. Theory and practice of teaching art . because Gothic architecture offeredsuch opportunities to enrich spaces with designs in line andrelief. From incised lines upon a Mound-Builders bowl1 to the 1 See the works of William H. Holmes (U. S. Bureau of Ethnology); also thecollection of Mound Builders Art in the Cincinnati Museum. Theory and Practice of Teaching Art 57 pediment of a Greek temple, the structural harmony of lineand space was the main thing in the mind of the designer,whether he worked in clay or marble. The motif may be amere symbol or a complete and perfect figure in full relief,—
. Theory and practice of teaching art . because Gothic architecture offeredsuch opportunities to enrich spaces with designs in line andrelief. From incised lines upon a Mound-Builders bowl1 to the 1 See the works of William H. Holmes (U. S. Bureau of Ethnology); also thecollection of Mound Builders Art in the Cincinnati Museum. Theory and Practice of Teaching Art 57 pediment of a Greek temple, the structural harmony of lineand space was the main thing in the mind of the designer,whether he worked in clay or marble. The motif may be amere symbol or a complete and perfect figure in full relief,—but its shape and movement must be part of a line-scheme(design) to fill a definite space. In a single statue standing alone,like the Victory of Samothrake, the design is in the action andin the rhythms of the drapery. The value of modelling as a training for the art industries lies(1) in that it compels the study of design, (2) in the oppor-tunity it gives for hand-work with material, whether clay,cement, wax, wood, metal or fig. 56.—clay Modelling; incised lines. A course in modelling leading to applications in the indus-tries, and to sculpture, could be outlined as follows: 1. Low relief—Designs in incised lines. Designs in one degreeof relief. (Fig. 56) These may take the form of tiles tobe glazed; of large tiles in colored cement (Fig. 59) orcolored terra cotta inlaid in cement as decorations forconcrete walls and floors. 58 Theory and Practice of Teaching Art
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Keywords: ., boo, bookcentury1900, bookdecade1910, booksubjectart, bookyear1912
