Digitized by the Internet Archive in 2016 https://archive.org/details/principlesofornaOOhulm i$y t-w ' if 7$ 1 * I PRINCIPLES OF ORNAMENTAL A R T. BY E EDWARD HULME, F.L.S., ES.A. Author of “Plants, their Natural Growth and Ornamental Treatment,” “Freehand Ornament,” &c. &c. “ Content if hence th’ unlearn 'd their wants may view, The learn’d reflect on what before they knew.” Port:, Essay on Criticism. CASSELL PET T E R & G ALPIN: LONDON , PARIS & NEW YORK. r T'HE history of the practice of Ornamental Art, the principles that have guided its pursuit, the modifications it has owed external conditions, its various ramifications, the subtle influences of race or religion that have affected it, present a theme so vast that no one writer could ever hope to achieve success, no one mind trace a path through such multitudinous avenues of thought, no one hand accomplish even the mechanical task involved in the drawing up of such a series of volumes — a library in themselves — as the subject would demand. The reader, then, glancing at the title we have adopted, may at first seem inclined to doubt its fitness ; but we would endeavour to reconcile him to our labours by the prompt confession that we have no hope of achieving more than contributing some few scattered ideas for his consideration, leaving him — our remarks being merely suggestive, by no means exhaustive — to supplement our labours by the consultation of the works of others who have at greater length made the various points, upon which we can only briefly dwell, their especial study, if we should prove so fortunate as to awaken by our remarks the desire to know still more of these matters. While, therefore, it would be impossible to give anything but the briefest summary of the main features of the general subject, a matter that, from the baldness of detail, would be but repellent, it has seemed not undesirable that, avoiding any formal profession of an attempt to write a history of the subject as a whole, we should nevertheless take up some few points — points that will, as we hope, be felt of general interest and utility — and dwell at some little length upon them. There are many characteristic features that may thus be temporarily isolated for our consideration. We need here mention but a few, as, for instance, the influence of symbolism and religious belief on particular styles of Ornamental Art ; the greater or less use of animal or vegetable forms, with its attendant question of the due amount of healthy naturalism or necessary conventionalism to be observed in their representation as elements of decorative design ; the history and modifications of the various forms, such as the fret, the anthemion, the patera, and the guilloche, which, though especially characteristic of classic art, crop up more or less recognisably at almost all periods. Another matter, not altogether without interest, we trust, will be found for our consideration in the use of caligraphy and the adornment of written characters, as in many of the Eastern styles, as an element of design. A further suggestive subject will be found in the influence of symmetry, repetition, variation, gradation, and subordination on the work of the designer ; IV PREFACE. while, not to weary our readers while yet on the threshold, we will only in conclusion mention, as a further subject of our regard, the influence that geometrical forms have at all times exercised in decorative art. A series of papers on Ornamental Art by the Author, which appeared in the pages of the Art Journal in 1873, form the foundation of the present volume, though in many cases they have been so amplified that the original matter forms but a very small part of the whole. The illustrations have also been largely increased in number, and many of a much richer character have been added, the larger space for illustrations in the present case permitting details of a far more complicated construction. Some of these papers have furnished the subject matter for lectures at the Nottingham, Stoke-upon- Trent, and other Schools of Art, or have been read before the Archaeological section of one of our local Natural History Societies. To those to whom, on any of these accounts, our remarks may seem not altogether strange, our more fully-developed labours will, we hope, prove welcome. While tendering this volume to our fellow-students we would gladly take the opportunity of expressing our own great indebtedness to the labours of others. We have so far as possible been careful to acknowledge this wherever we have quoted from any other writer, but it has very possibly in some cases been involuntarily omitted, seeing that the materials from whence these pages are derived have been gathering for some years, and any omission of the source from whence the note was derived may now pass unnoticed, or regretfully be felt to be a thing now impossible to be supplied, owing to the lapse of time since the original memorandum was made. We are not aware that any such passages exist, but if they do we trust that those whose labours have thus assisted us in our own will hold us guiltless of any wilful holding back of the acknowledgment that is so justly their due. The works of Sir Digby Wyatt, Mrs. Twining, Heideloff, Viollet-le-Duc, Owen Jones, Wornum, Ruskin, and Layard are too well known, too highly valued, to need here any eulogium of ours. To these, however, as great text-books of the subject, it is but right that we should more especially acknowledge our indebtedness, not merely for the loan of any quotations that may from time to time appear in our own pages, but from their sterling value, which, in our desire to render our work as distinctly utilitarian as possible, we feel not merely justified but almost compelled to notice for the benefit of others who may be seeking like help in their studies. CONTENTS. CHAPTER I. PAGE Influence of Geometry on Ornamental Art — Geometry as a Science — Its Origin— Designs, poor in them- selves, aided by Geometry — Good Designs enhanced by Geometric Settings— Universality of Geometric Basis — Inherent Beauty of Geometric Forms — Love of Mankind for Complexity and Mystery — Celtic Art — The Book of Kells — Richness of Effect produced by Simple Means — Aptitude of Geometric Forms for Combinations — Counterchange — Sense of Flatness an Essential Quality in Designs for Floor Coverings — Good Examples of this in the Early Italian Churches — Symbolic Geometrical Forms — Great Facility with which Patterns of a Geometric Character can be put together — Apparent Variation of Identical Designs by Colour — Geometric Drawings from Madras School of Art — Geometric Kinder-Garten Plaitings — The Simulation of Relief in Geometric Patterns — Geometry in Classic Art — Frets, their Origin and Development — Greek, Chinese, Mexican, Celtic, and Peruvian Examples — Geometry in Mosaic Work — Egyptian Glass-Mosaic — Opus Tesselatum — Opus Figlinum — Opus Gracanicum — Opus Alexandrinum — Tarsiatura — Marqueterie — Buhl Work — Geometry in Gothic Art — Window Traceries — Shaft Sections — Pierced Window Openings in Hot Climates — Examples of Geometry in Nature — The Equilateral Triangle — The Right-angled Triangle — The Square — The Oblong — The Rhombus or Lozenge — -The Pentagon, Hexagon, and Octagon — Geometric Character of Kimmeridge Coal -money — The Circle — The Semicircle — Trefoil — Quatrefoil — The Scale Form — The Waved Line — Vesica — The Guilloche, its Origin and Develop- ment — The Spiral Line — Examples of the Spiral Line in Nature — Example of the Spiral Line in Heraldry — Majolica Ware, its Origin and History — The higher the Character of the Design the less should the merely Mechanical Geometric Basis be Obtrusive ........ CHAPTER II. ^Esthetic Art — Symbolic Art — Literal meaning of Symbolism — Its Use in Religion and Heraldry — The Mediaeval Pictorial Allegories — Susceptibility to Symbolic Teaching in the Early History of a People — Parables — Fables — Proverbs — Symbolism as a Veiling of Truth — Symbolism as an Aid to the Illus- tration of Truth — Symbolism may be of Action, of Language, of Colour, of Form, and of Number — Symbolic Actions amongst Savage Races — The Rites of the Levitical Priesthood — The Symbolic use of the Fish in Christian Art — The Early Christian Church in the Catacombs of Rome — The Vesica Piscis — The Fish Symbols of the Egyptians — Dagon of the Philistines — The Sphinx, Classic and Egyptian — The Dolphin in Classic and Renaissance Art — The Serpent, Tortoise, Lizard, and Crocodile — Serpent Worship of the Jews, Mexicans, and Egyptians — Insect Forms, the Scarabaens and Butterfly — The Phoenix — The Dragon and Hydra as Symbolic of the Evil Principle — The Dragon in Chinese Art — The Ibis — Nisroch of the Assyrians — The Owl — The Cock — The Dove — The Dove Orchid — The Raven — The Magpie — The Peacock — The Pelican in Christian Art — The Pelican in the Old Testament — The Eagle in Roman, Christian, and Heraldic Art — The Robin — The Dog — The Stag in Classic and Christian Art — The Wolf — The Egyptian Apis — The Sacred Bull of Brahma — The Jackal — The Cat — The Hippopotamus — The Pig — The Ass — The Lion as a Symbol in a Good and Evil Sense — The Evangelistic Symbols — The Creatures seen in the Visions of Ezekiel and St. John — Wyckliffe on the Evangelistic Symbols — The Human Form in Gothic Work — The Repre- sentation of Historic Events, with an Undercurrent of Symbolic Meaning — Figures of the Jewish and VI CONTENTS. Christian Churches — Representations of the Soul of Man — The Agnus Dei — The Hand and Arm of the Lord — The Mosaics of St. Mark, Venice — Mosaic as a means of keeping Permanent Records of Great but Fading Pictures — Need of Individual Research and Study CHAPTER III. 'Poo strained a meaning must not be attached to any Symbolic Form, Colour, or Number Examples from Clement, Cyril, and Durandus, of Forced Inner Meanings — Symbolism of Colour — Gold and Silver The Arms of Jerusalem — Symbolic Poetry of Spenser — The Rigidity of the Laws Binding the Egyptian Artists — Symbolism of Numbers, Three, Four, Six, Eight, Twelve — Seven, the Number of Perfection Forty, the Biblical Number of Trial or Probation — The Use of Symbolic Numbers amongst the Chinese — The Temples of Heaven and Earth at Pekin— The Yang and Yin Principles — Symbolism derived from Vegetable Forms — Scriptural Use of Plants as Illustrations — The Palm — The Coinage of the Jewish Nation — Judea typified by Female Figure beneath Palm Tree — The Vine — A Symbol of the Israelites — Christ the Vine — The Vine in Byzantine Art — Byzantium as the Capital of the Roman Empire — The Chair of St. Maximinian — The Vine in Classic Art — The White Lily The Snowdrop — The Almond — The Pomegranate — The Passion Flower — The Lotus — Confusion between the Egyptian Lotus and the Indian Water Bean— Symbolic Plants amongst the Assyrians — The Tree of Life— The Idolatrous Groves of Israel — The Tooba Tree — The Amaranth — The Rose — Classic and Christian Legends — The Rose of Sharon — The Golden Rose — The Rose of Heaven — The Heraldic Use of the Rose, Thistle, and Shamrock — The Tudor Rose — The Broom of the Plantagenets The Columbine — The Daisy — Badges of the Scottish Clans — Fungi — Representations of Earth, Air, Fire, and Water — The Planets, Symbols of the Classic Divinities — Fire Worship— Passion Symbols — The Cross — The Nimbus — Cause of the Similarity of all the Portraits of Our Lord — The Vesica Form — The Anchor — The Lamp — The Crown or Wreath — Symbols of the Saints ... ... CHAPTER IV. Tire Use of Letters and Inscriptions in Ornamental Art — Egyptian Hieroglyphic — Assyrian Arrow Head — The Formation of Arbitrary Writing Characters — Mexican Picture Language — The Hebrew Alphabet — Runic Characters — Early Letters all Straight Lined — Cursive Writing — Writing Materials — Palimpsest MSS. — The Labours of Angelo Mai — Palimpsest Brasses — Clay Records — The Rosetta Stone — Greek Boustrepihedon Inscriptions — Study of Archaeology — Moorish Inscriptions — The Alhambra — Structure of Monograms — Abbreviations in old MSS. a fertile Source of Error — Structure of Ciphers — Barbarous Character of Early Monograms — Ciphers and Monograms from Pottery — The Cross Prefacing Inscriptions — The Cruz-ansata of Thoth — The Tau Form of Cross — The Sacred Monogram — The Vision of Constantine — The I.H.S. — Monograms on Coinage — Inscriptions on Coinage — The Monograms of Artists on their Works — John Thorpe and his Plan — Palace of the Escurial — Merchants’ Marks — Branch Letters — Ribbon Letters — Mediaeval Inscriptions on Houses — Posy Rings — Inscriptions on Church Bells — Heraldic. Mottoes — Use of Inscriptions amongst the Eastern Nations — Inscriptions as an Element in Modern Ornamental Art — General Features of Assyrian Art — Absence of Ornament — The Patera Form in Ornament — The Anthemion Form in Ornament — Absence of Vegetable Forms — The Use of Colour in Assyrian Art — Assyrian Art Zoomorphic — The Tri-lingual Inscriptions of the Persians — The Method Employed for Reading the Cuneiform Character — Sketch of the History of the Ancient Kingdom of Assyria — Discovery of Site of Nineveh — References of Biblical and Classic Writers to the Assyrian Power ..... CHAPTE R V. Heraldry or Blazonry — Derivation of the Word — MSS., Brasses, Seals, and Glass Painting as Sources of Study — - Rolls of Arms — Pernicious Character of much of the Modern “ Restoration ” — Devices of the Heroes of Antiquity— Origin of Heraldry — Coats of Arms — Arms of Edward the Confessor — Armorial CONTENTS. vu PAGE Bearings of David, Samson, Adam, and Eve— Heraldry, an Incitement to Deeds of Heroism— Seals on Legal Documents— Canting Heraldry— Heraldic Charges— The Language of Heraldry— Tinctures— Furs — The Varying Terms applied by Old Writers to these in the Arms of Gentlemen, Noblemen, and Sovereigns— Honourable Ordinaries— Early Devices Structural in Character— Naval Signal Code — Subordinaries — Eorms of the Cross — Common Charges — The Lion and Eagle — I he Cockatrice, Dragon, Wyvern, Griffin, Phoenix, Triton, Mermaid, Sea Horse, Sea Lion, Harpy, Sphinx, Sagittarius, Salamander, and Unicorn — Legends of the Basilisk — Marshalling — Dimidiation Impalement Quartering— Agroupment of Arms— The Shields of War and Peace— Crests— Eamily Badges— The Motto— The Supporters— The Lilies of France on the English Arms— Marks of Cadency— Marks of Augmentation — Marks of Abatement — Mantling — Value of a Knowledge of the Laws of Heraldry CHAPTER VI. Certain Forms Characteristic of certain Styles — The Horizontal Line in Ornament — Classic Examples of it — Ornament Based on Construction — The Horizontal Line in Weaving and Pottery — Sketch of the Potter’s Art — Symmetry, its Meaning and Scope — Bi-Symmetry — Multi-Symmetry — Symmetry in Natural Objects — The Kaleidescope — The “Last Supper ” of Da Vinci — Repetition as an Ornamental Principle — Alternation — Radiation — Interchange — Counterchange — Variation — The Influence of Ma- chinery on Art Productions — Styles of Ornament: What are they? — The Blending and Transition of Art Styles — English Art Descended from Egyptian — Military Conquest as Affecting the Arts — The Proto-Doric — Monolithic Monuments — The Modification of Classic Types in Byzantine Art — How far Art Rules may be considered Binding — Sir Joshua Reynolds on Laws in Art — Conflicting Opinions ol Authorities — The Use of Architectural Fonns as an Element of Ornament — Representations of Armour, Musical Instruments, &c., as Features of Decorative Art — Imitations of Drapery — Colour in Orna- mental Art — The Primary, Secondary, and Tertiary Colours — Transparent and Opaque Colouring — Effect of a Compound Colour producible by the Juxtaposition of its Elements — -Advancing and Retiring Colours — Harmony of Colour by Analogy — Harmony of Tone — Difference between I ones and Lines, Tints and Shades — The Naturalistic Colour Argument — The Influence of Colours on each other — The Influence of Sunlight and Artificial Light on the Appearance of Colours — Colour Blindness, or Daltonism ................. 83 CHAPTER VII. Naturalism and Conventionalism — Old Work not necessarily Good Work — Egyptian Art Based on Natural Forms of Egypt — The Acanthus — Conventional Character of Eastern Art — Moorish and Persian Art — The Fountain of Lions, Alhambra — Chinese and Japanese Art — Ruskin on Naturalism and Conven- tionalism — Opinions of Worman, Hudson, Wilkinson, and others — Sir Joshua Reynolds on Imitation of Nature in Art — Chinese Pottery often a Fac-simile of some Natural Fruit Form — The Principle of Fitness — The Distinction between the words Designer and Decorator — Horseshoe Breast Pins — The Demand for Novelty — Improvement in Design since 1S51 — Ornament Subordinate to Utility — Venetian Glass — Fitness of Ornament to Material Employed — Earthenware Baskets and Straw Hats — - Fitness of Ornament to its Scale and Position — Natural Instances of Fitness : the Pine, Dodder, Ivy, Water Buttercup, &c. — The Tiger, Penguin, Apteryx, Humming Birds, and Swift — The Principle of Contrast — Contrast of Texture, Surface, Form, or Colour — The Value of Analysis of Ornamental Forms — Simplicity or Complexity of Treatment — Complexity often a Sign of Decay — The Doric Order — Natural Examples of Simplicity and Complexity of Form — The Interlacing of Lines — Strap Work — Cord interlacing — Old Irish Crosses and MSS. — Early Italian Art — Heraldic Knots — Inter- section — Interpenetration ............... 107 LIST OF ILLUSTRATIONS. 1. Geometric Mosaic, Byzantine. 2. | Original Designs Suggested by the Leading Lines 30 of Fig. 6. 4. Florentine Marble Inlay, from the Duomo. 5. Inlay, Ivory and Ebony. South Kensington Museum. 6. Italian Inlay, lid of Box. South Kensington Museum. 7. Example of Unit and Ground, each of pleasing Form. 8. Scale Pattern, from Majolica Ware. 9. Mosaic Pavement found at Pompeii. 10. Scale Pattern, from Majolica Ware. 11. Plaited Reed Pattern, from New Zealand. 12. Mosaic Pavement found at Pompeii. 13. Plaited Reed Pattern, from New Zealand. 14. Counterchange, Moresque Example. 15. Inlay, Ivory and Ebony. South Kensington Mu- seum. 16. Counterchange, Modification of Fig. 14. 17. Counterchange, Moresque Example. 18. Example of Unit and Ground, each of pleasing Form. 19. Counterchange, Moresque Example. 20. From Egyptian Mummy- wrapping. British Museum. 21. Italian Example of Counterchange. 22. Counterchange, Moresque Example. 23. Semi-quatrefoil, Modification of Scale Form. 24. Right-line Ornament, Etruscan. British Museum. 25. Interlacing Bordering, Moresque. 26. Original Design on the Interlacing of Lines. 27. On Cabinet, French Renaissance, c. 1580. South Kensington Museum. 28. Geometric Pattern, Pavement, Byzantine. 29. Norman Fret Bordering. 30. Geometric Design, Byzantine. 31. Window Piercing. Cairo. 32. Counterchange, Moresque Example. 33. Geometric Pattern, Roman Mosaic. 34. Fret on Pottery, New Guinea. British Museum. 35. Counterchange, Moresque Example. 36. Counterchange, Moresque Example. 37. Example of Unit and Ground, each of pleasing Form. 38. Right-line Ornament, Etruscan. British Museum. b 39. Interlacing Bordering, Moresque. 40. Interlacing, Celtic. 41. Wood Inlay, Spanish, c. 1600, South Kensington Museum. 42. Detached Fret Forms, Chinese. ^’1 Mexican Frets. 44 -) 45. Geometric Pattern on flat Dish, Mexican. British Museum. 46. Circular Fret Form, Chinese. 47. Geometric Pattern on flat Dish, Mexican. British Museum. 48. Early Greek Vase. British Museum. 49. Zigzag, Byzantine Stone Carving. 50. Early Greek Vase. British Museum. 5I 1 52. [-Circular Fret Forms, Chinese. 53 -J ^ ^Rectangular Frets, Chinese. 55-3 56. Fret, Mexican Pottery. Museum of Economic Geology. ■’g' | Rectangular Frets, Chinese. 59. Early Fret, Greek Vase. British Museum. 60. Circular Fret Form, Chinese. 61. Disconnected Fret Forms, Chinese Pottery. 62. Fret, Peruvian Pottery. British Museum. 63. Detached Fret Forms, Chinese Pottery. South Kensington Museum. 64. Greek Fret, Vase. British Museum. 65. Early Greek Vase. British Museum. 66. Ornament from Neck of Vase, Greek. British Museum. 67. Running Fret, Greek. 68. Early Greek Fret, Vase. British Museum. 69. Running Fret, Greek. 70. Early Greek Vase. British Museum. 71. Zigzag, Early Gothic. Building at Metz. 72. Circular Fret, Japanese. South Kensington Mu- seum. 73. Disconnected Fret, Chinese. 74. German Glass, c. 1470. South Kensington Museum. 75. Geometric Design, Saxon Brooch. British Museum. X LIST OF ILLUSTRATIONS. 89. 90. 91. 92. 93 - 94. 95 - 76. Fret, Early Peruvian Pottery. British Museum. rNeck Borderings. Vases in British Museum. 7°0 79. Running Fret, Greek. So. Early Greek Vase. British Museum. 81. Running Interlacing Border, Moresque. 82. Chinese Bordering on Tile. South Kensington Museum. S3. Early Greek Fret, Vase. British Museum. 84. Running Fret, Greek. 85. Neck Bordering, Early Greek. British Museum. 86. Early Greek Fretting of Lines, Vase. British Museum. 87. Carving of Geometric Forms, Byzantine. 88. “ All-over ” Fret Pattern, Chinese. South Ken- sington Museum. Geometric Interlacing in Stone, Byzantine. Arabic “ All-over ” Fret Pattern. Celtic Zigzag. Kilklispeen Cross. Early Italian Mural Decoration. Geometric Window-opening. Orvieto. Incised Ivory, Byzantine, Eleventh Century. South Kensington Museum. Chinese Vase. Museum of Economic Geology. 96. Egyptian Mummy-wrapping. British Museum. 97. Geometric Tracery, Window-opening. 9S. Carving of Geometric Forms, Byzantine. 99. “ All-over ” Fret Pattern, Chinese Pottery. South Kensington Museum. 100. Geometric Interlacing in Stone, Byzantine. 101. Arabic “All-over” Fret Pattern. 102. ) (•Chinese Frets. South Kensington Museum. 103J 104. Geometric Wood Carving, Burmese. 105. Italian Painted Decoration. Town Hall, Sienna. 106. Central Form, “ Ball Flower,” English ; Outer Forms French, “Roundels.” 107. Ornament on Majolica Drug-bottle. South Ken- sington Museum. 108. Chequering, Greek Pottery. British Museum. 109. Tile Pavement, Modern. 1 10. Geometric Treatment, Majolica. South Ken- sington Museum. in. Wood Inlay on Furniture. South Kensington Museum. 1 1 2. Original Design to illustrate use of the Semicircle. 113. Tile Bordering to Pavement, Modern. 114. On Roman Pottery found in the New Forest. British Museum. 115. Speira or Plait Form, Renaissance Example. t 16.^ Guilloche Forms, Pottery from Nineveh. British 117.) Museum. 218. j 1 19- ) Double Guilloches, Renaissance Examples. 120. On Spanish Tile. South Kensington Museum. 1 21. On Roman Pottery found in the New Forest. British Museum. 122. Wood Inlay, Furniture. South Kensington Museum. 123. Wood Carving, Furniture. South Kensington Museum. 124. Wood Inlay, Furniture. South Kensington Museum. 125. Portion of Cornice, Italian. 126. Counterchange Pattern, Persian. 127. Painted Ornament, Egyptian. British Museum. 128. Portion of Cornice, Italian. 129. Original Design to illustrate use of the Semicircle. 130. Egyptian Ornament Based on the Square. British Museum. 131. Braiding Pattern, Modern Work. 132. Chinese Diaper, Pottery. South Kensington Museum. 133. Modern Venetian Mosaic. South Kensington Museum. 134. Greek Shield on Vase. British Museum. 135. Egyptian Saucer, Lotus and Fish. Berlin Museum- 136. Painted Diaper, Fourteenth Century, French. 137. Incised Ivory, Italian Diptych, Thirteenth Century. South Kensington Museum. 138. Carving, St. Sebalcl. Nuremburg. 139. “Pelican in her Piety,” Stained Glass. South Kensington Museum. 140. Wood Carving. Mildenhall Church, Wiltshire. 141. Braiding Pattern, Modern Work. 142. Chinese Diaper, Pottery. South Kensington Museum. 143. Mosaic. St. Mark’s, Venice. 144. The Leaf of the Clover. 145. Halfpenny of Anne, Pattern Coin. 146. Mosaic?. St. Mark’s, Venice. 147. Saxon Inscription, Arundel Marbles, Oxford. 148. Saxon Inscription, Kirkdale Church, Yorkshire. I ^' 8 Egyptian Mummy-wrappings. British Museum. I 5°-) 1 5 1. Silver Rial of Queen Mary of Scotland. 152. Kimmeridge Coal-money. 153. Jewish Shekel. 154. Device on Coin of William II. 155. Device on Coin of Stephen. 156. Device on Coin of Henry II. ^-Obverse and Reverse, Coin of Elizabeth. I 5 8 -) 159. Christian Symbol, Catacombs of Rome. 160. Egyptian Mummy-wrapping. British Museum. 1 6 1. Egyptian Representation of Water. British Museum. 162. From Tomb of Napoleon L, Paris. 163. Kimmeridge Coal-money. LIST OF ILLUSTRATIONS. XI „ [ Passion Symbols, Mediaeval. 165.3 166. Early Greek Coin. ^ 1 Passion Symbols, Mediaeval. 168. ) 3 169. Egyptian Mummy-wrapping. British Museum. 170. Early Greek Coin. 1 7 1. Assyrian Representation of Water. British Museum. 172. Sacred Animals of the Egyptians. 173. Early Christian Fish Symbol. 174. From Early Mexican Manuscript. I 7 C ^ 7 Nimbus Forms. National Gallery. 176. ) 177. Wood Carving. Bishop’s Lydiard Church, Somerset- shire. 178. 179. 180. 181. The Serpent, Mexican MSS. 182. The Hippopotamus of Typho. Museum of Economic Geology. 183. Milanese, Marble Inlay, Dolphin and Trident of N eptune. 184. Symbol of the Trinity in Unity, Old Stained Glass. 185. German Church Embroidery. South Kensington Museum. T ^ | Symbols of the Triune Deity. 188. The Serpent, Egyptian Papyrus. British Museum. 189. Greek Chimera or Griffin. 190. The Lotus, Egyptian Wall Painting, igr. Glass Quarry, Ockham Church, Surrey. 192. Tudor Rose. Worcester Cathedral. 193. Dagon, the Assyrian Sculptures. British Museum. 194. Grotesque Figure, English Decorated Period of Gothic. 195. Portion of Egyptian Altar. British Museum. 196. Portion of Incised Ornament, Egyptian Tablet. British Museum. 197. From Egyptian Papyrus. British Museum. 198. Egyptian, Serpent- worship. 199. Heraldic Eagle, Swiss Glass. South Kensington Museum. 200. Foliated Dolphin Panel, Renaissance. South Ken- sington Museum. 201. Nisroch, the Assyrian Sculptures. British Museum. 202. Branch Letter, Illuminated MS. British Museum. 203. Greek Inscription on Pedestal of Statue. Vatican. 204. Egyptian Representation of Rehoboam, King of Judah. 205. Mark on Sevres Pottery, Reign of Louis Philippe. 206. Illustration of the Character of Chinese Writing. 207. Mediaeval “ Merchants’ Marks.” °^’|Name and Title of Amunothph II. 221. \ 209. Original Design to illustrate nature of a Monogram. 210. Assyrian Monarch and Inscription. British Museum. 21 1. Original Design to illustrate nature of a Monogram. 212. Ribbon Letter, Illuminated MS. British Museum. 213. Illustration of the Character of Arabic Writing. 214. Cipher from Henri Deux Ware. South Kensington Museum. 2153 Monograms from Early English Charters. British 2163 Museum. 217. Monogram from Coin of William and Mary. 218. Illustration of the Cufic Character. 219. Monogram used by Albert Durer. 220. Design for Plan of the House of John Thorp. 222. Monogram on Papal Bull. British Museum. 223. Monogram, Maria Regina, Scottish Coin. 224. Coin, Francis and Mary of Scotland. 225. Greek Boustrophedon Inscription. 226. Device of Moneyer on Saxon Coin. 227. Illustration of the Assyrian Cuneiform Writing. 228. Device on Coin of Charles II. 22 90 230. I Ornamental Arrangements of the Letters F.E.H. 2 356 23 r. Ornamental Design to illustrate nature of Cipher. 232. Rude Form of Pottery, Assyrian. 233. Monogram of Louis Philippe on China. 234. Assyrian Painted Decoration. British Museum. 236. “Merchants’ Mark” on Mediaeval Ring. 237. Rude Form of Pottery, Early British. 238. Cipher of Louis XVI. on China. 239. Assyrian Painted Decoration. British Museum. 240. Floral Form, Assyrian Slabs. British Museum. 24r. Border to Painted Brick, Assyrian. British Museum. 242. Anthemion, Assyrian Tile. British Museum. 243. Patera on Bracelet of King, Assyrian. British Museum. 244. Border to Painted Brick, Assyrian. British Museum. 245. Portion of Assyrian Pavement. British Museum. 246. Natural Growth of the Comfrey ( Symphytum officinale). 247. Scroll Form, Ancient Peruvian Pottery. British Museum. 248. Indian Inlay Work from Agra. South Kensington Museum. 249. Charge known Heraldically as the “ Gurge ” or Whirlpool. 250. Scroll Form, Greek Vase. British Museum. 251. Shell of the Common Planorbis. 252. Fossil Scorpoid Form. Ammonite. 253. Embroidery, Early English or Thirteenth Century. 25 4. Ornament at Base of Handle, Greek Vase. British Museum. LIST OF ILLUSTRATIONS. xii 2 55- 256. 2 57- 25S. 2 59- 260. 261. 262.7 263.) Bordering to Tile, Chertsey Abbey. South Ken- sington Museum. Plan View, Natural Flower, the Herb-Robert. Pavement from Ivyonjik, Assyria. British Museum. Carving, from old Cabinet in private Possession. Floral Diaper, Chinese Vase. South Kensington Museum. Bordering of Roman Mosaic. Patera Form, Indian Embroidery. 1851 Exhibition. Original Designs to illustrate nature of Patera. 264. 7 From Tiles, Chertsey Abbey. South Kensington 264V) Museum. 265. v Small Paterae, Chertsey Tiles. South Kensington 27 1 J Museum. 266. Example from Coburg Castle, Fourteenth Century. 267. ') - Paterae, from Greek Pottery. British Museum. 268..’ 269. Rosette Form, from Romanesque Iron-work. 270. Rosette. Henry VII.’s Chapel, Westminster. 272. Example from Abbey Church of Vezelay, France, Twelfth Century. 2 7 3-h 2 7 4- ! r Panels, Elizabethan. -75- 276. J 277. Bivalve Form of Shell. 278. Florentine Stone Carving. South Kensington Museum. 279. Hinge on Bookbinding, Holbein. British Museum. 280. Indian Embroidery. 281. Byzantine Stone Carving. 282. Elizabethan Wood Carving. 283. Foliate Border, Greek Vase. British Museum. 284. The Wood-tiger Moth. 285. The Lime-hawk Moth. 286. Example of the Principle of Repetition. 287. Repetition modified by Alternation of Colour. 288. Celtic Z-Pattern. 289. Original Design to illustrate Nature of Diaper. 290. Diaper, Sevres Porcelain. South Kensington Mu- seum. 291. Diaper, Chelsea China. South Kensington Mu- seum. 292. Design on Drapery, Picture by Crivelli. National Gallery. 293. Original Design to illustrate Bi-symmetry. 294.7 Chinese Diapers, Pottery. South Kensington Mu- 295. ) seum. 296. Geometric Panels, Early English Glass. 297. Design on Drapery, Picture by Crivelli. National Gallery. 298. Geometric Panel, Early English Glass. 299. Border on Greek Vase. British Museum. 300. Embroidery, Indian. 1862 Exhibition. 301. Border on Greek Vase. British Museum. 302. Original Design for Flooring-tile. 303. Indian, Enamelling on Metal. 1S62 Exhibition. 304.7 ■Geometric Patterns, Polynesia. 3°5-7 306. String-course, Byzantine. 307. Original Design to illustrate Principle of Alternation. 308. Running Bordering, Greek Pottery. British Museum. 309. Hispano - Moorish Pottery. South Kensington Museum. 310. Foliated Bordering, Greek Vase. British Museum. 31 1. Wood Carving, Late Gothic or Perpendicular. 312. Indian Embroidery. 313. Carving from Saitron, Rajpootana. South Ken- sington Museum. 314. Floral Bordering, Greek Vase. British Museum. 315. Original Design to illustrate Principle of Alternation. 316. Indian Border, Embroidery. 317.7 o 1 Elizabethan Wood Carving. 318. ) ° 319. Design Based on Fleur-de-Lis, to illustrate Bi- symmetry. 320. Gothic Stone Diaper. Beverley Minster. 321. Original Design to illustrate Principle of Repetition. 322. Ornamental Form from Old Mexican MS. 323. Indian Embroidery Work. 324.7 Original Designs to illustrate Principle of Bi- 325. ) symmetry. 326. Gothic Diaper. 327. Carving from Saitron, Rajpootana. South Ken- sington Museum. 328. The Cactus. Old Mexican MS. 329. Embroidery on Indian Saddle-cloth. South Ken- sington Museum. 330. Foliate Border, Greek Vase. British Museum. 331. Indian, Enamelling on Metal. 1851 Exhibition. 332. Norman. Mildenhall Church, Wiltshire. 333. Pierced Stone Screen. Ahmedabad, Gujerat. 334. From Florentine Fountain, c. 1490, South Ken- sington Museum. 335. Norman. Mildenhall Church, Wiltshire. 336. From Florentine Fountain, c. 1490, South Ken- sington Museum. 337. Natural Growth ; Foliage of the Larger Scabious. 338. Wood Carving, Perpendicular. Mildenhall Church, Wiltshire. 339. Norman. Birkin Church, Yorkshire. 340. Ivory Carving, Byzantine Casket. South Ken- sington Museum. 341. Early Italian Surface Decoration. 342. Ivory Carving, Byzantine Casket. South Ken- sington Museum. list of illustrations. 343. Natural Growth ; Foliage of the Vine. 344. Roman Marble Mosaic. 345. Ornament painted on African Drinking-vessel. 346. String-course, French Romanesque. 347. J Stone Carving, Italian Renaissance. South Ken- 348. j sington Museum. 349-] 350. !- Natural Growth of the Honeysuckle. 35 !- J 35 2 0 Greek Honeysuckle Ornaments, Vases. British 3 ^ 3 - r Museum. 354- J 355. Mediaeval Embroidery, English, Temp. Elizabeth. 35 6 - 357- 358. Conventional Rosette Form, Gothic, French. 359. Blackberry, Early French. Notre Dame, Paris. 360. Early English Conventional Foliage. 361. Early French. Cathedral of Amiens. 362. Anthemion stamped in Silver on Base of Hindu Idol. 363. Design to illustrate Character of Metal-work Designs. 364. Original Design based on the Nut Plant. 365. Anthemion Form, Spanish Embroidery. South Kensington Museum. 366. Anthemion Form, French Renaissance. South Kensington Museum. 367. Original Design based on the Violet Leaf, Fig. 356. 368. Natural Growth of the Nut Plant. 369. Ivory Carving, Byzantine Carving. South Ken- sington Museum. 370. Original Design based on the Leaf of Convolvulus. 371. Norman. Mildenhall Church, Wiltshire. 372. Original Design based on the Convolvulus Plant. 373. Carving on Weapon, Swan River. British Museum. 374. Early French Gothic. 375. Spandril. Hawton Church, Nottinghamshire. 376. Diaper, Modern Wall-paper. 377. Chinese Pottery. South Kensington Museum. 378. Original Design based on the Ivy Plant. 379. Wood Carving, French, 1560. South Kensington Museum. 380. Chinese, Nankin Porcelain. South Kensington Museum. 381. Indian Running Border. 1862 Exhibition. 382. Ivory Carving, Thirteenth Century Chessman. British Museum. 383. Rhenish Glass, c. 1550, South Kensington Museum. 384. Metal Work, Elizabethan. 385. Heraldic Glass, Swiss. South Kensington Museum. 386. Stone Carving, Italian Renaissance. South Ken- sington Museum. 387. Gothic Spandril. Tomb in Hereford Cathedral. -Natural Growth of the Violet. xiii 388.7 j Early Fourteenth Century Gothic, French. 390. Diaper on Heraldic Glass, English, Fifteenth Century. South Kensington Museum. 391. Marble Inlay, Milanese. South Kensington Museum. 392. Capital, Decorated Gothic. Southwell Minster, N ottinghamshire. 393. Moorish, Palace of the Alhambra. 394. Bordering, Greek Vase. British Museum. 395. Early English Tile. British Museum. 396. Bordering, Greek Vase. British Museum. 397. From Doorway of Chapter House, Rochester Cathedral. 398. Bordering, Greek Vase. British Museum. 399. Metal Work, German. St. Mary, Rottweil, Black Forest. 400. Heraldic Glass, Swiss. South Kensington Museum. 401. Mediaeval Bookbinding. British Museum. 402. Persian. On a Plate in South Kensington Museum. 403. Original Design based on the Cross Form, Pave- ment. 404. Wood Carving, Perpendicular. Balliol College, Oxford. 405. Modern Italian Wood Carving. 406. Embroidery, Tunisian. 407. Surface Decoration, Japanese. South Kensington Museum. 408. Border of Majolica Dish. South Kensington Museum. 409. Moulding, Norman. St. Ethelred, Norwich. 410. Boss, Early English Gothic. 41 1. Natural Seaweed Forms. 412. Norman, Conventional Foliage. 413. Running Border, Greek Vase. British Museum. 4 14. 9 I Stem Sections of Water Plants. 416J 415. The Scarce Swallow-tail Butterfly. 417. Running Border, Greek Vase. British Museum. 418. Interlacing Pattern, Modern Carpeting. 419. Gothic Metal-work Crocket. 420. Gothic Stone Carving, German. 421. Early Form of Acanthus Capital. Temple of the Winds. 422. Drinking Cup, Ancient Egyptian. British Museum. 423. Interlacing Pattern, Stone Carving, Byzantine. 424. Interlacing Designs, from Celtic Monuments. 425. Nature and Construction of the Semicircular Arch. 426. Interlacing, Celtic. 427. Interlacing, Early Italian. 428. Interlacing, Byzantine. 429. Late German Gothic. 430. Interlacing of Dotted Lines, Celtic MS. 431. Embroidery in Gold on Velvet, Tunisian. c / I. II. — IV. V — VI. VII. IX. X. Whiteman frBes-z. Phots J.ithr> tjthr. Qixe^n, /^36,Hi/>iiHoll-onj. "WutemajitBaaa Fhutc -TifJu: to 1?u i^aesn 236,Hi^LlL>ll)orn- XII. XIV. Whi t r.inxji &B as ej’/u) to Jjtho to the Qitffn 236 IIi^KHflTltorn. Xvi Whitemaa&BdoS, Ph'/f:- JjOi-: tofJus/?Mai. Hulbovu. XVII . XVIII T- XIX XX. * XXI. WKitr mar ABass./^gaZiM^ 236, HiptBoItoi XXII XX ill . xxiv. ■* XXV. Wkiteuiuii&Bttss, Fhote-Lu^ fthe Qtu^.rj , ^3S.Eu'1iHi>U ru. - XXVI. ■ xxvit - ■ — "" xxvm. . xxix . X AX . Wj_i~ a man XXXI.