  | CHAPTER | | PAGE | | I | Introductory | 1 | | Human Limitations, p. 1—Inspiration—Process and Material, p. 2—Early Training, p. 4—Art and Existence, p. 5—Natural Taste—Commercial Production, p. 6—“Ornaments,” p. 7—Modern Development—Public Apathy, p. 8—Elementary Pattern, p. 9—Early Impressionism—Personal Production, p. 10—Early Social Conditions, p. 11—Influence—Commercial Intercourse, p. 12—Effect on Design, p. 13—Ethical side of Art, p. 14—Desire for Novelty, p. 15. | | II | Historic Review | 16 | | Style, p. 16—Intercommunication—Climate and Material, p. 17—Phases in Style, p. 18—The Lintel, p. 19—The Arch, p. 20—Egyptian Art, p. 22—Chaldean Art, p. 25—Greek Art, p. 28—Roman Art, p. 35—Vaulting, p. 36—Greek Influence, p. 37—Roman Development of Ornament, p. 38—GrÆco-Roman Painted Decoration, p. 39—Byzantine Dome, p. 43—Early Christian Art, p. 46—Byzantine Metal Work, and Enamel, p. 47—Roman Influence Abroad—Romanesque Style, p. 49—Church Development, p. 50—Dark Ages, p. 53—Crusades, p. 56—Origin of the Pointed Arch, p. 58—Gothic Style, p. 59—Phases of Gothic—Early Pointed, p. 60—Decorated Gothic, p. 64—Perpendicular Gothic—Glass Windows, p. 67—Civic Influences, p. 70—Effect of Commerce—Classic Tradition in Italy, p. 71—Foreign Influence in England—The Dwelling House, p. 72—The Reformation, p. 74—The Renaissance, p. 75—Early Florentine Exponents, p. 76—Rome, p. 78—Venice, p. 80—Venetian Influence, p. 81—Painted Decoration, p. 82—GrÆco-Roman Influence, p. 83—Early French Renaissance, p. 85—Native Exploitation, p. 87—English Renaissance, p. 88—Italians in England, p. 89—Study of Classic Style—Thomas Thorpe, p. 91—Flemish Influence, p. Mythology and Symbolism | 310 | | Early Symbolic Ornament, p. 310—Customs, p. 311—Origin of Mythology—Nature Myths, p. 312—Light and Darkness—Melanesian Legend, p. 313—Darkness as a Devouring Monster—Season Myths, p. 314—Sun Myths—Belief in Natural Phenomena, p. 315—Greek and Roman Deities, p. 316—Scandinavian Mythology, p. 317—Rising and Setting Symbolised, p. 318—Winds Personified—Predestination, p. 319—The Fates—Propitiation and Sacrifice, p. 320—Early Burial Customs—Taboo—Roman Lares, p. 322—MediÆval Legend—Early Spiritual Belief, p. 323—Prehistoric Treatment of Epileptics—Prohibition, p. 324—Belief in Magical Qualities, p. 325—The Shirt of Nessus—Swords, p. 326—Invulnerability, p. 327—Belief in Numbers—The Muses, p. 328—Sacred Trees and Flowers, p. 329—Sacred Animals—Evangelist Symbols, p. 331—The Serpent—The Dragon, p. 332—Poetic License in Tradition, p. 333—Animals in Christian Art, p. 334—Association of Human and Animal Qualities—Totemism—Cannibalism, p. 336—The Sphinx—Assyrian Winged Monsters, p. 337—Pegasus—The Harpy—Sirens, p. 338—Pan—The Nymphs—The Centaur, p. 339—Symbolism of the Circle, p. 340—Symbols of the Trinity—The Wand, a Symbol of Authority—The Hand, p. 341—The Caduceus—The Thyrsus, p. 342—The Trident—The Cross, p. 343—The Pastoral Staff, p. 344—Symbols of Martyrdom—Symbolism of Gems and Colours, p. 345—Masks—Symbols of Time, p. 346—Secular Symbols—Trophies, p. 347—Heraldry—Interest and Meaning in Modern Art, p. 348. | | IX | Ways and Means | 350 | | Perception, p. 350—Accepted Conventions, p. 351—Influence of Fashion—Harmonious Consistency, p. 352—Natural Suggestion—Colour Scheme, p. 353—Early Training—Nature Study, p. 355—Aspect and Attitude, p. 356—Treatment of Studies, p. 358—Drawings for Reproduction, p. 359—Opaque Colour—Method of Enlarging or Reducing Drawings, p. 360—Textile Designs, p. 361—Wall Papers, p. 362—Architectural Drawings—Structural Design, p. 363—Lucid Arrangement of Details, p. 364—Mathematical Equipment, p. 365—Use of the Ruling Pen—Proportional Compasses, p. 367—Tracings—Conclusion, p. 368. |   |
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