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Culture Documents
for
foaming
THE ACANTHUS,
AND EVEKY DESCRIPTION OF
OENAMENTAL FOLIAGE;
BY
I.
PAGE,
OF THE
ITKIVERSITT
Xtoitara
:
BERNARD QUARITCH.
re-printed
188(5.
GLOSSARY OF TERMS
USEFUL TO DRAFTSMEN.
Abacus, the upper member of the capital of a column. Acroter, a pedestal on the summit of a column for supporting a
statue.
Congee, a species of moulding. Corbel heads, the extremities of corbel stones, often carved. Corbelled, one stone projecting over another to support a super-
Acroteria, small pedestals placed on the apex and other extremities of a pediment, originally intended to support statues. Antce, pilasters attached to a wall. Ashlar work, rough stone laid in
irregular courses.
incumbent
stone.
Bevelled, slopped off. Buttress, the projecting portion of a building, used generally to strengthen a wall as well as give
effect, in
Gothic architecture,
Corona, the crowning member of the entablature. Corrugated, wavy or fluted. Croivsteps, the coping stones of a gable rising one above another. Crypt, a vault. Cumuda, a kind of Hindu circular moulding. Curbed, contracted towards the ceiling by being carried up into the roof. Cuspa, points formed in the upper
corners of the window by uniting the two curves.
termed a
flying buttress.
and on which
Cyclopian walls, walls built with land stones heaped on each other without mortar and
irregular.
the abacus
rests.
Dado, the flat side of a pedestal between the plinth and the cornice
;
Cello,,
termination. the part enclosed by walls of a Grecian temple. Check-plate, the piece of wood in the lintel of a doorway, against which the door shuts.
between the skirting and the chairs' back moulding in rooms. Dormar windows, windows in a
roof.
or
rather
architectural
and forms surrounding windows, so as to prevent them from being "mere holes in a
wall."
.us, a species of moulding. 'ngaged columns, columns attached to a wall, and projecting
from
from
its capital
and
base.
Entablature, a horizontal mass placed on Grecian columns it consists of three parts the
:
Clere-story
windows
architrave, frieze, and cornice. JVpistyliuHi, or architrave. Facade, the principal face, front, or elevation of any building.
GLOSSARY OF TERMS.
Fascia, the face or principal member of the architrave, generally divided into three parts, to the Ionic, Composite and Corinthian. Finial, a pointed ornament terminating a gable, in Gothic architecture.
Mutules, the modillions in the Doric order are called inutules. Neck of a chimney, the part immediately under the cap. Newel the turning-post of a staircase.
Octostyle, a building with eight columns in front. Pagoda caps, caps for ventilation. Palm-leaf ornaments, leaves of the palm, in general used by the
Romans.
Frieze, the plain surface between the corona and cornice, on which the triglyphs are placed in the Doric, and ornaments in the three remaining orders. Frustum of a pyramid, the lower part, the upper having been cut
off horizontally.
Patera, an earthen cup, or vessel, used by the Romans. Patera, an ornament something like a rose, used to conceal small
openings. Pilaster, a rectangular pillar at-
Greek
Label moulding, an outer moulding, crowning a door or window head, always returned at the
ends.
on the outer surface, by tools. There are several kinds of rustic-work; the most common of which are the lined, in which the hollow marks are in straight and the yermiculated, or wormed, in which they are in curved or tortuous lines. Soffits, the ceiling or under side of any member, or mouldings in a
;
cornice.
Lintels, the side pieces of a window-frame or doorway. Lotus ornaments, the water-lily
Spandrels, the space between the springing of an arch and the flat surface it is intended to
support.
used by the Egyptians. Minutes, division of 60, for working the orders of architecture, the foundation being the width of the base of any column. Modules, equal parts into which a diameter is divided, for the purpose of facilitating its measurement or delineation, and then into minutes. Mullions, upright pieces, dividing a window into three or more
parts.
Splayed, bevelled off. String-courses, marked a.nd projecting lines of separation on the face of a building. Tazza, a cup. certain distinctive Triglyphs, marks in the frieze of the Doric order, and formed by three
glyphs, or grooves. Vestibule, an ante-hall, or inner
CONTENTS.
PAGE.
........
SCROLLS AND
.
ADAPTED
.
TO
RUNNING
CHAPITERS
ON STARTING POINTS
....... .......
..... ..... ......
.
CORINTHIAN
21
80 89
112
117
ON THE DESIGNING
OF TROPHIES
ON ARABESQUE
ON ELIZABETHAN
134
156
160
167
ON GOTHIC
AND PERIODS
ON GEOMETRY
ON MOULDINGS
......... .........
.....
210
221
239
^>. (UNIVERSITT)
^
that,
PBEFACE.
" IT has often appeared to the Author of the
GUIDE
TO ORNAMENTAL DRAWING,"
notwithstanding the
many
publishing
on
ornament, from
that
various
foreign
works,
to
and ancient
edifices,
much
viz.,
their
own
designers;
After
many
years' study, as
a self-taught draftsman,
difficulties
improvement,
that
of
never
copying,
I
but holding
transmitted
it
retentive in
to paper,
my memory
and thus
all I
saw, until
and then
;
referred to
I
my
origin,
and corrected
accordingly
proceeded, keeping in
mind a
arts,
is
over the
frip-
line,
which
aimed at by
many
accom-
my
object,
that
of
dissecting
and obtaining a
ramifications
thorough
knowledge
the
various
xiv
PREFACE.
belonging to the
use,
many
characters
or
styles
in
general
difficulties that
appeared to others in
taught (merely
to to
their parents
and
first
spoil
paper)
commence drawing a
draw the bough
of
forest,
tree,
without
knowing how
and on
this plan
many who
vacuum
spoiled,
whose innate
the
filled
now
and manufacto
tures.
five
The
object
of this
work occurred
me
about
dia-
many
geometrical
being
the most simple and efficacious, but yet had not sufficient
confidence to bring
first
them
forth
to
the
public,
I
without
knowing
their value.
all
Subsequently
commenced
who thought
means
proper to follow
them,
by no
few;
and the
principles laid
down
in this
appreciated, both
By
with
the request of
many
revised
them
well,
a determination to
of
my
wishes to another,
commenced
this
work
under
as Author, Engraver,
this impression, that,
and
where
PREFACE.
XV
pardoned
only wish
want
on the part of
my
numerous
subscribers,
my
specimens of
is
usually lost
It is hoped,
sight of
when
so
much
labour
is
bestowed.
work
PAGE.
innnnnonr
introducing to
the attention
in
general,
to
whom
a
solely
this
History
first
the
Acanthus,
of its being
would be of
little
service,
although
known
to
many, and
n y t to
it,
quainted with
original.
may be
interesting, if not
when
living, in a
GUIDE TO
contents.
monly
brank
ursine, (in
namia angiosspermia
thus,
tain
;
class,
uncer-
itself
Nature
delicacy
genteel-
named Catatechnos
that
is
to say, Industrious
which grew
about
it;
the
he
and with
his
powerit
to
columns
at
ORNAMENTAL DRAWING.
new
its
symmetries, distri-
and agreeable
to each of
its
other
members
in
it
a more
and ancient
origin.
He
pretends to
from
God
to
himself
and, better
elude
the
by the
ancients; and
piece
of
by the
des-
of this
divine
architecture,
there
is
ples were
bearing
fruit,
to
The
finest
the
'the age,
sons
this
of
GUIDE TO
its different
memIt
not precisely
known by whom
what purpose
;
it
was caused
to be erected, or to
it
some imagine
others, that
it
to
Rome, which
is
Be
it
what
it
may, certain
it is,
according
ian
that
Eome
could
boast
of.
Other specimens of
by
Pyrrho
In the tem-
leaf.
The
castle
of
OENAMBNTAL DRAWING.
enterprise, the
siege of Jerusalem.
The
frieze
and ravages
was
the
moreover, this
;
arch
of
its
kind of structure
mentioning these
mens
from
it; but, as
only for the different orders, but for their symmetries, which they, as
men
if
of sound sense
and
from,
all is
attracts
common
a
observer with
print of
common
an ancient
I
shall
edifice
would do.
continue
my
description
it
little
farther previous to
delineation, as
may be
acceptable to many.
According to
Virgil, the
Acanthus
ries,
is
or
a
it
round
fruit.
Theosphrastus
describes
some
instances,
we have
6
of
GUIDE TO
Roman and
ancient architecture,
upon the
friezes will
tween the
heretofore represented.
cultivated
its
The
Greeks
it
used
the
Acanthus,
parts,
(Spinosa,}
being smaller in
and
more
try.
made
it
it
by
rule, that
and carving, on
whom
rest the
foundation to
takings extremely
It
would
down
generally
the present
is
far
ORNAMENTAL DRAWING.
any yet brought forward to the public, and
trifling
with,
Acanthus
ancient or
is
ever
made mention
writers.
by
any
it
modern
Ovid mentions
in
with a mythological
story,
the
border being
it
is
nature's
chosen plant,
throw
it
in
may, certain
is to
fall
into
was
foliated Acanthus.
The observation
of the cele-
it is
natural; nature
violated,
and we
GUIDE TO
how
have
many
trials
that
been
still
made
in
a substitute
and beauty
exists
got perfect,
how soon
will
the
student be
of perfection
all his
labours,
this description
and
its
styles, of
which each
will
be exwill
plained in
place.
We
first
now commence
rules, to
of
the
four
di-
mensions.
Eule
1,
Draw
a perpendicular line, a
b,
to whatever
height you
may
ORNAMENTAL DRAWING.
zontal line in
due
proportion,
which
is
half
sit-
to
found half to be
ciples
sufficient,
the
chief
of
my
line,
illustrations
c
c,
be
formed.
Your base
is
to be divided
d,
from the
perpendicular
line, will
the perpendicular
line
into
five
equal
or circular
portion
of the
parallel
leaf,
which
starts
from a
line,
line
drawn
small
with
will
your pistule
as this
diagram
shew:
i
Plate
will
and better
to prove
we
will
thus foliage,
10
GUIDE TO
PLATE
l.
ORNAMENTAL DEAWING.
1 foot.
11
I will
make
this
my
outline,
accord-
my
the leaf
we
be 6
inches,
top,
inches,
and 2J inches
curved,
plate
for
will
1
;
the
give
which,
properly
the
same appearance as
this,
having done
2,
the plan
is
on each
dot,
intersecting line
and
from
5
this dot
you
your pistule
and starting
of the leaf
then by gradual
and meet-
if
it
were passed
dia-
through the
leaf,
as the following
gram shews.
You
may
say
all
12
GUIDE TO
I will
now
is
kept by the
you where
to
terminate
leaf,
the
centre
stalk,
or
stamina of the
accompanying diagram
depends the freedom
will
shew
on
this alone
of the foliage,
and
scroll
partment of
curvilinear
feasible
it
may chance
very
upon
must
root,
and
to
whatever
ORNAMENTAL DRAWING.
13
PLATE
2.
BB
14
height or
ever
size,
it
GUIDE TO
the origin
is
way
is
necessary to illustrate
takes, another shall to prove that should
all
You
will see
principle of
my
ideas.
PSP S Stem.
Keturn
shew
Plate
the principle of
my
previous explanation.
will
ing of
my
diagrams
*
here
is
leaf,
on one
side,
Pistule.
S Stamina.
ORNAMENTAL DRAWING.
stript of all adjacent lines,
15
is
another sub-division of three parts, which complete the leaf to a certain extent, according for
what
it
may be
many
to
required
as
on
effect of
are
worked
when
and the
it,
and
others
connected
with
are
blamed;
at the edges.
You
when
you have
it,
the edges
shaped; this
as plate
&c., or
5,
is
sufficient
friezes,
is
for
mouldings,
where altitude
looks perfect
it
and
be
as
it
may,
this rule
mence with
Here
is
a leaf as perfect
ment
16
GUIDE TO
PLATE
3.
ORNAMENTAL DEAWING.
17
The same
rule
draw this
foliage, as plate
and 4
of the leaf
may be completed
as plate 6
;
in the
for a
same
style
and character
and
running scroll,
and
perfect, as will
;
ing numbers
in
trated
foliage,
and terminations
of bosses,
other
description
that
shall
every
separate piece
form a
series of designs,
may become
his or her
own
designer.
18
GUIDE TO
PLATE
4.
ORNAMENTAL DRAWING.
PLATE
5.
19
UNIVERSITY
20
GUIDE TO
PLATE
6.
ORNAMENTAL DEAWING.
21
CURVILINEAR FOLIAGE.
HEN
far
rudi-
ment of an Acanthus
dicular position,
rules
must be
carried through
on the
near foliage;
is
I do not
mean
to state, that
it
make
:
to
go
after
22
for
GUIDE TO
is
particularly
man may
he seldom arrives to
who
could very
cir-
cumference or segment of a
circle, in
1
which way
off
known
when
a
called.
or can be more
human
gram ;
for
bones of the
and one
ORNAMENTAL DRAWING.
of the
23
os.
bones, properly
named the
lunare,
the two you perceive acts on an apex, between bones of the arm, viz., 1} the ulna and c
the radius ; for instance, you rest your
arm
on
c,
You
2
;
will per-
by
fig.
here I have
placed
an
anatomical
hand, holding
by commencing
at or about
hand
is
instantly
occur
to
strike
your
24
GUIDE TO
me
to illustrate at
utia will
there
is
no
occasion to enter
sufficient
more minutely on
this point,
has
now been
principle, utility,
OENAMENTAL DRAWING.
that
25
such
for
drawing
foliage, that
you
it
will
may
have at
first
cost you.
above diagrams.
ow
to
proceed with
FOLIAGE.
I shall com-
mence
adorn
the
is
Corinthian
or
composite
chapter,
which
kept as in plate
0,
1,
No.
1,
;
being the
apex,
and again, by
d,
striking a
segment of a
circle, e,
c c,
and
you then
as at a
&,
preparatory
you are
t on the same
now prepared
for.
This leaf
is
drawn precisely
you
will see the
rules as plate 7;
ORNAMENTAL DRAWING.
PLATE
7.
27
...-?...
28
GUIDE TO
PLATE
8.
ORNAMENTAL DEAWING.
dotted line where
29
the segment
leaf,
is
formed for
this leaf
much
you
lose a leaf,
it
and
it
contains the
same number of
raffles,
but I shall
now shew
it
or deep,
is
foliage, to
it,
to the
and learning
how
shall
to
draw
this description
of foliage, and I
for
now
explain the
rules
;
putting that
it
-
supposing
were
required to place
it
composite
chapter,
hope
sufficient
explanation,
GUIDE TO
PLATE
9.
ORNAMENTAL DRAWING.
31
PLATE
10.
32
as
explicit
GUIDE TO
as possible.
Strike a circle at a,
will
give you
how and
falls in
is
on the grace-
by dividing the
circle, c d,
and from
point,
c,
d to
f;
the
line, g, will
tangent to the
circle,
b.
This figure
is
about
first
draw
this order,
formance, or be able to
figure in
make any
considerable
Plate 11
of a
leaf.
ORNAMENTAL DRAWING.
33
PLATE
11.
34
GUIDE TO
PLATE
12.
ORNAMENTAL DRAWING.
d,
35
will
another at a
b,
to the ex-
you
that there is
now shew
thoroughly known,
to
will
have
deviate
trifle,
cause, but to
You
lessly
have careraffles,
on the ex-
To prevent any
shall first
Having previously
stated, that
it is
an object of
3 *
36
GUIDE TO
PLATE
13.
ORNAMENTAL DRAWI
ly to
understand
foliage, before
he commences
of the
capital
;
protection, with
different
mouldings
much more
was used,
it
fort of the
new design
for
and I think
pare with
will
be acceptable,
if
only to com-
my own
is
principles of design.
You must
in this
form
38
GUIDE TO
PLATE
14.
OKNAMENTAL DRAWING.
39
PLATE
15.
40
is
GUIDE TO
ments, and
figures
in fact,
it,
a variety of
as I shall presently
shew
the
first
making
design.
Now,
all
:
and 15
know
of leafage,
will
be to ac-
namely, Grecian, as
Plate 14
is
fig. 3.
a diagram of the
leaf, plate
15
is
a bent leaf,
variation
:
being the
first
me inform
you, that
ORNAMENTAL DRAWING.
41
PLATE
16.
42
GUIDE TO
may take
if
the same
your guide
for instance,
it
you attend be
suffi-
to the
will
you to follow
my principle
bases,
perpendicular
starting
points,
or
and
must be guided,
shall treat
and which,
in the following
number, I
more
of bent foliage
it
would not be
justice to rush
first
explain-
otherwise, I
scroll,
a work with
or
what not ;
at the
in the
same
dilemma, as
many
other publications
of
much
ORNAMENTAL DRAWING.
higher estimation to the eye have done
;
43
parti-
on copper or
not
steel, but, as
is
my
intention, utility is
my
principle,
and I
not
44
GUIDE TO
CURVILINEAR FOLIAGE.
informed you
curves, I will
is
managing your
16,
leaf,
now
explain
plate
which
commonly
and
is
very useful in
many
and bracket
requires
ornaments;
the position of
which
design;
for
instance,
useful,
I will place
diagram
where
it is
most
and how
to
arrange that
ORNAMENTAL DEAWING.
portion of curvilinear foliage
to place too
:
45
be careful never
many
and nothing
is
common
to
ornament;
and then,
if
properly
managed, there
will
yet
be
richness ;
but
;
be careful and
understand
rightly
me
when
I say
clearness,
it
is
not to be
meagre
and
it
my intention
utility.
Fig.
46
GUIDE TO
the exterior form for a corner, either for a
is
frame, or
suitable
may be made,
for
the
decoration
room,
by
running a
centre,
line
same
leaf,
it is
You
are,
dare say,
all
aware of what
is
termed
there
is
always a
more agreeable
than when
those
used
but to
this
is
meant by
expression,
1,
No.
2, is
the form of
it,
or
any undulating
line whatever,
ORNAMENTAL DRAWING.
47
on a large
scale,
when
large,
supposition,
spacious
room
where
or,
decorations
are
from
each
extremity,
in fact,
be
the
following
viz.,
error,
which
is
that of
when
will
by
principle,
you
then
design to a given
a room, frame,
required,
or whatever purpose
may be
my
an
is
of
make
forming designs,
is
as will
outline
a mere
are to
will
be given
work, on a scale
48
GUIDE TO
PLATE
17.
ORNAMENTAL DRAWING.
sufficiently
6
49
fig.
In
6 you
in
plate 17,
to it
like
may be
many
when once
to leave
after
idea
is
entirely lost;
not by a
of straggling
exists,
leaves
I
and ornaments
before
stated,
beauty
but as
clearness
shall
and
equality without
formality.
now
illustrate
study from
my
be broken
off,
and a more
all
those
my own mind
that
it
would
50
not only improve
GUIDE TO
the freedom of hand on the
ject
they
may
require.
Now
to illustrate
;
in
opposition to
my
former remarks
I shall merely
am
the rest.
You
ality,
perceive in
fig. 7,
you and
must allow
I hope,
by
this
satis-
faction to
your own
practice, that
erased;
of
will
this
descrip-
shortly treat
number.
ORNAMENTAL DRAWING.
51
PLATE
18.
52
GUIDE TO
ears
sign,
adhered
formed to
as I
am
certain
the mind of
man
is like
many
and
this
gratification
at present; in
no expense
has
ORNAMENTAL DRAWING.
53
PLATE
19.
54
GUIDE TO
botanical, horticultural,
of science
Opie,
Joshua
Keynolds,
and
is
last,
not
least,
rightly termed
a school
school for
of
design;
there has
been
truly, a
painting,
far
and
copying, but
their
never
pushed so
designers
;
as
making students
not
?
own
and,
why
what
friends'
mouths
my
son or
;
it is
what an
are under
he
ful
is
he draws
and paints
beautiful,
quite a wonder.
girl
And when
this
wonder-
boy or
OENAMENTAL DRAWING.
55
PLATE
20.
56
GUIDE TO
fare the colours then
?
how
art,
men
of science
and
who
caught by the
glaring
show of
blues,
reds,
feel-
from a bold,
in these, to
faults,
look
they must
you are
in
error.
You
are
able,
by proper
ously attended to
all
and human
figure
you
unobserved, retain
either
you see
;
in
will
your
then
memory,
good or bad
you
unadulterated
taste,
its
which
will
never be forgotten.
Of
design,
its
and
style;
exfirst
and manner.
is
The
principle of correctness
ORNAMENTAL DRAWING.
57
PLATE
21.
58
to others
;
GUIDE TO
it
mind
is
thoroughly
I not con-
Did
I speak thus,
it
lay
on
all
the stress
if
for
your
model.
imitating,
the Arts
it is
an eye geometrically
dient,
decidedly "requisite
for
the former,
whilst
choice
directed
with
judicious
;
and,
by
am
ORNAMENTAL DRAWING.
sorry to say,
is
59
for every
very
much abused,
one
and copy as
artist,
being
for years
in the art of
painting,
but he
must be well
;
all histories
in fact,
mind must be a
referring to for
deportment as well
he might know
how
on a picture ; also a
knowledge of the
drying
oils
the
place
rapid
destruction
different
often
takes
on the
portions of a painting;
little
and following
in
Arts
to repay all
your labour.
Be
careful to attend
60
GUIDE TO
PLATE
22.
OENAMENTAL DRAWING.
to the few following
shall return to the
61
former
title
Every
the
of
elliptic curves,
and grandeur
in angular disposi-
assume a curved
please
principle
is
and rays
and
of light genIt
is
are
so
attractive
beautiful.
from
drawn
in
through
like
the
imagination.
;
Combinations
are
numericals
many
62
GUIDE TO
that
once,
hair,
like
a beautiful
however gracefully
human head
we owe
to combination
and con-
beauty.
No
person
is
allured
with a single
my
elliptical
and
circular
of
its
predecessors.
Even curved
lines
of a
all
right lines,
quantity and
of perfect
to
1
all
beauty
equalities
being
un-
friendly
symmetry which
is
accord with
nature.
think sufficient
treated at present
ORNAMENTAL DRAWING.
on design, and
tion
will
63
now
continue
my
explana-
on the previous
plates.
Plate 18
cave
may be formed
or convex leaf, in
care
required in this
This
starting point,
as
fig.
if
it
likewise
if
may be used
necessary, as
in another
fig.
9;
and
by a
trifling
alteration in
many
other figures.
instance,
leaf, for
is,
it
being careful
64
GUIDE TO
not to have the back and front of this description of foliage both alike.
carving of the
front
of
what
will
back be
now, mind
10.
Through
10.
the
rotundity
of
the
BACK.
pistules, a
fall
on the
face,
and
be
at back, it
will
dark,
I
almost black
and
the head
the
raffles,
instead
of
passing
it
ORNAMENTAL DRAWING.
PLATE
23.
65
66
ance;
this
is
GUIDE TO
chiefly
of
of
and
variety of effect
the very
to,
UNIVER'SITT
ORNAMENTAL DRAWING.
67
CURVILINEAR FOLIAGE
CONTINUED.
Now
This
;
is
a piece
?
of foliage
why
be-
pearance
it is
bend
it
how
plate 18
part, that
by
that, it
produces a different
effect,
than
if
had kept
it all
one colour
more
efficient
man-
ner,
of foldings
is
generally proflat
and
68
GUIDE TO
Plate 21
is
a very
borders,
it is
usually the
should be
shown
in
page 78
you
ation of its
own
figure alone,
it will
good running
scroll,
Roman
the varieties of
which you
perceive accurately
;
drawn
fur-
at the
same time,
I
I think
all
sufficient,
and
may say
the
But previous
to
my
you may
at
what
is
proficient
may
be brought into
mind
at once,
ORNAMENTAL DRAWING.
69
you possibly
what
is
can, I do not
mean
of expensive, or
jects, as that
very sound
will,
when a
valuable
attention from
but
let
me
tell
sum
of ten shillings
have myself, at a
stall
and
my
and
why ? because my
to this I
me; and
I do.
it is
by attention
know what
I consider myself
creatures,
and
am
hope
fied
will
to
know and
am
never
satis-
70
GUIDE TO
itself in
who
my
collection I
have copies
Grecian
from the
finest
specimens of
Roman and
and
its
variety of characters
and by careShould
ful attention to
them
you in the course of study have to lay your drawings before professional gentlemen or travellers,
by whom
Grecian,
they
may be
recognised
as
true
foliage,
number
of designs
and
;
this
description
generally
although at the
same time
and which
all
others.
The
may
say, are
ORNAMENTAL DRAWING.
as others
73
scientific
men, and
placed
it
whose
in their
;
affluent
circumstances
to travel
have
power
and study
when
I could not
sufficient at least,
appropriate,
and
at the
it,
harm
in noticing
particularly
:
when
it is
ob-
From
small beginnings, great conditions rise there all the honour lies." ;
POPE.
Not
when
in
many
all
;
and, as
when we
strive to
do our best, we
feeling,
by an over-anxious
and our
mind
is
this
74
GUIDE TO
me
satisfaction, yet
my employers
were contented
to
At
last,
of looking-glass
and
let this
be our mirror/'
all
wanted ; I immediately
my
pencil,
rough
to
:
fashion that
when
aside,
and
finished as a frontispiece;
and reckoned by
all
who saw
it,
to be the master-piece of
Ornamental
Typography, and
the work
stated,
;
my
and
this
was
through, as I before
all
immediate attention to
that passed.
I will
now
my
former plate,
and
portions of ornament, be
character, or era,
tainly
in whatever style,
it is for, viz.
freedom.
I cer-
ORNAMENTAL DRAWING.
figures
75
to
be
now
treat
more
your
sufficient for
guidance hereafter.
is
but
it
form;
may
horn.
You
see
by the
dark
line,
which
line,
to be
your lead-
in
your positions
I have before
case, as
your
if
there
is
76
naturally
GUIDE TO
carry
itself
around that
figure,
if it
scale
eye,
is
retained in the
memory
and then
finish the
is
dulating form
fig.
13
is
of the
is
same description,
termed shoulders,
full
of what
ORNAMENTAL DRAWING.
glyphics,
birds,
insects,
81
of
and
beasts,
all
which
they
have worshipped
as
idols.
The
first
into
volutes,
the
many
instances, instead
supporting them.
26,
This will be
treat
seen in plate
presently,
as
which I
to
shall
upon
well as
all
prove
my
foregoing
remarks, that
tain foliage,
scroll
It is to this point
in
in
my
opinion, as well as
for
many
others, excelled
beauty,
;
their basis
this
is
regularity
aod
even in their
and
pilasters,
there
is
more delicacy
forte
in the
Eoman, whose
seemed
To prevent any
mistake of
proceed,
to
my
the
number
of starting points
known
the
about
descriptions,
each
6 *
82
GUIDE TO
its
having
this to
and character
who
me how
essential
is
of
study should be
to
thoroughly
entered
I
into
previously
their
attempting design.
man
was
to
which was
;
and
to
commence, adhere
and no
;
other.
If
you
Roman
if
Grecian, the
for
me
to
now
see
how
necessary
it
is
mind more
have
to these
than
you
ever
been
ORNAMENTAL DRAWING.
In the
first
83
com-
menced with the most simple forms used, both with and without their basin and cup.
fig. 16, is
one of the
fig.
9,
-V^
\w
^1}
both
can
in
The
cup,
or
^^
but
flower,
fig.
on
is
with
1,
its
proper attachment,
separately
;
be
used
this
is is
termed the
chiefly
lily
cup.
is
used in what
is
Fig. 2,
used
is
that
to
to
is
each
other;
behind
;
required
:
both of these
previous to
its
may be used
separately
and,
my
You
will
very powerful
shew.
effect, as
is
the an-
nexed figure
will
Figure 3
another
84
GUIDE TO
has
its
effect
when
bine, or honey-suckle,
is
of the simplest
is
form, represented in
in a
fig.
4,
and
chiefly
used
three portions,
chief point,
which
is
usually
scroll,
framing of the
a
it
same time
ORNAMENTAL DBAWING.
the straight bars.
I
85
and intend
giving, as the
trations
work advances, a
variety of illus-
for that,
done
utility
call-
show
those
of
portions
ed
starting
is
points.
Tig. 18
simple form, termed the
of
another
a very
crocus-head,
for balustrades
you must be
much
straggling work,
full, to
prevent as
much
as pos-
sible the
off,
as
20,
fig.
now
illustrate
fig.
body of
the
little
work, but
is
86
GUIDE TO
in
you perceive
is
Here
it
small springings
I shall
now
where you
will
more
:
clearly understand
my
previous remarks
fig. 1,
is
formed
lily
by
the
double
and the
convolvulus-
good
frieze
round a
taken
temple at Parma.
same
differ-
plate, is
general use;
the
improvement to
ORNAMENTAL DRAWING.
of the raffling; the section of this
fig. is
87
shewn
in
22,
which
is
very symmetrical.
22.
Fig. 3, in
is
1,
of
leaf, as
shewn
in
the Grecians
were
very
partial,
description, of
plate,
;
containing
all
in this instance,
seems as
if
the
stem,
Plate
by the
Grecians
fig.
is
running
foliage,
ter of columns,
erally
and
fig.
used in running
;
cups,
all
startings,
and columns
plate 28 brings
these
into
88
play,
GUIDE TO
the
semi-honeysuckle,
is
lily,
lotus,
and
By
continuing
it
along a cornice, or
imposing
effect
it is
the original,
made the
mediately; and
it is
when looking
at the ornament,
sym-
among
I have in a work,
few of
my
ideas,
Koman, which,
tend to
number, I
in-
illustrate,
to
show the
overpowering
OFTHE
UNIVERSITY
Sfn
KW
GRECIAN
TSE
IVERSITT
OF THE
GRECIAN.
UNIVERSITT
ORNAMENTAL DRAWING.
89
^jjjhiS
k~
**^
\\-
VV|
As
I have just stated that the
lies
starting points,
and ground-
cj^|
not
90
as with the
GUIDE TO
in
many
instances,
obtain
;
an
overpowering
in fact, so far as to
cause
foliage,
an
unintelligible
confusion
of
flowers,
:
starting
points,
will
animals
illustrate
and figures
to prove
which I
frieze,
a portion of
Roman
taken
from the
Temple
of
(which of
itself
is
a complete
division,)
and,
when joined
whole of the
of the temple.
is
of the
different
than
have
heretofore
illustrated or
spoken
of.
You
perceive a greater
number
larly
of raffles,
Mollis, or Spinosa
at the
is
much
fig.
24, where
it
more
closely delineated.
UNIVERSITY
ORNAMENTAL DRAWING.
PLATE
37.
Outline division of one of the circular portions of the frieze around the Temple of the Sun.
92
which,
GUIDE TO
when properly
sculptured,
drawn or model-
^-v-^
On
to
referring
illustra-
the
in
1,
tion
fig.
plate 36
you
will
for-
perceive
my
mer observations
brought into practice
:
here
you
see
are
the
of
starting
points,
compos e d
pods,
berries, or other small
containing
round
fruit,
which agrees
I
with
the account
given
by Theophrastus.
points alongside of the Grecian, giving you, at the same time, a decided and clear proof,
careful
style
;
how
to
many
most
by
these
combinations;
the
original
plans
ORNAMENTAL DRAWING.
bei'ng
laid
93
on
sound
principles,
and the
rich
but
yet
glaring fault.
compare
delicacy
the
and
richness
of the Grecian
brought
contact
the massive
in
with
Roman
style,
you
will
then observe
point
make
the neces-
in
your
mind,
(should
you
result would be to
me,
all
have wished
is
for,
your improvement.
frieze,
In plate 37
another description of
In this
foliage,
you
will
observe
the
combination of
These
friezes,
have no
7
94
GUIDE TO
volumes
for I have
no reason
to suppose that
why
or a
and
believe that
such
has been
is
my
earnest wish to do
all
that lies in
my
series
of those that
In plate 38
is
is
Arch
ani-
of Titus; this
composed of
and
mals alone.
this,
Here
history,
chief
of
solemn
rites
was by
strict
of
sacrifices.
These cere-
this
such rigidness,
is
the
OF THE
F
IVERSITT)
>/
ORNAMENTAL DRAWING.
and sacred
rites
95
now
give you,
by
illustrations,
the
Arch
of Titus,
this
Mentioning
topic
it:
not
entering
all
into
but,
you are
aware
and occupations,
no one can
capabilities
tell
may be
so, for
my
duty to
call
your
the
time.
articles,
costumes,
and
manners
for
of
the
Roman
decorations;
have
occasion
to
introduce
them;
as
these
trophical
introductions,
aged, give
very
pleasing,
and
96
lively effect to
GUIDE TO
the model, sculpture, or paintprinciples
ing.
All
these
were,
;
have
no
which, for
regards
first
its
application to draw-
ing,
&c.
But
I will
of the
Roman
golden
utensils,
The
candlestick,
more
properly
in
plate
we
are
given to
understand, was
hollow tubes, or
brackets,
and
three
on
each
side;
each
bracket,
or
flowers
:
and
figures, in the
form of pome-
granates
different pieces
arm
Many fanciful
the
repre-
my
illustration
is
from
have
Arch
of
it
Titus.
Some
historians
asserted
that
was
ORNAMENTAL DRAWING.
likewise adorned with birds
sters,
97
which,
after
the
victory
the
Titus,
Temple
these
of
Solomon
by
Vespasian,
new
base.
shall
now
the ark,
table
for
shew-bread, proaltars
bable
cense,
form of
censers,
the shew-bread,
of
in-
drinking vessels,
knives
calf.
used
and golden
The
which were
the herd-offering
this
was
also
done by the
horses
Egyptians
to the
in
the
following
manner:
Hecate
and wolves
to
to
Mars
no
fish
was
ever
brought
of
the
altar.
Second, burnt-
offering,
often
discussed;
seems
that,
it
to avert
Power,
was only
by the
offer of a
representative victim.
To
98
illustrate
GUIDE TO
the antiquity of this practice, I need
all
the
Hebrew
turtle-dove or pigeon.
killed they
When
feet also
were
all
view
this
sacrifice
was then
and the
were
carried
out
by
preparations of
meal,
oil,
lit-
and frankincense.
tle figures
in paste
oil
mixed up with
and wine.
an
Romans
alive
and about to be
sacrificed.
Fourth,
ORNAMENTAL DRAWING.
99
when a
ruler
so that scarcely
by poverty, when
his conscience
prompted him
think
these
are
sufficient
observations
illustrate all
upon
you to
in
that
department; and I
Grecian arms.
now
refer to
Roman and
By
design for
columns ;
arts,
in fact,
brought into
requisition,
and
it
is
my
in-
100
GUIDE TO
me
unobserved,
possible, that
is
requisite
to
be introduced
of
Koman
arms, as
halberds,
shields,
known
to
be
no doubt, be acceptable.
"
And
oft
am
his-
and lead-
arts.
The
earliest
establishment of
arms, under
by the
Egyptians
to the Greeks,
the instruc-
ORNAMENTAL DRAWING.
received the
first
101
As
Romans,
to
origin
tro-
and
be useless for
tail
me
to enter into, as
I consider a
It
it
would enthis
work of
description requires.
distinguish those
who had
priest, of a plain
delets
flowers
of
and, at
last,
102
GUIDE TO
The
composed
fig.
of
this
myrtle,
shown
in
26
crown,
or
coronet,
was bestowed
honour of a triumph.
Fig, 27, the olive crown; this was awarded
to
signalized himself
arenas.
by
feats of
olive
it
gymnasium,
tree
in the different
The
was transplanted
27 -
Europe
the
wood
is
heavy
odour
;
and
of
an
is
agreeable
the fruit
of the form of
soft
damson, with a
oily
pulp,
centre.
The
olive
was consecrated
to Minerva,
by the
Athenians,
tection
of
who regarded
the
olive
tree as a religious
The
oil
among vege-
table oils,
ORNAMENTAL DRAWING.
sive
103
of a green
who had
saved the
life
of a
Koman
citizen in
an engage-
bough
the
reason
the
why
was
this
wreath had
all
preference
it
to
sa-
others,
because
oak
might well
its
acorns were
and
its
honey
their liquor.
Persons
on
whom
this merit
rise
on their
signify
their
their
respect, seat
and
they
the
were
allowed to take
among
senators.
104
Fig.
GUIDE TO
29
is
triumphal
crown,
made
of
and provinces,
to
generals
who
victories.
a crown of valour,
was awarded
to
first
forced the
enemies' entrenchment.
30.
31.
Fig. 31
is
who had
was
set
this
form of beaks
of ships.
Fig. 32
is
the
mural crown,
first
scaled
stances,
formed in
ORNAMENTAL DRAWING.
105
in
number
of re-
he received
in the course
;
and
sil-
the
arm
From
this it is sup-
He
and
figs.
33, 34,
and
35.
But
further, in
number
and the
Trappings,
Collar.
Armlet.
ceremony
of
triumph was
conducted
in
this
manner
scaffolds
106
GUIDE TO
different parts of the
in white
and
city;
the spectators
were clad
on the
first
day
statues,
pictures,
and
and horses'
and
On
bowl, and gold and silver cups, of the most elaborate workmanship; then came the chariot, in
him
that
after this,
were
carried
different
from
their
respective
ambas-
Then
garment of
purple
in
his
hand a branch of
laurel, his
ORNAMENTAL DRAWING.
107
When
any general
had
the
killed
slain
a chief
com-
captain were
The
first
who performed
all
piece of religion
to
form of trophies.
all
Besides
pies,
this,
they had
porticos,
tern-
and arches.
and encou-
either
considerable danger.
At
by
first
110
means remarkable
beauty or state
too
great for
manner
splendid
and
magnificent
to
nothing
greatest
to
have
the
of
the
heroes
they
stood
honor
108
curiously
of
GUIDE TO
expressed
or the
whole procession
sides.
the
triumph
The
;
arches built
that
of
but,
then, those of
Drusus,
Titus,
Trajan,
As
were at
they
first
semitheir
circular,
whence,
probably,
took
built
names.
square,
Afterwards
they
were
fourin
with a spacious
arched
gate
the
Upon
little
hung
winged
images,
representing
;
Victory,
with
which,
when
let
down,
upon
the
conqueror's
head, as he
The columns, or
meanest beauties
last,
pillars,
were none
of
the
at
of to
the city.
They were,
design
as
of
converted
for
the
same
the
arches
the honorable
memorial
some
down
to
posterity
the
chief
ornaments
as
of
men;
when Juno
OENAMENTAL DRAWING.
foretold the death of Sarpedon,
109
and speaking
to
of carrying
buried,
him
into his
own country
are
be
the
:
following
words
very
attri-
butable
The
breathless corpse,
and bear
it
to the grave
HOMER'S ILIAD.
The
pillars
of
the Emperors
Trajan
and
for
Antoninus, have
their
set
up
in the middle
of
composed of
so
twentycuriously
of marble, but
The
feet.
has one
stairs,
admis-
sion of light.
The whole
pillar
incrusted
all
the
Dacian war.
One may
OF THE
see
all
over
8
it
UNIVERSITT
110
GUIDE TO
of
arms,
such as
dagoffices
shields,
gers,
&c., together
with
the
several
:
soldiers
some dig-
of this pillar
top, of
was the
of
Trajan on
the
He was
hand
his death.
The column
of
Antoninus was
raised
in
imitation of this,
which
it
it
exceeded only in
one
respect,
that
was one
hundred and
being undertaken in
The ascent
six
on
the
inside
stairs,
ORNAMENTAL DRAWING.
Ill
The
sculpture
the same nature as those of the first; and on the top stood a colossus of the emperor.
still
standing
at
Rome;
the
former
most
entire.
But Pope
8 *
112
GUIDE TO
DESIGNING OF TROPHIES.
The form
of trophies cannot be better un:
round,
ground And here they fix'd the shining armour on, The mighty spoil from some proud warrior won.
Above the
crest
was
with blood,
His shatter'd spears struck round. The corslet too, hung deform'd below
:
While the
massy target bears The neck the glittering blade he brandish'd in the wars." VIRGIL.
left side his
of
mar-
spoils,
ments.
his
victory around.
mon
forms.,
On
soldiers'
habiliments,
ORNAMENTAL DRAWING.
the decay of the marble, are very difficult
113
to
be discovered.*
is
not
remember
when
say well
planned,
mean
pediments, or
The best
;
upon Carl-
ton Palace
so
and, I
may
say,
my
attention
their
was
prin-
attracted
ciples,
and
rule, I
same
as a base for
my
There
phies
tary ;
as
are
numerous
of
descriptions
of
tromili-
trophies
war,
naval
and
;
of hus-
the two
countries
termed signal
keep the
still
standing at Rome.
114
largest
GUIDE TO
description
of arms the
and
if
carriages,
symmetry by wreaths
then should
rising
gradually
keeping the
smallest arms to be
in
radius
position;
whole
should
be
racter.
For naval
trophies, observe
principle, and,
instead of
should
be
semicircular,
you
cannot
find
appearance to
to
your design.
prow
various
connected
therewith.
Mixed
naval
and military
ORNAMENTAL DRAWING.
115
arms of
all
countries,
and
all
ages.
The
finest
specimen
now
and modern,
Eng-
Tower
to
London.
After
perusing
these
ideas,
furnish your
mind
;
your
eyes on
all
around
you
will
then find
sufficient
to accomplish all
partment.
I have
the infor;
mation
consider necessary
your basis
who
honoured
severance
this
display of arms, in a
manner
rightly termed
justly
awarded a pension
of
annum ; and
"
He was a man,
him
He was
for
*
and
it
proves,
by
These were arranged by a man of the name of Harrison, a carpenter, employed in the Tower, in the reign of William and Mary, and, by their orders, he planned the several designs and stands of arms as they now appear.
116
GUIDE TO
Who
tols
and daggers, or
?
St.
from sword-blades
to
see,
I would advise
for themselves
;
my
readers
and judge
a
but I will
points,
use.
illustrate
few
of
the
leading
and
modern
ORNAMENTAL DRAWING.
117
shall
commence with
war-
118
like
GUIDE TO
and murderous
weapons,
to
defend,
or
offend.
The
earliest of
of
wood
utility.
To
may seem
very strange
many
fore iron,
purposes.
We
of
find in
Homer
that
all
weapons
earliest
were
time,
made
they
brass;
were
highly enriched.
assayed,
Some
of
and found
;
and are
to give
cast,
filed,
It should
civilized
na-
and
those of barbarians
curved.
As
this forms
in-
most
and
ornamental purposes.
ORNAMENTAL DRAWING.
119
V
1. 2. 3. 4.
5.
6.
7.
12.
13.
14.
16.
17.
18.
1,
3,
'
Roman swords
i
4,
5,
6,
;
7,
13, 18,
9,
of the
Jews
Grecian swords 12, Dacian swords 17, ancient Turkish sabres and 8, 10, 11, Turkish daggers.
;
120
GUIDE TO
ON EGYPTIAN TEMPLES,
HIEROGLYPHICS, BACHED ANIMALS, AND COLUMNS, SUITABLE FOR EGYPTIAN DECORATION.
It
is
not
my
intention to
history of
to give
rect
Egypt ;
figures,
require
them.
It
is
imagined by
line
any
twisted
will
ORNAMENTAL DRAWING.
121
form
either
an
idol
or
a god;
literature
but the
days of
improvement
it
and
more
careful
how he
is
acts;
architecture
a number of
many
fillet,
state
to erect
an Egyptian temple.
portion,
to
But
all this
requires proit
give
is
it
the grandeur
possesses.
The
first
form
were
cornices
made
assume
with
a
these were
sometimes
reed; and
ornamented
this,
perpendicular
to the
earliest
works of
art.
By
mental
sought those
122
it
QUIDE TO
ticularly
vegetable
world, were
of
soon reduced to
taste.
purposes
decorative
I have read
many
authors,
who
assert,
should
be secure
from the
and
shaft
of the
column were
alike decorated.
The chapters
chiefly to
of their
the
but
Variety in
after
it
beauty
It is
is
next to
be
sought
symmetry.
requires a
number
;
to
produce variety
qualities
or, that
a number of different
the same
thing,
must
exist
in
thus
al-
compounding
most
endless
diversity
with variety.
An
variety
may be
produced,
by
object.
The
same kind,
riety.
On
this basis
Egyptians founded.
The
idea of an analogy
NIVERSITY
ORNAMENTAL DRAWING.
123
between the top of a column, and the blossoming summit of a tree, furthered their principles
for beauty,
which made
shafts of
columns of
reeds
and
tree
UivI
bandaged together,
if
and seemed as
spring-
&~-
^
I think,
Thus
far,
you
will
exemplify;
their
and
decorations,
more reasonable
to
many
around the
and the
;
but, in
in every portion of
an Egyptian column.
Square
124
GUIDE TO
but chiefly
used as
pilasters.
The
of a
which simple
modifications
tectural
ornament ; even
has
the
bulrush
been
of the
introduced.
One
most curious
capitals is
derah;
it is
of a quad-
head of
Caryatid Pilaster.
Isis
at
each
the
the
to
reaching a very
imposing
and seems
to
ORNAMENTAL DKAW1NG.
125
as
the
expense
to
have
enabled
the
upper
give
many
the character of
style
a few half
side,
There
is
a very
striking
difference
be:
Grecian decoration
Egyptian
columns
Roman
dation as regards
commanded
greater
power on
the
the
after
mind
ages
it is,
for
of
Roman
beauty; but, as
we
126
GUIDE TO
The genuine
of
irregular
Egyptian
pillars
is
esta-
when
the eye
or
is
accus-
tomed
to
look
on
the
Ionic
Corinthian
;
then
appears stunted
and
nine
the bot-
toms were
the
hoops of a
cuttings,
cask
and
above
them are
vertical
giving the
Lotus.
no doubt, gave
rise to the
flutings of columns.
UNIVERSITY OF
ORNAMENTAL DRAWING.
only other orders are always concave,
127
and the
erected
their
cir-
Egyptian
to
convex.
the height of
including
feet
capitals,
in
cumference.
Another
style
of pillar
is,
apparently,
trees
no-
number
of
palm
bound
I
make a strong
support.
have
traveller,
Palm.
who
props
lotus.
asserts, that
the origin
of these massive
stalks
was
from
the
slender
of
the
The forms
on
the
of animals having
been delineated
different
sculptured
monuments with
128
such
scrupulous
GUIDE TO
to
fidelity
nature,
that
;
we
and, only
is
cannot
further,
when we
find these
animals not
sculptured,
just
cause
why we
should
do
so.
Ancient
it
that
was a
system;
been
dregged by
travellers,
the
is
most
still
zealous
and
but
found to be a
difficult
such objects.
Innumerable conjectures of
writers are that
ancient and
place this
modern
we should
As
we
meaning
forms,
of
the greatest
object
portion of Egyptian
will
my
on
this
be limited, in
monuments
in
the
British
extant.
Museum,
now
ORNAMENTAL DRAWING.
129
130
GUIDE TO
The
The
bull
been
011
hump
(as
bull,
may
be seen
Gardens,)
at
its
kind
but
The
antiquity of
fact of
worshipping the
bull,
is
shewn by the
idolatry of
calf.
am
not quite
but I
ORNAMENTAL DRAWING.
the horse,
ostrich,
131
the
the
camel,
and the
chiefly
giraffe
thrown into
she-goat,
the Nile.
the
crocodile,
the
lizard
have
been
found
embalmed.
The
serpent,
in
among
the rest.
as
I
This
trifling
is
information,
have preutility
:
viously said,
in describing
as,
may be
introduced with
left
and
the
introduction
entirely
In
many
reason-
their
writing,
which
tering
may
132
I will
GUIDE TO
now
columns,
cornices and
com-
lotus, of
is
a specimen.
This
is
Roman and
Grecian
and
After being
is
very
;
little
them
there
well
an apothers,
my
opinion,
as
as
about the
effect.
originals,
which
gives
pleasing
their ideas
upon
but
yet
above
all
conception
of
after-
and
it
seems, that
when
they formed
immense temples,
or
sepul-
chres,
ORNAMENTAL DRAWING.
solid rock, leaving intervening masses, of
133
which
they
formed
their
columns,
and
sculptured
shall
the
remainder
to
illustrations,
and now
upon
is
which character
pre-
Lotus Boss.
134
GUIDE TO
ON FRENCH ORNAMENT.
THE CHARACTER OF
GUIS
the
Fourteenth's
style,
it,
or, as
French,
others, capable,
is
like
unto
all
by the ingenuity
into
of the
artist,
of being thrown
an
innumerable
it is
number of
figures
particularly as
decided form.
You have
may
feel inclined to
its
FRENCH
UKIVZRSITT
ORNAMENTAL DRAWING.
135
intend dissecting
which partakes of
say obtuse, acute
the mixed
curve
when
Mixed Curves.
figures
may by
anything you
description
may wish
ornament.
to
introduce in
this
of
Having
sufficiently
studied thus
far,
136
GUIDE TO
to the disposing of these different forms,
drawn
so as to place
them agreeable
to the observer
now
by such
you
will perceive a
number
their basis
and
the
design,
after
throwing
carelessly
may
think suitable
this position,
for
the purpose.
Having
gained
line,
being careful
to
figure,
mere contour
be com-
pleted by the introduction of flowers, fruit, animals, birds, figures, or landscapes, which should
you must
it,
be
careful
what
form
will
surround
as
Remember you
viz.
have
two subjects
to
study,
ornament,
ORNAMENTAL DRAWING.
which
should
137
landscape,
to
be
prominent,
in
and
which must
retire
the distance,
give a
at
drawn
As
two
may
hereafter
them stand
quite
may
rendering them
graceful.
possible,
where
in
scrolls meet, as
is
shewn
room
following description
at
the appearance of a
138
GUIDE TO
with
swan
in
graceful
position,
pecking at a snake
combat
your
;
imagination,
but, as before
in
always have
let
something interesting
placed
in
view, but
these be
the most
in the
most convenient
but,
to
be promintroduced,
chased,
;
they
the
is for
should
article
be
sparingly
unless
manufactured,
or
drawn,
some
particular purpose
or,
when
otherwise, choose
OF THE
UNIVERSITT
OENAMENTAL DRAWING.
139
most
likely to
neral observer,
known.
Mythological
may be
very
often introduced
as
with
propriety and
effect,
sent
the various
sudden
stood
changes,
to
which
taken
are
place
;
generally
underhea-
have
with
the
then
around,
lead
tion; to
be
those
but do not
these objects,
for
so
com-
bined,
be confused,
that would
ruin the
have alluded to
but in this
description of
ornament
is
of greater conseis
and what
is
as
the first-named
often
composed of a very
is
perceived
la Bella,
the
designs of Le
Potre and
De
10
140
GUIDE TO
I intend illustrating
many
others
by
those
means, perhaps,
hereafter
cultivate
to
such
the
taste, as
may
be beneficial
all
workman and
and
the student, as
these studies
styles are to
I shall
that or-
nament which
and,
if
possible, prove,
my
exists a beauty
and richness
in this
description of
ornament,
;
to
the style,
want of good
sions
and buildings
of
their
decorations
scrolls, of
consisting
of shields and
style
that uncertain
and irregular
used in
Italy, and,
France
which,
JMAftMM
UNIVERSITY
OKNAMENTAL DRAWING.
141
came so neutralized,
of his period
;
as to
be termed the
style
in
England, and
long rejected as
sacking every
pawnbroker's
London
plate,
and
old frames,
they even
set
dern
style.
taste,
by the renovation of
still
this
wretched
However wretched,
;
and so
it is
the waters
may
be, but he
must
float
with the
it
not only with credit to himself, but try to obtain the admiration of all observers;
and that
assist-
perhaps,
little
142
ance,
aid
GUIDE TO
and
I
sincerely wish
you success.
To
it,
will lend
in pieces,
will
be
own
safety.
Shell Heads.
This kind of
ornament
as
is
divided
volute
into
number
of
portions,
block
heads,
ORNAMENTAL DRAWING.
shell
143
figures;
or
perforated;
centres
com-
posed of
shells,
foliage,
or figures,
either for
the lattice,
for
descriptions
tables
and brackets;
and
tapestry droppings;
shield,
both scrolled
Scroll Heads.
shelled;
fruit.
is
In
arranging
these compartments,
it
it
neces-
is
not compatible
them
at once
by so doing, you
But suppose
for instance,
of
number
ribbed
144
arched
a
shell
friezes,
GUIDE TO
at
or
scroll
at
the
other
side,
a table or bracket
and these
parts
broken
by flowers or
Be
sure
rate
them
to
as
much
as
so
as
by proper management
a
Scroll Shell Centre.
great
variety
may
and
portunity
shall
is
given than
in
this
instance.
now arrange
OENAMENTAL DRAWING.
Fig. 40
is
145
fig. fig.
41 the
43,
perforated;
fig.
the
may add
fruit, or
any
may be pleasing, as
shells,
Having shewn
centres,
you
the
various
40.
arched
pieces,
41.
and
finishings,
of
this
description
of
ornament, I
will
now
146
GUIDE TO
and
with
tablets,
lattice-
fitted
may be
entirely
it
on the
article
manufactured, whether
;
be of metal or wood
it
for,
when
it
is
per-
forated,
has, in
Panellings.
tween
the
finishings
and angular
joints
of
moulded, instead
fittings
;
of
the aforesaid
mentioned
but
this
there
will
is
a small compass to
up, as
it
then
piece
frame-work.
will
OKNAMENTAL DRAWING.
147
represented
placing j of
][/both
right
and wrong,
viz.,
the
tablets
or panels at two
opposite
a, 6
Panellings.
angles, or
many on one
side,
other;
for instance, in
and,
148
see,
GUIDE TO
definite
outline, they
but
all
this
your
mind
this
is
termination,
practice
and
done
only through
and
of
various orna-
ments,
in
when
and
want
of something to
up a vacancy, and
ornament
may be changed
into,
have
may be
understand
the
different
compartments,
and
complete a design.
not
talent in
them
to
notice the
general variety of
number
ORNAMENTAL DRAWING.
sizes,
149
they will
many
it
is
may
at first cost.
The
idea
not a
new
say,
any one
it
so simple;
but, like
Columbus and
the egg,
if they
had thought of
it ;
to
damp your
my
duty to inform
my
discretion in putting
I will
into practice.
now
refer to the
department of tables
and partake
their
chiefly of acute
chief
feature
is
prominent
angles, and
scroll-head
finishings,
scroll
finished with
leaves, shells,
and
flowers,
utility is
as the following
figures
shew;
their
150
to
finish
off
GUIDE TO
cessary articles,
may be
or
required; and
its
the
same
with
the
accompanying
scroll,
In some
instances,
this
teenth's, is of a firm
composed of such
to
grotesque
understood,
forms
and
figures, never
be
character bestows
gild-
richness of effect,
ings,
by various burnishings,
of
course,
is
&c.,
nature,
forgotten.
Many, however,
ture:
yes,
like
assert
that
they follow
perspective,
;
nathe
Hogarth's
it
should be
but as there
many
diligent enquiries
from
some of
my
LOUIS, 14
ORNAMENTAL DRAWING.
of design, of course I
151
am
in
duty bound to do
my
dissecting the
same; and
shall,
after
little
more explanation, respecting the French ornament, attack this splendid foreign character, as
regards the style of decorations.
I
am now
departing from
my
track,
and
will
when properly
placed, is
Bracket.
the
exist.
They
at
The
follow-
ing
diagram
will
give
152
GUIDE TO
free use of
for
effect
they have
;
powerful
and
promi-
nent
add greatly
to the appearance,
form.
The moulded
and
with block
fall
finish-
sure to
into
that
which
will
Bracket.
figure.
to
a portion
for,
is
used,
yet
stiffness
that particular
other.
Now,
avoid
this,
as
in
fruit
the
ORNAMENTAL DRAWING.
153
many
your flowers be
mean those
though
taste,
it
entirely
is
depends
and
fined to
careful not to
them too
profusely.
Balustrades.
In
fact, this
description of decoration
is
greatly
of
aided
these
in
appearance
as
by
the
introduction
fruit,
articles,
flowers,
is
and other
them
and for
this reason,
154
GUIDE TO
to
draw them
in
one posi-
variety,
there
is
but one.
The
rigidly in
and turns,
the vine,
fig,
dahlia,
We*
woodbine, honeysuckle, convolvulus, rose, and
passion-flower
leaves,
are
they have a
selves.
full
them-
ORNAMENTAL DRAWING.
155
Having now
and pleasing
illustrated the
most convenient
it
sections,
hope
will
not be
successful to
to follow
to
who have thought proper my advice; and shall now leave you
those
tion called
156
GUIDE TO
Arabesque
of
a number
orna-
illustrations
of
the above-mentioned
fret,
Gothic,
of
the
The
an equal-
of
ground and
fillets,
meeting at various
it
right angles.
sibly
To
cannot posfirst
be
laying
down a geometrical
the mixed fret
;
or that which
partly angular,
this inter-
and partly
circular.
To accomplish
fillets,
mixture of lines or
width
required,
and
divide
into
a certain space
number
allotted, avoiding, if
pass, not
to
and
Ill
ru
HC-
\\5\\n\ \n\\n\m
UFr-Ufi-llrHUFr-U
UNIVERSITY
W*
(( IL>
II
hl+I+Z+I+Z
ORNAMENTAL DRAWING.
divide
will
157
accordingly,
as
the
annexed
diagrams
divisions;
shew.
The white
fillet fret.
Odd, producing
and,
many
shall
is
instances,
are unlimited.
I
fret,
which
curvilinear portion
marked out
158
GUIDE TO
guillochis are
The
on
principles
to
As
all
these charac-
upon the
upon
extensively used as
many
which
others;
but I will
many
points,
is
required,
metrical rules.
I
:
think,
will
be
guide to
all
the rest
The above simple guillocki would, if you knew no principle to work upon, give some
trouble to
draw
correctly.
It
will
shew you
ORNAMENTAL DRAWING.
agree with me, that
the purpose.
at
it is
159
but to
very simple,
You draw
proportionate
to
the
at
angle,
you
are
upon the
facility,
same
by study,
which
is
to
draw
designs,
in
think,
every
pattern
worth
notice
is
given.
useful only to
not sufficient in
feature
in
itself to
be
but
a very prominent
decoration;
for, in
some
instances,
it is
judicious treatment,
ornament.
XTNIVERSITT
1GO
GUIDE TO
ON ARABESQUE.
ON
sitions,
Arabesque,
it
of
course,
I adopt
the
term
as
is
generally
it
understood, but
has a tendency to
application
the
ori-
its
being
and stuccoes
fruits,
of
antiquity,
which
represent
foliage,
beasts of
tures,
imaginary creais
intermingled.
This decoration
the
some-
grottoes or
under-ground
buildings
in
which
they
have
been
found
the
most
splendid
specimens
time,
gaudy
beauties
of
art.
If
we
shall find
ORNAMENTAL DRAWING.
endless beauty, variety, and originality
ful details,
;
161
gracein the
and great
;
skill
and freedom
mode
of execution
style
Arabesque
really
of
as,
dis-
at
intermixed
with
this
light
it
Vitruvius describes
After
pointing
out
and
classifying
for
painting
as
architectural
composithe
tions,
figures
heathen mythology,
Greeks,
who took
paintings, are
no longer followed.
walls
Nothing
is
but monsters,
in-
In lieu of
Temples are
In another place
we have demi-figures
issuing
from
flowers,
12
162
GUIDE TO
faces, others with
the heads
not,
things which
are
never
And
further states,
is
represents truth,
good
execution,
and
the
The Arabesque
appear
fanciful;
style
may, at
doubt,
first
it
sight,
but,
no
may be
and
more
successful as he keeps
A due
is
balance of composition
very
may
every gradation
lustrating),
intend
il-
much
or too
of the ground.
and should, as
It
much
as possible, tend to
my
original advice to
;
but, observe,
ORNAMENTAL DRAWING.
scription, the
163
were
chiefly of
colours, according to
arranged by the
natural
effects
of light, shade,
and
reflection.
attri-
most
fertile
its
be over-
loaded;
details,
and modes of
ramification,
ought
flowers
to
Foliage and
may be
accuracy in these
flower, gracefully
will
one single
little
formed, with a
scroll,
form a picture.
circles,
Small
fountains,
ovals,
and
containing
subjects
of
interest.
12
164
Portraits
GUIDE TO
and
is
medallions
generally of
may be
introduced.
The
leaf
may
be placed thereon
and
small
cupped
pedestal,
or
columns,
composed
In
ject
will
fact,
any slender
used,
obthat
may be
fall
gracefully
into
variety of forms.
I
have
introduced
a
dia-
but, of course,
by
an
being careful to
Your next
for the
itself,
must be
to
the
is
colouring;
not sufficient by
ORNAMENTAL DEAWING.
but requires the aid of an
infinite
165
number
of
ment
tion
;
it is
out of
my power
to give
you
instruc-
many examples
is
of pretty
colours, that I
am
In
of opinion there
no need
of so doing.
fact, it is
the study of
many
to arrive at perfection in
producing
effect with-
courage to
if
nature should
on
them
an overpowering development of
term
it,
colour,
as phrenologists
apex of perfection.
the Pantheon, in
Oxford-street,
;
where a day
but, previous
tints
your glowing
shape
and
gaudy
effect,
learn
well to
your orna-
166
GUIDE TO
JK.
(UNIV^RSITT)
THE general
this description
of decoration, involves on
me
and date of
I
its
country.
know
more widely;
will
under these
study, in this
cir-
cumstances,
stance,
be
my
inii
together, and,
on which I may
the
base
those
principles,
that
Elizabethan
decoration
may be formed
it
into
decided laws
and
as an established cha-
racter or style.
168
GUIDE TO
As
have stated,
if
my
to
intention
is,
in
this
instance,
possible,
architecture
and decoration
and previous
component
parts,
except where
necessity
re-
progress,
and
detail.
The
successful
travels
and researches
for
in
ancient and
art,
modern times,
has,
the
improvement of
no
doubt,
at the present
day
not that
it
is
my
lines
upon
that
subject, to bring
my
we
ideas to a bearing.
in fact
We
five
are informed
by many,
most archi-
tectural
authors, that
to
are in possession of
distinct orders
class
;
internal
decoration upon
if
may be
very
well
may make
period, or
more
decorated
ORNAMENTAL DRAWING.
variety of its forms
169
parts, let
and component
is
these items
constitute
originality,
whether
good
or
bad;
orders
Doric, thus
and,
of
as
before
stated,
architecture,
we have
and
Tuscan,
Ionic ,
Corinthian,
Composite;
far, so good.
Now, what
visible
difference
is
there be-
and Composite,
and, before
that
the
first
principles
and
rules
for
down by
the Grecians,
distinct
who were
orders,
all
the inventors
different
of the three
in
appearance
IONIC,
at
one
glance
the
DORIC,
the
and
the
will
CORINTHIAN.
The
annexed
illustrations
at
them
at
first
sight,
170
GUIDE TO
between them.
rival,
Now, the
Ionic
stands
without a
Romans
to
rinthian, as
this
piracy
is
Doric.
Ionic.
itself,
am
sure,
many
better and
more
original designs
to
the old
in their Composite,
which
its
grace,
its
richness.
OENAMENTAL DEAWING.
chapiter, that
171
at a loss to un-
derstand
with
my
my
the
Romans, by
to
their
make one
of their own,
credit
for the
same,
why
Corinthian.
Composite.
that
it
principle, although
encouragement
I wish it; for,
the
Roman
at
orders,
their
or do
on looking
(if
structures
that
172
ever
as
will
GUIDE TO
be,
obliterated, or
is
surpassed;
and,
originality
same
for
instance,
have given an
York
of
Here
is
originality
and
variety
form,
that
being
required
in
decoration
of
every description.
pearance,
attract
if
variety
of external apis
properly
displayed,
sure
to
the
or
it
observer,
the connoisseur;
and, in no infor-
stance can
decoration in use.
The
its
ing resemblance to
internal
appearance
of
ORNAMENTAL DRAWING.
decoration, I have seen,
is
173
many
and
others;
own country
Elizabethan
is
my
is
that which
James the
during the
course was
style
its
sixteenth
consider
who,
by-the-by,
in
as the
removed some
but
it
was designed
in that style
is
also asserted to
174
pencil
others,
GUIDE TO
of Holbein.
By
Walpole,
and
many
we
call
Elizabethan,
Gothic, hetero-
was termed, in
being of
itself
King James'
and
so
compounded
and foreign
The
earliest
and most
successful
effort
in
was the
and the
result
of
all
by
and
character
is
of
that
(if it
description, to
appre-
ciate
its beauties,
has any,)
it
must be
very
careful
examination,
before
the
com-
plexity
of
understood.
ORNAMENTAL DRAWING.
75
The following
style
is
deceptive to
many
fini-
pendants,
are
oriel,
pinnacles,
seen,
immediately termed
are
Elizabethan.
There
you
wrong,
all
domestic architecture
Gable-end Roofs
or,
a number
of
various directions.
fix
the
or Gothic encorrect to
And
a certain
extent,
whence
do
176
they
GUIDE TO
make use
of the pinnacle
and
finial,
al-
though 'not
it
exactly of the
;
Gothic form.
Still
it
has a resemblance
we
a figure most
prominent
are at
in
any other
accuse
Of
course,
we
liberty to
Elizabethan.
Xovman.
them
of pilfering from
that,
or from others
Elizabethan
architecture,
is
to
strip it
of
all
its
overloaded
it,
and refer to
;
it
in its
it
we
ORNAMENTAL DRAWING.
177
combined
purely the
of
Roman
orders,
and
mouldings
Key Pendant.
Gothic Pendant
.
style
particularly
adapted to
street
archi-
tecture,
and may be
ance,
or
ornamental in
the
highest
degree,
;)
(this, in
my
opinion,
is
its
original character
but, in
the reign of
to
add
grotesque
opinion
forms, as
is,
intend
illustrating.
will
My
and
was such,
in building, could
have been
178
GUIDE TO
and
halls,
cious stones
all
reason,
John Thorpe,
Soane
Museum,
and
a grand
collection
Bay Windows.
they are,
not
only ornamental
designs,
but
shewn
My
tures
rations
first
endeavour to
illustrate
the Eliza-
and
;
peculiarities,
as regards
its
the deco-
not as regards
architectural eleva-
ORNAMENTAL DRAWING.
tions
179
and
measurement,
but
give
you
that
portion,
that you
may
Elizabethan.
of
For
instance, I
am
sure,
in
many
apt to
be
of
reason,
scroll,
when
the
I introduce the
Roman
acanthus
Grecian,)
honeysuckle,
(purely
of
Gothic
pinnacles,
Grecian
architecture;
yet
these
combined, without
grotesque
form,
are
that
Elizabethan;
but
as
before remarked,
when, as
some
18 *
would
180
suppose,
it
GUIDE TO
it
of perfection,
Grecian.
Roman.
Roman
I
shall
now commence
its
delineating what I
fea-
consider
tures,
pure
character, remarkable
and separate
Its exterior
form
;
was composed
oriel
shewn
in
abundance
arcades,
man ;)
bined
;
their
ORNAMENTAL DRAWING.
gardens, imitated
181
from
the
Italians,
adorned
at
stated
;
to
Vivian, Esq.
is
likewise to be
Entrance
fea-
porches to the
halls,
formed a prominent
or
seats,
for
we
see
in
their
this
principal
ha,bit
seated
at
meals
and
was
Johnson justly
states,
"For
in
those
to
times
vice
would unite
preserve
pitality
to retain it."
Immense
screens of decorative
panelling,
ferent apartments.
Immense
annexed
plete
plate,
to
com-
the room,
Lieut.-
182
Colonel Gust,)
GUIDE TO
of the internal
at
fittings
the
it
stood in Old
The
was
ceiling of that
was
and,
most
at
elaborate,
it
purely
Gothic;
the
each
Rose,
Fleur-de-lis.
Pomegranate.
screen over
the
It
is
intermixed
mixed
fret,
bined.
The
consoles, or
bracketSj
were
ORNAMENTAL DRAWING.
183
much used
the
Chamber.
ceiling, chiefly
moulded
in different geometrical
forms
number
of
angles,
which,
when
of
polished
184
GUIDE TO
little
furniture
in-
was used
to
of the
ternal fittings.
ii,
I shall
attention to consoles
in
fig.
is
and
soffits,
44,
45,
46,
50.
Fig. 4*,
Chamber
eccentric
the
it
before spoken
and
but in
figure,
same
another description,
frieze,
Fig. 47
is
the front-view.
it
48
is
is
it is
IP,
Del el-Sc,
1,2
,
E LI
&B
rVERSITY
*
OF THE
ORNAMENTAL DRAWING.
forms I have seen of
section,
fig,
185
style.
its
kind or
that
The
49,
still
carries
perforated
many do
the
front
does not
seem
to
overbalance the
side
this is
and the
most
likely to
glory.
Fig. 50,
ar-
range this
atides, edifice
:
but
the
is
in
character with
to
the
figure
seems
the
represent
Old
scythe in
hand, and
186
GUIDE TO
these trophies
when my
glass is
run,
which
is
set
for
men, then
off like a
shadow.
attention, that,
may
appear,
yet,
when
well
read,
there
is
artist,
however
deficient
he
might
all
have been in
point of
execution.
Of
for
is
symmetrical
of
form.
The
figure,
plan
pentagonal
is
and
the
erection
panels,
consoles,
composed
of
moulded
enriched
riched
Ionic
pilasters,
and
carved
en-
cornices
and
mouldings,
an
enriched
back
board, with
circular-
stated, in
of
jewellery.
The
sounding-board
;
scroll
shields, or
its
and on one
is
OF THE
UNIVERSITY
ORNAMENTAL DRAWING.
erection.
187
detail,
it
;
I intend
illustrating,
in
the
and,
annexed
plate, I
am
sure,
will
be
sufficient
men
wood
erection
shall
now
refer to the
pinnacles
solid,
these
and others
lancet
the
form
of
circular
some
start-
ing from
and
188
GUIDE TO
at
the
extremities
illus-
form, and shews more conspicuous by the several indentations at their base.
to
To add
effect
many minor
decorations, I
and
at the angles
I have
is
of
ment.
one, which
the rest.
You
will
perceive
in
the
accompanying
diagram, in
scroll
reference
to
the
descriptions
of
what
scroll
..generally
expected
when
the
word
the
is
named.
rolling,
These
scrolls
were
of
like
folding,
and unrolling
paper,
by
ORNAMENTAL DRAWING.
which
duced
;
189
great
richness
of
effect
may be
prois
diagram
worked
or,
upon.
if
you
we
will
way
at each
end
loose
it
and
it
it
will
When
this is done,
will give
is
by
In the
first
diagram you
will
light
of light
is
parallel, and,
of course,
in
an oblique
line to B.
This
you
whole
of
your
effect,
a greater
and the
appearance in
the
embossed
parts,
as the
tained
190
as
I
GUIDE TO
described in the foregoing diagram,
by
lines,
which
the
following
figure
will
shew
work upon.
it is
In
designing
this
de-
scription of shield,
would be wrong
are
observed,
oblique
squares, or
ellipsis,
and
right-angled
figures,
bands,
;
garters,
now commence
plain
delineating,
and
likewise
ex-
my
illustrations in as explicit
and simple
at
manner
right
as
possible,
for
you to arrive
the
method
first
The
of
these illustrations
is
the ob-
xx
D
1
Wfti J^f-
JNIVERSITTI
ORNAMENTAL DRAWING.
191
off,
is
usually called,
to
an obtuse angle of
;
any
This figure
is
sometimes flattened
illustrations
annexed
shew.
Fig. 51
is
shews about
flat
surface.
now
take the
ellipsis,
as the second
is
^rrflfllf^
sometimes
confined
in
to
bands
deit
Rake
of Angle.
alone, particularly
that
192
tres are
GUIDE TO
shell,
with
fillets
These shapes
chiefly
compose the
centres,
and
their exterior
riation, the
I shall
next
treat
They
are
the
surrounding
scrolls, as
these
with
the
others
combined, form
the various
which are
The
first
shall
treat
upon
is
the turned
193
Fig. 53
is
under
which
52.
is
connected with
it.
and
Louis the
Fourteenth's,
in
which the
;
scroll-
but, to
it
necessary for
me
turned
parallel,
scroll-heads of
that
is
to
ribs
or
fillets,
worth
your
particular
notice,
as
14
194
GUIDE TO
you
astray,
extreme
It
being
my
duty to give
centre,
or
I
bearded
which
treat next,)
elled
scroll,
if
fillet
scroll,
seem as
requires
the
general
of the spreading
WNIVERSITT
=&
ORNAMENTAL DRAWING.
195
and when
are combined,
plate,)
you
will,
my
Elongated panelled
Circular Head,
Scroll
End.
Beaded.
The
first,
or
most simple,
is
Bolted.
Trefoil.
I will
now
partment,
forated
namely,
or
entwinement
of per-
fillets,
there
are two
196
in
GUIDE TO
some
the
instances
it
is
most
lavishly
used,
and
conclusion
observer,
generally
is,
drawn by
this
the
is
common
seen,
it
that
wherever
must be Elizabethan.
This ornament
and
elevated
where
there
was
sufficient
scope
and
generally termed
the
difference
between that
work, I
fret,
or
pierced
now
intend explaining.
style,
The bolted
as
and
mansions or
the
halls,
posed or designed on
same
a lofty posithat
looked meagre;
so,
to prevent
ap-
-^
OF THE
UNIVERSITT;
ORNAMENTAL DRAWING.
197
were placed,
outer
to
appear as
if
the whole
the
together.
The general
and
circle (from
be double
:
The number
com-
198
I
GUIDE TO
have
now given
you,
by small
illustra-
careful
when designing
this description of
have a
square
department, or
formation
come
grams
if
you do not,
at the
it
be entirely
wrong, but
II
will
in
the
now
treat
fret-
department
where
decoration
was
required,
more
particularly
on the
upper
extremity of cornices,
is
a very peculiar
appearance
given
to
this
ornament
and,
ORNAMENTAL DRAWING.
199
when
a frosty
and
tervals, as the
annexed diagrams.
is
The addition
to*
of this
ground-work
peculiar
itself,
and,
is
is
introduced, because
it
would
vening
soffits
cir-
cular-headed
All this
is
windows,
and
spandrels.
kind of ornament.
I will
now
explain
composed
of the ecintersect-
200
GUIDE TO
All
these
are
joined
by
perpendicular
and
horizontal lines
bars, some-
and
bases,
various
little
bosses,
and corded
Of these various
up,
These may, in
some
in-
stances, be surrounded
by a
it
fillet,
may have
the ap-
which,
may be bevelled off on each side when closely grouped, add greatly to
it
;
are at-
tended
to,
panying plate
few
and
illustrations of
go conjointly with
the
my
previous
remarks,
viz.
carved
oak
ORNAMENTAL DRAWING.
201
instances, I
in
some
greatest
display
of
Geo-
metrical
study in
all
architectural
ornament,
could possibly be
may
very soon be
done,
to
by laying down a
rule,
as I have
added
illustrations.
Queen
202
Elizabeth's
GUIDE TO
Fig.
55
is
from
Dorton House.
all I
think necessary
what
ORNAMENTAL DRAWING.
curious
is,
203
it
certainly
retain
to
is
your memory;
the
piece
allude
on the annexed
plate,
taken
from
an
old steel
it
was brought
to a
still,
here
we have
the sup-
204
GUIDE TO
we
can,
no doubt,
first
model, however
ancient;
and,
if
we wish
style,
it
to renovate
or call
must be according
in
character or
manner
the
which
have
it
was
so
executed.
Although
arts
been
ORNAMENTAL DEAWING.
205
much improved
of late,
it is
now
First Floor.
in
fea-
ture
department extends
to
and,
proceed
further
towards
206
GUIDE TO
you
to
"Eliza-
and internal
fitting
fully
assured,
that there
you
ideas;
whereby the
may
use his
may
be; at the
it is
a style peculiar
very well
but I would
style,
it
is
and
your
it
when
it is
required, as
a bad plan to
make
that
my
if
marks and
principles, which,
ORNAMENTAL DRAWING.
attention to,
207
must
inevitably repay
you
for the
perseverance,
cost you.
labour,
and study
it
may have
And
to step,
little,
of
that
which you
may have
at
others.
memory by looking
and
to
make
styles
of
foreign
draftsmen, from
whom we
in-
spoiled
of the
arts
and, before
we
want
of will,
for I
am
certain,
were there
208
sufficient
GUIDE TO
scope
thrown
open to
limits
the
British
student,
with unbiassed
of
instruction
them
their
original
principles.
Then we should
whom we
To remedy
formed
in
all this,
different
in various parts
student
may go
study, and put in possession of the best examples that can be placed before
this feeling operates
him
and
until
hope
it
will shortly,)
my
advice,
go on
it
will
and training.
ORNAMENTAL DRAWING.
I
209
now
by
my
in-
advice,
rules
15
210
GUIDE TO
ON GOTHIC DETAILS,
AS REGARDS CURVILINEAR PORTIONS AND PERIODS.
of
architecture,
in the
study of
geometry and
proporthis
My
intention, in
instance, is merely
give you
the
universal
them up
those
is
of
edifice, to
to
go geoit
metrically to
facilitates
work
/'///firrr/t'
Crcc&ete
OF THE
TTNIVERSITT
CALIFORNIA-
OENAMENTAL DEAWING.
roughly acquainted with
its
it
211
it,
would be
folly for
me
to
enter upon
that which
it
further,
is
really
the
universal
as regards
draftsman, independent of
its value,
knowledge
castles
for the
many
scattered remains of
England, connect
a truly in-
I have found
it
so to a certo
extent,
without
attempting
give
my
make an
do
the
architect;
and
others,
it
I hope, will
re-
same;
although
may not be
it will, at least,
give
command
of knowledge
over
thedral,
and in what
15 *
212
GUIDE TO
The
origin
of Gothic
Saxons,
we can
mark
its
progress of improve;
and
in this
is likely to
title,
beyond
various
any
other
appellation,
to
styles that
as, in
it.
And
an
earlier
is
am
facilitate
any
difficult
points,. I
and
feel
a pleasure' in throwing
benefit
open those
rules,
for the
of
all
who
The
is
classification of
suggested, and
divides
1st.
now
generally followed.
He
them
or
Norman, extend-
UNIVERSITY
ORNAMENTAL DRAWING.
ing in
its
213
The
early-pointed,
Edward
The
perpendicular,
sometimes
called
Richard
the
Second, and
down
to
the
style
of
archi-
remarks by a short
These, and
many
is
other
Henry
of
the
Seventh's
Chapel,
Westminster,
the
finest
specimen
Florid Gothic
and tracery
in this country.
214
illustrations
GUIDE TO
which
may be
necessary, will be
of
and method of
commence
to describe, as it
was the
earliest
The
William
the
and
Henry the
Second.
The
of the
of
a zig-zag
form, groining
and intermingling of
circular headings
and
co-
its
own.
supposed
have
originated
the
an immense
opening for
this
kind of study.
The specimens
ORNAMENTAL DRAWING.
here are of the richest description
is
:
215
the doorway
scroll
door,)
by
their
produce
an
effect
In reference to the
plate,
is
ABC
with
;
are plain
moulded openings
and
label-headed
an enriched zig-zag,
the
is
doorway,
scroll
an open-
what
is
an early specimen of a
head
is
and beads.
&c.,
and some-
now
progress
style.
towards the
pointed
arch, or
florid
The
semi-circular arch,
is fig. 1,
employed
of
Stephen, A.D.
1136.
This
arch
is
struck
216
GUIDE TO
fig.
2 and
springing.
is
This arch
is
mon, but
sometimes
semi-circular arches,
of variety.
apparently
is
the
sake
Fig.
after
a portion of a circle;
at
but
fig.
3,
arriving
the
semi-circle,
lines, to elongate
the
Fig. 4
is
centre
is
is
This form
arches.
rarely
Its general
was
to
interior
doors
it
is
not of
fre-
quent occurrence.
got
is
according
to
the height of
which
arch
is
greater than
width.
Where
this
is
In
OF THE
IVERSITY) Of
J.
^\
OENAMENTAL DKAWINQ.
the composition of tracery the lancet arch
varieties.
line,
is
217
continued through
the
It is
is
the equilateral
arch, of
is
which
obtained by
Fig. 7
is less
than
width, and
is
got by dividing
ABC
D, and
C.
Fig.
tres of
is
and bisected,
in
and per-
pendicular styles.
Fig. 9
is
This form
mixed
Norman.
The
218
GUIDE TO
it
is
said,
the finest
five
specimens.*
parts,
and
im-
mediately collapses, as at
Fig. 10
is
C D.
This form was
windows
of ancient buildings,
as is sometimes
Its use
was
tracery,
niches, tabernacle
situations.
work,
The
ogee
canodeco-
windows
in the
it is
late
gained from
AB
C D.
after
which
degree of purity.
The
springing
of
an
arch
is
the
point
from
whence
the
compass, either in a semi-circle or segmental line, touches the perpendicular line or, more properly speaking, becomes tangent.
;
ORNAMENTAL DEAWING.
this
219
of
Tudor
Gothic
seems
of
sufficient
multiplication
classes.
It
derived
from
the
points,
AB CD.
Fig. 12
is is
the three-centered or
elliptic arch.
This
arch
met with
in
perpendicular
it
frequently,
however,
occurs
and
style
near
;
of
the
it
is
ABC.
Fig. 13
Fig. 14
is
curs
except in
arches,
label
and
is
bounded by what
and
usually
termed a
moulding,
vine,
filled
up
with
tracery
played.
oak,
or ivy leaves
rudely dis-
220
It will
GUIDE TO
re-
is
not,
in
most
determine the
we may
by examining narpinnacles,
rowly the
buttresses,
and
of
openings, (which
various
foils),
openings were
composed
to
be
known by
annexed
given in the
plate.
fell
Cinque Scif
OF THE
>*
:VERSITT; OF ,/
ORNAMENTAL DRAWING.
221
GEOMETRY
AN
metry
will,
SIMPLIFIED.
be unacceptable to
many
of
my
many
times before
I shall
may be
able
of
Greek
origin,
and
tances thereon;
no doubt, had
its
rise
in
Some
authors
assert
;
that
it
was
others, the
it
Egyptians
from the
Babylonians.
philosopher,
Phoenician
who
222
eight
GUIDE TO
years before
Christ,
calculated eclipses,
;
Pyhun-
Samos, who
years
flourished
five
dred and
twenty
before
Christ,
intro-
duced
it
vered the
Geometrical bodies,
viz.
and Dodecahedron.
Euclid, of Alexandria, was particularly dis-
tinguished in
elementary Geometry
after him,
about a
hundred years
Archimedes extended
his
by
measure of the
of
Perga,
who
flourished
two hundred
and
sixty, or
much
Italy,
Geometry.
In
first
ages,
Germans
followed.
Justus Byrge
inventor
the
proportional
circle,
although
ORNAMENTAL DRAWING.
others ascribe the invention to
Galileo.
223
Rei-
who
Simon
Geometry ; and, in
by the
in-
arid
Newton,
by the theory
of the
fluxions.
first
Robert Hook,
who
who considered
who
circumference of the
the French have
this art,
circle.
In recent times,
works on the
lent.
some
of
Among
modern works
by
and the
treatises
and M. Legendre.
From
progress of
Geometrical
science,
it
must be
224
GUIDE TO
on the
to
subject,
would swell
inconvenient
the
present
article
most
the
general arrangement
therefore,
the
work
to
purpose,
of
confining myself
a series
useful
definitions,
which
may
science.
arts, will
be found in the
annexed
illustrations.
In attempting to exemplify or
following definitions, I
illustrate the
am
many
of
my
be objected
by the
rigid
mathematician,
my
object
first
rudiments
entirely
of this
science
those
it.
who may be
unacquainted with
point
is
magnitude, as
ORNAMENTAL DRAWING.
225
A line is
Superfices
have length
for
the surface, as
figure of
fig. 3.
solid
is
three
dimensions,
Hence,
lines the
and
extremities of surfaces,
ities of lines, as fig. 4.
If
two
coincide,
however
applied,
cide with
points
two
right lines.
curve
its
continually changes
its
direction
between
straight, as fig. 5.
Parallel lines
same
dis-
tance,
and
will
produced, as
fig. 6.
16
226
Oblique
right
if
GUIDE TO
lines
produced, as an
the
number
opening.
extreme
One
it
when
other,
inclines
fig. 7.
as
A
it
straight line
is
a tangent to a circle,
when
when both
are produced, as
An
angle
is
right angle
is
that which
is
when
this is
denoted by three
letters.
The
right angle
is
other angle
b c is a right angle,
c
a b
an ob-
tuse angle, e b
an acute angle, as
fig.
10.
UNIVERSITY
OF THE
ORNAMENTAL DRAWING.
227
An
fig. 11.
acute angle
is less
An
obtuse angle
is
greater than a
right
A
called
plane
is
line will
otherwise
if
surface
for
instance,
end surface
is
the plane, as
fig. 13.
known from
divided
their
extreme
as
openings,
fig.
and
are
is
into
degrees,
16.
Here
to
From a
b will
c,
be an angle of 15 degrees
from a to
are
line.
all
35
and from a to
d, 60.
These
acute angles,
to e is
From a
degrees.
This diagram
on the principle of
An An
triangle
c,
has
only two
sides
equal, as a
as
fig.
18
16 *
228
mechanics,
to
viz.,
GUIDE TO
a wedge, being
;
made according
wedge
an acute
for instance, a
of so
many
degrees,
is
measured
as
angle of so
many
and
degrees.
all its
sides unequal,
as fig, 19,
to
window,
fig.
its front,
as
20
elevation, as the
annexed
illustration.
Trapezium
to
say,
is
is
In this in-
unequal, as
fig. 21.
An
figure
octagon
is
is
This
OF THE
TTNIVERSITTJ
ORNAMENTAL DRAWING.
ciple
229
of gaining
it.
First
and
to
is
a
is
as fig. 22.
This principle
down
for perspective.
is
A
A
equal,
rhombus
rhomboid,
whose
horizontal
lines
are
and oblique
the ho-
Eadius
centre,
lines.
all
Those
lines
starting from a
25.
and
acute angles, as
fig.
Solids
by
surfaces, sides,
and ends.
A
in
book
is
is
solid.
Hence a
or
a solid,
cube;
that
is
to
say,
is
measurement.
a foot cube.
When
than one,
solids or superfices
if all
otherwise, irre;
230
GUIDE TO
of thn>
name
to
3,
the figures, as
:
it is
know them
a triangle
;
1,
a line; 2, a parallelogram;
5,
4,
a quadrilateral ;
a pentagon,
7,
five sides; 6,
a hepta;
8,
sides;
12,
duodecagon, twelve
Base
Altitude
circle is
is
is
a figure bounded by a
or
termed the
equi- distant
it is
circumference,
periphery,
and
The
interior
of
a circle
is
divided
its
fig.
component
parts,
classification.
On
26, a &
is
the diamefcer
b is the
is
the cord of an
circle.
arch
and d
segment of a
brought
Cones may be
without entering
usually
given.
under one
head,
into
the
number
figure
of
terms
Any
solid
rising to
an
ORNAMENTAL DEAWING.
apex, or point,
is called
231
angled,
it is
a cone
if
many
sides
it
may be
divided into
that
is
it
when
it
then a
circle, as fig.
it
27 shews.
If cut parallel
to its axis,
a b
c, fig.
28
it
and
if
the cone,
fig.
is if
29
and
it
then
becomes an
27.
ellipsis,
30.
29.
30.
28.
i\
r3
Frustrum.
Hyperbolic.
Parabolic.
\ c3
Ellipsis.
Among
become
useful
the description of
which terminates
this
volume.
who with
232
GUIDE TO
will
no doubt, but we
instruments
;
it
work with
cer-
but pleasant
will
is
to study.
The
first
I shall
commence with
be the
ellipsis,
using instruments.
Fig. 31
the elongated
circles,
ellipsis,
and
c
is
obtained by two
:
intersecting
the
points,
lines,
from
i
g h
k.
By
you
from h to
e
&,
and from g to
i ;
and
from
i
/ and
h and
k,
complete; but
let
me remind
you,
in
for
to
do over again,
;
for the
want
first
hole,
like
X ** OF THE (UNIVERSITY^
^c
OENAMENTAL DKAWING.
233
by
that
to
passes,
close
them a
imperceptible in
it
out
this is advice
of
ellipsis,
a short
first,
principle as the
two
tangent
circles,
you
intersect
them and
principle.
a rule
is
by which the
oval
is
ob-
tained, whatever
to
to
b,
is
strike
the
234
semi-circle,
GUIDE TO
parallelo-
gram, d
f g,
;
to
parts on each
four parts
sions
it
by merely
divi-
will
form an oval of
1 to 1,
viz.
by
2 to 2, 3 to 3, and so
figure,
many without
upon
to is
Fig.
34
is
an
oval,
which
is
gained by two
tangent to
next
your intersecting
arcs, c,
which are to be
gonal
lines, c
a b
d,
then
it
UNIVERSITY
ORNAMENTAL DRAWING.
235
you
will
egg shape.
and
Now, we want
in the
connected plate,
principles,
The
one
is
the
may
the
line, &,
line
to
carry
more, remembering
to
keep
even
numbers.
The
more
greater
the
number of
to
divisions, the
certain
you are
your
to the
boundary
e,
e,
next
and
b,
lines to the
end
arc,
division,
a b
c.
236
GUIDE TO
The verse
principle,
on the same
Get
line,
a a to
&,
and on those
a,
obtain a
right angle, a
c,
and another
at
d,
d,
which
will
at the top;
line
a, into
and your
mental arch.
There
is
may
in
find
the plate.
sides of
angle, on the
divisions,
by the
as,
intersection
b c is
1,
numerous divisions;
from a
ment
This
is
especially
more acute
in its
OENAMENTAL DEAWING.
altitude;
237
only
you
will
find
ifc
the
way
of
The
difficulty
of
obtaining a
quantity of
at-
twenty parts;
you would, no
doubt, go a great
many
on reference to the
erring principle to
plate,
you
will find
an un-
work upon.
Let a
be the
up a perat ran-
pendicular
line,
6,
of any height,
and
divisions,
you go
to
work accurately
to
b,
and from
your base
draw
parallel
lines,
touching from
you have
d
e;
sufficient for
your
each
number
of divisions, as
from
that, at
e to
/;
so,
by carrying
238
GUIDE TO
number
of divisions
This
is
exceedingly valuable in
chitecture;
in
fact,
in
every
instance
when
on
ORNAMENTAL DRAWING.
239
ON MOULDINGS.
MANY
to of
my
readers
may
attribute
blame
me
for inserting
tions of architecture,
and perhaps
say, that
it
No:
that I
There certainly
scroll,
is
no occasion for
is
moulding in a running
boundary of
it,
but there
in the
to the cha-
As
it
a matter of fact,
be in accordance with
it,
but
not always
such information,
far.
is
an indispen-
sable
accompaniment to
all
my
former remarks,
As an
instance
240
of the
utility
GUIDE TO
of
mouldings,
formed
the bas-relief
in their ori-
and ornamental
gin,
risings,
and which,
by the Greeks,
to pro-
buildings
The number
are eight, and
of
mouldings
generally used
utility.
fillet,
The
fig.
first
the
1,
which
the
smallest in proportion to
its
chief use
is
to
heavy inharmonious
effect that
would be pro-
fillet,
which
Its
may
fig.
3.
may be
either
LI
UNIVERSITT
OF THE
ORNAMENTAL DRAWING.
241
Fig. 4
is
of the
much bolder
The
end
is
and pro-
the plinth, as
Fig. 6
is
is
now
chiefly
used in an admixture of
is
Roman
so massive an appear-
genius
it
of
architects
proved upon
to
7,
what
which
is
is
much
lighter
is
in ap-
pearance.
Fig. 6
is
You may
of
allow for
your
moulding,
end in proportion, as
Fig.
fig. 7.
is
termed
the
cavetto,
or hollow.
surrounding
their
temples, as
have
17
242
before described;
GUIDE TO
it
is
chiefly
employed in
co-
This
is
When
your
projection
line,
of
h,
which
you
will
which divisions
for
two equi-
lateral triangles, as a e d,
and
c b e,
From
the
point
e,
you strike
is
c b,
and from
d,
a c; which
when joined,
Fig. 10
is
manner
mould-
support
its
other
members,
extreme points.
in
produced
this
moulding
by turning the top end, and leaving a small is termed a opening, as fig. 11 shews, and
of quirked moulding, by having the appearance
a black line,
by the indentation
of the hollow
under the
fillet.
Fig. 12
is
tf"'-f"f
i%yxxx//^i^g^^%^%%^a
;
W//////Wff/M'WfW/>/)
Those above the line are sections of Gothic those below mouldings are termed mtillions, or sections of the upright bars and tracey in varioiw Gothic windows.
UNIVERSITY
OF THE
ORNAMENTAL DRAWING.
as the above, in an inverted position
for base
248
and used
mouldings only.
13
is
Fig.
and
to effect a
good
profile
it
is
termed a
scotia
mouth.
c,
divided
d,
From
e g,
your perpen-
dicular, b
h,
which
from k to
study,
This moulding
I
is
an excellent
be
its
and
would
the
advise
you not to
difficulty
conquered
appearance.
by
seeming
of
244
GUIDE TO
There
is
two
for
which
will
form the
width, by
The
you
c,
and from
c e.
cording to
my
promise;
and as
though
before)
my
it
is,
assiduously
that which
is
daunted at
may
occur
for,
will
not
until
you have
surmounted
difficulties
others,
;
and
all
:
then
you
will
them-
ORNAMENTAL DRAWING.
selves
in
245
the same
manner.
Then, by those
other countries.
FINIS.