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The Bases of Design

Chapter 16: FOOTNOTES
By Walter Crane
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About This Book

Drawn from a series of lectures, the text traces fundamental principles that connect architectural form, practical utility, materials and methods, and environmental and cultural influences with ornament, color, and pattern. It advocates an integrated approach that balances technical requirements and imaginative harmony, arguing that climate, production processes, symbolic meaning, and naturalistic graphic motifs all shape successful design. Individual chapters treat subjects such as function, material constraints, climatic and racial influences, emblematic content, and the roles of personal invention and collective tradition, with numerous historical examples and illustrations to guide context-sensitive decorative work.

FOOTNOTES

1 Although such a classification may not be quite satisfactory from the point of view of the constructive and historical architect, it sufficiently serves the present purpose as regards the influence of these main types in determining the form and character and controlling spaces and lines of the decoration, both surface and sculptural design, which accompanies them in ancient, classical, and mediæval work which it is my object to trace.

2 As I recur to the subject of glass design in Chapter IV. illustrations are given there.

3 From Mr. George Simond's article on "Casting in Bronze." "English Illustrated Magazine," 1885.

4 From Mr. George Simond's article on "Casting in Bronze." "English Illustrated Magazine," 1885.

5 I give some reproductions from photographs of the beautiful fragments from the Sainte Chapelle, now in the South Kensington Museum, as types of the earlier glass, and from Winchester College for the later, and two cartoons of Ford Madox Brown's as examples of good modern design, showing leading.

6 Winston, in his well-known work on glass-painting, a very good and particular account both of the characteristic historic periods and the methods and materials of glass-painting, says: "In the eighteenth century glass was painted with enamels, very much as canvas is with oil colours, that is to say, in little patches, and the shadows were not produced merely with enamel brown, but with deeper tints of various local colours. In this way the shadows are almost imperceptibly blended with the lights, scarcely any part of the glass being left perfectly free of colour, or the marks of the brush."

7 See "Acropole de Suse," Hachette et Cie., 79, Boulevard St. Germaine, Paris.

8 For some unexplained reason these lions have been removed and the London people deprived of perhaps their finest bit of monumental work.

9 Prof. Fischbach, indeed, traces the relationship of a whole series of patterns to the influence of fire worship and its symbolism.

10 "Asgard and the Gods."—Dr. Wagner.

11 The original slabs are in the Berlin Museum, but casts of some may be seen at South Kensington.

12 "Early Italian Painters."—Mrs. Jameson.

Transcriber's Note:

Inconsistent spelling and hyphenation are as in the original.

Page 1, "CHAPTER" inserted before "I.—" to conform with the rest of the chapter headings.

LIST OF ILLUSTRATIONS entry: "Corbel, Seventeenth Century, Dennington Church, Suffolk" changed to read "Corbel, Fourteenth Century, Dennington Church, Suffolk."

LIST OF ILLUSTRATIONS entry: "Ceiling Motive, Wall-paper designed by Walter Crane 124" removed, 124 added to LIST OF ILLUSTRATIONS entry: "Ceiling Papers. Designed by Walter Crane 125, 126."

LIST OF ILLUSTRATIONS entry: "Auxerre Cathedral, Fourteenth Century Sculpture, 272" changed to read "Auxerre Cathedral, Thirteenth Century Sculpture. 272".

LIST OF ILLUSTRATIONS entry: "Amiens Cathedral, Thirteenth Century Sculpture, 273" changed to read "Amiens Cathedral, Fourteenth Century Sculpture. 273".