Using Acanthus in Design

when properly placed, is very acceptable, and breaks, most considerably, Bracket. the monotony that would often exist. They are of various angles, and generally placed at the top or bottom of drawings. The following diagram will give you an idea of the shape generally to be used, but be cautious, 152 GUIDE TO and not make too free use of them when you are designing, as they must be used very carefully, for they have a powerful and prominent effect ; but, used judiciously, add greatly to the appearance, as well as the variety of form. The moulded scroll, with block finishing, is the best, and is sure to fall into that outline which will ensure a decided graceful Bracket. figure. I would have you pay attention to that part of the finishing in which flowers are a portion ; for, unless great freedom is used, however good your formation and foliage may be, yet a stiffness and want of freedom on that particular point will entirely destroy the other. Now, to avoid this, as in fruit the ORNAMENTAL DRAWING. 153 same, you must be very careful, and not crowd too many large flowers together, so as to ap- pear square or formal; but let your flowers be open and straggling, and they will give as great a variety as can be well defined, I mean those that are generally known. I will here illustrate a few of the flowers, though it entirely depends upon your own taste, and is a circumstance not biassed or con- fined to any particular portion or kind ; but be careful not to introduce them too profusely. Balustrades. In fact, this description of decoration is greatly aided in appearance by the introduction of these articles, as flowers, fruit, and other items of the kind, and is never finished with- out them ; and for this reason, would have you turn your attention to study flowers from na- ture, being the best master I can refer you to ; 11 154 GUIDE TO and not only learn to draw them in one position, but turn them in every direction, and copy them, so as to be able, with one flower alone, to form or give the appearance of a group, or variety, when, in fact, there is but one. The same principle must be followed up rigidly in regard to different leaves, their different external forms, and turns, the vine, fig, dahlia, We* woodbine, honeysuckle, convolvulus, rose, and passion-flower leaves, are the most useful, as they have a full and decided character in them- selves. ORNAMENTAL DRAWING. 155 Having now illustrated the most convenient and pleasing sections, I hope it will not be without rendering you an essential service, not only in this, but in all the foregoing diagrams, feeling confident that this system has proved successful to all those who have thought proper to follow my advice; and shall now leave you to your studies, and proceed with that description called Arabesque. 156 GUIDE TO ON FRETS AND GUILLOCHIS. PREVIOUS to entering into a description of Arabesque foliage, &c., I shall give a number of illustrations of the above-mentioned ornament, the characters of which are purely Gre- cian, on the part of the fret, but may be termed Gothic, on the part of the guillochi. The beauty and principle of the fret lies in an equality of ground and fillets, meeting at various right angles. To gain this end, it cannot possibly be done by hand, without first laying down a geometrical rule for the same, as with the mixed fret ; or that which is partly angular, and partly circular. To accomplish this intermixture of lines or fillets, you must take the width required, and divide it into a certain number of divisions, agreeing with the space allotted, avoiding, if you have a narrow compass, not to put too confused a pattern ; and Ill ru HC- \5\n\ \n\n\m UFr-Ufi-llrHUFr-U UNIVERSITY W* (IL(> II I hl+I+Z+I+Z ORNAMENTAL DRAWING. 157 divide accordingly, as the annexed diagrams will shew. The white lines are the divisions; Odd, producing eight fillet fret. Odd, producing five fillet fret. and, by making out every alternate one, you gain your pattern. I have given almost every one in general use; but by perseverance, or, as in many instances, by chance, the patterns are unlimited. I shall next proceed with the mixed fret, which is upon the same principle, keeping the curvilinear portion exactly within the division marked out for the angles; and the same may be done with this as with the former ones. 158 GUIDE TO The guillochis are on a very different plan, and are formed on different principles ; to which may be added a variety of ornamental designs, bosses, or cups. As all these characters rest entirely upon the taste of the designer, or draftsman, I shall not enter very minutely upon this portion of decoration, as it is not so extensively used as many others; but I will shew, by illustration, the rules to be observed to gain many points, which is the chief thing required, and can only be accomplished by geo- metrical rules. The following diagram, I think, will be a sufficient guide to all the rest : The above simple guillocki would, if you knew no principle to work upon, give some trouble to draw correctly. It will shew you the plan I discovered; and I think you will ORNAMENTAL DRAWING. 159 agree with me, that it is very simple, but to the purpose. You draw or strike the circles, a, at equal distances, and proportionate to the two outer edges; after which, draw your oblique lines, as at b; then, by rounding each angle, you will gain the point required. The other diagrams are upon the same principle, and give you every facility, by study, to draw the following designs, in which I think, every pattern worth notice is given. This description of ornament is useful only to a certain extent, as on a cornice, rim, or small border, as there is not sufficient in itself to be a very prominent feature in decoration; but yet I would have you direct your attention to it, for, in some instances, it is very useful, with judicious treatment, when combined with other ornament. XTNIVERSITT 1GO GUIDE TO ON ARABESQUE. ON referring to that description of compo- sitions, called Arabesque, of course, I adopt the term as it is generally understood, but must certainly say it has a tendency to the cinque-cento style, its application being originally confined to the paintings and stuccoes of antiquity, which represent foliage, fruits, beasts of every species, and imaginary creatures, intermingled. This decoration is sometimes called grotesque, from the grottoes or under-ground buildings in which they have been found the most splendid specimens having been excavated from Herculaneum and Pompeii. Pliny mentions, that, in his time, gaudy colouring and curious forms were held in greater estimation than real beauties of art. If we examine the ancient Arabesques, we shall find ORNAMENTAL DRAWING. 161 endless beauty, variety, and originality ; graceful details, and great skill and freedom in the mode of execution and I doubt whether the ; Arabesque style really had the effect of discouraging painting of a higher class; as, at Pompeii, poetical compositions of great merit have been found intermixed with this light and playful decoration. Vitruvius describes it rather accurately. After pointing out and classifying what he considers legitimate objects for painting walls, as architectural compositions, landscapes, gardens, and sea pieces the figures of the gods, and subjects drawn from heathen mythology, he proceeds thus : " The Greeks, who took truth for the model of their paintings, are no longer followed. Nothing is now represented upon walls but monsters, in- stead of true and natural objects. In lieu of columns we have slender reeds, of flimsy stems, and leaves twisted into volutes. Temples are supported on a mere nothingness, and foliage, on which figures are seated. In another place we have demi-figures issuing from flowers, 12 162 GUIDE TO some with human faces, others with the heads of beasts, all things which are not, never have been, or ever can be." And further states, " that painting is to be esteemed only so far as it represents truth, good execution, and the design be consonant to reason." The Arabesque style may, at first sight, appear fanciful; but, no doubt, it may be treated according to fixed principles of art, and the artist will be more successful as he keeps A those principles in view. due balance of composition is very essential, that the heavier parts may sustain the lighter through every gradation (as I intend il- lustrating), and not to cover too much or too little of the ground. Unity of design must be studied in connection with each other ; and should, as much as possible, tend to some decided end. It would be deviating from my original advice to enter upon the subject of colours ; but, observe, that in ancient decorative painting of this de- ORNAMENTAL DRAWING. 163 scription, the beauty existed by the balance of colour being strictly attended to. Their walls were chiefly of dark panels, with various lighter colours, according to the designs upon them; their ceilings, were, likewise, arranged by the natural effects of light, shade, and reflection. As lightness and grace are the peculiar attri- butes of Arabesque, the foliage, which forms its most fertile resource, should never be overloaded; its details, and modes of ramification, ought to be drawn from nature. Foliage and flowers may be represented with the greatest accuracy in these decorations; as one single flower, gracefully formed, with a little scroll, will form a picture. Small fountains, ovals, and circles, containing subjects of interest. 12 164 GUIDE TO Portraits and medallions may be introduced. The leaf is generally of the deeply serrated acanthus, long thin stamen, and starting points, terminating with cup-bosses, holding some sort of tablet, that baskets of fruit or flowers may be placed thereon ; long starting volute scrolls from each side of a reeded and cupped pedestal, or small columns, composed only of figures and bases. In fact, any slender ob- ject may be used, that will fall gracefully into a variety of forms. I have introduced a few small pieces, as diagrams, of the leading feature ; but, of course, by study and attention, you will be able to form an infinite variety of patterns, being careful to adhere to the previous remarks. Your next attention must be to the colouring; for the character of the style is not sufficient by itself, ORNAMENTAL DEAWING. 165 but requires the aid of an infinite number of colours to shew the effect, and in that depart- ment it is out of my power to give you instruc- tion ; but there are so many examples of pretty colours, that I am of opinion there is no need of so doing. In fact, it is the study of many to arrive at perfection in producing effect with- out a thorough knowledge of drawing, and by very simple means; yet I never could find suf- ficient courage to pay any attention to that department, but always strove to produce light and shade without any variety of colours, and I would advise others to do the same ; and, if nature should have bounteously bestowed on them an overpowering development of colour, as phrenologists term it, you must reach the apex of perfection. The best specimen of co- louring, of this description, I have seen, is at the Pantheon, in Oxford-street, where a day or two's study will be sufficient ; but, previous to your proceeding with your glowing tints and gaudy effect, learn well to shape your orna- 166 GUIDE TO ment, and plan your designs, and the other will, no doubt, very soon follow. JK. (UNIV^RSITT) THE general outcry, at the present day, for this description of decoration, involves on me a task not easy to compete with, as regards giving a decided opinion respecting the true character and date of its introduction into this country. I know not of any style of decoration and building, on which architects and authors have differed more widely; under these cir- cumstances, it will be my study, in this in- stance, to bring all accounts together, and, ii possible, glean that substance on which I may base those principles, that the Elizabethan decoration may be formed into decided laws and rules, for classing it as an established cha- racter or style. 168 GUIDE TO my As I have stated, intention is, in this instance, if possible, to base the Elizabethan architecture and decoration as a style of itself ; and previous to illustrating too extensively its component parts, except where necessity re- quires, I shall give a brief account of its origin, progress, and detail. The successful travels and researches in ancient and modern times, for the improvement of art, has, no doubt, been the cause of so many variations in the different styles of architecture, at the present day ; not that it is my intention to enter into the various orders of architecture, but, in this instance, I must appropriate a few lines upon my that subject, to bring ideas to a bearing. We are informed by many, in fact most archi- tectural authors, that we are in possession of five distinct orders to class our building and internal decoration upon ; that may be very well ; yet, out of those, if you think proper, you may make fifty more ; and, for this very reason, I class the Elizabethan as an order of the latest period, or decorated Tudor, particularly in the ORNAMENTAL DRAWING. 169 variety of its forms and component parts, let them be copied from whom, or wherever they may, or however displayed, it is these items that constitute originality, whether good or bad; and, as I before stated, with the five orders of architecture, we have the Tuscan, Doric, Ionic , Corinthian, and Composite; thus far, so good. Now, what visible difference is there be- tween the Tuscan, and Doric, or the Corinthian and Composite, that is the point ; and, before you give your ideas too freely, you should con- sider that the first principles and rules for diminishing and designing of columns were laid down by the Grecians, who were the inventors of the three distinct orders, all different in appearance at one glance ; the DORIC, the IONIC, and the CORINTHIAN. The annexed illustrations will prove the variety, and shew at once the inventive genius of that country. After making yourself acquainted with their appearance and names, you never can mistake them at first sight, but you may clash the 170 GUIDE TO Tuscan and Doric as one, or the Corinthian and Composite the same, there being such similarity between them. Now, the Ionic stands without a rival, except being plundered by the Romans to murder the appearance of the Corinthian, as an attempt to claim an original order of their own, in that, as well as in the Tuscan. If this piracy is allowed in the architectural Doric. Ionic. world, as an original order or character of itself, there are, I am sure, many better and more original designs to be gathered from some of the old Norman and Saxon cathedrals, than are shewn by the Romans in their Composite, which is done, merely by robbing the Ionic of its grace, and the Corinthian of its richness. I here give a small illustration of the Composite OENAMENTAL DEAWING. 171 chapiter, that you may not be at a loss to un- derstand my remarks, and shall now proceed with my ideas respecting the Elizabethan. As the wreaths of originality are allowed to the Romans, by their combining the Grecian order to make one of their own, and are given credit for the same, why not do so with any other Corinthian. Composite. that works upon the same principle, although it cannot be expected ever to meet with the encouragement of the Roman orders, or do I wish it; for, on looking at their structures they seem transparent, (if I may use such a phrase,) that you immediately recognise Grecian art within them, which art has never, or 172 GUIDE TO ever will be, obliterated, or surpassed; and, as originality is recognised, chiefly by variety of forms, I cannot do better than give a proof of the same ; for instance, I have given an outline of four different descriptions of build- ings, the Pyramid of Egypt, the Temple of the Parthenon, St. Paul's Cathedral, and York Minster. Here is originality and variety of form, that being required in decoration of A every description. variety of external ap- pearance, if properly displayed, is sure to attract the attention at once of the passing observer, or the connoisseur; and, in no in- stance can it be more practically brought forward than in the Elizabethan, which contains a greater variety of forms than any other class of decoration in use. The earliest specimen, bear- ing resemblance to its internal appearance of ORNAMENTAL DRAWING. 173 decoration, I have seen, is dated as far back as Henry the Eighth. Other prototypes are in the cinque-cento, or Italian, the Germans, and many others; but most likely the originators, or compilers, were artists of our own country ; and it is my opinion, that the Elizabethan is that which succeeded the perpendicular style, and was practised until the reign of James the First, and was the standard style during the sixteenth century. I consider its course was shortened by the powerful imagination of Inigo Jones, who, by-the-by, had a small share in it, as the gateway of Whitehall, which has been removed some years, was designed in that style ; but it is also asserted to have been from the 174 GUIDE TO pencil of Holbein. By Walpole, and many others, the style, which we call Elizabethan, was termed, in derision, King James' Gothic, being of itself so compounded and heterogeneous; and we have no reason to disbelieve otherwise, it being a compilation from foreign artists and foreign styles, at the same time not forgetting to take advantage of the fixed orders. The earliest and most successful effort in attracting the attention of the admirers of the arts, was the ceiling at the Chapel Koyal, St. James', painted by Holbein in 1540, shewing a decided proof of his taste and architectural skill; and the result of all his imperfectly directed efforts of genius were such, you might perceive a grandeur and richness, combined by the effect of the grotesque and eccentric ; and its character is of that description, to appre- ciate its beauties, (if it has any,) it must be studied by an unbiassed mind, and requires a very careful examination, before the complexity of form and enrichment can be well understood. ORNAMENTAL DRAWING. ] 75 The following style is deceptive to many persons; for wherever gables, ornamental finials, pendants, oriel, or projecting windows, and pinnacles, are seen, it is immediately termed Elizabethan. There you are wrong, all these addendas are formed on the basis of the old English school, or, more properly speaking, domestic architecture ; but the theory on Gable-end Roofs ; or, a number of Triangular Roofs, springing from various directions. which Hakewell and Richardson would fix the pure Elizabethan, is the cinque-cento of Italy, unmixed with any Gothic detail or Gothic en- richment. And they are certainly correct to a certain extent, otherwise from whence do 176 GUIDE TO they make use of the pinnacle and finial, al- though 'not exactly of the Gothic form. Still it has a resemblance ; and, as before stated, it being of itself but a compilation wherever we trace a figure most prominent in any other style. Of course, we are at liberty to accuse Elizabethan. Xovman. them of pilfering from that, or from others ; but, to place before you a correct notion of the Elizabethan architecture, is to strip it of all those hideous and grotesque forms, which, in its progress, overloaded it, and refer to it in its pure and original state ; we shall there find it ORNAMENTAL DRAWING. 177 combined of Roman orders, and mouldings purely the same, enriched in various compartments, of a sort of mixed fret-work, and forming Key Pendant. Gothic Pendant . a style particularly adapted to street archi- tecture, and may be either simple in its appear- ance, or ornamental in the highest degree, my (this, in opinion, is its original character ;) but, in the reign of Queen Elizabeth, there seems to have been no lack on the part of the artists to add grotesque forms, as I intend My illustrating. opinion is, that her pride and will was such, in building, could it have been executed with propriety, that houses, palaces, 13 178 GUIDE TO and halls, would have been covered with precious stones ; and, as that was out of all reason, the favourite artist in those days, John Thorpe, added carved enrichments, to imitate the same. The pure specimens of his drawing, &c. are in the Soane Museum, and a grand collection Bay Windows. they are, not only ornamental designs, but architectural elevations, in which he has shewn great skill and taste. My first endeavour to illustrate the Eliza- bethan, will be to anatomize the various fea- tures and peculiarities, as regards the deco- rations ; not as regards its architectural eleva- ORNAMENTAL DRAWING. 179 tions and measurement, but give you that portion, that you may not be led astray by every grotesque form that meets your eye, to call it Elizabethan. For instance, I am sure, in many of my future illustrations, you will be apt to think me going beyond the point of reason, when I introduce the Roman acanthus scroll, the honeysuckle, (purely Grecian,) Gothic pinnacles, and the orders of Grecian architecture; yet all these combined, without grotesque form, are Elizabethan; but as I before remarked, that when, as some would 18 * 180 GUIDE TO suppose, it had reached the apex of perfection, it was so overloaded with a profusion of ornament, and indecent grotesque forms, that the richness it once possessed was entirely gone, and all beauty of architectural decoration vanished. Grecian. Roman. Roman as. altered to suit the character of the Elizabethan. I shall now commence delineating what I consider its pure character, remarkable fea- tures, and separate peculiarities, as well as the general outward appearance. Its exterior form was composed of gable roofs, as before shewn ; oriel and bay windows in abundance ; arcades, columns, and pilasters, (the moulding purely Ro- man ;) their columns, Grecian and Eoman com- bined ; and grand terraces and canals in their ORNAMENTAL DRAWING. 181 gardens, imitated from the Italians, adorned with vases, fountains, &c. The most splendid set of terraces, at the present day, is stated to be at Claverton, the seat of Gr. Vivian, Esq. ; and a very beautiful example is likewise to be seen at Holland House, Kensington. Entrance porches to the halls, formed a prominent feature to hold benches or seats, and were con- venient places for private conversation, and the halls were used for dining-rooms ; for we see in John Thorpe's designs, the nobles, and their principal guests, seated at meals ; and this ha,bit was likely to linger, as Dr. Johnson justly states, "For in those times both virtue and vice would unite to preserve it, and the hos- pitality and pride of the owner would desire to retain it." Immense screens of decorative panelling, with seats around, divided the dif- ferent apartments. Immense panelled. and ornamented doorways, large handsome fireplaces, an illustration of which I have given in the annexed plate, and which was added, to complete the room, (bought by the Hon. Lieut.- 182 GUIDE TO Colonel Gust,) of the internal fittings at the Star Chamber, or King's Palace, which he had fitted up at his own mansion, as it stood in Old Palace Yard, Westminster. The ceiling of that was most elaborate, it was purely Gothic; and, at each extremity, terminated with the white and red rose of York and Lancaster, the port-cullis, and the pomegranate, which, with Rose, Fleur-de-lis. Pomegranate. the fleur-de-lis, was a very favourite ornament of that time. I have given one of the small compartments of the ceiling, as well as a portion of the decoration around; or, more properly speaking, the screen over the fireplace. It is intermixed with Grecian columns, pilasters, circular-headed panelling, the mixed fret, and Arabesque, combined. The consoles, or soffit bracketSj were ORNAMENTAL DRAWING. 183 of a very curious description, chiefly of an eccentric section, and terminating with pendants. Grotesque and scroll shields, to contain their armorial bearings, were very much used ; the Ceiling of the Star Chamber. ceiling, chiefly moulded in different geometrical forms ; the panelling very richly moulded, and forming figures, terminating with an immense number of angles, which, when of polished oak or wainscot, gave a very bold appearance 184 GUIDE TO and richness combined, as very little furniture was used to detract the attention of the in- ternal fittings. ii, I shall now draw your attention to consoles and soffits, as illustrated in fig. 44, 45, 46, 47, 48, 49, and 50. Fig. 4*, is from the Star Chamber ; you perceive, by the section, the eccentric form as before spoken of, and it has a very light appearance in this view ; but in fig. 45, being the front-view of the same figure, you perceive a heaviness which prevails in the whole of them. Fig. 46 is another description, having the form of an Italian circular frieze, adorned with an imitation of a cut stone, and small scroll shield. Fig. 47 is the front-view. Fig. 48 is very rich and proportionate, it is from the pulpit of North Cray Church, erected in the year 1637; it is one of the most graceful IP, Del el-Sc, 1,2 , E LI ZABTHIAN,2>, TUDOR, 4, 5,6, GRECIAN &B OF THE rVERSITY * ORNAMENTAL DRAWING. 185 forms I have seen of its kind or style. The section, fig, 49, still carries that perforated character, but not to an extent that many do ; the front does not seem to overbalance the side : this is a very excellent study, and the most likely to have been executed when Elizabethan was in the zenith of its glory. Fig. 50, is from the same; and you might almost arrange this with the Grotesque, or semi-caryatides, but here it is in character with the edifice : the figure seems to represent Old Father Time, with the scythe in hand, and 186 GUIDE TO the hour-glass over his head; these trophies speak volumes in themselves, and seem to say, that, when my glass is run, which is set for all men, then will I cut thee off like a shadow. I merely mention these points, to draw your attention, that, however grotesque many forms may appear, yet, when well read, there is always a history or good meaning to be placed on the ideas of the artist, however deficient he might have been in point of execution. Of all the specimens I have seen, this outvies all for symmetrical form. The plan is of a pentagonal figure, and the erection is composed of moulded enriched panels, Ionic pilasters, consoles, and carved en- riched cornices and mouldings, an enriched back board, with circular- headed panel, and carved, as I before stated, in imitation of jewellery. The sounding-board has a blocking course, consoles, and pendants ; in the panelling are enriched scroll shields, or tablets ; and on one is carved the date of its OF THE UNIVERSITY ORNAMENTAL DRAWING. 187 erection. I intend illustrating, in detail, the various ornamented scroll shields, upon it ; and, in the annexed plate, I have given you a mere sketch of the form and exterior outline, which, with the detail, I am sure, will be sufficient explanation of what I consider the purest speci- men of Elizabethan carving and wood erection of the kind in this country. I shall now refer to the pinnacles : these were generally square, some solid, and others perforated in the form of a circular lancet Gothic head, and mostly separated from their base by four round balls, and bound round the centre ; others of an eccentric, and some start- ing from scrolls. These ornaments were used in interior decorations, as well as exterior, and 188 GUIDE TO formed prominent features at the extremities of gables, as will be seen by the previous illustrations; but they were generally of a slender form, and shews more conspicuous by the several indentations at their base. To add effect to many minor decorations, I have seen pinnacles starting from the scroll turns of a shield, and at the angles of various projecting ornament. I have here given you a specimen of one, which is quite sufficient as a guide for all the rest. You will perceive in the accompanying diagram, in reference to the descriptions of scroll used in these points, that they are not what is ..generally expected when the word scroll is named. These scrolls were like the folding, rolling, and unrolling of paper, by ORNAMENTAL DRAWING. 189 which great richness of effect may be pro- duced ; for instance, the foregoing diagram is the principle that seems to have been worked upon. Suppose you unroll a sheet of paper; or, if you like, we will imagine this diagram to be a sheet of paper, rolled the reverse way at each end ; loose it and it will produce that form. When this is done, it will give you the proper form shewn; but yet there is that powerful effect gained, which you cannot obtain very easily by any other means. In . the first diagram you will perceive a dotted line. Now, suppose the light falls from the direction of the arrow, the ray of light produced by the sun is parallel, and, of course, falls in an oblique line to B. This shews, that, greater the projection, (providing in reason, or you might throiv the whole of your object in the shade,) you have a greater effect, and the reflective tints will cause a rich appearance in all the embossed parts, as the second diagram produces, for the chief portion of these panelled shields seemed to have ob- tained a predominancy solely for that reason, 190 GUIDE TO as I described in the foregoing diagram, by lines, which the following figure will shew shadowed, and point out exactly the principle always to be observed, and the most complete basis to work upon. In designing this description of shield, it is not by putting a con- fused jumble of turns, or scroll-heads, because that would be wrong ; the general forms to be observed, are oblique lines, squares, ellipsis, and right-angled figures, bands, or garters, with various shaped perforations ; and are some- times bossed with scroll-heads, which I shall now commence delineating, and likewise ex- my plain illustrations in as explicit and simple manner as possible, for you to arrive at the right method for designing the same. The first of these illustrations is the ob- xx D Wfti J^f- 1 JNIVERSITTI ORNAMENTAL DRAWING. 191 long square, being frequently ornamented with, the angled diamond, or lozenge, and at other times with the elongated square, chamfered off, as it is usually called, to an obtuse angle of about one hundred and twenty degrees ; any thing beyond that would throw off the desired effect, and produce too prominent a feature, and detract the attention from the surrounding decorations. This figure is sometimes flattened at the top, as the annexed illustrations shew. Fig. 51 is the rake of the angle generally to be observed, and the dotted line shews about the quantity to be reduced for the flat surface. I will now take the ellipsis, as the second si. description of centre, which is ^rrflfllf^ Rake of Angle. sometimes confined to bands alone, particularly in that de- partment termed the bolted style; in others it has a boss, or scroll flower; and often the cen- 192 GUIDE TO tres are formed in the figure of a radiated shell, with fillets between. The annexed diagrams are the forms I have alluded to. These shapes chiefly compose the centres, and their exterior forms make the greatest va- riation, the component parts of which I shall next treat of. They are the surrounding scrolls, as before-mentioned, and the ends are frequently mounted with scroll cups, &c. ; these with the others combined, form the various shield panels generally seen, a few of which are compiled in the annexed plate. The first I shall treat upon is the turned ORNAMENTAL DRAWING. 193 and perforated head, fig. 52, being of itself a perfect scroll, the dotted line shewing the perforation. Fig. 53 is more perfect; the dotted line only shews where you must start for the under line which is connected with it. * 52. Previous to illustrating any further, I will explain to you the difference between this and Louis the Fourteenth's, in which the scroll- head has been treated upon variously ; but, to prevent any misunderstanding on your part, it is necessary for me to inform you, that the turned scroll-heads of Elizabethan are always parallel, except in extreme cases ; that is to say, perfectly free from what are termed ribs or fillets, except in the surface, which being in the Elizabethan, and not in the French, as the two diagrams shew. This is worth your particular notice, as 14 194 GUIDE TO their similarity is very likely to lead you astray, but as I mentioned before, only in extreme cases, which very seldom occur. It being my duty to give all I consider useful, I shall next draw your attention to the form consisting of two fillets, with a bulbous scroll-head in the centre, and rarely used without a scroll, or bearded ends accompanying it, (of which I treat next,) and are termed the elongated pan- elled scroll, fillet scroll, and perforated, and seem as if bound with a band, to prevent their growing or spreading too wide apart; and although these panelled ornaments are composed of single straggling pieces, yet, at the same time, in putting them together, there requires the greatest nicety to compress them into an agreeable and graceful shape. The following diagrams are the general figures of the spreading ends; and, before I WNIVERSITT =& ORNAMENTAL DRAWING. 195 leave this portion, I will give a few of the cen- tres, which are attached to the same ; and when all are combined, (as you can refer to in the my plate,) you will, no doubt, see the utility of Elongated panelled End. Circular Head, Beaded. Scroll Head, used with Bulbous Scroll Centre. thus classing the different parts. The first, or most simple, is the bolted end ; second, the cup and flower end ; the third, the trefoil end. Bolted. Cup and Flower. Trefoil. I will now take up another prominent de- partment, namely, the entwinement of perforated fillets, or mixed fret-work, of which there are two kinds, pierced and bolted, and 14 * 196 GUIDE TO in some instances it is most lavishly used, and the conclusion generally drawn by the common observer, is, that wherever this is seen, it must be Elizabethan. This ornament was usually placed at the top of houses, and over various elevated positions, where there was sufficient scope ; but that usually placed on the top of the different projections in front of various halls and seats, is generally termed the bolted style, the difference between that and the intermixed fret, or pierced work, I now intend explaining. The bolted style, as I have before stated, was mostly placed on the top of the front and end facings of mansions or halls, and was composed or designed on the same principle as the intermixed fret, but that, in a lofty position, looked meagre; so, to prevent that ap- -^ OF THE UNIVERSITT; ORNAMENTAL DRAWING. 197 pearance, the forms of square and round-headed bolts were placed, to appear as if the whole of the outer work were morticed and bolted together. The general principle that seems to have been practised, was allowing the square and circle (from whence started the various perpendicular and horizontal bars) to be double the width of the bar, as the previous diagram : and however complicated the form may be, yet the above is the plan to be observed throughout. The number of different pieces that composed this were few, but it was the intermixture and repetitions that caused the variety. 198 GUIDE TO I have now given you, by small illustra- tions, a few of the leading points, in fact, almost all; and you must be careful when designing this description of ornament, that wherever you have a square department, or the formation of a shield, that all your smaller squares come opposite each other, as seen in the foregoing diagrams ; if you do not, it will not only be entirely wrong, but at the same time look very bad. II II Further illustrations of this kind you will perceive in the accompanying plates; and I shall now treat on the pierced, or mixed fret- work, which was most commonly used in every department where decoration was required, even surrounding the whole shaft of a column, the facings of pilasters, and the different por- tions of panellings, but more particularly on the upper extremity of cornices, a very peculiar appearance is given to this ornament ; and, ORNAMENTAL DRAWING. 199 when pierced and backed, the ground-work has a frosty effect, done with a small round punch, and at other times merely circular holes, at intervals, as the annexed diagrams. The addition of this ground-work is peculiar to* itself, and, is seldom or ever found in any other description of decoration or carving, or scarcely used where the bolted style is introduced, because it would detract the attention from the appearance of the face of the ornament, which, when carved on the frieze of a room, looks very well, with intervening soffits and block cornices around, circular-headed doors, windows, and spandrels. All this is in character to a certain extent, if not profusely used, to compose or design this kind of ornament. I will now explain the intermixed perfo- rated fret-work, which is composed of the eccentric scroll figure and plain volutes, intersect- 200 GUIDE TO ing points between, keeping them at a proper distance, so as not to jumble the whole together. All these are joined by perpendicular and horizontal lines and right angled bars, sometimes terminating with a paper scroll-head and jewelled centre, and surmounted with pinnacles and bases, various little bosses, and corded laurels or flowers intermixed, Of these various portions you will find outlines in the adjoin- ing plate, merely as plans for you to design upon, and fill up, These may, in some in- stances, be surrounded by a fillet, (but not too broad or too deep, that it may have the ap- pearance of a great hollow,) and in other in- stances it may be bevelled off on each side ; which, when closely grouped, add greatly to the variety of effect. All these points, you will perceive, are at- tended to, as far as necessary, in the accom- panying plate ; and will conclude with giving a few illustrations of another prominent feature of earlier times, and which go conjointly with my previous remarks, viz. the carved oak ORNAMENTAL DRAWING. 201 and moulded ceiling; and, in some instances, I consider these portions of decoration gave the greatest opportunity for the display of Geometrical study in all architectural ornament, more than any thing that could possibly be thought of, and must have caused an immense opening for study, some of them being of a complicated form and variety of figure. I have introduced a few of them, leaving you to form others of your own, which may very soon be done, by laying down a rule, as I have added to some of the annexed illustrations. Fig. 54 is a portion of the ceiling in Queen 202 GUIDE TO Elizabeth's room, Dorton House; Fig. 55 is from the Sexton's House, St. James', Bristol; Fig. 56 is from a farm-house, once known as the Duke's House, Bradford; Fig. 57 is from the same house, in the upper floor. Dorton House. These explanations are all I think necessary to complete this portion, but will give an illustration of what I consider the origin of this ORNAMENTAL DRAWING. 203 curious kind of decoration, which it certainly is, and not very easy of comprehension, or to retain in your memory; the piece I allude to is on the annexed plate, taken from an Sexton's House, St. James', Bristol. old steel lamp at Nuremberg, dated 1586 ; it seems, in this instance, to have been in a very imperfect state to what it was brought to a few years after ; still, here we have the sup- 204 GUIDE TO posed original, and we should always