Introduction

GUIDE for foaming THE ACANTHUS, AND EVEKY DESCRIPTION OF OENAMENTAL FOLIAGE; BY I. PAGE, Ornamental Draftsman and Designer. ILLUSTRATED WITH UPWARDS OF TWO HUNDRED WOOD-CUTS AND FIFTY-THREE ETCHINGS ON COPPER, DESCRIPTIVE OF THE VARIOUS CHARACTERS ALLUDED TO. OF THE ITKIVERSITT Xtoitara : BERNARD QUARITCH. re-printed 188(5. GLOSSARY OF TERMS USEFUL TO DRAFTSMEN. Abacus, the upper member of the capital of a column. Acroter, a pedestal on the summit of a column for supporting a statue. Acroteria, small pedestals placed on the apex and other extremities of a pediment, originally intended to support statues. Antce, pilasters attached to a wall. Ashlar work, rough stone laid in irregular courses. Bevelled, slopped off. Buttress, the projecting portion of a building, used generally to strengthen a wall as well as give effect, in Gothic architecture, and when separated from the building by an arched piece, it is termed a flying buttress. Campa, or Sell, that part of the Corinthian cap, on which the foliage is placed, and on which the abacus rests. Cap of a Chimney, the upper and projecting part of the snaft. Capotum, a kind of Hindu torus moulding, with an ornament resembling a pigeon's head at its termination. Cello,, the part enclosed by walls of a Grecian temple. Check-plate, the piece of wood in the lintel of a doorway, against which the door shuts. Chevron moulding, an indented moulding in the Anglo Norman style. Chimney shafts,ihe part of a chimney which rises above the roof. Cincture, a ring or fillet serving to divide the shaft of a column from its capital and base. Clere-story,the centre of a church, when it rises above the two Clere-story tvindoivs, in ditto. Coins, corners. windows Congee, a species of moulding. Corbel heads, the extremities of corbel stones, often carved. Corbelled, one stone projecting over another to support a superincumbent stone. Corona, the crowning member of the entablature. Corrugated, wavy or fluted. Croivsteps, the coping stones of a gable rising one above another. Crypt, a vault. Cumuda, a kind of Hindu circular moulding. Curbed, contracted towards the ceiling by being carried up into the roof. Cuspa, points formed in the upper corners of the window by uniting the two curves. Cyclopian walls, walls built with land stones heaped on each other without mortar and irregular. Dado, the flat side of a pedestal between the plinth and the cor- nice ; applied also to the space between the skirting and the chairs' back moulding in rooms. Dormar windows, windows in a roof. Dressings to windo^vs, mould- ings, or rather architectural lines and forms surrounding windows, so as to prevent them from being "mere holes in a wall." .us, a species of moulding. 'ngaged columns, columns attached to a wall, and projecting from it half or three-quarters of their diameters. Entablature, a horizontal mass placed on Grecian columns : it consists of three parts the architrave, frieze, and cornice. JVpistyliuHi, or architrave. Facade, the principal face, front, or elevation of any building. GLOSSARY OF TERMS. Fascia, the face or principal mem- ber of the architrave, generally divided into three parts, to the Ionic, Composite and Corinthian. Finial, a pointed ornament termi- nating a gable, in Gothic archi- tecture. Frets and guillochis. Frets are ornaments composed of a series of small straight fillets ; and guillochis of a series of curved fillets, intermixed with straight lines. Frieze, the plain surface between the corona and cornice, on which the triglyphs are placed in the Doric, and ornaments in the three remaining orders. Frustum of a pyramid, the lower part, the upper having been cut off horizontally. Greek cross, a rectangular cross, the limbs of which are all equal. Haunches of an arch, the part behind the springing of the arch. Intercolumniation, the distance between the columns of any building. Label moulding, an outer moulding, crowning a door or window head, always returned at the ends. Lancet windows, windows formed with lancet heads, in the pointed style. Lintels, the side pieces of a window-frame or doorway. Lotus ornaments, the water-lily used by the Egyptians. Minutes, division of 60, for work- ing the orders of architecture, the foundation being the width of the base of any column. Modules, equal parts into which a diameter is divided, for the pur- pose of facilitating its measurement or delineation, and then into minutes. Mullions, upright pieces, dividing a window into three or more parts. Mutules, the modillions in the Doric order are called inutules. Neck of a chimney, the part immediately under the cap. Newel the turning-post of a stair- case. Octostyle, a building with eight columns in front. Pagoda caps, caps for ventilation. Palm-leaf ornaments, leaves of the palm, in general used by the Romans. Patera, an earthen cup, or vessel, used by the Romans. Patera, an ornament something like a rose, used to conceal small openings. Pilaster, a rectangular pillar at- tached to a wall. Pinnacle, a pointed ornament terminating a pediment, or buttress. Rustic-work, stones made rough, on the outer surface, by tools. There are several kinds of rustic-work; the most common of which are the lined, in which the hollow marks are in straight ; and the yermiculated, or wormed, in which they are in curved or tortuous lines. Soffits, the ceiling or under side of any member, or mouldings in a cornice. Spandrels, the space between the springing of an arch and the flat surface it is intended to support. Splayed, bevelled off. String-courses, marked a.nd pro- jecting lines of separation on the face of a building. Tazza, a cup. Triglyphs, certain distinctive marks in the frieze of the Doric order, and formed by three glyphs, or grooves. Vestibule, an ante-hall, or inner porch. Volutes, scrolls of the Ionic, Composite, and Corinthian caps. CONTENTS. PAGE. ........ HISTORY AND RULES FOR DRAWING THE ACANTHUS MOLLIS, PERPENDICULARLY 1 RULES AND PRACTICE FOR DRAWING CURVILINEAR FOLIAGE, AS ADAPTED TO RUNNING SCROLLS AND CORINTHIAN ....... CHAPITERS . . ....... ON STARTING POINTS 21 80 ..... ON GRECIAN AND ROMAN ORNAMENT 89 ..... ON THE DESIGNING OF TROPHIES 112 ...... ON SWORDS AND OTHER ARMS 117 ON EGYPTIAN TEMPLES, HIEROGLYPHICS, SACRED ANIMALS AND COLUMNS, SUITABLE FOR EGYPTIAN DECORATIONS . 120 ....... ON FRENCH ORNAMENT, WITH A VARIETY OF RULES FOR COMPOSING THE SAME 134 ...... ON FRETS AND GUILLOCHIS 156 ...... ON ARABESQUE . . 160 ........ ON ELIZABETHAN 167 ON GOTHIC DETAILS, AS REGARDS CURVILINEAR PORTIONS ..... AND PERIODS . . . . 210 ......... ON GEOMETRY 221 ......... ON MOULDINGS 239 ^^>. (UNIVERSITT) PBEFACE. IT has often appeared to the Author of the " GUIDE TO ORNAMENTAL DRAWING," that, notwithstanding the many valuable works that have been, and are at present publishing on ornament, from various foreign works, and ancient edifices, that some other was required to prepare the pupil and student, not as copyists, but for a much higher class in the art, viz., their own designers; to accomplish this has not been a very easy task. After many years' study, as a self-taught draftsman, difficulties continually arose on the principle I followed, as a basis for improvement, that of never copying, but holding retentive in my memory all I saw, until I transmitted it to paper, and then referred to my origin, and corrected accordingly ; and thus I proceeded, keeping in mind a boldness and freedom of hand, which, when acquired, always holds a predominancy in the arts, over the frippery, patched, and meagre line, which is aimed at by many ; and, like all injurious habits, easily acquired, but not so easily amended. After studying until I accom- plished my object, that of dissecting and obtaining a thorough knowledge of all the various ramifications xiv PREFACE. belonging to the many characters or styles in general use, and seeing the difficulties that appeared to others in copying from different works, for the want of perseve- rance to take the right method. Pupils are generally taught (merely to please their parents and spoil paper) to commence drawing a forest, without first knowing how to draw the bough of a tree, and on this plan many who receive instruction at schools are spoiled, whose innate ideas, if properly trained, might have filled the vacuum now existing in our British schools of art and manufactures. The object of this work occurred to me about five years ago, and after trying many geometrical diagrams, those contained in this work occurred as being the most simple and efficacious, but yet had not sufficient confidence to bring them forth to the public, without first knowing their value. Subsequently I commenced throwing them open to all who thought proper to follow them, which has been by no means few; and the principles laid down in this work have since been duly appreciated, both by connoisseurs and amateurs, and in no instance have they failed. By the request of many friends, I revised them well, with a determination to throw them open to the public at large, with feelings of arduous enthusiasm, which was really wanted to aid and improve the art of design. Being dubious in entrusting the spirit of my wishes to another, I commenced this work as Author, Engraver, and Printer, resting assured, under this impression, that, where I may have shewn a PREFACE. XV want of classical literary attainments, it will be pardoned on the part of my numerous subscribers, my only wish being to give that instruction under confined heads of explanation ; the engravings not as first specimens of art, but give that outline and form which is usually lost sight of when so much labour is bestowed. It is hoped, therefore, that this work will afford that assistance as a self-instructor, and be a valuable auxiliary and remem- brancer to the universal draftsman, it will then repay the labours of yours, obediently, I. PAGE. innnnnonr RULES FOR DRAWING THE N introducing to the attention of the student, artist, mechanic, and the public in general, to whom this work may concern, a History of the Acanthus, solely of its being first brought into notice, as regards the adaptation in architectural details, would be of little service, although known to many, and ynt to the youth and others unacquainted with it, it may be interesting, if not original. A. virgin died at Corinth, and being buried under or near a pyramidical tomb, her nurse or companion, after her interment, placed her jewels, &c., for which she shewed a partiality when living, in a wicker casket by the tomb ; and, for safety, placed a tile on the top to avoid i 2 GUIDE TO the atmosphere, for the longer preservation of its contents. This tribute being placed on a root of the Acanthus, (acanthus mollis,} com- monly called bear's breach or brank ursine, (in botany a genus of plant belonging to the dydy- namia angiosspermia class, or the spinosa acan- thus, commonly termed the dock leaf,) is uncer- tain ; but in the spring it burst forth and spread itself fantastically around the casque. Nature having given the design, one day, a celebrated architect and sculptor, Calamacus, who, for the delicacy of work upon marble, and genteel- ness of his invention, was by the Athenians sur- named Catatechnos that is to say, Industrious passing near this monument, cast his eye upon the image before him, and began to consider the pretty tenderness and playfulness of the foliage which grew about it; the manner and form whereof so much pleased him for its novelty, he copied it in its rude state, and with his power- ful imagination added and improved it to a graceful modelled form : shortly after, erecting columns at Corinth, he capped them with this ORNAMENTAL DRAWING. 3 new idea and ordained its symmetries, distributing afterwards in his works proportions equal and agreeable to each of its other members in conformity to his the Corinthian mode. Vallalpandus must needs give to it a more illustrious and ancient origin. He pretends to assert, that the Corinthians 'copied it first from the temple of Solomon, of which God himself was the architect; and, better to elude the previous account, states that the Acanthus was rarely used by the ancients; and by the des- cription of this divine piece of architecture, there is no doubt that the originals of the temples were of palm branches bearing fruit, to which the leaves of the olive have a near corres- pondence. The finest example of the ancients in the adaptation of this description of foliage, was the frontispiece to the Torre de Nerone, in Rome, which has been destroyed within the last century and a half, to the great reproach of 'the age, by the avarice of some particular persons : this was one of the rarest specimens of antiquity, not only for the richness of its orna1* 4 GUIDE TO ments, but for the contour of its different mem- bers; the columns were six feet in diameter. It is not precisely known by whom it was caused to be erected, or to what purpose ; some imagine it was a temple erected by the Emperor Aureli- anusj and dedicated to the sun ; others, that it was only a palace. Another tradition asserts that Nero raised it to behold the conflagration of Rome, which is very improbable, being too great a work to have been accomplished in so short a time. Be it what it may, certain it is, according to the splendid illustrations of its different parts, it was the most magnificent specimen of Corinth- ian architecture that Eome could boast of. Other specimens of this order are in the chapters of the baths of Diocletian, in which the volutes are of ram's horns; this temple was built by Pyrrho Legorio, in the year 1574. In the temple of Jerusalem, the chapters of the columns were entirely of the palm leaf. The castle of Lions, at Verone, and the arch of Titus, were of the composite order, and erected to the glory of that emperor, on his return from that famous OENAMBNTAL DRAWING. O enterprise, the siege of Jerusalem. The frieze of this arch pourtrayed the spoils and ravages of the temple; moreover, this arch was the first of its kind of structure ; mentioning these specimens are not to deteriorate from the speci- mens of the present day, far from it; but, as these were the originals, and from whence our present architects derived their knowledge, not only for the different orders, but for their sym- metries, which they, as men of sound sense and reason, will allow, that if these rules are deviated from, all is thrown out of proportion, and never attracts the eye of the common observer with that grandeur which even a common print of an ancient edifice would do. my I shall continue description a little farther previous to delineation, as it may be acceptable to many. According to Virgil, the Acanthus is an evergreen plant, producing ber- ries, or a small round fruit. Theosphrastus describes it as a prickly tree and bearing pods, like beans, of which, in some instances, we have no reason to doubt; for on examining works 6 GUIDE TO of Roman and ancient architecture, upon the friezes will be seen starting stalks and pods between the scrolls, as is heretofore represented. The Greeks used the cultivated Acanthus, (Spinosa,} it being smaller in its parts, and more suited to the style and taste of that country. In respect to this description of ornament, the author has made it his study to simplify it by rule, that any person, commencing to draw ornaments for sculpture, stonemasonry, model- ling, plastering, and carving, on whom rest the execution of that portion of the work from the architects and designers, who for the want of such foundation to work upon, render such under- takings extremely difficult, is the reason that the following rules have been studied to facilitate and bring a correct principle into design. It would be wrong to assert that lessons have not been laid down before, yet in so complicated a style, that not only places it beyond the easy comprehension of the workmen, but is generally beyond their circumstances to obtain such valuable works : the present is far more simple than ORNAMENTAL DRAWING. i any yet brought forward to the public, and with, trifling study and perseverance would render the draftsman and mechanic perfect in this and every other description of foliage. It is surprising that no other foliage than the Acanthus is ever made mention of by any ancient or modern writers. Ovid mentions it in representing an immense vase of bronze, adorned with a mythological story, the border being covered with the flexible Acanthus, wrought in gold. Pliny, the younger, asserts it is nature's chosen plant, for, throw it in whatever form you may, certain it is to fall into graceful curves. Atlienaius relates that the canopy ordained to convey Alexander the Great to Egypt, the car was of golden columns, intermixed with the rich foliated Acanthus. The observation of the celebrated French author, De Cordemoy, is very rare, but very true : it is strange, he observes, people soon cease to esteem that which is natural; nature and reason must always be violated, and we prefer a confused jumble of painted leaves of the laurel or olive, to the simple and graceful 8 GUIDE TO contours of the Acanthus : how well this speaks of the many trials that have been made in designing to alter this foliage, still a substitute has never yet been found where such freedom and beauty exists ; some attempts are very good, but they are sure to fall into the original ap- pearance, and when once a fundamental rule is got perfect, how soon will the student be able, with strict attention, to arrive at that state of perfection which must repay all his labours, with the pleasure of conquering, and making every study in design easy in itself. I think sufficient has been said respecting this description of foliage, and as every other has been derived from that one, except sundry variations and styles, of which each will be ex- We plained in its due course and place. will now commence delineation of the first four rules, to complete an Acanthus leaf to any dimensions. Eule 1, plate 1, is the first outline or base principle of the foliage. Draw a perpendicular line, a b, to whatever height you may require, or think proper, being ORNAMENTAL DRAWING. 9 careful to have the width of your base, or hori- zontal line in due proportion, which is half the height, or thereabouts, according to the situation in which it is to be placed; but I have found half to be sufficient, and on those prin- my ciples the chief of illustrations will be formed. Your base line, c c, is to be divided into six equal parts, one of each, d d, from the perpendicular line, will give you where to start your conical lines to form the pistules on ; then divide the perpendicular line into five equal parts and one-fifth, will give you the springing for the head, or circular portion of the leaf, which starts from a line drawn parallel with your pistule line, as this small diagram will shew: i Plate 1 will shew you what sub-division to proceed with pre- vious to forming the exterior line of the leaf; and better to prove it, we will suppose that I have a given size to execute an Acan- thus foliage, height 2 feet, base 10 GUIDE TO PLATE l. ORNAMENTAL DEAWING. 11 my 1 foot. I will make this outline, accord- ing to the previous diagram; now, I have 24 inches to compose six raffled leaves on each side of my perpendicular line, the bottom or base of the leaf is always the largest, consequently we may give most to that, and gradually diminish as we rise to the top, so that the bottom raffle will be 6 inches, then 5 inches, 4 inches, 3^- inches, 3 inches, and 2J inches for the top, which, properly curved, will give the same appearance as plate 1 ; having done this, the plan is laid for plate 2, which shews the exterior plan ; on each intersecting line you can form a dot, and from this dot you will carry your pistule 5 and starting of the leaf ; then by gradual curves, rising from these points, and meet- ing the next one as if it were passed e through the leaf, as the following dia- gram shews. You perceive that you have a leaf in fact, which, on gaining this point perfect, I may say the greatest part is conquered, as on this rest all 12 GUIDE TO the grace of the foliage afterwards. I will now leave the diagram lines and proceed with plate 3, where the contour of plate 2 is kept by the dotted lines, and by dividing each of these leaves into three parts, as will be seen by diagram 3, you have the third process complete, and gives you where to terminate the centre stalk, or stamina of the leaf, which runs between each pistule, as the enlarged accompanying diagram will shew ; on this alone depends the freedom of the foliage, and this rule applies to every department of scroll work whatever, or however curvilinear it may chance to be, this is very feasible upon consideration, as this foliage is a portion of a plant, of course every fibre must arise from the base or root, and to whatever ORNAMENTAL DRAWING. 13 PLATE 2. In this figure you will perceive the perpendicular line is divided into only four parts, and B B the springing points. 14 GUIDE TO height or size, the origin is the same, or what- ever way it may have grown. I do not say it is necessary to illustrate this, but to prevent mis- takes, another shall be placed aside the scroll, to prove that should any other course be taken than heretofore mentioned, a peculiar character would appear, and out of all proportion, yet cor- rect. You will see by these two diagrams the my principle of ideas. * P S P S PSP S Stem. Keturn to plate 3, the dotted lines will shew the principle of my previous explanation. Plate 4 will soon convince the reader of the true work- ing of my diagrams : here is a leaf, on one side, * P Pistule. S Stamina. ORNAMENTAL DRAWING. 15 stript of all adjacent lines, and on the other is another sub-division of three parts, which complete the leaf to a certain extent, according for what it may be required ; as on this point the effect of many splendid designs are lost; they are worked to the greatest nicety, and when elevated, they form a confused jumble, and the architect, and others connected with it, are blamed; for friezes, plate 4, is sufficiently cut at the edges. You are not to suppose that when you have arrived as far as plate 4, that you have the leaf finished in so chaste and rich a style as it is sometimes required, far from it, the edges ruffling of that leaf is termed dentata, or toothshaped; this is sufficient when properly drawn, as plate 5, for friezes, modillions, mouldings, &c., or where altitude is required, as the height reduces the parts to the eye, and it looks perfect and rich to the passing observer ; be it as it may, this rule must be got perfect before you commence with plate 6. Here is a leaf as perfect and chaste as ever need be used on any department of work, either for foliated capitals, orna- 16 GUIDE TO PLATE 3. ORNAMENTAL DEAWING. 17 mental embroidery, carving, or modellings, but chiefly for vases, bosses, ceiling ornaments, or wherever this style is required near to the eye. The same rule may be gone through to draw this foliage, as plate 1, 2, 3, and 4 ; and the whole of the leaf may be completed in the same style and character as plate 6 ; and for a running scroll, or frieze, on a small scale, no leaf can look more rich and perfect, as will be shewn in the follow- ing numbers ; in which every department of curvilinear foliage will be treated on and illus- trated ; thereby gradually producing portions of foliage, springings, headings, and terminations of bosses, &c., generally used in friezes and other description of scroll-work, that every separate piece when put together shall form a series of designs, and prove how easy a student may become his or her own designer. 18 GUIDE TO PLATE 4. ORNAMENTAL DRAWING. 19 PLATE 5. UNIVERSITY 20 GUIDE TO PLATE 6. ORNAMENTAL DEAWING. 21 KULES AND PRACTICE FOR CURVILINEAR FOLIAGE. HEN you have gone thus far you have the first rudiment of an Acanthus leaf perfect in a perpendicular position, and the same rules must be carried through on the like principles for curvilinear foliage; I do not mean to state, that it is necessary for every design you make to go through those rules, and for this reason : after once or twice practising them you will naturally get them by art sufficiently to draw by hand, 22 GUIDE TO for when the mind is once fixed on any object, particularly where benefit and interest are com- bined, nothing can scarcely ever obliterate it ; still, I would wish to impress these principles, Where the work is on a large scale; for however practised a man may be, he seldom arrives to that perfection, like Phechotos, who could very leisurely take a piece of chalk and throw the cir- cumference or segment of a circle, in which way he pleased, without leaving 1 off ; and that was so well known to every person of note, that when he called upon his friends, he never required a card case, but would strike a circle to let them know who had called. I merely mention this anecdote to prove what practice will do, and a proper knowledge of fixing the hand will almost accomplish what I have previously stated, which I will illustrate, as nothing is, or can be more mechanical than the human frame, and the hand particularly, as will be seen in the following diagram ; for when once you fix your wrist in a firm position, the carpus bones, or seven bones of the wrist, will act as a pair of compasses, and one ORNAMENTAL DRAWING. 23 of the bones, properly named the os. lunare, you perceive acts on an apex, between the two bones of the arm, viz., 1} the ulna and c the radius ; for instance, you rest your arm on c, and through the elasticity of the ten- dons, sinews, and muscles, you are almost able to strike the annexed diagram, fig. 1, without moving the arm. You will per- ceive the principle by fig. 2 ; here I have placed an anatomical hand, holding a crayon, which shews by commencing at or about d, continuing your segment until you arrive at the diagonal line, e ; from the point a you strike an arc of sixty degrees, and by extending your fingers from that point, you immediately form a concave line adjoining, or more technically termed a cyma recta or an ogee for mouldings. I allude in this manner that your freedom of hand is obtained on this principle by practice, for sketching off quickly any ideas that might instantly occur to you, naturally concluding should an architectural, or working drawing, be required, you would immediately strike your 24 GUIDE TO moulding, and other curvilinear portions by rule and as there are so many publications on that subject, it is not necessary for me to illustrate at present those rules, at the same time every min- utia will be given that I consider necessary for different professions or occupations j there is no occasion to enter more minutely on this point, sufficient has now been stated respecting the principle, utility, and freedom of the hand ; thus, I feel confident that with perseverance, and fol- lowing a few simple but efficient practical rules OENAMENTAL DRAWING. 25 that I shall lay down, they will lead you into such facilities for drawing foliage, that you will never regret the study and perhaps labour it may have at first cost you. The following diagrams were struck at once, without taking the pencil off. The hand placed in the position before stated, will accomplish the whole of the above diagrams. ow to proceed with FOLIAGE. I shall com- mence plate 7 with a rule for drawing a leaf to adorn the Corinthian or composite chapter, which is a very difficult thing to draw properly and gracefully ; you perceive the contour of the leaf is kept as in plate 1, No. 1, / being the apex, 0, of the leaf foreshortened ; and again, by striking a segment of a circle, e, from the point, d, or centre of the perpendicular line, d d ; the head curves are from two circles struck from c c, and meeting at the extreme point of a b ; you then draw two mixed segments as at a &, preparatory to your proceeding with plate 8, which you are now prepared for. This leaf is drawn precisely t on the same rules as plate 7; you will see the ORNAMENTAL DRAWING. 27 PLATE 7. / X ...-?... 4 28 GUIDE TO PLATE 8. ORNAMENTAL DEAWING. 29 dotted line where the segment is formed for bending the head of the leaf, each part touching the pistules and startings, kept exactly ; this leaf I consider looks much better than plate 5, because, through the foreshortening, you lose a leaf, and it does not look so meagre, otherwise it contains the same number of raffles, but I shall now shew it completely finished, after just noticeing a great failing in shading and colouring this leaf : you must always be careful to bear in mind that whatever distance the bend, either shallow or deep, is from the surface of your foliage, to mind your depth of shadow corresponds with it, as that enriches your drawing and adds to the appearance most materially. I think plate 9 will give you satisfactory reason and proof for following, and learning how to draw this description of foliage, and I shall now explain the rules for putting that folded leaf in perspective ; supposing it - were required to place it around the Corinthian or composite chapter, plate 10 will give you I hope sufficient explanation, at the same time GUIDE TO PLATE 9. ORNAMENTAL DRAWING. 31 PLATE 10. 32 GUIDE TO as explicit as possible. Strike a circle at a, which dotted exterior will give you how and where the centre stem falls in bending the head of this leaf, as at c; this is a very important part to be careful with, as the beauty of every description of foliage depends entirely on the gracefulness of the curves ; b is the centre of another circle, which gives you the extent or distance for the off-side raffling, by dividing the circle, c d, into eight parts ; the point, d, will give the head segment, starting from c to e, and from point, c, f will give d to ; the line, g, will give the proper distance for the off-side of the stem, drawing it tangent to the circle, b. This figure is about proportionate for the first perspective leaf of the capital, and before the student begins to draw this order, he ought to be well acquainted with drawing various kinds of ornament and foliage, otherwise he never will produce a masterly per- formance, or be able to make any considerable figure in drawing so elegant a subject. Plate 11 is another plan for turning the head of a leaf. Strike a semicircle from the point of ORNAMENTAL DRAWING. 33 PLATE 11. 34 GUIDE TO PLATE 12. ORNAMENTAL DRAWING. 35 d, another at a b, shewing where the stem will pass through, and from the same point you get the segment from the diagonal line, c, to the exterior line of the circle, d, which forms the bending of the foliage. I see no reason now, if you have followed the foregoing rule, that there is any occasion for me to trouble you any more with the principles to obtain your pistules, &c., but shall now shew these leaves complete at once, at the same time notice to you, after the principle is thoroughly known, how and where you will have to deviate a trifle, not from any true cause, but to add to the beauty of the ornament. You will perceive in plate 11, I have care- lessly thrown in a sketch outline of the raffles, which in plate 12 you will find varied, on the extremity of turning the foliage. To prevent any misunderstanding of this statement, I shall first finish the heading of one leaf in one way, and secondly, in plate 13, complete a piece of foliage in as pleasing a form as I consider necessary. Having previously stated, that it is an object of the greatest importance for the student thorough - 3* 36 GUIDE TO PLATE 13. ORNAMENTAL DRAWI ly to understand foliage, before he commences this order, not only for the cap of the column, but he must be aware that there is no exact confinement, or to what extent, he is at liberty to decorate the other portions of the order, as the planseer or soffitte, which over-hangs the other parts of the capital for their protection, with different mouldings ; likewise the frieze, which I consider has given much more scope for im- provement of design and decoration, than any other department of architecture extant; for in ancient temples and edifices where this order was used, it seemed to be the chief fort of the architects to outvie each other in that respect, of which, previous to making any new design for that portion of a building, I shall give a few illustrations from ancient masters, not those following each others' footsteps, but where I consider there is a variety, novelty, and distinctness of form, and I think it will be acceptable, if only to com- pare with my own principles of design. You must not consider that a leaf described in this form is only adapted to columns, but it 38 GUIDE TO PLATE 14. OKNAMENTAL DRAWING. 39 PLATE 15. 40 GUIDE TO is very useful in forming cups for centre ornaments, and pillar bases ; in fact, a variety of figures may be made from it, as I shall presently shew in outline, consequently giving the student the first principle of making design. Now, all I intend copying from, is plate 9, 13, and 15 : suppose I require a pattern for a tamp- stand, or any other subject of the same description, I should form it thus; at the same time stating that, that is imperfect, but merely to shew the simplicity of the rule, and how easy when you know the different turns of leafage, it will be to accomplish any design of that description of ornament, namely, Grecian, as fig. 3. Plate 14 is a diagram of the leaf, plate 15 is a bent leaf, being the first variation from the perpendicular : this may perhaps appear very simple to you, but let me inform you, that on the swelling and con* ORNAMENTAL DRAWING. 41 PLATE 16. 42 GUIDE TO tracting of these curves depend your design, as a trifling alteration will give a decided variation of appearance, although you may take the same leaf for your guide ; for instance, if you attend to the annexed diagram, I think it will be suffi- cient foundation for you to follow my principle of opinion; here you see are a few forms for perpendicular starting points, or bases, and which, according to the height or situation of the object required, you of course must be guided, and which, in the following number, I shall treat more largely upon, as well as the other portion of bent foliage ; it would not be justice to rush immediately into designs, without first explaining the true utility of each foliage ; otherwise, I of course could soon fill a work with scroll, or what not ; at the same time leave you in the same dilemma, as many other publications of much ORNAMENTAL DRAWING. 43 higher estimation to the eye have done ; parti- cularly as regards the superiority of illustrations on copper or steel, but, as before stated, this is my my not intention, utility is principle, and I sincerely hope, with unremitting attention for the improvement of the student, I shall not only be serving myself in one respect, but shall be adding to the benefit, pleasure, and support of thousands. 44 GUIDE TO CURVILINEAR FOLIAGE. AYING- informed you of the necessity in managing your curves, I will now explain plate 16, which is commonly termed the eccentric leaf, and is very useful in many points, for centres, startings, and bracket ornaments; the position of which requires a trifling consideration before you rashly make a design; for instance, I will place a diagram where it is most useful, and how to arrange that ORNAMENTAL DEAWING. 45 portion of curvilinear foliage : be careful never to place too many of any curved leaves together, otherwise you will cause a confused appearance, and nothing is so unpleasant to the eye of the common observer; and, for this reason, always allow a clearness of design that is to say, an equality of ground as well as ornament; and then, if properly managed, there will yet be a richness ; but be careful and ; understand me rightly when I say clearness, it is not to be meagre and scanty, but that of course depends on the taste and display of the designer, and which taste it my is intention to attempt to cultivate if possible, and, to prove, shall give three diagrams of the most convenient forms as regards utility. Fig. 46 GUIDE TO 4 is the exterior form for a corner, either for a frame, or may be made, with a trifling alteration, suitable for the decoration of a room, by running a line from angle to angle, or towards a centre, which may be formed again from the same leaf, as fig. 5 ; it is in this very point of decoration I would call your attention. You are, I dare say, all aware of what is termed Hogarth's line of beauty, not that he was the' originator of this line ; but certainly wherever it is kept, not only in ornamental design, but in every other respect of the art, there is always a more agreeable feeling attached to general taste than when any other form is used : but to those who do not know what is meant by this expression, fig. 1, No. 2, is the form of it, or any undulating line whatever, where there are ORNAMENTAL DRAWING. 47 no angles to be seen; and when decorations are on a large scale, when I say a large scale, I do not mean that the ornaments are to be large, but, for supposition, a spacious room where decorations are from each extremity, or, in fact, almost every other description of decoration, as frames, chased borders, &c., be careful not to fall into the following error, which is a very prevailing one, viz., that of squaring your ornament; but I think when I give an explanation by principle, you will then agree with me. Suppose I have a border to design to a given size, either for a room, frame, or whatever purpose it may be required, my guide would be thus, as the annexed diagram will illustrate. Plate 17 you perceive is of an undulating form, and in which line I shall make a drawing, merely to shew the principle and utility of this foundation for forming designs, as will be seen by plate 17; here is a mere outline to shew how your ornaments are to be formed, and which suitable ornaments will be given in the course of the work, on a scale 48 GUIDE TO PLATE 17. ORNAMENTAL DRAWING. 49 sufficiently large for patterns. In fig. 6 you 6 V perceive the centre and side ornaments like the form of the one in plate 17, and in making your design, you should lay that principle down and work to it accordingly, otherwise you may be like many over-talented draftsmen, who, when once they commence, they know not when to leave off, after making a good design, keep adding and adding, that the first idea is entirely lost; always bear this in mind, when you have a good design, leave well alone ; as it is not by a profusion of straggling leaves and ornaments that beauty exists, but as I before stated, clearness and equality without formality. I shall now illustrate another prevailing system, and which I think, after a little study