GUIDE

FOR DRAWING

THE ACANTHUS.

GUIDE
for

foaming

THE ACANTHUS,
AND EVEKY DESCRIPTION OF

OENAMENTAL FOLIAGE;
BY

I.

PAGE,

Ornamental Draftsman and Designer.

ILLUSTRATED WITH UPWARDS OF TWO HUNDRED WOOD-CUTS

AND

FIFTY-THREE ETCHINGS ON COPPER,

DESCRIPTIVE OF THE VARIOUS CHARACTERS ALLUDED TO.

OF THE

ITKIVERSITT
Xtoitara

BERNARD QUARITCH.
re-printed

188(5.

OPINIONS OF THE PRESS.

"

WE feel an

apology due to Mr. Page, for not before noticing

his truly and interesting and highly useful

this period,

when the florid ornamental

Work, which,

style is so

(at

predominant,

not only in engravings, but in cabinet work, and in the fittings-

up

of

shops, and interior of houses)

instructor, to all inlayers,

must be a valuable

modellers, cabinet-makers, orna-

mental workers, and carvers, and also to students in every

department of the fine arts

and instructions
pieces

for

to engravers

ornamenting

on wood

capitals,

for designs

and head and

tail-

letter-founders,for new and chaste patterns for flowers;

and, as the splendidly-ornamental shop-bills which shed such

a brilliant lustre on the artistical talent of the last century, are

now

being happily revived, 'Page's Guide' will be to

them

of

the most vital importance.

" The
letter-press remarks and instructions in the

first

part

are illustrated by innumerable beautifully engraved specimens

and engraved by the

of the various schools treated of, designed

talented author
writer

and

reflecting

artist of

on him the highest

pure taste

and varied

credit as

talent.

" This
production has our heartiest commendation ; fearlessly

and earnestly recommending

Young

it

to all lovers of the fine arts.

ladies with the assistance of the above work,

may, with

the greatest ease, exercise their judgment by forming fanciful

borders for the pages of their scrap-books.

OPINIONS OF THE PKESS.

vi

"It

is really

gratifying to witness such a concentration of

genius emanating from one of the British school, and in that

peculiar branch of art wherein
foreign countries for examples
oft-repeated assertion

that,

those of any country.

We

and

fair readers to cherish

of their power, let

it

if

we have
it

hitherto looked only to

proves, also, the truth of our

patronized, our artists can rival

again especially implore our young

and uphold,

to the very uttermost

be however insignificant, the talent of our

beloved country, and not to be led astray by the present

fashionable predilection for those innumerable muddy-looking

and ugly productions

of foreign artists,

which unfortunately

disgrace the shop-windows of our book and print-sellers, and

are purchased and prized merely because they are the works of
strangers, whilst our
of

own

artists are literally starving for

employment."

" The
producer of this

Work

for

he

masters at the School of Design

to afford easy instruction

and

it

is,

author, editor, designer and engraver of

is

want

Mirror.

appears, the
is

it

one of the

his object in publishing

by certain rules to enable the

young draftsman to base his designs on safe and secure foundaIt is

tions.

all classes,

a most creditable production

and be of rare value

The Author

concerns.

to those

one that

will interest

whom it more especially

exhibits proofs of great industry as

well as of patient research;

and where his own inventive

powers are applied he

is

abounds in explanatory

illustrations of all the subjects con-

sidered
in art

the style

may

study

is

it

clear

eminently successful.

and comprehensive

with advantage.

publication of the kind

We

The book

the merest tyro

rejoice to

welcome a

our English ornamental designers

OPINIONS OF THE PRESS.

them

are nearly all of

from the wits

The School

of France.

with

issued,

hundred and

Design has already

of
evil,

and

much more; meanwhile

of

upwards

it

again."

" This

we

one

trust, attract

recompense the producer

We

of

by

it,

shall refer

Art Union, April 15.

Work

one

is

of the best

written on the subject,

practical

cheap work,

a hundred engravings, and

forwarding the purpose for which he labours.

to

no doubt,

will,

this

fifty pages of letter-press, will,

general attention, and

of

can beg, borrow, or steal

done something to lessen this crying

ere long achieve

and scarcely dream

slavish copyists,

thinking for themselves, while they

Vll

and cheapest that has been

and from the pen and pencil

man, who has had the advantage

of

of being able to see

his instructions carried into effect under his

own

inspection, as

director of the class of ornamental drawing at the School of

Design

as a further

recommendation

of the

of mentioning, that the illustrations proceed

as well as the pencil of Mr.

Architects

"

We hail with

pleasure this Work,

and

its

Civil Engineer

it

and

has been long wanting

we wish he had

much used by

treated further

the ancients

Omega

We have before

of the

Work."

us an entire and

on

we doubt

success will repay the labours of the Author,

the Alpha and

"

worthy

from the graver,

the rules are explicit, and the matter

instructive

the vine leaf, that being

not but

it is

Journal.

in the Schools of Art

interesting

PAGE."

Work,

who

is

Polytechnic Journal.

new Work,

entitled

'

PAGE'S

GUIDE TO OKNAMENTAL DBAWING AND DESIGN,' the plans and

OPINIONS OF THE PRESS.

Vlll

contents are such as must inevitably repair that loss usually

found in our Schools

of

Art

"This

the

is

is

Work

shown

Work

is

spirited

and talented

letter-press is excellent,

and the

Literary World.

plates well got up."

Arts

we wish the

Author every success; the

in

which great

the rules laid

spirit for the benefit of

down

are excellent

the

the whole of

completed by the Author, which, to praise too

much would appear

a boast

wood-cuts and plates.

in our opinion,

We

it is

illustrated with

wish the

Work

innumerable

every success, and,

no school or student should be without

Weekly Dispatch.

it."

GLOSSARY OF TERMS
USEFUL TO DRAFTSMEN.

Abacus, the upper member of the

capital of a column.
Acroter, a pedestal on the summit
of a column for supporting a
statue.

Acroteria, small pedestals placed

on the apex and other extremities of a pediment, originally intended to support statues.
Antce, pilasters attached to a wall.
Ashlar work, rough stone laid in
irregular courses.

Bevelled, slopped off.

Buttress, the projecting portion
of a building, used generally to
strengthen a wall as well as give
effect, in

Gothic architecture,

and when separated from the

building by an arched piece, it
is

termed a

flying buttress.

Campa, or Sell, that part of the

Corinthian cap, on which the
foliage is placed,

the abacus

and on which

rests.

Congee, a species of moulding.

Corbel heads, the extremities of
corbel stones, often carved.
Corbelled, one stone projecting
over another to support a super-

incumbent

stone.

Corona, the crowning member of

the entablature.
Corrugated, wavy or fluted.
Croivsteps, the coping stones of a
gable rising one above another.
Crypt, a vault.
Cumuda, a kind of Hindu circular
moulding.
Curbed, contracted towards the
ceiling by being carried up into
the roof.
Cuspa, points formed in the upper
corners of the window by uniting the two curves.

Cyclopian walls, walls built with

land stones heaped on each
other without
mortar and
irregular.

Cap of a Chimney, the upper and

Dado, the flat side of a pedestal

between the plinth and the cor-

moulding, with an ornament resembling a pigeon's head at its

between the skirting and the

chairs' back moulding in rooms.
Dormar windows, windows in a

projecting part of the snaft.

Capotum, a kind of Hindu torus

termination.
the part enclosed by walls
of a Grecian temple.
Check-plate, the piece of wood in
the lintel of a doorway, against
which the door shuts.

Cello,,

Chevron moulding, an indented

moulding in the Anglo Norman
style.

Chimney shafts,ihe part of a chimney which rises above the roof.

Cincture, a ring or fillet serving
to divide the shaft of a column

from

its capital

and

base.

Clere-story,the centre of a church,

when it rises above the two

Clere-story

tvindoivs,
in ditto.
corners.
Coins,

windows

nice

applied also to the space

roof.

Dressings to windo^vs, mouldings,

lines

or

rather

architectural

and forms surrounding

windows, so as to prevent them
from being "mere holes in a
wall."
.us, a species of moulding.
'ngaged columns, columns attached to a wall, and projecting

from

it half or three-quarters
of their diameters.

Entablature, a horizontal mass

placed on Grecian columns it
consists of three parts
the
:

architrave, frieze, and cornice.

JVpistyliuHi, or architrave.
Facade, the principal face, front,
or elevation of any building.

GLOSSARY OF TERMS.
Fascia, the face or principal member of the architrave, generally
divided into three parts, to the
Ionic, Composite and Corinthian.
Finial, a pointed ornament terminating a gable, in Gothic architecture.

Frets and guillochis. Frets are

ornaments composed of a series
of small straight fillets ; and
guillochis of a series of curved
fillets, intermixed with straight
lines.

Frieze, the plain surface between

the corona and cornice, on which
the triglyphs are placed in the
Doric, and ornaments in the
three remaining orders.
Frustum of a pyramid, the lower
part, the upper having been cut
off horizontally.

Greek

cross, a rectangular cross,

the limbs of which are all equal.

Haunches of an arch, the part

behind the springing of the arch.
Inter columniation, the distance
between the columns of any
building.

Label moulding, an outer moulding, crowning a door or window

head, always returned at the
ends.

Lancet windows, windows formed

with lancet heads, in the pointed
style.

Lintels, the side pieces of a window-frame or doorway.

Lotus ornaments, the water-lily

used by the Egyptians.

Minutes, division of 60, for working the orders of architecture,
the foundation being the width
of the base of any column.
Modules, equal parts into which a
diameter is divided, for the purpose of facilitating its measurement or delineation, and then
into minutes.
Mullions, upright pieces, dividing
a window into three or more
parts.

Mutules, the modillions in the

Doric order are called inutules.
Neck of a chimney, the part immediately under the cap.
Newel the turning-post of a staircase.

Octostyle, a building with eight

columns in front.
Pagoda caps, caps for ventilation.
Palm-leaf ornaments, leaves of
the palm, in general used by the

Romans.

Patera, an earthen cup, or vessel,

used by the Romans.
Patera, an ornament something
like a rose, used to conceal small
openings.
Pilaster, a rectangular pillar at-

tached to a wall.
Pinnacle, a pointed ornament
terminating a pediment, or
buttress.

Rustic-work, stones made rough,

on the outer surface, by tools.

There are several kinds of rustic-work; the most common of
which are the lined, in which
the hollow marks are in straight
and the yermiculated, or wormed, in which they are in curved
or tortuous lines.
Soffits, the ceiling or under side of
any member, or mouldings in a
;

cornice.

Spandrels, the space between the

springing of an arch and the
flat surface it is intended to
support.

Splayed, bevelled off.

String-courses, marked a.nd projecting lines of separation on the
face of a building.
Tazza, a cup.
certain
distinctive
Triglyphs,
marks in the frieze of the Doric
order, and formed by three
glyphs, or grooves.
Vestibule, an ante-hall, or inner

porch.
Volutes, scrolls of the Ionic, Composite, and Corinthian caps.

CONTENTS.
PAGE.

HISTORY AND RULES FOR DRAWING THE ACANTHUS MOLLIS,

........

PERPENDICULARLY

RULES AND PRACTICE FOR DRAWING CURVILINEAR FOLIAGE,

AS

ADAPTED

CHAPITERS

TO

RUNNING

SCROLLS AND

CORINTHIAN

.......
.......

ON STARTING POINTS

.....
.....
......

ON GRECIAN AND ROMAN ORNAMENT

ON THE DESIGNING

OF TROPHIES

ON SWORDS AND OTHER ARMS

21

80
89
112
117

ON EGYPTIAN TEMPLES, HIEROGLYPHICS, SACRED ANIMALS

AND COLUMNS, SUITABLE FOR EGYPTIAN DECORATIONS

ON FRENCH ORNAMENT, WITH

120

A VARIETY OF RULES FOR

.......
......
......
........

COMPOSING THE SAME

134

ON FRETS AND GUILLOCHIS

156

ON ARABESQUE

160

ON ELIZABETHAN

ON GOTHIC

167

DETAILS, AS REGARDS CURVILINEAR PORTIONS

AND PERIODS

ON GEOMETRY
ON MOULDINGS

.....

.........
.........

210
221

239

^>.
(UNIVERSITT)

PBEFACE.
"
IT has often appeared to the Author of the

TO ORNAMENTAL DRAWING,"

many

GUIDE

notwithstanding the

that,

valuable works that have been, and are at present

on

publishing

and ancient

ornament, from

works,

foreign

some other was required

that

edifices,

various

to

prepare the pupil and student, not as copyists, but for a

much

higher class in the art,

many

their

viz.,

own

a self-taught draftsman,

years' study, as

designers;

been a very easy task.

to accomplish this has not

After

difficulties

continually arose on the principle I followed, as a basis

for

improvement,

to paper,

and then

accordingly

that

never

of

my memory

retentive in

all I

referred to

and thus

but holding

copying,

saw, until

my

transmitted

origin,

it

and corrected

mind a

proceeded, keeping in

boldness and freedom of hand, which, when acquired,

always holds a predominancy in the

pery,

many

patched, and meagre

;

is

over the

frip-

aimed at by

and, like all injurious habits, easily acquired, but

not so easily amended.

plished

line,

arts,

which

my

thorough

object,

that

knowledge

of

After studying until

of
all

dissecting

the

accom-

and obtaining a

various

ramifications

PREFACE.

xiv

belonging to the
use,

or

characters

many

and seeing the

difficulties that

in

styles

general

appeared to others in

copying from different works, for the want of perseverance

to

take the right method.

taught (merely
to
to

draw the bough

of

forest,
tree,

without

and on

receive instruction at schools are

now

spoiled,

The

object

years ago, and after trying

knowing how

many who

whose innate

filled

work occurred

of this

many

paper)

spoil

this plan

existing in our British schools of art

tures.
five

first

properly trained, might have

if

ideas,

and

their parents

to please

commence drawing a

Pupils are generally

the

vacuum

and manufacto

me

about

geometrical

grams, those contained in this work occurred as

dia-

being

the most simple and efficacious, but yet had not sufficient
confidence to bring
first

them

knowing

throwing them open to

which has been

them,

principles laid

down

appreciated, both

revised

public,

Subsequently

who thought
means

by no

without

commenced

proper to follow

few;

and the

work have since been duly

in this

by connoisseurs and amateurs, and

no instance have they

friends,

all

the

to

forth

their value.

them

the request of

failed.

By

well,

with

in

many

a determination to

throw them open to the public at large, with feelings

of

arduous enthusiasm, which was really wanted to aid and

improve the art of design.

the spirit of

my

Being dubious in entrusting

wishes to another,

work

as Author, Engraver,

under

this impression, that,

and

commenced

this

Printer, resting assured,

where

may have shewn

XV

PREFACE.

want

of classical literary attainments, it will be

on the part of

my

numerous

being to give that instruction

explanation
art,

my

subscribers,

when

so

much

therefore, that this

self-instructor,

labour

work

only wish

under confined heads of

the engravings not

as

specimens of

first

but give that outline and form which

sight of

pardoned

is

is

bestowed.

usually lost
It is hoped,

will afford that assistance as

and be a valuable auxiliary and remem-

brancer to the universal

draftsman,

it

will then repay

the labours of yours, obediently,

I.

PAGE.

innnnnonr

RULES FOR DRAWING

THE

introducing to

the attention

of the student, artist, mechanic,

and the public

whom
a
solely

this

first

general,

to

work may concern,

of

History

of its being

in

the

Acanthus,

brought into notice, as

regards the adaptation in architectural details,

would be of

many, and

little

n
y t to

quainted with
original.

it,

service,

although

known

to

the youth and others unacit

may be

interesting, if not

A. virgin died at Corinth, and being

buried under or near a pyramidical tomb, her

nurse or companion, after her interment, placed

her jewels, &c., for which she shewed a partiality

when

living, in a

wicker casket by the tomb

and, for safety, placed a

tile

on the top to avoid

i

GUIDE TO

the atmosphere, for the longer preservation of

its

contents.

This tribute being placed on a

root of the Acanthus, (acanthus mollis,} comcalled bear's breach or

monly

brank

ursine, (in

botany a genus of plant belonging to the dydy-

namia angiosspermia
thus,
tain

itself

class,

or the spinosa acan-

commonly termed the dock

but in the spring
fantastically

it

leaf,) is

uncer-

burst forth and spread

around the casque.

Nature

having given the design, one day, a celebrated

architect

and sculptor, Calamacus, who, for the

delicacy

of

work upon marble, and

genteel-

ness of his invention, was by the Athenians sur-

named Catatechnos

that

is

to say, Industrious

passing near this monument, cast his eye upon

the image before him, and began to consider the
pretty tenderness and playfulness of the foliage

which grew

about

manner and form

the

it;

whereof so much pleased him

copied
ful

it

in its rude state,

for its novelty,

and with

his

imagination added and improved

graceful modelled form

columns

at

he

powerit

to

shortly after, erecting

Corinth, he capped them with this

ORNAMENTAL DRAWING.

new

idea and ordained

symmetries, distri-

its

buting afterwards in his works proportions equal

and agreeable

to each of

its

members

other

in

conformity to his the Corinthian mode.

Vallalpandus must needs give to

illustrious

and ancient

He

origin.

a more

it

pretends to

assert, that the Corinthians 'copied it first

the temple of Solomon, of which

was the architect;

and, better

God
to

from

himself

the

elude

previous account, states that the Acanthus was

rarely used
cription

there

is

by the

of this

ancients; and

divine

piece

of

by the

des-

architecture,

no doubt that the originals of the tem-

ples were

of palm branches

which the leaves of the

pondence.

The

finest

olive

bearing

fruit,

to

have a near corres-

example of the ancients

in the adaptation of this description of foliage,

was the frontispiece to the Torre de Nerone, in

Rome, which has been destroyed within

last

century and a half, to the great reproach of

'the age,

sons

the

by the avarice of some particular per-

this

was one of the rarest specimens

of

antiquity, not only for the richness of its orna1

GUIDE TO

ments, but for the contour of

its different

mem-

bers; the columns were six feet in diameter.

not precisely

is

known by whom
what purpose

to be erected, or to
it

was caused

it

It

some imagine

was a temple erected by the Emperor Aureli-

anusj and dedicated to the sun

others, that

it

was only a palace.

Another tradition asserts that

Nero raised

behold

it

Rome, which

is

to

the conflagration of

very improbable, being too great

a work to have been accomplished in so short a

Be

time.

it

what

it

may, certain

it is,

according

to the splendid illustrations of its different parts,

it

was the most magnificent specimen of Corinth-

ian

architecture

that

Other specimens of

Eome

could

boast

this order are in the chapters

of the baths of Diocletian, in

which the volutes

are of ram's horns; this temple was built

Pyrrho

of.

Legorio, in the year 1574.

by

In the tem-

ple of Jerusalem, the chapters of the columns

were entirely of the palm

leaf.

The

castle

of

Lions, at Verone, and the arch of Titus, were of

the composite order, and erected to the glory of

that emperor, on his return from that famous

OENAMBNTAL DRAWING.
enterprise, the

first

of

frieze

and ravages
was

arch

moreover, this

kind of structure

its

The

siege of Jerusalem.

of this arch pourtrayed the spoils

of the temple;

the

mentioning these

specimens are not to deteriorate from the speci-

mens

from

of the present day, far

it; but, as

these were the originals, and from whence our

present architects derived their knowledge, not

only for the different orders, but for their sym-

men

metries, which they, as

reason, will allow, that

from,

all is

attracts

if

thrown out of proportion, and never

common

the eye of the

an ancient
shall

edifice

continue

acceptable to many.

ries,

or

describes

is

observer with

common

print of

would do.

farther previous to

Acanthus

and

these rules are deviated

that grandeur which even

of sound sense

my

description

delineation, as

According to

it

little

may be

Virgil, the

an evergreen plant, producing ber-

round

small

it

as a prickly tree and bearing pods,

like beans, of which, in

fruit.

some

Theosphrastus

instances,

we have

no reason to doubt; for on examining works

GUIDE TO

6
of

Roman and

ancient architecture,

upon the

friezes will

be seen starting stalks and pods be-

tween the

scrolls, as

The

Greeks
it

(Spinosa,}

used

heretofore represented.

is

the

cultivated

being smaller in

its

Acanthus,
parts,

and

more

suited to the style and taste of that coun-

try.

In respect to this description of ornament,

made

the author has

by

rule, that

it

his study to simplify

it

any person, commencing to draw

ornaments for sculpture, stonemasonry, modelling, plastering,

and carving, on

whom

rest the

execution of that portion of the work from the

architects

and designers, who for the want of such

foundation to

work upon, render such under-

takings extremely

difficult, is

the reason that the

following rules have been studied to facilitate and

bring a correct principle into design.

It

would

be wrong to assert that lessons have not been

laid

down

before, yet in so complicated a style,

that not only places

it

beyond the easy com-

prehension of the workmen, but

is

generally

beyond their circumstances to obtain such valuable works

the present

is

far

more simple than

ORNAMENTAL DRAWING.

any yet brought forward to the public, and

trifling

with,

study and perseverance would render the

draftsman and mechanic perfect in this and every

other description of foliage.

no other foliage than the

It is surprising that

Acanthus

is

ancient or

modern

ever

made mention

of

by

Ovid mentions

writers.

any
it

in

representing an immense vase of bronze, adorned

with a mythological

border being

the

story,

covered with the flexible Acanthus, wrought in

gold.

Pliny, the younger, asserts

chosen plant,

for,

may, certain

it

throw

is to

it

fall

in

it

is

nature's

whatever form you

into

graceful curves.

Atlienaius relates that the canopy ordained to

convey Alexander the Great to Egypt, the car

was

of golden columns, intermixed with the rich

foliated Acanthus.

The observation

brated French author,

but very true

it is

of the cele-

De Cordemoy, is very rare,

strange, he observes, people

soon cease to esteem that which

is

and reason must always be

violated,

natural; nature

and we

prefer a confused jumble of painted leaves of

the laurel or olive, to the

simple and graceful

GUIDE TO

contours of the Acanthus

of the

trials

many

that

how

well this speaks

designing to alter this foliage,

made

been

have

still

in

a substitute

has never yet been found where such freedom

and beauty

exists

some attempts are very good,

but they are sure to

fall

into the original ap-

pearance, and

when once a fundamental

is

how soon

got perfect,

student be

the

will

rule

able, with strict attention, to arrive at that state

of perfection

which must repay

all his

labours,

with the pleasure of conquering, and making

every study in design easy in
I

itself.

think sufficient has been said respecting

of foliage,

this description

and as every other

has been derived from that one, except sundry

and

variations

plained in

styles, of

its

due course and

now commence
rules, to

which each

delineation

will

place.

of

the

be ex-

We
first

complete an Acanthus leaf to any

Eule

mensions.

1,

will

four
di-

plate 1, is the first outline

or base principle of the foliage.

Draw

a perpendicular line, a

height you

may

b,

to whatever

require, or think proper, being

ORNAMENTAL DRAWING.

careful to have the width of your base, or hori-

due

zontal line in

which

proportion,

half

is

the height, or thereabouts, according to the

uation in which

found half to be
the

ciples

formed.

be placed; but I have

to

it is

and on those prin-

sufficient,

chief

my

of

Your base

illustrations
c

line,

c,

is

into six equal parts, one of each,

line, will

perpendicular

sit-

will

be

to be divided

d,

from the

give you where to start

your conical lines to form the pistules on ; then

the perpendicular

divide

line

into

five

equal

parts and one-fifth, will give you the springing

for the head,

which

starts

your pistule

or circular

from a
line,

portion

drawn

line

as this

small

of the

leaf,

parallel

with

diagram

will

shew:
i

Plate

will

shew you what

sub-division to proceed with pre-

vious to forming the exterior line

of the leaf;
it,

we

will

and better

to prove

suppose that I have

a given size to execute an Acan-

thus foliage,

height 2 feet, base

10

GUIDE TO

PLATE

l.

ORNAMENTAL DEAWING.
I will

1 foot.

make

this

my

11

outline,

accord-

ing to the previous diagram; now, I have 24

inches to compose six raffled leaves on each side
of

my

perpendicular line, the bottom or base of

the leaf

is

may give most to

as we rise to the
be 6

will
3^-

inches,

the

top,

give

the

bottom

top, so that the

inches,

which,

and 2J inches
curved,

properly

same appearance as
this,

the plan

is

this dot

and starting

will carry

of the leaf

through the

leaf,

if

on each
dot,

and

your pistule

then by gradual

curves, rising from these points,

ing the next one as

will

plate

you can form a

you

for

laid for plate

which shews the exterior plan

from

raffle

inches, then 5 inches, 4 inches,

intersecting line

and gradually diminish

that,

having done
2,

we

always the largest, consequently

it

and meet-

were passed

as the following

dia-

gram shews.

You

perceive that you have a leaf in fact,

which, on gaining this point perfect, I

the greatest part

is

may

conquered, as on this rest

say
all

GUIDE TO

12

the grace of the foliage afterwards.

I will

now

leave the diagram lines and proceed with plate 3,

where the contour of plate 2

dotted

lines,

is

kept by the

and by dividing each of these leaves

into three parts, as will

be seen by diagram

3,

you have the third process complete, and gives

you where

terminate

to

stamina of the

leaf,

shew

on

of the foliage,

partment of
curvilinear
feasible

it

upon

scroll

stalk,

depends the freedom

this rule applies to every de-

work whatever, or however

may chance

to be,

this is

very

consideration, as this foliage is a

portion of a plant, of course every fibre

arise

or

accompanying diagram

this alone

and

centre

which runs between each

pistule, as the enlarged

will

the

from the base or

root,

and

to

must

whatever

ORNAMENTAL DRAWING.

PLATE

2.

In this figure you will perceive the perpendicular

only four parts, and

BB

13

the springing points.

line is divided into

14

GUIDE TO

height or
ever

way

the origin

size,

the same, or what-

is

may have grown.

it

necessary to illustrate

I do not say

is

but to prevent mis-

this,

be placed aside the

takes, another shall

it

scroll,

any other course be taken

to prove that should

than heretofore mentioned, a peculiar character

would appear, and out of

You

rect.

my

Keturn

will

ideas.

PSP S Stem.

to plate 3, the dotted lines will

the principle of

proportion, yet cor-

by these two diagrams the

will see

principle of

all

my

previous explanation.

shew
Plate

soon convince the reader of the true work-

ing of

my

diagrams
*

here

Pistule.

is

leaf,

S Stamina.

on one

side,

15

ORNAMENTAL DRAWING.
stript of all adjacent lines,

and on the other

is

another sub-division of three parts, which complete the leaf to a certain extent, according for

what

may be

it

effect of

are

as

on

this point the

splendid designs are lost; they

many

worked

required

to

the greatest nicety, and

elevated, they form a confused jumble,

when

and the

architect,

and

blamed;

for friezes, plate 4, is sufficiently cut

at the edges.

You

you have arrived as

with

connected

others

it,

are not to suppose that

far as plate 4, that

are

when

you have

the leaf finished in so chaste and rich a style as

it is

sometimes required, far from

ruffling of that leaf is

shaped; this
as plate
&c., or

5,

is

for

friezes,
is

when properly drawn,

modillions,

rich to the passing observer

this rule

mouldings,

required, as the height

reduces the parts to the eye, and

and

the edges

termed dentata, or tooth-

sufficient

where altitude

it,

it

looks perfect

be

it

as

it

may,

must be got perfect before you com-

mence with

plate 6.

Here

is

a leaf as perfect

and chaste as ever need be used on any depart-

ment

of work, either for foliated capitals, orna-

16

GUIDE TO

PLATE

3.

17

ORNAMENTAL DEAWING.

mental embroidery, carving, or modellings, but

for vases, bosses, ceiling ornaments, or

chiefly

wherever this style

The same

may be gone through

rule

foliage, as plate

of the leaf

required near to the eye.

is

1, 2, 3,

and 4

may be completed

and character

as plate 6

and

to

draw this

and the whole

in the
for a

same

style

running scroll,

or frieze, on a small scale, no leaf can look more

rich

and

perfect, as will

ing numbers

in

which every department of

curvilinear foliage will

trated

be treated on and

illus-

thereby gradually producing portions of

springings, headings,

foliage,

of bosses,

other

be shewn in the follow-

&c.,

generally used in friezes and

description

separate piece

of

that

scroll-work,

when put together

series of designs,

may become

and terminations

shall

every

form a

and prove how easy a student

his or her

own

designer.

18

GUIDE TO

PLATE

4.

ORNAMENTAL DRAWING.
PLATE

19

5.

UNIVERSITY

20

GUIDE TO

PLATE

6.

ORNAMENTAL DEAWING.

21

KULES AND PRACTICE

FOR

CURVILINEAR FOLIAGE.

HEN
far

ment of an Acanthus
dicular position,

carried through

near foliage;
is

you have gone thus

you have the

rudi-

leaf perfect in a perpen-

and the same

on the

first

rules

must be

like principles for curvili-

I do not

mean

to state, that

necessary for every design you

make

through those rules, and for this reason

to
:

it

go

after

once or twice practising them you will naturally

get them by art sufficiently to draw by hand,

22
for

GUIDE TO

when the mind

particularly

is

once fixed on any object,

where benefit and interest are com-

bined, nothing can scarcely ever obliterate

still,

I would wish to impress these principles,

Where the work

practised a

is

on a large scale; for however

man may

he seldom arrives to

be,

that perfection, like Phechotos,

cumference or segment of a

he pleased, without leaving

known

who

could very

and throw the

leisurely take a piece of chalk

well

it

circle, in
1

off

cir-

which way

and that was so

to every person of note, that

when

he called upon his friends, he never required

card case, but would strike a circle to let them

know who had

called.

I merely mention this

anecdote to prove what practice will do, and a

proper knowledge of fixing the hand will almost

accomplish what I have previously stated, which
I will illustrate, as nothing

mechanical than the

particularly, as will

gram ;

for

human

is,

or can be more

frame, and the hand

be seen in the following

when once you

fix

dia-

your wrist in a firm

position, the carpus bones, or seven

bones of the

wrist, will act as a pair of compasses,

and one

23

ORNAMENTAL DRAWING.
of the

bones, properly

named the

os.

lunare,

the two
you perceive acts on an apex, between
bones of the arm, viz., 1} the ulna and c
the radius ; for instance, you rest your

on

c,

and through the

arm

elasticity of the ten-

dons, sinews, and muscles, you are almost

able to strike the annexed diagram,

without moving the arm.

ceive the principle

placed

an

anatomical

crayon, which shews

d,

by

fig.

You
2

fig. 1,

will per-

here I have

hand, holding

by commencing

at or about

continuing your segment until you arrive at

the diagonal line, e ; from the point a you strike

an arc of sixty degrees, and by extending your

fingers

from that point, you immediately form

a concave line adjoining, or more technically

termed a cyma recta or an ogee for mouldings.

I allude in this

hand

is

manner that your freedom of

obtained on this principle by practice,

for sketching off quickly

instantly

occur

to

any ideas that might

you, naturally concluding

should an architectural, or working drawing, be

required,

you would immediately

strike

your

24

GUIDE TO

moulding, and other curvilinear portions by rule

and as there are so many publications on that

subject,

it is

not necessary for

me

to illustrate at

present those rules, at the same time every min-

utia will

be given that I consider necessary for

different professions or occupations

occasion to enter
sufficient

has

more minutely on

now been

principle, utility,

there

is

no

this point,

stated respecting the

and freedom of the hand ; thus,

I feel confident that with perseverance,

lowing a few simple but

and

fol-

efficient practical rules

25

OENAMENTAL DRAWING.
that

I shall lay down, they will lead you into

such

facilities

for

drawing

foliage, that

you

never regret the study and perhaps labour

have at

first

cost you.

it

will

may

The following diagrams

were struck at once, without taking the pencil off.

The hand placed

whole

of the

in the position before stated, will accomplish the

above diagrams.

ow

to

proceed with

FOLIAGE.
I shall com-

mence
adorn

which

plate 7 with a rule for drawing a leaf to

the

Corinthian

or

chapter,

composite

a very difficult thing to draw properly

is

and gracefully ; you perceive the contour of the

leaf is

apex,

kept as in plate
0,

1,

No.

of the leaf foreshortened

striking a

segment of a

circle, e,

being the

1,

and again, by

from the point,

d,

or centre of the perpendicular line, d d ; the head

curves are from two circles struck from

c c,

and

meeting at the extreme point of a b

draw two mixed segments

preparatory

as at a

&,

you then

to your proceeding with plate 8, which

now prepared

t
on the same

for.

This leaf

is

rules as plate 7;

you are

drawn precisely
you

will see the

ORNAMENTAL DRAWING.
PLATE

7.

...-?...

27

28

GUIDE TO

PLATE

8.

29

ORNAMENTAL DEAWING.
dotted line where

the segment

bending the head of the

formed for

is

each part touching

leaf,

the pistules and startings, kept exactly

much

I consider looks

this leaf

better than plate 5, be-

cause, through the foreshortening,

and

you

lose a leaf,

does not look so meagre, otherwise

it

contains the

now shew

it

same number of

raffles,

it

but I shall

completely finished, after just notice-

ing a great failing in shading and colouring this

leaf

you must always be careful to bear in mind

that whatever distance the bend, either shallow

or deep,

is

from the surface of your

mind your depth

foliage, to

shadow corresponds with

of

as that enriches your

drawing and adds

it,

to the

appearance most materially.

I think plate 9 will give you satisfactory

reason and proof for following,

how
shall

to

draw

now

this description

explain the

rules

folded leaf in perspective

required to place

composite

hope

it

chapter,

sufficient

and learning

of foliage, and I
for

putting that

supposing

it

were

around the Corinthian or

plate

10 will give you I

explanation,

at

the same time

GUIDE TO

PLATE

9.

ORNAMENTAL DRAWING.

PLATE

10.

31

GUIDE TO

32
as

explicit

which dotted exterior

where the centre stem

will

is

how and

give you

falls in

of this leaf, as at c; this

to

Strike a circle at a,

as possible.

bending the head

a very important part

be careful with, as the beauty of every des-

cription of foliage depends entirely

fulness of the curves
circle,

on the grace-

b is the centre of another

which gives you the extent or distance

for the off-side raffling,

into eight parts

d to

f;

circle, c d,

the point, d, will give the head

segment, starting from

will give

by dividing the

the

c to e,

and from

line, g, will

point,

give the proper

distance for the off-side of the stem, drawing

tangent to the

circle,

proportionate for the

capital,

This figure

b.

first

is

it

about

perspective leaf of the

and before the student begins

this order,

c,

to

draw

he ought to be well acquainted with

drawing various kinds of ornament and

foliage,

otherwise he never will produce a masterly per-

formance, or be able to
figure in

leaf.

considerable

drawing so elegant a subject.

Plate 11

of a

make any

is

another plan for turning the head

Strike a semicircle from the point of

ORNAMENTAL DRAWING.

PLATE

11.

33

34

GUIDE TO

PLATE

12.

35

ORNAMENTAL DRAWING.
d,

another at a

b,

shewing where the stem

will

pass through, and from the same point you get

the segment from the diagonal line,
terior line of the circle, d,

c,

to the ex-

which forms the bend-

I see no reason now,

ing of the foliage.

have followed the foregoing

rule,

if

you

that there is

any occasion for me to trouble you any more with

the principles to obtain your pistules, &c., but
shall

now shew

these leaves complete at once, at

the same time notice to you, after the principle

is

thoroughly known,

have

to

deviate

cause, but to

You
lessly

how and where you

trifle,

not

from any true

add to the beauty of the ornament.

will perceive in plate

11, I

have care-

thrown in a sketch outline of the

which in plate 12 you

will find varied,

tremity of turning the foliage.

raffles,

on the ex-

To prevent any

misunderstanding of this statement, I

finish

will

shall first

the heading of one leaf in one way, and

secondly, in plate 13, complete a piece of foliage

in as pleasing a form as I consider necessary.

Having previously

stated, that

it is

an object of

the greatest importance for the student thorough -

3 *

36

GUIDE TO

PLATE

13.

ORNAMENTAL DRAWI
ly to

understand

he commences

foliage, before

this order, not only for the

cap of the column,

but he must be aware that there

no exact con-

is

finement, or to what extent, he

is

at liberty to

decorate the other portions of the order, as the

planseer or
parts

of the

different

which over-hangs the other

soffitte,

capital

mouldings

consider has given

for their

protection, with

likewise the frieze, which I

much more

scope for im-

provement of design and decoration, than any

other department of architecture extant; for in
ancient temples and edifices where this order

was used,

seemed to be the chief

it

fort of the

architects to outvie each other in that respect, of

which, previous to making any

new design

for

that portion of a building, I shall give a few illustrations

from ancient masters, not those following

each others' footsteps, but where I consider there

is

a variety, novelty, and distinctness of form,

and I think
pare with

it

my own

You must
in this

will

form

be acceptable,

if

only to com-

principles of design.

not consider that a leaf described

is

only adapted to columns, but

it

38

GUIDE TO

PLATE

14.

OKNAMENTAL DRAWING.

PLATE

15.

39

40
is

GUIDE TO

very useful in forming cups for centre orna-

ments, and
figures

shew
the

pillar bases

may be made from

a variety of

in fact,
it,

as I shall presently

in outline, consequently giving the student

first

principle of

making

Now,

design.

I intend copying from, is plate 9, 13,

all

and 15

suppose I require a pattern for a tamp- stand, or

any other subject of the same description,

should form

it

thus; at the same time stating

that, that is imperfect,

simplicity of the rule,

but merely to shew the

and how easy when you

know

the different turns

of leafage,

it

will

be to ac-

complish any design of that

description of ornament,

namely, Grecian, as
Plate 14

is

leaf, plate

being the

fig. 3.

a diagram of the

15

is

a bent leaf,

first

variation

from the perpendicular

this

may perhaps appear

very simple to you, but

me inform

you, that

let

on the swelling and con*

ORNAMENTAL DRAWING.

PLATE

16.

41

42

GUIDE TO

tracting of these curves depend your design, as

a trifling alteration will give a decided variation

of appearance, although you
leaf for

to the

your guide

for instance,

annexed diagram, I think

cient foundation for

the same

may take
if

you attend

will

it

you to follow

be

suffi-

my principle

of opinion; here you see are a few forms for

perpendicular

starting

or

points,

bases,

and

which, according to the height or situation of the

object required, you of course

and which,

more

in the following

must be guided,

number, I

shall treat

largely upon, as well as the other portion

of bent foliage

it

would not be

justice to rush

immediately into designs, without

ing the true utility of each foliage
of course could soon

what not ;

at the

dilemma, as

fill

first

many

otherwise, I

a work with

same time leave you

explain-

scroll,

in the

other publications

of

or

same

much

ORNAMENTAL DRAWING.

43

higher estimation to the eye have done

parti-

cularly as regards the superiority of illustrations

on copper or
not

my

steel, but, as

intention, utility is

sincerely hope, with

before stated, this

my

principle,

is

and I

unremitting attention for

the improvement of the student,

shall

not

only be serving myself in one respect, but shall be

adding to the benefit, pleasure, and support of

thousands.

44

GUIDE TO

CURVILINEAR FOLIAGE.

AYINGof the necessity in

now

explain

plate

16,

which

is

leaf,

and

very useful in

is

the position of

trifling consideration before

design;

for

it is

instance,

most

useful,

commonly

and bracket

points, for centres, startings,

ornaments;

where

curves, I will

managing your

termed the eccentric

many

informed you

which

requires

you rashly make a

I will place

and how

to

diagram

arrange that

45

ORNAMENTAL DEAWING.
portion of curvilinear foliage
to place too

many

be careful never

of any curved leaves together,

otherwise you will cause a confused appearance,

and nothing

common

so unpleasant to the eye of the

is

observer; and, for this reason, always

allow a clearness of design

say,

that

is

to

an equality of ground as well as

and then,

ornament;

if

properly

managed, there
will

yet

be

richness ;

but

be careful and
understand
rightly

I say

me

when

clearness,

it

is

not to be

meagre

and

on the taste
scanty, but that of course depends

and display of the designer, and which taste

is

my intention

it

to attempt to cultivate if possible,

and, to prove, shall give three diagrams of the

most convenient forms as regards

utility.

Fig.

GUIDE TO

46

the exterior form for a corner, either for a

is

frame, or

may be made,

suitable

for

running a
centre,

same

the

line

with a trifling alteration,

of

decoration

room,

from angle to angle, or towards a

which may be formed again from the

leaf,

as fig. 5

it is

in this very point of

You

decoration I would call your attention.

are,

dare say,

all

aware of what

Hogarth's line of beauty,

originator of this line
is

by

is

termed

not that he was the'

but certainly wherever

it

kept, not only in ornamental design, but in

every other respect of the

more agreeable
than when
those

art,

any other form

fig.

any undulating

always a

is

feeling attached to general taste

is

who do not know what

expression,

there

1,

No.

2, is

is

used

but to

meant by

the form of

line whatever,

this

it,

or

where there are

47

ORNAMENTAL DRAWING.

no angles to be seen; and when decorations

are
I

on a large

I say a large scale,

do not mean that the ornaments are to be

large,

for

but,

where
or,

when

scale,

supposition,

in fact,

from

are

decorations

room

spacious

each

extremity,

almost every other description of

decoration, as frames, chased borders, &c.,

careful not

which

to fall

into

the

viz.,

by

principle,

that of

when

squaring your ornament; but I think

give an explanation

error,

following

a very prevailing one,

is

then

will

you

be

Suppose I have a border to

agree with me.

design to a given

size, either for

or whatever purpose

it

a room, frame,

may be

required,

my

guide would be thus, as the annexed diagram

will illustrate.

Plate 17 you perceive

is

undulating form, and in which line I shall

of

an

make

a drawing, merely to shew the principle and

this foundation for

utility of

forming designs,
is

a mere

shew how your ornaments

are to

as will

be seen by plate 17; here

outline

to

be formed, and which suitable ornaments

be given

in the course of the

will

work, on a scale

48

GUIDE TO

PLATE

17.

ORNAMENTAL DRAWING.
In

large for patterns.

sufficiently
6

49
6 you

fig.

perceive the centre and side ornaments

like

the form of the one

in

plate 17,

and in making your design, you should

lay that principle

down and work

accordingly, otherwise you

many

off,

after

first

idea

is

shall

of straggling

beauty

now

to leave

entirely lost;

when you have a

good design, leave well alone ; as

clearness

when once

know not when

always bear this in mind,

profusion

like

making a good design, keep adding

and adding, that the

that

may be

over-talented draftsmen, who,

they commence, they

to it

and

exists,

before

equality without

illustrate

stated,

formality.

another prevailing system,

and which I think, after a

observations, will

not by a

and ornaments

leaves

but as

it is

little

be broken

study from

off,

my

and a more

pure taste be cultivated in the minds of

all

those

whose capacity require the aid of ornaments;

feeling confident in

my own mind

that

it

would

50

GUIDE TO

not only improve

the freedom of hand on the

part of other artists, but would likewise improve

their taste for forming a basis for whatever sub-

ject

they

may

opposition to

Now

require.

my

to illustrate

former remarks

I shall merely

give another centre and corner, which will I

sure be a sufficient foundation for

You
ality,

perceive in

fig. 7,

is

I hope,

this

by

faction to

page 54, a square form-

practice, that

fig. 6,

not so agreeable to the eye

comparison, to give perfect

your own

am

the rest.

all

which on being compared with

must allow

in

you
and

satis-

good judgment, and, by

such impressions will

on your memory never

to be

be made

erased;

did I

not consider this the basis of design, and being

apprehensive that from the prevalent bend for

ornamental foliage, not only

tion,

but of others which I

of
will

this

descrip-

shortly treat

upon, and return again to this in some future

number.

ORNAMENTAL DRAWING.

PLATE

18.

51

52

GUIDE TO

ears
sign,

ago there were schools of de-

but I may certainly venture to say, that of

late years, there has

never been in England an

academy or school where these points

have been

strictly

formed to

train innate ideas;

the mind of

man

adhered

of arts

to, or true principles

as I

am

certain

vegetation, which, with-

is like

out the immense care, trouble, and attention,

that has been given to
perfection,

bring such articles to

the luxuries and dainties of

many

could never have been supplied to the extent

and

gratification

this

and many other

which they are

points,

at present; in

no expense

has

been spared by those highly talented gentlemen

who have taken

the most prominent features in

ORNAMENTAL DRAWING.

PLATE

19.

53

54

GUIDE TO

botanical, horticultural,

of science

but never since our immortal Fuseli,

Joshua

Opie,

and many other branches

and

Keynolds,

Barry, has there been what

a school

of

design;

school for

painting,

pushed so

far

designers

and,

what

as

last,
is

not

truly, a

been

never

copying, but

making students

why

least,

rightly termed

there has

and

not

their

own

are they afraid, or

nothing but copy, copy, and make pretty

drawings and paintings, that this very ludicrous

remark may flow from the parents' or

mouths

have you seen how pretty

friends'

my

daughter has painted his or her drawing

quite wonderful!

and paints

ful

is

quite a wonder.

And when

boy or

girl

it is

excellent master they

he draws

are under
he

what an

son or

so

beautiful,

this

wonder-

ventures forth to the public, and

has to compete with the proper trained student,

OENAMENTAL DRAWING.

PLATE

20.

55

56

GUIDE TO

how

fare the colours then

art,

who

men

are competent judges, are not to be

caught by the

show of

glaring

reds,

blues,

and yellows, but can judge rightly and

ingly,

from a bold,

you are

in

look

in these, to

you cannot hide your

appear, and so let

feel-

free sketch, either in pencil,

chalk, sepia, or Indian ink

well,

and

of science

they must

faults,

them then you perceive where

;

error.

You

are

by proper

able,

study, not to wait for copies, but having studi-

ously attended to

all

the different turns and

finishings of foliage, natural history,

figure

you

and human

in plain matter of fact, let nothing pass

unobserved, retain

memory,

either

all

in

your

will

then

you see

good or bad

you

form, by careful attention to the principles of

the old masters, a pure,

which

will

unadulterated

never be forgotten.

chief element is correctness

tinction, incorrectness,

principle of correctness

and

Of

is

design,

style;

and manner.

taste,

its

The

its

exfirst

the power of copying

with precision and accuracy, studying each object

of proportion with its relative attachment

ORNAMENTAL DRAWING.

PLATE

21.

57

58

GUIDE TO

to others

it

ought to be considered of such im-

portance that no person should enter as a student

of any academy without his

mind

bent upon the former remarks.

is

thoroughly

Did

I not con-

sider this the basis of design, I perhaps should

forbear to speak, were I not apprehensive of the

prevalent bend for design and reigning taste

for every novelty of the Arts.

knowing you do not

required

if

on

lay

I speak thus,
it

the stress

all

you neglect the power of copying

with precision, you never can acquire that of

imitating what you

may have chosen

The two words copying and

model.

it is

your

imitating,

same meaning, but in

have, in one respect, the

the Arts

for

very different, not only in mean-

ing, but in its operation

an eye geometrically

with a freedom of hand implicitly obe-

l'ust,

dient,

is

decidedly "requisite

for

the former,

without choice, selection, amendment, or omission

whilst

choice

directed

with

judicious

taste, constitutes the essence of imitation

by

perseverance, raises the

and,

once humble copyist

to the rank of an artist, which appellation, I

am

59

ORNAMENTAL DRAWING.
sorry to say,

is

very

much abused,

for every

that can use a paint brush a little

much, must needs be termed an

must persevere to obtain, not only

drawing and
versed in
his

a subject, but the very

:

is

in fact,

referring to for

costume, actions, and

the science of optics ought

to be in his full possession, that

to distribute his lights

knowledge of the

library, not only as regards

the time, or in whose reign he

deportment as well

for years

in the art of

and passing events

all histories

being

artist,

must be well

but he

painting,

mind must be a

how

and copy as

aware of the labour and study he

little

one

he might know

on a picture ; also a

effect of gases contained in the

atmosphere, so as to counteract them with his

different

the
place

drying

rapid

oils

and varnishes, to prevent

destruction

on the

different

these and a few other

which

too

often

takes

portions of a painting;
little

minutias, which are

to follow, is the basis of design

and following

in

those steps, you, I have no hesitation in saying,

will arrive at that state of perfection in the

to repay all

your labour.

Be

Arts

careful to attend

60

GUIDE TO

PLATE

22.

OENAMENTAL DRAWING.
to the few following

61

observations, and then I

shall return to the

former

thing deserving the

title

illustrations.

of beautiful, and every

grand object, assumes an outline of

character;

definitive

former in undulating lines

the

elliptic curves,

Every

and grandeur

of

in angular disposi-

tions of figure lines of motions,

assume a curved

direction; in combining straight lines, so as to

please

the eye, they must be on a radiating

principle

our eye not only receives that form

same time, prevents any

as pleasing, but, at the

geometrical form to detract the beauty of the

above figure ; and when lines are placed parallel

to

each other, they have an appearance of a

flight of steps, or pile of rods,

and have a very

opposite effect; upon the former principle

that the rays of the sun
erally

from

are

so

attractive

and rays
and

it

is

of light gen-

beautiful.

this circumstance that right lines

It

is

drawn

in

an inclined position to the plane of a picture,

derive an interest from the angles engendered

through
like

the

imagination.

numericals

many

Combinations

are

of these forms placed

62

GUIDE TO

together with judgment and discretion, will attract us

that

from the larger proportions of beauty

meet the eye

at

once,

head of hair; a single

a beautiful

like

however gracefully

hair,

bent, cannot impress us like an entire lock, nor

will this single lock look like the

human head

we owe

whole upon the

to combination

and con-

struction that pleasurable feeling denominated

No

beauty.

person

with a single

allured

is

object, but a thousand, or

even a million im-

mediately arouse our anxious notice; thus,

instruction

and

and previous diagrams of

circular

my

elliptical

forms exhibit, by a continuity of

curves, the greatest approach to beauty of any

of

its

predecessors.

Even curved

lines

of a

convex and concave form, drawn at random,

without expressing or forming any sort of figure,
please our eye

much more than

however they may be distributed

all

right lines,

quantity and

variety are absolutely necessary to the production

of perfect

friendly

to

nature.

all

beauty

equalities

symmetry which

think sufficient

is

being

un-

accord with

treated at present

63

ORNAMENTAL DRAWING.
on design, and
tion

will

on the previous

Plate 18
cave

now

continue

my

explana-

plates.

may be formed

or convex leaf, in

extreme end or curl;

into either a con-

the throwing off the

care

is

required in this

simple point, as the freedom entirely depends

on the manner that you carry the stem.

This

piece of foliage is not only useful as a portion

of adjustment to a running scroll, as the follow-

ing diagram shews, but will also form a good

starting point,
as

fig.

it

if

aided by another convex curve,

likewise

way, for a centre

by a

trifling

if

may be used
necessary, as

alteration in

many

in another
fig.

and

other figures.

Care in drawing or carving this

leaf, for

and a very important one

is,

it

9;

instance,

being careful

GUIDE TO

64

not to have the back and front of this descrip-

Should I have the

tion of foliage both alike.

carving of the

what

will

now, mind

front

the following figure,

of

the appearance of the

back be

not only attending to the

this, it is

accuracy of drawing, but greatly to the

as

fig.

10.

the

Through

effect,

the

of

rotundity

10.

BACK.

pistules, a

at back, it

dark,
I

high light will

fall

on the

face,

being hollow, of course they

almost black

and

will

be

to prove this, in plate 19

have given the back-view of the

leaf,

and

the difference will be observed on the turning

of

the head

the

raffles,

instead

of

passing

over as they do in the front, you perceive

it

passes under, which has a very different appear-

ORNAMENTAL DRAWING.
PLATE

23.

65

66

GUIDE TO
this

ance;

is

chiefly

needed in design, where

you have a confused group; in

course,
face

of

this

case,

of

you must see the back as well as the

the

foliage,

variety of effect

and

on that point the

upon natural causes

is

the very

thing you have to pay the greatest attention

as that gives the whole life to your picture.

to,

UNIVER'SITT

ORNAMENTAL DRAWING.

67

CURVILINEAR FOLIAGE
CONTINUED.

Now

This

to proceed to plate 20.

seldom brought into play

of foliage

is

a piece

why

be-

cause of the difficulty in producing the true ap-

pearance

generally termed the ogee curve,

it is

and requires great ease and knowledge of foliage

to

bend

how

it

properly; in this you will observe

I have kept to the principles referred to in

plate 18

you perceive in the lower

part, that

the pistules are black, the upper ones light, and

by

that, it

had kept

produces a different

it all

one colour

I shall treat hereafter in a

ner,

effect,

than

if

of the utility of this,

more

efficient

man-

and by those means cause a greater variety

of foldings

and twisting than

is

generally pro-

duced, at the same time break that

dull appearance

flat

and

which too often presides in de5 *

68

GUIDE TO

signs of running scrolls, &c.

Plate 21

is

a very

important part in several portions of running

scrolls for friezes,

usually the

it is

borders,

and many other departments of

most prominent feature

beyond the boss or centre; how

introduced

page 78

shown

is

own

ation of its

good running

Roman

figure alone,

will

it will

leaf,

form a very

the varieties of

perceive accurately

ther on in the work

you have almost

by the continu-

and partakes more of the

scroll,

than of the Grecian

which you

should be

the following diagram,

will there perceive

you

in

it

at the

sufficient,

drawn

same time,

and

may say

But previous

general turns of foliage.

fur-

I think
all

the

to

my

leaving the turning of leafage, I will introduce

the Acanthus, comprising of every turn that can

reasonably be given, from which you will be able

to select all

what

is

you may

at

any time require, for

generally termed pickings ; for however

proficient

you may be in designing, yet you can-

not sum up every thing that

action in your

mind

at once,

may

be brought into

and by that reason,

as I have before stated, let nothing pass you un-

69

ORNAMENTAL DRAWING.

observed; at the same time, possess yourself with

as great a collection as

you possibly

mean

what

of expensive, or

jects, as that

print

very sound

termed rare sub-

when a

will,

valuable

comes before you, draw more attraction and

you than a common penny print ;

attention from

but

is

can, I do not

let

me

tell

you, that I have

known many who

have obtained a grand collection of designs, &c.,

for the trifling

sum

have myself, at a

of ten shillings

stall

and

times bought more to

pence, than

if

in fact, I

different places, often-

my

advantage for a few

had given half-a-guinea for a rare

specimen of engraving more than the design

I pass, or that passes

know what

I consider myself
creatures,

and

and

eyes are upon every thing that

why ? because my
to this I

me; and
I do.

it is

by attention

Feeling this much,

no more blessed than my fellow-

am

certain if they follow this piece

of advice, they will be able to do as I have done;

yet not feeling myself to

hope

to

know and

know one half of what I

arrive at; for I

am

never

satis-

fied

with saying I can do as well as another ; that

will

not do, I wish to do more and better thau

70

GUIDE TO

another; and while you and 1 are thus striving,

it

not only renders the study pleasant in

one respect, but

will, in

itself in

course of time, place you

in circumstances generally enviable to those

who

have neglected their studies.

In a portion of

from the

my

collection I

specimens of

finest

have copies

Roman and

Grecian

sculpture that have been executed, from which

I intend giving

and

points,

its

ful attention to

you the several principal leading

variety of characters

them

and by care-

will insure success.

Should

you in the course of study have to lay your drawings before professional gentlemen or travellers,

by whom
Grecian,

they

may be

Roman, or other ornamental

do not imagine that

foliage

all

to

it,

and

runs in the Grecian

there

is

foliage,

number

of designs

least portion of leafage at-

this
;

true

ornament must contain

I can execute a great

and yet not have the

tached

as

recognised

description

generally

although at the

same time

a foliage for that description of decoration,

and which

is

very different from

all

different characters of ornament, I

others.

may

The

say, are

73

ORNAMENTAL DRAWING.
have done from much more

as others

men, and
it

placed

when

circumstances

affluent

in their

I could not

and seen
and

whose

to travel

power

scientific

have

and study

but trusting I have collected

sufficient at least,

not to misguide you,

to this end, the following paragraph is very

appropriate,

harm

and

in noticing

at the

same time, I think no

tained from such an author

"

From

when

particularly

it,

it is

ob-

small beginnings, great conditions rise

there all the honour lies."
;

Act well your part

POPE.

Not

that I have risen to great conditions, but

I recollect about seven or eight years ago,

in

when

my struggling moments to achieve at-something

I had the conducting and designing of the orna-

mental department of a work, entitled the

Wreath, for a firm in the City

ed before, but this was to surpass

often happens,
are conquered

mind

is

when we

strive to

by an over-anxious

many
all

Album
appear-

and, as

it

do our best, we
feeling,

and our

entangled and confused with ideas, that

a jumble of objects appear to our eye, and we know

not which to choose

this

was the very case with

74

GUIDE TO

me. I tried borders, flowers, &c.,but nothing gave

me

my employers

satisfaction, yet

knew not which

with each sketch, and they

At

choose.

last,

were contented
to

waiting on a friend one day,

whose children were playing in the parlour, one

of

them held up a piece

simply said to the other,

That very word was

took

my

pencil,

all

"
I

let this

fashion that

when

aside,

and

stated,

all

and

and reckoned by

my

this

now

former plate,

Ornamental

was

all

through, as I before
all

that passed.

return to the explanation of

and

my

to one of the most important

portions of ornament, be
character, or era,

all

employer had the whole of

immediate attention to

I will

others were thrown

to be the master-piece of

Typography, and
;

to

one immediately commenced and

finished as a frontispiece;

the work

way home, how

and many other portions together

this

it,

be our mirror/'

and while waiting, formed the

shewed the design,

who saw

and

wanted ; I immediately

idea, thinking all the

rough

tainly

of looking-glass

it

it is for, viz.

in whatever style,

freedom.

I cer-

have previously mentioned respecting the

75

ORNAMENTAL DRAWING.

and curvilinear forms necessary

figures

now

observed in designs, but I will

fully

on the subject, and I hope

be

to

treat

sufficient for

more
your

This point will refer to plate

guidance hereafter.

22, here I have given a

mere outline of what

is

termed the volute, or ram's horn turn of a running

scroll,

form;

but

may

it

does not always partake of that

use the following, figure 11, the

centre of which has' the appellation of the ram's

You

horn.

see

by the

foregoing plate, 22, in the

centre of the foliage

dark

line,

which

line,

is

when you commence form-

ing design, or making a copy,

is

to be

your lead-

ing feature or basis, and that once done properly,

you can always insure freedom

or decorations; in

this

in

case, as

your positions
I have before

stated, nothing should appear to partake of the

tendency to an angle ; for

this reason, let

your

drawing be ever so richly executed and carefully

finished, if there is a fault, it is to that point

alone that the eye will be attracted, because

there

is

if

a circular figure to view, the eye will

76

GUIDE TO

naturally

carry

around that

itself

figure,

were a yard long, and drawn on a small

if it

scale

but should there be any breakage in the curves,

it

immediately breaks the traversary orbit of the

eye,

and that very error

memory

if

is

retained in the

the eye could see the whole yard

length at once, that would

still

be the most pro-

minent; to prove which I will give three small

illustrations on this subject,

and then

finish the

explanation of plate 22.

Fig. 12, you perceive

dulating form

but broken and

is

fig.

13

full

of what

is

of a true running un-

of the
is

same description,
termed shoulders,

ORNAMENTAL DRAWING.
birds,

glyphics,

which

and

insects,

beasts,

have worshipped

they

81

as

all

The

idols.

Grecians followed them narrowly from the

to support their cups, they

support of the stalk in

many

seen in plate

26,

which I

well as

as

remarks, that

all

to

my

in

beauty,

regularity

shall

many

for

their basis

aod

this

and

pilasters,

and clearness than

mistake of
proceed,
to

the

about

my

the

the Grecians,

others, excelled

a point that no other

there

in the

is

even in their

more delicacy

Eoman, whose

power and might.

seemed

foregoing

was clearness and

character or style can boast of;

capitals

upon

work does not con-

scroll

is

treat

my

prove

opinion, as well as

in

the

This will be

It is to this point

tain foliage,

flower,

instances, instead

supporting them.

stalks

presently,

have formed them

making the cup, or

volutes,

of the

first

and instead of having straight stalks

description,

into

of

forte

To prevent any

ideas, I will explain, as the plates

number

of starting points

known

Roman, Grecian, and Arabesque, being

eighty-five

different

descriptions,

6 *

each

82

GUIDE TO

having

its

this to

many may seem

absurd, but those

think as I do, will agree with

it

that this description

is

and character

particular use, name,

thoroughly

entered

into
I

attempting design.

who termed himself

me how

who

essential

study should be

of

their

to

previously

once knew a young

man

a designer, and so he really

was, what I term an original designer, for his

chief forte

was

to

jumble almost every descrip-

tion of foliage, &c., into one mass,

which was

certainly perfectly original, but very ridiculous

and

would have you pay great attention

this point, for

to that,

compose Roman, use

It

to

whatever style of ornament you

commence, adhere

same.

and no

Roman

other.

if

If

you

Grecian, the

would be rather ridiculous

for

me

to

erect a Grecian temple with Gothic pinnacles,

or a Gothic structure with Grecian ornaments.

I

think you will

now

see

that you should give your

particular

points,

than

how

necessary

mind more

you

have

it

is

to these

ever

been

taught before, or shewn the necessity required,

as regards attention to this portion of the arts.

ORNAMENTAL DRAWING.
In the

first

83

plate of starting points, I have

com-

menced with the most simple forms used, both

with and without their basin and cup.

The annexed diagram,

one of the

fig. 16, is

most simple forms possible to be used; and

iG.

in

^1}

^^

page 64, of the most simple

9,

\w

-V^

both

flower,

termed the
chiefly

used in what

Fig. 2,

is

The

this

is

This starting point

is

separately

to
is

each

previous to
its

may be used

my

used

that

is

to

behind

or flower,

the portion to be attached to

both of these

lily,

two stems running transverse

the basin,

other;

termed modern Grecian.

generally as a double starting point

say, confining the

with

proper attachment,

the second description of

is

or

cup,

the same line

its

used

cup.

lily

on
is

1,

be

can

use.

general

fig.

but

fig.

it, if

required

separately

and,

leaving this figure, I will explain

You

advantage over the former one,

perceive at the base

will

of the bell a quirk, or

opening between that and the stem, which, in

bas-relief, has a

nexed figure

very powerful

will

shew.

effect, as

Figure 3

is

the an-

another

GUIDE TO

84

description of cup, called convolvulus-head, this

has

its

effect

cup attached, and has a very pleasing

when

Fig. 4

well executed.

bine, or honey-suckle,

and daisy cup

part in juxtaposition, you see

form, represented in
in a

4,

fig.

is

and

centre running scroll of

and formed generally

the eye from

its

is

the wood-

the hinder

of the simplest
is

chiefly

used

three portions,

break the traversing of

to

chief point,

which

is

usually

the centre scroll, boss, or finishing, and ought

to

be the most commanding portion of a confined

scroll,

generally under shop windows, as you

will perceive in plate 32

framing of the

here I have given the

window, and the department

where such ornament

decoration, but at the

is

useful, not only as

same time

useful, as

a
it

affords light to the kitchen, warehouse, laboratory, &c. below,

and answers much better than

ORNAMENTAL DBAWING.
I

the straight bars.

85

have given in the same

and intend

plate, three designs for that purpose,

giving, as the

work advances, a

for that,

trations

variety of illus-

and every other department

where decorations are required.

to

This

show
those

of

ed

simple form, termed the

the

utility

portions

starting

Tig. 18

done

is

is

call-

points.

another

of

crocus-head,

a very

useful portion where you are confined in space,

and where castings are required

for balustrades

in designing for that department,

very careful not to have

but close and

sible the
off,

as

fig.

20,

you must be

straggling work,

prevent as

much

as pos-

chances of different parts being broken

fig.

19

shews.

will

now

illustrate

termed the bell-head, seldom used in the

body of
the

full, to

much

little

scroll

work, but

is

the starting point for

cups and small springings of design, as

86

GUIDE TO

you perceive
is

the annexed figure.

in

Here

it

given slightly, showing you what I mean by

small springings

where you

I shall

more

will

previous remarks

now

refer to plate 26,

clearly understand

fig. 1,

you may say

the

by

and the

is

my

formed

double

lily

convolvulus-

head, forming a very

good

frieze

round a

room, or for chased edges and rims; the foundation of this

in a

is

taken

temple at Parma.

plate, is

from the Cymatium,

Fig. 2,

from an antique bronze, and very

ent from any at

present in

corded reed at the top,

same

in the

differ-

general use;

the

and the egg and button

at the bottom, is a very great

improvement to

the effect of the moulding, as well as the novelty

of the different

ornament between each division

87

ORNAMENTAL DRAWING.
of the raffling; the section of this
fig.

22,

which

is

is

shewn

in

Fig. 3, in

very symmetrical.
22.

the same plate,

as

Pa,rma,

is

1,

fig.

likewise from the temple at

and shews a portion

of

frieze; here is introduced starting points, only

formed from the Grecian dock

plate 27

partial,

in

containing

which I intend giving a

were

plate,

the chief characters they used

all

in this instance,

stem,

the Grecians

and that to a particular extent and

description, of

the

shewn

likewise the small springings as before-

mentioned, and of which

very

leaf, as

it

seems as

if

the cups contain

which are in the form of volutes,

instead of the stems holding the cups, as with the

Plate

Egyptians, as the following figure shews.

27, represents

Grecians

running

fig.

the three foliages used

seldom brought into play in

but confined chiefly to the chap-

foliage,

and

ter of columns,
erally

is

fig.

used in running

and columns

by the

5 and 6 are both genscrolls,

plate 28 brings

cups,
all

startings,

these

into

88

GUIDE TO
the

play,

semi-honeysuckle,

dock-acanthus, and I think

for

is

the purpose designed.

along a cornice, or

imposing

effect

the original,

frieze, it

it is

lily,

very well adapted

By

has a very rich and

spread rather more than

yet the proportions are good,

made the

you cannot see the ground- work,

but the ornament

mediately; and
it is

it

continuing

you perceive how equal they have

appearance

and

lotus,

itself

imposes upon you im-

when looking

at the ornament,

not so confused, and the ground appears at

the same time.

metrical

among

I do not recollect aoy so

the specimens I have ever seen.

I have in a work,

few of

my

ideas,

Koman, which,
tend to

sym-

from which I have selected a

some splendid specimens of the

in the following

illustrate,

to

show the

number, I

in-

overpowering

richness their designs have over the Grecians.

OFTHE

UNIVERSITY

Sfn

KW

GRECIAN

TSE
OF THE

IVERSITT

GRECIAN.

UNIVERSITT

ORNAMENTAL DRAWING.

^jjjhiS
k~

89

**^

\\-

VV|
As

I have just stated that the

beauty of Grecian ornament

lies

in its equality of foliage, stalks,

starting points,

and ground-

work, which alone combine an universal

delicacy

not

cj^|

90

GUIDE TO

as with the

many

Romans, whose delight seemed,

richness with their designs

an

cause

to prove

Roman

will

frieze,

taken

overpowering

in fact, so far as to

of

flowers,

and figures

animals

points,

which I

confusion

unintelligible

starting

foliage,

an

obtain

to

instances,

in

a portion of

illustrate

from the

of

Temple

the Sun, plate 37, this being a competent part,

(which of

itself

when joined

different

larly

This foliage you will perceive

Acanthus order, but of a richer and

description

illustrated or

number

spoken

than

of.

have

You

heretofore

perceive a greater

and more closely and irregu-

of raffles,

serrated at the edges than the Acanthus

Mollis, or Spinosa

much

and,

around the upper portion

frieze

of the temple.
of the

division,)

together, as here given, forms the

whole of the

is

a complete

is

at the

same time there

is

greater depth allowed by them from the

centre stamen, or stalk, for the pistules, as you

perceive in the next diagram,

is

more

closely delineated.

fig.

24, where

it

This body of the leaf

seems to be formed of a number of stringy

fibres,

UNIVERSITY

ORNAMENTAL DRAWING.

PLATE

37.

Outline division of one of the circular portions of the frieze around

the Temple of the Sun.

92

GUIDE TO

which,

when properly

sculptured,

led, gives it that richness I

drawn or model-

have before described.

On

^-v-^

24.

referring

the

illustra-

tion

in

plate 36

fig.

1,

you

will

my

for-

to

perceive

mer observations
brought into practice

see

here

you

the

are

starting

points,

of

compos e d
pods,
berries, or other small

the account

with

round

given

shall shortly delineate a

fruit,

containing

which agrees
I

by Theophrastus.

few principal starting

points alongside of the Grecian, giving you, at

the same time, a decided and clear proof,
careful
style

how

you should be in keeping character

in

many

instances, I have seen the

to

most

elaborate designs and elegant formations spoiled

by

these

combinations;

the

original

plans

ORNAMENTAL DRAWING.
bei'ng

laid

on

sound

principles,

ideas of the designer spoiled

93

and the

rich

by this apparent sim-

25.

ple,

but

yet

glaring fault.

Whenyou reason with yourself,

compare

the

delicacy

and

richness

of the Grecian

brought

with

contact
the massive

Roman

will

you

style,

in

then observe

the necessity required in calling your attention

to this particular

point

and I sincerely hope,

by perseverance, that you

sary

alterations

in

will

me,

all

have wished

In plate 37

is

mind,

your

have possessed them,) the

make

the neces-

(should

for,

your improvement.

another description of

from the Torre de Nerone, at Rome.

you

will

observe

the

animals, and figures.

you

result would be to

combination of

These

friezes,

frieze,

In this
foliage,

have no
7

94

GUIDE TO

doubt in stating, could they be read, would speak

volumes

no reason

for I have

to suppose that

such would be introduced without a

wherefore,

and

or a

has been

such

believe that

why

spoken of before in books that I have not been

able to obtain, whereby I might give you that
information, which

it

my

is

earnest wish to do

nevertheless I will assist you

power, by giving you a

all

that lies in

series

my

of those that

have been executed on baths, palaces, or temples.

In plate 38

of Titus; this

mals alone.
this,

a frieze from the

is

composed of

is

Here

and a just one

figures

too,

being led to believe, and

history,

and that valuable

and sacred volume, the Bible, that

principles of carrying out the

was by

ani-

I can describe the reason for

knowing from ancient

religion

and

Arch

strict

their

solemn

chief

rites

of

adherence and attention

to their holy altars, temples, incense burnings,

and the offering up

of

sacrifices.

These cere-

monial rights were attended with great reverence and splendour

such rigidness,

is

this

the

being adhered to with

reason that processions

OF THE

IVERSITT)
F

>/

95

ORNAMENTAL DRAWING.
and sacred

were introduced in their exterior

rites

and interior decorations.

by

I shall

now

give you,

the necessary articles used on

illustrations,

those occasions, and which were sculptured on

the

Arch

of Titus,
this

Mentioning

and many temples at Kome.

is

topic

theology; far from

it:

not

but,

you are

that, in the course of studies

no one can

tell

and occupations,

called into action

this reason, I consider it

attention to this point.

that, for

aware

all

how, or to what extent his

may be

capabilities

into

entering

my

duty to

so, for

call

your

I have previously said

whatever era or style you are decorat-

ing, illustrating, or designing, strictly adhere to

the
time.

costumes,

articles,

and

manners

Suppose you are designing

for

of

the

Roman

you should endeavour to obtain

decorations;

a thorough knowledge of ornamental flowers,

different

kinds of moulding, weapons, dresses,

armour, and sacred utensils, in case you should

have

occasion

trophical

to

introduce

introductions,

aged, give

very

them;

as

these

when properly man-

pleasing,

instructive,
7 *

and

96

GUIDE TO
the model, sculpture, or paint-

lively effect to

All

ing.

these

doubt, taken from the Egyptians

no

have

were,

principles

which, for

your instruction, I shall enter rather minutely

into, as far as

But

&c.

ing,

of the

The

regards

Roman

application to draw-

its

I will

first

utensils,

used for sacred purposes.

more

or

candlestick,

golden

explain the whole

properly

speaking, candelabrum, or lamp-bearer, (which

is

represented, with various other articles,

plate

we

39,)

are

in

understand, was

given to

of pure gold; and, according to Josephus, was

of

hollow tubes, or

and was com-

brackets,

posed of seven branches; one in the centre,

and

on

three

each

side;

each

bracket,

or

arm, was joined in separate compartments by

lily

flowers

granates

and

figures, in the

form of pome-

and being composed of about seventy

different pieces

at the extremity of each

were seven golden lamps.

Many fanciful

arm

repre-

sentations have been formed of this lamp; but

my

illustration

Some

historians

is

from
have

the

Arch

asserted

of

that

Titus.
it

was

97

ORNAMENTAL DRAWING.

and marine mon-

likewise adorned with birds

the

or

Vespasian,

sacred utensils were altered, and

these

the shaft fixed in a

the ark,

illustrate

by

over

gained

victory

Solomon

of

Temple

Titus,

the

after

which,

sters,

new

table

base.

for

shew-bread, pro-

bable

form of

the shew-bread,

cense,

censers,

drinking vessels,

utility of these

ing fully into

altars

of

knives

and golden

for sacrificing, the laver,

now

shall

calf.

in-

used

The

were for the purpose of bring-

effect their sacrifices,

which were

divided into different descriptions; namely;

first,

the herd-offering

oxen, and rams;

in

Egyptians

was

this

the

such as goats, sheep,

done by the

also

following

manner:

horses

sun; hogs to Ceres, or the goddess of

to the

corn or wheat, and sometimes Bacchus;

to

Hecate

ever

and wolves

brought

offering,

often

of

the

to

to

altar.

no

fish

dogs

was

Second, burnt-

which there have been questions

discussed;

but,

it

the vengeance of Divine

by the

Mars

offer of a

seems

that,

Power,

it

to avert

was only

representative victim.

To

98

GUIDE TO

illustrate

the antiquity of this practice, I need

only refer to the instances of

patriarchs;

all

the

Hebrew

but persons, whose circumstances

could not produce such oblations, might offer

either a bullock, a

male of the sheep or goat, a

turtle-dove or pigeon.
killed they

When

were flayed and opened, their

tines taken out

and washed, the

washed, the back bone

this

sacrifice

all

intes-

were

feet also

and the carcase

cleft,

divided into quarters, and

view

the animals were

parts exposed to

was then

salted,

and the

whole, except the skin, consumed on the altar.

Third,

meat-offerings

were

vegetable products, and

bread, cakes, ears of

and frankincense.
tle figures

in paste

mixed up with

Romans

oil

carried

out

preparations of

by

meal,

corn, parched grain,

oil,

Theophrastus states that

lit-

were made by the Greeks,

and wine.

did not consider

an

The Greeks and

animal offering

complete without the above-mentioned

articles

were placed upon the head of the victim while

still

alive

and about to be

sacrificed.

Fourth,

the sacrifice of peace was by offering a lamb,

99

ORNAMENTAL DRAWING.

and other animals as before, only males and

females might be offered, but males alone in
the others.

Fifth, sin offerings

when a

ruler

sinned the offering was a ram ; a private person,

a sheep or a goat, two turtle-doves or an ephah
of meal

any could be deterred

so that scarcely

by poverty, when

his conscience

prompted him

to the confession of his sins.

think

upon

now

By

refer to

in

observations

sufficient

this topic to enable

you may require

shall

are

these

that

you to

illustrate all

department; and I

Roman and

Grecian arms.

the insertion of these articles, either for

war, torture or triumph,

is

not entering into any

very detailed history, but as such things are

universally required in drawing, or

design for

trophies and other emblems, to illustrate ancient

history, or to

adorn the different compartments,

as well as the friezes for triumphal arches, or

columns ;
arts,

in fact,

almost every department of the

where ornamental work

requisition,

is

brought into

a thorough knowledge of this de-

scription is highly necessary,

.

and

it

is

my

in-

100

GUIDE TO

tention that nothing shall pass

if

possible, that

is

Koman

of

to

requisite

unobserved,

be introduced

I shall give a compi-

for utility of decoration.

lation

me

arms, as

halberds,

shields,

helmets, standards, flags, battering rams, and

other implements, which contain the most pro-

minent, and those most universally

known

to

be

used, and a short history of their origin will,

no doubt, be acceptable.
"

And

oft

conducted by historic truth,

We tread the long extent of backward time."

THOMSON'S SEASONS.

am

aware, as well as you are, no doubt,

many Grecian and Roman

that there are

tories,

but very few,

if

any, that will bring to an

apex those points suitable to

ing facts required for the

The

earliest

this work,

and lead-

arts.

establishment of

arms, under

a regular government, was introduced

Egyptians

his-

by the

they communicated their discoveries

to the Greeks,

who improved upon

tion of their predecessors

the instruc-

from thence to the

Romans, from whom the other European nations

101

ORNAMENTAL DRAWING.
received the

ideas of the arts, and which

first

have been in a state of improvement to the present day.

of the

As

warfare was the leading character

Romans,

it is

to

them we owe the

of crowns, triumphal arches, columns,

be useless for

me

to enter into, as

more on me, than

I consider a
It

description requires.

distinguish those

who had

work of

which was worn by the high

their fellow

the original of

priest, of a plain

placed upon his forehead, and tied

behind with ribbon, which was taken

certain time: to

off for

assume the appearance of one

mourning; afterwards they wore two ban-

delets

and, by degrees, they took branches of

trees of various kinds

flowers
of

this

day with money,

but with coronets or crowns;

in

would en-

signalized themselves

soldiers, not as in the present

fillet

it

was found necessary to

by some more valorous deeds than

gold

tro-

Of the Roman habit and dress, would

phies.

tail

origin

and

and, at

last,

subsequently they added

there was scarcely a plant

which crowns had not been made.

102

GUIDE TO

The Eomans had various crowns which they

distributed as rewards of military achievements.

The

oval crown was

myrtle,

as

shown

crown,

or

coronet,

of

composed

in

fig.

26

this

was bestowed

only on such generals as had the

honour of a triumph.
Fig, 27, the olive crown; this was awarded
to

him who had

gymnasium,
tree

signalized himself

in the different

arenas.

27 -

olive

Europe

of

wood

the

an

the fruit

is

Athenians,
tection
oil

of

odour

of the form of
soft

pulp,

oily

centre.

to Minerva,

by the

who regarded
olive

the culture and pro-

tree as a religious

of the olive is pre-eminent

table oils,

heavy

and a hard nut in the

was consecrated

the

is

agreeable

damson, with a

olive

it

and the South of

into Egypt,

and

The

The

was originally a native of Asia, whence

was transplanted

The

feats of

by

duty.

among vege-

and has not only always had an exten-

103

ORNAMENTAL DRAWING.
sive

use in culinary purposes, but formed the

menstruum, or vehicle, for the most celebrated

perfumes.
Fig. 28, was

made from the branch

of a green

who had

oak, and was awarded to the soldier,

saved the

life

Koman

of a

an engage-

citizen in

ment, and was considered the most honorable,

although of no better materials than the oaken

bough

reason

the

wreath had
all

the

why

preference

because

others,

this

it

was

to
sa-

cred to Jupiter, the guardian,

of their city

oak

might well

claim the preference in this

alone being almost sufficient in

case, the tree

primitive time to preserve

their diet,

on

whom

besides this, the

and

its

honey

this merit

life

its

acorns were

their liquor.

Persons

was conferred, when they

attended any public show, the senate and the

whole of the attendants, would

entrance,

were

to

signify

allowed to take

senators.

their
their

rise

respect,
seat

on their

and

among

they
the

104

GUIDE TO

29

Fig.

is

crown,

triumphal

made

of

the laurel, and was presented by foreign states

and provinces,

to

had gained great

Fig. 30

is

generals

who

victories.

a crown of valour,

being a circlet of gold, raised

with palisades and jewels, and

was awarded

to

him who had

first

forced the

enemies' entrenchment.
31.

30.

Fig. 31

who had
was

set

is

the naval crown, bestowed on those

distinguished themselves at sea

round with figures

this

form of beaks

in the

of ships.

Fig. 32

is

the

mural crown,

awarded to those who

first

scaled

the walls of any city in a general

assault,

stances,

and under these circum-

we must suppose why

it is

formed in

the shape of battlements and brick-work.

ORNAMENTAL DRAWING.

105

The most remarkable person upon record

history, for obtaining the greatest

wards, was Dentatus

number

he received

in

of re-

in the course

of his military services, eight crowns of gold

fourteen civic and three mural crowns; eighty-

three golden torques, or collars of gold

ver

the

and

sil-

sixty golden armlets, for the upper part of

arm

eighteen hasta pura, or small spears of

wood, generally bestowed on him who had killed

an enemy engaged hand to hand: these were

reckoned honorable

From

gifts.

this it is sup-

posed, the custom of our officers carrying white

rods, as ensigns of their places, originated.

He

also obtained seventy-five phabrce, or horse

and

body trappings, see

still

further, in

number

33, 34,

and

35.

of days were kept as holidays,

ceremony
:

of

But

honour to victorious generals, a

Trappings,

manner

figs.

Collar.

triumph was

scaffolds

and the

Armlet.

conducted

in

this

were erected in the forum,

GUIDE TO

106

and

different parts of the

were clad

in white

city;

the spectators

garments, the temples were

strewed with wreaths, garlands, and perfumes.

This triumph lasted three days

was carried the largest

on the

statues,

first

day

and

pictures,

images drawn upon chariots ; on the second day

was carried the armour, which was piled up in

order; such as helmets, coats of mail, shields,
targets, bucklers, quivers of arrows,
bits

and

and horses'

through these were intermingled swords

spears.

On

the third day the trumpeters

announced the procession of the oxen, led to

be

sacrificed,

accompanied with the consecrated

bowl, and gold and silver cups, of the most elaborate workmanship; then came the chariot, in

which was placed the armour, diadem, &c. of

him

that

carried

had been conquered

after this,

were

some hundreds of crowns, sent from the

different

cities,

from

their

respective

sadors, as a reward due to their valour.

ambas-

Then

came, seated on a chariot, the victor, clad in a

garment of

purple

hand a branch of

and gold, holding

laurel, his

in

his

army, likewise, bear-

107

ORNAMENTAL DRAWING.

ing the same, and singing songs of triumph.

When

had

any general

mander, the arms of

carried on

The

the

slain

a chief

com-

captain were

a stock of oak, before the victor.

who performed

first

was Romulus; and

and presented,
to Mars, in

Besides

first,

this

piece of religion

all

the spoils were taken

to

Jupiter, and, secondly,

form of trophies.
all

this,

and arches.

pies,

killed

they had

porticos,

tern-

These arches were public

and encou-

buildings, designed for the reward

ragement of noble enterprises, erected generally

to the

honor of such eminent persons as had

either

gained a victory of extraordinary con-

sequence abroad, or had rescued the common-

home from any

wealth at

At

first

by

110

they were plain and rude structures,

means remarkable

but, in latter times,

too

great for

manner

the

beauty or state

rendering them in the highest

splendid

of

for

no expenses were thought

and

being more usual than

actions

considerable danger.

heroes

magnificent
to

have

they

the

stood

nothing

greatest
to

honor

GUIDE TO

108
curiously

the

of

expressed

that

cut out on the

triumph

arches built

whole procession

or the

The

sides.

by Romulus were only of brick

Camillus of plain square stone

of

then, those of

Drusus,

Ccesar,

Titus,

but,

Trajan,

Gordian, &c. were entirely marble.

As

circular,

whence,

names.

Afterwards

square,

were at

to their figure, they

they

probably,

they

were

arched

with a spacious

first

semi-

took

their

built

four-

middle, and smaller ones on each side.

the vaulted part of the middle gate

winged

images,

representing

crowns in their hands

they put

upon

the

which,

Upon
little

hung

with

Victory,

when

conqueror's

the

in

gate

let

down,

head, as he

passed under in triumph.

The columns, or
meanest beauties
last,

arches

converted
for

of
to

pillars,

were none

the city.

the

same

the honorable

of

They were,
design

memorial

at

the

as
of

the

some

noble victory or exploit, as well as to hand

down

to

posterity

the

the .sepulchres of great

chief

men;

ornaments
as

of

when Juno

109

OENAMENTAL DRAWING.
foretold the death of Sarpedon,

of carrying

him

the

buried,

butable

own country

into his

words

following

and speaking

are

be

to

attri-

very

" There shall his brothers and sad friends receive

The

breathless corpse,

and bear

it

to the grave

A pillar shall be rear'd, a tomb be laid,

The noblest honor earth can

give the dead."

HOMER'S ILIAD.

The

pillars

and

Trajan

been extremely admired

Antoninus, have
their

the Emperors

of

for

beauty and curious work, and therefore

deserve a particular description.

The former was

set

Trajan's Forum, being

four great stones

in the middle

up

composed of

of marble, but

so

twentycuriously

The

cemented, as to form an entire stone.

height was
It

has one

stairs,

of

one hundred and forty-four

feet.

hundred and eighty-five winding

and has forty openings

sion of light.

The whole

admis-

for the

pillar

is

incrusted

with marble, on which are expressed

all

the

noble actions of the emperor, but particularly

in the

Dacian war.

One may

see

OF THE

UNIVERSITT

all

over
8

it

110

GUIDE TO

the several figures of forts, bulwarks, bridges,

and a great variety

ships,

such as

arms,

helmets, targets, swords, spears,

shields,

&c., together

gers,

of

with

and employments of the

the

several

soldiers

dagoffices

some dig-

ging trenches, some measuring out places for

and others making a triumphal proces-

tents,

But the noblest ornament

sion.

was the

statue

of

Trajan on

of this pillar

the

top, of

gigantic size, being no less than twenty feet

He was

high.

represented in a coat of armour

proper to the general, holding in his

left

hand

a sceptre, in his right a hollow globe of gold,

in

which his own ashes were deposited after

his death.

The column

of

imitation of this,

one

respect,

that

Antoninus was

which
it

it

seventy-six feet high; but the

the

stairs,

inside

hundred and

work was much

being undertaken in

the declining age of the empire.

on

The ascent

was by one hundred and

and the openings

in

exceeded only in

was one

inferior to the former, as

raised

six

in the sides fifty-six.

Ill

ORNAMENTAL DRAWING.

The

sculpture

and other ornaments were of

the same nature as those of the first; and on

the top stood a colossus of the emperor.

Both these columns are

Rome;

the

former

most

still

entire.

standing

at

But Pope

Sixtus the First, instead of the two statues of

the emperors, set up St. Peter on the column
of Trajan, and St. Paul on that of Antoninus.

8 *

112

GUIDE TO

DESIGNING OF TROPHIES.
The form

of trophies cannot be better un-

derstood than by the following description

"

And first they lopp'd an oak's great branches

The trunk they

fasten'd in a rising

Above the

was

round,

ground
And here they fix'd the shining armour on,
The mighty spoil from some proud warrior won.
crest

plac'd, that dropp'd

A grateful trophy to the warlike god

with blood,

His shatter'd spears struck round. The corslet too,

hung deform'd below

Piec'd o'er in places,

While the

massy target bears

The neck the glittering blade he brandish'd in the wars."
VIRGIL.
left side his

They next commenced with trunks

hung round with

ble,

scaly corslets, shields,

ments.
his

spoils,

of

and covered with

and other military orna-

At the base was

placed a captive, with

hands behind him, and winged images of

victory around.

mon

Others were composed of com-

military garbs, having shields of unequal

forms.,

and helmets; some open, and adorned

with crests; others close, without crests.

the

mar-

same trophy hung

soldiers'

On

habiliments,

with several other designs, which, by reason of

113

ORNAMENTAL DRAWING.
the decay of the marble, are very difficult

to

be discovered.*

Designing trophies in a pleasing form

not

remember

I do not

very easy to accomplish.

is

having seen above three or four well planned

trophies;

when

say well

those that stand on pedestals,

bases.

The best

ton Palace
so

ciples,

same

strict

rule, I

as a base for

There

say,

my

upon Carl-

attention

by them, and upon

attracted

and

may

mean

pediments, or

I ever saw stood

and, I

planned,

their

was
prin-

observance of others on the

formed the idea of following those

my

are

future routine of design.

numerous
of

naval

phies

as

tary ;

of peace, the arts, the sciences

trophies

of

descriptions

war,

and

tromili-

of hus-

bandry, of music, of the seasons, and universal

In designing trophies of war, your

trophies.

mind must be directed

engaged in
trophies.

to

the two

hostilities; these are

termed signal

They should be planned or designed

to a conical figure, being careful

*

countries

These two trophies are

still

to

keep the

standing at Rome.

114

GUIDE TO

largest

description

of arms the

most promi-

nent feature for the centre and base.

tary, the

If mili-

arms introduced must be according to

the era ; a cuirass, supported by the largest guns

and
if

carriages,

shewing the mouth and breech

symmetry by wreaths

possible, breaking the

of laurel, or subjects of a similar description;

be introduced the smaller arms,

then should

gradually

rising

from the

smallest arms to be
in

radius

base,

keeping the

thrown carelessly around

position;

whole

the

be

should

encompassed by banners, but without formality

let these principles

racter.

For naval

principle, and,

should

be

be your leading cha-

trophies, observe

instead of

semicircular,

being conical, they

as

you

sufficient articles to give a light

your design.

the like

cannot

find

appearance to

Implements of naval warfare

be introduced, should be the

stern, or the

to

prow

of the vessel, and those the most prominent;

with anchors, compass, quadrant, and

other

articles

connected

trophies are composed of

therewith.

naval

various

Mixed

and military

ORNAMENTAL DRAWING.

arms of

all

countries,

now

specimen

and modern,

and

all

115

The

ages.

standing of British arms, ancient

is

the one compiled by an

lishman, on the grand staircase in the

London.

of

After

furnish your

eyes on

all

mind

around

to accomplish all

mation

these

perusing

Eng-

Tower

ideas,

for such objects, feast

;

you

will

then find

you may wish

I have

partment.

finest

your

sufficient

for in that de-

now given you

consider necessary

for

all

the infor-

your basis

and, to perfect yourself, study the artist*

honoured

this

to

who

country by his indefatigable per-

and attention in accomplishing a

severance

display of arms, in a

manner

rightly termed

a master-piece, and for which he was

awarded a pension

annum ; and
"

of

two hundred pounds per

may with justice

He was a man,

justly

take

him

quote,

for all in all,

We ne'er shall look upon his like again."

He was
for
*

not famed for deeds of arms, but only

the display of them;

and

it

proves,

by

These were arranged by a man of the name of Harrison,

a carpenter, employed in the Tower, in the reign of William and
Mary, and, by their orders, he planned the several designs and
stands of arms as they now appear.

116

GUIDE TO

perseverance and industry in obtaining a taste

for design,

how many forms may be made, and

changed about, by having only one description

of article enumerated.

Who

would imagine that the figure of the

seven-headed hydra could be formed from pistols

and daggers, or

from sword-blades
to

see,

illustrate

few

George and the dragon

I would advise

and judge
a

St.

for themselves

of

the

various arms in ancient and

leading

modern

my

readers

but I will
points,
use.

and

ORNAMENTAL DRAWING.

shall

117

commence with

swords, as they were, most

likely, the first description of

war-

118

GUIDE TO

like

and murderous

The

offend.

of

wood

weapons,

earliest of

to

defend,

or

these were, no doubt,

or bone; and as the arts increased,

and metals were discovered, these instruments

attracted

great attention for their

speak of copper swords

to

many

fore iron,

may seem

utility.

To

very strange

but that metal was wrought long be-

and applied to domestic and general

purposes.

We

find in

were

made

of

time,

they

were

Homer

that

all

brass;

assayed,

to contain a portion of iron

supposed to have been

cast,

be observed, that the swords of

straight,

and

filed,

the necessary rigidity of a weapon.

of

and found

and zinc
and

earliest

Some

highly enriched.

these weapons have been

tions were

weapons

and, from the

and are
to give

It should

civilized

na-

those of barbarians

curved.

As

this forms

but a small part of the

in-

formation necessary in this work, I shall return

to that portion

most

ornamental purposes.

suitable for building

and

119

ORNAMENTAL DRAWING.

V
1.

2.

12.

1,

3,

4,

13.

5,

'

of the

4.

16.

13, 18,
;

9,

7.

18.

17.

ancient Persian swords and daggers;

7,
;

Jews

6.

5.

14.

6,

Roman swords
i

3.

2. 14, 15, 16,

Grecian swords 12, Dacian swords 17, ancient

Turkish sabres and 8, 10, 11, Turkish daggers.
;

120

GUIDE TO

ON EGYPTIAN TEMPLES,
HIEROGLYPHICS,
BACHED ANIMALS,
AND COLUMNS,
SUITABLE FOR EGYPTIAN
DECORATION.

It

not

is

history of
to give
rect

any

Egypt ;

intention to

enter into the

but, as before stated, simply

you the necessary information and

figures,

them.

my

It

is

twisted

should you at any time

imagined by
line

will

cor-

require

a great many, that

form either Egyptian,

121

ORNAMENTAL DRAWING.

Chinese, or Arabic characters, or any grotesque

will

figure

but the

form

an

either

days of

improvement

are so far advanced, that

to

it

and

how he

architecture

is

literature

behoves every one

be careful how he speaks, and

careful

a god;

or

idol

still

more

and although Egyptian

acts;

not based on such rigid prin-

ciples as others, in conformity of

a number of

members, as other orders of architecture, yet

that two oblique lines, a hollow, a

many

state

fillet,

and a reed, are almost

But

an Egyptian temple.
portion,

The

to

form

first

cornices

were

sometimes
reed; and

it

give
is

to the

to erect

requires proit

possesses.

the great hollow, which their

made

to

assume
with

these were

perpendicular

in character with its primitive

members, few and

fied

all this

the grandeur

ornamented
this,

sufficient

earliest

bold, appropriately simpli-

works of

art.

By

mental

culture they sought for beauty in the sublimity

of nature
skill,

and, from their limited architectural

sought those

objects

the feelings, or gratify the

that would excite

mind; and hence

122
it

QUIDE TO

was that the subjects of nature, and parthose of the

ticularly

soon reduced to
taste.

the

I have read

world, were

vegetable

of

purposes

many

authors,

decorative

who

assert,

they commenced decorating the tops of their

columns, that

be secure

should

it

from the

reach of injury; but this I deny, as the base

and

shaft

of the

The chapters
chiefly to

column were

alike decorated.

columns were confined

of their

palm tree and lotus

the

but

leaf,

laid out in various forms.

Variety in
after
it

number

produce variety
qualities

must

compounding
most

endless

of

or, that

exist

in

diversity

different

be

sought

articles

to

a number of different
the same

thing,

with variety.

may be

variety

altering the position of

The

next to

commonly imagined that

It is

symmetry.

requires a

is

beauty

produced,

any one single

thus

An

al-

by

object.

contrast in the position of objects of the

same kind,
riety.

On

is

the fundamental principle of va-

this basis

Egyptians founded.

were the columns of the

The

idea of an analogy

NIVERSITY
ORNAMENTAL DRAWING.

123

between the top of a column, and the blossoming summit of a tree, furthered their principles
for beauty,

which made

them form the

columns of

their

Uiv-

&~-

shafts of

reeds

and

scales of the palm-

tree

bandaged together,

and seemed as

if

spring-

ing from a bed of flowers

or leaves, for an ornamental base.

Thus

far,

I think,

will admit, sufficient

you

has been treated to you on this early style of

architecture, of

exemplify;
their

which the following figures

and

decorations,

will

shall

now commence with

relief,

and sculpture, prin-

cipally derived from nature.

It

is

more reasonable

to

suppose that the

palm tree was originally used for ornamenting

their chapiters, as

the scaly portion

many

of them are formed of

around the

shaft,

branches springing to form the capital

fact,

we may trace the

in every portion of

and the
;

but, in

imitation of natural objects

an Egyptian column.

Square

124

GUIDE TO

and octagon columns nave also been formed ; and

figures were introduced, as caryatid,

used as

but chiefly

pilasters.

most common form

The
of a

was that of the

capital

calyx of a plant, chiefly

the lotus

which simple

plant received the most

modifications

graceful

from the Egyptian mason,

for the purpose of archi-

ornament ; even

tectural

the

has

been

One

of the

bulrush

introduced.

most curious

capitals is

that of the portico of Dan-

derah;

it is

of a quad-

rangular form, with the

head of

Isis

at

each

Caryatid Pilaster.

facing; and above that,

the
the

model of a temple, previous

architrave,

imposing

effect,

to

or cornice, which has

and seems

to

reaching
a very

have been intro-

125

ORNAMENTAL DKAW1NG.

duced on many other monuments, intermixed

with different portions of sculpture.

The only specimen

that I can refer to

regards the idea of an Egyptian

edifice, is

as

the

Egyptian Hall in Piccadilly, which was erected

at

sufficient

have

to

expense

enabled

the

builder to have represented an exact model of

an Egyptian temple; but some portions, however, of the

to

many

upper

stories, are sufficient to

the character of

round mouldings up the

its

side,

style

give

a few half

and a bold carved

cornice at the top, finishes this Piccadilly temple.

There

is

a very

striking

tween the Egyptian and

the geometrical figures

of

difference

be-

Grecian decoration

Egyptian

columns

render them more deserving of merit than the

Roman

or Grecian, as they had only one foun-

dation as regards

its

figure; whereas, had the

Egyptians finished their leaves as the Greeks

have done, in many instances they would have

commanded

greater

power on

grandeur of design, than

Grecian and

Roman

the

the
after

beauty; but, as

mind
ages
it

is,

for

of

we

126

GUIDE TO

cannot familiarise ourselves with an Egyptian

portico, as

it

has an incomplete appearance.

The genuine
of

rule

for

to

pillars

rounded forms, but of no

irregular

blished diameters; but

tomed

Egyptian

on

look

when

the

column, the Egyptian

the eye

Ionic

then

or

is

esta-

accus-

Corinthian

appears stunted

as they seldom took above five diameters,

the Composite and Corinthian,

toms were

is

like the leaves of

nine

and

the bot-

the lotus, rising

above a number of concentric rings, binding

the columns

above

like

them are

the

hoops of a

vertical

cuttings,

cask

and

giving the

Lotus.

appearance of a bundle of rods which, I have

no doubt, gave

rise to the

flutings of columns.

UNIVERSITY
OF

ORNAMENTAL DRAWING.

127

only other orders are always concave,

convex.

Egyptian
to

the height of

capitals,

and the

Some have been

forty

erected
their

including

feet,

and about twenty-eight

feet

in

cir-

cumference.

Another

style

thing more than a

together, to
read,

of pillar

number

apparently,

is,

of

make a strong

palm

trees

support.

from the works of a French

no-

bound
I

have

traveller,

39.

Palm.

who

asserts, that

props

was

from

the origin

the

of these massive

slender

stalks

of

the

lotus.

The forms
on

the

of animals having

different

sculptured

been delineated

monuments with

GUIDE TO

128
such

scrupulous

cannot

nature,

that

help inquiring into their origin

when we

further,

animals not

find these

why we

cause

do

should

writers have transmitted to us

system;

religious

the

dregged by

but

is

and,
only
is

Ancient

so.

that

we

was a

it

and we have had before us

a spacious field of research,

travellers,

but embalmed and entombed,

sculptured,
just

to

fidelity

most
still

which has

zealous

inquirers

found to be a

been

and

difficult

task to authorize, for certainty, the real cause

for

such objects.

modern

ancient and

writers are that

we should

with the Hindoo superstition.

place this

we

Innumerable conjectures of

As

are as far off as ever from having a satis-

factory conception of the origin, or symbolical

meaning
forms,

the greatest

of

my

object

on

portion of Egyptian

this

will

be limited, in

regard as remarks on their religious systems,

but merely, compare the sculptured figures on

existing

monuments

in

with the forms of animals

It is not

the

now

British

Museum,

extant.

from personal experience that the

ORNAMENTAL DRAWING.

129

GUIDE TO

130

following remarks are laid before you, but from

the most authentic writers of the past and present day upon that subject alone.

The

print herein given I believe to contain

the chief, or nearly the whole variety of animal

forms, birds, &c., then introduced.

The

was one of the sacred animals of

bull

Egypt, and formed a model for the god Apis, or

observed on fresco paintings, with a

his back,

be seen
Gardens,)

like

at

unto the Bramin

been

It has

great visible deity of Memphis.

hump

bull,

(as

011

may

the present day at the Zoological

whose appearance, I consider, de-

notes kindness, gentleness, and beauty of form

not seen in any other animal of

The

they were never embalmed.

worshipping the

bull,

is

its

kind

shewn by the

sure whether

all

calf.

but

antiquity of

the Israelites falling into the gross

worshipping the golden

am

fact of

idolatry of

not quite

sacred animals were embalmed,

or were used as hieroglyphics, or both

but I

should suppose they only embalmed those ani-

mals that they held sacred

the cow, the bull,

ORNAMENTAL DRAWING.
the horse,
ostrich,

the

and the

camel,

and others, were

131

giraffe

thrown into

chiefly

The dog, the ram, the

the Nile.

the

she-goat,

the fox or jackal, the monkey, the hawk, the

ibis,

the

crocodile,

been

the goose, the

lizard

and the scarabaeus, or

owl, the crane,

have

the

found

The

embalmed.

beetle,

serpent,

and many others seen

scorpion, lion, fishes,

in

the foregoing plate, were used as hieroglyphics,

as well as for worship,

This

trifling

viously said,
in describing

is

to

the rest.
as

information,

not for history, but

have preutility

as,

Egyptian architecture, any of the

above named figures

propriety,

among

and

the

introduced with

may be

introduction

In

the taste of the artist.

able works on the history

left

entirely

many

reason-

and customs of the

Egyptians, will be found detailed accounts, and

forms and characters of

I could of course give

tering

their

writing,

which

but previously to en-

upon that description of study, I should

advise you to obtain them, that your ideas

be carried out with accuracy.

may

132

GUIDE TO

now

I will

columns,

return to the variety of their

cornices and

chapiters,

posed of the palm, the reed, and the

which the annexed plate

is

lotus, of

This

a specimen.

is

Roman and

compatible in appearance with the

Grecian

com-

chiefly

here you see a grandeur and weight

in the composition of the lotus, with a neat

graceful appearance of the palm.

and

After being

well acquainted with their irregular principles,

it

is

very

them

little

use attempting to design upon

you may, of course, arrive

degree of perfection, but

pearance, in

about the

my

still

originals,

which

gives

The Egyptians based

effect.

is

an ap-

as

others,

there
well

as

opinion,

to a certain

pleasing

their ideas

upon

nature's form, although in a rude style of drawing,

but

yet

above

all

conception

of

after-

ages in grand productions, as regards massiveness of

sculpture;

and

it

seems, that

when

they found an immense vein of rocky substance

running in the earth, they were not contented

till

they formed

chres,

immense temples,

or

sepul-

hewn out by manual labour from the

133

ORNAMENTAL DRAWING.
solid rock, leaving intervening masses, of

they

formed

their

columns,

and

which

sculptured

hieroglyphic ornaments upon them, which are

handed down to the present day.

It is

shall

and now

unnecessary to dwell longer on this

leave
treat

the

upon

which character

is

remainder

to

illustrations,

a very opposite style, and

greatly in use

at the

pre-

sent time, but seldom accomplished accurately,

namely, Louis the Fourteenth's

Lotus Boss.

GUIDE TO

134

ON FRENCH ORNAMENT.

THE CHARACTER OF

GUIS

the

or, as

Fourteenth's

French,
others, capable,

of the

an

artist,

decided form.

like

unto

it,

all

by the ingenuity

number of

it is

You have

is

of being thrown

innumerable

particularly as

style,

many persons term

into

figures

not restricted to any

the liberty in this de-

scription of decoration, of using even the square

octagon, or any other geometrical outline you

may

feel inclined to

base your design upon;

its

FRENCH

UKIVZRSITT

135

ORNAMENTAL DRAWING.

to all other chaprinciples being quite reverse

racters, and, for that reason, I

intend dissecting

almost every portion of the French, or Louis the

Fourteenth's style, which meet at angles, either

which partakes of

that
right, obtuse, acute, or

the mixed

curve

when

say obtuse,

acute

and mixed curve, I mean as the four annexed

Obtuse Angle.

Mixed Curves.

figures

may by

shew, that by lines of this kind, you

attention, very soon plan a design for

may wish

anything you
description

studied thus

of

ornament.

far,

to

introduce in

Having

this

sufficiently

your attention should next be

GUIDE TO

136

drawn

to the disposing of these different forms,

so as to place

them agreeable

the principle of which I will

by such

now

lay before you,

rules as I have always found to possess

In the annexed plate

the most pleasing forms.

will perceive a

you

to the observer

their basis

number

of plans introduced

being shewn by a heavy

line

and

around, you see upon what principle you should

roughly sketch in the adjoining parts to comthe

plete

after

design,

throwing

carelessly

around such pieces as you, in your imagination,

think suitable

may

gained

for

this position,

the purpose.

and commence placing such portions

line,

will appertain to the first sketch,

to

Having

rub out the careless out-

keep the standard

figure,

so that the

as

being careful

form in one continued

mere contour

will

be com-

pleted by the introduction of flowers, fruit, animals, birds, figures, or landscapes, which should

be introduced in the back-ground

be

careful

what

form

will

every thing depends on that.

have

two subjects

to

study,

you must

surround

it,

as

Remember you
viz.

ornament,

137

ORNAMENTAL DRAWING.
which

should

which must

be

retire

prominent,

and

landscape,

the distance,

in

give a

to

pretty finish to the back- ground, and

drawn

at

such a distance as not to attract attention from

the framing.

As

these two points will require

your particular notice, I will give in plate 42,

two

comparative designs, that

may

hereafter

lead you the right way, and shall here illustrate

what forms should be given

of landscapes, &c.

for the introduction

In placing animals amongst

your frame-work, never

let

them stand

quite

prominent, but be intermixed with scrolls or

flowers, that the eye

may

not retain the draw-

ing of one, and forget the gracefulness of the

other.
of

Never introduce animals, or any subject

natural history, unless as incidents, without

rendering them
graceful.

interesting, and,

if

Incidents of this description should

be managed in the following manner

two curved or angled

scrolls meet, as

these diagrams, there

is

following description

at

possible,

room

where

shewn

in

for subjects of the

such as a dog alarmed

the appearance of a

serpent, a tiger at an

138

GUIDE TO

hedgehog, or a bird at a dog; a small portion

with

of water,

swan

pecking at a snake

combat

graceful

a dragon and lizard in

which may occur in

always have

view, but

let

in fact, the greater the con-

your

oftentimes the better the design

stated,

position,

dragon and eagle ; rabbit and cupid

cupid and vines;

trast

in

imagination,
but, as before

something interesting

these be

graceful postures, and

placed

in the

in

the most

in

most convenient

places, so as not to disturb the whole outline of

the design from the attention of the observer.

Figures,

when properly managed, have

very amusing appearance

should

be

but,

be prom-

to

inent,

they

unless

the

article

manufactured,

drawn,

is for

some

particular purpose

otherwise, choose

introduced,

sparingly

chased,
;

or,

or

when

such subjects, as are either

historical or fabulous, ancient

or modern; and

OF THE

UNIVERSITT

OENAMENTAL DRAWING.

139

always study to group those subjects that are

most

attract the attention of the ge-

likely to

and which are most generally

neral observer,

known.

Mythological

figures

propriety and

with

often introduced

the different parts

as

sent

stood

which

changes,
to

have

taken

are
place

gods and goddesses

then

around,
to

tion;

should

be

effect,

the various

generally

with

underhea-

the

and the minutiae

emblems that may

those

the discovery of the artist's imagina-

but do not

bined,

very

of the scroll-work pre-

opportunities for displaying

sudden

lead

may be

these objects,

let

be confused,

for

that would

so

com-

ruin the

whole, however good the drawing or the idea.

I

have alluded to

this point before,

ornament

description of

it

is

but in this

of greater conse-

quence than in any other; although there

vast difference

and what

is

is

often

the

designs of Le

as

composed of a very

massive and rich description, which

in

between Louis the Fourteenth's

generally termed the French

the first-named

is

Potre and

is

perceived

De

la Bella,

10

GUIDE TO

140

whose principles of design

from
and,

their chief works, as well as

those

by

taste, as

may

workman and
and

I intend illustrating

means, perhaps,
hereafter

all

such

cultivate

be beneficial

the student, as

styles are to

others

many

to

the

these studies

be divided into several com-

partments, previous to their forming a complete

subject.

now commence anatomizing

I shall

nament which
and,

my

if

is

termed Louis the Fourteenth's,

possible, prove,

by your exertions and

instruction, that there

and richness

that or-

in this

still

exists a beauty

description of

ornament,

that will always be a standing dish of paste

although Mr. Hope, a dear friend

in his

the style,

History of Architecture, observes, the

want of good
sions

to

taste

and buildings

decorations
scrolls, of

used in

is

of

consisting

seen daily in the man-

our great men,

chiefly

that uncertain

Italy, and,

their

of shields and

and irregular

style

soon after the re-adoption

of the classic style, passed into

France

which,

about the time of Louis the Fourteenth, be-

JMAftMM

UNIVERSITY

OKNAMENTAL DRAWING.

came so neutralized,
of his period

as to

141

be termed the

style

and, within a few years, through

an inordinate desire for novelty, this frippery

style
all

became quite prevalent

England, and

in

the old clumsy scroll, which the French had

long rejected as

unworthy, has been eagerly

brought to decorate the houses and mansions

and not content with ran-

of the present day;

pawnbroker's

sacking every

shop

in

London

and Paris for old buhl, old porcelain, old

old tapestry,

and

plate,

they even

old frames,

set

every manufacturer to work to corrupt the mo-

dern
style.

taste,

by the renovation of

However wretched,

go with the stream

still

and so

ployer and the employed;

this

wretched

the cork must

it is

with the em-

whichever way the

employer opens the flood, the taste or plans of

the artist seldom stop the rush, however dirty

the waters

may

be, but he

must

float

with the

stream himself immediately, and get out of

it

not only with credit to himself, but try to obtain the admiration of all observers;

perhaps,

you may do, through a

and that

little

assist-

142

GUIDE TO

ance,
aid

and

it,

sincerely wish

will lend

To

you success.

you a preserver, although

Block Volute Heads.

in pieces,

which I have no doubt, you

able to arrange together for your

own

will

be

safety.

Shell Heads.

This kind of

number

of

ornament

portions,

as

is

block

divided
volute

into

heads,

ORNAMENTAL DRAWING.
shell

143

and foliaged heads, as seen in the annexed,

figures;

these are the points that terminate at

various angles, as the arch, either ribbed, plain,

foliaged, shelled,

posed of

shells,

or

foliage,

or figures,

the top or bottom of the design;

plain or scrolled;
different

com-

centres

perforated;

either for

the lattice,

the fish-scale panelling,

descriptions

tapestry droppings;

of

tables

and brackets;

both scrolled

shield,

for

and

Scroll Heads.

shelled;

the balustrade, flowers, and

arranging

these compartments,

all

sary to inform you, that

it

is

it

fruit.
is

In

neces-

not compatible

with good judgment to introduce the whole of

them

at once

by so doing, you

exhaust your store.

will very soon

But suppose

you make a design of a

for instance,

number

of

ribbed

144

GUIDE TO

arched
a

shell

or

one angle, you would put

at

friezes,

scroll

a table or bracket

at

head,
;

arches, as the fol-

broken

parts

by flowers or

with square tablets and panelling.

fruit,

side,

in another portion, the scrolled

and these

arch,

other

to these different portions

you might add the shelled

lowing figures

the

Be

sure

not to place these pieces together, but sepa-

Scroll Shell Centre.

rate

so

them

as

to

as

much

as

you can with convenience,

cause a variegated appearance, as I

mentioned before, that

by proper management
a

great

variety

may

Scroll Shell Centre.

be made by one single

object,

and

do not know where a better op-

Scroll Shell Centre.

portunity
shall

is

given than

now arrange

in

this

instance.

the different arch pieces.

145

OENAMENTAL DRAWING.
Fig. 40

perforated;

is

termed the ribbed;

fig.

42 the shelled;

flowered; to which you

other object that

may add

fig.

41 the
43,

the

fruit, or

any

fig.

may be pleasing, as

shells,

small openings for paintings, or water-falls, and

heads of figures, or dolphins.

you

the

various

arched

40.

finishings,

Having shewn

pieces,

centres,

and

41.

which combined, are the rudiments

t

of

this

description

of

ornament, I

will

now

146

GUIDE TO

refer to that portion called panels

and

tablets,

which are faced, or otherwise

with

lattice-

work,

either perforated or solid,

on the

entirely
it

and eccentric curves; these

fish-scales,

may be

fitted

article

manufactured, whether

be of metal or wood
it

forated,

has, in

which depend

for,

when

it

is

per-

most instances, a meagre ap-

pearance, and defeats the solid and rich appear-

ance of this description of decoration.

Panellings.

Tablets and panels are mostly placed be-

tween

the

finishings

and angular

joints

of

various combined arched friezes, and are often

moulded, instead
fittings

there
will

piece

is

but

this

of

the aforesaid

mentioned

must be done only where

a small compass to

fill

up, as

it

then

and firm
give the appearance of a solid
of

frame-work.

will

now draw your

147

OKNAMENTAL DRAWING.

attention to a practice, which I have often seen

represented
placing j of

][/both

tablets

right

or panels at two

a, 6

angles, or

other;

and wrong,

viz.,

the

opposite

Panellings.

many on one

for instance, in

side,

and none on the

the two previous dia-

grams, you see the effect they produce

and,

on your referring to the various plates, you will

148
see,

GUIDE TO

by management, and avoiding any

have a very pleasing appearance;

outline, they

but

mind

your

and

depends on study, and furnishing

this

all

this

definite

is

with

every

done

only through

finished

termination,
practice

and

perseverance; but most draftsmen, after know-

ing a few component parts

when

ments,
in

want

of

various orna-

feeling themselves at a loss,

of something to

fill

and

up a vacancy, and

not knowing the different variations that this

simple

ornament

may be changed

into,

have

immediate recourse to panelling; never studying or thinking of the observations that

may be

passed by others, who, perhaps, do not possess

their talents, but have persevered so far as to

understand

the

different

compartments,

and

yet not sufficient ideas to be able to form and

complete a design.
not

talent

in

To enable those who have

arrangement, sufficient to com-

pete with their perseverance in study, I would

advise

them

to

notice the

general variety of

diagrams heretofore given, and by drawing and

cutting out a

number

of these pieces, of various

149

ORNAMENTAL DRAWING.

be enabled to join and plan

sizes,

they will

many

designs and forms, which might not other-

wise have occurred to them, even after an im-

mense deal of study;

and I think

is

not a

new

is

a very simple plan,

prove advantageous, and re-

will

pay the labour

it

it

The

at first cost.

may

idea

one, except to this purpose, as

many would, and perhaps

will

any one

say,

could have done or found that out, because

is

so simple;

if they

to

had thought of

damp your

this is not intended

it ;

my

it

duty to inform

my

and they, of course, can use their

it,

discretion in putting
I will

the egg,

imaginations, but having proved

the same, I consider

friends of

Columbus and

but, like

it

now

it

into practice.

refer to the

department of tables

and brackets, which comprise another very prominent feature in

this description of decoration,

and partake

chiefly of acute

their

feature

chief

scroll-head

is

finishings,

finished with

scroll

as the following

and curved angles;

prominent

mouldings,

angles, and

leaves, shells,

figures

shew;

the

and

their

bases

flowers,
utility is

GUIDE TO

150
to

off

finish

prominent points, where any neor symbolical ideas,

cessary articles,

required; and

the

same

its

with

may be

beauty consists in blending

the

accompanying

scroll,

or

frame-work, in an imperceptible manner, with

freedom,

-to

the body of the design.

this

instances,

In some

ornament, in Louis the Four-

teenth's, is of a firm

Louis the Fifteenth's

and decided form; but in

has always seemed to

it

me, that they are attached to that meagre and

undecided form, termed the Chinese, which, like
themselves,

forms

and

composed of such

are

figures, never

to

be

grotesque
understood,

although patronised by many whose ideas and

mental capacities ought to enable them to form

a better taste;

but,

richness of effect,
ings,

&c.,

ture:

yes,

like

of

assert

some of

my

character bestows

course,

that

Hogarth's

very reverse to what

are at present so

its

by various burnishings,

nature,

Many, however,

as

it

many

is

gild-

forgotten.

they follow

na-

perspective,

the

should be

but as there

diligent enquiries

from

friends respecting this description

LOUIS, 14

ORNAMENTAL DRAWING.
of design, of course I

my

am

in

151

duty bound to do

utmost to oblige them, in explaining and

dissecting the

same; and

shall,

after

little

more explanation, respecting the French ornament, attack this splendid foreign character, as
regards the style of decorations.
I

am now

departing from

my

track,

and

will

return to that section, termed the balustrade;

as a portion

when properly

of that,

placed, is

very acceptable, and breaks, most considerably,

Bracket.

the

monotony that would often

are of various
angles,

diagram

will

They

and generally placed

the top or bottom of drawings.

ing

exist.

give

The

at

follow-

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 care-

they have

fully,

for

nent

effect

which

and

will

promi-

add greatly

as well as the variety of

The moulded

ing, is the best,

outline

and

powerful

but, used judiciously,

to the appearance,

form.

scroll,
is

with block

sure to

fall

finish-

that

into

ensure a decided graceful

Bracket.

figure.

would have you pay attention

to

that part of the finishing in which flowers are

a portion

unless great freedom

for,

is

used,

however good your formation and foliage may

be,

yet

stiffness

that particular
other.

Now,

and want of freedom on

point will entirely destroy the

to

avoid

this,

as

in

fruit

the

153

ORNAMENTAL DRAWING.

same, you must be very careful, and not crowd

too

large flowers together, so as to ap-

many

pear square or formal; but

your flowers be

let

open and straggling, and they

will give as great

a variety as can be well defined,

mean those

that are generally known.

I will here illustrate a few of the flowers,
it

though
taste,

and

fined to

is

upon your own

depends

entirely

a circumstance not biassed or con-

any particular portion or kind ; but be

careful not to

introduce

them too

profusely.

Balustrades.

In

fact, this

description of decoration

aided

in

these

articles,

appearance
as

by

flowers,

items of the kind, and

out

them

and for

the

is

is

greatly

introduction
fruit,

of

and other

never finished with-

this reason,

would have you

turn your attention to study flowers from nature,

being the best master I can refer you to

11

154

GUIDE TO

and not only learn

to

tion,

draw them

in

one posi-

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.

same principle must be followed up

The

rigidly in

regard to different leaves, their different external forms,

and turns,

the vine,

fig,

dahlia,

We*
woodbine, honeysuckle, convolvulus, rose, and
passion-flower

they have a
selves.

full

leaves,

are

the most useful, as

and decided character

in

them-

ORNAMENTAL DRAWING.

Having now
and pleasing

illustrated the

sections,

hope

155

most convenient
it

will

not be

without rendering you an essential service, not

only in this, but in
feeling

the foregoing diagrams,

confident that this

to follow

system has proved

who have thought proper

my advice; and shall now leave you

successful to

to

all

all

those

your studies, and proceed with that descrip-

tion called

Arabesque.

GUIDE TO

156

ON FRETS AND GUILLOCHIS.

PREVIOUS to entering into a description of

Arabesque
of

a number

foliage, &c., I shall give

the above-mentioned

of

illustrations

orna-

ment, the characters of which are purely Grecian,

on the part of the

on

Gothic,

the

part

fret,

of

but may be termed

the

beauty and principle of the fret

ity

of

ground and

right angles.
sibly

be

To

fillets,

and partly

or that which

mixture of lines or

number

it

cannot posfirst

laying

rule for the same, as with

circular.

required,

an equal-

meeting at various

done by hand, without

the mixed fret

width

lies in

gain this end,

down a geometrical

The

guillochi.

and

is

partly angular,

To accomplish
fillets,

this inter-

you must take the

divide

it

into

a certain

of divisions, agreeing with the

allotted, avoiding, if

pass, not

to

space

you have a narrow com-

put too confused a pattern

and

Ill

ru

HC-

\\5\\n\ \n\\n\m

UFr-Ufi-llrHUFr-U

UNIVERSITY

W*

((
IL>

II

hl+I+Z+I+Z

157

ORNAMENTAL DRAWING.
divide

accordingly,

shew.

will

annexed

diagrams

lines are the

divisions;

the

as

The white

Odd, producing eight

Odd, producing

and,

five fillet fret.

by making out every

gain your pattern.

fillet fret.

alternate one, you

I have given almost every

one in general use; but by perseverance, or,

as in

many

instances,

by chance, the patterns

are unlimited.
I

which

shall
is

next proceed with the mixed

fret,

upon the same principle, keeping the

curvilinear portion

marked out

exactly within the division

for the angles;

and the same may

be done with this as with the former ones.

GUIDE TO

158

The

on a very different plan,

guillochis are

and are formed

on

different

principles

to

which may be added a variety of ornamental

As

designs, bosses, or cups.

ters rest entirely

upon the

all

these charac-

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

required,

many

points,

which

the chief thing

is

and can only be accomplished by geo-

metrical rules.

The following diagram,

a

sufficient

guide to

all

the rest

think,

will

be

The above simple guillocki would, if you

knew no principle to work upon, give some
trouble to

draw

correctly.

It

the plan I discovered; and I

will

shew you

think you will

ORNAMENTAL DRAWING.
agree with me, that
the purpose.
at

it is

You draw

lique

angle,

lines, as

you

after

to

draw

think,

the

to

proportionate

which, draw your ob-

b; then, by rounding each

at

will gain the point required.

The other diagrams

principle,

but to

very simple,

or strike the circles, a,

equal distances, and

two outer edges;

159

are

and give you every

the

every

following

pattern

upon the
facility,

designs,

worth

This description of ornament

in

notice
is

same

by study,
which
is

given.

useful only to

a certain extent, as on a cornice, rim, or small

border, as there

is

not sufficient in

a very prominent

feature

in

itself to

decoration;

be
but

yet I would have you direct your attention to

it,

for, in

some

instances,

judicious treatment,

it is

very useful, with

when combined with other

ornament.

XTNIVERSITT

GUIDE TO

1GO

ON ARABESQUE.
ON
sitions,

referring to that description of compocalled

term

the

as

it

is

must certainly say

cinque-cento

of

Arabesque,

understood, but

generally
it

antiquity,

beasts of
tures,

which

represent

every species, and

times called grotesque, from

under-ground

been

found

buildings

the

and stuccoes

foliage,

most

in

fruits,

imaginary crea-

This decoration

intermingled.

ori-

being

application

ginally confined to the paintings

of

the

has a tendency to

its

style,

I adopt

course,

the

is

some-

grottoes or

which

they

have

specimens

splendid

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.

examine the ancient Arabesques, we

If

we

shall find

ORNAMENTAL DRAWING.

161

endless beauty, variety, and originality

ful details,

mode

and great

of execution

Arabesque

style

skill

grace-

and freedom

in the

and I doubt whether the

really

had the

of

effect

couraging painting of a higher class;

dis-

at

as,

Pompeii, poetical compositions of great merit

have been found

intermixed

and playful decoration.

rather

classifying

for

light

out

pointing

walls,

as

architectural

of the gods,

heathen mythology,
Greeks,

and

composi-

landscapes, gardens, and sea pieces

figures

it

what he considers legitimate objects

painting

tions,

this

Vitruvius describes

After

accurately.

with

who took

paintings, are

the

and subjects drawn from

" The
he
thus
proceeds

truth for the model of their

no longer followed.

now represented upon

walls

Nothing

but monsters,

stead of true and natural objects.

is

in-

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.

we have demi-figures

In another place

issuing

from

flowers,

12

162

GUIDE TO

some with human

faces, others with

of

beasts,

things which

all

And

have been, or ever can be."

" that
painting
it

is

are

the heads

never

not,

further states,

to be esteemed only so far as

good

represents truth,

and

execution,

the

design be consonant to reason."

The Arabesque
appear

fanciful;

may, at

style

but,

no

doubt,

first

sight,

may be

it

treated according to fixed principles of art,

the artist will be

more

and

successful as he keeps

those principles in view.

balance of composition

A due
is

very

essential, that the heavier parts

may

sustain the lighter through

every gradation
lustrating),

much

or too

(as I

intend

il-

and not to cover too

little

of the ground.

Unity of design must be studied

in connection with each other

much

as possible, tend to

would be deviating from

and should, as

some decided end.

my

It

original advice to

enter upon the subject of colours

but, observe,

that in ancient decorative painting of this de-

ORNAMENTAL DRAWING.
scription, the

163

beauty existed by the balance of

colour being strictly attended to.

were

dark panels, with various lighter

chiefly of

colours, according to

the designs upon them;

their ceilings, were, likewise,

natural

Their walls

arranged by the

and

of light, shade,

effects

reflection.

As lightness and grace are the peculiar

attri-

butes of Arabesque, the foliage, which forms

its

most

fertile
its

loaded;

ought
flowers

to

resource, should never

details,

and modes of

be drawn from nature.

may be

be over-

ramification,

Foliage and

represented with the greatest

accuracy in these
flower, gracefully

decorations;

as

formed, with a

will

form a picture.

and

circles,

containing

Small

one single
little

scroll,

fountains,

ovals,

subjects

of

12

interest.

GUIDE TO

164
Portraits

and

The

is

leaf

medallions

may be

introduced.

the deeply serrated

generally of

acanthus, long thin stamen, and starting points,

terminating with cup-bosses, holding some sort

of tablet, that baskets of fruit or flowers

be placed thereon

may

long starting volute scrolls

from each side of a reeded

and

cupped

small

or

pedestal,

columns,

composed

only of figures and bases.

In

may be

ject
will

fall

ob-

any slender

fact,

that

used,

gracefully

into

variety of forms.

have

few small pieces, as

grams, of the leading feature

introduced

dia-

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.

attention

must be

to

character of the style

the
is

Your next

colouring;

for the

not sufficient by

itself,

ORNAMENTAL DEAWING.
but requires the aid of an

165

number

infinite

of

colours to shew the effect, and in that depart-

ment

it is

tion

but there are so

out of

colours, that I

of so doing.

my power

am
In

to give

you

of pretty

many examples

of opinion there

fact, it is

to arrive at perfection in

instruc-

is

no need

the study of

producing

many

effect with-

out a thorough knowledge of drawing, and by

very simple means; yet I never could find sufficient

pay any attention to that

courage to

department, but always strove to produce light

and shade without any variety of colours, and

I

would advise others to do the same ; and,

nature should

them

term

as phrenologists

it,

colour,

you must reach the

The best specimen of

apex of perfection.

louring, of this description, I have seen,

the Pantheon, in

to your proceeding with

effect,

learn

is

at

but, previous

your glowing

well to

co-

where a day

Oxford-street,

or two's study will be sufficient

gaudy

on

have bounteously bestowed

an overpowering development of

if

shape

tints

and

your orna-

166

GUIDE TO

ment, and plan your designs, and the other

will,

no doubt, very soon follow.

JK.

(UNIV^RSITT)

THE general
this description

outcry, at the present day, for

a task not easy to

giving a
character

compete with, as regards

decided opinion respecting the true

and date of
I

country.

me

of decoration, involves on

know

its

introduction into this

not of any style of decoration

and building, on which architects and authors

have

differed

cumstances,
stance,

it

more widely;
will

be

my

under these
study, in this

to bring all accounts

together, and,

possible, glean that substance

base

those

decoration

and

that

principles,

may be formed

rules, for classing

racter or style.

it

cir-

inii

on which I may
the

into

Elizabethan

decided laws

as an established cha-

168

GUIDE TO

As

instance,

have stated,
if

architecture

intention

is,

in

this

base the Elizabethan

to

possible,

and decoration

and previous

component

my

as a style of itself

to illustrating too extensively its

except where

parts,

necessity

re-

quires, I shall give a brief account of its origin,

and

progress,

and researches
the

for

The

detail.

successful

modern times,

ancient and

in

improvement of

has,

art,

travels

no

doubt,

been the cause of so many variations in the

different styles of architecture,

day

not that

it

is

my

at the present

intention to enter into

the various orders of architecture, but, in this

instance, I

that

We

are informed

we

authors, that
to

yet, out of those,

may make

fifty

more

in fact

if

upon

most archi-

are in possession of

class

decoration upon

lines

ideas to a bearing.

by many,

distinct orders

internal

well

my

subject, to bring

tectural
five

must appropriate a few

our building and

that

may be

very

you think proper, you

and, for this very reason,

I class the Elizabethan as an order of the latest

period, or

decorated

Tudor, particularly in the

169

ORNAMENTAL DRAWING.
variety of its forms

and component

parts, let

them be copied from whom, or wherever they

may, or however displayed,
that

constitute

bad;
orders

of

Doric,

Ionic ,

thus

before

these items

is

whether

originality,

as

and,

it

with the five

stated,

we have

architecture,

Corinthian,

or

good

the

and

Tuscan,

Composite;

far, so good.

Now, what

visible

difference

there be-

is

tween the Tuscan, and Doric, or the Corinthian

and Composite,

that is the point

you give your ideas too

sider

the

that

first

freely,

and, before

you should con-

and

principles

rules

for

diminishing and designing of columns were laid

down by

the Grecians,

of the three

appearance

distinct

one

at

and

the

illustrations

will

IONIC,

at

who were
orders,

glance

CORINTHIAN.

the inventors

all

the

different

DORIC,

The

in

the

annexed

prove the variety, and shew

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

GUIDE TO

170

Tuscan and Doric as one, or the Corinthian

and Composite the same, there being such similarity

between them.

without a

Romans

Now, the

Ionic

stands

except being plundered by the

rival,

to

murder the appearance of the Co-

rinthian, 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

there are, I

am

original designs

the old

sure,

to

better and

more

be gathered from some of

Norman and Saxon

shewn by the Romans

is

many

itself,

cathedrals, than are

in their Composite,

which

done, merely by robbing the Ionic of

grace,

and the Corinthian of

its

richness.

its

here give a small illustration of the Composite

OENAMENTAL DEAWING.
chapiter, that

you may not be

derstand

my

remarks, and shall

with

ideas respecting the

my

at a loss to un-

now proceed
As
Elizabethan.

the wreaths of originality are

Romans, by
to

their

make one

for the

it

to

why

and are given

the

credit

not do so with any other

Corinthian.

that

allowed

combining the Grecian order

of their own,

same,

171

Composite.

works upon the same

principle, although

cannot be expected ever to meet with the

the

Roman

encouragement

of

I wish it; for,

on looking

they seem transparent,

phrase,)

that

(if

at

orders,
their

or do

structures

I may use such a

you immediately recognise Gre-

cian art within them,

which art has never, or

172

GUIDE TO

ever
as

will

be,

originality

obliterated, or
is

and,

surpassed;

recognised, chiefly by variety

of forms, I cannot do better than give a

proof
of the

same

outline

of four different
descriptions of build-

ings,

the

for

instance,

have given an

Pyramid of Egypt, the Temple of

the Parthenon, St. Paul's Cathedral, and

Here

Minster.

form,

that

is

being

every description.
pearance,
attract

if

the

observer,

stance can

originality

required

properly

in

variety

and

York

variety

of

decoration

of

of external ap-

displayed,

is

sure

to

attention at once of the

passing

or
it

the connoisseur;

and, in no in-

be more practically brought

for-

ward than in the Elizabethan, which contains a

greater variety of forms than any other class of

decoration in use.

ing resemblance to

The
its

earliest specimen, bear-

internal

appearance

of

173

ORNAMENTAL DRAWING.
decoration, I have seen,

is

dated as far back as

Other prototypes are in

Henry the Eighth.

the cinque-cento, or Italian, the Germans, and

many

others;

but most likely the originators,

or compilers, were artists of our

and

it

is

my

that which

opinion, that the

until the reign of

and was the standard

sixteenth

Elizabethan

is

succeeded the perpendicular style,

and was practised

First,

own country

century.

style

consider

its

James the
during the
course was

shortened by the powerful imagination of Inigo

Jones,
it,

who,

as the

by-the-by,

it

is

in

gateway of Whitehall, which has been

removed some
but

had a small share

years,

was designed

also asserted to

in that style

have been from the

174

GUIDE TO

pencil

of Holbein.

others,

the style, which

By

Walpole,

we

was termed, in

derision,

being of

so

itself

call

and

Elizabethan,

King James'

compounded

many

Gothic,

and

hetero-

geneous; and we have no reason to disbelieve

otherwise,

it

being a compilation from foreign

and foreign

artists

styles, at

the same time not

forgetting to take advantage of the fixed orders.

The

and most

earliest

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 di-

rected efforts of genius were such, you might

perceive a grandeur and richness, combined

the effect of the grotesque and eccentric

its

character

ciate

is

of

its beauties,

that
(if it

description, to

has any,)

it

by

and

appre-

must be

studied by an unbiassed mind, and requires a

very

careful

plexity

of

understood.

examination,

before

the

com-

form and enrichment can be well

ORNAMENTAL DRAWING.

The following

style

deceptive to

is

many

persons; for wherever gables, ornamental

als,

pendants,

pinnacles,

oriel,

are

fini-

or projecting windows, and

seen,

it

There

Elizabethan.

75

immediately termed

is

are

you

wrong,

all

these addendas are formed on the basis of the

old English school,
ing,

or,

more properly speak-

domestic architecture

Gable-end Roofs

or,

a number

of

but the theory on

Triangular Roofs, springing from

various directions.

which Hakewell and Richardson would

pure Elizabethan,

is

And

a certain

extent,

the

the cinque-cento of Italy,

unmixed with any Gothic

richment.

fix

detail

or Gothic en-

they are certainly

otherwise from

correct to

whence

do

176
they

GUIDE TO

make use

though 'not
it

of the pinnacle

exactly of the

has a resemblance

being of itself but a

trace
style.

a figure most

Of

course,

we

finial,

Gothic form.

al-

Still

and, as before stated,

compilation wherever

prominent
are at

of pilfering from

that,

in

it

we

any other

liberty to

accuse

Xovman.

Elizabethan.

them

and

or from others

but, to place before you a correct notion of the

of

all

those hideous and grotesque forms, which, in

its

Elizabethan

progress,

architecture,

overloaded

to

strip it

and refer to

it,

pure and original state

is

we

it

in its

shall there find

it

177

ORNAMENTAL DRAWING.

Roman

and

combined

of

purely the

same, enriched in various compart-

orders,

mouldings

ments, of a sort of mixed fret-work, and forming

Key Pendant.
Gothic Pendant

and may be

tecture,

archi-

street

either simple in its appear-

ornamental in

or

ance,

adapted to

particularly

style

(this, in

my

but, in

the reign of

opinion,

is

the

highest

degree,

original character

its

;)

Queen Elizabeth, there

seems to have been no lack on the part of the

artists

to

add

illustrating.
will

grotesque

My

was such,

opinion

forms, as
is,

intend

that her pride

in building, could

it

and

have been

executed with propriety, that houses, palaces,

13

GUIDE TO

178

and

halls,

would have been covered with pre-

cious stones

and, as that was out of

the favourite artist in those days,

added carved enrichments,

The pure specimens

the

Soane

Museum,

all

reason,

John Thorpe,

to imitate the same.

of his drawing, &c. are in

and

a grand

collection

Bay Windows.

not

they are,

only ornamental

designs,

architectural elevations, in which he has

but

shewn

great skill and taste.

My

first

endeavour to

illustrate

the Eliza-

bethan, will be to anatomize the various features

rations

and
;

peculiarities,

not as regards

as regards
its

the deco-

architectural eleva-

ORNAMENTAL DRAWING.
tions

and

that you

portion,

but

measurement,

179

you

give

that

not be led astray

by

may

every grotesque form that meets your eye, to

call

it

For

Elizabethan.

instance, I

am

sure,

apt to

my future illustrations, you will

think me going beyond the point

reason,

when

in

of

many

I introduce the

scroll,

the

Gothic

pinnacles,

architecture;

grotesque

honeysuckle,

yet

form,

before remarked,

Roman

all

are
that

these

of

acanthus
Grecian,)

(purely

and the orders

be

of

Grecian

combined, without

Elizabethan;

when, as

but

some
18 *

as

would

180

GUIDE TO

suppose,
it

it

had reached the apex

of perfection,

was so overloaded with a profusion of orna-

ment, and indecent grotesque forms, that the

richness
all

it

once possessed was entirely gone, and

beauty of architectural decoration vanished.

Grecian.

Roman.

Roman
I

as. altered to suit

shall

consider

delineating what I

now commence
its

pure

and separate

tures,

the character of the Elizabethan.

character, remarkable

peculiarities, as well as the

general outward appearance.

was composed
oriel

fea-

Its exterior

of gable roofs, as before

and bay windows

in

abundance

form

shewn

arcades,

columns, and pilasters, (the moulding purely Ro-

man ;)
bined

their columns, Grecian

;

and Eoman com-

and grand terraces and canals

in

their

181

ORNAMENTAL DRAWING.
gardens, imitated

the

from

The most splendid

with vases, fountains, &c.

at

set of terraces,

to

adorned

Italians,

the present day,

be at Claverton, the seat of

and a very beautiful example

Gr.

is

is

Vivian, Esq.

halls,

Entrance

formed a prominent

ture to hold benches

or

likewise to be

seen at Holland House, Kensington.

porches to the

stated

fea-

and were con-

seats,

venient places for private conversation, and the

halls

in

were used for dining-rooms

for

we

see

John Thorpe's designs, the nobles, and

their

and

this

ha,bit

was

vice

those

in

would unite

pitality

meals

at

likely to linger, as Dr.

"For

states,

seated

guests,

principal

to

Johnson justly

both virtue and

times

preserve

it,

and the hos-

and pride of the owner would desire

to retain it."

panelling,

Immense

screens of decorative

with seats around,

ferent apartments.

Immense

divided the difpanelled. and orna-

mented doorways, large handsome

fireplaces,

an illustration of which I have given in the

annexed
plete

plate,

and which was added,

the room,

(bought by the Hon.

to

com-

Lieut.-

182

GUIDE TO

Colonel Gust,)

of the internal

fittings

the

at

Star Chamber, or King's Palace, which he had

fitted

up at his own mansion, as

The

Palace Yard, Westminster.

was

most

and,

at

elaborate,

it

was

it

stood in Old

ceiling of that

purely

Gothic;

extremity, terminated with

each

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 deco-

ration around; or,

screen over

the

more properly speaking, the

fireplace.

It

is

intermixed

with Grecian columns, pilasters, circular-headed

panelling, the

bined.

The

mixed

fret,

consoles, or

and Arabesque, comsoffit

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

Ceiling of the Star

ceiling, chiefly

forms

moulded

much used

the

Chamber.

in different geometrical

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

GUIDE TO

184

and richness combined, as very

was used

little

detract the attention

to

furniture

of the

in-

ternal fittings.
ii,

now draw your

I shall

and

soffits,

as

47, 48, 49, and

Chamber
eccentric

attention to consoles
in

illustrated

50.

Fig. 4*,

fig.
is

you perceive, by the

form

as

44,

46,

before spoken

45, being the front-view of the

the

section,

and

of,

has a very light appearance in this view

fig.

45,

from the Star

but in

same

it

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.

48

is

Fig. 47

is

the front-view.

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.
forms I have seen of
section,

49,

fig,

kind or

its

carries

still

185
style.

that

character, but not to an extent that

the

does not

front

side

most

this is

seem

to

from the same;

range this
but

atides,
edifice

the

many do

overbalance the

and the

have been executed when Eliza-

bethan was in the zenith of

is

perforated

a very excellent study,

likely to

The

its

glory.

Fig. 50,

and you might almost

ar-

with the Grotesque, or semi-caryhere

it

figure

Father Time, with

is

in

seems
the

character with
to

represent

scythe in

the

Old

hand, and

186

GUIDE TO

the hour-glass over his head;

these trophies

speak volumes in themselves, and seem to say,

when my

that,

men, then

all

glass is

which

run,

will I cut thee

off like a

for

set

is

shadow.

merely mention these points, to draw your

however grotesque many forms

attention, that,

may

appear,

yet,

when

well

there

read,

is

always a history or good meaning to be placed

on the ideas of the

he

Of

might
all

artist,

have been in

however

deficient

execution.

point of

the specimens I have seen, this outvies

all

for

plan

is

and

the

pentagonal

erection

moulded

is

consoles,

cornices

back

and

and

figure,

composed

Ionic

panels,

enriched
riched

of

The

form.

symmetrical

of

pilasters,

carved

mouldings,

en-

an

board, with

circular-

headed panel, and carved, as I before

stated, in

enriched

imitation

of

jewellery.

The

sounding-board

has a blocking course, consoles, and pendants

in the panelling are enriched
tablets

and on one

is

scroll

shields, or

carved the date of

its

OF THE

UNIVERSITY

187

ORNAMENTAL DRAWING.
I intend

erection.

in

illustrating,

detail,

various ornamented scroll shields, upon

annexed

in the

it

the

and,

have given you a mere

plate, I

sketch of the form and exterior outline, which,

with the detail, I

am

sure,

be

will

sufficient

explanation of what I consider the purest speci-

men

wood

of Elizabethan carving and

erection

of the kind in this country.

shall

now

refer to the

were generally square, some

perforated in

the

form

of

pinnacles
solid,

these

and others

circular

lancet

Gothic head, and mostly separated from their

base by four round balls, and bound round the

centre

others of an eccentric, and

ing from

scrolls.

some

start-

These ornaments were used

in interior decorations, as well as exterior,

and

188

GUIDE TO

formed prominent features

the

at

extremities

be seen by the previous

of gables, as will

illus-

trations; but they were generally of a slender

form, and shews more conspicuous by the several indentations at their base.
to

many minor

decorations, I

To add

effect

have seen pin-

nacles starting from the scroll turns of a shield,

and

at the angles
I have

ment.

one, which

is

of

various projecting orna-

here given you a specimen of

quite sufficient as a guide for all

the rest.

You

will

diagram, in

in

perceive

reference

to

the

the

accompanying

descriptions

of

scroll

used in these points, that they are not

what

is

scroll

is

folding,

..generally

named.
rolling,

expected

These

when

scrolls

and unrolling

the

were
of

word

like

the

paper,

by

189

ORNAMENTAL DRAWING.
which

great

duced

richness

of

may be

effect

for instance, the foregoing

diagram

Suppose you unroll a sheet of paper;

upon.

you

we

like,

loose

When

it

or,

imagine this diagram to be a

will

sheet of paper, rolled the reverse

end

and

it

this is done,

it

will

at each

way

produce that form.

will give

form shewn; but yet there

is

you the proper

that powerful effect

gained, which you cannot obtain very easily

any other means.

In the

perceive a dotted line.

falls

is

worked

the principle that seems to have been

if

pro-

first

diagram you

Now, suppose the

by

will

light

from the direction of the arrow, the ray

produced by the sun

of light

of course,

falls

in

an oblique

is

parallel, and,

line to B.

This

shews, that, greater the projection, (providing

in reason, or

your

you

might throiv the

object in the shade,) you have

effect,

and the

appearance in

whole

of

a greater

reflective tints will cause a rich

all

the

embossed

parts,

as the

second diagram produces, for the chief portion

of these

tained

panelled shields seemed to have ob-

a predominancy solely for that reason,

GUIDE TO

190
I

as

described in the foregoing diagram,

which

lines,

the

following

figure

will

by

shew

shadowed, and point out exactly the principle

always to be observed, and the most complete

In

work upon.

basis to

scription of shield,

it is

designing

this

de-

not by putting a con-

fused jumble of turns, or scroll-heads, because

that

would be wrong
are

observed,

and

the general forms to be

oblique

right-angled

lines,

figures,

squares,
or

bands,

with various shaped perforations

ellipsis,

garters,

and are some-

times bossed with scroll-heads, which I shall

now commence
plain

my

manner
right

and

likewise

illustrations in as explicit

as

possible,

method

The

delineating,

first

for

ex-

and simple

you to arrive

at

the

for designing the same.

of

these illustrations

is

the ob-

xx

D
1

Wfti J^f-

JNIVERSITTI

ORNAMENTAL DRAWING.

191

long square, being frequently ornamented with,

the angled diamond, or lozenge, and at other

times with the elongated square, chamfered

as

it

is

usually called,

to

an obtuse angle of

about one hundred and twenty degrees

any

that would throw off the desired

thing beyond
effect,

off,

and produce too prominent a feature,

and detract the attention from the surrounding

This figure

decorations.

at the top, as the

Fig. 51

is

is

sometimes flattened

annexed

illustrations

the rake of the angle generally to

be observed, and the dotted

shews about

line

the quantity to be reduced for the

I will

now

si.

^rrflfllf^

Rake

shew.

of Angle.

take the

ellipsis,

surface.

flat

as the second

description of centre, which

sometimes

confined

alone, particularly

in

to

is

bands

that

de-

partment termed the bolted style; in others

it

has a boss, or scroll flower; and often the cen-

GUIDE TO

192
tres are

with

formed in the figure of a radiated

fillets

between.

shell,

The annexed diagrams

are the forms I have alluded to.

These shapes

and

their exterior

treat

scrolls, as

compose the

centres,

forms make the greatest va-

component parts of which

riation, the

next

chiefly

of.

They

are

the

surrounding

before-mentioned, and the ends are

frequently mounted with scroll cups, &c.

with

the

I shall

others

combined, form

these

the various

shield panels generally seen, a few of

which are

compiled in the annexed plate.

The

first

shall

treat

upon

is

the turned

193

ORNAMENTAL DRAWING.
and perforated head,

fig.

52, being of itself a

perfect scroll, the dotted line shewing the per-

Fig. 53

foration.

more perfect; the dotted

is

only shews where you must start for the

line

under

line

which

is

connected with

it.

52.

Previous to illustrating any further, I will

explain to you the difference between this

Louis the

Fourteenth's,

in

which the

head has been treated upon variously

and

scroll-

but, to

prevent any misunderstanding on your part,

is

necessary for

turned

me

scroll-heads of

parallel,

or

fillets,

Elizabethan are always

except in extreme cases

say, perfectly free

it

to inform you, that the

that

is

from what are termed

to

ribs

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,

14

as

194

GUIDE TO

their similarity is very likely to lead

you

but as I mentioned before, only in

which very seldom occur.

cases,

duty to give

all

bearded

ends accompanying

scroll,

seem as

if

my

to the form consisting of

and rarely used without

treat next,)

elled

being

with a bulbous scroll-head in the

fillets,

centre,

extreme

I consider useful, I shall next

draw your attention

two

It

astray,

it,

scroll,

(of

which

or
I

and are termed the elongated pan-

fillet

scroll,

and perforated, and

bound with a band,

to prevent their

growing or spreading too wide apart; and

al-

though 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

figures

of the spreading

the

general

ends; and, before I

WNIVERSITT

=&

195

ORNAMENTAL DRAWING.

leave this portion, I will give a few of the centres,

all

which are attached to the same

are combined,

you

plate,)

will,

(as

no doubt, see the

End.

Beaded.

and flower end

partment,
forated

there

now

Head, used with

Bulbous Scroll Centre.

are two

The

first,

or

second, the cup

Trefoil.

take up another prominent de-

namely,

fillets,

my

the third, the trefoil end.

Cup and Flower.

Bolted.

I will

the bolted end

is

utility of

Scroll

thus classing the different parts.

most simple,

and when

you can refer to in the

Circular Head,

Elongated panelled

or

the

entwinement

of per-

mixed fret-work, of which

kinds, pierced and bolted, and

14 *

GUIDE TO

196
in

some

instances

the

conclusion

and

common
seen,

it

observer,

generally

must be Elizabethan.

elevated

was

scope

on the top of the

of various halls

drawn by
this

is

This ornament

where

positions,

and

there

different projections in front

generally termed

is

seats,

between that

difference

the

and the intermixed

fret,

or

pierced

work, I

intend explaining.

The bolted

style,

as

have before stated,

was mostly placed on the top

end facings

of

mansions or

posed or designed on

the

of the front

halls,

looked meagre;

so,

and

and was com-

same

the intermixed fret, but that, in

tion,

the

but that usually placed

and

the bolted style,

used,

at the top of houses,

over various
sufficient

lavishly

wherever

that

is,

was usually placed

now

most

is

it

principle as

a lofty posi-

to prevent

that

ap-

-^

OF THE

UNIVERSITT;

ORNAMENTAL DRAWING.

197

pearance, the forms of square and round-headed

bolts
of

were placed,

the

outer

together.

to

appear as

if

the whole

work were morticed and bolted

The general

principle that seems to

have been practised, was allowing the square

and

circle (from

whence started the various per-

pendicular 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
out.

is

the plan to be observed through-

The number

of different pieces that

posed this were few, but

it

com-

was the intermixture

and repetitions that caused the variety.

GUIDE TO

198
I

now given

have

you,

by small

illustra-

tions, a few of the leading points, in fact, almost

and you must be

all;

this description of

have a

careful

when designing

ornament, that wherever you

department, or

square

the

formation

come

of a shield, that all your smaller squares

opposite each other, as seen in the foregoing dia-

grams

if

you do not,

wrong, but

at the

it

will not only

be entirely

same time look very bad.

II

II

Further illustrations of this kind you

perceive
shall

in

now

the

treat

will

accompanying plates; and

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 portions of panellings, but

upper

more

particularly

extremity of cornices,

appearance

is

given

to

this

on the

a very peculiar

ornament

and,

199

ORNAMENTAL DRAWING.

when

work has
pierced and backed, the ground-

a frosty

and

done with a small round punch,

effect,

at other times merely circular holes, at in-

annexed diagrams.

tervals, as the

of this

is

ground-work

is

peculiar

The addition
to*

itself,

and,

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,

a room, looks very well, with inter-

frieze of

vening

and block cornices around,

soffits

cular-headed
All this

when carved on the

is

doors,

windows,

and

cir-

spandrels.

in character to a certain extent, if

not profusely used, to compose or design this

kind of ornament.
I will

now

explain

rated fret-work, which

centric scroll figure

the intermixed perfois

composed

of the ec-

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

horizontal lines

joined

by

perpendicular

and right angled

and

bars, some-

times terminating with a paper scroll-head and

jewelled centre, and surmounted with pinnacles

and

bases,

various

little

bosses,

and corded

Of these various

laurels or flowers intermixed,

portions you will find outlines in the adjoin-

ing plate, merely as plans for you to design

upon, and

fill

up,

These may, in

stances, be surrounded

by a

broad or too deep, that

it

fillet,

some

in-

(but not too

may have

the ap-

pearance of a great hollow,) and in other instances

which,

may be bevelled off on each side

when closely grouped, add greatly to
it

the variety of effect.

All these points, you will perceive,

tended

to,

as far as necessary, in the accom-

and

will conclude with giving a

illustrations of

another prominent feature

panying plate
few

of earlier times, and which

my

are at-

previous

remarks,

viz.

go conjointly with
the

carved

oak

201

ORNAMENTAL DRAWING.

and moulded ceiling; and,

some

in

instances, I

consider these portions of decoration gave the

greatest

opportunity for the

metrical

study in

all

architectural

more than any thing that

thought

of,

display

of

Geo-

ornament,

could possibly be

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

done,
to

by laying down a

some of the annexed

Fig. 54

is

may

rule,

very soon be

as I have

added

illustrations.

a portion of the ceiling in

Queen

202

GUIDE TO

Elizabeth's

room, Dorton House;

from the Sexton's House,

Fig. 56

is

Fig.

55

is

St. James', Bristol;

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

consider the origin of this

203

ORNAMENTAL DRAWING.
kind of decoration, which

curious
is,

certainly

and not very easy of comprehension, or to

retain
to

it

is

in

the

your memory;

on the annexed

plate,

piece

taken

allude

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

few years after

still,

it

here

was brought

we have

to a

the sup-

204

GUIDE TO

posed original, and we should always look to

that point with delight, as

we

can,

no doubt,

improve, but should always maintain the character

and form of our

model, however

first

Duke's House, Bradford.

and,

ancient;

if

back that same

to the

we wish
style,

character or

executed.

Although

it

must be according

manner
the

or call

to renovate

in

arts

which
have

it

been

was
so

205

ORNAMENTAL DEAWING.

much improved

of late,

it is

but in altering and

forming the geometrical proportion more graceful,

on which we ought to trespass.

I will

now

leave you to your perseverance,

57.

Duke's House, Bradford,

in

combining and accomplishing the true

ture

of

fea-

Elizabethan, as far as the ornamental

department extends
to

First Floor.

proceed

further

and,

should you require

towards

the

architectural

206

GUIDE TO

portion or plans, I cannot do better than refer

you

Richardson's and HakewelVs

to

"Eliza-

bethan Architecture/' both as regards external

and internal

you

fitting

will find all

ideas;

assured,

fully

that there

you require to complete your

but the portion I have treated upon

merely to found a basis, or

is

whereby the

taste,

ornamental draftsman, or student,

may

use his

or her discretion as to the simplicity, or how-

ever elaborate the plan or idea

may

same time impress on you,

a style peculiar

to

itself,

it is

be; at the

and when used with judgment, and

in its proper place,

it is

very well

but I would

not have you waste your ideas and time too

much upon one

composed

and

style,

after that, treat with it as

judgment guides you,

is

a bad plan to

but learn of what

make

when

it is

it

is

your

required, as

it

too free use of only one

description of ornament, which will throw you

off

your principles and ideas of other kinds

that

you may have studied.

yourself acquainted with

marks and

Thus, having made

all

principles, which,

my

foregoing re-

if

properly paid

207

ORNAMENTAL DRAWING.

must

attention to,

perseverance,

labour,

And

cost you.

you

inevitably repay

and study

it

for the

may have

again caution you, let not

your mind be led away to attempt building a

mansion before you can plan a cottage, but go

on gradually, from step

all

to step,

and study well

portions of the art that are good, but copy

little,

with the exception

may have
at

others.

to

make

styles

retained in your

of

that

which you

memory by looking

After that refer again, and study

yourself acquainted with the ideas

of

foreign

draftsmen, from

and

whom we

have derived the chief knowledge of a variety

of

styles in ornament,

and have in many

stances improved upon, but more

often

in-

spoiled

them; and why? merely for the want of that

scope which foreign schools throw open to

all

whose minds are fixed for perfection in any

particular portion

of the

arts

and, before

we

can arrive to that, we must fully make up our

minds to defy competition, by having a true

It is only the

school of design.

and not of mind

for I

am

want

certain,

of will,

were there

208

GUIDE TO

sufficient

scope

thrown

with unbiassed

student,

open to
limits

the

of

British

instruction

given, and tutors properly selected, for a strict

adherence to the same, that our country would,

in a very short time,

laugh at foreign artists as

them

designers, and should only have to thank

for

their

original

Then we should

principles.

have the pleasure of hearing and saying, that

those

whom we

have for years been obliged to

copy and obtain designs from, will be glad to

take advantage of our superiority over them,

not only in design, but novelty of invention.

To remedy

all this,

formed

different

in

schools of design should be

manufacturing towns, and

in various parts

of the metropolis, so that the

student

gradually through a routine of

may go

study, and put in possession of the best examples that can be placed before
this feeling operates

hope

it

him

and

on the public mind, (which

will shortly,)

take

my

advice,

that principle by yourselves, and in time

fully

until

go on
it

will

shew what can be done by proper practice

and training.

209

ORNAMENTAL DRAWING.
I

now

advice,
rules

by

intend completing this portion of

my

a trifling introduction to the Gothic

and variation of arches, and of their

in-

troduction, which will be found essentially ne-

cessary in the course of design, with geometry.

15

210

GUIDE TO

ON GOTHIC DETAILS,
AS REGARDS CURVILINEAR PORTIONS AND PERIODS.

AMONGST the various modes

of

architecture,

there are none more suitable and open to variety

tion,

in the

study of

than the Gothic.

to

instance, is merely

geometry and

My

propor-

intention, in

give you

the

this

universal

form of the various arches, and principle for

striking the same, and leave you to

fill

them up

yourself with tracery, as you please, (in

those

that require it;) feeling confident that

is

it

of

the utmost importance in designing or copying

from any principal

perceive a

edifice, to

know, when you

Gothic window, that ofttimes

the

greatest difficulty arises to give the true form,

solely for the

metrically to
facilitates

want of knowing how

work

to

go geo-

and in another instance,

it

copying, in a very great measure, as

regards a raving of time

because, being tho-

/'///firrr/t'

Crcc&ete

OF THE

TTNIVERSITT
CALIFORNIA-

211

OENAMENTAL DEAWING.
roughly acquainted with

you have only to note

it

sure you can complete

it,

ble.

form and character,

its

down, and at your

lei-

without further trou-

There are at present more valuable works

on that topic than of any other description of

architecture, so that

enter upon

it

that which

it

further,

is

really

would be

castles

for the

to

useful

many

the

to

universal
as regards

its value,

scattered remains of

and cathedrals over the various parts of

England, connect

it

with a variety of pleas-

ing associations, that must render

teresting study.
tain

me

than merely giving you

draftsman, independent of

knowledge

folly for

extent,

I have found

without

it

attempting

it

a truly in-

so to a certo

give

my

time to those portions which are required to

make an
do

the

architect;

same;

and

others,

although

quired in your profession,

you the superior

command

it

I hope, will

may not be

re-

it will, at least,

give

of knowledge

over

many, and render you a pleasant companion,

in giving

thedral,

an explanation of any particular ca-

or other Gothic edifice,

and in what
15 *

212

GUIDE TO

The

period they were built.

of Gothic

origin

was, no doubt, from the cognate race of the

Saxons,

Franks, Normans, and Germans, and

we can

easily

mark

progress of improve-

its

ment from the Norman conquerors

and

in this

whether correct or not, the word Gothic

case,

is likely to

any

survive,

other

an

title,

to

according

appellation,

styles that
as, in

and bear that

might have been given to

earlier

beyond
various

it.

And

portion of this work, I have

informed you, that

it

only by reading and

is

studying different masters, authors, and others,

that I

am

enabled to draw your attention to the

most useful parts required; and where I have

been able

to

facilitate

any

have done

so,

and

a pleasure' in throwing

open those

rules,

feel

for the

difficult

benefit

of

points,. I

all

who

choose to follow them.

The
is

classification of

Mr. Rickman on arches,

undoubtedly the most

suggested, and
divides
1st.

them

is

now

skilful

that has been

generally followed.

He

into four kinds.

The semi- circular,

or

Norman, extend-

UNIVERSITY

213

ORNAMENTAL DRAWING.
ing in

its

pure state from the time of the Con-

quest to the reign of Stephen, A.D. 1136, and,

with the mixed or transition style, which suc-

ceeded to about the year 1190.

The

2nd.

early-pointed,

from the reign of

Eichard the First, 1189, down to the end

the reign of

Edward

the First, 1307.

The decorated, which

3rd.

of

prevailed during

the greater part of the fourteenth century.

4th.

The

the Florid Gothic,* which

reign of

sometimes

perpendicular,

Richard

commenced about the

Second, and

the

called

prevailed

during the whole of the fifteenth century and

the early part of the sixteenth,

down

to

the

period of the Reformation.

The arch being the most prominent and

distinguished feature

in

this

style

of

archi-

remarks by a short

tecture, I shall close these

description of the different forms of arches in-

troduced, with the periods during which they

principally prevailed.
*

Henry

specimen

of

the

Seventh's

Florid Gothic

These, and

Chapel,

many

Westminster,

and tracery

is

in this country.

the

other

finest

214

GUIDE TO

illustrations

which

may be

necessary, will be

treated on the most simple principles, to enable

any person who can handle a lead pencil and a

make himself master

pair of compasses, to

and method of

their contour

delineation.

The Norman, or Saxon

will

commence

arch, is the first I

to describe, as it

was the

earliest

specimen we have of the circular arch.

period of

William

The

its

the

of

The

rage was between the reigns of

and

First

Henry the

Second.

characteristics of the style are massiveness,

twisted and capped columns, sculptured figures,

and corbel heads

of the

most grotesque forms,

and sometimes ornaments of very rich design;

moulding

chiefly

a zig-zag

of

and intermingling of

form, groining

circular headings

and

co-

lumns, forming a unity of style and effect exclusively

iations

its

is

own.

\Their intermixed column-

supposed

to

have

originated

the

pointed arch, which will be seen in the annexed

plate

the front as well as the interior of Roches-

ter Cathedral, offers for the student

opening for

this

kind of study.

an immense

The specimens

215

ORNAMENTAL DRAWING.
here are of the richest description
is

the doorway

most elaborate, as regards sculpture ; and the

scroll

door,)

an

hinges,

by

effect

(which ofttimes cover the whole

several ramifications,

their

both sparkling and

In reference to the

moulded openings
and

label-headed

plate,
is

what

is

ABC

are plain

an enriched zig-zag,

doorway,

hinges, as I before mentioned

ing, with

produce

rich.

with
;

the
is

scroll

an open-

termed cusps introduced, and

an early specimen of a

head

semi-trefoil

is

an interlined opening, with an arched cornice,

terminating with the angled

and beads.

fillet

These cornices were of many forms, as moulding-blocks, cables, chain

fillets,

&c.,

and some-

times with flowers.

I will

now

refer to the other variations, or

towards the

progress

pointed

arch, or

florid

style.

The

semi-circular arch,

employed
of

is
fig. 1,

the only one

in edifices erected prior to the reign

Stephen, A.D.

from the point A.

1136.

This

arch

is

struck

216

GUIDE TO

In the horseshoe arch, of which,

2 and

fig.

3 are specimens, the centres are above the line

of the

springing.

mon, but

This arch

sometimes

is

semi-circular arches,
of variety.

but

fig.

Fig.
after

3,

not very com-

is

introduced along with

for

apparently

the

sake

a portion of a circle;

is

you carry perpendicular

the

at

arriving

semi-circle,

lines, to elongate

the

figure.

Fig. 4

centre
is

the segmental arch, in which the

is

below the springing

is

line.

This form

combined with semi-circular

rarely

Its general

was

application

to

interior

arches.

doors

and openings, during the early and decorated

but even iu these

periods;

quent occurrence.

This

is

the segment required, and

it

is

got
is

not of

according

fre-

to

termed the span

or opening.
Fig. 5

which
arch

is

is

is

the lancet arch,

greater than

its

width.

the height of

Where

this

used for the main outlines of doors,

windows, and other openings, they may safely

be attributed to the early pointed period.

In

OF THE

^\

IVERSITY)
Of
J.

217

OENAMENTAL DKAWINQ.
the composition of tracery
the lancet arch

continued through

all

the

gained by dividing your base

It is

varieties.
line,

is

and wood carving,

B, into four equal parts, and from the

two extreme points your intersection

will give

the figure required.

6

Fig.

the equilateral

is

arch, of

height and width are equal, and

first

is

which

obtained by

getting an equilateral triangle.

Fig. 7
is less

is

than

the drop arch, the height of which

its

width, and

is

got by dividing

the base into four equal parts, as

strikiug from

Fig.
tres of

is

D, and

C.

the pointed segmented, the cen-

which are below the

and bisected,

ABC

line of springing,

as at fig. 6.

The three last-mentioned arches are used

indifferently

in

the early decorated

and per-

pendicular styles.
Fig. 9

is

the pointed horseshoe.

This form

of arch occurs in a few buildings in the

mixed

or transition style, immediately succeeding the

Norman.

The

choir of Canterbury Cathedral,

218

GUIDE TO

erected A.D. 1154, offers,

specimens.*
parts,

and

it

is

said,

the finest

Divide the springing line into

after passing the semi-circle,

mediately collapses, as at
Fig. 10

is

it

five

im-

C D.

the ogee arch.

This form was

never used for the main arches of doors and

windows

of ancient buildings,

as is sometimes

absurdly done at the present day.

confined

to

tracery,

niches, tabernacle

was

work,

The

ogee

also frequently applied to the

cano-

and other ornamental

form was

Its use

pies of doors and

situations.

windows

rated and early perpendicular ;

AB

four centres, as at
Fig. 11

is

in the
it is

late

deco-

gained from

C D.

the four-centred or Tudor arch.

This form belongs exclusively to the reigns of

Henry the Seventh and Eighth,

after

which

time the Gothic style ceased to exist in any

degree of purity.

This peculiar form of arch

has sometimes led to a separate classification of

The

springing

of

an

arch

is

the

point

from

whence

the

compass, either in a semi-circle or segmental line, touches the perpendicular line or, more properly speaking, becomes tangent.
;

ORNAMENTAL DEAWING.
period, under the denomination

this

Tudor

of

but the mere form of the arch hardly

Gothic

seems

sufficient

of

219

to warrant this

It

classes.

derived

is

multiplication

from

the

points,

AB CD.
Fig. 12

This

arch

met with

the three-centered or

is
is

elliptic arch.

sometimes, though very rarely,

England, in buildings of the late

in

perpendicular

it

frequently,

occurs

however,

on the Continent, but marks the debasement

and

near

style

it

approach of the extinction

obtained from the points,

is

Fig. 13

of

the

ABC.

generally termed a lancet open-

is

ing, for turrets and air openings.

Fig. 14

is

a canopy head, and usually placed

over any recess, where a pedestal or figure

is

erected on the face of any Gothic structure.

Fig. 15

curs

is

the spandrel.

and

arches,
label

is

bounded by what

moulding,

tracery
played.

vine,

Tudor, or low segmental

the

except in

This seldom oc-

and

oak,

usually

is

filled

or ivy leaves

termed a

up

with

rudely dis-

220

GUIDE TO
It will

be perceived, by the foregoing

marks, that the

most

form of the arch

cases, sufficient of itself to

is

re-

not,

in

determine the

period or class to which an edifice belongs ; but

we may

arrive pretty nearly,

rowly the

tracery,

openings, (which
various

foils),

known by
annexed

by examining nar-

buttresses,

openings were

composed

and the variety necessary

the general draftsman,

plate.

pinnacles,

is

to

and
of

be

given in the

Cinque Scif

fell

OF THE

>*

:VERSITT;
OF
,/

7r in ?>ewfen the Tarty Watts.

ORNAMENTAL DRAWING.

GEOMETRY
AN
metry

many

221

SIMPLIFIED.

abridged history of the origin of GeoI dare say, not

will,

of

my

be unacceptable to

subscribers, although the subject

has been treated on

many

times before

I shall

dwell no longer than I consider necessary either

for the youth or student, that they

and

able

and solve any early or useful ques-

to answer

The word GEOMETRY

tion.

may be

is

of

Greek

origin,

signifies measuring the earth, or any dis-

tances thereon;

it,

no doubt, had

its

rise

in

Egypt, where the inundations of the Nile render

it

necessary to distinguish lands by con-

sidering their figures, that they might be en-

abled to lay them out in just dimensions and

Some

situations.

authors

the invention of the Babylonians

Egyptians

and that they borrowed

Babylonians.
philosopher,

that

assert

Thales} a

who

celebrated

it

was

others, the
it

from the

Phoenician

died five hundred and forty-

GUIDE TO

222
years before

eight

Christ,

calculated eclipses,

and gave general notions of the universe

Samos, who

thagoras, of

dred and

duced

it

vered the

twenty

flourished

before

years

five

Christ,

Pyhun-

intro-

from Egypt into Greece; and discoGeometrical bodies,

five regular

viz.

the Cube, Tetrahedron, Octahedron, Icosahedron,

and Dodecahedron.
Euclid, of Alexandria, was particularly dis-

tinguished in

elementary Geometry

hundred years

after him,

the limits of Geometry,

sphere and the circle

lonius,

and

of

Perga,

sixty, or

by

measure of the

his

at a later period, Apol-

who

flourished

two hundred

In

for the practice of higher

Italy,

about the sixteenth cenrevived after the dark

first

and several mathematicians were

guished for their studies

ticularly the
laid

Archimedes extended

much

tury, the sciences

ages,

about a

two hundred and thirty years be-

fore Christ, did

Geometry.

Germans

distin-

the French, and par-

followed.

Justus Byrge

the foundation of logarithms, and was the

inventor

of

the

proportional

circle,

although

ORNAMENTAL DRAWING.
others ascribe the invention to

who

nerus Gemina Frisius,

223

Galileo.

Rei-

died in 1555, in-

vented the instrument used in surveying, called

Simon

the plain table.

Stevin, of Bruges, ap-

plied the decimal measure to

Geometry ; and, in

1684, Leibnitz advanced the science

vention of the differential calculus

by the theory

who

of the

first

arid

in-

Newton,

Robert Hook,

fluxions.

died in 1703, was the

by the

who considered

the influence of the refraction of light in measuring heights.

logne,

who

Ludolph, of Ceulon, or Co-

died at Leyden, in 1610, discovered

the proportion between the diameter and the

circumference of the
the French have
this art,

been most distinguished in

and have produced the best elementary

works on the
lent.

In recent times,

circle.

subject,

Among

some

of

which are excel-

the most approved

modern works

of this kind, are those of Euclid, translated

Simpson Ingram and Playfair

of Professor Leslie

From

and the

by

treatises

and M. Legendre.

a Perusal of the above history of the

progress of

Geometrical

science,

it

must be

224

GUIDE TO

evident that any attempt at a complete con-

on the

scientious treatise

the

length, and indeed

patible with

work
to

the

of

would swell

most

inconvenient

would be completely incom-

general arrangement
therefore,

purpose,

a series

to

article

present

subject,

useful

of

the

confining myself

definitions,

which

be said to form the alphabet of the

may

science.

Problems, illustrative of the application of geo-

metry to the useful

annexed

arts, will

be found in the

illustrations.

In attempting to exemplify or
following definitions, I

many

of

am

illustrate the

perfectly aware that

expressions and illustrations will

my

be objected

by the

to

rigid

mathematician,

but as I have before stated, that

and to convey the

is simplicity,

of this

science

those

to

unacquainted with

first

my

object

rudiments

who may be

entirely

it.

DEFINITIONS TO THE PLATE.

point

is

magnitude, as

that which has position, but not

fig. 1.

225

ORNAMENTAL DRAWING.

A line is

the trace of a point, or that which

would be described by the progressive motion

of a point, and consequently has length only,
as

fig. 2.

have length

Superfices

and breadth, but

not thickness, as that might be unbounded

instance, the top

solid

is

the surface, as

is

figure

of

for

fig. 3.

three

dimensions,

having length, breadth, and thickness.

Hence,

and

lines the

surfaces are extremities of solids,

extremities of surfaces,

and points the extrem-

ities of lines, as fig. 4.

If

two

applied,

when any two

the two

cide with

two

lines will always

coincide,

however

points in the one coin-

points

in

the other, the

lines are called straight lines, or otherwise

right lines.

curve

between

its

continually changes

its

direction

extreme points, and has no part

straight, as fig. 5.

Parallel lines

tance,

and

will

produced, as

are always at the

same

dis-

never meet, though ever so far

fig. 6.

16

226

GUIDE TO

Oblique

and would meet

are

Angles

number

lines

right
if

change their distance,

produced, as an

acute angle.

known and measured by

the

extreme

of degrees they contain at the

opening.

One
it

inclines

as

fig. 7.

A
it

no more to one side than the

straight line

is

are produced, as

when

when both

fig. 8.

the inclination of two lines to-

is

angle

other,

a tangent to a circle,

touches the circle without cutting,

An

when

line is perpendicular to another,

wards one another in the same plane, meeting

in a point, as fig. 9.

Angles are either

right angle

is

right, acute, or obtuse.

that which

made by one
when the an-

is

line perpendicular to another, or

gles on each side are equal.

All angles meet at a point;

the case, each

right angle

is

other angle

is

denoted by three

when

this is

letters.

The

the criterion of judging of every

tuse angle, e b

b c is a right angle,
c

an acute angle, as

a b

fig.

10.

an ob-

OF THE

UNIVERSITY

227

ORNAMENTAL DRAWING.

An

acute angle

than a right angle, as

is less

fig. 11.

An

obtuse angle

greater than a

is

right

angle, as fig. 12.

every where coincide, and

line will

called

a surface with which a straight

is

plane

surface

straight

for

is

otherwise

instance,

if

cut through a piece of timber, or a tree, the

end surface

the plane, as

is

known from

All angles are

and

are

Here

is

openings,
16.

fig.

From a

to

from a to
are

c,

35

divided

From a

degrees.

their

into

extreme

degrees,

as

a diagram for explanation.

be an angle of 15 degrees

and from a to

d, 60.

These

being within the right

acute angles,

all

line.

b will

fig. 13.

to e is

an obtuse angle, of 120

This diagram

is

on the principle of

using the sextant.

An

equilateral triangle has all its three sides

equal, as fig. 17.

An

isosceles

equal, as a

b,

triangle
c,

as

fig.

has

18

only two

sides

this is the figure

of one of the principal powers in the laws of

16 *

GUIDE TO

228
mechanics,
to

a wedge, being

viz.,

the power required

of so

many

angle of so

degrees,

many

for instance, a

is

measured

and

is

to

all its

sides unequal,

be found in the following

portion of a building, or angled bay

whose ends are not equal to

its front,

a being an equilateral triangle,

ends, b

b,

Trapezium

annexed

is

stance every side

An
figure

octagon
is

fig.

20

and the two

illustration.

a quadrilateral figure; that

a figure with four

say,

as

window,

scalene triangles, forming the front

elevation, as the

to

wedge

an acute

as

degrees.

scalene triangle has

as fig, 19,

made according

is

is

sides.

unequal, as

is

In this in-

fig. 21.

a polygon of eight sides.

This

placed here, merely to shew the prin-

OF THE

TTNIVERSITTJ

229

ORNAMENTAL DRAWING.
ciple

of gaining

First

it.

form a square, and

from each angle or corner you strike a segment, whose

arc shall touch the

and

centre,

at the termination of each curve angular lines,

drawn from end

to

down

equal,

a
is

for perspective.

rhombus

a parallelogram, whose sides

is

are equal, but not at right angles, as

is

This principle

as fig. 22.

perfect octagon,
laid

end, the dotted line

whose

rhomboid,

and oblique

fig. 23.

horizontal

lines

are

the ho-

lines unequal, with

rizontal, as fig. 24.

Eadius
centre,

and

Solids

by

all

fig.

25.

and bodies, when either are bounded

and ends.

book

square, with six equal sides,

cube;

that

is

to

Twelve inches each way

When
than one,

say,
is

in

is

is

solid.

a solid,

measurement.

a foot cube.

solids or superfices

have more sides

then they become polygons

equal sides, they are regular,

gular, of

starting from a

lines

acute angles, as

surfaces, sides,

Hence a
or

Those

lines.

if

if all

otherwise, irre-

which they are named up to twelve

230

GUIDE TO

beyond that they are termed polygons

of thn>

teen or fourteen sides, and so on; but I will

name
to
3,

the figures, as

know them
a triangle

five sides; 6,

a quadrilateral ;

4,

1.1,

is

a pentagon,
7,

a hepta-

an octagon, eight sides

8,

12,

the part on which any figure stands.

is

circle is

a figure bounded by a
or

periphery,

termed the

line,

and

equi- distant

from the centre, or point, from whence

The

On

classification.

arch

is

parts,

without entering
usually

given.

divided

reference to the plate,

b is the

Cones may be

is

it is

each of which has

the diamefcer

and d

a circle

of

interior

component

26, a &

the height of any body erect.

circumference,

into

sides.

Altitude

obtained.

10, a decagon, ten

an undecagon, eleven sides;

duodecagon, twelve

Base

5,

a hexagon, six sides;

a nonagon, nine sides

sides;

of the greatest utility

a line; 2, a parallelogram;

1,

gon, seven sides

9,

it is

is

into

Any

the

solid

fig.

the cord of an

segment of a
brought

its

circle.

under one

number
figure

of

head,

terms

rising to

an

231

ORNAMENTAL DEAWING.
apex, or point,

a cone

is called

if

called a poly gon-cone, or cone of so

if

the cone be circular,

four parts, viz

to say,
is

when

then a

a b

is

cut parallel with the base,

it

27 shews.

and

it

is

called a parabolic curve, as a b

and

if

cut through in the angle,

cut parallel to the sides of

if

ellipsis,

27.

as a,

fig.

29.

28.

Among

Hyperbolic.

c,

then

30.

r3
Frustrum.

it

30.

i\

become

If cut parallel

then forms a hyperbolic curve, as

it

becomes an

divided into

the cone,
fig.

sides

28

c, fig.

29

is

it is

that

circle, as fig.

to its axis,

may be

many

a fru strum of a cone,

it

it

angled,

Parabolic.

c3\
Ellipsis.

the various geometrical figures that

useful

to

the ornamental draftsman,

beside mouldings and archways, are the variety

of ovals, ellipses, and foils

which terminates

who with

this

volume.

the description of

There are many

the compasses can strike an

ellipsis,

232

GUIDE TO

no doubt, but we
instruments

it

suppose you have no

will

then becomes necessary to be

work with

able to do without them, yet

and which, with a few useful diagrams,

tainty,

be found not only

will

The

to study.

be the

circles,

first

ellipsis,

the elongated

essential,

I shall

but pleasant

commence with

and

ellipsis,

the

segments

you gain by the

points,

which you pass your diagonal

lines,

from

e f,

g h

k.

placing the compasses on the points c d,

By

strike

you

from h to

&,

from

/ and

and you have an

k,

me remind

and from g to

you obtain a curve g

you,

in

cular as

tirely

wrong, and you

do over again,

first

hole,

h and

for

parti-

the least

every other portion

will

for the

and

striking any of these

regards your division

deviation will throw

i ;

complete; but

ellipsis

geometrical figures, you cannot be too

to

is

obtained by two

is

will

Fig. 31

using instruments.

from the centres,

intersecting

let

cer-

en-

have the same work

want

of a little care at

and where you should have but one point-

by carelessness you perforate the paper

like

X ** OF THE
(UNIVERSITY^

^c

233

OENAMENTAL DKAWING.

a sieve, winch always spoils a drawing ; to avoid

this,

you should get a pair of what are termed

spring dividers, to enumerate your divisions, as

by

that

means you can do without pricking the

paper so much, by merely laying the points on,

and having a screw

work the compasses, you

to

can divide to the greatest nicety, and keep your

more true than with the other com-

divisions

passes,
close

the

pressure of the hand will

least

them a

if

which,

trifle,

imperceptible in

one or two divisions, when you come to a hundred,

it is

then you find

out

it

this is advice

which, perhaps, in the ardour of your studies,

you might not think

Fig. 32

is

a short

principle as the

two

tangent

is

circles,

to

is

got on the same

but instead of forming

you

intersect

them and

principle.

a rule

tained, whatever

ellipsis,

first,

work on the former

Fig. 33

of

to

by which the

oval

is

ob-

be the width, the length,

be proportionate, must be three times

its

width, as for instance, the perpendicular line

b,

is

divided from the point c;

strike

the

234

GUIDE TO

from which you form a

semi-circle,

gram, d

which

f g,

parts on each
four parts
sions

will

it

side,

and the base to be twenty-

by merely

intersecting these

form an oval of

passing lines from

parallelo-

be divided into twelve

to

is

1 to 1,

itself,

divi-

viz.

by

2 to 2, 3 to 3, and so

on regularly; now, I always found too much

trouble in this principle, and could not rest easy

had found out a much better

until

and on a more simple plan

many without

a great
one,

figure,

which, after trying

success, I at last hit

and every person I have shown

it

upon
to is

satisfied of its superiority.

Fig.

which

34

is

is

an

the exterior form of

oval,

gained by two

circles,

the sizes being

governed by the diameter; strike the

then the smaller one,
strike

your intersecting

6,

circle, a,

tangent to

arcs, c,

it;

next

which are to be

divided into nine equal parts; draw your dia-

gonal

lines, c

a b

d,

which gives you the stop-

ping points for your segments, d d d

d,

then

place the point of the compasses on /, and

will give

it

you the segmental curve, d d d d;

UNIVERSITY

235

ORNAMENTAL DRAWING.

you

will

find this oval a complete

Now, we want

egg shape.
and

to obtain a segmental arch

a semi-elliptic, without having sufficient room

for striking the

same with the compasses ;

connected plate,

fig.

two very excellent

in the

35 and 36, I have given

principles,

The

not appeared before.

which I think have

one

elliptic

the

is

down by Kennie, in planning the

In
arches of New London Bridge.

principle laid
elliptic

obtaining or striking this arch, whatever

be the height from your springing

same width you take from that

your radius lines, as at

even

keep

number of
to

numbers.

divisions, the

divisions

to the

from the point,

division,

a b

c.

c,

boundary

divide the end, a

arc,

to

line

b,

e,

the

carry

more, remembering

The
more

greater

certain

the

you are

obtain a segmental line; then carry

radius from the point,

end

line, &,

divide your springing

line into eighteen parts, or

to

may

your

through each of the

line,

e,

in nine equal parts,

you carry your

next

and

lines to the

which intersection gives you the

GUIDE TO

236

The verse

on the same

sine arch, fig. 37, is

but requires no radius points.

principle,

Get

the height of your arch, and form two acute

angles from the base

angles,

and on those
a,

and another

at

will

c,

c,

obtain a

d,

d,

form one of your divisions of eighteen

and next divide your springing

at the top;

&,

from the extreme points,

right angle, a

which

a a to

line,

line

eighteen equal parts, and your end in

a, into

nine parts, carry your lines out to

e b,

and your

intersecting lines, b a, to b d, will be the seg-

mental arch.

There

is

another system by which you

obtain a segment, and which you will

the plate.
sides of

The more obtuse the

of the

numerous divisions;

by the
as,

divisions,

intersection

from a

b c is

divided into fourteen parts, cross from 1 to

2 to

ment

2,
is

in

angle, on the

which you make a number of

the better the curve appears

may

find

1,

3 to 3, 4 to 4, and so on, and the seggiven.

especially

This

is

a very useful diagram,

when the angle

is

more acute

in its

237

OENAMENTAL DEAWING.
find

will

you

altitude;

the

ifc

way

only

of

describing an hyperbolic curve with facility.

The

of

difficulty

obtaining a

quantity of

division in a small space, as I before mentioned,

now draw your

with the compasses, I will

at-

To prevent your perforating the

tention to.

paper like a sieve, divide, for instance, one inch

in length into

you would, no

twenty parts;

doubt, go a great

many

times over that line

before you would get the right division, but,

on reference to the
erring principle to

plate,

you

will find

an un-

Let a

be the

work upon.

base, at a right angle, with that carry

pendicular

line,

dom run up your

if

you go

to

6,

of any height,

divisions,

work accurately

draw

parallel

side to side, until

number

and

at ran-

after this is done,

c

lines,

you have

of divisions, as

up a per-

no matter how many,

carry a converging line from

your base

e;

to

b,

and from

touching from

sufficient for

your

from

each

that, at

intersecting on the angle, carry parallel lines

from the perpendicular,

e to

/;

so,

by carrying

GUIDE TO

238

these lines to the base, the

are obtained.

This

is

number

of divisions

exceedingly valuable in

ardividing modules into minutes, in drawing

chitecture;

in

fact,

in

every

small divisions are required.

instance

when

on

239

ORNAMENTAL DRAWING.

ON MOULDINGS.
MANY

me

to

of

my

readers

attribute

may

the above-mentioned por-

for inserting

tions of architecture,

and perhaps

say, that

No:

has nothing to do with ornament.

will allow.

There certainly

moulding in a running
boundary of

it,

scroll,

but there

and that according

As

the moulding surrounding

it

be in accordance with

it,

it

that I

no occasion for

is

racter or style, of course.

to

blame

is

in the

to the cha-

a matter of fact,

should and ought

but

it is

not always

the case; and to prove to you the necessity of

such information,

is

the reason I trespass thus

far.

This portion of decoration

sable

accompaniment to

all

my

and co-practice of geometry.

is

an indispen-

former remarks,

As an

instance

GUIDE TO

240
of the

of

utility

mouldings,

your being acquainted with

how would an ornamented

appear, without the upper

mouldings

a cornice, and protection to

and ornamental
gin,

risings,

tect, strengthen,

buildings

and which,

in their ori-

are eight, and

first

1,

by the Greeks,

to pro-

and unite the whole of their

The number

fig.

formed

the bas-relief

all

were of a rude and massive form, brought

into a subordinate one

The

frieze

of

mouldings

generally used

each and every one of

and most simple form

which

is

is

utility.

the

fillet,

smallest in proportion to

the

the whole of the others, and

its

chief use

is

to

divide the superior mouldings, and prevent the

heavy inharmonious

effect that

would be pro-

duced by two or more geometrical mouldings

being placed together.
Fig. 2

may

is

the astragal, or round

be, if required, ornamented as

fillet,

fig.

which

3.

Its

chief use is to divide the capital

from the shaft

of any column or pilaster, and

may be

entirely round, or semi-circular.

either

LI

OF THE

UNIVERSITT

241

ORNAMENTAL DRAWING.

Fig. 4

much bolder

same character, but of a

of the

is

form, and chiefly used in the base

moulding of a column, and termed

end

exterior
jects

is

got from the point

no further than the

the plinth, as
Fig. 6

now

it,

proved upon

which

is

is

is

Roman

so massive an appear-

that, at the present day, the in-

of

genius

is

vertical line in face of

fig. 5.

mouldings; but there

what

and pro-

a,

used in an admixture of

chiefly

ventive

The

the ovolo, or quarter round, and

is

ance with

alorus.

it

architects

has greatly im-

and adhered more

strictly

to

termed the Grecian ovolo, as

fig.

much

in ap-

lighter

Fig. 6

pearance.

is

and more graceful

7,

the quarter of a circle, and

gained from the point, a;

but the Grecian

got from any acute angle.

You may

the projection and depth

of

your

is

allow for

moulding,

from any angle you please, keeping the circular

end in proportion, as
Fig.

is

fig. 7.

termed

the

cavetto,

or hollow.

This moulding was chiefly used by the Egyptians,

surrounding

their

temples, as

17

have

GUIDE TO

242
before described;

is

it

employed in

chiefly

co-

vering the other members; and, being strong

at the

obtained from the point,

Fig. 9

is

the

projection

moulding, draw the angular

which divisions

will

you strike

when joined,
Fig. 10

manner

line,

form the bases

lateral triangles, as a e d,
e,

When

of
h,

your

which

divide into two equal parts, as at c;

will

point

is

a.

the cyma-recta, or cymatium.

you have ascertained

you

This

extreme points, supports others.

d,

the

a c; which

the ogee, and drawn in the same

It is a

as fig. 9, but reversed.

ing well adapted to

from the strength of

very rich

From

c b e,

and from

two equi-

the cymatreum of the moulding.

is

is

c b,

and

for

effect

is

support
its

other

mould-

members,

extreme points.

produced

in

this

moulding

by turning the top end, and leaving a small

is
termed a
opening, as fig. 11 shews, and
of
quirked moulding, by having the appearance

a black line,

under the

by the indentation

of the hollow

fillet.

Fig. 12

is

the cyma-reversa, and the same

tf"'-f"f

i%yxxx//^i^g^^%^%%^a

W//////Wff/M'WfW/>/)

Those above the line are sections of Gothic

those below
mouldings
are termed mtillions, or sections of the
upright bars and tracey in varioiw
Gothic windows.
;

OF THE

UNIVERSITY

248

ORNAMENTAL DRAWING.
as the above, in an inverted position
for base

and used

mouldings only.
13

Fig.

is

a very peculiar moulding, and

used to give power to the surrounding members,

and

to effect a

profile

it

is

termed a

After you have determined the

mouth.

scotia

good

projection of your top and bottom

extremity,

as a

is

the perpendicular line, a

b,

into three equal parts,

c,

and from the point,

describe the quarter circle, a

e g,

d,

then divide the

e;

horizontal line, e f, into five equal parts.

the point, f, draw

divided

From

and by striking an arc

from the point, /, from the two inner divisions,

will give
c h,

you the point to intersect your angle,

and from that angle you

dicular, b

li y

raise

your perpen-

the extremity of which you divide

into three equal parts

then strike the arc, g k ;

from that you strike the remainder of the

to

complete the mouldings, from

from k to
study,

and

conquered
appearance.

This moulding

6.

by

would
the

advise

seeming

is

h,

arc,

which

is

an excellent

you not to

be

of

its

difficulty

244

GUIDE TO

There

is

another more simple way of obtain-

ing this moulding, by merely dividing the height

into three parts,

width, by

two

which

for

will

form the

intersecting six parts, as diagram.

point, a, will give

you

the arc from b

the point, d, will form the other arc,

c,

The

and from

c e.

I think I have treated

on every thing necessary

for

your instruction, ac-

my

cording to

and as

my

though

it

before)

assiduously

daunted at

that which

rest,

has been repeated

is,

study well and

good, and feel not

trifling obstacles that

rest assured, after

until

is

promise;

last advice (al-

may

occur

will

surmounting one, you

you have

surmounted

overtopped the apex of

others,

difficulties

then

for,

not

and
all

must run smooth, and your labours be repaid

and whilst you are performing these energetic

feats of perseverance to reach perfection in the
arts,

you

will

be viewed with a jealous eye by

your fellow-students, until

they

exert

them-

ORNAMENTAL DRAWING.
selves

in

the same

manner.

245

Then, by those

means, the art of design ere long must become

.

extended, and hold the crayon of superiority

over

all

other countries.

FINIS.

RETURN CIRCULATION DEPARTMENT

202 Main Library
TO
LOAN PERIOD
HOME USE

ft

U.C.

BERKELEY LIBRARIES