow, one being already
in the equivalent quantity to
used
—there
to the live of red, of
hence the green formed
is
a yellow-green, one of the equivalents of blue
necessary to the formation of a true green being already in combination with the red,
and thus absent from the green.
The same reasoning all
will
apply to the scarlet-red and blue-green, and, indeed, to
similar cases; but to take the case of the crimson-red and yellow-green, as just
given, and carry
it
blue to the red, and
still,
make
it
more
we might add two
blue,
parts (out of the eight)
and then form the complementary green
and three of yellow, and thus make
six parts of blue
further
a stage further,
more
it
of of
Or we may go
yellow.
and add to the red six of the eight parts of blue, when the admixture
would appear as a red-purple rather than as a blue-red, in which case the complementary green
—
three of yellow.
These
or, rather,
OOOOO)
Bed.
.-
O
)
OOOOO
)
Blue.
green-yellow
n
.
—would
consist of
two parts
of blue and
diagrammatically expressed in the following-
facts are
,
O O O
(
Yelloiv-
.
Crimson harmonises with
Yellow ^, Blue.
^OOOOOOO
;
Green-
:
Or, B<>,1.
OO
Blue.
Very
Blue-
.
,
-
)
Crimson
7
Ee(1 -
O O O
(
.
harmonises with Yellow
Yellow. „. Slue.
OOOOOO
-?
i
.
ff?ye/
Or,
OOOOO
Bed.
Purple
In
all
these cases
it
Yelloio.
will be seen that
any
^
we have eight
and three of yellow, only the mode of combination to
O O O O O
Green- (
.
harmonises with
parts of blue, five of red,
This variation
varies.
Yellow.
Blue.
may
occur
extent, provided the totals of each be always the equivalent proportions.
These remarks
will
apply equally to hues of colour, shades, and
tints,
and
to
shades and tints of hues. Care, and a a
number
little
practice, will enable
the learner to arrange
colours
not here use the term as signifying pure colours darkened with black.)
into
(We do
of degrees of depth, or shades, as they are. generally called.
Ten shades
of each colour differing obviously in degree of depth can readily be arranged
by the
experienced, the ten shades being equidistant from each other as regards depth
—that
is,
shade
-'3
will be as
much darker than shade
so on throughout the whole.
Purple
is
2 as shade 2
is
darker than shade
1,
and
a colour intermediate between blue and red.
Imagine ten hues between the purple and the
red,
and ten more between the purple
and the blue: thus we should have purple, then a slightly red purple, then a rather redder purple, then a purple
still
redder,
and so on
f
.ill
we get
purple-reds,
and
—
COLOUR finallv the
pure red
further, the green
and the same variations of hue
;
towards the yellow
•
41
Imagine,
at the blue side also.
having ten hues extending towards the blue, and ten more stretch-
ing towards the yellow
the ten, thus
DIAGRAMS OF HARMONY.
—
and the orange having ten hues towards the
;
in all cases I count the colour
from which we
red,
Red
Purple
Bluo
76543212
8
— and we shall have
4507890
3
Of each
54 colours and hues of colour.
of these 54 colours
and hues imagine 10 degrees of depth, and we get 540 colours, hues,
Mark
tints,
this fact, that
any
colour, tint, hue, or shade of such a
diagram has
in one other of the colours, tints, hues, or shades of the diagram,
that only two of this series of 540 are complementary to each other; thus,
on any one colour of the 540, there
complementary
to
The student
it,
and
it is
is
numbers ; but
in
and make a colour-diagram of
it
will
of tint or shade,
and
this
if
he can
care, in order that call to his aid
kind,
CO 4.
A
J" 1
*
£
3
•b
*&
3 t*
* Red-
v
&
*.
P'»-pie
5
s
*
eP
w fi-moll»J
<o
fS-
** /> uri'
Ie
>~.
<»°/p6.
TCt
KH4Q
<b
<*
/
X
8
%
my
he secure
*T3
1
is
an experienced
be of great assistance to him.
v
you
this one other colour.
doing so he must exercise the utmost
some degree of accuracy
its
and
but one colour in the whole that
complementary to but
will do well to try
if
of a simple character, say such as the following, only using pigments for
colourist
and
differing from one another to an obvious degree.
complement
fix
one of
:
09 shades, all
and ten
start as
PRINCIPLES OP DESIGN.
42 Tbis table in colour
highly valuable, as
is
gives ninety harmonies,
it
and the preparation of such a table
;
is
if
carefully prepared
the very best practice that a student
can possibly have. Let us for a moment consider this
complement plement of
some
to
and
so on.
we want
that
supj. ose
green opposite.
this in the third shade of
of the second shade of orange-yellow, opposite,
and
table,
we
find
Thus we have a means
it
we want
If
to find the
We find
particular colour, as the third shade of red.
the com-
the complement
in the second shade of blue-purple
of at once judging of the
harmony
of
colours.
It will
must ever be borne
in
mind that pigments mixed
in the proportions given
not yield results such as would occur when the coloured rays of light are
combined
thus three parts, either by weight or measure, of chrome yellow when
;
combined with eight parts
would not form a colour representing
of ultramarine
the secondary green, nor would the result be more satisfactory were other pigments
What we
combined in the proportions given. in
have said in respect to the proportions
which colours combine to form new colours applies only to the coloured rays
of light.
now be
It must
the areas
noticed that while colours harmonise in the proportions stated,
occupied by the
alteration in intensity.
harmony when both perfect
harmony
if
may
different colours
Thus eight
of blue
vary
if
and eight
there be a corresponding of orange
colours are of prismatic intensity; but
the orange
is
we
form a perfect
shall still
have a
diluted to one-half its strength with white, and
thus formed into a tint, provided there be sixteen parts of this orange of half strength to the eight parts of blue of full strength.
The orange might be further
diluted to one-third of its full power, but then
twenty-four parts would be necessary to a perfect harmony with eight parts of prismatic blue
or to one-fourth of its strength,
;
when thirty-two
parts would be
necessary to the harmony. It
is
not desirable that I occupy space with diagrams of these quantities, but
the industrious student will prepare
a true
half-tint, quarter-tint,
etc.,
practice, however, it will readily
new power
What apply in
all
them
which
for himself, and will strive to realise is
not a very easy thing to do.
be accomplished, and anything achieved
By is
a
gained. I
have said respecting the harmony of blue with tints of orange
similar cases.
Thus red
will
will
harmonise with tints of green, provided
the area of the tint be increased as the intensity
is
decreased
;
and so
will yellow
harmonise with tints of purple under similar conditions.
But we may the secondary in
reverse the conditions, and lower the primary to a tint retaining
its
intensity.
Tims
blue,
if
reduced to a half-tint, will harmonise
with orange of prismatic intensity in the proportion of sixteen of blue to eight of
—
IIAItMONY OF SHADES
COLOUR orange
;
or, if
AND
43
TINTS,
reduced to a quarter-tint, in the proportion of thirty-two of blue to
Red,
eight of orange.
if
ten red to eleven of green
reduced to a half-tint, will harmonise in the proportion of
and yellow
;
as a half-tint in the proportion of six yellow
to thirteen of purple.
The same remarks might be made respecting the harmony Thus,
with colours of prismatic intensity. intensity with black,
it
if
orange
is
of shades of colour
diluted to a shade of half
harmonise with pure blue in the projx>rtion of sixteen
will
of orange to eight of blue, and so on, just as in the case of tints
;
and
this principle
harmony of all hues of colour also. To go one step further we scarcely ever deal with pure colours or their shades With great intensity of colour we or tints, or even come as near them as we can. seem to require an. ethereal character, such as we have in those of light; but applies to the
:
our pigments are coarse and earthy
—they may reason
—they are
we have
to avoid the use of our purest
their poverty of nature manifest,
and
For this
not apparent
is
pigments in such quantities as render
to use for large surfaces
and
their subtlety of composition, interest is
too real-looking, and are not ethereal
be said to be corporeal rather than spiritual in character.
A
please.
such tints
through
as,
tint the composition of
always preferable to one of more obvious formation.
which
Thus we
are
which are subtly formed, and such as please by their newness and
led to use tints
bewilder by the intricacy of formation.
To do what I here mean
it is
not necessary that
many pigments
be mixed
The effect of which I speak can frequently be got by two well-chosen pigments. Thus a fine series of low-toned shades can be produced by mixing together middle-chrome and brown-lake in various together in order to the formation of a tint.
proportions, and in
all
represented, but in
some yellow
it will
of the shades thus
formed the three primary colours
will predominate,
and in others red; while
will be
in
many
what proportionate extent the three primary colours
not be easy to discover to
are present.
Let us suppose that we make a tint by adding white to cobalt blue.
This blue
But
to this tint
contains a small
we add a
small
amount
amount
atmospheric character. that
is, it
of yellow, of
is
a slightly green blue.
raw umber with the view
Raw umber
consists of red, blue,
order that an
and
is
of imparting a greyness* or
a neutral colour, leaning slightly to yellow
and yellow, with a slight excess of the
In
latter.
orange harmonise with this grey-blue of a slightly yellow tone,
the orange must be slightly inclined to red, so as to form the complement of the
little
green formed by the yellow in the blue.
grey-blue as a pure tint
if
the area of
* Cobalt, raw umber, and white
It
may harmonise with
the diluted and
make a magnificent
neutralised
the
primary
is
grey, both in oil-colours, in tempera
(powder-colours mixed with gum-water), and in distemper (powder-colours mixed with
size).
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
PRINCIPLES OF DESIGN.
41 sufficiently
depth, I
extended, or
when both
may
itself
be likewise reduced to a tint of the same
would have the same
tints
might go on multiplying
area.
cases of this
character to almost
any extent,
but these I leave the student to work out for himself, and pass to notice that while it is
to
desirable to use subtle tints (often called
make up the
"broken
tints'") it is rarely
expedient
harmony by a large area of a tertiary tone and a single positive Thus, we might have a shade or a tint of citrine spreading over a large
colour.
full
surface as a ground on which
harmonise in pure purple were
we wished
of a certain size, and yet
it
This figure would
to place a figure. if
thus coloured
it
would
when finished, for the harmony would be too It would be much better to have the nineteen parts of citrine intensity, when the area would be increased to thirty-eight,
give a somewhat common-place effect
simple and obvious. reduced, say, to half
with the figure of eight parts of blue and five of red, than of thirteen parts of purple.
But
would be better
it
citrine, three parts of
still if
pure yellow, thirteen of purple, five of red, and eight of blue,
together with white, black, or gold, or the conditions, as
there were the thirty-eight parts of reduced
all
three (these
act as neutrals), for here the
all
may
be added without altering
harmony
is
of a
more subtle
character. If
we count up
harmony, we
the equivalents of the colours employed in this scheme of
we
shall see that
have, in the citrine
Ycilow
.
.
.
Blue
.
.
.
.
.
Red
.
.
.
.
.
.
.
.6' (two
equivalents).
.8 (one equivalent). .5 (one equivalent).
In the purpleBlue
.
.
.
.
.
Bed
.
.
.
.
.
Of the nure
.8 (one equivalent). .5 (one equivalent).
colours
Yellow
.
.
Bed
.
.
.
.
.
.
.
Blue
.
.
.
.
.
.
.3 (one equivalent). .5 (one equivalent). .8 (one equivalent).
Thus we have three equivalents of each primary, which give a perfect harmony. I must not say more respecting the laws of harmony, for in the space of a small work it is impossible to do so, but proceed to notice certain effects or properties of colours,
which I have
as yet only alluded to, or
have passed altogether
unnoticed. I is
have said that black, white, and gold are neutral as regards colour.
the case, although
as a yellow,
but
it
many would is
suppose that gold was a yellow.
Gold
This
will act
generally employed as a neutral in decorative work, and
it is
more of a neutral than a yellow,
The
pictorial artist
for both red
and blue
frames his picture with gold because
exist largely in
it.
being a neutral, does
it,
It has the further advantage of being
not interfere with the tints of his work.
and costly in appearance, and thus
rich
45
TEACHINGS OP EXPERIENCE.
COLOUR
of giving
an impression of worth where
it exists.
Black, white, and gold, being neutral, separate colours where separation
is
may
be advantageously employed to
necessary or desirable.
Yellow and purple harmonise, but yellow
is
a light colour and purple
is
dark.
These colours not only harmonise, but also contrast as to depth, the one being
The
and the other dark.
light
juxtaposition, It
is
is
limit of each colour, wherever these are used in
therefore obvious.
not so with red and green, for these harmonise
This being the case, and red being a glowing colour,
if
when
of the
a red object
is
same dep'h. placed on a
green ground, or a green object on a red ground, the "figure" and ground appear to
"swim" together, and
form, and not confuse
Colour must
will jjroduce a dazzling effect.
It will do this in the instance just
it.
named
if
will
;issist
the figure
outlined with black, white, or gold, and there will be no loss of harmony.
is
But
experience has shown that this effect can also be averted by outlining the figure
with a lighter tint of
its
own
Thus,
colour.
may
green, an outline of lighter red (pink)
page
if
the figure
red and the ground
is
be employed.
(See Proposition 26,
34.)
A blue figure on a red ground
ultramarine on carmine), or a red figure on a
(as
swimming and
blue ground, will also produce this
unsatisfactory effect, but this
is
again obviated by an outline of black, white, or gold.
Employing the
must not be regarded
outline thus
dering what was actually unpleasant endurable, for
one of the richest means of
A
effect.
ornament having a gold outline
is,
it
as a
does
means
of merely ren-
â&#x20AC;&#x201D;
much more
it
affords
carmine ground well covered with bold green if
well managed, truly gorgeous;
and were
the figure blue on the red ground, the lavish use of gold would render the employ-
ment
of yellow unnecessary as the yellow formed in the eye
gold would satisfy It ficiency.
a curious fact that the eye will create any colour of which there
is
This
it will do,
unless white or gold position, the colour
in the eye
may
and
be, will
8 and
9,
and cast upon the
all recpiirements.
page
While
is
present;
which
east
but the colour so created
is
if,
is
neutrals,
assume the tint of the
is
a de-
of little use to the composition
however, there be white or gold in the com-
absent, or
upon these
is
insufficiently represented, will be
formed
and the white or the gold, as the case
deficient or absent colour.
(See Propositions
32.)
sometimes it occurs to a marked degree, as can be shown must not be supposed that a composition in which any element is
this occurs (and
by experiment),
it
;
PRINCIPLES OF DESIGN.
46 wanting
1
is
as perfect as one
which reveals no want. It
here comes to our assistance, and
short-comings
is
but in the one case
;
in the other,
harmony; while
all
is
Nature
far otherwise; only
content to help herself rather than endure our
we give Nature
the labour of completing the
being prepared, we receive a sense of satisfaction
and repose. In Proposition 8 we showed that when blue and black are juxtaposed, the black becomes " rusty," or assumes an orange tint; and in Proposition 9 we gave the cause Let a blue spot be placed on a black
of this effect.
the
yet appear rusty.
silk, it will
blue on black,
This
silk necktie,
we sometimes
a fact; but
is
and however black employ
desire to
and wish the black to look black, and not an orange-black. How can Obviously by substituting for the black a very dark blue, as indigo.
we do this ? The bright blue spot induces orange orange, when cast upon black, causes
complement of
(the
blue)
This
in the eye.
the latter to look " rusty " but
if
we
place in
the black an amount of blue sufficient to neutralise the orange cast upon
it,
the
effect will be that of a jet-black.
We have now considered those qualities harmony, which may
and those laws of contrast and
of colour,
be said to be of the grosser sort
;
but we have scarcely touched
on those considerations which pertain to special refinement or tenderness of effect. But let me close the part of my subject of which I have treated, by repeating a
â&#x20AC;&#x201D;a statement, colourâ&#x20AC;&#x201D;that
statement already made really
harmony
me
let
of
which improve each other
to the utmost,
come now
character, the
power to produce which only
8, 9, 10,
;
colour effects are those of a rich, mingled,
results
sr.lt
as will
and
colouring.
rich,
It
This leads
is
which,
â&#x20AC;&#x201D;namely, that the
finest
bloomy character. are filled with a thousand
the colours of the rainbow, and imagine these arranged as closely
permit of their growth.
and
effects,
33.)
from the consideration of the effects I can say little beyond
Imagine a luxuriant garden, the beds in which
tfi^i'tlu.-r
(Consider
but of these
This principle however I cannot pass without notice
all
to perceive
and 11, pages 32 and
pointing out what should be studied.
having
me
the skilful exercise of the laws enunciated, are yet of a
works of the masters of great art-nations
flowers,
led
and refinements in colour
to consider delicacies
although dependent upon
first
those particular hues of colour,
are those which perfectly harmonise.
this statement in connection with Propositions
We
which
say,
and
those colours,
full
and varied, and
When is
all
viewed from a distance the
that
is
pleasant.
This
is
effect
is
Nature's
our work humbly to strive at producing like beauty with her.
me
to notice that primary colours (and secondary colours, also,
when
of greal intensity) shoi.M be used chiefly in small masses, together with gold, white, or black.
:
REFINEMENTS OF HARMONY.
COLOUR
Museum
Visit the Indian
and consider the beautiful Indian
at Whitehall,*
shawls and scarves and table-covers
;
unable to do
or, if
17
so,
look in the windows of
our large drapers in the chief towns, and see the true Indian fabrics, t and observe the
which small portions of intense reds, blues, yellows, greens, and a of tertiary tints, are combined with white and black and gold to produce a very
manner
score
in
miracle of bloom.
I
know
beautiful, so gorgeous,
It
curious that
is
taste as regards colour
of nothing in the
and yet so
we never
soft, as
way
some
of colour combination so rich, so
of these Indian shawls.
work otherwise than
find a purely Indian
harmony.
Indian works, in this respect
—whether —
or shawls, or dress materials, or lacquered boxes, or enamelled weapons
—
perfect
How
in colours
By
carpets,
are almost
perfect in harmony, perfect in richness, perfect in the softness of their
general effect.
work
good
in
strangely these works contrast with ours, where an harmonious
scarcely ever seen.
is
the co-mingling (not co-mixing) of colours in the manner just described,
a rich and bloomy effect can be got, having the general tone of a tertiary colour of a wall be covered with
ornamental flowerets, by
any desired hue.
Thus,
colouring
and letting each contain two parts of yellow and one part of blue
all alike,
and one of
if
red, as separate
little
and pure colours, the distant hue
the same effect will result
the flowers are coloured variously, while the same
if
proportions of the primaries
will be that of citrine
preserved throughout.
are
I
can conceive of no
now
decorative effects more subtle, rich, and lovely than those of which I
Imagine three rooms,
all
connected by open archways, and
all
speak.
decorated with a
thousand flower-like ornaments, and these so coloured, in this mingled manner, that in one
room blue predominates,
in another red, and in another yellow;
then have a beautiful tertiary bloom in each quisite delicacy
— a subtle
a rich mingling of closely inspected
;
besides which,
detail
of
we should have
the
should
mingling of colour, an ex-
and refinement of treatment, a fulness such hues, and an amount
we
as always results
which would
harmony
interest
from
when
of the general effect
of the three rooms, the one appearing as olive, another as citrine, and the other as russet.
This
mode
beauty, but
it
of decoration has this advantage, that
also gives purity.
reduced in intensity, as
If
we have
it
not only gives richness and
pigments are mixed together they are thereby
already seen
;
but
if
placed side by side,
when
viewed from a distance the eye will mix them, but they will suffer no diminution of brilliancy.
With the view of cultivating the eye, Eastern works cannot be too carefully studied. The Indian Museum should be the home of all who can avail themselves of the opportunity of study which
* This
museum
is
it
affords
open free to the public.
;
and the small Indian department of the
f These will only be seen in very
first -class
shops.
f
48
PRINCIPLES OF DESIGN.
South Kensington
Museum
should not be neglected, small though
Chinese
it is.*
works must also be considered, for they likewise supply most valuable examples of colour
harmony ; and although they do not present such a
perfect colour
bloom
as do
the works of India, yet they are never inharmonious, and give clearness and sharp-
with great brilliancy, in a manner not attempted by the Indians.
ness, together
The
best works of Chinese embroidery are rarely seen in this country; but these
by the productions
are unsurpassed
any other people.
of
For richness, splendour,
know
colour, together with a delicious coolness, I
and purity of
of nothing to equal
them.
The works
of the Japanese are not to be overlooked, for in certain branches of
art they are inimitable,
of their lacquer trays
and as
pictures are sometimes marvels of
As
the commonest
harmony.
to the styles of colouring adopted
by the nations
that the Indians produce rich, mingled, bloomy,
which red and yellow prevail coolness
On
colourists they are almost perfect.
generally have a bit of good colouring, and their coloured
we
;
that
warm
referred to, I should say
effects
â&#x20AC;&#x201D;that
the Chinese achieve clearness,
effects in
is,
repose,
and
â&#x20AC;&#x201D;a form of colouring in which blue and white prevail; and that the Japanese
effects are
warm, simple, and
quiet.
Besides studying the works of India, China, and Japan, study those also of
Turkey and Morocco, and even those
of Algeria, for here the colouring
than with us, although not so good as in the countries
must be
progress must be neglected, and no help
first
is
much
better
No
aid to
named.
despised.
"With the view of refining the judgment further in respect to colour, get a good
and study
colour-top, J
* It
may
its
beautiful effects.
not be generally known, but nearly
connection with the
Chamber
of
Commerce, a
See also the "gas tubes" illuminated
all
our large manufactnring towns have, in
collection of Indian fabrics, filling several large
volumes, which were prepared, at the expense of Government, under the superintendence of Dr. Forbes Watson, and which were given to the various towns on the condition that they be accessible to all persons
who
costly decorated fabrics, yet
always harmonious.
A much
are trustworthy.
much can be
Although these
collections do not
embrace the
learned from them, and the combinations of colour are
larger collection
is
now
in course of formation.
t The South Kensington Museum has a very interesting collection of art-works from China and Japan but the latter are chiefly lent. It is a strange thing that the perfect works of the East are bo poorly illustrated in this national collection, while costly, yea, very costly works of ;
inferior character, illustrative of Eenaissance art,
swarm
as thickly as
flies
in August.
This can
only be accounted for by the fact that the heads of the institution have a feeling for pictorial rather than decorative art, and the Eenaissance ornament
element.
To me,
the style appears to owe
its
is
that which has most of the pictorial
very weakness to this
fact, for decorative art
should
more or less imitative. % Not the so-called colour or "chameleon" top sold in the toy-shops, but the more scientific toy procurable of opticians, together with the perforated discs of Mr. John Graham, M.K.C.S., of be wholly ideal.
Tunbridge, Kent.
Pictorial art is of necessity
COLOURING
by
by
electricity, as sold
Soap-bubbles noted.
may
also be blown,
and
let
]-9
the prism yield you daily instruction.
and the beautiful colours seen
to
by such means only can we become great
in
them
carefully
colourists.
works on colour, we have the writings of Field, to
for valuable discoveries; of
useful to the student
;
whom we
Hay, the decorator, and friend of the
but some of his ideas are wild and Utopian
;
of Chevreul,
late
are indebted
David Roberts,
whose work
will be
most
and the small catechism of colour by Mr. Redgrave, of the
South Kensington Museum, which carefully study the excellent Coll cere.
METHODS.
These and any other available means of cultivating the eye should constantly
be resorted to, as
As
opticians,
â&#x20AC;&#x201D; EASTERN*
manual
The student
will also do well to
is
excellent.
of
"Colour" by Professor Church, of Cirencester
CHAPTER
III.
FURNITURE.
Having considered those principles which are of primary importance to the ornawe may commence our notice of the various manufactures, and try to discover what particular form of art should be applied to each, and the special manner meutist,
in
which decorative principles should be considered as applicable to various materials
and modes of working'.
We
shall first consider furniture, or cabinet-work, because articles of furniture
occupy a place of greater importance in a room than carpets, wall-papers,
any other decorative works ; and,
because
also,
we
perhaps,
or,
from a consideration
shall learn
of
furniture those structural principles which will be of value to us in considering the
manner
in
which
all
art-objects should be formed
if
they have
solid,
and not simply
superficial, dimensions.
In the present chapter, I ornamentation
may
be
that design and
shall strive to impress the fact
essentially different things,
and that in considering the
formation of works of furniture these should be regarded as separate and distinct.
" Design," says Redgrave, " has reference to the construction of any work both for use and beauty, and therefore includes
its
ornamentation
also.
Ornament
is
merely
the decoration of a thing constructed."
The construction of furniture
will
form the chief theme of
this chapter, for
unless such works are properly constructed they cannot possibly be useful, useful they
would
fail to
if
not
answer the end for which they were contrived.
But before commencing a consideration construction of works of furniture, let if
and
of
the
principles
me summarise what
involved in the
required in such works
is
they are to assume the character of art-objects. 1.
The general form,
considered.
The aspect
or
mass form, of
all
constructed works
important, for as the day wanes the detail fades and parts
mass drawn in darkness on the glowing sky ; is
pleasing, a great point
have primary consideration. furniture should
first
carefully
become blended,
members compose but one whole, which, when seen from the en masse
must be
of the "sky-blotch" of an architectural edifice
be cared
general mass beauty of shape.
is
gained.
east,
and every
very
till
the
appears as a solid
this is the sky-blotch.
If the edifice
Indeed, the general contour should
In like manner, the general form of for,
is
effort
all
works of
should be made at securing to the
—
51
GENERAL PRINCIPLES.
FURNITURE
After having cared for the general form, the manner in which the work
2.
he divided into primary and secondary parts must he considered with reference
shall
to the laws of proportion, as stated in a former chapter.
may now
Detail and enrichment
3.
too excellent, they
must
to the aspect of the
work
The material
4.
of
still
be considered
but while these cannot be
;
be subordinate in obtrusiveness to the general mass, or
as a whole.
which the object
is
formed must always be worked in the
most natural and appropriate manner.
The most convenient or appropriate form
5.
for an object should always be
chosen, for unless this has been done, no reasonable hope can be entertained that the
work
will be satisfactory; for the consideration of utility
must
in all cases precede
we saw in our first chapter. Having made these few general remarks, we must consider the structure The material of which we form our furniture is wood. of works of furniture. " Wood has a grain," and the strength of any particular piece largely depends upon
the consideration of beauty, as
the direction of length, or
weak
its if
may
It
grain.
be strong
However strong the wood,
transversely.
if
its
grain runs parallel with
the grain crosses diagonally, or very weak it
is
its
the grain crosses
becomes comparatively much weaker
the grain crosses the piece; and however weak the wood,
grain
if
it
becomes yet weaker
if
if
the
These considerations lead us to see that the grain
transverse or diagonal.
of the wood must always be parallel with its length whenever strength is required. For our guidance in the formation of works of furniture, I give the following short table of woods arranged as to their strength
Iron-wood, from Jamaica
Box of
:
—very strong, bearing great
lateral pressure.
New South Wales —very strong, but not so strong as iron-wood. New South Wales — about two-thirds the strength of iron-wood.
Illawarry,
Mountain
ash,
Beech—nearly
mountain ash.
as strong as
Mahogany, from
New
—not quite so strong as —three-fourths as strong as the
South Wales
Black dog-wood of Jamaica
last.
mahogany
just
named.
—not half strong the box of New South Wales. —half strong the mahogany of New South Wales.*
Box-wood, Jamaica Cedar of Jamaica
Wood
as
as
as
as
can be got of sufficient length to meet
all
the requirements of furniture-
making, yet we not uufrequently find the arch structurally introduced into furniture, while
it is
absurd to employ
in
it
a most ingenious invention, as
it
wooden construction
of
any kind.
The arch
is
affords a means of spanning a large space with
small portions of material, as with small stones, and at the same time gives great
* For full particulars on this subject see " Catalogue of the Collection illustrating Construction and Building Material," in the South Kensington Museum, and the manual of " Technical Drawing for
Cabinetmakers," by E. A. Davidson.
PRINCIPLES OF DESIGN.
52 It
strength.
is,
therefore, of the
utmost
utility in constructing stone buildings; but
we have no
in works of furniture, where
the utmost length required, and
is
large spaces to span, and where
is
of
stronger than our requirements demand, the use
The
of the arch becomes structurally foolish and absurd.
when we
ture becomes more apparent
wood
notice that a
folly of this
wooden arch
is
mode
of struc-
always formed of
one or two pieces, and not of very small portions, and when we further consider that, in order to the formation of an arch, the
the greater portion of if
its
wood must be cut
length, whereby
strength
its
is
across its grain throughout
materially decreased
;
while
the arch were formed of small pieces of stone great strength would be secured.
Nothing can be more absurd than the construction which
practice of imitating in one material a
mode
of
only legitimate in the case of another, and of failing to avail
is
ourselves of the particular
maximum
of utilising a material which secures a
mode
of desirable results.
While
I protest against the arch
objection to
from
structurally used in furniture, I see no
when
used only as a source of beauty, and
when
so situated as to be free
strain or pressure.
One The
it if
of the objects
chair
which we are frequently
called
upon to construct
So largely used are chairs, that one firm at High
house.
hands in making
common cane-bottomed
market which are well constructed.
in the
the curve
is
wood
in the
As they
chairs alone;
Wycombe employs
are formed
being surrounded by
5,000
and yet we see but few chairs
All chairs having curved frames
They
â&#x20AC;&#x201D;whether â&#x20AC;&#x201D;are
and being weak are not
are of necessity weak,
by using wood
in a
manner which
qualities of strength, these chairs are offensive and absurd.
fails
a chair.
of the back, in the sides of the seat, or in the legs
constructed on false principles. useful.
is
throughout Europe and America, considered as a necessity of every
is,
It
is
fails to utilise its
true that, through
such ill-formed objects from our earliest infancy, the eye often
to be offended with such
works as would offend
it
were they new to
it;
but this
does not show that they are the less offensive, nor that they are not constructively Besides, whenever
wrong.
wood
is
cut across the grain, in order that
thing approaching the requisite strength,
it
has to be
much
than would be required were the wood cut with the grain
;
we get any-
thicker and more bulky
hence such furniture
is
unnecessarily heavy and clumsy. Fig. 20 represents a chair which I have taken the liberty of borrowing from Mr. Eastlake's
work on household art*
This chair Mr. Eastlake gives as an illustration
of good taste in the construction of furniture; but I give
which Âť
is
essentially
bad and wrong.
The title of the work
be learned from
it.
I
is
**
The
as an illustration of that
legs are weak,
Hints on Household Taste."
think Mr. Eastlake right in
it
many
It is well
views, yet
being cross-grained
worth reading, as much may in others, but I cannot
wrong
help regarding him somewhat as an apostle of ugliness, as he appears to
and refinement.
me
to despise finish
FURNITURE
CH
53
Ml:-.
throughout, and the mode of uniting' the upper and lower portions of the legs (the
two
by a circular boss
semicircles)
is defective in the highest degree.
Were
I sitting in such a chair, 1
should be afraid to lean to the right or the
fear of the
left, for
me
Give
giving way.
chair
Yorkshire rocking-chair, in
a
pre-
ference to one of these, where I
know
my
of
much
insecurity,
as
I hate such.
A
chair
back-rest,
is
and a
a
with
stool
a
board
stool is a
elevated from the ground or floor of eleva-
by supports, the degree being
tion
by the
determined
length of the legs of the person for
whom
the seat
made, or by
is
the degree of obliquity which the to take
body and legs are desired
when seat
the seat
is
to
is
If the
in use.
support the body when
Fig. 26.
in an erect sitting posture, about
seventeen to eighteen inches will
be found a convenient height for the average of persons
;
but
if
the
legs of the sitter are to take an
oblique forward direction, then the seat
may
be lower.
A stool may consist of piece of
a thick
wood and of three
legs
inserted into holes bored in this
thick top.
If these legs pass to
the upper surface of the seat, and are properly
wedged
in,
yet clumsy seat results.
a useful
In order
that the top of the stool be thin
and
light, it will
be necessary that
the legs be connected by frames,
and
it
will be well
that they be
Fig. 27.
PRINCIPLES OF DESIGN.
54
may
connected twice, once at the top of each leg, so that the seat
frame, and once at least two-thirds of the distance from the top.
now it is
stand alone, and although the seat
supported
A chair, that It
we
â&#x20AC;&#x201D;that
is
a stool with a hack.
There
it will
not crack, as
not one chair out of fifty
is
hack so attached to the seat as to give a
make a hack
is,
formed of thin wood
this
round on the upper frame.
all
I have said,
find with the
usual to
is
wood
is
upon
rest
The frame would
maximum
of strength.
leg and one side of the chair-hack out of one piece of
to continue the hack legs
up above the
and cause them
seat,
become
to
ihe sides of the chair-back.
When
this is
done the wood
almost invariably curved
is
the back legs and
so that
the chair-back both incline
from
outwards
There
the
seat.
no objection what-
is
ever to the sides of the back
and the legs being formed of the one piece, but there is
a great objection to either
the supports of the back or
being formed of
the legs
cross-grained wood, as of their strength sacrificed.
is
Our illustrations
(Figs. 27 to 32)
Fig. 28.
;
will give
modes of construct-
several
ing chairs such as I think legitimate
much
thereby
but I will ask the reader to think for
himself upon the construction of a chair, and especially upon the proper means of
giving due support to the back. I have given, in an axiomatic form, those principles
which should guide us in
the construction of works of furniture, and endeavoured to impress the necessity of
using wood in that manner which
is
most natural
â&#x20AC;&#x201D; that
grain (the manner in which we can most easily work shall secure the greatest
I wish to impress lie at
my
amount
is,
it),
"working" and
in that
readers with the importance of these considerations, for they
the very root of the successful construction of furniture.
grain, tliey
must
rightly constituted
with the
of strength with the least expenditure of material.
If the legs of chairs,
or their seat-frames, or the ends or backs of couches, are formed of tlic
it
way which
cither
lie
thick
mind can only
which arc wisely formed.
wood cut
mid clumsy, or weak; but, besides
receive pleasure
across
this,
the
from the contemplation of works
Daily contact, as we have before said, with ill-shaped
FURNITURE
may have more
objects
â&#x20AC;&#x201D; CHAIRS.
55
or less deadened our senses, so that
offended by deformity and error as
we might be;
we
are not so readily
yet, happily for us, directly
we
seek to separate truth from error, the beautiful from the deformed, reason assists the
judgment, and we learn to
when we
feel
are in the presence of the beautiful or in
contact with the degraded.
My
illustrations will
is essentially
further comment.
show the
show how
bad, although
careful
I think chairs should
be constructed.
has traditional sanction, hence I pass
Fig. 20
it
over without
chair.
It serves to
in which the Egyptians constructed their works.
The curved
Fig. 27
way
it
is
in the
manner
an Egyptian
of
Wm^MMMM uTu'i
utii't Âť7YYiYn f
Fig. 30.
Fig, 29.
rails
against which the back would rest are the only parts which are not thoroughly
correct
and satisfactory
in a
wood
structure.
Were
the curvature would be desirable and legitimate.
members were connected by
a straight rail,
the curved back
The back of this
members metal,
chair, if the side
would have immense strength (the backs if well made it is a seat which
of some of our chairs are of the very weakest), and
would endure for have sought
centuries.
Fig. 28
to give strength to the
is
a chair of
my own
back by connecting
designing, in which I
its
upper portion with
a,
strong cross-rail of the frame. Fig.
29
is
a chair slightly altered from one in
"Household Taste;" Fig. 30
is
as
shown
in our illustration,
an arm-chair in the Greek ;
have prepared
modes
show
different
which
it
I
is
a correctly
have designed.
formed work. Fig. 31
Fig. 32, a lady's chair in early Greek.
lady's chair in the Gothic style to
style,
Mr. Eastlake's work on
is
a
These I
of structure; if the legs are fitted to a
frame
PRINCIPLES OF DESIGN.
58
(the seat-frame) , as in the early
Figs. 33 and
the
level of the
Fig. 33 in
34.
the last
The
best general structure
upper surface of the a copy of a chair
is
Greek chair just alluded
must he connected by
short, as in this instance, or they
is
to,
they should he very
frame below the
seat, as in
that in which the front legs pass to
seat.
shown by Messrs. Gillow and
Paris International Exhibition.
In
many
The skeleton brackets holding the back
constructed.
a
Oxford
Co., of
respects
it
Street,
admirably
is
to the seat are very desirable
Fig. 32.
Fig. 31.
adjuncts to light chairs; so are the brackets connecting the legs with the seat-frame, as these strengthen the entire chair.
The manner
back passes through the side uprights and only important, fault in this chair
is
is
in
which the upper
"pinned"
is
good.
rail
The
of the
chief,
and
the bending of the back legs, involving their
being cut against the grain of the wood. Fig. 84 niture."
It
is
a chair from Mr. Talbertfs very excellent work on "Gothic Fur-
shows an admirable method of supporting the hack.
designed as a high-backed lounging chair. back, I
have extended (he
seat,
"Willi the
Fig. 35
I
have
view of giving strength to the
and arranged a support from this extension to
the upper back-rail, and this extension of the seat I have supported
by a
fifth leg.
;
1'TliXITrUE
There
no reason whatever
is
better, or five, or
why
COUCHES.
57
a chair should have four legs.
any other number,
let
If three
would he
us use what would he best.*
now given several illustrations of modes of forming chairs. I might have given many more, but it is not my duty to try and exhaust a subject. What I have
I have to .do
is
simply point out principles, and
reader who must think
for himself
—
first,
call
attention to facts.
of the principles
It
and facts which
I
is
the
adduce
secondly, of the illustrations which I give; thirdly, of other works which he
may
Pig, 34.
Fig. 33.
meet with results
it
may
means
of further
than those set forth in
As it
and fourthly,
,
my
of producing desirable and satisfactory
illustrations.
cannot be doubted that a well-constructed work, however plain or simple
—while — badly constructed we
be, gives satisfaction to those
who behold
it
a work of the most
shall give a
few further
illustrations of structure for other articles of furniture, besides chairs,
which have
elaborate character fails to satisfy
become necessary Fig. 36
one of
mode
my
of
life.
sketches for Greek furniture, designed for a wealthy
Here the frame
of the seat
It
was formed of black wood.
my
drawing, the stuffing of the back has been accidentally shown too
client,
In
is
to our
if
E
is
first
formed,
much rounded.
â&#x20AC;˘j
PRINCIPLES OF DESIGN.
8
and the legs are inserted beneath end of the couch stands upon
it,
and
it,
let into it,
being inserted into
the general method with the Greeks of forming
my
correct structurally as Fig. 37, another of
are formed of one piece of wood.
any amount
of pressure
The
from above, but
first it
while the wood-work of the
This appears to have been
it.
their furniture, yet
it
is
not so
sketches, where the end and the leg
formation (that of Fig. 36) would bear not well calculated for resisting lateral
is
pressure; while the latter would resist this lateral pressure, but
the same
The
amount
latter,
would not bear quite from above.
of pressure
however,
could
bear
more
weight than would ever be required of
it,
and would be the more durable piece of furniture.
Fig. 38 gives a legitimate formation for a settee; the cutting-out, or hollowing, of the sides of the legs
is
not carried to an
extreme, but leaves a sufficiency of strong
wood with an upright grain
to resist all
the pressure that would be placed on the
and the lower and upper thickened
seat,
â&#x20AC;&#x201D;
portions of j
l~fZH beneath
the legs act as the brackets
The arch
the seat in Fig. 33.
here introduced
is
not used structurally,
but for the sake of a curved
line,
simply as a pair of brackets. tration
is
Fig. 39
is
meet with.
Fig. 35.
also
and acts
This
illus-
from Mr. Talbert's work.
a table such as I see
we
occasionally
no objection
to the legs
leaning inwards at the top; indeed, we have Fig. 40
here a picturesque and useful table of legitimate formation. elevation of a sideboard structure.
The leading
Mr. Talbert
is
;
and
his
book
I
am
The general want which we perceive easiest
mode
is
(if
of constructing a
liel'ore
the end
and obvious.
Although
of the most careful
compares favourably with
acquainted.
modern furniture
in
construction.
work
is
the simplicity of the
well worthy
this I can truly say, that it
other works on furniture with which
structure and truthfulness
Mark
are straight
ok structural lines
not always right, yet
consideration and study all
from Mr. Talbert's work.
If
is
persons would but
they commence to design
simplicity of
think out it,
the
and would
be content with this simplicity of structure, we should have very different furniture From
what
command.
we have.
Think
first
of
what
is
wanted, then of the material
at
Fl'KNITl'ItE
I fear that I
â&#x20AC;&#x201D;
Til
I
Til
I'll.
59
CONSTRUCT* >\.
have very feebly enforced and very
inefficiently illustrated the
true principles on which works of furniture should he constructed
that the structure of such works
beyond
of importance
is
all
;
and yet
I feel
other considerations.
Fig. 36,
Space
is
limited, however,
and
I
must pass on; hence
induced the reader to think for himself, and
my
if
I
I only
hope
that.
have done so I
shall
have
I
have
fulfilled
desire, for his progress will then be sure.
Respecting- structure I have but a few general remarks further to make, and
Fig. 37.
all
these are fairly embraced in the one expression,
true structure
is
through the various members, and
wooden
pins.
Thus,
if
let
"Be
place
the frame of a chair-seat
by glue and wooden pins
protrude beyond the surface
;
but
â&#x20AC;&#x201D;the
why
An
obvious and
the parts be "pinned'" together is
side,
and
pins being visible.
hide them
?
by obvious
tenoned into the legs,
tenon pass through the leg and be visible on the outer its
truthful.'"
"tenon" and the "mortise" pass
Let, then, the
always pleasant.
In this
way
let it
let
the
be held in
Yet they need not that old furniture
60
PRINCIPLES OF DESIGN.
was made which
lias
endured while piece after piece of modern furniture, made
with invisible joints and concjaled nails and screws, has perished.
This
and
structural treatment,
is
a true
honest in
is
expression also.
I do not give this as a principle applicable to one class of furniture only,
but to
When we
all.
have "pinned"
furniture with an open structure (see
the back of chair, Fig. 33), the
mode of
putting together must of necessity be manifest
;
but in
all
other cases the
tenons should also go through, and the pins by which they are held in their place be driven
from one surface to the
other side right through the member.
In
Fig. 38.
the
commencement
of
this
chapter on furniture, I said that after
the most convenient form has been chosen for an object, and after
arranged that the material of which
it
is
to be
formed
shall
has been
it
be worked in the
most natural or befitting way, that then the block-form must be looked
to, after
which comes the sion of the
primary
mass into
parts,
the
lastly,
divi-
and
considera-
tion of detail.
As form,
to the block-
let it
be simple,
and have the appearance of appropriateness
and consistency.
Its
character must be regulated, to an extent.
by the nature of the house Fig. 39.
and of the room in which
the subject
is
this
:
it
is
to
!>ÂŤâ&#x20AC;˘
placed.
which
for
furniture
is
the
intended,
by the character
All I can say to the student on this part of
Carefully consider good works of furniture whenever oppor-
tunity occurs, and note their general conformation.
strong architectural qualities
â&#x20AC;&#x201D; that
is, it
A
fine
work
will not look like pari of a
will never
have
building formed
PROPORTION AND ENBICHMEHT.
FURNITU11E
of
wood
There
instead o£ stone.
error in the block-form,
provided that
the
if
is
to
look like
work
wood,
in
~-"5).
may bo broken
has been considered, the mass
Tims,
parts.
;i
height to width and of width and height to
thickness are duly eared for (see page
After the general form
1
danger of committing any great
be kept- simple, and
it
proportions of
primary and secondary
but small
(
into
we
if
have to construct a cabinet, the upper part of which consists
cupboard, and the
a
of
lower portion of drawers, we should have to
determine the proportion which the one part This
is
an in-
—that the work must not
consist
should bear to the other. variable rule
of equal parts
thus, if the whole cabinet be
;
could not
sis feet in height, the cupboards
three
be
feet
while the drawers
three feet also.
The
be of a subtle character
occupied
would have to
division
— of a character which Thus the cup-
could not be readily detected.
board might be three
feet
five
inches,
and
the drawers collectively two feet seven inches.
same
If the drawers are not all to be of the
depth, then the relation of
regards
its size,
considered,
In
like
to that of another
and of each
and
;
until
all
must be
to the cupboard above.
manner the proportion
of the doors to the styles
out
one drawer, as
this
of the panels
must be thought
has been done no
work should ever be constructed.
Next comes the enrichment
of
parts.
Carving should be sparingly used, and
is
best confined to mouldings, or projecting or
terminal ends.
If
employed
in
mouldings,
members should be enriched which are more or from dust and injury by some overhanging member. those
it
less
If
completely guarded
more carving
should certainly be a mere enrichment of necessary structure
—
as
is
we
used,
see
on
I
am
the legs and other uprights of Mr. Crace's sideboard, by Pugin (Fig. 41).
not fond of carved panels, but should these be employed the carving should never project
beyond the
styles
members must protrude
surrounding them, and in
all
cases of carving
no pointed
so as to injure the person or destroy the dress of those
use the piece of furniture.
If carving
is
used sparingly,
it
who
gives us the impression
PRINCIPLES OF DESIGN
Fig
n
Fl
that
valuable
it is
The aim
less.
carved
is
if it is
;
of art
lavishly employed, it appears to be comparatively worth-
A
the production of repose.
is
63
MODES OF ENRICHING.
KXtTIRE
work of furniture which
large
over cannot produce the necessary sense of repose, and
all
is
therefore
objectionable.
work; for
the finish
if
of furniture It
be an excess of finish in works of carving connected with cabinet-
may
There
command
too delicate there
utility,
which
undivided attention
it is
;
a work which
to
is
and
is
not to
combine with other works
The South Kensington Museum purchased
in rendering an apartment beautiful.
the last Paris International Exhibition, at great cost, a cabinet from Fourdonois it is
a
a very unsatisfactory specimen, as
work
of utility
â&#x20AC;&#x201D;
it is
The
highest commendation
the grain
pictorial or naturalistic a
that which
would have been worthy of the
but works of this kind wrought in a material that has a
;
little
may
A
manner.
Besides, the subjects are
show, are absurd.
of too pictorial a character for " applied
is
in
but
too delicate, too tender, and too tine for
in marble and used as mere pieces of sculpture
figure
;
an example of what should be avoided rather than of what delicately carved and beautiful panels of the doors, if cut
it is
should be followed.
" grain," however
piece
to be investigated in every detail.
is
to appear beautiful in a room,
is
A
a lack of effect in the result.
is
not a miniature work, which
is
an object of
is
is
â&#x20AC;&#x201D;that
work"
is,
they are treated in too
broad, simple, idealised treatment of the
alone legitimate in cabinet work.
is
Supports or columns carved
human
the form of
into
are
figures
always
objectionable.
Besides carving, as a means of enrichment,
we have
inlaying, painting, and
the applying of plaques of stone or earthenware, and of brass or ormolu enrich-
we have
ments, and is
the inserting of brass into the material
when buhl-work
formed.
Inlaying
a very natural and beautiful means of enriching works of furniture,
is
A
for it leaves the flatness of the surface undisturbed. this
way by
black
wood
the
employment
inlaid in
of simple means.
A
mere row of
oak will often give a remarkably good
can be " worked " with the utmost
ease.
figure
neglected.
form
is
be done
in
circular dots of ;
and the dots
trefoil,
four dots a
can often be produced
inlays.
Panels of cabinets treated
effects
may
effect
Three dots form a
quatrefoil, six dots a hexafoil, and so on, and desirable
by such simple
great deal
subjects.
The couch
may
be
This
(Fig. 37)
painted, and enriched with ornament, or flatlyis
a
beautiful
mode
of
decoration
very much
I intended for enrichment of this kind.
If this
employed, care should be exercised in order that the painted work be in
cases so situated that
it
cannot be rubbed.
It should
fill
all
sunk panels and hollows
and never appear on advancing members. I
am
not fond of the application of plaques of stone or earthenware to works
PRINCIPLES OF DESIGN.
6-1
Anything that
of furniture.
is
an enrichment of wood-
Lrittle is not suitable as
work, unless it can be so placed as to be out of danger.
Ormolu ornaments, when applied to cabinets and other works in wood, are They look too separate from the wood of which the work is formed too obviously applied and whatever is obviously applied to the work, aud
also never satisfactory.
â&#x20AC;&#x201D;
;
is
not a portion of
whether a mass of Mowers
fabric,
even
general
its
wood
carved in
if
an
or
ornament, is not pleasant.
ormolu
Buhl-work
often
is
clever in character
and
very
skilfully
wrought, but I do not care for It
too laborious a
of
is
it.
nature,
and thus intrudes upon us the sense of labour as well as that of
As
skill.
I
a
means
of enrichment,
approve of carving, sparinglyinlays,
used, of
and of painted
ornament in certain cases
and
;
by the just employment of these
means
utmost
the
beauty
be
can
Ebony
with ivory
inlaid
in
achieved.
cabinet-work
is
very
illustrate
my
beautiful.
In
order
to
remarks respecting cabinets, side-
and
boards,
similar
of
pieces
furniture, I give an engraving of a sideboard
executed by Mr.
('race,
from the design of Mr. A. Welby
Pugin
(the father),
to
Fig. 42.
have before alluded (Fig. a painted cabinet
by Mr. Burgess
must be admired.
architecture
(Fig- '12), the
Both
of these
which 4>1),
1
and
well-known Gothic architect, whose
works are worthy of study of
a
very
careful kind.
In
the sideboard,
work, then the manner structural first,
iii
in
members which
the carving
second,
notice
is
first
which
i(
the is
some parts there
â&#x20AC;&#x201D; thus, the is
:i
structure or construction
broken into parts, and
arc carved.
in excess
general
slight
If this
work has
lastly, that
faults,
it
indication
buttress character of the ends of the sideboard.
the
is
the
they arc these:
panels would have been better plain of a
<if
;
and,
stone structure, as in the
65
THE FALSE IN FURNITURE.
To tiles
much more
the cabinet
A
1st.
roof
serious objections
may
a means whereby the weather
is
be taken.
kept out of a dwelling
and
-
is
,
afford a means whereby small pieces of material enable us to form a perfect
covering- to our houses of a weather-proof character. treat the roof of a cabinet,
which
It
is
very absurd, then, to
to stand in a room, as if
is
it
were an entire
house, or-an object which were to stand in a garden.
The windows
2nd.
in the roof,
which in the case of a house
let light into
those rooms which are placed in this part of the building-, and are formed in a particular
manner
when placed roof,
so as the
more perfectly
A
3rd.
house in appearance.
doll's
panelled structure, which
become simply stupid
These, tog-ether with the imitation tiled
in the roof of a cabinet.
degrade the work to a mere
to exclude rain,
is
the strongest and best structure,
ignored
is
;
hence strong metal bindings are necessary.
The painting treated,
of the
work
is
highly interesting, and had
it
been more
would then have been truthful, and would yet have lent the same
to the cabinet that it
now
does, even
we
if
flatly
interest
consider the matter from a purely
pictorial point of view.
Before we pass from a consideration of furniture and cabinet-work generally,
we must have
notice a few points to which
left altogether unnoticed.
we have
Thus we have
as yet merely referred, or
which we
to consider upholstery as applied to
works of furniture, the materials employed as coverings for
seats,
and 1he nature of
picture-frames and curtain-poles; we must also notice general errors in furniture, 6trictly so called.
When
examining certain wardrobes and cabinets
tion of 1S62, I
these works.
was
One
classic character.
especially
commended
itself to
Just as I was expressing
me
as a fine structural
my admiration,
the doors of this well-formed wardrobe to show
my
in the International Exhibi-
forcibly impressed with the structural truth of one or
me
its
of
of
the exhibitor threw open
internal fittings, when, fancy
feelings at beholding the first door bearing with
pilasters that I conceived to be the supports of the
two
work
it,
as it opened, the
two
somewhat heavy cornice above,
and the other door bearing away the third support, and thus leaving the superincumbent mass resting on the thin sides of the structure only, while they appeared altogether unable to perform the duty imposed upon them.
was
all
Some
of the most costly works of furniture
Paris International Exhibition were not free for to the rightly constituted
neutralise whatever pleasure
work.
" Horrible
!
horrible \"
I could exclaim.
We
see a
from
shown by the French this defect
;
and
in the last
this is strange,
mind this one defect is of such a grave character as to might otherwise be derived from contemplating the
man, a genius perhaps
admire; but he has one great vice
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;a
man having
qualities that all
one sin which easily besets him.
must
While the
;
PRINCIPLES OF DESIGN.
fifi
man
has excellent and estimable qualities,
we
we
yet avoid him, for
see not the
which we
It is so with such works of furniture as those of
excellences but the vice.
have been speaking, for their defects are such as impress us more powerfully than their excellences.
Respecting these works of furniture, this should be said imitative of works of a debased art-period utterly
disregardedâ&#x20AC;&#x201D;yet
â&#x20AC;&#x201D;of a period
no reason
this is
why we
in
:
they are more or
less
which structural truth was
should copy the defects of our
ancestors. Infinitely worse than the
furniture, since I
works just spoken
where the very truthfulness of structure
was staying with a
whose house
client
is
falsely constructed Gothic
of, is is
Not long
openly set before us.
Being about
of Gothic style.
to
furnish drawings for the decorations of this mansion, I was carefully noting the character of the architecture and of the furniture, which latter had been designed and
manufactured expressly for the house by a large Yorkshire firm of cabinet-makers.
The
structure of the furniture appeared just, the proportions tolerably good, the
honest, and the inlays judicious series of frauds
and shams
but, can
;
it
â&#x20AC;&#x201D;the cross-grain
wood
be imagined, the whole was a mere ends of what should be supports were
attached to the fronts of drawers, pillars came away, and such falsity became
How
apparent as I never before saw.
any person could possibly produce such
furniture, be he ever so degraded, I cannot think. I
have seen
falsities in art,
uncalled-for deception as these works presented.
but when a special effort
is
have seen works that are bad,
I
but I never before saw such
made
of disappointment is experienced
falsity of structure
The untrue
and such
always offensive
is
at causing a lie to appear as truth, a double sense
when the untruthfulness
is
discovered.
In his work on "Household Taste," to which I have before alluded, Mr. Eastlake objects,
and
table.
He
I think
says
:
very justly, to the character of an ordinary telescopic dining-
"Among
the dining-room appointments, the table
furniture which stands greatly in need of reform.
polished oak or
mahogany laid upon an
It
is
is
made
generally
an
article of
of planks of
insecure framework of the same material, and
supported by four gouty legs, ornamented by the turner with mouldings which look like inverted cups
and saucers piled upon an
insecure, because I
am
describing what
one which can be pulled out to twice leaves in its middle,
its
is
attic baluster.
commonly
'
telescope
I'm- its
of
which
in
and
if is
out,
support on some contrivance which
made.
Few
'
table, or
usual length, and, by the addition of exl ra
accommodate twice the usual number of
diners.
cannot be soundly made in the same sense that ordinary furniture
depend
framework
I call the
called a
is
is
Such a tabic
sound
;
it
must
not consistent with the material
people would like to sit on a chair (he logs of which slid
and were fastened at the required height by a pin
sense of insecurity in the notion eminently unpleasant.
;
there would be a
You might put up with
6uch an invention in camp, or on a sketching expedition, but to have
it
and use
it
THE FALSE
Yet
this
When
it is
much what we do
very
is
extended
in
Hie ease of the
get out of order, and from the very nature of
Why
Whether
in.
should such a table be there arc few or
many
made
its
;
it is
It
is
if
always
its
liable to
construction must be an inartistic
its
at all?
space
table.
reduced to
A
dining-room
is
a room to dine
people seated for that purpose, the table
well be kept of a uniform length, and
use in
when
weak and untidy appear heavy and ill-proportioned.
shortest length the legs
object.
modern dining-room
at the sides
looks
it
a
M'KXITUIiE.
strong and serviceable chair, would be absurd.
roof, instead of a
under your own
IN
is
an object
it
is
might
always possible to
stead tw o small tables, r
These might
each on four legs.
be placed end to end when dinner parties are given,
and one of them
would
family use.
suffice for
table of this kind
might be
solidly
and stoutly framed, so as to for ages, and become, as
A last
all fur-
niture ought to become, an heir-
When a man
loom in the family.
builds himself a house on freehold land, he does not intend that shall only last
beuueaths to
it
in
ought
furniture
any
we cannot
to
lie
which
continually being replaced events,
it
he
lifetime;
sound condition
We
posterity.
ashamed of
his
is
Fig. 43.
at all
;
possibly take
In former days, when the principles of good
interest in such furniture.
joinery were really understood, the legs of such a large table as that of the dining-
room would have been made things of modern use." In nearly
remark
that,
must be an
all
of a very different
these remarks I agree with
owing
form from the lumpy, pear-shaped
Mr. Eastlake, and
to the very nature of its construction, a
inartistic object.
No work
especially in his
modern dining-table
can be satisfactory in which any portions of
the true supporting structure or frame are drawn apart; and this occurs to a marked
degree in this table, as
is
shown
in
Mr. Eastlake's
illustration,
which we here copy
(Fig. 43). Falsities of structure,
although not so glaring as that of the telescopic dining-
everywhere met with in our shops, and, curious as it may appear, the great majority of the works offered to the public are not only false in structure, but are
table, are
utterly offensive to
good taste
in every
way, and are formed almost exclusively of
68
PRINCIPLES OF DESIGN.
wood
cut across the grain, which secures to the article the
weakness.
Figs. 44,
Âą6,
-15,
and
Fig. 44.
Another
utterance
is
falsity
in
I'V-
furniture
Simple honesty
of
Fig. 45.
Fig. 46.
abandoned.
maximum amount
are examples of utterly had furniture.
-17
is
is
veneering
â&#x20AC;&#x201D;
preferable to false
always to be desired.
It
a
17.
practice which should be wholly
show
was customary
in all cases;
truthfulness in
at one time to veneer almost
VENEERING.
(59
every work of furniture, and even to place the grain of the veneer in a manner totally at variance with the true structure of the
framework which
method of making- works, which might
in their unfinished state be satisfactory,
it
This was a
covered.
when finished as most unsatisfactory objects. Since this time much progress been made in a knowledge of truthful structure and of truthful expression, yet
appear has this
method of giving a
despicable
and
false surface
by means of veneer
not wholly abandoned as
is
false.
A few months
back I had occasion to
my
and the owner called
visit
a cabinet warehouse in Lancashire,
attention to the fine grain of
some
old English oak,
Upon
remarked that certain pieces of furniture were of solid wood.
and
investigation,
however, I discovered that while the furniture in question was made throughout of
was of common wainscoting, and the surface was
oak, the bulk of the structure
veneered with English oak.
I confess that I
furniture without its false exterior,
the " unity " of the parts,
work
into
love for fine grain in
which
it is
formed, and tends to break
What
by rendering every member conspicuous.
furniture, before all other considerations,
parts
would much rather have had the
my
â&#x20AC;&#x201D;
so that
is
wood
is
is
wanted
a fine general form
no one member usurps a primary place
possible to achieve if a
wood gets
from the fact that strong grain in wood takes from
I think that this arises
less.
and daily
â&#x20AC;&#x201D;and
it
up into
work
in a
â&#x20AC;&#x201D;a harmony
of
of all
this it is almost im-
employed having a strongly marked grain.
With us a room is considered as almost unfurnished if the windows are not hung with some kind of drapery. The original object of this drapery was that of keeping out a draught of air, which found its way through the imperfectly fitting windows; and the antitype
of our
window-hangings was a simple curtain, formed of Such a curtain was legitimate
a material suitable to achieve the purpose sought.
and
desirable,
and would contrast strangely with the elaborate festooning and
quadrupled curtains of our present windows. material, arranged in massive
and absurd
necessary to our health and well-being of lace curtains being cient
amount of material
drapery is
hung
is
to
at each
;
folds,
We
daily see yards of valuable
shutting out that light which
window, each curtain consisting of a
more than cover the window
always vulgar, while a
little
is
a pair of heavy stuff curtains and a pair
of itself.
An
suffi-
excess of
drapery usefully and judiciously employed
pleasant.
Many windows no curtains. coloured
much
that are well made, and thus keep out
If the
window mouldings
all
currents of air, need
are of an architectural character,
and are
darker than the wall, so as to become an obvious frame to the window,
and thus do for the window what a picture-frame does for a picture, no curtains be required.
I have recently had a wonderfully striking illustration of this.
adjoining rooms are alike in their architecture; one
is
decorated,
will
Two
and has the window
casement of such colours as strongly contrast, while they are yet harmonious, with
PRINCIPLES OF DESIGN.
70
Before the room was decorated, and the windows were thus treated, a
the wall.
general light colour prevailed, both on the wood-work and on the walls of the room,
and curtains were hung
With
the usual way.
windows
at the
*=-
c O
==-
o
o
<=*
O o
cÂť
windows became
tions, the
at once
=*
so effective that I
saw the imdesirability of re-hanging
the curtains, and yet not one of
my
all
friends has observed that there are no cur-
Fig. 48.
tains to the
are
in
the altered decora-
windows; while
the curtains
if
removed from the adjoining room, where tbe window-frames are as light is, " Where are your curtains?"
as the
walls, the first question asked
hung on a simple and obvious
Curtains should be
All means
pole (Fig. 48).
and
of hiding this pole are foolish useless.
thick,
This pole need not be very
and
better formed of
is
wood
than of metal, for then the rings to
which the cm-tains are attached pass
Tbe ends
along almost noiselessly.
may
of the pole
be of metal, but I
The
prefer simple balls of wood.
pole
may
be grooved, and any
enrichments
A
may be
little-
introduced into
tbese grooves, providing tbe carving
does not
come to the
and
surface,
tbus touch the rings, which by their
*-
<$T
motion would injure is
used in the
way
Whatever
it.
of enrichment
should be of simple character, for the height at which the curtain pole is
placed
would render
fine
work
altogether ineffective.
h
As
to upholstery, I
would say,
A wood
never indulge in an excess. 'â&#x20AC;˘'i'-'-
frame should appear in every work
>'
of furniture, as in the examples
have given. soft
that
Sofas arc
you sink
upon them, and which a
now made
into them,
their
appeal' as legs.
properly constructed
as
though they were feather beds; they are so
and become uncomfortably warm by merely resting
gouty forms are relieved only by
a
Stuffing should be employed only as a seat
c
we
fortablj
soft.
If
it
few inches of wood,
means
goes beyond this
of rendering it
is
vulgar
LTHOLSTEIUNG OF Fl'UNITURE.
f:^r^Ti
PICTURE- 1'i! AMES.
rT^^a
Fig. 50
71
F1UN0IPLES OF DESIGN.
72
and objectiu liable.
Spring stuffing
old-fashioned hair-stuffed seat perished.
As
more
to the materials with
they are many.
Hair
Nothing
effect.
is
is
cloth,
is
desirable, as it will endure
rep, plain cloth,
am
when
although very durable,
is
little,
for
altogether inartistic in
its
better than leather for dining-room chairs;
on library chairs
and many other fabrics are appropriate
a good
springs have
which seats may be covered I can say
either plain or embossed, looks well
Chintz I
not to be altogether commended;
;
to
silk
Utrecht velvet,
and satin damasks,
drawing-room furniture.
not fond of as a chair covering, and in a bed-room I would rather
have chairs with plain wooden seats than with cushions covered with this glazed material.
With a mere remark upon
picture-frames I will finish this chapter.
Picture-
frames are generally elaborately carved mouldings, or are simple mouldings covered with ornaments, which, whether carved or formed of putty, are overlaid with gold leaf; they are, indeed, highly ornamented gilt mouldings.
I
much
prefer
a well-formed, yet somewhat simple, black polished moulding, on the interior of
which runs a gold bead (Fig. 49). in the
A
fanciful yet
good picture-frame was figured
Building News of September 7th, 1SC6, which we
now
repeat (Fig. 50).
—
— .
CHAPTER
IV.
DECORATION OP BUILDINGS. Division
Having considered construction, or of
— Ceilings.
General Considerations
I.
furniture,
formation of
the
what we may term
which requires a knowledge of
structural art,
we
pass on to notice principles
involved in the decoration of surfaces, or in " surface decoration," as
it is
We
usually
commence by considering how rooms should be decorated yet, in so doing, we are met at the very outset with a great difficulty, as the nature of the decoration of a room should be determined by the character of its architecture. called.
My
;
How am
difficulty rests here.
room, when
I to tell
the suitability of the decoration
and ornamental
details
and when, in
;
is
you what
the just decoration for a
often dependent upon even structural
cases, the
all
is
character of the decoration
should be in harmony with the character of the architecture? is
in the Gothic style, all that
also,
should be Gothic.
should be Greek.
it
contains in the
If the building
is
way
Broadly,
of decoration,
if
a building
and of furniture
Greek, the decorations and furniture
If the building is Italian, all its decorations
and furniture should
be Italian, and so on.
But there
a group of styles having
Semi-Norman
under Henry
II.
(it
common
is
origin
this
have now employed, as
and
is is
less generic in
character,
and resemblances, known to the
or Transition style,
was at
is
I
usually termed Gothic architecture,
more or
What
therefore too broad for general use.
as the
Each term that
are further requirements.
expressive of a style of architecture,
architect
which occurred in the twelfth century
time that the pointed arch was
The Early English, which was developed
in the
the thirteenth century, under Richard
I.,
first
employed)
end of the twelfth and early part of
Henry
John, and
III.
;
the Decorated,
which occurred at the end of the thirteenth, and early portion of the fourteenth century, under
Edward
I.,
Edward
II.,
and Edward
III.
;
the Perpendicular, which
occurred at the latter part of the fourteenth, and through the greater portion of the
under Richard
fifteenth century,
and Richard III.
;
and the beginning
II.,
Henry
IV., V., and VI.,
Edward IV. and
V.,
and, lastly, the Tudor, which occurred at the end of the fifteenth, of the sixteenth century, under
Henry VII. and Henry VIII.
All these styles are popularly spoken of as one, and are expressed by the one term
Gothic.
It
is
so also, to an extent, with the Greek,
Roman, and
Italian styles, for
each of these appears in various modifications of character, but into such details
F
we
PRINCIPLES OF DESIGN.
74 will
not enter
must
it
:
suffice to notice that the character of the decoration
not only broadly in the style of the architecture of the building which to beautify,
but
it
must be
similar in nature to the
must be intended
it is
ornament produced at precisely
the same date as the architecture which has been employed for the building. It
must not be supposed that
styles of architecture, such as
I
am
an advocate of reproducing works, or even
were created in times gone by, for T
peoples of past ages carefully sought to ascertain their wants
from climate
—the
wants resulting from the
resulting from social arrangements
command.
We, on
am
The
not.
—the wants resulting —the wants
natui-e of their religion
— the wants imposed
by the building material
at
the contrary, look at a hundred old buildings, and without
considering our wants, as differing from those of our forefathers, take a bit from one
and a
bit
from another, or we reproduce one almost
as
stands,
it
on, instead of seeking to raise such buildings as are in
all
and thus we bungle
respects suited to our
modern requirements. Things
however,
are,
much
are dealing with the Gothic style in its various forms.
many and
others are venturing to alter
acquiring
is
new
elements,
it;
it is
and thus, while
Scott, Burgess, Street,
and
suitability to our special requirements.
In time to come, further changes will doubtless be made arose as an imitation of the past will have
;
and thus the style which
become new, through constantly departing
as constantly adopting
new
elements.
I have said that the decoration of a building should be brought about
ployment of such ornament as was,
in
bygone ages produce
till
what has gone
if
a precisely similar
Let not the ornament, however, be a mere
of architecture previously existed.
servile imitation of
by the em-
time past, associated with the particular form
of architecture employed in the building to be decorated,
form
and
losing old characteristics,
it is
already assuming a character which has nobility
of expression, truthfulness of structure,
from the original type, and
Bold men
better in this respect than they were.
before, but let the designer study the
he understands and feels
new forms and new combinations
This must also be carefully noted
its
spirit,
and then
in the spirit of the
—that
let
ornament of
him
strive to
ornament of the
past.
the ornament of a particular period
does not consist merely of the forms employed in the architecture, drawn in colour
on the wall, or the ceiling, as the case
may
be.
The
particular
form of ornameut
used in association with some forms of Gothic architecture was very different in character from
what we might expect from the nature
of the architecture itself,
and
did not to any extent consist of ilatly-treated crockets, gable ends, trefoils, cinque, foils, etc.
The ornament
of the past
must be studied
in its purity,
those wretched attempts at the production of Gothic decoration which
In what
wc may
no architecture, and to
call if
and not from
we
often see.
the typical English house of the present day there
such a building
eninlov any style of ornamentation.
is
to be decorated
In such a case
it
I
is
is
really
almost legitimate
should choose a style
;
DECORATION OF CEILINGS.
which has no very marked features Gothic, or strongly Italian
and
;
â&#x20AC;&#x201D;which
there
if
75
not strongly Greek, or strongly
is
the necessary ability, I should say try
is
and produce ornaments having novelty of character, and yet showing your knowledge of the good qualities of
styles that are past.
all
If this
is
attempted, care must be
exercised in order to avoid getting a mere combination of elements from various styles as one ornament.
Nothing can be worse than
fragment of Egyptian, an Alhambraic
Greek, a
to see a bit of
a Gothic flower, and an Italian husk
scroll,
associated together as one ornament; unless this were done advisedly and in order to
meet a very
What
I
an ornamental composition would be detestable.
special want, such
recommend
new forms; but
the production of
is
new composition may
the
have the vigour of the best Gothic ornament, the severity of Egyptian, the intricacy of the Persian, the gorgeousness of the Alhambra, and so on, only
must not
it
imitate in detail the various styles of the past.
Now
as to the decoration of a room.
If one part only can be decorated, let that
Nothing appears
one part be the ceiling.
me more strange
to
than that our ceilings,
which can be properly seen, are usually white in middle-class houses, while the which are always in part hidden, and even the colour and pattern applied to
them
and of
;
floor,
this I
a decorative point of view, our ordinary treatment "VVe glory in a clear blue
beauty as
familiar to us
is
hence
it
ethereal
am
and
this question,
walls,
tread, should
have
certain, that, considered
from
wrong.
Why,
all.
Thus the depth of the make our ceilings white ?
tint of the
tint.
then,
I often ask
told that the whiteness renders the ceiling almost invisible
This idea
preferred.
is
am is
we
sky overhead, and we speak of the sky as increasing in
becomes deeper and deeper in
it
Italian sky
on which
and most distant of
all
is
very absurd;
first,
because blue
colours (see Chap. II., page 33)
not build a house with the view of procuring shelter? hence
;
the most
is
we
and, second, do
why do we
seek to
we are without a covering over our heads ? We only like a because we have been accustomed to such from infancy, and because
realise the feeling that
white ceiling
we have been taught to regard a clean white ceiling as all that is to be desired. I knew a Yorkshire lady who, upon being asked by her husband whether she would like the
drawing-room ceiling decorated, replied that she thought not, as she could
not then have
have
it
re-whitewashed every year.
said, is ethereal in character; it is
medium depth and it
as
of a grey hue
would be desirable that
we have
this colour
Further, the ceiling
be seen as a whole.
or, if
so,
hence,
when we do
there not,
is
we
Why
idea was clean certainly.
Blue, I
and may become exceedingly so
if
if
of
a mere atmospheric effect was sought,
be used on the ceiling rather than white.
just said, invisibility of the ceiling
the weather.
object
;
The
is
absurd, as
may become an
it is
But,
our protection from
object of great beauty,
and
it
can
then neglect the opportunity of arranging a beautiful
no reason to the contrary can have
it
?
We
like
a,
beautiful coloured vase,
whitewashed, or even dispense with
it
altogether.
7ÂŤ
We
PKIXCIPLES OP DESIGN. like beautiful walls, or
we would have them whitewashed
our surroundings generally beautiful.
Why
Kg.
not,
then,
pictures
;
indeed,
we
like
61.
especially as they can be seen complete, while the wall ;iik1
also
have beautiful ceilings,
is
in part
hidden by furniture
?
I will suppose thai
we have an ordinary room
to deal with.
First, take
away
PAPERS
FOIt
77
CEILINGS.
the wretched plaster ornament in the centre of the ceiling, for
There
it
is
sun' to be had.
not one such ornament out of a thousand that can he so treated as to make
is
the ceiling look as well as 1
would do without
it
Now
it.
place
over the ceiling
all
Hat painted or stencilled pattern, a pattern which repeats equally in Fi^. 51),. and let this pattern be in blue (of
depth) and cream-colour, and
any depth) and white,
all
;i
directions (as
or in blue (of
any
sure to look well (the blue being the ground, and
it is
the cream-colour or white the ornament).
Simple patterns in cream-colour on blue ground, but having also look well (Fig. 52)
might he prepared
hung on the
paper, and
in
ceiling
paper-hangings,
;
common
as
cheapness
if
outline
a black
and these
is
Gold ornaments on a
essential.
deep blue ground, with black outalso look
line,
These are
and
rich
effective.
however, simple treat-
all,
ments, for any amount of colour
may be the
used on a ceiling, provided
small
masses, and
that of a
(see
Chap.
perfectly
min-
the effect produced
that
gled, so is
are employed in very
colours
coloured bloom
rich
page 46).
II.,
A
ceiling
should be beautiful, and should also
be manifest
somewhat
but
;
if
it
must be
indistinct, in order that
the caprices
humoured,
the
of
let
the
ignorant
be
be
in
pattern
middle-tint or pale blue and white only.
Fig. 52.
I like to see the ceiling of a
room covered
all
over with a suitable pattern, but
central ornament
cornice
is
only, or to a centre
I
do not at
object to a large
all
ornament and corners
;
especially
heavy, so as to give compensating weight to the margin.
I
the
if
have recently
designed and seen carried out one or two centre ornaments for drawing-rooms,
which ornaments were twenty-one treated,
may
two-thirds of the
way from
A
feet in diameter.
be very large without looking heavy
it
;
centre ornament,
if
may, indeed, extend
the centre to the margin of the ceiling.
I
properly at
least
do not speak
of plaster ornaments, but of flat decorations. If the ceiling
is flat all
ornament placed upon
it
must not only be
flat also,
but
rnixciPLES or design.
7S
must not
fictitiously represent relief, for
placed as the decoration of a I
with
flat
no shaded ornament can be pleasant when
architectural surface.
have already noticed that the decoration of a room should be in character
its
ornament applied by way
architecture, but that while this should be so, the
of enrichment should not be a servile copy of the decorative forms employed in
ages gone by, but should be such as
t'tg
63.
is
new
in character,
while yet of the spirit
of the past.
.Many circumstances tend
to
determine the nature of the decoration which
should be applied to a ceiling: thus, panels, the character of the
be large
while in
if
some
it
will
if
ornament
a ceiling
is
is
structurally divided into square
thereby restricted, and should these panels
probably be desirable thai each be
fitted
they arc small three or four different patterns orderly or methodical manner.
with the same ornament;
may
be employed,
if
arranged
TREATMENT or
A
ceiling
may
also
decoration would have
fco
have the
7
JOISTS IN A CEILING.
joists
or
beams
visible
be of a very special character.
upon
it
:
in this case
The bottoms
'J
the
of the joists
Fig. 54.
might have a string pattern upon them (a running pattern), as the "Greek key," or whilst the sides might have either a running pattern, or a pattern with
guilloche
;
an upward tendency, as the "Greek honeysuckle;" and the ceiling intervening
PRINCIPLES
80 between the or
it
joists
might have a running
mio-ht have bands running
thern, to If,
01'
DESIGN.
pattern, or better, a star, or diaper pattern,
in the opposite direction to the joists, so as,
form squares, which squares might be filled with ornament. however, the ceiling is flat, and is not divided into sections
with
structurally.
Fig. 55.
almost any " setting out " of the surface centre ornament, as Figs. 54 and 55 Fig. 50. relief
and
In
any case
upon the
ceiling.
all fictitious
it is
;
may
be employed, as Fig. 53
;
or a large
or a rosette distributed over the entire surface, as
not necessary or even desirable that the ornament be in
Flatly treated ornaments
appearance of
relief, as
we have
may
be employed with advantage,
already said,
must be avoided.
M
COLOURING OF FLAT CEILINGS.
There are so many different ways of setting out ceilings, that I cannot attempt even to make any suggestions. I would simply say, however, Avoid an architectural setting out, if there are no structural members; for ornament which is Hat spread in any manner over a surface without even appearing to need structural
may
As
supports.
to the colour of a ceiling
it'
be a cream-colour (formed of white with a
there little
is
to be no
ornament upon
it, let
Cream-colour always looks well upon a ceiling, and gives the idea of purity. grey-blue
also a very desirable colour for a ceiling, such as
is
ultramarine, white, and little
raw umber, just
make
to
cient
it
middle-chrome) rather than white.
is
A
formed of pale
a
suffi-
the
bine
atmos-
slightly
grey
pheric).
In depth this blue
(or
should be about half-way
between
Another
and white. which
ultramarine
the
I like is
effect
produced by
the full colour of pure (or
almost
In
ultramarine.
pure)
this
case
the
cornice
should l>e carefully coloured,
and pale
and white
blue
should prevail in
pure
little
it,
but a
must
red
be
present.
A
further and very de-
sirable effect is
produced by
placing pale cream-coloured stars irregularly over the pale blue, or even the deep blue ceiling, or
pale blue stars
upon the cream-coloured
ordinary room ceiling
(say a
The
ceiling.
room sixteen
feet
some four
;
others being smaller and with five points points,
and some
three.
by placing
should vary for an
square by ten feet high) from
about three inches from point to point down to one inch six points
stars
;
;
the larger stars having
and the small ones having,
If such stars are irregularly (without order)
intermixed over the ceiling, and yet are somewhat equally dispersed, a very pleasing
and interesting
effect will
the Japanese.
The
pale, blue
stars,
thereby be produced.
This effect
however, should be smaller
if
is
in
much
favour with
placed on a deep, than on a
ground.
Another good
effect is
Portland, stone, and starring
produced by giving the ceiling the colour of Bath, or it
with a deeper tint of the same colour.
This effect
PRINCIPLES OF DESIGN.
82 is
improved by each star having a very 1
fine outline of a yet
darker tint of the same
colour.
should recommend those interested in the decoration of ceilings to study
I
Egyptian, Alhambra, and Greek Courts
the
carefully
Sydenham,
two
especially the
last
named
;
Palace,
ceilings in the Oriental Courts, by Mr. Owen Jones, at the South Museum are worthy of careful notice but the Renaissance ceilings in parts of the Museum are both wrong in principle and are bad examples of their
The
Durham.
Kensington
;
style.
The
Street,
London, and
Oxford
Street, are well
On
formed glass ceiling of the Crystal Palace Bazaar
structurally
still
better, the
ceiling of
Mr.
we very
the Continent
authorities of the South style into
frequently meet with
Kensington
England, but such
A
1st.
ceiling
is
Osier's
in
Oxford
warehouse in
glass
worthy of note.
pictures have been painted, as in the Louvre and the
be
Crystal
and the ceiling of Ushaw College chapel near
Great Hall, Piccadilly, London,
other
the
at
also to notice the ceiling in St. James's
a
flat
Museum
are
ceilings
Luxembourg
making
pictorial ceilings are in every
on which large in Paris
;
and the
efforts to introduce this
way wrong.
surface, hence all decoration
placed upon
it
should
flat also.
2nd.
A
picture can only be correctly seen from one point, whereas the deco-
ration of a ceiling should be of such a character that
can be properly seen from
it
any part of the room. 3rd. Pictures
have almost invariably a right and wrong way upwards.
picture placed on a ceiling
is
thus wrong
way upwards
A
to almost all the guests in
the room. 4th. In order to the proper understanding of a picture, of its surface at one time neclc, or
;
you must see the whole
this is very difficult to do without almost
being on your back on the
floor, if
the picture
is
breaking your
on the ceiling
whereas an
;
ornament which consists of repeated parts may render a ceiling beautiful without requiring that the whole ceiling be seen at the one glance.
Most of the French pictorial ceilings are so painted that they are properly seen when the spectator stands with his back close to the fire. This is very awkward, as the rules of Pictorial
society do not allow us to stand
in
position before company.
this
works are altogether out of place on a ceiling
;
they ought to be framed
and hung right way upwards upon walls where they can be seen.
known painted Arabesque
ceiling at the
We
have a well-
Greenwich Hospital.
ceilings, such as that of the
Roman Court
at the Crystal Palace, are
also very objectionable.
What can be worse than upon a
festoons of leafage, like so
ceiling, with griffins, small
ornament,all with
fictitious light
framed
and shade?
many
sausages, painted
pictures, impossible flowers,
and feeble
But not content with such
absurdities
—
;
WALL DECORATIONS.
S3
and incongruities, the festoons often hang upwards on vaulted or domed
ceilings,
Such ornaments arose wdien Rome, intoxicated with
rather than downwards.
its
conquests, yielded itself up to luxury and vice rather than to a consideration of
beauty and truth. Decorations like these were to an extent again revived by the great painter
Raphael
but
;
great painter
hence
and
;
it
requires
all
of the greatest
It requires all the energy of a life to
the energy of a
all
not expected that the one
it is
In
must ever be remembered that Raphael, while one
it
was no ornamentist.
of painters,
man
life
become a
to become a great ornamentist
should be great at the two
arts.
ages when decorative art has flourished, ceilings have been decorated.
The Egyptians decorated
their ceilings, so did
the Greeks, the Byzantines, the
Moors, and the people of our Middle Ages, and a light ceiling appears not to have many cases desirable. It is strange that so few
been esteemed as essential, or as in
of our houses and public buildings contain rooms with decorated ceilings
but the
;
in, and many are at this present moment must get simple modes of enrichment for general rooms modes of treatment which shall be effective, and yet not expensive—and then we
want
already
is
felt,
may hope
the fashion has set
that they will become general.
Division
We
—
We
being prepared.
must now devote
Decorations op Walls.
II.
ourselves to the consideration of wall decoration, or to the
manner in which ornament should be them decorative. It will
appear absurd to say that
applied to walls with the view of rendering
all
ornament that
be such as will render the wall more beautiful than
statement
is
needed, for I have seen
they would have looked
washed over with a
To ornament
much
many
better
if
it
is
applied to a wall should
would be without
it
walls ornamented in such a manner, that
tint of colour.
is
to beautify.
To decorate
is
to ornament.
But a surface cannot
it
vigorous, or true, and unless the colours applied to
are harmonious.
walls do
but this
they had been perfectly plain, and simplv
be beautified unless the forms which are drawn upon
many
;
we meet with
it
even in good houses —-walls
are graceful, or bold, or
Yet how
of corridors, walls of stair-
cases, walls of dining-rooms, walls of libraries, and, indeed, walls of every kind of
room
—which are rendered A
leads
wall
me
may
offensive, rather than pleasing,
by the decorations they
bear.
look well without decoration strictly so called, and this statement
to notice the various
ways
in
which walls may be treated with the view of
rendering them beautiful.
A " is
wall
flatted."
may be
simply tinted either with "distemper" colour, or
Distemper colour gives the best
not durable, and cannot be washed.
effect,
Oil colour
and
is
when
much flatted
oil
colour
the cheapest, but
makes a nice
it
wall,
PRINCIPLES OF DESIGN.
84
whether "stippled" or plain, and
is
both durable and washable.
An
entire wall
should never be varnished. I say that a wall can look well even
if
Let
not decorated.
s.ea.fcSMftF
me
give one or two
Fig. 58.
Fig. 57.
instances
;
the ceiling,
A
but, perhaps, I had better give treatments for the entire room, including
and not for the wall simply.
good
effect of
by having a black
a very plain and inexpensive character
skirting, a cream-colour wall
would be produced
(this colour to be
made
of the
Fig. 59.
colour called middle-chrome and white, and
to
resemble in depth the best pure
cream), a cornice coloured with pale blue of greyish tint, with deep blue, white,
and a slight
line of red,
colour to be pure a
and
a
ceiling of blue of almost
any depth.
The
ceiling
French ultramarine, or this ultramarine mixed with white and
touch of raw umber (the cornice blues to be made in the same way).
The
red
DESIGN. Ceiling & JIM Colouring.
DECORATIVE IUnstrxuting Cornice,
85
WAIX DKCOUATIONS. in the cornice to be deep vermilion
carmine
A
if
very narrow (one-sixteenth of an inch), or
broad.*
if
room
more decorative character would be produced by making the wall of a different colour (by forming a dado) from the
of a slightly
the lower three feet of
upper part of the wall
:
thus,
the other parts of the room were coloured as in the
if
example just given, the lower three feet might be red (vermilion toned to a rich Indian red with ultramarine blue) or chocolate (purple-brown and white, with a little orange-chrome) cream-coloured black an
double
inch
this lower portion of the wall
;
being separated from the
upper
portion by a line of broad, or better by a
the upper line being an
line,
inch broad, and the lower line three-
eighths of an inch, the
lines being-
from each other by
separated
five-
eighths of the red or chocolate. I like the formation of a dado, for it
an opportunity of giving
affords
apparent
making'
stability its
furniture
is
the
to
wall
lower portion dark invariably
;
by and
much improved
by being seen against a dark back-
The occupants
ground.
room
of a
always look better when viewed in conjunction with a dark background,
and
The
ladies' dresses certainly do.
dark dado gives
the desired
ground without rendering
it
mahogany,
it
I:ti:ri:g3.n.t3:g3.iy.g3.g:i.r3
necessary
that the entire wall be dark. furniture be
back-
Km.
:.:'.
If the
will lie
wonderfully improved by being placed against
a chocolate wall.
The dado extent.
It
of a
may
Figs. 57, 58,
and
room need not be
plain
;
indeed,
51),
or the coloured border on Plate
have a simple Hower regularly dispersed over
it
;
may
it
I.
or
geometrical repeating pattern, in either of which cases it
may
it
be plain with a bordering separating
it it
be enriched to any
from the
wall, such as
(frontispiece)
may
;
or
would have a border
be enriched with a specially designed piece of ornament, as Fig. 60.
particular pattern should not, however, be enlarged to a height of
In some parts of the country If this has
may
it
be covered with a ;
or
This
more than twenty
it is customary to wash the cornice over with quick-lime. been done the lime must be carefully removed, for lime will turn carmine black.
80
PRINCIPLES OF DESIGN. inches; but
to twenty-four fifteen inches, I
it
would look
if
of this width,
and above a skirting of twelve or
well.
have designed two or three narrow dado papers for Messrs. Wylie and
Lockhead, of Glasgow, which are about eighteen inches broad, and are printed in the direction of the length of
the paper, so as to save
unnecessary
joins
;
and
Messrs. Jeffrey and Co., of Essex Road, Islington, are
issuing
series of
for
my
walls,
complete
a
decorations
dados,
and
ceilings.
If the dado
is
en-
riched with ornament, and
the
cornice
coloured,
is
and a pattern spreads
all
over the ceiling, the walls
can
well
they
may
a simple
plain,
lie
but
be covered with
"powdering"
as
the patterns in Fig. 01, if
these are in soft colours,
or with patterns such as
those set forth in colours
<m Plate
I.;
but these,
especially that on the blue
ground, would
only
be
used where a very rich effect is desired.
A Fie:.
ceiling in dark blue
valence
good room would
be produced by
Fig. 61.
behn
pattern th
and cream-colour, by the cornice being coloured with a pro-
dark blue, the walls being cream-colour down to the dado; the border
<if
separating the dado from the wall being black ornament on a dull orange-colour ;
and by the dado being chocolate with a black rosette upon being bright of the wall
bordering
black.
can (inly
may
it;
the skirting boards
The dado may or may not be varnished; the upper part be "dead" (not varnished dull). If the room is high a
â&#x20AC;&#x201D;
ran round the npper portion of the wall, about three to four inches
87
WALL-PAPEKS.
be employed in dull orange
may
such a bolder as Fig. 62
below the cornice;
and chocolate.
A
citrine wall
comes well with a
prevails in the cornice, and this wall
with a
little
dee]) blue, or blue
may
and white
white) dado, or a rich maroon dado (brown-lake)
employed the
ceiling,
if
blue
have a dark blue (ultramarine and black
junction with the blue, will appear as black as
.
If the blue dado
when varnished and
skirting- should be indigo, which,
is
seen in con-
(See the coloured examples on
jet.
Plate II., and remarks on colour on pages 45 and 46.)
Walls are usually papered universal custom; but
In
strips.
all
cases
lines, for straight
I
in
I
middle-class houses.
do say, try to
must not object
avoid showing the joinings
where possible cut the paper to the pattern, and not
joinings are very objectionable.
If
to this
of the various
you use paper for
in straight
walls, use it
Fi". 62.
artistically,
and not as
bordering (dado
rail)
so
much
paper.
Let a dado be formed of one paper, the dado
of a suitable paper bordering
the upper part of the wall
;
being covered by another paper of simple and just design, and of such colour as shall
harmonise with the dado.
Proceed as an
Think out an ornamental scheme, and then try all
and not as
The
best for
all
which designs similar
a
mere workman.
to realise the desired effect.
papers in which huge bunches of flowers and animals or the
depicted. in
artist,
human
Avoid
figure are
purposes are those of a simple geometrical character, or
to those in Fig. 01 are
"powdered"
or placed at regular
intervals over a plain ground.
Just as the ceiling ornament must accord in character with the architecture of the
room
in
which
it is
placed, so
architecture of the room.
must the wall decoration be
Indeed, whatever
we have
of the
same
said respecting the
style as the
harmony
of
the ceiling decoration with the architecture of the building, applies ecpially to the
ornamentation of the wall. It has been customary to arrange walls into panels
when decorating them, and
PRINCIPLES OF DESIGN.
88 of this
mode
of treatment
we give one
illustration (Fig. 63)
absurd than such a treatment, unless the wall
A wall
is
;
yet nothing can be more
architecturally (structurally) arched.
ma}- be so formed that some parts are thick, so as to give the required strength,
while other portions are thin.
In such a case the wall would be formed of arched
Fig. 63.
This being
and thickened piers alternately.
recesses
flic case,
the decoration should
be so applied as to emphasise, or render apparent, this arched structure; but wall
is
of
We view of
one thickness throughout,
sometimes see great brinerine
about
the
follies,
its
division into arches
is
if
the
absurd and foolish.
and even gross untruths, perpetrated with the
so-called
decoration
of
a room.
Thus
it
is
not
SHAMS IN DECORATION. unfrequentlv that
we meet with
89
imitation pillars, recesses, and arches as the so-called
ornamentation of a room.
In low music halls we are not surprised by such decorations, for we do not look for truth or
any manifestation of delicacy of feeling
such places.
in
Falsity and the
Sham
untrue appear in natural juxtaposition with the debased and the vulgar.
marble
a fictitious and merely imitative architecture, an assumed and unreal,
pillars,
yet coarse and vulgar, gorgeousness, are the natural adjuncts of immorality and vice;
but such
cannot be tolerated in the abodes of those
falsities
and truth, nor
has sham marble pillars
Here we
sham
containing falsity
which a
How
;
a display of false decoration such as I never
;
falsely constituted it
is
sham pillars, giving a false architecture ; sham niches,sham clouds, forming an absurd ceiling and almost every
find
statues
strange
mind could
fierce quarrel,
perpetrate.
that in a church, where purity and truth are taught, the
is
whole of the decorations should be a sham
theological
It is said that if
!
and to see true hatred, you must seek
On
discussionists.
it
you want
is
As the
that of contrast.
to hear a
in religious sects and
the same principle, I suppose,
we must
ourselves for a display of the worst art-falsity in the sacred edifice. idea
to purity
say this to our shame), and but recently I visited a
(I
church near Edgware, in which there before saw.
who pretend
which they frequent; yet even the new Albert Hall
in the buildings
among prepare
Perhaps the
had a drunken man by him
teetotal lecturer
a frightful example of what was to be avoided, so the decorations of this church
as
may
be intended as a warning, rather than as an example of what should be followed.
Happily such churches as this are architecture and decoration has in
very
many
instances
rare,
and
made great
it
can be truly said that ecclesiastical
strides
with us in recent years, and that
rigidly truthful as well as beautiful.
it is
Before leaving the consideration of wall decorations, I must object to imitations, as
sham marbles,
any extent a display of costs
granites, etc., for no wall can be satisfactory
false
grandeur
and
more to produce an imitation marble
walls with the marbles imitated. cost
;
I have
this is curious, that in
staircase
known a
it
case in
would to
many
and granites,
as I
have already
work
is
always expensive.
said, I strongly object,
not fond, unless sparingly and judiciously used. :
â&#x20AC;&#x201D;
1st.
exactness
is
Harmony
of
colour depends
rarely attainable in the case of
to
same
which the imitation has
To
not
is
imitations of marbles
and of the genuine stone
My objections to
its free
upon great exactness of two marbles.
all
is
cases it
line the
double what the genuine stone woidd have cost, and such a case
exceptional, for hand-polished
these
than
which
One
tint.
I
am
use are
This
stone may, however,
be brought into direct and perfect harmony with a coloured wall, by the tint of the wall being carefully suited to the marble. costliness of the material of
2nd.
The
true artist thinks less of the
which he forms his works than of the art-effect produced.
Thus the old Greeks, who were
full
of art-feeling and refinement, coloured the
90
PRINCIPLES OF DESIGN.
buildings which they constructed of white marble, and they certainly thereby
improved them
charm
â&#x20AC;&#x201D;a
;
for colour, if
harmoniously employed, lends to objects a new
charm which they would not without
before leaving our present subject, that
all walls,
must further
I
possess.
it
say,
however decorated, should serve as
a background to whatever stands in front of them.
Thus they must
retire
even
behind the furniture by their unobtrusiveness.
The
The
order of arrangement in furnishing must be this.
room should be most
attractive
such a character as to secure their attire;
man should be now employ any amount of colour
and conspicuous, and the dress of Ladies can
this.
Next come the
all,
in
both are dressed in an unbecoming and inartistic
furniture and draperies
prominence according to circumstances are to serve as backgrounds to
all
â&#x20AC;&#x201D;the
one or the other having
then come the wall and
;
floor,
taken into consideration, that they are but enriched backgrounds
be remembered that the nature of the enrichment applied
by the character of the architecture
is
both of which
In decorating walls,
that stands in front of them.
or in judging of the merit or suitability of wall decorations, this
extent,
of
but poor man, however noble, cannot by his dress be distinguished
from his butler ; and, worst of manner.
living beings in a
must always be
and
;
it
should also
determined, to a great
of the building of
which the wall forms
a part.
We
come now
to consider wall-papers,
which are hangings prepared with the
view of enabling us to decorate our walls at comparatively small confess that I
am
Yet they are largely used, and
I have already said that
come.
if
may
I prefer a
not very fond of wall-papers under any circumstances.
tinted or painted wall.
I
cost.
long time to
will be for a
wall-jiapers are used they should not be joined
we ought
together with straight lines, and that
them
to consider
as
much
so
art-material which should be used artistically.
As
to the nature of the pattern
which a wall-paper should have,
impossible to speak, as there are endless varieties; but as a rule
it
may
it is
almost
be said that
those consisting of small, simple, repeated parts, which are low-toned or neutral in
Most wall-paper
colour, are the best.
pattern can scarcely be too simple, and If the
may
ornament
is
patterns are larger than it
should in
all
very good, and the pattern
is
desirable.
eases consist of
is
flat
The
ornament.
the work of a true artist,
it
be larger, for then the parts will be balanced and harmonised in a manner that
could not be expected from a less skilful hand designer,
it
but even
must ever be remembered that he has designed
a suitable decoration for any particular room. a particular wall must choose that which
The
;
effect of
by the quantity
a wall-paper
is
it
it
The man who
by the most talented at random,
and not as
selects the pattern for
suitable to the special case.
materially affected
by many circumstances.
â&#x20AC;&#x201D;whether (ho room
Thus,
is
dark or light; by
receives the sun's rays direct or does not;
by the character
of light admitted to the
(ho aspect, whether
is
if
room
91
WAU.-I'APKR I'ATTKHNS.
green lawn, or of the light, as whether direct from the sky, or reflected fi'om a well in the looks what and be considered, must things these All red-brick wall. pattern-book ma}' look bad on a wall.
Fig. 65.
Fig. 64.
Fig. 66 Fig. 67.
As
to colour, the best wall-paper patterns are those
strong colours in very small masses
paper
is rich,
â&#x20AC;&#x201D;masses
which consist of somewhat
so small that the general effect of the
low-toned, and neutral, and yet has a glowing colour-bloom; but these
are rarely to be
met with.
92
PRINCIPLES OF DESIGN.
was a fashion some time since
It
fabrics,
and
this fashion has
to
make wall-papers
imitation of woven
in
not wholly disappeared yet, absurd though
it
be.
It arose
through the accident of a designer of wall-paper patterns having- been a shawl pattern designer, and having- a number of small shawl patterns on hand, which he disposed of as wall-paper jwtterns. suitable to a printed fabric,
A pattern which is suitable for a woven fabric is rarely and especially when the one pattern is to be seen in folds
on a moving object, and the other
flat
And
on a fixed surface.
at all times imitation
by one material of another -
\Xv,
: :
:.
untruthful,
and
specially absurd
when we think
that almost every material
capable
good
of
is
some
producing-
art-effect
material can.
is
becomes
it
which no other
We
should
al-
ways seek to make each material as distinctive in its art-character as
we
can, and to cause each to
appear as beautiful as possible that
in
which
particular
manner
in
can most naturally be
it
worked.
A
word should
be
said
about the particular character
which
a
wall-paper
pattern
should have, but the remarks
which will
Fig. 69.
I
am now about
apply equally to
all
to
make
patterns
employed as wall decorations. If
we view
trees or plants, as
we
them against the sky
see
objects which point upwards and have a bilateral (Figs,
view we
may
and
til
may
poinl
(15)
â&#x20AC;&#x201D; or
are
more or
less irregular in
Fig-.
01, and be
â&#x20AC;&#x201D; their halves are
alike
form, and when seen in this
regard them as natural wall decorations.
upwards, as in
as a background, they are
symmetry
Our
wall patterns, then,
bilateral or otherwise; but
it
must be
remembered that when the flowers of
a
primrose protrude from a bank they are
regular radiating-, or star, ornaments.
I
think that
on
wall
a
star, or
it
is
legitimate for us to use
regular radiating- ornaments, as well as those having- an upward
tendency. I
have said that when seen from the side plants are
irregular.
As
I
bilateral, or are
more or
less
have referred to plants as furnishing- us with types of ornament,
should not be doing- rightly were
I
to leave this statement
in its present form;
I
for
93
COLOURING OP CORNICES. the tendency of the vital force of
symmetrical character
and
frosts, so act
apparent
w ant r
of
;
all
plants
is
to produce structures of
rigidly
hut insects, which eat buds and leaves, and blights, winds,
upon plants as to destroy their normal symmetry, hence we
symmetry
in the
find an
arrangement of the parts of plants.
Respecting the colouring of cornices, a few words should be
said.
1st.
Bright
colours
may
on
or hollow surfaces, especially those that recede from the eye, and yellow on
flat
here be employed.
rounded advancing members.
2nd.
3rd.
blue, ultramarine either pure or with
with white.
medium
4th.
Use
As Use
a rule, get red in shadow or in shade, blue
for red either vermilion or carmine
white; for yellow,
middle chrome much
for
red very sparingly, blue abundantly, the pale yellow in
quantity.
Besides primary colours, none others need be used on the cornice.
mistake to use many, or dull, colours, here, but gold
With
;
diluted
may
the view of explaining the principles which
It
is
a
be used instead of yellow.
we have
just enunciated
by
diagrams, we give four illustrations (Figs. 66, 67, 68, 69), which I advise the student to try and colour in accordance with the principles just set forth.
CHAPTER
V.
CARPETS.
It
is
not
my
intention in this chapter to consider in detail the various kinds of
common
carpet which are
manufacture, interesting as
in our market, nor even to review the history of their
would be to do
it
so; for
we must
more
confine ourselves
particularly to an examination of the art-qualities which they present, and to the
form of pattern which may be applied to them with advantage. Although we cannot here enter into a consideration of the manufacture of
particular
carpets, I cannot too strongly to consider
recommend
all
who intend preparing designs
for
minutely the powers of the carpet loom ; for the nature of the
them effect
produced will depend to a large extent upon the knowledge which the designer possesses of the capabilities of the manufacture for
the case of any manufacture
it is
highly desirable,
which he designs patterns.
if
not
the designer of the patterns to be wrought should be acquainted with the process
which his design
is
has been prepared
amount
to be converted into the particular material for
;
for this knowledge, even
of freedom and
The
carpets
power which nothing
most extensively
in use are
kinds both of better and inferior qualities.
when not else
small, as
it
;
absolutely essential, gives an
can supply. ;
is
a
common
fabric suited to the
but the art-capabilities of this material are very
can only have two colours in any line running throughout
its
This carpet consists of two thicknesses, which are imperfectly united, and
" Brussels carpeting," now made chiefly in Great Britain,
durable.
for general purposes.
Its surface consists of loops,
of extra quality, six colours in colours in the
worsted
woven
;
same
any
by
which the pattern
" Brussels " but there are many other " Kidderminster carpet" (a carpet not
now made by even one Kidderminster manufacturer) bedrooms of middle-class houses
In
absolutely essential, that
line
and
it
may have
running throughout
its
is
length. is
five, or, if
length.
not
a good carpet
made
If with five
line the carpet will, in a sense, consist of five thicknesses of
In some cases a " Brussels carpet " is thus we have a " velvet texture, with the loops cut through
yet these are united into one fabric.
of very close
;
â&#x20AC;&#x201D;
"Wilton carpet" a fabric which is very rich-looking, and durable. Those called real " Axminster" carpets are, perhaps, the best made. They are formed by the knotting together of threads by hand, consequently any number of pile" or
colours
may
be used in their formation
;
but such are necessarily most costly.
A
"
95
VARIETIES OF CARPETS.
"patent Axminster" carpet
rough "cloth"
is
is
made by a double
formed, which
these are again
woven
carpets produced
by
it
process of hand- weaving, by which
and any number of colours used.
fine results are achieved,
This process
into the carpet.
are very good
;
first
weaving a
â&#x20AC;&#x201D;
most ingenious, and the
is
but they are costly.
Some few years since a most ingenious process as " tapestry " carpets was patented
In the
cut into strips called " chenille threads/' and
is
of manufacturing
a process resembling in
its
what are known
nature that of the
" patent Axminster manufacture, but differing in this particular, that the " warp threads are coloured by printing, and thus the with.
These carpets
are, like Brussels,
They cannot be
pile.
said to
made
process of weaving
first
is
dispensed
with a looped surface, and also with a
compare in any way with the patent Axminster carpets,
which are of a pretentious and costly character, nor even with a good " Brussels but they are low in price, and meet a want, as is proved by their enormous sale.
;
Besides these varieties of carpet there are a number of kinds of foreign produc-
most of which are hand-made, and are very beautiful. By far the greater number of these have a " pile," although this is sometimes rough and uneven, yet
tion,
rarely, if ever, inartistic;
but a few are without pile;
indescribable something which renders
Having hastily noticed the chief kinds might say in almost all countries, we come or
what character
When
of ornament, should
still
them estimable
these are not without that
in the eye of an artist.
of carpet in use in this country, to the question
â&#x20AC;&#x201D;what
and we
form of pattern,
form the "enrichment" of such a fabric?
speaking in a previous chapter
page 92) of wall decorations, we
(see
noticed that a wall-paper pattern, or, indeed, a wall pattern of any kind, might
upward direction and a
desirably have an
bilateral
surface, or have a simple radiating
symmetry, as Fig. 56
have a radiating pattern on a wall, but
pattern on a
;
It is not
whether the pattern be simple or complicated. before, to
symmetry.
This can never be the
must be equally extended
case, however, with a carpet pattern, which
it
is
and
all
over the
this rale will apply
wrong, as we have said
wrong
to have a bilateral
floor.
The reason of this is obvious. If such an object as we have indicated is placed on a wall, from whatever point the occupants of the room may view it, it is yet right way upwards to them; but if such an object were placed on a floor it would be wrong way upwards, or sideways, or oblique to most of those who viewed it; and to employ a pattern of this character in such a position readily be
we asked work
formed which to
is
highly absurd, when a pattern can as
will avoid this unpleasantness.
view a picture, or even
to visit
while the pattern
And
;
think were
an apartment containing such, were
of art presented to our view in an inverted
at the absurdity
What would we
manner ?
We should
this
feel astonished
yet this would be no worse than expecting us to view a carpet is
to us in
an inverted position.
the principle which
we have
just set forth
is
one taught by a consideration
PRINCIPLES OF DESIGN.
96 If
of plants.
that
all
ments "
the
we wander over
we
tread on Nature's carpet,
we
find
plants which nestle in the short mossy grass are " radiating orna-
little
â&#x20AC;&#x201D;that
the moor, where
is,
they are pretty objects which consist of
pai-ts
spreading regularly
from a centre. I cannot too strongly advise the
which Nature works. plant-growth
Knowledge
very desirable ; hut
is
beautiful of plant-forms
â&#x20AC;&#x201D;
this
young ornamentist
of the laws it
to study the principles
not our place to imitate even the most
is
being the work of the pictorial
artists.
to study Nature's laws, and to observe all her beauty, even to her
and then we purposes.
may
But
safely pillage
in order that
principles will
all
that
(See page
which we may apply
in art,
and
manner
Thus Fig. 04
is
(Viburnum opulns) when seen from the
when viewed
as a wall decoration; and Fig. 70
same manner
infuse
mind
effects,
to our
own
or soul into
in
which Nature teaches us
of aiding the student in his inquiries,
{guelder rose
or, to use the
ours
2.)
the view of more fully impressing the
give one or two illustrations.
it is
most subtle
we can consistently adapt
we produce ornament, we must
whatever we borrow from her.
With
from her
Yet
Fig. 73.
Fig. 71.
Fig. 70.
on
which govern the development of
of expression,
is
we
a drawing of a spray of the side, or, as I
might express
it,
the same spray as seen from above,
when
seen as a lloor pattern.
Further,
97
TREATMENT OF NATURAL FORMS IN CARPET PATTERNS. Fig. 71 represents a
of speedwell {Veronica) as a wall orna-
ment, and Fig. 72,
as a floor
yotmg plant of a species tbe same plant when seen
ornament
;
and Pigs. 65 and
two 73 represent a portion of the goosegrass (Galium Aparine) as seen in the same views.
Fig. 74.
From
Fig. 76.
Fig. 75.
these illustrations
we
see that
plants furnish
us with types of
two
essentially different ornaments, which are adapted to the decoration of the two
positions of wall
and
floor,
and may he introduced with truthful expression and
effect
into wall-paper or carpet.
Even when the
leaves appear
somewhat dispersed upon the stem,
Fij;.
Fig. 78.
Fig. 77.
order can yet he distinctly traced in
diagrammatieally expressed in Figs.
the
7-4,
manner
75, 76
;
of
their
a principle of
79.
arrangement, as
is
and here, also, the top view gives
us a regular radiating ornament.*
The same law
prevails in the flower that
arrangement of leaves upon the stem
:
we have
traced as existing in the
thus Fig. 77, which represents the London
pride {Saxifraga umlrosa), affords an example of a regular radiating flower, which
*
spiral
Tbe spray here represented manner
in
is
that of the oak, and the diagram (Fig 74) shows the orderly
which the leaves spring from the stem.
98
we
PRINCIPLES OF DESIGN.
ornament; and
find so placed, in different examples, as to appear as a floor or wall
Figs. 78 and 79, the former being the flower of the speedwell {Veronica), and the latter that of the
common pansy
(Viola tricolor), furnish us with illustrations of
bilateral flowers intended only as wall
pansy only tally
from the
with a bent stalk
laterally, it is furnished
upon the summit of
hence
never rests horizon-
it
it is
perfectly seen only
side.
bilateral flowers are placed horizontally
but
;
very interesting to notice that when this occurs the disposition or arrangement
of the flowers
is
such as to restore the radiating symmetry.
candytuft (Iberis) or the is
;
stem, but always hangs so that
its
There are cases, however, in which it is
In order to secure our seeing the
ornaments.
common hemlock
bilateral in character, the flowers are yet
(Conium),
we
Thus,
if
we take
the
find that while each flower
arranged around a centre in such a manner
that the smaller portion of each flower points to the centre of the flower-head, while the larger parts point outwards from the centre of the group.
we
teachings of plants, to which
The above
These, then, are the
are called irpon to hearken.
illustrations are not only useful
examples of the suggestions of
plant-forms to the ornamentist, but form excellent material to the art-student for
They
the conventional treatment of leaves and sprays, buds and blossoms.
will also
serve to indicate the kind of plant-forms that should be chosen for decorative purposes.
Students of this branch of art would find flowers
it
a useful practice to
and plants or parts of plants that appear
of which
we have been
by endeavouring
make a
collection of
to offer features similar to those
writing, and test their capabilities for decorative purposes,
them
to arrange
we
for the ornamentation of wall and floor, as
have treated the plant-forms indicated in this chapter.
We
have now seen the principle on which
all
carpet patterns
should be
constructed as distinctive from wall patterns, and in order to impress the necessity of giving a radiating basis to the ornaments placed structure,
that
all
we have referred when viewed
plants,
to the principle as floor
radiating character; whereas
if
are either radiating or bilateral.
some covering
;
bilateral
we
noticed
they are seen as wall or vertical ornaments, they This
is
a necessity of a carpet pattern, that
for his floor
richer in colour than stone or brick.
warmth
and not a
plant growth, where
it
And
it
have
point in more than two directions.
naturally accustomed to tread on grass,
civilisation, seeks
carpets,
ornaments (when viewed from above), are of a
a radiating structure, or, in other words, that
Man
of
upon
which
when brought shall
into a state of
be softer to the tread and
in our northern climate
hence he chooses not a mere matting, or
lattice of reeds,
he seeks
also
but a covering
such as shall satisfy his requirements.
In early times our lingering floor,
in
floors
some country
appear to have been strewn with sand
districts; then
eame the habit
â&#x20AC;&#x201D;a custom
still
of strewing reeds over the
and on the part of the opulent, sweet-scented reeds {Acorns calamus).
And
it
QUALITIES OF A CJOOD CARPET PATTERN. is
99
curious to notice, in connection with this subject, that one of the charges brought
by Henry VIII. against Cardinal Wolsey was that of extravagance in the use of sweet reeds. This use of reeds was succeeded by the employment of mats of simple appearance, formed of a kind of grass, and these by the introduction of wool mats, at
tvhich,
country.
were chiefly imported, but afterwards manufactured in our own The wool mats were in their turn replaced by carpets, which gradually first,
increased in size
their proportions
till
became such
as to cover the entire floor
on which they were placed. This brief history brings us to notice what
is
required of a carpet
be soft in texture, rich in appearance, and of "bloomy"
We may suitable
any
â&#x20AC;&#x201D;
add to these requirements by saying that a carpet should
background
that in character in
:
with the objects with which
should accord
shoulj
also
works of furniture or other objects placed upon
to all
it
it
effect.
it
be a
it,
and
associated
is
particular apartment.
Considering more fully these requirements, we notice that a carpet should be This
soft. is
as
is
very desirable, for softness gives a sense of comfort, and with softness
generally combined durability of the fabric
an art-quality.
when the
may
Yet
as the art
but softness can scarcely be regarded
;
which an object bears
fitness of the object to the
purpose for which
is
it is
more leniently viewed
intended
is
apparent,
we
safely regard softness as a very desirable quality of a carpet.
The Eastern carpets are pre-eminent in this made carpets "Brussels" and tapestry are the
quality of softness, and of English-
character,
If the carpet
employed in any apartment as a
desirable to place soft felt under
it is
it (felt
at carpet warehouses), or evenly spread soft hay, for fabric will be greatly increased,
as
kind of Brussels carpeting with
a soft back has recently been brought out, but at pi-esent the trade.
way;
least satisfactory in this
A
usually made, they have a hard "backing."
it
floor
is
not general in
covering
harsh in
is
for this purpose can be got
by
so doing the
and the pleasure of walking on
it
wear of the will also
be
correspondingly greater.
is
The next quality of a carpet is richness. No carpet is " washy" or faded in appearance. There must be "depth" of Hangings may be
of art-quality. carpet must be
But
rich and "
this richness
must be
which a carpet can present I
young
hope that student.
my
full
''
is
delicate,
a "fulness"
wall-decorations soft in tint, but a
in effect, yet a general softness of tone
of singular character, for the
is
desirable.
most desirable
effect
that of a glowing neutral bloom.
language does not appear mystical to the general reader or
To the ornamentist
I think
it
will be intelligible.
What
to say is that the effect should be glowing, or radiant, or bright, as dull, quiet, or
which
satisfactory effect,
heavy; that
it
dominance of bright and warm
I wish
opposed to
should be such as results from the use of a precolours, rather
than of cold and neutral hues
;
that
it
PRINCIPLES OF DESIGN.
100 should be neutral, inasmuch as
but should have an
it
should not present large masses of positive colour,
equality of rich
be " bloomy," or have the
harmonious colours throughout
effect of
a garden full of
;
that
flowei-s, or better, of
of a Swiss alp, where the flowers combine to form one vast harmonious
it
should
the slope
"glow"
of
-a?
TC
Fig. 80.
colour.
This
is
the effect which a carpet should present, yet
flowers, imitatively rendered, as its
ornamentation.
not to be produced by the ornamentist for they arc
pictures.
;
picture,
also,
will
should never present
they must come from the pictorial
They cannot form
living objects, for they are positive, and
copies of the
it
Such imitative renderings are artist,
suitable backgrounds to furniture
not neutral, in their general effect.
and
A
not bear repetition: whoever heard of one person having two
same picture
in
one room
?
Yet a pictorial group of flowers
may
" COT.OI-R-BLOOM be seen repeated
many
times over a
floor,
101
IN CARPETS.
which
is
very objectionable.
The
effect to
;
be produced achieve this
will that of a rich " colour-bloom " but the skilled oroamentisi and delicately gently and will without violating any laws of fitness, is
hint at the beauty of a profusion of blossom through his tenderly
formed pattern. Yet a carpet must be neutral in its general effect, as
background
objects
Neutrality of effect
rest.
of
is
masses of
Large
two kinds.
the
it is
which
on
tertiary
or neutral colours will
achieve
its
the
of
juxtaposition
the
will
so also
production,
primary colours in small quantities, either
alone or with the
secondary colours, and black or white;
but there will be this
difference
â&#x20AC;&#x201D;that
between the two
produced by
colours will
effects
low-toned
be simply neutral,
while that produced by the pri-
mary
"bloomy"
colours will be
and
as well as neutral,
if
yellows
and reds slightly predominate in the intermingling of colours, the effect will
The
be glowing or radiant. radiant,
glowing,
or
bloomy neutrality of that which
is
it
effect
most
is
desirable
that a carpet should present.
This effect
is
rarely
duced in English carpets,
want of
either to the
skill
the part of the ornamentist, is
pro-
owing on
who
unable to produce such works
Fig. Si.
;
the want of judgment on the part of the manufacturer, whereby he fails to produce
such patterns
;
or the
want
of taste on the part of the consumer,
buys works of a more vulgar character. sought to
realise as
much
I
owing
to
which he
have designed carpets in which
of this effect as I could with six colours
I
have
â&#x20AC;&#x201D;the number to
102
P1UXCIPI.ES ok design.
which I have been limited by the conditions of manufacture, and fortunately these appear to be commanding a large sale, and to be setting a fashion in carpets but ;
those
who wish
to study these
bloomy effects
in their
more perfect forms, must do so
in
the carpets of India, Persia, Smyrna, and Morocco, but especially in the Indian rugs.
Some
of the carpets
from India are perfect marvels of colour-harmony, and
They appear
radiant bloom.
of
glow
to
as a bed of flowers in the sunshine,
and yet they are neutral general
effect,
in their
and when placed
in
an apartment do not usurp a primary
any
place, as does
pictorially treated
pattern.
This " bloom " was seen to perfection in one or
two
silk
rugs which
were shown at the International Exhibition of 1862 in London,
and
was not much
less
of the carpets
from India shown
it
apparent in some in
Most
the Paris Exhibition of ISO 7.
Indian carpets have this colour-bloom
some
to
extent,
and few are unworthy
of careful study.
Persian carpets also models of
be
;
they are
(Fig.
(SO)
are
what carpets should
less
many
radiant than
of the Indian works, but are almost
more mingled pattern
Fig. 8
many
in
of
colour-effect.
the
Indian
In
and
Persian carpets are identical, being
and both arc worthy of much consideration.
traditional, yet in colour they differ,
The Morocco Persia,
and even to
In these there mingled with
is
carpets
a greater degree
differ
again from both those of India and
than the Persian carpet
often a prevalence of soft yellows
reds, blues,
harmonious and
(Fig. 81)
and grey-whites,
in
To the young
artistic effect.
to cultivate his taste in respect to such matters,
differs
from the Indian.
and juicy yellow-greens,
inter-
such a manner as to produce a most student, and to 1
say,
any who may
desire
Study the carpets of the East
most carefully, especially those of India, Persia, and Morocco. Indian carpels, such as the building of the
\vc
new India
have
jus!
may be seen al the museum in which museum is open free to the
referred to,
Office at "Whitehall,
public (for examples, see Figs. 82, 83, 81).
AND
"ALL-OVER
to the nature of the pattern which
As "
fiEOM ETHICAL PATTEHNS.
may he
J
we have
applied to a carpet,
all-over " patterns, or patterns spreading- regularly
all
over the surface
;
" geo-
metrical " patterns, or those which have an apparent regularity of structure
panel patterns, or those in
which particular parts
are, as it were,
framed
03
off
anil
;
from
other parts.
both Indian and Persian carpets, and for a
woven
What
floor covering.
will give richness
may have
These are what we almost always
"all-over" patterns.
Firstj as to
is
are,
find in
undouhtedly, the true form of decoration
desirable
is
an evenly spread pattern, such as
without destroying" the unity of the entire
effect.
The
pattern
parts slightly accentuated
or emphasised
beyond other
but not strongly
so,
parts,
and this em-
phasising of parts must be arranged
with the view of securing to the
Thus,
pattern special interest.
carpet
a
if
viewed at a distance
is
should not appear as devoid of
it
all
pattern, but through the slight pre-
dominance of certain leading features Indian
(in
generally
carpets,
of
ornamental flowers) the plan of the
More
design should be indicated. detail should
work
is
seen from a nearer point of
view, and spection parts
be apparent when the
;
still
more upon
close in-
fSiSiililKffif*
1
but in no case should any
appear
Fig. 83.
strongly pronounced,
or otherwise than refined and beautiful, and in of interest manifested
by the
pattern.
Carpet patterns are generally better
way most
of the Indian
no case should there be a want
if
founded on a geometrical plan.
and Persian patterns are constructed.
A
In this
geometrical plan
secures to the design a manifestation of order and thought in its formation. patterns, unless very carefully find a sort of panel in
managed, become
which the colour of the ground
Panel
In some Indian carpets
coarse. is
we
changed from that of the
general ground of the carpet, but here the panel has usually a truly ornamental
form, and
is,
distinct space. it is
so
indeed, rather a large ornament than a sort of frame enclosing a
Whenever a panel
managed, and
its
surroundings are such, as to cause
natural to the general design
we
occurs in an Indian, Persian, or Moorish carpet,
;
but
it is far
it
to appear as a part
otherwise with the panel patterns which
occasionally see in our shop-windows as the produce of native industry, and
it is
.
PRINCIPLES
104 far
otherwise with
those which ai e -
Judging from the carpets which they in matters of decorative art so
great
floral
01'
used in vast quantities by the Americans. order, I
depraved as
patterns have ceased to be
DESIGN.
imagine that nowhere on earth it
is
America.
in
is
taste
It is true that the
demanded by them, but they
are only replaced
Fig. 84.
by
coarse, raw-looking panel patterns, coloured
the most vulgar manner, and
in
without even a hint at refinement or harmony of colour.
and inharmoniously coloured, and the chances of
its
Let the pattern be " loud
sale in the
"
American market!
are great
But we must not forget that even as well as good, inartistic patterns
character,
and that even here in
as
in our
own country bad
well as those
Great Britain more
patterns sell equally
which are of a more
of the indifferent,
if
refined
not of
tin*
WANT OF NOVELTY very bad,
sells
we
eye, before
try to extract
it
white,
is
They have
white.
and
This
some
may
vary much, as we
any other
almost impossible that
it is
grounds.
from that of another.
of a carpet
blue, red, green, or white, or
often told that
Let us east the beam, then, Prom our own
than of the good.
The ground colour
it
a mistake.
When
look well.
of the Indian carpets
Some
it is
make a
not an easy matter to
The
I
it
is
show that the most
will
it is
a thing difficult to If on
black or indigo blue.
drawn
in small masses of
be achieved, and a glance at our satisfactory carpets are coloured in
way.
As
to the size of the pattern
we can say but
is
obvious that a
much
carpet pattern
A
the design.
is
pattern
about
a quarter of
is
smaller and finer pattern can be produced
(twenty-seven inches
best small, or at least small in detail
may
Brussels), or but one figure
if
of smallness which
is
if
not in the extent of
repeat three or four times in the width of the fabric
latter case the detail of the pattern
may
may
be shown, yet in
be as great as in the former.
compatible with tolerable distinctness of detail
For this reason Turkey carpets are not altogether satisfactory; no
this
That degree is
desirable.
fine pattern
be worked in them, and besides this they have no colour-bloom and
harmony.
is
than in Turkey carpet.
in Brussels
A
It
by
as this will be determined
In some Turkey carpets each stitch
the one-tenth of an inch square.
an inch square.
little,
In a Brussels carpet each stitch
the coarseness or fineness of the fabric.
little
can
colour-
In some respects they are good, but altogether they are not satisfying.
Before I close these remarks upon carpets,
let
me
say that, as designers,
we are one and all timid of new things. produce new things, to manufacture them, to
manufacturers, and consumers,
daring
â&#x20AC;&#x201D;the
What
if
energy to the pattern is " extreme,"
should think us eccentric If
pure
Yet even with a light-toned
can be done, but
may
bright colour, a beautiful bloomy effect
this
am
this assertion I
carpet which shall appear as a suitable
and best ground for a carpet
safest
shop-windows
make
pure
is
light grounds, but not
this a closely fitting, well-studied pattern be arranged,
best
be black,
light cream-grey, or green-white grounds, but not pure white,
background to the furniture of a room; achieve.
may
it
which I so much admire have white
them have
of
know;
all
ground of a carpet
If the
colour.
this variety of tone altogether alters the case.
ground
105
IN PATTERNS.
?
if it is
better than others
?
what
if
We
want
use them.
Mrs. Grundy
â&#x20AC;&#x201D;
better be eccentric than ever harping on one monotony.
we could but bear calmly the
derisive smiles of the ignorant, art-progress
would
be easy.
With us
carpets cover the entire floor.
the boards, and but seldom taken up.
In London these carpets are nailed to
In some parts of England we find rings sewn
around the under edge of the carpet, which rings are looped to the heads of
nails.
Carpets so furnished can be more readily removed for cleaning than those which are
100
PRINCIPLES OF DESIGN.
Square carpets, such as the Turkey, Indian, and Persian, are
nailed to the floor.
spread loosely on the boards, and can he taken up and shaken without difficulty.
This
unquestionably the most healthy plan of using a carpet, and
is
If the outer portion of the
artistic plan.
room
simple and suitable pattern, and a loose square carpet
have an
is
spread in the centre,
and the desirable knowledge that cleanliness
artistic effect,
it is also
an
formed of inlaid wood of
floor is
is
we
also attainable
with a reasonable expenditure of labour. Before
we
we
leave the consideration of carpets
the conditions which govern the application of
can more easily be
made
short
to
concise
will state in axiomatic
ornament
sentences
to
form
them, as reference
than to more extended
remarks. 1st.
Carpet patterns
gives to the 2nd.
mind an
When
may with advantage have
a geometrical formation, for this
idea of order or arrangement.
the pattern has not a geometrical basis, a general evenness of
surface should be preserved. 3rd. Carpets are better not
of
wood
formed into " panels," as though they were works
or stone; on the contrary, they should have a general "all-over" effect
without any great accentuation of particular parts.
The Indian and Persian
carpets
meet this requirement. 4th.
While a carpet should present
a general appearance of evenness, parts
may
yet be slightly "pronounced" or emphasised, so as to give to the mind the idea of centres from which the pattern radiates. 5th.
A
carpet should, in
flowers; thus,
"bloom"
when
of colour;
features of
some
respects, resemble a
bank richly covered with
seen from a distance the effect should be that of a general
when viewed from
somewhat
special
make their appearance. 6th. As a floor is a flat make it appear otherwise.
interest;
a nearer point
it
should present certain
and when looked at closely new beauties
should
7th.
A
carpet,
somewhat neutral 8th. to it as a
lo
surface,
no ornamental covering placed on
is
should
having to serve as a background to furniture, should be of a
character.
Every carpet, however small, should have a border, which frame
it
is
as necessary
to a picture.
Having thus summarised the principles that govern the application of ornament carpets, we may proceed to notice the conditions governing the decoration of
other
woven
fabrics.
CHAPTER
VI.
CURTAIN MATERIALS, HANGINGS, AND WOVEN FABRICS GENERALLY. In the consideration of hangings of various kinds, we have of the cloth on
which the pattern
is
The openness
than those which are thicker or closer. will thus determine, to
notice the nature
first to
â&#x20AC;&#x201D;whether
Fabrics of an open character should bear upon
texture.
upon
worked
to be
of open or close
it is
them a
larger pattern
or closeness of the fabric
an extent, the nature of the ornament which
to be placed
is
Muslins, being open in character, should have larger patterns than calicoes,
it.
which are closer in texture, or the pattern will be indistinct in the one case or coarse in
the other.
But not only does texture
influence the pattern
when
considered as to coarseness
or fineness, but also the nature of the cloth as regards material.
greater fulness of colour than muslins or calico-prints, lustre of the material,
by
Silk, as a material, also
should be in cheaper and
the contrast of
where
it is
silk will bear
commoner
fabrics.
as in the case of those
"tabby" and
woven
may
satin, it
which a
less reflective material
conveys to the mind an idea of costliness or
worth, and wherever the material does so the pattern
same colour only,
Thus
to the fact that the
reflecting light to the eye of the observer, destroys a
certain portion of the intensity of the effect of colour
would exhibit.
owing
may
be richer in colour than
If a pattern silks
is
in
two
where the pattern
tints of the is
This latter remark will apply also to damask table-linen, and to
we
The
formed by
be considerably larger than in those cases
rendered conspicuous by colours.
materials, as well as to dress fabrics,
these
it
shall say a
word
and draperies such
as
all
similar
window hangings ; but
of
shortly.
closeness or openness of a fabric should, then, be considered
when we design
patterns for its enrichment, and so should the nature of the material, as this will influence
its
dcadness or lustre.
not be lost sight conditions
of.
But there
If the pattern
must be complied with
;
if
is
are also other considerations
to be
which must
wrought by printing, theu one
by weaving, then another
class of
class of requirements
call for consideration.
The requirements
of manufacture are
much more numerous
supposed, and are in some cases very restrictive. in
The
than might be
size of the repeat, the
manner
which colour can be applied, the character of surface attainable, and many other
considerations have to be carefully complied with before a pattern cau appear as a
manufactured
article.
â&#x20AC;&#x201D;
PRINCIPLES OP DESIGN.
108
The
chief fault of patterns, as applied to fabrics generally,
simplicity of
-effect
;
â&#x20AC;&#x201D;want
and together with
we
this
want
their
is
want of simple treatment, want
of simple structure,
of
of simplicity
and coarsenesss
generally find largeness
of parts.
These errors the material. that
we
we should
want
arise chiefly out of a
What
of consideration of the capabilities of
can be done with this or that particular fabric,
carefully ask ourselves before
we think
colour at our disposal, or texture merely? and
or only sparingly? and can certain tints
?
if
a question
is
Have
of preparing a design.
colour, can
any desired colours be placed
be employed freely
it
in juxtaposition or only
These are questions of great importance, and they should be asked and
carefully considered before the first step
is
taken towards the formation of a pattern.
Having ascertained what can be done with the material at command, let us ever remember that we should always endeavour to so employ the capabilities of a material as to conceal its weakness and emphasise its more desirable effects. If this consideration were always given
by designers
to the
power which the material has
we should see, in very many instances, effects strangely different from those which we often encounter and this remark applies to no class of fabrics more fully than to damask table-linen and coloured damask window hangings. of yielding effects,
;
No fabric
satisfactory effect can be got in light and shade besides, to
;
attempt such a mode of treatment
belong only to pictorial
art.
upon any woven
The ornamentist when enriching a
with a surface, and has no thought of placing pictures thereon
or printed
Light and shade
absurd.
is
fabric deals only
he has simply to
;
enrich or beautify that which without his art would be plain and unornamental.
"Who ever heard
picture will never bear repetition.
one picture in a room perhap
;
?
Yet how much more absurd
a pictorially rendered flower
this,
a surface must always be
in a
manner calculated
which is
is
â&#x20AC;&#x201D;a
to repeat
a
little
to deceive
by giving apparent
and the pattern which
only (why a margin of "ingrain" colour nine cases out of ten the pattern
which
a pictorial treatment,
relief, or
Take a common damask
is
it
picture
Besides
!
and not
thickness, to that
if
of a deep cream-
not added, I could never
presented by such a fabric
and
This
table-cover.
bears results from a change of surface
it
is
would be better
A
copies of
treated, for decorative purposes, as a surface,
by custom almost always white, although
shaded attempt at
is it
hundred times over one surface
essentially without thickness.
colour, or soft buff;
man having two
of a
is
also a
thorough
Simplicity of pattern naturally accords with a simple
see)
is
;
yet in
a miserable
failure.
mode
of production, and
That there is the means of producing pattern in damasks is certainly most simple. a natural harmony between simplicity of pattern and simple means of producing an art-effect is obvious, for of all patterns that I have ever seen upon damask tablelinen (lie simple spot, or dot, is the
most
satisfactory.
If,
combined with
we have a border formed of a simple Greek " key-pattern," or of mere
this spot,
lines
(a
very
DAMASK TAUU5-I.INEN. usual border to is
good
10!)
cloths), the effect is perfectly satisfying, and, as far as it goes,
highly to be commended. It
curious that this spot
is
they
least so
tell
me
only sold in the better quality of table-linen
is
and
in the City),
shows that the wealthy,
this
or, in
(at
other
words, the educated, buy such patterns, as they prefer the true to the meretricious,
while the
tlie false
common
and showy devices which we see on the common
people of vulgar taste.
am
I
cloths please; only
many
not sure, however, that
persons,
whose means are limited, would not buy spots and other simple, but correctly treated, patterns, if such
were to be got in
must govern the purchase,
the pocket
that I thereby give to that little
done
is
it
spot, it
a high place as an art-work.
Little
But
one tint throughout,
if I
may
thus express myself
the reverse of that of the ground.
and
or globe,
is
It
â&#x20AC;&#x201D;
not shaded so that
is
must inevitably
treated as a surface ornament.
First, the spots are of
a tint, shall
not graduated in "colour" in any
shaded, feebleness of effect
preferred
is
here attempted, and
is
analyse this pattern.
let us
when
must not be thought
little
well.
but
;
with the means at command.
from this
I cannot withhold praise
damask
qualities of
hard to say that the false
it is
to the true, if the true is not procurable
While
common
may
it
way
we
(were
which
say,
appear as a it
is
ball
graduated or
accrue), but is a simple, honest spot,
Secondly, this spot
is
geometrically arranged,
fir,
in
other words, has an orderly arrangement. If an attempt
is
made
at rendering a pictorial, or light-and-shade effect, in
damask, an absurd failure can alone the material
;
result, for
depth of shade
and, besides this, what appears as shade,
one point of view, appears as light
if
it
would
still
is
seen from
But were the
effects
Nothing
with such means
fabric capable of rendering such effects,
be wrong to employ them, as we deal only with the surface, and are
seeking to enhance the value pictures.
cloth
seen from another point of view.
could be more absurd, then, than seeking to produce shaded as are here at our disposal.
not obtainable in
is
when the
or beautify, a fabric, and not to cover
of,
In our simple spot we have those elements which
damask
the richest and most artistic
geometrical plan of the pattern
patterns.
â&#x20AC;&#x201D;and
We
may
have order
it
with
be extended into
â&#x20AC;&#x201D;as indicated by the
an honest and simple expression, or appli-
cation, of the capabilities of the material.
All table-covers should certainly have a border.
used as a whole looks unsatisfactory If a cloth
is
without border
it is
if it
we
is
seen
flat,
the border portion
of the great peculiarities of
is
is
to
most
is
is
be
were part of a whole. it is
a part
decidedly unsatisfactory.
notice one peculiarity of a table-cover before
dismiss the consideration of such fabrics, which portion
object which
it
impossible to avoid the impression that
of a larger cloth, and in every respect the general effect It is perhaps well that
Any
appears as though
this,
we
that while the central
viewed in folds; and here we come to one
draperies, that of their being viewed not as
flat
I'UIXCIPLES OF DESIGN".
110 surfaces, hut in
but this
is
waves or
folds.
One
portion of a table-cloth
almost an exception in the ease of draperies.
is,
Another exception
Fig. P0.
Fig. 89.
hangings appearing
in folds,
damasks which are used
mansions
The
;
hut of table-cloths
central part of
a
to this
Fig. 88.
Fig. 86
silk
flat,
Fig 87.
Fig. 85.
rule of
however, seen
as
we
a
and thai of rich
will
a
very complete character, occurs in
lining to the walls of palaces and some
speak for the present.
table-cloth, that
portion which
is
always to he viewed as
TAIil.K-CUn'll
a flat surface,
maybe
enriched with any diaper pattern that
may
this diaper pattern
I'ATTKKXS.
he
full of
is
simply treated, and
design, provided the parts are not too large
too
<>r
Jt may also he formed of gracefully curved parts, or of straight lines or or of any combination of these elements; lad, preferably, not wholly of
small. circles,
straight lines.
Were
not for the fact that
it
much
of this central portion of the cloth
covered by articles of the dinner-table,
ornament, quarters
ment,
repeating
it
might well he furnished with
to be
a central
in
hut as such an orna-
;
order that
in
only
is
he
it
satis-
fying, requires to be seen as a
whole,
not
is
it
A diaper
many
pattern that repeats in the centre
that
desirable
such he here employed.
times
preferable, as the
is
then he seen in a
pattern can
satisfactory manner.
The border like
seen
of a table-cloth, are
fabrics that
all
be
special
requires
folds,
in
to
treatment, for what looks well
when not
seen as a
look well
waved
curves
viewed upon appear
Tender
the
are
contrary,
and
when
lost
folds, for
mere
as
may
surface
when seen on a
surface.
graceful
On
flat
they here
wormy
lines.
right
lines,
Fig. 91.
whether horizontal or diagonal, and grounds.
These
character.
lines
The manner
in
(Fig.
8(i).
look well
when seen upon wavec
which
surface can be readily illustrated into cones, after having
circles, all
become, owing to the folds of the fabric, curves of a subtle lines become influenced by falling on a curved by forming semicircles of paper, and folding them
drawn upon them
If these cones (Figs.
a series of circles (Fig. 85) or straight lines
87 and 88) are now viewed from above, or
a manner that the eye rests over the apices,
it
will be seen that the circles
such
in
have now
become richly varied curves, each having somewhat the form of a blunt heart or cardioid (Fig. 89), and that the straight lines become horse-shoe-shaped (Fig. 90). These illustrations surface
may
will
be delicate
be sufficient to show that what
and satisfying
lead us to understand that
if
what may be
is
plain
when
seen upon a
fiat
seen upon a curved surface; and will also delicate
and refined when' seen upon
a
flat
â&#x20AC;&#x201D;
112
PRINCIPLES OF DESIGN.
may become
surface
and unsatisfactory
feeble
have said that stripes or straight This
is
falling
if
lines, if crossing
upon
waved ground.
a
I
a folded fabric, are satisfactory.
so in almost all cases, the only exception being in ladies' dresses..
Here
lines
crossing the fabric are not satisfactory, as they become rings around the body, which
appear to divide
it
into
The
hoop-like strata.
patterns of dresses may consist of narrow, verstripes, as these
tical
are collected together at
the waist
and
figure,
into
fall
with
curves
graceful
any
th
of
motion
the
of
body, but the very opposite is the case with
window-hangings. All are
stripes
vertical
here highly offensive, while horizontal stripes
thoroughly
are
satis-
factory.
A consideration of window-hanging
the
made
materials
in
Spain, Algeria, and on
the Morocco coast, will
show us the beauty of horizontal stripes; and in
some
Algerian
Fig. 92.
such
Regent
Street,
fabrics of a
To
London, and
the
Rue de
Rivoli in Paris,
we
the
little
warehouses,
we have in some of these
as
see
most interesting character. form the laws which should govern the application of
state in a concise
ornament to certain 1st.
in
of
fabrics
Great simplicity
which arc to be seen
<>f
pattern
is
in folds, I
should say
necessary.
2nd. Circles, straight lines crossing the fabric, and diagonal lines are in such a case,
and are improved by the
beautiful curves (Fig. 91).
folds,
all
correct
which form them into subtle and
OK \\\ MENTATION OK FABRICS SEEN IN 3rd. If curves are tender and graceful, they
L13
lor. lis.
become commonplace od
a w.
or folded ground. Itli.
The
size of the pattern should
be considered
in relation to the size of
the
folds of the material.
Fig. 93.
In Germany a kind of ornament peculiar to the country. in
every
way adapted
is
applied to rich
This ornament
is rich,
stiff fabrics
for the decoration of a costly fabric
the folds changing- the hard and
stiff lines
which
is
almost
bold, hard or stiff in its lines,
which
into graceful curves.
and
falls in large folds,
This should also he
noted respecting these curious yet beautiful patterns, that they are always simple in
PRINCIPLES OF DESIGN.
114-
however rich in detail, and are invariably founded on a geometrical basis. " German Gothic " is a name by which such ornament may he distinguished (flat
plan,
Gothic ornament has always been quite distinct from the stone and metal ornaments of Gothic building's,
which have
solid
and not merely
92
superficial form), see Figs.
and 93.
This
parti-
ornament
cular class of
forms the background to
many
old
pictures,
a most interesting collection of in
which exists
museum
the
Cologne, and
worthy
tainly
of cer-
is
the
of
most careful study.
As
to
flat
wall -damasks,
used
are
in
silk-
which
some
of
the upper-class houses as wall-papers are used
houses,
be
middle-class
the
in
said
should wall
all
that
need
is
that
they
be
treated
not as
fabrics
as
and
decorations,
which
are to he seen folded.
"Were 1
I
approve
damasks ings, Fig. 94.
wall for
is
asked whether
1
of
these
as wall cover-
should
"Certainly not."
say,
A
as to leave space better treated as a wall, and not so covered with drapery further objection the also is There the wall and its enrichment.
vermin between
that the lines where the fabric
is
joined are visible, and these arc most certainly
objectionable.
Besides
the illustrations of
German ornament
just
given,
we
figure also a
I cannot too strongly recomspecimen of Indian embroidery on cotton (Fig. ill). study the native fabrics of India, goods to woven mend the designer of patterns for
exhibited at the Indian
Museum,
Besides the collection
Whitehall.
here brought together, there
is
also
in
most of our
â&#x20AC;&#x201D;
INDIAN E.MISIiOIDERY
manufactnring towns a large
Chamber
of
series of
ON'
HE
COTTON.
specimens of these cloths deposited with the
Commerce, and these can he consulted by
all
respectable
members
of the
Fig. 95.
Fig. 96.
community.
Speaking of these Indian
Design prepared for the Commissioners
" These
fabrics,
Mr. Redgrave
says, in his
Report on
of the International Exhibition of 1S51
:
are almost wholly designed on the principles here presumed to be just ones
116
PRINCIPLES OF DESIGN.
â&#x20AC;&#x201D;the ornament
is
always
and without shadow
flat,
natural flowers are never used
;
imitatively or perspectively, but are conventionalised by being displayed flat and
according to a symmetrical arrangement birds, is
when used
added,
it is
;
and
other objects, even animals and
all
as ornament, are reduced to their simplest flat form.
darker shade of the colour, to give
The
flowers are rarely introduced.
a clearer expression
it
cloth of gold figured in the
geometrically and symmetrically arranged,
flat,
loom (Fig.
in simple tints,
The
above described, with darker shades of the local colour. is
colour
but the shades of the
;
part of an Indian scarf (Fig. 96), illustrate fully these remarks.
adopted
When
usually rendered by the simplest local hue, often bordered with a
95),
and
The ornament
is
and bordered, as
principle of colour
a balance of the complementaries red and green, in both cases with white expression, and to lead the eye to the symmetrical
introduced to give points of
arrangement of the ornament. the gold ground, a
In Fig. 95 purple
harmony very frequently used
is
in
introduced to harmonise with
the rich tissues of India.
In
Fig. 96 variety has been obtained by introducing two reds, giving an interchange of
a lighter tint in every other flower in the border.
The borders
of these scarves are
beautifully illustrative of the simple and graceful flowing lines which characterise
Indian ornament; and in Fig. 96
and the mediaeval patterns latter are often stiffer
we can
observe the difference between the Eastern
â&#x20AC;&#x201D;while the same
acknowledged in both, the
principles are
and more angular than the graceful sprigs of this border.
Both these works show how much beauty may be obtained by simjde means, when regulated by just principles, and
how
perfectly unnecessary are the multiplied tints
by which modern designers think
to give value to their works, but
the difficulties of production out of
all
â&#x20AC;&#x201D;nay, often
even to the absolute disadvantage of the fabric.
details of the Indian patterns,
we
which increase
proportion to any effect resulting from them If
we
look at the
be surprised at their extreme simplicity, and
shall
be led to wonder at their rich and satisfactory effect
;
it
will soon be
evident,
however, that their beauty results entirely from adherence to the principles above described. yet,
The
parts
themselves are often poor, ill-drawn, and common-place;
from the knowledge of the designer, due attention to the just ornamentation
of the fabric, and the refined delicacy evident in the choice of tints, both for the ground, where gold
is
selection of quantity
and the
not used as a ground, and for
the ornamental forms, the fabrics, individually and as a whole, are a lesson to our designers and manufacturers, given by those from
Much
that Mr. Redgrave here says
is
whom we
least expected it."
worthy of careful consideration, and I can
do no more than recommend the student to study these beautiful Indian consider
them
and fabrics
in conjunction with the
in general.
fabrics,
and
remarks which we have made respecting them
CHAPTER Division
VII. I.
In this chapter I have to commence our consideration of pottery, and of hollow vessels
and
especially;
I do with considerable pleasure, as works in pottery
this
enjoy a longer existence, though through the character of the material of which
they are made they are more fragile, than those formed of almost any other
Many works
substance.
known
of Greek pottery are
to us,
and not a few such
works by the ancient Egyptians, and these are preserved not as fragments merely, but as works in their entirety, and with the same beauty that they possessed when first
they
left
Clay
is
the hands of the workman.
a most desirable material with which to form works of
beauty, and this for secondly, it
is
it
many
easily
is
First, it is so inexpensive as to be
reasons.
formed into vessels of almost any required shape
capable of being " worked " into
exercise of skill
;
fourthly, clay
shapes of great beauty by a
naturally of
is
capable of receiving by application
to its
preserving such colours as are applied to sixthly, it is susceptible
modeller's hand. vessels
many
surface
more
any amount of
;
fifthly, it is
colour,
and of ;
and
of the highest art-finish, or the bold sketchy touch of the
I say that clay
is
of various kinds, because of
a very desirable material for formation into its
inexpensive
character.
many
This quality of
other substances of a
much
costly character, such as should not be overlooked, for the long existence
which
cheapness gives to the material an advantage over
so
beautiful colours
thirdly,
;
momentary
an unimpaired state for ages
in
it
and of
utility
almost valueless;
many works
of earthenware have had
material of which they are composed.
In
is
mainly due to the worthlessness of the
my
first
chapter I gave an extract from the
writings of Professor George Wilson, showing that gold and silver, while beautiful in
themselves, and worthy to be fashioned into exquisite devices, are yet too tempting to all who are pressed for means, to remain long in the form of art-works. who have been reduced in circumstances, and have thereby been constrained
the thief, and to Families
to part with their old plate, this,
let
me
Renaissance,
have melted
as
applied
to
many
idea of
so as to hide their shame.
Decoration
the
translated from the French of
of
it,
M.
of
Furniture,
illustrate
artists these Italian
sixteenth centuries, and
Arms, Jewels,
etc.,
After giving the names
Jules Labarte, 1S56."
workers in the precious metals, the author says
what
To
quote from the " Handbook of the Arts of the Middle Ages and
:
â&#x20AC;&#x201D;" We
may form some
goldsmiths were of the fourteenth, fifteenth, and
what admirable works they must have produced.
But,
PRINCIPLES OF DESIGN.
118 alas
these noble works have almost
!
all
perished
their artistic
;
worth proving no
safeguard against cupidity or necessity, the fear of pillage, or the love of change.
But
a very few
names even of those
making known those preserved
have descended to
skilled artists
and
us,
to us in the writings of Vasari, Benvenuto, Cellini,
and others, we can rarely point out any of their works as being still in existence. " Cellini tells us that while Pope Clement VII. was besieged in the castle of Angelo, he received orders to unset
all
fragile material
fragility, gives to it
We
We
than either
to melt
down the
must have
see clearly that while clay
silver or gold, its
is
much
a
is
very worthlessness, despite
its
formed into vessels of almost any required
easily
Throughout these chapters
so within certain limits.
is
now
and
;
artistic treasures
length of years.
have said that clay This
shape.
How many
which he obtained 200 pounds.
perished in the crucible of Cellini."
more
St.
the precious stones that were upon the tiaras,
the sacred vessels, and the jewels of the sovereign pontiff gold, of
in
have
I
lost
no
opportunity of insisting upon the importance of working every material in a befitting
manner, and in the most simple and easy way in which the material can be wrought. Almost every material can be simply " worked " in some way, or while in some particular condition.
Glass has a molten state in which
it
of shapes, and this process of blowing
is
condition, yet as it can be formed into
also a solid
exercise of
momentary
skill, it
would be extremely
glass, and by laborious grinding form
happens that
if
a material
results obtained are
more
is
worked
beautiful
when
in
as
we
vessels
its plastic
mass of the
most simple and
solid
It fortunately
befitting manner, the at
by
Glass should be formed into hollow vessels it
cannot be shaped into the form of such
in its solid state without
wasteful, labour.
unnecessary, therefore
foolish to take a
and satisfying than those which are arrived
condition, for
when
require
it
Glass has
works of great beauty by the
into a bottle or a bowl.
in its
any roundabout method of production. only
can be " blown " into the most beautiful the work of but a few seconds.
But
the expenditure of
much
a mass of crystal or marble
if
is
required to assume the form of a bowl or font, then the laborious process of grinding
must be resorted
The at
all
to, for
potter's
these substances have no plastic state.
wheel has been known from the
earliest historic time,
times been the instrument with which the best earthen vessels
formed.
A
mass of clay of suitable
which a rotary motion of the clay,
is
imparted.
and then, by causing
size is placed
The operator
his fingers to
if
skilful,
thai astonishes
the operator can all
who
this has
have been
on a horizontal disc of wood, to
presses his
thumbs
into the centre
approach his thumbs, manipulates the
clay into a cup, a bowl, a vase, an earthen bottle, or whatever form he
and
and
may
form objects of marvellous beauty with
see for the first time his
mode
please
;
a rapidity
of working.
If potters would but content themselves, in order to the production of such
119
CLAY AS A MATERIAL FOE ART PURPOSES.
we
articles as
common
require in
life,
with the "potter's wheel/' we should be
almost sure of a certain amount of beauty in domestic earthenware, but such
They make fancy moulds
the case.
out clay as the pastrycook does dough,
and manipulate
instead of applying to it simple
Neither a bowl nor
scalloped edge, indeed they are
is
of plaster of Paris and of wire gauze, and
skill.
much
better without
undesirable, absurdities were avoided,
it
it
and
;
much
as sc
not roll
pie-crust,
plate need have a
a
unnecessary, and even
if
and a simple and natural method of working
each material alone employed, a great improvement in
would speedily take
art
place.
It
strange but true, that the worker in one material seems rarely to be
is
with making his works look as well and as consistent as possible
satisfied
rather to form poor imitations of something
made
imitation of wicker-work, although to do so
in
wicker vessel could hold water,
thousand forms which clay
were at I
is
least, favourite jugs.
doubt not
;
yet
head, I
know
district
of
why we
by
;
A
ejected.
and the thing imitated
have
is
;
he desires
seen earthen jugs
obviously foolish, as no
much
is
all
than a
less beautiful
capable of assuming. Men's heads without brains are, or "Well, that there are
should copy them by
my
I have in
not.
many models
making
for this idea in
a hole in the
yet the vulgar admire this jug.
is
common
The
tail is
possession a milk-jug, such as
back the milk
more wretched and
coarse idea
is it
Nature,
jug in the form of a hollow
a
in South Wales, in the likeness of a cow.
Swansea
into a handle it is
We
else.
admitted, and through the is
in the
twisted
mouth
scarcely possible to conceive of,
Let us work the material
in a simple
and
befitting
manner, and satisfactory results are almost sure to accrue. I
have said that clay, as such, has
black, grey-white, red, brown, desirable tints
we should
it
is
capable of assuming
least,
is
capable,
is
many
coloured clays as
â&#x20AC;&#x201D;
cold whiteness which the
good natural colour is
Naturally clay
beautiful colours.
by the agency of chemical means. We do not use We want so much white everything to look
do.
ornamental ware, at
Clay
many
and yellow, and
clean.
so
All
should be artistic, and the art-effect should supersede that
Dutch and the English mistake
for cleanliness.
not a thing to be hidden, or ashamed
when
glazed,
of receiving any
A
clay of
of.
amount
of colour,
and
of
preserving these colours in their beauty for almost any length of time. These qualities are invaluable to the ornamentist. Colour is not always at his disposal.
The goldsmith has
difficulty in
getting
it,
but to the potter
it is
very accessible.
capable of giving to objects a charm which they could not possibly have Colour without it. Let us use the power thus placed at our disposal rightly and well, and is
then the enduring
character
of
the colour-harmonies
which we
produce
may
gladden posterity in ages yet to come.
Clay Finish
is
is
susceptible of the highest art-finish, or of a bold sketchy treatment.
very desirable in some
cases.
The cup which
my
lady uses in her boudoir
'
PRINCIPLES OF DESIGN.
120 should be delicate and
occupant of a
As
fine, for
what
apartment but such
fair
we
a rule, however,
worthy
is
a
work
as
to approach the sacred lips of the is
tender and refined?
over-estimate the value of finish, and under-value bold
Excessive finish often (but by no means always) destroys art-effect.
art-effects.
me some
have before
brown
coarse dark
I
specimens of Japanese earthenware, which are formed of a
and are to a great extent without that
clay,
finish
which most
Europeans appear so much to value, yet these are artistic and beautiful. In the ease of cheap goods we spend time in getting smoothness of surface, while the Japanese devote
to the production of
it
they prefer art without
Fig. 97.
We vessels,
an
art-effect.
We
get finish without art 5
finish.
Fig. 100.
Fig. 99.
Fig. 9S.
must now devote ourselves
to a special consideration of the shapes of earthen
and to the manner in which ornament should be applied
In bis primitive condition as drinking vessels half-civilised
and bottles
men using
;
man
to them.
appears to have used the shells of certain fruits
and to
this
day we
find
many
tribes of uncivilised or
"Monkey-pots"
the same class of vessels.
(the hard shells
of the Lecgthis allaria), the coverings of the Brazil nut [Bertholetia excelsa), and especially the rinds of the calabash
been used
iii
this
way.*
wen- mere attempts
al
use as ill-inking vessels. i
nit
The
copying
first
in
and many species of gourd (Figs. 97 and 98),have efforts
day
* All
of perfection of manufacture,
who
at the production of earthen vessels
the forms of the fruit-shells which were in
After a power of forming earthen vessels, having
was gained, we
potter's art manifested Irv certain works.
of the
made
Thus
in
still
find
a certain
the origin of the
China, where the potter's
art lias
are interested in tins subject are referred to a paper published in the " Transactions
Edinburgh Botanical Society/' for 1859, by Professor George Wilson, on tho " Fruits
Cucurbitacese."
of the
CHARACTERISTIC SHAPES.
we
so long been understood,
made
find vessels
still
just as was their custom in the days of their
first
121
form of the bottle-gourd,
in the
manufacturing
efforts (Pig.
Before considering the shapes of vessels from a utilitarian point of view,
1
99).
should
the student that certain shapes are characteristic of different nations and of
tell
different periods of time.
The Greek
we may
shapes, as
which the Greeks produced
â&#x20AC;&#x201D; are
them
call
â&#x20AC;&#x201D;that
the forms of those vessels
is,
of a particular class, and the vessels produced by
the Egyptians are of a different type; while those of the Chinese, Indians, Japane
and Mexicans again
For grace of form the
the Egyptians. (Figs. 101
100)
and 102)
;
Greeks stand pre-eminent
vessels of the old
for simple dignified severity, those
for quaintness, those of the
;
Mexicans (Fig. 103)
with dignity, those of the Cliinese (Figs. 104 and 105)
;
of the Egyptians
(Fig.
for a combination of grace
;
beauty with quaintness, those of the Japanese (Fig. 100)
and ;
for a combination of
while in
many
the Indian shapes (Figs. 107 and 108) resemble those of the Japanese. is
e,
from each other, and from those of both the Greeks and
differ
respects
Fig. 109
a water vessel from Ha, and Figs. 110 and 111 are jugs from Morocco. I cannot enter into
any
details respecting the characteristic
forms of vessels
produced by these various nations, but must content myself by giving a few tions of the various shapes,
Museum,
British
him
and leaving the matter with the learner
the South Kensington
Museum, and
the Indian
illustra-
for study.
Museum
The
will aid
in his researches.
It has been said that the character of a people can be told
As the
consideration of this statement will lead us to see
utensil
may answer
the end which
it
by
how
their water-vessels.
perfectly a domestic
should serve, I will extract from
my "Art
of
Decorative Design " a few remarks on this subject.
This statement can well " be illustrated by the Egyptian and Greek watervessels, the
small
former of which has sides tapering to the top and slanting- inwards, a
orifice,
and a rounded base, and the mouth of the
by an arched
vessel bridged
handle, the whole being constructed of bronze (Fig. 112); the latter consists of an
egg-shaped body (the broad end being above) resting upon a secure
surmounted by a handle over the
large, divergent, funnel-shaped
orifice,
but has one at either
" Not only do these also
;
and
it is
member
which renders
mouth, and the handle arching the clay, the secure base, the
at either side. i
We
which
It has
is
no
vessels differ in form, but associated circumstances differ
this variation in circumstances
its base,
foot,
113).
side.
which brought about the difference
form of the two water- vessels. " The peculiarities of the Egyptian water-vessel are roundness of
(Fig.
it
its
in
formation of bronze, the
unfitted for standing, the narrowness of its
orifice
;
and of the Greek,
its
being wrought in
wide mouth, the contraction in the centre, and the handle
should judge from these vessels that the Egyptians drew water
122
PRINCIPLES OF DESIGN. Fig. 105.
Fig. 104.
Fig. 110.
from
and this, its
a
Fig. 103.
being
base Hat
it
a
provision
would
float
Fig. 108.
Fig. 107.
nvcr, or some position which required thai
cast into the source it
Fig. 101.
the vessel be attached
t<i
a
curd
of supply, for the roundness of the base at once points to I'or
enabling- the vessel to
on the water)
;
it is
lill
by turning upon
its
side (were
also formed oul of metal so as to facilitate
123
EGYPTIAN VESSELS.
The arched handle
this end.
string in order that
it
not
be cast
pendent from the hand
in
only points to the attachment of the vessel to
a
into the water, bu1 also to the carrying the vessel
the
manner
present carried, and the
pails are at
thai
contracted mouth restrains the splashing over of the water: and what this simple water-vessel points to
we
find to
have been the
ease, for the
Fig.
Egyptians derived water
in.
Fig. 112.
Fig. 113.
from the Nile
in the
very manner that the vessel would indicate; but with the
circumstances were different, and the shape of the vessel varies accordingly. is
here
flat,
in order that the vessel
the water which being- the
manner
fell
in
from above,
may
stand
;
the
mouth
is
rreeks
base
large, in order to collect
â&#x20AC;&#x201D; from the dripping-rocks and water-spouts.
This
which water was gathered, a vessel formed of heavy metal was
unnecessary; the contraction prevented the water from splashing- over
and up
(
The
to this point the vessel
was
tilled,
when
carried,
and no higher; and the handles at the
side
â&#x20AC;&#x201D;
PRINCIPLES OF DESIGN.
12J.
show that
it
carrying, there is
If
high.
another consideration of interest, which
is
we attempt
the centre of gravity finger,
weight be at the top ; and in balancing anything,
found that the object, in order that
will be
is,
having one enlarged end, on the
to balance a stick,
it will be found necessary that the it
But, in conjunction with this mode of
was carried on the head.
greatest weight considerably elevated above
which was carried balanced on the head, we
it ride
have
steadily,
its
point of
In the Greek water-vessel,
base.
its
find this condition fully complied with,
the centre of gravity occupying a high position, while in the Egyptian vessel the
was low ; but where the
centre of gravity
vessel
to be carried underhand,
is
great an advantage to have the centre of gravity low as
where security
thus
is
gamed
it is in
just as the centre of gravity
is
it is
as
the case of a coach,
The Greek
lowered.
water-vessel, then, consists of a cavity for holding water, a funnel to collect and
guide the water, a base for the vessel to rest upon, and handles to enable raised to the head, and the centre of gravity
balanced
and we should judge from
;
high in order that
is
this vessel that the
dripping-rocks and water-spouts, and this
is
exactly
stances and
incidents of
common There
life
is
case,
The
occur.
yet
;
These are the
how many
circum-
can be conceived as associated with these
the gossip round the well, and the lingering by
the river-side where the image of the date-palm
the waters.
to be
Greeks procured water from
what did
direct teachings of the Egyptian and Greek water-vessels
different forms of vessel.
it
be readily
it
is
mirrored by the glassy surface of
water upon the mind in the one
effect of the noise of the splashing
combined with the comparatively loud and energetic speaking which would be
by the
necessary in order that the voice be not drowned
river-bank in the other, where tie limpid water
trancpiillity of the in silent
majesty, must be considerable.
Then we have the
and of the calm
noise,
is
ever flowing on
potter's art essential to
the production of the vessel in the one case, and the metal-worker's in the other
We
the digging of clay, the mining of metal, the kilns and smelting furnaces.
will
not continue this portion of the subject further, and have brought forward this
show how well-considered
illustration in order to
objects reveal to us the habits and
customs of the peoples and nations in which they originated." It will
now be apparent
that even a
common
object
consideration that its form will at once suggest
which
reveal the purpose for
it
was created with
perfectly answers the end proposed
to every designer
is
by
its
its
is
The advice which
to the
want which
More
it is
will be said
of silversmiths' work
;
it
I
when
it
must give
required, before he proceeds to
form his ideas of what the object proposed to be created should be diligently Btrive to arrange such a form for
such careful
definiteness of expression
formation.
to study carefully exactly what
may result from
use; but the object will only
like,
and then to
as shall cause it to be perfectly suited
intended to meet. vessels
and
shall also give the
law
upon the subject of form when speaking of glass and when considering these subjects we
SHAPE AS ADAPTED TO
1
which governs the application of handles and spouts
utmost importance that they be correctly placed
in
and
it
is
may
ol
the
be used
Fig. 116.
Fig. 117
Fig. ii;
(see
to vessels;
order that the vessel
Fig. 114.
with convenience
US
SE.
page 140).
A word
must now be
said respecting the decoration
of earthen vessels, but on this subject our remarks must be brief.
The
object to which the decoration
is
applied
must determine the nature of the
PRINCIPLES OF DESIGN.
126
In the ease of
ornament to be employed.
when
a vessel
which
to be in part hidden
is
treatment should be adopted, and the ornament
in use, great simplicity of
In
with advantage consist of repeated parts.
ornament should be placed in the centre
;
but
the case of a
if
there
plate,
ornament
a central
is
it
may
should
The
be a small, regular, radiating figure, consisting of like parts (Figs. 114 and 115). border should also consist of simple members repeated, for
it
will
portions are covered; and these remarks will apply equally to
whether intended
No
Whatever has
a right
whatever ornament
position, as
way upwards
then look well
if
kinds of plates,
all
dinner or dessert.
for use at
plate should have a landscape painted
flowers.
no
or
little
a
upon
nor
it,
and wrong way upwards
is
nor a group of
a figure,
inappropriate in such a
plate bears should be in all positions as fully right
to the beholder as it can be.
Besides, landscapes, groups of flowers,
and figures are spoiled in part hidden,
ii'
provided
they are satisfactory when the whole
seen.
is
may have
Plates
white ground,
for
it is
a
de-
sirable that those articles
which
on
sented
plates, witli
and
I
them
is
pre-
manifest
cleanliness,
should, however, prefer white
rather deep blue, Indian red, maroon, or
a
a pale hull' table-cloth for
should
utmost
the yet to a cream tint there can be no objection.
food
brown pattern upon them,
to rest upon.
In the case of cups and saucers the treatment should be similar to that of the
The saucer may have
plate.
and
a
simple border ornament, consisting of parts repeated,
or no ornament in the central
little
may have
portion on which the cup rests.
an external border ornament, and
a
the upper portion of the interior, but no other ornament
Whatever ornament ench
as
is
placed around
a
is
here required.
any
cup, or vase, or
not suffer by perspective, for there
will
is
tall
simplicity be the ruling principle in the decoration of that
round surface I
a
(see
line
page
have given what
which I
is
straight
on
a
Hat
all
and 117).
little
1 0:3
and 111).
Let
rounded objects, and ever
surface becomes a curve
on a
10). is a
correct decoration
for a
plate
and cup and saucer, but
there are other methods of treatment than those just named. fond of placing
object must be
any portion of the
scarcely
ornament that can be seen otherwise than foreshortened (Figs.
remember
The cup
double narrow line of colour around
The Japanese
circular groups of flowers on plates, saucers,
The Greeks had
are very
and bowls (Figs. IK!
various methods of enriching their tazzasand vases with
127
GLASS.
ornament, and the Egyptians were partial to the plan of rendering a cup as a lotusflower
But when they formed
100).
(Fig.
draw
a cup thus, they were careful to
the flower conventionally and ornamentally, and never produced an imitative work
The Chinese
page 24).
(see
same way
treat the flower of the sacred bean in the
(Fig. 118).
The remarks, however,
"What I have said has been addressed to the student.
made respecting the form chosen being that which
make
and the conditions to which I shall
proposed,
application of handle and
produce satisfactory works
is
most
reference as governing the
spout to any object, are binding upon ;
but to the genius
who
and vigorous ornament, and whose taste
has,
become refined and judicious,
rules, his
no
I can give
end
suitable to the
all
who would
has power to produce beautiful
by years of study and
own
cultivation,
taste being his best guide.
Division II.
When
speaking of earthenware, I insisted upon the desirability of using every
my meaning
material in the easiest and most natural manner, and I illustrated
by
saying that glass has a molten condition as well as a solid state, and that while in the molten condition
blowing aid,
is
it
can be " blown " into forms of exquisite beauty.
an operation of
skill,
and an operation
and I cannot too strongly repeat
"worked"
in
the most simple
my
in
Glass-
which natural laws come to our
statement that every material should be
and befitting manner;
and
think
I
that our
consideration of the formation of glass vessels will render the reasonableness of
my
demand apparent. Let a portion of molten glass be gathered upon the end of a metal pipe, and
blown into a bubble while the pipe drops
and a
what
flask is
formed such as
vessel could be
all
vertically
from the mouth of the operator,
used for the conveyance of olive
more beautiful than such a
the delicate curvature of
rounded base,
is
its sides,
flask ?
Its grace of
form
is
;
and
obvious;
the gentle swelling of the bulb, and the exquisitely
manifest beauty.
Here we get a
vessel
formed for us almost wholly by Nature.
attraction of gravitation which converts
what would be a mere bubble,
sphere of glass, into a gracefully elongated and delicately-shaped
be taken as a principle, that whenever a material
manner which
(Fig. 119)
oil
is
flask.
capable of being
It is the
or hollow
This
"worked"
may in a
will so secure the operation of natural laws as to modii'y the shapes
of the objects into which
it is
formed., it is very desirable that
we
avail ourselves of
such a means of formation, for the operation of gravitation and similar forces upon plastic matter is calculated to give
When skill,
and
extent
;
is
clay
is
beauty of form.
worked upon the
potter's wheel, it
sufficiently stiff to retain the shape
yet the operation of gravitation upon
is
given to it,
shaped by the operator's it
to a very considerable
so long as
it
has any plasticity
128
PRINCIPLES OF DESIGN.
whatever,
is
to
calculated
secure
remembered by the art-student Chap.
difficult to detect (see
knowledge of
this law
plastic vessels is
is
I.,
curve
a
is
should
rule
ever be
as its origin
beautiful just
In the formation of vases, bottles,
page 23).
is
etc.,
very important, and the operation of gravity upon hollow
calculated to give to their curves subtlety (intricate beauty) of
Having arranged that the material
character.
This
of form.
delicacy
â&#x20AC;&#x201D; that
we must next
befitting its nature,
worked
shall be
in the
manner most
consider what purpose the object to be formed
is
intended to serve.
Take
a
common
hock-bottle (Fig. 120) and consider
must have
driven
in
is
wanted
which wine can be
vessel such as will stand, in It
What
it.
a strong neck, so that a cork
without splitting
of a material
that
not
is
it,
a
is
stored.
may
be
and must be formed Glass, as a
absorbent.
material, admirably answers the want, and this bottle is
capable of storing wine;
and has a
will stand,
it
rim around the neck such as gives to
it
strength.
But, besides serving the requirements named,
both easily formed and
must be a
We
utilitarian,
must have
it is
The designer
beautiful.
is
but he must be an artist
useful vessels, but the objects
also.
with
which we are to surround ourselves must likewise be beautiful; and unless they are beautiful, our delicacy
of feeling and power to appreciate Nature, which full
A
of beauties, will be impaired.
hock-bottle
is
is
a
mere elongated bubble, with the bottom portion pressed in so that it Fig.
no.
may
stand, and the neck thickened
rim of glass being placed around
Fig. 120.
Here we have it is
formed of heavy
elongated form; light, it
but
glass, if
a bottle
length
is
may
be brought into play in the direction of
to be widened, this can as easily be done by giving to
the centrifugal force
is
lower part, hence is
its
even
amount of beauty would appear (Compare the
Our
in in
the former instance.
its
length
a rotatory
;
or
if it
has
motion, whereby
the shape
In either case a certain
produced, for
dumpy, yet beautiful bottle, when the two natural modes
short,
the hock-bottle,
illustrated.)
it
caused to act from the axis of the vessel outwards, and not
from the apex to the base, as
with
its
any bubble, and the glass
can always be given by swinging the bubble round from the centre, so that
centrifugal force
us.
shaped by natural agency;
and the bubble was thick at required in
by a
it.
in
Nature here works
which we receive curacao,
of forming
wine-bottles are moulded, hence their ugliness.
Nature's assistance, and we reap ugliness as the reward.
for
bodies
will
be
We work without
SHAPKK OK DECANTERS. Lei us
which
now
bottle, as just
to be bottle
consider
decanter
a
filled
once,
whereas
so that
it
subject of long journeys. it is till
not intended that it
decanter should be.
a
clearly shows,
it
a
is
decanter will have to he
It
is
should, as the fact that
refilled
may
it
funnel
for transport.
many times, hut when we wish to
not complete.
All objects
mouth
conduct
must
out of the bottle.
It
A
into the bottle,
if
a bottle had a distended
decanter should have capacity
and a funnel
also be convenient to use
upper funnel should be of such a character that
(see
Fig. 122.
should stand securely, and have a double runnel it
a
he the
to
times should have a funnel-shaped
to collect the fluid and conduct it
only intended
meant
Fig. 123
would not he well adapted
is
many tames; and
not
we use a
a funnel the vessel is
many
is
refilled
remarks on the Greek water-vessel, page 121), but
for containing liquid;
filled
he
true that a bottle
Fig. 121.
orifice it
wants
respects, the
a great differenceâ&#x20AC;&#x201D; a bottle
can travel, while a decanter
and without
which are meant to be
my
mnny
In
intended to meet are similar to those which are met by the
is
enumerated, but here
made
is
what
129
it will
â&#x20AC;&#x201D;a funnel
to collect
and
hold,
guide the liquid in
it
and
and the a
proper
when poured from the decanter. If we take a flask and flatten its base, and extend the upper portion of the neck slightly into the form of a funnel, we have all that is required of a decanter, with
direction
the exception of a permanent cork, which
But
as
is
a stopper (Fig. 121).
most decanters are intended to hold wine, the brilliancy of which
is
not
PRINCIPLES OF DESIGN.
130 readily apparent
when that
portion of the vessel which contains the liquid rests
immediately upon the table,
it is
desirable to give to the vessel a foot, or, in other
words, raise the body of the decanter so that light possible (Figs. 122
and
may
surround
it
as fully as
12:3).
In Figs. 124 to 135 I give a number of shapes of decanters and jugs, such as
may
be seen in our best shop-windows, and such as I consider desirable forms for such
vessels;
and
in considering the shape of
portion of the neck (the
lip)
such vessels, the character of the upper
must be regarded,
Notice also whether the centre of gravity
Fig. 124.
Fig. 126.
Fig. 126.
is
Fig. 127.
as well as that of the
Fig. 12S.
) Fig. 130.
Fig. 132.
Fig. 133.
body and
base.
high or low, and the position and
Fig. 129.
Fig. 131.
FORMS OF BOTTLES.
a very excellent and picturesque spirit-bottle
Pig. L36 is
and quaint wrought artistic,
in
131
appearance.*
entirely at
the
Figs. 137, 188,
is
it
easyto hold,
is
glass
â&#x20AC;&#x201D;they
a
work of Roman
contains
a
sediment which
1
in
vessels,
nor engraved
is
Fig.
useful if the liquid
;
are Venetian
furnace-mouth, and neither cut
and of interesting appearance; while
which the upper distension
and L39
are
glass, in is
it
not
desirable to pour out with the liquid.
There
is
one thing pertaining to table-glass that we do not now sufficiently
Fig. 136.
Fig. 137.
consider,
which
is
its
capacity for colour.
vessels is the imitation of crystal, unless
strongest tint. colour,
strong
Our one
Fig. 140.
idea in the formation of glass
we happen
to
produce a vessel
of the
the exception of hock-glasses, which are generally either ruby-
dark green, or intense yellow-green, we rarely employ tinted glass on our
These three colours, which we usually employ
tallies.
that
With
Fig. 139.
in tint for
we should
ordinary purposes, and they are coarse and vulgar.
confine ourselves to these colours
the most delicate of shades, of appearing as beautiful
light tertiary green, lilac,
* In order that the nature of this bottle
when cut through the
in hock-glasses, are all too
central part.
a
when
glass
soft, subtle,
is
It
is
curious
capable of assuming
golden hue of the most
and blue, and, indeed, of almost any colour. be better understood,
I
give a section of
it at
a as seea
I
PRINCIPLES OF DESIGN.
132
Why,
we employ only two
then, should
character?
Roman and Greek
If the
or three colours,
and those of the most crude
glass of the British
Museum
he inspected,
il
Romans employed various soft and delicate tints, and why we For many reasons the colours of our hock-glasses cannot see.
mil he seen that the should not do so I
First, as already stated, the colour
are highly ohjectionable, but especially for two. is so strong- that
they appear as mere dark spots on the cloth, and altogether
imparting to the table a pleasant colour-effect
;
fail in
and, secondly, they utterly destroy
the beauty of appearance which the wine would otherwise present.
No
glass
il
which
to contain a liquid of pleasant colour should be so strong in
is
l— &
LA L* Fig. 141.
tint as to
colour
<if
Fig. 142.
mar the beauty the glass
of the contained fluid, and especially
is
this true
of an opposite character to that of the liquid
is
:
when the
thus a red liquid
placed in a strongly-coloured green glass becomes highly offensive in appearance,
and yet we often see colour.
claret served in
Let the cloth be pale
A
green hock-glasses.
buff, or cream-colour, instead of
dinner-table requires
white
;
and the glass
water-vessels of very pale, but refined and various, tints; and the salt-cellars, if of glass, also coloured, in will
lie
produced.
tender and befitting manner, and
a
The
flowers with which the table
is
a
most harmonious
effect
adorned would then har-
monise with the other things, and much beauty might he produced. Respecting the ornamentation of ^lass, two methods of treatment are resorted to,
which are "cutting" and "engraving."
crystal-like substance
;
and consist
" dead " or repolishing
it.
substance of the glass
is
in
Both modes deal with
«»lass
as a
hard,
grinding the surface, ami either leaving
[n the case of
" cutting"
a
it
considerable portion of the
generally removed, and the surface
is
repolishedj but in
ORNAMENTATION OF SLASS. the ease of "engraving"
more than the surface
little
i.-;:i
generally acted upon, and
is
the.
engraved portion remains dead.
Cutting may be employed is
form to the vessel vessel
in
commended when
rarely to be
;
bringing ahoul ornamental effects
so lavishly used as
be the chief
ti>
indeed, cutting should be sparingly and judiciously used.
formed of glass should never he wholly shaped by cutting,
work of
If the neck of a decanter can he
stone.
slightly cut
â&#x20AC;&#x201D;
if it
can
lie
so treated that
it
can
lie
the
;
but in
work
to appear laboured, for
results
it
A
wen.- a
â&#x20AC;&#x201D; then
let it
be
Fig. 141.
been the result of much labour
which
though
held more securely
cases avoid falling into the error of too
all
as
it
made more convenient by being
Fig. 143.
cut
glass, Imf
in
means of giving
is
much
cutting which causes
any work which presents the appearance of having as unpleasant to look
from the exercise of momentary
skill.
upon
as that
There
is
work
is
pleasing
a great art-principle
manifested in the expression " Let there be light, and there was light." capable of yielding most delicate and
Engraving
is
also laborious,
beautiful effects,
it
should yet be somewhat sparingly used, for extravagance in labour
is
never desirable, and there
is
and while
it is
such a thing as extravagance of beauty.
134
PRINCIPLES OP DESIGN.
However
delicate
ornament may
lie,
and however
well composed, yet
the whole of the walls of an apartment and of the objects which to please.
these remarks fully apply. effect will
mind
Let there be plain surfaces as well
be more satisfying than
glass, considering only the different
an
ornamented parts,
as
damask
table-linen will apply equally
which the
in
effect
produced
is
(see
Thus we have ornament produced only
Chap. VI., page 108).
by a
fails
plain for
be covered with ornament.
if all
way
â&#x20AC;&#x201D;
covers it
In the enrichment of glass
to enjoy.
All that I said respecting the decoration of to
if it
contains,
There must be the contrast of plain surfaces with ornamented
the eye to rest upon, ornament for the
and the
it
Such simple means of producing
variation of surface.
art-effect are capable of rendering in a satisfactory
manner
simple treatments only, but simple patterns are capable of yielding the highest pleasure, and such patterns can be almost perfectly rendered 1
by engraving,
shown
as
in Figs. Til,
1-1:2'
13* Somewhat
elaborate effects can
rendered in glass by
lie
very laborious engraving, whereby different depths of cutting are attained
but such work
;
rarely produces an effect
upon
it;
and
if
is
a
drawing of
was shown
in
the result of great labour, and
proportionate to the
a bottle so engraved
wine, the entire beauty of
144
is
a
its
is filled
engraving
is
Fig.
destroyed.
must elaborately engraved
the Exhibition of 1862.
expended
toil
with a coloured
which
bottle,
It represents, to a
great extent, wasted labour. It
Fig. 145.
must be borne
in
mind that any ornament placed on
decanter, wine-glass, or tumbler,
and the remarks made respecting the
in perspective;
surfaces on
ornament
my
It is not
call
all
to earthen vases (Chap. VII.,
;
is
capable of yielding
this
is in
some
* Pig. 143 represents a decantutaste.
of Faris in 1867.
There
into use during the last few years, and
come
uncomfortable to handle, and
good
to
the
here.
province to enter into the various methods of manipulating glass,
the classes of art-effect which glass
Venetian work
in
in reference
waved
page 126), apply equally
what should be the treatment of any particular object.
is
effects of folded or
:
attention to general principles, and leave the art-student to think
glass which has
a
to be seen almost wholly
ornament (Chap. VI., page 110), and those made
application of
nor into
is
Fig. 141
is
is
is
made
to
keep clean;
for the Prince of
a goblet from Austria;
it
ils
himself
an imitation of old it is
somewhat
use must therefore be
Wales by Messrs.
was shown
can only
a sort of crackle
respects pleasant in appearance, but difficult
I
I'm-
IVllatt
and
Co.,
which
in the International Exhibition
SlI.VKIl.SMlTlls'
The Romans were
limited.
and of many
colours.
forming glass which was opaque, dark,
in the habit of
H5
Pig.
is
135
WOKK.
an illustration of
this kind of ÂŤk" ss > <lle pattern
in the substance being formed by portions of various coloured glass being imbedded
of the vessel.
In another chapter
have a few remarks to make upon stained "lass
shall
I
but as our present remarks
pertain to hollow vessels chiefly,
regulate the formation of
all
or metal, I think
it
and
;
as general principles
such, whether they are formed of earthenware, glass,
better to proceed to the consideration of silversmiths' ware, and
thus continue a notice of hollow vessels, than to pass to glass windows, although "What we are specially conthey are formed of the material now under review. sidering at present are vessels of capacity, or hollow wares.
Division III.
Continuing our remarks upon
we have now
hollow vessels,
to
notice silversmiths' work, and here
we may observe that while the material with which we have now
Fig. 146.
to deal differs in character widely
from that of which those vessels already noticed have been formed,
yet
many
that
principles
which
have been enunciated are equally applicable
the
to
under consideration. jects, like those
glass, should
now
objects Silver
ob-
formed of clay or
perfectly
Fig. 147.
serve the
end for which they have been formed
;
also,
the fact that ornament applied to rounded
surfaces should be adapted for being viewed in perspective remains as binding on us as before
cussed
but herein the works of the silversmith
;
â&#x20AC;&#x201D;they are formed
worth,
it is
from those already
of a material of intrinsic value, which
earthenware or glass.
articles of
differ
Silver
is
dis-
not the case with
and gold being materials of considerable
necessary that the utmost economy be observed in using them, and in
order to effect this a special
mode
of construction
must be
resorted to.
If
we
propose to ourselves the formation of a sugar-basin of semi-circular shape, of what thickness
must the metal be
in
order that
obvious that the vessel must not yield to alterations of
form when
its
in ordinary use
metal of such thickness as will secure
its
it
may
not bend when lifted?
It is
shape to ordinary pressure, nor be subject ;
but
if it is
retaining
its
to be formed throughout of
shape,
it
will
be costly and
;
136
PRINCIPLES OP DESIGN.
heavy, and an amount of metal will be used in
manufacture of two or three such
formation sufficient for the
its
articles.
we may
Instead of forming the vessel throughout of thick metal,
from a thin sheet of
silver
but in order that
;
indent one or more beads in
(see Fig.
its side
construct
possess sufficient strength
it
146)
;
or
we can form an
having a rim projecting into the basin (Pig. 147), or extending from give strength at the top
it,
it
we must angle by
and thus
but the two beads are the more desirable, as the one gives strength
;
and the other at a lower portion of the
Modes of economising
material,
are of the utmost importance,
when we
vessel.
are forming vessels of costly substances,
and should be carefully thought
If the designer
out.
forms works which are expensive, he places them beyond the reach of those who
might otherwise enjoy them, and
if
heavy they appear clumsy
in the
hands of those
accustomed to delicate and light objects. Besides this, works in silver and in gold are always in danger of being destroyed,
owing to the
intrinsic value of these metals
Now
hidden in the melting-pot.
money
value of the material
less,
if
for if stolen, the theft
;
we form the
vessels of thin metal,
and thus our works are
and their chance of long existence
to the avaricious,
is
to a smaller degree
The
greater.
are at all times perilous materials for the formation of works of art
them,
years, it
existence
that which
tempting
precious metals
but while we use
;
is
If a
work
is
to be so formed that
it
may
exist for
becomes of the highest importance that those objects which we create
be well considered as to their
Long
promptly
take care so to employ them as to give to our works every possible
let us
opportunity for long existence.
many
is
we render the
an
is
evil in
not refining in
utility,
and at the same time be beautiful
in form.
the case of an ugly object, or an ill-considered vessel its
influence
is
Let that
better blotted out.
man who
will
not seek to embody beauty in his works make them heavy with metal, so that
they
may tempt
the thief, and thus sooner blot out his works from existence, as they
tend only to debase and degrade; but he
who
loves refinement,
chasteness of character to the objects which he creates,
them length
may
and seeks to give
well strive to secure to
of duration.
There are various modes of working metal.
It
may
be cast, hammered, cut,
engraved, and manipulated in various ways. Little that
producing a
is
result,
satisfactory can result
from casting.
Casting
is
a rough means of
and at best achieves the formation of a mass which
may
be
troublesome to cut into shape than a more solid piece of metal
;
the application of other means of working metal achieves
of an art nature.
Some
of the fine iron castings of Berlin are wonderfully good in their way, and
are to an extent artistic;
and certainly they contrast strangely with the cast handles
and knobs which we often see applied here
little
less
but easting without
n England
;
J'et
to vegetable-dishes,
and similar
silver objects
even these will not compare with works wrought by the
A11AU1A.-N
hammer and
METAL-WOttK.
137
the chisel.
Thin metal hammered into form,
and touched
where necessary with (he chisel, the graver,
and the chasing-tool, is
capable of the very
which
effects
finest
can
achieved
be
metal-work. reader
in
the
Let
consider
the
vessels
with
beautiful
which Arabian metal-
work presents are
us: these
formed by the
all
hammer
and
chisel,
with the assistance of
and chas-
the graver
how mar-
ing-tool, and
and
vellously delicate beautiful sults
are
We
!
these
the
re-
have
in
beauty
vessels
and dignity of form, richness
great
of
design,
intricacy
and
delicacy of detail, and
altogether a refinement
of effect
long
which
he
may
considered
and repeatedly enjoyed (Fig. lis).
Several,
almost
may
I
many, of
say
these beautiful objects are
to
be
found
in
the South Kensington
Museum, and be generally lopies,
it
should
known
that fac-similes of these lovely works, in the form of electrotype
have been prepared by Messrs. Elkington and Co., under the sanction of the j
PRINCIPLES Of DESIGN.
138 authorities of the
small cost. originals,
Department of Science and Art, and that these are procurable
a;
For purposes of study these copies are of almost equal value with the
and
adornment of a sideboard they are hardly
for the
who can
advise those
I strongly
inferior.
afford to purchase these beautiful copies to garnish their
sideboards with plate of this description, rather than with the meretricious electro-
we often see in our shop-windows. Having determined on the best mode of working the material, consider carefully the requirements which the work to be produced is intended to meet, and then strive
plate which
to form the object so that
may
it
What
Let us take a sugar-basin.
and 150 are those which best is
form should
it
fulfil
owing to
of the basin exist at
much
thumb has
smallness, while the
its
when
all, it
con1
19
itself
from the lumps.
of a sugar-basin are often so small as to be partially or wholly
It not unfrequently happens that only one or
useless.
After
the requirements of such a vessel, for in them the
always collected together, and the dust sugar separates
The handles handle,
have?
its creation.
have arrived at the conclusion that the two shapes engraved in Figs.
sideration, I
sugar
by
perfectly answer the end proposed
it is
desired to
move
two
fingers can rest on the
to be placed within the orifice
This should not be so
it.
;
if
a handle
is
to
should be so formed as to be useful, and afford a means of moving the
object with ease and comfort.
To form a handle
mere ornament
as a
an absurdity,
is
the vessel structurally, while the ornamentation
In order to
its
is
for the
handle
is
part of
an after and separate consideration.
must be constructed, but when formed it need not ornamentation must ever be regarded as separate from
existence a vessel
of necessity be ornamented
;
construction.
Such a sugar-basin as therefore have
combined
;
them
;
I
have suggested would not stand without legs
but I see no reason
hence I propose three
why
:
it
must
the legs and handles should not be
formed as to serve as handles throughout
feet so
their upper parts (Figs. 149, 150), they being convenient to hold.
Modern European
silversmiths have fallen into the error (an error
any
vailing wherever art can be applied to pictorial, rather
object)
of
making
their
now
pre-
works of a
â&#x20AC;&#x201D; an error which the Arabians, Indians,
than an ornamental, character
and Japanese never perpetrate, whose works in metal are unsurpassed by any, and equalled relief;
by indeed
few.
It
is
a mistake to cover an entire vase with figures in high
but wherever anything of the kind
is
attempted, care must be exercised in
causing the groups to follow the line of the vase, and not to appear as irregular projections from
they are
many;
it.
As
to the
But
of chasing and engraving. great
interest,
modes
of decorating
of ornamentation by repousse work
lor there
is
enamelling; and niello work
works
in
we have
silver
and
in gold,
already spoken, and
besides these there are other methods, and
some of
damascene work, or inlaying; and applying colour, or ;
jewels
may
also be added.
â&#x20AC;&#x201D;
SPOUTS AA'D HANDLES.
Damascene work
of great interest.
is
Metal of one colour
the Indians being experts at this manufacture
Inlaid
into metal
as
effects,
have examined the large inlaid
Having chosen
work consists
but the Indian
chiefly
who
all
will
;
This mode of work seems to be capable of producing many
of silver inlaid in iron.
hookahs of India
is
India produces, perhaps, the rarest examples of this kind of work,
of another colour.
beautiful
L39
^g
-r-
/
admit.
form
a
for
a vessel, the next question with
which we have to deal it
It
is
curious that
position of a spout in
will
is,
require a handle and spout
while
and handle
relation to a vessel
verned law,
by
we yet
as a vessel
a
?
the
simple
go-
is
Fig. 149.
natural
them placed as they should be. This may become practically of great weight, owing rarely find
is
the more curious,
to the handle being
misplaced.
A
pound weight
steel-yard
it will
is
easily lifted,
but when applied to the shorter end of the
balance a hundredweight.
If this principle
applied to a tea-pot
is
Fig. 150.
which actually weighs but
little, it
may
yet be very heavy to
lift.
In nineteen eases
out of twenty, handles are so placed on tea-pots and similar vessels that they are in use lifted only by a force capable of raising two or three such vessels, of the steel-yard was not acting against the person
ordinary forms of tea-pot, and see gravity)
is
from the handle
how
who
of the leverage acting disadvantageous!}' to the person
the principle
uses the vessel.
far the centre of the
in a horizontal direction,
if
and you
Take our
weight (the centre of will be able to
who may pour
judge
tea from such
140
PRINCIPLES OF DESIGN.
Now
pots.
passing-
if
the part which
is
grasped
is
to the right or left of a
through the centre of gravity of any
there
vessel,
is
right
line
leverage acting to
the disadvantage of the person desiring to pour from that vessel, and this leverage increases just as the point held
Fig. 151 would pour
the hand that holds
it
when
removed from the central
in the position
shown
line
spoken
in Pig. 152,
would be to the right of the centre of gravity
of great disadvantage, as
is
is
it
causes the vessel to appear
of.
but see
(a), which
much
how
far
distance
heavier than
it
and requires a much greater expenditure of force in order that the tea-pot be put to its use than is necessary were it properly formed.
actually
is,
Fig. 153.
Tlie law
governing the application of handle and spout
to vessels is this,
and
the same principle applies whether the vessel be formed of metal, glass, or earthen-
ware
:
â&#x20AC;&#x201D; Find the centre of gravity of the
a vortical I'll,
drop over
and where the two
gravity. of
line
The
at right
freely while the handle
pour iVom
when
vessel,
placed in
two
which can easily be done by different
it,
as
it
is
just
Pig. a
line
L55,
line.
hung upon
ma\ be seen from
If this
the
is
the centre of
through the centre
through the centre of gravity of the
angles to this
letting-
positions, as in Figs. 153,
vertical lines intersect, as in a in
position of the handle being fixed on, draw
the handle, ami continue
must now be
to
it
vessel.
The spout
be (he case the vessel will pour
thumb
or finger of the person
Pigs. 150, 157, in
desiring
which the straight
line A,
SI'OUTS
passing through the centre
of
gravity
AND HANDLES. a, is at
Ill
right angles, as
it
should
lie,
with the
straight line passing through the spout.
This law,
it'
obeyed, will always enable liquid to be poured from
appearing heavier than
its
it
actually
is,
hut
il
will
be seen
a
vessel without
that the shape of
the vessel must he considered so that the spout and handle can bear (his relation to
each other, as in Figs. 156, 157, 158, 159, and 100.
Fig. 159.
Fig. 156.
it,
so they
show
must be avoided,
as
may
be seen by examining Figs. 151 and 152, which
a tea-pot of faulty shape in this respect.
A silver,
this
Sonic shapes will not admit of
consideration of this law shows that of glass, and of earthenware alike
respect things are
much
see a
hack we never did.
Silver jugs are
from ignorance, for
jug with the handle
now
in the right place, while
of
but
in
Now
we
some years
the most generally faulty hi this respect.
wrong placing of the handle or spout of a no man knowing the law would violate it.
as the
â&#x20AC;&#x201D;those formed
usually placed too high;
better than they were a few years hack.
somewhat frequently and such mistakes
the handles of jugs
â&#x20AC;&#x201D;are
vessel result only
Fig. 101 shows a
PRINCIPLE? OV DESIGN.
142
common form
of jug with
its
handle, but the handle
is
shown by the dotted line. A very many of the French water-pots, as shown in Fig. 162. it
should occupy
is
too high; the position which excellent handle
It
is
applied to
unnecessary that
is
more respecting the
I say
shape and general construc-
and gold ves-
tion of silver
except to remark that
sels, if
ments
other
or
figures
beaten
are
they must
surfaces,
their
orna-
up on
not destroy or mar their general contour.
Iron us as
only
Not
should be.
the effect produced
is
when
inlaid
is
it
silver
not used with
is
it
with
and other metals exbut by this mode
cellent,
of work
our art-creations
are
greatly preserved,
the
iron
is
valueless,
for
and
the labour of remo\ ing the
small quantity of precious
metal inlaid
would be so
great as to render the gain rcinuncrat ion
inadequate
for the time consumed
collecting
M. and
in
it.
Christophle, of Paris,
also
M. Barbedien
in
a lesser degree, have com-
menced Fig.
sels
1(52.
to inlay copper ves-
with
silver,
and some of
their works are very beautiful.
The Japanese have from an
of silver into copper lovers of art. in
the
iron fir
;
is
a
early time inlaid silver in bronze.
This inlaying
step in the right direction, and should be encouraged by
The Indians not only
all
inlay silver in iron, but also gold in silver and
and the Italians and other peoples have inlaid metals
in a similar
way; and
ess and intricacy of some specimens of this inlaying are truly marvellous.
;
ENAMEL
By
143
JEWEL-WORK.
NIELLO
the process of enamelling-, colour can be applied to metal, and of
this art of enamelling-
produces works which are most lovely
all
arts
at least, if the best
;
works of enamel do not surpass those produced by any other manufacture, they are Transparent enamels are
equal in beauty to the works of the highest excellence.
some cases very
in
beautiful, but they do not generally
compare with the opaque
enamels, such as were largely used by the Chinese about a hundred and
by the Japanese, or those now
back, and
Algerian
Onyx Company, and
Christophle,
Chinese daisonnu enamel vases
and here you may
may be
find one or
also
so skilfully produced all
fifty
years
by Barbedien, the
of Paris.
seen at the South Kensington
two small
Museum,
pieces of Japanese enamel, as well as
one or two grand specimens by Barbedien, of Paris.
The Chinese enamels have most frequently a
light blue (sort of torquoise)
ground, but they occur with both red, white, green, and yellow grounds
ornament
mixed
of
is
green, or dark blue prevailing in
work
is
finer
while the
it.
The Japanese enamels have a lower tone of the
;
but generally with light yellow-green, deeper blue-
colours,
colour-effect
than the Chinese, and
and the colours more mingled, while the modern French enamels
are full in colour, and are yet rich and subdued in general effect
most beautiful works. The Elkingtons, of Birmingham and London, have
â&#x20AC;&#x201D; some of them,
indeed, are
also
produced some beautiful
things in this way, but not in the quantities that Barbedien has.
I
most strougly
advise the art-student to study these works in enamel.
Niello-work it is
niello pattern niello pattern is
is
a form of enrichment applied to metal, but
a difficult process.
Silver snuff-boxes
upon them are not uncommon, however,
may
much need
be inserted in metal, but
glitter,
production of repose.
for
is
if this
is
not in general use
watch-chains with a
Belgium and
Some
silver.
not be said respecting
Itussia, the
niello-work
it.
done they should be somewhat
sparingly used, even in the most costly of works, for
produce mere
in
appearing as dark lead-pencil work upon the
very quiet and beautiful, but
Jewels
and pendants
if
they are abundant they
and the aim of the ornamentist must
in all cases be the
CHAPTER
VIII.
HARDWARE.
Having
considered metal-work in
and
sideration of hardware,
am
I
its
more costly branches, we come
we have now
glad that
as results from the use of inexpensive materials, for
work
to the con-
to deal with such metal-
such that must be
it is
generally employed, while works formed of the precious metals can be used only by
The
comparatively few persons. of the artist to
is
an extent
object of art
is
fulfil
my
amount of the most
mission
but I do
;
refined pleasure
by
my
;
but
if
the
many
art that
myself to the few, and be content with necessary to the appreciation of If
educated.
more
fully
from
it
some
persons,
than those
by
all
my
only
it is
many
when
I give the greatest
possible for
me
to give.
If
I give pleasure, it is well that I
my
to derive pleasure from
fail
the mission
;
If as an artist I give pleasure, I
so, perfectly,
by producing works which can be procured by do so
the giving of pleasure
that of giving ennobling pleasure.
works, then I must address
Education appears to be
lesser mission.
art; the artist, then,
is
a
man who
appeals to the
their superior education, are enabled to appreciate art
are ignorant, and can consequently derive more pleasure
who
than the less cultured person,
it
might then be
desirable that the artist
should address himself, through costly materials, to the few, for thereby he
giving the greatest amount of pleasure.
I always, however, like to produce
might he works in
know that I form what is capable of giving pleasure to appreciative who may possess it, as well as the rich. poor man if the In hardware we find two classes of work in the market which appear to have the one class being characterised by a preponderance of excellence, little in common cheap materials, for then I
—
—
—
and the other by the dominance of what
work
is
that which
is
is
is
generally
known
—
—and they
selves almost exclusively to domestic work, styles of art.
judgment approves
style, are to
first class
of
Birmingham ware. ecclesiastical
—
or mediaeval, as they
arc
now many in number
— devol
and most of them fabricate
If I wanted an artistic set of fire-irons, I should go
ecclesiastical warehouses, for there I
that I liked;
The
metal-workers; the
ecclesiastical
metal-workers produce only ecclesiastical and mediaeval work.
On the contrary, some of these men
my
as
an error to suppose that these so-called
are sometimes called
and
coarse and inartistic.
produced by what are termed
second consists of what It
is
and the most
;
have seen
many
sets that
but I never saw a set produced artistic fenders, grates,
be got at these shops.
I do not
mean
my
to
1
hem-
one of the
1<>
reason
commends
for the general
and gas-fittings,
e
articles in all
in
market
almost any
convey the impression that
all
UTILITY THE FIRST THING TO BE CONSIDERED.
145
things made at these ecclesiastical warehouses are good, and that
Birmingham
(or Sheffield)
manufacture are bad,
for I
Birmingham
these mediaeval shops, and I have seen excellent things from I
might mention
mingham
houses
as
things of
all
have seen indifferent works
â&#x20AC;&#x201D;
in
especially
good certain gaseliers produced by two of the smaller Bir-
â&#x20AC;&#x201D;but
as a rule the
works found
in the mediaeval
warehouses are
Fig. 104.
Fig. 163.
good, and as a rule the works in hardware produced by Birmingham and Sheffield are bad, in point of art. It will appear a
mere
repetition if I insist that the materials of
which works of
hardware are formed be used in the easiest manner in which they can be worked, and that every article be so formed as perfectly to answer the end of I
must do
so.
Let us look
for a
common
set of fire-irons,
and we
pokers out often have a handle terminating in a pointed knob. of this
knob
is
formation.
\et
shall find that nine
Now,
as the object
that of enabling us to exercise force wherewith to break large pieces
of coal, the folly of terminating this knob with a point essentially,
its
an object of
utility;
it
is
should therefore be useful.
obvious. It is
A
poker
is,
ridiculous to talk
PRINCIPLES OF DESIGN.
146 of a poker as
an ornament
an ornament, which
which
is
;
we
yet
find it fashionable
now
have a bright poker as
to
obtrusively displayed to the visitor, and a
is
carefully concealed from view, reserved for use.
black poker,
little
1 cannot
imagine what
i#r~cjR-nrrÂťra^wrvinTjtf('p.^nif7ifnnwi: ifwrafiftyrrrriii' t .
O'S-K'Q g+
.;
o;Wh>.i ;4:'0'
^onrH
Vm
mid*
rtaftof*
y&wSW^
trÂą%
^isiW1
-m-
jHatj
Fig. 166.
ll?^
8
Tjvjj^V
D
Fig. 185.
people will not do for thai
:
which induces
until persons
who
ornament and an simplj
a
show and
women
to
fashion, but to the thinking
keep
:i
mind such
littleness as
poker as an ornament must be distressing; and
desire 1" be regarded as educated learn to discriminate between article of utility, little progress in art can
thing to be looked
at.
then
it
may
be made.
be as inconvenient
as
you
If a poker
an is
please, for if
147
ORNAMENTAL IltON-WOKK. it
has no purpose to
same remarks utility,
will
fulfil
by
creation
its
I
;
hut
answer any particular end,
formation; but after
it
is
it
should
created as
lie
a
hut
;
if
an
may
or cut, or
Casting'
is
must be exercised
in
work of
utility, care
With due
them
make
consideration, almost every it
mode
the least artistic
of working-
may
work
must ever be the aim of the
so.
be cast, the patterns formed should be so facture that the
intended its
capable of being- wrought in various ways;
tiled.
is
fitted to answer the end proposed by
be rendered both useful and beautiful, and
is
any kind
Fig. 16S.
be also a work of beaut}'.
intelligent ornamentist to render
Iron
they are to he mere
if
article of
Fig. 167.
it
The
works of
have nothing to say respecting them.
Utility and beauty are not inseparable
order that
purpose.
its
If they are intended as
then their form must he carefully considered
ornaments
to
cannot be unfitted to
it
apply to shovel and tongs.
mode
full}-
it
:
;
but
if iron is to
adapted to this method of manu-
be readily apparent.
cast-iron appear as wrought-iron
ma}' be cast, or hammered,
of treating- iron
It
is
foolish to seek to
cast-iron should appear as cast-iron, and
PRINCIPLES OF DESIGN.
14-8
wrought-iron as wrought -iron. of great strength
Cast-iron
while wrought-iron
;
is
is
rather than break.
Wrought-iron can be
rod of metal can be
hammered
flat
brittle,
and must not be
relied
upon
as
tough, and will bend under great pressure readily bent into scrolls, or the end of a
and shaped into the form of a
and parts tan
leaf,
One or two either be welded together or fastened by small collars, pins, or screws. Hart, are given Benham, and by Skidmore, illustrations of good wrought-iron work in the engravings.
As an
illustration of a simple railing,
Exhibition of 1862. (Fig. 163), which
very great, yet
is
As
quaint and beautiful.
it is
colours were so applied as to increase
is
figured one
shown
in the International
in every respect excellent. it
its effect
was shown
it
and beauty.
carefully devote himself to the consideration of excellent
Its strength
is
was coloured, and the If the student will
works in metal, he
will
Fig. 1(59.
Let him procure, if possible, the illustrated London, Hardman of Birmingham, and Dovey of Hart of catalogues of such men as Manchester, and study the sketches which he will there see, and he will certainly
more than by much reading.
laarn
discover the principles of a true art, such as he
concordant with his
own
must seek
to apply in a
manner
original feelings.
Of our illustrations, the example by Skidmore (Fig. 164) furnishes us with an excellent mode of treatment. Iron bands are readily bent into volutes, or curves of various descriptions, and the parts so formed can be united by welding, screws, or bolts,
llardman's
gate
105)
(Fig-
vigorous, and illustrative of a true (Figs.
is
mode
in
Hid, L67) are also very meritorious.
parts are well
fastened together.
consider the illustrations which
every respect
of working metal.
They
excellent;
The two
is
quaint,
are simple in design, and
their
I advise very strongly that the student carefully
accompany
this chapter.
In iron-work the manifestation of a true constructive principle things desirable.
it
foliated railings
Iron, being a strong material, should not
is
beyond
all
be formed into heavy
OKNAMK.VTAI. I110N-W011K.
masses unless immense weight If
we form
lias
in be sustained, or \ci-\ greal strength
lamps, candelabra, and such works of iron,
of metal employed
strength.
may
their construction
in
Were we
it
is
a
required.
obvious that the portions
is
be thin, as the material
to form such works of wood, then
of material would be necessary, in order that the is
H!Âť
is
of great
greatly increased thickness
same strength he
secured, as
wood
not nearly so strong as iron.
My
remarks
fully he said to
have special reference to wrought -iron, as cast-iron cannot so
will
have a constructive character.
The small
railing (Fig. 163)
is
an
admirable illustration of a true constructive formation, as the parts are
held together, and
all
strengthened to a wonderful degree, by the introduction of a horseshoe-shaped member.
This
worthy of the most careful study,
for its
railing
is
strength
great.
is
The horseshoe form,
beauty. judiciously
Utility it
applied,
must come
we have also especially when
Besides strength
far
is
first,
from being offensive.
and then beauty, and so
does in this particular railing-;
hut here
we
have great simplicity, and a correct structural character has been arrived at in
its
production
rather than any elaboration of the principles of
beauty.
From
the catalogue of
chester, I select
"W. Dovey, of
J.
Man-
an illustration of structure in the
form of a candelabrum which in character as a simple
is
work
highly satisfactory (Fig. 168).
There Fipr.
is
170.
a solidly-formed heavy base, an upright stem
terminating in a candle-holder.
and extra strength
is
There
is
an arrangement
waste grease,
for catching
given to the stem by four slender buttress-like brackets, which
are securely and well attached to the base and to the stem above
;
and these are
strengthened by two hoops, which prevent their bending under pressure. Figs. 169 and 170, the former being a ridge or wall cresting, and the latter a stair railing, are each
structural quality)
Fig. 109
is
zontal line.
illustrations of a correct treatment,
and beauty (an art quality) are
admirably constructed, only
These two
it
is
illustrations are also
inasmuch
secured
at
as strength (a
the
same time.
a little slender above the middle hori-
from Mr. Dovey's catalogue.
In the catalogue just named, and in those previously named
also,
many good
found illustrative of the successful combination of true structural qualities with a considerable amount of beauty, and also acknowledging the strength
examples
maybe
of the material by the lightness of the parts.
150
PRINCIPLES OF DESIGN.
Those who reside
Museum, and study
in,
or visit, London, will do well to
go
to the
South Kensington
a large and splendid candelabrum of Messrs. Hart, Son, and
Fig. 171.
Peard, which
is
strength, bul
in
well
worthy of consideration.
mewl ether respects
proportioned, and
illustrative
it
is
It is
rather heavy, and
highly commendable.
of a correct
treatment
of
metal.
is
of enormous
It is beautiful, well
Besides
tins,
it
OTHEK METAI-S CSED WITH exemplifies
may
the manner in which stones or jewels
As a
hardware with advantage.
further illustration
151
IKON.
oi'
be applied to works
in
a correct and very beautiful
treatment of metal, we give one segment of the Hereford Cathedral Screen (Fig. 171;. the work of that most intelligent of metal-workers, Mr. Skidmore of Coventry.
This screen was shown in the International Exhibition of
from there removed to this beautiful
place in the cathedral.
its
work, which
which we are acquainted.
is
All
London, and was
18(i;2, in
who can
will
do well to view
one of the finest examples of artistic metal-work with Notice the ease with which iron
may be
treated
if a
Fig. 172,
correct
mode
of working be employed.
half an inch in thickness,
mode
of treatment), or
its
by lj
To the student
rivets, screws, or ties, or
I say,
Brass, copper, and other metals
is,
they
care
it
about
filigree it
can be bent into any
study the shapes into which simple bars of
by observing well-formed works.
may
be associated with iron in the formation of
If well managed, brass and other bright metals
may give bright
must be
This can be rolled into a volute (the
broad.
iron can be beaten, both mentally and
any works.
is
end can be hammered out into stems and leaves, and to
can be attached other leaves by structural form.
Let a bar of iron be taken which
may
act as
gems
â&#x20AC;&#x201D;that
spots; but where the bright metals are used with this viewT ,
exercised in order that the bright spots be formed by beautiful parts, and
that their distribution be just, for that which
is
bright will attract
Before leaving this part of our subject, I must
call
first
attention.
attention to a hinge
by
152
PRINCIPLES OF DESIGN.
Ilardman, of Birmingham, which was shown in the International Exhibition of 18G2, it is both quaint and beautiful (Fig. 172). The door to which this hinge was
as
applied opened twice ; the
first half opened and folded back on the second half, and then the two halves opened as one door, as will be seen from the illustration. It is
very desirable that we have a
little
too apt to repeat ourselves, heuce It
imrjossible that I take
is
All I can do
them of
it is
a sort of relief to meet with a
up each
article of
hardware and consider
be brought forward for criticism.
a duct through which gas
be exposed to pressure, or
if it
is
is
I will, however,
It
must be strong
The main part of a gas-branch
to convey the gas, but this
their
mode
to
may
be supported in
is
the tube
many ways, and
;
as
if
by
there
well be connected with the central
own attachment, but by
brackets of some sort, or with one
another by some connecting parts. this
gas-
may
are branch tubes for several lights, these
by
A
if it is
runs the chance of coming in collision with the person,
such buttress-like brackets as in the candelabrum shown in Fig. 168
tube, not only
separately.
wrongly constructed.
to be conveyed.
as do standard lights in public buildings.
or pipe which
it
and may lead to the formation of a correct judgment
may
just call attention to gas-branches, as they are often is
idea.
â&#x20AC;&#x201D; principles which, once understood, may result in the construction
excellent works,
respecting such objects as
branch
new
to point out principles, and leave the learner to consider and apply
is
for himself
many
We are
novelty of arrangement in our works.
Whether the gas-branch be pendent
or standard,
of strengthening the tube-work should be employed, for the tubes
themselves are but
slig-htly
held together, and by pressure being brought to bear
upon them, a dangerous and expensive escape of gas may
result.
In the manufacture of gaseliers one or two of the smaller Birmingham houses
have certainly distinguished themselves by the production of works both beautiful
and true in
;
which
win to
its art shall
it
me
and these lead
to think that a better
day
is
dawning
for
Birmingham,
be exalted rather than degraded, and shall be such as will
the esteem of the world rather than
call
forth the execrations of art-
loving people.
As
to the colouring of iron I can say little.
In
my
judgment the best modes
of colouring metals were originated by Mr. Skidmore of Coventry, of
His theory
before spoken.
When
oxides.
is this,
that metals are best coloured
a metal, especially brass,
the flames, where the
is
seen in a furnace in
by the a
whom
I have
tints of their
molten condition,
oxygen of the atmosphere is uniting with the vapour of the The same thing in a lessor degree occurs
metal, present the most resplendent tints. in
the case of iron, but here the colours arc loss brilliant, and are more tertiary in
character.
furnace where
whereby metals
is
applies to a metal the colours seen in the flames of the
Mr. Skidmore it
melts.
his ideas
Without attempting
might be
very good.
restricted, I
to limit the colourist to
any theory
must say that Skidmore's colouring
of the
CHAPTER
IX.
STAINED GLASS.
From
early
times
it
customary to
been
has
colour
Egyptians a method of forming glass of various tints a
To the ancient
glass.
was known, and by producing
mass of glass consisting of variously coloured pieces vitreously united, and cutting
which might
glass
sort of stained
and laborious manner, produced a
this into slices, they, in a costly
have been employed for the sides of lanterns or other purposes.
The Greeks were acquainted with a similar by them are common in our museums.
and bowls formed
process,
manner
in this
Soon after the re-discovery of glass in our own country, methods of colouring it
were sought, and cathedral windows were formed, which were of such beauty,
and were
so thoroughly fitted to
answer the end of their creation, that
improvement upon these early works has even yet been made, and decorative glass which colour,
A
far inferior to
is
thfm
or no of the
as regards design,
and mode of treatment.
window must
must admit light If a
sheets
we now produce
little
much
;
fulfil
having
two purposes
must keep out
it
fulfilled these ends, it
window commands a
(if
â&#x20AC;&#x201D;
lovely view let
may
it, if
rain, wind,
and
cold,
and
be beautiful.
possible, be
formed of but few
not very large, of one sheet) of plate-glass; for the works of
God
are
more worthy of contemplation, with their ever-changing beauty, than the works of
man
;
but
if
arranged, let
the it,
window commands only a mass if possible,
manifested by the arrangement of picture with parts treated in light all
the
of bricks
and mortar
its
parts.
and shade.
A
window should never appear
The foreshortening
perspective treatments, are best avoided, as far as possible.
human
glass, for,
inartistically
be formed of coloured glass having beauty of design
I
as a
of the parts, and
do not say that
figure, the lower animals, and plants must not be delineated upon
window
on the contrary, they may be so treated as not only to be beautiful, but
also to be a consistent decoration of glass
;
but this I do say, that
many
stained
windows are utterly spoiled through the window being treated as a picture, and not as a protection
from the weather and
as a source of light.
If pictorially treated subjects are
employed upon window
glass,
they should be
treated very simply, and drawn in bold outline without shading, and the parts should
be separated from each other by varying their colours.
may
Thus, the
flesh of a figure
be formed of glass having a pink tone; the robe of the figure of glass which
green, purple, or any other colour
K
;
a flower
may
is
be formed of white glass, or of glass
104
PRINCIPLES OF DESIGN.
of any colour; the leaves of green glass; and the sky background of blue glass.
All the parts
will
thus
be distinguished
from each other by
Fig.
distinction of part from part will be further enhanced
colour,
and the
1
by the strong black outline
which bounds the parts and furnishes the drawing of the picture. Strong colours should rarely be used of tight.
Light
is
in
windows,
as (bey retard the
admission
body depends
in a large
essential to our well-being; our health of
STAINED
U
(J.ASS.
measure upon the amount, of light which
falls
upon the
depend upon the exposure of our bodies life-giving rays.
It
must
also be
Fig.
Fig. 175-
Fig 178.
It
is
if it
light
;
let
life,
part, al
in
least,
our windows, then, admit these if
light
is
not freely admitted
Fig. 177.
17tJ.
Fig 179.
to an apartment the colours of decorations
tfa
remembered that
Those wonderful
skin.
chemical changes, in the absence of which there can be no
all
the objects which
it
contains,
and of
has any, are sacrificed, for in the absence of light there
is
its
no colour.
not necessary, in order to the production of a beautiful window, that
strong colour be used
;
tints of
blue, blue-grey, olive, russet,
creamy yellow, pale amber,
and other sombre
light
own much
tints of tertiary
or delicate hues, if enlivened
with
PRINCIPLES OV DESIGN.
15(3
small portions of ruby or other
by
their use
A
we
full colours,
have consistent windows.
good domestic window
is
produce the most charming
often produced
by armorial bearings
in colour
benefit
view
which
may
is
a bit of colour will
and
highly desirable, for the room
may
thus get the
sometimes afford, and at the same time
be had through the uncoloured portion of the window.
being
In some ease*
placed on geometrically arranged tessera- of slightly tinted glass.
such an arrangement as this
effects,
.
As an
a pleasant
illustration
Fig. 182.
Fig, 181.
of this class of window', we extract one from the catalogue of those excellent artists stained glass, Messrs. Heaton, Butler, and Bayne, of Garrick Street (Fig. 173).
in
A good window may (Kg. a
17
I),
also be
formed
by bordering
a plain
or in place of the plain centre squares of glass
diaper pattern, as Pigs. 17o to
may
window with
1^:2.
\<> architectural constructive feature should be introduced into a
an elaborate architectural If
a
figure
building,
it
is
formed
is
well that
canopy overshadowing
of a it
colour,
be used, each bearing
perishable
material,
a
figure
is
not
and stands on
be protected from the rain by
a
window
at
all
â&#x20AC;&#x201D; thus,
desirable.
the outside of a
canopy
;
but such a
â&#x20AC;&#x201D;
FAULTS IN STAINED GLASS DESIGNS.
when
contrivance
troduced over
in-
a figure
a flat win-
drawn on
dow
167
absurd, being
is
Let
useless.
us
always consider what
we have to do before we commence the any
of
formation
ornamental
article,
to do
and then seek it
in the must simple,
and beau-
consistent,
manner.
tiful
1st repre-
183 and
my
sent
what
Figs.
views
of
glass
stained
may advantageously be.
More than once in the course of these
chapters I have protested in strong terms
against
pretence
in
art and art-decora t ion
â&#x20AC;&#x201D;the
make
desire to
things appear to be
made
ma-
of better
terial or
more costly
substances than what
they have
in
reality
been wrought from that
leads
men
to
paint and varnish a plain freestone
man-
telpiece in imitation
of
some
marble, or
expensive to
make
Fi'-.
1S3.
doors and window-shutters, skirting and panelling that the carpenter has fashioned
out of red or yellow deal, assume the appearance of oak, or maple, or satinwood, by
158
PRINCIPLES OF DESIGN.
the deceptive
In no
of the grainer.
skill
ease can the imitation ever approach a fair
resemblance to the reality
The
imitate.
which
freestone,
it is
proposed to
rough grain of the soft
coarse,
incapable of receiving a
is
polish, or rather of
being polished until
it
becomes as smooth, and even, and lustrous
good
as
can never be made by suc-
glass,
and varnish to
cessive coatings of paint
a
afford
satisfactory resemblance
marble that
it
to the
supposed to represent,
is
however carefully the cunning hand of the
may
painter spots,
have imitated the veins, and
and curious
of
diversities
colour
which Nature has variegated
with
substance that
surface of the
deavouring to copy.
he
the
is
en-
Nor, again, can a
coarse-grained, soft wood, however skilled
may
be the hand that manipulates
it,
treated so as to resemble the texture
be
and
smoothness of hard, close-grained wood,
which from
its
very nature
is
capable of
receiving the high polish that the softer
material can never take
same process
â&#x20AC;&#x201D;that
by the
treated
if
unless the expense
is,
of producing the imitation greatly exceeds
the cost of the thing imitated. is
applicable to the treatment of
stone
freestone mantelpiece,
for as a
:
or deal door, to
wood and
applicable also to the treatment
is
of ^lass
And what
however suitable and pleasing
may
the eve either
be
when simply
painted in the one case and varnished in the
other
to
the
preserve
surface
from
the deteriorating influences of dirt of kind, can never he
of reasonable time
made by the
and
appearance of marble
by
the
application
transparent
Fig. 184.
by
skill
or
of
varnish,
any
exercise
to present the
oak; colour
can
so
glass,
rendered
inner
be
PRETENCE IN ART-DEC011AT10N. brought to resemble glass stained in delicacy of tint, or depth,
<>r
painted
and richness, and
by the legitimate method,
faulty.
patterns,
The
and
it
may
is
either
styled, fails not only
perhaps be said to be especially
designs, which are printed on paper, with the view of imitating glass
err principally
scenery which are not
being too elaborate, and
in
in character or
represented in painted glass. heraldic emblems, as in
in this indeed
it
5 [>
The greater
brilliancy of colour.
part of the imitative stained glass, or " diaphanie " as in colour, but in design;
1
shown
in
representing figures and
keeping with the designs that are usually
If confined to simple diaper work, or borderings and
in Figs. 173
and 174, or patterns similar
Fig. 188, the artistic effect produced would be
more
to
satisfactory,
that
shown
although
can never equal genuine stained glass in depth of colour or purity of tone.
it
CHAPTER
X.
CONCLUSION. I
have now
treated of art as applied to our industrial manufactures, and have pointed
out principles which must be recognisable in
We
have seen that material must in
manner;
natural
that,
all
art-works which pretend to merit.
all
and most
cases be used in the simplest
wherever possible, we must avail ourselves of the friendly aid
of natural forces ; * that the most convenient shape must always be selected for a vessel or art-object of is
tarian,
any kind
All art-objects
useful.
;
and that beauty must then be added to that which
must be
useful
and then beautiful
and yet so graceful, so comely, that they
While
well as valued for their usefulness.
I
must ever govern the application of ornament
shall
;
they must be
utili-
their beauty as
be loved for
have set forth those principles which to useful articles, I cannot
student any royal road to the attainment of art-knowledge.
show the
something in a " a quality " about
There
is
is too subtle for expression by words ; there is an art-work, or the expression of an amount of " feeling," which cannot be described,
true art-work which
yet which
so obvious as to
is
The only way
in
be at once apparent to the trained eye.
which the power of appreciating
especially if these qualities are of a subtle nature,
known
excellence.
Could the student
who would
ornamentist,
visit
our
is
art-qualities can be gained,
by the
museums
careful study of
in
works of
company with a
trained
point out what was good and what was bad in art, he would
soon learn, by studying the beautiful works, to perceive art-qualities
;
but as this
is
not possible to most, the learner must be content to consider each art-work with
which he comes in contact in conjunction with the principles I have Let him take a work material of which
venient to the
?
—
is
it is
seen
in
—
is
the form graceful or vigorous?
—
—
is
will
now
set forward.
ask himself ?
—
is
— has
the
the shape con-
are the engraved forms beautiful,
perspective on a rounded
making such
—
is
the curve which bounds the
the engraving applied in judicious quantities and in just
inquire into the nature of whatever
constantly
He
the handle properly applied, and does the spout bear a proper relation
handle?
?
a tea-pot.
formed been judiciously and simply used
form of a subtle nature? proportions
— say
inquiries,
the knowledge which will enable
surface? is
By
as
do not suffer by being
such questions the student will
presented to his consideration, and only by
and seeking
him
and such
to
answer them correctly, can he gain
rightly to judge of the nature of art-works.
• See chapters on glass and earthenware.
INFLUENCE OF EUROPEAN AND EASTERN ART UPON EACH OTHER.
Some
young student
of these inquiries (he
have difficulty;
form
for, his taste
will readily answer, with others
being yet uncultivated, he will not
you
various inquiries as well as
By
you must frame your
them
will
know whether
and then note the shape of the object
can,
memorandum-book, and write your opinion respecting reasons for your opinion. thus,
he
a
Nevertheless, I say to the learner, try to answer these
beautiful or not.
is
161
ideas with
in brief terms,
and your
many advantages
some degree of exactness when you have
into words, and exactness of idea
refer to previous thoughts,
it
thus noting your studies you gain
is
essential to
in a
your success.
;
to put
You can
also
and thus impress them upon the memory; and you can
observe your progress, which
is
important, and should be encouraging.
In order
that you acquire the power of perceiving art-merit as quickly as possible, you must
study those works in which examples of bad taste are rarely met with, you must at first
consider art-objects from India, Persia, China, and Japan, as well as examples
of ancient art from
But
Egypt and Greece.
East, choose those which are not altogether
During the
ten
last
lamentable extent.
the art-works of Japan have deteriorated to a
:
demand
for
European demand be met, quantity
in order that the
we work we
produced and quality disregarded, for creating a
modern works from the
if possible.
Contact with Europeans unfortunately brings about the deterio-
of Eastern art
ration
years
in selecting
new
inferior
cavil
is
respecting price, and yet by thus
raise the price
even of that which
is
comparatively bad, and soon have to pay for the coarser wares a price for which superior articles could at
But
this should
first
be procured.
be noted
:
that the commonest wares which
Japan and India are never utterly bad
in art.
we
receive from
Inharmonious colouring does not
appear to be produced by these nations, and the same
may
be said of Persia and
China, and, to an extent, of Morocco and Algeria, the only exceptions being where
European influence has been long continued.
may almost
rely
upon the beauty of
all
In selecting examples for study you
works from China, Japan, Persia, and India,
which have not been produced under European influence.
A chiefly
notable example of the deteriorating influence of European taste (perhaps
English taste) upon Eastern art
wood boxes from
India,
is
apparent
if
we examine
old carved sandal-
and those which are now sent to us from the same country
the quiet, unobtrusive consistency of the ornament by which
it
was sought only
â&#x20AC;˘
to
enrich a properly constructed box was not sufficiently attractive to suit European (or
English
?) taste.
The ornament must be more pronounced and in higher relief, and more vulgarly attractive I might say,
the entire work must be more attractive
â&#x20AC;&#x201D;
and thus the exquisite refinement of the older works rich but vulgar people,
brethren, from
whom
whose
taste for art is infinitely
is
sacrificed to the
wants of a
below that of their conquered
they learn the principles of a beautiful art but slowly, while they
do much to destroy the refinement of art-taste which the workmen of our Eastern
162
PRINCIPLES OF DESIGN.
empire appear to
Study the works of the Eastern nations in conjunction
inherit.
made in
with the remarks which I
my first
consider the numerous ohjects left to us
chapter (seepages
hy the
and 48), and then
6, 9,
early Egyptians
and Greeks, and bear
mind while viewing them what we have said on Egj^ptian and Greek pages 6, 8, and 10), and after having learned to understand the merits of in
art (see
Persian,
Japanese, Indian, and Chinese art, and of that of the ancient Egyptians and Greeks,
you may commence Renaissance art in a
style
may
I
if
various forms last of
thus
speak, there
is
for in these styles, or dialects of
;
and
that
false
in structure, false
pictorial rather
than ornamental in
is
that a very complete acquaintance with ornamental art
effect,
that
all
much
so
representation, untruthful in expression,
in
up the study of Italian and
to consider other styles, taking its
all
necessary in order
is
the defects of these styles he apparent, and in order that the student avoid
falling into the error of regarding a pictorial effect as the result of a true style of
ornamental
art.
Study,
knowledge will
make
when accompanied hy
a great ornamentist.
whatever commends think
No
will be gained.
much upon
itself to
individual thought,
is
the means wherehy art-
mere looking
at
He who would
attain to great
him
worthy of
as
works which are beautiful and true
knowledge must study
his attention, and,
the works which he contemplates;
it is
all,
must
mind
â&#x20AC;&#x201D;not
above
the evidence of
of degraded but of noble mind, of refined mind, of cultivated mind, of well-informed
mind, of mind which has knowledge, of mind which has vigour, of mind which fresh
and new
â&#x20AC;&#x201D;that we
find impressed
we, as art-students, have, above
upon a work and giving
to
it
While
value.
things, to attain to cultivation of the mind,
all
is
we
cannot give expression to refined feelings manifested in form unless we can draw, and
draw almost
and the
faultlessly;
can only result from
much
ability to
draw with accuracy, power, and
feeling
practice.
Let every spare moment, then, find the sketch-book in your hand, and be constantly trying to objects as for
you
see
draw both
carefully, neatly,
around you, even
by constant and
if
careful practice
artist,
you can
afford to
make
Avoid making hasty sketches.
sketch memoranda; but
posit ion
in
life
till
you can draw
your every drawing be as
in character,
does, to a great extent, depend.
sedulously be cultivated; is
let
When
however simple the object portrayed, as though depended upon its character, lor upon every sketch your future
and as finished
your welfare
such
examples of good art-works are not at hand;
with great power, energy, truthfulness, and refinement, careful
finish,
you can alone acquire the necessary power of
expressing refined thought in refined form. a finished
and with exactness and
The habit
of careful painstaking should
and with every drawing thus made an amount of power
gained which the making of a hundred careless sketches would not afford.
Let
painstaking, then, be characteristic of your working.
Ornament
of some kind
is
applied to almost every article that
we
see around us.
CHARACTER SHOWN IN ORNAMENT.
The papers on our plates
even
on our
walls, the carpets
from which we
eat, are all
floors,
the hangings at our windows, the
covered by patterns of some kind
now when ornamentation has become general, if we do meet with something new
to
producer was a is
a
man
does not altogether
if it
man
fail
it
that
character;
he
if
he
if
a
is
man man of
is
a
In
tenderness of perception.
of power,
works
his
will
the designer
if
fail
to reveal his
strength
his
reveal
ol
refined feelings, that his designs will manifest his
like
manner,
if
man
a
is
ignorant he cannot withhold
Did not the Egyptians
from his patterns the manifestation of his ignorance. express their power of character in their ornaments their refinement in the forms
rare*
is
often feeble or
is
Let the reader be assured that
of knowledge.
it
to impress us with the idea that the
of knowledge, his ornamental conrpositions will never
learning;
yet
;
anything original in
find
in kind
ornament; and timid-looking,
163
which they drew
?
?
did not the Greeks manifest
do we not even find an expression
of religious feeling strongly, yea, impressively, set forth by some art-works, as by
the illuminated manuscripts of the early Middle Ages
?
and do we not every day see
the impress of the ignorant upon certain wall-papers, carpets, and other things is
a
fact,
producer
and is
necessary that
it is
we
fully recognise
it,
It
?
that the knowledge of the
manifested by his works; and that the ignorance of the ignorant
is
also
manifested in his works. If ornament
without grace
;
is
Without claiming to this to
produced having new characters,
while power to have
volume (Plate
me more
I.),
is
it is
often feeble,
made a
four of
studies in original ornament, all of
amount of energy, vigour
to avoid coarseness, or
is
generally
successful effort, I put forth, in the frontispiece
my
or less satisfactory as studies in composition.
secure in each an
and
the expression of manliness, and grace of refinement.
â&#x20AC;&#x201D;the power of
any glaring want of refinement.
life,
I
which arc
I have endeavoured
t*>
yet at the same time
have sought to combine
right lines, which are expressive of power, with such curved shapes as shall, with
them, produce a pleasing contrast of form, and
In the light ornament on the
citrine
ground
expjress a certain
amount of
grace.
(that at the lower left-hand corner
of
our plate) I have endeavoured especially to secure an expression of grace in combination with that
amount of energy which avoids any expression of
feebleness.
In the border ornament I have introduced the arch form, as structural " setting out " which
is
composition to appear as though
it
I do not
feeling of security.
that in some cases
it
it
hints at a
pleasant; and I have endeavoured to cause the rested
on the lower dotted band,
say that it is necessary that this be so
as this gives a :
all I assert is
gives a feeling of satisfaction.
So far as I know, the colouring
is
also original.
The
colours employed are
chiefly of a tertiary character, but small masses of primary or secondary colours are
employed in order to impart "life" to the composition. I do not set these studies before
my
readers with the idea of
showing them
PRINCIPLES OF DESIGN.
164
what
ornament should be
original
compositions, and
I only set
:
must leave each
them
clothe his
to
forth as examples of
own thoughts with
new
a befitting
expression of his individual original ideas.
As
I
am
is
me
writing for the working man, as well as for others, will he pardon
reminding him that we are called to exercise an associated with the scientific professions
â&#x20AC;&#x201D;a
art,
yet at the same time our art
knowledge of natural
sciences, of
botany, zoology, natural philosophy, and chemistry can be very fully utilised in our art
â&#x20AC;&#x201D;and that
we
should, therefore, act as professional
highest rank; for thereby only can
esteem in which
it
we
In taking leave of
any way,
I
shall
my
reader, let
be glad to do
comment,
do what Preface.
or desire
little
I can
so.
me
say that If any
I personally can aid
if
who
really seek
me
any other aid that I can give them, for
them.
if
we
we ought.
decorative design, and are hard workers, choose to send or
as artists of the
should be held, and must be held, by the people at large,
are to administer to their pleasure as
in
men and
hope to place our calling in that position of
My
him
knowledge of
designs for criticism I shall be
happy
to
address will be found at the end of the
;
\ji
Alternation in Ornament, 24.
Christian Art, 11, 12.
America, Depraved Artistic Taste
Anthemion
;
104.
in,
a Greek Decorative Device,
9.
in Furniture, 51, 52.
Art may be Degrading, 2 Repose, 63
;
Art-knowledge, The Value in
of,
et seq.
producing
at
33
32,
of,
of, 2.
34
regard
Gothic Art, 12.
;
Tertiary, 32; Qualities
144,
of,
— in Decoration, 30,
in,
aims
;
the Object
Baptism, Symbol
Clay as a Material for Art-purposes, 117, Colour
Arabian Metal-work, 137.
Arch used
DEX.
Harmony
of,
seq.
in, 33, 39, et seq. ;
to, 34,
16, 17.
Colours Harmonise, 34, 35,
for a, 15.
and Pigments,
144, 145, 152.
Buhl-work,
Work,
45.
Byzantine Ornament, 11. Cabinet, Construction of
;
on, referred to, 49; for Stained
Cornices, Colouring 94,
of,
etseg.; Din*erentSortsof,94,95; Foreign-
how they should be
laid
Couches, 57,
et seq.
Curves, most Beautiful
Damascene Work,
the Application of Ornament
Damask
when
to,
106.
to be used, 61, 62.
Damask Mode
of Treating
worthy of Study, 82
;
;
Various,
with
Painted
Pictures Objectionable, 82.
Ornament,
Table-linen, Patterns on, 107, 108.
Wall-coverings.
See
Silk Wall
Damasks. Decoration should be in keeping with Architecture, 73, 74, 75.
Design and Ornament, Redgrave on, Dining-room, Decoration for
25.
Chairs, Construction
of,
52
— 57.
Character of the Designer shown by his
66, 67.
Distemper Colours
for
Doric Column, The,
163.
Chinese Enamels, 143. „
Harmony
„
Ornament,
50.
a, 14.
Dining-tables, Mr. Eastlake on Telescopic,
Chair-coverings, 72.
Work,
Subtle, 23.
139.
Decanters, what they should be, 129.
Iron, 147. Ceilings, Decoration of, 75, et seq.
Celtic
et seq.
when most
109.
Casting in Metal, 136. Casting, the least Artistic
Silver, 142.
of, 93.
Curtain Materials, 107,
down, 105; the Conditions which Govern Carving,
See Skidmore, Mr.
Copper Vessels Inlaid with
a, 61.
Carpets, Art-qualities and Patterns
;
154, et seq.
Colour-top, the, 48, and note.
Calico, Patterns on, 107.
made, 102, 103
Pure,
38, note
Colouring Metals.
of, 73, et seq.
,°6;
Permanence of, Shades, Tints, and Hues, 39 37, 38;
Works
Windows,
64.
Buildings, Decoration
in
45; Proportions in which
Bed-room, Decoration
Black, a Neutral in Decorative
Tables
Experience
of
Beauty in Decoration,
Birmingham Ware,
Contrast
;
33, 34; Analytical
Teachings
;
.et
Primary, Secondary, and
of Colour, 48. 11.
Wall Decoration,
83.
9.
Drawing-room, Decoration
for a, 15.
Dross, Ladies' and Gentlemen's, 90. terns for Ladies', 112.
Pat-
166
INDEX.
Earthen Vessels, Decoration
125,
of,
126,
Historical Inquiry Necessary to the Under-
standing of Decoration,
127.
Eastlake, Mr., on Household Art, referred
and
to, 52,
Humour
Egyptian Architecture,
Indian Art Injured by European Influence,
Coloured Glass, 153.
„
Drawing, Peculiarity
„
Ornament, 4
—
161. of, 5.
Fabrics, 48, note.
„
8.
Mr. Redgrave
„
„
Embroidery on Cotton, Indian,
Work
Enamelling in Metal-work, 143. 11
in,
;
House Decoration in, 30, 31. European Influence Injurious to Eastern
in regard to Colouring, 47.
Inlaying as a means of Enriching
Works
of
Furniture, 63. Irish Crosses,
Numerous Ornaments
on, 2".
Iron, as an Art-material, 142.
Art, 161.
Excess in Upholstery,
how Wrought, 147. may be Associated
„
70.
Fabrics, Patterns Suitable for
Woven,
107,
Metals that
„
with,
151.
et seq.
Value Over-estimated,
Finish, its
Iron-castings of Berlin, 136.
120.
Folds, Ornamentation of Fabrics to be seen
French Errors of Taste in Furniture,
;
what
is
to,
Required to make
an Object of Art, 50
Material used
;
Truthful Construction
it
for,
59, 65,
of,
Proportion and Enrichment
et seq. ;
148; Colouring
65.
Furniture, Decorative Principles applied 50, et seq.
Iron-work, Ornamental, 147,
of,
61, 63.
of,
152.
Japan, Deterioration in the Art-works
Japanese Art, 11. „
Colouring, 48.
„
Earthenware, 120.
Enamels, 142, 143. Metal-work, 112.
Cutting
Jewels in Metal-work, 143.
132
;
of,
Coloured, 131, 132
Engraving
of,
133
Gold, a Neutral in Decorative
Gold and Silver, Works
Ornamen-
;
133; Stained, 153,
;
44, 45.
Furniture, Falsely Constructed, 06.
„
Ornament,
Vessels, 121.
Grotesque.
See
5, 6.
to, 89.
Effects
produced
by
Decorative
14. 11.
Muslin, Patterns on, 107.
Natural Forms in Carpet Patterns, 96, 97,
Humour. Connection with,
98.
144,
Niello-work applied to Metals, 143.
Norman
et tea.
of Colour.
a, 15.
Marble Imitated, Objected
Moorish Ornament,
9, 10, 11.
in
be
to Success in Art, 4, 31.
Egyptian Design,
Forms,
Handles of Vessels, 138, 139, 140.
Hardware, Art
in
Mental
to, 89.
Greek Coloured Glass, 153. Ornament,
how they should
Mediaeval Metal-workers, 144, 145.
12.
Granite Imitated, Objected
„
Ceilings,
Labour Necessary Lotus
74.
,,
„
in
Library, Decoration for
in, 136.
Gothic Architecture, Modern,
Joists
Treated, 79.
et seq.
Work,
of,
161.
127, et seq.; Vessels, Various, 130, et seq.;
tation
must
Italian Metal-work, 142.
Glass, as a Material for Art-purposes, 118,
Vessels,
et seq.;
Manifest a True Constructive Principle,
in, 112, et seq.
Harmony
on, 115, 116
Metal-work, 142.
114.
England, Architectural Buildings
of,
Chinese and
;
Imitations of Marbles and Granites, 89.
14-1, 1-15,
8.
„
;
4.
Ornament, 24—29
Japanese, 25, 27, 28.
note.
Ecclesiastical Metal-workers,
51
in
See Colour.
Architecture, 11.
Novelty Wuntcd in Carpet Patterns, 105.
.
IG7
INDEX. Oil-colour " Flatted" for Wall Decoration, 83.
Study of Art-decoration, how
Order, a Principle in Ornament, 23.
Ormolu Ornaments, 64. Ornament and Architecture Inseparable, Papered Walls. See Wall Papers. Papyrus
in
Egyptian Architecture,
8.
Sugar-basin,
its
Form,
138.
Surface Decoration, 73,
Symbols
et seq.
in Christian Art, 12.
The Borders
Table-covers,
Picture Frames, 72.
Taste of the Uneducated,
Pigments.
Trinity,
See Colour.
How
to Treat, 24.
Plaques of Stone or Earthenware applied to
Works
Pottery,
Art
Utility
17.
the
in
109, 11
1.
the, in
Gothic Art,
Form
of Art-
must Govern the Production and
„
in Architecture.
„
Professor George Wilson on,
„
Various Writers on, 20.
—159.
Proportion must be Subtle, 23.
Veneer Hg. 09. Venetian Glass,
Purpose, Adaptation
Vessels, Primitive, 120.
2<
I.
to,
Taught by Planes,
Wall Decorations,
21.
8:1. et seq.
Wall Papers,
Repetition of Parts in Ornament, 23.
Walls should be Unobtrusive,
Roman Ornament,
Water- vessels, Egypt ianand Greek, 121
Silk,
11.
Patterns on, 107.
Wall Damasks,
87, 90,
et seq.
90.
— 124.
White a Neutral in Decorative Work, 45. Window-hangings, 69, 70, 108. Windows, 69, 70; the Object of, 153; how
in Decoration, 89.
114.
Work, 135, et seq. Skidmore, Mr., and his Theory
they should be Treated, 153.
Silversmiths'
of Colouring
Forms of, 128. Winged Globe," in Egyptian Design, 7. Woods and their Relative Strength, 51. Workmen; their Study of Decorative Law.-, Wine-bottles,
"
Metals, 152. Sofa-coverings, 70, 72.
South Kensington Museum, Spouts of Vessels, 139, Stools, 53
19, 20.
130, 131.
Renaissance Ornament, 13.
Silk
— 22,
Vehicles for Art, The Best, the least Costly, 3
v., vi.
Pretence in Art-decoration, 157
Shams
12.
15, 16, 89, 158, 15t>.
145.
works, 117, 118. Preface,
of,
15.
Application of Ornament, 17
in, 117, et seq.
Power an Art-principle,
Symbols of
Truth an Art-principle,
of Furniture, 63, 64.
Precious Materials
should be
Styles of Architecture, 73. 13.
Persian Ornament, 11.
Plants as Ornaments,
it
carried on, 14, 160, 161,162.
48, note.
„
et seq.
Advice
Wrought-iron,
;
Oassell, Petter,
&.
to, 164.
its Qualities, 147, 148-
Galpin, Belle Sacvage WottES, London, E.G.
1
â&#x20AC;&#x201D;
MANUALS OF TECHNOLOGY. EDITED
ISY
PROFESSOR AYRTON, (Finsbury
Technical College,
City
F.R.S.
ami Guilds of London
Institute),
AND
RICHARD WORMELL, pjURING
L
'
The
so
D.Sc, M.A.
the last two years a very great impetus has been given to the advancement of Technical Education,
that at the present time there
object of this series
is
to
meet
a widespread
is
this
demand by
demand on
the part of technical students for text-books.
furnishing books which describe the application of science to
industry, which translate the language and results of science into the language of the workshop, and will thus bring to the benefit of the English Industries the workman's acquaintance with the scientific principles which underlie
work.
his daily
These manuals of Technology are not intended to teach pure science. Nor are they intended to enable the reader to dispense with learning, by actual practice in the workshop, the handicraft of the various trades. They will
form a link between these two designs.
machinery of the
No
special
They
factory.
They
are designed to
will
give the reader an intelligent grasp of the complicated
make workmen
knowledge of mathematics or of science
is
thinkers,
and not merely human
tools.
necessary to the student of this series, but
that he will have been observant of the processes carried
on
in his
is
it
workshop, which will be here
expected
scientifically
The subjects will be treated analytically rather than synthetically that is to say, the machine, as the workman knows it, will be taken as a whole and analysed, and special care will be taken to avoid the method too common in scientific books, according to which a number of abstract principles are first developed, while their explained.
;
practical application
As
deferred to the end of the book, which, probably, the practical
is
text-books for the large and increasing
and Guilds of London
knowledge with a
Institute,
An
especially valuable.
with which
number of candidates
many
who was
man
never reaches.
Technological Examinations of the City
of the authors are connected, these
author in each case has been selected
practical familiarity with the
at the
Manuals of Technology
will
be
able to comprise a well-grounded scientific
minute details of the trade treated of
in his
book.
Consequently,
while the latest and most approved processes of manufacture will be found described, the exact scientific reasons for the superiority of these
science
would suggest
The
for
modern methods over the older ones
will
be given
in full, as well as
such indications as
improving the present processes.
following books are already in preparation, and others will be added
:
......
ELECTRIC LIGHTING and TRANSMISSION of POWER Professor Ayrton, F.R.S. APPLIED MECHANICS Professor Perry, M.E. CUTTING TOOLS WORKED by HAND and MACHINE Professor Smith. IRON and STEEL "W. H. Greenwood, Esq. FLUID MOTORS Professor Perry, M.E. .
.
.
CHEMISTRY FLAX SPINNING WATCH and CLOCK MAKING The numerous Illustrations factories,
and
will not
to these
books
.
.
.
.
Dr. Armstrong, F.R.S.
D. .
will
.
.
.
S.
be pictures of the actual machines as they
be merely conventional representations conveying but
little
The aim throughout has been to prepare books that shall appeal at once to who know what the workman's difficulties are, what and
this is
Wherefore, instead of
t
piesented in such a form that the reader
may be
exist in the
intelligence to the practical
has been entrusted to writers in his trade,
Thomson, Esq.
D. Glasgow, Esq.
attracted
the
workman.
best
man.
Their preparation
information he needs to help him
by a desire
to learn the
Why
and
eing repelled by the supposed difficulties of science.
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