Chapter 10

Of the Expression and Relief of Line and Form by _Colour_--Effect of same Colour upon different Grounds--Radiation of Colour--White Outline to clear Colours--Quality of Tints relieved upon other Tints-- Complementaries--Harmony--The Colour Sense--Colour Proportions-- Importance of Pure Tints--Tones and Planes--The Tone of Time-- Pattern and Picture--A Pattern not necessarily a Picture, but a Picture in principle a Pattern--Chiaroscuro--Examples of Pattern-work and Picture-work--Picture-patterns and Pattern-pictures 256

INDEX 283

LIST OF ILLUSTRATIONS

The Origin of Outline f002

Silhouettes f003

Coast and Mountain Lines--Gulf of Nauplia f004

Proportions of Roman Capital Letters and of lower-case f005a German text. From Durer's "Geometrica"

The Progressive Method of Drawing in Line f006a

The Calligraphic Method f007a

The Tentative Method f007b

The Oval and Rectangular Methods f008

Lines of Characterization in the Form and Feature of f009 Flowers: Lily and Poppy

Silhouette of Beech Leaves and Line Rendering of the same f010a

Lines of Movement f010b

Effect of Wind upon Trees f011

Line Arrangement in ribbed Sea-sand f012

Lines of different Textures, Structures, and Services f013

Lines of Exaltation and Rejoicing in Unison. The Morning f014 Stars, after William Blake

Lines of Grief and Dejection: Designs from Flaxman's Homer f015

Landscape f016

Scale of various Degrees of Linear Weight and Emphasis f017

Curvilinear Scale of Direction f018

Rectangular Scale of Direction f018

Picture Writing f019

Olive Branch, from Nature f020

Olive Branch, simplified in Decorative Treatment f021

Study of Horned Poppy f022

Adaptation of Horned Poppy in Design: Vertical Panel for f023 Needlework

Question and Answer in Line f024, f025

Diagram showing the Use of a Geometric Basis in Designing a f026 Repeating Pattern

Use of Controlling Boundaries in Designing Sprays f027

Method of Testing a Repeating Pattern f028

Sketch to show how a Pattern of Diverse Elements may be f029 harmonized by Unity of Inclosing and Intermediary Lines

The Principle of Counterbalance in different Systems of f030 Design

Border Units and Border Motive f031

Recurring Line and Form in Border Motives f032

Radiating Principle of Line in Natural Form f033

Radiating Lines of the Pectoral Muscles and Ribs f034

Vaulting of Chapter House, Westminster f035

Lines of Characterization of Feathers and Shells f036

Pen Drawing of Fruit f037

Effect of different Emphasis in Treatment of the same f038, f039 Designs

Effect of different Emphasis in the Drawing of Landscape f040

Example of Page Treatment to show Ornamental Relation f041a between Text and Pictures

Suggestion for a Carpet Pattern and Abstract Treatment of f041b the same on Point Paper as detail of Brussels Carpet

Brush Forms f042

Direct Brush Expression of Animal Form f043

Japanese Drawing of a Bird. From "The Hundred Birds of Bari" f044

Elementary Geometrical Forms f045a

Use of the same Forms in Architecture f045b

Poppy-heads f046

Apple cut to show Position of Seeds f047

Cube and Sphere in Architectural Ornament f048a

Filling of Square Space f049a

Filling of Circular Space f049b

Inlay Design: Pattern Units and Motives f050

Grouping of Allied Forms: Composition of Curves f051a

Grouping of Allied Forms: Composition of Angles f051b

Still-life Group illustrative of Wood-engraving f052

Japanese Diagonal Pattern f053

Treatment of Fruit and Leaf Forms: Corresponding Curvature f054

Correspondence in General Contour between Leaf and Tree f055a

Some Analogies in Form f055b

Tree of Typical Pattern Forms, Units and Systems f056

Sketches to show Use of Counterbalance, Quantity, and f057 Equivalents in Designing

Quantities and Counterchange of Border and Field in Carpet f058 Motives

Sketches to illustrate Value of different Quantities in f058-f061 Persian Rugs

Recurrence and Contrast in Border Motives f062

Use of inclosing Boundaries in Designing Animal Forms in f063a Decorative Pattern

Decorative Spacing of Figures within Geometric Boundaries f063b

Simple Linear Motives and Pattern Bases f064

Use of Intervals in Repeating the same Ornamental Units f065

Designs of Floral, Human, and Animal Forms, governed by f066 Shape of inclosing Boundary

The Parthenon: Sketch to show Spaces used for Decorative f067 Sculpture in Greek Architecture

The Tower of the Winds, Athens f068

Sketch of part of the Arch of Constantine to show spaces for f069 Decorative Sculpture in Roman Architecture

Byzantine (Mosaic) Treatment of Architectural Structural f070 Features: Apse, S. Vitale, Ravenna

Detail of Canopy of Tomb of Gervaise-Alard, Winchelsea f071

Walberswick Church: West Door f072

Miserere in St. David's Cathedral f073

Recessed Panel from the Tomb of Bishop John Morgan, St. f074 David's Cathedral

Corbel from Bishop Vaughan's Chapel, St. David's Cathedral f075

Gothic Tile Pattern, St. David's Cathedral f076

Surface Pattern Motives derived from Lines of Structure f077a

Repeating Patterns built upon Square and Circular Bases f077b

Plan of a Drop Repeat f078

Sketch Designs to show Relation between Frieze and Field in f079 Wall-paper

Principles of Structural and Ornamental Line in Natural f080 Forms

Radiating, Recurring and Counterbalancing Lines in the f081a Structure of the Skeleton and the Muscles

General Principles of Line and Form in the Branching and f081b Foliage Masses of Trees

Principles of Structure in Foliage Masses f082

Albert Durer: Detail from "The Prodigal Son" f083

Albert Durer: St. Anthony f084

Roof-lines: Rothenburg f085

St. Margaret Street, Canterbury f086

Figure Designs controlled by Geometric Boundaries f087, f088

Expression of Storm and Calm in Landscape f089

Expression of Repose and Action f090

Controlling Lines of Movement: Movement in a Procession f091a

Lines left by a Watercourse--Lines governing fallen Debris f091b from a Quarry

Relief of Form, (1) by Outline, (2) by Contrast, (3) by f092 Light and Shade

Relief of Form and Line in Pattern Design by means of f093 Contrast and the Use of Planes

Treatment of Mantling (14th-16th centuries) f094a, f094b

Brass of Martin de Visch, Bruges, 1452 f095

Relief in Pattern Design by means of Simple Linear Contrasts f096a

Relief by adding Shading Lines to Outline f097a

Relief by Diagonal Shading f097b

Different Method and different Emphasis in Relieving Form by f098 Shading Lines

Albert Durer's Principle in the Treatment of Drapery: From f099 the Woodcut in the "Life of the Virgin" Series

Albert Durer: Pen-drawing f100

Filippino Lippi: Study of Drapery f101

Raphael: Studies of Drapery f102

Relief by means of Light and Shade alone, in Pen-drawing f103a without Outline

Relief by means of White Line on a Dark Ground and _vice f103b versa_

Relief in Architectural Mouldings f104

Roman Treatment of Corinthian Order, Forum of Nerva, Rome f105

Egyptian Relief Sculpture: Thebes f106

Greek Relief: Eleusis f107

Egyptian Relief: Denderah f107

Chartres Cathedral: Carving on West Front f108

Chartres Cathedral: Tympanum of Central Door of West Front f109

Medals of the Lords of Mantua, Cesena, and Ferrara, by f110 Vittore Pisano

Treatment of Draped Figure in Black on White Ground and f111a _vice versa_

Treatment of the same Figure in Light and Shade f111b

The Graphic Principle of the Expression of Form by Light and f112 Shade; with and without Outline

Linear Expression of Features, Feathers and Fur: Notes from f113 Nature

Sketches to illustrate the Graphic and the Decorative f114 Treatment of Draped Figures

Decorative Treatment of Birds f115

Floral Designs upon Typical Inclosing Shapes of Indian and f116 Persian Ornament

Dancing Figure with the Governing Lines of the Movement f117a

Lines of Floral Growth and Structure: Lily and Rose f117b

Coast-lines, Gulf of Nauplia f118a

Lines of Movement in Water, Shallow Stream over Sand f118b

Giotto: Chastity (Lower Church, Assisi) f119

Pinturicchio: Mural Painting (Piccolomini Chapel, Siena) f120

Diagram showing the Principal Fundamental Plans or Systems f121 of Line governing Mural Spacing and Decorative Distribution

Diagram to show how the apparent Depth of a Space is f122 increased by the Use of Vertical Lines, and its apparent Width by the Use of Horizontal Lines

Decorative Spacing of the Wall: Sketches (to half-inch f123 scale) to show different Treatment and Proportions

Figure of Laura, from the Burgundian Tapestries: The f124 Triumphs of Petrarch, in the South Kensington Museum

Pinturicchio: Fresco in the Appartimenti Borgia f125

Portion of Detail of the Holy Carpet of the Mosque of f126 Ardebil: Persian, sixteenth century

Sketch to illustrate Treatment of Borders in a Persian Rug f127

Arras Tapestry: Diagrams to show the Principle of Working f128 and Surface Effect

Contrasting Surfaces in Warp and Weft in Woven Silk Hanging f129

Indian printed Cotton Cover: South Kensington Museum f130

Stained Glass Treatment: Inclosure of Form and Colour by f131 Lead Lines

Sketch to show Effect of the same Colour and Form upon f132 different Coloured Grounds

Principle of the Effect of the Blending or Blurring of f133 Colours at their Edges

Use of Black and White Outline to clear the Edges of f133 Coloured Forms upon different Coloured Grounds

J. Van Eyck: Portrait of J. Arnolfini and his Wife f134

Ver Meer of Delft: Lady at a Spinet f135

Botticelli: The Nativity f136

Holbein: The Ambassadors f137

Botticelli: Madonna and Child f138

Crivelli: The Annunciation f139

Perugino: The Virgin in Adoration with St. Michael and St. f140 Raphael, and Tobias

Titian: Bacchus and Ariadne f141

Madox Brown: Christ Washing St. Peter's Feet f142

OF LINE AND FORM