Part I

from my observations, will be broken off, and a more pure taste be cultivated in the minds of all those whose capacity require the aid of ornaments; feeling confident in my own mind that it would 4 50 GUIDE TO not only improve the freedom of hand on the part of other artists, but would likewise improve their taste for forming a basis for whatever sub- ject they may require. Now to illustrate in opposition to my former remarks ; I shall merely give another centre and corner, which will I am sure be a sufficient foundation for all the rest. You perceive in fig. 7, page 54, a square form- ality, which on being compared with fig. 6, you must allow is not so agreeable to the eye ; and I hope, by this comparison, to give perfect satisfaction to your own good judgment, and, by practice, that such impressions will be made on your memory never to be erased; did I not consider this the basis of design, and being apprehensive that from the prevalent bend for ornamental foliage, not only of this description, but of others which I will shortly treat upon, and return again to this in some future number. ORNAMENTAL DRAWING. 51 PLATE 18. 52 GUIDE TO ears ago there were schools of de- sign, but I may certainly venture to say, that of late years, there has never been in England an academy or school where these points of arts have been strictly adhered to, or true principles formed to train innate ideas; as I am certain the mind of man is like vegetation, which, with- out the immense care, trouble, and attention, that has been given to bring such articles to perfection, the luxuries and dainties of many could never have been supplied to the extent and gratification which they are at present; in this and many other points, no expense has been spared by those highly talented gentlemen who have taken the most prominent features in ORNAMENTAL DRAWING. 53 PLATE 19. 54 GUIDE TO botanical, horticultural, and many other branches of science ; but never since our immortal Fuseli, Opie, Joshua Keynolds, and last, not least, Barry, has there been what is rightly termed a school of design; there has been truly, a school for painting, and copying, but never pushed so far as making students their own designers ; and, why not ? are they afraid, or what ? nothing but copy, copy, and make pretty drawings and paintings, that this very ludicrous remark may flow from the parents' or friends' mouths : have you seen how pretty my son or daughter has painted his or her drawing ; it is quite wonderful! what an excellent master they are under : he draws and paints so beautiful, he is quite a wonder. And when this wonder- ful boy or girl ventures forth to the public, and has to compete with the proper trained student, OENAMENTAL DRAWING. 55 PLATE 20. 56 GUIDE TO how fare the colours then ? men of science and art, who are competent judges, are not to be caught by the glaring show of blues, reds, and yellows, but can judge rightly and feel- ingly, from a bold, free sketch, either in pencil, chalk, sepia, or Indian ink : in these, to look well, you cannot hide your faults, they must appear, and so let them ; then you perceive where you are in error. You are able, by proper study, not to wait for copies, but having studi- ously attended to all the different turns and finishings of foliage, natural history, and human figure ; in plain matter of fact, let nothing pass you unobserved, retain all you see in your memory, either good or bad ; you will then form, by careful attention to the principles of the old masters, a pure, unadulterated taste, which will never be forgotten. Of design, its chief element is correctness and style; its ex- tinction, incorrectness, and manner. The first principle of correctness is the power of copying with precision and accuracy, studying each ob- ject of proportion with its relative attachment ORNAMENTAL DRAWING. 57 PLATE 21. X 58 GUIDE TO to others ; it ought to be considered of such im- portance that no person should enter as a student of any academy without his mind is thoroughly bent upon the former remarks. Did I not con- sider this the basis of design, I perhaps should forbear to speak, were I not apprehensive of the prevalent bend for design and reigning taste for every novelty of the Arts. I speak thus, knowing you do not lay on it all the stress required ; if you neglect the power of copying with precision, you never can acquire that of imitating what you may have chosen for your model. The two words copying and imitating, have, in one respect, the same meaning, but in the Arts it is very different, not only in mean- ing, but in its operation : an eye geometrically l'ust, with a freedom of hand implicitly obe- dient, is decidedly "requisite for the former, without choice, selection, amendment, or omis- sion ; whilst choice directed with judicious taste, constitutes the essence of imitation ; and, by perseverance, raises the once humble copyist to the rank of an artist, which appellation, I am ORNAMENTAL DRAWING. 59 sorry to say, is very much abused, for every one that can use a paint brush a little and copy as much, must needs be termed an artist, being little aware of the labour and study he for years must persevere to obtain, not only in the art of drawing and painting, but he must be well versed in all histories and passing events ; in fact, his mind must be a library, not only as regards the time, or in whose reign he is referring to for a subject, but the very costume, actions, and deportment as well : the science of optics ought to be in his full possession, that he might know how to distribute his lights on a picture ; also a knowledge of the effect of gases contained in the atmosphere, so as to counteract them with his different drying oils and varnishes, to prevent the rapid destruction which too often takes place on the different portions of a painting; these and a few other little minutias, which are to follow, is the basis of design ; and following in those steps, you, I have no hesitation in saying, will arrive at that state of perfection in the Arts to repay all your labour. Be careful to attend 60 GUIDE TO PLATE 22. OENAMENTAL DRAWING. 61 to the few following observations, and then I shall return to the former illustrations. Every thing deserving the title of beautiful, and every grand object, assumes an outline of definitive character; the former in undulating lines of elliptic curves, and grandeur in angular disposi- tions of figure lines of motions, assume a curved direction; in combining straight lines, so as to please the eye, they must be on a radiating principle ; our eye not only receives that form as pleasing, but, at the same time, prevents any geometrical form to detract the beauty of the above figure ; and when lines are placed parallel to each other, they have an appearance of a flight of steps, or pile of rods, and have a very opposite effect; upon the former principle it is that the rays of the sun and rays of light gen- erally are so attractive and beautiful. It is from this circumstance that right lines drawn in an inclined position to the plane of a picture, derive an interest from the angles engendered through the imagination. Combinations are like numericals ; many of these forms placed 62 GUIDE TO together with judgment and discretion, will attract us from the larger proportions of beauty that meet the eye at once, like a beautiful head of hair; a single hair, however gracefully bent, cannot impress us like an entire lock, nor will this single lock look like the whole upon the human head : we owe to combination and con- struction that pleasurable feeling denominated beauty. No person is allured with a single object, but a thousand, or even a million im- mediately arouse our anxious notice; thus, my instruction and previous diagrams of elliptical and circular forms exhibit, by a continuity of curves, the greatest approach to beauty of any of its predecessors. Even curved lines of a convex and concave form, drawn at random, without expressing or forming any sort of figure, please our eye much more than all right lines, however they may be distributed ; quantity and variety are absolutely necessary to the production of perfect beauty ; equalities being unfriendly to all symmetry which accord with nature. 1 think sufficient is treated at present ORNAMENTAL DRAWING. 63 on design, and will now continue my explana- tion on the previous plates. Plate 18 may be formed into either a con- cave or convex leaf, in the throwing off the extreme end or curl; care is required in this simple point, as the freedom entirely depends on the manner that you carry the stem. This piece of foliage is not only useful as a portion of adjustment to a running scroll, as the following diagram shews, but will also form a good starting point, if aided by another convex curve, as fig. 8 ; it likewise may be used in another way, for a centre if necessary, as fig. 9; and by a trifling alteration in many other figures. Care in drawing or carving this leaf, for instance, and a very important one it is, being careful 64 GUIDE TO not to have the back and front of this description of foliage both alike. Should I have the carving of the front of the following figure, what will the appearance of the back be ? now, mind this, it is not only attending to the accuracy of drawing, but greatly to the effect, as fig. 10. Through the rotundity of the 10. BACK. pistules, a high light will fall on the face, and at back, it being hollow, of course they will be dark, almost black : to prove this, in plate 19 I have given the back-view of the leaf, and the difference will be observed on the turning of the head ; the raffles, instead of passing over as they do in the front, you perceive it passes under, which has a very different appear- ORNAMENTAL DRAWING. 65 PLATE 23. 66 GUIDE TO ance; this is chiefly needed in design, where you have a confused group; in this case, of course, you must see the back as well as the face of the foliage, and on that point the variety of effect upon natural causes is the very thing you have to pay the greatest attention to, as that gives the whole life to your picture. UNIVER'SITT ORNAMENTAL DRAWING. 67 CURVILINEAR FOLIAGE CONTINUED. Now to proceed to plate 20. This is a piece of foliage seldom brought into play ; why ? be- cause of the difficulty in producing the true ap- pearance ; it is generally termed the ogee curve, and requires great ease and knowledge of foliage to bend it properly; in this you will observe how I have kept to the principles referred to in plate 18 : you perceive in the lower part, that the pistules are black, the upper ones light, and by that, it produces a different effect, than if I had kept it all one colour ; of the utility of this, I shall treat hereafter in a more efficient man- ner, and by those means cause a greater variety of foldings and twisting than is generally produced, at the same time break that flat and dull appearance which too often presides in de5* 68 GUIDE TO signs of running scrolls, &c. Plate 21 is a very important part in several portions of running scrolls for friezes, and many other departments of borders, it is usually the most prominent feature beyond the boss or centre; how it should be introduced is shown in the following diagram, page 78 ; you will there perceive by the continuation of its own figure alone, it will form a very good running scroll, and partakes more of the Roman than of the Grecian leaf, the varieties of which you will perceive accurately drawn fur- ther on in the work ; at the same time, I think you have almost sufficient, and I may say all the general turns of foliage. But previous to my leaving the turning of leafage, I will introduce the Acanthus, comprising of every turn that can reasonably be given, from which you will be able to select all you may at any time require, for what is generally termed pickings ; for however proficient you may be in designing, yet you cannot sum up every thing that may be brought into action in your mind at once, and by that reason, as I have before stated, let nothing pass you un- ORNAMENTAL DRAWING. 69 observed; at the same time, possess yourself with as great a collection as you possibly can, I do not mean of expensive, or what is termed rare subjects, as that very sound will, when a valuable print comes before you, draw more attraction and attention from you than a common penny print ; but let me tell you, that I have known many who have obtained a grand collection of designs, &c., for the trifling sum of ten shillings ; in fact, I have myself, at a stall and different places, often- times bought more to my advantage for a few pence, than if I had given half-a-guinea for a rare specimen of engraving more than the design ; and why ? because my eyes are upon every thing that I pass, or that passes me; and it is by attention to this I know what I do. Feeling this much, I consider myself no more blessed than my fellowcreatures, and am certain if they follow this piece of advice, they will be able to do as I have done; yet not feeling myself to know one half of what I hope to know and arrive at; for I am never satis- fied with saying I can do as well as another ; that will not do, I wish to do more and better thau 70 GUIDE TO another; and while you and 1 are thus striving, it not only renders the study pleasant in itself in one respect, but will, in course of time, place you in circumstances generally enviable to those who have neglected their studies. In a portion of my collection I have copies from the finest specimens of Roman and Grecian sculpture that have been executed, from which I intend giving you the several principal leading points, and its variety of characters ; and by careful attention to them will insure success. Should you in the course of study have to lay your draw- ings before professional gentlemen or travellers, by whom they may be recognised as true Grecian, Roman, or other ornamental foliage, do not imagine that all ornament must contain foliage ; I can execute a great number of designs and yet not have the least portion of leafage at- tached to it, and this description generally runs in the Grecian ; although at the same time there is a foliage for that description of decoration, and which is very different from all others. The different characters of ornament, I may say, are ORNAMENTAL DRAWING. 73 as others have done from much more scientific men, and whose affluent circumstances have placed it in their power to travel and study when I could not ; but trusting I have collected and seen sufficient at least, not to misguide you, and to this end, the following paragraph is very appropriate, and at the same time, I think no harm in noticing it, particularly when it is ob- tained from such an author : " From small beginnings, great conditions rise ; Act well your part ; there all the honour lies." POPE. Not that I have risen to great conditions, but I recollect about seven or eight years ago, when in my struggling moments to achieve at-something I had the conducting and designing of the orna- mental department of a work, entitled the Album Wreath, for a firm in the City ; many appear- ed before, but this was to surpass all ; and, as it often happens, when we strive to do our best, we are conquered by an over-anxious feeling, and our mind is entangled and confused with ideas, that a jumble of objects appear to our eye, and we know not which to choose ; this was the very case with 74 GUIDE TO me. I tried borders, flowers, &c.,but nothing gave me satisfaction, yet my employers were contented with each sketch, and they knew not which to choose. At last, waiting on a friend one day, whose children were playing in the parlour, one of them held up a piece of looking-glass and simply said to the other, " let this be our mirror/' That very word was all I wanted ; I immediately took my pencil, and while waiting, formed the rough idea, thinking all the way home, how to fashion that and many other portions together : when I shewed the design, all others were thrown aside, and this one immediately commenced and finished as a frontispiece; and reckoned by all who saw it, to be the master-piece of Ornamental Typography, and my employer had the whole of the work ; and this was all through, as I before stated, immediate attention to all that passed. I will now return to the explanation of my former plate, and to one of the most important portions of ornament, be it in whatever style, character, or era, it is for, viz. freedom. I cer- tainly have previously mentioned respecting the ORNAMENTAL DRAWING. 75 figures and curvilinear forms necessary to be observed in designs, but I will now treat more fully on the subject, and I hope sufficient for your guidance hereafter. This point will refer to plate 22, here I have given a mere outline of what is termed the volute, or ram's horn turn of a running scroll, but it does not always partake of that form; I may use the following, figure 11, the centre of which has' the appellation of the ram's horn. You see by the foregoing plate, 22, in the centre of the foliage is a dark line, which line, when you commence forming design, or making a copy, is to be your leading feature or basis, and that once done properly, you can always insure freedom in your positions or decorations; in this case, as I have before stated, nothing should appear to partake of the tendency to an angle ; for this reason, let your drawing be ever so richly executed and carefully finished, if there is a fault, it is to that point alone that the eye will be attracted, because if there is a circular figure to view, the eye will 76 GUIDE TO naturally carry itself around that figure, if it were a yard long, and drawn on a small scale ; but should there be any breakage in the curves, it immediately breaks the traversary orbit of the eye, and that very error is retained in the memory if the eye could see the whole yard length at once, that would still be the most pro- minent; to prove which I will give three small illustrations on this subject, and then finish the explanation of plate 22. Fig. 12, you perceive is of a true running undulating form ; fig. 13 is of the same description, but broken and full of what is termed shoulders, ORNAMENTAL DRAWING. 81 glyphics, birds, insects, and beasts, all of which they have worshipped as idols. The Grecians followed them narrowly from the first description, and instead of having straight stalks to support their cups, they have formed them into volutes, making the cup, or flower, the support of the stalk in many instances, instead of the stalks supporting them. This will be seen in plate 26, which I shall treat upon presently, as well as to prove my foregoing remarks, that all scroll work does not con- tain foliage, It is to this point the Grecians, in my opinion, as well as many others, excelled in beauty, for their basis was clearness and regularity ; aod this is a point that no other character or style can boast of; even in their capitals and pilasters, there is more delicacy and clearness than in the Eoman, whose forte seemed power and might. To prevent any my mistake of ideas, I will explain, as the plates proceed, the number of starting points known to the Roman, Grecian, and Arabesque, being about eighty-five different descriptions, each 6* 82 GUIDE TO having its particular use, name, and character ; this to many may seem absurd, but those who think as I do, will agree with me how essential it is that this description of study should be thoroughly entered into previously to their attempting design. I once knew a young man who termed himself a designer, and so he really was, what I term an original designer, for his chief forte was to jumble almost every descrip- tion of foliage, &c., into one mass, which was certainly perfectly original, but very ridiculous ; and I would have you pay great attention to this point, for whatever style of ornament you commence, adhere to that, and no other. If you compose Roman, use Roman ; if Grecian, the same. It would be rather ridiculous for me to erect a Grecian temple with Gothic pinnacles, or a Gothic structure with Grecian ornaments. I think you will now see how necessary it is that you should give your mind more to these particular points, than you have ever been taught before, or shewn the necessity required, as regards attention to this portion of the arts. ORNAMENTAL DRAWING. 83 In the first plate of starting points, I have com- menced with the most simple forms used, both with and without their basin and cup. The annexed diagram, fig. 16, is one of the most simple forms possible to be used; and fig. iG. 9, page 64, of the most simple -V^ ^^ \w in general use. The cup, or ^1} flower, on the same line with fig. 1, is its proper attachment, but both can be used separately ; this is termed the lily cup. This starting point is chiefly used in what is termed modern Grecian. Fig. 2, is the second description of lily, used generally as a double starting point ; that is to say, confining the two stems running transverse to each other; the basin, or flower, behind is the portion to be attached to it, if required ; both of these may be used separately : and, my previous to leaving this figure, I will explain its advantage over the former one, You will perceive at the base of the bell a quirk, or opening between that and the stem, which, in bas-relief, has a very powerful effect, as the annexed figure will shew. Figure 3 is another 84 GUIDE TO description of cup, called convolvulus-head, this has its cup attached, and has a very pleasing effect when well executed. Fig. 4 is the woodbine, or honey-suckle, and daisy cup ; the hinder part in juxtaposition, you see is of the simplest form, represented in fig. 4, and is chiefly used in a centre running scroll of three portions, and formed generally to break the traversing of the eye from its chief point, which is usually the centre scroll, boss, or finishing, and ought to be the most commanding portion of a confined scroll, generally under shop windows, as you will perceive in plate 32 ; here I have given the framing of the window, and the department where such ornament is useful, not only as a decoration, but at the same time useful, as it affords light to the kitchen, warehouse, laboratory, &c. below, and answers much better than ORNAMENTAL DBAWING. 85 the straight bars. I have given in the same plate, three designs for that purpose, and intend giving, as the work advances, a variety of illus- trations for that, and every other department where decorations are required. This is done to show the utility of those portions call- ed starting points. Tig. 18 is of another simple form, termed the crocus-head, a very useful portion where you are confined in space, and where castings are required for balustrades ; in designing for that department, you must be very careful not to have much straggling work, but close and full, to prevent as much as pos- sible the chances of different parts being broken off, as fig. 19 shews. I will now illustrate fig. 20, termed the bell-head, seldom used in the body of scroll work, but is the starting point for the little cups and small springings of design, as 86 GUIDE TO you perceive in the annexed figure. Here it is given slightly, showing you what I mean by small springings ; I shall now refer to plate 26, where you will more clearly understand my previous remarks : fig. 1, you may say is formed by the double lily and the convolvulus- head, forming a very good frieze round a room, or for chased edges and rims; the foundation of this is taken from the Cymatium, in a temple at Parma. Fig. 2, in the same plate, is from an antique bronze, and very different from any at present in general use; the corded reed at the top, and the egg and button at the bottom, is a very great improvement to the effect of the moulding, as well as the novelty of the different ornament between each division ORNAMENTAL DRAWING. 87 of the raffling; the section of this is shewn in fig. 22, which is very symmetrical. Fig. 3, in 22. the same plate, is likewise from the temple at Pa,rma, as fig. 1, and shews a portion of a frieze; here is introduced starting points, only formed from the Grecian dock leaf, as shewn in plate 27 ; likewise the small springings as beforementioned, and of which the Grecians were very partial, and that to a particular extent and description, of which I intend giving a plate, containing all the chief characters they used ; in this instance, it seems as if the cups contain the stem, which are in the form of volutes, instead of the stems holding the cups, as with the Egyptians, as the following figure shews. Plate 27, represents the three foliages used by the Grecians ; fig. 4 is seldom brought into play in running foliage, but confined chiefly to the chap- ter of columns, and fig. 5 and 6 are both gen- erally used in running scrolls, cups, startings, and columns ; plate 28 brings all these into 88 GUIDE TO play, the semi-honeysuckle, lily, lotus, and dock-acanthus, and I think is very well adapted for the purpose designed. By continuing it along a cornice, or frieze, it has a very rich and imposing effect ; it is spread rather more than the original, yet the proportions are good, you perceive how equal they have made the appearance ; you cannot see the ground-work, but the ornament itself imposes upon you im- mediately; and when looking at the ornament, it is not so confused, and the ground appears at the same time. I do not recollect aoy so symmetrical among the specimens I have ever seen. I have in a work, from which I have selected a few of my ideas, some splendid specimens of the Koman, which, in the following number, I intend to illustrate, to show the overpowering richness their designs have over the Grecians. OFTHE UNIVERSITY Sfn KW I GRECIAN TSE OF THE IVERSITT GRECIAN. UNIVERSITT ORNAMENTAL DRAWING. 89 1 **^ ^jjjhiS k~ \- VV| As I have just stated that the beauty of Grecian ornament lies in its equality of foliage, stalks, starting points, and ground- work, which alone com- cj^| bine an universal delicacy ; not 90 GUIDE TO as with the Romans, whose delight seemed, in many instances, to obtain an overpowering richness with their designs ; in fact, so far as to cause an unintelligible confusion of flowers, foliage, starting points, animals and figures : to prove which I will illustrate a portion of a Roman frieze, taken from the Temple of the Sun, plate 37, this being a competent part, (which of itself is a complete division,) and, when joined together, as here given, forms the whole of the frieze around the upper portion of the temple. This foliage you will perceive is of the Acanthus order, but of a richer and different description than I have heretofore illustrated or spoken of. You perceive a greater number of raffles, and more closely and irregu- larly serrated at the edges than the Acanthus Mollis, or Spinosa ; at the same time there is a much greater depth allowed by them from the centre stamen, or stalk, for the pistules, as you perceive in the next diagram, fig. 24, where it is more closely delineated. This body of the leaf seems to be formed of a number of stringy fibres, -\ UNIVERSITY ORNAMENTAL DRAWING. PLATE 37. Outline division of one of the circular portions of the frieze around the Temple of the Sun. 92 GUIDE TO which, when properly sculptured, drawn or model- led, gives it that richness I have before described. 24. ^-v-^ On referring to the illustra- tion in plate 36 fig. 1, you will perceive my for- mer observations brought into practice : here you see are the starting points, compos e d of pods, containing berries, or other small round fruit, which agrees with the account given by Theophrastus. I shall shortly delineate a few principal starting points alongside of the Grecian, giving you, at the same time, a decided and clear proof, how careful you should be in keeping character to style ; in many instances, I have seen the most elaborate designs and elegant formations spoiled by these combinations; the original plans ORNAMENTAL DRAWING. 93 bei'ng laid on sound principles, and the rich ideas of the designer spoiled by this apparent sim- 25. ple, but yet glaring fault. Whenyou rea- son with your- self, compare the delicacy and richness of the Grecian brought in contact with the massive Roman style, you will then observe the necessity required in calling your attention to this particular point ; and I sincerely hope, by perseverance, that you will make the neces- sary alterations in your mind, (should you have possessed them,) the result would be to me, all I have wished for, your improvement. In plate 37 is another description of frieze, from the Torre de Nerone, at Rome. In this you will observe the combination of foliage, animals, and figures. These friezes, I have no 7 94 GUIDE TO doubt in stating, could they be read, would speak volumes ; for I have no reason to suppose that such would be introduced without a why or a wherefore, and I believe that such has been spoken of before in books that I have not been able to obtain, whereby I might give you that information, which it is my earnest wish to do ; nevertheless I will assist you all that lies in my power, by giving you a series of those that have been executed on baths, palaces, or temples. In plate 38 is a frieze from the Arch of Titus; this is composed of figures and animals alone. Here I can describe the reason for this, and a just one too, being led to believe, and knowing from ancient history, and that valuable and sacred volume, the Bible, that their chief principles of carrying out the solemn rites of religion was by strict adherence and attention to their holy altars, temples, incense burnings, and the offering up of sacrifices. These ceremonial rights were attended with great reverence and splendour ; this being adhered to with such rigidness, is the reason that processions IVOEF TRHESITT^) F >/ ORNAMENTAL DRAWING. 95 and sacred rites were introduced in their exterior and interior decorations. I shall now give you, by illustrations, the necessary articles used on those occasions, and which were sculptured on the Arch of Titus, and many temples at Kome. Mentioning this topic is not entering into theology; far from it: but, you are all aware that, in the course of studies and occupations, no one can tell how, or to what extent his capabilities may be called into action : so, for my this reason, I consider it duty to call your attention to this point. I have previously said that, for whatever era or style you are decorat- ing, illustrating, or designing, strictly adhere to the articles, costumes, and manners of the time. Suppose you are designing for Roman decorations; you should endeavour to obtain a thorough knowledge of ornamental flowers, different kinds of moulding, weapons, dresses, armour, and sacred utensils, in case you should have occasion to introduce them; as these trophical introductions, when properly man- aged, give a very pleasing, instructive, and 7* 96 GUIDE TO lively effect to the model, sculpture, or painting. All these principles were, I have no doubt, taken from the Egyptians ; which, for your instruction, I shall enter rather minutely into, as far as regards its application to drawing, &c. But first I will explain the whole of the Roman utensils, used for sacred purposes. The golden candlestick, or more properly speaking, candelabrum, or lamp-bearer, (which is represented, with various other articles, in plate 39,) we are given to understand, was of pure gold; and, according to Josephus, was of hollow tubes, or brackets, and was com- posed of seven branches; one in the centre, and three on each side; each bracket, or arm, was joined in separate compartments by lily flowers and figures, in the form of pomegranates : and being composed of about seventy different pieces : at the extremity of each arm were seven golden lamps. Many fanciful repre- sentations have been formed of this lamp; but my illustration is from the Arch of Titus. Some historians have asserted that it was ORNAMENTAL DRAWING. 97 likewise adorned with birds and marine mon- sters, which, after the victory gained over the Temple of Solomon by Vespasian, or Titus, these sacred utensils were altered, and the shaft fixed in a new base. I shall now illustrate the ark, table for shew-bread, probable form of the shew-bread, altars of incense, censers, drinking vessels, knives used for sacrificing, the laver, and golden calf. The utility of these were for the purpose of bringing fully into effect their sacrifices, which were divided into different descriptions; namely; first, the herd-offering ; such as goats, sheep, oxen, and rams; this was also done by the Egyptians in the following manner: horses to the sun; hogs to Ceres, or the goddess of corn or wheat, and sometimes Bacchus; dogs to Hecate ; and wolves to Mars : no fish was ever brought to the altar. Second, burntoffering, of which there have been questions often discussed; but, it seems that, to avert the vengeance of Divine Power, it was only by the offer of a representative victim. To 98 GUIDE TO illustrate the antiquity of this practice, I need only refer to the instances of all the Hebrew patriarchs; but persons, whose circumstances could not produce such oblations, might offer either a bullock, a male of the sheep or goat, a turtle-dove or pigeon. When the animals were killed they were flayed and opened, their intestines taken out and washed, the feet also were washed, the back bone cleft, and the carcase divided into quarters, and all parts exposed to view : this sacrifice was then salted, and the whole, except the skin, consumed on the altar. Third, meat-offerings were carried out by vegetable products, and preparations of meal, bread, cakes, ears of corn, parched grain, oil, and frankincense. Theophrastus states that little figures in paste were made by the Greeks, mixed up with oil and wine. The Greeks and Romans did not consider an animal offering complete without the above-mentioned articles were placed upon the head of the victim while still alive and about to be sacrificed. Fourth, the sacrifice of peace was by offering a lamb, ORNAMENTAL DRAWING. 99 and other animals as before, only males and females might be offered, but males alone in the others. Fifth, sin offerings : when a ruler sinned the offering was a ram ; a private person, a sheep or a goat, two turtle-doves or an ephah of meal : so that scarcely any could be deterred by poverty, when his conscience prompted him to the confession of his sins. I think these are sufficient observations upon this topic to enable you to illustrate all you may require in that department; and I shall now refer to Roman and Grecian arms. By the insertion of these articles, either for war, torture or triumph, is not entering into any very detailed history, but as such things are universally required in drawing, or design for trophies and other emblems, to illustrate ancient history, or to adorn the different compartments, as well as the friezes for triumphal arches, or columns ; in fact, almost every department of the arts, where ornamental work is brought into requisition, a thorough knowledge of this de- my scription is highly . necessary, and it is in- 100 GUIDE TO tention that nothing shall pass me unobserved, if possible, that is requisite to be introduced for utility of decoration. I shall give a compi- lation of Koman arms, as halberds, shields, helmets, standards, flags, battering rams, and other implements, which contain the most pro- minent, and those most universally known to be used, and a short history of their origin will, no doubt, be acceptable. " And oft conducted by historic truth, We tread the long extent of backward time." THOMSON'S SEASONS. I am aware, as well as you are, no doubt, that there are many Grecian and Roman his- tories, but very few, if any, that will bring to an apex those points suitable to this work, and leading facts required for the arts. The earliest establishment of arms, under a regular government, was introduced by the Egyptians ; they communicated their discoveries to the Greeks, who improved upon the instruction of their predecessors : from thence to the Romans, from whom the other European nations ORNAMENTAL DRAWING. 101 received the first ideas of the arts, and which have been in a state of improvement to the pre- sent day. As warfare was the leading character of the Romans, it is to them we owe the origin of crowns, triumphal arches, columns, and tro- phies. Of the Roman habit and dress, would be useless for me to enter into, as it would en- tail more on me, than I consider a work of this description requires. It was found necessary to distinguish those who had signalized themselves by some more valorous deeds than their fellow soldiers, not as in the present day with money, but with coronets or crowns; the original of which was worn by the high priest, of a plain gold fillet placed upon his forehead, and tied behind with ribbon, which was taken off for a certain time: to assume the appearance of one in mourning; afterwards they wore two ban- delets ; and, by degrees, they took branches of trees of various kinds ; subsequently they added flowers ; and, at last, there was scarcely a plant of which crowns had not been made. 102 GUIDE TO The Eomans had various crowns which they distributed as rewards of military achievements. The oval crown was composed of myrtle, as shown in fig. 26 ; this crown, or coronet, was bestowed only on such generals as had the honour of a triumph. Fig, 27, the olive crown; this was awarded to him who had signalized himself by feats of gymnasium, in the different arenas. The olive tree was originally a native of Asia, whence it was transplanted into Egypt, and the South of 27 - Europe ; the wood is heavy and of an agreeable odour ; the fruit is of the form of a damson, with a soft oily pulp, and a hard nut in the centre. The olive was consecrated to Minerva, by the Athenians, who regarded the culture and pro- tection of the olive tree as a religious duty. The oil of the olive is pre-eminent among vegetable oils, and has not only always had an exten- ORNAMENTAL DRAWING. 103 sive use in culinary purposes, but formed the menstruum, or vehicle, for the most celebrated perfumes. Fig.