In the Preface to the "Handbook of Art Needlework," which I edited for the Royal School at South Kensington in 1880, I undertook to write a second part, to be devoted to design, colour, and the common-sense modes of treating decorative art, as applied especially to embroidered hangings, furniture,
There is something unusually exquisite about this composition. You will discover at a glance perfect balance, repose—line, everywhere, yet with it infinite grace and a winning charm. One can imagine a tea tray brought in, a table placed and those two attractive chairs drawn together so that my lady and a friend may chat over the tea cups. The mirror is an Italian Louis XVI. The sconces, table and chairs, French. The vases, Italian, all antiques. A becoming mellow light comes through the shade of deep cream Italian parchment paper with Louis XVI decorations. It should be said that...
For the investigation of art in its early stages and in its widest sense—there is probably no fairer field than that afforded by aboriginal America, ancient and modern.
At the period of discovery, art at a number of places on the American continent seems to have been developing surely and steadily, through the force of the innate genius of the race, and the more advanced nations were already approaching the threshold of civilization; at the same time their methods were characterized by great simplicity, and their art products are, as a consequence, exceptionally homogeneous.
Whatever is good in interior decoration is the result of consistent relationship between Light, Color, Form, Proportion and Dimensions. The choice of Color should be guided by the conditions of Light. The beauty of Form and the symmetry of Proportion can exist only by a balance with Dimensions. Therefore, apart from any knowledge of historic or period decoration, effective or successful work must observe the technical laws governing conditions.
there are no works of Ancient Alphabets of any excellence published in a cheap form, I have been induced, after many years' study and research in my profession as a Draughtsman and Engraver, to offer this collection to the favourable notice of the public, trusting that its very moderate price and general usefulness will be a sufficient apology for the undertaking.
In issuing these volumes of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims. In the first place, we wish to provide trustworthy text-books of workshop practise, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part...
Bed Hangings at Hardwicke Hall. Groups of Fillings in which darning plays important part. Bed Hanging from Powis Castle. Characteristic Foliations and Late 17th Century Fillings. Solid Crewel Work 18th Century including the Terra Firma and different birds and beasts.
This interesting and valuable rug is of antique Tabriz weave, of finely blended colors, and rare design. It represents the individual squares on the floor of a mosque, each one of which may be occupied by a worshipper kneeling in prayer. Rugs with a single design of this kind are usual, but a grouping of many such spaces in one rug is rare. Forms of the Tree of Life are represented in different panels, and the border is very rich and handsome. The fabric is fine, the texture soft and firm.
There is a peculiar charm about the relics found in an old home--a home
from which many generations of fledglings have flown. As each milestone
in family history is passed some once common object of use or ornament
is dropped by the way. Such interesting mementoes of past generations
accumulate, and in course of time the older ones become curios.
It is to create greater interest in these old-world odds and ends--some
of trifling value to an outsider, others of great intrinsic worth--that
this book has been written.
The earliest form of painting was with colours ground in water. Egyptian artists three thousand years B.C. used this method, and various mediums, such as wax and mastic, were added as a fixative. It was what is now known as tempera painting. The Greeks acquired their knowledge of the art from the Egyptians, and later the Romans dispersed it throughout Europe. They probably introduced tempera painting into this country for decoration of the walls of their houses.