Design And Tradition

About this eBook

Author

Fenn, Amor, 1863-1933

Title

Design and tradition : a short account of the principles and historic development of architecture and the applied arts

Credits

Produced by Chuck Greif and the Online Distributed Proofreading Team at www.pgdp.net (This file was produced from images available at The Internet Archive)

Language

English

LoC Class

N: Fine Arts

Subject

Architecture

Category

Text

Project Gutenberg

eBook-No. 53850

Release Date

December 31, 2016

Copyright

Public domain in the USA.

Contents

1. 1.DESIGN AND TRADITION
2. 2.AUTHOR’S PREFACE
3. 3.CONTENTS
4. 4.LIST OF ILLUSTRATIONS
5. 5.CHAPTER I INTRODUCTORY — Human Limitations — “ Inspiration ” — Process and Material — Early Training — Art and Existence — “ Natural Taste ” — Commercial Production — “ Ornaments ” — Modern Development — Public Apathy — Elementary Pattern — Early Impressionism — Personal Production — Early Social Conditions — Influence — Commercial Intercourse. — Effect on Design — Ethical Side of Art — Desire for Novelty
6. 6.CHAPTER II HISTORIC REVIEW — Style. — Inter-Communication — Climate and Material — Phases in Style — The Lintel — The Arch — Egyptian — Chaldean — Greek — Roman — Vaulting — Greek Influence — Development of Ornament — Græco-Roman Painted Decoration — Domes — Early Christian Art — Metal Work and Enamel — Roman Influence Abroad — Romanesque Style — Church Development — Dark Ages — Crusades — Pointed Arch — Gothic Style — Phases of Gothic — Early Pointed — Decorated Gothic — Perpendicular Gothic — Glass Windows — Civic Influences — Effect of Commerce — Italy — Foreign Influence in England — The House — The Reformation — Renaissance — Early Exponents — Rome — Venice — Venetian Influence — Painted Decoration — Græco-Roman Influence — Early French Renaissance — Native Exploitation — English Renaissance — Italians in England — Study of Classic Style — Thomas Thorpe — Flemish Influence — Jacobean — Development in Dwellings — Evolution of Professional Designer — Inigo Jones — Louis XIII — Louis XIV — "Boule” Work — Mirrors — Louis XV — Régence — Rococo — Lacquer “Vernis Martin" — Later English Renaissances — Sir Christopher Wren — Classic Spires — Dutch and French Influences — Queen Anne Period — Early Georgian — Chippendale — Mayhew — Adam Style — Hepplewhite — Sheraton — Louis XVI — Riesener and Gouthière — Empire — Empire in England — Later English Architecture — French Influence on Europe
7. 7.CHAPTER III MOULDINGS — Purpose — The Fillet — Sheltering Mouldings — The Cavetto — Cyma Recta — Bracketing Mouldings — The Ovolo — Cyma Reversa — Binding Mouldings — The Torus — The Scotia — The Facia — Decoration of Mouldings — Orthodox Details — Angle Leaf — Dentils — Employment — Attitude — Wood Panelling — Applied Mouldings — Bolection Moulding — Plaster — Wood-turning — Metal Turning — Pottery — Metal Mouldings — Wrought Iron — Silver-work — Spinning — Repoussé
8. 8.CHAPTER IV ARCHITECTURAL PROPORTIONS — Introduction — System of Proportion — The Order — Doric Order — Ionic Order — Corinthian Order — Doric Entablatures — Mutules — Ionic Entablature — Corinthian Entablature — The Column—The Shaft — The Capital — Doric Capital — Ionic Capital — To Draw the Volute — Corinthian Capital — The Base — Doric Base — Ionic Base — Corinthian Base — The Arch — Doric Impost — Archivolt — Ionic Impost — Ionic Archivolt — Corinthian Impost — Corinthian Archivolt — The Keystone — The Pedestal — Doric Pedestal — Ionic Pedestal — Corinthian Pedestal — The Baluster — Spacing of Balusters — Balustrading — Use of Columns — Disposition and Spacing in Colonnades — Orders Above Orders — The Pilaster — Arcades — Subsidiary Order — Superimposed Orders — Rustication — Basement — Attic — The Pediment — Doors — Windows
9. 9.CHAPTER V DIVISION OF SURFACE — Wall Treatment — Ceilings — Jacobean — Carolean and Georgian — Adam Ceilings — Vaults and Domes — The Cove — The Frieze — Borders — Geometric Elements — The Undulate Line — Repetition and Alternation — Treatment of Angles — Pilaster Treatment — Panelled Pilasters — Capitals and Bases — Treatment of Panels — Juxtaposition — The Growth Line — Grouping and Massing — Division of Area — Human and Animal Life — Forms in the Round — Supports and Balusters — Standards — Proportion — Positions for Decoration — Working Drawings — The Segment or Stretch Out
10. 10.CHAPTER VI DEVELOPMENT OF CONVENTIONAL ORNAMENT — Outline Drawing — Undesirable Realism — Craft Restrictions — Materialistic Influence — Early Renderings — The Anthemion — Greek Sculptured Ornament — Acanthus Leaf — Roman Development — The Scroll — Græco-Roman — Byzantine — Romanesque — Italian Renaissance — The Husk Leaf — The Rosette — Tendrils — Nature Influence — Symbolic Employment — Consistency in Growth — Branching — Leaves — The Start — Renaissance Influence — Jacobean. — Régence — Rococo — Louis XVI — Grinling Gibbons School of Carving — Adam Style — Empire — System of the Acanthus Leaf
11. 11.CHAPTER VII TREATMENT IN DESIGN — Natural Attraction — Decorative Materials — Justification of Treatment — Undesirable Imitation — Technical Considerations — Methods of Expression — Treatment of Leaves — Surface Interest — Painted Decoration — Stencilled Work — Mechanical Production, Printed and Woven — Needlework — Appliqué — Lace — Wood Inlay — Intarsia — Veneer, Marquetry — Boule Work — Mosaic — Byzantine Use of Marble — Book Decoration — Bindings — Relief—Economic Result of Method — Desirable Treatment in Carving — Backgrounds — Reproduction Processes — Metal Repoussé — Metal, Cast — Character of Cast Work
12. 12.CHAPTER VIII MYTHOLOGY AND SYMBOLISM — Early Symbolic Ornament — Customs — Origin of Mythology — Nature Myths — Light and Darkness — Melanesian Myth — Darkness as a Devouring Monster — Season Myths — Sun Myths — Belief in Natural Phenomena — Greek and Roman Deities — Scandinavian Mythology — Rising and Setting Symbolised — Winds Personified — Predestination — The Fates — Propitiation and Sacrifice — Early Burial Customs — Taboo — Roman Lares — Typical Legend — Early Spiritual Belief — Prehistoric Treatment of Epileptics — Prohibition — Belief in Magical Qualities. — The Shirt of Nessus — Swords — Invulnerability — Belief in Numbers — Muses — Sacred Trees and Flowers, etc. — Sacred Animals — Evangelist Symbols — The Serpent — The Dragon — Poetic License in Tradition — Animals in Christian Art — Association of Human and Animal Qualities — Totemism — Cannibalism — The Sphinx — Assyrian Winged Monsters — Pegasus — The Harpy — Sirens — Pan — The Nymphs — Centaur — The Circle — Symbols of the Trinity — The Wand a Symbol of Authority — The Hand — The Caduceus — Thyrsus — The Trident — The Cross — The Pastoral Staff — Symbols of Martyrdom — Symbolism of Gems, etc. — Masks — Symbols of Time — Secular Symbols — Trophies — Heraldry — Heraldry in Design — Symbolism in Modern Art — Present Apathy
13. 13.CHAPTER IX WAYS AND MEANS — Perception — Accepted Conventions — Influence of Fashion — Harmonious Consistency — Natural Suggestion — Colour Scheme — Early Training — Nature Study — Aspect and Attitude — Treatment — Drawings for Reproduction — Opaque Colour — Enlarging and Reducing — Textiles — Wallpapers — Architectural Drawings — Structural Design — Lucid Arrangement — Mathematical Equipment — Use of the Ruling Pen — Proportional Compass — Tracings — Conclusion
14. 14.INDEX

Community reviews

Sign in to write a review.

No reviews yet.