The Oak Wreath and Its Significance

28, was made from the branch of a green oak, and was awarded to the soldier, who had saved the life of a Koman citizen in an engagement, and was considered the most honorable, although of no better materials than the oaken bough ; the reason why this wreath had the preference to all others, because it was sacred to Jupiter, the guardian, of their city ; besides this, the oak might well claim the preference in this case, the tree alone being almost sufficient in primitive time to preserve life ; its acorns were their diet, and its honey their liquor. Persons on whom this merit was conferred, when they attended any public show, the senate and the whole of the attendants, would rise on their entrance, to signify their respect, and they were allowed to take their seat among the senators. 104 GUIDE TO Fig. 29 is a triumphal crown, made of the laurel, and was presented by foreign states and provinces, to generals who had gained great victories. Fig. 30 is a crown of valour, being a circlet of gold, raised with palisades and jewels, and was awarded to him who had first forced the enemies' entrenchment. 30. 31. Fig. 31 is the naval crown, bestowed on those who had distinguished themselves at sea ; this was set round with figures in the form of beaks of ships. Fig. 32 is the mural crown, awarded to those who first scaled the walls of any city in a general assault, and under these circum- stances, we must suppose why it is formed in the shape of battlements and brick-work. ORNAMENTAL DRAWING. 105 The most remarkable person upon record in history, for obtaining the greatest number of re- wards, was Dentatus ; he received in the course of his military services, eight crowns of gold ; fourteen civic and three mural crowns; eighty- three golden torques, or collars of gold and sil- ver ; sixty golden armlets, for the upper part of the arm ; eighteen hasta pura, or small spears of wood, generally bestowed on him who had killed an enemy engaged hand to hand: these were reckoned honorable gifts. From this it is sup- posed, the custom of our officers carrying white rods, as ensigns of their places, originated. He also obtained seventy-five phabrce, or horse and body trappings, see figs. 33, 34, and 35. But still further, in honour to victorious generals, a number of days were kept as holidays, and the Trappings, Collar. Armlet. ceremony of triumph was conducted in this manner : scaffolds were erected in the forum, 106 GUIDE TO and different parts of the city; the spectators were clad in white garments, the temples were strewed with wreaths, garlands, and perfumes. This triumph lasted three days : on the first day was carried the largest statues, pictures, and images drawn upon chariots ; on the second day was carried the armour, which was piled up in order; such as helmets, coats of mail, shields, targets, bucklers, quivers of arrows, and horses' bits : through these were intermingled swords and spears. On the third day the trumpeters announced the procession of the oxen, led to be sacrificed, accompanied with the consecrated bowl, and gold and silver cups, of the most elaborate workmanship; then came the chariot, in which was placed the armour, diadem, &c. of him that had been conquered : after this, were carried some hundreds of crowns, sent from the different cities, from their respective ambassadors, as a reward due to their valour. Then came, seated on a chariot, the victor, clad in a garment of purple and gold, holding in his hand a branch of laurel, his army, likewise, bear- ORNAMENTAL DRAWING. 107 ing the same, and singing songs of triumph. When any general had killed a chief com- mander, the arms of the slain captain were carried on a stock of oak, before the victor. The first who performed this piece of religion was Romulus; and all the spoils were taken and presented, first, to Jupiter, and, secondly, to Mars, in form of trophies. Besides all this, they had porticos, tern- pies, and arches. These arches were public buildings, designed for the reward and encou- ragement of noble enterprises, erected generally to the honor of such eminent persons as had either gained a victory of extraordinary con- sequence abroad, or had rescued the common- wealth at home from any considerable danger. At first they were plain and rude structures, by 110 means remarkable for beauty or state ; but, in latter times, no expenses were thought too great for rendering them in the highest manner splendid and magnificent : nothing being more usual than to have the greatest actions of the heroes they stood to honor 108 GUIDE TO curiously expressed : or the whole procession of the triumph cut out on the sides. The arches built by Romulus were only of brick ; that of Camillus of plain square stone ; but, then, those of Ccesar, Drusus, Titus, Trajan, Gordian, &c. were entirely marble. As to their figure, they were at first semi- circular, whence, probably, they took their names. Afterwards they were built four- square, with a spacious arched gate in the middle, and smaller ones on each side. Upon the vaulted part of the middle gate hung little winged images, representing Victory, with crowns in their hands ; which, when let down, they put upon the conqueror's head, as he passed under in triumph. The columns, or pillars, were none of the meanest beauties of the city. They were, at last, converted to the same design as the arches for the honorable memorial of some noble victory or exploit, as well as to hand down to posterity the chief ornaments of the .sepulchres of great men; as when Juno OENAMENTAL DRAWING. 109 foretold the death of Sarpedon, and speaking of carrying him into his own country to be buried, the following words are very attri- butable : " There shall his brothers and sad friends receive The breathless corpse, and bear it to the grave ; A pillar shall be rear'd, a tomb be laid, The noblest honor earth can give the dead." HOMER'S ILIAD. The pillars of the Emperors Trajan and Antoninus, have been extremely admired for their beauty and curious work, and therefore deserve a particular description. The former was set up in the middle of Trajan's Forum, being composed of twentyfour great stones of marble, but so curiously cemented, as to form an entire stone. The height was one hundred and forty-four feet. It has one hundred and eighty-five winding stairs, and has forty openings for the admission of light. The whole pillar is incrusted with marble, on which are expressed all the noble actions of the emperor, but particularly in the Dacian war. One may see all over it 8 OF THE UNIVERSITT 110 GUIDE TO the several figures of forts, bulwarks, bridges, ships, and a great variety of arms, such as shields, helmets, targets, swords, spears, daggers, &c., together with the several offices and employments of the soldiers : some digging trenches, some measuring out places for tents, and others making a triumphal procession. But the noblest ornament of this pillar was the statue of Trajan on the top, of a gigantic size, being no less than twenty feet high. He was represented in a coat of armour proper to the general, holding in his left hand a sceptre, in his right a hollow globe of gold, in which his own ashes were deposited after his death. The column of Antoninus was raised in imitation of this, which it exceeded only in one respect, that it was one hundred and seventy-six feet high; but the work was much inferior to the former, as being undertaken in the declining age of the empire. The ascent on the inside was by one hundred and six stairs, and the openings in the sides fifty-six. ORNAMENTAL DRAWING. Ill The sculpture and other ornaments were of the same nature as those of the first; and on the top stood a colossus of the emperor. Both these columns are still standing at Rome; the former most entire. But Pope Sixtus the First, instead of the two statues of the emperors, set up St. Peter on the column of Trajan, and St. Paul on that of Antoninus. 8* 112 GUIDE TO DESIGNING OF TROPHIES. The form of trophies cannot be better un- derstood than by the following description : " And first they lopp'd an oak's great branches round, The trunk they fasten'd in a rising ground ; And here they fix'd the shining armour on, The mighty spoil from some proud warrior won. Above the crest was plac'd, that dropp'd with blood, A grateful trophy to the warlike god ; His shatter'd spears struck round. The corslet too, Piec'd o'er in places, hung deform'd below : While the left side his massy target bears The neck the glittering blade he brandish'd in the wars." VIRGIL. They next commenced with trunks of marble, hung round with spoils, and covered with scaly corslets, shields, and other military ornaments. At the base was placed a captive, with his hands behind him, and winged images of victory around. Others were composed of com- mon military garbs, having shields of unequal forms., and helmets; some open, and adorned with crests; others close, without crests. On the same trophy hung soldiers' habiliments, with several other designs, which, by reason of ORNAMENTAL DRAWING. 113 the decay of the marble, are very difficult to be discovered.* Designing trophies in a pleasing form is not very easy to accomplish. I do not remember having seen above three or four well planned trophies; when I say well planned, I mean those that stand on pedestals, pediments, or bases. The best I ever saw stood upon Carl- ton Palace ; and, I may say, my attention was so attracted by them, and upon their principles, and strict observance of others on the same rule, I formed the idea of following those as a base for my future routine of design. There are numerous descriptions of trophies as trophies of war, naval and mili- tary ; of peace, the arts, the sciences ; of hus- bandry, of music, of the seasons, and universal trophies. In designing trophies of war, your mind must be directed to the two countries engaged in hostilities; these are termed signal trophies. They should be planned or designed to a conical figure, being careful to keep the * These two trophies are still standing at Rome. 114 GUIDE TO largest description of arms the most prominent feature for the centre and base. If mili- tary, the arms introduced must be according to the era ; a cuirass, supported by the largest guns and carriages, shewing the mouth and breech if possible, breaking the symmetry by wreaths of laurel, or subjects of a similar description; then should be introduced the smaller arms, rising gradually from the base, keeping the smallest arms to be thrown carelessly around in a radius position; the whole should be encompassed by banners, but without formality : let these principles be your leading character. For naval trophies, observe the like principle, and, instead of being conical, they should be semicircular, as you cannot find sufficient articles to give a light appearance to your design. Implements of naval warfare to be introduced, should be the stern, or the prow of the vessel, and those the most prominent; with anchors, compass, quadrant, and various other articles connected therewith. Mixed trophies are composed of naval and military ORNAMENTAL DRAWING. 115 arms of all countries, and all ages. The finest specimen now standing of British arms, ancient and modern, is the one compiled by an Englishman, on the grand staircase in the Tower of London. After perusing these ideas, to furnish your mind for such objects, feast your eyes on all around ; you will then find sufficient to accomplish all you may wish for in that de- partment. I have now given you all the infor- mation I consider necessary for your basis ; and, to perfect yourself, study the artist* who honoured this country by his indefatigable per- severance and attention in accomplishing a display of arms, in a manner rightly termed a master-piece, and for which he was justly awarded a pension of two hundred pounds per annum ; and I may with justice quote, " He was a man, take him for all in all, We ne'er shall look upon his like again." He was not famed for deeds of arms, but only for the display of them; and it proves, by * These were arranged by a man of the name of Harrison, a carpenter, employed in the Tower, in the reign of William and Mary, and, by their orders, he planned the several designs and stands of arms as they now appear. 116 GUIDE TO perseverance and industry in obtaining a taste for design, how many forms may be made, and changed about, by having only one description of article enumerated. Who would imagine that the figure of the seven-headed hydra could be formed from pis- tols and daggers, or St. George and the dragon from sword-blades ? I would advise my readers to see, and judge for themselves ; but I will illustrate a few of the leading points, and various arms in ancient and modern use. ORNAMENTAL DRAWING. 117 I shall commence with swords, as they were, most likely, the first description of war- 118 GUIDE TO like and murderous weapons, to defend, or offend. The earliest of these were, no doubt, of wood or bone; and as the arts increased, and metals were discovered, these instruments attracted great attention for their utility. To speak of copper swords may seem very strange to many ; but that metal was wrought long be- fore iron, and applied to domestic and general We purposes. find in Homer that all weapons were made of brass; and, from the earliest time, they were highly enriched. Some of these weapons have been assayed, and found to contain a portion of iron and zinc ; and are supposed to have been cast, and filed, to give the necessary rigidity of a weapon. It should be observed, that the swords of civilized na- tions were straight, and those of barbarians curved. As this forms but a small part of the in- formation necessary in this work, I shall return to that portion most suitable for building and ornamental purposes. ORNAMENTAL DRAWING. 119 1. 2. 3. 4. V 5. 6. 7. 12. 13. 14. 16. 17. 18. 1, 3, 4, 5, 6, 7, ancient Persian swords and daggers; 2. 14, 15, 16, Roman ' swords ; 13, 18, Grecian swords ; 12, Dacian swords ; 17, ancient i of the Jews ; 9, Turkish sabres ; and 8, 10, 11, Turkish daggers. 120 GUIDE TO ON EGYPTIAN TEMPLES, HIEROGLYPHICS, BACHED ANIMALS, AND COLUMNS, SUITABLE FOR EGYPTIAN DECORATION. It is not my intention to enter into the history of Egypt ; but, as before stated, simply to give you the necessary information and correct figures, should you at any time require them. It is imagined by a great many, that any twisted line will form either Egyptian, ORNAMENTAL DRAWING. 121 Chinese, or Arabic characters, or any grotesque figure will form either an idol or a god; but the days of improvement and literature are so far advanced, that it behoves every one to be careful how he speaks, and still more careful how he acts; and although Egyptian architecture is not based on such rigid principles as others, in conformity of a number of members, as other orders of architecture, yet many state that two oblique lines, a hollow, a fillet, and a reed, are almost sufficient to erect an Egyptian temple. But all this requires pro- portion, to give it the grandeur it possesses. The first form is the great hollow, which their cornices were made to assume ; these were sometimes ornamented with a perpendicular reed; and this, in character with its primitive members, few and bold, appropriately simpli- fied to the earliest works of art. By mental culture they sought for beauty in the sublimity of nature ; and, from their limited architectural skill, sought those objects that would excite the feelings, or gratify the mind; and hence 122 QUIDE TO it was that the subjects of nature, and particularly those of the vegetable world, were soon reduced to the purposes of decorative taste. I have read many authors, who assert, they commenced decorating the tops of their columns, that it should be secure from the reach of injury; but this I deny, as the base and shaft of the column were alike decorated. The chapters of their columns were confined chiefly to the palm tree and lotus leaf, but laid out in various forms. Variety in beauty is next to be sought after symmetry. It is commonly imagined that it requires a number of different articles to produce variety ; or, that a number of different qualities must exist in the same thing, thus compounding diversity with variety. An al- most endless variety may be produced, by altering the position of any one single object. The contrast in the position of objects of the same kind, is the fundamental principle of va- riety. On this basis were the columns of the Egyptians founded. The idea of an analogy NIVERSITY ORNAMENTAL DRAWING. 123 between the top of a column, and the blossoming summit of a tree, furthered their principles for beauty, which made them form the shafts of their columns of reeds and scales of the palm- tree bandaged together, Uiv- I &~- ^ and seemed as if springing from a bed of flowers or leaves, for an ornamental base. Thus far, I think, you will admit, sufficient has been treated to you on this early style of architecture, of which the following figures will exemplify; and I shall now commence with their decorations, relief, and sculpture, prin- cipally derived from nature. It is more reasonable to suppose that the palm tree was originally used for ornamenting their chapiters, as many of them are formed of the scaly portion around the shaft, and the branches springing to form the capital ; but, in fact, we may trace the imitation of natural objects in every portion of an Egyptian column. Square 124 GUIDE TO and octagon columns nave also been formed ; and figures were introduced, as caryatid, but chiefly used as pilasters. The most common form of a capital was that of the calyx of a plant, chiefly the lotus ; which simple plant received the most graceful modifications from the Egyptian mason, for the purpose of architectural ornament ; even the bulrush has been introduced. One of the most curious capitals is that of the portico of Dan- derah; it is of a quad- rangular form, with the Caryatid Pilaster. head of Isis at each facing; and above that, the model of a temple, previous to reaching the architrave, or cornice, which has a very imposing effect, and seems to have been intro- ORNAMENTAL DKAW1NG. 125 duced on many other monuments, intermixed with different portions of sculpture. The only specimen that I can refer to as regards the idea of an Egyptian edifice, is the Egyptian Hall in Piccadilly, which was erected at sufficient expense to have enabled the builder to have represented an exact model of an Egyptian temple; but some portions, however, of the upper stories, are sufficient to give to many the character of its style : a few half round mouldings up the side, and a bold carved cornice at the top, finishes this Piccadilly temple. There is a very striking difference between the Egyptian and Grecian decoration : the geometrical figures of Egyptian columns render them more deserving of merit than the Roman or Grecian, as they had only one foun- dation as regards its figure; whereas, had the Egyptians finished their leaves as the Greeks have done, in many instances they would have commanded greater power on the mind for grandeur of design, than the after ages of Grecian and Roman beauty; but, as it is, we 9 126 GUIDE TO cannot familiarise ourselves with an Egyptian portico, as it has an incomplete appearance. The genuine rule for Egyptian pillars is of irregular rounded forms, but of no established diameters; but when the eye is accustomed to look on the Ionic or Corinthian column, the Egyptian then appears stunted ; as they seldom took above five diameters, and the Composite and Corinthian, nine : the bottoms were like the leaves of the lotus, rising above a number of concentric rings, binding the columns like the hoops of a cask ; and above them are vertical cuttings, giving the Lotus. appearance of a bundle of rods which, I have no doubt, gave rise to the flutings of columns. UNIVERSITY OF ORNAMENTAL DRAWING. 127 only other orders are always concave, and the Egyptian convex. Some have been erected to the height of forty feet, including their capitals, and about twenty-eight feet in circumference. Another style of pillar is, apparently, nothing more than a number of palm trees bound together, to make a strong support. I have read, from the works of a French traveller, 39. Palm. who asserts, that the origin of these massive props was from the slender stalks of the lotus. The forms of animals having been delineated on the different sculptured monuments with 128 GUIDE TO such scrupulous fidelity to nature, that we cannot help inquiring into their origin ; and, further, when we find these animals not only sculptured, but embalmed and entombed, is a just cause why we should do so. Ancient writers have transmitted to us that it was a religious system; and we have had before us a spacious field of research, which has been dregged by the most zealous inquirers and travellers, but is still found to be a difficult task to authorize, for certainty, the real cause for such objects. Innumerable conjectures of ancient and modern writers are that we should place this with the Hindoo superstition. As we are as far off as ever from having a satis- factory conception of the origin, or symbolical meaning of the greatest portion of Egyptian forms, my object on this will be limited, in regard as remarks on their religious systems, but merely, compare the sculptured figures on existing monuments in the British Museum, with the forms of animals now extant. It is not from personal experience that the ORNAMENTAL DRAWING. 129 130 GUIDE TO following remarks are laid before you, but from the most authentic writers of the past and present day upon that subject alone. The print herein given I believe to contain the chief, or nearly the whole variety of animal forms, birds, &c., then introduced. The bull was one of the sacred animals of Egypt, and formed a model for the god Apis, or great visible deity of Memphis. It has been observed on fresco paintings, with a hump 011 his back, like unto the Bramin bull, (as may be seen at the present day at the Zoological Gardens,) whose appearance, I consider, de- notes kindness, gentleness, and beauty of form not seen in any other animal of its kind ; but they were never embalmed. The antiquity of worshipping the bull, is shewn by the fact of the Israelites falling into the gross idolatry of worshipping the golden calf. I am not quite sure whether all sacred animals were embalmed, or were used as hieroglyphics, or both ; but I should suppose they only embalmed those animals that they held sacred the cow, the bull, ORNAMENTAL DRAWING. 131 the horse, the camel, and the giraffe ; the ostrich, and others, were chiefly thrown into the Nile. The dog, the ram, the she-goat, the fox or jackal, the monkey, the hawk, the ibis, the crocodile, the lizard the goose, the owl, the crane, and the scarabaeus, or beetle, have been found embalmed. The serpent, scorpion, lion, fishes, and many others seen in the foregoing plate, were used as hieroglyphics, as well as for worship, among the rest. This trifling information, as I have previously said, is not for history, but utility : as, in describing Egyptian architecture, any of the above named figures may be introduced with propriety, and the introduction left entirely to the taste of the artist. In many reasonable works on the history and customs of the Egyptians, will be found detailed accounts, and forms and characters of their writing, which I could of course give ; but previously to entering upon that description of study, I should advise you to obtain them, that your ideas may be carried out with accuracy. 132 GUIDE TO I will now return to the variety of their columns, cornices and chapiters, chiefly com- posed of the palm, the reed, and the lotus, of which the annexed plate is a specimen. This is compatible in appearance with the Roman and Grecian ; here you see a grandeur and weight in the composition of the lotus, with a neat and graceful appearance of the palm. After being well acquainted with their irregular principles, it is very little use attempting to design upon them ; you may, of course, arrive to a certain degree of perfection, but still there is an ap- pearance, in my opinion, as well as others, about the originals, which gives a pleasing effect. The Egyptians based their ideas upon nature's form, although in a rude style of draw- ing, but yet above all conception of after- ages in grand productions, as regards massive- ness of sculpture; and it seems, that when they found an immense vein of rocky substance running in the earth, they were not contented till they formed immense temples, or sepul- chres, hewn out by manual labour from the ORNAMENTAL DRAWING. 133 solid rock, leaving intervening masses, of which they formed their columns, and sculptured hieroglyphic ornaments upon them, which are handed down to the present day. It is unnecessary to dwell longer on this ; I shall leave the remainder to illustrations, and now treat upon a very opposite style, and which character is greatly in use at the present time, but seldom accomplished accurately, namely, Louis the Fourteenth's Lotus Boss. 134 GUIDE TO ON FRENCH ORNAMENT. THE CHARACTER OF GUIS the Fourteenth's style, or, as many persons term it, French, is like unto all others, capable, by the ingenuity of the artist, of being thrown into an innumerable number of figures particularly as it is not restricted to any decided form. You have the liberty in this de- scription of decoration, of using even the square octagon, or any other geometrical outline you may feel inclined to base your design upon; its FRENCH UKIVZRSITT ORNAMENTAL DRAWING. 135 principles being quite reverse to all other characters, and, for that reason, I intend dissecting almost every portion of the French, or Louis the Fourteenth's style, which meet at angles, either right, obtuse, acute, or that which partakes of the mixed curve ; when I say obtuse, acute and mixed curve, I mean as the four annexed Obtuse Angle. Mixed Curves. figures shew, that by lines of this kind, you may by attention, very soon plan a design for anything you may wish to introduce in this description of ornament. Having sufficiently studied thus far, your attention should next be 136 GUIDE TO drawn to the disposing of these different forms, so as to place them agreeable to the observer ; the principle of which I will now lay before you, by such rules as I have always found to possess the most pleasing forms. In the annexed plate you will perceive a number of plans introduced their basis being shewn by a heavy line ; and around, you see upon what principle you should roughly sketch in the adjoining parts to com- plete the design, after throwing carelessly around such pieces as you, in your imagination, may think suitable for the purpose. Having gained this position, rub out the careless out- line, and commence placing such portions as will appertain to the first sketch, being careful to keep the standard form in one continued figure, so that the mere contour will be com- pleted by the introduction of flowers, fruit, ani- mals, birds, figures, or landscapes, which should be introduced in the back-ground : you must be careful what form will surround it, as every thing depends on that. Remember you have two subjects to study, viz. ornament, ORNAMENTAL DRAWING. 137 which should be prominent, and landscape, which must retire in the distance, to give a pretty finish to the back- ground, and drawn at such a distance as not to attract attention from the framing. As these two points will require your particular notice, I will give in plate 42, two comparative designs, that may hereafter lead you the right way, and shall here illustrate what forms should be given for the introduction of landscapes, &c. In placing animals amongst your frame-work, never let them stand quite prominent, but be intermixed with scrolls or flowers, that the eye may not retain the draw- ing of one, and forget the gracefulness of the other. Never introduce animals, or any subject of natural history, unless as incidents, without rendering them interesting, and, if possible, graceful. Incidents of this description should be managed in the following manner : where two curved or angled scrolls meet, as shewn in these diagrams, there is room for subjects of the following description : such as a dog alarmed at the appearance of a serpent, a tiger at an 138 GUIDE TO hedgehog, or a bird at a dog; a small portion of water, with a swan in graceful position, pecking at a snake ; a dragon and lizard in combat ; dragon and eagle ; rabbit and cupid ; cupid and vines; in fact, the greater the con- trast which may occur in your imagination, oftentimes the better the design ; but, as before stated, always have something interesting in view, but let these be placed in the most graceful postures, and in the most convenient places, so as not to disturb the whole outline of the design from the attention of the observer. Figures, when properly managed, have a very amusing appearance ; but, to be prom- inent, they should be sparingly introduced, unless the article manufactured, chased, or drawn, is for some particular purpose ; or, when otherwise, choose such subjects, as are either historical or fabulous, ancient or modern; and OF THE UNIVERSITT OENAMENTAL DRAWING. 139 always study to group those subjects that are most likely to attract the attention of the general observer, and which are most generally known. Mythological figures may be very often introduced with propriety and effect, as the different parts of the scroll-work present opportunities for displaying the various sudden changes, which are generally understood to have taken place with the hea- then gods and goddesses ; and the minutiae around, should be those emblems that may lead to the discovery of the artist's imagination; but do not let these objects, so combined, be confused, for that would ruin the whole, however good the drawing or the idea. I have alluded to this point before, but in this description of ornament it is of greater consequence than in any other; although there is a vast difference between Louis the Fourteenth's and what is generally termed the French ; as the first-named is often composed of a very massive and rich description, which is perceived in the designs of Le Potre and De la Bella, 10 140 GUIDE TO whose principles of design I intend illustrating from their chief works, as well as many others ; and, by those means, perhaps, cultivate such taste, as may hereafter be beneficial to the workman and the student, as all these studies and styles are to be divided into several compartments, previous to their forming a complete subject. I shall now commence anatomizing that ornament which is termed Louis the Fourteenth's, and, if possible, prove, by your exertions and my instruction, that there still exists a beauty and richness in this description of ornament, that will always be a standing dish of paste ; although Mr. Hope, a dear friend to the style, in his History of Architecture, observes, the want of good taste is seen daily in the mansions and buildings of our great men, their decorations consisting chiefly of shields and scrolls, of that uncertain and irregular style used in Italy, and, soon after the re-adoption of the classic style, passed into France ; which, about the time of Louis the Fourteenth, be- m JMAftMM UNIVERSITY OKNAMENTAL DRAWING. 141 came so neutralized, as to be termed the style of his period ; and, within a few years, through an inordinate desire for novelty, this frippery style became quite prevalent in England, and all the old clumsy scroll, which the French had long rejected as unworthy, has been eagerly brought to decorate the houses and mansions of the present day; and not content with ransacking every pawnbroker's shop in London and Paris for old buhl, old porcelain, old plate, old tapestry, and old frames, they even set every manufacturer to work to corrupt the modern taste, by the renovation of this wretched style. However wretched, still the cork must go with the stream ; and so it is with the employer and the employed; whichever way the employer opens the flood, the taste or plans of the artist seldom stop the rush, however dirty the waters may be, but he must float with the stream himself immediately, and get out of it not only with credit to himself, but try to obtain the admiration of all observers; and that perhaps, you may do, through a little assist- 142 GUIDE TO ance, and I sincerely wish you success. To aid it, I will lend you a preserver, although Block Volute Heads. in pieces, which I have no doubt, you will be able to arrange together for your own safety. Shell Heads. This kind of ornament is divided into a number of portions, as block volute heads, ORNAMENTAL DRAWING. 143 shell and foliaged heads, as seen in the annexed, figures; these are the points that terminate at various angles, as the arch, either ribbed, plain, foliaged, shelled, or perforated; centres composed of shells, foliage, or figures, either for the top or bottom of the design; the lattice, plain or scrolled; the fish-scale panelling, for different descriptions of tables and brackets; tapestry droppings; shield, both scrolled and Scroll Heads. shelled; the balustrade, flowers, and fruit. In arranging all these compartments, it is neces- sary to inform you, that it is not compatible with good judgment to introduce the whole of them at once ; by so doing, you will very soon exhaust your store. But suppose for instance, you make a design of a number of ribbed 144 GUIDE TO arched friezes, at one angle, you would put a shell or scroll head, at the other side, a table or bracket ; to these different portions you might add the shelled arches, as the following figures ; in another portion, the scrolled arch, and these parts broken by flowers or fruit, with square tablets and panelling. Be sure not to place these pieces together, but sepa- Scroll Shell Centre. rate them as much as you can with convenience, so as to cause a variegated appearance, as I mentioned before, that by proper management Scroll Shell Centre. a great variety may be made by one single object, and I do not know where a better op- Scroll Shell Centre. portunity is given than in this instance. I shall now arrange the different arch pieces. OENAMENTAL DRAWING. 145 Fig. 40 is termed the ribbed; fig. 41 the perforated; fig. 42 the shelled; fig. 43, the flowered; to which you may add fruit, or any other object that may be pleasing, as shells, small openings for paintings, or water-falls, and heads of figures, or dolphins. Having shewn you the various arched pieces, centres, and 40. 41. finishings, which combined, are the rudiments t of this description of ornament, I will now 146 GUIDE TO refer to that portion called panels and tablets, which are faced, or otherwise fitted with lattice- work, fish-scales, and eccentric curves; these may be either perforated or solid, which depend entirely on the article manufactured, whether it be of metal or wood ; for, when it is per- forated, it has, in most instances, a meagre ap- pearance, and defeats the solid and rich appear- ance of this description of decoration. Panellings. Tablets and panels are mostly placed between the finishings and angular joints of various combined arched friezes, and are often moulded, instead of the aforesaid mentioned fittings ; but this must be done only where there is a small compass to fill up, as it then will give the appearance of a solid and firm piece of frame-work. I will now draw your OKNAMENTAL DRAWING. 147 attention to a practice, which I have often seen represented ][/both right and wrong, viz., the placingj of tablets or panels at two opposite a, 6 Panellings. angles, or many on one side, and none on the other; for instance, in the two previous diagrams, you see the effect they produce ; and, on your referring to the various plates, you will 148 GUIDE TO see, by management, and avoiding any definite outline, they have a very pleasing appearance; but all this depends on study, and furnishing your mind with every finished termination, and this is done only through practice and perseverance; but most draftsmen, after knowing a few component parts of various ornaments, when feeling themselves at a loss, and in want of something to fill up a vacancy, and not knowing the different variations that this simple ornament may be changed into, have immediate recourse to panelling; never studying or thinking of the observations that may be passed by others, who, perhaps, do not possess their talents, but have persevered so far as to understand the different compartments, and yet not sufficient ideas to be able to form and complete a design. To enable those who have not talent in arrangement, sufficient to compete with their perseverance in study, I would advise them to notice the general variety of diagrams heretofore given, and by drawing and cutting out a number of these pieces, of various ORNAMENTAL DRAWING. 149 sizes, they will be enabled to join and plan many designs and forms, which might not otherwise have occurred to them, even after an immense deal of study; it is a very simple plan, and I think will prove advantageous, and repay the labour it may at first cost. The idea is not a new one, except to this purpose, as many would, and perhaps will say, any one could have done or found that out, because it is so simple; but, like Columbus and the egg, if they had thought of it ; this is not intended to damp your imaginations, but having proved the same, I consider it my duty to inform my friends of it, and they, of course, can use their discretion in putting it into practice. I will now refer to the department of tables and brackets, which comprise another very prominent feature in this description of decoration, and partake chiefly of acute and curved angles; their chief feature is prominent mouldings, scroll-head finishings, angles, and the bases finished with scroll leaves, shells, and flowers, as the following figures shew; their utility is 150 GUIDE TO to finish off prominent points, where any ne- cessary articles, or symbolical ideas, may be required; and its beauty consists in blending the same with the accompanying scroll, or frame-work, in an imperceptible manner, with freedom, -to the body of the design. In some instances, this ornament, in Louis the Four- teenth's, is of a firm and decided form; but in Louis the Fifteenth's it has always seemed to me, that they are attached to that meagre and undecided form, termed the Chinese, which, like themselves, are composed of such grotesque forms and figures, never to be understood, although patronised by many whose ideas and mental capacities ought to enable them to form a better taste; but, as its character bestows richness of effect, by various burnishings, gild- ings, &c., nature, of course, is forgotten. Many, however, assert that they follow na- ture: yes, like Hogarth's perspective, the very reverse to what it should be ; but as there are at present so many diligent enquiries from some of my friends respecting this description LOUIS, 14 ORNAMENTAL DRAWING. 151 of design, of course I am in duty bound to do my utmost to oblige them, in explaining and dissecting the same; and shall, after a little more explanation, respecting the French ornament, attack this splendid foreign character, as regards the style of decorations. I am now departing from my track, and will return to that section, termed the balustrade; as a portion of that,