Chapter I: Front Matter

DESIGN AND TRADITION

“They are the elect to whom beautiful things mean only Beauty.”--_Oscar
Wilde._

This drawing is remarkable as an anticipation of eventual appearance.
Thoroughly impressionistic in treatment, all irrelevant detail is
omitted.]

UNIVERSAL ART SERIES
EDITED BY FREDERICK MARRIOTT

DESIGN AND
TRADITION

A SHORT ACCOUNT OF THE
PRINCIPLES AND HISTORIC
DEVELOPMENT OF ARCHITECTURE
AND THE APPLIED
ARTS

BY
AMOR FENN

LONDON
CHAPMAN AND HALL, LTD.
1920

THE WESTMINSTER PRESS
HARROW ROAD
LONDON

AUTHOR’S PREFACE

It may be urged with some reasonable basis of truth that much of the modern art work fails to attain the level of that of the past. It must be conceded, however, that demand and appreciation is more general and widely diffused. As social conditions have developed, interest in environment has been stimulated. Improved processes resulting in more economic production have rendered possible an indulgence by those of moderate means, attainable only at earlier periods by the wealthier class.

As a result of this more general appreciation the professional services of the artist are necessarily in greater request, thus affording a sphere of work not only lucrative but temperamentally attractive.

At the present time the facilities available to the prospective artist are considerably greater than at any previous period. In every district and important centre, there are schools specialising in the Arts and Crafts, giving opportunities for training at fees that are purely nominal. Most of these deal with the various phases of artistic expression on logical and sound lines, but the knowledge and experience essential to a successful artistic career is invariably acquired in professional work to which the art school training is preparatory.

To those specialising in design, the study of Historic Style is of paramount importance. Intelligent investigation will show that in all the varying phases, the underlying factors are much the same, and appreciation of these will be found invaluable in personal work.

Necessarily brief, this book has been prompted by the memory of early bewilderment and difficulties, when a guiding hand would have saved much valuable time and mis-directed energy.

A considerable amount of the available space is devoted to Architectural features, with the conviction that a knowledge of these will be found helpful in the formation of methods, logical and constructive.

Attention is directed to the frontispiece, a typical example of the extraordinary genius of E. A. Rickards, F.R.I.B.A., the original of which is in the possession of Philip Connard, A.R.A., to whom indebtedness for its use is acknowledged.

The author’s thanks are also due to Miss Dora Bard and Mr. C. E. Bernard for the reproduction of drawings made by them during their tenure in successive years of the “Travelling Studentship” of the Society of British Decorators.

For the use of the following photographs the author desires to make acknowledgment to the Authorities of the Victoria and Albert Museum, South Kensington, as holders of the Crown copyright:

Nos. 257.
258.
259.
265.
271.
272.
273.
274.
275.
281A.

CONTENTS

CHAPTER.....PAGE

I Introductory.....1

Human Limitations, p. 1--Inspiration--Process and Material, p. 2--Early Training, p. 4--Art and Existence, p. 5--Natural Taste--Commercial Production, p. 6--“Ornaments,” p. 7--Modern Development--Public Apathy, p. 8--Elementary Pattern, p. 9--Early Impressionism--Personal Production, p. 10--Early Social Conditions, p. 11--Influence--Commercial Intercourse, p. 12--Effect on Design, p. 13--Ethical side of Art, p. 14--Desire for Novelty, p. 15.

II Historic Review.....16

Style, p. 16--Intercommunication--Climate and Material, p. 17--Phases in Style, p. 18--The Lintel, p. 19--The Arch, p. 20--Egyptian Art, p. 22--Chaldean Art, p. 25--Greek Art, p. 28--Roman Art, p. 35--Vaulting, p. 36--Greek Influence, p. 37--Roman Development of Ornament, p. 38--Græco-Roman Painted Decoration, p. 39--Byzantine Dome, p. 43--Early Christian Art, p. 46--Byzantine Metal Work, and Enamel, p. 47--Roman Influence Abroad--Romanesque Style, p. 49--Church Development, p. 50--Dark Ages, p. 53--Crusades, p. 56--Origin of the Pointed Arch, p. 58--Gothic Style, p. 59--Phases of Gothic--Early Pointed, p. 60--Decorated Gothic, p. 64--Perpendicular Gothic--Glass Windows, p. 67--Civic Influences, p. 70--Effect of Commerce--Classic Tradition in Italy, p. 71--Foreign Influence in England--The Dwelling House, p. 72--The Reformation, p. 74--The Renaissance, p. 75--Early Florentine Exponents, p. 76--Rome, p. 78--Venice, p. 80--Venetian Influence, p. 81--Painted Decoration, p. 82--Græco-Roman Influence, p. 83--Early French Renaissance, p. 85--Native Exploitation, p. 87--English Renaissance, p. 88--Italians in England, p. 89--Study of Classic Style--Thomas Thorpe, p. 91--Flemish Influence, p. 92--Jacobean Work, p. 93--Development in Dwellings, p. 98--Evolution of Professional Designer, p. 101--Inigo Jones, p. 102--Louis XIII, p. 103--Louis XIV, p. 106--“Boule” Work--Mirrors, p. 109--Louis XV, p. 110--Régence--Rococo, p. 111--Lacquer “Vernis Martin”--Later English Renaissance, p. 113--Sir Christopher Wren, p. 114--Classic Treatment of the Spire, p. 116--Dutch and French Influences, p. 118--Queen Anne Period--Early Georgian, p. 120--Furniture Design, Chippendale, p. 121--Mayhew--Robert Adam, p. 123--Hepplewhite, p. 126--Sheraton--Louis XVI, p. 127--Riesener and Gouthière, p. 133--Empire--Empire in England--Later English Architecture, p. 135--French Influence on Europe, p. 136.

III Mouldings.....138

Purpose--The Fillet--Sheltering Mouldings--The Cavetto, p. 139--Cyma Recta--Bracketing Mouldings--The Ovolo, p. 140--Cyma Reversa--Binding Mouldings, p. 141--The Torus--The Scotia--The Facia, p. 142--Decoration of Mouldings, p. 143--Orthodox Details--Angle Leaf, p. 145--Dentils, p. 146--Employment of Mouldings, p. 147--Attitude, p. 148--Panel Mouldings--Woodwork, p. 149--Applied Mouldings, p. 151--Bolection Moulding, p. 152--Mouldings in Plaster Work--Wood Turning, p. 153--Metal Turning--Pottery, p. 154--Mechanically produced Metal Mouldings--Wrought Iron, p. 155--Silver Work, p. 156--Sheet Metal, Spinning, and Repoussé, p. 157.

IV Architectural Proportions.....158

Introduction, p. 158--System of Proportion, p. 159--The Order, p. 160--Doric Order, p. 161--Ionic Order--Corinthian Order, p. 163--Doric Entablatures--Mutules, p. 164--Ionic Entablature, p. 169--Corinthian Entablature, p. 171--The Column, p. 172--The Capital--Doric Capital, p. 173--Ionic Capital--Ionic Volute, p. 175--Corinthian Capital, p. 178--The Base, p. 180--Doric Base, p. 181--Ionic Base, p. 182--Corinthian Base--The Arch, p. 184--Doric Impost, p. 185--Doric Archivolt--Ionic Impost, p. 186--Ionic Archivolt--Corinthian Impost--Corinthian Archivolt--The Keystone, p. 187--The Pedestal, p. 188--Doric Pedestal, p. 189--Ionic Pedestal--Corinthian Pedestal, p. 190--The Baluster, p. 191--Spacing of Balusters--Balustrading, p. 193--Use of Columns, p. 194--Disposition and Spacing in Colonnades, p. 195--Orders above Orders, p. 197--The Pilaster, p. 199--Arcades, p. 200--The Subsidiary Order, p. 202--Treatment of Superimposed Orders, p. 204--Rustication, p. 205--The Basement, p. 207--The Attic, p. 208--The Pediment, p. 209--Doors, p. 211--Windows, p. 213.

V Division of Surface.....216

Wall Treatment, p. 216--Ceilings, p. 218--Jacobean--Carolean and Georgian, p. 221--Adam Ceilings, p. 222--Vaults and Domes, p. 224--The Cove, p. 225--The Frieze, p. 226--Borders, p. 227--Geometric Elements--The Undulate Line, p. 230--Repetition and Alternation, p. 233--Treatment of Angles, p. 234--Pilaster Treatment--Panelled Pilasters, p. 235--Capitals and Bases--Treatment of Panels, p. 236--Juxtaposition, p. 238--The Growth Line in Composition, p. 241--Grouping and Massing of Detail--Division of Area, p. 242--Human and Animal Life in Composition, p. 244--Forms in the Round, p. 245 Supports and Balusters--Standards, p. 246--Proportion, p. 247--Vase Forms and Treatment, p. 248--Working Drawings, p. 249--The Segment or Stretch out, p. 250.

VI Development of Conventional Ornament.....254

Outline Drawing, p. 254--Undesirable Realism, p. 255--Craft Restrictions, p. 256--Materialistic Influence, p. 258--Early Renderings, p. 261--The Anthemion, p. 262--Greek Sculptured Ornament, p. 263--The Acanthus Leaf, p. 264--Roman Development--The Scroll, p. 266--Græco-Roman--Byzantine, p. 267--Romanesque--Gothic--Italian Renaissance, p. 268--The Husk Leaf, p. 269--The Rosette, p. 270--Tendrils, p. 271--Nature Influence--Inconsistent employment of Symbolic Elements, p. 272--Consistency in Growth--Branching, p. 273--Treatment and Employment of Leaves, p. 275--The start in Ornament, p. 276--Italian Renaissance Influence--Jacobean, p. 280--French Renaissance--Henry II, p. 281--Louis XIII, Louis XIV, Régence--Louis XV, p. 283--Rococo--Louis XVI, p. 284--Grinling Gibbons School of Carving--Adam Style, p. 285--Empire--System of the Acanthus Leaf, p. 286.

VII Treatment in Design.....288

Natural Attraction, p. 288--Decorative Materials, p. 289--Justification of Treatment, p. 290--Undesirable Imitation, p. 291--Technical Considerations--Methods of Expression, p. 292--Treatment of Leaves, p. 293--Surface Interest--Painted Decoration, p. 294--Stencilled Work, p. 295--Mechanical Production--Printed and Woven Fabrics--Needlework--Appliqué, p. 296--Lace-Wood Inlay--Intarsia, p. 297--Veneer--Marquetry--“Boule” Work, p. 298--Mosaic, p. 299--Byzantine use of Marble--Book Decoration, p. 300--Bindings--Relief Work--Economic Result of Method--Desirable Treatment in Carving, p. 301--Backgrounds, p. 303--Reproduction Processes--Metal Repoussé, p. 304--Cast Metal, p. 306--Character of Cast Work, p. 307.

VII Mythology and Symbolism.....310

Early Symbolic Ornament, p. 310--Customs, p. 311--Origin of Mythology--Nature Myths, p. 312--Light and Darkness--Melanesian Legend, p. 313--Darkness as a Devouring Monster--Season Myths, p. 314--Sun Myths--Belief in Natural Phenomena, p. 315--Greek and Roman Deities, p. 316--Scandinavian Mythology, p. 317--Rising and Setting Symbolised, p. 318--Winds Personified--Predestination, p. 319--The Fates--Propitiation and Sacrifice, p. 320--Early Burial Customs--Taboo--Roman Lares, p. 322--Mediæval Legend--Early Spiritual Belief, p. 323--Prehistoric Treatment of Epileptics--Prohibition, p. 324--Belief in Magical Qualities, p. 325--The Shirt of Nessus--Swords, p. 326--Invulnerability, p. 327--Belief in Numbers--The Muses, p. 328--Sacred Trees and Flowers, p. 329--Sacred Animals--Evangelist Symbols, p. 331--The Serpent--The Dragon, p. 332--Poetic License in Tradition, p. 333--Animals in Christian Art, p. 334--Association of Human and Animal Qualities--Totemism--Cannibalism, p. 336--The Sphinx--Assyrian Winged Monsters, p. 337--Pegasus--The Harpy--Sirens, p. 338--Pan--The Nymphs--The Centaur, p. 339--Symbolism of the Circle, p. 340--Symbols of the Trinity--The Wand, a Symbol of Authority--The Hand, p. 341--The Caduceus--The Thyrsus, p. 342--The Trident--The Cross, p. 343--The Pastoral Staff, p. 344--Symbols of Martyrdom--Symbolism of Gems and Colours, p. 345--Masks--Symbols of Time, p. 346--Secular Symbols--Trophies, p. 347--Heraldry--Interest and Meaning in Modern Art, p. 348.

IX Ways and Means.....350

Perception, p. 350--Accepted Conventions, p. 351--Influence of Fashion--Harmonious Consistency, p. 352--Natural Suggestion--Colour Scheme, p. 353--Early Training--Nature Study, p. 355--Aspect and Attitude, p. 356--Treatment of Studies, p. 358--Drawings for Reproduction, p. 359--Opaque Colour--Method of Enlarging or Reducing Drawings, p. 360--Textile Designs, p. 361--Wall Papers, p. 362--Architectural Drawings--Structural Design, p. 363--Lucid Arrangement of Details, p. 364--Mathematical Equipment, p. 365--Use of the Ruling Pen--Proportional Compasses, p. 367--Tracings--Conclusion, p. 368.

LIST OF ILLUSTRATIONS

Sketch Design for Equestrian Statue, by E. A. RICKARDS, F.R.I.B.A. _Frontispiece_

ARCHITECTURE, HISTORIC No. Page

Egyptian Temple, Section and Plan of 10 23

Temple, Entrance Façade 11 24

Capital from Philæ 12 24

Persian Capitals from Persepolis 16 27

Greek Doric Temple, The Parthenon 21 30

Ionic, The Erectheum 22 31

Corinthian, The Choragic Monument 23 32

Vase paintings of Doric and Ionic Orders 19 29

House about 100 A.D. Bas-relief in British Museum 20 29

Roman, The Pantheon, Rome 26 36

The Coliseum, Rome 27 37

The Arch of Titus, Rome 28 38

Byzantine St. Vitali Ravenna, Section and Plan 35 44

Capitals 36 (Plate)

Interior, Ravenna 39 (Plate)

Romanesque Capitals 42 50

Tower 43 50

Plan, Cathedral at Worms 44 51

Bay of Cathedral at Worms 45 52

Window, St. Alban’s Abbey 46 52

Church Interior with Triforium 47 52

Doorway, Kilpeck Church 49 54

Gothic Buttresses 53 58

Early Pointed Pier 54 60

Early Pointed Bay of Church 55 61

Early Lancet Windows 56 62

Early Pointed Windows, Plate Tracery 57 62

Early Pointed Arch Mouldings 58 62

Early Pointed Capital 59 63

Early Pointed Tracery Windows 60 63

Early Pointed Spire 61 64

Decorated, Tracery Windows 62 64

Decorated, Carving 63 65

Decorated, Arch Mouldings 64 65

Decorated, Capital 65 66

Decorated, Capital 66 66

Decorated, Spire 67 66

Perpendicular, Bay of Church showing Development
of Clerestory 68 67

Perpendicular, Windows 69 68

Perpendicular, Fan Vaulting 70 69

Perpendicular, Tower 71 69

Domestic Tudor, Window 75 74

Renaissance, Italian, Strozzi Palace 76 76

Italian, Pandolfini Palace 77 77

Italian, St. Peter’s, Rome 78 79

Italian, Farnese Palace 79 80

Italian, Vendramini Palace 80 81

Italian, Library of St. Mark 81 82

English, Banqueting House, Whitehall 05 1031

French, Louis XIII. Luxembourg 06 1041

French, Louis XIII. Barocco Detail, Ste. Marie, Nevers 07 1051

French, Louis XIV. Louvre 09 1061

French, Louis XV. Pantheon 12 1101

English, St. Paul’s Cathedral 18 1151

English, Spire, St. Mary le Strand 19 1161

Tomb of Tantalus in Lydia 5 19

Tomb of Beni Hassan 17 28

Tomb at Kyanea-Jaghu 18 28

ARCHITECTURAL FEATURES

Arch, The Principle of the 6 20

Balusters, Details of 170 192

Cornice, Treatment where Order is not employed 180 209

Doors, General Proportion of 182 211

Treatment of 183 212

Frieze, Roman 198 226

Frieze, Roman 199 227

Gothic Vault, Section of 7 20

Vaulting 9 21

Cross Vaulting 48 53

Lintel, The 4 19

Lintel, The, Joggled Joints 8 21

Orders, General Proportions of the 154 162

Order, The Doric 153 160

The Doric Entablature, Vignola 155 165

The Doric Entablature, Mutular 156 166

Order, The Doric Capital 159 173

The Doric Base 165 181

The Doric Pedestal 169 189

The Doric Archivolt 168 186

The Doric Impost 168 186

The Doric Arcading 174 201

The Doric Arcading with Pedestal 175 202

The Doric Column and Pilaster 173 200

The Ionic Entablature 157 168

The Ionic Capital 160 174

The Ionic Capital (Angular Volutes) 161 176

The Ionic, Detail of Angular Volute 162 177

The Ionic Base 166 182

The Ionic Pedestal 169 189

The Ionic Archivolt 168 186

The Ionic Impost 168 186

The Corinthian Entablature 158 170

The Corinthian Capital 163 179

The Corinthian Capital 164 180

The Corinthian Base 167 183

The Corinthian Pedestal 169 189

The Corinthian Archivolt 168 186

The Corinthian Impost 168 186

The Superimposed 172 198

The Subsidiary 176 203

The Subsidiary, Detail of Entablature 180 209

Pediment, The 181 210

Pilaster The, Capital 209 236

The, French Renaissance 208 236

Rustication, Types of 178 206

In Arcades 179 207

Spacing of Columns 171 196

Windows 184 214

Three-Light 185 215

DECORATIVE FEATURES

Acanthus Leaf, Brush Work 235 264

Development 251 281

Development 252 282

Construction of 253 287

Anthemion, Greek, Relief Treatment 232 262

Greek, Vase Painting 231 261

Border, The Geometric, Key or Labyrinth 200 228

Border, The Geometric, Interlacing 201 229

The Scroll 204 232

The Evolute Scroll 207 234

The Vertebrate 244 274

Branching, Types of 243 274

Inlay, Wood, Geometric 260 297

Wood Borders 261 297

Wood Panel 262 297

Wood Panel 263 298

Wood, Italian Intarsia 264 298

Metal “Boule” Work 266 299

Metal “Boule” Work 267 299

Inlaid Floor, Italian Renaissance 188 219

Lace 259 (Plate)

Marquetry 265 (Plate)

Mosaic Work, Spandril, Byzantine 40 (Plate)

Borders 268 (Plate)

Border, Roman 269 (Plate)

Border, Roman 270 (Plate)

Panel, Roman 271 (Plate)

Needlework 257 (Plate)

Appliqué 258 (Plate)

Relief Ornament, Prehistoric 2 (Plate)

Greek Stone Carving 218 (Plate)

Roman Stone Carving 237 (Plate)

Roman Stone Carving 29 39

Byzantine Stone Carving 37 46

Byzantine Stone Carving 38 47

Byzantine Stone Carving 216 244

Romanesque Stone Carving 217 244

Gothic Stone Carving 238 268

Gothic Stone Carving 239 269

Gothic Stone Carving 219 (Plate)

Renaissance, Italian 248 278

Renaissance, Italian 249 279

Renaissance, French 88 86

Renaissance, French 250 280

Renaissance, French 90 88

Jacobean Gouge Work 276 302

Jacobean Wood Carving 277 303

Jacobean Wood Carving 95 94

Louis XIV. Wood Carving 275 (Plate)

English Wood Carving 274 (Plate)

Relief Ornament, French Wood Carving 113 111

French Wood Carving 279 306

French Wood Carving 212 239

French Wood Carving 211 238

French, Part of Ceiling 210 237

French Wood Carving 133 134

Icelandic Wood Carving 280 306

English 18th Century 273 (Plate)

English, Modern 213 240

Analysis of Composing Lines 214 241

Rosettes, Types of 241 270

Scroll, The, Greek Stone Carving 233 262

The Evolute, Archaic 229 259

The Evolute, Savage Art 230 260

Scroll, The, Wrought Iron 234 263

Brush Work 236 265

As a Growth Line 202 230

Italian Renaissance 240 270

Start, The, Nest or Cup Leaf 246 277

Half Figure 247 277

Tendril, Roman 242 272

Terminals, Branch and Scroll 245 275

Textiles, 14th Century Woven Fabric 3 13

14th Century Woven Fabric 51 56

Sicilian Tapestry 52 57

14th Century Tapestry 205 232

Turkish Brocade 203 231

French Brocade 206 233

Details of Inhabited Pattern 256 295

Tooled Book Binding 272 (Plate)

FURNITURE

Egyptian 13 25

Egyptian 14 26

Assyrian Seat 15 27

Greek 24 33

Roman Couch 30 39

Roman Sella or Seat 31 39

Romanesque Chair 50 55

Gothic Chair 72 70

Gothic Bedstead 73 71

Italian Renaissance 86 84

Italian Renaissance 87 85

Italian Renaissance 92 89

French Renaissance 91 88

English 17th Century 99 98

English 17th Century 100 99

English 17th Century 101 100

English 17th Century 102 100

English 17th Century. Baluster 221 246

French Louis XIII 108 105

French Louis XIV 111 108

French Louis XV 265 (Plate)

English late 17th Century 116 113

English late 17th Century 117 114

Dutch and Queen Anne Chairs 121 119

English 18th Century 122 122

French Louis XVI 132 133

INTERIOR FEATURES

Ceilings, Italian Renaissance 187 218

Italian, General Plan 189 220

Italian Renaissance, Painted, 83 (Plate)

Italian Renaissance, Painted, 85 (Plate)

Tudor 190 221

Jacobean 191 222

Jacobean 192 223

Carolean 193 224

Robert Adam 194 225

Chimney Pieces, Gothic 13th Century 74 71

Italian Renaissance 93 90

French Renaissance 89 87

Jacobean 96 95

Domes and Vaults, Italian Renaissance:

St. Peter’s, Rome 197 (Plate)

Villa Madama 196 (Plate)

Ducal Palace, Venice 195 (Plate)

Doors, Jacobean 97 96

Jacobean 98 97

French Renaissance 278 305

French Renaissance, Louis XV 114 112

English Renaissance 120 117

French Renaissance, Louis XVI 130 132

Frieze, The Jacobean, Carved Wood 94 93

French, Louis XVI 131 133

Interior Decoration, Græco-Roman 32 40

Interior Decoration, Wall Division 186 217

Italian Renaissance 84 (Plate)

French Renaissance, Louis XIV 110 107

English “Adam” 123 124

English “Adam” 124 125

French Louis XVI 126 128

French Louis XVI 127 129

French Louis XVI 128 130

French Louis XVI 129 131

METAL WORK

Græco-Roman 33 41

Græco-Roman 34 42

Byzantine Tradition 41 48

Wrought Iron 282 307

Wrought Iron, Venetian 283 307

Repoussé 103 101

Repoussé 281 (Plate)

Cast 104 102

Cast, Louis XV 115 113

Sheffield Plate 125 126

Filagree Jewellery 228 257

Cast Iron (Modern) 222 247

Surface Decoration of 284 308

METHOD

Of Enlarging and Reducing Drawings 286 361

MOULDINGS

Profiles of 134 138

Enrichment of 135 144

Detail of the Dentil 136 147

Aspect of 137 148

Stone, Panel Effect 138 149

Wood Panels 139 150

Wood Panels, Applied 140 151

Wood Panels, Applied 141 152

The Bolection 142 152

Table Top 143 153

Turned Wood 144 153

Pottery 145 154

Pottery 146 154

Rolled Metal 147 155

Drawn Metal 148 155

Wrought Iron, Swaged 149 156

Wrought Iron, Built up 150 156

Wrought Iron, Built up 151 156

Spun Metal 152 157

VASE FORMS

Primitive Pottery 1 (Plate)

Greek Pottery 25 34

Greek Pottery, Painted Details 19 29

Effect of Perspective 220 245

Segments of Contoured Surfaces 226 251

Segments of Contoured Surfaces 227 252

Stretch-out of the Cylinder 224 249

Stretch-out of the Cone 225 250

Types of Vase Decoration 223 248