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ART and WORK. 
 
 As shown in the several Artistic Industries employed in 
 the use of Marble, Stone, and Terra-cotta ; Metal, 
 Wood, and Textile Fabrics ; as well as in the various 
 details associated with Decorative Art: — the zvhole exem- 
 plified by &5 Lithographic Drazvings (each with some 
 descriptive explanation, of Antiqtte, Mediaeval, Italian, Re- 
 naissance and Oriental examples) including some Illustrations 
 from the best unpublished works of the "Brothers Adam" 
 together with other designs from more recent Authorities. 
 
 BY 
 
 [OTIVIMUUB 
 
 OWEN W. DAVIS, 
 
 n 
 
 Architect. 
 
 LONDON: 
 
 B. T. BATSFORD, 94, HIGH HOLBORN. 
 
 MDCCCLXXXV. 
 
D3 
 
 IN MEMORY OF THE LATE 
 
 SIR MATTHEW DIGBY WYATT, ARCHITECT: 
 
 IN WHOSE LEARNED AND GENTLE SERVICE, IT WAS THE 
 
 WRITER'S GOOD FORTUNE TO HAVE DEVOTED 
 
 MANY YEARS OF PROFESSIONAL 
 
 STUDY, 
 
 THIS WORK IS DEDICATED. 
 
[tjsivbrsiit] 
 
 ART AND WORK. 
 
 PREFACE 
 
 THIS volume is essentially a reference-work, for those who are engaged in the pursuit 
 of Art and Manufacture. . '■■> 
 
 The collection has been closely packed, for when half a subject seemed to suffice 
 
 in order to elucidate an example, the Author has been content to leave it so ; otherwise, he 
 
 might have made the book far more attractive with the addition of a score or more of 
 illustrative plates. 
 
 Be that as it may, however, it is certain that design consists chiefly in arranging 
 those ideas which the mind has stored up in the course of its various studies. Indeed, 
 the power of imagination lies mainly in forming fresh combinations out of old material. 
 
 Art is for all time : new forms and features are not absolutely required, but rather 
 the apt collocation of suitable artistic details, as oft-repeated history has fully exemplified. 
 
 Art is mainly the result of ages of inherited experience ; and in the course of time 
 it may reach a climax, whence it rapidly declines, in order to rise again as slowly in 
 another direction. 
 
 Now it should be first explained that the arrangement of the plates, which may 
 appear to be disposed here without any method, is wholly intentional. To some minds 
 the purpose will be obvious ; whereas to those who fail at first sight to grasp the 
 raison d'ilre of the seeming disorder, it may be said that Nature does not grow all her 
 lilies in one cluster, and that when we see them so disposed (as at some nurseryman's 
 grounds) we are not especially charmed with the composition. 
 
IV PREFACE. 
 
 Nevertheless, for the convenience of reference, the description of the subjects has 
 been set in alphabetical order, and to this a list of the plates, numerically arranged, 
 has been added. 
 
 With the exception of one or two "process" engravings, the whole of the plates 
 have been drawn on stone by the Author, and these have been selected from portfolios 
 of notes, sketches and drawings, which have been accumulated throughout twenty years 
 of professional practice. 
 
 Some eighteen or more of these illustrations were originally engraved for the 
 " Building News,' 1 about sixteen years since ; and owing to their having been frequently 
 referred to, by architects and others, as standard examples of technical art, the Author 
 has been induced to republish them here in a collected form — the proprietor of the above- 
 named journal having kindly granted the permission to use them. 
 
 In conclusion, the Author has to tender his thanks to the subscribers for the encourage- 
 ment given to a volume devoted entirely to the interest of Art-workmanship ; and he 
 trusts that the details contained in the book will prove as useful to them as they have 
 been to the writer himself. 
 
 Nor can he close this preface without recording his obligations to his old friend, 
 
 Mr. Henry Mayhew, for the assistance afforded him in the literary portion of this 
 work. 
 
 OWEN W. DAVIS. 
 
 i, Caroline Street, 
 
 Bedford Square, W.C. 
 
THE PURSUIT OF ART-WORK. 
 
 (Jl grtu&cnf's Laptev.) 
 
 ^> > OT THl ^^^ 
 
 The Sketch, the Design, and the Execution. |TJ5IVSRSI' 
 
 THE SKETCH. 
 
 IT is evident that the student (and in Art we are ever students) must not only study, 
 sketch, and measure the works of others, but he must be in the habit of indulging in 
 continual and appropriate reading ; for it is obvious, that he who gathers the most 
 material, must have the greatest power of design, since the more refined conceptions can 
 proceed only from a mind that is highly cultivated. 
 
 The more we learn, the less we are inclined to take what we read for granted. 
 In fact, no two men see the same rainbow. An object is capable of improvement only 
 up to a certain point: laboured excellence and insipid perfection are by no means 
 desirable, so long as there is the sparkle of what may be termed " happy thoughts ; " or 
 rather, of that concentration of ideas which renders manifest an inward sense of the 
 beautiful, and which is all that is requisite for success in design. 
 " How to improve it many books can teach us ; 
 How to obtain it, none." 
 
 The first means to this end is undoubtedly sketching; so we propose giving a few 
 concise suggestions, which have proved useful to us in our own professional pursuits. 
 
 i. — Our first injunction is, begin your subject somewhat smaller than you intend it to 
 be when actually finished. 
 
 2. — Remember always to do the simple work first, for thus the more difficult 
 will, in its turn, gradually become the more easy ; whereas if you tackle the giant first, 
 your strength will be soon exhausted, and the simpler portions will consequently 
 appear the more formidable. 
 
 3. — Try to draw without outlines : get, in the first instance, an impressional idea of what 
 you require in light and shade ; then mass your work up, and carefully fill in the details. 
 
 4. — Think carefully over your commencement, for be sure you begin well : a good start 
 is half the battle gained. The first quarter of an hour's work may be good or bad for 
 you, and so decide the fate of your drawing. 
 
 Mem. — In sketching, it is generally found that the first stage is nervous, and the 
 second irksome ; whereas the third generally atones for the other two inconveniences. 
 
 N.B. — Looking thoughtfully at an object, and afterwards sketching its several features 
 from memory, will do more, may-be, to impress the salient points of it on the mind, 
 than would an elaborate drawing, made at leisure, in front of the object itself. A more 
 vivid impression of a subject is often retained when we are not permitted to sketch it ; 
 and, doubtlessly, many an artist has experienced the same visual retentiveness. 
 
6 ART AND WORK. 
 
 How often, moreover, does the Artist go abroad for study, when many a subject 
 lies unobserved almost at his own doorstep. 
 
 THE DESIGN. 
 
 THE human eye assuredly does not see quite correctly: the mind regulates the forms 
 it perceives. The letters and numeral B E S 8. f° r instance, will amply prove this ; 
 for if the page be turned upside-down, the upper portion of each character 
 will be shown to be the lesser half: an unequal bi-section which the vision demands. 
 Horizontal lines appear to droop or "sag" centrally, and to compress the space they occupy ; 
 whereas vertical lines, on the contrary, tend to heighten it. For the same reason no tall lady 
 cares to be attired in stripes, nor a short one to wear a dress figured with horizontal lines, 
 
 If we draw one side of an apparently bilateral form, and then retrace the lines 
 with the greatest exactitude on the other side of an axial line, the eye is rarely satisfied 
 with the effect produced. The figure must be put out of drawing a little, or the entire 
 delineation will never appear right. 
 
 Few things in nature are inherently uniform. The old Medievalists were thoroughly 
 cognisant of this : their scrolls, therefore, are never exactly true, and they always 
 preferred a freehand circle to a geometrical one. The pot which is thrown deftly from the 
 wheel is certainly more beautiful than the templet moulded or the turned vase. Perhaps the 
 irregularity of the wheel's motion, or the unequal cutting off with the wire at the foot, 
 may have something to do with the result. 
 
 There is ever the danger of the manipulation of the tool we use getting the better 
 of us. Be it either a gouge, or a parting-tool, as in Perpendicular Carving ; or may-be 
 mere brush-work, as on some of the Etruscan vases. Still, it is execution, and nothing more : 
 there is neither head nor heart-work about it. 
 
 Hence it is questionable whether touch and style in drawing are favourable to design. 
 A conception may be feebly drawn, and yet full of suggestion as well as artistic interest ; 
 but, on the other hand, the facile draughtsmanship, though attractive, may have little or no 
 "grit" in it, and ends in being "flat, stale, and unprofitable." 
 
 Briefly, our own modus operandi is as follows : — 
 
 On a sheet of stout lining-paper, we first set out the subject, and then sketch in 
 the ornament with charcoal — having, of course, first settled in our mind what we are 
 going to do. 
 
 We then proceed to use the charcoal freely, without heeding the grime ; and when 
 we have got in the design (say of a frieze in relief) we draw the several forms amongst 
 the charcoal lines — thoughtfully and carefully — with a black lead pencil ; after which, we 
 lightly brush away the charcoal with a goose wing, and then put in the general outlines 
 with a " Waverley " pen, and either some common ink, or brown colour made up from 
 " Stephens " walnut-stain and water. When this is dry, we rub the whole of the paper 
 over with a duster, so that the debris, of the pencil and the charcoal combined, serves to 
 
ART AND WORK. 7 
 
 produce a uniform grey tint. Finally, we take out the lights with a piece of vulcanised 
 rubber, and then touch up the high lights with a little Chinese white ; whilst if any 
 shadows be required to be put in, we use a brushful or two of weak lamp-black. 
 
 Design is a wayward nymph ; for when we would concentrate our thoughts on one 
 subject, another crops up which, though it might be felicitous enough for other purposes, 
 would lead us away from the point we have in view ; and when we would design a plain 
 object, the mind is fain to run riot on elaboration, or vice versa. At least, we know 
 not how it happens with others, but such is generally the case with ourselves. 
 
 The truth is, that abstract beauty is rarely within call. Knowledge, combined with 
 talent, may assuredly produce a mediocre result ; but the real gem crops up only in the 
 mines of a fortuitous imagination. It is very refreshing to see, now and then, how 
 ingeniously the " old fellows " surmounted the very difficulty, which previously, perhaps, had 
 caused us infinite pains to overcome — in even a passable manner ; so that we are induced to 
 ask ourselves, instinctively, why couldn't we have hit upon that happy idea ? 
 
 How often is the mind lost in admiration at the picturesque grouping and skyline of 
 the offices of a modern mediaeval mansion ; whereas the far more elaborate main-building, 
 upon which so much pains may-be had been bestowed, is found to possess, in its entirety, 
 little or no art-interest whatever. 
 
 It is often difficult to decide where beauty begins and ugliness ceases : the line of 
 demarcation is generally u as uncertain as the shade ; " or rather, as the margin betwixt light 
 and light-obscure, for there we see both mingled in the penumbra. 
 
 In design, we would almost venture to risk an ungraceful feature, rather than lose 
 the general effect of the composition — even as the ancient sculptors were wont to 
 introduce the rugged sacrificial skulls of beasts, to act as a foil to, and enhance the beauty 
 of, a frieze or altar. — See plate 64, No. 1. 
 
 The great essential in all design is simplicity ; for this, in every branch of Art, will 
 be found the best mode of making a powerful impression. It generally takes half a lifetime 
 to unlearn — that is to say, to divest ourselves of our own vain conceits, and impress 
 upon the mind the value of being simple in our work. 
 
 Old Hesiod says : — " Half is often more than the whole ; " for though our composition 
 be as rich as the Alhambra, the work will only be frittered with ornamentation if it lack 
 the repose of that example in the aggregate. 
 
 THE EXECUTION. 
 
 PERHAPS the simplest means of obtaining effect in a design is by the judicious 
 use of refined Mouldings. 
 
 The late Mr. G. E. Street, was ever happy in the use of these details ; producing, 
 as he did, such softened shade and well-defined shadow, with coaxing lines of moulding, as 
 
8 ART AND WORK. 
 
 harmonized the broad wall-spaces with the openings, and made them tell out from every 
 point of view. 
 
 Such is the mission of mouldings. 
 
 The most exquisite profile, unless it has to fulfil a foreseen duty, is useless ; for 
 sections are rarely ever viewed directly in execution. 
 
 Thus the subject of mouldings brings us to margins and borders. 
 
 How apt one is to despise " small deer ; " and yet the choice of a margin will 
 often make, or mar, a good design. It is by no means an easy task to determine the 
 right ornamental bordering for a subject : consequently, it were well to retain a collection 
 of such minor details. 
 
 Then next in turn comes Carving : — 
 
 We shall touch here on Italian foliage only — details which look easy to draw, 
 so simple and graceful are their evolutions. Still, unlike mouldings, carving depends much 
 on the ability of the Art- workman. 
 
 Most of the cinque-cento carving was undoubtedly rendered from carefully-prepared models : 
 
 Italian foliage crops up fat and bold, where the finger of the skilful modeller has dex- 
 terously thrust up the clay, and then it gracefully trails off into absolute nothingness. Hence 
 portions of the design seem to lie "perdu" — left, as it were, for the imagination 
 to pick up again further on in the composition ; like a silent chord in music, or a path 
 lost and then found again in a picture. 
 
 This gives the beholder something to do ; consequently he feels at one with the 
 subject, and this we take to be true interest in Art-work. 
 
 We fear it will be some years before Italian architecture becomes established in this 
 country. We mean the pure, uncompromising Italian work — free enough within its own 
 limits, but unsullied by a weak and quasi-mechanical Germanic tendency, or the vapid 
 seductions of a French influence. 
 
 In the time of Francis I. the Italian renaissance was cherished in France; and, moreover, 
 our own ancestors did a little good classical carving themselves ; as in King's College, 
 Cambridge. 
 
 But things are changed now, unfortunately ; and but few Art-patrons can appreciate 
 the difference between late French renaissance, and reproductions from good old Italian 
 details. 
 
 A clever architectural sculptor lately told us, that he had the utmost difficulty in 
 getting good foliage hands, whereas " passable " figure carvers were plentiful enough. 
 
 One small panel of spirited carving on a house-front, will, if it lives in its position, 
 (and ornament is not ornament unless it fulfils that duty) give as much pleasure to some 
 minds as the entire foliated incrustation on the Houses of Parliament. 
 
 Carving which is dished out of the flat is apt to look feeble, as well as to appear 
 to weaken the structure. A medium course would seem better, i.e., not to let it look as if it 
 
ART AND WORK. 9 
 
 were applied — but to be half in and half out, or nearly so ; whilst it should be made evident, at 
 the same time, that the sculpture forms an integral part of the foundation carved upon. 
 
 A closing word or two, now, on Decoration. 
 
 " Decorated homes ! " (we dislike the name), for though such places might dazzle for a 
 time, still, they would soon betray their vapidity, and ultimately leave one melancholy and 
 dissatisfied. 
 
 Give us, therefore, some simple, thoughtful, passionless work, which greets us as a 
 friend and acquaintance, whenever we return to it. 
 
 Depend upon it, the cultured eye takes in at a glance — intuitively— a well-arranged 
 and tastefully garnished apartment. It needs no " scratch " lot of prettiness about the 
 place, — such as the eye might find at an auction mart, for example. The carpet, on the 
 contrary, must " chum up " with the walls, and the ceiling echo the general harmony ; 
 whilst the furniture should take its place as an intrinsic part of the scheme, and the 
 pictures and china, in their turn, serve to give massed and brilliant touches to 
 the picture. 
 
ART AND WORK. 
 
 LIST OF ILLUSTRATIONS, Etc. 
 
 PLATE PAGE. 
 
 1. New India-Office Details 29 
 
 2. Italian Fountains, Vases, etc 24 
 
 3. Mediaeval Ivory Carvings 25 
 
 4. Stone and Wood Finials, etc 23 
 
 5. Old French Metal Finials 23 
 
 6. Carved-Stone Details 17 
 
 7. Old English Fire-place 18 
 
 8. The Butterwalk, Dartmouth 13 
 
 9. "Adam" Chimney-pieces 19 
 
 10. "Adam" Grates 24 
 
 11. Carved Oak-Cabinet 14 
 
 12. Details of Carved Oak-Cabinet 14 
 
 13. A Cinque-cento Wall-Decoration 34 
 
 14. Old inlaid Oak-Cabinet 14 
 
 15. "Adam" Chimney-pieces 19 
 
 16. New India-Office Details 29 
 
 17. Cabinet, Chairs, and Decoration 13 
 
 18. Carvings — The Certosa, Pavia 17 
 
 19. Metal-Work Designs 28 
 
 20. Modern Indian Ornament 25 
 
 21. Renaissance Overdoors and Pediments 30 
 
 22. Capitals — Broadwater Church 16 
 
 23. "Adam" Chimney-pieces 19 
 
 24. Decorative Wall-Paintings 20 
 
 25. Old Printers' Devices 32 
 
 26. Dining-Room Interior 20 
 
 27. "Adam" Chimney-pieces 19 
 
 28. "Adam" Grates 24 
 
 29. Wall-Paper Decoration, Ships 34 
 
 30. Mediaeval Metal-Work 28 
 
 31. Japanese Birds 26 
 
 32. Bedsteads 12 
 
 33. Capitals — New Shoreham Church 15 
 
 34. Italian Tarsia-Work 33 
 
 35. Early Classic Ornament 21 
 
 36. Animals — 15th Century Wood-cuts 12 
 
 37. "Adam" Chimney-pieces 19 
 
 38. Stone-Head to Doorway 21 
 
 39. 16th Century Tablets 32 
 
 40. Inlaid Pianoforte 30 
 
 41. Animals, Plants, etc. — 15th Century Wood-cuts ... 12 
 
 42. Door Decoration 20 
 
 43. "Adam" Chimney-pieces 19 
 
 PLATE PAGE. 
 
 44. Renaissance Chimney-piece 18 
 
 45. Early Gothic Stone-Carvings 17 
 
 46. "Adam" Grates 24 
 
 47. New India-Office Details 29 
 
 48. Carved-Stone Details 17 
 
 49. "Adam" Grates 24 
 
 50. Staircase Decoration — Wall-Paper 35 
 
 51. Old English Plate 31 
 
 52. Early Classic Ornament 22 
 
 53. Table- and Chair-Legs 32 
 
 54. Table-Legs, Commode, etc 32 
 
 55. "Adam" Chimney-pieces 19 
 
 56. Japanese Ornament 26 
 
 57. An Arm-Chair, "Sheraton" 15 
 
 58. Modern Carpets 16 
 
 59. Table-Legs, Balusters, etc 33 
 
 60. Old Majolica Paintings 27 
 
 61. Old English Plate 31 
 
 62. "Adam" Chimney-pieces 19 
 
 63. Marble Inlay, the Certosa — Pavia 28 
 
 64. Renaissance Panels, and Pedestals 30 
 
 65. "Adam" Chimney-pieces 19 
 
 66. China Paintings 20 
 
 67. Renaissance Panels 30 
 
 68. Italian Tarsia-Work 33 
 
 69. Key-Stones, Corbels, etc 27 
 
 70. Italian Tarsia-Work 33 
 
 71. Renaissance Ceilings 18 
 
 72. Italian Capitals 15 
 
 73. Early Gothic Stone-Carvings 17 
 
 74. The "Priory" Porch— Hampstead 31 
 
 75. Animals — from the Antique 11 
 
 76. Renaissance Chimney-pieces 18 
 
 77. Japanese Birds 26 
 
 78. Old Houses— Rochester 29 
 
 79. Animals — from an Etruscan Tomb 11 
 
 80. Animals, etc.— 15th Century Wood-cuts 12 
 
 81. Internal Architecture and Decoration 20 
 
 82. Florentine Cabinet and Chair 13 
 
 83. Capitals — from old Italian Drawings 15 
 
 84. Tarsia-Work 33 
 
 85. "Adam" Grates 24 
 
 — Terra-Cotta 34 
 
*3» 
 
 TOT 
 
 ART AND WORK. 
 
 THE PRINCIPAL SUBJECTS ALPHABETICALLY 
 ARRANGED AND DESCRIBED. 
 
 ANIMALS FROM THE ANTIQUE, 
 
 Plate 75. Nos. 1, 4, 5 and 10, antique sculptures of Gryphons; No. 2, Sea-horse; 
 No. 3, Aquatic Bull ; Nos. 6, and 9, Gryphons ; No. 7, Sphinx, and No. 8, Winged Lion, ^SMvo. 
 (the last six examples are copied from wall-paintings at Pompeii.) The Gryphon, or " Griffin," 
 has the wings of an Eagle, with the body, legs and tail of a Lion ; occasionally, the 
 horns and beard of a Goat are added to a Lion's or Eagle's head. 
 
 Gryphons were used as a type of power, swiftness, and guardianship by the ancients ; 
 the leonine portion showed courage and audacity ; whilst the aquiline, portrayed veneration, 
 tenacity, valour, and magnanimity. 
 
 ANIMALS FROM AN ETRUSCAN TOMB. 
 
 Plate 79. These wall-paintings, executed in conventional colourings, are from a frieze 
 in a many-chambered tomb at Vulci, Italy. Our illustration of them is reproduced from 
 the work of M. Noel des Vergers, entitled "L'Etrurie et les Elrusques." Above each 
 line of beasts, which surmount groups of subjects from the Mythology, is a fret, painted in 
 ordinary isometrical perspective. The animals consist of Lions, Tigers, Wolves, Horses, 
 Boars, and Bulls, together with Gryphons, Sphinx, and other chimeras in, more or less, 
 violent action. 
 
 The subjects are drawn in a most vigorous manner, and are replete with suggestions 
 to the artist. 
 
 Works of art were probably executed in Etruria previous to the arrival of the Greek 
 colonists in North Italy and South of France; "but," says a writer on this subject, "the 
 more rude and ancient specimens are exactly in the style of the ancient Greeks, from whom 
 the Etrurians appear to have learned all they knew, and whose primitive style they 
 continued to copy, following their archetypes strictly and servilely, but in a most elevated 
 and dignified manner, founded upon more enlarged principles than had been adopted by 
 the Greeks." 
 
ARM-CHAIR 
 
 see Plates 7 
 
 17, 57, and 82. 
 
 and "CHAIRS." 
 
 12 ART AND WORK. 
 
 ANIMALS, Etc., FROM 15TH CENTURY WOOD-CUTS. 
 
 ANIMALS, 15th 
 
 century. These clever engravings, so full of motif in design, as well as spirited in execution, 
 
 1N arch* l are obtained by the simplest means which an artist could employ. They are taken 
 
 TEOTURE and 
 
 "l^ptatesi?' principally from the " Ortus Sanitatis" printed at Mentz, in 1491, which is a work on 
 
 and " DECORA- 
 TION." Natural History, by Jacobus Meydenbach. An edition of this book appeared as early as 1485. 
 
 Plate 36. No. 2, a "Dove;" No. 3, a Sea-eagle; No. 5, a Dragon; No. 6, a Hound, 
 Hare, and Falcon; and No. 8, a Pelican and young. Nos. 1, 4, 7 and 9, are animals 
 which would have interested Pliny, or Sir John Mandeville the traveller. They are 
 introduced here on account of their merits as art-suggestions. 
 
 Plate 41. No. 1, a Water-plant; No. 2, Forbidden Fruit and Serpent; No. 3, Figs; 
 No. 4, Mallow, (the dwarf species, which the Greeks planted amongst their tombs with 
 Asphodel) ; No. 5, a Water Subject ; No. 6, Swans ; No. 9, the plant Mugwort, (Botris), 
 and Nos. 7 and 8, an Eagle and a Fish, reproduced from the " Herbal," by Matthioli — a 
 work of somewhat later date. 
 
 Plate 80. No. 1, Palm Tree, the symbol of fecundity; No. 2, Hellebore; No. 3, 
 Bramble ; No. 4, " Leviathan " ; No. 5, Hooded Snake ; No. 6, Flying-fish ; No. 7, Ray 
 Fish; No. 8, "Pegasus"; No. 9, Crocodile, and No. 10, Gryphon. 
 
 The old book-makers were not over-scrupulous in their distribution of wood-cuts ; so 
 that, for economy sake, they had the hardihood, frequently, to repeat an engraving, over 
 and over again in the same work, to illustrate a totally different subject. 
 
 The old Mediaeval emblems, and Oriental drawings, have seemingly been laid tribute 
 to in the producing of these designs. 
 
 We would call attention to the "colour" thrown into the examples Nos. 1, 2, 4, and 
 9, Plate 41, — the engraver having artistically cut the internal foliage in intaglio. 
 
 BEDSTEADS. 
 
 BALUSTERS, 
 
 rnd"TABLEi Plate 32, No. i, the side and end of a Dutch Bedstead, dated 1632; No. 2, an Italian 
 
 LEGS." 
 
 specimen from the " Hypnerotomachia," (see article on Fountains) date 1499; No. 3, the head 
 
 BEDSTEADS. 
 
 of a very handsome "four-poster," from an engraving, signed Remini Rodius, Venice, 1550; 
 
 BIRDS, see 
 
 v ^st,'Jl' No. 4, a " Viollet le Due" transcript of a 10th century Bedstead, as redrawn in correct 
 
 "JAPANESE 
 
 perspective, from an old manuscript Bible (see the " Mobilier" — Vol. I., Lit.). 
 
 Here we have metallic construction, combined with cordage, and probably a sacking 
 
 BRACKETS, see o r J o 
 
 7s, "Key 1 - in addition, to receive the bed. To all appearances, this old article of furniture could have 
 
 STONES," Etc., * * 
 
 houses," been taken to pieces, and set up again with little difficulty. The trumpet terminations to 
 
 ROCHESTER. r r ° J r 
 
 the tops of the standards, suggest receptacles for the holding of candles. 
 
 No. 5, is a brass foot-end, made by Messrs. Gillow & Co., from a design by the 
 Author. A series of metal bedsteads, similar in style, was shown by Messrs. Peyton & Peyton, 
 in the late Paris and Philadelphia Exhibition. No. 6, a bronze leg of a Pompeian Couch, 
 
ART AND WORK. 13 
 
 in the British Museum. The manufacturer will, doubtless, appreciate the object aimed at 
 here by the workman of 2000 years ago : yielding, as it does, a maximum of reflecting 
 surface with a minimum amount of bronze, in a design of exquisite proportion, and 
 delicate turnery. 
 
 BUTTER-WALK DARTMOUTH. 
 
 Plate 8. When we first visited Dartmouth, we were not a little surprised to find "^"l 11 " 
 
 . . , . . .11 DARTMOUTH. 
 
 it such a singularly continental-looking town. Hemmed in with precipitous hills, almost 
 to the concealment of its harbour entrance, the centre of the town appears to lie in a 
 nearly-complete valley. Old-fashioned pinched-up streets seem to totter up the steep acclivities, 
 connected here and there by flights of steps, with the pavement of one street appearing on 
 a level with the chimney-tops of the other ; whilst projecting stories, and still-further pro- 
 truding gables, greet their neighbours over the way. 
 
 Possessing a sheltered and convenient haven, close upon the Atlantic, and a soil of 
 abundant fertility, amid charming scenery, it became a seat of considerable commerce, and 
 an abiding place for wealthy traders of the good old times. One of these merchant princes, 
 is stated to have erected for himself and four daughters, the five ancient dwellings now 
 called the " Butter-walk." Two of these form the subject of our illustration. 
 
 The fronts bear the dates 1635, and 1640 — just that period when "Elizabethan" architecture 
 was resolving itself into the style of the Italian Renaissance. In their prime, those houses must 
 have been unique — with their half-timbered fronts, wooden sculpture, and pargetting. Only 
 two of the gables, now remain : much of the carving has disappeared, and the exteriors 
 are either stuccoed over, or vertically slated. Still, the facade exhibits many beautiful 
 features of old English domestic architecture — e.g., amongst others, three projecting windows, 
 supported on vigorously-carved oak tassels, and representing the rampant lion and unicorn, 
 as well as the sphinx, and other heraldic beasts, together with richly-carved friezes and 
 window jambs. 
 
 The first floor and fronts, which are borne on stone columns, project over the footpath. 
 The ceilings of the upper floors are very elaborate, and one of the principal rooms, which 
 has the Royal arms carved over the mantel, is said to have been the reception room of 
 KinQf Charles I. 
 
 £> 
 
 CABINET AND CHAIR— FLORENTINE. 
 
 Plate 82. This small, but luxurious piece of cabinet-making, is executed in green ebony, '''^j^!'"" 1 
 enriched with precious marbles, in " pietra dura " work, and carved doors, etc., having oxidized 
 silver mountings. The chair is of Italian walnut, with Genoa velvet coverings. 
 
 CABINET, CHAIRS, AND DECORATION. 
 Plate 17, represents a portion of a Reception Room, designed for Messrs. Nosotti. 
 
i 4 ART AND WORK. 
 
 The original drawing was hung in the Royal Academy Exhibition of 1882. The cabinet 
 is executed in satinwood, with marquetry decoration, and ivory and brass mounts. 
 
 The chairs are of similar materials, with embroidered satin backs and seats. 
 
 The wall-decoration is painted on a tender yellow ground, in Pompeian colourings 
 — the dado being cinnamon, with green bay-leaves, white flowers, etc. 
 
 CABINET— OLD INLAID OAK. 
 
 Plate 14. This fine specimen of good old English design and workmanship, is richly 
 inlaid in various woods, on an oak construction. 
 
 We are indebted to the kindness of its fortunate possessor, Mr. Fredk. W. Ridgway, 
 Architect, Dewsbury, for the measured drawings from which this engraving has been 
 produced. 
 
 CARVED OAK CABINET (GERMAN) i6th CENTURY WORK. 
 
 Plate 11, is a rare old cabinet, or chest of cupboards, in the South- Kensington 
 Museum collection. It is of sixteenth-century German workmanship, and is probably 
 composed partly of, or generally restored from, older materials. The iron mounts and diaper 
 door-panels of black oak, are evidently earlier than the horizontal and vertical bands of 
 gouge-cut carvings. Sixteenth-century ironwork, too, was more strappy, wavy, and flowing. 
 
 The cabinet measures 7 ft. 2 in. in length, 6 ft. 8 in. in height, and 1 ft. 8 in. in depth. 
 It is rudely dove-tailed and pinned together, and forms two separate chests having two stages 
 of shelves each — the joint being concealed behind the centre horizontal band of carving. 
 Formerly, the sides had massive iron handles to each chest ; in one or two instances, the 
 rings and roses still remain. The bold design of the lock-plates and drop-handles demand 
 special attention. Large latches and handles are still in common use in Germany to ordinary 
 doors and fastenings. Portions of the carving have been painted light red, black, and green ; 
 most of the colouring, however, has been scraped or worn away. The ironwork has been restored, 
 but with very questionable success. The chamfered stops, both above and below the 
 locking-plates, are of deal, and evidently modern additions. Our forefathers were given to making 
 cupboards of very large dimensions, of which this one may be considered as a moderate 
 specimen. The general effect is very impressive — being a rich medley of forms, and yet having 
 every detail in proper keeping ; whilst it is totally unlike the wretched shams which crop up 
 from Wardour Street and its neighbourhood. 
 
 CABINET (GERMAN) i6th CENTURY WORK, DETAILS OF 
 
 CARVED OAK. 
 
 Plate 12. Nos. 1, 3, and 6, represent angle-straps, locking-plate, with drop-handle, and a 
 
 portion of the hinge. The roses, which are boldly convexed in the centre (with a telling 
 
 incision across at the top terminating the ties and hinges) are most effectively studded over 
 
 the surface of the cupboard front, whilst their stems are bent in a very free and easy 
 
ART AND WORK. 15 
 
 manner. The foliage on the locking-plate is exceedingly vigorous, and with the hollow 
 drop-handle and boss, presents a masterly piece of wrought-iron workmanship. 
 
 The woodwork, which for want of a better term we must call "carved," is grounded 
 out of the flat. Nos. 2 and 4, are examples, and retain a curious feature peculiar to 
 the decadence of mediaeval art, viz., the somewhat erratic-looking curves which are incised 
 on the surface of the larger leaves ; these were evidently attempts to depict, in forced light 
 and shade, the raised mid-rib of previous centuries, which in time, became flattened into 
 the one-sided " crocket " form so common in our own Perpendicular work. 
 
 Such landmarks as these will often go far to decide sixteenth and seventeenth century 
 
 carving — fragments of this date, more especially tlie stone details, are not always easy 
 
 to be distinguished from Norman work. No. 5, is a portion of the diaper to doors 
 
 of cabinet, (half full size.) The margin of the pattern is very thoughtful in design, and 
 
 with its trefoiled forms (which were unusual in late work) is rather uncommon. The panel 
 
 is executed in black oak, and most delicately wrought, when compared with the rest of the 
 
 woodwork. 
 
 CHAIR (ARM), BY SHERATON. 
 
 Plate 57. This illustrates the front, profile, and plan of an arm-chair of the closing part 
 of the last century. The original was of rosewood, in " thurmed " work, inlaid with 17, and 82.' 
 fiddle-back mahogany, and ebony, having brass mounts and velvet coverings. 
 
 CAPITALS— ITALIAN. 
 Plate 72. Although classified as capitals, the nine details here given are, more capitals, 
 
 CLASSIC. 
 
 properly, flat corbels to the pendendves of a groined roof. These are taken from the 
 Castello di Mondolfo, which is near Fano, in the ancient duchy of Urbino, Central Italy. 
 The date is about 1490, and they are now preserved in the South-Kensington Museum. 
 
 CAPITALS FROM OLD ITALIAN DRAWINGS. 
 
 Plate 83. The sixteen Corinthian-like capitals on this plate are taken from a sheet 
 of silver-point drawings of the cinque-cento period. 
 
 We have here a keen appreciation of the spirit of the Antique, developed in a style 
 perhaps grander, and certainly purer, than the highest attainments of old Roman architecture. 
 They are instances of the wonderful variety in classic carving, and expose the absurdity of 
 the continual use of the "one Corinthian capital," — a model of surpassing beauty, but still, 
 as capable of varied treatment as were the foliated " caps," during the palmy days of 
 thirteenth-century art in England. 
 
 CAPITALS— NEW SHOREHAM CHURCH, SUSSEX. 
 
 CAPITALS, 
 
 MEDIEVAL, 
 
 see also Plate 
 
 Plate 33. These capitals are taken from shaftlets, No. 1, of the "north-west respond," «.»»*■*» «. 
 and No. 2, of the south-east pier to the arches dividing the choir and aisles. 
 
CARPETS. 
 
 1 6 ART AND WORK. 
 
 There seems but little doubt that the capitals are of one date, for, though the north 
 and south piers and arches, differ considerably, still, there is a certain amount of incon- 
 gruity in all Transitional work ; in which the feelings of the architect often vacillated between 
 the old style and the coming new one. 
 
 It has been suggested, and not without good reason, that a foreign influence was at 
 work in the designing of this building. The foliage, throughout the church, is of a most 
 thoughtful character, with here and there a touch, more or less, of nature, reminding us of 
 sculptured ferns and water-plants, and possessing the endless variety of Romanesque, com- 
 bined with the charming simplicity of Early English carving. 
 
 CAPITALS— CHANCEL, ARCH— BROADWATER CHURCH, SUSSEX. 
 
 Plate 22, is an interesting example of the varied infinity of Anglo-Norman archi- 
 tectural detail. 
 
 We have here in juxtaposition the convex and the concave element of capital ; the former 
 represents birds, intermingled with fruit and foliage, carved out of the prevailing truncated- 
 bowl boasting, whilst the two latter are composed entirely of plant forms, and rendered so as 
 to be almost Byzantine in treatment. They show, in the central capital, the varied caulicoli 
 of the Corinthian model, quickened by one touch of Nature ; for these seem to be gliding 
 almost imperceptibly from the bell, and to shoot forward in active curves — as if bent down 
 by the weight of their luxuriant terminating masses. 
 
 In the more distant capital we have the boasting very superficially carved. A similar 
 section to this was the type of, and became fully developed in the moulding and "turnover" 
 foliage of Early English work. It was then little more than an uninterrupted sequence of 
 the "crotchet" form, obedient to the circular abacus of that period. 
 
 The group of capitals here represented are from the south-east pier of the tower, and 
 adjoin the chancel. They have the ordinary abacus surmounted by a bold lozenge-moulded 
 arch, and enriched label. The complementary arch next the nave is rather curiously constructed, 
 still it needs but passing-mention here, as it is well-known to the many who have visited 
 the fine old Church, and unique Norman tower of Broadwater. 
 
 CARPETS— MODERN INDIAN. 
 
 Plate 58. Carpets were first introduced into England as a floor-covering in the thirteenth 
 century, by the Spanish ambassadors who preceded the arrival of Eleanor of Castile. 
 
 The looms, whereon the rugs and mats ''requisitioned" by the old crusaders were 
 worked, consisted of the same construction as those in use in the East at the present day. 
 
 The carpets Nos. 1, 2, and 3, have but little claim to originality — the details being 
 adapted from Indian and old Persian sources. 
 
 The patterns have, in the absence of colour, become somewhat emphasized in our 
 engraving; otherwise, the effect of an Indian carpet is soft, dead, and blooming. The 
 
ART AND WORK. i 7 
 
 fillings usually consist of a geometrical arrangement of strong colours, so blended, and 
 incorporated one with another, that the eye takes in the whole field at once, and has faith 
 in the existence of a recurring pattern, which it might not care to see or follow. 
 
 The design is often enclosed within a telling border of red, black, and yellow ; the former 
 being generally of the hue of a red cow in the sun, — whilst the minor tints are rendered 
 luminous by the aid of the colours of a rich palate, laid in with subtle minuteness. 
 
 CARVINGS TO WESTERN DOORWAY OF THE CERTOSA, 
 
 AT PAVIA. 
 
 Plate 1 8. The exquisite little bit of Italian renaissance carving: here engraved, is carvings, 
 
 ^ => ° CLASSIC. 
 
 from the lower panels in the marble door-jambs on the left side of the western entrance to 
 
 the " Certosa." We were captivated with the deliciously semi-natural growth of this foliated see -new 
 
 *■ . ' ° INDIA-OFFICE 
 
 guilloche, and the subtle display of the light and shade. a^Sir. 
 
 On Plate 4, No. 7 ; Plate 63 ; and Plate 64, No. 3, are other details from this grand 
 museum of sculpture. 
 
 The Certosa, or as the Italians have it, the " Beata Vergine delle Grazie" was founded 
 by the first Duke of Milan, as an atonement for homicide, in the year 1396. The original 
 architect was Bernardo da Venezia. The facade, however, from which this representation of 
 the carving is taken, was not begun until 1473, after the designs of Borgognone. We regret 
 to add, that this noble edifice is, at present, being allowed to fall into a somewhat dilap- 
 idated condition. 
 
 CARVED STONE-DETAILS— POSSINGWORTH MANOR. 
 
 Plate 6. Nos. 1, and 6, are label terminations, and Nos. 2, 3, 5, and 7 cornice- 
 
 CARVINGS, 
 
 flowers, etc. ; while No. 4, is the profile of a corbel in gate-house. medieval. 
 
 Plate 48. No. 1, frieze; Nos. 2, and 3, small spandrils ; Nos. 4, and 6, chimney-piece MEDLEVAL 
 
 IVORY 
 
 details; No. 5, a corbel, while Nos. 7, and 8, are label ornaments. CA "ivoRY S<,e 
 
 carvingh," 
 Possingworth Manor, near Uckfield, is the seat of Mr. Louis Huth. By permission Flat6S - 
 
 of the late Sir M. Digby Wyatt, the Author illustrated the above in " The Architect" 
 
 early in 1870, and from the engravings then given, the Plates 6, and 48 are reproduced. 
 
 CARVINGS IN STONE— EARLY GOTHIC. 
 
 Plate 45. These Romanesque details are taken principally from the Architectural 
 Museum collection. 
 
 Nos. 1, and 5, are from the side of a font; Nos. 2, and 6, are capitals — the former, 
 which is drawn from a cast in the South Kensington Museum, being almost Byzantine in feeling. 
 No. 3, is an example of a beautifully-sculptured thurible ; while No. 4, is a very quaintly- 
 conceived abacus. 
 
 Plate 73. The first five subjects are from casts belonging to the Architectural Museum. 
 
 c 
 
1 8 ART AND WORK. 
 
 Nos. i, and 2, are crochets, starting from bold leafy forms. No. 3, appears to be a spray 
 in continuation of a moulding termination. No. 4, is a very simple and effective spandril-piece, 
 reminding one of the sturdy pistil of the arum, with its coral berries, amid the leaves and fruit 
 of the mallow ; No. 5 is an example of foliage, where the undulations of the modelling 
 are kept very soft, but, with a sufficiently-crisp outline ; and No. 6, a chevron filling, from 
 arcade work at New Shoreham Church, Sussex 
 
 CEILINGS,— RENAISSANCE. 
 
 ceilings. Plate J 1. These four Italian ceilings are from the pencil of Sebastian Serlio, who was 
 
 born at Bologna 1475, and was one of the artists that Francis I. invited to Paris to establish 
 the new-born classic art in France. The style of the "Grand Monarque" is very like 
 that of Serlio. 
 
 These designs are taken from " The Books of Architecture" by Serlio or Serly, 
 Venice, 155 1 — 84. 
 
 CHIMNEY-PIECES,— RENAISSANCE. 
 
 CHIMNEY- . . 
 
 pieces. Plate 76. The six examples of Chimney-piece details are from designs by Serlio, who 
 
 was an Italian architect of the cinque-cento period — as already stated under the head of 
 ceilings, Plate 71. 
 
 No. 4 is described as a Doric composition, and Nos. 2 and 3 as Ionic. The translator 
 of Serlio's work says, "The second order with the dolphins is made for two causes: The 
 one to make the mouth of the chimney which receives the smoke, wider ; the other is to 
 make a Piramicall form, making the neck of the chimney in a chamber," etc. 
 
 No. 1 is a Corinthian design, with a winged figure over it taken from the Antique. 
 Serlio says that "this invention might doubtless serve for a doore or place of tryumph." 
 Nos. 5 and 6 are entitled Composite, wherein the old designer has allowed a greater 
 license to his facile pencil. 
 
 Door-heads by Serlio are given on Plate 21, Nos. 2 and 3. 
 
 FIRE-PLACE— OLD ENGLISH. 
 Plate 7. 
 
 CHIMNEY-PIECE,— RENAISSANCE. 
 
 Plate 44. Beckmann, in his "History of Inventions" tells us that in 1368, one 
 Francesco da Carraro, a Paduanese nobleman, visited Rome. Being lodged at the sign 
 of the " Moon," an inn of note, he found the fire was kindled, according to the custom of that 
 city, in a brazier, placed in the middle of the room ; whereupon he sent for workmen, 
 and caused two chimneys to be constructed in the manner of those in use at Padua. Over 
 these, which were the first ever erected in modern Rome, he placed his arms as a 
 memorial of the event. 
 
ART AND WORK. 19 
 
 Whatever reliance may be placed upon the above, it is very certain that chimneys were 
 used in this country prior to that date ; but, although the Italian artists visiting England 
 did not import the luxury, they added much to its improvement. Perhaps the chimney 
 corner was never more attractive than during the Elizabethan period — or rather that which 
 followed immediately after Elizabeth ; for indeed, throughout the reign of the house of Stuart, 
 the old English fire-place was thoroughly appreciated. 
 
 The two chimney-pieces here illustrated are from designs by the Author — most of the 
 details being taken from existing authorities. 
 
 Plate 43. Nos. 19 to 22. 
 
 Plate 55. Nos. 23 to 28. 
 
 Plate 62. Nos. 29 to 35. 
 
 Plate 65. Nos. 36 to 42. 
 
 CHIMNEY-PIECES,— "ADAM." 
 
 Plate 9. Nos. 1 to 4. 
 
 Plate 15. Nos. 5 to 7. 
 
 Plate 23. Nos. 8 to 11. 
 
 Plate 27. Nos. 12 to 14. 
 
 Plate 2,7- Nos. 15 to 18. 
 
 These examples of eighteenth-century Chimney-pieces are copied direct from the working 
 drawings of the " Brothers Adam," preserved in the Soane Museum. They are all good 
 specimens of the style, and need but passing comment here. 
 
 Perhaps the Chimney-pieces are among the most beautiful details of the "Adam" period 
 left to us, and doubtless they are among the happiest of the " Brothers " creations. 
 
 Unfortunately they were too often designed without a thought being given to the 
 material out of which they were to be wrought, so that they must have given infinite trouble 
 and vexation to the workmen ; more especially in the use of slabs, so long and thin, that 
 these are now constantly found to be fractured, owing to their having been unable to sustain 
 even their own weight ; for the construction seems more like cabinet-work, than honest 
 stone-masonry. 
 
 Most of the over-mantels have been swept away, but they were very chaste examples 
 of the style — the plainer varieties being of exquisite proportions. 
 
 There is a highly monumental character about our English version of Pompeian art, 
 which is treated with a rigour quite distinct, and separate, from the flowery interpretation 
 of the French idea. Few of the details, indeed, are in common. The Louis XVI. 
 period borrowed freely from its preceding styles, and was of the Italian Renaissance character; 
 whereas the " Adam," adopted the Greek, and Etruscan forms, rendered with a " suspicion " 
 of English medievalism — a spirit which is ever present in good home-work, whatever may be 
 the particular style of architecture or decoration. 
 
 The Greek forms used are generally out of drawing — the Anthemion ornament especially ; 
 for the petals are made to spring out of the central spike, instead of each being of separate 
 growth, as in the Antique. But with all these deviations from the beautiful, one cannot 
 but feel, when studying a work wnich has really good points about it, that we bring with 
 us — it may be unconsciously — a certain amount of our own art to the shrine tp__fill up and 
 
20 ART AND WORK. 
 
 smooth over little deficiencies ; so that it is like excusing the waywardness of a friend, and we 
 find ultimately that we do not quite dislike the bit of bad drawing so much as at first : 
 for verily there is a touch of our own nature about it. 
 
 CHINA— PAINTING. 
 
 CHINA 
 PAINTINGS. 
 
 CORBELS. 
 
 Plate 66. This decorative legend was invented by the author of " Art and Work " for 
 key-stones.- Messrs. Copeland, Stoke-on-Trent. It was intended for painting on Christmas presents, etc. 
 ommode, j n t j ie centre Q f tne illustration is an old Greek vase, described in " Early Classic Ornament." 
 
 TABLE-LEGS," ' 
 
 piate'54. This was used merely to fill up the hiatus. 
 
 DECORATION— INTERNAL ARCHITECTURE. 
 
 decoration. piate 8 j An i ta ii an decoration of a bay to a Public Hall. The figures in the 
 
 spandrils of the arch are painted in monotone, on a gold ground. The walls are stone-colour. 
 There are marble columns, pilasters, and pedestal, with inlaid marbles around the picture 
 
 13^17, 29, a &50. panel. The bust in the arch is in almost-full relief, with carved festoons and sprays above it. 
 We do not pretend to any great novelty in this design. Indeed, a thoroughly original 
 conception is in our opinion hardly the point to be aimed at or sought after ; for even should 
 it be obtained, there is generally little or no stamina in it ; so that, when the novelty wears off, 
 the eye, remembering no established canon wherewith to compare it, turns away comparatively 
 dissatisfied with the result. 
 
 DECORATIVE WALL-PAINTINGS. 
 
 Plate 24. Illustrates two of the principal city guilds, drawn from a series of twenty-four 
 sprandril fillings, in the Council chamber of the Guildhall, London. "The Mercer" and "The 
 Vintner " (the subjects of our engraving) are of heroic size ; they are painted in brown 
 outline, and coloured in flat tints. 
 
 We are indebted for our drawing to Mr. F. Smith — of the firm of Campbell, Smith, 
 and Campbell — who designed and executed the above decorative works. 
 
 DOOR-DECORATION. 
 
 Plate 42. A seven-panelled door, finished in ivory-enamel — and decorated with foliated- 
 work, shields, heads, etc., in shaded ivory-colour, on a gold ground, which is represented on 
 black, in the engraving — the paterae, husks, and lines on the frame-work of the door being in 
 plain gold. 
 
 DINING-ROOM. 
 
 dining-room, 
 
 Plate 26. This Renaissance interior was designed by the Author of the present volume 
 for James Shooi.bred & Co. It formed one of a series of furniture illustrations which were 
 executed, chiefly in detail, for the London and Philadelphia Exhibitions. 
 
ART AND WORK. 21 
 
 DOORWAY— STONE HEAD TO. 
 
 Plate 38. In an original Norman building, that which strikes the observer as being the most doorway. 
 prominent, is the peculiar richness and power over detail, displayed by the old art-masters, 
 as well as the special study given to their doorway-designs. It is a well-known fact that 
 where many a Norman church has been anciently repaired, the doorways and arches have 
 been cherished and sustained as the morceatix choisis of the architecture of the time ; 
 while the other portions of the building have been swept away or altered to suit the 
 requirements of the then prevailing style and period. 
 
 Norman sculpture is often rude and coarse ; still the beautiful elaboration of some of 
 the work shows, on the other hand, that the carvers of those days were as capable of 
 extreme finish as their more pedantic successors. Their sculpture of the human "form 
 divine " was, it must be confessed, crude and even barbarous at. times, if considered in the 
 abstract ; nevertheless it must be acknowledged that the effect, when taken with its generally- 
 grotesque surroundings, is strikingly beautiful. 
 
 There is much to be said for the grim humour of the old fellows. For the carving 
 of expression, even to features in violent action, among conventional animals is a sine qua 
 non to the attainment of sharp, and brilliant light and shade, while it acts as an admirable 
 foil to the would-be beautiful forms of angels, saints, etc. If we had no standards by 
 which to judge, there would be neither beauty nor ugliness ; such an absolute state of 
 matters, however, would be unnatural and opposed to the " eternal fitness of things." 
 
 Happily the world is made up of contrasts, physical and moral ; were it not so, what 
 a dull level of uniformity would pervade the universe. All nature would sing in a 
 miserable monotone. 
 
 EARLY-CLASSIC ORNAMENT. 
 
 EARLY- 
 
 CLA88IC 
 
 ORNAMENT. 
 
 in the British Museum. 
 
 Plate 35. Nos. 1 and 3 are from an ivory-cased box, of Grseco-Egyptian workmanship, 
 
 The subjects are vigorously incised, and filled in with red, green, and black cement. 
 There is an air of quaintness about the figures which is by no means common to the 
 works of those rigorous old craftsmen. 
 
 No. 2 is a carved and engraved patera, composed of lotus buds and flowers, from the 
 Louvre collection. No. 4, a lotus ornament from an Etruscan tomb. 
 
 No 5, a beautiful patera, with lapis-lazuli, turquoise, and other precious stones, inlaid 
 in gold cells. The latter represent a hawk, against a delightfully-growing background of 
 papyrus leaves, buds, and flowers — also from the collection of the Louvre. 
 
 No. 6 is a rather-unusual hieroglyphic, having a cross form with palm-like foliage depending 
 from it. A cross — very similar to that used in early Gothic decoration — may be found in 
 the Egyptian, Rhodian, old Etruscan, and other Archaic Work. This example is from a 
 black granite sarcophagus in the British Museum. 
 
22 ART AND WORK. 
 
 No. 7 is from early Rhodian Ware, and No. 8 an Etruscan confectionery mould. 
 
 No. 9 is from an enriched zone, girding an amphora in the Louvre. 
 
 Nos. io and n are taken from examples in the British Museum, the former being 
 copied from an engraved and hammered bronze-dish (found in the North-West palace at 
 Nimroud), portraying eagles catching hares. The latter article is a fragment of an Egyptian 
 ivory-spoon, on the handle of which are carved birds, and water-plants. 
 
 On Plate 66 is an archaic vase (Dzota), in the British-Museum collection ; date 6oo 
 years B.C. Plate 52, Nos. 1 and 8 represent Assyrian Work. 
 
 The former is a copy of a figure in repousse, presenting offerings. This is from a 
 bronze-bowl in the British Museum. 
 
 The latter, from the same collection, is a carved and inlaid ivory-back to a mirror, with 
 a design composed of gryphons and papyrus flowers. 
 
 Those following are Egyptian examples. 
 
 No. 2 is a fragment of mummy cloth embroidered with green, yellow, red, and orange 
 threads. 
 
 No. 3, a triple fish and lotus arrangement inside a bowl, copied from the British- 
 Museum collection. 
 
 No. 4 forms part of an emblem decorating a doorway, while No. 6 is a scarabeus, 
 and No. 7 an elegant little cup (from the Louvre), enriched with lotus buds, and flowers. 
 
 No. 9 represents an offering-up of flowers, etc. ; painted on a very perfect mummy 
 case, preserved in the Museum of the Royal College of Surgeons. No. 10 is from a mural 
 painting in a mountain tomb, west of Thebes, and No. 5, of Etruscan origin. 
 
 Vivant Denon, in his "Egypt Delineated" tells us that the ancient Egyptians expressed 
 certain ideas by certain understood rules, to which the most sacred laws of Art, and even 
 of Nature, were subservient. We cannot, therefore, judge as to the state of the arts by 
 these emblematic figures ; for they had a school and a style separate from that of hieroglyphic 
 emblems ; and when they wished to exhibit attitude, motion, or expression, they knew how 
 to design from Nature and give the character required. 
 
 The first is especially observable in the Egyptian compositions appertaining to religion and 
 majesty ; but where hunting, warlike, or domestic subjects are employed, the figures lose 
 much of their rigidity, and a spirit of greater originality pervades throughout: see Plate 52, 
 No. 10. Perhaps the finest example of this latter quality which we possess, is the marvellous 
 head of the young Memnon ; for herein, the characteristic thick lips, full eyes, and round nose, 
 assist to unite art-power with natural beauty. 
 
 It is a remarkable fact that the earliest specimens as yet discovered of Assyrian 
 workmanship show the highest development of style attained by such people. These Assyrian 
 artificers were as proficient in the working, as in the casting of metals, and were constantly 
 employed by other nations for those purposes. In the decline of Assyrian Art, an Egyptian 
 influence asserts itself ; but the more perfect ancient examples point back to an artistic period 
 
ART AND WORK. 23 
 
 as yet unrevealed. We know with what "dexterous haste" an art can degenerate, even 
 though it took ages to attain its culmination. 
 
 The authenticity of many of the works called Etruscan, which have reached our times, 
 is liable to be questioned. Much of the renown which belongs to the Greeks had become 
 as it were the inheritance of those people ; but from the peculiar constitution of their 
 government, and the state of society in ancient Etruria, it has been conjectured — and that 
 with the appearance of some reason — that the works in bronze, and clay, and the bas-reliefs 
 attributed to them were the produce, not of the dominant race, but of their subject 
 bondsmen or serfs ; for, in reality, the Etruscans (who were called by themselves Rasena, and 
 by the Greeks Tyrrhenians or Tyrsenians) were merely emigrants from Asia Minor — and as 
 little given to the arts as the Ancient Romans, by whom in their turn they were vanquished. 
 
 Although these three epochs of art are widely separated from each other by time, and 
 distance, and although archaeologists have not discovered as yet the true connecting links 
 of the architectural, and historical chain, still there is a strong kindred feeling between them, 
 depending not so much on similarity of parts, as upon the more elementary constituents of 
 their detail ; but this, in fact, constitutes a relationship which is claimed by all primitive 
 styles of their kind: as Indian, Chinese, Romanesque work, etc. 
 
 FINIALS— STONE AND WOOD, Etc. 
 Plate 4. No. 1, an Early- French finial. 
 
 FINIALS, 
 
 No. 2, a terminal over the doorway of the London School Board Offices ; No. 3, a German "woon! - 
 obelisk; and No. 4, a Renaissance angle-pediment from Layer Marney. Nos. 5 and 12 
 are Urn-terminations of the French Renaissance school. No. 6 is a vase form, as placed over 
 an arch of the Italian Renaissance style ; while No. 7 forms one of the two pedimental 
 vanes surmounting the wings of the west front of the Certosa at Pavia. No. 8 was sketched 
 from Queen Anne's walk, Barnstaple; Nos. 9, 10 and 11, are Old English newel-heads; 
 No. 13, an Italian shield panel; No. 14, a Rhenish baluster-shaft ; and No. 15, a finial, designed 
 by Sir M. Digby Wyatt. 
 
 Finials constitute essentially Modeller's work ; for they require to be scrupulously designed 
 in sitil, — owing to their silhouette being always viewed from an angle, and therefore demanding 
 such a stilting of the parts as will serve to compensate for the foreshortening ; so that the 
 effect depends more on a subtle massing of the details, than it does on the graceful contour 
 of horizontally-viewed mouldings, as seen on the office drawing-board. 
 
 It is the old story of the two competitive Greek artists : one carving his statue for public 
 admiration in the studio, the other, proportioning it to the position it was to occupy eventually ; 
 so that when the two figues were "offered up," it was with the inevitable result of confusion 
 to the former artist, and success to the latter one. 
 
 FINIALS— METAL: OLD FRENCH. 
 Plate 5. Nos. 1 to 8 are reproduced from the work of E. de La Ou£ri£re; an " Essai «5he^ 
 
FOUNTAINS 
 VASES, etc. 
 
 FUIEZE, 
 see Plates 12, 2l 
 
 24 ART AND WORK. 
 
 oldexglish, sur les Girouettes , Epis, etc. (Moyen Age)." The subjects of this plate are taken from finials in the 
 
 Plate 7. 
 
 neighbourhood of Rouen, and are of the Renaissance of the sixteenth and seventeenth-centuries. 
 ' See pi°Ec I El/' EV The mediaeval " feny-aille or finol " was retained by the Franco- Italian Architects, and became 
 
 a rich and prominent detail. 
 
 It is not always convenient to obtain measurements or near sketches of them. Those we 
 have examined were made of copper, or lead, stiffened with iron corings, — the plainer portions 
 being beaten up, and soldered together — while the more elaborate ornament was formed in 
 cast metal, bent, and applied to the outline required. 
 
 FOUNTAINS, VASES, Etc.— ITALIAN. 
 
 Plate 2. These designs are taken from the " Hypnerotomachia Poliphili," a rare and costly 
 Italian work by Francis Colonna, a Dominican monk. 
 0, es, 70, etc. This book was published at Venice, in 1499, and was probably printed by Aldus. 
 
 Although the printed matter, which consists of a supposed contest between imagaination and 
 love, is a hotchpot of fact, fable, and antique lore, intermingled with amorous rhapsodies ; still 
 the woodcuts, with which the work is profusely illustrated, are of the best in the simple style 
 of line drawing that Italy has ever produced. 
 
 No. 1 is a frieze of "Amorini," and dolphins, vases, etc., gracefully arranged with foliage; 
 No. 2 a terminal vase ; and Nos. 3 and 6 fountains on wheels. The former of these might 
 adorn a table in silver plate, while the latter (which might be some 12 feet or more in height) 
 would be more suitable for open-air display. 
 
 No. 4 is a lamp stand, while Nos. 5 and 7 are ornamental vases. Plate 32, No. 2, is an 
 Italian bedstead; and Plate 64, No. 1, a pedestal, decorated with rams' skulls, and swags, which 
 are also taken from the above-mentioned work. 
 
 The Poliphili designs — which are evidently of the old Padua- Venetian school — have been 
 attributed to Raffaele and to Alessandro Botticelli, as well as to Andrea Mantegena. 
 The processional figures are very characteristic of the latter artist, but the British-Museum 
 catalogue ascribes the drawings to Bernini. 
 
 These wonderfully-firm, and faithful outlines (the loving work of an unknown hand) are 
 so beautifully conceived, and exquisitely drawn that the cultured eye is at once satisfied and 
 desires neither shade, nor colouring, to complete the effect. 
 
 GRATES— (" ADAM.") 
 
 Plate 49. Nos. 14 to 18. 
 Plate 85. Nos. 19 to 20. 
 
 The open grate will always be a favourite with English people, for it has come to be a 
 part of our nationality. Without it, the fireside — however well the room be heated — would 
 be a cheerless mockery ; for the open fire-place secures us a genial warmth, which, though 
 
 GKATES. 
 
 Plate 1 0. 
 
 Nos. 
 
 1 to 5. 
 
 % 
 
 Plate 28. 
 
 Nos. 
 
 6 to 11. 
 
 
 Plate 46. 
 
 Nos. 
 
 12 to 13. 
 
ART AND WORK. 25 
 
 perhaps somewhat wasteful, does not vitiate the air of the apartment, whilst it affords at 
 least ample — if not absolutely perfect — ventilation. Who has not admired the old cast-iron, 
 and wrought-metal grates, peculiar to the close of the eighteenth century ? for these with their 
 many flutings, plaques, husks, swags, and delicate traceries, are always the right things in the 
 right place. 
 
 The twenty examples here illustrated are copied from the original working drawings at 
 Soane's Museum : they were designed expressly for Sir Watkin Wynne, Robert Child, 
 Esqre., and other clients, the date being 1770 — 80. The forms of many of them will 
 be familiar to our readers ; for, although not previously published, the originals are well 
 scattered about, in the old-fashioned dwellings, throughout the country. 
 
 We would direct attention to the elegant little stove, No. 17; as well as to the Hall-grate 
 (No. 18), on plate 49, with its back of open-work tracery. 
 
 INDIAN ORNAMENT— MODERN. 
 
 Plate 20. In the study of the decorative arts of various times and places, it is not difficult to 'S ^,. 
 distinguish the character of the people and the influence of their respective religions and 
 governments. This is particularly observable in the traditional and unerring instinct which 
 directs Eastern art. 
 
 The Arab, Persian, and Hindoo, although varying much in their ornamentation, still iklaidwork, 
 
 see 
 
 retain the Moresque type throughout. In modern Hindoo ornament we can distinctly trace ^^ftA 63 ' 
 the small, yet dexterous hand of the simple-minded superstitious native, who is as 
 contented (as are most Oriental artists) to follow in the path of his predecessors. 
 
 Founded on the Arabian, and influenced by the Persian, Indian art combines the geometrical 
 elements of the one with the Grseco-refinement and flowing natural foliage of the other, 
 which, though executed occasionally with a freedom of style peculiarly its own, makes us often 
 wish that the Hindoo would take a lesson in pains-taking from his celestial neighbour. 
 
 INTERNAL 
 
 On this plate will be found some fourteen examples of modern Indian ornament, tj.^ 1 ^ 1 -^ 
 
 DECORATION, 
 
 copied principally from carvings and lacquer-work at the Indian Museum. They are sub- „ D ^ c £ B 8 ! T fS N ... 
 mitted only as specimens of ornate form. One of their greatest charms— their colour — of 
 course, it is out of our power to add in a work of this description. 
 
 IVORY CARVINGS— MEDIAEVAL. 
 
 Plate 3. These examples are taken principally from the collection at the South-Kensington 
 Museum, where a special department is devoted to the exhibition of similar works of art. 
 
 Nos. 1 and 3, are abnormal animals ; these occupy the spandrils of circular mirror 
 cases, and are of fifteenth-century workmanship. 
 
 Nos. 4, 5, 6 and 7, are carved, engraved, and cement-filled plaques, representing 
 the various poses, etc., of the common Morris, or pseudo-Moorish, dancers of the fifteenth 
 century, and are copied from a casket of French workmanship. 
 
 IVORY 
 
 CARVINGS. 
 
26 ART AND WORK. 
 
 Nos. 8 and 10, are Byzantine borders, which are exceedingly playful and characteristic 
 in their interlacings. 
 
 No. 9, is a cross of very simple and elegant proportions, carved in low relief on a 
 Romanesque panel. 
 
 No. 2, is a draughtsman of the thirteenth century, carved out of walrus tusk, and labelled, 
 " The sign of the Zodiac for the month of January." We would suggest, however, that it 
 it is, more probably, a representation of the preparation for "a sacrifice." This example, 
 which is now in the British Museum, is very boldly cut, the figures being almost-entirely 
 detached from the ground. 
 
 From the Egyptians downwards we find that the use of ivory was universal in every age 
 of art. Several very fine specimens of Egyptian, Assyrian, and old Indian ivory-carving are 
 to be seen in the Louvre and our own Museums. In Scripture we find mention made 
 of ivory thrones, beds, and palaces ; and if we can credit the account of Strabo and 
 others, regarding the colossal statue of the Olympian Jupiter at Elis — the Chrys-elephantine 
 of the Greeks — which was said to have been wrought in ivory and gold by Phidias, this 
 material was then used more lavishly than in modern times ; though to the mediaeval artist 
 it must have been a very costly one. The solid and compact nature of the material allows the 
 artist to linger over and revel in his work — as exemplified in the minute delicacy of the 
 Chinese carvings. 
 
 Ivory has this decided advantage over other valuable substances — that where many fine art 
 treasures of the precious metals have succumbed to the vicissitudes of the times, and found 
 their way into the melting pot, it has been preserved, owing to the comparative worthlessness 
 of the carved material — except from an art-point of view. In a temperate climate, ivory, 
 indeed, may be considered as practically indestructible. 
 
 The Assyrian ivories, Plate 52, No. 8, when brought to the British Museum, were 
 found to be much desiccated by time and dry atmosphere ; nevertheless, after they had been 
 saturated with an ivory-jelly, they became as hard as the original substance. 
 
 JAPANESE BIRDS. 
 
 Plate 31. No. 1, a Wood pecker; No. 2, Grosbeaks; No. 3, Warblers or Sedge birds; 
 No. 4, Chinese Tit ; No. 5, Kingfisher ; No. 6, Goldfinch ; and No. 7, Bush-creepers. 
 
 Plate j J. No. 1, Mountain Finch; No. 2, Blue bird; No. 3, Oriental Bullfinch; 
 No. 4, Bulbul ; No. 5, Greenfinch ; No. 6, Masked Grosbeak ; and No. 7, Swifts. 
 
 These specimens of Oriental drawing are selected from a rare Japanese Work on Orni- 
 thology. The book is beautifully printed in colours, from studies by their famous artist Ho Ksei. 
 
 JAPANESE ORNAMENT. 
 ornament Plate 56. 1 1 is a point on which some difference of opinion exists, whether Japan, after 
 
 having been a sealed book ("shut up," as Kcempfer expresses himself,) for upwards of two 
 centuries, has improved in her art-manufactures since she has thrown herself open to other 
 
 JAPANESE 
 BIRDS. 
 
ART AND WORK. 27 
 
 nations ; for the recent works of Japan appear somewhat too facile, and are evidently 
 made up for exportation. 
 
 The Japanese artist never was a pains-taker, like his plodding Chinese neighbour — for the 
 Japanese was always certain of the task before him, and never had reason or inclination 
 to efface his original idea. 
 
 The impressional outlines of the still-life drawings are always truthful and characteristic. 
 
 The ornaments lithographed in this plate belong mostly to the early part of the present 
 century, and are copied from inlays in lacquer-work, etc. Of course, they lose much of their 
 effect in the drawing, from want of the brilliant pigments in which the originals are executed. 
 
 The patera of triple lily-flowers, in the centre, at the bottom of the plate, is the imperial 
 
 standard of Japan, indicative of the three great religions of that empire : Sintoism, Buddhism, 
 
 and Confucism. 
 
 KEY-STONES, CORBELS, Etc. 
 
 KEV-STONES, 
 
 Plate 69. These consist of Italian and Renaissance details. Nos. 1, 3, 9, 12, 14, 15, and 
 18, are Key-stones, while Nos. 4 and 5, are Corbels — the latter being in the style of 
 Fkancis I. from the Chateau Chambord. The remainder of the nineteen examples consist of 
 varieties of carved brackets and shouldering pieces. 
 
 The nomenclature of the bracket form is varied : thus No. 8, which we sketched at 
 Newington, in Kent, and the three brackets on plate 78, which were copied at Rochester, would 
 be called tassels. Nos. x and 2 (plate 1) are side and front-views of a truss. 
 
 A bracket projecting double its height or more is a " cantilever," while one which projects only 
 half its height, or less, is termed a "console:" such is No. 19, which is from a sketch taken at 
 Yarmouth. The latter term is generally applied to the brackets supporting labels and pediments. 
 
 MAJOLICA PAINTINGS. 
 
 Plate 60. Illustrates fourteen subjects from old Majolica paintings, taken from examples majolica. 
 preserved in the British Museum, South- Kensington Museum, and the Louvre. 
 
 Majolica attained its perfection in the sixteenth century ; after which it suffered the usual 
 period of decay and oblivion, and is now again attracting the attention of the artistic nations of 
 Europe. The name is derived from the Island of Majorca, where the Arabians established 
 some celebrated potteries. 
 
 The introduction of Majolica-ware into Italy, followed upon the taking of the island 
 by the Pisans in the early part of the twelfth century. Its fame and importance soon 
 spread over the whole of Italy ; it attained its greatest beauty and perfection in the duchies 
 and cities of Faenza, Urbino, Castel Durante, Pesaro, and Gubbio. 
 
 Giorgio Andreoli, a Pavian nobleman, who lived at Gubbio, was probably the best and 
 most successful ceramist of any age or country ; but he had worthy rivals, as Majolica painters, 
 in his son and fellow- workman, Vincenzo, (often called Maestro Cencio), Battista Franco, 
 Orazio Fontana, and Raphael dal Colle. 
 
 The art at first depended almost entirely on richness and variety of colour; nevertheless, in the 
 second and best period this was superseded by design. The iridiscent glaze and colours, however, 
 
MARBLE- 
 INLAY. 
 
 MODERN 
 METAL- WORK. 
 
 MEDIEVAL 
 
 METAL-WORK 
 
 nee Tlate 12. 
 
 28 ART AND WORK. 
 
 were greatly prized, though the highest value was attached to the execution of figure subjects, 
 which were chiefly copies of the cartoons and sculptures of the old masters — especially 
 Raphael and Giulio Romano. It was at this time — about the middle of the sixteenth century 
 — that Majolica was most valued and fashionable, owing to its manufacture being patronized 
 by every Italian prince or nobleman, and its collection being the pet pastime of the 
 dilettanti and connoisseurs. 
 
 Plates adorned with the portrait and escutcheon of some highly favoured beauty — inscribed 
 with the complimentary terms "Bella" or "Diva" — were then usually offered by a gallant 
 to his lady-love. 
 
 It was long supposed that Giorgio's method of workmanship was a secret lost to the 
 world, nevertheless, now the art is entirely recovered ; for at the London and Paris Exhibitions 
 of 1862, 1867, as well as 1878, fine specimens were exhibited by the principal countries 
 of Europe. 
 
 Majolica may be briefly described as a soft ware of a terra-cotta body, burnt in the 
 kiln to the state known as "biscuit." It is afterwards dipped in a white clay "slip" and 
 glazing ; then it is painted on- — the artist having to be perfectly certain of his work, as no 
 alterations can be made. In this state it is again fired, in rough clay cases called "saggers;" 
 during which process the surface fuses into that peculiar and beautiful vitreous enamel, 
 which depends for its success on the secret of the potter's mixture of the glaze. 
 
 MARBLE-INLAY— (THE CERTOSA, PAVIA). 
 
 Plate 63 represents the inlaid marble-decoration filling the lower blank-window panels 
 of the facade of the Certosa. 
 
 These are remarkably-fine examples of cinque-cento work. Casts of the more architectural 
 details of the windows may be seen at the South-Kensington Museum and in the Renaissance 
 Court at the Crystal Palace. We have already, on page 17, alluded to the Certosa in 
 reference to its western doorway-carvings. 
 
 METAL-WORK (MODERN). 
 
 Plate 19. No. 1, a table-lamp; No. 2, open-work panels; No. 3, a goblet; Nos. 4 
 and 12, fire-iron rests; No. 5, closing ring; Nos. 6, 7 and 8, candlesticks; Nos. 9 and 10, 
 knockers (the first of these was designed for Goldsmiths' Hall) ; No. 11, gas-pendant; No. 13, 
 candelabra; No. 14, wall gas-bracket; Nos. 15 and 17, fire-dogs; and No. 16, a fender. 
 
 These articles of metal manufacture are selected from a number of Ecclesiastical and 
 Domestic designs made by the Author for Messrs. Benham & Froud. 
 
 METAL-WORK— MEDIAEVAL. 
 
 Plate 30. The subjects illustrated are taken principally from the collection in the South- 
 Kensington Museum :— No. 1, is a wrought-iron hasp and locking plate, from a carved oak 
 coffer of French Flamboyant design, date about 1480. 
 
ART AND WORK. 29 
 
 No. 2, is a brass candlestick, composed of a grotesque animal and foliated scrollwork ; klnt7als, 
 being of Byzantine workmanship. riau 5. ' 
 
 This is a charming object, though possessing a fault which is grievous in the eyes of 
 purists in design, but yet often found in very able works — viz., that of the foliage growing 
 in two different ways. Nevertheless, the designer possibly considered this defect excused 
 and remedied by the overlapping of the foliage. 
 
 No. 3. Wrought-iron strap-hinge on a maplewood box. This is German work of the 
 latter half of the fourteenth century. 
 
 No. 4. A fifteenth-century beaten-up iron escutcheon, to a lock on an oak chest. 
 
 No 5. Processional cross of Abyssinian execution. This is very similar, in the general 
 elements of its design, to a rude old Coptic cross in the British Museum. 
 
 If we except glass-painting, perhaps no art has, within the last twenty years, 
 made so great an advance as that of working in metals. Although scientific discoveries 
 and inventions have, of course, greatly assisted its progress, still to no other " art-worker " 
 can we assign such personal credit for the result of his labours, as to the worker in wrought- 
 iron and brass ; for in no other " art-path " are results so great produced, with aids so simple, 
 as in the creations of the metal-worker with his hammer, punch, and cutter. Art, — true art, — 
 is here, and it is as successful as ever ; without even the aid of science, of which it 
 seems to be almost disdainful. 
 
 NEW INDIA-OFFICE. 
 
 Plate 1. Nos. 1 and 2, are the front and profile of a corbel on the Grand Staircase. xgoxJO&nm. 
 No. 3, is from the Courtyard, and forms one of a series of twenty-four Luca della Robbia ware 
 panels, in the spandrils of the first-floor arcade. It is enclosed in a sculptured margin, which 
 is dished out of the flat stonework of the wall-face. 
 
 No. 4, is a portion of the frieze in the Refreshment Room. 
 
 Plate 16. No. 1, is the profile of a mullion to the windows on the second-floor, in the 
 Courtyard ; No. 2, a vase on the Grand Staircase ; while No. 3, is a corbel to the south-east 
 Staircase ; and No. 4, a shield and baluster to the ceiling of the Secretary of State's room. 
 
 Plate 47, are details of doorways, in the west corridor on the first-floor, showing the frieze 
 and architrave, together with a section through the same. 
 
 The whole of the interior of the New India-Office was designed by the late Sir 
 M. Digby Wyatt. 
 
 It is, without exception, the finest specimen of modern Italian architecture which we possess 
 in this country. 
 
 OLD HOUSES AT HIGH STREET, ROCHESTER. 
 Plate 78. Such fine specimens of half-timbered buildings are being rapidly swept away ; ^".buttkr!: 
 
 WALK, I Ifttoo* 
 
 for the old town-houses are rarely " restored," unless it be in a locality similar to Chester, 
 and even then with but questionable success. 
 
30 ART AND WORK. 
 
 OL plate USH When the Author produced this engraving in The Building News, some 14 years ago, 
 
 see "PLATE," ' ° 
 
 piates 51, si. j t never occurec j to him that old English architecture would have obtained such a thorough 
 revival as it has in the interim. 
 
 OVER-DOORS AND PEDIMENTS— RENAISSANCE. 
 OVE1 anT 0RS Plate 21. No. 1, is a portion of a cornice over the vestibule doors of the Massimi 
 
 PEDIMENTS. 
 
 Palace, Rome — by the architect, Peruzzi — date about 1526. 
 
 Nos. 2 and 3, are from drawings by Serlio. Speaking of thie latter he says, 
 " Although this doore differeth from all the other that ever I saw in an Antiquitie, never- 
 theless, it is very pleasing to the sight, and sheweth well, which door is without Spoleta 
 about a mile without the way, in an ancient Temple, made of the Corinthian manner." 
 
 The over-doorway of Sanmichele's House, Verona (date 1545), has similar ends to 
 the frieze. 
 
 No. 4 is late eighteenth-century example. 
 
 No. 5, a design by A. du Cerceau — time of Charles IX. 
 
 Nos. 6 and 7, are representations of sculptured tympans (the field of the pediment 
 between the mouldings) being taken from sixteenth-century wood-cuts. 
 
 PANELS AND PEDESTALS : ITALIAN-RENAISSANCE. 
 panels, Plate 64. No. 1, is a pedestal from the Hypnerotomachia (See description of Fountains, 
 
 "TARSIA-WORK," , . 
 
 "new etc date 2) 
 
 INDIA-OFFICE," CU "' F ,cUC ■*/' 
 
 No. 2, an illustration from " Le Theatre des dons Engins" (date, 1539), a work dedicated 
 to Margaret of Navarre, sister of Francis I. 
 
 No. 3, a panel from the Certosa at Pavia. 
 
 Nos. 4 and 5, sketches of panels from casts. 
 
 No. 6, a fifteenth-century panel, from the balcony of the Palazzo Pola, at Treviso, by 
 Alfonso Lombardi. 
 
 No. 7, a pedestal from a chapel in the church of St. Maria della Pace, Rome. 
 
 No. 8, a panel in the pedestal of a monument in the church of St. Maria dell' 
 
 Anima, Rome. 
 
 PANELS— RENAISSANCE. 
 
 pediments, Plate 67. The two decorative plaques on this plate are from enamel paintings on 
 
 "OVER-DOORS," , . . . - „, . . . . 01 1 1- 11 1 • 
 
 «*«■ copper, used as panels to a cabinet 01 .blemish origin. Such works literally revel in strap, 
 
 cartouche, and scroll enrichment. 
 
 PIANOFORTE INLAID— ("ADAM.") 
 pedestals, Plate 40. This instrument-case was designed by the writer of " Art and Work," for 
 
 pedestals!" Mr - J AMES Plucknett, of Warwick. 
 
 Plate 64. • 1 ■ 1 1 1 1 1 • 
 
 The case is of Satinwood, inlaid with ivory and ebony, with painted panels and delicate 
 
 PIANOFORTE. 
 
 carvings. 
 
ART AND WORK. 31 
 
 The old Harpsichords and Spinets of the last century, were of chaste design, and often 
 decorated most artistically. There is a charm in the fashion of most musical instruments 
 which the ordinary modern piano, however, does not obtain. 
 
 PLATE, OLD-ENGLISH— ("ADAM.") 
 
 Plate 51. Nos. 1 and 10, are Sauce-boats, ornamented with foliage, etc., in repousse i.r> English. 
 work ; No. 2, is a Chocolate-pot ; No. 3, a Sugar-sifter ; No. 4, a two-handled standing- 
 cup ; No. 5, a Clock-stand ; No. 6, Butter-boat ; No. 7, Dundee-bicker ; No. 8, Essence-pot ; 
 and No. 9, Watch-case, made for Lady Bathurst. This example we find was engraved 
 in the original work published by "Adam." 
 
 Plate 61. Nos. 1 and 5, are Candlesticks; No. 2, Ewer; No. 3, Bicker; No. 4, 
 Caudle-cup or Porringer; Nos. 6 and 9, Standing-cups; and Nos. 7 and 8, Twin-candlesticks. 
 
 These articles of silver-plate were made within the years, 1773-75, for the Duke of 
 Roxburgh, Sir Nathaniel Curzon, Sir Watkin Wynne, and others. They are somewhat 
 costly examples of the style ; but, even in the plainer varieties, how chaste are the forms ; 
 although ornamented only with a "gadrooned" rim, a band of fluting, or else a morsel of 
 leafage or pearl work. 
 
 If we except their Chimney-pieces, the brothers "Adam" were happiest in their designs 
 of metal-work, and more especially their plate. They say, with pardonable vanity, "if we 
 have any claim to approbation, we find it in this alone : that we flatter ourselves we have 
 been able to seize with some degree of success, the beautiful spirit of antiquity, and transfer 
 it with novelty and variety through all our numerous works." 
 
 Assuredly the brothers would have revelled over "the treasure of Hildesheim," discovered 
 in 1868— a "find" which consisted of some thirty pieces of Greco-Roman silver-smith's 
 work, resembling the style— though perhaps a trifle more refined— of similar objects found 
 at Pompeii. 
 
 " PRIORY-PORCH "— HAMPSTEAD. 
 
 Plate 74. This quaint ramshackle building, which was once the favourite resort of PO rch. 
 North-London artists, has now almost passed into the limbo of things forgotten. The house 
 was vamped up out of odds and ends — good, bad, and indifferent— upon a structure of 
 the cockney-Elizabethan order. It formed, at one time, the residence of a well-known art- 
 patron, but, eventually, falling into a state of hopeless dilapidation, the building became a 
 charmingly picturesque object — in spite of itself. 
 
 The porch, which we are inclined to believe, was originally, a Charles I. Chimney-piece, that 
 had been stilted up from underneath the pedestal of the jambs to afford a sufficient 
 headway. The proportion of the over-mantel "order" is remarkably good, though garnished 
 with a large amount of extraneous detail. We remember a pair of beautiful wrought-iron 
 knockers, which once graced this same entrance-doorway. 
 
32 ART AND WORK. 
 
 PRINTERS' DEVICES— OLD. 
 devices. Plate 25. No. 1, is a colophon, from a sixteenth-century Bible; No. 2, a portion of 
 
 an old Italian book-cover; while Nos. 3, 4 and 5, are from the " Herbarium" by 
 Oth' Brunf, 1532 ; and No. 6 is part of a very beautiful frontispiece to an Herodotus in the 
 British Museum (date, Venice, 1494). This is given here as a characteristic example of 
 the Italian wood-engraving, cut in intaglio. Nos. 7, 13 and 15, are margins from the 
 Imperatorum et Ccssarum, by Ioannes Huttichius (1534); No. 8, swags from "Letters of 
 St. Jerome" (Ferrara, 1493); while Nos. 10 and 11, are fine specimens of festoon work, 
 by David Hopfer, (dated, Augsburg, 1525); and No. 9, is a good old foliated initial. 
 
 In England, there was no early school of wood-engraving — the blocks for any important 
 book-illustration having to be obtained "from beyond the seas," from the Italian, French 
 
 STAIRCASE 
 
 D ^°p I ia1I I ?3 N ' and German typographers, who threw an infinity of design, as well as a vast amount of 
 
 and 50. 
 
 exquisite drawing, into their numerous conceptions. 
 
 TABLETS. 
 
 TABLETS— SIXTEENTH CENTURY. 
 
 Plate 39. The eight panels on this plate are engraved from " Theatre des Villes," 
 by G. Braun, and F. Hohenberg (Cologne, 1575). They are given here as being very 
 elegant designs of the later Renaissance. 
 
 The cartouche (which dates as far back as the Ouattro-cento period, and afterwards 
 became a characteristic feature, in the decadence of art in Italy) was never more happily 
 treated than by the German and Flemish artists of the sixteenth century. The origin of this 
 description of ornament has been ascribed to the heraldic devices of the mediaeval period. 
 
 We would suggest that the germ of the ornamentation might more aptly be found in the 
 caulicoli of the antique Corinthian capital. 
 
 TABLE- AND CHAIR-LEGS— (LATE EIGHTEENTH-CENTURY WORK). 
 
 Plate 53. Nos. 1 to 8, as well as Nos. 11, 12, 14, 15 and 17, represent table-legs, 
 while Nos. 9 and 10, are legs for chairs. 
 
 Nos. 13, 16 and 18, those for sofas. 
 
 These examples are reduced from the working drawings of "Adam." 
 
 The grouping of the mouldings of the turnery, and the " thurmed " work, of these details 
 are simply exquisite. 
 
 table-legs TABLE-LEGS, COMMODE, Etc.— (LATE EIGHTEENTH-CENTURY WORK). 
 
 COMMODE, ' 
 
 balusters, Plate 54. Nos. 19 to 24, are table-legs; No. 25, is a side-table and pedestal; and 
 
 No. 26, a commode, decorated on white enamel paint, made for Apsley House, and dated 1778. 
 The cabinet work of about this period has not been excelled in modern times for elegance, 
 design, and thoroughness of execution. 
 
 The impetus is due to Chippendale (date about 1750), and this was sustained by the 
 
ART AND WORK. 33 
 
 brothers " Adam," from whose drawings these details are principally rendered. Cabinet-making 
 was ultimately perfected by Sheraton (see plate 57), towards the close of the last century. 
 
 TABLE-LEGS, BALUSTERS, Etc. 
 
 Plate 59. Nos. 1 to 5, 13 and 15, are dining-table legs of original design; Nos. 6, 7, 
 10, 11, 12 and 14, baluster-shafts, and stanchions, in stone, and wood of the Italian, and 
 German Renaissance ; while Nos. 8 and 9, are examples of " pilasters " of the latter period. 
 
 During the early part of the sixteenth century, English furniture began to partake of 
 the Italian-Renaissance influence, which was characterized by a Flemish and Holbeinesque 
 feeling ; and this spirit it retained up to the beginning of the last century. 
 
 In France, Francis I. obtained the best artists from .Italy, and set to work with a 
 will to rival, amongst other things, the furniture of Florence itself. He was so successful 
 in the attempt, that his name will be ever famous as one of the most magnificent art-patrons 
 of the middle ages. 
 
 TARSIA-WORK— ITALIAN. 
 
 Plate 34. No. 1, is a pilaster, and Nos. 2 and 3, are panels of conventional foliage, tarsia- wokk. 
 
 Plate 68. No. 1, is a very graceful arrangement of two sprigs of bay, with an 
 intertwining and flowing ribbon, and Nos. 2 and 3, are portions of a frieze. 
 
 The six examples here given are from the choir-stalls of St. Maria in Organo, 
 Verona, and were designed (date, 1481-99) by Fra Giovanni an Olivetan monk, to which 
 order this church formerly belonged. 
 
 Plate 70, represents the frieze, and back to a choir-stall in the church of St. Maria Novella, 
 Florence. This is fifteenth-century work, and from designs by Vasari. 
 
 Tarsia-work — the ceroslrotum of Pliny — is found so far back as the early part of the 
 thirteenth century in Italy. The numerous brothers of the religious communities, assisted 
 by the great artists of the time, were the "inlarsiatori" (or marquetry-cutters,) of the 
 cinque-cento period. 
 
 Plate 84. No. 4, represents a Renaissance example from the back of a chair, preserved 
 in Canterbury Cathedral. Nos. 1, 2 and 3, are original panels, from designs by the Author, 
 the latter two being inlaid with various coloured woods, mother-o'-pearl, and ivory, and 
 the effect enhanced by " shading," which is obtained by partially dipping the veneers in a 
 hot sand-bath. Note, satinwood and box are the woods which more readily take 
 to the process. 
 
 Marquetry should always, if possible, be inlaid into a solid ground ; moreover, it is 
 advisable to adhere to the naturally-coloured woods, for the dyed veneers are apt to fade 
 unequally — as a glance at the old examples of varied inlay will be sufficient to prove. 
 
 E 
 
34 ART AND WORK. 
 
 TERRA COTTA. 
 
 Although not directly illustrated in our pages, we considered that the numerous 
 examples of stone, and marble details given herein, would amply serve as suggestions for 
 modelling in the clay. 
 
 Antique fictile vases, urns and lamps, we have in abundance in our Museums and 
 private collections. Pompeii and the Etruscan tombs have disgorged enormous quantities of 
 ancient pottery, but architectural details in Terra-Cotta are comparatively rare, while they are 
 oftener of inferior workmanship. The earlier Italian architects designed freely in this generous 
 material, of which fine examples exist at Venice, Pisa, etc. 
 
 Later on, Michael Angelo, Bramante, and others of their time employed Terra- 
 Cotta on a grand scale ; whilst in this country Torrigiano has left us the recumbent 
 Statue and Monument of Dr. Young, in the Rolls-Court Chapel, Chancery Lane. 
 
 The late Mr. J. M. Blashfield, perfected modern English Terra-Cotta, and to him 
 we are personally indebted for our practical knowledge of the subject. 
 
 We prefer the material as it comes direct from the modeller, and of the same honest 
 colour throughout. Moulded work is a necessity of the market, but it always looks what 
 it is, and nothing more. 
 
 The thickness of the " body " depends on the proportions of the work — due regard being 
 given also to superincumbent pressure. A block, which averages about a foot cube, is an 
 economical dimension for general use ; but on certain occasions, subjects up to 9 ft. in length 
 may be successfully executed under the supervision of an experienced potter. Old Greek 
 fictile vases of 7 ft. in height, or more, are not uncommon. 
 
 'IT 3, WALL-DECORATION— (CINQUE-CENTO.) 
 
 "FOUNTAINS, x ** ' 
 
 VASES," etc., 
 
 piate 2. Plate 13. No. 2, is a continuous " either-way " dado; No. 5, a step dado, which acts 
 
 WALL PAPERS. 
 
 also as a stop to the continuous reversible-pattern of No. 2 ; and No. 3, the dado-capping ; 
 while No. 4, is the dado-plinth; No. 6, the filling; and No. 1, the frieze — inequalities of 
 division being adjusted in this design by the introduction of one or more balusters. 
 
 This decoration, recently designed for Messrs. Jeffrey, is printed in two colours, and 
 relieved with broad hatchings — as shown in our illustration. 
 
 The pattern will conform itself, in a strictly architectonic manner, to any stairway or 
 apartment. 
 
 WALL-PAPER DECORATION. 
 
 Plate 29. This represents a wall-hanging, consisting of a band, or frieze of ancient 
 vessels with sundry accessories, which include a distant landscape, birds, dolphins, etc., and was 
 designed for Mr. James Toleman. 
 
 This frieze measures 64 in. in length, and is executed in four printings. 
 
ART AND WORK. 35 
 
 It is intended to be placed around an apartment, just above the eye level. 
 
 Old ships have a strange fascination about them ; they are ever stately and imposing 
 — an enconium which may be justly shared with the modern clipper-built vessel. Never- 
 theless, the latter would fail somehow as a decorative subject, when compared with an old 
 Venetian galley, or a Spanish caravel. 
 
 We are indebted to Mr. T. Game, of the before-mentioned firm, for many valuable 
 suggestions given us whilst designing this decoration. 
 
 staircase: decoration. 
 
 Plate 50. This Adamesque decoration, which was designed for W. Woollams & Co., 
 comprises a dado, so arranged as to cut agreeably to any ordinary rake of staircase. 
 It has a border rail, with an alternative, as well as the filling and frieze. 
 
 The design is best represented in raised flock, and in this material it makes a rich 
 ornamental field, out of a quiet and unobtrusive pattern. 
 
 WALL DECORATION. 
 
 Amongst the first wall-papers made, were those which are called " flocks," in which 
 fragments of woollen cloth were cut, as at present, into a kind of down. 
 
 This flock, or woollen down, was dusted over a pattern which was printed in gold 
 size, after having been previously " blotched-on " in starch or other mucilage, so as to 
 prevent the fatty oil running beyond the outline. 
 
 The process was applicable also to cloth, and leather ; and would appear to have been 
 originally intended to imitate the figured stuffs, previously used for wall-hangings. 
 
 The silks and velvets of Genoa and Venice were most probably the textile fabrics 
 aimed at, in this new art of " flocking." 
 
 Flock paper-hangings of early date, are to be found at Hampton-Court Palace, and in 
 many an old country mansion. 
 
 We have, however, met with some rare seventeenth-century specimens of printing in 
 distemper. These had somewhat the appearance of the Japanese manufacture of the present 
 time ; with the exception that only the general outline was printed— the filling-in being 
 hand-painted, in tempera. 
 
 Paper-staining was a recognized trade in France and Germany at the end of the 
 sixteenth century. 
 
 Many of the flock-papers, called "brocades" of seventy years ago, were remarkably fine 
 in treatment, being well balanced, and highly decorative ; but the printed wall-papers, taken 
 generally, (say from 1835, to within the last 25 years), were as vicious in desig n, and crude 
 in colour, as it was possible to make them. 
 
 (tjjtivbrsitt] 
 
36 ART AND WORK. 
 
 Moreover, the two professions of designer, and "dealer in block-cutting" were then 
 combined in one and the same individual, and he would appear to have received less 
 remuneration for his twofold labours, than even an ordinary paper-stainer's journeyman. 
 
 There was, consequently, no incentive then to produce good work ; so that but few 
 educated minds cared either to direct, or execute the design — even if there had been 
 any encouragement for the labour. Therefore the result was inevitable, and consisted merely 
 in the reproduction of what was the nearest at hand : viz., the very worst Rococo patterns 
 out of the French market. 
 
 There are a number of artistic specialities extant, which threaten to rival paper- 
 hangings as wall-decorations. Paper-stainers to maintain their standard, should print 
 the patterns on a better material than paper alone ; whilst the abrupt, and meaningless 
 terminations to the design — which a papered wall now presents — should be rejected from 
 the composition on the simplest of ornamental principles. 
 
 Block papers should be made in 6 to 15 ft. lengths, and of a "more or less" varying 
 pattern, both in design and colour, throughout the piece. 
 
 This is suggested as the result of years of experience in wall-surface designing. There 
 is no great difficulty in carrying out such a scheme: "Innovation" is the only obstacle — for 
 many wall-papers of sixty, and seventy, years ago were designed, and executed after this 
 fashion. 
 
 If the ornament be thoughtfully studied at the bottom, and as rationally finished off 
 at the top, a wall-surface hung with such a "filling" would present an artistic decoration — 
 perfect in itself, and one on which the eye could rest with thorough tranquillity. 
 
 FINIS. 
 
 fity' or THB < 
 
 [TJSIVERSITYl 
 
Art &■ work. 
 
 Plate 1. 
 
 Whiteman&Bass; Iztko. "London. 
 
 Owen W. Davis, del.- 
 
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Art &• wop v k. 
 
 Plato 2. 
 
 Printed bv Whitemin «• Bass 
 
 Owen W. Davis, del. 
 
 ITALIAN FOUNTAINS, VASES, ETC. 
 
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Art &■ work. 
 
 Plate 3. 
 
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 MEDI/EVAL IVORY CARVINGS. 
 
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 Plate- 4. 
 
 Printed bv Whiteman & Bass. 
 
 Owen W. Davis, del 
 
 STONE AND WOOD FINIAL3, ETC. 
 
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 Plate 5 
 
 Printed by WViiteman & Bass. 
 
 Owen W. Davis, del. 
 
 OLO FRENCH, METAL, FINIALS. 
 

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 Printed by Whitemart & Bass. 
 
 Owen W. Davis, del 
 
 OLD ENGLISH FIREPLACE. 
 
 Designed by Owen W. Davis. 
 

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Plate 8 . 
 
 Vfluieman&Bus. kthn London 
 
 Owen W. Davis, del. 
 
 THE BUTTER-WALK, DARTMOUTH. 
 
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 DETAILS OF CARVED OAK CABINET. GERMAN 16™ CENTY WORK. 
 
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 OLD INLAID OAK CABINET. 
 
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 Plate 15. 
 
 Printed by Whitemaii 4 Bass. 
 
 "ADAM" CHIMNEY-PIECES 
 
 Owen W. Davis, del 
 
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 Plate 16. 
 
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 CARVINGS, TO WESTERN DOORWAY. 
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 Plate 18. 
 
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 METAL WORK. 
 
 Made by Messrs. Benham & Froud. Designed by Owen W. Davis. 
 
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 Plate 21. 
 
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 RENAISSANCE OVER DOORS AND PEDIMENTS- 
 
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 Plate -3. 
 
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 "ADAM" CHIMNEY-PIECES, 
 
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 Plate 85. 
 
 Prinked bv Whiteman & Bass. 
 
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 Plate 81. 
 
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 Owen W. Davis, del. 
 
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 Plate 34 
 
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 Owen W. Davis, del. 
 
 ITALIAN TARSIA WORK, 
 
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 DfII7BRSITl 
 
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 Plate «5. 
 
 Printed by Whiteman & Bass. 
 
 Owen W. Davis.- del. 
 
 EARLY CLASSIC ORNAMENT. 
 
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 Plate 36. 
 
 Printed by Whiteman 4 Bass. 
 
 Owen W. Davis, del. 
 
 ANIMALS, FROM 15™ CENTURY WOOD-CUTS 
 
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 Plate 41 . 
 
 Printed by Whiteman & Bass 
 
 Owen W. Davis, del. 
 
 ANIMALS, PLANTS, ETC., 15™ CENTURY WOOD-CUTS. 
 
Art &• work. 
 
 Plate 4-2. 
 
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 DOOR DECORATION. 
 
 Designed by Owen W. Davis. 
 

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 Plate 43. 
 
 Owen W. Davis. deL 
 
 "ADAM" CHIMNEY-PIECES. 
 
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 Plate 44. 
 
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 Prirted bv Whitrman & Bass. 
 
 Owen W. Davis, del. 
 
 RENAISSANCE* CHIMNEY-PIECE. 
 Designed by Owen W. Davis. 
 
Art &• work. 
 
 Plate 4-6. 
 
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 Owen W. Davis, del. 
 
 "ADAM" GRATES. 
 
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 Plate 48. 
 
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 Whitanan&Bitss.ZitAo London 
 
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 Plate *9. 
 
 Printed by Wrutemam & Bass. 
 
 Owen W. Davis, del. 
 
 "ADAM" GRATES. 
 
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 JBflVEl 
 
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 Plate 50. 
 
 Printed by Whiteman ft Bass 
 
 Owen W. Davis, del. 
 
 A STAIRCASE DECORATION. 
 
 Designed by Owen W. Davis for W. Woollams &. Co. 
 
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 Plate 52. 
 
 
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 EARLY CLASSIC ORNAMENT. 
 
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 Plate ft». 
 
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 Owen W. Davis, del. 
 
 TABLE AND CHAIR LEGS, LATE 18™ CENTURY WORK. 
 

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 Plate 54. 
 
 Printed by Whiteman & Bass. 
 
 Owen W. Davis. deL 
 
 TABLE LEGS, "COMMODE," ETC 
 
 Late 1 8th Century work. 
 

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 Plate 56. 
 
 Whlteman&BaLSS, litho kmdon 
 
 Owen W. Davis, del. 
 
 JAPANESE ORNAMENT 
 
 
fUfflVEK^ITY) 
 
 &2?0?-<^ 
 
Art *> work. 
 
 Plate 57. 
 
 Printed by Whiteman & Bass 
 
 Owen W. Davis, del. 
 
 AN ARM-CH AIR.-SH ERATON, 
 

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 Plate 5b. 
 
 
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 Owen W. Davis, del. 
 
 MODERN CARPETS. 
 
 Designed by Owen W. Davis. 
 
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 Plate 60. 
 
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 Owen W. Davis, del. 
 
 OLD MAJOLICA PAINTINGS- 
 
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 or 
 
 ^£r?Q!rt^ 
 

 
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 Plate 62. 
 
 Printed bv Whitrman & Bass. 
 
 Owen W. Davis, del 
 
 "ADAM" CHIMNEY-PIECES. 
 
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 Plate 63. 
 
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 Printed bv Whiteman & Bass 
 
 Owen VV. Davis, del. 
 
 MARBLE INLAY, THE CERTOSA, PAVIA. 
 
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 A. 
 
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Art &• work. 
 
 Plate 64- 
 
 Printed bv Whiteman & Bas* ■ 
 
 Owen W. Davts. del. 
 
 RENAISSANCE PANELS AND PEDESTALS. 
 
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 Plate 88 
 
 Printed by Whiteman & Bass. 
 
 Owen W. Davis, del. 
 
 CHINA PAINTING, BY MESSRS. COPELANO. 
 
 Owen W. Davis, Invt. 
 
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 Owen W. Davis, del. 
 
 ITALIAN TARSIA WORK. 
 
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 J&J*o?.tf£* 
 
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 Plate 69. 
 
 Primed by Whiteman it Bass. 
 
 Owen W. Davis, del. 
 
 KEY-STONES, CORBELS, ETC, 
 
[UIIVHRSIT' 
 
Plate 70 
 
 Printed bv Whitenian & Bass. 
 
 Owen W. Davis, del. 
 
 ITALIAN TARSIA WORK. 
 
Ai\t e- woi\k. 
 
 Plate 71. 
 
 km\m\\\\\\\N^ 
 
 
 Printed bv Whiteman & Bass 
 
 Owen W. Davis, del. 
 
 RENAISSANCE CEILINGS. 
 
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Art &• work. 
 
 Plate 72. 
 
 /TK 
 
 Printed bv Whiteman & Bass. 
 
 Owen W. Davis, del. 
 
 ITALIAN CAPITALS. 
 
ART e~ WORK. 
 
 Plate 73. 
 
 
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 WhilemHn&ba.s-. /itAo London 
 
 Owen W. Davis, del. 
 

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 Plate 74. 
 
 Printed by Whiteman i Bass. 
 
 Owen U'. Davis, del. 
 
 THE "PRIORY" PORCH, HAMPSTEAD 
 
33 li^. 
 
 
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 Plate 75. 
 
 Printed bv WhiUmaji & Bass. 
 
 Owen W. Davis, del. 
 
 ANIMALS, FROM THE ANTIQUE. 
 
'WIVBRSIT 
 
Art &• work. 
 
 Plate 76. 
 
 Printed by Whiteman & Bass 
 
 Owen W. Davis, del. 
 
 RENAISSANCE CHIMNEY-PIECES. 
 
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 Plate 77. 
 
 Printed by Whiterr.an & Bass 
 
 Owen W. Davis, del. 
 
 JAPAN ESE BIRDS. 
 
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 Ot *HB 
 
 
kxj e- woi^k. 
 
 Plate 78 
 
 Vfiuteman&Bass.^rAo London 
 
 Owen W. Davis, del. 
 
 OLD HOUSES, HIGH STREET. 
 ROCHESTER. 
 
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 Plate 80. 
 
 Printed bv Whiteman & Bass. 
 
 Owen W. Davis, del. 
 
 ANIMALS, ETC., 15TH CENTURY WOOD-CUTS. 
 
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 Plate 81. 
 
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 Owen W. Davis, del. 
 
 INTERNAL ARCHITECTURE AND DECORATION. 
 
[tJSIVBRSITT] 
 
Art &• woi\k 
 
 Plate 82. 
 
 Printed bv Whrteman & Bass. 
 
 Owen W. Davis, del. 
 
 FLORENTINE CABINET AND CHAIR. 
 
 Designed by Owen W. Davis. 
 
faSIVSRSITT 
 
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Art e- work. 
 
 Plate 83. 
 
 Prin'-fd by Whitrman * Bass. 
 
 Owen W. Davis, del. 
 
 CAPITALS, FROM OLD ITALIAN DRAWINGS. 
 
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 Plate 85. 
 
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 Owen W. Davis, del. 
 
 "ADAM" GRATES 
 
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