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No. 0. 
 
 n .!' ' LL"' I I 
 
 PHICt, 20 CENTS. 
 
 <'ll 
 
 O O n n 
 
 DESIGN -^ 
 
 OP"'-'' 
 
INTRODUCTORY REMARKS. 
 
 Industrial Desiokwo ig literally the upplicationorBclaptatioiiof 
 >rt to industry : the preparation of designs for industrial purposes, 
 and these designs may be for a beautiful vase or the ornamentAtion to 
 be placed upon it, the cover of a book, an iron gate, a cari)ot, a wall 
 paper or a handsome article of furniture. Indeed, it would seem that 
 the tield in which the designer labors is unlimited and that he must 
 introduce into his works principles of construction as well as of pro- 
 portion and beauty. This is true, but in order to narrow the subject 
 somewhat, it is supposed for the purposes of this little book that the 
 term is applied only to the preparauion of decorations, without hftving 
 anything to do with the construction of the objects decorated. 
 
 Wlien entering upon the study of this subject, as in all similar 
 subjects, we should have before us some standard with which to com- 
 pare our productions and thereby judge of their excellence, and meas- 
 ure the extent of our improvement. 
 
 UEifortunately fur us, wo have no such standard in modern dennra- 
 tion, as by far tin greater number of designs with which > "un 
 
 are decorated are foreign to all principles of art or beauty, liaa being 
 the ciiao wo must seek elsewhere for our measure, and as very few who 
 will read this are famili -.r with historic ornament it is deemed advisable 
 to furnish the student ..ith a set of principles upon which the most 
 perfect designs extant are based, and thus put into his hand a measur- 
 ing rod with which he can measure all decorative work, whether ancient 
 or modern and judge for hnnself whichis worthy of imitation or.-ather 
 emulation, and which should be avoided or ignored. 
 
 We do not fully realize the injury that has been done by some of 
 the hte fashionable styles of decoration, because the matter has not 
 been sufficiently studied. As a general thing, anything that is fashion- 
 able is considered by tlie masses to be beautiful, even if people have 
 to make an effort to smother their inherent gr)od taste to enable them 
 to think or say so. People in their blind trust in and admiration of 
 the designer's works accept with gratitude and admiration whatever he 
 sees fit to give tlieni, and very often what is most admired by the pub- 
 lic generally is most truly ugly and v\ilgar. 
 
 The writer claims that every educated person possesses a natural 
 instinct which if let alone will lead him to a just appreciation and 
 proper choice of the beautiful and true, but false educating intluen- 
 ces, by whicli we are all surrounded, have perverted this instinct until 
 he reully has no taste or judgment of his own, or if he has, it leads 
 him to adniiiO what he would otherwise see is not worthy of even his 
 notice. Let it be lioped that our eyes will be opened and that we will 
 aU br. RBlf-.ipp.ninted critics, and educate ourgelves and othnrs to dis- 
 criminate betwepu the good and bad in desi«n. 
 
 The pupil will find on the third page of the cover the principles 
 upon which all designs should be constructed and which are simplified 
 as much as possible. In connection with them he should apply to each 
 design originated by him a teat consisting of three questions. Is it 
 
 beautiful ? Is it appropriate ? Can it be improved by either omissions, 
 alterations or additions ? If any improvement can be made, it should 
 be made, and when as perfect as his skill at the time renders possible, 
 the design shouhl be put away to be afterwards used for the purpose 
 of comparing it with subsequent productions and thus showing what 
 progress he is making in his study. 
 
 It is not supposed that the work of designing should be made an 
 exercise in freehand drawing any more than is absolutely necessary, 
 and therefore all repetitions of ornamental units should bo effected by 
 mechanical means. Having decided on the form of one-half of the 
 unit a piece of tracing paper is placed over it and a tracing made with 
 a soft pencil. This tracing is then laid face down in the proper position 
 and the back rubbed with the thumb nail or some hard, rounded sub- 
 sUnco. A slight impression is thus left on the paper and when 
 strengthened with the lead pencil leaves the unit perfectly symmetri- 
 cal. The complete unit can then be treated in the same way until it is 
 repeated the requisite number of times. 
 
 Sometimes before proceeding to repeat the unit it is wise to ascer- 
 tain the effect of its repetition by means of two pieces of hjoking-glass 
 hinged together by means of a piece of cotton cloth. In the case of 
 a border one of the pieces of glass should bo placed upright with its 
 silvered side correeponding either to a line of division of the pattern 
 or a line of symmetry, as sliown in the accoinpaning illusti'ation. 
 
 If the unit is to be repeated radiately the looking-glasses can be 
 placed at the proper angle so us to include it. Tins uiettnMl of tosting 
 the utility of an oi'iiainental form saves much time and well repays any 
 slight trouble and expense in obtaining the looking-glasses. They need 
 be only about three inches wide and four inches long and should be 
 hinged on the short edges. 
 
HIGH SCHOOL DRAWING COURSE. 
 
 INDUSTRIAL DESIGN. 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 — I — — I I __^^ 
 
 — ' LJ I I 
 
 -j 
 
 1/ 
 
 -^ 
 
 Flo. 
 
 m 
 
in order to commence at the beginning, wo must firnt pnniildur 
 this geometric framework upon wliith the docorativo (ot'lim tvi'o 
 placed and which serves as a support for tiiem. 
 
 These geometric lines or planes must of oourso be nrmiigml 
 with regard to tho kind of ornament to bo dt'signed, |{ for ik 
 border they may be placed laterally either in a hori/,(mlul, 
 vertical or oblique position. If for a pattern to covin' mil'faurt 
 or "all over" pattern, they must be arranged so aa to I'tiiii' 
 pletely cover surface without leaving spaces, unless thomt Uliiu'iilt 
 are uniform as to size, shape uud relative position,* |( Uio 
 
 O- 
 
 o o 
 
 ■O' 
 
 o 
 
 TV 
 
 O Q 
 
 y^ 
 
 o 
 
 Fia 2. 
 
 ornament is to be isolated, an arrangement of linns Hyniiili'tl'lcal 
 as to a line or point may answer the purpose, hi (Ik, I iifo 
 given examples which illustrate the matter much bellni' limn 
 many words could do. For a symmetrical arrangnuii'lll of 
 lines about a point, see a ; about a line, b ; for an arnninnint'lit 
 of lines suitable for a border, c ; d, e, and/, show how Hi|UitH>9 
 or oblongs and triangles may be arranged for a border ; iiiiil the 
 other illustrations are suggestions for combinations of nciini- 
 etric planes to be used in "all over" designs. Having ilnridi'd 
 upon the geometric framework of a design, the nioit tidily to 
 decide is how it will be filled or ornamented, and grnat wiro 
 should be exercised in the choice of a " unit of ropotitiiill," an 
 it is called, as it, with tho framework, has much to do wllli tlie 
 success or failure of our efforts. 
 
 In many of the designs that come under our notlun (hn 
 unit of repetition is symmetrical, that is, it may be divldfd by 
 aline called the median line or line of symmetry, into Uvo 
 parts similar and similarly placed. It need not, Iiowmvui', lin 
 symmetriccl, but except in special cases, shouhl bo " bal/uiciMl," 
 These two terms, "symmetrical" and " balanced," need it, fi<w 
 words of explanation. They appear to be almost synoiiiyiiidUi!, 
 but are distinct; thus .a symmetrical form is bihinciid, 1ml a. 
 
 * The only geoinetrio iiliines that will ccimpletely ccivnr auifni't) liy (liiitt|, 
 BPlvea without the uph hi oiu? or more others, are the e<)uilfitii)'ul tfitttttflp, 
 eq'iare and ol)long or nioditicationH of them. The utiuleiit in rt^t'oMiMintitfP'l 
 to experiment witti them and discover for himself thu inuuuwriihln illlnfMl 
 ■ng combinationa that can be mode, 
 
 balanced form is not necessarily symmetrical. "Symmetry" 
 relates to tho similarity as to position of the parts of a form, 
 and " balance " to the quantity on each side of tho median 
 line. Tho illustration, Fig. 2, will make tho distinction clear. 
 Tho first form .\ shows a lever supported on a point and having 
 a weight of tho same size and shape at the same distance from 
 the centre, on each end. Here the object is symmetrical and 
 balanced, tho result of which is perfect rest or repose. In B is 
 shown how both balance and symmetry can bo destroyed by 
 moving the fulcrum to one side. In C both balance and sym- 
 metry arc destroyed by tho addition of a weight at one side 
 only. In D tho balance, but not the symmetry is restored. 
 In E both are wanting, and in F both ore restored. 
 
 It will be noticed that there i- a sense of uneasiness experi- 
 enced when looking at B, C and E where both balance and 
 symmetry are wanting; a feeling of only partial satisfaction 
 when looking at D where balance only is present; and a feel- 
 ing of complete satisfaction when looking at A and F which 
 possess both balance and symmetry. From this it is evident 
 that ornamental forms produce a mental eiiect either pleasant 
 
 Fig. 3. 
 
 or otherwise, and that therefore we should be careful that 
 those we use are appropriate, and calculated to make tho im- 
 pression required. If there be still any doubt of the truth of 
 this. Fig. 3 will bo likely to dispel it. Here the difl'erence 
 between symmetry and balance, and the value of each is illus- 
 trated, the left 'hand figure is quite satisf.ietory and the eye 
 can dwell on it with a certain amount of pleasure, but by 
 inverting th« right half aa .■shown, and thus destroying the 
 synnnetry, the repose is lost and the eye instinctively wanders 
 about it as if seeking for something which is not present. This 
 may bo called a sensation of mild excitement or vigor, and will 
 be further illustrated as the work progresses. 
 
EXERCISE. 
 
The unit of repetition may bo very simple, as in Fig. 5, 
 where it is geometric in i' . cliaiacter, yet, so far as it goes, 
 quite satisfactory ; but in tlio majority of cases a nioro elabo- 
 rate form will be nefilifi, which, if Mmdii purely geometrical 
 will bo apt to bo intricate and uninteresting. For tliis reason 
 we must look to some other source for suggestions — to nature 
 itself, where we will find an abundance of beautiful forms 
 almost ready to hand. But it will not do to take a leaf or 
 flower just as we find it and copy and use it as a unit of repe- 
 tition. A natuial form is pleasing only so far as it is a pen'ect 
 representation or picture, and the impossibility or absurdity of 
 combining a number of pictures in order to form an ornament, 
 is apparent. Yet we very often find in our floor and wall 
 decorations attempts at imitations of natural flowers, fruit and 
 
 Fig. 4. 
 
 foliage, which may be pleasing to some, but are in reality evi- 
 dences of very bad taste on the part of the designer and his 
 admirers. The processes of manufacture a carpet or wall pape'' 
 
 has to undergo, are such as to preclude all possibility of any- 
 thing but a suggestive treatment of natural forms. If the 
 results were satisfactory thern would bo some excuse for using 
 such forms, but when far better results are obtained with much 
 leas trouble wo must admit tliat such patterns involve a waste 
 of time and skill, not to say anytliing of the wrong done to the 
 public taste. 
 
 Tho ancients, whose works are our guide as to beauty and 
 truth, invariably used natural forms conventioruiUy treated, 
 that is until art with them was on the decline, and we find 
 that with its decline they introduced a larger proportion of 
 natural forms. At present o\ir productions in ornament do 
 not begin to compare with those of the Moors, Romans, Greeks 
 or Egypt ian.s, and until wo can at least produce something 
 whichis even moderately good, we can do no better than follow 
 in the footsteps of our masters, not servilely imitating them, 
 but selecting from their works what is best, working on the 
 principles that guided them, and impressing our work with the 
 stamp of our individuality, adapting it to tlie circumstances as 
 to climate and civilization in which we are placed. 
 
 Another reason why natural forms should not be used is 
 that, being unsymmetrical, it is almost impossible to obtain 
 with their use perfect repose without great difficulty, and 
 hence wo would be liampered at tho very outset with a form 
 not the one best adapted to our purpose. 
 
 Having decided that a natural form needs to be changed 
 before being used for ornamental purposes wo must decide 
 what change shall be made. It should, first of all be symmet- 
 rical ; it should retain all the characteristics of the natural 
 form ; all minor details should lie omitted. Our form, whether 
 leaf or flower, now beer nies our standard or representative of 
 every one of its class without being in any way an imitation, 
 and is called a conventional form of the object which supplies 
 us with our motive. 
 
 As an illustration of conventionalizing, three naltural chrys- 
 onthemum leaves and three different conventiona forms are 
 given in Fig. 4. Tho leaves are all pinnately five lol)ed with 
 a crenato margin. These common peculiarities are retained in 
 the conventional forms, excepting the third, which liardly sug- 
 gests anything more than a leaf of some sort. Its form 
 approaches to the geometric. Tho first thing to be done in 
 conventionalizing an object, such as a leaf, is to select the most 
 satisfactory natur.il form and arrange it symmetrically about 
 a line, simplyfying it slightly. If this be too elaborate, some 
 of the marginal indentations may ho omitted .as in the second 
 conventional form shown in Fig. 4, and if necessary this 
 may be still further simplified as in the third form shown. 
 
EXERCISE. 
 
 If the palTof 'inlZlTory 'rltt^^ ',"7 ^■■' "^ "'""^borry and scented goranium which ho i, t ^ . 
 
 i III 
 
 ! I 
 
 m4^ 
 
As » rule tlio Bimplpr a conventionnl form ia iimdo tlio more 
 Biitisfactory it will bo, iilwiiys providing tliiit its siao in not so 
 great iis to oiiuso its simplirity to convey an idi'iv nf baiciipss. 
 
 As iiiis \nvi\ slated Ix't'orc, nearly nil ornninrnt is composed 
 of (ine or nioro units of desif^a "repeated" in ii metliodicftl 
 manner. Tliey can be repeated in dillercnt ways, laterally nnd 
 radiately, rej^ularly and alternately. Theso are shown in 
 Fig. 5. Tlio lirst is an exaiiiplo of regular lateral repetition, the 
 second alternate lateral, tlio third regular radiate, and the 
 fourth alternate radiate. In the first tliree there is only one 
 unit of repetition, uud two in tlie fourth. 
 
 ffiffl 
 
 Fio. S. 
 
 Having decided upon our geometric framework nnd unit of 
 repetition, we must next say how it is to be repeated. Here 
 we have to face tlie fact that the mode of repetition adopted 
 will have very much to do with the success of the resulting 
 design, as by means of it we can produce almost any ell'ect on 
 the mind. It should be such as to produce the one required, 
 whether it bo of rest or excitement, of cheerfulness or melan- 
 choly, of ricliness or poverty. In illustration of tliig a few 
 examples of repetition are given in Figs. 7, 8, 9, 10 and 11. 
 The motive in each case is supplied by the leaves and flowers 
 of the Hepaticn, a little plant which is a favorite with all who 
 know it. A sketch of it showing its habit, and of separate 
 leaves and flowers showing their form and construction, i.s given 
 in Fig. 6. It will furnish the young designer with many use- 
 ful forms which he should make free use of. First, in Fig. 7, 
 the geometric basis is a series of squares arranged horizontally, 
 
 8 
 
 and in eaeli R<|U'iro ia jilaced a le.if, the mid rili of which cor- 
 responds to the diiinieter of tlio Hipiare. If tlio leaves only aro 
 used, the result is not satisfactory on aeeount of there being 
 two empty triangular spacon between each two leaves. These 
 
 gprco 
 ivy, o 
 
ch cnr- 
 iily iiro 
 I lit'inj,' 
 
 EXERCISE. 
 
 Bpr.co 
 i 
 
 ak, ample, ctiestuut. vin-inia rmo „ "^1.. . f"' '"^"'R : Buttercup loavo 
 
 V. -• ■■■*--r;i;s2™;-- --s^„ i;=S:r «'- =- S^^r "i^a i^ - 
 
 ^\N 
 
 1 M 
 
should be filled up. For a suitable form, refer to the sketch. 
 It will be seen that thi one marked a is somewhat triangular 
 in arrangement, and, after being made synnnetrioal, will answer 
 the purpose very well. After placing this form in each of the 
 
 Fia 7. 
 
 larger spaces, examine the design with the aid of a looking 
 glass, as e-tplained in the page of introductory remarks. Place 
 the glass upright on the lines A B and C D and the effect of 
 
 the addition of this form is at once seen. It does not improve 
 the design in tlie least, but seems to spoil it by making it top 
 heavy. Instead of erasing these last additions let us find a 
 suitable form to place in tiie lower spaces in order to restore 
 the balance. Tliat marked b in Fig C will answer, and when 
 it is placed in position we find that the bal/ince is restored. 
 We have also symmetry- hence repose, and we may periiaps 
 be inclined to congratulate ourselves on the success of our first 
 etibrt. Let us, however, criticise it from another standpoint. 
 The conventional leaf is very much like the natural one, being 
 at once recognized as a Hepatica leaf, and the eye is offended 
 by the disjointed arrangement of the parts of the tlower be- 
 tween which tliere is no connection whatever. In the natural 
 plant tlie leaves and flowers all spring from the root or very 
 
 near it, and there is nothing pleasing in the thought of it being 
 dismembered and arranged so methodically. In order to over- 
 come these diflicultics and to improve our design we must make 
 the forms more geometrical, .so that they will not suggest the 
 Hepatica, but only some plant. They can be arranged in 
 some such way as that shown in design No. 2, Fig. 7. Here 
 symmetry and balance are present, and the forms are all united 
 by the lower niemlier of the b.-.rfler, tluis giving to the whole a 
 unity which is wanting in design No. 1, 
 
 In making a design by means of a radiate repetition of 
 the unit, it is well to examine the unit or tho plant from which 
 it is derived, for a suggestion as to the geometric figure to use. 
 
EXERCISE. 
 
 TTsin 
 and as a mot 
 
 Fi 
 
 
 »:f:rsrir::-si.5™5~^^ 
 
 11 
 
It will VC17 often bo found that tlip numbers of its diiTerent 
 parts are inultiples of the sanje number; thus in tlie llepaticii 
 there are three lobes to the leaf and thi; llovvers have six petal- 
 like sepals, and beneath these a whorl of three- f,'reen leaves 
 resemblinj,' a calyx, therefore the equilateral triangle, li(>xagon 
 or duodeoiii,'on is a suitaljle form to use in connection with it, 
 as by lis! Mi; either of them we are enabled In c,'et perfect har- 
 mony between the parts of tlic desic,'n. In Figs. S, 9 and 10 
 tho hexagon is used and will lie seen to bo v\;ry ap)propriate. 
 Kigs. 8 and 9 illustrate the ell'ect of tho overlapping of forms. 
 In Fig. 8 repose is wanting ; the peculiar arrangement causes 
 tho eye to travel around and around towards the right. This 
 is remedied by exposing the whole of the -'ternato leaves. 
 liut either of these arrangements is less satisfactory than one 
 which does not in any way represent or suggest relief of tho 
 parts. Therefore some dili'erent treatment of the unit of repe- 
 tition may with advantage be adopted ; such as is shown in 
 Fig. 10. Tho alternating form is one that would bo suggested 
 by tho corresponding form in Fig. 9. By using this geometric 
 
 Fig. 10. 
 
 treatment, we are at liberty to alter the number of parts of 
 tho flower and niany now .~,huw six prujecLmg points suggesting 
 sepals instead of three, tiie natural number, and the balancH 
 and symmetry are thus made more perfect than in Figa. 8 or 9. 
 12 
 
 Another advantage to bo derived from this geometric treatment 
 is that we can adopt the conventional form to any geometric 
 plane that wo may wish to use, and it thus becomes much more 
 serviceable to ns than if wo were contined to tlio use of only 
 ono or two. Tho manner in which the hepatica can be used 
 for tilling up a sijuare is shown in Fig. 1 1. Hero tho blossom 
 is simplili(d, tho suggested sepals are lengthened and tho leaf 
 is treated geometrically. The small circles used in this design 
 and in Fig. 9 are very useful sometimes for lilling \\\i awkward 
 gaps. They should, however, be used sparingly and with 
 judgment. 
 
 Fio. 11. 
 
 Being now possessed of an ornamental unit, or the ability 
 to design one, we may turn our attention to the repetition of 
 it with regard to a specilio purpose — the decoration of certain 
 surfaces or olyects. But wo nmst lirst know what to seek for 
 and what to avoid in our design. 
 
 All decoration unless actually carved or moulded sliould be 
 perfectly ilat, that is, neither by arrangement, shading nor 
 coloring should there bo any simulation of relief or even a sug- 
 gestion of it. Nothing can bo much worse than tho shorn 
 mouldings above sham panelling, and tho sham cornices that 
 wo some'times seo executed in w.all ]iapers or stencilled and 
 painted on walls. This remark concerning relief .applies most 
 forciljly to flo ; decorations, for lier(! anything of tiie kind is 
 exceedingly unpleasant. It may, of course, lie carried to an 
 extreme as is illustrated by Fig. 12, which sliows tho pattern 
 
EXERCISE. 
 
 Fm u^S^Si",^;:^^';;^:;,-;?!; 5::?t'- ^-- --y -^^ -y_«oo„,etric b^si. 
 
 purely geometric forms, intmlucing radiate r;g«!n,-, a.ul r.-uiiato.alterr.ato ■■opetitiou 
 
 'II 
 
 IS 
 
of two pavuments, the first at Pompeii and the second at Borne. 
 They would give one the impression that he was walking on 
 the sharp corners of cubes imbedded in the floor. This dis- 
 agreeable effect is produced by coloring, as the pupil can prove 
 
 Fig. 12. 
 
 by expiTiment, using such colors as straw color, brick-red and 
 black. Had the colors used been of equal intensity the effect 
 would have been stttisfaitory. 
 
 Some of the designs given in this book seem to violate this 
 principle, inasmuch as they are partially composed of interlac- 
 ing bands, or overlapping forms, but such a treatment is 
 admissable as there is nothing unpleasant about it. The relief 
 is BO slight as to be almost imperceptible at the first glance and 
 therefore does not oflend the eye. 
 
 A design for a floor covering should as a general thing be a 
 radiate one, composed of a number of radiate forms properly 
 grouped. AVo gi-t a suggestion of this frnm nature, for, when 
 looking down on the ground covered with growing flowers, we 
 see the faces of the flowers as a rule, anil they are in most cases 
 radiate. If they were iieated iniitatively, any one jiossessing 
 a refined nature .and a love for flowers would be oii'ended at the 
 thought of crushing them under foot, for that would be the 
 impression produced. A fioor is used for walking on and is 
 usually covered to sonio extent with furniture, it should, 
 therefore, be decorated in such a w.ay tlirit there is nothing sug- 
 gesting projectness to be avoided, and so that the eye is satis- 
 fied witli the portions unobstructed, and there is no dosiro to 
 remove an article of furniture to one side so as to expose the 
 portion of the design covered by it. A floor may bo covered 
 with an oil cloth, a en rpet, or tiles. The oil cloth is painted, 
 the carpet is woven and the iiics, c;ich one of which ni.iy bo 
 ornamented, are laid in cement on the floor. The.se facts must 
 bo taken into consideration when creating a design, and the 
 ornamentation sliould be such as can bo readily nroduced by 
 
 14 
 
 the processes of manufacture througii which the material, 
 article or fabric has to pass. 
 
 It may be that designs produced when practising the repe- 
 tition of a unit about a point or line, are suitable for repetition 
 to form a floor covering. To see if this is so take two pieces 
 of looking-glass, liingo them together with a piece of cotton 
 cloth pasted on the back, and stand them upright so that the 
 silvered side of the glass corresponds to two adjacent sides of 
 the geometric form containing the design. The etTect of its 
 repetition is thus seen, and it can bo used as it is, modilied to 
 suit or, if unsuitable, discarded altogether. Two illustrations 
 of the repetition of a unit produced without any regard to its 
 use afterwards are given in Figs. 13 and 14. The first is a 
 repetition of Fig. 10, and the second of Fig. II. It will bo 
 seen that slight additions have been made to each to make it 
 cover the surface satisfactorily. 
 
 Fig. 13. 
 In Fig. 15 are shown two patterns for tiles, one purely 
 geometric and the other a somewhat geometric treatment of a 
 
a 
 
 ^ 
 
 '^\ 
 
 EXERCISE. 
 
 efl^ct o?|t;:^r ^ ^^^'^'^ -''^^'^ ^- - — ^= '"«. -in. - a „.oU.o ... Cover leave. (.0 p.«o 34 for sketch), and show 
 Fai .„ a i.x..on with a geometric pattern, and repeat it so as to cover surface. 
 
 the 
 
 ! purely 
 'nt of n 
 
 15 
 
flower form. They aio shown repcited in Figs. Ifi and 17. 
 Aa to the use to wliich these designs could be put, Fig. 13 is 
 
 Fia U. 
 suitable for nn oil-cloth or carpet ; Fi^. 14 for an oil -cloth or 
 tiled floor; Fig. 10 for an oil-cloth, tiled floor or ceiling, and 
 
 Fig. 15. 
 Fig. 17 for a carpet or oil-cloth. In Figs. 13 and 10 tiie 
 16 
 
 Fig. 16. 
 geometric pip.ne used as a foundation ia Iiidden so tiiat it 
 cannot bo ascertained without a little investigation. This is 
 
 Fig. 17. 
 an advantug?, as, in the repetition of geometric tigures and 
 
t 
 
 ^\^ 
 
 M 
 
 ^^^^S' 
 
 o 
 
 
 1^' 
 
 
 
 v/ 
 
 
 ^ 
 
 ^v 
 
 1 
 
 v^^^' 
 
 |1 
 
 
 EXERCISE. 
 
 17 
 
tlioir ornamentation, tliero is a danger of loaving rowii of upot* 
 or iifiures that tell at a glance the nature of tilt) «tniiiHitiio 
 framework, and this detracts from the oxc(«llonoo of thn iltinlxii, 
 By tliis repetition of an ornamented figure it ia aiwit (.hut wn 
 obtain other centres of repetition which tend tn (JiHutiUn (hn 
 unit of repetition and maite it dillicult to decide which II. In, 
 
 As a rule, patterns for floor oil cloths are couiiiusml ii{ yprj- 
 metric planes such as squares, oblongs, octagons, etc, iili)jhlly or- 
 namented, sprinkled somewhat promiscuously over tim wiiiCiuin, 
 Such an arrangement is very undesirable, as tho oriiimiyMtlvl 
 forms are less conspicuous than the framework or umimiitrlo 
 basis. This should be reversed. Tho ornamenta shoulil nil mot 
 attention and the framework be disguised aa much m [nmiUln, 
 though not altogether lost to sight. 
 
 Pia 18. 
 
 Two augnestiona for oil cloth patterns aro given In fii/, IS. 
 By looking at them with half-closed eyes it will ho Hm>u that 
 portions of each are a little more conspicuous than thn rust of 
 the design, but the surface is covered evenly. Thig js a, (l|.s|f= 
 able feature. It is altogether likely that if they wepn rf>prn. 
 duced in a size suitable for practical use, soma detail would 
 have to be added, but the general effect ia shown and flllty 
 answers present purposes. 
 
 An arrangement of interlacing lines is often very miihtun- 
 tory, indeed even more satisfactory for some p\irpoH(« Hmn i\ 
 design composed of conventionalized natural forms, ftflrmliln» 
 us to cover surface far more evenly with loss troubla thn it liy 
 any other me.ins. For an illustration of this sen (|.m, jft hi,,| 
 1 9. The principal unit of repetition in each can be aawrtttihiMl 
 by tracing the continuous lines. Both of these duxliJIlN ai'o 
 based upon intersecting circles. 
 
 Another design suitable for an oil cloth is gvan ill fla. 20, 
 18 
 
 In some respects it is not aa satisfactory as figs. 10 or 19, but 
 would appear well if appropriately colored. 
 
 All floor coverings are greatly imjiroved by the addition of 
 a border, which gives an idea of completeness and unity to the 
 whole. A carpet without a border is as unsatisfactory as a 
 picture without a frame. The border should be conipo.sed of 
 forms corresponding to those found in tho centre of tin) carpet. 
 If so treated, it belongs to and forms part of the carpet and tho 
 whole has tho appearance of being designed specially for the 
 room in which it is found. Aa a matter of fact, ali ornament 
 
 should bo designed with special reference to its position and 
 should not be manufactured !)y the yard. Thus rug?, finished 
 all around and in one piece, arenioro satisfactory than a carpet 
 sewn together and with a border sewn around it. Carpet 
 borders are, of course, woven in long lengths and when cut and 
 joined for a corner the pattern is broken and therefore spoiled. 
 
but 
 
 EXERCISE. 
 
 K--:::-S:SS-i^SErjJxK;x-X'~ 
 
 IV 
 
Il.mcvor, wn liavo loaniotl to put up -villi nil tlicsn tWuv^a an, 
 uiifortuimtely, most of us nro liauipcrcd in tlio gratificatidii of 
 our artistic tastes l)y tlio need of practising economy. If wo 
 are limited to tlio uso of carjicts 'vovcii in iongtlis and sold by 
 the yard, wo sliould also lia\o corner pieces to tit into tlio 
 corners o£ the border. Thoefl'oct of these is Been in lig. 21, 
 
 of tlio design rather than tlio actual form of tho units of repe- 
 tition and when enlarged to a size suitablo for a carpet would 
 have to bo enriched very much, if not altered altogether. 
 
 Unless for a very larg(» room, tiio pattern of a carpet should 
 bo comparatively small, repeating oven four times in tho width 
 (twenty-sovon or tliirty-six inches), A carpot should servo as 
 
 which is a suggestion for a carpet and border. If this border 
 were cut across .at nJidom an.-l joinp.l =.-> aa to fonu a corner, 
 the unsatisfactory appearance of the corner of an ordinary 
 carpet border would be at once seen. Another suggestion for 
 » carpet is given in fig. 22. 
 
 These patterns show the manner of distributing the masses 
 20 
 
 a b.ack-ground for the furniture placed upon it, and if the 
 pattern is too laiL;e, it become:! conspicuous and attracts at- 
 tention that should be given to the other articles in the room. 
 As a usual thing, the walls of our dwellings, if decorated at 
 all, are covered with wall paper which, as a manufactured 
 article, is familiar to all. The pattern is printed upon it by 
 
Ld 
 
 KXHRCISH. 
 
 21 
 
means of cvivfd blocks or rollers, tliero bring a separate one 
 tor e.icli ciilortiHcd, 
 
 It is tiiuscviileiit timt tlin proi'cs.n of nirimifiicturo in not 
 a(Iu[,tcd to tlio production of very (ino or cliiboriito designs and 
 tliat tiipy sliould consequently bo conipanitivcly siniple both in 
 juittern iind color, x\p irt from tlio adviintiiges secured to tlio 
 
 Fio. 21. 
 manufacturer by a simple pattern, it will be found by all who 
 take the, trouble to investigate the matter, that, other things 
 being etyvxl. the simpl.-.t di-!;i2nR are. iir,i!; ;|y the best, though, 
 strange to say, they aro often the ttor^t expr ■. ive. 
 
 It has been remarked before that radu, forars are most 
 suitable for the decoration of horizontal s irf^. -s t'l'. is flio 
 appearance presented by very many gro.ir. ' .•>- 
 22 
 
 viown! from tho position and direction from which wo usually 
 see them. Sinjilarly, for tlio decoration of \Trtical furfaccK, 
 convciuionalizi'd side vie«H, or elevations, of jiliints aro usually 
 moiit suitable, JJut radiate forms niiiy also bo used. For a 
 motive we nii:,'ht iuppooo a wall to be covered with cnnvolvuhis 
 vines in full bloom. The natural lu ranfjenicnt of h(eni, leaven 
 and (lowers, Wduld hugge.st n Hnitnhlo gcniiii'lrie fiunxwoiu 
 and a method for tho disli iliitioa of tho niasi-cs of ornaments 
 while tho appearance of tho leaves and fh.wer.'i themselves 
 
 IS 
 Wil' Ti 
 
 FlO. 22, 
 
 would, in wany cases, furnish us wi' ii ■ p| i _ ^ ;'oruja to usi 
 as clothing for tho geometric fram • •. i k 
 
 All these remarks apply to a design intended to suggest 
 some particular plant to the eye, but wo must take into con- 
 sideration the fact that, while convontiunalized natural forms 
 that eaii be idenliiled arc useful and interesting, a more 
 geometric treatment of a natural form is most serviceable ; 
 indeed, in very much of the best historic ornaments, tho forms 
 used are almost purely geometrical, and suggest to the eye only 
 some plant. Many of the designs given in this book are of 
 
EXERCISE. 
 
 M«k„ a .l„,i«n for a stair carp.t, nUo one for a ,loo, withT^,,„ border. 
 
 S3 
 
this cliaraoter, tiiuiiyli in somo cases, some special plant form 
 has supplied the motive. 
 
 o — o — o 
 
 i^g^x'^^a^v^^^v^sgg^^^^sg^vv^^^ 
 
 Fig. 23. 
 
 All wall papers should have below an ornamental band 
 extending three or even four feet above the wooden skirting, 
 and above a liroad border corresponding to the frieze of an 
 
 
 wmmM 
 
 Fir,. 24. 
 aronitectural order, and which sliould reafn tn the lowest 
 member of the cornice, or to the junction of wall and ceiling, 
 24 
 
 The limits of this booli preclude the possibility of giving 
 suggestions for each of these ornamental features, and as the 
 wall paper proper and its border aio iis\i;vlly all that is found 
 on oui' walls, they alone will bo illustrated. 
 
 Fir.. 25. 
 TliO constiiiof inn of .a i!i"-.i:;u for wa.i paper ir. subject tn 
 the same rules as iloar deeorations. Tho siirfacn should be 
 covered evenly, and care should bo exercised tliiit there are no 
 prominent rows of spots to divide tlie surface into geometrical 
 spaces, or to lead tho eye in a straight line from any one part 
 of tho pattern to tho extreme edge. The best way to avoid' 
 
nXERCISE. 
 
 Mnkv. dpsign for a carpot •■uul bonl.T, u,sing cunvcutional 
 
 tonus; also a dcsi-u for wall i.-ij,.,- and bonier 
 
 25 
 
 
this ia to use for the geometrio framework a combination of a 
 many sided polygon, such as a decagon or duodooagon, with 
 otlier geometric figures having a smaller number of sides. 
 
 Tho border, as explained in connection with carpet pat- 
 terns, should bo composed of forms corresponding to those used 
 in tho design for tho paper, and should not, as is usually tho 
 case, be selected from th(! stock of the dealer without regard to 
 anything of the kind. As a nintter of fact, every paper should 
 havo its own proper bordo.' and should bo accompanied by it 
 and no other 
 
 Fio. 26. 
 
 A suggestion for a wall paper is given in fig. 24, and a 
 suitable border in fig. 23. They need no further explanation. 
 Another suggestion for a wall paper and border ia given ia 
 fig. 25. 
 
 It is only within the list few years that the decoration of 
 ceilings in private dwellings and offices by means of colored 
 flat ornaments, has become at all common, and the wonder is 
 that the old familiar plaster centrepiece was not discarded long 
 ago, for it cannot bo compared to tho colored ornament as re- 
 gards beauty. It is true the plaster centrepiece was better 
 than no ornament at all and it is still very suitable for some 
 moulded and panelled ceilings, yet tho advantages secured by 
 
 26 
 
 the colored ornaments are go many that it is safe to predict 
 tliat, as people are educated to ajipreciato art, the use of plas- 
 ter ornaments will be tho exception and not tho rule. 
 
 Apart from tho appearance of cleanliness there is nothing 
 to commend the white ceilings with which wo are so familiar. 
 The ceiling of a room is usually tho only part of it that ia un- 
 obstructed and is therefore more suitallefor being covered 
 with ornament, than either the floor or the walls, but through 
 a desire to beautify it there is danger of overdoing it. Care 
 
 Fig. 27. 
 
 should be exercised not to havo tho ornament either too 
 crowded or too conspicuous as to form or color. If there bo a 
 moulded cornice around a room it may bo colored and a largo 
 colored centrepiece placed in the centre of tho ceiling, or 
 where the chandelier ib Imng. If there bo two Or moie clian- 
 deliers, a radiate ornament may appropriately be placed around 
 each one. Corner ornaments may bo added, together with a 
 border extending around tho outside of tho ceiling, and the 
 
EXERCISE. 
 
 Make two designs for wnll papers with suital.lo l.orde 
 
 27 
 
exposed portion of tlio piaster may eitlier bo tinted with cal- 
 cimine or oovprod v.itli a jiapor printed with a small, dolicatoly 
 colored goonictrio iiatrcin. 
 
 Some very _!,'ood ceilinrr docorations on paper can now be 
 had from the dealers. They l.uvo room for a display of mudi 
 ingenuity and originality in their arrangement. 
 
 Should it he desiiablo to d.voiato a ceiling with iiand 
 and not machine work the patterns should be stencilled on and 
 nnisned by hand where necessary. 
 
 If a ceiling be divided by beams or timliers tlie faces of 
 the beams themselves iu:,y Ik, deroiated bv a running pattern 
 and the spaces between ornamented cither with an "all over" 
 pattern or a radiate central ornament. 
 
 Ko r.atmal for,..= either flov.n-r., fruit, foliage, anunuLs or 
 men sIioukI be used in ceiling decn-ation and the same re- 
 mark app les to the use of hmdscapes, than which nothing can 
 no lu much worse taste. 
 
 About the only thing to remember in designing a centre 
 2o 
 
 piece i.q to have the forms and spaces increasing in size as they 
 are farther removed from the eeiitie. 
 
 Two .suggestions are giv, n in figures I'O and ii". The first 
 is purely geometric and the second U conventional. 
 
 Designs intended for a material wlihh will be thrown into 
 folds recjuire to be comi)osed of stiff and somewhat inele-ant 
 forms as these when broken and bent by the folds appear nmch 
 
 u^m^^^ 
 
 pp"(?^.cm o ctrz:i~r-^' c: 
 
 T 
 
 mmsmk 
 
 
 
 'hssmsj^m. 
 
 
 ^■^' 
 
 "^ "c-y V "d^ w V °^ V y\:, 
 
 
 ^m=f^d^^M^ 
 
 ria L"J, 
 more beautiful tiian they really are, straight lines bein" 
 changed to curves, and simple curves to compound curves. \i 
 be.ni.t.Mil curves were used in the dr..;^T,i their hcauty would be 
 entirely lost. An experiment with a few lines on a piece of 
 papei' will prove this. 
 
 _ This remark applies to borders of table covers, handker- 
 chiefs and table napkins as well as to curtains and dress goods. 
 A table cloth is usually covered with dishes or other 
 
EXERCISn. 
 
 r)esi;;na bardci' suit:ililc fur tin 
 
 , . "'' i.''ii'l>f't piitterri slicwii in li.^-urc ?-^ 
 
 .Uak« (lesi-ns tor ;i i,;uiiLctl ccntio ornament for ii ceiling, and tor 
 
 coriiUr piijcua. 
 
 20 
 
articles and, tliercfore, should be deuoiati d willi a sinnll "uli 
 over ' pattern, such as would be complete in • space three or 
 four inches square, and nothing in the way of llonil ornament 
 should be attempted. Simple geometric patterns are the most 
 saisfactory. The border should be much coarser than the 
 centre of a table cover and composed largely of strainht or 
 stiff lines and simple curves. ° 
 
 A desi;,'n for the centre part of table .inen is given in 
 figure 28 and a suggestion ior a table cover and border in 
 linen damaslc of one or two colors is given in tigure 29. 
 
 Fio. 30. 
 
 In constructing a pattern for ornamental iron work the 
 first question to be considered is whether wrought or cast iron 
 will be used. Viewed from an artistic stand-point, cast iron is 
 much less valuable for ornamental purposes tlian ivrought or 
 hammered iron. It is brittle and must therefore be made 
 much thicker and heavier than wrought iron in nidrr to secure 
 the same amount of strength. Its brittleness is increased by the 
 frosty winters of our Canadian climate, and on this account it 
 is not so suitable for outside works. Another objection is that 
 for large articles it must be cast in sections which are ulti- 
 
 30 
 
 mately united by tlio top and bottom rail, as of agate or fence, 
 in order to form a continuous pattern, and it has tlierefore 
 often to be adapted to the position it is to occupy at the risk 
 of breaking and spoiling the design. This is the chief objection 
 to all decorations that are " sold by the yard." Wrought iron 
 on the contrary can be bent, twisted and hammered into the 
 requisite shape, and so the design into which it is worked can 
 be finished in any desirable manner, and is complete and not 
 patched. 
 
 The chief objects to secure in a design to be executed in 
 
 iron are strength, simplicity, and appropriateness. The designs 
 should be as simple as is compatible with strengtli ; points 
 should not be .so prominent as to hurt the hands or tear the 
 clotliing of any one passing ; if sliarp points and angles are 
 introduced they should be protected by the surrounding mem- 
 bers ; the dill'erent parts should be fastened together firmly so 
 that tho whoio is almost as strong as if made of one piece, and 
 no one part is easily bent or displaced. 
 
 Three suggestions for iron gates are given. They show 
 clearly how wrought iron should be treated, and how united 
 by means ot bolts or rivets, In Fig. 30 the design is made up 
 
i 
 
 a 
 
 EXERCISE. 
 
 Make « design for a table cover with border, also one for a table napki 
 
 31 
 
of sqiiarn iron liars liciit into spiral curves iiiul linllinl Intji.thof, 
 tiio only cxcopliciDs l)ciiig the fi-Miiic-.vdii-: >'iii'|Hniiii! Ilii'dinn 
 tnenti'l work, unci wliicli iieUiiilly .sfrvc:; tlin |mH|iii5i< uf i|ii< 
 Reoniotrio basis niciitinni'il in ri'tVrcni'n to tiuiir, wiill /mil other 
 designs. 
 
 Attention slumld be ]'ai(l to tlie proper iniml riii'lluii of Ihifi 
 framework, else t lie resulting; (lesij,'n, liowever iMMnlil'iil, will 
 bo fijioiled. The frairie is coniposeil of four iron bora I'linnliii/ 
 an oblonr;, and a (liaj,'onal bar, Al>, used to hlilhii Ihn whole, 
 and keep it from s:ijrL,'inj; downwards at A. 'I'lin iibjnct of 
 placini; it in this p sition rather than in that felmwii by the 
 dotted lines is to transfer the weight of the gale in |he hiWer 
 part of the back uprit;ht, which should lie sti'onfjer aiid IhieluT 
 tlian the other parts of the ;,ate. If ]il:ieed u:j ^ImHHi liy the 
 dotted lines, the weight would be liorne by the iip| er purl of 
 the back upright and the iiingo bedded iutu m. tj|.tiiiii jjioc, or 
 
 Fia. 32. 
 
 bolted to an iron one, and this Idnfjn would in linin be lullled 
 away from its fastcniriirs. If the gate bo a hirj^e Mlid henry 
 one it should bo supported furth(>r by a wheel phiend In the 
 bottom of the front upriirht, and rolling cm a eircidiU' irim track. 
 
 The desiiins shown in Fig. .'U are made up of iron burs bent, 
 twisted and hammered into ornamental shapea a|. thn t'nds. 
 The ornamental plate in the left hand ono might be n-pliicrd 
 by an eFcutoheon and coat of arms, or name plate. The right, 
 hand design has no particular framework, but it Ib mi Hj^ht, that 
 no diagonal bars aro needed, their place being IllUiJ by tho 
 orn.ameutnl part it.-.elf. 
 
 A simple cresting or railing is shown in Fig, .'i'4. It tioetls 
 no explanation. 
 
 No doubt most student.! of desii/ning have ejiMiulnnd n, 
 common gas bracket and know how it is eon.itnieteil mul what 
 are its necessary narts, so that nothing need be caul of il here, 
 32 
 
 In designing ont', tho pipe, joints, tap and burner should 
 be arr.'un;ed tii'st and the ornamental work applied somewhat 
 similarily to that in an -ron gate. It sh.'uld, besides beautify- 
 ing tho bracket, serve to stniig.iicn it. The contructivo por- 
 tion may be ornamented by carving or engraving but so as not 
 to hurt the hand.-, els(! it will be deemed a nuisance and worse 
 than no orniMiient at all. 
 
 Two suggestions ni'e given in figure .13. 
 
 A chandelier dilTers in construction but slightly from a 
 bracket, so far ns its necessary parts are concerned. It may 
 have .almo.st any number of arms or branches more than two, 
 according to its size. Each arm nn'jjht be treated somewhat 
 like the gas bracket. In fact the whole might be considered 
 to bo composed of several brackets united to an ornamental 
 pipe hanging from the ceiling. 
 
 Fio. 33. 
 
 If the chandelier is intended to carry coal oil lamps, noth- 
 ing intended to imitate taps should be introduced as they would 
 be vul^■ar. 
 
 Un page .31 tho pupil will find a number of sketches of 
 natural leaves and flowers which will be useful to him and 
 keep him supplied with material until he lias an opportunity 
 to make sketches for himself. He should also study the forms 
 of snow-ilakes and the ornaments tniced by "Jack Frost " on 
 tho window pane, lie will get there m.any .-k suggestion and 
 many a beautiful form. He is reconnnended to study the 
 f^rms of the scales and the bones, especially the liones of the 
 liead, of fishes, the wings of biids, and in fact all natural 
 objects. They will furnish him with nuu'h good material. It 
 nuist, however, be remeuibered that (.'.vceiit in a very few cases 
 they must all Ijc conventionalized, or at least made symmetrical 
 before they can bo used. 
 
ExnRcisn. 
 
 Make designs fo. „. i.ou ,at, an i.on fence, a gas b.ckcZ::Z,..u,.lie.. for oithc gas o. ,a.np3. 
 
 ■63 
 
PRINCIPLES OF DESIGNT, 
 
 All orna,n,.nt should l.o Usnd upon so.uo K-on-etric urrang.- 
 merit of linns or planus. 
 
 Hpacos betweui. tlin 1 . disgiUHocl „a much as p.Msiblo. The 
 
 '""y u" uiinclioil for clusBr insijuctiun. 
 All ornament should be ,...i«„ed specially for the position it 
 IS intended to occupy and should be appropriate. 
 
 AttentiVnms:Vo'pai:i',;:;"i;'™:!;.r,;;:^.r ''" "t'^"*"' '•""'^ "^ ""'•"■"■ 
 
 accompany one another iust as a *- •.""m™'""" I""t»">S8l"'uUi 
 
 If sepilrat^d both are Lm , ,l" to a '. !* f'"''' '"''^"■"■""'y " teacup, 
 applies more to olriTS^^^^^ T"f l»8t remark 
 
 .8 to bo executed shoi^ , flue ;o t i J I", "'Tf !" "'"''''' '"''■■^'f'" 
 complexity of both f< ,m „d o h!. ',"? "'i'*''''^ "'" P""""' »» t" 
 in a general way , f " . flWe^i ^r '"' "'" "V"'"'" ^''""''* ^^ "'f'>™«<l 
 oil cloths, wall papers, tile, etc ^ "^ "mnufacture of carpets. 
 
 Natural forms if en,ployed in ornaments should be conven- 
 tionally treated and not imitated either as to form or nrrance- 
 ment. = 
 
 All ornaments should be traceable back to a parent stem. 
 
 iIlu8t™fo,r"Tid!w. ^\''^^^ ^y '"""r "''''^' " '■••'« being a beauliful 
 
 All junctions of straight and curved lines, or of tv/o or more 
 curved lines in main stems should be tangential. 
 
 Harmony of form consists in the proper balancing of straight 
 with curved lines. ° 
 
 Construction should be decorated, decoration should never be 
 Iiurpo.scly constructed. 
 
 Imitations, such as the graining of woods, and of different 
 kinds of marbl,,, etc., are allowable only whvn the articles imi- 
 tated would njt be out of place. 
 
 Whether imitations are allowable at nil n,. ;.. i i , 
 they are allowable, iM-erhaps a matter of opiniJn''"'" '""'"' "'""' 
 
 The writer contemli that as ornaments they'aro no better than 
 natural forms m decurationa and, if used at all ahoiiM V, ,f i i 
 
 munitions but as suggestions, th'at is, they shliilU "con entn,!!" 
 In much of the graining in our houses the imitation is n. t s ch ai 
 would deceive any bo,ly and is perhaps not very objectionable buT 
 usually, as far as graining is concerned, the more nerfect th„ ; nl'i ' 
 the bettor people are pleased with it, and a house ca, , ,,t ' 
 
 Bt^ronger recommendation than to be describe'dT ^" gi'm'^l rju^h" 
 
 In matters outside of art, apham fills the mind with disgust an.l 
 It 18 strange that we have learned to tolerate veneere.l furniM r^ !.' • i 
 woods, plated jewellery, indeed in some canes we ,aeev"nZrn^":^ 
 admire them In many cases our satisfaction with these thirs Ta ne^ 
 haps due to the bhss born of ignorance, as in the case of elm furnifur.; 
 stained and varr.ished and so d for walnut As 1,,.^ „. IZi '"^•!''"f« 
 detected the elm is wahiut and quite satisfacUrv^^ "s ttsor" bui 
 
 sha... and imitations we iJ^i^:^::"^ ^ ^^^ bel^^X^^'^-^ 
 
 costi^;:zss3r'r:;^!ihL;:.:^e;;ti^^^ 
 
 therefore itshould not be used. Besi.les in' fZu IV!^? HH^'.'Z 
 bnftat?o'n "^ '"*^"'"'' ^""''^ """''y >'» substituted for an'ulisI^UfkcTo;; 
 
 in. ^ui^^i::; i^">S;?° X irsirtf i/^T- 
 
THE HIGH SCHOOL 
 
 DRAWING COURSE. 
 
 ' !3._Linear 1'cvbpeox.ivt,. 
 
 1.— Freehand. obiect Drawing. 
 
 -2 -Practical (Seometry. :^•7- r'^'^J^^^^^ "^ 
 
 each, at all bookstores. ^ ^ _^ 
 
 ~Thi Mechanical Drawing Course. 
 
 „ , rnKslST OK THE FOLLOWING BOOKS : 
 
 ,Hi.s couKsK .1 . CON.... r __3^^iiain? Construction. 
 
 , ^Projection and Descriptive Geometry. ^^J^^..^^^ Design. 
 2.-Machine Drawing ^ Perspective. 
 
 . ^'"hetTwUl b. suppLl by Toronto Wholesale Dealers 
 In both of the above Courses, the tradc^vv^U^^ ^^^n 
 
 THE GRIP PRINTING 
 
 26 & 28 
 
 ND PUBLlSHiriG 
 
 FRONT STREET WEST, TORON