The power of form applied to geometric tracery : one hundred designs and their foundations resulting from one diagram . 21. In some examples these points or foils are (by the closeproximity of the circles) very thin. But, numberless ancientspecimens prove, that when the circles are smaller, and, conse-quently, more apart within thespace occupied by the wholefigure, the points become this occurs they are fre-quently cut into the form ofleaves, thus becoming what theirname actually implies. The mechanical practice of form is always important tothe artist, because it makes him famili
The power of form applied to geometric tracery : one hundred designs and their foundations resulting from one diagram . 21. In some examples these points or foils are (by the closeproximity of the circles) very thin. But, numberless ancientspecimens prove, that when the circles are smaller, and, conse-quently, more apart within thespace occupied by the wholefigure, the points become this occurs they are fre-quently cut into the form ofleaves, thus becoming what theirname actually implies. The mechanical practice of form is always important tothe artist, because it makes him familiar with the correctmanipulation of detail. And if his knowledge on this headbecomes ultimately secondary to effect, it should precede it,for all works of art should bear examination in respect ofabsolute correctness. If this merit be wanting, they areindeed valueless, excepting for mere show. Were there noother advantage gained by the practice of mechanical designthan the habit of calculation, or the methodical spirit which itengenders, it is maintained that these would well repay boththe artist and the workman. But t
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