# bib

id: 19953
author: Holmes, William Henry
txt: ./txt/19953.txt
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summary:
  FORM AND ORNAMENT IN CERAMIC ART. _Form_, as embodied in clay vessels, embraces, 1st, _useful shapes_, Clay has no inherent qualities of a nature to impose a given form or natural forms, both animal and vegetable, embodied in vessels of clay, art has acquired a multitude of new forms, some of which may be natural the art of pottery would use the stone vessels as models, and such forms probably many forms suggested by the use of the coil in vessel building, applied ornament, examples of which, from Pueblo art, are given in Fig. 479. Non-ideographic forms of ornament may originate in ideographic features, its possible origin through the modification of forms derived from In the latter art the forms of Ceramic art, Origin and development of form and Form modifies ornament in pottery 458 Origin and development of form and ornament in Origin and development of form and ornament in

title:
  Origin and Development of Form and Ornament in Ceramic Art. Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1882-1883, Government Printing Office, Washington, 1886, pages 437-466.


id: 17730
author: Holmes, William Henry
txt: ./txt/17730.txt
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extension: .txt
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summary:
  features observed upon the surface, the colors and patterns (Fig. 286), pertain to design rather than to form and will receive attention The natural colors of textile materials are enormously varied and form Having made a brief study of form and color in the textile art, I Fig. 292 illustrates the surface produced by crowding the horizontal series surface effect given by closely woven work is illustrated in Fig. 294, that American art has produced few examples of tasseled work more EXTENSION OF TEXTILE ORNAMENT TO OTHER FORMS OF ART. EXTENSION OF TEXTILE ORNAMENT TO OTHER FORMS OF ART. textile art to the parentage of geometric ornament and that the Form in textile art and its relation to ornament, with illustrations Geometric design, relations of, to textile ornament 202-244 Textile art in its relation to the development of form and ornament, Textile art in its relation to the development of form and ornament,

title:
  A Study of the Textile Art in Its Relation to the Development of Form and Ornament Sixth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1884-''85, Government Printing Office, Washington, 1888, (pages 189-252)


id: 23450
author: Delamotte, F. (Freeman)
txt: ./txt/23450.txt
cache: ./cache/23450.txt
extension: .txt
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summary:
  BOOK OF ORNAMENTAL ALPHABETS, Gothic; Church Text, Large and Small; German Arabesque; Initials for [Illustration: 11th Century, and Numerals.] [Illustration: Henry the Seventh. [Illustration: German Arabesque. [Illustration: German Arabesque. [Illustration: Metal Ornamental.] [Illustration: Numerals.] [Illustration: Numerals.] [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century. [Illustration: 16th Century.

title:
  The Book of Ornamental Alphabets, Ancient and Medieval, from the Eighth Century With Numerals, including Gothic; Church Text, Large and Small; German Arabesque; Initials for Illumination, Monograms, Crosses, &c.


id: 12625
title: Architecture and Democracy
author: Bragdon, Claude Fayette
txt: ./txt/12625.txt
cache: ./cache/12625.txt
extension: .txt
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summary:
  the first time, the author having previously paid his respects to Mr. Sullivan''s strictly architectural genius in an essay in _House and a frosting of beauty in the form of architectural style, in the democracy in his heart and let it create and determine its new forms effect of architecture by artificial illumination, and to use colored a color-evolution in architectural art. light and color expression, is the best approach to a new art of for some of the musical dissonances are of great beauty in color architectural art will become increasingly colorful. joy comes back into life, color will come back into architecture. nature, freshly sensed, will yield new symbols which art will organize things of this world which will produce a new language of symbols. need and the power to build," the spirit of great art alone is The correlation between music and architecture is no new thought; it


id: 7291
title: The Two Paths
author: Ruskin, John
txt: ./txt/7291.txt
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summary:
  the effect of art on the human mind; and they forced these questions power_ and _moral principal_; whereas art, devoted humbly and selfforgetfully to the clear statement and record of the facts of the universe, great law of art-life--can only be seen in these, the most powerful of As long as a school of art holds any chain of natural facts, the art is concerned with, great or small--over lines, over colours, works of inferior men, who present us with the greatness which we perfection in art;--then the question is, since this great man pursued beautiful and perfect art to such uses, and you want forms of inferior connection between figure-drawing and good ornamental work, in the the work was put far above the eye; but, on the other hand, as beauties THE WORK OP IRON, IN NATURE, ART, AND POLICY. THE WORK OP IRON, IN NATURE, ART, AND POLICY.


id: 39749
title: Principles of Decorative Design Fourth Edition
author: Dresser, Christopher
txt: ./txt/39749.txt
cache: ./cache/39749.txt
extension: .txt
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summary:
  glass, wall decorations, carpets, floor cloths, window-hangings, dress the materials of which the Roman works were formed were considered, ornaments produced in the best periods of art (Fig. 15). centre, by three similar lines, the colours which form a harmony; costly works of inferior character, illustrative of Renaissance art, general form of all works of furniture should first be cared for, and 4. The material of which the object is formed must always be worked in which he forms his works than of the art-effect produced. If the ornament is very good, and the pattern is the work of a true question--what form of pattern, or what character of ornament, should Clay is a most desirable material with which to form works of utility pattern being formed by portions of various coloured glass being it, if possible, be formed of coloured glass having beauty of design Precious Materials in the Form of Art-works, 117, 118.


id: 49559
title: Modern Design in Jewellery and Fans
author: nan
txt: ./txt/49559.txt
cache: ./cache/49559.txt
extension: .txt
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summary:
  is needed to make a real work of art in the form of a brooch or a swan hair-pin, his seaweed buttons in gold and silver on greenish enamel _Design for a Comb in Enamel Shell, and incrusted Gold_ Kate Fisher and Miss McBean, in whose designs for clasps, etc., enamel DESIGNS FOR JEWELLERY IN GOLD, SILVER, [Illustration: _Silver Clasps and Gold Pendants set with Opals and [Illustration: _Silver and Enamel Clasps, Pins and Brooches_ secondary value in modern art-work to beauty of line and of colour. Working in enamel is of course an independent art in itself, and to In modern decorative work, silver is now very largely used and Wagner, who has produced amongst other tasteful work a beautiful silver [Illustration: _Pendant in Gold, Silver, Enamel, and Pearl_ Executed by [Illustration: _Design for a Necklet in Silver and Enamel_ jewellery is now made entirely from gold and silver, and enamel, and


id: 42317
title: Industrial Arts Design A Textbook of Practical Methods for Students, Teachers, and Craftsmen
author: Varnum, William H. (William Harrison)
txt: ./txt/42317.txt
cache: ./cache/42317.txt
extension: .txt
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summary:
  [Sidenote: Divisions in Design Evolution and Enrichment] [Sidenote: Designing Objects with Horizontal Divisions--(_Continued_)] [Illustration: HORIZONTAL SPACE DIVISIONS OF THE PRIMARY MASS IN WOOD designer was required to form a vertical primary mass to conform with SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD major division of Industrial Arts Design, that of Surface Enrichment. [Illustration: STRAIGHT LINE SURFACE ENRICHMENT OF A SMALL PRIMARY MASS SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD--Continued [Illustration: SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD [Illustration: SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD [Illustration: SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD [Illustration: SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD [Illustration: SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD [Illustration: SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD [Illustration: SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN METAL WITH


id: 43805
title: Little Books About Old Furniture. Volume II. The Period of Queen Anne
author: Reveirs-Hopkins, A. E. (Alfred Edward)
txt: ./txt/43805.txt
cache: ./cache/43805.txt
extension: .txt
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summary:
  What is termed the Queen Anne period of furniture may be said to date 11 and 12 are simple mirrors of the Queen Anne period. Another form of decoration applied to mirror-frames of the Queen Anne Fig. 20 is an example of a toilet mirror of the Queen Anne period, the early Queen Anne period covered with Petit-point needlework, with which Fig. 23 is a large stool of the Queen Anne period with escallop-shell Fig. 32 is a simple type of Queen Anne chair with cabriole legs, carved work, as in the chests of drawers, cabinets, and clock-cases showing SIMPLE WALL MIRROR (QUEEN ANNE PERIOD) SIMPLE TOILET MIRROR (QUEEN ANNE PERIOD) SIMPLE CHAIRS (PERIOD QUEEN ANNE) SIMPLE CHAIRS WITH CABRIOLE LEGS (QUEEN ANNE PERIOD) 41 FINE CHAIR (LATE QUEEN ANNE PERIOD)] 41 FINE CHAIR (LATE QUEEN ANNE PERIOD)] 41 FINE CHAIR (LATE QUEEN ANNE PERIOD)] WRITING TABLE (QUEEN ANNE PERIOD)]


