Part IV

the standing goddess, 40 ft. high, was of gold and ivory (called chryselephantine sculpture], the drapery being of beaten gold Aand the exposed parts of the figure of carefully-fitted pieces of ivory. seated chryselephantine figure of Jupiter, about 58 ft. high, in the temple of Olympia, was also by Pheidias. Pausanias, the Roman traveller, enumerates some ten chryselephantine statues which he saw in his travels (A.D. 140). The Roman period is noted for the many beautiful Consular diptychs, which may now be seen in our national museums. They consist of two ivory leaves usually 12 by 5 in., the inside having a slightly sunk plane covered with wax for writing upon, the outside being enriched with delicate carved reliefs (figs. 7, 8, and 9). These diptychs were given by new consuls on their appointment, to their friends and officers of the state. The consul is usually represented seated on the cushioned curule chair, or chair of state, and his name is generally written across the top of one leaf. The Byzantines enriched the covers of their manuscripts with ivory, of which an illustration is given in fig. 6; the ivory throne of Maximian, Archbishop of Ravenna (A.D. 546-556), is also of this A period. beautiful treatment of ivory was used in the I3th and 1 4th centuries by the Saracens of Egypt; they frequently worked a fine geometric inlay of ivory upon ebony ; in other examples ivory panels were pentagonal, hexagonal, or star-shaped, and carved with delicate arabesques, the framing of the panels being of cedar or ebony. In India ivory carving reached a high degree of perfection, especially in the many ivory combs, with pierced and relief work representing the figure of Buddha surrounded with foliage and richly caparisoned elephants. In the Carlovingian period, 8th to loth centuries, ivory was largely used for coffers or small chests. During the early Gothic period in Italy and France, ivory crucifixes, pastoral staffs, croziers, statuettes, and triptychs were made in large numbers ; and the ivory combs and mirror cases of the Renascence period have fine reliefs of legendary or allegorical subjects. Of pictorial ivories the modern Japanese craftsmen show the highest technical skill, combined with a keen perception of nature and movement, yet their ivories lack the beauty and dignity of composition and the decorative treatment of the early and Media-val ivories. 141 BOOKBINDINGS. Plate IVOBY noaKCOVER..a Cemw 31ND1HG IN BROUT" lATHEft ITALY BCMEDlCTlMEMOhA5TDJY.DUfthAn. 5TAMPTD WVNEL BfJCHAP" NORJTtt 6 3TAJ1PTD LCATHCBHMWnO.'5'OeOftOE EMOUSH PED MOROCCO hlMUMO TOOLED LI OOLD BY MCHOLAl' EVE Km ncwjocxru Mnoino t in.ro WITH mt Aftn? ti CVTMtH Of 1XH IL-* Xffl I 42 TOOLED IHOOLD GDOUCRBinDIMO Ti {{; * V' . . T . T ' T. . vVYf { t t t Ot BLUr>UJRlX<.-C H.H./ni> /U1DTOOUE OOKBINDINGS. The covers used to protect manuscripts and printed books have always offered a suitable field for deco- ration, hence ornamental covers of various periods and materials are numerous. Ivory carved in relief or cut in open work, was frequently used for early Byzantine MS. (fig. i). The chief material in use since the loth century is leather, stamped with dies or tools. An early example dating from the loth century is of red leather, with a raised interlac- ing Celtic design, and is now at Stonyhurst. Four remarkable leather bindings were executed at Durham for Bishop Pudsey (1153-95), stamped with small dies, of which there are over 50 varieties. Con- temporaneous with these were similar stamped covers of the Winchester Domesday Book, produced at Winchester, and the Libre Sapientiae, at London. The tradition was continued in the I5th century at Oxford, and by Caxton (1477-91), who frequently used intersecting diagonal lines, between which small dies were placed. In the Low Countries and in Germany many beautiful bindings were produced by the panel stamp. The earliest English example has the Arms of Edward IV. impressed. Other fine examples are by F. Egmondt (1493), Richard Pynson (1520), and Jean Norris (1528), who used the acorn panel (fig. 3), and the S. George by John Reynes (fig. 4), who was binder with Thomas Berthelet (1542) to Henry VIII. The introduction of the roll in 1530 superseded the panel, and with the exception of those by Nicholas Spering, of Cambridge, these designs with Renascence figures and arcades are not to be compared for vitality and beauty of detail with those The gold tooling, which superseded the of the " blind earlier period. tooling," was introduced from Saracenic sources into Europe at Venice, where, in 1488, Aldus Manutius commenced his fine series of painted books, and his early bindings (1500-10) had parallel lines and slight Arabian enrichments at the corners. Then followed the beautiful interlacing patterns that were executed for the famous book collectors, Tommaso Maioli and Count Grolier (figs. 5, 6). The Royal bindings for Francis I. and Henry II. were by Peter Roffet, Philip le Noir, and Geoffrey Tory, who probably was also responsible for the Grolier bindings. The 1 7th century famous French binders were Nicholas and Clovis Eve (fig. 7), Mac Ruette, and Le Gascon, famous for his pointilU work. The i8th century binders were Boyet, N. and A. Padeloup and the Deromes, while the bindings of red morocco with broad tooled borders, executed for the Earl of Oxford (1710-41), known as the Harleian style, and the beautiful and refined bindings by Roger Payne (1795, ^S- 9) are f contemporary English work. The early Grolier while the bindings tools were of " Eve " distinctly Arabian have interlacing and solid or circular and barred, square panels with sprays of foliage. Some French bindings for Henry IV. are tooled with a semis of monograms or flowers. Examples 5 to 9 are in the John Kylands Library, Manchester. 143 TEXTILE FABRICS. Plate 52 EGYPT I AM n AKHA nAnCHC3TCX COLLECTION 5 CGYPTIAM fABMC 6 CCMTUR.Y SCXJTH KcnainoTon nustun KM 5K.ILIAM. IS^CCMTUW. 3 StCILlATI O^CCMTUW 5.K.r. SOUTH ITAUAM.H^CCnTWf.S K POCK coLLCCTion.nAnCHryrcfv 144 FABRICS. The utility, universality, construction, texture, ornamentation, and colour of textile fabrics are full of interest and suggestiveness, for in the remarkable development of textile fabrics we may trace the continuity of style and tradition, the intermingling of races and customs, and the grafting of religious ideas with the wealth and luxuriance of the past. All fabrics wrought in the loom are called textiles. They are broadly divided into three classes: (i) Plain fabrics in which the warp and weft alternate equally; (2) those fabrics in which a pattern is produced by the warp and weft intermingling in different proportions or colours, figured cloths and tapestries being included in this class; (3) those fabrics in which the plain textile No. I is enriched with the needle or by printing, termed embroideries or printed fabrics. Owing to their perishable nature, few remains of ancient textile fabrics are in existence. The oldest examples are found in the tombs of Egypt, where, owing to the dryness of the climate, some fabrics of the early dynasties still remain. They are usually of fine linen, and without enrichment, yet upon the same tombs are many painted patterns that undoubtedly show a woven origin. With the exception of a few tapestry fabrics of the XVIII. dynasty, the oldest figured fabrics found in Egypt are of the 6th century A.D., and they show a remarkable similarity to the early patterns o'f Persia and Byzantium, for it was in India, Persia, and Arabia that textiles reached their perfection of workmanship, and their wealth of material. This splendid tradition was carried from Persia and India to Byzantium in the 5th century, and in the 8th century the Arabians absorbed and assimilated the arts of Persia, India, Egypt, and Spain, and brought the art of weaving to its culmination during the I4th and i ^th centuries. The ornamental designs of textile fabrics of different nations and periods are characterized by well-defined forms, differentiated byracial influence, climatic conditions, and the myths and traditions of the people. Yet the traditional Eastern origin may be traced through many textile designs, for there is no doubt that India, Persia, and Arabia influenced the designs of textile fabrics more than other nations. This was due no doubt partly to the Eastern weavers carrying their art and traditions with them to various parts of Europe, and also to the exportation of their splendid fabrics, but principally to the beautiful and interesting designs, which were perfectly adapted to the process of weaving. It is no doubt this frank adaptation of natural forms and their appropriateness to the technical necessities of woven fabrics, that has rendered this Eastern influence so persistent through many centuries in different part- of Kurope. It is remarkable that even in Italv during the 145 K whole of the Renascence period, with the characteristic scroll forms and acanthus foliation of its architecture and decorative arts, the textiles are quite distinct in style, having the characteristics of the Sicilian, Persian, and Indian ornament. In the 1 2th century, Roger II., the Norman King of Northern Sicily, took Corinth and Argos, and carried many weavers and embroiderers from Greece to Sicily, and established them at Palermo, where they quickly assimilated the Sicilian style, and produced many fine fabrics during the I3th and I4th centuries. The crusades now began to in- fluence the arts. In 1098, Antioch was taken, and the spoil distributed through Europe. In 1204, Constantinople was taken by Baldwin, Count of Flanders, and the Venetian Doge, Dandolo, and the vast spoil of textiles distributed. It was doubtless under the influence of the crusades that the Sicilian weavers of the I3th and 1 4th centuries produced the many beautiful fabrics enriched with winged lions, foliated crosses and crowns, rayed stars, harts and birds linked together, and with the intro- SICILIAN FABRIC. duction of armorial bearings. Early in the I4th century this splendid tradition was introduced into Italy, and at Lucca many beautiful fabrics were produced, having the same characteristics and technique as the Sicilian fabrics. The cloak upon the recumbent bronze figure of Richard II v in Westminster Abbey, has a pattern of foliage, with couchant harts and rayed stars, and was most probably copied from the original silk made for Richard at Lucca or Palermo. The beautiful materials and designs of Indian textile fabrics are indicative of the love of nature and the splendour of colour of a remote antiquity. Though influenced at various times by Greek, Persian, and Arabian traditions, India still preserved an indigenous ornamental art of remarkable freshness and vitality, the designers choosing their own flora and fauna with rare selective power and adaptive qualities. With an instinctive feeling for ornamental art, aided by the splendid colourings of the native dyes, they produced textile fabrics of silks, brocades, and gold and silver lace remarkable for richness and perfection of material, beauty of design, and harmony of colour. The Indian pine is a familiar form of enrichment, differentiated 146 Plate 53 from the cypress of Persia (fig. I, plate 32) by the spiral at the apex. This typical pine is treated with a wonderful diversity of detail (figs. 4, 5, and 6 ? plate 33). The splendid carpets of India were doubtless influenced by the Persian tradition, and they follow the same methods and ornamental arrangements, adapting, conventionalizing, and emphasising plants, flowers, and seeds, and rendering them with a fine feeling for form and colour. Block printing was largely used for silks and cottons, and many splendid examples are now treasured in our museums. An illustration of a printed cotton Palampore from South Kensington is shown on the previous page, showing the beautiful floral treatment, diversity of detail, and contrast of line and mass. The gold and silver brocades, or " Kincobs," of Ahmedabad and Benares, with patterns of animals, flowers, and foliage richly spangled, the delicate muslins of Dacca, the gold and silver printed muslins of Jaipur, and the woollen shawls of Kashmir with the wellknown pine pattern, are splendid examples of richness of material, delicacy and skilfulness of technique, and beauty and appropriate- ness of prnamentation. The pile carpets of Persia, especially those of Kurdistan, Khoras- san, Kirman, and Ferahan, are the finest in the world, being magni- ficent in colour and having bold conventional patterns of their beau- tiful flora, with birds and animals interspersed with the ornament, giving a largeness of mass and interest and vitality of detail. The hyacinth, tulip, iris, and the pink are frequently introduced, together An with the horn, or tree of life. illustration is given (fig. 2, plate "32) of a " Genoa pink with its fabric, but of simplicity and Persian beauty design, of line. showing the typical This traditional art of Persia had a most marked influence upon the textile fabrics of Europe from the I2th to the ijth centuries. This was no doubt due to many causes ; but the perfect adaptability to the process of weav- ing, the interest, inventiveness, and beauty of the ornament, and the singular frank treatment of form and colour, doubtless appealed to the craftsmen of Europe, and hence we find many Persian designs produced in Sicily, Spain, Italy, France, and Flanders. The finest silk velvets and damasks produced from the looms of Florence show a distinct Persian influence in their bold artichoke and pomegranate patterns of the i6th and i/th centuries. In Genoa, similar patterns in many coloured velvets were produced, and it is singular how largely this persistency of type prevails in all countries. In 1480, Louis XI. introduced the art into France, when looms were established at Tours, and in 1520 they were established at Lyons by Francis I., and the art of weaving rapidly spread. The earliest fabrics of these looms have patterns similar to the Persian and Italian fabrics; but soon the vase pattern, which no doubt had its origin in Byzantine textiles and which had been used by the Persians and Italians, began to influence French designs. 148 However, this rapidly gave place, towards the middle of the 1 7th century, to the imitation of ribbons and laces in textile fabrics, together with a more naturalistic treatment of floral forms, and the beauty, suggestiveness, and interest of the early patterns now gave way to prettiness, affectation, and a naturalistic treatment which culminated in the period of Madame Pompadour. The remarkable invention of perforated cards for facili- tating the weaving of figured fabrics was introduced by Honchon (1725), and continued by Falcon in 1728, by Vancanson in 1745, and perfected by Joseph Marie Jacquard in 1804. The revocation of the Edict of Nantes in 1685 by Louis XIV. caused numbers of weavers to come to England, bringing their art and tradition with them, and many established themselves at Spitalfields, which soon rose to be the chief centre in Europe for the production of silken fabrics. A representative pattern is given in the annexed cut taken from a Spitalfields pattern book now in the Victoria and Albert Museum in which there are many original designs for silk brocades, some by French and others by English designers dating from 1715 to 1754, which was doubtless the most prosperous period of the Spitalfields industry. The patterns, consisting of natural arrangements of flowers, were necessarily largely influenced by the XVII. century fabrics of Lyons. The textile fabrics of Flanders reached a high degree of perfection in the 1 6th and I7th centuries, Bruges being famous for its silk damasks and velvets, the patterns showing the traditional Persian, or the pomegranate and artichoke type of the Florentine textiles. Block printing had been introduced into Flanders in the I5th century, and many fine patterns with Indian motives were produced up to the 1 7th century. At Ypres, fine diapered linen was manufactured, and Ghent was famous for its woollens, but the remarkable prosperity of Flanders was destroyed by the Spanish occupation (1556-1648), then large numbers of Flemish weavers came to England and settled in many parts of the country, bringing their traditions and craftsmanship, which have undoubtedly had a most marked influence upon the production of cotton and woollen textile fabrics in England. Tapestry, of which many fine examples of the i6th and 1 7th centuries arc treasured in our museums and palaces, differs from most 149 Plate 54.. woven fabrics in its method of production, which consists of inter- weaving and knotting short pieces of coloured wefts, which form the pattern, to a strong warp, a ground weft being thrown across each pick to bind the material well together. This is almost the same method as that used in the manufacture of the Indian and Persian carpets. It was during the I4th and I5th centuries, at Arras in Flanders, that storied tapestries were brought to their culmination, and the tapestry workers became a most power- ful guild. From about 1480, Brussels produced many magnificent hangings from designs by the great masters of the Italian Renascence. Raphael's famous cartoons, which are now in the South Kensington Museum, are the original designs for the ten tapestries manufactured at Brussels for Pope Leo X., for the enrichment of the Sistine Chapel in the Vatican ; the seven cartoons, three being lost, were purchased by Charles I. These cartoons by Raphael were in collaboration with Giovanni da Udine and Francesco Penni, and were in 1515 handed over to the tapestry master, Peter van Aelst, and were completed in 1519. Many of the great Flemish painters also designed for the Brussels tapestries, such as Van Orley, Van Leyden, and Jan Mabuse. Francis I. caused tapestry looms to be set up at Fontainebleau in 1539, under the direction of the Italian, Serlio, but it was not until the Gobelin tapestry manufactory was established in 1603 in the Faubourg Saint Marcel by the Fleming, Marc de Comans, and Frangois de la Planche, that French tapestry reached any importance. Under the Minister Colbert in 1667, the Royal Gobelin manufactory produced many fine tapestries designed by the head of the establishment, Charles le Brun. About 1590, some carpets, called Savonnerie, were made in the Louvre, the technique being somewhat similar to the Persian carpets, but the patterns were more pictorial and naturalistic in treatment. Fine tapestries were also produced at Beauvais and Aubusson. Tapestry had been manufactured in England as early as the reign of Edward III., but it was not until the time of James I. that it assumed any importance, when a tapestry manufactory was estab- lished (1619) at Mortlake, under the direction of Francis Crane, with skilled weavers from Bruges and Oudenarde, and the master- weaver Philip de Maecht. In 1662, the painter Antonio Verrio was engaged to supply designs, but owing to a lack of financial support the Mortlake productions ceased in 1700. Other tapestry works were founded at Lambeth, where in 1670 some large tapestries (now in Haddon Hall) were made for the Countess of Rutland. Some fine Flemish tapestries are in the South Kensington Museum, and eight large pieces by Bernard Van Orley are in the it Hall of Hampton Court. The coloured cartoons by Mantegna in Hampton Court, representing the triumph of Caesar, were to he reproduced in tapestry for the Duke of Mantua. There are some fine Gobelin and Beauvais tapestric- in Windsor Castle which were gifts from the Court of France, and they all show the most TEXTILE FABRICS. Plate 55. DROCATCLLE ITALIAM (6"CEm 5.K./A n.owr,-vA3c PATTCK& LATE VCMETIAP1. VCLVC.T. ITALIAM MU3CC OC3AKT3 DCCOMTITS . PAIVJ3 152 no* SATm i8ctnTuKy irons consummate technique, beauty of material, and harmony of colour. The well-known Bayeux tapestry is embroidered in coloured wools upon a white linen ground. It is 214 ft. in length and 22 inches in width, and divided into 72 compartments, with incidents representing the Norman invasion of England by William I. Though reputed to be the work of Queen Matilda, the probability is that it is the work of English hands some few years after the invasion. This embroidery or tapestry is still preserved in the Cathedral of Bayeux. The remarkable civilization of the Incas or Peruvians is shown in the many splendid objects of the industrial arts now treasured in our museums. Of these relics of a vanished civilization, the textile fabrics are perhaps the most instructive and interesting. The high technical skill of the craftsmanship, the fine spinning of the wool and cotton, and the perfection of the dyeing of the yarn, together with the skilful weaving of the figured cloths and tapestries, are a tribute to the vitality and civilization of a people remote from all Asiatic or European influences. These Peruvian textiles are remarkable for the absence of the beautiful flora of Peru as MMWMlMMlMIMMlMW^ elements for decoration. The fret is a frequent form of enrichment. The wave scroll so typical of Greek work is also a TAPC.3TJ<Cr WHITE remarkable element in Peruvian ornament, and illustrates the singular development of the same ideas and aspect of form among people so remote from each other as the Greeks and Peruvians. DOUBLE CLOTH m WPWN uYEUPW. But the patterns that sharply differentiate Peruvian examples from all other styles are the conventional treatments of figures, birds, fishes, and animals. The llama is conspicuous in many patterns, but the bird forms are the most remarkable, having many variations of type and treatment. It is difficult to fix any date for these Peruvian examples, but as it is known that during the reign of Inca Pachacutic (circa 1390) the ceramic art was at its best, we may assume that the sister art of weaving reached its perfection about the same period, and continued until the Spanish Conquest in the i6th century. Many of the fabrics are of double cloth, of deep brown and pale straw colour, and show the same colour and pattern on both sides of the cloth. Some of the fabrics are tapestry woven, having short strands of coloured wool inserted into the fabric by the aid of the needle. 153 ERMS USED IN ORNA- MENTAL ART. Ornament is the means by which Beauty or Sig- nificance is imparted to Utility. It is either Symbolical or Esthetic. Symbolic ornament consists of elements or forms chosen for the sake of their significance .'Esthetic ornament consists of forms or elements chosen for their beauty alone, or their power of appealing to the senses. Of the historic styles of ornament, the Egyptian, Assyrian, Byzantine, Scandinavian, Persian, Indian, Gothic, Polynesian, and much of the Chinese and Japanese are symbolical, having elements and ornamental details chosen for their significance; while in the Greek, Roman, and Renascence ornament the purely aesthetic motive is characteristic. Ornament, again, may be natural or conventional Imitative or Inventive. The terms " " natural and " " imitative have the same significance viz., the exact copying of natural forms, so that they become principal, not secondary as perfect ornament should be. Conventional ornament is the adaptation of natural forms to ornamental and technical requirements, and is seen in its greatest beauty in the frank treatment by the Indians and Persians of their flora and fauna for the decorative enrichment of their textile fabrics, pottery, and jewellery. Inventive ornament is that which consists of elements not derived from any natural source; the Moresque style is a good example of this type. The elements of ornament are the details or forms chosen for orna- mental motives, and the principles of ornament are the arrangement of these forms and details; they comprise repetition, alternation, symmetry, radiation, balance, proportion, variety, eurythmy, con- trast, intersection, complication, fitness, and utility. Repetition is the use of elements in a continuous series; Alternation is the repetition of an element at intervals, with others intervening; Symmetry: when the leading lines are equal or similar (or reciprocal) on both sides; Radiation: when the lines spring from a centre, for example, a bird's wing and the flower of the daisy; Balance and Proportion: when the relation and harmony of parts is based upon natural laws ; Variety implies difference in the details, with respect to form or type; Eurythmy signifies rhythms or harmony in ornament; Contrast is the arrangement in close proximity of colours or forms of opposite characters, as the straight line with the curve, or light with dark; Intersection is the crossing of the leading lines, the Arabian, Moresque and Celtic styles are examples of this principle; Complication is the effect produced by elements so arranged as to be more or less difficult to trace with the eye alone: as in the Japanese key and the Moresque star pattern. Fitness and utility as their names imply are essentials in all good periods of ornamentation. 154 RINTED INITIAL LETTERS. The initial letter, with its beauty of line and colour, its emphasis and distinctive character, was a frequent form of enrichment to the beautiful early manuscripts, and when, in the latter part of the I5th century, the printed book began to supersede the M.S., the "Illumi- nator," or rubricator, was still called upon to enrich the printed page with his beautiful initials. Frequently, however, the rubricator was not called upon, with the result that many of the early printed books are still without their intended initial letters, as we find in many of the magnificent folios issued from the Aldine Press at Venice about 1 500. When the printed initial first made its appearance, it necessarily followed the type and character of the illuminated examples, as in the fine B (page 31), from the Mainz Psalter* in red and black, and which is the earliest example known (1457), printed with the text, and this initial is distinctly based upon the earlier illuminated capital. Illustrations eight beautiful are given on pages printed initials from 5, 7, " 9, 21, 85," the Suetonius 97, 111,135 of of 1470* by the Germans, Conrad Sweynheim and Arnold Pannartz, who in 1456 introduced the art of printing into Italy at the Benedictine Monastery at Subiaco, near Rome. These initials, with their dis- tinctive and refined Roman type, and delicate interlacing scrolls, are admirable examples of the early printed initial. They were* afterwards acquired by Riessinger, who used them in 1480-98 for his printed books at Rome. The five examples, with well-designed interlacings, given on pages 35, 37, 53, 80, 95 are taken from the fine "Euclid" by Ratdolt, of Venice, printed in 1481.* Three excellent initials from the beautiful printed books by Aldus Manutius, at Venice,* are given on pages 3, 91, 117. " Well-designed Gothic initials " are given on page 13 from the F'asciculus Temporum (1481) by Ratdolt of Venice, the D(page 49 j by Antonios Campigollis (1475), and the N from the "Life of Campanus," by M. Feronis, at Milan (1495, Pa e 3^). Eight beautiful Gothic initials given on pages 25, 77, 129, 139, 145, 157, i 58 and preface, having well-spaced conventional foliage and flowers, ar> taken from " Froissart's Cronycles," printed in London by Richard Pynson (1523).* Other examples are the two from the Golden Bible (pages 33, 95) and the C on page 101 from the "Missale " Traijectense (1515), showing an intricate interlacing of the letter itself, the same characteristic appearing in the Romaunt of the Rose given on pages 71, 115, 121, 143, and in the preface. Two rich examples of foliated initials by Israel van Meckenen (1500) are given on pages 55 and 83. The P on page 29 is from \ < nice (1498); the N, page 45, is dated 1510; the G, page I2C, is from the Flemish woodcut alphabet of 1464 (British Museum); and the Ton page 154 is from the Basle woodcut copy of this alphabet. The Italian examples on pages 131 and 155 illustrate the decora- tive use of the figure in the early i6th century initials. * From the original editions in the John KylamU Library. 155 FRETS. Plate 56. RETS. The remarkable universality of the fret, the simplicity and rhythm of detail, its adaptability and usefulness for surface enrichment, have made the fret one of the best known forms of ornamentation. It was used in the surface decorations of the tombs of Egypt, the temples of Greece, and the civic and domestic buildings of Rome. The Greek form with its right-angular and equally-spaced keys, was used on the simple abacas and plain fascias of the Dorian architecture, in bands upon the painted vases, and in a concentric form when used in the interior of the red-figured circular cylix. The Romans, without imparting freshness used the same right- angled key-pattern, chiefly as borders for mosaic pavements and upon the horizontal soffits of their architecture. The Byzantine, using the same type in conjunction with the cross and circle, gave more significance to the fret. The Arabian fret differs in the use of the oblique line, together with the right-angled key, obtaining a won- derful degree of complexity and richness. I The Celtic fret is chiefly a diagonal one, but the recurrent angle is rounded to a curve. Chinese and Japanese frets are usually right-angled, and are used in great profusion, often in a secondary field or background. The Japanese key or " Fret " diaper is used in the greatest profusion ; it is used OXOUWB r\AfvN.n a i ike on s ii ks ancj brocades, damascened in metal, in cloisonne" enamel and in lacquered work, and is fre- quently arranged in irregular shaped compartments or medallions. The Greek continuous fret border is rarely used by the Japanese, who generally use the disconnected or A irregular fret. similar irregular fret border was used by the Peruvians (page 107 and 153), by the Mexicans, and by the natives of Polynesia. The Assyrian and Byzantine guilloche is but a curved fret, but additional in- terest is given by the introduction of radiating forms in the principal interstices of the fret. The simplest form of construction for frets, or key patterns, is to use squared or ruled paper. The Chinese or Japanese key is comparatively simple to construct by making the double T ~ squares in length with arms at each end of 15 squares, and placed alternately at right angles to each other. HE ARCHITECTURAL CAPITAL. The form and enrichment of the Architectural Capital offer one of the most interesting and instructive fields of study in the history and evolution of architecture and ornament. The remarkable persistency of the capital as a distinctive feature in architecture may be traced through many centuries, though differentiated by climatic conditions and racial influences, yet still preserving a remarkable similarity of form and enrichment among the various nations of the earth. The function of the capital is to sustain and transmit to the columns the weight of the entablature or archivolt, and the beauty and appropriateness of the capital depends (i) upon this functional treatment of strength; (2) upon the beauty of profile or mass; (3) upon the enrichment and proportion of the capital. The dignified Doric capital of the Greeks illustrates these functions and conditions by its perfect adaptability, simple functional strength, beauty of profile, appropriateness of enrichment and proportion and harmony of parts, qualities which are essential to beauty of architecture. In the Parthenon (B.C. 438) we have the finest treatment of this capital a treatment full of dignity, reserve, and unison of profile (plate 4). The many examples of the Doric Order in Greece and her colonies attest to the esteem in which this order was held by the Greeks. The Indian capital (plate 33) exhibits the same functional treatment by the use of brackets or modillions, which undoubtedly are a survival of a wooden construc- tion, and which are typical of Eastern architecture. The remarkable persistency of the profile and enrichment of the capital extending through a period of 4,000 years may be illustrated by a series of diagrams of typical examples. The profile of the capital has not varied to any appreciable extent in the examples here given, and the enrichment of the bell is remarkable for its persistency, though differentiated by racial influences. The Corinthian capital, with its volutes and acanthus foliage, is but the architectural continuity of the Egyptian capital. The only pure Greek example of this order is from the monument of Lysicrates, but the Romans continued the tradition, as- similating and elaborating until they produced the magnificent capitals of the portico of the Pantheon and the temple CGYP7- of Castor and Pollux. In these examples 1AM CAP- ITAL fR?T\ PHIUC. the leaves are arranged in series of two rows of eight leaves each, the volutes springing from sheaths and stems between the leaves which support the angle of the volutes. The 158 example of early French Gothic has similar characteristics and illus- trates the continuity of style. The Ionic capital (page 10), though one of the most persistent in the history of architecture, never reached the architectonic perfection of other capitals. This was un- doubtedly owing to the wooden origin being incompatible with the necessities of stone and marble. There is a want of unity between the volutes and ovolo of the capi- tal ; in brief, it has neither coher- ence nor harmony of parts. The exquisite craftsmanship of the capitals of the Erechtheum, with their anthemion enrichment of the greatest purity, the beauty of the ovolo and the subtilty of the volutes compensates to some extent for the lack of unison (plate 4). The enrichment of the architectural capital is no doubt a survival of the primitive custom of binding floral forms round the simple functional capital, these forms being afterwards perpetuated in stone or marble. In early Corinthian examples these floral forms were frequently of beaten metal, which, in turn, gave place to the beautiful marble foliage of the Greeks and Romans. That the ancients used metal FRENCH. CARJ.Y GOTHIC work in their capitals we have abundant proof. In the descriptions of the building of Solomon's Temple we read of "Two chapiters of molten brass to set upon the pillars, and nets of chequer work and wreath of chain work to set upon the top of the pillars." The composite capital is deficient in coherence and unity of parts, having the same defects as its prototype the Ionic. The annexed illustra- tion from Ancient Rome gives an unusual treatment by the introduction of the human figure in the centre of the face of the capital. The Byzantine capital differs from those of the Greeks and Romans in its marked symbolism of detail and the prevalance of the cushion form. fbAPCII Functionally, this type of capital is admirable, yet it lacks the vigorous upward growth of the Egyptian and early Gothic capitals. The Byzantine capitals have a wonderful complexity and variety of detail, such as interlacing circles and crosses with their mystic symbolism, basket work, chequered details, and the traditional sharp acanthus foliage of the Greeks. These features are seen in the greatest profusion at S. Sofia at Constantinople ; S. Apollinare and S. Vitale at Ravenna, and S. Marco at Venice. These splendid capitals of a splendid period are exceed- ingly beautiful in fertile inventiveness of enrichment, and show the assimilative power of the Byzantine craftsmen. The abundant use of chequer work, wreaths of chain work, aofndwhoifclhilyarweorfikguirnedByiznanRtuisnkeinc'aspit"alSst,onmeasnoyf Venice," show the continuity of style and tradition in architecture. The Byzantine capitals have the square abacus, usually consisting of a simple fillet and chamfer enriched with the billet, dentil or star pattern. The Dosseret, a singular adjunct to the capital, was introduced during this period ; it was a cushion-shaped or cubical stone placed upon the abacus of the capital to give additional height (plate n). The Byzantine influence is seen upon the Norman capitals with their square abacus of fillet and chamfer, and the cushion profile of capital. Some remarkable Siculo-Norman capitals are in the cloisters of the Benedictine Monastery of ,1174-1184). inventiveness in the 200 capitals, their storiation, the intermingling of figures, birds, and animals with the classic and Byzantine foliage makes this cloister one of the most remark- Monreale in The great Sicily (A.I>. fertility of able in the history of the world. The Arabian capital, which frequently shows the traditional volute, differs from the typical bell-shaped form in its marked squareness of profile with flat or low reliefs enriched with CAPITAL colour. The early Gothic capital is one of the most vigorous and beautiful. 1 60 The perfect adaptability of its foliage to stone carving, the signifi- cance of its detail as emblematic of the Trinity, the spiral growth of its foliage, and the vigorous contrast of light and shade are the chief character- istics of this period. Lacking, perhaps, the delicacy or variety of detail of the Byzantine period, or the later Gothic work, it excelled them in the appropriateness of its enrich- ment, which is more beautiful in the early English examples with their circular abacus than in contemporary French capitals where the square abacus was prevalent. The transition from the circular column to the square abacus was always felt to be a difficulty, and was rarely overcome, but in the circular abacus of the early English capitals we have a break in the continuity of the style of the capital. The English foliage of this period differs from the French in the use of a deep mid-rib and simple trefoil leaf. The French examples have a less pronounced mid-rib, and the leaf is convex in form and divided into three lobes, and the foliage adheres more closely to the bell, consequently the brilliant play of light and shade which is so characteristic of early English work, is generally absent from French examples (fig. 12, plate 17). 161 L The decorated Gothic capitals differ essentially from those of the early Gothic period, a more natural type of foliage being used, consisting of the briony, maple, mallow, and oak. This foliage was carved with singular delicacy of touch and grace of profile, and is beautiful in its modelling and play of light and shade, yet frequently the capitals are trivial in con- ception and arrangement, lacking that an hi techtonic character which is so essential to all architectural constructive features. oeco- The perpendicular, or late Gothic capital, ATCD was usually octagonal in form with square AM7AK conventional foliage of the vine, showing a marked decadence in tradition and craftsmanship. ~&> CAPITAL TCHARJRES. 1 The Renascence capital was frequently marked by a fine feeling for profile, splendid craftsmanship, diversity of enrichment, and vitality of conception, more especially in Italy, where the tradition of architecture culminated in the works of such remarkable men as Leon Battista Alberti, Bramante, Baldassare Peruzzi, San Micheli, Serlio, Palladio, and Sansovino. The tradition was worthily carried on in France by Pierre Lescot, Jean Bullant, Philibert de Lorme, and De Brosse, and in England by Inigo Jones, Wren, and Chambers. 162 PLANS OF HISTORIC BUILDINGS. Plate 57. ump in jnalmu imtri fotummitur<tftta cunw ro toan momm (ttterd^ ficfr oittymendt (tyitP.ffiUvfeu.j6Ui mtueatitenin PAOE FROM ONR OF THE UAR1.KIAN MANUSCRIPTS, BRITISH MUSEUM, FRENCH, EARLY I5TH CENTURY. 164 TEXT-BOOKS UPON ARCHITECTURE AND ORNAMENT. ..... Architecture of the Renascence in Italy . . Classic and Early Christian Architecture . . Gothic and Renascence ..... Glossary of Architecture . . . . . History of Architecture Introduction to Gothic Architecture . . Three Manuals of Gothic Ornament . . Classic and Early Christian Sculpture . . Gothic and Renascence Sculpture . . . English Architecture . . . . Handbook of Greek Sculpture, 2 vols. . . History of Greek Art Analysis of Ornament Handbook of Ornament . . . . Pattern Design .... Ornament and its Application The Bases of Design ...... Line and Form W-J- Anderson, 12 6 Roger Smith, 5o Roger Smith, 5o J. Parker, 76 Fletcher, 21 o J. Parker, 5o /. Parker, each i o G. Redford, 5o Leader Scott, 5o J. D. Atkinson, 36 Ed. Gardner, io o Tarbell, 5o /. Wornum, 8o Meyer, \2 6 Lnvis F. Day, 87 66 Walter Crane, 6o 60 History of Art (Revised by Russell Sturgis) . .... Principles of Ornament . . . . . Bibliotheque de 1'Ensignement des Beaux-Arts (various subjects) Lubke, G. IV. Rhead, 36 o 6o Paris, each vol. 4 o An excellent series of illustrated hand books upon the Industrial Arts, by writers of repute, is published by the Authorities of the British Museum, and the Victoria and Albert Museum, price i/- to 2/- per volume. WORKS OF REFERENCE. ARCHITECTURE. A Short Critical History of Architecture . H. Heathcote Statham. A History of Architectural Development A History of Renascence Architecture in England . .... Analysis of Gothic Architecture ...... Antiquities of Athens ...... Antiquities of Rome Architecture and Decoration of the Renascence ........ in Italy F. M. Simpson. Reginald Blomfield. & R. J.- /. Brandon. Stuart Ra'ett. Taylor &> Cresy. Schutz. Architecture : East and West . R. Phent Spiers. Architecture for General Readers . Architecture of Greece and Rome . H. H. Statham & W.J. Anderson R. Phent Spiers. Architecture of the Renascence in England J. A. Gotch. Architecture of the Renascence in Italy //'./. Anderson. Architecture Toscane . A. Grandjean de Montigny 6r Famin. Byzantine Architecture Texier 6- Pullan. Constantinople Sulzenberg. 166 WORKS OK REKERENCK (continued). Dictionnaire Raisonne de 1'Architecture Fran9aise . Viollet le Due. Dictionary of Architecture and Building . . . Russell Sturgis. Early Renascence in England . . . . J. A. Gotch. Examples of Greek and Pompeian Work ...//. Fragments de 1'Architecture Antique ... Renascence . . J. Cromar Watt. D'Espouy. French Renascence Detail . ...... Gothic Architecture .... Gothic Architecture in England . The works of Daly, Sauvageot or* Rouytr. T. Ricknmn. Francis Bond. Gothic Architecture in France E. Corroyer. ...... Gothic Details and Foliage Gothic Mouldings . History of Architecture . . . . J. K. Colling. F. A. Paley. J. Ferguson. History of Gothic Art in England . I^ater English Renascence . . . E. S. Prior. & Beleher Macartney. London Churches of the XVII. and XVIII. Centuries G. H. Birch. ...... Mansions of England . Old English Mansions J. Nash. C. Richardson. Orders of Architecture . . & . J. At. Mauch, C. Normand R. P. Spiers Pulast Architektur, Toscana, Venedig . . . Rnschdorff. Genua R. Reinhdart. Parallels of English Abbey Churches E. Sharft. Renascence Architecture in Spain . . . . A. N. Prentict. ..... Rome, Renascence Buildings Letarouilly. .... Rome, Baudenkmaeler des Alten Strack. ....._/. Seven Lamps of Architecture Ruskin. Seven Periods of English Church Architecture Some Architectural Works of Inigo Jones . ....... Stones of Venice The Architecture of the Renascence in France ..... The Old Colleges of Oxford ........ Venezia . E. Sharpe. H. I. Triggs 6r* H. Tanner. J. Ruskin. . W. H. Ward. Aymer Vallance. Cicognara. .... THE DECORATIVE ARTS AND SCULPTURE. A History of English Furniture Percy Macquoid. \ History of Old English Porcelain . . . Solon. Alfred Stevens Hugh Stannus. Alphabets Alphabets ...... Armour in England Art in Chaldea and Assyria, Egypt, Persia, etc. . Art in Needlework. Lewis F. Day. E. Strange. J. Starkie Gardner. & Ferrot Chipiet. Day. Bases of Design Bookbindings in England and France . . . Walter Crane. W. Y. Fletcher. Catalogue of the Spitzer Collection. Comment discerner les Styles .... \rchitecture, Decoration, Ameublement . . XVIII. Century Art in France --r Miles. Dictionnaire de PAmeublement . . . Havard. Dictionnaire du Mobilier Francais . . . . Viollet le Due. 167 ....... Eastern Carpets WORKS OF REFERENCE (continued), English Ironwork of the XVII. and XVIII. Centuries .... Essays on the Art of Pheidias ...... Farbige Decorationen XV. Century Italian Ornament (Painted) .... XV. Century Italian Ornament ..... French Colour Decoration French Woodcarvings from the National Museums . ....... Fresco Decoration ....... Glass Painting ...... Grammar of Ornament ..... Greek and Roman Sculpture ..... Greek Terra Cotta Statuettes ...... Greek Vase Painting Hand-book of Greek Archaeology . .... Histoire de la Ceramique Grecque History of English Porcelain ...... History of Lace ... Illuminated Ornaments from MSS. Keramic Art of Japan . . . . . La Broderie . . . . . . ... Le Musee de Cluny (Stone and Wood) . ...... lj& Costume Historique ...... Line and Form ....... Mediaeval Art ...... Mediaeval Iron Work .... Old English Plate ...... ,, Glasses Oriental Carpets from the Austrian Imperial Museum. ..... Ornament of Textile Fabrics ..... Ornamental Arts of Japan Ornamental Metal Work . . . . ...... Ornamental Textiles ...... Pictorial Arts of Japan ..... Polychromatic Ornament ...... Pompeian Ornament ...... Stained Glass Windows .... The Art of Colour Decoration ....... The Alhambra .... The Cabinet-maker and Upholsterer's Drawing Book, 1793 The Cabinet-maker and Upholsterer's Guide, 1778 . The Decorative Work of Robert and James Adam. The Gentleman and Cabinet-maker's Director, 1 754 . Trocadero Museum Sculpture, Illustrations of. Tuscan Sculptors V,J. Robinson. J, Stark if Gardner. C. Waldstein. Ewald. Vacher. Nicolai. Gilts Didot. E. Rowe. Gruncr. C. Winston. Owen Jones. //'. G. Perry. Marcus B. Huish. Jane Harrison. & A. S. Murray. Rayet Collignon. W. Burton. Mrs. Pal/iser. H. Shaw. Audsley 6 Bowes. De Farcy. Racinet. Walter Crane. IV. J. Lethaby. Heftner Alteneck. W.J. Cnpps. Hartshorne. Dupont-Anberville. Audsley. Digby Wyatt. Fischbach. Anderson. Racinet. Zahn. Lewis F. Day. John D. Crace. Cht'en Jones. T. Sheraton. A. Heppelwhite. T. Chippendale. C. C. Perkins. Excellent illustrated articles are in the Portfolio Monographs, e.g. : 1 893. English Enamels Greek Terra Cotta Statuettes. J. Starkie Gardner. 1 68 WORKS OK REFERENCE (continued). 1898. Greek Bronzes A.S.Murray. 1 894. Josiah Wedgwood A . H. Church. 1894. Italian Book Illustrations . . . . A. IV. Pollard. Many excellent "Cantor Lectures," by experts, upon the practical application of the Industrial Arts, will be found in the Society of Arts Journal, and have been separately published. The following " Cantor " Lectures may be studied with advantage : 1891. 1885. 1891. 1898. 1894. Cloisonne. Carving and Furniture. Decorative Treatment of Natural Foliage. Decorative Bookbinding. Decorative Treatment of Artificial Foliage. 1899-1891. Enamels. 1892. Indian Art. l &97- Material and Design in Pottery. 1904. Maiolica. 1893. Mosaics. 1891. Plaster Work. 1893-1910. Textile Ornamentations. 169 INDEX. ..... AbydoS 5 Adam, Robert and James, 1 7 2.S 81 .-l^nns Dei . . . . 12- .... Albert!, Leon Battista, 1404 72 w Aldegrever 95 Aldus Manutius . . 143, 155 .... Alhambra 83 .... Amphora 99 Andreani, Andrea . . 64 Anthemion . . . . 17 Apollodorus . . . . 27 .... Arabesque . . . . Arabian 61 83 Arch of Constantino . . 21 Septimus Severus . 21 Titus . 2i ..... ,, Trajan . . . Architecture Capitals . . Atrium 21 158 23 .... Balducco di Pisa, 1308-47 Ball Flower 55 49 ... Baptistery at Florence . . Pisa 56 55 Barili, Giovanni . . .139 ... Basilica . . . . . of Trajan 23 23 Bible of Amiens 53 Black Figure Vases. . . 99 Bookbinding . . . .143 Botticelli, Sandro, 1447-1515 . 60 Boule, Andre, 1642-1702 . 137 Bramante, 1444-1514 . Bronzes. . . . . .... Brunelleschi, 1337-1446. . Bubastes 67 131 56-66 5 Byzantium . . . . 31 Caffieri, Jacques, 1678-1755 . 137 Callicrates . . . . 13 Cambio, Arnolfo di . . 56 .... Caradossa, 1480-1545 . 60 Caryatides 9 .... Castor Ware . . . . Cavo Relievo 102 5 Caxton . . . . .143 ... Cerceau, Jacques Androuet du, 1 505-85 73 Cellini, Benvenuto, 1500-71 60, 133 Celtic Ornament 35 Ceramic Art . . 101 Chairs . Chaldea .... . . . 135, 136 7 Chambers, Sir William, 1 726-96 81 Champleve Enamels . Chateau . . . Chinese Ornament . . Chippendale, Thomas . Chryselephantine Ivories . 122 . 71 . 91 . 136 . 141 Sculpture . 15 Cinque-Cento Ornament. . 55-60 Classification of Classic Temples 10 Clearstory . . -39. 4, 42 Cloisonne Enamels . 93, 121 Coins of Greece . . . 19 Colleone, Bartolomeo . . 131 Column of Marcus Aurelius . 27 Trajan . 27 Conpluvium . . . . 23 Cosmati . . . . 97 Cressent, Charles, 1685-1768 . 137 Crockets . . . . 47 Crosiers . . . . 127 ... Cuvillies, Francois, 1698-1768. Decorated Gothic 75 49 Delft Ware . . . . 102 Donatello, 1383-1466 . 57, 58, 131 Early English Details . . 47 Earthenware . . . . 101 Egyptian Ornament . . 5 Elgin Marbles . . . 13 Elizabethan Ornament . . . 77 Mansions . . 77 ... Enamels . . . . English Cathedrals 121 38 Renascence . . 77 Erechtheum . . . . 16 Eve, Nicholas and Clovis, 1578-1631 . . . 143 Fiesole, Minoda, 1430-84 Frontispiece Flamboyant 53 Flaxman, 1755-1826 . Fontainebleau . . . 104 . 71 Fontaine, P. L., 1762-1853 Fontana, Orazio . . Forum of Trajan . . Francois Premier . . Fra Angelico, 1385-1455 . French Cathedrals . Frieze of the Parthenon . . 75 . no . 27 . 71 58 43 . 14-15 at Phigaleia . . . 15 at Susa . . . 17 Furniture . . 135 Gadroon . . . . o 1 1 Georgio Maestro, 1518-37 . 110 Ghiberti Lorenzo, 1381-1465 . 56 170 INDKX (continued). Gibbs, James, 1674-1754 Gigantomachia ..... Giotto ..... Glass Si 16 56 Gobelin Tapestry . '5 1 Goldsmith's Work . 125 Gothic Architecture 38 ..... Luxor Maiolica . . . 109 Maioli, TomiiuiMi, 1507 5^ . i j; Mansart, Francois, 1598-16' Mantr-na, Andrea, 1431-1517 Marcus Aurelius . 131 Marquetry . . 137 Goujon, Jean, 1505-1568 73 Greek Architecture 9 .... ,, Ceramics 101 ,, Coins 19 Grisaille Enamels . 122 Glass 118 ..... Grinling Gibbons, 1648-1721 . G rolier, Count, 1510-65 . Hathor '39 Hawksmoor, Nicholas, 1661-1736 . . ... 81 Henri Deux Period . . 71 Pottery . 103 Matsys, Quinton, 1450-1529 . 129 .16 Mausoleum . .... Melanesia 3 .... Memphis 5 Meissonier, Juste-Aurele, 1693-1750. . 75 Michel Angelo, 1474-1563 . 60 Michelozzi, 1450 . . 58 Mohammedan Ornament ... Moresque .... Mosaics 83 83 .... Nike Apteros Nineveh . . . i <> 7 ,, Quatre Period . . 71 Hepplewhite . Herculaneum ... . . . 136 29 .... Hispano-Moresque Ware. . Hokusai ..... Holbein, Hans, 1488-1554 . . Horns 109 93 77 5 ... Illuminated Books . . Indian Ornament 35 89 Inigo Jones, 1573-1652 . 79 Oppenordt, Gilles Marie. 1672 1742 . ( )pus Alexandrinum . . Musivum ,, Tesselatum . . Order of Architecture Corinthian . . . . ... Composite ... Ionic ..... Osiris 75 97 117 10, 22 22 tj 5 Initial Letters . . . 155 Impluvium . . . . 23 Iris . . 5 Ivories . . . . . 141 Pagoda . . . . . Painted Enamels . . . Palaces in Italy Florence . Rome . . 91 122 66 67 Jacobean . 77 Japanese Ornament . . 93 Venice . 68 \Vrona . 69 Jacquard, Joseph Marie, 1752-1834. 148 Jewellers' Enamels . . . 122 ..... Kaufmann, Angelica, 1741-1807 Kent, William, 1685-1748 81 8l Kylix 99 I^acunaria . I^ancet Period ... . . 19, 25 40 Palissy, Bernard, 1510-90 Palladio, Andrea, 1 5 1 8-80 ... Panathenaeic Frieze . Pantheon Parthenon . . . Pax Payne, Roger . . . Penni, Francesco, 1 488- 15 2S . 103 . 65,69 14 22 . 13 127 . i \ ;, f>i . Lescot, Pierre, 1510-78 . . 73 I.- Brun, Charles, 1619-90 . 73 l.( )rme, Philibert de, 1505-70 . Lombardo, Pietro, 1500 . Perino del Vaga, 150^ 'i. Perpendicular Gothic .... Percier, Charles, 1762 i S;X . !' ristylium 75 23 Louis Treize . . . .71.7; . . - 71. 74 Sn/e . . 71,75 . 71, 75 IVrrault, Claude, 1613-88 . 73 ... 1'erjjolcsi. M. A. Persian ( hnamenl . . 136 85 Peruvian Textiles . . 153 Lucca della Kobbki . 57, 109 Peru//!. I'.aUl.i ^1-1536 64,67 INDEX (continued). .... Phidias 13 ..... Piers 39 Pinturicchio, Bernardino, MS-l-iS 1 ? 6l Pisanello, Vittore, 1380-1451 . 58 Signoretti, Luca, 1441-1524 . 60 ... Silversmith's Work . . . Sistine Chapel 125 60 ... Soufflot, Jacques G., 1 709-80 . Sperandio, 1423-90 75 60 Pisano, Andrea, 1270 1345 . 56 Stanze of the Vatican . . 62 ,, Giovanni, 1220-80 . 55 Stevens, Alfred, 1818-75 . 8' Nicolo, 1250 . . 55 Plans of Buildings . . .163 Polynesian Ornament . . ........ Pompeian 3 29 Pompeii 29 Poppy-heads . . . . 51 Porcelain . . . . 105 Portland Vase . . . 115 .... Primaticcio, Francesco, 1490-1580 64, 7 1 Printing in Italy . . 143, 155 Pyramids . . . . 5 Quarries . Quattro-cento ... . . . 8 1 1 56 .... Quercia, Jacopo della, 1371-1438 56 Raphael, 1483-1520 . . 61 ... Ratdolt 155 Red Figured Ware 99 Stained Glass . . . . 117 Stacciato . . . . 57 Staffordshire Ware . . .104 Stoneware . . . . 101 Stothard, 1755-1834 . . 104 Stoss, Veit . . . .139 S. Mark's Plan . . .163 S. Paul's ,, . . .163 S. Peter's . . .163 S. Sophia . . .163 S. Vitale- . . .163 Sweynheym, Conrad . . 155 ........ Tablinum . . . . Talenti, Francesco Tanis 23 56 5 .... Tapestry . . . .149 Tara Brooch 35 Terra Cotta . . . . 111 Thebes 5 Renascence English . 77 French . . 71 Italian . . 55 Tijon, Jean . . . . 129 ... Toft, Thomas . . .104 Tooth Ornament 49 Palaces . .66-9 Ravenna . . . . 31, 97 Regency, The . . . 75 Robbia, Lucca della, 1400-82 57, 112 Robbia, Andrea della, M35-I525 "3 Torrigiano, Pietro . . 77.133 Trajan 27 .... Tre-cento . . . . Triclinium 55 23 Triforium . . . 39-40-42 Tudor Flower . . . 51 Roc aille 75 Udine, Giovanni da, 1494-1564 61 Romano, Giulio, 1492-1546 Romanesque Ornament . Roman Ornament . . Rossellini, Antonio, 1427-79 Rouen Pottery . . Samian Ware . . . . 62,64 . 33 . 25 . 60 .103 .102 Sangallo, Antonio, 1476-1546 . 67 Sansovino, Andrea, 1460-1520 65 Vanbrugh, Sir John, 1666-1726 81 Venetian Glass . . . 115 Verrochio, Andrea del, .... 1435-88 . . . Vestibule 58, 131 23 Vincentine, 1468-1546 . . f>o .... Viridarium . . . . Yitruvius 23 65 Jacopo, 1486-1570 . 68 Vitruvius Britannicus . . 81 Scamozzi, Vicenzo, 1552-1616 . 69 \atteau, Antoine, 1684-1721 . 75 Septimus, Severus . . . 21 Wedgwood, Josiah, 1730-95 . 104 Serlio, Sebastino, 1500-78 . 65 .... Settignano, Desideno da, 1428-64 60 Whrildon, Thomas, 1740-98 . 104 Woodcarving . . . 139 WriMi, Sir Christopher, Sgraffito . . . '>-\ 109 Sheraton, Thom . . 136 1632-1723 . . 81 Wrought Iron . . .129 Sic ilian Fabrics . . . 146 Zormorpic Ornament . . 35 172