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,

Work, which,

(at

when the florid ornamental

style is so

predominant,

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

up

of

shops, and interior of houses)

must be a valuable

instructor, to all inlayers,

modellers, cabinet-makers, orna-

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

department of the fine arts
to engravers

on wood

for designs
tail-

and instructions
pieces

for

ornamenting

capitals,

and head and

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

of the various schools treated of, designed

and engraved by the

credit as

talented author
writer

reflecting

on him the highest

and

artist of

pure taste

and varied

talent.

" This production has our heartiest commendation ; fearlessly

and earnestly recommending

it

to all lovers of the fine arts.

Young

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.

vi

OPINIONS OF THE PKESS.

"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,
if

we have
;

hitherto looked only to

it

proves, also, the truth of our

patronized, our artists can rival

those of any country.

We

again especially implore our young

and

fair readers to cherish

it

and uphold,

to the very uttermost

of their power, let

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

want

employment."

Mirror.

" The producer of this

Work

for

he

is, it

it

appears, the
is

author, editor, designer and engraver of

one of the

masters at the School of Design

is

and

his object in publishing

to afford easy instruction

by certain rules to enable the

young draftsman to base his designs on safe and secure foundations.

It is

a most creditable production

to those

one that

will interest

all classes,

and be of rare value

whom it more especially

concerns.

The Author

exhibits proofs of great industry as

well as of patient research;

and where his own inventive

powers are applied he

is

eminently successful.

The book

abounds in explanatory
sidered
in art
:

illustrations of all the subjects con-

the style

is

clear

and comprehensive

the merest tyro

may

study

it

with advantage.
;

We

rejoice to

welcome a

publication of the kind

our English ornamental designers

OPINIONS OF THE PRESS.

are nearly all of

Vll

them

slavish copyists,

and scarcely dream

of

thinking for themselves, while they

can beg, borrow, or steal

of
evil,

from the wits

of France.

The School

Design has already

done something to lessen this crying

ere long achieve
issued,

and

will,

no doubt,

much more; meanwhile

of

this

cheap work,

with

upwards

a hundred engravings, and

one

hundred and

fifty pages of letter-press, will,

we

trust, attract

general attention, and

recompense the producer

of

it,

by

forwarding the purpose for which he labours.

to
it

We

shall refer

again."

Art Union, April 15.

" This

Work

is

one

of the best

and cheapest that has been

of

written on the subject,

practical

and from the pen and pencil

man, who has had the advantage

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

Work,

it is

worthy

of mentioning, that the illustrations proceed

from the graver,

as well as the pencil of Mr. Architects

1

PAGE."

Civil Engineer

and

Journal.

"

We hail with
and

pleasure this Work,

:

it

has been long wanting

in the Schools of Art interesting

the rules are explicit, and the matter

;

instructive

we wish he had

treated further
;

on

the vine leaf, that being

much used by
Work."

the ancients

we doubt

not but

its

success will repay the labours of the Author,

who

is

the Alpha and

Omega

of the

Polytechnic Journal.

"

We have before

us an entire and

new Work,

entitled

'

PAGE'S

GUIDE TO OKNAMENTAL DBAWING AND DESIGN,' the plans and

Vlll

OPINIONS OF THE PRESS.

contents are such as must inevitably repair that loss usually

found in our Schools

of

Art

we wish the

spirited

and talented

Author every success; the

plates well got up."

letter-press is excellent,

and the

Literary World.

"This
Arts
the
is

is

Work
;

in

which great

spirit for the benefit of

the

shown
is

the rules laid

down

are excellent

the whole of

Work

completed by the Author, which, to praise too

a boast
;

much would appear

it is

illustrated with

innumerable

wood-cuts and plates.

in our opinion,

We

wish the

Work

every success, and,

it."

no school or student should be without

Weekly Dispatch.

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.

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

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.

incumbent

stone.

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

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.

termed a

flying buttress.

Campa, or Sell, that part of the Corinthian cap, on which the

foliage is placed,

and on which

Cyclopian walls, walls built with land stones heaped on each other without mortar and
irregular.

the abacus

rests.

Cap of a Chimney, the upper and

projecting part of the snaft. Capotum, a kind of Hindu torus

Dado, the flat side of a pedestal between the plinth and the cornice
;

applied also to the space

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

Cello,,

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.

between the skirting and the chairs' back moulding in rooms. Dormar windows, windows in a
roof.

Dressings to windo^vs, mouldings, lines

or

rather

architectural

Chevron moulding, an indented moulding in the Anglo Norman

style.

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

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

it half or three-quarters of their diameters.

from

its capital

and

base.

Clere-story,the centre of a church, when it rises above the two

Entablature, a horizontal mass placed on Grecian columns it consists of three parts the
:

Clere-story

tvindoivs, in ditto. corners. Coins,

windows

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.

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.

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.

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.

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.

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.

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.

Rustic-work, stones made rough,

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.

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.

Lintels, the side pieces of a window-frame or doorway. Lotus ornaments, the water-lily

Spandrels, the space between the springing of an arch and the flat surface it is intended to
support.

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.

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

........
SCROLLS AND
.

RULES AND PRACTICE FOR DRAWING CURVILINEAR FOLIAGE,

AS

ADAPTED
.

TO

RUNNING

CHAPITERS

ON STARTING POINTS

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

CORINTHIAN

21

80 89
112
117

ON GRECIAN AND ROMAN ORNAMENT

ON THE DESIGNING

OF TROPHIES

ON SWORDS AND OTHER ARMS

ON EGYPTIAN TEMPLES, HIEROGLYPHICS, SACRED ANIMALS

AND COLUMNS, SUITABLE FOR EGYPTIAN DECORATIONS
120

ON FRENCH ORNAMENT, WITH

COMPOSING THE SAME

ON FRETS AND GUILLOCHIS

ON ARABESQUE

ON ELIZABETHAN

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

.

A VARIETY OF RULES FOR

134
156

160
167

ON GOTHIC

DETAILS, AS REGARDS CURVILINEAR PORTIONS

AND PERIODS

ON GEOMETRY
ON MOULDINGS

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

.....

210
221

239

^>. (UNIVERSITT)

^
that,

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

GUIDE

TO ORNAMENTAL DRAWING,"

notwithstanding the

many

valuable works that have been, and are at present

publishing

on

ornament, from
that

various

foreign

works,
to

and ancient

edifices,

some other was required

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

much

higher class in the art,

viz.,

their

own

designers;

to accomplish this has not

been a very easy task.

After

many

years' study, as

a self-taught draftsman,

difficulties

continually arose on the principle I followed, as a basis

for

improvement,

that

of

never

copying,
I

but holding
transmitted
it

retentive in
to paper,

my memory
and thus

all I

saw, until

and then
;

referred to
I

my

origin,

and corrected

accordingly

proceeded, keeping in

mind a

boldness and freedom of hand, which, when acquired,

always holds a predominancy in the

pery,

arts,
is

over the

frip-

patched, and meagre

;

line,

which

aimed at by

many

and, like all injurious habits, easily acquired, but

not so easily amended.

plished

After studying until

of
all

accom-

my

object,

that
of

dissecting

and obtaining a
ramifications

thorough

knowledge

the

various

xiv

PREFACE.

belonging to the
use,

many

characters

or

styles

in

general

and seeing the

difficulties that

appeared to others in

copying from different works, for the want of perseverance

to

take the right method.

to please

Pupils are generally

taught (merely
to to

their parents

and
first

spoil

paper)

commence drawing a
draw the bough
of

forest,
tree,

without

knowing how

and on

this plan

many who
vacuum

receive instruction at schools are

ideas,
if

spoiled,

whose innate
the

properly trained, might have

filled

now

existing in our British schools of art

and manufacto

tures.
five

The

object

of this

work occurred

me

about
dia-

years ago, and after trying

many

geometrical

grams, those contained in this work occurred as

being

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

them

forth

to

the

public,
I

without

knowing

their value.
all

Subsequently

commenced

throwing them open to

who thought
means

proper to follow

them,

which has been

by no

few;

and the

principles laid

down

in this

work have since been duly

in

appreciated, both

by connoisseurs and amateurs, and

failed.

no instance have they

friends,
I

By
with

the request of

many

revised

them

well,

a determination to
of

throw them open to the public at large, with feelings

arduous enthusiasm, which was really wanted to aid and

improve the art of design.

the spirit of

Being dubious in entrusting

I

my

wishes to another,

commenced

this

work
under

as Author, Engraver,
this impression, that,

and

Printer, resting assured,

I

where

may have shewn

PREFACE.

XV
pardoned
only wish

want

of classical literary attainments, it will be

on the part of

my

numerous

subscribers,

my

being to give that instruction

explanation
art,
;

under confined heads of

as
first

the engravings not

specimens of
is

but give that outline and form which

usually lost
It is hoped,

sight of

when

so

much

labour

is

bestowed.

therefore, that this

self-instructor,

work

will afford that assistance as

and be a valuable auxiliary and rememdraftsman,

it

brancer to the universal

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

in

general,

to

whom
a
solely

this

work may concern,

of

History
first

the

Acanthus,

of its being

brought into notice, as

regards the adaptation in architectural details,

would be of

little

service,

although

known

to

many, and

n y t to
it,

the youth and others unacit

quainted with
original.

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

tile

and, for safety, placed a

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,} com-

monly

called bear's breach or

brank

ursine, (in

botany a genus of plant belonging to the dydy-

namia angiosspermia
thus,
tain
;

class,

or the spinosa acanleaf,) is

commonly termed the dock

but in the spring
fantastically
it

uncer-

burst forth and spread

itself

around the casque.

Nature

having given the design, one day, a celebrated

architect

and sculptor, Calamacus, who, for the

of

delicacy

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

it;

the

manner and form

for its novelty,

whereof so much pleased him

copied
ful
it

he

in its rude state,

and with

his

powerit

imagination added and improved

:

to

graceful modelled form

shortly after, erecting

columns

at

Corinth, he capped them with this

ORNAMENTAL DRAWING.

new

idea and ordained

its

symmetries, distri-

buting afterwards in his works proportions equal

and agreeable

to each of

its

other

members

in

conformity to his the Corinthian mode.

Vallalpandus must needs give to

illustrious

it

a more

and ancient

origin.

He

pretends to

assert, that the Corinthians 'copied it first

from

the temple of Solomon, of which

God
to

himself

was the architect;

and, better

elude

the

previous account, states that the Acanthus was

rarely used
cription

by the

ancients; and
piece
of

by the

des-

of this

divine

architecture,

there

is

no doubt that the originals of the temof palm branches

olive

ples were

bearing

fruit,

to

which the leaves of the

pondence.

have a near corres-

The

finest

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

the

century and a half, to the great reproach of

'the age,

by the avarice of some particular per-

sons

this

was one of the rarest specimens

*

of

antiquity, not only for the richness of its orna1

GUIDE TO
its different

ments, but for the contour of

memIt

bers; the columns were six feet in diameter.

is

not precisely

known by whom
what purpose
;

it

was caused

to be erected, or to
it

some imagine

was a temple erected by the Emperor Aureli;

anusj and dedicated to the sun

others, that

it

was only a palace.

Nero raised
it

Another tradition asserts that

behold
the conflagration of

to

Rome, which

is

very improbable, being too great

a work to have been accomplished in so short a

time.

Be

it

what

it

may, certain

it is,

according

to the splendid illustrations of its different parts,

it

was the most magnificent specimen of Corintharchitecture

ian

that

Eome

could

boast

of.

Other specimens of

this order are in the chapters

of the baths of Diocletian, in

which the volutes

are of ram's horns; this temple was built

by

Pyrrho

Legorio, in the year 1574.

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

siege of Jerusalem.

The

frieze

of this arch pourtrayed the spoils

of the temple;
first

and ravages
was
the

moreover, this
;

arch

of

its

kind of structure

mentioning these

specimens are not to deteriorate from the speci-

mens

of the present day, far

from

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 symmetries, which they, as

men
if

of sound sense

and

reason, will allow, that

these rules are deviated

from,

all is

thrown out of proportion, and never

attracts

the eye of the

common
a

observer with
print of

that grandeur which even

common

an ancient
I
shall

edifice

would do.

continue

my

description
it

little

farther previous to

delineation, as

may be

acceptable to many.

According to

Virgil, the

Acanthus
ries,

is

an evergreen plant, producing bersmall

or

a
it

round

fruit.

Theosphrastus

describes

as a prickly tree and bearing pods,

like beans, of which, in

some

instances,

we have

no reason to doubt; for on examining works

6
of

GUIDE TO

Roman and

ancient architecture,

upon the

friezes will

be seen starting stalks and pods bescrolls, as

is

tween the

heretofore represented.
cultivated
its

The

Greeks
it

used

the

Acanthus,
parts,

(Spinosa,}

being smaller in

and

more
try.

suited to the style and taste of that coun-

In respect to this description of ornament,

the author has

made

it

his study to simplify

it

by

rule, that

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 underdifficult, is

takings extremely

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,

it

that not only places

beyond the easy comis

prehension of the workmen, but

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.
It is surprising that

no other foliage than the

of

Acanthus
ancient or

is

ever

made mention
writers.

by

any
it

modern

Ovid mentions

in

representing an immense vase of bronze, adorned

with a mythological

story,

the

border being

covered with the flexible Acanthus, wrought in

gold.

Pliny, the younger, asserts

for,
it

it

is

nature's

chosen plant,

throw

it

in

whatever form you

graceful curves.

may, certain

is to

fall

into

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

of the cele-

brated French author,

De Cordemoy, is very rare,

but very true

it is

strange, he observes, people

is

soon cease to esteem that which

natural; nature

and reason must always be

violated,

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

how
have

well this speaks

many

trials

that

been
still

made

in

designing to alter this foliage,

a substitute

has never yet been found where such freedom

and beauty

exists

some attempts are very good,

fall

but they are sure to

pearance, and
is

into the original aprule

when once a fundamental

got perfect,

how soon

will

the

student be

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

variations

and
its

styles, of

which each

will

be exwill

plained in

due course and

delineation

place.

We
first

now commence
rules, to

of

the

four
di-

complete an Acanthus leaf to any

mensions.

Eule

1,

plate 1, is the first outline

or base principle of the foliage.

Draw

a perpendicular line, a

b,

to whatever

height you

may

require, or think proper, being

ORNAMENTAL DRAWING.

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

zontal line in

due

proportion,

which

is

half
sit-

the height, or thereabouts, according to the uation in which

it is

to

be placed; but I have

found half to be
ciples

sufficient,

and on those prinwill

the

chief

of

my
line,

illustrations
c
c,

be

formed.

Your base

is

to be divided

into six equal parts, one of each,

d,

from the

perpendicular

line, will

give you where to start

your conical lines to form the pistules on ; then

divide

the perpendicular

line

into

five

equal

parts and one-fifth, will give you the springing

for the head,

or circular

portion

of the
parallel

leaf,

which

starts

from a
line,

line

drawn
small

with
will

your pistule

as this

diagram

shew:
i

Plate

will

shew you what

sub-division to proceed with pre-

vious to forming the exterior line

of the leaf;
it,

and better

to prove

we

will

suppose that I have

a given size to execute an Acan-

thus foliage,

height 2 feet, base

10

GUIDE TO

PLATE

l.

ORNAMENTAL DEAWING.
1 foot.

11

I will

make

this

my

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

is

the leaf

always the largest, consequently

that,

we

may give most to as we rise to the

will
3^-

and gradually diminish

bottom
raffle

top, so that the

be 6
inches,
top,

inches, then 5 inches, 4 inches,

inches,

and 2J inches
curved,
plate

for
will
1
;

the
give

which,

properly

the

same appearance as
this,

having done
2,

the plan

is

laid for plate

;

which shews the exterior plan

on each
dot,

intersecting line

you can form a

will carry
;

and

from
5

this dot

you

your pistule

and starting

of the leaf

then by gradual

curves, rising from these points,

and meet-

ing the next one as

e

if

it

were passed
dia-

through the

leaf,

as the following

gram shews.

You

perceive that you have a leaf in fact,

which, on gaining this point perfect, I

the greatest part
is

may

say
all

conquered, as on this rest

12

GUIDE TO
I will

the grace of the foliage afterwards.

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

be seen by diagram
3,

into three parts, as will

you have the third process complete, and gives

you where

to

terminate
leaf,

the

centre

stalk,

or

stamina of the

which runs between each

pistule, as the enlarged

accompanying diagram
depends the freedom

will

shew

on

this alone

of the foliage,

and
scroll

this rule applies to every de-

partment of
curvilinear
feasible
it

work whatever, or however

to be,
this is

may chance

very

upon

consideration, as this foliage is a

portion of a plant, of course every fibre

arise

must

from the base or

root,

and

to

whatever

ORNAMENTAL DRAWING.

13

PLATE

2.

In this figure you will perceive the perpendicular

only four parts, and

line is divided into

BB

the springing points.

14
height or
ever
size,
it

GUIDE TO
the origin
is

the same, or whatI do not say

it

way

may have grown.

this,

is

necessary to illustrate
takes, another shall to prove that should

but to prevent misscroll,

be placed aside the

any other course be taken

than heretofore mentioned, a peculiar character

would appear, and out of

rect.

all

proportion, yet cor-

You

will see

by these two diagrams the

principle of

my

ideas.

PSP S Stem.

Keturn

to plate 3, the dotted lines will

shew
Plate

the principle of

my

previous explanation.

will

soon convince the reader of the true work-

ing of

my

diagrams
*

here

is

leaf,

on one

side,

Pistule.

S Stamina.

ORNAMENTAL DRAWING.
stript of all adjacent lines,

15
is

and on the other

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

what

it

may be
many
to

required

as

on

this point the

effect of

splendid designs are lost; they

the greatest nicety, and

are

worked

when

elevated, they form a confused jumble,

architect,

and the
it,

and

others

connected

with

are

blamed;

for friezes, plate 4, is sufficiently cut

at the edges.

You

are not to suppose that

far as plate 4, that

when

you have arrived as

you have

the leaf finished in so chaste and rich a style as

it is

sometimes required, far from

it,

the edges

ruffling of that leaf is

termed dentata, or tooth-

shaped; this
as plate
&c., or
5,

is

sufficient
friezes,
is

when properly drawn,

modillions,

for

mouldings,

where altitude

required, as the height

it

reduces the parts to the eye, and

looks perfect
it

and

rich to the passing observer

be

as

it

may,

this rule

must be got perfect before you complate 6.

mence with

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.

ORNAMENTAL DEAWING.

17

mental embroidery, carving, or modellings, but

chiefly

for vases, bosses, ceiling ornaments, or

is

wherever this style

required near to the eye.

to

The same

rule

may be gone through

1, 2, 3,

draw this

foliage, as plate

and 4

and the whole

of the leaf

may be completed
as plate 6
;

in the
for a

same

style

and character

and

running scroll,

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

rich

and

perfect, as will
;

be shewn in the follow-

ing numbers

in

which every department of be treated on and

illus-

curvilinear foliage will

trated

thereby gradually producing portions of

springings, headings,
&c.,

foliage,

and terminations

of bosses,

generally used in friezes and

of
scroll-work,

other

description

that
shall

every

separate piece

when put together

form a

series of designs,

and prove how easy a student

may become

his or her

own

designer.

18

GUIDE TO

PLATE

4.

ORNAMENTAL DRAWING.
PLATE
5.

19

UNIVERSITY

20

GUIDE TO

PLATE

6.

ORNAMENTAL DEAWING.

21

KULES AND PRACTICE

FOR

CURVILINEAR FOLIAGE.

HEN
far

you have gone thus

first

you have the

rudi-

ment of an Acanthus
dicular position,

leaf perfect in a perpen-

and the same

rules

must be

carried through

on the

like principles for curvili-

near foliage;
is

I do not

mean

to state, that

it

necessary for every design you

make
:

to

go

through those rules, and for this reason

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

is

once fixed on any object,

particularly

where benefit and interest are comit

;

bined, nothing can scarcely ever obliterate

still,

I would wish to impress these principles,

is

Where the work

practised a

on a large scale; for however

be,

man may

he seldom arrives to

that perfection, like Phechotos,

leisurely take a piece of chalk

who

could very
cir-

and throw the

cumference or segment of a

circle, in
1

which way

he pleased, without leaving

well

off

and that was so

known

to every person of note, that

when
a

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
is,

or can be more

mechanical than the

particularly, as will

human

frame, and the hand

dia-

be seen in the following

fix

gram ;

for

when once you

your wrist in a firm

position, the carpus bones, or seven

bones of the

wrist, will act as a pair of compasses,

and one

ORNAMENTAL DRAWING.
of the

23
os.

bones, properly

named the

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

arm

on

c,

and through the

elasticity of the ten-

dons, sinews, and muscles, you are almost

able to strike the annexed diagram,
fig. 1,

without moving the arm.

ceive the principle

You
2
;

will per-

by

fig.

here I have

placed

an

anatomical

hand, holding

crayon, which shews

d,

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

manner that your freedom of

hand

is

obtained on this principle by practice,

for sketching off quickly

any ideas that might

instantly

occur

to

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

j

different professions or occupations

there

is

no

occasion to enter
sufficient

more minutely on

this point,

has

now been

stated respecting the

principle, utility,

and freedom of the hand ; thus,

and
fol-

I feel confident that with perseverance,

lowing a few simple but

efficient practical rules

OENAMENTAL DRAWING.
that

25

I shall lay down, they will lead you into

facilities

such

for

drawing

foliage, that

you
it

will

never regret the study and perhaps labour

may

have at

first

cost you.

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

plate 7 with a rule for drawing a leaf to

the
is

Corinthian

or

composite

chapter,

which

a very difficult thing to draw properly

and gracefully ; you perceive the contour of the

leaf is

kept as in plate
0,

1,

No.

1,
;

being the

apex,

of the leaf foreshortened

and again, by
d,

striking a

segment of a

circle, e,

from the point,

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

you then

draw two mixed segments

as at a

&,

preparatory

to your proceeding with plate 8, which

you are

t on the same

now prepared

for.

This leaf

is

drawn precisely
you
will see the

rules as plate 7;

ORNAMENTAL DRAWING.
PLATE
7.

27

...-?...

28

GUIDE TO

PLATE

8.

ORNAMENTAL DEAWING.
dotted line where

29

the segment
leaf,

is

formed for

bending the head of the

each part touching

;

the pistules and startings, kept exactly

I consider looks

this leaf

much

better than plate 5, be-

cause, through the foreshortening,

you

lose a leaf,
it

and

it

does not look so meagre, otherwise

contains the

same number of

raffles,

but I shall

now shew

it

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

of

foliage, to
it,

mind your depth

shadow corresponds with

drawing and adds

as that enriches your

to the

appearance most materially.

I think plate 9 will give you satisfactory

reason and proof for following,

and learning

how
shall

to

draw

this description

of foliage, and I
for

now

explain the

rules
;

putting that
it
-

folded leaf in perspective

supposing

were

required to place

it

around the Corinthian or

plate

composite

chapter,

10 will give you I

at

hope

sufficient

explanation,

the same time

GUIDE TO

PLATE

9.

ORNAMENTAL DRAWING.

31

PLATE

10.

32
as
explicit

GUIDE TO
as possible.

Strike a circle at a,
will

which dotted exterior

give you

how and

where the centre stem

falls in
is

bending the head

of this leaf, as at c; this

to

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
;

by dividing the

circle, c d,

the point, d, will give the head

c to e,

segment, starting from

will give

and from

point,

c,

d to

f;

the

line, g, will

give the proper

it

distance for the off-side of the stem, drawing

tangent to the

circle,

b.

This figure

is

about

proportionate for the

capital,

first

perspective leaf of the

to

and before the student begins

draw

this order,

he ought to be well acquainted with

foliage,

drawing various kinds of ornament and

otherwise he never will produce a masterly per-

formance, or be able to
figure in

make any

considerable

drawing so elegant a subject.

is

Plate 11

another plan for turning the head

of a

leaf.

Strike a semicircle from the point of

ORNAMENTAL DRAWING.

33

PLATE

11.

34

GUIDE TO

PLATE

12.

ORNAMENTAL DRAWING.
d,

35
will

another at a

b,

shewing where the stem

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 bendif

ing of the foliage.

I see no reason now,

rule,

you

have followed the foregoing

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,
to

how and where you

not

will

have

deviate

trifle,

from any true

cause, but to

add to the beauty of the ornament.

11, I

You
lessly

will perceive in plate

have careraffles,

thrown in a sketch outline of the

will find varied,

which in plate 12 you

on the ex-

tremity of turning the foliage.

To prevent any
shall first

misunderstanding of this statement, I

finish

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

foliage, before

he commences

this order, not only for the

cap of the column,

is
is

but he must be aware that there

finement, or to what extent, he

no exact conat liberty to

decorate the other portions of the order, as the

planseer or
parts
soffitte,

which over-hangs the other

for their

of the

capital
;

protection, with

different

mouldings

likewise the frieze, which I

consider has given

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,

it

seemed to be the chief

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,

it

and I think
pare with

will

be acceptable,

if

only to com-

my own
is

principles of design.

You must
in this

not consider that a leaf described

only adapted to columns, but
it

form

38

GUIDE TO

PLATE

14.

OKNAMENTAL DRAWING.

39

PLATE

15.

40
is

GUIDE TO

very useful in forming cups for centre ornapillar bases

;

ments, and
figures

in fact,
it,

a variety of

may be made from

principle of

as I shall presently

shew
the

in outline, consequently giving the student

first

making

design.

Now,

all
:

I intend copying from, is plate 9, 13,

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,

but merely to shew the

simplicity of the rule,

and how easy when you

know

the different turns

it

of leafage,

will

be to ac-

complish any design of that

description of ornament,

namely, Grecian, as
Plate 14
is

fig. 3.

a diagram of the

leaf, plate

15

is

a bent leaf,
variation
:

being the

first

from the perpendicular

this

may perhaps appear

let

very simple to you, but

me inform

you, that

on the swelling and con*

ORNAMENTAL DRAWING.

41

PLATE

16.

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

may take
if

the same

your guide

for instance,
it

you attend be
suffi-

to the

annexed diagram, I think

will

cient foundation for

you to follow

my principle
bases,

of opinion; here you see are a few forms for

perpendicular

starting

points,

or

and

which, according to the height or situation of the

object required, you of course

must be guided,
shall treat

and which,

in the following

number, I

more

largely upon, as well as the other portion

;

of bent foliage

it

would not be

justice to rush
first

immediately into designs, without

ing the true utility of each foliage
of course could soon
fill

explain-

otherwise, I
scroll,

a work with

or

what not ;

at the

same time leave you

in the

same

dilemma, as

many

other publications

of

much

ORNAMENTAL DRAWING.
higher estimation to the eye have done
;

43
parti-

cularly as regards the superiority of illustrations

on copper or
not

steel, but, as

before stated, this

is

my

intention, utility is

my

principle,

and I

sincerely hope, with

unremitting attention for

I
shall

the improvement of the student,

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

informed you
curves, I will
is

managing your
16,
leaf,

now

explain

plate

which

commonly

termed the eccentric

and

is

very useful in

many

points, for centres, startings,

and bracket
requires

ornaments;

the position of

which

trifling consideration before

you rashly make a

a

design;

for

instance,
useful,

I will place

diagram

where

it is

most

and how

to

arrange that

ORNAMENTAL DEAWING.
portion of curvilinear foliage
to place too
:

45

be careful never

many

of any curved leaves together,

otherwise you will cause a confused appearance,

and nothing

is

so unpleasant to the eye of the

common

observer; and, for this reason, always

that
is

allow a clearness of design

say,

to

an equality of ground as well as

ornament;

and then,

if

properly

managed, there
will

yet

be

richness ;

but
;

be careful and
understand
rightly

me

when

I say

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

it

my intention

to attempt to cultivate if possible,

and, to prove, shall give three diagrams of the

most convenient forms as regards

utility.

Fig.

46

GUIDE TO
the exterior form for a corner, either for a

is

frame, or
suitable

may be made,
for

with a trifling alteration,

of

the

decoration

room,

by

running a
centre,

line

from angle to angle, or towards a

which may be formed again from the

as fig. 5
;

same

leaf,

it is

in this very point of

decoration I would call your attention.

You

are,

dare say,

all

aware of what

is

termed

Hogarth's line of beauty,

originator of this line
is
;

not that he was the'

it

but certainly wherever

kept, not only in ornamental design, but in

art,

every other respect of the

there

is

always a

more agreeable
than when
those

feeling attached to general taste

is

any other form

used

but to
this

who do not know what

fig.

is

meant by

expression,

1,

No.

2, is

the form of

it,

or

any undulating

line whatever,

where there are

ORNAMENTAL DRAWING.

47

no angles to be seen; and when decorations

are
I

on a large

scale,

when

I say a large scale,

do not mean that the ornaments are to be

but,
for

large,

supposition,

spacious

room

where
or,

decorations

are

from

each

extremity,

in fact,

almost every other description of

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

careful not to fall into

be

the

following
viz.,

error,

which

is

a very prevailing one,

that of

squaring your ornament; but I think

give an explanation

when
will

by

principle,

you

then

agree with me.

Suppose I have a border to

size, either for
it

design to a given

a room, frame,
required,

or whatever purpose

may be

my
an

guide would be thus, as the annexed diagram

will illustrate.

Plate 17 you perceive

is

of

undulating form, and in which line I shall

make

a drawing, merely to shew the principle and

utility of

this foundation for

forming designs,
is

as will
outline

be seen by plate 17; here

to

a mere
are to
will

shew how your ornaments

be formed, and which suitable ornaments

be given

in the course of the

work, on a scale

48

GUIDE TO

PLATE

17.

ORNAMENTAL DRAWING.
sufficiently
6

49
fig.

large for patterns.

In

6 you

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

to it
like

accordingly, otherwise you

may be

many

over-talented draftsmen, who,

when once
to leave

they commence, they

off,

know not when

after

making a good design, keep adding

first

and adding, that the

idea

is

entirely lost;

always bear this in mind,

when you have a

it is

good design, leave well alone ; as

profusion
that

not by a

of straggling
exists,

leaves
I

and ornaments
before
stated,

beauty

but as

clearness
shall

and

equality without

formality.

now

illustrate

another prevailing system,

little

and which I think, after a

observations, will

study from

my

be broken

off,

and a more
all

pure taste be cultivated in the minds of

those

whose capacity require the aid of ornaments;

feeling confident in

my own mind

that

it

would

50
not only improve

GUIDE TO
the freedom of hand on the

part of other artists, but would likewise improve

their taste for forming a basis for whatever sub-

ject

they

may

require.

Now

to illustrate
;

in

opposition to

my

former remarks

I shall merely

give another centre and corner, which will I

sure be a sufficient foundation for
all

am

the rest.

You
ality,

perceive in

fig. 7,

page 54, a square formfig. 6,

;

which on being compared with

is

you and

must allow
I hope,

not so agreeable to the eye comparison, to give perfect

by

this

satis-

faction to

your own

good judgment, and, by

be made
did I

practice, that

such impressions will

to be

on your memory never

erased;

not consider this the basis of design, and being

apprehensive that from the prevalent bend for

ornamental foliage, not only

tion,

of
will

this

descrip-

but of others which I

shortly treat

upon, and return again to this in some future

number.

ORNAMENTAL DRAWING.

51

PLATE

18.

52

GUIDE TO

ears
sign,

ago there were schools of de-

but I may certainly venture to say, that of

never been in England an
of arts

late years, there has

academy or school where these points

have been
strictly

adhered

to, or true principles

formed to

train innate ideas;

as I

am

certain

the mind of

man

is like

vegetation, which, with-

out the immense care, trouble, and attention,

that has been given to
perfection,

bring such articles to

the luxuries and dainties of

many

could never have been supplied to the extent

and
this

gratification

which they are

points,

at present; in

and many other

no expense

has

been spared by those highly talented gentlemen

who have taken

the most prominent features in

ORNAMENTAL DRAWING.

53

PLATE

19.

54

GUIDE TO

botanical, horticultural,

and many other branches

of science

but never since our immortal Fuseli,

Opie,

Joshua

Keynolds,

and
is

last,

not

least,

Barry, has there been what

rightly termed

a school
school for

of

design;

there has

been

truly, a

painting,
far

and

copying, but
their

never

pushed so
designers
;

as

making students
not
?

own

and,

why

are they afraid, or

what

nothing but copy, copy, and make pretty

drawings and paintings, that this very ludicrous

remark may flow from the parents' or

friends'

mouths

have you seen how pretty

my

son or
;

daughter has painted his or her drawing

quite wonderful!

it is

what an

excellent master they

so

are under
he
ful
is

he draws

and paints

beautiful,

quite a wonder.
girl

And when

this

wonder-

boy or

ventures forth to the public, and

has to compete with the proper trained student,

OENAMENTAL DRAWING.

55

PLATE

20.

56

GUIDE TO
fare the colours then
?

how
art,

men

of science

and

who

are competent judges, are not to be

caught by the

glaring

show of

blues,

reds,
feel-

and yellows, but can judge rightly and

ingly,

from a bold,

free sketch, either in pencil,

:

chalk, sepia, or Indian ink

well,

in these, to
faults,

look

you cannot hide your

;

they must

appear, and so let

them then you perceive where

you are

in

error.

You

are

able,

by proper

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

ously attended to

all

the different turns and

finishings of foliage, natural history,

and human

figure

in plain matter of fact, let nothing pass

all

you

unobserved, retain
either

you see
;

in
will

your
then

memory,

good or bad

you

form, by careful attention to the principles of

the old masters, a pure,

unadulterated

taste,
its

which

will

never be forgotten.

Of

design,
its

chief element is correctness

tinction, incorrectness,

and

style;

exfirst

and manner.
is

The

principle of correctness

the power of copying

with precision and accuracy, studying each object

of proportion with its relative attachment

ORNAMENTAL DRAWING.

57

PLATE

21.

58
to others
;

GUIDE TO
it

ought to be considered of such im-

portance that no person should enter as a student

of any academy without his

mind

is

thoroughly
I not con-

bent upon the former remarks.

Did

sider this the basis of design, I perhaps should

forbear to speak, were I not apprehensive of the

prevalent bend for design and reigning taste

for every novelty of the Arts.

I speak thus,
it

knowing you do not

required
;

lay

on

all

the stress

if

you neglect the power of copying

with precision, you never can acquire that of

imitating what you

may have chosen

for

your

model.

The two words copying and

imitating,

have, in one respect, the

same meaning, but in

the Arts

it is

very different, not only in mean:

ing, but in its operation

l'ust,

an eye geometrically

with a freedom of hand implicitly obeis

dient,

decidedly "requisite

for

the former,

without choice, selection, amendment, or omission

;

whilst

choice

directed

with

judicious
;

taste, constitutes the essence of imitation

and,

by

perseverance, raises the

once humble copyist

to the rank of an artist, which appellation, I

am

ORNAMENTAL DRAWING.
sorry to say,
is

59
for every

very

much abused,

one

that can use a paint brush a little

and copy as
artist,

much, must needs be termed an

little

being

aware of the labour and study he

for years

must persevere to obtain, not only

drawing and
versed in
his

in the art of

painting,

but he

must be well
;

all histories

and passing events

in fact,

mind must be a

library, not only as regards

is

the time, or in whose reign he a subject, but the very

referring to for

costume, actions, and

deportment as well

the science of optics ought

to be in his full possession, that

he might know

how

to distribute his lights

on a picture ; also a

knowledge of the

effect of gases contained in the

atmosphere, so as to counteract them with his

different

drying

oils

and varnishes, to prevent

which
too

the
place

rapid

destruction
different

often

takes

on the

portions of a painting;
little

these and a few other

minutias, which are

;

to follow, is the basis of design

and following

in

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

will arrive at that state of perfection in the

Arts

to repay all

your labour.

Be

careful to attend

60

GUIDE TO

PLATE

22.

OENAMENTAL DRAWING.
to the few following
shall return to the

61

observations, and then I

illustrations.

former
title

Every

thing deserving the

of beautiful, and every

definitive

grand object, assumes an outline of

character;

the

former in undulating lines

of

elliptic curves,

and grandeur

in angular disposi-

tions of figure lines of motions,

assume a curved

direction; in combining straight lines, so as to

please

the eye, they must be on a radiating

;

principle

our eye not only receives that form

as pleasing, but, at the

same time, prevents any

geometrical form to detract the beauty of the

above figure ; and when lines are placed parallel

to

each other, they have an appearance of a

flight of steps, or pile of rods,

and have a very

it

opposite effect; upon the former principle

that the rays of the sun
erally

is

and rays
and

of light genIt
is

are

so

attractive

beautiful.

from

this circumstance that right lines

drawn

in

an inclined position to the plane of a picture,

derive an interest from the angles engendered

through
like

the

imagination.
;

Combinations

are

numericals

many

of these forms placed

62

GUIDE TO

together with judgment and discretion, will attract us

from the larger proportions of beauty

at

that

meet the eye

once,
hair,

like

a beautiful

head of hair; a single

however gracefully

bent, cannot impress us like an entire lock, nor

will this single lock look like the

whole upon the

human head

we owe

to combination

and con-

struction that pleasurable feeling denominated

beauty.

No

person

is

allured

with a single

object, but a thousand, or

even a million im-

mediately arouse our anxious notice; thus,

instruction

my

and previous diagrams of

elliptical

and

circular

forms exhibit, by a continuity of

curves, the greatest approach to beauty of any

of

its

predecessors.

Even curved

lines

of a

convex and concave form, drawn at random,

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

much more than

all

right lines,

however they may be distributed

quantity and

variety are absolutely necessary to the production

of perfect
to
1
all

beauty

equalities

being

un-

friendly

symmetry which
is

accord with

nature.

think sufficient

treated at present

ORNAMENTAL DRAWING.
on design, and
tion
will

63

now

continue

my

explana-

on the previous

plates.

Plate 18
cave

may be formed

into either a con-

or convex leaf, in

the throwing off the

is

extreme end or curl;

care

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.

if

aided by another convex curve,

it

likewise
if

may be used
necessary, as

in another
fig.

way, for a centre

9;

and

by a

trifling

alteration in

many

other figures.
instance,

Care in drawing or carving this

leaf, for
is,

and a very important one

it

being careful

64

GUIDE TO

not to have the back and front of this description of foliage both alike.

Should I have the

carving of the

front

of

the following figure,

what

will

the appearance of the

this, it is

back be

now, mind

not only attending to the

effect,

accuracy of drawing, but greatly to the

as
fig.

10.

Through
10.

the

rotundity

of

the

BACK.

pistules, a

high light will

fall

on the

face,

and
be

at back, it

being hollow, of course they

:

will

dark,
I

almost black

to prove this, in plate 19

leaf,

have given the back-view of the

and

the difference will be observed on the turning

of

the head

the

raffles,

instead

of

passing
it

over as they do in the front, you perceive

passes under, which has a very different appear-

ORNAMENTAL DRAWING.
PLATE
23.

65

66
ance;
this
is

GUIDE TO

chiefly

needed in design, where

this
case,

you have a confused group; in

course,
face

of

you must see the back as well as the

the
foliage,

of

and

on that point the

is

variety of effect

upon natural causes

the very
to,

thing you have to pay the greatest attention

as that gives the whole life to your picture.

UNIVER'SITT

ORNAMENTAL DRAWING.

67

CURVILINEAR FOLIAGE
CONTINUED.

Now

to proceed to plate 20.

This
;

is

a piece
?

of foliage

seldom brought into play

why

be-

cause of the difficulty in producing the true ap-

pearance

it is

generally termed the ogee curve,

and requires great ease and knowledge of foliage

to

bend

it

properly; in this you will observe

how

I have kept to the principles referred to in

:

plate 18

you perceive in the lower

part, that

the pistules are black, the upper ones light, and

by

that, it

produces a different

effect,

than

if

had kept

it all

one colour

of the utility of this,

I shall treat hereafter in a

more

efficient

man-

ner,

and by those means cause a greater variety

of foldings

and twisting than

is

generally proflat

duced, at the same time break that

dull appearance

and

which too often presides in de5 *

68

GUIDE TO
Plate 21
is

signs of running scrolls, &c.

a very

important part in several portions of running

scrolls for friezes,

and many other departments of

borders,

it is

usually the

most prominent feature

it

beyond the boss or centre; how

introduced
is

should be

shown

in

the following diagram,

page 78

you

will there perceive

by the continuform a very

ation of its

own

figure alone,

it will

good running

scroll,

and partakes more of the

leaf,

Roman

than of the Grecian

will

the varieties of

which you

perceive accurately
;

drawn

fur-

ther on in the work

at the

same time,
I

I think
all

you have almost

sufficient,

and

may say

the

general turns of foliage.

But previous

to

my

leaving the turning of leafage, I will introduce

the Acanthus, comprising of every turn that can

reasonably be given, from which you will be able

to select all

you may

at

any time require, for

what

is

generally termed pickings ; for however

proficient

you may be in designing, yet you can-

not sum up every thing that

action in your

may

be brought into

mind

at once,

and by that reason,

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

ORNAMENTAL DRAWING.

69

observed; at the same time, possess yourself with

as great a collection as

you possibly
what
is

can, I do not

mean

of expensive, or

termed rare sub-

jects, as that

very sound

will,

when a

valuable

print

comes before you, draw more attraction and

you than a common penny print ;
you, that I have

attention from

but

let

me

tell

known many who

in fact, I

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

for the trifling

sum

of ten shillings

have myself, at a

stall

and

different places, often-

times bought more to

pence, than
if

my

advantage for a few

had given half-a-guinea for a rare

;

specimen of engraving more than the design

and

why ? because my
to this I

eyes are upon every thing that

I pass, or that passes

me; and
I do.

it is

by attention

know what

Feeling this much,

I consider myself
creatures,

no more blessed than my fellowcertain if they follow this piece

and

am

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

yet not feeling myself to

know one half of what I

hope
fied
will

to

know and

arrive at; for I

am

never

satis-

with saying I can do as well as another ; that

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

will, in

itself in

one respect, but

course of time, place you

in circumstances generally enviable to those

who

have neglected their studies. In a portion of

my

collection I

have copies
Grecian

from the

finest

specimens of

Roman and

sculpture that have been executed, from which

I intend giving
points,

you the several principal leading

;

and

its

variety of characters

and by careShould

ful attention to

them

will insure success.

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

by whom
Grecian,

they

may be

recognised

as

true

Roman, or other ornamental

all

foliage,

do not imagine that

foliage
;

ornament must contain

I can execute a great

number

of designs

and yet not have the

tached
to
it,

least portion of leafage at-

and
;

this

description

generally

runs in the Grecian

there
is

although at the

same time

a foliage for that description of decoration,

is

and which

very different from

all

others.

The

different characters of ornament, I

may

say, are

ORNAMENTAL DRAWING.
as others

73
scientific

have done from much more

men, and
placed
it

whose
in their
;

affluent

circumstances
to travel

have

power

and study

when

I could not

but trusting I have collected

not to misguide you,

and seen and

sufficient at least,

to this end, the following paragraph is very

appropriate,

and

at the
it,

same time, I think no

harm

in noticing

particularly
:

when

it is

ob-

tained from such an author

"

From

Act well your part

small beginnings, great conditions rise there all the honour lies." ;

POPE.

Not

that I have risen to great conditions, but

I recollect about seven or eight years ago,

when

in

my struggling moments to achieve at-something

Album
appearit

I had the conducting and designing of the orna-

mental department of a work, entitled the

Wreath, for a firm in the City

many
all
;

ed before, but this was to surpass

often happens,
are conquered

and, as

when we

strive to

do our best, we
feeling,

by an over-anxious

and our

mind

is

entangled and confused with ideas, that

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

not which to choose

this

was the very case with

74

GUIDE TO

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

me

satisfaction, yet

my employers

were contented
to

with each sketch, and they

choose.

knew not which

At

last,

waiting on a friend one day,

whose children were playing in the parlour, one

of

them held up a piece

"
I

of looking-glass

and

simply said to the other,

let this

be our mirror/'

That very word was

took

all

wanted ; I immediately

my

pencil,

and while waiting, formed the

rough

idea, thinking all the

way home, how

to
:

fashion that

and many other portions together

all

when
aside,

shewed the design,

this

others were thrown

and

one immediately commenced and

finished as a frontispiece;

and reckoned by

all

who saw

it,

to be the master-piece of

Ornamental

Typography, and
the work
stated,
;

my

employer had the whole of

all

and

this

was

through, as I before
all

immediate attention to

that passed.

I will

now

return to the explanation of

my

former plate,

and

to one of the most important

it

portions of ornament, be
character, or era,
tainly

in whatever style,

it is for, viz.

freedom.

I cer-

have previously mentioned respecting the

ORNAMENTAL DRAWING.
figures

75
to

and curvilinear forms necessary

be

observed in designs, but I will

fully

now

treat

more
your

on the subject, and I hope

sufficient for

guidance hereafter.

This point will refer to plate

22, here I have given a

mere outline of what

is

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

scroll,

but

it

does not always partake of that

form;

may

use the following, figure 11, the

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

horn.

You

see

by the

foregoing plate, 22, in the

centre of the foliage
is

dark

line,

which

line,

when you commence formis

ing design, or making a copy,

to be

your lead-

ing feature or basis, and that once done properly,

you can always insure freedom

or decorations; in
this

in

your positions
I have before

case, as

stated, nothing should appear to partake of the

tendency to an angle ; for

this reason, let

your

drawing be ever so richly executed and carefully

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

alone that the eye will be attracted, because

if

there

is

a circular figure to view, the eye will

76
naturally

GUIDE TO
carry
itself

around that

figure,

if it

were a yard long, and drawn on a small

scale

but should there be any breakage in the curves,

it

immediately breaks the traversary orbit of the

eye,

and that very error

if

is

retained in the

memory

the eye could see the whole yard

still

length at once, that would

be the most pro-

minent; to prove which I will give three small

illustrations on this subject,

and then

finish the

explanation of plate 22.

Fig. 12, you perceive

is

of a true running un-

dulating form

fig.

13

is

of the
is

same description,
termed shoulders,

but broken and

full

of what

ORNAMENTAL DRAWING.
glyphics,
birds,
insects,

81
of

and

beasts,

all

which

they

have worshipped

as

idols.

The
first

Grecians followed them narrowly from the

description,

and instead of having straight stalks

have formed them
flower,

to support their cups, they

into

volutes,

making the cup, or

the

support of the stalk in

of the
stalks

many

instances, instead

supporting them.
26,

This will be
treat

seen in plate
presently,
as

which I
to

shall

upon

well as
all

prove

my

foregoing

remarks, that
tain foliage,

scroll

work does not conthe Grecians,

It is to this point

in
in

my

opinion, as well as
for

many

others, excelled

beauty,
;

their basis
this
is

was clearness and

regularity

aod

a point that no other

character or style can boast of;

capitals

even in their

and

pilasters,

there

is

more delicacy
forte

and clearness than

in the

Eoman, whose

seemed

power and might.

To prevent any

mistake of
proceed,
to

my

ideas, I will explain, as the plates

the

number

of starting points

known

the

Roman, Grecian, and Arabesque, being

eighty-five
different

about

descriptions,

each

6 *

82

GUIDE TO
its

having
this to

particular use, name,

and character

many may seem

absurd, but those

who

think as I do, will agree with

it

me how

essential

is

that this description

of

study should be
to

thoroughly

entered
I

into

previously

their

attempting design.

once knew a young

man

who termed himself

a designer, and so he really

was, what I term an original designer, for his

chief forte

was

to

jumble almost every descrip-

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

which was
;

certainly perfectly original, but very ridiculous

and

would have you pay great attention

to

this point, for

whatever style of ornament you

to that,

commence, adhere

and no
;

other.

If

you

compose Roman, use

same.
It

Roman

if

Grecian, the
for

would be rather ridiculous

me

to

erect a Grecian temple with Gothic pinnacles,

or a Gothic structure with Grecian ornaments.

I

think you will

now

see

how

necessary

it

is

that you should give your

particular
points,

mind more
have

to these

than

you

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,

fig. 16, is

one of the
fig.

most simple forms possible to be used; and

iG.

9,

page 64, of the most simple

general
use.

-V^

\w
^1}
both
can

in

The

cup,

or

^^
but

flower,
fig.

on
is

the same line

with

1,

its

proper attachment,
separately
;

be

used

this

is is

termed the
chiefly

lily

cup.
is

This starting point

used in what
is

termed modern Grecian.

lily,

Fig. 2,

the second description of

;

used
is

generally as a double starting point

say, confining the

that

to

two stems running transverse

the basin,
or flower,
it, if

to
is

each

other;

behind
;

the portion to be attached to

required
:

both of these
previous to
its

may be used

separately

and,

my

leaving this figure, I will explain

advantage over the former one,

You

will

perceive at the base

of the bell a quirk, or

opening between that and the stem, which, in

bas-relief, has a

very powerful
shew.

effect, as
is

the an-

nexed figure

will

Figure 3

another

84

GUIDE TO

description of cup, called convolvulus-head, this

has

its

cup attached, and has a very pleasing

well executed.
Fig. 4
is

effect

when

the woodthe hinder

bine, or honey-suckle,

and daisy cup

part in juxtaposition, you see

is

of the simplest
is

form, represented in
in a

fig.

4,

and

chiefly

used

centre running scroll of

to

three portions,

and formed generally

the eye from
its

break the traversing of

chief point,

which

is

usually

the centre scroll, boss, or finishing, and ought

to

be the most commanding portion of a confined

generally under shop windows, as you
;

scroll,

will perceive in plate 32

here I have given the

framing of the

window, and the department

is

where such ornament

decoration, but at the

useful, not only as useful, as

a
it

same time

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

and answers much better than

ORNAMENTAL DBAWING.
the straight bars.
I

85

have given in the same

plate, three designs for that purpose,

and intend

giving, as the
trations

work advances, a

variety of illus-

for that,

and every other department

This
the
is

where decorations are required.

to

done
utility
call-

show
those

of

portions

ed

starting
is

points.

Tig. 18
simple form, termed the

of

another
a very

crocus-head,

useful portion where you are confined in space,

and where castings are required

for balustrades

in designing for that department,

you must be

very careful not to have

much

straggling work,

but close and

full, to

prevent as

much

as pos-

sible the
off,

chances of different parts being broken

19 shews.
I
will

as
20,

fig.

now

illustrate

fig.

termed the bell-head, seldom used in the

scroll

body of
the
little

work, but

is

the starting point for

cups and small springings of design, as

86

GUIDE TO
in

you perceive
is

the annexed figure.

Here

it

given slightly, showing you what I mean by

small springings

I shall

now

refer to plate 26,

where you

will

more
:

clearly understand

my

previous remarks

fig. 1,

you may say

is

formed
lily

by

the

double

and the

convolvulus-

head, forming a very

good

frieze

round a

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

in a
is

taken

from the Cymatium,

Fig. 2,
in the

temple at Parma.

same
differ-

plate, is

from an antique bronze, and very

present in

ent from any at

general use;

the

corded reed at the top,

and the egg and button

at the bottom, is a very great

improvement to

the effect of the moulding, as well as the novelty

of the different

ornament between each division

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

87

shewn

in

22,

which

is

very symmetrical.
22.

Fig. 3, in

the same plate,

Pa,rma,
as
fig.

is

likewise from the temple at

1,

and shews a portion

of

frieze; here is introduced starting points, only

formed from the Grecian dock

plate 27
;

leaf, as

shewn

in

likewise the small springings as before-

mentioned, and of which

the Grecians

were

very

partial,

and that to a particular extent and

description, of

which I intend giving a

plate,
;

containing

all

the chief characters they used

it

in this instance,

seems as

if

the cups contain

the

stem,

which are in the form of volutes,

instead of the stems holding the cups, as with the

Egyptians, as the following figure shews.

27, represents

Plate

the three foliages used

by the

Grecians

fig.

is

seldom brought into play in

running

foliage,

but confined chiefly to the chap-

ter of columns,
erally

and

fig.

5 and 6 are both genscrolls,

used in running
;

cups,
all

startings,

and columns

plate 28 brings

these

into

88
play,

GUIDE TO
the

semi-honeysuckle,
is

lily,

lotus,

and

dock-acanthus, and I think

for

very well adapted

the purpose designed.

frieze, it

By

continuing

it

along a cornice, or

has a very rich and

imposing

effect

it is

spread rather more than

the original,

yet the proportions are good,

you perceive how equal they have

appearance
;

made the

you cannot see the ground- work,

itself

but the ornament

imposes upon you im-

mediately; and
it is

when looking

at the ornament,

not so confused, and the ground appears at

I do not recollect aoy so

the same time.

metrical

sym-

among

the specimens I have ever seen.

I have in a work,

from which I have selected a

few of

my

ideas,

some splendid specimens of the

in the following

Koman, which,
tend to

number, I

in-

illustrate,

to

show the

overpowering

richness their designs have over the Grecians.

OFTHE

UNIVERSITY

Sfn

KW

GRECIAN

TSE

IVERSITT

OF THE

GRECIAN.

UNIVERSITT

ORNAMENTAL DRAWING.

89

^jjjhiS
k~

**^

\\-

VV|
As
I have just stated that the
lies

beauty of Grecian ornament

in its equality of foliage, stalks,

starting points,

and ground-

work, which alone combine an universal

delicacy
;

cj^|

not

90
as with the

GUIDE TO

Romans, whose delight seemed,

to

in

many

instances,

obtain
;

an

overpowering

richness with their designs

in fact, so far as to

cause
foliage,

an

unintelligible

confusion

of

flowers,
:

starting

points,
will

animals
illustrate

and figures

to prove

which I
frieze,

a portion of

Roman

taken

from the

Temple

of

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

(which of

itself

is

a complete

division,)

and,

when joined
whole of the

together, as here given, forms the

frieze

around the upper portion

of the temple.
is

This foliage you will perceive

of the

Acanthus order, but of a richer and

description

different

than

have

heretofore

illustrated or

spoken

of.

You

perceive a greater

number
larly

of raffles,

and more closely and irregu-

serrated at the edges than the Acanthus

;

Mollis, or Spinosa

at the

same time there

is

much

greater depth allowed by them from the

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

perceive in the next diagram,

is

fig.

24, where

it

more

closely delineated.

This body of the leaf

fibres,

seems to be formed of a number of stringy

UNIVERSITY

ORNAMENTAL DRAWING.

PLATE

37.

Outline division of one of the circular portions of the frieze around the Temple of the Sun.

92
which,

GUIDE TO

when properly

sculptured,

drawn or model-

led, gives it that richness I

24.

have before described.

^-v-^

On
to

referring
illustra-

the
in
1,

tion
fig.

plate 36

you

will
for-

perceive

my

mer observations
brought into practice
:

here

you

see

are

the
of

starting

points,

compos e d
pods,
berries, or other small

containing

round

fruit,

which agrees
I

with

the account

given

by Theophrastus.

shall shortly delineate a

few principal starting

points alongside of the Grecian, giving you, at the same time, a decided and clear proof,
careful
style
;

how
to

you should be in keeping character

in

many

instances, I have seen the

most

elaborate designs and elegant formations spoiled

by

these

combinations;

the

original

plans

ORNAMENTAL DRAWING.
bei'ng
laid

93

on

sound

principles,

and the

rich

ideas of the designer spoiled

25.

by this apparent simple,

but

yet

glaring fault.

Whenyou reason with yourself,

compare
delicacy

the

and

richness

of the Grecian

brought
contact
the massive

in

with

Roman

style,

you

will

then observe

the necessity required in calling your attention

to this particular

point

and I sincerely hope,

will

by perseverance, that you

sary
alterations

make

the neces-

in

your

mind,

(should

you

have possessed them,) the

result would be to

me,

all

have wished
is

for,

your improvement.
frieze,

In plate 37

another description of

from the Torre de Nerone, at Rome.

In this
foliage,

you

will

observe

the

combination of

animals, and figures.

These

friezes,

have no
7

94

GUIDE TO

doubt in stating, could they be read, would speak

volumes

for I have

no reason

to suppose that

such would be introduced without a

wherefore,

why

or a

and

believe that

such

has been

spoken of before in books that I have not been

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

is

my

earnest wish to do
all

nevertheless I will assist you

that lies in

my

power, by giving you a

series

of those that

have been executed on baths, palaces, or temples.

In plate 38
is

is

a frieze from the

figures

Arch
ani-

of Titus; this

composed of

and

mals alone.
this,

Here

I can describe the reason for

too,

and a just one

being led to believe, and

knowing from ancient

history,

and that valuable

their

and sacred volume, the Bible, that

principles of carrying out the
religion

chief
of

solemn

rites

was by

strict

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

;

this

being adhered to with

such rigidness,

is

the

reason that processions

OF THE
F

IVERSITT)
>/

ORNAMENTAL DRAWING.
and sacred
rites

95

were introduced in their exterior

I shall

and interior decorations.

now

give you,

by

illustrations,

the necessary articles used on

those occasions, and which were sculptured on

the

Arch

of Titus,
this

and many temples at Kome.

is

Mentioning

topic
it:

not

entering
all

into

theology; far from

but,

you are

aware

that, in the course of studies

and occupations,

no one can
capabilities

tell

how, or to what extent his

called into action
:

may be

so, for

this reason, I consider it

my

duty to

call

your

attention to this point.

that, for

I have previously said

whatever era or style you are decorat-

ing, illustrating, or designing, strictly adhere to

the
time.

articles,

costumes,

and

manners
for

of

the

Suppose you are designing

Roman

decorations;

you should endeavour to obtain

a thorough knowledge of ornamental flowers,

different

kinds of moulding, weapons, dresses,

armour, and sacred utensils, in case you should

have

occasion

to

introduce

them;

as

these

trophical

introductions,

when properly maninstructive,

7 *

aged, give

very

pleasing,

and

96
lively effect to

GUIDE TO
the model, sculpture, or paintprinciples

ing.

All

these

were,
;

have

no

doubt, taken from the Egyptians

which, for

your instruction, I shall enter rather minutely

into, as far as

regards
first

its

application to draw-

ing,

&c.

But

I will

explain the whole

of the

Roman
golden

utensils,

used for sacred purposes.

or

The

candlestick,

more

properly

speaking, candelabrum, or lamp-bearer, (which

is

represented, with various other articles,

39,)

in

plate

we

are

given to

understand, was

of pure gold; and, according to Josephus, was

of

hollow tubes, or

brackets,

and was com-

posed of seven branches; one in the centre,

and

three

on

each

side;

each

bracket,

or

arm, was joined in separate compartments by

lily

flowers
:

and

figures, in the

form of pome-

granates

and being composed of about seventy

:

different pieces

at the extremity of each

arm

were seven golden lamps.

Many fanciful
the

repre-

sentations have been formed of this lamp; but

my

illustration

is

from
have

Arch

of
it

Titus.

Some

historians

asserted

that

was

ORNAMENTAL DRAWING.
likewise adorned with birds
sters,

97

and marine mongained

over
or

which,

after

the

victory

the
Titus,

Temple
these

of

Solomon

by

Vespasian,

sacred utensils were altered, and

the shaft fixed in a

illustrate

new

base.

shall

now

the ark,

table

for

shew-bread, proaltars

bable
cense,

form of
censers,

the shew-bread,

of

in-

drinking vessels,

knives
calf.

used

for sacrificing, the laver,

utility of these

and golden

The

were for the purpose of bring-

ing fully into

effect their sacrifices,

which were

divided into different descriptions; namely;

first,

the herd-offering
this

such as goats, sheep,

oxen, and rams;

was

also

done by the
horses

Egyptians
to the

in

the

following

manner:

sun; hogs to Ceres, or the goddess of

dogs

corn or wheat, and sometimes Bacchus;

to

Hecate

and wolves
to

to

Mars

no

fish

was

ever

brought
of

the

altar.

Second, burnt-

offering,

which there have been questions

but,
it

often

discussed;

seems

that,
it

to avert

the vengeance of Divine

Power,

was only

by the

offer of a

representative victim.

To

98
illustrate

GUIDE TO
the antiquity of this practice, I need
all

only refer to the instances of

patriarchs;

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

the animals were

intes-

were flayed and opened, their

tines taken out

and washed, the

cleft,

feet also

were

washed, the back bone

and the carcase

parts exposed to
salted,

divided into quarters, and

all

view

this

sacrifice

was then

and the

whole, except the skin, consumed on the altar.

Third,
meat-offerings

were

carried

out

by

vegetable products, and

bread, cakes, ears of

preparations of

meal,
oil,
lit-

corn, parched grain,

and frankincense.
tle figures

Theophrastus states that

in paste
oil

were made by the Greeks,

mixed up with

and wine.
an

The Greeks and

animal offering
articles

Romans

did not consider

complete without the above-mentioned

were placed upon the head of the victim while

still

alive

and about to be

sacrificed.

Fourth,

the sacrifice of peace was by offering a lamb,

ORNAMENTAL DRAWING.

99

and other animals as before, only males and

females might be offered, but males alone in
the others.
Fifth, sin offerings
:

when a

ruler

sinned the offering was a ram ; a private person,

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

so that scarcely

any could be deterred

by poverty, when

his conscience

prompted him

to the confession of his sins.

think

these

are

sufficient

observations
illustrate all

upon

this topic to enable

you to

you may require

shall

in

that

department; and I
Grecian arms.

now

refer to

Roman and

By

the insertion of these articles, either for

is

war, torture or triumph,

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

is

where ornamental work

brought into

requisition,

a thorough knowledge of this de.

scription is highly necessary,

and

it

is

my

in-

100

GUIDE TO

tention that nothing shall pass

if

me

unobserved,

possible, that

is

requisite

to

be introduced

for utility of decoration.

lation

I shall give a compi-

of

Koman

arms, as

halberds,

shields,

helmets, standards, flags, battering rams, and

other implements, which contain the most pro-

minent, and those most universally

known

to

be

used, and a short history of their origin will,

no doubt, be acceptable.
"

And

oft

conducted by historic truth,

We tread the long extent of backward time."

THOMSON'S SEASONS.

am

aware, as well as you are, no doubt,

that there are

tories,

many Grecian and Roman

if

his-

but very few,

any, that will bring to an

this work,

apex those points suitable to

ing facts required for the

and lead-

arts.

The

earliest

establishment of

arms, under

a regular government, was introduced

by the

Egyptians

they communicated their discoveries

to the Greeks,

who improved upon

:

the instruc-

tion of their predecessors

from thence to the

Romans, from whom the other European nations

ORNAMENTAL DRAWING.
received the
first

101

ideas of the arts, and which

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

of the

As

warfare was the leading character

it is

Romans,

to

them we owe the

origin
tro-

of crowns, triumphal arches, columns,

phies.

and

Of the Roman habit and dress, would

be useless for
tail

me

to enter into, as
I consider a
It

it

would enthis

more on me, than

work of

description requires.

was found necessary to

signalized themselves
their fellow

distinguish those

who had

by some more valorous deeds than

soldiers, not as in the present

day with money,

the original of

but with coronets or crowns;

which was worn by the high

gold
fillet

priest, of a plain

placed upon his forehead, and tied

off for

behind with ribbon, which was taken

certain time: to
in

assume the appearance of one

mourning; afterwards they wore two ban;

delets

and, by degrees, they took branches of

;

trees of various kinds

subsequently they added

flowers
of

and, at

last,

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

as

composed
fig.

of
this

myrtle,

shown

in

26

crown,

or

coronet,

was bestowed

only on such generals as had the

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

him who had

signalized himself
arenas.

by

feats of
olive
it

gymnasium,
tree

in the different

The

was originally a native of Asia, whence

into Egypt,
;

was transplanted
27 -

and the South of

Europe

the

wood

is

heavy
odour
;

and

of

an
is

agreeable

the fruit

of the form of
soft

damson, with a

oily

pulp,
centre.

and a hard nut in the

The

olive

was consecrated

to Minerva,

by the

Athenians,
tection
of

who regarded
the
olive

the culture and produty.

tree as a religious

The

oil

of the olive is pre-eminent

among vege-

table oils,

and has not only always had an exten-

ORNAMENTAL DRAWING.
sive

103

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

oak, and was awarded to the soldier,

who had

saved the

life

of a

Koman

citizen in

an engage-

ment, and was considered the most honorable,

although of no better materials than the oaken

bough

the

reason
the

why
was

this

wreath had
all

preference
it

to
sa-

others,

because

cred to Jupiter, the guardian,

of their city
;

besides this, the

oak

might well

claim the preference in this

case, the tree

alone being almost sufficient in

life
;

primitive time to preserve

their diet,

its

acorns were

and

its

honey

their liquor.

Persons

on

whom

this merit

was conferred, when they

attended any public show, the senate and the

whole of the attendants, would

entrance,
to

rise

on their

signify

their
their

respect, seat

and

they
the

were

allowed to take

among

senators.

104
Fig.

GUIDE TO

29

is

triumphal

crown,

made

of

the laurel, and was presented by foreign states

and provinces,

to

generals

who

had gained great

Fig. 30
is

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.
30.
31.

Fig. 31

is

the naval crown, bestowed on those

;

who had
was
set

distinguished themselves at sea

in the

this

round with figures

form of beaks

of ships.

Fig. 32

is

the

mural crown,
first

awarded to those who

scaled

the walls of any city in a general

assault,

and under these circumit is

stances,

we must suppose why

formed in

the shape of battlements and brick-work.

ORNAMENTAL DRAWING.

105
in

The most remarkable person upon record

history, for obtaining the greatest

number

of re-

wards, was Dentatus

he received

in the course
;

of his military services, eight crowns of gold

fourteen civic and three mural crowns; eighty-

three golden torques, or collars of gold

ver
;

and

sil-

sixty golden armlets, for the upper part of

;

the

arm

eighteen hasta pura, or small spears of

wood, generally bestowed on him who had killed

an enemy engaged hand to hand: these were

reckoned honorable
gifts.

From

this it is sup-

posed, the custom of our officers carrying white

rods, as ensigns of their places, originated.
also obtained seventy-five phabrce, or horse

He
and

body trappings, see

still

figs.

33, 34,

and

35.

But

further, in

honour to victorious generals, a

number

of days were kept as holidays,

and the

Trappings,

Collar.

Armlet.

ceremony

of

triumph was

conducted

in

this

manner

scaffolds

were erected in the forum,

106

GUIDE TO
different parts of the
in white

and

city;

the spectators

were clad

garments, the temples were

strewed with wreaths, garlands, and perfumes.

This triumph lasted three days
:

on the

first

day

was carried the largest

statues,

pictures,

and

images drawn upon chariots ; on the second day

was carried the armour, which was piled up in

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

and horses'

through these were intermingled swords

spears.

and

On

the third day the trumpeters

announced the procession of the oxen, led to

be
sacrificed,

accompanied with the consecrated

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

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

him

that

had been conquered

after this,

were

carried

some hundreds of crowns, sent from the

cities,

different

from

their

respective

ambas-

sadors, as a reward due to their valour.

Then

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

garment of

purple

and gold, holding

in

his

hand a branch of

laurel, his

army, likewise, bear-

ORNAMENTAL DRAWING.

107

ing the same, and singing songs of triumph.

When

any general

had
the

killed
slain

a chief

com-

mander, the arms of

carried on

captain were

a stock of oak, before the victor.

this

The

first

who performed
all

piece of religion

was Romulus; and

and presented,
to Mars, in
first,

the spoils were taken

Jupiter, and, secondly,

to

form of trophies.
all

Besides
pies,

this,

they had

porticos,

tern-

and arches.

These arches were public

buildings, designed for the reward

and encou-

ragement of noble enterprises, erected generally

to the

honor of such eminent persons as had

gained a victory of extraordinary con-

either

sequence abroad, or had rescued the commonwealth at

home from any

considerable danger.

At
by

first
110

they were plain and rude structures,

for

means remarkable

beauty or state

but, in latter times,

no expenses were thought

too

great for

rendering them in the highest

manner

splendid

and

magnificent
to

nothing
greatest
to

being more usual than

actions

have

the

of

the

heroes

they

stood

honor

108
curiously
of

GUIDE TO

expressed

or the

whole procession
sides.

the

triumph

cut out on the

The
;

arches built
that
of

by Romulus were only of brick

;

Camillus of plain square stone

Ccesar,

but,

then, those of

Drusus,

Titus,

Trajan,

Gordian, &c. were entirely marble.

As

to their figure, they

were at
they

first

semitheir

circular,

whence,

probably,

took
built

names.
square,

Afterwards

they

were

fourin

with a spacious

arched

gate

the

middle, and smaller ones on each side.

the vaulted part of the middle gate

Upon
little

hung

winged

images,

representing
;

Victory,

with

crowns in their hands

they put

which,

when

let

down,

upon

the

conqueror's

head, as he

passed under in triumph.

The columns, or
meanest beauties
last,

pillars,

were none

of

the
at

of to

the city.

They were,
design
as
of

converted
for

the

same

the

arches

the honorable

memorial

some

noble victory or exploit, as well as to hand

down

to

posterity

the

chief

ornaments
as

of

the .sepulchres of great

men;

when Juno

OENAMENTAL DRAWING.
foretold the death of Sarpedon,

109

and speaking
to

of carrying
buried,

him

into his

own country
are

be

the
:

following

words

very

attri-

butable

" There shall his brothers and sad friends receive

The

breathless corpse,

and bear

it

to the grave

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

The noblest honor earth can
give the dead."

HOMER'S ILIAD.

The

pillars

of

the Emperors

Trajan

and
for

Antoninus, have
their

been extremely admired

beauty and curious work, and therefore

deserve a particular description.

The former was

set

up

in the middle

of

Trajan's Forum, being

four great stones

composed of
so

twentycuriously

of marble, but

cemented, as to form an entire stone.

height was
It

The
feet.

one hundred and forty-four

has one

hundred and eighty-five winding

for the
is

stairs,

and has forty openings

admis-

sion of light.

The whole

pillar

incrusted
all

with marble, on which are expressed

the

noble actions of the emperor, but particularly

in the

Dacian war.

One may
OF THE

see

all

over
8

it

UNIVERSITT

110

GUIDE TO

the several figures of forts, bulwarks, bridges,

ships,

and a great variety

of

arms,

such as
dagoffices

shields,

helmets, targets, swords, spears,

gers,

&c., together

with

the

several
:

and employments of the

soldiers

some dig-

ging trenches, some measuring out places for

tents,
sion.

and others making a triumphal proces-

But the noblest ornament

statue

of this pillar
top, of

was the

of

Trajan on

the

gigantic size, being no less than twenty feet

high.

He was

represented in a coat of armour

left

proper to the general, holding in his

hand

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

in

which his own ashes were deposited after

his death.

The column

of

Antoninus was

raised

in

imitation of this,

which
it

it

exceeded only in

one

respect,

that

was one

hundred and

seventy-six feet high; but the

inferior to the former, as

work was much

being undertaken in

the declining age of the empire.

The ascent
six

on

the

inside

was by one hundred and

stairs,

and the openings

in the sides fifty-six.

ORNAMENTAL DRAWING.

Ill

The

sculpture

and other ornaments were of

the same nature as those of the first; and on the top stood a colossus of the emperor.

Both these columns are

still

standing

at

Rome;

the

former

most

entire.

But Pope

Sixtus the First, instead of the two statues of

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

8 *

112

GUIDE TO

DESIGNING OF TROPHIES.
The form
of trophies cannot be better un:

derstood than by the following description

"

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

fasten'd in a rising
;

round,

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

The trunk they

Above the

crest

was

plac'd, that dropp'd

;

with blood,

A grateful trophy to the warlike god

Piec'd o'er in places,

His shatter'd spears struck round. The corslet too, hung deform'd below
:

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

ble,

of

mar-

hung round with

spoils,

and covered with

scaly corslets, shields,

and other military ornaplaced a captive, with

ments.
his

At the base was

hands behind him, and winged images of

Others were composed of com-

victory around.

mon

military garbs, having shields of unequal

forms.,

and helmets; some open, and adorned

with crests; others close, without crests.

the

On

same trophy hung

soldiers'

habiliments,

with several other designs, which, by reason of

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

113
to

be discovered.*

Designing trophies in a pleasing form

very easy to accomplish.
I do not

is

not

remember

having seen above three or four well planned

trophies;

when

say well

planned,

mean

those that stand on pedestals,

bases.

pediments, or

The best
;

I ever saw stood

upon Carl-

ton Palace
so

and, I

may

say,

my

attention
their

was
prin-

attracted

by them, and upon

strict

ciples,

and
rule, I

observance of others on the

same

formed the idea of following those

as a base for

my

future routine of design.

There
phies
tary ;
as

are

numerous
of

descriptions

of

tromili-

trophies

war,

naval

and
;

of peace, the arts, the sciences

of hus-

bandry, of music, of the seasons, and universal

trophies.

In designing trophies of war, your

to

mind must be directed

engaged in
trophies.

the two

countries

hostilities; these are

termed signal

They should be planned or designed

to

to a conical figure, being careful

*

keep the

These two trophies are

still

standing at Rome.

114
largest

GUIDE TO
description

of arms the

most promiIf mili-

nent feature for the centre and base.

tary, the

arms introduced must be according to

the era ; a cuirass, supported by the largest guns

and
if

carriages,

shewing the mouth and breech

possible, breaking the

symmetry by wreaths

of laurel, or subjects of a similar description;

then should
rising

be introduced the smaller arms, from the

base,

gradually

keeping the

smallest arms to be
in

thrown carelessly around

the

radius

position;

whole

should

be

encompassed by banners, but without formality

:

let these principles

be your leading chathe like

racter.

For naval

trophies, observe

principle, and,

instead of

being conical, they

as

should

be

semicircular,

you

cannot

find

sufficient articles to give a light

appearance to
to

your design.

Implements of naval warfare

stern, or the

be introduced, should be the

prow

of the vessel, and those the most prominent;

with anchors, compass, quadrant, and

other
articles

various

connected

therewith.

Mixed

trophies are composed of

naval

and military

ORNAMENTAL DRAWING.

115

arms of

all

countries,

and

all

ages.

The

finest

specimen

now

standing of British arms, ancient

is

and modern,

the one compiled by an

Eng-

lishman, on the grand staircase in the

of

Tower
to

London.

After

perusing

these

ideas,

furnish your

mind
;

for such objects, feast

your

eyes on

all

around

you

will

then find

sufficient

to accomplish all

you may wish

for in that deall

partment.

I have

now given you

for

the infor;

mation

consider necessary

your basis

and, to perfect yourself, study the artist*

who

honoured
severance

this

country by his indefatigable per-

and attention in accomplishing a

display of arms, in a

manner

rightly termed
justly

a master-piece, and for which he was

awarded a pension

of

two hundred pounds per

quote,

annum ; and
"

may with justice

take

He was a man,

him

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
tols

would imagine that the figure of the

seven-headed hydra could be formed from pis-

and daggers, or
?

St.

George and the dragon

from sword-blades
to
see,

I would advise
for themselves
;

my

readers

and judge
a

but I will
points,
use.

illustrate

few

of

the

leading

and

various arms in ancient and

modern

ORNAMENTAL DRAWING.

117

shall

commence with

swords, as they were, most

likely, the first description of

war-

118
like

GUIDE TO

and murderous

weapons,

to

defend,

or

offend.

The

earliest of

these were, no doubt,

of

wood

or bone; and as the arts increased,

and metals were discovered, these instruments

attracted

great attention for their

utility.

To

speak of copper swords

to

may seem

very strange

many

but that metal was wrought long be-

fore iron,

and applied to domestic and general

purposes.

We
of

find in

Homer

that

all

weapons
earliest

were
time,

made
they

brass;

and, from the

were

highly enriched.
assayed,

Some

of

these weapons have been

and found
;

to contain a portion of iron

and zinc and

and are
to give

supposed to have been

cast,

filed,

the necessary rigidity of a weapon.

It should

be observed, that the swords of

tions were
straight,

civilized

na-

and

those of barbarians

curved.

As

this forms

but a small part of the

in-

formation necessary in this work, I shall return

to that portion

most

suitable for building

and

ornamental purposes.

ORNAMENTAL DRAWING.

119

V
1. 2. 3. 4.
5.

6.

7.

12.

13.

14.

16.

17.

18.

1,

3,
'

Roman swords
i

4,

5,

6,
;

7,

ancient Persian swords and daggers;

; ;

2. 14, 15, 16,

;

13, 18,
9,

of the

Jews

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

is

not

my

intention to

enter into the

history of
to give
rect

Egypt ;

but, as before stated, simply

cor-

you the necessary information and

should you at any time

figures,

require

them.

It

is

imagined by
line

a great many, that

any

twisted

will

form either Egyptian,

ORNAMENTAL DRAWING.

121

Chinese, or Arabic characters, or any grotesque

figure
will

form

either

an

idol

or

a god;
literature

but the

days of

improvement
it

and

are so far advanced, that

to

behoves every one

still

be careful how he speaks, and

more

careful

how he
is

acts;

and although Egyptian

architecture

not based on such rigid prin-

ciples as others, in conformity of

a number of

members, as other orders of architecture, yet

many
fillet,

state

that two oblique lines, a hollow, a

sufficient

and a reed, are almost

to erect

an Egyptian temple.
portion,
to

But

all this

requires proit

give
is

it

the grandeur

possesses.

The

first

form
were

the great hollow, which their

to

cornices

made

assume
with
a

these were

sometimes
reed; and

ornamented
this,

perpendicular

in character with its primitive

members, few and

fied

bold, appropriately simpli-

to the

earliest

works of

art.

By

mental

culture they sought for beauty in the sublimity

of nature
skill,
;

and, from their limited architectural

objects
that would excite

sought those

the feelings, or gratify the

mind; and hence

122
it

QUIDE TO

was that the subjects of nature, and parthose of the the

ticularly

vegetable

world, were
of

soon reduced to
taste.

purposes

decorative

I have read

many

authors,

who

assert,

they commenced decorating the tops of their columns, that

it

should

be secure

from the

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

and

shaft

of the

column were

alike decorated.

The chapters
chiefly to

of their

columns were confined

leaf,

the

palm tree and lotus

but

laid out in various forms.

Variety in
after
it

beauty
It is

is

next to

be

sought

symmetry.

commonly imagined that

of
different
articles

requires a

number
;

to

produce variety
qualities

or, that

a number of different
the same
thing,

must

exist

in

thus
al-

compounding
most
endless

diversity

with variety.

An

variety

may be

produced,

by

altering the position of

any one single

object.

The

contrast in the position of objects of the

is

same kind,
riety.

the fundamental principle of va-

On

this basis

were the columns of the

Egyptians founded.

The

idea of an analogy

NIVERSITY
ORNAMENTAL DRAWING.
123

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

which made
shafts of

them form the

their

columns of

reeds

and
tree
UivI

scales of the palm-

bandaged together,
if

and seemed as

spring-

&~-

^
I think,

ing from a bed of flowers

or leaves, for an ornamental base.

Thus

far,

you

will admit, sufficient

has been treated to you on this early style of

architecture, of

which the following figures

I
shall
relief,

will

exemplify;
their

and

now commence with

and sculpture, prin-

decorations,

cipally derived from nature. It

is

more reasonable

to

suppose that the

palm tree was originally used for ornamenting

their chapiters, as

many

of them are formed of

shaft,

the scaly portion

around the

and the
;

branches springing to form the capital

fact,

but, in

we may trace the

imitation of natural objects

in every portion of

an Egyptian column.

Square

124

GUIDE TO

and octagon columns nave also been formed ; and

figures were introduced, as caryatid,

but chiefly

used as

pilasters.

The
of a

most common form

capital

was that of the

calyx of a plant, chiefly

the lotus
;

which simple

plant received the most

graceful

modifications

from the Egyptian mason,

for the purpose of archi-

tectural

ornament ; even
has

the

bulrush

been
of the

introduced.

One

most curious

capitals is

that of the portico of Dan-

derah;

it is

of a quad-

rangular form, with the

head of
Caryatid Pilaster.

Isis

at

each

facing; and above that,

the
the

model of a temple, previous

architrave,
effect,

to

reaching a very

or cornice, which has

imposing

and seems

to

have been intro-

ORNAMENTAL DKAW1NG.

125

duced on many other monuments, intermixed

with different portions of sculpture.

The only specimen

that I can refer to

edifice, is

as

regards the idea of an Egyptian

the

Egyptian Hall in Piccadilly, which was erected

at
sufficient

expense

to

have

enabled

the

builder to have represented an exact model of

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

to

upper

stories, are sufficient to

its

give

many

the character of

style

a few half

round mouldings up the

side,

and a bold carved

cornice at the top, finishes this Piccadilly temple.

There

is

a very

striking

difference

be:

tween the Egyptian and

the geometrical figures
of

Grecian decoration

Egyptian

columns

render them more deserving of merit than the

Roman

or Grecian, as they had only one founits

dation as regards

figure; whereas, had the

Egyptians finished their leaves as the Greeks

have done, in many instances they would have

commanded

greater

power on
the

the
after

mind
ages
it is,

for

grandeur of design, than

Grecian and

of

Roman

beauty; but, as

we

126

GUIDE TO

cannot familiarise ourselves with an Egyptian

portico, as
it

has an incomplete appearance.

rule
for

The genuine
of
irregular

Egyptian

pillars

is

rounded forms, but of no

esta-

blished diameters; but

when

the eye
or

is

accus-

tomed

to

look

on

the

Ionic

Corinthian
;

column, the Egyptian

then

appears stunted

as they seldom took above five diameters,

and

the Composite and Corinthian,

nine

the bot-

toms were

like the leaves of

the lotus, rising

above a number of concentric rings, binding

the columns
like

the

hoops of a
cuttings,

cask

and

above

them are

vertical

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.
only other orders are always concave,

127

and the
erected
their
cir-

Egyptian
to

convex.

Some have been

forty
feet,

the height of

including
feet

capitals,

and about twenty-eight

in

cumference.

Another

style

of pillar

is,

apparently,
trees

no-

thing more than a

together, to
read,

number

of

palm

bound
I

make a strong

support.

have

from the works of a French

39.

traveller,

Palm.

who
props
lotus.

asserts, that

the origin

of these massive
stalks

was

from

the

slender

of

the

The forms
on
the

of animals having

been delineated

different

sculptured

monuments with

128
such
scrupulous

GUIDE TO
to

fidelity

nature,

that
;

we
and, only
is

cannot
further,

help inquiring into their origin

when we

find these

animals not

sculptured,
just

but embalmed and entombed,

cause

why we

should

do

so.

Ancient
it

writers have transmitted to us

religious

that

was a

system;

and we have had before us

which has
inquirers

a spacious field of research,

been

dregged by
travellers,

the
is

most
still

zealous

and

but

found to be a

difficult

task to authorize, for certainty, the real cause

for

such objects.

Innumerable conjectures of
writers are that

ancient and
place this

modern

we should

with the Hindoo superstition.

As

we

are as far off as ever from having a satis-

factory conception of the origin, or symbolical

meaning
forms,

of

the greatest
object

portion of Egyptian
will

my

on

this

be limited, in

regard as remarks on their religious systems,

but merely, compare the sculptured figures on

existing

monuments

in

the

British
extant.

Museum,

with the forms of animals

It is not

now

from personal experience that the

ORNAMENTAL DRAWING.

129

130

GUIDE TO

following remarks are laid before you, but from

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

The

print herein given I believe to contain

the chief, or nearly the whole variety of animal

forms, birds, &c., then introduced.

The

bull

was one of the sacred animals of

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

great visible deity of Memphis.
It has

been
011

observed on fresco paintings, with a

his back,
like

hump
(as

unto the Bramin

bull,

may

be seen
Gardens,)

at

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

they were never embalmed.

its

kind

but

The

antiquity of
fact of

worshipping the

bull,

is

shewn by the

the Israelites falling into the gross

idolatry of

worshipping the golden

sure whether
all

calf.

am

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,

131
the

the

camel,

and the
chiefly

giraffe

and others, were

thrown into
she-goat,

the Nile.

The dog, the ram, the

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

ibis,

the

crocodile,

the

lizard

the goose, the

beetle,

owl, the crane,

and the scarabaeus, or

have

been

found

embalmed.

The

serpent,
in

scorpion, lion, fishes,

and many others seen

the foregoing plate, were used as hieroglyphics,

as well as for worship,

among

the rest.
as
I

This

trifling
is

information,

have preutility
:

viously said,
in describing

not for history, but

as,

Egyptian architecture, any of the

above named figures

propriety,
to

may be

introduced with
left

and

the

introduction

entirely

the taste of the artist.

In

many

reason-

able works on the history

and customs of the

Egyptians, will be found detailed accounts, and

forms and characters of

I could of course give
;

their

writing,

which

but previously to en-

tering

upon that description of study, I should

advise you to obtain them, that your ideas

may

be carried out with accuracy.

132
I will

GUIDE TO

now

return to the variety of their

chapiters,
chiefly

columns,

cornices and

com-

posed of the palm, the reed, and the

lotus, of

which the annexed plate

is

a specimen.

This

is

compatible in appearance with the

Roman and

Grecian

here you see a grandeur and weight

in the composition of the lotus, with a neat

and

graceful appearance of the palm.

After being

well acquainted with their irregular principles,

it

is

very
;

little

use attempting to design upon

to a certain
is

them

you may, of course, arrive

still

degree of perfection, but

pearance, in

there
well

an apothers,

my

opinion,

as

as

about the
effect.

originals,

which

gives

pleasing

The Egyptians based

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

immense temples,

or

sepul-

chres,

hewn out by manual labour from the

ORNAMENTAL DRAWING.
solid rock, leaving intervening masses, of

133

which

they

formed

their

columns,

and

sculptured

hieroglyphic ornaments upon them, which are

handed down to the present day.

It is

unnecessary to dwell longer on this

leave
treat

shall

the

remainder

to

illustrations,

and now

upon
is

a very opposite style, and

greatly in use
at the

which character

pre-

sent time, but seldom accomplished accurately,

namely, Louis the Fourteenth's

Lotus Boss.

134

GUIDE TO

ON FRENCH ORNAMENT.

THE CHARACTER OF

GUIS

the

Fourteenth's

style,
it,

or, as

many persons term

French,
others, capable,

is

like

unto

all

by the ingenuity
into

of the

artist,

of being thrown

an

innumerable
it is

number of

figures

particularly as

not restricted to any

decided form.

You have

the liberty in this de-

scription of decoration, of using even the square

octagon, or any other geometrical outline you

may

feel inclined to

base your design upon;

its

FRENCH

UKIVZRSITT

ORNAMENTAL DRAWING.

135

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
that right, obtuse, acute, or

which partakes of
say obtuse, acute

the mixed

curve

when

and mixed curve, I mean as the four annexed

Obtuse Angle.

Mixed Curves.

figures

shew, that by lines of this kind, you

attention, very soon plan a design for

may by

anything you
description

may wish
ornament.

to

introduce in

this

of

Having

sufficiently

studied thus

far,

your attention should next be

136

GUIDE TO
to the disposing of these different forms,

drawn

so as to place

them agreeable

to the observer

the principle of which I will

now

lay before you,

by such

rules as I have always found to possess

the most pleasing forms.

In the annexed plate

of plans introduced
line
;

you

will perceive a

number

their basis

being shewn by a heavy

and

around, you see upon what principle you should

roughly sketch in the adjoining parts to complete

the

design,

after

throwing

carelessly

around such pieces as you, in your imagination,

may

think suitable
this position,

for

the purpose.

Having

gained
line,

rub out the careless outas

and commence placing such portions

will appertain to the first sketch,

being careful

to

keep the standard

so that the

form in one continued

will

figure,

mere contour

be com-

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

be introduced in the back-ground

you must
it,

be

careful

what

form

will

surround

as

every thing depends on that.

Remember you
viz.

have

two subjects

to

study,

ornament,

ORNAMENTAL DRAWING.
which
should

137
landscape,
to

be

prominent,
in

and

which must

retire

the distance,

give a
at

pretty finish to the back- ground, and

drawn

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

let

your frame-work, never

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

interesting, and,
if

rendering them
graceful.

possible,

Incidents of this description should

:

be managed in the following manner

where
in

two curved or angled

these diagrams, there

scrolls meet, as
is

shewn

room

for subjects of the

following description
at

such as a dog alarmed

serpent, a tiger at an

the appearance of a

138

GUIDE TO

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

of water,

with

swan

in

graceful

position,

pecking at a snake

a dragon and lizard in

;

combat

dragon and eagle ; rabbit and cupid

cupid and vines;

trast

in fact, the greater the con-

which may occur in

your
;

imagination,
but, as before
in

oftentimes the better the design

stated,

always have
let

something interesting
placed
in

view, but

these be

the most

graceful postures, and

in the

most convenient

places, so as not to disturb the whole outline of

the design from the attention of the observer.

Figures,

when properly managed, have

;

very amusing appearance

inent,

but,

to

be promintroduced,
chased,
;

they
the
is for

should
article

be

sparingly

unless

manufactured,

or

drawn,

some

particular purpose

or,

when

otherwise, choose

such subjects, as are either

or modern; and

historical or fabulous, ancient

OF THE

UNIVERSITT

OENAMENTAL DRAWING.

139

always study to group those subjects that are

most

likely to

attract the attention of the ge-

neral observer,

and which are most generally

figures

known.

Mythological

may be

very

often introduced
as

with

propriety and

effect,

the different parts

of the scroll-work pre-

sent

opportunities for displaying

the various

sudden
stood

changes,
to

which
taken

are
place
;

generally

underhea-

have

with

the

then

gods and goddesses

should

and the minutiae

around,
lead
tion; to

be

those

emblems that may

the discovery of the artist's imaginalet

but do not

these objects,
for

so

com-

bined,

be confused,

that would

ruin the

whole, however good the drawing or the idea.

I

have alluded to

this point before,

it

but in this

description of

ornament

is

of greater conseis

quence than in any other; although there

vast difference

between Louis the Fourteenth's

;

and what

is

generally termed the French

is

as

the first-named

often

composed of a very
is

massive and rich description, which

in

perceived
la Bella,

the

designs of Le

Potre and

De

10

140

GUIDE TO
I intend illustrating

whose principles of design

from
and,

their chief works, as well as

many

others

by

those

means, perhaps,
hereafter

cultivate
to

such
the

taste, as

may

be beneficial
all

workman and
and

the student, as

these studies

styles are to

be divided into several com-

partments, previous to their forming a complete

subject.

I shall

now commence anatomizing

is

that or-

nament which
and,
if

termed Louis the Fourteenth's,

possible, prove,

by your exertions and

still

my

instruction, that there

exists a beauty

and richness

in this

description of

ornament,
;

that will always be a standing dish of paste

although Mr. Hope, a dear friend

in his

to

the style,

History of Architecture, observes, the

taste
is

want of good
sions

seen daily in the man-

and buildings

of

our great men,

chiefly

their

decorations
scrolls, of

consisting

of shields and
style

that uncertain

and irregular

used in

Italy, and,

soon after the re-adoption

of the classic style, passed into

France

which,

about the time of Louis the Fourteenth, be-

JMAftMM

UNIVERSITY

OKNAMENTAL DRAWING.

141

came so neutralized,
of his period
;

as to

be termed the

style

and, within a few years, through

an inordinate desire for novelty, this frippery

style
all

became quite prevalent

in

England, and

the old clumsy scroll, which the French had

long rejected as

unworthy, has been eagerly

brought to decorate the houses and mansions

of the present day;

and not content with ranshop

in

sacking every

pawnbroker's

London
plate,

and Paris for old buhl, old porcelain, old

old tapestry,

and

old frames,

they even

set

every manufacturer to work to corrupt the mo-

dern
style.

taste,

by the renovation of
still

this

wretched

However wretched,
;

the cork must

go with the stream

and so

it is

with the em-

ployer and the employed;

whichever way the

employer opens the flood, the taste or plans of

the artist seldom stop the rush, however dirty

the waters

may

be, but he

must

float

with the
it

stream himself immediately, and get out of

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

and that
assist-

perhaps,

you may do, through a

little

142
ance,
aid

GUIDE TO

and
I

sincerely wish

you success.

To

it,

will lend

you a preserver, although

Block Volute Heads.

in pieces,

which I have no doubt, you

will

be

able to arrange together for your

own

safety.

Shell Heads.

This kind of

ornament
as

is

divided
volute

into

number

of

portions,

block

heads,

ORNAMENTAL DRAWING.
shell

143

and foliaged heads, as seen in the annexed,

these are the points that terminate at

figures;

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

foliaged, shelled,

or

perforated;

centres

com-

posed of

shells,

foliage,

or figures,

either for

the top or bottom of the design;

plain or scrolled;
different

the lattice,
for

the fish-scale panelling,

of

descriptions

tables

and brackets;
and

tapestry droppings;

shield,

both scrolled

Scroll Heads.

shelled;

the balustrade, flowers, and

all

fruit.
is

In

arranging

these compartments,
it

it

neces-

sary to inform you, that

is

not compatible

with good judgment to introduce the whole of

them

at once

by so doing, you

will very soon

exhaust your store.

But suppose

for instance,
of

you make a design of a

number

ribbed

144
arched
a
shell
friezes,

GUIDE TO
at

one angle, you would put

head,
;

or

scroll

at

the

other

side,

a table or bracket

to these different portions

you might add the shelled

lowing figures
arch,
fruit,
;

arches, as the fol-

in another portion, the scrolled

and these

parts

broken

by flowers or

with square tablets and panelling.

Be

sure

not to place these pieces together, but sepa-

Scroll Shell Centre.

rate

them
to

as

much

as

you can with convenience,

so

as

cause a variegated appearance, as I

mentioned before, that

by proper management
a
Scroll Shell Centre.

great

variety

may

be made by one single

object,

and

do not know where a better op-

Scroll Shell Centre.

portunity
shall

is

given than

in

this

instance.

now arrange

the different arch pieces.

OENAMENTAL DRAWING.
Fig. 40
is

145
fig. fig.

termed the ribbed;

42 the shelled;

41 the
43,

perforated;

fig.

the

flowered; to which you other object that

may add

fruit, or

any

may be pleasing, as

shells,

small openings for paintings, or water-falls, and

heads of figures, or dolphins.

Having shewn
centres,

you

the

various
40.

arched

pieces,
41.

and

finishings,

which combined, are the rudiments

t

of

this

description

of

ornament, I

will

now

146

GUIDE TO

refer to that portion called panels

and
with

tablets,
lattice-

which are faced, or otherwise

work,
fish-scales,

fitted

and eccentric curves; these

which depend

may be
entirely
it

either perforated or solid,

on the

article

manufactured, whether
;

be of metal or wood
it

for,

when

it

is

per-

forated,

has, in

most instances, a meagre ap-

pearance, and defeats the solid and rich appear-

ance of this description of decoration.

Panellings.

Tablets and panels are mostly placed be-

tween

the

finishings

and angular

joints

of

various combined arched friezes, and are often

moulded, instead
fittings
;

of

the aforesaid

mentioned

but

this

must be done only where

fill

there
will

is

a small compass to

up, as

it

then

and firm give the appearance of a solid

of

piece

frame-work.

will

now draw your

OKNAMENTAL DRAWING.

147

attention to a practice, which I have often seen

represented
placing j of

][/both

right

and wrong,

viz.,

the

tablets

or panels at two

opposite

a, 6

Panellings.

angles, or

many on one

side,

and none on the

other;

for instance, in

the two previous 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

definite

outline, they

have a very pleasing appearance;

but

all

this

depends on study, and furnishing

with
every
finished

your

mind
this
is

termination,
practice

and

done

only through

and

perseverance; but most draftsmen, after know-

ing a few component parts

of

various orna-

ments,
in

when

feeling themselves at a loss,

fill

and

want

of something to

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

ORNAMENTAL DRAWING.
sizes,

149

they will

be enabled to join and plan

many

designs and forms, which might not other-

wise have occurred to them, even after an im-

mense deal of study;

and I think
will
it

it

is

a very simple plan,

prove advantageous, and re-

pay the labour

is

may

at first cost.

The

idea

not a

new

one, except to this purpose, as

will

many would, and perhaps

say,

any one
it

could have done or found that out, because

is

so simple;

but, like

Columbus and

the egg,

if they

had thought of

it ;

this is not intended

to

damp your

imaginations, but having proved

it

the same, I consider

friends of
it,

my

duty to inform

my

and they, of course, can use their

it

discretion in putting
I will

into practice.

now

refer to the

department of tables

and brackets, which comprise another very prominent feature in

this description of decoration,

and partake
their

chiefly of acute

and curved angles;

mouldings,
the
bases

chief

feature

is

prominent
angles, and

scroll-head

finishings,
scroll

finished with

leaves, shells,

and

flowers,
utility is

as the following

figures

shew;

their

150
to
finish
off

GUIDE TO

prominent points, where any neor symbolical ideas,

cessary articles,

may be
or

required; and

its

beauty consists in blending

the

same

with

the

accompanying

scroll,

frame-work, in an imperceptible manner, with

freedom,
-to

the body of the design.

In some

instances,

this

ornament, in Louis the Four-

teenth's, is of a firm

and decided form; but in

it

Louis the Fifteenth's

has always seemed to

me, that they are attached to that meagre and

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

composed of such
to

grotesque
understood,

forms

and

figures, never

be

although patronised by many whose ideas and

mental capacities ought to enable them to form

a better taste;
but,
as
its

character bestows
gild-

richness of effect,
ings,

by various burnishings,
of
course,
is

&c.,

nature,

forgotten.

Many, however,
ture:
yes,
like

assert

that

they follow
perspective,
;

nathe

Hogarth's
it

very reverse to what

are at present so

should be

but as there

many

diligent enquiries

from

some of

my

friends respecting this description

LOUIS, 14

ORNAMENTAL DRAWING.
of design, of course I

151

am

in

duty bound to do

my

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 of that,

when properly

placed, is

very acceptable, and breaks, most considerably,

Bracket.

the

monotony that would often

exist.

They
at

are of various angles,

and generally placed

the top or bottom of drawings.

The

follow-

ing

diagram

will

give

you an idea of the

shape generally to be used, but be cautious,

152

GUIDE TO
free use of

and not make too

them when you

are designing, as they must be used very carefully,

for
effect

they have
;

powerful

and

promi-

nent

but, used judiciously,

add greatly

to the appearance,

as well as the variety of

scroll,
is

form.

The moulded
and

with block
fall

finish-

ing, is the best,

outline

sure to

into

that

which

will

ensure a decided graceful

Bracket.

figure.

would have you pay attention

to

that part of the finishing in which flowers are

a portion

for,

unless great freedom

is

used,

however good your formation and foliage may

be,

yet

stiffness

and want of freedom on

that particular
other.

point will entirely destroy the

to

Now,

avoid

this,

as

in

fruit

the

ORNAMENTAL DRAWING.

153

same, you must be very careful, and not crowd

too

many

large flowers together, so as to aplet

pear square or formal; but

your flowers be

open and straggling, and they

will give as great

a variety as can be well defined,

that are generally known.

mean those

I will here illustrate a few of the flowers,

though
taste,

it

entirely
is

depends

upon your own

and

a circumstance not biassed or con-

fined to

any particular portion or kind ; but be

introduce

careful not to

them too

profusely.

Balustrades.

In

fact, this

description of decoration

is

greatly
of

aided
these

in

appearance
as

by

the

introduction
fruit,

articles,

flowers,
is

and other

items of the kind, and

out

never finished with-

them

and for

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
to

and not only learn

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

when, in
fact,

variety,

there

is

but one.

The

same principle must be followed up

rigidly in

regard to different leaves, their different external forms,

and turns,

the vine,

fig,

dahlia,

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

are

the most useful, as

in

they have a
selves.

full

and decided character

them-

ORNAMENTAL DRAWING.

155

Having now
and pleasing

illustrated the

most convenient
it

sections,

hope

will

not be

without rendering you an essential service, not

only in this, but in
feeling
all

the foregoing diagrams,

confident that this

all

system has proved

successful to
to follow
to

who have thought proper my advice; and shall now leave you
those

your studies, and proceed with that descripArabesque.

tion called

156

GUIDE TO

ON FRETS AND GUILLOCHIS.

PREVIOUS to entering into a description of
foliage, &c., I shall give

Arabesque
of

a number
orna-

illustrations

of

the above-mentioned

ment, the characters of which are purely Grecian,

on the part of the

on
the
part

fret,

but may be termed

guillochi.
lies in

Gothic,

of

the

The

beauty and principle of the fret

ity

an equal-

of

ground and

fillets,

meeting at various
it

right angles.
sibly

To

gain this end,

cannot posfirst

be

done by hand, without

laying

down a geometrical
the mixed fret
;

rule for the same, as with

is

or that which

partly angular,
this inter-

and partly

circular.

To accomplish
fillets,

mixture of lines or

you must take the

it

width

required,

and

divide

into

a certain space

number

of divisions, agreeing with the

allotted, avoiding, if

you have a narrow com;

pass, not

to

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

ORNAMENTAL DRAWING.
divide
will

157

accordingly,

as

the

annexed

diagrams
divisions;

shew.

The white

lines are the

Odd, producing eight

fillet fret.

Odd, producing

five fillet fret.

and,

by making out every

alternate one, you

gain your pattern.

I have given almost every

one in general use; but by perseverance, or,

as in

many
shall
is

instances,

by chance, the patterns

are unlimited.
I

next proceed with the mixed

fret,

which

upon the same principle, keeping the

exactly within the division

curvilinear portion

marked out

for the angles;

and the same may

be done with this as with the former ones.

158

GUIDE TO
guillochis are

The

on a very different plan,

different

and are formed

on

principles

to

which may be added a variety of ornamental

designs, bosses, or cups.
ters rest entirely

As

all

these charac-

upon the

taste of the designer,

or draftsman, I shall not enter very minutely

upon

this portion of decoration, as it is not so

extensively used as

many
which

others;

but I will

shew, by illustration, the rules to be observed

to gain

many

points,

is

the chief thing

required,

and can only be accomplished by geo-

metrical rules.

The following diagram,

a
sufficient

I
:

think,

will

be

guide to

all

the rest

The above simple guillocki would, if you knew no principle to work upon, give some
trouble to

draw

correctly.

It

will

shew you

the plan I discovered; and I

think you will

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

159
but to

very simple,

You draw

or strike the circles, a,

equal distances, and

after

proportionate

to

the

two outer edges;

lique
lines, as

which, draw your ob-

at

b; then, by rounding each

angle,

you

will gain the point required.

The other diagrams

principle,

are

upon the
facility,

same

and give you every

the
following

by study,
which
is

to

draw

designs,

in

think,

every

pattern

worth

notice
is

given.

This description of ornament

useful only to

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

border, as there
is

not sufficient in
feature
in

itself to

be
but

a very prominent

decoration;

yet I would have you direct your attention to

it,

for, in

some

instances,

it is

very useful, with

judicious treatment,

when combined with other

ornament.

XTNIVERSITT

1GO

GUIDE TO

ON ARABESQUE.
ON
sitions,

referring to that description of compocalled

Arabesque,
it

of

course,

I adopt

the

term

as

is

generally
it

understood, but

must certainly say

cinque-cento
style,

has a tendency to
application

the
ori-

its

being

ginally confined to the paintings

and stuccoes
fruits,

of

antiquity,

which

represent

foliage,

beasts of
tures,

every species, and

imaginary creais

intermingled.

This decoration
the

some-

times called grotesque, from

grottoes or

under-ground

buildings

in

which

they

have

been

found

the

most

splendid

specimens

having been excavated from Herculaneum and

Pompeii.
Pliny mentions, that,
in
his

time,

gaudy

colouring and curious forms were held in greater

estimation than
real

beauties

of

art.

If

we

examine the ancient Arabesques, we

shall find

ORNAMENTAL DRAWING.
endless beauty, variety, and originality
ful details,
;

161
gracein the

and great
;

skill

and freedom

mode

of execution
style

and I doubt whether the had the

effect

Arabesque

really

of
as,

dis-

couraging painting of a higher class;

at

Pompeii, poetical compositions of great merit

have been found

intermixed

with

this

light
it

and playful decoration.

rather
accurately.

Vitruvius describes

After

pointing

out

and

classifying

what he considers legitimate objects

walls,

for

painting

as

architectural

composithe

tions,

landscapes, gardens, and sea pieces

of the gods,

figures

heathen mythology,
Greeks,

and subjects drawn from " The he thus

proceeds
:

who took

truth for the model of their

paintings, are

no longer followed.
walls

Nothing

is

now represented upon

but monsters,

in-

stead of true and natural objects.

In lieu of

columns we have slender reeds, of flimsy stems,

and leaves twisted into volutes.

Temples are

supported on a mere nothingness, and foliage,

on which figures are seated.

In another place

we have demi-figures

issuing

from

flowers,

12

162

GUIDE TO
faces, others with

some with human

of
beasts,
all

the heads
not,

things which

are

never

have been, or ever can be."

And

further states,

" that painting

it

is

to be esteemed only so far as

represents truth,

good

execution,

and

the

design be consonant to reason."

The Arabesque
appear
fanciful;

style

may, at
doubt,

first
it

sight,

but,

no

may be
and

treated according to fixed principles of art,

the artist will be

more

successful as he keeps

those principles in view.

A due
is

balance of composition

very

essential, that the heavier parts

may

sustain the lighter through

(as I

every gradation
lustrating),

intend

il-

and not to cover too

little

much

or too

of the ground.

Unity of design must be studied

in connection with each other
;

and should, as
It

much

as possible, tend to

some decided end.

would be deviating from

my

original advice to
;

enter upon the subject of colours

but, observe,

that in ancient decorative painting of this de-

ORNAMENTAL DRAWING.
scription, the

163

beauty existed by the balance of

Their walls

colour being strictly attended to.

were

chiefly of

dark panels, with various lighter

the designs upon them;

colours, according to

their ceilings, were, likewise,

arranged by the

natural

effects

of light, shade,

and

reflection.
attri-

As lightness and grace are the peculiar

butes of Arabesque, the foliage, which forms

its

most

fertile
its

resource, should never

be over-

loaded;

details,

and modes of

ramification,

ought
flowers

to

be drawn from nature.

Foliage and

may be

represented with the greatest

decorations;
as

accuracy in these
flower, gracefully
will

one single
little

formed, with a

scroll,

form a picture.
circles,

Small

fountains,

ovals,

and

containing

subjects

of

interest.

12

164
Portraits

GUIDE TO

and
is

medallions
generally of

may be

introduced.

The

leaf

the deeply serrated

acanthus, long thin stamen, and starting points,

terminating with cup-bosses, holding some sort

of tablet, that baskets of fruit or flowers

may

be placed thereon

long starting volute scrolls

from each side of a reeded

and
small

cupped

pedestal,

or

columns,

composed

only of figures and bases.

In
ject
will

fact,

any slender
used,

obthat

may be
fall

gracefully

into

variety of forms.
I

have

introduced

a
dia-

few small pieces, as

grams, of the leading feature
;

but, of course,

by

study and attention, you will be able to form

an

infinite variety of patterns,

being careful to

adhere to the previous remarks.

attention

Your next
for the
itself,

must be

to

the
is

colouring;

character of the style

not sufficient by

ORNAMENTAL DEAWING.
but requires the aid of an
infinite

165

number

of

colours to shew the effect, and in that depart-

ment
tion
;

it is

out of

my power

to give

you

instruc-

but there are so

many examples
is

of pretty

colours, that I

am
In

of opinion there

no need

of so doing.

fact, it is

the study of

many

to arrive at perfection in

producing

effect with-

out a thorough knowledge of drawing, and by

very simple means; yet I never could find sufficient

courage to

pay any attention to that

department, but always strove to produce light

and shade without any variety of colours, and

I

would advise others to do the same ; and,

have bounteously bestowed

if

nature should

on

them

an overpowering development of
term
it,

colour,

as phrenologists

you must reach the

coat

apex of perfection.

The best specimen of

is

louring, of this description, I have seen,

the Pantheon, in

Oxford-street,
;

where a day
but, previous
tints

or two's study will be sufficient

to your proceeding with

your glowing
shape

and

gaudy

effect,

learn

well to

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

of decoration, involves on

me

a task not easy to

giving a
character

compete with, as regards

decided opinion respecting the true

and date of
I

its

introduction into this

country.

know

not of any style of decoration

and building, on which architects and authors

have
differed
it

more widely;
will

under these
study, in this

cir-

cumstances,
stance,

be

my

inii

to bring all accounts

together, and,

possible, glean that substance

on which I may
the

base

those

principles,

that

Elizabethan

decoration

may be formed
it

into

decided laws

and

rules, for classing

as an established cha-

racter or style.

168

GUIDE TO

As

have stated,
if

my
to

intention

is,

in

this

instance,

possible,

base the Elizabethan

as a style of itself
;

architecture

and decoration

and previous

to illustrating too extensively its

component

parts,

except where

necessity

re-

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

progress,

and

detail.

The

successful

travels

and researches
for

in

ancient and
art,

modern times,
has,

the

improvement of

no

doubt,

been the cause of so many variations in the

different styles of architecture,

at the present

day

not that

it

is

my

intention to enter into

the various orders of architecture, but, in this

instance, I

must appropriate a few

lines

upon

that

subject, to bring

my
we

ideas to a bearing.
in fact

We
five

are informed

by many,

most archi-

tectural

authors, that
to

are in possession of

distinct orders

class
;

our building and

that

internal

decoration upon
if

may be

very

well

yet, out of those,

fifty

you think proper, you

may make
period, or

more

and, for this very reason,

I class the Elizabethan as an order of the latest

decorated

Tudor, particularly in the

ORNAMENTAL DRAWING.
variety of its forms

169
parts, let

and component

them be copied from whom, or wherever they

may, or however displayed,
that
it

is

these items

constitute

originality,

whether

good

or

bad;
orders
Doric, thus

and,
of

as

before

stated,

with the five

the

architecture,

we have
and

Tuscan,

Ionic ,

Corinthian,

Composite;

far, so good.

Now, what

visible

difference

is

there be-

tween the Tuscan, and Doric, or the Corinthian

and Composite,

that is the point

freely,

and, before

you give your ideas too

sider

you should con-

that

the

first

principles

and

rules

for

diminishing and designing of columns were laid

down by

the Grecians,
distinct

who were
orders,
all

the inventors
different

of the three

in

appearance
IONIC,

at

one

glance

the

DORIC,

the

and

the
will

CORINTHIAN.

The

annexed

illustrations

prove the variety, and shew

at

once the inventive genius of that country.

After making yourself acquainted with their

appearance and names, you never can mistake

them

at

first

sight,

but you may clash the

170

GUIDE TO

Tuscan and Doric as one, or the Corinthian

and Composite the same, there being such similarity

between them.
rival,

Now, the

Ionic

stands

without a

except being plundered by the

Romans

to

murder the appearance of the Coan attempt to claim an original order

rinthian, as

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

itself,

am

sure,

many

better and

more

original designs

to

be gathered from some of

cathedrals, than are

the old

Norman and Saxon

shewn by the Romans

is

in their Composite,

which
its

done, merely by robbing the Ionic of

grace,

and the Corinthian of

its

richness.

here give a small illustration of the Composite

OENAMENTAL DEAWING.
chapiter, that

171

you may not be

at a loss to un-

derstand
with

my

remarks, and shall

my

ideas respecting the

now proceed As Elizabethan.

allowed
to

the wreaths of originality are

the

Romans, by
to

their

combining the Grecian order

make one

of their own,

and are given

credit

for the

same,

why

not do so with any other

Corinthian.

Composite.

that
it

works upon the same

principle, although

cannot be expected ever to meet with the

of

encouragement
I wish it; for,

the

Roman
at

orders,
their

or do

on looking
(if

structures

they seem transparent,

phrase,)

I may use such a

that

you immediately recognise Grewhich art has never, or

cian art within them,

172
ever
as
will

GUIDE TO
be,

obliterated, or
is

surpassed;

and,

originality

recognised, chiefly by variety

of forms, I cannot do better than give a proof

of the
outline
ings,

same

for

instance,

have given an

of four different descriptions of buildthe

Pyramid of Egypt, the Temple of

the Parthenon, St. Paul's Cathedral, and

Minster.

York
of

Here

is

originality

and

variety

form,

that

being

required

in

decoration

of

every description.
pearance,
attract
if

variety

of external apis

properly

displayed,

sure

to

the
or
it

attention at once of the passing

observer,

the connoisseur;

and, in no infor-

stance can

be more practically brought

ward than in the Elizabethan, which contains a

greater variety of forms than any other class of

decoration in use.

The
its

earliest specimen, bear-

ing resemblance to

internal

appearance

of

ORNAMENTAL DRAWING.
decoration, I have seen,
is

173

dated as far back as

Henry the Eighth.

Other prototypes are in

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

many
and

others;

but most likely the originators,

or compilers, were artists of our

it

own country
Elizabethan

is

my

opinion, that the

is

that which

succeeded the perpendicular style,

and was practised

First,

until the reign of

James the
during the
course was

and was the standard

century.
I

style
its

sixteenth

consider

shortened by the powerful imagination of Inigo

Jones,
it,

who,

by-the-by,

had a small share

in

as the

gateway of Whitehall, which has been

years,

removed some
but
it

was designed

in that style

is

also asserted to

have been from the

174
pencil
others,

GUIDE TO
of Holbein.

By

Walpole,

and

many

the style, which

derision,

we

call

Elizabethan,
Gothic, hetero-

was termed, in
being of
itself

King James'
and

so

compounded

geneous; and we have no reason to disbelieve

otherwise,
artists
it

being a compilation from foreign

styles, at

and foreign

the same time not

forgetting to take advantage of the fixed orders.

The

earliest

and most

successful

effort

in

attracting the attention of the admirers of the

arts,

was the

ceiling at the Chapel Koyal, St.

James', painted by Holbein in 1540, shewing

a decided proof of his taste and architectural
skill;

and the

result

of

all

his imperfectly di-

rected efforts of genius were such, you might

perceive a grandeur and richness, combined

by

the effect of the grotesque and eccentric

its

and

character

is

of

that
(if it

description, to

appre-

ciate

its beauties,

has any,)

it

must be

studied by an unbiassed mind, and requires a

very

careful

examination,

before

the

com-

plexity

of

form and enrichment can be well

understood.

ORNAMENTAL DRAWING.

75

The following

style

is

deceptive to

many
fini-

persons; for wherever gables, ornamental

als,

pendants,
are

oriel,

or projecting windows, and

it is

pinnacles,

seen,

immediately termed
are

Elizabethan.

There

you

wrong,

all

these addendas are formed on the basis of the

old English school,
ing,
or,

more properly speak;

domestic architecture

but the theory on

Gable-end Roofs

or,

a number

of

Triangular Roofs, springing from

various directions.

which Hakewell and Richardson would

pure Elizabethan,
is

fix

the

the cinque-cento of Italy,

detail

unmixed with any Gothic

richment.

or Gothic encorrect to

And

they are certainly

otherwise from

a certain

extent,

whence

do

176
they

GUIDE TO

make use

of the pinnacle

and

finial,

al-

though 'not
it

exactly of the
;

Gothic form.

Still
it

has a resemblance

and, as before stated, compilation wherever

being of itself but a

trace
style.

we

a figure most

prominent
are at

in

any other
accuse

Of

course,

we

liberty to

Elizabethan.

Xovman.

them

of pilfering from

that,

or from others

but, to place before you a correct notion of the

Elizabethan

architecture,

is

to

strip it

of

all

those hideous and grotesque forms, which, in

progress,

its

overloaded

it,

and refer to
;

it

in its
it

pure and original state

we

shall there find

ORNAMENTAL DRAWING.

177

combined
purely the

of

Roman

orders,

and

mouldings

same, enriched in various compart-

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

Key Pendant.
Gothic Pendant
.

style

particularly

adapted to

street

archi-

tecture,

and may be

either simple in its appear-

ance,

or

ornamental in

the

highest

degree,
;)

(this, in

my

opinion,

is

its

original character

but, in

the reign of

Queen Elizabeth, there

seems to have been no lack on the part of the

artists

to

add

grotesque
opinion

forms, as
is,

intend

illustrating.
will

My

that her pride

it

and

was such,

in building, could

have been

executed with propriety, that houses, palaces,

13

178

GUIDE TO

and

halls,

would have been covered with pre;

cious stones

and, as that was out of

all

reason,

the favourite artist in those days,

John Thorpe,

added carved enrichments,

to imitate the same.

The pure specimens

the

of his drawing, &c. are in

Soane

Museum,

and

a grand

collection

Bay Windows.

they are,

not

only ornamental

designs,

but

architectural elevations, in which he has

shewn

great skill and taste.

My
tures
rations

first

endeavour to

illustrate

the Eliza-

bethan, will be to anatomize the various fea-

and
;

peculiarities,

as regards
its

the deco-

not as regards

architectural eleva-

ORNAMENTAL DRAWING.
tions

179

and

measurement,

but

give

you

that

portion,

that you

may

not be led astray by

every grotesque form that meets your eye, to

call
it

Elizabethan.
of

For

instance, I

am

sure,

in

many

apt to

my future illustrations, you will think me going beyond the point

be
of

reason,
scroll,

when
the

I introduce the

Roman

acanthus
Grecian,)

honeysuckle,

(purely
of

Gothic

pinnacles,

and the orders

all

Grecian

architecture;

yet

these

combined, without

grotesque

form,

are
that

Elizabethan;

but

as

before remarked,

when, as

some
18 *

would

180
suppose,
it

GUIDE TO
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

the character of the Elizabethan.

shall

now commence
its

delineating what I
fea-

consider
tures,

pure

character, remarkable

and separate

peculiarities, as well as the

general outward appearance.

Its exterior

form
;

was composed
oriel

of gable roofs, as before

shewn

and bay windows

in

abundance

arcades,

columns, and pilasters, (the moulding purely Ro-

man ;)
bined
;

their columns, Grecian

and Eoman comin

and grand terraces and canals

their

ORNAMENTAL DRAWING.
gardens, imitated

181

from

the

Italians,

adorned

with vases, fountains, &c.

set of terraces,

The most splendid

is

at

the present day,

Gr.

stated
;

to

be at Claverton, the seat of

Vivian, Esq.

and a very beautiful example

is

likewise to be

seen at Holland House, Kensington.

Entrance
fea-

porches to the

halls,

formed a prominent
or
seats,

ture to hold benches

and were con-

venient places for private conversation, and the

halls

were used for dining-rooms

for

we

see

in

John Thorpe's designs, the nobles, and

guests,

their
this

principal
ha,bit

seated

at

meals

and

was

likely to linger, as Dr.

Johnson justly

states,

"For

in

those
to

times

both virtue and

it,

vice

would unite

preserve

and the hos-

pitality

and pride of the owner would desire

to retain it."

Immense

screens of decorative

panelling,

with seats around,

divided the difpanelled. and ornafireplaces,

ferent apartments.

Immense

mented doorways, large handsome

an illustration of which I have given in the

annexed
plete

plate,

and which was added,

(bought by the Hon.

to

com-

the room,

Lieut.-

182
Colonel Gust,)

GUIDE TO
of the internal
at

fittings

the

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

fitted

up at his own mansion, as

it

stood in Old

Palace Yard, Westminster.

The
was

ceiling of that

was
and,

most
at

elaborate,

it

purely

Gothic;
the

each

extremity, terminated with

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,

more properly speaking, the

fireplace.

screen over

the

It

is

intermixed

with Grecian columns, pilasters, circular-headed

panelling, the

mixed

fret,

and Arabesque, comsoffit

bined.

The

consoles, or

bracketSj

were

ORNAMENTAL DRAWING.

183

of a very curious description, chiefly of an eccentric section,

and terminating with pendants.

Grotesque and scroll shields, to contain their

armorial bearings, were very

much used

the

Ceiling of the Star

Chamber.

ceiling, chiefly

moulded

in different geometrical

forms

the panelling very richly moulded, and

forming figures, terminating with an immense

number

of

angles,

which,

when

of

polished

oak or wainscot, gave a very bold appearance

184

GUIDE TO
little

and richness combined, as very

furniture
in-

was used

to

detract the attention

of the

ternal fittings.
ii,

I shall

now draw your

as
illustrated

attention to consoles
in
fig.
is

and

soffits,

44,

45,

46,

47, 48, 49, and

50.

Fig. 4*,

from the Star

section,
of,
;

Chamber
eccentric

you perceive, by the

form
as

the
it

before spoken

and

has a very light appearance in this view

fig.

but in
figure,

45, being the front-view of the

same

you perceive a heaviness which prevails in the

whole of them.
Fig. 46
is

another description,
frieze,

having the form of an Italian circular

adorned with an imitation of a cut stone, and

small scroll shield.
Fig.

Fig. 47

is

the front-view.
it

48

is

very rich and proportionate,

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

rVERSITY
*

OF THE

ORNAMENTAL DRAWING.
forms I have seen of
section,
fig,

185
style.

its

kind or
that

The

49,

still

carries

perforated

character, but not to an extent that

many do

the

front

does not

seem

to

overbalance the

side

this is

a very excellent study,

and the

most

likely to

have been executed when Elizaits

bethan was in the zenith of

is

glory.

Fig. 50,
ar-

from the same;

and you might almost

range this
atides, edifice
:

with the Grotesque, or semi-caryhere

it

but
the

is

in

character with
to

the

figure

seems
the

represent

Old

Father Time, with

scythe in

hand, and

186

GUIDE TO
these trophies

the hour-glass over his head;

speak volumes in themselves, and seem to say,

that,
all

when my

glass is

run,

which

is

set

for

men, then

will I cut thee

off like a

shadow.

merely mention these points, to draw your

attention, that,

however grotesque many forms

may

appear,

yet,

when

well

read,

there

is

always a history or good meaning to be placed

on the ideas of the

artist,

however

deficient

he

might
all

have been in

point of

execution.

Of

the specimens I have seen, this outvies

all

for
is

symmetrical
of

form.

The
figure,

plan

pentagonal
is

and

the

erection
panels,
consoles,

composed

of

moulded
enriched
riched

Ionic

pilasters,

and

carved

en-

cornices

and

mouldings,

an

enriched

back

board, with

circular-

headed panel, and carved, as I before

imitation

stated, in

of

jewellery.

The

sounding-board
;

has a blocking course, consoles, and pendants

in the panelling are enriched
tablets
;

scroll

shields, or
its

and on one

is

carved the date of

OF THE

UNIVERSITY

ORNAMENTAL DRAWING.
erection.

187
detail,
it
;

I intend

illustrating,

in

the

various ornamented scroll shields, upon

in the

and,

annexed

plate, I

have given you a mere

sketch of the form and exterior outline, which,

with the detail, I

am

sure,

will

be

sufficient

explanation of what I consider the purest speci-

men

of Elizabethan carving and

wood

erection

of the kind in this country.

shall

now

refer to the

pinnacles
solid,

these

were generally square, some

perforated in

and others
lancet

the

form

of

circular

Gothic head, and mostly separated from their

base by four round balls, and bound round the

centre
;

others of an eccentric, and

scrolls.

some

start-

ing from

These ornaments were used

in interior decorations, as well as exterior,

and

188

GUIDE TO
at

formed prominent features

of gables, as will

the

extremities
illus-

be seen by the previous

trations; but they were generally of a slender

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

To add

effect

many minor

decorations, I

have seen pin-

nacles starting from the scroll turns of a shield,

and

at the angles
I have
is

of

various projecting orna-

ment.

here given you a specimen of

quite sufficient as a guide for all

one, which

the rest.

You

will

perceive

in

the

accompanying

diagram, in
scroll

reference

to

the

descriptions

of

used in these points, that they are not

is

what
scroll

..generally

expected

when

the

word
the

is

named.
rolling,

These

scrolls

were
of

like

folding,

and unrolling

paper,

by

ORNAMENTAL DRAWING.
which
duced
;

189

great

richness

of

effect

may be

prois

for instance, the foregoing

diagram

the principle that seems to have been

worked
or,

upon.
if

Suppose you unroll a sheet of paper;

like,

you

we

will

imagine this diagram to be a

sheet of paper, rolled the reverse

way

at each

end

loose

it

and

it
it

will

produce that form.

When

this is done,

will give
is

you the proper

form shewn; but yet there

that powerful effect

gained, which you cannot obtain very easily

by

any other means.

In the

first

diagram you

will

perceive a dotted line.

falls

Now, suppose the

light

from the direction of the arrow, the ray

of light

produced by the sun

falls

is

parallel, and,

of course,

in

an oblique

line to B.

This

shews, that, greater the projection, (providing

in reason, or

you

might throiv the

whole

of

your
effect,

object in the shade,) you have

a greater

and the

reflective tints will cause a rich

all

appearance in

the

embossed

parts,

as the

second diagram produces, for the chief portion

of these

panelled shields seemed to have ob-

tained

a predominancy solely for that reason,

190
as
I

GUIDE TO
described in the foregoing diagram,

by

lines,

which

the

following

figure

will

shew

shadowed, and point out exactly the principle

always to be observed, and the most complete
basis to

work upon.
it is

In

designing

this

de-

scription of shield,

not by putting a con-

fused jumble of turns, or scroll-heads, because

that

would be wrong
are

the general forms to be

lines,

observed,

oblique

squares, or

ellipsis,

and

right-angled

figures,

bands,
;

garters,

with various shaped perforations

and are some-

times bossed with scroll-heads, which I shall

now commence
plain

delineating,

and

likewise

ex-

my

illustrations in as explicit

and simple
at

manner
right

as

possible,

for

you to arrive

the

method
first

for designing the same.

The

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

off,

is

usually called,

to

an obtuse angle of
;

about one hundred and twenty degrees

thing beyond
effect,

any

that would throw off the desired

and produce too prominent a feature,

and detract the attention from the surrounding

decorations.

This figure

is

sometimes flattened
illustrations

at the top, as the

annexed

shew.

Fig. 51

is

the rake of the angle generally to

line

be observed, and the dotted

shews about
flat

the quantity to be reduced for the

I will
si.

surface.

now

take the

ellipsis,

as the second
is

description of centre, which

^rrflfllf^

sometimes

confined
in

to

bands
deit

Rake

of Angle.

alone, particularly

that

partment termed the bolted style; in others

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

192
tres are

GUIDE TO

formed in the figure of a radiated

between.

shell,

with

fillets

The annexed diagrams

are the forms I have alluded to.

These shapes

chiefly

compose the

centres,

and

their exterior

forms make the greatest va-

riation, the

component parts of which

of.

I shall

next

treat

They

are

the

surrounding

scrolls, as

before-mentioned, and the ends are

;

frequently mounted with scroll cups, &c.

these

with

the

others

combined, form

the various

shield panels generally seen, a few of

which are

compiled in the annexed plate.

The

first

shall

treat

upon

is

the turned

ORNAMENTAL DRAWING. and perforated head,

fig.

193

52, being of itself a

perfect scroll, the dotted line shewing the perforation.

line

Fig. 53

is

more perfect; the dotted

only shews where you must start for the

line

under

which
52.

is

connected with

it.

Previous to illustrating any further, I will

explain to you the difference between this

and

Louis the

Fourteenth's,

in

which the
;

scroll-

head has been treated upon variously

but, to
it

prevent any misunderstanding on your part,

is

necessary for

me

to inform you, that the

turned
parallel,

scroll-heads of

Elizabethan are always

;

except in extreme cases

that

is

to

say, perfectly free

from what are termed

ribs

or

fillets,

except in the surface, which being in

the Elizabethan, and not in the French, as the

two diagrams shew.

This
is

worth

your

particular

notice,

as

14

194

GUIDE TO

their similarity is very likely to lead

you

astray,

but as I mentioned before, only in

cases,

extreme

which very seldom occur.

all

It

being

my

duty to give

I consider useful, I shall next

to the form consisting of

draw your attention

two
fillets,

with a bulbous scroll-head in the

a
(of
scroll,

centre,

and rarely used without

ends accompanying
it,

or
I

bearded

which

treat next,)

and are termed the elongated pan-

elled

scroll,
if

fillet

scroll,

and perforated, and

to prevent their
al-

seem as

bound with a band,

growing or spreading too wide apart; and

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

the

general

of the spreading

ends; and, before I

WNIVERSITT

=&

ORNAMENTAL DRAWING.

195

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

all

which are attached to the same

(as

and when

are combined,

you can refer to in the

utility of

plate,)

you

will,

no doubt, see the

my

Elongated panelled

Circular Head,

Scroll

End.

Beaded.

Head, used with Bulbous Scroll Centre.

thus classing the different parts.

The

first,

or

most simple,

is

the bolted end

;

second, the cup

and flower end

the third, the trefoil end.

Bolted.

Cup and Flower.

Trefoil.

I will

now

take up another prominent dethe

partment,
forated

namely,
or

entwinement

of per-

fillets,

mixed fret-work, of which

14 *

there

are two

kinds, pierced and bolted, and

196
in

GUIDE TO

some
the

instances

it

is

most

lavishly

used,

and

conclusion
observer,

generally
is,

drawn by
this

the
is

common
seen,
it

that

wherever

must be Elizabethan.

This ornament

was usually placed

over various

at the top of houses,

positions,

and

elevated

where

there

was

sufficient

scope

but that usually placed

on the top of the

of various halls

different projections in front

seats,
is

and

generally termed

the bolted style,

the

difference

between that
work, I

and the intermixed

fret,

or

pierced

now

intend explaining.
style,

The bolted

as

have before stated,

of the front

was mostly placed on the top

end facings
of

and

mansions or
the

halls,

and was comprinciple as

posed or designed on

same

the intermixed fret, but that, in

tion,

a lofty posithat

looked meagre;

so,

to prevent

ap-

-^

OF THE

UNIVERSITT;

ORNAMENTAL DRAWING.

197

pearance, the forms of square and round-headed

bolts
of

were placed,
outer

to

appear as

if

the whole

the

work were morticed and bolted

principle that seems to

together.

The general

have been practised, was allowing the square

and

circle (from

whence started the various perbars)

to

pendicular and horizontal

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 throughof different pieces that

it

The number

com-

posed this were few, but

was the intermixture

and repetitions that caused the variety.

198
I

GUIDE TO

have

now given

you,

by small

illustra-

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

all;

and you must be

careful

when designing

this description of

ornament, that wherever you

the

have a

square

department, or

formation

of a shield, that all your smaller squares

come

opposite each other, as seen in the foregoing dia-

grams

if

you do not,
at the

it

will not only

be entirely

wrong, but

same time look very bad.

II

II

Further illustrations of this kind you

perceive
shall

will

in

the

accompanying plates; and

now

treat

on the pierced, or mixed

fret-

work, which was most commonly used in every

department

where

decoration

was

required,

even surrounding the whole shaft of a column,

the facings of pilasters, and the different portions of panellings, but

more

particularly

on the

upper

extremity of cornices,
is

a very peculiar

appearance

given

to

this

ornament

and,

ORNAMENTAL DRAWING.

199

when

work has pierced and backed, the groundeffect,

a frosty

done with a small round punch,

and

at other times merely circular holes, at in-

tervals, as the

annexed diagrams.
is

The addition
to*

of this

ground-work

peculiar

itself,

and,

is

seldom or ever found in any other description

of decoration or carving, or scarcely used where

the bolted style

is

introduced, because

it

would

detract the attention from the appearance of the

face of the ornament, which,
frieze of

when carved on the

a room, looks very well, with inter-

vening

soffits

and block cornices around,

doors,

cir-

cular-headed
All this
is

windows,

and

spandrels.

in character to a certain extent, if

not profusely used, to compose or design this

kind of ornament.
I will

now

explain

the intermixed perfois

rated fret-work, which

centric scroll figure

composed

of the ecintersect-

and plain volutes,

200

GUIDE TO

ing points between, keeping them at a proper

distance, so as not to jumble the whole together.

All

these

are

joined

by

perpendicular

and

horizontal lines

and right angled

bars, some-

times terminating with a paper scroll-head and

jewelled centre, and surmounted with pinnacles

and

bases,

various

little

bosses,

and corded

laurels or flowers intermixed,

Of these various

portions you will find outlines in the adjoin-

ing plate, merely as plans for you to design upon, and

fill

up,

These may, in

some

in-

stances, be surrounded

by a
it

fillet,

(but not too

broad or too deep, that

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,

are at-

tended

to,

as far as necessary, in the accom;

panying plate
few

and

will conclude with giving a

illustrations of

another prominent feature

of earlier times, and which

go conjointly with
the

my

previous

remarks,

viz.

carved

oak

ORNAMENTAL DRAWING.

201
instances, I

and moulded ceiling; and,

in

some

consider these portions of decoration gave the

greatest

opportunity for the

display

of

Geo-

metrical

study in

all

architectural

ornament,

more than any thing that

thought
of,

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

may

very soon be

done,
to

by laying down a

rule,

as I have

added

some of the annexed

Fig. 54
is

illustrations.

a portion of the ceiling in

Queen

202
Elizabeth's

GUIDE TO

room, Dorton House;

Fig.

55

is

from the Sexton's House,

Fig. 56
is

St. James', Bristol;

from a farm-house, once known as

Fig. 57
is

the Duke's House, Bradford;

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

ORNAMENTAL DRAWING.
curious
is,

203
it

kind of decoration, which

certainly

and not very easy of comprehension, or to

in

retain
to
is

your memory;

the

piece

allude

on the annexed

plate,

taken

from

an

Sexton's House, St. James', Bristol.

old steel

lamp at Nuremberg, dated 1586

it

seems, in this instance, to have been in a very

imperfect state to what
it

was brought

to a

few years after

still,

here

we have

the sup-

204

GUIDE TO

posed original, and we should always look to

that point with delight, as

we

can,

no doubt,

improve, but should always maintain the character

and form of our

first

model, however

Duke's House, Bradford.

ancient;

and,

if

we wish
style,
it

to renovate

or call

back that same

to the

must be according
in

character or

manner
the

which
have

it

was
so

executed.

Although

arts

been

ORNAMENTAL DEAWING.

205

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,

First Floor.

in

combining and accomplishing the true

of

fea-

ture

Elizabethan, as far as the ornamental

;

department extends
to

and,

should you require

the
architectural

proceed

further

towards

206

GUIDE TO

portion or plans, I cannot do better than refer

you

to

Richardson's and HakewelVs

"Eliza-

bethan Architecture/' both as regards external

and internal

fitting

fully

assured,

that there

you

will find all

you require to complete your

is

ideas;

but the portion I have treated upon

taste,

merely to found a basis, or

whereby the

ornamental draftsman, or student,

may

use his

or her discretion as to the simplicity, or how-

ever elaborate the plan or idea

may

be; at the

same time impress on you,

to
itself,

it is

a style peculiar

and when used with judgment, and

it is

in its proper place,

very well

but I would

not have you waste your ideas and time too

much upon one

composed
;

style,

but learn of what

it

is

and

after that, treat with it as

your
it

judgment guides you,

is

when

it is

required, as

a bad plan to

make

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.

all

Thus, having made

yourself acquainted with

my
if

foregoing reproperly paid

marks and

principles, which,

ORNAMENTAL DRAWING.
attention to,

207

must

inevitably repay

you

for the

perseverance,
cost you.

labour,

and study

it

may have

And

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

retained in your

of

that

which you

may have
at
others.

memory by looking
and

After that refer again, and study

to

make

yourself acquainted with the ideas

styles

of

foreign

draftsmen, from

whom we

have derived the chief knowledge of a variety

of
styles in ornament,

and have in many

often

in-

stances improved upon, but more

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

school of design.
It is only the
;

want

of will,

and not of mind

for I

am

certain,

were there

208
sufficient

GUIDE TO

scope

thrown

open to
limits

the

British

student,

with unbiassed

of

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

designers, and should only have to thank

for

them

their

original

principles.

Then we should

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
formed
in

all this,

schools of design should be

different

manufacturing towns, and

in various parts

of the metropolis, so that the

student

may go

gradually through a routine of

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

him

and

until

on the public mind, (which

take

hope

it

will shortly,)

my

advice,

go on
it

that principle by yourselves, and in time

fully

will

shew what can be done by proper practice

and training.

ORNAMENTAL DRAWING.
I

209

now
by

intend completing this portion of

my
in-

advice,
rules

a trifling introduction to the Gothic

and variation of arches, and of their

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

geometry and

proporthis

than the Gothic.

to

My

intention, in

instance, is merely

give you

the

universal

form of the various arches, and principle for

striking the same, and leave you to
fill

them up
those
is

yourself with tracery, as you please, (in

that require it;) feeling confident that
it

of

the utmost importance in designing or copying

from any principal

perceive a

edifice, to

know, when you

the

Gothic window, that ofttimes

greatest difficulty arises to give the true form,

solely for the

want of knowing how

to

go geoit

metrically to
facilitates

work

and in another instance,

copying, in a very great measure, as

;

regards a raving of time

because, being tho-

/'///firrr/t'

Crcc&ete

OF THE

TTNIVERSITT
CALIFORNIA-

OENAMENTAL DEAWING.
roughly acquainted with
its
it

211

form and character,

lei-

you have only to note

sure you can complete
ble.

down, and at your

it,

without further trou-

There are at present more valuable works

on that topic than of any other description of

architecture, so that
it

would be

folly for

me

to

enter upon
that which

it

further,

than merely giving you

useful
to

is

really

the

universal
as regards

draftsman, independent of

its value,

knowledge
castles

for the

many

scattered remains of

and cathedrals over the various parts of

it

England, connect

with a variety of pleasit

ing associations, that must render

teresting study.
tain

a truly in-

I have found

it

so to a certo

extent,

without

attempting

give

my

time to those portions which are required to

make an
do
the

architect;

and

others,
it

I hope, will
re-

same;

although

may not be

quired in your profession,

it will, at least,

give

you the superior

command

of knowledge

over

many, and render you a pleasant companion,

in giving

an explanation of any particular ca-

thedral,

or other Gothic edifice,

and in what
15 *

212

GUIDE TO

period they were built.

The

origin

of Gothic

was, no doubt, from the cognate race of the

Saxons,

Franks, Normans, and Germans, and

easily

we can

mark

its

progress of improve;

ment from the Norman conquerors

case,

and

in this

whether correct or not, the word Gothic

survive,

is likely to

and bear that

according

title,

beyond
various

any

other

appellation,

to

styles that
as, in

might have been given to

it.

And

an

earlier

portion of this work, I have

it

informed you, that

is

only by reading and

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
have done
to
so,

facilitate

any

difficult

points,. I

and

feel

a pleasure' in throwing
benefit

open those

rules,

for the

of

all

who

choose to follow them.

The
is

classification of

Mr. Rickman on arches,

skilful

undoubtedly the most

is

that has been

suggested, and
divides
1st.

now

generally followed.

He

them

into four kinds.

The semi- circular,

or

Norman, extend-

UNIVERSITY

ORNAMENTAL DRAWING.
ing in
its

213

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.

2nd.

The

early-pointed,

from the reign of

of

Eichard the First, 1189, down to the end

the reign of
3rd.

Edward

the First, 1307.

prevailed during

The decorated, which

the greater part of the fourteenth century.

4th.

The

perpendicular,

sometimes

called

the Florid Gothic,* which

reign of

commenced about the

prevailed

Richard

the

Second, and

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-

tecture, I shall close these

remarks by a short

description of the different forms of arches in-

troduced, with the periods during which they

principally prevailed.
*

These, and

many
is

other

Henry
of

the

Seventh's

Chapel,

Westminster,

the

finest

specimen

Florid Gothic

and tracery

in this country.

214
illustrations

GUIDE TO

which

may be

necessary, will be

treated on the most simple principles, to enable

any person who can handle a lead pencil and a

pair of compasses, to
their contour

make himself master

delineation.

of

and method of

The Norman, or Saxon

will

arch, is the first I

commence

to describe, as it

was the

earliest

specimen we have of the circular arch.

period of
its

The

rage was between the reigns of

First

William

the

and

Henry the

Second.

The

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

of

a zig-zag

form, groining

and intermingling of

circular headings

and

co-

lumns, forming a unity of style and effect exclusively

iations
is

its

own.

\Their intermixed columnto

supposed

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

an immense

opening for

this

kind of study.

The specimens

ORNAMENTAL DRAWING.
here are of the richest description
is
:

215
the doorway

most elaborate, as regards sculpture ; and the

hinges,

scroll

(which ofttimes cover the whole

several ramifications,
rich.

door,)

by

their

produce

an

effect

both sparkling and

In reference to the

plate,
is

ABC
with
;

are plain

moulded openings
and
label-headed

an enriched zig-zag,
the
is

doorway,

scroll

hinges, as I before mentioned

ing, with

an open-

what

is

termed cusps introduced, and

semi-trefoil

an early specimen of a

head

is

an interlined opening, with an arched cornice,

terminating with the angled
fillet

and beads.

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

progress
style.

towards the

pointed

arch, or

florid

The

semi-circular arch,

is fig. 1,

the only one

employed
of

in edifices erected prior to the reign

Stephen, A.D.

1136.

This

arch

is

struck

from the point A.

216

GUIDE TO

In the horseshoe arch, of which,

fig.

2 and

3 are specimens, the centres are above the line

of the

springing.
is

This arch

is

not very com-

mon, but

sometimes

introduced along with

for

semi-circular arches,
of variety.

apparently
is

the

sake

Fig.
after

a portion of a circle;
at

but

fig.

3,

arriving

the

semi-circle,

you carry perpendicular

figure.

lines, to elongate

the

Fig. 4

is

the segmental arch, in which the

line.

centre
is

is

below the springing

This form
arches.

rarely

combined with semi-circular

application

Its general

was

to

interior

doors

and openings, during the early and decorated

periods;

but even iu these

This
is

it

is

not of

fre-

quent occurrence.

got
is

according

to

the segment required, and or opening. Fig. 5

is

termed the span

the lancet arch,

its

the height of

which
arch

is

greater than

width.

Where

this

is

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.

^\

OENAMENTAL DKAWINQ.
the composition of tracery the lancet arch
varieties.
line,
is

217

and wood carving,

all

continued through

the

It is

gained by dividing your base

B, into four equal parts, and from the

will give

two extreme points your intersection

the figure required.
Fig.

is

the equilateral

arch, of
is

which

height and width are equal, and

first

obtained by

getting an equilateral triangle.

is

Fig. 7
is less

the drop arch, the height of which

its

than

width, and

is

got by dividing

the base into four equal parts, as

strikiug from

ABC

D, and

C.

Fig.
tres of

is

the pointed segmented, the cenline of springing,

which are below the

as at fig. 6.

and bisected,

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
it

erected A.D. 1154, offers,

is

said,

the finest
five

specimens.*
parts,

Divide the springing line into

it

and

after passing the semi-circle,

im-

mediately collapses, as at
Fig. 10
is

C D.
This form was

the ogee arch.

never used for the main arches of doors and

windows

of ancient buildings,

as is sometimes
Its use

absurdly done at the present day.

confined
to

was

tracery,

niches, tabernacle
situations.

work,

and other ornamental

form was

The

ogee
canodeco-

also frequently applied to the

pies of doors and

windows

in the
it is

late

rated and early perpendicular ;

four centres, as at
Fig. 11
is

gained from

AB

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.
this

219
of

period, under the denomination

;

Tudor

Gothic

but the mere form of the arch hardly

to warrant this
is

seems
of

sufficient

multiplication

classes.

It

derived

from

the

points,

AB CD.
Fig. 12
is is

the three-centered or

elliptic arch.

This

arch

sometimes, though very rarely,

met with

in

England, in buildings of the late

:

perpendicular

it

frequently,

however,

occurs

on the Continent, but marks the debasement

and
style

near
;

approach of the extinction

obtained from the points,
is

of

the

it

is

ABC.

Fig. 13

generally termed a lancet open-

ing, for turrets and air openings.

Fig. 14

is

a canopy head, and usually placed

is

over any recess, where a pedestal or figure

erected on the face of any Gothic structure.
Fig. 15
is

the spandrel. the

This seldom oc-

curs

except in

Tudor, or low segmental

is

arches,
label

and

is

bounded by what
and
usually

termed a

moulding,
vine,

filled

up

with

tracery
played.

oak,

or ivy leaves

rudely dis-

220
It will

GUIDE TO

be perceived, by the foregoing

re-

marks, that the

form of the arch

is

not,

in

most

cases, sufficient of itself to

determine the

period or class to which an edifice belongs ; but

we may

arrive pretty nearly,

tracery,

by examining narpinnacles,

rowly the

buttresses,

and
of

openings, (which
various
foils),

openings were

composed
to

and the variety necessary

is

be

known by
annexed

the general draftsman,

given in the

plate.

fell

Cinque Scif

OF THE

>*

:VERSITT; OF ,/

7r in ?>ewfen the Tarty Watts.

ORNAMENTAL DRAWING.

221

GEOMETRY
AN
metry
will,

SIMPLIFIED.

abridged history of the origin of GeoI dare say, not

be unacceptable to

many

of

my

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 to answer
tion.

may be

able

and solve any early or useful quesis

The word GEOMETRY

of

Greek

origin,

and

signifies measuring the earth, or any disit,

tances thereon;

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

situations.

Some

authors

assert
;

that

it

was

the invention of the Babylonians

others, the
it

Egyptians

and that they borrowed

Thales} a
celebrated

from the

Babylonians.
philosopher,

Phoenician

who

died five hundred and forty-

222
eight

GUIDE TO
years before
Christ,

calculated eclipses,
;

and gave general notions of the universe

thagoras, of

Pyhun-

Samos, who
years

flourished

five

dred and

twenty

before

Christ,

intro-

duced

it

from Egypt into Greece; and discofive regular

vered the

Geometrical bodies,

viz.

the Cube, Tetrahedron, Octahedron, Icosahedron,

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

tinguished in

elementary Geometry
after him,

about a

hundred years

Archimedes extended
his

the limits of Geometry,

by

measure of the

sphere and the circle

lonius,

at a later period, Apol-

of

Perga,

who

flourished

two hundred

and

sixty, or

two hundred and thirty years be-

fore Christ, did

much
Italy,

for the practice of higher

Geometry.

In

about the sixteenth cenrevived after the dark

distin-

tury, the sciences

first

ages,

and several mathematicians were

;

guished for their studies

ticularly the
laid

the French, and par-

Germans

followed.

Justus Byrge

the foundation of logarithms, and was the

of

inventor

the

proportional

circle,

although

ORNAMENTAL DRAWING.
others ascribe the invention to
Galileo.

223
Rei-

nerus Gemina Frisius,

who

died in 1555, in-

vented the instrument used in surveying, called

the plain table.

Simon

Stevin, of Bruges, ap-

plied the decimal measure to

Geometry ; and, in

1684, Leibnitz advanced the science

by the

in-

vention of the differential calculus

arid

Newton,

by the theory

of the

fluxions.
first

Robert Hook,

who

died in 1703, was the

who considered

the influence of the refraction of light in measuring heights.

logne,

Ludolph, of Ceulon, or Co-

who

died at Leyden, in 1610, discovered

the proportion between the diameter and the

circumference of the
the French have
this art,

circle.

In recent times,

been most distinguished in

and have produced the best elementary

subject,

works on the
lent.

some

of

which are excel-

Among

the most approved

modern works
by

of this kind, are those of Euclid, translated

Simpson Ingram and Playfair

of Professor Leslie

and the

treatises

and M. Legendre.

From

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 conscientious treatise

on the
to

subject,

would swell
inconvenient

the

present

article

most

length, and indeed

patible with

would be completely incomof

the

general arrangement
therefore,

the

work
to

purpose,
of

confining myself

a series

useful

definitions,

which

may

be said to form the alphabet of the

science.

Problems, illustrative of the application of geo-

metry to the useful

arts, will

be found in the

annexed

illustrations.

In attempting to exemplify or
following definitions, I

illustrate the

am

perfectly aware that

many

of

my

expressions and illustrations will

to

be objected

by the

rigid

mathematician,

but as I have before stated, that

is simplicity,

my

object

and to convey the

to

first

rudiments
entirely

of this

science

those
it.

who may be

unacquainted with

DEFINITIONS TO THE PLATE.

point

is

that which has position, but not

fig. 1.

magnitude, as

ORNAMENTAL DRAWING.

225

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.

Superfices

have length

and breadth, but

;

not thickness, as that might be unbounded

instance, the top
is

for

the surface, as
figure of

fig. 3.

solid

is

three

dimensions,

having length, breadth, and thickness.

surfaces are extremities of solids,

Hence,
lines the

and

extremities of surfaces,
ities of lines, as fig. 4.

and points the extrem-

If

two

lines will always

coincide,

however

applied,

when any two

the two

points in the one coinin

cide with

points

the other, the

two

lines are called straight lines, or otherwise

right lines.

curve
its

continually changes

its

direction

between

extreme points, and has no part

straight, as fig. 5.

Parallel lines

are always at the

same

dis-

tance,

and

will

never meet, though ever so far

produced, as

fig. 6.

16

226
Oblique
right
if

GUIDE TO
lines

change their distance,

acute angle.

and would meet

Angles
are

produced, as an

known and measured by

the

number
opening.

of degrees they contain at the

extreme

One
it

line is perpendicular to another,

when
other,

inclines
fig. 7.

no more to one side than the

as

A
it

straight line

is

a tangent to a circle,

when

touches the circle without cutting,

fig. 8.

when both

are produced, as

An

angle

is

the inclination of two lines to-

wards one another in the same plane, meeting

in a point, as fig. 9.

Angles are either

right, acute, or obtuse.

right angle

is

that which

is

line perpendicular to another, or

made by one when the an-

gles on each side are equal.

All angles meet at a point;

the case, each
is

when

this is

denoted by three

letters.

The

right angle

is

the criterion of judging of every

other angle

b c is a right angle,
c

a b

an ob-

tuse angle, e b

an acute angle, as

fig.

10.

UNIVERSITY

OF THE

ORNAMENTAL DRAWING.

227

An
fig. 11.

acute angle

is less

than a right angle, as

An

obtuse angle

is

greater than a

right

angle, as fig. 12.

A
called

plane

is

a surface with which a straight

is

line will

every where coincide, and

straight

otherwise
if

surface

for

instance,

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

end surface

is

the plane, as

fig. 13.

All angles are

known from
divided

their

extreme
as

openings,
fig.

and

are
is

into

degrees,

16.

Here
to

a diagram for explanation.

From a

b will
c,

be an angle of 15 degrees

from a to
are
line.
all

35

and from a to

d, 60.

These

acute angles,
to e is

being within the right

From a

an obtuse angle, of 120

is

degrees.

This diagram

on the principle of

using the sextant.

An An

equilateral triangle has all its three sides

equal, as fig. 17.

isosceles
b,

triangle
c,

has

only two

sides

equal, as a

as

fig.

18

this is the figure

of one of the principal powers in the laws of

16 *

228
mechanics,
to
viz.,

GUIDE TO
a wedge, being
;

made according
wedge
an acute

the power required

for instance, a

of so

many

degrees,

is

measured

as

angle of so

many
and

degrees.
all its

scalene triangle has

is

sides unequal,

as fig, 19,

to

be found in the following

portion of a building, or angled bay

window,
fig.

whose ends are not equal to

its front,

as

20

a being an equilateral triangle,

ends, b
b,

and the two

scalene triangles, forming the front

elevation, as the

annexed

illustration.

Trapezium
to
say,

is

a quadrilateral figure; that

sides.

is

a figure with four

is

In this in-

stance every side

unequal, as

fig. 21.

An
figure

octagon
is

is

a polygon of eight sides.

This

placed here, merely to shew the prin-

OF THE

TTNIVERSITTJ

ORNAMENTAL DRAWING.
ciple

229

of gaining

it.

First

form a square, and

from each angle or corner you strike a segment, whose

arc shall touch the
centre,

and

at the termination of each curve angular lines,

drawn from end

perfect octagon,
laid

to

end, the dotted line

is

a
is

as fig. 22.

This principle

down

for perspective.
is

A
A
equal,

rhombus

a parallelogram, whose sides

fig. 23.

are equal, but not at right angles, as

rhomboid,

whose

horizontal

lines

are

and oblique

lines unequal, with

the ho-

rizontal, as fig. 24.

Eadius
centre,

lines.
all

Those

lines

starting from a
25.

and

acute angles, as

fig.

Solids

and bodies, when either are bounded

by

surfaces, sides,

and ends.

A
in

book
is

is

solid.

Hence a
or

square, with six equal sides,

a solid,

cube;

that

is

to

say,
is

measurement.

Twelve inches each way

a foot cube.

When
than one,

solids or superfices

have more sides

;

then they become polygons

if

if all

equal sides, they are regular,

gular, of

otherwise, irre;

which they are named up to twelve

230

GUIDE TO
of thn>

beyond that they are termed polygons

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

name
to
3,

the figures, as
:

it is

of the greatest utility

know them
a triangle
;

1,

a line; 2, a parallelogram;
5,

4,

a quadrilateral ;

a pentagon,
7,

five sides; 6,

a hexagon, six sides;

;

a hepta;

gon, seven sides

9,

8,

an octagon, eight sides

;

a nonagon, nine sides

1.1,

10, a decagon, ten

sides;

an undecagon, eleven sides;

sides.

12,

duodecagon, twelve

Base
Altitude
circle is

is
is

the part on which any figure stands.

the height of any body erect.
line,

a figure bounded by a
or

termed the
equi- distant
it is

circumference,

periphery,

and

from the centre, or point, from whence

obtained.
into

The

interior

of

a circle

is

divided
its
fig.

component

parts,

each of which has

classification.

On

reference to the plate,

;

26, a &

is

the diamefcer
b is the

is

the cord of an
circle.

arch

and d

segment of a
brought

Cones may be
without entering
usually
given.

under one

head,

into

the

number
figure

of

terms

Any

solid

rising to

an

ORNAMENTAL DEAWING.
apex, or point,
is called

231
angled,
it is

a cone

if

called a poly gon-cone, or cone of so

if

many

sides

the cone be circular,

,

it

may be

divided into
that
is
it

four parts, viz

to say,
is

a fru strum of a cone,

is

when

it

cut parallel with the base,

then a

circle, as fig.
it

27 shews.

If cut parallel

to its axis,

then forms a hyperbolic curve, as

a b

c, fig.

28
it

and

if

cut parallel to the sides of

c,

the cone,
fig.

is if

called a parabolic curve, as a b

29

and

cut through in the angle,

as a,
fig.

it

then

becomes an
27.

ellipsis,

30.
29.
30.

28.

i\

r3
Frustrum.
Hyperbolic.
Parabolic.

\ c3
Ellipsis.

Among
become

the various geometrical figures that

to

useful

the ornamental draftsman,

beside mouldings and archways, are the variety

of ovals, ellipses, and foils
;

the description of

which terminates

this

volume.

There are many

ellipsis,

who with

the compasses can strike an

232

GUIDE TO
will

no doubt, but we
instruments
;

suppose you have no

it

then becomes necessary to be

able to do without them, yet

tainty,
will

work with

cer-

and which, with a few useful diagrams,

essential,

be found not only

but pleasant
will
is

to study.

The

first

I shall

commence with

be the

ellipsis,

using instruments.

Fig. 31

the elongated
circles,

ellipsis,

and
c

is

obtained by two
:

from the centres,

segments

you gain by the

e f,

intersecting

the

points,
lines,

from
i

which you pass your diagonal

g h

k.

By
you

placing the compasses on the points c d,

strike

from h to
e

&,

and from g to

i ;

and

from
i

/ and

you obtain a curve g

ellipsis

h and

k,

and you have an

complete; but

let

me remind

you,

in

striking any of these

parti-

geometrical figures, you cannot be too

cular as

regards your division

for

the least en-

deviation will throw

tirely

every other portion

will

wrong, and you

have the same work

of a little care at

to

do over again,
;

for the

want

first

and where you should have but one point-

hole,

by carelessness you perforate the paper

like

X ** OF THE (UNIVERSITY^

^c

OENAMENTAL DKAWING.

233

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

to

work the compasses, you

can divide to the greatest nicety, and keep your

divisions

more true than with the other comthe

least
trifle,

passes,
close

pressure of the hand will

which,
if

them a

imperceptible in

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

it is

then you find

it

out

this is advice

which, perhaps, in the ardour of your studies,

you might not think

Fig. 32
is

of
ellipsis,

a short
first,

got on the same

principle as the

but instead of forming

two

tangent

circles,

you

intersect

them and

work on the former

Fig. 33
is

principle.

a rule
is

by which the

oval

is

ob-

tained, whatever

to

be the width, the length,

its

to

be proportionate, must be three times

width, as for instance, the perpendicular line

b,

is

divided from the point c;

strike

the

234
semi-circle,

GUIDE TO

from which you form a

which
side,
is

parallelo-

gram, d

f g,
;

to

be divided into twelve

parts on each
four parts
sions
it

and the base to be twentyintersecting these

itself,

by merely

divi-

will

form an oval of
1 to 1,

viz.

by

passing lines from

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
until

had found out a much better

;

figure,

and on a more simple plan

a great
one,

which, after trying

many without

success, I at last hit

it

upon
to is

and every person I have shown

satisfied of its superiority.

Fig.

34

is

an

oval,

the exterior form of

circles,

which

is

gained by two

the sizes being

circle, a,
it;

governed by the diameter; strike the

then the smaller one,
strike
6,

tangent to

next

your intersecting

arcs, c,

which are to be

divided into nine equal parts; draw your dia-

gonal

lines, c

a b

d,

which gives you the stopd,

ping points for your segments, d d d

then
it

place the point of the compasses on /, and

will give

you the segmental curve, d d d d;

UNIVERSITY

ORNAMENTAL DRAWING.

235

you

will

find this oval a complete

egg shape.
and

Now, we want

to obtain a segmental arch

a semi-elliptic, without having sufficient room

for striking the

same with the compasses ;

fig.

in the

connected plate,

35 and 36, I have given

two very excellent

principles,

which I think have

elliptic

not appeared before.

principle laid
elliptic

The

one

is

the

down by Kennie, in planning the In arches of New London Bridge.

obtaining or striking this arch, whatever

may
the

be the height from your springing

line, &,

same width you take from that

your radius lines, as at
c
;

line

to

carry

divide your springing

line into eighteen parts, or

more, remembering

to

keep

even

numbers.

The
more

greater

the

number of
to

divisions, the

certain

you are
your

obtain a segmental line; then carry

c,

radius from the point,

divisions

through each of the

line,

to the

boundary
e,

e,

next

divide the end, a

in nine equal parts,

and

from the point,

b,

you carry your

lines to the

end
arc,

division,

which intersection gives you the

a b

c.

236

GUIDE TO

The verse
principle,

sine arch, fig. 37, is

on the same
Get

but requires no radius points.

the height of your arch, and form two acute

angles from the base

angles,

line,

a a to

&,

and on those
a,

from the extreme points,

c,

obtain a

right angle, a

c,

and another

at

d,

d,

which

will

form one of your divisions of eighteen

at the top;

and next divide your springing

line

a, into

eighteen equal parts, and your end in

e b,

nine parts, carry your lines out to

and your

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

mental arch.

There

is

another system by which you

may
in

obtain a segment, and which you will

find

the plate.
sides of

The more obtuse the

angle, on the
divisions,

which you make a number of

the better the curve appears

of the

by the
as,

intersection
b c is
1,

numerous divisions;

from a

divided into fourteen parts, cross from 1 to

2 to
2,
is

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

ment

This

is

a very useful diagram,

is

especially

when the angle

more acute

in its

OENAMENTAL DEAWING.
altitude;

237
only

you

will

find

ifc

the

way

of

describing an hyperbolic curve with facility.

The

difficulty

of

obtaining a

quantity of

division in a small space, as I before mentioned,

with the compasses, I will

tention to.

now draw your

at-

To prevent your perforating the

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

in length into

twenty parts;

you would, no

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-

work upon.

Let a

be the

base, at a right angle, with that carry

up a perat ran-

pendicular

line,

6,

of any height,

and

dom run up your

if

divisions,

no matter how many,

;

you go

to

work accurately

after this is done,

c

carry a converging line from

to

b,

and from

your base

draw

parallel

lines,

touching from

side to side, until

you have
d
e;

sufficient for

your
each

number

of divisions, as

from

that, at

intersecting on the angle, carry parallel lines

from the perpendicular,

e to

/;

so,

by carrying

238

GUIDE TO

these lines to the base, the

are obtained.

number

of divisions

This

is

exceedingly valuable in

ardividing modules into minutes, in drawing

chitecture;

in

fact,

in

every

instance

when

small divisions are required.

on

ORNAMENTAL DRAWING.

239

ON MOULDINGS.
MANY
to of

my

readers

may

attribute

blame

me

for inserting

the above-mentioned por-

tions of architecture,

and perhaps

say, that

it

has nothing to do with ornament.

will allow.

No:

that I

There certainly
scroll,

is

no occasion for
is

moulding in a running
boundary of
it,

but there

in the

and that according

to the cha-

racter or style, of course.

As
it

a matter of fact,

the moulding surrounding

to

should and ought

it is

be in accordance with

it,

but

not always

the case; and to prove to you the necessity of

such information,
far.

is

the reason I trespass thus

is

This portion of decoration

an indispen-

sable

accompaniment to

all

my

former remarks,

and co-practice of geometry.

As an

instance

240
of the
utility

GUIDE TO
of

your being acquainted with

frieze

mouldings,

how would an ornamented

mouldings
all

appear, without the upper

formed

a cornice, and protection to

the bas-relief
in their ori-

and ornamental
gin,

risings,

and which,

were of a rude and massive form, brought

into a subordinate one

tect, strengthen,

by the Greeks,

to pro-

and unite the whole of their

buildings

The number
are eight, and

of

mouldings

generally used
utility.
fillet,

each and every one of

is

The
fig.

first

and most simple form

is

the

1,

which

the

smallest in proportion to
its

the whole of the others, and

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
is

the astragal, or round

fillet,

which
Its

may

be, if required, ornamented as

fig.

3.

chief use is to divide the capital

from the shaft

of any column or pilaster, and

entirely round, or semi-circular.

may be

either

LI

UNIVERSITT

OF THE

ORNAMENTAL DRAWING.

241

Fig. 4

is

of the

same character, but of a

much bolder

form, and chiefly used in the base

alorus.
a,

moulding of a column, and termed

exterior
jects

The

end

is

got from the point

and pro-

no further than the

fig. 5.

vertical line in face of

the plinth, as
Fig. 6
is

the ovolo, or quarter round, and

is

now

chiefly

used in an admixture of
is

Roman

mouldings; but there

ance with
ventive
it,

so massive an appear-

that, at the present day, the in-

genius
it

of

architects

has greatly imstrictly

fig.

proved upon

and adhered more

to
7,

what
which

is

termed the Grecian ovolo, as

is

much

lighter
is

and more graceful

in ap-

pearance.

Fig. 6

the quarter of a circle, and

gained from the point, a;

got from any acute angle.
the projection and depth

but the Grecian

is

You may
of

allow for

your

moulding,

from any angle you please, keeping the circular

end in proportion, as
Fig.

fig. 7.

is

termed

the

cavetto,

or hollow.

This moulding was chiefly used by the Egyptians,

surrounding

their

temples, as

have

17

242
before described;

GUIDE TO
it

is

chiefly

employed in

co-

vering the other members; and, being strong

at the

extreme points, supports others.

a.

This

is

obtained from the point,

Fig. 9
is

the cyma-recta, or cymatium.

the

When
your

you have ascertained

projection
line,

of
h,

moulding, draw the angular

which

you

will

divide into two equal parts, as at c;

will

which divisions

form the bases

for

two equi-

lateral triangles, as a e d,

and

c b e,

From

the

point

e,

you strike
is

c b,

and from

d,

a c; which

when joined,
Fig. 10

the cymatreum of the moulding.

the ogee, and drawn in the same
It is a

is

manner

as fig. 9, but reversed.

mould-

ing well adapted to

support
its

other

members,

from the strength of

very rich
effect
is

extreme points.
in

produced

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,

by the indentation

of the hollow

under the

fillet.

Fig. 12

is

the cyma-reversa, and the same

tf"'-f"f

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;

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.

UNIVERSITY

OF THE

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

248

and used

mouldings only.
13
is

Fig.

a very peculiar moulding, and

used to give power to the surrounding members,

and

to effect a

good

profile

it

is

termed a

scotia

mouth.

After you have determined the

extremity,
is

projection of your top and bottom

as a
b,

the perpendicular line, a

c,

divided
d,

into three equal parts,

and from the point,

e;

describe the quarter circle, a

then divide the

horizontal line, e f, into five equal parts.

From

the point, f, draw

e g,

and by striking an arc

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

will give
c h,

you the point to intersect your angle,

raise

and from that angle you

li y

your perpen-

dicular, b

the extremity of which you divide

;

into three equal parts

then strike the arc, g k ;

arc,
is

from that you strike the remainder of the

to

complete the mouldings, from

6.

h,

which

from k to
study,

This moulding
I

is

an excellent
be
its

and

would
the

advise

you not to
difficulty

conquered
appearance.

by

seeming

of

244

GUIDE TO

There

is

another more simple way of obtain-

ing this moulding, by merely dividing the height

into three parts,

two

for

which

will

form the

width, by

intersecting six parts, as diagram.

The

point, a, will give

you

the arc from b

c,

and from

the point, d, will form the other arc,

c e.

I think I have treated

on every thing necessary

for

your instruction, ac-

cording to

my

promise;

and as
though
before)

my
it

last advice (al-

has been repeated

is,

study well and

assiduously

that which

is

good, and feel not

daunted at

trifling obstacles that

may

occur

for,

rest assured, after

rest,

surmounting one, you

will

not

until

you have

surmounted
difficulties

others,
;

and
all
:

overtopped the apex of

then

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

they
exert

your fellow-students, until

them-

ORNAMENTAL DRAWING.
selves
in

245

the same

manner.

Then, by those

means, the art of design ere long must become

.

extended, and hold the crayon of superiority

over
all

other countries.

FINIS.

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