. The record. ration and elaboration of buildings; in or-der to diversify these surfaces he brought into play the beautifulgradations of light and shade. If these gradations followed theprinciples of contrast and repetition, they asserted themselves as or-naments. Upon the examination of the various types of ornamentswe see two motives: A desire of instructing the mind by symbolism,and the pleasing of the eye by sestheticism. The elements of design were well established long ago, and fromthem we could deduce the following seven conditions of attractive-ness : First. The meaning to be conveyed,
. The record. ration and elaboration of buildings; in or-der to diversify these surfaces he brought into play the beautifulgradations of light and shade. If these gradations followed theprinciples of contrast and repetition, they asserted themselves as or-naments. Upon the examination of the various types of ornamentswe see two motives: A desire of instructing the mind by symbolism,and the pleasing of the eye by sestheticism. The elements of design were well established long ago, and fromthem we could deduce the following seven conditions of attractive-ness : First. The meaning to be conveyed, irrespective of its value as awork of art. Second. Contrast of light and shade. Third. Balancing of lines and spaces. THE RECORD. 11 Fourth. Repetition of pleasing Variety of Contrast and harmony of Choice and arrangement of preparing designs for the interior of a car, special reference ishad to these conditions of design, also to the styles employed by. DE5IGH HO 1. ILLV5TRATJKG ECYPTJAM STYLE. past designers. The classical styles of the Egyptians, Greeks, andRomans are suggestive of something more than the uses to whichthey were put in former times, and for beauty of outline and repose 12 ADDRESSES DELIVERED BEFORE and cosily books about him, containing the representation of allthat is beautiful in decorative ait in other lands: with statues, castsand models all around; with his walls hung with paintings; andon the table before him, the spotless sheet that is to receive theimpress of his genius, as he turns the old ten plate Stove into athing of grace and elegance. Thus prepared, the artist beginshis work. His hand has never touched the moulding sand orheld the ladle, whose bright and sparkling charge of liquid metalis to flow, that the forms he traces on the fragile paper may beperpetuated by other hands in iron. But the founder is depend-ent upon him—he must toil before the iron can be poured; be-cause there is a p
Size: 1555px × 1607px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1890, bookpublisherwashingtondc, booky
