quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
o o o o	137
of the primary mass	77
the point of concentration	52
the character of the	33
at the same time	30
on the other hand	26
in the case of	26
the manner in which	25
on the part of	23
the nature of the	22
the top of the	19
in the form of	19
surface enrichment of small	19
the part of the	19
the queen anne period	18
the victoria and albert	18
with the view of	18
the end of the	18
by the addition of	17
one of the most	17
in order that the	17
be related to the	17
victoria and albert museum	17
the form of a	17
that is to say	16
base and precious metals	16
primary masses in wood	16
enrichment of small primary	15
of the queen anne	15
small primary masses in	15
it will be seen	15
of small primary masses	15
but it is not	15
the upper portion of	14
william and mary period	14
surface enrichment of large	14
for the most part	14
the primary mass is	14
large primary masses in	14
illustrations of ornamentation by	14
the centre of gravity	14
summary of design steps	14
to the primary mass	13
of william and mary	13
form derived from a	13
is shown in fig	13
the points of concentration	13
upper portion of the	13
for the sake of	13
if the primary mass	13
the south kensington museum	13
in the way of	13
surface enrichment of clay	13
will be seen that	13
at the end of	12
of large primary masses	12
mass is divided into	12
to a great extent	12
rules a and b	12
you will find that	12
the primary mass in	12
the primary mass and	12
the surface of the	12
that there is a	12
primary mass is divided	12
the centre of the	12
with the idea of	11
points of concentration in	11
the work of the	11
the beauty of the	11
in the first place	11
from the primary mass	11
it is impossible to	11
it is well to	11
the formation of a	11
the material of which	11
in the use of	11
courtesy of berkey and	11
is an example of	11
in the hands of	11
of berkey and gay	11
the decoration of a	11
in silver and enamel	11
summary of rules rule	11
in the center of	11
in relation to the	11
berkey and gay figure	11
in the midst of	10
point of concentration in	10
is to be retained	10
of form and ornament	10
to be seen in	10
the shape of the	10
character of the primary	10
will be found to	10
the use of the	10
of this class of	10
prepare the drawing for	10
that in which the	10
must be related to	10
the architecture of the	10
it is necessary to	10
at the victoria and	10
geometric center of the	10
in the upper portion	10
by the application of	10
to the development of	10
the surface enrichment of	10
of concentration in the	10
the geometric center of	10
and otherwise prepare the	10
th and th centuries	10
otherwise prepare the drawing	10
enrichment of large primary	9
be retained between the	9
to be retained between	9
of the seventeenth century	9
the lines of the	9
retained between the values	9
are more or less	9
as shown in fig	9
be seen in the	9
the beginning of the	9
the size of the	9
the zone of enrichment	9
the curve of force	9
the warp and woof	9
is one of the	9
i do not say	9
is not to be	9
in addition to the	9
the unity of the	9
the idea of the	9
of the nature of	9
it is to be	9
the contour of the	9
may be said to	9
divisions of the primary	9
have the appearance of	9
in such a manner	9
in the same way	9
by the introduction of	9
and at the same	9
an example of a	9
as will be seen	9
manner in which the	9
but it is a	8
development of form and	8
be found in the	8
the primary mass by	8
sense of the word	8
be seen that the	8
in base and precious	8
the way in which	8
is the result of	8
for the reason that	8
it is in the	8
with the inceptive axis	8
the rest of the	8
at the top of	8
the drawing for shop	8
in proportion to the	8
surface enrichment should be	8
at right angles to	8
as far as possible	8
a certain amount of	8
as well as it	8
way in which the	8
the width of the	8
of rules rule a	8
late queen anne period	8
nature and need of	8
are to be seen	8
as may be seen	8
to the fact that	8
a lighter tint of	8
it is true that	8
a point of concentration	8
three horizontal divisions in	8
the design of the	8
of light and shade	8
to the consideration of	8
is to be seen	8
as a point of	8
to the character of	8
the proportions of the	7
of which they are	7
axis of the structure	7
three vertical divisions in	7
as well as in	7
a consideration of the	7
the international exhibition of	7
of the eighteenth century	7
drawing for shop use	7
inceptive axis of the	7
the details of the	7
a part of the	7
of the middle ages	7
coiled basket with geometric	7
in gold and enamel	7
it will be found	7
the whole of the	7
an example of the	7
to the production of	7
the sides of the	7
should be designed in	7
primary masses in base	7
the presence of the	7
in the production of	7
there can be no	7
the fact that the	7
the vertical or horizontal	7
it will be necessary	7
in a similar way	7
horizontal character of the	7
may be found in	7
the arrangement of the	7
proportions of the primary	7
to that of the	7
in accordance with the	7
by la maison moderne	7
enrichment of precious metals	7
be placed in the	7
it is possible to	7
be sympathetically related to	7
in its relation to	7
as a result of	7
the direction of the	7
the outline of the	7
pleasing to the eye	7
with the entire design	7
in order that it	7
executed by la maison	7
to be able to	7
two horizontal divisions in	7
at hampton court palace	7
point of concentration may	7
this form of enrichment	7
which is to be	7
and variety to the	7
a small amount of	7
the outlines of the	7
the property of mr	7
in the industrial arts	7
in sympathy with the	7
to a certain extent	7
as that of the	7
to the use of	7
of concentration may be	7
period william and mary	7
in accordance with rules	7
the center of the	7
in the art of	7
basket with geometric ornament	7
it is probable that	7
it is seen that	7
the relation between the	6
into three horizontal divisions	6
as well as that	6
for the purpose of	6
suggested problems design a	6
should have the appearance	6
of red and yellow	6
related to the structural	6
the life of the	6
the contours or outlines	6
the effect of a	6
in the course of	6
one or two of	6
points of concentration for	6
the development of the	6
in which there is	6
on the other side	6
by a lighter tint	6
the case of a	6
in accordance with rule	6
to the formation of	6
concentration for a fully	6
the introduction of the	6
for small objects rule	6
in appearance but be	6
within the range of	6
surface enrichment should have	6
outline enrichment should be	6
and its relation to	6
related to the structure	6
of which it is	6
it will be noticed	6
the application of ornament	6
horizontal space divisions rule	6
as a means of	6
be said to have	6
which it is intended	6
forms of surface enrichment	6
function should differ in	6
as a matter of	6
enrichment of the primary	6
as an illustration of	6
the case of the	6
hue is to be	6
suggested problem design a	6
outlines of the primary	6
can be readily seen	6
either vertical or horizontal	6
in harmony with the	6
appearance but be co	6
the side walls and	6
at the point of	6
it is better to	6
in the possession of	6
the primary mass into	6
with o o o	6
in the same design	6
ordinated with the entire	6
in function should differ	6
for a fully enriched	6
and in order to	6
in the nature of	6
enrichment of the contours	6
o o harmonises with	6
by the use of	6
parts of a design	6
harmonises with o o	6
to be regarded as	6
not be introduced into	6
to be found in	6
is a symbol of	6
surface enrichment of precious	6
or outlines of designs	6
to which it is	6
by the admixture of	6
should never appear to	6
is divided into two	6
in the decoration of	6
is divided into three	6
as though it were	6
the side walls of	6
differ in appearance but	6
it is difficult to	6
in the direction of	6
the time of the	6
the hands of the	6
decoration of a room	6
sympathetically related to the	6
design differing in function	6
the simplest form of	6
should not be introduced	6
bands and borders should	6
it is not an	6
the three primary colours	6
for the first time	6
outlines of designs in	6
slightly less than one	6
o o o harmonises	6
o harmonises with o	6
in the one case	6
the inceptive axis should	6
the dominance should be	6
as one of the	6
should differ in appearance	6
of the same colour	6
ratio of one to	6
to the structural contours	6
than that of the	6
contour and surface enrichment	6
as it can be	6
is shown in the	6
will be seen by	6
of the contours or	6
its relation to the	6
enrichment should have the	6
application of ornament to	6
of a border should	6
figure of a bird	6
it is not necessary	6
on the one hand	6
contours or outlines of	6
boundary of the rectangle	6
to be seen from	6
of concentration for a	6
differing in function should	6
as shown in figure	6
in the presence of	6
parts of the design	6
on account of the	5
draw the primary rectangle	5
should be regarded as	5
the mass of the	5
in so far as	5
a great variety of	5
it would be well	5
may or may not	5
bear in mind that	5
worthy of the most	5
work and side walls	5
portions of the design	5
reduced in chroma to	5
for the exercise of	5
la maison moderne plate	5
in the international exhibition	5
the top and bottom	5
be used as a	5
be appropriate to the	5
or two of the	5
furniture of this period	5
in order to the	5
all parts of the	5
o o o yellow	5
reign of queen anne	5
same motive expressed in	5
in the textile art	5
be located at the	5
a vertical primary mass	5
so as to give	5
may be seen in	5
the consideration of the	5
of the side walls	5
appear to have been	5
of the same motive	5
wood work and side	5
end of the seventeenth	5
the expression of the	5
with which we are	5
such a manner that	5
within the reach of	5
forms of the same	5
do not say that	5
above or below the	5
with that of the	5
the result of a	5
a queen anne bedroom	5
in the designing of	5
to the study of	5
or horizontal character of	5
the purpose for which	5
british museum th century	5
interlacing strands of different	5
about the colour of	5
in the absence of	5
the colour of the	5
the appearance of having	5
new and revised edition	5
the length of the	5
horizontal divisions in wood	5
the influence of the	5
the center line of	5
movement of the border	5
higher in chroma than	5
it is capable of	5
is a matter of	5
the hand of man	5
the arms of the	5
of the most careful	5
of works of furniture	5
of the warp and	5
of the art of	5
a great deal of	5
as is shown in	5
the same motive expressed	5
woven in with the	5
more than three vertical	5
to a large extent	5
it is said that	5
side walls and ceilings	5
it is readily seen	5
so far as it	5
the history of the	5
of the textile art	5
presence of the three	5
will be noticed that	5
a symbol of the	5
for wood work and	5
there is no reason	5
relation to the development	5
of the application of	5
to be used as	5
in the light of	5
join a straight line	5
is true that the	5
the indians of the	5
of tools and materials	5
that it should be	5
to be seen at	5
produced by interlacing strands	5
i have sought to	5
of the human figure	5
is the work of	5
of industrial arts design	5
vertical or horizontal character	5
and numerous wood engravings	5
placed in the center	5
may be divided into	5
pattern produced by interlacing	5
be in harmony with	5
vertical divisions in metal	5
the body of the	5
motive expressed in different	5
for large primary masses	5
is a far more	5
in which it is	5
the works of the	5
give a sense of	5
the chinese and japanese	5
he will show you	5
to the surface of	5
takes the form of	5
the addition of the	5
on queen anne period	5
in terms of the	5
that it is a	5
to answer the end	5
we find that the	5
the natural color of	5
it is interesting to	5
a unit of measurement	5
are to be found	5
may be regarded as	5
should be applied to	5
enrichment of large masses	5
as if it were	5
other branches of art	5
it is not so	5
the spirit of the	5
a few years ago	5
and he will show	5
as well as for	5
by the fact that	5
one side of the	5
it is desirable to	5
of which we have	5
will apply equally to	5
toward the point of	5
a knowledge of the	5
in chroma than the	5
eight parts of blue	5
i have said that	5
expressed in different arts	5
the fact that it	5
appearance of having been	5
masses in base and	5
the addition of a	5
from a consideration of	5
the effect of the	5
i do not mean	5
the reign of queen	5
the middle of the	5
primary masses in precious	5
the very nature of	5
after the manner of	5
by reason of the	5
is found in the	5
of the human form	5
range of chroma for	5
that in order to	5
the form of the	5
from one of the	5
the feet of the	5
part of the design	5
as can be readily	5
one of the first	5
be seen at the	5
outline enrichment of the	5
for the eye to	5
character of the material	5
in silver and enamels	5
or it may be	5
by interlacing strands of	5
with regard to the	5
two vertical divisions in	5
courtesy of the elverhoj	5
points of concentration and	5
of one or two	5
as an example of	5
than three vertical divisions	5
strands of different colors	5
as we have already	5
i have already shown	5
in the centre of	5
i do not know	5
govern the application of	5
between the side walls	5
relation between the side	5
to be considered in	5
well as that of	5
the result of the	5
into two or three	5
art of mobile color	5
other parts of the	5
may be called the	5
the elverhoj colony figure	5
to the intended service	5
should be placed in	5
a large number of	5
may be seen at	5
of the northwest coast	5
relation to the structural	5
be used in the	5
the primary mass of	5
one and the same	5
of the elverhoj colony	5
the plane of the	5
one of the chief	5
dimension and otherwise prepare	5
be regarded as an	4
order that it be	4
of the object to	4
maison moderne plate illustration	4
we give an illustration	4
apparently strengthen good structure	4
this being the case	4
idea of the designer	4
that will harmonize with	4
they should be treated	4
to the service of	4
may be taken as	4
the right and left	4
a curve should join	4
a small portion of	4
in the formation of	4
is not an art	4
walls of the room	4
center of the design	4
in conjunction with the	4
is placed on a	4
applied and constructive design	4
are for the most	4
idea of the subject	4
was shown in the	4
will be necessary to	4
its relation to industrial	4
in the name of	4
sense of oneness or	4
for which it is	4
by reason of their	4
it must not be	4
in connection with this	4
and character of the	4
or may not be	4
and there is no	4
it is curious that	4
the same time be	4
horizontal divisions in metal	4
of the character of	4
they should be so	4
what is the effect	4
to be made in	4
beyond the compass of	4
to be of the	4
is that of a	4
plane of the paper	4
and the point of	4
the center section with	4
this is not all	4
answer the end proposed	4
a reduction to one	4
the proportions in which	4
the weight of the	4
shown in the international	4
of art in the	4
to the outlines of	4
or soften necessarily heavy	4
mass of the table	4
not interfere with the	4
but this is not	4
the folds of the	4
in mind that the	4
a manner that the	4
which it has to	4
the apparent size of	4
there is but one	4
which it is formed	4
and we have the	4
chroma than the side	4
beginning of the eighteenth	4
so that it may	4
a matter of course	4
in chroma and value	4
if you want to	4
if we are to	4
vertical divisions in clay	4
on account of their	4
origin and development of	4
center of the primary	4
is known as the	4
and subordinated to the	4
to the structural outlines	4
the ends of the	4
at the beginning of	4
color of the wood	4
and you will find	4
we give an example	4
to industrial arts design	4
express the idea of	4
areas are to be	4
which i have sought	4
of horizontal space divisions	4
point of concentration should	4
is sure to be	4
in order that we	4
or a group of	4
a sense of oneness	4
as well as to	4
vertical divisions in wood	4
the guild of handicraft	4
in such a position	4
in upper portion of	4
the upper part of	4
in beaten silver and	4
that i have ever	4
the operation of the	4
divisions for large primary	4
with relation to the	4
the effect will be	4
a more or less	4
of interest in the	4
found to be a	4
out of place in	4
a neutral in decorative	4
the contour of a	4
of the new testament	4
care must be exercised	4
center of each margin	4
cut across the grain	4
ashbee executed by the	4
to the extent of	4
the front of a	4
under rules a and	4
contrast with the background	4
accordance with rule a	4
use of surface enrichment	4
best that is in	4
straight line with either	4
and the primary mass	4
brought about by the	4
is seen in the	4
it can be done	4
surface and contour enrichment	4
surface enrichment and minor	4
or right angle junction	4
and development of form	4
appendage and primary mass	4
is made up of	4
into the nature of	4
the ratio of one	4
the use of values	4
as it is called	4
is a man of	4
be added to the	4
to the side walls	4
main movement of the	4
forms draw a rectangle	4
in the habit of	4
work is to be	4
parts of one design	4
in the shape of	4
interest to large unbroken	4
of the use of	4
borne in mind that	4
the processes by which	4
character of the architecture	4
free ornament for partly	4
be borne in mind	4
with either a tangential	4
as a basis for	4
upon the character of	4
the use of enamel	4
and it will be	4
the pima indians of	4
added to the primary	4
in regard to the	4
it would have been	4
the height of the	4
pima indians of arizona	4
chairs of this period	4
below the geometric center	4
with the point of	4
of oneness or unity	4
the upper surface of	4
what is known as	4
the same is true	4
the surface to which	4
it must be admitted	4
in common with the	4
of one to three	4
be reduced in chroma	4
order to do this	4
to think for himself	4
coloured plates and numerous	4
i have endeavoured to	4
used as a point	4
i am not fond	4
line with either a	4
into the form of	4
the best that is	4
the order of intersection	4
of the industrial arts	4
the age of the	4
of the rookwood potteries	4
the hues of the	4
o o o blue	4
at the bottom of	4
neutral in decorative work	4
color and its relation	4
the center of each	4
the main movement of	4
of some of the	4
the study of the	4
tint of the side	4
the production of a	4
of the architecture of	4
primary mass should have	4
apparent size of a	4
appropriate to the material	4
the colours of the	4
major divisions of the	4
cannot fail to be	4
of the surface enrichment	4
applied to the surface	4
executed by the guild	4
with the thought of	4
a common form of	4
be noticed that the	4
must be exercised in	4
and to each other	4
the primary mass for	4
one or the other	4
should be such as	4
is seen that the	4
will do well to	4
it is not to	4
nothing can be more	4
material of which it	4
is no reason why	4
in the manner of	4
not be used in	4
support or apparently strengthen	4
it must ever be	4
it is of the	4
color scheme for a	4
regard to the use	4
a tangential or right	4
add interest to large	4
the reverse of the	4
form and ornament in	4
there is in the	4
be exercised with regard	4
relation to the side	4
the same as in	4
be introduced into the	4
be one of the	4
at the crystal palace	4
to the influence of	4
it is almost impossible	4
in the construction of	4
tray with geometric ornament	4
be in the upper	4
center line of the	4
at the time of	4
new and cheaper edition	4
be found to be	4
primary mass and its	4
of a design and	4
should not be used	4
coinciding with the inceptive	4
by means of the	4
tint of the same	4
complementary relation to the	4
exercised with regard to	4
the whole of its	4
complete in three vols	4
by the character of	4
from its very nature	4
but that it is	4
art in its relation	4
a straight line with	4
should be in the	4
surface enrichment must be	4
in the proportions of	4
for side walls and	4
the development of form	4
there is only one	4
of the crystal palace	4
the latter is a	4
of the textile system	4
it is far otherwise	4
would be produced by	4
the first of the	4
of rules a and	4
modified by ideographic association	4
is the product of	4
of concentration and the	4
of the material of	4
the ornament of the	4
of what should be	4
the simplicity of the	4
in a satisfactory manner	4
the period of the	4
primary mass of the	4
it seems to me	4
the vertical lines of	4
lower portion of the	4
to the laws of	4
point of concentration and	4
the furniture of the	4
into two horizontal divisions	4
to be used in	4
the use of a	4
it is found that	4
curve should join a	4
of the inceptive axis	4
as in the case	4
a piece of furniture	4
be worked in the	4
at the present time	4
the horizontal divisions of	4
herring bone and checker	4
textile art in its	4
the ceramic art is	4
side walls and furniture	4
the northwest coast indians	4
in the last analysis	4
with reference to the	4
or below the geometric	4
natural color of the	4
chippendale and his school	4
an art of mobile	4
brooch in silver and	4
cylindrical forms draw a	4
it has to be	4
the inceptive axis and	4
coiled tray with geometric	4
size of a room	4
variety to the design	4
type of design unit	4
feet inches high with	4
vertical lines of the	4
may be applied to	4
it is not the	4
in the proportion of	4
the appearance of the	4
of the hue rectangle	4
by the laws of	4
praise him for his	4
the greater part of	4
what i have said	4
with special reference to	4
designed to be seen	4
precious stones designed by	4
that of the body	4
it will be observed	4
as it is in	4
center lines of the	4
contour or outline enrichment	4
of one of the	4
is at right angles	4
that as well as	4
reduced in chroma and	4
is readily seen that	4
from that of the	4
the upper and lower	4
centre of gravity is	4
designed in unity with	4
as far as i	4
we have now to	4
so that it is	4
soften necessarily heavy construction	4
of the united states	4
care should be taken	4
by referring to the	4
in unison with the	4
in order to do	4
in which i have	4
the introduction of a	4
relation to industrial arts	4
manner in which they	4
but it must be	4
the area of the	4
is not the case	4
influence of tools and	4
be determined by the	4
the art of pottery	4
we now come to	4
for small primary masses	4
should join a straight	4
of the fourth dimension	4
should be determined by	4
enrichment must be related	4
in the days of	4
the position of the	4
by means of a	4
for the expression of	4
horizontal divisions in clay	4
it becomes necessary to	4
the various forms of	4
or apparently strengthen good	4
a great number of	4
space divisions rule a	4
the end proposed by	4
oppression of the poor	4
the art of the	4
in clay and metal	4
appears to have been	4
of compactness or unity	4
of the same period	4
with the use of	4
probably modified by ideographic	4
lighten or soften necessarily	4
it is well for	4
the inceptive axis of	4
should be exercised with	4
by the guild of	4
a bird woven in	4
the midst of the	4
if we were to	4
in the surface enrichment	4
in the history of	4
which there is a	4
the development of a	4
the end of a	4
greater than that of	4
tangential or right angle	4
the houses of the	4
we have to deal	4
of enriching the surface	4
be exercised in order	4
what may be called	4
upon the plane of	4
i cannot too strongly	4
will harmonize with the	4
with the horizontal divisions	4
in the arrangement of	4
unit of measurement for	4
either a tangential or	4
esthetic attributes of form	4
the proportion of the	4
is the complement of	4
through the centre of	4
with the change of	4
any amount of colour	4
the top portion of	3
parts differing in function	3
be out of place	3
be retained within the	3
are a number of	3
harmony with the surroundings	3
may be used with	3
as to avoid the	3
a principle of order	3
from a nearer point	3
progression of minor horizontal	3
from the use of	3
upon whatever is near	3
primary mass as either	3
must be so designed	3
divisions of rules a	3
introduced into surface enrichment	3
as low light and	3
form contrast with the	3
enrichment should be related	3
the substance of the	3
bishop of gloucester and	3
enrichment of vertically placed	3
and its contents should	3
if the grain crosses	3
introduced into the same	3
be designed in unified	3
of an analogous hue	3
well as it could	3
the project may be	3
as a rule the	3
do that as well	3
dominate all color schemes	3
stone or enamel used	3
of the design and	3
masses in precious metal	3
or enamel as a	3
scheme of a room	3
reigns of william and	3
but there is no	3
of the soul of	3
must be either vertical	3
the treatment of the	3
of the end of	3
be seen by reference	3
to the present time	3
series of rising planes	3
be enriched must admit	3
may be made to	3
in clay should be	3
smaller horizontal masses or	3
so designed as to	3
mass must be either	3
all surface enrichment should	3
lines in sympathy with	3
was at this time	3
the lateral movement dominates	3
seen at hampton court	3
have the stone as	3
each mass toward the	3
that all of the	3
latter part of the	3
the decrease in the	3
supply contrast to a	3
cheapen both process and	3
as a part of	3
of a bird woven	3
appearance of flowing smoothly	3
spots or areas should	3
should be thought out	3
parts of the world	3
sir christopher wren and	3
should neither apparently rise	3
as strong as the	3
chroma to a minimum	3
the stoning of st	3
or fully enriched surfaces	3
enamel should not be	3
the front of whitehall	3
should be approached by	3
the range of three	3
is to be discouraged	3
stone or enamel as	3
to be enriched must	3
and thus adapted to	3
to a design but	3
form in textile art	3
it is clear that	3
are usually reduced to	3
part of the wall	3
from the standpoint of	3
of textile ornament to	3
when seen from the	3
other furniture of the	3
well to have the	3
mass for utilitarian purposes	3
part of the decorative	3
of the ancient peruvians	3
it will be of	3
is that in which	3
between the primary mass	3
middle and low dark	3
high light and low	3
silver and enamels kate	3
it is customary to	3
concentration in the center	3
how they should be	3
or horizontal in proportion	3
never have a prominent	3
point of concentration for	3
toward surface enrichment should	3
set against the poor	3
leading lines in sympathy	3
it must be consistent	3
but there is a	3
be seen in folds	3
for vertical surfaces may	3
average wood stain is	3
for it is the	3
should have the higher	3
to one principal zone	3
courtesy of the rookwood	3
gold brooches designed by	3
of a design differing	3
fact that it is	3
placed side by side	3
is to be placed	3
by this material tends	3
and surface enrichment should	3
in the contour of	3
books about old furniture	3
generally sufficient to supply	3
a direction at right	3
preliminary steps toward surface	3
divisions of equal size	3
the practice of the	3
ceilings should usually be	3
chroma in surface enrichment	3
if i may thus	3
as an unobtrusive setting	3
be selected from one	3
of chroma may be	3
contrast than the remaining	3
and to the panel	3
but in order that	3
to the other hues	3
of surface enrichment to	3
of this type of	3
than the side walls	3
and proportionately related to	3
recede from the eye	3
and side walls should	3
a design and influenced	3
clay must be so	3
in very early times	3
design but still retain	3
the range of four	3
range of five values	3
be much higher in	3
thought to their coherence	3
on the outside of	3
are to a great	3
a distance equal to	3
the industrial arts designer	3
we find the complement	3
the appendage to the	3
surface enrichment should at	3
enrichment should have an	3
type of queen anne	3
must toil for it	3
portion of vertical elements	3
is by no means	3
from the pima indians	3
but i do not	3
plaques of stone or	3
a stone or enamel	3
project may be much	3
stones or enamel should	3
a william and mary	3
all component parts of	3
to the designing of	3
of a number of	3
of concentration should form	3
and there is not	3
sequential progression of minor	3
made to this under	3
be used in designing	3
section with varying widths	3
in the middle of	3
appear to rise abruptly	3
should be subordinated to	3
to the purpose for	3
in the most simple	3
the other hues by	3
as we have just	3
of which is not	3
a carpet should present	3
an average wall hue	3
opposed to the main	3
should make slightly stronger	3
the upper or the	3
that one of the	3
lambert executed by p	3
usually be reduced in	3
fully enriched panel and	3
oneness or unity to	3
such a manner as	3
inceptive axis and above	3
of the most beautiful	3
marginal points of concentration	3
as much as you	3
in the time of	3
for large masses should	3
enrichment should neither apparently	3
of the victoria and	3
they should not be	3
value and chroma contrast	3
of the curve of	3
stone should never appear	3
the symbol of the	3
those of the primary	3
is usually located in	3
the textile art is	3
more smaller horizontal masses	3
are expressed by the	3
obtained from the apache	3
of a greek temple	3
involving the use of	3
fitted to answer the	3
border should move in	3
adapted to the character	3
on the surface without	3
in precious metals should	3
as either vertical or	3
of a building should	3
never appear to rise	3
of both primary mass	3
preferable where variety of	3
may have a strongly	3
as soon as the	3
attention in the same	3
emphasized by one hue	3
according to the intended	3
there is nothing in	3
by the employment of	3
with the exception of	3
divided into three vertical	3
by far the greater	3
in which it can	3
that a carpet should	3
thought out before they	3
retained within the range	3
primary mass may be	3
measure of each mass	3
used as to avoid	3
a fan painted on	3
the main forward movement	3
enrichment type of design	3
any more than the	3
as well as those	3
retain its value unity	3
must be carefully considered	3
reduction of slightly less	3
be subordinated to and	3
by reason of its	3
furniture of the period	3
seems to have been	3
as well as a	3
related to the panel	3
the reach of the	3
is to be found	3
connecting them must be	3
grain of the wood	3
as a necessity of	3
or glaring contrasts with	3
designs for small primary	3
within the limitations of	3
chairs of the queen	3
should have a consistent	3
three values or less	3
the use of two	3
the last of the	3
of belonging to the	3
in a lesser degree	3
may be emphasized by	3
quite similar to the	3
of a working drawing	3
the importance of this	3
sufficiently reduced in chroma	3
the wants resulting from	3
the outcome of a	3
the larger mass or	3
modeled decoration in clay	3
center or in its	3
so formed as to	3
designed in unified relation	3
in order to secure	3
be increased in proportion	3
increased in proportion to	3
of surface enrichment for	3
at the time when	3
of metal necessary to	3
exercised in order that	3
with the remaining divisions	3
forms outline curves with	3
the axes of symmetry	3
plane of that surface	3
two horizontal and three	3
a design differing in	3
new and cheap edition	3
poker as an ornament	3
should be related and	3
side by side with	3
should parallel or be	3
points or units of	3
is identical with the	3
the music of the	3
tends to cheapen both	3
will show you that	3
related to essential parts	3
are given in the	3
eye should be attracted	3
the red cross community	3
used in the same	3
for a small area	3
bird woven in a	3
the pattern is to	3
as a means to	3
all ware must be	3
to the effect of	3
even in the most	3
correct value and chroma	3
the lanes or margins	3
to the structural surfaces	3
an average ceiling hue	3
or areas should be	3
other zones should be	3
by means of which	3
of five values is	3
a man of knowledge	3
interlaced style of weaving	3
are of the very	3
be consistent with the	3
withstand the action of	3
when and where to	3
should be simple and	3
an extreme range of	3
new york central terminal	3
of the design is	3
painted on silk by	3
of the beauty of	3
or horizontal according to	3
five to ten pounds	3
the formation of works	3
be so used as	3
amount of chroma may	3
action of heat to	3
insure unity of design	3
is the way in	3
must be consistent with	3
the type of design	3
be bolder than similar	3
the structural contours but	3
when viewed from a	3
between the enamel and	3
simple and bold and	3
in other branches of	3
is the fact that	3
when the work is	3
lines similar in character	3
in order to see	3
should be so used	3
by their forms and	3
the thought of the	3
the spirit of democracy	3
base and precious metal	3
a confusion of tongues	3
inceptive axis should be	3
meet the needs of	3
this has been done	3
of minor horizontal space	3
of vertical space divisions	3
be strongly dynamic and	3
work of the northwest	3
such and such a	3
there is not one	3
with the advent of	3
similar in character and	3
by sequentially reducing the	3
and it is probable	3
the crystal palace at	3
at the expense of	3
chased enrichment should have	3
shallow circular forms draw	3
small one or two	3
values middle and low	3
a long period of	3
at the bottom and	3
to the period of	3
instruction sheet plate is	3
colored by a lighter	3
and in front of	3
but must not obscure	3
essential parts of a	3
concentration may be emphasized	3
of the human body	3
post free on application	3
have already shown that	3
late seventeenth and early	3
the amount of chroma	3
have not time to	3
the skill with which	3
the penn wampum belt	3
average ceiling hue is	3
be outlined with a	3
may be in its	3
as high light and	3
should be within the	3
still retain its value	3
the divisions should be	3
in a great measure	3
to the lateral movement	3
of an object and	3
ceilings should be colored	3
enrichment should never appear	3
the bearing of this	3
have the higher planes	3
one axis of a	3
especially whenever the latter	3
lane or margin between	3
primary mass in clay	3
a prominent contrary motion	3
with a view to	3
to do that as	3
the tops of the	3
and constructive design principle	3
this hue should make	3
range will accomplish this	3
below the surface to	3
the same way that	3
in the area of	3
in and around the	3
the appearance of flowing	3
or by a lighter	3
is the centre of	3
it has been found	3
contrast with the metal	3
and some of the	3
some lines similar in	3
the reign of william	3
enrichment should be regarded	3
considered in this chapter	3
such as that of	3
for a room should	3
group will be related	3
to the rest of	3
formed in the eye	3
is of the utmost	3
part of a border	3
side walls and ceiling	3
contrasting in value to	3
to large unbroken and	3
with one axis of	3
the lower portion of	3
to give to the	3
as a source of	3
axis of a stone	3
the surface without thought	3
of such a character	3
selected from one of	3
colors of the spectrum	3
and influenced by their	3
or complementary relation to	3
a case in point	3
to which all ware	3
enrichment should be thought	3
as is the case	3
precious metals should call	3
upper portion of vertical	3
of the decorative color	3
the hue of the	3
approached by a series	3
i can say little	3
is illustrated in fig	3
and ornament in ceramic	3
of the surface to	3
enriched square panel may	3
two or more of	3
outline curves with a	3
a copy of a	3
is almost impossible to	3
the curve of the	3
a strongly upward movement	3
be either in the	3
smaller division or divisions	3
to the nature of	3
as to the nature	3
difficult for the eye	3
surfaces should be based	3
call for a reduction	3
enrichment should parallel or	3
located in and around	3
ceiling hue is to	3
the same relation to	3
partake of the main	3
the side walls or	3
vertical surfaces may have	3
in the last paris	3
movement in addition to	3
to be located at	3
a primary mass may	3
pin in beaten silver	3
lord bishop of gloucester	3
stronger value and chroma	3
or margins between enameled	3
commentary for english readers	3
be thought out before	3
given in the following	3
may be developed by	3
the chest of drawers	3
in the same manner	3
should be based and	3
and by sequentially reducing	3
where variety of hue	3
the principles on which	3
of a high order	3
contours of fully enriched	3
at the corners or	3
enrichment should be subordinated	3
vertical or horizontal in	3
and chroma contrast than	3
right and left of	3
to lead the eye	3
and ceiling should be	3
a room should bear	3
in the separation of	3
in the example given	3
usually not reduced to	3
is given in fig	3
lead us to see	3
turning points or units	3
or the lower section	3
surfaces to be enriched	3
the color of the	3
borders intended for vertical	3
transparent and opaque stones	3
each other and to	3
three or more smaller	3
surface effect produced by	3
in the field of	3
be within the range	3
an appearance of compactness	3
is no doubt that	3
of the three primary	3
in one of the	3
areas should be so	3
is a sort of	3
higher planes near the	3
presence of either stone	3
for surface enrichment should	3
i know of no	3
the textile system of	3
appendage should be designed	3
green o o o	3
in its center or	3
the base of the	3
this is usually located	3
they would have found	3
scheme for a room	3
before they are drawn	3
designer for two reasons	3
design unit for large	3
thoroughly related to the	3
early in the eighteenth	3
never appear to compete	3
or margin between the	3
have an appearance of	3
measurement in accordance with	3
planes near the point	3
in surface enrichment calls	3
it is only necessary	3
in addition to this	3
bone and checker patterns	3
walls or by a	3
larger mass or masses	3
to the size of	3
be said to be	3
the extent of the	3
using this form of	3
in gold and silver	3
certain portions of the	3
are usually located in	3
light and low light	3
which we often see	3
the representation of a	3
or repeat some lines	3
zones should be subordinate	3
and is to be	3
fully enriched surfaces should	3
must admit of enrichment	3
chest of drawers on	3
or in its outer	3
been the result of	3
the possession of mr	3
of analogous hues should	3
related to the outlines	3
and will consist of	3
a funnel to collect	3
to the parent mass	3
of the history of	3
i was inclined for	3
the difference between the	3
similar proportion difficult for	3
point of greatest curvature	3
the period under review	3
direction to those of	3
of heat to which	3
and direction to those	3
are given in figs	3
be taken as a	3
the making of a	3
and early eighteenth centuries	3
analyze into rules a	3
as to be able	3
narrower than the lane	3
which they are made	3
dominant arrangements of hues	3
portion of the panel	3
there is a tendency	3
group of analogous hues	3
a number of examples	3
we praise him for	3
the offices of the	3
historic ornament should not	3
upward movement in addition	3
and point of concentration	3
may be seen by	3
regarded as an unobtrusive	3
to those of the	3
to this under rule	3
masses or sections by	3
it is to enrich	3
as far as they	3
wall colors are usually	3
of the designer for	3
to the right and	3
from five to ten	3
axis and above or	3
there is no doubt	3
the point of view	3
room should bear a	3
division or divisions to	3
with varying widths in	3
in area and similar	3
of arts and crafts	3
in the treatment of	3
the origin of the	3
the use of surface	3
from each other by	3
but should be approached	3
in the inceptive axis	3
cross community club house	3
right boundary of the	3
the action of heat	3
rectangle into two or	3
be either vertical or	3
division should be the	3
if reduced to a	3
would have to be	3
bottom and by sequentially	3
the author has been	3
horizontal and three vertical	3
the project as ring	3
primary mass and repeat	3
will be related to	3
of the principles of	3
the most perfect and	3
of the utmost importance	3
to the right or	3
as i have already	3
divided into two horizontal	3
of the introduction of	3
or masses at the	3
a vertical tendency should	3
for low cylindrical forms	3
be colored by a	3
first introduced into england	3
color schemes for wood	3
varying widths in the	3
high cylindrical forms draw	3
primary mass and point	3
seen from a distance	3
panel may be in	3
which all ware must	3
latter is a stone	3
fully enriched panels should	3
let me say that	3
vertical panel should be	3
having been scattered on	3
of flowing smoothly and	3
into three vertical divisions	3
parts of a border	3
a wide range of	3
in panels should be	3
be approached by a	3
much higher in chroma	3
it to be a	3
the period of william	3
of the following groupings	3
in the eighteenth century	3
the action of the	3
the art of jewellery	3
which we have been	3
as to be almost	3
to one of the	3
application should mark the	3
in the pursuit of	3
should mark the use	3
proportion difficult for the	3
the back of the	3
now on the market	3
that it is not	3
both primary mass and	3
of three values or	3
or three vertical divisions	3
side of the center	3
of historic ornament should	3
parallel or be related	3
each component part of	3
hue should make slightly	3
similar to that of	3
enrichment of flat planes	3
the lower and right	3
be lost sight of	3
and one each of	3
it seemed to me	3
the presence of either	3
surface without thought to	3
for which they are	3
curves with a vertical	3
the time of william	3
the use of clay	3
links connecting them must	3
respect her for her	3
form strong or glaring	3
may be added to	3
for a reduction to	3
the point of greatest	3
border should be strongly	3
scattered on the surface	3
and chroma in surface	3
form originating in basketry	3
to the panel it	3
make slightly stronger value	3
by a series of	3
beaten silver and enamel	3
mass toward the smaller	3
material tends to cheapen	3
values is generally sufficient	3
values light and middle	3
of the william and	3
and support the structure	3
it is possible that	3
concerns itself with the	3
than similar designs for	3
a quarter of an	3
to say the least	3
may be used in	3
mass and repeat its	3
which a number of	3
reason for this is	3
conservative application should mark	3
in the seventeenth century	3
enrichment should never form	3
the center division should	3
of this form of	3
would be necessary to	3
three vertical divisions are	3
of what may be	3
carved surface enrichment should	3
between the values middle	3
the point where the	3
enrich the entire surface	3
correct color for surface	3
jewellery and fans by	3
hue of the wood	3
partly or fully enriched	3
panel should be in	3
value and chroma range	3
panel coinciding with the	3
line of the panel	3
may be increased in	3
at a glance that	3
hue related to the	3
the appendage should be	3
abruptly from the primary	3
spots should be narrower	3
dependent outline enrichment should	3
through and coincide with	3
it is possible for	3
horizontal according to the	3
or be related to	3
free ornament should be	3
contrast to a design	3
in the lower portion	3
the bulk of the	3
area and similar in	3
are not to be	3
with a certain set	3
in open twined combination	3
enrichment should add grace	3
any part of the	3
the new york central	3
crystal palace at sydenham	3
brooches in chased gold	3
have their turning points	3
and are examples of	3
around the inceptive axis	3
contours but must not	3
in a state of	3
be introduced into surface	3
vertical divisions are required	3
located upon the primary	3
must in all cases	3
value range of side	3
masses are usually located	3
should pass through and	3
respecting the harmony of	3
not an art for	3
to supply contrast to	3
to the colour of	3
the stone should never	3
which if you destroy	3
to be sufficiently reduced	3
to be looked at	3
of surface enrichment of	3
point of concentration be	3
of the work is	3
the greatest amount of	3
design simple contour enrichment	3
surfaces may have a	3
of hue is desirable	3
of the works of	3
of having been scattered	3
located in the area	3
the stone as the	3
into the same design	3
hand boundary of the	3
a flat surface may	3
repulsive forms should not	3
the remaining divisions of	3
into which it is	3
concentration in free enrichment	3
exceptions may be made	3
unity between the primary	3
is well shown in	3
the panel contour and	3
into three or more	3
division of industrial arts	3
designed by orazzi executed	3
portion of the design	3
necessary in order to	3
this point of view	3
or more smaller horizontal	3
of design unit for	3
pendant in gold and	3
of the south kensington	3
to a minimum reduction	3
vertical tendency should have	3
end proposed by its	3
hues should dominate all	3
above nor drop below	3
widths in the upper	3
should be either in	3
the manner of the	3
should be strongly dynamic	3
figures from a peruvian	3
variety of hue is	3
schemes for wood work	3
and do you suppose	3
and contrasting in value	3
unity to the design	3
equal in area and	3
i do not speak	3
well as it can	3
be produced by the	3
are usually not reduced	3
of slightly less than	3
but harmonizing with it	3
vessels copied in pottery	3
a manner as to	3
in this case the	3
or unity to the	3
divisions to be located	3
christopher wren and grinling	3
value to the rest	3
heat to which all	3
the higher planes near	3
the attention from the	3
have said that the	3
time be sympathetically related	3
of design in panels	3
far as i know	3
clay should be simple	3
or divisions to be	3
large masses should be	3
the grain of the	3
concentration should form contrast	3
dominance should be placed	3
to which they are	3
seen by reference to	3
shape of the object	3
in a general way	3
the erie county savings	3
usually located in the	3
the courtesy of the	3
panels should parallel the	3
architecture of the building	3
divisions should be equal	3
in chroma to three	3
should be retained within	3
which may or may	3
should be subordinate to	3
rise above nor drop	3
lighter tint of the	3
strong or glaring contrasts	3
four values or less	3
seventeenth and early eighteenth	3
the highest point above	3
or enamel should not	3
echo or repeat some	3
enriched panels should parallel	3
and all its greatness	3
little books about old	3
than those which are	3
wren and grinling gibbon	3
the necropolis of ancon	3
to the panel contour	3
the area of concentration	3
be so formed as	3
in silver and in	3
it is a mistake	3
grouped as to analyze	3
of the thirteenth century	3
one of the following	3
which it is applied	3
is well to have	3
designed to be used	3
that the art of	3
should be attracted to	3
subordinated to and support	3
the limits of the	3
should be so grouped	3
color for surface enrichment	3
in the upper and	3
decoration by this material	3
chroma may be increased	3
the west front of	3
cylindrical forms outline curves	3
move in unison with	3
be based and centered	3
some point parallel the	3
should move in unison	3
the left boundary of	3
in the reign of	3
and modeled decoration in	3
a thing to be	3
to withstand the action	3
who can afford to	3
features of the art	3
they are capable of	3
for partly or fully	3
of base and precious	3
are seen in the	3
to works of furniture	3
divided into two vertical	3
silver and enamel d	3
and bold and thus	3
of values is essential	3
by the end of	3
and repeat its proportions	3
coincides with the inceptive	3
let us look at	3
in many parts of	3
an inceptive axis of	3
of measurement in accordance	3
to cheapen both process	3
and that it is	3
outline enrichment should add	3
surface to which it	3
of each of the	3
this part of the	3
margin between the enamel	3
or units of measurement	3
the diagram of figure	3
ornament for partly or	3
placing the larger mass	3
ornament falls on a	3
purpose for which it	3
the fully enriched panel	3
there will be no	3
it is not desirable	3
of concentration be located	3
treatment must be appropriate	3
can be done with	3
the decorative color scheme	3
the tint of the	3
extreme range of five	3
above the primary mass	3
at some point parallel	3
skill with which the	3
is capable of being	3
to the end of	3
of it is that	3
the designer for two	3
the rule governing the	3
tangentially from the primary	3
it is obvious that	3
of the clay body	3
to essential parts of	3
low light and dark	3
axis should be determined	3
silver and enamel e	3
point parallel the contours	3
for partly enriched surfaces	3
the chests of drawers	3
a full size working	3
the illustrated book of	3
testament commentary for english	3
red cross community club	3
the purpose in hand	3
examples may be found	3
comb in silver and	3
or dominant arrangements of	3
after it has been	3
be related and subordinated	3
sufficient to supply contrast	3
contour and to each	3
the most careful study	3
the early days of	3
such as we have	3
this material tends to	3
is a mistake to	3
do not at all	3
the enamel and the	3
gold pendants set with	3
only in that the	3
is open to you	3
without thought to their	3
there would be a	3
and around the inceptive	3
of concentration in panels	3
to avoid the appearance	3
orazzi executed by la	3
low cylindrical forms draw	3
there is not a	3
of clay must be	3
usually reduced to three	3
all the power of	3
school pursuing truth of	3
metals should call for	3
than the lane or	3
is the effect of	3
ornament should be related	3
and three of yellow	3
slightly stronger value and	3
indian and persian carpets	3
panel contour and to	3
chroma range will accomplish	3
if you wish to	3
that single and honest	3
walls should preferably be	3
side walls of the	3
placed masses are usually	3
should be of such	3
i have seen many	3
wood stain is to	3
should bear a contrasted	3
and similar in form	3
horizontal divisions of rules	3
but there are other	3
not obscure the actual	3
enriched surfaces should be	3
bold and thus adapted	3
be so grouped as	3
the pretty colours in	3
the primary mass as	3
contents should be designed	3
of blue and one	3
one design differing in	3
of the current scroll	3
the most simple and	3
and there is nothing	3
prohibited by technical requirements	3
to conform with the	3
have a consistent lateral	3
of furniture which is	3
and centered upon an	3
it is a thing	3
metal necessary to express	3
from a distance the	3
an upward and onward	3
inceptive axis should pass	3
pattern is to be	3
free enrichment of vertically	3
caution should be exercised	3
the designing of a	3
obscure the actual structure	3
component part of a	3
panel it is to	3
be attracted to one	3
rest of the surface	3
larger areas are to	3
in the building of	3
be sufficiently reduced in	3
the colour of a	3
the right boundary of	3
partly enriched surfaces rule	3
frances mcnair plate illustration	3
consistent with the idea	3
fully enriched square panel	3
upper and lower thirds	3
structural contours but must	3
what is termed the	3
as to analyze into	3
the plane of that	3
of the art and	3
in the consideration of	3
neither apparently rise above	3
use of the project	3
pass through and coincide	3
obtained from an ancient	3
and opaque stones or	3
perfectly answer the end	3
direction at right angles	3
point of concentration to	3
in many cases the	3
ceiling should be within	3
to compete for attention	3
with which it is	3
music of the spheres	3
remaining divisions of equal	3
be emphasized by one	3
should form contrast with	3
contours of both primary	3
but i do say	3
enriched vertical panel should	3
top of the mass	3
in free enrichment of	3
the eye should be	3
reduced to below three	3
parallel the contours of	3
belonging to the parent	3
in our own country	3
the primary mass has	3
out before they are	3
mark the use of	3
but still retain its	3
ultramarine and crimson madder	3
decorative color scheme for	3
a charm which they	3
be simple and bold	3
apply equally to all	3
and an art of	3
enriched must admit of	3
and the result is	3
the colors of the	3
the contours of both	3
the elements composing the	3
the aim of the	3
either in the upper	3
should never have a	3
a primary mass must	3
the primary mass to	3
never form strong or	3
in many of the	3
a design but still	3
inlayed enrichment should never	3
accordance with the horizontal	3
formation of works of	3
of the wall being	3
should be related to	3
there are also other	3
the oxide of iron	3
clasps in silver and	3
erie county savings bank	3
we have said that	3
both process and design	3
borders should have a	3
and not as a	3
mass should have the	3
decoration in clay should	3
or be exactly similar	3
of a subtle nature	3
opaque stones or enamel	3
located at the top	3
subordinated to the structural	3
analogous hues should dominate	3
upper or the lower	3
upon the primary mass	3
of its own colour	3
of reynolds to velasquez	3
enriched panel and its	3
which occurred at the	3
all other zones should	3
the web and woof	3
of the period of	3
of the panel coinciding	3
lighter tint of an	3
in the decorated area	3
be designed in unity	3
may be seen from	3
shade the lower and	3
if the ornament is	3
repeat some lines similar	3
to the decrease in	3
but subordinated to it	3
of stone or earthenware	3
of appendages in class	3
we are likely to	3
is generally sufficient to	3
color in textile art	3
it consists of the	3
and value to form	3
is associated with the	3
it will readily be	3
of the effect of	3
with the main movement	3
in industrial arts design	3
design and influenced by	3
avoid the appearance of	3
many parts of the	3
so used as to	3
in value to the	3
enamel used as a	3
the relation of the	3
principles involved in the	3
of one design differing	3
centered upon an inceptive	3
of concentration in free	3
usually located in and	3
and the tendencies of	3
range of three values	3
should have their turning	3
of the project as	3
by placing the larger	3
it is built of	3
with slightly less than	3
would be well if	3
highest point above the	3
be made to this	3
it is no less	3
i never before saw	3
the preliminary steps toward	3
to any one who	3
and borders should never	3
the values middle and	3
the latter part of	3
colors are usually reduced	3
to have the stone	3
as in the preceding	3
cast upon whatever is	3
in the matter of	3
mass or masses at	3
will be able to	3
the appearance of belonging	3
the leading lines of	3
in the upper or	3
of the manor house	3
to move in a	3
been scattered on the	3
design is to be	3
vertical or horizontal according	3
should preferably be selected	3
manner in which it	3
bolder than similar designs	3
should be narrower than	3
mass as either vertical	3
to and support the	3
a certain portion of	3
of either stone or	3
fourths chroma to a	3
it is not my	3
appendage should have the	3
analogous grouping is preferable	3
the condition of music	3
in the center section	3
conventionalism by cause of	3
to enrich the entire	3
fourth chroma as a	3
must be admitted that	3
lanes or margins between	3
some similar proportion difficult	3
of a system of	3
find the complement to	3
large unbroken and uninteresting	3
contrasts with the parent	3
so far as you	3
minimum reduction of slightly	3
must be appropriate to	3
to be in harmony	3
to be a good	3
the very essence of	3
the interior of the	3
we respect her for	3
character and direction to	3
two periods of historic	3
proportionate distribution of hue	3
slight contrast with the	3
to the decoration of	3
use of values is	3
related to the other	3
the mind of the	3
add a small amount	3
in the chapter on	3
two horizontal space divisions	3
minor horizontal space divisions	3
five values is generally	3
three minor horizontal divisions	3
in some of the	3
in unified relation to	3
examples of appendages in	3
is intended to meet	3
mass and point of	3
the appendage should have	3
unified relation to the	3
surface enrichment should neither	3
chroma as a minimum	3
and precious stones designed	3
we are able to	3
it would not be	3
last paris international exhibition	3
i have in my	3
than it actually is	3
to the length of	3
a fully enriched vertical	3
it is not a	3
enrichment calls for a	3
with the parent surface	3
as distinguished from the	3
simple and befitting manner	3
the axis of symmetry	3
the material at command	3
vertically placed masses are	3
masses at the bottom	3
between the values white	3
or sections by placing	3
restraint in the use	3
designs in precious metals	3
may be said that	3
position of the inceptive	3
influenced by their forms	3
primary mass for utilitarian	3
ornament is applied to	3
by one hue related	3
they are formed of	3
unison with the main	3
used in designing the	3
should have an appearance	3
periods of historic ornament	3
is found to be	3
range of four values	3
based and centered upon	3
be made to yield	3
the contours of fully	3
westminster abbey th century	3
should at some point	3
it is sure to	3
panel enrichment should parallel	3
with a vertical tendency	3
their turning points or	3
unbroken and uninteresting surfaces	3
tendency should have their	3
upward and onward movement	3
the particular form of	3
locate zone of enrichment	3
divided into three or	3
the attention of the	3
fully enriched vertical panel	3
what they would be	3
surface enrichment calls for	3
enamel as a point	3
should be the larger	3
rise abruptly from the	3
parts of blue and	3
whenever the latter is	3
appear to compete for	3
centre of gravity of	3
toward the smaller division	3
it will not be	3
or all three combined	3
of vertically placed masses	3
is preferable where variety	3
in the design of	3
strongly upward movement in	3
mass may be divided	3
triad differs from the	3
colours harmonise in the	3
the enrichment of the	3
to insure unity of	3
should never form strong	3
produced is that of	3
the application of the	3
you all probably know	3
enrichment of clay must	3
the root of all	3
chroma and value to	3
minimum amount of metal	3
are to be sufficiently	3
walls and ceiling should	3
of the sides of	3
in some parts of	3
upon an inceptive axis	3
i do not doubt	3
which may be said	3
there is a manifest	3
do not mean to	3
nor drop below the	3
the construction of the	3
marginal panel enrichment should	3
be equal in area	3
of the same depth	3
appearance of belonging to	3
the fact that they	3
point of concentration is	3
wall hue is to	3
grouping is preferable where	3
this under rule o	3
to the main forward	3
parallel the outlines of	3
for the minimum amount	3
when seen as a	3
space divisions of the	3
be of the same	3
ornament should not be	3
in order to be	3
of the surface and	3
are of no use	3
locate points of concentration	3
chroma contrast than the	3
and this is the	3
have you ever considered	3
them must be related	3
should be bolder than	3
upper surface of the	3
ornament in ceramic art	3
at the side of	3
on a red ground	3
average wall hue is	3
its center or in	3
it may be said	3
to have been the	3
stone as the highest	3
the capabilities of the	3
in the highest degree	3
in which the two	3
full size working drawing	3
the first principles of	3
between the values light	3
upper part of the	3
vertical and horizontal lines	3