Public-domain ebook
by Amor Fenn
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In: Architecture·Art
Public-domain ebook sourced from Project Gutenberg #53850.
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It may be urged with some reasonable basis of truth that much of the modern art work fails to attain the level of that of the past. It must be conceded, however, that demand and appreciation is more general and widely diffused. As social conditions have developed, interest in environment has been stimulated. Improved processes resulting in more economic production have rendered possible an indulgence by those of moderate means, attainable only at earlier periods by the wealthier class.
As a result of this more general appreciation the professional services of the artist are necessarily in greater request, thus affording a sphere of work not only lucrative but temperamentally attractive.
At the present time the facilities available to the prospective artist are considerably greater than at any previous period. In every district and important centre, there are schools specialising in the Arts and Crafts, giving opportunities for training at fees that are purely nominal. Most of these deal with the various phases of artistic expression on logical and sound lines, but the knowledge and experience essential to a successful artistic career is invariably acquired in professional work to which the art school training is preparatory.
To those specialising in design, the study of Historic Style is of paramount importance. Intelligent investigation will show that in all the varying phases, the underlying factors are much the same, and appreciation of these will be found invaluable in personal work.
Necessarily brief, this book has been prompted by the memory of early bewilderment and difficulties, when a guiding hand would have saved much valuable time and mis-directed energy.
A considerable amount of the available space is devoted to Architectural features, with the conviction that a knowledge of these will be found helpful in the formation of methods, logical and constructive.
Attention is directed to the frontispiece, a typical example of the extraordinary genius of E. A. Rickards, F.R.I.B.A., the original of which is in the possession of Philip Connard, A.R.A., to whom indebtedness for its use is acknowledged.
The author’s thanks are also due to Miss Dora Bard and Mr. C. E. Bernard for the reproduction of drawings made by them during their tenure in successive years of the “Travelling Studentship” of the Society of British Decorators.
For the use of the following photographs the author desires to make acknowledgment to the Authorities of the Victoria and Albert Museum, South Kensington, as holders of the Crown copyright:
Nos. 257. 258. 259. 265. 271. 272. 273. 274. 275. 281A.
Human Limitations, p. 1--Inspiration--Process and Material, p. 2--Early Training, p. 4--Art and Existence, p. 5--Natural Taste--Commercial Production, p. 6--“Ornaments,” p. 7--Modern Development--Public Apathy, p. 8--Elementary Pattern, p. 9--Early Impressionism--Personal Production, p. 10--Early Social Conditions, p. 11--Influence--Commercial Intercourse, p. 12--Effect on Design, p. 13--Ethical side of Art, p. 14--Desire for Novelty, p. 15.
Style, p. 16--Intercommunication--Climate and Material, p. 17--Phases in Style, p. 18--The Lintel, p. 19--The Arch, p. 20--Egyptian Art, p. 22--Chaldean Art, p. 25--Greek Art, p. 28--Roman Art, p. 35--Vaulting, p. 36--Greek Influence, p. 37--Roman Development of Ornament, p. 38--Græco-Roman Painted Decoration, p. 39--Byzantine Dome, p. 43--Early Christian Art, p. 46--Byzantine Metal Work, and Enamel, p. 47--Roman Influence Abroad--Romanesque Style, p. 49--Church Development, p. 50--Dark Ages, p. 53--Crusades, p. 56--Origin of the Pointed Arch, p. 58--Gothic Style, p. 59--Phases of Gothic--Early Pointed, p. 60--Decorated Gothic, p. 64--Perpendicular Gothic--Glass Windows, p. 67--Civic Influences, p. 70--Effect of Commerce--Classic Tradition in Italy, p. 71--Foreign Influence in England--The Dwelling House, p. 72--The Reformation, p. 74--The Renaissance, p. 75--Early Florentine Exponents, p. 76--Rome, p. 78--Venice, p. 80--Venetian Influence, p. 81--Painted Decoration, p. 82--Græco-Roman Influence, p. 83--Early French Renaissance, p. 85--Native Exploitation, p. 87--English Renaissance, p. 88--Italians in England, p. 89--Study of Classic Style--Thomas Thorpe, p. 91--Flemish Influence, p. 92--Jacobean Work, p. 93--Development in Dwellings, p. 98--Evolution of Professional Designer, p. 101--Inigo Jones, p. 102--Louis XIII, p. 103--Louis XIV, p. 106--“Boule” Work--Mirrors, p. 109--Louis XV, p. 110--Régence--Rococo, p. 111--Lacquer “Vernis Martin”--Later English Renaissance, p. 113--Sir Christopher Wren, p. 114--Classic Treatment of the Spire, p. 116--Dutch and French Influences, p. 118--Queen Anne Period--Early Georgian, p. 120--Furniture Design, Chippendale, p. 121--Mayhew--Robert Adam, p. 123--Hepplewhite, p. 126--Sheraton--Louis XVI, p. 127--Riesener and Gouthière, p. 133--Empire--Empire in England--Later English Architecture, p. 135--French Influence on Europe, p. 136.
Purpose--The Fillet--Sheltering Mouldings--The Cavetto, p. 139--Cyma Recta--Bracketing Mouldings--The Ovolo, p. 140--Cyma Reversa--Binding Mouldings, p. 141--The Torus--The Scotia--The Facia, p. 142--Decoration of Mouldings, p. 143--Orthodox Details--Angle Leaf, p. 145--Dentils, p. 146--Employment of Mouldings, p. 147--Attitude, p. 148--Panel Mouldings--Woodwork, p. 149--Applied Mouldings, p. 151--Bolection Moulding, p. 152--Mouldings in Plaster Work--Wood Turning, p. 153--Metal Turning--Pottery, p. 154--Mechanically produced Metal Mouldings--Wrought Iron, p. 155--Silver Work, p. 156--Sheet Metal, Spinning, and Repoussé, p. 157.
Introduction, p. 158--System of Proportion, p. 159--The Order, p. 160--Doric Order, p. 161--Ionic Order--Corinthian Order, p. 163--Doric Entablatures--Mutules, p. 164--Ionic Entablature, p. 169--Corinthian Entablature, p. 171--The Column, p. 172--The Capital--Doric Capital, p. 173--Ionic Capital--Ionic Volute, p. 175--Corinthian Capital, p. 178--The Base, p. 180--Doric Base, p. 181--Ionic Base, p. 182--Corinthian Base--The Arch, p. 184--Doric Impost, p. 185--Doric Archivolt--Ionic Impost, p. 186--Ionic Archivolt--Corinthian Impost--Corinthian Archivolt--The Keystone, p. 187--The Pedestal, p. 188--Doric Pedestal, p. 189--Ionic Pedestal--Corinthian Pedestal, p. 190--The Baluster, p. 191--Spacing of Balusters--Balustrading, p. 193--Use of Columns, p. 194--Disposition and Spacing in Colonnades, p. 195--Orders above Orders, p. 197--The Pilaster, p. 199--Arcades, p. 200--The Subsidiary Order, p. 202--Treatment of Superimposed Orders, p. 204--Rustication, p. 205--The Basement, p. 207--The Attic, p. 208--The Pediment, p. 209--Doors, p. 211--Windows, p. 213.
Wall Treatment, p. 216--Ceilings, p. 218--Jacobean--Carolean and Georgian, p. 221--Adam Ceilings, p. 222--Vaults and Domes, p. 224--The Cove, p. 225--The Frieze, p. 226--Borders, p. 227--Geometric Elements--The Undulate Line, p. 230--Repetition and Alternation, p. 233--Treatment of Angles, p. 234--Pilaster Treatment--Panelled Pilasters, p. 235--Capitals and Bases--Treatment of Panels, p. 236--Juxtaposition, p. 238--The Growth Line in Composition, p. 241--Grouping and Massing of Detail--Division of Area, p. 242--Human and Animal Life in Composition, p. 244--Forms in the Round, p. 245 Supports and Balusters--Standards, p. 246--Proportion, p. 247--Vase Forms and Treatment, p. 248--Working Drawings, p. 249--The Segment or Stretch out, p. 250.
VI Development of Conventional Ornament.....254
Outline Drawing, p. 254--Undesirable Realism, p. 255--Craft Restrictions, p. 256--Materialistic Influence, p. 258--Early Renderings, p. 261--The Anthemion, p. 262--Greek Sculptured Ornament, p. 263--The Acanthus Leaf, p. 264--Roman Development--The Scroll, p. 266--Græco-Roman--Byzantine, p. 267--Romanesque--Gothic--Italian Renaissance, p. 268--The Husk Leaf, p. 269--The Rosette, p. 270--Tendrils, p. 271--Nature Influence--Inconsistent employment of Symbolic Elements, p. 272--Consistency in Growth--Branching, p. 273--Treatment and Employment of Leaves, p. 275--The start in Ornament, p. 276--Italian Renaissance Influence--Jacobean, p. 280--French Renaissance--Henry II, p. 281--Louis XIII, Louis XIV, Régence--Louis XV, p. 283--Rococo--Louis XVI, p. 284--Grinling Gibbons School of Carving--Adam Style, p. 285--Empire--System of the Acanthus Leaf, p. 286.
Natural Attraction, p. 288--Decorative Materials, p. 289--Justification of Treatment, p. 290--Undesirable Imitation, p. 291--Technical Considerations--Methods of Expression, p. 292--Treatment of Leaves, p. 293--Surface Interest--Painted Decoration, p. 294--Stencilled Work, p. 295--Mechanical Production--Printed and Woven Fabrics--Needlework--Appliqué, p. 296--Lace-Wood Inlay--Intarsia, p. 297--Veneer--Marquetry--“Boule” Work, p. 298--Mosaic, p. 299--Byzantine use of Marble--Book Decoration, p. 300--Bindings--Relief Work--Economic Result of Method--Desirable Treatment in Carving, p. 301--Backgrounds, p. 303--Reproduction Processes--Metal Repoussé, p. 304--Cast Metal, p. 306--Character of Cast Work, p. 307.
Early Symbolic Ornament, p. 310--Customs, p. 311--Origin of Mythology--Nature Myths, p. 312--Light and Darkness--Melanesian Legend, p. 313--Darkness as a Devouring Monster--Season Myths, p. 314--Sun Myths--Belief in Natural Phenomena, p. 315--Greek and Roman Deities, p. 316--Scandinavian Mythology, p. 317--Rising and Setting Symbolised, p. 318--Winds Personified--Predestination, p. 319--The Fates--Propitiation and Sacrifice, p. 320--Early Burial Customs--Taboo--Roman Lares, p. 322--Mediæval Legend--Early Spiritual Belief, p. 323--Prehistoric Treatment of Epileptics--Prohibition, p. 324--Belief in Magical Qualities, p. 325--The Shirt of Nessus--Swords, p. 326--Invulnerability, p. 327--Belief in Numbers--The Muses, p. 328--Sacred Trees and Flowers, p. 329--Sacred Animals--Evangelist Symbols, p. 331--The Serpent--The Dragon, p. 332--Poetic License in Tradition, p. 333--Animals in Christian Art, p. 334--Association of Human and Animal Qualities--Totemism--Cannibalism, p. 336--The Sphinx--Assyrian Winged Monsters, p. 337--Pegasus--The Harpy--Sirens, p. 338--Pan--The Nymphs--The Centaur, p. 339--Symbolism of the Circle, p. 340--Symbols of the Trinity--The Wand, a Symbol of Authority--The Hand, p. 341--The Caduceus--The Thyrsus, p. 342--The Trident--The Cross, p. 343--The Pastoral Staff, p. 344--Symbols of Martyrdom--Symbolism of Gems and Colours, p. 345--Masks--Symbols of Time, p. 346--Secular Symbols--Trophies, p. 347--Heraldry--Interest and Meaning in Modern Art, p. 348.
Perception, p. 350--Accepted Conventions, p. 351--Influence of Fashion--Harmonious Consistency, p. 352--Natural Suggestion--Colour Scheme, p. 353--Early Training--Nature Study, p. 355--Aspect and Attitude, p. 356--Treatment of Studies, p. 358--Drawings for Reproduction, p. 359--Opaque Colour--Method of Enlarging or Reducing Drawings, p. 360--Textile Designs, p. 361--Wall Papers, p. 362--Architectural Drawings--Structural Design, p. 363--Lucid Arrangement of Details, p. 364--Mathematical Equipment, p. 365--Use of the Ruling Pen--Proportional Compasses, p. 367--Tracings--Conclusion, p. 368.
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