file which includes the numerous        
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7https3_/_/www4gutenberg4org_/cache_/epu
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the original pages are available through
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sofdeco#jj;dres   ,transcriber's note3  
,text enclosed by underscores is in     
italics 7italics74        ,text enclosed
 by equal signs is in bold face 7bold74 
,illustration3 ,decorative ,design      
,,principles ,,of ,decorative ,design4  
by  ,,christopher ,,dresser1 ,,ph4,d41  
,f4,l4,s41 ,f4,e4,b4,s41 ,,etc42        
,author of ,the ,art of ,decorative     
,design1 ,unity in ,variety1 etc4       
,,fourth ,,edition4        ,cassell1    
,petter1 ,galpin  ,co43 ,london1 ,paris 
,new ,york4      ,,preface4   ,my object
 in writing this work has been that of  

aiding in the art-education of those who
 seek a knowledge of ornament as applied
 to our industrial manufactures4  ,i    
have not attempted the production of a  
pretty book1 but have aimed at giving   
what knowledge ,i possess upon the      
subjects treated of1 in a simple and    
intelligible manner4 ,i have attempted  
simply to instruct4  ,the substance of  
the present work was first published as 
a series of lessons in the ,technical   
,educator4 ,these lessons are now       
collected into a work1 and have been    
carefully revised2 a few new            
illustrations have been inserted1 and a 
final chapter added4  ,as the substance 
of this work was written as a series of 
lessons for the ,technical ,educator1 ,i
 need not say that the book is addressed
 to working men1 for the whole of the   
lessons in that publication have been   
prepared especially for those noble     
fellows who1 through want of early      
opportunity1 have been without the      
advantages of education1 but who have   

the praiseworthy courage to educate     
themselves in later life1 when the value
 of knowledge has become apparent to    
them4  ,that the lessons as given in the
 ,technical ,educator have not been     
written wholly in vain ,i already know1 
for shortly before ,i had completed this
 revision of them1 ,i had the           
opportunity of visiting a provincial    
town hall which ,i had heard was being  
decorated1 and was pleasingly surprised 
to see decoration of considerable merit1
 and evidences that much of what ,i saw 
had resulted from a consideration of my 
articles in the ,technical ,educator4   
,the artist engaged upon the work1      
although having suffered the            
disadvantage of apprenticeship to a     
butcher1 has established himself as a   
decorator while still a young man2 and  
from the manifestation of ability which 
he has already given1 ,i hope for a     
brighter future for one who1 as a       
working man1 must have studied hard4 ,if
 these lessons as now collected into a  

work should lead to the development of  
the art-germs which doubtless lie       
dormant in other working men1 the object
 which ,i have sought to attain in      
writing and collecting these together   
will have been accomplished4            
,,tower ,,cressy1 ,,notting ,,hill1     
,,london1 ,w4         ,,contents4       
,,chapter ,i4 ,,page      ,,introductory
       ,,division ,i4 ,,art-,,knowledge2
 ,,historic ,,styles              ,,ii4 
,,truth1 ,,beauty1 ,,power1 ,,etc4      
,,iii4 ,,humour ,,in ,,ornament         
,,chapter ,,ii4       ,,colour          
,,chapter ,,iii4       ,,furniture      
,,chapter ,,iv4       ,,decoration ,,of 
,,buildings         ,,division ,i4      
,,general ,,considerations--,,ceilings  
,,ii4 ,,decorations ,,of ,,walls        
,,chapter ,v4       ,,carpets           
,,chapter ,,vi4       ,,curtain         
,,materials1 ,,hangings1 ,,and ,,woven  
,,fabrics ,,generally      ,,chapter    
,,vii4       ,,hollow ,,vessels         
,,division ,i4 ,,pottery                

,,ii4 ,,glass ,,vessels                 
,,iii4 ,,metal-,,work      ,,chapter    
,,viii4       ,,hardware      ,,chapter 
,,ix4       ,,stained ,,glass           
,,chapter ,x4       ,,conclusion        
,,principles ,,of ,,design4             
,,chapter ,i4  ,,division ,i4   ,there  
are many handicrafts in which a         
knowledge of the true principles of     
ornamentation is almost essential to    
success1 and there are few in which a   
knowledge of decorative laws cannot be  
utilised4 ,the man who can form a bowl  
or a vase well is an artist1 and so is  
the man who can make a beautiful chair  
or table4 ,these are truths2 but the    
converse of these facts is also true2   
for if a man be not an artist he cannot 
form an elegant bowl1 nor make a        
beautiful chair4  ,at the very outset we
 must recognise the fact that the       
beautiful has a commercial or money     
value4 ,we may even say that art can    
lend to an object a value greater than  
that of the material of which it        

consists1 even when the object be formed
 of precious matter1 as of rare marbles1
 scarce woods1 or silver or gold4  ,this
 being the case1 it follows that the    
workman who can endow his productions   
with those qualities or beauties which  
give value to his works1 must be more   
useful to his employer than the man who 
produces objects devoid of such beauty1 
and his time must be of higher value    
than that of his less skilful companion4
 ,if a man1 who has been born and       
brought up as a son of toil1 has that   
laudable ambition which causes him to   
seek to rise above his fellows by fairly
 becoming their superior1 ,i would say  
to him that ,i know of no means of his  
so readily doing so1 as by his          
acquainting himself with the laws of    
beauty1 and studying till he learns to  
perceive the difference between the     
beautiful and the ugly1 the graceful and
 the deformed1 the refined and the      
coarse4 ,to perceive delicate beauties  
is not by any means an easy task to     

those who have not devoted themselves to
 the consideration of the beautiful for 
a long period of time1 and of this be   
assured1 that what now appears to you to
 be beautiful1 you may shortly regard as
 less so1 and what now fails to attract 
you1 may ultimately become charming to  
your eye4 ,in your study of the         
beautiful1 do not be led away by the    
false judgment of ignorant persons who  
may suppose themselves possessed of good
 taste4 ,it is common to assume that    
women have better taste than men1 and   
some women seem to consider themselves  
the possessors of even authoritative    
taste from which there can be no appeal4
 ,they may be right1 only we must be    
pardoned for not accepting such         
authority1 for should there be any      
over-estimation of the accuracy of this 
good taste1 serious loss of progress in 
art-judgment might result4  ,it may be  
taken as an invariable truth that       
knowledge1 and knowledge alone1 can     
enable us to form an accurate judgment  

respecting the beauty or want of beauty 
of an object1 and he who has the greater
 knowledge of art can judge best of the 
ornamental qualities of an object4 ,he  
who would judge rightly of art-works    
must have knowledge4 ,let him who would 
judge of beauty apply himself1 then1 to 
earnest study1 for thereby he shall have
 wisdom1 and by his wise reasonings he  
will be led to perceive beauty1 and thus
 have opened to him a new source of     
pleasure4  ,art-knowledge is of value to
 the individual and to the country at   
large4 ,to the individual it is riches  
and wealth1 and to the nation it saves  
impoverishment4 ,take1 for example1 clay
 as a natural material3 in the hands of 
one man this material becomes           
flower-pots1 worth eighteen-pence a cast
 7a number varying from sixty to twelve 
according to size72 in the hands of     
another it becomes a tazza1 or a vase1  
worth five pounds1 or perhaps fifty4 ,it
 is the art which gives the value1 and  
not the material4 ,to the nation it     

saves impoverishment4  ,a wise policy   
induces a country to draw to itself all 
the wealth that it can1 without parting 
with more of its natural material than  
is absolutely necessary4 ,if for every  
pound of clay that a nation parts with1 
it can draw to itself that amount of    
gold which we value at five pounds      
sterling1 it is obviously better thus to
 part with but little material and yet  
secure wealth1 than it is to part with  
the material at a low rate either in its
 native condition1 or worked into coarse
 vessels1 thereby rendering a great     
impoverishment of the native resources  
of the country necessary in order to its
 wealth4  ,men of the lowest degree of  
intelligence can dig clay1 iron1 or     
copper1 or quarry stone2 but these      
materials1 if bearing the impress of    
mind1 are ennobled and rendered         
valuable1 and the more strongly the     
material is marked with this ennobling  
impress the more valuable it becomes4   
,i must qualify my last statement1 for  

there are possible cases in which the   
impress of mind may degrade rather than 
exalt1 and take from rather than        
enhance1 the value of a material4 ,to   
ennoble1 the mind must be noble2 if     
debased1 it can only debase4 ,let the   
mind be refined and pure1 and the more  
fully it impresses itself upon a        
material1 the more lovely does the      
material become1 for thereby it has     
received the impress of refinement and  
purity2 but if the mind be debased and  
impure1 the more does the matter to     
which its nature is transmitted become  
degraded4 ,let me have a simple mass of 
clay as a candle-holder rather than the 
earthen candlestick which only presents 
such a form as is the natural outgoing  
of a degraded mind4  ,there is another  
reason why the material of which        
beautiful objects are formed should be  
of little intrinsic value besides that  
arising out of a consideration of the   
exhaustion of the country1 and this will
 lead us to see that it is desirable in 

all cases to form beautiful objects as  
far as possible of an inexpensive       
material4 ,clay1 wood1 iron1 stone1 are 
materials which may be fashioned into   
beautiful forms1 but beware of silver1  
and of gold1 and of precious stones4    
,the most fragile material often endures
 for a long period of time1 while the   
almost incorrosible silver and gold     
rarely escape the ruthless hand of the  
destroyer4 ,beautiful though gold and   
silver are1 and worthy1 even though they
 were the commonest of things1 to be    
fashioned into the most exquisite       
devices1 their money value makes them a 
perilous material for works of art4 ,how
 many of the choicest relics of         
antiquity are lost to us1 because they  
tempted the thief to steal them1 and    
then to hide his theft by melting them6 
,how many unique designs in gold and    
silver have the vicissitudes of war     
reduced in fierce haste into            
money-changers' nuggets6 ,where are     
,benvenuto ,cellini's vases1 ,lorenzo   

,ghiberti's cups1 or the silver lamps of
 ,ghirlandajo8 ,gone almost as          
completely as ,aaron's golden pot of    
manna1 of which1 for another reason than
 that which kept ,st4 ,paul silent1 'we 
cannot now speak particularly4' ,nor is 
it only because this is a world 'where  
thieves break through and steal' that   
the fine gold becomes dim and the silver
 perishes4 ,this1 too1 is a world where 
'love is strong as death2' and what has 
not love--love of family1 love of       
brother1 love of child1 love of         
lover--prompted man and woman to do with
 the costliest things1 when they could  
be exchanged as mere bullion for the    
lives of those who were beloved8#a      
,workmen6 it is fortunate for us that   
the best vehicles for art are the least 
costly materials4  #a ,from a lecture by
 the late ,professor ,george ,wilson1 of
 ,edinburgh4         99       99        
99       99       99  ,having made these
 general remarks1 ,i may explain to my  
readers what ,i am about to attempt in  

the little work which ,i have now       
commenced4 ,my primary aim will be to   
bring about refinement of mind in all   
who may accompany me through my studies1
 so that they may individually be       
enabled to judge correctly of the nature
 of any decorated object1 and enjoy its 
beauties--should it present any--and    
detect its faults1 if such be present4  
,this refinement ,i shall attempt to    
bring about by presenting to the mind   
considerations which it must digest and 
assimilate1 so that its new formations1 
if ,i may thus speak1 may be of         
knowledge4 ,we shall carefully consider 
certain general principles1 which are   
either common to all fine arts or govern
 the production or arrangement of       
ornamental forms3 then we shall notice  
the laws which regulate the combination 
of colours1 and the application of      
colours to objects2 after which we shall
 review our various art-manufactures1   
and consider art as associated with the 
manufacturing industries4 ,we shall thus

 be led to consider furniture1          
earthenware1 table and window glass1    
wall decorations1 carpets1 floor cloths1
 window-hangings1 dress fabrics1 works  
in silver and gold1 hardware1 and       
whatever is a combination of art and    
manufacture4 ,i shall address myself1   
then1 to the carpenter1 the             
cabinet-maker1 potter1 glass-blower1    
paper-stainer1 weaver and dyer1         
silversmith1 blacksmith1 gas-finisher1  
designer1 and all who are in any way    
engaged in the production of            
art-objects4  ,but before we commence   
our regular work1 let me say that       
without laborious study no satisfactory 
progress can be made4 ,labour is the    
means whereby we raise ourselves above  
our fellows2 labour is the means by     
which we arrive at affluence4 ,think not
 that there is a royal road to          
success--the road is through toil4      
,deceive not yourself with the idea that
 you were born a genius--that you were  
born an artist4 ,if you are endowed with

 a love for art1 remember that it is by 
labour alone that you can get such      
knowledge as will enable you to present 
your art-ideas in a manner acceptable to
 refined and educated people4 ,be       
content1 then1 to labour4 ,in the case  
of an individual1 success appears to me 
to depend upon the time which he devotes
 to the study of that which he desires  
to master4 ,one man works six hours a   
day2 another works eighteen4 ,one has   
three days in one2 and what is the      
natural result8 ,simply this--that the  
one who works the eighteen hours        
progresses with three times the rapidity
 of the one who only works six hours4   
,it is true that individuals differ in  
mental capacity1 but my experience has  
led me to believe that those who work   
the hardest almost invariably succeed   
the best4  ,while ,i write1 ,i have in  
my mind's eye one or two on whom ,nature
 appeared to have lavishly bestowed     
art-gifts2 yet these have made but      
little progress in life4 ,i see1 as it  

were1 before me others who were less    
gifted by ,nature1 but who industriously
 persevered in their studies1 and were  
content to labour for success2 and these
 have achieved positions which the      
natural genius has failed even to       
approach4 ,workmen6 ,i am a worker1 and 
a believer in the efficacy of work4     
99       99       99       99       99  
,we will commence our systematic course 
by observing that good ornament--good   
decorations of any character1 have      
qualities which appeal to the educated1 
but are silent to the ignorant1 and that
 these qualities make utterance of      
interesting facts2 but before we can    
rightly understand what ,i may term the 
hidden utterance of ornament1 we must   
inquire into the general revelation     
which the ornament of any particular    
people1 or of any historic age1 makes to
 us1 and also the utterances of         
individual forms4  ,as an illustration  
of my meaning1 let us take the ornament 
produced by the ,egyptians4 ,in order to

 see this it may be necessary that we   
visit a museum--say the ,british        
,museum--where we search out the        
mummy-cases2 but as most provincial     
museums boast one or more mummy-cases1  
we are almost certain to find in the    
leading country towns illustrations that
 will serve our present purpose4 ,on a  
mummy-case you may find a singular      
ornament1 which is a conventional       
drawing of the ,egyptian lotus1 or blue 
water-lily#b 7see ,figs4 #a1 #b1 #c71   
and in all probability you will find    
this ornamental device repeated over and
 over again on the one mummy-case4      
,notice this peculiarity of the drawing 
of the lotus--a peculiarity common to   
,egyptian ornaments--that there is a    
severity1 a rigidity of line1 a sort of 
sternness about it4 ,this rigidity or   
severity of drawing is a great          
peculiarity or characteristic of        
,egyptian drawing4 ,but mark6 with this 
severity there is always coupled an     
amount of dignity1 and in some cases    

this dignity is very apparent4 ,length  
of line1 firmness of drawing1 severity  
of form1 and subtlety of curve are the  
great characteristics of ,egyptian      
ornamentation4  #b ,this can be seen    
growing in the water-tanks in the ,kew  
,gardens conservatories1 and in the     
,crystal ,palace at ,sydenham4          
,illustration3 ,fig4 #a4  ,illustration3
 ,fig4 #b4  ,illustration3 ,fig4 #c4    
,what does all this express8 ,it        
expresses the character of the people   
who created the ornaments4 ,the         
ornaments of the ancient ,egyptians were
 all ordered by the priesthood1 amongst 
whom the learning of this people was    
stored4 ,the priests were the dictators 
to the people not only of religion1 but 
of the forms which their ornaments were 
to assume4 ,mark1 then1 the expression  
of the severity of character and        
dignified bearing of the priesthood3 in 
the very drawing of a simple flower we  
have presented to us the character of   
the men who brought about its           

production4 ,but this is only what we   
are in the constant habit of witnessing4
 ,a man of knowledge writes with power  
and force2 while the man of wavering    
opinions writes timidly and with        
feebleness4 ,the force of the one       
character 7which character has been made
 forcible by knowledge7 and the weakness
 of the other is manifested by his      
written words4 ,so it is with ornaments3
 power or feebleness of character is    
manifest by the forms produced4  ,the   
,egyptians were a severe people2 they   
were hard task-masters4 ,when a great   
work had to be performed1 a number of   
slaves were selected for the work1 and a
 portion of food allotted to each1 which
 was to last till the work was          
completed2 and if the work was not      
finished when the food was consumed1 the
 slaves perished4 ,we do not wonder at  
the severity of ,egyptian drawing4 ,but 
the ,egyptians were a noble             
people--noble in knowledge of the arts1 
noble in the erection of vast and       

massive buildings1 noble in the         
greatness of their power4 ,hence we have
 nobility of drawing--power and dignity 
mingled with severity in every          
ornamental form which they produced4    
,we have thus noticed the general       
utterance or expression of ,egyptian    
drawing2 but what specific communication
 does this particular lotus make8 ,most 
of the ornaments of the                 
,egyptians--whether the adornments of   
sarcophagi1 of water-vessels1 or mere   
charms to be worn pendent from the      
neck--were symbols of some truth or     
dogma inculcated by the priests4 ,hence 
,egyptian ornament is said to be        
symbolic4  ,the fertility of the ,nile  
valley was chiefly due to the river     
annually overflowing its banks4 ,in     
spreading over the land1 the water      
carried with it a quantity of rich      
alluvial earth1 which gave fecundity to 
the country on which it was deposited4  
,when the water which had overspread the
 surrounding land had nearly subsided1  

the corn which was to produce the       
harvest was set by being cast upon the  
retiring water1 through which it sank   
into the rich alluvial earth4 ,the water
 being now well-nigh within the         
river-banks1 the first flower that      
sprang up was the lotus4 ,this flower   
was to the ,egyptians the harbinger of  
coming plenty1 for it symbolised the    
springing forth of the wheat4 ,it was   
the first flower of spring1 or their    
primrose 7first rose74 ,the priesthood1 
perceiving the interest with which this 
flower was viewed1 and the watchfulness 
manifested for its appearance1 taught   
that in it abode a god1 and that it must
 be worshipped4 ,the acknowledgment of  
this flower as a fit and primary object 
of worship caused it to be delineated on
 the mummy-cases1 and sarcophagi1 and on
 all sacred edifices4  ,we shall have   
frequent occasion1 while considering    
decorative art1 to notice symbolic      
forms2 but we must not forget the fact  
that all good ornaments make utterance4 

,let us in all cases1 when beholding    
them1 give ear to their teachings6      
,egyptian ornament is so full of forms  
which have interesting significance that
 ,i cannot forbear giving one other     
illustration2 and of this ,i am sure1   
that not only does a knowledge of the   
intention of each form employed in a    
decorative scheme cause the beholder to 
receive a special amount of pleasure    
when viewing it1 but also that without  
such knowledge no one can rightly judge 
of the nature of any ornamental work4   
,there is a device in ,egyptian ornament
 which the most casual observer cannot  
have failed to notice2 it is what is    
termed the winged globe1 and consists of
 a small ball or globe1 immediately at  
the sides of which are two asps1 and    
from which extend two wings1 each wing  
being in length about five to eight     
times that of the diameter of the ball  
7,fig4 #d74 ,the drawing of this device 
is very grand4 ,the force with which the
 wings are delineated well represents   

the powerful character of the protection
 which the kingdom of ,egypt afforded1  
and which was symbolised by the extended
 and overshadowing pinions4             
,illustration3 ,fig4 #d4  ,i know of few
 instances where forms of an ornamental 
character have been combined in a manner
 either more quaint or more interesting 
than in the example before us4 ,the     
composition presents a charm that few   
ornaments do1 and is worthy of careful  
consideration4 ,but this ornament       
derives a very special and unusual      
interest when we consider its purpose1  
the blow which was once aimed at it1 and
 the shock which its producers must have
 received1 upon finding it powerless to 
act as they had taught1 if not believed1
 it would4  ,the priesthood instructed  
the people that this was the symbol of  
protection1 and that it so effectually  
appealed to the preserving spirits that 
no evil could enter where it was        
portrayed4 ,with the view of giving a   
secure protection to the inmates of     

,egyptian dwellings1 this device1 or    
symbol of protection1 was ordered to be 
placed on the lintel 7the post over the 
door7 of every building of the          
,egyptians1 whether residence or temple4
  ,it was to nullify this symbol1 and to
 show the vain character of the         
,egyptian gods1 that ,moses was         
commanded to have the blood of the lamb 
slain at the passover placed upon the   
lintel1 in the very position of this    
winged globe4 ,it was also enjoined as a
 further duty that the blood be         
sprinkled on the door-post2 but this was
 merely a new duty1 tending further to  
show that even in position1 as well as  
in nature1 this winged globe was        
powerless to secure protection4 ,this   
device1 then1 is of special interest1   
both as a symbolic ornament and as      
throwing light on ,scripture history4   
,besides the two ornamental forms       
mentioned--i4e41 the lotus and the      
winged globe--we might notice many      
others also of great interest1 but our  

space will not enable us to do so2      
further information may1 however1 be got
 from the ,south ,kensington ,museum    
library1#c where several interesting    
works on ,egyptian ornament may be      
seen2--from the ,grammar of ,ornament by
 ,mr4 ,owen ,jones1--the works on ,egypt
 by ,sir ,gardiner ,wilkinson2 and1     
especially1--by a visit to the ,egyptian
 ,court of the ,crystal ,palace at      
,sydenham1 and by a careful perusal of  
the hand-book to that court4#d ,much    
might also be said respecting ,egyptian 
architecture1 but on this we can say    
little here2 yet1 as the columns of the 
temples are of a very ornamental        
character1 we may notice that in most   
cases they were formed of a bundle of   
papyrus#e stems bound together by thongs
 or straps--the heads of the plant      
forming the capital of the column1 and  
the stems the shaft 7,fig4 #e74 ,in some
 cases the lotus was substituted for the
 papyrus2 and in other instances the    
palm-leaf was used in a similar way2    

these modifications can be seen in the  
,egyptian ,court at ,sydenham with great
 advantage1 and many varieties of form  
resulting from the use of the one plant1
 as of the papyrus1 may also there be   
observed4  #c ,any person can have      
admission to the ,south ,kensington     
,museum ,art library and its            
,educational library1 for a week1 by    
payment of sixpence4  #d ,a hand-book to
 each of the historic courts erected in 
the ,sydenham ,palace was prepared at   
the time the courts were built4 ,these  
are still to be got in the ,literary    
department1 in the north-east gallery of
 the building4 ,they are all worthy of  
careful study4  #e ,the papyrus was the 
plant from which ,egyptian paper was    
made4 ,it was also the bulrush of the   
,scriptures1 in which the infant ,moses 
was found4  ,illustration3 ,fig4 #e4    
,we have here an opportunity of noticing
 how the mode of building1 however      
simple or primitive in character1 first 
employed by a nation may become embodied

 in its ultimate architecture2 for1     
undoubtedly1 the rude houses first      
erected in ,egypt were formed largely of
 bundles of the papyrus1 which were     
gathered from the river-side--for wood  
was rare in ,egypt--and1 ultimately1    
when buildings were formed of stone1 an 
attempt was made at imitating in the new
 material the form which the old reeds  
presented4 ,but mark1 the imitation was 
no gross copy of the original work1 but 
a well-considered and perfectly         
idealised work1 substituting for the    
bundle of reeds a work having the true  
architectural qualities of a            
noble-looking and useful column4 ,we    
must now pass from the ornament of the  
,egyptians to that of the ,greeks1 and  
here we meet with decorative forms      
having a different object and different 
aim from those already considered4      
,egyptian ornament was symbolical in    
character4 ,its individual forms had    
specific meanings--the purport of each  
shape being taught by the priests--but  

we find no such thing as symbolism in   
,greek decoration4 ,the ,greeks were a  
refined people1 who sought not to       
express their power by their art-works  
so much as their refinement4 ,before the
 mental eye they always had a perfect   
ideal1 and their most earnest efforts   
were made at the realisation of the     
perfections of the mental conception of 
absolute refinement4 ,in one respect the
 ,greeks resembled the ,egyptians1 for  
they rarely created new forms4 ,when    
once a form became sacred to the        
,egyptians1 it could not be altered2 but
 with the ,greeks1 while bound by no    
such law1 the love of old forms was     
great2 yet the ,greeks did not seek     
simply to reproduce what they had before
 created1 but laboured hard to improve  
and refine what they had before done2   
and even through succeeding centuries   
they worked at the refinement of simple 
forms and ornamental compositions1 which
 have become characteristic of them as a
 people4  ,the general expression of    

,greek art is that of refinement1 and   
the manner in which the delicately      
cultivated taste of some of the ,greeks 
is expressed by their ornaments is      
astonishing4 ,one decorative device1    
which we term the ,greek ,anthemion1 may
 be regarded as their principal         
ornament--7the original ornamental      
composition by one of my pupils1 ,fig4  
#f1 consists primarily of three         
anthemions7--and the variety of refined 
forms in which it appears is most       
interesting4  ,but it must not be       
thought that the ,greek ornaments and   
architectural forms present nothing but 
refinement made manifest in form1 for   
this is not the case4 ,great as is the  
refinement of some of these forms1 we   
yet notice that they speak of more than 
the perfected taste of their producers1 
for they reveal to us this fact--that   
their creators had great knowledge of   
natural forces and the laws by which    
natural forces are governed4 ,this      
becomes apparent in a marked degree when

 we inquire into the manner in which    
they arranged the proportion of the     
various parts of their works to the     
whole1 and especially by a consideration
 of the subtle nature of the curves     
which they employed both in             
architectural members and in decorative 
forms2 but into this we must not now    
inquire4 ,yet1 by way of throwing some  
faint light upon the manner in which    
knowledge is embodied in ,greek forms1  
,i may refer to the ,doric column1 such 
as was employed in the ,parthenon at    
,athens#f 7,fig4 #g74 ,the idea         
presented by this column is that of     
energetic upward growth which has come  
in contact with some superposed mass1   
the weight of which presses upon the    
column from above1 while the energy of  
the upward growth causes the column to  
appear fully equal to the task of       
supporting the superincumbent structure4
 ,mark this--that by pressure from      
above1 or weight1 the shaft of the      
column is distended1 or bent out1 about 

one-third of the distance from its base 
to its apex 7just where this distension 
would occur1 were the column formed of a
 slightly plastic material71 and yet    
this distension of the shaft is not such
 as to give any idea of weakness1 for   
the column appears to rise with the     
energy of such vigorous life as to be   
more than able to bear the weight which 
it has to sustain4  #f ,a capital1 and  
portion of the shaft1 of one of these   
columns are to be seen in the ,british  
,museum ,sculpture room1 and a cast of  
the same at the ,crystal ,palace1       
,sydenham4 ,this ,doric column is       
employed in the ,greek ,court of the    
,crystal ,palace4  ,illustration3 ,fig4 
#f4  ,illustration3 ,fig4 #g4  ,mark    
also the singularly delicate curve of   
the capital of the column1 which appears
 as a slightly plastic cushion          
intervening between the shaft and the   
superincumbent mass which it has to     
support4 ,the delicacy and refinement of
 form presented by this capital is      

perhaps greater than that of any other  
with which we are acquainted4  ,the same
 principle of life and energy coming in 
contact with resistance or pressure from
 above is constantly met with in the    
enrichments of ,greek cornices and      
mouldings2 but having called attention  
to the fact1 ,i must leave the student  
to observe1 and think upon1 these       
interesting subjects for himself4 ,let  
me1 however1 say that there are few     
classic buildings in ,england which will
 aid the learner in his researches2     
there is but little poetry in our       
architectural buildings1 and but little 
refinement in the forms of the parts1   
especially in our classic buildings2    
and1 added to this1 ,greek art without  
,greek colouring is dead1 being almost  
as the marble statue to the living form4
 ,for the purposes of my readers1 the   
,greek ,court at the ,crystal ,palace   
will be the best example for study4  ,i 
might now review ,roman ornament1 and   
show that in the hour of pride the      

materials of which the ,roman works were
 formed were considered1 rather than the
 shapes which they assumed2 and how we  
thus get little worthy of praise from   
the all-conquering ,romans--how the     
sunny climate and religious             
superstitions of the ,east called forth 
the gorgeous and beautiful developments 
of art which have existed1 or still     
exist1 with the ,persians1 ,indians1    
,turks1 ,moors1 ,chinese1 and ,japanese2
 but ,i have not space to do so2 yet all
 the forms of ornament which these      
people have created are worthy of the   
most careful and exhaustive             
consideration1 as they present          
art-qualities of the highest kind4 ,i   
know of no ornament more intricately    
beautiful and mingled than the          
,persian--no geometrical strapwork1 or  
systems of interlacing lines1 so rich as
 those of the ,moors 7the               
,alhambraic7--no fabrics so gorgeous as 
those of ,india--none so quaintly       
harmonious as those of ,china2 and      

,japan can supply the world with the    
most beautiful domestic articles that we
 can anywhere procure4  ,we must pass   
on1 however1 to what we may term        
,christian art1 or that development of  
ornament which had its rise with the    
,christian religion1 and has associated 
itself in a special manner with         
,christianity4  ,neither the ,egyptians 
nor early ,greeks appear to have used   
the arch structurally in their          
buildings2 the ,romans1 however1 had the
 round arch as a primary structural     
element4 ,this round arch was also used 
by the ,byzantines1 and amongst their   
ornaments we find those combinations of 
circles1 or parts of circles1 which so  
constantly recur in later times in      
,gothic architecture and ,gothic        
ornament4 ,norman buildings1 again1 show
 us the round arch1 and present us with 
such intersected arcs as would naturally
 suggest the pointed arch of later      
times1 with which came the full         
development of ,gothic or ,christian    

architecture and ornamentation4 ,there  
was a very fine and marvellously clever 
development of decorative art1          
enthusiastically worked at by the       
,christian monks of the seventh and     
eighth centuries1 called ,celtic1 of    
which we have many beautiful examples in
 ,professor ,westwood's great work on   
early illuminated manuscripts2 but what 
is generally understood by ,christian or
 ,gothic art had its finest development 
about the thirteenth century4  ,gothic  
ornament1 like the ,egyptian1 is        
essentially symbolic4 ,its forms have in
 many instances specific significance4  
,thus the common equilateral triangle is
 in some cases used to symbolise the    
,holy ,trinity2 so are the two entwined 
triangles4 ,but there are many other    
symbols employed in ,gothic ornament    
which set forth the mystery of the      
,unity of the ,trinity4 ,thus in ,fig4  
#h we have three interlaced circles1    
which beautifully express the eternal   
,unity of the ,holy ,trinity1 for the   

circle alone symbolises eternity1 being 
without beginning and without end1 and  
the three parts point to the ,three     
,persons of the ,godhead4 ,a very       
curious and clever symbol of the        
,trinity is portrayed in ,fig4 #i1 where
 three faces are so combined as to form 
an ornamental figure4  ,illustration3   
,fig4 #h4  ,illustration3 ,fig4 #i4     
,illustration3 ,fig4 #aj4  ,baptism     
under the immediate sanction of the     
,divine ,trinity was represented by     
three fishes placed together in the     
manner of a triangle 7,fig4 #aj72 but so
 numerous were ,christian symbols after 
the ninth century1 that to enumerate    
them merely would occupy much space4    
,every trefoil symbolised the ,holy     
,trinity1 every quatrefoil the four     
evangelists1 every cross the            
,crucifixion1 or the martyrdom of some  
saint4 ,and into ,gothic ornamentation  
the chalice1 the crown of thorns1 the   
dice1 the sop1 the hammer and nails1 the
 flagellum1 and other symbols of our    

,lord's passion have entered4 ,but1     
besides these1 we have more purely      
architectural forms making gentle       
utterance3 the church spire points      
heavenwards1 and the long lines of the  
clustered columns of the cathedral      
direct the thoughts upwards to heaven   
and to ,god4  ,gothic ornament1 having  
passed from its purity towards undue    
elaboration1 began to lose its hold on  
the people for whom it was created1 and 
the form of religion with which it had  
long been associated had become old1    
when the great overthrow of old         
traditions and usages occurred1 commonly
 called the ,reformation4 ,with the     
reformation of religion came a revival  
of classic learning1 and a general      
diffusion of knowledge1 and thus the    
immediate necessity for art-symbols was 
passing away1 it being especially to an 
unlettered people that an extended      
system of symbolism appeals4 ,with this 
revival of classic learning came the    
investigation of classic remains--the   

exploration of ,greek and ,roman ruins2 
and while this was going on1 a dislike  
to whatever had been associated with the
 old form of religion had sprung up1    
which dislike turned to hate as the     
struggle advanced1 till the feeling     
against ,gothic architecture and        
ornament became so strong that anything 
was preferred to it4 ,now arose         
,renaissance architecture and ornament  
7revival work71 which was based on the  
,roman remains1 but was yet remoulded1  
or formed anew2 so that the ornament of 
the ,renaissance is not ,roman ornament1
 but a new decorative scheme1 of the    
same genus as that of the ,roman4 ,here1
 however1 all my sympathies end4 ,i     
confess that all ,renaissance ornament1 
whether developed under the soft sky of 
,italy 7,italian ornament71 in more     
northerly ,france 7,french              
,renaissance71 or on our own soil       
7,elizabethan1 or ,english              
,renaissance71 fails to awaken any      
feeling of sympathy in my breast2 and   

that it1 on the contrary1 chills and    
repels me4 ,i enjoy the power and vigour
 of ,egyptian ornament1 the refinement  
of the ,greek1 the gorgeousness of the  
,alhambraic1 the richness of the        
,persian and ,indian1 the quaintness of 
the ,chinese and ,japanese1 the simple  
honesty and boldness of the ,gothic2 but
 with the coarse ,assyrian1 the haughty 
,roman1 and the cold ,renaissance1 ,i   
have no kindred feeling--no sympathy4   
,they strike notes which have no chords 
in my nature3 hence from them ,i        
instinctively fly4 ,i must be pardoned  
for this my feeling by those who differ 
from me in judgment1 but my continued   
studies of these styles only separate me
 further from them in feeling4  ,it will
 be said that in my writings ,i mingle  
together ornament and architecture1 and 
that my sphere is ornament1 and not     
building4 ,i cannot separate the two4   
,the material at command1 the religion  
of the people1 and the climate have1 to 
a great extent1 determined the character

 of the architecture of all ages and    
nations2 but they have1 to the same     
extent1 determined the nature of the    
ornamentation of the edifices raised4   
,ornament always has arisen out of      
architecture1 or been a mere reflex of  
the art-principles of the building      
decorated4 ,we cannot rightly consider  
ornament without architecture2 but ,i   
will promise to take no further notice  
of architecture than is absolutely      
necessary to the proper understanding of
 our subject4   ,,division ,,ii4  ,in my
 previous remarks ,i have attempted to  
set forth some of the first principles  
of ornament1 and to call attention to   
the purport or intention of certain of  
the leading historic styles1 and the    
manner in which they make utterance to  
us of the faith or sentiments of their  
producers4  ,illustration3 ,fig4 #aa4   
,but there are other utterances of      
ornament1 and other general expressions 
which decorative forms convey to the    
mind4 ,thus sharp1 angular1 or spiny    

forms are more or less exciting 7,fig4  
#aa72 while bold and broad forms are    
soothing1 or tend to give repose4       
,sharp or angular forms1 where combined 
in ornament1 act upon the senses much as
 racy and pointed sayings do4 ,thus cut 
or angular glass1 spinose metal-work1 as
 the pointed foliage of some            
wrought-iron gates1 and other works in  
which there is a prevalence of angles   
and points1 so act upon the mind as to  
stimulate it1 and thus produce an effect
 opposite to repose2 while breadth of   
form and largeness of treatment induce  
tranquillity and meditation4  ,nothing  
can be more important to the ornamentist
 than the scientific study of art4 ,the 
metaphysical inquiry into cause and     
effect1 as relating to decorative ideas1
 is very important--indeed1             
all-important--to the true decorator4   
,he must constantly ask himself what    
effect such and such forms have upon the
 mind--which effects are soothing1 which
 cheerful1 which melancholy1 which rich1

 which ethereal1 which gorgeous1 which  
solid1 which graceful1 which lovable1   
and so on2 and in order to do this he   
must separate the various elements of   
ornamental composition1 and consider    
these apart1 so as to be sure that he is
 not mistaken as to what affects the    
mind in any particular manner1 and he   
must then combine these elements in     
various proportions1 and consider the   
effects of the various combinations on  
his own mind and that of others1 and    
thus he will discover what will enable  
him to so act on the senses as to induce
 effects such as he may desire to       
produce4  ,are we to decorate a         
dining-room1 let the decoration give the
 sense of richness2 a drawing-room1 let 
it give cheerfulness2 a library1 let it 
give worth2 a bed-room1 repose2 but     
glitter must never occur in large       
quantities1 for that which excites can  
only be sparingly indulged in--if too   
freely employed1 it gives the sense of  
vulgarity4  ,in this chapter ,i have to 

speak primarily of ,truth1 ,beauty1 and 
,power4 ,long since ,i was so fully     
impressed with the idea that true       
art-principles are so perfectly         
manifested by these three words1 that ,i
 embodied them in an ornamental device  
which ,i painted on my study door1 so   
that all who entered might learn the    
principles which ,i sought to manifest  
in my works4  ,there can be morality or 
immorality in art1 the utterance of     
truth or of falsehood2 and by his art   
the ornamentist may exalt or debase a   
nation4  ,truth4--,how noble1 how       
beautiful2 how righteous to utter it2   
and how debasing is falsehood2 yet we   
see falsehood preferred to truth--that  
which debases to that which exalts1 in  
art as well as morals2 and ,i fear that 
there is almost as much that is false1  
degrading1 and untrue in my beautiful   
art as there is of the noble1 righteous1
 and exalting1 although art should only 
be practised by ennobling hands4 ,it is 
this grovelling art1 this so-called     

ornamentation1 which tends to debase    
rather than exalt1 to degrade rather    
than make noble1 to foster a lie rather 
than utter truth1 which brings about the
 abasement of our calling1 and causes   
our art to fail in many instances in    
laying hold of1 and clinging to1 the    
affections of the noble and the great4  
,ornamentation is in the highest sense  
of the word a ,fine ,art2 there is no   
art more noble1 none more exalted4 ,it  
can cheer the sorrowing2 it can soothe  
the troubled2 it can enhance the joys of
 those who make merry2 it can inculcate 
the doctrine of truth2 it can refine1   
elevate1 purify1 and point onward and   
upward to heaven and to ,god4 ,it is a  
fine art1 for it embodies and expresses 
the feelings of the soul of man--that   
inward spirit which was breathed by the 
,creator into the lifeless clay as the  
image of his life--however noble1 pure1 
or holy4  ,this being the case1 those   
who ignore decoration cast aside a      
source of refinement1 and deprive       

themselves of what may induce their     
elevation in virtue and morals4 ,such a 
neglect on the part of those who can    
afford luxuries would be highly         
censurable1 were it not that the        
professors of the art are for the most  
part false pretenders1 knowing not what 
they practise1 and men ignorant of the  
power which they hold in their hands4   
,the true artist is a rare creature2 he 
is often unknown1 frequently            
misunderstood1 or not understood at all1
 and is not unfrequently lost to a      
people that prefer shallowness to deep  
meaning1 falsehood to truth1 and glitter
 to repose4  ,we now see the utter folly
 of appealing simply to what is called  
taste in matters of art1 and the        
uselessness of yielding to the caprice  
7falsely called taste7 of the uneducated
 in such matters1 especially as this    
so-called taste is often of the most    
vulgar and debased order4 ,we also see  
the absurdity of persons who employ a   
true artist interfering with his        

judgment and ideas4 ,the true artist is 
a noble teacher2 shall he be told1 then1
 what morals he shall inculcate1 and    
what lofty truths he shall embody in his
 works1 or omit from them8 ,do we tell  
the preacher what he shall say1 and ask 
him to withhold whatever is refining and
 elevating8 ,we do not1 and in art we   
must leave the professors free to teach1
 and hold them responsible for their    
teachings4  ,if ,i thought that ,i had  
now convinced my reader that decorative 
art does not consist merely in the      
placing together of forms1 however      
beautiful they may be individually or   
collectively2 nor in rendering objects  
simply what is called pretty2 but that  
it is a power for good or evil2 that it 
is what will elevate or debase--that    
which cannot be neutral in its          
tendency--,i would advance to consider  
its principles2 but ,i cannot teach1 nor
 can ,i be understood1 unless the reader
 feels that he who practises art wields 
a vast power1 for the rightful use of   

which he must be held responsible4  ,all
 graining of wood is false1 inasmuch as 
it attempts to deceive2 the effort being
 made at causing one material to look   
like another which it is not4 ,all      
marbling is false also3 a floor-cloth   
made in imitation of carpet or matting  
is false2 a ,brussels carpet that       
imitates a ,turkey carpet is false2 so  
is a jug that imitates wicker-work1 a   
printed fabric that imitates one which  
is woven1 a gas-lamp that imitates an   
oil-lamp4 ,these are all untruths in    
expression1 and are1 besides1 vulgar    
absurdities which are the more          
lamentable1 as the imitation is always  
less beautiful than the thing imitated2 
and as each material has the power of   
expressing beauty truthfully1 thus the  
want of truth brings its own punishment4
 ,a deal door is beautiful1 but it will 
not keep clean2 let it then be          
varnished4 ,it is now preserved1 and its
 own characteristic features are        
enhanced by the varnish1 so that its    

individuality is emphasised1 and no     
untruth told4 ,a floor-cloth can present
 a pattern with true and beautiful      
curves--how absurd1 then1 to try and    
imitate the dotty effect of a carpet2   
and the ,brussels carpet can express    
truer curves than the ,turkey carpet1   
then why imitate the latter in the finer
 material8 ,but perhaps the most        
senseless of all these absurdities is   
the making an earthen jug in imitation  
of wicker-work when if so formed it     
would be useless as a water-vessel4 ,i  
can imagine a fool in his simplicity    
priding himself on such a bright thought
 as the production of a vessel of this  
kind1 but ,i cannot imagine any rightly 
constituted mind producing or commending
 such an idea4 ,let the expression of   
our art ever be truthful4  ,beauty4--,i 
will say little on this head1 for       
decorative forms must be beautiful4     
,shapes which are not beautiful are     
rarely decorative4 ,i will not now      
attempt to express what character forms 

should have in order that they be       
considered beautiful1 but will content  
myself by saying that they must be      
truthful in expression1 and graceful1   
delicate1 and refined in contour1       
manifesting no coarseness1 vulgarity1 or
 obtrusiveness4 ,my views of the        
beautiful must be gathered from the     
series of chapters which will follow1   
but this ,i may here say1 that the      
beautiful manifests no want1 no         
shortcoming4 ,a composition that is     
beautiful must have no parts which could
 be taken from it and yet leave the     
remainder equally good or better4 ,the  
perfectly beautiful is that which admits
 of no improvement4 ,the beautiful is   
lovable1 and1 as that which is lovable1 
takes hold of the affections and clings 
to them1 binding itself firmer and      
firmer to them as time rolls on4 ,if an 
object is really beautiful we do not    
tire of it2 fashion does not induce us  
to change it2 the merely new does not   
displace it4 ,it becomes as an old      

friend1 more loved as its good qualities
 are better understood4  ,power4--,we   
now come to consider an art-element or  
principle of great importance1 for if   
absent from any composition1 feebleness 
or weakness is the result1 the          
manifestation of which is not pleasant4 
,with what power do the plants burst    
from the earth in spring6 ,with what    
power do the buds develop into branches6
 ,the powerful orator is a man to be    
admired1 the powerful thinker a man we  
esteem4 ,even the simple power1 or brute
 force1 of animals we involuntarily     
approve--the powerful tiger and the     
powerful horse call forth our           
commendation1 for power is antagonistic 
to weakness4 ,power also manifests      
earnestness2 power means energy2 power  
implies a conqueror4 ,our compositions1 
then1 must be powerful4  ,but besides   
all this1 we1 the professors of         
decorative art1 must manifest power in  
our works1 for we are teachers sent     
forth to instruct1 and ennoble1 and     

elevate our fellow-creatures4 ,we shall 
not be believed if we do not utter our  
truths with power2 let truth1 then1 be  
uttered with power1 and in the form of  
beauty4#g  #g ,i have given in this     
chapter an original sketch 7,fig4 #ab71 
in which ,i have sought to embody       
chiefly the one idea of power1 energy1  
force1 or vigour2 and in order to do    
this1 ,i have employed such lines as we 
see in the bursting buds of spring1 when
 the energy of growth is at its maximum1
 and especially such as are to be seen  
in the spring growth of a luxuriant     
tropical vegetation2 ,i have also       
availed myself of those forms to be seen
 in certain bones of birds which are    
associated with the organs of flight1   
and which give us an impression of great
 strength1 as well as those observable  
in the powerful propelling fins of      
certain species of fish4         99     
99       99       99       99  ,there   
are other principles governing the      
production and application of ornament  

which we must now notice1 the first of  
which is utility1 for the first aim of  
the designer of any article must be to  
render the object which he produces     
useful4 ,i may go further1 and say that 
an article must be made not only useful1
 but as perfectly suited to the purpose 
for which it is intended as it can be4  
,it matters not how beautiful the object
 is intended to be1 it must first be    
formed as though it were a mere work of 
utility1 and after it has been carefully
 created with this end in view it may   
then be rendered as beautiful as you    
please4  ,there are special reasons why 
our works should be useful as well as   
beautiful1 for if an object1 however    
beautiful it may be in shape1 however   
richly covered with beautiful ornaments1
 or however harmoniously coloured1 be   
unpleasant to use1 it will ultimately be
 set aside1 and that which is more      
convenient for use will replace it1 even
 if the latter be without beauty4 ,as an
 illustration of this fact1 let us      

suppose the balustrade railings of a    
staircase very beautiful1 and yet       
furnished with such projections as      
render it almost impossible that we walk
 up or down the stairs without tearing  
the dress1 or injuring the person1 and  
how soon will our admiration of the     
beautiful railing disappear1 and even be
 replaced by hate6 ,in like manner let  
the handle of a door1 or the head of a  
poker1 be so formed as to hurt the hand1
 and the simple round knob1 or round    
head1 will be preferred to it1 however  
ornamentally or beautifully formed4     
,illustration3 ,fig4 #ab4  ,in relation 
to this subject1 ,professor ,george     
,wilson has said3 ,the conviction seems 
ineradicable from some minds1 that a    
beautiful thing cannot be a useful      
thing1 and that the more you increase   
the beauty of the necessary furniture or
 the implements of every-day life the   
more you lessen their utility4 ,make the
 ,queen's sceptre as beautiful as you   
please1 but don't try to beautify a     

poker1 especially in cold weather4 ,my  
lady's vinaigrette carve and gild as you
 will1 but leave untouched my pewter    
ink-bottle4 ,put fine furniture1 if you 
choose1 into my drawing-room2 but ,i am 
a plain man1 and like useful things in  
my parlour1 and so on4 ,good folks of   
this sort seem to labour under the      
impression that the secret desire of art
 is to rob them of all comfort4 ,its    
unconfessed but actual aim1 they        
believe1 is to realise the faith of     
their childhood1 when it was understood 
that a monarch always wore his crown1   
held an orb in one hand and a sceptre in
 the other1 and a literal interpretation
 was put upon ,shakespeare's words1     
',uneasy lies the head that wears a     
crown4'  ,were art to prosper1 farewell 
to fire-proof1 shapeless slippers1 which
 bask like salamanders unharmed in the  
hottest blaze4 ,an aesthetic pair1      
modelled upon ,cinderella's foot1 and   
covered with snow-white embroidery1 must
 take their place1 and dispense         

chilblains and frost-bite to miserable  
toes4 ,farewell to shooting-coats out a 
little at the elbows1 to patched        
dressing-gowns1 and hair-cloth sofas4   
,nothing but full-dress1 varnished      
boots1 spider-legged chairs1 white satin
 chair-covers1 alabaster ink-bottles1   
velvet door-mats1 and scrapers of silver
 or gold4 ,it is astonishing how many   
people think that a thing cannot be     
comfortable if it is beautiful4 4 4 4   
,if there be one truth which the ,author
 of all has taught us in his works more 
clearly than another1 it is the perfect 
compatibility of the highest utility    
with the greatest beauty4 ,i offer you  
one example4 ,all are familiar with the 
beautiful shell of the nautilus4 ,give  
the nautilus itself to a mathematician1 
and he will show you that one secret of 
its gracefulness lies in its following  
in its volute or whorl a particular     
geometrical curve with rigid precision4 
,pass it from the mathematician to the  
natural philosopher1 and he will show   

you how the simple superposition of a   
great number of very thin transparent   
plates1 and the close approximation of a
 multitude of very fine engraved lines1 
are the cause of its exquisite pearly   
lustre4 ,pass it from the natural       
philosopher to the engineer1 and he will
 show you that this fairy shell is a    
most perfect practical machine1 at once 
a sailing vessel and a diving-bell1 in  
which its living possessor had1         
centuries before ,archimedes1 applied to
 utilitarian ends the law of specific   
gravity1 and centuries before ,halley   
had dived in his bell to the bottom of  
the sea4 ,pass it from the engineer to  
the anatomist1 and he will show you how1
 without marring its beauty1 it is      
occupied during its lifetime with a most
 orderly system of rowing and sailing   
tackle1 chambers for food1 pumps to keep
 blood circulating1 ventilating         
apparatus1 and hands to control all1 so 
that it is a model ship with a model    
mariner on board4 ,pass it lastly from  

the anatomist to the chemist1 and he    
will show you that every part of the    
shell and the creature is compounded of 
elements1 the relative weights of which 
follow in each individual nautilus the  
same numerically identical ratio4  ,such
 is the nautilus1 a thing so graceful1  
that when we look at it we are content  
to say with ,keats--      ',a thing of  
beauty is a joy for ever2'  and yet a   
thing so thoroughly utilitarian1 and    
fulfilling with the utmost perfection   
the purely practical aim of its         
construction1 that our shipbuilders     
would be only too thankful if1 though   
sacrificing all beauty1 they could make 
their vessels fulfil their business ends
 half so well4  ,viewing our subject in 
another light1 and with special         
reference to architecture1 we notice    
that unless a building is fitted for the
 purpose intended1 or1 in other words1  
answers utilitarian ends1 it cannot be  
esteemed as it otherwise might be1 even 
though it be of great aesthetic beauty4 

,in respect to this subject1 ,mr4 ,owen 
,jones has said3 ,the nave and aisles of
 a ,gothic church become absurd when    
filled with pews for ,protestant        
worship1 where all are required to see  
and hear4 ,the columns of the nave which
 impede sight and sound1 the aisles for 
processions which no longer exist1 rood 
screens1 and deep chancels for the      
concealment of mysteries1 now no longer 
such1 are all so many useless           
reproductions which must be thrown      
aside4 ,further1 ,as architecture1 so   
all works of the decorative arts1 should
 possess fitness1 proportion1 harmony2  
the result of all which is repose4 ,sir 
,m4 ,digby ,wyatt has said3 ,infinite   
variety and unerring fitness govern all 
forms in ,nature4 ,vitruvius1 that ,the 
perfection of all works depends on their
 fitness to answer the end proposed1 and
 on principles resulting from a         
consideration of ,nature itself4 ,sir   
,charles ,l4 ,eastlake1 that ,in every  
case in ,nature where fitness or utility

 can be traced1 the characteristic      
quality1 or relative beauty1 is found to
 be identical with that of fitness4 ,a4 
,w4 ,pugin 7the father73 ,how many      
objects of ordinary use are rendered    
monstrous and ridiculous simply because 
the artist1 instead of seeking the most 
convenient form1 and then decorating it1
 has embodied some extravagance to      
conceal the real purpose for which the  
article has been made4 ,and with the    
view of pointing out how fitness for1 or
 adaptation to1 the end proposed is     
manifested in the structure and         
disposition upon the earth of plants1 ,i
 have written in a little work now out  
of print3 ,the trees which grow highest 
upon the mountains1 and the plants which
 grow upon the unsheltered plain1 have  
usually long1 narrow1 and rigid leaves1 
which1 owing to their form1 are enabled 
to bear the fury of the tempest1 to     
which they are exposed1 without injury4 
,this is seen in the ease of the species
 of fir which grow at great altitudes1  

where the leaves are more like needles  
than leaves such as commonly occur2 and 
also in the species of heath which grow 
upon exposed moors3 in both cases the   
plants are1 owing to the form of the    
leaf1 enabled to defy the blast1 while  
those with broad leaves would be        
shattered and destroyed4  ,not only is  
the form of leaf such as fits these     
plants to dwell in such inhospitable    
regions1 but other circumstances also   
tend to this result4 ,the stems are in  
both cases woody and flexible1 so that  
while they bend to the wind they resist 
its destroying influence by their       
strength and elasticity4 ,in relation to
 the stem of the papyrus1 which is a    
plant constantly met with in ,egyptian  
ornaments1 the late ,sir ,w4 ,j4 ,hooker
 mentions an interesting fact which     
manifests adaptation to its position4   
,this plant grows in water1 and attaches
 itself to the margins of rivers and    
streams1 by sending forth roots and     
evolving long underground stems in the  

alluvium of the sides of the waters4    
,owing to its position it is exposed to 
the influences of the current1 which it 
has to withstand1 and this it does1 not 
only by having its stems of a triangular
 form--a shape well adapted for         
withstanding pressure--but also by      
having them so placed in relation to the
 direction of the stream1 that one angle
 always meets the current1 and thus     
separates the waters as does the bow of 
a modern steam-ship4  ,i might multiply 
illustrations of this principle of      
fitness1 or adaptation to purpose1 as   
manifested in plants1 to an almost      
indefinite extent2 but when all had been
 said we should yet have but the simple 
truth before us1 that the chief end     
which we should have in creating any    
object1 is that of rendering it         
perfectly fitted to answer the proposed 
end4 ,if those works which are beautiful
 were but invariably useful1 as they    
should be2 if those objects which are   
most beautiful were also the most       

convenient--and there is no reason why  
they should not be so--how the beautiful
 would become loved and sought after6   
,cost would be of little moment1 the    
price would not be complained of1 if    
beautiful objects were works of perfect 
utility4 ,but1 alas6 it is far          
otherwise3 that which is useful is often
 ugly1 and that which is beautiful is   
often inconvenient to use4 ,this very   
fact has given rise to the highly absurd
 fashion of having a second poker in a  
drawing-room set of fire-irons4 ,the one
 poker is ornamental1 possibly1 but it  
is to be looked at2 the other is for    
use1 and as it is not to be looked at1  
it is hidden away in some corner1 or    
close within the fender4 ,i do not      
wonder at the second poker being        
required2 for nineteen out of every     
twenty pokers of an ornamental 787      
character which ,i have seen during the 
last few years would hurt the hand so   
insufferably if they were used to break 
a lump of coal with1 that it would be   

almost impossible to employ them        
constantly for such a purpose4 ,but why 
not abolish the detestable thing        
altogether8 ,if the poker is to be      
retained as an ornament1 place it on the
 table or chimney-piece of your         
drawing-room1 and not down on the       
hearth1 where it is at such a distance  
from the eye that its beauties cannot be
 discovered4 ,it is no use saying it    
would be out of place in such a         
position4 ,if to poke the fire with1 its
 place is within the fender2 if it is an
 ornament1 it should be placed where it 
can be best seen--in a glass case1 if   
worthy of protection4  ,i hope that     
sufficient has now been said upon this  
all-important necessity1 that1 if an    
object is to be beautiful it should also
 be useful1 to cause us to consider it  
as a primary principle of design that   
all objects which we create must be     
useful4 ,to this as a first law we shall
 constantly have to refer4 ,when we     
construct a chair we shall ask1 is it   

useful8 is it strong8 is it properly put
 together8 could it be stronger without 
using more1 or another1 material8 and   
then we should consider whether it is   
beautiful4 ,when we design a bottle we  
shall inquire1 is it useful8 is it all  
that a bottle should be8 could it be    
more useful8 and then1 is it beautiful8 
,when we create a gas-branch we shall   
ask1 does it fulfil all requirements1   
and perfectly answer the end for which  
it is intended8 and then1 is it         
beautiful8 ,and in relation to patterns 
merely we shall also have to make       
similar inquiries4 ,thus1 if drawing a  
carpet design1 we shall inquire1 is this
 form of ornament suitable to a woven   
fabric8 is it suitable to the particular
 fabric for which it is intended8 is the
 particular treatment of the ornament   
which we have adopted the best possible 
when we bear in mind that the carpet has
 to be walked over1 as it is to act in  
relation to our furniture as a          
background does to a picture1 and is to 

be viewed at some distance from the eye8
 and then1 is it beautiful8 ,such       
inquiries we shall put respecting any   
object the formation of which we may    
suggest3 hence1 in all our inquiries1 ,i
 shall1 as ,i love art1 consider utility
 before beauty1 in order that my art may
 be fostered and not despised4  ,there  
are many subjects yet not named in these
 pages which we ought to consider1 but  
,i must content myself by merely        
mentioning them1 and you must be willing
 to think of them1 and consider them    
with such care as their importance may  
demand4 ,some of them1 however1 we shall
 refer to when considering the various  
manufactures4  ,a principle of great    
importance in respect to design is1 that
 the material of which an object is     
formed should be used in a manner       
consistent with its own nature1 and in  
that particular way in which it can be  
most easily worked4  ,another principle 
of equal importance with that just set  
forth1 is this3 that when an object is  

about to be formed1 that material 7or   
those materials7 which is 7or are7 most 
appropriate to its formation should be  
sought and employed4 ,these two         
propositions are of very great          
importance1 and the principles which    
they set forth should never be lost     
sight of by the designer4 ,they involve 
the first principles of successful      
designing1 for if ignored the work      
produced cannot be satisfactory4        
,curves will be found to be beautiful   
just as they are subtle in character2   
those which are most subtle in character
 being most beautiful4  ,the arc is the 
least beautiful of curves 7,i do not    
here speak of a circle1 but of the line1
 as a line1 which bounds the circle72   
being struck from one centre its origin 
is instantly detected1 while the mind   
requires that a line1 the contemplation 
of which shall be pleasurable1 must be  
in advance of its knowledge1 and call   
into activity its powers of inquiry4    
,the elliptic curve1 or curve bounding  

the ellipse1 is more beautiful than the 
arc1 for its origin is not so strikingly
 apparent1 being formed from two        
centres4 ,the curve of the egg is more  
beautiful still1 being formed from three
 centres4#h ,as the number of centres   
necessary to the formation of a curve   
increases1 the difficulty of detecting  
its origin also becomes greater1 and the
 variety which the curve presents is    
also proportionally great2 the variety  
being obviously greater as the number of
 the centres from which it is struck is 
increased4  #h ,the ellipse and         
egg-shape here spoken of are not those  
which are struck by compasses in any    
way1 for the curves of such figures are 
merely combined arcs1 but such as are   
struck with string1 or a tramel4        
,proportion1 like the curve1 must be of 
a subtle nature4  ,a surface must never 
be divided for the purpose of decoration
 into halves4 ,the proportion of #a to  
#a is bad4 ,as proportion increases in  
subtlety it also increases in beauty4   

,the proportion of #b to #a is little   
better2 the proportion of #c to #h1 or  
of #e to #h1 or of #e to #ac1 is1       
however1 good1 the last named being the 
best of those which ,i have adduced2 for
 the pleasure derived from the          
contemplation of proportion increases   
with the difficulty of detecting it4    
,this principle is true in relation to  
the division of a mass into primary     
segments1 and of primary segments into  
secondary forms1 as well as in relation 
to the grouping together of parts of    
various sizes2 hence it is worthy of    
special note4  ,a principle of order    
must prevail in every ornamental        
composition4  ,confusion is the result  
of accident1 while order results from   
thought and care4 ,the operation of mind
 cannot well be set forth in the absence
 of this principle2 at least1 the       
presence of a principle of order renders
 the operation of mind at once manifest4
  ,the orderly repetition of parts      
frequently aids in the production of    

ornamental effects4  ,the kaleidoscope  
affords a wonderful example of what     
repetition will do4 ,the mere fragments 
of glass which we view in this          
instrument would altogether fail to     
please were they not repeated with      
regularity4 ,of themselves repetition   
and order can do much4 7,figs4 #ac and  
#ad47  ,alternation is a principle of   
primary importance in certain ornamental
 compositions4  ,in the case of a flower
 7as the buttercup1 or chickweed1 for   
example7 the coloured leaves do not fall
 over the green leaves 7the petals do   
not fall over the sepals71 but between  
them--they alternate with them4 ,this   
principle is not only manifested in     
plants1 but also in many ornaments      
produced in the best periods of art     
7,fig4 #ae74  ,illustration3 ,fig4 #ac4 
,illustration3 ,fig4 #ad4               
,illustration3 ,fig4 #ae4               
,illustration3 ,fig4 #af4  ,if plants   
are employed as ornaments they must not 
be treated imitatively1 but must be     

conventionally treated1 or rendered into
 ornaments 7,fig4 #af74  ,a monkey can  
imitate1 man can create4  ,these are the
 chief principles which we shall have to
 notice1 as involved in the production  
of ornamental designs4   ,,division     
,,iii4  ,some other principles of a less
 noble character than those which we    
have already noticed as entering into   
ornament yet remain to be mentioned4    
,man will be amused as well as          
instructed2 he must be pleased as well  
as ennobled by what he sees4 ,i hold it 
as a first principle that ornamentation1
 as a true fine art1 can administer to  
man in all his varying moods1 and under 
all phases of feeling4 ,decoration1 if  
properly understood1 would at once be   
seen to be a high art in the truest     
sense of the word1 as it can teach1     
elevate1 refine1 induce lofty           
aspirations1 and allay sorrows2 but we  
have now to notice it as a fine art1    
administering to man in his various     
moods1 rather than as the handmaid to   

religion or morals4  ,humour seems to be
 as much an attribute of our nature as  
love1 and1 like it1 varies in intensity 
with different individuals4 ,there are  
few in whom there is not a certain      
amount of humour1 and in some this one  
quality predominates over all others4   
,it not unfrequently happens that men   
who are great thinkers are also great   
humorists--great talent and great humour
 being often combined in the one        
individual4  ,the feeling for humour is 
ministered to in ornament by the        
grotesque1 and the grotesque occurs in  
the works of almost all ages and all    
peoples4 ,the ancient ,egyptians        
employed it1 so did the ,assyrians1 the 
,greeks1 and the ,romans2 but none of   
these nations used it to the extent of  
the artists of the ,celtic1 ,byzantine1 
and ,gothic periods4 ,hideous evil      
spirits were portrayed on the outside of
 almost every ,christian edifice at one 
time1 and much of the ,celtic ornament  
produced by the early monks consisted of

 an anastomosis1 or network1 of         
grotesque creatures4  ,the old ,irish   
crosses were enriched with this kind of 
ornamentation1#i and some of the        
decorative embellishments of these works
 are of extraordinary interest2 but     
those who have access to the beautiful  
work of ,professor ,westwood on ,celtic 
manuscripts will there see this         
grotesque form of ornament to           
perfection4 ,as regards the ,eastern    
nations1 while nearly all have employed 
the grotesque as an element of          
decorative art1 the ,chinese and        
,japanese have employed it most largely1
 and for it they manifest a most decided
 partiality4 ,the drawings of dragons1  
celestial lions 7always spotted71       
mythical birds1 beasts1 fishes1 insects1
 and other supposed inhabitants of the  
,elysian plains1 which these people     
produce1 are most interesting and       
extraordinary4  #i ,casts of one or two 
of these can be seen in the central     
transept of the ,crystal ,palace at     

,sydenham4  ,without in any way going   
into a history of the grotesque1 let us 
look at the characteristic forms which  
it has assumed1 and what is necessary to
 its successful production4 ,we have    
said that the grotesque in ornament is  
the analogue of humour in literature4   
,this is the case2 but the grotesque may
 represent the truly horrible or        
repellent1 and be simply repulsive4     
,this form is so seldom required in     
ornamentation that ,i shall not dwell   
upon it1 and when required it should    
always be associated with power2 for if 
the horrible is feeble it cannot be     
corrective1 but only revolting1 like a  
miserable deformed animal4  ,i think it 
may be taken as a principle1 that the   
further the grotesque is removed from an
 imitation of a natural object the      
better it is1 provided that it be       
energetic and vigorous--lifelike4       
,nothing is worse than a feeble joke1   
unless it be a feeble grotesque4 ,the   
amusing must appear to be earnest4      

,illustration3 ,fig4 #ag4               
,illustration3 ,fig4 #ah4  ,in          
connection with this subject ,i give    
here a series of grotesques1 with the   
view of illustrating my meaning1 and ,i 
would fain give more1 but space will not
 permit me to do so4  ,the initial      
letter ,s1 formed of a bird1 is a       
characteristic ,celtic grotesque 7,fig4 
#ag74 ,it is quaint and interesting1 and
 is sufficiently unlike a living        
creature to avoid giving any sense of   
pain to the beholder1 while it is yet in
 a most unnatural position4 ,it is1 in  
truth1 rather an ornament than a copy of
 a living creature1 yet it is so        
suggestive as to call forth the thought 
of a bird4 ,it should be noticed1 in    
connection with this figure1 that the   
interstices between certain portions of 
the creature are filled by a knot4 ,this
 is well--the whole thing2 being an     
ornament1 and not a naturalistic        
representation4  ,fig4 #ah is a ,siamese
 grotesque head1 and a fine sample it is

 of the curious form of ornament which  
it represents4 ,mark1 it is in no way a 
copy of a human head1 but is a true     
ornament1 with its parts so arranged as 
to call up the idea of a face1 and      
nothing more4 ,notice the volutes       
forming the chin2 the grotesque1 yet    
highly ornamental1 lines forming the    
mouth and the upper boundary of the     
forehead1 and the flambeauant ears2 the 
whole thing is worthy of the most       
careful study4  ,illustration3 ,fig4    
#ai4  ,fig4 #ai is a ,gothic foliated   
face2 but here we have features which   
are much too naturalistic4 ,we have1    
indeed1 only a hideous human face with a
 marginal excrescence of leafage4 ,this 
is a type to be avoided2 it is not      
droll1 nor quaint2 but is simply        
unpleasant to look upon4  ,illustration3
 ,fig4 #bj4  ,fig4 #bj is a fish1 with  
the feeling of the grotesques of the    
,middle ,ages4 ,it is a good type1 being
 truly ornamental1 and yet sufficiently 
suggestive4  ,in order that ,i convey to

 the reader a fuller idea of my views   
respecting the grotesque than ,i        
otherwise could1 ,i have sketched one or
 two original illustrations--,fig4 #ba  
being suggestive of a face1 ,fig4 #bb of
 a skeleton 7old bogey71 and ,fig4 #bc  
of an impossible animal4 ,they are      
intentionally far from imitative4 ,if   
naturalistic some would awaken a sense  
of pain1 as they are contorted into     
curious positions1 whereas that which   
induces no thought of feeling induces no
 sense of pain4  ,illustration3 ,fig4   
#ba4  ,illustration3 ,fig4 #bb4  ,of all
 grotesques with which ,i am acquainted1
 the dragons of the ,chinese and        
,japanese are those which represent a   
combination of power1 vigour1 energy1   
and passion most fully4 ,this is to be  
accounted for by the fact that these    
peoples are believers in dragons4 ,when 
the sun or moon is eclipsed they believe
 that the luminous orb has been         
swallowed by some fierce monster1 which 
they give form to in the dragon1 and    

upon the occurrence of such a phenomenon
 they1 with cans and kettles1 make rough
 music1 and thus cause the monster to   
disgorge the luminary1 the brilliancy of
 which it would otherwise have for ever 
extinguished4 ,i can understand a       
believer in dragons drawing these       
monsters with the power and spirit that 
the ,chinese and ,japanese do2 but ,i   
can scarcely imagine that a disbeliever 
could do so--a man's very nature must be
 saturated with a belief in their       
existence and mischievous power1 in     
order that he embody in his delineation 
such expression of the assumed character
 of this imaginary creature as do the   
,chinese and ,japanese4  ,although ,i am
 not now considering the structure of   
objects1 ,i may say that the grotesque  
should frequently be used where we meet 
with naturalistic imitations4 ,we not   
unfrequently see a figure1 naturally    
imitated1 placed as a support to a      
superincumbent weight--a female figure  
as an architectural pillar bearing the  

weight of the entablature above1 men    
crouched in the most painful positions  
supporting the bowl of some colossal    
fountain4 ,naturalistic figures in such 
positions are simply revolting1 however 
perfect as works of sculpture4 ,if      
weight has to be supported by that which
 has a resemblance to a living creature 
of any kind1 the semblance should only  
be suggested2 and the more unreal and   
woodeny 7if ,i may make such a word7 the
 support1 if possessing the quaintness  
and humour of a true grotesque1 the     
better4  ,illustration3 ,fig4 #bc4  ,it 
is not the business of the ornamentist  
to produce that which shall induce the  
feeling of continued pain1 unless there 
is some exceptional reason for his so   
doing1 and such a reason is of rare     
occurrence4     ,,chapter ,,ii4         
,,colour4   ,having considered some of  
the chief principles involved in the    
production of decorative design so far  
as expression goes1 we come to notice   
that constant adjunct of form which has 

ever played an important part in all    
decorative schemes--namely1 colour4     
,form can exist independently of colour1
 but it never has had any important     
development without the chromatic       
adjunct4 ,from a consideration of       
history1 we should be led to conclude   
that form alone is incapable of yielding
 such enrichments as satisfy2 for no    
national system of decoration has ever  
existed in the absence of colour4 ,mere 
outline-form may be good1 but it is not 
satisfying2 mere light and shade may be 
pleasing1 but it is not all that we     
require4 ,with form our very nature     
seems to demand colour2 and it is only  
when we get well-proportioned forms     
which are graceful1 or noble1 or        
vigorous1 in combination with colours   
harmoniously arranged1 that we are      
satisfied4  ,possibly this feeling      
results from our contact with nature4   
,the flowers appear in a thousand hues1 
and the hills are of ever-varying tints4
 ,what a barren world ours would appear1

 were the ground1 the hills1 the trees  
and the flowers1 the sky and the waters 
all of one colour6 ,form we should have1
 and that in its richest variety2 light 
and shade we should have1 with          
ever-varying intensity and change2 but  
colour would be gone4 ,there would be no
 green to cheer1 no blue to soothe1 no  
red to excite2 and1 indeed1 there would 
be a deadness1 although the world be    
full of life1 so appalling that we can  
scarcely conceive of it1 and cannot feel
 it4  ,colour alone seems to have       
greater charms than form alone4 ,a      
sunset is entrancing when the sky glows 
with radiant hues2 the blue is almost   
lost in red1 the yellow is as a sea of  
transparent gold1 and the whole presents
 a variety and blending of tints which  
charm1 and soothe1 and lull to reverie2 
and yet all form is indistinct and      
obscure4 ,if so charming when separate  
from form1 what is colour when properly 
combined with beautiful shapes8 ,it is  
difficult1 indeed1 for many of those for

 whom ,i write to answer this question1 
even by a mental conception1 save by    
reference to nature2 for ,i could       
scarcely point to a single building in  
,england which would be in any way a    
satisfactory illustration of what may be
 done by the combination of forms and   
colours4 ,there is a beauty in ,art     
which we in ,england do not even know   
of3 it does not exist around us1 it is  
little talked of1 rarely thought about1 
and never seen4 ,a decorator is called  
in to beautify a house1 and yet not one 
in fifty of the so-called decorators    
know even the first principles of their 
art1 and would not believe were they    
told of the power of the art which they 
employ4 ,they place on the walls a few  
sickly tints--so pale that their want of
 harmony is not very apparent4 ,the     
colours of the wall become the colours  
of the cornice and of the doors1 because
 they know not how to produce a harmony 
of hues2 and the result is a house which
 may be clean1 but which is in every    

other respect an offence against good   
taste4 ,i do not wonder that persons    
here in ,england do not care to have    
their houses decorated1 nor do ,i wonder
 at their not appreciating the          
decorations when they are done4 ,colour1
 lovely colour1 of itself would make our
 rooms charming4  ,there are few objects
 to which colour may not be applied1 and
 many articles which are now colourless 
might be coloured with advantage4 ,our  
reasons for applying colour to objects  
are twofold1 and here1 in fact1 we see  
its true use4 #ast4 ,colour lends to    
objects a new charm--a charm which they 
would not possess if without it2 and1   
#bnd1 ,colour assists in the separation 
of objects and parts of objects1 and    
thus gives assistance to form4 ,these1  
then1 are the two objects of colour4    
,mark1 first1 it is to bestow on objects
 a charm1 such as they could not have in
 its absence4 ,in the hands of the man  
of knowledge it will do so--it will make
 an object lovely or lovable1 but the   

mere application of colour will not do  
this4 ,colour may be so applied to      
objects as to render them infinitely    
more ugly than they were without it4 ,i 
have seen many a bowl so coloured at our
 potteries as to be much less           
satisfactory when coloured than when    
white--the colouring having marred1     
rather than improved1 its general       
effect4 ,here1 again1 it is knowledge   
that we want4 ,knowledge will enable us 
to transmute base materials into works  
of marvellous beauty1 worth their weight
 in gold4 ,knowledge1 then1 is the true 
philosopher's stone2 for1 we may almost 
say1 if possessed by the artist it does 
enable him to transmute the baser metals
 into gold4 ,but a little knowledge will
 not do this4 ,in order that we produce 
true beauty1 we require much knowledge1 
and this can only be got by constant and
 diligent labour1 as ,i have before     
said2 but the end to be gained is worth 
the plodding toil4 ,believe me1 there is
 a pleasure in seeing your works develop

 as things of beauty1 delighting all who
 see them--not the illiterate only1 but 
also the educated thinker--such as words
 fail to express4 ,although there is no 
royal road to art-power1 and although   
the road is long1 and lies through much 
toil and many difficulties1 yet as you  
proceed there is pleasure in feeling    
that one obstacle after another is      
cleared from your path1 and at the end  
there is inexpressible satisfaction4    
,the second object of colour is that of 
assisting in the separation of form4 ,if
 objects are placed near to one another1
 and these objects are all of the same  
colour1 the beholder will have much more
 difficulty in seeing the boundaries or 
terminations of each than he would were 
they variously coloured2 he would have  
to come nearer to them in order to see  
the limits of each1 were all coloured in
 the same manner1 than he would were    
they variously coloured2 thus colour    
assists in the separation of form4 ,this
 quality which colour has of separating 

forms is often lost sight of1 and much  
confusion thereby results4 ,if it is    
worth while to produce a decorative     
form1 it is worth while to render it    
visible2 and yet1 how much ornament1 and
 even good ornament1 is lost to the eye 
through not being rendered manifest by  
colour6 ,colour is the means by which we
 render form apparent4  ,colours1 when  
placed together1 can only please and    
satisfy the educated when combined      
harmoniously1 or according to the laws  
of harmony4 ,what1 then1 are the laws   
which govern the arrangement of colours8
 and how are they to be applied8 ,we    
shall endeavour to answer these         
questions by making a series of         
statements in axiomatic form1 and then  
we shall enlarge upon these             
propositions4   ,,general               
,,considerations4  #a4 ,regarded from an
 art point of view1 there are but three 
colours--i4e41 blue1 red1 and yellow4   
#b4 ,blue1 red1 and yellow have been    
termed primary colours2 they cannot be  

formed by the admixture of any other    
colours4  #c4 ,all colours1 other than  
blue1 red1 and yellow1 result from the  
admixture of the primary colours4  #d4  
,by the admixture of blue and red1      
purple is formed2 by the admixture of   
red and yellow1 orange is formed2 and by
 the admixture of yellow and blue1 green
 is formed4  #e4 ,colours resulting from
 the admixture of two primary colours   
are termed secondary3 hence purple1     
orange1 and green are secondary colours4
  #f4 ,by the admixture of two secondary
 colours a tertiary colour is formed3   
thus1 purple and orange produce russet  
7the red tertiary72 orange and green    
produce citrine 7the yellow tertiary72  
and green and purple1 olive 7the blue   
tertiary72 russet1 citrine1 and olive   
are the three tertiary colours4         
,,contrast4  #g4 ,when a light colour is
 juxtaposed to a dark colour1 the light 
colour appears lighter than it is1 and  
the dark colour darker4#aj  #aj ,if a   
dark grey tint be mixed upon a white    

slab it will appear dark in contrast    
with the white1 but if a small portion  
of this same grey is applied to black   
paper it will appear almost white4  #h4 
,when colours are juxtaposed1 they      
become influenced as to their hue4      
,thus1 when red and green are placed    
side by side1 the red appears redder    
than it actually is1 and the green      
greener2 and when blue and black are    
juxtaposed1 the blue manifests but      
little alteration1 while the black      
assumes an orange tint or becomes rusty4
  #i4 ,no one colour can be viewed by   
the eye without another being created4  
,thus1 if red is viewed1 the eye creates
 for itself green1 and this green is    
cast upon whatever is near4 ,if it views
 green1 red is in like manner created   
and cast upon adjacent objects2 thus1 if
 red and green are juxtaposed1 each     
creates the other in the eye1 and the   
red created by the green is cast upon   
the red1 and the green created by the   
red is cast upon the green2 and the red 

and the green become improved by being  
juxtaposed4 ,the eye also demands the   
presence of the three primary colours1  
either in their purity or in combination
 and if these are not present1 whatever 
is deficient will be created in the eye1
 and this induced colour will be cast   
upon whatever is near4 ,thus1 when we   
view blue1 orange1 which is a mixture of
 red and yellow1 is created in the eye1 
and this colour is cast upon whatever is
 near2 if black is in juxtaposition with
 the blue1 this orange is cast upon it1 
and gives to it an orange tint1 thus    
causing it to look rusty4  #aj4 ,in like
 manner1 if we look upon red1 green is  
formed in the eye1 and is cast upon     
adjacent colours2 or1 if we look upon   
yellow1 purple is formed4   ,,harmony4  
#aa4 ,harmony results from an agreeable 
contrast4  #ab4 ,colours which perfectly
 harmonise improve one another to the   
utmost4  #ac4 ,in order to perfect      
harmony1 the three colours are          
necessary1 either in their purity or in 

combination4  #ad4 ,red and green       
combine to yield a harmony4 ,red is a   
primary colour1 and green1 which is a   
secondary colour1 consists of blue and  
yellow--the other two primary colours4  
,blue and orange also produce a harmony1
 and yellow and purple1 for in each ease
 the three primary colours are present4 
#ae4 ,it has been found that the primary
 colours in perfect purity produce exact
 harmonies in the proportions of eight  
parts of blue1 #e of red1 and #c of     
yellow2 that the secondary colours      
harmonise in the proportions of #ac of  
purple1 #aa of green1 and #h of orange2 
and that the tertiary colours harmonise 
in the proportions of olive #bd1 russet 
#ba1 and citrine #ai4  #af4 ,there are1 
however1 subtleties of harmony which it 
is difficult to understand4  #ag4 ,the  
rarest harmonies frequently lie close on
 the verge of discord4  #ah4 ,harmony of
 colour is1 in many respects1 analogous 
to harmony of musical sounds4           
,,qualities ,,of ,,colours4  #ai4 ,blue 

is a cold colour1 and appears to recede 
from the eye4  #bj4 ,red is a warm      
colour1 and is exciting2 it remains     
stationary as to distance4  #ba4 ,yellow
 is the colour most nearly allied to    
light2 it appears to advance towards the
 spectator4  #bb4 ,at twilight blue     
appears much lighter than it is1 red    
much darker1 and yellow slightly darker4
 ,by ordinary gaslight blue becomes     
darker1 red brighter1 and yellow        
lighter4 ,by this artificial light a    
pure yellow appears lighter than white  
itself1 when viewed in contrast with    
certain other colours4  #bc4 ,by certain
 combinations colour may make glad or   
depress1 convey the idea of purity1     
richness1 or poverty1 or may affect the 
mind in any desired manner1 as does     
music4   ,,teachings ,,of ,,experience4 
#bd4 ,when a colour is placed on a gold 
ground1 it should be outlined with a    
darker shade of its own colour4  #be4   
,when a gold ornament falls on a        
coloured ground1 it should be outlined  

with black4  #bf4 ,when an ornament     
falls on a ground which is in direct    
harmony with it1 it must be outlined    
with a lighter tint of its own colour4  
,thus1 when a red ornament falls on a   
green ground1 the ornament must be      
outlined with a lighter red4  #bg4 ,when
 the ornament and the ground are in two 
tints of the same colour1 if the        
ornament is darker than the ground1 it  
will require outlining with a still     
darker tint of the same colour2 but if  
lighter than the ground no outline will 
be required4   ,,analytical ,,tables    
,,of ,,colour4  ,when commencing my     
studies both in science and art1 ,i     
found great advantage from reducing all 
facts to a tabular form so far as       
possible1 and this mode of study ,i     
would recommend to others4 ,to me this  
method appears to have great advantages1
 for by it we see at a glance what      
otherwise is difficult to understand2 if
 carefully done1 it becomes an analysis 
of work2 and by preparing these tabular 

arrangements of facts the subject       
becomes impressed on the mind1 and the  
relation of one fact to another1 or of  
one part of a scheme to another1 is     
seen4  ,the following analytical tables 
will illustrate many of the facts stated
 in our propositions4 ,the figures which
 follow the colours represent the       
proportions in which they harmonise3--  
,primary ,colours4    ,secondary        
,colours4    ,tertiary ,colours4        
,blue           #h      ,purple         
#ac      ,olive          #bd      ,red  
#e      ,green           #aa            
,russet         #ba      ,yellow        
#c      ,orange           #h            
,citrine        #ai      ,primary       
,colours4  ,secondary ,colours4         
,tertiary ,colours4      ,red        #e 
,orange       #h       ,yellow     #c   
,citrine1 or ,yellow ,tertiary  #ai     
,blue       #h                          
,green       #aa       ,yellow     #c   
,blue       #h                          
,purple      #ac       ,red        #e   

,russet1 or ,red ,tertiary      #ba     
,red        #e                          
,orange       #h       ,yellow     #c   
,blue       #h                          
,green       #aa       ,yellow     #c   
,olive1 or ,blue ,tertiary      #bd     
,blue       #h                          
,purple      #ac       ,red        #e   
,this latter table shows at a glance how
 each of the secondary and tertiary     
colours is formed1 and the proportions  
in which they harmonise4 ,it also shows 
why the three tertiary colours are      
called respectively the yellow tertiary1
 the red tertiary1 and the blue         
tertiary1 for into each tertiary two    
equivalents#aa of one primary enter1 and
 one equivalent of each of the other    
primaries4 ,thus1 in citrine we find two
 equivalents of yellow1 and one each of 
red and blue2 hence it is the yellow    
tertiary4 ,in russet we find two        
equivalents of red1 and one each of blue
 and of yellow2 and in olive two of     
blue1 and one each of red and yellow4   

,hence they are respectively the red and
 blue tertiaries4  #aa ,an equivalent of
 blue is #h1 of red #e1 of yellow #c4   
,illustration3 ,fig4 #bd4               
,illustration3 ,fig4 #be4  ,figs #bd and
 #be are diagrams of harmony4 ,i have   
connected in the centre1 by three       
similar lines1 the colours which form a 
harmony2 thus1 blue1 red1 and yellow    
harmonise when placed together4 ,purple1
 green1 and orange also harmonise 7,i   
have connected them by dotted lines in  
the first of the two diagrams74 ,but    
when two colours are to produce a       
harmony1 the one will be a primary      
colour1 and the other a secondary formed
 of the other two primary colours 7for  
the presence of the three primary       
colours is necessary to a harmony71 or  
the one will be a secondary1 and the    
other a tertiary colour formed of the   
two remaining secondary colours4 ,such  
harmonies ,i have placed opposite to    
each other2 thus blue1 a primary1       
harmonises with orange1 a secondary2    

yellow with purple2 and red with green2 
and the secondary colour is placed      
between the two primary colours of which
 it is formed2 thus1 orange is formed of
 red and yellow1 between which it       
stands2 green1 of blue and yellow2 and  
purple1 of blue and red4 ,in the second 
of the two diagrams we see that purple1 
green1 and orange produce a harmony1 so 
do olive1 russet1 and citrine4 ,we also 
see that purple and citrine harmonise1  
and green and russet1 and orange and    
olive4  ,continuing this diagrammatic   
form of illustration1 we may set forth  
the quantities in which the various     
colours harmonise3 thus3--      ,blue4  
,red4        ,yellow4     ,o ,o ,o ,o   
,o ,o ,o ,o         ,o ,o ,o     ,o ,o  
,o ,o       ,o      ,blue4              
,orange4     ,o ,o ,o ,o    harmonises  
with    ,o ,o ,o ,o     ,o ,o ,o ,o     
,o ,o ,o ,o      ,red4                  
,green4     ,o ,o ,o ,o    harmonises   
with    ,o ,o ,o ,o     ,o              
,o ,o ,o ,o                             

,o ,o ,o      ,yellow4                  
,purple4     ,o ,o ,o      harmonises   
with    ,o ,o ,o ,o                     
,o ,o ,o ,o                             
,o ,o ,o ,o                             
,o      ,purple4                        
,citrine4     ,o ,o ,o ,o    harmonises 
with    ,o ,o ,o ,o     ,o ,o ,o ,o     
,o ,o ,o ,o     ,o ,o ,o ,o             
,o ,o ,o ,o     ,o                      
,o ,o ,o ,o                             
,o ,o ,o      ,green4                   
,russet4     ,o ,o ,o ,o    harmonises  
with    ,o ,o ,o ,o     ,o ,o ,o ,o     
,o ,o ,o ,o     ,o ,o ,o                
,o ,o ,o ,o                             
,o ,o ,o ,o                             
,o ,o ,o ,o                             
,o      ,orange4                        
,olive4     ,o ,o ,o ,o    harmonises   
with    ,o ,o ,o ,o     ,o ,o ,o ,o     
,o ,o ,o ,o                             
,o ,o ,o ,o                             
,o ,o ,o ,o                             
,o ,o ,o ,o                             

,o ,o ,o ,o  ,to those who are about to 
practise ornamentation1 it is very      
important that they have in the mind's  
eye a tolerably accurate idea of the    
relative quantities of the various      
colours necessary to harmony1 even where
 the colours are considered as existing 
in a state of absolute purity4 ,we have 
rarely1 however1 to use the brightest   
blues1 reds1 and yellows which pigments 
furnish1 and even these are but poor    
representatives of the potent colours of
 light as seen in the rainbow1 and with 
the agency of the prism2 nevertheless1 a
 knowledge of the quantities in which   
these pure colours harmonise is very    
desirable4 ,the proportions in which we 
have stated that colours perfectly      
harmonise1 and in which the primary     
colours combine to form the secondaries1
 and the secondaries the tertiaries1 are
 given in respect to the colours of     
light1 and not of pigments or paints1   
which1 as we have just said1 are more or
 less base representatives of the pure  

colours of light4 ,yet certain pigments 
may1 for our purpose1 be regarded as    
representing pure colours4 ,thus1 the   
purest real ultramarine we will regard  
as blue 7cobalt is rather green1 that   
is1 it has a little yellow in it1 and   
the ,french and ,german ultramarines are
 generally rather purple1 or have a     
little red in them1 yet the best of     
these latter is a tolerably pure        
colour71 the purest ,french carmine as  
red 7common carmine is frequently rather
 crimson1 that is1 has blue in it2      
vermilion is much too yellow71 and      
lemon-chrome as yellow 7the chrome      
selected must be without any green      
shade1 and without any orange shade1    
however slight72 and these pigments will
 be found to represent the colours of   
the prism as nearly as any that can be  
found4 ,i would recommend the learner to
 get a small quantity of these colours  
in their powder form1 substituting the  
best pale ,german ultramarine for real  
ultramarine1 as the latter is of high   

price1#ab and to fill the various       
circles of our diagrams1 which represent
 the primary colours1 with these        
pigments1 mixing them with a little     
dissolved gum arabic and water--just    
ufficient to prevent the colours from   
rubbing off the paper4 ,the secondary   
colours will be fairly represented by   
pale-green lake1 often called           
drop-green1 by orange-chrome--that of   
about the colour of a ripe1 rather      
deep-coloured1 orange-rind--and the     
purple by the admixture of pale ,german 
ultramarine and crimson-lake1 in about  
equal proportions1 with a little white  
to bring it to the same depth as the    
green4 ,i cannot name any pigments which
 would well represent the tertiary      
colours4 ,citrine is about the colour of
 candied lemon-peel2 olive about the    
colour of candied citron-peel1 and      
russet is often seen on the skin of     
certain apples called russet apples1 in 
the form of a slight roughness2 but this
 russet is in many cases not quite      

sufficiently red to represent the colour
 bearing the same name4 ,iron rust is   
rather too yellow4 ,this colour should  
bear the same relation to red that the  
candied lemon-peel does to yellow4  #ab 
,real ultramarine is sold at ,l#h per   
ounce4 ,the best imitation1 or ,german  
ultramarine1 is procurable at any       
oil-shop at about #cs4 to #ds4 per      
pound4 ,the best carmine should be      
procurable at #fs4 per ounce1 but       
artists' colourmen often charge ,l#a    
#as41 owing to the small demand for this
 pigment4 ,the best chrome yellow       
7chrome yellow is kept in many shades7  
is about #as4 #f;d4 per pound4  ,if the 
student will try carefully to realise   
these colours1 and will fill up the     
circles in our diagrams with them1 he   
will thereby be much assisted in his    
studies2 but it will be still better if 
he prepare fresh diagrams on a larger   
scale1 and use squares instead of       
circles4 ,i should recommend1 and that  
,i do strongly1 that the student work   

out all the diagrams which ,i have      
suggested on a tolerably large scale1   
using the colours where ,i have used    
words4 ,i should also advise him to do  
an ornament1 say in red on a gold       
ground1 and outline this red ornament   
with a deeper red2 to do a gold ornament
 on a coloured ground1 and outline it   
with black2 and indeed to carefully work
 out an ornamental illustration of our  
propositions1 ,nos4 #bd1 #be1 #bf1 and  
#bg1 and to keep these before him till  
he is so impressed by them as to feel   
the principle which they set forth4     
,this should be done on a large scale in
 all our designing-rooms and            
art-workshops4  ,as we shall have to    
refer to colours by naming pigments1 and
 as ,i am constantly asked what pigments
 ,i employ1 ,i shall enumerate the      
paints in my colour-box2 but ,i shall   
place a dagger against those which ,i   
have in my private box1 and which ,i do 
not supply in my offices2 but these ,i  
seldom use4 ,of yellows ,i have         

#adking's yellow 7not a permanent       
colour71 #advery pale chrome1           
lemon-chrome 7about the colour of a ripe
 lemon71 middle-chrome 7half-way between
 the lemon and orange-chrome71          
orange-chrome 7about the colour of the  
rind of a ripe orange71 #adyellow-lake1 
#ad;,indian yellow4 ,of reds--vermilion1
 carmine1 crimson-lake4 ,of             
blues--#ad;cobalt1 ,german ultramarine1 
both deep and pale1 ,antwerp blue1      
indigo4 ,of greens--emerald1 green-lake1
 pale and deep4 ,of browns--raw ,turkey 
umber1 vandyke1 ,venetian red1          
purple-brown1 brown-lake4 ,besides these
 ,i have what is called celestial blue1 
which is a very pure and intense        
turquoise1 vegetable black1 flake white1
 and gold bronze4#ac  #ac ,some of these
 colours are not of a permanent         
character and could not be used in work 
intended to be lasting4 ,i use them for 
patterns for our manufactures1 where    
when the drawing is once copied in a    
fabric it is destroyed4 ,some of the    

brightest colours are unfortunately the 
most fleeting4  ,there are certain facts
 connected with the mixing of colours   
which must never be lost sight of2 thus1
 while the colours of light co-mingle   
without any deterioration1 or loss of   
brilliancy1 pigments or paints will not 
do so1 but by admixture tend to destroy 
one another4 ,this takes place only to a
 small extent when but two primary      
colours are combined2 but if any of the 
third primary enters into the           
composition of a tint1 a decided        
deterioration1 or loss of intensity1    
occurs4  ,for this reason we employ many
 pigments1 so as to avoid as far as     
possible the mixing of colours4 ,but    
there is another reason why the great   
admixture of colours is undesirable4    
,colours are chemical agents1 and in    
some cases the various pigments act     
chemically on one another4 ,of all      
colours yellows suffer most by admixture
 with other colours3 but this is        
accounted for by their delicacy and     

purity4 ,for this reason ,i use a       
greater variety of yellow pigments than 
of red or blue4#ad  #ad ,of all mediums 
in which colours can be mixed1 paraffine
 is the safest2 it is without chemical  
affinities1 and is therefore well       
calculated to preserve pigments in their
 original condition4  ,were it possible 
to procure three pigments devoid of     
chemical affinities1 and each of the    
same physical constitution1 as of equal 
degrees of transparency or opacity1 one 
truly representing the blue of light1   
another the red1 and another the yellow1
 we should need no others1 for of these 
we could form all other colours2 but as 
no pigments come even near to the       
fulfilment of these conditions1 we have 
to employ roundabout and clumsy methods 
of arriving at desired results4  ,there 
is one statement which ,i have made     
that1 perhaps1 needs a little           
elucidation1 although the careful       
student may have seen the reason of my  
assertion4 ,i said that purple          

harmonised with citrine1 green with     
russet1 and orange with olive4 ,i might 
have expressed it 7and many would have  
done so7 thus3--,the complement of      
citrine is purple1 the complement of    
russet is green1 and the complement of  
olive is orange4 ,a colour which is     
complementary to any other is that      
which1 with it1 completes the presence  
of the three primary colours3 thus green
 is the complement of red1 and red of   
green1 for each1 together with the      
colour to which it is the complement1   
completes the presence of the three     
colours4 ,but in order to a harmony1 the
 complement must be made up in certain  
proportions4 ,let us now refer to our   
second diagrammatic table1 and we there 
see that citrine is formed of two       
equivalents of yellow and only one      
equivalent of red and of blue4 ,now1 in 
order to a harmony1 each primary should 
be present in two equivalents1 as one is
 present in this quantity--i4e41 the    
yellow4 ,one equivalent of blue and one 

of red 7both of which are wanting in the
 citrine7 form purple2 hence purple is  
the complement of citrine1 or the colour
 that with it produces a harmony4 ,in   
russet one equivalent of blue and one of
 yellow are wanting1 and these in       
combination are green--green1 then1 is  
the complement of russet4 ,and in olive 
one equivalent of red and one of yellow 
are wanting--red and yellow form orange1
 hence orange is the complement of      
olive4  ,i have spoken of all colours as
 of full intensity and purity1 but we   
have to deal also with other conditions4
 ,all colours may be darkened by black1 
when shades are produced2 or reduced by 
white1 when tints are produced4 ,besides
 these alterations in intensity1 a      
portion of one colour may be added to   
another4 ,thus1 if a small portion of   
blue be mingled with red1 the red       
becomes a crimson or blue-red2 or if a  
small portion of yellow be added to the 
red1 the latter becomes a scarlet or    
yellow-red4 ,in like manner1 when yellow

 is in excess in a green1 we have a     
yellow-green2 or when blue is in excess1
 a blue-green2 and so with the other    
colours4 ,such alterations produce hues 
of colour4  ,we now come to the         
subtleties of harmony4 ,thus1 if we have
 a yellow-red or scarlet--a red with    
yellow in it--the green that will       
harmonise with it will be a blue-green2 
or if we have a blue-red or crimson--a  
red with blue in it--the green that will
 harmonise with it will be a            
yellow-green4 ,this is obvious1 for the 
following reasons3--,let us suppose a   
red represented by the equivalent       
number1 five1 with one part of blue     
added to it1 thus causing it to be a    
blue-red or crimson4 ,were the red pure1
 there should be eleven parts of green  
as a complement to the five of red1 of  
which green eight parts would be blue   
and three yellow2 but the blue-red      
occurs in six parts1 one of which is    
blue--there are1 then1 but seven parts  
of blue remaining in the equivalent     

quantity to combine with the three of   
yellow1 one being already used2 hence   
the green formed is a yellow-green1 one 
of the equivalents of blue necessary to 
the formation of a true green being     
already in combination with the red1 and
 thus absent from the green4  ,the same 
reasoning will apply to the scarlet-red 
and blue-green1 and1 indeed1 to all     
similar cases2 but to take the case of  
the crimson-red and yellow-green1 as    
just given1 and carry it a stage        
further1 we might add two parts 7out of 
the eight7 of blue to the red1 and make 
it more blue1 and then form the         
complementary green of six parts of blue
 and three of yellow1 and thus make it  
more yellow4 ,or we may go further      
still1 and add to the red six of the    
eight parts of blue1 when the admixture 
would appear as a red-purple rather than
 as a blue-red1 in which case the       
complementary green--or1 rather1        
green-yellow--would consist of two parts
 of blue and three of yellow4 ,these    

facts are diagrammatically expressed in 
the following3--    ,red     ,o ,o ,o ,o
 ,o                  ,yellow            
,o ,o ,o ,yellow                        
,crimson harmonises with    ,blue       
,o                   ,green   ,o ,o ,o  
,o ,o ,o ,o ,blue                       
,or1    ,red     ,o ,o ,o ,o ,o   ,blue 
,very           ,o ,o ,o ,yellow        
harmonises with ,yellow    ,blue        
,o ,o   ,crimson         ,green    ,o ,o
 ,o ,o ,o ,o ,blue                      
,or1    ,red4    ,o ,o ,o ,o ,o   ,red  
,green          ,o ,o ,o ,yellow        
harmonises with           ,blue4 ,o ,o  
,o ,o ,o ,o   ,purple    ,yellow        
,o ,o ,blue  ,in all these cases it will
 be seen that we have eight parts of    
blue1 five of red1 and three of yellow1 
only the mode of combination varies4    
,this variation may occur to any extent1
 provided the totals of each be always  
the equivalent proportions4  ,these     
remarks will apply equally to hues of   
colour1 shades1 and tints1 and to shades

 and tints of hues4  ,care1 and a little
 practice1 will enable the learner to   
arrange colours into a number of degrees
 of depth1 or shades1 as they are       
generally called4 7,we do not here use  
the term as signifying pure colours     
darkened with black47 ,ten shades of    
each colour differing obviously in      
degree of depth can readily be arranged 
by the experienced1 the ten shades being
 equidistant from each other as regards 
depth--that is1 shade #c will be as much
 darker than shade #b as shade #b is    
darker than shade #a1 and so on         
throughout the whole4 ,purple is a      
colour intermediate between blue and    
red4 ,imagine ten hues between the      
purple and the red1 and ten more between
 the purple and the blue3 thus we should
 have purple1 then a slightly red       
purple1 then a rather redder purple1    
then a purple still redder1 and so on   
till we get purple-reds1 and finally the
 pure red2 and the same variations of   
hue at the blue side also4 ,imagine1    

further1 the green having ten hues      
extending towards the blue1 and ten more
 stretching towards the yellow2 and the 
orange having ten hues towards the red1 
and ten towards the yellow--in all cases
 ,i count the colour from which we start
 as one of the ten1 thus3--      ,blue  
,purple                     ,red     #j 
#i  #h  #g  #f  #e  #d  #c  #b  #a  #b  
#c  #d  #e  #f  #g  #h  #i  #j  --and we
 shall have #ed colours and hues of     
colour4 ,of each of these #ed colours   
and hues imagine #aj degrees of depth1  
and we get #edj colours1 hues1 tints1   
and shades1 all differing from one      
another to an obvious degree4  ,mark    
this fact1 that any colour1 tint1 hue1  
or shade of such a diagram has its      
complement in one other of the colours1 
tints1 hues1 or shades of the diagram1  
and that only two of this series of #edj
 are complementary to each other2 thus1 
if you fix on any one colour of the     
#edj1 there is but one colour in the    
whole that is complementary to it1 and  

it is complementary to but this one     
other colour4  ,the student will do well
 to try and make a colour-diagram of    
this kind1 of a simple character1 say   
such as the following1 only using       
pigments for my numbers2 but in doing so
 he must exercise the utmost care1 in   
order that he secure some degree of     
accuracy of tint or shade1 and if he can
 call to his aid an experienced         
colourist it will be of great assistance
 to him4  ,illustration  ,this table is 
highly valuable1 as it gives ninety     
harmonies1 if carefully prepared in     
colour2 and the preparation of such a   
table is the very best practice that a  
student can possibly have4  ,let us for 
a moment consider this table1 and       
suppose that we want to find the        
complement to some particular colour1 as
 the third shade of red4 ,we find the   
complement of this in the third shade of
 green opposite4 ,if we want the        
complement of the second shade of       
orange-yellow1 we find it in the second 

shade of blue-purple opposite1 and so   
on4 ,thus we have a means of at once    
judging of the harmony of colours4  ,it 
must ever be borne in mind that pigments
 mixed in the proportions given will not
 yield results such as would occur when 
the coloured rays of light are combined2
 thus three parts1 either by weight or  
measure1 of chrome yellow when combined 
with eight parts of ultramarine would   
not form a colour representing the      
secondary green1 nor would the result be
 more satisfactory were other pigments  
combined in the proportions given4 ,what
 we have said in respect to the         
proportions in which colours combine to 
form new colours applies only to the    
coloured rays of light4  ,it must now be
 noticed that while colours harmonise in
 the proportions stated1 the areas      
occupied by the different colours may   
vary if there be a corresponding        
alteration in intensity4 ,thus eight of 
blue and eight of orange form a perfect 
harmony when both colours are of        

prismatic intensity2 but we shall still 
have a perfect harmony if the orange is 
diluted to one-half its strength with   
white1 and thus formed into a tint1     
provided there be sixteen parts of this 
orange of half strength to the eight    
parts of blue of full strength4  ,the   
orange might be further diluted to      
one-third of its full power1 but then   
twenty-four parts would be necessary to 
a perfect harmony with eight parts of   
prismatic blue2 or to one-fourth of its 
strength1 when thirty-two parts would be
 necessary to the harmony4  ,it is not  
desirable that ,i occupy space with     
diagrams of these quantities1 but the   
industrious student will prepare them   
for himself1 and will strive to realise 
a true half-tint1 quarter-tint1 etc41   
which is not a very easy thing to do4   
,by practice1 however1 it will readily  
be accomplished1 and anything achieved  
is a new power gained4  ,what ,i have   
said respecting the harmony of blue with
 tints of orange will apply in all      

similar cases4 ,thus red will harmonise 
with tints of green1 provided the area  
of the tint be increased as the         
intensity is decreased2 and so will     
yellow harmonise with tints of purple   
under similar conditions4  ,but we may  
reverse the conditions1 and lower the   
primary to a tint retaining the         
secondary in its intensity4 ,thus blue1 
if reduced to a half-tint1 will         
harmonise with orange of prismatic      
intensity in the proportion of sixteen  
of blue to eight of orange2 or1 if      
reduced to a quarter-tint1 in the       
proportion o,l thirty-two of blue to    
eight of orange4 ,red1 if reduced to a  
half-tint1 will harmonise in the        
proportion of ten red to eleven of      
green2 and yellow as a half-tint in the 
proportion of six yellow to thirteen of 
purple4  ,the same remarks might be made
 respecting the harmony of shades of    
colour with colours of prismatic        
intensity4 ,thus1 if orange is diluted  
to a shade of half intensity with black1

 it will harmonise with pure blue in the
 proportion of sixteen of orange to     
eight of blue1 and so on1 just as in the
 case of tints2 and this principle      
applies to the harmony of all hues of   
colour also4  ,to go one step further3  
we scarcely ever deal with pure colours 
or their shades or tints1 or even come  
as near them as we can4 ,with great     
intensity of colour we seem to require  
an ethereal character1 such as we have  
in those of light2 but our pigments are 
coarse and earthy--they are too         
real-looking1 and are not ethereal--they
 may be said to be corporeal rather than
 spiritual in character4 ,for this      
reason we have to avoid the use of our  
purest pigments in such quantities as   
render their poverty of nature manifest1
 and to use for large surfaces such     
tints as1 through their subtlety of     
composition1 interest and please4 ,a    
tint the composition of which is not    
apparent is always preferable to one of 
more obvious formation4 ,thus we are led

 to use tints which are subtly formed1  
and such as please by their newness and 
bewilder by the intricacy of formation4 
,to do what ,i here mean it is not      
necessary that many pigments be mixed   
together in order to the formation of a 
tint4 ,the effect of which ,i speak can 
frequently be got by two well-chosen    
pigments4 ,thus a fine series of        
low-toned shades can be produced by     
mixing together middle-chrome and       
brown-lake in various proportions1 and  
in all of the shades thus formed the    
three primary colours will be           
represented1 but in some yellow will    
predominate1 and in others red2 while in
 many it will not be easy to discover to
 what proportionate extent the three    
primary colours are present4  ,let us   
suppose that we make a tint by adding   
white to cobalt blue4 ,this blue        
contains a small amount of yellow1 and  
is a slightly green blue4 ,but to this  
tint we add a small amount of raw umber 
with the view of imparting a greyness#ae

 or atmospheric character4 ,raw umber is
 a neutral colour1 leaning slightly to  
yellow--that is1 it consists of red1    
blue1 and yellow1 with a slight excess  
of the latter4 ,in order that an orange 
harmonise with this grey-blue of a      
slightly yellow tone1 the orange must be
 slightly inclined to red1 so as to form
 the complement of the little green     
formed by the yellow in the blue4 ,it   
may harmonise with the grey-blue as a   
pure tint if the area of the diluted and
 neutralised primary is sufficiently    
extended1 or may itself be likewise     
reduced to a tint of the same depth1    
when both tints would have the same     
area4  #ae ,cobalt1 raw umber1 and white
 make a magnificent grey1 both in       
oil-colours1 in tempera 7powder-colours 
mixed with gum-water71 and in distemper 
7powder-colours mixed with size74  ,i   
might go on multiplying cases of this   
character to almost any extent1 but     
these ,i leave the student to work out  
for himself1 and pass to notice that    

while it is desirable to use subtle     
tints 7often called broken tints7 it is 
rarely expedient to make up the full    
harmony by a large area of a tertiary   
tone and a single positive colour4      
,thus1 we might have a shade or a tint  
of citrine spreading over a large       
surface as a ground on which we wished  
to place a figure4 ,this figure would   
harmonise in pure purple were it of a   
certain size1 and yet if thus coloured  
it would give a somewhat common-place   
effect when finished1 for the harmony   
would be too simple and obvious4 ,it    
would be much better to have the        
nineteen parts of citrine reduced1 say1 
to half intensity1 when the area would  
be increased to thirty-eight1 with the  
figure of eight parts of blue and five  
of red1 than of thirteen parts of       
purple4  ,but it would be better still  
if there were the thirty-eight parts of 
reduced citrine1 three parts of pure    
yellow1 thirteen of purple1 five of red1
 and eight of blue1 together with white1

 black1 or gold1 or all three 7these may
 be added without altering the          
conditions1 as all act as neutrals71 for
 here the harmony is of a more subtle   
character4  ,if we count up the         
equivalents of the colours employed in  
this scheme of harmony1 we shall see    
that we have1 in the citrine--          
,yellow  #f 7two equivalents74     ,blue
    #h 7one equivalent74     ,red     #e
 7one equivalent74  ,in the purple--    
,blue    #h 7one equivalent74     ,red  
#e 7one equivalent74  ,of the pure      
colours--      ,yellow  #c 7one         
equivalent74     ,red     #e 7one       
equivalent74     ,blue    #h 7one       
equivalent74  ,thus we have three       
equivalents of each primary1 which give 
a perfect harmony4  ,i must not say more
 respecting the laws of harmony1 for in 
the space of a small work it is         
impossible to do so1 but proceed to     
notice certain effects or properties of 
colours1 which ,i have as yet only      
alluded to1 or have passed altogether   

unnoticed4  ,i have said that black1    
white1 and gold are neutral as regards  
colour4 ,this is the case1 although many
 would suppose that gold was a yellow4  
,gold will act as a yellow1 but it is   
generally employed as a neutral in      
decorative work1 and it is more of a    
neutral than a yellow1 for both red and 
blue exist largely in it4 ,the pictorial
 artist frames his picture with gold    
because it1 being a neutral1 does not   
interfere with the tints of his work4   
,it has the further advantage of being  
rich and costly in appearance1 and thus 
of giving an impression of worth where  
it exists4  ,black1 white1 and gold1    
being neutral1 may be advantageously    
employed to separate colours where      
separation is necessary or desirable4   
,yellow and purple harmonise1 but yellow
 is a light colour and purple is dark4  
,these colours not only harmonise1 but  
also contrast as to depth1 the one being
 light and the other dark4 ,the limit of
 each colour1 wherever these are used in

 juxtaposition1 is therefore obvious4   
,it is not so with red and green1 for   
these harmonise when of the same depth4 
,this being the case1 and red being a   
glowing colour1 if a red object is      
placed on a green ground1 or a green    
object on a red ground1 the figure and  
ground will appear to swim together1 and
 will produce a dazzling effect4 ,colour
 must assist form1 and not confuse it4  
,it will do this in the instance just   
named if the figure is outlined with    
black1 white1 or gold1 and there will be
 no loss of harmony4 ,but experience has
 shown that this effect can also be     
averted by outlining the figure with a  
lighter tint of its own colour4 ,thus1  
if the figure is red and the ground     
green1 an outline of lighter red 7pink7 
may be employed4 7,see ,proposition #bf1
 page #cd47  ,a blue figure on a red    
ground 7as ultramarine on carmine71 or a
 red figure on a blue ground1 will also 
produce this swimming and unsatisfactory
 effect1 but this is again obviated by  

an outline of black1 white1 or gold4    
,employing the outline thus must not be 
regarded as a means of merely rendering 
what was actually unpleasant endurable1 
for it does much more--it affords one of
 the richest means of effect4 ,a carmine
 ground well covered with bold green    
ornament having a gold outline is1 if   
well managed1 truly gorgeous2 and were  
the figure blue on the red ground1 the  
lavish use of gold would render the     
employment of yellow unnecessary as the 
yellow formed in the eye and cast upon  
the gold would satisfy all requirements4
  ,it is a curious fact that the eye    
will create any colour of which there is
 a deficiency4 ,this it will do1 but the
 colour so created is of little use to  
the composition unless white or gold is 
present2 if1 however1 there be white or 
gold in the composition1 the colour     
which is absent1 or is insufficiently   
represented1 will be formed in the eye  
and cast upon these neutrals1 and the   
white or the gold1 as the case may be1  

will assume the tint of the deficient or
 absent colour4 7,see ,propositions #h  
and #i1 page #cb47  ,while this occurs  
7and sometimes it occurs to a marked    
degree1 as can be shown by experiment71 
it must not be supposed that a          
composition in which any element is     
wanting is as perfect as one which      
reveals no want4 ,it is far otherwise2  
only ,nature here comes to our          
assistance1 and is content to help      
herself rather than endure our          
short-comings2 but in the one case we   
give ,nature the labour of completing   
the harmony2 while in the other1 all    
being prepared1 we receive a sense of   
satisfaction and repose4  ,in           
,proposition #h we showed that when blue
 and black are juxtaposed1 the black    
becomes rusty1 or assumes an orange     
tint2 and in ,proposition #i we gave the
 cause of this effect4 ,let a blue spot 
be placed on a black silk necktie1 and  
however black the silk1 it will yet     
appear rusty4 ,this is a fact2 but we   

sometimes desire to employ blue on      
black1 and wish the black to look black1
 and not an orange-black4 ,how can we do
 this8 ,obviously by substituting for   
the black a very dark blue1 as indigo4  
,the bright blue spot induces orange    
7the complement of blue7 in the eye4    
,this orange1 when cast upon black1     
causes the latter to look rusty2 but if 
we place in the black an amount of blue 
sufficient to neutralise the orange cast
 upon it1 the effect will be that of a  
jet-black4  ,we have now considered     
those qualities of colour1 and those    
laws of contrast and harmony1 which may 
be said to be of the grosser sort2 but  
we have scarcely touched on those       
considerations which pertain to special 
refinement or tenderness of effect4 ,but
 let me close the part of my subject of 
which ,i have treated1 by repeating a   
statement already made--a statement1 let
 me say1 which first led me to perceive 
really harmony of colour--that those    
colours1 and those particular hues of   

colour1 which improve each other to the 
utmost1 are those which perfectly       
harmonise4 7,consider this statement in 
connection with ,propositions #h1 #i1   
#aj1 and #ad1 pages #cb and #cc47       
99       99       99       99       99  
,we come now to consider delicacies and 
refinements in colour effects1 which1   
although dependent upon the skilful     
exercise of the laws enunciated1 are yet
 of a character1 the power to produce   
which only results from the             
consideration of the works of the       
masters of great art-nations2 but of    
these effects ,i can say little beyond  
pointing out what should be studied4    
,this principle however ,i cannot pass  
without notice--namely1 that the finest 
colour effects are those of a rich1     
mingled1 bloomy character4  ,imagine a  
luxuriant garden1 the beds in which are 
filled with a thousand flowers1 having  
all the colours of the rainbow1 and     
imagine these arranged as closely       
together as will permit of their growth4

 ,when viewed from a distance the effect
 is soft and rich1 and full and varied1 
and is all that is pleasant4 ,this is   
,nature's colouring4 ,it is our work    
humbly to strive at producing like      
beauty with her4  ,this leads me to     
notice that primary colours 7and        
secondary colours1 also1 when of great  
intensity7 should be used chiefly in    
small masses1 together with gold1 white1
 or black4  ,visit the ,indian ,museum  
at ,whitehall1#af and consider the      
beautiful ,indian shawls and scarves and
 table-covers2 or1 if unable to do so1  
look in the windows of our large drapers
 in the chief towns1 and see the true   
,indian fabrics1#ag and observe the     
manner in which small portions of       
intense reds1 blues1 yellows1 greens1   
and a score of tertiary tints1 are      
combined with white and black and gold  
to produce a very miracle of bloom4 ,i  
know of nothing in the way of colour    
combination so rich1 so beautiful1 so   
gorgeous1 and yet so soft1 as some of   

these ,indian shawls4  #af ,this museum 
is open free to the public4  #ag ,these 
will only be seen in very first-class   
shops4  ,it is curious that we never    
find a purely ,indian work otherwise    
than in good taste as regards colour    
harmony4 ,indian works1 in this         
respect--whether carpets1 or shawls1 or 
dress materials1 or lacquered boxes1 or 
enamelled weapons--are almost           
perfect--perfect in harmony1 perfect in 
richness1 perfect in the softness of    
their general effect4 ,how strangely    
these works contrast with ours1 where an
 harmonious work in colours is scarcely 
ever seen4  ,by the co-mingling 7not    
co-mixing7 of colours in the manner just
 described1 a rich and bloomy effect can
 be got1 having the general tone of a   
tertiary colour of any desired hue4     
,thus1 if a wall be covered with little 
ornamental flowerets1 by colouring all  
alike1 and letting each contain two     
parts of yellow and one part of blue and
 one of red1 as separate and pure       

colours1 the distant hue will be that of
 citrine3 the same effect will result if
 the flowers are coloured variously1    
while the same proportions of the       
primaries are preserved throughout4 ,i  
can conceive of no decorative effects   
more subtle1 rich1 and lovely than those
 of which ,i now speak4  ,imagine three 
rooms1 all connected by open archways1  
and all decorated with a thousand       
flower-like ornaments1 and these so     
coloured1 in this mingled manner1 that  
in one room blue predominates1 in       
another red1 and in another yellow2 we  
should then have a beautiful tertiary   
bloom in each--a subtle mingling of     
colour1 an exquisite delicacy and       
refinement of treatment1 a fulness such 
as always results from a rich mingling  
of hues1 and an amount of detail which  
would interest when closely inspected2  
besides which1 we should have the       
harmony of the general effect of the    
three rooms1 the one appearing as olive1
 another as citrine1 and the other as   

russet4  ,this mode of decoration has   
this advantage1 that it not only gives  
richness and beauty1 but it also gives  
purity4 ,if pigments are mixed together 
they are thereby reduced in intensity1  
as we have already seen2 but if placed  
side by side1 when viewed from a        
distance the eye will mix them1 but they
 will suffer no diminution of           
brilliancy4  ,with the view of          
cultivating the eye1 ,eastern works     
cannot be too carefully studied4 ,the   
,indian ,museum should be the home of   
all who can avail themselves of the     
opportunity of study which it affords2  
and the small ,indian department of the 
,south ,kensington ,museum should not be
 neglected1 small though it is4#ah      
,chinese works must also be considered1 
for they likewise supply most valuable  
examples of colour harmony2 and although
 they do not present such a perfect     
colour bloom as do the works of ,india1 
yet they are never inharmonious1 and    
give clearness and sharpness1 together  

with great brilliancy1 in a manner not  
attempted by the ,indians4  #ah ,it may 
not be generally known1 but nearly all  
our large manufacturing towns have1 in  
connection with the ,chamber of         
,commerce1 a collection of ,indian      
fabrics1 filling several large volumes1 
which were prepared1 at the expense of  
,government1 under the superintendence  
of ,dr4 ,forbes ,watson1 and which were 
given to the various towns on the       
condition that they be accessible to all
 persons who are trustworthy4 ,although 
these collections do not embrace the    
costly decorated fabrics1 yet much can  
be learned from them1 and the           
combinations of colour are always       
harmonious4 ,a much larger collection is
 now in course of formation4  ,the best 
works of ,chinese embroidery are rarely 
seen in this country2 but these are     
unsurpassed by the productions of any   
other people4 ,for richness1 splendour1 
and purity of colour1 together with a   
delicious coolness1 ,i know of nothing  

to equal them4  ,the works of the       
,japanese are not to be overlooked1 for 
in certain branches of art they are     
inimitable1 and as colourists they are  
almost perfect4 ,on the commonest of    
their lacquer trays we generally have a 
bit of good colouring1 and their        
coloured pictures are sometimes marvels 
of harmony4  ,as to the styles of       
colouring adopted by the nations        
referred to1 ,i should say that the     
,indians produce rich1 mingled1 bloomy1 
warm effects--that is1 effects in which 
red and yellow prevail2 that the        
,chinese achieve clearness1 repose1 and 
coolness--a form of colouring in which  
blue and white prevail2 and that the    
,japanese effects are warm1 simple1 and 
quiet4  ,besides studying the works of  
,india1 ,china1 and ,japan1 study those 
also of ,turkey and ,morocco1 and even  
those of ,algeria1 for here the         
colouring is much better than with us1  
although not so good as in the countries
 first named4 ,no aid to progress must  

be neglected1 and no help must be       
despised4#ai  #ai ,the ,south           
,kensington ,museum has a very          
interesting collection of art-works from
 ,china and ,japan2 but the latter are  
chiefly lent4 ,it is a strange thing    
that the perfect works of the ,east are 
so poorly illustrated in this national  
collection1 while costly1 yea1 very     
costly works of inferior character1     
illustrative of ,renaissance art1 swarm 
as thickly as flies in ,august4 ,this   
can only be accounted for by the fact   
that the heads of the institution have a
 feeling for pictorial rather than      
decorative art1 and the ,renaissance    
ornament is that which has most of the  
pictorial element4 ,to me1 the style    
appears to owe its very weakness to this
 fact1 for decorative art should be     
wholly ideal4 ,pictorial art is of      
necessity more or less imitative4  ,with
 the view of refining the judgment      
further in respect to colour1 get a good
 colour-top1#bj and study its beautiful 

effects4 ,see also the gas tubes        
illuminated by electricity1 as sold by  
opticians1 and let the prism yield you  
daily instruction4 ,soap-bubbles may    
also be blown1 and the beautiful colours
 seen in them carefully noted4 ,these   
and any other available means of        
cultivating the eye should constantly be
 resorted to1 as by such means only can 
we become great colourists4  #bj ,not   
the so-called colour or chameleon top   
sold in the toy-shops1 but the more     
scientific toy procurable of opticians1 
together with the perforated discs of   
,mr4 ,john ,graham1 ,m4,r4,c4,s41 of    
,tunbridge1 ,kent4  ,as to works on     
colour1 we have the writings of ,field1 
to whom we are indebted for valuable    
discoveries2 of ,hay1 the decorator1 and
 friend of the late ,david ,roberts1 but
 some of his ideas are wild and         
,utopian2 of ,chevreul1 whose work will 
be most useful to the student2 and the  
small catechism of colour by ,mr4       
,redgrave1 of the ,south ,kensington    

,museum1 which is excellent4 ,the       
student will also do well to carefully  
study the excellent manual of ,colour by
 ,professor ,church1 of ,cirencester    
,college4     ,,chapter ,,iii4          
,,furniture4   ,having considered those 
principles which are of primary         
importance to the ornamentist1 we may   
commence our notice of the various      
manufactures1 and try to discover what  
particular form of art should be applied
 to each1 and the special manner in     
which decorative principles should be   
considered as applicable to various     
materials and modes of working4  ,we    
shall first consider furniture1 or      
cabinet-work1 because articles of       
furniture occupy a place of greater     
importance in a room than carpets1      
wall-papers1 or1 perhaps1 any other     
decorative works2 and1 also1 because we 
shall learn from a consideration of     
furniture those structural principles   
which will be of value to us in         
considering the manner in which all     

art-objects should be formed if they    
have solid1 and not simply superficial1 
dimensions4  ,in the present chapter1 ,i
 shall strive to impress the fact that  
design and ornamentation may be         
essentially different things1 and that  
in considering the formation of works of
 furniture these should be regarded as  
separate and distinct4 ,design1 says    
,redgrave1 has reference to the         
construction of any work both for use   
and beauty1 and therefore includes its  
ornamentation also4 ,ornament is merely 
the decoration of a thing constructed4  
,the construction of furniture will form
 the chief theme of this chapter1 for   
unless such works are properly          
constructed they cannot possibly be     
useful1 and if not useful they would    
fail to answer the end for which they   
were contrived4  ,but before commencing 
a consideration of the principles       
involved in the construction of works of
 furniture1 let me summarise what is    
required in such works if they are to   

assume the character of art-objects4    
#a4 ,the general form1 or mass form1 of 
all constructed works must be carefully 
considered4 ,the aspect of the          
sky-blotch of an architectural edifice  
is very important1 for as the day wanes 
the detail fades and parts become       
blended1 till the members compose but   
one whole1 which1 when seen from the    
east1 appears as a solid mass drawn in  
darkness on the glowing sky2 this is the
 sky-blotch4 ,if the edifice en masse is
 pleasing1 a great point is gained4     
,indeed1 the general contour should have
 primary consideration4 ,in like manner1
 the general form of all works of       
furniture should first be cared for1 and
 every effort should be made at securing
 to the general mass beauty of shape4   
#b4 ,after having cared for the general 
form1 the manner in which the work shall
 be divided into primary and secondary  
parts must be considered with reference 
to the laws of proportion1 as stated in 
a former chapter4  #c4 ,detail and      

enrichment may now be considered2 but   
while these cannot be too excellent1    
they must still be subordinate in       
obtrusiveness to the general mass1 or to
 the aspect of the work as a whole4  #d4
 ,the material of which the object is   
formed must always be worked in the most
 natural and appropriate manner4  #e4   
,the most convenient or appropriate form
 for an object should always be chosen1 
for unless this has been done1 no       
reasonable hope can be entertained that 
the work will be satisfactory2 for the  
consideration of utility must in all    
cases precede the consideration of      
beauty1 as we saw in our first chapter4 
,having made these few general remarks1 
we must consider the structure of works 
of furniture4 ,the material of which we 
form our furniture is wood4 ,wood has a 
grain1 and the strength of any          
particular piece largely depends upon   
the direction of its grain4 ,it may be  
strong if its grain runs parallel with  
its length1 or weak if the grain crosses

 diagonally1 or very weak if the grain  
crosses transversely4 ,however strong   
the wood1 it becomes comparatively much 
weaker if the grain crosses the piece2  
and however weak the wood1 it becomes   
yet weaker if the grain is transverse or
 diagonal4 ,these considerations lead us
 to see that the grain of the wood must 
always be parallel with its length      
whenever strength is required4  ,for our
 guidance in the formation of works of  
furniture1 ,i give the following short  
table of woods arranged as to their     
strength3--  ,iron-wood1 from           
,jamaica--very strong1 bearing great    
lateral pressure4  ,box of ,illawarry1  
,new ,south ,wales--very strong1 but not
 so strong as iron-wood4  ,mountain ash1
 ,new ,south ,wales--about two-thirds   
the strength of iron-wood4              
,beech--nearly as strong as mountain    
ash4  ,mahogany1 from ,new ,south       
,wales--not quite so strong as last4    
,black dog-wood of                      
,jamaica--three-fourths as strong as the

 mahogany just named4  ,box-wood1       
,jamaica--not half as strong as the box 
of ,new ,south ,wales4  ,cedar of       
,jamaica--half as strong as the mahogany
 of ,new ,south ,wales4#ba  #ba ,for    
full particulars on this subject see    
,catalogue of the ,collection           
illustrating ,construction and ,building
 ,material1 in the ,south ,kensington   
,museum1 and the manual of ,technical   
,drawing for ,cabinetmakers1 by ,e4 ,a4 
,davidson4  ,wood can be got of         
sufficient length to meet all the       
requirements of furniture-making1 yet we
 not unfrequently find the arch         
structurally introduced into furniture1 
while it is absurd to employ it in      
wooden construction of any kind4 ,the   
arch is a most ingenious invention1 as  
it affords a means of spanning a large  
space with small portions of material1  
as with small stones1 and at the same   
time gives great strength4 ,it is1      
therefore1 of the utmost utility in     
constructing stone buildings2 but in    

works of furniture1 where we have no    
large spaces to span1 and where wood is 
of the utmost length required1 and is   
stronger than our requirements demand1  
the use of the arch becomes structurally
 foolish and absurd4 ,the folly of this 
mode of structure becomes more apparent 
when we notice that a wooden arch is    
always formed of one or two pieces1 and 
not of very small portions1 and when we 
further consider that1 in order to the  
formation of an arch1 the wood must be  
cut across its grain throughout the     
greater portion of its length1 whereby  
its strength is materially decreased2   
while if the arch were formed of small  
pieces of stone great strength would be 
secured4 ,nothing can be more absurd    
than the practice of imitating in one   
material a mode of construction which is
 only legitimate in the case of another1
 and of failing to avail ourselves of   
the particular mode of utilising a      
material which secures a maximum of     
desirable results4  ,while ,i protest   

against the arch when structurally used 
in furniture1 ,i see no objection to it 
if used only as a source of beauty1 and 
when so situated as to be free from     
strain or pressure4  ,one of the objects
 which we are frequently called upon to 
construct is a chair4 ,the chair is1    
throughout ,europe and ,america1        
considered as a necessity of every      
house4 ,so largely used are chairs1 that
 one firm at ,high ,wycombe employs     
#e1jjj hands in making common           
cane-bottomed chairs alone2 and yet we  
see but few chairs in the market which  
are well constructed4 ,all chairs having
 curved frames--whether the curve is in 
the wood of the back1 in the sides of   
the seat1 or in the legs--are           
constructed on false principles4 ,they  
are of necessity weak1 and being weak   
are not useful4 ,as they are formed by  
using wood in a manner which fails to   
utilise its qualities of strength1 these
 chairs are offensive and absurd4 ,it is
 true that1 through being surrounded by 

such ill-formed objects from our        
earliest infancy1 the eye often fails to
 be offended with such works as would   
offend it were they new to it2 but this 
does not show that they are the less    
offensive1 nor that they are not        
constructively wrong4 ,besides1 whenever
 wood is cut across the grain1 in order 
that we get anything approaching the    
requisite strength1 it has to be much   
thicker and more bulky than would be    
required were the wood cut with the     
grain2 hence such furniture is          
unnecessarily heavy and clumsy4  ,fig4  
#bf represents a chair which ,i have    
taken the liberty of borrowing from ,mr4
 ,eastlake's work on household art4#bb  
,this chair ,mr4 ,eastlake gives as an  
illustration of good taste in the       
construction of furniture2 but ,i give  
it as an illustration of that which is  
essentially bad and wrong4 ,the legs are
 weak1 being cross-grained throughout1  
and the mode of uniting the upper and   
lower portions of the legs 7the two     

semicircles7 by a circular boss is      
defective in the highest degree4 ,were  
,i sitting in such a chair1 ,i should be
 afraid to lean to the right or the     
left1 for fear of the chair giving way4 
,give me a ,yorkshire rocking-chair1 in 
preference to one of these1 where ,i    
know of my insecurity1 much as ,i hate  
such4  #bb ,the title of the work is    
,hints on ,household ,taste4 ,it is well
 worth reading1 as much may be learned  
from it4 ,i think ,mr4 ,eastlake right  
in many views1 yet wrong in others1 but 
,i cannot help regarding him somewhat as
 an apostle of ugliness1 as he appears  
to me to despise finish and refinement4 
,a chair is a stool with a back-rest1   
and a stool is a board elevated from the
 ground or floor by supports1 the degree
 of elevation being determined by the   
length of the legs of the person for    
whom the seat is made1 or by the degree 
of obliquity which the body and legs are
 desired to take when the seat is in    
use4 ,if the seat is to support the body

 when in an erect sitting posture1 about
 seventeen to eighteen inches will be   
found a convenient height for the       
average of persons2 but if the legs of  
the sitter are to take an oblique       
forward direction1 then the seat may be 
lower4  ,illustration3 ,fig4 #bf4       
,illustration3 ,fig4 #bg4  ,a stool may 
consist of a thick piece of wood and of 
three legs inserted into holes bored in 
this thick top4 ,if these legs pass to  
the upper surface of the seat1 and are  
properly wedged in1 a useful yet clumsy 
seat results4 ,in order that the top of 
the stool be thin and light1 it will be 
necessary that the legs be connected by 
frames1 and it will be well that they be
 connected twice1 once at the top of    
each leg1 so that the seat may rest upon
 this frame1 and once at least          
two-thirds of the distance from the top4
 ,the frame would now stand alone1 and  
although the seat is formed of thin wood
 it will not crack1 as it is supported  
all round on the upper frame4           

,illustration3 ,fig4 #bh4  ,a chair1 ,i 
have said1 is a stool with a back4      
,there is not one chair out of fifty    
that we find with the back so attached  
to the seat as to give a maximum of     
strength4 ,it is usual to make a back   
leg and one side of the chair-back out  
of one piece of wood--that is1 to       
continue the back legs up above the     
seat1 and cause them to become the sides
 of the chair-back4 ,when this is done  
the wood is almost invariably curved so 
that the back legs and the chair-back   
both incline outwards from the seat4    
,there is no objection whatever to the  
sides of the back and the legs being    
formed of the one piece1 but there is a 
great objection to either the supports  
of the back or the legs being formed of 
cross-grained wood1 as much of their    
strength is thereby sacrificed4 ,our    
illustrations 7,figs4 #bg to #cb7 will  
give several modes of constructing      
chairs such as ,i think legitimate2 but 
,i will ask the reader to think for     

himself upon the construction of a      
chair1 and especially upon the proper   
means of giving due support to the back4
  ,i have given1 in an axiomatic form1  
those principles which should guide us  
in the construction of works of         
furniture1 and endeavoured to impress   
the necessity of using wood in that     
manner which is most natural--that is1  
working it with the grain 7the manner in
 which we can most easily work it71 and 
in that way which shall secure the      
greatest amount of strength with the    
least expenditure of material4 ,i wish  
to impress my readers with the          
importance of these considerations1 for 
they lie at the very root of the        
successful construction of furniture4   
,if the legs of chairs1 or their        
seat-frames1 or the ends or backs of    
couches1 are formed of wood cut across  
the grain1 they must either be thick and
 clumsy1 or weak2 but1 besides this1 the
 rightly constituted mind can only      
receive pleasure from the contemplation 

of works which are wisely formed4 ,daily
 contact1 as we have before said1 with  
ill-shaped objects may have more or less
 deadened our senses1 so that we are not
 so readily offended by deformity and   
error as we might be2 yet1 happily for  
us1 directly we seek to separate truth  
from error1 the beautiful from the      
deformed1 reason assists the judgment1  
and we learn to feel when we are in the 
presence of the beautiful or in contact 
with the degraded4  ,my illustrations   
will show how ,i think chairs should be 
constructed4 ,fig4 #bf is essentially   
bad1 although it has traditional        
sanction1 hence ,i pass it over without 
further comment4 ,fig4 #bg is in the    
manner of an ,egyptian chair4 ,it serves
 to show the careful way in which the   
,egyptians constructed their works4 ,the
 curved rails against which the back    
would rest are the only parts which are 
not thoroughly correct and satisfactory 
in a wood structure4 ,were the curved   
back members metal1 the curvature would 

be desirable and legitimate4 ,the back  
of this chair1 if the side members were 
connected by a straight rail1 would have
 immense strength 7the backs of some of 
our chairs are of the very weakest71 and
 if well made it is a seat which would  
endure for centuries4 ,fig4 #bh is a    
chair of my own designing1 in which ,i  
have sought to give strength to the back
 by connecting its upper portion with a 
strong cross-rail of the frame4         
,illustration3 ,fig4 #bi4               
,illustration3 ,fig4 #cj4  ,fig4 #bi is 
a chair slightly altered from one in    
,mr4 ,eastlake's work on ,household     
,taste2 as shown in our illustration1 it
 is a correctly formed work4 ,fig4 #cj  
is an arm-chair in the ,greek style1    
which ,i have designed4 ,fig4 #ca is a  
,lady's chair in the ,gothic style2     
,fig4 #cb1 a lady's chair in early      
,greek4 ,these ,i have prepared to show 
different modes of structure2 if the    
legs are fitted to a frame 7the         
seat-frame71 as in the early ,greek     

chair just alluded to1 they should be   
very short1 as in this instance1 or they
 must be connected by a frame below the 
seat1 as in ,figs4 #cc and #cd4 ,the    
best general structure is that in which 
the front legs pass to the level of the 
upper surface of the seat4              
,illustration3 ,fig4 #ca4               
,illustration3 ,fig4 #cb4  ,fig4 #cc is 
a copy of a chair shown by ,messrs4     
,gillow and ,co41 of ,oxford ,street1 in
 the last ,paris ,international         
,exhibition4 ,in many respects it is    
admirably constructed4 ,the skeleton    
brackets holding the back to the seat   
are very desirable adjuncts to light    
chairs2 so are the brackets connecting  
the legs with the seat-frame1 as these  
strengthen the entire chair4 ,the manner
 in which the upper rail of the back    
passes through the side uprights and is 
pinned is good4 ,the chief1 and only    
important1 fault in this chair is the   
bending of the back legs1 involving     
their being cut against the grain of the

 wood4  ,fig4 #ca is a chair from ,mr4  
,talbert's very excellent work on       
,gothic ,furniture4 ,it shows an        
admirable method of supporting the back4
 ,fig4 #ce ,i have designed as a        
high-backed lounging chair4 ,with the   
view of giving strength to the back1 ,i 
have extended the seat1 and arranged a  
support from this extension to the upper
 back-rail1 and this extension of the   
seat ,i have supported by a fifth leg4  
,there is no reason whatever why a chair
 should have four legs4 ,if three would 
be better1 or five1 or any other number1
 let us use what would be best4#bc  #bc 
,in my drawing1 the stuffing of the back
 has been accidentally shown too much   
rounded4  ,i have now given several     
illustrations of modes of forming       
chairs4 ,i might have given many more1  
but it is not my duty to try and exhaust
 a subject4 ,what ,i have to do is      
simply point out principles1 and call   
attention to facts4 ,it is the reader   
who must think for himself--first1 of   

the principles and facts which ,i       
adduce2 secondly1 of the illustrations  
which ,i give2 thirdly1 of other works  
which he may meet with2 and fourthly1 of
 further means of producing desirable   
and satisfactory results than those set 
forth in my illustrations4              
,illustration3 ,fig4 #cc4               
,illustration3 ,fig4 #cd4  ,as it cannot
 be doubted that a well-constructed     
work1 however plain or simple it may be1
 gives satisfaction to those who behold 
it--while a work of the most elaborate  
character fails to satisfy if badly     
constructed--we shall give a few further
 illustrations of structure for other   
articles of furniture1 besides chairs1  
which have become necessary to our mode 
of life4  ,fig4 #cf is one of my        
sketches for ,greek furniture1 designed 
for a wealthy client4 ,it was formed of 
black wood4 ,here the frame of the seat 
is first formed1 and the legs are       
inserted beneath it1 and let into it1   
while the wood-work of the end of the   

couch stands upon it1 being inserted    
into it4 ,this appears to have been the 
general method with the ,greeks of      
forming their furniture1 yet it is not  
so correct structurally as ,fig4 #cg1   
another of my sketches1 where the end   
and the leg are formed of one piece of  
wood4 ,the first formation 7that of     
,fig4 #cf7 would bear any amount of     
pressure from above1 but it is not well 
calculated for resisting lateral        
pressure2 while the latter would resist 
this lateral pressure1 but would not    
bear quite the same amount of pressure  
from above4 ,the latter1 however1 could 
bear more weight than would ever be     
required of it1 and would be the more   
durable piece of furniture4             
,illustration3 ,fig4 #ce4  ,fig4 #ch    
gives a legitimate formation for a      
settee2 the cutting-out1 or hollowing1  
of the sides of the legs is not carried 
to an extreme1 but leaves a sufficiency 
of strong wood with an upright grain to 
resist all the pressure that would be   

placed on the seat1 and the lower and   
upper thickened portions of the legs act
 as the brackets beneath the seat in    
,fig4 #cc4 ,the arch here introduced is 
not used structurally1 but for the sake 
of a curved line1 and acts simply as a  
pair of brackets4 ,this illustration is 
also from ,mr4 ,talbert's work4 ,fig4   
#ci is a table such as we occasionally  
meet with4 ,i see no objection to the   
legs leaning inwards at the top2 indeed1
 we have here a picturesque and useful  
table of legitimate formation4 ,fig4 #dj
 is the end elevation of a sideboard    
from ,mr4 ,talbert's work4 ,mark the    
simplicity of the structure4 ,the       
leading or structural lines are straight
 and obvious4 ,although ,mr4 ,talbert is
 not always right1 yet his book is well 
worthy of the most careful consideration
 and study2 and this ,i can truly say1  
that it compares favourably with all    
other works on furniture with which ,i  
am acquainted4  ,the general want which 
we perceive in modern furniture is      

simplicity of structure and truthfulness
 of construction4 ,if persons would but 
think out the easiest mode of           
constructing a work before they commence
 to design it1 and would be content with
 this simplicity of structure1 we should
 have very different furniture from what
 we have4 ,think first of what is       
wanted1 then of the material at command4
  ,i fear that ,i have very feebly      
enforced and very inefficiently         
illustrated the true principles on which
 works of furniture should be           
constructed2 and yet ,i feel that the   
structure of such works is of importance
 beyond all other considerations4 ,space
 is limited1 however1 and ,i must pass  
on2 hence ,i only hope that ,i have     
induced the reader to think for himself1
 and if ,i have done so ,i shall have   
fulfilled my desire1 for his progress   
will then be sure4  ,illustration3 ,fig4
 #cf4  ,illustration3 ,fig4 #cg4        
,respecting structure ,i have but a few 
general remarks further to make1 and all

 these are fairly embraced in the one   
expression1 ,be truthful4 ,an obvious   
and true structure is always pleasant4  
,let1 then1 the tenon and the mortise   
pass through the various members1 and   
let the parts be pinned together by     
obvious wooden pins4 ,thus1 if the frame
 of a chair-seat is tenoned into the    
legs1 let the tenon pass through the leg
 and be visible on the outer side1 and  
let it be held in its place by glue and 
wooden pins--the pins being visible4    
,yet they need not protrude beyond the  
surface2 but why hide them8 ,in this way
 that old furniture was made which has  
endured while piece after piece of      
modern furniture1 made with invisible   
joints and concealed nails and screws1  
has perished4 ,this is a true structural
 treatment1 and is honest in expression 
also4  ,illustration3 ,fig4 #ch4  ,i do 
not give this as a principle applicable 
to one class of furniture only1 but to  
all4 ,when we have pinned furniture with
 an open structure 7see the back of     

chair1 ,fig4 #cc71 the mode of putting  
together must of necessity be manifest2 
but in all other cases the tenons should
 also go through1 and the pins by which 
they are held in their place be driven  
from one surface to the other side right
 through the member4  ,in the           
commencement of this chapter on         
furniture1 ,i said that after the most  
convenient form has been chosen for an  
object1 and after it has been arranged  
that the material of which it is to be  
formed shall be worked in the most      
natural or befitting way1 that then the 
block-form must be looked to1 after     
which comes the division of the mass    
into primary parts1 and lastly1 the     
consideration of detail4  ,illustration3
 ,fig4 #ci4  ,as to the block-form1 let 
it be simple1 and have the appearance of
 appropriateness and consistency4 ,its  
character must be regulated1 to an      
extent1 by the nature of the house for  
which the furniture is intended1 and by 
the character of the room in which it is

 to be placed4 ,all ,i can say to the   
student on this part of the subject is  
this3 ,carefully consider good works of 
furniture whenever opportunity occurs1  
and note their general conformation4 ,a 
fine work will never have strong        
architectural qualities--that is1 it    
will not look like part of a building   
formed of wood instead of stone4 ,there 
is but small danger of committing any   
great error in the block-form1 if it be 
kept simple1 and to look like a work in 
wood1 provided that the proportions of  
height to width and of width and height 
to thickness are duly cared for 7see    
page #bc74  ,after the general form has 
been considered1 the mass may be broken 
into primary and secondary parts4 ,thus1
 if we have to construct a cabinet1 the 
upper part of which consists of a       
cupboard1 and the lower portion of      
drawers1 we should have to determine the
 proportion which the one part should   
bear to the other4 ,this is an          
invariable rule--that the work must not 

consist of equal parts2 thus1 if the    
whole cabinet be six feet in height1 the
 cupboards could not be three feet while
 the drawers occupied three feet also4  
,the division would have to be of a     
subtle character--of a character which  
could not be readily detected4 ,thus the
 cupboard might be three feet five      
inches1 and the drawers collectively two
 feet seven inches4 ,if the drawers are 
not all to be of the same depth1 then   
the relation of one drawer1 as regards  
its size1 to that of another must be    
considered1 and of each to the cupboard 
above4 ,in like manner the proportion of
 the panels of the doors to the styles  
must be thought out2 and until all this 
has been done no work should ever be    
constructed4  ,illustration3 ,fig4 #dj4 
,next comes the enrichment of parts4    
,carving should be sparingly used1 and  
is best confined to mouldings1 or       
projecting or terminal ends4 ,if        
employed in mouldings1 those members    
should be enriched which are more or    

less completely guarded from dust and   
injury by some overhanging member4 ,if  
more carving is used1 it should         
certainly be a mere enrichment of       
necessary structure--as we see on the   
legs and other uprights of ,mr4 ,crace's
 sideboard1 by ,pugin 7,fig4 #da74 ,i am
 not fond of carved panels1 but should  
these be employed the carving should    
never project beyond the styles         
surrounding them1 and in all cases of   
carving no pointed members must protrude
 so as to injure the person or destroy  
the dress of those who use the piece of 
furniture4 ,if carving is used          
sparingly1 it gives us the impression   
that it is valuable2 if it is lavishly  
employed1 it appears to be comparatively
 worthless4 ,the aim of art is the      
production of repose4 ,a large work of  
furniture which is carved all over      
cannot produce the necessary sense of   
repose1 and is therefore objectionable4 
,illustration3 ,fig4 #da4  ,there may be
 an excess of finish in works of carving

 connected with cabinet-work2 for if the
 finish is too delicate there is a lack 
of effect in the result4 ,a piece of    
furniture is not a miniature work1 which
 is to be investigated in every detail4 
,it is an object of utility1 which is to
 appear beautiful in a room1 and is not 
to command undivided attention2 it is a 
work which is to combine with other     
works in rendering an apartment         
beautiful4 ,the ,south ,kensington      
,museum purchased in the last ,paris    
,international ,exhibition1 at great    
cost1 a cabinet from ,fourdonois2 but it
 is a very unsatisfactory specimen1 as  
it is too delicate1 too tender1 and too 
fine for a work of utility--it is an    
example of what should be avoided rather
 than of what should be followed4 ,the  
delicately carved and beautiful panels  
of the doors1 if cut in marble and used 
as mere pieces of sculpture1 would have 
been worthy of the highest commendation2
 but works of this kind wrought in a    
material that has a grain1 however      

little the grain may show1 are absurd4  
,besides1 the subjects are of too       
pictorial a character for applied       
work--that is1 they are treated in too  
pictorial or naturalistic a manner4 ,a  
broad1 simple1 idealised treatment of   
the figure is that which is alone       
legitimate in cabinet work4  ,supports  
or columns carved into the form of human
 figures are always objectionable4      
,besides carving1 as a means of         
enrichment1 we have inlaying1 painting1 
and the applying of plaques of stone or 
earthenware1 and of brass or ormolu     
enrichments1 and we have the inserting  
of brass into the material when         
buhl-work is formed4  ,inlaying is a    
very natural and beautiful means of     
enriching works of furniture1 for it    
leaves the flatness of the surface      
undisturbed4 ,a great deal may be done  
in this way by the employment of simple 
means4 ,a mere row of circular dots of  
black wood inlaid in oak will often give
 a remarkably good effect2 and the dots 

can be worked with the utmost ease4     
,three dots form a trefoil1 four dots a 
quatrefoil1 six dots a hexafoil1 and so 
on1 and desirable effects can often be  
produced by such simple inlays4  ,panels
 of cabinets may be painted1 and        
enriched with ornament or flatly-treated
 figure subjects4 ,this is a beautiful  
mode of decoration very much neglected4 
,the couch 7,fig4 #cg7 ,i intended for  
enrichment of this kind4 ,if this form  
is employed1 care should be exercised in
 order that the painted work be in all  
cases so situated that it cannot be     
rubbed4 ,it should fill sunk panels and 
hollows and never appear on advancing   
members4  ,i am not fond of the         
application of plaques of stone or      
earthenware to works of furniture4      
,anything that is brittle is not        
suitable as an enrichment of wood-work1 
unless it can be so placed as to be out 
of danger4  ,ormolu ornaments1 when     
applied to cabinets and other works in  
wood1 are also never satisfactory4 ,they

 look too separate from the wood of     
which the work is formed--too obviously 
applied2 and whatever is obviously      
applied to the work1 and is not a       
portion of its general fabric1 whether a
 mass of flowers even if carved in wood 
or an ormolu ornament1 is not pleasant4 
,buhl-work is often very clever in      
character and skilfully wrought1 but ,i 
do not care for it4 ,it is of too       
laborious a nature1 and thus intrudes   
upon us the sense of labour as well as  
that of skill4 ,as a means of           
enrichment1 ,i approve of carving1      
sparingly used1 of inlays1 and of       
painted ornament in certain cases2 and  
by the just employment of these means   
the utmost beauty in cabinet-work can be
 achieved4 ,ebony inlaid with ivory is  
very beautiful4  ,in order to illustrate
 my remarks respecting cabinets1        
sideboards1 and similar pieces of       
furniture1 ,i give an engraving of a    
sideboard executed by ,mr4 ,crace1 from 
the design of ,mr4 ,a4 ,welby ,pugin    

7the father71 to which ,i have before   
alluded 7,fig4 #da71 and a painted      
cabinet by ,mr4 ,burgess 7,fig4 #db71   
the well-known ,gothic architect1 whose 
architecture must be admired4 ,both of  
these works are worthy of study of a    
very careful kind4  ,illustration3 ,fig4
 #db4  ,in the sideboard1 notice first  
the general structure or construction of
 the work1 then the manner in which it  
is broken into parts1 and lastly1 that  
it is the structural members which are  
carved4 ,if this work has faults1 they  
are these3 first1 the carving is in     
excess--thus1 the panels would have been
 better plain2 and1 second1 in some     
parts there is a slight indication of a 
stone structure1 as in the buttress     
character of the ends of the sideboard4 
,to the cabinet much more serious       
objections may be taken4  #ast4 ,a roof 
is a means whereby the weather is kept  
out of a dwelling1 and tiles afford a   
means whereby small pieces of material  
enable us to form a perfect covering to 

our houses of a weather-proof character4
 ,it is very absurd1 then1 to treat the 
roof of a cabinet1 which is to stand in 
a room1 as if it were an entire house1  
or an object which were to stand in a   
garden4  #bnd4 ,the windows in the roof1
 which in the case of a house let light 
into those rooms which are placed in    
this part of the building1 and are      
formed in a particular manner so as the 
more perfectly to exclude rain1 become  
simply stupid when placed in the roof of
 a cabinet4 ,these1 together with the   
imitation tiled roof1 degrade the work  
to a mere doll's house in appearance4   
#crd4 ,a panelled structure1 which is   
the strongest and best structure1 is    
ignored2 hence strong metal bindings are
 necessary4  ,the painting of the work  
is highly interesting1 and had it been  
more flatly treated1 would then have    
been truthful1 and would yet have lent  
the same interest to the cabinet that it
 now does1 even if we consider the      
matter from a purely pictorial point of 

view4  ,before we pass from a           
consideration of furniture and          
cabinet-work generally1 we must notice a
 few points to which we have as yet     
merely referred1 or which we have left  
altogether unnoticed4 ,thus we have to  
consider upholstery as applied to works 
of furniture1 the materials employed as 
coverings for seats1 and the nature of  
picture-frames and curtain-poles2 we    
must also notice general errors in      
furniture1 strictly so called4  ,when   
examining certain wardrobes and cabinets
 in the ,international ,exhibition of   
#ahfb1 ,i was forcibly impressed with   
the structural truth of one or two of   
these works4 ,one especially commended  
itself to me as a fine structural work  
of classic character4 ,just as ,i was   
expressing my admiration1 the exhibitor 
threw open the doors of this well-formed
 wardrobe to show me its internal       
fittings1 when1 fancy my feelings at    
beholding the first door bearing with   
it1 as it opened1 the two pilasters that

 ,i conceived to be the supports of the 
somewhat heavy cornice above1 and the   
other door bearing away the third       
support1 and thus leaving the           
superincumbent mass resting on the thin 
sides of the structure only1 while they 
appeared altogether unable to perform   
the duty imposed upon them4 ,horrible6  
horrible6 was all ,i could exclaim4     
,some of the most costly works of       
furniture shown by the ,french in the   
last ,paris ,international ,exhibition  
were not free from this defect2 and this
 is strange1 for to the rightly         
constituted mind this one defect is of  
such a grave character as to neutralise 
whatever pleasure might otherwise be    
derived from contemplating the work4 ,we
 see a man1 a genius perhaps--a man     
having qualities that all must admire2  
but he has one great vice--one sin which
 easily besets him4 ,while the man has  
excellent and estimable qualities1 we   
yet avoid him1 for we see not the       
excellences but the vice4 ,it is so with

 such works of furniture as those of    
which we have been speaking1 for their  
defects are such as impress us more     
powerfully than their excellences4      
,respecting these works of furniture1   
this should be said3 they are more or   
less imitative of works of a debased    
art-period--of a period in which        
structural truth was utterly            
disregarded--yet this is no reason why  
we should copy the defects of our       
ancestors4  ,infinitely worse than the  
works just spoken of1 is falsely        
constructed ,gothic furniture1 where the
 very truthfulness of structure is      
openly set before us4 ,not long since ,i
 was staying with a client whose house  
is of ,gothic style4 ,being about to    
furnish drawings for the decorations of 
this mansion1 ,i was carefully noting   
the character of the architecture and of
 the furniture1 which latter had been   
designed and manufactured expressly for 
the house by a large ,yorkshire firm of 
cabinet-makers4 ,the structure of the   

furniture appeared just1 the proportions
 tolerably good1 the wood honest1 and   
the inlays judicious2 but1 can it be    
imagined1 the whole was a mere series of
 frauds and shams--the cross-grain ends 
of what should be supports were attached
 to the fronts of drawers1 pillars came 
away1 and such falsity became apparent  
as ,i never before saw4 ,how any person 
could possibly produce such furniture1  
be he ever so degraded1 ,i cannot think4
 ,i have seen works that are bad1 ,i    
have seen falsities in art1 but ,i never
 before saw such falsity of structure   
and such uncalled-for deception as these
 works presented4 ,the untrue is always 
offensive2 but when a special effort is 
made at causing a lie to appear as      
truth1 a double sense of disappointment 
is experienced when the untruthfulness  
is discovered4  ,in his work on         
,household ,taste1 to which ,i have     
before alluded1 ,mr4 ,eastlake objects1 
and ,i think very justly1 to the        
character of an ordinary telescopic     

dining-table4 ,he says3 ,among the      
dining-room appointments1 the table is  
an article of furniture which stands    
greatly in need of reform4 ,it is       
generally made of planks of polished oak
 or mahogany laid upon an insecure      
framework of the same material1 and     
supported by four gouty legs1 ornamented
 by the turner with mouldings which look
 like inverted cups and saucers piled   
upon an attic baluster4 ,i call the     
framework insecure1 because ,i am       
describing what is commonly called a    
'telescope' table1 or one which can be  
pulled out to twice its usual length1   
and1 by the addition of extra leaves in 
its middle1 accommodate twice the usual 
number of diners4 ,such a table cannot  
be soundly made in the same sense that  
ordinary furniture is sound2 it must    
depend for its support on some          
contrivance which is not consistent with
 the material of which it is made4 ,few 
people would like to sit on a chair the 
legs of which slid in and out1 and were 

fastened at the required height by a    
pin2 there would be a sense of          
insecurity in the notion eminently      
unpleasant4 ,you might put up with such 
an invention in camp1 or on a sketching 
expedition1 but to have it and use it   
under your own roof1 instead of a strong
 and serviceable chair1 would be absurd4
 ,yet this is very much what we do in   
the case of the modern dining-room      
table4 ,when it is extended it looks    
weak and untidy at the sides2 when it is
 reduced to its shortest length the legs
 appear heavy and ill-proportioned4 ,it 
is always liable to get out of order1   
and from the very nature of its         
construction must be an inartistic      
object4 ,why should such a table be made
 at all8 ,a dining-room is a room to    
dine in4 ,whether there are few or many 
people seated for that purpose1 the     
table might well be kept of a uniform   
length1 and if space is an object it is 
always possible to use in its stead two 
small tables1 each on four legs4 ,these 

might be placed end to end when dinner  
parties are given1 and one of them would
 suffice for family use4 ,a table of    
this kind might be solidly and stoutly  
framed1 so as to last for ages1 and     
become1 as all furniture ought to       
become1 an heirloom in the family4 ,when
 a man builds himself a house on        
freehold land1 he does not intend that  
it shall only last his lifetime2 he     
bequeaths it in sound condition to      
posterity4 ,we ought to be ashamed of   
furniture which is continually being    
replaced2 at all events1 we cannot      
possibly take any interest in such      
furniture4 ,in former days1 when the    
principles of good joinery were really  
understood1 the legs of such a large    
table as that of the dining-room would  
have been made of a very different form 
from the lumpy1 pear-shaped things of   
modern use4  ,in nearly all these       
remarks ,i agree with ,mr4 ,eastlake1   
and especially in his remark that1 owing
 to the very nature of its construction1

 a modern dining-table must be an       
inartistic object4 ,no work can be      
satisfactory in which any portions of   
the true supporting structure or frame  
are drawn apart2 and this occurs to a   
marked degree in this table1 as is shown
 in ,mr4 ,eastlake's illustration1 which
 we here copy 7,fig4 #dc74              
,illustration3 ,fig4 #dc4  ,falsities of
 structure1 although not so glaring as  
that of the telescopic dining-table1 are
 everywhere met with in our shops1 and1 
curious as it may appear1 the great     
majority of the works offered to the    
public are not only false in structure1 
but are utterly offensive to good taste 
in every way1 and are formed almost     
exclusively of wood cut across the      
grain1 which secures to the article the 
maximum amount of weakness4 ,figs4 #dd1 
#de1 #df1 and #dg are examples of       
utterly bad furniture4  ,illustration3  
,fig4 #dd4  ,illustration3 ,fig4 #de4   
,illustration3 ,fig4 #df4               
,illustration3 ,fig4 #dg4  ,another     

falsity in furniture is veneering--a    
practice which should be wholly         
abandoned4 ,simple honesty is preferable
 to false show in all cases2            
truthfulness in utterance is always to  
be desired4 ,it was customary at one    
time to veneer almost every work of     
furniture1 and even to place the grain  
of the veneer in a manner totally at    
variance with the true structure of the 
framework which it covered4 ,this was a 
method of making works1 which might in  
their unfinished state be satisfactory1 
appear when finished as most            
unsatisfactory objects4 ,since this time
 much progress has been made in a       
knowledge of truthful structure and of  
truthful expression1 yet this method of 
giving a false surface by means of      
veneer is not wholly abandoned as       
despicable and false4  ,a few months    
back ,i had occasion to visit a cabinet 
warehouse in ,lancashire1 and the owner 
called my attention to the fine grain of
 some old ,english oak1 and remarked    

that certain pieces of furniture were of
 solid wood4 ,upon investigation1       
however1 ,i discovered that while the   
furniture in question was made          
throughout of oak1 the bulk of the      
structure was of common wainscoting1 and
 the surface was veneered with ,english 
oak4 ,i confess that ,i would much      
rather have had the furniture without   
its false exterior1 and daily my love   
for fine grain in wood gets less4 ,i    
think that this arises from the fact    
that strong grain in wood takes from the
 unity of the work into which it is     
formed1 and tends to break it up into   
parts1 by rendering every member        
conspicuous4 ,what is wanted in a work  
of furniture1 before all other          
considerations1 is a fine general       
form--a harmony of all parts--so that no
 one member usurps a primary place--and 
this it is almost impossible to achieve 
if a wood is employed having a strongly 
marked grain4  ,with us a room is       
considered as almost unfurnished if the 

windows are not hung with some kind of  
drapery4 ,the original object of this   
drapery was that of keeping out a       
draught of air1 which found its way     
through the imperfectly fitting windows2
 and the antitype of our window-hangings
 was a simple curtain1 formed of a      
material suitable to achieve the purpose
 sought4 ,such a curtain was legitimate 
and desirable1 and would contrast       
strangely with the elaborate festooning 
and quadrupled curtains of our present  
windows4 ,we daily see yards of valuable
 material1 arranged in massive and      
absurd folds1 shutting out that light   
which is necessary to our health and    
well-being2 a pair of heavy stuff       
curtains and a pair of lace curtains    
being hung at each window1 each curtain 
consisting of a sufficient amount of    
material to more than cover the window  
of itself4 ,an excess of drapery is     
always vulgar1 while a little drapery   
usefully and judiciously employed is    
pleasant4  ,many windows that are well  

made1 and thus keep out all currents of 
air1 need no curtains4 ,if the window   
mouldings are of an architectural       
character1 and are coloured much darker 
than the wall1 so as to become an       
obvious frame to the window1 and thus do
 for the window what a picture-frame    
does for a picture1 no curtains will be 
required4 ,i have recently had a        
wonderfully striking illustration of    
this4 ,two adjoining rooms are alike in 
their architecture2 one is decorated1   
and has the window casement of such     
colours as strongly contrast1 while they
 are yet harmonious1 with the wall4     
,before the room was decorated1 and the 
windows were thus treated1 a general    
light colour prevailed1 both on the     
wood-work and on the walls of the room1 
and curtains were hung at the windows in
 the usual way4 ,with the altered       
decorations1 the windows became so      
effective that ,i at once saw the       
undesirability of re-hanging the        
curtains1 and yet not one of all my     

friends has observed that there are no  
curtains to the windows2 while if the   
curtains are removed from the adjoining 
room1 where the window-frames are as    
light as the walls1 the first question  
asked is1 ,where are your curtains8     
,illustration3 ,fig4 #dh4               
,illustration3 ,fig4 #di4  ,curtains    
should be hung on a simple and obvious  
pole 7,fig4 #dh74 ,all means of hiding  
this pole are foolish and useless4 ,this
 pole need not be very thick1 and is    
better formed of wood than of metal1 for
 then the rings to which the curtains   
are attached pass along almost          
noiselessly4 ,the ends of the pole may  
be of metal1 but ,i prefer simple balls 
of wood4 ,the pole may be grooved1 and  
any little enrichments may be introduced
 into these grooves1 providing the      
carving does not come to the surface1   
and thus touch the rings1 which by their
 motion would injure it4 ,whatever is   
used in the way of enrichment should be 
of simple character1 for the height at  

which the curtain pole is placed would  
render fine work altogether ineffective4
  ,as to upholstery1 ,i would say1 never
 indulge in an excess4 ,a wood frame    
should appear in every work of          
furniture1 as in the examples we have   
given4 ,sofas are now made as though    
they were feather beds2 they are so soft
 that you sink into them1 and become    
uncomfortably warm by merely resting    
upon them1 and their gouty forms are    
relieved only by a few inches of wood1  
which appear as legs4 ,stuffing should  
be employed only as a means of rendering
 a properly constructed seat comfortably
 soft4 ,if it goes beyond this it is    
vulgar and objectionable4 ,spring       
stuffing is not to be altogether        
commended2 a good old-fashioned         
hair-stuffed seat is more desirable1 as 
it will endure when springs have        
perished4 ,as to the materials with     
which seats may be covered ,i can say   
little1 for they are many4 ,hair cloth1 
although very durable1 is altogether    

inartistic in its effect4 ,nothing is   
better than leather for dining-room     
chairs2 ,utrecht velvet1 either plain or
 embossed1 looks well on library chairs2
 silk and satin damasks1 rep1 plain     
cloth1 and many other fabrics are       
appropriate to drawing-room furniture4  
,chintz ,i am not fond of as a chair    
covering1 and in a bed-room ,i would    
rather have chairs with plain wooden    
seats than with cushions covered with   
this glazed material4  ,illustration3   
,fig4 #ej4  ,with a mere remark upon    
picture-frames ,i will finish this      
chapter4 ,picture-frames are generally  
elaborately carved mouldings1 or are    
simple mouldings covered with ornaments1
 which1 whether carved or formed of     
putty1 are overlaid with gold leaf2 they
 are1 indeed1 highly ornamented gilt    
mouldings4 ,i much prefer a well-formed1
 yet somewhat simple1 black polished    
moulding1 on the interior of which runs 
a gold bead 7,fig4 #di74 ,a fanciful yet
 good picture-frame was figured in the  

,building ,news of ,september #gth1     
#ahff1 which we now repeat 7,fig4 #ej74 
,,chapter ,,iv4  ,,decoration ,,of      
,,buildings4   ,,division ,i4--,,general
 ,,considerations--,,ceilings4  ,having 
considered furniture1 the formation of  
which requires a knowledge of           
construction1 or of what we may term    
structural art1 we pass on to notice    
principles involved in the decoration of
 surfaces1 or in surface decoration1 as 
it is usually called4 ,we commence by   
considering how rooms should be         
decorated2 yet1 in so doing1 we are met 
at the very outset with a great         
difficulty1 as the nature of the        
decoration of a room should be          
determined by the character of its      
architecture4 ,my difficulty rests here4
 ,how am ,i to tell you what is the just
 decoration for a room1 when the        
suitability of the decoration is often  
dependent upon even structural and      
ornamental details2 and when1 in all    
cases1 the character of the decoration  

should be in harmony with the character 
of the architecture8 ,broadly1 if a     
building is in the ,gothic style1 all   
that it contains in the way of          
decoration1 and of furniture also1      
should be ,gothic4 ,if the building is  
,greek1 the decorations and furniture   
should be ,greek4 ,if the building is   
,italian1 all its decorations and       
furniture should be ,italian1 and so on4
  ,but there are further requirements4  
,each term that ,i have now employed1 as
 expressive of a style of architecture1 
is more or less generic in character1   
and is therefore too broad for general  
use4 ,what is usually termed ,gothic    
architecture1 is a group of styles      
having common origin and resemblances1  
known to the architect as the           
,semi-,norman or ,transition style1     
which occurred in the twelfth century   
under ,henry ,,ii4 7it was at this time 
that the pointed arch was first         
employed74 ,the ,early ,english1 which  
was developed in the end of the twelfth 

and early part of the thirteenth        
century1 under ,richard ,i41 ,john1 and 
,henry ,,iii42 the ,decorated1 which    
occurred at the end of the thirteenth1  
and early portion of the fourteenth     
century1 under ,edward ,i41 ,edward     
,,ii41 and ,edward ,,iii42 the          
,perpendicular1 which occurred at the   
latter part of the fourteenth1 and      
through the greater portion of the      
fifteenth century1 under ,richard ,,ii41
 ,henry ,,iv41 ,v41 and ,,vi41 ,edward  
,,iv4 and ,v41 and ,richard ,,iii42 and1
 lastly1 the ,tudor1 which occurred at  
the end of the fifteenth1 and the       
beginning of the sixteenth century1     
under ,henry ,,vii4 and ,henry ,,viii4  
,all these styles are popularly spoken  
of as one1 and are expressed by the one 
term--,gothic4 ,it is so also1 to an    
extent1 with the ,greek1 ,roman1 and    
,italian styles1 for each of these      
appears in various modifications of     
character1 but into such details we will
 not enter3 it must suffice to notice   

that the character of the decoration    
must be not only broadly in the style of
 the architecture of the building which 
it is intended to beautify1 but it must 
be similar in nature to the ornament    
produced at precisely the same date as  
the architecture which has been employed
 for the building4  ,it must not be     
supposed that ,i am an advocate of      
reproducing works1 or even styles of    
architecture1 such as were created in   
times gone by1 for ,i am not4 ,the      
peoples of past ages carefully sought to
 ascertain their wants--the wants       
resulting from climate--the wants       
resulting from the nature of their      
religion--the wants resulting from      
social arrangements--the wants imposed  
by the building material at command4    
,we1 on the contrary1 look at a hundred 
old buildings1 and without considering  
our wants1 as differing from those of   
our forefathers1 take a bit from one and
 a bit from another1 or we reproduce one
 almost as it stands1 and thus we bungle

 on1 instead of seeking to raise such   
buildings as are in all respects suited 
to our modern requirements4  ,things    
are1 however1 much better in this       
respect than they were4 ,bold men are   
dealing with the ,gothic style in its   
various forms4 ,scott1 ,burgess1        
,street1 and many others are venturing  
to alter it2 and thus1 while it is      
losing old characteristics1 and is      
acquiring new elements1 it is already   
assuming a character which has nobility 
of expression1 truthfulness of          
structure1 and suitability to our       
special requirements4 ,in time to come1 
further changes will doubtless be made2 
and thus the style which arose as an    
imitation of the past will have become  
new1 through constantly departing from  
the original type1 and as constantly    
adopting new elements4  ,i have said    
that the decoration of a building should
 be brought about by the employment of  
such ornament as was1 in time past1     
associated with the particular form of  

architecture employed in the building to
 be decorated1 if a precisely similar   
form of architecture previously existed4
 ,let not the ornament1 however1 be a   
mere servile imitation of what has gone 
before1 but let the designer study the  
ornament of bygone ages till he         
understands and feels its spirit1 and   
then let him strive to produce new forms
 and new combinations in the spirit of  
the ornament of the past4  ,this must   
also be carefully noted--that the       
ornament of a particular period does not
 consist merely of the forms employed in
 the architecture1 drawn in colour on   
the wall1 or the ceiling1 as the case   
may be4 ,the particular form of ornament
 used in association with some forms of 
,gothic architecture was very different 
in character from what we might expect  
from the nature of the architecture     
itself1 and did not to any extent       
consist of flatly-treated crockets1     
gable ends1 trefoils1 cinque-foils1 etc4
 ,the ornament of the past must be      

studied in its purity1 and not from     
those wretched attempts at the          
production of ,gothic decoration which  
we often see4  ,in what we may call the 
typical ,english house of the present   
day there is really no architecture1 and
 if such a building is to be decorated  
it is almost legitimate to employ any   
style of ornamentation4 ,in such a case 
,i should choose a style which has no   
very marked features--which is not      
strongly ,greek1 or strongly ,gothic1 or
 strongly ,italian2 and if there is the 
necessary ability1 ,i should say try and
 produce ornaments having novelty of    
character1 and yet showing your         
knowledge of the good qualities of all  
styles that are past4 ,if this is       
attempted1 care must be exercised in    
order to avoid getting a mere           
combination of elements from various    
styles as one ornament4 ,nothing can be 
worse than to see a bit of ,greek1 a    
fragment of ,egyptian1 an ,alhambraic   
scroll1 a ,gothic flower1 and an        

,italian husk associated together as one
 ornament2 unless this were done        
advisedly and in order to meet a very   
special want1 such an ornamental        
composition would be detestable4 ,what  
,i recommend is the production of new   
forms2 but the new composition may have 
the vigour of the best ,gothic ornament1
 the severity of ,egyptian1 the         
intricacy of the ,persian1 the          
gorgeousness of the ,alhambra1 and so   
on1 only it must not imitate in detail  
the various styles of the past4  ,now as
 to the decoration of a room4 ,if one   
part only can be decorated1 let that one
 part be the ceiling4 ,nothing appears  
to me more strange than that our        
ceilings1 which can be properly seen1   
are usually white in middle-class       
houses1 while the walls1 which are      
always in part hidden1 and even the     
floor1 on which we tread1 should have   
colour and pattern applied to them2 and 
of this ,i am certain1 that1 considered 
from a decorative point of view1 our    

ordinary treatment is wrong4  ,we glory 
in a clear blue sky overhead1 and we    
speak of the sky as increasing in beauty
 as it becomes deeper and deeper in     
tint4 ,thus the depth of the tint of the
 ,italian sky is familiar to us all4    
,why1 then1 make our ceilings white8 ,i 
often ask this question1 and am told    
that the whiteness renders the ceiling  
almost invisible2 hence it is preferred4
 ,this idea is very absurd2 first1      
because blue is the most ethereal and   
most distant of all colours 7see ,chap4 
,,ii41 page #cc72 and1 second1 do we not
 build a house with the view of         
procuring shelter8 hence why do we seek 
to realise the feeling that we are      
without a covering over our heads8 ,we  
only like a white ceiling because we    
have been accustomed to such from       
infancy1 and because we have been taught
 to regard a clean white ceiling as all 
that is to be desired4 ,i knew a        
,yorkshire lady who1 upon being asked by
 her husband whether she would like the 

drawing-room ceiling decorated1 replied 
that she thought not1 as she could not  
then have it re-whitewashed every year4 
,the idea was clean certainly4 ,blue1 ,i
 have said1 is ethereal in character2 it
 is so1 and may become exceedingly so if
 of medium depth and of a grey hue2     
hence1 if a mere atmospheric effect was 
sought1 it would be desirable that this 
colour be used on the ceiling rather    
than white4 ,but1 as we have just said1 
invisibility of the ceiling is absurd1  
as it is our protection from the        
weather4 ,further1 the ceiling may      
become an object of great beauty1 and it
 can be seen as a whole4 ,why then      
neglect the opportunity of arranging a  
beautiful object when there is no reason
 to the contrary8 ,we like a beautiful  
coloured vase1 or1 if we do not1 we can 
have it whitewashed1 or even dispense   
with it altogether4 ,we like beautiful  
walls1 or we would have them whitewashed
 also2 indeed1 we like our surroundings 
generally beautiful4 ,why not1 then1    

have beautiful ceilings1 especially as  
they can be seen complete1 while the    
wall is in part hidden by furniture and 
pictures8  ,illustration3 ,fig4 #ea4  ,i
 will suppose that we have an ordinary  
room to deal with4 ,first1 take away the
 wretched plaster ornament in the centre
 of the ceiling1 for it is sure to be   
bad4 ,there is not one such ornament out
 of a thousand that can be so treated as
 to make the ceiling look as well as it 
would do without it4 ,now place all over
 the ceiling a flat painted or          
stencilled pattern1 a pattern which     
repeats equally in all directions 7as   
,fig4 #ea71 and let this pattern be in  
blue 7of any depth7 and white1 or in    
blue 7of any depth7 and cream-colour1   
and it is sure to look well 7the blue   
being the ground1 and the cream-colour  
or white the ornament74  ,simple        
patterns in cream-colour on blue ground1
 but having a black outline1 also look  
well 7,fig4 #eb72 and these might be    
prepared in paper1 and hung on the      

ceiling as common paper-hangings1 if    
cheapness is essential4 ,gold ornaments 
on a deep blue ground1 with black       
outline1 also look rich and effective4  
,these are all1 however1 simple         
treatments1 for any amount of colour may
 be used on a ceiling1 provided the     
colours are employed in very small      
masses1 and perfectly mingled1 so that  
the effect produced is that of a rich   
coloured bloom 7see ,chap4 ,,ii41 page  
#df74 ,a ceiling should be beautiful1   
and should also be manifest2 but if it  
must be somewhat indistinct1 in order   
that the caprices of the ignorant be    
humoured1 let the pattern be in         
middle-tint or pale blue and white only4
  ,illustration3 ,fig4 #eb4  ,i like to 
see the ceiling of a room covered all   
over with a suitable pattern1 but ,i do 
not at all object to a large central    
ornament only1 or to a centre ornament  
and corners2 especially if the cornice  
is heavy1 so as to give compensating    
weight to the margin4 ,i have recently  

designed and seen carried out one or two
 centre ornaments for drawing-rooms1    
which ornaments were twenty-one feet in 
diameter4 ,a centre ornament1 if        
properly treated1 may be very large     
without looking heavy2 it may1 indeed1  
extend at least two-thirds of the way   
from the centre to the margin of the    
ceiling4 ,i do not speak of plaster     
ornaments1 but of flat decorations4  ,if
 the ceiling is flat all ornament placed
 upon it must not only be flat also1 but
 must not fictitiously represent relief1
 for no shaded ornament can be pleasant 
when placed as the decoration of a flat 
architectural surface4  ,i have already 
noticed that the decoration of a room   
should be in character with its         
architecture1 but that while this should
 be so1 the ornament applied by way of  
enrichment should not be a servile copy 
of the decorative forms employed in ages
 gone by1 but should be such as is new  
in character1 while yet of the spirit of
 the past4  ,illustration3 ,fig4 #ec4   

,many circumstances tend to determine   
the nature of the decoration which      
should be applied to a ceiling3 thus1 if
 a ceiling is structurally divided into 
square panels1 the character of the     
ornament is thereby restricted1 and     
should these panels be large it will    
probably be desirable that each be      
fitted with the same ornament2 while if 
they are small three or four different  
patterns may be employed1 if arranged in
 some orderly or methodical manner4     
,illustration3 ,fig4 #ed4  ,a ceiling   
may also have the joists or beams       
visible upon it3 in this case the       
decoration would have to be of a very   
special character4 ,the bottoms of the  
joists might have a string pattern upon 
them 7a running pattern71 as the ,greek 
key1 or guilloche2 whilst the sides     
might have either a running pattern1 or 
a pattern with an upward tendency1 as   
the ,greek honeysuckle2 and the ceiling 
intervening between the joists might    
have a running pattern1 or better1 a    

star1 or diaper pattern1 or it might    
have bands running in the opposite      
direction to the joists1 so as1 with    
them1 to form squares1 which squares    
might be filled with ornament4          
,illustration3 ,fig4 #ee4  ,if1 however1
 the ceiling is flat1 and is not divided
 into sections structurally1 almost any 
setting out of the surface may be       
employed1 as ,fig4 #ec2 or a large      
centre ornament1 as ,figs4 #ed and #ee2 
or a rosette distributed over the entire
 surface1 as ,fig4 #ef4 ,in any case it 
is not necessary or even desirable that 
the ornament be in relief upon the      
ceiling4 ,flatly treated ornaments may  
be employed with advantage1 and all     
fictitious appearance of relief1 as we  
have already said1 must be avoided4     
,there are so many different ways of    
setting out ceilings1 that ,i cannot    
attempt even to make any suggestions4 ,i
 would simply say1 however1 ,avoid an   
architectural setting out1 if there are 
no structural members2 for ornament     

which is flat may spread in any manner  
over a surface without even appearing to
 need structural supports4 ,as to the   
colour of a ceiling if there is to be no
 ornament upon it1 let it be a          
cream-colour 7formed of white with a    
little middle-chrome7 rather than white4
 ,cream-colour always looks well upon a 
ceiling1 and gives the idea of purity4  
,a grey-blue is also a very desirable   
colour for a ceiling1 such as is formed 
of pale ultramarine1 white1 and a little
 raw umber1 just sufficient to make the 
blue slightly grey 7or atmospheric74 ,in
 depth this blue should be about        
half-way between the ultramarine and    
white4 ,another effect which ,i like is 
produced by the full colour of pure 7or 
almost pure7 ultramarine4 ,in this case 
the cornice should be carefully         
coloured1 and pale blue and white should
 prevail in it1 but a little pure red   
must be present4  ,illustration3 ,fig4  
#ef4  ,a further and very desirable     
effect is produced by placing pale      

cream-coloured stars irregularly over   
the pale blue1 or even the deep blue    
ceiling1 or by placing pale blue stars  
upon the cream-coloured ceiling4 ,the   
stars should vary for an ordinary room  
ceiling 7say a room sixteen feet square 
by ten feet high7 from about three      
inches from point to point down to one  
inch2 the larger stars having six       
points2 others being smaller and with   
five points2 and the small ones having1 
some four points1 and some three4 ,if   
such stars are irregularly 7without     
order7 intermixed over the ceiling1 and 
yet are somewhat equally dispersed1 a   
very pleasing and interesting effect    
will thereby be produced4 ,this effect  
is in much favour with the ,japanese4   
,the stars1 however1 should be smaller  
if placed on a deep1 than on a pale1    
blue ground4  ,another good effect is   
produced by giving the ceiling the      
colour of ,bath1 or ,portland1 stone1   
and starring it with a deeper tint of   
the same colour4 ,this effect is        

improved by each star having a very fine
 outline of a yet darker tint of the    
same colour4  ,i should recommend those 
interested in the decoration of ceilings
 to study carefully the ,egyptian1      
,alhambra1 and ,greek ,courts at the    
,crystal ,palace1 ,sydenham1 especially 
the two last named2 also to notice the  
ceiling in ,st4 ,james's ,great ,hall1  
,piccadilly1 ,london1 and the ceiling of
 ,ushaw ,college chapel near ,durham4   
,the ceilings in the ,oriental ,courts1 
by ,mr4 ,owen ,jones1 at the ,south     
,kensington ,museum are worthy of       
careful notice2 but the ,renaissance    
ceilings in other parts of the ,museum  
are both wrong in principle and are bad 
examples of their style4 ,the           
structurally formed glass ceiling of the
 ,crystal ,palace ,bazaar in ,oxford    
,street1 ,london1 and still better1 the 
ceiling of ,mr4 ,osler's glass warehouse
 in ,oxford ,street1 are well worthy of 
note4  ,on the ,continent we very       
frequently meet with ceilings on which  

large pictures have been painted1 as in 
the ,louvre and the ,luxembourg in      
,paris2 and the authorities of the      
,south ,kensington ,museum are making   
efforts to introduce this style into    
,england1 but such pictorial ceilings   
are in every way wrong4  #ast4 ,a       
ceiling is a flat surface1 hence all    
decoration placed upon it should be flat
 also4  #bnd4 ,a picture can only be    
correctly seen from one point1 whereas  
the decoration of a ceiling should be of
 such a character that it can be        
properly seen from any part of the room4
  #crd4 ,pictures have almost invariably
 a right and wrong way upwards4 ,a      
picture placed on a ceiling is thus     
wrong way upwards to almost all the     
guests in the room4  #dth4 ,in order to 
the proper understanding of a picture1  
you must see the whole of its surface at
 one time2 this is very difficult to do 
without almost breaking your neck1 or   
being on your back on the floor1 if the 
picture is on the ceiling2 whereas an   

ornament which consists of repeated     
parts may render a ceiling beautiful    
without requiring that the whole ceiling
 be seen at the one glance4  ,most of   
the ,french pictorial ceilings are so   
painted that they are properly seen when
 the spectator stands with his back     
close to the fire4 ,this is very        
awkward1 as the rules of society do not 
allow us to stand in this position      
before company4 ,pictorial works are    
altogether out of place on a ceiling2   
they ought to be framed and hung right  
way upwards upon walls where they can be
 seen4 ,we have a well-known painted    
ceiling at the ,greenwich ,hospital4    
,arabesque ceilings1 such as that of the
 ,roman ,court at the ,crystal ,palace1 
are also very objectionable4  ,what can 
be worse than festoons of leafage1 like 
so many sausages1 painted upon a        
ceiling1 with griffins1 small framed    
pictures1 impossible flowers1 and feeble
 ornament1 all with fictitious light and
 shade8 ,but not content with such      

absurdities and incongruities1 the      
festoons often hang upwards on vaulted  
or domed ceilings1 rather than          
downwards4 ,such ornaments arose when   
,rome1 intoxicated with its conquests1  
yielded itself up to luxury and vice    
rather than to a consideration of beauty
 and truth4  ,decorations like these    
were to an extent again revived by the  
great painter ,raphael2 but it must ever
 be remembered that ,raphael1 while one 
of the greatest of painters1 was no     
ornamentist4 ,it requires all the energy
 of a life to become a great painter2   
and it requires all the energy of a life
 to become a great ornamentist2 hence it
 is not expected that the one man should
 be great at the two arts4  ,in all ages
 when decorative art has flourished1    
ceilings have been decorated4 ,the      
,egyptians decorated their ceilings1 so 
did the ,greeks1 the ,byzantines1 the   
,moors1 and the people of our ,middle   
,ages1 and a light ceiling appears not  
to have been esteemed as essential1 or  

as in many cases desirable4 ,it is      
strange that so few of our houses and   
public buildings contain rooms with     
decorated ceilings2 but the want is     
already felt1 the fashion has set in1   
and many are at this present moment     
being prepared4 ,we must get simple     
modes of enrichment for general         
rooms--modes of treatment which shall be
 effective1 and yet not expensive--and  
then we may hope that they will become  
general4   ,,division                   
,,ii4--,,decorations ,,of ,,walls4  ,we 
must now devote ourselves to the        
consideration of wall decoration1 or to 
the manner in which ornament should be  
applied to walls with the view of       
rendering them decorative4  ,it will    
appear absurd to say that all ornament  
that is applied to a wall should be such
 as will render the wall more beautiful 
than it would be without it2 but this   
statement is needed1 for ,i have seen   
many walls ornamented in such a manner1 
that they would have looked much better 

if they had been perfectly plain1 and   
simply washed over with a tint of       
colour4  ,to ornament is to beautify4   
,to decorate is to ornament4 ,but a     
surface cannot be beautified unless the 
forms which are drawn upon it are       
graceful1 or bold1 or vigorous1 or true1
 and unless the colours applied to it   
are harmonious4 ,yet how many walls do  
we meet with even in good houses--walls 
of corridors1 walls of staircases1 walls
 of dining-rooms1 walls of libraries1   
and1 indeed1 walls of every kind of     
room--which are rendered offensive1     
rather than pleasing1 by the decorations
 they bear4  ,a wall may look well      
without decoration strictly so called1  
and this statement leads me to notice   
the various ways in which walls may be  
treated with the view of rendering them 
beautiful4  ,a wall may be simply tinted
 either with distemper colour1 or oil   
colour flatted4 ,distemper colour gives 
the best effect1 and is much the        
cheapest1 but it is not durable1 and    

cannot be washed4 ,oil colour when      
flatted makes a nice wall1 whether      
stippled or plain1 and is both durable  
and washable4 ,an entire wall should    
never be varnished4  ,i say that a wall 
can look well even if not decorated4    
,let me give one or two instances2 but1 
perhaps1 ,i had better give treatments  
for the entire room1 including the      
ceiling1 and not for the wall simply4   
,illustration3 ,fig4 #eg4               
,illustration3 ,fig4 #eh4               
,illustration3 ,fig4 #ei4  ,a good      
effect of a very plain and inexpensive  
character would be produced by having a 
black skirting1 a cream-colour wall     
7this colour to be made of the colour   
called middle-chrome and white1 and to  
resemble in depth the best pure cream71 
a cornice coloured with pale blue of    
greyish tint1 with deep blue1 white1 and
 a slight line of red1 and a ceiling of 
blue of almost any depth4 ,the ceiling  
colour to be pure ,french ultramarine1  
or this ultramarine mixed with white and

 a touch of raw umber 7the cornice blues
 to be made in the same way74 ,the red  
in the cornice to be deep vermilion if  
very narrow 7one-sixteenth of an inch71 
or carmine if broad4#bd  #bd ,in some   
parts of the country it is customary to 
wash the cornice over with quick-lime4  
,if this has been done the lime must be 
carefully removed1 for lime will turn   
carmine black4  ,illustration3          
,,decorative ,,design4  ,illustrating   
,cornice1 ,ceiling  ,wall ,colouring4   
,a room of a slightly more decorative   
character would be produced by making   
the lower three feet of the wall of a   
different colour 7by forming a dado7    
from the upper part of the wall3 thus1  
if the other parts of the room were     
coloured as in the example just given1  
the lower three feet might be red       
7vermilion toned to a rich ,indian red  
with ultramarine blue7 or chocolate     
7purple-brown and white1 with a little  
orange-chrome72 this lower portion of   
the wall being separated from the upper 

cream-coloured portion by a line of     
black an inch broad1 or better by a     
double line1 the upper line being an    
inch broad1 and the lower line          
three-eighths of an inch1 the lines     
being separated from each other by      
five-eighths of the red or chocolate4   
,i like the formation of a dado1 for it 
affords an opportunity of giving        
apparent stability to the wall by making
 its lower portion dark2 and furniture  
is invariably much improved by being    
seen against a dark background4 ,the    
occupants of a room always look better  
when viewed in conjunction with a dark  
background1 and ladies' dresses         
certainly do4 ,the dark dado gives the  
desired background without rendering it 
necessary that the entire wall be dark4 
,if the furniture be mahogany1 it will  
be wonderfully improved by being placed 
against a chocolate wall4               
,illustration3 ,fig4 #fj4  ,the dado of 
a room need not be plain2 indeed1 it may
 be enriched to any extent4 ,it may be  

plain with a bordering separating it    
from the wall1 such as ,figs4 #eg1 #eh1 
and #ei1 or the coloured border on      
,plate ,i4 7frontispiece72 or it may    
have a simple flower regularly dispersed
 over it2 or it may be covered with a   
geometrical repeating pattern1 in either
 of which cases it would have a border2 
or it may be enriched with a specially  
designed piece of ornament1 as ,fig4    
#fj4 ,this particular pattern should    
not1 however1 be enlarged to a height of
 more than twenty to twenty-four inches2
 but if of this width1 and above a      
skirting of twelve or fifteen inches1 it
 would look well4  ,i have designed two 
or three narrow dado papers for ,messrs4
 ,wylie and ,lockhead1 of ,glasgow1     
which are about eighteen inches broad1  
and are printed in the direction of the 
length of the paper1 so as to save      
unnecessary joins2 and ,messrs4 ,jeffrey
 and ,co41 of ,essex ,road1 ,islington1 
are issuing a complete series of my     
decorations for walls1 dados1 and       

ceilings4  ,if the dado is enriched with
 ornament1 and the cornice is coloured1 
and a pattern spreads all over the      
ceiling1 the walls can well be plain1   
but they may be covered with a simple   
powdering as the patterns in ,fig4 #fl1 
if these are in soft colours1 or with   
patterns such as those set forth in     
colours on ,plate ,i42 but these1       
especially that on the blue ground1     
would only be used where a very rich    
effect is desired4  ,illustration3 ,fig4
 #fa4  ,a good room would be produced by
 pattern ,fig4 #eb being on the ceiling 
in dark blue and cream-colour1 by the   
cornice being coloured with a prevalence
 of dark blue1 the walls being          
cream-colour down to the dado2 the      
border separating the dado from the wall
 being black ornament on a dull         
orange-colour2 and by the dado being    
chocolate with a black rosette upon it2 
the skirting boards being bright black4 
,the dado may or may not be varnished2  
the upper part of the wall can only be  

dead 7not varnished--dull74 ,if the room
 is high a bordering may run round the  
upper portion of the wall1 about three  
to four inches below the cornice2 such a
 border as ,fig4 #fb may he employed in 
dull orange and chocolate4  ,a citrine  
wall comes well with a deep blue1 or    
blue and white ceiling1 if blue prevails
 in the cornice1 and this wall may have 
a dark blue 7ultramarine and black with 
a little white7 dado1 or a rich maroon  
dado 7brown-lake74 ,if the blue dado is 
employed the skirting should be indigo1 
which1 when varnished and seen in       
conjunction with the blue1 will appear  
as black as jet4 7,see the coloured     
examples on ,plate ,,ii41 and remarks on
 colour on pages #de and #df47  ,walls  
are usually papered in middle-class     
houses4 ,i must not object to this      
universal custom2 but ,i do say1 try to 
avoid showing the joinings of the       
various strips4 ,in all cases where     
possible cut the paper to the pattern1  
and not in straight lines1 for straight 

joinings are very objectionable4 ,if you
 use paper for walls1 use it            
artistically1 and not as so much paper4 
,let a dado be formed of one paper1 the 
dado bordering 7dado rail7 of a suitable
 paper bordering2 the upper part of the 
wall being covered by another paper of  
simple and just design1 and of such     
colour as shall harmonise with the dado4
 ,proceed as an artist1 and not as a    
mere workman4 ,think out an ornamental  
scheme1 and then try to realise the     
desired effect4 ,avoid all papers in    
which huge bunches of flowers and       
animals or the human figure are         
depicted4 ,the best for all purposes are
 those of a simple geometrical          
character1 or in which designs similar  
to those in ,fig4 #fl are powdered or   
placed at regular intervals over a plain
 ground4  ,illustration3 ,fig4 #fb4     
,just as the ceiling ornament must      
accord in character with the            
architecture of the room in which it is 
placed1 so must the wall decoration be  

of the same style as the architecture of
 the room4 ,indeed1 whatever we have    
said respecting the harmony of the      
ceiling decoration with the architecture
 of the building1 applies equally to the
 ornamentation of the wall4  ,it has    
been customary to arrange walls into    
panels when decorating them1 and of this
 mode of treatment we give one          
illustration 7,fig4 #fc72 yet nothing   
can be more absurd than such a          
treatment1 unless the wall is           
architecturally 7structurally7 arched4  
,a wall may be so formed that some parts
 are thick1 so as to give the required  
strength1 while other portions are thin4
 ,in such a case the wall would be      
formed of arched recesses and thickened 
piers alternately4 ,this being the case1
 the decoration should be so applied as 
to emphasise1 or render apparent1 this  
arched structure2 but if the wall is of 
one thickness throughout1 its division  
into arches is absurd and foolish4      
,illustration3 ,fig4 #fc4  ,we sometimes

 see great follies1 and even gross      
untruths1 perpetrated with the view of  
bringing about the so-called decoration 
of a room4 ,thus it is not unfrequently 
that we meet with imitation pillars1    
recesses1 and arches as the so-called   
ornamentation of a room4  ,in low music 
halls we are not surprised by such      
decorations1 for we do not look for     
truth or any manifestation of delicacy  
of feeling in such places4 ,falsity and 
the untrue appear in natural            
juxtaposition with the debased and the  
vulgar4 ,sham marble pillars1 a         
fictitious and merely imitative         
architecture1 an assumed and unreal1 yet
 coarse and vulgar1 gorgeousness1 are   
the natural adjuncts of immorality and  
vice2 but such falsities cannot be      
tolerated in the abodes of those who    
pretend to purity and truth1 nor in the 
buildings which they frequent2 yet even 
the new ,albert ,hall has sham marble   
pillars 7,i say this to our shame71 and 
but recently ,i visited a church near   

,edgware1 in which there is a display of
 false decoration such as ,i never      
before saw4 ,here we find sham pillars1 
giving a false architecture2 sham       
niches1 containing sham statues2 sham   
clouds1 forming an absurd ceiling2 and  
almost every falsity which a falsely    
constituted mind could perpetrate4  ,how
 strange it is that in a church1 where  
purity and truth are taught1 the whole  
of the decorations should be a sham6 ,it
 is said that if you want to hear a     
fierce quarrel1 and to see true hatred1 
you must seek it in religious sects and 
among theological discussionists4 ,on   
the same principle1 ,i suppose1 we must 
prepare ourselves for a display of the  
worst art-falsity in the sacred edifice4
 ,perhaps the idea is that of contrast4 
,as the teetotal lecturer had a drunken 
man by him as a frightful example of    
what was to be avoided1 so the          
decorations of this church may be       
intended as a warning1 rather than as an
 example of what should be followed4    

,happily such churches as this are rare1
 and it can be truly said that          
ecclesiastical architecture and         
decoration has made great strides with  
us in recent years1 and that in very    
many instances it is rigidly truthful as
 well as beautiful4  ,before leaving the
 consideration of wall decorations1 ,i  
must object to all imitations1 as sham  
marbles1 granites1 etc41 for no wall can
 be satisfactory which is to any extent 
a display of false grandeur2 and this is
 curious1 that in many cases it costs   
more to produce an imitation marble     
staircase than it would to line the same
 walls with the marbles imitated4 ,i    
have known a case in which the imitation
 has cost double what the genuine stone 
would have cost1 and such a case is not 
exceptional1 for hand-polished work is  
always expensive4 ,to imitations of     
marbles and granites1 as ,i have already
 said1 ,i strongly object1 and of the   
genuine stone ,i am not fond1 unless    
sparingly and judiciously used4 ,my     

objections to its free use are          
these3--#ast4 ,harmony of colour depends
 upon great exactness of tint4 ,this    
exactness is rarely attainable in the   
case of two marbles4 ,one stone may1    
however1 be brought into direct and     
perfect harmony with a coloured wall1 by
 the tint of the wall being carefully   
suited to the marble4 #bnd4 ,the true   
artist thinks less of the costliness of 
the material of which he forms his works
 than of the art-effect produced4 ,thus 
the old ,greeks1 who were full of       
art-feeling and refinement1 coloured the
 buildings which they constructed of    
white marble1 and they certainly thereby
 improved them2 for colour1 if          
harmoniously employed1 lends to objects 
a new charm--a charm which they would   
not without it possess4 ,i must further 
say1 before leaving our present subject1
 that all walls1 however decorated1     
should serve as a background to whatever
 stands in front of them4 ,thus they    
must retire even behind the furniture by

 their unobtrusiveness4  ,the order of  
arrangement in furnishing must be this4 
,the living beings in a room should be  
most attractive and conspicuous1 and the
 dress of man should be of such a       
character as to secure this4 ,ladies can
 now employ any amount of colour in     
their attire2 but poor man1 however     
noble1 cannot by his dress be           
distinguished from his butler2 and1     
worst of all1 both are dressed in an    
unbecoming and inartistic manner4 ,next 
come the furniture and draperies--the   
one or the other having prominence      
according to circumstances2 then come   
the wall and floor1 both of which are to
 serve as backgrounds to all that stands
 in front of them4 ,in decorating walls1
 or in judging of the merit or          
suitability of wall decorations1 this   
must always be taken into consideration1
 that they are but enriched backgrounds2
 and it should also be remembered that  
the nature of the enrichment applied is 
determined1 to a great extent1 by the   

character of the architecture of the    
building of which the wall forms a part4
  ,we come now to consider wall-papers1 
which are hangings prepared with the    
view of enabling us to decorate our     
walls at comparatively small cost4 ,i   
may confess that ,i am not very fond of 
wall-papers under any circumstances4 ,i 
prefer a tinted or painted wall4 ,yet   
they are largely used1 and will be for a
 long time to come4 ,i have already said
 that if wall-papers are used they      
should not be joined together with      
straight lines1 and that we ought to    
consider them as so much art-material   
which should be used artistically4  ,as 
to the nature of the pattern which a    
wall-paper should have1 it is almost    
impossible to speak1 as there are       
endless varieties2 but as a rule it may 
be said that those consisting of small1 
simple1 repeated parts1 which are       
low-toned or neutral in colour1 are the 
best4 ,most wall-paper patterns are     
larger than is desirable4 ,the pattern  

can scarcely be too simple1 and it      
should in all cases consist of flat     
ornament4  ,if the ornament is very     
good1 and the pattern is the work of a  
true artist1 it may be larger1 for then 
the parts will be balanced and          
harmonised in a manner that could not be
 expected from a less skilful hand2 but 
even if by the most talented designer1  
it must ever be remembered that he has  
designed it at random1 and not as a     
suitable decoration for any particular  
room4 ,the man who selects the pattern  
for a particular wall must choose that  
which is suitable to the special case4  
,the effect of a wall-paper is          
materially affected by many             
circumstances4 ,thus1 by the quantity of
 light admitted to the room--whether the
 room is dark or light2 by the aspect1  
whether it receives the sun's rays      
direct or does not2 by the character of 
the light1 as whether direct from the   
sky1 or reflected from a green lawn1 or 
red-brick wall4 ,all these things must  

be considered1 and what looks well in   
the pattern-book may look bad on a wall4
  ,illustration3 ,fig4 #fd4             
,illustration3 ,fig4 #fe4               
,illustration3 ,fig4 #ff4               
,illustration3 ,fig4 #fg4  ,as to       
colour1 the best wall-paper patterns are
 those which consist of somewhat strong 
colours in very small masses--masses so 
small that the general effect of the    
paper is rich1 low-toned1 and neutral1  
and yet has a glowing colour-bloom2 but 
these are rarely to be met with4  ,it   
was a fashion some time since to make   
wall-papers in imitation of woven       
fabrics1 and this fashion has not wholly
 disappeared yet1 absurd though it be4  
,it arose through the accident of a     
designer of wall-paper patterns having  
been a shawl pattern designer1 and      
having a number of small shawl patterns 
on hand1 which he disposed of as        
wall-paper patterns4 ,a pattern which is
 suitable for a woven fabric is rarely  
suitable to a printed fabric1 and       

especially when the one pattern is to be
 seen in folds on a moving object1 and  
the other flat on a fixed surface4 ,and 
at all times imitation by one material  
of another is untruthful1 and it becomes
 specially absurd when we think that    
almost every material is capable of     
producing some good art-effect which no 
other material can4 ,we should always   
seek to make each material as           
distinctive in its art-character as we  
can1 and to cause each to appear as     
beautiful as possible in that particular
 manner in which it can most naturally  
be worked4  ,illustration3 ,fig4 #fh4   
,a word should be said about the        
particular character which a wall-paper 
pattern should have1 but the remarks    
which ,i am now about to make will apply
 equally to all patterns employed as    
wall decorations4 ,if we view trees or  
plants1 as we see them against the sky  
as a background1 they are objects which 
point upwards and have a bilateral      
symmetry--their halves are alike 7,figs4

 #fd and #fe7--or are more or less      
irregular in form1 and when seen in this
 view we may regard them as natural wall
 decorations4 ,our wall patterns1 then1 
may point upwards1 as in ,fig4 #fa1 and 
be bilateral or otherwise2 but it must  
be remembered that when the flowers of a
 primrose protrude from a bank they are 
regular radiating1 or star1 ornaments4  
,i think that it is legitimate for us to
 use on a wall star1 or regular         
radiating ornaments1 as well as those   
having an upward tendency4              
,illustration3 ,fig4 #fi4  ,i have said 
that when seen from the side plants are 
bilateral1 or are more or less          
irregular4 ,as ,i have referred to      
plants as furnishing us with types of   
ornament1 ,i should not be doing rightly
 were ,i to leave this statement in its 
present form2 for the tendency of the   
vital force of all plants is to produce 
structures of rigidly symmetrical       
character2 but insects1 which eat buds  
and leaves1 and blights1 winds1 and     

frosts1 so act upon plants as to destroy
 their normal symmetry1 hence we find an
 apparent want of symmetry in the       
arrangement of the parts of plants4     
,respecting the colouring of cornices1 a
 few words should be said4 #ast4 ,bright
 colours may here be employed4 #bnd4 ,as
 a rule1 get red in shadow or in shade1 
blue on flat or hollow surfaces1        
especially those that recede from the   
eye1 and yellow on rounded advancing    
members4 #crd4 ,use for red either      
vermilion or carmine2 for blue1         
ultramarine either pure or with white2  
for yellow1 middle chrome much diluted  
with white4 #dth4 ,use red very         
sparingly1 blue abundantly1 the pale    
yellow in medium quantity4  ,besides    
primary colours1 none others need be    
used on the cornice4 ,it is a mistake to
 use many1 or dull1 colours1 here1 but  
gold may be used instead of yellow4     
,with the view of explaining the        
principles which we have just enunciated
 by diagrams1 we give four illustrations

 7,figs4 #ff1 #fg1 #fh1 #fi71 which ,i  
advise the student to try and colour in 
accordance with the principles just set 
forth4     ,,chapter ,v4  ,,carpets4    
,it is not my intention in this chapter 
to consider in detail the various kinds 
of carpet which are common in our       
market1 nor even to review the history  
of their manufacture1 interesting as it 
would be to do so2 for we must confine  
ourselves more particularly to an       
examination of the art-qualities which  
they present1 and to the particular form
 of pattern which may be applied to them
 with advantage4  ,although we cannot   
here enter into a consideration of the  
manufacture of carpets1 ,i cannot too   
strongly recommend all who intend       
preparing designs for them to consider  
minutely the powers of the carpet loom2 
for the nature of the effect produced   
will depend to a large extent upon the  
knowledge which the designer possesses  
of the capabilities of the manufacture  
for which he designs patterns4 ,in the  

case of any manufacture it is highly    
desirable1 if not absolutely essential1 
that the designer of the patterns to be 
wrought should be acquainted with the   
process by which his design is to be    
converted into the particular material  
for which the pattern has been prepared2
 for this knowledge1 even when not      
absolutely essential1 gives an amount of
 freedom and power which nothing else   
can supply4  ,the carpets most          
extensively in use are ,brussels2 but   
there are many other kinds both of      
better and inferior qualities4          
,kidderminster carpet 7a carpet not now 
made by even one ,kidderminster         
manufacturer7 is a common fabric suited 
to the bedrooms of middle-class houses2 
but the art-capabilities of this        
material are very small1 as it can only 
have two colours in any line running    
throughout its length4 ,this carpet     
consists of two thicknesses1 which are  
imperfectly united1 and is not durable4 
,brussels carpeting1 now made chiefly in

 ,great ,britain1 is a good carpet for  
general purposes4 ,its surface consists 
of loops1 and it may have five1 or1 if  
made of extra quality1 six colours in   
any line running throughout its length4 
,if with five colours in the same line  
the carpet will1 in a sense1 consist of 
five thicknesses of worsted2 yet these  
are united into one fabric4 ,in some    
cases a ,brussels carpet is woven of    
very close texture1 with the loops cut  
through2 thus we have a velvet pile or  
,wilton carpet--a fabric which is very  
rich-looking1 and durable4  ,those      
called real ,axminster carpets are1     
perhaps1 the best made4 ,they are formed
 by the knotting together of threads by 
hand1 consequently any number of colours
 may be used in their formation2 but    
such are necessarily most costly4 ,a    
patent ,axminster carpet is made by a   
double process of hand-weaving1 by which
 fine results are achieved1 and any     
number of colours used4 ,in the first   
weaving a rough cloth is formed1 which  

is cut into strips called chenille      
threads1 and these are again woven into 
the carpet4 ,this process is most       
ingenious1 and the carpets produced by  
it are very good2 but they are costly4  
,some few years since a most ingenious  
process of manufacturing what are known 
as tapestry carpets was patented--a     
process resembling in its nature that of
 the patent ,axminster manufacture1 but 
differing in this particular1 that the  
warp threads are coloured by printing1  
and thus the first process of weaving is
 dispensed with4 ,these carpets are1    
like ,brussels1 made with a looped      
surface1 and also with a pile4 ,they    
cannot be said to compare in any way    
with the patent ,axminster carpets1     
which are of a pretentious and costly   
character1 nor even with a good         
,brussels2 but they are low in price1   
and meet a want1 as is proved by their  
enormous sale4  ,besides these varieties
 of carpet there are a number of kinds  
of foreign production1 most of which are

 hand-made1 and are very beautiful4 ,by 
far the greater number of these have a  
pile1 although this is sometimes rough  
and uneven1 yet rarely1 if ever1        
inartistic2 but a few are without pile2 
still these are not without that        
indescribable something which renders   
them estimable in the eye of an artist4 
,having hastily noticed the chief kinds 
of carpet in use in this country1 and we
 might say in almost all countries1 we  
come to the question--what form of      
pattern1 or what character of ornament1 
should form the enrichment of such a    
fabric8  ,when speaking in a previous   
chapter 7see page #ib7 of wall          
decorations1 we noticed that a          
wall-paper pattern1 or1 indeed1 a wall  
pattern of any kind1 might desirably    
have an upward direction and a bilateral
 symmetry4 ,this can never be the case1 
however1 with a carpet pattern1 which   
must be equally extended all over the   
surface1 or have a simple radiating     
symmetry1 as ,fig4 #ef2 and this rule   

will apply whether the pattern be simple
 or complicated4 ,it is not wrong1 as we
 have said before1 to have a radiating  
pattern on a wall1 but it is wrong to   
have a bilateral pattern on a floor4    
,the reason of this is obvious4 ,if such
 an object as we have indicated is      
placed on a wall1 from whatever point   
the occupants of the room may view it1  
it is yet right way upwards to them2 but
 if such an object were placed on a     
floor it would be wrong way upwards1 or 
sideways1 or oblique to most of those   
who viewed it2 and to employ a pattern  
of this character in such a position is 
highly absurd1 when a pattern can as    
readily be formed which will avoid this 
unpleasantness4 ,what would we think    
were we asked to view a picture1 or even
 to visit an apartment containing such1 
were this work of art presented to our  
view in an inverted manner8 ,we should  
feel astonished at the absurdity2 yet   
this would be no worse than expecting us
 to view a carpet while the pattern is  

to us in an inverted position4  ,and the
 principle which we have just set forth 
is one taught by a consideration of     
plants4 ,if we wander over the moor1    
where we tread on ,nature's carpet1 we  
find that all the little plants which   
nestle in the short mossy grass are     
radiating ornaments--that is1 they are  
pretty objects which consist of parts   
spreading regularly from a centre4      
,illustration3 ,fig4 #gj4               
,illustration3 ,fig4 #ga4               
,illustration3 ,fig4 #gb4               
,illustration3 ,fig4 #gc4  ,i cannot too
 strongly advise the young ornamentist  
to study the principles on which ,nature
 works4 ,knowledge of the laws which    
govern the development of plant-growth  
is very desirable2 but it is not our    
place to imitate even the most beautiful
 of plant-forms--this being the work of 
the pictorial artists4 ,yet it is ours  
to study ,nature's laws1 and to observe 
all her beauty1 even to her most subtle 
effects1 and then we may safely pillage 

from her all that we can consistently   
adapt to our own purposes4 ,but in order
 that we produce ornament1 we must      
infuse mind or soul into whatever we    
borrow from her4 7,see page #b47  ,with 
the view of more fully impressing the   
manner in which ,nature teaches us      
principles which we may apply in art1   
and of aiding the student in his        
inquiries1 we will give one or two      
illustrations4 ,thus ,fig4 #fd is a     
drawing of a spray of the guelder rose  
7,viburnum opulus7 when seen from the   
side1 or1 as ,i might express it1 when  
viewed as a wall decoration2 and ,fig4  
#gj is the same spray as seen from      
above1 or1 to use the same manner of    
expression1 when seen as a floor        
pattern4 ,further1 ,fig4 #ga represents 
a young plant of a species of speedwell 
7,veronica7 as a wall ornament1 and     
,fig4 #gb1 the same plant when seen as a
 floor ornament2 and ,figs4 #fe and #gc 
represent a portion of the goosegrass   
7,galium ,aparine7 as seen in the same  

two views4  ,illustration3 ,fig4 #gd4   
,illustration3 ,fig4 #ge4               
,illustration3 ,fig4 #gf4  ,from these  
illustrations we see that plants furnish
 us with types of two essentially       
different ornaments1 which are adapted  
to the decoration of the two positions  
of wall and floor1 and may be introduced
 with truthful expression and effect    
into wall-paper or carpet4              
,illustration3 ,fig4 #gg4               
,illustration3 ,fig4 #gh4               
,illustration3 ,fig4 #gi4  ,even when   
the leaves appear somewhat dispersed    
upon the stem1 a principle of order can 
yet be distinctly traced in the manner  
of their arrangement1 as is             
diagrammatically expressed in ,figs4    
#gd1 #ge1 #gf2 and here1 also1 the top  
view gives us a regular radiating       
ornament4#be  #be ,the spray here       
represented is that of the oak1 and the 
diagram 7,fig4 #gd7 shows the orderly   
spiral manner in which the leaves spring
 from the stem4  ,the same law prevails 

in the flower that we have traced as    
existing in the arrangement of leaves   
upon the stem3 thus ,fig4 #gg1 which    
represents the ,london pride 7,saxifraga
 umbrosa71 affords an example of a      
regular radiating flower1 which we find 
so placed1 in different examples1 as to 
appear as a floor or wall ornament2 and 
,figs4 #gh and #gi1 the former being the
 flower of the speedwell 7,veronica71   
and the latter that of the common pansy 
7,viola tricolor71 furnish us with      
illustrations of bilateral flowers      
intended only as wall ornaments4 ,in    
order to secure our seeing the pansy    
only laterally1 it is furnished with a  
bent stalk2 hence it never rests        
horizontally upon the summit of its     
stem1 but always hangs so that it is    
perfectly seen only from the side4      
,there are cases1 however1 in which     
bilateral flowers are placed            
horizontally2 but it is very interesting
 to notice that when this occurs the    
disposition or arrangement of the       

flowers is such as to restore the       
radiating symmetry4 ,thus1 if we take   
the candytuft 7,iberis7 or the common   
hemlock 7,conium71 we find that while   
each flower is bilateral in character1  
the flowers are yet arranged around a   
centre in such a manner that the smaller
 portion of each flower points to the   
centre of the flower-head1 while the    
larger parts point outwards from the    
centre of the group4 ,these1 then1 are  
the teachings of plants1 to which we are
 called upon to hearken4  ,the above    
illustrations are not only useful       
examples of the suggestions of          
plant-forms to the ornamentist1 but form
 excellent material to the art-student  
for the conventional treatment of leaves
 and sprays1 buds and blossoms4 ,they   
will also serve to indicate the kind of 
plant-forms that should be chosen for   
decorative purposes4 ,students of this  
branch of art would find it a useful    
practice to make a collection of flowers
 and plants or parts of plants that     

appear to offer features similar to     
those of which we have been writing1 and
 test their capabilities for decorative 
purposes1 by endeavouring to arrange    
them for the ornamentation of wall and  
floor1 as we have treated the           
plant-forms indicated in this chapter4  
,we have now seen the principle on which
 all carpet patterns should be          
constructed as distinctive from wall    
patterns1 and in order to impress the   
necessity of giving a radiating basis to
 the ornaments placed upon carpets1 and 
not a bilateral structure1 we have      
referred to the principle of plant      
growth1 where we noticed that all       
plants1 when viewed as floor ornaments  
7when viewed from above71 are of a      
radiating character2 whereas if they are
 seen as wall or vertical ornaments1    
they are either radiating or bilateral4 
,this is a necessity of a carpet        
pattern1 that it have a radiating       
structure1 or1 in other words1 that it  
point in more than two directions4  ,man

 naturally accustomed to tread on grass1
 when brought into a state of           
civilisation1 seeks some covering for   
his floor which shall be softer to the  
tread and richer in colour than stone or
 brick4 ,and in our northern climate he 
seeks also warmth2 hence he chooses not 
a mere matting1 or lattice of reeds1 but
 a covering such as shall satisfy his   
requirements4  ,in early times our      
floors appear to have been strewn with  
sand--a custom still lingering in some  
country districts2 then came the habit  
of strewing reeds over the floor1 and on
 the part of the opulent1 sweet-scented 
reeds 7,acorus calamus74 ,and it is     
curious to notice1 in connection with   
this subject1 that one of the charges   
brought by ,henry ,,viii4 against       
,cardinal ,wolsey was that of           
extravagance in the use of sweet reeds4 
,this use of reeds was succeeded by the 
employment of mats of simple appearance1
 formed of a kind of grass1 and these by
 the introduction of wool mats1 which1  

at first1 were chiefly imported1 but    
afterwards manufactured in our own      
country4 ,the wool mats were in their   
turn replaced by carpets1 which         
gradually increased in size till their  
proportions became such as to cover the 
entire floor on which they were placed4 
,this brief history brings us to notice 
what is required of a carpet3--it should
 be soft in texture1 rich in appearance1
 and of bloomy effect4  ,we may add to  
these requirements by saying that a     
carpet should also be a suitable        
background to all works of furniture or 
other objects placed upon it1 and that  
in character it should accord with the  
objects with which it is associated in  
any particular apartment4  ,considering 
more fully these requirements1 we notice
 that a carpet should be soft4 ,this is 
very desirable1 for softness gives a    
sense of comfort1 and with softness is  
generally combined durability of the    
fabric2 but softness can scarcely be    
regarded as an art-quality4 ,yet as the 

art which an object bears is more       
leniently viewed when the fitness of the
 object to the purpose for which it is  
intended is apparent1 we may safely     
regard softness as a very desirable     
quality of a carpet4  ,the ,eastern     
carpets are pre-eminent in this quality 
of softness1 and of ,english-made       
carpets ,brussels and tapestry are the  
least satisfactory in this way2 as      
usually made1 they have a hard backing4 
,a kind of ,brussels carpeting with a   
soft back has recently been brought out1
 but at present it is not general in the
 trade4 ,if the carpet employed in any  
apartment as a floor covering is harsh  
in character1 it is desirable to place  
soft felt under it 7felt for this       
purpose can be got at carpet            
warehouses71 or evenly spread soft hay1 
for by so doing the wear of the fabric  
will be greatly increased1 and the      
pleasure of walking on it will also be  
correspondingly greater4  ,the next     
quality of a carpet is richness4 ,no    

carpet is satisfactory which is washy or
 faded in appearance4 ,there must be    
depth of effect1 a fulness of           
art-quality4 ,hangings may be delicate1 
wall-decorations soft in tint1 but a    
carpet must be rich and full in effect1 
yet a general softness of tone is       
desirable4  ,but this richness must be  
of singular character1 for the most     
desirable effect which a carpet can     
present is that of a glowing neutral    
bloom4  ,i hope that my language does   
not appear mystical to the general      
reader or young student4 ,to the        
ornamentist ,i think it will be         
intelligible4 ,what ,i wish to say is   
that the effect should be glowing1 or   
radiant1 or bright1 as opposed to dull1 
quiet1 or heavy2 that it should be such 
as results from the use of a            
predominance of bright and warm colours1
 rather than of cold and neutral hues2  
that it should be neutral1 inasmuch as  
it should not present large masses of   
positive colour1 hut should have an     

equality of rich harmonious colours     
throughout2 that it should be bloomy1 or
 have the effect of a garden full of    
flowers1 or better1 of the slope of a   
,swiss alp1 where the flowers combine to
 form one vast harmonious glow of       
colour4 ,this is the effect which a     
carpet should present1 yet it should    
never present flowers1 imitatively      
rendered1 as its ornamentation4 ,such   
imitative renderings are not to be      
produced by the ornamentist2 they must  
come from the pictorial artist1 for they
 are pictures4 ,they cannot form        
suitable backgrounds to furniture and   
living objects1 for they are positive1  
and not neutral1 in their general       
effect4 ,a picture1 also1 will not bear 
repetition3 whoever heard of one person 
having two copies of the same picture in
 one room8 ,yet a pictorial group of    
flowers may be seen repeated many times 
over a floor1 which is very             
objectionable4 ,the effect to be        
produced is that of a rich colour-bloom2

 but the skilled ornamentist will       
achieve this without violating any laws 
of fitness1 and will gently and         
delicately hint at the beauty of a      
profusion of blossom through his        
tenderly formed pattern4  ,illustration3
 ,fig4 #hj4  ,yet a carpet must be      
neutral in its general effect1 as it is 
the background on which objects rest4   
,neutrality of effect is of two kinds4  
,large masses of tertiary or neutral    
colours will achieve its production1 so 
also will the juxtaposition of the      
primary colours in small quantities1    
either alone or with the secondary      
colours1 and black or white2 but there  
will be this difference between the two 
effects--that produced by low-toned     
colours will be simply neutral1 while   
that produced by the primary colours    
will be bloomy as well as neutral1 and  
if yellows and reds slightly predominate
 in the intermingling of colours1 the   
effect will be glowing or radiant4  ,the
 radiant1 or glowing1 bloomy neutrality 

of effect is that which it is most      
desirable that a carpet should present4 
,illustration3 ,fig4 #ha4  ,this effect 
is rarely produced in ,english carpets1 
owing either to the want of skill on the
 part of the ornamentist1 who is unable 
to produce such works2 the want of      
judgment on the part of the             
manufacturer1 whereby he fails to       
produce such patterns2 or the want of   
taste on the part of the consumer1 owing
 to which he buys works of a more vulgar
 character4 ,i have designed carpets in 
which ,i have sought to realise as much 
of this effect as ,i could with six     
colours--the number to which ,i have    
been limited by the conditions of       
manufacture1 and fortunately these      
appear to be commanding a large sale1   
and to be setting a fashion in carpets2 
but those who wish to study these bloomy
 effects in their more perfect forms1   
must do so in the carpets of ,india1    
,persia1 ,smyrna1 and ,morocco1 but     
especially in the ,indian rugs4  ,some  

of the carpets from ,india are perfect  
marvels of colour-harmony1 and of       
radiant bloom4 ,they appear to glow as a
 bed of flowers in the sunshine1 and yet
 they are neutral in their general      
effect1 and when placed in an apartment 
do not usurp a primary place1 as does   
any pictorially treated pattern4  ,this 
bloom was seen to perfection in one or  
two silk rugs which were shown at the   
,international ,exhibition of #ahfb in  
,london1 and it was not much less       
apparent in some of the carpets from    
,india shown in the ,paris ,exhibition  
of #ahfg4 ,most ,indian carpets have    
this colour-bloom to some extent1 and   
few are unworthy of careful study4      
,persian carpets 7,fig4 #hj7 are also   
models of what carpets should be2 they  
are less radiant than many of the       
,indian works1 but are almost more      
mingled in colour-effect4 ,in pattern   
many of the ,indian and ,persian carpets
 are identical1 being traditional1 yet  
in colour they differ1 and both are     

worthy of much consideration4  ,the     
,morocco carpets 7,fig4 #ha7 differ     
again from both those of ,india and     
,persia1 and even to a greater degree   
than the ,persian carpet differs from   
the ,indian4 ,in these there is often a 
prevalence of soft yellows and juicy    
yellow-greens1 intermingled with reds1  
blues1 and grey-whites1 in such a manner
 as to produce a most harmonious and    
artistic effect4 ,to the young student1 
and to any who may desire to cultivate  
his taste in respect to such matters1 ,i
 say1 ,study the carpets of the ,east   
most carefully1 especially those of     
,india1 ,persia1 and ,morocco4          
,illustration3 ,fig4 #hb4  ,indian      
carpets1 such as we have just referred  
to1 may be seen at the museum in the    
building of the new ,india ,office at   
,whitehall1 which museum is open free to
 the public 7for examples1 see ,figs4   
#hb1 #hc1 #hd74  ,as to the nature of   
the pattern which may be applied to a   
carpet1 we have all-over patterns1 or   

patterns spreading regularly all over   
the surface2 geometrical patterns1 or   
those which have an apparent regularity 
of structure2 and panel patterns1 or    
those in which particular parts are1 as 
it were1 framed off from other parts4   
,first1 as to all-over patterns4 ,these 
are what we almost always find in both  
,indian and ,persian carpets1 and are1  
undoubtedly1 the true form of decoration
 for a woven floor covering4 ,what is   
desirable is an evenly spread pattern1  
such as will give richness without      
destroying the unity of the entire      
effect4 ,the pattern may have parts     
slightly accentuated or emphasised      
beyond other parts1 but not strongly so1
 and this emphasising of parts must be  
arranged with the view of securing to   
the pattern special interest4 ,thus1 if 
a carpet is viewed at a distance it     
should not appear as devoid of all      
pattern1 but through the slight         
predominance of certain leading features
 7in ,indian carpets1 generally of      

ornamental flowers7 the plan of the     
design should be indicated4 ,more detail
 should be apparent when the work is    
seen from a nearer point of view1 and   
still more upon close inspection2 but in
 no case should any parts appear        
strongly pronounced1 or otherwise than  
refined and beautiful1 and in no case   
should there be a want of interest      
manifested by the pattern4              
,illustration3 ,fig4 #hc4  ,carpet      
patterns are generally better if founded
 on a geometrical plan4 ,in this way    
most of the ,indian and ,persian        
patterns are constructed4 ,a geometrical
 plan secures to the design a           
manifestation of order and thought in   
its formation4 ,panel patterns1 unless  
very carefully managed1 become coarse4  
,in some ,indian carpets we find a sort 
of panel in which the colour of the     
ground is changed from that of the      
general ground of the carpet1 but here  
the panel has usually a truly ornamental
 form1 and is1 indeed1 rather a large   

ornament than a sort of frame enclosing 
a distinct space4 ,whenever a panel     
occurs in an ,indian1 ,persian1 or      
,moorish carpet1 it is so managed1 and  
its surroundings are such1 as to cause  
it to appear as a part natural to the   
general design2 but it is far otherwise 
with the panel patterns which we        
occasionally see in our shop-windows as 
the produce of native industry1 and it  
is far otherwise with those which are   
used in vast quantities by the          
,americans4 ,judging from the carpets   
which they order1 ,i imagine that       
nowhere on earth is taste in matters of 
decorative art so depraved as it is in  
,america4 ,it is true that the great    
floral patterns have ceased to be       
demanded by them1 but they are only     
replaced by coarse1 raw-looking panel   
patterns1 coloured in the most vulgar   
manner1 and without even a hint at      
refinement or harmony of colour4 ,let   
the pattern be loud and inharmoniously  
coloured1 and the chances of its sale in

 the ,american market are great4        
,illustration3 ,fig4 #hd4  ,but we must 
not forget that even in our own country 
bad patterns sell equally as well as    
good1 inartistic patterns as well as    
those which are of a more refined       
character1 and that even here in ,great 
,britain more of the indifferent1 if not
 of the very bad1 sells than of the     
good4 ,let us cast the beam1 then1 from 
our own eye1 before we try to extract it
 from that of another4  ,the ground     
colour of a carpet may vary much1 as we 
all know2 it may be black1 blue1 red1   
green1 or white1 or any other colour4   
,if the ground of a carpet is pure      
white1 it is almost impossible that it  
look well4 ,when ,i make this assertion 
,i am often told that some of the       
,indian carpets which ,i so much admire 
have white grounds4 ,this is a mistake4 
,some of them have light grounds1 but   
not pure white4 ,they have light        
cream-grey1 or green-white grounds1 but 
not pure white1 and this variety of tone

 altogether alters the case4 ,yet even  
with a light-toned ground it is not an  
easy matter to make a carpet which shall
 appear as a suitable background to the 
furniture of a room2 it can be done1 but
 it is a thing difficult to achieve4    
,the safest and best ground for a carpet
 is black or indigo blue4 ,if on this a 
closely fitting1 well-studied pattern be
 arranged1 drawn in small masses of     
bright colour1 a beautiful bloomy effect
 may be achieved1 and a glance at our   
best shop-windows will show that the    
most satisfactory carpets are coloured  
in this way4  ,as to the size of the    
pattern we can say but little1 as this  
will be determined by the coarseness or 
fineness of the fabric4 ,in a ,brussels 
carpet each stitch is about the         
one-tenth of an inch square4 ,in some   
,turkey carpets each stitch is a quarter
 of an inch square4 ,it is obvious that 
a much smaller and finer pattern can be 
produced in ,brussels than in ,turkey   
carpet4  ,a carpet pattern is best      

small1 or at least small in detail if   
not in the extent of the design4 ,a     
pattern may repeat three or four times  
in the width of the fabric 7twenty-seven
 inches if ,brussels71 or but one figure
 may be shown1 yet in this latter case  
the detail of the pattern may be as     
great as in the former4 ,that degree of 
smallness which is compatible with      
tolerable distinctness of detail is     
desirable4 ,for this reason ,turkey     
carpets are not altogether satisfactory2
 no fine pattern can be worked in them1 
and besides this they have no           
colour-bloom and little colour-harmony4 
,in some respects they are good1 but    
altogether they are not satisfying4     
,before ,i close these remarks upon     
carpets1 let me say that1 as designers1 
manufacturers1 and consumers1 we are one
 and all timid of new things4 ,we want  
daring--the energy to produce new       
things1 to manufacture them1 to use     
them4 ,what if the pattern is extreme1  
if it is better than others8 what if    

,mrs4 ,grundy should think us           
eccentric8--better be eccentric than    
ever harping on one monotony4 ,if we    
could but bear calmly the derisive      
smiles of the ignorant1 art-progress    
would be easy4  ,with us carpets cover  
the entire floor4 ,in ,london these     
carpets are nailed to the boards1 and   
but seldom taken up4 ,in some parts of  
,england we find rings sewn around the  
under edge of the carpet1 which rings   
are looped to the heads of nails4       
,carpets so furnished can be more       
readily removed for cleaning than those 
which are nailed to the floor4 ,square  
carpets1 such as the ,turkey1 ,indian1  
and ,persian1 are spread loosely on the 
boards1 and can be taken up and shaken  
without difficulty4 ,this is            
unquestionably the most healthy plan of 
using a carpet1 and it is also an       
artistic plan4 ,if the outer portion of 
the room floor is formed of inlaid wood 
of simple and suitable pattern1 and a   
loose square carpet is spread in the    

centre1 we have an artistic effect1 and 
the desirable knowledge that cleanliness
 is also attainable with a reasonable   
expenditure of labour4  ,before we leave
 the consideration of carpets we will   
state in axiomatic form the conditions  
which govern the application of ornament
 to them1 as reference can more easily  
be made to short concise sentences than 
to more extended remarks4  #ast4 ,carpet
 patterns may with advantage have a     
geometrical formation1 for this gives to
 the mind an idea of order or           
arrangement4  #bnd4 ,when the pattern   
has not a geometrical basis1 a general  
evenness of surface should be preserved4
  #crd4 ,carpets are better not formed  
into panels1 as though they were works  
of wood or stone2 on the contrary1 they 
should have a general all-over effect   
without any great accentuation of       
particular parts4 ,the ,indian and      
,persian carpets meet this requirement4 
#dth4 ,while a carpet should present a  
general appearance of evenness1 parts   

may yet be slightly pronounced or       
emphasised1 so as to give to the mind   
the idea of centres from which the      
pattern radiates4  #eth4 ,a carpet      
should1 in some respects1 resemble a    
bank richly covered with flowers2 thus1 
when seen from a distance the effect    
should be that of a general bloom of    
colour2 when viewed from a nearer point 
it should present certain features of   
somewhat special interest2 and when     
looked at closely new beauties should   
make their appearance4  #fth4 ,as a     
floor is a flat surface1 no ornamental  
covering placed on it should make it    
appear otherwise4  #gth4 ,a carpet1     
having to serve as a background to      
furniture1 should be of a somewhat      
neutral character4  #hth4 ,every carpet1
 however small1 should have a border1   
which is as necessary to it as a frame  
is to a picture4  ,having thus          
summarised the principles that govern   
the application of ornament to carpets1 
we may proceed to notice the conditions 

governing the decoration of other woven 
fabrics4     ,,chapter ,,vi4  ,,curtain 
,,materials1 ,,hangings1 ,,and ,,woven  
,,fabrics ,,generally4   ,in the        
consideration of hangings of various    
kinds1 we have first to notice the      
nature of the cloth on which the pattern
 is to be worked--whether it is of open 
or close texture4 ,fabrics of an open   
character should bear upon them a larger
 pattern than those which are thicker or
 closer4 ,the openness or closeness of  
the fabric will thus determine1 to an   
extent1 the nature of the ornament which
 is to be placed upon it4 ,muslins1     
being open in character1 should have    
larger patterns than calicoes1 which are
 closer in texture1 or the pattern will 
be indistinct in the one case or coarse 
in the other4  ,but not only does       
texture influence the pattern when      
considered as to coarseness or fineness1
 but also the nature of the cloth as    
regards material4 ,thus silk will bear  
greater fulness of colour than muslins  

or calico-prints1 owing to the fact that
 the lustre of the material1 by         
reflecting light to the eye of the      
observer1 destroys a certain portion of 
the intensity of the effect of colour   
which a less reflective material would  
exhibit4 ,silk1 as a material1 also     
conveys to the mind an idea of          
costliness or worth1 and wherever the   
material does so the pattern may be     
richer in colour than it should be in   
cheaper and commoner fabrics4 ,if a     
pattern is in two tints of the same     
colour only1 as in the case of those    
woven silks where the pattern is formed 
by the contrast of tabby and satin1 it  
may be considerably larger than in those
 cases where it is rendered conspicuous 
by colours4  ,this latter remark will   
apply also to damask table-linen1 and to
 all similar materials1 as well as to   
dress fabrics1 and draperies such as    
window hangings2 but of these we shall  
say a word shortly4  ,the closeness or  
openness of a fabric should1 then1 be   

considered when we design patterns for  
its enrichment1 and so should the nature
 of the material1 as this will influence
 its deadness or lustre4 ,but there are 
also other considerations which must not
 be lost sight of4 ,if the pattern is to
 be wrought by printing1 then one class 
of conditions must be complied with2 if 
by weaving1 then another class of       
requirements call for consideration4    
,the requirements of manufacture are    
much more numerous than might be        
supposed1 and are in some cases very    
restrictive4 ,the size of the repeat1   
the manner in which colour can be       
applied1 the character of surface       
attainable1 and many other              
considerations have to be carefully     
complied with before a pattern can      
appear as a manufactured article4  ,the 
chief fault of patterns1 as applied to  
fabrics generally1 is their want of     
simplicity--want of simple structure1   
want of simple treatment1 want of       
simplicity of effect2 and together with 

this we generally find largeness and    
coarseness of parts4  ,these errors     
arise chiefly out of a want of          
consideration of the capabilities of the
 material4 ,what can be done with this  
or that particular fabric1 is a question
 that we should carefully ask ourselves 
before we think of preparing a design4  
,have we colour at our disposal1 or     
texture merely8 and if colour1 can it be
 employed freely or only sparingly8 and 
can any desired colours be placed in    
juxtaposition or only certain tints8    
,these are questions of great           
importance1 and they should be asked and
 carefully considered before the first  
step is taken towards the formation of a
 pattern4 ,having ascertained what can  
be done with the material at command1   
let us ever remember that we should     
always endeavour to so employ the       
capabilities of a material as to conceal
 its weakness and emphasise its more    
desirable effects4 ,if this             
consideration were always given by      

designers to the power which the        
material has of yielding effects1 we    
should see1 in very many instances1     
effects strangely different from those  
which we often encounter2 and this      
remark applies to no class of fabrics   
more fully than to damask table-linen   
and coloured damask window hangings4    
,no satisfactory effect can be got in   
light and shade upon any woven or       
printed fabric2 besides1 to attempt such
 a mode of treatment is absurd4 ,light  
and shade belong only to pictorial art4 
,the ornamentist when enriching a fabric
 deals only with a surface1 and has no  
thought of placing pictures thereon2 he 
has simply to enrich or beautify that   
which without his art would be plain and
 unornamental4 ,a picture will never    
bear repetition4 ,who ever heard of a   
man having two copies of one picture in 
a room8 ,yet how much more absurd is it 
to repeat a little picture--perhaps a   
pictorially rendered flower--a hundred  
times over one surface6 ,besides this1 a

 surface must always be treated1 for    
decorative purposes1 as a surface1 and  
not in a manner calculated to deceive by
 giving apparent relief1 or thickness1  
to that which is essentially without    
thickness4 ,take a common damask        
table-cover4 ,this is by custom almost  
always white1 although it would be      
better if of a deep cream-colour1 or    
soft buff2 and the pattern which it     
bears results from a change of surface  
only 7why a margin of ingrain colour is 
not added1 ,i could never see72 yet in  
nine cases out of ten the pattern which 
is presented by such a fabric is a      
miserable shaded attempt at a pictorial 
treatment1 and is also a thorough       
failure4  ,simplicity of pattern        
naturally accords with a simple mode of 
production1 and the means of producing  
pattern in damasks is certainly most    
simple4 ,that there is a natural harmony
 between simplicity of pattern and      
simple means of producing an art-effect 
is obvious1 for of all patterns that ,i 

have ever seen upon damask table-linen  
the simple spot1 or dot1 is the most    
satisfactory4 ,if1 combined with this   
spot1 we have a border formed of a      
simple ,greek key-pattern1 or of mere   
lines 7a very usual border to good      
cloths71 the effect is perfectly        
satisfying1 and1 as far as it goes1 is  
highly to be commended4  ,it is curious 
that this spot is only sold in the      
better quality of table-linen 7at least 
so they tell me in the ,city71 and this 
shows that the wealthy1 or1 in other    
words1 the educated1 buy such patterns1 
as they prefer the true to the          
meretricious1 while the false and showy 
devices which we see on the common      
cloths please only the common people of 
vulgar taste4 ,i am not sure1 however1  
that many persons1 whose means are      
limited1 would not buy spots and other  
simple1 but correctly treated1 patterns1
 if such were to be got in common       
qualities of damask2 but when the pocket
 must govern the purchase1 it is hard to

 say that the false is preferred to the 
true1 if the true is not procurable with
 the means at command4  ,while ,i cannot
 withhold praise from this little spot1 
it must not be thought that ,i thereby  
give to it a high place as an art-work4 
,little is here attempted1 and that     
little is done well4 ,but let us analyse
 this pattern4 ,first1 the spots are of 
one tint throughout1 if ,i may thus     
express myself--a tint1 shall we say1   
which is the reverse of that of the     
ground4 ,it is not shaded so that it may
 appear as a ball or globe1 and is not  
graduated in colour in any way 7were it 
graduated or shaded1 feebleness of      
effect must inevitably accrue71 but is a
 simple1 honest spot1 treated as a      
surface ornament4 ,secondly1 this spot  
is geometrically arranged1 or1 in other 
words1 has an orderly arrangement4  ,if 
an attempt is made at rendering a       
pictorial1 or light-and-shade effect1 in
 damask1 an absurd failure can alone    
result1 for depth of shade is not       

obtainable in the material2 and1 besides
 this1 what appears as shade1 when the  
cloth is seen from one point of view1   
appears as light if seen from another   
point of view4 ,nothing could be more   
absurd1 then1 than seeking to produce   
shaded effects with such means as are   
here at our disposal4 ,but were the     
fabric capable of rendering such        
effects1 it would still be wrong to     
employ them1 as we deal only with the   
surface1 and are seeking to enhance the 
value of1 or beautify1 a fabric1 and not
 to cover it with pictures4 ,in our     
simple spot we have those elements which
 may be extended into the richest and   
most artistic damask patterns4 ,we have 
order--as indicated by the geometrical  
plan of the pattern--and an honest and  
simple expression1 or application1 of   
the capabilities of the material4  ,all 
table-covers should certainly have a    
border4 ,any object which is to be used 
as a whole looks unsatisfactory if it   
appears as though it were part of a     

whole4 ,if a cloth is without border it 
is impossible to avoid the impression   
that it is a part of a larger cloth1 and
 in every respect the general effect is 
decidedly unsatisfactory4  ,it is       
perhaps well that we notice one         
peculiarity of a table-cover before we  
dismiss the consideration of such       
fabrics1 which is this1 that while the  
central portion is seen flat1 the border
 portion is viewed in folds2 and here we
 come to one of the great peculiarities 
of most draperies1 that of their being  
viewed not as flat surfaces1 but in     
waves or folds4 ,one portion of a       
table-cloth is1 however1 seen flat1 but 
this is almost an exception in the case 
of draperies4 ,another exception to this
 rule of hangings appearing in folds1   
and that of a very complete character1  
occurs in silk damasks which are used as
 a rich lining to the walls of palaces  
and some mansions2 but of table-cloths  
we will speak for the present4          
,illustration3 ,fig4 #he4               

,illustration3 ,fig4 #hf4               
,illustration3 ,fig4 #hg4               
,illustration3 ,fig4 #hh4               
,illustration3 ,fig4 #hi4               
,illustration3 ,fig4 #ij4  ,the central 
part of a table-cloth1 that portion     
which is always to be viewed as a flat  
surface1 may be enriched with any diaper
 pattern that is simply treated1 and    
this diaper pattern may be full of      
design1 provided the parts are not too  
large or too small4 ,it may also be     
formed of gracefully curved parts1 or of
 straight lines or circles1 or of any   
combination of these elements2 but1     
preferably1 not wholly of straight      
lines4  ,were it not for the fact that  
much of this central portion of the     
cloth is to be covered by articles of   
the dinner-table1 it might well be      
furnished with a central ornament1      
repeating only in quarters2 but as such 
an ornament1 in order that it be        
satisfying1 requires to be seen as a    
whole1 it is not desirable that such be 

here employed4 ,a diaper pattern that   
repeats many times in the centre is     
preferable1 as the pattern can then be  
seen in a satisfactory manner4          
,illustration3 ,fig4 #ia4  ,the border  
of a table-cloth1 like all fabrics that 
are to be seen in folds1 requires       
special treatment1 for what looks well  
when seen as a flat surface may not look
 well when seen on a waved surface4     
,tender and graceful curves are lost    
when viewed upon folds1 for they here   
appear as mere wormy lines4 ,on the     
contrary1 right lines1 whether          
horizontal or diagonal1 and circles1 all
 look well when seen upon waved grounds4
 ,these lines become1 owing to the folds
 of the fabric1 curves of a subtle      
character4 ,the manner in which lines   
become influenced by falling on a curved
 surface can be readily illustrated by  
forming semicircles of paper1 and       
folding them into cones1 after having   
drawn upon them a series of circles     
7,fig4 #he7 or straight lines 7,fig4    

#hf74 ,if these cones 7,figs4 #hg and   
#hh7 are now viewed from above1 or in   
such a manner that the eye rests over   
the apices1 it will be seen that the    
circles have now become richly varied   
curves1 each having somewhat the form of
 a blunt heart or cardioid 7,fig4 #hi71 
and that the straight lines become      
horse-shoe-shaped 7,fig4 #ij74 ,these   
illustrations will be sufficient to show
 that what is plain when seen upon a    
flat surface may be delicate and        
satisfying if seen upon a curved        
surface2 and will also lead us to       
understand that what may be delicate and
 refined when seen upon a flat surface  
may become feeble and unsatisfactory if 
falling upon a waved ground4 ,i have    
said that stripes or straight lines1 if 
crossing a folded fabric1 are           
satisfactory4 ,this is so in almost all 
cases1 the only exception being in      
ladies' dresses4 ,here lines crossing   
the fabric are not satisfactory1 as they
 become rings around the body1 which    

appear to divide it into hoop-like      
strata4 ,the patterns of dresses may    
consist of narrow1 vertical stripes1 as 
these are collected together at the     
waist of the figure1 and fall into      
graceful curves with any motion of the  
body1 but the very opposite is the case 
with window-hangings4 ,all vertical     
stripes are here highly offensive1 while
 horizontal stripes are thoroughly      
satisfactory4  ,a consideration of the  
window-hanging materials made in ,spain1
 ,algeria1 and on the ,morocco coast1   
will show us the beauty of horizontal   
stripes2 and in some of the little      
,algerian warehouses1 such as we have in
 ,regent ,street1 ,london1 and in the   
,rue de ,rivoli in ,paris1 we see some  
of these fabrics of a most interesting  
character4  ,illustration3 ,fig4 #ib4   
,to state in a concise form the laws    
which should govern the application of  
ornament to certain fabrics which are to
 be seen in folds1 ,i should say--      
#ast4 ,great simplicity of pattern is   

necessary4  #bnd4 ,circles1 straight    
lines crossing the fabric1 and diagonal 
lines are all correct in such a case1   
and are improved by the folds1 which    
form them into subtle and beautiful     
curves 7,fig4 #ia74  #crd4 ,if curves   
are tender and graceful1 they become    
commonplace on a waved or folded ground4
  #dth4 ,the size of the pattern should 
be considered in relation to the size of
 the folds of the material4             
,illustration3 ,fig4 #ic4  ,in ,germany 
a kind of ornament is applied to rich   
stiff fabrics which is almost peculiar  
to the country4 ,this ornament is rich1 
bold1 hard or stiff in its lines1 and in
 every way adapted for the decoration of
 a costly fabric which falls in large   
folds1 the folds changing the hard and  
stiff lines into graceful curves4 ,this 
should also be noted respecting these   
curious yet beautiful patterns1 that    
they are always simple in plan1 however 
rich in detail1 and are invariably      
founded on a geometrical basis4 ,german 

,gothic is a name by which such ornament
 may be distinguished 7flat ,gothic     
ornament has always been quite distinct 
from the stone and metal ornaments of   
,gothic buildings1 which have solid and 
not merely superficial form71 see ,figs4
 #ib and #ic4 ,this particular class of 
ornament forms the background to many   
old pictures1 a most interesting        
collection of which exists in the museum
 of ,cologne1 and is certainly worthy of
 the most careful study4  ,as to flat   
silk wall-damasks1 which are used in    
some of the upper-class houses as       
wall-papers are used in the middle-class
 houses1 all that need be said is that  
they should be treated as wall          
decorations1 and not as fabrics which   
are to be seen folded4 ,were ,i asked   
whether ,i approve of these damasks as  
wall coverings1 ,i should say1          
,certainly not4 ,a wall is better       
treated as a wall1 and not so covered   
with drapery as to leave space for      
vermin between the wall and its         

enrichment4 ,there is also the further  
objection that the lines where the      
fabric is joined are visible1 and these 
are most certainly objectionable4       
,illustration3 ,fig4 #id4  ,besides the 
illustrations of ,german ornament just  
given1 we figure also a specimen of     
,indian embroidery on cotton 7,fig4     
#id74 ,i cannot too strongly recommend  
the designer of patterns for woven goods
 to study the native fabrics of ,india1 
exhibited at the ,indian ,museum1       
,whitehall4  ,illustration3 ,fig4 #ie4  
,illustration3 ,fig4 #if4  ,besides the 
collection here brought together1 there 
is also in most of our manufacturing    
towns a large series of specimens of    
these cloths deposited with the ,chamber
 of ,commerce1 and these can be         
consulted by all respectable members of 
the community4 ,speaking of these       
,indian fabrics1 ,mr4 ,redgrave says1 in
 his ,report on ,design prepared for the
 ,commissioners of the ,international   
,exhibition of #ahea3--,these are almost

 wholly designed on the principles here 
presumed to be just ones--the ornament  
is always flat1 and without shadow2     
natural flowers are never used          
imitatively or perspectively1 but are   
conventionalised by being displayed flat
 and according to a symmetrical         
arrangement2 and all other objects1 even
 animals and birds1 when used as        
ornament1 are reduced to their simplest 
flat form4 ,when colour is added1 it is 
usually rendered by the simplest local  
hue1 often bordered with a darker shade 
of the colour1 to give it a clearer     
expression2 but the shades of the       
flowers are rarely introduced4 ,the     
cloth of gold figured in the loom 7,fig4
 #ie71 and part of an ,indian scarf     
7,fig4 #if71 illustrate fully these     
remarks4 ,the ornament is geometrically 
and symmetrically arranged1 flat1 in    
simple tints1 and bordered1 as above    
described1 with darker shades of the    
local colour4 ,the principle of colour  
adopted is a balance of the             

complementaries red and green1 in both  
cases with white introduced to give     
points of expression1 and to lead the   
eye to the symmetrical arrangement of   
the ornament4 ,in ,fig4 #ie purple is   
introduced to harmonise with the gold   
ground1 a harmony very frequently used  
in the rich tissues of ,india4 ,in ,fig4
 #if variety has been obtained by       
introducing two reds1 giving an         
interchange of a lighter tint in every  
other flower in the border4 ,the borders
 of these scarves are beautifully       
illustrative of the simple and graceful 
flowing lines which characterise ,indian
 ornament2 and in ,fig4 #if we can      
observe the difference between the      
,eastern and the mediaeval              
patterns--while the same principles are 
acknowledged in both1 the latter are    
often stiffer and more angular than the 
graceful sprigs of this border4 ,both   
these works show how much beauty may be 
obtained by simple means1 when regulated
 by just principles1 and how perfectly  

unnecessary are the multiplied tints by 
which modern designers think to give    
value to their works1 but which increase
 the difficulties of production out of  
all proportion to any effect resulting  
from them--nay1 often even to the       
absolute disadvantage of the fabric4 ,if
 we look at the details of the ,indian  
patterns1 we shall be surprised at their
 extreme simplicity1 and be led to      
wonder at their rich and satisfactory   
effect2 it will soon be evident1        
however1 that their beauty results      
entirely from adherence to the          
principles above described4 ,the parts  
themselves are often poor1 ill-drawn1   
and common-place2 yet1 from the         
knowledge of the designer1 due attention
 to the just ornamentation of the       
fabric1 and the refined delicacy evident
 in the selection of quantity and the   
choice of tints1 both for the ground1   
where gold is not used as a ground1 and 
for the ornamental forms1 the fabrics1  
individually and as a whole1 are a      

lesson to our designers and             
manufacturers1 given by those from whom 
we least expected it4  ,much that ,mr4  
,redgrave here says is worthy of careful
 consideration1 and ,i can do no more   
than recommend the student to study     
these beautiful ,indian fabrics1 and    
consider them in conjunction with the   
remarks which we have made respecting   
them and fabrics in general4            
,,chapter ,,vii4   ,,division ,i4  ,in  
this chapter ,i have to commence our    
consideration of pottery1 and of hollow 
vessels especially2 and this ,i do with 
considerable pleasure1 as works in      
pottery enjoy a longer existence1 though
 through the character of the material  
of which they are made they are more    
fragile1 than those formed of almost any
 other substance4 ,many works of ,greek 
pottery are known to us1 and not a few  
such works by the ancient ,egyptians1   
and these are preserved not as fragments
 merely1 but as works in their entirety1
 and with the same beauty that they     

possessed when first they left the hands
 of the workman4  ,clay is a most       
desirable material with which to form   
works of utility and of beauty1 and this
 for many reasons4 ,first1 it is so     
inexpensive as to be almost valueless2  
secondly1 it is easily formed into      
vessels of almost any required shape2   
thirdly1 it is capable of being worked  
into shapes of great beauty by a        
momentary exercise of skill2 fourthly1  
clay is naturally of many beautiful     
colours2 fifthly1 it is capable of      
receiving by application to its surface 
any amount of colour1 and of preserving 
such colours as are applied to it in an 
unimpaired state for ages2 and sixthly1 
it is susceptible of the highest        
art-finish1 or the bold sketchy touch of
 the modeller's hand4 ,i say that clay  
is a very desirable material for        
formation into vessels of various kinds1
 because of its inexpensive character4  
,this quality of cheapness gives to the 
material an advantage over many other   

substances of a much more costly        
character1 such as should not be        
overlooked1 for the long existence which
 so many works of earthenware have had  
is mainly due to the worthlessness of   
the material of which they are composed4
 ,in my first chapter ,i gave an extract
 from the writings of ,professor ,george
 ,wilson1 showing that gold and silver1 
while beautiful in themselves1 and      
worthy to be fashioned into exquisite   
devices1 are yet too tempting to the    
thief1 and to all who are pressed for   
means1 to remain long in the form of    
art-works4 ,families who have been      
reduced in circumstances1 and have      
thereby been constrained to part with   
their old plate1 have melted it1 so as  
to hide their shame4 ,to illustrate     
this1 let me quote from the ,handbook of
 the ,arts of the ,middle ,ages and     
,renaissance1 as applied to the         
,decoration of ,furniture1 ,arms1       
,jewels1 etc41 translated from the      
,french of ,m4 ,jules ,labarte1 #ahef4  

,after giving the names of many workers 
in the precious metals1 the author      
says3--,we may form some idea of what   
artists these ,italian goldsmiths were  
of the fourteenth1 fifteenth1 and       
sixteenth centuries1 and what admirable 
works they must have produced4 ,but1    
alas6 these noble works have almost all 
perished2 their artistic worth proving  
no safeguard against cupidity or        
necessity1 the fear of pillage1 or the  
love of change4 ,but a very few names   
even of those skilled artists have      
descended to us1 and in making known    
those preserved to us in the writings of
 ,vasari1 ,benvenuto1 ,cellini1 and     
others1 we can rarely point out any of  
their works as being still in existence4
  ,cellini tells us that while ,pope    
,clement ,,vii4 was besieged in the     
castle of ,st4 ,angelo1 he received     
orders to unset all the precious stones 
that were upon the tiaras1 the sacred   
vessels1 and the jewels of the sovereign
 pontiff2 and to melt down the gold1 of 

which he obtained #bjj pounds4 ,how many
 artistic treasures must have perished  
in the crucible of ,cellini4 ,we now see
 clearly that while clay is a much more 
fragile material than either silver or  
gold1 its very worthlessness1 despite   
its fragility1 gives to it length of    
years4  ,we have said that clay is      
easily formed into vessels of almost any
 required shape4 ,this is so within     
certain limits4 ,throughout these       
chapters ,i have lost no opportunity of 
insisting upon the importance of working
 every material in a befitting manner1  
and in the most simple and easy way in  
which the material can be wrought4      
,almost every material can be simply    
worked in some way1 or while in some    
particular condition4  ,glass has a     
molten state in which it can be blown   
into the most beautiful of shapes1 and  
this process of blowing is the work of  
but a few seconds4 ,glass has also a    
solid condition1 yet as it can be formed
 into works of great beauty by the      

exercise of momentary skill1 it would be
 extremely foolish to take a mass of the
 solid glass1 and by laborious grinding 
form it into a bottle or a bowl4 ,it    
fortunately happens that if a material  
is worked in its most simple and        
befitting manner1 the results obtained  
are more beautiful and satisfying than  
those which are arrived at by any       
roundabout method of production4 ,glass 
should be formed into hollow vessels    
only when in its plastic condition1 for 
it cannot be shaped into the form of    
such vessels as we require when in its  
solid state without the expenditure of  
much unnecessary1 therefore wasteful1   
labour4 ,but if a mass of crystal or    
marble is required to assume the form of
 a bowl or font1 then the laborious     
process of grinding must be resorted to1
 for these substances have no plastic   
state4  ,the potter's wheel has been    
known from the earliest historic time1  
and this has at all times been the      
instrument with which the best earthen  

vessels have been formed4 ,a mass of    
clay of suitable size is placed on a    
horizontal disc of wood1 to which a     
rotary motion is imparted4 ,the operator
 presses his thumbs into the centre of  
the clay1 and then1 by causing his      
fingers to approach his thumbs1         
manipulates the clay into a cup1 a bowl1
 a vase1 an earthen bottle1 or whatever 
form he may please2 and if skilful1 the 
operator can form objects of marvellous 
beauty with a rapidity that astonishes  
all who see for the first time his mode 
of working4  ,if potters would but      
content themselves1 in order to the     
production of such articles as we       
require in common life1 with the        
potter's wheel1 we should be almost sure
 of a certain amount of beauty in       
domestic earthenware1 but such is not   
the case4 ,they make fancy moulds of    
plaster of ,paris and of wire gauze1 and
 roll out clay as the pastrycook does   
dough1 and manipulate it as so much     
pie-crust1 instead of applying to it    

simple skill4 ,neither a bowl nor a     
plate need have a scalloped edge1 indeed
 they are much better without it2 and if
 unnecessary1 and even undesirable1     
absurdities were avoided1 and a simple  
and natural method of working each      
material alone employed1 a great        
improvement in art would speedily take  
place4  ,it is strange but true1 that   
the worker in one material seems rarely 
to be satisfied with making his works   
look as well and as consistent as       
possible2 he desires rather to form poor
 imitations of something else4 ,we have 
all seen earthen jugs made in imitation 
of wicker-work1 although to do so is    
obviously foolish1 as no wicker vessel  
could hold water1 and the thing imitated
 is much less beautiful than a thousand 
forms which clay is capable of assuming4
 ,men's heads without brains are1 or    
were at least1 favourite jugs4 ,well1   
that there are many models for this idea
 in ,nature1 ,i doubt not2 yet why we   
should copy them by making a jug in the 

form of a hollow head1 ,i know not4 ,i  
have in my possession a milk-jug1 such  
as is common in the district of ,swansea
 in ,south ,wales1 in the likeness of a 
cow4 ,the tail is twisted into a handle2
 by a hole in the back the milk is      
admitted1 and through the mouth it is   
ejected4 ,a more wretched and coarse    
idea it is scarcely possible to conceive
 of1 yet the vulgar admire this jug4    
,let us work the material in a simple   
and befitting manner1 and satisfactory  
results are almost sure to accrue4  ,i  
have said that clay1 as such1 has many  
beautiful colours4 ,naturally clay is   
black1 grey-white1 red1 brown1 and      
yellow1 and it is capable of assuming   
many desirable tints by the agency of   
chemical means4 ,we do not use coloured 
clays as we should do4 ,we want so much 
white--everything to look so clean4 ,all
 ornamental ware1 at least1 should be   
artistic1 and the art-effect should     
supersede that cold whiteness which the 
,dutch and the ,english mistake for     

cleanliness4 ,a clay of good natural    
colour is not a thing to be hidden1 or  
ashamed of4  ,clay is capable1 when     
glazed1 of receiving any amount of      
colour1 and of preserving these colours 
in their beauty for almost any length of
 time4 ,these qualities are invaluable  
to the ornamentist4 ,colour is not      
always at his disposal4 ,the goldsmith  
has difficulty in getting it1 but to the
 potter it is very accessible4 ,colour  
is capable of giving to objects a charm 
which they could not possibly have      
without it4 ,let us use the power thus  
placed at our disposal rightly and well1
 and then the enduring character of the 
colour-harmonies which we produce may   
gladden posterity in ages yet to come4  
,clay is susceptible of the highest     
art-finish1 or of a bold sketchy        
treatment4 ,finish is very desirable in 
some cases4 ,the cup which my lady uses 
in her boudoir should be delicate and   
fine1 for what is worthy to approach the
 sacred lips of the occupant of a fair  

apartment but such a work as is tender  
and refined8  ,as a rule1 however1 we   
over-estimate the value of finish1 and  
under-value bold art-effects4 ,excessive
 finish often 7but by no means always7  
destroys art-effect4 ,i have before me  
some specimens of ,japanese earthenware1
 which are formed of a coarse dark brown
 clay1 and are to a great extent without
 that finish which most ,europeans      
appear so much to value1 yet these are  
artistic and beautiful4 ,in the case of 
cheap goods we spend time in getting    
smoothness of surface1 while the        
,japanese devote it to the production of
 an art-effect4 ,we get finish without  
art1 they prefer art without finish4    
,illustration3 ,fig4 #ig4               
,illustration3 ,fig4 #ih4               
,illustration3 ,fig4 #ii4               
,illustration3 ,fig4 #ajj4  ,we must now
 devote ourselves to a special          
consideration of the shapes of earthen  
vessels1 and to the manner in which     
ornament should be applied to them4  ,in

 his primitive condition man appears to 
have used the shells of certain fruits  
as drinking vessels and bottles2 and to 
this day we find many tribes of         
uncivilised or half-civilised men using 
the same class of vessels4 ,monkey-pots 
7the hard shells of the ,lecythis       
allaria71 the coverings of the ,brazil  
nut 7,bertholetia excelsa71 and         
especially the rinds of the calabash and
 many species of gourd 7,figs4 #ig and  
#ih71 have been used in this way4#bf    
,the first efforts made at the          
production of earthen vessels were mere 
attempts at copying in clay the forms of
 the fruit-shells which were in use as  
drinking vessels4 ,after a power of     
forming earthen vessels1 having a       
certain amount of perfection of         
manufacture1 was gained1 we still find  
the origin of the potter's art          
manifested by certain works4 ,thus in   
,china1 where the potter's art has so   
long been understood1 we still find     
vessels made in the form of the         

bottle-gourd1 just as was their custom  
in the days of their first manufacturing
 efforts 7,fig4 #ii74 ,before           
considering the shapes of vessels from a
 utilitarian point of view1 ,i should   
tell the student that certain shapes are
 characteristic of different nations and
 of different periods of time4  #bf ,all
 who are interested in this subject are 
referred to a paper published in the    
,transactions of the ,edinburgh         
,botanical ,society1 for #ahei1 by      
,professor ,george ,wilson1 on the      
,fruits of the ,cucurbitaceae4  ,the    
,greek shapes1 as we may call them--that
 is1 the forms of those vessels which   
the ,greeks produced--are of a          
particular class1 and the vessels       
produced by the ,egyptians are of a     
different type2 while those of the      
,chinese1 ,indians1 ,japanese1 and      
,mexicans again differ from each other1 
and from those of both the ,greeks and  
the ,egyptians4 ,for grace of form the  
vessels of the old ,greeks stand        

pre-eminent 7,figs4 #aja and #ajb72 for 
simple dignified severity1 those of the 
,egyptians 7,fig4 #ajj72 for quaintness1
 those of the ,mexicans 7,fig4 #ajc72   
for a combination of grace with dignity1
 those of the ,chinese 7,figs4 #ajd and 
#aje72 and for a combination of beauty  
with quaintness1 those of the ,japanese 
7,fig4 #ajf72 while in many respects the
 ,indian shapes 7,figs4 #ajg and #ajh7  
resemble those of the ,japanese4 ,fig4  
#aji is a water vessel from ,ha1 and    
,figs4 #aaj and #aaa are jugs from      
,morocco4  ,i cannot enter into any     
details respecting the characteristic   
forms of vessels produced by these      
various nations1 but must content myself
 by giving a few illustrations of the   
various shapes1 and leaving the matter  
with the learner for study4 ,the        
,british ,museum1 the ,south ,kensington
 ,museum1 and the ,indian ,museum will  
aid him in his researches4  ,it has been
 said that the character of a people can
 be told by their water-vessels4 ,as the

 consideration of this statement will   
lead us to see how perfectly a domestic 
utensil may answer the end which it     
should serve1 ,i will extract from my   
,art of ,decorative ,design a few       
remarks on this subject4  ,this         
statement can well be illustrated by the
 ,egyptian and ,greek water-vessels1 the
 former of which has sides tapering to  
the top and slanting inwards1 a small   
orifice1 and a rounded base1 and the    
mouth of the vessel bridged by an arched
 handle1 the whole being constructed of 
bronze 7,fig4 #aab72 the latter consists
 of an egg-shaped body 7the broad end   
being above7 resting upon a secure foot1
 which is surmounted by a large1        
divergent1 funnel-shaped member 7,fig4  
#aac74 ,it has no handle over the       
orifice1 but has one at either side4    
,not only do these vessels differ in    
form1 but associated circumstances      
differ also2 and it is this variation in
 circumstances which brought about the  
difference in form of the two           

water-vessels4  ,the peculiarities of   
the ,egyptian water-vessel are its      
formation of bronze1 the roundness of   
its base1 which renders it unfitted for 
standing1 the narrowness of its mouth1  
and the handle arching the orifice2 and 
of the ,greek1 its being wrought in     
clay1 the secure base1 the wide mouth1  
the contraction in the centre1 and the  
handle at either side4 ,we should judge 
from these vessels that the ,egyptians  
drew water from a river1 or some        
position which required that the vessel 
be attached to a cord and cast into the 
source of supply1 for the roundness of  
the base at once points to this1 it     
being a provision for enabling the      
vessel to fill by turning upon its side 
7were its base flat it would float on   
the water72 it is also formed out of    
metal so as to facilitate this end4 ,the
 arched handle not only points to the   
attachment of the vessel to a string in 
order that it be cast into the water1   
but also to the carrying the vessel     

pendent from the hand in the manner that
 pails are at present carried1 and the  
contracted mouth restrains the splashing
 over of the water3 and what this simple
 water-vessel points to we find to have 
been the case1 for the ,egyptians       
derived water from the ,nile in the very
 manner that the vessel would indicate2 
but with the ,greeks circumstances were 
different1 and the shape of the vessel  
varies accordingly4 ,the base is here   
flat1 in order that the vessel may      
stand2 the mouth is large1 in order to  
collect the water which fell from       
above1--from the dripping-rocks and     
water-spouts4 ,this being the manner in 
which water was gathered1 a vessel      
formed of heavy metal was unnecessary2  
the contraction prevented the water from
 splashing over when carried1 and up to 
this point the vessel was filled1 and no
 higher2 and the handles at the side    
show that it was carried on the head4   
,but1 in conjunction with this mode of  
carrying1 there is another consideration

 of interest1 which is1 the centre of   
gravity is high4 ,if we attempt to      
balance a stick1 having one enlarged    
end1 on the finger1 it will be found    
necessary that the weight be at the top2
 and in balancing anything1 it will be  
found that the object1 in order that it 
ride steadily1 have its point of        
greatest weight considerably elevated   
above its base4 ,in the ,greek          
water-vessel1 which was carried balanced
 on the head1 we find this condition    
fully complied with1 the centre of      
gravity occupying a high position1 while
 in the ,egyptian vessel the centre of  
gravity was low2 but where the vessel is
 to be carried underhand1 it is as great
 an advantage to have the centre of     
gravity low as it is in the case of a   
coach1 where security is thus gained    
just as the centre of gravity is        
lowered4 ,the ,greek water-vessel1 then1
 consists of a cavity for holding water1
 a funnel to collect and guide the      
water1 a base for the vessel to rest    

upon1 and handles to enable it to be    
raised to the head1 and the centre of   
gravity is high in order that it be     
readily balanced2 and we should judge   
from this vessel that the ,greeks       
procured water from dripping-rocks and  
water-spouts1 and this is exactly what  
did occur4 ,these are the direct        
teachings of the ,egyptian and ,greek   
water-vessels2 yet how many             
circumstances and incidents of common   
life can be conceived as associated with
 these different forms of vessel4 ,there
 is the gossip round the well1 and the  
lingering by the river-side where the   
image of the date-palm is mirrored by   
the glassy surface of the waters4 ,the  
effect of the noise of the splashing    
water upon the mind in the one case1    
combined with the comparatively loud and
 energetic speaking which would be      
necessary in order that the voice be not
 drowned by the noise1 and of the calm  
tranquillity of the river-bank in the   
other1 where the limpid water is ever   

flowing on in silent majesty1 must be   
considerable4 ,then we have the potter's
 art essential to the production of the 
vessel in the one case1 and the         
metal-worker's in the other--the digging
 of clay1 the mining of metal1 the kilns
 and smelting furnaces4 ,we will not    
continue this portion of the subject    
further1 and have brought forward this  
illustration in order to show how       
well-considered objects reveal to us the
 habits and customs of the peoples and  
nations in which they originated4       
,illustration3 ,fig4 #aja4              
,illustration3 ,fig4 #ajb4              
,illustration3 ,fig4 #ajc4              
,illustration3 ,fig4 #ajd4              
,illustration3 ,fig4 #aje4              
,illustration3 ,fig4 #ajf4              
,illustration3 ,fig4 #ajg4              
,illustration3 ,fig4 #ajh4              
,illustration3 ,fig4 #aji4              
,illustration3 ,fig4 #aaj4              
,illustration3 ,fig4 #aaa4              
,illustration3 ,fig4 #aab4              

,illustration3 ,fig4 #aac4  ,it will now
 be apparent that even a common object  
may result from such careful            
consideration that its form will at once
 suggest its use2 but the object will   
only reveal the purpose for which it was
 created with definiteness of expression
 when it perfectly answers the end      
proposed by its formation4 ,the advice  
which ,i must give to every designer is 
to study carefully exactly what is      
required1 before he proceeds to form his
 ideas of what the object proposed to be
 created should be like1 and then to    
diligently strive to arrange such a form
 for it as shall cause it to be         
perfectly suited to the want which it is
 intended to meet4  ,more will be said  
upon the subject of form when speaking  
of glass vessels and of silversmiths'   
work2 and when considering these        
subjects we shall also give the law     
which governs the application of handles
 and spouts to vessels2 and it is of the
 utmost importance that they be         

correctly placed in order that the      
vessel may be used with convenience 7see
 page #adj74 ,a word must now be said   
respecting the decoration of earthen    
vessels1 but on this subject our remarks
 must be brief4  ,illustration3 ,fig4   
#aad4  ,illustration3 ,fig4 #aae4       
,illustration3 ,fig4 #aaf4              
,illustration3 ,fig4 #aag4  ,the object 
to which the decoration is applied must 
determine the nature of the ornament to 
be employed4 ,in the case of a vessel   
which is to be in part hidden when in   
use1 great simplicity of treatment      
should be adopted1 and the ornament may 
with advantage consist of repeated      
parts4 ,in the case of a plate1 little  
or no ornament should be placed in the  
centre2 but if there is a central       
ornament it should be a small1 regular1 
radiating figure1 consisting of like    
parts 7,figs4 #aad and #aae74 ,the      
border should also consist of simple    
members repeated1 for it will then look 
well if portions are covered2 and these 

remarks will apply equally to all kinds 
of plates1 whether intended for use at  
dinner or dessert4  ,no plate should    
have a landscape painted upon it1 nor a 
figure1 nor a group of flowers4         
,whatever has a right and wrong way     
upwards is inappropriate in such a      
position1 as whatever ornament a plate  
bears should be in all positions as     
fully right way upwards to the beholder 
as it can be4 ,besides1 landscapes1     
groups of flowers1 and figures are      
spoiled if in part hidden1 provided they
 are satisfactory when the whole is     
seen4  ,illustration3 ,fig4 #aah4       
,plates may have a white ground1 for it 
is desirable that those articles on     
which food is presented should manifest 
the utmost cleanliness1 yet to a cream  
tint there can be no objection4 ,i      
should1 however1 prefer white plates1   
with a rather deep blue1 ,indian red1   
maroon1 or brown pattern upon them1 and 
a pale buff table-cloth for them to rest
 upon4  ,in the case of cups and saucers

 the treatment should be similar to that
 of the plate4 ,the saucer may have a   
simple border ornament1 consisting of   
parts repeated1 and little or no        
ornament in the central portion on which
 the cup rests4 ,the cup may have an    
external border ornament1 and a double  
narrow line of colour around the upper  
portion of the interior1 but no other   
ornament is here required4  ,whatever   
ornament is placed around a cup1 or     
vase1 or any tall object must be such as
 will not suffer by perspective1 for    
there is scarcely any portion of the    
ornament that can be seen otherwise than
 foreshortened 7,figs4 #ajc and #aaa74  
,let simplicity be the ruling principle 
in the decoration of all rounded        
objects1 and ever remember that a line  
which is straight on a flat surface     
becomes a curve on a round surface 7see 
page #aaj74  ,i have given what is a    
correct decoration for a plate and cup  
and saucer1 but there are other methods 
of treatment than those just named4 ,the

 ,japanese are very fond of placing     
little circular groups of flowers on    
plates1 saucers1 and bowls 7,figs4 #aaf 
and #aag74 ,the ,greeks had various     
methods of enriching their tazzas and   
vases with ornament1 and the ,egyptians 
were partial to the plan of rendering a 
cup as a lotus-flower 7,fig4 #ajj74 ,but
 when they formed a cup thus1 they were 
careful to draw the flower              
conventionally and ornamentally1 and    
never produced an imitative work 7see   
page #bd74 ,the ,chinese treat the      
flower of the sacred bean in the same   
way 7,fig4 #aah74  ,what ,i have said   
has been addressed to the student4 ,the 
remarks1 however1 made respecting the   
form chosen being that which is most    
suitable to the end proposed1 and the   
conditions to which ,i shall make       
reference as governing the application  
of handle and spout to any object1 are  
binding upon all who would produce      
satisfactory works2 but to the genius   
who has power to produce beautiful and  

vigorous ornament1 and whose taste has1 
by years of study and cultivation1      
become refined and judicious1 ,i can    
give no rules1 his own taste being his  
best guide4   ,,division ,,ii4  ,when   
speaking of earthenware1 ,i insisted    
upon the desirability of using every    
material in the easiest and most natural
 manner1 and ,i illustrated my meaning  
by saying that glass has a molten       
condition as well as a solid state1 and 
that while in the molten condition it   
can be blown into forms of exquisite    
beauty4 ,glass-blowing is an operation  
of skill1 and an operation in which     
natural laws come to our aid1 and ,i    
cannot too strongly repeat my statement 
that every material should be worked in 
the most simple and befitting manner2   
and ,i think that our consideration of  
the formation of glass vessels will     
render the reasonableness of my demand  
apparent4  ,let a portion of molten     
glass be gathered upon the end of a     
metal pipe1 and blown into a bubble     

while the pipe drops vertically from the
 mouth of the operator1 and a flask is  
formed such as is used for the          
conveyance of olive oil 7,fig4 #aai72   
and what vessel could be more beautiful 
than such a flask8 ,its grace of form is
 obvious2 the delicate curvature of its 
sides1 the gentle swelling of the bulb1 
and the exquisitely rounded base1 all   
manifest beauty4  ,here we get a vessel 
formed for us almost wholly by ,nature4 
,it is the attraction of gravitation    
which converts what would be a mere     
bubble1 or hollow sphere of glass1 into 
a gracefully elongated and              
delicately-shaped flask4 ,this may be   
taken as a principle1 that whenever a   
material is capable of being worked in a
 manner which will so secure the        
operation of natural laws as to modify  
the shapes of the objects into which it 
is formed1 it is very desirable that we 
avail ourselves of such a means of      
formation1 for the operation of         
gravitation and similar forces upon     

plastic matter is calculated to give    
beauty of form4  ,when clay is worked   
upon the potter's wheel1 it is shaped by
 the operator's skill1 and is           
sufficiently stiff to retain the shape  
given to it to a very considerable      
extent2 yet the operation of gravitation
 upon it1 so long as it has any         
plasticity whatever1 is calculated to   
secure delicacy of form4 ,this rule     
should ever be remembered by the        
art-student--that a curve is beautiful  
just as its origin is difficult to      
detect 7see ,chap4 ,i41 page #bc74 ,in  
the formation of vases1 bottles1 etc41  
knowledge of this law is very important1
 and the operation of gravity upon      
hollow plastic vessels is calculated to 
give to their curves subtlety 7intricate
 beauty7 of character4 ,having arranged 
that the material shall be worked in the
 manner most befitting its nature1 we   
must next consider what purpose the     
object to be formed is intended to      
serve4  ,take a common hock-bottle      

7,fig4 #abj7 and consider it4 ,what is  
wanted is a vessel such as will stand1  
in which wine can be stored4 ,it must   
have a strong neck1 so that a cork may  
be driven in without splitting it1 and  
must be formed of a material that is not
 absorbent4 ,glass1 as a material1      
admirably answers the want1 and this    
bottle is capable of storing wine2 it   
will stand1 and has a rim around the    
neck such as gives to it strength4 ,but1
 besides serving the requirements named1
 it is both easily formed and is        
beautiful4 ,the designer must be a      
utilitarian1 but he must be an artist   
also4 ,we must have useful vessels1 but 
the objects with which we are to        
surround ourselves must likewise be     
beautiful2 and unless they are          
beautiful1 our delicacy of feeling and  
power to appreciate ,nature1 which is   
full of beauties1 will be impaired4 ,a  
hock-bottle is a mere elongated bubble1 
with the bottom portion pressed in so   
that it may stand1 and the neck         

thickened by a rim of glass being placed
 around it4  ,illustration3 ,fig4 #aai4 
,illustration3 ,fig4 #abj4  ,here we    
have a bottle shaped by natural agency2 
it is formed of heavy glass1 and the    
bubble was thick at its lower part1     
hence its elongated form2 but if length 
is required in any bubble1 and the glass
 is even light1 it can always be given  
by swinging the bubble round from the   
centre1 so that centrifugal force may be
 brought into play in the direction of  
its length2 or if it has to be widened1 
this can as easily be done by giving to 
it a rotatory motion1 whereby the       
centrifugal force is caused to act from 
the axis of the vessel outwards1 and not
 from the apex to the base1 as in the   
former instance4 ,in either case a      
certain amount of beauty would appear in
 the shape produced1 for ,nature here   
works for us4 7,compare the short1      
dumpy1 yet beautiful bottle1 in which we
 receive curacao1 with the hock-bottle1 
when the two natural modes of forming   

bottles will be illustrated47 ,our      
wine-bottles are moulded1 hence their   
ugliness4 ,we work without ,nature's    
assistance1 and we reap ugliness as the 
reward4  ,let us now consider what a    
decanter should be4 ,in many respects1  
the wants which a decanter is intended  
to meet are similar to those which are  
met by the bottle1 as just enumerated1  
but here is a great difference--a bottle
 is only intended to be filled once1    
whereas a decanter will have to be      
filled many times2 and a bottle is made 
so that it can travel1 while a decanter 
is not meant to be the subject of long  
journeys4 ,it is true that a bottle may 
be refilled many times1 but it is not   
intended that it should1 as the fact    
that we use a funnel when we wish to    
fill it clearly shows1 and without a    
funnel the vessel is not complete4 ,all 
objects which are meant to be refilled  
many times should have a funnel-shaped  
mouth 7see my remarks on the ,greek     
water-vessel1 page #aba71 but if a      

bottle had a distended orifice it would 
not be well adapted for transport4 ,a   
decanter should have capacity for       
containing liquid2 it should stand      
securely1 and have a double funnel--a   
funnel to collect the fluid and conduct 
it into the bottle1 and a funnel to     
collect it and conduct it out of the    
bottle4 ,it must also be convenient to  
use and hold1 and the upper funnel      
should be of such a character that it   
will guide the liquid in a proper       
direction when poured from the decanter4
  ,illustration3 ,fig4 #aba4            
,illustration3 ,fig4 #abb4              
,illustration3 ,fig4 #abc4  ,if we take 
a flask and flatten its base1 and extend
 the upper portion of the neck slightly 
into the form of a funnel1 we have all  
that is required of a decanter1 with the
 exception of a permanent cork1 which is
 a stopper 7,fig4 #aba74  ,but as most  
decanters are intended to hold wine1 the
 brilliancy of which is not readily     
apparent when that portion of the vessel

 which contains the liquid rests        
immediately upon the table1 it is       
desirable to give to the vessel a foot1 
or1 in other words1 raise the body of   
the decanter so that light may surround 
it as fully as possible 7,figs4 #abb and
 #abc74  ,in ,figs4 #abd to #ace ,i give
 a number of shapes of decanters and    
jugs1 such as may be seen in our best   
shop-windows1 and such as ,i consider   
desirable forms for such vessels2 and in
 considering-the shape of such vessels1 
the character of the upper portion of   
the neck 7the lip7 must be regarded1 as 
well as that of the body and base4      
,notice also whether the centre of      
gravity is high or low1 and the position
 and character of the handle2 but       
respecting the application of handles to
 vessels ,i will speak when considering 
silversmiths' work 7see page #adj74     
,illustration3 ,fig4 #abd4              
,illustration3 ,fig4 #abe4              
,illustration3 ,fig4 #abf4              
,illustration3 ,fig4 #abg4              

,illustration3 ,fig4 #abh4              
,illustration3 ,fig4 #abi4              
,illustration3 ,fig4 #acj4              
,illustration3 ,fig4 #aca4              
,illustration3 ,fig4 #acb4              
,illustration3 ,fig4 #acc4              
,illustration3 ,fig4 #acd4              
,illustration3 ,fig4 #ace4  ,besides    
decanters and bottles1 glass is formed  
into tumblers1 wine-glasses1            
flower-holders1 and many other things2  
but the principles which we have already
 laid down will apply equally to all1   
for if the objects formed result from   
the easiest mode of working the         
material1 and are such as perfectly     
answer the end proposed by their        
formation1 and are beautiful1 nothing   
more can be expected of them4  ,many    
objects of fancy shape have been        
produced as mere feats of glass-blowing1
 and with some of these efforts ,i      
sympathise4 ,wherever the work produced 
is truly adapted to use1 or where an    
artistic effect is achieved1 the        

glass-blower has my warm sympathy2 but  
if the effort is made at the production 
of novelty merely1 the result gained is 
sure to be unsatisfactory4 ,much of the 
,venetian glass will illustrate these   
last remarks4  ,fig4 #acf is a very     
excellent and picturesque spirit-bottle2
 it is easy to hold1 and quaint in      
appearance4#bg ,figs4 #acg1 #ach1 and   
#aci are ,venetian glass vessels1       
wrought entirely at the furnace-mouth1  
and neither cut nor engraved--they are  
artistic1 and of interesting appearance2
 while ,fig4 #adj is a work of ,roman   
glass1 in which the upper distension is 
useful if the liquid contains a sediment
 which it is not desirable to pour out  
with the liquid4  #bg ,in order that the
 nature of this bottle be better        
understood1 ,i give a section of it at  
,a as seen when cut through the central 
part4  ,illustration3 ,fig4 #acf4       
,illustration3 ,section of ,fig4 #acf at
 ,a4  ,illustration3 ,fig4 #acg4        
,illustration3 ,fig4 #ach4              

,illustration3 ,fig4 #aci4              
,illustration3 ,fig4 #adj4  ,there is   
one thing pertaining to table-glass that
 we do not now sufficiently consider1   
which is its capacity for colour4 ,our  
one idea in the formation of glass      
vessels is the imitation of crystal1    
unless we happen to produce a vessel of 
the strongest tint4 ,with the exception 
of hock-glasses1 which are generally    
either ruby-colour1 dark green1 or      
intense yellow-green1 we rarely employ  
tinted glass on our tables4 ,these three
 colours1 which we usually employ in    
hock-glasses1 are all too strong in tint
 for ordinary purposes1 and they are    
coarse and vulgar4 ,it is curious that  
we should confine ourselves to these    
colours when glass is capable of        
assuming the most delicate of shades1 of
 appearing as a soft1 subtle1 golden hue
 of the most beautiful light tertiary   
green1 lilac1 and blue1 and1 indeed1 of 
almost any colour4  ,why1 then1 should  
we employ only two or three colours1 and

 those of the most crude character8 ,if 
the ,roman and ,greek glass of the      
,british ,museum be inspected1 it will  
be seen that the ,romans employed       
various soft and delicate tints1 and why
 we should not do so ,i cannot see4 ,for
 many reasons the colours of our        
hock-glasses are highly objectionable1  
but especially for two4 ,first1 as      
already stated1 the colour is so strong 
that they appear as mere dark spots on  
the cloth1 and altogether fail in       
imparting to the table a pleasant       
colour-effect2 and1 secondly1 they      
utterly destroy the beauty of appearance
 which the wine would otherwise present4
  ,illustration3 ,fig4 #ada4            
,illustration3 ,fig4 #adb4  ,no glass   
which is to contain a liquid of pleasant
 colour should be so strong in tint as  
to mar the beauty of the contained      
fluid1 and especially is this true when 
the colour of the glass is of an        
opposite character to that of the       
liquid3 thus a red liquid placed in a   

strongly-coloured green glass becomes   
highly offensive in appearance1 and yet 
we often see claret served in green     
hock-glasses4 ,a dinner-table requires  
colour4 ,let the cloth be pale buff1 or 
cream-colour1 instead of white2 and the 
glass water-vessels of very pale1 but   
refined and various1 tints2 and the     
salt-cellars1 if of glass1 also         
coloured1 in a tender and befitting     
manner1 and a most harmonious effect    
will be produced4 ,the flowers with     
which the table is adorned would then   
harmonise with the other things1 and    
much beauty might be produced4          
,respecting the ornamentation of glass1 
two methods of treatment are resorted   
to1 which are cutting and engraving4    
,both modes deal with glass as a hard1  
crystal-like substance2 and consist in  
grinding the surface1 and either leaving
 it dead or repolishing it4 ,in the case
 of cutting a considerable portion of   
the substance of the glass is generally 
removed1 and the surface is repolished2 

but in the case of engraving little more
 than the surface is generally acted    
upon1 and the engraved portion remains  
dead4  ,cutting may be employed in      
bringing about ornamental effects in    
glass1 but it is rarely to be commended 
when so lavishly used as to be the chief
 means of giving form to the vessel2    
indeed1 cutting should be sparingly and 
judiciously used4 ,a vessel formed of   
glass should never be wholly shaped by  
cutting1 as though it were a work of    
stone4 ,if the neck of a decanter can be
 made more convenient by being slightly 
cut--if it can be so treated that it can
 be held more securely--then let it be  
cut2 but in all cases avoid falling into
 the error of too much cutting which    
causes the work to appear laboured1 for 
any work which presents the appearance  
of having been the result of much labour
 is as unpleasant to look upon as that  
work is pleasing which results from the 
exercise of momentary skill4 ,there is a
 great art-principle manifested in the  

expression ,let there be light1 and     
there was light4  ,illustration3 ,fig4  
#adc4  ,illustration3 ,fig4 #add4       
,engraving is also laborious1 and while 
it is capable of yielding most delicate 
and beautiful effects1 it should yet be 
somewhat sparingly used1 for            
extravagance in labour is never         
desirable1 and there is such a thing as 
extravagance of beauty4  ,however       
delicate ornament may be1 and however   
well composed1 yet if it covers the     
whole of the walls of an apartment and  
of the objects which it contains1 it    
fails to please4 ,there must be the     
contrast of plain surfaces with         
ornamented--plain for the eye to rest   
upon1 ornament for the mind to enjoy4   
,in the enrichment of glass these       
remarks fully apply4 ,let there be plain
 surfaces as well as ornamented parts1  
and the effect will be more satisfying  
than if all be covered with ornament4   
,all that ,i said respecting the        
decoration of damask table-linen will   

apply equally to glass1 considering only
 the different way in which the effect  
is produced 7see ,chap4 ,,vi41 page     
#ajh74 ,thus we have ornament produced  
only by a variation of surface4 ,such   
simple means of producing an art-effect 
are capable of rendering in a           
satisfactory manner simple treatments   
only1 but simple patterns are capable of
 yielding the highest pleasure1 and such
 patterns can be almost perfectly       
rendered by engraving1 as shown in      
,figs4 #ada1 #adb1 #adc4bh  #bh ,fig4   
#adc represents a decanter made for the 
,prince of ,wales by ,messrs4 ,pellatt  
and ,co41 which is in good taste4 ,fig4 
#ada is a goblet from ,austria3 it was  
shown in the ,international ,exhibition 
of ,paris in #ahfg4  ,somewhat elaborate
 effects can be rendered in glass by    
very laborious engraving1 whereby       
different depths of cutting are         
attained2 but such work is the result of
 great labour1 and rarely produces an   
effect proportionate to the toil        

expended upon it2 and if a bottle so    
engraved is filled with a coloured wine1
 the entire beauty of its engraving is  
destroyed4 ,fig4 #add is a drawing of a 
most elaborately engraved bottle1 which 
was shown in the ,exhibition of #ahfb4  
,it represents1 to a great extent1      
wasted labour4  ,illustration3 ,fig4    
#ade4  ,it must be borne in mind that   
any ornament placed on a decanter1      
wine-glass1 or tumbler1 is to be seen   
almost wholly in perspective2 and the   
remarks made respecting the effects of  
folded or waved surfaces on ornament    
7,chap4 ,,vi41 page #aaj71 and those    
made in reference to the application of 
ornament to earthen vases 7,chap4       
,,vii41 page #abf71 apply equally here4 
,it is not my province to enter into the
 various methods of manipulating glass1 
nor into all the classes of art-effect  
which glass is capable of yielding3 ,i  
can only call attention to general      
principles1 and leave the art-student to
 think for himself what should be the   

treatment of any particular object4     
,there is a sort of crackle glass which 
has come into use during the last few   
years1 and is an imitation of old       
,venetian work2 this is in some respects
 pleasant in appearance1 but it is      
somewhat uncomfortable to handle1 and   
difficult to keep clean2 its use must   
therefore be limited4 ,the ,romans were 
in the habit of forming glass which was 
opaque1 dark1 and of many colours4 ,fig4
 #ade is an illustration of this kind of
 glass1 the pattern being formed by     
portions of various coloured glass being
 imbedded in the substance of the       
vessel4  ,in another chapter ,i shall   
have a few remarks to make upon stained 
glass2 but as our present remarks       
pertain to hollow vessels chiefly1 and  
as general principles regulate the      
formation of all such1 whether they are 
formed of earthenware1 glass1 or metal1 
,i think it better to proceed to the    
consideration of silversmiths' ware1 and
 thus continue a notice of hollow       

vessels1 than to pass to glass windows1 
although they are formed of the material
 now under review4 ,what we are         
specially considering at present are    
vessels of capacity1 or hollow wares4   
,illustration3 ,fig4 #adf4              
,illustration3 ,fig4 #adg4   ,,division 
,,iii4  ,continuing our remarks upon    
hollow vessels1 we have now to notice   
silversmiths' work1 and here we may     
observe that while the material with    
which we have now to deal differs in    
character widely from that of which     
those vessels already noticed have been 
formed1 yet that many principles which  
have been enunciated are equally        
applicable to the objects now under     
consideration4 ,silver objects1 like    
those formed of clay or glass1 should   
perfectly serve the end for which they  
have been formed2 also1 the fact that   
ornament applied to rounded surfaces    
should be adapted for being viewed in   
perspective remains as binding on us as 
before2 but herein the works of the     

silversmith differ from those already   
discussed--they are formed of a material
 of intrinsic value1 which is not the   
case with articles of earthenware or    
glass4 ,silver and gold being materials 
of considerable worth1 it is necessary  
that the utmost economy be observed in  
using them1 and in order to effect this 
a special mode of construction must be  
resorted to4 ,if we propose to ourselves
 the formation of a sugar-basin of      
semi-circular shape1 of what thickness  
must the metal be in order that it may  
not bend when lifted8 ,it is obvious    
that the vessel must not yield its shape
 to ordinary pressure1 nor be subject to
 alterations of form when in ordinary   
use2 but if it is to be formed          
throughout of metal of such thickness as
 will secure its retaining its shape1 it
 will be costly and heavy1 and an amount
 of metal will be used in its formation 
sufficient for the manufacture of two or
 three such articles4  ,instead of      
forming the vessel throughout of thick  

metal1 we may construct it from a thin  
sheet of silver2 but in order that it   
possess sufficient strength we must     
indent one or more beads in its side    
7see ,fig4 #adf72 or we can form an     
angle by having a rim projecting into   
the basin 7,fig4 #adg71 or extending    
from it1 and thus give strength2 but the
 two beads are the more desirable1 as   
the one gives strength at the top and   
the other at a lower portion of the     
vessel4  ,modes of economising material1
 when we are forming vessels of costly  
substances1 are of the utmost           
importance1 and should be carefully     
thought out4 ,if the designer forms     
works which are expensive1 he places    
them beyond the reach of those who might
 otherwise enjoy them1 and if heavy they
 appear clumsy in the hands of those    
accustomed to delicate and light        
objects4  ,besides this1 works in silver
 and in gold are always in danger of    
being destroyed1 owing to the intrinsic 
value of these metals2 for if stolen1   

the theft is promptly hidden in the     
melting-pot4 ,now if we form the vessels
 of thin metal1 we render the money     
value of the material less1 and thus our
 works are to a smaller degree tempting 
to the avaricious1 and their chance of  
long existence is greater4 ,the precious
 metals are at all times perilous       
materials for the formation of works of 
art2 but while we use them1 let us take 
care so to employ them as to give to our
 works every possible opportunity for   
long existence4 ,if a work is to be so  
formed that it may exist for many years1
 it becomes of the highest importance   
that those objects which we create be   
well considered as to their utility1 and
 at the same time be beautiful in form4 
,long existence is an evil in the case  
of an ugly object1 or an ill-considered 
vessel2 that which is not refining in   
its influence is better blotted out4    
,let that man who will not seek to      
embody beauty in his works make them    
heavy with metal1 so that they may tempt

 the thief1 and thus sooner blot out his
 works from existence1 as they tend only
 to debase and degrade2 but he who loves
 refinement1 and seeks to give          
chasteness of character to the objects  
which he creates1 may well strive to    
secure to them length of duration4      
,there are various modes of working     
metal4 ,it may be cast1 hammered1 cut1  
engraved1 and manipulated in various    
ways4  ,little that is satisfactory can 
result from casting4 ,casting is a rough
 means of producing a result1 and at    
best achieves the formation of a mass   
which may be less troublesome to cut    
into shape than a more solid piece of   
metal2 but casting without the          
application of other means of           
working-metal achieves little of an art 
nature4  ,some of the fine iron castings
 of ,berlin are wonderfully good in     
their way1 and are to an extent         
artistic2 and certainly they contrast   
strangely with the cast handles and     
knobs which we often see applied to     

vegetable-dishes1 and similar silver    
objects here in ,england2 yet even these
 will not compare with works wrought by 
the hammer and the chisel4 ,thin metal  
hammered into form1 and touched where   
necessary with the chisel1 the graver1  
and the chasing-tool1 is capable of the 
very finest effects which can be        
achieved in metal-work4 ,let the reader 
consider the beautiful vessels with     
which ,arabian metal-work presents us3  
these are all formed by the hammer and  
chisel1 with the assistance of the      
graver and chasing-tool1 and how        
marvellously delicate and beautiful are 
the results6 ,we have in these vessels  
beauty and dignity of form1 richness of 
design1 great intricacy and delicacy of 
detail1 and altogether a refinement of  
effect which may long be considered and 
repeatedly enjoyed 7,fig4 #adh74        
,illustration3 ,fig4 #adh4  ,several1 ,i
 may almost say many1 of these beautiful
 objects are to be found in the ,south  
,kensington ,museum1 and it should be   

generally known that fac-similes of     
these lovely works1 in the form of      
electrotype copies1 have been prepared  
by ,messrs4 ,elkington and ,co41 under  
the sanction of the authorities of the  
,department of ,science and ,art1 and   
that these are procurable at small cost4
 ,for purposes of study these copies are
 of almost equal value with the         
originals1 and for the adornment of a   
sideboard they are hardly inferior4 ,i  
strongly advise those who can afford to 
purchase these beautiful copies to      
garnish their sideboards with plate of  
this description1 rather than with the  
meretricious electro-plate which we     
often see in our shop-windows4  ,having 
determined on the best mode of working  
the material1 consider carefully the    
requirements which the work to be       
produced is intended to meet1 and then  
strive to form the object so that it may
 perfectly answer the end proposed by   
its creation4  ,let us take a           
sugar-basin4 ,what form should it have8 

,after much consideration1 ,i have      
arrived at the conclusion that the two  
shapes engraved in ,figs4 #adi and #aej 
are those which best fulfil the         
requirements of such a vessel1 for in   
them the sugar is always collected      
together1 and the dust sugar separates  
itself from the lumps4  ,the handles of 
a sugar-basin are often so small as to  
be partially or wholly useless4 ,it not 
unfrequently happens that only one or   
two fingers can rest on the handle1     
owing to its smallness1 while the thumb 
has to be placed within the orifice of  
the basin when it is desired to move it4
 ,this should not be so2 if a handle is 
to exist at all1 it should be so formed 
as to be useful1 and afford a means of  
moving the object with ease and comfort4
  ,to form a handle as a mere ornament  
is an absurdity1 for the handle is part 
of the vessel structurally1 while the   
ornamentation is an after and separate  
consideration4 ,in order to its         
existence a vessel must be constructed1 

but when formed it need not of necessity
 be ornamented2 ornamentation must ever 
be regarded as separate from            
construction4  ,such a sugar-basin as ,i
 have suggested would not stand without 
legs3 it must therefore have them2 but  
,i see no reason why the legs and       
handles should not be combined2 hence ,i
 propose three feet so formed as to     
serve as handles throughout their upper 
parts 7,figs4 #adi1 #aej71 they being   
convenient to hold4  ,modern ,european  
silversmiths have fallen into the error 
7an error now prevailing wherever art   
can be applied to any object7 of making 
their works of a pictorial1 rather than 
an ornamental1 character--an error which
 the ,arabians1 ,indians1 and ,japanese 
never perpetrate1 whose works in metal  
are unsurpassed by any1 and equalled by 
indeed few4 ,it is a mistake to cover an
 entire vase with figures in high       
relief2 but wherever anything of the    
kind is attempted1 care must be         
exercised in causing the groups to      

follow the line of the vase1 and not to 
appear as irregular projections from it4
 ,as to the modes of decorating works in
 silver and in gold1 they are many2 of  
ornamentation by repousse work we have  
already spoken1 and of chasing and      
engraving4 ,but besides these there are 
other methods1 and some of great        
interest1 for there is damascene work1  
or inlaying2 and applying colour1 or    
enamelling2 and niello work2 jewels may 
also be added4  ,damascene work is of   
great interest4 ,metal of one colour is 
inlaid into metal of another colour4    
,india produces1 perhaps1 the rarest    
examples of this kind of work1 the      
,indians being experts at this          
manufacture2 but the ,indian work       
consists chiefly of silver inlaid in    
iron4 ,this mode of work seems to be    
capable of producing many beautiful     
effects1 as all who have examined the   
large inlaid hookahs of ,india will     
admit4  ,having chosen a form for a     
vessel1 the next question with which we 

have to deal is1 will it require a      
handle and spout8 ,it is curious that   
while the position of a spout and handle
 in relation to a vessel is governed by 
a simple natural law1 we yet rarely find
 them placed as they should be4 ,this is
 the more curious1 as a vessel may      
become practically of great weight1     
owing to the handle being misplaced4    
,illustration3 ,fig4 #adi4              
,illustration3 ,fig4 #aej4  ,a pound    
weight is easily lifted1 but when       
applied to the shorter end of the       
steel-yard it will balance a            
hundredweight4 ,if this principle is    
applied to a tea-pot which actually     
weighs but little1 it may yet be very   
heavy to lift4 ,in nineteen cases out of
 twenty1 handles are so placed on       
tea-pots and similar vessels that they  
are in use lifted only by a force       
capable of raising two or three such    
vessels1 if the principle of the        
steel-yard was not acting against the   
person who uses the vessel4 ,take our   

ordinary forms of tea-pot1 and see how  
far the centre of the weight 7the centre
 of gravity7 is from the handle in a    
horizontal direction1 and you will be   
able to judge of the leverage acting    
disadvantageously to the person who may 
pour tea from such pots4 ,now if the    
part which is grasped is to the right or
 left of a right line passing through   
the centre of gravity of any vessel1    
there is leverage acting to the         
disadvantage of the person desiring to  
pour from that vessel1 and this leverage
 increases just as the point held is    
removed from the central line spoken of4
  ,fig4 #aea would pour when in the     
position shown in ,fig4 #aeb1 but see   
how far the hand that holds it would be 
to the right of the centre of gravity   
7a71 which distance is of great         
disadvantage1 as it causes the vessel to
 appear much heavier than it actually   
is1 and requires a much greater         
expenditure of force in order that the  
tea-pot be put to its use than is       

necessary were it properly formed4      
,illustration3 ,fig4 #aea4              
,illustration3 ,fig4 #aeb4              
,illustration3 ,fig4 #aec4              
,illustration3 ,fig4 #aed4              
,illustration3 ,fig4 #aee4  ,the law    
governing the application of handle and 
spout to vessels is this1 and the same  
principle applies whether the vessel be 
formed of metal1 glass1 or              
earthenware3--,find the centre of       
gravity of the vessel1 which can easily 
be done by letting a vertical line drop 
over it when placed in two different    
positions1 as in ,figs4 #aec1 #aed1 and 
where the two vertical lines intersect1 
as in a in ,fig4 #aee1 is the centre of 
gravity4 ,the position of the handle    
being fixed on1 draw a line through the 
centre of the handle1 and continue it   
through the centre of gravity of the    
vessel4 ,the spout must now be at right 
angles to this line4 ,if this be the    
case the vessel will pour freely while  
the handle is just hung upon the thumb  

or finger of the person desiring to pour
 from it1 as may be seen from ,figs4    
#aef1 #aeg1 in which the straight line  
,a1 passing through the centre of       
gravity a1 is at right angles1 as it    
should be1 with the straight line       
passing through the spout4  ,this law1  
if obeyed1 will always enable liquid to 
be poured from a vessel without its     
appearing heavier than it actually is1  
but it will be seen that the shape of   
the vessel must be considered so that   
the spout and handle can bear this      
relation to each other1 as in ,figs4    
#aef1 #aeg1 #aeh1 #aei1 and #afj4 ,some 
shapes will not admit of it1 so they    
must be avoided1 as may be seen by      
examining ,figs4 #aea and #aeb1 which   
show a tea-pot of faulty shape in this  
respect4  ,illustration3 ,fig4 #aef4    
,illustration3 ,fig4 #aeg4              
,illustration3 ,fig4 #aeh4              
,illustration3 ,fig4 #aei4  ,a          
consideration of this law shows that the
 handles of jugs--those formed of       

silver1 of glass1 and of earthenware    
alike--are usually placed too high2 but 
in this respect things are much better  
than they were a few years back4 ,now we
 somewhat frequently see a jug with the 
handle in the right place1 while some   
years back we never did4 ,silver jugs   
are now the most generally faulty in    
this respect1 and such mistakes as the  
wrong placing of the handle or spout of 
a vessel result only from ignorance1 for
 no man knowing the law would violate   
it4 ,fig4 #afa shows a common form of   
jug with its handle1 but the handle is  
too high2 the position which it should  
occupy is shown by the dotted line4 ,a  
very excellent handle is applied to many
 of the ,french water-pots1 as shown in 
,fig4 #afb4  ,it is unnecessary that ,i 
say more respecting the shape and       
general construction of silver and gold 
vessels1 except to remark that if       
figures or other ornaments are beaten up
 on their surfaces1 they must not       
destroy or mar their general contour4   

,iron is not used with us as it should  
be4 ,not only is the effect produced    
when it is inlaid with silver and other 
metals excellent1 but by this mode of   
work our art-creations are greatly      
preserved1 for the iron is valueless1   
and the labour of removing the small    
quantity of precious metal inlaid would 
be so great as to render the gain       
inadequate remuneration for the time    
consumed in collecting it4              
,illustration3 ,fig4 #afj4              
,illustration3 ,fig4 #afa4              
,illustration3 ,fig4 #afb4  ,m4         
,christophle1 of ,paris1 and also ,m4   
,barbedien in a lesser degree1 have     
commenced to inlay copper vessels with  
silver1 and some of their works are very
 beautiful4 ,the ,japanese have from an 
early time inlaid silver in bronze4     
,this inlaying of silver into copper is 
a step in the right direction1 and      
should be encouraged by all lovers of   
art4 ,the ,indians not only inlay silver
 in iron1 but also gold in silver and in

 iron2 and the ,italians and other      
peoples have inlaid metals in a similar 
way2 and the firmness and intricacy of  
some specimens of this inlaying are     
truly marvellous4  ,by the process of   
enamelling1 colour can be applied to    
metal1 and of all arts this art of      
enamelling produces works which are most
 lovely2 at least1 if the best works of 
enamel do not surpass those produced by 
any other manufacture1 they are equal in
 beauty to the works of the highest     
excellence4 ,transparent enamels are in 
some cases very beautiful1 but they do  
not generally compare with the opaque   
enamels1 such as were largely used by   
the ,chinese about a hundred and fifty  
years back1 and by the ,japanese1 or    
those now so skilfully produced by      
,barbedien1 the ,algerian ,onyx         
,company1 and ,christophle1 all of      
,paris4  ,chinese cloisonne enamel vases
 may be seen at the ,south ,kensington  
,museum1 and here you may also find one 
or two small pieces of ,japanese enamel1

 as well as one or two grand specimens  
by ,barbedien1 of ,paris4  ,the ,chinese
 enamels have most frequently a light   
blue 7sort of turquoise7 ground1 but    
they occur with both red1 white1 green1 
and yellow grounds2 while the ornament  
is of mixed colours1 but generally with 
light yellow-green1 deeper blue-green1  
or dark blue prevailing in it4  ,the    
,japanese enamels have a lower tone of  
colour-effect than the ,chinese1 and the
 work is finer and the colours more     
mingled1 while the modern ,french       
enamels are full in colour1 and are yet 
rich and subdued in general effect--some
 of them1 indeed1 are most beautiful    
works4  ,the ,elkingtons1 of ,birmingham
 and ,london1 have also produced some   
beautiful things in this way1 but not in
 the quantities that ,barbedien has4 ,i 
most strongly advise the art-student to 
study these works in enamel4            
,niello-work is a form of enrichment    
applied to metal1 but is not in general 
use2 it is a difficult process4 ,silver 

snuff-boxes and pendants for            
watch-chains with a niello pattern upon 
them are not uncommon1 however1 in      
,belgium and ,russia1 the niello pattern
 appearing as dark lead-pencil work upon
 the silver4 ,some niello-work is very  
quiet and beautiful1 but much need not  
be said respecting it4  ,jewels may be  
inserted in metal1 but if this is done  
they should be somewhat sparingly used1 
even in the most costly of works1 for if
 they are abundant they produce mere    
glitter1 and the aim of the ornamentist 
must in all cases be the production of  
repose4     ,,chapter ,,viii4           
,,hardware4   ,having considered        
metal-work in its more costly branches1 
we come to the consideration of         
hardware1 and ,i am glad that we have   
now to deal with such metal-work as     
results from the use of inexpensive     
materials1 for it is such that must be  
generally employed1 while works formed  
of the precious metals can be used only 
by comparatively few persons4 ,the      

object of art is the giving of pleasure2
 the mission of the artist is that of   
giving ennobling pleasure4 ,if as an    
artist ,i give pleasure1 ,i to an extent
 fulfil my mission2 but ,i do so1       
perfectly1 only when ,i give the        
greatest amount of the most refined     
pleasure by my art that it is possible  
for me to give4 ,if by producing works  
which can be procured by many ,i give   
pleasure1 it is well that ,i do so2 but 
if the many fail to derive pleasure from
 my works1 then ,i must address myself  
to the few1 and be content with my      
lesser mission4 ,education appears to be
 necessary to the appreciation of all   
art2 the artist1 then1 is a man who     
appeals to the educated4 ,if some       
persons1 by their superior education1   
are enabled to appreciate art more fully
 than those who are ignorant1 and can   
consequently derive more pleasure from  
it than the less cultured person1 it    
might then be desirable that the artist 
should address himself1 through costly  

materials1 to the few1 for thereby he   
might be giving the greatest amount of  
pleasure4 ,i always1 however1 like to   
produce works in cheap materials1 for   
then ,i know that ,i form what is       
capable of giving pleasure to the poor  
man--if appreciative--who may possess   
it1 as well as the rich4  ,in hardware  
we find two classes of work in the      
market which appear to have little in   
common--the one class being             
characterised by a preponderance of     
excellence1 and the other by the        
dominance of what is coarse and         
inartistic4 ,the first class of work is 
that which is produced by what are      
termed ecclesiastical metal-workers2 the
 second consists of what is generally   
known as ,birmingham ware4  ,it is an   
error to suppose that these so-called   
ecclesiastical--or mediaeval1 as they   
are sometimes called--metal-workers     
produce only ecclesiastical and         
mediaeval work4 ,on the contrary1 some  
of these men--and they are now many in  

number--devote themselves almost        
exclusively to domestic work1 and most  
of them fabricate articles in all styles
 of art4 ,if ,i wanted an artistic set  
of fire-irons1 ,i should go to one of   
the ecclesiastical warehouses1 for there
 ,i have seen many sets that my reason  
commends and my judgment approves2 but  
,i never saw a set produced for the     
general market that ,i liked2 and the   
most artistic fenders1 grates1 and      
gas-fittings1 in almost any style1 are  
to be got at these shops4 ,i do not mean
 to convey the impression that all      
things made at these ecclesiastical     
warehouses are good1 and that all things
 of ,birmingham 7or ,sheffield7         
manufacture are bad1 for ,i have seen   
indifferent works in these mediaeval    
shops1 and ,i have seen excellent things
 from ,birmingham--especially ,i might  
mention as good certain gaseliers       
produced by two of the smaller          
,birmingham houses--but as a rule the   
works found in the mediaeval warehouses 

are good1 and as a rule the works in    
hardware produced by ,birmingham and    
,sheffield are bad1 in point of art4    
,illustration3 ,fig4 #afc4              
,illustration3 ,fig4 #afd4  ,it will    
appear a mere repetition if ,i insist   
that the materials of which works of    
hardware are formed be used in the      
easiest manner in which they can be     
worked1 and that every article be so    
formed as perfectly to answer the end of
 its formation4 ,yet ,i must do so4 ,let
 us look for a common set of fire-irons1
 and we shall find that nine pokers out 
of ten have a handle terminating in a   
pointed knob4 ,now1 as the object of    
this knob is that of enabling us to     
exercise force wherewith to break large 
pieces of coal1 the folly of terminating
 this knob with a point is obvious4 ,a  
poker is1 essentially1 an object of     
utility2 it should therefore be useful4 
,it is ridiculous to talk of a poker as 
an ornament2 yet we find it fashionable 
now to have a bright poker as an        

ornament1 which is obtrusively displayed
 to the visitor1 and a little black     
poker1 which is carefully concealed from
 view1 reserved for use4 ,i cannot      
imagine what people will not do for show
 and fashion1 but to the thinking mind  
such littleness as that which induces   
women to keep a poker as an ornament    
must be distressing2 and until persons  
who desire to be regarded as educated   
learn to discriminate between an        
ornament and an article of utility1     
little progress in art can be made4 ,if 
a poker is simply a thing to be looked  
at1 then it may be as inconvenient as   
you please1 for if it has no purpose to 
fulfil by its creation it cannot be     
unfitted to its purpose4 ,the same      
remarks will apply to shovel and tongs4 
,if they are intended as works of       
utility1 then their form must be        
carefully considered2 but if they are to
 be mere ornaments ,i have nothing to   
say respecting them4  ,illustration3    
,fig4 #afe4  ,illustration3 ,fig4 #aff4 

,utility and beauty are not inseparable2
 but if an article of any kind is       
intended to answer any particular end1  
it should be fitted to answer the end   
proposed by its formation2 but after it 
is created as a work of utility1 care   
must be exercised in order that it be   
also a work of beauty4 ,with due        
consideration1 almost every work may be 
rendered both useful and beautiful1 and 
it must ever be the aim of the          
intelligent ornamentist to render them  
so4  ,illustration3 ,fig4 #afg4         
,illustration3 ,fig4 #afh4  ,iron is    
capable of being wrought in various     
ways2 it maybe cast1 or hammered1 or    
cut1 or filed4 ,casting is the least    
artistic mode of treating iron2 but if  
iron is to be cast1 the patterns formed 
should be so fully adapted to this      
method of manufacture that the mode of  
working may be readily apparent4 ,it is 
foolish to seek to make cast-iron appear
 as wrought-iron3 cast-iron should      
appear as cast-iron1 and wrought-iron as

 wrought-iron4 ,cast-iron is brittle1   
and must not be relied upon as of great 
strength2 while wrought-iron is tough1  
and will bend under great pressure      
rather than break4 ,wrought-iron can be 
readily bent into scrolls1 or the end of
 a rod of metal can be hammered flat and
 shaped into the form of a leaf1 and    
parts can either be welded together or  
fastened by small collars1 pins1 or     
screws4 ,one or two illustrations of    
good wrought-iron work by ,skidmore1    
,benham1 and ,hart1 are given in the    
engravings4  ,as an illustration of a   
simple railing1 is figured one shown in 
the ,international ,exhibition of #ahfb 
7,fig4 #afc71 which is in every respect 
excellent4 ,its strength is very great1 
yet it is quaint and beautiful4 ,as it  
was shown it was coloured1 and the      
colours were so applied as to increase  
its effect and beauty4 ,if the student  
will carefully devote himself to the    
consideration of excellent works in     
metal1 he will learn more than by much  

reading4 ,let him procure1 if possible1 
the illustrated catalogues of such men  
as ,hart of ,london1 ,hardman of        
,birmingham1 and ,dovey of ,manchester1 
and study the sketches which he will    
there see1 and he will certainly        
discover the principles of a true art1  
such as he must seek to apply in a      
manner concordant with his own original 
feelings4  ,illustration3 ,fig4 #afi4   
,of our illustrations1 the example by   
,skidmore 7,fig4 #afa7 furnishes us with
 an excellent mode of treatment4 ,iron  
bands are readily bent into volutes1 or 
curves of various descriptions1 and the 
parts so formed can be united by        
welding1 screws1 or bolts4 ,hardman's   
gate 7,fig4 #afe7 is in every respect   
excellent2 it is quaint1 vigorous1 and  
illustrative of a true mode of working  
metal4 ,the two foliated railings       
7,figs4 #aff1 #afg7 are also very       
meritorious4 ,they are simple in design1
 and their parts are well fastened      
together4 ,i advise very strongly that  

the student carefully consider the      
illustrations which accompany this      
chapter4  ,in iron-work the             
manifestation of a true constructive    
principle is beyond all things          
desirable4 ,iron1 being a strong        
material1 should not be formed into     
heavy masses unless immense weight has  
to be sustained1 or very great strength 
is required4 ,if we form lamps1         
candelabra1 and such works of iron1 it  
is obvious that the portions of metal   
employed in their construction may be   
thin1 as the material is of great       
strength4 ,were we to form such works of
 wood1 then a greatly increased         
thickness of material would be          
necessary1 in order that the same       
strength be secured1 as wood is not     
nearly so strong as iron4  ,my remarks  
will have special reference to          
wrought-iron1 as cast-iron cannot so    
fully be said to have a constructive    
character4 ,the small railing 7,fig4    
#afc7 is an admirable illustration of a 

true constructive formation1 as the     
parts are all held together1 and        
strengthened to a wonderful degree1 by  
the introduction of a horseshoe-shaped  
member4 ,this railing is worthy of the  
most careful study1 for its strength is 
great4 ,besides strength we have also   
beauty4 ,the horseshoe form1 especially 
when judiciously applied1 is far from   
being offensive4 ,utility must come     
first1 and then beauty1 and so it does  
in this particular railing2 but here we 
have great simplicity1 and a correct    
structural character has been arrived at
 in its production rather than any      
elaboration of the principles of beauty4
  ,from the catalogue of ,j4 ,w4 ,dovey1
 of ,manchester1 ,i select an           
illustration of structure in the form of
 a candelabrum which is highly          
satisfactory in character as a simple   
work 7,fig4 #afh74 ,there is a          
solidly-formed heavy base1 an upright   
stem terminating in a candle-holder4    
,there is an arrangement for catching   

waste grease1 and extra strength is     
given to the stem by four slender       
buttress-like brackets1 which are       
securely and well attached to the base  
and to the stem above2 and these are    
strengthened by two hoops1 which prevent
 their bending under pressure4          
,illustration3 ,fig4 #agj4  ,figs4 #afi 
and #agj1 the former being a ridge or   
wall cresting1 and the latter a stair   
railing1 are each illustrations of a    
correct treatment1 inasmuch as strength 
7a structural quality7 and beauty 7an   
art quality7 are secured at the same    
time4 ,fig4 #afi is admirably           
constructed1 only it is a little slender
 above the middle horizontal line4      
,these two illustrations are also from  
,mr4 ,dovey's catalogue4  ,in the       
catalogue just named1 and in those      
previously named also1 many good        
examples may be found illustrative of   
the successful combination of true      
structural qualities with a considerable
 amount of beauty1 and also             

acknowledging the strength of the       
material by the lightness of the parts4 
,illustration3 ,fig4 #aga4  ,those who  
reside in1 or visit1 ,london1 will do   
well to go to the ,south ,kensington    
,museum1 and study a large and splendid1
 candelabrum of ,messrs4 ,hurt1 ,son1   
and ,peard1 which is well worthy of     
consideration4 ,it is rather heavy1 and 
is of enormous strength1 but in most    
other respects it is highly commendable4
 ,it1 is beautiful1 well proportioned1  
and illustrative of a correct treatment 
of metal4 ,besides this1 it exemplifies 
the manner in which stones or jewels may
 be applied to works in hardware with   
advantage4 ,as a further illustration of
 a correct and very beautiful treatment 
of metal1 we give one segment of the    
,hereford ,cathedral ,screen 7,fig4     
#aga71 the work of that most intelligent
 of metal-workers1 ,mr4 ,skidmore of    
,coventry4 ,this screen was shown in the
 ,international ,exhibition of #ahfb1 in
 ,london1 and was from there removed to 

its place in the cathedral4 ,all who can
 will do well to view this beautiful    
work1 which is one of the finest        
examples of artistic metal-work with    
which we are acquainted4 ,notice the    
ease with which iron may be treated if a
 correct mode of working be employed4   
,let a bar of iron be taken which is    
about half an inch in thickness1 by     
#a-a_/d broad4 ,this can be rolled into 
a volute 7the filigree mode of          
treatment71 or its end can be hammered  
out into stems and leaves1 and to it can
 be attached other leaves by rivets1    
screws1 or ties1 or it can be bent into 
any structural form4 ,to the student ,i 
say1 study the shapes into which simple 
bars of iron can be beaten1 both        
mentally and by observing well-formed   
works4  ,illustration3 ,fig4 #agb4      
,brass1 copper1 and other metals may be 
associated with iron in the formation of
 any works4 ,if well managed1 brass and 
other bright metals may act as          
gems--that is1 they may give bright     

spots2 but where the bright metals are  
used with this view1 care must be       
exercised in order that the bright spots
 be formed by beautiful parts1 and that 
their distribution be just1 for that    
which is bright will attract first      
attention4  ,before leaving this part of
 our subject1 ,i must call attention to 
a hinge by ,hardman1 of ,birmingham1    
which was shown in the ,international   
,exhibition of #ahfb1 as it is both     
quaint and beautiful 7,fig4 #agb74 ,the 
door to which this hinge was applied    
opened twice2 the first half opened and 
folded back on the second half1 and then
 the two halves opened as one door1 as  
will be seen from the illustration4 ,it 
is very desirable that we have a little 
novelty of arrangement in our works4 ,we
 are too apt to repeat ourselves1 hence 
it is a sort of relief to meet with a   
new idea4  ,it is impossible that ,i    
take up each article of hardware and    
consider it separately4 ,all ,i can do  
is to point out principles1 and leave   

the learner to consider and apply them  
for himself--principles which1 once     
understood1 may result in the           
construction of many excellent works1   
and may lead to the formation of a      
correct judgment respecting such objects
 as may be brought forward for          
criticism4 ,i will1 however1 just call  
attention to gas-branches1 as they are  
often wrongly constructed4 ,a gas-branch
 is a duct through which gas is to be   
conveyed4 ,it must be strong if it is to
 be exposed to pressure1 or if it runs  
the chance of coming in collision with  
the person1 as do standard lights in    
public buildings4 ,the main part of a   
gas-branch is the tube or pipe which is 
to convey the gas1 but this may be      
supported in many ways1 as by such      
buttress-like brackets as in the        
candelabrum shown in ,fig4 #afh2 and if 
there are branch tubes for several      
lights1 these may well be connected with
 the central tube1 not only by their own
 attachment1 but by brackets of some    

sort1 or with one another by some       
connecting parts4 ,whether the          
gas-branch be pendent or standard1 this 
mode of strengthening the tube-work     
should be employed1 for the tubes       
themselves are but slightly held        
together1 and by pressure being brought 
to bear upon them1 a dangerous and      
expensive escape of gas may result4  ,in
 the manufacture of gaseliers one or two
 of the smaller ,birmingham houses have 
certainly distinguished themselves by   
the production of works both beautiful  
and true2 and these lead me to think    
that a better day is dawning for        
,birmingham1 in which its art shall be  
exalted rather than degraded1 and shall 
be such as will win to it the esteem of 
the world rather than call forth the    
execrations of art-loving people4  ,as  
to the colouring of iron ,i can say     
little4 ,in my judgment the best modes  
of colouring metals were originated by  
,mr4 ,skidmore of ,coventry1 of whom ,i 
have before spoken4 ,his theory is this1

 that metals are best coloured by the   
tints of their oxides4 ,when a metal1   
especially brass1 is seen in a furnace  
in a molten condition1 the flames1 where
 the oxygen of the atmosphere is uniting
 with the vapour of the metal1 present  
the most resplendent tints4 ,the same   
thing in a lesser degree occurs in the  
case of iron1 but here the colours are  
less brilliant1 and are more tertiary in
 character4 ,mr4 ,skidmore applies to a 
metal the colours seen in the flames of 
the furnace where it melts4 ,without    
attempting to limit the colourist to any
 theory whereby his ideas might be      
restricted1 ,i must say that ,skidmore's
 colouring of the metals is very good4  
,,chapter ,,ix4  ,,stained ,,glass4     
,from early times it has been customary 
to colour glass4 ,to the ancient        
,egyptians a method of forming glass of 
various tints was known1 and by         
producing a mass of glass consisting of 
variously coloured pieces vitreously    
united1 and cutting this into slices1   

they1 in a costly and laborious manner1 
produced a sort of stained glass which  
might have been employed for the sides  
of lanterns or other purposes4 ,the     
,greeks were acquainted with a similar  
process1 and bowls formed in this manner
 by them are common in our museums4     
,soon after the re-discovery of glass in
 our own country1 methods of colouring  
it were sought1 and cathedral windows   
were formed1 which were of such beauty1 
and were so thoroughly fitted to answer 
the end of their creation1 that little  
or no improvement upon these early works
 has even yet been made1 and much of the
 decorative glass which we now produce  
is far inferior to them as regards      
design1 colour1 and mode of treatment4  
,a window must fulfil two purposes--it  
must keep out rain1 wind1 and cold1 and 
must admit light2 having fulfilled these
 ends1 it may be beautiful4  ,if a      
window commands a lovely view let it1 if
 possible1 be formed of but few sheets  
7if not very large1 of one sheet7 of    

plate-glass2 for the works of ,god are  
more worthy of contemplation1 with their
 ever-changing beauty1 than the works of
 man2 but if the window commands only a 
mass of bricks and mortar inartistically
 arranged1 let it1 if possible1 be      
formed of coloured glass having beauty  
of design manifested by the arrangement 
of its parts4 ,a window should never    
appear as a picture with parts treated  
in light and shade4 ,the foreshortening 
of the parts1 and all perspective       
treatments1 are best avoided1 as far as 
possible4 ,i do not say that the human  
figure1 the lower animals1 and plants   
must not be delineated upon window      
glass1 for1 on the contrary1 they may be
 so treated as not only to be beautiful1
 but also to be a consistent decoration 
of glass2 but this ,i do say1 that many 
stained windows are utterly spoiled     
through the window being treated as a   
picture1 and not as a protection from   
the weather and as a source of light4   
,if pictorially treated subjects are    

employed upon window glass1 they should 
be treated very simply1 and drawn in    
bold outline without shading1 and the   
parts should be separated from each     
other by varying their colours4 ,thus1  
the flesh of a figure may be formed of  
glass having a pink tone2 the robe of   
the figure of glass which is green1     
purple1 or any other colour2 a flower   
may be formed of white glass1 or of     
glass of any colour2 the leaves of green
 glass2 and the sky background of blue  
glass4 ,all the parts will thus be      
distinguished from each other by colour1
 and the distinction of part from part  
will be further enhanced by the strong  
black outline which bounds the parts and
 furnishes the drawing of the picture4  
,illustration3 ,fig4 #agc4              
,illustration3 ,fig4 #agd4  ,strong     
colours should rarely be used in        
windows1 as they retard the admission of
 light4 ,light is essential to our      
well-being2 our health of body depends  
in a large measure upon the amount of   

light which falls upon the skin4 ,those 
wonderful chemical changes1 in the      
absence of which there can be no life1  
in part1 at least1 depend upon the      
exposure of our bodies to light2 let our
 windows1 then1 admit these life-giving 
rays4 ,it must also be remembered that  
if light is not freely admitted to an   
apartment the colours of all the objects
 which it contains1 and of its own      
decorations if it has any1 are          
sacrificed1 for in the absence of light 
there is no colour4  ,illustration3     
,fig4 #age4  ,illustration3 ,fig4 #agf4 
,illustration3 ,fig4 #agg4              
,illustration3 ,fig4 #agh4              
,illustration3 ,fig4 #agi4              
,illustration3 ,fig4 #ahj4  ,it is not  
necessary1 in order to the production of
 a beautiful window1 that much strong   
colour be used2 tints of creamy yellow1 
pale amber1 light tints of tertiary     
blue1 blue-grey1 olive1 russet1 and     
other sombre or delicate hues1 if       
enlivened with small portions of ruby or

 other full colours1 produce the most   
charming effects1 and by their use we   
have consistent windows4  ,a good       
domestic window is often produced by    
armorial bearings in colour being placed
 on geometrically arranged tesserae of  
slightly tinted glass4 ,in some cases   
such an arrangement as this is highly   
desirable1 for the room may thus get the
 benefit which a bit of colour will     
sometimes afford1 and at the same time a
 pleasant view may be had through the   
uncoloured portion of the window4 ,as an
 illustration of this class of window1  
we extract one from the catalogue of    
those excellent artists in stained      
glass1 ,messrs4 ,heaton1 ,butler1 and   
,bayne1 of ,garrick ,street 7,fig4      
#agc74 ,a good window may also be formed
 by bordering a plain window with       
colour1 7,fig4 #agd71 or in place of the
 plain centre squares of glass may be   
used1 each bearing a diaper pattern1 as 
,figs4 #age to #ahb4  ,illustration3    
,fig4 #aha4  ,illustration3 ,fig4 #ahb4 

,no architectural constructive feature  
should be introduced into a             
window--thus1 an elaborate architectural
 canopy overshadowing a figure is not at
 all desirable4 ,if a figure is formed  
of a perishable material1 and stands on 
the outside of a building1 it is well   
that it be protected from the rain by a 
canopy2 but such a contrivance when     
introduced over a figure drawn on a flat
 window is absurd1 being useless4 ,let  
us always consider what we have to do   
before we commence the formation of any 
ornamental article1 and then seek to do 
it in the most simple1 consistent1 and  
beautiful manner4 ,figs4 #ahc and #ahd  
represent my views of what stained glass
 may advantageously be4  ,illustration3 
,fig4 #ahc4  ,more than once in the     
course of these chapters ,i have        
protested in strong terms against       
pretence in art and art-decoration--the 
desire to make things appear to be made 
of better material or more costly       
substances than what they have in       

reality been wrought from--that leads   
men to paint and varnish a plain        
freestone mantelpiece in imitation of   
some expensive marble1 or to make doors 
and window-shutters1 skirting and       
panelling that the carpenter has        
fashioned out of red or yellow deal1    
assume the appearance of oak1 or maple1 
or satinwood1 by the deceptive skill of 
the grainer4 ,in no case can the        
imitation ever approach a fair          
resemblance to the reality it is        
proposed to imitate4 ,the coarse1 rough 
grain of the soft freestone1 which is   
incapable of receiving a polish1 or     
rather of being polished until it       
becomes as smooth1 and even1 and        
lustrous as good glass1 can never be    
made by successive coatings of paint and
 varnish to afford a satisfactory       
resemblance to the marble that it is    
supposed to represent1 however carefully
 the cunning hand of the painter may    
have imitated the veins1 and spots1 and 
curious diversities of colour with which

 ,nature has variegated the surface of  
the substance that he is endeavouring to
 copy4 ,nor1 again1 can a               
coarse-grained1 soft wood1 however      
skilled may be the hand that manipulates
 it1 be treated so as to resemble the   
texture and smoothness of hard1         
close-grained wood1 which from its very 
nature is capable of receiving the high 
polish that the softer material can     
never take if treated by the same       
process--that is1 unless the expense of 
producing the imitation greatly exceeds 
the cost of the thing imitated4 ,and    
what is applicable to the treatment of  
wood and stone is applicable also to the
 treatment of glass3 for as a freestone 
mantelpiece1 or deal door1 however      
suitable and pleasing to the eye either 
may be when simply painted in the one   
case and varnished in the other to      
preserve the surface from the           
deteriorating influences of dirt of any 
kind1 can never be made by the exercise 
of reasonable time and skill to present 

the appearance of marble or oak2 so     
glass1 by the application of colour     
rendered transparent by varnish1 can    
never be brought to resemble glass      
stained or painted by the legitimate    
method1 either in delicacy of tint1 or  
depth1 and richness1 and brilliancy of  
colour4 ,the greater part of the        
imitative stained glass1 or diaphanie as
 it is styled1 fails not only in colour1
 but in design2 and in this indeed it   
may perhaps be said to be especially    
faulty4 ,the designs1 which are printed 
on paper1 with the view of imitating    
glass patterns1 err principally in being
 too elaborate1 and in representing     
figures and scenery which are not in    
character or keeping with the designs   
that are usually represented in painted 
glass4 ,if confined to simple diaper    
work1 or borderings and heraldic        
emblems1 as shown in ,figs4 #agc and    
#agd1 or patterns similar to that shown 
in ,fig4 #ahc1 the artistic effect      
produced would be more satisfactory1    

although it can never equal genuine     
stained glass in depth of colour or     
purity of tone4  ,illustration3 ,fig4   
#ahd4     ,,chapter ,x4  ,,conclusion4  
,i have now treated of art as applied to
 our industrial manufactures1 and have  
pointed out principles which must be    
recognisable in all art-works which     
pretend to merit4 ,we have seen that    
material must in all cases be used in   
the simplest and most natural manner2   
that1 wherever possible1 we must avail  
ourselves of the friendly aid of natural
 forces2#bi that the most convenient    
shape must always be selected for a     
vessel or art-object of any kind2 and   
that beauty must then be added to that  
which is useful4 ,all art-objects must  
be useful and then beautiful2 they must 
be utilitarian1 and yet so graceful1 so 
comely1 that they shall be loved for    
their beauty as well as valued for their
 usefulness4 ,while ,i have set forth   
those principles which must ever govern 
the application of ornament to useful   

articles1 ,i cannot show the student any
 royal road to the attainment of        
art-knowledge4 ,there is something in a 
true art-work which is too subtle for   
expression by words2 there is a quality 
about an art-work1 or the expression of 
an amount of feeling1 which cannot be   
described1 yet which is so obvious as to
 be at once apparent to the trained eye4
  #bi ,see chapters on glass and        
earthenware4  ,the only way in which the
 power of appreciating art-qualities can
 be gained1 especially if these         
qualities are of a subtle nature1 is by 
the careful study of works of known     
excellence4 ,could the student visit our
 museums in company with a trained      
ornamentist1 who would point out what   
was good and what was bad in art1 he    
would soon learn1 by studying the       
beautiful works1 to perceive            
art-qualities2 but as this is not       
possible to most1 the learner must be   
content to consider each art-work with  
which he comes in contact in conjunction

 with the principles ,i have set        
forward4  ,let him take a work--say a   
tea-pot4 ,he will now ask himself--has  
the material of which it is formed been 
judiciously and simply used8--is the    
shape convenient8--is the handle        
properly applied1 and does the spout    
bear a proper relation to the           
handle8--is the form graceful or        
vigorous8--is the curve which bounds the
 form of a subtle nature8--is the       
engraving applied in judicious          
quantities and in just proportions8--are
 the engraved forms beautiful1 and such 
as do not suffer by being seen in       
perspective on a rounded surface8 ,by   
such questions the student will inquire 
into the nature of whatever is presented
 to his consideration1 and only by      
constantly making such inquiries1 and   
seeking to answer them correctly1 can he
 gain the knowledge which will enable   
him rightly to judge of the nature of   
art-works4  ,some of these inquiries the
 young student will readily answer1 with

 others he will have difficulty2 for1   
his taste being yet uncultivated1 he    
will not know whether a form is         
beautiful or not4 ,nevertheless1 ,i say 
to the learner1 try to answer these     
various inquiries as well as you can1   
and then note the shape of the object in
 a memorandum-book1 and write your      
opinion respecting it in brief terms1   
and your reasons for your opinion4 ,by  
thus noting your studies you gain many  
advantages2 thus1 you must frame your   
ideas with some degree of exactness when
 you have to put them into words1 and   
exactness of idea is essential to your  
success4 ,you can also refer to previous
 thoughts1 and thus impress them upon   
the memory2 and you can observe your    
progress1 which is important1 and should
 be encouraging4 ,in order that you     
acquire the power of perceiving         
art-merit as quickly as possible1 you   
must study those works in which examples
 of bad taste are rarely met with1 you  
must at first consider art-objects from 

,india1 ,persia1 ,china1 and ,japan1 as 
well as examples of ancient art from    
,egypt and ,greece4 ,but in selecting   
modern works from the ,east1 choose     
those which are not altogether new if   
possible4  ,during the last ten years   
the art-works of ,japan have            
deteriorated to a lamentable extent4    
,contact with ,europeans unfortunately  
brings about the deterioration of       
,eastern art3 in order that the         
,european demand be met1 quantity is    
produced and quality disregarded1 for we
 cavil respecting price1 and yet by thus
 creating a demand for inferior work we 
raise the price even of that which is   
comparatively bad1 and soon have to pay 
for the coarser wares a price for which 
superior articles could at first be     
procured4  ,but this should be noted3   
that the commonest wares which we       
receive from ,japan and ,india are never
 utterly bad in art4 ,inharmonious      
colouring does not appear to be produced
 by these nations1 and the same may be  

said of ,persia and ,china1 and1 to an  
extent1 of ,morocco and ,algeria1 the   
only exceptions being where ,european   
influence has been long continued4 ,in  
selecting examples for study you may    
almost rely upon the beauty of all works
 from ,china1 ,japan1 ,persia1 and      
,india1 which have not been produced    
under ,european influence4  ,a notable  
example of the deteriorating influence  
of ,european taste 7perhaps chiefly     
,english taste7 upon ,eastern art is    
apparent if we examine old carved       
sandalwood boxes from ,india1 and those 
which are now sent to us from the same  
country2 the quiet1 unobtrusive         
consistency of the ornament by which it 
was sought only to enrich a properly    
constructed box was not sufficiently    
attractive to suit ,european 7or        
,english87 taste4 ,the ornament must be 
more pronounced and in higher relief1   
and the entire work must be more        
attractive--more vulgarly attractive ,i 
might say1 and thus the exquisite       

refinement of the older works is        
sacrificed to the wants of a rich but   
vulgar people1 whose taste for art is   
infinitely below that of their conquered
 brethren1 from whom they learn the     
principles of a beautiful art but       
slowly1 while they do much to destroy   
the refinement of art-taste which the   
workmen of our ,eastern empire appear to
 inherit4 ,study the works of the       
,eastern nations in conjunction with the
 remarks which ,i made in my first      
chapter 7see pages #f1 #i1 and #dh71 and
 then consider the numerous objects left
 to us by the early ,egyptians and      
,greeks1 and bear in mind while viewing 
them what we have said on ,egyptian and 
,greek art 7see pages #f1 #h1 and #aj71 
and after having learned to understand  
the merits of ,persian1 ,japanese1      
,indian1 and ,chinese art1 and of that  
of the ancient ,egyptians and ,greeks1  
you may commence to consider other      
styles1 taking up the study of ,italian 
and ,renaissance art in its various     

forms last of all2 for in these styles1 
or dialects of a style if ,i may thus   
speak1 there is so much that is false in
 structure1 false in representation1    
untruthful in expression1 and pictorial 
rather than ornamental in effect1 that a
 very complete acquaintance with        
ornamental art is necessary in order    
that all the defects of these styles be 
apparent1 and in order that the student 
avoid falling into the error of         
regarding a pictorial effect as the     
result of a true style of ornamental    
art4  ,study1 when accompanied by       
individual thought1 is the means whereby
 art-knowledge will be gained4 ,no mere 
looking at works which are beautiful and
 true will make a great ornamentist4 ,he
 who would attain to great knowledge    
must study whatever commends itself to  
him as worthy of his attention1 and1    
above all1 must think much upon the     
works which he contemplates2 it is the  
evidence of mind--not of degraded but of
 noble mind1 of refined mind1 of        

cultivated mind1 of well-informed mind1 
of mind which has knowledge1 of mind    
which has vigour1 of mind which is fresh
 and new--that we find impressed upon a 
work and giving to it value4 ,while we1 
as art-students1 have1 above all things1
 to attain to cultivation of the mind1  
we cannot give expression to refined    
feelings manifested in form unless we   
can draw1 and draw almost faultlessly2  
and the ability to draw with accuracy1  
power1 and feeling can only result from 
much practice4  ,let every spare moment1
 then1 find the sketch-book in your     
hand1 and be constantly trying to draw  
both carefully1 neatly1 and with        
exactness and finish1 such objects as   
you see around you1 even if examples of 
good art-works are not at hand2 for by  
constant and careful practice you can   
alone acquire the necessary power of    
expressing refined thought in refined   
form4 ,avoid making hasty sketches4     
,when a finished artist1 you can afford 
to make sketch memoranda2 but till you  

can draw with great power1 energy1      
truthfulness1 and refinement1 let your  
every drawing be as careful and as      
finished in character1 however simple   
the object portrayed1 as though your    
welfare in life depended upon its       
character1 for upon every sketch your   
future position does1 to a great extent1
 depend4 ,the habit of careful          
painstaking should sedulously be        
cultivated2 and with every drawing thus 
made an amount of power is gained which 
the making of a hundred careless        
sketches would not afford4 ,let         
painstaking1 then1 be characteristic of 
your working4  ,ornament of some kind is
 applied to almost every article that we
 see around us4 ,the papers on our      
walls1 the carpets on our floors1 the   
hangings at our windows1 the plates from
 which we eat1 are all covered by       
patterns of some kind2 yet it is rare1  
even now when ornamentation has become  
general1 to find anything original in   
ornament2 and if we do meet with        

something new in kind it is often feeble
 or timid-looking1 if it does not       
altogether fail to impress us with the  
idea that the producer was a man of     
knowledge4 ,let the reader be assured   
that if the designer is a man of        
knowledge1 his ornamental compositions  
will never fail to reveal his learning2 
that if he is a man of power1 his works 
will reveal his strength of character2  
if he is a man of refined feelings1 that
 his designs will manifest his          
tenderness of perception4 ,in like      
manner1 if a man is ignorant he cannot  
withhold from his patterns the          
manifestation of his ignorance4 ,did not
 the ,egyptians express their power of  
character in their ornaments8 did not   
the ,greeks manifest their refinement in
 the forms which they drew8 do we not   
even find an expression of religious    
feeling strongly1 yea1 impressively1 set
 forth by some art-works1 as by the     
illuminated manuscripts of the early    
,middle ,ages8 and do we not every day  

see the impress of the ignorant upon    
certain wall-papers1 carpets1 and other 
things8 ,it is a fact1 and it is        
necessary that we fully recognise it1   
that the knowledge of the producer is   
manifested by his works2 and that the   
ignorance of the ignorant is also       
manifested in his works4  ,if ornament  
is produced having new characters1 it is
 often feeble1 and is generally without 
grace2 while power is the expression of 
manliness1 and grace of refinement4     
,without claiming to have made a        
successful effort1 ,i put forth1 in the 
frontispiece to this volume 7,plate     
,i471 four of my studies in original    
ornament1 all of which are to me more or
 less satisfactory as studies in        
composition4 ,i have endeavoured to     
secure in each an amount of energy1     
vigour--the power of life1 yet at the   
same time to avoid coarseness1 or any   
glaring want of refinement4 ,i have     
sought to combine right lines1 which are
 expressive of power1 with such curved  

shapes as shall1 with them1 produce a   
pleasing contrast of form1 and express a
 certain amount of grace4 ,in the light 
ornament on the citrine ground 7that at 
the lower left-hand corner of our plate7
 ,i have endeavoured especially to      
secure an expression of grace in        
combination with that amount of energy  
which avoids any expression of          
feebleness4  ,in the border ornament ,i 
have introduced the arch form1 as it    
hints at a structural setting out which 
is pleasant2 and ,i have endeavoured to 
cause the composition to appear as      
though it rested on the lower dotted    
band1 as this gives a feeling of        
security4 ,i do not say that it is      
necessary that this be so3 all ,i assert
 is that in some cases it gives a       
feeling of satisfaction4  ,so far as ,i 
know1 the colouring is also original4   
,the colours employed are chiefly of a  
tertiary character1 but small masses of 
primary or secondary colours are        
employed in order to impart life to the 

composition4  ,i do not set these       
studies before my readers with the idea 
of showing them what original ornament  
should be3 ,i only set them forth as    
examples of new compositions1 and must  
leave each to clothe his own thoughts   
with a befitting expression of his      
individual original ideas4  ,as ,i am   
writing for the working man1 as well as 
for others1 will he pardon me reminding 
him that we are called to exercise an   
art1 yet at the same time our art is    
associated with the scientific          
professions--a knowledge of natural     
sciences1 of botany1 zoology1 natural   
philosophy1 and chemistry can be very   
fully utilised in our art--and that we  
should1 therefore1 act as professional  
men and as artists of the highest rank2 
for thereby only can we hope to place   
our calling in that position of esteem  
in which it should be held1 and must be 
held1 by the people at large1 if we are 
to administer to their pleasure as we   
ought4  ,in taking leave of my reader1  

let me say that if ,i personally can aid
 him in any way1 ,i shall be glad to do 
so4 ,if any who really seek knowledge of
 decorative design1 and are hard        
workers1 choose to send me designs for  
criticism or comment1 or desire any     
other aid that ,i can give them1 ,i     
shall be happy to do what little ,i can 
for them4 ,my address will be found at  
the end of the ,preface4                
,,index4       ,alternation in          
,ornament1 #bd4      ,america1 ,depraved
 ,artistic ,taste in1 #ajd4             
,anthemion2 a ,greek ,decorative        
,device1 #i4      ,arabian ,metal-work1 
#acg4      ,arch used in ,furniture1    
#ea1 #eb4      ,art may be ,degrading1  
#b2       aims at producing ,repose1    
#fc2       the ,object of1 #add4        
,art-knowledge1 ,the ,value of1 #b4     
,baptism1 ,symbol of1 in ,gothic ,art1  
#ab4      ,beauty in ,decoration1 #af1  
#ag4      ,bed-room1 ,decoration for a1 
#ae4      ,birmingham ,ware1 #add1 #ade1
 #aeb4      ,black1 a ,neutral in       

,decorative ,work1 #de4      ,buhl-work1
 #fd4      ,buildings1 ,decoration of1  
#gc1 et seq4      ,byzantine ,ornament1 
#aa4       ,cabinet1 ,construction of a1
 #fa4      ,calico1 ,patterns on1 #ajg4 
,carpets1 ,art-qualities and ,patterns  
of1 #id1 et seq42       ,different      
,sorts of1 #id1 #ie2                    
,foreign-made1 #ajb1 #ajc2       how    
they should be laid down1 #aje2         
the ,conditions which ,govern the       
,application of ,ornament to1 #ajf4     
,carving1 when to be used1 #fa1 #fb4    
,casting in ,metal1 #acf4      ,casting1
 the least ,artistic ,mode of ,treating 
,iron1 #adg4      ,ceilings1 ,decoration
 of1 #ge1 et seq42       ,various1      
worthy of ,study1 #hb2       with       
,painted ,pictures ,objectionable1 #hb4 
,celtic ,ornament1 #be4                 
,chair-coverings1 #gb4      ,chairs1    
,construction of1 #eb-eg4               
,character of the ,designer shown by his
 ,work1 #afc4      ,chinese ,enamels1   
#adc4      ,chinese ,harmony of ,colour1

 #dh4      ,chinese ,ornament1 #aa4     
,christian ,art1 #aa1 #ab4      ,clay as
 a ,material for ,art-purposes1 #aag1 et
 seq4      ,colour--in ,decoration1 #cj1
 et seq42       ,contrast in1 #cb1 #cc2 
,primary1 ,secondary1 and ,tertiary1    
#cb2       ,harmony in1 #cc1 #ci1 et    
seq42       ,qualities of1 #cc1 #cd2    
,analytical ,tables of1 #cd2            
,teachings of ,experience in regard to1 
#cd1 #de2       ,proportions in which   
,colours ,harmonise1 #cd1 #ce1 #cf2     
,pure1 and ,pigments1 #cg1 #ch2         
,permanence of1 #ch1 note2              
,shades1 ,tints1 and ,hues1 #ci2        
,works on1 referred to1 #di2       for  
,stained ,windows1 #aed1 et seq4        
,colouring ,metals4 ,see ,skidmore1 ,mr4
      ,colour-top1 the1 #dh1 and note4  
,copper ,vessels ,inlaid with ,silver1  
#adb4      ,cornices1 ,colouring of1    
#ic4      ,couches1 #eg1 et seq4        
,curtain ,materials1 #ajg1 et seq4      
,curves1 most ,beautiful when most      
,subtle1 #bc4       ,damascene ,work1   

#aci4      ,damask ,table-linen1        
,patterns on1 #ajg1 #ajh1 #aji4         
,damask ,wall-coverings4 ,see ,silk     
,wall ,damasks4      ,decanters1 what   
they should be1 #abi4      ,decoration  
should be in keeping with ,architecture1
 #gc1 #gd1 #ge4      ,design and        
,ornament1 ,redgrave on1 #ej4           
,dining-room1 ,decoration for a1 #ad4   
,dining-tables1 ,mr4 ,eastlake on       
,telescopic1 #ff1 #fg4      ,distemper  
,colours for ,wall ,decoration1 #hc4    
,doric ,column1 ,the1 #i4               
,drawing-room1 ,decoration for a1 #ae4  
,dress1 ,ladies' and ,gentlemen's1 #ij4 
,patterns for ,ladies'1 #aab4           
,earthen ,vessels1 ,decoration of1 #abe1
 #abf1 #abg4      ,eastlake1 ,mr41 on   
,household ,art1 referred to1 #eb1 and  
note4      ,ecclesiastical              
,metal-workers1 #add1 #ade4             
,egyptian ,architecture1 #h4            
,egyptian ,coloured ,glass1 #aec4       
,egyptian ,drawing1 ,peculiarity of1 #e4
      ,egyptian ,ornament1 #d-h4        

,embroidery on ,cotton1 ,indian1 #aad4  
,enamelling in ,metal-work1 #adc4       
,england1 ,architectural ,buildings in1 
#aa2       ,house ,decoration in1 #cj1  
#ca4      ,european ,influence          
,injurious to ,eastern ,art1 #afa4      
,excess in ,upholstery1 #gj4            
,fabrics1 ,patterns ,suitable for       
,woven1 #ajg1 et seq4      ,finish1 its 
,value ,over-estimated1 #abj4           
,folds1 ,ornamentation of ,fabrics to be
 seen in1 #aab1 et seq4      ,french    
,errors of ,taste in ,furniture1 #fe4   
,furniture1 ,decorative ,principles     
applied to1 #ej1 et seq42       ,what is
 ,required to make it an ,object of     
,art1 #ej2       ,material used for1    
#ea2       ,truthful ,construction of1  
#ei1 #fe1 et seq42       ,proportion and
 ,enrichment of1 #fa1 #fc4       ,glass1
 as a ,material for ,art-purposes1 #aah1
 #abg1 et seq42       ,vessels1         
,various1 #acj1 et seq42       ,vessels1
 ,coloured1 #aca1 #acb2       ,cutting  
of1 #acb2       ,engraving of1 #acc2    

,ornamentation of1 #acc2       ,stained1
 #aec1 et seq4      ,gold1 a ,neutral in
 ,decorative ,work1 #dd1 #de4      ,gold
 and ,silver1 ,works in1 #acf4          
,gothic ,architecture1 ,modern1 #gd4    
,gothic ,furniture1 ,falsely            
,constructed1 #ff4      ,gothic         
,ornament1 #ab4      ,granite ,imitated1
 ,objected to1 #hi4      ,greek         
,coloured ,glass1 #aec4      ,greek     
,ornament1 #i1 #aj1 #aa4      ,greek    
,vessels1 #aba4      ,grotesque4 ,see   
,humour4       ,handles of ,vessels1    
#ach1 #aci1 #adj4      ,hardware1 ,art  
in ,connection with1 #add1 et seq4      
,harmony of ,colour4 ,see ,colour4      
,historical ,inquiry ,necessary to the  
,understanding of ,decoration1 #d1      
,humour in ,ornament1 #bd-bi2           
,chinese and ,japanese1 #be1 #bg1 #bh4  
,imitations of ,marbles and ,granites1  
#hi4      ,indian ,art ,injured by      
,european ,influence1 #afa4      ,indian
 ,fabrics1 #dh1 note4      ,indian      
,fabrics1 ,mr4 ,redgrave on1 #aae1 #aaf4

      ,indian ,metal-work1 #adb4        
,indian ,work in regard to ,colouring1  
#dg4      ,inlaying as a means of       
,enriching ,works of ,furniture1 #fc4   
,irish ,crosses1 ,numerous ,ornaments   
on1 #be4      ,iron1 as an              
,art-material1 #adb4      ,iron1 how    
,wrought1 #adg4      ,iron1 ,metals that
 may be ,associated with1 #aea4         
,iron-castings of ,berlin1 #acf4        
,iron-work1 ,ornamental1 #adg1 et seq42 
must ,manifest a ,true ,constructive    
,principle1 #adh2       ,colouring of1  
#aeb4      ,italian ,metal-work1 #adb4  
,japan1 ,deterioration in the ,art-works
 of1 #afa4      ,japanese ,art1 #aa4    
,japanese ,colouring1 #dh4              
,japanese ,earthenware1 #abj4           
,japanese ,enamels1 #adb1 #adc4         
,japanese ,metal-work1 #adb4            
,jewels in ,metal-work1 #adc4           
,joists in ,ceilings1 how they should be
 ,treated1 #gi4       ,labour ,necessary
 to ,success in ,art1 #d1 #ca4          
,library1 ,decoration for a1 #ae4       

,lotus in ,egyptian ,design1 #e1 #f4    
,marble ,imitated1 ,objected to1 #hi4   
,mediaeval ,metal-workers1 #add1 #ade4  
,mental ,effects produced by ,decorative
 ,forms1 #ad4      ,moorish ,ornament1  
#aa4      ,muslin1 ,patterns on1 #ajg4  
,natural ,forms in ,carpet ,patterns1   
#if1 #ig1 #ih4      ,niello-work applied
 to ,metals1 #adc4      ,norman         
,architecture1 #aa4      ,novelty       
,wanted in ,carpet ,patterns1 #aje4     
,oil-colour ,flatted for ,wall          
,decoration1 #hc4      ,order1 a        
,principle in ,ornament1 #bc4           
,ormolu ,ornaments1 #fd4      ,ornament 
and ,architecture ,inseparable1 #ac4    
,papered ,walls4 ,see ,wall ,papers4    
,papyrus in ,egyptian ,architecture1 #h4
      ,persian ,ornament1 #aa4          
,picture ,frames1 #gb4      ,pigments4  
,see ,colour4      ,plants as           
,ornaments1 ,how to ,treat1 #bd4        
,plaques of ,stone or ,earthenware      
applied to ,works of ,furniture1 #fc1   
#fd4      ,pottery1 ,art in1 #aag1 et   

seq4      ,power an ,art-principle1 #ag4
      ,precious ,materials in the ,form 
of ,art-works1 #aag1 #aah4              
,preface1 v41 vi4      ,pretence in     
,art-decoration1 #aeg-aei4              
,proportion must be ,subtle1 #bc4       
,purpose1 ,adaptation to1 ,taught by    
,plants1 #ba4       ,renaissance        
,ornament1 #ac4      ,repetition of     
,parts in ,ornament1 #bc4      ,roman   
,ornament1 #aa4       ,shams in         
,decoration1 #hi4      ,silk1 ,patterns 
on1 #ajg4      ,silk ,wall ,damasks1    
#aad4      ,silversmiths' ,work1 #ace1  
et seq4      ,skidmore1 ,mr41 and his   
,theory of ,colouring ,metals1 #aeb4    
,sofa-coverings1 #gj1 #gb4      ,south  
,kensington ,museum1 #dh1 note4         
,spouts of ,vessels1 #aci1 et seq4      
,stools1 #ec4      ,study of            
,art-decoration1 how it should be       
carried on1 #ad1 #afj1 #afa1       #afb4
      ,styles of ,architecture1 #gc4    
,sugar-basin1 its ,form1 #ach4          
,surface ,decoration1 #gc1 et seq4      

,symbols in ,christian ,art1 #ab4       
,table-covers1 ,the ,borders of1 #aji1  
#aaa4      ,taste of the ,uneducated1   
#ae4      ,trinity1 ,symbols of the1 in 
,gothic ,art1 #ab4      ,truth an       
,art-principle1 #ae1 #af1 #hi1 #aeh1    
#aei4       ,utility must ,govern the   
,production and ,application of         
,ornament1         #ag-bb1 #ade4        
,utility in ,architecture1 #bj4         
,utility ,professor ,george ,wilson on1 
#ai1 #bj4      ,utility ,various        
,writers on1 #bj4       ,vehicles for   
,art1 ,the ,best1 the least ,costly1 #c4
      ,veneering1 #fi4      ,venetian   
,glass1 #acj1 #aca4      ,vessels1      
,primitive1 #abj4       ,wall           
,decorations1 #hc1 et seq4      ,wall   
,papers1 #hg1 #ij1 et seq4      ,walls  
should be ,unobtrusive1 #ij4            
,water-vessels1 ,egyptian and ,greek1   
#aba-abd4      ,white a ,neutral in     
,decorative ,work1 #de4                 
,window-hangings1 #fi1 #gj1 #ajh4       
,windows1 #fi1 #gj2       the ,object   

of1 #aec2       how they should be      
,treated1 #aec4      ,wine-bottles1     
,forms of1 #abh4      ,winged ,globe1 in
 ,egyptian ,design1 #g4      ,woods and 
their ,relative ,strength1 #ea4         
,workmen2 their ,study of ,decorative   
,laws1 #a4       ,advice to1 #afd4      
,wrought-iron1 its ,qualities1 #adg1    
#adh4   ,,cassell1 ,,petter1  ,,galpin1 
,,belle ,,sauvage ,,works1 ,,london1    
,e4,c4         99       99       99     
99       99  ,,manuals ,,of             
,,technology4  ,,edited ,,by            
,,professor ,,ayrton1 ,f4,r4,s4         
7,finsbury ,technical ,college1 ,city   
and ,guilds of ,london ,institute71     
,,and ,,richard ,,wormell1 ,d4,sc41     
,m4,a4   ,during the last two years a   
very great impetus has been given to the
 advancement of ,technical ,education1  
so that at the present time there is a  
widespread demand on the part of        
technical students for text-books4 ,the 
object of this series is to meet this   
demand by furnishing books which        

describe the application of science to  
industry1 which translate the language  
and results of science into the language
 of the workshop1 and will thus bring to
 the benefit of the ,english ,industries
 the workman's acquaintance with the    
scientific principles which underlie his
 daily work4  ,these manuals of         
,technology are not intended to teach   
pure science4 ,nor are they intended to 
enable the reader to dispense with      
learning1 by actual practice in the     
workshop1 the handicraft of the various 
trades4 ,they will form a link between  
these two designs4 ,they will give the  
reader an intelligent grasp of the      
complicated machinery of the factory4   
,they are designed to make workmen      
thinkers1 and not merely human tools4   
,no special knowledge of mathematics or 
of science is necessary to the student  
of this series1 but it is expected that 
he will have been observant of the      
processes carried on in his workshop1   
which will be here scientifically       

explained4 ,the subjects will be treated
 analytically rather than synthetically2
 that is to say1 the machine1 as the    
workman knows it1 will be taken as a    
whole and analysed1 and special care    
will be taken to avoid the method too   
common in scientific books1 according to
 which a number of abstract principles  
are first developed1 while their        
practical application is deferred to the
 end of the book1 which1 probably1 the  
practical man never reaches4  ,as       
text-books for the large and increasing 
number of candidates at the             
,technological ,examinations of the     
,city and ,guilds of ,london ,institute1
 with which many of the authors are     
connected1 these ,manuals of ,technology
 will be especially valuable4 ,an author
 in each case has been selected who was 
able to comprise a well-grounded        
scientific knowledge with a practical   
familiarity with the minute details of  
the trade treated of in his book4       
,consequently1 while the latest and most

 approved processes of manufacture will 
be found described1 the exact scientific
 reasons for the superiority of these   
modern methods over the older ones will 
be given in full1 as well as such       
indications as science would suggest for
 improving the present processes4  ,the 
following books are already in          
preparation1 and others will be added3--
      ,,electric ,,lighting ,,and       
,,transmission ,,of ,,power ,professor  
,ayrton1 ,f4,r4,s4     ,,applied        
,,mechanics                             
,professor ,perry1 ,m4,e4     ,,cutting 
,,tools ,,worked ,,by ,,hand ,,and      
,,machine    ,professor ,smith4         
,,iron ,,and ,,steel                    
,w4 ,h4 ,greenwood1 ,esq4     ,,fluid   
,,motors                                
,professor ,perry1 ,m4,e4               
,,chemistry                             
,dr4 ,armstrong1 ,f4,r4,s4     ,,flax   
,,spinning                              
,d4 ,s4 ,thomson1 ,esq4     ,,watch     
,,and ,,clock ,,making                  

,d4 ,glasgow1 ,esq4  ,the numerous      
,illustrations to these books will be   
pictures of the actual machines as they 
exist in the best factories1 and will   
not be merely conventional              
representations conveying but little    
intelligence to the practical man4  ,the
 aim throughout has been to prepare     
books that shall appeal at once to the  
workman4 ,their preparation has been    
entrusted to writers who know what the  
workman's difficulties are1 what        
information he needs to help him in his 
trade1 and this is presented in such a  
form that the reader may be attracted by
 a desire to learn the ,why and         
,wherefore1 instead of being repelled by
 the supposed difficulties of science4  
,p4,t4,o4      ,,cassell1 ,,petter1     
,,galpin  ,,co41 ,,ludgate ,,hill1      
,,london4   ,,manuals ,,of ,,technology1
 ,,now ,,ready4        ,applied         
,mechanics4--,by ,prof4 ,,john ,,perry1 
,m4,e4 ,with numerous                   
,illustrations4 ,extra fcap4 #hvo1      

cloth1 #cs4 #f;d4  ,illustration        
,cutting ,tools ,worked by ,hand and    
,machine4--,by ,,robert ,h4 ,,smith1    
,m4,i4,m4,e42 ,assoc4 ,m4,i4,c4,e42     
,professor of ,engineering in the       
,mason ,science ,college1 ,birmingham2  
formerly ,professor of      ,engineering
 in the ,imperial ,university1 ,japan4  
,with numerous      ,practical          
,drawings4 ,extra fcap4 #hvo1 cloth1    
#cs4 #f;d4  ,illustration      7,for    
full particulars of this ,series1 see   
preceding ,page47  ,intermediate        
,text-,book of ,physical ,science4--,by 
,f4 ,h4 ,,bowman1 ,d4,sc41 ,f4,r4,a4,s41
 ,f4,l4,s42 ,fellow of the ,geological1 
,chemical1 and ,royal ,microscopical    
,societies2 ,straton ,prizeman and ,gold
 ,medallist in ,technology1 ,university 
of ,edinburgh4 ,illustrated4 ,extra     
fcap4 #hvo1 cloth1 #cs4 #f;d4  ,this    
work is the outcome of a speech         
delivered at ,liverpool by ,professor   
,huxley1 who represented the serious    
want felt by students at night-classes  

for a general introduction to science   
suited to their needs4 ,it will occupy1 
as ,professor ,huxley suggested1 an     
intermediate position between the       
elementary text-books for use in        
schools1 and those which are suited for 
colleges and universities4 ,not only    
will it be specially suitable for the   
science classes connected with          
,mechanics' ,institutes1 ,young ,men's  
,associations1 ,intermediate ,schools   
and ,colleges1 and other educational    
institutions1 but for all               
non-mathematical students who desire a  
complete introduction to science4 ,it   
embodies the latest scientific          
researches1 and contains an accurate and
 philosophical account of the present   
condition of the physical sciences in   
all branches1 enabling its readers to   
follow the advance continually being    
made in the application of science to   
the arts and uses of every-day life4    
,handrailing and ,staircasing4--,a      
,complete ,set of ,lines for ,handrails 

by ,square-cut ,system1 and ,full       
,practical ,instructions for making and 
fixing ,geometrical ,staircases4 ,by    
,,frank ,o4 ,,creswell1 of the          
,liverpool ,school of ,science2         
,medallist for ,geometry4 ,with upwards 
of ,one ,hundred ,working ,drawings4    
,fcap4 #hvo1 #cs4 #f;d4  ,the high      
prices at which works on this subject   
have been hitherto published have placed
 them quite beyond the reach of ordinary
 workmen4 ,by means of this book1       
however1 mechanics will now have within 
their reach the best practical teaching 
at a cost that will allow all to possess
 themselves of it4   ,,selections ,,from
 ,,cassell1 ,,petter1 ,,galpin  ,,co4's 
,,publications4  ,,illustrated ,,and    
,,fine ,,art ,,works4       ,the        
,magazine of ,art4 ,volume ,v4 ,with    
about #djj ,illustrations by     the    
first ,artists of the day4 ,a           
beautifully-executed ,etching by     ,g4
 ,p4 ,,jacomb ,,hood forms the          
,frontispiece4 ,cloth gilt1 gilt        

edges1 #afs4 ,the price of ,vols4 ,i41  
,,ii41 and ,,iii4 has been              
increased--,vol4 ,i4 to #bas41 ,vols4   
,,ii4 and ,,iii4 to #aes4 each1 and     
,vol4 ,,iv4 to #bas4      ,picturesque  
,europe4 ,,popular ,,edition4 ,vol4 ,i41
 with #ac ,exquisite     ,steel ,plates1
 and about #bjj ,original ,engravings by
 the best     ,artists4 ,cloth gilt1    
#ahs4 ,n4,b4--,the ,original ,edition1  
in ,five     ,magnificent ,volumes1     
royal #dto size1 can still be obtained1 
price ,l#b #bs4 each4      ,picturesque 
,america4 ,vol4 ,i41 with #ab ,exquisite
 ,steel ,plates and     about #bjj      
,original ,wood ,engravings4 ,l#b #bs4  
,the ,royal ,shakspere4 ,a ,handsome    
,fine ,art ,edition of the ,poet's      
,works4 ,vol4 ,i4 contains #aa          
,exquisite ,steel ,plates1 and ,three   
,full-page ,wood ,engravings1 by ,,frank
 ,,dicksee1 ,a4,r4,a41 ,j4 ,d4          
,,watson1 ,,val ,,bromley1 ,c4 ,,green1 
,j4 ,,mcl4 ,,ralston1 and other         
,artists4 ,the ,text is that of ,prof4  

,,delius1 and the ,work contains        
,mr4 ,,furnivall's ,life of ,shakspere4 
,price #aes4      ,milton's ,paradise   
,lost4 ,illustrated with #ej full-page  
drawings     by ,,gustave ,,dore4 ,with 
,notes and a ,life of ,milton by the    
late     ,rev4 ,,robert ,,vaughan1      
,d4,d4 ,new ,edition1 cloth gilt1 #bas4 
,the ,changing ,year4 ,being ,poems and 
,pictures of ,life and ,nature4         
,with numerous ,illustrations4 ,crown   
#dto1 cloth gilt1 #gs4 #f;d4            
,character ,sketches from ,dickens4 ,six
 ,large ,drawings by ,,fred             
,,barnard of ,sidney ,carton1 ,mr4      
,pickwick1 ,alfred ,jingle1 ,little     
,dorrit1 ,mrs4 ,gamp1 and ,bill ,sikes4 
,in ,portfolio1 imperial #dto1     #es4 
the set4      ,morocco3 its ,people and 
its ,places4 ,by ,,edmondo ,,de         
,,amicis1     translated by ,c4 ,,rollin
 ,,tilton4 ,cloth gilt1 #gs4 #f;d4      
,the ,national ,portrait ,gallery4      
,complete in ,four ,vols41 each         
containing #bj life-like ,portraits1 in 

,colours1 with     accompanying         
,memoirs4 #abs4 #f;d4 each4      ,the   
,international ,portrait ,gallery4      
,complete in ,two ,vols41 each          
containing #bj life-like ,portraits in  
,colours1 with ,memoirs4     ,cloth     
gilt1 #abs4 #f;d4 each4                 
,longfellow's ,poetical ,works4         
,fine-,art ,edition4 ,illustrated       
throughout with ,original ,engravings4  
,l#c #cs4      ,illustrated ,british    
,ballads4 ,with several ,hundred        
,original     ,illustrations4 ,complete 
in ,two ,vols41 #bas4      ,european    
,ferns4 ,their ,form1 ,habit1 and       
,culture4 ,by ,,james     ,,britten1    
,f4,l4,s4 ,with #cj ,fac-simile         
,coloured ,plates1 painted from         
,nature by ,d4 ,,blair1 ,f4,l4,s4 #bas4 
,pictures of ,bird ,life in ,pen and    
,pencil4 ,by the ,rev4 ,m4 ,g4          
,,watkins4 ,with ,illustrations1 #bas4  
,the ,great ,painters of ,christendom1  
from ,cimabue to ,wilkie4 ,new     and  
,cheaper ,edition4 ,by ,j4              

,,forbes-,,robertson4 ,illustrated1     
cloth1 gilt edges1 #bas4      ,familiar 
,garden ,flowers4 ,,first and ,,second  
,,series4 ,by ,,shirley     ,,hibberd4  
,with #dj ,full-page ,coloured ,plates  
by ,f4 ,e4 ,,hulme1     ,f4,l4,s41      
,f4,s4,a41 in each4 #abs4 #f;d4 each4   
,familiar ,wild ,flowers4 ,,first1      
,,second1 and ,,third ,,series4 ,by ,f4 
,e4     ,,hulme1 ,f4,l4,s4 ,with #dj    
,full-page ,coloured ,plates in each4   
,cloth     gilt1 #abs4 #f;d4 each4      
,paxton's ,flower ,garden4 ,new and     
,revised ,edition4 ,vol4 ,i4 ,with      
,coloured ,plates1 and numerous ,wood   
,engravings4 ,price #bas4      ,poems   
and ,pictures4 ,with about #ajj         
highly-finished ,engravings4            
,handsomely bound in cloth1 price #es4  
,the ,world of ,wonders4 ,with #acj     
,illustrations4 #dto1 cloth1 #gs4       
#f;d42 cloth gilt1 #ajs4 #f;d4      ,the
 ,world of ,wit and ,humour4 ,with about
 #djj ,illustrations4     ,cloth1 #gs4  
#f;d42 cloth1 gilt edges1 #ajs4 #f;d4   

,aesop's ,fables4 ,with about #aej      
,original ,illustrations by ,,ernest    
,,griset4 ,cloth1 #gs4 #f;d42 cloth1    
gilt edges1 #ajs4 #f;d4      ,,cassell1 
,,petter1 ,,galpin  ,,co4               
,evangeline4 ,edition de ,luxe4 ,with   
,magnificent ,original                  
,illustrations by ,,frank ,,dickser1    
,a4,r4,a41 beautifully reproduced     in
 ,photogravure by ,messrs4 ,goupil of   
,paris4 ,the ,work is printed     on    
,whatman's hand-made paper1 size        
#af-a_/b in4 by #ab-a_/d in41     the   
,wood ,engravings being on real ,china  
paper4 ,further     particulars1 with   
price1 c41 may be obtained of any       
,bookseller4      ,egypt3 ,descriptive1 
,historical1 and ,picturesque4 ,by      
,prof4 ,g4     ,,ebers4 ,translated by  
,,clara ,,bell1 with ,notes by ,,samuel 
,,birch1     ,,ll4,d4 ,illustrated with 
about #hjj ,magnificent ,original       
,illustrations4 ,complete in ,two       
,volumes4 ,cloth gilt1 bevelled         
boards1 gilt edges4 ,vol4 ,i41 #des42   

,vol4 ,,ii41 ,l#b #abs4 #f;d4           
,landscape ,painting in ,oils1 ,a       
,course of ,lessons in4 ,by ,a4 ,f4     
,,grace1 ,turner ,medallist1 ,royal     
,academy4 ,with ,nine ,reproductions    
in ,colour1 and numerous examples       
engraved on ,wood from     well-known   
pictures1 #dbs4      ,sketching from    
,nature in ,water-,colours4 ,by ,,aaron 
,,penley4 ,with     ,illustrations in   
,chromo-,lithography after ,original    
,water-,colour     ,drawings4 ,super    
royal #dto1 cloth1 #aes4      ,figure   
,painting in ,water-,colours4 ,with #af 
,coloured ,plates from     ,original    
,designs by ,,blanche ,,macarthur and   
,,jennie ,,moore4 ,crown     #dto1 cloth
 gilt1 #gs4 #f;d4      ,flower ,painting
 in ,water-,colours4 ,with #bj          
,fac-simile ,coloured     ,plates by ,f4
 ,e4 ,,holme1 ,f4,l4,s41 ,f4,s4,a4 ,with
 ,instructions by the     ,artist4      
,cloth gilt1 #es4      ,old and ,new    
,edinburgh1 ,cassell's4 ,vols4 ,i4 and  
,,ii4 now ready1     with nearly #bjj   

,original ,illustrations in each4 ,extra
 crown #dto1     cloth1 #is4 each4      
,our ,own ,country4 ,vols4 ,i41 ,,ii41  
,,iii41 ,,iv41 and ,v41 with upwards    
of #bjj ,original ,illustrations and    
,steel ,frontispiece in each4     ,extra
 crown #dto1 cloth1 #gs4 #f;d4 each4    
,the ,countries of the ,world4 ,by ,dr4 
,,robert ,,brown1 ,f4,r4,g4,s4          
,complete in ,six ,vols41 with about    
#gej ,illustrations4 ,cloth1 #gs4       
#f;d4 each4 ,library binding1 #c vols41 
#cgs4 #f;d4      ,heroes of ,britain in 
,peace and ,war4 ,complete in ,two      
,vols41 with     about #cjj ,original   
,illustrations4 #dto1 cloth1 #gs4 #f;d4 
each4     ,library binding1 two vols4 in
 one1 #abs4 #f;d4      ,the ,sea3 ,its  
,stirring ,story of ,adventure1 ,peril1 
and ,heroism4 ,by     ,f4 ,,whymper4    
,with #djj ,original ,illustrations4    
,four ,vols4 ,cloth1     #gs4 #f;d4     
each4 ,library binding1 two vols41 #bes4
      ,great ,industries of ,great      
,britain4 ,with about #djj              

,illustrations4     ,complete in ,three 
,vols4 #gs4 #f;d4 each4 ,library binding
 7three     vols4 in one71 #aes4        
,the ,leopold ,shakspere4 ,from the     
,text of ,professor ,,delius1 with      
,edward ,,iii4 and ,the ,two ,noble     
,kinsmen1 and an ,introduction     by   
,f4 ,j4 ,,furnivall1 ,founder and       
,director of the ,new ,shakspere        
,society4 ,with about #djj              
,illustrations4 ,cheap ,edition1 cloth1 
price #fs41 cloth gilt1 #gs4 #f;d4 ,can 
also be had in morocco     suitable for 
presentation4      ,cassell's ,quarto   
,shakespeare4 ,edited by ,,charles and  
,,mary ,,cowden     ,,clarke1 and       
containing about #fjj ,illustrations by 
,h4 ,c4 ,,selous4     ,complete in      
,three ,vols1 cloth gilt1 gilt edges1   
,l#c #cs42 morocco1     ,l#f #fs4 ,also 
,three separate ,vols41 in cloth1 viz41 
,,comedies1 ,l#a     #as42 ,,historical 
,,plays1 #ahs4 #f;d42 ,,tragedies1 ,l#a 
#es4      ,the ,dore ,fine-,art         
,volumes3--      ,the ,dore ,gallery4   

,l#e #es4 ,the ,dore ,scripture ,gallery
 of     ,illustrations4 ,two ,vols4 ,l#e
 #ajs4 ,the ,dore ,bible4 ,two ,vols41  
morocco1 ,l#d #ds4 ,milton's ,paradise  
,lost4 ,popular ,edition1 #bas4         
,dante's ,inferno4 ,l#b #ajs4 ,dante's  
,purgatorio and ,paradiso4 ,l#b         
#ajs4 ,la ,fontaine's ,fables4 ,l#a     
#ajs4 ,don ,quixote4 #aes4 ,adventures  
of ,munchausen4 #es4 ,fairy ,tales ,told
 ,again4 #es4  ,,london1 ,,paris  ,,new 
,,york4       ,,selections ,,from       
,,cassell1 ,,petter1 ,,galpin  ,,co4',s 
,,publications4      ,,biography1       
,,travels1 ,,history1 ,,literature1 c4  
,wealth ,creation4 ,by ,,augustus       
,,mongredien4 ,crown #hvo1 cloth1 price 
#es4      ,a ,trip to ,india4 ,by the   
,right ,hon4 ,w4 ,e4 ,,baxter1 ,m4,p4   
,illustrated4 ,crown #hvo1 cloth1 #es4  
,oliver ,cromwell4 ,a ,historical       
,biography1 by ,j4 ,,allanson ,,picton4 
,with ,steel ,portrait4 ,price #gs4     
#f;d4      ,the ,life of the ,rt4 ,hon4 
,w4 ,e4 ,gladstone4 ,by ,g4 ,,barnett   

,,smith4     ,cheap ,edition4 ,with     
,portraits1 #es4      ,england3 its     
,people1 ,polity1 and ,pursuits4 ,by ,t4
 ,h4 ,s4 ,,escott4     ,cheap ,edition1 
#gs4 #f;d4      ,burnaby's ,ride to     
,khiva4 ,new and ,cheap ,edition1 cloth1
 #cs4 #f;d4     ,people's ,edition1     
#f;d4      ,constitutional ,history and 
,political ,development of the ,united  
,states4 ,by ,,simon ,,sterne1 of the   
,new ,york ,bar4 #es4      ,russia4 ,by 
,d4 ,,mackenzie ,,wallace1 ,m4,a4 ,cheap
 ,edition1 in ,one     ,vol41 #ajs4     
#f;d4      ,the ,rule of the ,monk4 ,by 
,general ,,garibaldi4 ,people's         
,edition1     #f;d4      ,david ,cox1 a 
,biography of4 ,by the late ,,william   
,,hall4 ,edited by     ,,john ,,thackray
 ,,bunce4 #ajs4 #f;d4      ,wood ,magic3
 a ,fable4 ,by ,r4 ,,jefferies1 ,author 
of ,the ,gamekeeper     at ,home1 c4    
,cheap ,edition1 ,one ,vol41 #fs4       
,the ,history of the ,year4 ,a ,complete
 ,narrative of the ,events of     the   
,past ,year4 ,crown #hvo1 cloth1 #fs4   

,a ,history of ,modern ,europe4 ,vols4  
,i4 and ,,ii4 ,by ,c4 ,a4 ,,fyffe1      
,m4,a41 ,fellow of ,university ,college1
 ,oxford4 ,demy #hvo1 #abs4 each4       
,peoples of the ,world4 ,vol4 ,i4 ,by   
,dr4 ,,robert ,,brown4 ,with numerous   
,illustrations4 ,price #gs4 #f;d4       
,english and ,irish ,land ,questions4   
,collected ,essays by the ,right        
,hon4 ,g4 ,,shaw-,,lefevre1 ,m4 ,p4 #fs4
      ,local ,government and ,taxation  
in the ,united ,kingdom4 ,edited by     
,j4 ,w4 ,,probyn4 ,price #es4           
,english ,land and ,english ,landlords4 
,by the ,hon4 ,,george ,,brodrick4      
#abs4 #f;d4      ,united ,states1       
,cassell's ,history of the4 ,by ,,edmund
 ,,ollier4     ,complete in ,three      
,vols42 containing #fjj ,illustrations  
and ,maps4     ,extra crown #dto1 cloth1
 ,l#a #gs4      ,universal ,history1    
,cassell's ,illustrated4 ,vol4 ,i4      
,profusely     ,illustrated1 #egf pp41  
#dto1 price #is4      ,gleanings from   
,popular ,authors4 ,vol4 ,i4 ,with      

,original     ,illustrations4 ,price    
#is4      ,england1 ,cassell's ,history 
of1 from the ,earliest ,period to the   
,present ,time4 ,with about #b1jjj      
,illustrations4 ,post #dto1 #e1ejj      
pp4 ,nine ,vols41 cloth1 #is4 each4     
,proverbial ,philosophy1 ,illustrated   
,edition of4 ,by ,,martin ,f4           
,,tupper4 ,illustrated1 #ajs4 #f;d4     
,the ,encyclopaedic ,dictionary4 ,a ,new
 and ,original ,work of     ,reference  
to all the ,words in the ,english       
,language1 with a ,full     ,account of 
their ,origin1 ,meaning1 ,pronunciation1
 and ,use4 ,by     ,,robert ,,hunter1   
,m4,a41 ,f4,g4,s41 c4 ,three divisional 
,vols4 now     ready1 price #ajs4 #f;d4 
each4      ,science for ,all4 ,edited by
 ,dr4 ,,robert ,,brown1 ,f4,r4,g4,s41 c4
     ,complete in #e ,vols41 each       
containing about #cej ,illustrations and
     ,diagrams4 #dto1 cloth1 #is4 each4 
,mechanics1 ,the ,practical ,dictionary 
of4 ,containing #ae1jjj     ,drawings of
 ,machinery1 ,instruments1 and ,tools1  

with     ,comprehensive and ,,technical 
,,description of every subject4 ,three  
,vols41 super-royal #hvo1 cloth1 ,l#c   
#cs42 half-morocco1 ,l#c #aes4          
,library of ,english ,literature4       
,selected1 ,edited1 and ,arranged by    
,prof4 ,,henry ,,morley4 ,with          
,illustrations taken from ,original     
,,mss4     ,each ,vol4 complete in      
itself4      ,vol4 ,i4 ,,shorter        
,,english ,,poems4 #abs4 #f;d4 ,vol4    
,,ii4 ,,illustrations     ,,of ,,english
 ,,religion4 #aas4 #f;d4 ,vol4 ,,iii4   
,,english ,,plays4 #aas4 #f;d4     ,vol4
 ,,iv4 ,,shorter ,,works ,,in ,,english 
,,prose4 #aas4 #f;d4 ,vol4 ,v4 ,,longer 
,,works ,,in ,,english ,,verse ,,and    
,,prose4 #aas4 #f;d4      ,english      
,literature1 ,dictionary of4 ,being a   
,comprehensive ,guide     to ,english   
,authors and their ,works4 ,by ,w4      
,,davenport ,,adams4 ,new     and ,cheap
 ,edition1 #ajs4 #f;d4      ,phrase and 
,fable1 ,dictionary of2 giving the      
,derivation1 ,source1     or ,origin of 

,common ,phrases1 ,allusions1 and ,words
 that have a     ,tale to ,tell4 ,by the
 ,rev4 ,dr4 ,,brewer4 ,enlarged         
,edition1 cloth1     #cs4 #f;d4         
,old and ,new ,london4 ,complete in ,six
 ,vols41 with about #a1bjj              
,engravings1 #is4 each4 ,vols4 ,i4 and  
,,ii4 are by ,,walter ,,thornbury1      
the other ,vols4 are by ,,edward        
,,walford4      ,cities of the ,world4  
,vol4 ,i41 ,illustrated1 #gs4 #f;d4     
,gulliver's ,travels4 ,with             
,eighty-eight ,engravings by ,,morten4  
,cheap ,edition1 crown #dto1 cloth1 #es4
      ,protestantism1 ,the ,history of4 
,by the ,rev4 ,j4 ,a4 ,,wylie1 ,,ll4,d4 
,with upwards of #fjj ,original         
,illustrations4 ,complete in ,three     
,vols4 ,extra crown #dto1 cloth1 ,l#a   
#gs4      ,the ,family ,physician4 ,a   
,manual of ,domestic ,medicine4 ,by     
,,physicians and ,,surgeons of the      
,principal ,london ,hospitals4 ,new     
and ,enlarged ,edition1 #a1jhh pages1   
royal #hvo1 #bas4      ,household       

,guide1 ,cassell's4 ,,revised ,,edition4
 ,a ,guide to ,every     ,department of 
,practical ,life4 ,with ,coloured       
,plates and     numerous ,illustrations4
 ,four ,vols41 cloth gilt1 #fs4 each4   
,domestic ,dictionary1 ,cassell's4 ,an  
,encyclopaedia for the     ,household4  
,cheap ,edition1 #a1bhj pages1 #gs4     
#f;d4      ,cassell's ,dictionary of    
,cookery4 ,the ,largest1 ,cheapest1 and 
,best     ,cookery ,book ever published4
 ,cheap ,edition1 #a1bhj pages1 royal   
#hvo1 cloth1 #gs4 #f;d4      ,a ,year's 
,cookery4 ,giving ,dishes for           
,breakfast1 ,luncheon1 and     ,dinner  
for ,every ,day in the ,year4 ,by       
,,phillis ,,browne4 ,cheap     ,edition1
 #cs4 #f;d4      ,choice ,dishes at     
,small ,cost4 ,containing ,practical    
,directions to     success in ,cookery1 
and ,original ,recipes for appetising   
and     economical dishes4 ,by ,a4 ,g4  
,,payne4 #cs4 #f;d4   ,,natural         
,,history4      ,european ,butterflies  
and ,moths4 ,by ,w4 ,f4 ,,kirby4 ,with  

upwards of     #fj ,coloured ,plates4   
,demy #dto1 cloth gilt1 #ces4           
,animal ,life ,described and            
,illustrated4 ,by ,prof4 ,e4 ,,perceval 
,,wright1 ,m4,d4 ,cheap ,edition1 #gs4  
#e;d4      ,new ,natural ,history1      
,cassell's4 ,edited by ,prof4 ,p4       
,,martin     ,,duncan1 ,m4,b41 ,f4,r4,s4
 ,complete in #f ,vols4 ,illustrated    
throughout4     ,cloth1 #is4 each4      
,field ,naturalist's ,handbook4 ,by the 
,rev4 ,j4 ,g4 ,,wood and ,,theodore     
,,wood4 ,demy #hvo1 cloth1 price #es4   
,mammalia4 ,adapted from the ,french of 
,,louis ,,figuier1 by ,professor     ,e4
 ,,perceval ,,wright1 ,m4,d41 ,f4,l4,s4 
,with upwards of #bfj     illustrations4
 ,extra crown #hvo1 cloth1 #gs4 #f;d4   
,transformations of ,insects1 ,the4 ,by 
,prof4 ,p4 ,,martin ,,duncan1           
,f4,r4,s4 ,with #bdj ,illustrations4    
#fs4      ,the ,world of the ,sea4 ,by  
the ,rev4 ,h4 ,,martyn ,,hatt1 ,m4,a4   
,illustrated4 ,cloth1 #fs4      ,dairy  
,farming4 ,by ,prof4 ,j4 ,p4 ,,sheldon4 

,with ,coloured ,plates and     numerous
 ,wood ,engravings4 #cas4 #f;d4         
,illustrated ,book of the ,dog4 ,by     
,,vero ,,shaw1 ,b4,a4 ,with #bh         
,fac-simile ,coloured ,plates1 and      
numerous ,wood ,engravings4 ,demy       
#dto1 cloth1 #ces4      ,the ,book of   
the ,horse4 ,by ,,samuel ,,sidney4 ,with
 #be fac-simile     ,coloured ,plates1  
and numerous ,wood ,engravings4 ,demy   
#dto1 cloth1     #cas4 #f;d4            
,canaries and ,cage ,birds1 ,the        
,illustrated ,book of4 ,with #ef        
fac-simile ,coloured ,plates and        
numerous ,illustrations4 ,demy     #dto1
 cloth1 #ces4      ,the ,illustrated    
,book of ,poultry4 ,by ,l4 ,,wright4    
,with #ej ,coloured     ,plates1 and    
numerous ,engravings4 ,demy #dto1 cloth1
 #cas4 #f;d4      ,the ,illustrated     
,book of ,pigeons4 ,by ,r4 ,,felton4    
,edited by ,l4     ,,wright4 ,with #ej  
,coloured ,plates1 and numerous ,wood   
,engravings4     ,demy #dto1 cloth1     
#cas4 #f;d4   ,,cassell1 ,,petter1      

,,galpin  ,,co43 ,,london1 ,,paris      
,,new ,,york4       ,,selections ,,from 
,,cassell1 ,,petter1 ,,galpin  ,,co4',s 
,,publications4      ,,bibles1          
,,religious ,,works1 c4      ,the ,early
 ,days of ,christianity4 ,by the ,rev4  
,,canon ,,farrar1 ,d4,d41     ,f4,r4,s4 
,two ,vols41 demy #hvo1 #bds4      ,the 
,life of ,christ4 ,by the ,rev4 ,,canon 
,,farrar1 ,d4,d41 ,f4,r4,s4             
,popular ,edition1 in ,one ,vol41 cloth1
 #fs42 cloth gilt1 gilt     edges1 #gs4 
#f;d42 ,persian morocco1 gilt edges1    
#ajs4 #f;d42 tree     calf1 #aes4       
,library ,edition4 ,two ,vols41 cloth1  
#bds42 morocco1 ,l#b #bs4               
,illustrated ,edition1 extra crown #dto1
 cloth gilt1 #bas42     morocco1 ,l#b   
#bs4      ,the ,life and ,work of ,st4  
,paul4 ,by the ,rev4 ,,canon ,,farrar1  
,d4,d41     ,f4,r4,s4 ,two ,vols41      
#bds42 morocco1 ,l#b #bs4      ,the     
,child's ,life of ,christ4 ,complete in 
,one ,volume1 with several     hundred  
,original ,wood ,engravings1 extra crown

 #dto1 elegantly     bound1 price #bas4 
,an ,old ,testament ,commentary for     
,english ,readers4 ,by various          
,writers4 ,edited by the ,right ,rev4   
,c4 ,j4 ,,ellicott1 ,d4,d41 ,lord       
,bishop of ,gloucester and ,bristol4    
,vol4 ,i41 price #bas41 contains     the
 ,,pentateuch4      ,new ,testament     
,commentary for ,english ,readers4      
,edited by ,c4 ,j4     ,,ellicott1      
,d4,d41 ,lord ,bishop of ,gloucester and
 ,bristol4 ,in ,three     ,volumes1     
#bas4 each4      ,vol4 ,i4 contains the 
,four ,gospels4 ,vol4 ,,ii4 contains the
 ,acts1     ,romans1 ,corinthians1      
,galatians4 ,vol4 ,,iii4 contains the   
,remaining     ,books of the ,new       
,testament4      ,roberts's ,holy ,land4
 ,,divisions ,i4 and ,,ii41 containing  
#db ,tinted     ,plates in each4 ,gilt  
edges1 #ahs4 each4      ,a ,commentary  
on the ,revised ,version of the ,new    
,testament for     ,english ,readers4   
,by ,,prebendary ,,humphry1 ,b4,d41     
,member of the     ,company of ,revisers

 of the ,new ,testament4 #gs4 #f;d4     
,the ,half-,guinea ,illustrated ,bible4 
,containing #ijj ,original              
,illustrations4 ,crown #dto1 cloth1     
#ajs4 #f;d4      ,cassell's ,illustrated
 ,bible4 ,with #ijj ,illustrations4     
,royal #dto1     ,persian morocco1 with 
,coloured ,maps1 #bas4      ,the        
,child's ,bible4 ,with #bbj             
,illustrations4 ,demy #dto1 cloth gilt1 
,l#a #as42 leather1 #cjs4      ,the     
,dore ,bible4 ,with #bbj ,illustrations 
by ,,gustave ,,dore4 ,two     ,vols41   
morocco1 ,l#d #ds42 best morocco1 ,l#f  
#fs4      ,the ,history of the ,english 
,bible4 ,by the ,rev4 ,w4 ,f4 ,,moulton1
     ,d4,d4 ,new and ,cheaper ,edition1 
#bs4 #f;d4      ,st4 ,george for        
,england4 ,sermons for ,children1 by the
 ,rev4 ,t4     ,,teignmouth ,,shore1    
,m4,a4 ,gilt edges1 #es4      ,some     
,difficulties of ,belief4 ,by the ,rev4 
,t4 ,,teignmouth ,,shore1     ,m4,a4    
,cheap ,edition4 ,price #bs4 #f;d4      
,sunday ,musings4 ,a ,selection of      

,readings--,biblical1 ,devotional1      
and ,descriptive4 ,illustrated1 #hcb    
pp41 #bas4      ,quiver1 ,the4          
,illustrated ,religious ,magazine4      
,published in ,yearly     ,volumes1 #gs4
 #f;d42 also in ,monthly ,parts1 #f;d4  
,the ,church at ,home4 ,by the ,right   
,rev4 ,,rowley ,,hill1 ,d4,d41 ,bishop  
of ,sodor and ,man4 ,roan gilt1 #es4    
,new ,testament1 ,companion to the      
,revised ,version of the ,english4      
,by ,,alexander ,,roberts1 ,d4,d4 ,price
 #bs4 #f;d4      ,the ,history of the   
,waldenses4 ,by the ,rev4 ,j4 ,a4       
,,wylie1 ,,ll4,d4     ,with             
,illustrations4 #bs4 #f;d4      ,keble's
 ,christian ,year4 ,profusely           
,illustrated4 ,extra crown #dto1        
#gs4 #f;d42 gilt edges1 #ajs4 #f;d4     
,the ,bible ,educator4 ,edited by the   
,very ,rev4 ,e4 ,h4 ,,plumptre1         
,d4,d41 ,dean of ,wells4 ,with upwards  
of #djj ,illustrations and ,maps4       
,four ,vols41 #dto1 cloth1 #fs4 each2 or
 ,two ,vols41 cloth1 ,l#a #as4      ,the

 ,music of the ,bible4 ,by ,,john       
,,stanier1 ,m4,a4 ,cloth1 #bs4 #f;d4    
,the ,life of the ,world to ,come1 and  
,other ,subjects4 ,by ,rev4 ,t4         
,,teignmouth ,,shore1 ,m4,a4 #es4       
,sacred ,poems1 ,the ,book of4 ,edited  
by the ,rev4 ,,canon ,,baynes1 ,m4,a4   
,with about #bjj ,illustrations4 ,cloth1
 #es4      ,shortened ,church ,services1
 and ,hymns4 ,compiled by the ,rev4 ,t4 
,,teignmouth ,,shore4 ,price #as4       
,the ,patriarchs4 ,by the ,rev4 ,w4     
,,hanna1 ,d4,d41 and the ,rev4 ,,canon  
,,norris1 ,b4,d4 #bs4 #f;d4             
,mission ,life in ,greece and           
,palestine4 ,by ,mrs4 ,,emma ,,raymond  
,,pitman4 ,illustrated4 #es4            
,heroines of the ,mission ,field4 ,by   
,mrs4 ,,emma ,,raymond ,,pitman4        
,illustrated throughout4 #es4           
,,miscellaneous ,,works4      ,cassell's
 ,family ,magazine4 ,a ,high-class      
,illustrated ,family     ,magazine4     
,published in ,yearly ,vols41 #is4      
,civil ,service1 ,guide to ,employment  

in the4 ,new ,edition1 ,revised     and 
greatly ,enlarged4 #cs4 #f;d4           
,dingy ,house at ,kensington1 ,the4     
,with ,four ,full-page                  
,illustrations4 ,crown #hvo1 cloth1 gilt
 edges1 #es4      ,decorative ,design1  
,principles of4 ,by ,,christopher       
,,dresser1 ,ph4,d41     ,f4,l4,s41 c4   
,with ,two ,coloured ,plates and        
numerous ,designs and     ,diagrams4    
#es4      ,english ,literature1 ,the    
,story of4 ,by ,,anna ,,buckland4 #chd  
pages4     ,crown #hvo1 cloth1 gilt top1
 #es4      ,etiquette of ,good ,society4
 ,cheap ,edition4 ,boards1 #as42 cloth1 
#as4 #f;d4      ,figuier's ,popular     
,scientific ,works4 ,the ,text revised  
and     corrected by eminent ,english   
authorities1 with several hundred       
,illustrations in each4 ,new and        
,cheaper ,edition1 price #cs4 #f;d4     
each4      ,the ,human ,race4 ,the      
,world ,before the ,deluge4 ,the ,ocean 
,world4     ,the ,vegetable ,world4     
,reptiles and ,birds4 ,the ,insect      

,world4      ,handrailing and           
,staircasing4 ,by ,,frank ,o4           
,,creswell4 ,with upwards     of #ajj   
,working ,drawings4 #cs4 #f;d4          
,in-door ,amusements1 ,card ,games1 and 
,fireside ,fun1 ,cassell's ,book     of4
 ,illustrated4 #cs4 #f;d4      ,jane    
,austen and her ,works4 ,by ,,sarah     
,,tytler4 ,with ,steel ,portrait     and
 ,steel ,title4 #es4      ,kennel       
,guide1 ,the ,practical4 ,by ,dr4       
,,gordon ,,stables4 ,with               
,illustrations4 #aib pages1 crown #hvo1 
cloth1 #bs4 #f;d4      ,landed ,interest
 and the ,supply of ,food4 ,by ,sir     
,,james ,,caird1     ,k4,c4,b41         
,f4,r4,s4 ,enlarged ,edition1 #es4      
,the ,microscope1 and some of the       
,wonders it ,reveals4 ,by the ,rev4     
,w4 ,,houghton1 ,m4,a4 #as4             
,nursing for the ,home and for the      
,hospital4 ,by ,,catherine ,j4 ,,wood4  
#cs4 #f;d4      ,pigeon ,keeper1 ,the   
,practical4 ,by ,l4 ,,wright4 ,with     
numerous     ,illustrations1 c4 ,cloth  

gilt1 #cs4 #f;d4      ,police ,code and 
,manual of the ,criminal ,law4 ,by ,c4  
,e4 ,,howard     ,,vincent1 ,director of
 ,criminal ,investigations4 ,cloth1     
price #fs4     ,abridged ,edition4 ,with
 an ,address to ,constables1 by ,mr4    
,,justice ,,hawkins4 #bs4      ,poultry 
,keeper1 ,the ,practical4 ,by ,l4       
,,wright4 ,with ,plain                  
,illustrations4 ,cloth1 #cs4 #f;d42 or  
with ,coloured ,plates1 #es4            
,rabbit ,keeper1 ,the ,practical4 ,by   
,,cuniculus4 ,with ,illustrations4      
,cloth1 #cs4 #f;d4      ,sports and     
,pastimes1 ,cassell's ,book of4 ,with   
more than #hjj     ,illustrations1 and  
,coloured ,frontispiece4 #gfh pages1    
large crown     #hvo1 cloth1 gilt edges1
 #gs4 #f;d4      ,peggy1 and other      
,tales4 ,by ,,florence ,,montgomery4    
,cheap ,edition4     ,price #bs4        
,the ,magic ,flower-,pot1 and other     
,stories4 ,by ,,edward ,,garrett4       
,crown #hvo1 cloth gilt1 #bs4      ,the 
,steam-,engine1 ,the ,theory and ,action

 of4 ,by ,w4 ,h4 ,,northcott1     ,c4,e4
 #cs4 #f;d4      ,,the ,,quiver         
,,library4      ,all ,illustrated and   
bound in cloth gilt4 ,crown #hvo1 each1 
#cs4     #f;d4      ,my ,guardian4      
,school ,girls4 ,by ,,annie ,,carey4    
,deepdale ,vicarage4     ,the ,family   
,honour4 ,in ,duty ,bound4 ,the ,half   
,sisters4 ,peggy     ,oglivie's         
,inheritance4 ,working to ,win4 ,esther 
,west4  ,,cassell1 ,,petter1 ,,galpin   
,,co43 ,,london1 ,,paris  ,,new ,,york4 
,,educational ,,works4                  
,intermediate ,text-,book of ,physical  
,science4 ,by ,f4 ,h4 ,,bowman1         
,d4,sc41 ,f4,r4,a4,s41 ,f4,l4,s4        
,illustrated4 ,cloth1 #cs4 #f;d4        
,english ,literature1 ,a ,first ,sketch 
of4 ,by ,professor ,,henry     ,,morley4
 ,new and ,cheap ,edition1 #gs4 #f;d4   
,spelling1 ,a ,complete ,manual of4 ,by 
,j4 ,d4 ,,morell1 ,,ll4,d41 ,h4,m4      
,inspector of ,schools4 ,cloth1 #as4    
,decisive ,events in ,history4 ,by      
,,thomas ,,archer4 ,with ,sixteen       

,original ,illustrations4 ,fifth        
,edition4 ,extra fcap4 #dto1     boards1
 #cs4 #f;d42 cloth gilt1 #es4      ,the 
,commentary for ,schools4 ,being some   
separate ,books of the ,,new            
,,testament ,,commentary ,,for ,,english
 ,,readers 7,edited by the ,lord        
,bishop of ,gloucester and ,bristol71   
for ,school and general     ,educational
 purposes4      ,,st4 ,,matthew1 #cs4   
#f;d4 ,,st4 ,,mark1 #bs4 #f;d4 ,,st4    
,,luke1 #cs4 #f;d4 ,,st4     ,,john1    
#cs4 #f;d4 ,,the ,,acts ,,of ,,the      
,,apostles1 #cs4 #f;d4 #a ,,corinthians1
     #bs4      ,shakspere ,reading      
,book1 ,the4 ,by ,h4 ,,courthope        
,,bowen4 ,m4,a4     ,illustrated4 ,crown
 #hvo1 cloth1 #cs4 #f;d4                
,historical ,readers1 ,cassell's4 ,for  
particulars see ,cassell1     ,petter1  
,galpin  ,co4's ,educational ,catalogue4
      ,geographical ,readers1 ,new      
,series of4 ,see particulars in         
,cassell's ,educational ,catalogue4     
,modern ,school ,readers1 ,cassell's4   

,an ,entirely ,new ,series of           
,readers for ,elementary ,schools4 ,for 
particulars see ,cassell1     ,petter1  
,galpin  ,co4's ,educational ,catalogue4
      ,little ,folks' ,history of       
,england4 ,by ,,isa ,,craig-,,knox4     
,with ,thirty     ,illustrations4       
,cloth1 #as4 #f;d4      ,applied        
,mechanics1 ,elementary ,lessons in4 ,by
 ,prof4 ,r4 ,s4 ,,ball1     ,,ll4,d4    
,with numerous ,diagrams4 ,cloth1 #bs4  
,euclid1 ,cassell's4 ,edited by         
,professor ,,wallace1 ,a4,m4 #hvo1 #baf 
pp41 limp cloth1 #as4      ,popular     
,educator1 ,cassell's4 ,new and         
thoroughly ,revised     ,edition4 ,vols4
 ,i41 ,,ii41 and ,,iii4 now ready1 price
 #es4 each4 7,to     be completed in    
,six ,vols47      ,technical ,educator1 
,cassell's4 ,illustrated4 ,four ,vols41 
cloth4     #fs4 each2 or ,two ,vols41   
half-calf1 #cas4 #f;d4      ,algebra    
7,elements of71 ,cassell's4 ,cloth1 #as4
      ,arithmetic1 ,elements of4 ,by    
,prof4 ,,wallace1 ,a4,m4 ,limp cloth1   

price #as4 ,key1 #d;d4      ,neutral    
,tint1 ,a ,course of ,painting in4 ,with
 #bd ,plates from     ,designs by ,r4   
,p4 ,,leitch4 #dto1 cloth1 #es4         
,water-,colour ,painting1 ,a ,course of4
 ,with #bd ,coloured ,plates1     from  
,designs by ,r4 ,p4 ,,leitch4 #es4      
,sepia ,painting1 ,a ,course of4 ,with  
#bd ,plates from ,designs by ,r4     ,p4
 ,,leitch4 #dto1 cloth1 #es4            
,cassell's ,graduated ,copy-,books4 ,on 
superior writing paper4     ,complete in
 #ah ,books1 price #b;d4 each4      ,the
 ,marlborough ,french ,grammar4 ,new and
 ,revised ,edition4     ,cloth1 #bs4    
#f;d4      ,the ,marlborough ,french    
,exercises4 ,new and ,revised ,edition4 
,cloth1 #cs4 #f;d4      ,french1        
,cassell's ,lessons in4 ,new and        
,revised ,edition4     ,considerably    
,enlarged4 ,parts ,i4 and ,,ii41 cloth1 
each #bs4 #f;d42     complete1 #ds4     
#f;d4 ,,key1 #as4 #f;d4                 
,french-,english and ,english-,french   
,dictionary1 ,cassell's4     ,entirely  

,new and ,revised ,edition4 #cs4 #f;d42 
or in superior     binding1 with leather
 back1 #ds4 #f;d4      ,the ,marlborough
 ,german ,grammar4 ,arranged and        
,compiled by the     ,rev4 ,j4 ,f4      
,,bright1 ,m4,a4 #cs4 #f;d4             
,german-,english and ,english-,german   
,pronouncing ,dictionary1               
,cassell's4 #hfd pages1 #cs4 #f;d4      
,latin-,english and ,english-,latin     
,dictionary1 ,cassell's4 #iad     pages1
 #cs4 #f;d4   ,a ,complete ,list of     
,,cassell1 ,,petter1 ,,galpin  ,,co4',s 
,educational ,works will be forwarded   
post free on application4   ,,books     
,,for ,,children ,,and ,,young ,,people4
      ,bo-,peep4 ,a ,treasury for the   
,little ,ones4 ,with ,coloured          
,frontispiece1 and ,illustrated         
throughout with ,original               
,illustrations4 ,boards1 #bs4 #f;d42    
cloth gilt1 #cs4 #f;d4      ,modern     
,explorers4 ,by ,,thomas ,,frost4       
,illustrated4 ,crown #dto1 #agf         
pages1 cloth1 #es4      ,a ,parcel of   

,children4 ,by ,,olive ,,patch4 ,with   
numerous     ,illustrations4 ,crown     
#dto1 cloth gilt1 gilt edges1 #es4      
,a ,cruise in ,chinese ,waters4 ,being  
the ,log of the ,fortuna4 ,by     ,capt4
 ,a4 ,f4 ,,lindley4 ,illustrated4 #es4  
,cassell's ,robinson ,crusoe4 ,with     
numerous ,illustrations4 ,new and       
,cheaper ,edition4 ,price #cs4 #f;d4    
,my ,diary4 ,twelve ,coloured ,plates   
and #cff ,small ,woodcuts1 with         
blank space for every day in the year4  
#bs4 #f;d4      ,old ,proverbs with ,new
 ,pictures4 ,with #fd fac-simile        
,coloured     ,plates4 #fs4      ,peter 
,parley's ,annual4 ,illustrated with    
,coloured ,plates1 printed     in ,oil1 
and full-page ,lithographs4 ,gilt edges1
 #es4      ,little ,folks4 ,half-yearly 
,volumes1 each containing nearly #ejj   
,pictures4 ,boards1 #cs1 #f;d42 cloth   
gilt1 #es4 each4      ,the ,picture     
,teaching ,series4 ,fcap4 #dto1 cloth1  
gilt edges1 #bs4     #f;d4 each4 ,each  
book profusely illustrated and          

handsomely bound4      ,through ,picture
 ,land4 ,picture ,teaching for ,young   
and ,old4     ,picture ,natural         
,history4 ,scraps of ,knowledge for the 
,little     ,ones4 ,great ,lessons from 
,little ,things4 ,woodland ,romances2   
or1     ,fables and ,fancies4 ,the      
,children of ,holy ,scripture4 ,the ,boy
     ,joiner and ,model ,maker4 ,pussy  
,tip-,toes' ,family4 ,frisk and ,his    
,flock4      ,the ,little ,people's     
,album4 ,stories and ,verses for the    
,little     ,ones4 ,with ,illustrations 
by ,,lizzie ,,lawson1 ,m4 ,e4 ,,edwards1
 c4     ,crown #hvo1 cloth1 gilt edges1 
#cs4 #f;d4      ,little ,folks ,painting
 ,books1 of which a quarter of a million
     copies have been sold4 ,illustrated
 throughout4 #as4 each2 or     cloth    
gilt1 #bs4 each4      ,little ,folks    
,crayon ,book4 ,little ,folks           
,illuminating ,book4     ,pictures to   
,paint4 ,little ,folks ,painting ,book4 
,nature ,painting     ,book4      ,the  
,world in ,pictures4 ,a ,series of ,gift

 ,books specially suitable     for      
,sunday-,school ,prizes4 ,illustrated   
throughout1 and handsomely     bound in 
cloth4 #bs4 #f;d4 each4      ,the       
,eastern ,wonderland4 ,peeps into       
,china4 ,glimpses of ,south             
,america4 ,round ,africa4 ,the ,land of 
,temples4 ,the ,isles of the            
,pacific4      ,cassell's ,sixpenny     
,story ,books4 ,all ,illustrated1 and   
containing     interesting ,stories by  
well-known writers4 ,bound in attractive
     ,coloured ,boards1 price #f;d4     
each4      ,the ,boat ,club4 ,the ,delft
 ,jug4 ,helpful ,nelly4 ,the ,elchester 
,college ,boys4 ,my ,first ,cruise4     
,lottie's ,white ,frock4 ,the ,little   
,peacemaker4      ,the ,library of      
,wonders4 ,a ,series of ,gift-books for 
,boys4 ,in     ,volumes4 ,crown #hvo1   
cloth1 gilt edges1 #bs4 #f;d4 each4 ,all
     ,illustrated throughout4           
,wonderful ,adventures4 ,wonders of     
,animal ,instinct4 ,wonders of          
,architecture4 ,wonderful ,escapes4     

,wonders of ,bodily ,strength and       
,skill4 ,wonderful ,balloon ,ascents4   
,books for ,boys4 ,crown #hvo1 cloth1   
gilt edges1 #cs4 #f;d4 each4      ,the  
,story of ,captain ,cook4 ,with numerous
 ,illustrations4      ,at the ,south    
,pole4 ,by the late ,w4 ,h4 ,g4         
,,kingston4 ,with numerous              
,illustrations4      ,soldier and       
,patriot4 ,the ,story of ,george        
,washington4 ,by ,f4 ,m4     ,,owen4    
,with ,map and ,illustrations4          
,pictures of ,school ,life and ,boyhood4
 ,from the best ,authors4     ,edited by
 ,,percy ,,fitzgerald1 ,m4,a4      ,the 
,three ,homes4 ,a ,tale for ,fathers and
 ,sons4 ,by ,f4 ,t4 ,l4 ,,hope4         
,the ,romance of ,trade4 ,by ,h4 ,r4    
,,fox ,,bourne4 ,illustrated4  ,a       
,complete ,list of ,,cassell1 ,,petter1 
,,galpin  ,,co4',s ,children's ,books   
will be forwarded post free on          
application4       ,,cassell1 ,,petter1 
,,galpin  ,,co4',s ,,complete           
,,catalogue1 containing      a ,list of 

,,several ,,hundred ,,volumes1 including
 ,bibles and      ,religious ,works1    
,fine-,art ,volumes1 ,children's ,books1
      ,dictionaries1 ,educational       
,works1 ,history1 ,natural              
,history1 ,household and ,domestic      
,treatises1 ,handbooks and      ,guides1
 ,science1 ,travels1 c4 c41 together    
with a      ,synopsis of their numerous 
,illustrated ,serial ,publications1     
sent post free on application to        
,,cassell1 ,,petter1 ,,galpin  ,,co41   
,ludgate ,hill1 ,london4  ,,cassell1    
,,petter1 ,,galpin  ,,co43 ,,london1    
,,paris  ,,new ,,york4            99    
99       99       99       99           
,transcriber's note3  ,archaic syntax   
and punctuation and inconsistent        
spelling were retained4  ,footnote #g3  
in order to this modified to in order to
 do this to fit context4