Chapter I: Preface

THE substance of the following chapters originally formed a series of lectures addressed to the students of the Manchester Municipal School of Art during my tenure of the directorship of Design at that institution.

The field covered is an extensive one, and I am conscious that many branches of my subject are only touched, whilst others are treated in a very elementary manner. Every chapter, indeed, might be expanded into a volume, under such far-reaching headings, to give to each section anything like adequate treatment.

My main object, however, has been to trace the vital veins and nerves of relationship in the arts of design, which, like the sap from the central stem, springing from connected and collective roots, out of a common ground, sustain and unite in one organic whole the living tree.

In an age when, owing to the action of certain economic causes--the chiefest being commercial competition--the tendency is to specialize each branch of design, which thus becomes isolated from the rest, I feel it is most important to keep in mind the real fundamental connection and essential unity of art: and though we may, as students and artists, in practice be intent upon gathering the fruit from the particular branch we desire to make our own, we should never be insensible to its relation to other branches, its dependence upon the main stem and the source of its life at the root.

Otherwise we are, I think, in danger of becoming mechanical in our work, or too narrowly technical, while, as a collective result of such narrowness of view, the art of the age, to which each individual contributes, shows a want of both imaginative harmony and technical relation with itself, when unity of effect and purpose is particularly essential, as in the design and decoration of both public and private buildings, not to speak of the larger significance of art as the most permanent record of the life and ideals of a people.

My illustrations are drawn from many sources, and consist of a large proportion of those originally used for the lectures, only that instead of the rough charcoal sketches done at the time, careful pen drawings have been made of many of the subjects in addition to the photographs and other authorities.

It may be noted that I have freely used both line and tone blocks in the text and throughout the book, although I advocate the use of line drawings only with type in books wherein completeness of organic ornamental character is the object. Such a book as this, however, being rather in the nature of a tool or auxiliary to a designer's workshop, can hardly be regarded from that point of view. The scheme of the work, which necessitates the gathering together of so many and varied illustrations as diverse in scale, subject, and treatment as the historic periods which they represent, would itself preclude a consistent decorative treatment, and it has been found necessary to reproduce many of the illustrations from their original form in large scale drawings on brown paper touched with white, as well as from photographs which necessarily print as tone-blocks.

I have to thank Mr. Gleeson White for his valuable help in many ways, as well as in obtaining permission from various owners of copyright to use photographs and other illustrations, and also the publishers, who have allowed me the use of blocks in some instances--Mr. George Allen for a page from "The Faerie Queene"; Messrs. Bradbury, Agnew and Co. for the use of the "Punch" drawings; and Messrs. J. S. Virtue and Co. for the use of photographs of carpet weaving and glass blowing, which were specially taken for "The Art Journal." My thanks are also due to Mr. Metford Warner (Messrs. Jeffrey and Co.) for the use of his photo-lithographs of my wall-paper designs issued by his firm; to Mr. R. Phené Spiers for the use of his sketch of the iron balustrade from Rothenburg; to Mr. T. J. Cobden-Sanderson for photographs of two of his recent bookbindings; to the executors of the late Rev. W. H. Creeny for permission to reproduce two of the illustrations from his "Monumental Brasses on the Continent of Europe" (now published by Mr. B. T. Batsford); also to Mr. Harold Rathbone, who kindly allows me to reproduce the cartoons by Ford Madox Brown in his possession; to Mr. J. Sylvester Sparrow for the practical notes on painting glass; and to Mr. Emery Walker for help in several ways in the preparation of the book.

WALTER CRANE.

KENSINGTON,
_November, 1897_.

AUTHOR'S NOTE ON THE PRESENT EDITION

THIS reprint of "The Bases of Design" gives me an opportunity to correct a few errors which had inadvertently crept in on its first appearance, and also to add a word here and there.

I venture to hope that the book may prove more useful and accessible to students in its present form.

WALTER CRANE.

KENSINGTON,
_November, 1901_.

CONTENTS

CHAP. PAGE

I OF THE ARCHITECTURAL BASIS 1

II OF THE UTILITY BASIS AND INFLUENCE 48

III OF THE INFLUENCE OF MATERIAL AND METHOD 91

IV OF THE INFLUENCE OF CONDITIONS IN DESIGN 123

V OF THE CLIMATIC INFLUENCE IN DESIGN--CHIEFLY IN REGARD
TO COLOUR AND PATTERN 160

VI OF THE RACIAL INFLUENCE IN DESIGN 191

VII OF THE SYMBOLIC INFLUENCE, OR EMBLEMATIC ELEMENT
IN DESIGN 222

VIII OF THE GRAPHIC INFLUENCE, OR NATURALISM IN DESIGN 259

IX OF THE INDIVIDUAL INFLUENCE IN DESIGN 302

X OF THE COLLECTIVE INFLUENCE IN DESIGN 350

LIST OF ILLUSTRATIONS

PAGE
Three typical Constructive Forms in Architecture--Lintel,
Round Arch, Pointed Arch. 5

Gate of Mycenæ. 6

Imitation of Wooden Construction in Stone Tomb in Lycia. 7

Ornamental lines in the Frieze of the Parthenon 8

Metope of the Parthenon, showing relation and proportions
of the masses in relief to the ground. 9

The Parthenon. 11

The Parthenon--Eastern Pediment, sketches showing relation
of lines of sculpture to angle of Pediment. 12

The Parthenon--Elevation showing portion of Pediment,
Frieze and Columns. 13

Architectural influence in design of small accessories
(Greek). 15

Section of the Colosseum. 17

Hanging the Festal Garland--Visit of Bacchus to Icarius. 18

Arch of Constantine. 19

Mosaic, St. Apollinare in Classe, Ravenna. 21

Part of Interior of Dome of St. Mark's, Venice. 23

Mosaic of the Empress Theodora, St. Vitale, Ravenna. 24

Anselm's Tower, Canterbury. 27

Transitional Arcade, South Transept, Canterbury. 29

Typical Forms of Arches. 30

Typical Forms of Gothic Geometric Foliation. 30

Westminster Abbey, the Nave, looking east. 31

Wells Cathedral, West Front. 33

Westminster Abbey, Fan Tracery in Henry VII.'s Chapel. 35

The Five Sisters of York. 37

Details of Tomb, Winchelsea Church (1303). 38

Fourteenth Century Canopied Tomb, Winchelsea Church. 39

Wrought-iron Railing, Wells Cathedral. 40

Canopied Seat and Sideboard, French Fifteenth Century. 41

Carved Bench-ends, Dennington Church, Suffolk. 42

Brocade Hanging, from the Annunciation, by Memling. 43

St. David's Cathedral. 44

Structural lines of different periods in harmonious
combination, Canterbury Cathedral. 45

Matting. 49

Primitive Rush Mat. 50

Assyrian Border. 50

Assyrian enamelled Tile. 51

Greek Anthemion Ornament. 52

Wattled Fence. 52

Ancient Volute Ornament. 53

Types of Decoration derived from Thonging. 54

Frieze of the Temple of the Sybil at Tivoli. 55

Yoke of Oxen, Carrara. 55

Barge-board, Ightham Mote House. 57

Types of Gables. 57

Hazelford Hall, Derbyshire. 59

The Principle of the Dripstone. 60

Towers of San Gimignano. 61

Tower of the Palazzo Vecchio, Florence. 63

Tower with corner Turret, Axmouth Church, Devon. 64

Cut Brick Chimneys, Leigh's Priory, Essex. 65

Brick Chimney, Framlingham Castle. 66

Cast-iron Fire-dog, St. Nicholas's Hospital, Canterbury. 67

Cast-iron Grate Back, Bruges. 68

Fireplace with wrought-iron Crane, Church Farm, Hempstead,
Essex. 69

Candlesticks. 71

Brass Chandelier, German Seventeenth Century. 74

Details of above. 75

Lamps, Candlestick, and Snuffers. 77

Drinking Vessels, etc. 81

German Beer Mugs. 82

Italian Flasks and Bottle. 83

Pitcher from Rothenburg. 87

Plate and Dish Decoration. 87

Typical Border Systems. 89

Persistent Pattern Plans, Rectangular Basis. 89

Corbel, Fourteenth Century, Dennington Church, Suffolk. 92

Misereres, St. David's Cathedral. 93, 94

Scandinavian Clay Vessel. 95

Modern Egyptian Clay Vessel. 97

Bronze Statue of Louis XV. by Bouchardon, showing
internal Iron-work and Core. 99

The same, showing distribution of Ducts and Vents. 101

Wrought-iron Gates, St. Lawrence, Nuremberg. 103

Wrought-iron Fender, Tongs, Fire-dog and Shovel, Bruges. 103

Wrought-iron Altar Screen, St. Thomas's, Salisbury. 104

Wrought-iron Balustrade, Rothenburg, from a sketch by
R. Phené Spiers. 105

Lady at a Hand Loom, from Erasmus's "Praise of Folly"
(1676). 107

Diagrams showing the principle of the Loom. 107

Persian Carpet, South Kensington Museum. 109

Embroidery. 114

Facsimile of a page from the "Buch von den Sieben
Todsünden" (Augsburg, 1474). 117

Hans Baldung Grün, facsimile of a page from "Hortulus
Animæ" (Strassburg, 1511). 118

William Blake, "A Cradle Song". 120

Ceiling Papers. Designed by Walter Crane. 124, 125, 126

Repeating Pattern Wall-paper. Designed by Walter Crane. 127

Pattern Plans and Motives controlled by conditions of
Position and Purpose. 129

Floor Motive. Sketch design for inlaid wood,
by Walter Crane. 130

Drop Repeat Wall-papers. Designed by Walter Crane. 132, 134

Page Plans, showing various arrangements of Text and
Decorations. 137

Page from "The Glittering Plain" (Kelmscott Press). 139

Page from Spenser's "Faerie Queene" (Walter Crane). 140

Thirteenth Century Glass from the Sainte Chapelle, Paris
(South Kensington Museum). 142, 143, 145

Sixteenth Century Glass from Winchester College Chapel
(South Kensington Museum). 147

Thirteenth Century Glass Grisaille, Salisbury Cathedral. 151

Cartoons for Glass, showing lead design, by Ford Madox
Brown. 152, 153

Modern Glass, designed and executed by J. S. Sparrow. 157

Porch of Cathedral of S. Jacopo, Pistoia. 165

Primitive Egyptian House, after Viollet le Duc. 168

Column from Temple of Luxor. 169

Persian Capital, influenced by Primitive Timber
Construction. 170

Lotus Capital, Philæ. 171

Frieze in coloured and glazed Bricks, Palace of Susa
(from the Reproduction in the South Kensington
Museum), drawn by W. Cleobury. 173

Holy Carpet of the Mosque at Ardebil (South Kensington
Museum). 177

Arab Casement from Cairo (South Kensington Museum),
drawn by W. Cleobury. 181

Carved stone lattice Window from the Mosque of the
Palace of Ahmedabad. 183

Portion of the Alhambra, drawn by Gustave Doré. 187

Old House in Turnov, dated 1816. 188

Street in Eger. 189

Egyptian Hieroglyphics, Tomb of Beni Hasan (XIXth
Dynasty). 195

Altar with Offerings, Egyptian Mural Painting, Thebes. 196

Egyptian Wall-painting (British Museum). 197

Assyrian Tree of Life. 198

Assyrian Bas-reliefs (British Museum). 199, 200, 201

Assur Beni Pal, Assyrian Lions from the British Museum. 203

Lion modelled by Alfred Stevens and cast in iron. 205

Greek Stele or Head-stone. 206

Indian Flame Halo or Nimbus. 207

Persian Pomegranate forms, from a goat-hair Carpet
(South Kensington Museum). 208

Celtic design, from a Cross at Campbeltown, Argyllshire. 209

Typical ornamental Forms in Persian, Indian, and Chinese
designs. 211

Arabian Fourteenth Century carved and inlaid Pulpit,
Cairo (South Kensington Museum), drawn by W.
Cleobury. 213, 215

Panel in carved and inlaid Wood, from the Mosque of
Tooloon in Cairo, Fourteenth or Fifteenth Century
Saracenic. 217

The _Fylfot_ or _Sauvastika_, and its
incorporation in ornament. 224

Primitive Symbols, Sun, Fire, Water. 224

Polynesian Carved Ornament, from Hervey Island Paddle. 225

Polynesian Ornament--Evolution of the Zigzag. 227

Hindu Symbol of the Universe. 229

Examples of Egyptian Symbolism. 231

Il Nilo (Vatican, Rome). 235

Venus and Paris--the Apples of the Hesperides (from a
relief at Wilton House). 237

Christian Emblem: Stags Drinking (Mausoleo di Galla
Placidia, Ravenna). 240

Christian Emblem: Peacocks and Vine (Sarcophagus,
St. Apollinare in Classe, Ravenna). 241

Fra Angelico, Angel (Uffizi, Florence). 242, 243

Orcagna, Fiends from "The Triumph of Death," Fresco
(Campo Santo, Pisa). 245

Combat of King with Griffin (Ancient Persian Sculpture,
Persepolis). 247

Typical Forms of Shields and of Heraldic Treatment. 249

Sicilian Silk Tissue, Twelfth century (South Kensington
Museum). 251

Alciati's Emblems, designed by Solomon Bernard, _Ex
Bello Pax_, Fortune, Ambition, Avarice. 253, 254, 255, 256

Prehistoric Graphic Art of the Cave Men. 260, 261

Egyptian Treatment of Birds (from painted Mummy
Cases, British Museum). 264

A Fowler, Wall-painting, XIXth Dynasty (British Museum). 265

Japanese Graphic Art (from "The Hundred Birds of
Bari"). 266, 267

Egyptian Scribe, Portrait Statuette, Vth or VIth Dynasty
(Louvre). 269

Sculptured Frieze discovered in the Forum, 1872. 271

Auxerre Cathedral, Thirteenth Century Sculpture. 272

Amiens Cathedral, Fourteenth Century Sculpture. 273

Statue of St. Martha (St. Urbain, Troyes). 275

Memling, "Deliverance of St. Peter" (Grimani Breviary). 276

Memling, "David placing the Ark in the Tabernacle"
(Grimani Breviary). 277

Albert Dürer, "The Apocalypse". 279

Albert Dürer, Portrait of Erasmus (1526). 280

Albert Dürer, "The Cannon" (1513). 281

Albert Dürer, The taking down from the Cross ("Little
Passion"). 283

Hans Burgmair, Group of Knights from "The Triumphs
of Maximilian". 284

Horned Poppy, from Fuchsius' "De Historia Stirpium"
(1542). 287

Japanese Plant Drawing. 288, 289

Brass of Joris de Munter and Wife (Bruges, 1439). 291

Brass of King Eric Menved and Queen Ingeborg of Denmark
(Ringstead, 1319). 293

Charles Keene, Drawing from "Punch". 295

Linley Sambourne, Drawing from "Punch". 297

Phil May, Drawing from "Punch". 299

Simone Memmi, Fresco containing portrait of Cimabue
and Contemporaries (S. M. Novella, Florence). 307

Giotto, Portrait of Dante (Pretorian Palace, Florence). 309

Giotto, Frescoes (Arena Chapel, Padua). 310, 311

Giotto, Frescoes (Assisi). 312, 313

Niccolo Pisano, Pulpit (Baptistery, Pisa). 315

Orcagna, "Triumph of Death," Fresco (Campo Santo, Pisa). 317

Benozzo Gozzoli, Frescoes (Riccardi Chapel,
Florence). 318, 319, 320, 321

Botticelli, Detail from "The Adoration of the Magi"
(Uffizi, Florence). 323

Botticelli, "La Prima Vera" (Academy, Florence). 325

Mantegna, Bronze Monument (S. Andrea, Mantua). 327

Mantegna, "The Triumph of Julius Cæsar," from Andrea
Andreani's woodcut. 331

Leonardo da Vinci, "The Last Supper" (Milan). 335

Leonardo da Vinci, Study for the Head of Christ. 337

Bust of Michael Angelo (S. Croce, Florence). 339

Michael Angelo, Ceiling of the Sistine Chapel ("The
Creation of Man"). 341

Michael Angelo, Ceiling of the Sistine Chapel. 343

Michael Angelo, The Delphic Sibyl (Sistine Chapel). 345

Michael Angelo, Tomb of Giuliano de Medici (Florence). 346

Michael Angelo, Tomb of Lorenzo de Medici (Florence). 347

Natural variation in Repetition of Ornamental
Forms--Primary School Children drawing on the
blackboard, Philadelphia. 356, 357

Axminster Carpet Weaving. 361

Tapestry Carpet Weaving. 362

Interior of the Atelier of Etienne Delaune, Paris, 1576. 364

Glass Blowing. 366

Interior of a Printing Office, Sixteenth Century, from Jost
Amman. 367

Gold-Tooled Bindings, by T. J. Cobden-Sanderson. 370, 371

OF THE BASES OF DESIGN