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Cornell University Library

NK1115 .D26
++
Art

and work

3 1924 030 688 034

olin

Overs

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions in

the United States on the use of the

text.

http://www.archive.org/details/cu31924030688034

ART

AND

As

several Artistic

the

shown
nse

in

tJic

Marble,

of

Wood, and

associated

plified

by

naissance

from

Stone,

Textile Fabrics;

details

descriptive

85

with

and

with

employed in

Tcrra-cotta

as well

as

Art:

Drawings

Lithographic

explanation,

Inditstries

and

Decorative

in

the

(each

Metal,

varions

the

zuhole

exem-

with

some

of Antique, Mediceval, Italian, Re-

Oriental examples) including some Illustrations

the best nnpublishcd^

together

WORK.

other

works of

dcsigiis

the ''Brothers

prom more

Adam;"

recent Authorities.

BY

OWEN

W.

DAVIS,

Architect.

B.

T.

LONDON:
BATSFORD, 94, HIGH HOLBORN,
MDCCCLXXXV.

IN

SIR
IN

WHOSE

MEMORY OF THE LATE

MATTHEW DIGBY WYATT, ARCHITECT:

LEARNED

WRITER'S

AND

GENTLE

SERVICE,

IT

WAS

GOOD FORTUNE TO HAVE DEVOTED

MANY YEARS OF PROFESSIONAL

STUDY,
THIS

WORK

IS

DEDICATED.

THE

ART AND WORK.

PREFACE.

"^HIS volume

in

been

has

collection

might have made the

that

Art
the

apt

it

may

as

book

more

far

however,

may,

it

imagination

of

for

is

time

all

when

for

attractive

with

certain

that

is

it

mainly the

is

reach

mainly

lies

result

climax,

it

the

forming

in

ages

whence

in

half

the

the pursuit

in

subject

seemed

leave

so

addition

as

it

of

to

suffice

he

otherwise,

score

course

are

consists

of

its

more of

or

not

experience

declines,

in

out

absolutely
history

and

order

in

arranging

studies.

Indeed,

chiefly

various

combinations

oft-repeated

of inherited

rapidly

design

fresh

features

details,

artistic

of

up

and

new forms

of suitable

collocation

Art

packed,

closely

which the mind has stored

ideas

power

the

engaged

are

plates.

illustrative

those

who

those

example, the Author has been content to

order to elucidate an

Be

for

and Manufacture.

of Art

The

reference-work,

essentially a

is

of

old

but rather

required,

has

exemplified.

fully

course

the

in

material.

to

rise

again

of

the

plates,

as

of

time

slowly

in

another direction.

Now
appear to
the

it

should

be disposed

purpose

will

raison d'etre of
lilies

in

arounds)

be

one

we

be
the

cluster,

are

not

first

here

obvious

seeming

that

explained

without
;

any method,

whereas

disorder,

and that when we

especially

the

it

to

those

may be
see

them

arrangement
is

wholly intentional.

who
said

so

at

fail

that

first

which

To some minds

sight

to

grasp

Nature does not grow

disposed

charmed with the composition.

(as

at

may

some

all

the

her

nurseryman's

IV

TREFACE.

Nevertheless,

been
has

set

of

alphabetical

in

been

added.

With

the

have

order,

exception

Some

referred

JVezc's,"

or

two

have

which

conclusion,

ment

given

trusts

that

been

to

Nor
Mr.

to

the

can

Henry

more

or

these

of

about sixteen

the

and

years

others,

Author has

volume

details

writer

the

whole

portfolios

years

twenty

he

to

devoted

contained

in

were

illustrations

since

and

standard

as

to

their

examples of
form

collected

in

owing

originally

to

engraved

having

technical

the

the

for

been frequently
art,

Author

the

above-

proprietor of the

use them.

tender his thanks to the subscribers for the encourage-

entirely

the

to

book

the
will

interest

of

Art-workmanship

prove as useful

to

them

and

he

have

as they

himself.

close

Mayhew,

this

for

preface
the

without

assistance

recording

afforded

him

his

in

obligations

the

to

literary

his

old

portion

friend,

of

work.

OWEN
I,

plates

the

from

selected

has

arranged,

of

throughout

accumulated

been

subjects

numerically

the

have been

the

of

plates,

engravings,

these

having kindly granted the permission

journal

In

the

of

list

"process"

been induced to republish them here

named

this

by the Author, and

drawings,

bv architects

to,

to

description

the

reference,

practice.

eighteen

Building

has

and

sketches

notes,

of

and

one

of

been drawn on stone

of professional

"

convenience

the

for

Caroline Street,

Bedford Square, W.C.

W.

DAVIS.

this

THE PURSUIT OF ART-WORK.

T/ic

SkdcJi,

and

Design,

tJic

Execution.

tJie

THE SKETCH.
evident that

is

IT

student (and

and

appropriate

reading

proceed only irom a mind that

The

certain

of

rather,

point

means

first

be when actually

will,

in

your

its

strength

to

obtain

read

granted.

for

improvement only

of

perfection

insipid

by

are

means

no

may be termed "happy thoughts;"

what

an

manifest

renders
success

for

capable

is

in

can

inward

sense

or

of

the

few

design.

teach

undoubtedly sketching

is

us

us

to

own

our

in

we propose giving

so

protessional

pursuits.

your subject somewhat smaller than you intend

begin

is,

can

none."

it,

end

this

object

many books

it

most

the

conceptions

refined

what we

take

to

and

of

requisite

is

improve

always

gradually

turn,

An

which

ideas

more

the

gathers

it

to

finished.

Remember

2.

of

that

injunction

first

sparkle

to

to

inclined

excellence

the

is

all

are

which have proved useful

suggestions,

Our

I.

there

How
How

"

The

laboured

who

he

that

since

the habit of indulging in

in

cultivated.

same rainbow.

the

is

we

less

concentration

that

and which

beautiful,

see

long as

so

desirable,

concise

obvious,

is

it

highly

is

the

learn,

men

no two
a

to

we

more

fact,

up

for

must be

but he

others,

must have the greatest power of design,

material,

In

Art we are ever students) must not only study,

in

and measure the works of

sketch,

continual

the

the

become the
soon

be

will

do

to

work

simple

more easy
and

exhausted,

wdiereas

thus

ior

first,

you tackle the

it

the

simpler

first

instance,

more

the

portions

difficult

giant

first,

consequently

will

appear the more formidable.

Try

3.

you require
4,
is

the

carefully

In

second irksome
JSJB,

it

of your

will

thoughtfully

do

impression

and,

doubtlessly,

of

an impressional idea of what

and carefully

of

an

more,

subject

many an

at

an

may-be,

is

artist

found

object,

details.

good

work may be good

hour's

to

the

that

for

first

stage

or

the other

impress

at

often

retained

the

leisure,

experienced

in

salient

front

when we
the

same

oi

arc

nervous,

is

two

start

bad

for

and

the

inconveniences.

and afterwards sketching

made

has

the

in

fill

drawing.

generally

is

than would an elaborate drawing,

vivid

quarter

first

whereas the third generally atones

Looking

memory,

the

in

then mass your work up,

The

fate

sketching,
;

get,

over your commencement, for be sure you begin well

gained.

battle

outlines

and shade

and so decide the

Mem.

from

light

in

Think

half

you,

draw without

to

points

of

the

object

not

visual

several

its
it

on

itself

permitted

to

retentiveness.

features

the

mind,

more

sketch

it

ART AND WORK.

How

moreover,

often,

unobserved almost

lies

does

own

his

at

go

Artist

the

abroad

many

when

study,

for

subject

doorstep.

THE DESIGN.

THE

human eye

shown

be

will

page

the

if

The

perceives.

it

for

assuredly does not see quite correctly:

be

be

to

and numeral

B E S

upside-down,

the

letters

turned
the

lesser

for instance,

8.

upper

unequal

an

half:

mind regulates the forms

the

amply prove

will

this

portion

of

each

character

which

the

vision

demands.

bi-section

Horizontal lines appear to droop or "sag" centrally, and to compress the space they occupy

whereas
cares

be attired

to

the

with the

delineation

never appear

will

Few

things

cognisant

of

The

produced.

effect

nature

in

this

their

wheel

more

certainly

is

of

irregularity

the

There

Be

of us.

either

it

mere brush-work,
there

neither

Is

Hence

It

conception

"grit"

In

It,

head

On

sheet

ornament

the

oomo

to

then

we have

got

charcoal

with a

with

manipulation

about

drawn, and

"flat,

charcoal

wire

the

at

foot,

of

we use

Perpendicular

in
Still,

It

yet

style in

we

ha\ang,

of

Carving

the

better

may-be

or

execution, and nothing

Is

drawing are

of suggestion

full

more

favourable

well

as

as

design.

to

Interest

artistic

may have

little

or no

and unprofitable."

follows

as

is

getting

It.

stale,

lining-paper,

stout

tool

the

Perhaps the

vase.

with the

the

always

they

thrown deftly from

is

draughtsmanship, though attractive,

operand:

and

true,

pot which

off

as

parting-tool,

whether touch and

being

exactly

cutting

of the Etruscan vases.

facile

were thoroughly

Meclirevalists

out

set

first

course,

Jirsi

the

settled

subject,

our

in

and

then

7nind

sketch

ichcit

zee

in

are

do.

We

lightly

of

or

heart-work

own modus

satisfied

result.

in

lines

the entire

or

little,

moulded or the turned

unequal

the

or

gouge,

feebly

The

the templet

the

questionable

and ends

rarely

is

lines.

the

retrace

eye

the

line,

old

never

geometrical one.

danger of

nor

The

are

therefore,

motion,

some

as on

may be

our

Briefly,

"

to

on the other hand, the

but,

the

Is

axial

then

out of drawing a

be put

uniform.

inherently

do with the

ever the

is

and

form,

bilateral

must

figure

beautiful than

to

lady

tall

right.

are

wheel's

may have something

apparently

scrolls,

preferred a freehand circle

For the same reason no

it.

on the other side of an

exactitude

greatest

an

of

side

heighten

to

nor a short one to wear a dress figured with horizontal

stripes,

in

we draw one

If

with

on the contrary, tend

vertical lines,

brush
"

proceed
In

the

lines

Stephens

design

the

(say

thoughtfully

charcoal

of a

and

away the charcoal with

Waverley
"

use

to

"

pen,

walnut-stain

over with a duster,

so

and

that

the

frieze

with

goose

w'ing,

some

When

dt'bris,

common
this

of the

heeding

without

rellet)

In

carefully

either

and water.

freely,

is

jsencil

we draw

the

black lead

and then
ink,

dry,

or

we

put

pencil
In

the

and when

forms

several

brown
rub

grime

the

after

amono-st

which,

general

colour

the whole

we

outlines

made up from
of

and the charcoal combined,

the

paper

serves

to

ART AND WORK.

produce a uniform

and

rubber,

then

grey

tint.

touch

up

shadows be required
Design

put

in,

nymph

wayward

is

high

the

be

to

another crops up which,

subject,

we take

Finally,

not

mind

the

how

it

The

truth

talent,

may

mines

of

with

we

use

brushful

for

when we

though

fortuitous

How
the

It

very

is

pains to overcome

why

of

mind

the

is

refreshing

we have

couldn't

lost

modern mediseval mansion

whereas the

no

or
It

demarcation

and

light-obscure,

In

of,

frieze

The

or

altar.

great

unlearn

of

rugged

See

mode

of

to

is

both

see

mingled

skulls

plate

64,

of beasts,

No.

design

all

repose of that

then,

how

are induced to
1

grouping and skyline of

more elaborate main-building,

far

found to possess,

in

entirety,

its

say,

divest

to

"Half

example

act

to

in

the

line

of

the margin betwixt light

feature,

rather

ancient

sculptors

were

as

foil

to,

than lose

wont

to

and enhance the beauty

i.

for

ourselves
in

our

of

in

this,

It

every branch of

Art,

will

generally takes half a lifetime

own

vain

conceits,

and

impress

our work.

is

often

more than the whole;"

the

work

will

the

ceases

ugliness

ungraceful

the

as

simplicity

is

an

making a powerful impression.

be as rich as the Alhambra,

the

the

in

penumbra.

the

in

risk

to

even

upon the mind the value of being simple

Old Hesiod says:

we

happy idea

the shade;" or rather, as

as

composition

sacrificial

in

that

now and

so that

that

and

beauty begins

almost venture

the

essential

be found the best

to

would

effect

introduce the

we

there

for

we

design,

general

the

where

decide

to

difficult

generally "as uncertain

is

up only

whatever.

art-interest

often

is

is

combined with

crops

see,

picturesque

the

ourselves.

which previously, perhaps, had

upon

upon which so much pains may-be had been bestowed,

little

to

difficulty,

hit

admiration at

in

gem

real

know

we

least,

Knowledge,

call.

the

At

with

case

even a passable manner

in

purposes,

other

for

versa.

vice

the

but

enough

one

on

thoughts

our

concentrate

within

rarely

is

mediocre result

imagination.

instinctively,

often

offices

beauty

any

if

and when we would design a plain

generally

is

whilst

two of weak lamp-black.

or

felicitous

view

in

"old fellows" surmounted the very

infinite

ourselves,

but such

abstract

be

white

vulcanised

of

piece

Chinese

little

would

might

it

with

lights

on elaboration, or

riot

others,

assuredly produce

ingeniously the

ask

that

is,

run

to

happens with

caused us

fain

is

the

lights

would lead us away from the point we have

object,

out

only be frittered

for

with

though our composition

ornamentation

if

it

lack

aggregate.

THE EXECUTION.

PERHAPS

the

simplest

means

of

obtaining

effect

in

design

is

by the judicious

use of refined Mouldings.

The
as

he

did,

late

Mr.

G.

E.

such softened

Street, was ever happy

in

the

use

of these

shade and well-defined shadow, with coaxing

details

lines

producing,

of moulding,

as

ART AND WORK.

harmonized

broad walhspaces

the

with

made them

and

openings,

the

from every

out

tell

point ot view.

Such

The most
sections

are

rarely

the

subject

How

apt

one

make,

right

ornamental

minor

of such

Then

comes CarAdnQo

turn

touch

on

here

Most

portions

up

crops

and

fat

up again further on

and then found again

This

gives

and

seductions

we

margin

will

determine the

to

were well to retain a collection

it

only

foliage

details

look

easy

draw\

to

much

carving depends

mouldings,

unlike

Still,

which

something

as

left,

like

do

to

were,

it

in

dex-

modeller has

Hence

imagination

the

for

chord

silent

consequently

music,

or

path

he

feels

one

at

with

the

Art-work.

in

becomes established

architecture

Italian

uncompromising

weak and

work

Italian

free

enough within

Germanic

quasi-mechanical

tendency,

in

this

its

own

the

or

vapid

influence.

the Italian renaissance was cherished in France;

In the time of Francis

I.

own

little

ancestors

skilful

picture.

pure,

by a

French

composition

be true interest

to

the

unsullied

"'perdu,''

lie

some vears before

be

mean

of a

where the finger of the

gracefully trails off into absolute nothingness.

it

the

in

in

take

will

it

W'e
but

limits,

of

choice

the

yet

consequently,

bold,

to

beholder

the

this

fear

country.

our

seem

design

the

of

We

and

by no means an easy task

is

Italian

terously thrust up the clay, and then

subject,

for

of the cinque-cento carving was undoubtedly rendered from carefully-prepared models

Italian foliage

lost

useless

is

Art- workman.

the

of

ability

pick

It

subject

duty,

margins and borders.

to

deer;"

and graceful are their evolutions.

simple

to

us

"small

for

foreseen

fulfil

details.

shall

on the

bordering

to

execution.

in

brings

good design.

has

it

directly

despise

to

is

next in

We

viewed

of mouldings

mar,

or

unless

profile,

e^'er

Thus

mouldinQS.

of

exquisite

often

so

mission

the

is

did

eood

themselves

carvinQ-

classical

as

in

and, moreover,
Kincr's

Colleg-e,

Cambridge.

But
the

things

changed

are

between

difference

now,

unfortunately

French

late

and

but

few Art-patrons

from

and reproductions

renaissance,

can

good

appreciate
old

Italian

details.

A
gettino-

clever
n-ood

One

ornament

(and

minds

as

the

Carving
to

lately

hands,

whereas

"passable" figure carvers were

panel
is

of

which

dished

structure.

unless

it

incrustation

foliated
is

carving

spirited

not ornament

entire

weaken the

had the

he

that

sculptor

foliaQ'e

small

told

architectural

out

of

the

us,

on a house-front,
that

fulfils

on

the

flat

is

duty)

Houses
apt

medium course would seem

to

of

will,

give

if

as

utmost

lives

much

in

enough.

plentiful
it

difficulty

in

its

pleasure

position,

some

to

Parliament.

look

better,

feeble,
i.e.,

as

not to

well
let

as
it

to

appear

look as

if

it

ART AND WORK.

were applied
the

same

A
"

but

be half

to

the

that

time,

forms an integral

sculpture

(we dislike the name),

"

they would

still,

out, or nearly so

whilst

part

it

made

should be

upon.

carved

foundation

of the

evident, at

word or two, now, on Decoration.

closino-

Decorated homes

time,

and half

in

though such places might dazzle

for

tor

and ultimately leave one melancholy and

soon betray their vapidity,

dissatisfied.

Give

simple,

Depend

upon

and

tastefully

place,

such

contrary,

whilst
pictures

as

must

the

the

garnished
the

eye

apartment.

might

find

It

at

with

the

should

take

its

china,

in

their

takes

eye

cultured

"chum up"

furniture

and

picture.

it,

turn,

to

in

serve

and
as

an
to

at

no

an auction

place

greets

us

as

it.

needs

walls,

which

work,

passionless

thoughtful,

and acquaintance, whenever we return

tViend

the

some

therefore,

us,

"scratch"

mart,

the

for

of

lot

echo

part

massed

of

and

about

prettiness

The

example.

ceiling

intrinsic

give

well-arranged

glance intuitively a

the

the

carpet,

on the

harmony;

general

scheme,

brilliant

the

and

touches

the
to

ART AND WORK.

LIST

OF ILLUSTRATIONS,
';e.

I.

New

India-Office

Details

Fountains,

Vases,

Italian

AIedi;e\'al

Wood

Stone and

5-

Old French Metal Finials

Finials,

etc

'"

Chimney-piece

Ivenaissance

45.

Early Gothic

25

46.

23

47.

"Adam" Grates
New India-Office

23

48.

Carved-Stone Details

17

24

24

Carvings

I\oi'y

4-

PAIJE.

PLATE
44.

29
etc

Etc.

I7

Stone-Carvings

24
29

Details

6.

Car ved-S tone Details

17

49.

"Adam"

7-

Old Encjlish

18

50.

Staircase

8.

The

13

51.

Old English

19

52.

Early Classic Ornament

24

53.

Table- and

Chair-Legs

14

54.

Table-Legs,

Commode,

14

55.

"Adam"

34

56.

Japanese Ornament

26

14

57.

An

15

19

58.

Modern Carpets

29

59.

Table-Legs,

13

60.

Old Majolica Paintings

27

17

61.

Old English Plate

31

28

62.

"Adam"

63.

Marble

Fire-place

Butterwalk,

Dartniotith

lo.

Adam "
" Adam "

II.

Carved Oak- Cabinet

12.

Details

13-

14.

Old

9-

"

Chimney-pieces
Grates

of Carved

Oak-Cabinet

Wall-Decoration

Cinque-cento

Oak-Cabinet

inlaid

16.

Adam Chimnej'-pieces
New India-Office Details

17-

Cabinet,

iS.

Carvings

19-

]\Ietal-Work

20.

Modern Indian Ornament

15-

21.

"

"

and Decoration

Chairs,

The

Certosa,

Fa\-ia

Designs

Renaissance Overdoors and Pedinrents

Capitals

Adam

Broadwater

Church

Grates

Decoration

Wall-Paper

35

Plate

31

22

32
32

etc

Chimney-pieces

19

"Sheraton"

Arm-Chair,

16

Balusters,

etc

t,t,

Chimney-pieces
the

Inlay,

19

Certosa

Pa\-ia

28

64.

Renaissance Panels, and Pedestals

16

65.

"Adam"

19

66.

China Paintings

20
^o

30

Chimney-pieces

19

23-

"

24.

Decorative Wall-Paintings

67.

Renaissance Panels

25-

Old

68.

Italian

26.

Dining-Room

20

69.

Key-Stones, Corbels, etc

27-

"

Adam

''

Chimne)'-pieces

19

70.

Italian

28.

" Adairr

"

Grates

24

71.

Renaissance

29.

Wall-Faper Decoration,

34

72.

Italian

30-

Medixval Metal-Woid<

28

73.

Early Gothic

31-

Japanese Birds

26

74.

The "Priory" Porch Hampstead

32-

Bedsteads

12

75.

Animals

Antique

33-

Capitals

15

76.

Renaissance Chiiiniey-pieces

iS

34.

33

77.

Japanese

26

35-

Early Classic Ornament

21

78.

C)ld

36.

Animals 15th Century Wood-cuts

12

79.

Animals

Chimnej'-jiieces

19

80.

Animals, etc. 15th

Doorway

21

Si.

Internal

82.

Florentine

83.

Capitals

12

84.

Tarsia- Work

20

85.

"Adam"

19

Terra-Cotta

37

"

"

Chimney-pieces

Printers' De\-ices

talian

Interior

New

.Ships

.Slioreham

Church

Tarsia- Work

Adam "

3S.

Stone-Head

39-

i6th

40.

Inlaid

41.

Animals,

42.

Door Decoration

43-

"

to

Century Tablets
Pianoforte

Adam "

Plants,

etc.

15th

Chimney-pieces

Century Wood-cuts

...

Tarsia-Work

^3

27

Tarsia-Work

31

Ceilings

]8

Capitals

]r

Stone-Carvings

from

the

17

31

Birds

Houses Rochester

from

29

an Etruscan

Cabinet and
old

Grates

ji

Century Wood-cuts

Architecture and

from

Tomb

12

Decoration

20

Chair

Italian

j^

Drawings

i r

jj
,

^^
,,

ART AND WORK.

THE

PRINCIPAL

ALPHABETICALLY

SUBJECTS

ARRANGED AND DESCRIBED.

ANIMALS FROM THE ANTIQUE,

Plate

No.

Nos.

75.

Aquatic

3,

i,

Bull;

4,

Nos.

and

10,

6,

and

9,

antique sculptures of

Gryphons; No.

Gryphons;

Sphinx, and

7,

(the last six examples are copied from wall-paintings at Pompeii.)

has

the

wings of

an

horns and beard of

Eagle,

with

the

Goat are added

Gryphons were used

as

type

to

body,
a

legs and

Lion's

of power,

tenacity,

whilst the

Lion

Sea-horse;

Winged
^i'-^ii,
Lion
S^"-'

8,

" Griffin,"

or

occasionally,

the

head.

and guardianship by the ancients

swiftness,

leonme portion showed courage and audacity

the

Eagle's

or

No.

2,

The Gryphon,

of

tail

No.

portrayed

aquiline,

veneration,

and magnanimity.

valour,

ANIMALS FROM AN ETRUSCAN TOMB.

Plate
in

79.

These

many-chambered

the

work

line

of

Boars,

and

violent

action.

the

Vulci,

at

Bulls,

subjects

colonists

The

perspective.

together

are

drawn

in

animals

Gryphons,

with

of art

L Etrnric

ct

them

of
les

of

consist

Sphinx,

Above each

Etrnsqucs."

Lions,

is

Tigers,

and other chimeras

from

reproduced

is

fret,

painted In

Wolves,
in,

Horses,

more or

less,

most vigorous manner, and are replete with suggestions

in

North

were probably executed

Italy

Etrurians

continued

to

dignified

the Greeks."

appear

copy,

in

to

have

are

founded

previous

"but,"

says

to

the

writer

arrival

on

this

of

the

subject,

exactly in the style of the ancient Greeks, from

learned

all

following their archetypes

manner,

Etruria

and South of France;

more rude and ancient specimens

and

"

entitled

illustration

a frieze

artist.

Works

the

Our

Italy.

are from

colourings,

which surmount groups of subjects from the Mythology,

ordinary isometrical

to

tomb

M. Noel des Vergers,

of

beasts,

The

executed in conventional

wall-paintings,

they

knew,

strictly

and

upon more enlarged

and whose
servilely,

principles

primitive

but

than

in

style

Greek
"the

whom
they

most elevated

had been adopted by

AMMALS,
CLASSIC.

ART AND WORK.

ANIMALS,
<'ciitur\".

These clever engravings,

INTERNAL

AECm-

rEUTURE

by

obtained

are

FROM

Etc.,

means

simplest

the

motif

of

full

.so

CENTURY WOOD-CUTS.

15x1-1

design,

in

which

an

They

employ.

could

artist

execution,

in

spirited

as

well

as

taken

are

and

llECOUATKJX,
set riate SI,
anil

trom

principally

the

Ortus

'"

Sanitatisf

printed

Mentz,

at

in

which

1491,

work on

is

"DECORATION."

An

Natural History, by Jacoi.sus Mevdenbach.

No.

Plate 36.

"Dove;" No.

2,

No.

a Sea-eagle;

3,

as

book appeared as early

edition of this

Dragon; No.

5,

1485.

Hound,

are

animals

6,

ARM-CHAIR.
bCf Pl.itcs
.-.7, an.I

17,

7,
x-j,

Hare, and

and

Falcon;

No.

and

Pelican

S,

young.

Nos.

i,

and

4,

9,

and 'CIIAIRM

which

Plate

Asphodel)

Plate

Bramble;

No.

No.

Fish;

The

old

No.

book-makers

were

and over again

The
to

We

would

Plate

9,

41,

Greeks

planted

Swans

6,

No.

They

traveller.

No.

and Serpent;

amongst

the

9,

Pigs;

3,

Mugwort,

plant

are

tombs with

their

" Plerbal,"

[Botris),

by ^LvTTHIuLI

No.

hardihood,

the
to

and Oriental

6,

their

distribution

frequently,

illustrate

totally

Pdying-fish

to

Ray

7,

wood-cuts

ot

an engraving,

repeat

different

so

over

subject.

have seemingly

drawings,

No.

3,

Gryphon.

10,

over-scrupulous

No.

No.

Hellebore;

2,

been

laid

tribute

designs.

attention

call

the

these

and

No.

fecundity;

of

Hooded Snake;

5,

not

emblems,

producing of

the

in

P^ruit

Crocodile,

9,

same work,

the

in

No.

had

they

sake,

Mediaeval

old

Forbidden

Palm Tree, the symbol

I,

"Pegasus";

economy

tor

2,

the

No.

art-suyxrestions.

Eagle and a Fish, reproduced from the

"Leviathan";

4,

8,

which

species,

as

the

later date.

No.

80.

No.

Mandeville

John

Sir

merits

their

Water Subject

an

8,

somewhat

of

that,

and

dwarf

5,

or

a Water-plant;

I,

(the

No.

and Nos.

work

No.

41.

Mallow,

4,

Pliny,

interested

on account of

here

introduced

No.

have

would

to

"colour" thrown into the examples Nos.

the

engraver having

artisticallj.'

the

cut

internal

foliage

in

i,

and

4,

2,

intaglio.

BEDSTEADS.
BALDSTEES,

Plate 32, No.

and"TABL&

I,

Dutch Bedstead, dated

the side and end of a

No.

1632;

an

2,

Italian

LEGS."

specimen from the

Hypnerolomachiaf (see

"'

article

on P^ountains) date 1499;

No.

the head

3,

BEDSTEADS,

of a

very handsome

from an engraving, signed Remini Roellns,

"four-poster,"

Venice

JilRDS, see

^and^fand'
".lAPANESE

is=;o'
00

'

'

No.

4,

"Yiollct

perspective,

from

an old

Here we have
addition,

7n-key''

in

HOUSES,'

been taken
the

tops

of

No.

5,

Author.
in

the
is

the

and

pieces,

standards,
brass

transcript

manuscript

metallic

receive

to
to

Due"

le

of

Bible

construction,

bed.
set

To

the

combined

little

lor

Messrs.

series of metal bedsteads, similar in style,

the late Paris

and

century

Bedstead,

" illodilier"

with

Vol.

cordage,

redrawn

as

and

in

correct

P, Lit.).

probably

sackin*''

appearances, this old article of furniture could

receptacles

made by

loth

(see

up again with

suggest

foot-end,

all

Philadelphia Exhibition.

No.

difficulty.

the

holding

Gillow

&

The trumpet
of

candles.

Co.,

from

terminations

desif^-n

was shown by Messrs. Peyton

6,

bronze leg of a

have

&

by

to

the

Peyton

Pompeian Couch

ART AND WORK.

the

in

Museum.

British

here by

workman

the

The manufacturer
2000

of

minimum amount

surface

with

delicate

turnery.

ago

years
of

yielding,

bronze,

appreciate

doubtless,

will,

13

maximum

does,

it

design

in

as

object

the

at

reflecting

of

and

proportion,

exquisite

of

aimed

BUTTER-WALK DARTMOUTH.
Plate

When we

8.

we

Dartmouth,

visited

first

were

not

surprised

little

to

find

'\^'^^lk,'"

DAll'J'MOUTJI-

such

it

with

level

and there by

the

truding gables,

greet

have

to

The

have been

two

ol

are

either

features

of the

erected

unique

and

convenient

well

over,

English

seat

street

and

stories,

to

lie

in

acclivities,

appearing on

still-turther

One

or

and 1640

much

and

^just

pro-

wooden

slated.

Still,

heraldic

beasts,

exhibits

together

rampant

the

and

Only

the

exteriors

many

beautilul

three projecting windows,

others,

and representing

tassels,

now

architecture

and pargetting.

disappeared,
facade

the

amongst

e.g.,

dwellings

ancient

illustration.

sculpture,

has

carving

and

In their prime, those houses must

Renaissance.

the

our

of

soil

merchant princes,

of these
five

commerce,

when "Elizabethan"

that period

fronts,

of

vertically

other

the
ot

and

Atlantic,

considerable

ot

daughters,

four

domestic architecture

sphinx,

the

as

became

it

half-timljered

their

now remain

stuccoed

appears

of one

upon the

close

form the subject

of these

supported on vigorously-carved oak

as

haven,

himself and

for

Two

with

the gables,

projecting

whilst

into the style of the Italian

itselt

of old

other

pavement

the

almost

hills,

neighbours over the way.

fronts bear the dates 1635,

was resolving

town

the

of

wealthy traders of the good old times.

" Butter-walk."

the

called

for

centre

the

with

steps,

amid charming scenery,

fertility,

stated

their

sheltered

an abiding place
is

entrance,

llights of

chimnej'-tops

Possessing a

abundant

harbour

its

precipitous

with

in

Old-fashioned pinched-u[) streets seem to totter up the steep

nearly-complete valley.

connected here

Hemmed

continentaldooking town.

concealment of

the

to

singularly

with

and unicorn,

lion

richly-carved

Iriezes

and

window jambs.

The

The
has

first

ceilings

the

and

floor

of the

upper

floors

Royal arms carved

Kine
^ Charles

which are borne on stone columns, project over the footpath.

fronts,

are

over the

very elaborate,
mantel,

is

and one

said

to

ot

the principal

have been

the

rooms, which

reception

room

of

I.

CABINET AND CHAIR FLORENTINE.

Plate 82.

This small, but luxurious piece of cabinet-making,

enriched with precious marbles,

silver

mountings.

The

chair

in
is

CABINET,
Plate

17,

represents

" plctj'a diu-a "

of Italian

portion

of

executed

work, and carved doors,

walnut, with

CHAIRS,

is

Genoa

velvet

etc.,

in

green ebony,

having oxidized

coverings.

AND DECORATION.

Reception

Room, designed

for

Messrs.

Nosotti.

""

'

^'IJ^Yua

ART AND WORK.

14

The
is

executed

The

the

satinwood,

in

chairs

The

was hung

drawing

original

of

are

wall-decoration

on

painted

is

dado being cinnamon,

tender

green

with

embroidered

with

materials,

Exhibition

ground,

white

and

backs

satin

yellow

Isaydeaves,

The

1882.

of

cabinet

and ivory and brass mounts.

marquetry decoration,

with

similar

Academy

Royal

the

in

Pompeian

in

flowers,

seats.

colourings

etc.

CABINET OLD INLAID OAK.

Plalc
inlaid

This

14.

We

are indebted

kindness

the

to

Dewsbury,

Architect,

design and workmanship,

English

is

richly

on an oak construction.

woods,

various

in

specimen of good old

fine

fortunate

its

measured

the

for

of

possessor,

from

drawings

W. Ridgwav,

Mr. Fredk.

which

engraving has been

this

produced.

CARVED OAK CABINET

Plate

II,

is

INIuseum

collection.

composed

partly

door-panels

of,

It

It

is

of

cabinet measures 7

rudely do\'e-tailed and

each the

shelves

and

special

roses

ft.

in

in.

length, 6

together,

the

ft.

in.

massive iron handles

The

The

horizontal

height,

in

very

questionable

to

each

centre

chest

still

in

of

specimen.

The

every detail

from

very

in

general effect

12.

portion

of the

incision

across

the

surface

of

is

proper keeping

CABINET

I,

hinge.
at

3,

whilst

it

which

is

and

cupboard

S in.

in

depth.

band of

this

one

being

totally

Our

use

both

the

in

Germany

to

ordinary

and green

black,

has been restored,

above

and

below-

the

forefathers were eiven to makino-

may be

a rich

instances,

and drop-handles demand

The ironwork

stops,

carving.

considered as

moderate

medley of forms, and yet havino-

shams which crop up

unlike the wretched

6,

CENTURY WORK, DETAILS OF

CARVED OAK.

i6th

represent angle-straps, locking-plate, with drop-handle, and a

roses,

which are boldly convexed

the top terminating the

the

and flowing.

ft.

of

neighbourhood.

its

The

of

very impressive

(GERMAN)

Nos.

The chamfered

dimensions,

large

Warclour Street and

Plate

and

bands

vertical

one or two

in

common

and evidently modern additions.

lockincr-plates, are of deal,

cupboards

and

horizontal

bold design of the lock-plates

success.

probably

is

mounts and diaper

iron

strappy, wavy,

most of the colouring, however, has been scraped or worn away.

with

and

workmanship,

Portions of the car\'ing have been painted light red,

doors and fastenings.

but

South-Kensington

the

in

and forms two separate chests having two stages

Large latches and handles are

attention.

than

earlier

being concealed behind the

remain.

still

pinned

joint

Formerly, the sides had

rings

German

Sixteenth-century ironwork, too, was more

gouge-cut carvings.

The

cupboards,

from, older materials.

restored

evidently

are

oak,

CENTURY WORK.

i6tii

of

chest

sixteenth-century

of

is

or

cabinet,

or generally

black

of

old

rare

(GERRIAiN)

front,

whilst

ties

in

the centre

and hinges) are most

their

stems

are

bent

in

(with a

effectively

very

telling

studded over

free

and easy

ART AND WORK.

manner.

The

drop-handle

and

foliage

on the

boss,

presents

The woodwork, which

of

the

decadence of mediaeval

Nos.

flat.

and

masterly

art,

shade,

the

the one-sided

"

crocket

Such landmarks
carving
to

fragments

be

with
is

of

(half

treloiled

its

executed

in

Norman

carved,"

peculiar

feature

which

curves

which

No.

5,

of the

became

time,

details,

portion

is

pattern

late

in

stone

the

especially

work.

in

sixteenth and

decide

to

far

forms (which were unusual

to

incised

are

into

flattened

very

is

work)

not

the

diaper

doors

to

thoughtful in design, and

rather

is

easy

always

are

of

century

seventeenth

The

uncommon.

and most delicately wrought, when compared with the

black oak,

grounded

is

own Perpendicular work.

our

in

The margin

size.)

"

curious

erratic-looking

centuries,

go

more

date,

from

full

common

these will often

this

workmanship.

call

retain

hollow

the

with

these were evidently attempts to depict, in forced light

of previous

form so

"

as

distinguished

of cabinet,

mid-rib

raised

somewhat

the

viz.,

and

and

vigorous,

of wrought-iron

piece

examples,

are

4,

on the surface of the larger leaves

and

exceedingly

is

want of a better term we must

for

out

the

locking-plate

15

panel
of the

rest

woodwork.

CHAIR
This

Plate 57.
of

the

illustrates the

front,

and plan of an arm-chair of the closing part

profile,

CHAIRS,

The

century.

last

BY SHERATON.

(ARM),

was

original

rosewood,

of

"

in

thurmed

see

also Plates

work,

"

inlaid

with

are,

more

7,

'TfalSI82,

mahogany, and ebony, having brass mounts and velvet coverings.

fiddle-back

CAPITALS ITALIAN.
Plate

Although

72.

as

classified

nine

the

capitals,

details

here

given

CAPITALS,
CLASSIC.

properly,
Castello

The

corbels

flat

about

is

1490,

pendentives

the

which

Mondolfo,

di

date

to

The

of

of

the

perhaps grander, and certainly purer,

the
as

are instances of the wonderful

use of the

continual

capable

of

thirteenth-century art

in

of

These

roof.

ancient
in

are

taken from

duchy of Urbino, Central

the

Italy.

Museum.

South-Kensington

the

capitals

on

plate

this

are taken

variety

as

from

sheet

period.

the

of the

spirit

Antique, developed

than the highest attainments of old

"one Corinthian

treatment

varied

the

in

cinque-cento

VVe have here a keen appreciation

They

groined

FROM OLD ITALIAN DRAWINGS.

Corinthian-like

sixteen

drawings

silver-point

and they are now preserved

CAPITALS
Plate 83.

Fano,

near

is

of

classic

in

capital,"

were the

carving,

Roman

" caps,"

style

architecture.

and expose the absurdity of

model of surpassing beauty,

foliated

in

during

the

but

still,

palmy days

of

England.

CAPITALS NEW SHOREHAM CHURCH, SUSSEX.

CAPITALS,
MEUIiEVAL,
see also

Plate

and No.

2,

33.

These

capitals

are

taken from

of the south-east pier to the

shaftlets.

No.

i,

of the "north-west respond,"*"'5,

arches dividing the choir and

aisles.

Plate
Nos. 2 and 6.

ART AND WORK.

There seems
and

south

gruity in

the

work

the

in

bined

this

with here

charming

the

good reason,

buildin"-.

The

and there

a touch, more

and water-plants, and

ferns

with

of

desio-nino-

thoughtful character,
sculptured

amount

certain

is

incon-

of

and the coming new one.

been suggested, and not without

has

there

still,

though the north

for,

which the feelings of the architect often vacillated between

in

one date,

of

are

capitals

considerably,

differ

work

Transitional

style

It

doubt that the

little

and arches,

piers

all

old

but

possessing the

or

of nature,

less,

endless

variety

most

of

is

at

reminding us of

Romanesque, com-

of

Early English carving.

of

simplicit}'

throughout the church,

foliage,

was

influence

foreign

that

CAPITALS CHANCEL, ARCH BROADWATER CHURCH, SUSSEX.

Plate
tectural

2 2,

an

is

have here

represents

intermingled with

birds,

be almost Byzantine

the

section

more

quickened by one

distant

" crotchet "

archi-

They have

and enriched
needs

fine

unique

as

seem

to

as

if

curves

caulicoli

be gliding

down

bent

carved.

similar

the moulding and "turnover"

in

more than an uninterrupted sequence of

abacus of that period.

circular

here,

active

in

developed

little

from the south-east pier of the tower, and

are

surmounted by a bold lozenge-moulded

abacus

the ordinary

but passing-mention

Church, and

old

fully

The complementary

label.

the varied

boasting very superficially

the

represented

here

of capitals

and rendered so as

these

for

the former

masses.

was then

the

of Nature

prevailing truncated-

central capital,

shoot forward

to

we have

It

obedient to

form,

the chancel.

it

capital

Early English work.

The group

the

and

bell,

the

in

touch

was the type of and became

to this

foliage of

still

Anglo-Norman

entirely of plant forms,

They show,

weight of their luxuriant terminating

In

arch,

of

infinity

carved out of the

foliage,

composed

are

latter

almost imperceptibly from the

by the

and

Iruit

treatment.

in

of the Corinthian model,

adjoin

varied

juxtaposition the convex and the concave element of capital

in

bowl boasting, whilst the two

the

the

of

detail.

We

to

example

interesting

arch next the nave

is

it

Norman tower

is

rather curiously constructed,

well-known to the many who have visited

of

Broadwater.

CARPETS MODERN INDIAN.

CAHI'KrS-

R/ate 58.
century,

The
adapted

first

introduced into England as a floor-covering in the thirteenth

by the Spanish ambassadors who preceded the

The
worked,

Carpets were

looms,

whereon

consisted

of the

carpets

from

The
engraving;

Nos.

Indian

patterns

i,

and

have,

otherwise,

the

the

rugs

and mats

same construction
and

2,

old
in

have

3,

Persian

the
effect

an

by

''requisitioned"

as

but

those in

the

old

crusaders

were

use in the East at the present day.

claim

litde

of Eleanor of Castile.

to

originality

the

details

being

sources.

absence
of

arrival

of

colour,

Indian

become

carpet

is

somewhat

soft,

dead,

emphasized

and

blooming.

in

our

The

ART AND WORK.

nllings

usually

consist

incorporated one with another, that the

in

the existence

The

of a

design

arrangement

geometrical

of

recurring

eye

takes

which

pattern,

17

strong

of

the whole

in

might not

it

and has

at once,

field

care

blended,

so

colours,

or

see

to

being generally of the

hue

of

cow

red

luminous by the aid of the colours of a

in

the sun,

rich palate,

whilst

laid

the minor

with subtle

in

faith

follow.

often enclosed within a telling border of red, black, and yellow

is

and

the former

rendered

are

tints

minuteness.

CARVINGS TO WESTERN DOORWAY OF THE CERTOSA,

AT PAVIA.
Plate

from
the

We

" Certosa."

and the

On

exquisite

lower panels

the

guilloche,

Plate

museum

were

subtle
7

captivated with the deliciously semi-natural growth of this

display

Plate 63

the

of

foliated

and shade.

light

and Plate

is

the western entrance to

of

side

left

engraved,

here

carving

renaissance

Italian

the marble door-jambs on the

in

No.

4,

of

bit

little

No.

64,

grand

are other details from this

3,

of sculpture.

The
by the

Duke

first

was not begun

taken,

is

noble edifice

that this

"

the

it,

Bcata Vergiuc

Milan, as an atonement for homicide,

of

was Bernardo da Venezia.

the carving
add,

or as the Italians have

Certosa,

architect

to

The

18.

The

1396.

The

facade,

until

1473, after the designs of Borgognone.

however, from which

being allowed to

present,

at

is,

year

the

in

Grazic" was founded

dcllc

representation of

this

into

fall

original

We

regret

somewhat

dilap-

idated condition.

CARVED STONE-DETAILS POSSINGWORTH MANOR.

Plate
flowers,

Nos.

6.

etc.

No.

Plate 48.
details

No.

Manor,

early

1870,

in

the

is

frieze;

I,

are

6,

Nos.

while

near

and from the

Plate

Museum

No.

3,

is

8,

the

then

2,

3,

5,

and

cornice-

gate-house.

in

small spandrils

Nos.

4,

and

chimney-piece

6,

label ornaments.

are
seat

Author

engravings

Romanesque

corbel

Nos.

of

Mr.

the

illustrated

given, the

above

Plates

6,

By

Huth.

Louis

in

"

permission

The Architect^'

and 48 are reproduced.

STONE EARLY GOTHIC.

details

are

taken

principally

from

the

Architectural

collection.

Nos.

which

These

45.

is

the

IN

3,

and

7,

Uckfield,

CARVINGS

of a

and

2,

and

terminations,

label

profile

Nos.

M. Digby Wyatt,

Sir

late

4,

corbel,

5,

Possingworth
of the

No.

while

and

i,

I,

and

5,

are

drawn from a
is

an

from

the

cast in the

side

of a font;

Nos,

2,

and

6,

are

capitals

the

South Kensington Museum, being almost Byzantine

example of a beautifully-sculptured

thurible

while No.

4,

is

former,

in feeling.

a very quaintly-

conceived abacus.
Plate J^.

The

first

five

subjects are from casts belonging to the Architectural

Museum.

ART A AW WORK.

iS

^^<^^-

in

and

I,

continuation

remindmg one
oi
<u-e

of the sturd)-

mallow;

the

kept

moidding termination.

oi

\-ery

starting from bold leafy forms.

are crodicts,

1,

No,

but,

solt,

an example
a

witl:

effective spandril-piece,

and

amid the leaves and

where the undulations of

and No.

outline;

be a spray-

to

ajjpoars

3,

coral berries,

its

loliage,

sufficiently-crisp

New Shoreham

arcade work at

of

a very simple

is

4,

of the arum^ with

pistil

is

No.

Xo.

modelling

the

a chevron

6,

truit

Irom

filling,

Sussex

Church,

CEILINGS, RENAISSANCE.
These

Plate 71.

born
the

new-born

that

classic

art

The

France.

in

artists that

style

Francis

Paris to establish

invited to

I.

"Grand Monarque"

of

the

of

Architecture^'

very

is

like

Serlio.

of
I

was one of the

1475, and

ISologna

at

who was

from the pencil of Sebastian Serlio,

four Italian ceilings are

hese

Venice,

designs

from

taken

are

"

The

Books

by Serlio

Serly,

or

84.

1551

CHIMNEY-PIECES, RENAISSANCE.
Phite

The

76.

was an

Italian

ceilings,

Plate

No.

is

one

make

to

make

architect

is

says,

and

license

to

his

period

cincjue-cento

as

already

stated

under

making the neck

form,

Corinthian

" this

are

facile

and Nos.

and

design,

with

chimney

the

oi

winged

who

head

the

Composite,

wherein

the

tor

made

oi

doore

other

the

The
is

to

etc.

Antique.

the

or place

has

translator

two causes:

tor

taken from

it

designer

old

The

Ionic.

chamber,"

in

over

figure

might doubtless serve

invention

entitled

is

as

chimney wdiich receives the smoke, wider

the

ot

tr)aimph."

oi

allowed

greater

pencil.

Door-heads by Serlio are given on

Plate

21,

FIRE-PLACE, OLD
Plate

are irom designs by Serlio,

details

''The second order with the dolphins

mouth

the

Serlio says that

Nos.

Chimney-piece

a Doric composition,

described as

Piraniicall

No.

the

ot

oi

71.

work

of Serlio's

examples

si.\

Nos.

and

3.

ENGLISH.

7.

CHIMNEY-PIECE, RENAISSANCE.
Plate

44.

Becrmann,

in

his

''History

of Iirventions,"

Francesco da C.vrraro, a Paduanese noljleman,

of the

"rvloon," an inn of note, he found the

a

jjlaced

in

and caused two chimneys

to

city,

these,

in

brazier,

which

were

the

memorial of the event.

first

middle

the

of

be constructed
ever

erected

fire

visited

in

us

room

the

whereupon

manner

modern

in

he

sent

use

placed

at

136S,

one

the

sign

custom of that

to the

he

of those in

Rome,

that

Being lodged

was kindled, according

the
in

Rome.

tells

at

for

workmen,

Padua.

his

Over

arms as

ART AND WORK.

Whatever
used
did

in

this

reliance

country

not import

corner

the

may
prior

be placed upon the above,

to

they

luxury,

was never more

date

that

attractive

added
than

followed immediately after Elizabeth

the

old

English

The two
details

fire-place

much

here

for indeed,

its

the

very certain
Italian

that chimneys

artists

improvement.

visiting

Perhaps

were

England

the

chimney

that

which

throughout the reign of the house of Stuart,

ai)preciatcd.

illustrated

being taken from existing

o authorities.

Plate

to

is

during the Elizabethan period or rather

was thoroughly

chimney-pieces

although

but,

it

19

are

from designs

b)-

the

Author

most

of the

ART AND WORK.

-o

smooth over
find

ior

ultimately
verily

deficiencies

little

we do not

that

there

so that

touch

is

it

own

we

excusing the waywardness of a friend, and

like

the

dislike

cjuite

of our

is

nature

bit

of

al)out

it.

bad drawing so much

as

first

at

CHINA PAINTING.
Plate 66.

CoPELAND, Stoke-on-Trent.

Messrs.

In the centre ot the illustration

This

Work"

This decorative legend was invented by the author of "Art and

was used merely

to

is

was intended

It

on Christmas presents,

for painting

an old Greek vase, described in

"

ior
etc.

Early Classic Ornament."

up the hiatus.

fill

DECORATION INTERNAL ARCHITECTURE.

Plate

An

Si.

decoration

Italian

of

bay

to

Public

The

spandrils of the arch are painted in monotone, on a gold ground.

There are marble

The

panel.

bust

columns,
in

the arch

W'e do not pretend

conception
it

is

in

pilasters,
in

is

and

almost-ilill

relief,

any great novelty

to

in

our opinion hardh^ the point to be

be obtained, there

generally

is

little

with

pedestal,

around

picture

the

aimed

or no stamina in

it

to

at or

sought after

so that,

compare

when

for e\'en

should

the novelty wears

off,

away comparatively

turns

it,

it.

thoroughly original

Indeed, a

design.

this

the

walls are stone-colour.

marbles

inlaid

in

figures

with carved festoons and sprays above

remembering no established canon wherewith

the eye,

The

Hall.

dissatisfied with the result.

DECORATIVE WALL-PAINTINGS.
Plate 24.

two of the principal

Illustrates

sprandril fillings, in the Council

Vintner"
outline,

(the

subjects

and coloured

W^e are

and Campbell

who

for

engraving)

our

ot

guilds,

Guildhall,

drawn irom a

they

of

heroic

our drawing to Mr.

F.

Smith of the

size;

series of twenty-four

"The Mercer" and "The

London.

are

in flat

indebted

chamber of the

city

are

painted

in

brown

tints.

firm

of

Campbell, Smith,

designed and executed the above decorative works.

DOOR-DECORATION.
Plate 42.

work,

shields,

seven-panelled

heads,

etc.,

black, in the eno-ravinQ-

plain

in

the

door, finished

in

ivori'-enamel

and

decorated with

shaded ivory-colour, on a gold ground, which

ijateras,

husks, and lines on the

is

foliated-

represented on

frame-work of the door beino-

in

gi->ld.

DINING-ROOM.
Plate
for

James

26.

This Renaissance interior was designed by the Author of the present volume

Siiooi, liked

&

Co.

It

executed, chielly in detail, for the

formed one of a series of furniture

London and Philadelphia

Exhibitions.

illustrations

which were

ART AND WORK.

21

DOORWAY STONE HEAD

Plate 38.
promnient,
as

well

the

is

where many
been

and

other

the

requirements

work

extreme

divme

as

the

grotesque

other

strikingly

is

is

much

to

be said

for

of expression,

even

to

features

in

noil

to

foil

to

the attainment

which

judge,

to

would

Nos.

Plaic 35.

The

violent

in

':'-old

an

angels,

saints,

neither

beauty

nor

the

of

human

the

"form

considered in the

if

generally-

its

^^d^ile

"

the

pervade

the

such

a sine qua

is

an admirable

as

acts

an

eternal

absolute

titness

moral

state

of

of things."

were

nature

All

universe.

it

carvincr

we had no standards by

If

etc.

ugliness

to

For the

fellows.

conventional animals

not

it

would

what

so,

sing

in

ORNAMENT.

The

cells.

is

E'l'yptian,

black granite

of Gra^co- Egyptian workmanship,

from an ivory-cased box,

buds,

incised,

and

the

filled

figures

with

in

which

lotus

patera,

ornament from an

with

represent

latter

and

means

by no

common

and flowers

very

Rhodian,

similar

old

sarcophagus

in

to

the

hawk,

also

from

Etruscan

and

turquoise,

lapis-lazuli,

against
the

buds and flowers, from the

lotus

tomb.
other

precious

delightlully-growing

collection

ot

the

stones,

to

that

Etruscan,
the

used

and

British

in

other

Museum.

early

Work.

of

Louvre.

Gothic decoration

Archaic

inlaid

background

a rather-unusual hieroglyphic, having a cross form with palm-like foliage

cross

cement.

black

craftsmen.

4,

green,

red,

is

and engraved patera, composed of

No.

a beautiful

5,

old

carved

is

collection.

No. 6
it.

old

of contrasts, physical and

about

quaintness

of

air

papyrus leaves,

from

of

when taken with

and shade,

light

of

are

vigorously

works of those rigorous

No

were as capable

times,

at

effect,

among

action,

brilliant

would

and

are

subjects

is

Louvre

of

of

Museum.

the British

No.

the

suit

some

elaboration

Their sculpture

luunour of the

<.^rim

EARLY-CLASSIC

There

monotone.

miserable

in

altered to

days

those

of

car\-ers

successors.

the

made up

is

uniformity

of

level

dull

the

would be unnatural and opposed

Happily the world

a

that

forms
lie

or

time

the

beautiful.

and

sharp,

beautiful

there

however,

matters,

of

would-be

the

away

beautiful

the

still

must be acknowledged that the

it

of

architecture

the

swept

that

fact

doorways and arches have

the

must be confessed, crude and even barbarous

it

surroundings,

There

and coarse

hand,

been

well-known

is

and period.

style

more pedantic

their

It

of

choisis

have

building

rude

often

ntorccaux

the

the

doorway-designs.

their

by the old art-masters,

displa)ed

o\'er detail,

been anciently repaired,

has

prevailing

is

nevertheless

to

as

of

then

on

shows,

was,

abstract

portions

sculpture

finish

"

given

sustained

of the

Norman

study

most

building, that which strikes the observer as being the

and power

richness

Norman church

cherished

while

the

peculiar

the special

as

Norman

In an original

TO.

This

may

depending

be found

example

is

in

from a

ART AND WORK.

22

No.

is

from

early

No.

is

from

an

Nos.

and

lo

zone,

taken

from

are

II

examples

hammered

The

on the handle of which are carved

ivory-spoon,

years

former

bronze-bowd

The

Those following
No.

date

6oo

Work.
This

presenting

offerings.

and

ivorydjack to a

is

from a

a carved

is

and pap)a'us

inlaid

nairror,

with

ilowers.

Egyptian examples.

are

a fragment

is

collection,

gr^^phons

ot

collection

Museum.

British

design composed

at

a fra.gment ot an Egyi)tian

is

Ilritish-Museuiu

the

repousse,

in

pjalace

and water-plants.

birds,

in

former Ijemg-

the

North- West

the

in

article

latter

and 8 represent Assyrian

from the same

latter,

{Diola),

va.se

copy of a figure

is

archaic

Nos.

52,

the

in

an

is

Plate

li.C.

The

66

Plate

(found

lironze-dish

Museum,

British

the

in

Louvre.

the

in

mould.

confectionery

Etruscan

an

an amphora

_;j;irding-

Nimroud), portraying eagles catching hares.

On

No.

and

W^irc,

enriched

engraved and

from an

copied

Rhoclian

mumm\-

of

embroidered with

cloth

green, yellow,

and orange

red,

threads.

No.

Museum

triple

No.

No.

forms

painting

an

elegant

an

ideas

of Nature,

to

The
much
No.

first

but

of their

from

copied

bowl,

the

British-

It

unite
is

rules,

for the\'

5,

is

buds,

lotus

scarabeus,

and flowers.

on a very perfect
No.

10

mummy

from a mural

is

Etruscan origin.

of

us that the ancient Eg)-ptians expressed

tells

the

most sacred laws of

judge

had a school and a

is

attitude,

as

the

to

of

state

the

arts

by

from that of hierogh'phic

style separate

motion, or

and even

Art,

expression,

knew how

they

especialK" observable in the Egyptian compositions appertaining to religion

where hunting,
rigidity,

and a

spirit

art-power with
fact

domestic

were as proficient

employed by other nations

influence asserts itself;

in

for

subjects

are

employed,

this

latter quality

which we possess,

iur herein the characteristic thick lips,

natur^d
that

the

greater originality pervades throughout:

oi

example of

finest

remarkable

or

warlike,

full

eyes,

is

and

figures

lose

see Plate

52,

the marvellous

and round nose,

beauty.
the

earliest

workmanshi}) show the highest development

artificers

with

painted

and No.

therefore,

wished to exhildt

the)'

etc.

which

to

cannot,

enriched

College of Surgeons.

Ro)-al

of Thebes,

V\'e

head of the young Menuion;

to

west

flowers,

No.

wdaile

Nature and give the character required.

Perhaps the

10.

assist

doorway,

Louvre),

Egypt Dclincalcd"

""

were subservient.

from

design

majesty

inside

decorating a

of

of the

by certain understood

and when

tomb,
his

in

these emblematic figures

emblems

offering-up

Museum

mountain

in

emfdem

cup (from the

little

represents

\dvANT Dex'ox,
certain

arrangement

lotus

an

of

part

preser\-ed in the

case,

and

fish

collection.

No.

and

3,

ot

style

the working, as in

those purposes.

specimens
attained

as

yet

discovered

by such people.

the casting of

In the decline

metals,

of

Assyrian

These Assyrian

and were constantly

of Assyrian

Art, an

Egyptian

but the more perfect ancient examples point back to an artistic period

ART AND WORK.

as

yet

unrevealed.

We

took

to

attain

its

of

many

of the

though

it

The
is

authenticity

hable

as

the

government,

inheritance

and the

attributed

them

to

bondsmen

or serfs

were

by the Greeks Tjaadienians

given to

Uttle

and

distance,

detail

of

styles

but

kind

their

in

pecuhar

the

dominant

whom

in

discovered

not

there

still

No.

Xo.

4.

of parts,
a

as

and

obelisk;

No.

4,

an arch of

the

Italian

which

Renaissance angle-pediment

Renaissance

Queen Anne's

No.

I ^,

walk,

style

while

Nos.

Barnstaple;

No.

an Italian shield panel;

14,

their

suljject

Minor

the

and

were vancjuished.

true

claimed

is

as

other by time, and

each

connecting

links

between them,

by

ot

primitive

all

etc.

Etc.

London School Board

Irom

Layer

No. 6

No.

10 and

9,

11,

one

Old

German

and

3,

Nos.

the

ot

IINIAl.S,
SI'llXB :iliil
\\ noil.

12

as placed over

two pedimental

No. 8 was sketched

Pavia.

are
;

No.

a vase term,

at

Rhenish baluster-shatt

Offices;

Marney.

is

terms

vanes surmountino- the wind's of the west front of the Certosa

from

of

tinlal.

Urn-terminations of the French Renaissance school.

are

that

upon the more elementary constituents

as

relationship

a terminal over the doorwa)- of the

2,

and

themseh'es Rasena, and

b)"

j'et

Romanesque work,

Chinese,

Early-French

an

I,

but

their tmai they

FINL^LS STOXE AND WOOD,

Plate

race,

a strong kindred teeling

is

their

bronze, and ckiy, and the bas-reUefs

widely separated from

are

chain,

b)'

of

constitution

been conjectured

has

it

in

the

of

Romans,

constitutes

Indian,

as

not

art

similarity
fact,

even

had become

the Greeks

to

Etruscans (who were cahed

the

historical

this,

degenerate,

can

Tyrsenians) were nierely emigrants from Asia

or

depending not so much on

their

the works

archaeologists have

although

the architectural, and

ot

that

three epochs ot

these

from

but

ancient Etruria,

in

the arts as the Ancient

Ahhough

jjeople

produce,

in reahty,

for,

art

renown which belongs

of the

reason

the

an

haste"

works caHcd Etruscan, which have reached our times,

of society

state

"dexterous

cuhnination.

those

of

appearance of some

with the

what

with

Much

be questioned.

to

were

it

ages

know

23

English

and No.

newel-heads;

15, a finial,

designed

by Sir M. Digby W'vatt.

Finials constitute essentially Modeller's
in

silii,

such a
effect

owing
stiltino-

the

parts

as

tor

will

serve to compensate tor the tort;shortening

depends more on a subtle massing of the

of horizontally-viewed
It

is

mouldings, as seen on the

details,
office

it

the two figues were

it

to

when

the former

and success

artist,

"offered up,"
to

5.

Nos.

to 8 are

it

so

that

the

does on the graceful contour

drawing-board.

to the

one carving

position

was

it

his statue tor public

to

was with the inevitable

occupy eventually
result

of confusion

the latter one.

FINIALS METAL: OLD

Plate

than

the old story of the two competitive Greek artists:

admiration in the studio, the other, proportioning

so that

they require to be scrupulously designed

being always viewed trom an angle, and therefore demanding

to their silhouette

of

work

FRENCH.

reproduced from the work of E. de

La OuERifeRE

I'lMAl.S.
;

an

"

Essai

''u;'i
J'I'AI..

ART AND WORK.

24

S7tr

k'Giroucttcs, Epis,

A or)."

(Hloycn

etc.

The

taken from

sulijccts of this plate are

the

finials in

neighbourhood of Rouen, and are of the Renaissance of the sixteenth and seventeenth-centuries.

The
a

mediaeval

and prominent

rich
It

detail.

not always convenient to oljtain measurements or near sketches of them.

is

have examined
being beaten
cast

was retained by the FrancoTtalian Architects, and became

" feny-aille or finol "

metal,

made

weit;

of copper, or lead,

and soldered together

up,

and applied

bent,

while

the outline

to

FOUNTAINS,
Plate

These designs

2.

book

This

was

published

love,

a hotchpot of

is

of line drawing that

No.

No.

adorn a table

and Nos.

would be more suitable

No. 4

is

lamp

Italian bedstead;

are

lore,

latter

intermingled with amorous rhapsodies

No.

and

vases, etc., gracefully arranged with foliage;

designs which are evidently of the

old

Alessandro Botticelli,

are very characteristic

processional figures

catalocfue ascribes the drawings

to

These wonderfully-firm, and

The former

of the

as

well

latter

as

artist,

Andrea

to

but

No.

2,

is

an

and swags, which

Padua- Venetian school

the

have

been

Mantegena.

British-IMuseum

Bernini.

faithful

oudines (the loving work of an

so beautifully conceived, and exquisitely drawn that the cultured eye

desires neither shade,

of these might

Plate 32,

a pedestal, decorated with rams' skulls,

i,

Poliphili

to

the simple style

are of the best in

are ornamental vases.

The

Raffaele and

still

display.

taken from the above-mentioned work.

to

Aldus.

(which nn'ght be some 12 feet or more in height)

also

attributed

The

the

stand, while Nos. 5

64,

by

supposed contest between imagaination and

and 6 fountains on wheels.

lor open-air

and Plate

was probably printed

and

1499,

produced.

silver plate, while

in

in

of "Amorini," and dolphins,

terminal vase

in

HypnerotoiuacJiia Poliphili," a rare and costly

profusely illustrated,

is

Italy has ever

a frieze

is

''

consists of a

with wdiich the work

the woodcuts,

ornament was formed

Etc,, ITALIAN.

VASES,

and antique

fable,

fact,

plainer portions

required.

\^enicc,

Although the printed matter, which

the

Dominican monk.

at

more elaborate

the

are taken from the

work by Francis Colonna,

Italian

with iron corings,

stiftened

Those we

nor colouring, to

complete the

unknown hand)
at

is

once

satisfied

are

and

effect.

GRATES ("ADAM.")
Plate

10.

Nos.

to

Plate

28.

Nos.

to

Plate 46.

Nos.

12

The open
part

to

5.

11.

be a cheerless mockery

Without
;

for

Nos.

14

to

18.

Plate

Nos.

19

to

20.

85.

13.

grate will always be a favourite with

of our nationality.

Plate 49.

the

it,

the

open

fireside

fire-place

English people,

however

well

the

for

it

has come to be a

room be heated

secures us a genial warmth,

which,

would
though

ART AND WORK.

perhaps somewhat

ample

least

not absolutely

if

and wrought-metal

many

flutings,

right

does

wasteful,

vitiate the

not

perfect

of

air

ventilation.

25

apartment,

the

Who

has

and delicate

traceries,

at

affords

it

admired the old

not

grates, peculiar to the close of the eighteenth century

plaques, husks, swags,

whilst

cast-iron,

for these with their

are always the right things in the

place.

The twenty examples

Soane's

IN'Iuseum

EsQRE.,

and

other

be tamiliar to
scattered

(No.

would
on

iS),

readers
the

in

designed

direct attention to the elegant

plate

with

49,

back

its

character

the

This

gOA'ernments.

Eastern

The

The

forms

the

published,

little

stove,

observable

particularly

is

and the

people

of the

Child,

Roi!Krt

many

of

them

of

will

well

are

originals

No.

17

Hall-grate

as well as to the

tracery.

In the study of the decorative arts of various times and places,

Plate 20.

directs

Watkin Wynne,

at

throughout the country.

open-work

ot

working drawings

the original

ORNAMENT MODERN.

INDIAN
distinguish

So.

previously

not

dwellings,

old-fashioned

Sir

for

1770

although

for,

expressly

being

date

the

clients,

our

about,

We

they were

copied Irom

here illustrated are

of

influence

the

in

it

not difficult to

is

respective

their

and

religions

and unerring

traditional

instinct

INDIAN

OUNAMENT.

which

art.

Arab,

Hindoo,

and

Persian,

varying much

although

ornamentation,

their

in

still

inlaid work,
see

the

Moresque

the

retain

contented

Founded on
elements of

simple-minded

the

of

most Oriental

are

(as

hand

dexterous

yet

small,

modern Hindoo ornament we can

In

throughout.

t)'pe

follow

to

artists)

the

in

superstitious

path

as

is

the Arabian, and influenced by the Persian, Indian art combines the geometrical

the

the

that

who

native,

^os*'fofand"84.^'

predecessors.

of his

one

and flowing

Greeco-refinement

the

w^ith

natural

which, though executed occasionally with a freedom of style peculiarly

wish

distinctly trace

Hindoo would take

lesson

from his

pains-taking

in

its

the

of

foliage

other,

own, makes us often

neighbour.

celestial

INTERNA!

On

this

plate

will

be

found

and

from carvings

copied principally

some

fourteen

lacquer-work

course,

it

is

out

power

of our

to

at

modern

of

Indian

the

ornament,

Indian

They

Museum.

^g^^^^^;,iiid

DECORATION,

are

suD-

Plate 81, see

,
^

One

only as specimens of ornate form.

mitted

examples

add

in

of

greatest

their

work of

charms their

colour

DECORATION.'

of

description.

this

IVORY CARVINGS MEDIAEVAL.

Plate

3.

These examples are taken

Museum, where
Nos.
cases,

and

3,

are

department

abnormal

is

devoted to the exhibition of

animals

these

occupy

the

South-Kensington
IVORY

works of

similar

spandrils of

circular

CARVINGS.
art.

mirror

and are of fifteenth-century workmanship.

Nos.
the

special

principally from the collection at the

4,

various

century,

5,

poses,

and
etc.,

7,

are

of the

carved,

common

engraved,
Morris,

or

and

cement-filled

pseudo- Moorish,

plaques,

dancers

of

representing
the fifteenth

and are copied from a casket of French workmanship.

ART AND WORK.

i\os.

No.

is

g,

Romanesque
No.

"The

cross

;l

now

in

detached

irom

tlie

From
art.

to

be

of

ivory

the

and characteristic

plaj-ful

Museum,

We

of January."

preparation

of the

very

is

downwards we
specimens

boldl)"

low

in

on a

relief

and

labelled,

would suggest, howe\-er,

"a

tor

that

it

example,

This

sacrifice."

being almost-entirely

llgures

the

cut,

Kg)-ptian,

ot

use of ivory was universal in every age

that the

find

thrones,

and

beds,

regarding the colossal

of the

Greeks

which

statue

was said

more

material was then used

must have been a very

The

Elis

the

though

Strabo and

ol

Chrys-elephantine

and gold by

ivory

in

modern times

Phidias,

this

the medicex'al artist

to

and compact nature of the matericd allows the

solid

work

his

in

Jupiter at

mention made

iuid

account

the

credit

Ccur

been wrought

we

Scripture

In

01)anpian

than in

la\ashly

we

it

the

oi

have

to

revel

and

costly one.

and

linger over

palaces

and old Indian ivory-carving are

/Vssyrian,

Louvre and our own Museums.

others,

to

carved

proportions,

eleyant

ground.

the

in

month

the

for

British

the Egyptians

seen

artist

and

simple

representation

Several very fine

of

very

of

Zodiac

of the

is

it

exceedingly

arc

a drauy-htsman of the thirteenth century, carved out of wrdrus tusk,

more probably,

which

which

liyzantine borders,

panel.
is

2,

sign

is,

it

are

lo,

interlacings.

their

in

ami

as

exemplified

minute delicacy of the

the

in

Chinese carvings.
Ivory has
treasures

way

their

of

may

indeed,

melting pot,

into the

carved

the

material

to

be

except

irom

Plate

ivories,

much

an

art-point

of the

times,

fine

art

and found

desiccated by time

In

xdew.

ol

temperate climate,

ivory,

indestructiole.

No.

52,

saturated with an ivory-jelly, they

where many

has Ijeen preserved, owing to the comparative worthlessness

it

be considered as practically

The Assyrian
tound

metcds have succumbed to the vicissitudes

precious

the

ot

that

decided advantage over other valuable substances

this

wdien

S,

brought

and dry atmosphere

became

to

the

Museum,

British

were

nevertheless, after they had been

as hard as the original substance.

JAPANESE

BIRDS.

.lAl'ANESl':

lilKDS.

No.

Plalc 31.

No.

4,

Chinese Tit

Plate

No.

4,

No.

No-

77.

Bulbul

No.

Wood

I,

I,

5,

5,

No.

pecker;

Kingfisher

Mountain
Greenfinch

No.

Einch

No.

The book

is

Grosbeaks;

6,

No.

Goldfinch
2,

No.

Blue

3,

rare

by

Bush-creei^ers.

Oriental

3,

and No.

beautitully printed in colours, from studies

7,

No.

bird;

are selected from

Warblers or Sedge birds;

and No.

Masked Grosbeak

6,

These specimens of Oriental drawing

thology.

2,

7,

Swifts.

Work on

Japanese

their

Bullfinch-

famous

artist

Ho

Orni-

Ksei

JAPANESE ORNAMENT.
ni'NAMBl-.

P^'^f'^

56-

It

is

a point on

wdiich

some

having been a sealed book ("shut up," as

centuries,

has

improved

in

difference of

opinion exists, whether

Kcempfer expresses

her art-manufactures

since she has

himself,) for

thrown herself

Japan, after

upwards of two
open

to

other

ART AND WORK.

nations

for

made up
T.

the

works of

recent

somewhat

appear

Japan

27

too

and

facile,

evidently

are

for exportation.

he Japanese

never was a pains-taker, Hke his plodding Chinese neighfjour

artist

Japanese

was alwavs

certain

to

his

idea.

efface

The

original

impressional

The ornaments

lithographed

century,

and are copied from

effect

the drawing,

in

The

patera

of

stancku'd of japan,

of the

outlines

in

plate Ixdong

inlays in lacquer-work,

from w;uu of the

lilv-liowers,

triple

indicative

reason

Of

etc.

inclination

much

course, they lose

of their

which the originals are executed.

in

bottom

the centre, at the

the plate,

of

great religions of that empire

of the three

or

mostly to the early part of the present

pigments

brilliant

in

had

ne\'er

for the

drawings are always truthful and characteristic.

stilldite

this

and

him,

before

task

of the

the imjjerial

is

Buddhism,

Sintoism,

and Confucism.

KEY-STONES,

C0R15ELS,

Etc.
KHY'-STONE.S,

These

Plate 69.

Key-stones,

are

iS,

and Renaissance

consist of Italian

Kos.

while

and

Fk.\xcis

L from the Chateau Chambord.

varieties

of

Newington,

A
half

Nos.

tassels.

height, or less,

and

The

Plate 60.
in

is

{plate

its

height or more

i)

is

Museum,

The name

celebrated

The
by the
spread

and

of

is

from

The

No.

which

8,

which were cojaed

No.

is

19,

old INIajoIica

Kensington

which

is

of

consist

of

at

Ave

sketched

at

Rochester, would

truss.

from a sketch taken

at

now

taken from examples

paintings,

Museum, and

the sixteenth century

after

the

Louvre.

which

It

suffered the

again attracting the attention of the

in

Majolica-ware

of

the

early

part

Urbino,

Eaenza,

it

of

into

the

Italy,

twelfth

attained

Majorca, wdiere

artistic

usual

nations of

the Arabians established

Fontana,
art at first

and

century.

Its

the

taking

fame

and

of

the

island

importance soon
in the

duchies

Gubbio, was probably the

lived at

but he had worthy

(often

called

rivals,

best

and

as Majolica painters,

Maestro Cencio), Battista Franco,

Raphael dal Colle.

depended almost

second ana best period

upon

Pesaro, and Gubbio.

Castel Durante,

and fellow-workman, Vincenzo,

followed

greatest beauty and perfection

its

most successful ceramist of any age or country

Orazio

style

PAINTINGS.

Giorgio Andreoli, a Pavian nobleman, who

in his son

the

in

potteries.

over the whole of Italy

cities

15,

a " cantilever," w^iile one which projects only

from the Island of

derived

is

introduction

Pisans

.South-

perfection in

its

period of decay and oblivion, and

some

14,

and

generally applied to the brackets supporting labels and pediments.

Illustrates fourteen subjects

the British

is

thus

and front-views of a

termed a "console:" such

term

latter

Majolica attained

Europe.

9,

3,

being

latter

12,

the nineteen e.xamples

of

7<S,

are side

^E\JOLICA
preserved

\'aried

is

Kent, and the three brackets on plate

in

Yarmouth.

form

bracket

of the

bracket projecting double

its

The remamder

the

i,

carved brackets and shouldering pieces.

The nomenclature

be called

Corbels

are

5,

Nos.

details.

this

entirely on richness

was superseded by design.

and variety of colour; nevertheless,

The

iridiscent glaze

and

colours,

in the

however.

m.uolioa.

JRT AXD WORK.

28

were

great!)' prized,

were

whicli

thougli

llie

copies

of

cliielly

highest value was attached to the execution of figure subjects,

Rai'Mael and Giulio Ro.maxo.

that
by

prince

Italian

Plates adorned

to

to

being

collection

its

of

1S62,

ot

Europe.

1S67,

"Bella"

terms

the

to

which

as

or

which depends for

the

of

fa\-oured beauty^inscribed

usually offered by

then

its

the

the

surface

It

of

afterwards

again

is

it

is

exhibited

ware

solt

Plalc

gallant

facade

the

fuses

the

into

fired,

that

and

of

the

Court

at

the

reference

to

in

the

white clay "slip"

and

work,
"

saggers

"
;

enamel,

vitreous

beautiful

no

as

PAVIA).
the

filling

blank-window panels

lower

Certosa.

of the

windows may be seen

Crystal

of cinque-cento work.

Casts of the more architectural

Museum and

the South-Kensington

at

We

Palace.

have

already,

on

page

17,

Renaissance

in the

alluded

to

No.

the

Certosa

in

doorway-carvings.

western

its

countries

burnt

body,

rough clay cases called

pccLiliar

the

to

Paris Exhibitions

principal

terra-cotta

clipped in a

in

marble-decoration

inlaid

These are remarkabl)'-fine examples

details

by the

lost

on the secret of the potter's mixture of the glaze.

success

represents

63

London and

having to be perfectly certain of his

artist

In this state

as

the

at

for

specimens were

hue

"biscuit."

as

MARBLE-IXLAY-(THE CERTOSA,
of

pastime

pet

the

some highly

"Diva" were

entirely recovered

described

painted on

process

is

1878,

briefly

made.

alterations can be

during

well

is

it

the art

known

state

then

as

now

may be

Majolica

MARBI.EINLAV.

manufacture being patronized

its

was long supposed that Gkirgio's method of workmanship was a secret

world, nevertheless,

&rlazing

and

nobleman,

or

of the sixteenth century

the middle

ladydove.

It

kiln

about

the portrait and escutcheon of

ith

\\

the comijlimentary

his

time

especially

and connoisseurs.

dilettanti

with

at this

masters

old

the

of

sculptures

was most valued and fashionable, owing

Majolica

every

was

It

and

cartoons

the

METAL-WORK (MODERN).
Plate

met2oek.

and

12,

No.

19.

rests;

fire-iron

knockers (the
candelabra;

These

I,

first

No.
articles

tabledamp

No.

of these

of

No.

metal

2,

closing ring;

was designed

w-all

14,

5,

for

manufacture

Domestic designs made by the Author

for

Nos.

6,

and

8,

Goldsmiths' Hall)

Nos.

gas-bracket;

open-work panels;

are

15

and

selected

Messrs.

17,

3,

candlesticks;

No.

11,

fire-dogs;

Nos.

goblet;

Nos. 9 and

gas-pendant;

and No.

16,

No.
a

&

10,
13,

fender.

from a number of Ecclesiastical

Benham

and

Froud.

METAL-WORK MEDI/EVAL.
MEDi.EVAL

Plate

30.

The

subjects illustrated are

taken principally from the collection

in

the

carved oak

South-

.ilETAL-TV'ORK,
.. Flat. 12.

j,;;,-,g;gton

cofter of

Museum : No.

i,

is

wrought-iron hasp and locking

French Flamboyant design, date about 1480.

plate,

from

ART AND WORK.

No.

brass

is

2,

candlestick,

composed of

29

and

grotesque animal

M KTAL

scrollwork

foliated

FiNlALH,

being of Byzantine workmanship.

This
purists
in

design,

in

two

a charming object,

is

though

but yet often found

ways.

different

"'"plJ^s.^'

possessing

and remedied by the overlapping of the

No.

the

fourteenth

No

5.

Processional cruss of Abyssinian execution.

we

If

made

so

fifteenth-century beaten-up

design,

its

except

advance

and inventions have,

can we

as

of course,

Coptic cross

of

tlie

that

of

working

greatly assisted

its

within

the

progress,

to

still

twenty

last

Although

metals.

in

the general

in

Museum.

liritish

has,

art

very similar,

is

scientific

years,

discoveries

no other "art-worker"

assign such personal credit for the result of his labours, as to the worker in wrought-

and brass;

and

here,

seems

German work

is

lock on an oak chest.

to

This

the

in

no

no other "art-path" are

for in

as

is

it

be almost

to

successful

ever

as

Nos.

I.

even

the

aid

of

true

Art,

cutter.

so simple,

aids

science,

of

art,

which

it

disdainiid.

NEW
Plate

hammer, punch, and

without

so great produced, with

results

as in the creations of the metal-worker with his

is

This

bo.x.

iron escutcheon,

perhaps

glass-painting,

an

great

a rude old

to

defect excused

tliis

century.

4.

ot

growing

of the foliage

that

of

eyes

the

in

foliage.

No.

elements

grievous

is

possibly considered

Wrought-iron strapdiinge on a maplewood

3.

latter half of

iron

designer

the

which

fault

works viz.,

very able

in

Nc\-ertheless,

and

2,

are

INDIA-OFFICE.

the iVont and

ijrotile

corbel

ot

-L

on the

Grand

,,,,^-'ew

Staircase.

OFFICE,
INDIA OFI
.

No.

3,

panels,
is

irom the Courtyard, and forms one of a

is

the spandrils

in

dished out

No.

4,

Plate

Courtyard
Staircase

ot

is

flat

No.

No.
2,

is

I,

stonework of the

the profile of

a vase

and No.

the first-floor arcade.

4,

It

a mullion to

baluster to

Plate 47, are details of doorways,

enclosed in a sculptured margin, which

Retreshment Room.

on the Grand Staircase

shield and

is

twenty-tour Luca della Robbia ware

wall-tace.

a portion ot the frieze in the

16.
;

the

ot

series oi

in the

the

the

windows on the

while No.
ceiling

3,

is

of the

west corridor on the

second-tloor,

in the

a corbel to the south-east

Secretary of State's room.

first-floor,

showing the

frieze

and architrave, together with a section through the same.

The whole

of

the

interior

of

the

New

India-OtSce

was designed

by

the

late

Sir

M. DiGBV Wyatt.
It

in

this

is,

without exception, the finest specimen of modern Italian architecture which we possess

country.

OLD HOUSES AT HIGH STREET, ROCHESTER.

Plate

78.

Such

fine

specimens of half-timbered buildings are being rapidly swept away

'i^e'^^'BuS-R:
\VALK,"riat'.;S.

for

the old

town-houses are rarely "restored,"

and even then with but questionable

success.

unless

it

be

in

locality

similar to Chester,

ART AND WORK.

30
OLii i';xf;i,isu
^
I'LATiV

W'hcn the Author

never occureil

it

revival

as

him

to

has

it

prniUicecl

the

in

old

tliat

Plate
Palace,

and

AlthoLigh

theless,

about a

from
the

way,

the

over-doorwa}' of

cornice

date

drawings

irom

pleasing to

mile without

The
the

verv

is

of

Pekuz/i

architect,

are

3,

portion

PEDIMENTS RENAISSANCE.

.\XD

doore differeth

this

it

the

would have obtained such a thorough

interim.

is

I,

Rome by

Nos.
"

No.

21.

The Buildino; News, some 14 years aTO,

in

architecture

iLnLi'Hsh

0\'ER-r)OORS
OVER-lHiiir.s
ami
PEiiijn;x'rs

enQTiviiif

this

the other

all

an

Speaking

\\xaX.

and shcweth

Saxmiciiele's

ever

which

made

Verona

Elouse,

of

saw

well,

Temide,

ancient

of

the

Massimi

1526.

Sekiji.i.

b\-

sight,

in

about

doors

vestibule

the

o\-er

an

in

door

says,

never-

Spoleta

without

is

has

1545),

he

Antiquitie,

Corinthian

of the

(date

latter

thie

manner."

similar

ends to

hde/.e.

No.

is

No.

5,

Nos.

design

and

example.

eightecnth-ccntnr)-

late

7,

A.

l:y

Cerceau

i.iu

representations

are

between the mouldings) being

time

IX.

Charles

tjanpans

sculptured

of

from

taJvcn

r)f

sixteenth-century

(the

the

of

field

pediment

wood-cuts.

PANELS AND PEDESTALS: LPALL^N-RENAISSANCE.

Plate

see

No.

64.

is

I,

from the IlypuerotoinacJiia, (See description of Fountains,

pedestal

a.

'TARSIA-WORK,'
i^'i-'

iNDiA-ornci;:;

etc.,

plate

No.
to

an

2,

Makgafet
No,

4 and

Alfonso

5,

from

sketches

Plieatre

of jianels

(date,

1539), a

work dedicated

Pavia.

from

casts.

from the

panel,

balcony

of the

Palazzo Pola,

at

Treviso,

by

Lo:\irari)E

No.

7,

pedestal

No.

S,

panel

irom

in

Plate

chapel

the

pedesta.l

The

67.

copper, used
cartouche, and

in

the

of

church

Maria

of St.

monument

in

the

elella-

church

Pace,

of

St.

Rome.
RIaria

del/'

PANELS RENAISSANCE.

as jianels to a
scroll

plaques

decorative

tv.rj

"OVER-DOORS,"

^^^

at

bans JAigins"

eles

Francis

of

Certosa

the

Anima, Rome.

rEDiMEXTs,

Le

sister

fifteenth-century

6,

Navarre,

panel

3,

Nos.

No.

of

"

from

illustration

cabmet

ot

T-1

on
1

blemish

this

plate

are

from

enamel

paintino-s

on

origm.

Such works

literally

revel

in

strap,

enrichment.

PIANOFORTE INLAID (" ADAM.")

7^/^?/'^-

PEDESTALS.

This iustrument-case was

40.

designed by the writer of

"Art and Work,"

for

see

PEijFs^ru.s"''
pi.itf

^^'^^

J'^M''-^

Plucknett, of Warwick,

(i-i.

The
riAxoFCiirri;.

case

is

of

SatinAvood,

inlaid

with

ivory and ebony,

with painted panels and delicate

ART AND WORK.

The

old

decorated

Harpsichords and Spinets of the

most

31

were of chaste design, and often

last century,

There

artistically.

is
a charm in the fashion of most musical instruments
which the ordinary modern piano, however, does not obtain.

OLDTLNGLISH ("ADAM.")

PLATE.
Plate

work;

No.

cup;

No.

and No.
in

the

Nos.

51.

Chocolate-pot;

made

Watch-case,

9,

Nos.

6[.

and

Caudle-cup or Porringer;

Sir

It

we except

have any claim

it

1S6S

No.

made

Vv-ere

within

Ewer;

2,

Essence-pot;

8,

was engraved

find

even
"

the

in

the

plainer

"

gadrooned

rim,

No.

and Nos.

Standing-cups;

9,

Chimnciy-pieces,

with

seize

years,

and

how

varieties,

for

the

They

are

or

else

Duke

of

somewhat
the forms

chaste are

fluting,

4,

Twin-candlesticks.

S,

others.

No.

Bicker;

3,

1773-75,

band of

some degree

this

in

it

say,

alone

were happiest

morsel of

that

we

fl,atter

their designs

in

pardonable

vv'ith

the beautiful spirit ot

of success,

" h'

vanity,

ourselves

antiquity,

we

we have

and transfer

our numerous works."

all

would have revelled over "the treasure of Hildesheini," discovered

which consisted of some

style

" Ada^.i "

They

their plate.

and variety through

"find"

the Ijrothers

we imd

approbation,

resembling the

work,
at

No.

we

This example

01,1. i':'.n(?ush.

twodiandled standing-

4,

Dundee-bicker;

7,

IIatiiukst.

Candlesticks;

are

but,

only with

A-Ssuredl}' the brothers

in

No,

Curzox, Suv W'atkin Wyxxu, and

st)-le

their

to

novelty

with

5,

and more especially

of metal-work,

been able to

No.

Sugar-sifter;

repousse

in

etc.,

work.

pearl

or

Laoy

for

silver-plate

the

ot

although ornamented
leafage

3,

I'.utter-boat

6,

Nos. 6 and

Nati-l\xiel

examples

cosd}-

of

articles

Roxburgh,

No.

ibiiage,

witli

work published by "Adaai"

original

These

No.

ornamented

Sauceduiats,

;u'e

10,

a Clock-stand;

5,

Plate

is

2,

and

though

perhaps a

trifle

of

pieces

thirty

Greco-P^oman

more refined of

silver-smith's

similar

oljjects

ibund

Pompeii.
"

74.

This

North-London

artists,

Plate

was
the

vamped up

out

PRIORY-PORCH " HAMPSTEAD.

ramshackle

quaint

has

now almost passed

eventually,

but,

falling

charmingly picturesque object

The
had

been

headway.
with

and ends

of odds

cockney-Elizabethan order.

patron,

porch, which
stilted

The

laro-e

up

we

It

into
in

into

good,

formed, at

of

was

which

once

the limbo of
bad,

and

the

indifterent

upon

dilapidation,

underneath

pedestal

proportion of the over-mantel

once graced

this

resort

of

The house
structure

well-known

of
art-

became a

building

itself.

the

detail.

ot

the

arc inclined to believe, was originally, a Charles

from

favourite

things forgotten.

one time, the residence

of hopeless

a state

spite

amount of extraneous

knockers, which

Ijuilding,

"order"

We

the

of
is

to

Chimney-piece, that
aftord

sufficient

remarkably good, though garnished

remember

same entrance-doorway.

jambs

I.

pair

of

beautiful

wrought-iron

roncu.

ART AND WORK.

32

DEVICES OLD.

PRINTERS'
Plate

DEvicK^

an

old

No.

25.

book-co\'er

Italian

Museum

the

Jerome"

by David

Ccesantin,

el

(Ferrara,

No.

Bible;

from

are

5,

Nos.

here

as

13

and

7,

"Herbarium"

the

10 and

and

1525);

11,

are

No.

9,

good

old

England, there was no earh^ school of w-ood-engraving the blocks

In

having

book-illustration

be

to

beyond

"from

obtained

the

from

seas,"

in

by
the

example
from

of
the

swags from ''Letters of

8,

specimens of

fine
is

Hi;rodotus

margins

are

15,

portion of

2,

characteristic

No.

Hutticiiius (1534);

Nos.

while

gi^'en

is

intagliii.

Augsburg,

(dated,

Horr'i;i;,

in

Ioaxm.s

1493);

and

3,

This

1494).

cut

Ijy

sixteenth-century

part of a ver)' ])eautiful frontispiece to an

is

X'^enice,

wood-en-r.ixing.

Italian

Iinperatoriiiii
St.

(date,

Nos.

while

0th' Bruxf, 1532: and No.

British

irom

colophcm,

is

I,

festoon

foliated

initial.

any important

for

the

work,

Italian,

French

STAIIiCASI':

DliCuRATldN'
SBC

riiitr>,

I:;

German

and

who

typogra^ihers,

an

thrcAv

of

infinity

as

design,

as

well

vast

amount of

and jd

exquisite drawing,

into

numerous conceptions.

their

TAF.LETS SINTEENTH
Plate

by G.

The

39.

Bkaux,

and

desig-ns

eleofant

The
became

description

We

They

1575)-

" TJieatre

from

engraved

are

plate

(Cologne,

as
in

back as

far

des

J'^illes!'

as

being very

and

afterwards

here

given

are

artists

Quattro-cento

the

decadence of

the

German and Flemish

of ornament

ot

art

was

Italy)

in

period,

never

the sixteenth century.

The

more happily
origin of this

has been ascribed to the heraldic devices of the mediaeval

would suggest that the germ

of the

caulicoli

dates

feature,

characteristic

this

Renaissance.

later

(which

than by the

treated

on

panels

H(Hii:xi;ekg

F,

of the

cartouche
a

eight

CENTURY.

ot

the ornamentation might

more

period.

aptly be found

in the

antique Corinthian capital.

TABLE- AND CHAIR-LEGS (LATE EIGHTEENTH-CENTURY WORK).

Plate
while

Nos.

53.

Nos. 9 and

Nos.

13,

16

10,

and

These examples

The grouping

to

S,

are legs
18,

well

as
for

as

Nos.

11,

12,

14,

15

and

represent

17,

table-legs,

chairs.

those for solas.

are reduced from

the working drawings of

of the mouldings of the turnery, and

"Adam."

the " thurmed

"

work, of these details

are simply exquisite.

TABLE-LEOS,

TABLE-LEGS, COMMODE, Etc. (LATE EIGHTEENTH-CENTURY WORK).

COMJIoni-;,

BALU.STKRS,

Plate

etc.

No.

26, a

The
desif-m,

54.

Nos.

19

to

24,

are

table-legs;

commode, decorated on white enamel

cabinet

work of about

this period

No.

paint,

25,

made

is

for

side-table

and pedestal; and

Apsley House, and dated 1778.

has not been excelled in

modern times

for elegance,

and thorouq-hncss of execution.

The impetus

is

due

to

Cnirri:xDALK (date

about

1750),

and

this

was sustained by the

ART AND WORK.

brothers

Adam," from whose drawhigs these

"

was ultimately perfected by Siikraton

Plate
II,

10,

Nos.

59.

and

12

and

13

5,

Nos.

while

and

Italian-Renaissance

feeling

will

in

and

this

In

France,

to

rival,

spirit

Eraxcis

up

retained

it

obtained

I.

amongst other

" pilasters "

was characterized by

the

best

from

artists

Florence

of

furniture

6,

7,

and

of the latter period.

began

to

partake

of

Holbeinesque

century.

last

and

Italy,

Nos.
Italian,

Flemish and

beginning of the

the

to

the

thinq-s,

name

the attempt, that his

of the

which

influence,

and wood of the

English hirniture

century,

century.

last

legs of original design;

stone,

in

of the

close

Et c.

are examples of

9,

During the early part of the sixteenth

the

the

BALUSTERS,

are dining-taljk;

15,

towards

57),

and stanchions,

baluster-shafts,

14,

German Renaissance

to

Cabinet-making

details are principally rendered.

(see plate

TABLE-LEGS,

33

was so successful

kie

itself

work with

to

set

be ever famous as one of the most magnificent art-patrons

will

middle ages.

TARSIA-WORK ITALIAN.
Plate

34.

No.

Plate

68.

No.

examples

six

Verona, and were

order this

Tarsia-work

great

and

from

1481-99) by

the

two

of

portions

are

3,

panels of conventional foliage, tarsia-wokk.

are

3,

arrangement

are

and

choir-stalls

of a

an

an

with

bay,

frieze.

Jllaria

St.

oi

Era Giovaxxi

of

sprigs

Organo,

in

Olivetan monk,

which

to

formerly belonged.

is

and back

frieze,

cerostrotum

the

of

artists

The numerous

Italy.

in

Pliny

of

were

time,

church of

to a choir-stall in the

work, and

fifteenth-century

-the

thirteenth century

by the

and Nos.

designed (date,

church

This

and Nos.
graceful

given

here

Plate 70, represents the

Florence.

very

is

i,

pilaster,

and flowing ribbon,

intertwining

The

is

I,

from

brothers

the

''

of

Novella,

by Vasari.

designs

found so

is

Maria

St.

back as

far

the

intarsiatori"

the

religious
(or

of the

part

early

communities,

assisted

marquetry-cutters,)

of the

cinque-cento period.

No.

Plate 84.
in

a Renaissance example from the back of a chair, preserved

represents

4,

Nos.

Canterbury Cathedral.

i,

with

and

various

the

latter

two being

the

effect

enhanced by "shading," which

hot
to

sand-bath.
the

inlaid

Note,

satinwood

and

are original panels, from

3,

coloured

woods,

is

obtained

box

are

by

the

designs by the Author,

and

mother-o'-pearl,

partially

woods

and

ivory,

dipping the veneers in a

which

more

readily

take

process.

Marquetry should
advisable

unequally

to

as

always,

if

possible,

be

inlaid

adhere to the naturally-coloured woods,

a

glance

at

the

old

into
for

a solid

the

examples of varied inlay

dyed
will

ground

moreover,

it

is

veneers are apt to fade

be sufficient to prove.

ART AND WORK.

34

TERRA COTTA.
Although

not

examples of stone,
modelling

the

in

Antique

and

marble details given

ancient

pottery,

and

urns

vases,

fictile

collections.

of which

on

Cotta

The

The
we

Mr.

late

suggestions

as

tor

as

in

and

of

Torrigiaxo

has

employed

time

their

Chancery

P2nglish

Terra-Cotta, and

the

ot

Terra-

recumbent

the

us

left

Chapel,

Lane.

him

to

subject.

and of the same honest

Irom the modeller,

necessity of the market,

is

others

knowledge

direct

while they are

rare,

etc.

modern

perfected

Museums and

our

in

enormous quantities of

disgorged

Rolls-Court

the

in

practical

Moulded work

Pisa,

country

this

comes

it

abundance

in

architects designed freely in this generous

Italian

Braaiantk,

our

have

Venice,

at

M. Blashfield,
ior

we

earlier

Young,

Dr.

material

throughout.

colour

whilst

of

J.

the

prefer

amply serve

would

numerous

the

that

Terra-Cotta are comparatively

in

e.xist

Axgelo,

indebted

are personally

We
it

Michael

Monument

and

Statue

examples

fine

grand scale

considered

Etruscan tombs have

but architectural details

on,

we

pages,
herein,

lamps,

Pompeii and the

oftener of inferior workmanship.

Later

our

clay.

private

material,

iHustrated

dii-ectly

but

always looks what

it

and nothing more.

is,

The
given

thickness ot the

also

to

"body" depends on

economical dimension for general use

may be
tictile

superincumbent pressure.

vases of

tt.

under

executed

successtully

which averages

block,

but on certain occasions,

supervision

the

ot

work

due

about a

subjects

regard being
cube,

foot

up

to

ft.

in

an

is

length

Old Greek

an experienced potter.

more, are not uncommon.

or

height,

in

the proportions of the

WALL-DECORATION (CINQUE-CENTO.)

'Fountains
VASES," etc.,
TLite

WALL

L'.

Plate

No.

13.

is

2,

continuous " either-way

"

dado;

No.

5,

which acts

dado,

a step

FAri:n^

also as

while

a stop to

No.

division

4,

is

the

the

continuous

reversible-pattern of

No.

dado-plinth;

being adjusted

in

design

this

6,

with

The

broad

pattern

will

hatchings

as

contorm

for

shown

itself,

filling;

and No.

and No.

3,

the

the frieze

i,

by the introduction of one or more

This decoration, recently designed

relieved

the

No.

in

Messrs.
in

our

Jeffrey,

is

printed

in

dado-cappino-

inequalities

of

balusters.

two

colours,

and

illustration.

strictly

architectonic

manner,

to

any stairway or

apartment.

WALL-PAPER DECORATION.
Plate

29.

This

represents a

wall-hanging,

consisting

of

band, or

frieze

vessels with sundry accessories, which include a distant landscape, birds, dolphins,

designed for Mr. James

This

frieze

ToLEiEVN.

nieasures 64

in.

in

length,

and

is

executed

in

four

printings.

of

etc.,

ancient

and was

ART AND WORK.

It

intended

IS

Old ships have

an

be placed around an apartment,

to

strange

enconium which
the

theless,

We

would

latter

Venetian galley,

may be

or

Spanish

indebted

are

suggestions given

us

somehow

tail

whilst

Game,

T.

designing

of

comprises
It

dado,

has a border

The

arranged

so

with

rail,

design

best

is

imposing

vessel.

Never-

clipper-built

when compared with an

subject,

old

an

as

alternati\-e,

represented

which

was designed

agreeably

as

well

raised

in

valuable

DECORATION.

cut

to

many

for

decoration.

this

This Adamesque decoration,

50.

ever stately and

before-mentioned firm,

tlie

STAIRCASE
Plate

level.

caravel.

Mr.

to

they are

a decorative

as

above the eye

just

with the modern

shared

justly

them

about

fascination

35

any

to

the

as

ordinary

and

filling

and

flock,

W. Wiiollams &

for

rake

of

Co.,

staircase.

frieze.

in

this

material

which

are

called

makes

it

rich

ornamental held, out of a quiet and unobtrusive pattern.

WALL DECORATION.
Amongst

the

fragments of woollen

This

flock,

prevent the fatty

The

were

been

down,

in

at,

to

new

this

We
;

art

however,

have,

Many
in

in

colour,

in

starch

down.

which

or

other

was printed
mucilage,

gold

in

so

as

to

to

and leather

cloth,

stuffs,

and would appear

used for wall-hangings.

previously

Venice

were

have been

to

most

probably the

textile

fabrics

" flocking."

of

are

date,

to

be found

at

Hampton-Court

and

in

printing

in

Palace,

some

rare

seventeenth-century specimens of

only

that

the

general

the Japanese manufacture of the

outline

was

printed

the

present

filling-in

being

was

recognized

trade

in

and

Erance

Germany

at

the

end

of

the

"brocades" of seventy years ago, were remarkably

fine

century.

of the

treatment,

generally,

"

of

which

in

in tempera.

Paper-staining
sixteenth

blotched-on

Genoa and

met with

exception

the

hand-painted,

kind

over a pattern

These had somewhat the appearance of

with

into

" flocks,"

country mansion.

old

distemper.

time

"

those

present,

dusted

figured

the

imitate

Flock paper-hangings of early

an

at

was

previously

and velvets of

silks

as

cut,

were

running beyond the outline.

oil

intended

The

many

made,

process was applicable also

originally

aimed

cloth

woollen

or

having

after

size,

wall-papers

first

flock-papers,

being well

(say from
as

it

called

balanced, and

highly

1835, to within the last

was possible

to

make them.

decorative

25 years),

but

the printed wall-papers,

were as vicious

in

design,

taken

and crude

ART AND WORK.

J6

Moreover,

combined

one and

in

remuneration

There

was,

out

to

There

are

of

on

patterns

the

better

to

composition

design

both

This
is

is

no great

many

in

the

hand

at

design

have received

to

even

less

papered

maintain

to

paper

which

alone

whilst

now

wall

presents

been

and consisted merely

to

rival

abrupt,

should

paper-

should

standard,

their

few

but

had

there

if

tlu'eaten

the

that

so

worst Rococo patterns

very

the

\'iz.,

extant,

specialities

than

which

print

and meaningless
be

from

rejected

on the simplest of ornamental principles.

Block papers should be made

pattern,

appear

produce good work

to

execute

Paper-stainers

material

were then

block-cutting"

in

Therefore the result was inevitable,

artistic

wall-decorations.

terminations
the

number

would

he

then

or

direct,

"dealer

even an ordinary paper-stainer's journeyman.

what was the nearest

ot

French market.

as

and

incentive

the labour.

lor

of the

hangings
the

either

and

desi'^ner,

than

labours,

cared

of

individual,

no

reproduction

the

same

the

consequentlv,

any encouragement
in

professions

twofold

his

for

minds

educated

two

the

and

design

suggested as
difficulty

wall-papers of

in

in

colour,

the

to

15

lengths,

ft.

throughout

result of years of

the

piece.

experience

carrying out such a scheme;

sixty,

and

seventy,

in

wall-surface designing.

''Innovation"

ago were

years

and of a "more or less" varying

designed,

is

the

and

There

only obstacle

executed

after

for

this

fashion.

at

If

the

the

top,

perfect

in

ornament
a

be;

wall-surface

itself,

thoughtfully

studied

hung with such

at

the

"filling"

and one on which the eye could

FINIS.

bottom,

and

as

rationally

would present an

rest

with

thorough

artistic

finished

decoration

tranquillity.

off

APvT

yihitemaJi.Sc'Basz,

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&.

WOF\K.

Plate

Owen W.

Davis, del.

Al\T

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Whiteman

Sr

&.

WOI\K.

'late

Owen W.

Bass

ITALIAN

FOUNTAINS,

VASES,

ETC.

2.

Davis, del.

AHJ

&.

WOI\K.

Plate 3.

Owen

"Whiteanaji&BaLSs, JjJjw. Ioiad0ii.

MEDI/EVAL IVORY

CARVINGS

Davis, del

Art

&.

woi\K.

PI all'

Owen W.

Printed bv AX'hiteman frBass.

STONE

AND

WOOD

FINIALS,

ETC.

-i.

Davis, del

Al\T

&.

WOI\K.

Plate

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OLD

FRENCH,

METAL,

FINIALS,

\V.

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or

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>

WOI\K.

Owen W.

bv 'WTiiteman & Bass.

OLD

ENGLISH

FIREPLACE.

Designed by Owen W.

Davis.

Davis, del.

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"/ftateman^iias^.iitA^ Ij-juion

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THE

BUTTER-WALK,

DARTMOUTH.

Da\-is,

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DETAILS OF CARVED OAK CABINET. CERIVIAN

16^."

CEINTY

WORK.

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OLD

INLAID

OAK

CABINET.

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Davis, del.

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Whiteman SrBass

TO WESTERN DOORWAY.
THE CERTOSA, PAVIA.

CARVINGS,

A\'.

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Aht

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METAL WORK.
Made

by Messrs.

Benham

&.

Froud.

Designed by Owen W.

Davis.

W',

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d-cl.

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Pjass.

RENAISSANCE OVER DOORS AND PEDIMENTS-

ei.

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TARSIA

WORK.

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Owen W.

EARLY

CLASSIC

ORNAMENT.

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WOI^K.

PriDLd by Whitemai) & Bass.

Plate

Owen W.

ANIMALS, FROM

I5TH

CENTURY WOOD-CUTS.

3ii,

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ANIMALS,

PLANTS,

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DOOR

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EGORATION,
Owen W.

Davis.

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Owen W.

Bsss,

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CHIMNEY-PIECES.

Davis,

4-3.

deL

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RENAISSANCE' CHIMNEY-PIECE.
Designed by Owen W. Davis.

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IfG.

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Owen

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del

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Plate

Owen W.

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"ADAM"

GRATES.

l-d.

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A
Designed
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L/esigneu

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STAIRCASE
by
uy
uy
uy
uy

Owen W.

Davis

DECORATION.
for

W. Woollams

&

Co.

50.

k(T

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EARLY

CLASSIC

ORNAMENT.

52.

Davis, del.

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&.

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TABLE AND CHAIR LEGS, LATE

18TH

CENTURY WORK.

Davis, del.

AHT

Printed by

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WO^K.

Plate

Owen W.

Bass.

TABLE

LEGS,
Late

8th

"COMMODE," ETC.
Century

work.

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Plate 56.

Owen

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Davis, del.

Al\T

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AN

ARM-CHAI R.-SH E RATON.

Plate

.57.

Al\T

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5.

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Plate 58,

Whiteman &Bass

Owen W.

MODERN
Designed by

CARPETS.
Owen W.

Davis.

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OLD

MAJOLICA

PAINTINGS.

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& WOI\K.

Whiteman & tiasi

Plate 62.

Owen W.

"ADAM"

CHIMNEY-PIECES.

Davis, del.

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MARBLE

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Whiteman &Ba5!t-

RENAISSANCE PANELS AND PEDESTALS.

Davis, del.

Al\T

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&.

WOI^K.

Plate

Owen W.

Bass.

CHINA PAINTING, BY MESSRS. COPELAND.

Owen W.

Davis,

Invt.

liii

Di.wis, del.

-I^

Al\T

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&.

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Plate

Owen W.

Whiteman & Bass

ITALIAN

TARSiA

WORK.

lib.

Davis, del.

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Printed by ^^'hiteman

& WOF(K,

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^Bass

Owen

KEY-STONES,

CORBELS,

ETC.

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&Bass

ITALIAN

TARSIA

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Davis, del.

I'late 71.

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RENAISSANCE

CEILINGS.

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Ai\T

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plate 72,

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Whiteman & Bass

ITALIAN

CAPITALS.

Davis, del.

AHT

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Davis, del.

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