,,colour ,,decoration ,,of ,,architecture ,illustration3 ,frontispiece4 ,,plate ,i4--,,sketch ,,design ,,for ,a ,,wall ,,decoration ,,in ,,fresco4 ,,fame ,,rewarding ,,the ,,arts ,,and ,,sciences4 ,,colour ,,decoration ,,of ,,architecture ,,treating ,,on ,,colour ,,and ,,decoration ,,of ,,the ,,interiors ,,and ,,exteriors ,,of ,,buildings4 ,,with ,,historical ,,notices ,,of ,,the ,,art ,,and ,,practice ,,of ,,colour ,,decoration ,,in ,,italy1 ,,france1 ,,germany ,,and ,,england4 ,,for ,,the ,,use ,,of ,,decorators ,,and ,,students ,,by ,,james ,,ward ,,author ,,of 8,,principles ,,of ,,ornament10 8,,historic ,,ornament10 8,,colour ,,harmony ,,and ,,contrast10 8,,progressive ,,design10 8,,fresco ,,painting10 ,,etc4 ,,with ,,twelve ,,illustrations ,,in ,,colour ,,and ,,twenty-,,two ,,in ,,half-,,tone ,,new ,,york ,e4 ,p4 ,,dutton ,,company #fha ,,fifth ,,avenue #aiad ,,richard ,,clay ,,sons1 ,,limited1 ,,brunswick ,,street1 ,,stamford ,,street1 ,s4,e41 ,,and ,,bungay1 ,,suffolk4 ,,preface ,this book is written with the view that it may be of practical service to the decorator1 student and craftsman1 who may be engaged in the practice and art of colour decoration1 as applied to the interiors and exteriors of public buildings1 churches1 and private dwellings4 ,i trust also it will be of some value to all who take an interest in the decoration of their own houses4 ,the people of our own countries have been so unaccustomed to coloured buildings for the last three or four hundred years that a strong prejudice against the use of colour in architecture has been developed and is maintained even at the present day4 ,though we may all love colour1 there are very few amongst us who have the courage to advocate its use in the decoration of buildings4 ,we visit ,italy1 ,france1 ,germany1 and the ,east1 and admire the many and beautifully decorated churches1 palaces1 city halls and other public and private buildings1 but the lessons we may have learned are lost to us1 for we come back to our country to still hug our ancient prejudice against the use of colour1 and are contented with the greyness of life1 and with the dreariness and drab of our great manufacturing cities4 ,it is fashionable just now for many of our educated classes to talk largely on art and decoration on public platforms1 and to air their artistic views in newspapers and magazines1 but when it comes to a question of the practical application of their preaching and writing1 they are found wanting1 their courage seems to evaporate1 as they think they have done their duty in the advancement of art by simply talking about it4 ,in the fourteenth and fifteenth centuries in ,england there was a school of living art1 and five or six centuries previous there was one in ,ireland4 ,is it too much to expect these golden ages of art to return to us8 ,we hope not1 but before they do1 art must become a common thought with the people1 which can hardly be said to be the case at present4 ,i have included in this work some brief historical reviews of colour decoration in ,italy1 ,france1 ,germany and ,england1 not so much on historical lines1 but in order to offer to the decorator and student some account of the styles1 methods and practice of the art under consideration in the countries named1 and in hopes that what ,i have written in respect to these matters may prove of practical value to the readers of this book4 ,i desire to thank the ,authorities of the ,victoria and ,albert ,museum1 ,the ,dublin ,national ,museum1 the ,dean of ,st4 ,alban's ,cathedral1 and ,mr4 ,william ,davidson1 ,l4,r4,i4,b4,a41 ,architect1 ,edinburgh1 for their kind permission to use the illustrations acknowledged to them in this work4 ,j4 ,,ward4 ,,contents ,,chapter ,i ,,page ,,colour ,,decoration ,,of ,,architecture--,,introductory #a ,,chapter ,,ii ,,the ,,value ,,of ,,colour ,,as ,,applied ,,to ,,architecture #aa ,,chapter ,,iii ,,the ,,decorative ,,colouring ,,of ,,interiors #ah ,,chapter ,,iv ,,the ,,colouring ,,of ,,exteriors #cd ,,chapter ,v ,,on ,,the ,,use ,,and ,,modification ,,of ,,colour ,,in ,,decoration #dd ,,chapter ,,vi ,,italian ,,decoration ,,and ,,ornament #eh ,,chapter ,,vii ,,coloured ,,architecture ,,in ,,france #gd ,,chapter ,,viii ,,colour ,,decoration ,,in ,,germany #ia ,,chapter ,,ix ,,colour ,,decoration ,,in ,,england #aac ,,list ,,of ,,illustrations ,,plate ,facing page #a4 ,,sketch ,,design ,,for ,a ,,wall ,,decoration ,,in ,,fresco4 ,by ,author ,frontispiece #b4 ,,frescoes ,,in ,,the ,,chapel ,,of ,,st4 ,,peter ,,martyr1 ,,church ,,of ,,st4 ,,eustorgio1 ,,milan #i #c4 ,,design ,,in ,,colour ,,for ,,the ,,decoration ,,of ,,park ,,green ,,church1 ,,macclesfield4 ,by ,author #aj #d4 ,,st4 ,,michael3 ,,from ,a ,,painting ,,on ,,the ,,rood ,,screen1 ,,ranworth ,,church1 ,,norfolk4 ,english1 ,early ,sixteenth ,century4 ,from ,water-colour by ,w4 ,davidson #ad #e4 ,,design ,,in ,,colour ,,for ,,the ,,decoration ,,of ,,the ,,town ,,hall1 ,,macclesfield4 ,by ,author #ah #f4 ,,colour ,,arrangement ,,for ,,the ,,decoration ,,of ,a ,,room #bj #g4 ,,three ,,suggestions ,,of ,,colour ,,tints ,,for ,,painted ,,walls ,,or ,,paperhangings1 ,,as ,,backgrounds ,,for ,,framed ,,pictures #bc #h4 ,,design ,,in ,,colour ,,for ,,the ,,decoration ,,of ,a ,,morning ,,room ,,ceiling ,,at ,,queen',s ,,gate1 ,,london4 ,by ,author #bg #i4 ,,decorated ,,mouldings3 ,,from ,,the ,,rood ,,screen1 ,,ranworth ,,church1 ,,norfolk4 ,english1 ,early ,sixteenth ,century4 ,drawn by ,w4 ,davidson #bh #aj4 ,,design ,,in ,,colour ,,for ,a ,,frieze ,,decoration4 ,by ,author #cj #aa4 ,,colour ,,arrangements ,,for ,,doors ,,and ,,woodwork #cc #ab4 ,,mosaic ,,panel3 ,,from ,,the ,,cartoon ,,of ,,the ,,mosaic ,,in ,,st4 ,,paul',s ,,cathedral1 ,,london3 ,,melchizedek ,,blessing ,,abraham4 ,by ,sir ,w4 ,b4 ,richmond1 ,k4,c4,b41 ,r4,a4 #eb #ac4 ,,approximate ,,change ,,in ,,certain ,,colours ,,when ,,seen ,,in ,,artificial ,,light #eg #ad4 ,,model ,,of ,,chapel ,,of ,,st4 ,,catherine ,,in ,,the ,,church ,,of ,,st4 ,,maurizo1 ,,milan4 ,victoria and ,albert ,museum #eh #ae4 ,,mosaic ,,decoration3 ,,church ,,of ,,st4 ,,john ,,lateran1 ,,rome4 ,by ,jacopo ,torriti4 #abhg-abib #fj #af4 ,,portion ,,of ,,the ,,ornament ,,in ,,mosaic ,,of ,,the ,,window ,,reveals3 ,,church ,,of ,,st4 ,,john ,,lateran1 ,,rome #fa #ag4 ,,italian ,,gothic ,,decoration ,,in ,,the ,,church ,,of ,,st4 ,,anastasia ,,at ,,verona #fb #ah4 ,,decoration ,,of ,a ,,portion ,,of ,,one ,,of ,,the ,,rooms ,,in ,,the ,,macchiavelli ,,palace1 ,,florence4 ,from a ,model in the ,victoria and ,albert ,museum #fc #ai4 ,,portion ,,of ,a ,,coloured ,,ceiling ,,decoration ,,by ,,giulio ,,romano1 ,,in ,,the ,,palazzo ,,vecchio ,,at ,,mantua4 ,sixteenth ,century #fe #bj4 ,,arabesque ,,decorations ,,in ,,the ,,ducal ,,palace1 ,,mantua4 ,by ,giulio ,romano4 ,sixteenth ,century #fh #ba4 ,,coloured ,,decoration ,,of ,,portion ,,of ,a ,,ceiling ,,in ,,the ,,vatican4 ,by ,raffaelle4 ,sixteenth ,century #ga #bb4 ,,decoration ,,of ,,the ,,boudoir ,,of ,,madame ,,de ,,serilly1 ,,now ,,in ,,the ,,victoria ,,and ,,albert ,,museum4 ,french1 ,eighteenth ,century #gf #bc4 ,,another ,,portion ,,of ,,the ,,above ,,boudoir ,,decoration #gg #bd4 ,,decoration ,,in ,,colour ,,of ,a ,,groined ,,ceiling ,,in ,,the ,,church ,,of ,,st4 ,,jacques1 ,,li,,ge1 #aebb-aehh #ajj #be4 ,,example ,,of ,,diaper ,,ornament1 ,,largely ,,used ,,in ,,italian1 ,,german ,,and ,,english ,,decoration ,,of ,,the ,,sixteenth ,,century #ajd #bf4 ,,example ,,of ,,diaper ,,ornament1 ,,used ,,in ,,decoration #aab #bg4 ,,example ,,of ,,diaper ,,ornament1 ,,used ,,in ,,decoration #aac #bh4 ,,saint ,,george4 ,,from ,,the ,,rood ,,screen1 ,,ranworth ,,church1 ,,norfolk4 ,from a ,water-colour by ,w4 ,davidson1 ,architect #aba #bi4 ,,decorated ,,mouldings1 ,,from ,,the ,,rood ,,screen1 ,,marsham ,,church1 ,,norfolk4 ,drawn by ,w4 ,davidson #abb #cj4 ,,decorated ,,mouldings1 ,,from ,,the ,,rood ,,screen1 ,,cawston ,,church1 ,,norfolk4 ,drawn by ,w4 ,davidson #abc #ca4 ,,portion ,,of ,,ceiling ,,decoration1 ,,choir ,,of ,,st4 ,,albans ,,abbey #abe #cb4 ,,decoration ,,on ,,the ,,rood ,,screen1 ,,ranworth ,,church1 ,,norfolk4 ,drawn by ,w4 ,davidson #abf #cc4 ,,portion ,,of ,,room ,,decoration ,,formerly ,,existing ,,at ,,sheen ,,house1 ,,surrey4 ,eighteenth ,century #acj #cd4 ,,portion ,,of ,,staircase ,,decoration ,,in ,,the ,,victoria ,,and ,,albert ,,museum4 ,by ,f4 ,w4 ,moody #aca ,,colour ,,decoration ,,of ,,architecture ,,chapter ,i ,,introductory 8,i cannot consider ,architecture as in anywise perfect without ,colour40 ,ruskin3 ,seven ,lamps of ,architecture4 ,the ,history of ,art testifies1 in all its great periods1 to the keen delight that artists1 decorators1 and architects have taken in the study of colour1 and its expression in certain harmonious proportions and arrangements for the decoration of buildings4 ,colour was obtained for the adornment of a building by the use of marbles1 metals1 enamelled bricks and floor mosaics1 which may be classed as permanent colouring1 and structural in character1 or it was applied1 as in painting1 wall mosaics1 and stained glass4 ,architects were not content with leaving their buildings in grey and drab1 for in such periods of the past1 no building was considered complete without its final application of colour decoration4 ,nature1 for the solace of mankind1 has made most of her works beautiful1 by dressing them in coloured garments4 ,birds1 insects1 stones1 gems1 trees1 flowers and 8weeds of glorious feature02 the countless phases of the earth1 the sea1 and the sky with its clouds1 when rosy-fingered at the dawn1 when sunlit in noon-day beauty1 or when fringed with the gold and crimsoned fires of the dying day1 afford the clearest evidence that nature delights in rich and bright1 as well as in quiet schemes of colour harmony4 ,therefore1 if true art is built on the solid ground of nature1 colour cannot well be divorced from it1 for although certain uncoloured artistic creations are legitimate enough1 they come under the head of illustrations1 or are portions of coloured schemes of decoration1 for colourless art1 like colourless nature1 is almost a contradiction in terms4 ,even a whitewashed wall1 when left some time to the weather1 will be eventually changed into a variegated surface having delicate tints or suggestions of almost every colour4 ,we might also illustrate nature's dislike to monotonous uniformity of tone if we select any other colour1 however brilliant or intense1 instead of white4 ,the doors and windows of a house may be painted1 for example1 in a uniform colour of the rankest and crudest green imaginable1 but if left long enough to the effects of the weather1 this harsh colour will be transformed to a beautiful and variegated harmony of numerous and closely related tones1 varying perhaps from greys to emerald greens and peacock blues1 or in other words the rank and uniform harshness of the original colour will be eventually oxidised and bleached into a colour harmony of variegated beauty4 ,from our knowledge of the changes in colour made by sunshine and storm on outside painting and on whitewash1 it might be suggested that a country cottage with white walls should have the doors and other woodwork1 such as window shutters and frames1 painted in a strong and rich green1 and the window sashes in vermilion4 ,such a cottage should have a roof of thatch1 or failing that1 a red-tiled roof4 ,in a few months after the cottage was painted it would lose any supposed harshness of colour that it might have had when first done1 and would afterwards present a pleasant note of subdued richness of colour1 that would be in complete harmony with the country or landscape around it4 ,but if the cottage must have a slate roof1 and if its walls are of red brick1 then the doors1 window shutters and frames should still be painted green1 slightly inclining to yellow1 but the window sashes should be painted white4 ,as regards the outside painting of the modern 8concrete0 cottages and villas1 which are now contributing so much to the deepening of the grey and gloom of town and country1 nothing short of the addition of inlaid panels of mosaic1 or tile decoration1 and the most brilliant colours imaginable on the woodwork will serve to relieve the dreary and leaden-hued monotony of the ,portland cement walls4 ,if we love to see colours in nature and in pictures1 why should we not also love to see a beautiful1 a commonplace1 or even any badly designed building decorated in pleasant schemes of harmonious colouring8 ,we are quite prepared to hear the modern critic1 as well as the modern 8cubist10 reply to this1 that 8art is art because it is not nature10 that 8it is absurd for an artist to worship1 or to represent ,beauty10 or they may use any other convenient shibboleth1 to protest against the representation of nature in art either in form or colour4 ,the question may be asked1 8,why are the outsides of our modern buildings practically colourless80 when we know that during the ancient1 medieval1 and the early ,renaissance periods the exteriors1 as well as the interiors of all buildings were strongly coloured1 either by the means of using natural marbles1 metal-work1 tiles1 mosaics1 or by painted decorations4 ,many notable examples of colour decoration1 both exterior and interior1 it is true1 have been executed in modern times1 but modern nations are still very timid in the use of colour1 especially in regard to its application to the exterior of buildings4 ,we are not yet quite emancipated from the white1 grey1 or drab effects1 but we must at least be thankful for the note of colour in the red brick1 and occasional red-tiled roof of the modern dwelling-house4 ,our lack of colour appreciation has generally been laid to the charge of ,puritanism1 but this has been hitherto chiefly associated with the white-washing of church interiors4 ,cromwell1 or rather his fanatical followers1 have had a deal to answer for as iconoclasts1 but at the same time it must be remembered that ,cromwell was a friend of artists1 and a patron of the arts in his day1 and we certainly are indebted to him for the preservation of ,raffaelle's ,cartoons1 the masterpieces of that great painter1 which he hid in safety in the cellars of ,hampton ,court ,palace during the troubles of the ,civil ,war4 ,since ,cromwell's time1 however1 colour decoration has crept into many of our public buildings1 and some buildings in ,england were treated in colour thirty or forty years ago2 but to-day1 and we can hardly blame ,cromwell for this1 figuratively speaking1 it may be said that a fresh colour-destroying wave of whitewash is sweeping over the country1 which is now blotting out the former efforts of our old decorators4 ,the interiors of most of our public buildings are generally of an indescribable drab colour1 if they are not painted white4 ,it requires some courage to decorate properly in colour1 as well as experience and ability1 but it is very humiliating to find that notwithstanding our plentiful supply of decorative artists1 the majority of our public buildings are painted in the style which we find frequent in bathrooms4 ,the white of the bathroom has certainly something to recommend it4 ,it looks decidedly clean1 when it is freshly done1 and has an air of great humility4 ,many people advocate white because1 they say1 it is safe1 that is1 because it relieves them of the solving of a colour problem2 some museum authorities recommend it because they say that it is the best contrasting background for the objects and examples4 ,the palace and the ballroom people advocate it because they think that ladies' dresses and ,court uniforms look best against it1 but all these reasons are just the ones that an artist would put forward to prove that white is not the best background for museum objects1 and should not be used for the walls of a state assembly-room4 ,dark1 or strongly coloured objects in a museum look doubly darker against white walls1 so that often you cannot see the beauty of their forms or the modelling and colour value of their surface details unless you get your eye quite close to them1 which is sometimes impossible4 ,on the other hand1 suitably coloured and decorated walls often bestow a certain charm on the objects and examples by enhancing their beauty and preciousness1 and by linking them together with the decoration1 avoiding that mechanical and cold effect of isolation which many objects present on the colourless and undecorated walls of some museums4 ,as regards ballrooms1 or state assembly-rooms1 white walls make the worst kind of backgrounds for dresses and uniforms1 as they afford too great a contrast with brightly coloured ones1 and in the case of white dresses no contrast at all4 ,there is evidently a strong objection to the use of colour for the decoration of our public buildings2 it is avoided as if it were an unholy thing1 something desperately wicked1 like the 8scarlet and purple0 trappings of the unhallowed lady of ,babylon4 ,yet we see that the ,almighty has clothed ,his glorious creation in thousands of tints of lovely colours1 and on the other hand we find that ,nature uses white very sparingly indeed4 ,we moderns1 however1 live an artificial life1 we are always in such a hurry that we have neither time nor inclination to learn the lessons we should learn from ,nature2 and besides1 we are more or less obsessed with a puritanical pride1 like the pride which apes humility1 so in our indifference to the beauty of colour we seek for salvation in whitewash and plenty of it4 ,perhaps1 however1 the ,italian architect1 ,palladio1 who flourished in the sixteenth century1 was really more responsible than ,puritanism for the fashion of colourless buildings1 for he was one of the first who regarded colour as an evil thing1 as he has said that 8white was more acceptable to the ,gods10 an absurd statement1 if he believed that the ,gods were responsible for the colouring of ,nature4 ,it may be safely stated that the fashion of colourless buildings had its inception in ,europe in ,palladio's time1 for previous to this date1 which ushered in the decadence of the ,renaissance1 all the interiors and exteriors of buildings were decorated in colour from the earliest historic times4 ,any ancient building that had any architectural pretensions was not only coloured1 but treated in the richest and brightest colours known to the decorator1 and such colours were applied in their full strength4 ,in the present day we have got so much accustomed to the absence of colour in architecture that when we do see the rare example of a richly coloured interior--exterior colouring is out of the question--which is not often1 we must admit1 we may be shocked by the novelty of it1 and though we may secretly admire the daring of the decorator1 we should be accused of our bad taste if we ventured to give it our unqualified approval4 ,much as we all love colour1 we seem to be afraid to get too far away from white1 or very pale and neutral tints1 in decoration4 ,we appear to be too timid1 or anxious not to offend the ,palladian taste of the public4 ,on the other hand1 in the matter1 for example1 of church decoration1 we are extraordinarily inconsistent1 for we tolerate and encourage the employment of the most daring combinations of colour in stained-glass windows1 and yet1 as a rule1 leave the rest of the architecture colourless and cold1 so that in the majority of our churches the walls and ceilings look more chilly and cheerless in contrast with the brilliant glories of their stained-glass windows4 ,the majority of our churches are a kind ,illustration3 ,to face p4 #i4 ,national ,museum1 ,dublin4 ,,plate #b4--;,,frescoes ,,in ,,the ,,chapel ,,of ,,st4 ,,peter ,,martyr1 ,,church ,,of ,,st4 ,,eustorgio1 ,,milan4 7,from portion of the model in the ,national ,museum1 ,dublin47 of reflex of the present general aspect of many medieval ones that have had their former decoration sacrilegiously scraped off their piers1 walls1 ribs1 and ceiling vaults1 and so deprived of their former beauty and comeliness4 ,architecture is the mother of the arts and crafts1 and she certainly looks all the happier when accompanied by her children1 ,sculpture and ,painting1 but when they are absent from her1 her dignity is not augmented or enhanced by her saddened expression of loneliness that accentuates the coldness of her isolation4 ,we suppose that no one objects to the fashion of filling church windows with coloured glass2 on the contrary1 we should be thankful that in these modern times this reminiscence of ancient colour expression still remains to us1 but why do we draw the line at coloured windows8 ,why are we not more consistent1 and colour also the rest of our churches1 interiors and exteriors as well1 with coloured marbles1 mosaic1 or painted decoration8 ,seeing that we tolerate and admire colour decoration in stained-glass windows1 there seems to be no legitimate reason why we should not have panels of coloured mosaic1 enamelled terra-cotta or tiles1 fresco1 or coloured marbles as vehicles of colour decoration in churches as well as stained glass4 ,any of these materials or methods of decorative colour expression might well be used in the carrying out of designs for memorials of our departed friends1 and would be quite as effective for such purposes as stained glass4 ,but who has ever seen or heard of a fine mosaic1 or a fresco executed or painted on the walls of a church to the memory of somebody in particular8 ,if we adopted and employed mosaics or frescoes as memorials of the dead1 as well as stained-glass windows1 we would still be exercising a pious duty to our departed friends1 and at the same time would be assisting to make the ,temple of the ,living ,god more comely and beautiful by adding some of the necessary colour finish to the walls of the church4 ,in a church at ,birmingham there are a series of most beautiful windows in the chancel-end of the building1 designed by ,burne-,jones1 that are magnificent in their glory of flaming crimson hues1 and are superb examples of the artist's composition and design4 ,one regrets1 however1 to find that the decoration of this church is typical of the usual embellishment of the modern ,house of ,prayer1 which generally begins and ends in the chancel windows4 ,illustration3 ,,plate ,,iii ,,design ,,for ,,the ,,decoration ,,of ,,park ,,green ,,church1 ,,macclesfield ,,chapter ,,ii ,,the ,,value ,,of ,,colour ,,as ,,applied ,,to ,,architecture ,it has been said that ,architecture may be compared to a book1 and that ,sculpture and ,painting are the illustrations which serve to explain the text and decorate the volume4 ,it might be argued1 however1 that the text of the written book may be in itself a work of art1 and therefore not require any explanatory illustrations or decorations4 ,to a certain extent this may be quite true1 but on the other hand a book will be more valuable1 more useful1 and more complete1 as well as being more beautiful1 by having the additional interest of a well-designed and appropriate setting of artistic and explanatory illustrations to embellish the text4 ,and just as the written matter of the book should not be regarded as a mere background for the illustrations and decoration1 neither should the architecture be so designed as to appear only as a background for the sculpture and painting1 for the building is the important thing1 but sculpture1 painting1 and ornamental decoration should be certainly employed to explain the architecture1 to symbolise the use of the building1 and to give additional interest and beauty to the fabric4 ,colour in architecture ought to be employed in a structural sense1 that is1 it ought to be so used that it may help out1 or confirm1 the logical and indispensable features of a building that give to it the essential qualities of repose and stability1 and the tones of colour1 if judiciously selected and applied1 will explain at a glance the various forms1 features1 divisions and sub-divisions of the architecture more rapidly and better than could possibly be hoped for in1 say1 a colourless or undecorated building4 ,therefore1 in the diffused and somewhat darkened light of interiors the proper application of colour is of inestimable value1 as an explanatory help in revealing the structural lines1 the profiling of the mouldings1 and the proportions of the architecture4 ,it is quite possible to decorate interiors in colour schemes of austere and extreme simplicity1 in delicacy1 in brilliancy1 or in rich and full-toned splendour1 in accordance with the nature and uses of the building1 provided that we do not interfere with the essential quality of repose4 ,in order that this important attribute of good architecture may be secured and maintained it is evident that neither sculptural nor coloured decoration should occur in isolated spots of interiors2 they should not be dotted about1 or applied here and there on walls1 ceilings1 pillars1 mouldings1 or other places1 but should appear as essential and integral parts of the natural growth of a broad decorative scheme4 ,it does not follow from this that certain parts of a building1 such as the ceiling1 the frieze1 capitals of columns and the chancel-end or sanctuary of a church should not be more honoured by having a richer application of colour and ornament than the other parts of the building1 but the inference is1 that the latter should also be intelligently treated in colour and decoration1 in a subordinate way1 so that they will assist in the gradual leading up to the richer wealth of the more honoured and salient parts1 and so become indispensable factors in promoting the unity of the entire scheme of decoration4 ,coloured decoration which is only applied here and there in the interior of a building gives a spotty effect that is more than often futile and artificial4 ,in the matter of church decoration it appears in our own country that just now it is more or less the custom to decorate the chancel-end of a church with a wealth of carving1 stained glass1 and richly-coloured ornamentation1 and to leave the rest of the interior plain and colourless4 ,we may be grateful1 however1 to find that the universal delight in colour1 one of those things which we had 8loved long since and lost awhile10 is now revealing itself in modern days after centuries of absence1 and is expressing itself1 timidly1 and in isolated spots1 but perhaps as time goes on it will spread again slowly1 and let us hope surely1 from one end of the building to the other4 ,we must admit that a fine eye for colour is a natural gift as much as a fine perception for form and proportion1 or as a fine ear for music1 but a love for all these things may be inspired in us from the work and teachings of the great masters of former ages1 and certainly a love for colour from the teachings of nature and the great schools of painting and decorative art4 ,that there was a golden age of decorative painting in ,england in the fourteenth and fifteenth centuries we know from the remaining fragments of colour and decoration on the rood-screens and other parts of our old churches1 and though the wall decorations have almost disappeared1 the examples of painting which still remain on some of this old woodwork clearly testify to the importance of the ,english school of painting of the period mentioned4 ,we are more fortunate in our remaining possession of some of the finest stained glass in the world1 which was designed and set up during the ,middle ,ages and early ,renaissance times in ,england1 and these rich and splendid 8jewels set in silver setting0 are a further proof of the keen delight of our early ,english decorators and craftsmen in the production of refined and beautiful colour4 ,many people ridicule the colouring of the ,middle ,ages as inharmonious and barbarous4 ,such absurd ideas in respect to the use of colour by the old decorators may have been derived from the knowledge that in early times the artist's palette was limited to three or four colours1 besides black and white1 and ,illustration3 ,to face p4 #ad4 ,from a ,water-colour by ,w4 ,davidson4 ,,plate #d4--,,saint ,,michael4 7,from a ,painting on the ,rood ,screen1 ,ranworth ,church3 ,english1 ,early ,sixteenth ,century47 that these colours1 such as red1 blue1 green and yellow1 were applied1 in decoration1 in their full strength1 as undoubtedly they generally were4 ,but it ought to be remembered that1 however crude the colours may be1 it is their arrangement1 quantity1 and proportion as to surface area in the scheme of decoration1 that makes1 or mars1 the harmony1 and not their individual strength1 purity or crudeness4 ,the early decorators hardly ever used broken tones or half-tones in their colour arrangements1 and perhaps this largely accounts for the mistaken views that some hold in regard to the decorative colouring of the ,middle ,ages4 ,there is of course a great beauty in broken-toned colouring1 which is in much favour in modern decoration1 but it is not a matter of much difficulty to harmonise such broken tones and tints4 ,a greater difficulty is to harmonise an arrangement of colours in their full strength of hue1 a task for a great colourist2 but this we know has often been done successfully in all the best periods of art1 and it certainly was done by the old decorators of the ,middle ,ages in painting1 mosaic1 enamels1 and stained glass1 in spite of the limitation of their palette1 or1 shall we say1 because of it8 ,in all the great periods of art there was certainly the keenest delight in colour4 ,it is difficult for some of us to believe that the ,parthenon and other ,greek temples1 and also all of our old cathedrals were at one time highly coloured1 but they certainly were so shortly after they were built4 ,the modern prejudice against the use of colour in architecture set in about the same time that sculpture also became1 like painting1 an independent art1 which was about the beginning of the decadence of the ,renaissance1 at the end of the sixteenth century4 ,the architect1 sculptor and painter should confer together1 and if possible work in harmony with each other1 so that when a cathedral1 a church1 a city hall1 or any other public building is about to be erected1 the complete scheme of the finished decoration should be formulated when the plans are being made4 ,at any rate1 the architect should always determine and keep in mind the style and nature of the subsequent colour effect and decoration1 and so design his building in accordance with such preconceived ideas4 ,that would be the ideal way to plan a building1 after the uses of the structure were clearly defined1 but unfortunately we are aware that the cases are few and rare in which the architect is enabled to do this1 or that he lives long enough to see his ideas carried out4 ,we might point out one notable instance of modern work where the architect's original ideas of the decoration are now being carried out1 namely1 in the new cathedral at ,westminster4 ,when planning this important building the architect thought out1 very carefully1 what the methods and nature of the colour finish were to be1 and it is interesting and gratifying to find that the decoration of the brick shell of the building1 including the main walls1 the chapel1 the crypt1 and the sanctuary1 are now being finished with a coloured marble sheathing1 and with splendid mosaics1 all of which he had made provision for in his original design4 ,,chapter ,,iii ,,the ,,decorative ,,colouring ,,of ,,interiors ,when treating any building in colour1 importance should be given obviously to the emphasising1 and not to the effacement of the structural features1 but when the building is deficient in such features1 or very poor in this respect1 it is the duty of the decorator to provide1 in some measure1 for this deficiency by dividing1 for example1 the large plain surfaces into panels1 friezes1 dadoes1 spandrels1 or other subdivisions1 by the use of painted bands and lines1 which may take the place of mouldings1 but these painted bands and fillets should be treated flatly1 and not in imitation of relief mouldings4 ,these enclosing bands around panels1 or large wall and ceiling subdivisions1 may in certain cases be decorated with simple repeating patterns of ornament1 and in others1 if necessary1 left in plain tints of colour4 ,if1 however1 there should happen to be some permanent structural features1 such as marble columns and entablatures1 or woodwork in oak or mahogany1 etc41 already in the interior1 and whose natural surfaces must be preserved1 it follows then ,illustration3 ,,plate ,v ,,design ,,for ,,the ,,decoration ,,of ,,the ,,town ,,hall1 ,,macclesfield that the decorator must arrange his scheme of colour1 not only to harmonise with the natural colour of these permanent structural features1 but he must modify his colouring so that it will in no way overpower the colour of the permanent material1 and so weaken the appearance of its structural character4 ,on the other hand1 great care should be taken to use only such tones in the colours as will prevent these permanent architectural features from having the undesirable effect of an extreme isolation in the building4 ,whatever scale of colour is used in a building there should be a strict maintenance of its relationship between all the great divisions and subdivisions4 ,the colourings of the latter may be treated as a sort of echo1 in lower tones1 of those of the former1 but not so subdued as to give sharp contrasts4 ,every feature of the architecture1 major or minor1 should be well defined and balanced in colour harmony1 so as to keep the general effect free from any startling abruptness or discordance1 in order that they may all contribute to1 and so preserve1 the necessary breadth of treatment4 ,the principal or broad contrast in the colour scheme should be between the structural and non-structural parts1 or the active parts such as columns1 piers1 ribs and cornices1 and the inert surfaces1 such as panels1 ceilings1 walls1 vaults1 and spandrels4 ,the more intense and forcible expressions of colour relief ought to be used on selected portions of the structural forms1 if they are not already of natural coloured materials1 in order to unite them together1 to give them a vigorous expression of life1 and to emphasise their importance in the building4 ,,treatment ,,of ,,walls4 ,there are no parts of a building that lend themselves to a more varied treatment in colour and decoration than the main walls of an interior1 and this diversity depends on the character1 architectural style and uses of the building4 ,it is obvious that the same treatment cannot well be given to the walls of a church1 a theatre1 a concert or an assembly room1 and a private residence1 though it often is done4 ,nor can an interior1 like that of a public hall or palace1 that may have such architectural features as columns1 pilasters1 and well-marked panellings1 either of marble1 stone1 or of wood construction1 be treated in a similar manner to that which may be proper for the walls of a room which may be devoid of any architectural features4 ,then1 again1 we have to consider1 before we set about the planning of the colour or decoration of a wall1 whether it is to be partly covered with pictures in frames1 or if great surfaces are to be coloured which will have nothing placed or hung upon them1 or if the large surfaces are already divided into panels1 or if the wall is to have a dado and a frieze1 if there are already hangings or window curtains of ,illustration3 ,,plate ,,vi ,,colour ,,arrangement ,,for ,a ,,room a certain colour1 and the carpet and furniture likewise4 ,we may also have to decide whether our wall colouring is to be a harmony of analogy1 or closely related colour tones1 in accordance with the above objects in the room--that would be the simplest and safest method of colour treatment for the walls--or if it is to be a harmony of contrast in colour1 which offers a more difficult problem1 but if well done1 would be more effective and interesting4 ,there are two other questions regarding the colour treatment of walls1 or rather of interior colouring generally1 which for the sake of argument we might consider1 though they are of very little importance1 and certainly have nothing like the importance which some decorators attach to them4 ,we are told that before we begin the colouring of a room we are to ask ourselves 8,what is the aspect80 and also1 8,is the room to be used mostly in the day1 or mostly at night80 ,the questions seem logical enough1 but we might well say in reply1 that as regards the aspect of a room1 what does it really matter whether the colouring is in a harmony of cool or warm1 light or dark1 arrangements of colour1 provided we do obtain a harmony8 ,again1 in our own countries1 where we get so few days of long sunshine1 is it really a matter of importance to decorate a room with a southern aspect in any way different from one with a northern aspect8 ,the greatest decorators of the finest periods never seemed to trouble themselves much about aspects4 ,they were more interested in producing good decoration1 and in the planning of fine colour schemes4 ,as regards the decoration and colouring of a room for day1 or for night uses1 we may say at once1 that if we except the interiors of theatres1 there are hardly any rooms1 in either public or private buildings and residences1 that are not used both in the day and at night1 so we may safely disregard the problem of colouring that is to be viewed by artificial light1 for in nine cases out of ten1 at least1 ordinary interiors are seen1 and ordinary rooms used1 both in the day and night4 ,it is best1 therefore1 to arrange our colour schemes so that they will look harmonious in the daylight1 and such colouring will not suffer much by artificial light1 provided the room is well lighted by electric or incandescent gas lamps1 and is not in a state of low illumination1 or semi-darkness4 ,we shall say something later on in reference to the changes which some colours undergo when seen in artificial light4 7,plate #ac47 ,we offer a few suggestions for the general colouring of walls in rooms of an ordinary residence or in public buildings1 namely3--,if a red is decided upon it should be of a deep pink slightly broken or toned with a very little blue and yellow2 if the colour is to be of a yellowish tone1 it ought to be pale and golden inclining to a light brown2 if blue it should be of a pale greenish blue1 or of any tint between that and a greyish ultramarine2 a deep blue tone should never be used for large wall spaces4 ,illustration3 ,,plate ,,vii ,,three ,,suggestions ,,of ,,colour ,,tints ,,for ,,painted ,,walls ,,or ,,paper-,,hangings1 ,,as ,,backgrounds ,,for ,,framed ,,pictures ,if greens are to be used in large spaces they should be1 if pale1 more pure in colour than in the case of deep greens2 the latter tones should be less pure and more grey1 in order to avoid rankness of hue4 ,these suggestions apply to the colours of either painted walls1 or to the tints of paperhangings1 if the latter be used as wall-coverings4 ,large expanses of wall surfaces when painted in a single tint have usually a dry and uninteresting appearance2 to avoid this1 and at the same time to give the wall the effect of being treated in a single tone of colour1 the surface1 after being painted in the chosen colour1 should have another thin application of a tint1 slightly lighter1 or darker than the previous coating1 stippled over the latter1 or the thin1 and different1 shade of colour may be applied with the brush1 and immediately after the application it should be partially wiped off with clean rags4 ,this operation will give the wall surface a slightly mottled and lively appearance1 and will remove the dead and monotonous uniformity usually seen on painted walls when the work is finished in the more solid and flat methods of execution4 7,see ,plate #g47 ,we give as suggestions of colours the three examples on ,plate #g1 which we think suitable as background tints for the walls of rooms on which pictures would be hung4 ,any of these colours might be used on the walls of a picture gallery or in rooms that contained pictures in gold or in black frames1 either for the colour tints of paint1 if used1 or for the tints of paperhangings1 but for choice we think the brownish tinted--middle illustration--would be on the whole the most satisfactory of the three4 ,if the walls are to be painted they should be finished in a stippled manner1 as described above1 but if a paperhanging is used the stippled effect would be obtained by a very small self-coloured1 lighter or darker pattern1 or by some other method of superimposed lines or dots on the red1 brown1 or grey-green ground4 ,,treatment ,,of ,,ceilings3 ,,vaulted ,,or ,,flat4 ,when decorating curved surfaces1 such as vaulted ceilings1 domes1 or the semi-dome of an apse1 when they are not sectionally divided by mouldings1 or archivolts1 it is extremely difficult to preserve the proper appearance of their sections or surfaces1 especially when they are treated pictorially1 or with a diaper1 or all-over-pattern of ornament4 ,in such cases it is necessary1 as the custom was with the majority of the old mosaic artists and fresco painters1 to subdivide these vaulted or domed ceilings into proportionate parts1 running either in a vertical or in a horizontal direction1 by bands1 or lines1 thus supplying the needed substitute for mouldings or relief divisional lines4 ,even if these bands and lines were left out1 and the decoration designed in a series of horizontal1 vertical1 or arched divisions1 forming rows of figures or ornament1 an appearance of constructive stability would be given to the scheme of decoration and so prevent any confusion as to the true section of the vaulted surface4 ,when a ceiling of a large hall or of a church is to be decorated1 whether the surface be flat or curved1 it is generally necessary to interpose a band of colour1 either plain1 or with a pattern on it1 between the cornice1 ribs1 or archivolts and the field or panel1 so that the structural abruptness between these features may be modified and softened1 and that an artistical alliance may be created between the colouring of the panel and that of the cornice under the flat ceiling1 or between the ribs and the vaulted surface1 respectively4 ,the ceilings of interiors1 whether flat or vaulted1 provide admirable fields for colour and decoration4 ,the greatest attention was given to them by the artists of the ,italian ,renaissance4 ,even when the rest of the interiors were simple or almost plain1 in regard to decorative treatment1 the ceiling was hardly ever neglected4 7,plate #ba47 ,some of the finest ,italian art is found on the ceilings of the churches and palaces4 ,for example1 ,michel ,angelo's masterpiece in painting was the ceiling of the ,sistine ,chapel2 there are also ,raffaelle's ceiling decorations in the ,stanze of the ,vatican2 ,pinturrichio's richly-coloured ceilings in the ,borgia ,apartments1 and those of his in the 8,sala ,piccolomini0 at ,siena1 in the choir of ,santa ,maria del ,popolo1 ,rome1 in ,santa ,maria ,maggiore at ,spello1 and in the ,chapel of the ,sala di ,cambio at ,perugia1 where he worked with ,perugino4 ,many important ceiling decorations were painted by ,raffaelle's pupils1 ,giulio ,romano1 ,perino del ,vaga and ,giovanni da ,udine1 in the palaces at ,mantua1 the ,villa ,madama1 some in ,venice and ,genoa1 others in the ,vatican and in the ,castel ,angelo1 at ,rome1 etc4 ,there is also the ceiling of elaborate panelling1 in which figure subjects alternate with arabesques in the ,chapel of the ,palazzo ,vecchio at ,florence1 painted by ,ridolfo ,ghirlandaio4 ,ceilings of a later date1 heavy in their mouldings and ornamentation1 exist in the churches and palaces of ,venice1 and other places1 which were painted with pictorial subjects by ,paul ,veronese and ,tintoretto4 ,the list of ,italian painted ceilings would be almost endless1 and we have only mentioned a few to point out the importance attached to ceiling decoration in ,italy4 ,the ,italian ceilings were usually moulded1 and were divided into a series of panels1 lozenged-shaped1 square1 oblong1 and circular1 and where the relief mouldings did not exist1 the decorator supplied their place by bands and enclosing lines1 or even in some cases by feigned mouldings in colour1 and sometimes by low relief stucco4 ,most of the ceilings were coloured in the brightest possible tints1 and gold was also freely used1 not only for heightening the salient parts of mouldings and carved enrichments1 but often as backgrounds to the pictorial work and ornamental patterns4 ,the gold backgrounds were in most cases ,illustration3 ,,plate ,,viii ,,design ,,for ,,the ,,decoration ,,of ,a ,,morning ,,room ,,ceiling ,,at ,,queen',s ,,gate1 ,,london slightly toned with a glaze of warm transparent brown1 or were treated with a fine mesh-like pattern of crossed lines1 to enrich and also to modify the raw brilliancy of the gold4 ,another effective way of using gold was the common employment of gold stars and spots over bright red or blue backgrounds4 ,this was usually done in cases where gold was used in the bands1 or in ornament on the bands1 which surrounded the panels having the bright-coloured backgrounds4 ,if one may be permitted to criticise the splendid ,italian painted ceilings1 it might be pointed out that1 generally speaking1 the rich and deep colouring was in many cases too dark1 which often produced a lowering effect in this architectural feature of the room1 especially in cases where the ceiling was only of a moderate height4 ,it is only very lofty ceilings that can safely be treated in strong and moderately dark colours1 and in proportion to the lowness of a ceiling the colouring should tend to become lighter in scale4 ,the greatest weight or strength of colour on a flat ceiling should be kept in the corners1 and near the cornice4 ,this will help to give a more raised appearance to the centre1 or at least it will determine1 in an effective manner1 the more perfect flatness of the surface1 as all flat ceilings have a tendency to appear lower in the centre than at the sides4 ,the general colour scheme of a ceiling should be arranged with due regard to even distribution1 not only of the colour values1 but of the tints and hues1 and if gold is used great care must be taken that it is also evenly distributed1 so as to prevent any spottiness that would be due to the inequality of its application2 in short a perfect balance of the colours and gold must be maintained respectively1 although it may not be necessary to have a mechanical symmetry either in the colouring1 ornamental patterns1 or in the infilling of the panels1 or other subdivisions4 ,,mouldings4 ,one of the most distinguishing characteristics of the architectural styles are the mouldings1 so much so1 that a building having no mouldings is almost1 if not entirely1 devoid of architectural expression2 it may be classed as a structure1 but hardly as true architecture1 for the style1 and even the date of a building may be often determined by the design of its mouldings alone4 ,ruskin has said1 8,never give mouldings separate colours10 but he adds that 8he knows this is heresy40 ,he is right if he means that the individual members of a group of mouldings should not be 8picked out0 in too decided or separate colours4 ,what should be avoided is the possible danger of detaching them too much from each other4 ,contrasting colours should be used sparingly1 and only to distinguish the larger and more structural members from those of the smaller ones4 ,simple explanation of their contours only is ,illustration3 ,to face p4 #bh4 ,from a ,drawing by ,w4 ,davidson4 ,,plate #i4--;,,decorated ,,mouldings4 7,from the ,rood ,screen1 ,ranworth ,church3 ,english4 ,early ,sixteenth ,century47 wanted1 and not any appearance of detachment4 ,as a rule1 the more numerous and elaborate the group of mouldings the less contrast in their colour treatment is required4 ,but1 on the other hand1 if a well-balanced colour harmony is obtained by treating a group of mouldings in separate colours1 provided there is no appearance of detachment1 and that the effect of harmonious unity of colour as a leading motive is secured1 then we should say that this particular treatment would be justified4 ,there are many instances where groups of mouldings have been treated in strong contrasting colours1 in work of the fifteenth and sixteenth centuries1 which are examples of successful colouring4 ,,the ,,cornice4 ,the cornice in an ordinary room should be treated in colour as part of the wall1 and not as belonging to the ceiling1 for the cornice is the crown of the wall1 and is not part of the ceiling4 ,the value of a cornice in a room1 as an architectural feature1 is to soften the harsh divisional line between the ceiling and the wall1 but this effect is destroyed if the cornice is left white or coloured like the ceiling1 and not treated in colour to show that it belongs to the wall4 ,as a general rule1 the deep and recessed hollows in the cornice should be coloured fairly strong1 as weak tints are lost or become grey when they are in shadow1 but large spaces1 such as coved hollows1 that happen to be well lighted1 should not be treated so strongly in colour4 ,prominent edges and fillets of the cornice mouldings should be either light in colour or gilt4 ,,the ,,frieze4 ,the frieze of a public hall1 assembly-room1 or of a room in an ordinary house1 is an architectural feature which always forms a fine field for colour and decoration1 in sculpture or in painting4 ,in the earliest1 and in all great periods of art1 the frieze was that part of the building which received the richest treatment4 ,the best art of the ancient ,mesopotamian nations was lavished on the coloured enamelled friezes1 and the chief glory of the ,parthenon was its sculptured frieze4 ,the treatment1 where pictorial or ornamental1 admits of more elaboration in design and a richer application of colour than any other part of the room4 7,plate #aj47 ,if an interior has an important frieze decoration1 it is not so necessary to have much colour or decoration on the ceiling4 ,when tinting the cornice mouldings over the frieze it is extremely important that the dominant colours in the frieze should be 8echoed0 in some of the members of the cornice4 ,a frieze is of more architectural value in a room than a dado1 for it is sufficient of itself to give an architectural aspect to a room2 but if there is a dado it would obviously be coloured somewhat darker ,illustration3 ,,plate ,x ,,design ,,for ,a ,,frieze ,,decoration than the walls1 whether it was in wood1 or only as a painted feature1 and its moulding or 8chair rail0 would be coloured so as to harmonise with the dado1 because it is also the crown or cornice of that feature4 ,as regards the debatable question of the imitation of relief mouldings and other architectural features on painted walls and ceilings1 there are many precedents for doing so1 some of which we will speak of further on1 but this can only be successfully done when the decorator has a good knowledge of architecture and knows exactly what to do1 like ,michel ,angelo when he divided the plain surface of the ceiling of the ,sistine ,chapel into panels and niches by means of imitative structural forms and mouldings1 in order to separate and enclose his magnificent painted series of scriptural subjects1 prophets and sibyls4 ,the imitation of architectural features in painted light and shade may not be logical1 but when a great artist does such things1 we are obliged to accept them without much criticism1 as we accept the work of a great poet who makes his own grammar4 ,,treatment ,,of ,,woodwork4 ,the question of whether to paint in colour the woodwork such as doors1 window-frames and wainscoting of interiors1 or to leave them in the natural colour of the wood1 depends chiefly on the kind of wood employed in their construction4 ,it would be wrong1 for example1 to advise the painting or colouring of the more valuable kinds of wood such as oak1 mahogany1 walnut1 ebony1 or any rare kind of wood1 in any way other than that which would deepen or make richer the natural tone of the material by the application of a varnish1 and of such a varnish as would only intensify the natural beauty of the wood1 but not produce anything like a polished surface4 ,it would be better to accept the natural colour of such woods1 and to scheme the colouring of walls and ceiling to harmonise with the colour of the woodwork in such cases1 especially if in addition to the door and window-framing there happened to be a considerable amount of wainscoting or wood panelling in the room4 ,in the medieval and earlier periods1 however1 whether in churches1 palaces1 or in smaller houses1 even the more valuable woods1 especially oak1 were always painted and decorated in colours4 ,the natural colour1 or the rarity of valuable woods1 did not as a rule prevent them from being treated in colour like the other parts of the buildings4 ,romanesque and ,gothic wooden ceilings and rood-screens1 though constructed of oak or other hard woods1 were invariably treated in colour and partly gilt4 ,the simplest and perhaps the more satisfactory way of treating the woodwork of an ordinary room in colour would be in selected tones of the colour which appears on the larger wall spaces1 but whatever ,illustration3 ,,plate ,,xi ,,colour ,,arrangements ,,for ,,woodwork the hue that may be used on the woodwork it should be of two or three shades of the selected colour1 forming a harmony of closely related tones4 7,see ,plates #f and #aa47 ,the woodwork may be in some cases of a different scheme of colouring from the walls1 as in such instances where there is a dado of wood or a wainscot of wood panelling1 but where the doors or windows appear as isolated features in large wall spaces1 the most satisfactory way of treating them in colour is to paint them in analogous tones of the wall colour4 ,if gold occurs in the frieze or on the cornice mouldings1 the fillets1 or smaller members of the door frames and panel mouldings should also be gilt4 ,,chapter ,,iv ,,the ,,colouring ,,of ,,exteriors ,the colouring of the exteriors of important buildings should be1 if possible1 effected by the use of the constructive materials1 such as stone1 marble1 granite and coloured terra-cotta in conjunction with panels and friezes1 etc41 of enamelled tiles or mosaic1 and even in the case of less pretentious buildings a good deal might be done by ordinary painting4 ,stucco plastered exteriors1 however1 should not necessarily be painted in a uniform stone colour4 ,stone and soft bricks get black in cities1 but hard bricks retain their colour much better4 ,a highly polished material1 such as granite or marble1 does not go well with freestone1 owing to the violent contrast between the polished and dull surfaces2 also1 any highly polished surface reflects light in such a way that to the sight the form is often altered4 ,granite polished with emery brings out the natural colour without giving a glaze to it1 and is therefore better for an outdoor effect4 ,bronze sheathing on doors and bronze window and door framing1 when it is not too dark in tone1 goes well with a grey granite building1 and when such a building has some panels of mosaic1 or of coloured marble1 such as 8opus ,sectile10 the colour scheme is very effective4 ,these materials are now being used very much in some important buildings in the continental cities4 ,in using coloured marbles1 the best effects1 as a rule1 are obtained when two kinds only are used together1 or merely one colour with white1 such as black and white1 red and white1 green and white or purple and white4 ,the finest early ,italian marble altars1 pulpits1 and monuments generally conform to one of these simple colour arrangements4 ,the principal parts of these works are executed in white marble and have only one coloured marble introduced for columns1 pilasters1 friezes1 and panels at the bases and pediments4 ,it may be mentioned that the white marble of these monuments is yellowish in tone1 and the black somewhat greenish1 thus producing a soft and mellow effect4 ,at ,palermo and ,naples there is a great deal of marble work of the later ,renaissance and modern times which has inlaid floral arabesques in various coloured marbles1 such as black1 brown1 orange and red1 all in combination1 the greater part of which is unsatisfactory as it lacks repose1 owing to the harshness of the contrasting colours4 ,a notable exception to the use of two1 or at most three1 kinds of marble in combination is seen in the magnificent 8opus ,alexandrinum0 floor pavements1 and in other marble work of the ,byzantine buildings1 where three kinds have been used1 namely1 porphyry1 serpentine and white1 with sometimes little portions of yellow1 but the purple of the porphyry and the green of the serpentine1 with their variegated tints1 are colours which are in complete accordance with each other1 and the effect of this arrangement is always pleasant and harmonious4 ,there is every reason why public buildings should be erected in natural or artificially coloured materials4 ,such coloured materials would not be more expensive than the grey1 drab1 and white stone and marble which is now used so much for exterior elevations4 ,if we cannot have rich colouring on the outsides of our public buildings1 we might at least be permitted to have schemes of colour that would present quiet and restrained harmonies1 so that1 even in a modest degree1 they would contribute to our pleasure by counteracting some of the greyness and gloom that overshadows and often conceals the architectural beauty of many buildings in our large towns and cities4 ,architects and sculptors1 as a rule1 are responsible for the appearance of the exteriors of buildings1 and they only in exceptional cases appear to have a love for colour1 but they should remember that colour appeals1 if not to everybody1 to a considerably large section of the public1 which includes both cultured and uncultured people1 who can appreciate a coloured building1 but are not much interested in seeing a colourless exterior4 ,some of the simplest and inexpensive examples of exterior structural colouring may be obtained by the use of red brick1 and common stone dressings on the faade of a building1 if to this could be added some notes of grey-blue in terra-cotta1 or tiles1 in bands1 borders1 or in panels4 ,mosaic in panels would be better still1 but we leave that out on the score of expense4 ,such an example as this colour arrangement may be seen in many buildings in ,florence1 ,milan1 and in the northern towns of ,italy4 ,we might mention one1 that of the front of the ,hospital of the ,innocents1 in ,florence1 which is a yellow-red brick elevation with severe columns and arches of a warm-coloured stone1 and in the spandrels between the arches are the grey-blue and white roundels of ,delia ,robbia glazed earthenware1 the whole effect being a pleasant and warm colour arrangement1 and besides being extremely simple1 it is certainly very effective1 and an admirable example of structural colouring4 ,at ,verona1 ,venice1 and many other places in ,italy there are fine examples of this style of exterior colouring where the red bricks give the dominant tone1 whether terra-cotta or stone be used for the dressings1 or glazed earthenware heraldic panels1 mosaic1 or fresco are added to give the balance of blue1 or other sharper notes of pure colour1 that may be required to complete the harmony4 ,it is a matter well known that in ,northern ,germany1 ,belgium1 ,holland1 and in ,england red brick buildings with stone and terra-cotta dressings and sculptured work were erected as manor houses1 palaces1 and every kind of public building1 in the fifteenth and sixteenth centuries1 most of which were fine examples1 not only of architecture1 but of exterior colouring4 ,the front of the ,doge's ,palace at ,venice is an example of suitable application of colour to public buildings4 ,the sculpture and mouldings are in white marble1 and the wall surface has a chequered pattern of marble slabs of a pale rose colour and white ,istrian stone4 ,fresco paintings and mosaic have often been employed in ,italy on the exteriors of churches and palaces4 ,there is a beautiful bit of heraldic painting1 alternating with cardinals' hats placed in squares1 on a wall behind the ,duomo of ,verona4 ,this1 however1 and nearly all exterior wall paintings have suffered very much by the weather in course of time1 and such decoration has no chance of lasting compared with the colour of the more permanent materials of stone1 marble1 tiles1 or mosaic4 ,in ,germany1 much more than other countries1 exterior colour-painting and decoration has always found great favour4 ,even to-day the exteriors of many buildings1 especially hostelries and restaurants1 are painted as they were in the sixteenth century4 ,a great revival of colour decoration took place in ,germany1 as it did also in ,france1 about the middle of the last century4 ,we shall consider this at more length when making an historical survey of the subject in later chapters1 and endeavour to describe some of the methods and principles of colour decoration adopted and carried out by the old decorators of ,england and the continental nations4 ,before leaving1 however1 this portion of our subject it may be useful and interesting to notice an important example of ,venetian exterior polychromy of the late medieval period4 ,the building in question is known as the ,ca' ,d',oro1 or 8,golden ,house10 so called on account of the great quantity of gilding that it formerly had on its faade4 ,this building must have been erected on the site of a former medieval palace1 for the rebuilding of it was begun in #adbd1 contemporary with that of the ,piazzeta faade of the ,ducal ,palace at ,venice4 ,the architect or 8stone-mason0 was ,giovanni ,buon1 who was assisted by his son1 ,bartolomeo1 the palace being erected for a nobleman named ,marino ,contarini1 at ,st4 ,sophia on the ,grand ,canal4 ,the existing documents1 which consist of the original memoranda of ,contarini1 dated #adca-b1 and preserved among the papers of the ,procurators of ,st4 ,mark's1 give in detail the orders for the gold and colours1 and how they were to be used in the decoration of the faade4 ,from these and also from the traces of the colour and gold which ,signor ,g4 ,boni found on parts of the building in #ahhe1 we are enabled to form an estimate of the polychromatic decorations of this medieval palace1 which may serve as an illustration of the external colour-decoration of the period4 ,from these evidences we find that the balls of ,istrian stone which decorated the embattlements were gilt1 also the carved mouldings1 the abacus of each capital1 lions1 shields1 dentels1 rose-flowers1 and other salient points of the carvings4 ,the backgrounds of capitals1 soffits1 some shields and bands were painted ultramarine blue1 8fine azure ultramarine1 in such a manner that it may last longer0 7that is1 twice coated74 ,the blue ground of the soffits was studded with small golden stars4 ,it is interesting to note how all the stonework was painted in the early times1 when it is mentioned that all the red stones of the faade and the red dentels were to be painted with oil and varnish in still deeper tones of red1 8so that they will look red40 ,it appears that this was done in order to give a look of uniformity to the red ,verona ,broccatello marble1 which1 being composed of the detritus of ammonites1 had a variegated1 or patchy-like appearance when newly cut1 and therefore its effect1 when new1 did not find favour in the eyes of the decorator1 as perhaps he thought that in its virgin state its appearance disturbed the broad colour effect he was aiming for4 ,the crowning cornice was painted with white lead and oil1 and also in a like manner the roses and vines on the faade4 ,the backgrounds of the latter carved decoration1 and that of the fields of the cusps of the window tracery and of the cornice foliage were painted black1 in order to give the effect of penetration4 ,the parts of the faade which were painted white were those of bluish or yellowish ,istrian stone1 the natural colour of which the ,venetians did not like1 so they generally obliterated it with a coating of white paint4 ,in the memoranda it is also stated that the stone battlements were to be 8painted and veined1 to make them look like marble40 ,the imitation of marbles and woods by painting the commoner stone1 or inferior wood in simulation of the more costly materials1 though rightly condemned as a common practice by purists has1 however1 been largely practised by the decorators of primitive ,greece1 ,pompeii1 ,rome1 and of the ,east1 as well as of the ,renaissance and later periods4 ,the old decorators had no scruples in regard to the painting of plaster or common stone to make it look like marble2 but generally in such examples the imitation was more strictly confined to objects and surfaces where the more costly materials would have been used if sufficient means had been available to procure them4 ,the modern practice of imitating a costly wood by graining an inferior one hardly ever obtained in the earlier periods2 the old decorators often enough painted all kinds of wood in any arbitrary way or colour1 but they did not grain them to simulate other woods4 ,although the imitation of wood by graining is not practised so much to-day as it was in the ,victorian time1 there is still a good deal of it done4 ,even worse than this is the modern practice of erecting wooden columns and entablatures as shop fronts1 especially those of public-houses and gin-palaces1 in simulation of a stone construction1 which may be an excusable sham1 but there is no reason why this stone construction in wood should be painted to imitate costly marble1 which only makes a double sham4 ,we can call to mind the instance of some large and heavy doors in a ,government building of this country1 which are1 of course1 made in panelled wood1 but have been painted to imitate grey granite6 ,the reader can think that the limit of imitative painting is here reached1 if he can imagine the deception that is presented of two slabs of heavy granite swinging on hinges4 ,in the case of the ,ca' ,d',oro battlements1 and of similar imitations of marble in the painted decoration of late medieval buildings in ,venice1 we can see the expression of a striving after the rich effects of colour that were obtained in the earlier ,byzantine architecture by the use of the real marbles1 which were employed to give the structural and permanent colour to edifices built in that style4 ,it ought to be remembered that the ,venetian ,gothic architecture1 more especially in colouring--and we might safely say all ,venetian art of later periods with its rich and beautiful colour--was strongly influenced by the splendour of ,byzantine and ,eastern colouring1 as expressed in the mosaics1 enamels1 and richly-coloured marbles that were used so much to line the walls inside and outside of the ,byzantine churches and palaces4 ,although such coloured decoration as that of the faade of the ,ca' ,d',oro might be classed as a decadent and artificial system1 in so far as it was an imitation1 or an attempt in applied colour at the survival of the more permanent ,byzantine coloured architecture1 still the general effect of the colour scheme1 where full-toned blues1 reds1 black1 white1 and gold were frankly employed1 must have been extremely rich and interesting1 when seen in the radiant sunshine1 and reflected in the waters of the ,grand ,canal4 ,we might add that the colouring of this medieval palace1 in common with that employed on all ,venetian buildings of that time1 was also in a great measure a reflex of the powerful and sensuous colouring of the ,east1 which strongly influenced1 if it was not indeed the chief source of the distinctive colour harmony that was the crown and glory of ,venetian art4 ,,chapter ,v ,,on ,,the ,,use ,,and ,,modification ,,of ,,colour ,,in ,,decoration ,just as the aims of the painter of pictures are quite divergent from those of the decorator1 so is the use of colour in the representation of natural objects and of natural phenomena divergent from that of the latter's in his employment of tints in coloured decoration4 ,the painter of pictures is at liberty to use unlimited tints and shades of one colour1 or of any number of colours1 to represent the facts or effects of nature in realistic or in imaginative art1 that is to say1 he can make the greatest possible use of gradation both in colour and in light and shade1 but the decorator is limited in the matter of colour gradation1 and still more limited in the matter of light and shade1 to the use of a few tints of closely related tones1 and1 as a rule1 he must use them in a series of flat tints1 with little or no light and shade1 and which may or may not be separated from each other by contours or outlines of neutral or different colours4 ,the aim of the decorator is to beautify surfaces by the use of colour1 so he selects or creates his tints and shades1 which may be of extremely rich and deeply saturated hues1 heightened perhaps with the addition of silver or gold1 or he may use schemes of sober tints of broken colours2 but the aim of the picture painter is to respect the colouring of nature and to produce another kind of beauty1 which if not always strictly imitative of natural forms and facts in colour and drawing1 must at least show that its foundations are laid on the solid ground of nature4 ,colour is therefore used by the artist-painter in a limited sense1 in so far as it is imitative of any particular scene or natural effect which he may desire to record1 but the choice of the decorator is unlimited1 for he can always invent his own colour schemes4 ,and as the latter is justified in disregarding shadows and gradation in the rendering of his decorative forms1 even when they are derived from nature1 he is equally free to use any colour in an arbitrary way on such forms instead of their natural or local colour1 provided that it does not interfere with the harmony and balance of his colour scheme4 ,the old ,gothic glass painters1 for example1 who produced some of the finest coloured glass1 did not hesitate to colour the feet or the hands of their figures a vivid green1 a crimson1 or a brilliant blue1 though the other flesh portions of the same figure would be in the natural colour1 if they found it necessary to have any of those colours in such parts of the design where the feet or hands happened to be4 ,although we should not agree with this arbitrary colour treatment of natural forms1 it only emphasises the fact that the old designers looked upon their figure compositions as simply units or integral parts of the general colour scheme1 and nothing more or less than legitimate decoration4 ,the decorator may design his ornamental forms on the bases of natural ones1 and may1 by colouring them in tints suggested by nature1 produce a beautiful decorative work1 which indeed has often been done4 ,still1 he is free to frankly disregard the natural or local colour of such forms if the latter does not suit his purpose1 and may use any other colours that will enable him to produce the best effect and most satisfactory decoration4 ,in any case there should be no attempt to imitate either the colouring or forms of nature in a realistic sense1 however much he may make use of suggestions from natural forms and objects4 ,if purely natural forms1 such as those of birds1 animals1 or the human figure are introduced into decoration1 they should be firmly outlined in some neutral colour in order to show that they are only intended as portions of the decorative scheme and not in the sense of realistic representations4 ,accurate representations of natural forms and photographic realism should be avoided in decoration4 ,if the ,byzantine mosaicists had drawn1 or could have drawn1 their figures better1 they might have produced worse decoration1 and might have failed to express the essentials of decorative art4 ,the greater part of modern polychrome decoration1 not only on buildings but on nearly every description of handmade objects or manufactured goods that have pretensions to artistic claims1 is only misapplied painting which has usurped the place of true decoration4 ,this kind of semi-pictorial work came into vogue about the beginning of the seventeenth century in ,italy and ,france1 and gradually spread and developed in other ,european countries1 so to-day there is still a great demand for this kind of art which is neither genuine decoration nor painting4 ,interior surfaces of buildings1 textile hangings1 carpets1 all kinds of pottery1 and almost every kind of object that presents a surface for decoration is treated with naturalistic transcripts of flowers1 birds1 animals1 the human figure1 as well as copies of landscapes and architectural views1 all represented in a pictorial manner with more or less merit1 but all misapplied work4 ,such meretricious merchandise is welcomed and purchased by a very large section of the public1 who are unable to distinguish between true and false decoration4 ,decoration in ,monochrome4--,the simplest form of coloured decoration is monochromatic1 that is1 where one colour is used or where several tints of any one colour are used4 ,this kind of colour treatment is often very satisfactory for the walls1 ceilings1 and woodwork of any ordinary room1 where the pictures on the walls1 the carpet1 hangings1 furniture and ornamental objects all combine to furnish the sharper and more contrasting colour notes that may be required4 ,in such monochromatic decoration lighter and darker shades of the selected colour are used1 the lighter and less intense tints being spread over the larger spaces1 while the more intense and purer shades would be on the mouldings and on the smaller subdivisions of the architecture4 ,the choice of the particular colour selected for any monochromatic scheme will in a measure depend on the uses of the room as well as on the decorative taste and feeling for colour4 ,monochromatic colouring may be enlivened by the use of gold in narrow lines or in small quantities1 such as in the gilding of the fillets of door mouldings and cornices1 etc4 ,use of gold in decoration4--,gold should not be used in large quantities in any scheme of decoration1 except in backgrounds where it would be partially covered with ornamentation1 or else it will be liable to lose its precious quality1 and so look vulgar and common4 ,where gold is used in great quantities1 such as we see in the gaudy gold and white decoration of some state assembly-rooms1 it completely loses its quality of preciousness1 and in proportion to the increase of the quantity used1 it becomes cheap-looking and appears more like brass than gold4 ,if gold must be used lavishly in the decoration of state rooms it ought to be toned down with some transparent brown colour which would tend to make it still richer1 and would destroy the tinselly or brassy appearance which large masses of gilding always present to the eye4 ,where gold was used in backgrounds of figure or ornamental compositions by the ,italian artists1 its natural glare was usually toned down either by having a net-work of lines1 or a fine tracery pattern1 or sometimes a fine diaper or checker pattern painted on it in black or dark brown4 ,also the surface1 previous to the gilding of it1 was sometimes prepared with a rough texture1 in order to prevent it from having the objectionable shine that is common to the gilding of smooth surfaces1 and to enable the spectator to see the real colour of the precious metal4 ,gold grounds look better when the surface is slightly curved1 for all gilded flat surfaces1 unless modified by one of the methods we have mentioned above1 will either appear glaringly bright or very dark according to the position from which they are seen4 ,it may also be mentioned that gold has in common with white1 or very pale colours1 the effect of spreading1 so that thin lines1 or delicate tracery patterns in gold1 on a dark1 or moderately dark coloured ground1 always appear to look broader than they really are1 this being due to the spreading effect of light which is reflected to the eye by the brilliancy of gold1 or white4 ,coloured decoration on gold grounds ought to be outlined in black1 or some very dark colour1 in order to prevent the gold from overpowering the colour and making it look ineffective4 ,when highly relieved enrichments are gilt1 the ground behind them may be 8picked out0 in strong colour1 such as vermilion1 deep cobalt blue1 or black in cases where an effect of penetration is desired1 but in proportion to the lowness of the relief the background colouring may be lessened in strength or intensity4 ,it must be pointed out1 however1 that ornament in very low relief1 if gilded1 will require a more strongly coloured background than in the case of ornament that may be simply coloured1 but not gilt4 ,the small interval1 or concord of closely related tones4--,it might be suggested that the natural development1 or sequence of purely monochromatic colouring to a full and rich polychromy would be of that kind of colour harmony which is known as the small interval1 which1 in decoration1 is expressed by the concord of closely related colour tones4 ,it may be also defined as a harmony of colour analogy1 a kind of gradation where colours and their tints are separated by a little distance or interval from each other in the chromatic circle4 ,the colouring of natural objects and phenomena afford endless examples of the small interval4 ,the plumage of birds1 wings of insects1 foliage of trees and plants1 flowers1 shells1 some minerals1 and the sunset sky may be mentioned as some of the illustrations of this kind of harmonious colour gradation1 where the various tints and shades of closely related colours are cunningly arranged by nature in delicate1 yet decided contrasts1 not of hue1 but of analogous tones4 ,for example1 a green-blue may pass into a violet-blue1 by a gradual series of separated tints1 but the latter colour must be kept at the shade of violet just before it is overcome by red1 and the former must not be overpowered by yellow4 ,the colour of a peacock's neck-plumage affords a good illustration of this kind of green-blue to violet-blue colouring by gradation of shades4 ,a similar gradation is where an orange-red passes gradually into a crimson-red1 but neither yellow in the first-named colour nor blue in the crimson must be permitted to overcome them4 ,the decorator being concerned with the use of broken colours--that is1 pure colours modified by mixture of black1 white or grey--for the covering of large spaces such as walls1 ceilings and woodwork panels1 can therefore adopt the principle of the small interval in architectural colouring with advantage and success1 by using any group of closely related colours for his scheme2 and further1 if he desires to intensify or enliven the latter1 he can do so by the use of small quantities of other contrasting colours introduced in the cornice1 frieze or mouldings1 or in lines1 bands and other forms of painted ornamentation1 and1 if necessary1 the whole of the decoration might be heightened by gilding4 ,coloured decoration on coloured grounds4--,the use of coloured grounds1 and especially those of contrasting colours1 postulates the more complex forms of polychromatic decoration1 where a good number of widely separated tints and shades of various colours are employed in any one scheme4 ,in polychromatic schemes of colouring there are certain laws which must be respected1 regarding the relation of one colour to another1 their modification of tint or shade1 as affected by their position1 and the strength or weakness of the light which illuminates them1 however much may be left to the good taste and feeling for colour which the decorator may possess4 ,all these essentials have to be considered1 for it is not so much a question of rich and glowing colour schemes1 or sober1 quiet and subdued arrangements1 but to obtain a harmonious colour finish in either4 ,the decorator must aim for1 and if possible obtain1 a proper balance of colour1 not so much for the achievement of uniformity1 as for that of unity and repose4 ,in order to obtain unity he must therefore see that even in the most complex polychromy a perfect balance of the colours is the first consideration1 and of the utmost importance4 ,in decoration we have both colour and form1 but colour in decorative art is the more important of the two4 ,a certain balance is looked for in ornamental or pictorial fillings of panels1 for example1 or even in the secondary ornamentation of painted bands1 stiles1 and other minor surfaces1 but the repetition of exactly similar forms on such surfaces is by no means essential1 but on the contrary produces monotony4 ,in the matter of colour the case is reversed1 for it is very important that there should be a decided repetition of ,illustration3 ,to face p4 #eb ,victoria and ,albert ,museum4 ,,plate #ab4 ,,from ,,the ,,cartoon ,,of ,,the ,,mosaic ,,in ,,st4 ,,paul',s ,,cathedral4 7,melchizedek ,blessing ,abraham4 ,by ,sir ,w4 ,b4 ,richmond1 ,k4,c4,b41 ,r4,a47 colour1 even to the point of symmetry1 in architectural colouring1 if the balance is to be maintained4 ,there must be 8echoes0 or 8recalls0 of the same1 or very similar1 tints and shades in ceilings1 walls1 woodwork1 and other parts of interior colouring if the qualities of good decoration1 such as breadth1 repose1 and rhythm are to be secured4 ,the rhythm of colour in decoration is of far more importance than that of the ornamental forms4 ,these laws and principles apply to all kinds of architectural decoration and their colour schemes1 but if possible with more force to the richer and more complex polychromy1 where pure and intense colours are employed with others of lesser intensity1 together with gold1 silver1 white and black4 ,contours1 or outlines4--,coloured ornament or pictorial decoration on coloured grounds ought to be outlined1 especially so if the ornament or decoration does not differ much in colour from that of the ground4 ,even colours that greatly contrast with each other ought to be outlined to prevent them from having the appearance of mixing with each other1 for most colours will not show their true value unless they are outlined with a neutral one such as black1 white or gold1 or with some lighter or darker colour than their own4 ,the general rule is1 that if the superimposed ornament is of a lighter colour than the ground1 provided that it is not excessively light1 it should be outlined with a still lighter colour1 but if darker than the ground1 the outline should be still darker4 ,certain ornamental compositions1 such as arabesques that are painted in light and shade on a coloured or gold ground1 may not require decided contours4 ,the absence of outlines on such ornament is not so detrimental to them as it would be to decoration that is painted in flat tints1 because such arabesques or tracery are sufficiently relieved by their light and shade treatment1 and are usually painted in dark and intense colours1 if the background is white or light in tint1 and on dark-coloured grounds they are generally executed in lighter and brighter colours on the dark ground4 ,light or pale-coloured grounds are made to appear deeper in hue by painting a fine tracery of a similar but deeper and purer colour on them1 or by 8powdering0 small patterns or spots of such colour on these light surfaces1 and a deeply-coloured ground may have its colour considerably lightened by superimposing on it a fine tracery pattern in white4 ,also1 a fine pattern painted in two distinct colours1 or a series of small dots in two colours1 evenly distributed on a brightly-coloured ground1 will change the colour scheme by causing another1 and a new colour to appear1 when the work is viewed from a distance4 ,all these changes and effects are produced in an optical sense1 for the new colours are those which are due to the mixtures of the painted ones on the retina of the eye1 as they are not the inherent colours of the decoration4 ,though these optical colours are not1 as a rule1 purposely sought for1 yet a consideration of them is valuable to the decorator4 ,much of the beauty of certain kinds of decoration is due to them2 for example1 that of the strongly coloured ,moorish schemes1 where red and gold1 which supplies the yellow1 combine to produce an optical orange colour1 and where blue and gold mingle to produce a violet1 when seen at some distance away4 ,in the same way when white is introduced into these colour arrangements1 as in the outlining of the patterns1 or in numerous small touches1 paler tints of the new colours are optically produced4 ,other illustrations of new colours that are produced in an optical sense may be noticed in the old glass of the ,romanesque and early ,gothic periods1 where the magnificent purple and violet hues are more than often obtained by the juxtaposition of deeply saturated reds and crimsons with intense and rich blues1 that notwithstanding their separation by the leading of the stained glass1 which acts as black outlines1 mingle together and produce rich purples and violets when seen at a distance4 ,it has been noticed that even the negative shades of greys1 which are made from mixtures of black and white1 if surrounded by1 or in juxtaposition with1 warm shades of yellowish-red1 or red ochres1 will appear as refined tones of blue when seen from a distance1 as in the case of ceiling decoration4 ,there are certain colours which 8carry0 or 8read0 well at a distance1 and others which1 however brilliant they may be near at hand1 become obscured or indefinite when they are viewed from afar4 ,for example1 deep reds1 dark blues and greens1 intense purples and violets1 all become either much darker1 or are changed into dirty browns when seen far off1 though they may all appear very brilliant when seen near to4 ,such colours have all low degrees of luminosity1 and therefore do not reflect sufficient white light to enable them to carry well4 ,it follows from this that if they were made lighter by the addition of white their carrying powers would be considerably increased1 though at a loss of their intensity4 ,the colours that carry1 or tell at a distance1 in addition to the pale shades of the above-mentioned ones1 are the yellows and red ochres1 white1 buff1 emerald green1 and cerulean blue4 ,coloured surfaces under artificial light4--,we have already mentioned that it is only very rarely that the decorator is asked to arrange his colour schemes for rooms that are only used when artificially lighted1 and also if his colouring has been planned to be seen in daylight1 it will almost invariably look well under artificial light1 provided that the room is well lighted4 ,it may1 however1 be of some advantage to consider some of the more important changes and modifications of colour when viewed by artificial light4 ,such light would be in ordinary cases that of gas or electric ,illustration3 ,,plate ,,xiii ,,under ,a ,,are ,,certain ,,colours ,,as ,,viewed ,,in ,,daylight4 ,,under ,b ,,are ,,similar ,,colours ,,which ,,illustrate ,,the ,,tendency ,,of ,,change ,,of ,,hue ,,when ,,the ,,former ,,are ,,seen ,,in ,,artificial ,,light lighting1 and although the latter is not so deficient in violet and bluish rays as the former1 still it has a considerable amount of yellow rays1 though not so much of orange-yellow as gaslight4 ,all kinds of artificial light impart some of their yellow to all colours1 and while this kind of illumination improves the brilliancy of yellow and yellowish-reds1 or of such colours as lie closely to yellow in the chromatic circle1 it dulls and saddens blues1 bluish-greens1 and violet-blues1 or in other words1 the colours that are more distantly removed from the orange-yellow in the chromatic circle4 ,blues and bluish-greens suffer most change in artificial light1 as they become degraded to duller and greyer shades4 ,greens become bluish-greens1 yellow-greens are not much changed1 bluish-greens become more yellowish4 ,indigo blue changes to greenish grey4 ,violet becomes purple1 and purple much redder4 ,yellow becomes paler in artificial light1 but1 on the contrary1 orange becomes redder1 and all bright reds from vermilion to carmine become still brighter in hue4 ,brilliant blues1 like cobalt and ultramarine1 appear more purplish in gaslight4 ,if we wish1 therefore1 to obtain a tint of blue that will look blue by gaslight1 it must appear as a slightly greenish shade of blue by daylight1 and must not be dark in tone4 ,on ,plate #ac there are shown a few colours on the left of the diagram1 at ,a1 and the approximate changes in these colours1 at ,b1 when seen in artificial light4 ,,chapter ,,vi ,,italian ,,decoration ,,and ,,ornament ,from the twelfth to the end of the sixteenth century was a long period of artistic activity in ,italy1 when nearly every building1 public and private1 sacred and secular1 was decorated in colour1 with paintings and ornament on walls1 ceilings and other surfaces1 and further enriched with sculpture1 and carving in wood1 stone or metal4 ,italian decorative art has in the past so influenced and modified the native art of ,france1 ,germany and ,england1 and its influence being still felt and expressed in much of our modern decoration1 that an apology is hardly needed if we devote the present chapter to some consideration of the architectural colouring and ornament of the ,italian ,renaissance4 ,apart from the great frescoes and mosaics of the ,italian churches and palaces1 where pictorial compositions1 or decorative pictures1 with or without architectural or landscape backgrounds1 give the required colour finish to buildings1 there exists the very important class of carved1 painted1 or inlaid ornamentation2 though in a measure secondary in ,illustration3 ,to face p4 #eh4 ,victoria and ,albert ,museum4 ,,plate #ad4--,,model ,,of ,,chapel ,,of ,,st4 ,,catherine1 ,,church ,,of ,,st4 ,,maurizo1 ,,milan4 the scale of art to the best examples of figure composition1 it is in no way1 when appropriately designed and applied1 inferior as legitimate material for the proper decoration of a building4 ,the ,italians made great use of both carved and painted ornament1 which was usually well designed1 and in their best work it was employed in a restrained sense as to quantity2 the colour and distribution of it1 whether in the flat1 or in relief1 enhanced the beauty of their architecture by assisting1 but in no way disturbing1 the architectural repose of the building4 ,the ,italian artists of the twelfth and thirteenth centuries used coloured ornament1 both of the geometrical and floral varieties1 largely in friezes1 bands and borders1 as a rich kind of framing to enclose1 and also to separate1 panels which contained their figure compositions1 and these ornamental framings were extremely valuable as contrasting foils to the more pictorial compositions which they enclosed4 ,in some cases the ornament itself occupied even as much1 and sometimes more1 space on the curved and flat surfaces1 such as domes1 spandrels1 panels1 and walls1 as the figures themselves4 ,a good example of this may be seen in the mosaics of the semi-dome of ,san ,clemente at ,rome and also on that of the ,church of ,st4 ,maria ,maggiore1 both of which are examples of decoration which are in singular and good harmony with the architecture of the respective churches4 ,we see in this ornament of the twelfth century on the semi-dome of ,san ,clemente a specimen of that variety which was developed1 with some modifications1 by ,cimabue1 ,torriti1 ,giotto1 and other ,italian artists in the thirteenth and fourteenth centuries4 ,the particular class of ornament we have now to examine was mainly founded on ,roman work1 but in addition it was mixed with some geometrical forms1 which in the painted variety were copied from the inlaid marble decorations and mosaic patterns of earlier times1 and in these geometrical patterns1 as well as in some of the floriated scroll-work1 derived from early ,roman sources1 there may be detected a strong influence of ,persian or ,eastern design4 7,plate #af47 ,it may be said that in all flat ornament used in the decoration of buildings of the thirteenth and fourteenth centuries in ,italy1 either in painting1 mosaic1 or inlaid work1 ,byzantine1 ,saracenic1 or ,persian influences may be noticed4 ,this is apparent in the geometrical interlacings1 and also in the more natural floral and foliage forms of ,western design1 where we see strong reflections of certain types of the flat variety of ornament1 which is common in the decoration of tiles1 pottery1 carpets1 and other textiles of ,asiatic countries4 ,the ,romanesque variety of ornament may be seen in the bands1 friezes and borders which frame the paintings attributed to ,cimabue in the upper church of ,st4 ,francesco at ,assisi1 and ,illustration3 ,to face p4 #fj4 ,,plate #ae4--,,mosaic ,,decoration3 ,,church ,,of ,,st4 ,,john ,,lateran1 ,,rome4 7,by ,jacopo ,torriti1 #abhg-abib47 ,illustration3 ,to face p4 #fa4 ,,plate #af4--,,ornament ,,in ,,mosaic ,,on ,,the ,,window ,,reveals3 ,,church ,,of ,,st4 ,,john ,,lateran1 ,,rome3 #abhg-abib4 around most of the frescoes by ,giotto in the same church4 ,the drawings on ,plate #af1 from the mosaics of the window reveals in the ,church of ,st4 ,john1 ,lateran1 by ,torriti1 illustrate the type of ornament that was common in the thirteenth and first half of the fourteenth centuries4 ,plate #ae shows the position this ornament occupied in the window reveals1 below the semi-dome1 and how well it serves as a contrasting division between the figures of the ,apostles on the wall spaces between the windows4 ,here the ornament plays a most effective decorative rle in combination with the figure subjects of the tribune1 and goes to prove that ,torriti was fully sensible of the value of ornamental contrast in decorative mosaic1 and that he was further aided in obtaining the desired unity of effect by his proper use of colour and simplicity of execution4 ,this work testifies that ,torriti was a master in the science of decoration1 as he applied the true principles of his art with a correct and profound judgment1 and is therefore worthy to be classed among the great forerunners of the ,renaissance1 and of modern art4 ,about the beginning of the fourteenth century1 when ,italy was in a highly prosperous condition1 numerous churches1 civic and private palaces1 guild houses and merchants' houses were erected1 most of which were of magnificent proportions1 and were richly decorated with sculptured marbles1 frescoes1 and other ornamentation4 ,the civic palaces and merchants' houses generally presented a solid and massive appearance1 the style of architecture1 especially in ,florence and ,central ,italy1 being a sort of mixture of ,romanesque and ,gothic styles1 the latter being expressed in the window-heads1 doorways1 lower arcading1 and in other details4 ,the massive appearance of the faades were somewhat lightened by the battlements of the top storey and by the boldly projecting cornices and string-courses under them1 and under the windows4 ,these projecting features sometimes took the form of a gallery carried on brackets or corbels1 between which the machicolations appeared4 ,types of these civic palaces with their elegant and lofty towers are seen in the ,palazzo ,vecchio at ,florence1 and the ,palazzo ,publico at ,siena4 ,many castle-like guild houses of the fourteenth century are still in existence in ,florence and in other cities of ,italy1 and representations of such may be seen pictured in the frescoes of ,giotto at ,assisi1 and in paintings by other artists in ,florence and ,siena1 where the interiors1 with their furniture and decorations1 as well as the exteriors are represented4 ,the ceilings of the rooms in these houses were generally flat1 or coffered between the beams1 or the flat ceiling was often painted to represent coffered panelling4 ,the walls were sometimes painted from the floor up to the dividing line of the deep frieze with imitations of textile hangings1 decorated with geometrical patterns of a severe design1 heraldic devices1 or conventional ,illustration3 ,to face p4 #fb4 ,,plate #ag4--;,,italian ,,gothic ,,decoration ,,in ,,the ,,church ,,of ,,st4 ,,anastasia ,,at ,,verona4 ,illustration3 ,to face p4 #fc4 ,,plate #ah4--;,,decoration ,,of ,a ,,portion ,,of ,,one ,,of ,,the ,,rooms ,,in ,,the ,,macchiavelli ,,palace1 ,,florence4 7,from a model in the ,victoria and ,albert ,museum47 flowers and foliage4 ,these imitation hangings were represented as suspending from a horizontal rod1 hanging perfectly straight1 or in some cases from fixed points at regular intervals so as to give them a festoon-like appearance4 ,this was a common method of decorating the lower wall space of house and palace interiors1 as well as of churches and chapels4 ,a good illustration of this method of decoration is seen in the ,sistine ,chapel in the ,vatican1 where the lower walls under the frescoes of ,pinturrichio1 ,botticelli1 ,c4 ,rosselli1 ,perugino1 and others are decorated with painted imitations of tapestry hangings4 ,the friezes of the old houses under notice were very important features in the decoration1 and were as a rule extremely beautiful in design and colour1 the designs usually consisting of a row of fruit trees1 such as the orange1 lemon1 pomegranate1 apple1 etc41 alternating1 and placed behind and above a net-work fence1 which usually divided the lower wall decoration from the frieze proper1 while between the trees1 and at the bottom appeared groups of gay flowers1 and singing birds at intervals helped to enliven the scene4 ,the friezes often represented stately gardens or orchards1 painted in the lively colours of nature1 with the backgrounds behind the trees and flowers in black1 and the spaces between a deep vermilion red4 ,in some cases the garden frieze was continuous1 and complete in itself1 and other examples1 as in the wall decoration from an old house formerly in the ,mercato ,vecchio1 and now in the monastery of ,san ,marco at ,florence1 the trees were placed under ,gothic canopies1 with little towers between1 or in arcading supported by pillars1 above which were triangular panels filled with heraldic devices4 ,some of the wall decorations of these old houses had other schemes of diaper-like ornamentation1 consisting of lozenge-shaped and foiled figures interlacing at the angles1 some spaces being occupied by figures of ladies on horseback1 and others by various kinds of birds grouped in landscapes1 while the alternating spaces were occupied by circles containing shields with heraldic devices1 and around these foliated ornament4 ,the general colour scheme of the walls1 frieze1 and ceiling was daring1 yet delightful4 ,it consisted of a warm harmony of strong reds1 black1 various greens1 golden yellows and russets1 modified here and there by the introduction of pearly greys1 umber tones1 and mellowed white4 ,rooms decorated in this fashion would be very sumptuous and rich1 and would not require the aid of pictures to help out the colour scheme4 7,plate #ah47 ,a satisfactory finish to such apartments was admirably achieved by the furniture of the period1 which consisted of beautiful ,cassoni1 in carved or inlaid woods1 or decorated in gesso-work1 painted and gilded1 with representations of lively scenes of the tournament1 of hunting and hawking parties1 and other romantic subjects4 ,the chairs1 the seats against the walls1 and the table were of carved walnut1 chestnut or cypress wood4 ,if we add to these such accessories as ,majolica dishes of ,illustration3 ,,plate ,,xix ,,portion ,,of ,,coved-,,ceiling ,,decoration ,,by ,,giulio ,,romano ,,in ,,the ,,palazzo ,,vecchio ,,at ,,mantua lustred pottery1 copper and brass vessels1 ,venetian glass and ,oriental carpets1 we may conceive some idea of the magnificent effect that a reception-room must have presented in one of these old ,florentine houses in the fourteenth and fifteenth centuries4 ,in the charming medley of forms and colour which the wall decorations of these houses presented we may clearly see the development of ,giotto's ,italian ,gothic ornament1 still mixed with some of the older ,romanesque forms that ,torriti loved to use1 and while ,saracenic influences are not absent1 the chief element of beauty in the mixture is the definite expression of natural form and colour1 obtained by the trees1 flowers1 and birds which are introduced in such a dignified manner that they harmonise perfectly with the severer forms of the ornament to which they are allied4 ,it is to be regretted that this interesting class of ornament was not more fully developed in the fifteenth and sixteenth centuries alongside1 if not instead of1 the less virile but more classical type which was adopted and developed by ,raffaelle and his pupils1 ,giovanni da ,udine1 ,giulio ,romano1 and ,perina del ,vaga1 when they came to decorate the ,loggie of the ,vatican1 the interiors of the 8,villa ,madama10 ,palazzo del ,t1 the ,ducal ,palace at ,mantua 7,plates #ai and #bj71 and the ,castello ,sant' ,angelo at ,rome4 ,in the early years of the sixteenth century excavations were being made at ,san ,pietro in ,vincoli and among the ruins of the ,palace of ,titus1 in hopes1 as ,vasari states1 of finding antique statues1 when certain subterranean chambers were discovered that were decorated with small 8grottesche10 so called because they were found in these grottos1 or underground chambers2 some of the latter were evidently the bathrooms of the palace4 ,other examples of this kind of decoration were found in the ,coliseum1 and in the ,baths of ,diocletian at ,rome4 ,some of these ancient ,roman grotesques were modelled in stucco in very low relief1 and others were painted1 having subjects of mythological figures1 amorini1 stories1 and ornament4 7,plate #ba47 ,raffaelle and his pupil ,giovanni da ,udine went to see these works1 and were so astonished with their novelty1 freshness and beauty that they resolved to imitate or adapt them for the decoration of the ,loggie of the ,vatican4 ,thus ,raffaelle and ,giovanni first conceived the idea of a risorgimento1 a resurrection as well as a revival of these antique forms of decoration1 and adopted the scheme and style of ornamentation for the piers1 pilasters1 arches and friezes of the ,vatican ,loggie4 ,the painted portion of the pilasters have elaborate scroll-work1 based on acanthus foliage1 with designs consisting of fruit1 flowers1 trees1 birds1 quadrupeds1 human figures1 and enlarged copies of antique gems and bas-reliefs in panels surrounded by decorated mouldings1 all in a rich scheme of polychromy on cream-coloured grounds4 ,the vaulted ceilings of the ,loggie are divided into compartments having stucco mouldings1 some of which contain painted figure subjects1 and others are executed in low-relief stucco work4 ,the decorations of the lower parts are now1 however1 in a bad state1 being mostly perished or rubbed off1 but those of the ceilings and arches are in a fairly good condition4 ,in some of the apartments of the ,popes1 in the ,castello ,sant' ,angelo at ,rome1 there are many examples of this kind of decoration1 executed by ,da ,udine1 ,giulio ,romano and ,perina del ,vaga1 among which may be mentioned the beautiful little bathroom1 the walls and ceiling of which are entirely covered with arabesques and grotesques1 in colour on a white ground1 which ,giovanni da ,udine painted for ,pope ,leo4 ,the 8,villa ,madama10 near ,rome1 was built1 or finished about #aeba1 from designs by ,raffaelle1 a year or so after his death1 and the interior was decorated by ,giovanni da ,udine1 chiefly in stucco1 or gesso duro1 in the same manner as the work in the ,vatican ,loggie4 ,the decorated portion of this villa is chiefly confined to the great ,loggia and its vestibule1 and the two square recesses between them4 ,the ,loggia is divided into three bays1 the centre one having a domed roof1 while the other two have vaulted roofs1 each roof being divided into four segments4 ,the designs on the piers are executed in gesso duro1 and consist of conventional renderings of the vine1 maple1 and other plants1 admirable in conception and skilful in technique4 ,this work1 together with the relief decorations of the circular vaulting of the recesses1 and soffits of the arches1 is left uncoloured4 ,colour is used sparingly amongst the high reliefs which cover the greater part of the central dome4 ,there are four panels in this dome with paintings of the figures of ,neptune1 ,jupiter1 ,juno and ,plato which are attributed to ,giulio ,romano4 ,the groin ceiling-ribs of the right and left bays are painted with bands of arabesques and foliage designs1 and the surfaces of the vaults are richly decorated with coloured ornaments4 ,in the centre of each of these four vault divisions there is a large oval panel1 one set of four having groups of sporting amorini1 and the other four have mythological subjects4 ,the three recesses have similar decorations4 ,much of the painting has suffered from damp1 and wet from the roof1 but in the better preserved remains of the painted work1 and of the stucco decorations1 there is sufficient evidence left to justify the great praise that ,vasari has bestowed upon it1 for on the whole it is more refined in design and execution than ,giovanni's early work in the ,loggie of the ,vatican4 ,similar kind of stucco decoration may be seen on the richly ornamented columns of the courtyard in the ,palazzo ,vecchio1 at ,florence1 and similar painted arabesques on the vaulted ceilings and arch soffits of the same courtyard1 though now much decayed and darkened by age and weather4 ,in the ,ducal ,palace at ,mantua are three ,illustration3 ,to face p4 #fh4 ,,plate #bj4--;,,arabesque ,,decorations ,,in ,,the ,,ducal ,,palace1 ,,mantua4 7,by ,giulio ,romano3 ,sixteenth ,century7 celebrated 8,camerini10 or apartments of ,isabella d',este1 who became ,marchioness of ,mantua by her marriage in #adij with the ,marquis ,giovanni ,francesco ,gonzaga4 ,these rooms are in the part of the palace known as the 8,paradiso10 and were beautifully decorated by the best known artists of the period to the orders of the ,marchioness4 ,the first of the three apartments was the music-room1 the walls of which were lined with 8intarsia0 of different coloured woods representing views of towns4 ,the ceiling was panelled and decorated with ornament and heraldic devices in low relief1 and the frieze was formed of musical instruments carved in the wood4 ,the second apartment was the painting-room1 which from the point of decorative beauty was the most important of the three4 ,its chief interest consisted in the six pictures which ,isabella had painted to her orders by ,mantegna1 ,lorenzo ,costa1 ,perugino1 and ,bellini4 ,these famous pictures1 with the exception of the one painted by the last-named artist1 which cannot be traced1 were taken from their places on the walls of the room1 and sold by ,prince ,vincenzo ,gonzaga in #afbg to ,cardinal ,richelieu1 and were afterwards bought from the heirs of the ,cardinal by the ,french ,government1 and are now in the ,louvre at ,paris4 ,a model of one side of this beautiful 8,camerino10 two-thirds of its actual size1 with copies of the three allegorical pictures which once adorned its walls1 together with the richly carved candelabra-like pillars that separated the pictures1 a portion of the frieze and panelled ceiling in gold and blue1 with the marble doorway by ,cristoforo ,romano is now in the ,victoria and ,albert ,museum1 and another copy is in the ,dublin ,national ,museum4 ,the third apartment was reserved for receptions and was decorated with delicately carved devices1 mottoes1 and the heraldic arms of the family1 executed in wood-carving and stucco finished in gold and having a blue background4 ,the celebrated pictures that originally adorned the walls of the painting-room are elaborately finished and highly imaginative works1 and are therefore to be regarded more as easel paintings than decorative compositions4 ,this small room1 which measures only seventeen feet by ten feet1 must have appeared1 in its original state1 a veritable cabinet of the finest art and craftsmanship of the ,renaissance period4 ,mantua is very rich in the work of ,giulio ,romano 7#adib-aedf7 and of his pupils1 ,primaticcio and ,niccolo dell' ,abbate2 the two latter with ,serlio1 the architect1 were chiefest among the many ,italian artists and craftsmen who were summoned to ,fontainebleau by the ,french ,king1 ,franois ,i1 and were in a great measure responsible for the spread of the ,italian influences which were so apparent in the art of the early ,french ,renaissance4 ,illustration3 ,,plate ,,xxi ,,portion ,,of ,,decoration ,,of ,,coved ,,ceiling ,,in ,,the ,,vatican ,,by ,,raffaelle4 ,,sixteenth ,,century ,giulio ,romano settled in ,mantua in #aebd1 when he was employed by ,federico ,,ii to alter and decorate some of the rooms in the ,ducal ,palace4 ,he was also the architect and decorator of the ,palazza del ,t1 the country house of ,federico1 near ,mantua4 ,the paintings executed on the walls of these palaces by ,giulio ,romano and his pupils1 ,primaticcio1 ,francesco ,penni1 ,rinaldo of ,mantua1 and ,niccolo dell' ,abbate1 consist chiefly of mythological subjects1 and historical events from classic literature1 battles of giants1 gladiatorial combats1 market-place1 seaside and fishing scenes1 with occasional subjects from the ,old ,testament1 all of which were painted in the vigorous style and strong colouring so characteristic of ,romano's work4 ,on the other hand1 there were many cabinets and apartments in these palaces that were richly decorated with beautiful designs in stucco-work and fanciful arabesques1 painted in colours and in monochrome1 with great brilliancy and freedom1 refined in conception1 with lightness of touch in the execution1 and not wanting in the frank gaiety of colour expression4 ,this kind of relief and painted decoration occurs mostly on the vaulted and coved ceilings1 on soffits of the arches1 in spandrels1 and on numerous borders1 friezes and pilasters4 7,plate #ba47 ,the purely arabesque ornamentation usually occupied the large spaces on ceilings and elsewhere that surround the central oval1 circular or rectangular panels which often contained figure-subjects of a mythological character1 or sometimes heads1 busts1 or devices of various kinds1 and usually consists of scroll-like foliage of vines and other plants1 interspersed with sporting amorini1 birds1 and other creatures 7,fig4 #ba71 precisely a reflex of the grottesche decorations of the ,roman ,imperial times1 except that such painted ,italian arabesques of ,raffaelle's time1 and later1 would be more often1 in the earlier ,roman period1 modelled in very low stucco-relief1 for the ancients used their magnificent stucco composition to a far greater extent in decoration than the ,renaissance artists1 whether it was afterwards coloured or not4 ,it will be seen that all this kind of decoration1 whether ancient or modern1 painted or modelled1 was entirely an applied decoration1 and therefore non-constructional2 that is to say1 the ornamentation was applied to large surfaces of walls1 ceilings1 piers and pilasters1 etc41 after the building was completed4 ,the decoration was added1 and did not grow out of the structure1 and was therefore unlike the ,egyptian1 ,greek1 ,persian1 ,arabian1 ,medieval ,gothic1 and much of the ,byzantine decoration1 which grew out of the structure1 as an inevitable growth1 and which would be illogical and incongruous if applied to any other style of architecture than the particular style that had given birth to it4 ,the case is different in the applied decoration of the ,roman and ,pompeian houses1 baths and grottos1 and in the ,renaissance adaptation of this kind of adornment1 which does not appear to be strictly connected with the architecture4 ,similarly shaped spaces1 for example1 are found to be decorated in many different ways1 some vaulted ceilings are covered with elaborate scroll-work1 others are divided into panels of various shapes having stucco mouldings planted on the walls surrounding them1 or dividing all forms of space divisions4 ,wall spaces are decorated in the ,roman examples1 but more especially in ,pompeian decoration1 without much regard to the wall as an architectural feature1 for we find superimposed forms of thin columns1 supporting fantastical and impossible entablatures1 curtains1 festoons1 scroll-work1 landscapes1 figure subjects1 animals1 and all kinds of arbitrary spacings4 ,it must be said1 however1 that if this applied decoration is unconnected with the building1 it is very interesting and often charming in its spontaneity of colour and form1 while the beauty and refined technique of the low-relief figure and animal forms go a long way to counterbalance the illogical nature of the general surface adornment4 ,,chapter ,,vii ,,coloured ,,architecture ,,in ,,france ,in ,france the traditional custom of colouring as applied to the exteriors of buildings was continued and maintained throughout the ,middle ,ages and the ,renaissance period1 but it had gradually declined in the reign of ,louis ,,xiii 7#afaj-db71 and was practically non-existent in the time of ,louis ,,xiv4 ,in the ,gallo-,roman era public buildings and monuments in ,france were coloured inside and out4 ,gregory of ,tours 7#eci-ic71 and ,frodoard 7#hid-iff7 make mention of churches and palaces that were decorated with paintings in their time4 ,the ,church of ,saint-,savin1 near ,poitiers1 dating from #ajbc1 has the oldest monumental paintings in ,france1 which were executed a little after the church was built4 ,the faade of ,notre ,dame in ,paris still bears slight traces of painting4 ,according to ,viollet-le-,duc's researches the three doors with their arches and tympana were painted and gilded1 also the niches1 the 8galerie-des-,rois10 the arcades under the tower1 and the great central rose of the faade were all 8radiant with bright colour and gilding40 ,this colouring occurred principally on the mouldings1 columns1 sculptured ornament and figure work4 ,the outside colouring was much more vivid than the inside work4 ,there were bright reds1 crude greens1 orange1 yellow ochre1 blacks and pure whites1 but rarely blues1 outside1 the brilliancy of light allowing a harshness of colouring that would not be tolerable under the diffused light of the interior4 ,the large gables of the transept also bear traces of old painting4 ,there is also evidence that the greater portion of similar edifices of the thirteenth1 fourteenth and fifteenth centuries1 in ,france1 were decorated in colour4 ,enamelled tiles1 pottery plaques and gilded leadwork were largely used at the beginning of the ,renaissance4 ,enamelled pottery and terra-cotta decoration were introduced into ,france by ,girolamo della ,robbia1 who was invited in company with ,primaticcio1 ,serlio and many other ,italian artists by ,franois ,i4 ,girolamo decorated the ,chteau-de-,boulogne with glazed earthenware2 this building was demolished in #agib1 and some of the earthenware plaques are now in the ,cluny ,museum at ,paris4 ,during the reigns of ,franois ,i and ,henri ,,ii1 in the sixteenth century1 the architectural colouring was mostly a development of that of the ,middle ,ages1 but towards the end of the century the taste for colour decoration rapidly declined1 and from the beginning of the reign of ,louis ,,xiv the marble1 and cold white stone style of building1 introduced from ,italy1 became the fashion in ,france4 ,this applies more particularly to the exteriors of ,french edifices1 for during the reign of the ,grand ,roi the interiors continued to have a goodly share of coloured decorative paintings4 ,in the 8,louis-,quinze0 period 7#agae-gd7 colour was still used1 but more sparingly1 on the exterior and interior of buildings4 ,some ceilings and doorhead panels were painted in colours1 but as a rule white relieved with gold was the common scheme of decoration1 or sometimes pale and weak tints of colour were used4 ,in the period of the 8,louis-,seize0 style 7#aggd-ib71 the schemes of decoration were almost as colourless as in the former period1 although some exceptions must be noted1 as in the case of some exquisitely decorated boudoirs painted for ,marie ,antoinette and her ladies of the court1 examples of which are the ,queen's boudoir at ,fontainebleau1 and one which was formerly that of one of her maids-of-honour1 a beautiful specimen of its kind1 which is now in the ,victoria and ,albert ,museum at ,south ,kensington4 7,plates #bb and #bc47 ,from the days of the ,republic to the end of ,napoleon's reign1 #agib-ahad1 the architecture and decoration became still more cold and austere1 and except in isolated instances there was not much employment of colour to relieve the conventional formality of the so-called 8,empire0 style4 ,the ,romantic ,school of artists1 poets1 and ,illustration3 ,to face p4 #gf4 ,victoria and ,albert ,museum4 ,,plate #bb4--;,,decoration ,,of ,,the ,,boudoir ,,of ,,madame ,,de ,,serilly3 ,,french1 ,,eighteenth ,,century4 ,illustration3 ,to face p4 #gg4 ,victoria and ,albert ,museum4 ,,plate #bc4--;,,decoration ,,of ,,the ,,boudoir ,,of ,,madame ,,de ,,serilly3 ,,french1 ,,eighteenth ,,century4 historians was ushered in after the ,revolution of #ahcj1 when greater attention was paid to the interesting works in art and literature of the ,middle ,ages and of the ,renaissance1 and one of the consequences of this great movement was the revival of colour decoration on buildings4 ,many old frescoes which had been covered with whitewash1 not only in ,france1 but in ,germany1 in the ,rhine valley1 and in ,england also1 were once more brought to light1 after the whitewash of previous centuries had been removed4 ,many ,french architects1 artists1 and archologists1 among whom were ,prosper ,merime1 ,didron1 and ,viollet-le-,duc1 advocated a more generous use of colour1 not only in the interiors1 but on the exteriors of buildings4 ,many works on ancient art were published about this time1 which also contributed to the education of the public taste1 and ,french architects and students were becoming enthusiasts for the application of deep colouring to architecture1 being led in this direction by the discoveries of ,hittorf1 in #ahbc1 and subsequently by others1 who went out to ,greece and ,sicily and found traces of strong colouring on the ancient ,greek temples at ,segesta and ,selinus in ,sicily4 ,hittorf was the first to discover and make known the ancient polychromy of the ,greeks4 ,the traces of colouring which he found on the three temples near the ,acropolis of ,selinus1 and those on the small temple of ,empedocles at the same place1 enabled him to restore the colouring of these buildings1 and in #ahea he published his work1 entitled ,l',architecture ,polychrme chez les ,grecs1 and also a view of the great ,temple of ,jupiter4 ,about the same time the sculptor ,thorwaldsen also found numerous traces of blue1 red1 and gold on the ,temple of gina4 ,hittorf's discoveries of ,greek colouring were at first received in ,france with a good deal of scepticism and violent opposition1 as he was told that the colouring of the ,sicilian temples was only the remains of 8the vulgar daubing of ,byzantine1 ,norman1 or ,arab origin40 ,it is now1 however1 clearly proved by the light of subsequent investigations that ,greek polychromy was a tradition of the colouring of still older temples1 and that the latter was only a development of the archaic polychromy of the primitive ,mycenian decorators1 who in their turn derived it from ,egyptian sources4 ,about the middle of the nineteenth century the art of colour decoration on buildings was greatly advanced1 as the public were becoming familiarised with ancient work by means of copies made of it1 illustrated books1 and photographs of ,pompeian1 ,roman1 ,greek1 ,byzantine1 ,persian1 ,egyptian1 ,eastern and ,italian ,renaissance work4 ,the decoration of buildings in ,france in the nineteenth century in respect to the revival of polychromy may therefore be looked upon as a veritable colour renaissance1 for a reaction had set in against the almost colourless buildings of the two former centuries4 ,not only was colour extensively employed in the interiors of ,french buildings1 but on the exteriors it was used in a structural sense by the employment of natural coloured materials1 such as marbles1 bronze1 terra-cotta and enamelled earthenware1 and by the applied decoration of mosaic4 ,the architects1 ,duban and ,labrouste1 were among the first to assist in the creation of this new taste for colour1 they having thoroughly studied the remains of ,greek and ,roman architecture1 and especially the colour decoration of ,pompeii4 ,duban set about the work of restoring the colour decorations of the ,sainte ,chapelle1 in ,paris1 and those of the ,chateau-de-,blois1 where in the latter he used ceramic tiles successfully in the decoration1 taking his models from the tile work of the ,middle ,ages4 ,other works done by ,duban1 or under his directions1 were the restoration of the ,galerie-du-,louvre in the painted 8loge0 and decorated ceiling1 and at the cole des ,beaux-,arts1 the 8,loggie-di-,rafaele10 in the galleries of the first storey1 and the porticoes in the ,cour-du-,murier1 which he decorated in the ,pompeian style4 ,duban employed marble1 enamelled pottery1 terra-cotta and iron1 as well as paint1 for his decorative colour schemes4 ,many architects and artists were very enthusiastic about this time in advocating the extended use of colour on buildings1 and numerous old churches and chateaux were restored to their former colouring1 but those who undertook such work were not all gifted as colourists1 and consequently some mistakes and failures happened2 but at the same time a considerable amount of good work was accomplished where refined excellence and harmonious expression of colour were by no means wanting4 ,alfred ,norman and ,louis ,duc were successful decorators of this period4 ,among the works of the former was the beautifully decorated house in the ,pompeian style1 painted for ,louis ,napoleon1 and the latter architect used glazed tiles in combination with painting in some successful schemes of decoration in the oriental method of colouring4 ,the ,church of ,saint ,germain-des-,prs1 in ,paris1 which contains the frescoes of ,hippolyte ,flandrin1 was admirably decorated by ,denuelle under the direction of the architect1 ,victor ,baltard4 ,in connection with the colour revival in ,france1 ,viollet-le-,duc makes this reflection3 8,why do we deprive ourselves of all these resources of art8 ,why does the classic school pretend that coldness and monotony are the inseparable accompaniments of beauty1 when the ,greeks1 whom they present to us as artists par excellence1 always coloured their buildings inside and out1 not timidly1 but by putting on colours of extreme brilliancy80 ,the use of coloured terra-cotta1 ceramic tiles and mosaic1 rapidly spread in ,france about this time1 for the architects and the public had become acquainted with the coloured tile decoration of ,moorish palaces in ,spain1 the tile facings of mosques in ,persia1 ,cairo1 and of the ,mohammedan palaces and mosques of ,india4 ,in conjunction with this kind of decoration1 mosaic work also reappeared in ,france4 ,charles ,garnier1 the eminent architect1 designed and built the new ,opera ,house in ,paris1 in the years #ahga and #ahgb1 where he introduced mosaic on a large scale1 both inside and outside this important building4 ,he also used mosaics and enamels in the decoration of the ,casino at ,monte ,carlo4 ,the polychromy of the ,opera ,house in ,paris is of a refined and dignified character1 which1 on the exterior of the building1 is obtained by marble1 bronze1 mosaic1 enamelled earthenware and gilding1 and in the interior by mosaics and the painted decorations of ,paul ,baudry and other artists4 ,garnier was an enthusiast in the colouring of architecture1 and especially for the use of mosaic in the decoration of buildings4 ,in his dream of the future of ,paris1 he predicts that 8,the grounds of the cornices will shine with eternal colours1 the piers will be enriched with sparkling panels1 gilded friezes will run along the buildings4 ,the monuments will be clothed with marbles and enamels1 and mosaics will make all love movement and colour40 ,garnier brought over to ,paris many ,italian mosaic workers1 and it was largely due to his influence that the ,government established the ,french cole de ,mosaque at ,svres1 which has achieved excellent results under the direction of the late ,m4 ,gerspach4 ,glazed tiles1 enamelled earthenware1 coloured wood1 bronze and mosaic were from this time forward employed as decorative materials in public and private buildings in ,paris and throughout the provinces4 ,the great ,international ,exhibitions were in some degree decorated with these materials1 and the exhibits of these coloured building materials from ,england1 ,france itself1 and other countries1 gave a great impetus to the production of such1 especially to those of the potter's art4 ,in ,france the large decorative panels in coloured tile work by ,m4 ,deck created an epoch in this kind of work4 ,foremost among the many architects and artists in the advocacy of colour in buildings was the late ,m4 ,paul ,sdille1 whose work in the effective use of enamelled terra-cotta and glass mosaic in decoration is well known in ,paris4 ,he designed1 among other work1 the beautiful monumental doorway as the entrance to the ,salle des ,beaux-,arts in the ,exposition-,universelle of #ahgh at ,paris1 which was composed exclusively of coloured terra-cotta and glazed tiles1 similar to that of the ,italian 8,della ,robbia0 variety4 ,this enamelled doorway was modelled in relief and painted in contrasting colours of green1 red1 natural colours1 black and white1 on pale yellow and azure grounds4 ,the wreaths1 stars1 palms1 and other salient portions of the design were in gold4 ,another work of his is that of the decoration of the ceiling of the vestibule of the ,magazin-du-,printemps in ,paris1 where he has used enamelled glass mosaic with variegated marbles in an ornamental design1 enclosed with plain and gilt bronze mouldings4 ,the colouring of this effective design is very simple but rich1 the ground being gold1 the foliage pale greens1 and the flowers white1 slightly shaded with rose colour4 ,the most important mosaic decoration in ,france is perhaps that of the apse of the ,panthon at ,paris1 by the artist ,m4 ,e4 ,hbert4 ,the subject of the composition is 8,christ revealing to the ,angel of ,france the ,destinies of her ,people40 ,the figure of ,christ occupies the centre of the hemispherical vault1 and stands before a throne2 the right hand is uplifted1 and in the left is the rolled volume--the book of the future--sealed with the seven seals4 ,on ,his right the ,virgin presents ,joan of ,arc with her standard banner1 and on the left the ,angel of ,france1 whose red wings are heightened with gold1 and with sword in hand1 presents ,sainte ,genevive1 of ,paris4 ,the ground of the composition is gold4 ,the figure of ,christ is clothed in a robe of purple1 and has a border of gold1 and that of the ,virgin is white with a gold fringe4 ,the ,angel of ,france is robed in a rose-coloured garment1 and has a bluish-green coloured mantle4 ,st4 ,genevive has a blue robe and a grey mantle4 ,all the personages stand on a verdured meadow1 which is enamelled with flowers4 ,elaborate borders of vine leafage and grapes1 with fillets of precious stones1 surround the composition1 which are from the designs of ,m4 ,galland1 one of the finest decorative artists of ,france4 ,the composition1 character and colouring of this important mosaic1 as well as the technique1 are based on the best traditions of the ,ravenna mosaics of the fifth and sixth centuries4 ,in the ,french provinces many examples of colour decoration and mosaic work have been executed in recent years1 notably the mosaic decorations of the new cathedrals at ,marseilles and ,lyons4 ,the municipal buildings of ,paris and of the provincial cities of ,france1 together with churches1 universities1 and other public and private buildings1 contain numerous examples of important wall paintings1 which though of great interest individually1 are rather to be regarded as isolated efforts of decorative or pictorial value than complete schemes of the colour decoration of the buildings which they adorn4 ,in regard to what we have just said1 it will be necessary to make a very important exception in the case of at least one great ,french master of decorative art1 namely1 ,puvis de ,chavannes1 for he was perhaps the greatest decorator that ,france has produced4 ,no one understood so well as he did the laws and principles of architectural decoration and colouring4 ,he was almost alone among the artists of ,france in his proper treatment of the wall surface as an architectural feature1 for on looking at his work one always feels that the wall is in evidence as a solid and flat surface1 and that his great pictorial decorations1 as far as the design and colouring of them go1 and so full of beauty and interest as they are1 in no way interfere with the architectural function of the wall4 ,a comparison of his work in the ,panthon at ,paris with that of the other artists whose works occupy other wall spaces in that building clearly proves this contention1 for1 as a rule1 the surrounding wall paintings1 executed by about ten other artists1 though excellent as illustrative works of art1 are really out of place as wall decorations in their composition1 treatment of design1 and more particularly in their violent colouring4 ,they do not harmonise with the dignity of the architecture1 they are not legitimate decorations1 but rather great pictures fastened to the walls1 making a lively and gay picture-gallery in a solemn and dignified building1 and lacking that monumental fitness in their design and colouring which is so well expressed in the work of ,puvis de ,chavannes4 ,all the painters of these wall pictures in the ,panthon1 with the exception of ,chavannes1 seem to have been influenced by the works of ,paul ,veronese1 ,tintoretto1 ,titian and ,rubens1 who produced large1 and even colossal-sized oil paintings1 which were designed to fit wall and ceiling spaces as decorative pictures1 and were glorious things in themselves with all their richness of colour1 perspective1 composition and vigour of brush-work in the execution1 but none of them can be considered as suitable decoration of the spaces they occupy on ceilings and walls4 ,the ,italian ,primitive ,school1 and the great frescanti of ,italy1 in the fifteenth and sixteenth centuries1 understood the requirements of wall decoration much better than the later1 though great1 ,italian and ,flemish masters1 who painted their pictures chiefly in the oil medium4 ,chavannes1 however1 apparently founded his style and methods on the work of the early ,italians1 and1 though he painted in an oil and wax medium on canvas which was 8maroufle10 or cemented1 on to the wall1 and not painted on the wall direct1 as in fresco or tempera1 his work shows strong decorative influences derived from the study of these early ,italian masters4 ,it would not be difficult to point out some of the many instances where the majority of the ,panthon wall pictures fail as decoration1 where violent contrasts of colour and extreme perspective effects are1 as it would appear1 almost aimed for1 as if the object was to destroy the plane of the wall as a flat surface1 by making it look as if it had holes or windows1 rather than any striving for the preservation of its natural solidity4 ,the wall picture1 8,vers ,la ,gloire10 by the clever artist1 ,detaille1 may be mentioned as an example of work that has reached the limits of misplaced decoration4 ,this work1 though no doubt very popular1 is really a crowded and complex miniature painting enlarged and transferred to the wall4 ,in this painting there are represented hundreds of soldiers and horses all in the most violent action1 with banners flying1 and a plethora of swords1 spears and trumpets2 the horses are madly galloping on and through the clouds1 there is plenty of movement1 and great cleverness is displayed in the grouping of the horsemen1 but at a few yards' distance the work appears to be a merely glittering and spotty achievement1 and when examined closely represents a perfect museum of soldiers' uniforms4 ,clever as this work is1 it is1 however1 entirely out of place on the walls of the ,panthon1 for1 apart from the unsuitability of the subject1 it cramps and destroys the amplitude1 as well as the flatness and solidity of the wall1 which should be the first care of the artist to preserve4 ,the wall paintings in this building by ,puvis de ,chavannes1 in contrast to the works above-mentioned1 are designed and executed in a truly decorative sense4 ,here he has painted a magnificent series of panels illustrating incidents in the life of ,st4 ,genevive1 the patron saint of ,paris4 ,the general colour of these pastoral works is a combination of grey greens1 pale yellows1 and pale purples1 which produces an atmosphere that is silvery and tender4 ,the compositions are dignified and impressive1 and there is no crowding or complexity in the almost even distribution of the figures2 the keynote is simplicity1 which gives the monumental clearness of design that decorative painting demands4 ,in this respect the work of ,chavannes has much in common with the charm and navet of the work of the ,italian ,primitives4 ,at the ,htel de ,ville he has painted the subjects of 8,l',hiver10 8,l',et10 and 8,victor ,hugo offrant son ,lyre la ,ville de ,paris10 but perhaps his greatest achievement is his celebrated painting of the 8,lettres1 ,arts et ,muses0 which decorates the hemicycle of the vast ,amphitheatre of the ,sorbonne at ,paris4 ,the subject was one that was entirely in harmony with the painter's genius and powers4 ,the composition contains forty-four life-sized figures1 which are arranged in a series of cleverly designed groups1 all connected with each other1 and arranged symmetrically1 but not with a dry symmetry1 on either side of a central group of three figures--,mnemosyne1 the mother of the ,muses1 seated1 with boys on either side1 who are evidently meant to personify ,love and ,fame4 ,the other figures symbolise ,literature1 ,art1 and ,poetry4 ,the background scene is a sacred wood1 where the graceful tree trunks are kept rather thin and slender1 so as not to interfere with the figures1 but these serried rows of trees give the requisite upright lines that steady and strengthen the composition1 which is also helped immensely by a dark hedge1 extending the whole length of the picture1 above which a little sky is shown4 ,the colour scheme is a beautiful harmony of fairly strong half-tones of such colours as greens1 reds1 yellows1 blues1 orange1 grey and purple1 but as a whole the dominant harmony is that of green and purple1 although neither of these colours appears in its full or positive hue4 ,the general colour scheme of this work is unusually intense in comparison with the paler and more tender colouring of the other works of this painter4 ,his figures are types or embodiments of his poetic ideas1 for1 like ,blake and ,botticelli1 he used the human form in his designs1 not in any realistic sense1 but as a medium for the expression of his ideas and inward vision2 in short1 he subordinated form to his thought4 ,the staircase walls in the ,museum at ,lyons have been decorated with paintings by ,puvis de ,chavannes2 he is also well represented in his important wall paintings in the museums of ,rouen1 ,marseilles1 and ,amiens1 and his latest work was the decorative paintings in the ,library at ,boston1 in ,america4 ,some of his earliest works1 and other later ones1 are those that form the important wall decorations in the ,picardy ,museum at ,amiens1 and this museum affords an excellent opportunity for the student who wishes to study the art of ,puvis de ,chavannes1 for it contains many and typical examples of his design1 drawing1 composition1 and colour4 ,there are some very large paintings of his which decorate the main staircase walls1 and there is also here a special gallery devoted to his work1 the walls of which are covered by his paintings1 all of which are surrounded by richly coloured ,pompeian borders and panels of ornament4 ,the architectural mouldings and other features are also richly coloured1 and this surrounding colour and ornament does not in any way interfere with the pictorial composition1 but1 on the other hand1 unites the paintings with the architecture1 the whole effect providing a fine example of colour finish to the gallery4 ,generally speaking1 the majority of painters who are called upon to execute wall paintings in public buildings are afraid to use colour or coloured ornament close to1 or surrounding1 their pictorial compositions2 but the best ,italian artists1 and the ,greeks also1 invariably did surround their decorative pictures with coloured geometric patterns1 and coloured the architectural mouldings as well4 ,so when we find such a great decorator as ,chavannes adopting the principle of using colour to aid the effect of his decorative picture1 and thus following the practice of the old masters1 we may be assured that ornamental bands1 lines1 and mouldings1 if coloured in harmony with the pictorial compositions1 will effectively assist the latter in their function of providing a true decoration of the building1 and prevent them from having the isolated appearance of pictures fastened on the walls4 ,,chapter ,,viii ,,colour ,,decoration ,,in ,,germany ,there was little1 if any1 art or architecture in ,germany before the days of ,charlemagne1 except that which found expression in the various articles and objects of personal adornment1 such as in brooches1 rings1 in the costume of the warriors and chiefs1 and in some objects of general utility1 where the lesser arts--die ,kleinknste--were developed and attained to high degrees of perfection1 in the ,romanesque period and ,middle ,ages4 ,charlemagne1 who reigned from #gfh to #had1 was a great art-loving prince1 and gave the first impulse to art in ,germany when he built his stately church1 which he also intended for his tomb1 at ,aachen 7,aix-la-,chapelle74 ,here he had also his chief palace1 but of this1 and of the many others he possessed on the banks of the ,rhine1 no definite traces remain but his palace-chapel1 now the cathedral1 or the round portion of the latter1 which still exists in good preservation1 and is a fitting monument to his greatness1 and to his zeal for the promotion of art in ,germany4 ,this church is said to be a copy in plan of the ,byzantine ,church of ,st4 ,vitale at ,ravenna1 except that the latter is an octagon in the ground plan1 and the former is a polygon of sixteen sides4 ,this round type of building was used in ,rome and the south not only for churches1 but for baptisteries1 and after ,charlemagne's ,chapel was erected in ,aachen it became the prototype of circular churches that were built in the ,romanesque period and style in ,germany4 ,the church at ,aix-la-,chapelle was decorated with mosaics1 similar to those of ,st4 ,vitale at ,ravenna1 but the original mosaics have all perished1 and the ones which now adorn the dome and pendentives of the church are modern works by ,salviati of ,venice1 and were executed from a seventeenth-century copy of the old mosaic4 ,the subject of the dome mosaic1 on a gold ground1 represents ,christ and the twenty-four ,elders of the ,apocalypse4 ,the rest of the central part of the church1 ambulatory walls1 etc41 are adorned with mosaics within the last ten years4 ,the choir of this interesting church is an addition1 and is a ,gothic building of the fifteenth century4 ,its walls and vaulted ceiling are richly adorned with ornamentation in colours and gold1 the patterns of the ornament being similar to1 or derived from1 the silk tapestries of that period4 ,mosaic as church decoration1 except for floor pavements1 was not much in use in ,germany after the time of ,charlemagne2 in the northern countries of ,europe wall painting in tempera became the characteristic method of decoration for the ,romanesque churches1 just as mosaic was the chief kind of decoration for churches in ,italy and southern ,europe in the same period4 ,in the ,romanesque epoch in ,germany1 the period which is generally understood to extend from ,a4,d4 #ajjj till about #abjj1 or a little later1 no church was without its painted decoration4 ,the subjects were similar to1 and the general design and style of drawing were not unlike the mosaic decoration of churches in ,italy and ,sicily4 ,single figures1 and scenes from the ,old and ,new ,testaments were enclosed in panels1 having borders designed in elaborate ornamental forms1 derived chiefly from conventional leafage4 ,the figures were usually painted in flat tints1 or almost so2 very little shading or modelling of the forms were attempted1 and the whole work was strongly outlined1 so that the finished decoration appeared as an enlarged kind of illumination4 ,the ribs or groups of mouldings of the vaulted ceilings and the soffits of the arches were decorated with conventional flowers1 garlands and ribbon work4 ,the apse usually contained a large figure of ,christ1 or the ,madonna enthroned1 surrounded with figures of the ,apostles and ,saints1 and often on the other parts of the church1 such as the triumphal arch1 the ceilings and walls1 there were paintings representing the visions of the ,prophets1 and the imaginative imagery of the ,apocalypse4 ,the ,romanesque churches of the ,rhineland afford many examples of interior colour decoration1 for it was in the region watered by the ,rhine that ,german art was cradled1 where it was carefully nursed1 and where it developed to an early maturity4 ,mural painting as a handmaid1 or as an auxiliary to ,romanesque architecture1 can still be studied in many of the old churches in the valley of the ,rhine1 where it was an important art as early as the eleventh century4 ,the secular buildings also1 such as the castles1 guild-houses1 town-halls1 chateaux and private houses were all at this time decorated in colour1 but nearly all of their colour decorations and paintings have been destroyed in the course of time1 except some remaining fragments which have been removed to local museums4 ,there are1 however1 a few churches of the ,romanesque period that still have a considerable amount of the eleventh and twelfth century paintings on their walls1 and though much of this work is greatly faded and has now very little of its former colour and beauty1 yet the composition and outlines are still in evidence1 and although we cannot well judge of their original colouring there are still much quaintness and charm attached to those examples which have not yet been restored4 ,there are four ,romanesque churches of the ,rhine valley which still have their wall paintings of the eleventh and twelfth centuries1 namely1 the double church at ,schwarz ,rheindorf1 near ,bonn1 with paintings that were originally executed about #aaej1 the chapter-house of the ,abbey-church at ,brauweiler1 near ,cologne1 and the crypt of ,st4 ,maria im ,capitol at ,cologne4 ,the baptistery of the ,church of ,st4 ,gereon has some wall paintings of the thirteenth century1 and still older work in the crypt4 ,perhaps the most important and most interesting of these old wall-paintings are those that adorn the lower church at ,schwarz ,rheindorf1 although they have been completely repainted recently1 but it must be admitted the present colouring of them is characteristic of the ,romanesque colour1 and can hardly be very far wrong4 ,the subjects appear to be highly imaginative and poetical conceptions of ,biblical scenes1 and there are large figures of the ,apostles and ,hebrew prophets4 ,the treatment is in the usual flat method of colouring with strong outlines4 ,the original paintings were discovered under coats of whitewash in #ahec4 ,the ,chapter-house at ,brauweiler has some examples of wall-paintings1 dating from the end of the twelfth century1 the subjects being scenes from the ,epistle to the ,hebrews4 ,in the apse of the church there are other paintings of the later ,gothic period4 ,in the crypt of the ,church of ,st4 ,maria im ,capitol1 at ,cologne1 there are some interesting wall paintings of the twelfth century1 but they are in a faded state4 ,this church1 however1 is remarkable for its rich modern colouring1 and furnishes one of the best examples of the revival of ,romanesque decoration in ,germany4 ,it may be said that every inch of the surfaces of the interior is covered with richly-coloured ornamentation and figure-paintings1 which includes the columns and piers4 ,the east end is in plan trefoil-like1 having three semicircles with their diameters touching1 and the three semi-domes above have figure subjects that were designed1 and the painting begun1 by ,steinle1 but finished by other artists4 ,in the crypt of the ,church of ,st4 ,gereon at ,cologne there is a very interesting series of wall paintings1 consisting of single figures of a colossal size1 each painted in curved recesses in the walls4 ,the figures are noble in design1 but the colouring is much faded4 ,they date from about the twelfth century1 and appear to be examples of the original work1 that have not been restored4 ,it may be mentioned here that the floor of the crypt is a mosaic pavement of the eleventh century4 ,it is ,roman in character1 though of ,german workmanship4 ,the design consists of figure subjects1 where ,david1 ,samson1 and ,delilah are represented1 and also the signs of the ,zodiac4 ,these mosaic pavements were discontinued after the eleventh century1 when encaustic and glazed tiles of brown1 red or green colours were used instead of mosaic for floor pavements4 ,the walls of the baptistery of this church are decorated with painted figures1 of thirteenth-century work4 ,full length figures of saints and warriors are arranged in pairs1 two of them occupying the upper half of each arched bay between engaged pillars1 and between each two figures is a small painted column4 ,the lower halves of the bays have each an ornamental border immediately under each pair of figures1 and the rest of the space below the border is painted in imitation of suspended tapestries4 ,altogether this makes a very satisfactory and interesting scheme of decoration4 ,such schemes were very common in the decoration of the ,gothic period in ,germany and other countries4 ,the rest of the interior of this church1 like that of ,st4 ,maria im ,capitol1 is lavishly decorated in richly-coloured and gold ornamentation being a modern revival of ,romanesque colouring4 ,the profuse surface decoration used so much in the ,romanesque period was of ,byzantine origin1 and consisted of an almost endless variety of forms and motives1 such as conventional vine leafage1 fruit and tendrils1 flowers of various kinds1 scale patterns1 interlacings1 frets1 geometrical combinations1 chevrons1 zigzag patterns1 ribbons1 garlands1 and various representations of carved ,byzantine ornament1 and other architectural features1 such as arcading1 all treated flatly in colour4 ,there are other numerous examples of ,romanesque painting1 colouring and ornamental decoration still found in other parts of ,germany1 besides the examples we have just noticed4 ,the walls and ceilings of the choir and transepts of ,brunswick ,cathedral have a complete series of ,romanesque wall paintings of the twelfth century4 ,the finest example of this style of painting in ,germany is the magnificent ceiling of the great nave of ,st4 ,michael's ,church in ,hildesheim4 ,it is a flat ceiling of wooden construction4 ,running the whole length of the central portion of the ceiling the space is subdivided into a series of square panels2 on each side of this central space the bands are divided into a great many small oblong panels1 and outside these is a broad enclosing border of scroll-work containing in circular spaces in this border half-length figures of saints4 ,the adjoining border has its oblong panels filled with small full-length figures of ,apostles and ,prophets4 ,the larger square panels of the central part have lozenges and quatrefoil forms inside each square1 in alternation4 ,the latter forms contain the seated figures of kings and other personages that illustrate the genealogy of ,christ1 or the ,root of ,jesse4 ,the ,fall is also represented1 and the corner spaces outside the lozenges and quatrefoils are filled with ornament and small medallions that add great richness to the design without giving to it any appearance of confusion4 ,the colour is very strong and rich1 and the whole of the decoration is painted on a blue ground4 ,the small stained-glass windows of the ,romanesque period add a further note of colour to the interiors1 although coloured glass was quite secondary to the painted decoration of this time4 ,the only figure-work attempted in the glass was that in the small circular medallions and lozenge-shaped panels1 containing scriptural subjects1 which were placed at intervals amidst a rich setting of leaf patterns and other ornamental forms4 ,in the ,gothic period1 from the twelfth to the fourteenth centuries1 when the walls of churches became less in extent and area1 and the windows became larger and more numerous1 glass painting gradually became the chief factor in providing the colour of church interiors1 and consequently the art and craft of the glass painter or 8glazier10 as he was called in the old documents1 became a more important one than that of the painter and decorator4 ,when the ,gothic builders perfected the rib vaulting system1 their greatest discovery1 and the keynote of the style1 they found that walls were not necessary as active agents of the construction1 but of use only in filling up the spaces between the voids1 and were therefore more or less inert masses4 ,they found that they had no use for walls except to close in the building from the weather1 and so we find that walls began to disappear in ,gothic buildings1 and the windows being more numerous and larger1 the ,gothic churches were becoming great glasshouses4 ,to prevent this look it was necessary to fill the windows with coloured glass1 which subdued the otherwise great glare of white light that would come through clear glass1 and would give the interiors a more comfortable appearance1 at the same time adding colour decoration to the buildings4 ,many ,gothic churches have more area of glass than of walls2 the clerestory of the choir in ,amiens ,cathedral1 for example1 has forty times more area of the void or window space than of the solid stone1 and in some cases there are no walls1 as in the highly scientific construction of the upper portion of the choir in the ,cathedral of ,prague1 where all is glass set in the stone vaulting shafts4 ,other large churches or cathedrals built in the ,gothic style might be given as illustrations where the proportion of void to solid is very great and consequently the windows are very large1 such as ,chartres1 ,cologne1 ,canterbury1 ,lincoln and ,york4 ,in the smaller ,gothic churches of ,england1 or on the ,continent1 this proportion of void to solid was generally reversed1 and owing to this1 and also to the greater use of wood in the roofs and screens1 the smaller churches everywhere were at this time more richly treated in colour than the larger ones4 ,the painter and decorator also found more employment in the treatment of secular buildings with coloured decoration in the ,gothic period than he did on the cathedrals4 ,it was only in rare instances that important wall paintings have been found in churches of this period2 the colour and decoration1 apart from the stained glass1 was1 especially in the case of the cathedrals1 confined to mouldings1 vault ribs1 capitals1 piers2 and sometimes the webs1 or ceilings of the vaults1 were wholly filled with arabesque decoration1 but often only partially so1 around the bosses that marked the intersection of ,illustration3 ,,plate ,,xxiv ,,decoration ,,of ,,groined ,,ceiling ,,in ,,the ,,church ,,of ,,st4 ,,jacques1 ,,liege4 #aebb-aeeh the ribs4 7,plate #bd47 ,it was in the smaller churches1 and in the chambers and chapels attached to larger churches and cathedrals1 in the crypts1 sacristies1 baptisteries1 and sanctuaries1 that complete schemes of colour decoration were carried out1 or attempted in the ,gothic period4 ,it might be mentioned that some effective colour notes were obtained by the richly-coloured and gilt carvings and sculpture in wood and stone screens1 altar-pieces1 and the carved and painted tabernacles1 which have been found in great numbers in the ,gothic churches of ,germany4 ,the stained-glass windows of the ,gothic period1 especially of the twelfth and thirteenth centuries1 were the finest and best understood colour decoration in the glass material that has ever been done4 ,though many fine windows belonging to this time are found throughout ,germany1 ,flanders1 ,bohemia1 and ,austria1 the best examples are found in ,france1 as at ,chartres1 and in ,england at ,york4 ,the colouring of the glass of this period has never been surpassed for its splendour and beauty1 and the figure-work and general ornamentation are designed and drawn in a suitably flat and architectonic style1 in harmony with the material4 ,the flat tapestry-like effect of the designs gives the work an appearance of mosaic in glass1 and the result is what it should be1 namely1 a decorative work in 8stained0 glass1 not 8painted40 ,in the fifteenth century and later1 stained glass became degraded to the imitation of pictures1 or light and shade paintings in glass1 and consequently lost its legitimate character as a mosaic in glass4 ,in a word1 it became eventually pictorial in character1 and ceased to have the true quality of stained glass4 ,this later degradation of coloured glass was common to ,germany1 ,france1 ,italy and ,england4 ,the love for colour decoration1 as applied to the interiors and exteriors of secular buildings and private dwellings1 was more marked in ,germany than in other ,european countries during the ,middle ,ages1 and1 as we would expect1 ,germany1 with a tenacious and faithful conservatism1 has clung more closely to her old traditional love for colour and decoration1 and still takes a greater pride in all the circumstance of civic processions and pageantry1 than any other nation in ,europe4 ,if we seek for an explanation of this we shall find that it is an inherited love from their ancestors1 the old ,germanic warriors and chiefs1 who ruled the country before the days of ,charlemagne1 and who took a passionate delight in colour and in personal adornment4 ,we may take one illustration of this artistic conservatism1 among many others1 by pointing out that the ,germans paint and decorate their restaurants to-day1 for example1 in the same way as they did in the days of the fifteenth century4 ,the museums of ,cologne and ,munich especially1 contain many fragments of interior decorative painting that were taken from the old houses in their neighbourhoods4 ,such specimens of the old work are generally treated very flatly and only in a few colours1 resembling tapestry designs1 all of them having strong outlines that mark out the forms1 like the constructive outline leads of window glass4 ,we may point to one of the many fragments of this work which is now in the museum at ,cologne3 it consists of a portion of a deep and battlemented frieze1 having three panels painted with scenes from the story of the ,prodigal ,son 7der lieblose ,sohn71 and is executed in tempera in flat tints of reds1 blues1 pale yellows and greys1 outlined in black4 ,this frieze once formed a part of the decoration of the dining-hall des ,hauses ,glesch auf der ,hochstrasse1 ,cologne4 ,wooden panelled ceilings of private dwellings in the ,gothic and ,renaissance periods were strongly coloured1 and the deep friezes on the walls were painted with figure subjects1 heraldry1 foliage1 flowers and birds1 or sometimes with conventional ornament alone1 all the work being usually painted in tempera1 while the walls below were either panelled with inlaid woods1 or carved in wood or stone4 ,in some cases the lower portion of the wall was painted on the wood or plaster1 or hung with figured tapestries4 ,it may be mentioned that the ,germans have always made the greatest possible use of decorative heraldry1 which was designed with great skill1 in an elaborate and sumptuous manner1 and used by them in every form and material of decorative art4 ,the adornment of the exteriors and interiors of their public buildings1 and also of the better class of private houses1 has always been a passion with the ,germans4 ,many of the old houses in such cities as ,lbeck1 a northern ,german town of the ,renaissance1 ,brunswick1 ,hildesheim1 ,frankfort1 ,strasburg1 ,nuremberg1 ,rothenburg1 and the ,swabian city of ,augsburg are enriched with a wealth of carving and painting1 of one or of both1 on their faades1 and in the interiors of their principal rooms1 many examples of which are still in existence4 ,the carving and painting in and on the houses of the ,germans were in most cases designed and executed by native artists and craftsmen1 but in some instances there are records of foreigners being employed1 as in the case of the ,fuggerhaus at ,augsburg1 where ,hans ,fugger1 a member of that powerful and wealthy family1 had his house decorated in the ,italian ,renaissance style1 in #aegj1 the work being done by ,italian artists4 ,the native love for decoration and colour has always been respected in ,germany by the ruling powers1 by the municipalities and wealthy citizens1 who have always encouraged and fostered the decorative arts4 ,the ,germans take a civic pride in not only having handsome town-halls1 theatres1 railway stations1 art galleries1 museums1 colleges1 universities1 and other public buildings1 erected as the best possible examples of fine architecture1 but in the adornment of such buildings with sculpture1 fresco1 mosaic and other colour decoration4 ,illustration3 ,to face p4 #ajd4 ,,plate #be4--;,,example ,,of ,,diaper ,,ornament1 ,,largely ,,used ,,in ,,italian1 ,,german ,,and ,,english ,,decoration ,,of ,,the ,,sixteenth ,,century4 ,we might extend these observations on the colouring of architecture in ,germany with a brief description of a few examples of modern work of the art which has engaged our attention4 ,the ,teutonic love for the ,gothic style and for its auxiliary colour and ornamentation is manifested in the decoration of almost every public building in modern ,germany4 ,this is even apparent in the fittings and decorations of the luxurious saloons of their great and latest-built passenger ships1 where the dining-rooms and drawing-rooms of the modern liners are often1 as in the case of the ,imperator1 designed and decorated in the style and true spirit of ,medieval ,gothic1 so that the passengers might almost imagine that they were living in some castle or baronial hall of the fifteenth century instead of being on board the ship4 ,the staircase walls and ceiling of the ,museum at ,cologne present a fairly good scheme of modern ,german decoration4 ,the walls have fresco paintings by ,steinle1 which are important examples of this modern ,german painter4 ,the ornamentation that surrounds the frescoes1 and that on the lower parts of the walls are not so good in colour or form as that of the vaulted ceiling4 ,the work on the latter is good in colour and successfully carried out4 ,the vaults have crimson-red1 and blue background alternating1 on which are painted a well-designed scroll-like ornamentation in lighter shades with some gold introduced on the mouldings and other parts1 the whole effect being rich and pleasing4 ,richly coloured carved wood ceilings1 in low relief1 which contain numerous heraldic shields arranged in panels1 and set in suitable ornamentation of foliage forms and ribbon-work1 are found in nearly all of the more important rooms in the ,german town-halls4 ,one of the finest examples of a coloured and carved ceiling is the one which adorns the ,kaiserhalle in the ,rmer1 or town-hall1 of ,frankfort-on-the-,maine4 ,this magnificent ceiling is carved in low-relief which gives it a suitable flat appearance4 ,the rich tinctures of the charges on the shields1 combined with the gold and silver that is used1 produce1 with the dark background of the natural brown colour of the wood1 an extremely satisfactory example of refined decoration4 ,this ceiling is certainly the best of its kind that we can remember to have seen in any ,german city4 ,the walls of this magnificent chamber are decorated with good full-length portraits of the ,german and ,prussian kings and emperors4 ,at the entrance end of the hall there is a seated figure of ,charlemagne1 by ,veit1 and in the panel above is a wall painting by ,steinle with the subject of 8,the ,judgment of ,solomon40 ,the full-length portrait of ,frederick ,i 7#aaeb-ij71 is an unusually fine work by ,lessing4 ,another example of a finely carved and painted ceiling1 is that of the ,council ,chamber in the ,rathaus1 or town-hall at ,hildesheim4 ,here also are seen the heraldic devices1 with figures and elaborate scroll-work which compose the design of this ceiling4 ,the general scheme of the colouring is rich and deep in tones of red1 blue1 gold1 on the background of dark brown wood4 ,the walls of this ,gothic chamber are decorated with fine paintings in fresco by ,h4 ,prell1 begun in #ahib4 ,with the exception of there being too much darkness in some parts1 they are otherwise brilliant and luminous in colour1 and may be said to be among the best examples of fresco technique in ,germany4 ,the interior of the town-hall at ,aix-la-,chapelle is admirably decorated1 and in a similar manner to those of ,hildesheim and ,frankfort4 ,the ,coronation ,chamber in this building contains the celebrated historical fresco paintings by ,alfred ,rethel1 four of which were painted by this artist1 and the other four were designed by ,rethel1 but painted by ,professor ,kehren4 ,the vaulted ceilings and piers are richly decorated in colour1 and windows with stained glass4 ,the principal staircase walls of the ,new ,museum in ,berlin are decorated with six great frescoes by ,kaulbach1 representing certain epochs in the history of mankind4 ,these wall paintings are executed in the water-glass method of fresco4 ,as wall decorations they are too pictorial in design1 and the treatment1 in the matter of colouring and technique1 lacks simplicity4 ,they are over-modelled in their light and shade1 and the colouring presents too many violent contrasts1 which greatly injures their value as monumental examples of legitimate wall decoration4 ,wherever white or light yellows occur in the work1 these parts of the painting have evidently become disintegrated1 and at present show a disagreeable chalkiness or bloom4 ,this1 together with the presence of many black and heavy shadows1 which appear to have gone darker1 if possible1 with age1 combine to throw the painting out of tone4 ,in composition and drawing they are not without grandeur of style1 but if they had been more simple in treatment1 and less violent in colour and light and shade effects1 they would be more pleasing as wall decorations4 ,in the ,hall of the ,gods1 and in the two adjoining rooms on either side of the small vestibule in the ,glyptothek at ,munich there are some important frescoes by ,cornelius1 painted in #ahbj-cj4 ,the subjects of these paintings are classical1 and represent the ,abode of the ,gods1 the ,legend of ,prometheus1 and the ,trojan wars1 all painted in rich and brilliant schemes of colour1 but bordering on harshness4 ,there is a great deal of auxiliary decoration in these rooms consisting of good examples of ornamentation in the ,greco-,roman style of ,grottesche in painting and in stucco-reliefs4 ,the new ,town-hall of ,munich is well decorated with wall paintings1 ornament1 and heraldic work4 ,the ,council ,chamber has a very large wall painting executed in oil on canvas by ,piloty4 ,the subject is an ,allegorical ,history of ,munich1 and the magistrates' room has paintings by ,lindenschmit and is also adorned with a finely carved and painted ceiling4 ,one of the finest schemes of modern ,german decoration is that of the great staircase of the ,albertinum ,sculpture ,gallery at ,dresden4 ,the frescoes1 by ,h4 ,prell1 on the ceiling and walls have subjects of ,greek mythology and are painted in bright and light schemes of colour1 the general effect being very luminous1 and the work is vigorous in execution4 ,the dado and lower stonework has panels of bronze with low-relief decoration1 and in the corridor of the landing there are some fine panels in mosaic4 ,fresco1 mosaic1 tiles1 and coloured marble have frequently been used1 as the means of obtaining colour decoration on the exteriors of many public buildings in ,germany1 in modern times4 ,on the upper part of the faade of the ,kunst-,gewerbe ,museum at ,berlin there are a fine series of square-shaped panels containing mosaics in colour on gold grounds1 designed by ,professor ,ewald1 and by ,geselchap4 ,the exterior wall of the ,royal ,historical ,museum at ,dresden has an important decoration1 consisting of a long and deep frieze1 executed in a light yellow stone-colour and black on a gold-coloured ground4 ,the material is a kind of porcelain or tile composition1 having a sgraffito-like treatment4 ,the work was made in the ,royal ,porcelain ,manufactory at ,meissen4 ,the subject of this frieze is a procession of kings and warriors of ,saxony on horseback who ruled from #aagj to #ahgc1 and who are represented in chronological order4 ,there are many buildings in ,germany that have had their exteriors decorated with paintings in fresco1 but much of this work is now in a decayed condition4 ,many modern houses1 such as restaurants and shops1 have exterior decorations painted in oil4 ,the outside walls of the ,old 7,alt7 ,museum at ,berlin have an extensive arrangement of panels painted in fresco1 having mythological subjects1 such as the ,labours of ,hercules1 etc41 but they are now in a dirty and faded condition4 ,as an example of exterior colouring we might mention the beautiful ,gothic fountain1 the ,schne ,brunnen1 erected about #acfj1 in the market place of ,nuremberg4 ,this fountain is built in the shape of a pyramid1 in a rich ,gothic style2 it has1 however1 been restored several times4 ,it is decorated with many figures of kings1 prophets1 apostles1 and other worthies1 and is always kept painted in its original colouring of blue1 red1 and gold4 ,we may conclude this review of ,german coloured decoration of buildings by a brief notice of some of the painted wood and stone carvings which are found plentifully in old ,german churches1 and more particularly in those of ,nuremberg4 ,the ,church of ,st4 ,lawrence at ,nuremberg contains several examples of carved wood altar-pieces in the form of triptychs1 the centre panels of which are carved with scriptural subjects1 the figures being in high relief and painted in rich colours1 in order to harmonise with the colour of the two painted leaves on either side of it4 ,hanging from the roof in the centre of this church is the celebrated circular wood carving by ,veit ,stoss1 all richly coloured and gilt4 ,it consists of a representation of the ,annunciation1 and the surrounding circular frame is of a beautiful design of open work ornamented with roses1 and with seven medallions with representations of the ,seven ,joys of the ,virgin4 ,in this church there is also a very interesting fourteenth-century altar-piece in ,gothic stone-carving which is erected in a bay on the left of the east end of the church4 ,it is a good example of the colouring of the period1 and is painted in tints of yellowish-red and warm green1 with a soft dull blue in the background parts1 and the salient points and narrow mouldings are gilt4 ,on many of the structural parts and mouldings of this ,church there are still remains of the fourteenth and fifteenth century colouring4 ,remains of similar colouring are found in many parts of the ,church of ,st4 ,sebaldus1 at ,nuremberg1 more particularly on the ribs of the vaults1 piers1 and ceilings1 etc4 ,in this church may be seen the celebrated ,crucifixion with the figures of the ,saviour1 the ,virgin1 and ,st4 ,john1 in carved wood and richly coloured1 which is the work of ,veit ,stoss 7#aebj74 ,another example of painted and gilded wood carving in this church is the statue of the ,madonna 7#adej7 under a canopy of ,gothic design4 ,illustration3 ,to face p4 #aab4 ,,plate #bf4--;,,example ,,of ,,diaper ,,pattern1 ,,used ,,in ,,italian1 ,,german ,,and ,,english ,,decoration ,,of ,,the ,,sixteenth ,,century4 ,illustration3 ,to face p4 #aac4 ,,plate #bg4--;,,example ,,of ,,diaper ,,ornament1 ,,used ,,in ,,italian1 ,,german ,,and ,,english ,,decoration ,,of ,,the ,,sixteenth ,,century4 ,,chapter ,,ix ,,colour ,,decoration ,,in ,,england ,the polychromatic decoration of buildings in ,england1 like the architecture1 was in a great measure a development of1 or at least was strongly influenced in its inception by1 ,italian and ,french art2 we might add1 also by ,german and ,flemish decorative art of the fourteenth and fifteenth centuries4 ,it may be said that ,english decorative art and colouring has1 and always had1 a certain style and character of its own which has distinguished it from that of other countries1 but we must admit that the seeds from whence it sprang were not all of native origin4 ,the ,english tree of art was not indigenous to the country1 but rather an exotic that grew extremely well after it became deeply rooted in the receptive and fertile soil of ,england4 ,if this be true of the historical beginnings of ,british art1 it must also be said1 on the other hand1 that the original features and complexion of the adopted art have been completely changed to an aspect of ,british nativeness4 ,the brief outlines1 given in the previous chapters1 of the practice of coloured decoration in ,italy1 ,france1 and ,germany may throw some light on the styles and methods of ornamental design and colouring as practised in our own countries1 especially in medieval times4 ,in the pre-,norman days ,english churches were decorated in colour1 though in a rude manner4 ,the ,venerable ,bede relates that in the year #fgh the ,monastery of ,weremouth was decorated with paintings done by ,french artists4 ,paintings and tapestry hangings were the usual adornment of the pre-,norman churches4 ,as early as #fgd ,wilfrid1 ,bishop of ,york1 had the walls1 the sacrium arch1 and capitals of the columns of his church decorated with sacred subjects1 and otherwise richly coloured4 ,nothing1 however1 except a few traces of colour on some very old edifices now exists that dates from the period anterior to ,norman times1 and even only a little of the colouring on mouldings1 carvings1 and other portions of the ,norman architecture of our great cathedrals and smaller churches1 but such portions of colouring as still remain are sufficient to prove that the buildings of the ,norman period1 in common with all pre-,reformation churches1 must have been decorated and coloured from floor to ceiling4 ,the colours used were very few and simple1 such as red1 black1 and yellow only in some schemes1 but in others1 blues and greens were introduced4 ,mural paintings and sacred subjects1 together with the subordinate ornamental decoration1 once covered the interiors of ,norman churches1 but little traces are now left of such4 ,decorative patterns in simulation of ,norman mouldings and diapers were still used in the decoration of later churches up to the end of the first quarter of the thirteenth century4 ,frequent mention of colour decoration in ,england is made in the records1 or ,close ,rolls1 of ,henry ,,iii1 dating from the first decade of the thirteenth century4 ,in these documents we find references to the painting of the king's chambers in his palaces at ,westminster1 ,guilford1 ,windsor1 ,winchester1 and ,clarendon1 and mention is made of certain colours and gold1 as well as of oil and varnish4 ,references are also made to the making of stained-glass windows2 and we know that miniature painting was practised in ,england at that period4 ,the subject-pictures and ornamentation of the illuminated manuscripts were often copied on the walls of churches and palaces1 and also in stained-glass windows of this time4 ,this ,english king had a great passion for adorning his numerous palaces and chapels with painted decoration and stained-glass4 ,he also encouraged the art of miniature painting1 and1 to mention one instance of this1 he ordered a large book of miniatures1 which contained the illustrations and record of the exploits of his heroic uncle1 ,king ,richard ,i1 at the siege of ,antioch during the ,crusade4 ,it is also mentioned that he 8ordered that the exploits should be the subjects of paintings on the wainscot of a room in the royal palace at ,clarendon40 ,these 8exploits0 also formed the subjects of other paintings that were executed fourteen years later in the ,tower of ,london1 and also in the ,antioch 7,jews'7 ,chamber at ,westminster4 ,one curious and intimate connection with the painting of miniatures1 as book-illustrations and mural painting1 is shown by the circumstance of the king's librarian being also the custodian of the colours1 which he supplied to the decorators by order of the king4 ,it is evident from this that colours used for the illumination of books and for wall-paintings were possibly of the same kind1 and perhaps of the same value4 ,in some old illuminated manuscripts there are frequently representations of interiors of rooms having various decorative patterns on the painted walls and ceilings1 and in some cases they are painted as 8,stellari ,aureo10 set with stars of gold1 on a blue or green ground4 ,in connection with this it is interesting to find that the first mention of a ,star ,chamber occurs in the ,roll of ,liveries of ,henry ,,iii1 in these words3 8,precept to the ,sheriff of ,southampton that he cause the ,chamber at ,winchester to be painted of a green colour1 and with stars of gold 7and compartments or panels7 in which may be painted histories from the ,old and ,new ,testaments40 ,that the colour decoration of interiors was common1 even before the time of ,henry ,,iii1 appears so from another precept issued by the king to the effect that the wainscot in the king's chamber in the castle at ,winchester is 8to be painted with the same pictures as formerly40 ,some native painters were employed by ,henry ,,iii1 as the names of at least two are mentioned--,edward of ,westminster and ,master ,walter--but the ,italian1 8,william of ,florence10 the monk of ,westminster1 seems to have been the principal painter and decorator-in-chief to the king1 for1 as a rule1 the native artists and decorators carried out the work under his direction and supervision4 ,at this time1 and even later1 up to the end of the seventeenth century1 many ,italian1 ,french1 and ,flemish artists were invited to this country by the ,english king1 and many others were attracted to ,england owing to the demand for decorated work4 ,although there were a good number of native artists and decorators working throughout the country1 there were also a considerable number of foreign artists who1 generally speaking1 belonged to some of the religious orders1 and who travelled about and decorated many churches and secular edifices in ,england4 ,it may be mentioned that much of the artistic decoration1 painted by the foreign artist-monks1 consisted of copies of miniature paintings from illuminated manuscripts4 ,the great immigration of these foreign painters1 decorators1 and stained-glass craftsmen1 in the fourteenth and fifteenth centuries1 served to arouse a healthy competition between themselves and the native ,english decorators and craftsmen1 and a great improvement took place in the work of the native artists1 although the best work has generally been ascribed to the foreign painters4 ,it is difficult to realise to what extent the churches and secular buildings were coloured and decorated in the centuries named in ,england2 but we have sufficient proofs from the remains of the colouring that still exists1 as well as from documentary evidence1 that the walls1 ceilings1 piers1 arches1 capitals and mouldings of church interiors1 whether the materials were of stone1 wood1 or plaster1 were all richly coloured and gilt1 so that from floor to roof the churches of medieval ,england glowed in schemes of solemn splendour of colour and gold1 the whole effect being assisted by the additional colour harmony of the stained glass windows4 ,at the present time the interiors of most of these old churches are bereft of their former glory of colour1 this being due to centuries of neglect1 and perhaps vandalism4 ,some of them have1 certainly1 a spotty bit of colour and decoration at the east end1 and occasionally a few coloured glass windows4 ,it is only in a rare instance that one of these old churches is treated anew in a full and finished scheme of decorated colouring2 the majority still keep to their fashionable whitewash1 with a few spots of colour dotted about2 their former beauty has ceased to remain to them1 and nobody at present seems interested enough to make a serious attempt to bring it back4 ,some critics strongly assert and argue that these old churches and other ancient edifices should not be restored1 either to the former glory of coloured decoration or in their structural features4 ,one critic follows another by repeating the arguments of his predecessor in art criticism1 namely1 that old buildings should be permitted to crumble slowly into decay1 ruin1 and nothingness1 and also1 that you cannot restore anything that does not exist4 ,these arguments would appear logical enough when applied to the case of structures that are already so far ruined that they cannot be used for the purposes for which they were built1 but if an edifice1 though hoary with age and weather-worn by stress and storm1 is yet sufficiently solid and sound to be used1 as in the early days of its prime and beauty1 there is absolutely no reason why it should not be carefully and lovingly restored1 or repaired where necessary1 both in its structural parts and in its colour decoration1 so long as it can still be used for the performance of the duties or the fulfilment of such functions as those to which it was originally dedicated4 ,the best examples of coloured decoration in ,england1 of the fourteenth and fifteenth centuries1 is found in the ,east ,anglian churches1 chiefly in the counties of ,norfolk and ,suffolk1 though in the west and southern midland counties the decoration of churches received great attention at this time1 but it was inferior to the work done in ,east ,anglia4 ,several reasons to account for this superiority of the ,east ,anglian art have been given1 the principal one being that at the time of the greatest activity in church decoration in the eastern counties1 these parts of the country were in a very prosperous condition1 owing to the flourishing state of their cloth and wool trade1 and the close connection of ,east ,anglia in intercourse and trade with ,flanders4 ,in the fourteenth century ,edward ,,iii1 in #acbh1 brought over many ,flemish weavers to ,norfolk1 and during the following century and afterwards many ,flemish and ,german painters and decorators doubtless came across to this part of ,england1 and obtained employment in the decoration of churches4 ,it has also been suggested that the superior quality and quantity of decorative painting in ,east ,anglia was due to the greater use of wood for church fittings1 especially oak1 in this part of the country1 and the scarcity of stone4 ,there was a cheap and plentiful supply of wood in ,norfolk and ,suffolk1 but the only kind of stone was flint1 of which the churches were mostly built4 ,wood1 therefore1 and the plastered walls1 suggested painting1 more so than stone1 which was more used in the building of churches in other parts of ,england4 ,accordingly we find that the rood-screens1 and other ,illustration3 ,,plate ,,xxviii ,from a ,water-,colour by ,w4 ,davidson ,,saint ,,george3 ,,from ,a ,,rood ,,screen1 ,,ranworth ,,church4 ,,norfolk3 ,,early ,,sixteenth ,,century4 timber fittings of the ,east ,anglian churches1 were all elaborately coloured1 and painted with figures and decorative patterns4 7,plates #d1 #be1 #bg1 #bh47 ,flemish painting at that time had attained to great excellence1 and there is no doubt that it strongly influenced the ,english art of the fifteenth century1 and especially the decorative school of art which about that time rose to great eminence in ,east ,anglia4 ,flemish methods and styles of church colouring and painting1 and especially that of the rood-screens1 roofs and reredoses1 were freely adopted by the ,english decorative artists1 and the types of the painted figures of saints1 prophets and apostles1 as well as the style and character of the floral and geometric ornamentation1 which has been found in the existing decoration of the old ,english churches1 had all their counterparts in ,flemish church decoration 7,plate #bd74 ,the best examples of the ,english work of this period that are still in existence are the rood-screens of ,norfolk1 particularly those of ,ranworth 7,plates #d and #bh71 ,barton ,turf1 ,aylsham1 and ,cawston1 and the screens of ,southwold church in ,suffolk4 ,the painting on these screens is decidedly ,english in character and technique1 however much the designs of the single figures may be ,flemish or ,german in style4 ,the interior wall surfaces of the smaller ,english churches were usually coated with plaster1 while the walls of the large ones and those of the cathedrals were of smooth-faced stone4 ,the plaster surface was prepared for painting by simply coating it with a light1 cream coloured1 or pale grey wash of distemper4 ,the decorative patterns and emblematic devices were painted on these grounds1 or on similarly prepared grounds of soft-coloured tints of red1 blue1 or green4 ,the patterns were sometimes painted in one colour only1 but often in two or three1 one of which being gold1 or yellow1 to imitate the colour of gold4 ,on white1 grey1 or cream-coloured grounds the tints were usually dark grey1 red1 black1 or green1 and on the brighter colored grounds the pattern colours were generally in grey or black1 or in a darker tint of the colour of the ground4 ,although the early ,english decorators were good colorists1 the range of the colour was limited1 but they made good use of the small number of the colours they employed by often cleverly transposing and alternating the grouping or arrangements1 so that although the same colour on the same pattern might be used1 the transposition by alternation of the pattern gave great interest and variety to the general scheme of colour4 ,reds1 yellows1 black and white were the principal colours used in the early ,gothic decoration2 blues1 greens and gold were added to these in the later periods1 especially in the decoration and figure paintings on the rood-screens and ceilings1 and on the woodwork generally4 ,mouldings1 whether of wood or stone were always coloured1 as well as the piers1 capitals and ,illustration3 ,to face p4 #abb4 ,from a ,drawing by ,w4 ,davidson4 ,,plate #bi4--;,,decorated ,,mouldings3 ,,from ,,the ,,rood ,,screen1 ,,marsham ,,church3 ,,english1 ,,sixteenth ,,century4 ,illustration3 ,to face p4 #abc4 ,from a ,drawing by ,w4 ,davidson4 ,,plate #cj4--;,,decorated ,,mouldings3 ,,from ,,the ,,rood ,,screen1 ,,cawston ,,church3 ,,english1 ,,early ,,sixteenth ,,century4 columns2 the oak woodwork was invariably painted1 as oak was cheap and common in those days1 and the natural grain of the wood was evidently not much prized4 ,mistakes were1 of course1 sometimes made by the early ,english decorators in their over-zealous application of colour1 when1 for example1 they painted over some of the finest workmanship in carved stone as well as some of the costly materials4 ,as instances of such mistakes1 it may be mentioned that the black marble shafts in the choir of ,rochester ,cathedral showed traces of their having been at one time painted red2 the beautiful white marble monument of ,archbishop ,walter ,gray in ,york ,minster was at one time painted in various colours1 and the shrine of ,st4 ,alban1 in ,st4 ,alban's ,cathedral1 though of ,purbeck marble1 is painted blue and green1 the traceries and mullions being gilded4 ,the character and motives of the decorative patterns were interesting and diversified4 ,a common treatment of the wall spaces between bands1 and panels which contained pictorial decoration1 consisted in the painting of a simple masonry pattern where double lines of red or yellow were drawn horizontally and vertically1 so as to form rectangular spaces which corresponded to the joints of the wall1 and in the centre of each oblong there was usually placed a circular flower form4 ,diapers and checkered patterns were used very much to fill wall spaces and panelling4 ,the diapers were sometimes sparsely arranged1 when they would then appear as sprig-like forms1 8powdered10 or 8sprinkled0 at regulated intervals3 these were known as 8open0 diapers2 but when the diaper forms were more elaborate and important1 and fitted closer together1 they were called 8close0 diapers4 ,the latter variety of diaper pattern was generally copied from the elaborate designs which decorated the rich ,florentine and ,sicilian silks of woven damask4 ,these damask silks were used as hangings and for sumptuous dress materials1 and may be seen represented as such in many of the ,italian and ,flemish paintings of the fourteenth and fifteenth and sixteenth centuries4 ,examples of the open diapers or powderings may be seen on the backgrounds of the panel paintings on the ,east ,anglian screens1 and the more elaborate1 close diapers appear on the richly decorated dresses of the figures 7,plates #d1 #be-bg1 #bh74 ,in the latter important class of diaper the pattern is often made up of such details as conventional animals1 birds1 flowers1 foliage1 ornament and fruit1 such as the pomegranate and pine-apple1 all cleverly arranged to make repeating patterns1 these patterns being later developments of those found in the older ,siculo-,arabian silks and ,byzantine silk tapestries 7,plates #be-bg71 hence the oriental character of this class of ornament4 ,various devices1 heraldic and otherwise1 and emblems1 were sometimes superimposed over the central parts of diapered walls and ceilings1 and ,illustration3 ,to face p4 #abe4 ,by permission4 ,,plate #ca4--,,portion ,,of ,,ceiling ,,decoration3 ,,choir ,,of ,,st4 ,,albans ,,abbey4 painted in different colours or in gold4 ,mottoes1 texts in ornamental lettering on scrolls1 and monograms1 very much repeated1 were all used as decorative motives1 and also flat representations of architectural forms1 especially of ,gothic tracery4 ,lead stars1 wavy-rayed1 and gilded1 were fastened to ceilings that were painted blue1 thus giving a conventional representation of the firmament4 ,projecting mouldings of windows and doorways1 and arches1 and the ribs of groined ceilings of the old churches1 were all painted in parti-colours1 and the fillets were usually gilded4 ,it was a common practice to colour the groined and flat ceiling ribs and mouldings only a short distance from the bosses which decorated their intersections1 and also a similar portion of the web1 or ceiling portion around the bosses1 but often the whole of the ribs and ceiling panels were richly decorated in colours1 and with elaborate patterns of diapered work or arabesques4 ,stone and carved wood bosses were usually gilded1 and the interstices behind the carved foliage1 masks1 or figures on them1 were painted in some very strong colour1 usually red1 in order to relieve the carving4 ,as a rule carved enrichments were either gilded or painted yellow to represent gold4 ,in this period of great activity in church decoration in ,england special attention was given to the painting of roofs with their rafters and beams4 ,st4 ,alban's ,abbey 7,plate #ca71 ,blythburgh in ,suffolk1 ,sall ,church in ,norfolk1 ,plymouth ,cathedral1 ,ufford ,church1 near ,ipswich1 and numerous others had all richly-painted roofs1 although the generality of roofs were simple in colouring1 most of them having red1 black and grey decorations painted on a white or a blue ground4 ,sometimes1 however1 the ceiling decoration was more elaborate1 as we have already seen1 when it consisted of rich scroll-work1 interspersed with emblems1 monograms and various devices4 ,tracery patterns1 flower and leaf designs decorated the rafters1 and the round bead mouldings were often treated in spiral twistings of lines or patterns1 like strips of ribbon round a rod1 this kind of treatment being known as 8barber-poling40 ,much of the pattern decoration of the old churches had somewhat the appearance of stencilling1 which might be accounted for by the flat character of the designs4 ,the painted decoration was1 however1 not stencilled1 but was first applied to the surfaces by the method known as 8pouncing10 by means of the pricked holes made in the original tracing or drawing1 and the pattern work afterwards executed with the brush4 ,that this method was adopted is proved by the slight variation in the drawing of the painted patterns1 and by the characteristic freedom in the execution which brushwork can only give1 and further by the absence of the effect which is due to 8ties0 of the stencil-plate4 ,in some instances the oft-recurring rosettes and diaper powderings may have been stencilled as an easy and preliminary method of placing them in ,illustration3 ,to face p4 #abf4 ,from a ,drawing by ,w4 ,davidson4 ,,plate #cb4--;,,decoration ,,on ,,the ,,rood ,,screen1 ,,ranworth ,,church1 ,,norfolk3 ,,early ,,sixteenth ,,century4 their regular positions1 but if so1 they were afterwards finished with the brush1 by hand1 as they have nothing of the appearance of patterns produced by stencil printing4 ,the materials and mediums used in the painting of walls1 ceilings1 or woodwork1 were the dry colours ground in water1 and mixed with parchment or egg size4 ,the latter size1 with or without the addition of fig-tree juice1 was chiefly used in the painting of the figure subjects and pictorial work1 while size made from cuttings of parchment1 by boiling them1 or from ordinary glue1 was used for the larger surface colouring4 ,the general medium of the work was therefore tempera1 or distemper1 though sometimes1 but rarely1 oil was mixed with the colours4 ,pictorial and ornamental paintings on the screens were varnished with an oil varnish over the tempera painting1 but in many instances such paintings were left unvarnished4 ,most1 if not all1 of the decoration on the screens1 pulpits1 and the woodwork generally1 in the ,english medieval churches1 was certainly executed in tempera1 with the egg-size medium1 which was the common method of picture or panel painting on the ,continent at that time1 and most of the pictorial decorations were varnished afterwards1 so that those which remain to this day have the appearance of oil paintings1 and this has led many to class them wrongly as such4 ,the subjects on the screens1 pulpits and reredoses were generally representations of saints1 apostles1 prophets1 kings1 queens1 knights and angels1 etc4 ,the figures were usually placed on alternate red and green grounds1 the latter being diapered over in small patterns in white1 purple1 or gold4 ,in some cases a raised gesso diapered ground of gold has been prepared1 as in the ,southwold screens4 ,the robes of the figures were also richly decorated with elaborate patterns1 in colours heightened with gold4 ,there are still some remains of decorative painting on the screens of many medieval churches in ,devon and ,cornwall1 but as a rule the work on these screens does not possess so high an artistic value as that of the ,east ,anglian painting4 ,in ,devon most of the screens are found in churches between ,totnes and ,exeter4 ,the best examples are those at ,ashton1 ,plymtree1 ,buckland-in-the-,moor1 ,wellcombe1 and the miniature-like paintings at ,hennock on the hill above the ,teign valley4 ,some painted screens in ,devon of a later date1 at ,southpool1 ,blackawton1 and ,chivelston1 are the only ones1 according to ,father ,camm1 out of forty in ,devonshire that contain fillings of arabesque ornament1 all the rest having painted figures4 ,the ornament on these is in the ,italian ,renaissance style1 with the ,elizabethan ,english influence4 ,the colouring of these arabesques is white1 on grounds of red and green4 ,we have treated the subject of medieval colour decoration in ,england at some length1 but our excuse for this must be that the period it embraces was one of the greatest activity in the history of decorative art in this country4 ,further1 it may be said1 it was in this time that churches and other buildings were coloured completely throughout1 and not as in the more modern custom1 where1 with a few exceptions1 churches and secular buildings are treated with a few isolated bits of colour1 which being also done at different times1 and by different hands1 cannot possibly have any sort of homogeneity or unity as a suitable colour finish for the building4 ,when any of us are fortunate enough to be trusted1 or favoured with an opportunity to decorate the interior of a building completely throughout1 we might do worse--we cannot do better--than take some lessons from the practice and methods adopted and followed out so successfully by the early ,english decorators4 ,though little now remains of this old coloured decoration1 that little enables us to construct from the fragments the scheme and colour of the entire work1 as the anatomist is able to construct a prehistoric creation from the skeleton1 or even from a portion of it4 ,during the seventeenth and eighteenth centuries colour decoration of buildings was almost non-existent in ,england1 for interiors that showed any pretension to decoration were finished1 or unfinished1 in schemes of white and gold4 ,sometimes1 however1 the decorator was permitted to revel in pale shades of pea-green1 8,french grey10 very pale blues and still paler pinks1 so that many interiors of the ,adam and ,georgian styles1 though famous for their delicate ornamentation in stucco plaster work1 were either left white1 like brides' cake decoration1 or in the pale tints of other kinds of sugar confectionery1 a dainty1 but timid type of colour decoration which we borrowed from ,france 7,plate #cc74 ,about the latter half of the eighteenth century1 after the discovery of ,pompeii1 in #agec1 with its richly-coloured wall decoration1 colour began to show itself on the interior walls and ceilings of some ,english buildings1 both of a public and private nature1 but not in churches1 for it was not until about the middle of the nineteenth century that there was a partial revival of church decoration1 a sort of renaissance of the fourteenth and fifteenth century work1 that was brought about chiefly by ,pugin1 ,sir ,gilbert ,scott1 and other neo-,gothic architects4 ,many churches were decorated in ,england about this time in schemes of rich and strong colouring1 and with similar types of ornament to those used by the early ,english decorators4 ,two very elaborately-coloured and decorated examples may be mentioned1 namely1 the chapel or crypt at ,westminster ,houses of ,parliament1 and that of the ,catholic ,church at ,cheadle1 in ,staffordshire1 after ,pugin's designs4 ,the colour decorations of these two churches are among the rare examples of ,gothic colour revival1 where the interiors have been finished in complete schemes of strong colouring4 ,during the last fifty years there have been many ,illustration3 ,to face p4 #acj4 ,,plate #cc4--,,portion ,,of ,,room ,,decoration1 ,,sheen ,,house1 ,,surrey3 ,,eighteenth ,,century4 ,illustration3 ,to face p4 #aca4 ,,plate #cd4--,,portion ,,of ,a ,,staircase ,,decoration ,,in ,,the ,,victoria ,,and ,,albert ,,museum4 ,by ,f4 ,w4 ,moody4 fine examples of hall decoration painted in fresco in ,england1 as well as important pictorial and ornamental schemes of decoration in coloured plaster1 mosaic1 and in oil painting4 ,we might mention the ,houses of ,parliament frescoes1 those at ,south ,kensington1 the ,royal ,exchange wall pictures1 the mosaics in ,st4 ,paul's ,cathedral1 and in the new ,cathedral at ,westminster1 as well as a good deal of coloured decoration in private houses and civic buildings throughout the country1 but in the ,british ,isles the advancement of this interesting and fascinating art is severely handicapped by the indifference1 prejudice and obstinacy1 even of many people who profess to have a love for art4 ,as a nation1 we are a long way behind the ,french1 ,germans and ,americans in the encouragement of decorative art4 ,the ,governments and municipalities of ,germany and ,france decorate their civic and public buildings thoroughly1 and with no niggard hand1 but in our own countries such work1 however good it may be1 is commissioned for in a partial and piecemeal way1 when it is decided to be done at all4 ,,index gina1 ,temple of1 #gh ,aix-la-,chapelle1 tomb of ,charlemagne1 #ia1 #ib ----1 town-hall1 #ajg ,amiens1 museum1 #hi ----1 cathedral1 #ajj ,arabesques1 #fg1 #fh1 #ga ,arabian decoration1 #gb ,ashton ,church1 screen of1 #abh ,assisi1 upper church of ,san ,francesco1 #fj1 #fa ----1 frescoes of ,giotto1 #fb ,augsburg1 ,fuggerhaus1 #ajd ,aylsham ,church1 screen of1 #aba ,backgrounds for pictures1 #bc ----1 treatment of coloured1 #ea-ec ,baltard1 ,victor1 #hj ,bartolomeo1 #ci ,barton ,turf ,church1 screen of1 #aba ,baudry1 ,paul1 #ha ,belgium1 fifteenth and sixteenth century buildings1 #ch ,bellini1 #fi ,berlin1 ,alt ,museum1 #aaj ----1 ,kunstgewerbe ,museum1 #aji ----1 ,new ,museum1 #ajg ,blackawton ,church1 screen of1 #abh ,blake1 #hi ,blythburgh ,church1 screen of1 #abe ,boni1 ,g41 #dj ,borgia ,apartments1 #be ,boston ,library1 #hi ,botticelli1 #fc1 #hi ,brauweiler ,abbey ,church1 #ie ,brunswick ,cathedral1 #ig ,buckland-in-the-,moor ,church1 screen of1 #abh ,buon1 ,giovanni1 #ci ,burne-,jones1 #aj ,byzantine decoration1 #gb ---- marblework1 #cf ---- mosaicists1 #df ,ca d',oro1 ,venice1 #ci-da ,cairo1 decoration of mosques1 #hj ,camerini1 ,ducal ,palace1 ,mantua1 #fi ,canterbury ,cathedral1 #ajj ,cassoni1 #fd ,cawston ,church1 screen of1 #aba ,ceilings of halls1 churches1 etc41 #be ----1 flat1 #bg ----1 ,italian painted1 #bf1 #bg ----1 of ordinary rooms1 #dg ----1 wooden1 ,romanesque and ,gothic1 #cb ,charlemagne1 #ia1 #ib ,chartres ,cathedral1 #ajj1 #aja ,chteau de ,blois1 #gi ,chteau de ,boulogne1 #ge ,chavannes1 ,puvis de1 #hd-hg1 #hi ,cheadle ,church1 ,staffordshire1 #acj ,chivelston ,church1 screen of1 #abh ,cimabue1 #fj ,close ,rolls of ,henry ,,iii1 #aae ,cluny ,museum1 ,paris1 #ge ,coliseum1 #ff ,cologne ,cathedral1 #ajj ----1 church of ,st4 ,gereon1 #ie-ig ----1 church of ,santa ,maria im ,capitol1 #ie1 #if ----1 museum1 #ajb1 #aje ,contours1 #ec ,cornelius1 #ajh ,cornices1 #bi ,costa1 #fi ,cottages1 colour decoration of1 #c ,cour-du-,murier1 #gi ,cristoforo ,romano1 #gj ,cromwell1 #e ,dado1 #ah1 #cj1 #ca1 #cc ,deck1 #hb ,decorators1 foreign1 in ,england1 #aag1 #aah ,delia ,robbia ware1 #cg1 #hb ,denuelle1 #hj ,detaille1 #hf ,didron1 #gg ,diocletian1 ,baths of1 #ff ,doge's ,palace1 #ch ,dresden1 ,albertinum ,sculpture ,gallery1 #aji ----1 ,royal ,historical ,museum1 #aji ,duban1 #gi cole des ,beaux-,arts1 ,paris1 #gi ,edward of ,westminster1 #aag ,egyptian decoration1 #gb ---- polychromy1 #gh ,empedocles1 ,temple of1 #gg ,empire style1 #gf ,ewald1 ,professor1 #aji ,exchange1 the ,royal1 #aca ,exhibitions1 international1 #hb ,flandrin1 ,hippolyte1 #hj ,flemish influence in ,east ,anglia1 #abj1 #aba ,florence1 exteriors of buildings at1 #cg ----1 ,monastery of ,san ,marco1 #fc ----1 ,palazzo ,vecchio1 #bf1 #fb1 #fh ,fontainebleau1 #gj1 #gf ,france1 revival of colour decoration in nineteenth century1 #ci1 #gg-gi ,franois ,i1 #gj1 #ge ,frankfort1 the ,rmer1 #aje ,frederico ,,ii1 #ga ,fresco paintings1 #ch1 #eh1 #gg1 #ajg-aaj ,frieze decoration1 #cj ,frodoard1 #gd ,fuggerhaus1 ,augsburg1 #ajd ,galerie-du-,louvre1 restoration of1 #gi ,galland1 #hc ,gallo-,roman era in ,france1 #gd ,garnier1 ,charles1 #ha ,genoa1 painted ceilings at1 #bf ,germany1 exterior colouring of fifteenth and sixteenth century buildings1 #ch ----1 ,gothic period 7twelfth to fourteenth century71 #ii ----1 ,romanesque period1 #ia ,gerspach1 #ha ,geselchap1 #aji ,ghirlandaio1 #bf ,giotto1 #fj-fb1 #fe ,giovanni ,buon1 #ci ,giovanni da ,udine1 #bf1 #fe-fh ,girolamo delta ,robbia1 #ge ,giulio ,romano1 #bf1 #fe-fh1 #gj1 #ga ,glass1 stained1 #h1 #i ---- ----1 ,english1 #ad ---- ----1 ,gothic1 #de1 #ee1 #ii-aja ---- ----1 ,romanesque1 #ee ---- ----1 ,venetian1 #fe ,gold1 use of1 in decoration1 #dh-ej ,gonzaga1 ,marquis ,giovanni ,francesco1 #fi ----1 ,prince ,vincenzo1 #fi ,gothic or medieval decoration1 #gb1 #ii ,greece1 decorators of primitive1 #da1 #gb ,greek temples1 #ae1 #gg ---- polychromy1 #gg1 #gh ,gregory of ,tours1 #gd ,grottesche1 #ff1 #ajh ,hampton ,court1 #e ,half-tones in painting1 #ae ,hbert1 ,e41 #hc ,hennock ,church1 #abh ,henri ,,ii1 #ge ,henry ,,iii of ,england1 #aae-aag ,hildesheim1 ,st4 ,michael's ,church1 #ih ----1 the ,rathaus1 #ajg ,hittorf1 #gg1 #gh ,holland1 fifteenth and sixteenth century buildings1 #ch ,hospital of the ,innocents1 ,florence1 #cg ,htel de ,ville1 ,paris1 #hh ,interiors1 colour treatment of structural and non-structural parts1 #ai ,interval1 the small1 #ej1 #ea ,isabella d',este1 #fi ,italian architecture in fourteenth century1 #fb1 #fc ---- decorative art1 #eh ---- ,primitive ,school1 #he1 #hg ,jupiter1 ,temple of1 #gh ,kaulbach1 #ajg ,kehren1 #ajg ,kleinknste1 #ia ,labrouste1 #gi ,lateran1 church of ,st4 ,john1 #fa ,leo1 ,pope1 #fg ,lessing1 #ajf ,light1 artificial1 effect on colours1 #ef ,lincoln ,cathedral1 #ajj ,lindenschmit1 #aji ,loggie of ,vatican1 #fe-fg1 #gi ,lorenzo1 #fi ,louis ,,xiii1 #gd ---- ,,xiv1 #gd1 #ge ---- ,,xv period1 #gf ---- ,,xvi period1 #gf ,louvre1 #fi ,lbeck1 decorated houses1 #ajd ,lyons ,cathedral1 #hd ---- ,museum1 #hi ,majolica dishes1 #fd ,magazin du ,printemps1 ,paris1 #hb ,mantegna1 #fi ,mantua1 palaces at1 #bf1 #fe1 #fh-ga ,marbles1 coloured1 #ce ,marie-,antoinette1 #gf ,marino ,contarini1 #ci ,marseilles ,cathedral1 #hd ---- ,museum1 #hi ,materials1 and mediums 7medieval ,english71 #abg ----1 coloured1 in buildings1 #cd-ch ,meissen ,royal ,porcelain manufactory1 #aaj ,mercato ,vecchio1 ,florence1 old house in1 #fc ,mesopotamian friezes1 #cj ,michel ,angelo1 #be-ca ,middle ,ages1 decoration in ,england during1 #ad1 #ae ---- ---- in ,france1 #gd1 #gg ,milan1 exteriors of buildings1 #cg ,mohammedan palaces1 decoration of1 #hj ,monochrome decoration1 #dg1 #dh ,monte ,carlo ,casino1 #ha ,moorish colour schemes1 #ee ---- coloured tiles1 #hj ,mosaics1 #ch1 #eh1 #ha1 #hd1 #ic ,mosaic workers in ,paris1 #ha ,mosaque1 cole de1 #ha ,mouldings1 #bh1 #ca ,munich1 museum and town-hall1 #ajb1 #ajh ,museums1 decoration of1 #f ,mycenian polychromy1 #gh ,naples marblework1 #ce ,napoleon1 #gf ,nature1 colouring and forms of1 #b1 #df1 #ej ,niccolo dell' ,abbate1 #gj1 #ga ,norfolk churches1 #aai-aba ,norman1 ,alfred1 #hj ,norman period in ,england1 #aad1 #aae ,notre ,dame1 ,paris1 #gd1 #ge ,nuremberg--,schne ,brunnen1 #aaj ----1 ,church of ,st4 ,lawrence1 #aaa ----1 ,church of ,st4 ,sebaldus1 #aaa 8,opus ,alexandrinum10 #ce 8,opus ,sectile10 #ce ,palace of ,titus1 #ff ,palazza del ,t1 #fe1 #ga ---- ,publico1 ,siena1 #fb ---- ,vecchio1 #bf1 #fb1 #fh ,palermo marblework1 #ce ,palladio1 #g ,paperhangings1 #bc1 #bd ,paradiso in ,ducal ,palace1 ,mantua1 #fi ,paris--,notre ,dame1 #gd1 #ge ----1 ,htel de ,ville1 #hh ----1 ,magazin du ,printemps1 #hb ----1 ,opera ,house1 #ha ----1 ,panthon1 #hc1 #he-hg ----1 ,sainte ,chapelle1 #gi ----1 ,saint ,germain des ,prs1 #hj ----1 ,sorbonne frescoes1 #hh ,parliament1 ,houses of1 #acj1 #aca ,parthenon1 #ae1 #acj ,penni1 ,francesca1 #ga ,perino del ,vaga1 #bf1 #fe1 #fg ,persian decoration1 #gb1 #hj ,perugino1 #bf1 #fc ,picture galleries1 #bc ,piloty1 #aji ,pinturrichio1 #be1 #fc ,plymouth ,cathedral1 #abe ,plymtree ,church1 screen of1 #abh ,poitiers1 church of ,st4 ,savin1 #gd ,pompeii1 #da1 #gb1 #gc 8,pouncing10 #abf ,prague ,cathedral1 #ajj ,prell1 ,h41 #ajg1 #aji ,pre-,norman period in ,england1 #aad ,primaticcio1 #gj1 #ga1 #ge ,prodigal ,son frieze1 ,cologne ,museum1 #ajc ,prosper ,merime1 #gg ,public buildings1 #e ---- ----1 planning of1 #af ---- ----1 interiors of1 etc41 #cj ,pugin1 #acj ,raffaelle and pupils1 #bf1 #cf1 #fe-fg1 #gb ----1 cartoons of1 #e ----1 ,vatican ceiling1 #be ,ranworth ,church1 screen of1 #aba ,ravenna1 ,san ,vitale1 #ib ,renaissance decoration in ,england #d1 #h ----1 applied decoration of1 #gc ----1 ,italian1 #be1 #da1 #eh ---- marblework1 #ce ---- period in ,france1 #gd1 #ge1 #gg ,republic1 ,french1 #gf ,rethel1 ,alfred1 #ajg ,richard ,i1 #aae ,richelieu1 ,cardinal1 #fi ,rinaldo of ,mantua1 #ga ,rochester ,cathedral1 #aba ,roman decoration1 #da1 #fj1 #gb1 #gc ---- ----1 ,eastern influence on1 #fj ,romanesque epoch in ,germany1 #ic1 #id ,romantic ,school in ,france1 #gf ,rome1 ,baths of ,diocletian1 #ff ----1 ,castello ,s4 ,angelo1 #bf1 #fe1 #fg ----1 ,loggie of ,vatican1 #fe-fh ----1 painted ceilings1 #bf ----1 ,san ,clemente mosaics1 #ei1 #fj ----1 ,santa ,maria ,maggiore1 #ei ,rmer1 ,frankfort1 #ajf ,rood-screens1 #aba1 #abe1 #abh ,rosselli1 ,c41 ,sistine frescoes1 #fc ,rouen ,museum1 #hi ,rubens1 #he ,ruskin1 #a1 #bh ,saint ,alban's ,abbey1 #abc1 #abe ,saint ,gereon's ,church1 ,cologne1 #ie-ig ,saint ,germain-des-,prs1 ,paris1 #hj ,saint ,lawrence's ,church1 ,nuremberg1 #aaa ,saint ,michael's ,church1 ,hildesheim1 #ih ,saint ,paul's ,cathedral1 #aca ,sainte ,chapelle1 ,paris1 #gi ,sainte ,genevive1 #hc1 #hg ,sala di ,cambio1 ,perugia1 #bf ---- ,piccolomini1 ,siena1 #be ,sall ,church1 ,norfolk1 screen of1 #abe ,salle des ,beaux-,arts1 ,paris ,exhibition1 #hb ,salviati1 #ib ,san ,clemente1 ,rome1 #ei1 #fj ,san ,pietro1 excavations at ,vincolo1 #fe ,san ,vitale1 ,ravenna1 #ib ,santa ,maria del ,popolo1 ,rome1 #be ---- ---- im ,capitol1 ,cologne1 #ie1 #if ---- ---- ,maggiore1 ,spello1 #be ---- ---- ----1 ,rome1 #ei ,saracenic influence in ,florentine decoration1 #fj1 #fe ,schwarz-,rheindorf ,church1 #id1 #ie ,scott1 ,sir ,gilbert1 #acj ,sdille1 ,paul1 #hb ,segesta1 ,temples of1 #gg ,selinus1 ,temple of1 #gg ,serlio1 #gj ,siena1 ,palazzo ,publico1 #fb ,sistine ,chapel1 #be1 #ca1 #fc ,sorbonne frescoes1 #hh ,southpool ,church1 screen of1 #abh ,southwold ,church1 #aba1 #abh ,steinle1 #aje1 #ajf ,stoss1 ,veit1 #aaa1 #aab ,suffolk churches1 #aai-aba ,surfaces1 treatment of curved1 #bd ----1 treatment of plain1 #ah ,tempera wall-painting in churches1 #ib ,theatres1 #bb ,thorwaldsen's discoveries at gina1 #gh ,tile decoration1 #hj-hb ,tintoretto1 #bf1 #he ,titian1 #he ,torriti1 #fj1 #fa1 #fe ,tower of ,london frescoes1 #aaf ,udine1 ,giovanni da1 #bf1 #fe-fh ,ufford ,church1 ,ipswich1 #abf ,vasari1 #ff1 #fh ,vatican ceilings1 #be1 #bf1 #fc ,vatican ,loggie1 #fe-fh ,veit1 #ajf ,venerable ,bede1 #aad ,venice1 ,ca d',oro1 #ci-da ----1 ,doge's ,palace1 #ch1 #ci ----1 exterior colouring1 #cg1 #da ----1 painted ceilings1 #bf ,verona1 exterior colouring1 #cg ---- ,cathedral1 #ch ,veronese1 ,paul1 #bf1 #he ,victoria and ,albert ,museum1 #gj1 #gf1 #aca ,villa ,madama1 #bf1 #fe1 #fg1 #fh ,vincolo excavations1 #ff ,viollet-le-,duc1 #gd1 #gg1 #hj ,wainscoting1 #ca1 #cc ,walls1 treatment of1 #bj-bc1 #dg ,walter1 ,master1 #aag ,wellcombe1 church screen1 #abh ,weremouth1 monastery of1 #aad ,westminster1 ,antioch ,chamber1 #aaf ----1 ,edward of1 #aag ----1 ,new ,cathedral1 #af1 #ag1 #aca ,wilfrid1 ,bishop of ,york1 #aad ,william of ,florence1 #aag ,window frames1 #ca1 #cc ,york ,cathedral1 #ajj1 #aaa ---- ----1 monument of ,archbishop ,walter ,gray1 #abc ,richard ,clay ,sons1 ,ltd41 ,london and ,bungay